descriptions both in Italian and English, to explain such of them as needed it.
Mr. Dalton, as has been before noticed, several years since published some engravings from the volume in our King’s collection, but they are so badly done as to be of no value. Mr. Chamberlaine therefore, in 1796, took up the intention afresh, and in that year his first number came out, which is all that has yet appeared.
Of the Treatise on Painting, Venturi[1] gives the following particulars: “The Treatise on Painting which we have of Vinci is only a compilation of different fragments extracted from his manuscripts. It was in the Barberini library at Rome, in 1630[2]: the Cav. del Pozzo obtained a copy from it, and Poussin designed the figures of it in 1640[3]. This copy, and another derived from the same source, in the possession of Thevenot, served as the basis for the edition published in 1651, by Raphael du Frêne. The manuscript of Pozzo, with the figures of Poussin, is actually at Paris, in the valuable collection of
