The Infants Christ and St. John Embracing
(or The Holy Children)
A Composition by Leonardo da Vinci.
G. Stephen Holmes B.Sc.
Douglas, Isle of Man; January 2008
In September 1800, Reverend Richard Warner embarked on a two week walking tour south of Bath into
the county of Wiltshire. In 1801 G.G. And J. Robinson of Paternoster Row in London published his long
letters in a book Excursions from Bath, priced at 8 shillings. Warner had earlier published Walks in Wales
at 12 shillings; evidently a similar project – the book being letters to his friend about his travels. The
book is 137 years out of copyright, so I reproduce two full pages from Letter 1 and Letter 2.
EXCURSION 1
Letter I
To JAMES COMRIE, ESQ
Bath, September 1st, 1800
Dear Sir,
You have imposed upon me so arduous a task, that I fell an almost insufferable diffidence at attempting
to perform it. When I led you through the wild scenery of Wales, I proceeded without fear or hesitation;
my work was easy; I had little else to do than to describe the face which Nature wears in that
incomparable country, where the features are in general so strong and well defined that I must have been
a miserable painter indeed, had my portrait been altogether without resemblance. Here I must exchange
the simplicity of nature for the intricacies of art; and descend from the grand to the minute; from the
mountain, the precipice and the cataract, original manners and ancient customs to the park and the
picture gallery, to the refinements of luxury and the elegancies of polished life.
Yours &c,
R.W.
EXCURSION 1
Letter II
To JAMES COMRIE, ESQ
Bath, September 5th, 1800
Dear Sir,
I am now to introduce you to one of the most splendid mansions in the kingdom, Fonthill, the seat of Mr.
Beckford; where expense has reached its utmost limits in furniture and ornaments; where every room is a
gold-mine, and every apartment a picture gallery. It stands at the distance of one mile and a half from
Hindon, to the right of the turnpike running from that town to Salisbury. The house is approached by
road, which passing under a noble stone arch proceeds through the park in a strait line to it; a fine sheet
of water nearly a mile in length, lying to the left and a lofty wooden hill, rising behind and to the right of
it. A superb portico, of the Corinthian order ascended by a magnificent flight of steps adorns the body of
-1-
the mansion, to which are attached two wings connected with it by semi-circular Doric colonnades.
Every thing bespeaks the presence of unbounded wealth and expensive ideas. It occupies the site of an
house built by Inigo Jones, which the late Mr. Beckford took down in order to build a more modern one
on the spot. Accident, however, reduced this to ashes, and he was obliged to go once more to work; but
like the Phoenix, Fonthill rose with tenfold splendour from its ruins; and in order to prevent a similar
casualty, the new edifice was constructed on a plan which, separating the stories from each other by
arches, secured it from future devastation by fire. The large folding doors open into the Egyptian hall, a
square apartment of great height, with a coved ceiling painted in compartments, by Cassali, a modern
artist. This prepares one for the richness of the other rooms, by its magnificent ornaments; a stupendous
organ on the right, a beautiful statue of Venus, and another of Apollo, in white marble, with variegated
pedestals of the same material, in front, and an antique bust of porphyry and black marble on the other
side of the organ.
The collection of pictures begins in the adjoining apartment to the right, called the cabinet room, which
contains:
Two views in Derbyshire, and a Storm, by Loutherbourg; the latter is the finest of the three. - The inside
of a Church, by John van Nikkelon, painted in 1688. - the Duke of Bourbon by Vandyke. Head of a
Woman, by Guido, Small Landscapes by Polenberg, Landscape by Berghem, Washer Woman by Teniers,
Holy Family by Goltzius, and several others of the Flemish School.
From hence we pass into the ball-room, which like all the other apartments, is hung with rich crimson
damask, and furnished with chairs and sofas, covered throughout with one sheet of burnished gold. The
ceiling here, also, is painted by Cassali, with emblematic representations of the arts and sciences; but
unfortunately, the ribs or divisions of the compartments are so wide and heavy that they subtract from the
apparent height of the room and give it the appearance of disproportion. It contains:
A Holy Family by Titian; a fine example of that exquisite method of colouring for which this master was
famous – A finely sculptured white marble statue of the patriot Beckford inscribed “The Right
Honourable William Beckford, lord-mayor of London 1763”; by J.F. Moore – An admirable portrait of
the painter Giovanni Bellini, by himself.
