Codex Atlanticus52 pages
- Milan Cathedral account entries, threaded cylinder and a nude
- Counterweight versus friction on a pulley, with a winged figure
- Verso of sheet 73: near-blank fragments
- Faint Sheet: Head, Frieze, Interlace Knots, and a Jotting
- Two Male Heads in Profile
- Faint Charcoal Sketches by Pupils (Verso)
- Pupils' Charcoal: A Spoked-Wheel Crank Device
- Blank verso with a charcoal female nude (folio 154)
- On movers, impetus, and the parts' desire for their whole
- Small sketch of a nude warrior with raised shield
- The Motion and Foam of Sea Waves
- Profile head, circle-grid rosettes and a note on proportion
- Squaring curved figures: lunes, circles and transformed spirals
- Self-regulating water measure with paired basins
- Studies of Falling Water in Tubes and Vessels
- Pencil Profile of a Young Man (the "Salai" Type)
- Faint female nude on red-tinted paper
- The Physics of Percussion and the Generation of Sound
- Proportion of the Human Figure and Aerial Perspective
- Binocular vision of a sphere, with balls hung by cords
- Sheet of interlace knots, two heads and geometric studies
- Debt memo, Arno place-names and arithmetic jottings
- Circles, tangency and the quadrature of lunes
- On Painting: Infinite Gradations of Light and Shade
- Reclining nude and faint marginal notes
- Faint Charcoal Figure of a Man (Verso)
- Road distances from Milan to Pavia and Lodi
- Red-Chalk Profile Head with Geometric Figures
- Ledger of debits and credits in lire and soldi
- Light, shadow and the visual pyramids of a sphere
- Dated ledger note (£196), January 1446
- Inclined beams and struts; the centre of a beam's weight
- Lattice frameworks and a figure with a ring and trailing lines
- Statics of Supports and Trussed Half-Vaults
- Profile Head of a Youth and a Pyramid in Perspective
- Heads in profile and front view, with an eye study
- Design for a chair with a braced supporting frame
- Dividing a line in three; walking, oxen and river control
- Light and shadow, the balance, and sunbeams through clouds
- Figure Studies and Solids, with a Note on Ratios
- Wing proportions and an articulated wing linkage
- Mechanical studies: bar-cutter, pump and Heron's fountain
- Drapery studies with a lattice truss and a mechanical plan
- Inventory of drawings, with machine sketches and grotesque heads
- Profile head of a man, with small red-chalk sketches
- A seated man lifting a weight: equilibrium and the centre of gravity
- Impetus and percussion: a man delivering a blow
- A reclining figure beneath a sweeping arc
- Canon of human body proportions
- A screw press with a double nut
- Verso without text; recto show-through
- Sheets of Arithmetic over Male Profiles (not by Leonardo)
Codex Arundel9 pages
- The folds of the limbs' joints, with a spiral line
- Profile heads, a balancing nude, and the impetus of a bombard
- Multiplication Table with Figure and Perspective Studies
- Allegorical caparison for Antonio Grimani
- Near-Blank Sheet with Faint Figure Traces
- River floods, waves, and a 1502 note of few soldi
- Relief and Hollow at the Bends of a Limb's Joints
- Pulley mechanism, solids, and candlesticks (transmitted light)
- Studies of an infant's hands and feet
Codex Forster I1 pages
Codex Forster II11 pages
- Memorandum of faces to draw; a column of figures
- Head of a Friar in Profile
- Study of a face in three-quarter view
- Seated woman with a child in her lap
- Red-chalk studies of a half figure with bent, spread legs
- The Bounce of a Cannonball: Trajectory and Proof
- Profile Head, Names, and a Prophecy of the Goats
