The original is at Windsor, No. 223.  The reproduction Pl.  XLIII is defective in the shadow on the upper part of the thigh, which is not so deep as in the original; it should also be observed that the folds of the drapery near the hips are somewhat altered in the finished work in the Louvre, while the London copy shows a greater resemblance to this study in that particular.

3.  A study in red chalk for the bust of the Infant Christ—­No. 3 in the Windsor collection (Pl.  XLIV).  The well-known silver-point drawing on pale green paper, in the Louvre, of a boy’s head (No. 363 in REISET, Notice des dessins, Ecoles d’Italie) seems to me to be a slightly altered copy, either from the original picture or from this red chalk study.

4.  A silver-point study on greenish paper, for the head of John the Baptist, reproduced on p. 342.  This was formerly in the Codex Vallardi and is now exhibited among the drawings in the Louvre.  The lights are, in the original, heightened with white; the outlines, particularly round the head and ear, are visibly restored.

There is a study of an outstretched hand—­No. 288 in the Windsor collection—­which was published in the Grosvenor Gallery Publication, 1878, simply under the title of:  “No. 72 Study of a hand, pointing” which, on the other hand, I regard as a copy by a pupil.  The action occurs in the kneeling angel of the Paris picture and not in the London copy.

These four genuine studies form, I believe, a valuable substitute in the absence of any MS. notes referring to the celebrated Paris picture.]

Bernardo di Bandino’s Portrait.

664.

A tan-coloured small cap, A doublet of black serge, A black jerkin lined A blue coat lined, with fur of foxes’ breasts, and the collar of the jerkin covered with black and white stippled velvet Bernardo di Bandino Baroncelli; black hose.

[Footnote:  These eleven lines of text are by the side of the pen and ink drawing of a man hanged—­Pl.  LXII, No. 1.  This drawing was exhibited in 1879 at the Ecole des Beaux-Arts in Paris and the compilers of the catalogue amused themselves by giving the victim’s name as follows:  “Un pendu, vetu d’une longue robe, les mains liees sur le dos ...  Bernardo di Bendino Barontigni, marchand de pantalons” (see Catalogue descriptif des Dessins de Mailres anciens exposes a l’Ecole des Beaux Arts, Paris 1879; No. 83, pp. 9-10).  Now, the criminal represented here, is none other than Bernardino di Bandino Baroncelli the murderer of Giuliano de’Medici, whose name as a coadjutor in the conspiracy of the Pazzi has gained a melancholy notoriety by the tragedy of the 26th April 1478.  Bernardo was descended from an ancient family and the son of the man who, under King Ferrante, was President of the High Court of Justice in Naples.  His ruined fortunes, it would seem, induced him to join the Pazzi; he and Francesco Pazzi were entrusted with the task of murdering Giuliano de’Medici