Two Boys Kissing Each Other, by Leonardo da Vinci; the character of this artist was, that he
expended a tedious time upon his works, but sent them from his hands exquisitely finished. The
latter observation applies powerfully to the painting before us.
The Wise Men's Offering, a superb large picture by Titian, the Inside of a Church by Perers, the figures
by David Teniers, An Old Woman's Head by Dominichino; an artist remarkable for expressing in his
faces the passions of the soul, St. Jerome and the Angel by Guercino, Chastity and Pleasure, two small
allegorical figures by Raphael, Landscape by G. Poussin, Hugo the Great by Cornelius Jansen, Law and
Physic, two small figures with professional emblems incomparably finished, by Isaac van Ostade.
-2-
A Nativity, small but excellent, by Ludovico Carracci. The chief beauty of this picture is the management
of the light, which emanates from the new-born infant, and illuminates the enraptured beholders in a
manner surprisingly artful.
etcetera
R.W.
Yours &c,
Two boys kissing is of course The Holy Children by Leonardo da Vinci – an exquisitely finished work.
From a report in the Gentleman's Magazine of September 1807, we find that Beckford sold The Holy
Children for about £308. The Index of Paintings Sold in the British Isles (in the Nineteenth Century)
comments about a sale conducted by Harry Philips on behalf of William Beckford at Fonthill:
“The owner, William Beckford, had fallen into debt, largely the result of the expense of building his
famous abbey at Fonthill. Besides selling off various properties in London and elsewhere, he also
decided to tear down Fonthill Splendens, the family residence near the abbey, and to sell its contents.
Perhaps because the sale was held in the countryside, few copies of the catalogue have survived and none
of them are extensively annotated. The best report of the sale is in the Gentleman's Magazine where
some of the prices and purchasers are recorded. The sale lasted seven days, and the reputation for
extravagance and extraordinary taste enjoyed by both Beckford and his father helped bring significant
prices for their paintings. The paintings included decorative works taken from his father's residence as
well as important pictures bought by the younger Beckford for his own collection. The latter included
The Fifth Plague of Egypt by Turner (now in the Indianapolis Museum of Art), which Beckford had
purchased in 1800. It sold for 155 guineas – just 5 guineas more than he had paid for it. The highest
prices were paid for pictures by older masters: 350 guineas for a Nativity attributed to Lodovico Carracci
and 290 guineas for an Infant Christ and St. John thought to be by Leonardo da Vinci, which was bought
by Dr. Hastings Elwin, an art dealer. The proceeds of the sale far exceeded everyone's expectations.” The
catalogue described the last painting, which sold on 22/08/1807 as:
L. da Vinci The Infant Saviour and Saint John, in a high state of preservation: possessing all the beauty,
energy and characteristic perfections of this great master (from the Aldobrandini Collection).
Ippolito Aldobrandini was Pope Clement VIII from 1592 to 1605. He was the son of Silvestro
Aldobrandini who had arrived in Rome in about 1530 following the restoration to power of the Medici
family in Florence. Sylvestro courted favour with Cardinale Farnese and his persistence was rewarded by
having his son declared Pope. Clement's first act was to make his two nephews – Pietro and Cinzio –
cardinals; Pietro being his deputy. In 1597, the family was given a villa near Frascati and Pietro set about
-3-
rebuilding it in a manner becoming his new found status. At the same time, Alfonso d'Este II, Duke of
Ferrara died leaving only illegitimate heirs; Clement claimed Ferrara on behalf of the Papal States and
sent his nephew to annex the Duchy. Pietro returned from his diplomatic mission with the wealth of the
neighbouring state and housed the art collection in his newly completed Villa Aldobrandini. He
commissioned the leading expert of the day Gian-Battiste Agocchi, to catalogue the collection. In 1603,
the gigantic volume “The Collection of Cadrinal Pietro Aldobrandini at Villa Aldobrandini” was
produced – a beautiful hand-written book. On the third page, at the top, is the entry: “39. Two Boys
Embracing Each Other by Lionardo da Vinci”.
