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Leonardo, although he was painting independently as early as in 1472
is still spoken of as working in Verrocchio's studio in 1477. Two
years later the Venetian senate decided on erecting an equestrian
statue to Colleoni; and as Verrocchio, to whom the work was
entrusted, did not at once move from Florence to Venice--where he
died in 1488 before the casting was completed--but on the contrary
remained in Florence for some years, perhaps even till 1485,
Leonardo probably had the opportunity of seeing all his designs for
the equestrian statue at Venice and the red chalk drawing on Pl.
LXXIV may be a reminiscence of it.
The pen and ink drawing on Pl. LXXII, No. 3, reminds us of
Donatello's statue of Gattamelata at Padua. However it does not
appear that Leonardo was ever at Padua before 1499, but we may
conclude that he took a special interest in this early bronze statue
and the reports he could procure of it, form an incidental remark
which is to be found in C. A. 145a; 432a, and which will be given in
Vol. II under Ricordi or Memoranda. Among the studies--in the widest
sense of the word--made in preparation statue we may include the
Anatomy of the Horse which Lomazzo and Vas mention; the most
important parts of this work still exist in the Queen's Li Windsor.
It was beyond a doubt compiled by Leonardo when at Milan; only
interesting records to be found among these designs are reproduced
in Nos. 716a but it must be pointed out that out of 40 sheets of
studies of the movements of the belonging to that treatise, a horse
in full gallop occurs but once.
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