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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-
ili<i (1351. 1352).— Draught of a letter written at Rome (1353). — A fanciful
letter (1354).— Miscellaneous draughts of letters and personal records (1355 to
1368). — Notes bearing dates (1369 — 1378).
XXIL
MISCELLANEOUS NOTES 419—472
Memoranda before the year 1500 (1379— 1413).— Memoranda after the
year 1500 (1414— 1434). — Memoranda of unknown dates (1435—1457).
Notes on pupils and artisans (1458— 1468).— Quotations and notes on books
and authors (1469— 1508).— Inventories and Accounts (1509- 1545).— Notes
in unknown handwriting among the Manuscripts (1546— 1565).— Leonardo's
will (1566).
REFERENCE TABLE TO THE NUMERICAL ORDER OF THE CHAPTERS 473—478
APPENDIX 479-499
History of the Manuscripts. Bibliography.
JO-
LIST OF ILLUSTRATIONS IN VOLUME II.
Page
PI. LXV. Two preparatory Studies for the Sforza Monument; from the Royal
Library, Windsor Castle: No. i drawn with the pen, No. .2 drawn with
the silverpoint on bluish tinted paper To face i
PI. LXVI. Study for the Sforza Monument; from the Royal Library, Windsor
Castle To face 3
Fragment of Drawing, representing a walking Horse; from the Ambrosian Library,
Milan 4
PI. LXVII. Study for the Sforza Monument, drawn with the silverpoint on bluish
tinted paper; from the Royal Library, Windsor Castle .... To face 4
PL LXVIII. Study for the Sforza Monument; charcoal drawing on brown paper;
from the Royal Library, Windsor Castle To face 6
PI. LXIX. Study for the Sforza Monument, drawn in charcoal and with the pen and
Indian ink; from the Royal Library, Windsor Castle .... To face 8
PI. LXX. Study for the Sforza Monument, drawn with charcoal; from the Royal
Library, Windsor Castle To face 10
PI. LXXI. Study for the Sforza Monument, at first drawn with charcoal and
afterwards with the pen; from the Royal Library, Windsor Castle
To face 12
PI. LXXII. Drawing of a walking Horse, and two studies for the Sforza Monument;
from the Royal Library, Windsor Castle To face 14
PI. LXXIII. Study for the Sforza Monument, drawn with charcoal; from the Royal
Library, Windsor Castle To face 16
PI. LXXIV. Study for the Sforza Monument, at first drawn with red chalk and
afterwards with the pen; from the Royal Library, Windsor Castle
To face 18
PI. LXXV. Study for the Sforza Monument; from the Royal Library, Windsor
Castle — see text No. 711 To face 20
XII
LIST OF ILLUSTRATIONS IN VOLUME II.
Page
PI LXXVI. Two Drawings: No. i Study for the Sforza Monument; drawn in red
chalk, see text No. 712 — (from the Codex Atlanticus, Milan); No. 2
Drawing of instruments for the mint of Rome, — see text No. 726 — ;
from Manuscript G, Institut de France, Paris To face 22
Sketch of a walking Horse, and two studies for casting the figure of a horse, from
the Royal Library, Windsor Castle on page 24
PI. LXXVII. Two Drawings of Plans for Towns; from Manuscript B, Institut de
France, Paris — see text Nos. 741, 742 and 743 To face 27
PL LXXV1IJ. Two Architectural Drawings, from Manuscript B, Institut de France,
Paris: No. i representing a stable — see text No. 761 — ; No. 2 drawing
of Plans for Towns To face 29
PI. I.XXIX. Two Plans for Canals in a Town; from Manuscript B, Institut de France,
Paris — see text Nos. 745 and 746 To face 30
PI. LXXX. Four Drawings of Architecture for Castles: No. i from the Vallardi Vo-
lume, in the Louvre, Paris; Nos. 2 and 3 from Manuscript B, Institut
de France, Paris; No. 4 from the Royal Library, Windsor Castle;
and one Drawing of Ecclesiastical Architecture: No. 5, from Manu-
script B, Institut de France, Paris between pp. 32 and 33
PI. I. XXXI. Two Architectural Drawings: No. i a sketch for Decorations, from the
Trivulzi Manuscript, Milan; No. 2 Plan for a Royal residence; from
the Codex Atlanticus, Milan — see text No. 748 To face 33
PI. I. XXXI I. Four Drawings of projects for Castles and Villas; Nos. i and 4 from
the Codex Atlanticus, Milan; No. 2 from Manuscript KJ — see text
No. 749 — , and No. 3 — see text No. 750 — from Manuscript B, Institut
de France, Paris ; between pp. 32 and 33
PI. LXXXIII. Drawing of Plans for a Castle, and of a Nude Figure, washed with
Indian ink; from the Royal Library, Windsor Castle — see text
No- 1I(>3 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<W piii vicini.—/. 260 /. 9./&T vsarano mi</
VMTWM.— /. *QJ /. u /or oro r«W loro.— /. 309 L 9 /or arimetici r<-<?rf aritmctici; /. n for sie stende read si estende.— /. 328
/. M/OT Modi r*W »odo.-/. 3*9 /. 31 /or regoli nrarf regole.— /. 358 /. $/rom the end for bellonti read bollenti.— p. 365 /. 3
frrm At /W/or abbraccieraoi rtad abbraccicran— .
: ffft 46 1. ii /or No. 14 rw*/ No. 4--/. 49 /. 19 for PI. CXXXIV rnirf PI. LXXXIV.- p. ^ first Note,
ftr PL IX mul PI. XIJII.— /. 60 /. 8/*r PI. CXIX r*-^ PI. XCIX.— /. 102 /. 4 /n>»« 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<u/ so much.—/. 368 /. 24 for Flammc read Flame; /. 29 for to blows read blows.
u
XL
The notes on Sculpture.
Compared with the mass of manuscript treating of Painting, a very small number
of passages bearing on the practice and methods of Sculpture are to be found scattered
through the note books; these are here given at the beginning of this section
(Nos. 706 — 709,). There is less cause for surprise at finding that the equestrian statue
of Francesco Sforza is only incidentally spoken of; for, although Leonardo must have
worked at it for a long succession of years , it is not in the nature of the case that it
could have given rise to much writing. We may therefore regard it as particularly
fortunate that no fewer than thirteen notes in the master's handwriting can be brought
together, which seem to throw light on the mysterious history of this famous work.
Until now writers on Leonardo were acquainted only with the passages numbered 712,
719, 720, 722 and 723.
In arranging these notes on sculpture I have given the precedence to those which
treat of the casting of the monument, not merely because they are the fullest, but more
especially with a view to reconstructing the monument, an achievement which really
almost lies zvithin our reach by combining and comparing the whole of the materials
now brought to light, alike in notes and in sketches.
A good deal of the first two passages, Nos. 710 and 711, which refer to this
subject seems obscure and incomprehensible; still, they supplement each other and one con-
tributes in no small degree to the comprehension of the other. A very interesting and
instructive commentary on these passages may be found in the fourth chapttr of Vasari's
VOL. II. A
THE SFORZA MONUMENT.
oter designs *» * *~* « P^ing ***/ «»« « *»* <***' f "^
W * copious notes as to the method of cos**, •<*< 4™<»* «» ^
/<- 71 ^.finally selected, *~ to be MM *y *******
"II cavallo dello Sforza''-^ Boito remarks very appositely in the Saggio on
26 "doveva sembrare fratello al cavallo del Colleoni. E si direbbe che questo fosse
jio del cavallo del Gattamelata, il quale pare figlio di uno dei quattro cavalli che sta-
vano forse sull'Arco di Nerone in Roma" (now at Venice). The publication of the
Saggio also contains the reproduction of a drawing in red chalk, rePresenting a horse
walking to the left and supported by a scaffolding, given here on PL LXXVI, No. I. •
// must remain uncertain whether this represents the model as it stood during the pre-
parations for casting it, or whether-as seems to me highly improbable-this sketch shows
the model as it was exhibited in I493 on the Piazza del Castello in Milan under a
triumphal arch, on the occasion of the marriage of the Emperor Maximilian to Bianca
Maria Sforza. The only important point here is to prove that strong evidence seems to
show that, of the numerous studies for the equestrian statue, only those which represent
the horse pacing agree with the schemes of the final plans.
The second group of preparatory sketches, representing the horse as galloping,
must therefore be considered separately, a distinction which, in recapitulating the history
of the origin of the monument seems justified by the note given under No. 720.
Galeaszo Maria Sforza H as assassinated in 1476 before his scheme for erecting a
monument to his father Francesco Sforza could be carried into effect. In the following
year Lodovico il Moro the young aspirant to the throne was exiled to Pisa, and only
returned to Milan in 1479 when he was Lord (Governatore) of the State of Milan, in 1480
after the minister Cecco Simonetta had been murdered. It may have been soon after
this that Lodovico il Moro announced a competition for an equestrian statue, and it is
tolerably certain that Antonio del Pollajuolo took part in it, from this passage in Vasari's
Life of this artist: "E si trovo, dopo la morte sua, il disegno e modello che a Lodo-
vico Sforza egli aveva fatto per la statua a cavallo di Francesco Sforza, duca di Milano;
il quale disegno e nel nostro Libro, in due modi: in uno egli ha sotto Verona; nell'altro,
egli tutto armato, e sopra un basamento pieno di battaglie, fa saltare il cavallo addosso
a un armato; ma la cagione perche non mettesse questi disegni in opera, non ho gia
potuto sapere." One of Pollajuolo 's drawings, as here described, has lately been discovered
by Senatore Giovanni Morelli in the Munich Pinacothek. Here the profile of the horseman
is a portrait of Francesco Duke of Milan, and under the horse, who is galloping to the
left, we see a warrior thrown and lying on the ground; precisely the same idea as we find
V ;».>'•'.'•; ;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. 2<f. quello^da fforme\\\\\\\\\\\\\\\\\\
chon acieto. 21. e ben \\\\\\\\\\\\\\\. 22. miscia nella forma \\\\\\\\\\ uno quadrello. 23. pesto . e cienere co ciara douo e a ceto.
2tf, manegiare. 25. cholla . . falle una pichola. 26. falle boche. 27. chorna imole effondile cholla di pesscie. 28. pensa
[la forma] le. 30. ella essere ochupata. 31. ettato. 32. acquella parte a porgiere. 33. ecquesto chognio. 34. sscierai . .
tera. 35. forne. 36. cholla . . risspode. 37, ecquesto. 38. gabe Spinteche doubtful. 39. ale . . abiasschorrer. 40. chessa rebe
inpossib. 42. chavallo. 43. sportello della. Here the text breaks off.
711. 2. ghanbe . . esstabile. 3. sondometo . . effagli la chappa. 4. scechare assuolo assuclo . . ecquesta. 5. efferra sechondo. 6. chava
710. The importance of the notes included haps they were crossed out when Leonardo found
under this number is not diminished by the fact himself obliged to give up the idea of casting
that they have been lightly crossed out with red the equestrian statue. In the original the
chalk. Possibly they were the first scheme for some . first two sketches are above 1. I, and the third
fuller observations which no longer exist; or per- below 1. 9.
12
NOTES ON SCULPTURE.
[712.
la forma, c poi fa la 'grossezza, e poi riepi
la forma a mezza a mezza, 8e quella in-
tegra, poi con sua ferri cierchiala e 9cigni
c Ta ricuoci di dctro dove a a toccare il
zo.
DKI. FAR I.A FORMA DI PEZZI.
"Segnia sopra il cavallo finite tutti li
pezzi della for'^ma, di che tu voi vestire
tal cavallo, e nello interrare '<li taglia in
ogni interratura, accioche quado si e fini'sta
la forma che tu la possi cavare e poi ri-
comettere l6al primo loco colli sua scotri
delli cotrasegni.
lia b quadretto • stara infra la cappa
e'l maschio, cioe l8ncl uacuo dove a a
stare il brozo liquefatto e questi '^tali qua-
dretti di brozo manterrano li spati della for-
*"ma alia cappa con equal distatia, e per
questo tali "quadretti so di grade inpor-
tantia.
J2HLa terra sia ruista 2Jco rena;
'4tollicera, a rcde25re, e pagare la co-
2?Secca la 28a suoli. 29Fa la forma
di fori '°di giesso per fugire pil tepo
del seccare, ^2e la spesa di legnie, e co
utal giesso ferma ™li ferri di fori e di
?5dentro co due dita di >6grossezza, 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<fy/ *te/»>*f»] ^«f*>' ^
-».^?/f '^triJ ^> J^>^'*Y , *r-*/^r -"* (
]^1 ^j^^ v «&<f>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<tA«A- J "
^ v ^'HT;
Imp, Eudes.
735— 737-]
ON CASTING BRONZE.
21
S. K. M. III. 56 a]
735-
[Terra asciuta 16 2libbre, 100 libbre di
metallo 3 la bagniata terra 20, 4 di bagniato
100, di meta, 5 che cresce 4 libbre d'acqua,
6una di cera, una libbra di me7tallo, al-
quato maco, 8cimatura co terra, 9misura per
misura.]
[Dried earth 16 pounds, 100 pounds of
metal wet clay 20, — of wet 100, — half, —
which increases 4 Ibs. of water, — i of wax,
i Ib. of metal, a little less, — the scrapings
of linen with earth, measure for measure.]
52*] 736.
Tal fia il gietto 2qual fia la stapa.
Such as the mould is, so will the cast be.
Tr. 52]
COME SI DEBBONO PULIRE I GIETTI.
2Farai uno mazzo • di
fila • di ferro, grosso • come
spaghetto, ^e coll' acqua rv___
fregherai, tenedo sotto uno *^
tinello, accio no facci 4fago
sotto.
737-
HOW CASTS OUGHT TO BE POLISHED.
Make a bunch of iron
wire as thick as thread, and
scrub them with [this and]
water; hold a bowl underneath
that it may not make a mud
below.
COME si DE' LEUARE i RICCI D'EL BROZO.
6Farai uno • palo di ferro che sia a uso
d'uno largo • scarpello, 7e co quello freghe-
rai • su per quelle • creste • del brozo, che
rimarrano 8sopra • i gietti delle bobarde,
che diriuano dalle schiappature della 9 forma,
• ma fa che '1 palo • pesi • bene •, e' colpi
sieno lughi e gradi.
FACILITA DI FONDERE.
11 Allega • prima • una parte del metallo
alia • manica, di poi lo metti I fornace,
12 e questo fara prlcipio • col suo bagnio al
fondere del rame.
PER PROVEDERE AL RAME CHE SI FREDDASSE
NELLA FORNACE.
** Quando • il rame • si fredasse nella
fornace fa • che subito •, quado tu te n'avedi,
jsdi tagliarlo co frugatojo • metre ch'eli e-
I paniccia •, overo se fusse I6iteramete •
raffreddato, taglialo, come si fa il piobo, co
larghi e grossi scarI7pelli.
HOW TO REMOVE THE ROUGH EDGES FROM
BRONZE.
Make an iron rod, after the manner of
a large chisel, and with this rub over those
seams on the bronze which remain on the
casts of the guns, and which are caused by
the joins in the mould; but make the tool
heavy enough, and let the strokes be long and
broad.
TO FACILITATE MELTING.
First alloy part of the metal in the
crucible, then put it in the furnace, and this
being in a molten state will assist in beginn-
ing to melt the copper.
TO PREVENT THE COPPER COOLING IN THE
FURNACE.
When the copper cools in the furnace, be
ready, as soon as you perceive it, to cut it
with a long stick while it is still in a paste;
or if it is quite cold cut it as lead is cut
with broad and large chisels.
735. i. assciutta. 2. libre 100 Ibbre. 5. cressie. 4. librdacq"a". 6. i di . . * libra.
737. i. debe. 2. fara i mazo . . spagetto. 3. echollacq"a" frecherai . . i tinello. 6. 5 palo . . chessia . . largho. 7, cho . . rima.
8. isciappature. 9. maffa . . chalpi. n. J parte . . manicha. 12. ecquesto . . chol . . derame. 13. chessi fredassi.
14. chessubito. 15. cho . . imetre . . overo [mete] seffussi. 16. raffredo taglalo chome . . cho chargi . . schar. 18. aflfare
1 . 19. affare i . libre fallo . . cho 2006 libr. 20. ciasschuno . . libr.
735. The translation is given literally, but the meaning is quite obscure.
22
ON CASTING BRONZE.
[738. 739-
AVESSI A FARE VNO GRA GIETTO.
avessi a fare uno gietto di cento
IF YOU HAVE TO MAKE A LARGE CAST.
If you have to make a cast of a hundred
mila • libbre, falo co • 2 • fornelli con 2000 thousand pounds do it with two furnaces and
libbre 20per ciascuno • o Isino . in 3000 with 2000 pounds in each, or as much as
libbre il piv.
r. 5J|
3000 pounds at most.
738-
ICOME FARE BENE A ROPERE VNA GRA MASSA
DI BROZO. 1
2 Se volli ropere • una • gra • massa • di
brozo • sospedilo • prima, ^poi • H
fa da 4 • lati • uno muro • a vso di
truogo • di mattoni, e fa 11 gra
foco •, 4e quado e be rosso, dali
• uno colpo con vno sgra peso
levato • in alto co gra forza.
HOW TO PROCEED TO BREAK A LARGE MASS
OF BRONZE.
If you want to break up a large mass of
bronze, first suspend it, and then
make round it a wall on the four sides,
like a trough of bricks, and make
a great fire therein. When it is
quite red hot give it a blow with a
heavy weight raised above it, and
with great force.
Tr. 54]
739-
11 DEL FARE VNIRE IL PIOBO CON ALTRO
METALLO.1
TO COMBINE LEAD WITH OTHER METAL.
2Se volessi per masseritia • mettere • il If you wish for economy in combining
piobo • nel metallo • e per sopire . alia soma lead with the meta] in order to lessen the
' dello stagnio • che si • richiede • nel metallo •,
allega • prima • il piobo • collo 4 stagnio • e
poi metti sopra • il rame foduto.
amount of tin which is necessary in the me-
tal, first alloy the lead with the tin and then
add the molten copper.
II COME SI DEBE • FONDERE IN UNO FORNELLO-t HOW TO MELT [METAL] IN A FURNACE.
6 II fornello • de' essere • ifra 4.
pilastri be fodati.
1 DELLA GROSSEZZA DELLA CAPPA.H
8 La cappa no debe • prevalicare • la
grossezza • di 2 • dita •, e debesi inter-
rare • ^ in quatro volte . sopra • la terra
• sottile • e poi bene annare, I0e sia •
sola • mete • ricotta • di detro • e dato
• poi • sottilmete • di cenere • e bouina.
DELLA GROSSEZZA DELLA BOBARDA.
12 La bobarda • de' essere da 600 libbre
di ballotta • 1 su, co questa regola; X3farai la
misura del diametro della • ballotta • e quel-
The furnace should be between
four well founded pillars.
OF THE THICKNESS OF THE COATING.
The coating should not be more than two
fingers thick, it should be laid on in four
thicknesses over fine clay and then well
fixed, and it should be fired only on
the inside and then carefully covered
with ashes and cow's dung.
OF THE THICKNESS OF THE GUN.
The gun being made to carry 600 Ibs.
of ball and more, by this rule you will take
the measure of the diameter of the ball and
738. i. be a . . 1 gra. 2. * gra. 3. j muro . . effa . . focho. 4. ecquado . . dallt i colpi chon.
739. i. chol. 2. e per soperire. 3, chessi . . cholo. 4. eppoi . . arame. 5. fondere i fornello. 7. grosseza . . chappa. 8. chappa
. . prevalichare la grosseza debessi. 9. gutro . . soctile. 10. cssia . . richotta. n. grosseza. 12. Hbr. 13. ba"lo"ta . . dia-
PL IXXV1
» V '
K,-~, <L
I**
PIMMPM
',%J
*-.-••• +•'• •*•
740.]
ON CASTING.
la • diuidi -16- parti, T*e una d'esse parti-
fia la grossezza • dinazi e la meta sepre •
piv rieto, I5e se la ballotta fia di libbre 700,
J/7 del • diametro della ballotta fia la sua
l6grossezza • dinazi •, e se la ballotta- fia
800-, 1'ottavo del suo diametro ^dinazi, e
se 900- '/s e J/2 • e se IOO° T/9-
divide it into 6 parts and one of these parts
will be its thickness at the muzzle; but at the
breech it must always be half. And if the ball
is to be 700 Ibs., y7th of the diameter of
the ball must be its thickness in front; and
if the ball is to be 800, the eighth of its
diameter in front; and if 900, Ygth
VzP/ie], and if 1000, Y9th.
DELLA LUGHEZZA DELLA TROBA BELLA BOBARDA. OF THE LENGTH OF THE BODY OF THE GUN.
^Se voi • ch'ella • gitti • una ballotta • di
pietra • fa la lughezza della troba 20 in 6-0
insino I 7 ballotte •, e se la • ballotta • fusse
di ferro •, fa 2Idetta troba -Isino in • 12 bal-
lotte •, e se la ballotta • fusse di 22piobo-
farai la insino • in diciotto • ballotte, dico
quado la bobarda 2^avesse • la bocca • atta
• a ricieuere • in se da 600 libr • di ballotta
di pietra I su.
DELLA GROSSEZZA DE' PASSA • VOLANTI.
2sLa grossezza dinazi de' passavolanti •
no deve passare dalla • meta 26 Isino • al
terzo del diametro della ballotta, E la lu-
ghezza da 30 Isino I 36 2 7 ballotte.
If you want it to throw a ball of stone,
make the length of the gun to be 6, or as
much as 7 diameters of the ball; and if the
ball is to be of iron make it as much as
12 balls, and if the ball is to be of lead,
make it as much as 18 balls. I mean
when the gun is to have the mouth fitted
to receive 600 Ibs. of stone ball , and
more.
OF THE THICKNESS OF SMALL GUNS.
The thickness at the muzzle of small guns
should be from a half to one third of the dia-
meter of the ball, and the length from 30
to 36 balls.
Tr. 55] 740
U DELLO • ILLOTARE • IL FORNELLO DI DETRO.U
2 II fornello • debbe inazi • che tu • Iforni
il metallo • essere • illotato di terra
Valenza, 3e sopra quella • cienere.
KDEL RISTORARE • 1L METALLO, QUADO
RIVOLESSE FREDDARE.t
OF LUTING THE FURNACE WITHIN.
The furnace must be luted before you
di put the metal in it, with earth from Valenza,
and over that with ashes.
OF RESTORING THE METAL WHEN IT IS BECO-
MING COOL.
s Quado • tu • vedi il brozo volersi co- When you see that the bronze is congealing
gielare • tolli legnie di salice, schiappate take some willow -wood cut in small chips
6sottilmete, e co quelle • fa • foco. and make up the fire with it.
TIL.A CAGIONE DEL COGIELARSI. If THE CAUSE OF ITS CURDLING.
8Dico • la cagione • d'essa cogielatione I say that the cause of this congealing
derivar • spesse volte • da troppo foco 9e often proceeds from too much fire, or from
ancora da legnie • mal secche. ill-dried wood.
If A CONOSCIERE LA DISPOSITIONS DEL FOCO. If . To KNOW THE CONDITION OF THE FIRE.
."Il foco • conoscierai, quado fia bono e You may know when the fire is good
vtile •, alle fiame • chiare, e se uedrai I2le ' and fit for your purpose by a clear flame,
mitro. 14. e i . . grosseza . . ella. 15. esse . . di br 700 . . balotta . . diamitro. 16. grosseza . . sella . . diamitro. 17. esse
. . | e ese. 18. lugeza. 19. * ballotta . . lugeza. 20. essella . . fussi. 21. essela . . fussi. 23. avesse . la bocha. 24. gro-
sseza. 25. grosseza . . debono. 26. diamitro . . lugeza.
740. i. ilotare. 2.chetti . . tera di ualeza. 4, uolessi fredare. 5. chogielare . . sciapate. 6. cho. 8. dicho la chagione . . dirivar.
9. anchora . . seche. 10. focho. n. conosscierai . . ale . . esse uederai. 12. effinire co. 13. arai . . acq"a". 14. alegare.
740. 1. 2. Terra di Valenza, — Valenza is north of Alessandria on the Po.
ON CASTING.
[740-
pute • d'esse • flame turbe e finire co molto
• fumo •, no te ne fidare, e massime '3qua-
do • avrai il bagnio • quasi • in acqua.
IDELLO ALLEGARE IL METALLO.!
'5 II metallo • si uole fare vniversalmete
nelle bobarde co • 6 • o uisino 8 l6per cieto •,
cioe 6 di stagnio • sopra • cieto • di rame, e
quato meno ve ne metti, ^piv sicura fia •
la bobarda.
IQlJADO SI DEBE ACC&PAGNIARE • LO STAGNIO
COL RAME.1
19Lo stagnio • col rame si debbe • met-
tere • quado • ai il rame codotto in acqua.
ICOME SI DEBE AVMETARE IL FONDERE-U
21 II fondere fia da te avmetato • quado
sara codotto il rame in 2/3 "m acqua •, al-
lora • con v legnio di castagnio ispesso
rimaneggerai il rimaz:nete del rame an-
cora Itero • ifra la • parte • fonduta.
and if you see the tips of the flames dull and
ending in much smoke do not trust it, and
particularly when the flux metal is almost fluid.
OF ALLOYING THE METAL.
Metal for guns must invariably be made
with 6 or even 8 per cent, that is 6 of tin
to one hundred of copper, for the less you
put in, the stronger will the gun be.
WHEN THE TIN SHOULD BE ADDED TO THE
COPPER.
The tin should be put in with the copper
when the copper is reduced to a fluid.
HOW TO HASTEN THE MELTING.
You can hasten the melting when 2/jds of
the copper is fluid; you can then, with a
stick of chestnut-wood, repeatedly stir what
of copper remains entire amidst what is
melted.
15. metalo. 17. sichura. 18. acopagniare . . chol. 19. acq"a". 21. datte. 22. chastagnio . . rimanerai.
2.5
Introductory Observations on the Architectural Designs
(XII), and' Writings on Architecture (XIII).
Until now very little has been known regarding Leonardo's labours in the domain
of Architecture. No building is known to have been planned and executed by him, though
by some contemporary writers incidental allusion is made to his occupying himself with
architecture, and his famous letter to Lodovico il Moro, — which has long been a
well-known document, — in ivJiich he offers his service as an architect to that prince,
tends to confirm the belief that lie zvas something more than an amateur of the art.
This hypothesis has lately been confirmed by the publication of certain documents, pre-
served at Milan , showing that Leonardo was not only employed in preparing plans but
that he took an active part, with much credit, as member of a commission on public
buildings; his name remains linked with tJie history of the building of the Cathedral at
Pavia and that of the Cathedral at Milan.
. Leonardo's writings on Architecture are dispersed among a large number of MSS.,
and it would be scarcely possible to master their contents witJiout the opportunity
of arranging, sorting arid comparing the whole mass of materials, so as to have some
comprehensive idea of the whole. The sketches, when isolated and considered by- them-
selves, might appear to be of but little value; it is not till we understand their
general purport, from comparing them with each other, that we can form any just esti-
mate of their true worth.
Leonardo seems to have had a project for writing a complete and separate treatise
on Architecture, such as his predecessors and contemporaries had composed — Leon Battista
Alberti, Filar ete, Francesco di Giorgio, and perhaps also Bramante. But, on 'the other
hand, it cannot be denied that possibly no suck scheme was connected with the isolated
notes and researches, treating on special questions, which are given in this work; that
he was merely "working at problems in which, for some reason or other he took a
special interest.
A great number of important buildings were constructed in Lombardy during the
period between 1472 and 1499, and among them there are several by unknown arcJntects,
VOL. n. D
26 INTRODUCTION TO ARCHITECTURE.
of so high an artistic merit, that it is certainly not improbable that cither B ram ante or
Leonardo da Vinci may have been, directly or indirectly, concerned in thdr erection.
Having been engaged, for noiv nearly twenty years , in a thorough study of Bra-
mantis life and labours, I have taken a particular interest in detecting the distinguishing
marks of his style as compared with Leonardo's. In 1869 I made researches about tJ it-
architectural drawings of the latter in the Codex Atlanticus at Milan, for the purpose of
finding out, if possible the original plans and sketches of the ciiurcJies of Santa Maria delle
Grazie at Milan, and of the Cathedral at Pavia, which buildings have been supposed to be
the work both of Bramante and of Leonardo. Since 1 876 / have repeatedly examined
Leonardo's architectural studies in the collection of his manuscripts in the Institut de
France, and some of these I have already given to the public in my work on "Les Pro-
jets Primitifs pour la Basilique de St. Pierre de Rome", PL 43. In 1879 / had the
opportunity of examining the manuscript in the Palazzo Trivulzio at Milan, and in \ 880
ZX Richter showed me in London the manuscripts in the possession of Lord AsJiburnJiam,
and those in the British Museum. I have thus had opportunities of seeing most of
Leonardo's architectural drawings in the original, but of the manuscripts themselves I
have deciphered only the notes which accompany the sketches. It is to Dr Richter's
exertions that we owe the collected texts on Architecture which are now published, and
while he has undertaken to be responsible for the correct reading of t/ie original texts,
he has also made it his task to extract the wJiole of the materials from the various MSS.
It has been my task to arrange and elucidate the texts under Jlie heads which have
been adopted in this work. MS. B. at Paris and tJie Codex Atlanticus at Milan arc the
chief sources of our knowledge of Leonardo as an architect, and 1 have recently subjected
these to a thorough re-investigation expressly with a view to this work.
A complete reproduction of all Leonardo's architectural sketches has not, indeed,
been possible, but as far as the necessarily restricted limits of the work have allowed > 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
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PL LXXXlll.
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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.
( /•
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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 • »
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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.
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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-
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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.
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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*
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••- >
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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-
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,v^^.^.V,^-V '
ImD. Eiid.es.
i-'r ~ vcf/A V.
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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.
, ,
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;
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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
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fe^vf f^r W Hwr-?i 9WcZV
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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'<j -*^ ., ••
-
778-]
ON FISSURES IN NICHES.
37Qual di questi due cubi dimi^8nuira
piu vniformemete , o 39il cvbo A posato
sopra il pavi'°meto, o'l cubo b sospeso
41 infra 1'aria, essedo 1'uno 42e 1'altro cubo
equal! in peso *3e in quantita e di terra
mista 44 con equale vmidita? —
45Quel cubo che si posa sopra 46il pavi-
meto piu diminui^scie della sua altezza che
per la *8sua larghezza, il che 4?far no puo
il cubo ch'e di 5° sopra e sospeso infra 1'a-
ria; S'pruovasi cosl; il cubo poS2sato so-
pra questa medesima 53Sta meglio qui di
sotto.
5411 fine delli dua cilindri di ss terra
fresca cioe a.b sa56ra le figure piramidali
di s; sotto c d j provasi co58sl : il cilindro a,
posato 59 sopra il suo pavimeto per esse6ore
lui di terra assai mista 6lcoll'umido, va ca-
lado me62diante il suo peso che da di se
63alla sua basa, e tato piu camera e in-
grossera, quato e'sa65ra colle sua parti piu
presso 66alla sua basa, perche 11 si cari6?ca
il suo tutto ecc; E si68mile fara il peso d,
il quale pi69u s'astedera, quato elli a mag-
gi?°or peso sotto se, la qual maggiorita 7'e
ne'cofini del suo sostetaculo.
Which of these two cubes will shrink the
more uniformly: the cube A resting on the
pavement, or the cube b suspended in the
air, when both cubes are equal in weight
and bulk, and of clay mixed with equal
quantities of water?
The cube placed on the pavement dimi-
nishes more in height than in breadth, which
the cube above, hanging in the air, cannot
do. Thus it is proved. The cube shown above
is better shown here below.
The final result of the two cylinders of
damp clay that is a arid b will be the
pyramidal figures below c and d. This is
proved thus: The cylinder a resting on
block of stone being made of clay mixed
with a great deal of water will sink by its
weight, which presses on its base, and in
proportion as it settles and spreads all the
parts will be somewhat nearer to the base
because that is charged with the whole
weight, &c.; and the case will be the same
with the weight of b which will stretch
lengthwise in proportion as the weight at
the bottom is increased and the greatest ten-
sion will be the neighbourhood of the weight
which is suspended by it.
frallaria esse luno. 44. ellaltro chub. 43. missta. 44. chon. 45. chubo chessi. 47. alteza. 48. [che] il che. 49. chubo.
50. essosspeso. 51. chosi il chubo. 54. chilindri. 55. fressca. 56. ra le. 57. socto . . cho. 58. chilindro. 60. missta.
61. chollumido va chalado. 63. ettato piu cha. 64. egrossera. 65. cholle .. . parte. 66. chari. 67. cha . . Essi. 69. sas-
stedera . . magi. 70. laqqual magiorita. 71. cne chofusi . sostetachulo.
III.
ON THE NATURE OF THE ARCH.
A.
779-
CHE COSA E ARCO.
2 Arco non e altro che una fortezza •
cavsata da due debolezze, Jpero^ch^
1'arco negli edifiti e coposto di 2
quarti • di circulo , i quali 4 quarti cir-
culi, ciascuno debolissimo per se, desi-
dera cadere, e opponeMosi alia ruina
1'uno dell' altro de'due debolezze, si cover-
tono in vni6ca fortezza.
WHAT is AN ARCH?
The arch is nothing else than a force
originated by two weaknesses, for the
arch in buildings is composed of two
segments of a circle, each of which
being very weak in itself tends to fall;
but as each opposes this tendency in
the other, the two weaknesses combine to
form one strength.
DELLA QUALITA DEL PESO BELLI ARCHI.
8Poiche 1'arco fia • coposto •, quello • ri
mane in equilibrio, Ipero9che tato spi-
gie • 1'uno • 1' altro • quato 1' altro
1'uno-, e se pesa piv 1'uno I0 quarto
circulo • che 1' altro •, quivi fia leuata
e negata la permaneza, "imperoch^
'1 maggiore viciera • il minore peso.
OF THE KIND OF PRESSURE IN ARCHES.
As the arch is a composite force it
remains in equilibrium because the
thrust is equal from both sides; and
if one of the segments weighs more
than the other the stability is lost,
because the greater pressure will out-
weigh the lesser.
DEL CARICO DATO AGLI ARCHI.
il peso equale de' quarti
circuli e neciessario dare loro equale
'+peso di sopra, altremeti si corre-
rebbe nel sopra • detto errore.
OF DISTRIBUTING THE PRESSURE ABOVE AN ARCH.
Next to giving the segments of
the circle equal weight it is neces-
sary to load them equally, or you will
fall into the same defect as before.
779. i. chosa e archo. 2. archo . . * forteza . . deboleze. 3. larcho . . choposto . . circhuli. 4. circhuli ciaschuno . debolisimo
. . chadere eopone. 5. deboleze . . chouertano. 6. cha forteza. 7. dela . . deli. 8. choposto quelo . . equilibra. 9. chettato
. . esse e pesa. 10. circhulo . . premaneza. IT. magriore. iz. chartcho dati ali. 13. circhuli. 14. chorerebe . . erore
ON THE NATURE OF THE ARCH.
DOVE L'ARCO si ROPE.
l6L'arco si ropera J
quella • parte che passa • il
suo mezzo sotto il cietro.
ROPIMETO DELL ARCO.
l8Se '1 superchio • peso • fia
posto I mezzo • 1'arco nel puto • a •,
quello desiJ9dera cadere • in • b •, e
ronpesi ne' 2/3 della sua altezza
m . c • e, 20e tato fia piu potete •
g • e che e • a • quanto 2I ;/z • <? • en-
tra in • w • n.
D'UN ALTRA CAGIONE DI RUINA.
23 L' arco verra • ancora • meno • per essere
sospito da traverse, inpero2*che qua-
do il carico no si dirizza ai pie de-
1'arco, 2s 1'arco poco dura.
WHERE AN ARCH BREAKS.
An arch breaks at the
part which lies below half
way from the centre.
SECOND RUPTURE OF THE ARCH.
If the excess of weight be pla-
ced in the middle of the arch at
the point a, that weight tends to
fall towards b, and the arch breaks
at 2/3 of its height at c e • and g e
i is as many times stronger than e a,
as m o goes into m n.
ON ANOTHER CAUSE OF RUIN.
The arch will likewise give way under a
transversal thrust, for when the charge
is not thrown directly on the foot of the
arch, the arch lasts but a short time.
A. 50,5]
780.
DELLA FORTEZZA DELL' ARCO.
2 II modo di fare 1'arco permanete si e
a rienpiere i sua angoli • di
buono ripieno 3 insino • al suo
raso overo • culmine.
ON THE STRENGTH OF THE ARCH.
The way to give stability to the arch is
to fill the spandrils with good
masonry up to the level of its
summit.
4 DEL CARICARE SOPRA L'ARCO TODO.
ON THE LOADING OF ROUND ARCHES.
s DEL CARICARE L'ARCO • ACUTO BENE.
ON THE PROPER MANNER OF LOADING
THE POINTED ARCH.
6DELLO INCOVENIETE CHE SEGUITA A CA-
RICARE 7 L'ARCO ACUTO SUL suo MEZZO.
ON THE EVIL EFFECTS OF LOADING
THE POINTED ARCH DIRECTLY ABOVE
ITS CROWN.
15. larcho. 16. larcho . . mezo [da], 17. sechodo . . archo. 18. imezo larcho . . quelo. 19. chadere . . dela . . alteza.
20. [c . in n che in . e] g . e. 22. chagione. 23. larcho vera . anchora . . esserre. 24. charicho . . diriza . . archo.
25. larcho pocho.
780. i. dela forteza delarcho. 2. larcho. 3. chulmine. 4. charichare . . larcho. 5. charichare larcho achuto. 6. delo incho-
veniete . . charichare. 7. larcho achuto . . mezo. 8. dano . . larcho achuto. 9. charichato sopra a sua fiachi. 10. larcho
WRITINGS ON ARCHITECTURE.
[78l.
"DEL DANNO CHE RICIEVE L'ARCO ACUTO
A ESSERE 9CARICATO SOPRA I SUOI FIACHI.
ON THE DAMAGE DONE TO THE POINTED
ARCH BY THROWING THE PRESSURE ON
THE FLANKS.
10L'arco • poco • curvo fia sicuro
"ma se fia carico • , le
spalle • bisognia I2bene •
armare; '3 1' arco d'assai
curvita fia per se debole,
MC piv forte se fia carico
efara poca noia 'Salle sue
spalle •, e lui • ropera • in
o-p.
per se,
-* e1
n
c i
A. 51
781.
DEL RIPARO A TERREMOTI.
An arch of small curve is safe in itself,
but if it be heavily charged,
it is necessary to strengthen
the flanks well. An arch of a
very large curve is weak in
itself, and stronger if it be
charged, and will do little
harm to its abutments,and its
places of giving way are*/.
ON THE REMEDY FOR EARTHQUAKES.
The arch which throws its pressure
per 6qualuque verso si stia, ?o rovescio, o
a giacere, 8o ritto.
9lL'arco • no si ropera • se la • corda
del' arco di fori • no tocchera 1' arco di den-
trol; IOQuesto-appare per isperieza, che
ogni-volta che la corda- a-o-n dell' arco
"di fori- n-r-a- tocchera -1' arco di dentro
• x-b-y •, 1'arco dark pricipio a sua 12debo-
lezza •, e tato si fara • piv - debole • quato
1'arco-di detro- ropera dessa- corda.
1 3 Quell' arco -il quale fia- carico dal'una
de'lati, I4il peso si carichera • sulla somita
its function whatever be its direction, upside
down, sideways or upright.
The arch will not break if the chord
the outer arch does not touch the inner
arch. This is manifest by experience,
because whenever the chord a o n of
outer arch n r a approaches the inner arch
x b y the arch will be weak, and it will
weaker in proportion as the inner arch passes
beyond that chord. When an arch is loaded
only on one side the thrust will press on
the top of the other side and be transmit!
780. Inside the large figure on the right is the note: Da p»ar* I* f*na dM archo.
782-784.]
ON THE NATURE OF THE ARCH.
89
dePaltro mezzo-, e pas'Ssera
il peso • per isino • al suo • fon-
dameto •, e ropera • in quella I(3par-
te che fia • piv • lontana • dai sua •
stremi • e dalla sua corda.
to the spring of the arch on that
side; and it will break at a point
half way between its two extre-
mes, where it is farthest from
the chord.
H.I 35*1
La quatita cotinua,
che per forza in arco
2 fia piegata, splgie per
la linia, ode deside^ra
tornare.
H.I 36 a]
L'arco di quatita discreta
fa forza 2per linia obliqua,
782.
cioe il triangulo
sete peso
n b no
783.
A continuous body
which has been forcibly
bent into an arch, thrusts
in the direction of the
straight line, which it
tends to recover.
In an arch judiciously
weighted the thrust is oblique,
so that the triangle c n b
has no weight upon it.
S. K. M. Il.a 676]
784.
Domando qui che 2pesi fieno quelli
^ de' contrapesi a fa^re resistetia alia
di ciascun arco?
I here ask what weight will be needed to
counterpoise and resist the tendency of each
of these arches to give way?
chera sula soraita . . mezo e pa. 15. quela. 16. cheffia . . dala.
782. 1—3 R. i. archo. 2. fie. 783. i— 3 R. i. larcho.
784. 2. hce pesi. 3. affa. 4. resisetia.
784. The two lower sketches are taken from the MS. S. K. M. Ill, io«; they have there no explanatory text.
VOL, II. M
WRITINGS ON ARCHITECTURE.
[785.
Br. M. 158 6}
DELLA POTETIA DELL'ARCO NELL'ARCHI-
TETTURA.
785.
ON
THE STRENGTH OF THE ARCH IN ARCHI-
TECTURE.
3 La permaneza dell' arco fabbricato dallo
architetto coivsiste nella corda e nelle spalle
sue.
DELLA SITUATIONS DELLA CORDA NEL SOPRA
DETTO ARCO.
5 La situatione della corda a equale ne-
cessita nel princi6pio dell'archo, e nel fine
della rettitudine del pilastro 7dove si posa;
pruovasi per la 2a delli sostetaculi che
dicie: 8Quella parte del sostentaculo manco
resiste che e piu remota dal fersmame'to
del suo tutto; adunque essendo la * "somita
del pilastro vltima reniotione d il suo fer-
mameto, e '1 si1 'mile accadedo ntlli oppositi
stremi dell' arco, che sono vl^tima distantia
dal mezzo, suo vero fermameto, noi abbia
con^cluso, che tal corda a b di neciessita
richiede la situatione delli J*sua oppo-
siti stremi infra li 4 oppositi stremi pre-
detti;
'5 Dicie 1' auersario che tale arco vole essere
piu che mezzo I6tondo, e allora non avra
bisognio di corda perche tali stremi J7no
spignerano infuori, ma indentro, come si di-
l8mostra nello ecciesso a • c • b • d\ Qui si
risponde, tale ^inventione essere trista per
5 cause, e la prima e inquanto 20alla for-
tezza, perche e provato jl paralello cir-
2Iculare, essendo coposto di due semicirculi,
•sol ropersi dove "tali semicirculi insieme
si congiugono, come mo23stra la figura ;/ m ;
oltre a di questo seguita, ch'egli e mag-
24giore spatio infra li stremi del semicirculo
che infra le pa25rieti delli muri; terza e che '1
peso posto per cotro alia fortezza 26 dell' arco
diminuiscie tanto di peso, quato le poste
dell'arco 2 7 sono piu larghe che detto spatio
interposto infra li pilastri, 4* e 28che li pilastri
indeboliscono per tato quato la parte loro
The stability of the arch built by an
architect resides in the tie and in the
flanks.
ON THE POSITION OF THE TIE IN THE
ABOVE NAMED ARCH.
The position of the tie is of the
same importance at the beginning of the
arch and at the top of the perpendicular
pier on which it rests. This is proved
by the 2nd "of supports" which says: that
part of a support has least resistance which
is farthest from its solid attachment; hence,
. as the top of the pier is farthest from the
middle of its true foundation and the same
being the case at the opposite extremities of
the arch \\hich are the points farthest from the
middle, which is really its [upper] attachment,
we have concluded that the tie a b requires to
be in such a position as that its opposite ends are
between the four above-mentioned extremes.
The adversary says that this arch must
be more than half a circle, and that then it
will not need a tie, because then the ends
will not thrust outwards but inwards, as is
seen in the excess at a c, b d. To this it
must be answered that this would be a very
poor device, for three reasons. The first
refers to the strength of the arch, since
it is proved that the circular parallel
being composed of two semicircles will
only break where these semicircles cross
each other, as is seen in the figure n m',
besides this it follows that there is a wider
space between the extremes of the semicircle
than' between the plane of the walls; the
third reason is that the weight placed to
counterbalance the strength of the arch
diminishes in proportion as the piers of the
arch are wider than the space between the
piers. Fourthly in proportion as the parts
at c a b d turn outwards, the piers are weaker
to support the arch above them. The 5th
is that all the material and weight of the
785. i. dellarcho. 2. premaneza dellarcho fabrichato . . architettoch \\\\\\. 3. chorda. 4. chorda . . archo. 3. chorda allaq"a"
neciessita. 6. rectitudine del pilasstro. 7. dovessi . . pella . . sostetachuli cheddicie. 8. sostentachulo ma. 9. tucto . .
essendo [la somita delli] la. 10. somita . . pilasstro . . repotione. n. achadedo [nellarcho] ntlli . . archo chessono . .
chon. 13. chluso chettal chorda "a b" di. 14. infralli . . predecti. 15. chettale archo. 16. ara . . chorda. 17. no [gitte-
ranno] inspignierano . . indreto. 18. mosstra . . rispoule. 19. trissta per "5" [tre] chause ella . . e inq. 20. provato
[larcho sol] jl. 21. chulare . . choposto . . semice . . 22. semicirchuli . . chongiughano . . mos. 23. fighura . . quessto
. . ema. 24. infralli . . semics . . infralle. 25. riete . . possto perchotro. 26. archo diminuisscie . . posste dellarcho. 27. e
piu largha . . interpostu infralli pilasstri\\\\\. 28. \\\\ elli pilasstri indebolisschano. 29. larcho . . la 5" he. 30. chettutta.
786.]
ON THE NATURE OF THE ARCH.
c a 2<*b d si piegha indirieto nel ritienere
sopra di se 1'arco; la 5a e 3°che tutta la spesa
e '1 peso dell' arco che eccede il mezzo tondo
3Je inutile e dafioso, ed e qui da notare,
che il peso 32 sopra posto all' archo ropera
co piu facilita 1'arco in a b troua^do la
curuatura dell'ecciesso che al mezzo circulo
s'agiugnie 34 che essendo dirieto il pilastro
insino al cotatto del semicirculo.
LARCHO IL QUALE E CARICO SOPRA IL suo
MEZZO ROPERA 36NEL SUO QUARTO DESTRO
E SINISTRO.
37Frouasi per la 7a di questo che dicie
38 tie opposite stremita delli sostetaculi sono
equalmete agra39yate dal peso che per lor
si sospede; aduque il peso dato in /si 4°sete
in b c cioe mezzo per ciascuno stremo, e
per la terza che dicie: 4IQuella parte del
sostetacolo d' equal potetia piu presto si
rompe 42che e piu distante al suo ferma-
meto, ode seguita che .... 43per essere d
equalmente distate al f e ferma
arch which are in excess of the semicircle
are useless and indeed mischievous; and here
it is to be noted that the weight placed above
the arch will be more likely to break the
arch at a b, where the curve of the excess
begins that is added to the semicircle,
than if the pier were straight up to its
junction with the semicircle [spring of the
arch].
AN ARCH LOADED OVER THE CROWN WILL GIVE
WAY AT THE LEFT HAND AND RIGHT HAND
QUARTERS.
This is proved by the 7th of this which
says: The opposite ends of the support are
equally pressed upon by the weight suspended
to them; hence the weight shown at f is
felt at b c, that is half at each extremity;
and by the third which says: in a support
of .equal strength [throughout] that portion
will give way soonest which is farthest from
its attachment; whence it follows that d being
equally distant from /, e
35 Se 1'armadura dell'ar36co no cala in-
sieme 37Col calo dell' arco, la cal38cina nel
seccarsi restri39gnie in se medesima e 4°si
spicca dall'u de'matto4Ini, alii quali ella per
co!42legarli e interpo43sta, e cosl li lascia
dis44legati, per la qual co45sa la uolta resta
disu46nita e le pioggie in brie47ve la ruinano.
If the centering of the arch does not
settle as the arch settles, the mortar, as it
dries, will shrink and detach itself from the
bricks between which it was laid to keep
them together; and as it thus leaves them
disjoined the vault will remain loosely built,
and the rains will soon destroy it.
A.
786.
DELLA • FORTEZZA • E QUALITA • DELLI ARCHI, E ON THE STRENGTH AND NATURE OF ARCHES,
DOVE SONO FORTI 2O DEBOLI • E COSI LE AND WHERE THEY ARE STRONG OR WEAK; AND
COLONNE. THE SAME AS TO COLUMNS.
IMQuella • parte dell' arco che fia • piv •
piana, fara minore resistetia 4 al peso • so-
pra • postoli.H
That part of the arch which is nearer
to the horizontal offers least resistance to the
weight placed on it.
archo . . eciede. 31. [dellarcho] e innutile. 32. possto . . larcho. 33. churuatura . . mezo circhulo. 34. pilasstro . . cho-
tatto. 35. charicho . . mezo. 36. desstro essinisstro. 37. cheddicie. 18. sosstetachuli seno. 40. ciasscuno. 41. sosste-
tacholo . . si r\\\\\\\\\\. 42. disstante . . seghuita che \\\\\\\\\\. 43. deq distante al f e ferma \\\\\\\\\\\\\\\. 36. cho no chala.
37. chol chalo dell archo. 38. secharsi. 40. sispicha. 41. chol. 42. legharsi. 43. e chosi. 44. leghati . . qual che. 45. la
la . . ressta. 46. elle. 47. ve le.
786. i. forteza. 2. chosi le cholone. 3. archo cheffia. 6. chalando chaccia. 7. ciaschuno 1/2 archo. 8. echosi. n. ciasschuno
92
WRITINGS ON ARCHITECTURE.
[786.
z n 6calan-
sQuando • jl triagolo
do caccia indirieto •
7j 2/3 di ciascuno
'/a arco 8cioe a.s-e
cosl z • m, ela 9ra-
gio si e che a •
pioba sopra • b, I0e
cosl 5- • sopra /.
1 ' Ciascuno */2 • arco •, sendo vinto • dal
superchio • peso •, si ronpera ne 2/3 della
"sua • altezza-, la quale-parte • risponde • per
perpediculare • linia • sopra • il mezzo della
sua l* basa- come • appare • in • a • b\ E questo
accade che'l pe o • desidera cadere '*e pas-
sare pel • puto • r •; E s'egli desiderasse cotra
sua • natura cade'Sre dal puto • s -, 1'arco •
M • s • si roperebbe • nel stio • mezzo • apputo
16 e se 1' arco • n • s - fusse d' u solo legnio, il
peso posto in-« • desidereb'7be cadere in •
m • e ronperebbesi in mezzo * 2 • all' arco e-
m •, altremeti si ropera nel terzo l8di sopra
nel puto l?a -, perche da • a • n • 20e 1'arco •
piv pia2Ino, che non e da 22a • o e che
no^n e da o • s; 24,e tanto • quato *$p • .t - e
maggio26re che t-n-^ tanto fia piv for28te
-a • o • che 29non e a • n •; -J°e similmete
31 tanto fia piv *2 forte • s • o • che 33 0 - a •
quato • ^r- p • fia maggi^ore • che p t.
36Quel arco • che fia • raddoppiato • nella
quadratura della sua • grossezza 37regiera •
quattro • tanti • peso quanto • regieva • lo sce-
pio •, tanto • piv • 38 quanto • il diamitro della •
sua • grossezza • entra • me numero • di uolte
nella 39Sua • lunghezza, Cioe • se la • grossezza
delFarco sciepio entra- 10 *° volte nella sua
• lughezza, la grossezza • del arco dupplicato
• etrera 5 volte *' nella • sua • lughezza •; Adu-
que entrado la meta meno la grossezza de
4 2P arco- dupplicato • nella sua • lunghezza •
che no fa quella de+ 3 1'arco- sciepio • nella
• sua -, e ragionevol cosa che regga la meta
piv «4peso che no gli toccherebbe, se fusse
alia proportione dell' aH SCG • sciepio; Onde
essendo quest' arco dupplicato per 4 volte
la qua46tita del' arco sciepio, parrebbe che
dovesse regiere?4 tati piv peso, 47 e la sopra
detta regola dimostra che ne sostiene • 8 co-
tati apputo.
When the triangle u z n, by settling,
drives backwards the
2/3 of each '/2 circle
that is a s and in the
same way z m , the
reason is that a is
perpendicularly over
b and so likewise z
is above f.
Either half of an arch, if overweighted,
will break at 2/3 of its height, the point which
corresponds to the perpendicular line above
the middle of its bases, as is seen at a b;
and this happens because the weight tends
to fall past the point r.— And if, against its
nature it should tend to fall towards the
point s the arch n s would break precisely
in its middle. If the arch n s were of a single
piece of timber, if the weight placed at n
should tend to fall in the line n ni, the arch
would break in the middle of the arch e m,
otherwise it will break at one third from the
top at the point a because from a to n
the arch is nearer to the horizontal than from
a to o and from o to j, in proportion as / /
is greater than t n, a o will be stronger than
a n and likewise in proportion as s o is
stronger than o a, r p will be greater than / /.
The arch which is doubled to • four times
of its thickness will bear four times the
weight that the single arch could carry, and
more in proportion as the diameter of its
thickness goes a smaller number .of times
into its length. That is to say that if the
thickness of the single arch goes ten
times into its length, the thickness of thex
doubled arch will go five times into its length.
Hence as the thickness of the double arch
goes only half as many times into its length
as that of the .single arch does, it is
reasonable that it should carry half as
much more weight as it would have to carry
if it were in direct proportion to the
single arch. Hence as this double arch has
4 times the thickness of the single arch, it
would seem that it ought to bear 4 times
the weight; but by .the above rule it is
shown that it will bear exactly 8 times as
much.
'/2 • archo. 12. alteza . . risponde perpedichulare . . mezo dela. 13. chome apare . . Ecquesto achade . . chadere.
14. Essegli desiderassi . . chotra . . chade. 15. larcho . . roperebe . . aputo. 16. esselnrcho (in) fussi . . desidere. 17. be cha-
dere eronprrebesi in 1/2 archo. 20. elarcho. 25. magio. 30. essimilmete. 34. magi. 36. archo . cheffia radopiato . . grosseza.
37. lossciepio . Ettanto. 38. grosseza. 39. lungeza . . sella grosseza dellarcho duplichato etera. 40. volte ila . . lugeza
la grosseza . . archo duplichato etera. 41. nela . . lugeza . . grosseza. 42. larcho duplichato . . lungeza che no fa che
no fa. 43. larcho . . chosa che rega. 44. peso |ap] che . . tocherebe [ali] sefuss ssi ala. 45. cho . . archo duplichato.
46. archo . . parebe . . dovessi. 47. cbotali aputo. 48. cheffia charicho . . diseghuale . . vcra. 49. macho. 50. cholona . . cha
ON THE NATURE OF THE ARCH.
93
QUEL PILASTRO CHE FIA CARICO DI PIV DI-
SEGUALE 49PESO VERRA PIV PRESTO AL MACO.
50 La colonna c • b - per 1'essere carica
d' equale • somma fia • piv • perma-
nete, $le 1'altre • 2 di fori • ano
bisognio di tato peso dal loro
cietro infori S2qUat'e • dal loro •
cietro indetro • cioe dal cietro
della colonna insino a mezzo 1'arco.
53 Li archi che stano per forza di catene
no fieno permaneti.
L'ARCO • FIA DI PIV LUGA PERPETUITA •, IL
QUALE AVRA BONO * CONTRARIO AL SUO
SPIGIERE.
• 55 L' arco per se desidera cadere, e se 1' ar-
co fia 30 braccia e lo iteruallo
ch' e infra i mvri s^che lo so-
stegono sia • 20 •, noi sap-
piamo che 30 no passera per
20, se 20 no si 57fa ancora
lui • 30 •; ode sendo vinto
1' arco dal superchio • peso • si
dirizza e i mvri s8maie resiteti
1'aprono e dano 1'entrata in-
fra loro spatio alia ruina
del' arco; 59Ma se tu no uolessi mettere al-
1'arco la sua corda di ferro, li debbi fare
tali 6ospalle che facciano • resistetia al suo
spingiere, la qual cosa • farai cosl : carica
61 li angoli m • n • di pietre che le linie delle
loro givnture se dirizzino al cientro 62del
circulo del' arco, E la ragione, che sara
1'arco permanete, fia questa, Noi 63sap-
piamo chiaro che chi carica • 1'arco nel
quarto suo • a - b di superchio peso che' 1
6^muro -f-g- fia sospmto, perche 1'arco si
uorra dirizzare; E chi caricasse Paltro
quarto 6s£ . c • ch'eli tirerebbe il mvro •
f-g- indetro, se no fusse la linia delle
pietre ^x y che fa sostegnio.
THAT PIER, WHICH is CHARGED MOST UN-
EQUALLY, WILL SOONEST GIVE WAY.
The column c b , being charged with an
equal weight, [on each side] will be
most durable, and the other two out-
ward columns require on the part out-
side of their centre as much pressure
as there is inside of their centre,
that is, from the centre of the co-
lumn, towards the middle of the arch.
Arches which depend on chains for their
support will not be very durable.
THAT ARCH WILL BE OF LONGER DURATION
WHICH HAS A GOOD ABUTMENT OPPOSED TO
ITS THRUST.
The arch itself tends to fall. If the arch be
30 braccia and the interval be-
tween the walls which carry it
be 20, we know that 30 cannot
pass through the 20 unless 20
becomes likewise 30. Hence
the arch being crushed by the
excess of weight, and the walls
offering insufficient resistance,
part, and afford room between
them, for the fall of the arch.
But if you do not wish to strengthen the arch
with an iron tie you must give it such
abutments as can resist the thrust; and you
can do this thus: fill up the spandrels m n
with stones, and direct the lines of the joints
between them to the centre of the circle
of the arch, and the reason why this makes
the arch durable is this. We know very
well that if the arch is loaded with an ex-
cess of weight above its quarter as a b, the
wall f g will be thrust outwards because the
arch would yield in that direction; if the
other quarter b c were loaded, the wall f g
would be thrust inwards, if it were not for
the line of stones x y which resists this.
S. K. M. II. 2 661]
FONDAMETO.
787-
2 Qui si dimostra • come li archi 3 fatti ne'
lati dell' ottagolo spmgo^no i pilastri delli
PLAN.
Here it is shown how the arches made
in the side of the octagon thrust the piers
richa . . soma . . premanete. 51. ano . . tado . . daloro. 52. daloro . . cholona . . ihezo. 53. stano . . chatene. 54. larcho . .
ara . . chontrario. 55. larcho . . chadere Esselarcho . . 30 br . . Tterualo. 56. sostegano . . sapiano. 57. anora . . larcho
. . diriza. 58. laprano edano . . ala . . archo. 59. Massettu . . archo . . chorda. 60. spale cheffacino . . chosa . . chari-
cha. 61. chelle . . dele . . dirizino. 62. circhulo . . archo .' . larcho . . premanete. 63. sapiano . . chariche larcho.
64. larcho si uora dirizare . . charichassi. 65. tirerebe . . fussi. 66. cheffa.
787. 2. dimosstra chome. 3. caciarlo.
94
WRITINGS ON ARCHITECTURE.
[788.
angoli infori, Scome si
dimostra nella linia • k • c
6e nella linia / d che
spingono ^ il pilastro • m •
in fori, ciod si 8sforzano
cacciarlo dal cietro di tale
^ottangolo.
of the angles outwards, as
is shown by the line h c
and by the line / d which
thrust out the pier m ;
that is they tend to force
it away from the centre of
such an octagon.
B. 37 a]
788.
La sperieza • che vn peso posto sopra
vno arco no si carica tutto sopra alle sua
colon2ne, anzi quato e maggior peso fra-
posto sopra 1'archi •, tanto me pesa ^I'arco
il peso alle colone ; la sperienza sie questa :
sia messo vn omo * sopra le stadere in mezzo
la troba d'uno pozzo; fa dipoi che questo
allarghi le mani s e piedi infra le parieti di
detto pozzo •, vedrai questo pesare alia sta-
dera mol°to meno •; da li vno peso alle
spalle, uedrai per sperieza quato maggior
7 peso ti dara, maggiore forza fara in aprire
le braccia eganbe, e piv p68dare nelle parieti,
e piv macare il podo alle stadere.
An Experiment to show that a weight
placed on an arch does not discharge itself
entirely on its columns; on the contrary the
greater the weight placed on the arches, the less
the arch transmits the weight to the columns.
The experiment is the following. Let a man
be placed on a steel yard in the middle of
the shaft of a well, then let him spread out
his hands and feet between the walls of the
well, and you will see him weigh much less on
the steel yard; give him a weight on the
shoulders, you will see by experiment, that the
greater the weight you give him the greater
effort he will make in spreading his arms
and legs, and in pressing against the wall
and the less weight will be thrown on
the steel yard.
788. i. archo . . carica tu sopra . . colo. 2. magior. 3. larcho el . . cholone . . questa si mezzo. 4. imezo . . pozo. 5. pozo
. . ala. 6. spalli . . isperieza . . magior. 7. darai magiore. 8. pariete . . mac hare.
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Imp. Eude s .
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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\.
/<r>
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 ><as to draw am JuUy
persuaded that Leonardo was the best Anatomist, at that time, m the world . Leo-
nardo was certainly the firs, man, «* know of, who introduced the Prac,,ce of makmg
anatomical drawings" (Two introductory letters. London 1784, pages 37 «•< &•
The illustrious German Naturalist Johan Friedrich Blumenbach esteemed the:,.
no less highly ; he was one of tke privileged few who, after Hunter, had the chance
of seeing these Manuscripts. He writes: Der Scharfblick dieses grosser, Forschers
und Darstellers der Natur hat schon auf Dinge geachtet, die noch Jahrhunderte nachher
unbemerkt geblieben sind" (sec Blumenbach's medicinische Bibhothek,
1795 ' These ^nions were founded on the dr^nngs alone. Up to the present day hardly
anything has hen made known of the text, and, for the reasons I have gn-en, ,t ,s ,,
intention to reproduce here no more than a selection of extracts which 1 have mad. fro,,,
the originals at Windsor Castle ami elsewhere. In the Bibliography of the Manuscript, at
the end of this volume a short review is given of the valuable contents of these Ana-
tomical note books which are at present almost all in the possession of her Majesty the
Oueen of England. It is, I believe, possible to assign the date with approbate accu-
racy to almost all the fragments, and I am thus led to conclude that the greater part of
Leonardo's anato,nical investigations were carried out after the death of dclla Torre
Merely in reading the introductory notes to his various books on Anatomy whuh are
here printed it is impossible to resist the impression that the Master's anatomtcal studies
bear to a very great extent the stamp of originality and independent thought.
ANATOMY.
W. An. IV. 167 a]
796.
Voglio far miraculi; — 2abbi me cheli altri
o3mini piu quieti , e 4 quelli che vogliono
arSricchirsi in u dl ; vivi 6 nel lungo tepo in
?gra poverta, co8me interviene e ^interverra
in etterI0no alii alchimisti, "cercatori di
creI2are oro e argeto, I3e all' Igegnieri che
^vogliono che I'a'Scqua morta dia l6vita
motiua *?a se medesima l8con cotinuo J9mo-
to, 20e al somo sto!2Ito negromante 22e
Icantatore.
23 E tu che dici, esser me24glio il uedere
fare 25l'anatomia, che uede26re tali disegni,
dire2?sti bene, se fusse 28possibile vedere
tu^tte queste cose che 3° in tal disegni si
di3Imostrano in una 32sola figura, nella
33quale con tutto il tu34o ingenio no ve-
dra35i, e non avrai la no36titia, se no
d'alqua,37te poche vene, de!38le • quali io,
per aver^ne • vera • e plena 4°notitia, 6
disfatti 4Ipiv di dieci co42rpi vmani, 43di-
I wish to work miracles; — 'it may be A general
that I shall possess less than other men ofintroduction
more peaceful lives, or than those who want
to grow rich in a day. I may live for a
long time in great poverty, as always hap-
pens, and to all eternity will happen, to al-
chemists, the would-be creators of gold and
silver, and to engineers who would have
dead water stir itself into life and perpetual
motion, and to those supreme fools, the ne-
cromancer and the enchanter.
[23] And you, who say that it would be
better to watch an anatomist at work than
to see these drawings, you would be right,
if it were possible to observe all the things
which are demonstrated in such drawings in
a single figure, in which you, with all your
cleverness, will not see nor obtain knowledge
of more than some few veins, to obtain a true
and perfect knowledge of which I have dissec-
ted more than ten human bodies, destroying
796. 3. quieti ecq. 4. voliano a. 5. richire nudi. 6. lungho. 9. intervera. io. archimisti. 14. voglia. 15. cq"a" morta.
17. asse. 20. somo. 23. "e" ettu che di. 27. fussi. 31. mosstrano. 35. e non arai. 37. vene de. 43. destrugendo.
796. Lines I — 59 and 60 — 89 are written in two
parallel columns. When we here find Leonardo
putting himself in the same category as the Alche-
mists and Necromancers, whom he elsewhere mocks
at so bitterly, it is evidently meant ironically. In
the same way Leonardo, in the introduction to the
Books on Perspective sets himself with transpa-
rent satire on a level with other writers on the
subject.
Line 23 and the following seem to be directed
against students of painting and young artists rather
than against medical men and anatomists.
io8
ANATOMY.
[797-
struggendo ogni "altri mebri, consu«mando
con minutis«6sime particule «?tutta la carne
chc «8d'intorno a esse «9vene si trovaua,
s-sanza insanguis'narle, se non d'i«2sen-
sibile insanSJguinameto delle vene capillari;
s« e vn sol corpo no ssbastava a tanto
tepo, che bisoS6gnava procedere di mano
in mano «7in tanti corpi, che si finisca la
inte^ra cognitione; le qual repli *cai 2
volte per vedere le diflerentie.
60 E se tu avrai 1'amore a tal cosa,
01 tu sarai forse inpedito dallo 6astomaco,
e se questo no ti inpedi63sce, tu sarai iorse
inpedito dal6*la paura coll' abitare nelli te-
65pi notturni in copagnia di tali 66 *:
66 morti
squadrati e scorticati e 6?spaventevoli a
vederli; e se queb8sto no t'Ipedisce, forse
ti mache^rk il disegnio bono, il quale
s'appa7°rtiene a tal figuratione; E 7'se tu
avrai il disegnio e' no sara ?2accopagnato
dalla prospettiva, ^e se sara accopagnato
7«e'ti machera 1'ordine 75 delle dimostratio
76 geometriche e 1'ordine 77 delle calculation
delle 7*fbrze e valimeto de' 79muscoli; e
forse ti 8o machera la patietia che 8ltu no
sarai diligete; Delle 82quali se in me tutte
queste 8->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; '<che cosa e
starnvto, 'Sche cosa e sbadiglio, I6mal-
maestro, '^spasimo, l8paralitico, ^tremito
di freddo, 20sudore, 2Istachezza, "fame,
2Jsonno, ^sete, 2Mussuria.
26 1 Del neruo-ch'e cagione del moto
della spalla al gomito, 27del moto che e dal
gon.ito alia mano, 2t)dalla givntura • della •
mano-al nascimeto de'diti, 2<>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° <A, i c ,1 c
food from the stomach, of the cause of emp-
votare li Ftestini; tying the intestines.
8 Causa del moto delle 9superfluita per Of the cause of the movement of the
le inteI0stini; superfluous matter through the intestines.
11 Causa dello inghiottire, I2 causa dello Of the cause of swallowing, of the cause
tossire, J3 causa dello sbadigliare, ^ causa of coughing, of the cause of yawning, of the
dello starnuto, js causa dell' adormetamel6to cause of sneezing, of the cause of limbs
di diuerse mebra; getting asleep.
17 Causa del perdere il seso l8ad alcu Of the cause of losing sensibility in any
mebro; limb.
*9 Causa del solletico; Of the cause of tickling.
20 Causa della lussuria e a!2Itre necessita Of the cause of lust and other appetites
del corpo, 22 causa delPorinare, 23e cosl di of the body, of the cause of urine and also
tutte le lotioni natu^rali del corpo. of all the natural excretions of the body.
w. An. m. 230* (-s-)] 815.
Le lagrime 2vengono dal 3 core e no The tears come from the heart and not
dal 4ceruello. from the brain.
sDifinisci tutte 6le parti di che si co- Define all the parts, of which the body
7 pone il corpo, co8minciadosi dalla 9cute is composed, beginning with the skin with its
colla sua soI0praveste, la qual IJe spesso outer cuticle which is often chapped by the
spiccata I2 median te il sole. influence of the sun.
814. 5. dello stomacho. 6. otare le I. 7. testine. 9. super fruita. 10. stine. n. delle ingiottire. 13. isbauiglare. 14. isstarnuto.
23. tutte lutibni.
815. 2. vengano. 5 difinisscitute. 6. parte. 8. mincadosi. 9. cutic. . 10. pravessta. n. spicha.
814. By the side of this text stands the pen and skull with indications of the veins in the fleshy
ink drawing reproduced on PI. CVIII, No. 4 ; a covering.
•&m&£&&&&$®m
II.
ZOOLOGY AND COMPARATIVE ANATOMY.
W. An. I.
8l6.
The ()IM-
sion* of the
.mini il king-
dom
(816. 817).
I'onio \ la descritionc dell'oino, nella
qual si contengono quelli che son
qua'si di simile spetie come babbuino,
scimmia e simili che so molti.
J Leone \ e suoi seguaci come pantieri,
leonze, tigri, liopardi, lupi, cervie4ri,
gatti di Spagna, gannetti e gatti co-
mvni c simili.
s Cdvallo e sua seguaci come mulo, asino
e simili che anno deti sopra e di sotto.
6 Toro | e sua seguaci cornvti e sanza
denti di sopra come bufolo , ceruio,
daino ^capriolo, pecore, capre, stam-
becchi, mvcheri, camozze, giraffe.
Man. The description of man, which in-
cludes that of such creatures as are of
almost the same species, as Apes,
Monkeys and the like, which are many,
The Lion and its kindred, as Panthers.
Wildcats (?) Tigers, Leopards, Wolfs,
Lynxes, Spanish cats, common cats
and the like.
T/ie Horse and its kindred, as Mule, Ass and
the like, with incisor teeth above and below.
The Bull and its allies with horns and
without upper incisors as the Buffalo, Stag
Fallow Deer, Wild Goat, Swine, Goat,
wild Goats Muskdeers, Chamois, Giraffe.
W. An. II. 206* (I)]
817.
Scrivi le varieta 2delli intestini deMla
spetie vma4na, scimie e sismili; Di poi in
6che si uaria la specie leonina, di 8poi
la bovina, 9e vltimo li uccelli, loe vsa tal
descrif'tione a uso di 12discorso.
Describe the various forms of the intestines
of the human species, of apes and such like.
Then, in what way the leonine species differ,
and then the bovine, and finally birds; and
arrange this description after the manner of
a disquisition.
816. homo la . . contiene . . chesson. 2. essimili. 3. essua seguace . . tigre. 4. gannetti . . essimili. 5. chavallo .
essimili cano. 6. essanza. 7. pechore . . stanbeche mvcheri
•17. 2. drlli intestini. 4. essi. 7. elonina. 9. ucielli.' 10. discrip.
[cervio)
816. 3. Lfonta — wild cat? "Secondo alcuni, lo stesso che Ltontssa; e secondo altri con //* ffrtnza, lo stesso che
Panlira." KANFANI, Vocabolario page 858.
818—823]. ZOOLOGY AND COMPARATIVE ANATOMY. 119
W. A. IV. i53<5] 8l8.
Fatidarevna secodina delli. 2vitelliquado Procure the placenta of a calf when it is Misceiiane-
nascono e nota 3la figura de' cotiledoni, se born and observe the form of the cotyledons, °hes"t°tdy00n(
riser4vano li cotiledoni masschi o femminei. if their cotyledons are male or female. (8Zi8— sfi).
W. An. IV. i6;«] 8ig.
Scrivi la lingua del picchio 2e la ma- Describe the tongue of the woodpecker
scella del cocodrillo. and the jaw of the crocodile.
G. 64 <5] 820.
Volare della 4a spetie 2di parpaglioni Of the flight of the 4th kind of butter-
divo3ratori delle formiche alate; 4 delle flies that consume winged ants. Of the
tre principali situation! sche fanno I'ali delli three principal positions of the wings of birds
vccielli che discedono. in downward flight.
M. 67 a]
821.
Che modo fa la coda del pescie a so- Of trie way in which the tail of a fish
spin2giere il pescie innazi, e cosl 1'anguilla, acts in propelling the fish; as in the eel,
3 biscia e mignatta. snake and leech.
W. An. IV. 157,1 (B)] 822. .
DELLA MANO DI DENTRO. OF THE PALM OF THE HAND.
2Farai poi vn discor3so delle mani di Then I will discourse of the hands of Comparative
ciascu4n animale per mostrare 5in che si each animal to show in what they vary; as«?uctnreor
uariano, come nell'orso che 6agiugne la in the bear, which has the ligatures °f ^"action of
legatura decile corde de' diti del pie 8sopra the sinews of the toes joined above the muscles
il collo d' esso pie. instep.
W. XXIV (-55-)] 823.
Dimostratione secoda 2interposta infra A second demonstration inserted between
1' anato3mia e '1 uiuo. anatomy and [the treatise on] the living being.
4 Figurerai a questo psaragone le gambe You will represent here for a comparison,
de' ra6nocchi, le quali anno gran ^simili- tne ^egs °f a frog; which have a great
tudine colle ganbe 8dell'omo si nell'ossa resemblance to the legs of man, both in the
come 9ne' suoi muscoli; di poi I0seguirai bones and in the muscles. Then, in conti-
le gabe dirieto XI della lepre, le quali son nuation, the hind legs of the hare, which are
I2molto muscolose e di I3 muscoli spediti, very muscular, with strong active muscles,
perche no I4sono inpedite da grasse'Szza. because they are not encumbered with fat.
818. i. fatti. 2. nascano. 3. cotilidoni. 4. cotilidoni mass. 5. ci offeminine.
819. lingha . . pichio. 2. ella masscella. 820. 5. cheffa . . disceda.
821. i. pesscie assosspl. 2. pesscio . . languila. 3. bisscia e migmaua. 822. 6. agugne la lecatura.
823. 4. acquessto. 6. nochi. 8. com"e". 9. nu:sscoli. 12. molte.
820. 4. A passing allusion is all I can here 821. A sketch of a'fish, swimming upwards is in
permit myself to Leonardo's elaborate researches the original, inserted above this text. — Compare
into the flight of birds. Compare the observations No. 1114.
on this subject in the Introduction to section XVIII 823. This text is written by the side of a drawing
and in the Bibliography of Manuscripts at the end in black chalk of a nude male figure, but there is
of the work. no connection between the sketch and the text.
120
COMPARATIVE ANATOMY.
[824—826.
Qui fo ricordo 2di dimostrare la dif-
3ferentia ch'e dall'o'mo al cauallo, e simil-
smente delli altri ani6mali ; e prima 7comin-
cerd alPossa, e proseguiro 8tutti li muscoli
che sanza corde na^scono e finiscono nelle
ossa, I0e poi di quelli che co corda na-
"scono e finiscono nell'ossa, e poi di
quelle "che con una sola corda da v can-
to.
Here I make a note to demonstrate the
difference there is between man and the horse
and in the same way with other animals.
And first'I will begin with the bones, and then
will go on to all the muscles which spring
from the bones without tendons and end in
them in the same way, and then go on
to those which start with a single tendon at
one end.
E. ,6-] 825-
Nota delle piegatu2re delle giutu^re, e Note on the bendings of joints and in
in che mo4do cresce la scarne sopra di what way the flesh grows upon them in
6loro nelli 7lor piegame8tio e stendimesti; their flexions or extensions; and of this
e di questa IOIportatissima "notitia fa uno most important study write a separate treatise:
12 particulare '^trattato | nel'4la descritione in the description of the movements of ani-
•sde' movimeti l6delli animali *?di quattro mals with four feet; among which is man,
pitl(edi, infra li '^quali e 1'omo 2"che acora who likewise in his infancy crawls on all
lui 2I nella infatia 22va co 4 piedi. fours.
C. A. 2920; 888 a)
826.
DELLO • AND ARE DELL' OMO.
2L'andare dell'omo • e sempre a uso
dell' universale andare delli animali di 4
piedi, imperoche siccome essi 3 movonp • i
loro • piedi in croce a vso del trotto del
cauallo, cosl 1'omo in croce si move le sue
4 • mebra, cioe 4 se caccia • Inati il pie destro
per caminare, egli caccia inazi co quello il
braccio • sinistro, e sempre cosl seguita.
OF THE WAY OF WALKING IN MAN.
The walking of man is always after the
universal manner of walking in animals with
4 legs, inasmuch as just as they move
their feet crosswise after the manner of a
horse in trotting, so man moves his 4 limbs
crosswise; that is, if he puts forward his
right foot in walking he puts forward, with
it, his left arm and vice versa, invariably.
314. 2. la.di. 4. cssimil. 6. e p"a". 7. epposseguiro. 8. musscoli. 9. scano effiniscano. TO. eppoi. it. scano effinisscano . .
he poi. 12. [q] che.
825. i. "nota" delle pieghatu. 4. cressca. 5. charne. 7. pieghame. 8. esstendime. 9. quessta. 12. partichulare. 13. tractato.
14. lla desscritione. 18. infralli. 19. ellomo. 20. achora.
826. 2. esaenpre . . inperochessichome. 3. movano illoro . . chauallo . chosi. 4. chaccia . . desstro . . chaminare . . chaccia .
cho . . sinisstro essepr.
824. See PI. CVHI, No. 2.
• r
, i V \
_^4~- . H-r*
Ileliog-. Dujardin. "
5x0/15 5x0/15 5x0/15 5^0/1) 5^0/15 ,5^0
m.
PHYSIOLOGY.
W. An. IV. 173 a]
827.
Ho trovato nella compositione del corpo
vmano che, come in tutte 2le composition!
delli animali, esso e di piv ottusi e grossi
sentimeti; ^cosl e composto di strumeto
manco ingegnoso e di lochi maco ^capaci
a ricevere la uirtu de' sensi ; 6 veduto nella
spetie Ieoni5na il senso dell'odorato auere
parte della sustantia del celabro, e disce-
6dere li narici, capace ricettaculo contro al
senso dello odorato, 7 il quale entra infra
gra nvmero di saccoli cartilaginosi con
assai 8vie contro all' avenimento del predetto
celabro.
9 Li ochi della spetie leonina anno gran
parte della lor testa per lor I0 ricettacolo,
e li nerui ottici inmediate congiugnersi col
celabro; il che al11!! omini si uede in con-
trario, perche le casse delli ochi sono vna
piccoI2la parte del capo, e li nerui ottici
sono sottili e lunghi e deboli, e per debo-
X3le operatione si uede di loro il dl, e peggio
la notte, e li predetti animali ^vedono
in nella notte che '1 giorno; I5e '1 segno se
ne vede, perche predano di notte I6e dor-
mono il giorno come fano ancora li uccelli
notturni.
I have found that in the composition of Comparative
the human body as compared with the bodies s "r/ans of
of animals the organs of sense are duller s^dln^\°.
and coarser. Thus it is composed of less
ingenious instruments, 'and of spaces less
capacious for receiving the faculties of sense. .
I have seen in the Lion tribe that the sense
of smell is connected with part of the sub-
stance of the brain which comes down the
nostrils, which form a spacious recep-
tacle for the sense of smell, which enters
by a great number of cartilaginous vesicles
with several passages leading up to where
the brain, as before said, comes down.
The eyes in the Lion tribe have a large
part of the head for their sockets and the
optic nerves communicate at once with the
brain; but the contrary is to be seen in
man, for the sockets of the eyes are but a
small part of the head, and the optic nerves
are very fine and long and weak, and by the
weakness of their action we see by day but
badly at night, while these animals can see as
well at night as by day. The proof that they
can see is that they prowl for prey at night
and sleep by day, as nocturnal birds do also.
8»7- i. ottrovato . . conpositone . . chome. 3. chosi e conpossto . . mancho . . mancho. 4. chapaci. 5. nel senso . . susstantia
del celabro disce. 6. ricettachulo. 7. sachuli chartilaginosi. 9. tessta. 10. ricettachulo elli . . ottitti . . congugnersi.
ii. Hi . . chasse . . picho. 12. elli . . ellunghi. 13. eppeggo . . elli. 14. vegan inela . . gorno. 15. dormano il gorno
. . fano . . ucelli.
VOL. II. Q
122
PHYSIOLOGY.
[828. 829.
828.
ITutte • le cose vedute parrano 2mag-
Ad...u«e, giori • di mezza notte, che • di 3 mezzo • d) •
,n,he.in.c- macciori di mattina che *di mezzodl.l
lure of the *• llla&5 i \ t Ml 611
sQuesto • accade • percho • la pupilla °del-
l' ochio •£ minore • assai di mezzo Ml- che
di nessuno • altro tenpo.
•Tanto • quato • & • maggiore • 1 ochio
9 over • pupilla del gufo a proportione '"dello
• animate, che non 6 • quella • dell' o" mo •,
tanto piv • lume vede di notte che "no • fa
• Porno; ode di mezzo -dl no vede ni^ente-,
selui no • diminuisce • sua • pupil1 'la -, e simil-
mete • vede di notte le cose mag'Sgiori -
che di di.
Every object we see will appear larger
at midnight than at midday, and larger in
the morning than at midday.
This happens because the pupil of the
eye is much smaller at midday than at any
other time.
In proportion as the eye or the pupil of
the owl is larger in proportion to the animal
than that of man, so' much the more light
can it see at night than man can; hence at
midday it can see nothing if its pupil does
not diminish ; and, in the same way, at night
things look larger to it than by day.
c. 44-1
829.
DELLI OCHI DELLI ANIMALI.
*Li ochi di tutti li animali ano le 3 lor
popille, le quali per loro medesitne cres-
«cono e diminuiscono secodo il mag^giore
e minore lume del sole o altro 6chiarore;
Ma nelli uccelli fa maggio^re differetia, e
massima nelli nottui^ni, come gufi, barba-
yianni, e all' ochi ?che son di spetie di
civetta; a questi cresce I0la popilla in modo
che quasi occupa tut1 'to 1' ochio, e dimi-
nuisce insino alia graI2dezza d'u gra di
miglio e sempre osser'^va figura circulare;
Ma la speMtie leonina come patere,
pardi, '.Meoze, tigri, lupi, cieruieri, •« *
gatti di Spal6gnia e altri simili dimi- • ^
nuiscono '7 la lucie dal perfetto circulo
18 alia figura biagolare, cioe questa '^e;
come si dimostra in margine; Ma 1'uo-
mo 20per avere piu debole vista
che nessuno altro a2Inimale, meno e
offeso dalla superchia luce, "e
meta nelli lochi tenebrosi^ ma
delli detti animali notturni, — al 2<gufo vc-
ciello cornuto, il quale e '1 2s massimo nella
spetie delli vccelli nottura6ni : a questo s' au-
meta tanto la uirtu vi2?siva, che nel minimo
C «t
me s av-
ochi
OF THE EYES IN ANIMALS.
The eyes of all animals have their pupils
adapted to dilate and diminish of their own
accord in proportion to the greater or less
light of the sun or other luminary. But in
birds the variation is much greater; and
particularly in nocturnal birds, such as hor-
ned owls, and in the eyes of one species of
owl ; in these the pupil dilates in such a way
as to occupy nearly the whole eye , or
diminishes to the size of a grain of millet,
and always preserves the circular form. But
^ in the Lion tribe, as panthers, pards,
ounces, tigers , lynxes , Spanish cats
and other similar animals the pupil dimi-
nishes from the perfect circle to the
figure of a pointed oval such as is
shown in the margin. But man having
a weaker sight than any other animal
is less hurt by a very strong light and
his pupil increases but little 'in dark places;
but in the eyes of these nocturnal animals, the
horned owl — a bird which is the largest of
all nocturnal birds — the power of vision
increases so much that in the faintest noc-
turnal light (which we call darkness) it sees
8*8. i. tucte . le chose. 2. magiori . . meza. 3. mezo . . magiori. 4. mezo. 5. acchade. 6. mezo. 8. he magiore. ix. nocte.
12. mezo. 13. diminuisscie . . popi. 14. cssimilmcte . . ma. 15. magiore.
8j) i. dclt[o|i cchi(o]i. 3. popille le quali pe lor. 4. scano e diminvisschano . . il ma. 5. eminore. 6. vcielli. 7. diferetia
emauime neli. 8. ghufi. 9. chcsson . . qucssti cresscie. 10. ochupa. ti. diminuisscie. 12. essenpre. 13. fighura circulare.
M lla. 14. chome. 16. diminuiscano. 17. circhulo. 18. fighura biaghola . . quessta. 19. chome si dimosstra . . Mallom"o"
20. vissu. 21. luci'V. 23. notturniel. 24. ghupo . . chornuto. 25. vcielli. 26. acquessto. 28. quale noc dimadano . . ve
829. Compare No. 24, lines 8 and fol.
830. SSL]
PHYSIOLOGY.
123
lume notturno (il 28quale da noi dimadasi
tenebre) vede assai co 29piu vigore che noi
nello splendore del 3° mezzo giorno, nel
quale tali vccielli sta s'nascosti in lochi te-
nebrosi; e se pur 32S6 costretti u^scire al-
Pa34ria allumina^sta dal sole, elli' 3&dimi-
nuiscono 3?tato la lor po'8pilla che la
po39tentia visiua 4°diminuisce 4?insieme
colla 42quatita di tale 43lucie.
44 Fa notomia 45di vari ochi, ^ e vedi
quali 47so li muscoli 48ch'aprono e 49serrano
le pre5°dette popille s1 delli ochi dels'li ani-
mali.
with much more distinctness than we do in the
splendour of noon day, at which time these
birds remain hidden in dark holes; or if in-
deed they are compelled to come out into
the open air lighted up by the sun, they
contract their pupils so much that their
power of sight diminishes together with the
quantity of light admitted.
Study the anatomy of various eyes and
see which are the muscles which open and
close the said pupils of the eyes of animals.
Br. M. 64 <J]
830.
a b n e il .coperchio di sotto che chi-
ude 2Pochio di sotto in su con coperchio
oppaco, *c n b chiude 1'ochio dinanzi
idirieto 4con coperchio transparete.
sQiiudesi sotto in su 6 perche da
alto discie"7de.
8Quando 1'ochio delli uccelli si
chiude ^colle sue due copriture,
esso chiuI0de prima la secondina
la qual "chiude dal lagrimatoio
alia coI2da d'esso ochio, e la prima
si chiI3vde da basso in alto, e que-
I4sti due moti intersegati occupano
prima dal lacrimatoio, perche gia abbiamo
veduto che l6 dinanzi e di sotto si sono
assicurati, e sol serbaI7no la parte di
sopra per li pericoli delli uccielli ral8paci
che discendono di sopra e dirieto; e sco-
"^prano prima il pannicolo di verso la coda,
20 perche se '1 nemico viene dirieto, egli
a la como2Idita| del fugire innazi, e an-
cora tiene 22il pannicolo detto secondino
e traspa*3rente , perche se non avesse tale
scudo, e' no 24potrebbe tener li ochi
aperti cotro al 2Sveto che percuote 1'ochio
nel furo26re del suo velocie volare; 'E
la sua 27popilla crescie e discrescie nel
uedere 28minore o maggiore lume cioe
spledore.
s in and
a b n is the membrane which closes the
eye from below, upwards, with an opaque
film, c n b encloses the eye in front and
behind with a transparent membrane.
It closes from below, upwards, be-
cause it [the. eye] comes downwards.
When the eye of a bird closes
with its two lids, the first to close is
\ the nictitating membrane which closes
from the lacrymal duct over to the
outer corner of the eye; and the
outer lid closes from below upwards,
these two intersecting motions begin
first from the lacrymatory duct, because we
have already seen that in front and below
birds are protected and use only the upper
portion of the eye from fear of birds of
prey which come down from above and
behind; and they uncover first the membrane
from the outer corner, because if the enemy
comes from behind, they have the power of
escaping to the front; and again the muscle
called the nictitating membrane is transparent,
because, if the eye had not such a screen,
they could not keep it open against the
wind which strikes against the eye in the
rush of their rapid flight. And the pupil of
the eye dilates and contracts as it sees a
less or greater light, that is to say intense
brilliancy.
H.3 6i«] 831.
UL' ochio che di notte s'interporra in- If at night your eye is placed between
fra '1 lume e 1'ochio 2della gatta, vedra the light and the eye of a cat, it will see
esso occhio parere di foco.1 the eye look like fire.
assai cho. 29. vighore. 31. nasscosti inochi . . esseppur. 32. cosstretti vs. 33. allalla. 36. diminuisca. 38. chella. 40. di-
minuissie. 41. cholla. 47. musscoli. 48. aprano es.
830. 2. socto . . oppacho. 4. chon choperchio transsparete. 6. discie. 7. da. 8. vcielli. 9. cholle . . chopriture. 12. ella. 13. di
basso . . ecque. 14. interseghati ochupano. 15. dalacrimatoio . . giaa ueduto. 16. assichurati.J 17. pericholi. 18. dissciendono
. . diriecto essco. 19. panitolo . . choda. 20. nemicho . . diriecto. 22. trasspa. 23. auessi.' 25. perchuote. 26. Ella.
27. cresscie e disscresscie. 28. magiore.
831. i. ellochio. 2. vedera . . focho.
124
PHYSIOLOGY.
[832 834.
W. A.. IV. 184* (;)J
La lingua e trouata auere 24
oomuscoli li quali rispondono alii
gan. ^ muscoli di che 6 2 conposta la
quatita della lingua che si move
per la bocca.
3 E quando a o v si pronutiano
con « intelligibile e spedita pronu-
tia, egli £ snecessario che nella
continua lor 6pronutiatione sanza
intermissio di tepo, che 'I'apritura
de' labri si uadi al cotinuo restri-
•gnendo, cio£ larghi sarano nel
dire a, pi9u stretti nel dire o,
e assai piv stretti nel pr'°onun-
tiare v.
"Prouasi come tutte le uo-
"cali son pronQtiate colla 'Jparte
ultima del pala'no mobile, il quale
copre Pe'Spiglotta.
w. xxij
832.
a
e
i
o
u
da
be
bi
bo
bu
ca
ce
ci
CO
cu
da
de
di
do
du
f'a
f*.
fi
f°
f'u.
g«
la
g*
le
gi
ii
g°
lo
g"
I'u
ma
me
mi
mo
mu
na
ne
m
no
/in
pa
pc
pi
PO
p'u
qa
qe
qi
qo
qu
ra
re
ri
ro
ru
sa
se
si
so
su
ta
ie
ii
to
iu
The tongue is found to have
24 muscles which correspond to
the six muscles which compose
the portion of the tongue which
moves in the mouth.
And when a o u are spoken
with a clear and rapid pronunciation,
it is necessary, in order to pronounce
continuously, without any pause be-
tween, that the opening of the lips
should close by degrees; that is,
they are wide apart in saying a,
closer in saying o, and much closer
still to pronounce u.
It may be shown how all the
vowels are pronounced with the
farthest portion of the false palate
which is above the epiglottis.
833.
Se tirerai il fiato pel na'so e lo vorrai
madar fori ^per la bocca, tu sentirai il
sono 4che fa il tramezzo cioe il Spanicolo
in . .
If you draw in breath by the nose and
send it out by the mouth you will hear the
sound made by the division that is the
membrane in [5] . . .
C. A. 89*; 2580]
DELLA NATURA DEL UEDERE.
834.
2Dico • jl uedere • essere operate da tutti
On the con- li animali • mediate • la luce; e se alcuno
ditions of 11 i » i j n-
light cotra questo ^allegnera • jl uedere • delli •
animali notturni, dir6 • questo • medesima-
mete essere • sottoposto • a simile .-' natura;
Jpero«che • chiaro • si coprede -, j sensi •
ricievedo • le similitudini delle cose • no ma-
dano • fori di loro alcuna virtu ; s anzi me-
diate 1'aria, che si trova ifra 1'obietto e '1
seso -, jncorpora • J se le spetie delle • cose •,
e per lo cotatto, 6che a • col seso, le porgie
a quello ; se li obietti o per sono • o per
odore madano le potetie spirituali all' orechio
7o al naso •, qui non e neciessario ne si
adopera la luce • ; le forme delli obietti non
OF THE NATURE OF SIGHT.
I say that sight is exercised by all ani-
mals, by the medium of light; and if any.
one adduces, as against this, the sight of
nocturnal animals, I must .say that this in
the same way is subject to the very same
natural laws. For it will easily be under-
stood that the senses which receive the
images of things do not project from them-
selves any visual virtue [4]. On the contrary
the atmospheric medium which exists be-
tween the object and the sense incorpo-
rates in itself the figure of things, and by
its contact with the sense transmits the ob-
ject to it. If the object — whether by sound
or by odour — presents its spiritual force
to the ear or the nose, then light is not
required and does not act. The forms of
objects do not send their images into
831. i. musscole . . rospondano . . musscoli. t. conposta . . boccha. 3. lingb.ua chessi perbocha. 4. Essecquando . . cho.
4. csspedita. 7. dellabri . . resstri. 8. coe. 12. chali. 13. lla. 15. piglotto.
833. i. »ettirarai. a. ello. 3. bocha tusscutirai. 4. cheffa il tramazzo. 5. panicholo.
8*. i. operate [raediitc la In) dattutti . . ette. 3. alegera . . sotto . posti . aasimile. 4. cSpIede . . similitudine . . alchuna.
5. iou . . chessi . . jnthorpora . . chotatto. 6. chol . . acquelo . . per [romore] "sono" per . . mSda . per la. 7. nessi
833- 5- The text here breaks off. 834. 4. Compare No. 68. 8. See No. 58-67.
835- 836.]
PHYSIOLOGY.
125
etrano per similitudine jfra 1'aria, 8se quelli
• no sono • Ivminosi •; essedo cosl 1'ochio no
la puo ricievere da quell' aria che no 1'a e
che tocca la sua superfitie; 9se tu volessi
dire di molti animali • j quali • predano di
notte •, dico che quando in questi manca
la poca luce I0che basta • alia natura • de'
loro • ochi •, che questi s' aivtano colla • po-
tetia dello • udito • e dello odorato, IJi quali
no sono • Ipediti • dalle tenebre •, e de' quali
avazano di gra luga-1'omo-; Se porrai
mete • a una gatta I2di giorno • sal tare • Ifra
molte vasellameti -, vedrai • quelli^ rimanere
salui, e se farai questo medesimo I3 di notte,
ronpera ne • assai • ; li vccelli notturni • no
volano •, se no lucie • tutta o I parte la luna,
azi si pasco^no Jfra il coricare • del sole •
e la • itera oscurita della notte ; —
'sNessuno corpo • si puo • coprendere
saza lume e obra; lume e obra sono cau-
sate dalla luce.
the air if they are not illuminated [8]; and
the eye being thus constituted cannot receive
that from the air, which the air does not
possess, although it touches its surface. If
you choose to say that there are many ani-
mals that prey at night, I answer that when
the little light which suffices the nature of
their eyes is wanting, they direct themselves
by their strong sense of hearing and of smell,
which are not impeded "by the darkness, and
in which they are very far superior to man.
If you make a cat leap, by daylight, among
a quantity of jars and crocks you will see
them remain unbroken, but if you do the
same at night, many will be broken. Night
birds do not fly about unless the moon shines
full or in part; rather do they feed between
sun-down and the total darkness of the night.
No body can be apprehended without
light and shade, and light and shade are
caused by light.
G. 90 a]
835.
PfiRCHE NELLI OMINI ATTEPATI 2IL UEDERE E
MEGLIO DISCOSTO.
3 II uedere e meglio discosto che da
pres*so in quelli omini, li quali s'attepano,
Sperche vna medesima cosa 6mada di se
minore inpressione nell'oc7chio, essendo
remota che quado li e vi8cina.
WHY MEN ADVANCED IN AGE SEE BETTER AT A
DISTANCE.
Sight is better from a distance than near
in those men who are advancing in age,
because the same object transmits a smaller
impression of itself to the eye when it is
distant than when it is near.
C. At. 893; 2580]
836.
II seso corhune e quello • che givdica • le
cose • a • lui • date dalli altri sensi ; 2 Li an-
tichi • speculatori • ano • cocluso • che quella •
parte del giuditio • che e data all'omo,
sia causata 3 da vno • strumeto •, al quale
referiscono • li altri 5 • mediate la ipressiva,
e a detto • strumeto • ano posto nome seso •
comvne, 4e dicono questo seso • essere
situate • in mezzo • il capo jfra la ipres-
siva • e la memoria; E questo nome di
seso s comvne dicono solamete •, perche e
The Common Sense, is that which judges The seat of
of things offered to it by the other senses. the sce°™mon
The ancient speculators have concluded that
that part of man which constitutes his judg-
ment is caused by a central organ to which the
other five senses refer everything by means of
impressibility; and to this centre they have
given the name Common Sense. And they
say that this Sense is situated in the centre
of the head between Sensation and Me-
mory. And this name of Common Sense
lalluce. 8. nolla po . . dacquell . . aria'"ce nola e" che tocha. 9. che qua["do" I . . mancha la pocha. 10. allandatura
chola . . delo . a[v]uldito. n. porai mete . i '. gatta. 12. vedera . . esse. 13. vcielli . . pasca. 14. corichare . . ella.
15. po . chopledere . . e chausata.
835. 2. disscosto. 3. disscossto. 5. chosa.
836. i. givdiCha . le chose allui . . dali. 2. [j nosstri] li antich[e]i spechulatori . . choncluso checquella . . guditio . . chausata
3. referischano . . 5 . "mediate la Ipresine" e a . . ano. 4. e dichano . . essere [situato] imezo [il chapo j fralla Ipresiua
ella . . Ecquesto. 5. dicano . . choravne . . deli . . vldire tochare. 6. Ipresiua . . imezo . . inpresiua. 7. similitudine . .
PHYSIOLOGY.
comvne -judice- delli altri • 5 sesi, cioe
dere • udire • toccare • gustare e odorare;
6 II senso • comvne • si move mediate la
Ipressiva ch'e posta-I mezzo jfra lui e i
sesi; la inpressiua si move 7 mediate le si-
militudini delle cose • a lei date • dalli stru-
meti • superfitiali cioe sesi, i quali sono posti
I mezzo 'jfra le cose esteriori e la Ipres-
siva •, e similmete i sesi si movono mediate
li obietti; 9le • circostanti • cose • madano le
loro • similitudini • ai sesi ; e i sensi le tras-
feriscono alia Ipressiva; I0la Ipressiva le
mada al seso comvne •, e da quello • sono
stabilite nella memoria -, e 11 • sono • piv •
o meno "retenute • secodo la Iportatia o
potetia della • cosa • data • ; Quello • senso .
e piv veloce nel suo I2ofitio, jl quale • e
piv • uicino • alia • impressiva •, e 1'ochio •
superiore-£ pricipe • delli altri •, '3 del quale
• solo • tratteremo e li altri lascieremo • per
no ci • allugare • dalla nostra • materia •; dice
la sperieza '*che 1'ochio • s'astede • J • 10 •
varie nature «d' obietti • cio£ • luce • e tenebre,
• 1'una-cagione dell'altre 9 -, e 1'altra • priva-
tione: 'Scolore • e corpo • figura • e sito •
remotione • e proplquita • moto e quiete.
is given to it solely because it is the com-
mon judge of all the other five senses i.e.
Seeing, Hearing, Touch, Taste and Smell.
This Common Sense is acted upon by means
of Sensation which is placed as a medium
between it and the senses. Sensation is ac-
ted upon by means of the images of things
presented to it by the external instruments,
that is to say the senses which are the
medium between external things and Sen-
sation. In the same way the senses are
acted upon by objects. Surrounding things
transmit their images to the senses and
the senses transfer them to the Sen-
sation. Sensation sends them to the Com-
mon Sense, and by it they are stamped
upon the memory and are there more or
less retained according to the importance
or force of the impression. That sense is
most rapid in its function which is "nearest
to the sensitive medium and the eye, being
the highest is the chief of the others. Of
this then only we will speak, and the
others we will leave in order not to make
our matter too long. Experience tells us that
the eye apprehends ten different natures of
things, that is: Light and Darkness, one
being the cause of the perception of the
nine others, and the other its absence: —
Colour and substance, form and place, dis-
tance and nearness, motion and stillness [15].
W. An. IV. 184,. (7))
837-
Ancorache lo ingiegnio 2vmano faccia
OB the ori-Iuetioni va^rie, rispodedo co uari ^strumeti
tin of the a Q medesimo sfine, mai esso trove6ra
inuentione piu ? Delia, ne piu facile, ne 8piu
brieue della natu9ra, perche nelle sue in-
I0venzioni nulla ma:ica e nullo e superflu-
I2o, e non va co contra1 ^pesi, quado essa
fa le '*mebra atti al moto nel'sli corpi delli
animali; l6Ma ui mette dentro I'a^nima
d'esso corpo copoI(<nitore, cioe 1'anima
del'9la madre che prima 20conpone nella
ma2 'trice la figura dell' o22mo; e al tenpo
debito *3 desta 1* anima, che di quel 24 deve
essere abitatore, 2Ma qual prima restau26a
dormetata e in tutela J 7 dell' anima della
Though human ingenuity may make va-
rious inventions which, by the help of va-
rious machines answering the same end, it
will never devise any inventions more beau-
tiful, nor more simple, nor more to the pur-
pose than Nature does; because in her in-
ventions nothing is wanting, and nothing is
superfluous, and she needs no counterpoise
when she makes limbs proper for motion in
the bodies of animals. But she puts into
them the soul of the body, which forms them
that is the soul of the mother which first
constructs in the womb the form of the man
and in due time awakens the soul that is
to inhabit it. And this at first lies dormant
chose . . dali . . scsiggugali . . mezo. 8. Infrallc . . istcriori ella Ipressiua essimilemete . . movano . . obietti le similitu-
dine. o.. delle circhuitanti chose . . similitudine a sesic sensi . . trasfcrischano . . Tpresiua. 10. Ipresiua la . . dacquello . .
elli. n. sechodo. 12. uisino . ala inpresiua . . deli. 13. trattereno e laltri lasciereno . . data. 14. chagne . . ellaltra.
. 15. chorpo . . cssito . . ecquiete.
837. i. chello. 2. vmano iniuetioni. 5. trover, n. cha e nulla. 13. fa il. 14. mebr. 16. coe. 23. dessta. 24. debbe. 25. restafui).
836. 15. Compare No. 23.
838. J
PHYSIOLOGY.
127
madre, 28la quale la nutrisce e vivifi29ca
per la vena ombelica3°le, con tutti li sua
me^bri spiritual!, e cosi segu32ira insino
che tale ombe^lico 11 e giunto colla se.-
34condina e li cotilido35ni per la quale il
figlo36lo si unisce colla madre; 3?e questi
son causa che v38na volonta, vn sommo desi
39derio, vna paura che 4°abbia la madre,
o altro ^ i dolor metale a poteti42a piu nel
figliolo che ne!43la madre, perche spesse
sono 44le volte, che il figlio ne per45de la
vita ecc.
46Questo discor-^so no ua qui, 48ma si
r49ichiede 5°nella cos^ositio S2delli cor53pi
anima54ti; — E il resto della difinitione
dell' anima lascio nelssle meti de' frati,
padri de' popoli, li quali per inspira56tione
sanno tutti li segreti.
5 7 Lascio star le lettere incoronate, per-
che so soma verita.
and under the tutelage of the soul of the
mother, who nourishes and vivifies it by the
umbilical vein, with all its spiritual parts,
and this happens because this umbilicus is
joined to the placenta and the cotyledons, by
which the child is attached to the mother.
And these are the reason why a wish, a
strong craving or a fright or any other men-
tal suffering in the mother, has more influence
on the child than on the mother; for there
are many cases when the child loses its life
from them, &c.
This discourse is not in its place here, but
will be wanted for the one on the compo-
sition of animated bodies — and the rest of
the definition of the soul I leave to the ima-
ginations of friars, those fathers of the people
who know all secrets by inspiration.
[57]! leave alone the sacred books; for
they are supreme truth.
W. An. II. 202 a (-B-)]
838.
COME • i • 5 SENSI • SONO • OFITIALI • DELL' ANIMA.
2 L' anima • pare • risedere • nella parte
juditiale, • e la • parte • juditiale pare essere
3 nel loco • doue • concorrono • tutti i sesi •,
il quale e detto • senso comvne, e non e
tutta 4per tutto • il corpo •, come molti •
ano • creduto -, anzi • tutto in nella • parte •,
inpercche sc ella sfusse • tutta per tutto • e
tutta • in ogni • parte •, non era • necessario
• li stru6meti • de' sensi fare infra loro • uno •
medesimo cocorso a uno • solo loco •, anzi
• basta?va • che 1' ochio operasse • 1' ufitio •
del sentimeto • sulla • sua superfitie • e no
mandare per la uia 8delli nerui • ottici la
similitudine • delle cose • vedute • al seso •,
che 1' anima • alia • sopra sdetta ragione le
poteua compredere • in essa • superfitie del'o-
organs of
sense.
HOW THE FIVE SENSES ARE THE MINISTERS OF
THE SOUL.
The soul seems to reside in the judg- On the reia-
ment, and the judgment would seem to be "°"^ t°f thhee
seated in that .part where all the senses
meet; and this is called the Common Sense
and is not all-pervading throughout the body,
as many have thought. Rather is it entirely
in one part. Because, if it were all-pervad-
ing and the same in every part, there would
have been no need to make the instruments
of the senses meet in one centre and in one
single spot; on the contrary it would have suf-
ficed that the eye should fulfil the function
of its sensation on its surface only, and not
transmit the image of the things seen, to
the sense, by means of the optic nerves, so
that the soul — for the reason given above —
may perceive it in the surface of the eye.
In the same way as to the sense of hearing,
it would have sufficed if the voice had mere-
28. la qual nutrisscie vivifi. 29. cha . . vnbilica. 30. le sua. 32. chettale vnbi. 33. licho. 34. elli. 36. unisscie colla ma
37. ecquesti. 38. somo. 42. che ne. 43. spesse so. 45. della uita ecc. 54. dellania lasscio ne. 55. le mete . . ispirita
56. tatione san. 57. Lascia doubtful . . soma.
838. 2. ella. 3. locho . . chonchorano . chomvne . . ettuta. 4. chorpo chome . . inela . . ssella. 5. fussi tutta [in ogni] per
tutto . ettutta . . neciessario . fare li. 6. infralloro .5. . . chochorso a . i . . locho. 7. operassi . . del [suo] sentimeto.
8. ottiti [il] la . . chose . . chellanima. 9. conpledere.' 10. Essimilmete il . . dellavldito . . risonassi . . chochaue. n. cho-
^37' 57- lettere incoronate. By this term Leo-
nardo probably understands not the Bible only, but
the works of the early Fathers, and all the books
recognised as sacred by the Roman Church.
128
PHYSIOLOGY.
[839-
chio • ; IOE similmete al seso • dell' udito •
bastaua solamete • la uoce • risonasse nelle
cocnue porosita "dell' osso • petroso • che
sta • dcntro • all'orechio •, e no fare da esso •
osso al seso comune altro "trasito • dove •
essa s'abbocca, e abbia a discorrere • al
comune givditio; l*l\ senso dell* odorato •
acora lui si uede • essere dalla neciessita •
costretto • a cocorrere a detto ^juditio;
'5 II tatto passa • per le corde forate,
ed e portato • a esso seso •; le quali corde
si uanno I6spargicdo • con ifinita • ramifica-
tione- in nella pelle-che circuda • le corporee
mebra '?e visciere •; l8Le corde perforate
portano il comadameto • e sentimeto alii
mebri ofitiali, ''le quali • corde e nerui •
infra • i muscoli • e lacierti 20comadano • a
quelli • il mouimeto •; quelli ubidiscono, e
tale • obedietia si "mette in atto • collo sgo-
fiare •, imperoche '1 gofiare • raccorta • le loro
• lunghezze e tirasi dirieto • i nerui, 22i quali
• si tessono per le particule de' mebri; es-
sendo infusi nelli • stremi de' diti, ^por-
tano • al seso • la cagione del loro • cotatto ;
a*I nerui • coi loro • muscoli • servono •
alle corde • come • i soldati • a codottieri •, e
le corde 25 seruono • al senso comune • come
i codottieri al capitano •; 26aduque • la givn-
tura delli ossi • obbediscie • al neruo -, e ' 1
neruo • al muscolo e '1 muscolo alia corda,
f'e la corda al senso comune •, e'l seso
comune • e sedia • dell' anima •, e la • memo-
ria £ sua 28munitione • e la • impress! va • £
sua • referedaria; 29come il senso -serve •
all' anima • e no 1* anima al senso •, e dove •
maca • il senso ofitiale dell' anima 3°al-
1* anima •, maca in questa vita -la totalita del-
1'ufitio -d'esso • seso, come appare nel 3'mvto
e 1' or bo nato.
ly sounded in the porous cavity of the
indurated portion of the temporal bone which
lies within the ear, without making any
farther transit from this bone to the common
sense , where the voice confers with and
discourses to the common judgment. The
sense of smell, again, is compelled by ne-
cessity to refer itself to that same judg-
ment. Feeling passes through the perfo-
rated cords and is conveyed to this com-
mon sense. These cords diverge with infi-
nite ramifications into the skin which encloses
the members of the body and the viscera.
The perforated cords convey volition and
sensation to the subordinate limbs. These
cords and the nerves direct the motions of
the muscles and sinews, between which they
are placed; these obey, and this obedience
takes effect by reducing their thickness;
for in swelling, their length is reduced, and
the nerves shrink which are interwoven among
the particles of the limbs; being extended to
the tips of the fingers, they transmit to the
sense the object which they touch.
The nerves with their muscles obey the
tendons as soldiers obey the officers, and the
tendons obey the Common [central] Sense as
the officers obey the general. [2 7] Thus the
joint of the bones obeys the nerve, and the
nerve the muscle, and the muscle the tendon
and the tendon the Common Sense. And the
Common Sense is the seat of the soul [2 8],
and memory is its ammunition, and the im-
pressibility is its referendary since the sense
waits on the soul and not the soul on the sense.
And where the sense that ministers to the soul
is not at the service of the soul, all the func-
tions of that sense are also wanting in that man's
life, as is seen in those born mute and blind.
W. An. II. tot 6 (-B-)J 839.
COME • I NERUI OPERANO QUALCHE UOLTA PER HOW THE NERVES SOMETIMES ACT OF THEM-
THE
LORO *SANZA • COMADAMETO DELLI ALTRI
OFITIALI DELL' ANIMA.
On invoiun- ^Qucsto • chiaramete • apparisce •, inpero-
SELVES WITHOUT ANY COMMANDS FROM
OTHER FUNCTIONS OF THE SOUL.
This is most plainly seen; for you will
. • ch& tu • vedrai • movere • ai paraletici e a see palsied and shivering persons move,
mvne. 12. essaboca . abbia dischorere . al chomune givditio [lodor]. 13. achora . . chostretto a chochorrere. 14. jvditio [il]
gusto el tatto. 15. II tutto no passa elli per le chorde . . chorde si uano [di]. 16. sprgiedo chon . . ramifichatione inella
. . circhuda le chorporee. 18. (j nervi] "le corde" . . portano [il sentimento] il chomadameto essentimeto. 19. chorde . .
musscoli. 20. acquelli . . queli obediscano [chollosco] ettale. 21. chollo schofiare ipero chel . . rachorta . . lungeze ettirasi.
22. tcssano . partichule. 23. chagione . . chotauo. 24. choi . . mvsscoli . . servno . . chorde chome chodottieri . elle
chorde. 25. seruano . . chomvne chome i chodoueri al chapitano el seso chomvne serve. 26. [adunque il neruo . serue
. ai mvsscolo el mvsscoJo). 27. musscholo el mvsscolo . . chorda. 28. ella chorda . . chomvne . . chomvne essedia . . ella
. . essua. 29. amvnitione . ella inpresiua essua referedaria [e il chore essuoj. 30. chome . . de all . . mlcha. 31. macha
. . spare. 32. ellorbo.
•39. i. chome. 2. chomadameto. 3. apariiscie inperro . chettu vederai . . fredolleti. 4. chome. 5. chon . . essi . benbri . .
8^8. The peculiar use of the words nervo, mus-
ft/a, forda, senso comune, which are here literally ren-
dered by nerve, muscle cord or tendon and Common
Sense may be understood from line€ 27 and 28.
840-843.]
PHYSIOLOGY.
129
freddolosi, 4e assiderati - le loro • tremati •
mebra come • testa • e mani • sanza • licieza •
dell' anima •, la quale 5 anima co tutte - sue
• forze no potra • vietare a essi . menbri • che
no tremino; Questo medesimo 6accade nel
malcaduco e ne' mebra tagliati come code
di lucierte ; 7 la idea • over imaginatiua • e •
timone e briglia de' sensi •, imperoche la cosa
irhaginata 8move il seso; 9 preimaginare • e
lo imaginare ,le cose che saranno; I0post-
imaginare e imaginare • le cose passate.
and their trembling limbs, as their head and
hands , quake without leave from their soul
and their soul with all its power cannot prevent
their members from trembling. The same thing
happens in falling sickness, or in parts that
have been cut off, as in the tails of lizards.
The idea or imagination is the helm and gui-
ding-rein of the senses, because the thing con-
ceived of moves the sense. Pre-imagining, is
imagining the things that are to be. Post-ima-
gining, is imagining the things that are past.
Tr. 14.
840.
4 sono le potentie : memoria • e intellet-
to, lascibili • e cocupiscibili, 2le 2 prime son
ragionevoli e 1'altre sensuali; 3I 3 sensi
vedere, udire, odorato sono di poca pro-
ibitione •, tato e gusto^no ; 1' odorato • mena
• con seco • il gusto • nel cane e altri • golosi
animali.
There are four Powers: memory and Misceiiane-
intellect, desire and covetousness. The two oui0JicaT10"
first are mental and the others sensual. The "
three senses: sight, hearing and smell cannot
well be prevented; touch and taste not at
all. Smell is connected with taste in dogs
and other gluttonous animals.
W. A. IV.
841.
Jo scopro alii omini 1'origine 2della pri-
ma • o forse secoda • cagione del loro essere.
I reveal to men the origin of the first,
or perhaps second cause of their existence.
H.I 32*]
Lussuria e cavsa della gienera2tione.
3Gola e matenimeto della vita,
over timore e prolugaSmeto di uita
6salvameto \iello strume^to.
842.
Lust is the cause of generation.
Appetite is the support of life. Fear
or timidity is the prolongation of life and
preservation of its instruments.
W. An. II. 43,5 (8)]
843-
COME IL CORPO DELL'ANIMALE AL CONTINUO
2 MORE E RINASCIE.
II corpo di qualunche cosa la qual si
nutrica, al continue muore e al continue
rinasce, perche entrare 5non puo nutrimeto
se non in quelli lochi, dove il passato
6 nutrimeto e spirato, e s'elli e spirato elli
piu no a 7Vita, e se tu no li rendi nutri-
meto equa8le al nutrimeto partito, allora
HOW THE BODY OF ANIMALS IS CONSTANTLY
DYING AND BEING RENEWED.
The body of any thing whatever that The law* of
takes nourishment constantly dies and is "hTsup^orf
constantly renewed : because nourishment of Iife
J J (Q . - Q , 0\
can only enter into places where the former
nourishment has expired, and if it has expired
it no longer has life. And if you do not
supply nourishment equal to the nourishment
trie mino Questo medessi. 6. achade . . mal chaducho . . mebr . . chome chode. 7. e etimone . . inpero chella chosa.
9. premaginare . . chose . chessaranno. 10. posimaginare . . chose.
840. i. lascibili e chocupiscibili. 2. ellaltre. 3. de [2] 3 sensi . . vldire . . pocha . . tato. 4. choseco . . chane . . golos.
841. i. schopro. 2. della loro "prima offorse secodo" sechonda chagione di loro.
843. i — 7 R. I. chausa. 6. delo e saluameto.
843. i. chorpo . . chontinuo. 2. rinasscie. 3. chosa . . nutricha . . chon. 4. chontinuo rinasscie. 5. senon. 6. esspirato esselli
he . . no[nuj. 7. [trusscie] vita essectu. 8. mancha. 9. valtudine essettulli . . tuc. 10. ressta desstructa Massettu. n. des-
VOL. II. R
130
PHYSIOLOGY.
[844-
la vita manca di su9a valetudine, e se tu
li leui esso nutrimento, la uita in tut'°to
resta distrurta; Ma se tu ne redi tanto
quanto si "ne distrugge alia giornata, allora
tanto rinasce di "uita, quanto se ne con-
suma a similitudine del lume •> della can-
dela col nutrimeto datoli daH'omore ''d'esaa
candcla, il quale lume ancora lui al con'sti-
nuo con velocissimo socorso restaura di
sotto, I6quato di sopra se ne consuma mo-
rendo, e di splendi'Ma lucie si convertc
moredo in tenebroso fumo, la qual I8morte
e continua, siccome e cotinuo esso fumo,
e la c6I0tinuit£ di tal fumo • & equale al
cotinuato nutrimeto, 20e in instante tutto il
lume e morto e tutto rigienerato insie2Ime
col moto del nutrimento suo.
which is gone, life will fail in vigour, and
if you take away this nourishment, the life
is entirely destroyed. But if you restore
as much is destroyed day by day, then as
much of the life is renewed as is consumed,
just as the flame of the candle is fed by
thi nourishment afforded by the liquid of this
candle, which flame continually with a rapid
supply restores to it from below as much as is
consumed in dying above: and from a brilliant
light is converted in dying into murky smoke ; and
this death is continuous, as the smoke is conti-
nuous;andthe continuance of thesmokeis equal
to the continuance of the nourishment, and
in the same instant all the flame is dead and
all regenerated, simultaneously with the move-
ment of its own nourishment.
W. An. III. 241
844.
TiCome tu ai descritto il re delli ani-
mali — ma io meglio direi dicedo 2re delle
bestie • essendo tu la maggiore — perche non
li ai uccisi, acci6 che possino poi darti 3]i
lor figlioli in benifitio della tua gola colla
quale tu ai te4tato farti sepultura di tutti
li animali, e piu oltre direi, se'l 5 dire il
uero mi fusse integramete lecito; Ma non
usciamo 6 delle cose vmane, dicendo vna
somma scelerata?gine, la qual non accade
nelli animali terrestri, 8inperoche in quelli
no si trovano animali che magino della
loro 9Spetie se no per macameto di celabro
(in poche infra loro, e de'maI0dri come
infra li omini, beche no sieno in tato nu-
mero); "e questo non accade se no nelI2li
King of the animals — as thou hast de-
scribed him — I should rather say king of
the beasts, thou being the greatest — because
thou hast spared slaying them, in order that
they may give thee their children for the
benefit of the gullet, of which thou hast
attempted to make a sepulchre for all ani-
mals ; and I would say still more, if it were
allowed me to speak the entire truth [5]. But
we do not go outside human matters in
telling of one supreme wickedness, which
does not happen among the animals of the
earth, inasmuch as among them are found
none who eat their own kind, unless
through want of sense (few indeed among
them, and those being mothers, as with men,
albeit they be not many in number); and
this happens only among the rapacious ani-
mals, as with the leonine species, and leo-
itruggie . . rinasscie. 12. chonsuma assimilitudine. 13. socto della chandela chol. 14. chandela . . anchora . . chon.
15. chon velocissimo (vita) "sochorso" . . socto. 16. chonsuma. 17. chonverte . . tenebro. 18. chontinua sichome chon-
tinno . . ella. 19. chotinuato. 20. e i ni state . . ettutto. 21. chol.
844. i. isscritto . . ma i . . dirai. 2. bestie "essendo tu la magore" | perche no li ai uticcoche ti possin. 3. figloli . . ai te.
5. fiuti . . none vsscia. 6. disscendo . . soma issceleratagi. 7. gine . . soma issceleratagi . . achade . . terresri. 8. frova.
io. numero)e. n. [alcvna volta) ecquesto none achade . . ne. 12. leonina [che sspessa]. 13. si magia che) . . cerveri
844. We are led to believe that Leonardo him-
self was a vegetarian from the following interesting
passage in the first of Andrea Corsali's letters to
Ginliano de' Medici: Alcuni gentili chiamati Guzzarati
non si eibano di cosa alcuna cht tenga sangue, ne fra
esri loro_ comentono che si noccia ad alcuna cosa animata,
comf il noitro Leonardo da Vinci.
5 — 1 8. Amerigo Vespucci, with whom Leonardo
was personally acquainted, writes in his second
letter to Pietro Soderini, about the inhabitants of
the Canary Islands after having stayed there in 1503:
"Hanno una scelerata liberta di viuere; . ... si eibano
di carne humana, di maniera che il padre magia il
figliuolo, et air incontro il figliuolo il padre se^ondo che a
caso e per sorte auiene. Io viddi vn certo huomo scele-
ratusimo che si vantaua, et si teneua a non piccola
gloria di hauer mangialo pA di trecento huomtni.
Viddi anche vna certa citta, nella quale io dimorai forse
ventisetle giorni, done le carni humane, hauendole salate,
eran afficate alii traui, si come noi alii traui di cucina
845-8470
PHYSIOLOGY.
animali rapaci, come nella spetie leonina
X3e pardi, pardere, cervieri, gatte e simili,
^liquali alcuna volta si magiano i figlioli;
ma tu oltre 'Salli figlioli ti magi il padre,
madre, fratelli e amici, e no l6ti basta questo,
che tu vai a caccia per le altrui isole, pi-
T7gliando li altri omini e questi mezzo nudi
il mebro e li testil8culi fai ingrassare e te
li cacci giu per la tua gola; or Z9non pro-
duce la natura tati senplici, che tu ti possa
satia20re? e se no ti cotenti de' senplici,
non puoi tu co la mistio 2Idi quelli fare
infiniti conposti, come scrisse il Platina 22e
li altri autori di gola?1
pards, panthers lynxes, cats and the like,
who sometimes eat their children; but
thou, besides thy children devourest father,
mother, brothers and friends; nor is this
enough for thee, but thou goest to the chase
on the islands of others, taking other men
and these half-naked, the .... and the
.... thou fattenest, and chasest them down
thy own throat [i 8]; now does not nature
produce enough simples, for thee to satisfy
thyself? and if thou art not content with
simples, canst thou not by the mixture
of them make infinite compounds, as Platina
wrote [21], and other authors on feeding?
H.2 41 b\
845-
Facciamo nostra vita coll' a!2trui • morte.
3ln nella cosa morta rima vi^ta dissensata,
la quale riscogiuta alii stomachi de' vi6ui
ripiglia uita sesitiva ?e itellettiva.
Our life is made by the death of others.
In dead matter insensible life remains,
which, reunited to the stomachs of living beings,
resumes life, both sensual and intellectual.
s. K. M. m,
846.
La natura pare qui in moltt 2o di molti
animali stata piu pre^sto crudele matrignia
che ma4dre, e d'alcuni no matrignia 5ma
pietosa madre.
Here nature appears with many animals
to have been rather a cruel stepmother than
a mother, and with others not a stepmother,
but a most tender mother.
C. A. 75 £; 219/5]
847.
L'omo e li animali sono propi trasito
e condotto di cibo, sepoltura • d' animali •
albergo de' morti, facciedo a se vna 2del-
1' altrui morte guaina di corrutione!
Man and animals are really the passage
and the conduit of food, the sepulchre of
animals and resting place of the dead, one
causing the death of the other, making them-
selves the covering for the corruption of
other dead [bodies].
chatte essimili. 14. magano i figloli, irattu. 15. figloli. 16. bassta . . chaccia. 17. meznudi. 18. ettelli caccigu. 19. chet-
tutti. 20. esse no . . poi. 22. elli . . altori.
845. i — 7 R. i. faciano nosstra . . choll. 3. jnella. 4. disensata. 5. stomaci. 7. etellectiva.
846. i. immolti. 5. piatosa.
847. i. elli . . propi "trasitoe" chondotto . . morti [animali] faciedo asse. 2. morte [pigliando piacere dellaltri miserie] guaina
di chorutione.
appicchiamo le carni di cinghali secche al sole o alfumo,
et massimamente salsiccie, et altre simil cose: ami si ma-
rauigliauano grddemete che noi non magiassimo della carne
de nemici, le quali dicono muouere appetito, et essere di
maraniglioso sapore, et le lodano come cibi soaui et delicati
(Leltere due di Amerigo Vespucci Fiorentino drizzate al
magnifico Pietro Soderini, Gonfaloniere della eccelsa Re-
publica di Firenze; various editions).
21. Come scrisse il Platina (Bartolomeo Sacchi, a
famous humanist). The Italian edition of his trea-
tise De arte coquinaria, was published under the
title De la honestra voluptate, e valetudine, Venezia 1487.
132
PHYSIOLOGY.
[848—851.
r. .-]
848.
La morte ne' vecchi sanza febre si causa
dalle Juene che ua dalla milza alia porta
del fegaHo e s'ingrossan tanto di pelle
ch'elle si richi«udono e non danno piu
transito al san*gue che li nutrica.
6 II continue corso che fa il sangue per
le sue ?uene fa che tali vene s'ingrossano
e fanno8si callose in tal modo che al
(«4»-»so)- fine si riserra'no e proibiscono il corso al
sangue.
Death in old men, when not from fever,
is caused by the veins which go from the
spleen to the valve of the liver, and which
thicken so much in the walls that they be-
come closed up and leave no passage for
the blood that nourishes it.
[6] The incessant current of the blood
through the veins makes these veins thicken
and become callous, so that at last they close
up and prevent the passage of the blood.
it t]
849.
Raggirasi 1'acque con cotinvo moto dal-
1'infime profondita de' mari alle altissime
sorhita de' moti, non osseruando 2 la natura
delle cose graui, e in questo caso fanno
come il sangue delli animali che sempre si
Jmoue dal mare del core e scorse alia so-
mit& delle loro teste, e che quiui roposi le
uene -, 4come si uede una vena rotta nel
naso, che tutto il sangue da basso si leua
alia altezza della rotta vena; — sQuando
1'aqua escie dalla rotta vena della terra
essa osserua la natura delle altre cose piv
6gravi che 1'aria, onde senpre cerca i lochi
bassi.
The waters return with constant motion
from the lowest depths of the sea to the
utmost height of the mountains, not obeying
the nature of heavier bodies; and in this
they resemble the blood of animated beings
which always moves from the sea of the
heart and flows towards the top of the head;
and here it may burst a vein , as may be
seen when a vein bursts in the nose; all the
blood rises from below to the level of the
burst vein. When the water rushes out from
the burst vein in the earth, it obeys the law
of other bodies that are heavier than the air
since it always seeks low places.
W. A. III. 2260 (-M-)l
850.
Come il sangue che torna indirieto, That the blood which returns when the
2quado il core si riapre, non e quel che heart opens again is not the same as that
^riserra le porte del core. which closes the valves of the heart.
Bi. M. 147 6]
851-
Fattevi dare la difinitione e riparo del Make them give you the definition and
« notes casp secondo .... 2 e vedrete che remedies for the case . . . and you will see
sssT omini son eletti per medici di mala^tie da that men are selected to be doctors for
loro non conosciute. diseases they do not know.
848. i. vechi. 2. mua. 3. to singrossan. 4. vdano . . transitu. 5. chelli nutricha. 6. cheffa. 7. chettali . . effan. 8. risera.
9. proibisscano . . sanghuc.
849. i. Ragirasi. 2. fa . . animati. 3. move [dal lago] "dal mare" del . . tesste . . echi quiui ropasi. 4. chettutto . . alteza . .
ve"na". 5. esscie. 6. grave chellaria . cercha.
830. i. chettorna . . de porte.
851. i. fatevi . . caso al sco e al. 2. laltro e vedrete. 3. clallor . . conossciute.
849. From this passage it is quite plain that
Leonardo had not merely a general suspicion of
the circulation of the blood but a very clear con-
ception of it Leonardo's studies on the muscles
of the heart are to be found in the MS. W. An. III.
but no information about them has hitherto been
made public. The limits of my plan in this work
exclude all purely anatomical writings, therefore
only a very brief excerpt from this note book can
be given here. WILLIAM HARVEY (born 1578 and
Professor of Anatomy at Cambridge from 1615) is
always considered to have been the discoverer of
the circulation of the blood. He studied medicine
at Padua in 1598, and in 1628 brought out his me-
morable and important work: De motu cordis et
sanguinis.
852—856.]
NOTES ON MEDICINE.
133
w. xm<5] 852.
Medicina da grattature insegniomela
A remedy for scratches taught me by the
Paraldo 2del re di Fracia: oncie 4 ciera Herald to the King of France. 4 ounces of
nova, ocie 4, 3pece greca, ocie 2 incieso V1'rgin wax> 4 ounces of colophony, 2 ounces
,. f ,. , of incense. Keep each thing separate: and
e oemi cosa *stia separata, e fondi la ciera, 14. ,1 j «i. f • ^ •
& melt the wax, and then put in the incense
e poi vi metti denstro 1' incieso, e poi la and then the colophony, make a mixture of
pece ; fa ne pe6verada e metti sopr' al male, it and put it on the sore place.
Tr. 7]
853.
H Medicina e ripareggiameto de' disc- Medicine is the restoration of discordant
quali elemeti; H2malattia e discordanza elements; sickness is the discord of the ele-
d'elemeti ifusi nel uitale corpo. ments infused into the living body.
Tr. 49]
854.
A chi da noia il uomito al nauicare
debba bere sugo 2d'assetio.
Those who are annoyed by sickness at
sea should drink extract of wormwood.
C. A. 77*5 225*] °55-
Se vuoi star sano esser a questa nor- To keep in health, this rule is wise:
ma; 2no magiar sanza voglia Eat only when you want and relish food.
3mastica bene; e per quel che niete ritiene, Chew thoroughly that it may do you good.
4sia be cotto e di semplice forma; 5Chi Have it well cooked, unspiced and undis-
medicina piglia mal s' informa. guised. He who takes medicine is ill advised.
W. An. Ill, XXV]
856.
Insegnioti di conse2rvare la sanita Ma
qual cosa tanto 4 piu ti riuscira, s quato piu
da fisici 6ti guarder7ai; 8perche le sue co
9positioni so I0di spetie d'al^chimia.
I teach you to preserve your health; and
in this you will succed better in proportion as
you shun physicians, because their medicines
are the work of alchemists.
852. 4. sta seperata . . metti\\\\\\. 5. effane. 6. mal. 853. i. riparegiameto. 2. dischordanza.
854. al womito il nauicare deba. 2. dasentio.
855. i. uoi strasano. 2. voglia ecci\\\\ ellette. 3. masstica . . ecquel. 4. chotto.
856. i. e ingegniati. 4. riusscira. 9. positione. 10. spetie dar. 12. ella. 13. qual. 14. noneme. 15. numero. 16. de libri.
17. che sia dime. 18. dicina. The meaning of these short lines 12 — 18 is doubtful.
855. This appears to be a sketch for a poem.
856. This passage is written on the back of the drawing PI. CVIII. Compare also No. 1184.
XV.
Astronomy.
Ever since the publication by Vcnturi in 1797 and Libri in 1840 of some few
passages of Leonardo's astronomical notes, scientific astronomers have frequently expressed
the opinion, that they must have been based on very important discoveries, and that the
great painter also deserved a conspicuous place in the history of this science. In the
passages here printed, a connected view is given of his astronomical studies as they lie
scattered through the manuscripts, which have come down to us. Unlike his other pure-
ly scientific labours, Leonardo devotes here a good deal of attention to the opinions of
the ancients , though he does not follow the practice universal in his day of relying
on them as authorities ; he only quotes them., as we shall see, in order to refute
their arguments. His researches throughout have the stamp of independent thought.
There is nothing in these writings to lead us to suppose that they were merely an epi-
tome of the general learning common to the astronomers of the period. As early as
in the XIVth century tliere were chairs of astronomy in the universities of Padua and
Bologna, but so late as during the entire XVIth century Astronomy and Astrology were
still closely allied.
It is impossible now to decide whether Leonardo, when living in Florence, became
acquainted in his youth with the doctrines of Paolo Toscanelli the great astronomer
and mathematician (died 1482), of whose influence and teaching but little is now known,
beyond the fact that he advised and encouraged Columbus to carry out his project of
sailing round the world. His name is nowhere mentioned by Leonardo, and from the
dates of the manuscripts from which the texts on astronomy are taken, it seems higJily
probable that Leonardo devoted his attention to astronomical studies less in his youth
than in his later years. It was evidently his purpose to treat of Astronomy in a connected
form and in a separate work (see the beginning of Nos. 866 and 892; compare also
No. 1167). It is quite in accordance with his general scientific thoroughness that he should
propose to write a special treatise on Optics as an introduction to Astronomy (see
Nos. 867 and 877). Some of the chapters belonging to this Section bear the title
136
ASTRONOMY.
"Prospettiva" (set Nos. 869 and 870;, this being the tenn universally applied at the
time to Optics as well as Perspective (see Vol. /, /. 10, note to No. 13, /. iq).
At the beginning of the XVI* century the Ptolemaic theory of the universe was still
unh'ersally accepted as the true one, and Leonardo conceives of the earth as fixed, with
the moon and sun revolving round it, as they are represented in the diagram to No. 897.
He does not go into any theory' of the motions of the planets; with regard to these and
ttte fixed stars he only investigates the phenomena of their luminosity. The spherical
form of the earth he takes for granted as an axiom from the first, and he anticipates
Newton by pointing out the universality of Gravitation not merely in the earth, but even
in the moon. Although his acute research into the nature of the moon's light and the
spots on the moon did not bring to light many results of lasting importance beyond
making it evident that they were a refutation of the errors of his contemporaries, they
contain various explanations of facts which modern science need not modify in any
essential point, and discoveries which history has hitherto assigned to a very muck
later date.
The ingenious theory by which he tries to explain the nature of what is known as
earth shine, the reflection of the surfs rays by tlie earth towards the moon, saying that
it is a peculiar refraction, originating in the innumerable curved surfaces of the waves
of the sea may be regarded as absurd; but it must not be forgotten that he had no
means of detecting the fundamental error on which he based it, namely : the assumption
that the moon was at a relatively short distance from the earth. So long as the motion
of the earth round the sun remained unknown, it was of course impossible to form any
estimate of the moon's distance from the earth by a calculation of its parallax.
Before the discovery of the telescope accurate astronomical observations were only
possible to a very limited extent. It would appear however from certain passages in
the notes here printed for the first time, that Leonardo was in a position to study the
spots in the moon more closely than he could have done with the unaided eye. So far
as can be gathered from the mysterious language in which the description of his instru-
ment is wrapped, he made use of magnifying glasses; these do not however seem to have
been constructed like a telescope — telescopes were first made about 1600. As LIBRI
Pointed out (Histoire des Sciences mathematiques ITT, 101) Fracastoro of Verona
(!473~ J553) succeeded in magnifying the moon's face by an arrangement of lenses
(compare No. 910, note), and this gives probability to Leonardo's invention at a not much
earlier date.
THE EARTH AS A PLANET.
Kr. M.
857.
Linia d'equalita, 2linia dell'orizzote,
3linia giacete, ^linia equigiacete;
sQueste linie so quelle 6che con sua
stremi so 7 equidistant! al ce8tro del mondo.
The equator, the line of the horizon, the The earth's
ecliptic, the meridian: pl«Criv«sehe
These lines are those which in all their parts (8H- 8s8)-
are equidistant from the centre of the globe.
F. 41
858.
Come la terra non e nel mezzo del
cerchio del 2sole, ne nel mezzo del modo,
ma e ben nel mez^zo de' sua elemeti, con-
pagni e vniti co lei, e chi 4stesse nella luna,
quad'ella insieme col sole Se sotto a noi,
questa nostra terra coll' ele6mento dell' acqua
parrebbe e farebbe ofitio tal 7qUal fa la
luna a noi.
The earth is not in the centre of the
Sun's orbit nor at the centre of the universe,
but in the centre of its companion elements,
and united with them. And any one standing
on the moon, when it and the sun are both
beneath us, would see this our earth and the
element of water upon it just as we see the
moon, and the earth would light it as it lights us.
Br. M. 151 a]
859.
La forza da carestia • o • douitia • e gie- Force arises from dearth or abundance; The funda-
nerata; 2 questa e figliola del moto • materi- it is the child of physical motion, and^-6"^1 s^
ale • e nepote 3 del moto • spirituale •, e madre the grand-child of spiritual motion, and system
e origine del peso; 4e esso peso e finite the mother and origin of gravity. Gravity 59~
nell'elemeto dell' acqua e terra, 5e essa • is limited to the elements of water and
857. 2. dorizote. 6. che cho. 7. nequidistante.
858. i. mezo. 2. mezo. 4. stessi. 5. essotto annoi . . nosta. 6. acq"a" parebbe effarebe. 7. annoi.
859. i. odouitia. 2. effigliola . . enepo. 4. chesso . . heffinito . . ettera. 5. chessa . . he. 6. mouerebbe . . potessi. 7. hessa
859. Only part of this passage belongs, strictly the second paragraph is more directly connected with
speaking, to this section. The principle laid down in the notes given in the preceding section on Physiology.
VOL. II. S
138
ASTRONOMY.
r86o. 86 1.
forza -e infinita, perche con essa infiniti
* modi si mouerebbero •, se strumeti farsi
potessero, 7doue essa forza gienerare si
potesse.
8 La forza col moto matenale e 1 peso
colla percussione 'son le quattro accidetali
potetie, collequali tuttel'opere lode' mor-
tali anno loro essere e lor morte;
11 La forza • dal moto • spirituale • a ori-
gine; il quale moto, "scorredo • per le mebra
degli animali • sensibili •, ingrossa «3j muscoh
di quelli-, onde ingrossati • essi muscoh si
ue'^gono a raccortare e trarsi dirieto i nervi
die con essi 'Sso cogiunti •, e di qui si causa
la forza per le mebra umane.
16 La qualita e quatita delle forze • d'uno
uomo potra ^partorire- altra forza-, la quale
sara proportiol8nevolmete tanto maggiore
quato essa sara di piv ^lugo moto, 1'una
che 1'altra.
earth; but this force is unlimited, and
by it infinite worlds might be moved if
instruments could be made by which the
force could be generated.
Force, with physical motion, and gra-
vity, with resistance are the four exter-
nal powers on which all actions of mortals
depend.
Force has its origin in spiritual motion;
and this motion, flowing through the limbs
of sentient animals, enlarges their muscles.
Being enlarged by this current the muscles
are shrunk in length and contract the tendons
which are connected with them, and this is
the cause of the force of the limbs in man.
The quality and quantity of the force
of a man are able to give birth to other
forces, which will be proportionally greater
as the motions produced by them last
longer.
Br. M. 1750)
860.
H peso • o • perche non resta nel suo
sitor 2non resta perche non a rcsistetia;
e do^de si movera? Moverassi • inverse il
•« centre; e perche no per altre linie? per-
che 5il peso, che non a resistentia, discien-
dcra 6in basso per la uia piv brieve, e '1
piu bas?so sito e il cietro del mondo; e
perche lo sa 8cosl tal peso trovarlo con
tanta breuita? 9 perche non va come insen-
sibile prima I0vagando per diverse linie.
Why does not the weight o remain in its
place? It does not remain because it has no
resistance. Where will it move to? It will
move towards the centre [of gravity]. And
why by no other line? Because a weight
which has no |support falls by the shortest
road to the lowest point which is the centre
of the world. And why does the weight know
how to find it by so short a line? Because it
is not independant and does not move about
in various directions.
K. 2*1]
861.
Movasi la terra da che parte voglia,
2mai la superfitie dell'acqua uscira fori
della ^sua spera, ma senpre
sara equidistante al ^centro del
mondo ;
slDato che la terra -si ri-
movessi dal centro 6del mon-
do, che farebbe l'acqua?1
7 Resterebbe intorno a esso
centro 8con equal grossezza,
ma minore diamir)tro, che
quando ella auea la terra in
corpo.
Let the earth turn on which side it may
the surface of the waters will never move
from its spherical form, but will
always remain equidistant from
the centre of the globe.
Granting that the earth might
be removed from the centre of
the globe, what would happen
to the water?
It would remain in a sphere
round that centre equally thick,
but the sphere would have a
smaller diameter than when it
enclosed the earth.
. . poUrssi. 9. quatro. 10. ellor. 12. scoredo. 13. musscoli di quelle . . musscoli. 14. gano aracortare. 16. ecquatila
. . homo. 18. magiorc. 19. luna ccllaltra.
860. 4. cientro he. 8. chon. 9. perche nonva come [in gi] insensibilc prima. 10. vagando per diuerse linie.
Ml. a. acq"a" Y«lcira. 5. chella. 6. cheffarebbe.
860. This text and the sketch belonging to it,
are reproduced on PL CXXI.
861. Compare No. 896, lines 48 — 64; and
No. 936.
862—866.]
THE EARTH AS A PLANET.
139
F. ii &\ 862.
Se la terra delli antipodi che sostiene
2Poceano s'inalzasse' e si scoprisse assai
Supposing the earth at our antipodes
which supports the ocean were to rise and
3fori d'esso mare, essendo quasi pia*na, in stand unc°vered, far out of the sea, but
che modo sarebbe poi eol tepo
li moti e le valli.
6E li sassi di diuerse falde?
creare
remaining almost level,, by what means
afterwards, in the course of time, would
mountains and vallies be formed?
And the rocks with their various strata?
Tr. 28]
863.
Ogni omo senpre si troua nel mezzo
del modo e sotto il mezzo 2 del suo • emi-
sperio, e sopra il cietro d'esso modo.
Each man is always in the middle of the
surface of the earth and under the zenith of
his own hemisphere, and over the centre of
the earth.
Leic. i a]
864.
Ricordo come io ho in prima a dimo-
2strare la distantia del sole dalla terra, 3 e con
u de' sua razzi passati per ispi4racolo in loco
oscuro ritrovare Ma sua quatita vera, e oltre
a 6di questo per lo mezzo della spera del
7 P acqua ritrovare la gradezza della terra. 1
8Qui si dimostra come, quasdo il sole
e nel mezzo del nostro I0emisperio, che li
antipodi IX oriental! cogli occidentaliueI2dono
in un medesimo tenpo ciasI3cun per se
spechiare il sole nelle ^loro acque, e '1
simile quelli del poislo artico col antartico,
se abil6tatori ui sono.
Mem.: That I must first show the distance
of the sun from the earth; and, by means
of a ray passing through a small hole into
a dark chamber, detect its real size; and
besides this, by means of the aqueous sphere
calculate the size of the globe . . .
Here it will be shown, that when the sun
is in the meridian of our hemisphere [io], the
antipodes to the East and to the West, alike,
and at the same time, see the sun mirrored in
their waters; and the same is equally true of
the arctic and antarctic poles, if indeed they
are inhabited.
C. A.
5; 345^1
Come la terra e una stella.
F. 56 a]
865.
866.
That the earth is a star.
How to
prove that
the earth is
a planet
(865-867).
Tu nel tuo discorso ai a cocludere 2la In your discourse you must prove that the
terra essere vna stella quasi simile alia earth is a star much like the moon, and the
luna, 4e la nobilta del nostro modo; glory of our universe; and then you must
sE cosl farai vn discorso delle gra6dezze treat of the size of various stars, according
di molte stelle, secodo li autori. to the authors.
862. i. sella. 2. sinalzassi . . scoprissi essi. 5. elle. 6. elli. 863. i. mezo . . essotto il mezo.
864. i. chome . . in p"a" a dimo. 2. disstantia. 3. razi. 4. rachulo illocho osscuro. 6. mezo. 7. gradeza. 8. dimosstra chome.
9. mezo . . nosstro. io. emissperio chelli antipodi di. n. horientali. 12. gano nun. 13. scun. 14. acque . . quelgli.
15. articho chol antarticho.
865. R. 866. i. tutto tuo discorsa a co cludere. 3. luna [e cosi proverra], 6. altori.
864. io. II. Antipodi orientali cogli ocddentali, is used as meaning men living at a distance of 90
The word Antipodes does not here bear its literal degrees from the zenith of the rational horizon of
sense, but — as we may infer from the simultaneous each observer,
reference to inhabitants of the North and South —
140
ASTRONOMY.
[867—869.
ORDINE DEL PROVARE LA TERRA ESSERE
»VNA STELLA.
Jlnprima definisci Fochio, poi mostra
come il bat«tere d'alcuna stella viene dal-
1'ochio, e perche il battere sd'esse stelle e
piu nell'una che nell'altra, e come li 6 razzi
delle stelle nascono dall'ochio, e di, che
se '1 batte?re delle stelle fusse come pare
nelle stelle, che tal baftimeto mostra d'essere
di tanta dilatatione, quat'e <>il corpo di
tale stella; essendo aduque maggiore della
ter'°ra che tal moto fatto in istante sarebbe
troppo veloce "a raddoppiare la gradezza
di tale stella; Di poi prol2va come la super-
fitie dell'aria ne' co-
fini del foco, e ^la
superfitie del foco nel
suo termine e quelI4la,
nella qual penetrado
li razzi solari portano
la '5 similitudine di corpi
celesti grade nel lor
Ieual6re, e pero e pic-
cola, essendo esse nel mezzo del celo ;
'7 sia la terra a \ n d m sia l8la superfitie
dell'aria che ^confina colla spera del
20 foco; • h f g • sia il corso 2I della luna o
vuoi del sole; "dicoche quado il sole ap-
pari23sce al'orizzote g, che 11 sono ueduti
24 li sua razzi passare per la superfitie
*s dell'aria infra agoli inequali cioe o m,
il che non e in d k, e acora 26passa per
maggiore grossezza d'aria; tutto e m e
aria piu spessa.
THE METHOD OF PROVING THAT THE EARTH
IS A STAR.
First describe the eye; then show how
the twinkling of a star is really in the eye
and why one star should twinkle more than
another, and how the rays from the stars
originate in the eye; and add, that if the
twinkling of the stars were really in the stars
— as it seems to be — that this twinkling appears
to be an extension as great as the diameter
of the body of the star; therefore, the star
being larger than the earth, this motion
effected in an instant would be a rapid
doubling of the size of the star. Then
prove that the surface
of the air where it lies
contiguous to fire, and the
surface of the fire where
it ends are those into
which the solar rays
penetrate, and transmit
the images of the heav-
enly bodies, large when
they rise, and small, when they are on
the meridian. Let a be the earth and n d m
the surface of the air in contact with the
sphere of fire ; h f g is the orbit of the
moon or, if you please, of the sun; then I
say that when the sun appears on the hori-
zon g, its rays are seen passing through the
surface of the air at a slanting angle, that
is o m; this is not the case at d k. And
so it passes through a greater mass of air;
all of e m is a denser atmosphere.
W. XXVI]
Infra 'I sole • e noi e tenebre, e
The pnn- F aria pare azzurra.
ciples of
astronomical
perspective
(868-873).
868.
pero Beyond the sun and us there is darkness
and so the air appears blue.
E.
869.
PROSPETTIVA.
PERSPECTIVE.
2Possibile e fare che Fochio no uedra
3le cose remote molto diminuite, come fa
It is possible to find means by which
the eye shall not see remote objects as much
867. 3. difinissci. 4. picne . . il bat. 6. razi . . nassca . . e di chessel bate. 7. fussi . . tal ba. 9. magor. 10. istante sare trovo
veloce. n. radopiare la gradeza. 12. foco el. 15. Ha superfitie . . focho . . ecquel. 14. razi . . portata. 16. eppero e
pichole . . mezo. 20. foco. 21. della nuna ouoi. 22. apari. 23. orizote g chele veduto. 24. raii. 25. coe o m il ce non
. . acora. 26. magore grosseza.
868. ellenchrt . . azura.
869. i. proupytiva. 2. he fare chellochio . . uedera. 3. chome ffa. 4. presspcttiva naturale |le spe] le. 5. le dimin;iisschano.
868. Compare Vol. I, No. 301.
869.]
THE EARTH AS A PLANET.
141
4 la prospettiva naturale, le quali sdiminui-
scono mediante la curuita del6Pochio, che
e costretto a tagliare sopra di ^ se le pira-
midi di qualunche spetie che viene al 8ochio
•infra angoli retti sperici; Ma ^I'arte, che
io insegnio qui in margine, taI0glia
esse piramidi con angoli retxiti vi-
cino alia superfitie di tal popilla;
Ma I2la convessa popilla dell'occhio
piglia sopra r^di se tutto il nostro
emisperio, e queI4sta mostrera solo
una stella; ma doue I5molte pic-
cole stelle si ricevono per similitul6dine
nella superfitie della popilla, ^le quali
stelle son minime, questa dil8mostrera vna
sola stella, ma fia grade; ^E cosl la luna
di maggiore gradezza, e le su20e macule
di piu nota figura; A questo 2I nostro ochio
si debbe fare v uetro pieno di 22 quell' acqua
di che si fa metione 23nel 4 del libro 113
delle cose naturali, 24la quale acqua fa
parere spogliate di 25vetro quelle cose
che son congielate ne!26le palle del uetro
cristallino.
DELL' OCHIO.
28 Infra li corpi minori della popilla del-
P ochio 29quella fia manco nota a essa po-
pilla, 3° la quale le sara piu vicina || E con
questa ^sperietia ci si e fatto noto che la
virtu visiva no 32si riducie in puto perche
se la ecc. ;
33Leggi I margine.
34Quella cosa si ^dimostra maggi36ore,
che uiene 37 all' ochio co piu 38grosso angolo.
39 Ma le spetie delli ob4°bietti, che co-
cor4Irono alia popilla 42 dell' ochio, si con-
paH^tono sopra tal popi44lla nel medesimo
45modo, ch'elle son c646partite infra 1'aria;
4?e la prova di ques48to e in se49guito;
quado noi 5°riguardiamo il 51cielo stellate
52sanza por la ui53sta piu a una stella
che all'altra, ssche allora ci si mo56stra il
cielo semina57to di stelle, e so pros8portio-
nate nell' ochio 59Siccome lo sono in 6o cielo,
e cosl li loro 6lspati fanno il simile.
diminished as in natural perspective, which
diminishes them by reason of the convexity
of the eye which necessarily intersects,
at its surface, the pyramid of every image
conveyed to the eye at a right angle on its
spherical surface. But by the method
I here teach in the margin [9] these
pyramids are intersected at right
angles close to the surface of the
pupil. The convex pupil of the eye
can take in the whole of our hemi-
sphere, while this will show only a
single star; but where many small stars trans-
mit their images to the surface of the pupil
those stars are extremely small; here only
one star is seen but it will be large. And
so the moon will be seen larger and its
spots of a more denned form [20]. You must
place close to the eye a glass filled with the
water of which mention is made in number
4 of Book 113 "On natural substances" [2 3];
for this water makes objects which are en-
closed in balls of crystalline glass appear
free from the glass.
OF THE EYE.
Among the smaller objects presented to
the pupil of the eye, that which is closest to
it, will be least appreciable to the eye. And
at the same time, the experiments here made
with the power of sight, show that it is not
reduced to speck if the &c.[32].
Read in the margin.
[34] Those objects are seen largest which
come to the eye at the largest angles.
But the images of the objects conveyed
to the pupil of the eye are distributed to
the pupil exactly as they are distributed in
the air: and the proof of this is in what
follows; that when we look at the starry sky,
without gazing more fixedly at one star than
another, the sky appears all strewn with stars;
and their proportions to the eye are the same
as in the sky and likewise the spaces between
them [6 1 ].
6. chosstretta attagliare. 7. piramide . . spetie viene. 8. llochio . . angholi. io. Ha [le] esse piramide chon angholi.
12. delloccio pigli. 13. mostro omissperio ecques. 14. mossterra. 15. pichole . . riciev. 16. popille [qir]. 17. stielle . .
quista e di. 18. mossterra . . maffia. 19. chosi . . magiore gradeza elle. 20. machule. 22. acqua [che] di . . metione [de],
23. chose. 24. aqua. 25. chose chesson. 26. crisstallino. 28. Infralli chorpi. 29. mancho. 29. a essa [ochu] popilla.
30. chon questa [no]. 31. ci se . . chella. 32. sella. 33. [Quella u]. 34. chosa. 35. dimosstra magi. 37. cho. 38. grosse
anghole. 39. Malle setie. 40. biecto che chochor. 41. rano. 42. chonpa"r". 43. tano. 45. cho. 46. infrallari"a". 47. ella.
48. sto [cm] cie inse. 49. quasa quado. 50. righuardiamo. 52. la ui. 53. ta. 58. ochi"o". 59. si chomelle. 60. chosi.
869. 9. 32. in margine: lines 34 — 6 1 are, in the
original, written on th'e margin and above them is
the diagram to which Leonardo seems to refer
here.
20 and fol. Telescopes were not in use till a
century later. Compare No. 910 arid page 136.
23. libro 113. This is perhaps the number of a
book in some library catalogue. But it may refer,
on the other hand, to one of the 120 Books men-
tioned in No. 796. 1. 84.
32. Compare with this the passage in Vol. I,
No. 52, written about twenty years earlier.
142
ASTRONOMY.
[8/0.
F. 6o*|
870.
PROSPETTIVA.
'Delle cose remosse dall'ochio con e-
quale di'stantia, quella parra esser me di-
min'vita che prima era piu.
s Delle cose remosse dall'ochio con
equal di°stantia dal lor prime sito quella
me diminuisce ?che prima era piu distante
da esso ochio; E tal 8fia la proportione
della diminuitione, qual fu ?la proportione
delle distantie ch' esse avea da10!' ochio auanti
11 loro moto.
"Come dire il corpo / e '1 corpo c e
12 che la proportio delle lor distantie dal-
l'ochio a I:J6 qultupla; io rimovo ciascu
dal suo sito I4e lo fo piu distante dal-
PERSPECTIVE.
Among objects moved from the eye at
equal distance, that undergoes least .dimi-
nution which at first was most remote.