In 2006, researchers from London, England found that the painting sold in 1807 by William Beckford,
viewed in Fonthill in September 1800 by Richard Warner, had been bought in Rome by Beckford's agent
in 1798. This was the very same painting that Agocchi catalogued in 1603. The Aldobrandini family
went through various dynastic changes during the ensuing 200 years, being incorporated into the
Borghese and Pamphili families (Palazzo Aldobrandini in Rome was renamed Palazzo Pamphili), but the
name was resurrected and the family still exists, remaining the owners of their famous eponymous Villa
near Rome.
The painting catalogued by Agocchi in the famous Aldobrandini Inventory in 1603 continued to be
mentioned in later catalogues, but its whereabouts during the latter part of the eighteenth century before
moving to England to be displayed at Fonthill, are not exactly know. It was somewhere in Rome.
We have two reports on The Holy Children from a six-year period; it was exquisitely finished, and it
showed all the beauty, energy and characteristic perfections of the Master, Leonardo da Vinci. Hastings
Elwin was a dealer in quality works, (during a period 1805-1810 he bought and sold about 100 works by
Old Masters), but when he died at the end of 1810, he had a just a handful of paintings left – these were
sold by Harry Philips at the end of January 1811.
Where The Holy Children by Leonardo went, we have no clue until 1854.
In 1837 a young German art-historian was making a name for himself in Europe; he visited London to
look at works of art. Art history was not an established academic subject in the early nineteenth century,
so Gustav Waagen had the art world at his feet when he became Director of the Royal Gallery in Berlin.
He visited London in 1851 and wrote about his visit in a series of letters in Treasures of Britain,
published by John Murray in 1854 (just five years before this old established publisher's work of triumph
– Darwin's Origin of Species in 1859). Waagen visited the home of Lord Ashburton, and he wrote the
following report:
-4-
COLLECTION OF LORD ASHBURTON.
This collection, one of the most select in England, was formed by the late Lord
Ashburton, more generally known by his former name of Alexander Baring.
Uniting an ardent love for the fine arts with extraordinary wealth, he expended
very large sums in the gratification of his taste, and succeeded in acquiring a choice
collection of Dutch and Flemish pictures from the most celebrated cabinets in
Europe. He thus acquired also many of the masterpieces which were last in the
collection of Prince Talleyrand. Nor is the collection devoid of admirable pictures
of the Italian and Spanish schools.
Happily, his son, the present Lord Ashburton, has inherited with the collection the
taste to appreciate and the desire to increase it. This nobleman belongs to that
philanthropic and amiable class who have real pleasure in allowing others to enjoy
their treasures of art; and a luncheon of which I partook in his mansion, in
company with an interesting party, forms one of the numerous agreeable
recollections appertaining to my visit to London in 1851. Among the illustrious
individuals with who I lingered admiringly before these chefs d'oevre, was the
celebrated Macaulay, an author whose works are highly esteemed in Germany.
The exterior of the house which contains these treasures, like most of those of the
nobility in London, is plain ; but its situation, in the best part of Piccadilly, is very
agreeable, and affords from the windows a fine view over the Green Park. On
reaching the top of the stairs, you enter a gallery richly decorated with marble and
adorned with works of modern sculpture. ... From the gallery you enter the
apartments occupied by the family, in which most of the pictures are hung ; the
others are in his Lordship's apartments on the ground floor.
ITALIAN SCHOOL
LEONARDO DA VINCI - 1. An angel lifting the covering from the bed of the
Infant Christ, who has fallen asleep in the arms of the Virgin ; the infant St. John
and an angel standing by.
2. Christ and the Baptist as children, also attributed to Leonardo. This has his
well-known character of heads and also in a high degree his sfumato or fused
handling, but the understanding of the forms is not refined enough for him, nor the
feeling sufficiently intense. I am therefore inclined to consider this a very beautiful
work by Bernardino Luini, a celebrated pupil of Leonardo da Vinci.
•
BERNARDINO LUINI – The Virgin and Child....
In another book published by John Murray in 1893, we find the following:
-5-
ITALIAN PAINTERS
CRITICAL STUDIES OF THEIR WORKS
by GIOVANNI MORELLI
LONDON:
JOHN MURRAY, ALBEMARLE STREET.
1893
There is only one picture by Luini in the English
National Gallery - “Christ Among the Doctors” - formerly
ascribed to Leonardo - but in several private
collections in London he is represented. A "Madonna" is
in that of the late Sir Richard Wallace; a picture,
under the name of Leonardo, representing the Infant
Saviour embracing the little St. John, is in the
Ashburton collection;...