- The attitudes of figures reacting around a table
- Emblematic devices and notes on figures' gestures
- Note on prominent veins; seed inventory and sums
- Free fall and a ship's buoyancy; a capped head
Codex Forster III5 pages
Codex Madrid II8 pages
- On Painting: Universal Light and the Vision of the Owl
- The eye adjusting to light, and muscles in exertion
- Aerial perspective: distant bodies dim and turn blue
- Choosing a site's light to give faces graceful relief
- Faces changing with a man's emotions and toil
- Perspective of colours; figures pushing and pulling
- On Painting: Show Muscles Only Where the Body Exerts Force
- Faint red-chalk study of legs and lower body
Codex Urbinas (Treatise on Painting)140 pages
- Mute Poetry, Blind Painting: the Harmony of an Angelic Face
- Painted Beauty Endures Where Living Beauty Fades
- Part Two Opens: What the Young Painter Should Learn First
- The Painter's Solitary Life in the Studio
- The Painter's Mind as a Mirror
- On the Painter's Judgment; Peril of the Portrait Specialist
- Decorum in Movement and a Mishandled Annunciation Angel
- Stains, Universality, and Precepts on Sketching Limbs
- Awakening Invention: Reading Shapes in Stained Walls
- Learning by Heart; The Painter Must Be Universal
- Painters Who Blame Poor Pay; Heeding Others' Judgment
- The Universal Painter and the Variety of Figures
- Drawing Nudes and the Glass for a Correct View
- Tracing on Glass, Landscapes and Candlelight Shadows
- Simple and Composite Shadow; Light for Portraying Faces
- The Squared Net: Drawing the Nude in a Good Pose
- Study by Season, Attitudes, and Measures of the Statue
- Where to Stand to the Light; Judging Limbs and Anatomy
- Muscles in Action and the Vice of Repeating Faces
- Why the Painter Reproduces Himself; the Soul's Judgment
- The Painter's Own Defects and the Error of Studio Light
- The Divisions of Painting: Figure, Colour, and Movement
- Gesture as the Voice of the Mind; Avoiding Hard Outlines
- Treatise on Painting: expression, relief, and shadow vs. drawing
- Treatise on Painting: the anatomist-painter and the 'wooden' figure
- Treatise on Painting: muscles through life's ages, and natural poses
- Treatise on Painting: outlines, shadow, and the three perspectives
- Grace of Faces, Portrait Light, and Beauty by Contrast
- Depicting Children, Old Men, and Women; Variety of Beauty
- Depicting Old Women and a Night Scene Lit by Fire
- How to Depict a Tempest
- End of the Reflections; Learning to Compose Figures from Life
- Placing Figures by Distance; the Balance of a Figure on One Foot
- Composing Narratives: Relief, Foreshortening, and Variety of Men
- Variety of Men and Learning Their Movements from Life
- The Painter Must Depict Man and the Mind's Concept
- Variety in Narrative Scenes: Faces, Ages, and Decorum
- Narrative Must Move the Viewer; Leave the Limbs Rough
- Rough Composition, Stains That Spark Invention, and Colour
- Flesh-Tones at a Distance and the Method of Painting Relief
- How to Depict a Battle: the Dead, the Dust, the Vanquished
- Painting a Battle: Blood, Fallen Men, and Charging Horses
- Part Three: Movements and Proportions of the Human Figure
- Children's Slender Joints and the Proportions of Men
- Joints, Shoulder Motion, and the Universal Measures of Bodies
- Measurements of the Body and the Bending of the Arm
- Proportion of the Limbs; Joints of the Hand and Foot
- Limbs That Swell or Shrink When Bent; Muscles in Action
- Invention of Composition and the Figure in Violent Action
- The Force of Motion and the Three Strokes of Battle
- The Three Movements of the Neck; Faults of the Painter