When various objects are removed at equal
distances farther from their original position,
that which was at first the farthest from the eye
will diminish least. And the proportion of the
diminution will be in proportion to the
relative distance of the objects from the eye
before they were removed.
That is to say in the object / and the objects
the proportion of their distances fromtheeyeais
quintuple. I remove each from its place and set
it farther from the eye by one of the 5 parts
1' ochio vno d'essi 5' in che e 'sdiuisa la
propositione; accade duque che il piu vicino
l6all' ochio avra doppiata la distantia, e per
la penulti'^ma di questo esso e diminuto
la meta del suo tutto, I8e '1 corpo e per
lo medesimo moto e diminuito l/5 ^d'esso
suo tutto; aduque per la, detta penultima
20 & vero quel che in questa vltima s'e pro-
posto; 2Ie questo dico per li moti de' corpi
celesti "in 3500 miglia di distatia che piv
esse23do in oriete che sopra di noi, non
crescono o diminuiscono 2*con sensibile
dimostratione.
into which the proposition is divided. Hence
it happens that the nearest to the eye has
doubled the distance and according to the
last proposition but one of this, is diminished
by the half of its whole size; and the body
e, by the same motion, is diminished T/s of
its whole size. Therefore, by that same
last proposition but one, that which is said
in this last proposition is true; and this I
say of the motions of the celestial bodies
which are more distant by 3500 miles when
setting than when overhead, and yet do not
increase or diminish in any sensible degree.
Br. M. 174*1
87I.
a b k lo spiraculo donde 2 passa il sole,
e se tu poHessi misurare la grossezza de'
*razzi solari in n m, tu poHresti por bene
le uere linie 6del concorso d'essi razzi solari,
7stante lo spechio in • a b, e 8poi fare i
a b is the aperture through which the
sun passes, and if you could measure the
size of the solar rays at n m, you could
accurately trace the real lines of the conver-
gence of the solar rays, the mirror being at
a b, and then show the reflected rays at
870. i. prespcctiva. 2. remosse "dallochio" (dellor sito cone] quala di. 4. che p"a"era . . 5. chon . . dis. 6. p"o"sito qualla
. . diminuissce. 7. che p"a" . . Ettal. io. iloro. n. corpo e che e. 12. chella. 13. ciasscu del. 14. ellolofo . . inche.
>5- 'a Pr° "ne" achade . . che piu. 16. ara dopiato. 20. preposto. 21. ecquesto . . celestiche. 22. [1500 in] 3500 . .
dutati.i cheli a piv. 23. crescano o diminuiscano.
871. i. ellotspirnculo. 2. es«ettu. 3. grossezza. 4. razi. 6. razi. 7. lo-spcchio. 8. rai-i refressi. io. chettu uoli poi torre
872. 873-J
THE EARTH AS A PLANET.
143
razzi reflessi infra a9goli equali
inuerso • n m • I0ma poi che tu
vuoi torre in "«. m • togli den-
tro allo spiracuI2lo in c d che
si possan misuraI3re nella per-
cussione del razzo solare, ^e
poi poni il tuo spechio nella
dista^tia a b •, e 11 fa cadere i
razzi d b, c a; poi l6risaltare
infra angoli equali in uerI7so
c d- e questo e il uero modo;
18 ma ti bisognia operare tale
spe^chio nel medesimo mese
e medesi20mo dl e ora e puto,
e fara meglio 2Iche di nessu
tempo, perche in tal distantia
22 di sole si causp tal pi-
ramide.
equal angles to n m; but, as
you want to have them at n m,
take them at the inner side of the
aperture at cd, where they maybe
measured at the spot where the
solar rays fall. Then place your
mirror at the distance a b, making
the rays d b} c a fall and then
be reflected at equal angles to-
wards c d] and this is the best
method, but you must use this
mirror always in the same
month, and the same day, and
hour and instant, and this will
be better than at no fixed time
because when the sun is at a
certain distance it produces a
certain pyramid of rays.
872.
a parte del corpo 62broso n vede
la pa'rte dell' emisferio b c d e f 4 e
vede parte alcuna sdella oscurita
terra; 6e '1 simile accade nel
punto o; adunque lo spatio a
• 0 • e 7 tutto d' una medesima
chiarezza, in s vede sol 4 gra-
8 di delF emisperio d e f g Ji-,
e vi vede tutta la terra ^s k
che la fa piu oscura quato
dara la calculatione.
tutta
no ui
della
a, the side of the body in light and
shade ;/, faces the whole portion of the
hemisphere be d e f, and does not face any
part of the darkness of the earth.
And the same occurs at the
point o', therefore the space a
o is throughout of one and the
same brightness, and s faces
a only four degrees of the hemi-
sphere d e f g A, and also the
whole of the earth .$• h, which
will render it darker; and how much must
be demonstrated by calculation.
A. 64 6}
873.
PRUOVA DELL' ACCRESCIMETO DEL SOLE 2 IN NEL
OCCIDETE.
3 Alcuni • matematici • dimostrano • il sole
• cresciere nel ponete •, perche 1' ochio • sepre
lo uede per aria di maggiore grossezza,
4allegado che le • cose uiste nella- nebbia e
nel acqua pajono maggiori: ai quali • io
rispodo di no, inperoche le cose viste Ifra la
THE REASON OF THE INCREASED SIZE OF THE
SUN IN THE WEST.
Some mathematicians explain that the sun
looks larger as it sets, because the eye always
sees it through a denser atmosphere, alleging
that objects seen through mist or through
water appear larger. To these I reply: No;
because objects seen through a mist are
xi. allosspiracu. 12. chessi. 13.' razo. 15. elli . . razi; in the margin: "d b" c a. 17. ecquesto. 18. matti. 20. eflfara.
872. i. in a. 5. asscurita. 6. achade . . losspatio a . o . ed. 9. chella . . osscura.
873. i. dellacresscimeto. 2. inel ocidete. 3. raria . . magiore grosseza. 4. alegado chelle chose . . nebia | "e nel acq*" paro
872. This passage, which has perhaps a doubt-
ful right to its place in this connection, stands in
the Manuscript between those given in Vol. I as
No. 117 and No. 427.
144
ASTRONOMY.
[874. 875.
nebbia so simiMi per colorc alle lotane •, e
non cssendo siniili per diminvitione appari-
scono di maggiore gradezza; Ancora nes-
suna cosa °crescie-in acqua-piana, e la
pruova ne farai a lucidare vn asse niczza
sotta Pacqua; Ma la ragione che '1 sol
7crescie-si e che | Ogni corpo luminoso
quato piv s'allotana, piv pare grade.
II libro mio s'astede a mostrarc, 2come
On the 1'ocea colli altri mari ifa mediate il sole
o'f'i^i^nhsplede're il nostro modo a modo sdi luna
in the uni- e a pju rcmoti pa"re stclla e questo
venal (pace
(874-878). provo;
?Dimostra prima come ogni lume
remote da'll'ochio fa razzi, li quali pare
che accrescino la figu^ra di tal corpo
luminoso e di questo ne seguiI0ta
che 2
"Luna frigida I2e vmida.
'^L'acqua e frigiI4da e vmida; '5 tale
influeti'6a da il nostro '7 mare alia Iul8na
• qual la luna '9a noi.
similar in colour to those at a distance; but
not being similarly diminished they appear
larger. Again, nothing increases in size in
smooth water; and the proof of this may be
seen by throwing a light on a board placed half
under water. But the reason why the sun looks
larger is that every luminous body appears
larger in proportion as it is more remote.
In my book I propose to show, how the
ocean and the other seas must, by means of
the sun, make our world shine with the appear-
ance of a moon, and to the remoter worlds
it looks like a star; and this I shall prove.
Show, first that every light at a di-
stance from the eye throws out rays
which appear to increase the size of the
luminous body; and from this it follows
that 2 . .[10].
[n]The moon is cold and moist.
Water is cold and moist. Thus our
seas must appear to the moon as the moon
does to us.
Br.'M. 25 a] 875.
L'onde dell'acqua crescono il simulacro
della cosa che 2in lor si specchia.
•J a sia il sole, n
m sia 1'acqua in 6-
data, b e '1 simula-
cro 4del sole, quan-
do 1'acqua no fusse
inondata ; f sia 1' o-
chio s che uede esso
simulacro in tutte
1'onde che si rin-
chiudo6no nella basa
del triangolo c e f;
adunque il sole 7che
nella superfitie sanza
onde occupava 1'ac-
qua c d, ora 8nella superfitie inondata occupa
tutta 1'acqua c e (come £ 'prouato nel 4
The waves in water magnify the image
of an object reflected in it.
Let a be the sun,
and n m the ruffled
water, b the image
of the sun when the
water is smooth. Let
f be the eye which
sees the image in all
the waves included
within the base of
the triangle c e f.
Now the sun reflec-
ted in the unruffled
surface occupied the
space c d, while in
the ruffled surface it covers all the watery
space c e (as is proved in the 4th of my
magiorc . . llcchose . . nebia. 5. le per cholore ale . . esendo simile . . aparischano . . magiore gradeza Anchora ncsuna
chosa. 6. acq"a" . . meza . . lacq"a" Malta. 7. cresscie . . chorpo.
874. i. libro mio (il is •Aianting). 5. e "a" pill. 6. ecquesto. 7.0111 lume. 8. razi . . acresscino. u.fregida. 13. Lacq"a". 15. infrueti.
875. i. aq"a" crcsscano. 2, sisspechia. 3. lacq"a". 4. lacq"a" . . fussi. 5. chessi rinchiuda. 7. ocupava lacq"a" . . or"a".
873. Lines 5 and 6 are thus rendered by M.
RAVAISSON in his edition of MS. A. "De memt, au-
cune chose ne croit dans I'tau plane, et tu en /eras
^experience en calquant un ais sous 1'eau." — Compare
the diagrams in Vol. I, p. 114.
874. 10. Here the text breaks off; lines n and
fol. are written in the margin.
875. In the original sketch, inside the circle in
the first diagram, is written Sole (sun), and to the
right of it luna (moon). Thus either of these
heavenly bodies may be supposed to fill that space.
Within the lower circle is written simulacro (image).
In the two next diagrams at the spot here marked
L the word Luna is written, and in the last sole is
written in the top circle at a.
875-]
THE EARTH AS A PLANET.
145
della mia prospettiva), e tanto piu occupe-
I0rebbe d' acqua quanto esso simulacro fusse
piu distate dal'ochio.
"Ill simulacro del sole si dimostrera
piv lucido nell'onde miI2nute che nelle onde
grandill; E questo accade perche le simili-
^tudini over simulacri del sole sono piu
spesse nell'onde minute I4che nelle grandi,
e li piu spessi splendori rendono maggiore
I5lume che li splendori piu rari.
16 L' onde intersegate a uso di scorza di
pigna rendono il si^mulacro del sole di
grandissimo splendore, l8e questo accade
perche tanto son li simulacri quanto son
li gioT9ghi del' onde vedute dal sole, e
"Perspective") [9] and it will cover more of
the water in proportion as the reflected image
is remote from the eye[io].
The image of the sun will be more
brightly shown in small waves than in large
ones — and this is because the reflections or
images of the sun are more numerous in the
small waves than in large ones, and the more
numerous reflections of its radiance give a
larger light than the fewer.
Waves which intersect like the scales of
a fir cone reflect the image of the sun with
the greatest splendour; and this is the case
because the images are as many as the
ridges of the waves on which the sun
x
1' onbre che infra esse onde s' inter20pongono
son piccole e di poca oscurita, e li splen-
dori di tanti 2I simulacri insieme s'infondono
nelle similitudini che di lor 22viene alPochio,
in modo tale che esse obre sono insen-
sibili ; H
23Q.uel simulacro del sole occupera
2*piu lochi nella superfitie dell' acqua, che
2Ssara piu distante dall'ochio che lo uede;
26 a sia il sole, p q e il simulacro d'esso
27 sole, a b e la superfitie dell' acqua doue
il sol 28si spechia, r sia 1'ochio che uede
esso si29mulacro nella superfitie dell' acqua
occupare 3°\o spatio 0 m; c e I'occhio
piu remoto 3 'da essa superfitie dell' acqua,
e cosl dal simulacro, onde esso simulacro
32occupa maggiore spatio d' acqua, — quato
e lo spatio n <?.
shines, and the shadows between these waves
are small and not very dark; and the radiance
of so many reflections together becomes
united in the image which is transmitted to
the eye, so that these shadows are imper-
ceptible.
That reflection of the sun will cover most
space on the surface of the water which is
most remote from the eye which sees it.
Let a be the sun, / q the reflection of
the sun; a b is the surface of the water, in
which the sun is mirrored, and r the eye
which sees this reflection on the surface of
the water occupying the space o m. c is the
eye at a greater distance from the surface
of the water and also from the reflection;
hence this reflection covers a larger space of
water, by the distance between n and o.
8. ochupa. 9. prosspectiva) ettanto . . ochupe. 10. dacq"a" . . fussi. n. dimosterra. 12. achade chelle. 13. tudine.
14. elli . . rendan magore. 15. chelli. 16. disscorsa di pina rendano [loss] il si. 17. plendore [e chiareza]. 18. ecquesto
achade. 19. ellonbre. 20. pongono . . pichole . . pocha osscurita elli. 21. sinfondano . . similitudine. 23.. sole [se]
ochupera. 25. chel uede. 27. ella. 28. sisspechia. 29. acq"a" ocupare. 30. Losspatio . . elloccio. 32. ochupa magore
. . elio.
9. Nel quarto della mia prospettiva. If this reference
is to the diagrams accompanying the text — as is
usual with Leonardo — and not to some particular
work, the largest of the diagrams here given
VOL. 11.
must be meant. It is the lowest and actually the
fifth, but he would have called it the fourth, for the
text here given is preceded on the same page of
the manuscript by a passage on whirlpools, with
T
146
ASTRONOMY.
[876.
Br. M. »«<•!
jpossibile e 'che tanHo quato il sole
allumina «dello spechio sperico, state
d'esso spechio ab6bia a risplendere, ?se gia
esso spechio *non fusse odate o globulc^to;
10Vedi qui il so'Me allumina12re la luna,
s'Jpecchio spcri^co, e tan'Ho quato esl6so
sole ne I7uede, tato ne l8fa spledere;
«»Qui si concludera che cio che della
luna "'splende e acqua simile a quella deg-
2Ili nostri mari, e cosl inodata, cio "che
di lei non splende sone isole e ter^ra
ferma.
876.
It is impossible that the side of a sphe-
rical mirror, illuminated by the sun, should
reflect its radiance unless this mirror were
undulating or filled with bubbles.
You see here the sun which lights up the
moon, a spherical mirror, and all of its surface,
which faces the sun is rendered radiant.
Whence it may be concluded that what
shines in the moon is water like that of our
seas, and in waves as that is; and that
portion which does not shine consists of is-
lands and terra firma.
2«Questa dimostratione di tanti corpi
sperici interposti infra 1'ochio 2Se '1 sole e
fatta per mostrare che, siccome in ciascuno
d'essi 26 corpi si uede il simulacro del sole,
cosl si puo vedere esso simulacro in cia-
2?scuna globosita dell'onde del mare; come
in molti di questi sperici si 28uedono molti
soli, cosl in molte onde si uedono molti
lustri, li quali in molta 29distanzia, ciascu
lustro per se, si fanno gradi all' ochio e, cosl
faciedo ciascu^0na onda, si uengono a con-
This diagram, of several spherical bodies
interposed between the eye and the sun, is
given to show that, just as the reflection of the
sun is seen in each of these bodies, in the
same way that image may be seen in each
curve of the waves of the sea ; and as in
these many spheres many reflections of the
sun are seen, so in many waves there are
many images, each of which at a great distance
is much magnified to the eye. And, as
this happens with each wave, the spaces
876. i. he [chcllol spechio]. 2. consperico possa] chettan. 4. spericho ta. 6. rissplendere. 7. ga. 8. fussi odate o globbule.
ij. echio. 14. cho ettan. 19. che co che. 20. acqui . . acquella de. 21. ecco. 22. etter. 24. sperichi. 25. sole [no]
efiatta per mosstrarc [come] che si come in ciasscuno. 26. po . . in ca. 27. globbosita . . mare c . me. 28. uede . . uede
lusstri. 29. ciasscu lusstro . . fa grande . . ciasscu. 30. lesspati . . infrallonde. 31. cagone. 32. elle pane onbro. 33. che-
ttale . . none e . . in esc.
the diagram belonging to it also reproduced here.
The words della mia prospettiva may therefore indi-
cate that the diagram to the preceding chapter
treating on a heterogeneal subject is to be excluded.
It is a further difficulty that this diagram belongs
properly to lines 9 — 10 and not to the preceding
sentence. The reflection of the sun in water is
also discussed in the Theoretical part of the Book
on Painting; see Vol. I, No. 206, 207.
876. In the original, at letter A in the dia-
gram "Sole" (the sun) is written, and at o
(the eye).
8;;. 878.]
THE EARTH AS A PLANET.
147
sumare gli spati interposti infra 1' onde, 3* e
per questa tal cagione e' pare tutto vn
sole continuato nelli molti soli s^spechiati
nelle molte onde, e le parti onbrose miste
colle spetie luminose 33 fan che tale splen-
dore non e lucido come quel del sole in
esse ode spechia^to.
interposed between the waves are concealed;
and, for this reason, it looks as though the
many suns mirrored in the many waves were
but one continuous sun; ' and the shadows,
mixed up with the luminous images, render
this radiance less brilliant than that of the
sun mirrored in these waves.
F. 77 6]
877.
Questa avra inazi a se il trattato de
2onbra e lumi.
3 Li stremi della luna
sara piu alluminati e si
dimostre4ran piu lumino-
si, perche in quelli non
appare se no le so-
Smita dell' ode delle sue
acque.
This will have before it the treatise on
light and shade.
The edges in the
moon will be most strong-
ly lighted and reflect most
light, because, there, no-
thing will be visible but
the tops of the waves of
the water [5].
W. X]
II sole parira
maggiore nell' ac-
qua movente e
odeggiate 2che nel-
la ferma: esemplo
del lume visto so-
pra le corde 3 del
monocordo.
878.
The sun will ap-
pear larger in mov-
ing water or on
waves than in still
water; an example
is the light reflected
on the strings of a
monochord.
877. i. ara . . asse. 2. ellumi. 3. dimoste. 4. apare.
878. r. magiore . . odegiato. 2. essenplo . . chorde.
877. 5. I have thought it unnecessary to re- reflection on waves contained in the passage which
produce the detailed explanation of the theory of follows this.
II.
THE SUN.
5")
879.
LAUDE DEL SOLE.
2 Se guarderai le stelle sanza razzi (come
The question si fa a vedcr^lc per un piccolo foro fatto
aL^of'Ihe c°Na strema Pata da^a sottile aguglia,
apparent e questo posto quasi a toccare 1'ochio),
""suL'1*6 5tu uedrai esse stelle essere tanto minime
(879-884). cjie nui6ia cosa pare essere minore, e uera-
mete la luga di7statia le fa ragionevol-
mente diminuire, ancorache 8moltevisono
che son moltissime volte maggiori che la
'Stella cioe la terra coll' acqua •; ora pensa
quel che parI0rebbe essa nostra stella in
tata distantia, e conside"ra poi, quate stelle
si metterebbero e per longitudine e laI2ti-
tudine infra esse stelle, le quali sono semi-
na'^te per esso spatio tenebroso; mai no
posso fare z+ch'io non biasimi molti di
quelli antichi, li quali disse'Sro che '1 sole
non avea altra gradezza che quella che
l6mostra, Tfra quali fu Epicure, e credo
che caua'^si tale ragione da vn lume posto
in questa nostra al8ria, equidistate al cetro;
chi lo uede, non lo uede mai di^minuito
di gradezza in nessuna distatia; e le ragi-
IN PRAISE OF THE SUN.
If you look at the stars, cutting off the rays
(as may be done by looking through a very
small hole made with the extreme point of
a very fine needle, placed so as almost to
touch the eye), you will see those stars so
minute that it would seem as though nothing
could be smaller; it is in fact their great
distance which is the reason of their dimi-
nution, for many of them are very many
times larger than the star which is the earth
with water. Now reflect what this our star must
look like at such a distance, and then con-
sider how many stars might be added — both
in longitude and latitude — between those stars
which are scattered over the darkened sky.
But I cannot forbear to condemn many of the
ancients, who said that the sun was no larger
than it appears; among these was Epicurus,
and I believe that he founded his reason on the
effects of a light placed in our atmosphere
equidistant from the centre of the earth.
Any one looking at it never sees it dimini-
shed in size at whatever distance; and the rea-
879. i. lalde. 2. ra/i. 3. picholo. 4. acuchia ecque posto . . attocare. 6. lugha dis. 7. statin dnlloro ragionevolc diminuire
nc anchora che. 8. magore chella. 9. coe . . aq"a" . . che pa. n. metterebbe e per . . clla. 14. quali disc. 15. no
chel sole . . gradeza. 16. mostra [alia] Ifra. 18. noluede. 19. minuto . . gradeza inessuna . . elle.
879—882. What Leonardo says of Epicurus — lestial phenomena — , he probably derived from Book
who according to LEWIS, The Astronomy of the X of Diogenes Laertius, whose Vitae Philosofhorum
ancients, and MADLER, Gcschichte der Himmelskunde, was not printed in Greek till 1533, but the Latin
did not devote much attention to the study of ce- translation appeared in 1475.
88o. 88 1.]
THE SUN.
149
F.
880.
oni della sua grandezza e virtu le riser uo
nel Z4° libro; ma be mi maraviglio che
Socrate biasi^masse questo tal corpo, e che
dicesse quello esse4re a similitudine di pie-
tra infocata, e certo, chi si' oppose di tal
errore poco pecco; Ma io vorrei 6avere
vocabuli che mi seruissero a biasimare quel-
?li che vogliono laudare piu lo adorare li
omini che 8tal sole, no uededo nell' uniuerso
corpo 9di maggiore magnitudine e virtu di
quello; e '1 I0suo lume allumina tutti li corpi
celesti che per l'uljni verso si copartono;
tutte 1'anime discedono da lui, I2 perch e il
caldo ch' e in nelli animali viui vie dall' ani-
J3 me, e nessuno altro caldo ne lume e
nelP uI4niverso, come mostrero nel 4° libro,
e cier^to costoro che anno voluto adorare
uomimi per i dei l6come Giove Saturno
Marte e simili anno fatto gra^dissimo errore,
vededo che ancorache 1' omo fusl8se grande
quato il nostro modo, che parrebbe simple
a vna minima stella, la qual pare vn puto
nell' uni20verso, e ancora vedendo essi omini
mortali e 2I putridi e corruttibili nelle lor
sepolture.
22Luspera(?) 23e Marcello 2*lauda co
m25olti altri 26esso sole.
sons of its size and power I shall reserve
for Book 4. But I wonder greatly that Socra-
tes [2] should have depreciated that solar bo-
dy, saying that it was of the nature of incan-
descent stone, and the one who opposed him
as to that error was not far wrong. But I only
wish I had words to serve me to blame those
who are fain to extol the worship of men more
than that of the sun; for in the whole universe
there is nowhere to be seen a body of greater
magnitude and power than the sun. Its light
gives light to all the celestial bodies which are
distributed throughout the universe; and from
it descends all vital force, for the heat that is in
living beings comes from the soul [vital spark] ;
and there is no other centre of heat and light
in the universe as will be shown in Book 4 ; and
certainly those who have chosen to worship
men as gods — as Jove, Saturn, Mars and the
like — have fallen into the gravest error, seeing
that even if a man were as large as our earth,
he would look no bigger than a little star
which appears but as a speck in the universe;
and seeing again that these men are mortal,
and putrid and corrupt in their sepulchres.
Marcellus [23] and many others praise
the sun.
F.
881.
Forse Epicuro vide le obre delle colonne
ripercosse nelli an2tiposti muri essere equali
al diametro della colona ^donde si parti a
Epicurus perhaps saw the shadows cast by
columns on the walls in front of them equal
in diameter to the columns from which the
880. i. grandeza. 3. massi. .dicessi. 4. assimilitudine. 5. loponi . . erore . . pecho. 6. seruissino abbiasimare que. 7. che vollo
laldare. 9. magore. n. copartano . . disceda dallui. 12. inelli. 13. nellume enellu. 14. mosterro. 15. che an . . ho-
mini . . iddei. 16. gove saturno marte essimili an. 17. che anchorachellomo fu. 18. si grande . . parebe. 19. stela.
21. pitridi e curuttibili. Lines 22 — 26 are •written on the -margin. 22. luspera (?). 24. lalda.
881. i. ripercose. 2. diametro. 3. esendo . . paralella. 5. gudicare. 6. fussi. 8. colona . . sauide. n. fussi . ..lesstelle. 12. sarebo.
880. 2. Socrates; I have little light to throw on
this reference. Plato's Socrates himself declares on
more than one occasion that in his youth he had
turned his mind to the study of celestial pheno-
mena (MeT^wpa) but not in his later years (see G.
C. LEWIS, The Astronomy of the ancients, page 109;
MADLER, Geschichte der Hintmelskunde, page 41).
Here and there in Plato's writings we find inci-
dental notes on the sun and other heavenly bodies.
Leonardo may very well have known of these, since
the Latin version by Ficinus was printed as early
as 1491; indeed an undated edition exists which
may very likely have appeared between 1480 — 90.
There is but one passage in Plato, Epinomis
(p. 983) where he speaks of the physical properties
of the sun and says that it is larger than the earth.
Aristotle who goes very fully into the subject
says the same. A complete edition of Aristotele's
works was first printed in Venice 1495 — 9^> but a
Latin version of the Books De Coelo et Mundo and
De Physica had been printed in Venice as early as
in 1483 (H. MULLER-STRUBING).
23. I have no means of identifying Marcello who
is named in the margin. It may be Nonius Mar-
cellus, an obscure Roman Grammarian of uncertain
date (between the IInd and Vth centuries A. C.) the
author of the treatise De compendiosa doctrina per
litteras ad filium in which he treats de rebus omni-
bus et quibusdam aliis. This was much read in the
middle ages. The editio princeps is dated 1470 (H.
MULLER-STRUBING).
881. In the original the writing is across the diagram.
ISO
ASTRONOMY.
[882.
talc obra ; essendo adunque il coco'rso del-
1'obre paralello dall'suo nascimeto al suo
fine, Mi parue da giudicare che '1 sole an-
6cora lui fusse frote di tal paralePlo, e per
cosegueza non essere piv gros8so di tal
colonna, e no s'avvidc che tal 'diminuitione
shadows were cast; and the breadth of the
shadows being parallel from beginning to
end, he thought he might infer that the sun
also was directly opposite to this parallel
and that consequently its breadth was not
greater than that of the column; not perceiv-
ing that the diminution in the shadow was
d'obra era insesibile I0per la lunga distan-
tia del sole; "se '1 sole fusse minore della
terra, le stelle I2di gra parte del nostro
emisperio sarebbero sa'^za lume; cotro a
Epicure che dice, tato e ^grade il sole,
quato e'pare.
insensibly slight by reason of the remoteness
of the sun. If the sun were smaller than
the earth, the stars on a great portion of our
hemisphere would have no light, which is
evidence against Epicurus who says the sun
is only as large as it appears.
F.
882.
Dice Epicure il sole essere tato quato
esso si dimostra; a2dunque e'pare essere
vn pie, e cosl 1'abbiamo a tenere; ^segui-
rebbe che la luna quad'ella fa oscurare il
sole, il so4le non 1'avazerebbe di gradezza
come e' fa, onde, sendo s la luna minor del
sole, essa luna sarebbe meno d'un piede,
6e per consegueza quando il nostro modo
fa oscurare la lu?na, sarebbe minore a un
dito del piedi, concio sia se '1 so8le e un
piede, e la nostra terra fa onbra piramidale
in^verso la luna, egli e necessario che sia
maggiore il lumiI0noso, causa della pira-
mide obrosa, che 1'opaco, causa d' essa "pi-
ramide.
Epicurus says the sun is the size it looks.
Hence as it looks about a foot across we
must consider that to be its size; it would
follow that when the moon eclipses the sun,
the sun ought not to appear the larger, as
it does. Then, the moon being smaller than
' the sun, the moon must be less than a foot,
and consequently when our world eclipses
the moon, it must be less than a foot by a
finger's breadth ; inasmuch as if the sun is a foot
across, and our earth casts a conical shadow
on the moon, it is inevitable that the lumi-
nous cause of the cone of shadow must be
larger than the opaque body which casts the
cone of shadow.
88a. 2. labia r,o attcnere. 3. seguirebe chella. 4. nollauazerebbe . . gradeza chome. 5. medun piedi. 6. chonsequeza . . osscurar.
\ 7. concosia. 8. piedi ella. 9. luna "la" egli . . magore. 10. caua della.
883-885.]
THE SUN.
F. 10 6}
883.
;nel
Misura quati soli si metterebbero
corso suo di 24 ore.
3 Fa vn circulo e voltalo a mezzodl,
come so ^H orilogi da sole, e metti vna
-bacchetta in s mezzo, in modo che la sua
lughezza si di6rizzi al cetro di tal cerchio, e
nota I'on7bra che fa il sole d'essa bacchetta
sopra la 8circuferentia di tale cerchio, che
sara 9l'Onbra larga, diciamo tutto a n; ora
I0misura quante volte tale obra entra in
11 tale circuferetia di cerchio, e tate volI2te
fia il numero che '1 corpo solare
entrera nel ^corso suo in 24 ore;
e qui si potra J+vedere, se Epi-
curo disse, che '1 sole era ^tanto
grande quato esso parea | che, pa-
I6rendo il diametro del sole vna misura
X7pedale, e che esso sole entrasse mille
18 volte nel suo corso di 24 ore, egli avre-
J9bbe corso mille piedi, cioe 300 'braccia
che 20e vn sesto di miglio; ora ecco che
'1 cor21 so del sole infra dl e notte sarebbe
22 la sesta parte d' u miglio , 23 e questa
venerabile lumaca del s6le av2-*rebbe cami-
nato 25 braccia per ora.
To measure how many times the diameter
of the sun will go into its course in 24 hours.
Make a circle and place it to face the south,
after the manner of a sundial, and place a
rod in the middle in such a way as that its
length points to the centre of this circle,
and mark the s.hadow cast in the sunshine
by this rod on the circumference of the
circle, and this shadow will be — let us say —
as broad as from a to n. Now measure
how many times this shadow will go into
this circumference of a circle, and
that will give you the number of
times that the solar body will go
into its orbit in 24 hours. Thus
you may see whether Epicurus was
[right in] saying that the sun was only as large
as it looked; for, as the apparent diameter
of the sun is about a foot, and as that sun
would go a thousand times into the length of
its course in 24 hours, it would have gone a
thousand feet, that is 300 braccia, which is the
sixth of a mile. Whence it would follow that
the course of the sun during the day would be
the sixth part of a mile and that this venerable
snail, the sun will have travelled 25 braccia
an hour.
F. o"]
884.
Possidonius copose libri della gradezza Posidonius composed books on the size
del sole. of the sun.
G. 34 «] 885.
DELLA PROVA CHE 'L SOLE E CALZDO PER
NATURA E NO PER VIRTU.
OF THE PROOF THAT THE SUN IS HOT BY
NATURE AND NOT BY VIRTUE.
3 Che '1 sol sia in se caldo per natura
e no per vir*tu, si dimostra manifestamete
That the heat of the sun resides in its °f the nature
, -••,•, r j t °f Sunlight.
nature and not in its virtue [or mode of
883. i. metterebbe. 3. mezodi. 4. dassole . . bnchetta. 5. mezo . . chella. 5. lugeza. 6- rizi. 7. cheffa. 8. cercio chessara.
9. largha. n. ettate. 12. il n"o" chel . . entera. 13. ecqui. 16. diamitro. 17. entrassi. 18. egliare. 19. coe 300 br .
che. 20. miglo ora e che chel corso. 21. serebbela. 22. minato la sesta. 23. che questa . . lumacha del sole a. 24. rebe
. . 25. br per.
885. i — 47 R. i. gradeza. 4. manifestameti. 5. sprendore. 6. po. 8. razi refre. 9. delli. n. eldore chellochio nol possa
884. Poseidonius of Apamea, commonly called
the Rhodian, because he taught in Rhodes, was a
Stoic philosopher, a contemporary and friend of
Cicero's, and the author of numerous works on
natural science, among them: Ouotxoi; Xoyo;,
Trepl •x.oay.ou, Tispl jxeTscupoav.
Strabo quotes no doubt from one of his works,
when he says that Poseidonius explained how it
was that the sun looked larger when it was rising
or setting than during the rest of its course (III, p. 135).
Kleomedes, a later Greek Naturalist also mentions
this observation of Poseidonius' without naming the
title of his work; however, as Kleomedes' Cyclia
Theorica was not printed till 1535, Leonardo must
have derived his quotation from Strabo. He pro-
bably wrote this note in 1508, and as the original
Greek was first printed in Venice in 1516, we must
suppose him to quote here from the translation by
Guarinus Veronensis, which was printed as early as
1471, also at Venice (H. MULLER-STRUBING).
152
ASTRONOMY.
[886. 887.
per Mo splendore del corpo solare, nel
*qual no si pud fermare 1'ochio vmano,
?e oltre a di questo manifestissima8mcte
lo dimostrano li sua razzi refte'ssi dalli
spechi concavi, li quali, qua'°do la lor per-
cussione sara di tato sp"lendore, che
1'occhio non lo possa soppoI2rtare, allora
cssa percussione '^avra splendore simile al
sole nel '«suo propio sito; e che sia vero,
pro'Svo che se tale spechio a la sua ^co-
ca vita tal qual si richiede alia ^generatione
di tale razzo, allora l8nessuna cosa creata
reggera I9alla caldezza di tale percussione
zodi razzo reflesso d'alcuno spechio; 2I e se
tu dirai che lo spechio anco22ra lui e freddo
e gitta i razzi caldi, io 2Jti rispondo, che
'1 razzo vie dal sole ed e 2*il razzo 2sdello
speca6chio conca2?vo, passaz8to 2?a traver-
3°so della J'finestra.
action] is abundantly proved by the radiance
of the solar body on which the human eye
cannot dwell and besides this no less
manifestly by the rays reflected from a con-
cave mirror, which — when they strike the eye
with such splendour that the eye cannot bear
them — have a brilliancy equal to the sun in
its own place. And that this is true I prove
by the fact that if the mirror has its con-
cavity formed exactly as is requisite for the
collecting and reflecting of these jrays, no
created being could endure the heat that
strikes from the reflected rays of such a
mirror. And if you argue that the mirror
itself is cold and yet send forth hot rays,
I should reply that those rays come really
from the sun and that it is the ray of the
concave mirror after having passed through
the window.
Considera-
tions as lo
the size of
the sun
(836-891).
W. L. 132*]
II sole no si move.
Ash. I. 190]
886.
887.
The sun does not move.
PRUOVA • COME QUATO PIV • SARAI PRESSO PROOF THAT THE NEARER YOU ARE TO THE
ALLA CAGI2ONE • DE* RAZZI DEL SOLE •, PIV TI SOURCE OF THE SOLAR RAYS, THE LARGER WILL
PARRA MAGGIORE 1L SOLE 3 SPECHI ATO SUL THE REFLECTION OF THE SUN FROM THE SEA
MARE. APPEAR TO YOU.
4Se il sole adopera il suo splendore col
suo cietro 5a fortificare la potetia di tutto
il corpo, e ne6ciessario • che i
sua razzi, quato piv • s' alontanano
da lui, piv si uadino 7 apredo :' se
cosl e, tu che sei col ochio presso
all'acqua • che spechia il sole,
8vedi una minima parte de' razzi
del sole portare sulla superfitie
9del'acqua la forma d'esso sole
spechiato •, e se tu sarai presso
al sole, I0come sarebbe quado
il sole e I mezzodl e '1 mare
sia per ponete, ved"rai il sole
spechiarsi su detto mare di gradis-
[4] If it is from the centre that the sun em-
ploys its radiance to intensify the power of its
whole mass, it is evident that the
farther its rays extend, the more
widely they will be divided; and
this being so, you, whose eye is
near the water that mirrors the sun,
see but a small portion of the rays
of the sun strike the surface of
the water, and reflecting the form
of the sun. But if you were near to
the sun— as would be the case
when the sun is on the meridian
and the sea to the westward — you
would see the sun, mirrored in the
sopo. 12. percussione ar. 13. ara. 15. va chesse tale . . alia. 17. razo. 18. regiera. 20. refresso. 21. essettu . . chello.
22. fredo . . razi. 23. razo. 24. razo. 28. to [per il fo]. Lines 32 — 47 are much effaced and some words remain doubtful:
32. delle stan (?). 33. cedove. 34. so tundu (?). 35. si\\\\\\\\\\. 36. non aqst (— aguistera >). 37. caldeza ne. 38. an-
cora \\U\\\\. 39. passado per la. 40. spera del co. 41. simulacro. 42. alia su. 43. a cavsa e. 44. passi per ele. 45. meto
(?) pa. 46. tar si TO. 47. glia.
M6. El sol.
8*7. ». razi . . para magiore. 4. splendre. 5. a forzifichato dala . . chorpo. 6. razi. 7. che se chol . . preso. 8. vedi i .
parte (del sole] de razi . . sula. 9. esse tussarai. io. sarebe . . mezodi . . vede. 12. razi. 13. perco . . magiore
886. This sentence occurs incidentally among mathematical notes, and is written in unusually large letters.
887. Lines 4 and fol. Compare Vol. I, Nos. 130, 131.
888—891.]
THE SUN.
153
sima forma, perche, I2essedo tu piu presso
al sole-, 1'ochio tuo, pigliado i razzi presso
al puto, I3ne piglia piv, e percio ne resulta
maggiore spledore, e per questa ca^gione
si potrebbe provare la luna essere mare
che speI5chia • il sole •, e quello che no ri-
splede fia terra.
sea, of a very great size; because, as
you are nearer to the sun, your eye taking in
the rays nearer to the point of radiation
takes more of them in, and a great splendour
is the result. And in this way it can be
proved that the moon must have seas which
reflect the sun, and that the parts which do
not shine are land.
Br. M. 78i] 888.
Togli la misura 2del sole in solstitio Take the measure of the sun at the sol-
3 a mezzo giugnio. stice in mid- June.
A. 64 a]
PERCH& • IL SOLE • PARE
MAGGIORE NEL TRA2MO-
TARE • CHE DI MEZZO
GIORNO CHE CI E PRESSO.
3(3gni corpo ch'e
visto per curvo mezzo
4apparisce di maggiore
forma, che non e.
C. A. 234-5; 704*] 890.
Perche 1'ochio e piccolo, esso non puo
vedere 2 il sole in simvlacro, se no piccolo ;
^Se 1'occhio fusse equale al sole, esso
vedrebbe ^nell'acque, dato che le fussi
WHY THE SUN APPEARS
LARGER WHEN SETTING
THAN AT NOON, WHEN
IT IS NEAR TO US.
Every object seen
through a curved me-
dium seems to be of lar-
ger size than it is.
Because the eye is small it can only see
the image of the sun as of a small size. If
the eye were as large as the sun it would
see the image of the sun in water of the
Spiane, il simulacro del sole equa6le al same size as the real body of the sun, so
uero corpo del sole.
Tr. 12]
MODO DI VEDERE • IL SOLE ECLISSATO SANZA
PASSIONE • DELL'OCHIO.
2 Tolli • vna carta •
e falle busi con una
agucchia, e per es^si
busi • riguarda • il sole.
long as the water is smooth.
A METHOD OF SEEING THE SUN ECLIPSED
WITHOUT PAIN TO THE EYE.
Take a piece of pa-
per and pierce holes in
it with a needle, and
look at the sun through
these holes.
888.
889.
890.
891.
4. potrebe. 15. ecquella.
. to la. 2. sostitio. 3. [a me] stitio a mezo gugnio.
magiore. 2. megogorno checepresso. 3. chorpo .. . churvo mezo. 4. aparisscie di magiore.
. picholo . . po. 2. dere il . . picholo. 3. Sellochio fussi. 4. aque . . chelle.
. da vedere. 2. charta . . chon aguchia epere.
889. At A is written sole (the sun), at B terra (the earth).
U
in.
THE MOON.
Br. M. 94
8g2.
DELLA LUNA.
2 Volendo io trattare della essentia della
On the luna • e neciessario in prima 3 descriuere la
luminosity . .... ....
of the moon prospcttiva delli spechi piani, cocaui e co-
(8oa-ooi). r f , , .
uessi ; ' e pnma che cosa e razzo lummoso,
e come si piega per varie nature $di mezzi;
Dipoi dove il razzo riflesso e piu potete,
OP THE MOON.
As I propose to treat of the nature of
the moon, it is necessary that first I should
describe the perspective of mirrors, whether
plane, concave or convex; and first what
is meant by a luminous ray, and how it is
refracted by various kinds of media; then,
when a reflected ray is most powerful, whether
o nell'esser 1'angolo 6 della incidentia acuto
retto o ottuso, o nelle couessita o piano o
7c6cavita, o da corpo deso e trasparete;
Oltre a-questo, 8come li razzi solari, che
percuotono 1'onde marine, si dimostrano al
when the angle of incidence is acute, right,
or obtuse, or from a convex, a plane, or a
concave surface; or from an opaque or a
transparent body. Besides this, how it is that
the solar rays which fall on the waves of
the sea, are seen by the eye of the same
899. 2. tr.ict.ire. 3. desscriuere . . presspectiva . . cochaui e chouissi [e che]. 4. chosa errazzo . . chotne . . piegha. 5. mezi
. . refresso cppitt potete o nell esser lato. 6. achuta retta o hottusa ho . . pioni ho. 7. chochavita adda chorpo . . ettras-
parete . . addiquesto. 8. (home li razi . . perchotano. 9. llochio . . largheza . . aghol . . soma. io. orizote . . macha
chettalc. ti. frcsso . . fighura . . chosseghuc. 12. disstatia . . largheza achora. 13. nosstro . . dimosstri parallel.!. 15. he
892. In the diagram Leonardo wrote sole at the place marked A.
893-]
THE MOON.
155
9 1'ochio in tanta larghezza nell'agolo dell'o-
chio quanto nell' ultima somma I0 dell' ode
all'orizzote, e per questo no maca che
tale splendore solare ri^flesso dall'ode ma-
rittirne no sia di figura piramidale e per
consegueI2za in ogni grado di distatia non
acquisti gradi di larghezza acorache I3in-
quato al nostro vedere si dimostri pa-
ralello.
^ia1Nessu lievissimo ^e opaco;!
l62a1fNessu piu lieve sta X7sotto al me
lieve ; 1
l83aliSe la luna a sito ^in mezzo ai
sua ele20meti o no;
21 e s'ella non a sito 22particulare co-
23 me la terra nelli sua 24elemeti, per-
che no ca2sde al cientro de' nostri 26ele-
menti?
2?E se la luna non e 28in mezzo alii
sua eleme29ti e no discede, 3°aduque ella
e piu 3 1 lieve che altro eleme"32to;
33 E se la luna e piu Iie34ve che altro
elemeto, per3Sche e solida e no traspare.
36lDelle cose di varie gradezze che,
poste in varie distatie, 37si mostrano e-
quali, tal proportione fia da distatia a
dista38tia, qual fia da magnitudine a mag-
nitudine. II
width at the angle nearest to the eye, as at
the highest line of the waves on the horizon;
but notwithstanding this the solar rays re-
flected from the waves of the sea assume the
pyramidal form and consequently, at each
degree of distance increase proportionally in
size, although to our sight, they appear as
parallel.
i st. Nothing that has very little weight is
opaque.
2dly. Nothing that is excessively weight
can remain beneath that which is heavier.
3dly. As to whether the moon is situated
in the centre of its elements or not.
And, if it has no proper place of its
own, like the earth, in the midst of its ele-
ments, why does it not fall to the centre of
our elements [2 6] ?
And, if the moon is not in the centre
of its own elements and yet does not fall, it
must then be lighter than any other element.
And, if the moon is lighter than the other
elements why is it opaque and not transparent?
When objects of various sizes , being
placed at various distances, look of equal
size, there must be the same relative proportion
in the distances as in the magnitudes of the
objects.
F. 93 a]
893.
BELLA LUNA E SE ELLA E PULITA E
SPERICA. .
2 II simulacro del sole in lei e potete-
men3te luminoso ed e in piccola parte della
su*a superfitie; E la prova vedrai a torSre
vna palla d'oro brunito, posta ne!6le tene-
bre, con vn lume da lei remoto, ?il quale
ancorache esso allumini circa 8la meta d' essa
palla, 1'ochio non lo uede, se no 9 in piccola
parte della sua superfitie, e tutI0to il resto
di tal superfitie spechia le tenebre "che
la circudano, e per questo in lei solo appa-
I2risce il simulacro del lume e tutto il reI3sto
rimane invisibile, stando 1'ochio remo^to
da tal palla; Questo medesimo interue-
"Srrebbe nella superfitie della luna, essendo
pol6lita, lustra e densa, come son corpi
che speT7chiano;
OF THE MOON AND WHETHER IT IS POLISHED
AND SPHERICAL.
The image of the sun in the moon is
powerfully luminous, and is only on a small
portion of its surface. And the proof may
be seen by taking a ball of burnished gold
and placing it in the dark with a light at
some distance from it; and then, although
it will illuminate about half of the ball, the
eye will perceive its reflection only in a small
part of its surface, and all the rest of the surface
reflects the darkness which surrounds it; so
that it is only in that spot that the image of the
light is seen, and all the rest remains invisible,
the eye being at a distance from the ball. The
same thing would happen on the surface of the
moon if it were polished, lustrous and opa-
que, like all bodies with a reflecting surface.
oppacho. 18. sella . . assito. 20. onno. 21. essella. 22. partichulare cho. 24. cha. 25. nosstri. 27. essella. 28. imezzo.
29. dissciede. 30. eppiu. 33. essella . . eppiu. 35. solita . . trasspare. 36. delle chose . . gradezze [chessendo] posste.
37. disstatia adissta.
893. i. esselle. 2. illei. 3. picliola. 4. attor. 6. dallei. 8. noluede. 9. pichola . . ettu. n. chella circuda . . illei . . apa.
12. ettutto. 14. dattal. 15. rebe. 16. lusstra . . chesspe. 19. settu. 21. ini. 24. pa. 27. cheffa. 30. col inel si. 34. po.
26. The problem here propounded by Leonardo formulated the law of universal attraction and gravi-
was not satisfactorily answered till Newton in 1682 tation. Compare No. 902, lines 5 — 15.
I56
ASTRONOMY.
[894. 895.
18 Prova tu ''come, se tu *°stessi nella
"luna oin una "Stella, *Ma nostra anerra
ti jjar'Jra far Pu'6fitio col so2?le che fa la
'Muna;
a«E prova J°come in nel si^'mulacro
J'del sole nel "mare no 34pU6 parere ^5vn
sole co-»6me pare in u^no spechio pi38ano.
Show how, if you were standing on the
moon or on a star, our earth would seem to
reflect the sun as the moon does.
And show that the image of the sun in
the sea cannot appear one and undivided,
as it appears in a perfectly plane mirror.
Ath. I. io<«)
894.
Come 1'onbre si cofondono per iQnga
distatia, * si prvova nel' obra della luna che
in.ii Jsi vede.
How shadows are lost at great distances,
as is shown by the shadow side of the
moon which is never seen.
Br. M. 280]
895-
O la luna a lume da se 2o no; s'ell' a
lume da se, per^che non risplende sanza
«Paiuto del sole?
e s'ella snon a
lume da se, ne-
cies6sita la fa spe-
chio sperico; ?e
se ella e spechio,
non e prova8to
in prospettiua
Hche '1 sinVula-
cro d'unoobbiet-
to Iumi10noso no
sara mai equale
alia "parte di
quello specchio
che da esso lu-
minoso e ' ^illu-
minate ?He secosl
e, come 'Jmostra
qui la figura in r
s, do'^de uie
tanta quantita di
splendo'Sre che a
il plenilunio, che
noi vel6diamo
nella quinta deci-
ma della '7 luna?
Either the moon has intrinsic luminosity
or not. If it has, why does it not shine without
the aid of the sun?
But if it has not
any light in itself
it must of neces-
sity be a spherical
mirror ; and if it
is a mirror, is it
not proved in Per-
spective that the
image of a lumi-
nous object will
never be equal to
the extent of sur-
face of the reflec-
ting body that it
illuminates ? And if
it be thus [13], as
is here shown at
r s in the figure,
whence comes so
great an extent of
radiance as that
of the full moon
as we see it, at the
fifteenth day of
the moon?
J5. vn sole. 36. pare nti 37. no spechio. 38. anano.
894. i. chofondono. 2. dela.
895. i. Olla . . allume dasse. 2. onno. 3. risplde. 4. essella. 6. dasse. 8. essello spechio. 9. prosspecdva. 13. parte "di
quello spechio" che . . he. 13. esse.
894. Compare also Vol. I, Nos. 175 — 179.
«95- 13- At A, in the diagram, Leonardo wrote "sole" (the sun), and at B "luna o noi terra" (the moon
or our earth). Compare also the text of No. 876.
896.]
THE MOON.
157
Br. M.
896.
DECLA LUNA.
OF THE MOON.
2La luna non a lume da se, se no
quato ne vede il sole tanto 1'allumina,
3 della qual luminosita tanto ne vediamo
quato e quella che vede noi; ^E la sua
notte ricieve tanto di spledore, quato e
quello che li preSstano le nostre acque nel
refletterli il simulacro del sole , che in
6tutte quelle che vedono il sole e la luna,
si spechia; 1 La pelle over superfitie del-
1' acqua, di che si copone il mare della luna
e il 8mare della nostra terra, e senpre
rugoso, 9o poco o assai, o piu, o meno, e
tale rugosita e cavsa di dilaI0tare 1'innu-
merabili simulacri del sole, che nei colli e
cocavita e la1 Hi e froti delle innumerabili
rughe si spechiano, cioe in tati vari siti di
ciascuna 12ruga quato son vari li siti che
anno li ochi che le vedono, jl che ac^ca-
dere no potrebbe, se la spera dell' acqua,
che I gra parte di se veste la ^luna fusse
d'uniforme spericita, perche allora il simu-
lacro del I5sole sarebbe uno a ciascuno
occhio, e la sua reflessione sarebbe particu-
I6lare e senpre sarebbe spledore sperico,
come manifestame1 7te ci assegnano le palle
dorate, poste nelle sommita delli alti edi-
fiti; Ma l8se tali palle dorate fussino rugose
o globuleti come son le mo^re, frutti neri
conposti di minute globosita rotonde, allora
ciascuna delle parti d'essa 20 globosita, ve-
dute dal sole e dall'ochio, mostrera a esso
ochio il lustro 2Igienerato dal simulacro
d'esso sole, e cosl in u medesimo corpo si
ue22drebbero molti minimi soli, li quali
spesse so le volte che per lunga distatia
23si uniscono e paiono cotinuati; E !1 lustro
della lunanuova e piu lucido e piu 24potete
che quado e in plenilunio, e questo si ca-
2s vsa perche 1' angolo della incidetia e molto
piu ottuso nella luna nuo26va che nella
vecchia, doue tali angoli sono acutissimi;
e 1'onde della 2?luna spechiano il sole cosl
nelle lor ualli come nelli colli, e li lati
28restano oscuri •; ma ne' lati della luna li
fondi dell'onde non 29 vedono il sole, ma
The moon has no light in itself; but so
much of it as faces, the sun is illuminated, and
of that illumined portion we see so much
as faces the earth. And the moon's night
receives just as much light as is lent it by our
waters as they reflect the image of the sun,
which is mirrored in all those waters which
are on the side towards the sun. The out-
side or surface of the waters forming the
seas of the moon and of the seas of our
globe is always ruffled little or much,
or more or less — and this roughness causes
an extension of the numberless images of
the sun which are repeated in the ridges and
hollows, the sides and fronts of the innu-
merable waves; that is to say in as many
different spots on each wave as our eyes
find different positions to view them from.
This could not happen, if the aqueous sphere
which covers a great part of the moon were
uniformly spherical, for then the images of
the sun would be one to each spectator,
and its reflections would be separate and
independent and its radiance would always
appear circular; as is plainly to be seen in
the gilt balls placed on the tops of high
buildings. But if those gilt balls were rugged
or composed of several little balls, like mul-
berries, which are a black fruit composed of
minute round globules, then each portion of
these little balls, when seen in the sun,
would display to the eye the lustre resulting
from the reflection of the sun, and thus, in
one and the same body many tiny suns
would be seen; and these often combine at a
long distance and appear as one. The lustre of
the new moon is brighter and stronger, than
when the moon is full; and the reason of
this is that the angle of incidence is more
obtuse in the new than in the full moon, in
which the angles [of incidence and reflection]
are highly acute. The waves of the moon
therefore mirror the sun in the hollows of
the waves as well as on the ridges, and the
sides remain in shadow. But at the sides
896. 2. dasse, 3. vedano . . ecquella . . vede. 4. Ella . . chelli pres. 5. nosstre acque . . refretterli. 6. vedano . . elluna si
sspechia. 7. dichessi . . luna edel. 8. [la nostra luna] mare . . nosstra . . essenpre rughoso. 9. oppocho . . oppiu omeno
ettale rughosita e chausa. 10. ine cholli e chochavita ellati. n. ti effrote "delle inumerabili" rughe sisspechiano . . cias-
scuna. 12. rugha . . che ali . . chelle vedano. 13. chadere . . sella . . achq"a" . , vesste. 14. luno fussi. 15. uno "accias
cuno ochio" ella . . refressione . . partichu. 16. essenpre . . spericho chome. 17. asegnia. 18. ssettali . . rughose o
globbuleti chome. 19. "neri" chonposti . . "rotonde" allora ciasscuna "delle parte". 20. globbosita . . mossterra. 2i.chosi
nun . . chorpo. 22. derebbe . . lungha disstatia. 23. vnisschono eppaiano chotinuati . . eppiu cido epiu. 24. pleniunnio
ecquesto . . cha. 25. langholo. 26. vechia . . tale angholi . . achutissimi ellonde. 27. chosi . . chome . . cholli elli.
28. resstano osschuri. 29. vedano . . massolo vede . . quessto. 30. choll . . ettal. 31. elluminose chosi . . infussi venghano.
1 58
ASTRONOMY.
[896.
solo uedono le cime d'esse ode, e per
questo li simuHacri son piu ran e piu
misti coll'onbre delle valli, e tal mistiorie
J'delle spetie obrose e luminose, cosl in-
sieme infuse, vengono all'oJ'chio co poco
spledore, e nelli stremi sara piv oscure per
essere ^la curuita de' lati di tale ode in-
suffitiete a riflettere all'ochio li riJ'cievuti
razzi; La luna nova per natura riflette li
3Srazzi solari piu inverse 1'ochio per tali
of the moon the hollows of the waves do
not catch the sunlight, but only their crests;
and thus the images are fewer and more
mixed up with the shadows in the hollows;
and this intermingling of the shaded and
illuminated spots comes to the eye with a
mitigated splendour, so that the edges will
be darker, because the curves of the sides
of the waves are insufficient to reflect to the
eye the rays that fall upon them. Now
the new moon naturally reflects the solar
rays more directly towards the eye from the
ode streme, ^6che per nessuno altro loco,
come mostra la figura delta luna che
37percuotedo con razzi a nell'onda b riflette
in b d, dou' e situa^to 1'ochio d\ E questo
accadere no puo nel plenilunio dove ^9il
razzo solare, stando all'occidete, percuote
1'onde streme della *°luna alPoriete dal n
in in, e non riflette inverso 1'oc^'chio occi-
detale, ma risalta aU'oriete, poco piegado
la rettitu*2dine d'esso razzo solare, e cosi
1' angolo della incidetia e grossissimo.
« La luna e corpo
opa44co e solido, e se
per lo a^Sversario ella
fusse traspa*6rente, ella
no ricieverebbe 47il lume
del sole.
*8I1 rossume over tu-
orlo dell'o^vo sta s°in
mezzo al suo als'bume
sanza discedere S2 d'alcuna
partc, ed 6 is^v lieve o
crests of the waves than from any other part,
as is shown by the form of the moon, whose
rays a strike the waves b and are "reflected
in the line b d, the eye being situated at d.
This cannot happen at the full moon, when
the solar rays, being in the west, fall on the
extreme waters of the moon to the East
from n to m, and are not reflected to the
eye in the West, but are thrown back east-
wards, with but slight deflection from the
straight course of the solar ray; and
thus the
indeed.
angle of incidence is very wide
piu grave o equale d' esso 54 albume ; e s' elli e
piu lisseve egli doverebbe surgie56re sopra
tutto I' albume e "fermarsi in cotatto del-
The moon is an opa-
que and solid body and
if, on the contrary, it
were transparent, it would
not receive the light of
the sun.
The yellow or yolk
of an egg remains in the
middle of. the albumen,
without moving on either
side ; now it is either lighter
or heavier than this albumen, or equal to it; if
it is lighter, it ought to rise above all the
albumen and stop in contact with the shell
32. cho pocho . . osschure. 3;. churuita . . arefrettere. 34. razza da qual chosa la luna . . refrette. 35. razi . . tale.
36. locho . . mosstra la fighura. 37. pcrcho tendo cho razi b e refrette. 38. Ecquesto achadere . . dove j| o. 39. razo
solare [que] perchote stando allocidete perchote lonte. 40. refrette. 41. pocho pieghado. 42. chosi langholo. 43. chorpo.
44. cho cssolido esse. 45. e fussi. 46. cno. 49. sta [in in a! piu delle). 50. [volte] in. 51. dissciedere. .52. dalchuna.
53. grcve "o equale" desso. 54. essclli. 55. eve edovere vwirgie. 57. chotratto. 58. la [sua scho] scho'rza. 59. hovo
896. 48-64. Compare No. 861.
897-]
THE MOON.
159
s8la scorza d'es59so uovo, e s'elli e piu
60 grave doverebbe di6lsciedere, e s'egli e
equa62le cosl potrebbe stare 63nell'v delli
stremi, co64me in mezzo o disotto;
65L'mvmerabili simulacri 66che dalle in-
numerabili onde del ma6?re reflettono li
Sola68ri razzi, in esse onde percos69si, son
causa di re7°dere cotinuato e larghissi7Imo
spledore sopra la superfitie ?2del mare.
of the egg; and if it is heavier, it ought to sink,
and if it is equal, it might just as well be
at one of the ends, as in the middle or
below [54].
The innumerable images of the solar rays
reflected from the innumerable waves of the
sea, as they fall upon those waves, are what
cause us to see the very broad and continuous
radiance on the surface of the sea.
Br. M. 104 a]
897.
[Come no si puo spechiare il sole nel That the sun could not be mirrored in the
corpo 2della luna, essendo spechio colmo, body of the moon, which is a convex mirror,
esselli. 60. dis. 61. esselli. 62. chosi. 63. cho. 64. dissotto. 66. cheddalle. 67. refrettano dalli. 68. razi . . perchos.
69. se son quelli chausa. 70. chotinuato ellarghissi. « }
897. i. po. 3. chettanto . . nalumina. 4. nesspechi. 5. avessi la superfitie che atta asspechiare. 6. cheffussi. 7. emmosso dal-
897. In the original diagrams sole is written at the place marked A; luna at C, and terra at the
two spots marked B.
i6o
ASTRONOMY.
[898.
in moJdo che tanto quanto esso sol ne
allumina, « tanto essa luna ne specchia, se
g& tal luna snon avesse la superfitie alta
a specchiare, 6che fusse rugosa, a vso di
superfitie di mare, ?quando in parte e
mossa dal uento]-
'[L'onde dell' acqua crescono 9il simu-
lacro della cosa I0in lei specchiata].
11 Quest' onde fanno per oI2gni linia a
similitu'^dine della spoglia del'4la pina.
•sQueste son 2 figure sicchel6faraile
Tuna di versa dall' altra, '7 coll' acqua
>8ondeggiante e coll' acqua piana.
•'InpossibiPe 20che per alcuna distantia
il "simulacro del sple, "fatto nella super-
fitie a-*del corpo sperico, occupi 24la meta
d'esso sperico;
2s Qui tu ai a provare, come la terra fa
tutti 26questi medesimi ofiti inverse la luna
che 27la luna inverse la terra;
28 No luce la luna col suo lume riflesso
come 29fa il sole, perche il lume della luna
non piglia *°i\ lume del sole continue in
nel^'la superfitie, ma in su colmi e cayi
del^le onde delle acque, e per esser tal
sole nella 33 luna cofusamente spechiato per
le mi^stioni delle onbre, che sono infra
•J5 1' onde che lustrano, percio non e 36il suo
lume lucido e chiaro 37COm'e '1 sole.
38 Terra infra la luna in qulta decima e
il sole; &Qm [\ sole e nel levante e la luna
in ponente in qulta decima; 4° luna infra
la terra in qulta decima e il sole; 4IQui e
la luna che a il sole per ponete e la terra
per levate.
in such a way as that so much of its surface
as is illuminated by the sun, should re-
flect the sun unless the moon had a sur-
face adapted to reflect it — in waves and
ridges4 like the surface of the sea when its sur-
face is moved by the wind.
The waves in water multiply the image
of the object reflected in it.
These waves reflect light , each by its own
line, as the surface of the fir cone does [14].
These are 2 figures one different from
the other; one with undulating water and the
other with smooth water.
It is impossible that at any distance the
image of the sun cast on the surface of a
spherical body should occupy the half of
the sphere.
Here you must prove that the earth pro-
duces all the same effects with regard to the
moon, as the moon with regard to the earth.
The moon, with its reflected light, does
not shine like the sun, because the light of
the moon is not a continuous reflection of
that of the sun on its whole surface, but
only on the crests and hollows of the waves
of its waters; and thus the sun being con-
fusedly reflected, from the admixture of the
shadows that lie between the lustrous waves,
its light is not pure and clear as the sun is.
[3 8] The earth between the moon on the
fifteenth day and the sun . [3 9] Here the
sun is in the East and the moon on the
fifteenth day in the West. [40] The moon
on the fifteenth [day] between the earth and
the sun. [41] Here it is the moon which has
the sun to the West and the earth to the East.
A. 64 a]
898.
CHE COSA • E LA LUNA.
WHAT SORT OF THING THE MOON is.
2 La luna non e • luminosa • per se , ma
bene £ atta • a ricievere la natura • della •
luce -J a similitudine • dello • spechio • e del-
1* acqua • o altro • corpo • lucido •, e crescie nel-
Poriete 4e occidete • come • il sole • e gli altri
pianeti • ; E la ragione • si e • che ogni • corpo
The moon is not of itself luminous, but
is highly fitted to assimilate the character of
light after the manner of a mirror, or of
water, or of any other reflecting body; and it
grows larger in the East and in the West,
like the sun and the other planets. And
the reason is that every luminous body looks
ucncto. 8. acq"a" cresscano. xo. illei. 12. assimilitu. 13. spoglia de siche. 16. fara le luna disspersi. 17. acqua [ondosa]
18. ondegiante dallacq"a". ax. siimularcro. 23. ochupi. 28. refresso. 32. acq"e". 34. chessono. 35. lusstrano pero.
38. infralla . . decima il tole. 39. Ogni el . . "po"nente ella luna illeuante. 40. infralla . . decima il sole. 41. ella per-
Icufuc ella terra per ponete.
898. i. choia ella. 2. none. 3. assimilitudine . . acq"a" . . cho'Vpo . . ecresscie. 4. chome . . chorpo. 5. cresscie Chiaro . .
14. See the diagram p. 145.
38. This refers to the small diagram placed be-
tween B and B. — 39. See the diagram below the
one referred to in the preceding note.
40. 41. Refers to the diagram below the others.
898. This text has already been published by
LlBRl: Histoire des Sciences, III, pp. 224, 225.
899-]
THE MOON.
161
• luminoso s quato piv . s' allon-
tana • piv cresce •; Chiaro • si
puo • copredere • che • ogni pia-
neta e ste!6la • e piv lontano •
da noi nel ponete . che quado-
ci e • sopra • capo •, circa • 3 500, per
la pruova se7gniata • da parte •,
e se uedi spechiare- il sole o la
luna nelF acqua che ti sia • vicina,
8paratti in detta
acqua della gra-
dezza che ti • pare
• in cielo; E se
t'allontanera i- vno
9 miglio • parra
maggiore i oo vol-
te, e se lo vedrai
spechiare • I mare
10 nel tramotare • il sole • spechia-
to-ti- parra grade- piv di • 10 •
miglia, per^che occupera • in det-
ta spechiatione • piv • di 10 miglia
• di marina •, e se tu fussi I2dov'e
la luna • parrebbe ti • esso • sole
spechiarsi • in tato • mare • quato
egli^n'allumina • alia giornata •, e
la terra • parrebbe infra detta •
aqua come pajono • le ^macchie
scure che sono • in nella • luna •,
la quale stado in terra • si dimo-
stra ta'sle agli omini, qual
farebbe agli omini che abitassi-
no • nella luna il nostro l6mon-
do • apputo.
larger in proportion as it is re-
mote. It is easy to understand
that every planet and star is
farther from us when in the
West than when it is overhead,
by about 3500 miles, as is pro-
ved on the margin [7], and if you
see the sun or moon mirrored in
the water near to you, it looks
to you of the same
size in the water
as in the sky. But
if you recede tothe
distance of a mile,
it will look 100
times larger; and
if you see the sun
reflected in the sea
at sunset, its image would look
to you more than 10 miles long;
because that reflected image ex-
tends over more than 10 miles
of sea. And if you could stand
where the moon is, the sun would
look to you, as if it were reflec-
ted from all the sea that it illumi-
nates by day; and the land amid
the water would appear just like
the dark spots that are on the
moon, which, when looked at
from our earth, appears to men
the same as our earth would- ap-
pear to any men who might dwell
in the moon.
DELLA QUALITA • BELLA • LUNA. OF THE NATURE OF THE MOON.
18 La luna quado • e tutta • lu-
minata • al nostro vedere, noi ve-
diamo tutto il suo ^giorno, e
allora per riflessione de' razzi
del sole, percossi in lei e risal-
tati a noi, 20l'ocieano • suo • ci
gitta • meno vmidita, e quato me
e luce piv noce.
When the moon is entirely light-
ed up to our sight, we see its
full daylight; and at that time,
owing to the reflection of the so-
lar rays which fall on it and are
thrown off towards us, its ocean
casts off less moisture towards us ;
and the less light it gives the
more injurious it is.
Leic. 30 a]
899.
DELLA LUNA.
OF THE MOON,
2 Dico che non avendo la lu-
na lume da se, essendo lumino-
sa, egl' e necessario che tale
lume 3 sia causato da altri.
I say that as the moon has no
light in itself and yet is luminous,
it is inevitable but that its light
is caused by some other body.
chopledere . . esste. 6. da "ndi" . . chapo '. circha. 7. esse . . oluna . . chetti. 8. acq"a" . . gradeza chetti . . Essettalonta-
nera. 9. parira magiore . . essello vederai . . mare [il sole]. 10. [spe] nel . . para. n. ochopera . . essettu. 12. parebbeti
. . inquato. 13. nalumina . . ellatera parebe . . achva chome pare. 14. mache schure chessono inella . . qual. 15. farebe
alia. 16. acputo. 19. refressione razi . . perchossi illei. 8gg. 2. dicho . . dasse . . chettale. 3. sie chausato.
Line 7 refers to the first diagram. — A = sole (the sun), B = terra (the earth), C = luna (the moon).
VOL. 11. X •
162
ASTRONOMY.
[900—902.
i
goo.
DELLA LUNA.
OF THE MOON.
Tutte le cotradizioni dell' auersario a
dir che nella luna non e acqua.
All my opponent's arguments to say that
there is no water in the moon.
Leic.
901.
Risposta a maestro Andrea da Imola,
che disse come H razzi solari riflessi dal
corpo dello spechio convesso si confondono
2e si consumano in brieue spatio, e che per
questo si negaua al tutto la parte luminosa
della luna non essere di natu'ra di spechio,
e per consequenza non essere nato tale
lume dalla innvmenabile moltitudine del-
1'onde di quel 4mare, il quale io proponeuo
essere quella parte della luna che s' allumi-
nava per li razzi solari;
s o p • sia il corpo del sole, ens sia la
luna, b sia 1'ochio, che in su la basa c n
del cateto c n m vede spechia6re il corpo
del sole infra li equali angoli c //, e ' 1 simile
fa remouendosi 1'ochio da b in a.
Answer to Maestro Andrea da Imola, who
said that the solar rays reflected from a
convex mirror are mingled and lost at a short
distance; whereby it is altogether denied that
the luminous side of the moon is of the
nature of a mirror, and that consequently
the light is not produced by the innumer-
able multitude of the waves of that sea,
which I declared to be the portion of the
moon which is illuminated by the solar
rays.
Let op be the body of the sun, en s the
moon, and b the eye which, above the base
c n of the cathetus c n tn, sees the body
of the sun reflected at equal angles en; and
the same again on moving the eye from b to a.
Leic. 2 a]
Q02.
DELLA LUNA.
H'Nessun denso e piv lieue che 1'aria.
^Avendo noi provato come la parte
della luna che risplende e acqua, che
Explanation spechia il corpo del sole, 4la quale ci rif-
of the lumen i . i i j j i • • r^
cinereum in lette Io splendore da lui ncevuto ; h. come,
the moon. se {a|e acqua fusse sanza ode, ch' ella 5 pic-
cola si dimostrerebbe, ma di splendore
quasi simile al sole; Al presente bisognia
provare, se essa °luna e corpo grave o lieve,
inperoche se fusse grave, — confessando che
dalla terra in su in ogni grado d'altez?za
s'acquista gradi di leuita, cociosiache
P acqua e piu lieue che la terra, e Paria
che 1' acqua, c'l foco che 1'aria, e cosl
8seguitando successiuamete, — e'parrebbe che,
se la luna auesse densita com' ella a, ch' ella
auesse gravita, e avedo 9 gravita che Io
OF THE MOON.
No solid body is less heavy than the at-
mosphere.
Having proved that the part of the moon
that shines consists of water, which mirrors
the body of the sun and reflects the radiance
it receives from it; and that, if these waters
were devoid of waves, it would appear
small, but of a radiance almost like the sun ;
— [5] It must now be shown whether the
moon is a heavy or a light body: for, if it
were a heavy body — admitting that at every
grade of distance from the earth greater
levity must prevail, so that water is lighter
than the earth, and air than water, and fire
than air and so on successively — it would seem
that if the moon had density as it really has,
it would have weight, and having weight,
that it could not be sustained in the space
2. essi. 3. disspechio e per chonsegucnza . . inumerabile. 4. chessa-
900. 2. acqu"a".
901. i. raii . . refressi . . chonvesso . . confondeano.
luminava . . razi . . lochio di.
got. 2. chcllaria. 3. chome . . rissplcndc. 4. refrette . . dallui ricevuti . . ssettale acq"a" fussi . . chel. 5. pichola . . dimoster-
"r"ebe. 6. ollicve . . fussi . . dalte. 7. concosiachellacq"a" . . piv . . chella . . chellacq"a" . . focho chellaria. 8. eparebe
chcssella auessi . . chomclla cfiella auessi . . avdo. 9. chello . . ouessa . . nolla potessi sosstenere . . chon . . auessi a disscendere.
900. The objections are very minutely noted
down in the manuscript, but they hardly seem to
have a place here.
901. The large diagram on the margin of page
161 belongs to this chapter.
902. i! On the margin are the words tola ro~
mantina, tola - ferro stagnato (tinned iron); romantina
is some special kind of sheet-iron no longer known
by that name.
902.]
THE MOON.
163
spatio, ove essa si troua, non la
potesse sostenere, e per conse-
gueza avessea discendere I0in-
verso il centre dell' universe,
e congiugnersi colla terra, e
se no lei, al maco le sue
acque aueszisino a cadere e
spogliarla di se e cadere in-
verse il cetro e lasciar di se
la luna spogliata e sanza lu-
I2stro; ode, no seguitando
quel che di lei la ragione ci
promette, egli e manifesto
segno che tal luna e vestita
de'sua ^ elemeti, cioe acqua,
aria e foco, e cosi in se, per
se si sostenga in quello spatio
come fa la nostra ter^ra coi
sua elemeti in quest' altro spa-
tio, e che tale ofitio faccino
le cose gravi ne' sua eleme-
xs ti, qual fanno 1' altre cose
gravi nelli elemeti nostri.
16 Quando 1' ochio in oriete
vede la luna in occidente vi-
ciria al tramotato sole, esso
la vede J 7 colla sua parte on-
brosa circundata da parte lu-
minosa, del quale lume la parte
laterale l8e superiore deriua
dal sole, e la parte inferiore
deriva dallo oceano occiden-
tale, il qual ^ancora lui riceue
li razzi solari e li riflette nelli
inferior! mari della luna, e an-
cora per 20tutta la parte
obrosa • della luna da tanto
di splendore, qual'e quel che
da la luna alia terra nella
mez2Izanotte, e percio no
resta integralmete scura, e di
qui a alcuno creduto, che la
"luna abbia in parte lume
da se oltre a quel che gli e
dato dal sole, il quale lume
diriua dalla ati2^detta causa
delli nostri mari alluminati
dal sole.
2*Ancora si potrebbe dire
che'l cerchio dello splendore
where it is, and consequently
that it would fall towards the
centre of the universe and be-
come united to the earth; or
if not the moon itself, at least
•
its waters would fall away and
be lost from it, and descend
towards the centre , leaving
the moon without any and so
devoid of lustre. But as this
does not happen, as might in
reason be expected, it is a
manifest sign that the moon is
surrounded by its own elements:
that is to say water, air and
fire; and thus is, of itself and
by itself, suspended in that
part of space, as our earth
with its element is in this part
of space; and that heavy bo-
dies act in the midst of its
elements just as other heavy
bodies do in ours [15].
When the eye is in the
East and sees the moon in
the West near to the setting
sun, it sees it with its shaded
portion surrounded by luminous
portions ; and the lateral and
upper portion of this light is
derived from the sun, and the
lower portion from the ocean
in the West, which receives
the solar rays and reflects them
on the lower waters of the
moon, and indeed affords the
part of the moon that is in
shadow as much radiance as
the moon gives the earth at mid-
night. Therefore it is not to-
tally dark, and. hence some
have believed that the moon
must in parts have a light of its
own besides that which is given
it by the sun ; and this light is due,
as has been said, to the above-
mentioned cause, — that our seas
are illuminated by the sun.
Again, it might be said
that the circle of radiance
spoglata essanza lus. 12. ragon . . "segno" chettal. 13. cc
esse . . macho, n. chadere . . ellasscia . .
15. This passage would certainly seem to establish discoverer of the cause of the ashy colour of the
Leonardo's claim to be regarded as the original new moon (lumen dnereum). His observations
164
ASTRONOMY.
[902.
la quale
che fa la luna, quand'el'e col sole in 'Socci-
dente, dirivassc dal sole integralmente •,
quando essa col sole e coll' ochio e situata
nel a6modo che qui disopra si dimostra.
2?Alcuni potrebbero dire che
1'aria, elemcto della luna, pi-
gliando il lume del sole, come
fa la noa8stra spera dell' aria,
fusse quella che finisce il cer-
chio luminoso al corpo della
luna.
•'Alcuni an creduto che la
luna abbia alquanto di lume da
se, la quale ope3°nione e falsa,
perche 1'anno fondata sopra quel
chiarore che si uede in mezzo ali
3'corni quando la luna e nova
alii confini dello splcndore pare oscura,
3*e al confine della oscurita • del campo
pare si chiara, che molti credono essere
33 vn cerchio di nouo splendore, che finisca
di circundare, doue le punte de' corni 34 al-
luminati dal sole terminano il loro splen-
dore; e questa varieta di campo nasce
35 perche quella parte d'esso campo, che
termina colla parte luminosa della luna,
per tal 3^paragoHe di splendore si dimon-
stra piv oscura che non e, e quella parte di
sopra, doue 3 7 pare vn pezzo di cerchio
luminoso d'uniforme larghezza, nasce che
quiui la luna, essendo piu chiara che
38il mezzo over il campo, oue essa si troua;
pel parago di tale oscurita si dimostra in
tale confine piv lu^minosa che non e, la
qual luminosita in tal tenpo nasce dal
nostro oceano colli altri mediterrani 4° che
in quel tepo e alluminato dal sole che gia
e tramotato, in modo che il mare allora fa
tale ofitio alia 4I parte oscura della luna,
qual fa la luna in qulta decima a noi,
shown by the moon when it and the sun
are both in the West is wholly borrowed
from the sun, when it, and the sun, and
the eye are situated as is shown above.
Some might say that the air
surrounding the moon as an ele-
ment, catches the light of the
sun as our atmosphere does, and
that it is this which completes
the luminous circle on the body
of the moon.
Some have thought that the
moon has a light of its own, but
this opinion is false, because they
have founded it on that dim light
seen between the homes of the
new moon, which looks dark where it is close
to the bright part, while against the darkness
of the background it looks so light that many
have taken it to be a ring of new' radiance
completing the circle where the tips of the
horns illuminated by the sun cease to shine [3 4].
And this difference of background arises from
the fact that the portion of that background
which is conterminous with the bright part
of the moon, by comparison with that bright-
ness looks darker than it is; while at the
upper part, where a portion of the luminous
circle is to be seen of uniform width, the re-
sult is that the moon, being brighter there
than the medium or background on which it
is seen by comparison with that darkness it
looks more luminous at that edge than it is.
And that brightness at such a time itself is de-
rived from our ocean and other inland-seas.
These are, at that time, illuminated by the
sun which is already setting in such a way as
that the sea then fulfils the same function
to the dark side of the moon as the moon
at its fifteenth day does to us when the
chuni potrebono . . chellaria . . piglando ilume. 28. fussi . . finissi. 29. alchuni . . chella . . dasse. 30. effalsa . . fondato
. . chessi . . mezo. 31. quandella . . il quale alii . . osscuro. 32. osscurita . . molte credano . . 33. finissca di circhundare.
34. ecquesta . . canpo nassce. 35. chettermina. 36. hosscura . . nonne ecquella. 37. pezo . . largeza nassce. 38. mezo over
chanpo. 39. nassce . . occcano coli . . mediterani. 40. ga. 41. osscura . . annoi qnadel . . ettal. 42. dacqucl pocho . .
however, having hitherto remained unknown to
astronomers, Moestlin and Kepler have been credited
with the discoveries which they made independently
a century later.
Some disconnected notes treat of the same sub-
ject in MS. C. A. 239 b; 7igb and 7i9b: "Perche la
luna cinta della parte alluminata dal sole in ponente,
tra maggior- splendore in mezzo a tal cerchio, che quando
essa eclissava il sole. Questo accade perche «<•//' eclissare
il sole ella ombrava il nostro oceano, il qual caso non
Of cade essendo in ponente, quando il sole alluma esso
oceano.n The editors of the "Saggio" who first pub-
lished this passage (page 12) add another short
one about the seasons in the moon which I con-
fess not to have seen in the original manuscript:
"La luna ha ogni niese un verno e una state, e ha
maggiori freddi e maggiori caldi, e i- suoi equinozii son
piu freddi de' nostri"
23. 24. The larger of the two diagrams reproduced
above stands between these two lines, and the smaller
one is sketched in the margin. At the spot marked A
Leonardo wrote corpo solare (solar body) in the larger
diagram and Sole (sun) in the smaller one. At C
luna (moon) is written and at B terra (the earth).
34. See PI. CVIII, No. 5.
903. 904-]
THE MOON.
I65
quando il sol'e tramotato, e tal propor-
•}2tione e da quel poco lume che a la parte
oscura della luna alia chiarezza della parte
alluminata, qual e dalla . . .
43 Se uoi vedere 44qiianto la parte 45 on-
brosa della luna ^6sia piu chiara che'l
4?canpo, ove tal luna si ^truova, occupa
col49la mano, o con altro s°obietto piu di-
state s» all'ocbio, la parte luS2minosa della
luna.
sun is set. And the small amount of light
which the dark side of the moon receives
bears the same proportion to the light of
that side which is illuminated, as that . . . [42].
If you want to see how much brighter
the shaded portion of the moon is than the
background on which it is seen, conceal the
luminous portion of the moon with your
hand or with some other more distant ob-
ject.
F. 84 a]
90S-
MACULE BELLA LUNA.
2Alcuni dissero leuarsi da essa vapori
a modo di ^nugoli e interporrsi infra la
luna e li ochi no^stri; il che, se cosl fusse,
mai tali macule saresbbero stabili ne di
siti ne di figura, e vedendo la 6luna in
diuersi aspetti, ancor che tal macule 7 no
fossero variate, esse muterebbero figura
come 8fa quella cosa che si vede per piu
versi.
THE SPOTS ON THE MOON.
Some have said that vapours rise from On the
the moon, after the manner of clouds and ^L
are interposed between the moon and our
eyes. But, if this were the case, these spots
would never be permanent, either as to
position or form; and, seeing the moon
from various aspects, even if these spots did
not move they would change in form, as ob-
jects do which are seen from different sides.
spots
F. 84 1>\
904.
DELLE MACHIE BELLA LUNA.
2Altri dissero che la luna era conposta
di parti piu $o me transparent}, come se
una parte fusse a modo 4 d' alabastro , e
alcuna altra a modo di cristallo o vetro,
5 che ne seguirebbe che '1 sole, feredo colli
sua razzi 6nella parte me transparete, il
lume rimarrebbe in 7superfitie, e cosl la
parte piu densa resterebbe allu8minata, e
la parte transparete mostrerebbe le 9onbre
delle profondita sue oscure, e cosl si copo-
10 ne la qualita della luna; e questa opini-
one e "piaciuta a molti filosofi, e massime
a Aristotele, e I2pure ella e falsa opinione,
perche ne' di^versi aspetti, che si trovano
spesso la luna e il so^le alii nostri occhi,
noi vedremmo variare tal ma^cule, e quando
OF THE SPOTS ON THE MOON.
Others say that the moon is composed
of more or less transparent parts; as though
one part were something like alabaster and
others like crystal or glass. It would
follow from this that the sun casting its rays
on the less transparent portions, the light
would remain on the surface, and so the
denser part would be illuminated, and the
transparent portions would display the shadow
of their darker depths; and this is their
account of the structure and nature of the
moon. And this opinion has found favour
with many philosophers, and particularly with
Aristotle, and yet it is a false view — for, in
the various phases and frequent changes of
the moon and sun to our eyes, we should
see these spots vary, at one time looking
dark and at another light: they would be
dark when the sun is in the West and the
alia . . osscura . . ciareza. 48. ochupi. 49. chon. 50. distate ochu. 51. pi all.
903. 2. disse. 3. interprsi infralla . . elli . . nos. 4. fussi . . tal. 5. bon stabili. 6. chettal. 7. fusi variate . . muterebo.
8. chessi.
904. 2. chella . . parte. 3. transsparenti . . fussi. 5. cene . . coli. 6. rimarebbe. 7. resterrebbe. 8. ella . . mosterrebbe.
9. osscure. 10. ecquesto openione. n. piacuta . . massime aristotie e. 12. puere . . oppennione perche inne de. 13. asspetti
trauano . . esso. 14. vederem. 15. ecquando . . farebono osscure ecquando. 16. in o. 17. ella . . mezo. 18. transparete
42. Here the text breaks off; lines 43 — 52 are written on the margin.
166
ASTRONOMY.
[905.
si farebbono oscure, e quado chil6are; scure
si farebbono, quado il sole e in oc^cidete
e la luna nel mezzo del celo, che allora le
l8cocauita transparcti piglicrebbono 1'onbre
in"sino alle sommita de' labbri di tal co-
cauita tras20pareti, perche il sole no potrebbe
l>enetrare li "sua razzi dentro alle boche
di tali cocauita, "le quali parrebbono chiare
nel plenilunio, 2Jdoue la luna in oriete
guarda il sole alPoccidc'He; allora il sole
alluminerebbe insino ne' f62sdi di tali trans-
paretie, e cosl, no generadosi 26onbre, la
luna non ci mostrerebbe in tal tenpo 2?le
predette machie, e cosl ora piv ora meno,
2*secondo le mutatio del sol dalla luna e
della Iu2()na dai lochi nostri, come di sopra
dissi.
moon in the middle of the sky; for then the
transparent hollows would be in shadow as
far as the tops of the edges of those trans-
parent hollows, because the sun could not
then fling his rays into the mouth of the
hollows," which however, at full moon,
would be seen in bright light, at which time
the moon is in the East and faces the sun
in the West; then the sun would illuminate
even the lowest depths of these transparent
places and thus, as there would be no
shadows cast, the moon at these times
would not show us the spots in question;
and so it would be, now more and now
less, according to the changes in the position
of the sun to the moon, and of the moon
to our eyes, as I have said above.
F. 85 «]
90S-
DELLE MACULE DELLA LUNA.
2 Si e detto che le macule della luna
son create in essa luna, 3 da essere in se
di uaria rarita e desita, il che se cosl fusse,
*nell'eclissi della luna i razzi solan pene-
trebbono per salcuna parte della predetta
rarita, e, no si ueden6do tale efifetto, detta
opinione e falsa;
7 Altri dicono che la superfitie della luna,
esscndo tersa 8e pulita, che essa, a simili-
tudine di spechio, riceue in 9Se la simili-
tudine della terra; Questa openione I0e
falsa, conciosiache la terra, scoperta dal-
1'acqua, per diuer"si aspetti a diuerse
figure; adunque, quando la luna I2e al-
1' oriete, essa specchierebbe altre machie,
che quando essa ci e di sopra, o quado
essa e in occidete; pero I4le machie della
luna, come si uede nel pleni-
lunio, J5mai si uariano nel
moto da lei fatto nel nostro
emi'6sperio ; 2 a ragione e, che
la cosa specchia^ta nella con-
vessita piglia piccola parte d'
esl8so spechio, com'e provato
in prospettiua; 3a ragione ^li e, che nel
plenilunio la luna vede solo il mezzo 20 della
OF THE SPOTS ON THE MOON.
It has been asserted, that the spots on the
moon result from the moon being of varying
thinness or density ; but if this were so, when
there is an eclipse of the moon the solar
rays would pierce through the portions which
were thin as is alleged [5]. But as we do
not see this effect the opinion must be false.
Others say that the surface of the moon
is smooth and polished and that, like a mirror,
it reflects in itself the image of our earth.
This view is also false, inasmuch as the
land, where it is not covered with water,
presents various aspects and forms. Hence
when the moon is in the East it would
reflect different spots from those it would
show when it is above us or in the West;
now the spots on the moon, as they are
seen at full moon, never vary
in the course of its motion over
our hemisphere. A second reason
is that an object reflected in a
convex body takes up but a small
portion of that body, as is pro-
ved in perspective [i 8]. The
third reason is that when the moon is full,
it only faces half the hemisphere of the
piglierebcno. 19. somita dclabri. 21. razi. 22. parebono. 23. ocide. 24. alora. 26. mosterebbe. 28. ella lu.
905. 2. Esii detto chclle. 3. rareu . . chosi fussi. 4. razi . . peneterrebono. 5. rareta il ce no. 6. to tale . . oppenione effalsa.
7. dicano chella. 8. assimilitudine disspechio. 10. concosiache . . acq"a". n. asspecti. 12. spechierebe. 13. ocquado oci-
dete il che. 14. plenilunio che. 16. he chella . . spechi. 17. pichola . . de. 18. ragone. 19. mezo. 21. locean . . rsplen-
9<>5- 3 — 5- Edissi. This word, as it seems to
me, here means eclipses of the sun; and the sense
of the passage, as 1 understand it, is that by the
foregoing hypothesis tUe modn, when it comes be-
tween the sun and the earth must appear as if
pierced, — we may say like a sieve.
18. come e pravato. This alludes to the accom-
panying diagram.
906—908.]
THE MOON.
167
spera della terra alluminata, nella quale
2Il'oceano colle altre acque risplendono, e
la terra 22fa macule in esso splendore, e
cosl si uedrebbe 23la meta della nostra
terra cinta dallo splendo2^re del mare allu-
minato dal sole, e nella luna tal 2s simili-
tudine sarebbe minima parte d'essa luna;
26 4a e che la cosa splendida non si spechia
nell'aP'tra splendida; adunque il mare,
pigliando splendo28re dal sole, siccome
fa la luna, e' no si potrebbe in lei spe-
29chiare tal terra, che ancora specchiar
non vi si vedesse 3°particularmete il corpo
del sole e di ciascuna ste!3Ila a lei op-
posta.
illuminated earth, on which only the ocean
and other waters reflect bright light, while
the land makes spots on that brightness;
thus half of our earth would be seen girt
round with the brightness of the sea lighted
up by the sun, and in the moon this
reflection would be the .smallest part of that
moon. Fourthly, a radiant body cannot be
reflected from another equally radiant; there-
fore the sea, since it borrows its brightness
from the sun, — as the moon- does — , could
not cause the earth to be reflected in it, nor
indeed could the body of the sun be seen
reflected in it, nor indeed any star opposite
to it.
Br. M. 19 a]
9O6.
Se terrai osseruate le particule delle
machie della luna, 2tu troverai in quelle
spesse uolte gran varieta, e di questo $6
fatto pruova io ' medesimo disegnadole ; E
questo nasce da nuvo^li che si leuano dal-
F acque d'essa luna, li quali s'interpongo-
Sno infra '1 sole e essa acqua, e colla loro
onbra tolgo6no i razzi del sole a tale acqua,
onde essa acqua viene a ri^manere oscura,
per non potere spechiare il corpo solare.
' If you keep the details of the spots of
the moon under observation you will often
find great variation in them, and this I myself
have proved by drawing them. And this
is caused by the clouds that rise from the
waters in the moon, which come between
the sun and those waters, and by their
shadow deprive these waters of the sun's rays.
Thus those waters remain dark, not being
able to reflect the solar body.
Leic. 5 a]
907.
Come le mac2chie della luna 3son va-
riate da *quel che gia fusro, per causa del
6corso delle sue 7 acque.
How the spots on the moon must have
varied from what they formerly were, by
reason of the course of its waters.
C. A. 341(5; 1055*1]
908.
DE'CIERCHI DELLA LUNA.
2 Jo • truouo • che quelli • cierchi •, li quali
• par che di notte circudino la luna • di uarie
gradezze e grossezze, 3 sono • causati da ua-
rie • qualita di grossezze d' umori, i quali in
varie altezze infra la luna e li ochi 4nostri
sono situati • ; E quel cierchio maggiore e
me rosso • ed e nella prima parte piu bassa
di detti s umori, il secondo minore e piv
alto, e pare piv rosso, perch' e visto per
OF HALOS ROUND THE MOON.
I have found, that the circles which at On the
night seem to surround the moon, of various moons halo>
sizes, and degrees of density are caused by
various gradations in the densities of the vapours
which exist at different altitudes between the
moon and our eyes. And of these halos the
largest and least red is caused by the lowest of
these vapours; the second, smaller one, is
higher up, and looks redder because it is
dano elli. 24. aluminato. 25. luna c. 26. 4 * he chella . . splendita no si . . 27. splendita . . piglando. 28. si come fa la
luna e no . . illei. 29. speciar . . vedessi. 30. sole di ciasscuna. 31. allei opposita.
906. i. Setterrai. 2. troverrai. 3. offatto . . "disegnadole" Ecquesto nassce da nugho. 4. chessi . . sinterponga. 5. cholla . .
tolgho. 6. razi . . attale . . arri. 7. osscura.
907. 4. ga.
908. 2. circhudino . . gradeze e rosseza. 3. chausati . . grosseze domori . . alteze infralla . . elli. 4. nosstri . . Ecquel . .
i68
ASTRONOMY.
[909. 910.
2 umori-je cosi quanto 6piv alti sieno,
minori c piv rossi apparirano, perche infra
1'ochio e quello fia piv solidi umori, ?e per
questo si pruova che doue apparisce mag-
giore rossore • H e piv somma d' umori.
seen through two vapours. And so on, as
they are higher they will appear smaller and
redder, because, between the eye and them,
there is thicker vapour. Whence it is proved
that where they are seen to be reddest, the
vapours are most dense.
w. xx vn |
Come tu vuoi prouare, la luna mostrarsi
2maggiore che essa non e, giugnendo al-
1'orizzonte; nu torrai vn ochiale colmo da
una superfitie «e concauo dalla superfitie
opposita, e ticni 5 1'ochio dal concavo, e
guarda 1'obbietto fori 6della superfitie con-
uessa, e cosl ?avrai fatto vn vero simile
8 ah" aria, che si include in^fra la spera del
foco e de^'lla acqua, la quale aria e II concaua
diuerso la terra e I2conuessa diuerso il foco.
909.
If you want to prove why the moon
appears larger than it is, when it reaches
the horizon; take a lens which is highly
convex on one surface and concave on the
opposite, and place the concave side next
the eye, and look at the object beyond the
convex surface; by this means you will have
produced an exact imitation of the atmosphere
included beneath the sphere of fire and out-
side that of water; for this atmosphere is
concave on the side next the earth, and
convex towards the fire.
C. A. 187*; 561 a] 9JO
Fa ochiali da vedere 2la luna grande.
Construct glasses to see the moon mag-
nified.
magiore . . edella prima. 5. omori . . sechondo . . vissto . . omori e chosi. 6. infrallochio ecquello . . solidomori. 7. apa-
riscie magiore . . domori.
909. i. volli . . mosstrare. 2. magore . . gngnendo. 4. conchauo . . ettieni. 6. chonuessa e chosi. 7. arai. 8. chessi.
9. fralla . . focho chede. 12. focho.
910. See the Introduction, p. 136, Fracastoro quaedam specilla ocularia fiunt tantae dtnsitatis, ut si per
ays in his work Homocentres: "Per dua spirilla ea quis out lunam, aut aliud siderum spectel , adeo pro-
ocularia si yuis perspiciat, alteri altero superposito, ma- pinqua ilia iudicet, ut ne turres ifsas excedanl" (sect. II
jora multo et propinquiora videbil omnia. — Quin imo c. 8 and sect. Ill, c. 23).
VI.
THE STARS.
5*1
911.
Veggonsi le stelle di notte e no di di,
per esser noi sotto 2la grossezza dell' aria,
la quale e piena d' infinite particu3le d'umi-
dita, le quali, ciascuna per se quado e per-
cossa ^dalli razzi del sole, rendono splen-
dore, e cosl 1'inSnvmerabili spledori occupano
esse stelle, e se 6tale aria no fusse, il celo
senpre ci mostrerebbe 7le stelle nelle sua
tenebre.
(911—913).
The stars are visible by night and not by on the light
day, because we are beneath the dense °Lt!le _
atmosphere, which is full of innumerable
particles of moisture, each of which inde-
pendently, when the rays of the sun fall upon
it, reflects a radiance, and so these number-
less bright particles conceal the stars; and if
it were not for this atmosphere the sky would
always display the stars against its darkness.
57
912.
- LE STELLE ANNO LUME DAL SOLE O
DA SE.
2Dicono di auere il lume da se, alle-
gando 3che se Venere e Mercuric non
avessino ^il lume da se, quado essa s' inter-
pone infra spochio nostro e '1 sole, esse
oscurerebbero tan6to d'esso sole, quato
esse ne coprono al ochio ^ nostro ; E quest' e
falso, perch' e prouato 8come 1'onbroso,
posto nel luminoso, e cinto e coper9to
tutto da razzi lateral! del rimanete di tal
luI0minoso, e cosl resta inuisibile, come si
WHETHER THE STARS HAVE THEIR LIGHT FROM
THE SUN OR IN THEMSELVES.
Some say that they shine of themselves,
alledging that if Venus and Mercury had not
a light of their own, when they come between
our eye and the sun' they would darken so
much of the sun as they could cover from
our eye. But this is false, for it is proved
that a dark object against a luminous body
is enveloped and entirely concealed by the
lateral rays of the rest of that luminous body
and so remains invisible. As may be seen
gix. r. vegasi lesselle. 2. grosseza. 3. ciasscuna . . rende. 4. cossi. 5. ochupano . . esse. 6. fussi . . mosterrebbe. 7. lesstelle.
QH. i. a lume. 2. dicano di havere . . dasse. 3. uenere e merchurio non auessi. 4. illume dasse . . infral. 5. oscurerebo.
6. coprano. 9. razi. 12. iluga. 13. ochupano. 15. acade. 16. esieno . . non o. 18. nosstro. Lines 19 and 20 are written
911. See Vol. I, No. 296, which also refers to
starlight.
912. From this and other remarks (see No. 902,
VOL. 11.
1. 34 &c.) it is clear that Leonardo was familiar with
the phenomena of Irradiation.
i ;o
ASTRONOMY.
[913.
di"mostra: quando il sole e veduto per la
ra"mificatione delle piate sanza foghe in
luga di'Jstantia, essi rami non occupano
parte al'4cuna d'esso sole alii ochi nostri ;
jl simile '»accade a' predetti pianeti, li quali
ancora l6 che da se sieno sanza luce, eglino
non oc^cupano, com'£ detto, parte alcuna
del sole l8aH'ochio nostro.
SECONDA "PROVA.
"Dicono le stelle nella notte parere
lucidissime "quato piu ci so superiori,
e che, se esse no auessino lume 2-3 da
se, che 1'ombra che fa la terra, che
s'interpone 2«fra loro e '1 sole, ver-
rebbe a scurarle, non vede'Sdo esse,
n£ sedo vedute dal corpo solare; Ma
*6questi non anno considerate, che
1'onbra piramidale de2?lla terra non
aggiugne infra troppe stelle, e in
"quelle ch'ella aggiugne, la piramide
e tanto dimi29nuita, che poco occupa
del corpo della stella; e '1 ri3°manete e
alluminato dal sole.
when the sun is seen through the boughs of
trees bare of their leaves, at some distance
the branches do not conceal any portion of
the sun from our eye. The same thing
happens with the above mentioned planets
which, though they have no light of their
own, do not — as has been said — conceal any
part of the sun from our eye[i8].
SECOND ARGUMENT.
Some say that the stars appear most brilliant
at night in proportion as they are higher
up; and that if they had no light of
their own, the shadow of the earth which
comes between -them and the sun, would
darken them, since they would not face
nor be faced by the solar body. But
those persons have not considered
that the conical shadow of the earth
cannot reach many of the stars; and
even as to those it does reach, the cone
is so much diminished that it covers
very little of the star's mass, and all the
rest is illuminated by the sun.
F. 6o*l 913
Perched li pianeti appariscono maggiori
2 in oriete che sopra di noi, che dovrebbe
•J essere il contrario,
essendo 435<X) miglia
p u vicini a noi, essen-
do 5nel mezzo del
celo, che essendo al-
I'o6rizz6te.
?Tutti li gradi delli
elemeti, donde passa-
8 no le spetie de' corpi
celesti, 9 che vengono
all'ochio, sono I0equali,
e li angoli, "donde li
penetra "la linia ce-
trale di tali spetie, so-
no I3inequali, e la di--
stantia £ 14maggiore,
come mostra 1' eccesso
a b soispra a d, e per
la 9 a del 7° la gran-
dezza l6d'essi corpi celesti nell' orizzonte e
provata.
Why the planets appear larger in the
East than they do overhead, whereas the
contrary should be the
case, as they are 3500
miles nearer to us when
in mid sky than when
on the horizon.
All the degrees of
the elements , through
which the images of
the celestial bodiejs pass
to reach the eye, are
equal curves and the
angles by which the cen-
tral line of those images
passes through them, are
unequal angles [13]; and
the distance is greater, as
is shown by the excess of
a b beyond a d; and
the enlargement of these
celestial bodies on the horizon is shown by
the 9th of the 7th.
on ffu margin. 20. pruoua. at. Dicano. 22. superiore e chesselle no auesino. 23. che obra cheffa . . chessinterpone.
24. le verebe asscurare. 25. nessedo. 26. nona . . chellonbra. 27. nonagugne . . stelle ege. 28. chellagugnie . . ettanto.
29. ochu pa. 30. aluminato.
913. i. aparisca magori. 2. douerebbe. 5. mczo. 6. rizote, 7. gradi | "delli elemeti". 9. vengano. 10. cului elli angoli [della
luna). ii. (contra le di] donde li. 12. tale. 13. nequali ella. 14. magore . . ecesso. 15. grandeza. 16. orizontc.
913. 1. 13. inequali, here and elsewhere does not mean unequal in the sense of not being equal to
each other, but angles which are not right angles.
914—916.]
THE STARS. — TIME.
171
Br. M. 279^]
914.
Per uedere la natura delli pi2aneti apri
il tetto e mo^stra alia basa vn sol pia4neta,
e '1 moto reflesso da stale basa dira la
comples6sione del predetto pianeta, ?ma fa
To see the real nature of the planets observations
open the covering and note at the base [4] one0" thestars>
single planet, and the reflected movement of
this base will show the nature of the said
che tal basa no ne 8veda piu d'uno per planet; but arrange that the base may face
uolta.
only one at the time.
E.
915.
Tullius de Diuinatione 2ait Astrologiam
fuisse 3adinuenta ante trojanum ^bellu
Qumgentis septuasginta milibus anorum.
57000.
Cicero says in [his book] De Divinatione On history
that Astrol°gy has been practised five ofno^y?"
hundred seventy thousand years before the
Trojan war.
57000.
Br. M. 173^ (igoi)]
9l6.
Benche il tenpo • sia annumerato infra
le continue 2quatita, esso, per essere inui-
sibile e sanza corpo, non cade integral-
mete sotto la 3geometrica potentia, la quale
lo diuide per figure e corpi d'infinita va-
rieta, *come continue nelle cose uisibili e
corporee far si uede; Ma sol co' sua primi
s principi si couiene •, cioe col punto e colla
linia-; jl punto nel tempo e da 6 essere
equiparato • al suo instante, e la linia a
similitudine colla Iughez7za d'una quantita
d'un tempo, e siccome i puti so principio
e fine della predet8ta linia •, cosl li instanti
Although time is included in the class of Of time and
Continuous Quantities, being indivisible and^^jSj*
immaterial, it does not come entirely under
the. head of Geometry, which represents its
divisions by means of figures and bodies
of infinite variety, such as are seen to be conti-
nuous in their visible and material properties.
But only with its first principles does it agree,
that is with the Point and the Line ; the point
may be compared to an instant of time, and the
line may be likened to the length of a certain
quantity of time, and just as a line begins and
terminates in a point, so such a space of time.
914. 4. refresso. 5. compless. 8. duna.
916. i. anvmerato infralle 3. geometricha | "potentia" . . diuide . . chorpi difinita. 4. uisibile . . farsi e uede Massol. 5. coe
. . cholla. 6. Ella . . "a" . . cholla luggez. 7. "duna quantita" dun . . essicome . . effine. 8. instancti . . prcipio . . Esse.
914. 4. basa. This probably alludes to some in-
strument, perhaps the Camera obscura.
915. The statement that CICERO, De Divin.
ascribes the discovery of astrology to a period
57000 years before the Trojan war I believe to be
quite erroneous. According to ERNESTI, Clavis Ci-
ceroniana, CH. G. SCHULZ (Lexic. Cicer.) and the
edition of De Divin. by GlESE the word Astrologia
occurs only twice in CICERO : De Divin. II, 42. Ad Chal-
dtzoruin monstra veniamus, de quibus Eudoxus, Platonis
auditor, in astrologia judicio doctissimorum hominum
facile princeps, sic opinatur (id quod scriptum reliquit):
Chaldais in prcedictione et in notatione cujusque vita
ex natali die minime esse credendum." He then quotes
the condemnatory verdict of other philosophers as
to the teaching of the Chaldaeans but says nothing
as to the antiquity and origin of astronomy. CICERO
further notes De oratore I, 1 6 that Aratus was
"ignartts astrologies" but that is all. So far as I know
the word occurs nowhere else in CICERO; and the
word Astronomia he does not seem to have used at
all. (H. MULLER-STRUBING.)
916. This passage is repeated word for word on
page I9ob of the same manuscript and this is ac-
counted for by the text in Vol. I, No. 4. Compare
also No. 1216.
172
ASTRONOMY.
918.
so terminc e principle di qualuche dato
spatio di tenpo;— e se 'la linia e diuisibile
in Ifinito, lo spatio d'u tenpo di tal diui-
sione non e alieno, I0e se le parti diuise
della linia sono proportionabili infra se,
ancora le parti del tenpo "sarano propor-
tionabili infra loro.
begins and terminates in an instant. And
whereas a line is infinitely divisible, the
divisibility of a space of time is of the same
nature; and as the divisions of the line may
bear a certain proportion to each other, so
may the divisions of time.
Br. M. i;<5-]
917.
Scriui la qualita del 2 tenpo, separata
dalla Jgeometrica.
Describe the nature of Time as distin-
guished from the Geometrical definitions.
Br. M. 1910] 9l8
Fa che vn ora sia diui'sa in 3000 parti,
e Jquesto farai coll'oriolo ^alleggeredo o
aggravado sil cotrapeso.
Divide an hour into 3000 parts, and this
you can do with a clock by making the
pendulum lighter or heavier.
io. CMelle parte. n. infralloro.
917. 2. seperata. 3. gcomctricha.
918. 3. cquesto. 4, allegeredo o agravado.
XVI.
Physical Geography.
Leonardo's researches as to the structure of the earth and sea were made at a
time, when the extended voyages of the Spaniards and Portuguese had also excited a
special interest in geographical questions in Italy, and particularly in Tuscany. Still, it
need scarcely surprise us to find that in deeper questions, as to the structure of the globe,
the primitive state of the earth's surface, and the like, he was far in advance of
his time.
The number of passages which treat of such matters is relatively considerable;
like almost all Leonardo's scientific notes they deal partly with theoretical and partly
with practical questions. Some of his theoretical views of the motion of water were
collected in a copied manuscript volume by an early transcriber, but without any
acknowledgment of the source whence they were derived. This copy is now in the Library
of the Barberini palace at Rome and was published under the title: "De moto e mi-
sura dell' acqua," by FRANCESCO CARDINAL!, Bologna 1828. In this work the texts
are arranged under the following titles: Libr. I. Delia spera dell' acqua; Libr. It.
Del moto dell 'acqua; Libr. III. DelPonda dell' acqua; Libr. IV. Dei retrosi d' acqua;
Libr. V. Dell 'acqua cadente; Libr. VI. Delle rotture fatte dall' acqua; Libr. VII
Delle cose portate dall 'acqua; Libr. VIII. Dell'oncia dell' acqua e delle canne; Libr. IX.
De molini e d'altri ordigni d' acqua.
The large number of isolated observations scattered through the manuscripts,
accounts for our so frequently finding notes of new schemes for the arrangement of
those relating to water and its motions, particularly in the Codex Atlanticus: I have
printed several of these plans as an introduction to the Physical Geography, and I have
actually arranged the texts in accordance with the clue afforded by one of them which
is undoubtedly one of the latest notes referring to the subject (No. 920). The text
given as No. 930 which is also taken from a late note-book of Leonardo's, served as a
basis for the arrangement of the first of the seven books — or sections — , bearing the
title: Of the Nature of Water (Dell'acque in se).
»74
PHYSICAL GEOGRAPHY.
As I kavt not made it any part of this undertaking to print the passages which
refer to purely physical principles, it has also been necessary to exclude those practical
researches which, in accordance ivith indications given in 920, ought to come in as
Books 13, 14 and 15. / can only incidentally mention here that Leonardo — as it seems
to me, especially in his youth — devoted a great deal of attention to the construction of
mills. This is proved by a number of drawings of very careful and minute execution,
which are to be found in the Codex Atlanticus. Nor was it possible to include his con-
siderations on the regulation of rivers, the making of canals and so forth (No. 920,
Books IO, II and 12); but those passages in which the structure of a canal is directly
connected with notices of particular places will be found duly inserted under section XVII
(Topographical notes). In Vol. I, No. 5 the text refers to canal-making in general.
On one point only can the collection of passages included under the general heading
of Physical Geography claim to be complete. When comparing and sorting the materials
for this work I took particular care not to exclude or omit any text in which a geo-
graphical name was mentioned even incidentally, since in all such researches the chief
interest, as it appeared to me, attached to the question whether these acute observa-
tions on the various local characteristics of mountains, rivers or seas, had been made by
Leonardo himself , and on the spot. It is self-evident that the ftw general and somewhat
superficial observations on the Rhine and the Danube, on England and Flanders, must
have been obtained from maps or from some informants, and in the case of Flanders
Leonardo himself acknowledges this (see No. 1008)+ But that most of the other and more
exact observations were made, on the spot, by Leonardo himself, may be safely assumed
from their method and the style in which he writes of them; and we should bear it in
mind that in all investigations, of whatever kind, experience is always spoken of as the
only basis on which he relies. Incidentally, as in No. 984, lie thinks it necessary to
allude to the total absence of all recorded observations.
INTRODUCTION.
Leic. 5 a]
919.
Quest! libri contegono in ne' primi 2 della These books contain in the beginning : schemes for
natura dell' acqua in se ne' 3Sua moti, li Of the nature of water itself in its motions : the arrange-
111 r i ' 11 /-i r ' ment ot the
111 r i '
altn contegono delle 4 cose tatte dai sua
corsi, 5che mv6tano il mondo di centre e
di figura.
11 /-i r '
the others treat of the effects of its currents, materials
which change the world in its centre and
its shape.
Leic. 156]
920.
DlUISIO DEL LIBRO.
Libro p° delFacque in se,
libro 2° del mare,
libro 3° delle uene,
5 libro 4° de' fiumi;
libro 5° delle nature de' fodi,
libro 6 delli obbietti,
libro 7 delle ghiaje,
libro 8° della superfitie del' acqua,
10 libro 9 delle cose che in quella
son messe;
libro 10° de' ripari de' fiumi,
libro 11° delli condotti,
libro 12 de' canali,
libro 13 delli strumeti volti dalF acqua,
js libro 14 del far motare 1'acque,
libro 15 delle cose cosumate dalFacque.
DIVISIONS OF THE BOOK.
1 of water in itself.
2 of the sea.
3 of subterranean rivers.
4 of rivers.
5 of the nature of the abyss.
6 of the obstacles.
7 of gravels.
8 of the surface of water.
9 of the things placed
therein.
Book 10 of the repairing of rivers.
Book ii of conduits.
Book 12 of canals.
Book 13 of machines turned by water.
Book 14 of raising water.
Book 15 of matters worn away by water.
919 .1. cotegano. 3 cotegano. 4. dae sua.
gso. 8. giare. 9. delle . . acq"a". 10. quella. 16. dell cose . . acq"e".
PHYSICAL GEOGRAPHY.
[921-925.
Ute. 9-1
Q2I.
Farai prima un libro 2che tratti de' First you shall make a book treating of
lochi Joccupati dall'acque 'dolci, e '1 2° places occupied by fresh waters, and the se-
dalM' acque salse, e '1 63° come, per la par- cond by salt waters, and the third, how by the
?tita di quelle,' queste 8nostre parti son disappearance of these, our parts of the
'fatte piv lieui, e I0per consequeza piv world were made lighter and in consequence
"remosse dal cen"tro del modo. more remote from the centre of the world.
r- Ml
922.
Descriui in prima tuttal'acquainciascuno
suo moto, di poi * descriui tutti li sua fondi
e le lor materie, senpre aMegando le pro-
positioni delle predette acque, e fia bu'ono
ordine, che altrimeti 1' opera sarebbe co-
fusa.
s Descriui tutte le figure che fa 1'acqua
dalla sua 6maggiore alia sua minore onda
e le lor cause.
First write of all water, in each of its
motions; then describe all its bottoms and
their various materials, always referring to
the propositions concerning the said waters;
and let the order be good, for otherwise the
work will be confused.
Describe all the forms taken by water
from its greatest to its smallest wave, and
their causes.
F. Ma]
Libro 9 de' surgimenti accidentali del-
T acqua.
Book 9, of accidental risings of water.
F. 90*]
924.
ORDINE DEL LIBRO.
THE ORDER OF THE BOOK.
2 Poni nel principio ci6 che pu6 fare vn Place at the beginning what a river
fiume. can effect.
Br. M. 35*] 9
Libro d'abbattere li eserciti • col' impeto
de' diluui fatti dall'acque disgorgate,
2 Libro che 1' acque coducino a salua-
mento li legniami tagliati ne' moti,
3 Libro delle barche condotte contro al-
1'inpeto de' fiumi,
* Libro dell' alzare li gran ponti col sen-
plice accrescimeto dell' acque,
5 Libro del riparare all'inpeto de' fiumi
che le citta da quelli no sie percosse.
A book of driving back armies by the
force of a flood made by releasing waters.
A book showing how the waters safely
bring down timber cut in the mountains.
A book of boats driven against the impetus
of rivers.
A book of raising large bridges higher.
Simply by the swelling of the waters.
A book of guarding against the impetus
of rivers so that towns may not be damaged
by them.
gai. i. p"a" vn libr. 3. ochupati. 7. quele. 8. parte.
939. i. scriui in p"a" . . lacq"a" . . ciasscuno. 2. dcsscriui . . elle. 4. altremeti. 5. cheffa lacq"a". 6. magore . . elle.
913. acq"«".
924. 2. co che po.
9»S. The head of tack lint it marked by tht litter d which u crosted out. i. d.ibatter . . chol inpito . . dilumi . . dellacq'V
discorghatc. 2. chellacquc . . assaluamento. 4. acresscimeto. 5. chelle cita dacquelli . . percossi.
\
926. 927-J
INTRODUCTION.
177
Br. M. 353]
926.
Libro della dispositio de' fiumi a co-
seruatio dell'argine sue,
2 Libro delli monti, che si spiccherano,
e fia la terra sotto il nostro emisperio
scoperta dall'acqua,
3 Libro del terreno portato dal'acqua a
riepiere la gra profondita de' pelaghi,
4 Libro de' modi che la fortuna per se
netti li riepiuti porti del mare,
s Libro dell'argine de' fiumi e lor per-
manentia,
6 Libro del fare che li fiumi con lor corso
tegin netti li fondi loro per le citta dode
passano,
7 Libro del fare o rifondare li ponti sopra
li fiumi,
8 Libro di ripari che farsi debbo alii
muri e argini de' fiumi percossi dall'ac-
qua,
9 Libro del generare li colli dalP arena
o ghiaja sopra le gran profondita dell' acque.
A book of the ordering of rivers so as to
preserve their banks.
A book of the mountains, which would
stand forth and become land, if our hemi-
sphere were to be uncovered by. the water.
A book of the earth carried down by the
waters to fill up the great abyss of the seas.
A book of the ways in which a tempest may
of itself clear out filled up sea-ports.
A book of the shores of rivers and of
their permanency.
A book of how to deal with rivers, so
that they may keep their bottom scoured by
their own flow near the cities they pass.
A book of how to make or to repair
the foundations for bridges over the rivers.
A book of the repairs which ought to
be made in walls and banks of rivers where
the water strikes them.
A book of the formation of hills of sand
or gravel at great depths in water.
Br. M. 122 a]
927.
L'acqua da principio al moto suo,
2 Libro liuellamenti d' acque per diuersi
modi,
3 Libro del discostare li fiumi dai lochi
da loro offesi,
4 Libro del dirizzar li fiumi che occu-
pano superchio terreno,
5 Libro del diuidere li fiumi in molti
rami e farli guadabili,
6 Libro dell' acque che co diuersi moti
passa pe' pelaghi loro,
7 Libro del profondare li letti alii fiumi
co uari corsi d' acque,
8 Libro di disporre li fiumi I modo che
li piccoli pricipj de' sua danni non accre-
scino,
9 Libro de' uari moti dell' acque che
passan per diuerse figure di canali,
10 Libro del fare che li piccoli fiumi non
pieghino il maggiore percosso dalle loro
acque,
"Libro della maggior bassezza che
trouar si possa nella correte della super-
fitie de' fiumi,
Water gives the first impetus to its
motion.
A book of the levelling of waters by
various means.
A book of diverting rivers from places
where they do mischief.
A book of guiding rivers which occupy
too much ground.
A book of parting rivers into several
branches and making them fordable.
A book of the waters which with various
currents pass through seas.
A book of deepening the beds of rivers
by means of currents of water.
A book of controlling rivers so that the
little beginnings of mischief, caused by them,
may not increase.
A book of the various movements of waters
passing through channels of different forms.
A book of preventing small rivers from
diverting the larger one into which their
waters run.
A book of the lowest level which can
be found in the current of the surface of
rivers.
926. 2. chessi spich[a] erano effia la terra "sotto il nostro emisperio" scoperta dellacqua. 3. tere. 4. perse nettili riepiuti porta
del mare. 5. ellor premanentia. 6. chelli . . collor . . teginetti . . fondi "lor". 7. orrifondare. 8. cheffarsi. 9. ghi-
ara . . acq"e".
937. i. \\\\\\\\\\\\\\\\\gi to dobliquita Lacq"a". 2 — 13. Each line is headed by an L, meaning Libro. 3. discosstare . . dalloro. 4. diri-
zar . . ce ochupan. 5. effarli. 6. cho. 7. cho . . chorsi. 8. di sporre . . chelli picholi . . accresscino. 9. acq"e" . .
chanali. 10. chelli picholi . . magore perchosso. n. dalla maggor basseza . . corete. 12. pellalte.
VOL. 11. Z
I78
PHYSICAL GEOGRAPHY.
[928.
"Libro dell' engine de' fiumi die versa
per 1'alte cime de' monti,
'J Libro della uarieta de' moti dell'acque
ne' lor fiumi.
A book of the origin of rivers which flow
from the high tops of mountains.
A book of the various motions of waters in
their rivers.
928.
Br. M. «•]
[i] Delia inequalita della concauita del
nauilio,
»[i] Libro della inequalita della curuita
de' lati de' nauili,
3[iJ Libro della inequalita del sito del
timone,
«[i] Libro della inequalita della carena
de' nauili,
s [2] Libro della uarieta delli spiraculi
donde 1'acqua si uersa,
6 [3] Libro dell'acqua inclusa ne' vasi
insieme coll' aria e sua moti,
7 [4] Libro del moto dell'acqua per «
le cicognole,
8 [5] Libro delli scontri e concorsi del-
l'acque venute da diuersi aspetti,
9 [6] Libro delle varie figure delli argini
traversati dalli fiumi,
10 [7] Libro delle uarie seccbe generate
sotto le chiuse de' fiumi,
11 [8] Libro delle torture e pieghameti
delle correti de' fiumi,
"[9] Libro de' uari siti donde si de'
trar 1'acqua de' fiumi,
I3[io] Libro delle figure dell'argini de'
fiumi e lor permanetia,
14[n] Libro dell'acqua cadente perpe-
dicularmente sopra diuersi obbietti,
'5 [12] Libro del corso dell'acqua inpe-
dito in diuersi siti,
16 [12] Libro delle uarie figure delli ob-
bietti che impediscono il corso del acque,
I7[i3J Libro delle concauita e globosita
fatte dal fondo Ttorno a vari obbietti,
18 [14] Libro del condurre li canali navi-
gabili sopra o sotto li fiumi che Piterse-
gano,
19 [15] Libro delli terreni che beono le
acque de' canali e lor ripari,
20[i6] Libro della creatio de' corsi de'
fiumi che votano il letto de' fiumi riepiuti
di terreno.
[i] Of inequality in the concavity of a
ship.
[i] A book of the inequality in the curve
of the sides of ships.
[i] A book of the inequality in the position
of the tiller.
[i] A book of the inequality in the keel
of ships.
[2] A book of various forms of apertures
by which water flows out.
[3] A book of water contained in vessels
with air, and of its movements.
[4] A book of the motion of water through
a syphon.
[5] A book of the meetings and union
of waters coming from different directions.
[6] A book of the various forms of the
banks through which rivers pass.
[7] A book of the various forms of shoals
formed under the sluices of rivers.
[8] Abook of the windings and meanderings
of the currents of rivers.
[9] A book of the various places whence
the waters of rivers are derived.
[10] A book of the configuration of the
shores of rivers and of their permanency.
[u] A book of the perpendicular fall of
water on various objects. -.
[12] Abook of the course of water when
it is impeded in various places.
[12] A book of the various forms of the
obstacles which impede the course of waters.
[13] A book of the concavity and globosity
formed round various objects at the bottom.
[14] Abook of conducting navigable canals
above or beneath the rivers which intersect
them.
[15] A book of the soils which absorb
water in canals and of repairing them.
[ 1 6] Abook of creating currents for rivers,
which quit their beds, [and] for rivers choked
with soil.
4. charena. 5. spirachuli . . lacq"a". 6. essua. 7. cicognuolc. 8. acq"e" . . di . . asspetti. 9. delle . . traversate alii.
10. secche [fatte sotto] generate, n. chorreti. u. lacque. 13. fighure dellargine . . ellor premanetia. 14. chadende per-
pedchulare. 15. acq"a". 16. chenpedisscano . . aeq"e". 17. globbosita. 18. condure . . navichabili . . ossotto . .
chellrersegano. 19. beano . . chanali ellor.
928. I. Tte first line of this passage was added subsequently, evidently as a correction of the follow-
ing line. 7. cutgnoU, see No. 966, n, 17.
929-]
INTRODUCTION.
179
A.
gag.
COMI'CIAMETO DEL TRATTATO DEL' ACQUA. THE BEGINNING OF THE TREATISE ON WATER.
2L'omo e detto-da li antiqui • modo By the ancients man has been called the General in-
minore -, e cierto la ditione • d'esso-nome world in miniature; and certainly this name trodui
e bene collocata, 3impero-che, sicchome-
F omo • e coposto • di terra -, acqua -, aria •
e foco-, questo corpo • della • terra 4e il
simiglante-; se 1'omo • a in se • ossi, soste-
nitori e armadura • della carne -, jl modo a
i sassi, Ssostenitori della • terra; se 1'omo
a in se il lago • del sangue, doue crescie-
e discrescie il pcJmo6ne • nello • alitare -, jl
corpo della terra a il suo oceano mare -, il
quale ancora • lui crescie ^ e discrescie ogni
• sei • ore • per lo alitare • del modo •; se dal
detto • lago di sangue • diriuano ve8ne -, che
si vanno ramificado • per lo corpo • vmano -,
similmete il mare oceano enpie 9il corpo
della terra • d' infinite vene d' acqua; man-
cano al corpo della terra • i nerui, i quali
no ui I0sono -, perche i nervi sono fatti al
proposito • del movimeto -, e il modo sendo
di perpetua stabilita, JInon accade movi-
meto e, no accadedo movimeto, • i nervi-
no ui sono • neciessari ; Ma I tutte ISTaltre
• cose • sono • molto simili.
is well bestowed, because, inasmuch as man
is composed of earth, water, air and fire,
his body resembles that of the earth; and
as man has in him bones the supports and
framework of his flesh, the world has its rocks
the supports of the earth; as man has in him
a pool of blood in which the lungs rise and
fall in. breathing, so the body of the earth
has its ocean tide which likewise rises and
falls every six hours, as if the world breathed;
as in that pool of blood veins have their ori-
gin, which ramify all over the human body,
so likewise the ocean sea fills the body of the
earth with infinite springs of water. The
body of the earth lacks sinews and this is,
because the sinews are made expressely for
movements and, the world being perpetually
stable, no movement takes place, and no
movement taking place, muscles are not ne-
cessary.— But in all other points they are
much alike.
929. i. acq"a". 2. cholochata. 3. impero . chessi . chome . . choposto di tera . acq"a" . . effocho . . chorpo . . tera. 4. sel-
lomo . . osso . . charne. 5. ssisotenitori . . lacho. 6. tera . . occicano . . anchora . . cresscie. 7. diriua ve. 8. chessi
vano ramifichado . . chorpo . . [C] similmete . . occieano. 9. dacq"a" mancha . . tera. n. achade . . achadedo. 12. chose.
OF THE NATURE OF WATER.
The .i
•--
•
E. »«] 930.
ORDINE DEL PRIMO LIBRO DELLE ACQUE. THE ORDER OF THE FIRST BOOK ON WATER.
'Difinisci prima che cosa e altezza e Define first what is meant by height and
• bassezza anzi come so situati ^li elemeti depth; also how the elements are situated
one inside another. Then, what is ^meant
by solid weight and by liquid weight; but
first what weight and lightness are in them-
selves. Then describe why water moves,
and why its motion ceases; then why it be-
comes slower or more rapid; besides this,
how it always falls, being in contact with
the air but lower than the air. And how water
rises in the air by means of the heat of the
sun, and then falls again in rain; again, why
water springs forth from the tops of moun-
tains; and if the water of any spring higher
than the ocean can pour forth water
higher than the surface of that ocean. And
how all the water that returns to the ocean
is higher than the sphere of waters. And
how the waters of the equatorial seas are
higher than the waters of the North, and higher
beneath the body of the sun than in any part
of the equatorial circle ; for experiment shows
that under the heat of a burning brand the
water near the brand boils, and the water
surrounding this ebullition always sinks with
Book i. 1'u'dentro all'altro; Di poi che cosa e gra-
vita de4sa e che e gravita liquida, ma prima
che cosa e in se gravista e leuita • ; Di poi
descrivi perche 1'acqua si move e perche
ter^mina il moto suo, poi perche si fa piu
tarda o velocie, oltre 7a questo come ella
senpre disciede, essendo in cofine d'ari*a
piu bassa di lei j E come 1'acqua si leua
in aria mediante 9il calore del sole e poi
• ricade in pioggia • ; ancora perche 1' acqua
10 surgie dalle cime de' monti e se 4' acqua
di nessuna vena piu alta "che 1' oceano
mare pud uersare acqua piu alta che la
superfitie I2d' esso • oceano • ; E come tutta
• 1' acqua che torna all' oceano e piu alta
'^della spera dell' acqua | e come 1'acqua
delli mari equinotiali e piu alta ^che le
acque settetrionali , ed e piu alta sotto il
corpo del sole 'Sche in nessuna parte del
circulo equinotiale come si speril6meta
sotto il calore dello stizzo infocato, 1'acqua
che mediate tale stizzo bolle e 1'acqua
circustate al cietro di tal bol'8lore senpre
930. i. p"o" libro. 2. p"a" che chosa he . . ebbasseza. 3. chosa. 4. chosa. 5. elleuita. 7. addi questo chomelU . . cotino.
8. chome. 9. chalore . . eppoi richade . . anchora. 10. dellc cime . . essellacqua. n. chclloccieano . . cbella. 12. occic-
ano . . chome . . chettorna . . accieano eppiu. 13. [desso] della . . chome . . ecquinotiali eppiu. 14. chelle. 15. incssuna
. . circhulo . . iiisperi. 16. chalore . . infochato. 17. talle . . ellacqua circhustate. 18. dissciende . . circhulare e chome.
931— 933-]
OF THE NATURE OF WATER.
181
disciende con onda circulare e come 1' acque a circular eddy. And how the waters of the
^settetrionali Son piv basse che li altri
mari e tato piu, qua20to esse son piv fredde,
insin che si convertono in ghiaccio.
North are lower than the other seas, and
more so as they become colder, until they
are converted into ice.
C 266 (4)]
CHE COSA E ACQUA.
OF WHAT IS WATER.
2Acqua e infra i quatro elemeti il se- Among the four elements water is the Definitions
codo me grave e di seconda volubilita. second both in weight and in instability. (931-932).
1.2 24* and 1} 932.
PRINCIPIO DEL LIBRO DELL' ACQUE.
Pelago e detto quello, il quale a figura
THE BEGINNING OF THE BOOK ON WATER.
_0 - !„„.„, j & Sea is the name given to that water
la'rga ^e profoda; 4nel quale 1' acque stanno which is wide and deep, in which the waters
con poco moto.
have not much motion.
Leic. 34 6]
933-
Li centri della spericita dell'acqua sono
due : 1' uno e della vniuersale acqua, 1' altro
e particulare; 2l'vniversale e quello, il
quale serue a tutte 1' acque sanza moto; che
sono in se in gra quatita, 3 come canali,
fossi, viuai, fonti, pozzi, fiumi morti, laghi,
paduli, stagni e mari, li quali, ancorache
sieno di uarie altezze ciascuno per se, ano
li termini delle lor superfitie equi^distanti
al centro del mondo, come sono i laghi
posti nelle cime delli alti moti come sopra
s Pietra Pana e Lago della Sibilla a Norcia,
e tutti li laghi che da principio a grandi
fiumi, come Tesino 6dal Lago Maggiore,
Adda dal lago di Como, Mincio dal lago
di Garda e Reno dal lago di Costan?tia |
e di Coira e dal lago di Lucerne, e come
Tigron, il quale passa per la Minore Asia,
il quale ne porta 8con seco 1' acqua di 3
paduli, 1'un dopo 1' altro, di uarie altezze,
de' quali il piv alto e Munace, el mezzano
e Pallas 9e '1 piu basso e Triton; ancora
el Nilo diriua da 3 altissimi paduli in Eti-
opia.
The centres of the sphere of water are or the sur-
two, one universal and common to all water, ^aterhlrda-
the other particular. The universal one isti°n to the
that which is common to all waters not in (933-936).
motion, which exist in great quantities. As
canals, ditches, ponds, fountains, wells, dead
rivers, lakes, stagnant pools and seas, which,
although they are at various, levels, have
each in itself the limits of their superficies
equally distant from the centre of the earth,
such as lakes placed at the tops of high moun-
tains; as the lake near Pietra Pana and
the lake of the Sybil near Norcia; and all
the lakes that give rise to great rivers, as
the Ticino from Lago Maggiore, .the Adda
from the lake of Como, the Mincio from
the lake of Garda, the Rhine from the lakes
of Constance and of Chur, and from the lake of
Lucerne, like the Tigris which passes through
Asia Minor carrying with it the waters of three
lakes, one above the other at different heights
of which the highest is Munace, the middle one
Pallas, and the lowest Triton; the Nile again
flows from three very high lakes in Ethiopia.
19. chelli . . ettato. 20. chessi chonvertano in diaccio.
931. i. chosa . . sechodo. 2. grieve . . sechonda. 933. 2. pellago . . affigura.
933. i. Lli centri . . acq"a" . . partichulare. 2. deluniversale . . attutte lacque . . chessono. 3. cannali fossi "viuai fonti pozi'
fiumi . . quali "ancorche sieno di uarie alteze ciascun per se" ano. 4. distante . . illaghi. 5. pietra pana ellago . . sibilla
a norca ettutti. 6. [adda da] dal . . magore . . lagho . . como [adice] "menzo" dal lagho . . erreno . . gostan. 7. eurio
lacho . . Trigon . . minore africha il quane ne. 8. consecholacq"a" . . alteze . . mezano he. 9. di.
932. Only the beginning of this passage is here
given, the remainder consists of definitions which
have no direct bearing on the subject.
933- 5- Pietra Pana, a mountain near Florence. If
for Norcia, we may read Norchia, the remains of
the Etruscan city near Viterbo, there can be no doubt
that by 'Lago della Sibilla! — a name not known else-
where, so far as I can learn — Leonardo meant
Lago di Vico (Lacus Ciminus, Aen. 7).
182
PHYSICAL GEOGRAPHY.
[934- 935-
A.
934-
DEL CIETRO DELL OCIEANO • MARE.
*D cietro della spera • dell'acqua • e il
centre- vero • della rotodita del nostro modo,
• il quale si copone J infra • acqua e terra •
in forma • rotoda • ; Ma se tu • volessi trovare
• il cietro dello • elemeto della « terra •, questo
• e cotenuto • per equidistate • spatio • dalla
superfitie • dell' oceano • mare • , e no dalla
sequidistante • superfitie • della- terra •, perche
chiaro • si comprende • questa palla • della •
terra non 6avere • niente • di perfetta • roto-
dita •, se non £ • in quella • parte dou' e mare
• o paduli o altre acque mor7te, • e qualun-
que • parte • d'essa • terra che escie • fori •
d'esso mare, s'allontana • dal suo- cietro.
OF THE CENTRE OF THE OCEAN.
The centre of the sphere of waters is
the true centre of the globe of our world,
which is composed of water and earth,
having the shape of a sphere. But, if you
want to find the centre of the element of
the earth, this is placed at a point equidi-
stant from the surface of the ocean, and
not equidistant from the surface of the earth;
for it is evident that this globe of earth has
nowhere any perfect rotundity, excepting in
places where the sea is, or marshes or other
still waters. And every part of the earth
that rises above the water is farther from
the centre.
E. 4*1 935
DEL MARE CHE MUTA 2IL PESO DELLA TERRA.
OF THE SEA WHICH CHANGES THE WEIGHT OF
THE EARTH.
3 Li nichi, ostrighe e altri simili animali,
<che nascono nelli fanghi marini, ci testifi-
scano la mutatio della terra intorno al
6 cietro de' nostri elemeti; pruovasi cosl:
7 Li fiumi reali senpre corrono con torbidu-
8me, tinto dalla terra, che per lor si leua
mediate la co^fregatio delle sue acque sopra
il fondo e nelle sue I0riue, e tal cosumati-
one scopre le fronti de' gradi "fatti a' suoli
di quelli nichi, che stan nella superfitie
"del fango marine, li quali in tal sito na-
scierono, qua^do 1' acque salse li coprivano,
e questi tali gradi erano riI4coperti di tenpo
in tenpo dalli fanghi di uarie grossez'Sze o
condotti al mare dalli fiumi co diluvi di di-
verse gral6dezze; e cosl tali faghi furono
composti in tata altezza, che dal fondo si
'^scopriua all' aria; Ora questi tali fondi
sono in tata l8 altezza che son fatti colli,
o alti moti, e li fiumi, ^consuma^tori de'
lati "d'essi monti, "scoprono **\\ gradi
d'es^si nichi, e co25sl il Ieni26ficato lato
*? della terra 28al cotinuo 29s'inalza, e *°]i
antipcP'di s'accosta^no piu al -"tietro del
J«mondo, 35e li anti^chi fondi del 37mare
son fatti *8gioghi di monti.
The shells, oysters, and other similar ani-
mals, which originate in sea-mud, bear wit-
ness "to the changes of the earth round the
centre of our elements. This is proved
thus: Great rivers always run turbid, being
coloured by the earth, which is stirred by the
friction of their waters at the bottom and on
their shores; and this wearing disturbs the face
of the strata made by the layers of shells,
which lie on the surface of the marine mud,
and which were produced there when the
salt waters covered them; and these strata
were covered over again from time to time,
with mud of various thickness, or carried down
to the sea by the rivers and floods of more or
less extent; and thus these layers of mud became
raised to such a height, that they came up
from the bottom to the air. At the present time
these bottoms are so high that they form hills
or high mountains, and the rivers, which
wear away the sides of these mountains, un-
cover the strata of these shells, and thus the
softened side of the earth continually rises and
the antipodes sink closer to the centre of the
earth, and the ancient bottoms of the seas
have become mountain ridges.
934. i. eccicono. a. dellacq"a" . . retodita . . nosstro . . qualle . . chopone. 3. acq"a" ecterra . . retoda Massettu . . elle-
meto. 4. quessio e thotenuto . . equidissunte . . occieano. 5. equidisstanto . . chonplende questa . . nona. 6. retodita.
7. ecqualumque . . terra esscie.
935- 3- osstrighe. 4. nasschano . . tessti. 5. chano. 6. nosstri. 7. senpre [stanno] cor! torbidi. 8. mediate la terra. 9. fre-
ghatio . . accque . . nelle sine. 10. rive ettal . . sconpre . . fronte. ' n. assuoli . . chesstan. 12. fangho . . nasscicrono.
13. ecquessti . . era ri. 14. grosse. 15. indotti. 16. faghi conpossti . . alteza. 17. quessti. 18. alteza . . clli fiumi.
22. scoprano. 24. echo. 25. si [1] illeni. 26. fichato. 29. el sacossta. Lines 19 — 38 are written OH the margin.
936— 938.]
OF THE NATURE OF WATER.
183
Leic. 10 i]
936.
Faccia mutatio la terra colla sua gra- Let the earth make whatever changes
vezza, quate farsi 2voglia, che mai la it may in its weight, the surface of the
superfitie .della spera dell'acqua no si sphere of waters can never vary in its
partira dalla sua equidistatia col centre del equal distance from the centre of the
modo. world.
Leic. 35,5] 937-
SE LA TERRA & ME CHE L'ACQUA.
2 Dicono alcuni esser vero, che la terra,
ch'e scoperta dalle acque, sia molto
rninore che quella che da esse acqu' e
coperta; 3 Ma che considerando la
grossezza di 7000 miglia di diametro,
che a • essa terra, e' si puo concludere
1'acqua essere di *poca profondita.
Leic. 36
938.
BELLA TERRA IN SE.
WHETHER THE EARTH is LESS THAN THE WATER.
Some assert that it is true that the earth,
. . , , , . Of the pro-
which is not covered by water is portion of
much less than that covered by wa- ^aete"a0ssth°J
ter. But considering the size of 7000 of the Dearth
miles in diameter which is that of
this earth, we may conclude the
water to be of small depth.
OF THE EARTH.
(937- 938)-
2 L' alzarsi tanto le cime de' monti sopra
la spera dell' acqua puo esser diriuato, perche
il loco grandissimo 3 della terra, il quale
The great elevations of the peaks of the
mountains above the sphere of the water
may have resulted from this that: a very
era ripieno d' acqua,
cioe la grandissima
cauerna, douette ca-
dere «assai della sua
volta inuerso il centro
del mondo, trovandosi
ispiccata mediante il
corso deslle uene che
al continuo consuma-
no il loco donde pas-
sano.
6Profondameto di paesi 7 come
Mare Morto di So8ria cioe Sodoma e
morra.
9E necessario che 1'acqua sia piu che
la terra, e la parte scoperta del mare no
nel
Go-
large portion of the earth
which was filled with
water that is to say
the vast cavern inside
the earth may have fal-
len in a vast part of
its vault towards the
centre of the earth, being
pierced by means of the
course of the springs
which continually wear
away the place where they pass.
Sinking in of countries like the Dead Sea
in Syria, that is Sodom and Gomorrah.
It is of necessity that there should be more
water than land, and the visible portion of
936. i. facia . . graveza. 2. dellacq"a".
937. i. Sella . . chellacq"a". 2. dicano . . chella. 3. groseza . . diamitro . . po con chludere lacqua per essere. 4. pocha.
938. 2. lasspera . . ilocho. 3. coe. 4. isspichata. 5. iloco. 8. coe soddoma e gamora. 9. chellacq"a" . . chella terra ella . .
dell . . dimosstra.
938. The small sketch below on the left, is placed in the original close to the text referring to the
Dead Sea.
184
PHYSICAL GEOGRAPHY.
[939- 940.
lo dimostra, onde bisognia che I0molta the sea does not show this ; so that there must
acqua sia dentro alia terra, sanza quella be a great deal of water inside the earth,
ch'e infusa nella bassa aria e che scorre besides that which rises into the lower air
"per li fiumi e uene. and which flows through rivers and springs.
939-
FIGURA D' ELEMETI.
THE FIGURES Off THE ELEMENTS.
'Delia figura delli elemeti, e prima
The theory contro a chi nega ^I'opinione di Platone,
ofpuio. che dicono che se essi elemeti vestis'sero
1'un 1'altro, colle figure che mette Platone,
che si caJvserebbe vacuo infra 1* uno e 1* al-
tro; e non e vero, e *'qui lo provo, ma
Erima bisognia proporre alcuna co^clusione;
on e neciessario che nessuno ele8mento,
che veste 1'u 1'altro, sia d'equ 1 grossezza
in tu9tta la sua quantitk infra la parte che
ueste e quelI0la ch'e
uestita ; Noi uediamo
la spera dell' acqua
ma^nifestamete essere
di uarie grossezze dal-
la sua "superfitie al
fondo, e che, no che
essa vestisse I3la terra
quando fusse di figura cuba cioe di 8 an-
goli come ^vole Platone, essa veste la
terra che a innumerabili 'Sangoli di scogli
coperti dall' acqua e varie globosita e co-
l6cavita, e non si genera vacuo infra 1' ac-
qua e la terra; Ancora 1'aria veste la
spera dell' acqua ^insieme colli monti e
valli che superano essa spera, e no l8ri-
mane vacuo infra la terra e 1'aria, sicche,
chi disse ^generarsi vacuo, ebbe tristo di-
scorso.
20A Plato si rispode che la superfitie
"delle figure che avrebbero li elemeti,
22 che lui pone, non potrebbero sta2-*re.
Of the figures of the elements; and first
as against those who deny the opinions of
Plato, and who say that if the elements in-"
elude one another in the forms attributed
to them by Plato they would cause a va-
cuum one within the other. I say it is not
true, and I here prove it, but first I desire
to propound some conclusions. It is not
necessary that the elements which include
each other should be of corresponding magni-
tude in all the parts, of
that which includes and
of that which is inclu-
ded. We see that the
sphere of the waters
varies conspicuously in
mass from the surface to
the bottom, and that, far
from investing the earth when that was in the
form of a cube that is of 8 angles as Plato
will have it, that it invests the earth which
has innumerable angles of rock covered by
the water and various prominences and concavi-
ties, and yet no vacuum is generated between
the earth and water; again, the air invests
the sphere of waters together with the moun-
tains and valleys, which rise above that sphere,
and no vacuum remains between the earth and
the air, so that any one who says a vacuum is
generated, speaks foolishly.
But to Plato I would reply that the sur-
face of the figures which according to him
the elements would have, could . not exist.
A. 58*] 940.
•COME -LA TERRA • NON E - TODA, 2E, PROVES HOW THE EARTH IS NOT GLOBULAR
NON ESSENDO TODA, NO PUO AVER COMVNE - AND NOT BEING GLOBULAR CANNOT HAVE A
CETRO. COMMON CENTRE.
i • vediamo • il Nilo • partirsi dalle- We see the Nile come from Southern
That the meridiane • regioni-e rigare • diuerse pro- regions and traverse various provinces, run-
proresThTvinciej corredo 4 inverse • settentrione • per ning towards the North for a distance of
slope of the
land.
939. i. p"a" cootro . . niegha. 3. lopenione . . dicano chesse . . vessti. 4. sm lulaltro cholle. 5. vserebe . . ellaltro ilenone
»ere. 6. sna p"a". 8. grosseza. 9. infralla . . ecquel. 10. lasspera dellacq"a". xx. grosseze. 12. vestissi [il cubo]
13. quande fussi . . cubo *'cee di 8 angoli" come. 14. esse . . inunbili. 15. acq"a". 16. cavita "e non sigenera vacuo
infra lacqua ella terra" Ancora laria che veste. 17. cholli. 18. ellaria siche. 20. chella. 21. arebo. 22. chellui . .
potrebono.
940. i. chome . . tera . . po avr chomune. 3. vedemo . . delle . . choredo. 4. settantrione . . isspatio . . miglia "e vessare
94I-]
OF THE NATURE OF WATER.
I85
ispatio • di 3000 • miglia e versare nelle
mediterrane ode ai liti d'Egitto, e se noi •
vogliamo • dare a questo • di calo quelle
s dieci • braccia per miglio •, le quali comv-
nalmete • si concede • alia • vniversalita • del
corso • de' fiumi, 6noi troveremo • il Nilo •
avere il suo • fine piv basso • che '1 pricipio
• miglia dieci •; ?Ancora • vediamo il Reno,
Rodano e Danvbio - partirsi dalle germani-
che • parti, quasi cietro 8d'Evropa •, e 1'uno
a Oriete, 1'altro a settetrione •, e P ultimo-
a meridiani mari fa suo corso; 9se tu cosi-
derai • bene tutto, vedrai le pianvre d' Europa
fare vno cocorso molto I0piv • elevato •,
che no sono • 1'alte cime de' marittimi moti;
or pesa, quato le loro cime TIsi trovano-
piv • alte • che liti marini.
3000 miles and flow into the Mediterranean
by the shores of Egypt; and if we will give
to this a fall of ten braccia a mile, as is
usually allowed to the course of rivers in
general, we shall find that the Nile must
have its mouth ten miles lower than its source.
Again, we see the Rhine, the Rhone and
the Danube • starting from the German parts,
almost the -centre of Europe, and having a
course one to the East, the other to the
North, and the last to Southern seas.
And if you consider all this you will see
that the plains of Europe in their aggre-
gate are much higher than the high peaks
of the maritime mountains; think then how
much their tops must be above the sea
shores.
A. 55-5]
941.
DEL CALDO CHE NEL MODO • E.
2Dov'e-vita 11 e calore •, e dou'e-ca-
lore • vitale, quiui e mouimeto • d'umori;
3 Questo • si pruova, • inperoche si uede • per
effetto • che • il caldo • dello elemeto • del
foco • senpre • tira • a se 4 li umidi • vapori • e
folte nebbie e spessi • nuvoli •, i quali • spic-
cano da' mari e altri • paduli • e fiumi e
vmide s valli, e quelle tirado • a poco a poco
• insino • alia • fredda • regione , quella prima
parte si ferma, 6perche-il caldo • e vmido
no si affa • col freddo • e secco ; onde • ferma
la prima parte 11 assetta 1'altre 7 parti, e
cosl, aggiugniedosi parte co parte •, si fa •
spesse • e oscure nvbole • ; e spesso sono
8remosse e portate da veti d' Una -in altra
regione; dove per la densita loro fanno si
spessa gravezza, 9 che cadono • co spessa ••
pioggia • ; e se '1 caldo • del sole s' aggivgnie •
alia potetia dello elemeto I0del foco •, i
nvuoli fieno -tirati piv • alti e trovano • piv
freddo, in nel quale si ghiacciano e cavsasi
11 tepestosa • gradine • ; Ora • quel medesimo
• caldo •, che tiene • si gra peso • d' acqua •,
come si uede I2piovere de' nvvoli, sveglie
P acque di basso • in alto • dalle base delle
motagnie, e coduciele, e tienle ^detro-
alle • cime delle motagnie, — le quali , tro-
vado qualche fessura, al • continue vsciedo,
14 causa i fiumi.
within the
Where there is life there is heat, and where Theory of
vital heat is, there is movement of vapour. thofewlter°n
This is proved, inasmuch as we see that
the element of fire by its heat always draws
to itself damp vapours and thick mists as
opaque clouds, which it raises from seas as
well as lakes and rivers and damp valleys; and
these being drawn by degrees as far as the
cold region, the first portion stops, because
heat and moisture cannot exist with cold
and dryness; and where the first portion stops
the rest settle, and thus one portion after
another being added , thick and dark
clouds are formed. They are often wafted
about and borne by the winds from one
region to another, where by their density
they become so heavy that they fall in thick
rain; and if the heat of the sun is added to
the power of the element of fire, the clouds
are drawn up higher still and find a greater
degree of cold, in which they form ice and
fall in storms of hail. Now the same heat
which holds up so great a weight of water
as is seen to rain from the clouds, draws
them from below upwards, from the foot of
the mountains, and leads and holds them
within the summits of the mountains, and
these, finding some fissure, issue continuously
and cause rivers.
nelle mediterane ode a liti e se . . degitto acquessto di cholo qualle. 5. dieci br . . quale chomvnemete . . chonciede. 6. no
trovrremo . . precipio . . . diecip. 7. vedemo . . delle. 8. elluno . . assettatrione . . chorso. 9. settu chosiderai . be
verai [levr] le . . deropia . . chochorso. 10. cime.
941. i. chaldo. 2. vita | "li" e chalore . . quiue . . domori [Esse 1 chaldo move lumido "il freddo lo ferma". 3. chaldo . . focho
. asse. 4. elTolte nebie esspessi nuboli . . spicha de . . effiumi. 5. quele . . apocho apocho . . freda regione [i] e. 6. chal-
do . . chol . . essecho . . li assetta laltre. 7. chosi agiugnedo . . cho . . osschure . . esspesso sono [portale]. 8. fano
graueza. 9. chadano choispessa piogia esselchaldo . . sagivgnie. 10. focho . . fredo inel . . diacciano e chavsasi.
ii. chaldo chettiene . . chome. 12. nvboli [tiene] disuelle . . delle motagnie e choducie le ettielle. 13. motagnie le quali
. . li chontinui vssciedo. 14. chausano i fiumi.
VOL. II.
A A
[86
PHYSICAL GEOGRAPHY.
[942. 943.
942.
OF THE SEA, WHICH TO MANY FOOLS APPEARS
DlL MARE CHE A MOLTI *SENPLICI PAR PIU TQ B£ HIGHER THAN THE EARTH WHICH FORMS
ALTO JCHE LA TERRA CHE GLI FA LIT1.
*£ d e vna pianvra, donde corre svn
Th« reuuve fiume al mare, la qual pianu6ra a per ter-
htmfa«fo1femine esso mare; e per'che in vero essa
the' »<a 10 terra scoperta no * e nel sito dell' e-
lh*u°ndthe qualita,-perche, seco'slfusse, il fiume
l)- non avrebbe mojoto~,onde, moven-
dosi, questo sito "a piutosto da essere
detto spiagg"ia che pianvra; e cosl
essa pia^nura d b termina in tal
modo '*colla spera dell'acqua che,
chi la produ'Scesse in continua rettitudine
in b a, Ibessa entrerebbe sotto il mare, e
«7di qui nasce che '1 mar a c b pare piu
alto che la terra discoperta.
l8Naturalmete nes^suna parte della20terra
discoperta da 2Il'acqua fia mai 22piu bassa
che la 23superfitie della ** spera d'essa acqua.
ITS SHORE.
b d is a plain through which a river
flows to the sea; this plain ends at the sea,
and since in fact the dry land that is un-
covered is not perfectly level — for,
if it were, the river would have no
motion — as the river does move, this
place is a slope rather than a plain;
hence this plain d b so ends where
the sphere of water begins that if
it were extended in a continuous line
to b a it would go down beneath the sea,
whence it follows that the sea a c b looks
higher than the dry land.
Obviously no portions of dry land left
uncovered by water can ever be lower than
the surface of the watery sphere.
A.
943-
D'ALCUNI CHE DICONO • L*ACQUA ESSERE • PIV
• ALTA • CHE LA TERRA • SCOPERTA.
2 Cierto • non poca • ammiratione -mi da •
la comvne • opinione fatta cotro • al uero
dallo vniversale 3 cocorso • de' givditi • delli
omini •, e 'questo • e che tutti • s'accordano •
che la superfitie • del mare 4 sia • piv • alta •
che 1'altissime • cime delle • motagnie •, alle-
gado molte • vane e puerili • ragioni, 5 cotro
ai quali • io n'allegher6 • solo • vna • senplie e
brieve ragione • ; Noi vediamo chiaro , che
bse si toglie • via • 1'argine • al mare •, che
lui • vestira • la terra e faralla di per-
fetta rotodita; ?or cosidera • quata • terra
si leuerebbe a fare che 1'ode marine
coprissino 8il modo; aduque ci6, che si
leuasse, sarebbe piv • alto • che la riua del
mare.
OF CERTAIN PERSONS WHO SAY THE WATERS WERE
HIGHER THAN THE DRY LAND.
Certainly I wonder not a little at the
common opinion which is contrary to truth,
but held by the universal consent of the
judgment of men. And this is that all are
agreed that the surface of the sea is higher
than the highest peaks of the mountains;
and they allege many vain and childish reasons,
against which I will allege only one simple
and short reason: We see plainly that if
we could remove the shores of the sea, it
would invest the whole earth and make it
a perfect sphere. Now, consider how much
earth would be carried away to enable the
waves of the sea to cover the world; there-
fore that which would be carried away must
be higher than the sea-shore.
94*. 2. senpici par pu. 3. chella . . chclli. 4. a d e vna. 5. lacqual. 6. essesso. 9. fussi . . arebbe. 14. dellacq"a". 15. cessi.
16. enterebbe. 17. nassce. On Ote margin is •written: cella tera
di scoperta.
LtHft te — 24 are olio written on ike margin. 18. nc. 22. chella. 24. acq"a".
943. i. dichanu lac<j"a" . . chella. 2. pocha amiratione . . chomvne oppenione fatto chotra. 3. chochorso . . ecquesto e chet-
tutti sachordnno chella. 4. chellaltissime . . ragione. 5. nalegero . . vedemo. 6. tolglie . . chellui vesstira eflaralla . .
rcJodita. 7. chOsidera |vn p.cha] . . affare chellode . . choprissino. 8. chessi leuassi . . chella.
944- 945-1
OF THE NATURE OF WATER.
I87
A. 56a]
944-
OPINIONE D'ALCUNI-CHE DICONO • CHE L'AC-
QUA D* ALCUNI 2MARI E PIV ALTA CHE LE PIV
ALTE SOMMITA DE' MOTI, 3 E PERO • SIA SOSPITA
L'ACQUA • A ESSE SOMITA.
4 L' acqua no si movera • da loco a loco
• se la bassezza-non la tira; E per corso
Snaturale • no potra • mai • ritornare • a altezza
• simile • al primo loco, do6ve
nel uscire de'moti si mostro
• al cielo • ; E quella • parte
del mare • , che 7 co falsa •
imaginatione • tu • diciesti • es-
sere si alta • , che uersaua •
per le cime • de8li alti • moti,
• per tati seculi • sarebbe • co-
sumata • e uersata per 1' uscita
d'esse 9mdtagnie; Tu puoi
bene pesare • che tato tepo
che Tigris ed Eufrates
THE OPINION OF SOME PERSONS WHO SAY THAT
THE WATER OF SOME SEAS IS HIGHER THAN THE
HIGHEST SUMMITS OF MOUNTAINS; AND NEVER-
THELESS THE WATER "wAS FORCED UP TO
THESE SUMMITS.
Water would not move from place to
place if it were not that it seeks the lowest
level and by a natural consequence it never
can return to a height like that
of the place where it first on
issuing from the mountain
came to light. And that por-
tion of the sea which, in your
vain imagining, you say was
so high that it flowed over the
summits of the high mountains,
for so many centuries would be
swallowed^up and poured out
again through the issue from
these mountains. You can well imagine that
all the time that Tigris and Euphrates
A. 566]
945-
anno • versato • per le • sommita de' moti
• Armeni •, che si puo • credere • che tutta
F acqua dell' ocieano * sia • moltissime • volte
• passata • per dette • bocche • ; or non cre-
di tu che '1 Nilo • abbi messo • piv 3 acqua-
1 mare • che non e • al presente tutto lo ele-
meto • dell' acqua • ? cierto • si; • e se detta •
acqua 4 fusse • caduta fori di questo • corpo
• della terra •, questa machina • sarebbe gia
lugo tepo Sstata saza acqua, siche si puo
cocludere • che F acqua vadi dai fiumi al
mare e dal mare 6ai fivmi, senpre cosl
raggirado e voltadosi, e che tutto • il mare
• e i fivmi sieno passati per la bocca del
Nilo infinite volte.
have flowed from the summits of the
mountains of Armenia, it must be believed
that all the water of the ocean has passed
very many times through these mouths.
