[249] In the Royal 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 enchantées; mais sans l'exécution tout s'en va en rêve et en fumée." 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 più dal genio della sua buona natura; la quale era si piena di gentilezza e si colma di carità, 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. 60, for a description of the concord that reigned in this vast workshop. The genius and the gentle nature of Raphael penetrated the whole group of artists, and seemed to give them a single soul. [259] The fresco of "Alexander" in the Palazzo Borghese is by an imitator. [260] The "Madonna di San Sisto" was painted for a banner to be borne in processions. It is a subtle observation of Rio that the banner, an invention of the Umbrian school, corresponds in painting to the hymn in poetry.