who procured it from a private chapel at S. Sepolcro,
near Arezzo. In fine condition,
GENUINE PICTURES 361
SURREY.
Doughty House, Richmond, Coll. of Sir Frederick
Cook.
S. George and the Dragon.
Bought from the late Earl of Shrewsbury, who
purchased it from the Public Gallery in Siena (?).
Exquisite colour. Exhibited at the Burlington Fine
Arts Club, 1898.
WILTSHIRE.
CoRSHAM Court, Chippenham, Coll. of Lord
Methuen.
Ecce Homo. Panel 26 x i8f in.
Figure nearly life-size. From the Rev. J. Sanford's
Coll.
SCOTLAND.
GosFORD House, Coll. of Earl of Wemyss.
The Holy Family. Tondo. 33 in. diam.
Exhibited at Burlington House, 1886. No. 207.
DRAWINGS BY GIOVANNI ANTONIO
BAZZI, CALLED * SODOMA "
SIENA.
ACCADEMIA DELLE BeLLE ArTI.
No. 81. Sketch for the Head of the Moor in the
Adoration of the Magi (S. Agostino, Siena).
Red chalk, iif X 9 in.
Large sketch, much injured by worms. The Moor
here has no beard as in finished picture. Upon the
back is written Comite Faustino E.G. Spagnuolo
mio Cniato (perhaps cognato). The paper has
been folded like a letter. Exhibited Mostra dell'
Arte Antica, Siena, 1904.
No. 84. Study for the Cappella di Piazza fresco. Red
chalk. 94 X 7 in.
Good drawing in fair condition. Formerly in the
Coll. of Abate Ciaccheri. (See Romagnoli.) Ex-
hibited as above, Siena, 1904.
No, 91. Study for the upper portion of the Descent
from the Cross. Pen and ink washed with
sepia. 9f x 7-J in.
Spirited drawing. Variation in figure behind the
Cross.
Drawings from the Spannocchi Collection ex-
hibited AS ABOVE, 1904.
No. 94. Head of a Saint. Pencil. 28 X 20 in,
Called in Catalogue "^ Christ.''
Photo : H. Burton,
HEAD OF THE MOORISH KING.
STUDV FOR "THE ADORATION OF THE MAGI.'
S. AGOSTINO, SIENA.
To/dce f> 362,
GENUINE DRAWINGS 363
No. 63. Madonna and Childy Moors head, and
two designs for hand with cup. Red chalk.
28 X 20 in. Studies for S. Agostino altar-piece
(see above).
No. 90. ^twAy {ox S. Jerome. Pencil. 28 X 20 in.
No. 91. Study for S.Jerome. Pencil. 28 x 20 in.
FLORENCE.
Uffizi.
Case 243. No. 43. Two studies from the statues of
Rhea Silvia and Acca Laurentia by Giacomo
della Quercia on the Fonte Gaia at Siena. Pen,
ink, and wash.
Attributed to Quercia, but much more probably
by Bazzi.
Case 344. No. 1934^. Portrait of a man. Pencil.
Possibly himself
Case 344. No. 1939^. Study for 5". Vittorio,
Palazzo Comunale, Siena. Pencil.
Case 343. No. 1479. Study for Marriage of Alex-
ander and Roxana. Pen and ink.
Formerly attributed to Raphael.
Case 343. No. 1506. Miscellaneous fragments. Pen
and ink.
Case 343. No, 1935^. Two men in armour asleep.
Red chalk. Perhaps sleeping guards for a
Resurrection.
Case 343. No. 564. Small Architectural Design.
For the decoration of a chapel.
Case 343. No. 562. Figure of a nun. Pen and ink.
Small.
Case 343. No. 565, 1507, 1508. A struggling
woman, with other figures. Pen and ink.
Three studies for the same subject. The latter
two are signed "// Soddoma."
364 APPENDIX
Case 343. No. 563. Study for Madonna del Corvo.
Pen and ink.
Case 345. No. 1644. Design for a ceiling, The Fall
of Pha'ethon. Sepia. Once attributed to B.
Peruzzi.
Case 346, No. 1943. Architectural Design. Pen
and ink.
Perhaps for S. Catherine Chapel, S. Domenico,
Siena. Signed " KS^^(7m."
Case 347. No. 1743. Risen Christ. Red chalk.
Case 347. No. 1936 r. S. Christopher. Red chalk.
