_If a very much rubbed drawing in black chalk at Windsor--Pl. LVI--is, as it appears to be, the reversed impression of an original drawing, it is not difficult to supplement from it the portions drawn by Cesare da Sesto. Nay, it may prove possible to reconstruct the whole of the lost cartoon from the mass of materials we now have at hand which we may regard as the nucleus of the composition. A large pen and ink drawing by Raphael in the Dresden collection, representing three horsemen fighting, and another, by Cesare da Sesto, in the Uffizi, of light horsemen fighting are a further contribution which will help us to reconstruct it._ _The sketch reproduced on Pl. LV gives a suggestive example of the way in which foot-soldiers may have been introduced into the cartoon as fighting among the groups of horsemen; and I may here take the opportunity of mentioning that, for reasons which it would be out of place to enlarge upon here, I believe the two genuine drawings by Raphael's hand in his "Venetian sketch-book" as it is called--one of a standard bearer marching towards the left, and one of two foot-soldiers armed with spears and fighting with a horseman--to be undoubtedly copies from the cartoon of the Battle of Anghiari._ _Leonardo's two drawings, preserved in the museum at Buda-Pesth and reproduced on pages 338 and 339 are preliminary studies for the heads of fighting warriors. The two heads drawn in black chalk (pg. 338) and the one seen in profile, turned to the left, drawn in red chalk (pg. 339), correspond exactly with those of two horsemen in the scene of the fight round the standard as we see them in Madame Timbal's picture and in the other finished copies. An old copy of the last named drawing by a pupil of Leonardo is in MS. C. A. 187b; 561b (See Saggio, Tav. XXII). Leonardo used to make such finished studies of heads as those, drawn on detached sheets, before beginning his pictures from his drawings--compare the preparatory studies for the fresco of the Last Supper, given on Pl. XLVII and Pl. L. Other drawings of heads, all characterised by the expression of vehement excitement that is appropriate to men fighting, are to be seen at Windsor (No. 44) and at the Accademia at Venice (IV, 13); at the back of one of the drawings at Buda-Pesth there is the bust of a warrior carrying a spear on his left shoulder, holding up the left arm (See Csatakepek a XVI--lk Szazadbol osszeallitotta Pvlszky Karoly). These drawings may have been made for other portions of the cartoon, of which no copies exist, and thus we are unable to identify these preparatory drawings. Finally I may add that a sketch of fighting horse and foot soldiers, formerly in the possession of M. Thiers and published by Charles Blanc in his "Vies des Peintres" can hardly be accepted as genuine. It is not to be found, as I am informed, among the late President's property, and no one appears to know where it now is._