H int I |V hil H H liiSiili! i»!i!l SCRITTI LETTERARI ui LEONARDO DA VINCI Mgft (ftufografi e pu66etca*i J. P. RICHTER IN DUE PARTI. — PARTE II. LONDRA: 8AMPSON LOW, MARSTON, SEARLE & RIVINGTON 188, FLEET STREKT 1883 u . i. saiK\ THE LITERARY WORKS OF LEONARDO DA VINCI compifeb anb &tfeb front f(k Original BY JEAN PAUL RICHTER, PH. DR., KNIGHT OF THE BAVARIAN ORDER OF ST. MICHAEL, &C. IN TWO VOLUMES.-VOL. II. LONDON: SAMPSON LOW, MARSTON, SEARLE & RIVINGTON 1 88, FLEET STREET 1883 ALL RIGHTS RESERVED. DEDICATED BY PERMISSION TO HER MOST GRACIOUS MAJESTY THE QUEEN CONTENTS OF VOLUME II. XI. Pages NOTES ON SCULPTURE 1—24 Some practical hints (706 — 709). — Notes on the casting of the Sforza monument (710 — 715). — Models for the horse of the Sforza monument (716 — 718). — Occasional references to the Sforza monument (719 — 724).— The project of the Trivulzio monument (725).— The mint of Rome (726). — On the coining of medals (727. 728). — On plaster (729. 730). — On bronze casting generally (73 J— 74o). INTRODUCTORY OBSERVATIONS ON THE ARCHITECTURAL DESIGNS AND WRITINGS ON ARCHITECTURE 25. 26 XII. ARCHITECTURAL DESIGNS 27—74 I. Plans for towns (741 — 744). — II. Plans for canals and streets in a town (745 — 747). — III. Castles and villas. — A. Castles. — B. Projects for palaces. — C. Plans for small castles or villas (748 — 752). — IV. Ecclesiastical Architec- ture.— A. General observations (753 — 755). — B. The theory of constructing Domes. — i. Churches formed on the plan of a Greek cross. — Group I. Domes rising from a circular base. — Group II. Domes rising from a square base. — Group III. Domes rising from a square base and four pillars. — Group IV. Domes rising above an octagonal base. — Group V. Suggested by S. Lorenzo at Milan (756). — 2. Churches formed on the plan of a Latin cross. — A. Studies after existing monuments. — B. Designs or Studies (757). — C. Studies for a form of church most proper for preaching — D. Design for a mausoleum. — E. Studies for the Central tower or Tiburio of Milan Cathedral (758).— F. The Project for lifting up the Battistero of Florence and setting it on a basement. — G. Descrip- tion of an unknown temple (759). — V. Palace architecture (760 — 763). — VI. Studies of architectural details (764 — 769). XIII. THEORETICAL WRITINGS ON ARCHITECTURE 75— 99 I. On Fissures in walls (770 — 776). — II. On Fissures in niches (777 — 778).— III. On the nature of the arch (779 — 788). — IV. On Foundations, the nature of the ground and supports (789 — 792). — V. On the resistance of beams VUI CONTENTS OF VOLUME II. Pages KKMARKS ON THE STYLE OF LEONARDO'S ARCHITECTURE 100-104 XIV. ANATOMY, ZOOLOGY AND PHYSIOLOGY 105-133 I \NATOMY :-A general introduction (796).-Plans and suggestions for the arU"m™of "trials <797-8o,).-Pl.n. for the repn^trton of , »u- !,> ,ir,wings (8o3-8o9).-0n corpulency and leanness (809-8 «).- Th" divisions of the head (812. 8 13). -Physiological problems (814 -.815 ).- ir/.-Miv AN,, COMPAUmi. AMATOMY:-The divisions of the anima kingdom (816. 8 17). -Miscellaneous notes on the study of Zoology (818-821).— Com- parative study of the structure of bones and of the action of muscles (822- 8t6) -III PHYSIOLOGY:— Comparative study of the organs of sense m men and animals (827).— Advantages in the structure of the eye in certain animals (828 to 83i).-Remarks on the organs of speech (832. 833).-On the conditions of sight (834. 835).— The seat of the common sense (836).— On the origin of the soul (837) -On the relations of the soul to the organs of sense (838).— On involuntary muscular action (839).— Miscellaneous physiological observations (840— 841).— The laws of nutrition and the support of life (843 — 848). — On the circulation of the blood (848— 850).— Some notes on medicine (851—855). XV. ASTRONOMY 13 5~ 172 I. THE EARTH AS A PLANET:— The earth's place in the universe (857. 858).— The fundamental laws of the solar system (859— 864).— How to prove that the earth is a planet (865—867). — The principles of astronomical perspective (868 to 873).— On the luminosity of the earth in the universal space (874 — 878).— II. THE SUN:— The question of the true and of the apparent size of the sun (879—884). — Of the nature of sunlight (885). — Considerations as to the size of the sun (886 — 891). — III. THE MOON: — On the luminosity of the moon (892 to 901). — Explanation of the lumen cinereum of the moon (902). — On the spots in the moon (903 — 907). — On the moon's halo (908). — On instruments for observing the moon (909. 910). — IV. THE STARS: — On the light of the stars (911 — 913). — Observations on the stars (914). — On the history of astronomy (915). — Of time and its divisions (916 — 918). XVI. PHYSICAL GEOGRAPHY 173—221 INTRODUCTION. — Schemes for the arrangement of the materials (919 — 928). — General introduction (929). — I. OF THE NATURE OF WATER: —The arrangement of Book I (930).— Definitions (931. 932).— Of the surface of the water in relation to the globe (933 — 936).— Of the proportion of the mass of water to that of the earth (937- 938) -The theory of Plato (939).— That the flow of rivers proves the slope of the land (940).— Theory of the elevation of water within the moun- tains (941).— The relative height of the surface of the sea to that of the land (942— 945).— II. ON THE OCEAN:— Refutation of Pliny's theory as to the salt- sea (946. 947). —The characteristics of sea water (948. 949).— On the formation of gulfs (950. 951).— On the encroachments of the sea on the land and vice versa (952— 954).— The ebb and flow of the tide (955—960).- INEAN WATER COURSES:— Theory of the circulation of the waters (961. ervations in support of the hypothesis (963— 969).— IV. OF RIVERS: m which the sources of rivers are fed (970).— The tide in On the alterations caused in the courses of rivers by their ~~?74).— Whirlpools (975).— On the alterations in the channels Fhe origin of sand in rivers (977. 978).— V. ON MOUN- f mountains (979— 983).— The authorities for the study CONTENTS OF VOLUME II. IX Pages of the structured the earth (984). — VI. GEOLOGICAL PROBLEMS: — Programme (985). — Doubts about the Deluge (986). — That marine shells could not go up the mountains (987).— The marine shells were not produced away from the sea (988). — Further researches (989 — 991). — Other problems (992 — 994). — VII. On the atmosphere: — Constituents of the atmosphere (995). — On the motion of air (996 — 999). — The globe an organism (1000). XVII. TOPOGRAPHICAL NOTES 223—270 I. ITALY: — Canals in connection with the Arno (1001 — 1008). — Canals in the Milanese (1009 — 1013). — Estimates and preparatory studies for canals (1014. 1015). — Notes on buildings at Milan (1016 — 1019). — Remarks on natural phe- nomena in and near Milan (1021. 1022). — Note on Pavia (1023). — Notes on the Sforzesca near Vigevano (1024 — 1028). — Notes on the North Italian lakes (1029 — 1033).— Notes on places in Central Italy, visited in 1502 (1034 — 1054). — Alessandria in Piedmont (1055. 1056). — The Alps (1057 — 1062). — The Appenines (1063 — 1068). — II. FRANCE (1069 — 1079). — On the Germans (1080. 1081). — The Danube (1082). — III. THE COUNTRIES OF THE WESTERN END OF THE MEDITERRANEAN: — The straits of Gibraltar (1083 — 1085). — Tunis (1086). — Libya (1087). — Majorca (1088). —The Tyrrhene Sea (1089).— IV. THE LEVANT.— The Levantine Sea (1090). — The Red Sea (1091. 1092). — The Nile (1093 — 1098). — Customs of Asiatic Nations (1099. noo). — Rhodes (noi. 1102). — Cyprus (1103. 1104). — The Caspian Sea (1105. 1106). — The sea of Azov (1107). — The Dardanelles (uc8). — Constantinople (1109). — The Euphrates (i no). — Central Asia (mi). — On the natives of hot countries (1112). XVIII. NAVAL WARFARE.— MECHANICAL APPLIANCES.— MUSIC 271—282 The ship's log of Vitruvius, of Alberti and of Leonardo (1113). — Methods of staying and moving in waters (1114). — On naval warfare (1115. 1116). — The use of swimming belts (1117). — On the gravity of water (1118). —Diving apparatus and skating (1119—1121). — On fly ing -machines (1122 — 1126). — On mining (1127). — On Greek fire (1128). — On music (1129. 1130). XIX. PHILOSOPHICAL MAXIMS. MORALS. POLEMICS AND SPECULATIONS 283—311 . I. PHILOSOPHICAL MAXIMS: — Prayers to God (1132. 1133).— The powers of Nature (1134 — 1139). — Psychology (1140—1147). — Science, its principles and rules (1148—1161). — II. MORALS: — What is life? (1162. 1163). — Death (1164). — How to spend life (1165 — 1179). — On foolishness and ignorance (1180 — 1182). — On riches (1183 — 1187). — Rules of Iife(n88 — 1202). — Politics (1203. 1204). — III. POLEMICS. — SPECULATION: — Against speculators (1205. 1206). — Against alchimists (1207. 1208).— Against friars (1209).— Against writers of epitomes (1210). — On spirits (1211 — 1215). — Nonentity (1216). — Reflections on Nature (1217 — 1219). XX. HUMOROUS WRITINGS 313— 379 I. STUDIES ON THE LIFE AND HABITS OF ANIMALS (1220 — 1264). — II. FABLES :— Fables on animals (1265 — 1270). — Fables on lifeless objects (1271 — 1274). — Fables on plants (1275 — 1279). — III. JESTS AND TALES (1280 — 1292). — IV. PROPHECIES (1293— 1313). -V. DRAUGHTS AND SCHEMES FOR THE HUMOROUS WRITINGS: Schemes for Fables &c. (1314 — 1323); Schemes for Prophecies (1324—1329); Irony (1331. 1332).— Tricks (1333—1335)- b CONTENTS OF VOLUME II. XXI. Pages LETTERS. PERSONAL RECORDS. DATED NOTES 381— 417 Draughts of letters and reports referring to Armenia (1336. 1337).— Notes about adventures abroad (1338. 1339). — Draughts of letters to Lodovico il Moro (1340 — 1345).— Draught of letter to a Commission at Piacenza (1346 to '347)- — Letter to the Cardinal Ippolito d'Este (1348). — Draught of letter to the French Governor of Milan (1349). — Draughts of letters to the Superinten- dent of canals and to Melzi (1350). — Draughts of letter to Giuliano de' Me- ili3 To face 34 PI. LXXXIV. Drawing of Ecclesiastical Architecture, from the Codex Atlanticus, Milan To face 37 PI. LXXXV. Five Architectural Drawings: Nos. 1—12 from the Ashburnham Manu- script II; No. 13 from Manuscript I2, and No. 16 from Manuscript H3, Institut de France, Paris— see text No. 768—; Nos. 14—16 (Nos. 14 and 1 6 in red chalk) from the Manuscripts III and IP, South Ken- sington Museum, London— see text No. 768 To face 38 PL LXXXVI. Drawing of Ecclesiastical Architecture; from the Codex Atlanticus Milan rp c lo face 41 PL LXXXVII. Four Drawings of Ecclesiastical Architecture: No. i from the Codex »cus Milan; No. 2-see text No. 755-, 3 and 4 from Manu- -npt B, Institut de France, Paris To face 43 Three Plans of Churches: Fig. , from the Royal Library, Windsor Castle; Nos. 2 a -om Manuscript B, Institut de France, Paris .... on page 44 PL LXXXVIII. Two Drawings from Manuscript B, Institut de France, Paris: Nos. i- Han. of Churches; Nos. 6, 7 Plan of Pavilion at Milan-see text To face 44 ' CSffr°mrf TCrif B' InStitUt de France> P*™ (% i, >) and Church, from the Ashburnham Manuscript II (fig. 3) on page 45 LIST OF ILLUSTRATIONS IN VOLUME II. XIII Page PL LXXXIX. Drawing of Churches, from Manuscript B, Institut de France, Paris To face 46 Plans of Churches: Fig. i and 2 from Manuscript B, Institut de France, Paris; Fig. 3 from the Royal Library, Windsor Castle on page 47 PI. XC. Drawing of Churches; from Manuscript B, Institut de France, Paris . To face 48 PL XCI. Two Drawings of Churches;^ from the Ashburnham Manuscript II — see text No. 754 To face 48 PL XCII. Two Drawings of Churches ; from Manuscript B, Institut de France, Paris — see text No. 753 To face 48 PL XCIII. Two Architectural Drawings; from Manuscript B, Institut de France, Paris: No. i Pillars and Beams; No. 2 View and Plan of a Church . To face 50 Sketch of the Plan of a Church; from Manuscript B, Institut de France, Paris . . 51 PL XCIV. Three Drawings of Churches: No. i from Manuscript L, and Nos. 2 and 3 from Manuscript B, Institut de France, Paris; No. 34 from the Ambrosian Library, Milan To face 52 Sketch of a church in the background of Leonardo's unfinished picture of St. Jerome, in the Pinacoteca of the Vatican, Rome 54 PL XCV. Two Plans of Churches; from Manuscript B, Institut de France, Paris To face 54 Two Plans of a Theatre for Preaching: Fig. i from Manuscript B, Institut de France, Paris; Fig. 2 from the Ashburnham Manuscript II on page 56 PL XCVI. Two Drawings of Churches: No. 7 from the Codex Atlanticus, Milan; No. 2 from Manuscript B, Institut de France, Paris — see text No. 757— To face 56 PL XCVII. Drawing of Churches; from Manuscript B, Institut de France, Paris To face 56 Drawing of a Theatre for Preaching; from the Ashburnham Manuscript II .... 57 PL XCVIII. Design for a Mausoleum; from the Vallardi Volume, Louvre, Paris between pp. 58 and 59 PL XCIX. Three Drawings of Milan Cathedral: No. i from the Trivulzio Manu- script, Milan — see text No. 758 — ; No. 2 in red chalk, from Manu- script III, South Kensington Museum, London; No. 3 from the Codex Atlanticus, Milan To face 60 Two Drawings of Milan Cathedral, from the Trivulzio Manuscript, Milan . . on page 61 Sketch of architectural detail, Santa Maria delle Grazie, Milan on page 62 PI- C. Five Drawings of Milan Cathedral: No. i from the Codex Atlanticus, Milan; Nos. 2 — 4 from the Trivulzio Manuscript, Milan; No. 5 from Manuscript B, Institut de France, Paris between pp. 64 and 65 Sketch of a Palace; from the Manzoni Manuscript, Rome on page 67 Three Sketches of Houses: Fig. i and 2 from Manuscript I, Institut de France, Paris; Fig. 3 from the Arundel Manuscript, British Museum . on page 68 XIV LIST OF ILLUSTRATIONS IN VOLUME II. Page PL CL Two Architectural Drawings: No. i-see text No. 760— from the Royal Library, Windsor Castle; No. 2 from the Codex Atlanticus, Milan; No. 3 Designs of Fountains, drawn with the pen on bluish paper, from the Royal Library, Windsor Castle .......... To face 68 I'l. Oil. Three Architectural Drawings: No. i in red chalk, from the Royal Library, Windsor Castle; Nos. 2 (reversed) and 3 — see text No. 762 — from Manuscript B, Institut de France, Pance .......... To face 70 Two Drawings of the Base of a Column; from Manuscript III, South Kensington Museum, London .................... on page 72 PL CHI. Three Architectural Drawings: Nos. i and 2 from Manuscript B, Institut de France, Paris; No. 3 — see text No. 769 — (reversed) from the Codex Atlanticus, Milan .................... To face 74 PI. CIV. Architectural Drawing; from the Arundel Manuscript, British Museum, London— see text No. 770 ................ To face 77 PI. CV. Two Architectural Drawings; from the Arundel Manuscript, British Museum, London— see text Nos. 771, 775, 778 ...... '. ..... To face 84 Architectural Drawing; from the Arundel Manuscript, British Museum, London— see text Nos. 772, 789 ............. To face 94 Architectural Drawing; from the Codex Atlanticus, Milan ........ on page 104 Anatomical Drawing, drawn with the pen and washed with Indian ink; from the Royal Library, Windsor Castle .......... To face no PL CVIIL Four Anatomical Drawings; No. i— see text No. 809— and No. 4— see No. 814— from the Royal Library, Windsor Castle; No. 2 -see text No. 824— from Manuscript KJ, Institut de France, Paris- >. 3 -see text No. 813— from Manuscript III, South Kensington Mu- seum; and an Astronomical Drawing— see text No. 902— from the Leicester Manuscript, Holkam Hall ............ To face 120 PL CO. Sketch Map of Milan; from the Codex Atlanticus, Milan-see text NO. IOIO ...... T- r - ......... To face 233 Four Topographical Drawings from Manuscripts in the Institut de France : No. i (Constantinopel)-see text No. izo9-from Manuscript L- V,gevano)_see text No. 1 02 4-in red chalk, from Manuscript H » nena Urbmo)-see text Nos. 765 and io38-andNo. 4 (Cesenaj text No. 1040— from Manuscript L ........ .. To face o / LlhL?"5i ?°' A r?Presenting the Town of Imola from the Royal Awry, Windsor Castle,-see text No. 105:-; No. 2 representing the Mediterranean Sea; from the Codex Atlanticus-see text' No T ^2- between pp. 240 and 241 ed Ma of art Coloured Map of part of Tuscany, from the Royal Library, Windsor Cdoured Map of par. of Central Italy; from the Royal Library, Windsor between pp. 240 and 241 yal Library, Windsor between pp. 248 and 249 .„ LIST OF ILLUSTRATIONS IN VOLUME II. XV Page PL CXV. Sketch Map of the Loire at Amboise; from the Arundel Manuscript, British Museum — see text No. 1074 To face 251 PI. CXVI. Sketch of Armenian Mountains; from the Codex Atlanticus, Milan — see text No. 1336 To face 385 PI. CXVII. Sketch of Armenian Mountains; from the Codex Atlanticus, Milan, — see text No. 1336 To face 388 PI. CXVIII. Sketch of a Peak in Armenia, and Sketch Map of Armenia; from the Codex Atlanticus, Milan — see text No. 1336 , . . To face 391 PI. CXIX. Sketch Map of Armenia; from the Codex Atlanticus, Milan — see text No. 1336 To face 392 PL CXX. Drawing of Oriental Heads, in red chalk; from the Royal Library, Turin To face 394 PL CXXI. Drawing of Musical Instruments &c. ; from the Arundel Manuscript, British Museum, London — see text Nos. 1128 and 860 . . . To face 411 PL CXXII. Drawing of Caricatures; from the Royal Library, Windsor Castle To face 411 The size of the original drawings has been reduced on Plates LXVI, CVII, CIX, CXI No. I, CXII, CXIII, CXIV, CXVI, CXVII, CXVIII and CXXII. On Plate CXIX it has been enlarged. The colour and tone of the paper have in every case been faithfully imitated, in order to give to the facsimiles a perfect and complete resemblance to the originals, whether drawn in charcoal, red chalk or pen and ink. It is to be understood that all Drawings here reproduced are in pen-and-ink, unless otherwise stated. I ERRATA. Mt; foe* 19 t. il /or rope rtad rompe.—/. 20 /. 4/nw* tf* end for sciuma read schiuma.— p. 132 /. id for •cone n»i^ icocr«.— /. 164 A 31 /or Irova; mu/ trova,.—/. 170 /. & for pu vicini r»« ike end for XCVI «arf XCIV.- p. 103 /. 8 /w PI. XL nrWPI. XC; t, ^ftr PI. XL read PL XC.— /. 155 /. n /or weight read weighty.—/. 190 /. 25 for it there read ill**. /. J«« i 4>w* *** tndfor to much rr'•'.'•; ;X^^P.*:S • * ''.-•'.••"'•' •'».• Imp Eudes THE SFORZA MONUMENT. in some of Leonardo's designs for the monument, as on PI, LXVI , LX VII , LXVIH, LXIX and LXXII No. i ; and, as it is impossible to explain this remarkable coincidence by supposing that either artist borrowed it from the other, we can only conclude that in the terms of the competition the subject proposed was the Duke on a horse in full gallop , with a fallen foe under its hoofs. Leonardo may have been in the competition there and then, but the means for exe- cuting the monument do not seem to have been at once forthcoming. It was not perhaps until some years later that Leonardo in a letter to the Duke (No. 719,) reminded him of the project for the monument. Then, after he had obeyed a summons to Milan, the plan seems to have been so far modified, perJiaps in consequence of a remonstrance on the part of the artist, that a pacing horse zvas substituted for one galloping, and it may have been at the same time that the colossal dimensions of the statue were first decided on. The designs given on PL LXX, LXX I, LXXII, 2 and 3, LXXIH and LIV and on pp. 4 and 24, as well as three sketches on PL LXIX may be studied with reference to the project in its new form, though it is hardly possible to believe that in either of these we see the design as it was actually carried out. It is probable that in Milan Leonardo worked less on draivings, than in making small models of wax and clay as preparatory to his larger model. Among the drawings enumerated above , one in black chalk, PI. LXXIH— the upper sketch on the right hand side, reminds us strongly of the antique statue of Marcus Aurelius. If, as it would seem, Leonardo had not until then visited Rome, he might easily have known this statue from drawings by his former master and friend Verrocchio, for Verrocchio had been in Rome for a long time between 1470 and 1480. In 1473 Pope Sixtus IV had this antique equestrian statue restored and placed on a new pedestal in front of the church of San Giovanni in Laterano. Leonardo, although he was painting' independently as early as in 1472 is still spoken of as working in Verrocchio 's studio in 1477. Two years later the Venetian senate decided on erecting an equestrian statue to Colleoni; and as Verrocchio, to whom the work was entrusted, did not at once move from Florence to Venice — where lie died in 1488 before the casting was completed — but on the contrary remained in Florence for some years, perhaps even till 1485, Leonardo probably had the opportunity of seeing all his designs for the equestrian statue at Venice and the red chalk drawing on PL LXX IV may be a reminiscence of it. The pen and ink drawing on PL LXXII, No. 3, reminds us of Donatella's statue of Gattamelata at Padua. However it does not appear that Leonardo was ever at Padua before 1499, but we may conclude that he took a special interest in this early bronze statue and the reports he could procure of it, form an incidental remark which is to be found in C. A. 145 «; 432°, and which will be given in Vol. II under Ricordi or Memoranda. THE SFORZA MONUMENT. Among the studifs—in the widest sense of the word— made in preparation for this statue we may include the Anatomy of the Horse which Lomazzo and Vasari both mention, the most important parts of this work still exist in the Queen's Library at „ ,o tlua are ,o that tr«*s<, a koru in full gallop ^rs hu ^ l6ani ™ o»cf --e.-.og- THE SFORZA MONUMENT. If we may trust the account given by Paulus Jovius — about 1527 — Leonardo's horse was represented as "vehementer incitatus et anhelatus". Jovius had probably seen the model exhibited at Milan; but, need we, in fact, infer from this description that the Jiorse was galloping '? Compare Vasari"1 s description of tJie Gattamelata monument at Padna: "Egli [Donatello] vi ando ben volentieri, e fece il cavallo di bronzo, che e in sulla piazza di Sant Antonio, nel quale si dimostra lo sbuffamento ed il fremito del cavallo, ed il grande animo e la fierezza vivacissimamente espressa dall'arte nella figura che lo cavalca". These descriptions, it seems to me, would only serve to mark the difference between the work of the middle-ages and that of the renaissance. We learn from a statement of Sabba da Castiglione that, when Milan was taken by the FrencJi in 1499, the model sustained some injury ; and tJiis informant, who, however is not invariably trustworthy, adds tJiat Leonardo had devoted fully sixteen years to this work (la forma del cavallo, intorno a cui Leonardo avea sedici anni continui consumati). This often-quoted passage has given ground for an assumption, which has no other evidence to support it, that Leonardo had lived in Milan ever since 1483. But I believe it is nearer the truth to suppose that this author's statement alludes to the fact that about sixteen years must have past since the competition in which Leonardo had taken part. I must in these remarks confine myself strictly to the task 'in hand and give no more of the history of the Sforza monument than is needed to explain the texts and drawings I have been able to reproduce. In the first place, with regard to the drawings, I may observe that they are all, with the following two exceptions, in the Queeris Library at Windsor Castle; the red chalk drawing on PI. LXXVI No. i is in the MS. C. A. (see No. 712) and the fragmentary pen and ink drawing on page 4 is in the Am- brosian Library. The drawings from Windsor on PL LXVI have undergone a trifling reduction from the size of the originals. There can no longer be the slightest doubt that the well-known engraving of several horsemen (Pas savant, Le Peintre-Graveur, Vol. V, p. 181, No. $) is only a copy after original drawings by Leonardo, executed by some unknown engraver; we have only to compare the engraving with the facsimiles of drawings on PL LXV, No. 2, PL LXVII, LXVIII and LXIX which, it is quite evident, have served as models for the engraver. On PL LXV No. \, in the larger sketch to the right hand, only the base is distinctly visible, the figure of the horseman is effaced. Leonardo evidently found it unsatisfactory and therefore rubbed it out. The base of the monument — the pedestal for the equestrian statue — is repeatedly sketched on a magnificent plan. In the sketch just mentioned it has the character of a shrine or aedicula to contain a sarcophagus. Captives in chains are here represented on the entablature with their backs turned to that portion of the monument which more •THE SFORZA MONUMENT. strictly constitutes the pedestal of the horse. The lower portion of the aedicula is surrounded by colutnns. In the pen and ink drawing PL LXVI—the lower drawing on the right hand side— the sarcophagus is shown between the columns, and above the entablature is a plinth on which the horse stands. But this arrangement perhaps seemed to Leonardo to tack solidity, and in the little sketch on the left hand, below, the sarcophagus is shown as lying under an arched canopy. In this the trophies and the captive warriors are detached from the angles. In the first of these two sketches the place for the trophies is merely indicated by a few strokes; in the third sketch on the left the base is altogether broader ; buttresses and pinnacles having been added so as to form three niches. The black chalk drawing on PL LXVIII shows a base in which the angles are formed by niches with pilasters. In the little sketch to the extreme left on PL LXV, No. \, the equestrian statue serves to crown a circular temple somewhat resembling Bramante's tempietto of San Pietro in Montorio at Rome, while the sketch above to the right dis- plays an arrangement faintly reminding us of the tomb of the Scaligers in Verona. The base is thus constructed of tii'o platforms or slabs, the upper one considerably smaller than the lower one which is supported on flying buttresses with pinnacles. On looking over the numerous studies in which the horse is not galloping but merely walking forward, we find only one drawing for the pedestal, and this, to accord with the altered character of the statue, is quieter and simpler in style (PI. LXXIV). It rises almost vertically from the ground and is exactly as long as the pacing horse. The whole base is here arranged either as an independent baldaquin or else as a projecting canopy over a recess in which the figure of the deceased Duke is seen lying on his sar- cophagus; in the latter case it was probably intended as a tomb inside a church. Here t 'oo, it was intended to fill the angles with trophies or captive warriors. Probably only No. 724 in the text refers to the work for the base of the monument. If we compare the last mentioned sketch with the description of a plan for an equestrian monument to Gian Giacomo Trivulzio (No. 72$) it seems by no means im- possible that this drawing is a preparatory study for the very monument concerning: vhich the manuscript gives us detailed infonnation. We have no historical record egarding this sketch nor do the archives in the Trivulzio Palace give us any informa- The simple monument to the great general in San Nazaro Maggiore in Milan *ts merely of a sarcophagus placed in recess high on the ivall of an octagonal The figure of the warrior is lying on the sarcophagus, on which his name cribed; a piece of sculpture which is certainly not Leonardo's work Gian mo Trivulzio died at Chartres in 1518, only five months before Leonardo, and t to me highly improbable that this should have been the date of this sketch- under these circumstance, it wouldhave been dong ^ ^ ^.^ tf ^_ J r Italian gwral was certainly not in favour with the French monarch at the time : Gtacomo Trivulzio was a sworn foe to Ludovico il Moro, whom he strove for years September ,499 he marched victorious into Milan at the head to overthrow. On the PL. LXVIII. • i iS--taa>&..>xlmi*fnmAt£3iL., Helio9j-. Dujardin THE TRIVULZIO MONUMENT. 7 of a French army. In a short time, however, he was forced to quit Milan again when Lndovico il Moro bore down upon the city with a force of Swiss troops. On the 1 5** of April folloiving, after defeating Lodovico at Novara, Trivulzio once more entered Milan as a Conqueror, but his hopes of becoming Governatore of the place were soon wrecked by intrigue. This victory and triumph, historians tell us, were signalised by acts, of vengeance against the dethroned Sforza, and it might have been particularly flattering to him that the casting and construction of the Sforza monument were suspended for the time. It must have been at this moment — as it seems to me — that he commissioned the artist to prepare designs for his own monument, which he probably intended should find a place in the Cathedral or in some other church. He, the husbatid of Marghe- rita di Nicolino Colleoni, would have thought that he had a claim to the same distinc- tion and public homage as his less illustrious connection had received at the hands of the Venetian republic. It was at this very time that Trivulzio had a medal struck with a bust portrait of himself and the following remarkable inscription on the reverse : DEO FAVENTE • 1499 • DICTVS • 10 • IA . EXPVLIT • LVDOVICV - SF • (Sfortiam) DVC - (ducem) ML1 (Mediolani) . NOIE (nomine) . REGIS • FRANCORVM • EODEM • ANN - (anno) RED'T (redit) . LVS (Ludovicus). • SVPERATVS ET CAPTVS • EST • AB • EO. In the Library of the Palazzo Trivulzio there is a MS. of Callimachus Siculus written at the end of the XVth or beginning of the XVIth century. At the beginning of this MS. there is an exquisite illuminated miniature of an equestrian statue with the name of the general on the base; it is however very doubtful whether this has any connection with Leonardo's design. Nos.j$i — 740, which treat of casting bronze, have probably a very indirect bearing on the arrangements made for casting the equestrian statue of Francesco Sforza. Some portions evidently relate to the casting of cannon. Still, in our researches about Leonardo's work on the monument, we may refer to them as giving us some clue to the process of bronze casting at that period. -/-^r^v- . • -f: - 11 :•:•:* fv-;s * ••••« \ ••.- W£v • IV. *r: •••••. TS& t,S^,^,' P;.,;^ yC;k ™*i^^$ff ^t - .«fc" •:. rts*«" 1 3P;-'' ''• -'j*t*Js *«^-' **^ * - - - '• - '- ! ^>.M.1L« 'J. - - Imp. Eudes, A. 43 a\ 706. STATUA. OF A STATUE. 