Study for the picture in Palazzo Spada, Rome.
Case 347. No. 566. Head of a youth crowned with
laurel. Pencil and water colour.
Very beautiful. Probably a portrait. (Cf. Brit.
Mus. and Albertina below. Cf A. C. Swinburne,
Essays and Studies, 2nd edit,, p. 350.)
In Portfolios not Exhibited.
Sheet 324. No. 1357. Study for fresco at Monte
Oliveto of iS. Benedict preaching to the shepherds.
Sepia and brown ink.
Attributed formerly to Timoteo Viti, but given to
Bazzi by Morelli. ( German Galleries cit.,^. 309, note. )
No. 1937. Study for upper part of fresco decoration.
Spanish Chapel, S. Spirito, Siena. Red chalk.
9-J X 6|- in. Variation.
No. 1938. Group of struggling figures. Red chalk.
8 X \6^ in.
No. 1945. The Trinity with Madonna and Saints.
Wash and pencil. i7i X 12J in.
Labelled '' Maniera del Sodoma'' but probably
genuine.
No. 10780. Kneeling monk. Pencil touched with
white, 12J X 9 in,
Photo: Eroztw
HEAD OF A YOUTH CROWNED WITH LAUREL.
DRAWING.
UFFizi, flori;nce.
To/ace />. 364.
Photo : Ediiutnd Hoii/rhtou.
THE HOLY TRINITY.
DRAWING.
UFFIZr. FLORENCE.
To face fi. 364.
GENUINE DRAWINGS 365
No. 1 078 1. Kneeling monk. Pencil touched with
white. 1 2 J X 94 in.
On the back of each of these are other sketches.
On the former, a seated nude figure ; on the latter,
more studies for the same monk.
No. 10778. Kneeling figure. Red chalk. 8^ x sjin.
Slight sketch, genuine. Perhaps S. John or a
Shepherd.
Santarelli Collection.
T.30. 268. 5. Catherine fainting, supported by a
nun. Pencil. 12J x 14 in.
Fine large drawing. Reversed position of figures
to those in the fresco at Siena. Genuine.
T.31. 270. Large Descent from the Cross, with many
figures. Sepia. (Formerly exposed in Case 438.)
T.32. 271. A Similar Study, Pencil.
TURIN.
Royal Library.
No. 1 5589. Female saint carrying the palm of martyr-
dom, attended by two cherubs. Pencil on grey
paper, i sj X 8f in.
Large drawing, round at the top. From the
Lagoy Coll. Once attributed to B. Fungai. (Cf
painting by Gio. Batt. Crespi in the Royal Picture
Gallery, Turin, No. 464.)
MILAN.
Mused Civico (Castello Sforzesco).
No. 15. Z^fl'<3; (head). Red chalk.
No. (?). Risen Christ. Red chalk.
Once in the Uffizi and afterwards in the Morelli
Collections.
Resta Coll. (Biblioteca Ambrosiana).
5. Mary Magdalen at the foot of the Cross. Morelli.
{Delia Pittura Italiana cit., p. 155, note.)
366 APPENDIX
BUDA-PESTH.
ESTERHAZY COLL.
Standing figure of Roxana.
VIENNA.
Albertina.
Head of a young bearded man. Black chalk. Life
size.
Called " A Milanese Nobleman." Sketch. For-
merly attributed to Raphael. (Cf. Uffizi and Brit.
Mus.)
Head of Christ crowned with thorns.
Attributed to Andrea Solario by Wickhoff {/
Disegni Italiane de IP Albertina, vol. ii.) (See Her-
mann Dollmayr in Archivio Storico dell' Arte, 1893,
p. 68.)
Nude standing figure .
Called " A design for a Madonna Protettrice.''
MUNICH.
Alt Pinakothek.
Fol. 109. No. 3124. The Apotheosis of S. Mary of
Egypt.
No. 12873, Large head of a woman. Pencil. Brown
paper.
Signed ''Sodoma!' Very beautiful.
No. 32470. Madonna and Child, who is kissing
S. Francis.
Very small pen-and-ink drawing. On the back
is written " Originale da Sodoma " : but note at the
side, " Niederlandische Schule, v. Dyck (?) "
WEIMAR.
Grand Ducal Palace.
Leda kneeling towards the swan. Pen and ink.
Attributed to Leonardo. (See Morelli, Op. cit.)
