The picture’s pedigree cannot be traced further back than 1645, and the theories put forward in connection with it are largely conjectural. It is, however, a Milanese production of the school of Leonardo. _The Profile Portrait of a Woman_ (No. 1605) was also a century ago loosely described as the _Portrait of La Belle Ferronnière_; it is catalogued as a school picture, but is regarded by Mr. Berenson as the work of Bernardino de’ Conti. The same critic is of the opinion that the _Bacchus_ (No. 1602) is “based no doubt on a drawing by Leonardo,” but the Catalogue accepts it unhesitatingly. It seems to have been originally intended as a St. John the Baptist with a staff, and subsequently altered into a Bacchus with a thyrsus. The _Madonna and Child_ (No. 1603A), an attributed work, is only an old Flemish copy of a slightly warped panel picture of the _Madonna with the Carnation_ (No. 1040A) at Munich. The _Madonna of the Scales_ (No. 1604), which still passes as a school picture, has long been regarded by responsible critics as being by Cesare da Sesto, a pupil of Leonardo. _The Holy Family_ (No. 1606), which was formerly in the His de la Salle collection, is not now exhibited. In 1516, within three years of his death, the great Florentine left Italy for the Manor House of Cloux, near Amboise, in Touraine, to enter the service of the French king. His right hand was paralysed—he was left-handed and wrote from right to left—and his health was failing fast. The end of that great life came on May 2, 1519, when every one lamented the loss of a man and a painter “whose like Nature cannot produce a second time.” The _Madonna and Child, St. Julian, and St. Nicholas_ (No. 1263) is perhaps the masterpiece of Lorenzo di Credi (1456?-1537), who was another pupil of Verrocchio. He also painted the _Christ appearing to Mary Magdalene_ (No. 1264). The _Annunciation_ (No. 1602A), which was formerly assigned to Lorenzo in the Catalogue (No. 1265), is, as has already been pointed out, an early work by Leonardo da Vinci. BOTTICELLI