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been discovered by Senatore Giovanni Morelli in the Munich
Pinacothek. Here the profile of the horseman is a portrait of
Francesco Duke of Milan, and under the horse, who is galloping to
the left, we see a warrior thrown and lying on the ground; precisely
the same idea as we find in some of Leonardo's designs for the
monument, as on Pl. LXVI, LXVII, LXVIII, LXIX and LXXII No. 1; and,
as it is impossible to explain this remarkable coincidence by
supposing that either artist borrowed it from the other, we can only
conclude that in the terms of the competition the subject proposed
was the Duke on a horse in full gallop, with a fallen foe under its
hoofs. 

Leonardo may have been in the competition there and then, but the
means for executing the monument do not seem to have been at once
forthcoming. It was not perhaps until some years later that Leonardo
in a letter to the Duke (No. 719) reminded him of the project for
the monument. Then, after he had obeyed a summons to Milan, the plan
seems to have been so far modified, perhaps in consequence of a
remonstrance on the part of the artist, that a pacing horse was
substituted for one galloping, and it may have been at the same time
that the colossal dimensions of the statue were first decided on.
The designs given on Pl. LXX, LXXI, LXXII, 2 and 3, LXXIII and LXXIV
and on pp. 4 and 24, as well as three sketches on Pl. LXIX may be
studied with reference to the project in its new form, though it is
hardly possible to believe that in either of these we see the design
as it was actually carried out. It is probable that in Milan
Leonardo worked less on drawings, than in making small models of wax
and clay as preparatory to his larger model. Among the drawings
enumerated above, one in black chalk, Pl. LXXIII--the upper sketch
on the right hand side, reminds us strongly of the antique statue of
Marcus Aurelius. If, as it would seem, Leonardo had not until then
visited Rome, he might easily have known this statue from drawings
by his former master and friend Verrocchio, for Verrocchio had been
in Rome for a long time between 1470 and 1480. In 1473 Pope Sixtus
IV had this antique equestrian statue restored and placed on a new
pedestal in front of the church of San Giovanni in Luterano.
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. 

If we may trust the account given by Paulus Jovius--about l527--
Leonardo's horse was represented as "vehementer incitatus et
anhelatus". Jovius had probably seen the model exhibited at Milan;
but, need we, in fact, infer from this description that the horse
was galloping? Compare Vasari's description of the Gattamelata
monument at Padua: "Egli [Donatello] vi ando ben volentieri, e fece
il cavallo di bronzo, che e in sulla piazza di Sant Antonio, nel
quale si dimostra lo sbuffamento ed il fremito del cavallo, ed il
grande animo e la fierezza vivacissimamente espressa dall'arte nella
figura che lo cavalca". 

These descriptions, it seems to me, would only serve to mark the
difference between the work of the middle ages and that of the
renaissance. 

We learn from a statement of Sabba da Castiglione that, when Milan
was taken by the French in 1499, the model sustained some injury;
and this informant, who, however is not invariably trustworthy, adds
that Leonardo had devoted fully sixteen years to this work (la forma

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