- On Weight-Bearing Feet, Fitting Limbs, and Facial Emotion
- Facial Expression, Varied Airs, and Eight Forms of the Nose
- Forms of the Forehead and Nose for a Profile Portrait
- Memorizing Faces, Soft Shadow, and the Falseness of Palmistry
- What the Face Reveals, Placing Muscles, and the Throat-Pit's Balance
- Expressive Movement: The Twice-Dead Figure and Motion by Rank
- The infinite variety of human movement
- Which Muscles to Show, and the Kinds of Motion
- Composite Motions and the Course of Man
- Balancing on One Foot; the Extended Arm Shifts the Weight
- The Loaded Shoulder Rises; Ponderation Over the Feet
- Bending and Turning; the Counterbalance of Weights
- Man as Mover of Weights; the Balance of the Figure
- The Grace and Ease of the Limbs
- Turning the Figure; a Lone Running Figure
- Balancing the Figure's Weight at Its Center of Gravity
- Attitudes of the Mind and the Reactions of Bystanders
- The Quality of Nudes: Slender, Muscular and Fat Bodies
- Muscles in Movement and When to Show Them
- Show Muscles Only in Straining Limbs; Skin Over Muscle Hollows
- Do Not Search Out Every Muscle in a Nude
- How Nature Hides the Bones; Skin, Fat, and Aging
- Why the Painter Must Know Anatomy
- Tendons Without Muscle and the Body's Sesamoid Bones
- The Utmost Twist to Look Behind; Arms Behind the Back
- Crossed Arms and the Windup of a Great Blow
- The Elbow as a Lever: Why Pulling Beats Pushing
- Why the Straight Arm Cannot Push, and the Flesh at the Joints
- The Knee Bends Only Forward, and Rising from a Kneel
- Simple and Compound Motion; Match Force to the Weight
- Do Not Repeat Movements; Let the Face Show the Emotion
- On Pose, the Actions of Man, and the Faces of the Passions
- Limbs by Age and the Eloquence of Hands and Arms
- A figure without fitting action is twice dead
- Mental Motions: How the Mind Moves the Body and the Eye
- Proportion of Every Limb and Figures That Express the Mind
- Decorum in Painting: Rank, Age, and Sex of the Figures
- Old and Young in History Pieces; Depicting the Speaker
- Depicting Anger, Despair, and Limbs Suited to Age
- Laughing versus Weeping in the Human Face
- Postures of Women, Rising from the Floor, and the Jump
- Pushing, Pulling, and the Figure Hurling with Force
- Balance of the Body: Simple and Compound Ponderation
- Weight-Shift, Contrapposto, and the Balance of Standing
- Weight on the feet, speed of motion, and how animals walk
- Three motions in a man's leap; the endless aspects of a limb
- The four parts of a figure: attitude, relief, drawing, colour
- Against excessive ornament; let the hair play in the wind
- The painter judging his own work and that of others
- How to Recognize a Good Painting; The Mirror as Master
- The Most Praiseworthy Painting; The Painter's First Aim
- How a Face Is Lit in a West-Facing Street
- Body Edges, a Figure in the Wind, and the Studio Window
- Why a Life-Size Painted Face Looks Larger Than Life
- Painting a Forty-Braccia Figure in a Space of Twenty
- Making a Figure Appear Twenty-Four Braccia High
- Towers fading in fog; shadow-spots on distant faces
- Figure Balance, the Ten Offices of the Eye, and Carving a Statue
- Part Four: Of Draperies and Dressing Figures with Grace
- Drapery Must Appear Inhabited, Not a Stripped Bundle
- Garments, Fold Profiles, and the Three Sorts of Cloth
- The Three Manners of Folds; Varying Drapery in a Scene
- The Mechanics of Folds: Cloth Returns to Flatness (a b c)
- Mantles, Windblown Garments, and Folds in Foreshortening
- On Dressing Figures: Decorum and the Fashions of His Youth
