Cited by Walter Pater, Studies in the History of the Rennaissance. 1873.
Description:

'to the last Leonardo recalls the studio of Verrocchio, in the love of beautiful toys, such as the vessel of water for a mirror, and lovely needle-work about the implicated hands in the Modesty and Vanity, and of reliefs like those cameos which in the Virgin of the Balances hang all round the girdle of Saint Michael' (58)

'you may follow it springing from its distant source among the rocks on the heath of the Madonna of the Balances, passing, as a little fall, into the treacherous calm of the Madonna of the Lake' (63)

'Sometimes, as in the little picture of the Madonna of the Balances, in which, from the bosom of His mother, Christ weighs the pebbles of the brooks against the sins of men, we have a hand, rough enough by contrast, working upon some fine hint or sketch of his.' (66-67)