. Leonardo da Vinci, artist, thinker and man of science. rofile ; and Leonardo has utilised another motive ofthe Cologne drawing forthis last figure—that of theperson in the middle dis-tance, in profile, his handabove his eyes. Another figure, a youthstanding, towards theright, his shoulders drawnback, his fore-arms ex-tended in an attitudeexpressive of surprise andveneration, has disap-peared in the Louvredrawing, as has also oneof his companions, stand-ing, to the left, his armresting on his hip. Onthe other hand, the bentfigure advancing with arms extended, reappears in the Louvre drawing,d
. Leonardo da Vinci, artist, thinker and man of science. rofile ; and Leonardo has utilised another motive ofthe Cologne drawing forthis last figure—that of theperson in the middle dis-tance, in profile, his handabove his eyes. Another figure, a youthstanding, towards theright, his shoulders drawnback, his fore-arms ex-tended in an attitudeexpressive of surprise andveneration, has disap-peared in the Louvredrawing, as has also oneof his companions, stand-ing, to the left, his armresting on his hip. Onthe other hand, the bentfigure advancing with arms extended, reappears in the Louvre drawing,draped, and with his arms drawn rather closer to his body. Hisneighbour, who bends forward with clasped hands, also figures Inthe Louvre drawing, where, however, he raises his head, instead ofinclining it, and advances his right, instead of his left leg. Here-appears in the important drawing of the Galichon collection(see Z^r/, 1887, vol. ii, p. 71), which represents the last stage ofthe composition. Another, who kneels on one knee, prostrates himself. \A OF THE ADORATION OF THE (Fragment from the Cartoon.) STUDIES FOR THE ADORATION OF THE MAGI 69 on the ground in the Louvre drawing ; but he has risen to his feetin that of the GaHchon collection. The group of five persons who press eagerly round the Divine Childis strikingly beautiful. But Leonardo suppressed it, as may be seenby a comparison of the Cologne and Galichon drawings. This groupis marked by a fervour and enthusiasm, a passion and emotion, too rarein Leonardos works. The master seems to have made it a rule to
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