2 Se vuoi • fare • vna • figura • di marmo • fa ne • prima vna ^di terra •, la quale, finita che 1' ai, secca e mettila in vna «• cassa • che sia • ancora capace •, dopo la figura tratta sd'esso • loco •, a ricieuere il marmo- che vuoi scoprir6vi dentro la figura • alia • si- militudine • di quella • di terra • ; di poi ^rnessa la figura di terra in detta cassa • abbi bacchette ch' etrino 8 ap- puto • per i sua • busi •, e spingile • dentro • tato • per ciascuno 9 buso • che ciascuna bacchetta biaca • tocca • la figura • in I0di- uersi lochi, e la parte d'esse bacchette, che resta • fori della "cassa, tigni di nero, e fa il co- trassegno • alia • bacchetta e al 12 suo • buso • in modo • che a tua • posta- si scotri; T3e trai d'essa • cassa • la figura • di terra • e met- tivi il tuoI4pezzo • di marmo, e tato leua del marmo •, che tutte le jstue • bac- chette • si nascondino • sino al loro segnio in detti busi, I6e per potere questo • meglio fare • fa che tutta-la cassa si poI7ssa- leuare in alto, e' 1 fondo • d'essa cassa resti sepre • sotto I8il marmo ed a questo modo ne potrai- leuare coi ferri J9con gra facilita. If you wish to make a figure in marble, Some prac- first make one of clay, and when you have (706^-709)? finished it, let it dry and place it in a case which should be large enough, after the figure is taken out of it, to receive also the marble, from which you intend to reveal the figure in imitation of the one in clay. After you have put the clay figure into this said case, have little rods which will exactly slip in to the holes in it, and thrust them so far in at each hole that each white rod may touch the figure in different parts of it. And colour the portion of the rod that remains outside black, and mark each rod and each hole with a countersign so that each may fit into its place. 'Then take the clay figure out of this case and put in your piece of marble, taking off so much of the marble that all your .rods may be hidden in the holes as far as their marks; and to be the better able to do this, make the case so that it can be lifted up ; but the bottom of it will always remain under the marble and in this way it can be lifted with tools with great ease. 706. i. desstatua. 2. sevolli. 3. tera . . chellai essecha mettila nvna. 4. chassa chessia anchora [dop atta] "capace". 5. loco . . [che] schoprir. 7. tera . . chassa . abi bachette. 8. aputo . . esspignile . . tato [che] per ciasschuno. 9. ciassuna ba- chetta biacha tocha. 10. bachette . . ressta. n. chassa . . effa . . chotrassegnio . . bachetta. 12. sio buso imodo . . atta . . sisschotri [ettare lasi]. 13. ettrai . . chassa . . tera. 14. pezo . . ettato . . chettutte. r$. bachette . . naschodino . . aloro. 16. chettutta . . chassa. 17. chasa ressti. 18. acquesto . . cho. 19. chon. VOL. 11. B NOTES ON SCULPTURE. [707-710. W. P. $-1 707. Alcvni aho errato a insegniare alii scul- tori '*™«^c™™ 'm " Some have erred in teaching sculptors to measure the limbs of their figures with threads as if they thought that these limbs parte da essi fili sci threads were 708. MEASUREMENT AND DIVISION OF A STATUE. A. •-) MlSURE E COPARTITIONE DELLA STATUA. 'Diuidi la testa in 12 gradi, e ciascuno Divide the head into 12 degrees and ^rado diuidi in 12 puti e ciascuno 3puto- each degree divide into 12 points, and each 12 minvti- e i minvti in minimi, e i mi- point into 12 minutes, and the minutes into "imi I semiminimi. ™»ims and the mmims mto semi mimms- 4Grado -- punto — minvto — minimo. Degree-point— minute— minim. A»h. I. 19*1 709. 1 Le figure di rilievo che pajono • I Sculptured figures which appear in motion, moto-, posandole in pie, per ragione deo will, in their standing position, actually look cadere jnazi. as if they were falling forward. w. x.) 710. Three braces which bind the mould. [If you want to make simple casts quick- • cassa «di sabbione di fiume invmidito con ly, make them in a box of river sand wet- 3 Ferri che cinga la forma. 2[Se uolli presti gietti e 3Senplici, fagli con vna *atieto.] ted with vinegar.] 707. i. alchuni . . erato ansegniare. 2. chirchundare. 3. menbr. 4. retondita. 5. circhundati. 70!. i. chopartitionc. a. 12 (parti e] gradi. 3. minvti iminimi e e. 4. grado [minvto] punto. 709. i. pajano . . chadere. 710. Tktit fattoftt art written in ink mid tuisequently crossed through ivith red chalk. 3. chon. 4. sabio . . cho. 6. arai 709. figure di rilitvo. Leonardo applies this term exclusively to wholly detached figures, especially to thote standing free. This note apparently refers to some particular case, though we have no know- ledge of what that may have been. If we suppose it to refer to the first model of the equestrian statue of Francesco Sforza (see the introduction to the notes on Sculpture) this observation may be regarded as one of his arguments for abandoning the first scheme of the Sforza Monument, in which the horse was to be galloping (see page 2 ). It is also in favour of this theory that the note is written in a manuscript volume already completed in I492- Leonardo's opinions as to the shortcomings of plastic works when compared with paintings are given under No. 655 and 656. '^^^t^^^^ .". • ,' •VV/^*^"***''** THE SFORZA MONUMENT. II 6 [Quando • tu . avrai • fatto • la 7 forma • sopra il cauallo e tu 8farai la grossezza del metallo 9di terra.] IONota • nello allegare • quante • ore • va • per cetinajo TI[nel gittare ognuno tenga stoppato • il fornello col I2suo • infocato]; '3[nel dentro di tutta la forma • sia inbeue- rato olio I4di lin seme o di tremetina; e poi sia dato vna mano I5di poluere di borace e di pece greca con acqua vite, l6e la forma di fori inpeciata, accioche stado sotto J 7 terra 1' umido non la ... 24 [Per maneggiare la forma grade, fa ne modello della pi25ccola forma; fa una pic- cola statia a proportione ; ] 26 [fa le bocche alia forma, metre ch'e in sul cavallo;] 27lJTieni le corna-in molle •, e fondile con colla di pescel z8pesa le parti 29 della forma, da che quatita 3°di metallo ella a a essere occupata, ^e tato ne da al fornello, che 32a quella parte a a porgere il ^suo metallo, e questo cognio^scerai a pesare la terra di quella 35 parte della forma, dove il forne!36lo colla sua quatita a a rispode- 37re, e questo si fa acioche '1 38fornello delle gabe le epia, e che 39dalle gabe non abbia a socorrere 4° alia testa che sarebbe inpossibile] ^[gitta nel medesimo 42gietto del cavallo «10 sportello della] [When you shall have made the mould upon the horse you must make the thickness of the metal in clay.] Observe in alloying how many hours are wanted for each hundredweight. [In cas- ting each one keep the furnace and its fire well stopped up.] [Let the inside of all the moulds be wetted with linseed oil or oil of turpentine, and then take a handful of pow- dered borax and Greek pitch with aqua vitae, and pitch the mould over outside so that being under ground the damp may not [dam- age it?] [To manage the large mould make a model of the small mould, make a small room in proportion.] [Make the vents in the mould while it is on the horse.] Hold the hoofs in the tongs, and cast them with fish glue. Weigh the parts of the mould and the quantity of metal it will take to fill them, and give so much to the furnace that it may afford to each part its amount of metal ; and this you may know by weighing the clay of each part of the mould to which the quantity in the furnace must correspond. And this is done in order that the furnace for the legs when filled may not have to furnish metal from the legs to help out the head, which would be impossible. [Cast at the same casting as the horse the little door] w. xi.] FORMA DEL CAVALLO. 711. 2 Fa il cavallo sopra gambe di ferro ferme e stabili in bo^no fondameto, poi lo inseva e fa gli la cappa di sopra, ilasciado ben seccare a suolo a suolo, e questa in- grassserai tre dita -, di poi arma e ferra secondo il biso6gno; oltre a di questo cava THE MOULD FOR THE HORSE. Make the horse on legs of iron, strong and well set on a good foundation; then grease it and cover it with a coating, leaving each coat to dry thoroughly layer by layer; and this will thicken it by the breadth of three fingers. Now fix and bind it with facto. 7. chauallo ettu. S.grosseza. 10. hore va . . cietinaro. n. hognivno . . stopato . . chol. 12. infochato madiriano ea Q tenpo di stoppi. 13. holio. 14. poi dato. 15. grecha chonacq"a". 16. ella . . chesstado. 17. lomido nolla \\U\\\\\\\\\\\\\\\\\\\ chose. 18. fatte subito chella \\\\\\\\\\\\\\\\\\\\. 19- il sabione di for \\\\\\\\\\\\\\\\\\\\\ azzo cioe di. 26grossezza, fa terra "cotta. 38 E questa tal forma ^farai jn un dl; vna mez*°za navata di giesso *'ti serue. «JRitasa co ^collae terra « over- chiara d'ovo *°e mattone e ro^sume. iron as may be necessary. Moreover take off the mould and then make the thickness. Then fill the mould by degrees and make it good throughout; encircle and bind it with its irons and bake it inside where it has to touch the bronze. OF MAKING THE MOULD IN PIECES. Draw upon the horse, when finished, all the pieces of the mould with which you wish to cover the horse, and in laying on the clay cut it in every piece, so that when the mould is finished you can take it off, and then recompose it in its former position with its joins, by the countersigns. The square blocks a b will be between the cover and the core, that is in the hollow where the melted bronze is to be; and these square blocks of bronze will support the intervals between the mould and the cover at an equal distance, and for this reason these squares are of great importance. The clay should be mixed with sand. Take wax, to return [what is not used] and to pay for what is used. [2 7] Dry it in layers [2 8]. Make the outside mould of plaster, to save time in drying and the expense in wood; and with this plaster enclose the irons [props] both outside and inside to a thickness of two fingers; make terra cotta. And this mould can be made in one day ; half a boat load of plaster will .serve you. [4 2] Good. Dam it up again with glue and clay, or white of egg, and bricks and rubbish. C. A. Tutti • i capi deMle chiavarde. 712. All the heads of the large nails. . . (alia. 7. grosseza. 8. ecquella . cosua . . ec. 9. ella richuoci . . dove attochare. n. pczi. 12. pezi. 13. cheUu . . vewtire . . chavallo. 14. quado se fini. 15. chcttu . . chavare ricomettere. 16. al p"o" locho cholli . . cotrassegni. 17. infralla chappa elmasscio cioc |dij. 18. uachuo dove asstare . . liquefacto ecquesti. 19. Hsspati. 20. dallalla chappa chon . . diutatia . . queuto. 22. lera sie. 27. sechalla soli. 28. assu oli. 31. sechare. 32 cspesa. 36. rosseza fatterra. 38. ecquesu. 39. farai nudi voa me. 43. ritasa. 44. etterra 47. ssume. 71*. 1—2 R. i. lucti i chapi.* 7H. See PI. LXXV. The figure "40," close to the sketch in the middle of the page between lines 1 6 and 17 has been added by a collector's hand. In the original, below line 21, a square piece of the page has been cut out about 9 centimetres by 7 and a blank piece has been gummed into the place. Lines 22 — 24 arc written on the margin. 1. 27 and 28 are close to the second marginal sketch. I. 42 is a note written above the third marginal sketch and on the back of this sheet is the text given as No. 642. Compare also No. 802. 712- See PI. LXXVI, No. i. This drawing ha, already been published in the "Saggio delle Optre di L. da Vinci." Milano 1872, PI. XXIV, No. i. But, for various reasons I cannot regard the editor's suggestions as satisfactory.. He says: "Veggonsi le armature di legname colle quali forse venne sagtcnuto il modello, quando per le noate di Bianca Maria Sfona con Afassimiliano imperatore, esso fu collocato soUo un area trionfale davanti al Caste//o." PL . LXXI i- -. • w •'• . • . ' • • A • • .v . . •-.."•'•.. . • . v •' - N - ^ f ' • ' ", ••'«•" -'x •'•''. ' • \ i! •».< •? - (^ ••",' ./• " ^ :* » ~ ?," ^scrt^/v^ • ^' TP ' -"'t^T'^ ' '•V*' .•>.-.; '.^ '• . • • ;-s.'--; '—: ^ • . ' • ' • •';•" :•:•••. • . >J. J . -. . , 'i- "•'* - ' ' y. -ft. Heliogp Dxyardin. 713- 7H-] THE SFORZA MONUMENT. W. XII.] 713. Queste le gature 2vano di dentro. I These bin- dings go in- side. w. xin 714. Sale fatto di stereo vmano bruciato 2e ralcinato e fatto- ne liscia e que^lla distesa al leto foco, e tutti li ster4chi in simile modo fanno sale, e quelli 5 sali destillati • sono molto penetrati. Salt may be made from human excrements, burnt and calcined, made into lees and dried slowly at a fire, and all the excrements produce salt in a similar way and these salts when distilled, are very strong. 714. i. stercho. 2. chalcinato effatto neliscia ecque. 3. disecha alleto focho ettutti lisster. 4. quali. 5. desslilati. 714. VASARI repeatedly states, in the fourth this, it remains doubtful whether I am justified in chapter of his Introduzione della Scullura, that in having introduced here this text of but little interest, preparing to cast bronze statues horse -dung was no such doubt can be attached to the sketch which frequently used by sculptors. If, notwithstanding accompanies it. NOTES ON SCULPTURE. [715—720. W. XII I MODO DI RICUOCERE. 'Questo si potrebbe fare fatto 715- for- nello *ferma e pillata. w. H. 716. Model* for Ginnetto • grosso • di messer Galeazzo. the hone of the Sforia monument (716—718). w H jV . 717. Siciliano di messer Galeazzo. METHOD OF FOUNDING AGAIN. This may be done when the furnace is made [4] strong and bruised. Messer Galeazzo's big genet. Messer Galeazzo's Sicilian horse. C. A. 286 bj 8700] 718. Misura del siciliano, la ganba dirieto, Measurement of the Sicilian horse the leg 2 in faccia, alzata e distesa. from behind, seen in front, lifted and extended. C. A. 382*1; 11820) 719. Ancora si potra dare opera al cauallo di occasional bronzo che sara gloria Tmortale e eterno lothe'sTona onore della 2felice memoria del signore monument vostro padre e della Iclyta casa Sfor- zesca. Again, the bronze horse may be taken in hand, which is to be to the immortal glory and eternal honour of the happy memory of the prince your father, and of the illustrious house of Sforza. C 15* (i)| 720. A 'di 23 d'aprile 1-4-90 comlciai questo libro e ricomlciai • il cavallo. On the 23rd of April 1490 I began this book, and recommenced the horse. 715. i. richuocere. i. potre. 4. pilau. 716. i. gianecto . . galeaz. 717. i. ciciliaoo . . meser galeazo. 718. i. ciciliano. 2. alza. 719. i — t written from It/t to ri^kt, i. Anchora si potera . . honore dela. 2. S"gre" vost . . dela. 7*0. chomiciai . . richomiciai. 715. This note in 1. 4 is written below the sketches. 716. 717. These notes are by the side of a drawing of a horse with figured measurements. San Severino, the famous captain who married Bianca the daughter of Ludovico il Moro. 719. The letter from which this passage is here 718. There is no sketch. belonging to this pas- extracted will be found complete in section XXI. sage. Galeazro here probably means Galeazzo di (see the explanation of it, on page 2). 72i— 725-J THE SFORZA MONUMENT. Leic. 9<}] 721- Vedesi in nelle montagnie di Parma e Piacetia la moltitudine di nichi e coralli 2 intarlati ancora appiccati alli'sassi, de' quali, quand'io facevo il gra ^cavallo di Milano, me ne fu portato vn gra sacco ne^lla mia fabrica da cierti villani che in tal loco trovati. There is to be seen, in the mountains of Parma and Piacenza, a multitude of shells and corals full of holes, still sticking to the rocks, and when I was at work on the great horse for Milan, a large sackful of them, which were found thereabout, was brought to me into my workshop, by certain peasants. C. A. 316^; 9580] 722. Credetelo a me, Leonardo fioretino che fa il cauallo del duca Francesco di brozo che non ne bisognia fare stima, 2 perche a che fare il tenpo di sua vita •, e dubito che per P essene si grade opera, che non la fini- ra mai. Believe me, Leonardo the Florentine, who has to do the equestrian bronze statue of the Duke Francesco that he does not need to care about it, because he has work for all his life time, and, being so great a work, I doubt whether he can ever finish it. C. A. 328 b; 983 a] 723 Del cauallo no diro niete perche cogni- osco • i tepi. Of the horse I will say nothing because I know the times. C. A. 272^; 833 a] 724. Del marmo operasi dieci arii; 2io no vo' During ten years the works on the marbles aspettare che '1 mio pa^gameto passi il have been going on I will not wait for my payment termine del 4 fine della opera mia. beyond the time, when my works are finished. C. A. i76<5; 533*] SEPULCRO DI MESSER GIOVANI JACOMO DA TREVULZO. 725- THE MONUMENT TO MESSER GlOVANNI JACOMO DA TREVULZO. 2Spesa della 3 manifattu^ra e materisa [2] Cost of the making and materials for The project del cauallo. the horse [5]. "VilJ" monument. 731. i. in nelle . . mvltitudine. 2. apichati . . sacho. 3. fabricha. 722. i. me saluo [quel] | "lonar fioretino" cheffa il chauallo . . franc"o" "di brozo" chenone. 2. lesere . . nella. 724. i. marmoperassi. 2. inovo. 3. ghameto. 4. dela. 725. i. giovani iacomo da trevlsa. 3. manifatu. 7. inel . . ellegrame ella. n. soma. 15. pezo. 16. lungha br 4 ellargho br. 722. This passage is quoted from a letter to a committee at Piacenza for whom Leonardo seems to have undertaken to execute some work. The letter is given entire in section XXI. ; in it Leo- nardo remonstrates as to some unreasonable demands. 723. This passage occurs in a rough copy of a letter to Ludovico il Moro, without date (see below among the letters). 724. This possibly refers to the works for the pedestal of the equestrian statue concerning which we have no farther information in the MSS. See p. 6. 725. In the original, lines 2—5, 12 — 14, 33 — 35, are written on the margin. This passage has been recently published by G. Govi in Vol. V, Ser. 3 a, of Transunti , Reale Accademia dei Lined, sed. del 5 Giugno, 1881, with the following introductory note: "Desidero intanto che sia.no stampati questi pocki fram- menti perche so che sono stati trascritti ultimamente, e verranno messi in luce tra poco fuori d' Italia. Li ri- pubblichi pure chi vuole, ma si sappia almeno che anche tra noi si conoscevano, e s'eran raccolti da anni per comporne, quando che fosse, una edizione ordinata degli scritti di Leonardo." The learned editor has left out line 22 and has written 3 pie for 8 piedi in line 25. There are other deviations of less importance from the original. ' i6 NOTES ON SCULPTURE. 6Vno corsiero grade al naturale coll'omo sopra vuole per la spesa del metallo ......... due. 500. 7 E per la spesa del ferrameto che ua in nel modello e carboni e legname e la fossa per gittarlo 8e per serrare la forma, e col fornello doue si de' gittare due. 200. 9 Per fare il modello di terra e poi di cera ......... due. 10 E per li lauorati che lo netterano 432. quado fia gittato ....... due. 450. "In somma sono ..... due. 1582. 12 Spesa de' m^armi della ^sepul- tura. '5 Spesa del marmo secodo il disegnio; jl pezzo del marmo che ua sotto il cauallo l6ch'e lungo braccia 4 e largo braccia 2 e oncie 2 e grosso oncie 9, cetinara 58, a L. 4 e S. 10 per cetinaro ........ due. 58. 17 E per 13 braccia di cornice e 6 6, larga 6 7, e grossa 6 4, cet. 24, due. 24. 18 E per lo fregio e architrave ch'e lungo br. 4 e 6 6 •, largo br. 2 e grosso 6 6, cet 20 ...... due; 20. X9E per li capitelli fatti di metallo, che sono 8, vano I tavola 6 5, e grossi 6 2, a prezzo di 20ducati 15 per ciascuno montano .... due. 120. 21 E per 8 colonne di br. 2 e 6 7, grosse 6 4 e x/2 • cetinara 20 . . due. 20. 22 E per 8 base che sono in tauola 6 5 e J/2 e alte o 2 cent. 5 . . due. 5. 2^E per la pietra dou' e su la sepultura, luga br. 4 e o 10, larga br. 2 e 6 4 e 1J2 2*centinara 36 ... due. 36. 2s E per 8 piedi di piedistalli che ua lunghi br. 8 e larghi o 6 e IJ2 grossi 6 6'/2 26centinara 20, motano . . due. 20. 2?E per la cornice ch'e di sotto, ch'e luga br. 4 e 6 10, larga br. 2 e 6 5, e grossa 6 4, cet. 32 ... due. 32. 28 E per la pietra di che si fa il morto ch'e lunga br. 3 e 6 8, larga br. uno e 6 6, grossa 6 9, cent 30, due. 30. 29 E per la pietra che ua sotto il morto- ch'e luga br. 3 664, larga br. uno e 6 2, grossa 6 4x/2 . • due. 16. 3°E per le tauole del marmo Iterposte infra li piedistalli, che sono 8 e son lughe br. 9, 3'larghe 6 9, grosse 6 3 cent 8 ...... due. 8. 32In somma sono ..... due. 389. A courser, as large as life, with the rider requires for the cost of the metal, due. 500. And for cost of the iron work which is inside the model, and charcoal, and wood, and the pit to cast it in, and for binding the mould, and including the fur- nace where it is to be cast . . due. 200. To make the model in clay and then in wax due. 432. To the labourers for polishing it when it is cast . • due. 450. in all . . due. 1582. [12] Cost 'of the marble of the monument [14]. Cost of the marble according to the drawing. The piece of marble under the horse which is 4 braccia long, 2 braccia and 2 inches wide and 9 inches thick 58 hundredweight, at 4 Lire and 10 Soldi per hundredweight . . due. 58. And for 13 braccia and 6 inches of cornice, 7 in. wide and 4 in. thick, 24 hundredweight due. 24. And for the frieze and architrave, which is 4 br. and 6 in. long, 2 br. wide and 6 in. thick, 29 hundredweight., due. 20. And for the capitals made of metal, which are 8, 5 inches in. square and 2 in. thick, at the price of 15 ducats each, will come to due. 122. And for 8 columns of 2 br. 7 in., 4 T/2 in. thick, 20 hundredweight due. 20. And for 8 bases which are 5 T/2 in. square and 2 in. high 5 hund'. . due. 5. And for the slab of the tombstone 4 br. 10 in. long, 2 br. 4'/2 in. wide 36 hundredweight due. 36. And for 8 pedestal feet each 8 br. long and 6 I/2 in. wide and 6 J/2 in. thick, 20 hundredweight come to ... due. 20. And for the cornice below which is 4 br. and 10 in. long, and 2 br. and 5 in. wide, and 4 in. thick, 32 hund1. . due. 32. And for the stone of which the figure of the deceased is to be made which is 3 br. and 8 in. long, and i br. and 6 in. wide, and 9 in. thick, 30 hund1. . due. 30. And for the stone on which the figure lies which is 3 br. and 4 in. long and i br. and 2 in., wide and 4T/2 in. thick due. 16. And for the squares of marble placed between the pedestals which are 8 and are 9 br. long and 9 in. wide, and 3 in. thick, 8 hundredweight . . . due. 8. in all . . due. 389. 2 e Co egrosso Co 9. 17. 13 br. 18. frego . . lungho . . largho. 19. prezo. 20. ciasscuno. 22. chessono. 25. lungh br. 8 . ellarghi. 28. di ce si . . . br i e o 6, grosa. 29. larga br i e o 2 grosa. 30. infra li piedi di stallo che . . lugh. /&' PL LXXItt '•• \. t •/ : . - - ••• ]„. B^^fepi'^;$;'/^: ";. :' i^^^^^KCvi^^ 726.] THE TRIVULZIO MONUMENT. 33Spesa della 34 manifattu35ra ne'marmi. 36Attorno allo inbasameto del ca- uallo va figure 8 di 25 ducati Puna, due. 2OO. 37 E nel medesimo inbasameto ci va festoni 8 co certi altri ornameti e di questi 3»Ve n'e 4 a prezzo^di du- cati 15 per ciascuno, e 4 a^prezzo di 8 ducati Puno due. 92. 39 E per isquadrare dette pietre, due. 6. 4°Ancora pel cornicione che ua sotto lo inbasameto del cauallo, ch'e br. 13 e 6 6 a due. 2 per br. . due. 27. 41 E per 12 br. di fregio, a ducati 5 per br due. 60. 42 E per 12 br. d' architrave, a du- cati i e J/2 per br due. 18. 43 E per 3 fioroni che fa soffitta alia sepultura, a 20 ducati per fiorone, due. 60. 44 E per 8 colonne accanalate, a 8 ducati Puna due. 64. 4*E per 8 base, a un ducato Puna, due. 8. 46 E per 8 piedistalli, de' quali n' e 4 a 10 due. Puno, che ua sopra li catoni, e 4 a 6 due. Puno . . due. 64. 47E per isquadrare e incorniciare li piedistalli, a due due. Puno, che sono 8, due. 1 6. 48 E per 6tavole con figure e trofei, a 25 ducati Puno ...... due. 150. 49 E per la scorniciatura della pietra che ua sotto il morto . . . due. 40. s° Per la figura del morto a farla bene due. 100. s 'Per 6 arpie colli candelieri, a 25 ducati Puna due. 150. 52 Per isquadrare la pietra dove si posa il morto e sua incorniciatura due. 20. S3 In somma due. 1075. 54 In somma ogni cosa insieme giuta so due. 3046. [33] Cost of the work in marble [35]. Round the base on which the horse stands there are 8 figures at 25 ducats each due. And on the same base there are 8 festoons with some other ornaments, and of these there are 4 at the price of 15 ducats each, .and 4 at the price of 8 ducats each due. And for squaring the stones due. Again, for the large cornice which goes below the base on which the horse stands, which is 13 br. and 6 in., at 2 due. per br due. And for 12 br. of frieze at 5 due. per br due. And for 12 br. of architrave at I'/a due. per br due. And for 3 rosettes which will be the soffit of the monument, at 20 du- cats each due. And for 8 fluted columns at 8 ducats each due. And for 8 bases at i ducat each, due. And for 8 pedestals, of which 4 are at 10 due. each, which go above the angles; and 4 at 6 due. each . . due. And for squaring and carving the moulding of the pedestals at 2 due. each, and there are 8 .... due. And for 6 square blocks with figures and trophies, at 25 due. each . . due. And for carving the moulding of the stone under the figure of the deceased due. For the statue of the deceased, to do it well due. For 6 harpies with candelabra, at 25 ducats each due. For squaring the stone on which the statue lies, and carving the moul- ding due. 20. in all . . due. 1075. The sum total of every thing added together amount to due. 3046. 200. 92. 6. 27. 60. 18. 60. 64. 8. 64. 16. 150. 40. 100. 150. G. 43 a] 726. ZECCA DI ROMA. MINT AT ROME. 2 Puosi ancora fare sanza molla ; 3 Ma It can also be made without a spring. The mint of sempre il maschio di sopra debbe 4 stare But the screw above must always be joined congiunto alia parte della guSaina mobile; to the part of the movable sheath: 31. larghi. 36. va. 37. li va fessto 8 co . . queste. 38. ciasscuna . . luna. 39. issguadare. 40. cornicone. 41. frego. 46. piedistalle. 47. issguadrare esscornicare lipiedisstallo . . chessono . . luma. 48. trufei. 50. a ff aria. 52. essa scornica- tura. 54. soma onicossa . . guta so due. 726. See PI. LXXVI. This passage is taken from a note book which can be proved to have been used in Rome. VOL. 11. THE MINT AT ROME. [727. 728. 6 Tutte le monete che ^ non ano jl cier- chio 8intero, non sieno accisettate per buone, e a 10fare la perfectione del lor "cierchio e neciessario I2che in prima le ' mone^te sie tutte di perfetto cir^colo, e a fare questo I5e' si debbe in prima fare vna l6moneta perfetta in peso I7e in larghez- za e grossezl8za, e di questa tal lar^ghezza e grossezza sie fat20te molte lamine, tira- 2Ite per una medesima tra22fila, le quali re- stera2 no a modo di righe, e • 24di queste tali righe si 25stanpl fuori le monete 26tode, a modo che si fa27no i criuelli da casta- 2*gnie, e queste mone29te poi si stanpino nel -Ju modo sopra detto ecc. 3JI1 vacuo della stanpa ^2sia piu largo da alto 33 che da basso vni^formemente, 35 e insesibile. 36 Questo taglia le monete. di perfetta ro37tondita e grossezza e peso e ris38parmia 1'omo che taglia e pesa, e 39rispiarmia Porno che fa le monete *°tonde; aduque sol pas- sa per li mani 4'del trafilatore e dello stanpato'»2re e fa monete bellissime. All coins which do not have the rim com- plete, are not to be accepted as good; and to secure the perfection of their rim it is requisite that, in the first place, all the coins should be a perfect circle; and to do this a coin must before all be made perfect in weight, and size, and thickness. There- fore have several plates of metal made of the same size and thickness, all drawn through the same gauge so as to come out in strips. And out of [24] these strips you will stamp the coins, quite round, as sieves are made for sorting chestnuts [2 7]; and these coins can then be stamped in the way indicated above; &c. [31] The hollow of the die must be uni- formly wider than the lower, but impercep- tibly [3 5]. This cuts the coins perfectly round and of the exact thickness, and weight; and saves the man who cuts and weighs, and the man who makes the coins round. Hence it passes only through the hands of the gauger and of the stamper, and the coins are very superior. (i)] 727. POLUERE DA MEDAGLIE. 2 Stoppini • incombustibili • di fungo ridot- to in poluere, 3stagnio bruciato e tutti i metalli, ^allume scagliuolo, sfumo di fucina On the da ottone, 6e ciascuna cosa inumidisci con. c°medfis° acquauite o maluagla TO acieto • forte di (727. 7*8). gra? ujno bianco •, o di quella prima acqua 8di trementina destillata, o olio, pure che poco sia 9invmidita •, e gitta in telaroli. POWDER FOR MEDALS. The incombustible growth of soot on wicks reduced to powder, burnt tin and all the metals, alum, isinglass, smoke from a brass forge, each ingredient to be moistened, with aqua vitae or malmsey or strong malt vinegar, white wine or distilled extract of turpentine, or oil; but there should be little moisture, and cast in moulds. Mz. o'J 728. DELLO INPROTARE MEDAGLIE. Polta di smeriglio mista con acqua vite 2 o scaglia di ferro con aceto •, o cenere di foglie di noce -, o cenere 3 di paglia sottilmete trita. OF TAKING CASTS OF MEDALS. A paste of emery mixed with aqua vitae, or iron filings with vinegar, or ashes of walnut leaves, or ashes of straw very finely powdered. 736. i. zeccha di roma. 2. Puossi anchora. 3. masscio. 4. chom giunto . . ghu. 9. ectate . . eaf. 10. perfectione. 12. prima ne mone. 13. perfecto. 14. cholo e afiare. 15. e si . . in p"a". 16. perfecta. 18. quessta. 19. sie fac. 24. queste . . sis. 26. chessi. 28. ecqueste. 29. sisstan pino. 30. decto ele. 31. vachuo. 32. larcho. 33. chedda. 36. Quessto. 37. grosseza eppeso eriss. 38. spiarma . . chettaglia eppesa. 39. rispiarma . . falle. 40. istanpito. 42 effa. 727. i. stopini inchonbusstibili. 3. brusato ettutti. 4. alume schagliolo. 6. essciasschuna . . inumidissci con acq"a". 7. biancho o di ella prima acq"a". 8. desstillata o holio. 7a8. i. polta di smeriglo . . acq"a". 2. ho cenere. 4. inolto [inp] in . . battutto. 5. radopiato [ere] essitiene. 6. accochettal 726. See PI. LXXVI No. 2. The text of lines 31 — 35 stands parallel 1. 24 — 27. Farther evidence of Leonardo's occupations and engagements at Rome under Pope Leo X. may be gathered from some rough copies of letters which will be found in this volume. Hitherto nothing has been known of his work in Rome beyond some doubtful, and perhaps mythical, statements in Vasari. 727. The meaning of scagliuolo in this passage is doubtful. L. LZXIV , j' I if '•• if 729.] ON MEDALS AND ON STUCCO. 4 II diametro si presta inuolto in nel piobo •, e battuto con martello se disteso piv volte; tal piobo e raddoppiato e si tiene involto ne!6la carta, accioche tal poluere no si versi, e poi fondi il piobo e la pol7vere vi e di sopra al pionbo fonduto, la qual poi sia fregata infra due 8 piastre d'acciaio tanto si poluerizi bene, di poi lauala coll' acqua da partire 9 e risoluerassi la negrezza del ferro, e lasciera la poluere netta; . IOLo smeriglo in pezzigrossi si ro pecol metterlo sopra vn panno in molITti doppi, e si percuote per fianco col martello, e cosl se ne va; poi mischia 11 I2a poco a poco, e poi si pesta co facilita, e se tu lo tenessi sopra 1'ancu^dine, mai lo roperesti, essendo cosl grosso. ^Chi macina li smalti debbe fare tale esercitio sopra le piasistre d'acciaio, ten- perato col macinatojo da conio, e poi met- terl6lo nell' acqva forte, la qual risolue tutto esso acciaio che si e ^cosumato e misto con esso smalto e lo fece nero, on- de poi I8rima purificato e netto, e se tu lo macini sul porfido, esso '9 porfido si con- suma e si mischia collo smalto e lo guasta, 20 e 1' acqua da partire mai lo lieva da dosso, perche no puo 2Irisoluere tale porfido. 22 Se volli fare colore bello azzurro risolui lo smalto, fatto 2^ col tartaro, e po' li leva il sal da dosso. 