And do you not believe that the Nile must
have sent more water into the sea than at
present exists of all the element of water?
Undoubtedly, yes. And if all this water
had fallen away from this body of the earth,
this terrestrial machine would long since
have been without water. Whence we may
conclude that the water goes from the rivers
to the sea, and from the sea to the rivers, thus
constantly circulating and returning, and that
all the sea and the rivers have passed through the
mouth of the Nile an infinite number of times
944. I. Openione dalchuni che dichano chellacqua dalchuni. 2. alta [che alchu] chelle . . somita. 4. Lacq"a" . . dalocho al-
locho sella basseza . . chorso. 5. alteza . . locho. 6. usscire . . Ecquella. 7. cho . . dicievi. 8. tate sechuli sarebe cho
sumata . . lusscita. 9. motagnia . . chettato . . chettigris.
945. i. moti ermini che si po . . che | "tutta"llacq"a". 2. boche . . abi. 3. imare . . e "al presete" tutto . . esse. 4. fussi
chaduta . . chorpo . . tera . . sarebe. 5. chochiudere. 6. ragirado . . chettutto . . sia pasato . . bocha; the last two words
infinite volte are written on tlie margin.
945. Moti Armeni, Ermini in the original, in M.
RAVAISSON'S transcript "monti ernini \le loro ruine?]".
He renders this "Le Tigre et I' Euphrate se sont de-
verses par les sommeli- des monlagnes \avec leurs eaux
destructives ?\ on peut cro:re" &c. Leonardo always
writes Ermini, Erminia, for Armeni, Armenia (Arabic :
IrminiaK]. M. RAVAISSON also deviates from the
original in his translation of the following pas-
sage: "Or tu ne crois pas que le Nil ait mis plus
d'eau dans la mer qdil tfy en a a present dans tout
V element de I'eau. II est certain que si cette eau etait
tombed &c.
V
II.
ON THE OCEAN.
G. 48*)
946.
PERCH£ L'ACQUA fc SALSA.
the saltncss
of the sea
(946 947)-
'Dicie Plinio nel 2° suo libro, al 103
Refutation ca'pitolo, che 1'acqua del mare e salata per-
iheory'n£ u> che M'ardore del sole secca I'umisdo e
quello succia, e questo al mare, che 6molto
s'allarga, da sapore di sale; 7 Ma questo
no si cociede, perche se la salsedine 8del
mare avesse cavsa dallo ardore del sole,
'e' non e dubbio che tanto maggiormente li
laghi, stagni e paduli I0sarebbonopiu insalati,
quato "le loro acque son manco mobili e
di 13minore profondita, e la esperiezia ci
mo'^stra il contrario; tali paduli ci mostra
14 le loro acque essere al tutto private di
sal'Ssedine; Ancora s'assegnia da Plinio
nel medesimol6capitolo che tal salsedine
WHY WATER IS SALT.
Pliny says in his second book, chapter
103, that the water of the sea is salt because
the heat of the sun dries up the moisture
and drinks it up; and this gives to the wide
stretching sea the savour of salt. But this
cannot be admitted, because if the saltness
of the sea were caused by the heat of the
sun, there can be no doubt that lakes,
pools and marshes would be so much
the more salt, as their waters have less
motion and are of less depth ; but experience
shows us, on the contrary, that these lakes
have their waters quite free from salt.
Again it is stated by Pliny in the same
chapter that this saltness might originate,
946. i. essalsa. 2. a 103 capitoli. j.chellacqua . . essalata. 4. [li razi solarij Lardore . . secha "abrozre e (?)'\lumi. 5. ecquello . .
ecquesto. 6. sallargha. .sale | [Qui|. 7. Macquesto . .sella. 8. avessi chausa dello. 9. chelli "tanto magiormente" laghi. -10. [dove
lacquej sarebbono. n. |le] le . . mancho . . eddi. 12. ella . . mos. 13. in chontrario . . mosstra. 14. tucto. 15. Acora
sasegnia [nel me). 16. chapitolo chettal. 17. nassciere . . leuato | "ne ogni" porte. 18. dolcie [dellacq"a" ressta lasspra]
946. See PLINY, Hist. Nat. II, CIII [C]. Itaque
Salts ardore slccatur liquor: ft hoc use masculum sidus
acctpimui, tarrens cuncta sorbensque. (cp. CIV.) Sic mart
late pattnti saporem incoqtti salis, out quia exhausto inde
dulci tfnuique, quod facillime trahat vis ignea, omne
atperiui crassiusque linquatur: ideo summa aequorum
aqua dulciorem profundam; hanc esse veriorem causam,
quant quod mare terrae sudor sit aeterttits: out quia
plurimum ex arido misctatur illi vapore: aut quia terrae
ttatura ticiit mcdiaitas aquas inficiat . . (cp. CV) : a/tis-
simum mare XV. stadiorum Fabianus tradit. Alii n
Ponto coadverso Coraxorum gentis (vacant Ba!)ea Ponti)
trecentis fere a continents stadiis immensam altitudinem
marts tradunt, vadis nunquam repertis. (cp. CVI [CIII])
Mirabilius id faciunt aquae dulces, juxta mare, ut fi-
stulis emicanles. Nam nee aquarunt natura a miraculis
cessat. Dulces mart invehuntur, leviores haud dubie.
Ideo et marinae, quarum nalura gravior, magis in-
vecla sustinent. Qiiaedam vero et dulces inter se super-
meant alitis.
947-]
ON THE OCEAN.
189
J7potrebbe nasciere, perche, leuatone ogni
l8dolce e sottile I9parte, la qual facilmete
il caldo a se ti20ra, rimane la parte piu
aspra e piu 2Igrossa, e per questo 1'acqua,
che e nella su22perfitie, e piu dolcie che
nel fodo; 23a questa si cotradice colle me-
desime 24 sopradette ragioni, cioe che il
medesimo ac25caderebbe alii paduli e.altre
acque che per il ca!26do s'asciugano; Acora
fu detto che 27la salsedine del mare e
sudore della terra; 28a questo si rispode
che tutte le uene dell' acque 2?che pene-
trano la terra, sarebbono insalate ; Ma 3° si
coclude la salsedine del mare esser nata
31 dalle molte vene d'acqua le quali nel
34penetrare la ter^sra trovano $6\Q mini-
37ere del sale, e 38quelle in parte 39 si sol-
uono e por4°ta seco all' o^cieano e li altri
42mari, d'643de mai Kli nuvo44li, seminatori
is d' elli fiumi If ^\o leuano; ed e'sarebbe
4 7 piu salato il ma^re alii nostri te"49pi che
mai per 5°alcun altro te^po fusse, e se
per 52 1' auersario si dis^cesse, che il tenpo
54 infinite- seccherebssbe over cogielereb56be
il mare in saS7le, a questo sssi risponde,
che 59tal sale si re6ode alia terra 6lcolla
liberatione 62 d' essa terra, che 63 s' inalza col
suo 64acquistato sale, 65e li fiumi lo rendo-
66 no alia somersa terra.
because all the sweet and subtle portions which
the heat attracts easily being taken away, the
more bitter and coarser part will remain, and
thus the water on the surface is fresher than
at the bottom [22]; but this is contradicted
by the same reason given above, which is,
that the same thing would happen in marshes
and other waters, which are dried up by the
heat. Again, it has been said that the
saltness of the sea is the sweat of the
earth; to this it may be answered that all
the springs of water which penetrate through
the earth, would then be salt. But the con-
clusion is, that the saltness of the sea must
proceed from the many springs of water which,
as they penetrate into the earth, find mines
of salt and these they dissolve in part, and
carry with them to the ocean and the other
seas, whence the clouds, the begetters of
rivers, never carry it up. And the sea
would be salter in our times than ever it
was at any time; and if the adversary were
to say that in infinite time the sea would
dry up or congeal into salt, to this I ans-
•wer that this salt is restored to the earth
by the setting free of that part of the earth
which rises out of the sea with the salt it
has acquired, and the rivers return it to the
earth under the sea.
G. 49*]
947-
Terza e vlti2ma ragione di3remo, il sale
4essere in tutte sle cose create 6e questo
c' I7.segniano 8le acque passage per tutte
le ciI0eneri e calcium delle cose I2bruciate,
e le J3orine di quaI4luche animaI5le e le
super 1<5fluita usci^te de' lor corl8pi e le
terre, ^nelle quali si 20couertono 2Ile cor-
rutioni 22di tutte le cose.
23Ma a dire meglio, essendo dato il
modo eterno, egli e neciessario 2*che li
sua popoli sieno acora loro eterni; ode
25 eternalmete fu e sarebbe la spetie vmana
cosu26matricie del sale; e se tutta la massa
For the third and last reason we will
say that salt is in all created things; and
this we learn from water passed over the
ashes and cinders of burnt things; and the
urine of every animal, and the superfluities
issuing from their bodies, and the earth into
which all things are converted by corruption.
But, — to put it better, — given that the
world is everlasting, it must be admitted that
its population will also be eternal; hence the
human species has eternally been and would
be consumers of salt; and if all the mass
of the earth were to be turned into salt, it
essottile. 19. chaldo asseti. 20. asspra. 22. fodo |[ contro. 23. acquessta si cotraddicie cholle. 25. chaderebbe . . chal.
26. sassciughano Achora fuddetto. 27. essudore. 28. acquessto . . chettutte. Lines 32 — 66 are written on the margin.
32. Tf finiscie quel che.- 33. macha di socto-^f 35. trovano [le ve]. 36. [ne del 5] le. 40. secho alloc. 41. elli. 42. mari
[dove] do. 43. de mai (li nuvo. 45. delli fiumi) mai. 46. no leuano ede "sare". 48. nosstri. 50. alchu. 51. fussi esse.
53. ciessi. 54. sechere. 55. cogielere. 57. acquesto. 59. sare. 61. cholla. 65. elli . . reda. 66. somersa.
947. 3. direno . . sale es. 5. chose. 6. ecquessto. 7. segnia [lecho]. 10. enere e chalci. n. ne. 12. elle. 15. elle. 16. fruita
vssci. 17. de de. 18. elle. 19. nelle. 20. couertano. Lines i — 27 are written on the margin along the text no 1201 , under
•which is the text of lines 23 — 39, parallel with the lines 40 — 60. 23. essendo | "dato" il modo "etterno", egli. 24. chelli . .
achora .% . ecterni. 25. etternalmete . . essarebbe lasspetie . . cosu. 26. essettutta. 27. bassterebbe. 28. chonfessare | o
22. Compare No. 948.
190
PHYSICAL GEOGRAPHY.
[948. 949.
della terra fas'?si sale, non basterebbe alii
cibi vmani, per la qual »8cosa ci bisognia
confessare, o che la spetie del sale *9sia
eterna Isieme col modo, o che quella
3°mora e rinasca insieme cogli omini d'essa
dijlvoratori; Ma se la esperieza c'insegnia
quel iifnon avere morte come per il foco si
manife^sta, il qual non la cosuma, e per
1'acqua che di tato si J*sala di quato ella
in se ne risolue, evaporado l'a-»qua, sempre
il sale resta nella prima quatita, ^deve
passare per li corpi vmani che in orina,
MO sudore, o altre superfluita fia ritrovato,
e ques^to e il sale che ogni anno si porta
alle citta; aduque 39cavasi il sale de' lochi,
dov'e piscia;— li porci e li veti marini so
salati;—
«°Diremo che la •»' pioggia pene42tratrice
della « terra sia que44lla, ch'e sotto 45alli
fonda46meti delle cit^ta e popoli, 48e sia
quella che «per li meati dels°la terra re-
s'da la salsedi52ne leuata dal s>mare, e
che 54la mutatio ssdel mare, sta56to sopra
tutti 57 H monti, lo Ias8sci per le
ritrovate °°in essi monti ecc.
would not suffice for all human food [27];
whence we are forced to admit, either that
the species of salt must be everlasting like
the world, or that it dies and is born again
like the men who devour it. But as expe-
rience teaches us that it does not die, as is
evident by fire, which does not consume
it, and by water which becomes salt in pro-
portion to the quantity dissolved in it, — and
when it is evaporated the salt always remains
in the original quantity — it must pass through
the bodies of men either in the urine or the
sweat or other excretions where it is found
again; and as much salt is thus got rid of
as is carried every year into towns; therefore
salt is dug in places where there is urine. —
Sea hogs and sea winds are salt.
We will say that the rains which penetrate
the earth are what is under the foundations
of cities with their inhabitants, and are what
restore through the internal passages of the
earth the saltness taken from the sea; and that
the change in the place of the sea, which has
been over all the mountains, caused it to be left
it there in the mines found in those mountains,&c.
Leic. 21 1\
948.
L'acque de' mari salati son dolci nelle
The charac-
teristics of -*•••«
*ea water sua era profondita.
(948. 949). 6
The waters of the salt sea are fresh at
the greatest depths.
G. 38*)
COME L'OCEANO NO PE2NETRA INFRA LA
TERRA.
949-
•»L'oceano no penetra infra la terra, e
que4sto c'insegniano le molte e varie vene
d'acque dolsci, le quali in diuersi lochi
d'esso oceano pene6trano dal fondo alia
sua superfitie; Ancora il me7desimo di-
mostrano li pozzi fatti dopo lo spa8tio d'u
miglio remoti dal detto ocieano, 9li quali
s'enpiano d'acqua dolcie, e questo acI0cade
perche 1'acqua dolcie e piu sottile che 1'ac-
"qua salata, e per cosegueza piu penetra-
I2tiva.
'J Qual pesa piu, '*o 1'acqua ghiac'Sciata
o la no I6ghiacciata?
THAT THE OCEAN DOES NOT PENETRATE UNDER
THE EARTH.
The ocean does not penetrate under the
earth, and this we learn from the many and
various springs of fresh water which, in many
parts of the ocean make their way up from
the bottom to the surface. The same thing
is farther proved by wells dug beyond the
distance of a mile from the said ocean,
which fill with fresh water; and -this hap-
pens because the fresh water is lighter
than salt water and consequently more pene-
trating.
Which weighs most, water when frozen
or when not frozen?
chella. 29. etterna . . chol . . checquella. 30. rinassca . . chogli. 31. Massella essperieza. 32. focho. 33. nolla. 35. sepre
. . ressta. 36. ne vale passare. 37. ritrorato ecq"a". 38. oni. 39. pisscia. 40. direno chelle. 41. piogie. 42. tratrici.
43. sien. 44. Ha. 46. delli ci. 48. sic quella che. 49. de. 60. nessi.
949. loccieano. 2. infralla. 3. loccicano . . infralla . . ecques. 4. cinsegnia . . euuarie. 5. occieano "pe" nene. 7. dimos-
strano li pozi . . losspa. 8. miglio [li quali] remoti. 9. ecquessto. 10. chade . . chellac. n. piu [soct] penetra. Lines
13 — 16 are written <m the margin. 14. diac. 15. olla. 16. diacciata. 17. dole. 18. chella. 20. chellacquat . . choiro.
947. 1. 27. That is, on the supposition that salt, once consumed, disappears for ever.
950—952.]
ON THE OCEAN.
191
PlU PENETRA L'ACQUA DOLCE COTRO l8AL-
L'ACQUA SALSA, CHE LA SALSA COTRO ALI9LA
DOLCIE.
20 Che 1'acqua dolcie penetri piu cotro
all'ac2Iqua salsa, che essa salsa cotro alia
dolcie, ci 22lo manifesta vna sottil tela asci-
utta e 23vechia, pendente con equal bas-
sezza 24colli sua oppositi stremi nelle due
varie 2s acque, delle quali le lor superfitie
sie 2<3d' equal bassezza, e allor si vedra ele-
var29si in alto infra essa pezza tanto piu
1'acqua 28 dolcie, che la salsa, quanto la
dolcie e piu Mieve che essa salsa.
FRESH WATER PENETRATES MORE AGAINST SALT
WATER THAN SALT WATER AGAINST FRESH
WATER.
That fresh water penetrates more against
salt water, than salt water against fresh is
proved by a thin cloth dry and old,
hanging with the two opposite ends equally
low in the two different waters, the surfaces
of which are at an equal level; and it will
then be seen how much higher the fresh
water will rise in this piece of linen than the
salt; by so much is the fresh lighter than
the salt.
C. A. 157 b; 466^]
950.
Tutti li mari mediterrani e li 2 golfi
d'essi mari so fatti da fi3vmi che versano
in mare.
All inland seas and the gulfs of those On the for-
seas, are made by rivers which flow into mof
the sea.
<95°- 951)-
C. A. 83 £; 240,5]
951-
Qui SI RENDE RAGIONE DELLI EFFETTI FATTI
.DALLE ACQUE NEL PROPOSITO SITO.
2 Tutti li laghi e tutti li golfi del mare
e tutti li mari mediterrani nascono dalli
fiumi, che in quelli spa^dono le loro acque,
e dalli impedimeti della loro declinatione
4nel Mare Mediterrano, diuisore d' Africa
dall'Europa, e dell'Europa dall'Asia, me-
diate il Nilo e Tanai che in shij versano
le loro acque; Si domada, quale inpedi-
meto e maggiore a proibire il corso delle
sue acque, che no si renda all' oceano.
HERE THE REASON is GIVEN OF THE EFFECTS
PRODUCED BY THE WATERS IN THE ABOVE MEN-
TIONED PLACE.
All the lakes and all the gulfs of the sea
and all inland seas are due to rivers which
distribute their waters into them, and from im-
pediments in their downfall into the Mediter-
ranean— which divides Africa from Europe
and Europe from Asia by means of the Nile
and the Don which pour their waters into it.
It is asked what impediment is great en-
ough to stop the course of the waters
which do not reach the ocean.
Ash.' III. 25 a]
DE ONDA.
2L'onda del mare
senpre ruina 3dinan-
ti alia sua basa, e
quella paHte del col-
mo si trovera piu
bassa che sprima era
piu alta.
952-
OF WAVES.
A Wave Of the °r" a*ments
, , n • of the sea on
sea always breaks in the land and
vice versa
front of its base, (952—954)-
and that portion of
the crest will then be
lowest which before
was highest.
21. dolcie cie. 22. assciuta eo. 23. pendente [cholli] chon. 24. cholli. 26. vedra me eleua "r". 27. si [eleua] in . . tantu.
28. chella . . he piu.
950. i. elli. 2. gholfi.
951. i. effect! .. delle. 2. ettuttili gholfi . . etti ttutti . . nasschano. 3. Dano le . . ed dalli la pedimeu. 4. mediterano . . et
che il. 5. domade . . occieano.
952. 2. Londa [delle] del. 3. ecquella. 4. cholmo. 5. alta sara poi piu has.
952. The page of FRANCESCO DI GIOROIO'S contains some notes on the construction of dams>
Trattatn, on which Leonardo has written this remark, harbours &c.
192
PHYSICAL GEOGRAPHY.
[953-957-
Lac. tot]
Come le riue del ma're al continvo
acquistano terreno inuerso il mezzo del
mare; Come li scogli e promontori 3de'
mari al continvo ruinano e si consumano;
Come i mediterrani scopriranno i lor fondi
all' aria e sol ri«serberanno il canale al
maggior fiume, che dentro vi metta, il qualc
correra all'oceano e iui uerseSra le sue
953-
That the shores of the sea constantly
acquire more soil towards the middle of
the sea; that the rocks and promontories of
the sea are constantly being ruined and worn
away; that the Mediterranean seas will in
time discover their bottom to the air, and all
that will be left will be the channel of the
greatest river that enters it; and this will run
acque insieme con quelle di tutti i fiumi, to the ocean and pour its waters into that with
che co seco s' accopagnano.
those of all the rivers that are its tributaries.
Leic. 27
954-
Come il fiume del Po in brieve tenpo
secca il mare Adriano nel 2medesimo modo
ch'elli asseccd gra parte di Lonbardia.
How the river Pb, in a short time might
dry up the Adriatic sea in the same way as
it has dried up a large part of Lombardy.
C. A. 162^;
955-
IDove e maggior quatita d'acqua, 2quivi
The ebb and £ maggior flusso e riflusso; e '1 ^contrario
ftowuSethcfa nolle acque strette.l
(955-960) *Guarda se '1 mare e nella sorha cre-
scieHe quado la luna £ nel mezzo del tuo
emi6sphero.
Where there is a larger quantity of water,
there is a greater flow and ebb, but the con-
trary in narrow waters.
Look whether the sea is at its greatest
flow when the moon is half way over our
hemisphere [on the meridian].
Leic
956.
Se '1 flusso e riflusso nasce dalla luna
o sole, overo e I'ali2tare di questa terrestre
machina; Come il flusso e riflusso e vario
in diuersi paesi e mari.
Whether the flow and ebb are caused by
the moon or the sun, or are the breathing of
this terrestrial machine. That the flow and ebb
are different in different countries and seas.
Leic. 50)
957.
Libro 9° delli scontri de' fiumi e lor
flusso e riflusso; e la medesima 2 causa lo
crea nel mare per causa dello stretto di
Gibiltar, e ancora accade per le uoragini.
Book 9 of the meeting of rivers and their
flow and .ebb. The cause is the same in the
sea, where it is caused by the straits of Gi-
braltar. And again it is caused by whirlpools.
953- 2- acquisstano . . mezo . . Hscogli. 3. essi chonsumano Come e . . scopiranno . . essol. 4. magor. 5. cosecho
sacopagnano.
954. i. secha. 2. assecho.
953. i. he magior. 2. frusso e refrusso. 4. gharda. 5. mezo.
936. i. frusso e refrusso nassce. 2. tereste . . frusso e refrusso.
957. f. isscontri . . ellor frusso e refrusso ella. 2. chausa . . strett[i] o di gibiltar . . achade . . voraginc.
956. i. Allusion may here be made to the my-
thological explanation of the ebb and flow given
in the Edda. Utgardloki says to Thor (Gylfagin-
ning 48): "When thou wert drinking out of the
hom, and it seemed to thee that it was slow in
emptying a wonder befell, which I should not have
believed possible: the other end of the horn lay in
the sea, which thou sawest not; but when thou shalt
go to the sea, thou shalt see how much thou hast drunk
out of it. And that men now call the ebb tide."
Several passages in various manuscripts treat of
the ebb and flow. In collecting them I have been
guided by the rule only to transcribe those which
named some particular spot.
958.]
ON THE OCEAN.
193
Leic. 66}
958-
DEL FLUSSO E RIFLUSSO.
OF THE FLOW AND EBB.
2Tutti li mari anno il lor flusso e ri-
flusso in v medesimo tempo, ma pare va-
riarsi, perche li giorni no co^minciano in
vn medesimo tenpo in tutto 1'universo, co-
ciosiache, quado nel nostro emisperio e
mezzo 4 giorno , nelP opposite emisperio e
mezzanotte • , e nelle congiuntioni orietali
dell' uno e del' altro emispeSrio comincia la
notte che corre dirieto al giorno, e nelle
congiutioni occidentali d' essi emisperi co-
mincia 6il giorno che seguita la notte dalla
sua opposita parte • ; adunque e conchiuso
che, ancora che '1 7detto accrescimeto
e diminvitione delle altezze de' mari sien
fatte in vn 8 medesimo tenpo, essi mostrano
variarsi per le gia dette cagioni ; sono adun-
que somerse le acque 9 nelle uene partite
dai fondi de' mari, le quali ramificano dentro
al corpo della terra, e rispondono I0al na-
scimento de' fiumi •, i quali al continvo tol-
gono dal fondo il mare al mare andato;
e tolto innvme^rabili volte nella superfitie
un mare al mare ; E se tu volessi , che la
luna, apparendo all'orientale parte I2del
Mare Mediterrano, comiciasse ad attrarre a
se 1' acque del mare, ne seguirebbe che in-
mediate 13se ne vedrebbe la sperieza al
fine orietale di tal mare predetto; Ancora
essendo il Mar MediI4terrano circa alia
ottava parte della circuferenza della spera
dell acqua, per essere lui 'Slungo 3 mila
miglia, e '1 flusso e riflusso no fa se no 4
volte in 24 ore, e' no s'accorderebbe tale
I6effetto col tenpo d'esse 24 ore, se esso
Mare Mediterra no fusse lungo semila miglia,
perche x? se lo spogliameto di tanto mare
avesse a passare per lo stretto di Gibiltar
nel correr dietro l8alla luna, e' sarebbe si
grade il corso delle acque per tale stretto,
e s'alzerebbe in tata altezza, T9che dopo
esso stretto farebbe tal corso, che per molte
miglia infra 1'oceano farebbe inodatione e
bolli20menti grandissimi, per la qual cosa
sarebbe inpossibile passarui, e dopo questo
• subito l'ocea2Ino rederebbe colla medesima
furia F acque ricevute, donde esso le riceve ;
All seas have their flow and ebb in the
same period, but they seem to vary because
the days do not begin at the same time
throughout the universe ; in such wise as that
when it is midday in our hemisphere, it is
midnight in the opposite hemisphere; and at
the Eastern boundary of the two hemispheres
the night begins which follows on the day,
and at the Western boundary of these hemi-
spheres begins the day, which follows the
night from the opposite side. Hence it is
to be inferred that the above mentioned swelling
and diminution in the height of the seas,
although they take place in one and the
same space of time, are seen to vary from
the above mentioned causes. The waters are
then withdrawn into the fissures which start from
the depths of the sea and which ramify in-
side the body of the earth, corresponding to
the sources of rivers, which are constantly
taking from the bottom of the sea the water
which has flowed into it. A sea of water is
incessantly being drawn off from the surface of
the sea. And if you should think that the moon,
rising at the Eastern end of the Mediterranean
sea must there begin to attract to herself the
waters of the sea, it would follow that we
must at once see the effect of it at the Eas-
tern end of that sea. Again, as the Mediter-
ranean sea is about the eighth part of the cir-
cumference of . the aqueous sphere, being
3000 miles long, while the flow and ebb only
occur 4 times in 24 hours, these results
would not agree with the time of 24 hours,
unless this Mediterranean sea were six
thousand miles in length; because if such a
superabundance of water had to pass through
the straits of Gibraltar in running behind the
moon, the rush of the \vater through that
strait would be so great, and would rise
to such a height, that beyond the straits it
would for many miles rush so violently
into the ocean as to cause floods and
tremendous seething, so that it would be
impossible to pass through. This agitated
ocean would afterwards return the waters it
958. i. frusso e refrusso. 2. frusso e refrusso nv . . gorni no cho- 3. mincano. 3. concosia . . nosstro . . mez. 4. gorno . .
oposito . . mezanotte . . conguntioni . . emisspe. 5. cominca . . gorno . . congutioni ocidentali . . comica. 6. gorno . . opo-
sita. 7. acresscimeto . . dellellalteze de mari ancora chelle . . nvn. 8. mostra . . chagoni . . somerse. 9. defondi ramifichano
. . rispondano. 10. nasscimento De . . tolgano '-del fondo" [e rendano] il . . andato "e tolto" invmerabili volte "nella
superfitie" umare . . Essettu . . chella . . aparendo. 12. mediterano comicassi . . asse. 13. lassperieza . . mare "predetto".
14. terano circha . . acqu"a". 15. lungho . . frusso e refrusso . . sacorderebe. 16. meditera fussi lungho. 17. sello . .
avessi . . dirie. 18. sarebe . . essalzerebe. 19. hesso . . infrall . . ebbolli. 21. rederebbe . . riceve . . echoche. 22. passerebe . .
VOL. ii. BB
194
PHYSICAL GEOGRAPHY.
[959-
ecco che aduque mai si "passerebbe per
tale stretto-, e la sperieza mostra che
d'ogni ora vi si passa, saluo che quado il
uento ''vie per la linia della correte, allora
il riflusso forte s'aumeta-; II mare non
alza 1'acqua nelli 2«stretti che anno vscita
ma ben s'ingorga e si ritarda dinati a
quelli •, onde con furioso moto as poi ristora
il tempo del suo ritardameto insino al fin
del suo moto riflesso.
had received with equal fury to the place they
had come from, so that no one ever could pass
through those straits. Now experience shows
that at every hour they are passed in safety, but
when the wind sets in the same direction as
the current, the strong ebb increases [23]. The
sea does not raise the water that has issued
from the straits, but it checks them and this
retards the tide; then it makes up with fu-
rious haste for the time it has lost until the
end of the ebb movement.
Leic. ,3-) 959-
Come jl flusso e riflusso non e generale, That the flow and ebb are not general;
perche 2in riuiera di Genova non fa niete, for on the shore at Genoa there is none, at
a Vinegia due braccia, tra la Inghilterra Venice two braccia, between England and
e Fiandra fa 18 braccia; 3 Come per lo
stretto di Sicilia la correte e gradissima,
Flanders 18 braccia. That in the straits of
Sicily the current is very strong because
perchd di H passa tutte 1'acque de' fiumi all the waters from the rivers that flow into
che uersa 4nel Mare Adriatico.
the Adriatic pass there.
Leic. 35 «\
960.
Nelle parti occidentali •, appresso alia
Fiandra, il mare cresce e maca ogni 6 ore
circa 20 braccia, 2e 22 quado la luna £
in suo fauore, ma le 20 braccia e il suo
ordinario, il quale ordinario manifestamete
si uede >non essere per cavsa della luna;
Questa varieta del crescere e discrescere
del mare ogni 6 • ore pu6 4 accadere per le
ringorgationi delle acque, le quali son con-
dotte nel Mare Mediterrano da quella quan-
tita de' fiusmi dell' Africa Asia ed Evropa,
che in esso mare versano le loro acque, le
quali per lo stretto di Gibiltar infra Abila
In the West, near to Flanders, the sea
rises and decreases every 6 hours about 20
braccia, and 22 when the moon is in its
favour; but 20 braccia is the general rule,
and this rule, as it is evident, cannot have
the moon for its cause. This variation in
the increase and decrease of the sea every
6 hours may arise from the damming up of
the waters, which are poured into the
Mediterranean by the quantity of rivers from
Africa, Asia and Europe, which flow into that
sea, and the waters which are given to it by
those rivers; it pours them to the ocean
ella . . ora usi passa. 23. refrus.so . . lacq"a". 24. vsscita [ne in quelli] ma ben siningorgha "essiritarda . . acquelli onde
poi con. 25. tenpo [chechej del . . refresso.
9S9- i. frusso e rcfrusso. 2. genva . . uinegia due br tralla ingilterra . . 18 br. 3. cicilia lacorete. 4. adriatico.
960. i. parte hoccidentale . . cressce "e macha . . circha 20 bra. 2. 20 br quale "ordinario". 3. chavsa . . cressciere e dis-
cretscere • • ore po. 4. achadere . . mediterano da "quella". 5. africha . . versano "le loro acque" le . . abile e calpe.
958. 23. In attempting to get out of the Mediter-
ranean, vessels are sometimes detained for a con-
siderable time; not merely by the causes mentioned
by Leonardo but by the constant current flowing
eastwards through the middle of the straits of
Gibraltar.
959- A few more recent data may be given here
to facilitate comparison. In the Adriatic the tide
rises 2 and '/» feet, at Terracina l»/4. In the Eng-
lish channel between Calais and Kent it rises from
1 8 to 20 feet In the straits of Messina it rises no
more than 2 '/2 feet, and that only in stormy weather,
but the current is all the stronger. When Leo-
nardo accounts for this by the southward flow of
all the Italian rivers along the coasts, the expla-
nation is at least based on a correct observation;
namely that a steady current flows southwards along
the coast of Calabria and another northwards, along
the shores of Sicily; he seems to infer, from the
direction of the fust, that the tide in the Adriatic
is caused by it.
960. 5. Abila, Lat. Abyla, Gr. 'Ap<iATj, now Surra
Ximiera near Ceuta; Calpe, I,at. Calpe. Gr. KdtXTti],
now Gibraltar. Leonardo here uses the ancient
names of the rocks, which were known as the Pil-
lars of Hercules.
96o.]
ON THE OCEAN.
195
e Calpe 6promotori rende all'occeano le
acque che da essi fiumi li son date, jl quale
oceano, astendendosi 7 infra le isole d'ln-
ghilterra e 1'altre piu settetrionali, si uiene
a ringorgare e tenere in collo per diuersi
golfi, 8li quali, essendo tali mari discostati-
si colla lor superfitie dal centre del modo •,
anno acquistato peso, il quale, 9poiche
supera la potentia dell'avenimeto delle
acque che lo cavsauano, essa acqua ripiglia
imI0peto in contrario al suo avenimeto, e
fa impeto contro alii stretti, che li davano
1' acque e massime fa "contra lo stretto di
Gibiltar, il quale per alquato spatio di tenpo
rima ringorgato e viene a riseruarsi tutI2te
1' acque che di novo in tal tenpo li so date
dalli gia detti fiumi, e questa mi pare una
delle ragioni che T3si potrebbe assegnare
della causa d'esso flusso e riflusso, come
nella 21 a del 4* della mia teori^ca e provato.
through the straits of Gibraltar, between Abila
and Calpe [5]. That ocean extends to the island
of England and others farther North, and it
becomes dammed up and kept high in
various gulfs. These, being seas of which
the surface is remote from the centre of the
earth, have acquired a weight, which as it is
greater than the force of the incoming waters
which cause it, gives this water an impetus
in the contrary direction to that in which it
came and it is borne back to meet the waters
coming out of the straits ; and this it does
most against the straits of Gibraltar; these,
so long as this goes on, remain dammed up
and all the water which is poured out
meanwhile by the aforementioned rivers, is
pent up [in the Mediterranean]; and this
might be assigned as the cause of its flow
and ebb, as is shown in the 2ist of the
4th of my theory.
6. asslendendosi. 7. infralle isola digilterra ellaltre . . settatrionali . . ettenere. 8. cholla . .del mo . ' ano. 9. chello
. . ripiglia e. 10. peto . . inpito . . chelli. 12. ta .lacq"a" . . ga detti . . ecquesti . . chausa . . frusso e
refrusso comi. 14. cha e.
in.
SUBTERRANEAN WATER COURSES.
Theory of
the circula-
tion of the
waters
(961. 962).
C. A. 157 <*; 4664]
Gradissimi fiumi corrono 2sotto terra.
961.
Leic. 310]
Qui s'a a Imagina2re la terra
pel mez*zo,- e vedrannosi Me pro-
fondita 6del mare e della' ? terra;
8le uene si partono 9 da' fondi de'
maI0ri e tessono la "terra, e si
Ieual2no alia sommita ^de'moti,
e riuer^sano per li fiumi e 'Sritor-
nano al mal6re.
962.
1 segata
Very large rivers flow under ground.
This is meant to represent the earth cut through
in the middle, showing the depths of
the sea and of the earth ; the waters
start from the bottom of the seas,
and ramifying through the earth
they rise to the summits of the
mountains, flowing back by the
rivers and returning to the sea.
Leic. xi 6]
Raggirasi 1' acqua con cotinvo moto dal-
observationsl'infime profondita de' mari alle altissime
'ik..Sk££!^t.?f somita de' moti, non osseruando 2la natura
menypotne- '.
delle cose gram, e in questo caso fanno .
come il sangue delli animali, che sempre
si 3moue dal mare del core e scorre alia
somita delle loro teste, e quiui roponsi le
uene, come si uede «una vena rotta nel
naso, che tutto il sangue da basso si leua
(963-969).
The waters circulate with constant motion
from the utmost depths of the sea to the
highest summits of the mountains, not obeying
the nature of heavy matter; and in this case
it acts as ' does the blood of animals which
is always moving from the sea of the heart
and flows to the top of their heads; and here
it is that veins burst — as one may see when
a vein bursts in the nose, that all the blood
961. i. cori.
969. 4. uedrassi. 7. [e come]. 8. parta. 10. cttessano. ix. essi.
963. i. Rogirasi. 2. fa . . animati. 3. move [dal lago] "dal mare" del . . tesste . . e chi quiui ropasi. 4. chettutto . . alteza
963. The greater part of this passage has been given as No. 849 in the section on Anatomy.
964—966.]
SUBTERRANEAN WATER COURSES.
I97
alia altezza della rotta vena; s Quando
1'acqua escie della rotta vena della terra,
essa osserua la natura dell'altre cose piv
gravi 6 che 1' aria, onde senpre cerca i lochi
bassi. 7Vaiio 8le uene scorredo con Ifinita
ramificatione pel corpo della terra.
from below rises to the level of the burst
vein. When the water rushes out of a burst
vein in the earth it obeys the nature of other
things heavier than the air, whence it always
seeks the lowest places. [7] These waters
traverse the body of the earth with infinite
ramifications.
Br. M. 233,5]
964.
Quella cavsa, che move li umori in tutte The same cause which stirs the humours
le spetie de' corpi • animati e che co quelle jn every species of animal body and by
soccorrea ogni lesione, 2 move 1'acqua dal- which eye inj is repaired aiso moves
1 mfima profodita del mare alia soma altezza
de' moti, 3e come 1'acqua si leua dalle the waters from the utmost dePth of the sea
* inferior! parti della vite all'alte tagliature. to the greatest heights.
Br. M. 236,5]
L' acqua e proprio quella che per vitale
umore 2 di questa • arida terra • e dedicata •,
e ^ quella cavsa che la move • per le sue
rami4ficate vene • cotro al natural corso del-
sle cose gravi •, e proprio quella che mo6ve
• li umori • in tutte le spetie de'
corpi 7 animati; Ma quella, con
soma ami8ratio de' sua contem-
planti, daH'infima pro^fondita
del mare • all' altissime somita
10 de' moti si leua, e per le
rotte • vene ver1 'sando • al basso
mare • ritorna, • e di novo I2con
celerita • sormota, e all' -ati-
detto de^sceso • ritorna-, cosl
dalle parti intriI4siche • al-
1'esteriori -, cosl dalle infime
alle I5superiori, voltado • quado
con naturale corl5so ruina • , cosl insieme
cogiunta, co ^cotinua revolutione, l8per
li terrestri meati si ua raggirado.
It is the property of water that it con-
stitutes the vital human of this arid earth;
and the cause which moves it through its
ramified veins , against the natural course of
heavy matters, is the same property which
moves the humours in every spe-
cies of animal body. But that
which crowns our wonder in
contemplating it is, that it rises
from the utmost depths of the
sea to the highest tops of the
mountains, and flowing from
the opened veins returns to the
low seas; then once more, and
with extreme swiftness, it mounts
again and returns by the same
descent, thus rising from the
inside to the outside, and
going round from the lowest to the high-
est, from whence it rushes down in a
natural course. Thus by these two move-
ments combined in a constant circulation,
it travels through the veins of the earth.
G. 7o«] 966.
SE L' ACQUA PUO MOTARE DAL MARE 2ALLE WHETHER WATER RISES FROM THE SEA TO THE
CIME BELLI MONTI. TOPS OF MOUNTAINS.
3 II mare oceano no puo penetrare 4 dalle The water of the ocean cannot make its way
radici alle cime de' moti che con lui Scon- from the bases to the tops of the mountains
. . ve "ne". 5. esscie. 6. grave chellaria . . cercha.
964. i. socore . . lesione. 2. frofodita . . alteza. 3. come [il sangue] lacq"a". 4. tagliature de. here the text breaks off.
965. i. lacq"a" . . omore. 2. quessta . . dedichata. 4. chotro . de. 5. chose. 6. omori . . lesspetie. 7. che chosoma ami.
8. contenplanti | "e che" dall. 10. rocte. 12. cono celerita . . 3is. 13. scienso. 15. cho. 17. cotinua revoluitione siua
[ragirado]. 18. teresti . . ragirado.
966. i. sellacq"a" motare. 3. occieano. 4. radicie . . collui. 5. sul si leua quato la seccita. 6. Esse. 7. cheppienetra.
198
PHYSICAL GEOGRAPHY.
[967.
finano, ma solo si leua quado la secchita
6 del mote ne tira; E se per 1'aversario la
7 pioggia, che penetra dalla cima del monte
8alle radici sua, che col mare confinano,
disce'de e mollifica la spiaggia opposta
del melodesimo monte e tira al continuo,
si come Mfa la cicogniola che versa per il
suo lato piu lu"go, fusse quella che tira
in alto 1' acqua del 'Jmare; come se s n
fusse la pelle del ma'«re, e la pioggia di-
scende dalla cima del mo 'He a allo n da
vn lato e dall'altro lato di'6scede
da a allo w, sanza dubbio que'7sto
sarebbe il modo dello stillare a
feltro o l8come si fa per la canna ^
detta cico'9gniola, e senpre 1'ac- ^
qua che a mollificato 20il monte in
per la gran pioggia, che discende
da!2Ili due oppositi lati, tirerebbe a se al
lato 22piu lugo la pioggia a n insieme
coll' acqua 2-} del mare perpetuamete , se il
lato del mote **a m fusse piu lugo che
1'altro a n, il che essere 25no puo, perche
nessuna parte di terra che no 26sia so-
mersa dall'oceano sara piu bassa 2?d'esso
oceano ecc.
which bound it, but only so much rises as
the dryness of the mountain attracts. And if,
on the contrary, the rain, which pene-
trates from the summit of the mountain to
the base, which is the boundary of the sea;
descends and softens the slope opposite to
the said mountain and constantly draws the
water, like a syphon [n] which pours through
its longest side, it must be this which
draws up the water of the sea; thus if sn were
the surface of the sea, and the rain descends
from the top of the mountain a to n
on one side, and on the other sides
it descends from a to m, without a
doubt this would occur after the
manner of distilling through felt, or
as happens through the tubes called
syphons [17]. And at all times the
water which has softened the mountain, by
the great rain which runs down the two
opposite sides, would constantly attract the
rain a «, on its longest side together with the
water from the sea, if that side of the
mountain a m were longer than the other a
#; but this cannot be, because no part of the
earth which is not submerged by the ocean
can be lower than that ocean.
n s
A. 55*1
967.
DELLE VENE DEL' ACQUA SOPRA • LE CIME DELLE
MOTAGNIE.
2 Chiaro • apparisce • che tutta la • super-
fitie delPocieano •, quado non a fortuna •, e
di pan distatia 3 al cietro • della • terra •, e
che le cime delle motagnie sono tanto piv
lontane • da esso ''cietro • quato • elle s'alzano
• sopra alia superfitie d' esso • mare • ; Adu-
que se'l corpo della s terra non avesse simi-
litudine • coll' omo, sarebbe • inpossibile • che
1' acqua • del mare, essendo tato 6 piv • bassa
• che le motagnie •, ch' ella potesse • di sua
natura • salire • alle • sommita • d' esse motag-
nie ; 7 Onde • e da credere • che quella • ca-
gione •, che tiene il sangue • nella • somita
della • testa • dell' omo, 8 quella • medesima •
tenga 1' acqua • nella • sommita • de' monti.
OF SPRINGS OF WATER ON THE TOPS OF
MOUNTAINS.
It is quite evident that the whole surface
of the ocean — when there is no storm — is at
an equal distance from the centre of the
earth, and that the tops of the mountains
are farther from this centre in proportion as
they rise above the surface of that sea;
therefore if the body of the earth were
not like that of man, it would be impossible
that the waters of the sea — being so much
lower than the mountains — could by their
nature rise up to the summits of these
mountains. Hence it is to be believed that
the same cause which keeps the blood at
the top of the head in man keeps the water
at the summits of the mountains.
8. chol . . chonfin.1 disscie. 9. mollifiche. 10. cttira. 12. gho fussi . . chettira. 13. chome . . fusse. 14. ella . . disciende
alia. 15. da ullato. 16. disciede . . dubbio che. 17. aflfeltro. 18. chome . . lla channa [decta], 19. essenpre . . mollifi-
chato. 20. cheddissciede. ai. asse il lato. 22. lugho . . chollacq"a". 23. sellatto. 24. fussi . . lugho chellaltro.
26. occieano. 27. occieano.
967. i. acq"a". 2. aparisscie . . chella "tutu". 3. tera e chclle . . motagni "e" . . esso [mare]. 4. sopa . . chorpo. 5. tera
. . avessi . . choll . . chellacqua. 7. chccquella chagione . chettiene . . somita. 8. lacq"a".
966. n, 17. Cicognola, Syphon. See VoL I,
PL XXIV, No. I.
967. 968. This conception of the rising of the
blood, which has given rise to the comparison,
was recognised as erroneous by Leonardo him-
self at a later period. It must be remembered that
968.
SUBTERRANEAN WATER COURSES.
199
A. 56a]
DELLA COFERMATIONE PERCHE L'ACQUA E
NELLE • SOMITA DE'MOTI.
968.
2 Dico • che siccome • il naturale • calore
• tiene il sague nelle uene • alia sommita
dell'omo, 3e quado lo • omo • e morto, esso
.sangue • freddo • si riduce 4ne' lochi • bassi •,
e, quado • il sole • riscalda • la testa all' omo,
s moltiplica • e sopraviene tato sangue con
omori •, che forzado • le uene 6gienera • spesso •
dolori • di testa •, similemete le uene •, che
vanno ramificado 1 per il • corpo • della • terra
• e per lo • naturale • calore, • ch' e sparso
per tutto • il coti8nete • corpo •, 1'aqua • sta-
per le uene • eleuate • alPalte cime de' moti;
E queNa • acqua •, che passasi • per uno •
condotto mvrato • nel corpo d' essa • motag-
nia, I0come • cosa • morta • non uscira • dalla
• sua • prima • bassezza •, perche non e "ri-
scaldata • dal uitale • calore della • prima •
vena • ; ancora • il calore 12dell'elemeto del
fuoco •, e il giorno • il caldo - del sole •, anno
potetia disuegliere ^I'umidita -de' bassi lochi
• de' moti e tirare in alto • nel medesimo •
modo ch'ella ^tira.i nvvoli • e sueglie • la
loro • vmidita • dal letto del mare.
IN
CONFIRMATION OF WHY THE WATER GOES
TO THE TOPS OF MOUNTAINS.
I say that just as the natural heat of
the blood in the veins keeps it in the head
of man, — for when the man is dead the
cold blood sinks to the lower parts — and
when the sun is hot on the head of a man
the blood increases and rises so much, with
other humours, that by pressure in the veins
pains in the head are often caused; in
the same way veins ramify through the
body of the earth, and by the natural heat
which is distributed throughout the containing
body, the water is raised through the veins
to the tops of mountains. And this water,
which passes through a closed conduit inside
the body of the mountain like a dead thing,
cannot come forth from its low place unless
it is warmed by the vital heat of the spring
time. Again, the heat of the element of fire
and, by day, the heat of the sun, have power
to draw forth the moisture of the low parts of
the mountains and to draw them up, in the
same way as it draws the clouds and collects
their moisture from the bed of the sea.
Leic. us]
969.
Come molte vene d' acqua salata si tro-
vano fortemete distanti dal 2mare, e questo
potrebbe accadere, perche tal uena passasse
per qualche miniera di sale come quella
d' Ungheria, che si caua 3 il sale per le gran-
dissime cave, come quasi cavano le pietre.
That many springs of salt water are
found at great distances from the sea; this
might happen because such springs pass
through some mine of salt, like that in
Hungary where salt is hewn out of vast
caverns, just as stone is hewn.
968. i. chofermatioae . . lacq"a". 2. dicho chessichome . . chalore tie "il sague" leuene . ala somita. 3. [cho] e quado [esso]
"lo" omo . . fredo. 4. bassi [chosi] echauado il . . risschalda [il n] la. 5. molti pricha essopraviene . . chon . . cheffor-
zado. 6. vano ramifichado. 7. locho'rpo . . tera . . chalori chessparso . . choti. 8. chorpo . . elleuate . . Ecque. 9. per
i chondotto . . chorpo. 10. chorae chosa . . vsscira della . . basseza . none. u. rischaldata . . chalore anchora il chalore.
12. focho . . chaldo . sole a . dissuegliere. 13. lochi "de moti" ettirare. 14. nvboli essueglie . . delletto.
969. i. trova . . distante . . da. 2. ecquesto . . achadere . . passasi . . chessi. 3. quasi caua.
the MS. A, from which these passages are taken,
was written about twenty years earlier than the MS.
Leic. (Nos. 963 and 849) and twenty-five years be-
fore the MS. W. An. IV.
There is, in the original a sketch with No. 968
which is not reproduced. It represents a hill of
the same shape, as that shown at No. 982. There
are veins, or branched streams, on the side of the
hill, like those on the skull PL CVIII/No. 4.
969. The great mine of Wieliczka in Galicia,
out of which a million cwt. of rock-salt are
annually dug out, extends for 3000 metres from
West to East, and 1150 metres from North to
South.
IV.
OF RIVERS.
Lcic.
970.
DELLE DIRIUATIONI DE'FIUMI.
OF THE ORIGIN OF RIVERS.
on the
2 II corpo della terra, a similitudine de'
way corpi deli animali, e tessuto di ramification!
oV di uene, le quali son tutte insieme cogiunte,
are je son constituite a nvtrimento e viuifica-
tione d'essa terra e de' sua creati •; partono
dalle profondita del mare, e a quelle dopo
molta revolutio+ne anno a tornare per li
fiumi creati dalle alte rotture d'esse uene;
e se tu volessi dire, le pioSve il uerno o
la resolutione della neue Testate essere
causa del nascimento de' fiumi, e' si ti po-
trebbe allegare 6li fiumi, che anno origine
ne' paesi focosi dell' Africa, nella quale non
piove e meno nevica, perche il superchio
?caldo senpre risolue in aria tutti li nuvoli,
che da ueti in la son sospinti; e se tu di-
cessi che tali fiumi, che ue8gono grossi il
Luglio e '1 Agosto, son delle nevi che si risol-
uono il Maggio e '1 Giugnio per 1' appressa-
meto del sole alle ne^ui delle montagnie
di Scitia, e che tali resolutioni si riducono
in certe valli e fanno laghi, doue poi en-
trano per le I0vene e caue sotterane, le
The body of the earth, like the bodies of
animals, is intersected with ramifications of
waters which are all in connection and are
constituted to give nutriment and life to the
earth and to its creatures. These come from
the depth of the sea and, after many revolu-
tions, have to return to it by the rivers
created by the bursting of these springs;
and if you chose to say that the rains of
the winter or the melting of the snows in
summer were the cause of the birth of rivers,
I could mention the rivers which originate
in the torrid countries of Africa, where it
never rains — and still less snows — because the
intense heat always melts into air all the
clouds which are borne thither by the winds.
And if you chose to say that such rivers, as
increase in July and August, come from the
snows which melt in May and June from the
sun's approach to the snows on the mountains
of Scythiafp], and that such meltings come
down into certain valleys and form lakes,
into which they enter by springs and subter-
970. i. assimi . . ettessudi di ramifichatione . . cogunte. 3. consstit ite "a nvtrimento" e viuifichatione . . terra | 4le de sua
creati" essi partano delle . . acquelle. 4. ano attornare . . e,settu. 5. olla . lastate . . chausa . . nassciinento . . portrebbe.
6. fochosi africha . . nevicha. 7. chaldo . . nvoli . . ilia . . sosspinte . . essettu . . chcttali. 8. gano . . ellagosto . . chessi^
. . lapressamcto . . mago . . gugnio. 9. disscitia . . riduchano . . eflano lagh. 10. riescano . . effalso inperochelle . . las.
II. chellorigine . . concosia chclla.
970. 9. Scythia means here, as in Ancient Geography, the whole of the Northern part of Asia as
far as India.
. 972.]
OF RIVERS.
2O I
quali riescono poi all' origine del Nilo, questo
e falso, inperoche e piv bassa la "Scitia
che F origine del Nilo, conciosiache la Scitia
e presso al mare di Poto a 400 miglia,
e F origine del Nilo e I2 remote 3000
miglia dal mare d' Egitto, ove versa le sue
acque.
ranean caves to issue forth again at the
sources of the Nile, this is false; because
Scythia is lower than the sources of the Nile,
and, besides, Scythia is only 400 miles from the
Black sea and the sources of the Nile are
3000 miles distant from the sea of Egypt
into which its waters flow.
Leic. 5
971.
Libro 9° delli scontri de' fiumi e lor
flusso e riflusso, e la medesima 2 causa
lo crea nel mare per causa dello stretto
di Gibilterra, e ancora accade per le
uoragini ;
3Se due fiumi insieme si scontrano per
vna medesima linia, la qual sia retta, poi
infra 2 angoli retti 4pigliano insieme lor
corso , e' seguira il flusso e riflusso • ora a
F uno fiume, ora all' altro, avanti s che sieno
• vniti e massime, se F uscita nella loro vni-
tione no sara piv veloce, che quad' era dis-
uniti; 6Qui accadono 4 casi.
Book 9, of the meeting of rivers and of The tide in
their ebb and flow. The cause is the same e
in the sea, where it is caused by the straits
of Gibraltar; and again it is caused by whirl-
pools.
[3] If two rivers meet together to form
a straight line, and then below two right
angles take their course together, the flow
and ebb will happen now in one river and
now in the other above their confluence, and
principally if the outlet for their united vo-
lume is no swifter than when they were se-
parate. Here occur 4 instances.
Leic. 15 a]
972.
Quando il fiume minore versa le sue
acque nel maggiore, il quale maggiore
corra dall' opposita 2 riua, allora il corso del
fiume minore pieghera
il suo corso inverse
Fauenimeto del fiume
3 maggiore ; e questo
accade perche, quando
esso maggiore fiume
enpie d'acqua tutto il
suo letto, e' 4gll viene a
fare ritroso sotto la
bocca di tal fiume, e
cosl spingnie co seco
F acqua versata dal
fisvme minore ; Quando
il fiume minore versa
le sue acque nel fiume
maggiore, il quale 6ab-
bia la corrente alia foce del minore, allora
le sue acque si piegheranno inverse la
fu7ga del fiume maggiore.
When a smaller river pours its waters On the aite-
into a larger one, and that larger one flows "ed'Tn thT
from the opposite direction, the course of c°i"^sSb°f
the smaller river will their con-
bend up against the ap- (^-^.
proach of the larger
river; and this happens
because, when the lar-
ger river fills up all its
bed with water, it makes
an eddy in front of the
mouth of the other river,
and so carries the water
poured in by the smaller
river with its own.
When the smaller river
pours its waters into
the larger one, which
runs across the current
at the mouth of the smaller river, its waters
will bend with the downward movement of
the larger river.
971. i. isscontri . . ellor frusso e refrusso alta. 2. chausa . . strett [i] o di gibiltar . . achade . . uoragine. 3. retta e poi.
4. piglino . . refrusso. 5. chessieno . . lusscita nedella. 6. achade 4 chasi.
973. i. magore il equal "magore" corra "dall oposita riua" [remoto dalla sua]. 2. piegera. 3. magore ecquesto acchade . .
magor . . letto el. 4. affare retroso . . bocha. 5. magore. 6. minor (fiume] allora . . piegeranno. 7. magore.
971. The first two lines of this passage have
already been given as No. 957. In the margin,
near line 3 of this passage, the text given as
No. 919 is written.
VOL. a.
972. In the original sketches the word Arno is
written at the spot here marked A, at R. Rifredi,
and at M. Mn^none.
cc
PHYSICAL GEOGRAPHY.
[973—975-
Uic. i6J]
Quando le piene de' fiumi so 'diminuite -,
allor li angoli acuti, che si genera
nelle congiuntioni de' sua rami, si a
(anno piv cor^ti nelli lor lati e piu
grossi nelle lor punte, come sia la
corrente an, e la corrente d n,
Me quali si congiunghino insieme
in-//, quando il fiume £ nelle sue
gran piene; dico che, quando sia
snella predetta dispositione •, che
se d n avanti la piena era piv basso
che a ;/, che nel tempo della piena
6d n sara pie di rena e fango, il quale
nel calare delle acque d n portera
uia il fango e rimar^rk col fondo
basso, e '1 canale a n, trovandosi
alto, scolera le sue acque nel basso
d n e consumera tutta 8la
punta del renaio b c «, e
cosl rimarra 1'angolo a c d
piv grosso che 1'angolo a n
d, e di lati piu corti, come
sprima dissi.
973-
When the fulness of rivers is diminished,
then the acute angles formed at the
junction of their branches become shorter
at the sides and wider at the point;
like the current a n and the current
d n, which unite in n when the river
is at its greatest fulness. I say, that
when it is in this condition if, be-
fore the fullest time, d n was lower
than an, at the time of ful-
ness d n will be full of sand and
mud. When the water d n falls, it
will carry away the mud and remain
with a lower bottom, and the chan-
nel a n finding itself the higher, will
fling its waters into the lower, d n,
and will wash away all the point of
the sand-spit b n c, and thus
the angle a c d will remain
larger than the angle and
and the sides shorter, as I said
before.
G. 48-]
974-
AQUA.
DEL MOTO D'U SUBITO ENPITO FATTO 3 DA UN
FIUME SOPRA IL SUO LETTO ASCIUTTO.
4Tanto e piu tardo o velocie il corso
dell'acqua, 5 data dallo isboccato lago al
secco fivme, qua6to esso fiume fia piu largo
o piv stretto, over ? piu piano o cupo in
un loco che in un altro, 8per quel che e
proposto: il flusso e ri^flusso del mare che
dallo oceano entra nel MeI0diterraneo Mare
e de' fiumi, che giostrano "con lui, alzano
tanto piu o meno le loro acque, I2quanto
tal mare e piv o meno stretto.
WATER.
OF THE MOVEMENT OF A SUDDEN RUSH MADE
BY A RIVER IN ITS BED PREVIOUSLY DRY.
In proportion as the current of the water
given forth by the draining of the lake is slow
or rapid in the dry river bed, so will this
river be wider or narrower, or shallower or
deeper in one place than another, according
to this proposition: the flow and ebb of the
sea which enters the Mediterranean from the
ocean, and of the rivers which meet and struggle
with it, will raise their waters more or less
in proportion as the sea is wider or narrower.
c. A. y>tb\
975-
whirlpool*. Voragine, cioe caverne, 2cioe residui Whirlpools, that is to say caverns; that
d' acque pre^cipitose. is to say places left by precipitated waters.
973- *• conguntione. 3. corente . . ella corcnte. 4. congunghino . . dicho. 5. predecta disspositione chesse. 6. eflTango . .
rima. 8. cori riraara lanolo . . groso.
974. j. da u . . assciucto. 4. eppiu . . chorpo . . acq"a". 5. isbochato lagho . . secho. 6. largho . . strecto. 7. ochupo nu
locho che inu. 8. propossto . . e re. 9. frusso . . dello occieano. 10. mediterano . . giosstrano. xi. cho. 12. eppiu
. . strecto.
975. 2. coe residii. 3. cipitosa.
973. Above the first sketch we find, in the original, this note: "Sofira il pott rubaeonU alia toiri-
rella"; and by the second, -which represents a pier of a bridge, "Sotto I'ospedal del
974. In the margin is a sketch of a river which winds so as to form islands.
976-978-]
OF RIVERS.
203
G.
976.
DELLA VIBRATIONE DELLA TERRA.
2 Li corsi sotterranei 3 delle acque, sicome
quelli che son fatti infra ^I'aria e la terra,
son quelli che al continue scosumano e
profondano li letti de!6li lor corsi.
OF THE VIBRATION OF THE EARTH.
The subterranean channels of waters, like On the ahe-
those which exist between the air and the'^SeSof
earth, are those which unceasingly wear rivers-
away and deepen the beds of their currents.
Leic. 66}
977-
II fiume che esce de' moti pone gran
quatita di sassi grossi in nel suo ghiareto,
i quali fatti sono ancora 2con parte de'
sua angoli e lati, e nel processo del corso
conduce pietre minori con angoli piv co-
sumati, cioe le gra 3 pietre fa minori, e piv
oltre po ghiaia • grossa, e poi minvta •, e
seguita rena grossa, e poi minvta, dipoi
precede 4litta grossa, e poi piv sottile, e
cosl seguedo giugne al mare 1'acqua turba
di rena e di litta; la rena scarica sopra
de' slid marini per il rigurgitameto dell' ode
salse, e segue la litta di tanta sottilita che
par di natura d'acqua, la qual non si fer-
bma sopra de' marl liti, ma ritorna indietro
coll'acqua per la sua leuita, perch' e nata
di foglie marcie e d'altre cose leuissime,
si 7che, essendo quasi, com'e detto, di
natura d'acqua, essa poi in tenpo di bo-
naccia si scarica e si ferma sopra del
8fondo del mare, ove per la sua sottilita
si condensa e resiste all'onde che sopra
vi passano per la sua lubricita, e 9qui
stanno i nichi e quest' e terra bianca da
far boccali.
A river that flows from mountains The
deposits a great quantity of large stones in°int
its bed, which still have some of the'ir angles (977-
and sides, and in the course of its flow it
carries down smaller stones with the angles
more worn; that is to say the large stones
become smaller. And farther on it deposits
coarse gravel and then smaller, and as it pro-
ceeds this becomes coarse sand and then finer,
and going on thus the water, turbid with sand
and gravel, joins the sea; and the sand settles
on the sea-shores, being cast up by the salt
waves; and there results the sand of so fine a
nature as to seem almost like water, and it
will not stop on the shores of the sea but re-
turns by reason of its lightness, because it was
originally formed of rotten leaves and other
very light things. Still, being almost — >as was
said — of the nature of water itself, it after-
wards, when the weather is calm, settles and
becomes solid at the bottom of the sea,
where by its fineness it becomes compact
and by its smoothness resists the waves
which glide over it; and in this shells are
found; and this is white earth, fit for pottery.
origin
ver"
9?8)-
Leic. 31 b\
978.
Tutte 1'uscite dell' acque dal monte nel
mare porta co seco li sassi del monte in
es2so mare, e per la inodatione dell' acque
marine contro alii sua monti, esse pietre
era ributta^te inverso il mote, e nell'adare
e nel ritornare indietro delle acque al mare,
le pietre insieme co queMa tornavano, e
nel ritornare li angoli loro insieme si per-
cuoteano, e come parte men Sresistente alle
percosse si cosumavano e facean le pietre
sanza angoli, in figu6ra rotonda -, come ne'
liti dell' Elsa si dimostra, e quelle rimaneva
piv grosse, che manco sara remosse ? dal lor
All the torrents of water flowing from
the mountains to the sea carry with them
the stones from the hills to the sea, and by
the influx of the sea- water towards the
mountains; these stones were thrown back
towards the mountains, and as the waters
rose and retired, the stones were tossed
about by it and in rolling, their angles hit
together; then as the parts, which least resisted
the blows, were worn off, the stones ceased to
be angular and became round in form, as may
be seen on the banks of the Elsa. And those
remained larger which were less removed
976. i. viberatio. 2. supterrani [e super accquelli]. 3. so fatti infral. 4. ella. 6. chorsi.
977. i. essce . . inel. 2. ellati . . agoli . . coe. 3. grosa e po . . grosa prociede. 4. lita . . gugne . . lita . . scaricha. 5. per
e . ricitrameto . . lita . . dachq"a". 6. indirieta collo per . . marce. 7. bonacca . . scaricha essi. 9. ecquest . biancha
daffar bochali.
978. i. lusscite dellacq"e" . . secho . . in e. 2. rebutta. 3. mode "e nelladare" e . . indirieto. 4. toravano . . perchoteano.
5. perchose . . effacean. 6. ritonda "come ne liti dellebba si dimosstra" ecquella rimane . . mancho. 7. nasscimeto. 8. locho
2O4
PHYSICAL GEOGRAPHY.
[978.
nascimeto; e cosl quella si facea minore,
che piv si rimouea dal predet8to loco, in
modo che nel procedere ella si couerte in
ghiaja minvta, e poi in rena 'e in vltimo
in fango • ; dipoi che '1 mare si discosta dalli
predetti monti •, la salsedine lascia'°ta dal
mare con altro umore della terra a fatta
vna collegatione a essa ghiaja e rena, che
la "ghiaja in sasso e la rena in tufo s'£
convertita; E di questo si uede 1'esenplo
"in Adda all'uscire de' monti di Como e
in Tesino, Adige, Oglio dall' alpi de' Tede-
schi, e il si1 'mile d' Arno dal monte Albano
intorno a Mote Lupo e Capraia, doue li
sassi grandissimi son tutti I4di ghiaia co-
gelata di diuerse pietre e colori.
from their native spot; and they became
smaller, the farther they were carried from
that place, so that in the process they were
converted into small pebbles and then into
sand and at last into mud. After the sea
had receded from the mountains the brine
left by the sea with other humours of the
earth made a concretion of these pebbles
and this sand, so that the pebbles were con-
verted into rock and the sand into tufa.
And of this we see an example in the Adda
where it issues from the mountains of Como
and in the Ticino, the Adige and the Oglio
coming from the German Alps, and in the
Arno at Monte Albano [13], near Monte Lupo
and Capraia where the rocks, which are very
large, are all of conglomerated pebbles of
various kinds and colours.
. . procedere in ft . . giara. 9. fangho . . disscosste . . lasscia. 10. ta del . . altromore . . aflTatto . . giara errena chella.
ii. giara . . ella . . chonvcrtita. 12. inada . . adice oglio e adriano dell alpi . . tedesci el si . . ij. darno
del. 14. cholori.
978. 13. At the foot of Monte Albano lies Vinci, the birth place of Leonardo. Opposite, on the other
bank of the Arno, is Monte Lupo .
C. A. 157 6; 466 a]
V.
ON MOUNTAINS.
979-
11 Li moti son fatti dalli cor2si de' Mountains are made by the currents of The forma-
c • m • tionofmoun-
numi;"| rivers. . tains
sULi moti son disfatti dalli cor^si de' Mountains are destroyed by the currents ^979— 983>-
fiumi. U of rivers.
Leic. 10 a]
980.
Come le 2radici settentrionali di qua-
lunche alpe • non sono ancora petrificate ;
e questo si vede ma^nifestamente doue i
fiumi, che le tagliano, corrano inverse set-
tentrione, li quali taglia * nell' altezze de'
moti le falde delle pietre viue, e nell'con-
giugniersi colle pianure le predette falde
5 son tutte di terra da fare boccali •, come
si dimostra in Val di Lamona al fiume
Lamona nel6l'uscire del Mote Appenino
fargli le predette cose nelle sue rive;
Come li fiumi anno tutti segati 7e di-
uisi li menbri delle grand' alpi 1'uno dal-
Paltro, e questo si manifesta per lo ordine
delle 8 pietre faldate, che dalla sommita del
monte insino al fiume si vedono le corri-
spodenze delle falde essere- 9cosl da 1'un
de' lati del fiume come dall'altro; Come
That the Northern bases of some Alps
are not yet petrified. And this is plainly to
be seen where the rivers, which cut through
them, flow towards the North; where they cut
through the strata in the living stone in the
higher parts of the mountains; and, where
they join the plains, these strata are all of
potter's clay; as is to be seen in the valley
of Lamona where the river Lamona, as it
issues from the Appenines, does these things
on its banks.
That the rivers have all cut and divided
the mountains of the great Alps one from
the other. This is visible in the order of
the stratified rocks, because from the summits
of the banks, down to the river the corre-
spondence of the strata in the rocks is
visible on either side of the river. That the
979. 3. dissfacti . . chor.
980. 2. radice . . petrifichate ecquesto. 3. chelle . . chorrane . . settantrione. 4. alteze . . congugnersi cholle. 5. daflfare boch-
ali . . lumona fare al. 6. lusscire . . farli . . fiumi an. 7. alpe . . ecquesto. 8. somita . . vede . . conrisspodenze. 9. tutti
979. Compare 789.
206
PHYSICAL GEOGRAPHY.
[981—983.
le pietre faldate de' monti • son tutti i gradi
10de' fanghi posati Tun sopra 1'altro per
le inodationi de' fiumi; Come le diuerse
grossezze delle faldedel'Me pietre son create
da diuerse inondationi de' fiumi, cioe mag-
giore ondatione o minore.
stratified stones of the mountains are all
layers of clay, deposited one above the other
by the various floods of the rivers. That the
different size of the strata is caused by the
difference in the floods — that is to say greater
or lesser floods.
981.
Le sommita de' monti per 2 lungo tenpo
senpre s'i'nalzano;
*I lati oppositi de' mdsti
senpre s'auicinano; 6le profon-
dita delle ualli, Me quali son
sopra la *spera dell'acqua, per
lungo 9 tenpo senpre 10s'ap-
propinquano al ceMtro del
mondo ;
12 In equal tepo molto pi'^v
si profondano le ua!14li che non
s'alzano i mo'sti;
16 Le base de' monti senpre
•7 si fanno piv strette;
l8Quanto I9la ualle piv si pro20fonda,
piv si consu2Ima ne' sua lati in 22piu bri-
eue tenpo.
The summits of mountains for a long
time rise constantly.
The opposite sides of the
mountains always approach each
other below; the depths of the
valleys which are above the sphere
of the waters are in the course of
time constantly getting nearer to
the centre of the world.
In an equal period, the valleys
sink much more than the moun-
tains rise.
The bases of the mountains
always come closer together.
In proportion as the valleys become
deeper, the more quickly are their sides
worn away.
Br. M. 30*]
982.
In ogni concauita delle
cime de' monti senpre si tro-
ver2anno li piegameti delle
falde delle pietre.
In every concavity at the
summit of the mountains we
shall always find the divisions
of the strata in the rocks.
C. A. 124 1; 3830]
983.
DEL MARE CHE CIGNE LA TERRA.
OF THE SEA WHICH ENCIRCLES THE EARTH.
2Jo truovo il sito della terra essere ab I find that of old, the state of the earth
antico • nelle sue pianure tutto 3 occupato was that its plains were all covered up and
e coperto dall'acque salse ecc. hidden by salt water.
e gradi. 10. gosseze. it. coe magore . . ominore.
981. i. somita. 7. la 5. 8. acq"a". 9. senpre [sabb]. 17. strecte. 20. consu. 21. made sua.
983. 2. ra li.
983. i. ce cignie. 2. abbanticho . . tucto. 3. ochupato e choperto.
983. This passage has already been published f-^ipng 1873, P- 86. However, his reading of the
by Dr. M. JORDAN: Das Malerbuch da L. da Vinci, text differs from mine.
9.84-]
ON MOUNTAINS.
2O7
Leic. 31 a]
984.
Perche molto so 2 piv antiche le 3 cose
che le Iette4re, non e maravisglia, se alii
nostri 6giorni non appari?sce scrittura de-
8lli predetti ma9ri essere occupaI0tori di
tanti pajlesi; I2e se pure alcuna ^scrittura
apparia, I4le guerre, 1'incedi, li diluvi del-
1'acque jsle mutationi delle l6lingue e delle
leggi I7anno cosumato l8ogni antichita, ma
Z9a noi bastano le testi20monianze delle co-
2Ise nate nelle acque "salse ritrouarsi
23nelli aid moti, 2+lontani dalli mari 2sd'allora.
Since things are much more ancient than xheauthori-
letters, it is no marvel if, in our day, no study °Jf thee
records exist of these seas having covered so ^g'elrth01
many countries; and if, moreover, some
records had existed, war and conflagrations,
the deluge of waters, the changes of languages
and of laws have consumed every thing an-
cient. But sufficient for us is the testimony
of things created in the salt waters, and
found again in high mountains far from
the seas.
984. 3. chelle. 6. gorni non aparis. 7. sciptura del. 9. ocupa. n. [esi essettu]. 12. esse. 15. "li diluui dellacque" le muta-
tioni. 16. legi. 19. basta. 20. monatie. 26. talor.
VI.
GEOLOGICAL PROBLEMS.
Leic. 3 a]
985.
In questa tua opera tu ai jn prima a
provare, come li nichi in mille braccia
d'altura no ui furo 2portati dal diluuio,
perche si uedono a u medesimo liuello, e
si vedono auazare assai moti sopra 3esso
liuello, e a dimadare se '1 diluvio fu per
piogga o per ringorgameto di mare, e poi
ai 4a mostrare, che ne per pioggia che in-
grossi i fiumi, ne per rigonfiameto d'esso
mare ; li nichi, come cosa 5 grave, non sono
sospinti dal mare alii moti, ne tirati a
se dalli fiumi cotro al corso delle 6loro
acque.
In this work you have first to prove that
the shells at a thousand braccia of elevation
were not carried there by the deluge, because
they are seen to be all at one level, and
many mountains are seen to be above that
level; and to inquire whether the deluge
was caused by rain or by the swelling of
the sea; and then you must show how,
neither by rain nor by swelling of the rivers,
nor by the overflow of this sea, could the
shells — being heavy objects — be floated up
the mountains by the sea, nor have carried there
by the rivers against the course of their waters.
C. A. 1520; 452 a]
986.
DUBITATIONE.
A DOUBTFUL POINT.
2Mouesi qui vn dubbio e questo e, se Here a doubt arises, and that is: whether
Doubt* '1 3 diluvio, venuto al tenpo di Noe, fu vni- the deluge, which happened at the time of
adehiVehe 4versale o no; E qui parra di no, per le Noah, was universal or not. And it would
985. i. quessta . . br daltura. 2. perchessi uedano . . e uedesi. 4. mosstrare . . piogga chengrossi . . chome. 5. sosspinti . .
asse . . chorso. 6. accq"e".
986. 2. ecquesso. 4. onno. 5. chessi . . abbian • nella bibbia. 6. chonpossto. 7. node . . pio. 8. chettal piogg. g. ghomiti.
985. The passages, here given from the MS. that is not repeated here more clearly and fully.
Leic., have hitherto remained unknown. Some pre-
liminary notes on the subject are to be found in
MS. F So3 and 8ob; but as compared with the
fuller treatment here given, they are, it seems to
me, of secondary interest. They contain nothing
I.IHRI, Histoire des Sciences mathematiques Iff, pages
218 — 221, has printed the text of F 80* and 8ob,
therefore it seemed desirable to give my reasons
for not inserting it in this work.
98;-]
GEOLOGICAL PROBLEMS.
209
sragioni che si assegnieranno ; Noi abbiamo
nella bibbia, 6che il predetto diluvio fu
conposto di 40 7dl e 40 notti di continua
e vniversa piog8gia, e che tal pioggia alzo
died 9gomiti sopra al piu alto mote del-
l'univerI0so; E se cosl fu, che la pioggia
fusse vniver^sale, ella vestl di se la nostra
terI2ra di figura sperica; E la supernI3tie
sperica in ogni sua parte equalmen^te di-
stante dal cietro della sva speisra, onde la
spera del'acqua, trovandosi l6nel modo
della detta conditione, elli e ^inpossibile,
che 1'acqua sopra di lei si mova, l8 perch e
1'acqua in se non si move, s'ella non J'di-
sciede; addunque 1'acqua di tanto dilu20vio
come si parti, se qui e provato, non a2Iver
moto? e s'ella si parti, come si mosse, 22se
ella non adava allo insu? e qui ne macano2^
le ragio naturali, ode bisognia per soccor-
2<*so di tal dvbitatione chiamare il mira-
25colo per aiuto, o dire che 26tale acqua
fu vaporata dal calore del sole.
seem not, for the reasons now to be given:
We have it in the Bible that this deluge
lasted 40 days and 40 nights of incessant
and universal rain, and that this rain rose to
ten cubits above the highest mountains in the
world. And if it had been that the rain
was universal, it would have covered our
globe which is spherical in form. And
this spherical surface is equally distant in
every part, from the centre of its sphere;
hence the sphere of the • waters being
under the same conditions, it is im-
possible that the water upon it should move,
because water, in itself, does not move
unless it falls; therefore how could the
waters of such a deluge depart, if it is
proved that it has no motion? and if it de-
parted how could it move unless it went
upwards? Here, then, natural reasons are
wanting; hence to remove this doubt it is
necessary to call in a miracle to aid us, or
else to say that all this water was evapo-
rated by the heat of the sun.
Leic. 86}
987.
DEL DILUUIO E DE'NICHI MARINI.
2 Se tu dirai che li nichi, che per li cori-
fini d' Italia lontano dalli mari in tata altezza
si ueggono 3 alii nostri tempi, siano stati
per causa del diluuio che 11 li lascio, io ti
rispodo che, credendo tu che Hal diluvio
superasse il piv alto monte 7 cubiti, come
scrisse chi li misuro, tali nichi che senpre
sstanno vicini ai liti del mare, e' doueano
restare sopra tali motagnie, e no si poco
sopra le radi6ci de' monti per tutto a vna
medesima altezza a suoli a suoli; E se tu
dirai che, essendo tali 7 nichi vaghi di stare
vicini alii liti marini e che, crescedo in tata
altezza, che li nichi si 8partirono da esso
lor primo sito e seguitarono 1' accrescimeto
delle acque insino alia lor 9soma altezza,
Qui si risponde che, sendo il nichio anima-
OF THE DELUGE AND OF MARINE SHELLS.
If you were to say that the shells which That marine
are to be seen within the confines of Italy shells could
, re .1 ' not go up
now, in our days, tar from the sea and at the moun-
such heights, had been brought there by the tains<
deluge which left them there, I should
answer that if you believe that this deluge
rose 7 cubits above the highest mountains —
as he who measured it has written — these
shells, which always live near the sea-shore,
should have been left on the mountains; and
not such a little way from the foot of the
mountains; nor all at one level, nor in layers
upon layers. And if you were to say that
these shells are desirous of remaining
near to the margin of the sea, and that,
as it rose in height, the shells quitted
their first home, and followed the in-
crease of the waters up to their highest
level; to this I answer, that the cockle is an
animal of not more rapid movement than
the snail is out of water, or even somewhat
io. chosi . . chella piggia fussi. 12. fighura spericha Ella. 13. spericha nogni. 14. disstante al. 16. chonditione. 17. chel-
lacqua . . mov "a". 20. chome. 21. essella . . chome, 22. ecquimaca. 23. sochor. 25. cholo [per sochorso] per . . oddire.
26. chalar.
987. I. 8 del. 2. settu . . chelli . . luntano dali . . alteza si uegghano. 3. nosstri tenpi sia stato . . chausa . . lasscio . . rispode.
4. diluio superassi . . chessenpre. 5. aliti del mare doueano . . pocho . . li radi. 6. ce de . . assuoli assuoli Essettu.
7. cresscedo . . alteza chelli. 8. partirano . . lor p"o" sito essejuitorno lacresscimeto. 9. alteza . . che^sendo. io. chessi
VOL. 11. DL>
2IO
PHYSICAL GEOGRAPHY.
[987.
«°le di non piii veloce moto, che si sia la
lumaca, fori dell'acqua, e qualche cosa piu
tarda perche no nota, a"zi si fa vn solco
per F arena mediante i lati di tal solco ove
s'appoggia, caminerk il dl dalle 3 alle 4.
braccia; I2adunque questo co tale moto
no sari caminato dal mare Adriano insino
in Moferrato di Lon'^bardia, che v'e 250
n>iglia di distantia, in 40 giorni, come disse
chi tenne coto d'esso tenpo; e se tu dici
che I4l'onde ve li portarono, essi per la
lor gravezza non si reggono, se no sopra
il suo fondo-; e se questo no mi 'Sconcedi, co-
fessami al meno ch'elli aueano a' rimanere
nelle cime de' piv alti moti e ne' laghi che
in'°fra li moti si serrano, come lago di
Lario o di Como, e '1 Maggiore, e di
Fiesole, e di Perugia e simili;
'/E se tu dirai che li nichi son l8por-
tati dair onde, essedo voti e morti, io dico
che, dove andauano li morti, poco si rimo-
veuano da'uiui, e in que'^ste m'ontagnie
sono trovati tutti i uiui che si cognoscono
che sono colli gusci appaiati, e scno 20in
vn filo doue non e nessun de' morti, e
poco piv alto e trovato doue eran gittati
dall'o^de tutti li morti colle loro scorze
separate, apresso a dove li fiumi cascavano
in "mare in gra profondita; come Arno,
che cadea dalla Gonfolina apresso a 2-' Mote
Lupo e quiui lasciaua la ghiaja, la quale
ancor si uede, che si e insieme ricogielata
e di pie24tre di uari paesi nature e colori
e durezze se n'e fatto vna sola congelatione,
e poco piu oltre la congelatione dell'are25na
s'£ fatta tufo, dou'ella s'agiraua inverse
Castel Fioretino, piu oltre si scaricava il
fango, 26nel quale abitavano i nichi, il quale
s'inalzava a gradi, secondo che le piene
d'Arno torbido 2?in quel mare versauano,
e di tempo in tenpo s'inalzaua il fondo al
mare, jl quale a gradi 28producea essi
nichi, come si mostra nel taglio di Colle
Gonzoli, dirupato dal flume d'Arno, 29che
il suo piede consuma, nel qual taglio si
slower; because it does not swim, on the
contrary it makes a furrow in the sand by
means of its sides, and in this furrow it will
travel each day from 3 to 4 braccia; therefore
this creature, with so slow a motion, could
not have travelled from the Adriatic sea as
far as Monferrato in Lombardy [13], which
is 250 miles distance, in 40 days; which
he has said who took account of the time.
And if you say that the waves carried them
there, by their gravity they could not move,
excepting at the bottom. And if you will
not grant me this, confess at least that they
would have to stay at the summits of the
highest mountains, in the lakes which are
enclosed among the mountains, like the lakes
of Lario, or of Como and il Maggiore [i 6]
and of Fiesole, and of Perugia, and others.
And if you should say that the shells
were carried by the waves, being empty and
dead, I say that where the dead' went they
were not far removed from the living; for in
these mountains living ones are found, which
are recognisable by the shells being in pairs ;
and they are in a layer where there are no
dead ones; and a little higher up they are
found, where they were thrown by the waves,
all the dead ones with their shells separated,
near to where the rivers fell into the sea,
to a great depth; like the Arno which fell
from the Gonfolina near to Monte Lupo [23],
where it left a deposit of gravel which may
still be seen, and which has agglomerated;
and of stones of various districts, natures,
and colours and hardness, making one single
conglomerate. And a little beyond the sand-
stone conglomerate a tufa has been formed,
where it turned towards Castel Florentine;
farther on, the mud was deposited in which the
shells lived, and which rose in layers according
to the levels at which the turbid Arno flowed
into that sea. And from time to time the
bottom of the sea was raised, depositing
these shells in layers, as may be seen in
the cutting at Colle Gonzoli, laid open by
. . lumacha . . ecqualche . . tarda. n. solcho . . sapogia chaminera . . 4 br. 12. chaminato . . i moferato. ij. gorni . .
tcnc . . essettu di che. 14. portorono . . regano. 15. cedi. 16. fralli . . magore . . pertiga. 17. Ksse tu dirai dirai chcllc.
18. dicho . . andaua . . pocho. 19. cognoscano . . cholli gussci . . essono. 20. in vnn . . pocho. 21. cholle . . chassca-
Yano. 22. gra . . chadea delta Golfolina. 23. giara . . chesse insieme . ricogielata. 24. nari "paesi" nature "e colorie du-
reze" se ne fatto . . gongelatione . . pocho. 25. seffatto . . invero chastel . . scharichava il fangho. 26. abitava . . chelle
987. 13. Monferrato di Lombardia. The range of the words in the MS. are: "Come Lago di Lario o'l
hills of Monferrato is in Piedmont, and Casale di
Monferrato belonged, in Leonardo's time, to the
Marchese di Mantova.
1 6. Lago di Lario. Lacus Larius was the name
given, by the Romans to the lake of Como. It is
evident that it is here a slip of the pen since the
Magore e di Como." In the MS. after line 16 we
come upon a digression treating of the weight of
water; this has here been omitted. It is II lines
long.
23. Monte Lupo, compare 970, 13; it is between
Empoli and Florence.
988.]
GEOLOGICAL PROBLEMS.
211
uedono manifestamete li predetti gradi de'
nichi in 3°fango azzureggiante, e ui si trova
di uarie cose marine; E si e alzata la terra
del nostro ^emisperio per tanto piu che
no solea, per quato ella si fece piu lieue
delle acque, che le manca32rono per il
taglio di Calpe e d'Abila, e altrettanto piv
s'e alzata, perche il peso dell' acque, che
di qui ma.33carono, s' aggiunsero • alia terra
volta all'altro emisperio, E se li nichi fus-
sero stati 34portati dal Torbido diluuio,
essi si sarebbero misti, separatamente Pun
dal'altro, infra '1 fango e non 35con ordinati
gradi a suoli, come alii nostri tenpi si vede.
the Arno which is wearing away the base of it;
in which cutting the said layers of shells are
very plainly to be seen in clay of a bluish
colour, and various marine objects are found
there. And if the earth of our hemisphere
is indeed raised by so much higher than it
used to be, it must .have become by so much
lighter by the waters which it lost through
the rift between Gibraltar and Ceuta; and all
the more the higher it rose, because the weight
of the waters which were thus lost would be
added to the earth in the other hemisphere.
And if the shells had been carried by the
muddy deluge they would have been mixed
up, and separated from each other amidst the
mud, and not in regular steps and layers —
as we see them now in our time.
Leic. ga]
988.
Di quelli che dicono che i nichi sono
per molto spatio e nati remoti dalli mari •
per la natura del sito e de' cieli, 2che di-
spone e influiscie tal loco a simile creatione
d'animali-;a costor si rispondera che, se
tale influetia 3d'animali no potrebbe acca-
dere in vna sola linia, se no animali di
medesima sorte e eta, e non il uechio col
gio4vane, e no alcun col coperchio e 1'al-
tro essere sanza sua .copritura, e no Funo
esser rotto e Paltro intero, Se no 1'uno
ripieno di rena marina e rottame minvto e
grosso d'altri nichi dentro alii nichi 6interi,
che li son rimasti aperti, e no le boche de'
granchi sanza il rimanete del suo tutto, e
non li ni?chi d'altre spetie appiccati con loro
in forma d'animale che sopra di quelli si
mouesse, perche ancora resta 8il uestigio
del suo andamento sopra la scorza che lui
gia, a uso di tarlo sopra il legname, ando
cosumado; 9 no si troverebbero infra loro
ossa e denti di pescie, li quali alcuni di-
mandano saette e altri lingue di serI0penti,
As to those who say that shells existed The marine
for a long time and were born at a distance ^St produ-
from the sea. from the nature of the place , ced ?vvay
,-. - . • ' «_ • from the sea.
and ot the cycles, which can influence a
place to produce such creatures — to them it
may be answered: such an influence could
not place the animals all on one line, except
those of the same sort and age; and not the
old with the young, nor some with an operculum
and others without their operculum, nor some
broken and others whole, nor some filled »
with sea-sand and large and small fragments
of other shells inside the whole shells
which remained open; nor the claws of
crabs without the rest of their bodies;
nor the shells of other species stuck on to
them like animals which have moved about
on them; since the traces of their track still
remain, on the outside, after the manner of
worms in the wood which they ate into. Nor
would there be found among them the bones
and teeth of fish which some call arrows and
others serpents' tongues, nor would so many
plane. 2.7. quell . . versaua. 28. deripato. 29. piede . . taglo si vede. 30. fangho azuregantc . . Essi alzato . . noss-
tro. 31. emissperio . . mancho. 32. perl . . calpe dattile . . perche[la] il. 33. chorono sagunsono . . emissperio
Esselli . . futtino. 34. portadi . . essi saren misti . . fangho enno. 35. assuoli.
98]. i. dicano che michi. 2. infruisscie . . locho assimile . . risodera chesse . . infruetia. 3. po achadere . . enone il . . col
go. 4. ellaltro esere colla sua . . ellaltro. 6. chelli . . rimassti . . rimane dal . . e none. 7. colloro apichati . . mouessi. 8. las-
scorza chellui ga. 9. troverrainfrallaro . . pesscie. 10. troverra. n. auebe . . stano . . elle cose. 12. sariano . . alteza . . ga a
988. I. Scilla argued against this hypothesis, which was still accepted in his days; see: La
vana Speculazione, Napoli 1670.
212
PHYSICAL GEOGRAPHY.
[988.
e no si troverebbero tanti mebri di diuersi
animali insieme vniti se 11 da liti marini
gittati no fussino, "e '1 diluuio U no gli
avrebbe portati, perche le cose gravi piii
del'acqua no stanno a galla sopra 1'acqua,
e le cose pre"dette no sariano in tanta al-
tezza, se gia a nuoto ivi sopra dell' acque
portate non furono, la qual cosa e inpossi-
"bile per la lor gravezza; Dove le uallate
non ricievono le acque salse del mare,
quiui i nichi mai non si '*vedono, come
manifesto si uede nella gran valle d'Arno
di sopra alia Gonfolina, sasso per antico
vnito 'Scon Monte Albano in forma d'al-
tissimo argine, il quale tenea ringorgato
tal fiu me in modo che prima che versasse
nel mare, l6il quale era dopo ai piedi di
tal sasso, conponea 2 grandi laghi, de' quali
il primo e, dove oggi si uede fiorire la citta
di Fiore^ze insieme con Prato e Pistoia, e
Monte Albano seguiva il resto dell' argine
insin doue oggi e posto Serravalle-; dal
Va; d'Arno l8di sopra insino Arezzo si
creava vno secondo lago, il quale nell'ati-
detto lago versaua le sue acque, ^chiuso
circa dove oggi si uede Girone, e occupaua
tutta la detti valle di sopra per ispatio di
40 miglia 20di lughezza; questa valle riceue
sopra il suo fondo tutta la terra portata
dall'acqua da quella intorbidata, la quale
2Ianccra si uede a' piedi di Prato Magno
restare altissima, doue li fiumi no 1'anno
consumata, e infra essa terra si uedono le
pro22fonde segature de' fiumi che quiui son
passati, li quali discedono dal gra mote di
Prato Magno, nelle quali 2' segature no si
uede vestigio alcuno di nichi e di terra
marina; questo lago si congiugnea col lago
di Perugia;
2+Gran somma di nichi si uede doue li
fiumi versano in mare, perche in tali siti
T acque non so2Sno tante salse per la mi-
stion dell'acque dolci che con quelle s'uni-
scono -, e '1 segnio di cio si vede doue per
antico li Moz6nti Appenini versauano li lor
fiumi nel mare Adriano, li quali in gran
parte mostrano infra li moti gra 2? somma
di nichi insieme coll azzurigno terrenodi mare,
portions of various animals be found all
together if they had not been thrown on the
sea shore. And the deluge cannot have
carried them there, because things that are
heavier than water do not float on the water.
But these things could not be at so great a
height if they had not been carried there by
the water, such a thing being impossible from
their weight. In places where the valleys have
not been filled with salt sea water shells are
never to be seen; as is plainly visible in the
great valley of the Arno above Gonfolina;
a rock formerly united to Monte Albano, in
the form of a very high bank which kept
the river pent up, in such a way that before
it could flow into the sea, which was after-
wards at its foot, it formed two great lakes ;
of which the first was where we now see the
city of Florence together with Prato and
Pistoia, and Monte Albano. It followed the
rest of its bank as far as where Serravalle
now stands. From the Val d'Arno upwards,
as far as Arezzo, another lake was formed,
which discharged its waters into the former
lake. It was closed at about the spot where
now we see Girone, and occupied the whole
of that valley above for a distance of 40
miles in length. This valley received on its
bottom all the soil brought down by the
turbid waters. And this is still to be seen
at the foot of Prato Magno; it there lies
very high where the rivers have not worn
it away. Across this land are to be
seen the deep cuts of the rivers that have
passed there, falling from the great moun-
tain of Prato Magno; in these cuts there
are no vestiges of any shells or of ma-
rine soil. This lake was joined with that of
Perugia [2 3].
A great quantity of shells are to be seen
where the rivers flow into the sea, because
on such shores the waters are not so salt owing
to the admixture of the fresh water, which
is poured into it. Evidence of this is to be
seen where, of old, the Appenines poured their
rivers into the Adriatic sea; for there in
most places great quantities of shells are to
be found, among the mountains, together
note . . inposi. 13. graveza. 14. vidone . . vale. 15. "con monte albano" in forma . . daltissima argine (il quale) tenea
. . versassi nel ma. 16. apiedi . . il p"o"e dove ogi si uide "fruire" la. 17. ze "insieme con" prato . . il re"ito" . . ogi
. . ualdarno. 18. arezo . . lagho . . atidetto. 19. chircha . . ochupaua. 20. di lugeza . 20 tera porta dallacquedi. 21. acora
. . al "tissima" . . no Ian. 22. si uede . . disscedano. 23. alchuno . . terra (azurigma come] "marina" questo . . congugnea
collacho di peruga. 24. soma. 25. suniscano . . dicosi . . anticho. 26. nti appenini . . moti. 27. chollazurigno tere . .
23. See PI. CXIII.
GEOLOGICAL PROBLEMS.
213
e tutti li sassi, che di tal loco si cauano,
son pieni di nichi; 28I1 medesimo si cono-
scie auere fatto Arno, quando cadea dal
sasso della Gonfolina nel mare, 29che dopo
quella non troppo basso si trovaua, perche
a quelli tempi superaua 1'altezza di San
Miniato al Tedesco, 3° perche nelle somme
altezze di quello si uedono le ripe piene
di nichi e ostriche dentro alle sue mvra;
non si distesero li nr'chi inverse Val di
Nievole, perche 1'ncque dolci d'Arno in la
non si astendeano;
Come li nichi no si ^partirono dal
mare per diluuio, perche 1'acque, che di
uerso la terra veniuano, acora che esse
tirassino il mare 33Jnverso la terra,' esse
era quelle che percuoteano il suo fondo,
perche 1'acqua, che viene diuerso la terra,
a J4piu corso che quella del mare, e per
coseguenza e piv potente, entra sotto 1'al-
tra acqua del mare 35e rimove il fondo e
accompagnia con seco tutte le cose mobili
che in quella trova, come son i predetti
36 nichi e altre simili cose, e quanto 1' acqua,
che vie di terra, e piv torbida che quella
del mare, ta^/to piv si fa potente e grave
che quella; adunque io no ci vedo modo
di tirare i predetti nichi tanto in38fra terra,
se quiui nati no fussino; se tu mi dicessi,
il flume Loira, che passa per la Francia,
39rielPaccrescimeto del mare si copre piv
di ottanta miglia di paese, perche e loco
di gra pia4°nvra, e '1 mare s'alza circa
braccia 20, e nichi si uengono a trovare
in tal pianvra, disco^sta dal mare essa
80 miglia, qui si rispode che '1 flusso e
reflusso ne' nostri mediterrani ^rnari no
fanno tanta varieta, perche in Genovese
no uaria nvlla, a Vinegia poco, in A^frica
poco, e dove poco varia, poco occupa di
paese ;
Senpre la correte dell' acqua de' fiumi
44s'inoda sopra del loco doue li e inpedito
il corso • ; ancora doue essa si ristrignie per
passare sotto 45li archi de' ponti.
with bluish marine clay; and all the rocks
which are torn off in such places are full of
shells. The same may be observed to have
been done by the Arno when it fell from the
rock of Gonfolina into the sea, which was
not so very far below; for at that time it
was higher than the top of San Miniato al
Tedesco, since at the highest summit of this
the shores may be seen full of shells and
oysters within its flanks. The shells did not
extend towards Val di Nievole, because the fresh
waters of the Arno did not extend so far.
That the shells were not carried away
from the sea by the deluge, because the
waters which came from the earth although
they drew the sea towards the earth, were
those which struck its depths; because the
water which goes down from the earth, has
a stronger current than that of the sea, and
in consequence is more powerful, and it
enters beneath the sea water and stirs the
depths and carries with it all sorts of movable
objects which are to be found in the earth,
such as the above-mentioned shells and other
similar things. And in proportion as the
water which comes from the land is muddier
than sea water it is stronger and heavier than
this ; therefore I see no way of getting the
said shells so far in land, unless they had
been born there. If you were to tell me that
the river Loire [3 8], which traverses France,
covers when the sea rises more than eighty
miles of country, because it is a district of
vast plains, and the sea rises about 20 braccia,
and shells are found in this plain at the di-
stance of 80 miles from the sea; here I answer
that the flow and ebb in our Mediterranean
Sea does not vary so much; for at Genoa it
does not rise at all, and at Venice but little,
and very little in Africa; and where it varies
little it covers but little of the country.
The course of the water of a river always
rises higher in a place where the current is
impeded; it behaves as it does where it is
reduced in width to pass under the arches
of a bridge.
ettutti. 28. conosscie . . fatto [il ual dnrno] arno . . chadea del . . golfolina. 29. tropo . . acquelli tenpi . . lalteza di
saminiato. 30. some alteze . . uede . . osstrighe . . distesono. 31. nievole per lacque . . asstendeano. 32. partiro del . .
lache che diuerso terra veniuano al mare ancora e esse. 33. inverso terra . . peroteano . . vie diuerso tera | a. 34. che-
cquella . . acq"a" . . 35. aconpagnia consecho . . mobile . . son e prede. 36. ecquanto . . checquella. 37. adunque i
no ci vego . . e predetti. 38. fiatterra . . settu . . era . . franca. 39. acresscimeto . . ellocho. 40. circha br 20 e . .
uengano attrorare . . discos. 41. sto dal . . esse . . risspode . . frusso e refrusso . . medi terani. 42. nola . . pocho.
43. pocho . . pocho . . pocho schupa . . correte. 44. locho douele . . corso . | anchora.
38. Leonardo has written Era instead of Loera or Loira — perhaps under the mistaken idea that Lo was
an article.
214
PHYSICAL GEOGRAPHY.
[989:
Uic. 9 'I
CONFUTATIONS CH'E CONTRO COLOR CHE DI-
,989.
A CONFUTATION OF THOSE WHO SAY THAT
CONO, I NICHI ESSER PORTATI PER MOLTE GIOR- SHELLS MAY HAVE BEEN CARRIED TO A DISTANCE
NATE DISTANTI DALLI MARI PER CAUSA DEL
DILUUIO 'TANT'ALTO CHE SUPERASSE TALE
ALTEZ/A.
3Dico che il diluuio non pote portare
le cose nate dal mare alii moti, se gia il
mare gonfiando no creasse inodazione *in-
sino alii lochi sopradetti, la qual gonfia-
tione accadere no pu6, perche si darebbe
vacuo, e se tu diciessi 1'aria quiui sriem-
pierebbe •, noi abbiamo concluso il grave
non si sostenere sopra il lieue, onde per
neciessita si c66clude, esso diluuio essere
cavsato dall'acque piovane, e se cosl e,
tutte esse acque corrono al mare, 7e no
corre il mare alle montagnie, e se elle cor-
rono al mare, esse spingono li nichi dal
lito del mare, e no le 8tirano a se; E se
tu dicessi, poiche '1 mare alzo per 1'acque
piovane, port6 essi nichi a tale altezza,
9 gia abbiamo detto che le cose piv gravi
delFacqua no nota sopra di lei, ma stano
nei fondi, dalle quali no si I0 rimovono , se
no per cavsa di percussio d' onda • ; E se tu
dirai che 1'onde le portassino in tali lochi
alti, noi abbiamo "prouato che 1'onde nelle
gra profondita tornano in contrario nel
fondo al moto di sopra, la qual cosa I2si
manifesta per lo intorbidare del mare dal
terreno tolto vicino alii liti; Muovesi la
cosa piv lieue che 1'^acqua insieme colla
sua onda, ed e lasciata nel piv alto sito
della riva dalla piv alta onda; Muouesi la
cosa ^piu grave che 1'acqua •, sospinta
dalla sua oda nella superfitie e dal fondo
suo e per queste due conclusion!, che ai
lochi 'Ssua-sara provate a pieno, noi con-
cludiamo che 1'onda superfitiale no puo
portare nichi, per essere piu grievi che
16 1'acqua;
'7Quando il diluuio auesse avto a por-
tare li nichi trecento e quattro cento mi-
l8glia distanti dalli mari, esso li avrebbe
portati misti con diuerse nature insieme
ammontati, e noi vediamo in J9tal distantie
1'ostriche tutte insteme, e le conchilie, e li
pesci calamai, e tutti li altri nichi, che
stanno insieme a congre20gatione, essere
OF MANY DAYS' JOURNEY FROM THE SEA BY THE
DELUGE, WHICH WAS SO HIGH AS TO BE ABOVE
THOSE HEIGHTS.
I say that the deluge could not carry objects,
native to the sea, up to the mountains, unless
the sea had already increased so as to create
inundations as high up as those places; and
this increase could not have occurred because
it would cause a vacuum; and if you were
to say that the air would rush in there, we
have already concluded that what is heavy
cannot remain above what is light, whence of
necessity we must conclude that this deluge
was caused by rain water, so that all these
waters ran to the sea, and the sea did not run
up the mountains; and as they ran to the sea,
they thrust the shells from the shore of the sea
and did not draw them to wards themselves. And
if you were then to say that the sea, raised
by the rain water, had carried these shells
to such a height, we have already said that
things heavier than water cannot rise upon
it, but remain at the bottom of it, and do
not move unless by the impact of the waves.
And if you were to say that the waves had
carried them to such high spots, we have
proved that the waves in a great depth move
in a contrary direction at the bottom to the
motion at the top, and this is shown by the
turbidity of the sea from the earth washed
down near its shores. Anything which is
lighter than the water moves with the waves,
and is left on the highest level of the highest
margin of the waves. Anything which is
heavier than the water moves, suspended in
it, between the surface and the bottom; and
from these two conclusions, which will be
amply proved in their place, we infer that the
waves of the surface cannot convey shells,
since they are heavier than water.
If the deluge had to carry shells three
hundred and four hundred miles from the
sea, it would have carried them mixed with
various other natural objects heaped together;
and we see at such distances oysters all
together, and sea-snails, and cuttlefish, and
all the other shells which congregate together,
989. i. dicano . . gornate . . chausa. 2. tantalta . . superassi. j. Dicho che diluuio no po | "te" . . cose "nate" del . . creassi
. . achadere . . po . . dare vachuo. 5. rienpierebe . . abia . . greve. 6. esse chosi . . corrano. 7. csselle corrano . . del
lito. 8. asse Esse . . attale alteza. 9. abia . . chelle . . grav . . stano in fondo delle 10. removano . . . Essettu . . abia.
ii. chellonde . . provondita. 12. del tere . . chella. 13. acq"a" . . lassciata. 14. chellacqua . sospinte . . e del. 15. che-
llond.i . . po. 17. auesse. 18. disstanti . . arebbe . . chou . . amotati. 19. losstriche . . elli conchili elli . . chalamai
990.]
GEOLOGICAL PROBLEMS.
215
trovati tutti insieme morti, e li nichi sole-
tari trovarsi distant! 1'uno dall'altro, come
ne' liti marittimi 2Itutto il giorno vediamo;
E se noi troviamo 1'ostriche insieme appa-
retate gradissime, infra le quali assai vedi
quelle 22che anno ancora il coperchio con-
giunlo, a significare chequi furono lasciate
dal mare, che ancor viveano quando fu
23tagliato lo stretto di Gibilterra; Vedesi
in nelle montagnie di Parma e Piacetia le
moltitudini di nichi e coralli 24 intarlati, an-
cora appiccati alii sassi, de' quali, quand' io
facevo il gra cavallo di Milano, me ne fu
portato vn gra sacco ne25lla mia fabbrica
da certi villani, che in tal loco furo trovati,
fralli quali ve n'era assai delli conseruati
nella prima bota;
26Truovasi sotto terra e sotto li pro-
fondi cavamenti de' lastroni li legniami
delle traui lauorati, fatti gia neri, li qua27ll
furo trovati a mio tenpo in quel di Castel
Fioretino •, e questi in tal loco profondo
v'erano prima che la litta gittata 28dall'Arno
nel mare, che quiui copriva, fusse abban-
donata in tant' altezza, e che le pianvre del
Casentino fussi tanto abbassate 29dal terre
che anno al continue di 11 sgonberato;
3°E se tu dicessi, tali 31 nichi essere
crea32ti e creano a c63 tinvo in simili lochi
per la natura del 34Sito e de' cieli, che
qui36vi influisce, questa 37 tale openione non
38sta in cervelli di trop39po discorso, perche
qui4°vi s'envmera li anni 4Idel loro accre-
scimento 42sulle loro scorze, e se ne 43 Ve-
dono piccoli e gradi, 44i quali sanza cibo no
cre^5scerebbero e non si cibarebbero sa46za
moto, e quivi mouere no si po4?teano.
all to be found together and dead; and the
solitary shells are found wide apart from each
other, as we may see them on sea-shores every
day. And if we find oysters of very large shells
joined together and among them very many
which still have the covering attached, indi-
cating that they were left hereby the sea, and
still living when the strait of Gibraltar
was cut through; there are to be seen, in
the mountains of Parma and Piacenza, a
multitude of 'shells and corals, full of holes,
and still sticking to the rocks there. When
I was making the great horse for Milan , a
large sack full was brought to me in my
workshop by certain peasants; these were
found in that place and among them were
many preserved in their first freshness.
Under ground, and under the foundations
of buildings, timbers are found of wrought
beams and already black. Such were found in
my time in those diggings at Castel Fiorentino.
And these had been in that deep place before
the sand carried by the Arno into the sea,
then covering the plain, had heen raised to
such a height; and before the plains of Casen-
tino had been so much lowered, by the earth
being constantly carried down from them.
[30] And if you were to say that these
shells were created, and were continually
being created in such places by the nature
of the spot, and of the heavens which might
have some influence there, such an opinion
cannot exist in a brain of much reason;
because here are the years of their growth,
numbered on their shells, and there are large
and small ones to be seen which could not
have grown without food, and could not
have fed without motion — #nd here they could
not move [47].
Leic. io a] 9QO
Come 2 nelle falde, infra 1'una e 1'altra
si trovano ancora li andameti delli lonbrici,
che caminavano infra esse ^quado non erano
ancora asciutte; Come tutti li fanghi ma-
rini ritengono ancora de' nichi 4ed e petri-
ficato il nichio insieme col fango; della
That in the drifts, among one and another,
there are still to be found the traces of the
worms which crawled upon them when they
were not yet dry. And all marine clays
still contain shells, and the shells are petri-
fied together with the clay. From their
firmness and unity some persons will have
it that these animals were carried up to
ettutti. 20. elli trovare . . lunoall. 21. gorno . . Esse . . losstriche . . aparetadi gradissimi infralle quale. 22. anchora
. . congunto . . assignificare . . lassciate . . ancoravveano. 23. losstretto di gibiltar . . inelle . . moltitudinede. 24. apichati
. . ne nefu . . sachone. 25. fabricha . . nella p".i" bota. 26. essotto . . ga neri. 27. ecquesti . . profondor "o"no . .
chella litagitta. 28. copria fussi abondata . . alteza e chelle . . tante abassate. 29. del. .sgonbera 30. essettu. 31. niche.
33. nvo. 36. infruisscie. 37. none. 38. di tro. 41. deloro acresscimento. 42. sule. 43. vede picoli. 45. bono e non si
ciboro. 47. trono.
990. 2. infralluna allaltra . . trova anchora. 3. neuera . . asscutta . . fangh . . ritengano. 4. essenplicita . . uogliano chettal.
989. 30 — 47. These lines arc written in the margin.
2l6
PHYSICAL GEOGRAPHY.
[990.
stoltitia e senplicita di quelli, che uogliono
che taMi animali fussino alii lochi distanti
dai mari portati dal diluvio; Come altra
setta d'ignoranti 6affermano la natura, o i
cell auerli in tali lochi creati • per Iflussi
celesti, come in quelli 7no si trovassino
1'ossa de' pesci cresciuti co lughezza di
tenpo, come nelle scorze de' nichi e luma-
che no si potcsse 8annvmerare li anni o i
mesi della lor uita, come nelle corna de'
buoi e de' castroni e nella ramificatione
decile piante, che no furo mai tagliate in
alcuna parte; E auendo con tali segni di-
mostrato e la lunghezza della lor uita I0es-
sere manifesta, ecco bisognio confessare,
che tali animali no uiuino sanza moto per
cercare "il loro cibo e in loro non si uede
strumeto da penetrare la terra e '1 sasso,
ove si trovano rinchiusi • ; I2 Ma in che modo
si potrebbe trovare in vna gra lumaca i
rottami e parte di molt'altre sorti di nichi
di uarie na^ture, se ad essa, sopra de' liti
marini gia morta, non. li fussino state git-
tate dalle onde del mare, come dell'al'nre
cose lieui, che esso gitta a terra? Perche
si truova tanto rottame e nichi interi fra
falda e falda di pie'Stra, se gia quella so-
pra del lito no fusse stata ricoperta da una
terra rigittata dal mare, la qual poi si uenne
pcl6trificando? E se '1 diluvio predetto li
auesse in tali siti dal mare portato, tu trove-
resti essi nichi in nel termi'7ne d'una sola
falda, e non al termine di moke; deuonsi
poi annvmerare le uernate delli al8ni, che
'1 mare mvltiplicaua le falde dell' arena e
fango, portatoli da fiumi vicini, e ch'elli
scaricava in sui liti sua, e se '9tu volessi
dire, che piv diluui fussino stati a produrre
tali falde e nichi infra loro, e' bisognierebbe,
20 che ancora tu affermassi ogni ano essere
vn tal diluuio accaduto; Ancora infra li
rot2Itami di tal nichi si presume in tal sito
essere spiaggia di mare, doue tutti i nichi
son gittati rotti e diuisi e no 22mai appai-
ati, come infra '1 mare viui si trovano con
due gusci, che fan coperchio 1'uno all'altro;
E infra 2^le falde della riuiera e de' liti
marittimi son trovati de' rottami; E dentro
alii termini delle pietre son trovati 2*rari
e appaiati de' gusci, come quelli che furo
lasciati dal mare sotterrati viui dentro al
fango, il qual 25poi si secc6 e col tenpo
petrified.
places remote from the sea by the deluge.
Another sect of ignorant persons declare
that Nature or Heaven created them in these
places by celestial influences, as if in these
places we did not also find the bones of
fishes which have taken a long rime to grow;
and as if, we could not count, in the shells
of cockles and snails, the years and months
of their life, as we do in the horns of bulls
and oxen, and in the branches of plants that
have never been cut in any part. Besides,
having proved by these signs the length of
their lives, it is evident, and it must be
admitted, that these animals could not live
without moving to fetch their food; and we
find in them no instrument for penetrating
the earth or the rock where we find them
enclosed. But how could we find in a large
snail shell the fragments and portions of
many other sorts of shells, of various sorts,
if they had not been thrown there, when
dead, by the waves of the sea like the other
light objects which it throws on the earth?
Why do we find so many fragments and
whole shells between layer and layer of stone,
if this had not formerly been covered on the
shore by a layer of earth thrown up by
the sea, and which was afterwards petrified?
And if the deluge before mentioned had
carried them to these parts of the sea, you
might find these shells at the boundary of one
drift but not at the boundary between many
drifts. We must also account for the winters
of the years during which the sea multiplied
the drifts of sand and mud brought down by
the neighbouring rivers, by washing down
the shores; and if you chose to say that
there were several deluges to produce these
rifts and the shells among them, you would
also have to affirm that such a deluge took
place every year. Again, among the frag-
ments of these shells, it must be presumed
that in those places there were sea coasts,
where all the shells were thrown up, broken,
and divided, and never in pairs, since they
are found alive in the sea, with two valves,
each serving as a lid to the other ; and in the
drifts of rivers, and on the shores of the sea they
are found in fragments. And within the limits
of the separate strata of rocks they are found,
few in number and in pairs like those which were
left by the sea, buried alive in the mud, which
subsequently dried up and, in time, was petrified.
5. fossi inali . . diluio . I frussi. 7. trovassi . . crcssciuti . . lugeza . . pote. 8. anvmerare . . casstroni . . del. 9. sign! dimostro
o la lungeza. 10. ecci bisognia chettali. n.illor nosi. 12. nvna gra lumacha . . altre sotte. 13. ture e essa sopa de . . morta
nolli . . comella. 14. etso . . atterra. 15. fussi . . uno. 16. trifichando . Essel diluio . . auessi . . troverresti hessi . .
incl. 17. none . . di [qualunche falda] "di moke" deuensi po anvmerare [li ani] le uernate. 18. del [fango] "larena eff-
angho" portatoli . . insu lid . . esset. 19. ennichi infralloro. 20. ongni . . tatal . . acaduto [e che tenessi] Ancora infralii.
ai.spiagia. 22. apaiati . . gussci cheffan . . iniralle. 24. apaiati di gussci . . lassciati sollcrati. 25. secho . . petrificho.
99I-993-]
GEOLOGICAL PROBLEMS.
Leic.
991.
E se tu vuoi dire che tale diluuio fu
quello che porto tali nichi fuor de' mari
cetinaia di miglia •, questo no puo acca2dere,
essendo stato esso diluuio per cause di
pioggie, perche naturalmente le pioggie
spingono i fiumi insieme colle cose da loro
3portate inuerso il mare, e no tirano in-
verso de' moti le cose morte dai liti marit-
timi ., e setu dicessi che'l diluvio poi s'a!4zo
colle sue acque sopra de' moti, il moto del
mare fu si tardo col camino suo contro al
corso de' fiumi, che non avrebbe 5 sopra di
se tenvto a noto le cose piv gravi di lui,
e se pur 1'auesse sostenute, esso nel ca-
lare 1' avrebbe lasciate in diversi 6lochi
seminate; Ma come accomoderemo noi
li coralli, li quali inverse Mote Ferrato
di Lonbardia esser si tuttoMl trovati
intarlati appiccati alii scogli , scoperti
dalle correti de' fiumi? e li detti scogli
sono tutti coperti di parentadi 8e famiglie
d'ostriche, le quali noi sappiamo che no
si movono, ma sta senpre appiccate col'
u de' gusci al sasso, e Paltro apro^no per
che nota per 1' acque,
trovar bona pastura,
predetto nichio; non
mista coll' aliga ma-
rina essersi petrificata, poiche 1' aliga, che
la ramezzaua, venne meno; e di questo
ITscopre tutto il giorno il Po nelle ruine
delle sue ripe.
cibarsi d' animaluzzi ,
li quali, credendo
diuentano cibo del
si I0trova 1' arena
And if you choose to say that it was
the deluge which carried these shells away from
the sea for hundreds of miles, this cannot
have happened, since that deluge was caused
by rain; because rain naturally forces the
rivers to rush towards the sea with all the
things they carry with them, and not to bear
the dead things of the sea shores to the
mountains. And if you choose to say that
the deluge afterwards rose with its waters
above the mountains, the movement of the sea
must have been so sluggish in its rise against
the currents of the rivers, that it could not
have carried, floating upon it, things heavier
than itself; and even if it had supported them,
in its receding it would have left them strewn
about, in various spots. But how are we to
account for the corals which are found every
day towards Monte Ferrato in Lombardy,
with the holes of the worms in them, sticking
to rocks left uncovered by the currents of
rivers? These rocks are all covered with
stocks and families of oysters, which as we
know, never move, but always remain with
one of their halves stuck to a rock, and the
other they open to feed themselves on the
animalcules that swim in the water, which,
hoping to find good feeding ground, become
the food of these shells. We do not find
that the sand mixed with seaweed has been
petrified, because the weed which was min-
gled with it has shrunk away, and this the Po
shows us every day in the debris of its banks.
Leic. 20 a]
992.
Perche sono trovate 1'ossa 2de' gra
Why do we find the bones of great fishes other
pesci e le ostriche e coralli e altri diuersi and oysters and corals and various other bl^ms
• 1 • 1 • "i 1 f _ i j_ _ _•_- i _ i in i M ,1 i • i • * _ r '99 994*'
nichi e chiocciole sopra 1'alte cime de'
moti ma^rittimi nel medesimo modo che
si trova ne' bassi mari?
shells and sea-snails on the high summits of
mountains by the sea, just as we find them
in low seas?
Leic. 36
993-
Tu ai ora a provare come li nichi no
nascono, se no in acque salse, quasi tutte
le sorte, e che 2li nichi di Lonbardia anno
You now have to prove that the shells
cannot have originated if not in salt water,
almost all being of that sort; and that
the shells in Lombardy are at four levels,
991. i. Essettu volli . . chettale . . for . . po acha. 2. chause di piogie . . piogie spingano . . dallor. 3. morte de liti . . esse
. . diluui. 4. sittardo . . arebe [te]. 5. esse . . lauesi sosstenvte . . larebe lassciate. 6. acomodereno. 7. ildi . . "intarlati"
apichati alii scolgli . . elli . . scolgli . . parendadi e. 8. sapiano . . movano . . apichate cholu degussci . . apra. 9. danima-
luzi . . diuenta. 10. trova egli larena . . cholla . . poichellaliga chella framezaua. n. gorno.
993. 2. pessci elle osstriche . . cioccole. 993. i. nasscano. 3. chessabochano.
VOL. u. EE *
218
PHYSICAL GEOGRAPHY.
L994-
4 liuelli, e cosj £ per tutti, li quali sono
fatti in piv tepi, e questi ^sono per tutte
le ualli che sboccano alii mari.
and thus it is everywhere, having been made
at various times. And they all occur in
valleys that open towards the seas.
Hr. M. 156*1
994-
Per le 2 linie de* nicchi bisognia dire
che_la terra per sdegno 2s'attufasse sotto
il mare, e fece il primo suolo, poi il di-
luuio J fece il secondo.
From the two lines of shells we are forced
to say that the earth indignantly submerged
under the sea and so the first layer was
made ; and then the deluge made the second.
994. i. nicch . . chellatcra. 2. sattu fassi sottollmare eflfe. 3. fe il sechondo.
994. This note is in the early writing of about
1470 — 1480. On the same sheet are the passages
No. 1217 and 1219. Compare also No. 1339. All the
foregoing chapters are from Manuscripts of about
1510. This explains the want of connection and the
contradiction between this and the foregoing texts.
VII.
ON THE ATMOSPHERE.
r\
Leic. 20 a]
995-
Come la chiarezza dell' aria na2scie dal-
1'acqua che in quella s'e resoluta e fattasi
in Isesibili graniculi, li quali, preso il lume
del sole dall' op3posita parte, redone la chi-
arezza che in essa aria si dimonstra, e
1'azzurro, che in quella apparisce, nascie
* dalle tenebre, che dopo essa aria si na-
scondono.
That the brightness of the air is occa- Constituents
sioned by the water which has dissolved it- of th,e al
. . ., , mosphere.
self in it into imperceptible molecules.
These, being lighted by the sun from the
opposite side, reflect the brightness^which
is visible in the air; and the azure which is
seen in it is caused by the darkness that is
hidden beyond the air. [4]
Leic. 226]
996.
Come i retrosi de' ueti a certe 2boche
di ualli percuotino sopra delle acque e
quelle concauino co gra cauameto, e portino
^Pacqua in aria in forma colunnale in color
di nugola, e il medesimo vid'io gia fare
sopra 4Vn arenaio d' Arno, nel quale fu
concauato 1' arena piu d'una statura d'uomo,
e sdi quella fu remossa la ghiaja e gittata
in disparte per lugo spatio, e parea per
1'aria in forma 6di gradissimo canpanile,
e crescieva la sommita come i rami di
gran pino, e si piegaua ?poi nel con-
tatto del retto ueto che passaua sopra
li moti.
(996—999).
That the return eddies of wind at the on the mo-
mouth of certain valleys strike upon the tion of air
waters and scoop them out in a great hol-
low, whirl the water into the air in the form of
a column, and of the colour of a cloud. And
I saw this thing happen on a sand bank in
the Arno, where the sand was hollowed out to
a greater depth than the stature of a man ; and
with it the gravel was whirled round and
flung about for a great space; it appeared in
the air in the form of a great bell-tower; and
the top spread like the branches of a pine tree,
and then it bent at the contact of the direct
wind, which passed over from the mountains.
995. i. chiareza. 2. sscie . . effattasi . . presi. 3. redano la ciareza . . dimosstra ellazurro . . apparissce nasscie . . nasscondano.
996. i. accerte. 2. percotino . . ecquelle . . chauamento. 3. colunale . . vidio cia. 4. duome he. 5. giara e gittatta. 6. ecres-
scieva lasomita . . rami di girapino essi.
995- 4- Compare Vol. I, No. 300.
220
PHYSICAL GEOGRAPHY.
[997-1000.
Lde.
997-
L'onda dell1 aria fa il me'desimo vfitio The element of fire acts upon a wave of
infra 1' elemeto del fuoco -, che fa 1'onda air in the same way as the air does on
clell'acqua infra T aria, o 1'onda dcll'a3rena, water, or as water does on a mass of sand
doe terra, infra 1'acqua, e sono i lor moti —that is earth; and their motions are in the
in tal proportione qual e quella de' lor same proportions as those of the motors
mo'tori infra loro. acting upon them.
S. K. M. Il.a 19*1
998.
DE MOTO. OF MOTION.
Domado, se '1 uero moto 2de' nuvoli I ask whether the true motion of the
si puo conosciere -Jper lo moto delle sue clouds can be known by the motion of their
. M ^ • « * « i t _i__i__ _ir i *i_ _ _/* A.I — iJ — _
ombre , 4 e similemete
sole.
del moto 5 del
shadows; and in like manner of the motion
of the sun.
H.3
999.
Per cognosciere 2meglio i
veti.
O
To know better the direction
of the winds.
L«ic. 340]
IOOO.
Nessuna cosa nasce in loco doue no
The globe sia vita sensitiua, vegetatiua e rationale;
an organism. nascono Je penne SOpra H UCCelU, 6 si mv-
tano ogni anno ; nascono 2 li peli sopra li
animali, e ogni anno si mvtano, saluo al-
cuna parte, come li peli delle barbe de'
lioni e gatte e simi-Jli ; nascono 1' erbe sopra
li prati e le foglie sopra li alberi, e ogn'ano
in gra parte si rinovano; adunque potremo
dire, 4la terra avere anima vegetatiua, e
che la sua carne sia la terra, li sua ossi
sieno li ordini delle collegationi de'
Nothing originates in a spot where there is
no sentient, vegetable and rational life ; feathers
grow upon birds and are changed every year;
hairs grow upon animals and are changed
every year, excepting some parts, like the
hairs of the beard in lions, cats and their
like. The grass grows in the fields, and
the leaves on the trees, and every year
they are, in great part, renewed. So that
we might say that the earth has a spirit of
growth; that its flesh is the soil, its bones the
arrangement and connection of the rocks of
997. 2. mfrallclemcto . . focho . cheffa. 3. coe . . infrallacqua essono . . quele quella delor.
998. 2. nvvoli spo. j. obre. 4. essimile i.ete.
999. i — 2 R. s. cognosciere. 2. e veti.
1000. i. nance . . locho . . vita "sensitiua (intellettiva) vigitatiua e ra t'onale] nassce le pene . . essi . . nassce. 2. alchuna . .
essimi. 3. nassce . . elle . . potren. 4. vigitatiua e chella . . collcgatione. 5. comogano. 6. occeano . . cresscere e dis-
999. In connection with this text I may here pert quando j'<J arrompere U tep<f (Mode of weighing
mention a hygrometer, drawn and probably invented the air and of knowing when the weather will
by Leonardo. A facsimile of this is given in VoL I, change); by the sponge "Spugnea" is written,
p. 297 with the note: 'Modi di pesare I'arie tddi ta- 1000. Compare No. 929.
IOOO.]
ON THE ATMOSPHERE.
221
di che si compongono le motagnie, il suo
tenerume soiio li tufi , il suo sangue sono
le uene delle acque, il lago 6del sangue,
che sta dintorno al core, e il mare oceano,
il suo alitare e '1 crescere e discrescere
del sangue 7pelli polsi, e cosi nella terra
e il flusso e riflusso del mare, e '1 caldo
dell' anima del mondo e il fuoco, 8ch' e in-
fuso per la terra, e la residenza dell' anima
vegetativa sono li fochi, che per diuersi
lochi della 9 terra spirano in bagni, e in
miniere di solfi, e in vulcani, e Mo Gibello
di Sicilia, e altri lochi assai.
which the mountains are composed, its
cartilage the tufa, and its blood the springs
of water. The pool of blood which lies
round the heart is the ocean, and its brea-
thing, and the increase and decrease of the
blood in the pulses, is represented in the
earth by the flow and ebb of the sea; and
the heat of the spirit of the world is the
fire which pervades the earth, and the seat
of the vegetative soul is in the fires, which in
many parts of the earth find vent in baths and
mines of sulphur, and in volcanoes, as at Mount
in Sicily, and in many other places.
scresscere. 7. frusso e refrusso . . focho. 8. ella reside dell . . vigitativa. 9. in vulgano . . cicilia.
XVII.
Topographical Notes.
A large part of the texts published in this section might perhaps have found their
proper place in connection with the foregoing chapters on Physical Geography. But these
observations on Physical Geography, of whatever kind they may be, as soon as they are
localised acquire a special interest and importance and particularly as bearing on the
question whether Leonardo himself made the observations recorded at the places men-
tioned or merely noted the statements from hearsay. In a few instances he himself tells
us that he writes at second hand. In some cases again, although the style and expressions
used make it seem highly probable that he has derived his information from others —
though, as it seems to me, these cases are not very numerous — we find, on the other hand,
among these topographical notes a great number of observations, about which it is ex-
tremely difficult to form a decided opinion. Of what the Master's life and travels may have
been throughout his sixty-seven years of life we know comparatively little; for a long course
of time, and particularly from about 1482 to 1486, we do not even know with certainty
that he was living in Italy. Thus, from a biographical point of view a very great interest
attaches to some of the topographical notes, and for this reason it seemed that it would
add to their value to arrange them in a group by themselves. Leonardo's intimate
knowledge with places, some of which were certainly remote from his native home, are
of importance as contributing to decide the still open question as to the extent of Leo-
nardo's travels. We sJiall find in these notes a confirmation of the view, that the MSS.
in which the Topographical Notes occur are in only a very few instances such diaries as
may have been in use during a journey. These notes are mostly found in the MSS. books
of his later and quieter years, and it is certainly remarkable that Leonardo is very
reticent as to the authorities from whom he quotes his facts arid observations : For in-
stance, as to the Straits of Gibraltar, the Nile, the Taurus Mountains and the Tigris
and Euphrates. Is it likely that he, who declared that in all scientific research, his
own experience should be the foundation of his statements (see XIX PhilosopJiy
No. 987 — 991,) sJiould here have made an exception to this rule without mentioning it1?
224 TOPOGRAPHICAL NOTES.
As for instance in the discussion as to the equilibrium of the mass of water in the
Mediterranean Sea— a subject which, it may be observed, liad at that time attracted
the interest and study of hardly any other observer. The acute remarks, in Nos. 985—993,
on the presence of shells at the tops of mountains, suffice to prove— as it seems to
me—that it was not in his nature to allow himself to be betrayed into wide gene-
ralisations, extending beyond the limits of his own investigations, even by such brilli-
ant results of personal study.
Most of these Topographical Notes, though suggesting very careful and
tliorough research, do not however, as has been said, afford necessarily indisputable
evidence that that research was Leonardo's own. But it must be granted that in more
than one instance probability is in favour of this idea.
Among the passages which treat somewhat fully of the topography of Eastern
places by far the most interesting is a description of the Taurus Mountains] but as this
text is written in the style of a formal report and, in the original, is associated with
certain letters which give us the history of its origin, I have thought it best not to
sever it from that connection. It will be found under No. XXI (Letters}.
That Florence, and its neighbourhood, where Leonardo spent his early years, should
be nowhere mentioned except in connection with the projects for canals , which occu-
pied his attention for some short time during the first ten years of tJie XVIth century,
need not surprise us. The various passages relating to the construction of canals in
Tuscany, which are put together at the beginning, are immediately followed by those
which deal with schemes for canals in Lombardy ; and after these come notes on the
city and vicinity of Milan as well as on the lakes of North Italy.
The notes on some towns of Central Italy which Leonardo visited in 1502, when
in the service of Cesare Borgia, are reproduced here in the same order as in the note
book used during these travels (MS. L., Institut de France). 77iese notes have but
little interest in themselves excepting as suggesting his itinerary. The maps of the
districts drawn by Leonardo at tlie time are more valuable (see No. 1054 note). The
names on these maps are not written from right to left, but in the usual manner, and
we are permitted to infer that they were made in obedience to some command,
possibly for the use of Cesare Borgia himself; the fact that they remained never-
theless in Leonardo's hands is not surprising when we remember tlie sudden political
changes and warlike events of the period. There can be no doubt that these maps,
which are here published for the first time, are original in the strictest sense of the
word, that is to say drawn from observations of the places themselves; this is proved
by tJie fact — among others — that we find among his manuscripts not only the finis/ted
maps themselves but the rough sketches and studies for them. And it would perhaps
be difficult to point out among the abundant contributions to geographical knowledge
published during the XVI*k century, any maps at all approaching these in accuracy
and finish.
The interesting map of the world, so far as it was then known, wJiich is among
the Leonardo MSS. at Windsor (published in the 'Archaeologia' Vol. XI) cannot
be attributed to the Master, as the Marchese Girolamo d'Adda has sufficiently proved;
it has not therefore been reproduced here.
•
TOPOGRAPHICAL NOTES. 225
Such of Leonardo's observations on places in Italy as were made before or after his
official travels as military engineer to Cesarc Borgia, have been arranged in alphabetical
order, imder Nos. 1034 — 1054. The most interesting are those which relate to tJie Alps
and the Appenines , Nos. 1057 — 1068.
Most of the passages in which France is mentioned have hitherto remained un-
known, as well as those which treat of the countries bordering on the Mediterranean,
which come at the end of this section. Though these may be regarded as of a more
questionable importance in their bearing on the biography of the Master than those
which mention places in France, it must be allowed that they are interesting as showing
the prominent place which the countries of the East held in his geographical studies.
He never once alludes to the discovery of America.
FF
ITALY.
C. A. 45*1;
1001.
CANALE DI FIREZE.
2Facciasi alle Chiane d'Arezzo • tali •
cateratte che, machando • acqua 1' estate in
Arno-, il canale no rimaga • arido; 3e fac-
ciasi esso canale • largo • in fodo braccia 20 •,
e 30 in bocca, e braccia 2 • s • per 1' acqua
04-, perche dua d' esse braccia reca 4 alii
mvlini e li prati • ; questo • bonifichera il
paese •, e Prato, Pistoia e Pisa insieme
co Fireze, faranno 1'anno di meglio sdugie-
to mila ducati •, e porgieranno le mani
e spesa a esso • aivtorio, e i Lucchesi
il simile, perche il lago di Sesto fia na-
vicabile; 6fo lo • fare • la uia di Prato •
e Pistoia e tagliare Serravalle . e uscire
nel lago •, perche no bisognia conche o
sostegni i qua7li • no sono • eterni, anzi
senpre si sta in esercitio • a operarli e
mantenerli.
8E sappi che se, cauado • il canale •, doue
esso e profondo • 4 braccia, si • da 4 dinari
per braccio quadro , in doppia profondita •
si 9 da • 6 dinari, se fai 4 I0 braccia e' sono
CANAL OF FLORENCE.
Sluices should be made in the valley
..",_.,. , ,1 . v
of la Chiana at Arezzo, so that when,
in the summer , the Arno lacks water, the
• 111* 1 V
canal may not remain dry: and let this canal
be 20 braccia wide at the bottom, and at
the top 30, and 2 braccia deep, or 4, so that
two of these braccia may flow to the mills and
the meadows, which will benefit the country ; and
Prato, Pistoia and Pisa, as well as Florence,
will gain two hundred thousand ducats a year,
and will lend a hand and money to this useful
work ; and the Lucchese the same, for the lake
of Sesto will be navigable; I shall direct it to
Prato and Pistoia, and cut through Serravalle
and make an issue into the lake ; for there will
be no need of locks or supports, which are
not lasting and so will always be giving trouble
in working at them and keeping them up.
And know that in digging this canal
where it is 4 braccia deep, it will cost 4
dinari the square braccio; for twice the
depth 6 dinari, if you are making 4 braccia
connection
with the
Arno ,
*^ L>OO^.
looi. 2. alle chiane darezo . . chateratte . . machando . acqua \ lastate innarno. 3. effacciasi . . br. 20 .. boccha e br. 2 . 5 .
per qua . . dua desse br. rua (?) . 4. elli . . quessto . . pisstoia . . cho . . fia lano dimeglio. 5. porgierano le mani "esspesa"
..sessto. 6. folli fare . . ettagliare esscire. 7. etterni . Lines 8—15 br. stands always for braccia. 8. Essapi chesse chauado
il chanale . . dopia. • 9. dinari [onsi in . 7 . si da il doppio . perche . quelle . sechonde 4 br. il tereno e giassmosso e
poi perche] seffai 4, 10. dellabri . . ellaltro. n. esse fussi. 12. cresse solo . i . bancho . . cresscie. 13. viene dinari sei
iooi. This passage is illustrated by a slightly
sketched map, on which these places are indicated
from West to East: Pisa, Luccha, Lago, Seravalle,
Pistoja, Prato, Firenze.
228
TOPOGRAPHICAL NOTES.
I IOO2— IOO4.
solamete • 2 • banchi -, cioe • vno dal fondo •
del fosso -alia superfitie de' labri del fosso •,
e Paltro da essi labri "alia • somita del
mote • della • terra che d' in sulla • riva •
dell' argine- si leua-; e se fusse di doppia
profondita •, esso argine "cresce solo •
uno banco, cioe braccia • 4 • , che crescie •
la meta della • prima spesa, cioe che,
dove prima in 2 banchi • si da'^va • di-
nari • 4 • in 3 , si viene a dare • sei • a 2 di-
nari • per banco, essendo il fosso in fondo
braccia • 16; ancora se'l fosso fusse largo
bracciu 16 I4e profodo • 4 •, venedo- a • 4
L • per opera •, dinari 4 • Milanesi • il brac-
cio quadro • ; il fosso • che in fondo sara
braccia I532, verra a stare dinari • 8 il •
braccio quadro.
and there are but 2 banks; that is to say
one from the bottom of the trench to the
surface of the edges of it, and the other
from these edges to the top of the ridge of
earth which will be raised on the margin of
the bank. And if this bank were of double
the depth only the first bank will be in-
creased, that is 4 braccia increased by half
the first cost; that is to say that if at first
4 dinari were paid for 2 banks, for 3 it
would come to 6, at 2 dinari the bank, if
the trench measured 16 braccia at the bottom;
again, if the trench were 16 braccia wide
and 4 deep, coming to 4 lire for the
work, 4 Milan dinari the square braccio; a
trench which was 32 braccia at the bottom
would come to 8 dinari the square braccio.
L. ia\
1002.
Dal muro d'Arno della 2Giustitia al-
1' argine d'Ar^no di Sardigna, dove sono
*i muri alle mulina, e braccia S74OO, cioe
migla 2 6e braccia 1400, 7e'l di la d'Arno
e braccia 5500.
From the wall of the Arno at [the gate
of] la Giustizia to the bank of the Arno at
Sardigna where the walls are, to the mills, is
7400 braccia, that is 2 miles and 1400 brac-
cia and beyond the Arno is 5500 braccia.
C. A. 284 a; 865 a]
1003.
Dirizzare Arno 2di sotto e di sopra;
3 s' auanzera vn tesoro, 'a tanto per stajoro
s a chi lo vole.
By guiding the Arno above and below
a treasure will be found in each acre of
ground by whomsoever will.
Br. M. 273*]
1004.
n muro dalle 2Casaccie si 3dirizza alia
por»ta di san Niccolo.
The wall of the old houses runs towards
the gate of San Nicolo.
. . bancho "essendo il fosso in fondo braccia 16" anchora . . fusi largho. 14. [e al] e profodo.. 15. vena dinari.
looa. 2. gusstitia. 4. e br. 5. [8000] 7400 coe. 6. br. 7. br.
1003. i. dirizare arnno. 4. attanto pcrisstaioro. 1004. i. mro d-lle. 2. casace [con]. 3. diriza. 4. nicolo.
1002. 2. Giustizia. By this the Porta della
Giustizia seems to be meant; from the XVth to the
XVIth centuries it was also commonly known as
Porta Guelfa, Porta San Francesco del Renaio, Porta
Nuova, and Porta Reale. It was close to the, Arno
opposite to the Porta San Niccol6, which still exists.
1004. By the side of this text there is an in-
distinct sketch, resembling that given under No. 973.
On the bank is written the word Casace. There
then follows in the original a passage of 12 lines in
which the consequences of the windings of the
river are discussed. A larger but equally hasty
diagram on the same page represents the shores of
the Arno inside Florence as in two parallel lines.
Four horizontal lines indicate the bridges. By the
side these measures are stated in figures: i. (at the
Ponte alia Carraja): 230 — largho br. 12 e 2 di spoda
e 14 di pile e a ^pilastri; 2. (at the Ponte S. Trinita):
188 — largho br. 15 e 2 di sfode he 28 di pilastri for
delle specie e pilastri so 2 ; 3. (at the Ponte vecchio) ;
pote lung br. 152 e largo; 4. (at the Ponte alle Grazie):
290 ellargo 12 e 2 di spdde e 6 di pili.
There is, in MS. W. L. 2I2*> , a sketched plan of
Florence, with the following names of gates: .M-
cholo — Saminiato — Giorgo — Ghanolini — Porta San Fre.fian
— Prato—Faenza — Ghallo—Pinti— Giustitia.
iocs — loo/.J
CANALS IN TUSCANY.
229
Br. M. 274 «] IOO5
640 braccia e il muro rotto, 2e 130 e il
muro rimanete, 3Col mulino 43OO braccia
a rotto dal Bisarno in 4 anni.
The ruined wall is 640 braccia; 130 is the
wall remaining with the mill; 300 braccia
were broken in 4 years by Bisarno.
W. L. 226 a\
IOO6.
No sanno, perche Arno 2non stara mai
in ca3nale ; perche 4 i fiumi che vi mettono,
s nella loro entrata p66gono terreno, e dalla
oppo?sita parte leuano e 8pieganvi il fiume;
96 miglia si fa per ArI0no dalla Caprona
a Li^vorno, e 12 si fa per li I2stagni che
s'avazano 32 ^miglia, e 16 dalla Caprona
14 in su, che fa 48 'Sper Arno da Firenze,
l6avanzasi 16 miglia; a Vico miglia 16, ^e'l
canale a 5; l8da Firenze a Fucechio miglia
40 per I9acqua d'Arno.
20 Miglia 56 • per Arno 2Ida Fireze a
Vico, 22e pel canale di Pistoia 23e miglia
44-adu24que e piv corta 12 2s miglia per
canale che per Arno.
They do not know why the Arno will
never remain in a channel. It is because
the rivers which flow into it deposit earth
where they enter, and wear it away on the
opposite side, bending the river in that
direction. The Arno flows for 6 miles be-
tween la Caprona and Leghorn; and for 12
through the marshes, which extend 32 miles,
and 1 6 from La Caprona up the river, which
makes 48; by the Arno from Florence beyond
1 6 miles; to Vico 16 miles, and the canal is
5 ; from Florence to Fucechio it is 40 miles
by the river Arno.
56 miles by the Arno from Florence to
Vico ; by the Pistoia canal it is 44 miles.
Thus it is 12 miles shorter by the canal
than by the Arno.
Leic.
1007.
Cocauita fatta da Mesola,
quado Arno e basso e Me-
sola grossa.
The eddy made by the
Mensola, when the Arno is
low and the Mensola full.
1005. i. 6400 bre. 2. moro.
1006. 2. nonistara. 4. mettano. 6. ga terreno e dallopo. 10. caprona alii. 12. savaza. 17. ecanale. 19. acq"a". 24. chorta.
1006. This passage is written by the side of a
map washed in Indian ink, of the course of the
Arno; it is evidently a sketch for a completer map.
These investigations may possibly be connected
with the following documents. Francesco Guidiicci alia
Dalla di Firenze. Dal Campo contra Pisa 24 Luglio 1503
(Archivio di Stato, Firenze, Lettere alia Balla; published
by J. GAVE, Carteggio inedito d'Artisti, Firenze 1840,
Tom. H, p. 62) : Ex Castris, • Franciscus Ghuiduccius,
24. Jul. 1503. Appresso fu qui hieri con una di V.
Signoria Alexandra degli Albizi insieme con Leonardo da
Vinci et certi altri, et veduto el disegno insieme con el
ghcrvernatore, doppo molte discussioni et dubii conclusesi
che Paper a fussi molto al proposito, a si veramente Arno
volgersi qui, o restarvi con un canale, che almeno viete-
rebbe che le colline da nemici nan potrebbono essere offese;
come tucto referiranno loro a bocha V, S.
And, Archivio di Stato, Firenze, Libra d'1 Entrata
e Uscita di cassa de'1 Magnifici Signori di luglio e agosto
J5O3 a S1 7*'; Andata di Leonardo al Campo sotto
Pisa. Spese extraordinarie dieno dare a di XXVI di
luglio L. L VI sol. XIII per loro a Giovanni Piffero;
e sono per tanti, asegnia avere spexi in vetture di set
chavalli a spese di vitto per andare chon Lionardo da
Vinci a livellare Arno in quello di Pisa per levatto del
lito suo. (Published by MILANESI, Archivio Storico
Italiano, Serie III, Tom. XVI.) VASARI asserts : (Leo-
nardo) fu il primo ancora, che giovanetto discorresse sopra
il fiume d^Arno per metier lo in canale da Pisa a Fio-
renza -(ed. SANSONI, IV, 20).
The passage above is in some degree illustrated
by the map on PI. CXII, where the course of the
Arno westward from Empoli is shown.
1007. Mensola is a mountain stream which falls
into the Arno about a mile and a half above
Florence.
A=Arno, I=Isola, M=Mvgone, P=Pesa, N=Me-
sola.
230
TOPOGRAPHICAL NOTES.
1008- 1010.
1008.
Come il fiume, che s'a a piegare d'uno
in altro loco, debbe essere lusin'gato e no
con uiolenza aspreggiato, e a questo fare si
de' cauare infra' 1 fiume alquato Jdi Pes'
caia, e poi di sotto gittarne vna piv inati,
e cosl si faccia colla 3" 4a e 5a, in modo
che M « fiume inbocchi col canale'datoli, o che
per tal mezzo si scosti dal loco da lui dan-
neggiato, come 5fu fatto in Fiadra, dettomi
da Niccol6 di Forzore;
Come si de' vestire di riparo vn argine
percosso 6dal'acqua, come sotto Pisola
de' Cocomeri.
That the river which is to be turned
from one place to another must be coaxed
and not treated roughly or with violence;
and to do this a sort of floodgate should be
made in the river, and then lower down
one in front of it and in like manner a
third, fourth and fifth, so that the river may
discharge itself into the channel given to it,
or that by this means it may be diverted
from the place it has damaged, as was done
in Flanders — as I was told by Niccol6 di
Forsore.
How to protect and repair the banks
washed by the water, as below the island
of Cocomeri.
Fig- 3-
Fig. 2.
?P6te Rubaconte (Fig. i); 8 sotto il Bi-
Ponte Rubaconte (Fig. i); below [the pala-
sticci 9e Canigiani (Fig. 2); I0sopra la pe- ces] Bisticci and Canigiani (Fig. 2). Above the
scaiadeltlla Givstitia (Fig. 3); 12a b e vna flood gate of la Giustizia (Fig. 3); a b is a
secca 13a riscotro doue fi'^niscie Pisola de'
Coco'5meri in mezzo d'Arl6no (Fig. 4).
sand bank opposite the end of the island of the
Cocomeri in the middle of the Arno (Fig. 4).
C. A. 3873; ii97<i] lOOQ.
CanaUjnthe Navilio di san Cristoforo di Milano The canal of San Cristofano at Milan
1^). fatto a dl 3 di maggio 1509. made May 3rd 1509.
F.
1010.
DEL CANALE DI MARTESANA.
OF THE CANAL OF MARTESANA.
*Facedo il canale di Martesana e'si By making the canal of Martesana the
diminuisce ^Pacqua all' Adda, la qual e water of the Adda is greatly diminished by
destribuita in mol^ti paesi alseruiti'o de'prati; its distribution over many districts for the
Ecco vn rimesdio, e questo e di fare molti irrigation of the fields. A remedy for this
1008. i. chessa . . locho. 2. asspreggato e acquessto. 4. inbochi . . mezo si scossti dal locho dallui damegato. 5. nicholo
. . percossa. 8. besticci . 9. camigagani. 10. pesscaja. n. giosstitia. 15. imezo.
1009. crisstofano . . facto addi . . maggo.
1010. i. martigana. 2. martigana . . diminuissce. 3. imol. 4. Ecci. 5. ecquesto . . checq. 6. beuta datta terra. 8. nessono
1008. The course of the river Arno is also
discussed in Nos. 987 and 988.
1009. This observation is written above a washed
pen and ink drawing which has been published as
Tav. VI in the nSaggio.n The editors of that work
explain the drawing as "uno Studio di boeche per
estranone d'afyua."
1010. "el nmrilio di Martogantf* is also mentioned
in a note written in red chalk, MS. H* 17"
Leonardo has, as it seems, little to do with
Lodovico il Moro's scheme to render this canal na-
vigable. The canal had been made in 1460 by
Bertonino da 'Novara. II Moro issued his degree
in 1493, but Leonardo's notes about this canal were,
with the exception of one (No. 1343), written about
sixteen years later.
IOII. IOI2.]
CANALS IN THE MILANESE.
231
fontanili, che q6uell'acqua, che e bevuta
dalla terra no fa ser^uitio a nessuno, ne
ancora danno, perche a 8 nessuno e tolta,
e facedo tali fontanili, 1'acqua, 9che prima
era perduta, ritorna di nouo a rifaI0re
seruitio e vtile alii ominr.
would be to make several little channels, since
the water drunk up by the earth is of no
more use to any one, nor mischief neither,
because it is taken from no one; and by
making these channels the water which before
was lost returns again and is once more
serviceable and useful to men.
Leic.
IOII.
Nessuno canale, che esca fori de'fiumi,
sara durabile, se 1'acqua del flume, donde
2 nascie, non e integralmete rinchiusa come
il canal diMartisana e quel ch'escie diTesino.
No canal which is fed by a river can be
permanent if the river .whence it originates
is not wholly closed up, like the canal of
Martesana which is fed by the Ticino.
C. A. 1391?; 42i(5]
Dal principio del navilio al
mo2lino.
3 Dal pricipio del navilio di
Briuio al ^molino del Travaglia e
trabochi 2794, s cioe • braccia 11176,
che son piu di 3 miglia 6e due
terzi, e quiui truovo 'piu alto il
7 navilio che la pelle dell'acqua di
IOI2.
From the beginning of the canal
to the mill.
From the beginning of the canal
of Brivio to the mill of Travaglia is
2794 trabochi, that is 11176 brac-
cia, which is more than 3 miles
and two thirds; and here the canal
is 57 braccia higher than the surface
ettolta'effacedo . . lacq"a". 9. primo. 10. omini E . there tfte text breaks off.
ion. i. chanale^. . essca . . sellacqua. 2. nasscie . . rinciusa . . tessino.
1012. marligana ccquel . . esscie. 5. br. 11176. 6. ecquini. 7. chella . . dellacq"a' . . br. 57. 8. chalo.
1012. The following are written on the sketches: of Travaglia); at R: rochetta ssanta maria (small rock
At the place marked N: navilio da dacqitiue (canal of Santa Maria); at A: Adda; at L: Lagho di Lectio
of running water); at M: molin del Travaglia (Mill ringorgato alii 3 corni in Adda, — Concha perpetua (lake
232
TOPOGRAPHICAL NOTES.
[1013. 1014.
Adda • braccia 57, 8a dare due ode di of the water of the Adda, giving a fall of
calo per ogni ceto trabochi, 9e in tal sito two inches in every hundred trabochi; and
disegniamo torre la bocha
navilio.
I0del nostro at that spot we propose to take the opening
of our canal.
C. A. 233 a; 700 a]
1013.
ISe no ui si da fama che questo sia
canale pu2blico, e'sara necessario pagare il
If it be not reported there that this
is to be a public canal, it will be necessary
terreno, 3e lo paghera il re col lasciare to pay for the land; and the king will pay it
li dazi d'un ano.
by remitting the taxes for a year.
43"!
1014.
for c
(1014.
NAVILIO.
2J1 navilio • che sia • largo in fodo 3 brac-
cia 16 • e in bocca • 20 •, si potra dire 4in
so ma • tutto • largo braccia 18 •, e se sara
nais s profondo • 4 • braccia •, a 4 • dinari il qua-
dretto •, 6costera • il miglio • cayatura • sola
7 due . 900 •, essendo • i quadreti • di 8 comune
• braccio, ma se le • braccia saranno 9 a vso •
di misura • di terra •, che ogni I04 . son 4 .
e x/2» e se il miglio s'i"tede di tre mila
braccia comuni, a tornar • I2in braccia- di-
terra • le sua 3000 • braccia tor'^nano • maco
V4, che restano • braccia • ^2250, che a
4 dinari il • braccio, mota '5il miglio
ducati 675; a 3 dinal6ri il quadretto mota
il miglio ducati I75O6V4, che la cavatura
di 30 mil8glia di navilio mota ducati
1 5 187 •'/*•
CANAL.
The canal which may be 16 braccia wide
at the bottom and 20 at the top, we may
say is on the average 18 braccia wide, and if
it is 4 braccia deep, at 4 dinari the square
braccia; it will only cost 900 ducats, to exca-
vate by the mile, if the square braccio is
calculated in ordinary braccia; but if the
braccia are those used in measuring land, of
which every 4 are equal to 4%, and
if by the mile we understand three thousand
ordinary braccia; turned into land braccia,
these 3000 braccia will lack J/4; there remain
2250 braccia, which at 4 dinari the braccio
will amount to 675 ducats a mile. At 3
dinari the square braccio, the mile will
amount to 506 V4 ducats so that the exca-
vation of 30 miles of the canal will amount
to 1 5i87T/2 ducats.
1013. 2. necesario. 3. ello pagera . . lidati.
1014. 2. chessia. 3. br. 16 . . boccha . . portra di. 4. tucto . . br. 18 essessara. 5. 4 br. a 4 . di. 6. chosstera. 7. quadrecti.
8. br. masscllebr. sarano. 10. I/2 M sseil. n. mila br. 12. br. di . . comunitornar. 12. 3000 br. 13. restano br.
14. il |br. id. due. 17. chella. 18. colasciare due.
of Lecco overflowing at Tre Corni, in Adda, —
a permanent sluice). Near the second sketch, re-
ferring to the sluice near Q: qui la chatena ttalie
</'H peso (here the chain is in one piece). At M in
the lower sketch: mo/' del fravagfia, nel cavare la
contha U tereno ara ckotrapeso c9 fossa d'acgtia (Mill
of Travaglia, in digging out the sluice the soil
will have as a counterpoise a vessel of water).
1013. 3. il re. Louis XII or Francis I of France.
It is hardly possible to doubt that the canals here
spoken of were intended to be in the Milanese.
Compare with this passage the rough copy of a
letter by Leonardo, to the "Presuiente dell1 Ufficio
regolatore deir aequa" on No. 1350. See also the
note to No. 745, 1. 12.
-fit
— ioi8.J
ITALY.
233
Br. M. 149 a]
1015.
Per fare il gra 2canale, fa prima ^il To make the great canal, first make the
piccolo e dalli *!' acqua, che colla srota fara smaller one and conduct into it the waters
il grade. which by a wheel will help to fill the great one.
C. A. 72<5; 211,5]
UPoni il uero mezzo di Milano.li
1016.
Indicate the centre of Milan.
Moforte — porta resa — porta nova — strada nova — navilio — porta cumana — barco — porta Notes on
giovia — porta vercellina — porta sco Anbrogio — porta Tesinese — torre dell'Imperatore — ulMiifn a'
porta Lodovica— acqua. (1016-1019).
1017.
A
Rifosso di Mila2no;
3Canale * largo 2 sbraccia;
6Castello 7con fossi ingor-
gati;
8 Ingorgatione 9 de' fossi del
I0castello di Mila.
B
The moat of Milan.
Canal 2 braccia wide.
The castle with the moats
full.
The filling of the moats of
the Castle of Milan.
I.i
1018.
BAGNO.
2 Per iscaldare 1' acqua della stufa della
3duchessa torrai 3 parti d' acqua calrida
sopra 4 parti d' acqua fredda.
THE BATH.
To heat the water for the stove of the
Duchess take four parts of cold water to
three parts of hot water.
1015. i — 5 R. 3-. picholo. 4. lachq"a" che cholla.
1016. i. mezo; — barcho — tore delomperatore — porta lodovicha.
1017. 7. co fossi. 1018. 2. lacq"a". 3. torai . . parte dacq"a" chal. 4. dacq"a".
1016. See PI. CIX. The original sketch is here
reduced to about half its size. The gates of the
town are here named, beginning at the right hand
and following the curved line. In the bird's eye
view of Milan below, the cathedral is plainly recog-
nisable in the middle ; to the right is the tower of San
Gottardo. The square, above the number 9147, is
the Lazzaretto, which was begun in 1488. On the
left the group of buildings of the 'Castelld1 will be
VOL. II.
noticed. On the sketched Plan of Florence (see
No. 1004 note) Leonardo has written on the margin
the following names of gates of Milan: Vercel-
lina — Ticinese — Ludovica — Romana — Orientale —
Nova — Beatrice — Cumana. — Compare too No. 1448,
11. 5. I*-
1018. Duchessa di Milano, Beatrice d'Este, wife of
Ludovico il Moro to whom she was married, in
1491. She died in June 1497.
GG
234
L. 15 «)
TOPOGRAPHICAL NOTES.
-— —
1019.
[1019—1021.
In domo alia car-
ruco*la del chiodo
della croce;
3 item.
* Da mettere il
5 corpo v r 6 nello ....
I
In the Cathedral at
the pulley of the nail
of the cross.
Item.
To place the mass
v r in the .
E. i a]
DELLA POTENTIA DEL UACUO
ISTATE.
3Vidi a Milano va saetta percuotere la
4 torre della Credenza da quella parte Sche
risguarda tramotana e disciese 6con tardo
moto per esso lato, e inmediate 7si divise
da essa torre, 8e si ualse d'esso ^muro uno
spaI0tio di 3 braccia per o"gnivo e pro-
I2fondo due, e 'jquesto muro ^era grosso
4 braccia, 15ed era mural6to di sottili e
I7minuti mattol8ni antichi, '9e questo fu
ti20rato dal uacu2Io, che la 22fiama della
23 saetta lascio 24di se ecc.
IO2O.
'GIENERATO IN OF THE FORCE OF THE VACUUM FORMED IN
A MOMENT.
I saw, at Milan, a thunderbolt fall on
the tower della Credenza on its Northern
side, and it descended with a slow motion
down that side, and then at once parted from
that tower and carried with it and tore away
from that wall a space of 3 braccia wide
and two deep; and this wall was 4 braccia
thick and was built of thin and small old
bricks; and this was dragged out by the
vacuum which the flame of the thunderbolt
had caused, &c.