Some research into the family of William Bingham Baring shows that he died in 1864 aged 65 and the
title of Lord Ashburton was passed to his younger brother, born in 1800. Francis Baring died in 1868 and
he was succeeded by his son, Hugh. Morelli makes no mention of where the painting of The Holy
Children was to be viewed in 1893, or indeed if he had ever seen it. As both Treasures in Britain and
Italian Painters are both published by John Murray, it is possible that Morelli was merely confirming the
opinion of Waagen; and that is all Waagen's conclusion is – opinion - “I am therefore inclined to consider
this a very beautiful work by Bernardino Luini”. There is no evidence to link the painting in the
Ashburton collection to that sold by Beckford in 1807.
Prior to 1603, the only reference in literature to The Holy Children is in a letter dated 17th July 1516 by
Margaret of Austria, Regent of the Netherlands to her father (Holy Roman) Emperor Maximillian 1st. She
refers merely to a painting of two little infants who are kissing one another.
It is now obvious that this work was either by Bernard van Orley or was copied by Bernard van Orley;
this Court Painter was in the service of Margaret of Austria from 1510 to 1520 and left a painting of the
Two Holy Children. Although this work is lost, there exists a gallery painting by Tenniers from 1603 in
which can clearly be seen the B. ORLEY work. Belgian art historian S. Speth-Holterhoff wrote about
Tenniers painting in Elsevier's 1957 book: LES PEINTRES FLAMANDS DE CABINETS
D’AMATEURS AU XVIIe SIECLE.
-6-
Mr. Speth-Holterhoff has this to say about Orley's painting.
La Galerie archiducale, (toile 82 x 78 cm), provenant de l’ancienne collection
Nathanael de Rothschild de Vienne se trouvé a present au Musée d’Histoire de l’Art
de cette ville. Elle est signée at datée : « David Teniers fecit 1653 ». Une réplique
exacte (toile 86 x 70 cm), fait partie de la collection du comte Harrach de Vienne.
Un groupe de Deus Enfants nus s’embrassant est indiqué sur le cadre : « B. ORLEY
». Ce groupe, don’t il existe de nombreuses répliques, serait-il une copie de Bernard
van Orley d’apres un original perdu Léonard de Vinci ?
AFTER AN ORIGINAL LOST LEONARDO DA VINCI?
This painting (the David Tenniers Gallery Painting), was sold from the collection of Nathaniel de
Rothschild in 1999 and fetched £2.9million – at the time a record for the artist at auction. As previously
stated, the whereabouts of the Bernard van Orley copy of Two Infants Embracing is unknown, and by
1957 it appeared to be a well known fact that there was an original lost Leonardo work of the Holy
Children.
From 1800 to 1807, we know that there was a painting attributed to Leonardo da Vinci in Fonthill in
Wiltshire in the collection of William Beckford, and that this was sold to an art dealer in 1807. Further
research reveals TWO quality paintings of the Holy Children, both now accepted as being by Marco
d'Oggiono, one of Leonardo's co-workers in Milan from about 1488 to 1499 (an artist whose style
Kenneth Clark described as “curiously revolting”) - one in the collection of Robert Mond – lord Melchett
and the other in the Royal Collection at Hampton Court Palace. Among the numerous replicas mentioned
by Mr Speth-Holterhoff above are several by Joos van Cleve (in Chicago, Brussels, Frankfurt, 'sGravenhage [The Hague] and Naples) and a notable work by Quentin Messys in Chatsworth House,
Derbyshire.
The Hampton Court version seems to have been in the Royal Collection since 1660, when it was
acquired from William Frizell of Breda for 1500 florins. The Mond version was acquired by Ludwig
Mond in 1895 from the Doetsch Collection; so the whereabouts of the Beckford painting is unknown
after 1807, unless, of course, it was the painting viewed by Waagen in 1851. How it came into the
collection of William Baring is unknown, and where it went after 1864 or 1868 is also unknown. Both
versions now accepted as being by Marco d'Oggiono were, until the mid nineteenth century, accepted as
being by Leonardo – as happened with Christ Among the Doctors (mentioned by Morelli) – and the
Baring Holy Children appeared to have been re-ascribed by Waagen to Bernardino. Both Bernardino and
Marco worked very closely with Leonardo in Milan until 1499.