2*L'ottone vetrificato fa bello rosso. The diameter is given in the lead enclosed; it is beaten with a hammer and several times extended; the lead is folded and kept wrapped up in parchment so that the powder may not be spilt; then melt the lead, and the powder will be on 'the top of the melted lead, which must then be rubbed between two plates of steel till.it is thoroughly pulverised; then wash it with aqua fortis, and the black- ness of the iron will be dissolved leaving the powder clean. Emery in large grains may be broken by putting it on a cloth many times doubled, and hit it sideways with the hammer, when it will break up; then mix it little by little and it can be founded with ease ; but if you hold it on the anvil you will never break it, when it is large. Any one who grinds smalt should do it on plates of tempered steel with a cone shaped grinder; then put it in aqua for- tis, which melts away the steel that may have been worked up and mixed with the smalt, and which makes it black; it then remains purified and clean; and if you grind it on porphyry the porphyry will work up and mix with the smalt and spoil it, and aqua fortis will never remove it because it cannot dissolve the porphyry. If you want a fine blue colour dissolve the smalt made with tartar, and then remove the salt. Vitrified brass makes a fine red. 75 6} 729. STUCCO. STUCCO. 2 Fa stucco sopra il gobbo del di giesso, ^U quale sia coposto di venere e * mercuric, e impasta bene sopra esso gobbo Scon equal grossezza di costa di col- tello fatta colla 6sagoma, e questa copri co coperchio di canpa?na da stillare, e riavrai il tuo vmido co 8che inpastasti, 'el rimanete •asciugga bene e poi I9foca e batti over Place stucco over the prominence of Oa stucco the which may be composed of (?29' Venus and Mercury, and lay it well over that prominence of the thickness of the side of a knife, made with the ruler and cover this with 'the bell of a still, and you will have again the moisture with which you applied the paste. The rest you may dry ella poi. 7. here vi e. S.'piasstre dacaio . . lavolo chollacq"a". 9. la negredine del ferro ellascieara. 10. lossmeriglo . . chol . . imol. ii. essi perchote per fiancho . . misscagle. 12. a pocho appocho . . essettu. 13. rSperessti . . chosi. 14. lis- smalti. 15. chol macintatoio. 16. accaio chesse. 17. missto . . ello. 18. purifichato ennetto essettullo. 19. essimissca col- lossmalto ello. 20. ellae qua dosso [s] perche no po. 22. azurro . . lossmalto. 24. vetrifichato. 719. i. stuccho. 2. fasstucho . . ghobb del . a engui di giesso. 3. copossto di erenev e. 4. oirucrem e inpassta . ghobbo. 5. grosseza . . cholla. 6. saghoma ecquessta . . choperchio. 7. dasstillare erriarai. 8. inpasstassti . . assciugha. 9. focha 729. In this passage a few words have been written in a sort of cipher — that is to say back- wards; as in 1. 3 erenev for Venere, 1. 4 oirucrem for Mercurio, I. 12 il orreve co ecarob for il everro (?) co borace. The meaning of the word before "di giesso" in 1. I is unknown; and the sense, in which sagotna is used here and in other passages is obscufe. — Venere and Mercurio may mean 'marble* and 'lime', of which stucco is composed. 12. The meaning of orreve is unknown. 20 ON CASTING BRONZE. [730—734- brunisci co buon brunitoio e fa I0grosso inverse la costa. STUCCO. well ; afterwards fire it, and beat it or burnish it with a good burnisher, and make it thick towards the side. STUCCO. "Poluerizza il . . . . co borace e.acqua, Powder . . . with borax and water in'^pasta e fa stucco, e poi scalda in mo- to a paste, and make stucco of it, and then do si sec'4chi, e poi vernica con foco in heat it so that it may dry, and then varnish modo che lustri. it, with fire, so that it shines well. C. A. 313 a 5 951 a] STUCCO DA FORMARE. 730- STUCCO FOR MOULDING. 2Togli-butiro parti 6-, ciera parti • 2-, Take of butter 6 parts, of wax 2 parts, ^e tata farina volatile • che, messa sopra *le and as much fine flour as when put with cose strutte •, le facci • sode a modo s di cera these 2 things melted, will make them as • o di terra • da formare. firm as wax or modelling clay. COLLA. ?Togli mastice tremetina stillata 8e biacca. GLUE. Take mastic, distilled turpentine and white lead. s. K. M. in 50 a] 731- DA GITTARE. To CAST. 2 II tartaro bruciato e pol^verizzato col Tartar burnt and powdered with pla- on brome giesso e gittaHo fa che esso • giesso si ster and cast cause the plaster to hold to- s tiene insieme • poi, ch' e ricot6to, e poi • gether when it is mixed up again ; and then (731-740). nell' acqua si disfa. it will dissolve in water. s. K. M. m. 53«] PER GITTARE BROZO • IN GIESSO. 732- To CAST BRONZE IN PLASTER. 2Togli per ogni 2 scodelle • di giesso Take to every 2 cups of plaster i of una di ^corno di bo bruciato e mischia ox-horns burnt, mix them together and make Isieme *e gitta. your cast with it. S. K. M. II. i 95 a] 733- Quado voi gittare di ciera, abbrucia la When you want to take a cast in wax, burn sciuma 2con una candela, e'l gietto verra the scum with a candle, and the cast will sanza busi. come out without bubbles. s. K. M. in. 55*) 734- 2 ocie di giesso da libbra 2 di metallo ; 3noce che fa simile alia *curva. 2 ounces of plaster to a pound of metal ; — walnut, which makes it like the curve. . . brunissci co bio brunitoio effa. 10. chossta. ti. stuccho. 12. il orreve co ecarob e acq"a" in. ij. passta effa stucho eppoi scal"d"a. 14. eppoi vcrnicha con vocho . . lusstri. 730. i. stucho. 2. toli bituro parte . . parte. 4. chose. 5. tera. 7. tomastice temetina. 8. biaccha. 731. 2. tartero. 3. verizato .chol. 4. hvsso.. 5. tiene sieme . . rico. 6. acq"a". 739. i. giesso i di. 3. bruciata e misscia. 733. i. abrucia. t. chandela. 734. i. libra. 734. The second part of this is quite obscure. 2.C7 %"•'••••' - . • . t • V •£ irf Ulf/lW^» *WY^ 4*r*f»] ^«f*>' ^ -».^?/f '^triJ ^> J^>^'*Y , *r-*/^r -"* ( ]^1 ^j^^ v «&i ft J?h W« Sq "''*' v-> r «:; ij>/*/«»H^v «•*"** "T'f' •<*lrfr- "r? - !,IS4 .»«•-> *-WU«//ih Wt'-w/-W" '-"'* '"Cf _ t. ~4L A-X'. ii the utmost completeness has been aimed at, and no efforts have been spared to include every thing that can contribute to a knowledge of Leonardo's style. It would have been very interesting, if it had been possible, to give some general account at least of Leonardo's work and studies in engineering, fortification, canal-making and the like, and it is only on mature reflection that we have reluctantly abandoned this idea. Leonardo's occupations in these departments have by no means so close a relation to literary work, in the strict sense of the word as we are fairly justified in attributing to his numerous notes on Architecture. Leonardo's architectural studies fall naturally under two heads : I. Those drawings and sketches, often accompanied by short remarks and expla- nations, which may be regarded as designs for buildings or monuments intended to be built. With tfiese there are occasionally explanatory texts. • II. 77ieoretical investigations and treatises. A special interest attaches to these because they discuss a variety of questions which are of practical importance to this day. Leonardo's theory as to the origin and progress of cracks in buildings is perhaps to be considered as unique in its way in the literature of Architecture. HENRY DE GEYM&LLER PL LXXVn. 2.7 XII. Architectural Designs. I. Plans for towns. A. Sketches for laying out a new town with a double system of high- level and low-level road-ways. PI. LXXVII, No. i (MS. B, 15*). A general view of a town, with the roads outside it sloping up to the high-level ways within. PL LXXVII, No. 3 (MS. B, 16*, see No. 741; and MS. B. 15*, see No. 742^ gives a partial view of the town, with its streets and houses, with explanatory references. PI. LXXVII, No. 2 (MS. B, 15*; see No. 743). View of a double stair caise with two opposite flights of steps. PL LXXVIII, Nos. 2 and 3 (MS. B, tfa). Sketches illustrating the connection of the two levels of roads by means of steps. The lower gal- leries are lighted by openings in the upper roadway. B. Notes on removing houses (MS. Br. M., 270^, see No. 744^. B. i6a] 74I. Le strade • m • sono • piv • alte • che le strade The roads m are '6 braccia higher than •/-.y- braccia 6., e ciascuna 2 strada • de' es- the roads/ s, and each road must be 20 sere larga braccia 20, e avere '/» braccio braccia wide and ^ have % braccio slope from ,. , j „ .^ the sides towards the middle: and in the di calo dalle stremita 3 al mezzo, e m esso mi(Mle let there be at every braccio an mezzo sia a ogm braccio uno braccio di opening, one braccio long and one finger 4 fessura, largo uno dito , dove 1' acqua che wide, where the rain water may run off into 741. i. strade . [m] M . . chelle. 2. largbr . . chalo. 3. mezo [eda esse stremita einesso mezo . . br unobr. 4. deba. 6. largeza ARCHITECTURAL DESIGNS. [742-744. ,ue debba scolare nelle ca've fatte al Ssimo Piano di/—,e da ogm stre- fta della ^larghezza di delta sUada-sia- "no portico di larghezza di braccia 6 i sul "le colonne, e sappi che, chi volesse an- dare per tutta la terra per le 8 strade alte po raPa suo acconcio usarle, e chi voles* \ndare 'per le basse , ancora il simile; per le strade alte non devono andare -earn, nc altre simili cose, anzi siano solamete per li gieteli o»mini; per le basse SSTo andare i carri e altre some al uso »e commodita del popolo • ; 1' una casa de volgierele schiene '3all'altra ;, lasciado la strada bassa in mezzo, ed agh usci-» «*s mettano le vettovaglie, come legnie, vino e simili cose; per le <5Vie sotterrane si de votare destri, stalle e simili cose fetide l6dall'uno arco all'altro hollows made on the same level as / s. And on each side at the extremity of the width of the said road let there be an arcade, 6 braccia broad, on columns; and understand that he who would go through the whofc place by the high level streets can use them for this purpose, and he who would go by the low level can do the same. By the high streets no vehicles and similar objects shoul circulate, but they are exclusively for the use of gentlemen. The carts and burdens for the use and convenience of the inhabitants have to go by the low ones. One house must turn its back to the other, leaving the lower streets between them. Provisions, such as wood, wine and such things are carried in by the doors «, and privies, stables and other fetid matter must be emptied, away under- ground. From one arch to the next B. 742. de' essere braccia 300, cioe ciascuna via che ricieve il lume dalle fessu're delle strade di sopra, e a ogni arco de essere una scala a Iuma3ca toda, perche ne catoni delle quadre si piscia, e larga, c nella 'pnma uolta sia vn uscio ch'entri i destri e pisci- atoi comuni, e per s scala si discieda dalla- strada alta • alia bassa, e le strade 6alte si comlcino fori delle porte, e givnte a esse porte abbia?no conposto 1'altezza di brac- cia 6; Fia fatta detta terra o presso »a mare o altro fiume grosso, acciocche le brutti della 9Citta, menate dall'acqua sieno por- tate • via. must be 300 braccia, each street receiving its light through the openings of the upper streets and at each arch must be a winding stair on a circular plan because the corners of square ones are always fouled; they must be wide, and at the first vault there must be a door entering into public privies and the said .stairs lead from the upper to the lower streets and the high level streets begin outside the city gates and slope up ti at°these gates they have attained the height of 6 braccia. Let such a city be built near the sea or a large river in order that the dir of the city may be carried off by the water. B 15*] 743' A The construction of the stairs: The stairs ^ « rtifii-;:£?S3& < '% = £>> -* in the same way no Br. M. 270*) MUTATIONE DI CASE. 744- 2Le case sieno trasmutate e messe per ordine, 3e questo co facilita si fara, 4per- ON MOVING HOUSES. Let the houses be moved and arranged in order; and this will be done with facility • • •c'ocl": r Imp Eudes 744-] PLANS FOR TOWNS. che tali case son prima fatte sdi pezzi so- pra le piazze, e poi 6si comettono insieme colli lor 7legniami nel sito dove si debbono 8 stabilire. because such houses are at first made in pieces on the open places, and can then be fitted together with their timbers in the site where they are to be permanent. 9 Li omini, del paeI0se abitino le nuo- "ve case in parte, I2quando no v'e la cor^te. [9] Let the men of the country [or the village] partly inhabit the new houses when the court is absent [12]. 744. On the same page we find notes referring to Romolontino and Villafranca with a sketch-map of the course of the "Sodro" and the "(Lo)era" (both are given in the text farther on). There can hardly be a doubt that the last sentence of the passage given above, refers to the court of Francis I. King of France. — L.g — 13 are written inside the larger sketch, which, in the original, is on the right hand side of the page by the side of lines I — 8. The three smaller sketches are below. J. P. R. //. Plans for canals and streets in a town. PI LXXIX, .. and 2, (MS. B, 37*, «• *•• 745- <•** MS. B. 36', see No. ^6). A Plan for streets and canals inside a town, by »k*k the cellars of the houses are made accessible in boats. The third text give* under No. 747 refers to works executed by Leo- nardo in France. B. 37*1 745- La faccia a 2m dark il lume 'alle sta- 4Ze- 5 a • e • sark- braccia 6; a • b fia braccia- 8-,£ • e fia braccia 30; accioche le stanze sotto i portici siano 6luminose -, c- d-f- fia il loco donde se vadi a scaricare le navi in nelMe case; Avolere che questa cosa- abbia effetto bisogna che la inondatione »de' fiumi non madasse 1' acqua alle ca- nove; e neciessario elegiere sito accomo- dato, 9 come porsi uicino a vno fiume, il quale ti dia i canali, che no si possino ne per 10inodatione o secchezza delle acque dare mutatione alle altezze d'esse acque, »e il modo e qui di sotto figurato, e fac- ciasi eletione di bel fiume che no intorbidi, ne "per pioggia, come Tesino Adda e The front a m will give light to the rooms; a e will be 6 braccia-a * 8 braccia -J * SO braccia, in order that the rooms under the porticoes may be lighted; c dj is the place where the boats come to the houses to be unloaded. In order to render this arrangement practicable, and m order that the inundation of the rivers may not penetrate into the cellars, it is necessary t chose an appropriate situation, such as a s] near a river which can be diverted into canals in which the level of the water will not vary either by -inundations or drought. The construction is shown below; and. make choice of a fine river, which the rams do not render muddy, such as the T modo . . .oto . . effaci . . nSnintorbidine. .2. per piogie chome . . sare . • disfacicsino. 745 L. .-4 are on the left hand side and within On the page #*. Which comes next in the .original 12 Tesino, Adda e molti altri, i. Drivers coming with p R> from the mountains and flowing through lakes. ^ PL.LXXIX |pfp£ipi '* •-*. , J • A I Heliog-^ D-ujardin. "..-' f • ^ ^ ...... ..f: ^x :s^SS 746. 747-1 PLANS FOR CANALS AND STREETS. stieno I3a un altezza sara una coca, come to oblige the waters to keep constantly at qui disotto, la quale fia all' entrare della the same level . wil1 be a sort of dock> as .. . -IN shown below, situated at the entrance of the M terra, e megho alquato detro acioche town. or better ^ some way within^ in nimici no la disfacciessino. order that the enemy may not destroy it [14]. B. 36 a] 746. Tanto sia larga la stra2da •, quanto e la Let the width of the streets be equal to universale 3 altezza delle case. the average height of the houses. Br. M. 270-5] II fiume di mezzo 2no ricieva acqua 3torbida, ma tale ac4qua vada per li fossi 5 di fori della terra 6con 4 molina nelFe^trata e 4 nella u8scita, e questo si fa^ra col ringorgare 1' acqua I0di sopra a Romo- lontino; "Facciasi fonti I2in cia- J3scuna piazza. 747- The main underground chan- nel does not receive turbid water, but that water runs in the ditches outside the town with four mills at the entrance and four at the outlet; and this may be done by damming the water above Romorantin. [ 1 1] There should be foun-' tains made in each piazza [13]. 746. 3. alteza . . chase. 747. i. el . . mezo. 3. mattale. 7. nella vs. 8. ecquesto. 9. ringhorghare. 12. [chome] in cias. 13. piaza. 747. In the original this text comes immediately 10. Romolontino is Romorantin, South of Orleans after the passage given as No. 744. The remainder in France. of the writing on the same page refers to the con- Lines I — II are written to the right of the plan struction of canals and is given later, in the "Topo- lines 11 — 13 underneath it. J. P. R. graphical Notes". ^«sy ///. Cast/es and A. Castles. PL LXXX, No. i (P. V.fol. 39*; No. ct'ordre 2282). The fortified place here represented is said by Vallardi to be the "castello" at Milan, but without any satisfactory reason. The high tower behind the "rivellino" ra- velin — seems to be intended as a watch-tower. PI. LXXX, No. 2 (MS. B, 2$b). A similarly constructed tower pro- bably intended for the same use. PI. LXXX, No. 3 (MS. B). Sketches for corner towers with steps for a citadel. PL LXXX, No. 4 (W. XVI). A cupola crowning a corner tower; an interesting example of decorative fortification. In this reproduction of the original pen and ink drawing it appears reversed. B. Projects for Palaces. PI. LXXXI, No. 2 (MS. C A, 75*; 22 i«, see No. 748;. Project for a royal residence at Amboise in France. PL LXXXII, No. i (C. A 308*; 939a/ A plan for a somewhat extensive residence, and various details ; but there' is no text to elucidate it; in courts are written the three names: C08i (Cosmo) (John), mo nmo C. Plans for small castles or Villas. The three following sketches greatly resemble each other. PL LXXXII, No. 2 (MS. K* 36*; see No. 749;. .: :_- c^y k ^ 5? v 1^' ViO>" & ^ r^ *4 ^ f.i*f'?J."- ' _ 'V. :.;* l:SJs^ •"•i."" ^ '• '*•-• * • «-»t^* -. . •'.,-.. PI. LXXX: in n rytev;^-x;v%A^ !:U; JJ.JLfc» '^W>; l rf-A- =**f-> ^1^ ** » •• . 1 «-' ' /• *' •••' ''•' ' -.,/• :/'v' • /-.' • ' ...-•. -J? .».•>•"• i , v<" ,^ l»<.'f* A ft I | vfrt/tW**^ ArfJ [ *^-rflA fl —;-•» •.;/.•."'*'•; ris^ ••»••••" r^r ^ fh- ftfc^ Imp hudcs • S!*T i- —Til' 4^" <|yi ^-^17- WM^ 11 ir £ u I - 1 i ^fT^ * - >, Imp, Eudes. 748.] CASTLES AND VILLAS. 33 PL LXXXII, No. 3 (MS. B 60 «; see No. 750^. PL LXXXIII (W. XVII), The text on this sheet refers to Cyprus (see Topographical Notes No. 1103,), but seems to have no direct connection ivith the sketches inserted between. PL LX XX VIII, Nos. 6 and 7 (MS. B, 12"; .see No. 75 \). A sec- tion of a circiilar pavilion ivith the plan of a similar building by the side of it. These huo draivings have a special historical interest because the text ivritten below mentions the Duke and Duchess of Milan. The sketch of a villa on a terrace at the end of a garden occiirs in C. A. 150; and in C.A. 7Jb; 225^ is another sketch of a villa somewhat resembling the Belvedere of Pope Innocent VIII, at Rome. In C.A. 62^; 193^ there is a Loggia. PL LXXXII, No. 4 (C.A. 387 a; 1198*; is a tower -shaped Loggia above a fountain. The machinery is very ingeniously screened from 'view. C. A. 75<5; 22ia] 748. [II palazzo del principe de' auere dinati vna piazza.] 2Le abitationi doue s'abbia a ballare o fare diuersi 3Salti o uari movimeti con moltitudine di gente sieno terrene, perche gia n'6 veduto ruinare colla morte di 5molti; E sopra tutto fa che ogni muro, per sottile che 6sia, abbia fondameto in terra o sopra archi bene 7fondati. 8 Sieno li mezzanelli delli abitacoli $di- uisi da- muri fatti di stretti matI0toni e sanza legniami per ri^spetto del fuoco. I2Tutti li neciessari abbino esalatioI3ne per le grossezze de' muri, e in I4modo che spirino per li tetti. *s Li mezzanelli sieno in volta, le quali I6sara tanto piu forti quato e' .sara mi- 18 Le catene di quercia sie rinchi'^use per li muri accio no sie ofifese 20da foco. The Palace of the prince must have a piazza in front of it. Houses intended for dancing or any kind of jumping or any other movements with a multitude of people, must be on the ground- floor; for I have already witnessed the destruction of some, causing death to many persons, and above all let every wall, be it ever so thin, rest on the ground or on arches with a good foundation. Let the mezzanines of the dwellings be divided by walls made of very thin bricks, and without wood on account of fire. Let all the privies have ventilation [by shafts] in the thickness of the walls, so as to exhale by the roofs. The mezzanines should be vaulted, and the vaults will be stronger in proportion as they are of small size. The ties of oak must be enclosed in the walls in order to be protected from fire. 748. i. palazo. 2. abitationini . . abballare offare. 3. chomoltitudine. 4. rrene . . cholla. 5. Essopra tucto . . persottile. 6. ossopra arachi. 8. mezanelli . . abitacholi. 9. mac. 10. tono essanza . . ris. n. fuocho. 12. Tucti. 13. grosseze. 14. chesspirino . . tecti. 15. mezanelli. 18. chatene diquercie. 20. focho. 21. Lesstaze . . adesstri. 23. il ferore non isspiri. 748. The remarks accompanying the plan repro- moat. In the large court surrounded by a portico dticed on PI. LXXXI, No. 2 are as follows: Above, "in terre No. — Largha l/r.So e lugha br 120." To to the left : "in a angholo stia la guardia de la sstalla" the right of the castle is a large basin for (in the angle a may be the keeper of the stable). aquatic sports with the words "Giostre colle nave Below are the words "strada dabosa" (road to doe li giostra li stieno sopra le na" (Jousting in boats Amboise), parallel with this "fossa br 40" (the that is the men are to be in boats). J. P. R. moat 40 braccia) fixing the width of the VOL. II. "E 34 ARCHITECTURAL DESIGNS. [749—75I- "Le staze d'andare a' destri sieno "molte che entrino Tuna nell' al^tra, ac- cioche il fiero odore non spiri per 24le abitationi, e tutti li loro usci 2Ssi serrino colli cotrapesi. 26 La massima diuisione della frote di que27sto palazzo £ in due parti, cioe che la Iarghez28za della corte sia la meta di tutta la predetta 29fronte; La 2a... The privies must be numerous and going one into the other in order that the stench may not penetrate into the dwellings, and all, their doors must shut off themselves with counterpoises. The main division of the facade of this palace is into two portions; that is to say the width of the court-yard must be half the whole facade; the 2nd ... K.J 749- Largo per ogni lato br. 30; 1'entrata da 2 basso e in una sala larga braccia 10 e ^ lunga braccia 30 e a 4 camere co sua cami4ni. 30 braccia wide on each side; the lower en- trance leads into a hall 10 braccia wide and 30 braccia long with 4 recesses each with a chimney. B. 6oa| 75°. II primo grado sia • tutto 2 ripieno. The firststorey [or terrace] must be entirely solid. B. 12 a] 751- Padiglione del giardino della duchessa 2di Milano. Fondameto del padiglione ch'e nel * mezzo del laberinto del duca di Milano. The pavilion in the garden of the Du- chess of Milan. The plan of the pavilion which is in the middle of the labyrinth of the Duke of Milan. 24. li . . ettutti . . vssci. 25. cholli chotrappesi. 26. ques. 26. chella larghe. 749. i. Largho . . dab. 2. basso [e ino] e in . . la"r"gha br . 10 el. 3. lungha br 30. 751. i. zardino. 3. del [z]. 4. mezo. 749. On each side of the castle, PI. LXXXII. No. 2 there are drawings of details, to the left "Camino" a chimney, to the right the central lantern, sketched in red "8 latf i. e. an octagon. 751. This passage was first published by AMO- RETTI in Memorie Storiche Cap. X : Una sua opera da riportarsi a quesf anno fu il bagno fatto per la duchessa Beatrice nel parco o giardino del Castello. Leonardo non sofo ne disegnb il piccolo edifizio a foggia di padiglione, nel cod. segnato Q. 3, dandone anche separatamente la pianta; ma sotto vi scrisse: Padiglione del giardino della duchessa; e sotto la pianta: Fondamento del padiglione ch'e nel metxo del labirinlo del duca di Milano; nessuna data e presso il padiglione t disegnato nella pagina 12, ma poco sopra fra molti circoli intrecciati vedesi = 10 Lu- glio 1492 = e nella pagina 2 presso ad alctmi disegni di legumi qualcheduno ha letto Settembre 1482 in vece di 1492, come dovea scrrverevi, e probabilmente scrisse Leonardo. The original text however hardly bears the inter- pretation put i. pun it l>y AMORETTI. He is mis- taken as to the mark on the MS. as well as in his statements as to the date, for the MS. in question has no date ; the date he gives occurs, on the con- trary, in another note-book. Finally, it appears to me quite an open question whether Leonardo was the architect who carried out the construction of the dome-like Pavilion here shown in section, or of the ground plan of the Pavilion drawn by the side of it. Must we, in fact, suppose that "// duca di Milano" here mentioned was, as has been gene- rally assumed, Ludovico il Moro? He did not hold this title from the Emperor before 1494; till that date he was only called Govematore and Leonardo in speaking of him, mentions him generally as "il Moro" even after 1494. On Januaiy 18, 1491, he married Beatrice d'Este the daughter of Ercole I, Duke of Ferrara. She died on the 2"d January 1497, and for the reasons I have given it seems impro- bable that it should be this princess who is here spoken of as the "Duchessa di Milano". From the style of the handwriting it appears to me to be beyond ^7^\ •I '/> • j / •;> - /. • / ^ i, <«— jl P Bl ? < ^^ PL LXXXlll. 7jr~ ^ . • fil . i M ? * 4. ? c ^ 752.] CASTLES AND VILLAS. 35 B. 19 *J 752. II terreno • che si cava • dalle • canove 2si debe elevare da cato tato • in alto che sfac- cia un orto •, che sia alto quato la sala, 4ma fa che tra'l terreno dell' orto e'l muro sdella casa sia uno • intervallo, accio che 6l'umido no guasti i muri maestri. The earth that is dug out from the cellars must be raised on one side so high as to make a terrace garden as high as the level of the hall; but between the earth of the terrace and the wall of the house, leave an interval in order that the damp may not spoil the principal walls. 753. i. tereno chessi chava delle chanove. 2. ellevare da chato. 3. chessia. 4. chettral tereno. 5. cbasa. 6. maesstri. all doubt that the MS. B, from which this passage the Duchess would be his wife Isabella of Aragon, is taken, is older than the dated MSS. of 1492 and to whom he was married on the second February 1493. In that case the Duke of Milan here men- 14.89. J. P. R. tioned would be Gian Galeazzo (1469 — 1494) and Ecclesiastical Architecture. A. General Observations. B. 39*] 753- Senpre vno edifitio vole • essere 2 spic- cato dintorno a volere dimostra^re la sua vera forma. A building should always be detached on all sides so that its form may be seen. Ash. II. %b\ 754- Qui no si pu6 ne si debe fare 2capa- nile, anzi debe 3 stare separate come a il do4mo e Sa Giovanni di Fireze-, 5e cosl il domo di Pisa • che mo6stra il capanile per se dispicca7to T circa e cosl il domo, e o8gni vno per se puo mostrare la sua 9perfet- tione, e chi lo uolesse pure I0fare colla chiesa, faccia la la^terna scusare capanile 12 come e la chiesa di Chiaravalle. Here there cannot and ought not to be any campanile; on the contrary it must stand apart like that of the Cathedral and of San Giovanni at Florence, and of the Cathedral at Pisa, where the campanile is quite detached as well as the dome. Thus each can display its own perfection. If however you wish to join it to the church, make the lantern serve for the campanile as in the church at Chiaravalle. 753. 2. ispichato. 754. I. po nessi. 2. chlpanile. 3. chome. 4. essagiovani. 6. chapanile . . displicha. 7. circho e chosi. 8. po. 9. perfeclione. 10. colla. II. schusare chapanile. 753. The original text is reproduced on PI. XCII, No. i to the left hand at the bottom. 754. This text is written by the side of the plan given on PI. XCI. No. 2. 12. The Abbey of Chiaravalle, a few miles from Milan, has a central tower on the intersection of the cross in the style of that of the Certosa of Pavia, but the style is mediaeval (A. D. 1330). Leonardo seems here to mean, that in a building, in which the cir- cular form is strongly conspicuous, the campanile must either be separated, or rise from the centre of the building and therefore take the form of a lantern. . ; >,k' , ' . •'• -. "%-«' - _ Iniv Eudes 755-] ECCLESIASTICAL ARCHITECTURE. 37 B. 755- A nessuna chiesa sta 2bene vedere tetti, It never looks well to see the roofs of azi 3Sia rappianato e per ca«nali 1'acqua a church; they should rather be flat and the water should run off by gutters made in the discesda ai condotti fatti nel 6fregio. frieze. 755- 3- rapianato . . cha. 4. la ch . gua dissie. 5. chondotti. 755. This text is to the left of the domed church reproduced on PL LXXXVII, No. 2. B. The theory of Dome Architecture. This subject has been more extensively treated by Leonardo in drawings than in writing. Still we may fairly assume that it was his purpose, ulti- mately to embody the results of his investigation in a "Trattato delle Cu- pole." The amount of materials is remarkably extensive. MS. B is parti- cularly rich in plans and elevations of churches with one or more domes— from the simplest form to the most complicated that can be imagined. Considering the evident connexion betiveen a great number of these sketches, as well as the impossibility of seeing in them designs or preparatory sketches for any building intended to be erected, the conclusion is obvious that they were not designed for any particular monument, but were theoretical and ideal researches, made in order to obtain a clear understanding of the laws which must govern the construction of a great central dome, with smaller ones grouped round it ; and with or without the addition of spires, so that each of these parts by itself and in its juxtaposition to the other parts should produce the grandest possible effect. In these sketches Leonardo seems to have exhausted every imaginable combination. ' The results of some of these problems are perhaps not quite satisfactory ; still they cannot be considered to give evidence of a want of taste or of any other defect in Leonardos architectural capacity. They were no doubt intended exclusively for his own instruction, and, before all, as it seems, to illustrate the features or consequences resulting from a given principle. ' In MS. B, 32 * (see M. C III, No. 2) we find eight geometrical patterns, eaeh drawn in a square; and in MS. C.A., fol. 87 to 98 form a whole series of patterns done with the same intention. ( /• «M» j i "..•'. ,:*v~^-*«0..^.-,-j,.<«.r«>^^ j ' sa^^^a^a:"!';^;^;^ ,' J tr: :^fP ^% Jn.f ft ^ •n. «« THE THEORY OF DOME ARCHITECTURE. 