yal Collection at Windsor there is a whole series of
studies for these two statues, together with drawings for the mould in
which Lionardo intended to cast them. The second of the two is sketched
with great variety of motive. The horse is rearing; the fallen enemy is
vainly striving to defend himself; the victor in one drawing is reining
in his steed, in another is waving a truncheon, in a third is brandishing
his sword, in a fourth is holding the sword in act to thrust. The designs
for the pedestals, sometimes treated as a tomb and sometimes as a
fountain, are equally varied.

[250] "Concevoir," said Balzac, "c'est jouir, c'est fumer des cigarettes
enchantees; mais sans l'execution tout s'en va en reve et en fumee."
Quoted by Sainte-Beuve, _Causeries du Lundi_, vol. ii. p. 353.

[251] See Vol. II., _Revival of Learning_, p. 128, 129.

[252] It was finished, according to Fra Paciolo, in 1498.

[253] Signorelli, with his usual originality, chose the moment when
Christ broke bread and gave it to His disciples. In that rare picture at
Cortona, we see not the betrayed chief but the founder of a new religion.

[254] The Cenacolo alone will not enable the student to understand
Lionardo. He must give his attention to the master's sketch books, those
studies in chalk, in tempera, on thin canvas and paper, prepared for the
stylus or the pen, which Vasari calls the final triumphs of designing,
and of which, in spite of the loss of many of his books, the surviving
specimens are very numerous. Some are easily accessible in Gerli,
Chamberlaine, and the autotype reproductions. It is possible that a
sympathetic student may get closer to the all-embracing and all-daring
genius of the magician through these drawings than if he had before him
an elaborate work in fresco or in oils. They express the many-sided,
mobile, curious, and subtle genius of the man in its entirety.

[255] "Raffaello, che era la gentilezza stessa ... restavano vinti dalla
cortesia e dall' arte sua, ma piu dal genio della sua buona natura; la
quale era si piena di gentilezza e si colma di carita, che egli si vedeva
che fino agli animali l'onoravano, non che gli uomini."--Vasari, vol.
viii. pp. 6, 60.

[256] See above, Chapter VI, Fra Bartolommeo.

[257] The "Holy Family" at Munich, and the "Madonna del Baldacchino" in
the Pitti, might be mentioned as experiments on Raphael's part to perfect
the Frate's scheme of composition.

[258] See Vasari, vol. viii. p.