Technique of Bazzi.
GENUINE DRAWINGS 367
BERLIN.
Old Museum, Beckerath Coll.
Monks on crosses; seated figures ; S. Sebastian ; a
child with a cat. A sheet of sketches of figures.
Pen and ink.
LILLE.
MUS^E WiCAR.
No. 50. Two designs for a drawing of the Eternal
Father. Pen on white paper.
No. 51. Veiled head of tJie Virgin. Black and red
chalk.
PARIS.
Louvre.
No. 9168 (1242). Head. Chalk and wash. Grey
paper.
From the Mariette Coll.
No. 9169. Woman and Child. Pencil.
Perhaps sketch for one of the S. Bernardino
frescoes. From the Baldinucci Coll.
No. 9175. S. Michael. Pen, ink, and s^pia. 12 X
21 in.
Large drawing. Signed '' del Sodoma."
No. 9178. Large woman s head, veiled and looking
down. Crayon and pencil.
Charming sketch for a Madonna. From the Baldi-
nucci Coll. (tom. i. p. 151).
ACADEMIE DES BeAUX ArTS.
Woman s head.
Finedrawing. {S&^'E.Muniz, Revue EncyclopMique
Larousse, No. 238, March 26th, 1898, p. 264.)
LONDON.
British Museum.
No. 41. Large head of a youth. Black chalk slightly
touched with white.
368 APPENDIX
At one time attributed to Raphael, and at another
to Leonardo. From the Lely, Wellesley and
Malcolm Collections. (See Uffizi and Albertina
above.) Cf. also A. C. Swinburne, Essays and
Studies (2nd edition), p. 350.
No. 317. 5*. Catherine fainting, supported by three
angels. Pencil, Chinese white. 12^ x lof in.
Grey paper. Probably an original sketch for the
S. Catherine Chapel in S. Domenico, Siena. From
the Lawrence, Lagoy, and Woodburn Collections.
No. 96. Portrait of a man with a beard, in a black
velvet cap. Pastel. \o\ x 7i in.
Attributed to Timoteo Viti, and said to be his own
portrait. A slight replica in chalk of this drawing is
now in possession of the heirs of Sir Thomas Phillips
at Cheltenham. From the Holditch, Antaldi,
Lawrence, King of Holland, and Woodburn Collec-
tions. Exhibited (No. 261) Grosvenor Gallery
(Winter 1877-78), as by Raphael.
Coll. of Dr. J. P. Richter.
Pieta. Pen and ink.
From the Cosway, Robinson and Heseltine
Collections.
OXFORD.
Taylorian Institution.
Sketch for Roxands bed. Pen and ink. Once
attributed to Baccio Bandinelli.
No. 177. Robinson's Catalogue. Fromthe Arundel,
Cosway, and Lawrence Coll. (See Frizzoni, Op. cit.,
p. 142, and Foerster, Jahrbuch, etc., 15 Band, 1894,
pp. 187-202.)
Madonna and Child with SS. Joseph and Francis.
Large cartoon from the Chambers Hall Coll.
GENUINE DRAWINGS 369
Christ Church.
Head of a youth with long hair.
Suggested by Sidney Colvin {^Selected Drawings
at Oxford, Part I., 1904) and by Frizzoni {L'Arte,
1904, Fasc. iv.-v.) to be a portrait of Raphael for
the School of Athens. Formerly attributed to
Leonardo.
CHATSWORTH.
Coll. of the Duke of Devonshire.
Leda on her knees embracing the swan.
Attributed to Raphael. (See Morelli, Op. cit.,
p. cit. Also S. A. Strong, Critical Studies, etc. :
London, 1905, p. 129.)
WILTON HOUSE.
Coll. of the Earl of Pembroke.
Sketch for a group in the Presentation at the
Oratory of S. Bernardino in Siena.
WINDSOR CASTLE.
Royal Library.
There are no admitted drawings by Bazzi in this
Collection ; but two sketches there have been
attributed to him by some of the best art critics,
as follows :
Four studies for the dressing of the hair of Leda.
Red and black chalk.
These are generally attributed to Leonardo, and
are very elaborate. (Grosvenor Gallery Publications,
No. 50.) Exhibited at the Grosvenor Gallery,
(Winter 1877-78, No. 710), and at the New Gallery
(Early Italian Art, 1893-94. No. 1520.)
Nude standing figure of Leda, with her arms round
the swans neck.
