. Leonardo da Vinci, artist, thinker and man of science. Benci, opposite the Loggia of the Peruzzi; like the masters other works, itwas left unfinished. M. Strzygowski, unacquainted with the studies I had publishedeight years before in ZArt (April 15 and August 15, 1887), and in the Revue des deuxMotides (October i, 1887), is of opinion that the Ufifizi cartoon was begun after Leonardossojourn at Milan; that the drawing in the Galichon collection dates from 1480; theright-hand portion of the cartoon from 1494-1495 ; and the Madonna and the rest fromthe first years of the sixteenth century. {Ja
. Leonardo da Vinci, artist, thinker and man of science. Benci, opposite the Loggia of the Peruzzi; like the masters other works, itwas left unfinished. M. Strzygowski, unacquainted with the studies I had publishedeight years before in ZArt (April 15 and August 15, 1887), and in the Revue des deuxMotides (October i, 1887), is of opinion that the Ufifizi cartoon was begun after Leonardossojourn at Milan; that the drawing in the Galichon collection dates from 1480; theright-hand portion of the cartoon from 1494-1495 ; and the Madonna and the rest fromthe first years of the sixteenth century. {Jahrbuch der kg. Kunstsammlungen, 1895,pp. 159-175.) 2 See p. 58. ^ Leonardo da Vinci, p. 157. 64 LEONARDO DA VINCI Taking into account the methods dear to Leonardo, his intermittentardour, his endless hesitations, it would be over-bold to attempt asolution of so delicate a problem of chronology, until a key has beenfurnished by documents in the archives. Let us be content, at present,to study the different phases through which the Adoration of the Magi. the adoration of the magi, BV FILIPPINO LIPPI. (Uffizi, Florence.) passed before taking form in the Uffizi cartoon. We can trace thesestep by step in a number of drawings.^ The earliest of the sketches preserved in the house—or perhaps Ishould rather say the museum—in the Rue Bassano, in which M. LeonBonnat has collected so many mementoes of the great masters, shows 1 The catalogue at the end of the volume describes those drawings not mentioned inthe text. STUDIES FOR THE ADORATION OF THE MAGI 65 that Leonardos first intention was to paint, not an Adoration of theMagi, but an Adoration of the Shephe7^ds, or Nativity, a subject we 4^
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