39 / have already, in another place, I pointed out the law of construction for buildings crowned by a large dome: namely, that such a dome, to pro- duce the greatest effect .possible, should rise cither from the centre of a Greek cross, or from the centre of a structure of which the plan has some sym- metrical affinity to a circle, this circle being at the same time the centre of the whole plan of the building. Leonardo s sketches show that he was fully aware, as was to be ex- pected, of this tritth. Few of them exhibit the form of a Latin cross, and when this is met with, it generally gives evidence of the determination to assign as prominent a part as possible to the dome ' in the general effect of the building. While it is evident, on the one hand, that the greater number of these domes had no particular purpose, not being, designed for execution, on the other hand several reasons may be found for Leonardos perseverance in his studies of the subject. Besides the theoretical interest of the question for Leonardo and his Trattato and besides the taste for domes prevailing at that time, it seems likely that the intended erection of some building of the flrst importance like the Duomos of Pavia and Como, the church of Sta. Maria delle Grazie at Milan, and the constriiction of a Dome or central Tower (Tiburio) on the cathedral of Milan, may have stimulated Leonardo to undertake a general and thorough investigation of the subject; whilst Leonardo s intercourse with Bramante for ten years or more, can hardly have remained without in- fluence in this matter. In fact now that some of this great Architect's studies for S. Peter s at Rome have at last become known, he must be con- sidered henceforth as the greatest master of Dome- Architecture that ever existed. His influence, direct or indirect ez>en on a genius like Leonardo seems the more likely, since Leonardo s sketches reveal a style most similar to that of Bramante, whose name indeed, occurs twice in Leonardos manu- script notes. It must not be forgotten that Leonardo was a Florentine; the characteristic form of the two principal domes of Florence, Sta. Maria del Fiore and the Battisterio, constantly appear as leading features in his sketches. The church of San Lorenzo at Milan, was at that time still intact. The dome is to this day one of the most wonderful cupolas ever constructed, and with its two smaller domes might well attract the attention and study 1 Les Projets Primitifs pour la Basilique de St. Pierre de Rome, par Bramante, Raphael etc., Vol. I, p. 2. 4O ARCHITECTURAL DESIGNS. of a never resting genius such as Leonardo. A whole class of these sketches betray in fact the direct influence of the church of S. Lorenzo, and this also seems to have suggested the plan of Bramantes dome of St. Peter s at Rome. In the folloiving pages the various sketches for the construction of domes have been classified and discussed from a general point of view. On tivo sheets: PI. LXXXIV (C. A. 354*; 1 18«; and PL LXXXV, Nos. i — 1 1 (Ash. //, 6b) we see various dissimilar types, grouped together ; thus these two sheets may be regarded as a sort of nomenclature of the different types, on which we shall now have to treat. PL L XXXVI ; • • Vu i V • » • f v <*.- 1. Churches formed on the plan of a Greek cross. Group L Domes rising from a circular base. The simplest type of central building is a circular edifice. PL LXXXIV, No. 9. Plan of a circular building surrounded by a colonnade. PL LXXXIV, No. 8. Elevation of the former, with a conical roof. PL XC. No. 5. A dodecagon, as most nearly approaching the circle. PL LXXXVI, No. i, 2, 3. Four round chapels are added at the extremities of the two principal axes ; — compare this plan with fig. i on p. 44 and fig. 3 on p. 47 ( W. P. $'6J where the outer wall is octagonal. Group II. Domes rising from a square base. The plan is a square surrounded by a colonnade, and the dome seems to be octagonal. PL LXXXIV. The square plan below the circular building No. 8, and its elevation to the left, above the plan: • here the ground-plan is square, the upper storey octagonal. A further development of this type is shown in two sketches C. A. 3° (not reproduced here), and in PL LXXXVI, No. 5 (which possibly belongs to No. 7 on PL LXXXIV. PL LXXXV, No. 4, and p. 45, Fig. 3, a Greek cross, repeated p. 45, Fig. 3, is another development of the square central plan. The remainder of these studies show two different systems ; in the first the dome rises from a square plan, — in the second from an octagonal base. VOL. II. 42 ARCHITECTURAL DESIGNS. Group III. Domes rising from a square base and four pillars* a) First type. A Dome resting on four pillars in the centre of a square edifice, with an apse in the middle, of each of the four sides. We have cle:en variations of this type. aa) PL LXXXVIII, No. 3. bb) PL LXXX, No. 5. cc) PL LXXXV, Nos. 2, 3, 5. dd) PL LXXXIV, No. i and 4 beneath. ee) PL LXXXV, Nos. i, 7, 10, n. b) Second type. This consists in adding aisles to the whole plan of the first type; columns are placed between the apses and the aisles; the plan thus obtained is very nearly identical with that of S. 'Lorenzo at Milan. Fig. i on p. 56. (MS. B, 7$a) shows the result of this treatment adapted to a peculiar purpose about which we shall have to say a few words later on. PL XCV, No. i, shows the same plan but with the addition of a short nave. This plan seems to have been suggested by the general arrangement of S. Sepolcro at Milan. MS. B. 57b (see the sketch reproduced on p. $\). By adding towers in the four outer angles to the last named plan, we obtain a plan which bears the general features of Bramantes plans for S. Peter s at Rome.2 (See p. 51 Fig. i.; Group IV. Domes rising from an octagonal base. This system, developed according to two different schemes, has given rise to two classes with many varieties. In a) On each side of the octagon chapels of equal form are added. In b) The chapels are dissimilar ; those which terminate the principal axes being different in form from those which are added on the diagonal sides of the octagon. a. First Class. The Chapel "degli Angeli," at Florence, built only to a height of about 20 feet by Brunellesco, may be considered as the prototype of this group; and, indeed it probably suggested it. The fact that we see" in MS. B. \\b i The ancient chapel San Satiro, via dd Falcone, Milan, is a specimen of this type. * See Les projets primitifs etc., PI. 9 — 12. Via. • « lOt**/* .»,.>.*«». ( • * • ^ ^a ' «- .•.«•• • ** ..••• ••• : ^.>-^.j ""•^x /'" '5^ hMip;";S - -V -1^ -IV _J 1- fi \ ,. y~-. ^£r;-.:V -r^ fflfl fe;- : % ; t^--- •:i~i'i . ;v<>; ,«.':^:-;';vijJwa«ii;i5£ V: ^x/ •^•S -&S tttsfeft, ?;-js .:•'[.' S'ti': 'C*- . ~ " — ^**~" ~- '- ' - - ECCLESIASTICAL ARCHITECTURE. 43 (PL XCI V, No. 3) by the side of Brunellescds plan for the Basilica of Sto. Spirito at Florence, a plan almost identical with that of the Capella degli Angeli, confirms this supposition. Only two small differences, or we may say improvements, have been introduced by Leonardo. Firstly the back of the chapels contains a third niche, and each angle of the Octagon a folded pilaster like those in Bramantes Sagrestia di S. M. presso San Satiro at Milan, instead of an interval between the two pilasters as seen in the Bat- tistero at Florence and in the Sacristy of Sto. Spirito in the same town and also in the above named chapel by Brunellesco. The first set of sketches which come under consideration have at first sight the appearance of mere geometrical studies. They seem to have been suggested by the plan given on page 44 Fig. 2 (MS. B, 55^ in the centre of which is written "Santa Maria in perticha da Pavia", at the place marked A on the reproduction. a) (MS. B, 34^, page 44 Fig. $). In the middle of each side a, co- lumn is added, and in the axes of the intercolumnar spaces a second row of columns forms an aisle round the octagon. These are placed at the inter- section of a system of semicircles,, of which the sixteen columns on the sides of the octagon are the centres. b) The preceding diagram is completed and becomes more monumental in -style in the sketch next to it (MS. B, 35", see p. 45 Fig. \). An outer aisle is added by circles, having for radius the distance between the columns in the middle sides of the octagon. c) (MS. B, 96 b, see p. 45 Fig. 2). Octagon with an aisle round it; the angles of botJi are formed by columns. The outer sides are formed by 8 niches forming chapels. The exterior is likewise octagonal, with the angles corre- sponding to the centre of each of the interior chapels. PL XCI I, No. 2 (MS.B. 96 b). Detail and modification of the preceding plan — half columns against piers — an arrangement by which the chapels of the aisle have the same width of opening as the inner arches between the half columns. ' Underneath this sketch the following note owirs: questo vole • avere 1 2 facce • co 1 2 tabernaculi • come • a • b. (This will have twelve sides with twelve tabernacles as a bj In the remaining sketches of this class the octagon is not formed by columns at the angles. The simplest type shows a niche in the middle of each side and is re- peated on several sheets, viz: MS. B 3; MS. C.A. 354^ (see PI. LXXXIV, No. \\), and MS. Ash II 6^; (see PL LXXXV, No. 9 and the elevations No. 8; PL XCI I, No. 3/ MS. B. 4* [not reproduced here] and PL LXXXIV, No. 2). 44 ARCHITECTURAL DESIGNS. Fig. i. Fig. 2. Fig- 3- • 1 i V >| 3 ^tesp^? - ---•fe--~l!-S?'- ' ••«>•-.' -'• . ••*" tV ' ' /s ^->*A * - - '/; - - . .*• • . . ' tl : -- / -s' ' r^'- -•/->• . •••':'',* '^^'K;:-:fr "^mk i f •- jr^ -/•.•V ->.T.?I.^-:'^ ,..,.. lardin ECCLESIASTICAL ARCHITECTURE. 45 Fig. i. Fig. 3- Fig. 2. ARCHITECTURAL DESIGNS. PL XCII, 3 (MS. B, 56 b) corresponds to a plan like the one in MS. B 35 fl • *n which the niches would be visible outside or, as in the follow- ing sketch, with the addition of a niche in the middle of each chapel. PI. XC, No. 6. The niches themselves are surrounded by smaller niches (see also No. I on the same plate). Octagon expanded on each side. A. by a square chapel: MS. B. 34* (not reproduced here). B. by a square with 3 niches: • MS. B.\\b (see PI. XCIV, No. 3/ C. by octagonal chapels : a) MS. B,2\«; PI. LXXXVIII, No. 14. b) No. 2 on the same plate. Underneath there is the remark: "quest'e come le 8 cappele ano a essere facte" (this is how the eight chapels are to be executed). c) PI. LXXXVIII, No. 5. Elevation to the plans on the same sheet, it is accompanied by the note: "ciasscuno de' 9 tiburi no'uole • passare 1'alteza • di • 2 • quadri" (neither of the 9 domes must exceed tJte height of two squares). d) PI. LXXXVIII, No, i, Inside of the same octagon. MS. B, 30°, and 34^; these are three repetitions of parts of the same plan with very slight variations. D. by a circular chapel: MS. B, i8a (see Fig. I on page tf) gives the plan of this arrangement in which the exterior is square on the ground floor ivith only four of the chapels projecting, as is explained in the next sketch. PI. LXXXIX, MS. B, \jb . Elevation to the preceding plan sketched on the opposite side of the sheet, and also marked A. It is accompanied by ' the following remark, indicating the theoretical character of these studies : questo • edifitio • anchora • starebbe • bene affarlo dalla linja • a • b • c • d • insu. (" This edifice would also produce a good effect if only the part above the lines a b, c d, were executed"). PL LXXXIV, No. ii. The exterior has the form of an octagon, but tlic chapels project partly beyond it. On the left side of the sketch tht\ appear larger than on the right side. PI. XC, No. i, (MS. B, 25*); Repetition of PI. LXXXIV, No. u. PI. XC, No. 2. Elevation to the plan No. \, and also to No. 6 of the same sheet. • >s*>"^i" r.'-v. \'&*+ > :V- f ^ ! *>"% . -^ layr; ^ -^4. ** 1 t » l -^f op IXijardin. Kudcs. ECCLESIASTICAL ARCHITECTURE. 47 Fig. 3- 48 ARCHITECTURAL DESIGNS. E. By chapels formed by four niches: PL LXXXfV, No. 7 (the circular plan on the left below) shows this arrangement in which the central dome has become circular inside and might therefore be classed after this group.1 The sketch on the right hand side gives most likely the elevation for the last named plan. F. By chapels of still richer combinations, which necessitate an octagon of larger dimensions: PI. XCI, No. 2 (MS. Ash. II. 8*}2; on this plan the chapels themselves appear to be central buildings formed like the first type of the third group. PI. LXXXVII I, No. 3. PL XCf, No. 2 above; the exterior of the preceding figure, particu- larly interesting on account of the alternation of apses and niches , the latter cantaining statues of a gigantic size, in proportion to the dimen- sion of the niches. b. Second Class. Composite plans of this class are generally obtained by combining two types of the first class — the one worked out on the principal axes, the other on the diagonal ones. MS. B. 22 shows an elementary combination, without any additions on the diagonal axes, but with the dimensions of the squares on the two principal axes exceeding those of the sides of the octagon. In the drawing W. P. 5 b (see page 44 Fig. ij the exterior only of the edifice is octagonal, the interior being formed by a circular colonnade; round chapels are placed against the four sides of the principal axes. The elevation, drawn on ' the same sheet (see page 47 Fig. 3}, shows the whole arrangement which is closely related with the one on PL LXXXVI No. i, 2. MS. B. 2\a shows: a) four sides with rectangular chapels crowned by pediments PL LXXXVII No. 3 (plan and elevation) ; b) four sides with square chapels crowned by octagonal domes. PL LXXXVII No. 4; the plan underneath. MS. B. i8a shows a variation obtained by replacing the round chapels in the principal axes of the sketch MS. B. 1 8 a by square ones, with an » This plan and some others of this class remind us of the plan of the Mausoleum of Augustus as it is represented for instance by Durand. See Cab. des Estampes, Bibliotheque Nationale, Paris, Topographic de Rome, V, 6, 82. a The note accampanying this plan is given under No. 754. PL .XC . Imp. Euder PL.XC I Imp, Elides. I r . Helio\>- Dxijardin Imp Eu.de s ECCLESIASTICAL ARCHITECTURE. 49 apse. Leonardo repeated both ideas for better comparison side by side, see page 47. Fig. 2. PI. LXXXIX (MS. B. \*jb). Elevation for the preceding figure. The comparison of the drawing marked M with the plan on page 47 Fig. 2, bearing the same mark, and of. the elevation on PI. LXXXIX below (marked A) with the corresponding plan on page 47 is highly instructive, as illustrating the spirit in which Leonardo pursued these studies. PI. LXXXIV No. 12 shows the design PI. LXXXVII No. 3 com- bined with apses, with the addition of round chapels on the diagonal sides. PL LXXXIV No. 13 is a variation of the preceding sketch. PI. XC No. 3. MS. B. 25*. The round chapels of the preceding sketch are replaced by octagonal chapels, above which rise campaniles. PI. XC No. 4 is the elevation for the preceding plan. PL XCII No. i. (MS. B. 39^; the plan below. On the principal as well as on the diagonal axes are diagonal chapels, but the latter are sepa- rated from the dome by semicircular recesses. The communication between these eight chapels forms a square aisle round the central dome. Above this figure is the elevation, showing four campaniles on the angles.1 PI. CXXXIV No. 3. On the principal axes are square chapels ivith three niches ; on the diagonals octagonal chapels with niches. Cod. Atl. 340^ gives a somewhat similar arrangement. MS. B. 30. The principal development is thrown on the diagonal axes by square chapels with three niches ; on the principal axes are inner recesses communicating with outer ones. The plan PL XCII I No. 2 (MS. B. 22) differs from this only in so far as the outer semicircles have become circular chapels, projecting from the external square as apses ; one of them serves as the entrance by a semicircular portico. The elevation is drawn on the left side of the plan. MS. B. 19. A further development of MS. B. 1 8, by employing for the four principal chapels the type PL LXXXVIII No. 3, as we have al- ready seen in PL XCI No. 2 ; the exterior presents two varieties. a) The outer contour follows the inner.2 b) It is semicircular. PL LXXXVII No. 2 (MS. B. \%b) Elevation to the first variation MS. B. 1 9. If we were not certain that this sketch was by Leonardo, we might feel tempted to take it as a study by Bramante for St. Peters at Rome3 1 The note accompanying this drawing is reproduced under No. 753. 2 These chapels are here sketched in two different sizes; it is the smaller type which is thus formed. 3 See Les projets primitifs PI. 43. VOL. 11. G 50 ARCHITECTURAL DESIGNS. [756. MS. P. V. 39*. In the principal axes the chapels of MS. B. 19, and semicircular niches on the diagonals. The exterior, oj the whole edi- fice is also an octagon, concealing the form of the interior chapels, but with its angles on their axes. Group V. Suggested by San Lorenzo at Milan. In MS. C. A. 266 IP, 812* there is a plan almost identical with that of San Lorenzo. — The diagonal sides of the irregular octagon are not indi- cated. If it could be proved that the arches which, in the actual church, exist on these sides in the first story, were added in 1574 by Martimo Bassi, then this plan and the following section would be still nearer the original state of San Lorenzo than at present. A reproduction of this slightly sketched plan has not been possible. It may however be under stood from PI. LXXXVIII No. 3, by suppressing the four pillars corresponding to the apses. PL LXXXVII No. i shows the section in elevation corresponding with the above-named plan. The recessed chapels are decorated with large shells in the halfdomes like the arrangement in §an Lorenzo, but with proportions like those of Bramantes Sacristy of Santa Maria presso S. Satiro. MS. C. A. 266; a sheet containing three views of exteriors of Domes. On the same sheet there is a plan similar to the one above-named but with uninterrupted aisles and with the addition of round chapels in the axes (compare PL XCVII No. 3 and .page 44 Fig. \), perhaps a reminiscence of the two chapels annexed to San Lorenzo. — Leonardo has here sketched the way of transforming this plan into a Latin cross by means of a nave with side aisles. PL XCI No. i . Plan showing a type deprived of aisles and comprised in a square building which is surrounded by a portico. It is accompanied by the following text: Ash. n. 7 a] 756. Questo edifitio e abitato di sotto • e di This edifice is inhabited [accessible] below sopra come • e san Sepulcro, 2ed e sopra and above, like San Sepolcro, and it is come sotto, saluo che '1 di sopra • al tiburio the same above as below, except that the • c • d • e' 1 di sotto 3 al tiburio a • b • e quado upper story has the dome c d; and the 756. i. tocto . . chome . . sansepulchro. a. chome. 3. a . b . e ecquado. 4. nela . . socto. 4. chali 10 schalini. 5. schalini . . 756. The church of San Sepolcro at Milan, foun- of the XVI ih century, still stands over the crypt of ded in 1030 and repeatedly rebuilt after the middle the original structure. 756.] ECCLESIASTICAL ARCHITECTURE. entri nella chiesa di sotto, 4tu cali 10 sea- lower has the dome a b, and when you lini, e quado mod in quello di sopra tu sali enter into the cr7P^ y°u descend 10 steps, ..... ... ._ . and when you mount into the upper you 205scalim, che a '/3luno fano 10 braccia, * e questo e lo spatio ch'e 6 infra i piani each, make 10 braccia, and this is the. height delPuna e 1'altra chiesa. 10. br . e. n. ellaltra. between one floor of the church and the other. Above the plan on the same sheet is a view of the exterior. By the aid of these two figures and the description, sections of the edifice may easily be reconstructed. But the section drawn on the left side of the building seems not to be in keeping with the same plan, notwithstanding the expla- natory note written underneath it: "dentro il difitio di sopra" (interior of the edifice above)1. Before leaving this group , it is ^vell to remark that the germ of it seems already indicated by the diagonal lines in the plans PL LXXXV No. ii and No. 7. We shall fend another application of the same type to the Latin cross in PL XCVII No. 3. 1 The small inner dome corresponds to a b on the plan — it rises from the lower church into the upper — ? above, and larger, rises the dome c d. The aisles above and below thus correspond (e di sopra come di sotto, salvoche etc.). The only difference is, that in the section Leonardo has not taken the trouble to make the form octagonal, but has merely sketched circular lines in perspective. J. P. R. £>' 2. Churches formed on the plan of a Latin cross. We find among Leonardos studies several sketches for churches on the plan of the Latin cross ; we shall begin by describing them, and shall add a few observations. A. Studies after existing Monuments. PI. XCIV No. 2. (MS. B. \\b.) Plan of Santo Spirito at Florence, a basilica built after the designs of Brunellesco. — Leonardo has added the indication of a portico in front, either his own invention or the reproduction of a now lost design. PL XCV No. 2. Plan accompanied by the words: "A e santo sepolcro di milano di sopra" ^A is the upper church of S. Sepolcro at Milan) ; although since Leonardos time considerably spoilt, it is still the same in plan. The second plan with its note: "B e la sua parte socto tera" (B zs its sub- terranean part [the crypt]") still corresponds with the present state of this part of the church as I have ascertained by visiting the crypt with this plan. Excepting the addition of a few insignificant walls, the state of this in- teresting part of the church still conforms to Leonardos sketch ; but in the Vestibolo the two columns near the entrance of the winding stairs are absent. B. Designs or Studies. • PL XCV No. i. Plan of a church evidently suggested by that of San Sepolcro at Milan. The central part has been added to on the principle of the second type of Group III. Leonardo has placed the "coro" (choir) in the centre. PL.XCIV n«*^A^v»^tt«rwr;^re»r-^' ft: •- 5 f /rs* g!p»*a**ifi& •/flW^Ji^Hfi. Aw^^-^ft^^ j& /w*r£Xr*™Vvif^Jr» ;»V.»A. V*o^»r/Vv1 r«> ,_ lpf;p fl / V / 1 ft - « • j m E 1 i •u '** lf..;7 &%&iH*3^'?Tfr*y4 > * ^^i-^)^-.1^^ovr|^-Mr«^t i -a C TV ' ^J ^ fV«T ! «>%Mfi * *° " «%"P»* •**"r> !»T«r»f4f» » _£~rrr^ ~">T»V*^«»»^f •*«i^ '••] ; '•^|k> •!*•«•« j>k :. ••- > f^&^S^^, ': ; •• elio-. Daardi Im . Elides. 757-] ECCLESIASTICAL ARCHITECTURE. 53 PL XCVI No. 2. In the plan the dome, as regards its interior, belongs to the First Class of Group ""IV, and may be grouped with the one in MS. B. 35a. The nave seems to be a development of the type represented in PL XCV No. 2, B. by adding towers and two lateral porticos'1. On the left is a view of the exterior of the preceding plan. It is accom- panied by the following note: B. 24 «] 757- Questo • edifitio e abitato di sopra e di This building is inhabited below and sotto; 2di sopra -si va • per li campanili • e above; the way up is by the campaniles, uassi su per lo piano 3dove sono fondati fd ^ going up one has to use the plat- ... , . x form, where the drums of the four domes • i • 4 • tibun, e detto piano 4a uno parapetto ^ and thig platform has a parapet in frontj dmazi, e di detti tibun nessuno sne riesce and none of these domes communicate with in chiesa, anzi sono separati I tutto. the church, but they are quite separate. 757. 4. a i parapecto. 5. neriessie . . tucto. PL XCVI No. i (MS. C. A. i6b; 6$a). Perspective view of a church seen from behind; this recalls the Duomo at Florence, but with two campaniles2. PL XCVI I No. 3 (MS. B. 52°). The central part is a development of S. Lorenzo at Milan, such as was executed at the Duomo of Pavia. There is sufficient analogy between the building actually executed and this sketch to suggest a direct connection between them. Leonardo accompanied Fran- cesco di Giorgio^ when the latter was consulted on June 2\st, 1490 as to this church; the fact that the only word accompanying the plan is: "sagrestia", seems to confirm our supposition, for the sacristies were added only in 1492, i. e. four years after the beginning of the Cathedral, which at that time was most likely still sufficiently unfinished to be capable of receiving the form of the present sketch. PL XCV I I No. 2 shows the exterior of this design. Below is the note: edifitio al proposito del fodameto figurato di socto (edifice proper for the ground plan figured below). Here we may also mention the plan of a Latin cross drawn in MS. C. A. fol. 266 (see p. 50,). PL XCIV No. i (MS. L. 15^. External side view of Brunellescds Florentine basilica San Lorenzo, seen from the North. PL XCIV No. 4 (V. A. V, \). Principal front of a nave, most likely of a church on the plan of a Latin cross. We notice here not only the 1 Already published in Les projets primitifs PI. IX. 2 Already published in the Saggio PI. IX. 3 See MALASPINA, il Duomo di Pavia. Documents. 54 ARCHITECTURAL DESIGNS. principal features which were employed afterwards in Albcrti's front of S. Maria Novella, but even details of a more advanced style, such as we are accustomed to meet with only after the year 1520. In the background of Leonardos unfinished picture of St. Jerome (Vatican Gallery) a somewhat similar church front is indicated (see the accompanying sketch). The view of the front of a temple, apparently a dome in the centre of four corinthian porticos bearing pediments (published by Amoretti Tav. II. B as being by Leonardo), is taken from a drawing, now at the Ambrosian Gallery. We cannot consider this to be by the hand of the master. '/•- . .-• - r - '• Imp Eude s C. Studies for a form of a Church most proper for preaching. The problem as to what form of church might answer the require- ments of acoustics seems to have engaged Leonardo s very particular attention. The designation of "teatro" given to some of these sketches, clearly shows which plan seemed to him most favourable for hearing the preacher s voice. PI. XCVII, No. i (MS. B, 52). Rectangular edifice divided into three naves with an apse on either side, terminated by a semicircular theatre with rising seats, as in antique buildings. The pulpit is in the centre. Leonardo has written on the left side of the sketch: "teatro da predicare" (Theatre for preaching). MS. B, 55* (see page 56, Fig. ij. A domed church after the type of PL XCV, No. i, shows four theatres occupying the apses and facing the square "coro" (choir), which is in the centre between the four pillars of the dome.1 The rising arrangement of the seats is shown in the sketch above. At the place marked B Leonardo wrote teatri per uldire messa (rows of seats to hear mass), at T teatri, and at C coro (choir). In MS. C.A. 260, are slight sketches of two plans for rectangular choirs and two elevations of the altar and. pulpit which seem to be in con- nection with these plans. In MS. Ash II, 8a (see p. 56 and 57. Fig. 2 and $). "Locho dove si pre- dica" (Place for preaching). A most singular plan for a. building. The interior is a portion of a sphere, the centre of which is the summit of a column destined to serve as the preacher s pulpit. The inside is somewhat ' The note teatro de predicar, on the right side is, I believe, in lJu' handwriting of Pontpeo Leoni. J. P. R. ARCHITECTURAL DESIGNS. Fig. 2. •'• .• . . • > .'. , " fpfl 'V- \ ,v^^.^.V,^-V ' ImD. Eiid.es. i-'r ~ vcf/A V. ^'. ^A -;•/.» 'C^ •-:• -^ - -v-.v-v •m&m> • (.$;?-' •'•' - - ,"* • • :;;!;:':5^^'-'- .^•^aeSyGA.v'j :,' "• ' .-^.i .. ECCLESIASTICAL ARCHITECTURE. 57 like a modern theatre, whilst the exterior and the galleries and stairs recall the ancient amphitheatres. Page 57, Fig. 4. A plan accompanying the two preceding drawings. If this gives the complete form Leonardo intended for the edifice, it would Fig. 3- Fig. 4. have comprised only about .two thirds of the circle. Leonardo wrote in the centre "fondamento", a word he often employed for plans, and on the left side of the view of the exterior: locho dove si predicha (a place for preaching in). VOL. II. n D. Design for a Mausoleum. PI. XCVIII (P. V., 182. No. d'ordre 2386;. In the midst of a hilly landscape rises an artificial mountain in the form of a gigantic cone, crow- ned by an imposing temple. At two thirds of the height a terrace is cut out with six doorways forming entrances to galleries, each leading to three sepulchral halls, so constructed as to contain about Jive hundred funeral urns, disposed in the customary antique style. From two opposite sides steps ascend to the terrace in a single flight and beyond it to the tetnple above. A large circular opening, like that in the Pantheon, is in the dome above what may be the altar, or perhaps the central monument on the level of the terrace below. The section of a gallery given in the sketch to the right below shows the roof to be constructed on the principle of superimposed horizontal layers, projecting one beyond the other, and each furnished ivith a sort of heel, which appears to be undercut, so as to give the appearance of a beam from within. Granite alone would be adequate to the dimensions here given to the key stone, as the thickness of the layers can hardly be considered to be less than a foot. In taking this as the basis of our calculation for the dimensions of the whole construction, the width of the chamber would be about 2 5 feet but, judging from the number of urns it contains — and there is no reason to suppose that these urns were larger than usual — it would seem to be no more than about 8 or \ o feet. The construction of the vaults resembles those in the galleries of some etruscan tumuli, for instance the Regulini Galeassi tomb at Cervetri (late- ly discovered) and also that of the chamber and passages of the pyramid of Cheops and of the treasury of Atreus at Mycenae. The upper cone displays not only analogies with the monuments men- tioned in the note, but also with Etruscan tumuli, such as the Cocumella . - :• -• Imp. Elide ECCLESIASTICAL ARCHITECTURE. 59 tomb at Vulci, and the Regulini Galeassi tomb'1. The whole scheme is one of the most magnificent in the history of Architecture. It would be difficult to decide as to whether any monument he had seen suggested this idea to Leonardo, but it is worth while to enquire, if any monument, or group of monuments of an earlier date may be supposed to have done so.2 1 See FERSGUSON, Handbook of Architecture, I, 291. 2 There are, in Algiers, two Monuments, commonly called "Le Madracen" and "Le tombeau de la Chretienne," which somewhat resemble Leonardo's design. They are known to have served as the Mausolea of the Kings of Mauritania. Pomponius Mela, the geographer of the time of the Emperor Claudius, describes them as having been "Monumentum commune regiae gentis." See Le Madracen, Rapport fait par M. le Grand Rabbin AB. CAHEN, Constantine 1873 — Memoire sur les fouilles executees au Madras'en . . par le Colonel BRUNON, Constantine 1873. — Deux Mausolees Africains, le Madracen et le tombeau de la Chretienne par M. J. DE LAURIERE, Tours 1874. — Le tombeau de la Chretienne, Mausolee des rois Mauritaniens par M. BERBRUGGER, Alger 1867.