Attributed to Raphael.
(For both these and other Leda drawings consult
Morelli, Op. cit., p. cit.')
24
PICTURES ATTRIBUTED TO GIOVANNI
ANTONIO BAZZI. CALLED "SODOMA."
SIENA.
Opera del Duomo.
The Transfiguration.
Decoration for an organ. On cloth. Once
attributed to Bazzi, but now proved to have been
painted by Girolamo Genga under his influence,
in 1 510, for the sum of 100 scudi. (See Frizzoni,
L' Arte del Rinascimento, etc., p. 130, note i ; and
Vasari, vol. vi., p. 316, note i.)
Oratory of S. Bernardino (Sacristy).
Madonna.
Banner, very much dilapidated. Exhibited Mostra
deir Arte Sacra, Siena, 1904.
S. Domenico (Chapel of the Rosary).
Predella Panels.
(See Genuine List.) Fifteen small scenes from the
Life of Christ, illustrative of \}ci^Joys, Sorrows, and
Glories of the Rosary. Probably by pupils.
(Cappella delle Volte.)
The Charities of S. Catherine. Panels (2).
Authority for attribution A. J. C. Hare. Probably
by Giomo del Sodoma.
House of S. Catherine.
S. Jerome and S. Dominick. Fresco.
Two Prophets. Fresco.
370
ATTRIBUTED PICTURES 371
God the Father. Fresco.
In so dark a position as to be almost invisible.
Certainly by Riccio. (See Milanesi, Documenti, etc.,
vol. iii. p. 239.)
Church of Monagnese.
Frescoes.
Attributed to Bazzi and Riccio. (See Corrections
by Ercole Squarci to Pecci's Relazione, etc., p. 40.
Benvogl. Miscell. Bib. Com. C.V. 3, p 325'.)
ACCADEMIA DELLE BeLLE ArTI.
Room VIII. No. 357. 5. Catherine. Panel.
Gift of the Spannocchi family.
No. 347. Ecce Homo. Panel.
School work.
No. 356. Madonna adoring the Infant Christy with
S. Joseph and little S. John.
School work.
(School of Design.)
Five decorative pieces.
Fragments of a fresco decoration brought from a
Chapel at S. Francesco.
S. Maria di Concezione dei Servi.
(First altar on the right.) Two panels.
S. Rochy and S. Catherine or B. Elisabetta Vieri.
Probably by Giomo del Sodoma.
Palestra Tolomei. (Suppressed Compagnia della
S. Croce.)
Four Evangelists. Fresco.
A Cross surrounded by Angels carrying the instru-
ments of the Passion. Fresco.
A Cross with two kneeling figures. Fresco.
A seated Prophet. Fresco.
God the Father amid Angels playing musical instru-
ments.
Designed by Bazzi. School work.
372 APPENDIX
Palazzo Saracini (Picture Gallery).
Christ bearing His Cross.
If genuine ruined by repainting.
The Resurrection.
Large and fine. By Riccio. Formerly over the
high altar in the Church of the Servi. (See Notes
by Cav. E. Squarci on Gigli's Diario Senese,
December 6th. Benvogl. Miscell. Bib. Com. Siena,
C.V. 3, pp. 319-29.
(The Chapel.)
Figures of Madonna, Saints and Holy Women.
Life-size figures, surrounding a large carved
wooden crucifix. Composition good, but much
damaged. Resembles paintings of Descent from
the Cross by Pacchia at Sinalunga and at Monistero ;
also a similar subject at Montalcino. Some figures
recall Bazzi's Deposition in the Picture Gallery.
Most probably Riccio. Removed hither from the
suppressed Confraternita di S. Giovanni Battista
della Morte.
Palazzo Bernardi.
The Holy Family with S. Catherine of Siena.
Round picture. Exhib. Siena, 1904.
S. Sebastiano in Camollia.
Four bier heads {testate di bar a).
Attributed by some authorities to Bazzi (see
Romagnoli) ; by others to Bigio. Probably painted
by Girolamo del Pacchia for the Compagnia di
S. Rocco. (Cf. Mil., Doc. iii. 60 ; and see Guida
Artistica della Citta di Siena, p. 159.)
Chapel of the Old Communal Prison.
The Crucifixion with Saints.
Originally good picture. Certainly not by Bazzi.
Much injured ; partly built up and much discoloured.
