Leonardo’s drawings for the Equestrian Monument for Francesco Sforza mark the beginning of a period of intense study of equestrian anatomy from nature. In a series of nature studies executed in silverpoint on blue paper, Leonardo adopted a sculptural technique of drawing to translate the forms of the living animal into sculptural mass.

While in some drawings, Leonardo conceives of the entire horse, on this sheet, which is probably from a sketchbook, Leonardo focuses on individual parts – the raised forelock and straight, weight-bearing legs of the horse. The studies are arranged neatly on the page to form a careful record that would undoubtedly provide a useful guide for the modelling of the clay model for the bronze cast Sforza horse.

The bent, left foreleg seen on the bottom left of the sheet is the last of the four studies executed and this reflects the final solution adopted for the colossal statue. This element was repeatedly studied in other drawings by the artist, which indicates that he was particularly interested in the potential of this element to express the impending movement and power of the horse.

In Leoanrdo's words
…draughtsmanship is of such excellence that it not only investigates the works of nature but also infinitely more than those made by nature…On this account we should conclude that it is not only a science but a goddess.