- The Follies of Fashion, and Shadows in the Folds of Drapery
- Drapery Folds: Depth, Enclosed Flesh, and Diminution
- Why black garments give a face more relief than white ones
- Shadows on faces and the quality of the light
- Light Striking a Head: Rays and Angles of Illumination
- Reflection in Universal Light, Lighting the Muscles, and Painting White
- Precepts on light and shadow; a body turning in fixed light
- Index to Part Two: Drawing from Nature (chs. 73-90)
- Index to Part Two: Light, Shadow, and Attitudes (chs. 91-109)
- Index to Part Two: Relief, Colour, and Lineaments (chs. 110-124)
- Index to Part Two: Parts of Painting and What to Depict (chs. 125-152)
- Index to Part Two: Reflections and Composition (chs. 153-174)
- Index of Part Two: composing scenes and colour (175-196)
- Contents of Part Three: Movements and Measures of Man
- Contents of Part Three: Movements, Faces and Attitudes
- Contents of Part Three: Balance and Motion of the Figure
- Contents of Part Three: The Single Figure, Attitudes and Muscles
- Contents of Part Three: Anatomy, Force and Motion of Man
- Contents of Part Three: Expression of the Mind in Figures
- Treatise index: the human figure in motion and repose
- Treatise index: judging painting, the mirror, and relief
- Index to Part Three: figures, distance, and animal motion
- Treatise index: relief, weather scenes, and reflections
- Index to Part Four of the Treatise: On Drapery
Codex on the Flight of Birds2 pages
Paris Manuscript A8 pages
- Preparing a Panel for Painting; Shadow and Statue Proportion
- Balances, a Beam's Load, and the Proportions of a Head
- Where the painter should stand to the light; blow and voice notes
- The moving figure: balance in rising, climbing, running, lifting
- Contrapposto: how a figure's sides change when it stands on one foot
- Foreshortening a Figure onto Wall and Vault to Double Its Height
- Proportion studies of the horse's head and human face
- The canon of the face: front and profile heads
Paris Manuscript B3 pages
Paris Manuscript C1 pages
Paris Manuscript E4 pages
Paris Manuscript G3 pages
Paris Manuscript H8 pages
- Indefinite figures in red chalk
- Water rings from thrown stones; the 'More' emblem
- Arm and pulley force studies, with a fable of the lily
- 'Death Before Loss of Freedom': the Goldfinch Emblem
- Oven drawing with lettered dimensions, a profile head and spelling drills
- Gears, an interlace design, and a head in profile
- A cart drawn by two horses with a rider
- Accounts for Salai, geometry notes, and a seated figure
Paris Manuscript I5 pages
Paris Manuscript K4 pages
Paris Manuscript L8 pages
- Two kneeling youths; a note on books and whitening a horse
- Profile head in an ornate cap, with a small planimetric survey
- Armed warrior kneeling, with two armour details
- Kneeling warrior with shield and sword
- Why a Man Pulls More Downward than Upward
- On painting: knowing anatomy to render nudes
- Figure of a kneeling person
- Bearings and Distances Around Imola
Ashburnham I (ex-Ms A)1 pages
Ashburnham II (ex-Ms B)3 pages
Turin Drawings13 pages
- Red-Chalk Head of a Bearded Old Man ('Self-Portrait')
- Head of a Young Woman (Study for an Angel)
- Three Views of a Bearded Man's Head
- Proportions of the Face and Eye, with Notes
- Head of a Man in Profile, Crowned with Laurel
- Nude Studies for the Battle of Anghiari and Other Figures
- Hercules with the Nemean Lion
- Studies of the Musculature of the Legs
- Studies of Scythed War Chariots
- Seated Old Man Seen in Profile
- Head of a Young Girl
- Bust of a Young Woman with a Low Neckline