Leic. 28 a
lo sono gia stato a vedere tal mvltipli-
I have already been to see a great
variety (of atmospheric effects). And lately
over Milan towards Lago Maggiore I saw a
Remarks on catione (di aric) e gia 2sopra a Milano in-
nnomeLP^n verso "aS° Maggiore vidi vna nvuola in
and near
Milan
(1021. 1022). 1019. i. charucho. 2. ciodo. 6. nello s here the text breaks off.
1020. i. uachuo. 2. isstate. 3. perchotere. 4. dacquella. 5. rissghuarda motana e dissciesse. 7. torre e porto chonsecho.
8. essiulse. 10. 3. br. 13. cquesto. 14. 4 br. 18. antichi ec. 19. ecquessto. 20. uachu. 21. chella. 23. lasscio.
1021. i. mvltiplicatione e ga. 2. magore . . motaggnia . . scoli. 3. infochati . . razi . . ga . . orizonte . . rossegaua . .
. 1019. On this passage AMORETTI remarks (Me-
morie Storiche chap. IX): NeWanno stesso lo veggiamo
formare un congegno di carucole e di corde, con. cut tras-
portare in piu venerabile e piu sicuro luogo, doe nel-
r ultima arcata della nave di mezzo dtlla metropolitana, la
sacra reliquia del Santo Chiodo, che rvi ancor si venera.
Al fol. 15 del codice segnato Q. R. in 1 6, egli ci ha la-
sciata di tal congegno una doppia figura, doe una di
qttattro carucole, e una di tre colle rispettive corde, sog-
Siugnandovi: in Domo alia carncola del Chiodo della
Croce.
AMORETTI'S views as to the mark on the MS.
and the date when it was written are, it may be
observed, wholly unfounded. The MS. L, in which
it occurs, is of the year 1502, and it is very un-
likely that Leonardo was in Milan at that time;
this however would not prevent the remark, which
is somewhat obscure, from applying to the Cathedral
at Milan.
1020. With reference to buildings at Milan see
also Nos. 751 and 756, and PI. XCV, No. 2 (ex-
plained on p. 52), PI. C (explained on pages 60 — 62).
See also pages 25, 39 and 40.
1021. di arie is wanting in the original but may
safely be inserted in the context, as the formation
of clouds is under discussion before this text.
IO22. IO23-]
ITALY.
235
forma di grandissima motagnia, piena di
scogli 3 infocati, perche li razzi del sole, che
gia era all'orizzonte che rosseggiava, la
tigneano del suo colore, e questa tal nugola
* attraeva a se tutti li nvgoli piccoli che in-
torno li stavano, e la nugola grade no si
mouea di suo loco, anzi risseruo nella sua
sommita il lume del sole insino a una ora
e mezzo di notte, tant'era la sua im-
mesa gradezza; 6e infra due ore di notte
gienero si gran veto che fu cosa stupeda
e inavdita.
cloud in the form of an immense mountain
full of rifts of glowing light, because the
rays of the sun, which was already close to
the horizon and red, tinged the cloud with its
own hue. And this cloud attracted to it all
the little clouds that were near while the large
one did not move from its place; thus it retain-
ed on its summit the reflection of the sunlight
till an hour and a half after sunset, so immen-
sely large was it; and about two hours after
sunset such a violent wind arose, that it
was really tremendous and unheard of.
W. XXVIII.]
IO22.
A dl 10 di diciembre a ore 15 2fu
appicato il fuoco;
3 A dl 18 di dicembre 1511 a ore 15
fu fatto questo ^secondo incendio da Suiz-
zeri a Milano Sal luogo detto DCXC.
On the ioth day of December at 9
o'clock a. m. fire was set to the place.
On the 1 8th day of December 1511 at 9
o'clock a. m. this second fire was kindled by
the Swiss at Milan at the place called DCXC.
li. 58 «]
1023.
Camini del castello di Pauia,
2ano 6 gradi di busi; e dalPuno
^all'altro uno braccio.
The chimneys of the castle of Note on
Pavia.
Pavia have 6 rows of openings and
from each to the other is one
braccio.
ecquesta. 4. asse . . picholi . . locho. 5. soraita . . mezo . . imesu gradeza. 6. stupete inavldita.
ioaa. 1—5 (R). 2. apicato . . fuocho. 3. Lore. 4. suizeri. 5. alloguo dicto.
1023. 2- buse. 3. i br.
1022. With these two texts , (1. I — 2 and 1. 3 — 5 1023. Other notes relating to Pavia occur on
are in the original side by side) there are sketches p. 43 and p. 53 (PI. XCVIII, No. 3). Compare No.
of smoke wreaths in red chalk. H4&, 26.
236
TOPOGRAPHICAL NOTES.
[IO24—I028.
H.t
* JgC •
•7*1 I024'
A di 2 di febraro 1494 alia 2 Sforzesca On the 2nd day of February 1494.
i scalini 25 3di 2/3 di braccio 1'uno, At Sforzesca I drew twenty five steps, 2/3
braccia 8. braccia to each, and 8 braccia wide.
H.« 38-) I025'
Vignie di Vigevano 2a dl 20 di marzo The vineyards of Vigevano on the 20th
1494 day of March 1494.
H. i i a]
Da serrare in chiave vno
Vigievano.
I.eic. 21 a]
IO26.
Icastro 2a To lock up a butteris at Vigevano.
1027.
Ancora se la infima parte dell'argine
trauersalmete opposto al cor2so delle acque
sara fatto in potenti e larghi gradi a uso
di scala, 1' acque ^che nelP abassamento
del lor corso sogliono perpendicularmente
cadere dal ter»mine di tale loco in infima
sua bassezza e scalzare i fondameti d'esso
argine, non poHran piu discendere con
colpo di troppa valitudine; e lo esenpio
dico fu a me quella 6 scala, onde cadea
1'acqua de'prati della Sforzesca di Vige-
uano, sulla quale ui cadea 7 1' acqua correte
in 50 braccia d'altezza.
Again if the lowest part of the bank
which lies across the current of the waters
is made in deep and wide steps, after the
manner of stairs, the waters which, in their
course usually fall perpendicularly from the
top of such a place to the bottom, and wear
away the foundations of this bank can no
longer descend with a blow of too great a
force; and I find the example of this in the
stairs down which the water falls in the
fields at Sforzesca at Vigevano over which
the running water falls for a height of 50
braccia.
Leic. 320)
1028.
Scala di Vigevano 2sotto la Sforzesca
di 130 3scaglioni, alti J/4 e lar*ghi x/2 brac-
cio, per la qual sCade 1'ac-
qua e non 6consuma niete
nell' ultima percussione , e
per 8tale scala e disceso stanto
terreno che aI0ssecco vn pa-
dule, cio"e riempl,
n'e fatI2to praterie da
le di gra profondita.
Stair of Vigevano below La Sforzesca,
130 steps, */4 braccio high and '/2 braccio wide,
down which the water falls, so as
not to wear away anything at the
end of its fall; by these steps
so much soil has come down
that it has dried up a pool;
that is to say it has filled it up
and a pool of great depth has
been turned into meadows.
1024. '—3 R- i- alias. 2. sforzesscha . . schalini. 3. di br . . large br.
ioaj. i—2 R. i. vigievine. ioa6 1—2 R. i. asserare. 2. avigievine.
1097. i. sclla . . pare . . oposto. 2. fatti . . ellarghi . . disscala lacqua. 3. 2 . delor soglian . . chadere. 4. tale infima . .
basseza e dissalzare . . desse. 5. dissciendere . tropa . . ello . . foame colla. 6. pradi . . sforzessca di uigieuine la qual
ui cadea su. 7. corete . . br. dalteza.
ioa8. i. schala di uigeuine. 2. sforzessa di [too] 130. 3. ellar. 4. V* br . . 5. chade. 7. perchussione. 8. dissceso. 10. «echo
. . co. ti. rienpivto essene. 12. di padu.
1024. See PL CX, No. 2. The rest of the notes on this page refer to the motion of water. On the
lower sketch we read: 4 br. (four braccia) and giara (for ghiaja, sand, gravel).
1025. On one side there is an effaced sketch in red chalk.
PL. CX.
" — — *-" -
Duiardin
Imp Exidea
1029. 1030.]
ITALY.
237
Leic. ii 6}
I02Q.
Come in molti lochi si trovano ve2ne
d'acqua che sei ore crescono e sei ore
calano, e io • per me n' 6 veduto vna in sul
lago di Como, detta fonte Pli^niana, la
quale fa il predetto cresciere e diminuire
in modo che, quando uersa, macina due
mulini, e quado maca, *cala s* ch'egli e
come guardare 1'acqua in vn profondo
pozzo.
are
streams of Not«son, thc
North
SIX hOUrS and ebb Italian lakes
In many places there
water which swell for
for six hours ; and I , for my part, have (I029-I033)-
seen one above the lake of Como called
Fonte Pliniana, which increases and ebbs,
as I have said, in such a way as to turn
the stones of two mills; and when it fails it
falls so low that it is like looking at water
in a deep pit.
c. A.
1030.
LAGO DI COMO -2 VAL DI CHIAUENNA.
•sSu pel lago di Como, diuerso la Magnia,
e valle Chiauenna doue la Mera fiume
mette in esso tlago; qui si truovano mo-
tagnie- sterili e altissime- con gradi scogli-;
J queste motagnie s]i uccielli • d'acqua sono
detti maragoni; qui nascono abeti, larici
e pini •, daini, stabecchi, camoz6zi • e terribili
• orsi • ; no ci si puo motare •, se non e a
4 piedi •; vannoci • i villani a'tepi delle
7 nevi co gradi • ingegni • per fare trabocare
gli orsi giv • per esse-ripe; queste 8 motagnie
strette mettono in mezzo • il fiume •, sono
a destra e a sinistra per spatio ?di miglia
20 . tutte a detto modo • ; truovasi di miglio
in miglio bone • osterie • ; suI0per detto fiume
• si truovano • cadute • d'acqua di 400 braccia,
le quali fanno bel vedere ; 1 1 e c' e bo uiuere
• a 4 soldi per scotto • ; per esso fiume si
coduce assai • legniame.
VAL SASINA.
Sasina-viene diuerso • la Italia.;
questa e quasi di simile forma e natura;
I4nascie vi assai mappello •, e ci sono gra
ruine e cadute d'acque.
LAKE OF COMO. VALLEY OF CHIAVENNA.
Above the lake of Como towards Ger-
many is the valley of Chiavenna where the
river Mera flows into this lake. Here are
barren and very high mountains, with huge
rocks. Among these mountains are to be
found the water-birds called gulls. Here
grow fir trees, larches and pines. Deer, wild-
goats, chamois, and terrible bears. It is impos-
sible to climb them without using hands and feet.
The peasants go there at the time of the snows
with great snares to make the bears fall down
these rocks. These mountains which very clo-
sely approach each other are parted by the river.
They are to the right and left for the distance of
20 miles throughout of the same nature. From
mile to mile there are good inns. Above on the
said river there are waterfalls of 400 braccia
in height, which are fine to see; and there is
good living at 4 soldi the reckoning. This
river brings down a great deal of timber.
VAL SASINA.
Val Sasina runs down towards Italy; this
is almost the same form and character. There
grow here many mappello and there are great
ruins and falls of water [14].
1039. i. imolti . . trova. 2. cresscano essei . . chalano . . veduta . . sulago di chomo . . fonte pri. 3. cressciere macina piv
mulina . . macha. 4. chalisi . . lacqua non . . pozo.
1030. 2. ciauenna. 3. super., diuer . . ciauenna . . "fiume" mette. 4. truovamotagni . . chon. 5-dacquadette . . nasscie . . larice
eppini . . sta becchechamo. 6. ze . . teribili . . po..delli. 7. cho grade ingiegi i . . trabochare. 8. metano . . mezo . . des-
stra e assinistra . . isspatio. 9. imiglio. io. truova chadute . . br. le quale. u. uci bo . . ischotto per ess . . choduce.
14. nasscievi . . ecci gra . . ecchadute. 15. valle ditrozzo. 16. ellarici. 17. tessta . . Voltolina elle . . leorme. 18. sepre
1029. 2. 3. The fountain is known by this name
to this day : it is near Torno, on the Eastern shore
of Como. The waters still rise and fall with the
flow and ebb of the tide as Pliny described it
(Epist. IV, 30; Hist. Nat. II, 206).
1030. 1031. From the character of the hand-
writing we may conclude that these observations
were made in Leonardo's youth; and I should infer
from their contents, that they were notes made in
anticipation of a visit to the places here described,
and derived from some person (unknown to us) who
had given him an account of them.
14. The meaning of mappello is unknown.
TOPOGRAPHICAL NOTES.
[1031.
VALLE D'INTROZZO.
l6Questa valle • produce assai abeti
pini e land •, e doue Anbrogio Fereri fa
•7 venire • il suo legniame •; in testa • della
Valtellina sono le motagnie di Bormio,
I8terribili • e piene sepre di neve; qui na-
scono ermellini.
A BELLAGGIO.
20 A riscontro • a Bellaggio • castello e il
fiume Latte •, el quale • cade da alto 2I piv
che braccia • 100 dalla vena •, donde nascie,
a piobo nel lago • co inestimabile strepito
"e romore •; questa vena versa solamete
agosto e settebre.
VALTELLINA.
^Valtellina-, com'e detto, valle circu-
data d'alti e terribili • moti, fa 25vini poteti
• e assai •, e fa tanto bestiame • che da pae-
sani • e concluso • nascierui 25piv latte che
uino • ; questa e la ualle • doue passa Adda,
la quale prima corre 2?piv che 40 miglia
per la Magnia • ; questo fiume fa il pescie
temolo, il quale 28vive d'argieto •, del quale
• se ne truova • assai per la sua rena ; 29J
questo paese ognivno • puo vedere pane .
e vino, e'l uino vale al piv uno soldo s°i\
boccale • e la libra della uitella uno soldo,
e'l sale 10 dinari, e'l simile il burro, 3»ed e
la loro libbra 30 ocie e 1'oua uno soldo la
soldata.
VALLEY OF INTROZZO.
This valley produces a great quantity of
firs, pines and larches; and from here Am-
brogio Fereri has his timber brought down;
at the head of the Valtellina are the moun-
tains of Bormio, terrible and always covered
with snow; marmots (?) are found there.
BELLAGGIO.
Opposite the castle Bellaggio there is
the river Latte, which falls from a height of
more than 100 braccia from the source whence
it springs, perpendicularly, into the lake with
an inconceivable roar and noise. This spring
flows only in August and September.
VALTELLINA.
Valtellina, as it is called, is a valley
enclosed in high and terrible mountains; it
produces much strong wine, and there is so
much cattle that the natives conclude that
more milk than wine grows there. This is the
valley through which the Adda passes, which
first runs more than 40 miles through Ger-
many; this river breeds the fish temolo which
live on silver, of which much is to be found
in its sands. In this country every one can
sell bread and wine, and the wine is worth
at most one soldo the bottle and a pound
of veal one soldo, and salt ten dinari and
butter the same and their pound is 30 ounces,
and eggs are one soldo the lot.
C. A. 211(5;
1031.
A BORMIO.
2 A Bormio sono . i bagni • ; — sopraComo
otto miglia • e la Pliniana, ^ la quale • crescie
e discrescie ogni 6 • ore, e'l suo cresciere fa
4acqua per 2 mvlina e n'avanza, e'l suo
calare fa asciugare la fonte; 5piu su 2
miglia • e Nesso • terra, dove cade uno fiume
co grade 6 enpito per una gradissima fes-
sura di mote • ; Queste gite so da 7 fare nel
mese di maggio; E i maggior sassi scoperti
che si truovano 8in questi paesi • sono le
motagnie di Madello, vicine alle motagnie
di ^Lecco e di Gravidona inverso Bellin-
AT BORMIO.
At Bormio are the baths; — About eight miles
above Como is the Pliniana, which increases
and ebbs every six hours, and its swell
supplies water for two mills; and its ebbing
makes the spring dry up; two miles
higher up there is Nesso, a place where a
river falls with great violence into a vast
rift in the mountain. These excursions are
to be made in the month of May. And
the largest bare rocks that are to be found
in this part of the country are the mountains
of Mandello near to those of Lecco, and
nascie. 19. abbcllagio. 20 arischontro abbellagio . chastcllo . . fiume lacci"o" el. 21. nasscic a piobo ne gallo cho ini-
stimabile strepido. 32. erromore. 23. valtolina. 24. chome . . circhudata . . etteribili. 25. vni . . eflfa . . besstiame . .
paessani . . nasscicr ui. 26. ella . . ada . . chore. 27. pesscio temere it. 29. po . . i soldo, jo. bochale ella . . ! soldo
ell . . burlo. 31. Ibra . . elloua.
1031. abormi. 2. abormi . . ella priniana. 3. cresscie e disseresscie ogni . . cresscicrc. 4. assciugare. 5. piussu . . tera . .
! fin ne cho. 7. del . . magio . . magior . . schoperti chessi truovno. 8. visine. 9. leche e di gravidonia . . mglia allecho
1032. I033-]
ITALY.
239
zona, a 30 miglia da Lecco, I0e quelle di
ualle di Chiavenna -, ma la maggiore e
quella di Madello, "la quale-a nella • sua
basa vna buca diuerso il lago, la quale va
sotto I22OO scalini-, e qui d'ogni tepo e
ghiaccio • e veto.
IN VALSASINA.
**! Valsasina infra • Vimognio et • In-
trobbio •, a man destra entrado per uia di
I5Lecco, si trova la Troggia fiume-, che cade
da uno sasso • altissimo e cadedo entra
16 sotto terra • e 11 finisce • il fiume •; 3 •
miglia -piv la si truovano li edifiti ^della-
vena • del rame • e dello argeto •, presso a
una terra • detta Prato Santo Piet.ro, l8e
vene di ferro, e cose fantastiche • ; la Grignia
e piv alta • motagnia ch'abbino ^questi
paesi ed e pelata.
of Gravidona towards Bellinzona, 30 miles
from Lecco, and those of the valley of
Chiavenna; but the greatest of all is that of
Mandello, which has at its base an opening
towards the lake, which goes down 200 steps,
and there at all times is ice and wind.
IN VAL SASINA.
In Val Sasina, between Vimognio and
Introbbio, to the right hand, going in by
the road to Lecco, is the river Troggia
which falls from a very high rock, and as
it falls it goes underground and the river
ends there. 3 miles farther we find the
buildings of the mines of copper and silver
near a place called Pra' Santo Pietro, and
mines of iron and curious things. La Grigna
is the highest mountain there is in this part,
and it is quite bare.
C. A. 2700:; 821 a]
1032.
II lago di Pusiano 2 versa in nel lago
3di Segrino e d'Annone «e di Sala; 5I1
lago d'Anone ha 22 braccia piu alta la
pelle 6della sua acqua che la pelle del-
1'acqua ? del lago di Lecco, e 20 braccia
e piu alto 8il lago di Pusiano che'l lago
d'Anone, 9le quali, giute colle braccia 22
dette, fan braccia 42, I0e quest e la mag-
giore altezza che abbia la penile del lago
di Pusiano sopra la pelle del laI2go di
Lecco.
The lake of Pusiano flows into the lake
of Segrino [3] and of Annone and of Sala.
The lake of Annone is 2 2 braccia higher at
the surface of its water than the surface of
the water of the lake of Lecco, and the lake
of Pusiano is 20 braccia higher than the
lake of Annone, which added to the afore
said 22 braccia make 42 braccia and this is
the greatest height of the surface of the
lake of Pusiano' above the surface of the
lake of Lecco.
G.
1033-
A Santa Maria nella valle 2di Rava-
gnate, ne' moti Briatia so le pertiche ^di
castagne di 9 braccia e di 14 Pu2no
in 100.
s A Varallo di Ponbia presso a Sesto
At Santa Maria in the Valley ofRavagnate
in the mountains of Brianza are the rods of
chestnuts of 9 braccia and one out of an
average of 100 will be 14 braccia.
At Varallo di Ponbia near to Sesto on
6 sopra Tesino sono li cotogni biachi gra- the Ticino the quinces are white, large
7di e duri. and hard.
1033.
1033-
o. ecquelle . . edavenna malla magiore ecquella. u. busa. 12. schalini . . diaggio. 14. ualsasina ifra . . desstra.
5. leccho . . trosa . . chade . . da i . . chadedo. 16. elli finissce . . pivlla si truova. 17. arzeto . . prascto petro.
8. fero . . chabbi. 19. edie.
. ilago di pusia. 2. inel lagho. 3. di serio e dano. 5. lagho dano . . br . . alto. 6. chella. 7. lagho . . br. eppiu.
. he il lagho. 8. pusta . . dano br. 20. 9. gute . . br. 22 . . br. 42. 10. ecqueste la magore alteza . . la pel . . Pusia.
2. gho di lecho.
. maria\\\\o nella. 2. di ranvagna .. briatia. 3. 9 br. e di 14 [et] 7 (?) lu. 4. re (? — no) in 100 di 9 br. 5. a voral di pon-
bio presso assesto. 6. licatini. 7. edduri.
1032. This text has in the original a slight 1033. 2. Ravagnate (Leonardo writes Ravagna)
sketch to illustrate it. — 3. The statement about the in the Brianza is between Oggiono and Brivio,
lake Segrino is incorrect; it is situated in the South of the lake of Como. M. Ravaisson
Valle Assina, above the lake of Pusiano. avails himself of this note to prove his hypothesis
240
TOPOGRAPHICAL NOTES.
[1034—1039.
L.
1034-
Ownl
Italy, visited
10^1501
(1034—1054)
Colobaia a Urbino a dl 30 2di luglio Pigeon-house at Urbino, the 30 th day
t: 1502. of July 1502.
L.
1035-
Fatta al mare di Pio-
bino.
ex
Made by the sea at
Piombino.
L. 10 1\
Acquapendente e a Oruieto.
1036.
Acquapendente is near Orvieto.
L. 15 6]
Rocca di Cesena.
L. 19*]
1037.
1038.
The rock of Cesena.
Siena *a b braccia 34, *a c braccia 5 10; Siena, a b 4 braccia, a c 10 braccia.
6 Scale d' Urbino. Steps at [the castle of] Urbino.
33*1
1039.
Campana • di Siena, cioe 2il modo del
suo moto ^e sito della dinodatura '"< del
battaglio suo.
The bell of Siena, that is the manner of
its movement, and the place of the attachment
of the clapper.
1034. I. du vrbino. 2. luglio 1402.
1039. i. coe. 3. essito.
1035. Aquapendente.
1037. rocha.
1038. 2. l.r. 3. br.
that Leonardo paid two visits to France. See
Gazette des Beaux Arts, 1881 pag. 528:
Au recto du menu feuillet, on lit encore une note
relative a une vallie "nemonti brigatia" ; il me semble
qtfil fagit bien des monts de Brian f on, le Brigantio des
anciens. Brianfon est sur la route de Lyon en Italie.
Ce fut par le mont Visa que passer ent, en aout 1515,
les troupes franfaises qui aUaient remporter la victoire de
Marignan.
Leonard de Vinci, ingenuur de Franfois Ier, comme
il Pavait ftf de Louis XII , aurait-il lie pour quelque
chose dans le plan du ctlebre passage des Alpes, qui eut
lieu en aout 1515, et a la suite duquel on le vit
aceompaipter partout le ck^valeresque vainqueur ? Aurait-
il M appele par le jeune roi, de Rome oit r artiste ttait
alors, des son avcncment au trone?
5. Varallo di Ponbia, about ten miles South of
Arona is distinct from Varallo the chief town in the
Val di Sesia.
1034. An indistinct sketch is introduced with
this text, in the original, in which the word
Scolatoro (conduit) is written.
1035. Below the sketch there are eleven lines
of text referring to the motion of waves.
1036. Acquapendente is about lo miles West of
Orvieto, and is to the right in the map on PI. CXIII,
near the lake of Bolsena.
1037. See PL XCIV No. I , the lower sketch.
The explanation of the upper sketch is given on p. 29.
1038. See PI. CX No. 3 ; compare also No. 765.
1039. The text is accompanied by an indistinct
sketch.
Du^ard
' \ 4*
••• v i f .v •'..,- :/•; .'
' .: ;
-'/-
>r-
h • - .\t. :••:•:
•i :.•..•:
I , :-; •• .. v x
'
'
V." ' ,
, .. - . •
-',
Imp . Eudes
Heli
L. CXI1
1040 — 1046.] ITALY. 241
L. 36*] I040-
El dl di Sata Maria mezz'agosto 2a On St. Mary's day in the middle of August,
Cesena 1502. at Cesena, 1502.
L. 40 «]
Scale del cote d'Urbino, saluatiche. Stairs of the [palace of the] Count of
Urbino, — rough.
L. 46^] 1042.
Alia fiera di Sco 2 Lorenzo a Cesena, At the fair of San Lorenzo at Cesena.
31502. 1502.
L 47*] I043-
. Finestre da Cesena. Windows at Cesena.
L. 666} IO44-
Porto Cesenatico a di 6 di set2tenbre At Porto Cesenatico, on the 6th of Sep-
1502, a ore 15; tember 1502 at 9 o'clock a. m.
3 In che modo debbono ^iiscire bastioni The way in which bastions ought to
fori delle smura delle terre per potere project beyond the walls of the towers to
6difendere 1'argini di fori, 7acio no sieno defend the outer talus; so that they may not
battuti coll' artiglieria. be taken by artillery.
L. 67 a] 1045.
La rocca del porto di Cesena sta a The rock of the harbour of Cesena is four
Ce2sena per la 4a di libeccio. points towards the South West from Cesena.
L. 72 a] 1046.
In Romagnia, capo d'ogni grossezza In Romagna, the realm of all stupidity,
2d'ingegno, vsano i carri di 4 rote, de qua- vehicles with four wheels are used, of which
3li O n'ario 2 dinanzi basse e due alte O tne two m front are small and two high
ldirieto, la qual cosa e in gran disSfauore ones are behind; an arrangement which is
di moto, perche in sulle 6rote dinanzi si very unfavourable to the motion, because
scarica piv peso, che 7 in su quelle dirieto, on the fore wheels more weight is laid than
come mostrai 8 nella prima del 5 ° delli on those behind, as I showed in the first of
elemeti. the 5th on "Elements".
1040. i. mezagossto. 2. [4] 502. 1044. 4. vsscire basstioni . . delle.
1045. i. rocha. 2. pla . . libecco. 1046. i. grosseza. 2. rote equa. 7. mostai.
1040. See PI. CX, No. 4. 1043. There are four more lines of text which
1041. The text is accompanied by a slight refer to a slightly sketched diagram.
sketch. 10441 An indistinct sketch, accompanies this
passage.
VOL. ii. HH
242
TOPOGRAPHICAL NOTES.
[1047—1050.
L. 77
Uve portate 2a Ciesena;
3 II numero de' cavatori
piramidale.
1047.
Thus grapes are carried at Cesena.
de' fossi e The number of the diggers of the ditches
is [arranged] pyramidically.
i.. 760}
1048.
UFassi vn armonia colle diuerse cadute
M'acqua, come vedesti alia fonte di
3 Rimini; come vedesti a dl 8 d'agosto
41502.1
There might be a harmony of the different
falls of water as you saw them at the
fountain of Rimini on the 8th day of Au-
gust, 1502.
L.
1049.
Fortezza d'Urbino.
The fortress at Urbino.
L. 884]
1050.
Imola vede Bologna a s/s di ponente
inverse 2 maestro con ispatio di 20 mi-
glia;
^Castel san Piero e ueduto da Imola
in J/2 4 infra ponente e maestro • con ispatio
di 57 miglia;
6 Faenza sta con Imola tra leuate e
scirocco ? in mezzo giusto a 10 miglia di
spatio; 8Forll sta co Faenza infra scirocco
e leva^te in mezzo giusto con ispatio di 25
miglia I0da Imola e 10 da Faeza;
1 ' Forlimpopoli fa il simile a 25 mi12glia
da Imola;
'^Bertinoro sta con Imola a s
leva^te e scirocco a 27 miglia.
Imola, as regards Bologna, is five points
from the West, towards the North West,
at a distance of 20 miles.
Castel San Piero is seen from Imola at
four points from the West towards the North
West, at a distance of 7 miles.
Faenza stands with regard to Imola be-
tween East and South East at a distance of
ten miles. Forli stands with regard to Faenza
between South East and East at a distance of
20 miles from Imola and ten from Faenza.
Forlimpopoli lies in the same direction
at 25 miles from Imola.
Bertinoro, as regards Imola, is five points
from the East towards the South East, at 27 miles.
1047. i. vue. 1048. i. chadute. 3. addi. 1049. forteza.
1050. i. invcr. 2. macsstro conisspatio . . migla. 4. maesstro. 6. facnta '. . esscirocho. 7. mczo gussto . . disspatio. 8. furli
. . scirocho alletia. 9. mezo gussto. n. furinpopoli. 13. bertonora. 14. esscirocho.
1047. A sketch, representing a hook to which two bunches of grapes are hanging, refers to these
first two lines. Cesena is mentioned again Fol. 82 a: Carro da Cestna (a cart from Cesena).
1049. In the original the text is written inside the sketch in the place here marked n.
1051—1053.]
ITALY.
243
W. L. 229 a]
1051.
Imola uede Bologna a s/8 di po2nente •
inuerso maestro con disstantia • di miglia • 20 ;
"> Castel • San Piero • e veduto • da Imo5la
in mezzo infra ponente e mae6stro • in di-
stantia di miglia • 7.
7Faenza • e veduto da Imola infra leuante
8e scirocco in mezzo apunto in distantia
9 di migla • 10, e '1 simile fa • Forli con Imo-
I0la con distantia di miglia • 20, e Forlimpo-
"poli • fa il simile con Forli con distantia
di I2 miglia 25;
^Bertinoro si uede da Imola a 2/s di
leuante ^inverso scirocco con distantia di
27 miglia.
Imola as regards Bologna is five points
from the West towards the North West at a di-
stance of 20 miles.
Castel San Pietro lies exactly North West
of Imola, at a distance of 7 miles.
Faenza, as regards Imola lies exactly
half way between the East and South East at
a distance of 10 miles; and Forli lies in the
same direction from Imola at a distance of
20 miles; and Forlimpopolo lies in the same
direction from Forli at a distance of 25 miles.
Bertinoro is seen from Imola two points
from the East towards the South East at a
distance of 27 miles.
L. 94 6\
1052.
Da B6con2vento alia 3 Casa Nova 4 mi-
glia TO, sdalla Casa No6va a Chiusi 7 miglia
• 9 •, 8 da Chiusi a Pe9rugia, da PeruI0gia a
Santa "Maria degli I2Angeli, e poi '3a from Chiusi to Perugia, from Perugia to Santa
From Bonconventi to Casa Nova are
10 miles, from Casa Nova to Chiusi 9 miles,
Fuligno.
Maria degli Angeli, and then to Fuligno.
1053-
DI primo d'agosto 1502 2in Pesaro la
libreria.
On the first of August 1502, the library
at Pesaro.
1051. written from left to right, i. blogna. 2. inuer maesstro con dis. 4. Chastel. 5. mezo . . emaes. 6. indisstantia . . migla
7. veduta. 7. esscirrocho in mezo appunto in disstantia. 9. furli. 10. chon disstantia di migla . . furlinpo. n. furli .
disstantia. 12. migla. 13. Bernotoro. 14. inver scilocho . . disstantia . . migla.
1052. i. bochon. 8. aper. 10. assanta.
1053. *• di p"o".
1051. Leonardo inserted this passage on the
margin of the circular plan, in water colour, of
Imola — see PI. CXI No. I. — In the original the
fields surrounding the town are light green; the
moat, which surrounds the fortifications and the
windings of the river Santerno, are light blue. The
parts, which have come out blackish close to the
river are yellow ochre in the original. The dark
groups of houses inside the town are red. At the
four points of the compass drawn in the middle
of the town Leonardo has written (from right to
left): Mezzodi (South) at the top; to the left Scirocho
(South east), levante (East), Greco (North East), Septan-
trione (North), Maesstro (North West), ponente (West)
Libecco (South West). The arch in which the plan
is drawn is, in the original, 42 centimetres across.
At the beginning of October 1502 Cesare Borgia
was shut up in Imola by a sudden revolt of the
Condottieri, and it was some weeks before he could
release himself from this state of siege (see Grego-
rovius , Geschichte der Stadt Rom im Mittelalter,
Vol. VII, Book XIII, 5, 5).
Besides this incident Imola plays no important
part in the history of the time. I therefore think
myself fully justified in connecting this map, which
is at Windsor, with the siege of 1502 and with
Leonardo's engagements in the service of Cesare
Borgia, because a comparison of these texts, Nos.
1050 and 1051, raise, I believe, the hypothesis to
a certainty.
1052. Most of the places here described lie
within the district shown in the maps on PI. CXIII.
244
TOPOGRAPHICAL NOTES.
1055.
I054-
PlCTURA.
OF PAINTING.
'Scorta sulle sommita e in su' lati 'de' On the tops and sides of hills foreshorten
colli le figure de' terreni e le sue <diuisi- the shape of the ground and its divisions,
oni, e nelle cose uolte a te sfa le in pro- but give its proper shape to what is turned
pia forma. towards you.
Leic.
1055-
In Candia di Lonbardia • presso Ales-
sandria della Paglia, facendosi per 2 messer
[ Gualtieri di Candia vno pozzo, fu trovato
vno principio di navilio grandissimo sotto
terra, circa a braccia 10, e perche 3il leg-
name era nero e bello, parue a esso messer
Gualtieri di fare allungare tal bocca di pozzo
in forma che i termini *di tal navilio si
scoprissino.
At Candia in Lombardy, near Alessandria
della Paglia, in making a well for Messer
Gualtieri of Candia, the skeleton of a very
large boat was found about 10 braccia
underground; and as the timber was black
and fine, it seemed good to the said Messer
Gualtieri to have the mouth of the well
lengthened in such a way as that the ends
of the boat should be uncovered.
1054. 3. essere. 4. atte. 5. falle.
1055. 2. pozo . . circha a br. 3. ebbello . . meser . . bocha di pozo. 4. navili si scoprissi.
1054. This passage evidently refers to the
making of maps, such as PL CXII, CXIII, and
CXIV. There is no mention of such works, it is
true, excepting in this one passage of MS. L. But
this can scarcely be taken as evidence against
my view that Leonardo busied himself very exten-
sively at that time in the construction of maps;
and all the less since the foregoing chapters
clearly prove that at a time so full of events Leo-
nardo would only now and then commit his obser-
vations to paper, in the MS. L.
By the side of this text we find, in the original,
a very indistinct sketch, perhaps a plan of a posi-
tion. Instead of this drawing I have here inser-
ted a much clearer sketch of a position from the
same MS., L. 82 b and 83 a. They are the only
drawings of landscape , it may be noted , which
occur at all in that MS.
1055. 2. Messer Gualtitri, the same probably as is
mentioned in Nos. 672 and 1344.
1056—1059.]
ITALY.
245
Leic. iot>\
1056.
Alessandria della Paglia in Lombardia
non a altre pietre 2da far calcina, se no
miste con infinite cose nate in mare, la
At Alessandria della Paglia in Lombardy
there are no stones for making lime of, but
such as are mixed up with an infinite variety
quale oggi e remota dal mare piv di 2OO of things native tp the sea, which is now
miglia.
more than 200 miles away.
I057-
Monbracco, sopra Saluzzo, — 2sopra la
Certosa vn miglo, al pie di mo Viso, —
•3 a vna miniera di pietra ^faldata, la quale
e biaca Scome marmo di Carrara, sanza
6macvle, ch'e della durez?za del porfido o
piu; 8 della quale il conpare 9mio, maestro
Benedet10to scultore, a in proljmesso di
darmene una I2tavoletta per li colori, J3a
dl 2 di genaro 1511.
At Monbracco , above Saluzzo, — a mile The Alps
above the Certosa, at the foot of Monte (I°57~I
Viso, there is a quarry of flakey stone,
which is as white as Carrara marble, without
a spot, and as hard as porphyry or even
harder; of which my worthy gossip, Master
Benedetto the sculptor, has promised to give
me a small slab, for the colours, the second
day of January 1511.
Leic. ni\ 1058.
Come son uene che per terremoti o
altri accidenti subito nasco2no e subito
macano ; E questo accade in vna motagnia
in Sauoia, doue certi boschi sprofondarono
e lasciarono vno 3 baratro profondissimo •
e lontano circa 4 miglia di 11 s'aperse il
terreno in certa spiaggia di mote, e gitto
vna 4subita inodatione grossissima d'acqua,
la quale netto tutta vna vallata di terreni
lauorativi, vignie e case, e fece sgradissimo
danno ovunque discorse.
That there are springs which suddenly
break forth in earthquakes or other convul-
sions and suddenly fail; and this happened
in a mountain in Savoy where certain forests
sank in and left a very deep gap, and about
four miles from here the earth opened itself
like a gulf in the mountain, and threw out
a sudden and immense flood of water which
scoured the whole of a little valley of the
tilled soil, vineyards and houses, and did
the greatest mischief, wherever it overflowed.
C. A. 86 6; 250,$]
1059.
Riuiera d' Arua presso a Ginevra ; 2 J/4 di
miglio in Sauoia , doue si fa la fiera 3 in
San Giovanni nel uillaggio di san Gervagio.
The river Arve, a quarter of a mile from
Geneva in Savoy, where the fair is held on
midsummerday in the village 'of Saint Gervais.
1056. Alesandria . . illonbardia. 2. mista . . il quale.
1057. Lines i, 3 — 13 R. i. monbracho . . saluzo, 2. a pie . . uiso. 4. biacha. 5. carra"ra"sa. 6. machvle . . dure. 7. obpiu.
8. delle quali. 9. maesstro benedec. n. messo con darmene.
1058. i. nasca. 2. essubito . . Ecquesto acade nvna . . bosci profondorono ellasciorono. 3. baladro . . circha . . spiagga.
4. tere . . effece. 5. ovunche.
1059. 2' miglo. 3. batte in san govanni . . uilago . . cervagio.
1057. Saluzzo at the foot of the Alps South of
Turin.
9. 10. Maestro Benedetto scultore; probably some
native of Northern Italy acquainted with the place here
described. Hardly the Florentine sculptor Benedetto
da Majano. Amoretti had published this passage,
and M. Ravaisson who .gave a French translation
of it in the Gazette des Beaux Arts (1881, pag. 528),
remarks as follows : Le maitre sculpteur que Leonard
appelle son "comparf ne serait-il pas Benedetto da
Majano, un de ceux qui jugerent avec lui de la place a
donner au David de Michel-Ange, et de qui le Louvre a
acquis recemment un buste d'apres Philippe Strozzi?
To this it may be objected that Benedetto da
Majano had already lain in his grave fourteen
years, in the year 1511, when he is supposed to
have given the promise to Leonardo. The colours
may have been given to the sculptor Benedetto and
the stone may have been in payment for them.
From the description of the stone here given we
may conclude that it is repeated from hearsay of
the. sculptor's account of it. I do not understand
how, from this observation, it is possible to conclude
that Leonardo was on the spot.
1059. An indistinct sketch is to be seen by
the text.
246
TOPOGRAPHICAL NOTES.
[I060—I062.
L«c.
io6o.
E questo vedra come vid'io, chi adra
so pra Moboso, giogo delPAlpi che diuidono
la Francia dalla Italia, la qual montagnia
a la sua basa che parturisce 'li 4 fiumi
che riga per 4 aspetti contnri tutta 1' Europa,
e nessuna montagnia a le sue base in si-
mile ahtezza ; questa si leua in tanta altura
che quasi passa tutti li nuvoli e rare volte
vi cade neve, ma sol gradisne d'istate
quando li nvvoli sono nella maggiore al-
tezza, e questa grandine vi si coserua in
modo, che se no 6fusse la reth. del caderui
c del montarui nvuoli, che non accade 2
volte in vna eta, egli ui sarebbe altissima
quatita di ghiaccio inalzato dali gradi della
gradine, il qua?le di mezzo luglio vi trouai
grossissimo -, e vidi 1' aria sopra di me tene-
brosa e '1 sole che percotea la mota8gnia
essere piv luminoso quiui assai che nelle
basse pianure, perche minor grossezza d' aria
s'interpone in'Tra la cima d'esso monte
e '1 sole.
And this may be seen, as I saw it, by
any one going up [5] Monbroso, a peak of
the Alps which divide France from Italy.
The base of this mountain gives birth to the
4 rivers which flow in four different directions
through the whole of Europe. And no
mountain has its base at so great a height
as this, which lifts itself above almost all the
clouds; and snow seldom falls there, but
only hail in the summer, when the clouds
are highest. And this hail lies [unmeltedj
there, so that if it were not for the absorp-
tion of the rising and falling clouds, which
does not happen more than twice in an age, an
enormous mass of ice would be piled up there
by the layers of hail, and in the middle of July
I found it very considerable; and I saw the
sky above me quite dark, and the sun as it
fell on the mountain was far brighter here
than in the plains below, because a smaller
extent of atmosphere lay between the summit
of the mountain and the sun.
Leic.
1061.
Truovasi nelle montagnie di Verona la
sua pietra rossa mista tutta di nichi con-
vertiti 2in essa pietra •, dalli quali, per la
loro bocca, era gommata la materia d'essa
pietra, ed erano in alcuna parte restati
separati dalPaltra massa del sasso che
li circundava; perche la scorza del nichio
s'era interposta, e no li auea -Uasciati
congiugniere; E in alcun altra parte tal
gomma auea petrificate le invecchiate e
quasi la scorza.
In the mountains of Verona the red marble
is found all mixed with cockle shells turned
into stone; some of them have been filled
at the mouth with the cement which is the
substance of the stone; and in some parts
they have remained separate from the mass
of the rock which enclosed them, because
the outer covering of the shell had inter-
posed and had not allowed them to unite
with it; while in other places this cement had
petrified those which were old and almost strip-
ped the outer skin.
C. A. 231*; 6960]
Ponte di Goritia 2Vilpago.
1062.
Bridge of Goertz— Wilbach (?).
1060. i. ecqiicsto. a. gogo . . diuitano la franca . . alia . . parturissce. 3. alle. 4. nvuoli . . chade. 5. magorc . . ecquesta
. . Imodo chesse. 6. fussi "la reta del caderui e del montarui nvuoli" che non achade [del sj . . eta e. 7. mezo . .
grossimo . . tenenebrosa ellsole. 8. luminosi . . grosseza.
1061. 2. delli . . era gornata . . edera. 3. masa . . chelli circhundava . . lasscorza. 4. lassciati congugniere . . goma . . pe-
trilicata le invegiate e quasi scorzo.
1062. vilpagho.
1060. I have vainly enquired of every available
authority for a solution of the mystery as to what
mountain is intended by the name Mom boso (Comp.
Vol. I Nos. 300 and 301). It seems most obvious
to refer it to Monte Rosa. Rosa is derived from the
Keltic ros which survives in Breton and in Gaelic,
meaning, in its first sense, a mountain spur, but which
also — like Horn — means a very high peak ; thus
Monte Rosa would 'mean" literally the High Peak.
6. in una eta. This is perhaps a slip of the pen
on Leonardo's part and should be read estate (summer).
1062. There is a slight sketch with this text,
Leonardo seems to have intended to suggest, with
a few pen-strokes, the course of the Isonzo and
of the Wipbach in the vicinity of Gorizia (Goerz).
He himself says in another place that he had been
in Friuli (see No. 1077 1. 19).
1063 — 1065.]
ITALY.
247
Leic.
1063.
il Reno a tramo-
Danoia a greco,
Invmerabili fiumi
Quella parte della terra s'e piv alienata
dal centre 2 del modo, la qual s' e fatta piv
lieve-;E quella parte della terra s'e fatta
piv lieve, per la quale ^e passato maggior
concorso • d' acque, E si e aduque fatta piv
lieue quella parte, donde scoria piv numero
di fiumi, come 1' alpi, che diuidono la Magnia
e la Francia dalla Italia, delle quali sescie
il Rodano a mezzodl, e
tana •, jl Danubio over
e '1 Po a Ieua6te con
che con loro s'accopagnano, i quali senpre
corrono torbidi, dalla terra ^ da loro portata,
al mare;
Mouosi al continvo i liti marittimi inverse
il mezzo del mare e lo 8scaccia dal suo
primo sito; Riseruerassi la piv bassa parte
del Mediterrano per letto e cor^so del Nilo,
fiume massimo, che versa in esso mare, E
con lui s' accompagnieranno tutti li fiumi sua
I0adereti, che prima in esso mare le loro
acque versar soleano, come far si uede al
Po colli adereti "sua, li quali prima ver-
saua nel mare • che infra 1' Appennino e le
Germaniche alpi si era vnito I2col Mare
Adriatico ;
Come le alpi galliche son la piv alta
parte delP Evropa.
runs
(1063—1068).
That part of the earth which was lightest The APPC
remained farthest from the centre of the
world; and that part of the earth became
the lightest over which the greatest quantity
of water flowed. And therefore that part
became lightest where the greatest number
of rivers flow; like the Alps which divide
Germany and France from Italy; whence
issue the Rhone flowing Southwards, and
the Rhine to the North. The Danube or Ta-
noia towards the North East, and the Po to
the East, with innumerable rivers which join
them, and which always run turbid with the
soil carried by them to the sea.
The shores of the sea are constantly
moving towards the middle of the sea and
displace it from its original position. The
lowest portion of the Mediterranean will be
reserved for the bed and current of the Nile,
the largest river that flows into that sea.
And with it are grouped all its tribu-
taries, which at first fell into the sea; as may
be seen with the Po and its tributaries, which
first fell into that sea, which between the
Appenines and the German Alps was united
to the Adriatic sea.
That the Gallic Alps are the highest part
of Europe.
E.
1064.
E di questi 6 ri2trovato nelli 3 sassi del-
P alto * Appenino e
della Verona.
5massime nel 6sasso
And of these I found some in the rocks
of the high Appenines and mostly at the
rock of La Vernia.
E. 80 a]
A Parma alia
tebre 1514.
1065.
Capana a dl 25 ^di set-
At Parma , at (La Campana'
twenty-fifth of October 1514.
on the
1063. 2. lequella . . seffatta. 3. magor choncorso . . Essi aduque. 4. diuidano . . ella franca . . della qual. 5. attramotana
. . danubbio . . tanoia a grecho . . alleu. 6. chon . . cholloro sacopagniano . . corra. 7. dallo portata . . movasi . .
mezo . . ello. 8. scacca del . . mediterano. 9. ineso . . sachonpagniera. 10. solano . . colli adere. n. apenino
elle . '. serava. 12. chol . . adriaticho . . le alpe le . . pivolta.
1064. i. quessti. 2. trovati. 7. nia.
1064. 6. Sasso della Vernia. The frowning rock
between the sources of the Arno and the Tiber, as
Dante describes this mountain, which is 1269 metres
in height.
This note is written by the side of that given
as No. 1020; but their connection does not make
it clear what Leonardo's purpose was in writing it.
1065. 2. Capana, an Inn.
A note on the petrifactions, or fossils near Parma
will be found under No. 989.
248
TOPOGRAPHICAL NOTES.
[I066—I068.
C. A. IJ7«S 4'4«)
Modo di seccare il padule 2di Pion-
bino.
1066.
A method for drying the marsh of
Piombino.
K.I ta\
1067.
Fanno li pastori 2in quel di Roma^gnia
nelle radici < dell' Appenino certe sgrancon-
cauita ne6! monte a uso di cor?no e da
parte commeftono vn corno, e qc'uello
piccol corno diI0ueta vn mcdesimo col"la
The shepherds in the Romagna at the
foot of the Apennines make peculiar large
cavities in the mountains in the form of
a horn, and on one side they fasten a horn.
This little horn becomes one and the same
gia fatta concauita, 6I2de fa gradissimo with the said cavity and thus they produce
suono.
by blowing into it a very loud noise.
Leic. 31 f>\
1068.
Vedesi vna vena surgere in Sicilia, la
'quale a certi tenpi dell' anno versa foglie
di castagno in moltitudine, e in Sicilia no
na^scono castagnie, e aduque necessario
che tal uena esca d'alcu pelago dell' Italia
e va«da poi sotto il mare e sbocchi poi in
Sicilia.
A spring may be seen to rise in Sicily
which at certain times of the year throws
out chesnut leaves in quantities; but in
Sicily chesnuts do not grow, hence it is
evident that that s'pring must issue from some
abyss in Italy and then flow beneath the sea
to break forth in Sicily.
1066. i. sechare.
1067. 3. radice. 4. apenino. 5. chonchauita. 7. pare come. 8. tano vn chorno ecq. 9. pichol. 10. chol. n. ga. 12. sono.
1068. i. cicilia. 2. accerti . . ano. 3. chasstagno . . moltitudile 3. scie chastagnie . . chettal esscha dalchu pellagho.
4. dia poi essbochi . . cicilia.
1066. There is a slight sketch with this text
in the original. — Piombino is also mentioned in
Nos. 609, 1. 55—58 (compare PI. XXXV, 3, below).
Also in No. 1035.
1067. As to the Romagna see also No. 1046.
1046. The chesnut tree is very common in Si-
cily. In writing cicilia Leonardo meant perhaps
Cilicia.
-
'in r<f^f- f, W/
Si ,2g*-
'2+^1^ r-* ~ r*^» 'I flfc-~ ~, —Twr^/T" 7 T < fr<
.jY^iMgL -*'
-~- ?*t&'?i7^ r^'Ljr v •
^r^^^^Cv
te^
S^"
otg^r^'i
:^^3
r :4j^Bp&
1^5
$®W$^
ft
m
PI. . CXIY.
• -
II.
FRANCE.
C. A. 353^; nosJ]
ALEMAGNIA.
2 a. Austria,
3b. Sassonia,
4 c. Norimberga,
. Fiandra;
1069.
FRANCIA.
a. Picardia,
b. Normandia,
c. Delfmato;
d.
SPAGNIA.
7 a. Biscaglia,
8b. Castiglia,
9 c. Galitia,
10 d. Portogallo,
"e. Tarragona,
I2f. Granada.
GERMANY.
a. Austria.
b. Saxony.
c. Nuremberg.
d. Flanders.
FRANCE.
a. Picardy.
b. Normandy.
c. Dauphine.
SPAIN.
a. Biscay.
b. Castille.
c. Galicia.
d. Portugal.
e. Taragona.
f. Granada.
C. A. 358,*; 1124^]
IO7O.
Perpigniana ;
2Roana,
3 Lione,
4 Parigi,
5 Guato,
6Brugia,
7 Olanda.
Perpignan.
Roanne.
Lyons.
Paris.
Ghent.
Bruges.
Holland.
1069. In the original the three columns are parallel. i. alamania franca — spognia. 4. nolinberg — dalfinato. 5. flandra.
7. bisscaglia. 8. casstiglia. n. taragona. 12. granata.
1070. 3. lione.
1069. Two slightly sketched maps, one of Europe (Rodumna) on the upper Loire, Lyonnais (Dep. du
the other of Spain, are at the side of these notes. Loire). This town is now unimportant, but in
1070. Roana does not seem to mean here Leonardo's time was still a place of some conse-
Rouen in Normandy , but is probably Roanne quence.
VOL. II. I I
250
TOPOGRAPHICAL NOTES.
— 1073.
Leic.
IO7I
Come in Bordea presso a Guascognia
alza il mare circa a 40 braccia pel suo
reflus'so, e '1 suo fiume ringorga 1'acque
salze piv di cento cinquata miglia, e li
nauili, che ^si debbono calafatare, restano
At Bordeaux in Gascony the sea rises
about 40 braccia before its ebb, and the
river there is filled with salt water for more
than a hundred and fifty miles; and the
vessels which are repaired there rest high
alti sopra vn alto collo sopra dello abassato and dry on a high hill above the sea at
mare.
low tide.
Leic.
1072.
El Rodano esce dal lago di Ginevra e
corre prima 2a ponente, e poi a mezzodl,
con corso di 400 miglia, e versa le sue
acque nel mare mediterrano.
The Rhone issues from the lake of
Geneva and flows first to the West and then
to the South, with a course of 400 miles
and pours its waters into the Mediterranean.
K.3 too]
c ^/giardino di Bles ;
2 a b £ il codotto di
Bles, fatto I spracia
da Fra Giocodo, b c
& il 4 macameto dell' al-
tezza di tal cdsdotto,
c d e 1'altezza del
giar6dino di Bles , e f
i la caduta ?della ci~
cognola, b c, e /, / g
8e dove tal cicognola
versa nel 9 fiume.
d
1073.
e c
c d is the garden at
Blois; a b is the con-
duit of Blois ,. made in
France by Fra Giocon-
do, b c is what is want-
ing in the height of
that conduit, c </is the
height of the garden at
Blois, <r/isthe siphon
of the conduit, b c , e
fy f S i§j where the si-
phon discharges into the
river.
1071. i. guasscogna . . circha a 40 br . . refru. 2. elli. 3. deano . . chollo.
1073. i. essce del lagho. 2. mezodi . . mediterano.
1071. 2. This is obviously an exaggeration
founded on inaccurate information. Half of 150
miles would be nearer the mark.
1073. The tenor of this note (see lines 2 and 3)
seems to me to indicate that this passage was not
written in France, but was written from oral infor-
mation. We have no evidence as to when this
note may have been written beyond the circumstance
that Fra Giocondo the Veronese Architect left France
not before the year 1505. The greater part of the
magnificent Chateau of Blois has now disappeared.
Whether this note was made for a special purpose is
uncertain. The original form and extent of the
Chateau is shown in Androvet , Les plus excellent!
Bastimtnts de France, Paris MDCVII, and it may be
observed that there is in the middle of the
garden a Pavilion somewhat similar to that shown
on PL LXXXVIII No. 7.
See S. DE LA SAUSSAYE, Histoire du Chateau de Blois
edition Blois et Paris p. 175: En mariant sa
fille ainee a Frangois, comte d'Angouleme, Louis XII lui
avail constitut en dot les comtes de Blois, d'Asti, de Couey,
de Montfort, d'Etampes et de Vertus. Une ordonnance
de Francois I. lui laissa en 1516 I 'administration du
comte de Blois.
Le roi Jit commeticer, dans la meme annee, les travaux
de celte belle partie du chateau, conmte sous le nom
d'aile de Francois /, et dont nous avons donnl la
description au commencement de ce livre. Nous trouvons
en effet, dans les archives du Baron de Joursanvault,
une puce qui en fixe parfaitement la date. On y lit:
"Je, Baymon Philippeaux, commis par le Roy a tenir le
compte et fair le payement des bastiments, ediffices et
reparacions qne le dit seigneur fait fair e en son chastu
de Blois, confesse avoir eu et re(eu . . . la somme de
trots mille livres tournois .... le cinquieme jour de
juillel, Fan mil ring cent et seize. P. 24: Les jar dim
avaient ete decorls avec beaucoup de luxe par les different!
possesseurs du chateau. II ne reste de tous les batimenb
y eleverent que ceux des officiers cfiargis de Cad-
* .<*
S.S"o
PL CXV
*if^iA '<
pfrwp^. kffff,*!
*"*/fil «fAAhi/i!W
*T ^
: v
!Ju;ai-dm
Imp Eudo
10/4- I075-]
FRANCE.
251
Br. M. 269^]
1074.
Loira fiume 2d'Ambosa.
3 II fiume e piu 4 alto dentro a!5l'argine
b d che 6fuori d'essa ar7gine;
8Isola dove e ^vna parte I0d'An-
buosa.
11 II fiume Loira che passa per Anbosa
passa per a b, c d, e poiche e passato il
pote, I2ritorna contro al suo avenimento
per il canale d e, b f in contatto dell'argine
'•5 che si interpone infra li due moti con-
trari del predetto fiume a b, c d, d e, b f;
T4 di poi si riuolta in giii per il canale f /,
g h, n m, e si ricongiugnie col fiume dode
I5prima si diuise, che passa per k n, che
fa k m, r t; ma quado il fiume e l6grosso,
allora elli corre tutto per uno solo verso,
passado 1'argine b d.
The river Loire at Amboise.
The river is higher within the bank b d
than outside that bank.
The island where there is a part of
Amboise.
This is the river that passes through
Amboise ; it passes at a b c d, and when it
has passed the bridge it turns back, against
the original current, by the channel d e, b f
in contact with the bank which lies between
the two contrary • currents of the said river,
a b, c d, and d e, b f. It then turns down
again by the channel f I, g h, n m, and
reunites with the river from which it was at first
separated, which passes by k n, which makes
k m, r t. But when the river is very full it flows
all in one channel passing over the bank b d.
Br. M. 269 <$]
1075-
L'acque sieno rin2gorgatesopra 3il termine
di Ro^morontino in tasta altezza, ch'elle 6fac-
cino poi nel 7loro discieso molHe molina;
The water may be dammed up above
the level of Romorantin to such a height, that
in its fall it may be used for numerous mills.
1073. i. gardino. 4. alteza. 5. ellalteza del gar. 6. ella.
1074. i. Loera. 2. da[n]bosa. 3. gocodo. 3. eppiu. 8. fiume era che. 13. chessi . . infralli . . controri . . predecto. 14. ess
richongiugnie. 15. diuise [eppa] che . . cheffa.
1075. i. Lacqua sia rio. 2. ghorghata. 5. alteza. 7. : uo disscieso. 9. uilla, 10. francha. n. docto a romolo. 12. del
ministration et de ta culture des jar dins, et un pavilion
carre en pierre et en brique fianque de terr asses a chacun
de ses angles. Quoique defigure par des mesures clevees
sur les terrasses , cet edifice est tres-digne d'interet par
Poriginalile du plan, la decoration architectural et le
souvenir d'Anne de Bretagne qui le fit construire. Feli-
bien describes the garden as follows : Le jardin Jiaut
etait fort bien dresse par grands compartimens de toutes
sortes de figures, avec des allees de meuriers blancs et
des palissades de coudriers. Deux grands berceaux de
charpenterie separoient toute la longueur et la largeur du
jardin, et dans les quatres angles des allees, ou ces
berceaux se croissent, il y auoit 4 cabinets, de mesme
charpentene ... II y a pas longtemps qrfil y auoit dans
ce mesme jardin , a Fendroit ou se croissent les allees du
milieu, un edifice de figure octogone, de plus de 7 thoises
de diametre et de plus de neuf thoises de haut; avec 4
enfoncements en form? de niches dans les 4 angles des
allees. Ce bastiment .... estoit de charpente mais d'un
extraordinairement bien travaille. On y voyait parti-
culierement la cordiliere qui regnait tout autour en forme
de cordon. Car la Reyne affectait de la mettre non-
seulement a ses armes et a ses chiffres mais de la faire
representer en divers manures dans tous les ouvrages
qifon lui faisait pour elle . . . le bastiment estait convert
en forme de dome qui dans son milieu avait encore un
plus petit dome, ou lanterne vitree au-dessus de laquelle
estait une figure doree representant Saint Michel. Les
deux domes estoient proprement couvert d'ardoise et de
plomb dore par dehors; par dedans Us estoient lambrissez
d'une menuiserie tres delicate. Au milieu de ce Salon il
y avait un grand bassin octogone de marbre blanc, dont
toutes les faces estoient enrichies de differentes sculptures,
avec les armes et les chiffres du Roy Louis XII et de la
Reine Anne. Dans ce bassin il y en avait un autre
pose sur un piedestal lequel auoit sept piedz de diametre.
II estait de figure ronde a godrons , avec des masques et
(fai{tres ornements tres sgauamment taillez. Du milieu
de ce deuxiesme bassin s'y levoit un autre petit piedestal
qui portait un troisiesme bassin de trois pieds de diametre,
aussy parfaitement bien faille; c1 estoit de ce dernier bassin
que jallissoit Veau qui se rependoit en suitte dans les
deux autres bassins. Les beaux ouvrages fails d^im
marbre esgalement blanc et poli, furent brisez par la
pesanteur de tout F edifice, que les injures de Pair renver-
serent de fond en comble.
1074. See PI. CXV. Lines I — 7 are above, lines
8 — 10 in the middle of the large island and the
word Isola is written above d in the smaller island;
a is written on the margin on the bank of the river
above 1. I ; in the reproduction it is not visible.
As may be seen from the last sentence, the obser-
vation was made after long study of the river's
course, when Leonardo had resided for some time
at, or near, Amboise.
252
TOPOGRAPHICAL NOTES.
[1076. I07J
9 II fiume di VillaI0franca sia co^dotto
a Romor612tino, e sia fatto dal suo '3po-
polo, e li legni^ami, che conpo'Sgono le
lor case, l6sie per barche co'Motte a Ro-
morol8tino; e '1 fiume ^sia ringorga20to in
tata altez2Iza, che 1'acqua "si possa co
co^modo discie24so riduciere 2Sa Romo-
rotino.
The river at Ville Tranche may be con-
ducted to Romorantin which may be done by
the inhabitants; and the timber of which
their houses are built may be carried in
boats to Romorantin [ 1 8]. The river may
be dammed up at such a height that the
waters may be brought back to Romorantin
with a convenient fall.
Br. M.
1076.
S'elli e meglio che 1'acqua 2vada tutta
in alto in una so^la volta, o veramete
in due?
«Rispodesi che in vna sola volsta la
rota no potreb6be sostenere tutta 1'acqua
7ch'ella leua in due volte, per8che. nella
mezza volta della 9 rota leverebbe 100 libbre,
I0e no piu, e s'ell' auesse a leua"re le
200 libbre la uolta inteI2re, non le leverebbe,
se I3tal rota no raddoppiasse il diaI4metro,
e raddoppiando tal 'Sdiametro raddoppie-
rebl6be il tenpo; aduque e meglio J7e piu
comodita di spesa a fare l8tal rota sub
2a che 2 la ecc.
'9 II descieso del mozzo non s'ab-
20bassa insino alia pelle dell'acqua, 2Iper-
che toccado 1'acqua diminuireb22be il
peso suo.
23 E se per 1'aversario 24 s' ingrossasse il
2sfugatore dell'ac26qua dieci tan2?ti piu,
che la 28canna dell'29acqua fuggie"3°te d'essi,
se li 31 dieci tanti 32men moto 33 che a que-
sto, 34 che vfitio sareb^be il suo? Ri36spo-
desi per la 37o,a di questo 3«che dice, che
1'acqua 39S'alzerebbe *°la decima parte di
quel che prima s'alzava *T nell'altezza di
quella canna donde prima sur42gieua.
As to whether it is better that the water
should all be raised in a single turn or
in two?
The answer is that in one single turn the
wheel could not support all the water that it
can raise in two turns, because at the half turn
of the wheel it would be raising 100 pounds
and no more; and if it had to raise the whole,
200 pounds in one turn, it could not raise them
unless the wheel were of double the diameter
and if the diameter were doubled, the time of
its revolution would be doubled; therefore it
is better and a greater advantage in expense
to make such a wheel of half the size (?) &c.
The going down of the nave of the wheel
must not be so low as to touch the surface
of the water, because by touching the water
its momentum will be lessened.
And if on the contrary the conduit
for the water were ten times the size of
the pipe for the water escaping from it,
and if it had ten times less motion, what
would be its office ? This is answered by the
9th of this which says that the water would
rise in the pipe whence it first flow, to a
tenth part of its original height.
Br. M. 270<5]
1077.
Se'l fiume m n, ramo del fiume Loira,
si manda nel 2 fiume di Romorontino colle
sua acque torbide, esso Pgrassera le can-
If the river m n, an affluant of the river
Loire, were turned with its muddy waters, into
the river [of Romorantin, this would fatten
13. elli. 14. conpo. 15. ghano. 17. aremolo. 19. ringhorgha. 21. chellacqua. 23. disscie. 25. romolotino.
107*. i. selli . . chellacq"a". 2. alto nuna. 4. nvna. 6. bono sosstcnere . . lacq"a". 7. chella. 8. meza. 10. essellauessi
allcua. 12. nolle leverebbe [se el] se. 13. raddopiassi. 14. mitro [e in] e. 15. [tempo] diamitro radoppiereb. 17. affare.
19. disscicso . . mozzo nossab. 20. acqu"a". 21. tochado lacqu"a". 23. Esse. 24. singrossassi. 25. fughatore. 27. chella.
28. channa della. 30. te dessi se li. 31. dieci tanta. 32. men moto. 33. che acque sto. 34. che vfitio sareb. 35. be il
suo Ris. 37. quessto. 38. chellacqua. 40. che p"a". 41. channa donde p"a" sue. 42. giena.
1077. i. fiume [era] Era | si. 2. romolontino . . torbite. 3. essesso. 5. eflara chanale navichabile e merchatile. n. Quella.
1075. 1 8. Compare No. 744.
1076. The topographical interest of this passage arises from the circumstance that it is written on
the reverse of the sheet on which we find the text relating to Romorantin, No. 1074.
1078.]
FRANCE.
253
pagnie sopra le quali esso adaque4ra, e
redera il paese fertile da nutrire li aSbi-
tatori, e fara "canale navicabile e mer-
catile.
6Modo che'l fiume 7col suo corso 8netti
il fondo del 9 fiume.
IOPer la nona
del 3°; T 'Quello
ch'e piu veloI2cie,
piu cosuma il ^suo
fondo, e per la co-
^versa : 1'acqua ch' e
piu jstarda piv la-
scia l6di quel che
la intorbi^da;
18 E facciasi il serraglio mobile, che io
orJ9dinai nel Friuli, del quale, aperto vna
caterat20ta, 1'acqua che di quella vsciva
cavo il fondo; 2Iaddunque nelli diluui de'
fiumi si debbono aprire le cate22ratte de'mo-
lini, accioche tutto il corso del fiume si
renda per ca23teratta in ciascu molino; sieno
molte, accioche 24si faccia mag-
giore Ipeto, e cosl nettera tutto il fiume;
2Se infra le due poste de' moli26ni sia vna
delle dette caterat27te; sia vna d'esse poste
di tal cate28ratte infra 1'uno e Pal29tro
molino.
the land which it would water and would
render the country fertile to supply food
to the inhabitants, and would make navi-
gable canals for mercantile purposes.
The way in which the river in its flow
should scour its own channel.
By the ninth of the
third; the more rapid
it is, the more it wears
away its channel; and,
by the converse pro-
position, the slower
the water the more
it deposits that which
renders it turbid.
And let the sluice be movable like the one
I arranged in Friuli [i 9], where when one sluice
was opened the water which passed through
it dug out the bottom. Therefore when the
rivers are flooded, the sluices of the mills
ought to be opened in order that the whole
course of the river may pass through falls
to each mill; there should be many in order
to give a greater impetus, and so all the
river will be scoured. And below the site
of each of the two mills there may be one
of the said sluice falls; one of them may be
placed below each mill.
C. A. 329 6; 993 a]
1078.
Vno trabocco e quattro braccia e vno
miglio e tre mila d' esse braccia ; E '1 brac-
cio si diuide in 12 ocie; 2e 1'acqua de'ca-
nali a di calo in ogni ceto trabocchi 2 delle
dette oncie; aduque 14 oncie $di calo son
neciessarie a due mila ottoceto braccia di
moto ne'detti canali; seguita che 15 oncie
*di calo danno debito moto alii corsi del-
1'acque dei predetti canali, cioe uno braccio
e T/2 s per miglio ; E per questo cocluderemo
che 1'acqua che si toglie dal fiume di Villa
A trabocco is four braccia, and one mile
is three thousand of the said braccia. Each
braccio is divided into 12 inches; and the
water in the canals has a fall in every
hundred trabocchi of two of these inches;
therefore 14 inches of fall are necessary in
two thousand eight hundred braccia of
flow in these canals; it follows that 15
inches of fall give the required momentum
to the currents of the waters in the said
canals, that is one braccio and a half in the
mile. And from this it may be concluded
that the water taken from the river of Ville-
14. cheppiu. 15. lasscia. 16. chella. Lines 6—17 are written in the margin. 18. effaciasi. 19. nel frigholi del. 20. lacq-
"a"che . . vssciva cav"o". 21. si debbe apr \\\\\\\\\\\\\ . 22. ratte demolini . . del fiume si \\\\\\\\\\\\\\\ . 23. ciasscu . . .
accioche \\\\\\\\\\\\\ . 24. sapra effacci magiore . . tutto if \\\\\\\\\\\\ . 25. infralle . . posste. 27. posste. 28. rate molini in-
fralluna ellal. Lines 25 — 29 stand in the original above line 18.
1078. i. traboccho. 2. br. e I . . El br. [s] si . . ocie\\\\\\. 2. ellacqua . . addi chalo . . trabochi . . 14 o di. 3. di chalo . .
adumila . . br. di moto [de de] ne . . 15 o di. 4. di chalo . . corsi [de detti o] dell . . de . . cioe i br. 5. quessto
1077. 19. This passage reveals to us the fact that
Leonardo had visited the country of Friuli and that
he had stayed there for some time. Nothing
whatever was known of this previously.
254
TOPOGRAPHICAL NOTES
I079-]
FPANCE.
255
Franca e si 6presta al fiume di Romoron-
tino vuole . . . Dove Pu fiume mediante la
sua bassezza no ?puo entrare nell'altro, e
neciessario ringorgarlo in tale altezza che
possa disciedere 8in quel che prima era
piv alto.
91JVigilia di Sco AntoI0nio tornai da
Romo^rotino in Abuosa, If I2e '1 re si parti
due I3dl innanti da Romoro^tino.
TsDa Romorontino insino al l6pote a
Sodro | si chiama Soudro; ^e da esso pote
insino a Tours l8si chiama Schier.
T9parai saggio del 20liuello di quel ca-
21 nale che si a a codur22re dalla Loira a
Romo23lontino con vn ca24nale largo vn
braccio e 25profondo vn braccio.
franche and lent to the river of Romorantin
will Where one river by reason of its
low level cannot flow into the other, it will
be necessary to dam it up, so that it may
acquire a fall into the other, which was
previously the higher.
The eve of Saint Antony I returned from
Romorantin to Amboise, and the King went
away two days before from Romorantin.
From Romorantin as far as the bridge at
Saudre it is called the Saudre, and from that
bridge as far as Tours it is called the Cher.
I would test the level of that channel
which is to lead from the Loire to Romo-
rantin, with a channel one braccio wide and
one braccio deep.
Br. M. 263 1]
1079.
STRADA D' ORLEANS.
2 Alia quarta di mezzodl verso scirocco ;
3 alia terza di mezzodl verso scirocco;
4 alia quarta di mezzodl verso scirocco;
5 alia quinta di mezzodi verso scirocco;
6Tra libeccio e mezzodl; ?a leuante par-
ticipando di mezzodl; 8tra mezzo giorno
verso leuante J/85 9Da. poi verso ponente;
I0tra mezzodl e libeccio; JIa mezzodl.
THE ROAD TO ORLEANS.
At T/4 from the South to the South East.
At */3 from the South to the South East.
At T/4 from the South to the South East.
At x/s from the South to the South East.
Between the South West and South, to the East
bearing to the South; from the South towards
the East -J/8 ; thence to the West, between the
South and South West; at the South.
cocludereno chellacqua chessi . . francha essi. 6. pressta . . remolontino vole .... mediante [la ba] la sua.
7. ringhorgharlo . . alteza . . dissciedere \\\\\\\ . 12. el re [di fran] si. 13. innanti . Lines 15—18 are written
from left to right. 15. Romorantino. 17. [po] e da. 20. cha. 21. chessa a chodur. 22. rre dalliraa remo. 23. cha.
24. largho vn br. 25. vn br.
1079. written from left to right: i. dorleons. 2. de mezo syroccho. 3. de mezo . . syroccho. 4. mezo . . syrocco. 5. mezo
. . syrocco. 6. lybeccio e mezodi. 6. mezo. 7. mezo. 8. ponte. 9. mezo . . lybeccio. 10. mezo.
1078. Lines 6 — 18 are partly reproduced in the
facsimile on p. 254, and the whole of lines 19 — 25.
The following names are written along the rivers
on the larger sketch, era f (the Loire) scier f (the
Cher) three times. Pote Sodro (bridge of the Soudre).
Villa francha (Villefranche) banco (sandbank) Sodro
(Soudre). The circle below shows the position of
Romorantin. The words 'orologio del sole1 written
below do not belong to the map of the rivers.
The following names are written by the side of the
smaller sketch-map: — tors (Tours), jfbosa (Amboise)
bres — for Bles (Blois) mo rica \\\\ (Montrichard). Lione
(Lyons). This map was also published in the
'Saggio' (Milano, 1872) PI. XXII, and the editors
remark : Forse la linia retla che va da Amboise a
Romorantin segna Fandamento proposto d'tm Canale, che
poi sembra prolutigarsi in giu fin dove sta scritto Lione,
M. Ravaisson has enlarged on this idea in the
Gazette des Beaux Arts (1881 p. 530): Les-traces de
Leonard permettent d'entrevoir que le canal commengant
soit aiipres de Tours, soit aiipres de Blois et passant par
Romorantin, avec port d'embarquement a Villefranche,
devait, au dela de Bourges, traverser I'Allier au-dessous
des affluents de la Dore et de la Sioule, aller par
Moulins jusfu' a Digoin; enfin , sur Pautre rive de la
Loire, depasser les monts du Charolais et rejoindre la
Saone aupres de Mdcon. It seems to me rash, however,
to found so elaborate an hypothesis on these sket-
ches of rivers. The slight stroke going to Lione is
perhaps only an indication of the direction. — With
regard to the Loire compare also No. 988. 1. 38.
1079. The meaning is obscure; a more important
passage referring to France is to be found under
No. 744.
TOPOGRAPHICAL NOTES.
[1080 — 1082.
B.
I080.
Modo come i Tedeschi ingarbugliano
on the e tessano, seradosi Isieme, 2le loro targhe
lunghe cotro a nemici • , abassandosi e
mettedo 3 vna delle teste a terra, tenedo il
resto • in mano.
The way in which the Germans closing up
together cross and interweave their broad
leather shields against the enemy, stooping
down and putting one of the ends on the
ground while they hold the rest in their hand.
B. 63 J]
1081.
Vsano i Germani • annegare • castellani co
fumo di pivma, solfo 2e risagallo-, e fanno
durare detti fumi 7 e 8 ore; acora la
3pula del frumeto fa assai e durabil fumo;
e letame secco ancor lui , 4 ma fa sia
mischiato colla sasa, cioe vliue tratte nel'
olio, o vuoi morchia sd'olio.
The Germans are wont to annoy a garrison
with the smoke of feathers, sulphur and realgar,
and they make this smoke last 7 or 8 hours.
Likewise the husks of wheat make a great
and lasting smoke; and also dry dung; but
this must be mixed with olive husks, that is
olives pressed for oil and from which the oil
has been extracted.
Leic.
1082.
The
Danube.
Come le ualli furo gia coperte in gra parte
da laghi, inperoch£ senpre il suo terreno fece
argine a fiumi, e da mari, i quali poi colla
perseueratione de' fiumi 2segarono li monti, e
li fiumi coi lor vagabundi corsi portarono via
le altre pianvre incluse dalli moti, e le sega-
ture de'mqti so3no note per le falde delle
pietre, che si corrispondono nelle lor taglia-
ture fatte dalli detti corsi de' fiumi; *I1 Monte
Emus che riga la Tratia e la Dardaria e
si congiugne col Monte Sardonius, el quale,
seguendo 5 a ponete, muta il nome di Sardus
in | Rebi nel toccare la Dalmatia, poi se-
guendo a ponete riga li Illirici 6oggi detta
Schiavonia, e mvta nome di | Rebi in | Al-
banus, e seguendo pure a ponete si muta
nel Mote Ocra ? a tramotana, e a mezzodl
sopra all'Istria si nomina | Caruancas e si
congiugne a ponete sopra 1' Italia col Mote
That the valleys were formerly in great
part covered by lakes the soil of which
always forms the banks of rivers, — and by seas,
which afterwards, by the persistent wearing of
the rivers, cut through the mountains and the
wandering courses of the rivers carried away
the other plains enclosed by the mountains;
and the cutting away of the mountains is
evident from the strata in the rocks, which
correspond in their sections as made by the
courses of the rivers [4]. The Haemus moun-
tains which go along Thrace and Dardania
and join the Sardonius mountains which,
going on to the westward change their
name from Sardus to Rebi, as they come near
Dalmatia; then turning to the West cross
Illyria, now called Sclavonia, changing the
name of Rebi to Albanus, and going on
still to the West, they change to Mount Ocra
in the North; and to the South above Istria they
are named Caruancas ; and to the West above
Italy they join the Adula, where the Danube
rises [8], which stretches to the East and has a
1080. 2. chome i tedesci ingarigliano ettessano. 2. large lunge. 3. dele . . attera . . imano.
io3l. i. anegare chastclani. 2. risalgalo efiano. 3. elletame secho. 4. ovoi morcha.
1082. i. laghi "inperche senpre il suo terreno fece argine afiumi" e da mari. 2. segorono . . elli fiumi co . . portorono . .
moti elle. 3. chessi conrisspondano. 4. emus . . tratia ella dardaria essi congvgne . . monte [scardus] Sardonius. 5. nel
cottare la. 6. sciavonia . . ponente [segue] si muta. 7. attramotana e mezodi . . isstria . . essi congugne. 8. nasscie il reno
1080. Above the text is a sketch of a few lines
crossing each other and the words de ponder ibus. The
meaning of the passage is obscure.
1081. There is with this passage a sketch of a
round tower shrouded in smoke.
1082. 4. Emus, the Balkan ; Dardania, now Servia.
1082.]
THE DANUBE.
257
Adula, 8doue nascie il Danubio, il quale
s'astende a leuante con corso di 1500 mi-
glia, e la sua linia breuissima e circa
^mille miglia, e altrettanto o circa e'l ramo
del Monte Adula mutato ne'predetti nomi
di moti; sta a tramonI0tana il monte
Carpatus, il quale termina la larghezza della
valle del Danubio, la qual, come dissi,
s'astende "a leuate co lunghezza di circa
mille miglia, ed e larga doue 200 e doue
300 miglia; questa si mette pel I2 mezzo il
Danvbio, primo fiume d' Europa per magni-
tudine, il qual Danvbio si lascia per mezzo
di *3 Austria e Albania e per tramotana
Bauaria, Polonia, Ungheria, Valachia e
Bosnia; versaua adunque il Danubio | over
Da14noia nel mare di Ponto, il quale
s'astendea insino vicino all' Austria e occu-
paua tutta la pianvra che oggi 'Sdiscorre
esso Danvbio, e'l segno dico ne mostrano
1' ostriche e li nichi e bovoli e cappe e ossa
di gra pesci, che anl6cora in molti lochi si
trouano nell'alte coste de'predetti moti; ed
era tale mare fatto per la ringorgatione
delli ra^mi del Monte Adula, che s'asten-
deano a leuante e si congiugneano colli
rami del Mote Tauro, che s'astendono a
pol8nete, e circa alia Bitinia versaua 1'acque
d'esso Mare di Poto nel Propontico, ca-
dendo nel Mare Egeo cioe '9 Mar Mediter-
rano, doue poi il lungo corso spicco li rami
del Mote Adula dalli rami del Mote Tauro ;
li Mare 20di Poto s'abasso e scoperse la
Val di Danubio colle prenominate provincie,
e tutta TAsia Minore di la dal monte Ta-
2Ivro per tramotana e la pianvra ch'e
da Mote Caucasso al mare di Ponto
per ponete, e la pianura del Ta22nai
dentro alii monti Rifei cioe a' piedi loro;
Ecco che '1 mare di Ponto abbasso circa
a braccia 1000 2-5nello scoprire di tanta
pianura.
course of 1500 miles; its shortest line is
about 1000 miles, and the same or about
the same is that branch of the Adula mountains
changed as to their name, as before mentioned.
To the North are the Carpathians, closing in
the breadth of the valley of the Danube,
which, as I have said extends eastward,
a length of about 1000 miles, and is some-
times 200 and in some places 300 miles
wide; and in the midst flows the Danube,
the principal river of Europe as to size. The
said Danube runs through the middle of
Austria and Albania and northwards through
Bavaria, Poland, Hungary, Wallachia and Bos-
nia and then the Danube or Donau flows
into the Black Sea, which formerly extended
almost to Austria and occupied the plains
through which the Danube now courses; and
the evidence of this is in the oysters and
cockle shells and scollops and bones of
great fishes which are still to be found in
many places on the sides of those mountains;
and this sea was formed by the filling up of
the spurs of the Adula mountains which then
extended to the East joining the spurs of the
Taurus which extend to the West. And
near Bithynia the waters of this Black Sea
poured into the Propontis [Marmora] falling
into the ^Egean Sea, that is the Mediterranean,
where, after a long course, the spurs of the
Adula mountains became separated from
those of the Taurus. The Black Sea
sank lower and laid bare the valley of
the Danube with the above named coun-
tries, and the whole of Asia Minor beyond
the Taurus range to the North, and the
plains from mount Caucasus to the Black Sea
to the West, and the plains of the Don this
side — that is to say, at the foot of the Ural
mountains. And thus the Black Sea must
have sunk about 1000 braccia to uncover
such vast plains.
il quale . . alleuante conchorio . . ella . . circha. 9. circha . . attramon. 10. largeza. n. alleuate co lungeza . .
largha [dalle do] doue. 12. mezo . . danvbbio . . danvbbio si lasscia per mezo. 13. vngeria . . ebboxnia . . danubbio
over da. 14. sasstendea . . ochupaua. 15. disscorre . . losstriche elli . . e bovoli e chappe . . pessci. 17. chessastendeano
alleuante essi congugneano . . taruro chessastendanoal. 18. circha allabettima versaua . . proponticho chadendo . . egeocoe.
19. mediterano . . spicho. 20. esscoperse la ual di danv | "bbio" . . province ettutta . . minore dala dal. 21. ella . . . cha-
vcaso . . ella. 22. coe . . Ecchochel . . circha a br. 1000. 23. isscoprire.
8. Danubio, in the original Reno; evidently a mistake as we may infer from come dissi 1. 10 &c.
KK
III.
THE COUNTRIES OF THE WESTERN END OF THE
MEDITERRANEAN.
A. 57 "1
1083.
IL MARE FA LA CORRETE
NKLLO STRETTO DI SPAGNIA PIV
CH'ALTROVE.
2 1! II fiume • d' equal profon-
dita • avra • tanto • piv • fuga •
nella • minore • larghezza 3Che
nella • maggiore •, quanto • la
maggiore • larghezza • avanza •
la minore;!
i Questa • propositione • si
pruova . chiaramete per ragione
coferma sdalla sperienza-, jn-
peroche, quando • per uno ca-
nale • d'uno miglio • di larghezza
passe6ra uno miglio -di lugh-
ezza d'acqua, dove • il fiume-
fia- largo 5 migli, ciascuno 7de
5 migli quadri mettera Vs •
di se • per ristaurare il mi8glio •
quadro d'acqua macato • nello
pelago, 9e dove il fivme • fia •
larI0go • 3 • miglia -, ciascu"no •
d'essi migli quadri I2 mettera di
se lo terzo ^ di sua quatita per
lo maHcare che fecie il mi'Sglio
quadro dello stretl6to •, come si
dimo^stra -m-f-g-h I8per lo
miglio • n.
WHY THE SEA MAKES A STRONGER
CURRENT IN THE STRAITS OF SPAIN
THAN ELSEWHERE.
A river of equal depth runs
with greater speed in a narrow
space than in a wide one, in
proportion to the difference be-
tween the wider and the narrower
one.
This proposition is clearly
proved by reason confirmed
by experiment. Supposing that
through a channel one mile
wide there flows one mile in
length of water; where the river
is five miles wide each of the
5 square miles will require
Vs of itself to be equal to
the square mile of water re-
quired in the sea, and where
the river is 3 miles wide each
of these square miles will re-
quire the third of its volume
to make up the amount of the
square mile of the narrow part;
as is demonstrated in f g h at
the mile marked n.
1083. *• chorete . . chaltro"ve". 2. ara . . fugha . . largheza. 3. chenella . . quancto . . largheza. 4. [perissperienza] per . .
choferma. 5. dallissperienza . . per 1 chanale. 6. ra i miglio di lugezza dacq"a" . . ciaschuno. 7. ciasscun "de 5"
migli[o] quadr[o] i mettera [per ristaurare il ma] '/» • di se. 8. dacq-a" machato . . pelago A. 9. ^ e dove. 10. gho
. . ciaschu. 14. chare cheffecie. 15. stre. 16. chome. Lines 9—18 are written in the margin.
1083. In the place marked A in the diagram
Mare Medtterano (Mediterranean Sea) is written in
the original. And at B, stretto di Spagna (straits
of Spain, i. e. Gibraltar). Compare No. 960.
1084—1086.]
THE STRAITS OF GIBRALTAR.
259
C. A. 212 b; 6266] 1084.
PERCHE E MAGGIORE SEPRE LA CORRETE DI
SPAGNIA INVERSO PONETE • CHE PER LEUATE.
2 La ragio si e •, che se tu • metterai • in-
sieme-le boche • de'fiumi • che mettono • in
questo • Mare Mediterrano, tu tro^verai •
essere • maggiore • sorha d'acqua • ch'e •
quella • che uersa • esso • mare per lo stretto
in nell'oceano mare; 4tu vedi • 1' Africa sca-
ricare • i sua fiumi • che corrono • a tramo-
tana • inesso mare ifra i quali 5 e • il Nilo -,
che riga • 3000 miglia dell' Africa •, e vi e •
il- flume Bagrada, -e '1 Mavretano, e altri
simili; 61' Euro-pa vi versa il Tanai e '1 Da-
nvbio •, il Po e '1 Rodano, Arno e Teuere,
siche chiaramente questi fivmi insieme co?n
Ifiniti fivmi di minor fama • fanno • mag-
giore • larghezza e profodita • e corso •, e
non e il mare stretto 18 miglia 8che nel
ultima terra di ponete • diuide • 1'Europa
daP Africa.
WHY THE CURRENT OF GIBRALTAR IS ALWAYS
GREATER TO THE WEST THAN TO THE EAST.
The reason is that if you put together
the mouths of the rivers which discharge
into the Mediterranean sea, you would find
the sum of water to be larger than that
which this sea pours through the straits into
the ocean. You see Africa discharging its
rivers that run northwards into this sea, and
among them the Nile which runs through
3000 miles of Africa; there is also the
Bagrada river and the Schelif and others.
Likewise Europe pours into it the Don and
the Danube, the Po, the Rhone, the Arno,
and the Tiber, so that evidently these rivers,
with an infinite number of others of less
fame, make its great breadth and depth and
current; and the sea is not wider than 18
miles at the most westerly point of land where
it divides Europe from Africa.
Leic. 106] 1085.
II 2seno mediterrano come pelago ri-
cevea 1'acque regali del' Africa, Asia ed
Europa, che a esso erano volte, 3e le sue
acque veniano alle piaggie de'monti, che
le circudavano, e 11 faceano argine, e le
time idello Apennino stauano in esso mare
in forma d'isole, circudate dalle acque salse,
Se ancora 1' Africa dentro al suo Mote Ata-
lante non mostraua al celo scoperta la
terra delle sue gra pianvre co circa 6a
3000 miglia di lunghezza, e Mefi risedeua
in sul lito di tal mare, e sopra le pianvre
della Italia, doue oggi ?vola li ucielli a
turme, soleano discorrere i pesci a gradi
squadre.
The gulf of the Mediterranean, as an
inland sea, received the principal waters
of Africa, Asia and Europe that flowed
towards it; and its waters came up to the
foot of the mountains that surrounded it and
made its shores. And the summits of the
Apennines stood up out of this sea like is-
lands, surrounded by salt water. Africa again,
behind its Atlas mountains, did not expose
uncovered to the sky the surface of its
vast plains about 3000 miles in length, and
Memphis [6] was on the shores of this sea,
and above the plains of Italy, where now
birds fly in flocks, fish were wont to wander
in large shoals.
Leic. 27 6] IO86.
Co2me sopra Tunisi e il maggior ri-
flusso che faccia il Mare Mediterrano che
son circa 2 braccia ^e I/2, e a Venezia
cala 2 braccia; e in tutto il resto di tal
Mare Mediterrano cala poco o ni^ente.
The greatest ebb made anywhere by the Tunis.
Mediterranean is above Tunis, being about two
and a half braccia and at Venice it falls two
braccia. In all the rest of the Mediterranean
sea the fall is little or none.
1084. magiore . . chorete . . inver. 2. settu . . mettano. 3. magiore . . dacq"a" . . inell. 4. lafricha scharichare . . chorano
attramotana . . equali. 5. dellafricha . ini . il fiume bagrada. 6. levropia . . siche ciaro . . cho. 7. fano magiore lar-
geza . . chorso . . moglia. 8. nelutimatera . . leeropa . . africha.
1085. i. nel. 2. seno [mediteranol mediterano il quale come pelagho . . regali [di circha 300 fiumi regali] "delafrica asia edeu-
ropa, che acso erano volte". 3. e cholle . . acque veniano ale piagge . . chello . . elli faceano . . elle cime. 4. apennino
[in forma di sole] stauano in eso . . circhudate. 5. lafricha [non mos] dentro . . attalante no mostraua . . celo "scoperta
la terra de" le sue . . circha. 6. lungeza e men . . sulito . . mare "e sopra" le. 7. [disora] vola . . atturme solea . .
pessci a grade.
1086. 2. tuniti . . magor . . refrusso . . mediterano . . circha 2 br. 3. vinegia chala . . meditera . . pocho.
1084. 5. Bagrada (Leonardo writes Bragada) in Tunis, now Medscherda; Mavretano, now Schelif.
1085. 6. M'efi. Leonardo can only mean here the citadel of Cairo on the Mokattam hills.
260
TOPOGRAPHICAL NOTES.
[1087—1089.
F. 6s a]
1087.
Descriui li moti de' flessibili aridi, cioe
u»>y»- della 'creatione dell'onde della rena portate
dal ue^to, e de'sua moti e colli, come
accade nella LHbia; 1'esenplo ne vedrai
sulli gra renaj sdi P° ° di Tesino o altri
gra fiumi.
Describe the mountains of shifting deserts;
that is to say the formation of waves of sand
borne by the wind, and of its mountains and
hills, such as occur in Libya. Examples
may be seen on the wide sands of the Po
and the Ticino, and other large rivers.
B.
io88.
Circufulgore • e vna macchina navale
Majorca, fu invetione di quelli di Majolica.
Circumfulgore is a naval machine. It was
an invention of the men of Majorca.
A»h. II. I2«) !O8g.
Alcuni • nel Mare Tirreno • vsarano questo
The modo, cioe 2appiccauano vn acora a Tuna
yseaene delle stremita dell'atena, ^e dall'altra vna •
corda che I basso s'appiccava a vn acora,
4 e nel pugniare attacavano detta • acora ai
remeggi dell' oSposito navilio, e per forza
d' argano quello madavano alia bada 6 e
gittavano sapon tenero e stoppa Ipeciata
Ifocata sulla 7prima bada dou'era 1' acora
attaccata, accioche, per fugir detto 8foco, i
difenditori d'esso navilio avessino a fugire
da 1' op9posita bada, e faciedo cosi facievano
avmcto • allo spugniaI0tore, perche la galera
piv facilmete per lo cotrapeso "andava
alia bada.
Some at the Tyrrhene sea employ this
method; that is to say they fastened an anchor
to one end of the yard, and to the other a
cord, of which the lower end was fastened to
an anchor; and in battle they flung this anchor
on to the oars of the opponent's boat and by
the use of a capstan drew it to the side;
and threw soft soap and tow, daubed with
pitch and set ablaze, on to that side
where the anchor hung; so that in order
to escape that fire, the defenders of that ship
had to fly to the opposite side; and in doing
this they aided to the attack , because the
galley was more easily drawn to the side
by reason of the counterpoise.
1087 i. desscriui . . fressibili. 3. cholli . . 1088. maccina . . macolica.
1089. i. tircno. 2. apichauano nacora [chorda che ibaso sapienvavacora] "aluna delle slremita dellatena". j. chorda . . sapi-
cava. 4. decta uchora ai remigi. 5. ala. 6. stopa Ipegolata . . sula. 7. boda lacoratachata acio. 8. affugire dallo.
9. effaciedo. 10. galea.
io8S. The machine is fully described in the MS.
and shown in a sketch.
1089. This text is illustrated in the original by
a pen and ink sketch.
IV.
THE LEVANT.
Leic. 31 a]
1090.
Truovasi nelle riue del Mare Mediter-
rano versare fiumi 300, 2 e porti 40 mila 200,
e esso mare e di lunghezza miglia 3000;
Molte volte s'e accozza3to 1' accrescimeto
de'mari del riflusso suo e'l soffiare delli
venti occidental! al diluuio del Nilo, ed alii
fiumi che uersa dal mare di Poto, ed auere
alzato tanto li mari che so s co gradissimi di-
luvi discorsi per molti paesi, • e questi di-
luui accadono nel tenpo, che '1 sole 6 distrugie
le neui delli alti moti d'Etiopia che si le-
uano alia fredda regio dell' aria, e si7mil-
mete fa I'appressameto del sole alii moti
della Sarmatia Asiatica e quella d'Europa,
8 in modo che P accozzameto di queste 3
dette cose sono, e sono state cagione di
gra^dissimi diluui, doe il riflusso del mare,
e li uehti occidentali, e la distrutio delle
nevi; e ogni cosa I0ringorgata nella Siria,
Samaria, la Giudea infra Sinai e il Libano,
e '1 resto della Siria infra "il Libano e Mote
On the shores of the Mediterranean 300 The Lava
rivers flow, and 40, 200 ports. And this sea tine Sea
is 3000 miles long. Many times has the in-
crease of its waters, heaped up by their back-
ward flow and the blowing of the West winds,
caused the overflow of the Nile and of the rivers
which flow out through the Black Sea, and have
so much raised the seas that they have spread
with vast floods over many countries. And
these floods take place at the time when the
sun melts the snows on the high mountains
of Ethiopia that rise up into the cold regions
of the air; and in the same way the approach
of the sun acts on the mountains of Sarmatia
in Asia and on those in Europe; so that the
gathering together of these three things are,
and always have been, the cause of tremendous
floods : that is, the return flow of the sea with
the West wind and the melting of the snows.
So every river will overflow in Syria, in
Samaria, in Judea between Sinai and the
Lebanon, and in the rest of Syria between
the Lebanon and the Taurus mountains, and
in Cilicia, in the Armenian mountains, and
in Pamphilia and in Lycia within the hills,
logo. i. mediterano. 2. porti [5] 40 mila 200 . . langeza . . seacoza. 3. lacresscimeto . . refrusso. 4. del mare . . ponto aveuere.
5. luui disscorsi . . ecquesti . . achagiano. 6. le neue . . chessi . . freda . . essi. 7. lapressameto . . asiaticha ecquella.
8. chellacogamito . . chagione. 9. coe il refrusso . . ocidentali ella. 10. soria someria la gudea . . sinai e e libano . .
soria. u. elibano . . ella cilicia . . motermini ella . . litia dentrali. 12. ellegitto . . attalante . . lagho . . chade.
262
TOPOGRAPHICAL NOTES.
IO92.
Tauro, e la Cilicia dentro alii moti Armeni
e la Pamfilia e Licia dentro alii moticelli
"e 1'Egitto insino al mote Atlante; H seno
di Persia, che gia fu lago gradissimo del
Tigris e cade'^a nel mare d* India, ora a
consumato il mote- che li facea argine, e
si e ragguagliato coll'altezza I+dello Oc-
ceano Indico; E se '1 Mare Mediterrano se-
quiva il moto suo nel se d'Arabia, acor
facieva il simile, 'Scio^ che si ragguagliava
1'altezza Mediterranea colla altezza d'esso
Mare Indico.
and in Egypt as far as the Atlas mountains.
The gulf of Persia which was formerly a
vast lake of the Tigris and discharged into
the Indian Sea, has now worn away the
mountains which formed its banks and laid
them even with the level of the Indian
ocean. And if the Mediterranean had con-
tinued its flow through the gulf of Arabia, it
would have done the same, that is to say,
would have reduced the level of the Medi-
terranean to that of the Indian Sea.
L«ic.
1091.
Verso 1'acqua Mediterrana lungamente
The Red pel Mare Rosso , el quale e 2 largo cento
IOQI^*^). miglia e lungo mille cinque cento; e tutto
pieno di scogli, e a consumato li Ia3ti del
Mote Sinai, la qual cosa testifica, no da
inodatione del Mar d'India, che in tali liti
percuo4tesse, ma da una ruina d'acqua, la
qual portaua con seco tutti li fiumi che
soprabbonsdauano al Mare Mediterrano, e
oltre a questo il riflusso del mare; 6e poi,
essendo tagliato nel ponente, 3 mila miglia
remoto da questo loco, il mote Calpe e
s7piccato dal Mote Abila, e fu tal taglio
fatto bassissimo nelle pianure che si tro-
uaua infr.i Abila 8e 1'oceano a pie del monte
in loco basso, aiutato dal concauameto di
qualche vallata fatta 9 da alcun flume che
quiui passasse; venne Ercole ad aprire il
mare nel poncte, e allora I0l'acque ma-
rine cominciarono a uersare nell'oceano
occidentale, e per la gra. bassezza, il Mare
"Rosso rimase piv alto, onde 1'acque anno
abbandonato il corso di quiui; senpre anno
poi versaI2to 1'acque per lo Stretto di
Spagna.
For a long time the water of the Medi-
terranean flowed out through the Red Sea,
which is 100 miles wide and 1500 long, and
full of reefs ; and it has worn away the sides
of Mount Sinai, a fact which testifies, not to
an inundation from the Indian sea bearing
on these coasts, but to a deluge of water
which carried with it all the rivers which
abound round the Mediterranean, and besides
this there is the reflux of the sea; and then,
a cutting being made to the West 3000 miles
away from this place, Gibraltar was separated
from Ceuta, which had been joined to it. And
this passage was cut very low down, in the
plains between Gibraltar and the ocean at
the foot of the mountain, in the low part,
aided by the hollowing out of some valleys
made by certain rivers, which might have
flowed here. Hercules came to open the sea
to the westward and then the sea waters
began to pour into the Western Ocean ;
and in consequence of this great fall,
the Red Sea remained the higher ; whence the
water, abandoning its course here, ever after
poured away through the Straits of Spain.
C. A. 321 b; 9710]
IOQ2.
La superfitie del Mare Rosso e in li- The surface of the Red Sea is on a level
uello coll'oceano. with the ocean.
13. chelli . argine edessi ragualgliato . . alteza. 14. indicho Esse . . mediterano. 15. coe chesi ractialgliaua laltezza medi-
teranea . . alteza . . indicho. .
1091. i. mediterana lunghamente. 2. largho . . ellungho . . cinquecento tutto. 3. de moti sinai . . liti percho. 4. tessi . . con-
secho . . soprabon. 5. dauono . . mediterano e oltre adiquesto il refrusso. 6. chalpe es. 7. pichato . . abile effii . .
ches&i trovaua . . abile. 8. ellocceano . . locho . . chonchauameto. 9. passassi . . erchole. 10. comincorono . . occeano
. . perlla . . basseza. n. lacque anbandonato.
1099. i. mare [so] rosso e illiuello. 2. chaduta . . esserrato [elj la bocha. 3. mediterano. 4. rlghorghato. 5. fralli . . ghade-
1091. 9. Leonardo seems here to mention to the reader an allusion to the legend of the pillars
Hercules half jestingly and only in order to suggest of Hercules.
1092.]
THE LEVANT.
263
2 Puo esser caduta vna motagnia e, ser-
rato la bocca 3 del Mare Rosso, e proibito
1'esito al Mediterrano, e co^sl rigorgato tal
mare abbia per esito il trasito Pfra li gioghi
Gadetani, perche similmente abbia 6veduti
alii nostri tepi cadere v monte di sette
7 miglia e serrare vna valle e fame lago, e
cosl so 8fatti la maggior parte de'laghi da
moti come Lago di ?Garda di Como e Lu-
gano, e '1 lago Maggiore; I0il Mediterrano
poco s'abbasso per il taglio Gaditano neTIli
cofini della Siria e assai in esso taglio, perche
priI2ma che tal taglio si creasse, esso mare
versaua per scirocco, I3e poi s'ebbe a fare
la calata, che corresse a tal Gaditano.
14 In a cadea 1'acqua 'Sdel Mediterrano
nel ocel6ano.
^IfTutte le pianure che son l3dalli
mari-alli moti, sono T9gia state coperte
dall'acque salse;Tf
20TfOgni valle e fatta dal suo fiu2Ime e
tal proportione e da valle a va!22le, quale
e da fiume a fiume; If
23lfll massimo fiume del nostro modo e
2'il Mediterrano fiume, If
25 If che si move dal principio 26del Nilo
all'Oceano occide27tale, If
28 e la sua suprema altezza 29e nella
Mavretania este3°riore, e a di corso 10
mila 3I miglia, prima che si ripatrii 32col suo
Oceano, padre del«le acque,
34Cioe 3000 il Mediterrano, 3000 35 il
Nilo scoperto, e 3000 il Nilo 36che corre
a oriete ecc.
A mountain may have fallen and closed
the mouth of the Red Sea and prevented
the outlet of the Mediterranean, and the
Mediterranean Sea thus overfilled had for
outlet the passage below the mountains of
Gades; for, in our own times a similar thing
has been seen [6]; a mountain fell seven
miles across a valley and closed it up and
made a lake. And thus most lakes have been
made by mountains, as the lake of Garda,
the lakes of Como and Lugano, and the Lago
Maggiore. The Mediterranean fell but little
on the confines of Syria, in consequence of the
Gaditanean passage, but a great deal in this
passage, because before this cutting was made
the Mediterranean sea flowed to the South
East, and then the fall had to be made by its
run through the Straits of Gades.
At a the water of the Mediterranean fell
into the ocean.
All the plains which lie between the sea
and mountains were formerly covered with
salt water.
Every valley has been made by its own
river; and the proportion between valleys is
the same as that between river and river.
The greatest river in our world is the
Mediterranean river,
which moves from the sources of the
Nile to the Western ocean.
And its greatest height is in Outer Mau-
ritania and it has a course of ten thous-
and miles before it reunites with its ocean,
the father of the waters.
That is 3000 miles for the Mediterranean,
3000 for the Nile, as far as discovered and
3000 for the Nile which flows to the East, &c.
tani . . simile abbia. 6. veduta. 7. serare . . effarne lagho. 8. magiore laghi de moti . . lagho. 9. gharda [lac] di coino
ellughano ellagho magiore. 10. mediterano pocho sabasso . . ghaditano. n. soria. 12. chettal . . scirocho. i3. affare
. . choressi . . Gadetano. 14. chadea. 15. mediteraneo nel. 17. chesson. 19. dallacq. 20. effatta. 21. ettal pro"ne".
22. he daffiume affiume. 23. del "nostro" mode he. 24. mediterano [fatto] fiume. 25. [di] chessi . . occieano. 28. ella . .
supprema. 29 he . . esste. 32. occieano. 34. mediterano. 36. chorre [da] a oriete.
1092. See PI. CXI 2, a sketch of the shores of
the Mediterranean Sea, where lines II to 1 6 may
be seen. The large figures 158 are not in Leonardo's
writing. The character of the writing leads us
to conclude that this text was written later than the
foregoing. A slight sketch of the Mediterranean is
also to be found in MS. I', 47 a.
6. Compare also No. 1336, 11. 30, 35 and 36. —
Paolo Giovio, the celebrated historian (born at
Como in 1483) reports that in 1513 at the foot of
the Alps, above Bellinzona, on the road to Switzer-
land, a mountain fell with a very great noise, in
consequence of an earthquake, and that the mass
of rocks, which fell on the left (Western) side
blocked the river Breno (T. I p. 218 and 345
of D. Sauvage's French edition, quoted in ALEXIS
PERCY , Memtire des tremblements de terre de la pcnin-
sule italique; Acadcmie Roy ale de Belgique. T. XXII). —
264
TOPOGRAPHICAL NOTES.
[1093 — 1096.
C. A. 94';
1093.
Aduque cocluderemo quelle • motagnie • Therefore we must conclude those moun-
me Nile essere di maggiore altura, 2sopra • delle . tains to be of the greatest height, above
(1093-1098). quajj . fioccando • I'origine -del Nilo • dai nu- which the clouds falling in snow give rise
voli • casca. to the Nile.
B. 61 1\
1094.
Gli Egiziani, gli Etiopi • e gli Arabi • nel The Egyptians, the Ethiopians, and the Arabs,
passare il Nilo vsano ai cameli 2 appiccare in crossing the Nile with camels, are accustomed
ai lati del busto 2 baghe cioe otri I questa to attach two bags on the sides of the camel's bo-
forma di sotto. dies that is skins in the form shown underneath.
^ In queste 4 maglie di re4te mettono i In these four meshes of the net the camels
pie i cameli sdi carriaggi. for baggage place their feet.
Leic.
1095.
II Tigri passa per 1'Asia Minore, il
quale ne porta 2con seco 1'acqua di 3 pa-
duli, F un dopo F altro di uarie altezze, de'
quali il piv alto e Munace, e '1 mezzano
e Pallas, 3e '1 piu basso & Triton; ancora
el Nilo diriua di 3 altissimi paduli in Eti-
opia, il quale cor»re a tramotana e versa
nel mare d'Egitto con corso di 4000 miglia,
e la sua breuissima e diritta linia *e 3000
miglia; di quel che s'a notitia escie de'
moti della luna con diuersi e incogniti pri-
cipi, e tro6vasi li detti laghi alti sopra la
spera dell'acqua circa a 4000 braccia cio&
vn miglio e l/3, a dare ?vn braccio di ca-
duta al Nilo per ogni miglio.
The Tigris passes through Asia Minor
and brings with it the water of three lakes,
one after the other of various elevations;
the first being Munace and the middle
Pallas and the lowest Triton. And the Nile
again springs from three very high lakes in
Ethiopia, and runs northwards towards the
sea of Egypt with a course of 4000 miles,
and by the shortest and straightest line it is
3000 miles. It is said that it issues from
the Mountains of the Moon, and has various
unknown sources. The said lakes are about
4000 braccia above the surface of the sphere
of water, that is i mile and J/j , giving to
the Nile a fall of i braccia in every mile.
Leic. 2i i]
IO96.
Moltissime volte il Nilo e gli altri fiumi
di gra ma2gnitudine anno • versato tutto
F elemeto dell' acqua • e reduto al mare.
Very many times the Nile and other very
large rivers have poured out their whole ele-
ment of water and restored it to the sea.
1093. i. [aduque chocluderemo quelle motagnie essere di magiore altura]. ?. [sopra delle quali loriginc del nilo dai nvvoli
fiochando cade], 3. sopra delle quali | "fiochando del nilo . dai nvvoli . cade". 4. chocuderano . . magiore 5. fiochando
. . nvuoli casscha.
1094. i. egiti. t. apichare . . bage. 4. mettano. 5. cariagi.
1095. i. come trigon il quale passa per la minore africha il quane ne. 2. consecho lacq"a" . . alteze . . mezano. 4. attramo-
tana . . ella sua . . ediritti. 5. he 3000 . . quel chessa notitio esscie. 6. vasi . . soppra lasspera dellacq"a" circha 4000 br.
coe. 7. vn br. di.
1094. Unfortunately both the sketches which
accompany this passage are too much effaced to
be reproduced. The upper represents the two
sacks joined by ropes, as here described, the other
shows four camels with riders swimming through
a river.
1095. 5. Incogniti prindpio. The affluents of the
lakes are probably here intended. Compare, as
to the Nile, Nos. 970, 1063 and 1084.
1097 — noo.]
THE LEVANT.
265
Leic. 22a] IO97-
Perche il Nilo inoda Testate e vie da Why does the inundation of the Nile occur
paesi focosi? in the summer, coming from torrid countries?
10980
Leic. 32 6}
No si nega che '1 2Nilo al continvo
3 non etri torbido 4 nel mare d' Egitto, s e
che tal turbule5tia non sia ca?vsata dal
terre, 8che esso fiume Ie9ua al continvo
da' I0lochi, onde passa, IT il qual terre I2mai
ritorna in ^dirieto nel maI4re che lo ricieue,
X5se no lo ributta all6li sua liti; vedi ^il
mare arenol8so dirieto al mo^te Atlante,
doue gia 20fu coperto d'acqua 2I salsa.
It is not denied that the Nile is con-
stantly muddy in entering the Egyptian sea
and that its turbidity is caused by soil
that this river is continually bringing from
the places it passes; which soil never
returns in the sea which receives it, unless
it throws it on its shores. You see the
sandy desert beyond Mount Atlas where
formerly it was covered with salt water.
B. 6*6]
1099.
Gli Assiri e quelli di Evbea vsano ai
loro cavalli 2portare sacchi da potere a lor
posta • epiere di ueto , 3 i quali portano in
scabio di bandella della sella di sopra *e
d'accanto, e bene e coperta di piastre
di corame cotto, saccioche '1 saettame
non le fora, si che non ano in cvore la
6fuga sicura che la uittoria icierta; vno
cavallo 7Cosl fatto passa 465 omini a v
bisosrnio.
The Assyrians and the people of Euboea Customs of
accustom their horses to carry sacks which Nairn's
they can at pleasure fill with air, and which (I099- Iio°).
in case of need they carry instead of the
girth of the saddle above and at the side,
and they are well covered with plates of cuir
bouilli, in order that they may not be perforated
by flights of arrows. Thus they have not on
their minds their security in flight, when the
victory is uncertain; a horse thus equipped
enables four or five men to cross over at need.
B. 62 1]
noo.
NAVICULA.
SMALL BOATS.
2Le navicule • apresso • all Assiri furono
fatte di uirghe sottili di salice *e tessute
sopra pertiche pur di salice, ridotte I forma
di barchetta, ilotate *di poluere sottile in-
beuerata d'olio, o di tremetina • ridotta I
natura 5di fango, la qual facieva resistetia
al' acqua, e perche il pino n'isfendea per 6senpre
stava fresca ci essere vesti detta sorte di navi-
cule-di pelle bouine 7 nel passare Sicuris-,
fiume di Spagnia, secodo ne testifica Lu-
cano;
The small boats used by the Assyrians
were made of thin laths of willow plaited
over rods also of willow, and bent into the
form of a boat. They were daubed with fine
mud soaked with oil or with turpentine, and
reduced to a kind of mud which resisted the
water and because pine would split; and always
remained fresh; and they covered this sort
of boats with the skins of oxen in safely
crossing the river Sicuris of Spain, as is
reported by LucanCy].
1097. lastade . . dipaesi.
1098. i. negha. 5. chcttal. 6. cha. 9. de. n. equal. 14. re lo. 15. nollo rebutta. 19. attalante. 20. dacq"a".
1099. i. ecquelli . . cavagli. 3. schabio. 4. dacanto. 5. acciochel saettumel fora si che non ano inecare (?) la.
6. uettoria.
noo. i. navichula. 2. navichula . . sali\\\\\\\. 3. ettessute. 4. o di tue metina ridotta. 5. alacqua e pechel pinonis fede aper.
6. fresca ci essere vesti detta sorte di navicule . di pele bouine. 8. lissciti elli . . voliono. 9. aligano li gratici . . bage
noo. 7. See Lucan's Pharsalia IV, 130:
Utque habuit ripas Sicoris camposque reliquit,
Primum cana salix made/ado vimine parvam
Texitur in puppim, calsogue inducto juvenco
Vedoris patiens tumidum supernatat amnem.
Sic Venetus stagnante Pado, fusoque Britatinns
Navigat oceano, sic cum tenet omnia JVtlus,
Conseritur bibida Memphitis cymbo papyro.
VOL. II.
His ratibns transjecta manus festinat utrimque
Succisam cavare nemus cS-v.
Caesar (de bello civ. I, 54) has the same remark
about the Britanni (confirmed by Pliny, hist. nat.
IV, 15) which Leonardo here makes about the
Assyrians. — This and the foregoing text are illu-
strated by slight sketches.
LL
266
TOPOGRAPHICAL NOTES.
flIOI — 1103.
•L'Ispani -, li Sciti • e li Arabi •, quado The Spaniards, the Scythians and the
vogliono fare vn subito pote, 9alligano-H Arabs, when they want to make a bridge in
graded fatti di salice sopra le baghe overo haste, fix hurdlework made of willows
11- i — ;_- .«_ — \ ~~~~* oi^ufi «« bags of ox-hide, and so cross in
otri di pelli bouine,
mente.
3e cosl passa sicura-
on
safety.
Rhode*
Leic. «.*|
Nello ottanta 9 fu vno terremoto nel
mar di Atalia presso a Rodi, il quale aperse
-il mare cioe il fondo, 'nella qual apritura
' .
si sommerse tanto diluuio d acque, cne per
piv di 3'- ore si scoperse il fondo del mare
dair acque, che 3di quiui si spogliarono, e
poi si richiuse al primo grado.
In [fourteen hundred and] eighty nine
there was an earthquake in the sea of Atalia
nfea' *hodes> ^lch °Pe.ned the sea-that 1S
its bottom — and into this opening such a
torrent of water poured that for more than
three hours the bottom of the sea was un-
covered by reason of the water which was lost
in if and ^en it closed to the former level.
L. o'J
Rodi a detro 5000 case.
1102.
Rhodes has in it 5000 houses.
W. XVIIal
PEL SITO DI VENERE.
1103.
SITE FOR [A TEMPLE OF] VENUS.
2Farai le scale da 4 faccie, per le quali You must make steps on four sides, by
Cyprus si pervenga a un prato fatto dalla natura which to mount to a meadow formed by
1103. "<M)- SOpra vn sasso, 3il quale sia fatto vuoto e nature at the top of a rock which may be
sostenvto dinanzi con pilastri , e sotto tra- hollowed out and supported in front by pi-
forato con magno portico, ne!4li quali uada lasters and open underneath in a large portico,
il mare co" el fondo [del mare]. 2. somerse tane diluuio . . mare dellacqua.
ovrotri . . pelle. 10. passa.
noi. i mare disatalia preso . . aperse
3. spogliorono.
1103. 2. lesscale . . pervena . . prato [for] fatto [sopr] dalla. 3. voto essoslenvta . . pilasstri essctto . . conmagnio porticho, ne.
iioi. Nello ottanto 9. It is scarcely likely that
Leonardo should here mean 89 AD. Dr. H. MULLER-
STROBING writes to me as follows on this subject:
"With reference to Rhodes Ross says {Rase auf den
Gruchischen Inseln, III 70 ff. 1840), that ancient his-
tory affords instances of severe earthquakes at
Rhodes, among others one in the second year of
the 138th Olympiad=27O B. C. ; a remarkably
violent one under Antoninus Pius (A. D. 138 — 161)
and again under Constantine and later. But Leo-
nardo expressly speaks of an earthquake "nel mar
di Atalia fresso a Rodint which is singular. The
town of Attalia, founded by Attalus, which is what
he no doubt means, was in Pamphylia and more
than 150 English miles East of Rhodes in a straight
line. Leake and most other geographers identify it
with the present town of Adalia. Attalia is rarely
mentioned by the ancients, indeed only by Strabo
and Pliny and no earthquake is spoken of. I think
therefore you are justified in assuming that Leonardo
means 1489"." In the elaborate catalogue of earth-
quakes in the East by Selale Dshelal eddin Sayouthy
(an unpublished Arabic MS. in the possession of
Prof. SCHEFER, (Membre de 1'Institut, Paris) mention is
made of a terrible earthquake in the year 867 of
the Mohamedan Era corresponding to the year
1489, and it is there stated that a hundred persons
were killed by it in the fortress of Kerak. There
are three places of this name. Kerak on the sea
of Tiberias , Kerak near Table on the Libanon,
which I visited in the summer of 1876 — but neither
of these is the place alluded to. Possibly it may
be the strongly fortified town of Kerak •= Kir Moab,
to the West of the Dead Sea. There is no notice
about this in ALEXIS PERCY, Ml 'moire sur la
tremblements de terres ressentis dans la feninsule turco-
hillenique et en Syrie (Memoires couronnes et memoires
des savants etrangers, Academie Royale de Belgique,
Tome XXIII).
1103. See PL LXXXIII. Compare also p. 33
of this Vol. The standing male figure at the side
Is evidently suggested by Michael Angelo's David.
On the same place a slight sketch of horses seems
to have been drawn first; there is no reason for
1104—
THE LEVANT.
267
1'acqua in diuersi vasi di graniti porfidi
e serpetini, dentro a emicicli, e spaSda
1'acqua in se medesimi, e dintorno a tal
portico inverso tratnotana sia un lago • con
vna isoletta 6in mezzo, nella quale sia vn
folto e obroso bosco; 1'acque in testa ai
pilastri sie uersate in uasi ai pie ?de' sua
inbasameti, de' quali si spargano piccoli
riuetti ;
8Partendosi dalla 9riviera di Cilitia in-
verso meridio si scopre I0la bellezza dell'isola
di Cipri.
in which the water may fall into various vases
of granite, porphyry and serpentine, within semi-
circular recesses ; and the water may overflow
from these. And round this portico towards the
North there should be a lake with a little island
in the midst of which should be a thick and
shady wood; the waters at the top of the pila-
sters should pour into vases at their base, from
whence they should flow in little channels.
Starting from the shore of Cilicia towards
the South you discover the beauties of the is-
land of Cyprus.
W. XVII<5]
1104.,
Dalli meridionali lidi di Cilitia si
uede per australe la bell'isola 2di Cipri,
la qual fu regnio della dea Venere, e
molti incitati dalla sua bellezza 3 anno
rotte le loro navili e sarte infra li scogli
circundati dalle vertiginose ode; 4quiui la
bellezza del dolce colle invita i vagabundi
navicanti a re^crearsi infra le sue fiorite
verdure, fralle quali i ueti ragioradosi en-
piono I'i6sola e '1 circustante mare di suaui
odori; o quate naui quiui gia son sommerse!
o quanti ^ navili rotti negli scogli ! quiui si po-
trebbero vedere invmerabili navili; chierotto
e mezzo 8coperto dall' arena, chi si mostra da
poppa, e chi da prua, chi da carena e chi
da costa, e para 9a similitudine d'ungiudi-
zio, chevoglia risuscitare navili morti; tant'e
la somma di quelli, die I0copre tutto il lito
settentrionale; quiui i uenti d'aquilone
resonado fan uari e paurosi "soniti.
From the shore of the Southern coast of The Caspian
Cilicia may be seen to the South the beau- (lI05SefIo6)_
tiful island of Cyprus, which was the realm
of the goddess Venus, and many navigators
being attracted by her beauty, had their ships
and rigging broken amidst the reefs, sur-
rounded by the whirling waters. Here the
beauty of delightful hills tempts wande-
ring mariners to refresh themselves amidst
their flowery verdure, where the winds
are tempered and fill the island and the
surrounding seas with fragrant odours. Ah!
how many a ship has here been sunk.
Ah! how many a vessel broken on these
rocks. Here might be seen barks without
number, some wrecked and half covered
by the sand; others showing the poop and
another the prow, here a keel and there the
ribs; and it seems like a day of judgment
when there should be a resurrection of dead
ships, so great is the number of them co-
vering all the Northern shore ; and while the
North gale makes various and fearful noises
there.
C. A. 256*; 773 a] IIO5
Scriui a Bartolomeo turco del flusso e
2riflusso del mar di Ponto, e che intenda,
3se tal flusso e riflusso e nel Mare Ircano
4 over Mare Caspio.
Write to Bartolomeo the Turk as to the
flow and ebb of the Black sea, and whether
he is aware if there be such a flow and ebb
in the Hyrcanean or Caspian sea.
4. vada lacque in diuersi [5] vasi . . esspa. 3. attal . .si lago. 6. mezo . . testa a pilastri . . uasi a pie. 7. sparga picholi
riuetti. 8. dalla riuiera [di lie di cilitia] "jpartendosi. 9. cilitia [si scopr] inver meridio si co. 10. beleza . . cipri la qua.
1104. i. dalla riuiera dalli. 2. della sa belleza. 3. an rotte lor navili essarte . . delle ruertinali ode. 4. belleza del del dolce
callo invita [invita] i. 5. infralle . . fral . . enpiano. 6. adori . . ga son somerse. 7. roti nelgli . . potrebe . . roto e mezo
8. arena [altri] chissi . . popa . . charena e qui. 9. assimilitudine dun giudizi che volglia risucitare nvavili . . tantella
soma. io. varie. n. chopre . . settantironale [sopra] quiui e uenti . . pauro.
1105. i. turcho . . frusso. 2. refrusso. 3. settal frusso e refrusso. 4. casspio.
assuming that the text and this sketch, which have
no connection with each other, are of the same date.
Sito di Venere. By this heading Leonardo appears
to mean Cyprus, which was always considered by
the ancients to be the home and birth place of
Aphrodite (KOnpi; in Homer).
1105. The handwriting of this note points to a
late date.
268
TOPOGRAPHICAL NOTES.
[II06—II08.
F. y>»\
1106.
L'ACQUA *E IN su MO'TI.
+ Dallo stretto di Gibilterra al Tanai e
miglisa 3500, ede alto vn miglio e x/6, dando
vn braccio 6 per miglio di cala a ogni acqua
che si move me7diocremete, e il Mar Caspio
e assai piu a!8to ; e nessu de' moti d' Europa
si leua vn 9 miglio sopra la pelle delli nostri
mari; aduI0que si potrebbe dire, che T acqua
ch'e nelle "time de' nostri moti, venisse
dall'altezza d'essi I2mari e de' fiumi che
vi versano, che so piu alti.
WHY WATER IS FOUND AT THE TOP OF
MOUNTAINS.
From the straits of Gibraltar to the Don
is 3500 miles, that is one mile and '/6>
giving a fall of one braccio in a mile to any
water that moves gently. The Caspian sea
is a great deal higher ; and none of the
mountains of Europe rise a mile above the
surface of our seas; therefore it might be
said that the water which is on the summits
of our mountains might come from the height
of those seas, and of the rivers which flow
into them, and which are still higher.
K. 68 (
1107.
Azov.
Qui seguita che '1 Mare della Tana, che
The sea of 2 confina col Tanai, e la piu alta parte 3 che
abbia il Mare Mediterrano, il qua4le e re-
moto dallo Stretto di Gibilterra 535OO mi-
glia, come mostra la carta da 6nauicare;
e a di calo 3500 braccia, cioe uno ? miglio
e '/65 e e piu alto adunque que8sto mare
che mote che abbia 1'occidcte.
Hence it follows that the sea of Azov is
the highest part of the Mediterranean sea,
being at a distance of 3500 miles from the
Straits of Gibraltar, as is shown by the map
for navigation; and it has 3500 braccia of
descent, that is, one mile and */6j therefore
it is higher than any mountains which exist
in the West.
Leic. -,i
1108.
In nello stretto di Tratia il Mare di
The P62to senpre versa nel Mare Egeo, e mai
:s'l'Egeo in lui, e questo diriua, che '1 Mare
Caspio, che co 400 miglia sta per leuate
colli 3 fiumi che I lui versano, senpre versa
per cave sotterrane in esso Mar di Poto,
e '1 simile fa il Tanai *co\ Danvbio, in
modo che senpre esse acque Potiche son
piv alte che quelle dello Egeo, se per cio
le piv alte senpre discendono nelle basse,
e no mai le basse nelle alte.
In the Bosphorus the Black Sea flows always
into the Egean sea, and the Egean sea never
flows into it. And this is because the Caspian,
which is 400 miles to the East, with the rivers
which pour into it, always flows through sub-
terranean caves into this sea of Pontus; and
the Don does the same as well as the Da-
nube, so that the waters of Pontus are always
higher than those of the Egean; for the
higher always fall towards the lower, and
never the lower towards the higher.
1106. i. lacq"a". 5. 3500006 on miglio . . vn br. 6. acq"a" chessi. 7. e mar casspio. 9. pele. 10 chellacqua. n. venissi
. . nlteza. 12. vivsano.
1107. 2. clla. 3. mediterano. 5. mosstra. 6. navicare che . . 3500 br. coe t. 7. e '/e etc e piu.
1108. 2. ccquesto . . caspio "che co [3] 400 (?) mili sta per leuate" colli. 3. cave socterrane. 4. danvbbio . . chessenpre.
5. perco le . . dissedano.
1107.
general.
The passage before this, in the original, treats of the exit of the waters from Lakes in
THE LEVANT.
269
L. 66 a]
nog.
Ponte da Pera a Costantinopoli • largo The bridge of Pera at Constantinople, Constan-
2 40 braccia, alto dall'acqua braccia 70, 40 braccia wide, 70 braccia high above the tmople-
lungo 3 braccia 600, cioe 400 sopra del
mare, e 200 4posa in terra, faciendo di se
spalle a se Smedesimo.
water, 600 braccia long; that is 400 over
the sea and 200 on the land, thus making
its own abutments.
Leic. 28 a]
IIIO.
Se si voltera il fiu2me alia rottura piv
3 inati, mai ritorne^ra nel corpo della 5 terra,
come fa 1' Eu6frates fiume, e co?sl faccia, a
chi a Bo8lognia rlcresce Ii 9sua fiumi.
If the river will turn to the rift farther The
on it will never return to its bed, as the
Euphrates does, and this may do at Bologna
the one who is disappointed for his rivers.
C. A. 94 £; 276(1]
mi.
Mons Caucasus • Comedorum • e Paro-
panisi insieme cogivti, 2 che tra Batriana e
India nascono Oxus fiume •, che in essi moti
nascie 3e corre 500 miglia a tramotana e
altrettate a ponete e versa le sue acque
nel Mare Ircano * e co seco s' accopagnia •
Osus •, Daagodos •, Arthamis •, Xariaspis,
Dragamaim • , Ocus • , Margus, s fiumi gra-
dissimi; dall' opposita parte uerso mezzodl
• nasce • jl gra fiume • Indo • il quale di6rizza
le sue ode per 600 miglia • inverse meridio,
e per questa linia s' accopagnia co seco i
fiumi Xaradrus •, Bibasis •, ? Vadris •, Vanda-
bal •, Bislaspus • per leuate •, Suastus • e Coe
per ponete -, e incorporati tali fiumi colle
8 sue acque si uolta • corredo miglia 800 per
ponete •, e ribattedosi ne' Moti Arbeti uno
gomito, e' si volta 9 a mezzodl, per la quale
linia -infra 500 miglia truova il mare d'ln-
Mounts Caucasus, Comedorum, and Paro-
pemisidae are joined together between Bactria
and India, and give birth to the river Oxus
which takes its rise in these mountains and
flows 500 miles towards the North and as
many towards the West, and discharges its
waters into the Caspian sea; and is accom-
panied by the Oxus, Dargados, Arthamis, Xari-
aspes, Dargamaim, Ocus and Margus, all very
large rivers. From the opposite side towards
the South rises the great river Indus which
sends its waters for 600 miles Southwards
and receives as tributaries in this course the
rivers Xaradrus, Hyphasis, Vadris, Vandabal
Bislaspus to the East, Suastes and Coe to
the West, uniting with these rivers, and with
their waters it flows 800 miles to the West;
then, turning back by the Arbiti mountains
makes an elbow and turns Southwards, where
Centrae
Asia.
nog. i. gostar.tinopoli. 2. 40 br . . br. 70. 3. br. 600 coe. 4. spalle asse.
mi. i. mo caucassus comedoru. 2. nasscano [oduss] oxus . . nasscie. 3. e chSsecho sacopagnia. 4. attramotana. 5. dallo-
posita parte [nass] uer mezodi nasscie. 6. riza . . inver . . sachopagnia. 7. biilasspus . . suasstus hecoe per . . incho-
porate. 8. chorrendo . . arbeti [assalij i gomito. 9. mezodi . . somergie. 10. nasscie. ii. mezodi. 12. sscirocho . . he
13. sarabas diaravna (?) e so as esscilo. 14. mare | "indo" per molte boche.
1109. See PI. CX No. i. In 1453 by order of
Sultan Mohamed II. the Golden Horn was crossed
by a pontoon bridge laid on barrels (see Joh. Dukas'
History of the Byzantine Empire XXXVIII p. 279).
— The biographers of Michelangelo, Vasari as well
as Condivi, relate that at the time when Michel-
angelo suddenly left Rome, in 1506, he entertained
some intention of going to Constantinople, there to
serve the Sultan, who sought to engage him, by
means of certain Franciscan Monks, for the purpose
of constructing a bridge to connect Constantinople
with Pera. See VASARI, Vite (ed. Sansoni VII, 168):
Michelangelo, veduto questa furia del papa, dubitando di
lui, ebbe, secondo che si dice, voglia di andarsene in
Gostantinopoli a servire il Turco, per mezzo di certi frati
di San Francesco, che desiderata averlo per fare un ponte
che passassi da Gonstantinopoli a Pera. And CONDIVI,
Vita di M. Buonaroti chap. 30: Michelangelo allora
vedendosi condotto a questo, temendo delPira del papa,
pensd d'andarsene in Levante; massimamente essendo
stato dal Turco ricercato con grandissime promesse per
mezzo di certi frati di San Francesco, per volersene servire
in fare un ponte da Costantinopoli a Pera ed in altri
affari. Leonardo's plan for this bridge was made
in 1502. We may therefore conclude that at about
that time the Sultan Bajazet II. had either announced
a competition in this matter, or that through his
agents Leonardo had first been called upon to carry
out the scheme.
270
TOPOGRAPHICAL NOTES.
[III2.
dia doue per sette • rami • in quello si som-
mergie.
loNeiraspetto del medesimo mote nascie
il magnio "Gagie, il quale fiume corre per
mezzodl miglia 500 I2e per scirocco • mille
• e • Sarabas • Diarnvna e Soas ^e Scilo-
Codranvnda • li fano copagnia ; ^ versa in
mare Indo per molte bocche.
after a course of about 100 miles it finds the
Indian Sea, in which it pours itself by seven
branches. On the side of the same mountains
rises the great Ganges, which river flows
Southwards for 500 miles and to the South-
west a thousand . . . and Sarabas, Diarnuna,
Soas and Scilo, Condranunda are its tributaries.
It flows into the Indian sea by many mouths.
C. A. 384*; 1189*1
Li omini nati in 'paesi caldi
9n the amano 3 la notte, perche li rifre^sca,
natives of hot . . ..
countries. e ano in odio la 5 luce, perche h n-
sca!6da, e per6 sono del cohere della
notte cio8e neri | e ne' paesi sfreddi
ogni cosa e 10per 1' opposite.
III2.
Men born in hot countries love
the night because it refreshes them and
have a horror of light because it burns
them; and therefore they are of the
colour of night, that is black. And in
cold countries it is just the contrary.
ma. 2. chaldi amaftg. 3. perche le. 6. perosino. 9. cosa he.
ni2. The sketch here inserted is in MS. H3 55 ''.
XVIII.
Naval Warfare.— Mechanical Appliances.— Music.
Such theoretical questions, as have been laid before the reader in Sections XVI
and XVII, though they were the chief subjects of Leonardo's studies of the sea, did not
exclusively claim his attention. A few passages have been collected at the beginning of
this section, which prove that he had turned his mind to the practical problems of
navigation, and more especially of naval warfare. What we know for certain of his
life gives us no data, it is true, as to when or where these matters came under his
consideration', but the fact remains certain both from tJiese notes in his manuscripts, and
from the well known letter to Ludovico il Moro (No. 1340), in which he expressly states
that he is as capable as any man, in this very department.
The numerous notes as to the laws and rationale of the flight of birds, are scattered
through several note-books. An account of these is given in the Bibliography of the
manuscripts at the end of this work. It seems, probable that the idea which led him
to these investigations was his desire to construct a flying or aerial machine for man^
At the same time it must be admitted that the notes on the two subjects are quite
unconnected in the manuscripts, and that those on the flight of birds are by far the
most numerous and extensive. The two most important passages that treat of the
construction of a flying machine are those already published as Tav. XVI, No. I and
Tav. XVIII in the "Saggio delle opere di Leonardo da Vinci" (Milan 1872;. The
passages — Nos. 1 120 — 1 125— here printed for the first time and hitherto unknown — refer
to the same subject and, with the exception of one already published in the Saggio —
No. 1126 — they are, so far as I know, the only notes, among the numerous observations
on the flight of birds, in which the phenomena are incidentally and expressly connected
with the idea of a flying machine.
The notes on machines of war, the construction of fortifications, and similar matters
which fall within the department of the Engineer, have not been included in this work,
for the reasons given on page 26 of this Vol. An exception has been made in favour of the
passages Nos. 1127 a>id 1128, because they have a more general interest, as bearing on
2-2 NAVAL WARFARE. MUSIC.
the important question: whence the Master derived his knowledge of these matters.
Though it would be rash to assert that Leonardo was the first to introduce the science
of mining into Italy, if may be confidently said that he is one of the earliest writers
who can be proved to have known and understood it; while, on the other hand, if is
almost beyond doubt that in the East at that time, the whole science of besieging towns
and mining in particular, was far more advanced than in Europe. This gives a peculiar
value to the expressions used in No. 1127.
/ have been unable to find in the manuscripts any passage wJiatever which throws
any light on Leonardo's great reputation as a musician. Nothing therein illustrates
VAS ART'S well-known statement: Avvenne che morto Giovan Galeazzo duca di Milano,
e create Lodovico Sforza nel grado medesimo anno 1494, fu condotto a Milano con
gran riputazione Lionardo al duca, il quale molto si dilettava del suono della lira,
perche sonasse; e Lionardo porto quello strumento ch'egli aveva di sua mano fabbricato
d'argento gran parte, in forma d'un teschio di cavallo, cosa bizzarra e nuova, acciocche
1'armonia fosse con maggior tuba e piu sonora di voce; laonde super6 tutti i musici
che quivi erano concorsi a sonare.
The only notes on musical matters are those given as Nos. 1129 and 1130, wJiicJi
explain certain arrangements in instruments.
G. 54 «]
"IS-
DEL MOTO DEL MOBILE, 2DEL COGNOSCERE
QUATO 3iL NAVILIO SI MOVE PER ORA.
4 Anno li nostri antichi vsato diuersi in-
Sgiegni per vedere che viaggio faccia v
navilio per ci6ascuna ora, infra li quali Vi-
truvio ne po7ne vno nella sua opera d'Ar-
chitettura, il qua8le modo e fallace insieme
cogli altri ; e que^sto e vna rota da mulino
tocca dall'onde I0 marine nelle sue stremita,
e mediante le "intere sue revolutioni si
descrive vna linia I2 retta che rappresenta
la linia circufere^tiale di tal rota ridotta
in rettitudine; ^Ma questa tale inventione
non e valida, T5se no nelle superfitie piane
e immobili de' l6laghi; Ma se 1'acqua si
move insieme col ^navilio con equal moto,
allora tal rota rel8sta inmobile, e se 1'acqua
e di moto piu o me ^velocie che '1 moto
del nauilio, ancora tal ro20ta non a moto
equate a quel del navilio, in 2Imodo che
tale inventione e di poca valitudine; "Ecco
vn altro modo fatto colla sperietia d'uno
23spatio noto da una isola a vn altra, e
questo si 2* fa con un asse o lieua percossa
dal ueto, che la percuote o piu o 25men
velocie, e questo e in Battista Alberti;
ON MOVEMENTS; — TO KNOW HOW MUCH A
SHIP ADVANCES IN AN HOUR.
The ancients used various devices to The ship's
ascertain the distance gone by a ship each ^^ "J vfi-
hour, among which Vitruvius [6] gives one Alberti 'and
in his work on Architecture which is just as ofLeonardo
fallacious as all the others; and this is a ,
mill wheel which touches the waves of the
sea at one end and in each complete revolu-
tion describes a straight line which represents
the circumference of the wheel extended to a
straightness. But this invention is of no
worth excepting on the smooth and motion-
less surface of lakes. But if the water
moves together with the ship at an equal
rate, then the wheel remains motionless;
and if the motion of the water is more or
less rapid than that of the ship, then nei-
ther has the wheel the same motion as the ship
so that this invention is of but little use.
There is another method tried by experiment
with a known distance between one island
and another; and this is done by a board or
under the pressure of wind which strikes on
it with more or less swiftness. This is in
Battista Alberti [2 5].
1113. 2. cogniossciere. 4. nosstri. 6. asscuna . . infralli . . vetruvio. 7. darchitectura. 8. effallacie . . ecque. 9. tocha dallonde.
ii. desscrive. 12. circhufere. 13. diridotta. 14. Macquessta. 15. inmobile. 16. Massellacqua. 17. rota res. 18. essellacqua.
19. anchora. 20. nona . . acquel. 21. chettale . . pocha. 22. Ecci . . cholla. 23. ecquesto. 24. fa vasse lieva perchossa
. . chella perchote eppiuo. 25. ecquesto . . balissta abrti. 26. batissta. 27. albertiche effat. 28. lassperi. 31. issola.
1113. 6. See VlTRUVlus, De Architecture/, lib. X.
C. 14 (p. 264 in the edition of Rose and Miiller-
Strubing). The German edition published at Bale in
1543 nas, on fol. 596, an illustration of the con-
trivance, as described by Vitruvius.
25. LEON BATTISTA ALBERTI, De Architedura lib. V.,
c. 12 treats 'de le navi e parti loro\ but there is no
VOL. U.
reference to the machine, mentioned by Leonardo.
Alberti says here : Noi abbiamo trattato lungamente in
altro hiogo de1 modi de le navi, ma in questo luogo ne
abbiamo detto quel tanto che si bisogna. To this the
following note is added in the most recent Italian
edition: Questo libra e tuttora inedito e porta il tilolo,
secondo Gesnero di 'Liber navis'.
MM
274
ON MOVING IN WATER.
»6I1 modo di Battista 2?Alberti e
fat'Ho sopra la speri'sentia d'uno spa3°tio
noto da vn-'a isola a un altra; 32Ma tale
inventi'tone no riesce, 34se no a vn navi-
3Slio simile a quel J6dove e fatto tale 37spe-
rictia, ma ^bisognia che sia j^col medesimo
<°carico, e me^'desima vela, 42e medesima
situ^atio di vela, e ^medesime gra«dezze
d'onde; ma ^6il mio modo ser»?ve a ogni
navi«1io, si di remi co49me vela, e sia pi-
s°ccolo o grade, 5«o lugo e alto, 52o basso,
sepre serve.
Battista Alberti's method which is made
by experiment on a known distance between
one island and another. But such an inven-
tion does not succeed excepting on a ship
like the one on which the experiment was
made, and it must be of the same burden
and have the same sails, and the sails in the
same places, and the size of the waves must be
the same. But my method will serve for any
ship, whether with oars or sails; and whether
it be small or large, broad or long, or high
or low, it always serves [52].
Leic. 22 1]
III4.
Come con otricoli 1'esercito debbe pas-
Methodi of'sare i fiumi a noto; ... Del modo del
'movlrf *ind notare de' pesci ; del modo 3 del lor saltare
water fori delle acque, come far si uede a delfini,
che par cosa marauigliosa for*mare salto
sopra la cosa che non aspetta, anzi si
fugge; Del notare delli animali di luSga
figura, come anguille e simili; Del modo
del notar contro alle cored e gra 6cadute
de' fiumi; Del modo come notino li pesci
di retoda figura; Come li animali 7che non
anno lunga fessa non sa notare; Come
tutti li altri animali naturalmente sa8no
notare , auendo li piedi colle dita, saluo
che 1'omo; In che modo I'omo debbe in-
para're a notare; Del modo del riposarsi
sopra delle acque; Come I'omo si debbe
difenI0dere dalle revertigini over retrosi
delle acque che lo tirano in fondo; Come
I'omo ti:irato in fondo abbia a cercare
del moto riflesso, che lo gitti fori della
profondita; CoI2me si debe passeggiare
colle • braccia ; come si debbe notare river-,
scio; Come, e come non ^si puo star sotto
1' acque-, se non quando si puo ritenere lo
alitare; Come molti stieI4no con istrumeto
alquato sotto 1' acque; Come e perche io
non scrivo il mio modo di I5star sotto
1'acqua, quato io posso star sanza man-
giare, e questo no publico o diuolgo per
le mal0le nature delli omini, Ji quali vse-
rebbero li assasinameti ne' fondi de' mari
How an army ought to cross rivers by
swimming with air-bags . . . How fishes
swim [2] ; of the way in which they jump
out of the water, as may be seen with
dolphins; and it seems a wonderful thing
to make a leap from a thing which does not
resist but slips away. Of the swimming of
animals of a long form, such as eels and
the like. Of the mode of swimming against
currents and in the rapid falls of rivers. Of
the mode of swimming of fishes of a round
form. How it is that animals which have not
long hind quartres cannot swim. How it is that
all other animals which have feet with toes,
know by nature how to swim, excepting man.
In what way man ought to learn to swim.
Of the way in which man may rest on the
water. How man may protect himself
against whirlpools or eddies in the water,
which drag him down. How a man dragged
to the bottom must seek the reflux which
will throw him up from the depths. How
he ought to move his arms. How to swim
on his back. How he can and how he can-
not stay under water unless he can hold his
breath[i3]. How by means of a certain ma-
chine many people may stay some time under
water. How and why I do not describe my
method of remaining under water, or how
long I can stay without eating; and I do not
publish nor divulge these by reason of the
evil nature of men who would use them as
32. Mattale. 33. riesscie. 35. acque]. 36. effatto. 37. essperietia. 38. chessia. 39. chol. 40. charicho. 45. dere . .
M"a". 47. a "o"gni. 48. cho. 49. essia. 50. c"j"colo ogrande star. 51. do ollugho. 52. obbasso.
1114. i. otricolli lessercito . . pa. 2. pessci. 3. adalfini. 4. fuge. 5. essimili De. 6. pessci. 7. nona. 8. colle chcllomo
riposarsi lomo sopra. io. delle revertigini. io. ctielli tirano. n. refresso . . che gitti. 12. passegare colle br . . Come
e non. 13. si postar . . quanto si po. 14. isscrivo. 15. qi ato tposso . . magare ecquesto. 16. vserebono. 17. son-
52. Leonardo does not reveal the method in-
vented by him.
1114. 2. Compare No. 821.
1.. 13 — 19 will also be found in Vol. I No. i.
NAVAL WARFARE.
2/5
col ronpere I7i navili in fondo, e sommer-
gierli insieme colli omini che ui son dentro,
e beche io insegni l8delli altri, quelli no
son di pericolo, perche di sopra all'acqua
apparisce la bocca della canna, 'S
alitano, posta sopra li otri o sughero.
means of destruction at the bottom of the. sea,
by sending ships to the bottom, and sinking
them together with the men in them. And
although I will impart others, there is no
danger in them; because the mouth of the
tube, by which you breathe, is above the
water supported on bags or corks [19].
Ash. II. 4 6]
Se sara in pugnia • naui • e • galee •, es-
sendo vincitori le naui per le loro alte
gaggie, 2si de' tirare 1' antena -per Isino
quasi alia sommita
dell'albero, 3e abbi
nella stremita di detta
atena, cioe quella ch' e „
sporta sopra * il nemi-
co, appiccato va gag-
gietta fasciata, e di
sotto e ditorno uno
5 grosso materasso
pieno di babagia, ac-
Supposing in a battle between ships and On naval
galleys that the ships are victorious by reason (Ir^sarfiii6)
of the high of their tops, you must haul the yard
up almost to the top
of the mast, and at
the extremity of the
yard, that is the end
which is turned towT
ards the enemy, have
a small cage fastened,
wrapped up below and
all round in a great
mattress full of cotton
cio no sia offesa dalle bobardelle, 6poi tira
col'argano 1 basso 1'opposita parte d'fessa
antena, e la gaggia 7Opposita andra tato
• in alto •, ch' ella di gra luga avazera la
gaggia de!8la nave, e potrassi facilmete
cacciare li omini che detro ui sono; 9 ma
bisognia che gli omini che sono nella galea
• vadino dall'opposita banda, I0accio-fac-
cino • contrapeso al carico delli omini posti
detro • alia gaggia "della antena.
so that 'it may not be injured by the bombs;
then, with the capstan, haul down the oppo-
site end of this yard and the top on the oppo-
site side will go up so high , that it will be far
above the round-top of the ship, and you will
easily drive out the men that are in it. But
it is necessary that the men who are in the
galley should go to the opposite side of it so
as to afford a counterpoise to the weight of
the men placed inside the cage on the yard.
mergierli . . ebece. 18. aparissce la bocha. 19. ossugero.
1115. i. sara . . gagie. 2. si de [mettere] tirare . . somita. 3. abi . . Itena . . che [apichata] sporta. 4. apichato va gagietta
fassciatta . . dltoruo dino. 6. chol . . ella gagia. 7. oposita andera . . gagia de. 8. chaciare. 9. chessono . . ghalea . -
daloposita. io. chontrapeso . . charicho . . gagia. n. antena.
NAVAL WARFARE.
[Hl6
A»h. II. 6«]
1116.
Se vuoli fare vna • armata marittima, vsa
di questi navili per sfondareUe navi, 2cio6
fa navili • di 100 pie, e larghi piedi 8, ma
fa che i remi sinistri abino i loro
nel lato destro del na-
vilio, e cosl i destri nel
sinistro come appare in
M, accioch& lo lieve de'
remi *sia piv lugo •, e
detto navilio sia grosso
pie uno e l/2 - cio6 fatto
If you want to build an armada for the
sea employ these ships to ram in the enemy's
ships. That is, make ships 100 feet long
and 8 feet wide, but arranged so that the
left hand rowers maythave
their oars to the right side
of the ship, and the right
hand ones to the left side,
as is shown at M, so that
the leverage of the oars
may be longer. And the
di travi fermi di 5 fuori e di detro con asse
con cotrari liniameti; e questo navilio avra,
said'ship may be one foot and a half thick, that
is made with cross beams within and without,
sotto 6l'acqua vn piede, appiccato vno
sputone ferrato di peso e grossezza d'un
with planks in' contrary directions. And this
ship must have attached to it, a foot below the
'n6. J. isfondare. a. cheremi . . ilor. 3. nelato". . sinistro "come apare in M" aciochelo. 4. sieno piv luge . . pie 1 e . .
facto di trav ferm. 5. fori . . chon asse cho cotrari . . navilio avc sotto. 6. lacq"a" vn piedi apuchato . . feralo adi
Ill/— 1119.]
ON SWIMMING.
277
acudi7ne • e questo per forza di remi potra,
dato il primo colpo, tornare idirietro, 8e
co furia ricacciarsi inati e dare il colpo
secodo, e poi il terzo, e tati che ropa
detto navilio.
water, an iron-shod spike of about the weight
and size of an anvil; and this, by force of
oars may, after it has given the first blow, be
drawn back, and driven forward again with
fury give a second blow, and then a third,
and so many as to destroy the other ship.
B. 8i<5]
MODO DI SALUARSI • IN VNA • TEPESTA E
NAVFRAGIO • MARITTIMO.
III7-
Bisognia • avere va vesta 2 di corame
ch'abbi doppio i labri del petto per spatio
d' vno • dito, e cosl sia doppio 3 dalla citura
Tsino al ginocchio •,
e sia corame si euro
dallo • esalare • ; E
quado 4 bisognasse
saltare I mare •, sgo-
fia • per li labri del
petto le code del
tuo vestito, se salta
in mare •, e lasciati
guidare all' onde • ;
quado no vedi vi-
cina riva, 6ne abbi
notitia • del mare •, e
ti ni sempre • I bocca la canna dell' aria che
va nel vestito, ?e quado per una volta o
2 ti bisognasse trare dell' aria comvne, e
la schiuma t'inpedisce, 8tira per bocca di
quella del vestito.
A METHOD OF ESCAPING IN A TEMPEST AND
SHIPWRECK AT SEA.
Have a coat made of leather, which must The use of
be double across the breast, that is having a SWbS™!"s
hem on each side of about a finger breadth.
Thus it will be double
from the waist to
the knee; and the
leather must be quite
air-tight. When you
want to leap into the
sea, blow out the
skirt of your coat
through the double
hems of the breast;
and jump into the sea,
and allow yourself
to be carried by the
waves; when you see no shore near, give
your attention to the sea you are in, and
always keep in your mouth the air-tube which
leads down into the coat; and if now and
again you require to take a breath of fresh
air, and the foam 'prevents you, you may
draw a breath of the air within the coat.
s. K. M. m. 25
1118.
Se '1 mare si pesa sul suo fondo, 2vn
omo, che giacesse sopra esso 3 fondo e
avesse 1000 braccia d' acqua 4a dosso,
n'avrebbe a scoppiare.
If the weight of the sea bears on its bottom, On the
a man, lying on that bottom and having v^te|
1000 braccia of water on his back, would
have enough to crush him.
C. A. 7 a; 19 a]
D'andar sotto acqua;
2Modo di caminare 3 sopra 1' acqua.
1119.
Of walking under water.
Method of walking on water.
Diving appa-
ratus ;md
Skating
(1119—1121).
peso . . grosseza. 7. ecquesto . . forza adi remi . . Tdirieto. 8. richaciarsi.
1117. 2. dopio . ."peto perispatio dono . . dopio. 3. aginochio essiasicuro dello. 4. biscognassi . . schofia. 5. essalta imare ellassciati . .
visina. 6. abi . . ettieni . . bocha la cana. 7. per I . . bisognassi trare dellaria partly indistinct i sciuma tlpedissi. 8. boca.
1118. 2. diaciessi. 3. avessi 1000 br dacu 4 asscopiare. ing. 2. chomin. 3. sop acq"a".
1117. AMORETTI, Memorie Storiche, Tav. II. B.
Fig. 5, gives the same figure, somewhat altered.
6. La canna del? aria. Compare Vol. I. No. I. Note.
ing. The two sketches belonging to this passage
are given by AMORETTI, Memorie Storiche. Tav. II,
Fig. 3 and 4.
278
ON FLYING MACHINES.
[II20—II23.
Aih. II.
1120.
Siccome per lo fivme ghiacciato uno omo
corre 2sanza mvtatione di piedi •, cosl vn
carro fia 'possibile fare che corra per se
Just as on a frozen river a man may run
without moving his feet, so a car might be
made that would slide by itself.
s. K. M. in. 46*1
II2I.
Definitione perch£ vno 2che sdrucciola
sopra il ghiaccio 3 no cade.
A definition as to why a man who slides
on ice does not fall.
On Flying
machines
(i 122 — 1126)
Mz. 3 a (6)J
L'uomo ne' volatili a a stare libero
dalla cintura insu 2per potersi bili-
care> come fa in barca accid che '1
ce^tro della grauita di lui e dello
strumeto si possa ^bilicare e trasmu-
tarsi, dove necessita il dimada salla
mutatione del centre della sua resi-
stetia.
1122.
Man when flying must stand free
from the waist upwards so as to be able
to balance himself as he does in a boat
so that the centre of gravity in him-
self and in the machine may counter-
balance each other, and be shifted as
necessity demands for the changes of
its centre of resistance.
Mz. i2<i (16)]
1123.
Ricordati siccomejl tuo vccello non debbe
imitare 2altro che '1 pipistrello per cavsa che
i pannicoli fano 3armadura over collegatione
alle armadure, cioe ma4estre delle ali;
Remember that your flying machine must
imitate no other than the bat, because the
web is what by its union gives the armour,
or strength to the wings.
5E se tu imitassi Palie delli vccelli pen-
nvti, esse 6 son di piv potete nervatura, per
essere esse 7 traforate cioe che le lor penne
so disunite e passa8te dall'aria; Ma il pipi-
strello e aivtato dal pannisculo che lega il
tutto, e non e traforato.
If you imitate the wings of feathered
birds, you will find a much stronger structure,
because they are pervious; that is, their feathers
are separate and the air passes through them.
But the bat is aided by the web that connects
the whole and is not pervious.
iiao. i. sichome . . diacciato 1 omo core. z. chosi vn charo. 3. possiuile. 3. chora.
1131. i. definition. 2. strusi . . diaccio.
nw. i. volatili asstare. 2. barcha. 4. bilichare e strassmutarsi. 5. ressistetia.
1133. '• sichome. 2. pipisstrello . . chavsa che panichuli. 3. chollcgacione . . coe. 4. esstre . . alie. 5. essettu. 6. enervatura
* 7. coe chelle . . eppassa. 9. chulo chellega.
1120. The drawings of carts by the side of this ziai. An indistinct sketch accompanies the pas-
text have no direct connection with the problem as sage, in the original,
stated in words. — Compare No. 1448, 1. 17.
1124— 1 1 26.]
ON FLYING MACHINES.
279
Mz. 9* ('3)1
1124.
PER FUGIRE IL PERICOLO DELLA RUINA.
2Puo accadere la ruina di tali strumeti
per • 2 • modi, de' quali 3il primo • e del
ronpersi lo strumeto, secondario fia qua^do
lo strumento si uoltasse per taglio o vicino
a esso taglio, Sperche senpre debbe di-
scendere per grande obbliquita e quasi
6 per la linia dell'equalita; In quanto al
primo, 7del ronpersi lo strumeto, si ripa-
rera col farlo di somma for8tezza, per
qualunche linia esso si potesse voltare, e
assai distante 1'un centro dall'altro, cioe
ne!9lo strumeto di 30 braccia di lunghezza
essi centri sieno distanti 4 braccia 1'un
dall'altro.
TO ESCAPE THE PERIL OF DESTRUCTION.
Destruction to such a machine may occur
in two ways ; of which the first is the breaking
of the machine. The second would be when
the machine should turn on its edge or nearly on
its edge, because it ought always to descend
in a highly oblique direction, and almost
exactly balanced on its centre. As regards
the first — the breaking of the machine — ,that
may be prevented by making it as strong as
possible ; and in whichever direction it may
tend to turn over, one centre must be very
far from the other; that is, in a machine 30
braccia long the centres must be 4 braccia
one from the other.
Mz. 13 a\
1125.
Baghe dove 1'omo in 6 braccia 2d'al-
tezza cadendo no si fac-
cia male, 3 cadendo cosl
in acqua come 4in terra;
e queste baghe leSgate
a vso di paternostri s' avvo!6gino altrui ad-
dosso.
Bags by which a man falling from a height
of 6 braccia may avoid
hurting himself, by a fall
whether into water or on
the ground; and these
bags , strung together like a rosary, are to
be fixed on one's back.
C. A. 372«5; 1158 £]
1126.
