Fortunately numerous copies were made from this painting soon after it was done, and one of the best, by Marco de Oggiono, or Uggione, a scholar of Lionardo, is in this country, in the Royal Academy, where is also preserved a cartoon of the Virgin and St. Anne, by Da Vinci himself. Uggione’s copy, from which the print by Frey was taken, is nearly the size of the original; it was, however, enlarged from a smaller copy, so that it cannot be considered very accurate. The head of the Christ is inferior even to the ruins of Lionardo’s work; and it may here be observed, that when Vasari says this head was declared unfinished by the painter, the imperfection is to be understood in the same sense in which Virgil spoke of the incompleteness of the Æneid. Two series of original studies for the heads in this picture are in this country; the greater part of one series is in the possession of Messrs. Woodburn. The print by Morghen was done from drawings taken from the original painting. After the fall of Lodovico il Moro, in 1500, Lionardo returned to Florence, where he remained thirteen years, occasionally revisiting Milan. Among his first works done in Florence, at this time, Vasari names the above-mentioned cartoon of the Madonna and Child, St. Anne, and the Infant St. John, and a portrait of Genevra Benci. At this period too he produced the celebrated portrait of Mona, or Madonna Lisa, wife of Francesco del Giocondo. This was the labour of four years, and this too, Vasari says, was left at last imperfect. We may thus understand the meaning of the expression, as applied to the head of the Christ in the Last Supper. The portrait of Mona Lisa, now in the Louvre, is most highly wrought, although it by no means agrees with the absurd encomiums of Vasari, who almost leads his reader to believe that the hair of the eyebrows and pores of the skin are perceptible, whereas the execution resembles rather the broad softness of Correggio. His next work was the celebrated cartoon, of which the composition known by the name of the Battle of the Standard was a part only. The subject was the defeat of Nicolo Piccinino, the general of Filippo Maria Visconti, by the Florentines, near Anghiara, in Tuscany, in the year 1440. This was to have been painted in the Council Hall, at Florence, in competition with Michael Angelo, whose rival work was the celebrated composition known by the name of the Cartoon of Pisa. Lionardo’s attempt to paint in oil on the wall failed in this instance, even in the commencement, and the picture was never done. The large cartoon disappeared, but a drawing for a part of it was preserved, which was published in the Etruria Pittrice, and the same group was engraved by Edelinch, from a copy, or rather free imitation, by Rubens. To this period belong also his own portrait in the Ducal Gallery, at Florence; the half figure of a nun, in the Nicolini Palace; the Madonna, receiving a lily from the infant Christ; the