The head of a young man armed, in the same collection, very graceful, but inferior to the St. Catherine [i202].
A portrait of the Queen of Naples, which was in the Aldobrandini gallery, but afterwards to be found in a chamber of portraits in the Panfili palace. It is not equal in colouring to the Dispute of Jesus with the Doctors [i203].
A portrait in profile of the Dutchess of Milan, mentioned by Richardson as being in a chamber leading to the Ambrosian library[i204].
A beautiful figure of the Virgin, half length, in the palace of Vaprio. It is of a gigantic size, for the head of the Virgin is six common palms in size, and that of the Divine Infant four in circumference. Della Valle speaks of having seen this in the year 1791, and says he is not ignorant that tradition ascribes this Madonna to Bramante, notwithstanding which he gives it to Leonardo[i205].
A laughing Pomona with three veils, commended by Lomazzo. It was done for Francis I. King of France [i206].
The portrait of Cecilia Gallarani, mentioned by Bellincione in one of his sonnets, as painted by Leonardo [i207].
Another of Lucrezia Cavelli, a celebrated performer on the lute, ascribed to him on the same authority. Copies of both this and the former may be seen at Milan [i208].
Our Saviour before Pilate, in the church of S. Florentino, at Amboise. It is thought that the carton only of this was Leonardo’s, and that the picture was painted by Andrea Salai, or Melzi[i209].
A portrait of Leonardo by himself, half length, in the Ambrosian library at Milan [i210]. Della Valle has inserted a copy of this before the Supplement to Leonardo’s Life, in his edition of Vasari, for which purpose Sig. Pagave transmitted him a drawing from the original picture. But Leonardo’s own drawing for the picture itself, is in the possession of his Britannic Majesty, and from that Mr. Chamberlaine has prefixed to his publication before mentioned, a plate engraven by Bartolozzi.