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which Leonardo had taken part.
I must in these remarks confine myself strictly to the task in hand
and give no more of the history of the Sforza monument than is
needed to explain the texts and drawings I have been able to
reproduce. In the first place, with regard to the drawings, I may
observe that they are all, with the following two exceptions, in the
Queen's Library at Windsor Castle; the red chalk drawing on Pl.
LXXVI No. 1 is in the MS. C. A. (see No. 7l2) and the fragmentary
pen and ink drawing on page 4 is in the Ambrosian Library. The
drawings from Windsor on Pl. LXVI have undergone a trifling
reduction from the size of the originals.
There can no longer be the slightest doubt that the well-known
engraving of several horsemen (Passavant, Le Peintre-Graveur, Vol.
V, p. 181, No. 3) is only a copy after original drawings by
Leonardo, executed by some unknown engraver; we have only to compare
the engraving with the facsimiles of drawings on Pl. LXV, No. 2, Pl.
LXVII, LXVIII and LXIX which, it is quite evident, have served as
models for the engraver.
On Pl. LXV No. 1, in the larger sketch to the right hand, only the
base is distinctly visible, the figure of the horseman is effaced.
Leonardo evidently found it unsatisfactory and therefore rubbed it
out.
524
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