— / am indebted to M. LE BLANC, of the Institut, and M. LUD. LALANNE, Bibliothecaire of the Instilut for having first pointed out to me the resemblance between these monuments; while M. ANT. HERON DE VlLLEFOSSE of the Louvre was kind enough to place the abovementioned rare works at my disposal. Leonardo's observations on the coast of Africa are given later in this work. The Herodium near Bethlehem in Palestine (Jebel el Fureidis, the Frank Mountain) was, according to the latest researches, constructed on a very similar plan. See Der Frankenberg, von Baurath C. SCHICK in Jerusalem, Zeitschrift des Deutschen Palastina-Vereins, Leipzig 1880, Vol. Ill, pages 88—99 and Plates IV and V. J. P. R. E. Studies for the Central Tower, or Tiburio of Milan Cathedral. Towards the end of the fifteenth century the Fabbricceria del Duomo had to settle on the choice of a model for the crowning and central part of this vast building. We learn from a notice published by G. L. Calvi ' that among the artists who presented models in the year 1488 were: Bramante, Pietro da Gorgonzola, Luca Paperio (Fancelli), and Leonardo da Vinci. — Several sketches by Leonardo refer to this important project: PL CXIX, No. 2 (MS. S. K. Ill, No. 36*; a small plan of the whole edifice. — The projecting chapels in the middle of the transept are wanting here. The nave appears to be shortened and seems to be approached by an inner "vestibolo".— PL C, No. 2 (Tr. 21). Plan of the octagon tower, giving the disposition of the buttresses ; starling from the eight pillars adjoining the four principal piers and intended to support the eight angles of the Tiburio. These but- tresses correspond exactly with those described by Bramante as existing in the model presented by Omodeo.2 PI. C, 3 (MS. Tr. 1 6). Two plans showing different arrangements of the buttresses, which seem to be formed partly by the intersection of a system of pointed arches such as that seen in PL C, No. 5 (MS. B, 2?a) destined to give a broader base to the drum. The text underneath is given under No. 788. MS. B, 3 — three slight sketches of plans in connexion with the pre- ceding ones. » G. L. CALVI, Notizie sulla vita e sulle opere dei principali architetti scultori e pittori che fiori- rono in Milano, Part 111, 20. See also: H. DE GEYMULLER, Les projets primitifs etc. /, 37 and 116 — 119.— The Fabbricceria of the Duomo has lately begun the publication of the archives, which may possibly tell us more about the part taken by Leonardo, than has hitherto been known. * Bramante's opinion was first published by G. MONGERI, Arch. stor. Lomb. V, fasc. 3 and afterwards by me in the publication mentioned in the preceding note. , , I- ; ; ' -xj- i 5. » C> •^""fB^^^'-i •"-•"•*.•>»••• » '-- -• -'.»• .T— it'- i ^r-!_ • i' • ; F -;;^-4-:E; •*• 1 > i •*/ . «. x£= •* !• $ Vc .**,"->' > - • - *v • ' . k^» •-% L • . _»- - • >- D-ujardm Imp. E- 758.] ECCLESIASTICAL ARCHITECTURE. 6l PL XCIX, No. i (MS. Tr. 15) contains several small sketches of sections and exterior views of the Dome; some of them show buttress-walls shaped as inverted arches. Respecting these Leonardo notes: Tr. 15) 758. L'arco rivescio e migliore per fare The inverted arch is better for giving a 2spalla che 1'ordinario, perche il rovescio shoulder than the ordinary one, because the 3 trova • sotto • se • muro resistete alia sua former finds below it a wall resisting its weakness, whilst the latter finds in its weak part nothing but air. 4debolezza, e 1'ordinario no trova nel suo sdebole se non aria. 758. i. larcho. 2. isspalla . . riverscio. 4. deboleza ellordinario. Three slight sketches of sections on the same leaf- — above those repro- duced here — are more closely connected with the large drawing in the centre of PL C, No. 4 (MS, Tr. 4 1) which shows a section of a very elevated dome, with double vaults, connected by ribs and buttresses ingeniously dis- posed, so as to bring the weight of the lantern to bear on the base of the dome. A sketch underneath it shows a round pillar on which is indicated which part of its summit is to bear the weight: "il pilastro sara charicho in • a - 6." (The column will bear the weight at a b.^ Another note is above on the right side: Larcho regiera tanto sotto asse chome di sopra se (The arch supports as much below it [i. e. a hanging weight] as above it). PL C, No. i (C.A. 303^. Larger sketch of half section of the Dome, with a very complicated system of arches, and a double vault. Each stone is shaped so as to be knit or dovetailed to its neighbours. Thus the inside of the Dome cannot be seen from below. MS. C.A. 303^. A repetition of the preceding sketch with very slight modi/lea tions. Fig. 2. MS. Tr. 9 (see Fig. i and 2). Section of the Dome with reverted buttresses between the windows, above which iron anchors or chains seem to be intended. Below is the sketch of the outside. Fig. i. Tr. 9 (see Fig. 62 ARCHITECTURAL DESIGNS. PI. XCIX, No. 3 (C.A., 262°) four sketches of the exterior of the Dome. C. A. 1 2. Section, showing the points of rupture of a gothic vault, in evident connection with the sketches described above. It deserves to be noticed how easily and apparently without effort, Leonardo manages to combine gothic details and structure with the more modern shape of the Dome. The following notes are on the same leaf, oni cosa poderosa, and oni cosa poderosa desidera de(scendere); farther below, several multiplications most likely intended to calculate the weight of some parts of the Dome, thus 16 x 47 = 720; 720 x Soo = 176000, next to which is written: peso del pilastro di 9 teste (weight of the pillar 9 diameters high). Below: 176000 x 8 = 1408000; and below: Semjlio e se ce 80 (?) il peso del tiburio (six millions six hundred (?) 80 the weight of the Dome), Bossi hazarded the theory that Leonardo might have been the architect who built the church of Sta. Maria delle Grazie, but there is no evidence to support this, either in documents or in the materials supplied by Leonardos manuscripts and drawings. The sketch given at the side shows the arrangement of the second and third socle on the apses of the choir of that church ; and it is remarkable that j those sketches, in MS. S. K. M. II2, 2a and i6, occur -\ with the passage given in Volume I as No. 665 and *J 666 referring to the composition of the Last Supper in the Refectory of that church. F. The Project for lifting up the Battistero of Florence and setting it on a basement. Among the very few details Vasari gives as to the architectural studies of Leonardo, we read: "And among these models and designs there was one by way of which he showed several times to many ingenious citizens who then governed Florence, his readiness to lift up without ruining it, the church of San Giovanni in Florence (the Battistero, opposite the Duomo) in order to place under it the missing basement with steps; he supported his assertions with reasons so persuasive, that while he spoke the undertaking seemed feas- able, although every one of his hearers, when he had departed, could see by himself the impossibility of so vast an undertaking" ^ In the MS. C. A. fol. 293, there are two sketches which possibly might have a bearing on this bold enterprise. We find there a plan of a cir- cular or polygonal edifice surrounded by semicircular arches in an oblique position. These may be taken for the foundation of the steps and of the new platform. In the perspective elevation the same edifice, forming a polygon, is shown as lifted up and resting on a circle of inverted arches which rest on an other circle of arches in the ordinary position, but so placed that the inverted arches above rest on the spandrels of the lower range. What seems to confirm the supposition that the lifting up of a building is here in question, is the indication of engines for winding up, such as jacks, and a rack and wheel. As the lifting apparatus represented on this sheet does not seem particularly applicable to an undertaking of such magnitude, we may consider it to be a first sketch or scheme for the engines to be used. i This latter statement of Vasarfs must be considered to be exaggerated. I may refer here to some data given by LlBRl, Histoire des sciences mathematiques en Italic (II, 216, 217): "On a cru dans ces derniers temps faire un miracle en mecanique en effectuant ce transport, et cependant des 1'annee 1455, Gaspard Nadi et Aristote de Fioravantio avaient transporte, a une distance considerable, la tour de la Magione de Bologne, avec ses fondements, qui avait presque quatre-vingts pieds de haut. Le continuateur de la chronique de Pugliola dit que le trajet fut de 35 pieds et que durant le transport auquel le chroniqueur affirme avoir assist^, il arriva un accident grave qui fit pencher de trois pieds la tour pendant qu'elle £tait suspendue, mais que cet accident fut promptement repare (Muratori, Scriptores rer. ital. Tom. XVIII, col. 717, 718). Alidosi a rapporte une note ou Nadi rend compte de ce transport avec une rare simplicite. D'apres cette note, on voit que les operations de ce genre n'etaient pas nouvelles. Celle-ci ne couta que 150 livres (monnaie d'alors) y compris le cadeau que le L6gat fit aux deux mecaniciens. Dans la meme annee, Aristote redressa le clocher de Cento, qui penchait de plus de cinq pieds (Alidosi, instruttione p. 188 — Muratori, Scriptores rer. ital., torn. XXIII, col. 888. — Bossii, chronica Mediol., 1492, in-fol. ad ann. 1455)- On ne conc,oit pas comment les historiens des beaux-arts ont pu negliger de tels hommes." J. P. R. G. Description of an unknown Temple. C. A. 2800; 8520] 759- Per dodici gradi di scale al magno tem- pio si saliva, il quale otto cento braccia circundaua, e con ottagulare 2figura era fabricate, e sopra li otto anguli otto gran base si posauano a un braccio e mezzo, e grosse 3, 3e lunghe 6 nel suo sodo, col- Pangolo in mezzo, sopra delle quali si fon- dauano 8 gra pilastri: sopra del sodo della basa si Ie4vava per ispatio di 24 braccia, e nel suo termine erano stabiliti 8 capitelli di 3 braccia 1'uno, e largo 6, sopra di questi se5guiva architraue fregio e cornice con altezza di 4 braccia e 1/2 , il quale per retta linia 6 dall' un pilastro all' altro s' asten- dea, e cosl con circuito d'otto cento brac- cia il tempio circundava infra 1* u 7 pilastro e P altro; per sostentacolo di tal mebro erano stabiliti dieci gran colohe dell' altez- za de' pilastri e co 8 grossezza di 3 braccia sopra le base, le quali era alte vn braccio e l/2. ^Salivasi a questo tenpio per 12 gradi di scale, il quale tempio era sopra il dodecimo grado fondato in figura ottan'°gulare, e sopra ciascuno angulo nasceva vn gran pilastro; e infra li pilastri erano inframessi "dieci Twelve flights of steps led up to the great temple, which was eight hundred braccia in circumference and built on an octagonal plan. At the eight corners were eight large plinths, one braccia and a half high, and three wide, and six long at the bottom, with an angle in the middle; on these were eight great pillars, standing on the plinths as a foundation, and twenty four braccia high. And on the top of these were eight capitals three braccia long and six wide, above which were the architrave frieze and cornice, four braccia and a half high, and this was carried on in a straight line from one pillar to the next and so, continuing for eight hundred braccia, surrounded the whole temple, from pillar to pillar. To support this entablature there were ten large columns of the same height as the pillars, three braccia thick above their bases which were one braccia and a half high. The ascent to this temple was by twelve flights of steps, and the temple was on the twelfth, of an octagonal form, and at each angle rose a large pillar; and between the pillars were placed ten columns of the 759. Either this description is incomplete, or, as seems to me highly probable, it refers to some ruin. The enormous dimensions forbid our supposing this to be any temple in Italy or Greece. Syria was the native land of colossal octagonal buildings, in the early centuries A. D. The Temple of Baalbek, and others are even larger than that here described. J. P. R. 759-] DESCRIPTION OF AN UNKNOWN TEMPLE. colonne colla medesima altezza de' pilastri, i quali si levaua sopra del pauimeto • 28 braccia e */2 ; sopra I2di questa medesima altezza si posaua architraue fregio e cornice con lunghezza d'otto ceto braccia, e cignea X3il tenpio a vna medesima altezza circuiua dentro a tal circuito sopra il medesimo pi- ano; in giro in centre del tempio per spatio di 24 braccia nascono ^le conrispondentie delli 8 pilastri delli angoli, e delle colonne poste a esse prime faccie, e si "Sleuauano alia medesima altezza sopra detta, e sopra tal pilastri li architraui perpetui l6ritor- navano sopra li primi detti pilastri e colonne. same height as the pillars, rising at once from the pavement to a height of twenty eight braccia and a half; and at this height the archi- trave, frieze and cornice were placed which surrounded the temple having a length of eight hundred braccia. At the same height, and within the temple at the same level, and all round the centre of the temple at a distance of 24 braccia farther in, are pillars correspon- ding to the eight pillars in the angles, and columns corresponding to those placed in the outer spaces. These rise to the same height as the former ones, and over these the continuous architrave returns towards the outer row of pillars and columns. br e ^z. 12. di queste sta . . alteza . . frego e corice cho collungeza dotto ceto br cigea. 13. alteza . . attal . . piano | "iciero il centre del tenpio per ispatio di 24 br . nasscie. 14. e delle [ottamta] colone . . facce essi. 15. alteza sopra [di que] detta. Li?i "tff V. Palace architecture. But a small number of Leonardo s drawings refer to the architecture of palaces, and our knowledge is small as to what style Leonardo might have adopted for such buildings. PL CII No. i (W. XVIII). A small portion of a faqade of a palace in two stories ; somewhat resembling Alberti's Palazzo Rucellai. — Compare with this Bramante s painted front of the Casa Silvestri, and a painting by Montorfano in San Pietro in Gessate at Milan, third chapel on the left hand side and also with Bramantes palaces at Rome. The pilasters with ara- besques, the rustica between them, and the figures over the window may be painted or in sgraffito. The original is drawn in red chalk. PI. LXXXI No. i (MS. Tr. 42). Sketch of a palace with battle- ments and decorations, most likely graffiti; the details remind us of those in the Castello at Vigevano.* MS. Mz. o", contains a design for a palace or house with a loggia in the middle of the first story, over which rises an attic with a Pediment repro- duced on page 67. The details drawn close by on the left seem to indicate an arrangement of coupled columns against the wall of a first story. PL LXXXV No. 14 (MS. S. K. M. Ill 79°) contains a very slight i Count GlULIO PORKO, in his valuable contribution to the Archivio Storico Lombardo, Anno VIII, Fasc. IV (31 Dec. 1881): Leonardo da Vinci, Libro di Annotazioni e Memorie, refers to this in the following note: "Alia pag. 41 vi e uno schizzo di volta ed accanto scrisse: 'il pilastro- sara charicho in su 6' e potrebbe darsi che si riferisse alia cupola della chiesa delle Grazie tanto pii che a pag. 42 vi e un disegno che rassomiglia assai al basamento che oggi si vede nella parte esterna del coro.di quella chiesa." This may however be doubted. The drawing, here referred to, on page 41 of the same manuscript, is reproduced on PI. C No. 4 and described on page 6 1 as being a study for the cupola of the Duomo of Afilan. J. P. R. PALACE ARCHITECTURE. 67 sketch in red chalk, which most probably is intended to represent the faqade of a palace. Inside is the short note 7 he 7 (j and 7). //////////// / f M 1 1 m\ \\\\\\\\\\\\\\ . «72 8a ^r^ pages 68 /^. i tfTZdf 2^) contains a view of an unknown palace. Its plan is indicated at the side. In MS. Br. M. 126* (see Fig. 3 on page 68) there is a sketch of a house, on which Leonardo notes: casa con tre 'terrazi (house with three terraces). 68 ARCHITECTURAL DESIGNS. [760. PL CX, No. 4 (MS. L. 36*) represents the front of a fortified building drawn at Cesena in 1502 (see No. 1040). I .9 II Fig. 2 Fig. .. Here we may also mention the singular building in the allegorical composition represented on PL L VIII in Vol. I. In front of it appears the head of a sphinx or of a dragon which seems to be carrying the palace away. . . The following texts refer to the construction of palaces and other buil- dings destined for private use: W. XIX] 760. La corte de' auere le parieti 2per 1'al- On the pro- tezza la meta della sua ^larghezza, cioe corte *sara braccia 40, la casa deve essere Salta 20 nelle parieti di tal 6 corte, e tal corte vol essere ?larga per la meta di tutta la 8facciata. portions of o~ a court yard. In the courtyard the walls must be half the height of its width, that is if the court be 40 braccia, the house must be 20 high as regards the walls of the said courtyard; and this courtyard must be half as wide as the whole front. 760. i. pariete. 2. lalteza. 3. largezza coe sella. 4. br 40 . la casa e essere. 5. alte . . pariete. 6. volerssere. 7. faccata. 760. See PL CI, no. i, and compare the dimensions here given, with No. 748 lines 26 — 29; and the drawing belonging to it PI. LXXXI, no. 2. I f4:^*i^&^|ft fc |ii^r^S j . ; ,V .l/v*rtl IW / ' ': •• • , , _ ' y.y,'. ' •'• > - • i . , • '• . s>., ' , • .. ( - - - ^i&.< y . '-'• s •• -f -y. •. . i . •' vK'.^.;^-. '-. • ? -^. • ]mp . Eludes. PALACE ARCHITECTURE. 69 B. 39*] 76l. PER FARE VNA POLITA STALLA. 2 Modo • come • si de' • componere • vna • stalla: Dividerai in prima la sua lar^ghez- za • in parti -3-6 la sua lunghezza e libera -, e le • 3 • dette divisioni * sieno equali e di larghezza di braccia 6 per ciascuna, e alte 10, e la parte di mezzo 5sia in uso • de' maestri di stalla •, le 2 da cato per i ca- vagli, de' quali ciascuno ne de' 6pigliare per larghezza braccia 6 •, lughezza braccia 6, e alte piv dinanti • che dirieto • l/2 • braccio; 7 la mangiatoia sia alta da terra braccia 2, il principio della rastrelliera 8 braccia -3-6 1' ultimo • braccia 4 •; Ora • a volere atenere • quello ch'io prometto, cioe di 9 fare detto sito cotro allo universale vso • pulito e netto • inquato al • di sopra I0 della stalla •, cioe dove sta il fieno •, debe detto loco avere nella sua testa di fori vna "finestra alta 6 • e larga 6, donde con vn facil modo si coduca il fieno su detto I2solaro, come appare nello strumeto E •, e sia collocata 1 un sito di larghez^za di braccia 6, e lungo quato la stalla, come appare in • k -p • e 1' altre 2 parti J4che mettano in mezzo • questa, cias- cuna sia diuisa in 2 parti, le dua diverso il fieno siaI5no braccia 4 •, p • s •, solo allo ofitio e andamento de' ministri d'essa stalla, 1' altre l62 che confinano colle parieti mu- rali • sieno di braccia 2, come appare in s • /£-, I7e queste sieno allo ofitio di dare-il feno alle magiatoie • per condotti stretti nel 18 principio e larghi sulle magiatoie, accio che'l feno no si fermi infra via, sieno ^bene Itonicati e politi, figurati dov' e segnato £ . f-s-, in quanto al dare 20bere siano le ma- giatoie di pietra, sopra le quali sia 1' acqua, si che si possino 2Iscoprire le magiatoie come si scoprono le casse, alzado i coperchi loro. FOR MAKING A CLEAN STABLE. The manner in which one must arrange ,. On .^e ,..,. . , . dispositions a stable. You must first divide its width m of a stable. 3 parts, its depth matters not; and let these 3 divisions be equal and 6 braccia broad for each part and 10 high, and the middle part shall be for the use of the stablemasters ; the 2 side ones for the horses, each of which must be 6 braccia in width and 6 in length, and be half a braccio higher at the head than behind. Let the manger be at 2 braccia from the ground, to the bottom of the rack, 3 braccia, and the top of it 4 braccia. Now, in order to attain to what I promise, that is to make this place, contrary to the general custom, clean and neat: as to the upper part of the stable, i. e. where the hay is, that part must have at its outer end a window 6 braccia high and 6 broad, through which by simple means the hay is brought up to the loft, as is shown by the machine E; and let this be erected in a place 6 braccia wide, and as long as the stable, as seen at k p. The other two parts, which are on either side of this, are again divided; those nearest to the hay-loft are 4 braccia, / s, and only for the use and circulation of the servants belonging to the stable; the other two which reach to the outer walls are 2 braccia, as seen at s k, and these are made for the purpose of giving hay to the mangers, by means of funnels, narrow at the top and wide over the manger, in order that the hay should not choke them. They must be well plastered and clean and are represented at 4 fs. As to the giving the horses water, the troughs must be of stone and above them [cisterns of] water. The mangers may be opened as boxes are uncovered by raising the lids. 761. 2. chome . . chomponere . . isstalla. 3. geza in parte. 3. ella . . lungeza . . decte. 4. largeza di br 6 . . mezo. 6. lar- geza br . 3 ellugeza br 6 . . 1/2 br. 7. la mangiatoria sialta dacterra br . 2 . [larastella era] il . . dela rastelliera. 8. br . 3 , ellultimo br 4 . . attenere . . promecto. 9. decto . . necto. 10. feno . . decto . . nela. n. feno. 12. apare . . essia colocata . . large. 13. br 6 . . apare in K. p. laltre e laltre. 14. metano imezo . . si diuisa . . feno. 15. no br 4 "p . s" . . ofitio [de mini si.ribe] e andamento. 16. 2 che che chonfinano chole pariete . . br 2 . . apare. 17. ecqueste . . magiatore . per condocti strecti. 18. sule magiatore acio. 20. le magiatore . . sia la sichessi. 21. magiatore chome si scho- prano. 761. See PL LXXVIII, No. i. ARCHITECTURAL DESIGNS. [762. 763. B. 762. MODO COME SI FANNO 2L* ARMATURE PER FARE JORNAMETO 4Di KDIFITI. s Modo come si debbono 6 mettere le per- tiche 7per legare i mazzuoli 8de' ginepri sopra esse 9pertiche, le quali sono I0confitte sopra rarjlmatura della volI2ta e lega essi ma'3zzuoli con salci e 14su per fare cimerosa •scolle forbici e Ial6vora le co salci; J7Sia da Pul8no all' altro ''cerchiouno 20 l/2 braccio e '1 gi2Inepro si de' 22regiere collie cime in giv 2*c6mlciado 2$di sotto; 26 A questa colonna si lega 27d'intorno 4 pertiche, dintor2*no alle quali s'inchioda 29vinchi grossi uno dito • e poi 3° si fa da pie e vassi in alto lega^do mazzuoli di cime di ^2ginepro colle cime J ba^sso doe sotto sopra. THE WAY TO CONSTRUCT A FRAME-WORK FOR DECORATING BUILDINGS. The way in which the poles ought to be placed for tying bunches of juniper on to them. These poles must lie close to the frame- work of the vaulting and tie the bunches on with osier withes, so as to clip them even afterwards with shears. Let the distance from one circle to another be half a braccia; and the juniper [sprigs] must lie top downwards, beginning from below. Round this column tie four poles to which willows about as thick as a finger must be nailed and then begin from the bottom and work upwards with bunches of juniper sprigs, the tops downwards, that is upside down. Br. M. 19211] Sia lasciata cadere 1'acqua 2in tutto il cerchio di a • b. 763- C OL The water should be allowed to fall from the whole circle a b. 762. i. fa. 2. larmadure. 5. debe. 7. mazoli. 10. chofittc. n. madura. 13. coli chon salcie[l]e. 16. cosalci. 19. cierchio i. 20. */2 br. 22. cho. 26. acquesta. 28. ale. 29. i dito. 31. mazoli di [gin] cime. 32. cholle. 763. i. lacq"a". 2. lotto il cierchio. 762. See PI. CII, No. 3. The words here given as the title line, lines I — 4, are the last in the ori- ginal MS. — Lines 5 — 16 are written under fig. 4. 763. Other drawings of fountains are given on PL CI (W. XX) ; the original is a pen and ink drawing on blue paper; on PL CIII (MS. B.) and PL LXXXII. •**>•* ••"•' ••- • ' .>* «v«^ , .-.•• — r-' ' • ' ::'^ 0& m PI,. . . 3 »T r".' \ V jlfcS^V 1> I p4**«r^SSiS .^^ TTcliop^. Dxijardin Imp. Elides. II VI. Studies of architectural details. Several of Leonardos drawings of architectural details prove that, like other great masters of that period, he had devoted his attention to the study of the proportion of such details. As- every organic being in nature has its law of construction and growth, these masters endeavoured, each in his way, to discover and prove a law of proportion in architecture. The following notes in Leonardos manuscripts refer to this subject. Fig. 2. Fig. I. MS. S. K. M. Ill, 47 b (see Fig. i). A diagram, indicating the rules as given by Vitruvius and by Leon Battista Alberti for the proportions of the Attic base of a column. MS. S. K. M. Ill 55° (see Fig. 2). Diagram showing the. same rules. ARCHITECTURAL DESIGNS. [764—766. S. K. M. III. |8/>] 764. L. 19 £; B toro superiore 2B nestroli .. 3B orbiculo 4B nestroli 5B toro Tferiore 6B latastro SCALE D' URBINO. 765- 3 II latastro deve ^essere largo quaHo la grossezza di qua6luque muro dove 7tale latastro s'ap8poggia. toro superiore astragali quadre . . troclea astragali quadre toro Iferiore plintho <^ STEPS OF URBINO. The plinth must be as broad as the thickness of the wall against which the plinth is built. C. A. 318*; 9610] 766. I nostri antichi architettori co- miciando in prima dagli Egitti, i quali se- codo che descrive Diodoro Sicolo 2furo i primi edificatori e componitori di citta gran- dissime. e di castelli ed edifizi publici e privati di forma, grandezza 3e qualita • per le quali i loro antecedeti riguardevoli con stupefazione e maraviglia * le eleuate e gran- dissime macchine paredo loro .... s La colonna ch' a la sua grossezza nel ter- zo . . . . 6quella che fusse sottile nel mezzo ronperassi nelle . . ; 7quella ch'e di pari grossezza e di pari fortezza e migliore per 1'edi- fizio, 8seconda di bonta sara quella ch'a la maggior gros- sezza dov' ella si cogivgnie colla 9basa. •^ s N «A o. \ v ^ s ^ \ s N 1 \ *> 5 i s < N ^ ^ 0 i . s \ > s ^ ^ i ^ vf V s s s The ancient architects beginning with the Egyptians (?) who, as Diodorus Siculus writes, were the first to build and construct large cities and castles, public and private buildings of fine form, large and well proportioned The column, which has its thickness at the third part .... The one which would be thinnest in the middle, would break . . . ; the one which is of equal thickness and of equal strength, is better for the edifice. The se- cond best as to usefulness will be the one whose greatest thickness is where it joins with the base. 764. i. toro superio . . super. 2. nexstroli. 3. torclea. 5. inferior . . Iferi. 6. | pinto] plinto. 765. 2. (il muro]. 3, illatasstro debbe. 4. fg] largo. 5. grosseza di qu"a". 7. latastro. 8. pogga. 766. i — . . written Jrom left to right, i. nosstri . . otalecine chomlciando . . daglitii . . sechodo . . desscriue . . sicholo. 2. edi* tichatori e chomponitori di cita . . chasstella. 4. grandeza . . anticiedeti [gestupessani che] righuardevoli chonnistupefazione . . loro; here the text breaks off. 5. cholonna-. . groseza terzo qui . ve ana aroper se (?) 6. . . mezo . . nelle 2 ispasia. 764. No explanation can be offered of the mean- ing of the letter B, which precedes each name. It may be meant for basa (base). Perhaps it refers to some author on architecture or an architect (Bra- mante ?) who employed the designations, thus marked for the mouldings. •3. troclea. Philander: Trochlea sive trochalia aut rechanum. 6. Latercului or latastrum is the Latin name for Plinthus (TtMvdo;), but Vitruvius adopted this Greek name and "lataMro" seems to have been little in use. It is to be found besides the text given above, as far as I am aware, only on two drawings of the Uffizi Collection, where, in one instance, it indicates the abacus of a Doric capital. 765. See PI. CX No. 3. The hasty sketch on the right hand side illustrates the unsatisfactory' effect produced when the plinth is narrower than the wall. 766. See PI. CIII, No. 3, where the sketches belonging to lines 10 — 16 are reproduced, but rever- sed. The sketch of columns, here reproduced by a wood cut, stands in the original close to lines 5 — 8. 767. 768.] ARCHITECTURAL DESIGNS. 73 10 II capitello a a essere J questo formato, dividi la sua grossezza da capo j 8 d' u pie, "e fa che sia alto 5/7 e ver~ ra a essere quadro, dipoi dividi 1'altezza J 8, come facesti la colonna, di poi poni */8 1'uovolo I2e un altro ottavo la grossezza della tavola che sta di sopra al capitello; '3i corni della tavola del capitello ano a sportare fuori dalla maggior larghezza della capana 2/7 I4 cioe settimi del di sopra della capana che tocca a ciascu corno di sporto Y7 • I5e la mozzatura de' corni vuole essere largha quat' e alta, cioe l/& ; jl resto degli or- nameti lascio l6jn liberta degli scultori; T7ma per tornare alle colonne, e provare la ragione secondo la forma di lor fortezza 18 o debolezza, dico cosl, che quado le linie si partiranno dalla sommita della I9 colonna e termineranno nel suo nascimeto e la lor uia e lughezza sia di pari 20distanzia o latitudine, dico che questa colonna .... The capital must be formed in this way. Divide its thickness at the top into 8; at the foot make it s/7 } and let it be 5/7 high and you will have a square ; afterwards divide the height into 8 parts as you did for the column, and then take J/s f°r the echinus and another eighth for the thickness of the aba- cus on the top of the capital. The horns of the abacus of the capitalhaveto project beyond the greatest width of the bell 2/7 , i.e. sevenths of the top of the bell; so l/7 falls to the projection of each horn. The truncated part of the horns must be as broad as it is high. I leave the rest, that is the ornaments, to the taste of the sculptors. But to return to the columns and in order to prove the reason of their strength or weakness according to their shape, I say that when the lines starting from the summit of the column and ending at its base and their direction and length . . ., their distance apart or width may be equal; I say that this column . . Ash. III. 767. Ilcilindro d'vn corpo di figura colo2nale, e le sua opposite fronti so due cierchi J d' interpositione paralella *e infra li lor cietri s'estede una linia 5retta, che passa per il mezzo della grossezza 6del cilindro e termina nelli cietri ?d'essi cierchi, la quale linia dalli antichi e detta axis. The cylinder of a body columnar in shape and its two opposite ends are two circles enclosed between parallel lines, and through the centre of the cylinder is a straight line, ending at the centre of these circles, and called by the ancients the axis. H.3 73^1 a • d • */3 di • n • m ", 2m • 0 l/t 3 1' ovo sporta '/6 di . r • o ; * s • 7 */, s# • b si diuida in 9 e 768. r o; s r-o . 61 abaco e 5/9J 7ovo 4/9 ; 8fusaiolo e listello 2/9 e a b is J/3 of n m; mo is */6 of ^ o. The ovolo projects J/6 of r o; s j^/s of r 0, a b is divided into Q1^; the abacus is 3/9 the ovolo 4/9 , the bead-moulding and the fillet 2/9 and TL, 7. grosseza . . forteza. 8. sechonda . . magior grosseza dovela . . chogivgnie cholla. 10. chapitello . . grosseza da chapo J | 7 | Sdupie ne me 5/7. n. evera . . lalteza . . chome . . cholona . . poni 1/8 luovolo. 12. grosseza dalla . . chessta . . chapitello. 13. i chorni . . chapitello . . assorportera . . della magior largheza . . chapana. 14. cio settimi . . chapana che tocha aciasschu chorno dissporto 1/7. 15. mozatura de de chorni . . essre largha . . "j resto. 16. ischultori . . 17. cho- lonne . . sechondo . . forteza. 