Tata forza si fa colla cosa icotro al-
1'aria, quato 1'aria alia cosa; 2Vedi 1'alie
percosse cotro all' aria fanno sostenere la
pesante aquila sulla suprema sottile aria 3vi-
cina all'elemeto del fuoco; Ancora vedi la
mossa aria sopr'al mare ripercossa 4nelle
gofiate vele far correr la carica e pesate
nave; siche per queste demostrastive e as-
segnate ragioni potrai conosciere 1'uomo
colle sua cogiegniate e gradi ale, 6facciedo
forza cotro alia resistete aria, vincedo po-
terla soggiogare a Ie7varsi sopra di lei.
An object offers as much resistance to
the air as the air does to the object. You
may see that the beating of its wings against
the air supports a heavy eagle in the
highest and rarest atmosphere, close to the
sphere of elemental fire. Again you may
see the air in motion over the sea, fill the
swelling sails and drive heavily laden ships.
From these instances, and the reasons
given, a man with wings large enough and
duly connected might learn to overcome the
resistance of the air, and by conquering it,
succeed in subjugating it and rising above it.
1124. i. pericholo. 2. achadere . . tale. 3. sechondario. 4. losstrumento si uoltassi. 4. vicico. 5. disscendere. 7. losstrumeto.
8. teza. 8. potessi . . disstante . . coe. 9. br di lungeza . . 4 br lii.
1125. i. 6 br. 2. dalteza . . facca. 3. chedendo. 4. ecque,te. 5. paternosstri savol. 6. glino . . adosso.
1126. i. [vo] tata . . cholla chosa I chotro . . chosa. 2. perchosse chotro . . fassosstenere . . sulla "suplema" sottile. 3. fuocho
Anchora . . riperchossa. 4. ghofiate . . chorrer la charicha . . qsste [asse] demosstra. 5. chonossciere . . cholle . . cho-
giegniate. 6. chotro . . resisstete aria [potersi e] e vincedo poterla sogiogare alle.
1124. Compare No. 1428.
1126. A parachute is here sketched, with
an explanatory remark. It is reproduced on
Tav. XVI in the Saggio, and in : Leonardo da Vinci
ah Ingenieur etc., Ein Beitrag zur Geschichte der
Technik und der indiiktiven Wissenschaften , von Dr.
Hermann Groihe, Berlin 1874, p. 50.
280
ON MINING.
[1127. 1128.
Of mining.
Ash. II. 4")
1127.
Se tu • vuoi sapere • doue • una caua
faccia suo • corso, metti vno taburo 2 in tutti
quelli lochi, dove tu sospetti si facci la
cava •, e sopra detto tabu^ro • metti vno
pajo di dadi -, e quado sarai apresso • al
loco dove si caua, i dadi risalneranno
alquato sopra del taburo • per lo colpo che
si da sotto terra nel cavare.
If you want to know where a mine runs,
place a drum over all the places where you
suspect that it is being made, and upon this
drum put a couple of dice, and when you
are over the spot where they are mining, the
dice will jump a little on the drum at every
blow which is given underground in the
mining.
s5^
I
\
3
sSono alcuni che per auere comodita
d'u fiume o di padule 6 alle lor terre, anno
fatto apresso di quel loco, doue sospettano
si faccia 7la cava, vno gra riserbo d'aqua,
e cauato • in cotra il nemi8co e, quel tro-
uato, anno sboccato il bottino e annegato
nella 9 cava gra popolo.
There are persons who, having the con-
venience of a river or a lake in their lands,
have made, close to the place where they
suspect that a mine is being made, a great
reservoir of water, and have countermined
the enemy, and having found them, have
turned the water upon them and destroyed a
great number in the mine.
Tr. 48)
FUOCO GRECO.
1128.
2 Tolli • carbon di salcio, e sale nitro, e
or Greek acquavite , e sulfore , 3pegola con icieso,
e cafora, e lana etiopica e fa bollire « ogni
cosa isieme ; questo fuoco • e di tanto desi-
fire.
GREEK FIRE.
Take charcoal of willow, and saltpetre,
and sulphuric acid, and sulphur, and pitch,
with frankincense and camphor, and Ethiopian
wool, and boil them all together. This
1197. i. settu vuoli . . * cha faccia . . chorso. a. tussosspetti . . essopra. 3. vno pa di. 4. terano . . chessi da . . tera. $. cho-
modita. 6. tere . . facci. 7. riserbo daq"a" e chauato. 8. ano isboccato . . anegatti.
1138. T. fuocho grecho. 2. charbon di salco essale . . essulfore. 3. chafera elana etiopicha effa. 4. onichosa . . focbo . . dessi-
1 1 29.]
ON GREEK FIRE.
28l
derio di bruSciare, che seguita il legniame
sin sotto 1'acque; 6e se aggivgnierai in
essa conpositione vernice liquida, ?e olio
petrolio, e tremetina, e acieto forte,
mischia 8ogni cosa isieme, e secca al sole
o nel forno quado n'e trat^to'l pane, e
poi volta intorno alia stoppa di canapa o
altra, I0riduciedola in forma rotonda, e
ficcati da ogni paITrte i chiodi acutissi-
mi, solamete lascia I detta palla vn I2 buco
come razzo; poi la copri di colofonio e
di solfo;
13 Ancora questo foco appiccato in
sommita d'una lunga asta, JUa quale
abbi uno braccio di puta di ferro
accio no sia bruciato da detI5to foco,
e bono per evitare e proibire Ifra le
naui ostili, per I6non essere sopra-
fatti _da Ipito;
I7Acora gittati vasi di uetro pieni di
pegola sopra I8li aversi navili, — itendenti
li omini di quelli alia battaglia , — ^e poi
gittato dirieto simili palle accese anno
poteza a brucia20re ogni navilio.
fire is so ready to burn that it clings to
the timbers even under water. And add
to this composition liquid varnish, and bitu-
minous oil, and turpentine and strong
vinegar, and mix all together and dry it in
the sun, or in an oven when the bread
is taken out; and then stick it round hempen
or other tow, moulding it into a round form,
and studding it all over with very sharp
nails. You must leave in this ball an
opening to serve as a fusee, and cover it
with rosin and sulphur.
Again, this fire, stuck at the top of
a long plank which has one braccio
length of the end pointed with iron
that it may not be burnt by the said
fire, is good for avoiding and keeping
off the ships, so as not to be over-
whelmed by their onset.
Again throw vessels of glass full of pitch
on to the enemy's ships when the men
in them are intent on the battle; and then by
throwing similar burning balls upon them you
have it in your power to burn all their ships.
Br.
II2Q.
Tanburo di tacche, fregate 2da rote di
molle ;
A drum with cogs working by wheels with Of Music
springs [2]. ("29- "3°)-
derio. 5. sare che seghuita ilegniame . . lacq"e". 6. esse agivg . . chonpositione. 7. eraiscia. 8. oni . . essechai . . ne
forno quado ne tra. 9. e po volta . . ala stopa. 10. retonda efficchati da ongni. n. achutissimi lassa Tdetta balla. 12. buso
chomaraza poi . . colofonia. 13. quessto . . appichato in somita . . asste. 14. abi 5 br di . . fefo acio . . brusato da de
15. eviare . . ne nave. 17. gittate. 18. Itenti . . queli ala. 19. gitato . . simile . . acese ano poteza a brusa. 20. oni.
nag. 2. molle. 5. cholla. 8. coe. 9. sicorae. 10. fa boci. 13. quesste. 16. uoce. 17. tassti . . esserrano bichi di gra disstatie
1128. Venturi has given another short text about
the Greek fire in a French translation (Essai % XIV).
He adds that the original text is to be found in
MS. B. 30 (?). Libri speaks of it in a note as follows
(Histoire des sciences mathematiques en Italie Vol. II
p. 129): La composition du feu grlgeois est ttne des
chases qui ont ete les plus cherchtes et qui sont encore les
plus douteuses. On dit qu'il fut invente au septieme
siecle de fere chretienne par Varchitede Callinique (Con-
stantini Porphyrogenetae opera, Lugd. Batav. 1617, —
z'«-8vo; p. 172, de admin, imper.exp. 48), et il se trouve
louvent mentionne par les Historiens Byzantins. Tantbt
on le langait avec des machines, comme on lancerait une
bouche, tantot on le soufflait avec de longs tubes, comme
on soufflerait un gaz ou un liquide enflamme (Annae
Comnenae Alexias, p. 335, lib. XL — Aeliani et Leonis,
imperatoris tactica, Lugd.-Bat. 1613, in-4. part. 2n,
p. 322, Leonis tact. cap. 19. — Joinville, histoire du Saint
Louis colled. Petitot torn. II, p. 235). Les ecrivains
contemporains disent que I'eau ne pouvait pas eteindre ce
feu, mais qu'avec du vinaigre et du sable on y parvenait.
VOL. II.
Suivant quelques historiens le feu gregeois etait compose
de soufre et de resine. Marcus Graecus (Liber ignium,
Paris, 1 804, in-4°) donne plusieurs manieres de le faire
qui ne sont pas tres intelligibles , mais parmi lesquelles
on trouve la composition de la poudre a canon. Leonard
de Vinci (MSS. de Leonard de Vinci, vol. B. f. 30^ dit
git1 on le faisait avec du charbon de saule, du salpetre, de
I'eau de vie, de la resine f du soufre, de la poix et du
camphre. Mais il est probable que nous ne savons pas
qu'elle etait sa composition, surtout a cause du secret
qrfen faisaient les Grecs. En effet, Fempereur Constantin
Porphyrogenete recommende a son fils de ne jamais
en donner aux Barbares , et de leur ripondre, s'ils en
demand^ient, qrfil avail ete apporte du del par un ange
et que le secret en avait ete confie aux Chrltiens (Con-
stantini Porphyrogennetae opera, p. 26 — 27, de admin,
imper., cap. 12).
1129. This chapter consists of explanations of the
sketches shown on PL CXXI. Lines I and 2 of the text
are to be seen at the top at the left hand side of
the first sketch of a drum. Lines 3 — 5 refer to the
NN
282
ON MUSIC.
[II30. II3I.
•JTanburo quadro, del quale 4si tira e
allenta la sua carsta colla lieua a b\
6Tanburo a cosonaza;
?Vna tabella a cosona8za, cio6 3 tabellc
insieme;
^Siccome vn medesimo 10tanburo fa
voci "graui e acute, I2secondo le carte piu
o me 1J tirate, cos) queste carte, ' 'variamente
tirate sopra 'Svn medesimo corpo di ta-
I0buro, fara uarie uoci;
'7Tasti stretti e serrano; bicchi di gra
clistatie infra loro, l8e sono al proposito
della tronba prossima di sopra;
'90 entri in loco dell'ordinarie posite
aoche anno i partici ne' lor busi de' zufoli.
A square drum of which the parchment may
be drawn tight or slackened by the lever a b{^\.
A drum for harmony [6].
[7] A clapper for harmony; that is, three
clappers together.
[9] Just as one and the same drum makes
a deep or acute sound according as the parch-
ments are more or less tightened, so these
parchments variously tightened on one and
the same drum will make various sounds [i 6].
Keys narrow and close together; (bicchi)
far apart; these will be right for the trumpet
shown above.
a must enter in the place of the ordinary
keys which have the in the openings
of a flute.
llr. M. 136*] II3O'
Tanpani sona2ti come il mo^nacordo 4o
voi dolzeSmele;-
6Qui si fa una rotadi canne
a vso 7 di tabelle con vn circulo
mvsicale det8to canone, che si
canta a quattro e ^ciascu can-
tore canta tutta la rota, e pero
10 fo io qui vna rota co 4 denti
che ogni "dente per se fa 1'ofitio d'un
cantore.
225? ?>
Tymbals to be played like the monochord,
or the soft flute.
[6] Here there is to be a
cylinder of cane after the
manner of clappers with a mu-
sical round called a Canon,
which is sung in four parts; each
singer singing the whole round.
Therefore I here make a wheel with 4 teeth
so that each tooth takes by itself the part
of a singer.
B. 4 a]
Pani biachi e cielesti,
2tessuti a scacchi -5 per
fare uno apparecchio;
* Pani tirati s in a • b
•c-d-e-f'g-h'i' k;
6 da fa?re uno ciclo a uno
ap8parecchio.
1131.
$$
/XAAA/V
> L. . 1. m
White and sky-blue
cloths, woven in checks
to make a decoration.
Cloths with the threads
drawn at a b c d e f g
h i k, to go round the
decoration.
infrallo. 19. illoco . . posste. 1130. 6. channe . . circul. 7. chon. 8. chessi . . acquattro he.
1131. 2. schachi. 3. i aparechio. 6. daffa. 7. re i cielo a i a. 8. parechio.
sketch immediately below this. Line 6 is written as
the side of the seventh sketch, and lines 7 and" 8 at
the side of the eighth. Lines 9 — 16 are at the
bottom in the middle. The remainder of the text
is at the side of the drawing at the bottom.
1130. In the original there are some more
sketches, to which the text, from line 6, refers.
They are studies for a contrivance exactly like the
cylinder in our musical boxes.
XIX.
Philosophical Maxims. Morals. Polemics and
Spec^tlations.
Vasari indulges in severe strictures on Leonardo's religious views. He speaks,
among other things, of his "capricci nel filosofar delle cose natural!" and says on this
point: "Per il che fece nell'animo un concetto si eretico che e' non. si accostava a qualsi
voglia religione, stimando per avventura assai piu lo esser filosofo che cristiano" (see the
first edition of 'Le Vite'/ But this accusation on the part of a writer in the days of
the Inquisition is not a very serious one — and the less so, since, throughout the manu-
scripts, we find nothing to support it.
Under the heading of "Philosophical Maxims''' I have collected all the passages
wJiich can give us a clear comprehension of Leonardo's ideas of the world at large.
It is scarcely necessary to observe that there is absolutely nothing in them to lead to
the inference that he was an atheist. His views of nature and its laws are no doubt
very unlike those of his contemporaries, and have a much closer affinity to those which
find general acceptance at the present day. On the 'other hand, it is obvioiis from
Leonardo's will (see No. 1566^ that, in the year before his death, he had professed to
adhere to the fundamental doctrines of the Roman Catholic faith, and this evidently
from his own personal desire and impulse.
The incredible and demonstrably fictitious legend of Leonardo's death in the arms
of Francis the First, is given, with others, by Vasari and further embellished by this
odious comment: "Mostrava tuttavia quanto avea offeso Dio e gli uomini del mondo, non
avendo operato nell' arte come si conveniva." This last accusation, it may be remarked,
is above all evidence of the superficial character of the information which Vasari was
in a position to give about Leonardo. It seems to imply that Leonardo was disdainful
of diligent labour. With regard to the second, referring to Leonardo's morality and
dealings with his fellow men, Vasari himself nullifies it by asserting the very contrary
in several passages. A further refutation may be found in the following sentence from
PHILOSOPHY, MORALS, POLEMICS.
tJie Utter in which Melzi, the young Milanese nobleman, announces the Master's death
to Leonardo's brothers: Credo siate certificati della morte di Maestro Lionardo fratello
vostro, e mio quanto optimo padre, per la cui morte sarebbe impossibile che io potesse
esprimere il dolore che io ho preso; e in mentre che queste mia membra si sosterranno
insieme, io possedero una perpetua infelicita, e meritamente perche sviscerato et arden-
tissimo amore mi portava giornalmente. E dolto ad ognuno la perdita di tal uomo,
quale non e piu in podesta della natura, ecc.
// is true that, in April 1476, we find the names of Leonardo and Verrocchio
entered in the "Libro degli Uffiziali di notte e de' Monasteri" as breaking the laws;
but we immediately after find the note "Absoluti cum condizione ut retamburentur"
(Tamburini was the name given to the warrant cases of the night police). The acquittal
therefore did not exclude the possibility of a repetition of the charge. It was in fact
repeated, two months later, and on this occasion the Master and his pupil were again
fully acquitted. Verrocchio was at this time forty and Leonardo four-and-twenty.
The documents referring to this affair are in the State Archives of Florence ; they have
been withheld from publication, but it seemed to me desirable to give the reader this
brief account of the leading facts of the story, as the vague hints of it, which have
recently been made public, may have given to the incident an aspect .which it had not
in reality, and which it does not deserve.
The passages here classed under the head "Morals" reveal Leonardo to us as a
man whose life and conduct were unfailingly governed by lofty principles and aims. He
could scarcely have recorded his stern reprobation and unmeasured contempt for men
who do nothing useful and strive only for riches, if his own life and ambitions had
been such as they have so often been misrepresented.
At a period like that, when superstition still exercised unlimited dominion
over the minds not merely of the illiterate crowd, but of the cultivated and learned
classes, it was very natural that Leonardo's views as to Alchemy , Ghosts, Magicians,
and the like should be met with stern reprobation whenever and wherever he may have
expressed them; this accounts for the argumentative tone of all his utterances on such
subjects which I have collected in Subdivision HI of this section. To these I have
added some passages which throw light on Leonardo's personal views on the Universe.
They are, without exception, characterised by a broad spirit of naturalism of which
the principles are more strictly applied in his essays on Astronomy, and still more on
Physical Geography.
To avoid repetition, only such notes on PhilosopJiy, Morals and Polemics, have been
included in this section as occur as independent texts in the original MSS. Several
moral reflections have already been given in Vol. I, in section "Allegorical represen-
tations, Mottoes and Emblems'". Others will de found in the following section. Nos. 9
to 12, Vol. I, arc also passages of an argumentative character. It did not seem
requisite to repeat here these and similar passages, since their direct connection zvith
t/ie context is far closer in places where they have appeared already, than it would
be here.
S. K. M. III. 64 1]
PHILOSOPHICAL MAXIMS.
1132.
Io t'ubidisco, Signore, prima per 1'a- I obey Thee Lord, first for the love I Pra^rds to
2more che ragionevolmente portare 3ti debo, ought, in all reason to bear Thee; secondly (ii32. n33).
secodariamente che tu sai 4abbreviare o for that Thou canst shorten or prolong the
prolungare le uite Sali omini. lives of men.
W. An. IV. i72<r] H33
II ORATIO.
2Tu o Iddio ci vendi 3tutti li beni per
A PRAYER.
prez4zo di fatica.H
Thou, O God, dost sell us all good things
at the price of labour.
A.
"34-
O mirabile givstitia di te, primo motore, O admirable impartiality of Thine, Thou T^feNpa°t^reers
• tu • non ai • voluto • macare • a nessuna first Mover; Thou hast not permitted that (1134—1139).
2 potetia F ordine e qualita de' sua • necies- any force should fail of the order or quality
sari effetti. of its necessary results.
S. K. M. III. 49 a] "35-
La neciessita • e • maestra 2e tutrice •
della • natura ;
3 La neciessita e tema e in^ventrice
della natura Se freno e regola eterna.
Necessity is the mistress and guide of
nature.
Necessity is the theme and the inventress,
the eternal curb and law of nature.
1138. 3. sechondaria. 4. abrieviere. H33- 2- "tu" | o idio [che] ci vende. 3. per pre. 4. faticha.
1134. J- machare a nessuna [creata chosa]. 2. "equalita" de sua.
1135. i. he maesstra. 2. ettutrice. 3. ettema. 5. effrno.
286
PHILOSOPHICAL MAXIMS.
[1136—1140.
Tr. 75)
II36.
Molte volte una medesima cosa • e tirata In many cases one and the same thing
da2violetie, * cioe • neciessita • e potentia •; is attracted by two strong forces, namely
i i»~, ~ K:,, Necessity and Potency. Water falls in rain;
1'acuua oiove, la terra lassorbisce, 3per j> . ]
r the earth absorbs it from the necessity for
neciessiU d'omore-, e '1 sole la sveglie no moisture; and the sun evaporates it, not from
per neciessita, ma per potetia. necessity, but by its power.
s. K. M. n.a 43<i) "37-
La gravita, la forza • • e'l moto • acciden-
tale • insieme co!2la percussione • son • le gether with resistance , are the
quatro • accidentali • potentie , 3 colle • quali • nal powers in which all
tutte • 1' euidenti • opere de' mortali 4anno- actions of mortals have their
loro • essere • e loro morte.
Weight, force and casual impulse, to-
four exter-
the visible
being and
their end.
Tr. 70]
1138.
Till corpo nostro e sottoposto al cielo,
e lo cielo e sottoposto allo spirito.1
Our body is dependant on heaven and
heaven on the Spirit.
H.3 93*1
II moto e causa d' ogni vita.
"39-
The motive power is the cause of all life.
W. XXIX]
1140.
E tu uomo, che consideri in questa
Psychology 2 mia fatica 1' opere mirabili della ^natura,
("40— "47)- se giudicherai essere cosa *nefanda il dis-
truggerla, or pesa 5 essere cosa nefandis-
sima il torre la 6vita all' omo, del quale,
se questa ?sua copositione ti pare di ma-
rauiglio8so artifitio, pensa questa essere
9nulla rispetto all' anima che in I0tale
architettura abita, e vera'Mnente, quale •
essa si sia, ella e I2cosa diuina, sicche lascia
X3la abitare nella sua opera a suo beI4ne-
placito, e no volere che la tua jsira o
malignita distrugga l6una tata vita, che
ve^ramete, chi non la l8stima, non la
^merita.
And you, O Man, who will discern in
this work of mine the wonderful works of
Nature, if you think it would be a criminal
thing to destroy, it, reflect how much more
criminal it is to take the life of a man; and
if this, his external form, appears to thee
marvellously constructed, remember that it is
nothing as compared with the soul that
dwells in that structure; for that indeed, be
it what it may, is a thing divine. Leave it
then to dwell in His work at His good
will and pleasure, and let not your rage
or malice destroy a life — for indeed, he
who does not value it, does not himself de-
serve it [19].
1136. i. volte ya medesima chosa ettirata. 2. losorbisscie. 3. sole lassuele.
1137. i- cbol. 3. cholli . . tucte. 4. clloro.
1138. i. essottoposto. 2. cllo . . essottoposto.
1139. ^- chausa.
1140. i.' quessta. 3. gudicherai. 4. desstrugerla. 7. sua co (sa] positions. 12. diuina [sig] che [si) lasscia. 13. a>suo.
14. chella. 13. distrugha. 17. chi nolla. The list seven lines are very indistinct. 20. si pa"r"te dal. 21. corpo e ben.
22. reto chol su. 23. o piauto e ch. 24. ore no sia. 25. anza [g] ca. 26. one.
1140. This text is on the back of the drawings reproduced on PI. CVII. Compare No. 798, 35 note
on p. II I. Compare also No. 837 and 838.
19. In MS. I1 15" is the note: chi no sfima la vita, non la merita.
1 1 4 1 — 1 1 46-] PHILOSOPHICAL MAXIMS. 287
Tr. 78] H41-
L'anima mai si puo corropere • nella The soul can never be corrupted with
corruttio del corpo, ma fa nel corpo 2a the corruption of the body, but is in the
similitudine del ueto che cavsa il suono del body as it were the air which causes the
organo, 3Che guastadosi vna canna, no sound of the organ, where when a pipe bursts,
resultava per quella del ueto ^buono tne wind would cease to have any good
effetto. effect.
C. A. s8a; iSort]
Ogni parte a inclinatio 2di ricogiugnersi The part always has a tendency to reunite
al suo 3tutto per fugire dalla 4sua inper- with its whole in order to escape from its
fettione ; imperfection.
s L' anima desidera stare 6 col suo corpo, The spirit desires to remain with its body,
perche sanza 7li strumeti organici di tal because, without the organic instruments of
8corpo nulla puo operare ^ne setire. that body, it can neither act, nor feel anything.
C. A. 75<z; 2iga]
Chi vuole vedere come 1' anima abita If any one wishes to see how the soul
nel suo 2corpO', guardi come esso corpo dwells in its body, let him observe how this
vsa la 3Sua cotidiana abitatione, cioe se body uses its daily habitation; that is to say,
quella *e sanza ordine e confusa, disor- if this is devoid of order and confused, the
dinasto e cofuso fia il corpo tenvto dalla body will be kept in disorder and confusion
sua anima. by its soul.
... i
Br. M. 278,5] I3t44-
Perche vede piv certa la cosa 1'ochio ne' Why does the eye see a thing more clearly
sogni 2che colla imaginatione, stando desto? in dreams than with the imagination being awake?
Tr. 65] "45-
I sensi sono terrestri, la ragione sta 2fuor The senses are of the earth ; Reason,
di quelli, quado cotenpla. stands apart in contemplation.
Tr. 70] 1146.
Ogni attione bisognia che s'esercita Every action needs to be prompted by
2 per moto; a motive.
3 It Cogniosciere e volere so 2 operationi To know and to will are two operations
4vmane;Tl of tne human mind.
5Discernere, givdicare, cosigliare 6sono Discerning, judging, deliberating are acts
atti vmani. of the human mind.
1141. i. chorropere . . curuttio . . maffa. 2. assimilitudine . ..chavsa del sono. 3. guasstadosi . . chana.
1142. 3. tutto [fa] per. 4. inperfectione. 6. chol. 7. orghanici.
1143. i. vole . . chome. 2. chorpo . . chome esso chorpo. 3. chotidiana . . secquella. 4. chonfusa. 5. chofuso . . chorpo.
1144. 2. dessto.
1145. i. teresti. 2. for di quell . . chotempla.
1146. i. chessesercita. 3. cogniossciere . . operatione. 5. dissciernere . . chosigliare.
1141. Compare .No. 845.
. 1145. Compare No. 842.
288
PHILOSOPHICAL MAXIMS.
[II47—II53-
Tr. 45)
1147.
Ogni nostra cognitione pricipia da sen-
timeti.
All our knowledge has its origin in
our preceptions.
Tr. 5.1 IJ48'
Scietia — notitia delle cose che sono pos-
principles
'"sibili, presetie preterite; 2 prescietia— notitia
cose che possi uenire, 3per6 lento.
Science is the observation of things pos-
sible, whether present or past; prescience is
the knowledge of things which may come
to pass, though but slowly.
C. A. 8s<?; 247 a]
1149.
La sperieza, 2interprete infra
tiosa natu^ra e la umana specie', ne insegnia
Experience, the interpreter between forma-
tive nature and the human race, teaches how
cio 6che essa natura infra ^mortali ado- that nature acts among mortals; and being
pera, 8da neciessita co^strefta non altri- constrained by necessity cannot act otherwise
I0meti operarsi poT1ssa • che la ragio, suo than as reason, which is its helm, requires
timone, I2operare le asseI3gni. her to act.
S. K. M. III. 8o4]
La sapietia e figliola della 2sperietia.
1150.
Wisdom is the daughter of experience.
I.i
La natura e piena d' infinite ragioni
no furo mai in isperietia.
• che Nature is full of infinite causes that have
never occured in experience.
M. 58**] 1152.
TJLa verita fu sola fi2gliola del tenpo.Tf Truth was the only daughter of Time.
C. A. 151 a; 4491]
"53-
La sperieza no falla mai, ma sol fallano
i vostri giuditi, promettendosi di quella
2efetti • tali che ne' uostri esperimeti
causati no sono;
3 La sperieza no falla •, ma sol fallano i
vostri giuditi, promettedosi di lei cose, che
no * sono in sua potesta ; s a torto si lamen-
tano li omini della sperieza, co somme
rampogne quella 6accusano esser fallace,
Experience never errs; it is only your
judgments that err by promising themselves
effects such as are not caused by your
experiments.
Experience does not err; only your
judgments err by expecting from her what
is not in her power. Men wrongly com-
plain of Experience; with great abuse they
accuse her of leading them astray but they set
1147. i. prccipia.
1148. i. notiti delle chessono possibile presente. 2. cose che pesi uine che posl uenire. 3. penvlente.
1149. i. lassperieza. 4. ella. 5. ninsegna. 8. co. ix. chella ragio "suotiraone". 12. hoperare. 12. asegni.
1150. i dela. 2. sperietia la quale speri. 3. eza here the text breaks off.
1151. 2. inisperictia.
1159. i. verita sola fu fi. 2. glola.
1153. i. vosstri guditi. 2. (tale) effetto | "tale" che ine uosstri . . chausati. 3. essperieza . . massol . . vosstrigiuditi [i quali sa]
prometa "desi". 5. attorto si lamenta . . della ("innocete" issperieza la quale con some ranpogne. 7. Ma lasciano.
1 154— 1 1 58.]
PHILOSOPHICAL MAXIMS.
289
7 ma lasciano stare essa sperietia, 8voltati
dalle lamentation i contro alia nostra igno-
ranza, la quale ui 9 fa trascorrere con uostri
vani e stolti desideri a inprometterui di
quella cose che no sono I0in sua potetia,
"dicendo quella esser fallace; I2a torto si
lametan li omini della innocente sperientia •,
quella spesso accusando J3di fallacia e di
bugiarde ^dimostrationi.
Experience aside , turning from it with
complaints as to our ignorance causing
us to be carried away by vain and foolish
desires to promise ourselves, in her name,
things that are not in her power; saying
that she is fallacious. Men are unjust in
complaining of innocent Experience, con-
stantly accusing her of error and of false
evidence.
Mz. i a (3)
"54-
1 La scientia strumentale over machinale
2e nobilissima e sopra tutte 1'altre vtilis-
sima, 3cociosiache mediante quella tutti
Instrumental or mechanical science is of
all the noblest and the most useful, seeing
that by means of this all animated bodies
li corpi ani4mati, che anno moto, fanno tutte that have movement perform all their actions;
loro operation!, i quali moti Snascono dal and these movements are based on the
centre della lor grauita che e posto 6in centre of gravity which is placed in the
mezzo a parte di pesi disequali, e a questo middle deviding unequal weights, and it has
?carestia e dovitia di muscoli, ed etia lie- dearth and wealth of muscles and also
8va e contralieua. If lever and counter-lever.
E.
"55-
DELLA MECCANICA.
OF MECHANICS.
2 La meccanica e il paradiso delle scie- Mechanics are the Paradise of mathe-
tie matema3tiche , perche co quella si viene matical science , because here we come to
al frutto matematico. the fruits of mathematics.
Br. M. 191 al
A ciascuno strumeto si richiede
fatto colla sperieza.
1 esser Every instrument requires to be made by
experience.
W. An. III. 241 a]
"57-
Chi biasima la sorha certezza della
2matematica, si pasce di confusione $e mai
porra silentio 4alle contraditioni delle soffi-
Sstiche scietie, colle quali 6s'inpara vno
eterno gridore.
The man who blames the supreme cer-
tainty of mathematics feeds on confusion,
and can never silence the contradictions of
sophistical sciences which lead to an eternal
quackery.
G. 956] «58-
Nessuna certezza delle scietie e, do2ve There is no certainty in sciences where
no si puo applicare 3 vna delle scietie mate- one of the mathematical sciences cannot be
ma4tiche e che non sono vSnite con esse applied, or which are not in relation with these
matematiche. mathematics.
8. evoltati . . lamentatione . . ingnoranza. 9. transcorrere co uosstre "vani e" in stolti . . "di quella" chose. 10. in "sua"
potetia. 12. attorto . . della "inocente" essperientia . . achusando. 13. bugarde. 14. dimostratione. Ma here the
text breaks off.
1154. i. Lasscientia. 2. essopra. 3. conco sia che. 4. mati "che annomoto" fanno . . ecquali. 5. nasscano . . possto. 6. mezo
apparte . . acquesto. 7. charesstia e douitia di mvsscoli.
1155. i. dela mechanicha. 2. mechanicha. 3. perchche cho . . matema"ticho".
1156. i. ciasscuno. 2. cholla essperieza.
1157. i. certeza delle.' 2. matematiche si passce. 3. [e mati] e mai.
1158. i. certezza "dele scietie" e do. 2. po applichare.
1155. Compare No. 660, 11. 19 — 22 (Vol. L, p. 332).
VOL. II.
OO
290
PHILOSOPHICAL MAXIMS.
[I159—H6l.
C. A. 75<»; 219 «)
"59-
Chi disputa allegado 1'autorita, non Any one who in discussion relies upon
adopera • lo ingiegno, ma pivtosto • la me- authority uses, not his understanding, but
moria; Ue buone • lettere son nate da vn rather his memory. Good culture is born of a
bono naturale, 4e perche si de' piv laudare good disposition; and since the cause is more
la cagio che 1'effetto, spiv lauderai vn to be praised than the effect, I will rather
buon naturale sanza lettere, 6che vn bon praise a good disposition without culture,
letterato sanza naturale. than good culture without the disposition.
1.2 82 rt)
La scietia e il capitano, e la pratica
sono i soldati.
1160.
Science is the captain, and practice the
soldiers.
G. 8*1
1161.
DELT-'ERRORE DI QUELLI CHE VSANO 2LA PRA- OF THE ERRORS OF THOSE WHO DEPEND
TICA SANZA SCIETIA. PRACTICE WITHOUT SCIENCE.
^Quelli che s'inamora di pratica <saza Those who fall in love with practice
scietia so come ' 1 nocchiere che estra navi- without science are like a sailor who enters
lio sanza timone e bussola, 6che mai a a ship without a helm or a compass, and
certezza dove si vada. who never can be certain whither he is going.
1159. i. laturita. 2. longiegno. 3. senate. 4. laldare la chagio chelle fetto. 5. lalderni vn bo. 6. literato.
1160. i. ella pratica.
1161. i — 6 R. i. erore. 2. praticha. 3. chessinnamora di praticha. 4. nochieri. 5. ebbussola. 6. cierteza.
II.
MORALS.
Br. M. 156 1>\
Il62.
Or vedi la speraza e'l desiderio del
ripatriarsi 2e ritornare nel primo caso fa a
similitudine della farfalla al lume, e I'uomo
3 che co cotinvi desideri sepre co festa as-
petta la nvova iprimavera, sempre la nvova
state, sempre e nvovi mesi, 5e nvovi anni,
paredogli che le desiderate cose, venedo,
6sieno troppe tarde, E' non s'avede che
desidera la sua disfazi?one; ma questo
desiderio e la qultessenza, spirito degli
elesmenti, che trovadosi rlchivsa per 1'anima
dallo vmano corpo 9 desidera senpre ritor-
nare al suo mandatario; IOE uo'che sap-
pi che questo medesimo desiderio e quella
quitesseza, "copagnia della natura, e I'u-
omo e modello dello modo.
Now you see that the hope and the desire What is life?
of returning home and to one's former state *"62' II63^'
is like the moth to the light, and that the man
who with constant longing awaits with joy each
new spring time, each new summer, each
new month and new year — deeming that the
things he longs for are ever too late in
coming — does not perceive that he is long-
ing for his own destruction. But this desire
is the very quintessence, the spirit of the
elements , which finding itself imprisoned
with the soul is ever longing to return from
the human body to its giver. And you must
know that this same longing is that quintes-
sence, inseparable from nature, and that man
is the image of the world.
C. A. -joa ; 207 a]
1163.
O tepo, consumatore delle cose, 2e o
invidiosa antichita, tu distruggi tutte le
cose, 3 e consumi tutte le cose da duri deti
4 della vecchiezza a poco a poco co leta
5morte! Elena quando si specchiaua, ve-
dedo 6le vizze grinze del suo viso, fatte
per la vecchi7ezza, piagnie e pesa seco,
perche fu rapita 8due volte.
OTime! consumer of all things; O envious
age ! thou dost destroy all things and devour
all things with the relentless teeth of years,
little by little in a slow death. Helen, when
she looked in her mirror, seeing the withered
wrinkles made in her face by old age, wept
and wondered why she had twice been
carried away.
1162. i. On tfie margin: pro, meaning probably propositione. 2. lassperaza [del suo] el desidero 2. chas"o" . . assimilitudine
"dela farfalla alume" dell uomo. 3. cho chotinvi . . cho fessta asspetta. 5. chose. 6. dissfazi. 7. Desidero e ne i [qj la
quite essenza. 8. peranima dello .... chorpo. 10. chessapi . . qulta eseza. n. chopagnia . . elluomo.
1163. i. chonsumatore . . chose. 2. disstruggi . . chose. 3. chonsumate . . chose. 4. vecchieza appocho appocho cho. 5. elena
. . sisspecchiaua. 6. leuzze grinze. 7. eppesa secho. 8. da volte. 9. chonsumatore . . chose. 10. lesono chonsumate.
292
MORALS.
[1164—1168.
*O tepo consumatore delle • cose -, e o O Time! consumer of all things, and O
invidiosa-antichi'°ta, per la quale tutte le envious age! by which all things are all
cose sono consumate! devoured.
H » 33*1
Ogni danno lascia dispiacere 2nella
ricordatione , saluo 3Che'l sommo dano,
cioe la morte, che •» uccide essa ricordatione
Isieme scolla vita.
1164.
Every evil leaves behind a grief in our
memory, except the supreme evil, that is
death, which destroys this memory together
with life.
C. A.
1165.
HO dormiete • checosa • e sonno? jl sono
HOW to a similitudine • colla morte; O perche non
(«6s-i i%. fai • adunque tale opera, che dopo la morte
2tu abbi similitudine di perfetto viuo, che
uiuendo • farsi col sonno simile ai tristi
morti?1I
O sleepers! what a thing is slumber!
Sleep resembles death. Ah why then dost
thou not work in such wise as that after
death thou mayst retain a resemblance to
perfect life, when, during life, thou art in
sleep so like to the hapless dead?
G. Bga]
L'un caccia I'al2tro.
3 Per questi quadretti 4 s' in-
tende la uita s e li studi umani.
1166.
r-i
One pushes down the other.
By these square-blocks are
meant the life and the studies
of men.
. A. 365 £;
1167.
ULa cognitio del tepo preterite 2e del
sito della terra e orna^meto e cibo delle
meti vmane.li
The knowledge of past times and of the
places on the earth is both an ornament and
nutriment to the human mind.
Mz._8fl (12)
1168.
E di tato vilipedio la bugia, che s'ella
dicesse bene gia 2cose di Dio, ella toglie
gratia a sua deita, ed e di tata eccelle^tia
la uerita, che s'ella laudasse cose minime
elle si fano nobili;
«Sanza dubbio tal proportione e dalla
verita alia bugia, quat e s dalla luce alle
tenebre, ed e essa verita in se di tanta
eccelle6tia che, ancora ch'ella s'estenda
sopra vmili e basse materie, 7 sanza compa-
ratione ella eccede le incertezze e bugie
To lie is so vile, that even if it were in
speaking well of godly things it would take off
something from God's grace; and Truth is so
excellent, that if it praises but small things
they become noble.
Beyond a doubt truth bears the same
relation to falsehood as light to darkness;
and this truth is in itself so excellent that,
even when it dwells on humble and lowly-
matters, it is still infinitely above uncer-
tainty and lies, disguised in high and
1164. . dav lasscia disspiacere. 3. some. 4. viede.
1165. . chosa . . assimilitudine cholla. 2. abi . . chol sono. 1166. 5. elli.
1167. . chognitio. 3. eccibo . . vraa"ne".
1168. . cde di . . chcssella dicessi. 2. dio ella to di gratia assua. 3. chessella laldassi. 5. verita "in se" di. 6. anchora
astende. 7. comperatione ellaccede . . esstese. 8. pra [le altissime] li . . disscorsi. 9. nosstra anchora. 10. no resta . .
1165. Compare No. 676, Vol. I. p. 353.
II69—II73-]
MORALS.
293
estese so8pra li magni e altissimi discorsi,
perche la me9te nostra, ancora ch'ell'abbia
la bugia pel quito elemeto, I0non resta pero
, ,& -4.V j 11 - - i-
che la venta delle cose no sia di sommo
no"trimento delli intelletti fini, ma non di
uagaI2bundi ingegni;
13 Ma tu che ^viui di sogni, jsti pia-
ciono piu le l6ragioni soffistiche I7 e barerie
de' l8pallaji nelle ^cose gradi 20e incerte,
che 2Ile certe 22naturali e 23no di tata al-
2<*tura.
lofty discourses; because in our minds,
even if lying should be their fifth element,
fi- •. ., . ,, ., ri,.
tnis does not prevent that the truth of things
.
1S the chief nutnment of supenor intellects,
though not of wandering wits.
But you who live in dreams are better
pleased by the sophistical reasons and frauds
of wits in great and uncertain things, than
by those reasons which are certain and natural
and not so far above us.
S. K. M. III. 36^5)
Il6g.
rT;:'Fuggi quello -studio • del quale 2la re-
sultante opera more insie^me coll' operante
d' essa.
Avoid studies of which the result dies with
the worker.
C. A. 75,1; 2i9a]
II7O.
A torto si lameta li omini della fuga
del tenpo, 2incolpando quello di troppa
velocita, no s'accorgiedo 3 quello essere di
bastevole trasito, mabona me^moria-, di che
la natura ci a dotati, ci fa che Sogni cosa
lungamete passata ci pare essere presente.
Men are in error when they lament the
flight of time, accusing it of being too swift,
and not perceiving that it is sufficient as it
passes; but good memory, with which nature
has endowed us, causes things long past to
seem present.
C. A. iiirt; 34S«]
Acquista cosa nella tua giovetu 2 arresta
il danno della tua ve3cchiezza; — ^esetu in-
tedi 5 la vechiezza aver per suo cibo la sa-
6pietia, adoperati in tal modo in giove^tu
che tal uecchiezza no machi il nu8trimeto.
Learning acquired in youth arrests the
evil of old age; and if you understand that
old age has wisdom for its food, you will so
conduct yourself in youth that your old age
will not lack for nourishment.
C. A. 223 £; 671,5]
1172.
IfL'acquisto di qualuche cognitione 2e The acquisition of any knowledge is
sepre vtile allo intelletto , perche potra always of use to the intellect, because it may
3scacciare da se le cose inutili e riserva- thus drive out useless things and retain
4 re le buone;H the good.
5 H perche nessuna cosa si puo amare ne For nothing can be loved or hated unless
odiare, 6se prima no sia cognitio di quella.H it is first known.
Tr. 32]
H73-
TISiccome • vna • giornata- bene spesa da As a day well spent procures a happy
lieto dormire, cosl vna vita • bene • vsata • da sleep, so a life well employed procures a
lieto morire.H happy death.
chella . . chose . . somo. 12. ingegni ingeni. 13. mattu. 15. piace. 16. rag5 soffistice. 18. palari. 21. delle certe.
1169. 3. choll.
1170. 2. incholpando . . tropa . . sachorgiedo. 4. ci fa [parere] "che". 5. chosa.
1171. i. chosa . . goventu. 2. cheresta il. 3. chieza [ovr o chettu masstulli la tu]. 4. [a vechiezzaj— essettu. 6. gove.
7. chettal vecheza.
1178. i. chognitione. 3. schacciare dasse le chose inutile. 4. re le. 5. chosa. 6. chognitiS.
1173. i. sicchome . . dallieto.
294
MORALS.
[II74—II78.
Tr. 68)
II74.
L'acqua che tochi de' fivmi, e 1' ultima
di quella • che add, e la prima J di quelle •
che viene; cosl il tepo *presete;
s La vita bene spesa lunga e.
The water you touch in a river is the last
of that which has passed, and the first of that
which is coming. Thus it is with time present.
Life if well spent, is long.
w. xii.j
"75-
Siccome magiare • sanza voglia si couerte
2 1 fastidioso • notrimento • , cosl lo studio
sa-Jza desiderio • guasta la 4 memoria, col s no
ritenere cosa ch'ella pigli.
Just as food eaten without caring for it
is turned into loathsome nourishment, so
study without a taste for it spoils memory,
by retaining nothing which it has taken in.
Ash. I.
1176.
Siccome il mangiare • sanza • voglia fia
darioso • alia salute , 2 cosl lo studio sanza •
desiderio guasta •
cosa • ch'ella pigli.
la memoria, e no ritie
Just as eating against one's will is inju-
rious to health, so study without a liking for
it spoils the memory, and it retains nothing
it takes in.
C. A. 284*; 865*5)
1177.
!efa-
Ti ghiacciano le parole • in bocca,
resti gielatina I Mogibello;
J Siccome il ferro s'arruginiscie sanza
*esercitio, e 1'acqua si putrefa e nel freddo
5s'agghiaccia •, cosl 1'ingiegnio sanza e6ser-
citio si guasta;
7 Mai fai se lodi -, e peggio se tu ripredi
8 la cosa •, quado bene • tu no la intedi;
9 Quado fortuna vie, predi 1'a ma
salua I0dinati, perche retro -e- calua.
On Mount Etna the words freeze in
your mouth and you may make ice of
them [2].
Just as iron rusts unless it is used, and
water putrifies or, in cold, turns to ice, so
our intellect spoils unless it is kept in use.
You do ill if you praise, and still
worse if you reprove in a matter you do
not understand.
When Fortune comes, seize her in front
with a sure hand, because behind she is bald.
W. An. II. 203 a] (24)
1178.
No mi ! pare che li omini grossi e di
Hristi costumi e di poco discorso meritino
si bello stru^meto, ne tanta varieta di ma-
chinameti quanto li omini speculatiui e *di
gra discorsi, ma solo vn sacco doue si ri-
It seems to me that men of coarse and
clumsy habits and of small knowledge do not
deserve such fine instruments nor so great a
variety of natural mechanism as men of spe-
culation and of great knowledge; but merely a
1174. i. chettochi. 2. ado ella. 3. quelli.
1175. i. sichome . . chouerte. 2. losstudio. 3. za [disspositione] desiderio quassia. 4. memoria [chol no pigliare alchuua]. 5. e
no ritenere chosa chclla pigli.
1176. i. sichome . . voglia [da danno] fia. 2. chosi losstudio . . chosa.
1177. x. diaciano . . bocha. 2. cfiaresti. 3. si chomc il fero sa . ruginissce. 4. ellacq"a" . . fredo. 5. sagiacia chosi. 7. pegio
istu. 8. nolantecli. 10. dinatico . perche reto e chalua.
1178. i. chelli . . grosi. 2. trissti chorstumi "e di pocho disscorso" meritino. 3. nettanta . . spechulatiui e di. 4. disscorsi.
1177* i. 2. There is no clue to explain this strange sentence.
1179-1183.]
MORALS.
295
ceua il cibo, e donde esso s esca, che in vero
altro che un transito di cibo non so da
essere giudicati, 6perche niente mi pare che
essi participino di spetie vmana altro, che
la voce 7e la figvra, e tutto il resto e as-
sai manco che bestia.
sack in which their food may be stowed and
whence it may issue, since they cannot be
judged to be any thing else than vehicles
for food; for it seems to me they have
nothing about them of the human species
but the voice and the figure, and for all the
rest are much below beasts.
S. K. M. III. 17*]
1179.
Ecco alcuni che non altramente che
tra2sito di cibo e avmetatori di stereo e
rienpitori di destri chiamarsi debono, per-
che per 4loro non altro nel modo o pure
alcuna virtu in opera si 5mette, perche di
oro altro 6che pieni destri non resta.
Some there are who are nothing else than
a passage for food and augmentors of excrement
and fillers of privies, because through them
no other things in the world, nor any good
effects are produced, since nothing but full
privies results from them.
C. A. 153 6; 455*1
1180.
II massimo ingano delli omini 2e nelle
loro oppinioni.
The greatest- deception men suffer is°n fo°i«h-
.. . ° . . r ness and
from their own opinions. ignorance
(1180—1182).
Tr. 56]
1181.
La stoltitia e scudo della vergognia, come
la improtitudine 2 della poverta glorificata.
Folly is the shield of shame, as
readiness is that of poverty glorified.
un-
Tur.
Il82.
La ciecca ignioraza cosl ci coduce 2co
effetto de' lascivi sollazzi
3 f per no conosciere la uera luce.
4 (per no conosciere qual sia la uera luce.
sE'l uano splendor ci toglie 1'esser
6....;11vedi che per lo splendor nel fuoco
andiamo, 8come ciecca jgnoraza ci co-
duce.
10 O miseri mortali aprite li occhi.
Blind ignorance misleads us thus and
delights with the results of lascivious joys.
jBecause it does not know the true light.
(Because it does not know what is the true
light.
Vain splendour takes from us the power
of being .... behold! for its vain splendour
we go into the fire, thus blind ignorance does
mislead us. That is, blind ignorance so mis-
leads us that . . .
O ! wretched mortals, open your eyes.
Ash. I. i a]
"83.
No si dimada • richezza • quello • che si
puo perdere; 2la uirtu • e vero • nostro • bene
ed e vero premio 3 del suo • possessore • ; lei
no si puo • perdere -, lei 4no ci abandona •,
That is not riches, which may be lost;, °^
virtue is our true good and the true reward
of its possessor. That cannot be lost; that
never deserts us, but when life leaves us.^jAs
5. sacho [da cibo] doue. 6. essca . . gudicati. 7. chella voce. 18. ella . . ettutto erresto . . mancho che besstia.
1179. i. ecci . . che altro chettra. 3. cho [ "e rienpitori di desstri" chiamarsi. 4. loro | "altro nel modo o pure" alchuna.
6. pieni e desstr.
1180. 2. he nelloro oppennione.
1181. i. esschudo . . chome. 2. grorifichato.
n8a. i. ciccha . . chosi ci choduce. 2. e cho . . lasscivi sollazzi. 3. chonossciere. 4. chonossciere. 6. b \\\\ ^f vedi fucho an-
diano. 7. II ciecha Ignoraza . . intal modo choduce. 8. coe chome ciecha jgnioraza ci choduce. 9. che.
1183. i. richeza . . chessi. 4. lasscia. 5. elle esterne. 6. isspeso lassciano choniscorno. 7. essbeffato iloro.
296
MORALS.
[1184—1189.
se prima la uita no ci lascia; Me robe e le to property and external riches, hold them
esterne diuitie • senpre le tieni 6co timore; with trembling; they often leave their
spesso lasciano • con scorno ?e sbeffato • il loro possessor in contempt, and mocked at for
possessore perdedo lor possessione. having lost them.
F. 96*)
1184.
Ogni omo desidera far capitale per
3 dare a medici destruttori di uite, aduque
debono essere richi;
J L' uomo a grande discorso, del quale la
Every man wishes to make money to
give it to the doctors, destroyers of life;
they then ought to be rich [2].
Man has much power of discourse which
piu parte 4 e vana e falsa, li animali 1'anno for the most part is vain and false; animals
piccolo, ma e vtiMe e vero, e meglio e la have but little, but it is useful and true,
piccola certezza che la gra 6bugia.
and a small truth is better than a great lie.
C. A. I08J; 338*] "°5«
Chi piv possiede piv debbe 2 temere di He who possesses most must be most
no perdere. afraid of loss.
W. XIII]
1186.
Chi uuole essere ricco in v dl 2e impic- He who wishes to be rich in a day will
cato in vn anno. be hanged in a year.
S. K. M. HI. 77 a]
1187.
E questo uomo a vna somma 2pazzia That man is of supreme folly who always
cioe che sepre steta per 3non stetare, e la wants for fear of wanting; and his life flies
uita a lui * fugie sotto speraza di godesre i away while he is still hoping to enjoy the good
beni con somma fatica ac6quistati. things which he has with extreme labour acquired.
B.
1188.
Se tu • avessi • il corpo secodo la virtu •, If you governed your body by the rules
of virtue you would not walk on all fours
in this world.
cresci I reputatione come il pane You grow in reputation like bread in the
I mano a' putti. hands of a child.
Rules of tu . no carpesti 2 in questo modo ;
Life
(1188-1202).
Tr. 2]
Saluatico e quel che si salua.
1189.
Savage he is who saves himself
1184. 2. medici "destruttori di iute" aduque . . esse. 4. picholo. 5. verso . . ella pichola certeza.
1185. i. ci piv posiede. 2. no.
1186. i. richo nvdi. 2. empichato nvn.
1187. i. uomo . . soma. 2. pazia . . chessepre. 3. istctare ella uita seli. 5. soma faticha a. 6. quisslati
1188. i. settn . . capresti. 3. cressci.
1184. 2. Compare No. 856.
n88. The first sentence is obscure. Compare Nos. 825. 826.
1190— II94-]
MORALS.
297
E. 31 J] "90.
Non si debbe desiderare lo inpossibile. We ought not to desire the impossible.
H.3 706]
1191.
Dimada cosiglio a chi be si corregge;
2Givstitia vuol potetia, intellige3tia e
volonta, e si assomi^glia al re delle api;
s Chi no puniscie il male, co6mada che
si facci;
7 Chi piglia la biscia per la coda 8quella
poi lo morde;
9 Chi cava la fossa, quella I0gli ruina
adosso.
Ask counsel of him who rules himself well.
"Justice requires power, insight, and will;
and it resembles the queen-bee.
He who does not punish evil commands
it to be done.
He who takes the snake by the tail will
presently be bitten by it.
The grave will fall in upon him who
digs it.
H.3
1192.
1 Chi no rafrena la uolutta •, colle bestie
2 s' acopagni ;
3 No si puo avere maggior ne minor
signio^ria che quella di se medesimo;
s Chi poco pesa, molto erra;
6Piu facilmete si cotesta al pricipio,
7 che al fine;
8 Nessuno cosiglio e piv leale che 9 quello
che si da alle navr che soI0no in pericolo;
"Aspetti danno quel che si regie per I2gio-
vane sconsigliato.
The man who does not restrain wantonness,
allies himself with beasts.
Yon can have no dominion greater or less
than that over yourself.
He who thinks little, errs much.
It is easier to contend with evil at the
first than at the last.
No counsel is more loyal than that given
on ships which are in peril: He may expect
loss who acts on the advice of an inex-
perienced youth.
r. 39)
"93-
Dov' e piv sentimeto, 11 e piv martirio ; Where there is most feeling, there is the
gra martire. greatest martyrdom; — a great martyr.
H.I 166]
1194.
La memoria de' benifitj apres2so Pigra- The memory of benefits is a frail de-
titudine e fragile; fence against ingratitude.
3 Repredi 1' amico I segre^to , e laudalo Reprove your friend in secret and praise
I paleso; him openly.
s Non essere bugiardo del 6 preterite. Be not false about the past.
1190. i. debba.
1191. i-ioR. i. ach be si corege. 2. vol. 3. essi. 4. gia are delleave. 5. punisscie. 9. cicava. 10. glruina.
1193. i— 12 R. i. cholle. 3. po . . magior. 5. ci poco. 6. a pricipio. 8. nesuno chosiglio. 9. chessi da dalle. 10. pericholo.
ii. dano. 12. giovane scosiglo.
1193. piv ne martiri. 1194. i— 6 R. i. benifiti apre. 4. ellaldalo. Two Knes between I. 4 and I. 5 are effaced.
1190. The writing of this note, which is exceedingly minute, is reproduced in facsimile on PI. XLI
No. 5 above the first diagram-
VOL. U.
PP
298
MORALS.
— 1200.
C. A. 115*; 357*1 "95>
CoPERATIONE DELLA PATIETIA.
2 La patietia fa cotra alle ingiurie non
altrameti che si faccino i panni 3 contra del
freddo, jnperoche se ti mvltiplicherai li
pahi secondo la mvbtiplicatione • del fred-
do •, esso freddo • nocere no • potrk • ; simil-
mete alle 5 gradi ingivrie • cresci la patietia,
• e esse ingiurie offendere no ti po6tranno
la tua mete.
A SIMILE FOR PATIENCE.
Patience serves us against insults precisely
as clothes do against the cold. For if you
multiply your garments as the cold' increases,
that cold cannot hurt you; in the same way
increase your patience under great offences,
and they cannot hurt your feelings.
S. K. M. II.2 240]
1196.
Tanto e a dire be d'u tristo, 2quanto To speak well of a base man is much
a dire male d'u bono. the same as speaking ill of a good man.
H.2 12,*]
1197.
La invidia offede colla fitta 2 infamia, Envy wounds with false accusations, that
cioe col detrarre, 3la qual cosa spaveta la is with detraction, a thing which scares
virtu. virtue.
L. o-J
1198.
Decipimurvotisettemporefallimuretmos We are deceived by promises and time
2deridet curas; anxia vita nihil. disappoints us [2] . . .
L.
1199.
ILa pavra nascie piv tosto 2che altra
cosa. 1
Fear arises sooner than any thing else.
C. A. 75 J;
1200.
Siccome 1'animosita e pericolo di uita •
cosl la paura-e sicurita di quella;
2Le minaccie sol sono 3arme dello
minacciato;
Just as courage imperils life, fear pro-
tects it.
Threats alone are the weapons of the threa-
tened man.
•* H Dov' entra la uetura, la invidia • vi Wherever good fortune enters, envy lays
pone lo assedio e lo cobatte, e dond'ella si siege to the place and attacks it; and when
parte, vi lascia il dolore e petimeto; it departs, sorrow and repentance remain
behind.
5URaro cade chi ben camina; He who walks straight rarely falls.
1195. 2. allengiurie : altremeti . . chessi. 3. fredo jnpero chessetti . . sechondo. 4. esso fredo. 5. grade . . cressci . . essa ingiuria.
1196. . trissto.
1197. —3 R. i. lanvidia . . cholla. 2. chol. 3. spavete.
1198. . et mos. 2. nhil.
1199. —2 R. i. nasscic. 2. chosa.
1200. . sichome . . pericholo . . chosi . . sichurita. 3. iminacciato. 4. lanvidia . . essedio ello chobatte E . . lasscia il "dolore
he" pietimcto. 5. chade . . chamina. 6. laldi e pegio . . chosa dicho . . tu nolla. 7.. laldi e pegio is tu . . tu nollatcdi.
1198. 2. The rest of this passage may be rendered in various ways, but none of them give a satis-
factory meaning.
1201 — 1203-]
MORALS.
299
6 U Mai' e se laudi e peggio se ripredi la
cosa, dico se bene tu non la intedi;
7lMal fai se laudi e peggio se tu ri-
predi la cosa quado bene tu non la
intendi.
It is bad if you praise, and worse if you
reprove a thing, I mean, if you do not under-
stand the matter well.
It is ill to praise, and worse to reprimand
in matters that you do not understand.
G.
I2OI.
Senpre le parole che no soddisfano
alPorechio dello ,2auditore, li danno tedio
over rincrescimeto, e'l segnio di 3ci6 vedrai,
spesse uolte tali auditori essere ^copiosi di
sbadigli; adduque tu, che parli dinati a
omini s di chi tu • cierchi benivoletia, quado
tu vedi • tali pro6digi di ricrescimeto, abre-
uia il tuo parlare, o tu mu7ta ragionameto,
e se tu altrameti farai, allora in Io8co della
desiderata gratia tu acquisterai odio 9e
nimicitia;
10 E se vuoi vedere di queFche vn si
diletta sanza u^dirlo parlare, parla a lui
mutado diuersi ragioI2nameti, e quel dove
tu lo vedi stare inteto sanza I3sbadiglia-
meti o storcimeti di ciglia o altre varie
J4azione, sia cierto che quella cosa, di che
si parla, ^e quella di che lui si diletta, ecc.
Words which do not satisfy the ear of
the hearer weary him or vex him, and the
symptoms of this you will often see in such
hearers in their frequent yawns; you there-
fore, who speak before men whose good will
you desire, when you see such an excess of
fatigue, abridge your speech, or change your
discourse; and if you do otherwise, then
instead of the favour you desire, you will
get dislike and hostility.
And if you would see in what a man
takes pleasure, without hearing him speak,
change the subject of your discourse in talk-
ing to him, and when you presently se.e him
intent, without yawning or wrinkling his
brow or other actions of various kinds, you
may be certain that the matter of which you
are speaking is such as is agreeable to him &c.
Tr. n]
I2O2.
Mvouesi 1'amante per la cosa amata
come il senso • e lo sensibile, e co seco
s'uniscie 2e fassi vna cosa medesima;
3 1' opera e la prima cosa che nasce dal-
1' unione ; 4 se la cosa amata e vile •, 1' amate
si fa vile;
s Quando • la cosa " vnita e coueniete al
suo 6 vnitore •, li seguita • dilettatione • e pia-
cere e soddisfatione;
7 Quado F amate e givto all' amato, 11 si
riposa; 8 quado • il peso • e posato • 11 si
riposa.
The lover is moved by the beloved
object as the senses are by sensible objects;
and they unite and become one and the
same thing. The work is the first thing
born of this union; if the thing loved is
base the lover becomes base.
When the thing taken into union is per-
fectly adapted to that which receives it, the
result is delight and pleasure and satisfaction.
When that which loves is united to the
thing beloved it can rest there; when the
burden is laid down it finds rest there.
C. A. 64 £; 1971?]
1203.
La prima fama si fa etterna insieme
colli abitatori 2 della citta da lui edificata
o accresciuta;
There will be eternal fame also for the Politics
inhabitants of that town, constructed and(l2°3' I2°4)'
enlarged by him.
laoi. i. saddisfano. 2. alditore . . rincresscimeto. 3. uolte [alii] ttali vlditore. 4. chopiosi di sbavigli, 6. ricresscimeto . . ottu.
7. essettu altremeti . . allora illo. 8. cho. 9. ennimicitia. 10. Esse voi . . sanza vl. n. allui. 12. ecquel . . tullo.
13. sbadigliameti osstorcimeti. 14. azione . . di chessi. 15. ecquella . . lui si di che lui si diletta.
H02. i. lamata per la cosamato . . senso ella sensibbile e chosecho. 2. effassi. 3. ella . . chosa . . nasscie dell. 4. sella.
5. chosa . . choueniete . . essadisfatione. 8. li si riposato. 9. la cosasa chogni usscivta chol nostro intelletto.
1203. 2. dallui . . acressciuta. 3. obbedisscano esso mossi . . collogano co signiori "e costringano. 4. sagvinita . . roba sang-
1203. These notes were possibly written in preparation for a letter. The meaning is obscure.
POLITICS.
[I204.
JTutti i popoli • obbediscono e so mossi
da lor magniati •, e essi magniati • si colle-
gano e costringono coi signori * per 2 • vie :
o per sanguinitk • , o per roba : sangui-
nita, quado • i lor figlioli sono a similitudine
sdi statichi; sicurta & pegnio della lor dubi-
tata • fede; roba, quado • tu farai a ciascQ
d'essi 6murare vna casa o 2 dentro alia tua
citta, della quale lui ne tragga qual7ch'en-
trate • e trarra . . . 10 citta • cinque mila •
case • co trenta 8 mila abitatori •, e digregerai
tanta cogregatione di popolo che a simili-
tudine di capre Pu 'adosso all' altro stanno,
epiedo ogni parte di fetore e si fanno se-
meza di pestilete I0morte;
"E la citta si fa di bellezza copagnia
del suo nome e a te vtile di dati e fama
etterna del suo crescimeto.
All communities obey and are led by their
magnates, and these magnates ally themselves
with the lords and subjugate them in two ways:
either by consanguinity, or by fortune; by con-
sanguinity, when their children are, as it were,
hostages, and a security and pledge of their
suspected fidelity; by property, when you make
each of these build a house or two inside your
city which may yield some revenue and
he shall have . . . ; 10 towns, five thousand
houses with thirty thousand inhabitants, and
you will disperse this great congregation of
people which stand like goats one behind-
the other, filling every place with fetid smells
and sowing seeds of pestilence and death;
And the city will gain beauty worthy of
its name and to you it will be useful by
its revenues, and the eternal fame of its
aggrandizement.
Ash. II. 130]
1204.
Per matenere il dono pricipal 2 di natura
cioe liberta, trovo modo 3 da offedere e
difedere state assediati ^dali abitiosi tirani,
e prima dir6 del sisto mvrale, e acora
per che i popoli possino 6 matenere i loro
boni e giusti signiori.
To preserve Nature's chiefest boon, that
is freedom, I can find means of offence and
defence, when it is assailed by ambitious
tyrants, and first I will speak of the situation of
the walls, and also I shall show how commu-
nities can maintain their good and just Lords.
uinatri sanguinita . . assimilitudine. 5. tufiarai aciasscu. 6. casa [de] 02.. traga. 7. ettrrarra t br 10 citta . . mila casse.
8. edigregierai tanto . . assimilitudine. 9. allalstano . . oni . . fetore si fano . . pessilete. n. ella . . atte . . dati effaraa
. . cresscimeto.
1204. t. Istado assediati.
1204. Compare No. 1266.
III.
POLEMICS.— SPECULATION.
G. 47 «]
1205.
O speculatore de!2le cose, no ti laudare
^di conosciere le cose 4che ordinariameste
per se medesima la 6natura 7 conduce; 8Ma
rallegrati di co9nosciere il fine I0di quelle
cose che "son disegniate dalla I2mete tua.
Oh! speculators on things, boast not of Against
knowing the things that nature ordinarily (I20e5culj2o6
brings about; but rejoice if you know the
end of those things which you yourself
devise.
S, K. M. II.2
1206.
O speculator! • dello continvo moto,
qua*ti vani disegni in simile cerca avete
creati! 3 accopagniatevi colli cercatori del-
1'oro.
Oh! speculators on perpetual motion how
many vain projects of the like character you
have created ! Go and be the companions
of the searchers for gold.
C. A. 75 b; 219 b\
1207.
J bugiardi • interpret! di natura • affermano
P argieto viuo • essere comvne semeza a tutti
i metalli •, no si ricordado che la 2 natura
varia le semeze • secodo la diuersita delle
cose che essa vole produrre al modo.
The false interpreters of nature declare Against
that quicksilver is the common seed of every (faoyf^os
metal , not remembering that nature varies
the seed according to the variety of the things
she desires to produce in the world.
1205. i. hosspechulatori. 2. chose . . laldare. 3. conossciere. 6. per sua [natu] "[ordine]". 7. [ralmete] chonducie. 8. dicho.
9. nossciere. 10. chose.
I4o6. i. spechulatori. 2. ciercha ave creati. 3. acopagniatevi . . cierchator.
1207. i. interpe'tri . . chomvne . . attutti . . richordado chella. 2. sechodo . . chose . . produre.
I2O6. Another short passage in MS. I, referring pretl tra la natura e Porno, ma sol di quelli che non coi
also to speculators, is given by LIBRI (Hist, des Sciences cienni della natura , ma cogli effetti delle sue esperienze
math. Ill, 228): Sicche voi speculators non vi fidate delli anno esercitati i loro ingegni.
autori che anno sol col immaginatione volute farsi inter-
302
POLEMICS.
[I208—I2IO.
F.
1208.
E molti 2fecero bot^tega con I'ganni e
smiraculi 6finti, ingan?nado la sto8lta molti-
9tudine.
And many have made a trade of de-
lusions and false miracles, deceiving the stupid
multitude.
\.: . .,1
friars.
Tr. 68]
UFarisei-, frati • santi vol dire.U
1209.
Pharisees — that is to say, friars.
'* of
W. An. III. 241]
I abbreuiatori delle opere • fanno ingiu-
ria 2alla cognitione e allo amore, 3con-
ciosiache 1' amore di qualuche cosa e figli-
uolo 4d'essa cognitione; 1' amore se tanto
piu feruete, quanto la 6 cognitione e piu
certa, la qual 7 certezza nascie dalla cogni-
tione 8integrale di tutte quelle par9ti le
quali, essendo insieme vnite, I0conpongono
il tutto di quelle coirse che debbono essere
amate; 12che vale a quel, che per abbre-
uiare I3le parti di quelle cose che lui fa
^professione di darne integral noI5titia,
che lui lascia indietro la l6maggior parte
delle cose, di che il tutto ''e coposto?
1210.
Abbreviators do harm to knowledge
and to love, seeing that .the love of any
thing is the offspring of this knowledge,
the love being the more fervent in pro-
portion as the knowledge is more certain.
And this certainty is born of a complete
knowledge of all the .parts, which, when com-
bined, compose the totality of the thing which
ought to be loved. Of what use then is he who
abridges the details of those matters of which he
professes to give thorough information, while
he leaves behind the chief part of the things
of which the whole is composed? It is true
that impatience, the mother of stupidity,
egli e vero che la inpal8tientia, madre della praises brevity, as if such persons had not
^.4-s-tlt«4-««t A /-ii i<alQl 1 a r*li£» IQ i irio 1 o r\r"#*i nl*a • li fip 1r*r» nr ATI/MI rrh fr* cot-wA fK«r« f s\ or»mnt-o
stoltitia, e que^lla che lauda la breuita;
come se 20questi tali non avessino tato di
uita, 2Ich'elli seruisse a potere avere vna
"intera notitia d'un sol particulare co^me
e vn corpo vmano! e poi vogli24ono ab-
bracciare la mete di dio nella 25quale s'in-
clude 1' universe cara26tando e minuzzando
quella in ifinite 2 7 parti, come se 1' avessino a
anatomizzare;
28 O stoltitia vmana no 29favedi tu che
tu sei stato con teco 3°tutta la tua eta, e
non ai ancora 3I notitia di quella cosa che
tu piu possie32di, cioe della tua pazzia? e
vuoi po33i colla moltitudine de' soffi stichi
ingannare 3*te e altri, sprezzando le mate-
matiche scie^zie, nelle qual si contiene la
uerita, no36titia delle cose che in lor si cote-
gono; e vuoi 37pOi scorrere ne' miracoli e
scrivere ch' ai 3S notitia di quelle cose, di
che la mete vmana 39non e capace, e non
si possono dimostrare per ne4°ssuno esenplo
naturale, e ti pare avere ^fatto miraculi,
life long enough to serve them to acquire
a complete knowledge of one single subject,
such as the human body; and then they want
to comprehend the mind of God in which
the universe is included, weighing it minutely
and mincing it into infinite parts, as if they
had to dissect it!
Oh! human stupidity, do you not per-
ceive that, though you have been with yourself
all your life, you are not yet aware of
the thing you possess most of, that is of
your folly? and then, with the crowd of so-
phists, you deceive yourselves and others,
despising the mathematical sciences, in which
truth dwells and the knowledge of the things
included in them. And then you occupy
yourself with miracles, and write that you
possess information of those things of
which the human mind is incapable and
which cannot be proved by any instance from
nature. And you fancy you have wrought
miracles when you spoil a work of some
laoS. 2. fece hot. 6. inga. 10. ne sasi foperia cognoscitore de loro ingani essigli poniano.
laio. i. abreuiatori . . opre . f . fanno ingiuia. 2. cognitione [concosia che] e allo. 3. concosia chellamore . . effilol. 4. ella
(cogni] .more. 5. ettanto. 7. feruede certeza nasscie. 8. i integrate . . pa. 9. te le. 10. conpongano . . quella. it. sa che.
12. abreuiare. 13. parte. 15. chellui lassci indirieto. 16. magor. 17. chella. 19. chellalda . . chomesse. 21. chclli ser-
uissi. 22. da "sol" parlicutare. 24. ano abracciare . . nelle. 26. minvzando. 27. parte . . lavessino anatomizare. 28. (e
delle chose che] o. 29. tu [chett] chettu se. 31. chettu. 32. coe . . pazzia [vole] e volli. 33. i conila . . inganarc.
34. splezando. 35. ze nella. 36. cotegano e voi. 39. posso. 40. naturale letti. 41. tu gnasto. 42. spcchulativo. 43. chettu.
1209. Compare No. 837, 11. 54—57, No. 1296 (p. 363 and 364), and No. 1305 (p. 370).
1211. 1212.]
POLEMICS.
303
quado tu ai quastato vna tz opera d'alcuno
ingegnio speculative, e no «t'avedi che tu
cadi nel medesimo errore, 44 die fa quello
che denuda la piata deH'orna45mento de' sua
rami, pieni di fronde, miste co46li odoriferi
fiori o frutti, .... 48come fece Giv^stino,
abbreuiatore delle storie scritte da Trogo
s°P6peo, il quale scrisse ornatamente tutti
S'H eccelleti fatti delli sua antichi, li quali
e52ra pieni di mirabilissimi ornameti; e cos!
53conpose vna cosa ignuda, ma sol degna
d'ins^gegni inpatieti, li quali pare lor perder
sstanto di tenpo, quato quello e che e ado-
perato vtils6mete, cioe nelli studi delle opere
di nature e delle 57 cose vmane; Ma stieno
questi tali in conpa58gnia delle bestie; Nelli
lor cortigiani sieno cani e 59 i altri animali
pie di rapina e accompagniansi 6ocon loro
correndo sempre dietro , e seguita-
6lno 1' inoceti animali che co la fame alii
tem6zpi delle gra nevi ti uengono alle case,
dimanda63tori limosina come lor tutore.
speculative mind, and do not perceive that
you are falling into the same error as that
of a man who strips a tree of the ornament
of its branches covered with leaves mingled
with the scented blossoms or fruit
[48] as Justinus did, in abridging the histories
written by Trogus Pompeius, who had
written in an ornate style all the worthy
deeds of his forefathers, full of the most
admirable and ornamental passages; and so
composed a bald work worthy only of
those impatient spirits, who fancy they are
losing as much time as that which they
employ usefully in studying the works of
nature and the deeds of men. But these
may remain in company of beasts; among
their associates should be dogs and other
animals full of rapine and they may hunt
with them after , and then follow helpless
beasts, which in time of great snows come
near to your houses 'asking! alms as from
their master .
C. A. 187 6; 562,?]
I2II.
O matematici fate lume a tale er2rore !
3Lo spirito non a voce, perche dov'e
voce 4e corpo, e dove e corpo e occupa-
tio di losco, il quale inpediscie all'ochio il
ue6dere delle cose poste dopo tale loco;
?adunque tal corpo enpie di .se tutta 8la
circustante aria, cioe colle sua s^petie.
O mathematicians shed light on this error. , On sPirits.
, (1211—1213).
The spirit has no voice, because where
there is a voice there is a body, and where
there is a body space is occupied, and this
prevents the eye from seeing what is placed
behind that space; hence the surrounding air
is rilled by the body, that is by its image.
B.
1212.
No puo essere voce, dove non e movi-
meto e percussione d'aria; 2no puo essere
percussione d'essa aria, doue non e stru-
meto ; 3 no puo essere strumeto incorporeo ;
esse^do cosl, vno spirito no puo avere ne
voce ne forma ne forza, 5e se pigliera
corpo, non potra penetrare ne 6entrare
doue li usci sono serrati; 7e se alcuno di-
ciesse : per aria cogregata 8 e ristretta isieme
lo spirito piglia i corpi 9 di uarie • forme •, e
There can be no voice where there is no
motion or percussion of the air; there can
be no percussion of the air where there is
no instrument, there can be no instrument
without a body; and this being so, a spirit
can have neither voice, nor form, nor strength.
And if it were to assume a body it could
not penetrate nor enter where the passages
are closed. And if any one should say
that by air, compressed and compacted
44. cheffa. 45. misto. 46. offrutti sopra dimostra. 47. que en quella piata esser da fare [bene]. 48. di [molte] lun se
tavole come fece givs. 49. abreuiatore . . da troc. 50. popeo il . . tuti. 51. eceletti. 53. inuda . . degnia di. 55. quel-
loche. 56. coe . . dele. 57. questi. 58. cortigani sie. 59. a altri . . rapina e aconpagniasi. 60. senpre dirieto ach fuge.
61. alii ten. 62. uengano . . casi. 63. lor tutore essnull here the text breaks off.
mi. i. attale. 4. e do e corpo e ochupatio. 5. cho. 6. posste . . locho. 7. dal. 8. coe.
1111. i. no po. 2. no po. 3. no po. 4. no po . . voce "| ne forma" ne forza. 5. esse. 6. sera "ti". 7. esse . . diciessi perr.
8. chorpi. 9. quelo. 10. Acquesta . . dicho. n. none nerui e ossa non po. 12. operrata inessuno. 14. fugi. 15. isperieza.
1210. 48. Givstino , Marcus Junianus Justinus,
a Roman historian of the second century, who com-
piled an epitome from the general history written
by Trogus Pompeius, who lived in the time of
Augustus. The work of the latter writer no longer
exist.
POLEMICS.
[1213.
per quello strumeto parla I0e move co
forza, a questa parte dico, Mche doue non
sono nerui e ossa, non pu6 esseI2re forza-
operata in nessuno movimeto '-Jfatto dagl'
imaginati spiriti;
M fuggi i precetti • di quelli • speculator!,
che le loro 'Sragioni- no son • confermate •
dalla • spericza.
together, a spirit may take bodies of
various forms and by this means speak
and move with strength— to him I reply that
when there are neither nerves nor bones
there can be no force exercised in any kind
of movement made by such imaginary spirits.
Beware of the teaching of these specu-
lators, because their reasoning is not conf
med by experience.
W. An. II. 242*5 (-N-)]
1213.
Delli discorsi vmani stoltissimoeda essere
riputato quello, il qual s'astcde a!2la credu-
lita della negromatia, sorella della alchimia,
partoritricie deWe cose senplici e naturali;
Ma e tanto piu degnia di riprensio«ne che
P alchimia, quato ella non partorisce alcuna
cosa se no simile a se, scioe bugia; il che
non interviene nella alchimia, la quale &
ministra6tricie de' senplici prodotti della na-
tura, il quale vfitio fatto esser no puo 1 da
essa natura, perche in lei non sono stru-
meti organici colli quali essa possa operare
quel 8che adopera Puomo mediante le
mani, che in tale vfitio 9 a fatti i vetri
ecc. ; ma essa negromatia, stendardo ovvero
bandiera I0volante, mossa dal ueto, e guida-
tricie della stolta moltitudine, la quale "al
continuo testimonia collo abbaiameto d'in-
finiti effetti di tale I2arte; e uano epiuti i
libri, affermando che 1'incati e spiriti ado-
perino ^e sanza lingua parlino, e sanza
strumeti organici, saza i quali ^parlar no
si puo, parlino, e portino gravissimi pesi,
facino tepestare xs e piovere, e che li omini
si covertino il gatte, lupi e altre bestie,
I6benche in bestia prima etra quelli che tal
cosa afifermano;
17 E cierto, se tale negromatia fusse in
essere, come dalli bassi ingiegni e creduto,
l8nessuna cosa & sopra la terra che al
danno e seruitio dell'orno fusse di tanta
valitudine, perche se fus^se vero, che in tale
arte si avesse potetia di far turbare la tra-
quilla serenita dell' ari20a, convertendo quella
in notturn aspetto, e far le corruscationi o
venti con spa2Ivetevoli toni e folgori scorreti
infra le tenebre, e con Ipetuosi venti ruinare
Of all human opinions that is to
reputed the most foolish which deals wit
the belief in Necromancy, the sister of Al-
chemy, which gives birth to simple and natura
things. But it is all the more worthy of
reprehension than alchemy, because it brinj
forth nothing but what is like itself,
is, lies; this does not happen in Alchemy
which deals with simple products of natur
and whose function cannot be exercised
by nature itself, because it has no organic
instruments with which it can work,
men do by means of their hands, who have
produced, for instance, glass &c. but this
Necromancy the flag and flying banner, blov
by the winds, is the guide of the stupic
crowd which is constantly witness to the
dazzling and endless effects of this art; and
there are books full, declaring that enchant-
ments and spirits can work and speak without
tongues and without organic instruments -
without which it is impossible to speak -
and can carry heaviest weights and raise stor
and rain; and that men can be turned into cats
and wolves and other beasts, although indeed
it is those who affirm these things who
became beasts.
And surely if this Necromancy did exist,
as is believed by small wits, there
nothing on the earth that would be of so
much importance alike for the detriment and
service of men, if it were true that there
were in such an art a power to disturb the
calm serenity of the air, converting it into
darkness and making coruscations or winds,
with terrific thunder and lightnings rushing
through the darkness , and with violent
1213. Above the text is the note: seguita quel che macha dirieto alia facia del pie. x. Ma dalli disscorsi . . essere [tenuto] "re
putato" . . sasstede 2. archimia. 3. lie chose [naturali] senplici . . ettanto . . ripresi. 4. chellarchimia . . partorissce . .
chosa . . asse. 5. (parole] "cioe bugia" il che none . . archimia . . e [vfit] minisstra. 6. dalla. 7. illei none . . orgha-
nici [da potcr] "cholli quali" essa. &. lomo [il quale] mediante. 9. affatti e vetri . . stendar "do" over. 10. ueto guidatricie.
ii. chontinuu e tesstimonia chollo. 12. epiute . . chellinchati esspiriti. 13. essanza . . essanza . . saza. 14. po . . tepesstare. .
15. chelli . . ghattc. 16. che dattal chosa. 17. eccierto senate . . fussi . . chome. 18. chosa essopra . . al "danno e"
seruitio . . fussi . . tanta [vtilita] "valitudine" perchesse fu. 19. si . . arte [fussi] si avessi . . turbare [laria] la. 2. chon-
vertendo . . inotturnasspetto eflarle corrusscationi . . chon isspa. ax. effolgo"ri" . . infralle . . e chonni pctuosi. 22. dira-
I2I4-]
POLEMICS.
305
22 li alti edifiti, e diradicare le selue, e con
quelle percuotere li eserciti, e quelli 23ron-
pedo e atterrado, e oltr' a questo le dannose
tenpeste, privando li cultori 2^del premio
delle lor fatiche, — o qual modo di guerra
puo essere, che con tanto dan25no possa
offendere il suo nemico di aver potesta di
privarlo delle sue raccolte? qual bat26taglia
marittima puo essere che si assomigli a
quella? dico lui che comada alii veti 2?e fa
le fortune ruvinose e sommergitrici di qual-
unche armata, — cierto quel che 28co mada
a tali inpetuosi potetie sara signore delli
popoli, e nessuno vma29no ingiegnio potra
resistere alle sue dannose forze; Li occulti
tesori e 3°giemme, riposte nel corpo della
terra, fieno a costui tutti manifest!; nessun
S'serrame o fortezza inespugnabili sara
quelle che saluar possino a!32cuno sanza
la voglia di tal negromate; Questo si fara
portare per 1'aria dal^l'oriente all'occidete
e per tutti li oppositi aspetti dell' universe ;
Ma perche mi voglio piu oltre estendere?
quale e quella cosa che per ta35le arteficie
far no si possa? quasi nessuna, eccietto il
levarsi la morte; ad36dunque e concluso
in parte- il danno e la vtilita che in tale
arte si contiene, esse37do vera; e s'ella e
vera, perche non e restata infra li omini
che tanto la deside38rano, non avedo riguardo
a nessuna deita ? e so, che infiniti ce n'e, che
per soddisfare 39 a vn suo appetite, ruine-
rebbero Iddio co tutto 1' universe ; e s' ella
non e rimasto infra 4°li omini, essendo a lui
tanto neciessaria, essa no fu mai, ne mai
e per dovere essere, 4Iper la difinitio dello
spirito, il quale e invisibile in corpo ; e
dentro alii eleme42ti non sono cose incor-
poree, perche doue non e corpo, e vacuo,
e il uacuo no si da dentro alii elemeti,
perche subito sarebbe dall'elemeto riepiuto;
| volta carta.
storms overthrowing high buildings and rooting
up forests ; and thus to oppose armies, crushing
and annihilating them; and, besides these
frightful storms may deprive the peasants of
the reward of their labours. — Now what
kind of warfare is there to hurt the enemy
so much as to deprive him of the harvest?
What naval warfare could be compared
with this? I say, the man who has power
to command the winds and to make ruinous
gales by which any fleet may be sub-
merged,— surely a man who could com-
mand such violent forces would be lord of
the nations, and no human ingenuity could
-resist his crushing force. The hidden trea-
sures and gems reposing in the body of the
earth would all be made manifest to him.
No lock nor. fortress, though impregnable,
would be able to save any one against
the will of the necromancer. He would
have himself carried through the air from
East to West and through all the opposite
sides of the universe. But why should I
enlarge further upon this? What is there
that could not be done by such a crafts-
man? Almost nothing., except to escape
death. Hereby I have explained in part
the mischief and the usefulness, contained
in this art, if it is real; and if it is real why
has it not remained among men who desire it
so much, having nothing to do with any deity?
For I know that there are numberless people
who would, to satisfy a whim, destroy God and
all the universe; and if this necromancy, being,
as it were, so necessary to men, has not been
left among them, it can never have existed,
nor will it ever exist according to the definition
of the spirit, which is invisible in substance;
for within the elements there are no incorpo-
rate things, because where there is no body,
there is a vacuum; and no vacuum can exist
in the elements because it would be imme-
diately filled up. Turn over.
W. An. II. 242 a]
1214.
DELLI SPIRITI.
OF SPIRITS.
2Abiao insin qui dirieto a questa faccia We have said, on the other side of this
detto, 3 come la difinitio dello spirito 4 e vna page, that the definition of a spirit is a
potentia congiunta al corpo, perche per se power conjoined to a body; because it cannot
dichare 1« piante "selue" e chon . . perchotere . . ecquelli. 23. oltradiquesto . . tenpesste . . chultori. 24. ghuerra po
. . chon. 25. nemicho aver potessta . . richolte . . ba. 26. po . . chessi . . acquella dicho . . chomada. 27. effa . .
essomergitrici. 28. chomada attali. 29. resisstere . . ocholti. 30. gieme . . chorpo . . achosstu . . nessu. 31. fortezza
[chef] inepugr.abili . . chessalvar. 32. chuno. 33. lloriente . '. opositi asspetti. 34. mi voio piu oltre asslendendo . . chosa
che pera. 36. choncluso "in parte" il ella . . chontiene. 37. essella . . none e resstata infralli . . chetta deside. 38. e'ssol
che infiniti ciene . . saddisfare. 39. ruinerebono . . cho . . essella. 40. allui tanta (?) . . mai nemmai. 41. chorpo. 42. none
chose inchorporee . . chorpo e vachuo . . vachuo.
1314. 2. acquesta . . decto. 3. chome . . spirito [e vn ome noch]. 4. chongiunta. 5. alchuna . . lochale. 6. essettu . . reggha
VOL. II. QQ
3o6
POLEMICS.
medesimo sreggiere no si pu6, ne pigliare
alcuna sorte di moto locale, 6e se tu dirai
che per se si regga, questo essere non
pud ?dentro alii elemeti, perche se lo spi-
rito e quatita incor8porea, questa tal quan-
tita e detta vacuo, e il ua^cuo non si da
in natura; e dato che si desse, subito sa-
I0rebbe riempiuto dalla ruina di quello ele-
mento nel "qual il uacuo si gienerasse;
adunque per la difinition del peI2so che
dicie, la grauita e vna potetia accidentale
creata '3 d' alcuno elemento tirato o sospinto
nelPaltro, seguita, che '^nessuno elemeto,
non pesando nel medesimo elemeto, e' pe-
'Jsa nell' elemeto superiore ch'e piu lieve-
di lui; come si uede l6la parte dell'acqua
non a gravita o leuita piu che 1'altra
'Jacqua, ma se tu la tirerai nell' aria, allora
ella acqui:8stera gravezza, e se tu tirerai
Paria ^sotto 1'acqua, allora 1'acqua, che
si trova sopra tale 20aria, acquista gravezza,
la qual gravezza per se sostener 2Inon si
pud, onde 11 e neciessario la ruina, e cosl
cade infra "1'acqua in quel loco ch'e va-
cuo d'essa acqua; tale ac^caderebbe nello
spirito, stando infra li elemeti, che al 24 con-
tinuo gienererebbe vacuo in quel tale elemeto,
dove 25lui si trovasse, per la qual cosa 11
sarebbe neciessario la con26tinua fuga in-
verso il cielo, insinche vscito fusse di tali
2? elemeti.
SE LO SPIRITO TIENE CORPO INFRA LI 29£LE-
MENTI.
3°Abbia provato, come lo spirito non
puo per se stare infra li 3 'element! sanza
corpo, ne per se si pu6 mouere per moto
vo32lontario, se non e allo in su; Ma al
presente diremo co33me, pigliando corpo
d'aria tale spirito, e necies34sario che s'in-
fonda infra essa aria, perche, s'elli stesse
vnito, 35 e' sarebbe separate e caderebbe
alia gieneratio del uacuo, 36 come di sopra
e detto; addunque e neciessario che, a
volere 37restare infra I'aria, che esso s'in-
fonda in una quatita d'aria; e 38se si mista
coll' aria, elli seguita due inconvenienti,
cioe 39 che elli leuifica quella quatita del-
1'aria dove esso si mista, e 4°per la qual
cosa I'aria leuificata per se uola in alto,
move of its own accord, nor can it have any
kind of motion in space; and if you were
to say that it moves itself, this cannot be
within the elements. For, if the spirit is an
incorporeal quantity, this quantity is called a
vacuum, and a vacuum does not exist in nature ;
and granting that one were formed, it would
be immediately filled up by the rushing in of
the element in which the vacuum had been
generated. Therefore, from the definition of
weight, which is this — Gravity is an accidental
power, created by one element being drawn
to or suspended in another — it follows that
an element, not weighing anything compared
with itself, has weight in the element above
it and lighter than it; as we see that the
parts of water have no gravity or levity com-
pared with other water, but if you draw it
up into the air, then it would acquire weight,
and if you were to draw the air beneath the
water then the water which remains above
this air would acquire weight, which weight
could not sustain itself by itself, whence
collapse is inevitable. And this happens in
water; wherever the vacuum may be in this
water it will fall in ; and this would happen with
a spirit amid the elements, where it would con-
tinuously generate a vacuum in whatever ele-
ment it might find itself, whence it would be
inevitable that it should be constantly flying to-
wards the sky until it had quitted these elements.
AS TO WHETHER A SPIRIT HAS A BODY AMID
THE ELEMENTS.
We have proved that a spirit cannot exist
of itself amid the elements without a body,
nor can it move of itself by voluntary motion
unless it be to rise upwards. But now we
will say how such a spirit taking an aerial
body would be inevitably melt into air; be-
cause if it remained united, it would be
separated and fall to form a vacuum, as
is said above; therefore it is inevitable, if
it is to be able to remain suspended in the
air, that it should absorb a certain quantity
of air; and if it were mingled with the air,
two difficulties arise; that is to say: It
must rarefy that portion of the air with
which it mingles; and for this cause the
rarefied air must fly up of itself and will not
. . po. 7. perchessello . . inchor. 8. quantita [se] e decta vachuo. 9. chuo . . dato che se dessi subita. 10. reimpiuto
ellemento. 11. uachuo si gienerassi. 13. ossosspinto. 14. ellemeto . . chome. 16. olleuita ellaltra. 17. massetti. 18. esscttu.
19. chessi. 20. sosstener. 21. po onde le neciessario: chosi chade. 22. locho. 23. chaderebbe . . infralli. 24. chontinuo
gienerrebbe. 25. trovassi . . chosa . . chon. 26. fugha . . vsscito fussi. 27. [adunque di reno]. 28. sello . . chorpo
infralli. 30. losspirito . . infralli. 31. chorpo . . po. 32. sennon . . direno cho. 33. chorpo daria chettale. 34. chesiin-
fonda . . perchesselli. 35. seperato e chadrebbe . . uachuo. 36. Chome . . decto. 37. resstare . . nuna. 38. ssesi . .
chollaria . . coe. 39. leuificha . . missta. 40. chosa . . leuifichata . . ressta. 41. infrallaria. . a di questo. 42. disunisscie.
I2I5-]
POLEMICS.
307
e non resta 4I infra 1'aria piu grossa di lei;
e oltre a questo tal uirtu t2 spirituale
sparsa si disuniscie e altera sua natura, per
la qual 4^ cosa essq maca della prima virtu ;
aggiugnesi vn 3° inco^veniente, e . questo
e, che tal corpo d'aria, preso dallo spirito,
e 45Sottoposto alia penetratio de' venti, li
quali al continue disu46niscono e stracciano
le parti vnite dell' aria, quelle rivolgie^do
e raggirando infra Paltra aria; adunque lo
spirito, in tale
remain among the air that is heavier than
itself; and besides this the subtle spiritual
essence disunites itself, and its nature is
modified, by which that nature loses some of
its first virtue. Added to these there is a
third difficulty, and this is that such a body
formed of air assumed by the spirits is exposed
to the penetrating winds, which are inces-
santly sundering and dispersing the united
portions of the air, revolving and whirling
amidst the rest of the atmosphere; therefore
the spirit which is infused in this
W. An. II. 201 b (M)]
1215.
aria infuso, sarebbe smebrato overo sbra-
nato e 2rotto insieme collo sbranameto dell'
aria, nella qual s' infuse.
SE LO SPIRITO, AVEDO PRESO CORPO * D'ARIA,
SI PUO PER SE MOVERE O NO.
slnpossibile e che lo spirito, infuso a una
quatita d'aria, 6possa movere essa aria; e
questo si manifesta per la passa?ta dove
dice Tllo spirito leuifica quella quatita del-
1'aria, 8 nella quale esso s'infonde; adunque
tale aria 9si leuera in alto sopra 1'altra
aria, e sara moto fatto dell'aI0ria per la
sua leuita e no per moto volontario dello
spirito, e "se tale aria si scontra nel
ueto per la 3a di questo, essa I2aria sara
mossa dal ueto e no dallo spirito in lei
infuso.
SE LO SPIRITO PUO PARLARE O NO.
^Volendo mostrare, se lo spirito pud
parlare o no, e necies'Ssario in prima di-
finire che cosa e uocie, e come si gienel6ra ;
e diremo in questo modo: la vocie e mo-
vime^to d'aria confricata in corpo denso,
e '1 corpo denso I8confricato nell'aria che
e il medesimo, la qual co^fricatione di
denso con raro condensa il raro e fassi
resis20tetia , e ancora il uelocie raro nel
tardo raro si condensa2 'no 1'uno e Paltro
ne' contatti, e fanno suono e grandissimo
"strepito; e il suono ovvero mormorio fatto
dal raro 2^che si move nel raro co medi-
air would be dismembered or rent and
broken up with the rending of the air into
which it was incorporated.
AS TO WHETHER THE SPIRIT, HAVING TAKEN
THIS BODY OF AIR, CAN MOVE OF ITSELF OR NOT.
It is impossible that the spirit infused into
a certain quantity of air, should move this air;
and this is proved by the above passage
where it is said: the spirit rarefies that por-
tion of the air in which it incorporates itself;
therefore this air will rise high above the
other air and there will be a motion of the
air caused by its lightness and not by a
voluntary movement of the spirit, and if this
air is encountered by the wind, according to
the 3rd of this, the air will be moved by the
wind and not by the spirit incorporated in it.
AS TO WHETHER THE SPIRIT CAN SPEAK OR NOT.
In order to prove whether the spirit can
speak or not, it is necessary in the first
place to define what a voice is and how it
is generated; and we will say that the voice is,
as it were, the movement of air in friction
against a dense body, or a dense body
in friction against the air, — which is the
same thing. And this friction of the dense
and the rare condenses the rare and causes
resistance; again, the rare, when in swift
motion, and the rare in slow motion con-
dense each other when they come in contact
and make a noise and very great uproar;
43. chosa . . macha . . agiugnecisi. 44. ecquesto he chettal. 45. sottopossto . . venetratio . . chontinuo. 46. nisscano
esstracciano le parte. 47. ragirando infrallaltra . . losspirito in tale •/•
1215. i. issmebrato . . sbranato er. 2. chollassbranameto. 3. sello . . aveto . . chorpo . . po per . . onno. 5. Inpossibile che
chello. 6. ecquesto. 7. losspirito leuificha. 9. essara. n. essettale . . quessto. 13. sello sspirito po . . onno. 14. mos-
strare sello. 15. chosa . . chome. 16. quessto modo. 17. confrighata in chorpo . . chorpo. 18. chonfrighato. 19. fre-
ghatio . . chon . . chondensa . . effassi. 20. steti e anchora. 21. ellaltro . . chontatti effanno sono. 22. sono over . . fac-
to . . raro [nel ra]. 23. [ro] chessi . . cho . . chome. 24. fiama . . soni infrallaria. 25. rarro co raro ecquando.
308
POLEMICS.
[1216.
ocre movimeto, come 24la gra fiamma gie-
neratricie di suoni infra 1'aria; e '1 grandissi-
»5mo strepito fatto di raro co raro, e quando
il uelocie ra26ro penetra in mobile raro,
come la fiama del foco vsci2?ta dalla bo-
barda, e percossa infra 1'aria, e ancora la
fiamma 28vscita dal nuvolo percuote 1'aria
nella gieneratio delle saette; 2*Addunque
diremo che lo spirito non possa gienerar
vocie sanza 3°movimento d'aria, e aria in
lui non e, ne la pu6 cacciare da se 31 se elli
no 1'a, e se uol movere quella, nella quale
lui e infuso, 32 egli e neciessario che lo spi-
rito multiplichi, e multiplicar no 33pV6 se
lui non a quatita; e per la 4* che dicie:
nessuno raro 34 s\ move se non a loco sta-
bile, donde lui pigli il movimeto, e 35mas-
simamete auendosi a mouere lo elemento
nello elemeto 36il quale no si move da se,
se no per vaporacione vniforme al cietro
della 37cosa vaporata, come accade nella
spugnia ristretta **'m nella mano- che sta
sotto 1' acqua, dalla qual 1'acqua fuggie per
qua^^lunche verso con equal movimeto per
le fessure interposte infra *°\e dita della
man che dentro a se la strignie;
•J'Selo spirito a vocie articulata, 42e se
lo spirito puo essere audito, 43e che cosa
e audire e vedere; 44l'6da della vocie va
45 per 1'aria come le spetie delli 4<sobbietti
vanno all'ochio.
and the sound or murmur made by the rare
moving through the rare with only mo-
derate swiftness, like a great flame gene-
rating noises in the air ; and the tremen-
dous uproar made by the rare mingling
with the rare, and when that air which is
both swift and rare rushes into that which is
itself rare and in motion, it is like the
flame of fire which issues from a big gun and
striking against the air; and again when a
flame issues from the cloud, there is a con-
cussion in the air as the bolt is generated.
Therefore we may say that the spirit cannot
produce a voice without movement of the air,
and air in it there is none, nor can it emit
what it has not; and if desires to move
that air in which it is incorporated, it is
necessary that the spirit should multiply itself,
and that cannot multiply which has no quan-
tity. And in the 4th place it is said that no
rare body can move, if it has not a stable spot,
whence it may take its motion; much more
is it so when an element has to move within
its own element, which does not move of
itself, excepting by uniform evaporation at
the centre of the thing evaporated; as
occurs in a sponge squeezed in the hand
held under water ; the water escapes in every
direction with equal movement through the
openings between the fingers of the hand in
which it is squeezed.
As to whether the spirit has an articulate
voice, and whether the spirit can be heard,
and what hearing is, and seeing; the wave
of the voice passes through the air as the
images of objects pass to the eye.
Br. M. 1310]
1216.
Ogni quatita continva intellettualme2te
Nonentity, e diuisibile in infinite;
3 [Infra le • grandezze • delle • cose • che
sono infra noi 4 1' essere • del nulla tiene • il
principato •, e '1 suo • ofitio ss'estende • infra
le • cose • che non ano • 1' essere •, e la sua
Every quantity is intellectually conceiv-
able as infinitely divisible.
[Amid the vastness of the things among
which we live, the existence of nothingness
holds the first place; its function extends
over all things that have no existence, and
26. chome . . focho vssci. 27. della . . perchossa infrallaria e anchora la fiama. 28. vsscita del nugholo e perchote. 29. di-
reno chello. 30. nella puo chaccia ra dasse. 31. esse uol. 32. chello. 33. sellui . . nessuna. 34. locho. 36. move dasse se.
3J. chome acondo nella . . risstretta. 38. inella . . chessta . . lacq"a" della. 39. chon . interposste. 40. della ma
che . . asse lasstrlgnic. 41. sello . . artichulata. 42. essello . . po . . vldito. 43. chosa. 44. e [chon] loda. 45. echome.
I3i6. 3. Infralle grandeze . . chose chessono infrannoi. 5. sastende infralle chose . . ella. 8. alia sua. 9. soma. n. somare . .
1216. Compare No. 916.
12I7-]
SPECULATION.
309
6 essentia • risiede • apresso • del tenpo • infra
'1 preterite 7e '1 future, e nulla possiede
del presente; Questo nulla 8a la • sua • parte
equale • al tutto -, e '1 tutto • alia parte, 9e
'1 diuisibile • allo indiuisibile • ; e tal somma •
produce nella I0sua partitione come nella
multiplicatione, T ' e nel suo sommare • quanto
nel sottrare, come si dimostra I2 apresso
delli arimetici dello suo 10° carattere che
rap^presenta esso nvllo; E la podesta
sua non sie stende infra ^le cose di natura.]
js [Quello che e • detto • niete, • si ritrova
solo nel tenpo • e nelle l6 parole ; nel tenpo
si trova • infra '1 preterite • e 1 future, ^e
nulla ritiene del presente •, e cosl infra le •
parole delle col8se che si dicono • che non
sono . o che sono impossibili.]
^Apresso • del tenpo e' nulla • risiede
infra '1 preterito e '1 future, 20e niente pos-
siede del presente, e apresso di natura e'
s'ac2Iconpagnia infra le cose, inpossibili •,
onde per quel ch'e 22 detto • e' non a 1'es-
sere; 23lnperoche doue fusse 2^il nvlla, sa-
rebbe dato il uacuo.
its essence, as regards time, lies precisely
between the past and the future, and has
nothing in the present. This nothingness
has the part equal to the whole, and the
whole to the part, the divisible to the in-
divisible; and the product of the sum is the
same whether we divide or multiply, and in
addition as in subtraction; as is proved by
arithmeticians by their tenth figure which
represents zero ; and its power has not exten-
sion among the things of Nature.]
[What is called Nothingness is to be
found only in time and in speech. In time
it stands between the past and future and
has no existence in the present; and thus in
speech it is one of the things of which we
say: They are not, or they are impossible.]
With regard to time, nothingness lies
between the past and the future, and has
nothing to do with the present, and as to its
nature it is to be classed among things impos-
sible: hence, from what has been said, it has
no existence; because where there is nothing
there would necessarily be a vacuum.
Br. M. is6«]
ESEM.PLO DELLA SAETTA FRA NUVOLI.
1217.
2[O potente e gia animate strumento
delP artificiosa natura, 3a te no valedo le
tue gra forze ti couiene abbadonare la
traquilla vita e obbedire alia legie, 4 che Iddio
e '1 tepo diede alia gienitrice natura.]
7O quate volte furono vedute le ipav-
rite schiere 8de' delfini e de' gra tonni fu-
gire dal inpia tua furia, 9e tu, che...
I0fulminando gienerasti nel mare subita te-
pesta con gra busse e sommersione di nayili
co grajlde odameto, epiedo gli scoperti liti
degli ipavriti e sbigo I2 ttiti pesci, toglie-
dosi a te per lasciato mare rimasi in loco
divenivano soperchia e J3 abbondante preda
de' vicini popoli;
EXAMPLE OF THE LIGHTNING IN CLOUDS.
[O mighty and once living instrument of Reflections'
formative nature. Incapable of availing thy-^0",^1"^
self of thy vast strength thou hast to abandon
a life of stillness and to obey the law which
God and time gave to pro creative nature.]
Ah! how many a time the shoals of terri-
fied dolphins and the huge tunny-fish were
seen to flee before thy cruel fury, to escape;
whilst thy fulminations raised in the sea a
sudden tempest with buffeting and submer-
sion of ships in the great waves ; and filling the
uncovered shores with the terrified and desperate
fishes which fled from thee, and left by the sea,
remained in spots where they became. the abun-
dant prey of the people in the neighbourhood.
sottrare. 12. arismetrici della sua 10* caratta che re. 13. Ella . . nosistende. 15. Quello chche. 16. preterito hel.
17. infralle. 18. chessi dicono . . chessono, inpossibile. 20. posiede . . apresso. 21. infralle . . inpossibile. 23. fussi.
1*17. i. esseplo . . nvuolli. 2. chouene "abadonare la traquila vita" obedire. 3. chel che . . die. 4. natura a tette no ualse.
5. [\\\\\\\\\ haghagli arbri schiene cholle quali tu seghuitado la tua]. 6. [pleda aprivis sol chavi "chonvetro" aprendo cho
te pes], 8. dalfini . . tua | "tua" furia e cchupare. 9. ettu che chol veloce tramvre lalie cholla forci elluti choda. 10. fu-
minando gieneravi nel . . cho . . somersione . . cho. n. schoperti . . essbigho. 12. pessci . . atte . . loccho . . diveni-
vano superchava (?). 13. bodante pleda. 14. o tepo chonsumatore delle chose ateri volgiedole. 15. dai [lo] alle tratte
1217 — 1219. The character of the handwriting
points to an early period of Leonardo's life. It has
become very indistinct, and is at present exceedingly
difficult to decipher. Some passages remain doubtful.
SPECULATION.
[1218. 1219.
'<O tepo, velocie predatore 'sdelle cre-
ate cose, quati re, quati popoli ai tu di-
sfatti, e qual6te mutazioni di stati e vari
casi sono seguite dopo che la mara1 7vigliosa
forma di questo pescie qui mori I8per le
caverne e ritorte interiora; ''ora disfatto
dal tepo patiete giacci I questo chiuso loco ;
colle spolpate e ignivde ossa 20ai fatto
armadura e sostegnio al sopra posto
mote.
O rime, swift robber of all created things,
how many kings, how many nations hast thou
undone, and how many changes of states
and of various events have happened since
the wondrous forms of this fish perished
here in this cavernous and winding recess.
Now destroyed by time thou liest patiently in
this confined space with bones stripped and
bare; serving as a support and prop for the
superimposed mountain.
Br. M. 155*]
1218.
Rimase lo elemeto dell'acqua richiuso
Ifra li crescivti argini de' fiumi, e si vede
'1 mare 2jfra la crescivta terra 3e la cir-
cundatricie aria, avedo a fasciare e circon-
*scrivere la moltificata machina della terra,
e la sua sgrossezza, che staua fra 1'acqua
e lo elemeto del fuoco, 6rimaga molto ri-
stretta e privata dalla bisogniosa acqua; i
fivmi 7rimarrano senza le loro acque, la
fertile terra no madera piv leggieri 8frode,
no fieno piv i capi adorniti dalle ricascati
piate; tutti 9li animali no trovado da pa-
sciere le fresche erbe, morranno, e ma-
I0chera il cibo ai rapaci lioni e lupi e altri
animali che vivono "di ratto, e agli omini
dopo molti ripari coverra abadonare 12la
loro vita, e machera la gienerazione vmana;
a questo modo la fertile e fruttuosa terra
'^abandonata rimarra. arida e sterile e per
rlchivso omoI4re della acqua, rlchivsa nel
suo ventre, e per la vivace natura osserve-
'5ra alquato dello suo accrescimeto, tato
che passata la fredda e sol6ttile aria fia
costretta a terminare collo elemeto del fuoco ;
I7allora la sua superfice rimarra in riarsa
cienere, e questo fia il termine l8 della ter-
restre natura.
The watery element was left enclosed
between the raised banks of the rivers, and
the sea was seen between the uplifted earth
and the surrounding air which has to enve-
lope and enclose the complicated machine
of the earth, and whose mass, standing
between the water and the element of fire,
remained much restricted and deprived of
its indispensable moisture; the rivers will
be deprived of their waters, the fruitful
earth will put forth no more her light
verdure; the fields will no more be decked
with waving corn ; all the animals , finding
no fresh grass for pasture, will die and food
will then be lacking to the lions and wolves
and other beasts of prey, and to men who
after many efforts will be compelled to
abandon their life, and the human race will
die out. In this way the fertile and fruitful
earth will remain deserted, arid and sterile
from the water being shut up in its interior,
and from the activity of nature it will con-
tinue a little rime to increase until the cold
and subtle air being gone, it will be forced
to end with the element of fire; and then its
surface will be left burnt up to cinder and
this will be the end of all terrestrial nature.
Br. M. 156 £] I2IQ.
Perche la natura non ordino che 1'uno
animale no uivesse 2 dalla morte dell altro ?
^ la natura, essedo vaga e pigliado piacere
Why did nature not ordain that one
animal should not live by the death of
another? Nature, being inconstant and
vite nvuove e varie abitazioni [o quante]. 16. tepo [vlcitore] velocie pledatore. 17. chleate chose . . dissfatti. 10. disstati
e vari chasi sono seghuite poche la mara. 19. vgliosa forma di questo pesscie qui mori. 20. per lechavernole e ritorte
interiora. 21. ora "disfato dal tepo" pazete dicei . . locho cholle jsspogliate "spolpate". 22. sosstegnio . . possto.
iai8. i. dela acq"a" . . cresscivte argine. 2. jnfralla cressciuta tera. 3. chotra che la circhlatricie . . affasciare e circho.
4. moltifichata . . terra chella. 5. grosseza chesstaua . . fralla aqua . . fuocho. 6. rimagha . . dela . . aqua. 7. rima-
rano . . acq. 8. chapi adornide delle richasschati biade tuti. 9. morano. 10. cher il cibo a . . ellupe . . vano. n. rato
. . cho prvra. 12. vita | "e machera la gieneraziode vmana" a . . modo [la tera] fertile e frutuosa tera. 13. rimara alida
essterile. 14. "acq" . . per la la. 15. fredda esso. 16. chosstretta . . cholo . . fuocho 17. ri nara inriarsa (1) cienere.
18. teresstre.
laig. i. cho (I perche . . chelluno . . uivessi. 3. pro^f la . vagha . . del "creare e fare" "[fare]" chotinv. 4. effbrmc (incite
1217. 1218. Compare No. 1339, written on the same sheet
I2I9-]
SPECULATION.
del creare e fare cotin^ue vite e forme, per-
che cognisoscie che sono accrescimeto della
sua terrestre materia, 6e volonterosa e piv
presta col suo creare che '1 tepo col co-
?sumare; e pero a ordinato che molti ani-
mali sieno cibo Puno de!8l'altro; e no sod-
disfaciedo questo a simile desiderio, e' spesso
9mada fuora cierti avelenati e pestileti
vapori sopra le gra moltipliI0cazioni e co-
gregazioni d'animali, e massime sopra gli
omini, che fanno "grade accrescimeto, per-
che altri animali I2no si cibano di loro, e
tolte via le cagioni macheranno li effetti;
J3aduque questa terra cierca di macare di
sua vita, desiderado T*la continva moltipli-
cazione; per la tua assegniata e demon-
strata 'Sragione spesso li effetti sommigliano
le loro cagioni; gli animali sol6no eseplo
della vita modiale.
taking pleasure in creating and making con-
stantly new lives and forms, because she knows
that her terrestrial materials become thereby
augmented, is more ready and more swift in
her creating, than time in his destruction ; and
so she has ordained that many animals shall be
food for others. Nay, this not satisfying her de-
sire, to the same end she frequently sends forth
certain poisonous and pestilential vapours upon
the vast increase and congregation of ani-
mals; and most of all upon men, who in-
crease vastly because other animals do not
feed upon them; and, the causes being remo-
ved, the effects would not follow. This earth
therefore seeks to lose its life, desiring only
continual reproduction; and as, by the argu-
ment you bring forward and demonstrate, like
effects always follow like causes, animals
are the image of the world.
piv vite sopra la terra che] perche. 5. osscie chessono accresscimeto. 6. pressta chol . . chol cho. 8. sosdisfaciedo qussto
assimile . . esspesso. 9. vapori "e pestiletie chontinva pessta" sopra. 10. chazioni e cho greghazioni . . fano. n. accres-
scimeto . . altr. 12. chagione. 13. cho "| aduque . . ciercha . . machare. 14. chontinva moltiplichazione . . emosstra.
15. somigliano . . chagioni. 16. dela.
3/3
XX.
Humorous Writings.
Just as Michaelangelo" s occasional poems reflect his private life as well as the
general disposition of his mind, we may find in the writings collected in this section,
the transcript of Leonardo's fanciful nature, and we should probably not be far wrong in
assuming , that he himself had recited these fables in the company of his friends or at
the court festivals of princes and patrons. Era tanto piacevole nella conversazione -
so relates Vasari — che tirava a se gli animi delle genti. And Paulus Jovius says in
his short biography of the artist: Fuit ingenio valde comi, nitido, liberal!, vultu autem
longe venustissimo, et cum elegantiae omnis deliciarumque maxime theatralium mirificus
inventor ac arbiter esset, ad lyramque scito caneret, cunctis per omnem aetatem prin-
cipibus mire placuit. There can be no doubt that the fables are the original offspring
of Leonardo's brain, and not borrowed from any foreign source] indeed the schemes and
plans for the composition of fables collected in division V seem to afford an external
proof of this, if the fables themselves did not render it self-evident. Several of them —
for instance No. 1279 — are so strikingly characteristic of Leonardo's views of natural
science that we cannot do them justice till we are acquainted with his theories on suck
subjects ; and this is equally true of the 'Prophecies'.
I have prefixed to these quaint writings the 'Studies on the life and habits of
animals' which are singular from their peculiar aphoristic style, and I have transcribed
them in exactly the order in which they are written in MS. H. This is one of the
very rare instances in which one subject is treated in a consecutive series of notes , all
in one MS., and Leonardo lias also departed from his ordinary habits, by occasionally
not completing the text on the page it is begun. These brief notes of a somewhat mysterious
bearing have been placed here, simply because they may possibly have been intended to
serve as hints for fables or allegories. They can scarcely be regarded as preparatory
for a natural history; rather they would seem to be extracts. On the one hand the names
VOL. ii. RR
HUMOROUS WRITINGS.
of some of the animals seem to prove that Leonardo could not here be recording obser-
vations of his own ; on the other hand the notes on their habits and life appear to me
to dwell precisely on what must have interested him most — so far as it is possible to
form any complete estimate of his nature and tastes.
In No. 1293 lines I — IO, we have a sketch of a scheme for grouping the Proptie-
cies. I have not however availed myself of it as a clue to their arrangement here
because, in the first place, the texts are not so numerous as to render the suggested
classification useful to the reader, and, also, because in reading the long series, as tliey
occur in the original, ive may follow the author's mind; and here and there it is
not difficult to see hozv one theme suggested another. I Iiave however regarded
Leonardo's scheme for the classification of the Prophecies as available for that of tJie
Fables and Jests, and have adhered to it as far as possible.
Among tlie liumourous writings I might perhaps have included the 'Rebusses', of
• which there are several in the collection of Leonardo's drawings at Windsor; it seems
to me not likely tJiat many or all of them could be solved at the present day and the
MSS. throw 110 light on them. Nor should I be justified if I intended to include in
the literary works the well-known caricatures of human faces attributed to Leonardo —
of which, however, it may be incidentally observed, the greater number are in my
opinion undoubtedly spurious. Two only have necessarily been given owing to their
presence in text, which it was desired to reproduce: Vol. I page 326, and PI. CXXII.
It can scarcely be doubted that some satirical intention is conveyed by the drawing on
PI. LXIV (text No. 688;.
My reason for not presenting Leonardo to the reader as a poet is the fact tJiat
the maxims and morals in verse which have been ascribed to him, are not to be found
in the manuscripts, and Prof. Uzielli has already proved that they cannot be by him.
Hence it would seem that only a few short verses can be attributed to him witJi any
certainty.
STUDIES ON THE LIFE AND HABITS OF ANIMALS.
H.I 5«]
I22O.
AMORE DI UIRTU.
2 Cardellino • e • vno • vcciello • jl quale
3 si dice • che, essendo • esso • portato • di-
nanzi * a vno • infermo • che, se '1 detto • in-
fermo • desbe morire, questo • ucciello • li
uolta • la te6sta per lo • cotrario • e mai • lo
riguarda •, e se 7 esso infermo • debe • scam-
pare -, questo 8 vcciello • mai • 1'abandona • di
uista, anzi 9 e causa • di leuarli • ogni • malattia ;
10 Similmete e • 1' amore • di uirtu • ; no
guarITda • mai • cosa • vile •, ne trista; anzi
diI2mora • senpre • in cose oneste • e uirtuo-
T3se •, e rimpatria in cor gietile a si^mili-
tudine degli uccielli nelle uerdi selue 'Ssopra
•i fioriti rami-;e si dimostra piv l6esso
amore nelle auersita che nelle prosperi^ta,
faciedo come il lume che piv risplede l8doue
truova piv tenebroso • si to.
THE LOVE OF VIRTUE.
The gold-finch is a bird of which it is
related that, when it is carried into the pre-
sence of a sick person, if the sick man is
going to die, the bird turns away its head and
never looks at him; but if the sick man is to
be saved the bird never loses sight of him
but is the cause of curing him of all his
sickness.
Like unto this is the love of virtue. It
never looks at any vile or base thing, but
rather clings always to pure and virtuous
things and takes up its abode in a noble
heart; as the birds do in green woods on
flowery branches. And this Love shows itself
more in adversity than in prosperity; as light
does, which shines most where the place is
darkest.
1221.
INVIDIA.
ENVY.
2 Del nibbio • si leggie-, che quado esso We read of the kite that, when it sees
uede 3 i Sua figlioli nel nido esser di troppa its young ones growing too big in the nest,
gra4ssezza, che per invidia egli becca loro out of envy it pecks their sides, and keeps
le coste e tieSgli sanza magiare. them without food.
1230. 2. callendrino e uno. 4. chessel. 5. quessto. 6. esse. 7. isschanpare quessto. 9. chausa . . hogni. n. trissta. 12. hones-
ste he. 13. ripatria [senpre] in . . assi. 15. essi . . prossperi. 17. comelume . . rissplede.
IMI. 2. nibio si legie. 4. ssezza che "per inuidia" egli gli beccha . . cosste ettie. 6. allegreza. 7. lalegreza e apropriata.
HUMOROUS WRITINGS.
[1222. 1223.
ALLEGREZZA.
7 L* allegrezza • e appropriata • al gallo •
che 8d'ogni piccola • cosa • si rallegra e ca-
9ta • con vari e scherzati mouimeti.
TRISTEZZA.
"La tristezza • s'assomiglia al corbo, il
quale, I2 quado uede i sua nati figlioli esser
bia'^chi, che per lo grade dolore si parte
co tristo I4rammarichio, gl'abadona e no
gli pascie • I5Tsino che non gli vede alquate
poche pene l6nere.
CHEERFULNESS.
Cheerfulness is proper to the cock, which
rejoices over every little thing, and crows with
varied and lively movements.
v
SADNESS.
Sadness resembles the raven, which, when
it sees its young ones born white, departs in
great grief, and abandons them with doleful
lamentations, and does not feed them until it
sees in them some few black feathers.
H.I 6a]
1222.
PACE.
2 Del castoro si legge che, quado e
perse^guitato •, conosciedo • essere • per la
virtu •» de' sua medicinali • testiculi, esso no
postedo piv fuggire, si ferma, e per auere
6 pace coi cacciatori coi sua taglieti ?deti
si spicca i testiculi e li lascia a sua
8nimici.
IRA.
10 Dell* orso si dice che • quado va alle
case "delle api per torre loro il mele, esse
I2api cominciando a pugierlo, che lui la-
sci^a il mele e corre alia vendetta, e vole-
'*dosi co tutte quelle che lo mordono ve-
'sdicare, co nessuna si uedica, in modo
che la l6sua ira si couerte in rabbia,
e gittatosi J7in terra colle mani e coi
piedi inasprado I8indarno da quelle si di-
fende.
PEACE.
We read of the beaver that when it is
pursued, knowing that it is for the virtue
[contained] in its medicinal testicles and not
being able to escape, it stops; and to be at
peace with its pursuers, it bites off its testicles
with its sharp teeth, and leaves them to its
enemies.
RAGE.
It is said of the bear that when it goes
to the haunts of bees to take their honey,
the bees having begun to sting him he leaves
the honey and rushes to revenge himself.
And as he seeks to be revenged on all those
that sting him, he is revenged on none; in
such wise that his rage is turned to madness,
and he flings himself on the ground, vainly
exasperating, by his hands and feet, the
foes against which he is defending himself.
H.I 66]
1223.
GRATITUDINE.
2 La virtu • della gratitudine si dice
^ essere piv nelli uccielli detti upupa, «i
quali, conosciedo il benificio della sricie-
vuta vita e nvtrimeto dal pa6dre e dalla
lor madre, quado li uedo?no vechi fanno
loro vno nido e li 8covano e li nutri-
scono, e cava loro 9col becco le vechie
e triste penne, e I0co cierte erbe li redano
la uista, IJin modo che ritornano in pro-
sperta.
GRATITUDE.
The virtue of gratitude is said to be more
[developed] in the birds called hoopoes which,
knowing the benefits of life and food, they
have received from their father and their
mother, when they see them grow old,
make a nest for them and brood over them
and feed them, and with their beaks pull out
their old and shabby feathers; and then, with
a certain herb testore their sight so that they
return to a prosperous state.
8. pichola chosa . . echa. 9. couari esscerzati. 10. tristeza. n. tristeza sasomiglia al corb. 14. ramarichio. 15. nogli
. . poce.
ma. 2. he. 3. conossciedo. 5. fugire. 7. sisspicha . . elli lasscia assua. n. ave. 12. ave lo comiciato a pugiere o di lui
lassci. 13. core. 14. chello mordano. 15. imodo chella. 17. tero cholle mani eco . . inaspado. 18. dacquelle.
i«3. i. [miscericordia] over graditudine. 3. detti npica. 4. conossciedo .. nvtrimedo. 6. ueda. 7. fano . . elli. 8. elli notrisscano.
9. becho . . trisste. 10. cho . . redano. it. imodo. 13. rosspo si passcie . . essenpre.
1224— 1226.]
THE LIFE AND HABITS OF ANIMALS.
317
AVARITIA.
T3ll rospo si pascie di terra e senpre
'4sta macro, perche no si satia; tant'e J5il
timore che essa terra no li manchi.
AVARICE.
The toad feeds on earth and always
remains lean; because it never eats enough: —
it is so afraid lest it should want for earth.
H.I 7«]
1224.
INGRATITUDINE.
2 1 colonbi sono assimigliati alia 3 ingra-
titudine, inperoche quado 4 sono in eta che
non abbino piv bisoSgnio d'essere cibati,
cominciano a 6cobattere col padre; e no
finisce 7essa pugnia insino a tato che
8caccia il padre e togli la moglie sfacien-
dose la sua.
CRUDELTA.
"II basilisco • e di tanta crudelta che,
12 quado colla sua venenosa vista no puo
T3occidere li animali, si volta all'erbe "te
le piate, e fermado in quelle la sua Avista
le fa seccare.
INGRATITUDE.
Pigeons are a symbol of ingratitude; for
when they are old enough no longer to need
to be fed, they begin to fight with their
father, and this struggle does not end until
the young one drives the father out and takes
the hen and makes her his own.
CRUELTY.
The basilisk is so utterly cruel that when
it cannot kill animals by its baleful gaze, it
turns upon herbs and plants, and fixing its
gaze on them withers them up.
H.I 7fi]
1225.
LIBERALIT'
2Dell'aquila si dice che non a mai si
gra 3 fame-, che non lasci parte della sua
4preda-a quelli vcciegli che gli son 5din-
torno •, i quali, no potedosi per se 6pasciere,
e neciessario che sieno cor?teggiatori d' essa
aquila, perche in tal 8modo si cibano.
CORETTIONE.
10 Quado il lupo • va asentito intorno
1Ta qualche stallo di bestiame, e che per
iso I2esso poga il piede in fallo in modo
icci T3strepito, egli si morde il pie per
:orregJ4giere se da tale errore.
GENEROSITY.
It is said of the eagle that it is never
so hungry but that it will leave a part of
its prey for the birds that are round it, which,
being unable to provide their own food, are
necessarily dependent on the eagle, since it
is thus that they obtain food.
DISCIPLINE.
When the wolf goes cunningly round some
stable of cattle, and by accident puts his
foot in a trap, so that he makes a noise, he
bites his foot off to punish himself for his
folly.
H.I 8«]
LUSINGHE OVER SIRENE.
1226.
FLATTERERS OR SYRENS.
2 La sirena si dolcemete cata ^che ador- The syren sings so sweetly that she lulls
meta i marinari, e essa tmota sopra i na- the mariners to sleep; then she climbs upon
vili e occide li asdormetati marinari. the ships and kills the sleeping mariners.
1224. 4- abino. 5. comiciano. 6. finissce. 7. attato. 8. cacia . . toli. 9. rafaciendosela. n. basalisscio. 12. vissta nopo.
14. elle . . effermado . . lassua. 15. sechare.
1225. 3. nollassci. 4. acquelli . chelle. 6. passciere . . chessieno. 7. tegiatori. 9. corettione. 10. assentito. n. acqnalche.
12. imodo faci. 13. strepido . . percore. 14. tatale.
1226. i. lusingeover s\\\\\\e. 8. vcide. 9. semeza. 10. pascano. 13. caciatori Vesta. 14. core. 15. cho gra . . viciodale cordi.
HUMOROUS WRITINGS.
[1227. I22{
PRUDETIA.
7 La formica per naturale cosiglio 8pro-
vcde la state per lo uerno, uccide^do le
racolte semeze, perche no riI0nascino, e di
quelle al tenpo si pascono.
PAZZIA.
12 II bo saluatico avedo in odio il co-
'•lore rosso, i cacciatori vestono di rosso
Mil pedal d'una piata, e esso bo corre a
'Squella e co gran furia v'inchioda le corti-
I6ne, ode i cacciatori 1'uccidono.
PRUDENCE.
The ant, by her natural foresight pi
vides in the summer for the winter, 1
the seeds she harvests that they may not ge
minate, and on them, in due time she fee
FOLLY.
The wild bull having a horror of a red
colour, the hunters dress up the trunk of a
tree with red and the bull runs at this with
great frenzy, thus fixing his horns, and for
with the hunters kill him there.
H.I 8<5)
1227.
GlVSTITIA.
2E' si puo • assimigliare la uirtu della
giusti^tia allo re delle api, il quale ordina
•»e dispone ogni cosa co ragione, impero-
sche alcune api sono ordinate anda6re per
fiori, altre ordinate a Iavora7re, altre a co-
battere colle vespe, 8 altre a leuare le spor-
citie, altre 9 a accopagniare e corteggiare il
loro re ; e quaI0do e vecchio e saza ali, esse
lo portano, "e se ui vna maca di suo ofi-
tio, saza 12alcuna remissione e punita.
VERITA.
JUSTICE.
We may liken the virtue of Justice to
the king of the bees which orders and
arranges every thing with judgment. For
some bees are ordered to go to the flowers,
others are ordered to labour, others to fight
with the wasps, others to clear away all dir
others to accompagny and escort the 1
and when he is old and has no wings they
carry him. And if one of them fails in his
duty, he is punished without reprieve.
TRUTH.
^Benche le pernici rubino 1'oua Tuna Although partridges steal each other's egg
all'al'stra, nodimeno i figlioli nati d'esse nevertheless the young born of these egj
ova l6senpre ritornano alia lor uera madre. always return to their true mother.
1228.
FEDELTA OVER LEALTA.
2Le gru son tanto fedeli e leali al loro
re 3 che la notte, quado lui dorme, alcune
vat no dintorno al prato per guardare da
iQSga • ; altre ne stanno dapresso e tengono
6vno sasso ciascuna in pie, che se '1 son?no
le uincesse, essa pietra caderebbe e fa8rebbe
tal romore, ch'essi ridesterebbero ; e 9 altre
vi sono che insieme intorno al re dorI0mono,
e cio fanno ogni notte scabiadosi, "accio
che loro re no uogliono macare.
FIDELITY, OR LOYALTY.
The cranes are so faithful and loyal
their king, that at night, when he is sleeph
some of them go round the field to ke
watch at a distance; others remain nea
each holding a stone in his foot, so that
sleep should overcome them, this stone
would fall and make so much noise that
they would wake up again. And there are
others which sleep together round the king;
and this they do every night, changing in
turn so that their king may never find them
wanting.
16. iccaciatori loccidano.
1227. 2. dclagusti. 3. ave. 4. chosa . . ipero. 5. alchuna ave. 6. allauora. 7. chobottere cholle vesspe. 8. spurcitie. 9. aco-
pagnare e cortegi.Te loree. 10. essaza. u. esse . . macha. 14. benchelle.
1338. i. lialta. 2. allorere. 3. chella. 5. ettengano. 6. sasso [per] ciascuna . . chesselso. 7. vinciessi . . chaderebe efta. 8. rebe
. . ridesterebono. 9. chensieme . . are. 10. mano . . fano. n. acio chollorore no ue gli a machare. 13. torina dissga.
1229- 1230.]
THE LIFE AND HABITS OF ANIMALS.
319
FALSITA.
FALSEHOOD.
'3 La uolpe quado vede alcuna torma The fox when it sees a flock of herons
di sgar^ze o taccole o simili uccielli, subito or magpies or birds of that kind, suddenly
si gitta in ter'Sra in modo colla bocca flings himself on the ground with his mouth
aperta che par morta, I6e essi . uccielli le open to look as he were dead; and these
uogliono beccare la lingua, e essa J7gli birds want to peck at his tongue, and he bites
piglia la testa. off their heads.
H.I o/>]
1229.
BUGIA.
LIES.
cos! la bugia.
FORTEZZA.
2 La talpa-a li ochi molto • piccoli-, e The mole has very small eyes and it
senpre 3 sta • sotto • terra • e tanto • viue •, always lives under ground ; and it lives as
quanto essa 4sta occulta •, e come • viene long as it is in the dark but when it comes
alia luce 5 subito • more • perche si fa nota ; into the light it dies immediately, because it
becomes known; — and so it is with lies. '
VALOUR.
The lion is never afraid, but rather fights
with a bold spirit and savage onslaught
against a multitude of hunters, always
seeking to injure the first that injures him.
FEAR OR COWARDICE.
The hare is always frightened; and the
leaves that fall from the trees in autumn
always keep him in terror and generally put
him to flight.
7 II Hone • mai • teme •, anzi • co forte animo
8pugna co fiera battaglia contra la mol-
^titudine de' cacciatori •, senpre ciercado
I0offendere • il primo • che 1'offese.
TlMORE OVER UILTA.
12 La lepre senpre teme •, e le foglie che
ca'3dono dalle piate • per autunno senpre
la teI4gono in timore, e '1 piv delle volte
in fuga.
H.I
1230.
MAGNIANIMITA.
MAGNANIMITY.
2 II falcone no preda-mai-, se non uc- The falcon never preys but on large
celli 3 gross!., e prima si lascierebbe morire birdg. and it win let 'itsdf die rather than
che 4 si cibasse de' piccoli, o che mangiasse
fetida. feecl on ^tite ones' or eat stmkinS meat-
VANA GLORIA.
7 In questo vitio si legge del pavone es-
ser8li piu che altro animale sottoposto,
9 perche senpre contempla in nella bellezza
I0della sua coda, quella allargado in for1 'ma
di rota e col suo grido trae a se I2la uista
de' circustati animali;
'3 E questo • e 1' ultimo vitio che si possa
I4vinciere.
VAIN GLORY.
As regards this vice, we read that the
peacock is more guilty of it than any other
animal. For it is always contemplating
the beauty of its tail, which it spreads
in the form of a wheel, and by its cries
attracts to itself the gaze of the creatures
that surround it.
And this is the last vice to be conquered.
14. tacole ossimili . . sibito . . inte. 15. imodo . . bocha. 16. occielli . . uoglia becare . . e ess.
12*9. i. busia. 2. picioli essenpre. 3. ettonto. 4. occhulta e chome. 6. forteza. 7. ilione . . cho. 8. puglia. 9. caciaton.
10. chellofese. 12. elle . . che cha. 13. giano delle . . altunno. 14. gano.
1430. 2. senone ucieli. 3. lasscierebe. 4. chessicibassi de picholi. 5. feteda. 6. groria. 7. legie del pagone. 9. chontenpra inella
belleza. 10. chol . . asse.
320
IK MOROUS WRITINGS.
— 1233.
11. >
1231.
CoNSTANTIA.
' Alia costantia • s' assimiglia • la fenicc,
CONSTANCY.
Constancy may be symbolised by the
3 la quale intededo per natura la sua re- phoenix which, knowing that by nature it
^novatione-, e costante a sostenere le cuo- must be resuscitated, has the constancy to
centi 5 fiamme • le quali la cosumano, e poi endure the burning flames which consume it,
6di novo rinascie.
INCOSTANTIA.
8 II rondone si mette per la incostantia,
oil quale senprc sta in moto • per no sop-
portaI0re alcuno minimo disagio.
TEPERAZA.
12 II camello e il piv • lussurioso animate
•3 che sia, e andrebbe mille miglia dirieto a
vna ^camella-, e se vsasse cotinvo co la
niadre o soisrelle, mai le tocca; tato si sa
be tcperare.
and then it rises anew.
INCONSTANCY.
The swallow may serve for Inconstancy,
for it is always in movement, since it cannot
endure the smallest discomfort.
CONTINENCE.
The camel is the most lustful animal
there is, and will follow the female for a
thousand miles. But if you keep it con-
stantly with its mother or sister it will leave
them alone, so temperate is its nature.
H.I n -|
1232.
INTEPERANZA.
2 II liocorno overo vnicorno • per la sua
inte3peraza e no sapersi uiciere per lo di-
letto che a •» delle donzelle • dimetica la sua
ferocita se saluatichezza; ponedo da cato
ogni sospetto 6va alia sedente donzella e
se le adorme^ta-in grebo-, e i cacciatori
in tal modo 8lo pigliano.
VMILITA.
IODeH'umilita si uede somma sperietia
nello "agnello, il quale si sottomette a
ogni aniI2male; e quado per cibo son dati
ai incarcerati ^leoni-, a quelli si sottomet-
tono come alia '^propria madre, in modo
che spesse volte 'Ssi e visto i lioni non li
volere occidere.
INCONTINENCE.
The unicorn, through its intemperance
and not knowing how to control itself, for
the love it bears to fair maidens forgets its
ferocity and wildness ; and laying aside all
fear it will go up to a seated damsel and
go to sleep in her lap, and thus the hunters
take it.
HUMILITY.
We see the most striking example of
humility in the lamb which will submit to
any animal ; and when they are given for
food to imprisoned lions they are as gentle
to them as to their own mother, so that very
often it has been seen that the lions forbear
to kill them.
H.I 116}
1233-
SUPERBIA.
PRIDE.
2 II falcone per la sua alterigia e super- The falcon, by reason of its haughtiness
bia 3 vole signioreggiare • e soprafare tutti and pride, is fain to lord it and rule over all
li aHtri vccielli • che sono di rapina, e sempre
5 desidera • essere solo , e spesse volte si e
the other birds of prey, and longs to be
sole and supreme; and very often the falcon
6veduto il falcone assaltare 1'aquila, ?regina has been seen to assault the eagle, the Queen
delli vccielli.
of birds.
1331. 2. sasomiglia. 3. intcdedo. 4. sosstene lecoce 5. ti fiame. 6. ti fiamc rinasscie. 8. incosstantia. 9. imoto . . soporia.
ij. chessia e adebe. 14. csse vsassi . . osso. 15. tocha . . teprare.
1232. 2. lalicorno. 4. dimeticha. 5. saluaticheza . . sospeto. 6. essele. 7. chaciatori. 10. soma. 12. dati [ai dimessti] alin-
carcerati. 13. cileoni . . sottomettano. 14. imodo chesspesse. 15. se visto . . noli.
1233. 2. essuperbia. 3. signioregiare essopra. 4. chesso di rapina esse. 5. esspesse voltese. 8. asstinentia. 9. assino. 10. el-
1234- I235-]
THE LIFE AND HABITS OF ANIMALS.
321
ASTINENTIA.
9ll saluatico • asino • quado • va alia I0fonte
• per here • e trova • 1'acqua intorjlbidata, non
avra mai si gra sete, che no I2s'astega di
here, e aspetti ch'essa acqua ^si richiari.
GOLA.
'Sll vulture -e tanto sottoposto alia gola
16 che andrebbe mille miglia per magiare
*7d'una carognia, e per questo seguita li
eserciti.
ABSTINENCE.
The wild ass, when it goes to the well
to drink, and finds the water troubled, is
never so thirsty but that it will abstain from
drinking, and wait till the water is clear again.
GLUTTONY.
The vulture is so addicted to gluttony
that it will go a thousand miles to eat a
carrion [carcase] ; therefore is it that it follows
armies.
H.I I2<r]
1234.
CASTITA.
CHASTITY.
2 La tortora no fa mai fallo al suo co-
pagnio, 3e se 1'uno more, 1'altro osserua
perpetua ca4stita e non si posa mai su ramo
verde e no sbeue mai acqua chiara.
LUSSURIA.
i II pipistrello per la sua sfrenata lussu-
8ria non osserua alcuno vniversale mo^do
di lussuria, anzi maschio co maschio, I0fe-
The turtle-dove is never false to its mate;
and if one dies the other preserves perpetual
chastity, and never again sits on a green
bough, nor ever again drinks of clear water.
UNCHASTITY.
The bat, owing to unbridled lust, obser-
ves no universal rule in pairing, but males
mina co femina, siccome a caso si tro"vano with males and females with females pair
insieme, vsano il lor coito.
MODERANZA.
X3 Ls ermellino per la sua moderatia no
magia I4se non vna sola volta il dl, e prima
si lascia pi'Sgliare dai cacciatori che volere
fugire l6nella infangata tana, J7per no ma-
culare la sua gietilezza.
promiscuously, as it may happen.
MODERATION.
The ermine out of moderation never eats
but once in the day; it will rather let itself
be taken by the hunters than take refuge
in a dirty lair, in order not to stain its
purity.
H.I 12 t]
1235-
AQUILA.
2 L' aquila, quado e vechia, vola tato 3 in
alto, che abbrucia le sue penne, e na4tura
cosente che si rinoui in giovetu, Scadendo
nella poca acqua;
6E se i sua nati no possono tenere la
uista 7nel sole — ; no li pascie di nessuno uc-
cello, 8 che no uole morire ; non s' accostano
THE EAGLE.
The eagle when it is old flies so high
that it scorches its feathers, and Nature al-
lowing that it should renew its youth, it falls
into shallow water [5]. And if its young
ones cannot bear to gaze on the sun [6] — ; it
does not feed them with any bird, that does
not wish to die. Animals which much fear
truova. it. non ara . . sede. 12. asspetti . . acqa. 13. sirisciari. 1-5. la voltore ettanto sotto possto. 16. andrebe mile
miglia [all] per. 17. per que seguita.
1534. i. casstita. 3. esselluno. 4. enosi. 7. palpisstrello . . isfrenata. 9. masscio co masscio. 10. sichome achaso. 14. senvna
. . lasscia. 15. gliare a caciatori. 17. gietileza.
I235- 3- abrucia . . pene. 4. chessi. 5. cade nella poca acqua. 6. esse . . no posso tene. 7. pascie nessuno vciel . . morire
I235- 5- 6. The meaning is obscure.
VOL. n.
SS
322
HUMOROUS WRITINGS.
[1236. 1237.
al suo 'nido gli animali che forte la temaI0no,
ma essa a lor no noce, senpre "lascia ri-
manete della sua preda.
LUMERPA, — FAMA.
•jQuesta nascie nell'Asia Maggiore, -e
sple'«de si forte che toglie le sue obre, e
morendo 'Sno perde esso lume, e mai li
cadono giu le l6penne, e la penna che si
spicca piv no '^luce.
it do not approach its nest, although it does
not hurt them. It always leaves part of
its prey uneaten.
LUMERPA, — FAME.
This is found in Asia Major, and shines
so brightly that it absorbs its own shadow,
and when it dies it does not lose this light,
and its feathers never fall out, but a feather
pulled out shines no longer.
H.I
1236.
PELICANO.
THE PELICAN.
2 Questo porta grade amore a sua nati,
3e trouado quelli nel nido morti dal *ser-
pete, si pugie a riscotro al core e, col s suo
This bird has a great love for its young;
and when it finds them in its nest dead from
a serpent's bite, it pierces itself to the heart,
piovente sangue bagniadoli, li tor6na in and with its blood it bathes them till they
vita.
SALAMADRA.
8 Questo -non a mebra passive, e no si
9cura d'altro cibo che di foco, e spesso in
I0quello rinova la sua scorza.
11 La salamadra nel foco I2 rinova la sua
scorza; — '3 per la '^vir'stu.
CAMELEO.
16 Questo viue d'aria, e I quella sta su-
^bietto a tutti li uccielli, e per stare piv
l8saluo vola sopra le nvvole; e truova J9aria
tato sottile, che no puo sostenere 20vcciello
che lo seguiti.
21 A questa altezza no va, se no a chi
da cieli 22e dato, cio£ dove vola il came-
leone.
return to life.
THE SALAMANDER.
This has no digestive organs, and gets
no food but from the fire, in which it con-
stantly renews its scaly skin.
The salamander, which renews its scaly
skin in the fire, — for virtue.
THE CAMELEON.
This lives on air, and there it is the
prey of all the birds; so in order to be
safer it flies above the clouds and finds an
air so rarefied that it cannot support the bird
that follows it.
At that height nothing can go unless it
has a gift from Heaven, and that is where
the chameleon flies.
H.I I3<5)
1237.
ALEPO PESCIE.
2Alepo no uive fori dell'acqua.
STRUZZO.
THE ALEPO, A FISH.
The fish alepo does not live out of water.
THE OSTRICH.
4 Questo couerte il ferro in suo snutri- This bird converts iron into nourishment,
meto; cova 1' uova colla vista ; 61per l'arme and hatches its eggs by its gaze; — Armies
7de'capitani.U under commanders.
nossacosti. 9. chefforte la tena. n. lasscia. 12. P. fama; — lumerpa fama (?). 13. nasscie . . magiore essple. 14. chet-
toglie. 15. li cade piv le. 16. ella pena chessi spicha.
1336. 4. risscotro. 9. esspesso. 12. rafeua la. 17. bietta attutti . . istare. 18. nvbe. 19. po. 20. chello. 21. acquesta. 22. came-
leone. Lines n — 15 are written on the margin near the title-line.
1837. i. alepjo] pesscie. (4. suo "nutrimeto". 5. cova lava. Lines 6 and ^ are -written on the margin near tlie title-line.
1238. I239-]
THE LIFE AND HABITS OF ANIMALS.
323
I0mac-
rire il
ClGNO.
sQgnio e candido sanza alcuna
chia, e dolcemete canta nel mo
qual cato termina • la uita.
CICOGNIA.
'3 Questa, beuedo la salsa acqua,
cia da se il male; se truova la co^pagnia
in fallo, 1'abandona; e quado l6e vechia, i
sua figlioli la covano e pa^scono, infinche
more.
THE SWAN.
The swan is white without any spot, and
it sings sweetly as it dies, its life ending with
that song.
THE STORK.
This bird, by drinking saltwater purges
itself of distempers. If the male finds his
mate unfaithful, he abandons her; and when
it grows old its young ones brood over it,
and feed it till it dies.
H.I 14 a]
1238.
CICALA.
2 Questa col suo canto fa tacere 3il cucco,
more nell'olio, e resucita ^nello aceto, cata
per li ardeti caldi.
PIPISTRELLO.
6Questo dov'e piv luce piv si fa 7orbo,
e come piv guarda il sole 8piu s'acciecca;
9 pel uitio che no puo I0 stare do"v'e la
virI2tu.
PERNICE.
1 4 Questa si trasmuta di femina i maschio,
JSe dimetica il primo sesso, e fura per Tui-
dia I6l'oua al'altre, e le coua, ma i nati
seguiI7tano la uera madre.
RODINE.
^Questa colla celidonia lumina
20ciecchi nati.
i sua
THE GRASSHOPPER.
This silences the cuckoo with its song.
It dies in oil and revives in vinegar. It
sings in the greatest heats.
THE BAT.
The more light there is the blinder this
creature becomes; as those who gaze most
at the sun become most dazzled. — For Vice,
that cannot remain where Virtue appears.
THE PARTRIDGE.
This bird changes from the female into
the male and forgets its former sex; and out
of envy it steals the eggs from others and
hatches them, but the young ones follow the
true mother.
THE SWALLOW.
This bird gives sight to its blind young
ones by means of celandine.
H.I 14 6}
OSTRIGA. PEL TRADIMETO.
1239.
2 Questa, quado la luna e piena, s'apre
tutta, 3e quado il gracio la vede, detro le
gietta 4qualche sasso o festuca, e questa
no si s puo riserrare, ode e cibo d'esso gra-
chio; 6cosl fa, chi apre la bocca a dire il
suo segreto, 7 che si fa preda dello indiscrete
auditore.
THE OYSTER. — FOR TREACHERY.
This creature, when the moon is full
opens itself wide, and when the crab looks
in he throws in a piece of rock or seaweed
and the oyster cannot close again, whereby
it serves for food to that crab. This is what
happens to him who opens his mouth to
tell his secret. He becomes the prey of
the treacherous hearer.
8. cinguo. 10. canta. 14. cacia dasse. 15. ecquado. 16. issua. 17. scano.
W38. i. cichala. 3. cuch*. 5. palpistrello. 8. sacieca. 9. po. 14- trassmuta . . masscio. 15. iprimo. 16. elle cova. 19. co
laccelidonia. 20. cieci.
1239. i. hosstriga. 2. quasta. 3. ecquado. 4. qualchessasso offistuca ecquesta. 5. po riserare. 6. faciaprla bocha . . sigreto.
7. chessi . . vlditore. 8. bavalissco. 9. effugito dettutti . . la do. 10. mezo. H. essi. 12. | rua per la virtu ][•
324
HUMOROUS WRITINGS.
[1240. 1241.
BASILISCIO. — CRUDELTA.
THE BASILISK. — CRUELTY.
'Questo e fugito da tutti i serpeti; la All snakes flie from this creature; but
don'°nola per lo mezzo della ruta cobatte the weasel attacks it by means of rue and
con essi "e si 1'uccide.
kills it.
L'ASPIDO.
THE ASP.
'« Questo porta ne'dcti la subita morte This carries instantaneous death in its
'5e per no sentire Pincati, colla coda si fangs; and, that it may not hear the char-
I0stoppa li orechi.
mer it stops its ears with its tail.
H.I 15-]
1240.
DRACO.
2 Questo lega le gabe al liofante J e quel
li cade adosso, e 1'uno e PaHtro more, e
moredo fa sua vedetta.
VIPERA.
6 Questa nel suo accoppiare apre la bocca,
e nel fine 7strlgnie deti e amazza il marito,
poi 8i figlioli in corpo crescivti straccia^no
il uetre e occidono la madre.
SCORPIONE.
1 ' La saliua sputa a digivno • sopra dello
scorl2pione e 1'occide; a similitudine dell'a-
'^stinctia della gola, che togle via e cura
'*le malatie che da essa gola dipedono, e
a'Spre la strada alle virtu.
THE DRAGON.
This creature entangles itself in the legs
of the elephant which falls upon it, and so
both die, and in its death it is avenged.
THE VIPER.
She, in pairing opens her mouth and at
last clenches her teeth and kills her husband.
Then the young ones, growing within her
body rend her open and kill their mother.
THE SCORPION.
Saliva, spit out when fasting will kill a
scorpion. This may be likened to abstinence
from greediness, which removes and heals the
ills which result from that gluttony, and
opens the path of virtue.
H.I J7a]
1241.
COCCODRILLO. IPOCRESIA.
2 Questo • animale piglia I'o'mo e subito
1'uccide poiche 1'a morso «con lametevole
voce e molte lacrime s lo piage • , e finite
il lameto crudelsmete lo diuora • ; cosl fa
1'ipocrito 7 che per ogni lieue cosa s'enpie
il uiso 8di lagrime; mostrado un cor di
tigro e'raMegrasi nel core dell'altrui male
co I0piatoso volto.
BOTTA.
12 La botta fugie la luce del sole, e se
pure '3 per forza v'e tenvta, si gofia tata,
che s'ascon^de la testa in basso, e privasi
d'essi razzi; 'Scosl fa chi e nimico della
chiara e Iuciel6te virtu, che no puo se no con
gofiato I7animo forzatamete starle davati.
THE CROCODILE. HYPOCRISY.
This animal catches a man and straight-
way kills him; after he is dead, it weeps for
him with a lamentable voice and many tears.
Then, having done lamenting, it cruelly
devours him. It is thus with the hypocrite,
who, for the smallest matter, has his face
bathed with tears, but shows the heart of a
tiger and rejoices in his heart at the woes of
others, while wearing a pitiful face.
THE TOAD.
The toad flies from the light of the sun,
and if it is held there by force it puffs itself out
to much as to hide its head below and shield it-
self from the rays. Thus does the foe of clear
and radiant virtue, who can only be constrain-
edly brought to face it with puffed up courage.
16. stopa.
1*40. dclluno dial. 6. suo copcrbocha. 7. stlgnie deti e amaza. 8. cresscivti. n. la sciliua . . dellgsschor. 12. pione locicle
awimilitudine. 13. chettole viaconde. 14. 1 \\\\ mal \\\\\\\\\ che \\\ a. Lines 14 and 15 are very indistinct and
nearly effaced.
1041. i. OOeodrillo. 2. animale [essendo]. 3. poichella morto. 4. collametevole. 8. mostrado Icor di tigro e ra. 12. esse.
13. scofia chessasco. 14. baso. 15. cosi facie nemico . . ciara. 16. po . . con \\\\\\ cofiati. 17. \\ \\animo . . stale.
1242 — 1 244.]
THE LIFE AND HABITS OF ANIMALS.
325
H.I
1242.
BRUCO. — DELLA VIRTU IN GIENERALE. THE CATERPILLAR. — FOR VIRTUE IN GENERAL.
3 II bruco • , che mediante 1' esercitato stu-
dio * di tessere con mirabile artifitio e sottile
lauoro sintorno a se fa la nova abitatione,
The caterpillar , which by means of as-
siduous care is able to weave round itself
a new dwelling place with marvellous arti-
escie 5poi fori di quella colle dipinte e fice and fine workmanship, comes out of it
i 4 A
belle 7 ali, co quelle leuadosi inverse il
cielo.
RAGNIO.
9 II ragnio • partoriscie fori di se 1' ar10ti-
fitiosa e maestrevole tela, la quale "gli
rede per benifitio la presa preda.
afterwards with painted and lovely wings, with
which it rises towards Heaven.
THE SPIDER.
The spider brings forth out of herself the
delicate and ingenious web, which makes her
a return by the prey it takes.
H.I iSa]
1243.
LlONE.
2Questo animale col suo tonate grido
3desta i sua figlioli dopo il terzo giorno
4nati, apredo a quelli tutti li adormetasti
sesi, e tutte le fiere, che 6nella selua sono,
fuggono.
?Puossi assimigliare a figlioli della 8 virtu-,
che mediate il grido delle lode 9si sue-
gliano • e crescono per li studi onorevoli
10 che senpre piv gli inalza, e tutti i tristi
"a esso grido fuggono ciessadosi dai I2ver-
tuosi.
^Ancora il leone copre le sue pedate,
^perche no s'intenda il suo viaggio 'Sper
i nimici; questo sta bene al capitano l6a
cielare i segreti del suo animo, accioche
*7il nimico no cogniosca i sua tratti.
THE LION.
This animal, with his thundering roar,
rouses his young the third day after they
are born, teaching them the use of all their
dormant senses and all the wild things which
are in the wood flee away.
This may be compared to the children
of Virtue who are roused by the sound of
praise and grow up in honourable studies,
by which they are more and more elevated;
while all that is base flies at the sound,
shunning those who are virtuous.
Again, the lion covers over its foot
tracks, so that the way it has gone may not
be known to its enemies. Thus it beseems a
captain to conceal the secrets of his mind
so that the enemy may not know his purpose.
H.1 186]
1244.
TARATA.
THE TARANTULA.
2 II morso della tarata matiene I'omo The bite of the tarantula fixes a man's
3nel suo proponimeto, cioe quello che 4pen- mind on one idea; that is on the thing he
sano quado fu morso. was thinking of when he was bitten.
DUGO E CIVETTA.
6 Questi gastigano i loro schernitori ? pri-
THE SCREECH-OWL AND THE OWL.
These punish those who are scoffing at
vadoli di uista, che cosl a ordina8to la na- them by pecking out their eyes; for nature
tura, perche si cibino. has so ordered it, that they may thus be fed.
1242. 3. la sercitato. 4. comirabile | "artificio" essottile. 5. asse la . . esscie. 6. chelle dipinte lauadosi. 10. maesstre
vole tella. n. redende.
1243. 4- apreda acquelli. 5. ettutti [li anima] le. 6. sona. 8. delle lalde. 9. sissuegliano e crescano li studi. 10. chessenpre
piv glinalza ettutti. n. esse . . fugano. 13. ileoni co. 14. viagio. 15. ai capitani.
Ia44- 4- persano. 5. duco. 7. diuita. 8. to natura.
1242. Two notes are underneath this text. The The second : faticha fugga cholla fama in braccio
first : 'nessuna chosa e da ttemere piu che Ha sozza fania' quasi ochultata c is written in red chalk and is evi-
is a repetition of the first line of the text given in dently an incomplete sentence.
Vol. I No. 695.
326
HUMOROUS WRITINGS.
[1245 — 1247.
H.I 19 «]
1245.
LEOFANTE.
»H grade elefante-a per natura quel
3che raro negli omini si truova, cio6 «pro-
bita, prudetia, equita e osserJvatia e reli-
gione, inperoche, quado 6la luna-si rinova-,
questi vanno ai n^vmi e quivi purgadosi
solennemete 8si lauano, e cosl salutato il
pianeta 9 ritornano alle selue; E quado I0sono
ammalati, stando supini, gittaMno 1'erbe
verso il cielo, quasi com'esse I2sacrificare
volessino; Usotterrano li de^ti quado per
vecchiezza gli cadono;! de' ''sua due deti
1'uno adopera a cauare I5le radici per ci-
barsi; all'altro coserua l6la pOta per co-
battere; Quado sono '^superati da caccia-
tori, e ch£ la stachezza l8gli uicie per
cotali deti 1'elefanti, quelle trattesi, con esse
si ricomprano.
THE ELEPHANT.
The huge elephant has by nature what
is rarely found in man; that is Honesty,
Prudence, Justice, and the Observance of
Religion; inasmuch as when the moon is
new, these beasts go down to the rivers, and
there, solemnly cleansing themselves, they
bathe, and so, having saluted the planet, return
to the woods. And when they are ill, being
laid down, they fling up plants towards
Heaven as though they would offer sacri-
fice.— They bury their tusks when they fall
out from old age. — Of these two tusks they
use one to dig up roots for food; but the
save the point of the other for fighting with;
when they are taken by hunters and when
worn out by fatigue, they dig up these buried
tusks and ransom themselves.
>g
ls
*
.11
!
H.I
1246.
Sono di leni menti e conoscono i peri-
coli ; 2le se esso trova • 1' omo solo e smarito,
3 piacievolmete lo rimette nella perduta
* strada, se truova le pedate dell' omo s prima
che veda 1'omo; 61esso teme tradimeto,
ode si ferma 7e soffia, mostradolo ali altri
elefanti, * e fanno schiera e vanno assentita-
mete.
