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notes as to the method of casting, the question as to the position
of the horse in the model finally selected, seems to be decided by
preponderating evidence. "Il cavallo dello Sforza"--C. Boito remarks
very appositely in the Saggio on page 26, "doveva sembrare fratello
al cavallo del Colleoni. E si direbbe che questo fosse figlio del
cavallo del Gattamelata, il quale pare figlio di uno dei quattro
cavalli che stavano forse sull' Arco di Nerone in Roma" (now at
Venice). The publication of the Saggio also contains the
reproduction of a drawing in red chalk, representing a horse walking
to the left and supported by a scaffolding, given here on Pl. LXXVI,
No. 1. It must remain uncertain whether this represents the model as
it stood during the preparations for casting it, or whether--as
seems to me highly improbable--this sketch shows the model as it was
exhibited in 1493 on the Piazza del Castello in Milan under a
triumphal arch, on the occasion of the marriage of the Emperor
Maximilian to Bianca Maria Sforza. The only important point here is
to prove that strong evidence seems to show that, of the numerous
studies for the equestrian statue, only those which represent the
horse pacing agree with the schemes of the final plans.
The second group of preparatory sketches, representing the horse as
galloping, must therefore be considered separately, a distinction
which, in recapitulating the history of the origin of the monument
seems justified by the note given under No. 720.
Galeazza Maria Sforza was assassinated in 1476 before his scheme for
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