Both Bernardino and another follower of Leonardo, Giampietrino (also known as Giovanni Pedrini),
used black backgrounds; so some digital manipulation led me to produce this image of what Waagen
might have seen in the Piccadilly home of William Baring, second Lord Ashburton, in 1851. The black
-7-
background might have influenced Waagen to ascribe the painting to Bernardino.
The Holy Children by Leonardo da Vinci; as viewed by Waagen?
The Twentieth Century.
It would appear that the Beckford Holy Children simply disappeared after the sale in August 1807. This
seems such a shame as Warren described it as exquisitely finished, and Philips described it as having
beauty, energy and characteristic perfection. Two hundred years later, we are no wiser to its whereabouts.
We do have a mass of literature available about Leonardo and his work, and since Speth-Holterhoff
speculated on the Lost Leonardo in 1957, the following scholars have mentioned The Holy Children as
being a lost painting by Leonardo: Kenneth Clark and Carlo Pedretti (1968 Phaidon), Ilse Hecht (1979
and 1981), Angela Ottino della Chiesa (1967 and 1985), Alessandro Vezzosi (1996), Francesca Debolini
(1998), Carlo Pedretti (2005), Daniel Arasse (2002), Martin Kemp (2006 in a television interview). The
only expert at the top of the pyramid of expertise on Leonardo who has not commented on the “Lost
Leonardo” is Pietro C. Marani.
Several authors point to an article from 1928 by Gustav Glück.
Not one researcher in the twentieth century has referenced a book by Jean-Paul Richter. I speculated that
nobody has a copy of The Mond Collection: An Appreciation because it is simply too rare and
expensive. I have a copy. Published in 1910 by John Murray, just one year after the death of the chemist
and philanthropist (and art collector), Dr. Ludwig Mond it was one of the first books to contain
photogravure images of an art collection. In the second volume is the following image:
-8-
The Holy Children by Marco d'Oggiono, circa 1500
Richter's comment sums up the speculation of the next 100 years.
So many repetitions and variations of this composition exist by pupils of Leonardo that it is
reasonable to suppose that it is based on a lost painting from his hand.
For a colour version of this image see: Leonardo da Vinci: Art & Science by Carlo Pedretti (T&J Books
2005).
-9-
There is a drawing by Leonardo in the Royal Library at Windsor which has fuelled speculation on the
existence of a lost Leonardo Holy Children – it was even featured by Ludwig Goldscheider in his 1943
publication Leonardo da Vinci: The Artist as an example of this Austrian author's theory that Leonardo
had restored the marble antique The Nile in the Vatican when it was found in about 1513. The book was
published by Phaidon – as Goldscheider was one of the co-founders of this art publishing house, it seems
logical. Here is the drawing:
Kenneth Clark's comment in 1935 (and again in 1968) is similar to Richter's:
“The motif of the two Holy Children embracing belongs to Leonardo's first Milanese period. It
seems to have been carried out in a finished picture, now lost, and perhaps this was sent to
Flanders, for nearly all the innumerable copies of the subject are Flemish. A few of these,
including one by Joos van Cleve in Naples, and one by Quentin Massys at Chatsworth, are
published by Gustav Glück in Pantheon, 1928”
Writing in 1909, and illustrating the Mond version with four images, Richter reveals the problem of
attribution that still exists with five hundred year old paintings. Since about 1925, the version in the
Capodimonte museum in Naples has been ascribed to Joos van Cleve. However, prior to that, it was
ascribed to Leonardo da Vinci. There was a brief period, whilst the scholars dealing with the newly
established subject of art history were pooling their resources and techniques, that the Naples version
was attributed to Marco d'Oggiono; indeed that name appears underneath the half tone reproduction from
which the following is taken. There is another painting by Joos van Cleve in Vienna with the Dove of the
Holy Spirit hovering above the two children, but this is the only reproduction with the bird in my
collection. Joos van Cleve either emphasised the secular view of the image by having an awning above
the children or made the painting a devotional work by using the Dove. In a version in Weimar, reference
is made to the twins Castor and Pollox – children of Zeus and Leda.
- 10 -
The following (in Chicago) is reproduced in the two articles by Ilse Hecht (one in the Bulletin of the Art
Institute of Chicago in 1979, and the other in Apollo, April 1981), and it is also used to illustrate
“Leonardo's Legacy to Europe” in ArtBook Leonardo published by Dorling Kindersley in 1998: text by
Francesca Debolini.
