Nudes in the Battle of Anghiari and Other Figure Studies

With its extraordinary main figures, composition, and sequence of drawings of different sizes and layouts, this sheet of paper constitutes a catalog of the themes on which Leonardo worked during the years he created The Battle of Anghiari.

The large mural depicting the Battle of Anghiari was planned and partly painted in the hall of the Grand Council in the Palazzo Vecchio between 1504 and 1506.

The figure on the right-hand side of the paper is shown from a rear-view angle from the shoulder blades down. It is a powerful body with detailed muscular features.

Here, Leonardo has paid particular attention to the strength of the buttocks and the thigh and leg muscles (especially evident in the right limb).

As the left limb, initially sketched in charcoal and aligned with the shoulder, is moved forward, the back twists and the head turns to the left.

As the left limb, initially sketched in charcoal and aligned with the shoulder, is moved forward, the back twists and the head turns to the left.

As for the other figures, the last one on the left—a woman standing upright on the side—can be attributed to Leonardo’s studies of Leda standing.

The cherub—which may or may not be female—is more difficult to identify. It could reference Venus and Cupid or reflect the classic theme of Hermes.

The four figures that are roughly sketched are partaking in the Battle; the figure in the center with a fluttering cape is intent on delivering a blow.

The sequence of brief horse sketches seems to be uniform and coherent with Leonardo’s preparatory studies for The Battle of Anghiari. They perhaps reference the Trivulzio monument, given the two lines underlying the horse which can be interpreted as the sketch of a platform. However, this is unlikely.

Because of the variety within the piece, this work could be interpreted as a study of form, whose visual artistic reflection paves the way for in-depth scientific analysis.