{Guida Artistica cit., p. 100.)
ATTRIBUTED PICTURES 373
Via Giovanni Dupre.
The Epiphany.
Probably by Riccio. Very much defaced. (Guida
Artistic a cit., p. 81.)
S. CaTERINA BELLA NoTTE.
Replica of part of the Adoration of the Magi.
Perhaps a good copy. Hung in so dark a position
as to be almost invisible. (Guida Artistica cit., p. 5 1.)
Casa Bargagli, Porta Tufi.
Truth.
Classical figure of nude woman, holding a hand
mirror. Good condition. Small picture. Riccio.
Exhib. Siena, 1904.
Casa Nastasi, Via del Casato.
The Labours of Hercules. Frescoes on facade.
Romagnoli attributes this chiaroscuro frieze to
Bazzi, but it is much more probably by Capanna.
Much injured by time and weather. {Guida Artistica
cit.y p. 80.)
IN THE SIENESE DISTRICT.
SiNALUNGA, Church of S. Lucia.
S. Roch, robed in red as a Pilgrim. Bier head.
Well painted.
Dead Christ supported by Angels. Bier head.
Poor, careless, and badly repainted.
5'. Bernardino di Siena. Fair. Bier head.
S. Caterina di Siena. Fair. Bier head.
All four in very bad preservation. (Cf. Inven-
tario Generate degli Oggetti d Arte, compiled by
F. Brogi, p. 559.)
374 ^ APPENDIX
Street Corner.
Resurrection.
Very badly injured, and doubtful. Inventario
cit., p. 573.
TORRITA.
Prepositura di SS. Flora e Lucilla.
Madonna and Child seated upon clouds surrounded
by Cherubs. Below, SS. John the Evangelist,
Francis, Mary Magdalen, Bartholomew, Flora >
and a Holy Martyr.
Colour much faded. Retouched in oil. Inventario
cit., p. 598. School work.
Madonna della Pace.
Angels and Saints. Large canvas.
Surrounding a picture of the Madonna by another
artist. Much injured. A tolerable school work.
S. QUIRICO D'ORCIA.
Church of the Misericordia.
The Holy Family with SS. Leonard and Sebastian.
Large picture in bad condition. According to
Frizzoni [Op. cit., p. 185), and others, by Riccio.
(Cf. also Delia Valle, Op. cit. ; Inventario cit., p. 537.)
5'5'. Dominick and Paul. Bier heads. Oil.
Madonna and Child. Bier heads. Oil.
SS. Leonard and Sebastian. Bier heads. Oil.
Two Holy Martyrs. Bier heads. Oil.
Very doubtful. {^Inventario cit., p. cit?)
MONTALCINO.
Church of S. Antonio Abate.
Banner ; and decoration of a side chapel.
Most doubtful. {^Inventario cit., pp. 257-8.)
ATTRIBUTED PICTURES 375
Church of S. Lorenzo in S. Pietro.
The Crucifixion.
Most doubtful. [Inventario cit., p. 245.)
Church of the Osservanza.
Pietd.
Probably school .work. Resembles pictures by
Pacchia at Monistero and Sinalunga. {Inventario
cit., p. 264.)
S. Antimo, near Montalcino (Crypt).
Dead Christ with Angels ; and decoration of
Sacristy altar.
Extremely doubtful. Much restored. {Inventario
cit., p. 273.)
ARGIANO, NEAR Montalcino.
Church of S. Pancrazio.
The Holy Family with S. Francis. Panel 1*82 x
1*42 cm.
Exhibited Siena, 1904. Attributed to Beccafumi.
{Inventario cit.y p. 268.)
CONVENT OF MONTE OLIVETO MAGGIORE.
On a Staircase.
Pietd. Fresco.
Attributed to Bazzi by Frizzoni and others, but
so over-painted as to be ruined. Frizzoni {Op. cit.,
p. 116) speaks of a Christ bearing His Cross. Either
he has forgotten what there really is, or has mistaken
Riccio's large Way of the Cross on another staircase.
The Annunciation. Fresco.
S. Michael driving the devils from Heaven. Fresco.
S. Peter. Fresco.
(Fragments in the General's apartments, probably
by pupils. They are certainly not by Bazzi himself)
376 APPENDIX
Church.
S. Jerome.
Attributed to Bazzi. Brescianino (?) (See Notes
by Cav. E. Square! on Gigll's Diario, 4th March.