Joos van Cleve and Workshop: Netherlandish, c. 1485-1540/41
The Infants Christ and Saint John Embracing, 1520/25. Oil on panel (74.7 x 57.6 cm)
Charles H. and Mary F. S. Worcester Collection. Acquired by Art Institute of Chicago 1975.
The final piece of speculation on the existence of the Lost Leonardo Holy Children (in my mind) is in the
painting by Quentin Messys work in Chatsworth. In February 2004, the keeper of the collection at
Chatsworth replied to my letter and used the words: “I am of course aware that the [Quentin] Metsys or
[Jan] Sanders van Hemessen painting (inventory number 51A) here is meant to be based on a lost
Leonardo da Vinci painting”. I must point out that most experts put Jesus and the Infant St. John
Embracing at Chatsworth by Quentin Messys, there is speculation that the artist might equally be Jan
Sanders van Hemessen, who lived and worked in Antwerp at the same time as Messys. At one time the
- 11 -
owner of the Flemish painting was so sure that the work was by the master and not the follower
(although Metsys was no amateur), that the name on foot of the frame can clearly be seen: LEONARDO
DA VINCI.
LEONARDO DA VINCI or Quentin Messys or Jan Sanders van Hemessen? Inv 51A Chatsworth.
It would seem that the motif of the Holy Children (embracing) is very well known now, but that the
speculation continues as to the Lost Leonardo “original”. Gustav Glück speculated on exactly what this
would have looked like:
“If the initial concept of the group originates from Leonardo, as we understand from the page of
studies at Windsor, it is quite probable that he too produced the prototype for the numerous
Dutch and Italian versions and also the transformation by Bernardino Luini. This may have been
a painting or a cartoon by the hand of Leonardo, or more likely a broad picture with the
children alone. The background was probably one of the landscapes full of rocks and grottos so
characteristic of the great master and an indication thereof is to be found in the rough sketch at
Windsor.”
Ilse Hecht referenced Leonardo's struggle with the content of the Virgin of the Rocks (both versions in
- 12 -
London and Paris). Glück was initially concerned with the numerous copies by Joos, but quickly turns
his attention to Leonardo.
“We have long known that the delightful invention of the group of children does not
originate from Joos van Cleve himself, but is to be attributed to someone much greater. The
Italian origin of the idea behind the picture is quite obvious. The association of little John the
Baptist with the child Jesus as an affectionate friend and playmate, a further development of the
facts given in the Bible, is one of the most touching inspirations arising from the Florentine
Renaissance and it is possible to follow the development of this idea in many sculptures and
pictures of this period.
It was also adopted by Leonardo and a sketch by him, today in the Royal library at Windsor,
contains an unmistakable first rough draft of this group, with which we are concerned. The
position of the children is quite different, but the essential motif of embracing and the affection
of the two seated, naked children is already fully developed. The fundamental idea of the
group originates without doubt from no less a personality than Leonardo. We can go even
further: exactly the same composition as preserved in the copies of Joos van Cleve and his
studio must also have existed done by Leonardo himself, to whom alone the grandeur and
charm of such an invention can be attributed. It is true that no original in his hand, (painting
or cartoon), has been found, but the fact that one did exist is proved by a number of repeats,
which undoubtedly originate from the Lombard school of the great master. These include the
paintings in the former Doetsch collection in London and at Hampton Court Palace.”
Add this to Richter's comment, “So many replicas and variations of this image exist by pupils of
Leonardo that it is reasonable to suppose it is based on a lost painting from his hand,” and that by
Clark, “The motif of the two Holy Children embracing [..] seems to have been carried out in a finished
picture, now lost, and perhaps this was sent to Flanders, for nearly all the innumerable copies of the
subject are Flemish”, and we have a solid theory about the Lost-Leonardo – perhaps even the “very
beautiful work” that Waagen ascribed to Bernardino Luini in 1851, possibly because of the black
background. We are certain that an exquisitely finished painting ascribed to Leonardo da Vinci
existed in the collection of William Beckford in Wiltshire in 1807, was sold to Hastings Elwin in
August of that year, and appears to be unaccounted for.
It will be obvious that this is the painting that appears on the front page of this web-site, but to have the
whole story, you must order my poster: pages 14-24 will be supplied with the poster.
- 13 -