. Leonardo da Vinci, artist, thinker and man of science. ws, adefect aggravated by the thick yellow varnish that overlies the that the composition has not achieved the breadth andgrandeur of the Last Supper, or the suavity of the S. Anne, yet itshows us Leonardo as his own precursor. A replica of the Virgin of the Rocks was bought in 1880, at theconsiderable price of ^9,000, for the English National Gallery, whichclaims in this example to have acquired the true original by replica, which came from the Suffolk collection, was bought in ^ Quite recently, M. Strzygows
. Leonardo da Vinci, artist, thinker and man of science. ws, adefect aggravated by the thick yellow varnish that overlies the that the composition has not achieved the breadth andgrandeur of the Last Supper, or the suavity of the S. Anne, yet itshows us Leonardo as his own precursor. A replica of the Virgin of the Rocks was bought in 1880, at theconsiderable price of ^9,000, for the English National Gallery, whichclaims in this example to have acquired the true original by replica, which came from the Suffolk collection, was bought in ^ Quite recently, M. Strzygowski pronounced the Virgin of the Rocks, in the Louvre, abad copy ! {Jahrbuch der kgl. Kimstsajfwilungett, 1895, p. 165.) See also Sir E. Poyntersarticle in the Art Journal, 1894, p. 229-232. But cf. Signor Frizzoni {Gazette des BeauxArts, 1884, vol. i., p. 235), Herr Koopmann {Repertoriuin fiir Kunstzvissenschaft, 1891,p. 353-360), Dr. Richter {Art Journal, 1894, pp. 166-170, 300-301), and various otherforeign critics, who all uphold the Louvre THE VIRGIN OF THE ROCKS. (National Gallery, London.) THE VIRGIN OF THE ROCKS, NATIONAL GALLERY .69 Italy in 1796 by the collector, Gavin Hamilton, for 30 ducats. It isdeclared to be the picture described by Lomazzo as in the church ofSan Francesco at Milan at the end of the sixteenth century.^ Thetwo side pictures, single figures of angels, passed into the collection ofthe Duca Melzi. They have now (July, 1898) been acquired by theNational Gallery, and have lately been placed on either side of thealtar-piece, as worksby Leonardos fellow-labourer, Ambrogio dePredis. An absolutely deci-sive argument in favourof the authenticity ofthe Louvre picture isfurnished by the factthat there are studiesby Leonardo in theEcole des Beaux Artsand at Windsor (seepp. 165, 167), showingthe angels hand out-stretched towards theInfant Jesus. As iswell known, this ges-ture is modified in theLondon example, whichmust therefore be oflater date than ou
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