- Head of an Old Man
Ambrosiana Drawings45 pages
- Five fragments: heads and small nude figures
- Sheet with faint, rubbed sketches
- Profile head of an old bearded man
- Bust of a man in a soft cap, profile to the left
- Profile head of a youth, with a study of an eye
- Bust of an old man in a beret, profile to the right
- Grotesque Profile of a Bald Old Man
- Profile Bust of a Curly-Haired Old Man
- Grotesque Head of a Jut-Jawed Old Man
- Profile Head and Shoulders of a Man
- Animal Studies on a Torn Sheet
- Caricature Head in Profile with a Draped Figure
- Two Male Heads in Profile
- Study of a Leg and Foot in Red Chalk
- Studies of Male Legs and a Standing Nude
- Three Studies of Male Nude Legs
- Faint Studies of Heads on a Worn Sheet
- Two Fragments with Faint Chalk Studies
- Two Grotesque Heads in Profile
- Sheet of Grotesque Heads and Profile Studies
- Rearing Horses and a Standing Nude Figure
- Montage of Grotesque Heads
- Two Confronting Grotesque Heads
- Red-chalk study of a group of figures
- Study of a male nude torso
- Profile head of an old man
- Coloured portrait of a young woman
- Coloured portrait of a young man
- Head of a young woman in red chalk
- Figure Studies: Standing Nude and Muscular Torso
- Figure Studies: Nude Reaching Toward a Seated Figure
- Studies of an Old Bearded Man's Head Thrown Back
- Bearded Man in Profile with Curling Hair
- Three Compositional Studies: Seated Women and Children
- Profile of a Bald Old Man
- Head of an Old Man in Red Chalk
- Head of a Bearded Man in a Broad Hat
- Profile Head of a Bearded Man with a Second Figure
- Profile Head of an Old Man Facing Left
- Head of a Youth with Wavy Hair
- Head of a Child in Profile
- Study of a Head and the Head of a Child
- Two Overlapping Studies of a Head
- Head of a Woman with Braided Hair
- Head of a Woman Looking Down
Uffizi Drawings59 pages
- Rocky Landscape with a Striding Figure
- Drapery Study for a Seated Figure
- Drapery study of cloth over a seated figure's legs
- Drapery Study for a Standing Figure
- Head of a young woman with elaborate curled hair
- Study of a bearded man's head in profile
- Grotesque profile head and caricatures, with scattered sketches
- Standing draped figure with mechanical sketches, on red paper
- Study of a young woman with a seated nude child
- Study of a nude child bending forward
- Confronted profiles of an old man and a youth
- Mythological scene with a draped woman and a winged Cupid
- Head of a young person with curly hair, eyes lowered
- Study of an infant's head and shoulders
- Study of a nude infant with one arm raised
- Faint sketches on a worn sheet
- Seated Virgin and Child with drapery study
- Blank verso of the sheet
- Faint study of a standing figure
- Drapery study of a kneeling, draped figure
- Stained verso of the sheet with collection marks
- Head of a young woman, bowed and turned aside
- Head in left profile (verso)
- Head of a youth in a hood, with flowing hair
- Verso with faint show-through of a head
- Head of a young woman with lowered eyes
- Head in Profile on Blue Prepared Paper
- Blue-grey blank verso with inventory number
- Three Studies of a Nude Leg
- Head of an Old Man in Profile
- Stained verso with an old attribution inscription
- Head of a Bald Old Man in Profile
- Portrait Head of a Man in a Close Coif
- Bust portrait of a young woman with an elaborate hairnet
- Portrait Head of a Man in a Beret and Gorget
- Head of a young woman in a light veil, three-quarter view
- Profile Portrait of a Man in a Soft Cap
- Verso: Collection Notes and a Small Chalk Bust
