Image from page 114 of "Leonardo da Vinci, artist, thinker and man of science;" (1898)

Leonardo da Vinci, artist, thinker and man of science; Year: 1898. Authors: Müntz, Eugène, 1845-1902. Leonardo, da Vinci, 1452-1519 ( ...internetarchivebookimages/tags/booksubjectLeonardo__da_Vinci__1452_1519 ) .Publisher: London : W. Heinemann ( ...internetarchivebookimages/tags/bookpublisherLondon___W__Heinemann ) New York, C. Scribner's sons ( ...internetarchivebookimages/tags/bookpublisher_New_York__C__Scribner_s_sons ) .Contributing Library: University of California Libraries ( ...internetarchivebookimages/tags/bookcontributorUniversity_of_California_Libraries ) .Digitizing Sponsor: Internet Archive ( ...internetarchivebookimages/tags/booksponsorInternet_Archive ) ...View Book Page: Book Viewer ( stream/leonardodavincia01munt/leonardodavincia01munt#page/n114/mode/1up ) .About This Book: Catalog Entry ( details/leonardodavincia01munt ) .View All Images: All Images From Book .Click here to view book online ( stream/leonardodavincia01munt/leonardodavincia01munt#page/n114/mode/1up ) to see this illustration in context in a browseable online version of this book....Text Appearing Before Image:.THE ADORATION OF THE MAGI, UY FILIPPINO LIPPl. (Uffizi, Florence.) passed before taking form in the Uffizi cartoon. We can trace thesestep by step in a number of drawings.^ The earliest of the sketches preserved in the house—or perhaps Ishould rather say the museum—in the Rue Bassano, in which M. LéonBonnat has collected so many mementoes of the great masters, shows The catalogue at the end of the volume describes those drawings not mentioned inthe te.xt. STUDIES FOR THE ADORATION OF THE MAGI 65 that Leonardos first intention was to paint, not an Adoration of theMagi, but an Adoration of the Shepherds, or Nativity, a subject we..Text Appearing After Image:.STUDY FOR THE ADORATION OF THE MAGI. iThe Louvre. Formerly in the Galichon Collection.) know him to have painted for the Emperor Maximihan. It representsthe Infant Jesus lying on the ground, with the Virgin adoring, and achild bending over Him. Nude figures are grouped to the right and K 66 LEONARDO DA VINCI left, one of whom, with his bald head, his long beard, and the pro-tuberant belly under his crossed arms, seems to have been inspired bythe Silenus of the ancients. This strange personage re-appears (but inreverse) in a drawing formerly in the Armand collection, now in thatof M. Valton. The drawing in the Bonnat collection also con-tains the figure of a young man, shading his eyes with his left hand.This motive recurs in a drawing in the Louvre, and in one in theGalichon collection, to which I shall return presently. In the latter,however, it is an old man, and not a youth, who thus concentrates hisgaze on the Divine Child. A third spectator, the young man standingwith one foot on.