Abstract
Among the views on the attribution of the two terracotta reliefs of angels in the Louvre (Collection Thiers), I agree to G. Passavant's view (Verrocchio, 1969) that the left-hand angel is by Verrocchio and the right one by Leonardo. In his discussion, however, Passavant does not show enough evidence to assign the right-hand angel to Leonardo, and has incurred D. Covi's objection (The Art Bulletin, No.54, 1972). In my opinion this deficiency can be complemented by the confirmation that the following six motives of the right-hand angel show the close correspondence with those of Leonardo's first florentine paintings and drawings, but not with those of Verrocchio's works : 1. the alert and extreme twist of the body 2. the pose stretching out an arm behind the profile 3. the harp-like outline of the head with a strongly protruding chin 4. the configuration of drapery behind the left knee 5. the fluttering ribbons 6. the left hand with the curved and separated little finger.