- Profile head and bust of a long-haired youth facing right
- Bust of a Youth Crowned with Laurel
- A winged dragon fighting a lion
- Seated Madonna and Child, in brush and wash
- Head of a woman with lowered eyes and a fillet
- Madonna and Child
- Head of a young woman inclined downward, with a secondary study
- Faint sketch on verso, possibly a head
- Head of an Aged Man in Right Profile
- Half-length portrait of a woman with clasped hands
- Studies of the Virgin and Child
- Cavalry locked in furious combat
- Red-chalk study of a standing draped woman
- Figure studies and a classical facade
- Studies of Fighting Horsemen
- Studies of Aged Male Heads in Red Chalk
- Veiled Woman in Profile
- Studies of Warriors' Heads and Helmets
- Sheet of Profile Heads and Horse Studies
- Sheet of Profile Heads with Animal and Horse Studies
- Allegory of Painting: a Woman at Her Easel with Putti
American Collections85 pages
- Drapery Study of a Kneeling Draped Figure
- Drapery Study of a Standing Draped Figure
- Head of a Youth with Curly Hair
- Study of a Horse and Rider
- Compositional Studies of Kneeling Figures and a Child
- Red Chalk Study of an Aged Seated Man
- Profile Head of a Youth in a Cap
- Roundel with a Figural Scene in a Landscape
- Head of a Man in Profile with Curly Hair
- Grotesque Head of an Old Person in Profile
- Grotesque Head of a Shouting Man in Profile
- Bust of a Man in a Tall Cap, in Right Profile
- Studies of a Roller Mechanism, a Structure and Foliage
- Studies of Infants Playing with an Animal
- Studies of Heads and Eyes
- Faint Figure Sketch (Verso)
- Sheet of figure and horse studies for a composition
- Charcoal study of a Madonna group beneath an arch
- Head of a young woman with downcast eyes
- Grotesque Profile of an Old Man
- Head of a Young Woman with Flowing Hair
- Studies of a Horse's Head, a Bird and a Youthful Head
- Figure composition: youth, kneeling attendant, and women
- Mourning group around a collapsed figure
- Rider on a rearing horse with fallen figures
- Rearing horse and winged combatant figures
- Verso with faint horseman and standing figure
- Nude figure studies and an ornamental grotesque candelabrum
- Figure studies with a seated piper and grotesque ornament
- Standing draped figure with grotesque heads below
- Studies for a Virgin and Child group
- Three Grotesque Heads
- Seated Infant Embracing a Small Bear
- Heads of a Bald Elder and a Bearded Man in Profile
- Heads of Two Bearded Men, Profile and Three-Quarter View
- Head of a Young Woman in Profile
- Head of a Young Woman with Downcast Eyes
- Head of a Youth with Curly Hair and Ornamented Collar
- Two Red Chalk Profiles of Bearded Men
- Head of a Young Woman in Red Chalk
- Head of a Bearded Man with Long Hair
- Head of a Youth on Blue Prepared Paper
- Holy Family: Virgin and Child with an Aged Saint
- Cloaked Rider Seen from Behind
- Head of a Young Woman with Braided Hair
- Profile of a Man in a Soft Cap
- Virgin and Child
- Rubbed Chalk Verso with Faint Child's Head
- Bust of an Old Man in a Cap
- Faint Studies of a Horse in Motion and a Reclining Figure
- Compositional Study of the Last Supper
- Standing Male Nude with Ornamental Frieze Studies
- The Last Supper: composition study in red chalk
- Seated figures in a wooded landscape
- Profile head of an old man in red chalk
- Four Grotesque Bust Portraits (54a-d)
- Three Grotesque Bust Portraits (54e-g)
- Four Grotesque Heads, nos. 1-4
- Four Grotesque Heads, nos. 5-8
- Four grotesque profile heads (studies 9-12)
- Four grotesque profile heads (studies 13-16)
- Four grotesque profile heads (studies 17-20)