9 Questi vanno senpre a schiere, e '1 piu
10vechio va inazi, e '1 secodo d'eta resta
"I'ultimo, e cosl chiudono la schiera; I2te-
mono vergognia, non vsano il co'3ito se no
di notte di nascosto, e no tor^nano dopo
il coito alii armeti, se prima *$no si lauano
nel fiume; no cobattono I6le femine, come
gli altri animali; ^led e tato clemete, che
mal uolotieri per nal8tura no noce ai me
potenti di se, e sco^tradosi nella sua via
e greggi delle pecore
They are merciful, and know the dangers,
and if one finds a man alone and lost, he
kindly puts him back in the road he has
missed, if he finds the footprints of the man
before the man himself. It dreads betrayal,
so it stops and blows, pointing it out to
the other elephants who form in a troop and
go warily.
These beasts always go in troops, and the
oldest goes in front and the second in age
remains the last, and thus they enclose the
troop. Out of shame they pair only at night
and secretly, nor do they then rejoin the herd
but first bathe in the river. The females do
not fight as with other animals; and it is
so merciful that it is most unwilling by nature
ever to hurt those weaker than itself. And
if it meets in the middle of its way a flock
of sheep
H.I 200]
1247.
colla sua mano le pone da parte 2per
non le pestare, coi piedi, ne mai noce *se
no sono provocati; quado son ca+duti nella
fossa, gli altri co rami, s terra e sassi rie-
piono la fossa, 6in modo che alzano il fondo,
it puts them aside with its trunk, so as
not to trample them under foot; and it never
hurts any thing unless when provoked. When
one has fallen into a pit the others fill up
the pit with branches, earth and stones, thus
1245. 2. ellefante. 4. he equita e osser. 6. quessti vano. 9. Ecquado. 10. amalati . . suppini. 12. volessino (sotterali. ij. ue-
chieza gli cagiano (de. 16. Qua sono. 17. caciatori e chella stacheza. 18. deti le lepate ecquele (?). 19. lelefante . .
traitosi \\\\\\ nessosiricoprano. These two last lines are muck effaced.
1346. i. sono elemcti e conosschano. 2. esse . . sole essmarito. 7. essoffia mosstradola. 8. effano sciera e vano. 9. vano . .
assciere. n. civdano lassciera. 12. temano. 13. nasscosto. 15. nocobattano. 16. me femine. 18. essco. 19. nella m .
"gregi" diria delle.
1347. i. cholla . . pone de [parte. 2. per nolle pestare co. 5. essassi riepiano. 6. imolalzano . . cheso. 7. rim5 \\\\\\\\ teraano.
1248. 1 249-1
THE LIFE AND HABITS OF ANIMALS.
327
che esso faci!7mete rimoti; temono forte
8lo stridore de'porci e fugono indirect© ; e
no fa maco danno poi coi piedi a sua I0che
a nimici ; dilettasi de' fiumi, ' I e sempre vano
vagabudi intorno I2quelli, Tfe per lo gra peso
no possono ^notare; diuorano le pietre, e
tr6I4chi delli alberi sono loro gratissimo cibo;
JSanno in odio i ratti; le mosche si dilet-
tano l6del suo odore e posadosi li adosso,
quello ^arraspa la pelle, e fa le pieghe
strette, e 1'uccide.
raising the bottom that he may easily get
out. They greatly dread the noise of swine
and fly in confusion, doing no less harm
then, with their feet, to their own kind than
to the enemy. They delight in rivers and
are always wandering about near them,
though on account of their great weight they
cannot swim. They devour stones, and the
trunks of trees are their favourite food.
They have a horror of rats. Flies delight
in their smell and settle on their back, and
the beast scrapes its skin making its folds
even and kills them.
H.1 206}
1248.
Quado passano i fiumi, madano 2i figli-
oli diuerso il calar dell'acqua, 3e stando
loro inverse 1' erta ronpono 4 il rapido corso
dell'acqua, acioche '1 corpse non le menasse
via; il drago 6se li gitta sotto il corpo,
colla 7 coda 1'annoda le gabe, coll'alie 8e
colle braccia anche li tignie le coste ^e coi
denti lo scanna, el liofante I0li cade adosso
o il drago scoppia, ri e cosl colla sua morte
del nernico I2si uedica.
IL DRAGONE.
'''Questi s'accopagniano insieme e si
tessaisno a uso di radici, e colla testa le-
uata l6 passano i paduli, e notano dove
When they cross rivers they send their
young ones up against the stream of the
water; thus, being set towards the fall, they
break the united current of the water so that
the current does not carry them away. The
dragon flings itself under the elephant's body,
and with its tail it ties its legs; with its wings
and with its arms it also clings round its
ribs and cuts its throat with its teeth, and
the elephant falls upon it and the dragon
is burst. Thus, in its death it is revenged
on its foe.
THE DRAGON.
These go in companies together, and
they twine themselves after the manner of
roots, and with their heads raised they cross
trouano ^migliore pastura, e se cosl non lakes, and swim to where they find better
si vnissero, pasture; and if they did not thus combine
H.I 21 a}
1249.
annegherebbero; cosl fa la unitione.
SERPETE.
3 II serpete, gradissimo animale, 4qUado
vede alcuno ucciello per 1'aria, stira a se
si forte il fiato, che si tira 6gli uccielli in
bocca; Marco, 7Regulo, consule dello eser-
cito Roma8no, fu col suo esercito da un simile
9 animale assalito e quasi rotto, il quaI0le
animale, essedo morto per una machina
"mvrale, fu misurato 123 piedi, cioI2e 64
braccia e rf2; avazava colla testa tutte ^le
piate d'una selua.
they would be drowned, therefore they
combine.
THE SERPENT.
The serpent is a very large animal.
When it sees a bird in the air it draws in
its breath so strongly that it draws the birds
into its mouth too. Marcus Regulus, the
consul of the Roman army was attacked,
with his army, by such an animal and
almost defeated. And this animal, being
killed by a catapult, measured 123 feet,
that is 64T/2 braccia and its head was" high
above all the trees in a wood.
9. dano poico piedi. 10. diletasi fiuvmi. n. essepre . . intorna. 12. quelgli . . possa. 14. abberi soloro. 15. ano.
17. arapa . . effaale piege strette lucide.
1*48. 4. lunito (?) corso dellacua. 6. nolle menasse via | il . . cholla. 7. lanoda . . chollalie. 8. cholle bre anche. 9. e cho
denti. 10. drago sciopa. 14. sacopagnian . . essi. 15. ratici. 16. troua. 17. essecosino si vnisser.
1249. i. anegerebono. 3. grandisimo. 5. asse . . chessi. 6. bochaa. 7. cusulo. 8. ma fu chol . . da vsimili. 10. macin"a".
328
HUMOROUS WRITINGS.
[1250. 1251.
Bon.
«5 Questa e gra biscia, la quale co se
mede'°sima si aggruppa alle ganbe della
vacca in mo'^do no si mova, poi la tetta in
modo che quasi l8la dissecca; di questa spe-
tie a tepo di Claudio ^Iperatore nel mote
Vaticano ne fu morta
THE BOA(?)
This is a very large snake which entangles
itself round the legs of the cow so that it
cannot move and then sucks it, in such wise
that it almost dries it up. In the time of
Claudius the Emperor, there was killed, on
the Vatican Hill,
H.I
1250.
vna che avea vno putto intero in corpo a il
quale avea traghiottito
MACLI. IfPfiL SONNO E GIUTO.
* Questa bestia nascie in Scadinavia isola ;
s a forma di gra cavallo, se no che la 6gra
lughezza dello collo e delli orechi lo vari-
?ano; pascie 1'erba allo indietro, perche a
si 8lugo il labro di sopra che pasciedo ina^zi
coprirebbe 1'erba; a le gabe d'u pezzo;
10 per questo, quado vuol dormire s'appoggia
"a vnoalbero, e i cacciatori, ativededo I2il
loco vsato a dormire, sega quasi tutta ^la
piata, e quado questo poi vi s'appoggia
14 nel dormire-, per lo sonno cade, e i cac-
ciato'Sri cosl lo piglano, e ogni altro modi
di pil6glarlo e vano, perche e d'incredibile
velocita ^nel correre.
one which had inside it a boy, entire, that
it had swallowed.
THE MACLI. — CAUGHT WHEN ASLEEP.
This beast is born in Scandinavia. It has
the shape of a great horse, excepting that the
great length of its neck and of its ears make a
difference. It feeds on grass, going backwards,
for it has so long an upper lip that if it went
forwards it would cover up the grass. Its legs
are all in one piece; for this reason when it
wants to sleep it leans against a tree, and the
hunters, spying out the place where it is wont
to sleep, saw the tree almost through, and then,
when it leans against it to sleep, in its sleep
it falls, and thus the hunters take it. And
every other mode of taking it is in vain,
because it is incredibly swift in running.
1251.
BONASO NOCE COLLA FUGA.
2 Questo nascie • in Peonia ; a collo 3 co
crini simile al cauallo, in tutte * 1' altre parti
e simile -al toro, saluo Sche le sue corna
sono in modo piegate 6indetro, che no puo
cozzare, e per questo ?non a altro scanpo-
che lafuga-, nella 8 quale • getta stereo per
spatio di 400 9braccia del suo corso-, il
quale, dove toI0cca, abbrucia come foco.
LEONI, PARDI, PATERE, TIGRI.
12Questi tegono • 1'ugie nella guaina, e
mai J3le sfoderanno, se non e adosso alia
preda o ne'^mico.
THE BISON WHICH DOES INJURY IN ITS FLIGHT.
This beast is a native of Paeonia and
has a neck with a mane like a horse. In
all its other parts it is like a bull, excepting
that its horns are in a way bent inwards so
that it cannot butt; hence it has no safety
but in flight, in which it flings out its excrement
to a distance of 400 braccia in its course,
and this burns like fire wherever it touches.
LIONS, PARDS, PANTHERS, TIGERS.
These keep their claws in the sheath,
and never put them out unless they are on
the back of their prey or their enemy.
12. e 64 bre '/f *5- bisscie. 16. sagluppa . . della vecha imo. 17. imodo. 18. ladiseza. 19. Iperadore . . morta.
1250. 2. tragiottito. 3. macli pel sonno egiuto. 4. iniscandinavia. 5. chella. 6. lugeza. 7. passie . . allodirieto . .
assi. 8. passiedo. 9. ci copirebe . . ha le . . pezo. 10. vol . . sapogia. 10. ccchaciatori. 13. sapogia.
14. ecaciato.
ISJI. 2. nasscie. 4. essimile. 5. chelle sie . . imodo. 6. pocozare. 7. chella. 8. gita stercho per ispatio. 9. bracia.
10. tocha abrucia. 12. tegano. 13. lessfoderano. 17. caciatori. 19. accioche | "per"ella . . no sie"o".
1252. I254-]
THE LIFE AND HABITS OF ANIMALS.
329
LEONESSA.
l6Quado la leonessa difede i figli^oli
dalle ma de' cacciatori, per no si spauel8tare
THE LIONESS.
When the lioness defends her young from
the hand of the hunter, in order not to be
dalli spiedi, abbassa li ochi a terra ^accio- frightened by the spears she keeps her eyes on
che, per la sua fuga i figli no sieno
gioni
pr- the ground, to the end that she may not
by her -flight leave her young ones prisoners.
H.I 22 l>\
1252.
LEONE.
THE LION.
2 Questo -si terribile animale niete teme This animal, which is so terrible, fears
3 piv che lo strepido delle vuote carrette 4e nothing more than the noise of empty carts,
simile • il cato de' galli , • e teme aSssai nel and likewise the crowing of cocks. And it
uederli e con pauroso a6spetto riguarda is much terrified at the sight of one, and looks
la sua cresta; 7e forte invilisce, quado a at its comb with a frightened aspect, and is
coper8to • il uolto. strangely alarmed when its face is covered.
PATERE IN AFRICA.
IOQuesto a forma di leonessa, ma e "piv
alta di gabe, e piv sottile, e luga; I2e tutta
biaca e punteggiata di ma^chie nere a
modo di rosette, e di queI4sta si dilettano •
tutti li animali di 'Svedere-, e senpre le
starebbero dintorno, l6se no fusse la terribi-
lita • del suo viso,
THE PANTHER IN AFRICA.
This has the form of the lioness but it
is taller on its legs and slimmer and long bo-
died; and it is all white and marked with
black spots after the manner of rosettes; and
all animals delight to look upon these rosettes,
and they would always be standing round it
if it were not for the terror of its face;
H.I
1253-
onde essa, questo conosciedo, asc62de il therefore knowing this, it hides its face, and
uiso, e li animali circustati 3 s' assicurano e
fannosi vicini per me4glio potere fruire tata
bellezza, osde questa subito piglia il piv uici-
6 no e subito lo diuora.
CAMELLI.
8Quegli Battriani anno 2 gobbi, 9gli
Arabi uno solo ; sono veloci in battagla I0 e
vtilissimi a portare le some; IT questo animale
a regoli e misura I2oseruatissima, perch e no
si move se a *3piv carico che 1'usato, e
se fa piv I4uiaggio fa il simile, subito si
ferma, 'Sode 11 bisognia a mercatati allog-
l6giare.
the surrounding animals grow bold and come
close., the better to enjoy the sight of so
much beauty; when suddenly it seizes the
nearest and at once devours it.
CAMELS.
The Bactrian have two humps ; the Arabian
one only. They are. swift in battle and most
useful to carry burdens. This animal is
extremely observant of rule and measure, for
it will not move if it has a greater weight
than it is used to, and if it is taken too far
it does, the same, and suddenly stops and
so the merchants are obliged to lodge there.
H.I 23 6]
1254.
TlGRO.
THE TIGER.
2 Questa nascie in Ircania, la quaHe e This beast is a native of Hyrcama, and
simile alquato alia patera per le ^diuerse it is something like the panther from the
machie della sua pelle, ed e anismale di various spots on its skin. It is an animal
r»52. 2. teribile. 3. chello . . vote carette. 4- essimile . . etteme. 6. cressta. 7. efforte invilissce. 11. elluga. 12. ettutta biacha
e punegiata. 15. starebo ditorno. 16. fussi . . teribilita.
ia53. i. conossciedo asscS. 2. elli. 3. sasicurano e fanosi. 4- belleza. 8. batriani. 9. arabi I solo. 13. c
14. uiagio . . sibito. 15. alo. 16. ciare.
H54- 2- na>scie. 3. lehe simile. 5. cacia. 6. truova. [la sua ta] i sua. 8. leva [ecque] essubito. 10. tera. i
VOL. II.
330
HUMOROUS WRITINGS.
[1255- 1256.
spauotevole velocita; il caccia6tore quado
truova i sua figli, 7li rapiscie subito, ponedo
spechi nel 8loco donde li leua, e subito
sopra 'veloce cauallo si fugie; la pantera
torI0nado truova li spechi fermi in terra,
ne "quali vededosi, li pare vedere li sua
fiI2glioli, e raspado colle zape scuopre 'JPin-
ganno, ode mediate 1'odore de' figli J*se-
guita il cacciatore, e quado esso caccia'Store
vede la tigra, lascia vno de'figlioli, l6e
questa lo piglia, e portalo al nido; '7 subito
rigivgne esso cacciatore, e fa
of terrible swiftness; the hunter when he
finds its young ones carries them off hastily,
placing mirrors in the place whence he takes
them, and at once escapes on a swift horse.
The panther returning finds the mirrors fixed
on the ground and looking into them believes
it sees its young; then scratching with its
paws it discovers the cheat. Forthwith , by
means of the scent of its young, it follows
the hunter, and when this hunter sees the
tigress he drops one of the young ones and
she takes it, and having carried it to the den
she immediately returns to the hunter and
does
H.I 24 a]
il simile
barca.
"55-
insino a tato ch'esso mota 2in the same till he gets into his boat.
CATOPLEA.
* Questa nascie • in Etiopia • vicino al fonte
sNigricapo; e animale no troppo • grande •,
<b 6pigra-in tutte le mebra-, e al capo di
tata gra?dezza • che malagievolmete • lo por-
ta-, in modo che 8senpre-sta- chinato- in-
verso • la terra • , altri9menti • sarebbe • di
so ma • peste • alii omini, I0perch& qualunque
e veduta da sua • ochi ' ' subito • more.
BASILISCO.
'•J Questo • nascie • nella provincia • Cire-
naica '*e no e • maggiore • che • 12 • dita e a
• in capo *$ vna machia bianca a similitudine
di diadema; l6col fischo • caccia • ogni ser-
pete-, a similitudiI'ne di serpe, ma no si
move co torture, anzi l8manritto • dal mezzo •
innazi-; diciesi che vno
CATOBLEPAS.
It is found in Ethiopia near to the source
Nigricapo. It is not a very large animal,
is sluggish in all its parts, and its head is
so large that it carries it with difficulty, in
such wise that it always droops towards the
ground; otherwise it would be a great pest
to man, for any one on whom it fixes its
eyes dies immediately.
THE BASILISK.
This is found in the province of Cyrenaica
and is not more than 12 fingers long. It
has on its head a white spot after the fashion
of a diadem. It scares all serpents with its
whistling. It resembles a snake, but does
not move by wriggling but from the centre
forwards to the right. It is said that one
H.I 24 6]
1256.
di questi, essendo • morto • con vn aste
da vno che 2era-a cavallo, che '1 suo ve-
neno discorrendo 3 super Taste-, e no che
P omo • ma il cavallo morl; 4guasta • le piate
e no solamete quelle 5 che tocca • , ma quelle
• doue • soffia • ; secca P ei^be, spezza • i sassi.
of these, being killed with a spear by one who
was on horse-back, and its venom flowing
on the spear, not only the man but the horse
also died. It spoils the wheat and not only
that which it touches, but where it breathes
the grass dries and the stones are split.
schuopre. 13. langono. 14. essocacia. 15. lasscia. 17. r | givgnieso caciatore cffa.
1355. i. imile . . attato. 4. nasscie. 6. tucte. 7. deza . . imodo. 8. altre. 9. pesste. 10. he veduta. 13. nasscie. 14. magiore
. . he a in. 16. fisscio . . assimilitudi. 18. marito dal mezio.
1956. 2. chavallo. 2. discorendo. 3. chellomo. 4. [colio] guassta le biande. 5. chettoccha macquelle . . secha. 6. belola.
I255- . Leonardo "" undoubtedly derived these re-
marks as to the Catoblepas from Pliny, Hist. Nat.
VIII. 21 (al. 32): Apud Hesperios AetJuopas fons at
Nigris (different readings), ut plerique existimavere, Nili
caput Juxta hunc ftra appellatur catoblepas, mo-
dica alioquin , ceterisque membris infrs, caput tantum prae-
gravt aegre ferens ; alias internecio humani generis, omnibus
qui oculos ejus videre, confestim morientibus. Aelian, Hist.
An. gives a far more minute description of the crea-
ture (TO x<XT<i)j3Xeirov), but he says that it poisons
beasts not by its gaze, but by its venomous breath.
Athenaeus 221 B, mentions both. If Leonardo had
known of these two passages, he would scarcely have
omitted the poisonous breath. (H.
1257- I2S8-]
THE LIFE AND HABITS OF ANIMALS.
331
DONNOLA OVER BELLULA.
8 Questa - trovado • la tana • del basilisco,
coll' ogdore della • sua • sparsa • orina 1' uc-
cidej PoI0dore della quale orina • acora spesse
volte "essa donola occide.
CERASTE.
J3 Queste • anno quattro • piccoli corni
mobili; I4onde quado si uogliono • cibare,
nascodaisno sotto • le foglie tutta la persona,
sall6vo • esse cornicina • , le quali movedo
pareJ7agli ucielli quelli essere piccoli uermini
l8che scherzino, ode subito si calano per
beccarI9li; e questa subito s'avviluppa loro
in cier20chio, e esse 11 diuora.
THE WEASEL.
This beast finding the lair of the basilisk
kills it with the smell of its urine, and this
smell, indeed, often kills the weasel itself.
THE CERASTES.
This has four movable little horns; so,
when it wants to feed, it hides under leaves
all of its body except these little horns
which, as they move, seem to the birds to
be some small worms at play. Then they
immediately swoop down to pick them and
the Cerastes suddenly twines round them and
encircles and devours them.
H.I 25 a]
1257-
AMPHESIBENE.
2 Questa • a • due teste • , 1' una nel suo
loco, 1' al^tra nella' • coda • , come se no ba-
stasse che 4da uno solo loco gittasse il
ueneno.
IACULO.
6 Questa- sta sopra-le piate-, e si lan-
cia-come ?dardo; e passa a trauerso le
fere, e 1'uccide.
ASPIDO.
9 II morso • di questo • animale • non a • ri-
medio, I0se no di subito • tagliare • le parti
morse; Questo "si pestifero • animale • a tale
affetione nella I2sua copagnia-che sempre
vanno accopagniati, *3 che se per disgratia •
1'uno di loro e morto -, l'alI4tro con in-
credibile velocita seguita l'ucciisditore, ed
e tato atteto e sollecito alia vedetta,
16 che vlcie • ogni difficulta-; passando
ogni eser^cito, solo il suo nemico cierca •
offendere; l8e passa ogni spatio, e no si
puo schifarlo, se no J9col passare 1'acque-
e co velocissima fuga; zoa li ochi idetro
e gradi orechi, e piv lo move 1'udito che
'1 uedere.
THE AMPHISBOENA.
This has two heads, one in its proper
place the other at the tail; as if one place
were not enough from which to fling its
venom.
THE IACULUS.
This lies on trees, and flings itself down
like a dart, and pierces through the wild beast
and kills them.
THE ASP.
The bite of this animal cannot be cured
unless by immediately cutting out the bitten
part. This pestilential animal has such a
love for its mate that they always go in
company. And if, by mishap, one of them
is killed the other, with incredible swiftness,
follows him who has killed it; and it is so
determined and eager for vengeance that it
overcomes every difficulty, and passing by
every troop it seeks to hurt none but its enemy.
And it will travel any distance, and it is im-
possible to avoid it unless by crossing water
and by very swift flight. It has its eyes
turned inwards, and large ears and it hears
better than it sees.
H.I 25<5]
1258.
ICNEUMONE.
THE ICHNEUMON.
2 Questo- animale -6 mortale nemico al- This animal is the mortal enemy of the
1'aspido; 3nascie-in Egitto -, e quado • vede asp. It is a native of Egypt and when it
presso al 4suo-sito alcuno • aspido • , subito sees an asp near its place, it runs at once
corre salla litta over fango • del Nilo, e co to the bed or mud of the Nile and with this
quello 6tutto-s'infanga, e poi, risecco dal makes itself muddy all over, then it dries
7. donola. 8. basilssco. 12. cerasste. 13. quattro pichorni mobili. 14. uogliano. 14. nasscoda 17. picholi. 18. ce serzino
. . becar. 19. ecquesta . . sauilupa. 20. cio esseli diuora.
i»57- i. amphesibene. 2. tesste. 3. basstassi. 4. da i solo locho. 6. essi- 7. attrauero le fiere elluccide. 11. attale. 12 ce
senpre . . acopagniati. 13. chesseper. 14. luci. 15. essollecito. 16. dificulta. 18. scifarlo. 20. laldito.
1258. i. ichneumone. 3. nasscie. 4. asspido 5. lita . . ech5. 6. riseccho. 7. cosi sechSda lu. 8. assimilitudine. 9. coraza . .
332
HUMOROUS WRITINGS.
[1259. 1260.
sole, di nb7vo di fango s'inbratta; e cos! se-
guitando 1'u do8po 1'altro si fa tre o 4 veste
a similitudine 9di corazza-, e clipoi assalta
1'aspido, e be colotesta co quello in modo
che, tolto il tepo, Mse li caccia in • gola e
1'annega.
CROCODILLO.
'-jQuesto nascie nelNilo, a 4 piedi, vi'*ve
in terra e in acqua, n£ altro terrestre 'Sani-
male si truova sanza lingua che questo;
<l6e solo morde movedo la mascella di
sopra; I7crescie insino in 40 piedi, e un-
ghiato, I8armato di corame, atto a ogni colpo;
el di '9sta in terra, e la notte in acqua;
questo, 20cibato di pesci, s'adormeta sulla
riua del 2INilo colla bocca aperta e 1'uc-
ciello detto
itself in the sun, smears itself again with
mud, and thus, drying one after the other,
it makes itself three or four coatings like a
coat of mail. Then it attacks the asp, and fights
well with him, so that, taking its time it
catches him in the throat and destroys him.
THE CROCODILE.
This is found in the Nile, it has four feet
and lives on land and in water. No other
terrestrial creature but this is found to have
no tongue, and it only bites by moving its
upper jaw. It grows to a length of forty feet
and has claws and is armed with a hide that
will take any blow. By day it is on land
and at night in the water. It feeds on fishes,
and going to sleep on the bank of the Nile
with its mouth open, a bird called
H.I a6a]
1259.
trochilo, piccolissimo vcciello-, subito
li 2corre alia bocca e, saltatoli fra denti
^dentro-, e' fora -leva beccando il fimaso
4cibo-; e cosl stuzzicadolo co dilettevole
Svolutta lo inuita aprire tutta la bocca, 6e
cosl s'adormeta; questo veduto 7dal icneu-
mone • subito si li slacia • in bocca, 8 e fora-
toli lo stomaco e le budelle finalmete ^I'uc-
cide.
DELFINI.
11 La natura a dato tal cognitione alii-
aniI2mali che, oltre allo conosciere la lor co-
'^modita, conoscono • la incomodita del ni-
I4mico-; onde intede il delfino • quato 'Sva-
glia • il taglio delle sue • penne, posteli l6 sulla
schiena, e quato sia tenera la pacia 17del
cocodrillo • ; onde • nel lor cobattere se li
18 caccia sotto e tagliali la pacia, e cosl
^Puccide.
20 II cocodrillo e terribile a chi fuggie, e
vilis2Isimo a chi lo caccia.
trochilus, a very small bird, runs at once
to [its mouth and hops among its teeth
and goes pecking out the remains of the
food, and so inciting it with voluptuous
delight tempts it to open the whole of its
mouth, and so it sleeps. This being observed
by the ichneumon it flings itself into its
mouth and perforates its stomach and
bowels, and finally kills it.
THE DOLPHIN.
Nature has given such knowledge to
animals, that besides the consciousness of
their own advantages they know the disad-
vantages of their foes. Thus the dolphin
understands what strength lies in a cut from
the fins placed on his chine, and how tender
is the belly of the crocodile; hence in
fighting with him it thrusts at him from be-
neath and rips up his belly and so kills him.
The crocodile is a terror to those that flee,
and a base coward to those that pursue him.
H.I 26 «J]
1260.
IPPOPOTAMO.
THE HIPPOPOTAMUS.
2 Questo • quando si sente aggravate • va This beast when it feels itself over-full
3ciercando le spine, o dove sia i rima- goes about seeking thorns, or where there
ne«ti de'tagliati canned, e 11 tato frega vna may be the remains of canes that have been
lasspido. to. tasta . . imodo chettolto. n. cacia . . ella niega. 13. nasscie . . piedi nvc vi. 14. ce in terra e in acq"a"
[e sua] ne . . tereste. 15. checquesto. 16. massciella. 17. cresscie . . vngliato. 18. [vestito] "artnato" di . . atto ogni.
18. ella notte. 19. pessci. 20. bocha . . elluciello.
1359. i. trocilo picholissimo vciello. 2. bocha essaltatoli. 3. effora liva bechando. 4. cibo e e cosi stuzicadolo. 5. lontiita . .
boccha. 7. daleleumone . . si linacia in boccha. 8. elle. 9. luccide [essimile al ramarro vergezzo). 12. alo nas.sciere.
'J- cogniosscano. 15. pene. 16. sula sciena . . paca. 17. nellor. 18. ett.tgliali. 20. etteribile acci fuggie c vili
21. accilo.
n6o. i. hippotamo. 2. agravato. 3. cierchando . . sia. 4. caneti elli. 5. chauato . . chelli . . cola lita. 6. ris.iM.tla. 7. lugia. 8. clglare
THE LIFE AND HABITS OF ANIMALS.
333
vesna che la taglia, e cauato il sangue, che
li 6bisognia, colla litta s'infanga, e risalta
alia 7piaggia; a forma quasi comecavallo;
1'ughia, 8fessa, coda torta, e deti di ci-
ghiale; collo co 9crini la pelle; no si puo
passare-, se no si baI0gnia-; pasciesi di
piate ne'capi, entravi "allo dirieto, accio-
clie pare ne sia uscito.
IBIS.
T3Questo a similitudine colla cicognia,
e quanI4do si sente ammalato, epie il gozzo
d'acqua, "Se col becco si fa vn clistero.
CIERUI.
T7Questo quando si sente morso dal
ragno l8detto falangio • magia de' grachi, e
si libera J9di tale veneno.
split, and it rubs against them till a vein is
opened; then when the blood has flowed as
much as he needs, he plasters himself with
mud and heals the wound. In form he is
something like a horse with long haunches, a
twisted tail and the teeth of a wild boar, his
neck has a mane; the skin cannot be pierced,
unless when he is bathing; he feeds on plants
in the fields and goes into them backwards so
that it may seem, as though he had come out.
THE IBIS.
This bird resembles a crane, and when
it feels itself ill it fills its craw with water,
and with its beak makes an injection of it.
THE STAG.
These creatures when they feel themselves
bitten by the spider called father-long-legs,
eat crabs and free themselves of the venom.
H.I 27*]
1261.
LUCERTE.
THE LIZARD.
Questa quado cobatte colle serpi 3 man- This, when fighting with serpents eats the
sow-thistle and is free.
gia la cicierbita; e so libere.
RONDINE.
THE SWALLOW.
s Questa rende il uedere alii orbiti 6 fi- This [bird] gives sight to its blind young
glioli col sugo della celidonia. ones, with the juice of the celandine.
BELLULA.
8 Questa quando caccia ai ratti, magia
prima • della • ruta.
CINGHIALE.
THE WEASEL.
This, when chasing rats first eats of rue.
THE WILD BOAR.
"Questo medica-i sua-mali mangiado This beast cures its sickness by eating
12 della edera.
of ivy.
SERPE.
THE SNAKE.
14 Questa quado si uol renovare, gitta il This creature when it wants to renew
isvechio scoglio, comlciadosi dalla testa; itself casts its old skin, beginning with the
l6mvtasi in vn dl e vna notte. head, and changing in one day and one night.
PARTERA.
THE PANTHER.
18 Questa, poiche le sono • uscite 1'in- This beast after its bowels 'have fallen
teriora, ^ancora conbatte coi cani e cac- out will still fight with the dogs and
ciatori. hunters.
9. si po passare. 10. passciesi . . biade. n. vsscito. 13. assirailitudine . . ciguognia ecq"a". 14. amalato . . il cozo
dacque. 15. e chol becho . . cristero. 18. falange . . graci essi.
1261. 2. colle [lucerte] serp. 3. esso. 5. alii unorbiti. 6. chol. 7. belola. 16. mvtasi nvndi . . nocte. 18. poichelle sono vsscite
lenteriora.
334
HUMOROUS WRITINGS.
[1262—1264.
H.I
1262.
CAMELEONTE.
THE CHAMELEON.
2 Questo • piglia • senpre il colore della This creature always takes the colour
cosa 3 dove si posa-; onde insieme colle of the thing on which it is resting, whence
frodi *dove si posano, spesso dali elefanti it is often devoured together with the leaves
so diuorati. on which the elephant feeds.
CORBO.
6 Questo quando a ucciso el cameleonte
7 si purga coll'alloro.
THE RAVEN.
When it has killed the Chameleon it takes
laurel as a purge.
H.I
I263-
IModeranza raffrena tutti i vitj.
2L'ermelino prima morire che imbrat-
3 tarsi.
DELL' ANTIUEDERE.
s II gallo no cata, se prima 3 volte no
batte6l'alie; il papagalo nel mutarsi pe'rami
7 no mette i pie, doue non a prima 8messo
il becco; ^Hiluoto nascie quado la speraza
more.
10 II moto seguita il cietro del peso.
Moderation checks all the vices.
The ermine will die rather than besmirch
itself.
OF FORESIGHT.
The cock does not crow till it has thrice
flapped its wings; the parrot in moving
among boughs never puts its feet excepting
where it has first put its beak. Vows are
not made till Hope is dead.
Motion tends towards the centre of gravity.
H.3
1264.
MAGNANIMITA.
MAGNANIMITY.
II falcone no pi2glia se no vccelli grossi, The falcon never seizes any but large
e prima ^more che magiare carne di no birds and will sooner die than eat [tainted]
bono odore. meat of bad savour.
1262. 6. qucssto . . cameleont. 7. pugra choll alloro.
1263. 2. cheebra. 8. becho. 9. nasscie. 10. mot seguita.
1264. 2. vcielli. 3. chare.
II.
FABLES.
1265.
FAVOLA.
2Sendo 1'ostrica insieme colli altri *pe-
sci in casa del pescatore scarica4ta vicino
al mare •, priega il ratto, sche al mare la
coduca; il ratto fatto 6disegnio di magiarla
la fa aprire, 7e mordedola questa li serra
la testa 8e si lo ferma; viene la gatta e
P uccide.
A FABLE.
An oyster being turned out together with Fables on
other fish in the house of a fisherman near (1265—1*270).
the sea, he entreated a rat to take him to
the sea. The rat purposing to eat him
bid him open; but as he bit him the oyster
squeezed his head and closed; and the cat
came and killed him.
C. A. lisa; 357,1]
1266.
FAVOLA.
2 1 tordi si rallegrarono forte, vededo
che Pomo prese la ciuetta 3e le tolse la
liberta, quella legando con forti legami ai
sua piedi ; la * qual ciuetta fu poi mediante
il uischio causa no di far perdere s la liberta
•ai tordi, ma la loro propia vita-;detta
per quelle 6terre che si rallegra di uedere
perdere la liberta ai loro maggio^ri, me-
diante i quali poi perdono il soccorso, e
rimagono lega'8ti in potetia del loro nemico •,
lasciado la liberta e spesse volte la uita.
A FABLE.
The thrushes rejoiced greatly at seeing a
man take the owl and deprive her of liberty,
tying her feet with strong bonds. But this
owl was afterwards by means of bird-lime
the cause of the thrushes losing not only
their liberty, but their life. This is said
for those countries which rejoice in seeing their
governors lose their liberty, when by that
means they themselves lose all succour, and
remain in bondage in the power of their ene-
mies, losing their liberty and often their life.
1265. 2. lostriga . . colli al. 5. ce al mare . . fato. 7. sera. 8. essilo . . ellucide.
xa66. 2. rallegrorono . . chellomo. 3. elle . . choforti. 4. tiiscio. chausa . . far perde. 5. malla. 6. chessi ralegra
7. perdano il sochorso. 8. nemicho . . esspesse.
336
HUMOROUS WRITINGS.
[1267. 1268.
C. A. 1170; 361*1
1267.
FAVOLA.
1 Dormedo • il cane • sopra la pelle • d' un-
castrone, vna delle sua 3pulci -, sentedo •
1* odore • della vnta • lana •, givdico quello
« dovesse essere • loco di migliore • vita e
piv sicura da denti e unghie del cane, die
pascierSsi del cane-;e sanza altri pensieri
abbandono il cane, e 11 entrata 6 infra la
folta lana •, comincio co somma fatica • a
volere Urapassare a^e radici de' peli-;la
quale inpresa dopo molto 8sudore trov6
esser uana •, perch& tali peli erano tanto
spessi che 9 quasi si toccavano, e no u'era
spatio dove la pulcie potesse saggiare I0tal
pelle • ; ode • dopo lugo travaglio e fatica
comincio a vole"re ritornare al suo cane-,
il quale essendo gia partito, fu I2costretta
dopo lugo petimeto e amari piati a mo-
rirsi di fame.
A FABLE.
A dog, lying asleep on the fur of a
sheep, one of his fleas, perceiving the odour
of the greasy wool, judged that this must
be a land of better living, and also mor
secure from the teeth and nails of the do*
than where he fed on the dog; and withoi
farther reflection he left the dog and went
into the thick wool. There he began -wit
great labour to try to pass among the roots
of the hairs; but after much sweating had
to give up the task as vain, because these
hairs were so close that they almost toucht
each other, and there was no space where
fleas could taste the skin. Hence, after much
labour and fatigue, he began to wish to
return to. his dog, who however had already
departed; so he was constrained after long
repentance and bitter tears, to die of hunger.
C. A. 66a ; 20oa]
1268.
FAVOLA.
A FABLE.
2 Non si cotentando • il uano • e vagabudo
parpaglione ^di potere • comodevolmete •
volare • per 1'aria, ^vinto • dalla dilettevole •
fiamma • della cadela, delisbero • volare in
quella • ; e '1 suo • giocodo • movimc6to • fu
cagione di subita • tristitia •, inperoche in
detto 7 lume si consumarono • le sottili ali •
che '1 parpa8glione • misero caduto • tutto
bruciato a pie del 9 candeliere • ; dopo • molto
• pianto e petimeI0to • si rascivgo • le lagrime
dai bagniati ochi, XIe levato- il uiso in alto
• disse • : o falsa luce, I2quati • come me debi
tu • avere • ne passa13 ti tenpi • avere mise-
rabilmete • inganati! e se I4pure volevo • ve-
dere • la luce •, no doveu' • io cono'Ssciere il
sole • dal falso • lume dello spurco sevo ?
FAVOLA.
^Trovando la scimia vno nidio di pic-
coli l8 vccelli -, tutta- allegra • appressatasi a
quelli, e quali essendo gia da volare, ne
pote solo pigliare il minore; esse20do pieno
d' allegrezza con esso • in mano, se n'ado al
suo 2Iricetto; e comiciato a cosiderare
The vain and wandering butterfly, not
content with being able to fly at its ease
through the air, overcome by the tempting
flame of the candle, decided to fly into it;
but its sportive impulse was the cause of a
sudden fall, for its delicate wings were
burnt in the flame. And the hapless butter-
fly having dropped, all scorched, at the
foot of the candlestick, after much lamen-
tation and repentance, dried the tears from its
swimming eyes, and raising its face exclaimed:
O false light! how many must thou have
miserably deceived in the past, like me; or
if I must indeed see light so near, ought I
not to have known the sun from the false
glare of dirty tallow?
A FABLE.
The monkey, finding a nest of small birds,
went up to it greatly delighted. But they,
being already fledged, he could only suc-
ceed in taking the smallest; greatly deligh-
ted he took it in his hand and went to
his abode; and having begun to look at the
1367. 2. chastrone. 4. dovessi . . locho . . sichura "da denti e vnglia del cane" che passcier. 5. essanza . . abandono. 6. in
fralla . . soma faticha. 7. molta [faj. 9. to chauano . . potessi sagiare. io. faticha comincio. 12. petimeto amari.
u68. 2. chotentando. 3. chomodamete . . laria [dilibero dischore). 4. revinto . . fiama . . chadela dili . . giochodo. 6. cha-
gione . . inperochedetto . . 7. chonsumorono . . sottile ali . (ch)el . . brusato. 9. chandelieri. n. disc. 12. chome . .
pasa. 13. cssi. 14. chome. 17. scimia [inp| vno . . di [lusi] di picioli. 18. vcielli . . apressatasi a queli. 20. dalegreza
chon eso imano . . 21. ricieto e chomlciato a chosiderare . . vcielletto. 22. issuecerato. 23. essirinse chel-
lagli tolsi.
1269. I2/0.]
FABLES.
337
questo vccelletto, 22lo comicio a baciare; e little bird he took to kissing it, and from
per lo sviscerato • amore tanto 23lo bacio, excess of love he kissed it so much and
e rivolse, e strinse • ch' ella gli tolse la uita ; turned it about and squeezed it till he killed
e detta per quelli che per no gastigare it. This is said for those who by not punish-
i figlioli capita25no male.
ing their children let them come to mischief.
C. A. 66<5; 200^]
I26g.
FAVOLA.
2 Stando il topo assediato • in vna piccola
sua abitatione 3 dalla donnola •, la quale co
cotinva vigilantia attedea 4 alia sua disfatione,
• e' per uno • piccolo spiraculo riguarda5 va
il suo gra pericolo; infrattanto • venne la
gatta, 6e subito prese essa donnola, e ime-
diate 1'ebbe diuorata; ?allora ^ ratto-,
fatto sacrificio a Giove d'alquate sua noc-
8ciole •, ringratio sommamete la sua deita, e
uscito fori dalla 9Sua buca a possedere la
gia persa liberta, della quale subito inI0sieme
colla vita fu dalle feroci unghie de' denti
della Iz gatta private.
A FABLE.
A rat was besieged in his little dwelling
by a weasel, which with unwearied vigi-
lance awaited his surrender, while watching
his imminent peril through a little hole.
Meanwhile the cat came by and suddenly
seized the weasel and forthwith devoured
it. Then the rat offered up a .sacrifice to
Jove of some of his store of nuts, humbly
thanking His providence, and came out
of his hole to enjoy his lately lost liberty.
But he was instantly deprived of it, together
with his life, by the cruel claws and teeth
of the lurking cat.
C. A. 66 &; 201 6]
1270.
FAUOLA.
A FABLE.
2 La formica • trovato vno • grano di
3 miglio •, jl grano setendosi preso da quel-
• la grido: se mi fai tato piacere di 5lasci-
armi fruire il mio desiderio del 6nasciere-,
io ti redero • cieto me medesimi; ?e cosl
fu fatto.
8 Trovato il ragnio vno grappolo • d' uue,
9il quale per la sua dolcezza era • molto •
visitato • da avi e diuerse I0 qualita • di mo-
sche-, li parue • avere trouato "loco- molto
• comodo • al suo • inganno • ; e calaI2tosi giu
• per lo suo • sottile • filo, e etrato • nella no-
X5va • abitatione • 11 ogni • giorno I4 faciedosi
alii spiraculi •, fatti dalli ^interualli • de'grani
• dell' uue -, assaltaua come l6 ladrone i miseri
animali • che da lui non si ^guardauano; e
passati • alquanti • giorni • il I8uendemiatore •
colse • essa uva e, messa coll' al^tre-insieme,
con quelle • fu pigiata-;e cosl 20l'una • fu
laccio e inganno • dello inganatore 2I ragnio •,
come • delle • ingannate mosche.
22Addormetatosi • 1'asino • sopra il ghi-
accio 23 d' u profondo • lago •, il suo • calore
dissolue 24esso ghiaccio •, e 1'asino • sot-
t' acqua a mal suo 25 danno si desto • e su-
bito • annego.
The ant found a grain of millet. The
seed feeling itself taken, prisoner cried out
to her: "If you will do me the kindness to
allow me accomplish my function of repro-
duction, I will give you a hundred such as
I am." And so it was.
A Spider found a bunch of grapes which
for its sweetness was much resorted to by
bees and divers kinds of flies. It seemed
to her that she had found a most convenient
spot to spread her snare, and having settled
herself on it with her delicate web, and
entered into her new habitation, there, every
day placing herself in the openings made by
the spaces between the grapes, she fell like
a thief on the wretched creatures which were
not aware of her. But, after a few days
had passed, the vintager came, and cut away
the bunch of grapes and put it with others,
with which it was trodden; and thus the
grapes were a snare and pitfall both for the
treacherous spider and the betrayed flies.
An ass having gone to sleep on the ice
over a deep lake, his heat dissolved the ice
and the ass awoke under water to his great
grief, and was forthwith drowned.
1069. 2. stanto . . pichola. 3. della donora. 4. per i picholo spirachulo ragnarda. 5. perichulo . vene. 6. donola. 7. dalquata
sua no. 8. rigratio somaraente . . vsscito . della. 9. busa . . dela. io. ungha. n. privata.
1070. formicha. 4. lagrodo. 5. lassciarmi. 6. nassciere . . redero. 9. il quale "per la sua dolceza" era. io. mossche. n. locho
. . chomodo . . cholla. 12. gu. 13. giorno [con ingani]. 14. [chonduci] faciedosi. 15. chome. 16. dallui. 17. chon.
18. colta . . vua e messe. 20. laccio enganno. 21. chome . . mossche. 22. adormentatosi . . diaccio. 23. disolue.
24. diaccio ellasino sottacqa. 25. dessto. 26. soportare cho. 27. nasschodere cheffallanitra. 28. sottacqa. 29. pene.
VOL. II. UU
338
HUMOROUS WRITINGS.
[1271. 1272.
26 fl falcone •, no potendo sopportare co
patietia 3i\\ nascodere che fa 1'anitra, fu-
giedo se le dinazi 28e entrado sotto • acqua
•k voile, come quelle, sott' acqua 29seguitare,
e bagniatosi le penne rimase in essa 3° acqua;
e 1'anitra, leuatasi in aria-, scheme 3'il fal-
cone che annegava.
32 II ragnio •, volendo • pigliare • la mosca
co sue 33 false • reti •, fu • sopra • quelle • dal
calabrone 34 crudelmete morto. .
35 Volendo • 1'aquila • schernire • il gufo,
rimase 36coH'alie • inpaniata •, e fu dall'omo •
presa e morta.
A falcon, unable to endure with patience
the disappearance of a duck, which, flying
before him had plunged under water, wished
to follow it under water, and having soaked
his feathers had to remain in the water while
the duck rising to the air mocked at the
falcon as he drowned.
The spider wishing to take flies in her
treacherous net, was cruelly killed in it by
the hornet.
An eagle wanting to mock at the owl
was caught by the wings in bird-lime and
was taken and killed by a man.
s. K. M. m.
1271.
Trovandosi 1' acqua nel superbo mare,
Fables on Suo eleme2to, le vene voglia di motare so-
'YecV pra 3 1' aria, e cofortata dal foco elemeto,
4 releuatasi I sottile vapore, 4 quasi parea
della sottigliezza dell' arise ; motata in alto
givnse Ifra Pa6ria piv sottile e fredda, dove
fu abadona?ta dal foco, e i piccoli granicoli,
8sendo ristretti, gia s'uniscono e fasnosi
pesanti, ove cadedo la superbia I0si couerte
in fuga, e cade dal cielo, "ode poi fu be-
vuta dalla secca terra, I2dove lugo tepo
incarcierata J3fece penitetia del suo peccato.
The water finding that its element was
the lordly ocean, was seized with a desire
to rise above the air, and being encouraged
by the element of fire and rising as a very
subtle vapour , it seemed as though it were
really as thin as air. But having risen very
high, it reached the air that was still more rare
and cold, where the fire forsook it, and the
minute particles, being brought together,
united and became heavy; whence its haugh-
tiness deserting it, it betook itself to flight
and it fell from the sky, and was drunk up
by the dry earth, where, being imprisoned for
a long time, it did penance for its sin.
C. A. 172 6; 516*]
1272.
FAUOLA.
2 Vsciendo vn giorno il rasojo • di quel
manico, col quale si fa gvaina a se mede-
simo, 3e postosi al sole •, vide il sole spe-
chiarsi nel suo corpo ; della qual cosa prese
somma gloria, « e rivolto col pensiero • in-
dirieto • comincio co seco medesimo • a dire :
Or tornero io 5 piv a quella bottega della
quale novamete uscito • sono • ? cierto • no • ;
no piaccia alii Dei che 6si splendida bel-
lezza caggia in tata vilta d'animo! che
pazzia sarebbe quella, la qual mi co?du-
cesse a radere le insaponate barbe de' ru-
stici villani • e fare mecaniche operation!!
8e questo corpo da simili eserciti? cierto
A FABLE.
The razor having one day come forth
from the handle which serves as its sheath
and having placed himself in the sun, saw
the sun reflected in his body, which filled him
with great pride. And turning it over in his
thoughts he began to say to himself: "And shall
I return again to that shop from which I have
just come? Certainly not; such splendid beauty
shall not, please God, be turned to such base
uses. What folly it would be that could lead
me to shave the lathered beards of rustic pea-
sants and perform such menial service ! Is this
body destined for such work? Certainly not.
I will hide myself in some retired spot and
30. ellanitra . . schernia. 31. anegava. 32. cosua. 33. rete. 35. schenire. 36. inpaniate eflf.
1371. i. lacq"a" . . superbo "mare" suo. 3. laria "e cofortata dal foco elemeto" eleuatosi. 4. sittiglieza. 5. infralla. 6. sot-
tile "cffrcda" dove. 7. focho e picoli. 8. rcstretti . . suniscano effa. 9. la superb, io. del cielo. n. bevute . . sechatera.
13. fe . . pechato.
1974. 2. vssciendo . . rasoro . . manicho chol . . giaina asse. 3. isspechiarsi . . chorpo . . chosa . . soma groria. 4. chol . .
chomincio chosecho. 5. acquella . . vsscito . . piacia alii de . la e. 6. belleza chagia . pazia . . sarebe . . micho.
7. ductessi . . russtrichi vilani effare smechaniche operatione. 8. or questo orpo da . . vogli naschonderc. 9. ochulto locho
I2/2.]
FABLES.
339
no; Io mi voglio nascondere in qualche
9oculto loco, e 11 co traquillo riposo passare
mia vita • ; E cosl nascosto per alquati mesi,
10 vn giorno ritornato all' aria e uscito fori
della sua guaina, vide se essere fatto a si-
"militudine d'una rugginete sega, e la sua
superfitie non ui spechiare piv lo splendiete
sole; I2co vano petimeto indarno piase lo
inriparabile danno, con seco diciedo: o
quanto I3meglio era esercitare col barbiere
il mio perduto taglio di tata sottilita ; dov' e
la lustrante ^superfitie? cierto la fastitiosa
e brutta ruggine Fa consumata!
'sQuesto medesimo • accade nelli ingiegni
• che in scabio dello csercitio si danno • al-
1'otio; l6I quali • a similitudine del sopra
detto • rasojo • perdono la tagliente sua sot-
tilita, X7e la rugine della ignioranza guasta
la sua forma.
there pass my life in tranquil repose." And
having thus remained hidden for some months,
one day he came out into the air, and issuing
from his sheath, saw himself turned to the
similitude of a rusty saw while his surface
no longer reflected the resplendent sun.
With useless repentance he vainly deplored
the irreparable mischief saying to himself:
"Oh ! how far better was it to employ at the
barbers my lost edge of such exquisite keen-
ness! Where is that lustrous surface? It has
been consumed by this vexatious and unsightly
rust."
The same thing happens to those minds
which instead of exercise give themselves up
to sloth. They are like the razor here spoken
of, and lose the keenness of their edge, while
the rust of ignorance spoils their form.
FAUOLA.
J9 Vna • pietra novamete per Facque sco-
perta di bella gradezza si staua sopra vn
cierto loco rilevato, 20dove terminava un
dilettevole boschetto sopra vna sassosa
strada in c62Ipagnia d'erbe, di uari fiori di
diuersi colori ornate, e vedea 22la gra
somma delle pietre che nella a se sotto
23 posta strada collocate • erano • ; le uenne •
desiderio di la giv lasciarsi ca24dere, diciedo
• co seco : che fo io qui • co queste erbe ?
io voglio co que25ste mie sorelle in copag-
nia abitare; e giv lasciatosi cadere infra
26 le desiderate copagnie finl suo volubile
corso • ; e stata alquato co27mlcio a essere
dalle rote de' carri •, dai pie de' ferrati ca-
valli, e de 28viandati • a essere in continvo
travaglio • ; chi la volta, quello la pesta29va ;
alcuna volta se leuava alcuno pezzo, quado
stava coperta da fa3°go o stereo di qualche
animale •, e in vano riguardava il loco do-
3Ide partita s'era in nel loco della solletaria
e traquilla pace;
32 Cosl accade a quelli che dalla vita
soletaria cotenplativa voglio33no venir abi-
tare nelle citta infra i popoli pieni d' infiniti
mali.
A FABLE.
A stone of some size recently uncovered
by the water lay on a certain spot some-
what raised, and just where a delightful grove
ended by a stony road; here it was sur-
rounded by plants decorated by various
flowers of divers colours. And as it saw the
great quantity of stones collected together in
the roadway below, it began to wish it could
let itself fall down there, saying to itself: "What
have I to do here with these plants? I want to
live in the company of those, my sisters."
And letting itself fall, its rapid course ended
among these longed for companions. When
it had been there sometime it began to find
itself constantly toiling under the wheels of
the carts the iron-shoed feet of horses and
of travellers. This one rolled it over, that
one trod upon it; sometimes it lifted itself a
little and then it was covered with mud or
the dung of some animal, and it was in vain
that it looked at the spot whence it had come
as a place of solitude and tranquil place.
Thus it happens to those who choose to
leave a life of solitary comtemplation, and
come to live in cities among people full of
infinite evil.
elli cho . . chosi naschosto. io. gorno . . . vsscito . . fatto assi. n. ruginete . ella . . noui spechiare. 12. cho . . dano cho
secho . . o qua. 13. chol . . il mi . . lusstante. 14. fasstidiosa . . rugine. .15. chenisschabio. 16. assimilitudine . . decto
nasoro perde . . suttilita. 17. ella . . guassta. 19. pietra | "novamete per lacque scoperta" di bella gradeza . . locho.
20. vdidi lettevole bosschetto . . Icho. 21. derbettedi uari . . cholori ornata. 22. soma . . asse, 23. chollochate . . uene . .
lassciarsi cha. 24. chosecho . . cho . . cho. 25. sorelle . . chopagnia . . lassatosi chadere. 26. chopagnie . . cho.
27. dale . . charri . . defferati chavalli. 28. chontinvo . . quale la. 29. alchuna . . alchuno pezo . choperta. 30. osster- .
cho . . locho. 31. partata . . inel locho. 32. acade acquelli che della . . chotenplativa voglia.
340
HUMOROUS WRITINGS.
[I273- 1274-
C. A. 66a; toia]
1273.
aLe fiamme • gia • aveano durato nella
fornace ^de' bichieri, e veduto a se avici-
narsi vna Mandela in vn bello e lustrante
cadeliere, con gran desideSrio si forzauano •
accostarsi a quella; infra le qua6li vna, la-
sciato el suo naturale ?corso e tiratasi
dentro • a vno • voto stizzo, dove 8 si pascieva
• e vsscita fori d'una piccola fessura 9 alia
cadela, che vicina 1'era, si I0gitto • e co
somma- gelosita-e ingordigia quella "di-
uorando • quasi • a fine la condusse • ; e vo-
lendo ripa'*rare • al prolungameto • della sua
vita, indar'3no teto tornare alia fornace-,
donde partita s'era, ^perch6 fu costretta
• morire, le mazze insieme 'Scolla cadela,
ode al fine co piato e petimeto l6 • in fasti-
dioso fumo si convert! , lasciado ^tutte
le sorelle in splendente e luga vita e
bellezza.
Some flames had already lasted in the fur-
nace of a glass-blower, when they saw a candle
approaching in a beautiful and glittering
candlestick. With ardent longing they strove
to reach it; and one of them, quitting its
natural course, writhed up to an unbur
brand on which it fed and passed at
opposite end out by a narrow chink to
candle which was near. It flung itself upor
it, and with fierce jealousy and greediness it
devoured it, having reduced it almost to death,
and, wishing to procure the prolongation of it
life, it tried to return to the furnace whence it
had come. But in vain, for it was compellec
to die, the wood perishing together with
candle, being at last converted, with lamen-
tation and repentance, into foul smoke, while
leaving all its sisters in brilliant and enduring
life and beauty.
C. A. 666} 2016]
1274.
Trovandosi • alquanta • poca neve 2 appic-
cata alia sommita- d'un sasso, il quale ^era
collocate sopra la strema • a!4tezza d' una •
altissima • motagnia, • e raccolsto • in se • la
imaginatione, comicio • con quella 6a con-
siderare e infra se • dire : Or no son io ? da
essere • givdicata • altera . e superba , avere
8 me piccola • dramma • di neve • posto • in si
aMo loco? e sopportare che tanta quatita.
di neve, I0 quanta • di qui • per me • essere
veduta puo, stia JIpiv bassa di me? cierto
• la mia poca quatiI2ta non merita • questa
• altezza, che bene posso per ^testimonaza
• della mia • piccola • figura conoscieI4re
quello che '1 sole fecie • ieri alle mia con-
I5pagnie, • le quali in poche • ore • dal sole
furol6no • disfatte • ; e questo interuenne per
essersi T ? posto piv alto • che a loro no si
richiedea •; io vol8glio fugire • 1'ira • del sole,
e abbassarmi, e trovare T9loco • coueniete •
alia mia parua quatita; 20e gittatasi in baso
e comlciata a disciedere rottado "dall'alte
spiaggie • super 1' altra neve, quato piv cierco
22 loco • basso •, piv • crebbe • sua • quatita in
A small patch of snow finding itself
clinging to the top of a rock which was
lying on the topmost height of a very high
mountain and being left to its own imaginings,
it began to reflect in this way, saying to
itself: "Now, shall not I be thought vain and
proud for having placed myself — such
small patch of snow — in so lofty a spot, anc
for allowing that so large a quantity of s
as I have seen here around me, shoulc
take a place lower than mine? Certainly my
small dimensions by no means merit this ele-
vation. How easily may I, in proof of my in-
significance, experience the same fate as that
which the sun brought about yesterday to my
companions, who were all, in a few hours,
destroyed by the sun. And this happened
from their having placed themselves higher
than became them. I will flee from the wrath
of the sun, and humble myself and find a
place befitting my small importance." Thus,
flinging itself down, it began to descend,
hurrying from its high home on to the other
snow; but the more it sought a low place
1873- '• [1° ingordo fochosapiglia nelle legnie]. 2. [il focho] "le fiame" gia vno . i. e durato nella. 3. de bichieri . . asse.
4. chandela . . bello chandeliere "ellusstrante" chon gra. 5. achostarsi a chuella infralle. 6. vna [falcara] laciato.
7. stizo. 8. vsscita | "dal oposita" fori. 9. [alume che lara] alia cadella. io. cho soma . . ingordigia [di] quella. n. fine
cho dule e volento. 13. tonare. 14. cho.stretta . . le mazare. 15. cholla . . cho. 16. [si co uerti) in . . lumo si . . la»-
cia. 17. issplendevole elluga . . bclleza.
1874. *• pocha. 2. apichata . . somita. 3. chollochato soprapra lasstrema. 4. teza . . rachol. 5. lam.iginatione chomlcio choo.
6. chonsiderare. 7. givdichata. 8. picciola droma. 9. locho essoportare che tante. io. quanto . . veduta po fria
n. pocha. 12. nomerta questa alteza. 13. pichola . . chonosscie . . chon. 16. disfacte ecquesto interuene. 17. alora.
18. abastarmi. 19. choueniete. ao. chomlciata . . rottato. 21. dell . . spiagie . . quato. 22. imodo. 23. sopra 1
1 27 5-]
FABLES.
341
modo 23 che, terminate • il suo • corso • sopra
• uno colle, si trouo 24di no quasi minor
gradezza • che '1 colle che essa sostenea;
2s e fu • P ultima • che in quella • state • dal
sole disfatta 26fusse •; detta • per quelli • che
s' umiliano, -son esaltate.
the more its bulk increased, so that when
at last its course was ended on a hill, it
found itself no less in size than the hill
which supported it; and it was the last of
the snow which was destroyed that summer
by the sun. This is said for those who,
humbling themselves, become exalted.
C. A. 75 a; 219*1]
1275-
Avedo jl ciedro desiderio di fare uno
bello e grade frutto 2 in nella sommita • di
se lo mise in essecutione co tutte le 3forze
del suo omore • ; jl quale frutto cresciuto •
fu cagione 4di fare declinare la eleuata e
diritta cima.
s II persico avedo • Jvidia alia gra qua-
titk de' fru6tti visti fare al noce suo vicino,
deliberato fare 7il simile-, si carico de'
sua in modo tale che '1 peso 8di detti
frutti lo tiro diradicato e rotto alia piana
9 terra.
ciedro
(cedar).
persico
(peach-tree).
10 II noce mostrado se per vna strada
ai viadanti ITla richezza de' sua frutti, ogni
omo lo lapidaua.
12 II fico stado sanza frutti, nessuno lo
riguardava; ^volendo col fare essi frutti
essere laudato dali oI4mini •, fu da quelli
piegato • e rotto.
ISStando il fico vicino all' olmo-, e ri-
guardando i sua j6 rami essere • sanza frutti
e avere ardimeto I7di tenere il sole • a sua
• acerbi fichi co ral8pognie gli disse: o
olmo -, non ai tu vergognia a ^starmi di-
nazi? ma aspetti • che mia figlioli sieno 20in
matura • eta, e vedrai dove ti troverai ! i
quali 2I figlioli poi maturati, capitadovi una
squadra 22di soldati, fu da quelli per torre
i sua fichi tutto Iacera23to • e diramato e
The cedar, being desirous of producing Fables on
a fine and noble fruit at its summit, set to (I27p5!^i279).
work to form it with all the strength of its
sap. But this fruit, when grown, was the
cause of the tall and upright tree-top being
bent over.
The peach, being envious of the vast
quantity of fruit which she saw borne on
the nut-tree, her neighbour, determined to
do the same, and loaded herself with her
own in such a way that the weight of the
fruit pulled her up by the roots and broke
her down to the ground.
noce
(nut-tree).
fico fico olmo
(fig-tree), (fig-tree), (elm-tree).
The nut-tree stood always by a road side
displaying the wealth of its fruit to the passers
by, and every one cast stones at it.
The fig-tree, having no fruit, no one
looked at it; then, wishing to produce fruits
that it might be praised by men, it was
bent and broken down by them.
The fig-tree, standing by the side of the
elm and seeing that its boughs were bare
of fruit, yet that it had the audacity to keep
the Sun from its own unripe figs with its
branches, said to it: "Oh elm! art thou not
ashamed to stand in front of me. But wait
till my offspring are fully grown and you
will see where you are!" But when her
offspring were mature, a troop of soldiers
coming by fell upon the fig-tree and her
cole. 24. gradeza. 25. effu. 26. chessa umiliano. 26. esaltate.
1275. 2. inella somita . . mise aseguitione cho tuttelle. 3. frutto "crescivto" fu chagione. 5. persicho. 6. diliberato. 7. charicho
. . imodo. 8. diradichato. 9. tera. 10. mostado se per. n. richeza . . frutto. 12. ficho. 13. chol . . frutte . . laldato.
15. ficho. 17. acerbi [fra] fichi cho. 18. dise hoholmo . . ha. 19. asspetta. 20. imatura . . vederai. 21. chapitadovi
sguadra. 22. queli pertore i sua. 23. chosi. 25. do h"o" ficho. 26. queli.
342
HUMOROUS WRITINGS.
[1276. 1277.
rotto- il quale stado poi cosl a«storpiato figs were all torn off her, and her boughs
delle sue mebra-, 1'olmo lo dimado dicie^do: cut away and broken. Then, when she was
.. thus maimed in all her limbs the elm asked
o fico quato era il meglio a stare sanza
figlioli 26che per quelli venire in si misera-
bile stato!
thus maimed in all her limbs, the elm asked
her, saying: "O fig-tree! which was best, to
be without offspring, or to be brought by
them into so miserable a plight!"
s. K. M. in.
1276.
La piata si dole del palo 2secco e ve- The plant complains of the old and dry
chio che se 1'era ^posto al lato e de'pali stick which stands by its side and of the
^secchi che la circudano;
sL'u lo matiene diritto, 6Paltro lo guar-
da dalla Hriste copagnia.
dry stakes that surround it.
One keeps it upright, the other keeps it
from low company.
C. A. 66a; 20011]
1277.
FAVOLA.
2Trovadosi la noce essere della cor-
nacchia ^ portata • sopra vn alto • campanile,
e'per 4vna fessura, doue cadde, fu liberata
• dal mortale 5 suo becco ; prego • esso muro
• 6 per quella • gratia che Dio li aveva dato •
del essere tanto 7 eminete • e magnio • e ricco
di si belle capane e di ta8to • onorevole •
suono- ch'ella douesse soccorrere, 9poi ch'ella
non avea potuta cadere sotto I0i verdi rami
del suo vechio • padre •, e essere nella gras-
JIsa terra, ricoperta dalle sue cadeti foglie •,
che non la 12 volesse lui abandonare •, jnpero-
ch'ella, trovadosi ^nel becco della • fiera
corua, ^voto, che scappado da essa voleua
finire la ui'Sta • sua • in un piccolo buco; alle
quali parole l6il mvro •, mosso . a copassione,
• fu cotento riciettarMa nel loco ov'era ca-
duta-; e infra poco tepo I8la noce comincio
aprirsi e mettere le radici infra Me fessure
delle pietre •, e quelle allargare, e gitta20re
i rami fori della sua • caverna •; e quegli 2rin
brieve leuati sopra lo edifitio, e ingrossate
le "ritorte radici, comincio aprire i mvri e
ca23uare le antiche pietre de' loro • uechi
lochi; allo24ra il muro • tardi e indarno
pianse • la cagione del suo danno; 25e in
breve apri e rovino gra parte delle sua
me bra.
A FABLE.
A nut, having been carried by a cr
to the top of a tall campanile and released
by falling into a chink from the mortal grip
of its beak, it prayed the wall by the grace
bestowed on it by God in allowing it to be
so high and thick, and to own such fine
bells and of so noble a tone, that it would
succour it, and that, as it had not been able to
fall under the verdurous boughs of its vener-
able father and lie in the fat earth covered
up by his fallen leaves it would not abandon
it; because, finding itself in the beak of the
cruel crow, it had there made a vow that if
it escaped from her it would end its life in
a little hole. At these words the wall, moved
to compassion, was content to shelter it in
the spot where it had fallen; and after a
short time the nut began to split open and
put forth roots between the rifts of the
stones and push them apart, and to throw
out shoots from its hollow shell; and, to be
brief, these rose above the building and the
twisted roots, growing thicker, began to thrust
the walls apart, and tear out the ancient
stones from their old places. Then the wall
too late and in vain bewailed the cause of
its destruction and in a short time, it wrought
the ruin of a great part of it.
1376. 2. secho. 3. ede pa\\\\\\. 4. sechi chello.
277. 2. della chornachia. 3. [essere] portato . . chan panile. 4. chade . . liberato. 5. [becho] suo becho pregho . . ravro
[chclla ricicua). 7. richo . . chapane. 8. honorcvole sono . . douessi sochorere. 9. perche poichela non era pututa chadere
10. Delia gra. n. tera richoperto delle . . chadeti . . nola. 12. volessi. 13. nel fiero becho . . chorua chia chclla si. 14. vol.
[v] che schapado. 15. nvn piciolo buso. 16. chopassione . . chotento. 17. nelocho . . chaduta . . pocho. 18. chomTcio.
19. ecquelle. 20. chaverna. 21. ingrosate. 24. tardi | "e indarno" pianse . . dano. 25. brieve apero rovino.
i278.]
FABLES.
343
C. A. 66a; zooa]
1278.
FA VOL A.
A FABLE.
2 II rovistico •, sendo stimolato nelli sua
sottili • rami ripieni di novelli 3 frutti dai pu-
gnieti artigli e becco • delle inportune merle,
si do4leva co pietoso • rammarichio • Tuerso
essa • merla, pregando quella s che, poiche
lei li toglieva • e sua diletti • frutti, il merlo
non le privasse 6 delle foglie, le quali lo
difendevano • dai cocieti • razzi del sole, e
che coll'a?cute vnghie non la scorticasse e
suestisse della • sua tenera • pelle ; 8 Alia quale
la merla con vilani rapognie rispose: o
taci saluastico • sterpo • ! no sai che la natura
t'a fatto produrre • questi frutti I0per mio
notrimeto ? no uedi che sei al modo per
servirmi di tale cibo? "no sai, vilano •, che
tu • farai in nella prossima luernata notri-
12meto e cibo del fuoco-? le quali parole
ascoltate dai albero ^patietemete, no sanza
lacrime •, jnfra poco tenpo il merlo preso
^dalla ragnia, e colti de' rami per fare
gabbia per icarcerare esso merlo ^tocco
infra 1'altri rami al sottile rovistico a fare
legni minimi l6 della gabbia, le quali vededo
essere causa della persa liberta del merlo,
T7rallegratasi mosse tale parole: O merlo-
io sono qui non acora l8consumata, come
dicievi, dai foco; prima vedro te prigione,
che tu me brugiata.
FAVOLA.
20Veduto • il lavro • e mirto • tagliare il
pero •, con alta voce 2Igridarono: O pero -,
ove vai • tu ? ov' e la superbia che aveui
quado 22avevi • i tua • maturi • frutti? ora no
ci farai • tu obra 23 colle tue • folte chiome • ;
Allora • il pero • rispose : io ne ve24do 1' agri-
cola che mi taglia e mi portera alia bottega
d'ottimo 25scultore, il quale mi fara con
su' arte pigliare la forma 26di Giove •
Idio -, e saro dedicate nel tenpio • e dagli
omini 2?adorato • invece di Giove; e tu
ti metti I puto a rimanere 28spesso stor-
piata • e pelata de' tua rami, i quali mi
sieno 29dali omini per onorarmi poste d'in-
torno.
The privet feeling its tender boughs
loaded with young fruit, pricked by the
sharp claws and beak of the insolent black-
bird, complained to the blackbird with
pitious remonstrance entreating her that since
she stole its delicious fruits she should
not deprive it of the leaves with which it
preserved them from the burning rays of
the sun, and that she should not divest it of
its tender bark by scratching it with her
sharp claws. To which the blackbird replied
with angry upbraiding: "O, be silent, un-
cultured shrub ! Do you not know that Nature
made you produce these fruits for my nourish-
ment; do you not see that you are in the
world [only] to serve me as food; do you
not know, base creature, that next winter you
will be food and prey for the Fire?" To
which words the tree listened patiently, and
not without tears. After a short time the
blackbird was taken in a net and boughs were
cut to make a cage, in which to imprison
her. Branches were cut, among others from
the pliant privet, to serve for the small rods of
the cage ; and seeing herself to be the cause of
the Blackbird's loss of liberty it rejoiced and
spoke as follows: "O Blackbird, I am here,
and not yet burnt by fire as you said. I shall
see you in prison before you see me burnt."
A FABLE.
The laurel and the myrtle seeing the
pear tree cut down cried out with a loud
voice: "O pear-tree! whither are you going?
Where is the pride you had when you were co-
vered with ripe fruits ? Now you will no longer
shade us with your mass of leaves." Then
the pear-tree replied: "I am going with the
husbandman who has cut me down and who
will take me to the workshop of a good
sculptor who by his art will make me take the
form of Jove the god; and I shall be dedicated
in a temple and adored by men in the place
of Jove, while you are bound always to remain
maimed and stripped of your boughs, which
will be placed round me to do me honour.
1378. Irovesstrice. 3. pugieti . . becho. 4. cho . . ramarichio. 5. poichellei . . mero nolle [togliessi] privasse. 6. dele . . razi . .
cholh. 7. chute . . non ischortichasse dissuestissi . . pella. 8. Ala . . chon vilani ragognie. 9. tichostrepo . . fatti produre.
io. chesse. n. inela. 12. foco . . quali [dopo pi] parole ascholdate. 13. pocho. 14. dala . . cholti . . gabia . . Ichaci-
erare. 15. stocho . . rouisericho affare lenimini. 16. dela gabia . . chaua. 17. ralegratasi . . i sono . . achora. 18. chon-
sumata chome . . focho . . vedero chettu. 20. chon. 22. hora. 23. chole . . focie. 24. cholagrichola. 25. chon. 26. es-
saro dedichato. 27. ettu. 28. ispeso. 31. chastagno . . ficho. 32. "in verso se" i sua . . isspichava . frutti quelli i quali.
344
HUMOROUS WRITINGS.
[1279.
FAVOLA.
J'Vededo jl castagnio • 1' vomo • sopra •
il fico, il quale piegava * 2 in verso se i sua
rami e di quelli spiccava • i maturi frutti • i
quali mette^va nell' aperta bocca difacie-
doli e diserradoli coi duri deti, crolla^do •
i lunghi rami, e' co spregevole mormorio
disse: **O fico • quato sei tu me di me
obbligato alia natura-'.vedi come *6'm me
ordind • serrati • i mia dolci figlioli •, prima
vestiti di sottile ca37micia, sopra la quale e
posta la dura e foderata pelle •, e no co-
3Hetandosi di tanto benificarmi • ch'ell'a
fatto loro la forte abi^tatione, e sopra
quella fondo acute • e folte • spine -, acioch6
le *°mani dell'omo • no mi possino nvocere •;
Allora il fico com!4Icio insieme coi sua
figlioli a ridere, e ferme le risa disse: *2co-
nosci F omo essere di tale ingiegnio che lui
ti sappi collie pertiche e pietre e sterpi,
tratti infra i tua rami, farti povero 44 de' tua
frutti, e quelli caduti posta coi piedi o coi
sassi, a modo <s che i frutti tua escino stra-
ciati e storpiati fora dall'armata -»6casa; e
io sono co diligieza tocco dalle mani, e
no come te da bastoni e da sasso.
A FABLE.
The chesnut, seeing a man upon the
fig-tree, bending its boughs down and pulling
off the ripe fruits, which he put into his open
mouth destroying and crushing them with
his hard teeth, it tossed its long boughs
and with a noisy rustle exclaimed: "O fig!
how much less are you protected by nature
than I. See how in me my sweet offspring
are set in close array; first clothed in soft
wrappers over which is the hard but softly
lined husk; and not content with taking this
care of me, and having given them so strong
a shelter, on this she has placed sharp and
close-set spines so that the hand of man
cannot hurt me." Then the fig-tree and her
offspring began to laugh and having laughed
she said: "I know man to be of such ingenuity
that with rods and stones and stakes flung
up among your branches he will bereave
you of your fruits; and when they are fallen,
he will trample them with his feet or with
stones, so that your offspring will come out
of their armour, crushed and maimed; while
I am touched carefully by their hands, and
not like you with sticks and stones."
C. A. 66 a; 201 a]
1279.
II mischio • salice trovadosi no potere
fruire 2il piacere di uedere i sua • sottili •
rami • fare over 3 codurre • alia • desiderata •
grandezza e dirizzarsi al cielo per cagione
• della •» vite • e di qualunche piata • li era
uicina •, senpre elli 5 era • storpiato • e dira-
mato ; e guasto ; e raccolte • in se tutti li
spiri°ti • e' con quelli apre e' spalanca • le
parti alia ^imaginatione •; e stando • in co-
tinva • cogitatione •, e ricier8cando • con quella
• F universe • delle piate, co quale 9di quelle
• esso collegare • si potesse che • non avessebi-
soI0gnio • dell' aivto • de' sua • legami-; essendo
stato • alquanto • in questa " nutritiva • ima-
ginatione •, co subito assaI2limeto li corse-
nel pensiero • la zucca •, e crollato tutti i ra-
I3mi • per grade • allegrezza • pare li • avere
trovato copa^gnia • al suo • desiato • propo-
sito, imperoch£ quella e piv atta jsa le-
gare • altri che essere • legata; I6e fatta tal
The hapless .willow, finding that she could
not enjoy the pleasure of seeing her slender
branches grow or attain to the height she
wished, or point to the sky, by reason of the
vine and whatever other trees that grew near,
but was always maimed and lopped and
spoiled, brought all her spirits together and
gave and devoted itself entirely to imagina-
tion, standing plunged in long meditation and
seeking, in all the world of plants, with
which of them she might ally herself and
which could not need the help of her withes.
Having stood for some time in this prolific
imagination, with a sudden flash the gourd
presented itself to her thoughts and tossing
all her branches with extreme delight, it
seemed to her that she had found the com-
panion suited to her purpose, because the
gourd is more apt to bind others than to
need binding; having come to this conclusion
33. bocha . . choi. 34. chotemultevole. 35. ficho. 36. settu . . obrigato . . chome. 37. ime . . serati . . cha . . chS.
38. benificharmi . . la [spinosa] abi. 39. achute effolte . . aciochelle. 40. aloro il ficho choml. 41. choi . . disc. 42. cho
chonosci . . sapicho. 44. queli chaduti posta cho . . chosassi. 45. chefrutti . . straciati . . dell. 46. chasa . . cho
tocho . . chome te "da bastoni e" dassesso e.
1179. i. miscio . . trovadosi [ognino] no. a. pia ure d[a]i. 3. condure . . grandeza | "e dirizarsi al cielo" per chagione. 4. vite.
[d)e . . visina. 5. diramato | "e guasto" e racholte . . lisspi. 6. chon . . esspalancha . . parte. 7. ch5tinva. 8. chaodo
chon . . cho. 9. di qule . . chollegare si potessi [la quale] "che" non avessi. io. gni . . esse "do" alquanto. n. [imagi-
natione] notritiva. 12. zucha e chrollato. 13. allegreza . . chopa. 14. disiato . . iperochecquella. 15. allegare . . legata
[e per ato la sschaza). iO. [chelli piati di) efiatte . . diliberatione | "ricca sua rami iuerso il cielo" attede asspettarc
I2/9-]
FABLES.
345
diliberatione rizza sua rami in uerso il
cielo aspettando ^qualche amichevole •
vcciello, che li fusse al disiderio mez-
zano; l8]fra quali • veduta • a se vicina • la
sgarza disse inverse :9di quella : o gietile
vcciello •, per quello • soccorso 20che a questi
giorni da mattina • ne' mia rami trovasti,
2Iquado -Paffamato, crudele e rapace fal-
cone ti voleva diuorare, 22e per quelli • ri-
posi che sopra me spesso ai 23 vsato • quado
• 24 1' ali tue • a te • riposo chiedeano •, e per
quelli piacie'Sri che infra detti mia rami
scherzado colle tue copagnie 26ne' • tua •
amoreggiamenti ai vsato, jo ti priego • che
tu truovi, 2?la zucca •, e inpetri da quella
alquate delle sue semeze; *8e dl a quelle •
che, nate • ch'elle • fieno •, ch'io le trattero
no29n altramete • che se del mio corpo •
gienerate 1'auessi; 3°e similmete vsa tutte
quelle parole, che di simile inte^tione per-
suasiue • sieno, benche a te, maestra de' lin-
guag32gi, insegniare • non bisognia •; e se
questo 33 farai, io sono • coteta di ricieuere
il tuo nidio sopra 34 il nascimeto de' mia •
rami • insieme colla tua fa35miglia sanza pa-
gameto d'alcu fitto •; allora la sgar36za •
fatto • e fermato alquati capitoli di novo col
salice, e mas^sima che biscie o faine sopra
se mai non accettasse, 38aizato la coda e
bassato • la testa e gittatasi dal ramo 39 rede
il suo • peso • all' ali, e quelle battedo sopra
40 la fugitiva • aria-, ora qua, ora in la curio-
samete col timo della coda 4Idirizzadosi •>
peruene • a vna zucca •, e co bel saluto 42 e
alquate bone parole inpetro le dimandate
semeze; 43e condottele al salice fu con
lieta ciera ricevuta; 44e raspato alquato
coi pie il terreno vicino al salicie, 45 Col becco •
in cierchio a esso essi • grani • piato •, li quali
46 in brieve tepo • cresciedo- comiciarono collo
accrescimeto • e aprimeto de' sua 47 rami • a
occupare • tutti • i rami del salice, e colle sue
48gra foglie • a toglierle • la bellezza del
sole e del cielo • ; e no 49bastado • tato male,
seguedo le zucche comiciarono, per disco-
5°cio preso, a tirare le cime de' teneri rami
inverse la teS'rra con strane torture e disagio
di quelli.
she awaited eagerly some friendly bird who
should be the mediator of her wishes. Presently
seeing near her the magpie she said to him :
"O gentle bird ! by the memory of the refuge
which you found this morning among my
branches, when the hungry cruel, and rapacious
falcon wanted to devour you, and by that repose
which you have always found in me when
your wings craved rest, and by the pleasure you
have enjoyed among my boughs, when playing
with your companions or making love — I
entreat you find the gourd and obtain from
her some of her seeds, and tell her that those
that are born of them I will treat exactly
as though they were my own flesh and blood;
and in this way use all the words you can
think of, which are of the same persuasive
purport; though, indeed, since. you are a master
of language, I need not teach you. And if
you will do me this service I shall be happy
to have your nest in the fork of my boughs,
and all your family without payment of any
rent." Then the magpie, having made and
confirmed certain new stipulations with the
willow, — and principally that she should never
admit upon her any snake or polecat,
cocked his tail, and put down his head, and
flung himself from the bough, throwing his
weight upon his wings; and these, beating
the fleeting air, now here, now there, bearing
about inquisitively, while his tail served as a
rudder to steer him, he came to a gourd; then
with a handsome bow and a few polite words,
he obtained the required seeds, and carried
them to the willow, who received him with a
cheerful face. And when he had scraped
away with his foot a small quantity of the
earth near the willow, describing a circle,
with his beak he planted the grains, which in
a short time began to grow, and by their
growth and the branches to take up all the
boughs of the willow, while their broad leaves
deprived it of the beauty of the sun and
sky. And not content with so much evil, the
gourds next began, by their rude hold, to
drag the ends ' of the tender shoots down
towards the earth, with strange twisting and
distortion.
17. chelli fussi . . mezano. 18. asse . . lassgaza disse iver. 19. vcciello [jo ti priego] per . . sochorso. 20. acquesssti . . inc.
21. lafamato falchone | "crudeele he" rapacte. 22. [etti priego] "e" per . . sopra [inparani] speso. 23. quado [i nervi "e
move \\\\\\\\\\ telle tua" issacho no poteano piv menare]. 24. [le tue alie] lalie | "tue" atte. 25. re che . . cholle . . cho-
pagnie. 26. amorigia . . chettu. 27. zucha . . inpretri dacquella. 28. ediacquelle . . lettrattero. 29. altremeti chesse . .
chorpo . . lanessi [essi]. 30. essimilmete. 31. atte . . lingua. 32. ne bisognia essecquesto [seruitio ni], 33. choteta.
34. nasscimeto . . cholla. 35. lassga.~36. fatto "effermi" alquati . . novo \\\ chol . . e ma. 37. bissce offaine . . acciet-
tassi. 38. del rarmo. 30. ecquelle. 40. ora ilia "curiosamete" cho. 41. dirizadosi . . zucha echo . . dimadate. 43. chon-
dottele . . cho lieto ciera. 44. rasspato . . copie il tereno. 45. chol becho iciercho [al salice ^j esse] "a esse" graui . . le.
46. cressciedo . . chollo "accresscimeto he a" primeto. 47. ochupare . . cholle. 48. attorle la belleza. 49. bastato . .
zuche comlcie per disco. 50. attirare . . inver la. 51. chon istrane. Lines 52 — 54 are written on the margin, 52. scon
VOL. II. XX
346
HUMOROUS WRITINGS.
[1279.
s'Allora scontedosi, e indarno crollan-
dosi per fare da se esse zuche cadere, e
indarno sj vaneggiando alquati giorni • in
simile inganno •, perche la bona e forte
collegatione tal s+pesiero negava, vededo
passare il ueto.-, a quello racomadadosi,
e quello soffio forte; allora s'assperse il
uechio e voto gabo del salice in 2 parti
insino s6alle sue radici; e caduto in
2 parti indarno pianse se mes^desimo, e
conobbe che era nato per non aver mai
bene.
tcdossi . . croll.idosi . . dasse . . chadere. 53. vanegiato
56. radice. 57. conobe.
Then, being much annoyed, it shook
itself in vain to throw off the gourd. After
raving for some days in such plans vainly
because the firm union forbade it, seeing
wind come by it commended itself to hi
The wind flew hard and opened the old an
hollow stem of the willow in two down
the roots, so that it fell into two parts.
In vain did it bewail itself recognising that
it was born to no good end.
ingano . . eflorte chollegatione. 54. acqucllo . . ccquello
III.
JESTS AND TALES.
C. A. H7#; 361 a]
1280.
FACIETIA.
2Andado vn prete per la sua parrochia
il sabato santo, dado 3 come vsanza 1'acqua
benedetta per le case, capito nella staza
4d'u pittore, doue spargiedo essa acqua
sopra alcuna sua pittuSra esso pittore vol-
tosi indirieto, alquato crucciato ; dis6se perche
faciesse tale spargimeto sopra le sue pit-
ture? allora ?il prete disse, essere cosl vsanza,
e ch'era suo debito il fare 8cosl, e che
facieva bene, e chi fa bene debbe aspettare
be^ne e meglio, che cosl promettea Dio, e
che d'ogni bene, che si I0 facieva in terra,
se n'avrebbe di sopra per ogni vn 100;
allora "il pittore, aspettato ch'egli uscisse
fori, se li fecie di sopra I2alla finestra, e
gitto vn gra sechione d' acqua adosso a
esso -1 3 prete, diciedo: ecco che di sopra ti
uiene per ogni v 100, come I4tu diciesti •,
che accaderebbe del bene che mi facievi
colla jstua acqua santa, colla quale m'ai
guasto mezze le mie l6pitture.
A JEST.
A priest, making the rounds of his parish
on Easter Eve, and sprinkling holy water
in the houses as is customary , came to a
painter's room, where he sprinkled the water
on some of his pictures. The painter turned
round, somewhat angered^ and asked him
why this sprinkling had been bestowed on
his pictures; then said the priest, that it was
the custom and his duty to do so, and that
he was doing good; and that he who did
good might look for good in return, and, in-
deed, for better, since God had promised that
every good deed that was done on earth
should be rewarded a hundred- fold from above.
Then the painter, waiting till he went out,
went to an upper window and flung a large
pail of water on the priest's back, saying:
"Here is the reward a hundred-fold from
above, which you said would come from the
good you had done me with your holy water,
by which you have damaged my pictures."
S. K. M. III. 73(5]
I28l.
II uino cosumato dallo 2ubriaco, esso When wine is drunk by a drunkard, .that
vino col beuitore si vedica. wine is revenged on the drinker.
1280. 4. hessa acq. 5. scrucciato di. 6. si . . faciessi. 8. asspettare. 9. chessi. 10. narebbe. n. asspettato chelli vsscissi.
i3. echo. 14. achaderebbe. 15. cholla . . meze.
1281. i. chosumato. 2. ubriacho . . chol . . vendicha.
348
HUMOROUS WRITINGS.
[1282. 1283.
C. A. 66 a; 201 a]
8 Trovadosi il uino, divino licore dell' uua,
in vna 'avrea • e ricca tazza sopra la tavola
di Malovmetto, e motato • in gloria di ta"to
onore, subito fu assaltato • da vna • cotraria
"cogitatione • diciedo • a se • medesimo: che
fo, c di che '^mi rallegro • io? non m'awedo
• essere vicino alia I4mia morte?e lasciare
1'aurea abitazione de'slla tazza • e entrare
in nelle brutte e fetide caverne l6del corpo
vmano-e 11 trasmvtarmi di odorifel?ro e
suave • licore • in brutta e trista orina? e
no I8bastado tato male • ch' io ancora deba
si lugaI9mete • giacere • ne' brutti ricettacoli
coll'altra "fetida e corrotta materia, vscita
dalle vmane inte21riora? grido inverso • il
cielo, chiededo 22vedetta di tanto danno,
2^e che si ponesse ora mai fine a tato di-
sprcggio, 24che, poiche quello paese pro-
ducea le piv belle 2Se migliori • vue di tutto
• 1'altro modo, che al meno 26esse non
fussino • in vino codotte; allora Giove fece
2 1 che '1 bevto • vino • da Mavmetto eleuo
1'anima sua z8 in verso • il cielabro •, e quello
• in modo cotamino che 29 Io fecie • matto •,
e partori tanti errori che, torna^to in se,
fecie legge che nessuno • Asiatico bevesse
3'vino-;e furono lasciate poi libere le uiti
coi sua frutti.
32Gia il uino, 33entrato nel^^lo stomaco,
co'Smincia a bo36llire e sgofia^re; gia 1'ani-
38ma di quello 39Comincia a aba4°donare
il cor4lpo; gia si volta 42inverso il cie43lo;
trova il cie44labro •, cagione 45della diuisione
46dal suo corpo; 4?gia Io comincia *8aco-
taminare 49e farlo furias°re a modo di ma-
5ltto; gia fa in52riparabili erro53ri, ammazzado
i su54a amici.
1282.
Wine, the divine juice of the'grape, fin-
ding itself in a golden and richly wrought
cup, on the table of Mahomet, was puffed
up with pride at so much honour; when
suddenly it was struck by a contrary reflec-
tion, saying to itself: "What am I about, that
I should rejoice, and not perceive that I am
now near to my death and shall leave my
golden abode in this cup to enter into the
foul and fetid caverns of the human body,
and to be transmuted from a fragrant and
delicious liquor into a foul and base one. Nay,
and as though so much evil as this were
not enough, I must for a long time lie in
hideous receptacles, together with other fetid
and corrupt matter, cast out from human in-
testines." And it cried to Heaven, imploring
vengeance for so much insult, and that an
end might henceforth be put to such con-
tempt; and that, since that country produced
the finest and best grapes in the whole world,
at least they should not be turned into wine.
Then Jove made that wine drunk by Maho-
met to rise in spirit to his brain; and that in
so deleterious a manner that it made him mad,
and gave birth to so many follies that when
he had recovered himself, he made a law that
no Asiatic should drink wine, and henceforth
the vine -and its fruit were left free.
As soon as wine has entered the stomach
it begins to ferment and swell; then the
spirit of that man begins to abandon his
body, rising as -it were skywards, and the
brain finds itself parting from the body. Then
it begins to degrade him, and make him rave
like a madman , and then he does irrepar-
able evil, killing his friends.
S. K. M. III. 58a]
1283.
Vno • artigiano andando 2 spesso a visi-
tare vno signiore 3 sanza • altro • proposito
dimadare 4al quale, jl signore domando
5 quello • che • andava faciedo? 6 questo • disse
che veniua 11 7 per avere • de' piacieri che
An artizan often going to visit a great
gentleman without any definite purpose, the
gentleman asked him what, he did this for.
The other said that he came there to have
a pleasure which his lordship could not have;
ia8a. i. II uino vedendosi "nelle partimaumettane" ogni giorno . dai beuitori. 2. essere messo . . inelle fasstidiose . .
brudella e choller. 3. tito in urina e diaciere "lu gamete" poire nei brutti e pu. 4. zalenti lochi . dilibero adopcrare
|i sua spiriti]. 5. [u] ogni sua . . forza [ara] al riparo di tata. 6. nefanda vilta . e trovadosi sopra la tavola di. 7. mav-
metto . . nvna richa e bella]. 8. trovadosi [il] il -uino. 9. richacha taza. io. groria. n. honore. 12. cheffo i di che.
13. nomavedo. 14. ellasciare. 15. taza. 15. inelle . . effetide chaverne. 16. ellisstrassmvtarmi. 17. essuave . . ettrista.
18. basstado. 18. anchora. 19. diasiere ine . . riciettacholi choll. 20. fitidae chor "o"tta . . vsscita delle. 22. danno [allora
giov'e fecie]. 23. ponessi . . attato disspregio. 24. paesse. 25. migliore . . il meno. 26. elle non . . chodotte. 27. beuto.
28. ecquello itnodo. 29. chettorna. 30. legie . . assiaticho beessi. 31. effunassciato . . libere . . cosua. 34. o stomaco.
36. esscofia. 47. cia Io comincia a. 49. effarlo. 52. cro. 53. amazado.
1983. 6. quessto. 7. chellui. 8. perochello. 9. Ivollentieri. n. fano.
I284-]
JESTS AND TALES.
349
lui 8aver no potea; peroche ^volentieri
vedeua omiI0ni piv potenti di lui, come
"fannoi popolani, ma che '1 siI2gnore non
potea • vedere se ^non omini di me possa
di lui; I4per questo i signori maca'Svano
d'esso piacere.
since to him it was a satisfaction to see men
greater than himself, as is the way with the
populace; while the gentleman could only
see men of less consequence than himself;
and so lords and great men were deprived
of that pleasure.
C. A. 147 6; 439 "1
Vsano i frati minori a cierti tempi al-
cune loro quaresime, nelle quali essi non
magiano carne ne' lor coueti, 2ma in vi-
aggio, perche essi viuono di limosine -, anno
licietia di magiare • cio che e posto loro in-
nazi; ode abatte"3dosi in detti viaggi una
copia d' essi frati a vn osteria • in copagnia
d' u cierto • mecantucolo •, il quale essendo
4 a vna medesima mesa, alia quale • no fu
portato per la pouerta dell' ostiero altro che
vn pvllastro cotto; ode es^so mercatucolo,
vedendo questo essere poco per lui, si
uolse a essi frati e disse: se io ho be 6di
ricordo-, voi no magiate in tali dl ne' vostri
coueti • d'alcuna maniera di carne; alle quali
parole i fra7ti furono costretti per la regola
sanza altre cavillationi • a dire cio essere la
uerita • ; ode il mercatello 8 ebb'e il suo de-
siderio, e cosl magio essa polastra, e i frati
fecero il meglio poterono •; ove dopo tale
desinare 9questi comesari si partirono tutti
e 3 di conpagnia •, e dopo alquanto di uiagio,
trovati vn fiume di bona I0 larghezza e pro-
fondita •, essendo tutti 3 a piedi, i frati per
pouerta e 1' altro per auaritia •, fu neciessario
per 1'uso IJdella copagnia che vno de' frati,
essendo scalzi •, passasse sopra i sua omeri
esso mercatucolo •; onde datoli I2il frate al
servo i zoccoli, si carico di tale uomo ; onde
accade, che trovandosi esso frate in mezzo
del ^ fiume -, esso ancora si ricordo della
sua • regola •, e fermatosi a vso di San Cristo-
foro alzo la testa ^inverse quello che 1'ag-
gravava, e disse : dimi vn poco •, ai tu nessu
dinari adosso? be sai, rispose queI5sto; come
credete voi ch' a mia pari mercatate andasse
altrameti attorno • ? oime, disse il frate, la
nostra l6 regola vieta che noi no possiano
portare danari adosso • ! e subito Io gitto
nell'acqua; la qual cosa conosciuta ^dal
mercatate facetamete la gia fatta ingivria
essere vedicata-, co piacievole uiso pacifi-
camete, l8 mezzo arossito per vergognia, la
uedetta sopporto.
I284'
Franciscan begging Friars are wont, at cer-
tain times, to keep fasts, when they do not eat
meat in their convents. But on journeys, as they
live on charity, they have license to eat whatever
is set before them. Now a couple of these
friars on their travels, stopped at an inn, in
company with a certain merchant, and sat down
with him at the game table, where, from the
poverty of the inn, nothing was served to them
but a small roast chicken. The merchant,
seeing this to be but little even for himself,
turned to the friars and said : "If my memory
serves me, you do not eat any kind of flesh
in your convents at this season." At these
words the friars were compelled by their rule
to admit, without cavil, that this was the truth;
so the merchant had his wish, and eat the chicken
and the friars did the best they could. After
dinner the messmates departed, all three together,
and after travelling some distance they came to
a river of some width and depth. All three
being on foot — the friars by reason of their
poverty, and the other from avarice — it was
necessary by the custom of company that
one of the friars, being barefoot, should carry
the merchant on his shoulders : so having
given his wooden shoes into his keeping,
he took up his man. But it so happened
that when the friar had got to the middle
of the river, he again remembered a rule
of his order, and stopping short, he looked
up, like Saint Christopher, to the burden on
his back and said: "Tell me, have you any
money about you?" — "You know I have",
answered the other, "How do you suppose
that a Merchant like me should go about
otherwise?" "Alack!" cried the friar, "our
rules forbid as to carry any money on our
persons," and forthwith he dropped him into
the water, which the merchant perceived was
a facetious way of being revenged on the
indignity he had done them ; so, with a smiling
face, and blushing somewhat with shame, he
peaceably endured the revenge.
1484. i. fratti. .tenpi. 2. uiagio . . viuano . . che hi posto. 3. viagi una "copia" dessi . . mecantuolo. 4. ostieri . . polostro . . odehe.
5. merchantuolo. 5. hessere pocho. 7. alte gavillationi a direco essere. 8. ebe . . chosisi . . frati fraone il meglio pote-
rone . oue dopo. 9. chonpagnia. io. largeza . . tutte . . ellaltro. n. discalzi passassi . . mercatuolo. 12. asserbo
zocholi . . charicho . . homo . . imezo. 13. hesso . . richordo dela . . effermatosi . . cristofano. 14. chellagravava . .
pocho . . risspose . . merchatate andassi altre. 16. chenoi . . conossciuta. 17. merchatate facietamete . . vldichata . .
pacifichamete. 18. mezo . . soporto.
350
HUMOROUS WRITINGS.
[1285—1287.
M.
1285.
FACETIA.
A JEST.
8 Vno volendo provare colla autorita 3 di
Pitagora, come altre volte lui era * state al
modo, e vno no li lasciava sfmire il suo
ragionameto, allor costui 6disse a questo
tale: e per tale segniale che ?io altre volte
ci fussi stato, io mi ricor8do che tu eri
mvlinaro; allora costui ^sentedosi mordere
colle parole gli I0confermo essere vero, che
per questo c6I!trassegnio lui si ricordava
che questo "tale era stato 1'asino che gli
portava la ^ farina.
FACETIA.
A man wishing to prove, by the authority
of Pythagoras, that he had formerly been in
the world, while another would not let him
finish his argument, the first speaker said to
the second: "It is by this token that I
was formerly here, I remember that you
were a miller." The other one, feeling him-
self stung by these words, agreed that it was
true, and that by the same token he remem-
bered that the speaker had been the ass
carried the flour.
A JEST.
'5Fu dimadato vn pittore perche, fac- It was asked of a painter why, since
ciedo I6lui de' figure si belle che era cose he made such beautiful figures, which were
morte, '7 per che causa esso avesse fatti i but dead things, his children were so ugly;
figlioli l8si brutti; allora il pittore rispose to which the painter replied that he made
che le '^pitture le fecie di dl, e i figlioli his pictures by day, and his children by
di notte. night.
C. A. 12(1; 421]
1286.
Vno • vede vna grade • spada al lato • a
vn altro, e' dice : o poverello ell' e gra tepo
ch'io 2t'6 veduto • legato a questa • arme •,
perche • no ti disleghi , avedo le mani di-
sciolte, -5e possiedi liberta? al qual • costui
rispose : questa e cosa • no tua , anzi • e
vecchia ; « questo sentedosi mordere • rispose:
io • ti conosco • sapere si poche cose in
questo s modo • ch'io credevo • che ogni di-
ualgata • cosa • a te • fusse • per nova.
A man saw a large sword which another
one wore at his side. Said he "Poor fellow,
for a long time I have seen you tied to that
weapon; why do you not release youiself
as your hands are untied, and set yoursel
free?" To which the other replied: "This is
none of yours, on the contrary it is an old
story." The former speaker, feeling stung,
replied: "I know that you are acquain-
ted with so few things in this world, that I
thought anything I could tell you would
be new to you."
C. A. 300 6; 914 a]
1287.
Vno lascio Io usare con uno • suo • amico,
2 perche • quello • spesso • li dicieva • male •
delli 3 amici • sua • ; II quale • lasciato • amico •
4vn dl dolendosi collo amico e dopo il
molto sdolersi Io prego, ch'elli • dicesse
A man gave up his intimacy with o
of his friends because he often spoke ill of
his other friends. The neglected friend one
day lamenting to this former friend, after
much complaining, entreated him to sa
quale fusse 6 la cagione, che Io auesse • fatto what might be the cause that had
dimeticare • 7 tanta amicitia; al quale esso- him forget so much friendship. To which
rispose: jo 8non voglio piu usare • con teco he .answered: "I will no longer be
1285. 2. cholla alturita. 3. pictagora. 4. lassciava . . chostui. 6. acquesto. 7. cifussi. 8. chfettu . . chosstui. 9. cho
n. richordaua. 12. chelli. 15. pictore. 17. chausa . . auessi. 18. risspose chelle. 19. figlio.
ia86. 2 acquesta . . disslegi [e sta liber] avcdo . . dissciolte. 3. cosstui risspose. 4. risspuose . . conossco . . chose .
quessto. 5. chosa atte fussi.
1287. i. lasscio . . amicho. 2. isspesso. 3. lassciato amicho [si do]. 4. cholla amicho. 5. diciessi . . fussi. 6. chagione chello
auessi . . dimctichare. 7. risspose. 8. no . . chontecho. 9. no no. io. amicho. n.j abbia chome me affare trissta.
1288. 1289.]
JESTS AND TALES.
351
per 9ch' io • ti uoglio bene •, e non uoglio che,
dicieI0do tu male ad altri di me •, tuo amico •,
che aljltri abbiano, come me, a fare trista
impressione I2di, te-, diciendo tu a quelli
male di me, tuo amico ; ^ ode, non vsando
noi piv insieme, parra che noi ^ siamo fatti
nimici, e per il dire tu male di me, com'e
jstua vsanza •, non sarai tanto da essere
biasi16 mato •, come se noi usassimo • in-
sieme.
timate with you because I love you, and
I do not choose that you, by speaking ill of
me,, your friend, to others, should produce
in others, as in me, a bad impression of
yourself, by speaking evil to them of me,
your friend. Therefore, being no longer in-
timate together, it will seem as though we had
become enemies; and in speaking evil of
me, as is your wont, you will not be blamed
so much as if we continued intimate.
C. A. 75 £; 219 <5]
1288.
Vno disputado e vantadosi • di sapere
fare mold vari • e belli • giochi •, vn altro de'
circonstanti • disse : jo so fare 2vno giocco •
il quale • fara • trarre le brache • a chi a me
parira; il primo vantatore, trovandosi sanza
brache, 3 disse • che a me nori le sarai
trarre e vo'dare vn pajo di calze; il pro-
ponitore d' esso gioco accettato «• lo invito
• in pro mvto piv paja di brache, e trassele
nel uolto • al mettitore delle calze, e vinse
il pegnio.
s Vno disse a vn suo conosciete : tu ai •
tutti • li ochi • trasmutati • in strano • colore ;
Quello • li ripose interuenirli 6spesso, ma
tu no ci ai posto cura; — e quado t'adiuie
questo ? — rispose 1' altro : ogni volta, che mia •
ochi vedono jl tuo viso 7 strano •, per la vio-
lenza ricievuta da si gra dispiaciere • subito
s'impallidiscono • e mvtano in istra colore;
8 Vno disse a un altro: tu ai tutti li
occhi mutati in istra colore; Quello li rispose
egli e perche i mia ochi vedono 9il tuo
viso strano.
10 Vno disse che in suo paese • nascie-
vano le piv strane cose del modo • ; 1' altro
rispose : tu che sei vi na"to, confermi ci6
esser uero • per la stranezza- della tua
brutta presenza.
A man was arguing . and boasting that he
knew many and various tricks. Another
among the bystanders said : "I know how to
play a trick which will make whomsoever I
like pull off his breeches." The first man —
the boaster — said: "You won't make me pull
off mine, and I bet you a pair of hose on it."
He who proposed the game, having accepted
the offer, produced breeches and drew them
across the face of him who bet the pair of
hose and won the bet [4].
A man said to an acquaintance: "Your
eyes are changed to a strange colour." The
other replied: "it often happens, but you have
not noticed it." "When does it happen?" said
the former. "Every time that my eyes see
your ugly face, from the shock of so un-
pleasing a sight they suddenly turn pale and
change to a strange colour."
A man said to another: "Your eyes are
changed to a strange colour." The other re-
plied: "It is because my eyes behold your
strange ugly face."
A man said that in his country were the
strangest things in the world. Another an-
swered: "You, who were born there, confirm
this as true, by the strangeness of your ugly
face."
Tr. 78]
I28g.
Dispreggiado uno vecchio publicamete
vn giovane mostrado auda2cemete no temer
quello, onde il giovane li rispuose che la
3 sua luga^ eta li facieva migliore scudo che
la lingua *o la forza.
An old man was publicly casting con-
tempt on a young one, and boldly showing that
he did not fear him; on which the young
man replied that his advanced age served
•him better as a shield than either his tongue
or his strength.
12. acquegli. 13. noi | "piv" insieme para. 14. siano . . tire tu . . chome. 15. tu. 16. chome.
1288. i. dissputado . . circhustanti 2. giocho trarae. 3. che no disse . . nole sarai . . parodi chalze. . giocho aciettato. 4. ettras-
sele . . chalze. 4. chonossciete . . trassmutati in insstrano cholore. 6. chura ecquado . . oni . . vegano. 7. sinpalidis
cano . . cholore. 8. ellgie . . vegano. io. nasscieva . . chose . . ui sena. n. chonfermi . . straneza.
ia8g. dispregiado i vecchio . . mostrado alda. 3. schudo chella lingha.
1288. The joke turns, it appears, on two meanings of trarre and is not easily translated.
352
HUMOROUS WRITINGS.
[1290 — 1292.
S. K. M.
44 a]
I2QO.
FACIETIA.
2Sendo uno infermo in articulo 3<3i
morte, esso senti battere la porta, < e doma-
dato vno de' sua serui chi era Sche batteva
Puscio, esso seruo rispose 6esser vna che
si chiamava madona ?Bona; allora 1' in-
fermo alzato le 8braccia al cielo ringrazio
Dio con al^ta voce; poi disse ai serui che
lasciI0assino venire presto questa, accio-
A JEST.
A sick man finding himself in articulo
mortis heard a knock at the door, and asking
one of his servants who was knocking, the
servant went out, and answered that it was
a woman calling herself Madonna Bona. Then
the sick man lifting his arms to Heaven
thanked God with a loud voice, and told the
servants that they were to let her come in
"che potesse vedere vna donna 12bona at once, so that he might see one good
inazi che esso morisse, I3 imperoche in sua woman before he died, since in all his life
vita mai ne vide nessuna.
he had never yet seen one.
S. K. M. II.* 43<5|
1291.
FACIETIA.
2 Fu detto a vno che si levasse 3 dal
letto, perche gia era Ieva4to il sole; E lui
rispose : se s io avessi a fare tanto viaggio
A JEST.
A man was desired to rise from bed,
because the sun was already risen. To which
he replied: "If I had as far to go, and
6e facende quanto lui, ancora io sarei 7 gia much to do as he has, I should be risen by
levato, e pero avendo a fa8re si poco ca-
mino, ancora non 9 mi voglio levare.
now; but having but a little way to go,
shall not rise yet."
Fo']
1292.
Vno vedendo vna femina parata a tener A man, seeing a woman ready to hold
ta2vola in giostra guardo il tavolaccio up the target for a jousting match, exclaimed,
e grido 3 vedendo la sua lancia: oime
quest'e troppo pic4col lavorante a si gra
bottega.
looking at the shield, and considering his
spear : "Alack ! this is too small a workmar
for so great a business."
1290. lusscie . . risspose. 6. eser . . chessi chiamav. 8. rigrazio. 9. chellasci. n. potessi. 12. hessomorissi. 13. iperoche
. . ma ne.
1191. chessi levassi. 3. del . . hera. 4. Ellui. 5. affare . . viago. 6. "e facende" quanto. 7. avdo affa. 8. anchora no. 9. mi
vo levare.
1399. 2. ingostra . . tavolacco. 3. lassua . . tropo pi. 4. assi . . bottegha.
IV.
PROPHECIES.
C. A. 1431; 426^]
1293.
DlUISIONE DELLA PROFETIA.
2Prima delle cose degli animali; secoda
delli ^ irrationali ; 3 a delle piate, quarta delle
cerimonie; iquita de' costumi; sesta delli
casi overo editti, over quisstioni; settima
de' casi che no possono stare 6in natura,
come dire di quella cosa, quato piv ne le-
?vi piv crescie; e riserua i gradi casi 8 inverse
il fine, e deboli da dal principio, 9e niostra
prima i mali, e poi le punitioni I0 delle cose
nlosofiche.
C Delle formiche. 3
I2Molti popoli fien quelli che nascodera
se I3i figlioli e le sue vettovaglie dentro alle
oscure caverne, T*e 11 nelli lochi tenebrosi
cibera se e sua ^famiglia per molti mesi
sanza altro lume accidentale o naturale.
THE DIVISION OF THE PROPHECIES.
First , of things relating to animals;
secondly, of irrational creatures; thirdly of
plants; fourthly, of ceremonies ; fifthly , of
manners; sixthly, of cases or edicts or
quarrels; seventhly, of cases that are impos-
sible in nature [paradoxes], as, for instance,
of those things which, the more is taken
from them, the more they grow. And reserve
the great matters till the end, and the small
matters give at the beginning. And first
show the evils and then the punishment of
philosophical things.
COf Ants.])
These creatures will form many commu-
nities, which will hide themselves and their
young ones and victuals in dark caverns, and
they will feed themselves and their families
in dark places for many months without any
light, artificial or natural.
1393. 3. inrationali . . cirimonie. 4. sessta. 5. chasi. 6. inatura. 7. cresscie . . chasi. 9. emali. 12. queli . . nasscodera.
13. e sue | "figloli" e . . dentro alle "osscure" caverne. 14. elli nelli. 15. famiglia "per molti mesi" sanza . . acidentale.
I2Q3. Lines I — 51 are in the original written in lines 80—97 a third one (see tne reproduction
one column, beginning with the text of line n. At of the text on the facsimile PI. CXVIII).
the end of the column is the programme for the Another suggestion for the arrangement of the
arrangement of the prophecies, placed here at prophecies is to be found among the notes 55 — 57
the head: Lines 56—79 form a second column, on page 357.
VOL. ii. YY
354
HUMOROUS WRITINGS.
[1293.
CDell'api.])
vE a molti altri sara tolte le mvnitioni
e lor cibi, l8e crudelmcte da giete sanza
ragione saranno ^sommerse eannegate; o
giustitia di Dio 20perche no ti desti a ve-
dere cosl malmenare e tua 2Icreati?
CDelle pecore vacche 23e capre e simili.D
2*A innumerabili saran tolti i loro pic-
coli figlio2sli e quelli scarnati 26e crudelis-
simameti squartati.
CDelle noci e vliue e ghia28de e castagnie
e simili.D
29 Molti figlioli da spietate bastona3°te
fieno tolti dalle propie braccia delle lor
31madri e gittati in terra e poi lacerati.
C De'fanciulli che stanno 33 legati nelle fascie.])
3-» O citta marine, io vedo in uoi i uostri
citta35dini cosl femine come maschi stret-
36tamente dai forti legami colle braccia
e ganbe esser Ie3?gati da gente che non
Itenderanno i uostri lI38guaggi, e sol ui po-
trete sfogare li vostri dolori e per39duta
liberta mediante i lagrimosi pia^ti e li
sospiri e lamentatione infra uoi mede4Isi-
mi, che chi vi lega, non v' intendera, ne voi
loro in42tenderete.
CDelle gatte che magiano i topi.])
4* A voi citta dell' Africa si uedra i uo-
stri nati essere tssquarciati nelle propie
case de' crudelissimi e ra*6paci animali del
paese vostro.
CDelli asini bastonati. ])
48 O natura, perche ti sei fatto 49partiale,
facciedoti ai tua figli d'alcuna pietosa s°e
benignia madre, ad' altri crudelissima e
spietaS'ta matrignia ? io vedo i tua figlioli
esser dati in a!52trui seruitu sanza mai beni-
fitio alcuno, e in loS3co di remuneratione
de' fatti benifitj esser pagati 54 di gradissimi
martiri, e spedere senpre la lossr vita in
benifitio del suo mal fattore.
COf Bees.D
And many others will be deprived of
their store and their food, and will be cruelly
submerged and drowned by folks devoid of
reason. Oh Justice of God! Why dost thou not
wake and behold thy creatures thus ill used?
COf Sheep, Cows, Goats and the like.])
Endless multitudes of these will have
their little children taken from them ripped
open and flayed and most barbarously
quartered.
COf Nuts, and Olives, and Acorns, and
Chesnuts, and such like.])
Many offspring shall be snatched by cruel
thrashing from the very arms of their mothers,
and flung on the ground, and crushed.
C Of Children bound in Bundles. D
O cities of the Sea! In you I see your
citizens — both females and males — tightly
bound, arms and legs, with strong withes
by folks who will not understand your
language. And you will only be able to
assuage your sorrows and lost liberty by
means of tearful complaints and sighing
and lamentation among yourselves; for
those who will bind you will not understand
you, nor will you understand them.
COf Cats that eat Rats.])
In you, O cities of Africa your children
will be seen quartered in their own houses
by most cruel and rapacious beasts of your
own country.
COf Asses that are beaten.])
[48] O Nature! Wherefore art thou so
partial; being to some of thy children a
tender and benign mother, and to others
a most cruel and pitiless stepmother?
I see children of thine given up to sla-
very to others, without any sort of ad-
vantage, and instead of remuneration for
the good they do, they are paid with the
severest suffering, and spend their whole
life in benefitting those who ill treat
them.
16. ape. 17. e amolti | "[era]" altri . . toltolte la. 18. ragone sarano. 19. gustitia. 20. dessti. 22. vache. 23. essimili.
24. invmcrabili . . elloro picholi. 25. ecquelli [crudelissimamete] scannati [essqua], 28. essimili. 29. disspietate. 30. fie-
tolti delle. 32 fanculli chesstano. 33. fasscie. 34. veggho . . uosstri. 35. dini [esse] cossi . . massci essere isstre.
36. dei . . cole br. 38. essol . . issfogare li uosstri "dolori c" eper. 39. mediante [i gran pian] i lagrimosi. 40. elle
i sosspiri ellamentatione. 43. magano e topi. 44. uosstri. 46. vosstro. 47. basstonati. 48. O natura [sanza] in stacchurata
perchetti seflatta. 49. dalchuna. 50. disspieta. 51. vegho. 52. alchuno eillo. 53. cho. 54. da [ere] di gradissime [bastonate]
48. Compare No. 845.
I294-]
PROPHECIES.
355
([ Belli omini che dormono nell'assed'alberi.])
57 Li omini dormiranno e magieranno e
abiterano s8 infra li alberi nelli selue e ca-
pagnie.
([Del sogniare.D
60 Alii omini parra vedere nel cielo nove
rui6lne; parra in quello leuarsi a uolo, e di
quello fuggi62re co penvria le fiamme che
di lui disce63dono; sentira parlare li ani-
mali di qua64luche sorte in linguaggio vma-
no; scorre6sranno inmediate colla lor per-
sona 66in diverse parti del modo sanza
mo67to; vedrano nelle tenebre gradissimi
68spledori; omaraviglia dellavmana 69spetie
qual frenesia t'a si condotto! 7°parlerai
cogli animali di qualuche spetie, 7Ie quelli
co teco in linguaggio vmano, ?*vedrati ca-
dere di grande alture san73za tuo danno; i
torreti t'accompa74gneranno e mischieranno
col lor rapido corso . . .
CDe' cristiani. ])
8lMolti che tengono la fede del figlio-
82lo e sol fan tenpli nel nome 83 della madre.
([Del cibo stato animate. B
84 Gran parte de' corpi animati 8s passera
pe' corpi degli altri animali, 86cioe le case
disabitate passera 87in pezzi per le case
abitate, dan88do a quella vtile, e porta89do
co seco i sua danni;" 9°cioe la uita dell'omo
si fa dalle cose 91 magiate -, le quali porta
con se92co la parte dell' omo ch' e morta
([ Of Men who sleep on boards of Trees.])
Men shall sleep, and eat, and dwell among
trees, in the forests and open country.
COf Dreaming.])
Men will seem to see new destructions
in the sky. The flames that fall from it
will seem to rise in it and to fly from it
with terror. They will hear every kind of
animals speak in human language. They
will instantaneously run in person in vari-
ous parts of the world, without motion.
They will see the greatest splendour in the
midst of darkness. O! marvel of the human
race! What madness has led you thus!
You will speak with animals of every species
and they with you in human speech. You will
see yourself fall from great heights without
any harm and torrents will accompany you,
and will mingle with their rapid course.
GOf Christians.])
Many who hold the faith of the Son only
build temples in the name of the Mother.
COf Food which has been alive.])
[84] A great portion of bodies that have been
alive will pass into the bodies of other ani-
mals; which is as much as to say, that the
deserted tenements will pass piecemeal into
the inhabited ones, furnishing them with good
things, and carrying with them their evils.
That is to say the life of man is formed
from things eaten, and these carry with them
that part of man which dies . . .
C. A. 143 6; 426^]
1294.
lumi
CDelli ufitj funerali 2e processioni
3e capane e copagnia.])
4Agli omini saran fatti grandissimi s onori
e ponpe sanza lor saputa.
GOf Funeral Rites, and Processions, and
Lights, and Bells, and Followers.])
The greatest honours will be paid to men,
and much pomp, without their knowledge.
"martiri" esspeder. 56. dorma nellasse. 57. magierano. 60. para. 61. para . . fugi. 62. penvra . . fiame . . dissce.
63. dano. 64. ilinguaggo. 66. parte. 68. spredori . . delle vmane. 69. tasi chondotto. 71. ecqueli cotecho . . liguagio
vmano [cha]. 72. chadere. 73. tataconpa. 74. gierano e miscerate chollor rapido corso. 75. \\\\\ sera car \\UU1\\UU\\U\\\\\
madressore. 76. \\\\\\\\\\\\\\\\\\\\ erai cholli a. 77. \\U\\\\\\\\\ 5dis. 78. \\U\\\\\\\\\\\\\\\\\\\\\ anime. 79. \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ le penne.
80. crisstiani. 81. chettengo. 82. essol. 86. coe. 87. pezi . . chase. 88. acquella vntile. 89. cosecho . . danni queste.
90. coe . . delle. 91. magate [e] le . . chon se. 92. cho. 93. \\U\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ te co ponitu. 94.
elle mlgano. 95. \\\\\\\\\\\\\\\\\\\\\\\\\\\\ morte rifara. 96. \\\\\\\\\\\\\\\\\\\\\\\\\\\ ma n5ne. 97. \\U\\\\\\\\\\\\\\\\\\ [case].
1394. 2. ellumi. 4. sara.
84 and following; compare No. 846.
1294. A facsimile of this text is on PI. CXVI
below on the right, but the. writing is larger than
the other notes on the same sheet and of a some-
what different style. The ink is also of a different
hue, as may be seen on the original sheet at Milan.
356
HUMOROUS WRITINGS.
[1295.
C. A. j6*«; "43«)
1295.
CDell auaro.D
2 Molti fieno quelli che con ogni studio
e sollecitudine seguiranno J con furia quella
cosa che senpre li a spauetati, no cono-
sciendo la sua <malignita.
C Belli omini che, quato piv inuechiano, piv
6 si fanno avari, che auedosi a star poco
dovrebbero farsi liberali.3
?Vedansi a quelli, che son giudicati di
piv sperietia e giuditio, quanto 8egli' anno
me bisognio delle cose, co piv auidita cer-
carle e riseruarle.
C Delia fossa. D
"Stara molti occupati in esercitio a
leuare di quella cosa che tanto cresciera,
quanI2to se ne leuo.
C Del peso posto sul piumaccio. 3
'*E a molti corpi ncl vedere da lor leuar
la testa, si uedra manifesta'Smente cresciere,
e rendendo loro la leuata testa • immediata-
mente l6diminviscono la gradezza.
([Del pigliare de' pidocchi.3
18 E saran molti cacciatori d'animali
che, quanto piv ne piglierano ^maco
n'avranno, e cosl de conuerso piv n'avra,
quato men ne pigliezoranno.
C Dello tignere 1' acqua colle 2 sechie a vna
sola corda. 3
22 E rimaranno occupati molti che quato
piv 2^tirerano in giu la cosa, essa piv se
ne fugira in contrario 2*modo.
CLe lingue de' porci e vitelli nelle
budelle. 3
28 O cosa spurca, che si vedra 1'uno ani-
male aver la lingua 29in culo all'altro.
CDe' crivelli fatti di pelle d'animali. D
J'Vedrassi il cibo degli animali passar
dentro alle 32 lor pelli per ogni parte salvo
che per la bocca, e penetrate dall' opposita
parte insino alia piana terra.
COf the Avaricious.])
There will be many who will eagerly
and with great care and solicitude follow
up a thing, which, if they only knew its
malignity, would always terrify them.
C Of those men, who, the older they grow, the
more avaricious they become, whereas, having
but little time to stay, they should become
more liberal. 3
We see those who are regarded as being
most experienced and judicious, when they
least need a thing, seek and cherish it with
most avidity.
COf the Ditch. 3
Many will be busied in taking away
from a thing, which will grow in proportion
as it is diminished.
COf a Weight placed on a Feather-pillow. ])
And it will be seen in many bodies that
by raising the head they swell visibly; and
by laying the raised head down again, their
size will immediately be diminished.
COf catching Lice.])
And many will be hunters of animals,
which, the fewer there are the more will be
taken; and conversely, the more there are,
the fewer will be taken.
([Of Drawing Water in two Buckets with a
single Rope. 3
And many will be busily occupied, though
the more of the thing they draw up, the
more will escape at the other end.
COf the Tongues of Pigs and Calves in
Sausage-skins. 3
Oh! how foul a thing, that we should
see the tongue of one animal in the guts of
another.
COf Sieves made of the Hair of Animals. 3
We shall see the food of animals pass
through their skin everyway excepting
through their mouths, and penetrate from
the outside downwards to the ground.
1395. 2. fien"o" . . essollecitudine seguirano. 3. chessenpre. 6. fano asstar . . doberebo. 7. vedanssi acquelli chesson gudichati
. . guditio. 9. della fossa ^| della informa di frenesia o farnetico. 10. dinsania di ceruello.^f n. mold "ochupati" in . .
alleua"r" di . . chos.i cresscier. iz. ta se ne leuo [ecquato piv se ne pone piv gressere diminisscc). 13. piumacco.
14. moti corpi . . dallor . . manit \\U\\\\. 15. cressciere . . imediate. 16. diminvissean. 17. pidochi. 18. essaran.
19. naranno . . nara. 21. dellottignier lacq"a". 22. ochupati . . piv [tirerano], 23. trirerona in gu. 25. la salsiccia che
mu nelle budelle. 26. molti si fara casa "e abiterano nelle" delle propie. 27. linguie de porci "e vitelli" nelle. 28. spur-
cha. 32. bocha. 33. oposita. 34. feroce . . possenti . . difendera. 38. voltatili. 40. z*choli. 41. chelli. 45. delli "grandi"
I 295-]
PROPHECIES.
357
C Delle lanterne.D
35 Le feroci corna de' possenti tori di-
fenderan36no la luce notturna dall'inpetuoso
furor di ueti.
C Delle piume ne' letti. 3
38 Li animali volatili sosterra 1' omini
colle lor propie 39penne.
CLi animali che ua sopra li alberi, adando
in zoccoli. D
41 Sara si grade i fanghi che li omini
andranno sopra I'al4*beri de' lor paesi.
C Delle sola delle scarpe che son di
hue.])
44 E si uedra in gran parte del paese
caminare sopra le pelli 45delli grandi ani-
mali.
(I Del nauicare. 3
4?Saranno gran venti, per li quali le
cose orietali si faranno occiden48tali, e quelli
di mezzodl in gra parte miste col corso
de' ue49ti seguiranolo per lunghi paesi.
([Delle pitture ne' santi adorati.3,
s^arleranno li' omini alii omini che non
sentiranno ; avra gli occhi $2 aperti e no
uedranno ; parleranno a quelli e no fia loro
risposta; 53chiedera gratie a chi avra orecchi
e non ode; fara lume a chi 54e orbo.
CDe' segatori.])
59Saranno molti che si movera 1'uno
6ocontradeH'altro,tenendoin manoil tagliente
ferro; Questi no si61 faranno infra loro altro
nocimeto che di stachezza, perche qua62to
1'uno si cacciera inanti, tanto 1' altro si riti-
rera indirieto ; 63 ma tristo che s' inframet-
tera in mezzo, perche al fine rimarra ta-
64gliato in pezzi.
(I II filatoio da seta.])
66Sentirassi le dolenti grida, le alte strida,
6?le rauce e infoccate vocie di quei che
fieno con tormento spogliati e al fine 68la-
sciati ignudi e sanza moto; e questo fia per
cavsa del motore che tutto volge.
COf Lanterns. 3
[3 5] The cruel horns of powerful bulls will
screen the lights of night against the wild
fury of the winds.
COf Feather-beds.])
Flying creatures will give their very fea-
thers to support men.
([Of Animals which, walk on Trees — wearing
wooden Shoes. 3
The mire will be so great that men will
walk, on the trees of their country.
COf the Soles of Shoes, which are made
from the Ox. 3
And in many parts of the country men
will be seen walking on the skins of large
beasts.
COf Sailing in Ships. 3
There will be great winds by reason of
which things of the East will become things
of the West; and those of the South, being
involved in the course of the winds, will
follow them to distant lands.
COf Worshipping the Pictures of Saints. 3
Men will speak to men who hear not;
having their eyes open, they will not see;
they will speak to these, and they will not be
answered. They will implore favours of those
who have ears and hear not; they will make
light for the blind.
COf Sawyers. 3
There will be many men who will move
one against another, holding in their hands
a cutting tool. But these will not do
each other any injury beyond tiring each
other; for, when one pushes forward the
other will draw back. But woe to him who
comes between them! For he will end by
being cut in pieces.
C,Silk-spinning. 3
Dismal, cries will be heard loud, shrieking
with anguish, and the hoarse and smothered
tones of those who will be despoiled, and
at last left naked and motionless; and this
by reason of the mover, which makes every
thing turn round.
animali. 46. sara . . occi \\\\. 48. ecquelle dimezodi. 51. parlerano . . ali . . sentirano . . ara gli \\\\\\\. 52. no fie lor
riss. 53. aciara orechi . . lume e \\\\\\\. 54. he orbo parlera color di co gra \\U\\\\\\\\\U sre. 55. prenossicho. 56. metti per
ordine e mesialle cirimonie chessusano e cosi fa del. 57. gorno e della notte. 59. molti [chessanza moto di piedi] si mo-
vera [cholle br lur.] "[in altie cholle teste]. 60. chontra . . itagliente. 61. infralloro. 62. chachiera inati. 63. tristo
chessinfra mezo . . rimara. 64. innpezzi. 65. dasseta. 66. dolenti grida [fatti chon diuerse voci] le. 67. rave e infiochate
I295- 35- Lanterns were in Italy formerly made of horn.
358
HUMOROUS WRITINGS.
CDel mettere e trarre il pan dalla bocca
del forno. I)
7° Per tutte le citti e terre e castelli e
case si uedra, per desiderio di magiare, trarre
il 7'propio cibo di bocca 1'uno all'altro sanza
poter fare difesa alcuna.
CLe terre lauorate. 3
7JVedrassi voltare la terra sotto sopra
e risguardare 1'opositi ^emisperii e scoprire
le spelonche a ferocissimi animali.
CDel seminare.B
76Allora in gra parte delli omini, che
restera uiui, gittera wfori delle lor case le
serbate vettovaglie in libera preda delli
?8vcelli e animali terrestri sanza curarsi
d'essi in parte alcuna.
([Delle pioggie che fanno che fiumi intor-
bidati 8oportan via le terre. 3
8lVerra diuerso il cielo chi trasmutera
gran parte dell' Africa 82che si mostra a
esso cielo. inverse 1'Europa, e quella di
Euro8Jpa inverso 1' Africa •, e quelle delle
provincie Scitiche si mischieranno in84sieme
con gra revolutione.
(TDe legniami che bruciano.B
8?Li alberi e arbusti delle gra selue si
convertiranno in cenere.
C Delle fornaci di mattoni e calcina.D
fine la terra si fara rossa per lo
infocameto di molti giorni, 9°e le pietre si
convertiranno in cenere.
CI pesci lessi.D
92Li animali d'acqua moriranno nelle
bellonti acque.
CL'uliue che cadono dagli uliui dannoci
Folio che fa lume.I)
^Discendera con furia diuerso la terra,
chi ci dark notrimeto e luce.
COf putting Bread into the Mouth of the
Oven and taking it out again. 3
In every city, land, castle and house,
men shall be seen, who for want of food
will take it out of the mouths of others, who
will not be able to resist in any way.
COf tilled LandD
The Earth will be seen turned up side down
and facing the opposite hemispheres, uncovering
the lurking holes of the fiercest animals.
COf Sowing Seed.D
Then many of the men who will remain
alive, will throw the victuals they have pre-
served out of their houses, a free prey to the
birds and beasts of the earth, without taking
any care of them at all.
COf the Rains, which, by making the Rivers
muddy, wash away the Land. 3
[8 1] Something will fall from the sky which
will transport a large part of Africa which
lies under that sky towards Europe, and that
of Europe towards Africa, and that of the
Scythian countries will meet with tremendous
revolutions [84].
(I Of Wood that burns.])
The trees and shrubs in the great forests
will be converted into cinder.
COf Kilns for Bricks and Lime.D
Finally the earth will turn red from a
conflagration of many days and the stones
will be turned to cinders.
COf boiled Fish.l)
The natives of the waters will die in
the boiling flood.
COf the Olives which fall from the Olive
trees, shedding oil which makes light. 3
And things will fall with great force from
above, which will give us nourishment and light.
. . cheffieno | "con tormento" ispogliati. 68. lassciati iiignudi | "e sanza moto" ecquesto . . chausa . . chetlutto. 69. et-
trarre . . della bocha. 70. etterre e chastelle e chase "per desiderio di magiare" trarre. 71. (cibo] propio . . bocha "luno
all aliro" sanza . . alchuna. 73. rissguardare. 74. esschoprire . . spilonche. 76.. allor [li ominij in. 77. chase. 78. ter-
resti . . churarsi. 79. piove chenfanche. 81. africha. 82. chessi mosstra a . . ecquella di euro. 83. lafricha . ecquelle . .
simichieranno. 84. chon . . revolutione [al fine si fermeranno e mvtcrano natura di novi frutti). Lines 86—88 come at tke
original after lines 89 and 90, but Leonardo directs us to invert the order bv ivritting a* at the beginning of the former passage
and i" at the head of the latter one. 86. bruca no. 87. albusti . . convertirano. 89. gorni. 90. elle . . convertiranno [in
polvere] "in cenere". 91. epessci. 92. morirano . . acq"e". 93. che chagio deli uliui chadioci lolio. 94. diuerso il celo
chicci . . clluce. 95. guficochessuecella alia parra. 96. tessta essaltera . . li ochin. 97. tessta . . danimali [vssciti delle]
8 1 — 84. Compare No. 945.
I295-J
PROPHECIES.
359
CDelle ciuette e gufi; cio che succhiella
alia parra. D
96 Molti periranno • di fracassamento di
testa e salteranno loro li ochi in gra par-
9?te della testa • per causa • d'animali pav-
rosi vsciti dalle tenebre.
CDel lino che fa la cura de' gieti.D
99 Sara reveriti e onorati e co reueretia
e amore ascoltati, li sua precetti I00di chi
prima fusse legato, stratiato o martorizato
da molte e diuerse battitoje.
CDe' libri che insegnano precetti. ])
102 1 corpi sanz'anima ci daranno con lor
sententie precietti vtili al ben morire.
CDe' battuti e scoreggiati. D
104 Li omini si nasconderanno • sotto le
scorze delle scorticate erbe, e quiui gri-
Iosdando si dara martiri con battimeti di
menbra a se medesimi.
CDelle maniche de' coltegli fatte di coma
XIIdi castrone.D
II2Nelle corna delli animali si vedranno
taglieti IT3ferri colli quali si torna la uita a
molti della loro II4spetie.
([ Della notte che no si conosce Il6alcun
colore. I)
"^Verra a tanto che non si conosciera
diferenza infra Il8colori, anzi si faran tutti
di nera qualita.
CDelle spade e lance che per se I20mai
nuocono a nessuno.B
121 Chi per se e masueto e sanza alcuna
offensione, si fara I22spauentevole e feroce
mediante le triste copaI23gnie, e torra la vita
crudelissimamete I24a molte genti; e piv
n' ucciderebbe, se corpi saI25z'anima e usciti
dalle spelonche non li difendessino, I26cioe
le corazze di ferro.
CDe' lacciuoli e trappole.])
128 Molti morti si movera con furia e
piglierano e legheranno I29i vivi, e serviranno
gli a lor nemici circa J3°la lor morte
e distrutione.
C Of Owls and screech owls and what will
happen to certain birds.])
Many will perish of dashing their heads
in pieces, and the eyes of many will jump
out of their heads by reason of fearful crea-
tures come out of the darkness.
C Of flax which works the cure of men. 3
That which was at first bound, cast out and
rent by many and various beaters will be res-
pected and honoured, and its precepts will
be listened to with reverence and love.
COf Books which teach Precepts.])
Bodies without souls will, by their contents
give us precepts by which to die well.
COf Flagellants.])
Men will hide themselves under the bark
of trees, and, screaming, they will make
themselves martyrs, by striking their own
limbs.
COf the Handles of Knives made of the
Horns of Sheep.])
We shall see the horns of certain beasts
fitted to iron tools, which will take the lives
of many of their kind.
COf Night when no Colour can be
discerned.])
There will come a time when no diffe-
rence can be discerned between colours, on
the contrary, everything will be black alike.
COf Swords and Spears which by themsel-
ves never hurt any one.])
One who by himself is mild enough and
void of all offence will become terrible and
fierce by being in bad company, and will
most cruelly take the life of many men, and
would kill many more if they were not hin-
dered by bodies having no soul, that have
come out of caverns- that is, breastplates of iron.
COf Snares and Traps.])
Many dead things will move furiously,
and will take and bind the living, and will
ensnare them for the enemies who seek their
death and destruction.
pavrosi vssciti delle. 98. cheffa . . de ceti. 99. reverita e onorata . . asscoltata 100. . . diuerse battitare. 101. chensegna.-
103. scoregiati. 104. lessconze delle isscorticate. 105. asse. 106. della lusuria. 107. essinfurieranno dellecose piu belle "a
cercare" possedere e operare le parte lor piv brutte. 108. doue poi con danno e penitentia ritornati nellorsentimento ara
grade amira. 109. tio di se stessi. in. chastrone. 112. uedra. 113. feri cholli. 115. cognosscie. 117. vera attanto .
cognossciera. 119. ellance. 120. nocano anessuno. 121. perse | "he sua sueto" e . . alchuna. 122. si fara spauentevole
"e feroce" mediante le trisste. 123. ettorra. 124. nuceiderebe. 125. vssciti delle splilonche noli. 126. coe le corraze.
127. lacioli. 128. chon furia "e piglierafto" e legerano. 129. e vivi esserbera . , circha. 132. vsscira delle . . ettenebrose.
36o
HUMOROUS WRITINGS.
[1295.
CDe' metalli.D
'3'Uscira dalle oscure e tenebrose
'JJspelonche • che mettera tutta 1'umana
speM4tie in grandi affanni, pericoli e mor-
»35te •; a molti segua'36ci lor, dopo molti af-
fanni, dara I37diletto; ma chi no fia suo par-
tigiano morra '38con stento e calamita;
questo commetteT39ra infiniti tradimeti, que-
sto avmeteI4°ra e persuadera li omini tristi
alii assassinameti 14Ie latrocini • e le per-
fidie • ; questa dara "»2 sospetto • a i sua par-
tigiani-; questo torra I43lo stato alle citta
libere; questo torra I4*la uita a molti; que-
sto travaglierk I4Mi omini infra loro con
molte arti, I46inganni e tradimeti; o animal
mo't^struoso! quato sarebbe meglio agli
omini I48che tutti tornassero nell' inferno!
per costui I49rimarra diserte le gra selue
delle lor ^"piate; per costui infiniti animali
perderanno la ui'5'ta.
CDel fuoco.3
'^Nasciera di piccolo principio, '54 chi
si fara co prestezza grande; queisssto non
stimera alcuna creata I56cosa, anzi colla sua
potetia '57 quasi il tutto avra in potentia
is*di transformare di suo essere ^m vn
altro.
CDe' navili che annegano.])
l6lVedrannosi grandissimi l62corpi sanza
vita por'63tare con furia moltitul64dine
d' omini alia distruttil6sone di lor uita.
CDe' boi che si magiano. 3
l6?Magieranno i padro delle posses-
1<58sioni i lor propi lauoratori.
CDe' battere il letto per rifarlo.D
I7°Veranno li omini in tanta ingratitudine,
'^che, chi dara loro albergo sanza alcu
prezzo, '72sara carico di bastonate, in modo
che '73 gran parte delle interiora si spig-
nera'74no dal loco loro e s'andranno rivol-
tando pel '75 suo corpo.
C Delle cose che si magiano '77 che prima
s' uccidono. D
178 Sara morto da loro il loro nutritore
e flag179giellato co spietata morte.
COf Metals. 3
That shall be brought forth out of dark
and obscure caves, which will put the whole
human race in great anxiety, peril and death.
To many that seek them, after many sorrows
they will give delight, and to those who are not
in their company, death with want and misfor-
tune. This will lead to the commission of end-
less crimes; this will increase and persuade bad
men to assassinations, robberies and treachery,
and by reason of it each will be suspicious of
his partner. This will deprive free cities of their
happy condition; this will take away the lives
of many; this will make men torment each
other with many artifices deceptions and trea-
sons. O monstrous creature! How much bet-
ter would it be for men that every thing should
return to 'Hell ! For this the vast forests will
be devastated of their trees; for this endless
animals will lose their lives.
COf Fire.D
One shall be born from small beginnings
which will rapidly become vast. This will
respect no created thing, rather will it, by
its power, transform almost every thing
from its own nature into another.
COf Ships which sink.D
Huge bodies will be seen, devoid of life,
carrying, in fierce haste, a multitude of men
to the destruction of their lives.
COf Oxen, which are eaten. D
The masters of estates will eat their own
labourers.
COf beating Beds to renew them. 3
Men will be seen so deeply ungrateful that
they will turn upon that which has harboured
them, for nothing at all; they will so
load it with blows that a great part of its
inside will come out of its place, and will
be turned over and over in its body.
C Of Things which are eaten and which first
are killed.])
Those who nourish them will be killed
by them and afflicted by merciless deaths.
134. pericholi. 135. molti [al sin darano piacere] sequa. 136. ci lor [dara diletto] dopo. 137. partigano. 138. chonisstento
e chalamita . . comette. 139. infmita. 140. omini "tristi" alii. 14. elle pcruita questa terra in. 142. partigani. 145. lor comolte [f]
balde ingan. 146. ingani. 147. sare meglioli. 148. chcttutti tornassi . . cosstui. 149. rimaru. 150. perda laui. 152. fuocho.
153. nassciera di picholo. 154. presteza. 155. isstimera. 156. sua pote. 157. tutto fara in. 160. navili canegano. 161. ve-
drassi. 162. chorpi. 166. chessimagano. 167. e padro . . posse. 168. e lor. 171. che che . . prezo. 172. charicho di basstonate.
'73- spigera. 174. del locho. 175. essandrano. 175. chorpo. 176. chose chessi. 177. succidano. 178. sarmorto dalloro . .
effra. 179. disspietata. 182. vederassi. 187. chol suo e alticociascuo. 188. vedrassi. 189. trans [mutarsi] "correre" ora.
I295-]
PROPHECIES.
361
(TDello spechiare le mura l8ldelle citta nel-
1'acqua de' lor fossi. 3
l82Vedrannosi 1'alte mvra delle gra citta
sotto sopra ne' Iol83ro fossi.
CDell'acqua che corre torbida l85e mista
co terra, e della poluel86re e nebbia mista
coll' aria, e del l87foco misto col suo e altri
co ciascuo.3
l88Vedrassi tutti li elementi insieme
misti con gra rel89volutione trascorrere ora
inverso il centro del mo^do, ora inverse
il celo, e quado dalle parti meri'^dionali
scorrere co furia inverso il fred^do set-
tentrione, qualche volta dall' oriete inverso
'931' occidente, e cosl di questo in quell' al-
tro emisperio.
din ogni punto si puo fare diuisio^Sne de'
2 emisperi. ])
J96Li omini tutti scabieranno emisperio
immediate.
On ogni puto e diuisione da o^riente a
occidente. D
^Moverannosi tutti li animali da oriete
a occidente, e cosl 200da aquilone a meriggio
scanbievolmete, e cosi de' couerso.
COf the Reflection of Walls of Cities in the
Water of their Ditches.])
The high walls of great cities will be
seen up side down in their ditches.
COf Water, which flows turbid and mixed
with Soil and Dust; and of Mist, which is
mixed with the Air; and of Fire which is
mixed with its own, and each with each. 3
All the elements will be seen mixed to-
gether in a great whirling mass, now borne
towards the centre of the world, now to-
wards the sky; and now furiously rushing
from the South towards the frozen North,
and sometimes from the East towards the
West, and then again from this hemisphere
to the other.
C The World may be divided into two Hemi-
spheres at any Point!)
All men will suddenly be transferred into
opposite hemispheres.
([The division of the East from the West
may be made at any point.])
All living creatures will be moved from
the East to the West; and in the same way
from North to South, and vice versa.
([Del moto dell'acque che portano 202i
legniami che son morti. ])
2°3 Corpi sanz' anima • per se medesimi
si moveranno e portera 2°4co seco innume-
rabile generatione di morti, toglien2°sdo le
richezze a circustanti viueti.
CDell'oua che sendo magiate no possono
2°7fare e pulcini. 3
208 O quanti fie quegli, ai quali sara pro-
ibito il nascere!
([De' pesci che si magiano non nati. 3
2IOInfinita gieneratione si perdera per
la morte delle grauide.
([ Del piato fatto il venerdl santo. 3
220In tutte le parti d'Europa sara piato
da gra popoli per la morte d' u 22Isolo omo
morto in oriete.
([ Of the Motion of Water which carries
wood, which is dead. 3
Bodies devoid of life will move by them-
selves and carry with them endless genera-
tions of the dead, taking the wealth from
the bystanders.
([Of Eggs which being eaten cannot form
Chickens. 3
Oh! how many will they be that never
come to the birth!
([ Of Fishes which are eaten unborn. 3
Endless generations will be lost by the
death of the pregnant.
COf the Lamentation on Good Friday. 3
Throughout Europe there will be a lamen-
tation of great nations over the death of
one man who died in the East.
190. delle parte. 191. scorera . . il fre. 192. to settantrione acua. 193. emissperio. 194. po. 196. inmediate. 199. mo-
verosi. 200. meridio. 201. acqua. 202. e legniami chesson. 204. invmerabile . . morti [dondo et] togle. 206. chessendo
magiata . . possa. 207. e pulcini. 208. nassciere. 209. pessci chessi magano onato. 211. delli animali che si castrano. 212. a
gran parte della spetie masachina pell esser tolti loro e tes 213. tichuli fia proibito el generare. 214. delle bestie chef-
fano il caco. 215. illate fia tolto ai picholi figlioli. 216. delle som mate fatte delle croie. 217. a gra parte delle femine
letine fia tolto ettagliato lor le retto. 218. insieme cholla irta [ello avendo ipicholi figloletti in corpo]. 219. venerdi sco.
220. popoli la. 221. homo. 224. cho. 226. chessi chollomo. 227. vedrassi . . effigure. 228. chesse guiranno. 229. dun-
VOL. II. ZZ
362
HUMOROUS WRITINGS.
[1295.
([Del sogniare.3
"J Andranno li omini e no si moveranno,
"« parleranno co chi no si trova, senti225rao
chi no parla.
CDelPonbra che si move coll'uomo.])
"JVedrannosi forme e figure d'uomini
"8ed'animali, che seguiranno essi ani229mali
e omini dovunque fugiranno; **°e tal fia il
moto di lui qual e del^Taltro, ma parra
cosa mirabile delle 232varie grandezze in
che essi si tras2-»mutano.
CIDell' ombra del sole e dello spechiarsi
235nell'acqua in un medesimo tepo.113
236Vedrassi molte volte 1'uno uomo
237diuentare3, e tutti lo seguo238no, e spesso
1'uno, il piv certo, 1'abandona.
([Delle casse che riseruano 24°molti
tesori. 3
^'Troverrassi dentro a de' noci e deli
alberi 242e altre piante tesori gradissimi, i
quali 243H stanno occulti e ben guardati.
([ Dello spegnere el lume a chr 24Sva al
letto. D
2*6Molti per mandare fori il fiato 247con
troppa prestezza perderanno il ue248dere e
in brieue tutti i sentimeti.
(I Delle canpanelle de' muli 2s°che stanno
presso ai loro orechi.3
25'Sentirassi in molte parti delPEuropa-
stru252meti di uarie magnitudini far diuerse
253armonie con grandissime fatiche di chi
254piv presso 1'ode.
CDelli asini.3
2s6Le molte fatiche saran remvnerate di
257fame, di sete, di disagio, e di mazzate, e
di pu258ture, e bestemie, e gra uillanie.
CDe' soldati a cauallo.I)
26°Molti sara veduti portati da gradi
ani26lmali con veloce corso alia ruina della
sua 262vita e prestissima morte.
263 per i'arja e per ja terra saranno ve-
duti ani264mali di diuersi colori portarne co
fuz65rore li omini alia destrutione di lor vita.
C Delle stelle delli sproni.3
67Per causa delle stelle -si uedranno li
omini 268esser velocissimi al pari di qua-
luche 269 animal ueloce.
C Of Dreaming. D
Men will walk and not stir, they will
talk to those who are not present, and hear
those who do not speak.
(I Of a Man's Shadow which moves with him. 3
Shapes and figures of men and animals
will be seen following these animals and men
wherever they flee. And exactly as the one
moves the other moves; but what seems so
wonderful is the variety of height they
assume.
([ Of our Shadow cast by the Sun, and our Reflec-
tion in the Water at one and the same time. 3
Many a time will one man be seen as
three and all three move together, and
often the most real one quits him.
COf wooden Chests which contain great
Treasures. 3
Within walnuts and trees and other plants
vast treasures will be found, which lie hidden
there and well guarded.
COf putting out the Light when going
to Bed.D
Many persons puffing out a breath with
too much haste, will thereby lose their sight,
and soon after all consciousness.
COf the Bells of Mules, which are close to
their Ears.])
In many parts of Europe instruments of
various sizes will be heard making divers har-
monies, with great labour to those who hear
them most closely.
COf Asses. D
The severest labour will be repaid with
hunger and thirst, and discomfort, and blows,
and goadings, and curses, and great abuse.
COf Soldiers on horseback. 3
Many men will be seen carried by large
animals, swift of pace, to the loss of their
lives and immediate death.
In the air and on earth animals will be
seen of divers colours furiously carrying men
to the destruction, of their lives.
COf the Stars of Spurs. 3
By the aid of the stars men will be seen
who will be as swift as any swift animal.
che. 230. ettal . . dellui quate del. 231. para. 232. grandeze trans. 234. delleobr. 235. nvn. 237. ettutti. 238. esspesso
luno piu. 243. ochulti . . guarda. 245. valletto. 246. molti [per soi] per. 247. pressteza. 248. tutti e sentimeti. 250. chesta
. . aloro. 251. sentirasi. 252. magnitudine. 257. disago. 258. besstemie. 259. acchauallo. 260. portare. 263. sara.
265. disstrutionc. 267. chausa . . uedra. 272. piato co. 273. dellessca. 274. chon. 275. ra visibile.
1296.]
PROPHECIES.
363
Cll bastone ch'e morto.3
27JI1 movimeto de' morti fara fugire
([ Of a Stick, which is dead. 3
The motions of a dead thing will make
272co dolore e piato e co grida molti many living ones flee with pain ° and lamen-
tation and cries.
viui.
CDell' esca.D
274Copietra e con ferro si rende275ranno „ ^ „,„,, 11W11 ,.Illllgo ,Y111
visibili le cose che prima no 276si vedeano. be made visible which before were not seen.
COf Tinder. 3
With a stone and with iron things will
C. A. 362 6; H34-5]
1296.
(I Del navicare. 3
2Vedrassi li alberi delle gra selue
di Tavrus, 3 e di Sinai, Apenino, e Atlante
scorrere per 1'aria 4da oriete a occidete, da
aquilone a meridise, e porteranno per 1'aria
gra moltitudine 6 d' omini ; o quati voti ! o
quati mor7ti! o quanta seperatio d'amici e di
pared! o qua8ti fie quelli che no rivedranno
piv le lor pro9vincie ne le lor patrie, e che
moriranno sanza seI0poltura colle lor ossa
sparse in diuersi IJsiti del modo!
CDello sgomberare 1'ogni santi. 3
J3 Molti • abandoneranno le propie abita-
tionir e por^tera co seco tutti e sua valsenti,
e andranisno abitare in altri paesi.
CDel dl de' morti. 3
T?E quati fie quelli che piageranno i
lor l8antichi morti portado lumi a quelli.
CDe' frati che spedendo parole ; 20riceuono
di gra ricchezze e danno 2Iil paradise. 3
24lLe invisibili monete fara triofare
molti spe25ditori di quelle.li
CDegli archi fatti 27colli corni de'boi.3
28 Molti fie quelli che per causa delle
bouine corona moriranno di dolente morte.
CDello scriver lettere da \n 3!paese a vn
altro.3 '.
32Parleransi liuomini di remotissimi paesi
1'uno all'altro e rispoderasi.
CDegli emisperi che sono infiniti 34 e da
infinite linie son diuisi, in mo3Sdo che senpre
ciascuno uomo n'a 36vna d'esse linie infra
l'Q de' piedi e P altro.3
37Farleransi e coccheransi e abbraccierani
si li omini stanti da l'unoal'38altro emisperio,
e tenderansi i loro linguaggi.
COf going in Ships. 3
Whe shall see the trees of the great forests
of Taurus and of Sinai and of the Appenines
and others, rush by means of the air, from
East to West and from North to South; and
carry , by means of the air, great multi-
tudes of men. Oh! how many vows!
Oh! how many deaths! Oh! how many
partings of friends and relations! Oh! how
many will those be who will never again
see their own country nor their native land,
and who will die unburied, with their bones
strewn in various parts of the world !
COf moving on All Saints' Day. 3
Many will forsake their own dwellings
and carry with them all their belongings and
will go to live in other parts.
COf All Souls' Day. 3
How many will they be who will bewail
their deceased forefathers, carrying lights
to them.
C Of Friars, who spending nothing but words,
receive great gifts and bestow Paradise. 3
Invisible money will procure the triumph
of many who will spend it.
C Of Bows made of the Horns of Oxen. 3
Many will there be who will die a painful
death by means of the horns of cattle.
COf writing Letters from one Country to
another. 3
Men will speak with each other from
the most remote countries, and reply.
COf Hemispheres, which are infinite; and
which are divided by an infinite number of
Lines, so that every Man always has one of
these Lines between his Feet. 3
Men standing in opposite hemispheres will
converse and deride each other and embrace each
other, and understand each other's language.
1296. i. navichare. 3. apenino ettalal scorere. 4. ocidete. 5. porterno. 6. [di spolia] donimi. 8. rivederano. 9. nella . . mora.
10. cholle . . diuessi. 12. issgonbrare. 14. chosecho . . andra. 17. i lor[pare]. 18. acquelli. 20. riceuano . . richeze e
dano. 22. [vadrassi gradissima turba i quali acquistera gra]. 23. [dissime richezze cho prezo invisible monete]. 24. in-
visibile. 28. chausa. 33. chessono. 35. ciasscuno homo. 56. infralli lun piedi. 37. cocherano e abracieransi. 38. ilor-
HUMOROUS WRITINGS.
[1296.
CDe' preti che dicono messe.D
4°Molti fien quelli che per esercitare
la lor arte si uestira richissi^mamente e
questo parra esser fatto secodo 1'uso de
grebiali.
CDe' frati confessori. ])
« Le sueturate donne di propia volontk
^andranno a palesare agli omini «tutti le
loro lussurie e opere *6vergognose e se-
gretissime.
CDelle chiese e abitatio de' frati. 3
53Assai saranno che lascieranno 54 H
eserciti e le fatiche 55e poverta di uita e
di roba, e andranno abitare nelle $6 richezze
e triofanti edifiti mostrando questo esser
57 il mezzo di farsi amico a Dio.
([Del uendere il paradise.])
61 Infinita moltitudine venderanno publica-
mente e pacificamete 62 cose di grandissimo
prezzo sanza licenza del padrone di quelle,
6-*e che mai no furo loro ne in lor potesta,'
e a questo no prove64dra la giustitia vmana.
CDe' morti che si uanno a sotterrare.D
66 1 senplici popoli portera gran quantita
di lumi per far lumi 67ne' viaggi a tutti
quelli che integralmente anno perso la
uirtu 68visiua.
CDelle doti delle fanciulle.])
7'E doue prima la gioventu feminina
no si potea difendere da!72la lussuria e ra-
pina de' maschi, n£ per guardie di parenti
ne fortezze di mvra, 73verra tenpo che bi-
sogniera che padri e pared d' esse fanciulle
74 le paghino di gra prezzi chi voglia .dor-
mire con loro, ancorache es75se sien ricche,
nobili, e bellissime; cierto e, par qui che
la 76natura voglia spegniere la umana spe-
tie come cosa invtile al mondo, 77 e gua-
statrice di tutte le cose create.
C Delia crudelta dell'omo.B
79Vedrannosi animali sopra della terra,
i' quali senpre conbatteranno infra 8oloro e
COf Priests who say Mass.D
There will be many men who, when they go
to their labour will put on the richest clothes,
and these will be made after the fashion of
aprons [petticoats].
COf Friars who are Confessors.])
And unhappy women will, of their own
free will, reveal to men all their sins and
shameful and most secret deeds.
COf Churches and the Habitations of Friars.])
Many will there be who will give up
work and labour and poverty of life and
goods, and will go to live among wealth
in splendid buildings, declaring that this is
the way to make themselves acceptable to God.
C Of Selling Paradise. B
An infinite number of men will sell publicly
and unhindered things of the very highest price,
without leave from the Master of it; while it
never ^was theirs nor in their power; and
human justice will not prevent it.
C Of the Dead which are carried to be buried. ])
The simple folks will carry vast quan-
tities of lights to light up the road for
those who have entirely lost the power of
sight.
COf Dowries for Maidens.])
And whereas, at first, maidens could
not be protected against the violence of Men,
neither by the watchfulness of parents nor
by strong walls, the time will come when
the fathers and parents of those girls will
pay a large price to a man who wants to
marry them, even if they are rich, noble
and most handsome. Certainly this seems as
though nature wished to eradicate the human
race as being useless to the world, and as
spoiling all created things.
COf the Cruelty of Man.])
Animals will be seen on the earth who
will always be fighting against each other
39. dica. 41. ecquesto . . grebivli. 42. chonfessore. Lines 43—46 are written on the margin parallel to lines 47—51.
44. andrano [a dire] "palesare" ali omini [dalor]. 47. [assai fien quelli che vorranno sapere co che ffannole le femmi.
48. ne nelle lor lussurie chon se e cogli altri omini elle messcine. 19. coverra che palesino tutte le loro ochulte opere
vergognose. 40. e premiare li asscoltatori di lor miserie e [infamie see). 51. [lerate infamie]. 53. sarano (chea) lassci-
eranno "le" [la lor povera vita). 54. elle. 56. ettrio fanti . . mosstrando quessto. 57. il mezo [di seruire] di farsi addio
[cfTarsi allui bcnivoloj. 59. [innnita moltitudine venderanno publichamete "chosa di gradissima valuta" quel che. 60. mai
no fu loro ne i lor podesta eancho). 61. publica e pacifichamete. 62. chose . . prezo. 63. illor . . acquesto. 64. dera.