Benvogl. MiscelL, Bib. Com., Siena, C.V. 3.)
ASCIANO.
COLLEGIATA.
Dead Christ supported by three Disciples. Fresco.
Tondo. Diameter 0*90 cm.
Probably by Riccio. Three-quarter-length figures.
(See Frizzoni, Op. cit., p. 185. Inventario cit., p. 11.)
S. GIMIGNANO.
Cappella del Pretore.
Truth, Prudence, and Falsehood. Fresco. Mono-
chrome.
Very poor and doubtful work. Much damaged.
MONTEGUIDI.
Church of the Compagnia della Visitazione.
The Visitation. Canvas.
{Inventario cit., p. 58.) Most doubtful.
SUBIACO.
Chapel of S. Francesco.
Scenes from the Life of the Virgin. Frescoes.
Attributed by Schmarzow. (See Der Fresken-
schmtick einer Madonnenkapelle in Subiaco, Berichte
liber die Verhandlungen der Koniglich Sachsischen,
etc.) Cf Text, p. 115.
ROME.
Capitol, Sala dei Conservatorl
Scenes from the Punic Wars. Frescoes.
Probably by Baldassare Peruzzi. (Wickhoff.)
ATTRIBUTED PICTURES 377
Villa Borghese.
No. 434. Leda and the Swan.
Formerly attributed to Leonardo. Probably a
copy of a lost Bazzi. Perhaps by Pacchia. (See
Morelli, Delia Pittura Italiana, etc., p. 150.)
No. 439. The Holy Family.
Attributed to Bazzi by Albert Jansen {Leben und
Werke, etc., p. 45), but much more likely by L. di
Credi or one of his school.
Palazzo Barberini.
No. 59. Madonna.
Most doubtful. Much more probably by Lodi.
Hard in execution. (Morelli, Op. cit., p. 152, note.)
Palazzo Chigi.
Holy Family with SS. Catherine of Siena, Catherine
of Alexandria, and Bernardino of Siena.
Very doubtful. (See Burckhardt's Cicerone,
French edition, p. 706. G.) Hard in outline and
drawing.
CoRsiNi Gallery (from the Monte di PietA).
No. 655. Madonna and Child with SS. Nicholas
and Catherine of Alexandria. Tondo.
Very Sodomesque. Not a very good picture.
No. 719. The Deposition. Two Grey Friars to left,
two Female Saints to right. Large fresco.
Signed Jacobus . . . Jacopo (?) Figures well
drawn and well grouped. (Given by the Minister
of Public Instruction.)
Centurione Scotti Sale. April 27th, 28th, 29th
1903. (Sangiorgi.) Lot No. 42.
Madonna and Child. 073 by 0*54 cm. Doubtful.
Coll. of Donna Laura Minghetti.
Madonna.
Second Lombard period. (See Frizzoni, Op. cit.
p. 158, note.)
378 APPENDIX
FLORENCE.
BiGALLO.
Christ bearing His Cross.
Attributed by Corrado Ricci. (See Rassegna
d'Arte, July 1904; Rivista d' Arte, Anno II.
Nos. lo-ii. 1904.) Terribly repainted and ex-
tremely doubtful.
Coll. of Cav. Kennedy Laurie.
Madonna with Saints.
More than doubtful.
Settignano, Coll. of B. Berenson, Esq.
Holy Family with the Magdalen and Infant S. John.
Very doubtful.
Madonna and Child}
LUCCA.
Palazzo Provinciale.
Room I. No. 12. Christ bearing His Cross.
Retouched. Feeble and over-sweet.
VOLTERRA.
DuoMo (Chapel of S. Carlo).
Deposition from the Cross.
Very doubtful. Probably a copy. Small sketch
in oils. (See Frizzoni, Op. cit., p. 175.)
S. Francesco (Chapel of the ConfraternitA della
Croce di Giorno).
The Crucifixion.
Very much over-painted. Perhaps Riccio. (See
Frizzoni, Op. cit., p. 186.)
^ This painting was found by its present owner whilst this work was
in the press. Consequently we have been unable to see and form any
opinion upon it. Mr. Berenson dates it about 1507.
ATTRIBUTED PICTURES 379
BERGAMO.
Galleria Lochis.
No. 136. Madonna.
Attributed to Leonardo. Second Lombard period.