18. deboleza dicho chosi che quado [che qua] le. 19. cholonna ettermineranno . . nassci- meto ella . . ellugheza. 20. 1 disstanzia . . dicho . . cholonna. Here the text breaks off. 767. i. El chilindro . . chorpo . . cholo. 2. elle . . fronte. 3. dinterpositio paralella . e infra li lor cietri. 4. sastede . . linia pa. 5. mezo . . grossetta. 6. chilindro ottermina. 7. linia e di detta. 8. lima cietrale e dalli . . assis. 768. i—8 R. 6. labaco he. 7. hovo. 8. fesaiolo. 767. Leonardo wrote these lines on the margin of a page of the Trattato di Francesco 'Mi Giorgio, where there are several drawings of columns, as well as a head drawn in profile inside an outline sketch of a capital. 768. See PL LXXXV, No. 16. In the original the drawing and writing are both in red chalk. VOL. u. K 74 ARCHITECTURAL DESIGNS. [769. PL LXXXV No. 6 (MS. Ash. II 6b) contains a small sketch of a capital with the following note, written in three lines: I chorni del capitelo. deono essere la quarta parte d'uno quadro (The horns of a capital must measure the fourth part of a square). MS. S. K. M. ///72* contains two sketches of ornamentations of windows. In MS. C. A. 308"; 938* (see PI. LXXXII No. \) there are several sketches of columns. One of the two columns on the right is similar to those employed by Bramante at the Canonica di S. Ambrogio. The same columns appear in the sketch underneath the plan of a castle. There they appear coupled, and in two stories one above the other. The archivolls which seem to spring out of the cohtmns, are shaped like twisted cords, meant per- haps to be twisted branches. The walls between the columns seem to be formed out of blocks of wood, the pedestals are ornamented with a reticulated pattern. From all this we may suppose that Leonardo here had in mind either some festive decoration, or perhaps a pavilion for some hunting place or park. The sketch of columns marked "35" gives an example of columns shaped like candelabra, a form often employed at that time, particularly in Milan, and the surrounding districts for instance in the Cortile di Casa Castiglione now Silvestre, in the cathedral of Como, at Porta della Rana &c. G. 52a] 769- DELLI ARCHITRAVI DI UNO 2 E DI PIU CONCERNING ARCHITRAVES OF ONE OR SEVERAL PEZZI. PIECES. -J L' architrave di piu pezzi £ piu potete An architrave of several pieces is stronger che quel d'u4sol pezzo, essendo essi pezzi than that of one single piece, if those colle lor lunghezze situati Sper inverso il pieces are placed with their length in the cetro del modo; pruovasi perche 6le pietre direction of the centre of the world. This anno il neruo overo tiglio gienerato per il is proved because stones have their grain tra7verso, cioe per il uerso delli orizzonti or fibre generated in the contrary direction opposti d'un mede8simo emisperio, e questo /'. e. in the direction of the opposite horizons e contrario al tiglio delle 9piate 1£ quali of the hemisphere , and this is contrary to anno . . . fibres of the plants which have . . . 769. i. di i. 2. eddi 4. j. eppiu . . che cquel. 4. pezo . . cholle . . lungheza. 7. orizonti opopositi. 8. ecquesto e chontrario. 769. The text is incomplete in the original. The Proportions of the stories of a building are indicated by a sketch in MS. S. K. M. 772 1 1* (see PL LXXXV No. 15;. The measures are written on the left side, as follows: br i1 2 — 634 — br ' „ — 2 br— 9 e ' a — i ' ,— br 5 — 6 9 — 6 3 [br -= braccia; o — onciej. PL LXXXV No. 13 (MS. B. 62*) and PL XCIII No. i. (MS. B. 15") give a few examples of arches supported on piers. v "; ' -"^•v 1 Pv^ "v+pg 280S1' I^-J^ ' Heliog-. Dujaxdin. -£>~*~jij Imp.Kudes . XIII. Theoretical writings on Architecture. Leonardo's original writings on the theory of Architecture have come down to us only in a fragmentary state; still, there seems to be no doubt that he 'himself did not complete them. It would seem that Leonardo entertained the idea of writing a large and connected book on Architecture; arid it is quite evident that the materials we possess , which can be proved to have been written at different periods, were noted doivn with a more or less definite aim and purpose. They might all be collected under the one title: "Studies on the Strength of Materials". Among them the investi- gations on the subject of fissures in walls are particularly thorough, and very fully reported; these f passages are also especially interesting, because Leonardo was certainly the first writer on architecture who ever treated the subject at all. Here, as in all other cases Leonardo carefully avoids all abstract argument. His data are not derived from the principles of algebra, but from the laws of mechanics, and his method throughout is strictly experimental. Though the conclusions drawn from his investigations may not have that precision which we are accustomed to find in Leonardo's scientific labours, their interest is not lessened. They prove at any rate his deep sagacity and wonderfully clear mind. No one perhaps, who has studied these questions since Leonardo, has combined with a scientific mind anything like the artistic delicacy of perception which gives interest and lucidity to his observations. I do not assert that the arrangement here adopted for the passages in question is that originally intended by Leonardo; but their distribution into five groups was suggested by the titles, or headings, which Leonardo himself prefixed to most of these notes. Some of the longer sections perliaps sJiould not, to be in strict agreement with this divi- WRITINGS ON ARCHITECTURE. sion, have been reproduced in their entirety in the place where they occur. But the comparatively small amount of the materials we possess will render them, even so, suffi- ciently intelligible to the reader; it did not therefore seem necessary or desirable to sub- divide the passages merely for the sake of strict classification. The small number of chapters given under the fifth class, treating on the centre of gravity in roof -beams, bears no proportion to the number of drawings and studies which refer to the same subject. Only a small selection of these are reproduced in this work since the majority have no explanatory text. PL CIV r* • •-*—'•' »* -•' •>. ^ 'T» . •• » nj». •Vj £^«^r-.w*£ >^ / • ;^ "• • i^V'^^ vhv/r '^ ;i| fWJ %ivV)^«-,/fi X^^WA^V'W-'UWI^^^^^y^JL (y ^^^^^d^rc^ *™«fcM*i ^wi ^ •»« f >^?3£^ 4 *r &S? AviriWA^ ^H-)ViV»»f ^ir^>>i j^W^W4^£w ' 2.2iteft*«**t»iTw *fat* w/fL * S^.; 1 A •m*' Vf'r*T*f^]ViAj»>l ^2LT^^r?^r% fe^vf f^r W Hwr-?i 9WcZV V/*r •»*m *» Du]ardin Imp Eudes I I. ON FISSURES IN WALLS. •77 Br. M. 157 «] 770. Fa prima il trattato delle cause giene- ratrici de!2le rotture de' muri, e poi il trattato de'rimedi separate. 3 Li fessi paralelli sono vniversalmete gienerati 4in quelli edifiti che si edificano in lochi montuosi, li Squali sien coposti di pietre faldate con obbliquo 6faldameto, e perche in tale obbliquita spesso penetra 7acqua e altra vmidita portatricie di cierta terra 8vntuosa e sdrucciolante •, e perche tali falde no sono 9 continuate insino al fon- do delle valli, I0tali pietre si muovono per la loro obli"quita e mai terminao il moto insin I2 che discendono al fondo della valle, J3portando con seco a vso di barca ^quella parte dello edifitio che per lo'Sro si separa dal suddetto rimanete; 16 II rimedio. di questo e il fondare spes- 17 si pilastri sotto il muro che si move, 18 e con archi dall'uno alPaltro e be^ne ab- barbicati, e questi tali 20 pilastri sieno fun- da2Iti e fermi 22nelle falde le quali non sieno rotte; 23Per trovare la parte stabile delle sopra dette falde e neciessario fare vn 2<* pozzo sotto il pie del muro co gra profondita in- fra esse falde 25e di tal pozzo pulirne co piana superfitie la larghezza d'un palmo First write the treatise on the causes of the giving way of walls and then, separately, treat of the remedies. Parallel fissures constantly occur in buildings which are erected on a hill side, when the hill is composed of stratified rocks with an oblique stratification, because water and other moisture often penetrates these oblique seams carrying in greasy and slippery soil; and as the strata are not con- tinuous down to the bottom of the valley, the rocks slide in the direction of the slope, and the motion does not cease till they have reached the bottom of the valley, carrying with them, as though in a boat, that portion of the building which is separated by them from the rest. The remedy for this is always to build thick piers under the wall which is slipping, with arches from one to another, and with a good scarp and let the piers have a firm foundation in the strata so that they may not break away from them. In order to find the solid part of these strata, it is necessary to make a shaft at the foot of the wall of great depth through the strata; and in this shaft, on the side from which the hill slopes, smooth and flatten a 770. i. chause. 3. [di] sono. 4. chessi edifichano illochi. 5. choposti . . chon obbriquo. 8. essdrucciolente. 9. chontinovate. 10. tale . . simovan. 12. cheddisciendano. 13. chonsecho . . barcha. 16. Irimedio . . spe. 17. pilasstri . . chessi. 18. chon. 19. abarbatiati esti. 20. pilasstri. 21. effermi. 22. rutte. 23. per [del]. 24. pozzo [no] sotto . . cho. 25. pozo . . cho . . 770. See PL CIV. UklTINGS ON ARCHITECTURE. [771- 26 dalla somita insino al fondo da quel lato, donde il mote discede, 27e in capo d'al- quato tempo questa parte pulita, che si fecie nella pa28riete del pozzo, mostrera manifesto segnio qual parte del mote si move. space one palm wide from the top to the bottom; and after some time this smooth portion made on the side of the shaft, will show plainly which part of the hill is moving. Br. M. 157*] 771- Mai le fessure de' muri 2sara paralelle, fuor che se la 3 parte del muro, la qual * si separa dal suo rimanete, 5non disceda. QUALE REGOLA E QUELLA CHE FA ?LI EDIFITI PERMANETI. 8 La permanetia delli edifiti e la regola contra9ria alle 2 anteciedeti, cioe che le mu- raglie 10sieno eleuate in alto tutte equal- mete con e quali "gradi, che abbraccino 1'intera circuitione dello I2edifitio colle intere grossezze di qualunque sorte di '^muri, e ancora che il muro sottile secchi piu pre- sto che il grosso, e' no si avra a ropere per il peso che lui 'Spossa acquistare dal- 1' una all' altra giornata, perche, l6 se il suo duplo seccassi in una giornata il dopI7pio secchera in due o circa, si uerra ragguagli- ado l8co piccola differetia di peso in piccola differetia di tepo. J9Dicie 1'aversario 20che a becca2Itello disciede. 22 E qui dicie 1'auersario 23che r disciede e non e. PRONOSTICI DELLE CAVSE 25 DELLE FESSURE DI QUALUCHE 26MURO. 27Quella parte del muro che no disciede riserua 28in se 1'obbiquita del beccatello, copritore dell' o29bliquita del muro da lui discesa. DE'SITI DE'FONDAMETI E IN QUAL ^'LOCO so CAVSA DELLE RUINE. 32Quando la fessura del muro e piu larga di sopra « che di sotto elli e manifesto segnio che la mu^raglia a la causa della ruina remota dal perpe^diculare d'essa fessura. The cracks in walls will never be parallel unless the part of the wall that separates from the remainder does not slip down. WHAT is THE LAW BY WHICH BUILDINGS HAVE STABILITY. The stability of buildings is the result of the contrary law to the two former cases. That is to say that the walls must be all built up equally, and by degrees, to equal heights all round the building, and the whole thickness at once, whatever kind of walls they may be. And although a thin wall dries more quickly than a thick one it will not necessarily give way under the added weight day by day and thus, [i6J although a thin wall dries more quickly than a thick one, it will not give way under the weight which the latter may acquire from day to day. Because if double the amount of it dries in one day, one of double the thick- ness will dry in two days or thereabouts; thus the small addition of weight will be balanced by the smaller difference of time [18]. The adversary says that a which projects, slips down. And here the adversary says that r slips and not c. HOW TO PROGNOSTICATE THE CAUSES OF CRACKS IN ANY SORT OF WALL. The part of the wall which does not slip is that in which the obliquity projects and overhangs the portion which has parted from it and slipped down. ON THE SITUATION OF FOUNDATIONS AND IN WHAT PLACES THEY ARE A CAUSE OF RUIN. When the crevice in the wall is wider at the top' than at the bottom, it is a manifest sign, that the cause of the fissure in the wall is remote from the perpendicular line through the crevice. larcheza. 26. dacquel . . dissciede. 27. chapo dalquato lento questa . . chessi. 28. mossterra . . mote si m\\\\\. 771. 2. paralelle. . chella. 3. par del. s.disscieda. 6. reghola ecquella cheffa. 8. edifiti(e) . . ella reghola. 9. chelle. 10. che qual . . cho quali. n. abraccino . . circhuitione. 12. cholle . . q aluche sorte. 13. anchora . . sechi. 14. ara . . chellui. 15. acquisstare. 16. il sudduplo sechassi innuna. 17. sechera . . circha . . ragualgliado. 18. cho pichola diferetia . . pichola diferetia. 20. becha. 22. ecqui. 24. chause. 25. delle (mu). 27. [I| Quella . . no [si move] "disciede". 28. bechatello copritricio dello. 29. delei disciesa. 31. locho so chavsa. 32. largha. 33. chella. 34. alia chausa. 35. dichulare. 771. Lines 1—5 refer to PI. CV, No. 2. Line 9 alle due anteciedete, see on the same page. Lines 16—18. The translation of this is doubt- ful, and the meaning in any case very obscure. Lines 19 — 23 are on the right hand margin close to the two sketches on PI. CII, No. 3. 7/2.] ON FISSURES IN WALLS. 79 Br. M. i38rt] 772. i DELLE FESSURE DE'MURI, LE QUALI SO 2LARGHE DA PIE E STRETTE DA CA^PO E LOR CAUSA. 4 Quel muro senpre si fende che s non si secca vniformemete 6con equal tepo; 7 E quel muro d' uniforme gros8sezza no si secca con equal 9 tepo, il quale non e in co- tatI0to d' equal mezzo; come se "vna parte d'un muro fusse ediI2ficata in cotatto d'u monte ^vmido e '1 rimanente restasse J4in contatto dell' aria, che alloI5ra il rimanete si ristrigne per l6ciascun verso e 1'umido si man^tiene nella sua prima gradezza, l8e allora-quel che s'asciuga ^nell'aria, restri- gnie e diminui20scesi, e quel che e inu- midito no 2I si asciuga e volentieri si r622pe al secco daH'umido perche es23so vmido non a tenacita da 24seguitare il moto di quel che al continue si secca. DELLI FESSI ARCATI LARGHI DI SOPRA 2?E STRETTI DI SOTTO. 28Quelli fessi arcati larghi di sopra 29e stretti di sotto nascono nelle 3°porte rimurate che cala piu ne3Il'altezza che nella larghezza loro 32 per tanto quato 1'altezza e maggiore 33 che nella larghezza e per quato le com34messure della calcina son piv numerosi 35 in nell'altezza che nella larghezza. 36I1 fesso diminuisce 37 tanto meno in r o 38che in m n, quato 39 infra roe. me ma4°teria che in n m. 4rOgni fessura fatta 421 loco cocavo e larga 43 di sotto, e stretta di sopra, 44 e questo nascie, come 4S mostra b c d da lato figu46rato. 4? pa TICio che si inumidi48sce cresce per tato 49 quato e 1'umido acs°quistato.H 51 2 a HE ogni cosa umiS2da si restrignie nel53lo asciugare per ta.54to quanto e 1' umido ss che da lei si diuide. If OF CRACKS IN WALLS, WHICH ARE WIDE AT THE BOTTOM AND NARROW AT THE TOP AND OF THEIR CAUSES. That wall which does not dry uniformly in an equal time, always cracks. A wall though of equal thickness will not dry with equal quickness if it is not everywhere in contact with the same medium. Thus, if one side of a wall were in contact with a damp slope and the other were in contact with the air, then this latter side would remain of the same size as before; that side which dries in the air will shrink or diminish and the side which is kept damp will not dry. And the dry portion will break away readily from the damp portion because the damp part not shrinking in the same pro- portion does not cohere and follow the move- ment of the part which dries continuously. OF ARCHED CRACKS, WIDE AT THE TOP, AND NARROW BELOW. Arched cracks, wide at the top and narrow below are found in walled-up doors, which shrink more in their height than in their breadth, and in proportion as their height is greater than their width, and as the joints of the mortar are more numerous in the height than in the width. The crack diminishes less in r o than in m n, in proportion as there is less material between r and o than between ;/ and m. Any crack made - in a concave wall is wide below and narrow at the top ; and this originates, as is here shown at bed, in the side figure. 1. That which gets wet increases in proportion to the moisture it imbibes. 2. And a wet object shrinks, while drying, in proportion to the amount of moisture which evaporates from it. 773. 2. dappiedi esstrtte da cha. 3. ellor chausa. 5. secha. 6. chon. 7. Ecquel . . gro. 8. secha chon. 9. ch5ta. 10. del qual mezo comesse. u. fussi. 12. fichato. 13. resstassi. 14. chontatto. 15. sirisstrignie. 16. cias chun . . ellumido 17. grideza. 18. [il] quel chesassciugha. 19. restringnie 20. ecquel . . Inumidito. 21. assciugha. 22. secho. 23. nona[re. tenacita. 24. ch5. 25. secha. 26. delli . . archati. 27. esstretti. 28. archati. 29. esstretti . . nasschano. 30. chala. 31. lalteza . . largheza. 32. magiore. 33. larghezza . . lecho. 34. mesurie. 35. larghezza. 36. diminuisscie. 38. quado. 41. Oni . . tatta. 42. locho chochavo ellargha. 43. esstretta. 44. ecquesto nasscie. 45. dallato fighu. 47. chessi inumidis 48. scie cresscie. 49. ellumido. 51. chosa. 53. Ho assciugrare. 54. ellumido. 55. dallei. 772. The text of this passage is reproduced in facsimile on PI. CVI to the left. L. 36—40 are written inside the sketch No. 2. L. 41—46 are partly written over the sketch No. 3 to which they refer. 8o WRITINGS ON ARCHITECTURE. [773- Br. M. 1580] 773- DELLA CAVSA DEL RONPERE DELLI EDIFITI PUBLICI E PR1VATI. 2 Romponsi li muri per fessure, che anno del cliretto e alcune che 'anno dello obbliquo ; le rotture che anno del diretto 4 son gienerate dalli muri novi sin cogiutio de' muri vecchi di- litti o co morse giute alii 6muri vecchi, perche tali morse, no potendoresistereallo ?insoppor- tabile peso del muro a lor'cogiuto, e necies 8 sario a quelle ronpersi e dar loco al discieso del predet9to muro novo, il quale cala vn braccio per ogni 10 braccia, o piu I0o meno, secondo la maggiore o minore sorha di calcina "interposta infra le pietre murate e co calcina piu I2o me liquida; E nota che senpre si debbe iprima fare 'Jfi muri e poi vestirli delle pietre che li ano a vestire, ^per- che se cosl no si faciesse, il muro facciedo maggiore calo che jsla crosta di fori, e' sa- rebbe neciessario che le morse fatte I6nelli lati de' muri si ropessino; perche le pietre che vestono li muI7ri, essendo di maggiore grandezza che le pietre da quell8le vestite, e neciessario che ricievino minor quatita di calcina '^nelle loro comessure e per cose- gueza faccino minore calo, 29il che accadere no puo, essendo murate tali croste poi ch' el rmr'ro e secco. 22 a b muro nuo23vo, • c • e muro vechio 2iche gia a fatto il calo, 25e lo a • b fa il calo poi, 26beche a, essedo fonda2?to sopra il c muro 28 vechio, no si puo in nes29su modo ropere per ave3°re stabile fondameto 3'SOpra del muro ve>2chio, ma sol si ronpe33ra il rima- nete del mu34ro nvovo b c635ciosia ch'elli e murato di 36Sopra dalla som- mita del edifitio insino al fondo, 37 fa- ciedo il rimanete del muro nuovo beccatello ^8 sopra il muro che di- sciede. OF THE CAUSES OF FISSURES IN [THE WALLS OF] PUBLIC AND PRIVATE BUILDINGS. The walls give way in cracks, some of which are more or less vertical and others are oblique. The cracks which are in a vertical direction are caused by the joining of new walls, with old walls, whether straight or with indentations fitting on to those of the old wall; for, as these indentations cannot bear the too great weight of the wall added on to them, it is inevitable that they should break, and give way to the settling of the new wall, which will shrink one braccia in every ten, more or less, according to the greater or smaller quantity of mortar used between the stones of the masonry, and whether this mortar is more or less liquid. And observe, that the walls should always be built first and then faced with the stones intended to face them. For, if you do not proceed thus, since the wall settles more than the stone facing, the projections left on the sides of the wall must inevitably give way ; because the stones used for facing the wall being larger than those over which they are laid, they will necessarily have less mortar laid between the joints, and consequent- ly they settle less; and this cannot happen if the facing is added after the wall is dry. a b the new wall, c the old wall, which has already settled; and the part a b settles afterwards, although a, being founded on c, the old wall, cannot possibly break, having a stable foun- dation on the old wall. But only the remainder b of the new wall will break away, because it is built from top to bottom of the building; and the re- mainder of the new wall will over- hang the gap above the wall that has sunk. 773. i. chausa . . pubbici. 2. ronpasi . . alchune. 3. rocture. 4. novi fmurati in tepo brcvissimo]. 5. in chogiutio de muri [no] ve "echi" . . cho. 7. allor chogiuto. 8. acquelle . . locho al disscicso. 9. chala vn br per ogni 10 br . oppiu jo. sechondo . . ominore . . chalcina. xx. interpossta infralle . . cho chalcina. 12. ome . . chessenpre. 13. eppoi vesstirl. chelli . avesstire. 14. chosi . . faciessi . . magiore chalo chel. 15. lacrossta . . farebe . . chelle. 16. vesstano. 17. esendo . . chelle . . dacque. 18. vesstite . . chalcina. 19. chomessure e per choseghueza . . chalo. 20. achadere . . murato tale crosste. ax. essecho. 22. muro [vechio] nuo. 24. affatto il chalo. 25. ello . . chalo. 30. fondame. 34. cho. 30. cio chelli. 37. bechatello. 38. \\\\\\il muro cheddistiede. 774— 776.] ON FISSURES IN WALLS. 81 Br. M. 159 6] 774- Torre nova fundata 2sopra la vecchia in parte. A new tower founded partly on old masonry. Br. M. 157 £] 775- DELLE PIETRE CHE si Dis2GiucoNO DALLA LOR CALCINA. pietre d'equal numero nella loro altezza, migrate con equal quatita di calcina, fano equal scalo nella partita dell'umido che mollifi6c6 essa calcina. 7 Per lo passato si prvova che la poca quatita 8del muro nuovo interposta infra A • n fara po9co calo rispetto alia quatita del medesimo muI0ro che s'interpone infra c d, e tal fia la pro"portione che anno in- fra loro le rareta delle I2dette calcine qual' e la proportioe delli ^nvmeri over delle quatita delle calcine interpo^ste nelle comes- sure delle pietre murate soispra le varie altezze delli muri vechi. OF STONES WHICH DISJOIN THEMSELVES FROM THEIR MORTAR. Stones laid in regular courses from bottom to top and built up with an equal quantity of mortar settle equally throughout, when the moisture that made the mortar soft evaporates. By what is said above it is proved that the small extent of the new wall between A and n will settle but little, in proportion to the extent of the same wall between c and d. The proportion will in fact be that of the thinness of the mortar in relation to the number of courses or to the quantity of mortar laid between the stones above the different levels of the old wall. A. 53 a] 776. Questo • muro • si ropera • sotto • 1' arco e •/perche • i sette • quadrelli 2 integri • no sono • soffitieti • a sostenere il pie • dell' arco sopra postoli 3 e roperannosi questi • 7 • quadrelli • nel mezzo • aputo come • appare in • a • b ; • la ragione si e • che il quadrello • a • a sola- mete • sopra • se • il peso a • k s e 1' ultimo • quadrello • sotto • 1'arco • a sopra • se • il peso • c • d, x- a\ 6c • d- pare che facci fare • for- This wall will break under the arch e f, because the seven whole square bricks are not sufficient to sustain the spring of the arch placed on them. And these seven bricks will give way in their middle exactly as appears in a b. The reason is, that the brick }a has above it only the weight a k, whilst the last brick under the arch has above it the weight c d x a. 774. 2. sopra il vechio. 775. i. chessi. 2. giughano . . chalcina. 3. puetre. 4. chon . . chalcina. 8. cho . . chalcina. 7. la passata . . chella pocha. 9. pocho chalo risspecto. 10. chessinterpone . . ettal. n. portione [di] che anno infralloro. 12. chalcine. 13. chal- cine. 14. ste . . chomesure. • 776. i. Quessto . . larcho [c] e . f. 2. assosstenere . . archo . . posstoli. 3. e roperanosi . quesste . . mezo . . chome apare. 6. larcho. 7. cheffacci . . archo uerlasspalla. 8. archo. 9. chome . . dopio. 775. See PI. CV, No. I. The top of the tower is wanting in this reproduction, and with it the letter n which, in the original, stands above the letter A over the top of the tower, while c stands perpendicularly over d, VOL. II. L 82 WRITINGS ON ARCHITECTURE. [776. za • all'arco • verso la spalla nel puto •/ •, 7ma il peso •/ • o • 11 fa resistetia •, ode tutto • il peso • ne va • nella radice delParco; 8adu- c d seems to press on the arch towards the abutment at the point / but the weight / o opposes resistence to it, whence the whole que fa • la radice delli archi • come • 7 • 6, ch' e • piu • forte il doppio che • x • z. pressure is transmitted to the root of the arch. Therefore the foot of the arch acts like 7 6, which is more than double of x z. II. ON FISSURES IN NICHES. lir. M. 777- DELLE ROTTURE BELLI NICHI. 2L'arco fatto del semicircolo, il quale fia carico nelli 3 due oppisiti terzi della sua curvita, ropera in 4 cinque lochi della sua curvita; provasi e sieno li pe5si n m, li quali rompono esso arco a • b • f ., dico per lo 6passato come c a stremi sono equalmete aggravati dal peso n, 7 seguita per la 5ache 1'arco ronpera nella parte piii remota dalle 8due potentie che lo premono, il quale e il mezzo e •, e altre^tanto intedo aver detto dell' arco opposite d g d; aduI0que n m pesi vegono a discedere, e disceder no possoljno per la 7a che non si faccl piu vicini, e avicinar no si posI2sono, se 1'arco che infra lor s'in- terpone non avicini li sua ^stremi, li quali no si possono accostare sanza rottura del ^suo mezzo; adu- que 1'arco si ronpera in 2 lochi come fu primo ^pos- to ecc. l6Domada del peso dato in * a, che parte ne risponde I • n • 'yiinia, e co che peso s'a a vinciere il peso posto in /. ON FISSURES IN NICHES. An arch constructed on a semicircle and bearing weights on the two opposite thirds of its curve will give way at five points of the curve. To prove this let the weights be at n m which will break the arch a, b, f. I say that, by the foregoing, as the extremities c and a are equally pressed upon by the thrust n, it follows, by the 5th , that the arch will give way at the point which is furthest from the two forces acting on them and that is the middle e. The same is to be understood of the opposite curve, d g b; hence the weights n m must sink, but they cannot sink by the 7th, without coming closer together, and they can- not come together unless the extremities of the arch between them come closer, and if these draw together the crown of the arch must break; and thus the arch will give way in two places as was at first said &c. I ask, given a weight at a what counteracts it in the direction n f and by what weight must the weight at / be counteracted. 777. i. rocture. 2. semil . . charicho. 3. churvita. 4. churvita prosi essieno. 5. ronpano . . archo . . per la. 6. passata chome ca"stremi" sono ecqualmete agravati. 7. seguita "per la 5" chellarcho." 8. chello priemano . . altrec. 9. archo . . addu. 10. veghano addissciedere e disscieder no possa. 12. sano dellarclio che infrallor. 13. achosstare. 14. larcho . . chome fu pr"o" . ne rissponde. 17. cho . . possto. 84 WRITINGS ON ARCHITECTURE. [778. Br. M. 778. BELLA DIMINUITIONE DE'CORPI VMIDI aDi GROSSEZZA O LARGHEZZA DIFFORME. ON THE SHRINKING OF DAMP BODIES OF DIFFERENT THICKNESS AND WIDTH. ^ La finestra a e causa della rottura del b e questa tal rot^tura e aumetata dal peso n m, il quale piu si ficca ovvero penetra intra la ter5ra che ricieve il suo fondameto, che no fa la leuit& del b •, e ancora il fo- 6dameto vechio che sta sotto b a fatto il calo, il che fatto non avea li pi^lastri n m • e la parte b non disciede perpendiculare, anzi si gitta info8ri per obbliquo e non si pu6 per 1'aversario gittare in detro, perch£ tal parte disuni^ta dal tutto e piu larga di fori che di dentro e li labri del rimanente I0e della medesima figura, e se tal parte disunita avesse a etrare in den- tro, "il maggiore entrerebbe nel mi- nore, il che sarebbe inpossibile; adunque 12 e cocluso che per necessita la parte di tale emiciclo si disuniscie dal tutto col '^gittarsi colla parte inferiore infori e non indetro come vole ^Pauersario ecc. 'sQuando le tribune intere o mezze 16 sara di sopra vinte da superchio peso, al- J7lora le sue volte si aprirano l8co apritura diminuitiva ^dalla parte di sopra e larga di sot20to e stretta dalla parte di dentro e 21 larga di fuori, a similitudine della 22scorza del pomo ovvero melaracia 2^ divisa in molte parti per la sua Iughez2'»za, che quato ella sara premuta da!25le opposite parti della sua lughezza, 26quella parte delle giuture piu si a27prira, che fia piu distate alia causa 28 che la prieme •, e per questo mai si 29deb- bono caricare li archi delle volte 3°di qual- unche emiciclo dalli archi dello 31 suo edifitio massimo, perche quel che *2pi\i pesa piu prieme sopra cio che li e di33sotto, e piu disciende sopra li sua fon^dameti, il che interuenire no pu6 35alle cose piu lieui come sono li emi36cicli predetti. The window a is the cause of the crack at b; and this crack is increased hy the pressure of n and m which sink or penetrate into the soil in which foundations are built more than the lighter portion at b. Besides, the old foundation under b has already settled, and this the piers n and m have not yet done. Hence the part b does not settle down perpendicularly; on the contrary, it is thrown outwards obliquely, and it cannot on the contrary be thrown inwards, be- cause a portion like this, separated from the main wall, is larger outside than inside and the main wall, where it is broken, is of the same shape and is also larger outside than inside ; therefore, if this separate portion were to fall inwards the larger would have to pass through the smaller — which is impos- sible. Hence it is evident that the portion of the semicircular wall when disunited from the main wall will be thrust outwards, and not inwards as the adversary says. When a dome or a half-dome is crushed from above by an excess of weight the vault will give way, forming a crack which dimi- nishes towards the top and is wide below, narrow on the inner side and wide outside; as is the case with the outer husk of a pomegranate, divided into many parts length- wise; for the more it is pressed in the direction of its length, that part of the joints will open most, which is most distant from the cause of the pressure ; and for that reason the arches of the vaults of any apse should never be more loaded than the arches of the principal building. Because that which weighs most, presses most on the parts be- low, and they sink into the foundations ; but this cannot happen to lighter structures like the said apses. 