July 1505, and he revisited it in the summer of 1506. The hasty sketch, now in the possession of the University of Oxford and reproduced on page 337 also represents the Battle of the Standard and seems to have been made during his first stay, and therefore not from the fresco but from the cartoon; for, on the same sheet we also find, besides an old man's head drawn in Leonardo's style, some studies for the figure of St. John the Martyr which Raphael used in 1505 in his great fresco in the Church of San Severo at Perugia.
Of Leonardo's studies for the Battle of Anghiari I must in the first place point to five, on three of which—Pl. LII 2, Pl. LIII, Pl. LVI—we find studies for the episode of the Standard. The standard bearer, who, in the above named copies is seen stooping, holding on to the staff across his shoulder, is immediately recognisable as the left-hand figure in Raphael's sketch, and we find it in a similar attitude in Leonardo's pen and ink drawing in the British Museum—Pl. LII, 2—the lower figure to the right. It is not difficult to identify the same figure in two more complicated groups in the pen and ink drawings, now in the Accademia at Venice—Pl. LIII, and Pl. LIV—where we also find some studies of foot soldiers fighting. On the sheet in the British Museum—Pl. LII, 2—we find, among others, one group of three horses galloping forwards: one horseman is thrown and protects himself with his buckler against the lance thrusts of two others on horseback, who try to pierce him as they ride past. The same action is repeated, with some variation, in two sketches in