- Four grotesque profile heads (studies 21-24)
- Four grotesque profile heads (studies 25-28)
- Four grotesque profile heads (studies 29-32)
- Grotesque Heads: Four Caricature Profiles (nos. 33-36)
- Grotesque Heads: Four Caricature Profiles (nos. 37-40)
- Grotesque Heads: A Bearded Man and a Woman (nos. 41-42)
- Grotesque Heads: Four Caricature Busts (nos. 1-4)
- Grotesque Heads: Four Caricature Profiles (nos. 5-8)
- Grotesque Heads: Four Caricature Profiles (nos. 9-12)
- Grotesque Heads: Four Caricatured Busts (nos. 13-16)
- Grotesque Heads: Four Caricatured Busts (nos. 17-20)
- Grotesque Heads: Four Caricatured Busts (nos. 21-24)
- Grotesque Heads: Four Caricatured Busts (nos. 25-28)
- Grotesque Heads: Four Caricatured Busts (nos. 29-32)
- Grotesque Heads: Four Caricatured Busts (nos. 33-36)
- Grotesque Heads: Four Caricature Profiles (nos. 37-40)
- Grotesque Heads: Caricatures and a Horned Monster (nos. 41-44)
- Grotesque Heads: Four Caricature Profiles (nos. 45-48)
- Grotesque Heads: Aged Busts and a Plumed Woman (nos. 49-52)
- Grotesque Heads: Four Caricature Profiles (nos. 53-56)
- Grotesque Heads: Four Caricature Profiles (nos. 57-60)
- Two Grotesque Heads in Profile
- Portrait of a Woman Holding a Sprig
Accademia Drawings54 pages
- Head of a Bearded Old Man in Red Chalk
- Studies of a Kneeling Figure and Playful Children
- Figure Studies with Flying Putti and a Kneeling Woman
- Studies of Polearms with a Cavalry Combat Above
- Head of a Grimacing Old Man
- Proportion Study of a Head, with Nude and Horseman
- Proportions of the Head and Bust in Profile
- The Vitruvian Man: Proportions of the Human Body
- Study of a Seated Woman Embracing Children
- Head of a Bearded Man with Long Flowing Hair
- Battle studies: foot soldiers and horsemen in combat
- Three studies of a kneeling, draped figure
- Two battle scenes: cavalry skirmishes
- Cavalry battle melee with figure studies
- Rapid Pen Sketches on a Torn Fragment
- Studies of Dancing Female Figures in Drapery
- Study of a Curly-Haired Child
- Profile Head of an Old Man in Red Chalk
- Profile Head of an Aged Man
- Rearing Horse with a Rider
- Compositional Study of a Supper Scene
- Sheet of Five Grotesque Heads
- Studies of Grotesque Heads
- Head of a Youth with Curling Hair
- Head of an Old Man in Three-Quarter View
- Aged Head in Profile Facing Left
- Muscles of the Arm, Shoulder and Chest
- Muscles of the Leg, Shoulder and Neck
- Studies of a Young Child
- Page of Notes with Faint Sketch (verso)
- Red Chalk Study of a Seated Group with Infant and Lamb
- Red Chalk Head of a Young Woman, Eyes Lowered
- Pen Sketch of a Crowd of Figures and Horsemen
- Red Chalk Studies of Hands, a Face, and Drapery
- Red Chalk Study of a Bent Arm and Hand
- Head and Bust of a Young Woman Looking Down
- Head of an Elderly Woman, Eyes Lowered
- Studies of Two Forearms and an Extended Hand
- Study of a Nude Child (Putto)
- Compositional Study of a Figure Group with a Rearing Horse
- Standing Male Nude Grasping a Staff
- Red Chalk Study of a Human Limb, with a Profile Head
- Red Chalk Study of a Bent Arm
- Red Chalk Study of Arms and an Open Hand
- Red Chalk Study of a Forearm and Clenched Fist
- Head of a Youth Crowned with Ivy
- Study of a Crouching Female Nude
- An Angel Driving Two Nude Youths Before a Cliff
- Holy Family with an Angel and the Infant Baptist
- A Sacred Group with the Virgin, Saints and Two Infants
- Studies of a Reclining Child and Two Women in Profile
- A Rural Landscape with Peasants and Grazing Animals
- Study of a Sleeping Nude Infant
- Studies for a Virgin in Glory and a Group of Figures