. Leonardo da Vinci, artist, thinker and man of science. y characteristicof Leonardos manner, the contrast ofthe warm golden and red-brown toneswith the cool blue-green tints, the chiaro-scuro, the pastoso of the oil-colours,and the fine net-work which covers thecarnations. There are several drawingsof absolute authenticity, Dr. Bode adds,which served as preparatory studies forthis picture. These are, first, the por-trait of a woman at Windsor ; the modelhere is represented with downcast eyes ;a large drawing in silver point, a studyfor the robe of Christ (Malcolm Col-lection in the British Mu
. Leonardo da Vinci, artist, thinker and man of science. y characteristicof Leonardos manner, the contrast ofthe warm golden and red-brown toneswith the cool blue-green tints, the chiaro-scuro, the pastoso of the oil-colours,and the fine net-work which covers thecarnations. There are several drawingsof absolute authenticity, Dr. Bode adds,which served as preparatory studies forthis picture. These are, first, the por-trait of a woman at Windsor ; the modelhere is represented with downcast eyes ;a large drawing in silver point, a studyfor the robe of Christ (Malcolm Col-lection in the British Museum) ; lastly, apen-and-ink drawing, a sketch, with thehead of Saint Leonard, in the Uffizi(p. 48). That the Resttrrection of theBerlin Museum had its origin in Leon-ardos studio, that its author laid certainstudies of the master under contributionfor it, no one can doubt ; but to accept it as a picture painted by hisown hand is to maintain a conclusion against which the great majorityof connoisseurs from one end of Europe to the other have SKETCH OF BARONCELLI. (Bonnat Collection, Paris.) 1 The choice of these two saints has been regarded as an allusion to the Christianname of the painter, and that of his fathers mother, the aged Lucia. ^ Jahrbuch der Kg. F?-euss. Ku7istsammlu7igen, 1884—Gazette des Beaux-Arts, 1889,vol. i. p. 501—505. 54 LEONARDO DA VINCI This first series of pictures should be completed, according to someGerman critics, by the engaging portrait of a woman in the Liechten-stein Gallery in Vienna, formerly attributed to Boltraffio.^ The widelyopened eyes, the slender nose, the rather prim mouth, the short chinand flattened jaw certainly recall the type of the Virgin in the Ammn-elation in the Uffizi. But this is important only if the Anminciationreally is by the hand of the master— quod est demonstrandum. If the authenticity of the pictures we have just passed in review-arouses many a doubt, a fortiori it would be impossible to fix theirchro
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