65. chessiuanno assotterrare. 67. quelli cintera "gralm" mete an. 68. visiua o ometti ne sciocheza o viue pazzo questedue.
69. piteti onno nel prlcipio della prepositione. 70. fanculle. 72. Ha . . massci . . guardie | "di parenti" re. 73. vera . .
fancullc 74. paghi . . plez/i . . colloro. 75. sien [belli) rich* . . chella. 77. guasstatrice . . chose. 79. vedrassi. 80. chon
I297-]
PROPHECIES.
365
con danni grandissimi e spesso morte di
ciascuna delle 8l parti; questi non avra ter-
mine nelle lor malignita; per le fiere me-
82bra di questi uerranno a terra gra parte
delli alberi delle gran selue dell'u83niverso,
e poi ch'essi avranno pasciuto, il nutri-
meto de' loro desideri sa84ra, di dar morte
e affanno e fatiche e guerre e furie a qua-
luche cosa animata; e per la loro smisurata
superbia questi si vor85ranno leuare inverse
il cielo, ma la superchia gravezza delle lor
membra gli porra 86in basso; nulla cosa
restera sopra la terra o sotto la terra e
1'acqua che no 8?sia perseguitata •, remossa
o guasta • , e quella dell' u paese remossa
nelFaltro; 88e '1 corpo di questi si fara
sepultura e transito di tutti i gia da lor
morti cor89pi animati; o modo, come e ;che
no t' apri a precipitarlo nell' alte fessure de'
tua 9° gra baratri e spelonche, e non mo-
strare piu al cielo si crudele e spies Hato
mostro !
with the greatest loss and frequent deaths
on each side. And there will be no end to
their malignity; by their strong limbs we
shall see a great portion of the trees of the
vast forests laid low throughout the universe;
and, when they are filled with food the satis-
faction of their desires will be to deal death
and grief and labour and wars and fury to
every living thing; and from their immoderate
pride they will desire to rise towards heaven,
but the too great weight of their limbs will keep
them down. Nothing will remain on earth,
or under the earth or in the waters which will
not be persecuted, disturbed and spoiled, and
those of one country removed into another.
And their bodies will become the sepulture
and means of transit of all they have killed.
O Earth! why dost thou not open and
engulf them in the fissures of thy vast abyss
and caverns, and no longer display in the
sight of heaven such a cruel and horrible
monster.
Br. M. 42 <5]
1297.
PROFETIE.
2Molte fien quelle che cresce3ra nelle
lor ruine.
CLa palla della neue srotolado sopra la
6neue. ])
?Molta turba fie quella 8che, dimeticato
loro esse^re e nome, staran come 10 morti
sopra le spoglie ITdeli altri morti.
€11 dormire sopra I3le piume delPuccielli.D
^Vedrannosi le parti orieta^li discor-
rere l6 nell' occidental! e le me^ridionali in
settentri^one^vviluppando^si per 1' universe
con grande 20strepito e tremore o furore.
Gil uento d'oriete che 22scorreua in po-
nente. ])
23 1 razzi solari accende24rano il foco in
te25rra coll' quale s'in26fochera cio ch'e sotto
27 il cielo, e ripercossi 28nel suo inpedime-
29to ritorneranno 3° in basso.
CLo spechio cavo 32acciede il foco, col
33 quale si scalda il 34forno che a il f63sdo
che sta sotto il suo 36 cielo. D
PROPHECIES.
There will be many which will increase
in their destruction.
([The Ball of Snow rolling over
Snow. ])
There will be many who, forgetting their
existence and their name, will lie as dead
on the spoils of other dead creatures.
([Sleeping on the Feathers of Birds.])
The East will be seen to rush to the
West and the South to the North in con-
fusion round and about the universe, with
great noise and trembling or fury,
din the East wind which rushes to the
West.])
The solar rays will kindle fire on the
earth, by which a thing that is under the sky
will be set on fire, and, being reflected by
some obstacle, it will bend downwards.
([The Concave Mirror kindles a Fire, with
which we heat the oven, and this has its
foundation beneath its roof. I)
. . esspesso . . ciasscuna. 81. parte. .ara. 82. atterra, 83. poichessara passcuti . . dellorA84. affanno "e fatiche e guerre e
furi" accqualuche cossa animata "e per la loro issisurata superbia" questi. 85. malla . . gravezza "delle lor menvra" gli
tera. 86. resstera . . ossotto ellacqua. 87. quassia ecquella. 88. ettransito . . iga da. 89. chome me no tapri e precipila
nellaltre fessure. 90. palatri esspelonche e no . . disspia.
1297. 2. cressce. 3. dimetiohato. 10. lesspoglie de. 13. dellucie. 14. vedrassi le parte. 15. li [trans] discorrere. 16. ochiden-
tallelle me. 17. settantri. 18. siavilupando. 19. cogra. 20. strepido e tremore "o furore". 23. razi. 25. si. 26. coche.
27. riperchossi. 29. nto rilorneran. 31. pechio. 32. aciede. 33. 36. celo. 38. o si fugira. 39. solo . . celo. 40. rtorno
366
HUMOROUS WRITINGS.
[1297.
37 Gran parte del mare 38si fuggira in-
verso il 39cielo e per molto tepo no fa-
4"ra ritorno; CCioe pe' nuvoli. 3
4'Restaci-il moto che separa **il mo-
tore dal mobile.
« Sara annegato chi fa il lume 44al culto
diuino. S CLe ape che «fano la cera delle
candele. D
*6I morti uscirano di sotto terra 47e
coi loro fieri mouimeti cac48cieranno dal
mondo • innumera^bili creature umane.
€11 ferro uscito di sots 'to terra e morto,
sje se ne fa 1'arme che S3ammorti tanti
uomini. 3
54 Le grandissime montagnie 56acorache
sieno remo57te da marini liti, scaccierano
s8il mare dal suo sito.
CQuesto sono li fiumi 6oche portanno le
terre, 6lda loro leuate dalle m662tagnie, e le
scarica63no ai marini- liti, 6»e doue entra
6sla terra si fuggie il 66mare. D
6?L'acqua caduta dai nuvoli ancora in
moto sopra le spiaggie de' moti si ferme-
°8ra per lugo spatio di tempo sanza 69fare
alcu moto, e questo accade7°ra in molte e
diuerse provincie.
(I La neve che fiocca 72che e acqua.D
73 1 gran sassi de' monti gittera 7* fuoco
tale che brucieranno il le?5gname di molte
e gradissime selue 7<3 e molte fere saluatiche
e dimestiche.
(I La pietra del fucile, 78che fa foco che
consu79ma tutte le some de!8ole legnie con
che si 8ldisfa le selve; 82E cuocierassi con
esse 83la carne delle bestie.3
quanti grandi edifitj fieno ruinati
85per causa del fuoco!
([Del fuoco delle bonbarde. 3
87 1 buoi fieno in gran parte cavsa delle
ruine 88 delle citta, e similmete cavalli e
bufoli
CTira le bonbarde. 3
A great part of the sea will fly towards
heaven and for a long time will not return.
([That is, in Clouds. 5
There remains the motion which divides
the mover from the thing moved.
Those who give light for divine service
will be destroyed. ([The Bees which make
the Wax for Candles. 3
Dead things will come from underground
and by their fierce movements will send
numberless human beings out of the world.
([Iron, which comes from under ground is
dead but the Weapons are made of it which
kill so many Men. 3
The greatest mountains, even those which
are remote from the sea shore, will drive the
sea from its place.
([This is by Rivers which carry the Earth
they wash away from the Mountains and bear
it to the Sea-shore; and where the Earth
comes the sea must retire.])
The water dropped from the clouds still
in motion on the flanks of mountains will lie
still for a long period of time without any
motion whatever; and this will happen in
many and divers lands.
([ Snow, which falls in flakes and is Water. 3
The great rocks of the mountains will
throw out fire; so that they will burn the
timber of many vast forests, and many beasts
both wild and tame.
([The Flint in the Tinder-box which makes
a Fire that consumes all the loads of Wood
of which the Forests are despoiled and with
this the flesh of Beasts is cooked. 3
Oh ! how many great buildings will be
ruined by reason of Fire.
([The Fire of great Guns. 3
Oxen will be to a great extent the cause
of the destruction of cities, and in the same
way horses and buffaloes
Cby drawing Guns 3.
coe penvgoli. 41. Resstaci . . . . chessepera. 43. anegato chiffa ilume. 46. vsscirano. 47. hecholoro . . ca. 48. del. . invmera.
50. usscito disc. 51. momorto. 52. esse. 53. amorti. 54. montagnie per. 55. [lunga remotione fia an). 56. anchoraches-
sieno che sieno. 58. del. 61. dallor . . delle. 62. elle scarica. 63. noa. 67. de nvgoli | "ancora in moto sopra le spiage
de moti sua natura che'' si ferine. 69. acade. 70. imolte . . prouince. 71. fiocha. 73. gra. 74. focho . . ile. 76. fiere.
79. some de. 81. disfa. 82. e cocierassicon eso. 83. dclla besttie. 85. chausa del focho. 87. boi. 86. focho. 88. i
mete cavgli. 83. lira.
1298—1300.]
PROPHECIES.
1.2 15*] I298-
Ti Vedrassi la spetie leonina • colle un-
ghiate 2branche aprire la terra • e nelle fatte
3spelonche • seppellire • se insieme co^li altri
animali a se sottoposti. 1
IJsUsciranno dalla terra • animali • vestiti
di tenebre, 6i quali con maravigliosi assalti
?assaliranno 1'umana generatione, e quella
8 da feroci morsi • fia con confusion di sa^gue
d.a essi • diuorata. H
10 Accra scorrera per
spetie volatile, IJla quale
1' aria • la nefada
assalira • li omini
e li aI2nimali, e di quelli si ciberanno co
gra r3gridore; empierano i loro vetri di
vermiglio sangue.
The Lion tribe will be seen tearing open
the earth with their clawed paws and in the
caves thus made, burying themselves together
with the other animals that are beneath them.
Animals will come forth from the earth
in gloomy vesture, which will attack the
human species with astonishing assaults,
and which by their ferocious bites will
make confusion of blood among those they
devour.
Again the air will be filled with a mischie-
vous winged race which will assail men and
beasts and feed upon them with much noise —
filling themselves with scarlet blood.
1.3
1299.
Vedrassi il sangue uscire dalle • strac-
ciate carni, 2 rigare le superfitiali parti delli
omini;
1 3 Verra alii omini • tal crudele mala4tia,
che colle propie vnghie • si stracScieranno
le loro carni (Tsara la rognia;B1[
H^Vedrannosi le piate rimanere sanza
foglie, 7e i fiurni fermare i loro corsi;U
H 8 L' acqua del mare si leuera sopra
1'alte cime de' moti 9 verso il cielo, e rica-
dera sopra alle aI0bitationi delli omini
(tcioe per nuvoli;])!
li^Vedrannosi i maggiori alberi delle
selue essere I2portati dal furor de' venti dal-
1'oriete ^all'occidente 'j Gcioe per mare ;D If
HI4Li omini gitterao via le propie vet-
tovaglie (T^cioe seminado. DTI
Blood will be seen issuing from the torn
flesh of men, and trickling down the . sur-
face.
Men will have such cruel maladies that
they will tear their flesh with their own nails.
([The Itch. ])
Plants will be seen left without leaves, and
the rivers standing still in their channels.
The waters of the sea will rise above
the high peaks of the mountains towards
heaven and fall again on to the dwellings
of men. ([That is, in Clouds. B
The largest trees of the forest will be
seen carried by the fury of the winds from
East to West. ([That is across the Sea. ])
Men will cast away their own victuals.
([That is, in Sowing.]}
1.2 26 a]
1300.
H Verra a tale la gieneratione vmana
2 che no si intedera il parlare • 1' uno del-
1'altro; 3cioe un tedesco con un turco.U
II4 Vedrassi ai padri donare le lor figliole
5 a lussuria delli omini e premiare e abba-
donare ogni 6passata guardia Cquado si
maritano le putte.Blf
H^Uscirano li omini dalle sepulture co-
uertiti 8 in vccelli •, e assaliranno li altri
omini togliendo 9 loro il cibo dalle propie
mani e mese I die mosche.])!
Human beings will be seen who will not
understand each other's speech; that .is, a
German with a Turk.
Fathers will be seen giving their daughters
into the power of man and giving up all
their former care in guarding them. ([When
Girls are married.])
Men will come out their graves turned
into flying creatures; and they will attack
other men, taking their food from their very
hand or table. ([As Flies.])
1298. i. vederassi . . colle vngliate. 2. b\\\^ache. 3. secho . . cho. 4. asse sottopossti. 5. vsscira deUa . . animali "vestitidi
tenebr[oso]" di osscuro. .6. [colore] i quali cho. 7: gieneratione ecq. 8. quela da . . fia confusion. 10. laria [vcielli] "la
nefada specie volati". u. assalira . . ellia. 13. enperano . . sange.
1293. i. usscire delle. 4. cholle . . si stra. 6. vedrassi. 8. leuera "sopra lalte cime de moti" [molte ^miglia]. 10. bitatione . .
nvgoli. ii. vedera . . magiori. 13. coe.
1300. i. verano attale. 3. vtedesco con v turco. 5. ebadonare "e premiare" ogni. 7. vsscirano . . delle. 8. vcielli e assalirano
. . tolendo. 9. delle . . le mosce [ecc]. 10. arove. n. scierano. 12. quelli [che osseruerano] "che presterano
orechi" | le . . legere.
HUMOROUS WRITINGS.
[1301. 1302.
V°Molti fien quegli che scorticado la
madre li arrove"scieranno la sua pelle •
adosso; (Li lavoratori della terra. DTI
V'Felici fie quelli che presterano ore-
chi alle parole de' morti; Cleggere ^le
bone opere e osseruarle.Dl
Many will there be who, flaying their
mother, will tear the skin from her back.
G Husbandmen tilling the Earth. D
Happy will they be who lend ear to the
words of the Dead. G Who read good works
and obey them.])
1.2
1301.
ILe penne leuerano li omini siccome
gli uccielli inverse il cielo; 2 Gcioe per le
lettere- fatte da esse pene. DH
•JlL'umane opere fieno cagione di lor
morte; | die spade e lacie. D
11 + Li omini perseguirano quella cc-sa
della qual piv temono,H scioe | Gsara mi-
seri per no venire I miseria. Dt
!6Le cose disunite • s'unirano • e ricie-
verano in se 7tal uirtu, che rederanno la
persa memoria alii omi8ni •, cio£ i papiri •
che so fatti di peli disuniti ?e tegono me-
moria delle cose e fatti delli omini. H
UIOVedrannosi 1'ossa de' morti co ve-
loce moto trattalrre la fortuna del suo
motore; Ci dadi.DI
HI2I buoi colle lor corna difendera^no
il foco dalla-sua • morte; |] Gla laterna. M
I^Le selue partoriraho figlioli che fiano
causa della 'Mor morte; (Til manico della
scura.DH
Feathers will raise men, as they do birds,
towards heaven ([that is, by the letters which
are written with quills. D
The works of men's hands will occasion
their death. G Swords and Spears. D
Men out of fear will cling to the thing
they most fear. ([That is they will be mi-
serable lest they should fall into misery.])
Things that are separate shall be united
and acquire such virtue that they will restore
to man his lost memory; that is papyrus
[sheets] which are made of separate strips
and have preserved the memory of the things
and acts of men.
The bones of the Dead will be seen to
govern the fortunes of him who moves them.
CBy Dice.])
Cattle with their horns protect the Flamme
from its death. Gin a Lantern [13]. 3
The Forests will bring forth young which
will be the cause of their death. CThe
handle of the hatchet.])
1.2 lja\
1302.
aspramete • chi
Gbatterano • il
ULi omini batteranno
fia causa 2di lor uita;
grano. ]) t
1f-*Le pelli delli animali • removerano li
omini con gran igridori e bestemie dal lor
silentio; | Gle balle da giuocare.M
5Molte volte la cosa disunita fia causa
di grade unitione; 6 Gcioe il pettine fatto
dalla disunita canna unisce • le ^ fi la • nella
seta. ])
I8 II ueto passato per le pelli delli ani-
mali fara saltare *li omini; Ccioe la piva
che fa lo saltare. DI
Men will deal bitter to blows to that which
is the cause of their life. Gin thrashing
Grain. D
The skins of animals will rouse men from
their silence with great outcries and curses.
C Balls for playing Games. D
Very often a thing that is itself broken
is the occasion of much union. GThat is
the Comb made of split Cane which unites
the threads of Silk. D
The wind passing through the skins of
animals will make men dance. GThat is
the Bag-pipe , which makes people dance. D
1301. i. sichome. 2. faete. 3. lesspade he lace. 4. chosa . . temano. 7. rederauno. 8. palpiri chesso. 9. tegano . . cosse
effatti. 10. vederassi . . cho.. 12. [le corna delle] i boi. 14. chef fia chausa.
1301. i. batterano asspramete cheffia chausa. 3. pelle . . con ga. 4. besstemie . . giucare. 5. chausa. 6. della . . vnisscie.
9. cheffa \\\\\\\ are.
1301. 13. See note page 357.
1303—1305.]
PROPHECIES.
369
1.2
I303-
CDe' noci battuti.3
2 Quelli che avranno • fatto meglio, sa-
ranno 3piv battuti e i sua figlioli tolti *e
scorticati overo spogliati e rotte e fraScas-
sate le sue ossa.
CDelle scolture.3
7 (Dime, che vedo il saluatore di novo
crocifisso.
C Della bocca dell'omo ch'e sepoltura.3
9Usciranno gra romori dalle sepolture
di I0 quelli che so finiti da cattiva e uiolete
morte.
CDelle pelli delli animali I2che tengono il
senso del tatto ^che v'e sulle scritture. 3
*« Quato piv si parlera • colle pelli, veste
del 'Ssentimento, tanto piv s'acquistera sa-
pietia.
CDe' preti che tengono 1'ostia r7in corpo. 3
l8Allora tutti quasi i tabernaculi dove
sta il '9 corpus domini si vedrano manifesta-
mete 20per se stessi andare per diuerse
strade del modo.
COf Walnut trees, that are beaten. 3
Those which have done best will be
most beaten, and their offspring taken and
flayed or peeled, and their bones broken or
crushed.
COf Sculpture. 3"
Alas! what do I see? The Saviour cru-
cified anew.
COf the Mouth of Man, which is a Sepulchre. 3
Great noise will issue from the sepul-
chres of those who died evil and violent
deaths.
C Of the Skins of Animals which have the
sense of feeling what is in the things written. 3
The more you converse with skins cove
red with sentiments, the ' more wisdom will-
you acquire.
COf Priests who bear the Host in their body.3
Then almost all the tabernacles in
which dwells the Corpus Domini, will be
plainly seen walking about of themselves on
the various roads of the world.
1.2 iSa]
1304.
HE quelli che pascono 1'erbe 2fara della
notte 3giorno; [ Csevo.31
THE molti terrestri e acquatici s animali
moterano fralle 6stelle; | Ccioe pianeti.3H
l|7Vedrassi i morti portare 8i vivi;
Ci carri e navi in diuerse parti. 3 If
10 A molti fia tolto il cibo di bocca;
CAi forni.3
U12E quelli che si inboccheranno, per
1'altrui ^mani fia lor tolto il cibo di bo-
Cil forno. 311
And those who feed on grass will turn
night into day C Tallow. 3
And many creatures of land and water
will go up among the stars C that is Planets. 3
The dead will be seen carrying the living
Cin Carts and Ships in various places. 3
Food shall be taken out of the mouth
of many Cthe oven's mouth. 3
And those which will have their food in
their mouth will be deprived of it by the
hands of others^C the oven. 3
1.2
I305-
CDe' crocifissi veduti. 3
2Io vedo di novo veduto e crocifisso
Cristo 3e marterizzare i sua sati.
CI medici che uiuono de' malati. 3
5Verrano li omini in tanta vilta, che
avra di gra6tia, che altri triofino sopra i
loro mali 7Ovvero della perduta lor uera
ricchezza, cioe la sanita.
COf Crucifixes which are sold. 3
I see Christ sold and crucified afresh, and
his Saints suffering Martyrdom.
COf Physicians, who live by sickness. 3
Men will come into so wretched a plight
that they will be glad that others will derive
profit from their sufferings or from the loss
of their real wealth, that is health.
1303. 2. aranno. 3. e e sua. 4. esscorticha . . effra. 5. chassate. 7. ome . . saluadore. 8. dela bocha. 9. vsscira . . delle
. . de. 10. queli chesso finiti de. n. belle. 12. tengano. '13. che vesule. 14. cholle pelleveste del. 16. chettengano.
19. vederano. 20. stesse.
1304. i — 14 R. i. ecqueli che pasca lere. 2. [cholla] fara. 4. teresti e aquatici. 6. stelle e pianeti. 8. i carri "e navi."
10. amoli fia . . bocha. n. a. 12. ecque chessi. 14. bocha.
1305. 2. i vedo. 3. marterizare. 4. uiua. 5. verano . . ara. 6. triofi . . ilor. 7. ovedella . . richeza coe. 8. delle religio.
VOL. ii. AAA
370
HUMOROUS WRITINGS.
[1306—1308.
C Delia religione de' frati 9Che vivono
per li loro saI0ti, morti per assai
tepo. D
"Quelli che saranno morti dopo mille
anni ' 'fieri quelli che daranno le spese a
molti
([De' sassi covertiti in calcina, jsde' quali si
murano le prigioni. 3
16 Molti che fieno disfatti dal fuoco ^in-
nazi a questo tenpo, torrano la liberta a
moll8ti uomini.
([ Of the Religion of Friars, who live by the
Saints who have been dead a great
while. D
Those who are dead will, after a thou-
sand years be those who will give a livelihood
to many who are living.
C Of Stones converted into Lime, with which
prison walls are made. 3
Many things that have been before that
time destroyed by fire will deprive many men
of liberty.
1.2 i9o] 1306.
CDe' putti che tettano.B
2 Molti Francescani, Domenicani, e Bene-
Jdettini mangieranno quel che da altri «al-
tre volte vicinamete e stato magiasto, che
staranno molti mesi avanti £che possino
parlare.
CDe' nichi e chiocciole che sono rebuttati
8 dal mare che marciscono detro ai lor
gusci. D
9(3 quanti fien quelli che, poiche fie
morti, marI0ciranno nelle lor propie case,
epicdo le "circustate parti piene di fetulete
puzzo !
([Of Children who are suckled.])
Many Franciscans, Dominicans and Be-
nedictines will eat that which at other
times was eaten by others, who for some
months to come will not be able to
speak.
C Of Cockles and Sea Snails which are thrown
up by the sea and which rot inside their
shells. ])
How many will there be who, after they
are dead, will putrefy inside their own houses,
filling all the surrounding air with a fetid
smell.
L. 91 a]
(L De' mvli
1307.
che portano le ricche some
2dell'argieto e oro. ])
^ Molti tesori e gra ricchezze • saranno
appre4sso alii animali di 4 piedi, i quali le
porsteranno in diversi lochi.
C Of Mules which have on them rich bur-
dens of silver and gold. D
Much treasure and great riches will be
laid upon four-footed beasts, which will con-
vey them to divers places.
K.2
1308.
CDell'onbra che fa Porno di not2te col
lume. ])
3 Appariranno grandissime figure in for-
ma * vmana, le quali quanto piv le ti faSrai
vicine, piu diminuiranno la 6loro immensa
magnitudine.
C Of the Shadow cast by a man at night with
a light.])
Huge figures will appear in human shape,
and the nearer you get to them, the more
will their immense size diminish.
9. vivano. n. chessarano. 15. mure. 16. cheffieno . . foco [dopo molti]. 17. inazi acquesto. 18. homini.
1306. i. chettattano. 2. franciessci domenichi. 3. delta mangierano. 7. chesson. 8. marciscano . . a lor. 10. cirano.
n. puzo.
1307. i. richc. 2. he oro. 3. richeze . . apre. 5. terano.
1308. i. dino. 2. chol. 4. sitifa. 5. ra vicino . . diminvirano. 6. inmensa.
1307. It seems to me probable that this note, riches of the palace of Guidobaldo, whose treasures
which occurs in the note book used in 1502, when Cesare Borgia at once had carried to Cesena (see
Leonardo, in the service of Cesare Borgia, visited GREGOROVIUS, Geschichtt dtr Stad( Rom im Mittelalttr.
Urbino, was suggested by the famous pillage of the XIII, 5, 4).
1309—
PROPHECIES.
371
C. A. 127 1>; 390*] ^OQ'
CDelle biscie.portate dalle cicognie.]) COf Snakes, carried by Storks. 3
2Vedrannosi in grandissima altezza del- Serpents of great length will be seen
1'aria lughissimi serpenti ^conbattere colli at a great height in the air, fighting with
uccielli. birds.
CDelle bobarde ch'escono dalla fossa e COf great guns, which come out of a pit
dalla forma.]) and a mould.])
sUscira di sotto terra chi con spauete-
i grida stordira 6i circonstanti vicini e
col suo fiato fara morire li omini ^ e ruinare
- V*S*J^-.M.I*. ^. ~~ --— — — L v^reatures will come from underground
voli grida stordira 6i circonstanti vicini e which with their terrific noise will stun all
™i o,,« £afr> f*r*> mnHtv li nmini y^mJnpr^ who are near; and with their breath will kill
le citta e castella.
men and destroy cities' and castles.
Br. M.
1310.
CDel grao e altre semeze.I) COf Grain and other Seeds. I)
2 Gitteranno li omini fori delle lor propie Men will fling out of their houses those
case quelle uettovalglie, le quali 3 era dedi- victuals which were, intended to sustain their
cate a sostetare la lor uita. 1i>f~
CDelli alberi che nutriscono i nesti. D
s Vedrannosi i padri e le madri fare molto
piv giovamento ai figliastri che ai lor ueri
6figlioli.
([Del turibolo dell' inceso. ])
8Quelli che cd uestimeti bianchi an-
dranno con arrogante movimeto minacciaMo
con metallo e fuoco, che no facieva lor de-
trimeto alcuno.
life.
COf Trees, which nourish grafted shoots.])
Fathers and mothers will be seen to take
much more delight in their step-children then
in their own children.
COf the Censer. 3
Some will go about in white garments
with arrogant gestures threatening others with
metal and fire which will do no harm at all
to them.
S. K. M. II.2;
13"-
CDel segare dell'erbe.]) COf drying Fodder.])
2 Spegnieransi innumerabili viti 3 e farassi Innumerable lives will be destroyed and
sopra la terra innumera4bili buchi. innumerable vacant spaces will be made on
the earth.
C Delia vita delli omini 6che ogni ano si COf the Life of Men, who every year change
mWtano di carne. ]) their bodily substance. ])
8 Li omini passera morti per le 9sue Men, when dead, will pass through their
propie budelle. own bowels.
1309. i. bissce. 2. vedrassi . . alteza . . lugisimi serpe. 3. combatere. 4. escan della . . della. 5. vsscira . . conispaueteuoli.
6. circustanti . . fiato.
1310. 2. chase. 3. assosstetare. 4. notriscano e nesti. 5. vedrassi . . elle . . govamento . . figliasstri. 7. tuibile. 8. uestimete
biache . . arogante . . minacia. 9. cometallo effoco chi.
1311. 2. spegineransi inumerabili. 3. invmera. 6. afii. 8. pasera. 9. gudelle. 10. de vai. n. [molti animali].
372
HUMOROUS WRITINGS.
1312.
2. 1313
S. K. M. 11.2; 3«)
CI calzolari.D C Shoemakers.
*Li omini vedranno co piacere ^disfare Men will take pleasure in seeing their own
e ropere 1'opere loro. work destroyed and injured.
S. K. M. II. 2 j 69*]
CDe capretti. I) C Of Kids. ])
'Ritornera ^il tepo d' Erode, perche The time of Herod will come again, for
* 1'innoccti figliuoli sara 5 tolti alle loro the little innocent children will be taken from
6balie, edacru7deli omini digran ferite mori- their nurses, and will die of terrible wounds
ranno. inflicted by cruel men.
1318. x— 3 R. 2. vedera cho. 3. diffare.
1313. 2. [sarano tolti] ritornera. 3. perche [i pi]. 4- !> noceti figuoli. 7. gra.
373
V.
DRAUGHTS AND SCHEMES FOR THE HUMOROUS WRITINGS.
Br. M. 42 i]
FAUOLA.
2 El granchio sta3do sotto il sasso per
piglia^re pesci che sotto a quelslo entrauano,
vene la pi6ena con rovinoso precipita7mento
di sassi, e col loro rotolare 8si fraciello tal
grachio.
QUEL MEDESIMO.
10 II ragnio, stante infra "1'uue, pigliaua
le mosche I2che in su tali uve si pasci^evano ;
venne la vedemmi^a e fu pestato^ il ragno
in'Ssieme coll'uue.
16 La uite invecchiata sopra Fal^bero
vecchio • cade insil8eme colla ruina d'esso
al^bero, e fu per la trista conpagnia a man-
care insieme 2Icon quella.
22 II torrete porto tanto 23di terra e pie-
tre nel 2* suo letto, che fu costre2stto a mu-
tar sito.
26 La rete che soleua pigliare 2?li pesci
fu presa e portata 28via dal furor de' pesci.
2^La palla della neue quan3°to piv roto-
lando disciese 31 dalle motagnie della neue
32tato piv multiplied la sua 33 magnitudine.
3411 salice che per li sua Iun35ghi giermi
a a mente e uol 36cresciere da superare
ciascuna 3/altra piata, per avere fatto 38co-
pagnia colla vite che o39gni anno si potta,
fu ancora 4°lui senpre storpiato.
A FABLE.
The crab standing under the rock to Schemes for
catch the fish which crept under it, it came (^i!!!'^^).
to pass that the rock fell with a ruinous
downfall of stones, and by their fall the
crab was crushed.
THE SAME.
The spider, being among the grapes,
caught the flies which were feeding on
those grapes. Then came the vintage, and
the spider was cut down with the grapes.
The vine that has grown old on an old
tree -falls with the ruin of that tree, and
through that bad companionship must perish
with it.
The torrent carried . so much earth and
stones into its bed, that it was then con-
strained to change its course.
The net that was wont to take the fish was
seized and carried away by the rush of fish.
The ball of snow when, as it rolls, it
descends from the snowy mountains, increases
in size as it falls.
The willow, which by its long shoots
hopes as it grows, to outstrip every other
plant, from having associated itself with the
vine which is pruned every year was always
crippled.
1314. 2. El . . stando sta. 4. pessci chessotto acquel. 6. chon. 7. colloro tala. 8. siffracielloro tal. 10. infral. 12. suttale vue
. . sipassi. 13. eva . . uedemi. 14. a effu pesto. 16. uite [cresscuta] "iuechiata" sopr lal. 17. vechio chade. 19. effu.
23. eppietre. 24. pochostre. 27. pessci. 28. pessci. 30. dissciese. 31. delle. 35. gierminamenti eul. 36. cresscie
perare ciascuna. 38. cholla . 39. ano si pota fu.
374
HUMOROUS WRITINGS.
[1315-1320.
C. A. 66t t *>«*)
Fauola della lingua morsa dai deti.
'II ciedro insuperbito dalla sua bellezza
Jdubita delle piate che li so dltorno, e fat-
Uole si torre dinanzi; il ueto poi non es-
sesdo interrotto •, lo gitt6 per terra • diradi-
cato.
6 La uitalba-non stado coteta nella sua
7siepe •, commlcio . a passare coi sua • rami la
8comvne strada-e appicarsi all'opposita
siepe; ^onde da uiadanti • poi • fu • rotta.
Fable of the tongue bitten by the teeth.
The cedar puffed up with pride of its
beauty, separated itself from the trees around
it and in so doing it turned away towards
the wind, which not being broken in its fury,
flung it uprooted on the earth.
The traveller's joy, not content in its
hedge, began to fling its branches out over the
high road, and cling to the opposite hedge,
and for this it was broken away by the passers by.
H.2 is-5]
1316.
Hcalderugio da la vittouaglia 2ai figliuoli The goldfinch gives victuals to its caged
ingabbiati; — pri^ma morte che perdere li- young. Death rather than loss of liberty,
berta.
s. K. M. Hi-, 120] T3X7-
(I Delle baghe.D
2Le capre codur3raho il uino alle *citta.
COf Bags.D
Goats will convey the wine to the city.
I.i 39-5)
1318.
Tutte le cose che nel uerno fie 2 nascoste
sotto la neve rimaranno sco^perte e palesi
nell' estate; Gdettaper la <bugia che no puo
stare occulta. ])
All those things which in winter are
hidden under the snow, will be uncovered
and laid bare in summer. ([for Falsehood,
which cannot remain hidden]).
44a]
FAVOLA.
A FABLE.
2H giglio si pose sopra la ripa di -Te- The lily set itself down by the shores
sino, 3e la correte tiro la ripa Isieme col of the Ticino, and the current carried away
lilio. bank and the lily with it.
H.2 14 6}
1320.
FACETIA.
A JEST.
2Perche li Ungheri tegono la croce t Why Hungarian ducats have a double
dvppia. cross on them.
1315. 2. della . . belleza. 3. chclli . . eflTa. 4. tore. 5. interotto. 5. pertera ". . diradichato. 6. istado. 7. comlcio . . cosua.
8. apicharsi . . oposita.
1316. i. calderigio da il arouialio. 2. a figlioli ingabiati.
J3»7- i. bage. 2. chapre codu. 3. ale.
1318. i. cose. 2. remarao. 3. palese nella stade. 4. ocbulta.
1319. 2. iligio si pose. 3. ella corete. 1330. 1—2 R. 2. perchelli ugeri tega.
1316. Above this text is another note, also referring to liberty; see No. 694.
1321—1326.]
DRAUGHTS AND SCHEMES.
375
Tr. 73-1
1321.
COPARATIONE.
A SIMILE.
12Vn vaso crudo rotto si puo riformare, A vase of unbaked clay, when broken,
3 ma il cotto no.l may be remoulded, but not a baked one.
Seeing the paper all stained with the deep
s. K. M. m. 66<5] 1322.
Vededosi la carta tutta macchiata 2 dalla
oscura negrezza dell' ichiostro, 3di quello si blackness of ink, it he deeply regrets it;
duole; il quale mostra a essa 4che per le and this proves to the paper that the words,
parole che sono sopra lei coposte 5essere composed upon it were the cause of its
cagione della conseruatione di 6quella.
being preserved.
L. o'] I323-
1 Neciessaria copagnia a la penna col The pen must necessarily have the pen-
tenperatoio, 2e similemete vtile copagnia, knife for a companion, and it is a useful
companionship, for one is not good for much
perche 1'u sanza Paltro no 3 vale troppo.TJ without the other.
S. K. M. III. 48 a] I324-
II coltello, accidetale armatura, caccia The knife, which is an artificial wea- schemes for
dall'omo le sua 2unghie, armatura natu- pon, deprives man of his nails, his natural (i^— 1329).
rale;
3Lo spechio signoria forte tene4do • den-
tro • a se spechiata la re5gina • , e partita
quella le spe6chio riman in le . . .
weapons.
The mirror conducts itself haughtily hol-
ding mirrored in itself the Queen. When
she departs the mirror remains there . . .
L. 72 6}
1325.
El lino e dedicate a morte e cor2rutione
de' mortal!, a morte pe'lac3ciuoli delli vc-
celli, 4animali e pesci, sa corrutione per le
tele line dove s' in6vogliano i morti, che si sot-
terrano, 7quali si corropono in tali tele;
8E ancora esso lino no si spicca dal suo
sfestuco, se esso no comicia a macerarI0si
e coronpersi, e questo e quello "collo quale
si debbe incoronare e orI2nare li ufiti fu-
nerali.
Flax is dedicated to death, and to the cor-
ruption of mortals. To death, by being used
for snares and nets for birds, animals and fish ;
to corruption, by the flaxen sheets in which
the dead are wrapped when they are buried, and
who become corrupt in these winding sheets. —
And again, this flax does not separate its fibre
till it has begun to steep and putrefy, and
this is the flower with which garlands and
decorations for funerals should be made.
1.2 9i a] 1326.
GDe'villani in camiscia che lavorano.D
2Verranno tenebre diuerso- Poriete, le
qua3li con tata oscurita tignieranno il 4cielo
che copre P Italia.
GDe'barbieri.D
6Tvtti li omini si fuggiranno in Africa.
COf Peasants who work in shirts])
Shadows will come from the East which
will blacken with great colour darkness the
sky that covers Italy.
C Of the Barbers. D
All men will take refuge in Africa.
1321. 2. rotto crudorottosi po.
1333. i. charta . . machiata. 2. osscura negreza. 3. dole el . . mostra a ess. 4. parolle chesso sopra lei chopone.
5. chagione.
1323. i. ha la. 2. essimilemete.
1394. i. coltello | "accidetale armatura" cacia. 2. ungie. 3. losspechio. 4. asse. 5. losspe. 6. rimainle.
1325. i. morte e cu. 2. pela. 3. vcielli. 4. pessci. 5. currutione p^e le. 6. volgano . . chessi. 7. corropano. 8. spicha.
10. choronpersi ecquesto ecquello. n. colla.
1326. i—6 R. i. camica chellavorano. 2. verra tienbre. 3. codioscurita . . tignierano.
376
HUMOROUS WRITINGS.
[1327—1329.
c. 89-1
1327.
Per il pannilino che si 'tie colla mano
nel course dell'acqua correHe, nella quale
acqua 5il panno lascia 6tutte le sue brut-
tu7re, significa 8questo ecc.
9 Per lo spino inscritoI0li sopra boni fru-
"tti significa queI2llo che per se non e^ra
disposto a vir'*tu, ma median'ste 1'aiuto dei
prl6ecettori da di se I7vn fassi nome
vil8rtu.
The cloth which is held in the hand in the
current of a running stream, in the waters of
which the cloth leaves all its foulness and
dirt, is meant to signify this &c.
By the thorn with inoculated good fruit
is signified those natures which of them-
selves were not disposed towards virtue, but
by the aid of their preceptors they have the
repudation of it.
C. A. 360; n6£]
1328.
COMUNE.
A COMMON THING.
2Vn meschino sara soiato e essi soiatori
^senpre sien sua ingannatori e rubatori *e
assassini d'esso meschino.
s La percussione della spera del sole
6apparira cosa che, chi la credera coprire,
sa?ra coperto da lei.
CDe'danari e oro.D
9Uscira dalle cavernose spelonche, chi
fara I0con sudore affaticare tutti i popoli
del modo, "cogradi affanni, ansieta, sudori
per essere I2aivtato da lui.
C Della paura della pouerta. D
'* La cosa maluagia e spaueteuole dara
di se tato 'Stimore appresso a delli omini
che come I6matti, credendo fugirla, con-
correranno co ^veloce moto alle sue smisu-
rate forze.
CDel consiglio.])
19 E colui che sara piv neciessario a chi
avra bi20sogno di lui sara sconosciuto, cioe
piv sprezzato.
A wretched person will be flattered, and
these flatterers are always the deceivers,
robbers and murderers of the wretched person.
The image of the sun where it falls appears
as a thing which covers the person who
attempts to cover it.
C Money and Gold.])
Out of cavernous pits a thing shall come
forth which will make all the nations of the
world toil and sweat with the greatest torments,
anxiety and labour, that they may gain its aid.
COf the Dread of Poverty.])
The malicious and terrible [monster] will
cause so much terror of itself in men that
they will rush together, with a rapid motion,
like madmen, thinking they are escaping her
boundless force.
COf Advice.])
The man who may be most necessary to
him who needs him, will be repaid with
ingratitude, that is greatly contemned.
W. XXX.)
1329.
CDelle ape. 3
2Vivono a popoli insieme, 3sono anne-
gate per torli il mele; *molti e grandis-
simi popoli sara s annegati nelle lor propie
case.
COf Bees.])
They live together in communities, they
are destroyed that we may take the honey
from them. Many and very great nations
will be destroyed in their own dwellings.
1337. i— 18 R. i. panolino chessi. 3. acq"a". 5. pano lasscia. 7. significha. 9. losspino insidito. n. significha. 13. dissposto.
15. ti laiuto del. 17. vnlissinome.
1308. i. vcomune. 2. mcscino. 4. mcsscino. 5. percusione. 6. aparira . . crederra. 7.' dallei. 9. vsscira delle. 10. effattichare
. . pololi. ii. affani. 12. dallui. 14. la maluagia es spaueteuole. 15. apresso a delli omini che coli ali come. 16. cocor-
eranno. 17. moto le le sua isspcrmisurate. 19. cholui . . ara. 20. sara \\\\\\ conosciuto \\\\\ cioe piv sprezato.
1399. 2. vivano apopoli ensiemc. 3. anegate. 5. [no] gati nelle lororo propie 6. [si some] sara se.
1330— 1332-]
HUMOROUS WRITINGS.
377
F. 47 a]
1330.
PERCHE LI CANI ODORA VOLENTIERI IL CULO
L'UNO AL2L'ALTRO.
Questo animale a in odio i po3veri,
perche e' magiano tristi cibi, e ama li richi,
* perche essi an' bone vivade e massime di
carSne; E lo stereo delli animali senpre ri-
6tiene della virtu della sua origine, come
mo7strano le feccie
IOOra icani anno si sottilissimo odo"rato
che col naso sentono la uirtu rimaI2sta in
tali feccie; e che sie uero, se le trova
J3per le strade odorano, e se vi sentono
dentro ^vi'rtu di carne o d'altro, essi le
pigliano, e 'Sse no, le lasciano; e per tor-
nare al quesito dil6co, che se conoscono il
cane mediante tali J7odori essere ben pas-
ciuto, essi lo riguarl8dano, perche stimano
quello avere potete e ricco pa^drone, e
se no sentono tale odore co uirtu, essi
sti20mano tal cane essere da poco, e
avere povero 2Ie tristo padrone, e pero
mordono tali cani come fare22bbero il suo
padrone.
WHY DOGS TAKE PLEASURE IN SMELLING AT
EACH OTHER.
This animal has a horror of the poor,
because they eat poor food, and it loves
the rich, because they have good living and
especially meat. And the excrement of ani-
mals always retains some virtue of its origin
as is shown by the faeces. . . .
Now dogs have so keen a smell, that
they can discern by their nose the virtue
remaining in these faeces, and if they
find them in the streets, smell them and if
they smell in them the virtue of meat or of
other things, they take them, and if not,
they leave them : And to return to the ques-
tion, I say that if by means of this smell
they know that dog to be well fed, they respect
him, because they judge that he has a power-
ful and rich master; and if they discover no
such smell with the virtue of meet, they judge
that dog to be of small account and to have
a poor and humble master, and therefore
they bite that dog as they would his master.
C. A. 686; 203,*]
Sono li moti della terra 2circulari assai
vtili, 3cociosiache' mai li o4mini si fer-
mano; e fa^si in piv modi, de' qua6li nel-
1'uno li omini por^tano la terra in spa!8la,
1'altro, colli bau9li, e altri col carretI0to;
Quel che la porta "in spalla si fa prima
12 enpiere il uassoio in ter^ra •, e perde tepo
a metterselo I4 in spalla ; Quel dello bauisle
non perde tenpo.
The circular plans of carrying earth are very
useful, inasmuch as men never stop in their
work; and it is done in many ways. By one
of these ways men carry the earth on their
shoulders, by another in chests and others
on wheelbarrows. The man who carries it
on his shoulders first fills the tub on the
ground, and he loses time in hoisting it on to his
shoulders. He with the chests loses no time.
Tr. 2.] I332-
Se'l Petrarca amo si forte il lauro, 2 fu If Petrarch was so fond of bay, it was be- irony (1332;.
perch' egli e buon fralla salsiccia e tonno; cause it is of a good taste in sausages and with
^io no posso di lor ciancie far tesauro. tunny; I cannot put any value on their foolery.
1330. i. adora. 5. Ello stercho. 7. stra leuetie miseraice strebute insin ne. 8. le ultima basseza delle intestine. 9. per trarre
asse desse fecce la uirtu cheue. 10. rimasa ora i cani a si. n. sentano, 12. sa in tale fecce. 13. strade [elle] odorano
esse ulsenta dentro. 14. esse le. 15. lassciano. 16. cognoscano. 17. odore . . passiuto. 18. richo. 19. esse no seta.
21. morda. 22. bono.
1331. 3. cocosia. 4. effa. 6. po"r". 7. inispal. 8. colleban. ' 9. le e . . carre. 10. chella. n. inispalla. 14. inispalla . . della
haul. 15. la non.
1333. i. petrarcha . . ilaur \\\\. 2. percheglie e bo . . e ton \\\\\. . 3. i no . . giace.
1331. The subject of this text has apparently no
connection with the other texts of this section.
1332. Conte Porro has published these lines in
the Archivio Star. Lombarda VIII, IV; he reads the
VOL. u.
concluding line thus : I no posso di loro gia (sic) co1
far tesauro. — This is known to be by a contem-
porary poet, as Senatore Morelli informs me.
EBB
378
HUMOROUS WRITINGS.
[I334- 1335-
Br. M. 1294]
1333-
Noi siamo due fratelli, che ciascuno di
Tncki noj 2^ vn fratello; qui il modo del dire
pare che *2 fratelli diuetino 4.
We are two brothers, each of us has a
brother. Here the way of saying it makes it
appear that the two brothers have become four.
C. 19*)
1334-
GlOCHI DI PART1TO.
2 Mettiti in 2 mani equali numeri • ; metti
4 della ma 3 destra nella sinistra gitta via
il rimanete || gitta via altrettar»to della man
sinistra metti vi sopra • 5 • ; ora tu ti trovi
sin quella mano 13 |! cioe io vi ti feci
mettere 4 dalla destra ne!6la sinistra, e
gittar uia il rimanete; ora qui la ma destra
a piv 4 che la 7 no sonovi; io ti fo poi
gittare via altrettanto dalla destra quato
tu 8gittasti dalla sinistra, che gittando dalle
2 mani due quatita e^quali, il rimanente
fia equale; ora e'ti resta 464, che fa 8,
10 e perch'e il giocco no sia conosciuto io
vi ti feci mettere sopra 5 "che fece • 13.
TRICKS OF DIVIDING.
Take in each hand an equal number; put
4 from the right hand into the left; cast
away the remainder; cast away an equal
number from the left hand; add 5, and now
you will find 13 in this [left] hand; that
is — I made you put 4 from the right hand
into the left, and cast away the remainder;
now your right hand has 4 more; then I make
you throw away as many from the right as you
threw away from the left; so, throwing from
each hand a quantity of which the remainder
may be equal, you now have 4 and 4, which
make 8, and that the trick may not be detec-
ted I made you put 5 more, which made 13.
GlOCHI DI PARTITO.
^Togli da 12 in giu che numero ti piace;
togli poi tati de' mia che ^tu finisca il nu-
mero di 1 2-, e quel che rimane a me e
15 il numero che tu aveui prima; perch&
quado io ti dissi tol6gli da 12 in giu qual
numero ti piace, io mi missi in mano I7I2,
e di questo mio 12 tu togliesti tale numero,
che tu l8faciesti il tuo numero 12 ; ecco
che tu cresciesti al tuo nu-mero che tu
togliesti al mio; cioe che se tu aveui 8,
a andare insino 20in 12, tu togliesti del
TRICKS OF DIVIDING.
Take any number less than 12 that you
please; then take of mine enough to make
up the number 12, and that which remains
to me is the number which you at first had;
because when I said, take any number less
than 12 as you please, I took 12 into my
hand, and of that 12 you took such a number
as made up your number of 12; and what
you added to your number, you took from
mine; that is, if you had 8 to go as far as
to 12, you took of my 12, 4; hence this
'333- '• nosiamo . . ciasscu. 2. qui el.
»334- 3- desstra. 4. tutti trovi. 5. coc . . . della desstra. 6. chella. 7. soneva . . desstra. 8. gittassu . . sinisstra. 9. ressta . .
cheffa. io. gocho . . cognossciuto . . fesi. n. cheffece. 12. givochi di part "to". 13. polati. 14. ttu finisscn . . ecquel
. . anmehe. 15. chettu prima tu perche. 16. ingu. 17. quessto mi 12 tu togliessti . . chettu. 18. faciessti . . chettu
cressciessti. 19. mero tu togliessti . . coessettu. 8. andare. 20. togliessti. 21. atte . . ressta. 22. e he quale . . chello
fades si.
1334. G. Govi says in (he 'Saggio' p. 22: Si dilettd Leonardo, di ginochi di prestigi e molti(?) nedescrisse, cht
si leggono poi riportati dal Paciolo nel suo libra : de Viribus Quantitatis, e cAf, se t.on tulti, sono ctrto in gran
parte invenaoni del Vinci.
133 5- J HUMOROUS WRITINGS. 379
mio 12 vn-4; onde quel 4 trasmu2Itato 4 transferred from me to you reduced my
da me a te fa che'l mio 1.2 resta 8, e'.l 12 to a remainder of 8, and your 8 became
tuo 8 si fa 12; 22adunque il mio 8 e 12; so that my 8 is equal to your 8, before
equale al tuo 8 dnnazi, che lo facesse 12. it was made 12.
C. A. 75/5; 219,5] r335-
Se tu vuoi insegnia2re a vno • vna cosa If you want to teach someone a subject
3 che tu • no sappia, falli ^misurare ^a ^un" y°u ^° not know yourself, let him measure
ghezza sd'una cosa a te incogni6ta •, e lui the length of an object unknown to you, and
sapra la mi7sura che tu prima no sa- he will learn the measure you did not know
8peui; — maestro Giovanni da Lodi. before; — Master Giovanni da Lodi.
1335- T settu volli insegni. 3. chettu sapia. 4. lungeza. 5. atte. 6. ellui. 7. chettu. 8. raaesstro. 9. dallodi.
XXL
Letters. Personal Records. Dated Notes.
When we consider how superficial and imperfect are the accounts of Leonardo's
life written some time after his death by Vasari and others, any notes or letters which
can throiv more light on his personal circumstances cannot fail to be in the highest
degree interesting. The texts here given as Nos. 1351 — 1353, se* ^s residence in Rome
in quite a neiv aspect; nay , the picture which irresistibly dwells in our minds after
reading these details of his life in the Vatican, forms a striking contrast to the contem-
porary life of Raphael at Rome.
I have placed foremost of these documents the very remarkable letters to the
Defterdar of Syria. In these Leonardo speaks of himself as having staid among the
mountains of Armenia, and as the biographies of the master tell nothing of any such
distant journeys, it would seem most obvious to treat this passage as fiction, and so spare
ourselves the onus of proof and discussion. But on close examination no one can doubt
that these documents, with the accompanying sketches, are the work of Leonardo's own
hand. Not merely is the character of the handwriting his, but the spelling' and the
language are his also. In one respect only does the writing betray any marked deviation from
the rest of the notes, especially those treating on scientific questions; namely, in these obser-
vations he seems to have taken particular pains to give the- most distinct and best form
of expression to all he had to say; we find erasures and emendations in almost every
line. He proceeded, as we shall see, in the same way in the sketches for letters to
Giuliano de1 Medici, and what can be more natural, I may ask, than to find the draft
of a letter thus altered and improved when it is to contain an account of a definite
subject, arid when personal interests are in the scale 1 The finished copies as sent off are
not known to exist ; if we Jiad these instead of the rough drafts, we might unhesi-
382 LETTERS. PERSONAL RECORDS. DATED NOTES.
tatingly have declared that some unknown Italian engineer must have been, at that
time, engaged in Armenia in the service of the Egyptian Sultan, and that Leonardo /tad
copied his documents. Under this hypothesis hoivever we should have to state that this
unknown writer must have been so far one in mind with Leonardo as to use the same
style of language and ei'en the same lines of thought. This explanation might — as I
say — fane been possible, if only we had the finished letters. But why should these rough
drafts of letters be regarded as anything eke than what they actually and obviously
are 1 1f Leonardo had been a man of our own time, we might perhaps have attempted
to account for the facts by saying that Leonardo, ivithout having been in the East him-
self, might have undertaken to write a Romance of which the scene was laid in Armenia,
and at the desire of his publisher had made sketches of landscape to illustrate the text.
I feel bound to mention this singular hypothesis as it has' actually been put for-
ward (see No. 1336 note $) ; and it would certainly seem as though there were no other
possible way of evading the conclusion to wJiich these letters point, and their bearing
on tlie life of the master, — absurd as the alternative is. But, if, on a question of such
importance, we are justified in suggesting theories that have no foundation in probability,
I could suggest another which, as compared with that of a Fiction by Leonardo, would
be neither more nor less plausible] it is, moreover the only other hypothesis, perhaps,
which can be devised to account for these passages, if it were possible to prove that the
interpretation that the documents themselves suggest, must be rejected a priori; viz
may not Leonardo have written them with the intention of mystifying those wlio, after
his death, should try to decipher these manuscripts with a view to publishing theml
But if, in fact, no objection that will stand the test of criticism can be brought against
the simple and direct interpretation of the words as they stand, we are bound to regard
Leonardo's travels in the East as an established fact. There is, I believe nothing in
what we know of Ids biography to negative such a fact, especially as the details of his
life for some few years are wliolly unknown ; nor need we be at a loss for evidence which
may serve to explain — at any rate to some extent — the strangeness of his undertaking
such a journey. We have no information as to Leonardo's history between 1482 and
1486; it cannot be proved that he was either in Milan or in Florence. On the other
hand the tenor of this letter does not require us to assume a longer absence than a year
or two. For, even if his appointment (offitio) as Engineer in Syria had been a perma-
nent one, it might have become untenable — by the death perhaps of the Dcfterdar, his
patron, or by his removal from office — , and Leonardo on his return home may have
kept silence on the subject of an episode which probably had ended in failure and
disappointment.
From the text of No. 1379 we can hardly doubt that Leonardo intended
to make an excursion secretly from Rome to Naples, although so far as has hitherto
been known, his biographers never allude to it. In another place (No. 1077) he says that
he had worked as an Engineer in Friuli. Are we to doubt this statement too, merely
because no biographer has hitherto given us any information on the matter? In the
geographical notes Leonardo frequently speaks of the East, and though sucJt past
LETTERS. PERSONAL RECORDS. DATED NOTES. 383
afford 110 direct proof of his having been there, they shoiv beyond a doubt that, next to
the Nile, the Euphrates, the Tigris and the Taurus mountains had a special interest in
his eyes. As a still further proof of the futility of the argument that there is nothing
in his drawings to show that he had travelled in the East, we find on PI. CXX a
study of oriental heads of Armenian type, — though of course this may have been made
in Italy.
If the style of these letters were less sober, and the expressions less strictly to the
point throughout, it migJtt be possible to regard them as a romantic fiction instead
of a narrative of fact. Nay , we have only to compare them with such obviously
fanciful passages as No. 1354, Nos. 670—673, and the Fables and Prophecies. It is
unnecessary to discuss the subject any further here; such explanations as the letter needs
are given in the foot notes.
The drafts of letters to Lodovico il Moro are very remarkable. Leonardo and
this prince zvere certainly far less closely connected, than lias hitherto been supposed.
It is impossible that Leonardo can have remained so long in the service of this prince,
because the salary was good, as is commonly stated. On the contrary, it would seem,
that what kept him there, in spite of his sore need of the money owed him by the
prince, was the hope of some day being able to carry out the project of casting the
'gran cavallo'.
>*- -:x^as
- ' .Wttrai"^
r •?•."•• * * *»/»/lM^-^s*t*<»»1^
:; - -,. .-A * ^n ^n*»i »**^
Imp Eudes
C. A. i43<5; 4261}]
AL DIODARIO DI SIRIA LOCOTENETE DEL To THE DEVATDAR OF SYRIA, LIEUTENANT OF
SACRO SOLTANO 2Di BABILONIA. THE SACRED SULTAN OF BABYLON.
3 II nvouo accidete accaduto in queste [3] The recent disaster in our Nor- Drafts of
nostre parti settentrionali, il quale so certo them parts which I am certain will terrify LR"eprortasnJ
che no solamete a te ma a tutto 1' universe
not you alone but the whole world, which referring to
Armenia
('336. 1337)-
1336. i. sorio. 3. [eaca n] "duto" [vono] "il nvouo" accidete | "achaduto" in queste . . parte settantrionali [le quali so] "il
1336. Lines I — 52 are reproduced in facsimile
on PL CXVI.
I. Diodario. This word is not to be found in
any Italian dictionary, and for a long time I vainly
sought an explanation of it. The youthful remi-
niscences of my wife afforded the desired clue.
The chief town of each Turkish Villayet, or pro-
vince— such as Broussa, for instance, in Asia Minor,
is the residence of a Defterdar, who presides over
the financial affairs of the province. Defterdar hane
was, in former times, the name given to the
Ministry of Finance at Constantinople; the Minister
of Finance to the Porte is now known as the
Mallie-Nazri and the Defterdars are his subordinates.
A Defterdar, at the present day is merely the head
of the finance department in each Provincial district.
With regard to my suggestion that Leonardo's
Diodario might be identical with the Defterdar of
former times, the late M. C. DEFREMERIE, Arabic Pro-
fessor, and Membre de 1'Institut de France wrote to
me as follows : Votre conjecture est parfaitement fondee;
diodario est V equivalent de devadar ou plus exactement
devatdar, titre d'une importante dignite en Egypte, sous
les Mamlouks.
The word however is not of Turkish, but of
Perso-Arabic derivation. \\> *\j>, S^ r*^ literally
Defter (Arabic) meaning folio; for dar (Persian) Book-
keeper or holder is the English equivalent; and
the idea is that of a deputy in command. During
VOL. II,
the Mamelook supremacy over Syria, which corre-
sponded in date with Leonardo's time, the office
of Defterdar was the third in importance in the
State.
Soltano di Babilonia. The name of Babylon was
commonly applied to Cairo in the middle ages.
For instance BREIDENBACH, Itinerarium Hierosolyma
p. 218 says: "At last we reached Babylon. But
this is not that Babylon which stood on the further
shore of the river Chober, but that which is called
the Egyptian Babylon. It is close by Cairo and
the twain are but one and not two towns ; one half
is called Cairo and the other Babylon, whence they
are called together Cairo-Babylon ; originally the town
is said to have been named Memphis and then Babylon,
but now it is called Cairo." Compare No. 1085, 6.
Egypt was governed from 1382 till 1517 by the
Borgite or Tcherkessian dynasty of the Mamelook
Sultans. One of the most famous of these, Sultan
Kait Bey, ruled from 1468 — 1496 during whose
reign the Gama (or Mosque) of Kait Bey and tomb
of Kait Bey near the Okella Kait Bey were erected
in Cairo, which preserve his name to this day. '
Under the rule of this great and wise prince many
foreigners, particularly Italians, found occupation in
Egypt, as may be seen in the 'Viaggio di Josaphat
Barbaro', among other travellers. "Next to Leonardo
(so I learn from Prof. Jac. Burckhardt of Bale)
Kait Bey's most helpful engineer was a German
CCC
386
LETTERS.
[1336.
fara Uerrore; il quale successiuamente ti
sara detto per ordinc mostrando primo
1'effetto e poi la causa . .
sRitrovandomi • io in queste parti d'Er-
minia • a dare con amore e sollecitudine
opera a quello vfitio, pel quale tu mi ma-
dasti, e nel 6dare principio in quelle parti
che a me pareano esser • piv al proposito
shall be related to you in due order,
showing first the effect and then the
cause [4]. .
Finding myself in this part of Armenia [5]
to carry into effect with due love and care the
task for which you sent me [6]; and to make
a beginning in a place which seemed to me
to be most to our purpose, I entered into
quale |ere) so cierto" che . . atte mattutto. . dara. 4. terrore [c ca] il . . causa [e du). 5. dare | "conamore essollecitudine"
opera acciuello (pej vfitio . . madassti. 6. parte [chontingne ne a noi) che . . pareano | "eser" piv . . nosstro. 7. cila
who in about 1487 superintended the construction
of the Mole at Alexandria. Felix Fabii knew him
and mentions him in his Historia Suevorum, written
in 1488."
3. // niimo accidente accaduto, or as Leonardo
first wrote and then erased, <? atcaduto un nuovo
accidente. From the sequel this must refer to an
earthquake, and indeed these were frequent at that
period, particularly in Asia Minor, where they caused
immense mischief. See No. lioi note.
4. The text here breaks off. The following
lines are a fresh beginning of a letter, evidently
addressed to the same person, but, as it would
seem, written at a later date than the previous
text. The numerous corrections and amendments
amply prove that it is not a copy from any account
of a journey by some unknown person; but, on the
contrary, that Leonardo was particularly anxious to
choose such words and phrases as might best express
his own ideas.
5. Parti (fErminia. See No. 945, note. The
extent of Armenia in Leonardo's time is only
approximately known. In the XVth century the
Persians governed the Eastern, and the Arabs the
Southern portions. Arabic authors — as, for instance
Abulfeda — include Cilicia and a part of Cappadocia
in Armenia, and Greater Armenia was the tract of
that country known later as Turcomania, while Arme-
nia Minor was the territory between Cappadocia and
the Euphrates. It was not till 1522, or even 1574
that the whole country came under the dominion of
the Ottoman Turks, in the reign of Selim I.
The Mamelook Sultans of Egypt seem to have
taken a particular interest in this, the most Northern
province of their empire, which was even then in
danger of being conquered by the Turks. In the
autumn of 1477 Sultan Kalt Bey made a journey of
inspection, visiting Antioch and the valleys of the
•Tigris and Euphrates with a numerous and brilliant
escort. This tour is briefly alluded to by Moodshireddin
p. 561; and by WEIL, Geschichte der Abbasiden V,
p. 358. An anonymous member of the suite wrote
a diary of the expedition in Arabic, which has been
published by R. V. LONZONE ('Viaggio in Palestina e
Soria di h'aid Ba XVIII sultano delta II dinastia
mamelucca, fatto nel 1477. Testo arabo. Torino 1878',
without notes or commentary). Compare the critique
on this edition, byj. GILDEMEISTER in Zeitschrift drs
Dentschen Palaeslina Vertins (Vol. Ill p. 246 — 249).
Lanzone's edition seems to be no more than an
abridged copy of the original. I owe to Professor
Schefer, Membre de 1'Institut, the information that
he is in possession of a manuscript in which the text
is fuller, and more correctly given. The Mamelook
dynasty was, as is well known, of Circassian
origin, and a large proportion of the Egyptian Army
was recruited in Circassia even so late as in the
XVth century. That was a period of political storms
in Syria and Asia Minor and it is easy to suppose
that the Sultan's minister, to whom Leonardo
addresses his report as his superior, had a special
interest in the welfare of those frontier provinces.
Only to mention a few historical events of Sultan
Kait Bey's reign, we find that in 1488 he assisted
the Circassians to resist the encroachments of Ala-
eddoulet, an Asiatic prince who had allied himself
with the Osmanli to threaten the province; the
consequence was a war in Cilicia by sea and land,
which broke out in the following year between the
contending powers. Only a few years earlier the
same province had been the scene of the so-
called Caramenian war in which the united Venetian,
Neapolitan and Sclavonic fleets had been engaged.
(See CORIALANO CIPPICO, Delia guerra dei Veneaani
neWAsia dal 1469 — 1474. Venezia 1796, p. 54) and
we learn incidentally that a certain Leonardo Boldo,
Governor of Scutari under Sultan Mahmoud, — as his
name would indicate, one of the numerous renegades
of Italian birth— played an important part in the
negotiations for peace.
Tu mi mandasti. The address tu to a person-
age so high in office is singular and suggests
personal intimacy; Leonardo seems to have been a
favourite with the Diodario. Compare lines 54
and 55.
I have endeavoured to show, and I believe that
I am also in a position to prove with regard to
these texts, that they are draughts of letters actually
written by Leonardo; at the same time I must not
omit to mention that shortly after I had discovered
I336-]
LETTERS.
387
nostro -, entrai nella ^ citta • di Calindra, vi-
cina ai nostri confini; questa citta e posta
nelle spiaggie di quePla parte del mote
Tavro, che e diuisa dall' Eufrates e rigu-
arda i corni del gra Mote Tav^ro per
ponete • ; Questi corni • son di tanta altura
che par che tocchino il cielo, che nell' uni-
verso non e parte terreI0stre piv alta della
sua cima • ; e senpre 4 ore inanzi di e per-
the city of Calindra [7], near to our frontiers.
This city is situated at the base of that part
of the Taurus mountains which is divided
from the Euphrates and looks towards the
peaks of the great Mount Taurus [8] to
the West [9]. These peaks are of such a
height that they seem to touch the sky, and
in all the world there is no part of the earth,
higher than its summit [10], and~the rays of
di chalindra . . confini [e] questa . . ispiegge [del m] di quel. 8. diuisa [dal lago] dalleufrates [essa per le] e riguarda i
[gra] corni del "gra". 9. altura [che lo per me non credo] "che par chettochino il celo" che nell universe [sia] "none" parte
10. ste piv al della . . essenpre . . di [allu] e perchossa . . sole [che allei si mostra]. n. lesere . . petra biachissima
these texts in the Codex Atlanticus and publi-
shed a paper on the subject in the Zeit-
schrift fur bUdende Kunst (Vol. XVI], Prof. Govi put
forward this hypothesis to account for their
origin :
"Quanta alle notizie sul monte Tauro, sulP Armenia e
sulFAsia minore che si contengono negli altri frammenti,
esse vennero prese da qualche geografro o viaggiatore
contemporatieo. DalFindice imperfetto che accompagna
quei frammenti, si potrebbe dedurre che Leonardo volesse
fame un libro, che poi non venne compiuto. A ogni
modo, non e possibile di trovare in questi brani nessun
indizio di un viaggio di Leonardo in oriente, ne della sua
conversione alia religione di Maometto, come qualcuno
pretenderebbe. Leonardo amava con passione gli studi
geografici, e ne1 suoi scritli s'incontran spesso itinerari,
indicazioni, o descrizioni di hioghi, schizzi di carte e
abbozzi topografici di varie regioni, non e quindi strano che
egli, abile narratore com1 era, si fosse proposto di scrivere
una specie di Romanzo in forma epistolare svolgendone
Fintreccio nell' Asia Minore, intorno alia quale i libri
d'allora, e forse qualche viaggiatore amico suo, gli
avevano somministrato alcuni elementi piu o meno
fantastici. (See Transunti della Reale Accademia dei Lincei
Vol. V Ser. 3).
It is hardly necessary to point out that Prof. Govi
omits to name the sources from which Leonardo
could be supposed to have drawn his information, and I
may leave it to the reader to pronounce judgment on
the anomaly which is involved in the hypothesis •
that we have here a fragment of a Romance, cast
in the form of a correspondence. At the same
time, I cannot but admit that the solution of the
difficulties proposed by Prof. Govi is, under the
circumstances, certainly the easiest way of dealing
with the question. But we should then be equally
justified in supposing some more of Leonardo's letters
to be fragments of such romances; particularly those
of which the addresses can no longer be named.
Still, as regards these drafts of letters to the
Diodario , if we accept the Romance theory, as pro-
posed by Prof. Govi, we are also compelled to
assume that Leonardo purposed from the first to
illustrate his tale; for it needs only a glance at the
sketches on PI. CXVI to CXIX to perceive that
they are connected with the texts; and of course
the rest of Leonardo's numerous notes on matters
pertaining to the East, the greater part of which
are here published for the first time, may also be some-
how connected with this strange romance.
7. Citta de Calindra (Chalindra}. The position of
this city is so exactly determined, between the
valley of the Euphrates and the Taurus range that
it ought to be possible to identify it. But it can
hardly be the same as the sea port of Cilicia with
a somewhat similar name Celenderis, Kelandria,
Celendria , Kilindria, now the Turkish Gulnar. In
two Catalonian Portulans in the Bibliotheque Natio-
nale in Paris — one dating from the XV'h century, by
Wilhelm von Soler, the other by Olivez de Majorca,
in 1584— I find this place called Calandra. But
Leonardo's Calindra must certainly have lain more
to the North West, probably somewhere in Kurdistan.
The fact that the geographical position is so care-
fully determined by Leonardo seems to prove that
it was a place of no great importance and little
known. It is singular that the words first written
in 1. 8 were divisa dal lago (Lake Van?), altered
afterwards to dalFEufrates.
Nostri confini, and in L'6 proposito nostro. These
refer to the frontier and to the affairs of the
Mamelook Sultan. Lines 65 and 66 throw some
light on the purpose of Leonardo's mission.
8. / corni del gra mote Tauro. Compare the
sketches PL CXVI— CXVIII. So long as it is im-
possible to identify the situation of Calindra it is
most difficult to decide with any certainty which
peak of the Taurus is here meant ; and I greatly
regret that I had no foreknowledge of this puzzling
topographical question when, in 1876, I was pursuing
archaeological enquiries in the Provinces of Aleppo
and Cilicia, and had to travel for some time in
view of the imposing snow-peaks of Bulghar Dagh
and Ala Tepessi.
9 — 10. The opinion here expressed as to the
height of the mountain would be unmeaning, unless
it had been written before Leonardo moved to
Milan, where Monte Rosa is so conspicuous an
388
LETTERS.
[1336.
cossa dai razzi del sole "in oriete-; e per
essere lei di pietra biachissima, essa forte
risplende, e fa 1' ufitio a questi Ermini come
farebbe vn bel lume I2di luna • nel mezzo
delle tenebre; e per la sua grande altura
essa passa la somma altezza de' nuvoli per
spatio di 4 miglia; e per linia retta '^questa
cima e ueduta di gra parte dell' occidente
alluminata dal sole dopo il suo tramontare
^insino alia 3a parte della notte; ed e quella
che appresso di voi ne' tempi sereni abbi-
amo gik giudicato essere vna cometa, e
pare a noi nelle IS tenebre della notte mv-
tarsi in varie figure, e quado diuidersi in
due o in 3 parti, e quado luga e quado
corta; e questo nascie per li l6 nuvoli che
nel orizzonte del cielo s' interpongono infra
parte d' esso monte e il sole, e per tagliare
1'uno essi raz'?zi solari-, il lume del monte
e interrotto con vari spati di nvvoli, e
per6 e di figvra uarial8bile nel suo splen-
dore.
DIVISIONS DEL LIBRO.
20 La predica e persuasione di fede;
21 ILa subita inodatione insin al 22fine suo;ll
23lLa ruina della citta;
2-»1La morte del popolo 25e dispera-
tionejl
26HLa cerca del predica2 ^tore e la sua
liberatione e benivo28lentia;1I
29HDescritione della cavsa di tal 3° ruina
del mote ; 1
J'lll danno ch'ella fece;
the sun always fall upon it on its East side,
four hours before day-time, and being of the
whitest stone [n] it shines resplendently and
fulfils the function to these Armenians which
a bright moon-light would in the midst of
the darkness; and by its great height it out-
reaches the utmost level of the clouds by a
space of four miles in a straight line. This
peak is seen in many places towards the
West, illuminated by the sun after its set-
ting the third part of the night. This it is,
which with you [14] we formerly in calm
weather had supposed to be a comet, and
appears to us in the darkness of night, to
change its form, being sometimes divided in
two or three parts, and sometimes long and
sometimes short. And this is caused by the
clouds on the horizon of the sky which inter-
pose between part of this mountain and the
sun, and by cutting off some of the solar
rays the light on the mountain is intercepted
by various intervals of clouds, and there-
fore varies in the form of its brightness.
THE DIVISIONS OF THE BOOK [19].
The praise and confession of the faith [20].
The sudden inundation, to its end.
[23] The destruction of the city.
[2 4] The death of the people and their
despair.
The preacher's search, his release and
benevolence [28].
Description of the cause of this fall of
the mountain [30].
The mischief it did.
[essa] "essa forte rissplende e" fa . . acquesti . . chome. 12. luna "nel mezzo delle tenebre" e per . . le [magnie] somme"
alteza de nugoli per [piv di 4 miglia] "per isspatio di 4 miglia" a | per. 13. ueduta [prima per] di . . dell ochcidente
[pi] allumi. 14. e "jnsino alia 3 parte della notte" de cquella che apresso div[n]oi . . tenpi . . abia ga gudicato . . cu-
mt.-t.-i . . unnoi. 15. mvtarsi varie . . ecquado . . parti "e cquudo luga ecquado corta" ecquesto nasscie. id. nvoli . . ori-
zonte . . celo sinterponsano . . elsole . . essira. 17. ellume . . monte he . . varri [e] spati . . nvgoli. 24. popolo [el suo
piato]. 26. la [cofermatio] la cerca. 27. ella . . venivo. 35. alagameto . . parte. 40. profeta [mostra] ; che is -wanting.
object in the landscape. 4 ore inami seems to mean,
four hours before the sun's rays penetrate to the
bottom of the valleys.
il. Pietra bianchissima. The Taurus Mountains
consist in great part of limestone.
14. Appresso di voi. Leonardo had at first written
noi as though his meaning had been: This peak
appeared to us to be a comet when you and I
observed it in North Syria (at Aleppo? at Aintas?).
The description of the curious reflection in the
evening, resembling the "Alpine-glow" is certainly
not an invented fiction, for in the next lines an
explanation of the phenomenon is offered, or at
least attempted.
19. The next 33 lines are evidently the contents
of a connected Report or Book, but not of one
which he had at hand; more probably, indeed, of
one he purposed writing.
20. Persuasione di fede, of the Christian or the
Mohammedan faith? We must suppose the latter, at
the beginning of a document addressed to so high
a Mohammedan official. Predica probably stands as
an abbreviation for predicazione (lat. praedicatio) in the
sense of praise or glorification; very probably it
may mean some such initial doxology as we find
in Mohammedan works. (Comp. 1. 40.)
26. 28. The phraseology of this is too general
for any conjecture as to its meaning to be worth
hazarding.
30. Ruina del monte. Of course by an earthquake.
In a catalogue of earthquakes, entitled kechf aussal-
ssalfb an auasf rtsel-zeleh, and written by Djelal eddin
'.tf/iA<v. Jtyrfm -Hfrtm-W •fift'^"*T\'' **** f1'""^ MMl" '** """I** »-«^H viw «fywO 1<
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rtifi^j
• • -.;, i ' v . v . , . • .uo i if y "•
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I ^I^^SUfc^^'TT* •'••'Tl-^'i--" "gJ^J1** *JT; •"w"'r" ^-'^r'7^t*:H ••
J^'/j' Miyr/ ifVr\N^W«I«> •.,rf/r|»<|"'««|}^i<"'''f/'. vw/i^«r ^«M/| x^^w-vt
•.H»n '^.'II^H^Y jpwr-'/> >«iv«v vifin- ./r* , rt^/H 'rt«««rV^ H?/"r>T| Aw^/ <' /
T'w i^r v/^ /»? *db/« <-»Vrr -"•' -*>-r.^ "j-iV-JA •""•f^«Tr-jt' •«". A\ / 'N-4
^f^«^rA^^!^''J^S -^H^"!. fi.iv- ,,:v -^^-.- ^«|
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MV ^*,1ft^-.|k/.i— v,^4> ^*>»«w] Ww "y-<W ||f -r » ^ V. | .(/" < \ - \
W,,r H,T.M *,„ - ).. ,ftN'fr "- rT«..i fli-fll'1 -{f-'li " 4»V^ l S ' T A -^ M
' ^MAMHfUink '«M X»K.)iyA^*, ^^f^W,, ii«ni **/r^-fc«^l IT,
^^HMW ^F^^SS^ ?W
PiSJ1^ W.»r«4?-vH--7r^^ , ^
^f)-«o ,'|^,v PH./*' " Vi ><f ''
i ' **-^X ^, .tft'..^ 'VI J\ -&Z ~f\
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s^^^lp^pgp^
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^^•--^ilf^^rw^,: -^
LETTERS.
389
32URuina di neve;
33lTrovata del profeta;
34^1 La profetia sua;
35TJAllagameto delle parti basse
Erminia occidentale, 3?li scolameti delle
quali era38no per la tagliata di mote Tav-
TO «^ . <IT
[3 2] Fall of snow.
The finding of the prophet [33].
His prophesy.
[35] The inundation of the lower portion
of Eastern Armenia, the draining of which
was effected by the cutting through the Tau-
rus Mountains.
How the new prophet showed [40] that this
destruction would happen as he had foretold.
Description of the Taurus Mountains [43]
and the river Euphrates.
Why the mountain shines at the top, from
half to a third of the night, and looks like a
comet to the inhabitants of the West after the
sunset, and before day to those of the East.
Why this comet appears of variable forms,
so that it is now round and now long, and now
again divided into two or three parts, and now
in one piece, and when it is to be seen again.
OF THE SHAPE OF THE TAURUS MOUNTAINS [53].
I am not to be accused, Oh Devatdar, of
idleness, as your chi dings seem to hint; but
your excessive love for me, which gave rise
to the benefits you have conferred on me [5 5]
is that which has also compelled me to the
utmost painstaking in seeking out and dili-
gently investigating the cause of so great
and stupendous an effect. And this could
not be done without time; now, in order to
satisfy you fully as to the cause of so great
an effect, it is requisite that I should explain
to you the form of the place, and then I
will proceed to the effect, by which I believe
you will be amply satisfied.
41. [disc] questa . . effatta. 45. rissplende. 47. cometa [in] acquelli di. 48. acquelli. 50. ettondo. 51. lungho . . diuiso .
54. ho diodaro . . datte . . piegritia chome . . lo [tuo] isfrenato. 55. datte ecquello che [apv "a" chavoluto] che ma co-
stretto cho somma [dieligietia]. 56. [cerchare ei] sollecitudine a cerchare . . ai.vesstighare la chavsa . . stupete. 57. hora
. . sadisfatto di si grande "della causa [effetto] e . . mosstri. 58. la [cavsa ella] forma . . rimarai satisfatto. 59. risspossta
4° Come il novo profeta mostra che 4Ique-
sta ruina e fatta 42al suo proposito;
43 Descritione del mote Tavro 44 e del
flume Evfrates;
4sperche il monte risplende nella sua
cima 46 la meta o'l 3° della notte, e pare
vna 4 ? cometa a quelli di ponente dopo la
48 sera, e inati di a quelli di leuate.
49perche essa cometa par di uariabile
5°figura in modo che ora e tonda or
s^unga e or diuisa in 2 or in 3 parti, e
52ora vnita, e quado si riuede.
FlGURA DEL MOTE TAVRO.
54Non sono, o Diodario, da essere da
te inputato di pigritia come le tue rapogne
• par che accennino •, ma lo isfrenato amore,
55 il quale ha create il benifitio ch'io pos-
seggo da te, e quello, che mi a costretto
co somma $6 sollecitudine a cercare e
co diligietia a investigare la cavsa di si
grade e stupedo effetto •; la qual cosa 57no
sanza tepo a potuto avere effetto ; ora, per
farti ben satisfatto della causa di si grande
effetto, e neciessario ch'io ti mostri ss\a
forma del sito, e poi verro allo effetto
col quale credo rimarrai satisfatto;
Sycmthy, the following statement occurs: "In the
year 889 (1484 A.D.) there were six shocks of earth-
quake at Aleppo. They were excessively violent
and threw the inhabitants into consternation." I owe
this communication to the kindness of Prof. Ch.
Schefer, Membre de 1'Institut, to whom this un-
published Arabic MS. belongs. The foregoing entries
refer to two earthquakes in Cairo , in 1476 and
1481 : the following ones indicate a time at which
Leonardo was, certainly, living in Milan.
36. Tagliata di Monte Tauro. The Euphrates flows
through the Taurus range near the influx of the Kura
Shai; it rushes through a rift in the wildest cliffs
from 2000 to 3000 feet high and runs on for 90 miles
in 300 falls or rapids till it reaches Telek, near
which at a spot called Gleikash, or the Hart's leap, it
measures only 35 paces across. Compare the map
on PI. CXIX and the explanation fo it on p. 391.
40. Novo profeta, 1. 33, profeta. Mohammed. Leo-
nardo here refers to the Koran:
In the name of the most merciful God. — When the
earth shall be shaken by an earthquake; and the earth
shall cast forth her burdens; and a man shall say, what
aileth her? On that day the earth shall declare her
tidings, for that thy Lord will inspire her. On that
day men shall go forward in distinct classes, that they
may behold their works. And whoever shall have
wrought good of the weight of an ant, shall behold the
same. And whoever shall have wrought evil of the weight
of an ant, shall behold the same. (The Koran, trans-
lated by G. Sale, Chapter XCIX, p. 452).
53 — 94. The facsimile of this passage is given on
PI. CXVII.
54. The foregoing sketch of a letter, lines
5. 18, appears to have remained a fragment when
Leonardo received pressing orders which caused
39Q
59 No ti dolere, o Diodario, del mio tar-
dare • a dar risposta alia tua desiderosa
richiesta, perche queste cose, di che tu mi
richie6odesti , son di natura che no sanza
processo di tenpo si possono bene espri-
mcre, e massime perche, a voler mostrare
la causa di 6lsi grande effetto, bisognia
descrivere co bona forma la natura del sito,
e mediante quella tu potrai poi co 62facilita
satisfarti della predetta richiesta;
63jo Iascier6 indietro la descritione
della forma dell' Asia Minore, e che mari
0 terre sien quelle che terminono 6* la figura
della sua quatita, perche so che la diligen-
tia e sollecitudine de'tua studi non t'anno
di tal notitia 65privato; e verro a denotare
la vera figura di Tavrus Mote, il quale e
quello ch'e cavsatore di si stupenda e dan-
nosa maraviglia, la quale • serue alia espedi-
tione del nostro pro66posito ; Questo monte
Tavro e quello che appresso di molti e
detto e-;sere il giogo del Monte Cavcaso,
ma, avedo 6?voluto ben chiarirmi •, 6 voluto
parlare con alquanti di quelli che abitano
sopra del Mar Caspio, i quali mostrano
che 68quel sia il uero Mote Caucaso, che,
benche i moti loro abbino il medesimo
nome, questi son di maggiore altura, e
pero cofermano, perche Caucaso in lingua
Scitica vuol dire somma altezza •, e in vero
non ci e noti69tia che 1' oriete ne 1' occidente
abbia monte di si grande altura •; e la
pruova, che cosl sia-, e che li abitatori de'
pae7°si, che gli stanno per ponete, vedono
1 razzi del sole che allumina insino alia
4a parte delle maggior notti gra 7'parte
della sua cima-, e'l simile fa a quelli paesi
che gli stanno per oriete.
QUALITA E QUATITA DEL MOTE TAVRO.
?3L'onbra di questo giogo del Tauro e
di tanta altura che, quado di mezzo giugno
il sole e a mezzo giorno, la sua obra s'a-
LETTERS.
[1336.
[5 9] Do not be aggrieved, O Devatdar, by
my delay in responding to your pressing
request, for those things which you require
of me are of such a nature that they cannot
be well expressed without some lapse of
time ; particularly because, in order to explain
the cause of so great an effect, it is necessary
to describe with accuracy the nature of the
place; and by this means I can afterwards
easilysatisfy your above-mentioned request[62].
I will pass over any description of the
form of Asia Minor, or as to what seas or
lands form the limits of its outline and extent,
because I know that by your own diligence
and carefulness in your studies you have not
remained in ignorance of these matters [65];
and I will go on to describe the true form
of the Taurus Mountain which is the cause
of this stupendous and harmful marvel, and
which will serve to advance us in our pur-
pose [66]. This Taurus is that mountain
which, with many others is said to be the
ridge of Mount Caucasus ; but wishing to be
very clear about it, I desired to speak to
some of the inhabitants of the shores of the
Caspian sea, who give evidence that this
must be the true Caucasus, and that though
their mountains bear the same name, yet
these are higher; and to confirm this in
the Scythian tongue Caucasus means a
very high [68] peak, and in fact we have
no information of there being, in the East
or in the West, any mountain so high.
And the proof of this is that the inhabitants
of the countries to the West see the rays
of the sun illuminating a great part of its
summit for as much as a quarter of the
longest night. And in the same way, in
those countries which lie to the East.
OF THE STRUCTURE AND SIZE OF MOUNT TAURUS.
[73] The shadow of this ridge of the
Taurus is of such a height that when, in the
middle of June, the Sun is at its meridian, its
tua . . "desiderosa" richiessta queste [son cho] chose di che. 60. possano "bene" espriemere . . mosstrare. 61. dis^crivere.
62. sadisfarti. 63. lassciero [staj indirieto la desscriptione . . etterre . . chetterminino. 64. chella [tua] diligentii [de tua]
essollecitudine . . notanno. 65. mote | "il quel equello che chavsatore di si stupenta e danosa maraviglia" la qu.ilc . . ess-
peditione . . nosstro. 66. ecquello . . gogo . . cavcasso ma ave . . chasspio . . mosstrano. 63. caucaso "che beche i moti
loro abbino il medesimo nome e questi sou di magore altura e pero cofermano" perche [a] cavcasso illingua isciticha vol
. . alteza. 69. nelloccidente . . ella . . chosi . . he chelli. 70. chelli . . veggano i razi . . magor notto. 71. acquelli . .
him to write immediately and fully on the subject
mentioned in line 43.
59—62. This passage was evidently intended as
an improvement on that immediately preceding it.
The purport of both is essentially the same, but the
first is pitched in a key of ill-disguised annoyance
which is absent from the second. I do not see
how these two versions can be reconciled with
the romance-theory held by Prof. Govi.
68. Caucasus; Herodot Kaixaoii; Armen. Kaukaz.
73 — 75. The statements are of course founded
on those of the 'inhabitants' spoken of in 1. 67.
290
PL cxvni
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LETTERS.
391
74stende insino al principio della Sarmatia,
che so giornate • 12, e a mezzo dicembre
s'aste75de insino ai moti Iperborei, che e
viaggio d'un mese inverse tramontana;
E senpre la sua parte opposita al ue?6to
che soffia e priva di nuvoli e nebbie,
perche il uento, che s'apre nella percussione
del sasso, dopo esso sasso si uiene a richi-
77ydere, e in tal moto porta con seco i nv-
voli da ogni parte, e lasciali nella lor
percussione; e senpre e piena di per-
cussione di saette per la gra moltitudine
di nvvoli che 11 so ricettati, onde il sasso
e tutto fracassato e pien di gra ruine ;
Questo nelle ?8sua radici e abitato da
richissimi popoli, ed e pieno di bellissimi
fonti e fiumi; e fertile e abondante d'ogni
bene e massime nelle parti che riguardano
a mezzo giorno; — 8oma quando se n'e
montato circa 3 miglia, si comlcia a tro-
vare le selue de' gra8ldi abeti, pini e faggi e
altri simili alberi; dopo questi per spatio
di 3 a!82tre miglia si trovano praterie e
gradissime pasture, e tutto il resto, insino
83al nascimeto del Monte Tavro, sono nevi
shadow extends as far as the borders of Sar-
matia, twelve days off; and in the middle of
December it extends as far as the Hyper-
borean mountains, which are at a month's
journey to the North [75]. And the side
which faces the wind is always free from
clouds and mists, because the wind which is
parted in beating on the rock, closes again
on the further side of that rock, and in its mo-
tion carries with it the clouds from all quarters
and leaves them where it strikes. And it is al-
ways full of thunderbolts from the great quan-
tity of clouds which accumulate there, whence
the rock is all riven and full of huge de-
bris [7 7]. This mountain, at its base, is inha-
bited by a very rich population and is full of
most beautiful springs and rivers, and is fertile
and abounding in all good produce, parti-
cularly in those parts which face to the South.
But after mounting about three miles we begin
to find forests of great fir trees, and beech
and other similar trees; after this, for a
space of three more miles, there are meadows
and vast pastures; and all the rest, as far as
the beginning of the Taurus, is eternal snows
chilli. 73. gogho . . mezo gugnio . . he a mezo gorno. 74. insino [alia sarmatia] al . . chesso gornate . . mezo di[s].
cenbre sasste. 75. he viaggio Essenpre . . oposita. 76. chessoffia . . nvuoli ennebbie . . chessapre . . perchussione.
77. vedere [perche] e in . . nvuoli . . parte [e ne] ellasscia . . perchussione. The text between the words perchussione and
Questa has subsequently been added and is written on the margin in 13 short lines . nugoli chelli . . ettutto frachassato
78. abitata . . piena . . effiumi. 79. mezo gorno. 80. montata circha . . comlca attrovare. 81. effaggi . . alberi [m-
frallo] dopo . . questo isspatio. 82. trova . . passture ettutto il retto. 83. nasscimeto . . neve etterne. 84. tano chessaste-
77. Sudden storms are equally common on the
heights of Ararat. It is hardly necessary to observe
that Ararat cannot be meant here. Its summit is
formed like the crater of Vesuvius. The peaks
sketched on PI. CXVI— CXVIII are probably views of
the same mountain, taken from different sides.
Near the solitary peak, PL CXVIII these three
names are written goba, arnigasar, caruda, names
most likely of different peaks. PL CXVI and CXVII
are in the original on a single sheet folded down
the middle, 30 centimetres high and 43x/2 wide.
On the reverse of one half of the sheet are notes
on peso and bilanda (weight and balance), on the
other are the 'prophecies' printed under Nos. 1 293 and
1294. It is evident from the arrangement that these were
written subsequently, on the space which had been
left blank. These pages are facsimilied on PI. CXVIII.
In PL CXVI— CXVIII the size is smaller than in the
original; the map of Armenia, PL CXVIII, is on PL
CXIX slightly enlarged. On this map we find the
following names, beginning from the right hand
at the top: pariardes mo (for Paryadres Mons, Arm.
Parchar, now Barchal or Kolai Dagh; Trebizond
is on its slope).
Aguilone— North , Antitaurus Aniitaurus \\\\ psis
mo (probably meant for Thospitis = Lake Van, Arm.
Dgov Vanai, Tospoi, and the Mountain range to the
South); Gordis mo (Mountains of Gordyaea), the
birth place of the Tigris; OrzVwte— East; Tigris, and
then, to the left, Eufrates. Then, above to the left
Argeo mo (now Erdshigas, an extinct volcano, 12000
feet high); Celeno mo (no doubt Sultan Dagh in
Pisidia). Celeno is the Greek town of KgXaivoi —
see Arian I, 29, I — now the ruins of Dineir);
oriente — East; africo libezco (for libeccio — South West).
In the middle of the Euphrates river on this small
map we see a' shaded portion surrounded by moun-
tains, perhaps to indicate the inundation mentioned
in L 35. The .affluent to the Euphrates shown as
coming with many windings from the high land of
'Argeo' on the West, is the Tochma Su, which
joins the main river at Malatie. I have not been
able to discover any map of Armenia of the
XV th or XVIth. century in which the course of the
Euphrates is laid down with any thing like the cor-
rectness displayed in this sketch. The best I have
seen is the Catalonian Portulan of Olivez de Majorca,
executed in 1584, and it is far behind Leonardo's,
392
LETTERS.
L'337-
eterne che mai per alcu tenpo si par^tono,
che s'astendono 'all'altezza di circa 14 mig-
lia in tutto; da questo na85scimeto del
Tavro insino all'altezza d'vn miglio non
passano mai i nuvoli ; 8oche qui abbiamo
1 5 miglia, che sono circa a 5 • miglia d' al-
tezza per linia retta, 8?e altrettanto o circa
troviamo essere la cima delli corni del
Tauro, 8-(ne'quali dal mezzo in su si comincia
a trovare aria che riscalda e no 8$vi si sente
soffiameti de' ueti, ma nessuna cosa ci puo
troppo vivere; 9°quiui no nascie cosa alcuna,
saluo alcuni vccelli rapaci che 9l covano nel-
1'alte fessure del Tavro, e disciedono poi
sotto i nuvoli 92a fare le lor prede sopra i
monti erbosi ; Questo e tutto sasso senplice,
93 cioe da' nuvoli insu, ed e sasso candidissi-
mo • e in sulla alta cima no 94 si puo andare
per 1'aspra e pericolosa sua salita.
which never disappear at any time, and extend
to a height of about fourteen miles in all. From
this beginning of the Taurus up to the height
of a mile the clouds never pass away; thus
we have fifteen miles, that is, a height of about
five miles in a straight line; and the summit
of the peaks of the Taurus are as much, or
about that. There, half way up, we begin
to find a scorching air and never feel a breath
of wind; but nothing can live long there;
there nothing is brought forth save a few
birds of prey which breed in the high fissures
of Taurus and descend below the clouds
to seek their prey. Above the wooded hills
all is bare rock, that is, from the clouds
upwards; and the rock is the purest white.
And it is impossible to walk to the high
summit on account of the rough and perilous
ascent
C. A. 211 /'; 62111)
1337-
Avedoti • io piu volte fatto • con mia
lettere partecipe • delle cose che di qua •
sono • accadute •, no m'e paruto tacere a
2vna nova • accaduta • ne'giorni passati •
la quale ....
3 Avedoti io piv volte
4Essendomi io piu volte con lettere
rallegrato • teco della tua prospera fortuna •,
al presente so che come amico ti cotris-
terai • con meco 5del misero • stato nel quale
mi trovo; He questo e che ne'giorni • passati
• sono stato • in tati affanni, 6pavre, pericoli
e danno • insieme con questi miseri paesani,
che avevamo d'avere invidia ai morti, e
cicrto • io no credo • ^ che, poiche gli elemeti
con lor separatione . disfeciono • il gra caos,
che essi riunissino • lor forza, anzi rabbia •,
Having often made you, by my letters,
acquainted with the things which have
happened, I think I ought not to be
silent as to the events of the last few days,
which — [2]. ..
Having several times —
Having many times rejoiced with you
by letters over your prosperous fortunes, I
know now that, as a friend you will be sad
with me over the miserable state in which
I find myself; and this is, that during the
last few days I have been in so much trouble,
fear, peril and loss, besides the miseries of
the people here, that we have been envious
of the dead; and certainly I do not believe
that since the elements by their separation
reduced the vast chaos to order, they have
ever combined their force and fury to do
so much mischief to man. As far as regards
i
dano all alteza . . circha . . da cquesto. 85. alteza . . mai e nvuoli. 86. abiamo . . chessono circha . . dalteza. 87. circha
troviano. 88. cominca attrovare . . risscalda. 89. cipo. 90. nasscie chosa. 91. disciedano . . nvgoli. 92. affare . . Quessto
ettutto. 93. coe . . nvgoli . . chandidissimo. 94. si po . . lasspra e pericholosa.
1337. i.avedoti "io" piu . . commia . . participc . . che didi qua. . achadute. 2. achaduta. 4. chollcttere . . techo . . so "che chome
amico" ti . . comecho. 5. ecquesto he. 6. pericholi . . cho . . avno | "davere" invidia . . ino credo. 7. collor . . che d
1337. On comparing this commencement of a
letter 1. 1—2 with that in 1. 3 and 4 of No. 1336
it is quite evident that both refer to the same
event (Compare also No. 1337 1. IO — 12 and 17
with No. 1336 1. 23, 24 and 32.) But the text No.
1336, including the fragment 1. 3 — 4, was obviously not mentioned.
written later than the draft here reproduced. The
Diodario is not directly addressed — the person
addressed indeed is not known — and it seems
to me highly probable that it was written to some
other patron and friend whose name and position are
PL. C XIX.
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I337-]
LETTERS.
393
a fare tanto nocimeto alii omini 8quato al
presente da noi • s' e veduto • e provato, in
modo ch' io no iposso imaginare • che cosa
si possin 9piv accresciere a tanto male, il
quale noi provammo in spatio di died ore;
In prima fummo assaliti e combaI0ttuti
dall'impeto • e furore de' veti e a que-
sto s'aggiunsero le ruine delli gra moti
di neve, i quali anno ripieno tutte que-
sti valli TIe coquassato gra parte della
nostra citta; E no si cotentado di questo,
la fortuna I2co subiti diluvi d'acque ebbe
a sommergere tutta la parte bassa di questa
citta ; oltre di questo s' aggiunse vna subita
piog'jgia •, anzi ruinosa tepesta piena d' ac-
qua, sabbia, fango e pietre, insieme avvilup-
pati co radici sterpi e ciocchi di uarie piate;
^e ogni cosa scorrendo per 1'aria discedea
sopra di noi • ; e in vltimo vno inciedio di
fuoco parea codotto no che da veti ma da
io milia diavoli, che'l portassino, il quale
a abbruciato e disfatto tutto questo 'Spaese,
e ancora non vi e cessato; E que' pochi,
che siamo restati, siamo rimasti • co tanto
sbigottimeto l6e tata pavra che appena
come balordi abbiamo ardire di parlare •
1' uno coll' altro • ; avedo • abbandonato ogni
• nostra cura, ci stiamo insieme vniti r?jn
cierte ruine di chiese insieme misti maschi
e femine, piccoli e gradi, a modo di l8torme
di capre; Hi vicini per pieta ci anno soc-
corso di uettovaglie, i quali era prima nostri
us here, what we have seen and gone through
is such that I could not imagine that things
could ever rise to such an amount of mis-
chief, as we experienced in the space of
ten hours. In the first place we were assailed
and attacked by the violence and fury of
the winds [ i o]; to this was added the fall-
ing of great mountains of snow which filled
up all this valley, thus destroying a great
part of our city[n]. And not content with
this the tempest sent a sudden flood of water
to submerge all the low part of this city [12];
added to which there came a sudden rain,
or rather a ruinous torrent and flood of
water, sand, mud", and stones, entangled
with roots, and stems and fragments of various
trees; and every kind of thing flying through
the air fell upon us; finally a great fire
broke out, not brought by the wind, but car-
ried as it would seem, by ten thousand
devils, which completely burnt up all this
neighbourhood and it has not yet ceased.
And those few who remain unhurt are in
such dejection and such terror that they
hardly have courage to speak to each other,
as if they were stunned. Having abandoned
all our business, we stay here together in
the ruins of some churches, men and women
mingled together, small and great [17], just
like herds of goats. The neighbours out of
pity succoured us with victuals, and they
had previously been our enemies. And if
rivnissino . . rabie affare. 8. dannoi . . imodo . . chosa. 9. accressciere attanto male "il quale" noi prevamo . . ore
[Nori abbiamo] jn . . furno "assaliti". io. ttutti . . effurore . . veti [e in breue] acquesto sagivnse . . neve i quli ano
ripieno . . valle. n. parte [di questa] "della nostra" citta [e morte molte giete] E no si cotenta di. 12. dilui . . assomer-
giere . . questa [terra] citta oltre a di questo sagivnse . . pio. 13. dacq "a" sabia . . avilupati co radici "sterpi" ezzochi.
14. cosa i "scorendo per laria" discedea. . focho il quala [a disfatto e] parea codotto no che da veti ma da lomilia diavoli chel
portassino" a abruciato e difatto. 15. ancora [no da sire al suo cosumare] "noui e cessato." E que . . chessiano . . si ano
rimasi . . esbigottimeto. 16. appena | "come balordi" abiamo advre . . abandonato. 17. ciese . . massci effemine picoli.
The text between tJie words capre -and Ora is written on the -margin. The words: i vicini . . nostri nimici are written in six
short lines on the right side and the following words esse no . . di fame are written in eleven lines on the opposite side: i vicini 1
II. Della nostra citta (Leonardo first wrote di questa
citta). From this we may infer that he had at
some time lived in the place in question wherever
it might be.
17. Certe ruine di chiese. Either of Armenian
churches or of Mosques, which it was not unusual
to speak of as churches.
Maschi e femmini insieme unite, implies an in-
fringement of the usually strict rule of the separation
of the sexes.
1 8. / vicini, nostri nimici. The town must then
have stood quite close to the frontier of the country.
Compare 1336. L. 7. vicini ai nostri confini. Dr. M. JORDAN
has already published lines 4 — 13 (see Das Malerbuch,
Leipzig, 1873, P- 9O: — his reading differs from mine)
VOL. II.
under the title of "Description of a landscape near
Lake Como". We do in fact find, among other
loose sheets in the Codex Atlahticus, certain texts
referring to valleys of the Alps (see Nos. 1030,
1031 and note p. 237) and in the arrangement of
the loose sheets, of which the Codex Atlanticus
has been formed, these happen to be placed close
to this text. The compiler stuck both on the same
folio sheet; and if this is not the reason for Dr.
JORDAN'S choosing such a title (Description &c.) I
cannot imagine what it can have been. It is, at any
rate, a merely hypothetical statement. The desig-
nation of the population of the country round a city
as "the enemy" (nemici) is hardly appropriate to
Italy in the time of Leonardo.
DDD
394
LETTERS.
[1338. 1339-
nimici;! e se no fussero cierti popoli che
ci anno soccorso di uettovaglia, tutti sarem-
mo morti di fame; Ora vedi come ci
'nroviamo •; E tutti questi mail son niete •
a coparatione di quelli che in breve tepo
ne son promessi;
20 So che come amico ti cotristerai del
mio • male • come gia con lettere ti mos-
trai con eflfetto rallegrarmi del tuo bene . . .
it had not been for certain people who
succoured us with victuals, all would have
died of hunger. Now you see the state we
are in. And all these evils are as nothing
compared with those which are promised to
us shortly.
I know that as a. friend you will grieve
for my misfortunes, as I, in former letters
have shown my joy at your prosperity . . .
. 37*1
1338.
LlBRO 43 DEL MOTO DELL* ARIA INCLUSA SOTTO
L'ACQUA.
Ho veduto mov^imeti d' aria tanto
Notes about furiosi, che anno ac»conpagniati e misti col
ev« "edb" corso suo li 5 grandissimi alberi delle selue
abroad e \\ fefti in6teri de gra palazzi, e questa
9 medesima ?furia fare vna buca con moto
reuer^tiginoso e cavare vn ghiareto e portare
ghtora, rena, acqua piu d'u mezzo miglio
in10aria.
BOOK 43. OF THE MOVEMENT OF AIR ENCLOSED
IN WATER.
I have seen motions of the air so furious
that they have carried, mixed up in their
course, the largest trees of the forest- and
whole roofs of great palaces, and I have seen the
same fury bore a hole with a whirling movement
digging out a gravel pit, and carrying gravel,
sand and water more than half a mile through
the air.
Br. M. 155 a]
1339-
A similitudine d'uno ritrosito vento che
scorra in un a2renosa e cavata valle che
pel suo velocie corso scac'cia al cetro tutte
quelle cose che s'oppogono al suo furi4oso
corso ....
sNon altrameti il settetrionale aquilone
ripercuote 6 colla sua tepesta ....
Like a whirling wind which rushes down
a sandy and hollow valley, and which, in its
hasty course, drives to its centre every thing
that opposes its furious course ....
No otherwise does the Northern blast
whirl round in its tempestuous progress ....
"per pieta" ci a sochorso . . esse no fussi socorso di uttovaglia . . saremo. 19. Ettitti . . che brieve . . ne promesso.
20. chome . . cotrissterai . . chome . . collettere timosstra . . ralegrarmi.
1338. i. lacq"a". 3. anno a. 5. elli. 6. palazi ecquesta. 7. bucha. 8. giareto e portare gia. 9. mezo miglo. 10. naria.
1339. i. chesschorranuna. 2. chavata . . chorso scba. 3. qlle chose chessoppoghono. 4. chorso. 5. altremeti . . settatrione
. . riperchuote. 6. cholla. 7. mvglia il [sellantrionale] tepesstoso. 8. [mosso cho gra Curia da] quado . . settatrionale.
1338. The first sixteen lines of this passage
which treat of the subject as indicated on the title-
line have no place in this connexion and have been
omitted.
2. Ho veduto mwimcnti £c. Nothing of the kind
happened in Italy during Leonardo's lifetime, and
it is therefore extremely probable that this refers to
the natural phenomena which are so fully described
in the foregoing passage. (Compare too, No. 1021.)
There can be no doubt that the descriptions of the
Deluge in the Libro di Pittura (Vol. I, No. 607 — 61 1),
and that of the fall of a mountain No. 610, 1. 17 —
30 were written from the vivid impressions derived
from personal experience. Compare also PL
XXXIV— XL.
1339. It may be inferred from the character of
the writing, which is in the style of the note in
facsimile Vol. I, p. 297, that this passage was written
between 1470 and 1480. As the figure () at the end
of the text indicates, it was continued on another
page, but I have searched in vain for it. The
reverse of this leaf is coloured red for drawing in
silver point, but has not been used for that purpose
but for writing on, and at about the same date.
The passages are given as Nos. 1217, 1218, 1219,
1162 and No. 994 (see note page 218). The text
given above is obviously not a fragment of a
letter, but a record of some personal experience.
No. 1379 also seems to refer to Leonardo's journeys
in Southern Italy.
/-••-;x
O^S /
"
•U' >J^
Hehog- Tlxijardin.
Imp. Eudes
I340-]
LETTERS.
395
7 No fa si gra mugghio il tepestoso
mare, 8quado il settetrionale aquilone 9lo
ripercuote colle scivmose onde fra Scilla e
Cariddi, ne Stronboli o M6I0gibello, quando
le solfuree fiafhe, essendo rlchiuse, IJper
forza ronpedo e apredo il gra mote, fulmi-
nado 12per 1'aria pietre terra Isieme col-
1'uscita e vomitata fiama . . .
J3Ne quado le infocate caverne di Mo-
gibello rivomitado il male tenuto elemeto,
spigniendolo I4alla sua regione, co furia
cacciado Inazi qualuche ostacolo ^s' inter-
pone alia sua ipetuosa furia ....
l6E tirato dalla mia bramosa voglia, vago
di uedere la gran co . . . ^delle varie e strane
forme fatte dalla artifiziosa natura, ragira-
tomi l8 alquato Jfra gli obrosi scogli per-
venni all'etrata d'una T9gra caverna dinanzi
alia quale restate alquato 20 stupefatto, — e
jgniorante di tal cosa piegato le mie rene
21 in arco e ferma la staca mano sopra il
ginocchio e colla destra mi feci tenebra
22alle abbassate e chivse ciglia; e spesso
piegadomi in qua e in la per ve23dere de-
tro vi discernessi alcuna cosa, e questo
vietatomi per 2*la grade oscurita, che la
entro era, e stato alquato, subito si de-
starono 2Sin me 2 cose, pavra e desiderio;
paura • per la minaccio26sa oscura spilonca,
desidero per vedere se la etro fusse alcuna
27miracolosa cosa..
Nor does the tempestuous sea bellow so
loud, when the Northern blast dashes it, with its
foaming waves between Scylla and Charybdis;
nor Stromboli, nor Mount Etna, when their
sulphurous flames, having been forcibly con-
fined, rend, and burst open the mountain,
fulminating stones and earth through the air
together with the flames they vomit.
Nor when the inflamed caverns of Mount
Etna, rejecting the ill-restained element vomit
it forth, back to its own region , driving
furiously before it every obstacle that comes
in the way of its impetuous rage ....
Unable to resist my eager desire and
wanting to see the great .... of the various
and strange shapes made by formative nature,
and having wandered some distance among
gloomy rocks, I came to the entrance of a
great cavern, in front of which I stood some
time, astonished and unaware of such a thing.
Bending my back into an arch I rested my
left hand on my knee and held my right
hand over my down-cast and contracted eye
brows : often bending first one way and then
the other, to see whether I could discover
anything inside, and this being forbidden
by the deep darkness within, and after having
remained there some time, two contrary
emotions arose in me, fear and desire — fear
of the threatening dark cavern, desire to see
whether there were any marvellous thing
within it .
C. A. 382 a; 1182 a] X34O'
Auedo, signore mio illustrissimo, uisto e Most illustrious Lord , Having now suf- ^^ °of
considerate oramai a sufficietia le proue di ficiently considered the specimens of all those Lodovico °n
tutti quelli • che si 2 reputano maestri e who proclaim . themselves skilled contrivers (I34^°4S).
9. riperchuote "chole scivmose onde frassilla echariddi nesstronboli. 10. zolfure. 12. cholluscita "e vomitata" fiama.
13. lefochate chaverne "di mogibello" ri vomitado "il male tenuto elemento" spigniendolo. 14. cho . . chacciado . . ossta-
cholo. 16. vagho . . la gra cho\\\\\. 17. varie "e strane" forme . . ragiratom\\\\. 18. schogli pervenni [alia b] all. 19. cha-
vena [nella quale] dinanzi . . resstato. 20. chosa [chomlciato] pieghato .• . ren\\\. 21. archo [e colla] "e ferma la" stacha •
mano [su] "sopra il" ginocchio e cholla desstra . . feci ten\\\\. 22. ecchiuse . . essspesso pieghadomi in qua e ilia per\\\\\.
23. vdissciernessi alchuna chosa . . vietatom\\\\\. 24. osschurta . . esstato allquajo subitose. 25. le Ime 2 [chotrarie] chose
. . la mina. 26. ce osscura spiloncha . . alchu\\\. 27. miracholosa chosa . ().
1340. i — 36 written from left to right, i. Hauedo S"re" mio jll. . . horamai ad. 2. che le . . di dicti. 3. alieni dal cde . . ex-
13. Mongibello is a name commonly given in
Sicily to Mount Etna (from Djebel, Arab. = mountain).
Fr. FERRARA, Descrizione deir Etna con la storia delle
eruzioni (Palermo, 1818, p. 88) tells us, on the autho-
rity of the Cronaca del Monastero Benedeltino di Licordia,
of an eruption of the Volcano with a great flow of
lava on Sept. 21, 1447. The next records of "the
mountain are from the years 1533 and 1536.
A. Percy neither does mention any eruptions
of Etna during the years to which this note must
probably refer (Memoire des tremblements de terre
de la plninsule italique, Vol. XXII des Memoires
couronnees et Memoires des savants etrangers. Academic
Royale de Belgique).
A literal interpretation of the passage would
not, however, indicate an allusion to any great
eruption; particularly in the connection with Strom-
boli, where the periodical outbreaks in very short
intervals are very striking to any observer, especially
at night time, when passing the island on the way
from Naples to Messina.
1340. The numerous corrections, the alterations
in the figures (1. 18) and the absence of any signa-
ture prove that this is merely the rough draft of a
39<5
LETTERS.
[1340.
compositor! di instrumeti bellici •, et che la of instruments of war, and that the invention
j: _ > A', /l^ffi' linctt-nm^fi anrl nn^ration of the said instruments nr<»
inuetione di operatione di detti 3instrumeti
no sono niente aliene dal commune vso:
and operation of the said instruments are
nothing different to those in common use:
Mi forzerd, no derogando a nessuno altro, I shall endeavour, without prejudice to any
« farmi Itendere da Vostra Eccellentia, apre- one else, to explain myself to your Excellency
"'<f,
; i
fcj
// f
r ^oo»fal*ra& hor+m* * / ^
amrtejitot*: b wStwmK &&*- *&%t* *™
J C • ' Y f f^ - /*
do a quella li secreti • mei • , e appresso
ofiferendoli ad ogni suo piacimento 5I tempi
opportuni operare cu effetto ancora tutte
quelle cose • che sub breuita in parte saranno
qui disotto 6notate.
showing your Lordship my secrets, and then
offering them to your best pleasure and
approbation to work with effect at opportune
moments as well as all those things which, in
part, shall be briefly noted below.
forzero . . alt". 4. Itende"re" da v. ex"tia" . . qlla . . appsso . . ad 6i . . piacimto. 5. oportuni . . cu . . Sea • . bre-
uita "I pate" saranno. 6. notate [e anchora T molte piu secodo le occurretie de diuesi casi s] . 7. acti . . qlli. 8. uolta
letter to Lodovico il Moro. It is one of the very
few manuscripts which are written from left to
right— see the facsimile of the beginning as here
reproduced. This is probably the final sketch of a
document the clean of which copy was written
in the usual manner. Leonardo no doubt very
rarely wrote so, and this is probably the reason of
the conspicuous dissimilarity in the handwriting,
when he did. (Compare PI. XXXVIII.) It is note-
worthy too that here the orthography and abbre-
viations are also exceptional. But such superficial
peculiarities are not enough to stamp the document
as altogether spurious. It is neither a forgery nor
the production of any artist but Leonardo himself.
As to this point the contents leave us no doubt as
to its authenticity, particularly I. 32 (see No. 719,
where this passage is repeated). But whether the
fragment, as we here see it, was written from
Leonardo's dictation — a theory favoured by the
orthography, the erasures and corrections — or
whether it may be a copy made for or by Melzi
or Mazenta is comparatively unimportant. There
are in the Codex Atlanticus a few other documents
not written by Leonardo himself, but the notes in
his own hand found on the reverse pages of these
leaves amply prove that they were certainly in
Leonardo's possession. This mark of ownership is
wanting to the text in question, but the compiler*
of the Codex Atlanticus, at any rate, accepted it as
a genuine document.
With regard to the probable date of this pro-
jected letter see Vol. II, p. 3.
I340-]
LETTERS.
397
I . ^ Ho modi di ponti leggierissimi e forti,
e atti ad portare facilissimamete, et co
quelli seguire 8e alcuna .uolta fuggire li
inimici, e altri securi e loffensibile da foco
9 e battaglia •, facili e cofhodi [da leuare e
ponere • ; Et modi di ardere e disfare quelli
del'inimico.
10 2. So I la ossidione di una terra to-
gliere uia 1' acqua de' fossi • ; e fare Ifiniti
poti: gatti e scale "e altri Istrumenti per-
tineti a delta speditione.
12 3. Ite se per altezza di argine o per-
fortezza di loco e di sito no si potesse I
la ossidione di J3yna terra usare I'officio
delle bombarde: ho modi di ruinare omni
rocca o altra fortezza, ^se giano fusse fon-
data I su el sasso ecc.
^4. Ho ancora modi di bombarde. como-
dissime e facili a portare: Et con quelle
buttare minuti sassi l6a similitudine quasi
di tempesta •; E con il fumo di quella dando
grade spaueto al'inimico ^con graue suo
danno e confusione ecc.
18 9. Et quado accadesse essere I mare,
ho modi di molti Istrumenti attissimi da
offendere e difendere: J9et nauili che fa-
ranno resistentia al trarre di omni gros-
sissima bobarda: e poluere e fiumi.
20 5 . Ite ho modi : per caue e uie secrete
distorte fatte senza alcuno strepito per ue-
nire disegnato 2I . . . ancora che bisogniasse
passare sotto fossi o alcuno flume.
22 6. Item faro carri coperti e sicuri loffen-
sibili •, i quali etrado itra li inimici con sue
artiglierie :, no e si grade multi23tudine di
gente d' arme che no rompessino : E dietro
a questi potranno seguire faterie assai illesi
e seza 2« alcuno ipedimeto.
25 7. Item occorrendo di bisogno, faro
bobarde, mortari et passauolanti di bellissime
e utili forme fuori del comune uso;
26 8. Doue macasse la operatione • delle
bobarde comporro briccole, magani | tra-
buchi e altri Istrumenti di mirabile 27efficacia
e fuori del' usato: Et I sorha secondo la
uarieta de' casi coporro uarie e Ifinite cose
da offedere e di .
1) I have a sort of extremely light and
strong bridges, adapted to be most easily
carried, and with them you may pursue,
and at any time flee from the enemy; and
others, secure and indestructible by fire and
battle, easy and convenient to lift and place.
Also methods of burning and destroying those
of the enemy. .
2) I know how, when a place is besieged,
to take the water out of the trenches, and
make endless variety of bridges, and covered
ways and ladders, and other machines per-
taining to such expeditions.
3) Item. If, by reason of the height of
the banks, or the strength of the place and
its position, it is impossible, when besieging
a place, to avail oneself of the plan of bom-
bardment, I have methods for destroying
every rock or other fortress, even if it were
founded on a rock, &c.
4) Again I have kinds of mortars ;
most convenient and easy to carry; and with
these can fling small stones almost resem-
bling a storm ; and with the smoke of these
causing great terror to the enemy, to his
great detriment and confusion.
9) [8] And when the fight should be at
sea I have kinds of many machines most
efficient for offence and defence; and vessels
which will resist the attack of the largest
guns and powder and fumes.
5) Jtem I have means by secret and
tortuous mines and ways, made without
noise to reach a designated [spot], even if it
were needed to pass under a trench or a river.
6) Item. I will make covered chariots,
safe and unattackable which, entering among
the enemy with their artillery, there .is no
body of men so great but they would break
them. And behind these , infantry could
follow quite unhurt and without any hin-
drance.
7) Item. In case of need I will make
big guns, mortars and light ordnance of fine
and useful forms, out of the common type.
8) Where the operation of bombardment
should fail, I would contrive catapults, man-
gonels, trabocchi and other machines of
marvellous efficacy and not in common use.
And in short, according to the variety of cases,
I can contrive various and endless means of
offence and defence.
398
LETTERS.
[1341. 1342.
a8io. Jn tepo di pace credo di soddis-
fare benissimo al paragone di ogni altro in
architettura, I compositione di edifitii e pu-
blici J9e privati: e I codurre acqua da uno
loco ad uno altro.
3°Jte codurrd I scultura, di marmore,
di bronzo e di terra: simile I pictura cio
che si possa fare 3'a paragone di ogni altro
e sia chi vuole.
32Ancora si potra dare opera al cauallo
di bronzo, che sara gloria Imortale e
eterno onore della -53felice memoria del
signore vostro padre e dela Iclyta casa
Sforzesca;
3* E se alcuna delle sopradette cose a al-
cuno paressino ipossibili e Ifattibili, mi offro
35paratissimo a fame esperimento I parco
uostro, o I qual loco piacera a vostra Ecel-
lenza, al36la quale umilmente quanto piu
posso, mi raccomando ecc.
10) In time of peace I believe I can give
perfect satisfaction and to the equal of any other
in architecture and the composition of buil-
dings public and private; and in guiding
water from one place to another.
Item : I can carry out sculpture in marble,
bronze or clay, and also in painting whatever
may be done, and as well as any other, be
he whom he may.
[3 2] Again, the bronze horse may be taken
in hand, which is to be to the immortal glory
and eternal honour of the prince your father
of happy memory, and of the illustrious house
of Sforza.
And if any one of the above-named things
seem to any one to be impossible or not
feasible, I am most ready to make the ex-
periment in your park, or in whatever place
may please your Excellency — to whom I com-
mend myself with the utmost humility &c.
s. K. M. in. 28
Al mio Illustrissimo Signore Lodouico,
Duca di Bari'/-
Leonardo Da • Vinci
Fiorentino •
s Leonardo.
To my illustrious Lord, Lodovico,
Duke of Bari,
Leonardo da Vinci
of Florence —
Leonardo.
s. K. M. m. 23*5]
1342.
Vi piace vedere uno • modello • del quale
2 risultera • vtile • a uoi e a me •, e vtili3ta
• a quelli che fieno • cagione • di no^stra
vtilita.
You would like to see a model which
will prove useful to you and to me, also,
it will be of use to those who will be the
cause of our usefulness.
coduce aqua . . alto [acto ad offende e difende. 30. coducero. 31. ad . . deoni . . uole. 32. Anchora si potera . . honore
dela. 33. s"r"vost"o" patre e dela. 34. Et sealchuno dele sop"r" dicte . . alchuno . . Tpossibile e infactibile me offer.
35. ad farene experimento . . q"al" . . vost ex"tia" ad. 36. humiliate . . me recomado de.
1341. Written from left to right, i. Ill"mo" Sig"re". 2. bari.
1343. i. vedere i modello. 2. nine. 3. acquelli cheffieno chagione.
1341- Evidently a note of the superscription cf §
letter to the Duke, and written, like the foregoing
from left to right. The manuscript containing it
is of the year 1493. Lodovico was not proclaimed
and styled Duke of Milan till September 1494.
The Dukedom of Bari belonged to the Sforza
family till 1499.
1342. 1343. These two notes occur in the same
not very voluminous MS. as the former one and
it is possible that they are fragments of the same
letter. By the Modello, the equestrian statue is
probably meant, particularly as the model of
this statue was publicly exhibited in this very
year, 1493, on the occasion of the marriage
of the Emperor Maximilian with Bianca Maria
Sforza.
1343— 1 345-]
BETTERS.
399
S. K. M. III.
1343-
Ecco • signer • molti • gietil omini 2 che
faranno infra loro • questa • spesa, 3 lasciado
There are here, my Lord, many gentlemen
who will undertake this expense among them, if
loro • godere 1' entrata dell' acque , 4 mvlina they are allowed to enjoy the use of admission to
e passaggio di navili, e quado se' sara the waters, the mills, and the passage of vessels
veduto • loro il prezzo
navilio di Martigiana .
loro redera6no il
and when it is sold to them the price will be
repaid to them by the canal of Martesana.
C. A. 308 £; 939 a]
1344-
Assai mi rincrescie d'essere I neciessita •,
ma piv mi dole * che quella • sia causa • dello
interropere il desiderio mio, il 3 quale • e
senpre disposto a vbidir uostra Eccellentia ;
4forse che uostra Eccellentia $no commise
altro a messer Gual6tieri, crededo che io
avessi dina7ri ....
8E mi rincrescie assai che tu m'abbi
ri9trovato in neciessita, e chel'auere io I0a
guadagniare il uitto, -m'abbi l 'a interronpere . . .
12 Assai mi rincresce che 1'auere a gua-
dagnia^re il uitto • m'abbia forzato interro-
pere I'operaedisoddis'ifare adalcunipiccoli,-
del seguitare 1' o'Spera che gia vostra Signoria
mi commise; Maspero inbrel6ue avere gua-
dagniato • tanto chepotro • soddisfare I7ad ani-
mo riposato • a vostra Eccielenza, alia quale
18 mi raccomado, e se uostra Signoria cre-
desse ch'io J9 avessi • dinari, quella s'ingan-
nerebbe; 6 tenvto • 6 • boche 56 mesi, e 6
avuto 50 ducati.
I am greatly vexed to be in necessity,
but I still more regret that this should be
the cause of the hindrance of my wish which
is always disposed to obey your Excellency.
Perhaps your Excellency did not give
further orders to Messer Gualtieri, believing
that I had money enough.
I am greatly annoyed that you should
have found me in necessity, and that my having
to earn my living should have hindered me. . . .
[12] It vexes me greatly that having to
earn my living has forced me to interrupt
the work and to attend to small matters,
instead of following up the work which your
Lordship entrusted to me. But I hope in a
short time to have earned so much that I may
carry it out quietly to the satisfaction of your
Excellency, to whom I commend myself; and
if your Lordship thought that I had money,
your Lordship was deceived. I had to feed
6 men for 56 months, and have had 50 ducats.
C. A. 328,5; 983,5]
1345-
E se mi dato piv alcuna commissione
d'alcuna . . .
2 del premio del mio seruitio •, perche no
so da essere da . . .
3 cose assegniationi, perche loro anno in-
tante di pe . . .
And if any other comission is given me
by any . . .
of the reward of my service. Because I am
not [able] to be . .
things assigned because meanwhile 'they
have . . to them ....
4 tie che bene possono assettare piv di me which they well may settle rather than I . .
s no la mia arte, la quale voglio mvtare ed.. . not my art which I wish to change and ....
6 dato qualche vestimeto si oso vnasomma... given some clothing if I dare a sum ....
1343. i. Ecci. 2. fa ranno infralloro. 3. lassciado. 4. passagio. 5. prezo lor redeva.
1344. i. rincresscie. 2. chausa . . interopere . . il q. 3. ecellentia. 5. chomise altro [al] meser qual. 8. rineresscie . . chettu
mabbi ri\\\\\\. 9. echellauere. io. guadagnare [il pane] il uicto mabi. n. anteronpere. 12. rincressce chellauere. 13. uicto
mabia interopere [lopera de il sadis]. 14. fare ad alcuni picioli de il seguitare [aluna] Io. 15. smi chomisse. 16. podro
sadisfare. 17. eccieleza. 18. \\\\\\\\ racomado esse uostra S si. 19. \\\\\\\\ssi dinari quella quella singanerebe.
1345. i. esse . . comesione. 3. tante di pe. 4. possano 6. sioso vna soma. 7. uosstra . . ochupa. 8. vosstra . . mi.| "pichol
1345- The paper on. which this is written is torn down the middle; about half of each line remains.
400
LETTERS.
[1346.
7Signiore •, conosciedo • io • la mete • di uo-
stra • Ecciellentia • esscre • occupa • • •
8il ricordare • a vostra Signioria • le mie
piccole e 1'arti messe -in siletio . . .
9 che '1 mio . taciere fusse causa • di fare •
isdegniare vostra Signori . . .
I0la mia vita ai uostri seruiti • mi tie con-
tinvamete parato • a vbidire . . .
"del cauallo no diro niete, perche cognio-
sco • i tepi . . .
"a vostra Signoria com' io restai avere • il
salario di 2 • anni -del ...
'3 co due . maestri • i quali cotinvo • stettero •
a mio salario e spesa . . .
'*che al fine mi trovai -avanzato detta
opera • circa 1 5 lire • mo . . .
'5 opere di fama per le quali io potessi
mostrare a quelli che ueranno ch'io sono sta . . .
16 sa per tutto • ma io no so, doue io po-
tessi spedere le mia opere a per . . .
'M'auere io • atteso a guadagniarmi la
uita .
My Lord, I knowing your Excellency's
mind to be occupied ....
to remind your Lordship of my small matters
and the arts put to silence
that my silence might be the cause of making
your Lordship scorn . .
my life in your service. I hold myself ever
in readiness to obey . . .
[n]Of the horse I will say nothing because
I know the times [are bad]
to your Lordship how I had still to receive
two years' salary of the ....
with the two skilled workmen who are con-
stantly in my pay and at my cost
that at last I found myself advanced the
said sum about 15 lire ....
works of fame by which I could show to
those who shall see it that I have been
everywhere, but I do not know where I
could bestow my work [more] . . .
[17]!, having been working to gain my
living ....
18 per non essere informato io che essere I not having been informed what it is, I find
io mi trova ... • myself ....
^siricorda- della commissione del dipigniere [19] remember the commission to paint the
• i camerini . . . rooms ....
20portavo a vostra Signoria • solo richiededo I conveyed to your Lordship only requesting
a quella . . . you ....
C. A 316*; 958*1
1346.
Magnifici • fabbricieri •, intedendo io vostre
Draft of magni2ficeze avere • preso • partito • di fare
lentrto°puecierte • magnie opere di bronzo; delle quali
«nza • io vi 3daro • alcuno • ricordo • prima • che voi
7 no siate • tanto . veloci • e tanto • presti a fare
essa allocatione 4che per essa cielerita sia
tolto • la uia del potere • fare boha eletione
d' opere e maestri; e qualche omo che
per la • sua • insofficietia abbia apresso a
vostri s successori • a vituperare, se • ella vo-
Magnificent Commissioners of Buildings
I, understanding that your Magnificen-
cies have made up your minds to make
certain great works in bronze, will remind you
of certain things : first that you should not be
so hasty or so quick to give the commission,
lest by this haste it should become impossible
to select a good model and a good master;
and some man of small merit may be chosen,
who by his insufficiency may cause you to
cllnrcimesse. 9. fussi chausa. io. mi tie. n. [ia dinaro. 12. chomio . . avc"re" el. 13. maessti . . cotinovo stettono . .
salario esspe. 14. avnzato ditta . . circha. 15. opere | "di fama" per elle . . acqelli che uerano. 16. opere [in piv] a per.
18. trovo [come e mi], 19. richorda della comessione . . acquella.
1346. i. [venerabili] e m'gnifici fabricieri [paredo amme fare in parte). 2. ficieze [volere] avere. 3. richordo . . ettanto presst
a "affare-essa allocatione" [pigliare partito]. 4. tolto "la uia del potere fare bona elletione dopere e maesstro" qualche
homo [di picho] | che . . abia . . vosstri. 5. suciessori . . ella vosstra eta "erchettalia siasi ui ciedi boni Igiegni"\\\\\\\\\ vdi-
ii. See No. 723, where this passage is repeated.
17. See No. 1344 1. 12.
19. In April, 1498, Leonardo was engaged in
painting the Saletta Nigra of the Castello at Milan.
(See G. MONGERI, PArte in Milano, 1872, p. 417.)
1346. 1347. Piacenza belonged to Milan. The
Lord spoken of in this letter, is no doubt Lodovico
il Moro. One may infer from the concluding sen-
tence (No. 1346, 1. 33. 34 and No. 1347), that
Leonardo, who no doubt compiled this letter,
did not forward it to Piacenza himself, but gave
it to some influential patron, under whose name
and signature a copy of it was sent to the Com-
mission.
1346.]
LETTERS.
4OI
stra • eta .... givdicado che questa - eta fusse
mal fornita d'omini 6di bon givditio • e
di boni • maestri, vedendo lealtre citta, e
massime la citta de' Fiorentini, • quasi ne'
medesimi tepi, essere ?dotata di si belle e
magnie opere di bronzo, intra le quali le
porte del loro Battisterio •; la qual Fioretia-,
si come Piacietia, 8 e terra di passo • doue •
cocorrono assai forestieri ., i quali vedendo
le opere belle o bone, belle fanno a se
9 medesimi inpressioni: quella citta • essere
fornita di degni abitatori, vedendo 1' opere
testimonie d' essa opinione ; e per lo contra-
rio diI0co, vedendo • tanta spesa di metallo
operata si tristamete, che me uergognia
alia citta XIsarebbe che esse porte fussino
di scnplice legniame •, perche la poca spesa
della materia I2no parebbe meriteuole di
grade • spesa di magisterio •, ode che . .
'3 La principale parte che per le citta • si
ricierchi • si sono • i domi, ai quali appres-
satisi, le prime • cose, ^che all'ochio ap-
pariscono, • sono • le porte donde in esse
chiese passare si possa.
^Guardate •, signiori-fabbricieri •, che la-
troppa celerita del uolere voi con tata l6pre-
stezza • dare • speditione alia locatione • di
tanta magnia opera, quanto io sento che
per uoi T ? s' e ordinata, non sia cagione che
quello •, che per onore • di dio • e delli omini
si fa •, non torni in gra l8disonore de' uostri
giuditi e della vostra citta, doue, per essere
terra degnia e di passo, e concorso • d' in-
numera^bili forestieri •; e questo disonore
accaderebbe •, quado per le • uostre • indili-
gietie 20voi • prestasti • fede • a qualche van-
tatore che per le • sue frasche o per fauore •,
che di qua • dato li fusse, 2Ida uoi auesse
a inpetrare • simile opera •, per la quale • a
se e a uoi avesse a partorire lunga Z2e
gradissima infamia •; Che non posso • fare •
che io non mi crucci • a ripensare quali
omini 23 sieno quelli che abbino • conferito •
volere • in simile inpresa etra24re sanza pen-
sare alia loro sofitiezia, sanza dime altro-;
chi e maestro • di boccali •, chi di corazze
be abused by your descendants, judging that
this age was but ill supplied with men of
good counsel and with good masters ; seeing
that other cities, and chiefly the city of the
Florentines, has been as it were in these very
days, endowed with beautiful and grand works
in bronze; among which are the doors of
their Baptistery. And this town of Florence,
like Piacenza, is a place of intercourse, through
which many foreigners pass; who, seeing that
the works are fine and of good quality, carry
away a good impression, and will say that that
city is well filled with worthy inhabitants, seeing
the works which bear witness to their opinion ;
and on the other hand, I say seeing so much
metal expended and so badly wrought, it were
less shame to the city if the doors had been of
plain wood; because, the material, costing so
little, would not seem to merit any great
outlay of skill . . .
Now the principal parts which are sought
for in cities are their cathedrals, and of these
the first things which strike the eye are the
doors, by which one passes into these churches.
Beware, gentlemen of the Commission, lest
too great speed in your determination, and so
"much haste to expedite the entrusting of so great
a work as that which I hear you have ordered,
be the cause that that which was intended for
the honour of God and of men should be turned
to great dishonour of your judgments, and of
your city, which, being a place of mark, is
the resort and gathering-place of innumerable
foreigners. And this dishonour would result
if by your lack of diligence you were to put
your trust in some vaunter, who by his
tricks or by favour shown to him here
should obtain such work from you, by
which lasting and very great shame would
result to him and to you. Thus I cannot
help being angry when I consider what men
those are who have conferred with you
as wishing to undertake this great work
without thinking of their sufficiency for it,
not to say more. This one is a potter,
that one a maker of cuirasses, this one is a
cado . . heta fussi. 6. givditio che di . . maesstri vedendo | "nellaltre citta e massime" nella cita. 7. magnie | "opere di bronzo intrall
quali le" porte . . batissterio. 8. he tera . . cocorre . . fano asse. — On the margin near line i if fhe note: piacietia he terra
di passo come fiorenza. 9. inpressione . . essere [ben] fornita . . abitatori | "vedendo lopere testimonie desso oppenione" e
per lo contra di. io. ovedendo trisstamete. n. sarebe. . perchella pocha. 12. parebe. 13. la principale "parti" chosa delle citta
per] che . . domi di quelle delle quali apresatosi le . . chose . . porte [per le quali) "donde" in ese ciese. 15. chella . .
ciclerita [e pressteza] del . . chon. 16. pressteza . . isspeditione . . omini "si fa" non. 18. disonore de uostri inditi e"
della vosstra cita . . chonchorso dinumera. 19. foresstieri ecquesto . . achaderebe . . perlle uosstre. 20. presstassi . .
acqualche vantato . . frape . favorare . fussi. 21. auessi . . asse e auoi auessi appartorire. 22.- gradissima [vergogma] infamia . . nomi
isscrucci a "ri" | pesare quali | "[sieno li] [quelgli]" omini. 23. quelli [dai quali io sia] ce ome [cho] abbino chonferito.
24. sanza | "sanza pensare alia loro sofitiezia" dir ne . . maessro . . bochali . . coraze . . chanpanaro. 25. sonaglieri [in-
VOL. II.
EEE
402
LETTERS.
[1347- 1348.
chi canpanaro, alcuno 25sonagliere, E insino bell-founder, another a bell ringer, and one
bonbardiere, fra i quali vno Dclsigniore s'e is even a bombardier; and among them one
'uatato • che tra 1'essere 26lui conpare de in His l.nrdshin's service, who boasted th.it
Messere • Anbrosio Ferrere — chi a qualche
commissione— dal quale lui a buone pro-
messioni •; e se quello no bastera 2?che mo-
tera • a cavallo • e andra dal signiore e im-
petrera tali lettere, 28 che per uoi mai simile
opera no gli sark dinegata • ; o guardate
dove i maestri, 29atti a simili opere, sono
ridotti quado con simili omini anno a ga-
reggiare; ^'aprite li ochi-e vogliate be
uedere che i vostri dinari no si spedino
3' in conprare • le uostre • vergognie •; jo vi so
annvntiare che di questa terra voi no 32tra-
rete se non e • opere di sorte e di vili e
grossi magisteri ; no ci e uomo che vaglia ;
33 e credetelo a me, saluo Leonardo Fiore-
tino, che fa il cauallo del duca Fracesco
di biozo, che non e bisognio fare stima,
34perche a che fare il tenpo di sua vita-,
e dubito che per 1'essere si grade opera
che non la finira mai.
351 miseri 36studiosi .... 4Icon che spe-
42ranza e' posso43no aspettare pre44mio di
lor virtu?
in his Lordship's service, who boasted that
he was the gossip of Messer Ambrosio Fer-
rere [26], who has some power and who
has made him some promises; and if this
were not enough he would mount on horse-
back, and go to his Lord and obtain such
letters that you could never refuse [to give]
him the work. But consider where masters
of real talent and fit for such work are
brought when they have to compete with such
men as these. Open your eyes and look
carefully lest your money should be spent in
buying your own disgrace. I can declare to you
that from that place you will procure none but
average works of inferior and coarse masters.
There is no capable man, — [33] and you may be-
lieve me, — except Leonardo the Florentine, who
is making the equestrian statue in bronze of the
Duke Francesco and who has no need to bring
himself into notice, because he has work for all
his life time; and I doubt, whether being so
great a work, he will ever finish it [34].
The miserable painstakers .... with what
hope may they expect a reward of their merit?
C. A. 316 a; 958 a]
13*47-
Ecco vno il quale il signiore •, per fare
questa sua opera a tratto di Firenze 2che
e degnio maestro, ma a tata facieda che
non la finira mai; 3e credete voi che diffe-
retia • sia a vedere vna cosa bella da una
brutta; 4allega Plinio.
There is one whom his Lordship invited
from Florence to do this work and who is a
worthy master, but with so very much business
he will never finish it ; and you may imagine
that a difference there is to be seen between a
beautiful object and an ugly one. Quote Pliny.
1348.
Letter to the
Cardinal
Ippolito
d'Este.
Illmo ac Rrho Dno Meo Unico.
D . Hip . Car ."li Estensi D . meo Colmo.
Ferrarie.
Him ac R . me D . ne mi hu . co . men.
Pochi giorni sono ch'io venni da Milano,
et trovando che uno mio fratello maggiore
Most Illustrious and most Reverend Lord.
The Lord Ippolito, Cardinal of Este
at Ferrare.
Most Illustrious and most Reverend Lord.
I arrived from Milan but a few days since
and finding that my elder brother refuses to
sino] E insino [a vna] bonbardiere | "frai quali vno del" del . . trallessere. 26. ferere "ce a quake comessione" dal. . esse.
27. che [vel sara] motera a cchavallo e andra [attrovare] del signiore e [che vi portera] inpetera" tale. 28. gli sa dinegata
mo . . dove [i maesstri dibono ingiegnio]. 29. agimile garegiare. 30. voliate . . uedere [in] che [modo] i vosstri dinari [si
debbono spendere] no . . le uosstre le uossire vergogni . . anvntiare . . tera. 32. none e hopere di sorte [e vili dib] e di
vile . . homo. 33. saluo [qucl] leonar fioretino" cheffa il chauallo . . frac" "di brozo" che . . lesere. 34. nolla. 36. sru-
diosi dif— . 37. [li uirtu che co]. 38. [tanti studi sono]. 39.-[venvti in qual]. 40. [co grado di disc]. 41. [gnio] chon
che spie. 42. possa. 43. asspettare.
1347. i. Eci . . attratto di firenze. 2. tata facieda nolla. 3. diferetia da i brutta.
1346. 26. Messer Ambrogio Ferrere was Farmer
of the Customs under the Duke. Piacenza at that
time belonged to Milan.
1348. This letter addressed to the Cardinal
Ippolito d' Este is here given from Marchese
G. CAMPORI'S publication: Nuovi documents per la Vita
di Leonardo da Vinci. Atti e Memorie dellt R. R. Depu-
tazioni di Storia patria per la provincie modfnosi e far-
349-]
LETTERS.
403
non mi vuol servare uno testamento facto
da 3 anni in qua che e morto nostro padre;
ancor che la ragione sia per me, non di-
meno per non mancare a me medesimo in
una cosa che io stimo assai, non ho voluto
ommettere di richiedere la R.ma V. S. di una
i.ra commendatizia et di favore, qui a el
S.or Raphaello Jheronymo, che e al presente
uno de n.ri excelsi Sig.ri, ne quali questa
mia Causa si agita et particularmente e suta
dal Ex.tia del gonfaloniere rimessa nel
pren.to S.or Raphaello et sua S.ia la ha a
decidere et terminare prima venga la festa
di tutti e sancti. Et pero Mons.or mio io
prego quanto piu so e posso V. R. S. che
scriva una i.ra qui al decto S.or Raphaello
in quel dextro et affettuoso modo che lei
sapra, raccomandandoli Leonardo Vincio sv-
isceratissimo Ser.re suo, come mi appello, et
sempre voglio essere: ricercandolo , e gra-
vandolo mi voglia fare non solo ragione,
ma expeditione favorevole, et io non du-
bito punto per molte relation! mi son facte
che, sendo el S.or Raphaello a V. S. Affec-
tionatissimo, la cosa mi succedera ad votu.
II che attribuiro a la i.ra di V. R. S. a la
quale iterum mi racomando. Et bene
valeat.
Florentie XVIII.a ;bris 1507
E V. R. D.
S.tor.Humil.
Leonardus Vincius pictor.
carry into effect a will, made three years
ago when my father died— as also, and no
less, because I would not fail in a matter I
esteem most important — I cannot forbear to
crave of your most Reverend Highness a letter
of recommendation and favour to Ser Ra-
phaello Hieronymo, at present one of the illu-
strious members of the Signoria before whom
my cause is being argued; and more particu-
larly it has been laid by his Excellency the Gon-
faloniere into the hands of the said Ser Ra-
phaello, that his Worship may have to decide
and end it before the festival of All Saints.
And therefore, my Lord, I entreat you, as
urgently as I know how and am able, that
your Highness will write a letter to the said
Ser Raphaello in that admirable and pressing
manner which your Highness can use, recom-
mending to him Leonardo Vincio, your most
humble servant as I am, and shall always be;
requesting him and pressing him not only
to do me justice but to do so with des-
patch; and I have not the least doubt, from
many things that I hear, that Ser Raphaello,
being most affectionately devoted to your
Highness, the matter will issue ad votum.
And this I shall attribute to your most Re-
verend Highness' letter, to whom I once more
humbly commend myself. Et bene valeat.
Florence XVIIP ybris 1507.
E. V. R. D.
your humble servant
Leonardus Vincius, pictor.
C. A. 310^; 944 rt]
1349-
Jo ho sospetto che la poca mia remu-
neratione de'gran benifiti che io ho rice-
uuti da nostra Ecceletia 2non 1'abbino al-
I am afraid lest the small return I have Draft of
made for the great benefits, I have received Governor*
from your Excellency, have not made you Milan.
1348. Written from left to right.
1349. i. sosspecto chella poche . . uosstra. 2. nonabbino isdegnare conmecho ecquesto . . uosstra [ecci]. 3. auto risspossta . . cossti . .
mentsi, Vol. III. It is the only text throughout this
work which I have not myself examined and copied
from the original. The learned discoverer of this
letter — the only letter from Leonardo hitherto known
as having been sent — adds these interesting remarks:
Codesto Cardinale nato ad Ercole I. nel 1470, ardvescovo
di Strigonia a sette anni, poi d'Agra, aveva conseguito
nel 1497 la pingue ed ambita cattedra di Milano, la
dove avra conosciuto il Vinci, sebbene il poco amore ctiei
professava dlle arti lasd credere che le proteste di servitu
di Leonardo piu che a gratitudine per favor i ricevuti e
per opere a lui allogate, accennino a speranza per un
favore che si aspetta. Notabile e ancora in questo pre-
zioso documento la ripetuta signatura del grande artista
che si scrhie Vincio e Vincius, non da Vina come si
tiene comunemente,. sebbene Puna e faltra possano valere
a significare cosl il casato come il paese; restando a
sapere se il name del paese di Vinci fosse assunto a cog-
norne della famiglia di Leonardo nel qual supposto piu
propriamento avrebbe a chiamarsi Leonardo Vinci, o
Vincio (latinamente Vincius) cotrtegli stesso amb segnarsi
in questa lettera, e come scrissero parecchi contenporanei di
lui, il Casio, il Cesariano, Geoffroy Tory, il Gaurico, il
Bandello, Raffaelle Maffei, il Paciolo. Per ultimo non
lascerb d'avver.tire come la lettera del Vinci e assai ben
conservata, di nitida e larga scrittura in forma pienemente
corrispondente a quella del suoi manoscritti , vergata
alfuso comune da sinistra a destra, anziche contraria-
mente come fu suo costume; ma indubbiamente autentica
e fornita della menzione e del stiggello che fresca ancora
conserva Vimpronta di una testa di profilo da un picciolo
antico cammeo. (Compare No. 1368, note.)
404
LETTERS.
[1350.
quato fatto sdegniare con meco, e questo
e che da tante lettere che io ho scritte a
uostra 3 Signoria io non 6 mai avuto rispo-
sta; hora io mando cost! Salai per fare in-
tendere a uostra Signoria 4come io sono
quasi al fine del mio letigio che io ho •
co' mia fratelli, come io credo trouarmi costl
in questa « pasqua e portare con meco due
quadri di due nostre donne di uarie gran-
dezze, Le quali son fatte 6pel cristianissimo
nostro re, e perche a uostra Signoria pia-
cerk, jo avrei ben caro di sapere alia mia
7tornata di costa, doue io auessi a stare
per stanza, perche non uorrei dare piu
noia a uostra Signoria, e 8ancora, auendo
io lauorato pel cristianissimo re, se la mia
prouisione e per correre o no; jo scriuo
9al presidente di quella acqua che mi dono
il-re-, della quale non fui messo in posses-
sione, perche in quel tepo u'era 10carestia
nel nauilio per causa de'gran secchi, e perche
i sua bocchelli non erano moderati ; ma be
mi promise che, "fatta tal moderatione, io
ne sarei messo in possessione; sicche io
prego uostra Signoria • che non le incresca,
12 che ora che tali bochelli son moderati, di
fare ricordare al presidente la mia espedi-
tione doe di darmi la ^ possessione d'essa
acqua, perche alia uenuta mia spero farui
su strumeti e cose che sara di gra piacere
al I4 nostro cristianissimo re; Altro non mi
accade; sono senpre a uostri comandi.
somewhat angry with me, and that this is
why to so many letters which I have written
to your Lordship I have never had an answer.
I now send Salai to explain to your Lord-
ship that I am almost at an end of the liti-
gation I had with my brother; that I hope
to find myself with you this Easter, and to
carry with me two pictures of two Madonnas
of different sizes. These were done for our
most Christian King, or for whomsoever your
Lordship may please. I should be very glad
to know on my return thence where I may
have to reside, for I would not give any
more trouble to your Lordship. Also, as I
have worked for the most Christian King,
whether my salary is to continue or not.
I wrote to die President as to that water which
the king granted me, and which I was not put
in possession of because at that time there
was a dearth in the canal by reason of the
great droughts and because [xojits outlets
were not regulated; but he certainly promised
me that when this was done I should be put
in possession. Thus I pray your Lordship
that you will take so much trouble, now that
these outlets are regulated, as to remind the
President of my matter; that is, to give me
possession of this water, because on my
return I hope to make there instruments and
other things which will greatly please our
most Christian King. Nothing else occurs to
me. I am always yours to command.
C. A. 364/5; 1138 b\
1350.
Draft* of Magnifico presidete, io mando costl Sa-
thf su™eri°- lai mi° discepolo, il quale 2 di questa sia apor-
tmdent of tatore e da lui intenderete a bocca la causa
Canals and , , / i \
to Fr. Meizi. del mio tanto sopra (sedere) . . .
Magnificent President, I am sending thither
Salai, my pupil, who is the bearer of this, and
from him you will hear by word of mouth
the cause of my . . .
uosstra. 4. lettigio . . fratelgli . . cossti in quessta. 5. passqua epportare commecho . . nosstre . . quale. 6. crisstinis-
simo . . nosstra . . arei. 7. cossta . . asstare per isstanza . . uosstre he. 8. re sella . . he per . . onno. 9. posessione.
io. sechi . . bochelli non era . . promisse. n. posessione siche io priegho uosstra . . nolle incressca. 12. expeditione coe
di darnela. 33. posessione . . isspero . . chessara. 14. nomi acade.
1350. i. Magni"co" presidete [questa sol per condare] io .. quale [di questa sia]. 2. [la porta] di questa .. abocha sopra. 3. Ma-
1349- Charles d'Amboise, Marechal de Chaumont,
was Governor of Milan under Louis XII. Leonardo
was in personal communication with him so early
as in 1503. He was absent from Milan in the
autumn of 1506 and from October 1510 — when he
besieged Pope Julius II. in Bologna— till his death,
which took place at Correggio, February u. 1511.
Francesco Vinci, Leonardo's uncle, died — as Amo-
retti tells us — in the winter of 1510 — II (or according
to Uzielli in 1506?), and Leonardo remained in
Florence for business connected with his estate.
The letter written with reference to this affair,
No. 1348, is undoubtedly earlier than the letters
Nos. 1349 and 1350. Amoretti tells us, Memorie
Storiche, ch. II, that the following note existed on
the same leaf in MS. C. A. I have not however
succeeded in finding it. The passage runs thus:
Jo sono quasi al fine del mio letigio che io d con mil
fratetgli .... Ancora ricordo a V. Exc*'" la
facenda che d cum Ser Juliana mio Fratello capo delU
altri fratelli ricordandoli come se offerse di conciar le
cose nostre fra noi fratelli del comune della eredita de
mio Zio, e quelli costringa alia expeditione, quale conteneva
la lettera che lui me mandd.
io. Compare Nos. 1009 and 1010.
Leonardo has noted the payment of the pension
from the king in 1505.
1350-
LETTERS.
405
3Magnifico presidete io.
4Magnifico presidente, essendomi io piv
volte ricordato delle proferte fattemi da
uostra Eccelletia piu volte, 6 preso sicurta
sdi scriuere e di ricordare a questa la pro-
messa fattami a 1' ultima partita, cioe la pos-
sessione di que!6le 12 once d'acqua dona-
temi dal cristianissimo "re; vostra Signoria
sa che io non etrai in essa possessione,
perche in quel ? tempo, ch'ela mi fu donata,
era carestia " d' acqua nel navilio, si pel gra
secco come pel non essere ancora moderati
li sua bochelli; ma 8mi fu promesso da
uostra Eccellentia che fatta tal moderatione
io avrei 1'inttento mio; di poi, intendendo
essere acconcio il navilio, io scrissi piu volte
a vo9stra signoria e a Messer Girolamo da
Cusano, che a apresso di se la carta di tal
donazione, e cosl scrissi al Corigero, e 10mai
ebbi risposta; Ora io mado costl Salai, mio
discepolo, aportatore di questa, al quale
vostra Signoria potra "dire a bocca tutto
quel ch' e seguito, della qual cosa io prego
vostra Ecciellenza; I2Jo credo esser costl
in questa pasqua per esser presso al fine
del mio piateggiare, e portero co meco due
quadri di nostra ^ donna che io 6 comml-
ciate, e 6 le ne' tempi, che mi sono ava-
zati, condotte in assai bo porto; Altro no
mi accade.
^Magnifico Signore mio, 1'amore che
uostra Eccelletia m'a senpre dimostro, e'
benefiti ch'io 6 riceuuti da quella al con-
tinue :s mi so dinazi ....
16 Io 6 sospetto che la poca remuneratio
de'gra benifiti ch'io ho riceuuto da uostra
Eccellentia non I'abbi^no fatto alquato tur-
bare con meco, e questo e che di piv let-
tere che io 6 scritte a vostra Eccellentia
io non 6 mai I8avuta risposta •, ora io mando
costl Salai per fare intendere a vostra
signoria, come io son quasi al fine del mio
'^letigio coi mia fratelli, e come io credo
essere costl in questa pasqua e portare con
meco due quadri doue sono 20due Nostre
donne di varie gradezze, le quali io 6 co-
mlciato pel cristianissimo re, o per chi a
uoi piacera; avrei ben caro di sa2Ipere
Magnificent President, I ...
Magnificent President: — Having ofttimes
remembered the proposals made many times
to me by your Excellency, I take the liberty
of writing to remind your Lordship of the
promise made to me at my last departure,
that is the possession of the twelve inches of
water granted to me by the most Christian
King. Your Lordship knows that I did not
enter into possession, because at that time
when it was given to me there was a dearth
of water in the canal, as well by reason of
the great drought as also because the out-
lets were not regulated; but your Excellency
promised me that as soon as this was
done, I should have my rights. Afterwards
hearing that the canal was complete I wrote
several times to your Lordship and to Messer
Girolamo da Cusano, who has in his keeping the
deed of this gift; and so also I wrote to Corigero
and never had a reply. I now send thither Salai,
my pupil, the bearer of this, to whom your Lord-
ship may tell by word of mouth all that
happened in the matter about which I petition
your Excellency. I expect to go thither this
Easter since I am nearly at the end of my
lawsuit, and I will take with me two pictures
of our Lady which I have begun, and at the
present time have brought them on to a very
good end; nothing else occurs to me.
My Lord the love which your Excel-
lency has always shown me and the benefits
that I have constantly received from you I
have hitherto . . .
I am fearful lest the small return I have
made for the great benefits I have received
from your Excellency may not have made
you somewhat annoyed with me. And this
is why, to many letters which I have written
to your Excellency I have never had an
answer. I now send to you Salai to explain to
your Excellency that I am almost at the end
of my litigation with my brothers, and that
I hope to be with you this Easter and carry
with me two pictures on which are two
Madonnas of different sizes which I began
for the most Christian King, or for whom-
soever you please. I should be very glad to
gni"co" [mio] presidete [ave] io. 4. presidede esendomi . . uostra [se] eccielletia. 5. a [vostra signoria] "acquesta" la . .
fattarai [alia partita mia di costa] a . . coe "la posessione" di. 6. dacq"a" donatomi . . cristianissimo . . posessione.
7. tempo "che la mi fa donata" era . . dacq"a" . . secho. 7. moderate. 8. ecellentia cheffatta . . arei lattento . . poi | "inten-
dendo essere a conca il navilio" io. 9. donagone. io. bocha . . Quel . . ipriegho vosstra. 12. passqua . . piategare nosta.
13. commlcate e olle acade poe. 14. M"o"signore [antonio maria] "mio" lamore "labeit" che uostra [signoria] "ecelletia"
ma senpre di . . chio o"chi" . . riceuuti dacquella mi al. 16. ossosspetto . . pocha remuneratio [de benifitich] de . . manibi
abi. 17. conmecho ecquesto . . osscritte avosstra . . inono. 18. vta rissposta hora . . vosstra. 19. letigo comia . . cossti
. . passqua . . comecho . . doue su. 20. gradeze . . comTcate . . arei . . asstare . . istantia. 21. uorei [piu] • • uosstra.
406
LETTERS.
[1350.
alia mia tornata di costa, dove io 6 a stare
per stanza, perche no uorrei dare piu
noia a uostra Signoria, e a"cora, auendo
io lauorato pel cristianissimo Re, se la mia
prouisione 6 per correre o no ; io scriuo al
presidente di quell' acqua che mi dono il
tk, della quale no fui messo in possessione
per esserne carestia nel navilio per ca^usa
de' gra secchi, e perch£ i sua bocchelli non
era moderati; ma be mi promise che, fatta
tal moderatione, i'ne sarei 2S messo in
possessione, sich£ io vi prego che, scon-
'trandovi in esso presidente, no ui incresca
che ora, che tali bochelli so 26 moderati,
di ricordare a detto presidente di farmi
dare la possessione d'essa acqua, che mi
parue intedere che in gra par2?te staua a
lui; altro non mi accade; sono senpre a
uostri comadi.