778. i. chorpi. 2. "ollarghezza". 3. finesstra . . chausa . . roctura . . ecquesta . . roc. 4. ficha over . . intralla. 5. anchcia 6. chessta . . affatto il chalo. 7. lasstri n . m . ella . . dissciede per pedichulare . . infer. 8. po. 9. eppiu largha . . cheddi dentro [ess] elli. 10. fighura essettal . . avessi. n. enterrebbc . . addunque. 12. e chocluso . . disunisscie . . chol. 13. gittari [dap] cholla . . inferiore [di] inforienone . . chome. 15. trebune . . omeze. 17. apirrano [chota]. 18. [tamaj cho. 19. ellargha. 20. esstreta . . dentro el. 21. largha . . assimilitudine. 22. over. 23. imolte parte. 24. sara permuta. 25. parte . . lugheza. 26. quela. 27. pirra chcffia . . chausa. 28. chella . . quessto. 29. debbe charichare. 32. sopra chilli edi. 33. dissciende. 35. chose . . chome. 36. predecti. 37. quessti . . chubi. 38. ho. 39. chubo. 40. chubo b sosspeso. 41. in- 778. The figure on PI. CV, No. 4 belongs to the first paragraph of this passage, lines I — 14; fig. 5 is sketched by the side of lines 15— and following. The sketch below of a pomegranate refers to line 22. The drawing fig. 6 is, in the original, over line 37 and fig. 7 over line 54. •toll.*? ~ Ji \ , \ \ L Vflf/ Aftw . I Y 3 •frr»7l>M» '<»«M |T 2j^r^*T H» *rt >/*w *Y «W*:*fo ^V^-v' ^ *M^.««r«CJ^7 -/T /H^ f r'LfcVVi1*W . :(^$SpW> r«^i^ •r.-^l^ f^V^^'V""^ ^"'""^r^v^ LSfcS^*^^ ^ JM w-rw"' H*"1? is22S3^^ ^/^ 'l^!Si*v»:***Wl^ — ~ •*^r«*y fcn*»"F» -11:? i _«,^V'ir""'^"-<3X-v WM^W*^ -""n;"","!""^' • «»i«ii^r"I '-iVB^KPrt ;' LA. %1» •»<*n*(re*C2i'2 K A>jp«i»I>v •»*' h« •.iw.r.ftvo} ** .•) ^ .J,1 /.Jirfifi. /AvA-'""iAN''>"v'f T ^^vS-'fi JS^tf*^ : r/r* "/« oiiVrf*.-^"***^'' JL.w»vcM««»r *i\ '_!: Juni^K i.^6^?J;«,?-J -•-»••'' «B5Ka»¥.J ^•.•i? >^r:%^W i^i-jS Wrt'*N'*Tc'^> .^flT Hcliog-. Dujardin , Imp. Eude s . )<^*$|K^t^^ IV. ON FOUNDATIONS, THE NATURE OF THE GROUND AND SUPPORTS. Br. M. 1380] 789. La prima parte neciessarissima e la loro permanetia. 2Delli fondameti che anno le mebrifica- tioni componi3trici delli tepli e altri edi- fiti public!, tal proporti4one deve essere da profondita a profondita quale se da peso a peso che scaricare si deve sopra essi me6bri. ?Ogni parte della pro8fondita, che a la terra 9 per alquato spatio, e I0fatta a suoli, e oTIgni suolo e coposto di I2 parti, piu grave '3e piv leue Puna chel'aHtra; nel pro- fondarsi e piu grave, e questo si prova, isperche qu'esti tali soli so co^posti dalle turbulentie l6delle acque scaricate I l8mare dal corso de' fiumi, X9che in quello ver- sano, 20delle quali turbulentie 2Ila parte piu grave fu 22quella che prima 23si scarico successiva24mete, e" questo fa Pac25qua, dov' ella si ferma, Ie26vado prima dove es2?sa si move; E di que28sti tali soli di terra 29si manifesta nelli lati 3°di fiumi che coi lor con3Ttinui corsi anno secati z2 e partiti con gra pro33fondita di tagli Pu m634te dall'al- tro, doue per li 35ghiajosi soli 1' acque so36no scolate e per questo 37 la materia si e sec- The first and most important thing is stability. As to the foundations of the component parts of temples and other public buildings, the depths of the foundations must bear the same proportions to each other as the weight of material which is to be placed upon them. Every part of the depth of earth in a given space is composed of layers, and each layer is composed of heavier or lighter materials, the lowest being the heaviest. And this can be proved, because these layers have been formed by the sedi- ment from water carried down to the sea, by the current of rivers which flow into it. The heaviest part of this sediment was that which was first thrown down, and so on by degrees; and this is the action of water when it becomes stagnant, having first brought down the mud whence it first flowed. And such layers of soil are seen in the banks of rivers, where their constant flow has cut through them and divided one slope from the other to a great depth; where in gra- velly strata the waters have run off, the ma- 789. i. ella loro perfnanentia. 2. chean le mebrificationi chonponi. 3. pubblici. 4. debbe . dapprofondita approfondita. 5. dap- peso . . chesscarichare si debbe. 8. alia. 9. spatiotio. 10. faetata assuoli. n. chopossto. 12. parte . . grave [opi].. 13. eppiv lievi luna chellal. 14. tra "nel -grave" ecquesto.si prove. 15. quessti. 16. turbbulentie. 17. scharichate. 21. fuc. 22. prim"a". 23. sisscharicho. 24. ecquesto fallac. 25. ferme. 29. manifessta. 30. cholor chon. 31. chorsi an seghati. 32. esspartiti. 34. dallaltre. 35. gliorosi. 37. se secha. 38. chovertita. 40. fagho. 41. ecquesto. 43. tereste. 45. chosi de choverso. WRITINGS ON ARCHITECTURE. [790. 791. cata 38ecouertita in dura 39pietra, e massime di *°quel fago, che era piu 4'sottile, e questo ci <2fa cocludere, che ogni par4 He della ter- restre superfitie fu *•» gia cietro della terra e de coverso ecc. terials have, in consequence, dried and been converted into hard stone, and this happened most in what was the finest mud; whence we conclude that every portion of the sur- face of the earth was once at the centre of the earth, and vice versa &c. A. 790. UQuellaparte del fondameto delli edifiti che piv pesa 2 piv si ficca • e lascia in alto il piv leggiero disunite da se; 1 31E quel ter- reno ch' e piv • premvto, sendo poroso •, piv acconsente ; 1 « Senpre tu • devi • fare i fon- dameti che sportino egualmete fori del scarico-de'lor mvri e pilastri come appare • in m • a • b •, e se 6farai • come • molti fanno, cioe di fare uno fondameto d'equale 7lar- ghezza • in sino alia superfitie • della terra, e di sopra li danno diseguale 8carico come The heaviest part of the foundations of buildings settles most, and leaves the lighter part above it separated from it. And the soil which is most pressed, if it be porous yields most. You should always make the foundations project equally beyond the weight of the walls and piers, as shown at m a b. If you do as many do, that is to say if you make a foundation of equal width from -the bottom up to the surface of the ground, and charge t: si dimostra in • b • e • e in e • o, la parte del fonda^meto • b • e, perche e piena dal pilas- tro del catone •, piv pesa e piv splgie xoin basso il suo fodameto che no fa il muro- e • o che non occupa 1 1 interamete il suo fodameto, e pero meno spegnie e me si ficca, I2onde ficcadosi il pilastro b • e - e si diunisce e parte dal mv^ro • e • o • come si uede nel piv delli edifiti che sono spicati intorno • a detti pilastri. it above with unequal weights, as shown at b e and at e o, at the part of the foundation at b e, the pier of the angle will weigh most and thrust its foundation downwards, which the wall at e o will not do; since it does not cover the whole of its foundation, and there- fore thrusts less heavily and settles less. Hence, the pier b e in settling cracks and parts from the wall e o. This may be seen in most buildings which are cracked round the piers. A. S3"! La finestra • a • sta bene sotto 2 la finestra c - e la finestra -3- b • sta • male • sotto • lo spatio *•*/•, perche detto • spatio • e sanza Ssostegnio • e fondameto, 6si che ricordati di no ropere 7mai sotto • li spati • delle finestre. 791. The window a is well placed under the window c, and the win- dow b is badly placed under the pier d, because this latter is without support and foundation; mind there- fore never to make a break under the piers between the windows. 790. i. Quela. 2. ficha . ellasscia . . el . . legieri . dasse. 3. Ecquel tereno . . achosete. 4. debi . . chessportino. 5. pilasstri chome "aparc . . csse. 6. chome . . ! fondameto [equi] de quale. 7. largeza . . ala . . delatera . . dano. 8. charicho. 9. chatone. 10. baso . . none ochupa. n. ficha. 12. fi[g] chadosi . . disunis>cie. 13. ckome . . chessono spichati. 14. pil.isslri. 791. 2. ella. 3. sotto [la finestra] lo spatio. 5. effondameto. 6. richordati. 792.] ON SUPPORTS. 97 A. 48*5] 792. DEL SOSTETACULO. 2 II pilastro moltiplicato per grossezza- A pillar of which the thickness is in- cresciera tanto piv che la sua debita po- creased will gain more than its due tetia 3quato • e' maca • della ragionevole strength, in direct proportion to what its altezza. loses in relative height. ESENPLO. s Se uno pilastro • debe • essere • alto • 9 • grossezze-, cioe • che s'egli • sara- grosso • uno braccio, la regola 6lo pone di • 9 • braccia-; se ne collegherai • 100 • insieme • per gros- sezza • fia grosso braccia 10 e alto -9, 7e se ilprimo pilastro regieva 10000 libbre, perche questo secodo non e alto se non e circa 8a una grossezza, e macadoli • 8 parti della lunghezza • e' regiera • piv otto volte, 9 cioe ogni • pilastro collegato • li toccera a regi- ere piv 8 volte che dislegato, cioe I0che se prima regieva dieci mila libbre •, adesso ne sosterra 90 mila. EXAMPLE. If a pillar should be nine times as high as it is broad — that is to say, if it is one braccio thick, according to rule it should be nine braccia high — then, if you place 100 such pillars together in a mass this will be ten braccia broad and 9 high; and if the first pillar could carry 10000 pounds the second being only about as high as it is wide, and thus lacking 8 parts of its proper length, it, that is to say, each pillar thus united, will bear eight times more than when dis- connected; that is to say, that if at first it would carry ten thousand pounds, it would now carry 90 thousand. 799. i. sosstetachulo. 2. pilasstro mvltiplichato per grosseza cressciera . tanto "piv che". 3. macha . . alteza. 5. Se I . . gros- seze . . chesseli . . 1 br . [de] la. 6. 9 br . . cholegerai . . grosseza . br. 10. 7. esse . . Ibr . . sechodo . . circha. 8. a i grosseza e machadoli . . dela lungeza. 9. cholegato . . tochera. 10. chesse . . mila Ibr . . sostera. VOL. N V. ON THE RESISTANCE OF BEAMS. s. K. M. n.i 72 a] 793- 2QuelPangolo sa^ra di piv resiste4tia That angle will offer the greatest resi- che fia piv aScuto e '1 piv ottu6so fia piv stance which is most acute, and the most debole. obtuse will be the weakest. PALCO DOPPIO. S. K. M. III. i got] Se i travi e'l peso o fia • 100 • libre, 2quato • peso • sara • in a • b • a fa3re resistetia • a esso • peso • che 4no caggia in basso? If the beams and the weight o are i oo pounds, how much weight will be wanted a.ia-b to resist such a weight, that it may not fall down? A. 53«1 795- BELLA LUNGHEZZA DELLE TRAVI. 1 Quella • trave • che fia luga • piv • che le ON THE LENGTH OF BEAMS. That beam which is more than 20 times 20 sua 3maggiori grossezze, fia poco per- as long as its greatest thickness will be of manete e roperasi in 1/2; *e ricordati che brief duration and will break in half; and 793. 4. cheffia. 5. piotu. 794. 1—4 R. 2. affa. 3. resisstetia. ' 4. chaggio. 793. The three smaller sketches accompany the text in the original, but the larger one is not di- rectly connected with it. It is to be found on fol. 89a of the same Manuscript and there we read in a note, written underneath, coverchio della perdicha del castello (roof of the flagstaff of the castle). — Compare also PI. XCIII, No. i. 795-J ON THE RESISTANCE OF BEAMS. 99 la parte ch'etra nel mvro, sia penetrata s di pece calda e fasciata d' asse di quercia, acor essa penetrata ; 6Ogni trave vole pas- sare i sua muri e esser ferma di la da essi mv^ri co soffitieti catene, perche spesso si vede per terremoti le tra- f vi usci8re de'mvri e rovi- nare poi i mvri e solari; dove, se sono icatenate, 9 terranno • i mvri • in • si- eme fermi, e i mvri fermano • i solari. 10Ancorati ricordo • che tu • no faci mai i smalti • sopra legniljame, imperoche nel cresciere e discresciere • che fa il legname 12 per 1'umido • e secco, spesse volte cre- pano detti solai e crepa^te le loro diuisioni • a poco a poco si fano in poluere e fano ^brutta evidetia. 'sAncora ti ricordo no facci solari soste- nvti da archi l6 e travi, imperoche col tepo il solaro, ch' e sostenvto dalle tra1 ?vi, cala al- quato in nel suo • mezzo, e quella parte 18 del solaro, ch'e sostenuta dal arco, resta nel suo loco, onde *9j solari che sono soste- nvti da 2 varie nature di sosteta20culi paiono col tepo fatti a colli. remember, that the part built into the wall should be steeped in hot pitch and filleted with oak boards likewise so steeped. Each beam must pass through its walls and be secured beyond the walls with sufficient , chaining, because in con- sequence of earthquakes the beams are often seen to come out of the walls and bring down the walls and floors; whilst if they are chained they will hold the walls strongly together and the walls will hold the floors. Again I remind you never to put plaster over timber. Since by expansion and shrinking of the timber produced by damp and dryness such floors often crack, and once cracked their divisions gradually produce dust and an ugly effect. Again remember not to lay a floor on beams supported on arches; for, in time the floor which is made on beams settles somewhat in the middle while that part of the floor which rests on the arches remains in its place; hence, floors laid over two kinds of supports look, in time, as if they were made in hills [19]. 795. i. dela lungeza. 2. cheffia . . pivi . chele [10] 20. 3. magiori grosseze . . pocho. 4. richordoti. 5. chalda . . essa t's wanting. 7. cho soffitiete chatene . . tremoti . . ussci. 8. Ichatenate. 9. terano . . e e mvri. 10. Anchora ti richordo chettu. u. cressciere e disscressciere rheffa ilegname. 12. essecho . . isspesse . . detti soli e crep. 13. ti le . . apocho apocho . . effano. 15. Anchora ti richordo no faci. 16. ettrav . . chol . . dale. 17. chola . . inel . . mezo [che elp] equle parte. 18. sostenta . . archo . . locho. 19. propositione J solari chessone. 20. ch chili paiano ch'ol . . acholli. The word propositione written on the margin near line 19 has apparently nothing to do with this text, but M. Ravaisson, in his edition of MS. A. has been misled by it to take j solari (line 18) for the beginning of a new paragraph. 795. 19. M. RAVAISSON, in his edition of MS. A gives a very different rendering of this passage translating it thus : Les planchers qui sont soutenus far deux differmtes natures de supports paraisseiit avec le temps /aits en voute [a chollt\. / Remarks on the style of Leonardo's architecture. A few remarks may here be added on the style of Leonardo s archi- tectural studies. However incomplete, however small in scale, they allow us to establish a certain number of facts and probabilities, well worthy of consideration. When Leonardo began his studies the great name of Brunellesco was still the inspiration of all Florence, and we cannot doubt that Leonardo was open to it, since we Jind among his sketches the plan of the church of Santo Spirito* and a lateral view of San Lorenzo (PL XCIV No. i), a plan almost identical with the chapel Degii Angeli, only begun by him (PI. XCIV , No. $) "while among Leonardos designs for domes several clearly betray the influence of Brunellesco s Cupola and the lantern of Santa Maria del Fiore*. The beginning of the second period of modern Italian architecture falls during the first twenty years of Leonardos life. However the new impetus given by Leon Battista Alberti either was not generally understood by his contemporaries, or those who appreciated it, had no opportunity of showing that they did so. It was only when taken up by Bramante and deve- loped by him to the highest rank of modern architecture that this new in- fluence was generally felt. Now the peculiar feature of Leonardos sketches is that, like the works of Bramante, they appear to be the development and continuation of Alberti s. « See PI. XCIV, No. 2. Then only in course of erection after the designs of Brunellesco, though he IMS already dead; finished in 1481. 2 A small sketch of the tower of the Palazzo della Signoria (MS. C. A. 309^) proves that he also studied mediaeval monuments. ON THE STYLE OF LEONARDO'S ARCHITECTURE. IOI But a question here occurs which is difficult to answer. Did Leonardo, till he quitted Florence, follow the direction given by the dominant school of Brunellesco, which would then have given rise to his " First manner', or had he, even before he left Florence, felt Albertis influence — either through his works (Palazzo Ruccellai, and the front of Santa Maria Novella) or through personal intercourse? Or was it not till he went to Milan that Albertis work began to impress him through Bramante, who probably had known Alberti at Mantua about 1470 and who not only carried out Albertis views and ideas, but, by his designs for St. Peter s at Rome, proved himself the greatest of modern architects. When Leonardo went to Milan Bramante had already been living there for many years. One of his earliest works in Milan was the church of Santa Maria presso San Satiro, Via del Falcone*. Now we find among Leonardos stiidies of Cupolas on Plates LXXXIV and LXXXV and in PI. LXXX several sketches which seem to me to have been suggested by Bramante s dome of this church. The MSS. B and Ash. II contain the plans of S. Sepolcro, the pavilion in the garden of the duke of Milan, and two churches, evidently inspired by the church of San Lorenzo at Milan. MS. B. contains besides two notes relating to Pavia, one of them a design for the sacristy of the Cathedral at Pavia, which cannot be supposed to be dated later than 1492, and it has probably some relation to Leonardos call to Pavia June 21, I49O2. These and other considerations justify us in concluding, that Leonardo made his studies of cupolas at Milan , probably between the years 1487 and 1492 in anticipation of the erection of one of the grandest churches of Italy, the Cathedral of Pavia. This may explain the decidedly Lombardo-Bramantesque tendency in the style of these studies, among which only a few remind us of the forms of the cupolas of S. Maria del Fiore and of the Baptistery of Florence. Thus, although when compared with Bramante s work, several of these sketches plainly reveal that masters influence, we find, among the sketches of domes, some, which show already Bramante s classic style, of which the Tempietto of San Pietro in Montorio, his first building executed at Rome, is the foremost example 3. On Plate LXXXIV is a sketch of the plan of a similar circular building; and the Mausoleum on PI. XCVIII> no less than one of the pedestals for the statue of Francesco Sforza (PI. LXV), is of the same type. 1 Evidence of this I intend to give later on in a Life of Bramante, which I have in preparation. 2 The sketch of the plan of Brunellescrfs church of Santo Spirito at Florence, -which occurs in the same Manuscript, may have been done from memory. 3 It may be mentioned here, that in 1494 Bramante made a similar design for the lantern of the Cupola of the Church of Santa Maria delle Grazie. 102 ON THE STYLE OF LEONARDO'S ARCHITECTURE. The drawings PL LXXXIV No. 2, PL LXXXVI No. i and 2 and the ground flour of the building in the drawing PI. XCI No. 2, with the interesting decoration by gigantic statues in large niches, are also, I believe, more in the style Bramante adopted at Rome, than in the Lombard style. Are we to conclude from this that Leonardo on his part influenced Bramante in the sense of simplifying his style and rendering it more congenial to antique art? The answer to this important question seems at flrst difficult to give, for we are here in presence of Bramante, the greatest of modern architects, and with Leonardo, the man comparable with no other. We have no knowledge of any buildings erected by Leonardo, and unless we admit personal intercourse — which seems probable, but of which there is no proof— , it would be difficult to understand how Leonardo could have affected Bramante s style. The converse is more easily to be admitted, since Bramante, as we have proved elsewhere, drew and built simultaneously in different manners , and though in Lombardy there is no building by him in his classic style, the use of brick for building, in that part of Italy, may easily account for it. Bramante s name is incidentally mentioned in Leonardos manuscripts in two passages (Nos. 1414 and 1448^). On each occasion it is only a slight passing allusion, and the nature of the context gives us no due infor- mation as to any close connection between the two artists. It might be supposed, on the ground of Leonardos relations with the East given in sections XVII and XXI of this volume, that some evidence of oriental influence might be detected in his architectural drawings. I do not however think that any such traces can be pointed out with certainty unless perhaps the drawing for a Mausoleum, PI. XCVIII. Among several studies for the construction of cupolas above a Greek cross there are some in which the forms are decidedly monotonous. These, it is clear, were not designed as models of taste; they must be regarded as the results of certain investigations into the laws of proportion, harmony and contrast. The designs for churches , on the plan of a Latin cross are evidently intended to depart as little as possible from the form of a Greek cross; and they also show a preference for a nave surrounded with outer porticos. The architectural forms preferred by Leonardo are pilasters coupled (PL LXXXII No. i) or grouped (PL LXXX No. 5 and XCVI No. 4), often combined with niches. We often meet with orders superposed, one in each story, or two small orders on one story, in combination with o ne great order (PI. XCVI No. 2). ON THE STYLE OF LEONARDO'S ARCHITECTURE. 103 The drum (tamburo) of these cupolas is generally octagonal, as in the cathedral of Florence, and with similar round windows in its sides. In PL LXXXVII No. 2 it is circular like the model actually carried out by Michael Angelo at St. Peters. The cupola itself is either hidden under a pyramidal roof, as in the Baptistery of Florence, San Lorenzo of Milan and most of the Lombard churches (PL XCI No. i and PL XCII No. \) ; but it more generally suggests the curve of Sta Maria del Fiore (PL LXXXVII I No. 5; PL XL No. 2; PL LXXXIX, M; PL XL No. 4, PL XCVI No. 2). In other cases (PL LXXX No. 4; PL LXXXIX; PL XC No. 2) it shows the sides of the octagon crowned by semicircular pediments, as in Brunellescds lantern of the Cathedral and in the model for the Cathedral of Pavia. Finally, in some sketches the cupola is either semicircular, or as in PL LXXXVII No. 2, shows the beautiful line, adopted sixty years later by Michael Angelo for the existing dome of St. Peter s. It is worth noticing that for all these domes Leonardo is not satisfied to decorate the exterior merely with ascending ribs or mouldings, but employs also a system of horizontal parallels to complete the architectural system. Not the least interesting are the designs for the tiburio (cupola) of the Milan Cathedral. They show some of the forms, just mentioned, adapted to the peculiar gothic style of that monument. The few examples of interiors of churches recall the style employed in Lombardy by Bramante, for instance in S. Maria di Canepanuova at Pavia, or by Dolcebuono in the Monastero Maggiore at Milan (see PL CI No. i /C. A. i8ib; 546^ PL LXXXIV No. iqj. The few indications concerning palaces seem to prove that Leonardo followed Albert? s example of decorating the walls with pilasters and a flat rustica, either in stone or by graffitti (PL CII No. i and PL LXXXV No. i4;. By pointing out the analogies between Leonardos architecture and that of other masters we in no way pretend to depreciate his individual and original inventive power. These are at all events beyond dispute. The project for the Mausoleum (PL XCVI II) would alone suffice to rank him among the greatest architects who ever lived. The peculiar shape of the tower (PL LXXX), of the churches for preaching (PL XCVII No. i and pages 56 and 57, Fig. i — 4), his curious plan for a city with high and low level streets (PL LXXVII and LX XVIII No. 2 and No. 3;, his Loggia with fountains (PL LXXX I I No. 4) reveal an originality, a power and fa- cility of invention for almost any given problem, which are quite wonderful. 104 ON THE STYLE OF LEONARDO'S ARCHITECTURE. In addition to all these qualities he propably stood alone in his day in one department of architectural study, — his investigations, namely, as to the resistance of vaults, foundations, walls and arches. As an application of these studies the plan of a semicircular vault (PL CHI No. 2) may be mentioned here, disposed so as to produce no thrust on tht columns on which it rests: volta I botte e non ispignie Tfori le colone. Above the geometrical patterns on the same sheet, close to a circle inscribed in a square is the note: la ragio d'una volta cioe il terzo del diamitro della sua . . . del tedesco in domo. There are few data by which to judge of Leonardos style in the treatment of detail. On PI. LXXXV No. 10 and PL CIII No. 3, we find some details of pillars', on PL CI No. 3 slender pillars designed for a fountain and on PL CIII No. i MS. B, is a pen and ink drawing of a vase which also seems intended for a fountain. Three handles seem to have been intended to connect the upper parts with the base. There can be no doubt that Leonardo, like Bramante, but unlike Michael Angel o, brought infinite delicacy of motive and execution to bear on the details of his work. XIV. Anatomy, Zoology and Physiology. Leonardo's eminent place in the history of medicine, as a pioneer in the sciences of Anatomy and Physiology, will never be appreciated till it is possible to publish the mass of manuscripts in which he largely treated of these two branches of learning. In the present work I must necessarily limit myself to giving the reader a general view of these labours, by publishing his introductory notes to the various books on anatomical subjects. I have added some extracts, and suck observations as are scattered incidentally through these treatises , as serving to throw a light on Leonardo's scientific attitude, besides having an interest for a wider circle than that of specialists only. VASARI expressly mentions Leonardo's anatomical studies, having had occasion to examine the manuscript books which refer to them. According to him Leonardo studied Anatomy in the companionship of Marc Antonio della Torre "aiutato e scambievolmente aiutando." — This learned Anatomist taught the science in the universities first of Padua and then of Pavia , and at Pavia he and Leonardo may have worked and studied together. We have no clue to any exact dates, but in the year 1506 Marc Antonio della Torre seems to have not yet left Padua. He was scarcely thirty years old when he died in 1512, and his writings on anatomy have not only never been published, but no manuscript copy of them is known to exist. This is not the place to enlarge on the connection between Leonardo and Marc An- tomo della Torre. I may however observe that I have not been able to discover in Leonardo's manuscripts on anatomy any mention of his younger contemporary. The few quotations which occur from writers on medicine — either of antiquity or of the middle ages are printed in Section XXII. Here and there in the manuscripts mention is made of an anonymous "adversary'1'1 (avversario) whose views are opposed and refuted by Leonardo, but there is no ground for supposing that Marc Antonio della Torre should have been this "adversary". Only a very small selection from the mass of anatomical drawings left by Leonardo have been published here in facsimile, but to form any adequate idea of their scientific VOL. 11. O ANATOMY, ZOOLOGY, PHYSIOLOGY. should be chared «*» * «-n» «* *-*»«* A""-" **"* '" *• time of George III. of seeing the originals in the King's L,brary has suc" desi£ns / * useul ,o a pa.nter in his own profession. But I saw, W t astonishment, that Leonardo had been a general and deep student. When I cons,der ^a, pains ,:< >u,s taken upon every part of tke My, the superiorly of ,ns u,:,v^ genius his particular excellence in mechanics an,t hydrauhcs, and the attend ,.v/A ihichsuch a man would ermine and see oojects vhich he >cose sono state o no, 84i ceto 20 libri da me 85conposti ne dara sente- 86tia del si o del no, nelli 8?quali no sono stato inpedi88to ne d'auaritia o negligetia, 89ma sol dal tenpo vale. all the other members, and removing the very minutest particles of the flesh by which these veins are surrounded, without causing them to bleed, excepting the insensible bleeding of the capillary veins; and as one single body would not last so long, since it was neces- sary to proceed with several bodies by degrees, until I came to an end and had a complete knowledge; this I repeated twice, to learn the differences [59]. And if you should have a love for such things you might be prevented by loathing, and if that did not prevent you, you might be de- terred by the fear of living in the night hours in the company of those corpses, quartered and flayed and horrible to see. And if this did not prevent you, perhaps you might not be able to draw so well as is necessary for such a demon- stration ; or, if you had the skill in drawing, it might not be combined with knowledge of per- spective; and if it were so, you might not under- stand the methods of geometrical demonstration and the method of the calculation of forces and of the strength of the muscles; patience also may be wanting, so that you lack per- severance As to whether all these things were found in me or not [84], the hundred and twenty books composed by me will give verdict Yes or No. In these I have been hin- dered neither by avarice nor negligence, but simply by want of time. Farewell [89]. W. A. II. 3(>a (21)] DELL'ORDINE DEL LIBRO. 797- 2 Questa • opera • si deve pricipiare alia • and cocietticne- deH'omo ., e devi descrivere • il *uF*r"then* m°d° della matrice, 3e come il putto-1'a- •, e in che grado • lui risegga- T quella-, OF THE ORDER OF THE BOOK. This work must begin with the concep- tion of man, and describe the nature of the womb and how the foetus lives in it, up to what stage it resides there, and in what way ormeiau' , , (797-802). e '1 modo • dello vivificarsi e cibarsi, 4e '1 it quickens into life and feeds. Also its suo • accrescimeto •, e che • interuallo • sia • growth and what interval there is between 44. consi. 45. niinuti. 46. partichule. 53. capillar "e"(?). 54. e [altrettate] e vn. 55. attanto tepo chc. 56. imano. 57. corpi che si nnisMmi la inte. 58. cognitione le qual [s] ripri. 59. cai [i] ''2" volte . . diferentie. 60. essettu arai. 66. squartati. 68. notipedisce. 69. qual sapa. 70. attal. 71. settu arai. 72. acopagnato. 73. esse . . acopagnato. 76. geo- metrice. 79. efforse. 82. scimc. 83. onno [lili]. 84. icceto 20. 86. tia [di] del. 88. negli etia. 89. d 1 [dalla ve] tenpo. 797. 2. debe. 2. e disscrivere. 3. chome il pucto . . risega . . uiuicharsi. 4. acresscimelo . . da i grado da cresscimcto . a . 1 . 