Small, poor, and very dark. (See Frizzoni, Op. cit.,
p. 158, note ; also Morelli, Op. ciL, p. 153.)
VAPRIO D'ADDA.
Villa Melzl
Madonnone. A vast fresco.
Formerly attributed by some to Leonardo, by
others to Francesco Melzi. Assigned to Bazzi by
Morelli {Op.cit., p. 152), and Frizzoni (C^.aV., p. 159).
Formerly in an open loggia, but now enclosed
into a gallery by a modern flooring.
VERCELLI.
Coll. of Aw. L. Bozino.
Pietd. (See Faccio, Giovan Antonio Bazzt, etc.,
p. 193. Cf. also note from L'Arte., May 1899.)
Palazzo Tizzoni. (Teatro Mariani, now Accademia
DELLE Belle Artl)
A Feast of the Gods. Ceiling fresco.
The Holy Family. (On the staircase.) Doubtful.
Frizzoni doubts these being the work of Bazzi.
ARCORE, near MILAN.
Coll. of the late Sig. B. Vittadinl
Christ bound between two gaolers.
Unpleasant picture. Life-size figures, J-length,
MILAN.
Mused Borromeo.
No. 51. Madonna.
Framed in a rich frame with " Umiltas " inscribed
upon it. Attributed to Leonardo. Perhaps an old
copy of a Bazzi, (See Frizzoni, Archivio Storico
deir Arte, 1890, p. 358.)
38o APPENDIX
MUNICH.
Alt Pinakothek.
No. 562. Head of the Archangel Michael.
Bought at Bologna as a Raphael. Attributed
to Timoteo Viti or Costa.
BERLIN.
Note. At the end of the Catalogue of the Berlin
Museum appear the following entries of pictures
stored away or on loan :
No. 244. Christ bearing His Cross. 0*59 x 0*55 cm.
Doubtful. On loan at Emden.
No. 292. Ecce Homo. 076 x 0*62 cm.
Doubtful. On loan at Bonn University.
No. 293. Pietd. too x 175 cm. Large cartoon.
In one of the offices in the Berlin Museum.
Wesendonck Gallery.
No. 4^. Madonna and Child. Panel, 0*48 x 0*39 cm.
Attributed to Bazzi, but doubtful. (Herr F.
Harck, Archivio Storico de IV Arte, 1889, p. 213.)
NEUWIED.
Royal Palace.
Leda.
Sometimes called Charity. (See Layard's Kttgler,
vol. ii. p. 409 : ed. 1900.) Once at Malmaison,
then at Cassel, and afterwards in the Collection of
Prince Frederick of Holland at The Hague. (See
also Morelli, Op. cit., p. 148.)
MAYENCE.
Royal Gallery.
No. 108. S. Jerome in the Desert.
No. 109, The Holy Family.
No. 110. The Archangel Raphael and Tobias.
Triptych by Eusebio Ferrari. From the Metzler
Collection. Attributed to Gaudenzio Ferrari and
ATTRIBUTED PICTURES 381
to Bazzi. (See Franz Rieffel, " Eusebio Ferrari
und die Schule von Vercelli," Repertorium filr
Kunstwissenschaft, Anno xiv. pp. 275, 292.)
BRUNSWICK.
Coll. of Herr H. Vieweg.
Madonna and Child.
One of his latest works, according to Fritz
Harck {Archivio Storico dell' Arte, 1890, p. 171).
THE HAGUE.
Public Gallery.
No> 349 (162). Venus (?).
Extremely doubtful. More like the work of one
of Raphael's pupils. From the Rainier Coll.
BUDA-PESTH.
Academy.
Madonna and Child, with SS. Francis and Catherine.
Doubtful.
VIENNA.
Liechtenstein Gallery.
Christ bearing His Cross.
Attributed by Rumohr, Meyer and Liibke. Pro-
bably School of Leonardo.
MONTPELLIER.
Musee Fabre.
No. 454. The Virgin and Child with Infant S.
John. Panel. 0'20 X 0*17 cm.
Part of Baron F. X. Fabre's first gift to the town
on April 2nd, 1825.
382 APPENDIX
PARIS.
Coll. of M. De la Rogiere.
Allegorical representation of the City of Siena.
Nude woman reclining in a landscape with a
serpent biting her foot. Exhibited at the Exhibition
in the Palais Bourbon in aid of the poor of Alsace
and Lorraine. We can find out nothing about this