84. Leonardo frequently, and perhaps habitually, wrote in note books of a very small size and only moderately thick; in most of those which have been preserved undivided, each contains less than fifty leaves. Thus a considerable number of such volumes must have gone to make up a volume of the bulk of the * Codex Atlanticuf which now contains nearly 1200 detached leaves. In the passage under consideration, which was evidently written at a late period of his life, Leonardo speaks of his Manu- script note-books as numbering 120; but we should hardly be justified in concluding from this passage that the greater part of his Manuscripts were now missing (see Prolegomena, Vol. I, pp. 5 — 7). 797. The meaning of the word nervo varies in different passages, being sometimes used for muscolo (muscle). 797-] ANATOMY. da • uno grado d' accrescimeto • a • uno • altro, e che cosa lo spigna fori sdel corpo • della madre •, e per che • cagione qualche • uolta • lui • uega fori • dal uetro di sua madre inati al debito 6tepo. ? Poi discriuerai quali mebrasieno • quelle • che crescono • poi • che' 1 putto e nato • piv che 1'altre, 8e da la misura d'u putto • d'un anno. 9 Poi discrivi I'omo crescivto e la femina- e sue • misure • e nature di complessione colore I0e fisonomie. 11 Di poi descrivi com'egli e coposto • di uene •, nerui •, muscoli e ossa; Questo farai nell' ultimo del libro; lzdi poi figura • in • 4 storie • quattro vniversali casi delli omini, • cioe letitia con uari atti di ridere, figura • la cagio • del riso •; piato in var modi colla • sua • cagione •; cotetione co uari movi^meti d' uccisione •, fughe •, pavre •, ferocita •, ardimeti , micidi • e tutte cose apparteneti a simil casi; I5di poi figura • vna fatica co tirare, spiegniere • portare, fermare, sostenere e simili 16 cose; T?Di poi discriui attitudine • e movimeto; 18 di poi prospettiva • per 1'ofitio e effetti dell'ochioe dell' udito, — dirai di mvsicha — e descrivi delli altri sesi. J9Di poi discrivi la natura • de' sensi. 20Questa figura strumetale dell'omo di- mostreremo in . . figure, delle 2I quali le 3 prime saranno la ramificatione delle ossa, cioe vna dinazi • che "dimostri 1'altitudine de' siti e figure delli ossi, la seconda sara veduta in 23proffilo e mostrera la profondi- ta del tutto e delle parti e loro sito; La 3a 2« figura fia dimostratrice delle ossa dalla parte dirieto; Di poi faremo ^3 altre figure ne' simili aspetti colle ossa segate, nelle quali si vedranno le lor 26grossezze e uacuita; 3 altre figure faremo dell' ossa in- tere e de' nerui che na2?scono dalla nuca, e in che mebra ramificano; E 3 altre de'ossa e vene e do28ve ramificano, poi 3 con muscoli e 3 con pelle, e figure propor- tionate, e 3 della femina per dimostrare matrice e vene mestruali, 3°che vanno alle poppe. one. stage of growth and another. What it is that forces it out from the body of the mother,, and for what reasons it sometimes comes out of the mother's womb before the due time. Then I will describe which are the mem- bers, which, after the boy is born, grow more than the others, and determine the propor- tions of a boy of one year. Then describe the fully grown man and woman, with their proportions, and the nature oftheir complexions, colour, and physiognomy. Then how they are composed of veins, tendons, muscles and bones. This I shall do at the end of the book. Then, in four draw- ings, represent four universal conditions of men. That is, Mirth, with various acts of laughter, and describe the cause of laughter. Weeping in various aspects with its causes. Contention, with various acts of killing; flight, fear, ferocity, boldness, murder and every thing pertaining to such cases. Then represent Labour, with pulling, thrusting, carry- ing, stopping, supporting and such like things. Further I would describe attitudes and movements. Then perspective, concerning the functions and effects of the eye ; and of hearing — here I will speak of music — , and treat of the other senses. And then describe the nature of the senses. This mechanism of man we will demon- strate in ... figures; of which the three first will show the ramification of the bones; that is: first one to show their height and position and shape : the second will be seen in profile and will show the depth of the whole and of the parts, and their position. The third figure will be a demonstration of the bones of the backparts. Then I will make three other figures from the same point of view, with the bones sawn across, in which will be shown their thickness and hollow- ness. Three other figures of the bones com- plete, and of the nerves which rise from the nape of the neck, and in what limbs they ra- mify. And three others of the bones and veins, and where they ramify. Then three figures with the muscles and three with the skin, and their proper proportions ; and three of woman, to illustrate the womb and the menstrual veins which go to the breasts. altro . . chosu . . spiga. 5. chorpo . . chagione . . uega ..del. 7. cresscano enato. 9. ella . . essue . . choprlessione chollore effisosbmie. n. desscrivi chom eli e choposto . . musscoli. 12. chasi . . chouari. 13. effigura la chagio . de riso . . cholla . . chagione . chotetione cho. 14. ucisione . fuge . . ettutte chose aparteneti assimil chasi. 15. faticha cho . . sosstenere essimili. 16. chose. 18. lofitio effetti . . della uldito . . musicha . . sesi. 19. de . 2 . "sensi" sensi. 20. dimosterreno. 22. effigure . . sechonda. 23. mossterra. 24. delle [ner] ossa . . faren. 20. asspetti . . segate . . uetra le. 26. gosseze e uachuita . . fareno. 27. sea della nucha . . ramifichino. 28. ramifichino . . mvsscoli . . effigure. 29. tionati . . me- struale. no ANATOMY. [798. W. An. IV. 798. ORDINE DEL LIBRO. THE ORDER OF THK BOOK. 1 Questa mia figuratione del corpo vmano ti sara climostra no altre'menti, die se tu auessi 1'omo naturale inati, e la rago si e, che se tu vuoi be'ne conoscere le parti delFomo anatomizzato, tu lo vuoi — o I'o- chio tuo — per disversi aspetti, quello coside- rando di sotto, e di sopra, e dalli lati, vol- taiuio°lo e cercando 1'origine di ciascu mcbro, e I tal modo la notomia na?turale a soddisfatta alia tua notitia; Ma tu ai a intedere, che tal noti"tia no ti lascia sad- disfatto, cociosiache la gradissima confusione che 'resulta della mistione di paniculi misti co uene, arterie, nerui, corde, "'muscoli, ossi, sangue, il quale tignie di se ogni parte d'un medesimo colo^re, e le vene, che di tal sangue si votano non sono conosciute per la lordimiI2nutione, ela integrita delli pannicoli, nel cercare le parti che dentro a '^loro s'includono, si viene a rompere, e la lor trasparetia, tinta di sangue, ^no ti lascia conoscere le parti coperte da loro per la similitu'5dine del lor colore insanguinato, e no puoi avere la notitia dell'u che tu l6no cofonda e distrugga 1' altro ; adunque e necessario fare piu notomie, '^delle quali 3 te ne bisognia per auere piena notitia delle vene e arterie, l8distruggedo con soma diligentia tutto il rimanete, e altre 3 per auere la notitia '9 delli pannicoli, e 3 per le corde e muscoli e legameti, e 3 per li ossi e car20tilagini , e 3 per la notomia delle ossa, le quali s' anno a segare e dimo- "strare, quale d buso e quale no, quale e midolloso, quale 6 spugno22so, e quale £ grosso dal fori al dentro, e quale e sottile, e alcuno a in al^cuna parte gra sottiglezza, e in alcuna e grosso, e in alcuna busa, o This depicting of mine of the human body will be as clear to you as if you had the natural man before you; and the reason is that if you wish thoroughly to know the parts of man, anatomically, you — or your eye — require to see it from different aspects, considering it from below and from above and from its sides, turning it about and seeking the origin of each member; and in this way the natural anatomy is sufficient for your comprehension. But you must understand that this amount of knowledge will not continue to satisfy you; seeing the very great confusion that must result from the combination of tissues, with veins, ar- teries, nerves, sinews, muscles, bones, and blood which, of itself, tinges every part the same colour. And the veins, which dis- charge this blood, are not discerned by rea- son of their smallness. Moreover integrity of the tissues, in the process of the inves- tigating the parts within them , is inevitably destroyed, and their transparent substance being tinged with blood does not allow you to recognise the parts covered by them, from the similarity of their blood-stained hue; and you cannot know everything of the one with- out confusing and destroying the other. Hence, some further anatomy drawings be- come necessary. Of which you want three to give full knowledge of the veins and ar- teries, everything else being destroyed with the greatest care. And three others to dis- play the tissues; and three for the sinews and muscles and ligaments; and three for the bones and cartilages; and three for the anatomy of the bones, which have to be sawn to show which are hollow and which are not, which have marrow .and which are spongy, and which are thick from the out- side inwards, and which are thin. And some are extremely thin in some parts and thick in others, and in some parts hollow or filled up with bone, -or full of marrow, or spongy. And all these conditions are sometimes found 798. 2. Quessta. 3. chessettu . . ella . . chessettu. 4. conosscere le parte . . natomizate tu lo voli ollui ollochio. 5. asspetto. 6. ec- cerchando . . ciasscu. 7. turale ta sadidisfatto . . chettal. 8. lasscia . . cocosia chella . . chonfusione. 9. della . . pani- chuli. 10. musscoli . . dumedesimo. n. elle . . cognosscute. 12. nuitione ella . . pannichuli nel cierchare le parte . . al. ij. sincludano . si uegano . . ella . . trassparetia. 14. lasscia cognossciere le parte [che son sotto a] coperte dalloro per almilitu. 15. poi . . chettu. 16. desstruggha . . natomie. 18. desstrugedo . . soma. 19. pannichuli . . musscoli ellegameti ejej. 20. e [ij 3 per la natomia . . assegare e dimos. 21. quale he spugn"a". 22. ecqua le he . . essottile . . innnl. 23. chuna . . sotu'glicza . alchuna . . alchuna. 24. osspugnosa e chosi . . sarano. 25. numedesimo. 26. essuo. 28- as- 110 PL. C VII. 798.] ANATOMY. I I I piena 24d'osso, o midollosa, o spugnosa; e cosl tutte queste cose sarano alcuna volta tro25vate in un medesimo osso, e alcuno osso fia che non a nessuna ; e 3 te ne bisog- 26na fare per la donna, nella quale e gra mis- terio, mediante la • matrice e suo feto; 2?a- dunque per il mio disegnio ti fia noto ogni parte e ogni tutto mediante la di28mostratione di 3 diuersi aspetti di ciascuna parte, perche quando tu avrai vedu29to alcun mebro dalla parte dinanzi con qualche neruo, corda, o vena che 3° nasca dalla opposita parte, ti fia dimostro il medesimo mebro volto per lato 3zo dirieto-; non altremeti che se tu auessi in mano il medesimo mebro e andas32si lo voltado di parte in parte insino a tanto che tu auessi piena notitia di que!33lo che tu desideri sapere, e cosl similmete ti fia posto inariti in tre o 344 dimostrationi di ciascu mebro per diuersi aspetti in modo che tu resterai con^vera e piena notitia di quello che tu vuoi sapere della figura dell'omo. 36Adunque qui con 12 figure intere ti sara mostrata la cosmografia del minor 37 modo col medesimo ordine che inazi a me fu fatto da Tolomeo nella sua cosmo- 38grafia, e cosl diuidero poi quelle in mebra, come lui diuise il tutto in provin- cie; 39 e ,'poi diro 1'ufitio delle parti per ciascu verso, mettedoti dinati alii ochi la notitia 4°di tutta la figura e valitudine del- l'omo inquato a moto locale mediante le sue parti, 4IE cosl piacesse al nostro autore che io potessi dimostrere la natura delli omini e Io42ro costumi nel modo che io descrivo la sua figura. 43 E ricordoti che la notomia delli ner- ui non ti dara la situatione della loro rami- 44ficatione, ne in quali muscoli essi si rami- ficano • mediante li corpi disfatti . in acqua 45correte, o in acqua di calcina, perche, ancorache ti rimaga la origine de'lor nas- scimenti 46sanza tale acqua come coll' ac- qua, le ramificationi loro pel corso del- 1'acqua si 4?vengono a vnire, non altremeti che si fascia il lino o canapa pettinata per filare, 48 tutto in vn fascio in modo che in- possibile e a ritrovare in quali muscoli o co quale 49 o co quate ramificationi li nerui s'infondino ne' predetti muscoli. in one and the same bone, and in some bones none of them. And three you must have for the woman, in which there is much that is mysterious by reason of the womb and the foetus. Therefore by my drawings every part will be known to you, and all by means of demonstrations from three different points of view of each part; for when you have seen a limb from the front, with any muscles, sinews, or veins which take their rise from the opposite side, the same limb will be shown to you in a side view or from behind, exactly as if you had that • same limb in your hand and were turning it from side to side until you had acquired a full comprehension of all you wished to know. In the same way there will be put before you three or four demon- strations of each limb, from various points of view, so that you will be left with a true and complete knowledge of all you wish to learn of the human figure [3 5]. Thus, in twelve entire figures, you will have set before you the cosmography of this lesser world on the same plan as, before me, was adopted by Ptolemy in his cosmo- graphy ; and so I will afterwards divide them into limbs as he divided the whole world into provinces; then I will speak of the func- tion of each part in every direction, putting before your eyes a description of the whole form and substance of man, as regards his movements from place to place, by means of his different parts. And thus, if it please our great Author, I may demonstrate the nature of men, and their customs in the way I describe his figure. And remember that the anatomy of the nerves will not give the position of their ramifications, nor show you which muscles they branch into, by means of bodies dis- sected in running water or in lime water; though indeed their origin and starting point may be seen without such water as well as with it. But their ramifications, when under running water, cling and unite — just like flat or hemp carded for spinning — all into a skein, in a way which makes it impossible to trace in which muscles or by what ramification the nerves are distributed among those muscles. spetti . . quanto . . arai. 30. parte [tuj eti . . per lalo. 31. chessettu . . imano. 32. attanto chettu. 33. Ho chettu . . possto. 34. asspetti . . chettu. 35. chettu voi. 36. mosstro la cossmografia. 37. fuffatto dattolomeo . . cossmo. 38. imebra . . province. 39. ciasscu.- 40. lochale . . parte. 41. Eccosi piacessi . . altore . . dimosstrare. 42. cosstumi . . desscrivo. 43. cholla dilora. 44. facione . . musscoli . . ramifichino. 45. corete o in acq"a" . . rimagha. 46. tale acq"a" . . ramificatione. 47. vengono chessi facci . . chanapa. 48. fasscio. 49. ramificatione . . mvsscoli. 798. 35. Compare PI. CVII. The original drawing at Windsor is 281/2 X ^9I/z centimetres. The upper figures are slightly washed with Indian ink. On the back of this drawing is the text No. 1140. ANATOMY. [799-802. 112 799- W. ORDINE DI NOTOMIA. • Fa prima Fossa come dire le braccia, e poni il motore dalla spalla al 'gomito per tuttelelime;Dipoidalgomitoalbracc,o; Di poi dal 'braccio alia mano e dalla mar alii diti. . , , sE nel • braccio norrai h moton ado a crado per non nnmo po?ni sopra dell' che con essi ossa SSLTalSa confusione e co^quelli porrai «li che li nutriscono, auendo _ bero delle ue"ne e neru, plici ossa. confondere. ossa quell, mu- si congiungono, d'altri muscol,, neru, e uene, pnma fat to 1 al- sopra delle sen- THE ARRANGEMENT OF ANATOMY. First draw the bones, let us say, of the arm and put in the motor muscle from the shoulder to the elbow with all its lines. Then proceed in the same way from the elbow to the wrist. Then from the wrist to the hand and from the hand to the fingers. And in the arm you will put the motors of the fingers which open, and these you will show separately in their demonstration. In the second demonstration you will clothe these muscles with the secondary motors c the fingers and so proceed by degrees to avoid confusion. But first lay on the bones those muscles which lie close to the said bones, without confusion of other muscle and with these you may put the nerves and veins which supply their nourishment, aftt having first drawn the tree of veins and nerves over the simple bones. W. An. IV, XXI] 800. Cormcia la notomia alia testa e finis- cila nella piata del piede. Begin the anatomy at the head and finish at the sole of the foot. W. An. II. 39* (°)1 80 1. of entire figures' W. An. IV. 151 a] 802. s superficial,. gunghano. 10. musscoli. n. chelli notrissc 800. cffiniscila. 801. i. homini. 2. chon. 3. ssenplici. 6. tiere. 8oa. 2. cress ciere . . ettu. 3- lasstatua . cho. 8oa. Crescifre V omo. The meaning of this ex- pression appears to be different here and in the passage C. A. i$7a, 468- (see No. 526, Note I. 2). Here it can hardly mean anything else than modelling, since the sculptor forms the figure by degrees, by adding wet clay and the figure conse- quently increases or grows. Tu farai la statua would then mean, you must work out the figure in marble. If this interpretation is the correct one, this pas sage would have no right to find a place m tl series on anatomical studies. I may say that was originally inserted in this connection unde the impression that di crescitrc should be , scrivere. 803. 804.] ANATOMY. W. An. Ill, XXII] 803. Farai tutti li moti dell' ossa 2 colle giunture loro dopo Ma dimostratione delle pri4me tre figure dell' ossa, esquesto si deve fare nel prime 6libro. You must show all the' motions of the Plans for bones with their joints to follow the demon- ^J^6" stration of the first three figures of the bones, md^?* bj and this should be done in the first book. (803-809). W. XXIII] 804. Ricordoti che per farti certo del nas- cimento di qualunche muscolo, che tu tiri 2 la corda, partorita da esso muscolo, in modo che tu veda movere esso 3 muscolo e '1 suo nascimeto sopra delle • legature delli ossi. NOTANDO. sTu non farai mai se no confusione nella di6mostratione de' muscoli e lor siti, nascimeti ?e fini, se prima non fai vna dimostratione di 8 muscoli- sottili a uso di fila di refe, e cosl potrai 9figurare Pun- sopra dell' altro, come li a situati la I0na- tura, e cosl li potrai nominare secodo il mebro "al quale lor seruono, cioe il motore della puI2ta del dito grosso e del suo osso di mezzo o del primo ecc; T3e dato che tu ai tale notitia, figurerai al lato a ^questa • la uera forma e quatita e sito di ciascu muscolo; 'Sma ricordati di fare li fili, che insegniano li muscoli, negl6li medesimi siti che son le linie centrali di ciascu musscolo, e "cosl tali fili dimostreranno la figura del- la ganba l8e la loro distantia spedita e nota. '9 Ho spogliato di pelle vno il quale per una mala20ttia s'era tanto diminuito che li muscoli era 2Iconsumati e restati a uso di pellicola sottile, 22in modo che le corde in scabio del conuertirsi 23in muscolo si convertivano in larga pelle, 24 e quado 1' ossa era uestite di pelle, poco acqui25staua della lor naturale grossezza. Remember that to be certain of the point of origin of any muscle, you must pull the sinew from which the muscle springs in such a way as to see that muscle move, and where it is attached to the ligaments of the bones. NOTE. You will never get any thing but con- fusion in demonstrating the muscles and their positions, origin, and termination, unless you first make a demonstration of thin muscles after the manner of linen threads; and thus you can represent them, one over another as nature has placed them; and thus, too, you can name them according to the limb they serve; for instance the motor of the point of the great toe, of its middle bone, of its first bone, &c. And when you have the knowledge you will draw, by the side of this, the true form and size and position of each muscle. But remember to give the threads which explain the situation of the muscles in the position which corre- sponds to the central line of each muscle; and so these threads will demonstrate the form of the leg and their distance in a plain and clear manner. I have removed the skin from a man who was so shrunk by illness that the muscles were worn down and remained in a state like thin membrane, in such a way that the sinews instead of merging in mus- cles ended in wide membrane; and where the bones were covered by the skin they had very little over their natural size. 803. 2. guhture. 3. dimosstratione. 4. ecq. 5. defare. 804. i. nasscimeto . . chettu. 2. corta. 3. musscolo .. nasscimeto. 6. mosstratione . . musscoli ellor . . nassci.neti. 7. effini . . dimosstratione. 8. musscoli. 10. mebr. n. seruano coe . . motore [delluli], 12. mezo. 13. chettu. 14. cquessta . . essito . . mussolo. 15. musscoli ne. 16. le medesimi . . chesson . . ciasscu. 17. dimostera. 18. ella . . disstantia . . e note. 19. hos- spogliato. 20. chelli musscoli. 21. cresstati. 22. chelle corde niscabio. 23. musscolo . . largha. 24. pocho. 25. grosseza. 804. The photograph No. 41 of Grosvenor Gallery Publications : a drawing of the muscles VOL. u. of the foot, includes a complete facsimile of the text of this passage. 114 ANATOMY. [805—808. W. An. I. if[ Quale nervo e cagione del moto del- 1'ochio a lare-che '1 moto dell'un ochio tin Paltro. 21Del chiudere le ciglia, 'dello alzare leciglia, * dello abbassare le ciglia.li 5 1 dello chiudere li ochi, 6 dello aprire li ochi,1i 71 dello alzare le narici, "del aprire le labra co deti-serrati, sdello-apputare- le labra, I0del ridere, "del maravigliarsi. "A discriuere il principio deH'omo quado elli si cavsa-nella matrice, '^e perche uno putto no uive-d'otto-mesi; 'dal nascimeto de'diti-al loro-rnezzo J°e dal mezzo all'ul- timo nodo.li ^ 'Del neruo che e cagione del moto della coscia, 3'e dul ginochio al pie, e dalla givn- tura del pie ai diti ^e cosl ai lor mezzi, 3«e del girare d'essa ganba. 805. Which nerve causes the motion -of the eye so that the motion of one eye moves the other? Of frowning the brows, of raising the brows, of lowering the brows, — of closing the eyes, of opening the eyes, — of raising the nostrils, of opening the lips, with the teeth shut, of pouring with the lips, of smiling, of astonishment. — Describe the beginning of man when it is caused in the womb and why an eight months child does not live. What sneezing is. What yawning is. Falling sickness, spasms, paralysis, shivering with cold, sweating, fa- tigue, hunger, sleepiness, thirst, lust. Of the nerve which is the cause of mo- vement from the shoulder to the elbow, of the movement from the elbow to the hand, from the joint of the hand to the springing of the fingers. From the springing of the fingers to the middle joints, and from the middle joints to the last. Of the nerve which causes the movement of the thigh, and from the knee to the foot, and from the joint of the foot to the toes, • and then to the middle of the toes and of the rotary motion of the leg. 806. ANATOMIA. 2Quali nerui over corde della mano so 3quelle che accostano e discostano li -»diti della mano e de'piedi 1'un dall'altro? ANATOMY. Which nerves or sinews of the hand are those which close and part the fingers and toes latteraly? W. 238*) 807. Scuopri a grado a grado tutte le parti dinanti deH'omo 2nel fare la tua notomia, e cosl insino in sull'osso; ^descritione de' mebra della vita e lor trauagliameti. Remove by degrees all the parts of the front of a man in making your dissection, till you come to the bones. Description of the p'arts of the bust and of their motions. K.3 28 a] 808. Fa la notomia della ga2ba insino al fiaco per nutti i versi e per tutti li 'atti e in Give the anatomy of the leg up to the hip, in all views and in every action and in 805. i. chagione . . affare. j. anarise. 8. cho . . strati. 12. [facci] a desscrivere . . chausa. 13. 5 putto. 14. chosa esstarnuto. 15. chosa essbaviglio. 16. malmaesstro. 18. parletkho. 19. fredc. 21. stachcza. 26. chagione . . dalla. 28. nassimeto. 29. nassimeto . . raezo. 30. roezo. 31. chagione . . cosscia. 33. mezi. 806. i. anotamia. 3. quelle che achosstano e disscostano. 807. i. parte. 3. discretio de mebr . . vite ellor. 808. i — 9 R. 2. fiucho. 7. He. 8. scghatc . . gro. 808. A straightened leg in profile is sketched by the side of this text. 809—8 1 ANATOMY. tutte le spoglie, 5vene, arterie, nerui, 6corde e mvscoli, pe!7le e ossa, e poi dell'ossa 8segate per uedere la gros9sezza dell'ossa. every state; veins, arteries, nerves, sinews and muscles, skin and bones ; then the bones in sections to show the thickness of the bones. w. A. n. 76 <*] 809. Farai regola e misura di ciascun muscolo, 2e renderai ragione di tutti li loro vfiti, e in che moMo s'adoperano e che li mu- ove ecc. 4 Farai prima la spina del dosso, di poi va vestendo 5a gradi 1'un sopra dell'altro di ciascu di questi musco6li, e poni li nervi all' arterie e vene a ciascun 7 muscolo per se, e oltre a di questo nota a qua8ti spon- dili si congiugono, e che intestini sono 9 loro a riscotro e che ossi e altri strumeti orga- I0nici ecc. JILe parti piu alte de'magri son piu alte nelli muI2scolosi, e similmete ne'grassi; Ma la differetia, che e ^dalla figura de'muscoli che anno li grossi a rispetto I4delli musco- losi, sara qui di sotto descritta. Make the rule and give the measurement of each muscle, and give the reasons of all their functions, and in which way they work and what makes them work &c. [4] First draw the spine of the back; then clothe it by degrees , one after the other, with each of its muscles and put in the nerves and arteries and veins to each muscle by itself; and besides these note the vertebrae to which they are attached; which of the intestines come in contact with them; and which bones and other organs &c. The most prominent parts of lean people On corpu- . r 11 lency and are most prominent in the muscular, and equally leanness so in fat persons. But concerning the dif- (8°9— 8l1)- ference in the forms of the muscles in fat persons as compared with muscular persons, it shall be described below. W. An IV. 7 (A. A)] 810. Descriui quali mu2scoli si perdono nello Pgrossare, e nel dimagratre quali muscoli si scosprono. 6E nota che quel loco del?la superfitie del grasso 8che sara piu cocauata, 9quado si disgrassa- fia I0piu eleuato. • "Doue li muscoli I2si separano 1'u dal- ^.I'altro, farai p^roffili, e doue s'^appiccano insieme . . . Describe which muscles disappear in growing fat, and which become visible in growing lean. And observe that that part which on the sur- face of a fat person is most concave, when he grows lean becomes more prominent. Where the muscles separate one from another you must give profiles and where they coalesce ... W. 239 (= W. L. 131)] D£ FIGURA VMANA. 8n. 2Qual parte e quella nell'omo che nel suo ingrassa3re mai cresce carne? 4 Quale e quella parte che nel dimagrare dell'omo Smai no dimagra con dimagratio troppo sesibile? 6 infra le parti che ingras- sano qual'e quella che piu ?ingrassa? OF THE HUMAN FIGURE. Which is the part in man, which, as he grows fatter, never gains flesh? Or what part which as a man grows lean never falls away with a too perceptible diminution? And among the parts which grow fat which is that which grows fattest? 809. i. reghola . . ciasscu musscolo. 3. he chilli. 4. lasspina . . vavesstendo. 5. hagradi . . ciasscu di quessti. 6. ciasscu. 7. musscholo . . addi quessto . . acqua. 8. chongiughano . . intesstini. 9. arrisscotro . . orgha. n. parte . . mus. 12. scho- losi essimilmete . . Malla diferetia. 13. musscoli che ali . . aris specto. 14. musscholosi . . disocto desscrcta. 810. 2. perdano. 4. musscoli. 5. prano. 6. que lochi. 7. lla. 8. chessara. 9. dissgrassa. n. musscoli. 15. apichano. 811. 3. cressce. 4. ecquella. 6. infralle parte. 8. infralle parte . . chessi. 10. musscoli . . di ma. n. gore grosseza. 12. afri- 809. The two drawings given on PI. CVIII no. I come between lines 3 and 4. A good and very early copy of this drawing without the written text exists in the collection of drawings belonging to Christ's College Oxford, where it is attributed to Leonardo, n6 ANATOMY. [8 1 2. 813. •Infra le parti che dimagrano qual'c quella che si fa. 'piu magra? IODegli omini poteti in forze quali muscoli son di mag"giore grossezza c piu eleuati? l2Tu ai a figurare nella tua anatomia tutti li gradi 'Jdelle mebra dalla creatio deU'omo insino alia sua '«morte, e insino alia morte dell'osso, e qual parte d'esso •sprima si cosuma e qual piu si coserua. 16 E similmente dall' ultima magrezza al- 1' ultima grassezza. Among those which grow lean which is that which grows leanest? In very strong men which are the mus- cles which are thickest and most prominent? In your anatomy you must represent all the stages of the limbs from man's creation to his death, and then till the death of the bone; and which part of him is first decayed and which is preserved the longest. And in the same way of extreme leanness and extreme fatness. S. K. M. III. 66,.| 812. NOTOMIA. ANATOMY. 2 1 membri sefnplici • sono • vndici • cioe There are eleven elementary tissues : — The dm- 3 cartilagine - ossi - nerui • vene, * arterie - pan- Cartilage bones nerves, veins, arteries, fascia, "•LS the nicoli • legamcti e scorde, cotica e carne e ligament and sinews, skin, muscle and fat. OF THE HEAD. The divisions of the head are 10, viz. 5 external and 5 internal, the external are the hair, skin, muscle, fascia and the skull; the internal are the dura mater, the pia mater, [which enclose] the brain. The pia mater and the dura mater come again under- neath and enclose the brain; then the rete mirabile, and the occipital bone, which sup- ports the brain from which the nerves spring. DEL CAPO. ?Le parti del uaso del capo • sono 10: cioe 8 5 • conteneti • e 5 • cotenute ; le con- teneti ' sono: oapegli • cotica • carne I0mu- scolosa • panniculo • grosso • e '1 " craneo • | le contenvte son queste : du12ra madre • pia madre • cieruello | disoI3tto ritorna la pia e dura madre che dentro '*a se rinchiudono il cieruello-, poi la rete js mirabile- poi e 1'osso, fondameto del celabro Ibe donde • nascono li nerui. S. K. M. III. 65*} a capelli n cotica c carne musculosa m paniculo • grosso 50 craneo cioe osso b dura madre d pia • madre f ciervello r-pia madre • di sotto / • dura • madre /• rete mirabile s ' osso fondameto. a. hair n. skin c» muscle m. fascia o. skull /'. e. bone b. dura mater d. pia mater f. brain r. pia mater, below /. dura mater /. rete mirablile s. the occipitul bone. gurare. 15. ecqual. 16. essimilmente . . magreza . . graseza. 8ia. j. hossi. 4. pannichuli . . he. 5. codigahe. 8. he 5 cotenute. 9. codiga. 10. musscolosa. 14. asse ringiugano. 15. ellosso. 16. nasscie. 813. 2. codiga. 6. [f cieruello]. 813. See PL CVIII, No. 3. 8 1 4. 815.] ANATOMY. 117 W. An. II. 37 a] 814. Causa dell' alitare, 2 causa del moto del Of the cause of breathing, of the cause core, 3 causa del uomito, 4 causa del disce- of the motion of the heart, of the cause of .,,.,,,, , , vomiting, of the cause of the descent of dere 11 scibo dallo stomaco, ° causa del f nA f°