28Buo d), messer Francesco •, puo Io fare
Iddio che di tante lettere ch'io v'6 scritte-
che mai voi non m'abbiate risposto; Or
aspettate 29 ch' io venga costa, per Dio, ch' io
vi faro tanto scrivere che forse vi rin-
crescera.
3°Caro mio, messer Francesco, io mado
cost! Salai per intendere dalla magnificentia
del presidente che fine & avuta quella
3 'moderatione dell'acque che alia mia par-
tita fu ordinata per li bochelli del navilio,
perche el magnifico presidete mi promise
che subito fatta tal moderatione, io sarei
spedito; Ora egli e piu tenpo che io intesi
che il nauilio s'acc633ciaua, e similmente
i sua bochelli, e inmediate scrissi al presi-
dente e a uoi, e poi replicai, e mai ebbi
34risposta; aduque voi degnerete di rispo-
dermi quel ch'e seguito, e non essendo
per spedirsi no u'icresca per mio a^Smore
di sollecitarne vn poco il presidente e
cosl messer Girolamo da Cusano, al quale
uoi mi racomadere36te e offeriretemi a sua
magnificetia.
know where, on my return from this place,
I shall have to reside, because I do not
wish to give more trouble to your Lordship;
and then, having worked for the most Christian
King, whether my salary is to be continued
or not. I write to the President as to the
water that the king granted me of which I
had not been put in possession by reason of
the dearth in the canal, caused by the great
drought and because its outlets were not
regulated; but he promised me certainly that
as soon as the regulation was made, I should
be put in possession of it; I therefore pray
you that, if you should meet the said President,
you would be good enough, now that the out-
lets are regulated, to remind the said Presi-
dent to cause me to be put in possession of
that water, since I understand it is in great
measure in his power. Nothing else occurs
to me; always yours to command.
Good day to you Messer Francesco. Why,
in God's name, of all the letters I have
written to you, have you never answered
one. Now wait till I come, by God, and I
shall make you write so much that perhaps
you will become sick of it.
Dear Messer Francesco. I am sending
thither Salai to learn from His Magnificence
the President to what end the regulation of
the water has come since, at my departure this
regulation of the outlets of the canal had been
ordered, because His Magnificence the President
promised me that as soon as this was done I
should be satisfied. It is now some time since I
heard that the canal was in order, as also its out-
lets, and I immediately wrote to the President
and to you, and then I repeated it, and never
had an answer. So you will have the goodness
to answer me as to that which happened, and
as I am not to hurry the matter, would you
take the trouble, for the love of me, to urge
the President a little, and also Messer Giro-
lamo Cusano, to whom you will commend
me and offer my duty to his Magnificence.
22. crisstianisimo . . sella . . onno. 23. acq"a" . . i e [la quale] della . . caresstia. 24. sechi . . bochelgli . . promisse.
25. priegho chesscontrandosi. 26. posesione . . acq"a". 27. allui..nomi achade [se no di racoman). 28. meser . . puollo
. . idio . . vosscritte . . nomabiate rissposto. 29. vcngha . . chelTorsc vi rincresscera. 30. charo . . meser frnncessco . .
chefnne a uta. 31. della cq"a" . . partia . . che nauilio saco. 33. caua essimilmente . . scrissi [io auoi e) al . . ripricai.
34. rissposta . . risspodermi . . isspedirsi. 35. pocho. 36. offererete assua mgnificetia.
1350. 28—36. Draft of a letter to Francesco
Melzi, born 1493 — a youth therefore of about 17 in
1510. Leonardo addresses his young friend as
"Messer", as being the son of a noble house.
Melzi practised art under Leonardo as a dilettante
and not as a pupil, like Cesare da Sesto and others
(See LERMOLIEFF, Die Galeritn &*c., p. 476).
LETTERS.
407
C. A. 243*}; 729 6\
[Jllustrissimo mio Signore, 2 Assai mi ral-
legro, illustrissimo mio signiore •, del uostroj.
•*Tanto mi son rallegrato, o illustrissimo
mio signore, del desiderate acquisto di
vostra sanita che io quasi ho [riavuto la
sanita mia] — [sono all' ultimo del mio male]—
e' 1 male mio da me s' e fuggito - - della
quasi reintegrata sanita di vostra Eccellenza ;
4 Ma assai mi rincrescie il no auere io po-
tuto integralmete satisfare alii desideri
di uostra Ecciellentia mediate la malignita
di cotesto ingannatore, al quale non 6 las-
ciato indirieto cosa alcuna colla quale 6io
li abbia potuto giovare che per me non
li sia stata fatta e prima la sua provisione
inanzi al tepo li era pagata, la quale io
credo che volentieri ? negherebbe, se io non
avessi la scritta e testificata da me e dallo
interprete, e vedendo io che per me no si
lauorava, se no quado 8i lavori d'altri
si macavano, de' quali lui era sollecito in-
vestigatore, jo Io preghai che dovesse
mangia^re con meco, e lauorare indi ap-
[Most illustrious Lord. I greatly rejoice Drafts of a
most Illustrious Lord at your . . .] GiSo'de"
Medici
I was so greatly rejoiced, most illustrious (IJ
Lord, by the desired restoration of your
health, that it almost had the effect that [my
own health recovered] — [I have got through
my illness] — my own illness left me— —of
your Excellency's almost restored health. But
I am extremely vexed that I have not been
able completely to satisfy the wishes of your
Excellency, by reason of the wickedness of
that deceiver, for whom I left nothing undone
which could be done for him by me and by
which I might be of use to him; and in the
first place his allowances were paid to him
before the time, which I believe he would
willingly deny, if I had not the writing signed
by myself and the interpreter. And I, seeing
that he did not work for me unless he had
no work to do for others, which he was very
careful in solliciting, invited him to dine
with me, and to work afterwards near me,
because, besides the saving of expense, he
1351. i. Illusimo permio signiore e vett. 2. rallegro [della] illustrissimo. 3. del [famoso] desiderate . . uosstra . . che 5 quasi
ho sfatto "[riavta la sanita mia]" "[son sono allultimo del mio male]" "el mal mio dame se fuggito" [del grade acquisto]
della . . reintegrata . . uosstra eccielleca. 4. [chel mia . . rincresscie [della malignita] il . . auere | "io" potuto "integral-
mete" sadisfare . . uosstra s. te [Illustr] te la malignita [de] di cossto . . lassciato indirieto [nessuna] cosa "alcuna" colle.
6. giovare | "che per me non li sia stata fatta" e . li sua [danari] provisione "inanzi al tepo" immediate . . paghata. 7. ne-
gherebbe "neghata" se . . avesi lasscritta ettesticata di me dello interpetre. 8. daltri [era finiti] "si macavano" de . . sol-
lecito cerchatore "investighatore" jo [Io uolsi e] Io [feci] "Io" pregha "i"che do"ve" ssi. 9. comecho "ellauorare di lindi
apresso di me perche oltre alcoto . \- — Here on the margin is the note in three lines .\- be lopere elli acquisterebbe il
^S1- X353- It is clear from the contents of this
notes that they refer to Leonardo's residence in
Rome in 1513 — 1515. Nor can there be any doubt
that they were addressed to Leonardo's patron at
the time : Giuliano de' Medici, third son of Lorenzo
the Magnificent and brother of Pope Leo X (born
1478). In 1512 he became the head of the Florentine
Republic. The Pope invited him to Rome, where
he settled; in 1513 he was named patrician with
much splendid ceremonial. The medal struck in
honour of the event bears the words MAG. IVLIAN.
MEDICES. Leonardo too uses the style "Magnifico",
in his letter. Compare also No. 1377.
GlNO CAPPONI (Storia della Repubblica di Firenze,
Vol. Ill, p. 139) thus describes the character of
Giuliano de' Medici, who died in 1516: Era il
migliore della famiglia, di vita placida, grande spenditore,
tenendo inlorno a se uomini ingegnosi, ed ogni nuova cosa
voleva prmare.
See too GREGOROVIUS, Geschichte der Stadt Rom,
VIII (book XIV. Ill, 2): Die Luftschlosser fiirstlicher
Grosse, wozu ihn dfr Papst hatte erheben ^vollen zerfielen.
war der edelsie aller damaligen Medici, ein
Mensch -von innerlicher Richtung, unbefriedigt durch das
Leben, mitten im Sonnenglanz der Herrlichkeit Lto's X.
eine dunkle Gestalt die ivie ein Schatten voriiberzog.
Giuliano lived in the Vatican, and it may be safely
inferred from No. 1352 1. 2, and No. 1353 1. 4, that
Leonardo did the same.
From the following unpublished notice in the
Vatican archives, which M. Etig. Miintz, librarian of
the Ecole des Beaux arts, Paris, has done me the
favour to communicate to me, we get a more
accurate view of Leonardo's relation to the often
named GIORGIO TEDESCO:
Nota delle provisione (sic) a da pagare per me in
name del nostro ill. S. Bernardo Bini e chompa di
Roma, e prima della iH»'a sua chonsorte ogni mese d. 800.
A Ldo da Vinci per sua provisione d. XXXIII, e
piu d. VII al detto per la provisione di Giorgio tedescho,
che sono in tutto d. 4°-
From this we learn, that seven ducats formed the
German's monthly wages, but according to No. 1353!. 7
he pretended that eight ducats had been agreed upon.
408
LETTERS.
presso di me, perche oltre al conto elli
acquisterebbc il linguaggio italiano; [lui
senpre lo promise e mai lo voile fare];
E questo facievo ancora, perche quel Giova
tedesco che fa li spechi ogni dl 11 era in
bottega, e volleua vedere e intendere cio
che si facicva e publicava per la ... forte
biasimando; e perche lui magiava co quelli
I0della guardia del papa, e poi se n'adava
in conpagnia colli scoppietti, amazado vcci-
elli per queste anticaglie e cosl seguitava
da dopo desinare a sera ; E se io mandavo
Lorezo "a sollecitarli il lavoro lui si cru-
ciava e dicieva che no volea tanti maestri
sopra capo, e che il lauorar suo era I2per
la guardaroba di vostra Eccielletia, e passo
dua mesi e cosl seguitava e indi, trovado
Giannicolo della ^guardaroba, domadailo
s' el Tedesco avea finite 1' opere del magni-
fico, e lui mi disse non esser vero, ma che
so'+lamete li avea dato a nettar dua
scoppiette; di poi faciedolo io sollecitare lui
lascio la bettega, e comlci6 a lavorare I
came^ra, e perde assai tepo nel fare vnaltra
morsa e lime e altri strumeti a vite ; e qui-
ui lavorava mulinelli da torcere seta, l6li
quali nascodeva, quado un de' mia v'etrava,
e con mille bestemie e rimbrotti, in modo
che nessu de mia voleva piv entrare.
'7 Tan to mi so rallegrato, jllustrissimo
mio Signore, del desiderate acquisto di
vostra sanita che quasi il male mio da me
l8s'e fugito; Ma assai mi rincrescie il non
avere io potuto integralmete satisfare alii
desideri di uostra Eccellenza ^mediante
la malignita di cotesto inganatore tedesco,
per il quale non 6 lasciato indireto cosa
alcuna, 20colla qiiale io abbia creduto farli
piaciere; e secondariamente invitarlo ad abi-
tare e vivere con meco, per la qual cosa io
ve2ldrei al continue 1' opera che lui faciesse,
e co facilita ricorreggierei li errori •; e oltre
di questo inparerebbe la lingua italiana,
"mediante la quale Jui co facilita potrebbe
parlare sanza interprete; e li sua danari li
would acquire the Italian language. He
always promised, but would never do so.
And this I did also, because that Giovanni,
the German who makes the mirrors, was there
always in the workshop, and wanted to
see and to know all that was being done
there and made it known outside . . . strongly
criticising it; and because he dined with
those of the Pope's guard, and then they
went out with guns killing birds among the
ruins; and this went on from after dinner till
the evening; and when I sent Lorenzo to urge
him to work he said that he would not have
so many masters over him, and that his
work was for your Excellency's Wardrobe;
and thus two months passed and so it went
on; and one day finding Gian Niccol6 of
the Wardrobe and asking whether the German
had finished the work for your Magnificence,
he told me this was not true, but only that
he had given him two guns to clean. Afterwards,
when I had urged him farther, be left the
workshop and began to work in his room, and
lost much time in making another pair of pincers
and files and other tools with screws; and there
he worked at mills for twisting silk which he
hid when any one of my people went in, and
with a thousand oaths and mutterings, so that
none of them would go there any more.
I was so greatly rejoiced, most Illustrious
Lord, by the desired restoration of your
health, that my own illness almost left me.
But I am greatly vexed at not having been
able to completely satisfy your Excellency's
wishes by reason of the wickedness of that
German deceiver, for whom I left nothing
undone by which I could have hope to please
him; and secondly I invited him to lodge
and board with me, by which means I should
constantly see the work he was doing and
with greater ease correct his errors while,
besides this, he would learn the Italian tongue,
by means of which be could with more
ease talk without an interpreter; his moneys
were always given him in advance of the
linghagio italiano . . lui senpre [lo promisse e mai lo voile fare] . \ • Ecque"sto" facievo . On the margin in tivehie short
lines: ecquesto facievo ancora perche que . . tedescho . . ongni . . ibottegha . . cio chessi e publicava per la for biasi-
mando \\\\\\\\\\l aro quel
\\U\U\\\\ ndea
Here ends the note OH the margin, perche lui magiava [colli tedessci che so] co quel. io. nadava "in conpagnia" cholli
schopietti . . antichaglic "ecosi segutava da dopo desinare assera" Esse. n. [a richordarli] a solecitarli . . lui "si scruciava
e" dicieva . . maesstri . . chapo echese [la] cche se [la] e i lauorare. 12. ghuarderoba [del s] di . . e [chosi] passo . .
seghuit.i ve [se no] e vndi [li| trovado. 13. ghuardaroba [del s] domadalo selli [ave] sel tedessco . . magi-ificho ellui
. . Mace. 14. scoppiette . . solecitare . . lassio . . bottegha e comocio allavorare. ellime . . llavorava mulenelli
dattorcicre. 16. loi quali nasscodeva . . nesun de mia vedrava . . comilc . . rinbrotti . . nesu. 17. vosstra . . che | "quasi"
il [mio] male. 18. rincresscie . . sadifare . . uosstra. 19. inganatore [tedesco il quale] tedesco . . lassciato . . chosa.
20. cholle . . e "p" prima | "secondariamente" invitarlo . . vi"ve"re comecho. 31. chellui faciessi. 22. ricoregiere . . oltre
I352-]
LETTERS.
409
furo 23sepre dati inazi al tepo •; Dipoi la
richiesta di costui fu di avere li modelli
24finiti di legniame, com'ellino aveano a
essere di ferro, e' quali volea portare nel
suo paese; La qual cosa io li negai dicie-
2s doli ch' io li darei in disegnio la larghezza,
lunghezza e grossezza e figura di cio ch'elli
avesse a fare, e cosl restammo mal voletieri.
26 La secoda cosa fu, che si fecie vn
altra bottega e morse e strumenti, dove
dormiua, e quivi lavorava per altri, dipoi
andava a desi27nare coi Suizzeri della guar-
dia, dove sta giete sfacciedata, della qual
cosa lui tutti li uicieva; e'l piv 28delle
volte se n'andauano due o tre di loro, colli
scoppietti; ammazzava vccielli per le anti-
caglie, e questo durava insino a sera;
2?A1 fine 6 trovato come 3° questo
maestro Giova 31 ni delli Spechi e quello
32che a fatto il tutto per 33 due cagioni; e
la prima 34 perche lui a avuto a dire che 35 la
venuta mia qui 36 li ^ tolto la couersa^tione
e'l favore di uostra 38Signoria, che senpre
ve . . . 39L' altra e 4°che la statia 41di que-
sto fereui 42disse couenirsi a lui per 43ja-
vorare li spechi, e 44di questo n'a fatto
dimostra4Stione che, oltre al farmi 46 costui
nimico, li a fatto ve4?dere ogni suo e
lasciare 48a lui la sua bot49tega, nella qual
lavora 5°co molti lavorati assai speS'chi
per madare alle fiere.
time when due. Afterwards he wanted to
have the models finished in wood, just as
they were to be in iron, and wished to carry
them away to his own country. But this I
refused him, telling him that I would give
him, in drawing, the breadth, length, height
and form of what he had to do ; and so we
remained in ill-will.
The next thing was that he made himself
another workshop and pincers and tools in
his room where he slept, and there he
worked for others; afterwards he went to
dine with the Swiss of the guard, where
there are idle fellows, in which he beat
them all; and most times they went two
or three together with guns, to shoot birds
among the ruins, and this went on till
evening.
At last I found how this master Giovanni
the mirror-maker was he who had done it all,
for two reasons; the first because he had
said that my coming here had deprived him
of the countenance and favour of your Lord-
ship which always . . . The other is that
he said that his iron- workers' rooms suited
him for working at his mirrors, and of this
he gave proof; for besides making him my
enemy, he made him sell all he had and
leave his workshop to him, where he works
with a number of workmen making numerous
mirrors to send to the fairs.
C. A. 278 a; 850*3]
1352.
Tanto mi son rallegrato, illustrissimo mio
signiore, del desiderato acquisto di uostra
sanita, che quasi il male mio da me 2s'e
fuggito ; dico iddio ne sia laudato, Ma assai
mi rincresce il non avere io potuto inte-
gralmete satisfare alii desideri di uostra
Eccellenza 3mediante la malignita di co-
testo inganatore tedesco, per il quale non
6 lasciato indirieto cosa alcuna, 4colla quale
io abbia creduto farli piacere, e seconda-
riamente invitarlo ad abitare e vivere con
meco, per la qual cosa sio farei piantare
I was so greatly rejoiced, most Illustrious
Lord, by the wished for recovery of your
health, that my own ills have almost left
me; and I say God be praised for it. But
it vexes me greatly that I have not been
able completely to satisfy your Excellency's
wishes by reason of the wickedness of that
German deceiver, for whom I left nothing
undone by which I could hope to please
him; and secondly I invited him to lodge
and board with me, by which means I should
see constantly the work he was doing,
a di questo . . taliana . . interprete [e ottre a di questo] "e prima" li sua. 23. 'nazi [al mese] al tepo allcuttofu Di . . naessta
. . modelli [finiti di legmane]. 24. fin [iti di puto] di . . chomelli . . neghai. 25. darei [di] in . . luneza e grosseza . .
avessi affare . . restamo. 26. bottegha "emvro (?) e morse esstrumSti" [nella camera] dove. 27. nare [colla ghuardi] co sui-
zeri . . ghardia . . ulcieva dissene vssciva el piv. 28. .senadaua . . ottre . . scopietti amazava . . antichaghe ecquesto . .
assera. 30. maesstro. 33. ella. 34. lui avuto. 35. mia [ari] qui. 36- tolto [il s] la. 37- »°sstra. 38. Signoria che senpre
ve. 39. [nedo] Laltra e che. 40. [faciendoli] chella. 41. di questo [mini] fereui. 42- disscie conuemrsi allui. 43. Usspecl
47. ellassciare. 48. allui . . boc. 49. tecca. 51. chi pe.
135*. 2. seffuggito "dicho idio ne sia laldato" Ma..rincre. Here the text breaks off . 2. The text from lines 1-4: Ma
to ad abitare e vivere « an exact copy of lines 18-20 No. i349- 4- comecho . . chosa io vedrei .\- Here folk™ vx slu»
lines on the margin: farei piantare vn dessco . . quesste . . potessi . . di sot fabrichare e chos,. The marpna
here. — faciessi e cho . . ricorregierebe. ,
VOL. II. FFF
4io
LETTERS.
[1353- I354-
vn desco a'piedi d'una di queste finestre,
i A: r.~ » Gnirf
dove lui ootesse lauorar di lima, e nmre
le cose di sotto fabricate, e cosl 10 vedrei
al continue 1' opera che lui facesse e con
facilita si ricorreggierebbe.
for which purpose I would have a table fixed
at the foot of one of these windows, where he
. >
could work with the file and finish the things
made beiow. and so j should constantly see
the work he might do, and it could be cor-
reeled with greater ease.
C. A. 179*; 54'*)
1353-
Questo altro m'a Ipedito 1'anatomia
Dr«ft of 'col papa biasiamadola, e cosl all' o^spedale,
ei«eRWomeen e epie di botteghe da spechi * tutto questo
Beluedere o di lavorasti; e cosl a fatto nella
statia di ma6estro Giorgio; ?disse che otto
du8cati li furon promes^si ogni mese, comi-
I0ciado il primo di "che si mise in via,
"o il piu tardo qua^do e' ui parld, e che
Mvoi 1'acciettaste;
'sVededo io costui rare volte stal6re a
bottega e che cosumava assai, jo J7li feci
dire che se li piacea che io farei I8con lui
mercato di ciascuna cosa che I9lui facesse,
e a stima tanto li darei 20quato noi fus-
simo d'accordo; elli 2Isi cosiglio col uicino
e Iasci6 11 la sta"tia, vendendo ogni cosa,
e venne a trovare. . .
«355)-
This other hindered me in anatomy,
blaming it before the Pope; and likewise at
the hospital; and he has filled [4] this whole
Belvedere with workshops for mirrors; and
he did the same thing in Maestro Giorgio's
room. He said that he had been promised
[7] eight ducats every month, beginning with
the first day, when he set out, or at latest
when he spoke with you; and that you agreed.
Seeing that he seldom stayed in the
workshop, and that he ate a great deal, I
sent him word that, if he liked I could deal
with him separately for each thing that he
might make, and would give him what we
might agree to be a fair valuation. He took
counsel with his neighbour and gave up his
room, selling every thing, and went to find . . .
C. A. 3040; 925 a]
1354-
Caro Benedetto de' Pertarti. 2Cadutojl
fier gigate per la cagione della Jsaguinata 3 e
fengosa terra, parve che cadesse vna motag-
nia; * onde la capagnia guassata di terremoto,
e spaveto 5 a Plutone Jfernale; e per la gra
percossa ristette 6sulla piana terra alquato
stordito; e subito ?il popolo, crededo fusse
morto di qualche saetta, — 8 tomato la gran
turba, a guisa di formiche che scorrono a
9furia, quando per il corpo del caduto
robore (?); cosl questi I0scorredo per 1'ampie
membra e le ravrado con spesse "ferite; onde
Dear Benedetto de' Pertarti. When the
proud giant fell because of the bloody and
miry state of the ground it was as though
a mountain had fallen so that the country
shook as with an earthquake, and terror
fell on Pluto in hell. From the violence of
the shock he lay as stunned on the level
ground. Suddenly the people, seeing him as
one killed by a thunderbolt, turned back;
like ants running wildly over the body
of the fallen oak, so these rushing over
his ample limbs them with
1353. a. chosi. 3. dasspechi. 4. ollavra. 5. affatto. 6. esstro giorgo. 8. fu. 9. sa. n. missc. 16. abottegha . . asai.
17. chesseli piacea che i farei. 18. collui merchato . . casscuna. 19. facessi e asstima attato. 20. dachordo. 21. ellasciolli
32. vendcda ogni cosa e vene attrovare.
1354. i. benedeto prtarli. 2. dela. 3. tera . . cadessi. 4. gussa di tere moto. 5. plutone Jfernale . . percosa. 6. sula . . tera
. . stordito on sobito. 7. il popo jrededo fusi. 8. gra turba . . scorano. 9. furi o\\\\\ndo per olcorpo del caduto uogore
cosi. io. per larpie mebra e lera vrado conispese. n. ferie. 12. dale . . sendesi. 13. vmuglio. 14. fusi . . le + (4?)
1354- A puzzling passage, meant, as it would
seem, for a jest. Compare the description of Giants
in Dante, Inf. XXI and XXII. Perhaps Leonardo
had the Giant Antaeus in his mind. Of him the
myth relates that he was a son of Ge, that he fed
on lions; that he hunted in Libya and killed
the inhabitants. He enjoyed the peculiarity of
renewing his strength whenever he fell and came
in contact with his mother earth; but that Her-
cules lifted him up and so conquered and strangled
him. Lucan gives a full account of the struggle. Phar-
salia IV, 617. The reading of this passage, which
is very indistinctly written, is in many places
doubtful.
CXXI
offr/mn
.
1-
?
v ;i «
x '•.%, • ^.
•/ :
Imp
1355-1
MISCELLANEOUS RECORDS.
411
risentito jl gigate e setedosi I2 quasi coperto
dalla moltitudine, subito sentesi cuo^cere
per le,puture; mise un mugghio che parve
I4fusse vno spavetoso tono, e posto le sue
maiii in xs terra, e levatosi il pavroso volto,
e postosi l6vna delle mani J capo trovo
selo *7pieno l8d'uomini appiccati e canna-
^glia a similitudine de' mi20nvti animali, che
fra que 2Igli sogliono nascere; 22onde scu-
otendo jl capo gli o^mini lacia non altrameti
per 1' aria che si facia 24 la gradine, quado va
co furor di veti, e trovossi mold 2s di questi
vomini esser morti da quegli che gli stavano
so26pra ritti ; coi piedi calpestado . . .
2?E tenedosi a capegli egiegniadosi na-
scodere tra quegli, facievano 28a similitudine
de' marinai quado e fortuna, che corrono
super le corde 29per abbassar la a poco veto.
3°Nuove delle cose 3Idi levate; 32sappi
come 33nel mese ^ di givgnio 3Se apparito
36vn gigate che vie dalla 37deserta Libia, 38a
similitudine delle 39formiche furia4°do
4Iabbatuto dall 42rigido villano.
43Questo gigate era nato nel Mot'Ata-
late, ed era 44un eroe, e ebbe cotrastare
cogli Egiti e Arabi 4SMedi e Persi; viveva
J mare delle bale46ne de' gra capidogli e
de' navili.
4?Marte, temedo della 48vita, s'era fugito
sotto le 49 . . . . di Giove.
s° TIE per la gra caduta parve la pro-
vicia s'tutta tremasse.lf
frequent wounds; by which, the giant being
roused and feeling himself almost covered
by the multitude, he suddenly perceives the
smarting of the stabs, and sent forth a roar
which sounded like a terrific clap of thunder;
and placing his hands on the ground he
raised his terrible face: and having lifted
one hand to his head he found it full of
men and rabble sticking to it like the minute
creatures which not unfrequently are found
there; wherefore with a shake of his head he
sends the men flying through the air just as
hail does when driven by the fury of the
winds. Many of these men were found to
be dead; stamping with his feet.
And clinging to his hair, and striving to
hide in it, they behaved like sailors in a storm,
who run up the ropes to lessen the force of
the wind [by taking in sail].
News of things from the East.
Be it known to you that in the month
of June there appeared a Giant, who came
from the Lybian desert . . . mad with rage
like ants .... struck down by the rude.
This great Giant was born in Mount Atlas
and was a hero and had to fight
against the Egyptians and Arabs, Medes and
Persians. He lived in the sea on whales,
grampuses and ships.
Mars fearing for .his life took refuge
under the ... of Jove.
And at the great fall it seemed as though
the whole province quaked.
w. xxxi.]
1355-
II quale spirito ritrova • il cerebro, dode
partito s' era -, con alta vocie co tali parole
mosse . . .
2E se alcuno uomo beche abbi discretione
o bota , dalli altri omini 3
e peggio se da esso son remote.
This spirit returns to the brain whence it
had departed, with a loud voice and with
these words, it moved . . .
And if any man though he may have
wisdom or goodness
raa"ni"J. 15. tera elevatosia. 16. dele. 17. pieno [di minvti animali]. 18. apicati e cane. 19. glia similitudine. 20. ani-
mali cheraque. 21. gli. 22. ode scutedo jl cap glio. 23. mini faciano non altremeti. 24. trovosi. 25. morti da quegli che
gli tepesta vonatoso. 26. parito co pie di. 27. e atenedo a capegli egiegniadosi nascodere tra. 28. quade fortuna cecorono.
29. abasarla a poco. 30. nuove dell cose qua. 32. sapi. 33. del. 35. aparito. 36. gigate ce vie dila. 37. diserta. 38. dele.
40. do orgnarlo super lorgero. 41. abatuto dale sura del. 42. rigido vilano. 44. ueroe debe cotro atuserse cogli egiti
e arabi. 47. dela. 49. rodi di ove. 51. tuta tremassi.
1355. i. El quale . . cierbio . . chon . . vo cie [ne] cotali. 2. alchuno homo . . bota di nolme li che me dalli altri omini
3. la settu\\\\\\\\\ e peggiose do esso son remote. 4. spiritoche dode me partisti joho . . homo"a"male . .
J355- This passage, very difficult to decipher,
is on the reverse of a drawing at Windsor, PI.
CXXII, which possibly has some connection with
it. The drawing is slightly reduced in this repro-
duction; the original being 25 cm. high by 19 cm.
wide.
4I2
MISCELLANEOUS RECORDS.
[1356-1358.
«O felice; o aveturato spirito, dode
partisti! jo ho questo uomo a male mio
grado be conoSscivto • ; Questo e ricietto •
di villania •, questo e propio • ammonitione di
somma ingratitudine, 6in copagnia di tutti
i viti'j ma che mi vo io co parole indarno
affaticadomi ? la somma de' peccati 1 solo
in lui trovati sono; E se alcuno infra loro
si trova, che alcuna bonta possegga, non
altri8meti come che me dalli altri uomini
trattati sono •, e in effetto io ho questa co-
clusione ch' e 9 male s' eli sono nimici e peg-
gio s'eli son amici.
O blessed and happy spirit whence com-
est thou? Well have I known this man,
much against my will. This one is a receptacle
of villainy; he is a perfect heap of the utmost
ingratitude combined with every vice. But
of what use is it to fatigue myself with vain
words? Nothing is to be found in them but
every form of sin . . And if there should
be found among them any that possesses any
good, they will not be treated differently to
myself by other men; and in fine, I come to
the conclusion that it is bad if they are hos-
tile, and worse if they are friendly.
H.J 890]
1356.
Tutti i mali che sono 2e che furono,
Misceiu- 6essedo messi in opera da costui 7no sa-
"ncueKand tisfarebbero al deside8rio del suo iniquo
All the ills that are or ever were, if
they could be set to work by him, would
not satisfy the desires of his iniquitous
re~ animo ; 9io no potrei con lunghezza di tepo soul; and I could not in any length of
( «356— «36»>- I0 descriverui la natura di costu"i, ma be time describe his nature to you, but I con-
cochivdo ohe . , elude .
C. A. 3800;
1357-
Io ho uno • che per auersi di me pro-
messo cose assai • me che debite, 2essendo
rimasto inganato del suo prosontuoso desi-
derio, a te^tato di tormi tutti li amici e per-
che li a trouati saui e non Ieggi4eri al suo
volere mi a minaciato che trouate le annu-
tiationi 5 che mi torra i benefattori ; ode io
ho di questo informato 6vostra Signoria
accio [che, volendo questo seminare li usati
7scadoli, non troui terreno atto a semi-
nare pensieri e li 8atti della sua mala
natura]; 9 die, tentado lui fare di uostra
signoria strumeto • della sua iniqua e mal-
uagia natura I0rimaga ingannato di suo
desiderio.
I know one who, having promised me
much, less than my due, being disappointed
of his presumptuous desires, has tried to
deprive me of all my friends; and as he
has found them wise and not pliable to his
will, he has menaced me that, having found
means of denouncing me, he would deprive
me of my benefactors. Hence I have in-
formed your Lordship of this, to the end
[that this man who wishes to sow the usual
scandals, may find no soil fit for sowing the
thoughts and deeds of his evil nature] so
that he, trying to make your Lordship, the
instrument of his iniquitous and maliceous
nature may be disappointed of his desire.
W. An. m. 2410]
1358.
E in questo caso io so che io ne acqui- And in this case I know that I shall make
stero non pochi nemici, conciosia2che nessu few enemies seeing that no one will believe
credera ch'io possa dire di lui, perche pochi what I can say of him; for they are but
chono. 5. uilania . . amv nitione. 6. chopagnia . . voi cho . . affatichadomi lassom.i de pechati. 7. solo nello trovati sono
Esse alchuno . . alchuna . . possega. 8. chorac . . omini . . effetti . . choclusione. 9. male sell sonimiche e pegio sell
son irattatiamicho.
1356. i. chessono. 2. furono [no sodisfare] 3. [bono al a ssere messi]. 4. in opera [allo iniquo desiderio]. 5. |di questo homo].
7. no sadissfarebono. 9. ino . . chollungeza dite. n. cociudo.
1357. i. huno . . promesse chose. 2. desiderio atte. 3. sauieno legi. 4. nia minaciato . . tronata le anutione. 5. torra e beni-
factori. 6. vosstra . . le usate. 7. chadali . . tereno . . asseminare "[aricievere]" in pensicrei elli. 9. [accioche no ui
faccia] "che tentado lui fare di uosstra signoria [ecciellencia] strumeti.
1358. i. chaso iso . ac quisle ro pochi . . concosia. 2. crederra . . poci. 3. disspiacino . . sol queli . . dispiaca. 4. attali . .
odiano. 6. vole.
1358. Below this text we read gusstino— Giustino
and in another passage on the same page Justin is
quoted (No. 1210, 1. 48). The two have however no
real connection.
1359-
PERSONAL RECORDS.
413
son quelli 3 a chi i sua viti displacino ; anzi
solamente a quelli omini li dispiacio^no che
son di natura cotraria a tali uitj; e molti
odiano li Spadri e guastan le amicitie,
represori de' sua viti e non 6vogliono
esenpli contrari a essi, ne nessuno vma
consiglio.
?E se alcuno si ne trova virtuoso e
bono, non lo scacciate 8da voi; fatteli
onore, accio che non abbia a fugirsi da
9 voi e ridursi neli eremi, o spelonche, o
altri lochi soletaI0ri, per fugirsi dalle vostre
insidie, e se alcun di questi "tali si trova,
fatteli onore, perche questi sono li uostri
Iddei I2terrestri, questi merita da uoi le
statue e li simulacri; ma ^be ui ricordo che
li lor simulacri no sie da uoi ma^giati
come acora in alcuna regione del India;
J5che quado li simulacri operano alcuno
mil6raculo secondo loro, li sacerdoti li ta-
gliano in pezzi, essenI7do di legno, e ne
danno a tutti quelli del paese no l8sanza
premio, e ciascu raspa sottilmete la sua
parte *9e mette sopra la prima vivanda
che magiano; e cosl te20gono per fede
aversi magiato il suo santo, e credono che
lui li 2Iguardi poi da tutti li pericoli j che ti
pare, uomo, qui della 22tua spetie? sei tu
cosi sauio, come tu ti tieni? son 23queste
cose da esser fatte da omini?
few whom his vices have disgusted, and he
only dislikes those men whose natures are
contrary to those vices. And many hate
their fathers, and break off friendship with
those who reprove their vices; and he will
not permit any examples against them, nor
any advice.
If you meet with any one who is virtuous
do not drive him from you; do him honour,
so that he may not have to flee from you and
be reduced to hiding in hermitages, or caves
or other solitary places to escape from your
treachery; if there is such an one among
you do him honour, for these are our Saints
upon earth; these are they who deserve sta-
tues from us, and images; but remember that
their images are not to be eaten by you,
as is still done in some parts of India [15],
where, when the images have according to
them, performed some miracle, the priests cut
them in pieces, being of wood, and give
them to all the people of the country,
not without payment; and each one grates
his portion very fine, and puts it upon the
first food he eats; and thus believes that by
faith he has eaten his saint who then pre-
serves him from all perils. What do you think
here, Man, of your own species? Are you
so wise as you believe yourselves to be?
Are these things to be done by men?
C. A.
1359-
Come io vi dissi ne' dl passati, voi
sapete 2che io sono sanza alcuno . . .
3 Francesco d' Antonio
* Bernardo di Maestro Jacopo.
As I told you in past days, you know
that I am without any. . . .
Francesco d'Antonio.
Bernardo di Maestro Jacopo.
C. A. 38,5; 124^]
Dimmi come le cose sono passate.
Tell me how the things happened.
. . esse. 7. esse . vertuoso . nollo scaccia de. 8. da voi[m] fatteli . . abia | affugirsi. 9. ermi . . saleta. io. vosstre . .
esse. n. fate . . onore che "perche" questi. 12. statue elli onori "simulacri" ma. 13. chelli. 14. gati chome achora.
16. lo tagliano . . pezi esse. 17. attutti . . paese [el qa]no. 18. rasspa. 19. viuada che magano. 20. ga per fede
avrsimagato . . creda. 21. dattutti pericoli | chettitti pare omo. 22. settu . . tuttiti eni.
1359- 1—4- Written from ief t to right, i. Chome iovi disi. 2. alchuno. 3. [franl dantonio]. 4. [brn brnado di m"o" iachopo].
1360. i. chome le cose.
L. 15. In explanation of this passage I have
received .the following communication from Dr. G.
W. LEITNER of Lahore: "So far as Indian customs
are known to us, this practice spoken of by Leo-
nardo as 'still existing in some parts of India' is
perfectly unknown; and it is equally opposed to
the spirit of Hinduism, Mohammedanism and
Sikhism. In central Thibet the ashes of the dead,
when burnt, are mixed with dough, and small
figures — usually of Buddha — are stamped out of
them and some are laid in the grave while others
are distributed among the relations. The custom
spoken of by Leonardo may have prevailed
there but I never heard of it." Possibly Leo-
nardo refers here to customs of nations of
America.
414
PERSONAL RECORDS.
— 1367.
C. A. 17 6 1 67*] X361'
/ lorezott a inbiadalim -Hnferri de\u 4in lorezo\\\ «[inno abuil]\u
sellam 8colte di lonu 9v cavallottiu I0el uiaggw "al\\\ "a lurezw
'Sabussoui I6in viaggiu '^alorezuil
W. An. IV. 174 a)
E cosl piacesse al nostro autore che io
potessi dimostrare la natura delli omini ae
loro costumi nel modo che io descrivo la
sua figura.
6 in acocatuu\ 7 per la
'3 in biadaw 1+inferri\u
i
And so may it please our great Author
that I may demonstrate the nature of man
and his customs, in the way I describe
his figure.
c. A. 6$ t; 199*1 r363-
Questo scriuersi distintamete del nibbio
2 par che sia mio destine, perche nella
prima 3 ricordatione della mia infantia e'
mi *parea che, essendo io in culla, che vn
s nibbio venisse a me e mi aprisse la
6bocca colla sua coda, e molte volte 7 mi
percuotesse co tal coda dentro alle 8labra.
This writing distinctly about the kite
seems to be my destiny, because among the
first recollections of my infancy, it seemed
to me that, as I was in my cradle, a kite
came to me and opened my mouth with its
tail, and struck me several times with its
tail inside my lips.
C. A. 248a; 737*1]
[Quado io feci bene, essendo putto, voi
mi mettesti in prigione, 2 ora s' io Io fo grade,
voi mi farete peggio.]
[When I did well, as a boy you used
to put me in prison. Now if I do it being
grown up, you will do worse to me.]
Br. M. 251*1
Dimmi se mai fu fatto alcuna cosa.
Tell me if anything was ever done.
Br. M. 253*) 1366.
Dimmi • se mai fece 2 cosa che mi di .... Tell me if ever I did a thing which me
S. K. M. III. 85*]
1367.
1 Non iscoprire se liberta 2t'e cara, che Do not reveal, if liberty is precious to
'1 uolto mio 3e carciere d'amore.U you; my face is the prison of love.
1363 t. piacessi . . altore. a. desscrivo.
1363. i. nibio. 2. nela. 5. vcnissin me e mi aprissi. 6. bocha chola. 7. perchotcssi.
1364. i. fcci bcnscnedo (doubtful} putto. 2. forade . . pegio.
1365. P. — di mi semmai . . facto alchuna chosa.
1367. i. nonisscoprire selliberta. 2. te chara. 3. charciere.
1366. i. semmai. 2. chosa chemmi dit.
1361. This seems to be the beginning of a
letter, but only the first words of the lines have
been preserved, the leaf being torn down the middle.
No translation is possible.
1362. A preparatory note for the passage given
as No. 798, 11. 41—42.
1363. This note probably refers to the text No. 1 22 1.
1367. This note seems to be a quotation.
1368—1371.]
DATED NOTES.
415
C. A. i88£; 564^]
Maestro Leonardo Fiorentino.
1368.
Maestro Leonardo of Florence.
Flor. Uff.]
1369.
Dl di Sea Maria della Neve, 2a dl 2 The day of Santa Maria della Neve [of Notes bear-
d'agosto 1473. the Snows] August the 2nd 1473.
W. An. I. i a]
1370.
A dl 2 d'aprile 1489 libro titolato de On the 2nd of April 1489, book entitled
figura vmana. 'Of the human figure'.
C. A. 103^; 325*1]
A dl primo d'agosto 1499 • scrissi qui On the ist of August 1499, I wrote here
de moto • e peso. of motion and of weight.
1368. m"o".
1369. 2. addi 2 daggossto.
1370. 1489 [del] libro.
1371. adi p"o" dagosto.
1368. So Leonardo writes his name on a sheet
with sundry short notes, evidently to try a pen.
Compare the signature with those in Nos. 1341,
1348 and 1374 (see also No. 1346, 1. 33). The
form "Lionardo" does not occur in the autographs.
The Portrait of the Master in the Royal Library at
Turin, which is reproduced — slightly diminished — on
PI. I, has in the original two lines of writing under-
neath; one in red chalk of two or three words is
partly effaced: lionardo it . . . Im (or /a/?); the second
written in pencil is as follows : fatto da lui stesso assai
•vecchio. In both of these the writing is very like
the Master's, but is certainly only an imitation.
1369. This date is on a drawing of a rocky land-
scape. See Chronique des Arts 1 88 1 no. 23: Leo-
nard de Vinci a-t-il ete au Righi le 5 aout 1473?
letter by H. de Geymiiller. The next following date
in the MSS. is 1478 (see No. 663).
1370. While the letters in the MS. notes of
1473 an(i 1478 are very ornate, this note and the
texts on anatomy on the same sheet (for instance
No. 805) are in the same simple hand as we see
on PI. CXVI and CXIX. No 1370 is the only dated
note of the years between 1480 and 1489, and the
characters are in all essential points identical with
those that we see in the latest manuscripts written
in France (compare the facsimiles on PL CXV and
p. 254), so that it is hnrdly possible to determine
exactly the date of a manuscript from the style of
the handwriting, if it does not betray the peculiarities
of style as displayed in the few notes dated pre-
vious to 1480. — Compare the facsimile of the manu-
scripts 1479 on PI. LXII, No. 2 ; No. 664, note, Vol. I
p. 346. This shows already a marked simplicity as
compared with the calligraphy of 1478.
The text No. 720 belongs to the year 1490;
No. 1510 to the year 1492; No. 1459, No. 1384 and
No. 1460 to the year 1493; No- I463» No- ISI7> No-
1024, 1025 and 1461 to the year 1494; Nos. 1523
and 1524 to the year 1497-
1371. Scrissi qui, Leonardo does not say where ;
still we may assume that it was not in Milan.
Amoretti writes, Memorie Storiche, chap. XIX:
Sembra pertanto che non nel 1499 ma nel 1500, dopo
il ritorno e la prigionia del duca, sia da qui partita Lio-
.nardo per andare a Firenze; ed e quindi probabile, che
i mesi di governo nuwo e incerto abbia passati coll1 amico
suo Francesco Mehi a Vaprio, one meglio che altrme
sludiar potea la natura, e soprattutta le acque, e VAdda
specialmente, che gia era stato fogetto delle sue idrostatiche
ricerche. At that time Melzi was only six years of
age. The next date is 1502; to this year belong
No. 1034, 1040, 1042, 1048 and 1053. The note
No. 1525 belongs to the year 1503.
416
DATED NOTES.
[I372—I376.
Br. M. *J»«]
1372.
A dl 9 di luglio 1504, mercoledl a ore
7 mori Ser a Piero da Vinci, notaio al Pa-
lazzo del Podesta, mio padre, a ore 7, era
d'et£ d'anni 80, lasci^d 10 figlioli ma'schi
e 2 femmine.
On the 9th of July 1504, Wednesday, at
seven o'clock, died Ser Piero da Vinci, no-
tary at the Palazzo del Podesta, my father,
— at seven o'clock, being eighty years old,
leaving behind ten sons and two daughters.
C. A. jot; 2o8£]
1373-
Mercoledl a ore 7 2mori Ser Piero da
Vinci a dl 9 3di luglio 1504.
On Wednesday at seven o'clock died Ser
Piero da Vinci on the 9th of July 1504.
s. K. M.
1374-
Principiato da me Leonardo 2da Vlci
a dl 12 di luglio 1505.
Begun by me, Leonardo da Vinci, on the
12th of July 1505.
F. in]
1375-
Comlciato a Milano a dl 12 di sette- Begun at Milan on the 12th of Septem-
bre 1508. ber 1508.
W. An. III. 217.0]
1376.
A dl 9 di giennaro 1513.
On the 9th of January 1513.
1373. Written from left to right: i. addi . . luglo 1504 en mercholedi. 2. palago . . lasc. 4. sci et.
'373- 3- luglo. 1374- 2. uTci addi. 1375. comlcato . . addi. 1376. addi.
1372. This statement of Ser Piero's age contradicts
that of the Riassunto della portata di Antonio da Vinci
(Leonardo's grandfather), who speaks of Ser Piero
as being thirty years old in 1457; and that of the
Riassunto della portata di Ser Piero e Francesco, sons
of Antonia da Vinci, where Ser Piero is mentioned
as being forty in 1469. These documents were
published by G. UziELLI, Ricerche intorno a L. da
Vinci, Firenze, 1872, pp. 144 and 146. Leonardo was,
as is well known, a natural son. His mother 'La
Catarina' was married in 1457 to Acchattabriga di
Piero del Vaccha da Vinci. She died in 1519. Leo-
nardo never mentions her in the Manuscripts. In
the year of Leonardo's birth Ser Piero married
Albiera di Giovanni Amadoci, and after her death
at the age of thirty eight he again married, Fran-
cesca, daughter of Ser Giovanni Lanfredi, then
only fifteen. Their children were Leonardo's half-
brothers, Antonio (b. 1476), Ser Giuliano (b. 1479),
Lorenzo (b. 1484), a girl, Violante (b. 1485), and
another boy Domenico (b. 1486); Domenico's des-
cendants still exist as a family. Ser Piero married
for the third time Lucrezia di Guglielmo Cortigiani
by whom he had six children: Margherita (b. 1491),
Benedetto (b. 1492), Pandolfo (b. 1494), Guglielmo
(b. 1496), Bartolommeo (b. 1497), and Giovanni) date
of birth unknown). Pierino da Vinci the sculptor
(about 1520 — 1554) was the son of Bartolommeo, the
fifth of these children. The dates of their deaths
are not known, but we may infer from the above
passage that they were all still living in 1505.
1373. This and the previous text it may be
remarked are the only mention made by Leonardo
of his father; Nos. 1526, 1527 and No. 1463 are of
the year 1504.
1374. Thus he writes on the first page of the
MS. The title is on the foregoing coversheet as
follows: Libra titolato disstrafformatione coe (cioe) d'un
corpo mm (in un) altro sanza diminuitione e acresscemento
di materia.
1375. No. 1528 and No. 1529 belong to the same
year. The text Vol. I, No. 4 belongs to the following
year 1509 (1508 old style); so also does No. 1009. —
Nos. 1022, 1057 and 1464 belong to 1511.
1376. No. 1465 belongs to the same year. No. 1065
has the next date 1514.
1377- I378-]
DATED NOTES.
417
G. o']
1377.
Partissi il magnifico Giuliano de' 2 Me-
dici a dl 9 di giennaio 1515 3 in sull' aurora
da Roma per adare 4 a sposare la moglie in
Sovoia; Se in tal dl ci fu la morte del re
di Francia.
The Magnifico Giuliano de' Medici left
Rome on the 9th of January 1515, just at
daybreak, to take a wife in Savoy; and on
the same day fell the death of the king of
France.
C. A. 245*1; 731 «]
1378.
A 24 di giugnio il dl di san Giovanni On the 24th of June, St- John's day, 1518
2i5i8 in Abosa nel palazzo del clli. at Amboise, in the palace of . . .'
1377. i. magnificho. 2. addi. 3. darroma. 4. assposare. 5. dere.
1378. i. a 24 digugnio. 2. palazzo dell clli.
1377. Giuliano de Medici, brother to Pope Leo X.; on Jan. ist, and not on Jan. 9*h as is here stated. —
see note to Nos. 1351 — 1353. In February, 1515, he This addition is written in paler ink and evidently
was married to Filiberta, daughter of Filippo, Duke at a later date.
of Savoy, and aunt to Francis I, -Louis XII's 1378. Castello del clli. The meaning of this word
successor on the throne of France. Louis XII died -is obscure; it is perhaps not written at full length.
VOL. n.
GGG
?
XXIL
Miscellaneous Notes.
The incidental memoranda scattered here and there throughout the MSS.. can have
be en for the most part intelligible to the writer only; in many cases their meaning and connection
are all the more obscure because we are in ignorance about the persons with whom Leo-
nardo used to converse nor can we say what part he may have played in the various events
of his time. Vasari and other early biographers give us a very superficial and far from
accurate picture of Leonardo 's private life. Though his own memoranda, referring for
the most part to incidents of no permanent interest, do not go far towards supplying this
deficiency, they are nevertheless of some importance and interest as helping us to solve
the numerous mysteries in which the history of Leonardo's long life remains involved.
We may at any rate assume, from Leonardo's having committed to paper notes on more
or less trivial matters on his pupils, on his house-keeping, on various known and
unknown personages, and a hundred other trifies — that at the time they must have been
in some way important to him.
I have endeavoured to make these 'Miscellaneous Notes' as complete as
possible, for in many cases an incidental memorandum will help to explain the
meaning of some other note of a similar kind. The first portion of these notes (Nos.
1379 — 1457,), as we^ as those referring to his pupils and to other artists and artificers
who lived in his house ^1458 — 1468) are arranged in chronological order. A con-
siderable proportion of these notes belong to the period between 1490 and 1500, when
Leonardo was living at Milan under the patronage of Lodovico il Moro, a time concerning
which we have otherwise only very scanty information. If Leonardo did really — as has
always been supposed, — spend also the greater part of the preceding decade in Milan,
it seems hardly likely that we should not find a single note indicative of the fact, or
referring to any event of that period, on the numerous loose leaves in his writing that exist.
Leonardo's life in Milan between 1489 and 150x3 must have been comparatively uneventful.
The MSS. and memoranda of those years seem to prove that it was a tranquil period
of intellectual and artistic labour rather than of bustling court life. Whatever may
420
MISCELLANEOUS NOTES.
have betn the fate of the MSS. and note books of the foregoing years— whether, they
were destroyed by Leonardo himself or have been lost — it is certainly strange tliat
nothing whatever exists to inform us as to his life and doings in Mi/an earlier than
the consecutive series of manuscripts which begin in the year 1489.
There is nothing surprising in the fact that the notes regarding his pupils are
few and meagre. Excepting for the record of money transactions only very exceptional
circumstances would have prompted him to make any written observations on the persons
with whom he was in daily intercourse, among whom, of course, were his pupils. Of
them all none is so frequently mentioned as Salai, but the character of the notes does
nof — as if seems to me— justify us in supposing that he was any thing more than a
sort of factotum of Leonardo's (see 1519, note).
Leonardo's quotations from books and his lists of titles supply nothing more than
a hint as to his occasional literary studies or recreations. It was evidently no part of
his ambition to be deeply read (see Nrs. 10, II, 1159) and he more than once expressly
states (in various passages which will be found in the foregoing sections) that he did not
recognise the authority of the Ancients, on scientific questions, which in his day was
h eld paramount. ArcJiimedes is the sole exception, and Leonardo frankly oivns his
admiration for the illustrious Greek to whose genius his own was so much akin (see
No. 1476). All his notes on various authors, excepting those which have already been
inserted in the previous section, have been arranged alphabetically for the sake of con-
venience (1469 — 1508^.
The passages next in order contain accounts and; inventories principally of house-
hold property. The publication of these — often very trivial entries — is only justifiable as
proving that the wealth, the splendid mode of life and lavish expenditure which Jiave
been attributed to Leonardo are altogether mythical; unless we put forward the very
improbable hypothesis that these notes as to money in hand, outlay and receipts, refer
throughout to an exceptional state of his affairs, viz. when he was short of money.
The memoranda collected at the end (No. 1505 — 1565,) are, in the original, in the
usual writing, from left to right. Besides, the style of the handwriting is at variance
with what we should expect it to be, if really Leonardo himself had written these notes.
Most of them are to be found in juxtaposition with undoubtedly authentic writing of
his. But this may be easily explained, if we take into account the fact, that
Leonardo frequently wrote on - loose sheets. He may therefore have occasionally used
paper on which others had made short memoranda, for the most part as it would seem,
for his use. At the end of all I have given Leonardo's will from the copy of it pre-
served in the Mclzi Library. It has already been printed by Amoretti and by Uzielli. It
is not known what has become of the original document.
C. A. 243 a; 727 a]
1379.
Truova ingol e digli che tu 1'aspetti
amor a e che tu andrai co seco ilopan a ;
2fatti fare enoiganod al; e tolli il libro di
Vitolone, e le misure • delli edifiti 3 public! • ;
fa fare 2 casse coperte da mvlattiere, ma
meglio fia • le coperte da letto, che 4 son 3,
delle quali lascierai una a Vinci; togli le
fodere (?) delle grattugie (?) da Giosva
Lonbardo il telajuolo di Verona • ; copra
delle tovaglie • e matili scarpini,
6calze 4 para, vn giubbone di cimoza e
pelli per fare ne de' novi ; il tornio d' Ales-
7sandro • ; vendi quel che no si puo portare;
piglia da Gian di Paris il modo de colorire
8a secco •, el modo del sale bianco e del
fare le carte inpastate ; folie in moMi doppi ;
Find Longhi and tell him that you wait Memoranda
for him at Rome and will go with him to ^^Jf^.
Naples; make you pay the donation [2] and
take the book by Vitolone, and the measure-
ments of the public buildings. [3] Have two
covered boxes made to be carried on mules,
but bed-covers will be best; this makes three,
of which you will leave one at Vinci. [4] Obtain
the from Giovanni Lom-
bardo the linen draper of Verona. Buy hand-
kerchiefs and towels, .... and shoes, 4 pairs
of hose, a jerkin of ... and skins, to
make new ones; the lake of Alessandro. [7]
Sell what you cannot take with you. Get
from Jean de Paris the method of painting
in tempera and the way of making white
1379. r. truova ingol edilli chettu . . chettu . . ilopana. 2. fare la eno iganodal ettolli . . elle. 3. faffare . . coperte dalletto.
4. lascierai i a uinci . . le fochere delle gratuto dago. 5. lonbardo il teraajo (?) di uerona . . matili bretre (?) scarpini.
6. gubbone di ci moza . . tornio dale. 7. si po . . piglia dagandiparis. 8. assecho . . folie in mol. 9. ti doppi ella sua
1379. The mysterious looking words, quite dis-
tinctly written, in line I : ingol, amor a, ilopan a and
on line 2: enoiganod al are obviously in cipher and
the solution is a simple one; by reading them back-
wards we find for ingol: logni — probably longi,. evi-
dently the name of a person ; for amor a : a Roma,
for ilopan a: a Napoli. Leonardo has done the same
in two passages treating on some secrets of his art
Nos. 641 and 729, the only other places in which
we find this cipher employed; we may therefore
conclude that it was for the sake of secrecy that
he used it.
There can be no doubt, from the tenor of this
passage, that Leonardo projected a secret excursion
to Naples. Nothing has hitherto been known of
this journey, but the significance of the passage will
be easily understood by a reference to the following
notes, from which we may infer that Leonardo really
had at the time plans for travelling further 'than
Naples. From lines 3, 4 and 7 it is evident that
he purposed, after selling every thing that was not
easily portable, to leave a chest in the care of his
relations at Vinci. His luggage was to be packed
into two trunks especially adapted for transport by
mules. The exact meaning of many sentences in
the following notes must necessarily remain obscure.
These brief remarks on small and irrelevant affairs
and so forth are however of no historical value. The
notes referring to the preparations for his journey
are more intelligible.
2. Libro di Vitolone see No. 1506 note.
7 and fol. It would seem from the text that
Leonardo intended to have instructions in painting
on paper. It is hardly necessary to point out
that the Art of illuminating was quite separate from
that of painting.
MISCELLANEOUS NOTES.
[1380-1383.
e la sua cassetta de' colori; inpar la tem-
pera delle carnagioni, inpara I0a disoluere
la lacca gommata, lin del seme, de . . . .
. . e dele . . . biache, "delli agli da
Piacetia, togli 'De Poderibus;' tolli 1'operc
di Leonardo cremot2nese; leua il fornello
ij della ^semeza de ligli 15e
dell'erba stella, l6 delle zuche marine, ^vedi
1'asse della sosta, I8fatti dare la . . . .
*9a chi la rubo, pi20glia il liuellare, 2Iquato
terreno puo "cauare 1'omo in un dl.
salt, and how to make tinted paper; sheets
of paper folded up; and his box of co-
lours; learn to work flesh colours in tem-
pera, learn to dissolve gum lac, linseed
white, of the garlic of Pia-
cenza; take 'de Ponderibus ' ; take the works of
Leonardo of Cremona. Remove the small fur-
nace seed of lilies and of ... Sell the
boards of the support Make him who stole it,
give you the .... learn levelling and how
much soil a man can dig out in a day.
1380.
Questo fecie Lione in piazza
2di castello con v vincolo e vna
3saetta.
Thfs was done by Leone in the
piazza of the castle with a chain
and an arrow.
B. 50*)
1381.
No.MI D' fGIEGNIERI.
NAMES OF ENGINEERS.
2Callias Rodiano, ^Epimaco Ateniense,
*Diogine filosofo Rodiano, 5Calcedonio di
Tracia, cFebar di Tiria, ?Callimaco architetto,
maestro di fochi.
Callias of Rhodes, Epimachus the Athe-
nian, Diogenes, a philosopher, of Rhodes,
Calcedonius of Thrace, Febar of Tyre, Calli-
machus the architect, a master of fires.
Aih. II. 13*1 1382.
A maestro Lodovico chiedi li codotti Ask maestro Lodovico for 'the conduits
d'acqua. of water'.
FI. uff.]
. . . J Pistoja2 ; Fiorauante di Domenico
J Firenze e copare 3amantissimo, quant' e
mio ...
... at Pistoja, Fioravante di Domenico at
Florence is my most beloved friend, as though
he were my [brother].
. . cornage inpara. 10. lacha gommatalli del seme de fotteragi e delle gniffe biache. u. delli algli da piacetia . . Iconardo
chcrmo. 13. diganni noto della. 14. semeza deli gli. 15. e dellerba stella. 16. delle zuche marine. 17. dalla. 18. fatti
dare la fochera. 19. tereno po. 20. lomo nudi.
1380. i. questa . . piaza. 2. casstello chon v ulcho e vna.
1381. 3. acte niense. 4. filosafo. 6. febar di tiria. 7. challimacho architecto.
1383. mastro lodwicho ciecli . . dacq"a".
'383. \\\ e echopa J pisstoja. 2. domenicho . . copere. 3. mio jjrsuiosssam (?). 4. jnde nom. 5. amante quanto.
II. De Ponderibus. A large number of Leonardo's
notes bear this superscription. Compare No. 1436, 3.
1380. This note must have been made in Milan;
as we know from the date of the MS.
1381. Callias, Architect of Aradus, mentioned
by Vitruvius (X, 16, 5). — Epimachus, of Athens, in-
vented a battering-enginee for Demetrius Poliorketes
(Vitruvius X, 16, 4). — Callimachus, the inventor of
the Corinthian capital (Vitr. IV, I, 9), and of the
method of boring marble (Paus. I, 26, J), was also
famous for his casts in bronze (Plin. XXXIV,
8, 19). .He invented a lamp for the temple of
Athene Polias, on the Acropolis of Athens (Paus.
I, 26, 7). — The other names, here mentioned, cannot
be identified.
1382. Condotti d'acqua. Possibly a book, a MS. or
a map.
1383. On the same sheet is the text No. 663.
1384—1389-]
MISCELLANEOUS NOTES.
423
S. K. M. III.
1384.
A dl 1 6 di luglio.
2Caterina venne a dl 16 3di luglio 1493.
4 Morel Fioretino di messer Mariolo,
cavallo 5 grosso a bel collo e assai bella
testa.
6R6zone biaco del falconiere a belle co-
scie, 7dirieto sta in Porta Comasina.
8Cauallo grosso del Chermonino del
signer Givlio.
On the 1 6th day of July.
Caterina came on i6th day of July, 1493.
Messer Mariolo's Morel the Florentin, has a
big horse with a fine neck and a beautiful head.
The white stallion belonging to the fal-
coner has fine hind quarters ; it is behind the
Comasina Gate.
The big horse of Cermonino, of Signer
Giulio.
S. K. M. III. 30^]
DELLO STRUMETO.
1385-
OF THE INSTRUMENT.
2 Chiuque spede uno ducato per paro Any one who spends one ducat may take
3 pigli lo strumeto, e non spe^dera • se non the instrument ; and he will not pay more than
v mezzo per premisnetia allo invetore dello half a ducat as a premium to the inventor of
strum6eto, e vno grosso - per 1'operatore the instrument and one grosso to the work-
7ogni ario; non uoglio sottovfiti 'all.
man every year. I do not want sub-officials.
S. K. M. III. 55*]
1386.
Maestro Givliano da Mar2liano a v bello Maestro Giuliano da Marliano has a fine
erbolaro; 3Sta a riscotro alii Strami *legna- herbal. He lives opposite to Strami the Car-
mieri. penters.
S. K. M. III. 94 a]
1387-
Cristofano da Castiglio2ne sta alia Pieta, Christofano da Castiglione who lives at
a bona ^testa. the Pieta has a fine head.
C. A. 328 a 98o<z]
1388.
Opera di . . . . 2della stalla di G3aleazzo ; Work of ... of the stable of Galeazzo ;
4 per la via di Brera; s benefitio dello Stan- by the road of Brera[4]; benefice of Stan-
ghe; bene6fitio della por?ta nova; 8benefitio ghe[5]; benefice of Porta Nuova; benefice
diMon9sa — ; 10errore dell' Intairco — ; I2dl of Monza; Indaco's mistake; give first the
prima li benefit]; ^ e poi 1'opere e poi I4le in- benefices; then the works; then ingratitude,
gratudini *5e poi le Idegni e Ial6metationi e . . . indignity and lamentations.
H.3 47-5]
1389.
Chiliarco, capo di mille,
2 Prefetti — capitani,
3Legione, semila 63.
Chiliarch — captain of 1000.
"Prefects — captains.
A legion, six thousand and sixty three
men.
1384. i. R. 2. catelina. 4. chaval. 5. chollo eassa. 6. rocino. 8. R. chauallo . . del chermanino.
1385. 2. chiu'q spede i ducato . . paro. 3. lustrumeto . . ispe. 4. mezo. 6. eto e ! groso. 7. on ano uoglio.
1386. 3. alii strami. 4. legiamieri. 1387. i. cristofano da chasstiglio.
1388. i. Opera di roma. 2. dich. 5. benefitio . . beni. 8. benefitio. 9. cia. 10. crore. n. cho. 12. benefiti. 14. ingralitu-
dine. 16. metatione. 1389- 1—3 R-
1384. Compare Nos. 1522 and 1517. Caterina 1386. Compare No. 616, note. 4. legnamiere
seems to have been his housekeeper. (milanese dialect) = legnajuolo.
1385. Refers perhaps "to the regulation of the 1388. 4. Brera, see No. 1448, 11, 13; 5. Stanghe,
water in the canals. see No. 1509.
MISCELLANEOUS NOTES. [l39°— 1397-
Vna monica sta alia Coloba 2in Cre- A nun lives at La Colomba at Cremona;
mona che lavora be -Jcordoni di paglia, e she works good straw plait, and a friar of
vno frate *di Sco Francesco. Saint Francis.
H.i 46..|
Aguglia , — Niccolao, — 2 refe, — 3 Ferrado, Needle, — Niccolao, — thread, — Ferrando,
— <iacopo adrea, — stela, — 6pietra, — ?colo- — lacopo Andrea,; — canvas, — stone, — co-
n^ — » penella, — navoletta da colori, — I0spu- lours, — brushes, — pallet, — sponge,— the panel
ga,— "tavola del Duca. of the Duke.
S. K. M. II.2 7/1] T392-
Messer Gia Domenico 2 Mezzabarba, e Messer* Gian Domenico Mezzabarba and
messer ^Giova Francesco Mezzabarba, 4al Messer Giovanni Franceso Mezzabarba. By
lato a messer Piero d'AnghieSra. the side of Messer Piero d'Anghiera.
s. K. M. n.2 7*1 1393-
Cote Francesco Torello. Conte Francesco Torello.
S. K. M. n.2 12 a] 1394-
Givlia Trobetta, — 2 Antonio di Ferrara, Giuliano Trombetta, — Antonio di Ferrara,
— 3 olio di bolla. — Oil of
S. K. M. n.2 soa] T395«
Paolo fu rat to in cielo. Paul was snatched up to heaven.
s. K. M. n.2 22*] 1396.
Givlia da Maria, medico 2 a vn massajo Giuliano da Maria, physician, has a stew-
saza mano. ard without hands.
s. K. M. n.» 27*] X397»
Fatti madare spighe di * gra grosso da Have some ears of corn of large size sent
Fireze. from Florence.
1390. 1—4 R. 2. chermona chellavora. 3. chordoni. 4. franc"o".
1391. t — ii R. i. agngia niccholao. 3. ferado.
1398. i. domenicho. 2. meza . . meser. 3. franc"o" meza. 4. Piero dagale. 5. ra sotto il coperio debe lacq"a".
1393. franc"o". 1394. i. trobebetta. 2. ferra. 3. dibola. 1395- R- pagolo.
1396. i. mariamedicho. 2. avmazaro. '397- i- spige.
1390. La Colomba is to this day the name of a small house at Cremona, decorated with frescoes.
1394. Near this text is the sketch of a head drawn in red chalk.
I395- See the facsimile of this note on PI. XXIII No. 2.
1398— 14°5-]
MISCELLANEOUS NOTES.
425
S. K. M. II.2 52 a]
Vedi la lettiera a Sea Maria;
2Segreta.
See the bedstead at Santa Maria.
Secret.
S. K. M. II.2 53 a]
*399'
lArrigd de' avere 2ducati n d'orojl Arrigo is to have n gold Ducats.
3Arrigo de' avere «ducati 4 d'oro sa Arrigo is to have 4 gold ducats in the
mezzo Agosto. middle of August.
s. K. M. n.2 63 a]
1400.
Da al patrone lo eseplo 2del capitano, Give your master the instance of a
che no lui vPcie, ma li soldati mediate «il caPtain who does not himself win the vic-
tory, but the soldiers do by his counsels;
suo cosiho, e pur menta il saldo. and so he still deserves the reward.
S. K. M. ll.2 68i]
Messer Pier Antonio.
I4OI.
Messer Pier Antonio.
S. K. M. II.2 69a] .
Olio, — 2giallo, — 3Ambrosio,
ca, — sla masseria.
I4O2.
hoc- Oil, — yellow, — Ambrosio, — the mouth,
the farmhouse.
S. K. M. H.2 7S<5]«
Alessandro carissimo, 2da Parma per la My dear Alessandro from Parma, by the
ma di . . . hand of ...
S. K. M. II.2 78^]
1404.
Giovannina, viso fantastico, 2sta a Sea Giovannina, has a fantastic face, — is at
Caterina, all'ospedale. Santa Caterina, at the Hospital.
1.2 ii a]
24 tavole fanno una pertica; .
2 4 trabochi fanno una tavola;
34 braccia e mezzo fanno uno trabocco;
«vna pertica e 1936 braccia D,
5owero 1944-
24 tavole make i perch.
4 trabochi make i tavola.
4 braccia and a half make a traboccp.
A perch contains 1936 square braccia,
or J944-
1399. i. arigo. 3. arigo. 5. mezo. 1400. i. padrone. 1401. meser pier ato chodi. 2. diga.
1402. 3. abrosio. 4. bocha. 5. masera. 1403. i. charissino. 2. [si] da . . ma di[I]p.
1404. i. fantasticho. 2. chaterina.
1405. 1—5. R. i. fa I perticha. 2. fa I. 3. br e mezo fa i trabocho. 4. perticha he . . br. 5. ovr.
1404. Compare the text on the same page: No. 667.
VOL. ii.
HHH
426
MISCELLANEOUS NOTES.
[1406—1409.
l.i 7°*}
1406.
'La strada di messer Mariolo e braccia The road of Messer Mariolo is i3J/4 brac-
I3'/., 'la casa di Vagelista e 75; cia wide; the House of Evangelista is 75.
JEntra braccia 7 e '/» 'nella casa di It enters 7'/2 braccia in the house of Ma-
Mariolo.
riolo.
1.1
1407.
Domando in che parte del suo moto I ask at what part of its curved motion
curvo 2 la cavsa, che move, lasciera la cosa the moving cause will leave the thing
mobile. moved and moveable.
mossa
«Parla co Pietro Moti di questi tali Speak to Pietro Monti of these methods
s modi di trarre i dardi. of throwing spears.
1.2 87 a]
1408.
Antonio de' Risi sta al co2siglio di Antonio de' Risi is at the council of
Givstitia. Justice.
I.I 28 a]
1409.
Disse Paolo che nessuno strumento Paolo said that no machine that moves
2 che move vn altro . . another .
1406. i. meser . . he br. 2. vagelissta he. 3. br 7 e 1/2.
1409. i. pagolo.
1406. On this page and that which faces it, here given, deals with questions in mechanics.
MS. I2 71*, are two diagrams with numerous reference The instances in which Leonardo quotes the opi-
numbers, evidently relating to the measurements of nions of his contemporaries on scientific matters
a street. are so rare as to be worth noticing. Compare
1409. The passage, of which the beginning is No. 901.
1410—1414-]
MISCELLANEOUS NOTES.
427
W. P. 7.]
Caravaggio.
1410.
Caravaggio.
W. A. II. s<5]
I4II.
Carrucole, — 2 chiodi, — 3 corda, — 4mercu- Pulleys, — nails, — rope, — mercury, — cloth,
rio, — stela, — 6lunedl. Monday.
W. A. II. 202
1412.
RlCORDO.
MEMORANDUM.
2Maghino Speculus di maestro Giovanni Maghino, Speculus of Master Giovanni
Fraciese; -^Galieno de vtilita. the Frenchman; Galenus on utility.
w. x.]
Presso al Corduso • sta Pier Antonio da
Fossano 2e Serafino • suo fratello.
Near to Cordusio is Pier Antonio
Tossano and his brother Serafino.
da
L. o'J
1414.
Paolo di Vannoccio in Siena.
3 La saletta di sopra per li apostoli;
*Edifiti di Bramate;
s II castellano fatto prigione;
6 II Visconte strascinato e poi morto il
figliuolo ;
?Gian della Rosa toltoli i danari;
8Borgonzo principle e nol voile, e pero
fuggl le fortune;
9 II duca perso lo stato e la roba e li-
erta, I0e nessuna sua opera si finl per lui.
Paul of Vannochio at Siena Memoranda
The upper chamber for the apostles. (IafIteI_iSOf\
[4] Buildings by Bramante.
The governor of the castle made a
prisoner,
[6] Visconti carried away and .his son
killed.
Giovanni della Rosa deprived of his money.
[8]Borgonzio began . . . .; and moreover
his fortunes fled.
The Duke has lost the state, property
and liberty and none of his entreprises was
carried out by him. [10].
1410. carovagio. 1411. i. carruchole. 4. merchurio, 7. idomoodi (i).
1413. i. richordo. 2. maghino spechulus di m"o". 1413. i. chorduso . . daffossano. 2. essera fino.
1414. i. pagolo di uannocco. 2. codi rocho . — domenico chia umo. 5. prigone. 6. bissconte stracinato . . el figlolo. 7. gan
della rosa tollto li e danari. 8. borgonzo . . pro. 9. ella roba elliberta.
1410. Caravaggio, a village not far from the Adda
between Milan and Brescia, where Polidoro and Michel-
angelo da Caravaggio were born. This note is given
in facsimile on PL XIII, No. i (above, to the left).
On PL XIII, No. 2 above to the right we read
cerovazo.
1413. This note is written between lines 23 and
24 of the text No. 710. Corduso, Cordusio (curia
duds) = Cordus in the Milanese dialect, is the name
of a Piazza, between the Via del Broletto and the
Piazza de * Mercanti at Milan. In the time of il
Moro it was the centre of the town. The persons
here named were members of the noble Milanese
family de'Fossani; Ambrogio da Fossano, the con-
temporary painter, had no connection with them.
1414. 1. 4 — 10. This passage evidently refers to
events in Milan at the time of the overthrow of
Ludovico il Moro. Amoretti published it in the
'Memorie Storiche' and added copious notes'.
6. Visconti. Chi fosse quel Visconte non sapremmo in-
dovinare fra tanti di questo name. Arluno narra che
allora atterrate furono le case de' Viconti, de' Castig lioni,
de' Sanseverini, e de1 Botta e non e improbabile che ne
fossero insultatie mortii padroni. Mold Visconti annffvera lo
stesso Cronista che per essersi rallegrati del ritorno del
duca in Milano furono da' Francesi arrestati, e strascinati
in Francia come prigionieri di stato; e fra questi Messer
Francesco Visconti, e suo figliuolo Battista. ( AMORETTI,
Mem. Star. XIX.)
8. Borgonzio o Brugonzio Botta fu regolalore delle du-
call entrate sotto il Mora, alia cui fuga la casa sua fu
pur messa a sacco da' partitanti francesi. (AMORETTI, 1. c.)
428
MISCELLANEOUS NOTES.
[I4I5-I420.
L. i a]
. M Abrosio Petri, — 3Sco Marco, — *4 Ambrosio Petri, St. Mark, 4 boards for
assi per la finestra, — 52 guasparistrame — the window, 2 ....... , 3 the saints of
6 3 i sati di capelle, — 7$ a casa li Gienovesi. chapels, 5
the Genoese at home.
L. 1 1]
Panno d'arazzo,— 2seste,— ^libro di Ma-
so, — 4 libra di Giovanni Becj,— Scassa in
dogana, — 6tagliare la vesta, — ?cintura della
spada, — 8rinpedulare li stivaletti, — 9Cappello
legieri, — I0canne delle casaccie, — "il de-
bito della touagla, — I2baga da notare,—
'^libro di carte bianche per disegnare,—
I4carboni. 'sHquato e uno fiorino l6di su-
gello?1 I71vn guardal8cuore di pelle.t
1416.
Piece of tapestry, — pair of compasses, —
Tommaso's book, — the book of Giovanni
Benci, — the box in the custom-house, — to cut
the cloth, — the sword-belt, — to sole the boots,
— a light hat, — the cane from the ruined
houses, — the debt for the table linen, — swim-
ming-belt,— a book of white paper for draw-
ing,— charcoal. — How much is a florin ,
a leather bodice.
L. 2 a]
1417.
Borges ti fara avere Archimede del
2vescouo di Padova, e Vitellozzo quello
dal Borgo a San Sepolcro.
Borges shall get for you the Archimedes
from the bishop of Padua, and Vitellozzo the one
from Borgo a San Sepolcro.
L. 30 i]
Tabella di Marzocco.
1418.
Marzocco's tablet.
L. o"]
1419.
Marcello sta in casa di Giacomo da
Mezgardino.
Marcello lives in the house of Giacomo
da Mengardino.
Br. M. 202*1
1420.
Dou'e Valentino? — 2stiuali, — 3casse in
dogana, — 4. . . ., — sfrate del Carmine,—
6squadre, — ?Piero Martelli, — 8Salui Bor-
Where is Valentino? — boots, — boxes in
the custom-house, — , — [5] the monk at the
Carmine, — squares, — [7] Piero Martelli, —
gherini, — ^rimanda le sache, — I0 sostetaculo [8] Salvi Borgherini, — send back the bags, —
delli ochiali, — "lo igniudo del Sangallo,—
12 la cappa.
J3Porfido, — ^gruppi, — 'Ssquadra, —
l6Pandolfino.
a support for the spectacles, — [n]the nude
study of San Gallo, — the cloak.
Porphyry, — groups, — square, — [16] Pan-
dolfino.
1415. i. 10 omria (?). 4. aose. 5. quas paris trame. 7. chasa legienovesi.
1416. i. darazo. 6. taglare lavcssta. 8. lissti valetti. 10. dalle cassacce. 15. e i fi. 18. core. 141?- 2. vesscovo. 2. vitellozo.
1418. marzoccho. 1419. i. chasa diachomo. 1430. 4. falleri. 8. borgerini. it. lognudo.
1417. Borges. A Spanish name.
3. Borgo a San Sepolcro, where Luca Paciolo,
Leonardo's friend, was born.
1420. Valentino. Cesare Borgia is probably
meant. After being made Archbishop of Valence by
Alexander VI he was commonly, called Valentinus
or Valentino. With reference to Leonardo's engage-
ments by him see pp. 224 and 243, note.
5. Carmine. A church and monastery at Flo-
rence.
7. 8. Martelli, Borgherini; names of Florentine fa-
milies. See No. 4.
n. San Gallo; possibly Giuliano da San Gallo,
the Florentine architect.
1 6. Pandolfini, see No. 1544 note.
1421—1423.]
MISCELLANEOUS NOTES.
429
F. o']
1421.
USpechi cocavi; Hfilosofia d'Aristotile,
2 1 libri d' Auicenna ; II messer Ottavia Palavi-
3 T| vocabolista vul- cino pel suo Vetruuio ;1
*gare e latino.!
sllColtelli di Boemia; IJVa ogni sabato alia
6 Vetruuio;! stufa e vedrai delli
nudi;1l
7lMeteora;
8 If Archimede, de ce-
?tro grauitatis.U
I0lfAnotomia, Alessa-
"drp Benedetto;!!
If Fa gofiare il polmo
d' u porco, e guarda
se cresce in larghezza
e I lughezza, over in
larghezza e maco in
1 21I1 Date di Niccolo del- lughezza.U
'3 la Croce.lf
J4A1 Bertuccio il Marliano de calcula-
tione, *s Alberto de celo e mudo • [da fra
Bernardino]; l6Oratio scrisse della velocita
del cielo.
Concave mirrors; philosophy of Aristotle;
[2] the books of Avicenna; Messer Ottaviano
Italian and Latin vocabu- Palavicino for his
lary; Vitruviusfc].
bohemian knives; go every Saturday to the
Vitruvius;[6] hot bath where you will
see naked men;
'Meteora'C;].
Archimedes, on the centre Inflate the lungs
of gravity; [9] of a pig and ob-
anatomy[io] Alessandro serve whether they
Benedetto; increase in width
The Dante of Niccolo and in length, or
della Croce; in width dimini-
shing in length.
[14] Marliano, on Calculation, to Bertuccio.
Albertus, on heaven and earth [15], [from the
monk Bernardino]. Horace has written on the
movements of the heavens.
1422.
De' 3 corpi regolari cotro alcu cometa-
2tori che biasima li atichi ivetori dode na-
quero le gramatiche e le scientie . . .
Of the three regular bodies as opposed to
some commentators who disparage the An-
cients, who were the originators of grammar
and the sciences and .
W. An. III. 217* (-G-)] r423-
Camera de2lla Torre da ^Vaneri. The room in the tower of Vaneri.
1421. 2. dauinega. 3. vocabolissta . — sino pel. 4. ellatino. 5. buemia . . alia. 6. vederai. 7. meteura. 9. trugrauitatis . —
dii porcho. 10. alesa . — cresse in largeza. n. lugeza . . largeza. 12. nicolo de . — e macha in lugeza. 14. bertucco.
16. oratio . . del celo. These six words are written in four short lines on the margin near line i — 4.
1422. 2. nascero le gramatiche elle. M33- r- chamera.
1421. Filosofia d' Aristotele see No. 1481 note.
2. Avicenna (Leonardo here writes it Avinega) the
Arab philosopher, 980 — 1037, for centuries the un-
impeachable authority on all medical questions.
Leonardo possibly points here to a printed edition:
Avicennae canonum libri V, latine 1476 Patavis.
Other editions are, Padua 1479, and Venice 1490.
3. 6. Vitruvius. See Vol.. I, No. 343 note.
7. Meteora. See No. 1448, 25.
9. The works of Archimedes were not printed
during Leonardo's life-time.
10. Compare No. 1494.
14. Johannes Marliani sua etate philosophorum et me-
dicorum principis et ducalis phisic. primi de proportione
motuum velodtate questio subtilissima indpit ex ejusdem
Marliani originali felidter extracta, M(ilano) 1482.
Another work by him has the title: Marlianus
mediolanensis. Questio de caliditate corporum humanorum
tempore hiemis ed estatis et de antiparistasi ad celebrem
philosophorum et medicorum universitatem tidnensem. 1474-
15. See No. 1469, 1. 7.
1423. This note is written inside the sketch of a
plan of a house. On the same page is the date
1513 (see No. 1376).
430
MISCELLANEOUS NOTES.
[1424—1429.
w.
(.F.)J
Riserua all' ultimo dell'obre le figure
2 che copariranno nello scrittoio di Gerar^do
miniatore a Sa Marco in Fireze.
«[Va per il Melso, se allo Ambasciatore
6e a maestro Bernardo.]
The figures you will have to reserve for
the last book on shadows that they may appear
in the study of Gerardo the illuminator at San
Marco at Florence.
[Go to see Melzo, and the Ambassador,
and Maestro Bernardo].
M.
1425.
Ermete 2filosofo.
Hermes the philosopher.
M. 8,1]
1426.
Suisset cio£ calculatore, — 2Tisber, — Suisset, viz. calculator, — Tisber, — An-
Angelo Fossobro, — * Alberto. gelo Fossobron, — Alberto.
M. .53 6}
1427.
Modo del pote leuatojo che mi mostrd
Donnino, 2 e perch6 c • e d spingano in basso.
The structure of the drawbridge shown me
by Donnino, and why c and d thrust downwards.
Mz. o")
1428.
Piglera il primo volo il grade vccello ; —
sopra del dosso del suo 2magnio cecero, —
empicdo 1'universo di stupore, — em^piedo
di sua fama tutte le scritture e gloria et-
terna al loco *dove nacque.
The great bird will take its first flight; —
on the back of his great swan, — filling
the universe with wonders; filling all writings
with his fame and bringing eternal glory to
his birthplace.
Tr. 22]
1429.
Questo inganno fu vsato dai Ga2lli •
contro • a' Romani, e segui 3 ne tal morta-
lita che tutta ^Roina • si vesti • a bruno.
This stratagem was used by the Gauls
against the Romans, and so great a mortality
ensued that all Rome was dressed in mourn-
ing.
1424. serua. 2. ceparirano scriptoio [del] di gera. 3. inarch o. 5. Ibassciatore. 6. maesstro.
1435. 2. filosafo. 1426. i. coe chalculatore. 3. fossabro. '4»7- '• leuato i che. 2. c he d spingano.
1418. i. il p"o" volto [leverassi delge] il. 2. cecero c enpiedo. 3. groria . . alaido. 4. [dore] doue.
1439. 2. chontro . . essegui. 3. chettutta. 4. vessti.
1424. L. I — 3 are in the original written between
lines 3 and 4 of No. 292. But the sense is not clear
in this connection. It is scarcely possible to de-
vine the meaning of the following sentence.
2. 3. Gherardo Miniatore, a famous illuminator,
'445— H97» to whom Vasari dedicated a section of
his Lives (Vol. II pp. 237—243, ed. Sansoni 1879).
5. Bernardo, possibly the painter Bernardo Ze-
nale.
1427. The sketch on the same page as this text
represents two poles one across the other. At the
ends of the longest are the letter c and d. The
sense of the passage is not rendered any clearer.
1428. This seems to be a speculation about the
flying machine (compare p. 271).
1429. Leonardo perhaps alludes to the Gauls under
Brennus, who laid his sword in the scale when the
tribute was weighed.
1430— 1435-1 MISCELLANEOUS NOTES. 431
K.2 27 1} I43O-
Alberto da. Imola;— algebra doe dimo- Alberto da Imola; — Algebra, that is,
stratione come una cosa s'agguaglia a un the demonstration of the equality of one thing
altra. to another.
K.3 48<*J I431-
Joannes Rubicissa e Robbia. Johannes Rubicissa e Robbia.
W. A. III. 152 a] r432-
Dimada la moglie di Bia2gio Crivelli Ask the wife of Biagio Crivelli how the
come il cappone 3 allieva e cova Pouadella capon nurtures and hatches the eggs of
4gallina, essendo lui inbrisacato. the hen, — he being drunk.
W. A. IV. 153'*] 1433-
Libro dell'acque a messer Marco An- The book on Water to Messer Marco
tonio. Antonio.
W. An. IV. 167]
Fa tradurre Avicenna ; de' giovameti ; — Have Avicenna's work on useful inven-
2ochiali col cartone, ^acciajuolo e forchetta tions translated; spectacles with the case, steel
e ; — 4carbone, asse e fogli e lapis and fork and . . . . , charcoal, boards, and
e biachetto e cera; — Hanagle e . . . da paper, and chalk and white, and wax; ....
vetri, sega da osso di sottil detatura, scar- .... for glass, a saw for bones with fine
pello, 6calamaro de , 3 erbe, e teeth, a chisel, inkstand , three
Agnol Benedetto, ?fa d'avere vn teschio, herbs, and Agnolo Benedetto. Get a skull,
noce, mostarda; nut, — mustard.
8Stivali,— guati— 9calcetti,— '°pettine, Boots,— gloves, socks, combs, papers,
papiri, — JI , — I2ca- ..
misce, . . .,-'3stringhe, carbon,— ^scarpe, towels> shlrts' • • • • shoe-taPes; ~
-'Steperatoio,— I6penne, — '7vna pelle al shoes, penknife, pens. A skin for the
petto. chest.
W. L. 141 i] 1435.
Libro di Piero Crescezio, — 2i nvdi di The book of Piero Crescenzo, — studies Undated me-
Giouanj Ambrosio, — ^compasso, — ^libro di from the nude by Giovanni Ambrosio, — com- (i«s— 14*7).
Gian Jacomo, — passes, — the book of Giovanni Giacomo.
1430. 2. alcibra coe mostra come. 3. n"o" e cosa sagualglia alia cosa.
1431. i. ioanes ''erobbia" rupicissa. 1432- 2> & cr' vell' • • cuppone. 4. ghallina.
*433- r- dellacq"e" . . marcho ant.
1434. i. avicena de govameti. 3. accarolo . . egamavr (or gamaut). 4. ellapis e biacetto. 5. tauaglie "e topo da vetri" segha
"da osso" di. 6. calimano de aperataio. 7. tesscio . . mostada. 10. palpiri. n. scugaco da scarte. 12. camisce coci.
I3.7curbori. 1435- i. cressciezo.
1433. Possibly Marc -Antonio della Torre, see tioche in quel tempo il lapis non era in uso) e con tal
p. 97. leggiadria gli dipinse una mano ecc. The incident is
1434. 4. Lapis. Compare Condivi, Vita di'-Michel- of the year 1496. — Lapis means pencil, and chalk
agnolo Buonarotll, Chap. XVIII. : Ma egli (Michel- (matita). Between lines 7 and 8 are the texts given
angelo) non avendo che mostrare, prese una penna (per- as Nos. 819 and No. 7.
432
MISCELLANEOUS NOTES.
[1436—1439.
W. L.
1436.
RlCORDO.
2Andare in provisione per il mio giar-
dino, — ^Giordano 'de poderibus', — 4el co-
ciliatore, de flusso e reflusso del mare,—
s far fare due casse da soma, — 6vedi il tor-
nio del Beltraffio e falli trarre vna pietra, —
?Lascia il libro a messere Andrea tedesco,
8fa vna bilancia d'una freccia e pesa la
cosa Ifocata e poi la ripesa fredda; ^Lo
spechio di maestro Luigi, — l°A b flusso e
reflusso dell'acque, provato al molino di
Vaprio, — ' ' beretta.
MEMORARDUM.
To make some provisions for my garden,
— Giordano, De Ponderibus\_$\, — the peace-
maker, the flow and ebb of the sea, — have two
baggage trunks made, look to Beltraffio's [6] lathe
and have taken the stone, — out leave the books
belonging to Messer Andrea the German, —
make scales of a long reed and weigh the
substance when hot and again when cold.
The mirror of Master Luigi; A b the flow
and ebb of the water is shown at the mill
of Vaprio, — a cap.
W. L. »i2(t\
1437-
Giovanni Fabre, — 2Lazaro del Volpe, —
Jcomune, 4Ser Piero. —
Giovanni Fabre, — Lazaro del Volpe,-
the common, — Ser Piero. |
W. L. 2030]
1438.
[Lattantio] 2 [libro di Benozzo], 3 gruppi, [Lactantius] , [the book of Benozzo],
— 4legare il libro, — sLucerna, — 6Ser Pe- groups, — to bind the book, — a lantern, — Ser
cantino, — ^ Pandolfino , — 8 [Rosso] , — 9 squa- Pecantino , — Pandolfino. — [Rosso] — a square,
dra, — I0coltellini, — "carrozze,— 12stregghia — small knives, — carriages, — curry combs —
1 J [cavallina], — '* tazza. cup.
C. A. in}; 37,5]
M39-
Quadrate di Carlo Marmocchi, — 2mes-
ser Francesco Araldo, — 3 Ser Benedetto
d'Accie perello,— •» Benedetto, del abbaco,
— s maestro Pagolo medico, — 6Domenico
Quadrant of Carlo Marmocchi, — Messer
Francesco Araldo, — Ser Benedetto d'Accie
perello, — Benedetto on arithmetic, — Maestro
Paulo, physician, — Domenico di Michelino, —
di Michelino, — ?el caluo deli Alberti, — of the Alberti, — Messer Giovanni
9messer Giovanni Argimboldi. Argimboldi.
1436. i. Richordo. 2. provitione. 4. frusso e refrusso. 5. dassoma. 6. effalli. 7. lasscia . . messere aiulrea tedesscho. 8. Ifo-
chata eppoi. 9. losspechio . . maesstro. 10. frusso e refrusso . . di uavrio.
*O7- !• govanni. 2. lazero . . clulpe.
1438. 8. careze. 9. streglia. 10. [cavalino.]
1439. i. charlo. 2. franc"o". 3. benedetto daccieperello. 4. abbacho. 5. maesstro pagholo medicho. 6. domenicho. 7. chaluo.
8. meser argirobolto.
3. Giordano. Jordanus Nemorarius, a mathe-
matician of the beginning of the Xlllth century.
No particulars of his life are known. The title
of his principal work is: ArUhmetita decent libris de-
monstrata, first published at Paris 1496. In 1523 ap-
peared at Nuremberg: Liber Jordani Nemorarii de
pondtribus, propositiones XIII et earundctn demonstra-
tiones, multarumque rerum rationes sane pulcherrimas
complectens, nunc in lucem editus.
6. Beltraffio, see No. 465, note 2.
There are sketches by the side of lines
and 10.
1437. These names are inserted on a plan of
plots of land adjoining the Arno.
1440— 1444-]
MISCELLANEOUS NOTES.
433
C. A. 19 6; 726]
1440.
Colore,— 2formulario,— 3 Archimede, - Colours, formula, — Archimedes, — Mar-
6Marcanto7nio; cantonio.
8Ferro stagnate, — 9 ferro traforato. Tinned iron,— pierced iron.
C. A. 2fa; Sga]
1441.
Vedi la bottega che fu di 2Bartolomeo See the shop that was formerly Barto-
cartolaio. lommeo's, the stationer.
C. A. jo a; 207 a]
1442.
Primo libro e di Michele di Francesco The first book is by Michele di Francesco
di Nabini, e di scientia. Nabini; it treats on science.
C. A. 113^; 3490]
1443-
Messer Francesco, medico Lucchese a- Messer Francesco, physician of Lucca,
presso il Cardinale Farnese. with the Cardinal Farnese.
C. A. IlSrt; 366(1]
1444.
Libro del Pandolfino, — 2coltelli, — 3pen-
na da rigare, — ttignere la uesta, — slibreria
di Sco Marco, — 6libreria di Sco Spirito, —
?Lattantio de' Daldi, — 8 Antonio Couoni,—
9 libro di maestro Paolo Infermieri, — I0sti-
ualetti, scarpe e calze, — "lacca, — "gar-
zone che mi facci il modello, — ^gramatica
di Lorenzo de' Medici, — ^Giouanni del
Sodo, — TS Sansouino, — I6riga, — ^coltello
sottilissimo, — I8occhiali, — J9 —
20rifare ,— 2I libro di Maso,—
22 catenuzza di Michelagnolo , — 23 Tf impara
la multiplicatione 24 delle radici da maestro
Lucal 2Sel mio mappamodo che a Giovanni
Bed, 26calcetti, — 2?vesta dal gabellotto, —
28cordovano rosso, — 29mappamodo di Gio-
vanni Benci, — 3°paesi di Milano in istapa,
— 3I libro di mercato, —
Pandolfino's book[i], — knives, — a pen
for ruling, — to have the vest dyed, — The
library at St.-Mark's, — The library at Santo
Spirito, — Lactantius of the Daldi [7], — Anto-
nio Covoni, — A book by Maestro Paolo In-
fermieri,— Boots, shoes and hose, — (Shell)lac,
— An apprentice to do the models for me.
Grammar, by Lorenzo de Medici, — Giovanni
del Sodo, — Sansovino, [15] — a ruler, — a very
sharp knife, — Spectacles, — fractions . . . . ,
— repair , — Tomaso's book, —
Michelagnolo's little chain; Learn the multi-
plication of roots from Maestro Luca; — my
map of the world which Giovanni Benci
has [2 5]; — Socks, — clothes from the custom-
house-officier, — Red Cordova leather, — The
map of the world, of Giovanni Benci, — a
print, the districts about Milan — Market book.
1440. 4. cochino. 5. aioditti. 1441. i- bottegha cheffu. 2. bartol.
1442. p"o" libro . . franc"o" eddi sua discie.
1444. 2. coltegli. 3. darrigare. 5. marcho. 9. pagolo infermieri. 17. sotilissimo. 19. rotti fisici. 20. rif ire lalbernuscio. 22. ca-
tenuza. 23. ipara. 24. radice . . maesstro. 27. vesta di ga bellotto. 29. govanni.
1441. 6. Marc Antonio, see No. 1433.
1443. Alessandro Farnese, afterwards Pope Paul III
was created in 1493 Cardinal di San Cosimo e San
Damiano, by Alexander VI.
1444. i. Pandolfino, Agnolo, of Florence. It is to
this day doubtful whether he or L. B. Alberti was
the author of the famous work 'Del Governo della
Famiglia\ It is the more probable that Leonardo
should have meant this work by the words il libro,
because no other book is known to have been
written by Pandolfino. This being the case this al-
lusion of Leonardo's is an important evidence in
VOL. It.
favour of Pandolfino's authorship (compare No. 1454,
line 3).
7. The works of Lactantius were published
very often in Italy during Leonardo's lifetime. The
first edition published in 1465 "in monastero
sublacensi" was also the first book printed in
Italy.
15. Sansovino, Andrea — the sculptor; 1460 — 1529.
25. Leonardo here probably alludes to the map,
not executed by him (See p. 224), which is with the
collection of his MSS. at Windsor, and was publi-
shed in the Archaeologia Vol. XI (see p. 224).
Ill
434
MISCELLANEOUS NOTES.
[I445—I448.
C. A. 145-; 432«J
1445-
* Di quel di Pavia si lauda • piv • il movi-
meto • che nessun altra cosa ; —
H'L'imitatione • delle cose • antiche • e
piv laudabile • che quella delle • moderne I'-
ll J No pu6 essere bellezza • e vtilita •
come appare nelle fortezze «e nelli omini;!
Is II trotto • e quasi di qualita di cavallo
libero; —
6Doue • manca • la uiuacita naturale, bi-
sognia fame una accidetale.il
In that at Pavia the movement is more
to be admired than any thing else.
The imitation of antique work is better
than that of the modern things.
Beauty and utility cannot exist together,
as seen in fortresses and in men.
The trot is almost the nature of the free
horse\.
Where natural vivacity is lacking it must
be supplied by art.
C. A. 176*; 53*1
1446.
Saluadore materassaio 2sta in sulla pi- Salvadore, the matress maker, lives on the
azza di Sco An'drea; entra da pellicciai . . . Piazza di Sant' Andrea, you enter by the furrier's.
C. A. 185*; 557'] 1447-
Mosignor de' Pazzi, — 2 ser Atonio Pacini. Monsignore de' Pazzi, — Ser Antonio Pacini.
c. A. 222<j; 6640) 1448.
Algibra ch'e apresso i Marliani fatta
dal loro padre,—
2Dell'osso, de' Marliani,
^Dell'osso che fora, Gian Giacomo da
Bellinzona, e tirare fori il chiodo co faci-
lita,—
^Misura di Boccalino, —
sMisura di Milano e borghi, —
6Libro che tratta di Milano e sua
chiese, che a 1' ultimo cartolaio luerso il
Corduso, —
?Misura della corte vechia,—
8Misura del castello, —
9Fatti mostrare al maestro • d' abbaco •
riquadrare • uno , —
IOFatti mostrare a messer Fatio 'di pro-
portione', —
An algebra, which the Marliani have,
written by their father, [i] —
On the bone, by the Marliani, —
On the bone which penetrates, Gian Gia-
como of Bellinzona, to draw out the nail with
facility, —
The measurement of Boccalino, —
The measurement of Milan and the sub-
urbs, [5]—
A book, treating of Milan and its chur-
ches which is to be had at the last statio-
ner's on the way to Corduso [6], —
The measurement of the Corte Vecchia, —
The measurement of the Castle, —
Get the master of arithmetic to show you
how to square a .... , —
Get Messer Fazio to show you [the book]
on proportion, —
M45- '• lalda . . chosa. 2. chose . . laldabile chelle. 3. pro essere belleza . . chome apare. 5. trocto . . chavallo. 6. mancha
. . fare * accidetale.
1446. 2. piaza di sco\\\\\\. 3. pelliccai\\\\\. 4. detare a franc" paio\\\\\\. 5. 5 di lenzola e per so\\\\\.
1447. pazi.
1448. i. alcibra. 3. cheffora giaiachomo da belinchona ettirare . . ciodo cho. 4. bochalino. 6. chettatta . . essa . . chartolaio
. . chorduso. 7. chorte. 8. chastello. 9. dabbacho . . riquadrare i magloto (?). n. mosstrarc : . fralte. 13. frnffillippo.
1445. Quel di Pavia. Pavia is possibly a clerical 2. See No. 487 note. Vol. I p. 244.
error for Padua, and if so the meaning of the pas- 1448. i. 2. Marliani, an old Milanese family, now
sage is easily arrived at: Quel di Padua would be extinct.
the bronze equestrian statue of Gattamelata, on the 5. 21. See PI. CIX and No. 1016.
Piazza del Santo at Padua executed by Donatello in 6. Corduso, see No. 1413, note.
1443 (see pp. 2 and 3).
1449-1
MISCELLANEOUS NOTES.
435
"Fatti mostrare • al frate di Brera 'de
poderibus', —
12 Delia misura di Sco Lorenzo, —
J^A fra Filippo di Brera prestai • cierti
gruppi,—
^Ricorda a Giouanino bonbardieri • del
modo, come si mvro la torre di Ferrara •
saza buche, —
'sDimada • maestro Antonio, come • si
pianta bobarde e bastioni di dl o di notte, —
l6Domanda Benedetto Portinari in che
modo si corre per lo ghiaccio • in Fiadra,—
J7Le proportioni • d' Alchino colle cosi-
derationi del Marliano da messer Fatio, —
18 La misura del sole promessami da
maestro Giovanni frazese, —
J9Balestra di maestro Gianetto, —
20 II libro di Giovanni Taverna che • a •
messer Fatio, —
2IRitrarai Milano,—
22 Misura di navilio, conche e sostegnio
e barche maggiori e spesa,—
23 Milano I fondameto,—
24 Gruppi di Bramate, —
2sMeteora d'Aristotile vulgare, —
26 Fa d'avere Vitolone ch' e nella libreria
di Pauia che tratta della matematica, —
27teneva uno maestro d'acqua, e fatti dire
i riparo d'essa, e quello che costa 28vn ri-
paro, e una • conca •, e uno navilio, e uno
molino alia lonbarda,
29Un nipote • di Gian Agelo • dipitore a
uno libro d'acque che fu del padre;
3°Paolino Scarpellino •, detto Assiolo •, e
bono • maestro d' acque.
Get the Friar di Brera to show you [the
book] cde Ponderibus' [ 1 1 ],—
Of the measurement of San Lorenzo, —
I lent certain groups to Fra Filippo de
Brera, [i 3]—
Memorandum: to ask Maestro Giovan-
nino as to the mode in which the tower of
Ferrara is walled without loopholes, —
Ask Maestro Antonio how mortars are
placed on bastions by day or by night,—
Ask Benedetto Portinari how the people
go on the ice in Flanders, —
On proportions by Alchino, with notes-
by. Marliano, from Messer Fazio, —
The measurement of the sun, promised me
by Maestro Giovanni, the Frenchman, —
The cross bow of Maestro Gianetto, —
The book by Giovanni Taverna that
Messer Fazio, —
You will draw Milan [21], —
The measurement of the canal, locks and
supports, and large boats; and the expense, —
Plan of Milan[23], —
Groups by Bramante[24], —
The book on celestial phenomena by
Aristoteles, in Italian [25], —
Try to get Vitolone, which is in the
library at Pavia [2 6] and which treats of
Mathematics, — He had a master [learned] in
waterworks and get him to explain the repairs
and the costs, and a lock and a canal and
a mill in the Lombard fashion.
A grandson of Gian Angelo's, the painter
has a book on water which was his fathers.
Paolino Scarpellino, called Assiolo has
great knowledge of water works.
C. A. 313^; 950(5]
Francesco d' Antonio J Firenze.
1449.
Francesco d'Antonio at Florence.
14. richorda a govanni . . cho ne . . tore' di ferara. 15. chome. 16. chore . . diacio di fiadra. 17. cholle chosidera-
tione. r8. promissami . . maestro. 22. choche esso stegnio . . magiori esspesa. 26. tratte delle matematice. 27. teneva
i maestro dacq"a" effatti . . ecquelle che chosta. 26. e \ choncha e i . . e !. 29. vnipote . . gianagelo . . a i libro.
30. pagolino scharpellino . . maesstro.
9. i. franc"o" danf'o" jffirence (early writing).
11. 13. Brera, now Palazzo delle Scienze ed Arti.
Until 1571 it was the monastery of the order of the
Umiliati and afterwards of the Jesuits.
De ponderibus, compare No. 1436, 3.
12. Sco Lorenzo. A church at Milan, see pp. 39>
40 and 50.
13. 24. Gruppi. See Vol. I p. 355, No. 600, note 9.
16. The Portinari were one of the great merchant-
families of Florence.
23. Fondamento is commonly used by Leonardo to
mean ground-plan. See for instance p. 53.
25. Meleora. By this Leonardo means no doubt
the four books rd jxerecupoXoYtxa. He must refer
here to a MS. translation, as no Italian translation
is known to have been published (see No. 1477
note).
26. Vilolone see No. 1506, note.
Libreria di Pavia. One of the most famous of
Italian libraries. After the victory of Novara in
April 1500, Louis XII had it conveyed to France,
'come trofeo di vittoria ' !
436
MISCELLANEOUS NOTES.
[I450—I454.
C. A. 358*;
1450.
Givliano Godi , — 2 Tomaso Ridolfi , -
JTorhaso-Paganelli,— 4 Niccolo • del Nero,—
sSimo-Guasti,— 6Nasi,— ?erede di Lionardo
Manelli, — 8Guglielmo di Ser Martino,—
'Bartolomeo • del Tovaglia, — '"Andrea •
Arrigucci, — "Niccolo • Capponi,— I2Giovan
Portinari.
Giuliano Gondi [i], — Tomaso Ridolfi, —
Tomaso Paganelli, — Nicolo del Nero, — Simone
Zasti, — Nasi, — the heir of Lionardo Ma-
nelli,— Guglielmo di Ser Martino, — Barto-
lomeo del Tovaglia, — Andrea Arrigucci,—
Nicold Capponi, — Giovanni Portinari.
Br. M. 480]
Pandolfino.
Pandolfino.
Br. M. ija t] X452-
II Vespuccio mi vol dare un libro di Vespuccio will give me a book of Geo-
geometria. metry.
Br. M. 1500]
1453-
Marcantonio Colonna 2in Sco Apostolo. Marcantonio Colonna at Santi Apostoli.
Br. M. 191 a]
1454-
Cassa, gabbia, —
'Liuello, far Puccello, —
3 Libro del Pandolfino, grasselino, —
* Coltellini, — Venieri per la
A box, a cage, —
A square, to make the bird [2], —
Pandolfino's book, mortar [?], —
Small knives, Venieri for the
1453. t. el vespucco . . dare i libro di giometria.
1450. i — 12 R. 4. nicholo. 5. zasti. 7. rede di. n. nicholo.
1453. marchatonio cholonna.
1454. i. chassa. ^.pella. 5. darrizare . . metaura. 8. casa e pazi. g. maesstro pa"lo". 10. esscarpe. n. lacha, — tr.-ii 2 nguti.
1450. I. Guiliano Condi. Ser Piero da Vinci,
Leonardo's father, lived till 1480, in a house be-
longing to Giuliano Gondi. In 1498 this was pulled
down to make room for the fine Palazzo built on
the Piazza San Firenze by Giuliano di San Gallo,
which still exists. In the Riassunto del Catasto di Ser
Piero da Vinci, 1480, Leonardo is not mentioned; it
is evident therefore that he was living elsewhere. It
may be noticed incidentally that in the Catasto di
Giuliano Gondi of the same year the following men-
tion is made of his four eldest sons:
Lionardo mio figliuolo d'eta d'anni 29, non fa nulla,
•Giovambatista d'eta d'anni 28 in Ghostantinopoli,
Billichozo d1 eta d'anni 24 a Napoli,
Sitnone d1 eta d?anni 23 in Ungheria.
He himself was a merchant of gold filigree (facci-
amo lavorare una bottegha d1 arte di seta . . . facdamo
un pocho di trafico a Napoli). As he was 59 years
old in 1480, he certainly would not have been alive
at the time of Leonardo's death. But Leonardo must
have been on intimate terms with the family till the
end of his life, for in a letter dated June I. 1519,
in which Fr. Melzi, writing from Amboise, announces
Leonardo's death to Giuliano da Vinci at Florence
(see p. 284), he says at the end "Datemene risposta per
i Condi" (see UziELLI, Kicerche, passim).
Most of the other names on the list are those
of well-known Florentine families.
1452. See No. 844, note, p. 130.
1453. In July 1506 Pope Julius II gave Donna
Lucrezia della Rovere, the daughter of his sister
Lucchina, in marriage to the youthful Marcantonio
Colonna, who, like his brothers Prospero and
Fabrizio , became one of the most famous Cap-
tains of his family. He gave to him Frascati
and made him a present of the palazzo he had
built, when Cardinal, near the church of Santi Apo-
stoli which is now known as the Palazzo Co-
lonna (see GREGOROVIUS, Gesch. der Siadt Rom.
Vol. VIII, book XIV i, 3. And COPPI, Mem. Co-
lonnesi p. 251).
1454. Much of No. 1444 is repeated in this me-
morandum.
2. Vasari states that Leonardo invented mechanical
birds which moved through the air. Compare
No. 703.
I455-J
MISCELLANEOUS NOTES.
437
s Penna da rizzare,
6Tignere la uesta,
^ Librerie,
pietra, — stella, —
la tazza d' Alfieri, —
la Meteora, —
8Lattantio de' va a casa de'
Daldi, . Pazzi, —
9 Libro di maestro cassetta, —
Paolo Infermieri, —
IOStiualetti, calze e suchiellino, —
scarpe,
XILacca, ....
I2Garzone pe' mo- ....
delli, ....
J3Gramatica di la valuta del
Lorezo de' Medici,— ....
I4Giouanni del ....
Sodo per . . .
'sSansauino, valuta del . . ., —
16 Pier di Cosimo, . . . per 1'alie, —
^Filippo e Lorenzo, — l8riga, — ^ochiali,
— 20rifare la , — 2Ilibro di Maso,—
22 catena di Michelagnolo, — 23 mvltiplicatione
di radici,— 24di corda e arco, — 25mappa-
modo de' Benci,— 26calcetti, — 2?vesta dal
gabellotto, — 28cordovano, — 29libri di mer-
cato, — 3°acque del Cronaca, — 3'acque del
Tanaglino, — 32 } — 33 le berrette,—
34spechio del Rosso vederlo fare, — 35i/3 di
che n'6 s/6 , — 36 Meteora d' Aristotele , —
3?casse di Lorezo di Pier Francesco, — 3» mae-
stro Piero dal Borgo, — 39legare il mio libro, —
4°Hmostra al Serigatto il libro, — 4Ie fatti
dare la regola dell'orilogio, anello,lf —
42 noce muscato, — 43 gomma, — 44 squadra,—
45Giova Batista a la piazza de' Mozzi, —
46 Giovanni Benci il libro mio, e' diaspri,
4?ottone per li ochiali.
Pen for ruling, stone, — star, —
To have the vest dyed, Alfieri's tazza, —
The Libraries, the book on celestial
phenomena, —
Lactantius of the go to the house of
Daldi, — the Pazzi,
Book from Maestro small box, —
Paolo Infermieri, — .
Boots, shoes and small gimlet, —
hose,
Lac, , —
An apprentice for , —
models,
Grammar of Lo- the amount of the
renzo de' Medici, . . .
Giovanni del Sodo
for ... , — the broken
Sansovino, the ....
PierodiCosino[i6], the wings, —
Filippo and Lorenzo [17], — A ruler, —
Spectacles, — to do the again, — To-
maso's book, — Michelagnolo's chain, — The
multiplication of roots, — Of the bow and
strinch, — The map of the world from Benci, —
Socks, — The clothes from the custom-house
officier, — Cordova leather, — Market books,
— waters of Cronaca, — waters of Tanaglino . . .,
— the caps, — Rosso's mirror; to see him make
it, — J/3 of which I have 5/6 , — on the cele-
stial phenomena, by Aristotle [3 6], — boxes
of Lorenzo di Pier Francesco [3 7], — Maestro
Piero of the Borgo, — To have my [book
bound, — Show the book to 'Serigatto, —
and get the rule of the clock [4 i], —
ring, — nutmeg, — gum, — the square, — Giovan'
Batista at the piazza de' Mozzi, — Giovanni
Benci has my book and jaspers, — brass for
the spectacles.
Br. M. 192 a]
Cerca in Firenze della
1455-
Search in Florence for
12. dali antelessi. 14. per rotti fisici vatro. 15. del ca. 16. fetto per lalie. 20. la bruncio (?). 24. archo. 25. mapa-
modo. 27. di ganbelletto. 30. clomica. 32. moncatto. 35. n"o". 36. metaura. 38. maesstro. 41. effatti. 42. misscado.
45- gova batissta . . piaza de mozi. 46. govanni . . ellibro mio e dia ispriottone.
1455. i. cerchi . . dellaramodina.
7. 36. Meteora. See No. 1448, 25.
16. Pier di Cosimo the well known Florentine
painter 1462—1521. See VASARI, Vite (Vol. IV, p. 134
ed. Sansoni 1880) about Leonardo's influence on
Piero di Cosimo's style of painting.
17. Fzlippo e Lorenzo; probably the painters Filippino
Lippi and Lorenzo di Credi. L. di Credi's pictures
and Vasari's' history of that painter bear ample evi-
dence to his intimate relations with Leonardo.
37. Lorenzo di Pier Francesco and his brother Gio-
vanni were a lateral branch of the Medici family and
changed their name for that of Popolani.
41. Possibly this refers to the clock on the tower
of the Palazzo Vecchio at Florence. In February
1512 it had been repaired, and so arranged as to
indicate the hours after the French manner (twelve
hours a. m. and as many p. m.).
438
MISCELLANEOUS NOTES.
[1456—1458.
Mi. A.)
Bernardo da Pote...2Val di Luga al
fie disce . . . 3 e questo e mostr . . . * molte
vene per 1'anotomia.
1456.
Bernardo da Ponte . . . Val di Lugano
. . . many veins for anatomical demonstra-
tion.
Br. M. P.]
1457-
Paolo da Tavechia, per 2vedere le ma-
chie decile pietre tedesche.
Paolo of Tavechia, to see the marks in
the German stones.
c. 15*
1458.
Jacomo venne a stare • con meco jl di
Notes on della Maddalena nel mille 490, d'eta d'anni
M5p8U-il468.) I05 2l1 second° dl lj feci tagliare 2 cami-
cie, uno pajo di calze e vn giubbone, e qua-
do mi posi i dinari al lato per pagare dette
cose lui mi lire 4
3 detti dinari dalla scarsella, e mai fu possibile
farli leconfessare, bench' io n'avessi veracier-
tezza; — ladro, bugiardo, ostinato, ghiotto. —
* II dl seguente andai a ciena con la-
como, Andrea e detto lacomo • ; cieno per
2 e fece male per 4, inperoche rupe 3
ampolline, s verso il uino, e dopo questo
venne a ciena doue me . . .
6Ite a dl 7 di settebre • rubo uno gra-
fio di valuta di 22 soldi a Marco che staua
con meco, jl quale era lire 4
?d'argieto e tolse gli lo dal suo studiolo,
e poi che detto Marco n' ebbe assai ciercato,
lo trov6 na8scosto in nella cassa di detto
lacomo lire 4.
Giacomo came to live with me on St.-Mary
Magdalen's [i] day, 1490, aged io years. The
second day I had two shirts cut out for him,
a pair of hose, and a jerkin, and when I put
aside some money to pay for these things
he stole 4 lire
the money out of the purse; and I could never
make him confess, though I was quite certain
of the fact. — Thief, liar, obstinate, glutton.
The day after, I went to sup with Gia-
como Andrea, and the said Giacomo supped
for two and did mischief for four; for he
brake 3 cruets, spilled the wine, and after
this came to sup where I ....
Item: on the 7th day of September he
stole a silver point of the value of 22 soldi
from Marco [6] who was living with me, 4 lire
this being of silver; and he took it from his
studio, and when the said Marco had sear-
ched for it a long while he found it hidden
in the said Giacomo's box 4 lire.
1456. i. pote\\\\\. 2. al fie dis\\\\\\. 3. ecquesto e mostr\\\\. 4. la not\\\\\\. 5. paroffa di sa posa\\\\\.
1457. i. pagol. 3. tedessce.
1458- i. lachomo vene . . chomecho . . madalena . . dani. 2. sechondo . . chamice i paro di chalze . . gibone ccquado . . chose
3. della scharsella . . farlie le qhonfessare . . cierteza . — ladro . . ghiotto these four words are written OH the margin.
4. chon iachomo . . 3 amole. 5. vene. 6. graffio . . ualluta . . marcho . . chomecho . . era [di ua] lire. 7. (luto di]
durgicto ettolse glielo del . . marcho [glielebe] nebe assai cierco lo tro na. 8. schosto inella chassa . . iachomo lire 4*.
1456. This fragmentary note is written on the
margin of a drawing of two legs.
1457. This note occurs on a pen and ink drawing
made by Leonardo as a sketch for the celebrated
large cartoon in the possession of the Royal Aca-
dejny of Arts, in London. This cartoon is com-
monly supposed to be identical with that described
and lauded by Vasari, which was exhibited in Flo-
rence at the time and which now seems to be lost.
Mr. Alfred Marks, of Long Ditton, in his valuable
paper (read before the Royal Soc. of Literature,
June 28, 1882) "On the St. Anne of Leonardo da
Vinci", has adduced proof that the cartoon now in the
Royal Academy was executed earlier at Milan. The note
here given, which is written on the sheet containing
the study for the said cartoon, has evidently no
reference to the drawing on which it is written
but is obviously of the same date. Though I have
not any opening here for discussing this question of
the cartoon, it seemed to me important to point out
that the character of the writing in this note does
not confirm the opinion hitherto held that the Royal
Academy cartoon was the one described by Vasari,
but, on the contrary, supports the hypothesis put
forward by Mr. Marks.
1458. // dl della Maddalena. July 22.
6. Marco, probably Leonardo's pupil Marco d'Og-
gionno; 1470 is supposed to be the date of his
birth and 1540 of his death.
Che stava con meco. We may infer from this that
he left the master shortly after this, his term of
study having perhaps expired.
I459-]
NOTES ON PUPILS.
439
9 Item a dl 26 di gienaro seguete, es-
sendo io in casa di messer Galeazzo da
San Severino a ordinare la festa I0 della
sua giostra, e spogliandosi cierti staffieri
per prouarsi alcune vesti d'omini saluatici
ch'a detta lire 2^4
"festa accadeano, Giacomo s'accosto
alia scarsella d'uno di loro, la qual era I
sul letto con altri panni, I2e tolse quelli di-
nari che detro vi trovo.
J3lte essendomi da maestro Agostino
da Pauia donato in detta casa una pelle
turchesca da fare uno lire 2.
I4pajo di stiualetti •, esso Giacomo infra
uno mese me la rubo, e vende la a uno
conciatore di IS scarpe per 20 soldi, de' quali
danari secondo che lui propio mi cofesso,
ne copro anici cofetti;
l6Ite ancora a dl 2 d'aprile, lasciado Gia
Atonio uno grafio d'argieto sopra uno suo
disegnio, J 7 esso Giacomo gli lo rubo, il
qual era di ualuta di soldi 24 lira I a 6" 4.
18 II primo I9anno
20 v matello, lire 2
2Icamicie 6, lire 4
22 3 givboni, lire 6
234 paja di calze lire, 788
24vestito foderato, lire 5
2 s 24 paja di scarpe, lire 6-85
26vna baretta, lire I
27strighe lire, i.
Item: on the 26th January following,
I, being in the house of Messer Galeazzo
da San Severino [9], was arranging the festi-
val for his jousting, and certain footmen
having undressed to try on some costumes
of wild men for the said festival, Giacomo
went to the purse of one of them which lay
on the bed with other clothes, 2 lire 4 S,
and took out such money as was in it.
Item : when I was in the same house,
Maestro Agostino da Pavia gave to me a
Turkish hide to have 2 lire.
a pair of short boots made of it; this Gia-
como stole it of me within a month and
sold it to a cobbler for 20 soldi, with
which money, by his own confession, he
bought anise comfits.
Item: again, on the 2nd April, Giovan
Antonio [i 6] having left a silver point on a
drawing of his , Giacomo stole it, and this
was of the value of 24 soldi i lira 4 ,S.
The first year —
A cloak, 2 lire,
6 shirts, 4 lire,
3 jerkins, 6 lire,
4 pairs of hose, 7 lire 8 soldi,
i lined doublet, 5 lire,
24 pairs of shoes, 6 lire 5 soldi,
A cap, i lira,
laces, i lira.
s. K. M. m. i a]
1459-
A dl penvltimo di settembre;
2giobia, a dl 27 di settebre, 3torno
maestro Tofhaso, "Uavoro per se insino a
dl penvltimo di febraio ; s a dl 1 8 di marzo
1493 6venne lulio tedesco ?a stare meco;
Lucia, — Piero, — Lionard.
9 A dl 6 d'ottobre.
. On the last day but one of September;
Thursday the 2;th day of September
Maestro Tommaso came back and worked for
himself until the last day but one of February.
On the 1 8th day of March, 1493, Giulip, a
German, came to live with me, — Lucia, Piero,
Leonardo.
On the 6th day of October.
9. Ite adi . . esendo . . chasa . . galeazo dassanseverino ardina la. io. alchune veste . . saluatichi. n. achadeano j
iachomo sachosto allasscharsella . . chon. 13. chasa. 14. paro . . iachomo infra 5 mese. 15. de qua dinari sechondo . .
chofessone chopre . . ch5fetti. 16. anchora . . lassciado . . Stonio i graffio. 17. iachomo glielo. 18—27. R. 21. camiCe.
23. para di chalze. 24. li 5. 25. para . . scarpeli. 27. inclti strlge.
1459. i. R. 2. grobia. 3. maesstro. 4. addi. 6. tedessco. 7. asstare mecho. 9. R. The -words lucia piero lionard are written
on the margin.
9. Galeazzo. See No. 718 note.
1 6. Giovan Antonio, probably Beltraffio, 1467 to
1516.
Leonardo here gives a detailed account not only
of the loss he and others incurred through Giacomo
but of the wild tricks of the youth, and we may
therefore assume that the note was not made merely
as a record for his own use, but as a report to be
forwarded to the lad's father or other responsible
guardian.
440
MISCELLANEOUS NOTES.
[1460 — 1464.
H.J
1460.
1493-
2 A dl primo di novebre facemmo -»c6-
to; Givlio restava a rimettere mesi 44 |j e
maestro Tomaso mesi 9; s maestro Tomaso
fece di poi 6 cadellie6ri -, dl 10-; Givlio in
cierte molli ?dl 15; lavoro poi per se in-
line a dl 27 di maggio, e Iavor6 9per me
uno martinello insino a dl 18 I0di luglio,
poi per se insino a dl 7 "d'agosto, e
questo uno mezzo dl per una donna; I2di
poi per me in 2 serrature '-lincmrk a
20 d'agosto.
a dl
On the Ist day of November we settled
accounts. Giulio had to pay 4 months;
and Maestro Tommaso 9 months; Maestrjo
Tommaso afterwards made 6 candlesticks,
10 days' work; Giulio some fire-tongs
15 days work. Then he worked for himse
till the 27th May, and worked for me at
lever till the i8th July; then for himself till
the 7th of August, and for one day, on the
fifteenth, for a lady. Then again for me at
2 locks until the 20th of August.
H.i
1461.
H A dl 23 d'agosto lire 12 da Pulisona;H
-'a dl 14 di marzo 1494 ^venne Galeazzo
a stare con meco 4co patto di dare 5 lire
il mese 5per le sue spese, pagado ogni 14
°dl de' mesi.
7Dettemi suo padre fiorini 2 di Reno;
8 A dl 14 di luglio ebbi da Galeazzo
fio°rini 2 di Reno.
On the 23rd day of August, 12 lire from
Pulisona. On the 14th of March 1494, Ga-
leazzo came to live with me, agreeing to
pay 5 lire a month for his cost paying on
the 14th day of each month.
His father gave me 2 Rhenish florins.
On the 14th of July, I had from Galeazzo
2 Rhenish florins.
"•3 57"!
1462.
A dl 15 di 2settebre Givlio comr'cio
la serratuSra del mio 6studiolo 14794.
On the 15th day of September Giulio began
the lock of my studio 1494.
Br. M. 271,5]
I463-
Sabato mattina a dl 3 d'agosto- 1504 Saturday morning the 3rd of August 1504
venne lacopo 2tedesco a stare con meco Jacopo the German came to live with me
in casa; convennesi con me'co che io in the house, and agreed with me that I should
li facessi le spese per uno carlino 4il dl. charge him a carlino a day.
G. 0-1 1464-
I5II.
A dl 26 di settebre Antonio 2si rupe
la gaba, a a stare 40 dl.
1511.
On the 26th of September Antonio broke
his leg; he must rest 40 days.
1460. i — 7 R. 4. seratu. n. mezzo uno di.
1461. i — 13 R. 2. facemo. 8. magio. 9. me t. n. mezo i di per * dona. ij. addi 20.
1464. 1—7 R. 3. galeazo asstare comecho. 4. cho pacto. 7. padre f. 2 di re. 8. galeazo.
1463. Written from left to right, i. addi . . iachopo. 2. tedesscho asstare chome cho in chasa chonvennesi chome. 3. choche
. . lesspese . . charlino.
1464. 2. addi . . setebre 2 ruppe.
1464. This note refers possibly to Beltraffio.
1465—1467.]
NOTES ON PUPILS.
441
E.
I465-
Parti da Milano per Roma a dl 24
2 di settebre 1513 co Giova, Francesco 3 de'
Melsi, Salai, Lorezo e il Fafoia.
I left Milan for Rome on the 24th day of
September, 1513, with Giovanni [2], Francesco
di Melzi [3], Salai, Lorenzo and il Fanfoia.
C. A. 6ja; 202 a]
1466.
A di 3 di gienajo.
2 Benedetto verie a 17 d'ottobre;- 3e
stato con meco due mesi e 13 di 4 dell' anno
passato, nel qual tepo a meditate li 38 e
S 1 8 di 8; 6ne a avuto lire 26 e S 8, resta
a ?avere Per 1'anno passato lire 12 S 10.
8Joatti venne • a di 8 di settebre 9 a 4
ducati al mese, e stato con me I0mesi • 3
e di 24; a meritato • li. "59 S 14 e • 8,
ne a avuto liI2re 43 S 4; ' -3 resta a auere lire
16 T4per 10 di 8.
'5 Benedetto grossoni 24.
On the 3rd day of January.
Benedetto came on the i7th of October;
he stayed with me two months and 13 days
of last year [4], in which time he earned
38 lire, 1 8 soldi and 8 dinari; he had of
this 26 lire and 8 soldi, and there remains
to be paid for the past year 12 lire 10 soldi.
Giodatti(P) came on the 8th day of Sep-
tember, at 4 soldi a month, and stayed with
me 3 months and 24 days, and earned 59 lire
14 soldi and 8 dinari ; he has had 43 lire,
4 soldi, there remains to pay 16 lire, 10 soldi
and 8 dinari.
Benedetto, 24 grossoni.
C. A. 2600;; 793 <*]
Maria 4
^ Benedetto 4
5 Gian Pietro 3
6 Salai 3
7Bartolomeo 3
8Gherardo 4.
1467.
Gian Maria 4,
Benedetto 4,
Gian Pietro [5] 3.
Salai 3,
Bartolomeo 3,
Gherardo 4.
1465. i. addi. 2. sectebe . . fraciesscho.
1466. Written from left to right, i. gienaro . dottobre a di 4 elm. 3. asstato cho mecho. 4. dellano . . tepo ame. 5. vitato li
38 e. 6. anneauto. 8. joatti (?) venne . . settebr. 9. stato come. n. ane aun li.
1467. i. \\\\\nco. 2. \\\\\\\iberdo. 5. gian petro.
1465. 2. Giovan; it is not likely that Leonardo
should have called Giovan' Antonio Beltraffio at one
time Giovanni, as in this note and another time An-
tonio, as in No. 1464 while in No. 1458 1. 16 we find
Giovan1 Antonio, and in No. 1436, 1. 6 Beltraffio. Possibly
the Giovanni here spoken of is Leonardo's less
known pupil Giovan Pietrino (see No. 1467, 5).
2. 3. Francesco de' Melzi is often mentioned, see
Nos. 1350.
3. Salai. See No. 1519 note.
4. Lorenzo. See No. 1351, 1. 10 (p. 408). Amoretti
gives the following note in Mem. Star. XXIII: 1505.
Martedi — sera a dl 14 d'aprile. Venne Lorenzo a stare
con • mecho: disse essere d1 eta d'anni 17 . . a dl 15 del
detto aprile ebbi scudi 25 d'oro dal chamerlingo di Santa
Maria nuova. This, he asserts is derived from a MS.
marked S, in quarto. This MS. seems to have
vanished and left no trace behind; Amoretti himself
had not seen it, but copied from a selection of
VOL. n.
extracts made by Oltrocchi before the Leonardo
MSS. were conveyed to Paris on the responsibility
of the first French Republic. Lorenzo, by this, must
have been born in 1487. The sculptor Lorenzetto
was born in 1490. Amoretti has been led by the
above passage to make the following absurd obser-
vations :
Cotesto Lorenzo, che pot gli fit sempre compagno , al-
meno sin che stette in Italia, sarebb' egli Lorenzo Lotto
bergamasco? Sappiamo essere stato questo valente dipin-
tore uno de1 bravi scolari del Vinci (!).
II Fafoia, perhaps a nickname. Cesare da Sesto,
Leonardo's pupil, seems to have been in Rome in these
years, as we learn from a drawing by him in the Louvre.
1466. This seems to be an account for two assis-
tants. The name of the second is scarcely legible.
The year is not given. The note is nevertheless of
chronological value. The first line tells us the date
when the note was registered, January 3^ and the
KKK
442
MISCELLANEOUS NOTES.
[1468. 1469.
C. A. F.
Salai lire 2O
3 Bonifacio lire 2
Rirtolomeo lire 4
*Arrigo lire 15.
1468.
Salai, 20 lire,
Bonifacio, 2 lire,
Bartolomeo, 4 lire,
Arrigo [Harry], 15 lire.
C. A. 207*1; 609/1)
L' Abbaco,
Quotations
and notes on
books and
author* jfiibbia,
(lJ|69-I5o8)-4De re militari,
1469.
Fiore di Virtu,
Vita de' Filosofi,
Lapidario,
Pistole del Filelfo,'
Book on Arithmetical] 'Flowers of Virtue',
Pliny, [2] 'Lives of the Philo-
sophers',
The Bible, [3] 'Lapidary',
'On warfare' [4] 'Epistles of Filelfo',
1468. 2. prefacio. 4. arigo.
1469. 1-25 R. i. dabacho. 2. filosafi. 3. bibia. 4. pistole. 5. decha. 6. decha . — ciecho dasscholi. 7. decha . — magnio.
observations that follow refer to events of the pre-
vious month 'of last year' (deir anno passato). Leonardo
cannot therefore have written thus in Florence where
the year was, at that period, calculated as beginning
in the month of March (see Vol. I, No. 4, note 2).
He must then have been in Milan. What is more
important is that we thus learn how to date the
beginning of the year in all the notes written at
Milan. This clears up Uzielli's doubts: A Milano
/acevasi cominciar Vanno ab incarnatione, cioe il 25
Marzo e a natrvitate, eide il 25 Decembre. Ci sembra
frobabile che Leonardo dovesse prescegliere lo stile che era
in uso a Firenze. (Ricerche, p. 84, note.)
1467. 5. See No. 1465, 2.
1469. The late Marchese Girolamo d'Adda published
a highly valuable and interesting disquisition on this
passage under the title: Leonardo da Vinci e la sua
Libreria, note di un bibliofilo (Milano 1873. Ed. di soli
75 esemplari; privately printed). In the autumn of
1880 the Marchese d'Adda showed me a consider-
able mass of additional notes prepared for a second
edition. This, as he then intended, was to come
out after the publication of this work of mine. After
the much regretted death of the elder Marchese, his
son, the Marchese Gioachino d'Adda was so liberal
as to place these MS. materials at my disposal for
the present work, through the kind intervention of
Signor Gustavo Frizzoni. The following passages,
with the initials G. d'A. are prints from the valuable
notes in that publication, the MS. additions I have
marked*. I did not however think myself justified
in reproducing here the acute and interesting ob-
servations on the contents of most of the rare books
here enumerated.
I. "I. a nobel opera de arithmethica ne la qual se tracta
tute cosse antercantia pertinente facta <5r> compilata per
Piero borgi da Veniesia", in-q>. In fine: "Nela indita
cita di Venetia aforni.2 augusto. 1484 .fu imposto fine
ala presente opera'' Segn. a—/ . quaderni. V'ha perb
««' altra opera simile di Ulippo Calandro, 1491. E da
consul tarsi su quest' ultimo, Federici: Memorie Trevigiane,
Fiore di virtu : pag. 73. " Libricciuolo composto di bello stile
verso il 1320 epiu volte impresso nel secolo XV (ristampato
poi anche piu tardi). Gli ofcademici della Crusca
ammettono nella serie del testi di lingua. Vedasi Gamba,
Razzolini, Panzer, Brunei, Lechi, ecc. (G. D'A.)
2. "Historia naturale di C. Plinio Secondo, tradotta di
lingua latina in fiorentina per Ckristophoro Laudino &*
Opus Nicolai Jansonis gallici imp. anno salutis
M.CCCC.LXXVI.Venetiisn in-fol.—Diogene Laertio.
Incomintia: "El libro de la vita de philosophi etc.: Im-
pressum Venetiis per Bernardinum Celerium de Luere,
1480", »«-4° (G. D'A.).
3. "La Bibia volgare historiata (per Nicold di Mai-
ler mi) Venecia .... M.CCCC.LXXI in kalende di
Augusto (per Vmdelino de Spira)" 2 vol. in-fol. a 2 col.
di 50 lin .; od altra edlz. della stessa versione del Mal-
lermi, Venetia 1471, e sempre: "Venecia per Gabriel de
Piero 1477," in-fol.; 2 vol.; Ottavio Scotto da Modoetia
1481," "Venetia 1487 per Joan Rosso Vercellese," "1490
Giovanni Ragazo di Monteferato a instantia di Luchanthonio
di Giunta, ecc." — Lapidario Teofrasto? Mandebille: "Le
grand lapidaire" versione italiana ms. f . . . Giorgio Agricola
non pub essere, perche nato nel 1494, forse Alberto Magno:
de mineralibus. * Potrebbe essere una traduzione del poenta
latino (Liber lapidum seu de gemmis) di Marbordio Veterio
di Rennes (morto nel 1123,) da lui stesso tradotto in fran-
cese dal greco di Evao re a" Arabia celebre medico che
faveva composto per fimperatore Tiberio. Marbodto scrisse
il suo prima per Filippo Augusto re di Francia. Vi sono
anche traduzioni in prosa. "II lapidario o la forta e la
virtu delle pietre preziose, delle Erbe e degli Animali"
(G. D'A.)
4. // Vegezio f . . . II Frontino ? . . . II Cornazzano ? . . .
Noi crediamo piuttosto il Valturio. Questo libro doveva
essere uno de'favoriti di Leonardo poiche libro di scienza
e d'arte nel tempo stesso.
1469.]
NOTES ON BOOKS AND AUTHORS. 443
sDeca prima,
6Deca terza,
?Deca quarta,
8 Guidone,
9Piero Crescietio,
IOQuadriregio,
Delia coseruatio della
sanita,
Ciecco d'Ascoli,
Alberto Magno,
Retorica nova,
Cibaldone,
Esopo,
The first decade, [5] 'On the preservation
of health',
The third decade, [6] Ciecho d'Ascoli,
The fourth decade, [7] Albertus Magnus,
Guido, [8] New treatise on rhetorics,
Piero Crescentio, [9] Cibaldone,
'Quadriregio', [10] JEsop,
8. gidone . — rettoricha. 9. zibaldone. 10. de 4 regi . — isopo. 12. imortalita. 15. petrarcha. 17. [deg] de. 19. de-
Le edizioni a stampa sono le seguenti: La prima:
" Roberti Valturii de re militari, libri XII ad Sigismun-
dum Panditlfum Malatestam . . . Johannes ex Verona
oriundus: Nicolai cyrugiae media filius : Artis impressorie
magister: hunc de re militari librum elegantissimum ; Utter is,
&* figuratis signis sua in patria primus impressit. An.
M. CCCCLXXII." in-fol. senza numerazione.
La seconda edizione e di Bologna, 1483, ristam-
pata a Parigi nd 1532, e poi nuovamente ncl 1533.
Paolo Ramusio la volgeva in ilaliano e la pubblicava di
nuovo in Verona coi tipi del Paganino , sempre in-fol.,
1483 (le .stampe di formato piu piccolo), e Luigi Meigret
la traduceva in lingua francese nel 1555 a Parigi.
"Mediolani per Leon. Pachel & Ulric. Scinzenzeler
1484" /«-4° — .
5 — 7. Abbiamo varie versione delleDeche di Tito Lh/io,
impresse nel secolo XV. II "Tito Livio volgarizzato (da
Ruggiero Ferario) Roma Uldarico Gallo nel 1476," tin
torn, in 3 vol. in-fol. "Bologna per maestro Antonio da
Bologna 1478," piccolo in-fol. "Venetia Octaviano Scoto
1481," pic. in-fol. Venetia Bartholomeo de Alexandria o°
Andrea de Asula 1485. Bart/wlomeo de Zanis, 1490, ecc"
Vedasi il Mamtel del Brunet o meglio il Repertorium
deir Hain ed il Panzer. (G. D'A.)
5. "Arnaldi de Villanova 6° Johannis Mediolanensis
Regimen sanitatis Salernitanum , 1480," it 1-4° owero
"Tractate utilissimo circa la conservations de la sanitade,
ecc. composto per il clarissimo ed excellente philosopho
6° doctore di medidna messer Ugo Benzo di Siena, ecc",
m-4°, caratteri gotici senza numeri e senza name di tipo-
grafo. In fine: "Exactum est hoc opus Mli (Mediolani)
cur a &* diligentia Petri de Corneno Mediolanensis, 1481.
pridie kalendas Junias . Johanne Galeatio Sforcia Vice-
comite principe nostro inviclissimo dominante." V. Sassi-
Argelati. Parte I, vol. I, p. DLXXV. (G. D'A.)
6. L'Acerba (da acervns , cumulo), il noto poema di
Francesco Stab Hi, astrologo nemico delC Alighieri. Nume-
rose edizioni del secolo XV e XVI. E una vera enciclo-
pedia in versi, ripiena di idee arditissime e che valsero
all' infelice pensatore il rogo nel 1347. In questo poema
trovansi delineate le origini di molti trovati moderni, ed
in particolare della circolazione del sangue, due secoli prima
del Michele Serveto. Della prima edizione di Brescia Fer-
randus s. a. in-fol. non si conosce che un solo esemplare
nella Spenceriana. V. Dibdin. (G. D'A.)
7. "Incomenza el libra chiamato della vita ecc., cbposto
per Alberto magno filosofo excellentissimo ecc. Neapoli
Bernardini de gerardinis de Amelia, 1478," in-4°.
Altra edizione di "Bologna per Bazalino di Bazaliero,
I493>" *«-4° got. (G. D'A.)
8. Forse "Guido dalle Colomie" detto anche "da Cau-
liaco." "Giiidonis de Cauliaco Cyrurgia. Turra de Castello
recepta atque balnei de Porecta ecc. Venetiis mandato 6°
expensis Octaviani Scott cura 6° arte Boneti Locatelli,
1498" in-fol. got.: rarissimo trattato di chirurgia. Ebbe
traduzioni francesi parecchie e nel secolo XV anche una
versione italiana s. I. n. a. ed un altra in lingua casti-
gliana nel 1498. Vedi: Brunet, Panzer, Hain e Mendez.
— L. Guil. de Saona rhetor ica nova,.S. Albano, in- Ac0 1480
(Laurentius Guilelmus). E libra dJ piu rari (Brunet,
Tomo V, col. 137^. S. Albans, Albani Villa, Verulan-
tium, Borgo inglese nella contea di Hertfordshire, la pa-
tria di Bacone Francesco. (G. D'A.)
9. De agricultura. "II libra della agricultura di Pietro
Crescientio" prima edizione di questa versione italiana
scritta nel trecento e testo di lingua citato dal? Accademia
della Crusca. " Florentie per me Nichdatim Laurentii
alemanum diocesis uralislaviensis anno M. CCCC. L. XXVIII"
in-fol. — Cibdone: Le materie trattate in questo singolarissimo
libretto sono: deifrutti, delle erbe, della Jlebotomia, della me-
dicina, della luxuria, del bagno, ecc. Almansor-ebn-Isahck
fu governatore del Chorassan ed al suo name intitolava Raze
i suoi dodici libri di medidna, che in compendia conten-
gono tutto il sistema medico degli Arabi. Quest"1 ultima
edizione m-4°. Brescia per d. Bapt. de Farfengo, si com-
pone di sei carte s. n. 2. o seg. caratteri semigotici a 2 col.
(G. D'A.)
10. Quadriregio (libra chiamato il) di Federigo Frezzi
domenicano. E poema. religioso - morale - scientifico in
terzine. Fra gli imitatori della Divina Comedia e dei
migliori "non indegno di gir dietro a Dante'1'1 dice il
Quadrio. Questo poema e in oggi ingiustamente negletto e
quasi sconosciuto, ancorche in tempi da not lontani fosse
stato nobilmente stampato fiu volte. Ebbe almeno sette
edizioni dal 1481 al 1515, e contiene bellezze di primo
or dine. * D edizione che con molta probabilita era fra i libri
di Leonardo riteniamo quello di Milano 1488 Zaroto.
Un esemplare alV Ambrosiana fra i quattrocentisti donati
da G. Porro; — forse piu rara che molte altre.
"Fabulae de Esopo hisioriate? /«-4° fig. senza nota di
tempo e di luogo; o F edizione di Venezia per Manfredo
da Monf errata, in-$° fig. 1481 e 1490; od anche: "Brescia
per Boninum de Boninis 1487," in-4° con 67 belle figure
sildgrafiche; "Roma, Silber 1483," Venetia Manfredo Bo-
444
MISCELLANEOUS NOTES.
[1469.
"Donate,
"Ivstino,
•JGuidone,
''Dottrinale,
'SMorgate,
l6Giova di Madiuilla,
•7De onesta volutta,
•9 Cronica d' Isidore,
Pistole d'Ouidio,
"Pistole del Filelfo,
"Spera,
Salmi,
De Immortalita d'a-
nima,
Burchiello,
Driadeo,
Petrarca,
Donate, [n] Psalms,
Justinus, [12] 'On the immortality of
the soul,
Guido [13] Burchiello,
'Doctrinale' [14] Driadeo,
Morgante [15] Petrarch.
John de Mandeville[i6]
'On honest recreation' [17]
Manganello, [18]
The Chronicle of Isidore, [19]
The Epistles of Ovid, [20]
Epistles of Filelfo, [2 1]
Sphere, [22]
neilo da Streno, 1497, /V/-4°, ecc., o piu probabilmente:
"Aesop? vita & fabulcr latine cum versione ilalica 6°
allegoriis fr. Tuppi impressa, Nafoli, 1483," in-fol., rara
editiane ornata di belle -vignette incise in legno. Questo
Esopo e anche libra di novelle. Nel Catalogo Cicognara
abbiamo una minuta descrizione di questo rarissimo vo-
lume. (G. D'A.)
11. "Donatus latine &> italice: Impressum Venetiis im-
pensis Johannis Baptistae de Sessa anno 1499, *«-4°". —
"El Psalterio de David in lingua volgare (da Malermi
Venetia nel M.CCCC.LXXVI? in-fol s. n. (G. D'A.)
12. Compare No. 1210, 48. — La versione di Girolamo
Squarzafico: "II libra di Justino posio diligentemetite in
materna lingua. Venetia ale spesse (sic) di jfohahe de Colonia
&*JohaheGhcretze . . . 1477," in-fol.— " Mars i lit Ficini, Theo-
logia platonica, sive de animarum immortalitate, Florentine,
per Ant. Misconimum 1482," in-fol. , owero qualche ver-
sione italiana di qtieslo stesso libra, ms. (G. D'A.)
1 3. Forte "la Historia Trojana Guidonis," od il "mani-
pulus" di "Guido da Monterocherii? ma piu probabilmente
"Guido d'Arezzo? il di cui libra: "Micrologus, seu disci-
plina artis musicae" poteva da Leonardo aversi ms.; di
questi ne esistono in molto biblioteche, e fn poi impresso
nel 1784 dal Geibert.
Molte sono le eJizione dfi sonetti di Burchiello Fioren-
tino, impresse nel secolo XV. La prima e piu rara e
recercata: " Incominciano li sonetti, ecc. (per Christoforo
Arnaldo}\ in-4" senza numeri, richiami o segnature, del
1475, tfoffanche del 1472, secondo Morelli e Dibdin, ecc.
(G. D'A.)
14. Versione italiana del "Doctrinal de Sapienc?
di Guy de Roy, e- fors1 anche F original e in lingua
francese. —
Di Pulci Luigi, benche nelF edieione: "Florentiae 1479"
m-4.° si dica: •"// Driadeo composto in rima octava per
Lucia Pulfro? Allre ediz. del secolo XV, "Florentie Misco-
mini 1481, in-4°, Ftrenze, apud S. Jacob, de Ripoli, 1483,"
in-4» e "Antotti de Francesco, 1487," /«-4° e Francesco
di Jacopo 1 489," ««-4° ed altre ancora di Venezia e senza
alfiina nota ecc. (G. D'A.)
15. L'na delle edizioni del Morgante impresse nel se-
colo XV, ecc.—
Qualt delle opere di Francesco Petrarca, sarebbe ma-
lagevole C indavindre, ma probabilmente il Canzottier*.
(G. D'A.)
1 6. Sana i viaggi del cavaliere " Mandeville," gentil-
uomo inglese. Scrisse il suo libra in lingua francese.
l-'it stampato replicatamente nel secolo XV in francese, in
inglese ed in italiano* ed in tedesco; del secolo XV ne
annoverano forse piu di 27 edizioni, di cui ne conoiciamo
8 in francese, quatlro in latino, sei in tedesco e niolte altre
in volgare. (G. D'A.)
17. // Platina (Bartolomeo Sacchi) la versione italiana
"de la hones ta voluptate, & valetudine (&• de li obsonnii)
Venetia (senza name di tlpografo) 1487," piccolo in-
gotico. (G. D'A.) — Compare No. 844, 21.
1 8. // Manganello: Satira eccess'rvamente vivace contra
le donne ad imitazione della Sesta di Giovenale. Manga-
nello non e sollanlo il titolo del libricino, sua ben anche
il name dellaulore cKera un "mtfanese". Di questo //'-
bercolo rarissimo t che sembra impresso a Venezia dallo
Zoppino (Nicolb d'Aristotile delta il), senza data, ma dei
frimissimi anni del secolo XVI, e forse piu antico , come
vedremo in appresso, non se ne conoscono fra biblioteche
pubbliche e private che due soli esemplari in Eurofa.
(G. D'A.)
19. "Cronica desidero", sembra si deggia leggere piitt-
lasto "cronico disidoro"; ed in questo caso s1 in tendered be la
"cronica d'hidoro" tanto in voga a quel tempo "Comenza
la Cronica di Sancto Isidoro menore con alchune additione
cavate del testa <S° istorie de la Bibia &> del libra di Paulo
Oroso .... Impresso in Ascoli in casa del rcverendo
misser Pascale per mono di Guglielmo de Linis
de Alamania M.CCCC.LXXVir in-y> di \tf f. E il
primo libra impresso ad Ascoli e f edizione principe di
questa cronica in oggi assai rara. Non lo e meno f edi-
zione di Cividal del Friult, 1480, e quella ben anche di
Aquila, 1482, sempre in-4". Vedasi Panzer, Hain, Brunei
e P. Dechamps. (G. D'A.)
20. "Le pistole di Ovidio tradotte in prosa. Napoii
Sixt. Riessinger", in-4", oppure: "Epistole volgari::ale
1489," in-4° a due col. "impresse ne la cita (sic) di Bressa
per pre: Baptista de Farfengo" (tn ottave) o : "El libra
dele Epistole di Ovidio in rima volgare per messere Do-
minico de Monticelli toschano. Brescia Farfengo? tn-4"
got. (in rima volgare), 149 1 , ed anche la versione di Luca
Pulci. Firenze, Mischomini, 1481, m-4". (G. o'A.)
21. See 1. 4.
22. "Jo: de Sacrobusto" o"Goro Dati? o "Tolosanc d>i
Colle" di cui molteplici ediziom del secolo XV. (G. D'A.)
1470— 1473-]5
NOTES ON BOOKS AND AUTHORS.
445
23Facietie di Poggio,
2/*De chiromatia,
25Formulario di pistole.
The Jests of Poggio [2 3]
Chiromancy, [24]
Formulary of letters, [25]
S. K. M. III. 87 i] *47O.
Nonio Marciello, 2Festo Popeo, 3 Marco Nonius Marcellus, Festus Pompeius, Mar-
Varrone. cus Varro.
F. o«]
Piata d'Elefante d'India che a Anto-
nello Merciaio 2da maestro Maffeo; perche
7 anni la ter3ra alza e 7 abbassa; — ^cerca
di Vetruvio 5fra cartolaj.
Map of Elephanta.in India which Antonello
Merciaio has from maestro Maffeo; — there for
seven years the earth rises and for seven
years it sinks; — Enquire at the stationers
about Vitruvius.
Leic. 13 «]
Vedi de naui messer Battista
tino de' aquidotti.
1472.
e Fron-
See 'On Ships' Messer Battista, and Fron-
tinus 'On Acqueducts' [2].
J473-
Anasagora; 2ogni cosa vie da ogni cosa,
— ed ogni cosa si fa ogni cosa, 3e ogni
cosa torna in ogni cosa, perche cio ch'e
nelli elemeHi e fatto da essi elemeti.
Anaxagoras : Every thing proceeds from
every thing, and every thing becomes every
thing, and every thing can be turned into
every thing else, because that which exists in
the elements is composed of those elements.
1471. dellefati\\\\ dindia chella. 2. mafeo . . annila tera . . abassa.
sidero. 23. pogio.
1470. 3. marcho.
1472. i. meser batista.
1473. i. anasaghora. 2. chosa vie. 3. chogni . . ogni chosa. 4. edfatlo.
23. Tre edizioni delle facezie del Poggio abblamo in
lingua italiana della fine del secolo XV, tutte senza data.
"Facetie de Poggio fiorenlino traducte de latino in vulgare
ornatissimo" m-4°, segn. a—e in caratteri romani; Paltra:
"Facetie traducte de latino in vulgare" in-ap, caratteri
gotici, ecc. (G. D'A.)
24. * "Die Kunst Cyromarttia etc. in tedesco. 26 ff. di
testo e figure il tutte esequito su tavole di legno verso la
fine del secolo XV da Giorgio Schapff". Dibdin, Heinecken,
Sotheby e Chatto ne diedero una lunga descrizione ; i primi
tre accompagnati da fac-simili. La data 1448 che silegge
alia fine del titolo si riferisce al periodo della composizione
del testo, non a quello della stampa del volume benche
tabellario. Altri mold libri di Chiromanzia si conoscono di
quel tempo e sarebbe opera vana il citarli tutti. (G. D'A.)
25. Miniatore Bartolomeo. "Formulario de epistole vul-
gare missive e responsive, <S° altri fiori de ornati parla-
menti al prindpe Hercule d' Esti ecc. compost o ecc. Bo-
logna per Ugo di Rugerii" in-4°, del secolo XV. Altra
edizionedi " Venetia Bernardino diNovara, 1487" e "Milano
per Joanne Angela Scinzenzeler 1500," z«-4°. (G. D'A.)
Five books out of this list are noted by Leonardo
in another MS. (Tr. 3): donato, — lapidario, — pli-
nio, — abacho, — morgante.
1470. Nonius Marcellus and Sextus Pompeins Festus
were Roman grammarians of about the fourth cen-
tury A. D. Early publications of the works of Mar-
cellus are: De proprietate sermonis, Romae (about 1470),
and 1471 (place of publication unknown). Compen-
diosa doctrina, adfilium, de proprielate sermonum. Ve-
nice, 1476. BRUNET, Manuel du libraire (IV, p. 97)
notes : Le texte de cet antien grammairien a ete reimprime
plusieurs fois a la fin du XVe siecle, avec ceux de Pom-
ponius Festus et de Terentius Varro. La plus andennc
edition qui rhinisse ces trots auteurs est celle de Parme,
1480 . . . Celles de Venise, 1483, 1490, 1498, et de
Milan, 1500, toutes in-fol., ont peu de valeur.
1472. i. Compare No. 1113, 25.
2. Vitruvius de Arch., et Frontinus de Aquedoctibtis.
Florence, 1513. — This is the earliest edition of
Frontinus. — The note referring to this author thus
suggests a solution of the problem of the date of
the Leicester Manuscript.
446
MISCELLANEOUS NOTES.
[1474—1476.
t.9,1 '474-
Archimede del uescouo -»di Padoua. The Archimedes belonging to the Bishop
of Padua.
W. 191 «]
1475-
Archimede a dato la 2Dra d'una figura
late^rata e no del cerchio; isadunque Ar-
6chimede non ?quadr6 mai figu8ra di lato
curuojl 9cioe quadr6 il cer'°chio meno una
portio^ne tanto minima quaI2to lo intelletto
possa immaginare, cio£ quanto il puto vi-
sibile.
Br. M. 279*1
Chi auesse trovato 1' ultima vali2tudine
della bobarda in tutte ^sua varieta, e pre-
setato tale 4segreto alii Romani, co 5qual
prestezza avrebbero conquista6to ogni terra
e superato ogni ese^rcito, e qual premio
era, 8che potesse equipararsi a tanto
sbenifitio! Archimede aI0corach£ lui auesse
grademete dan1 'neggiati li Romani alia
spugnaI2tione di Siracusa, no li fu mai
'Jmacato rofferta di gradissimi preI4mi da
essi Romani, e nella pre'^sa di Siracusa fu
cercato diligel6temete d'esso Archime-
mide, e tro^vato morto; ne fu fatto mag-
giore l8 lametatione nel senato e ^popolo
Romano, che s' egli' auessi20no perso tutto
il loro esercito, e non 2Imancarono d'ono-
rarlo di sepoltu22ra e di statua, della quale
fu capo 23 Marco Marcello; e dopo la se-
conda 24ruina di Siragusa fu ritrouato 2sda
Catone la sepoltura d'esso Archi26mede
ne!27le ruine d'un tenpio; onde Catone fe-
28cie rifare il tepio e la sepoltura 29onora-
tissima . . . 3°e di questo si scriue 3'auere
detto Catone *2non si gloriar di 33nes-
suna cosa tan^to, quanto d' auere 35 onorato
esso Archi36mede d'esso orna^meto.
Archimedes gave the quadrature of a poly-
gonal figure, but not of the circle. Hence
Archimedes never squared any figure with
curved sides. He squared the circle minus
the smallest portion that the intellect can
conceive, that is the smallest point visible.
If any man could have discovered the
utmost powers of the cannon, in all its
various forms and have given such a secret
to the Romans, with what rapidity would
they have conquered every country and have
vanquished every army, and what reward could
have been great enough for such a service!
Archimedes indeed, although he had greatly
damaged the Romans in the siege of Syra-
cuse, nevertheless did not fail of being offered
great rewards from these very Romans; and
when Syracuse was taken, diligent search was
made for Archimedes; and he being found
dead greater lamentation was made for him
by the Senate and people of Rome than if
they had lost all their army; and they
did not fail to honour him with burial and
with a statue. At their head was Marcus
Marcellus. And after the second destruction
of Syracuse, the sepulchre of Archimedes was
found again by Cato [25], in the ruins of a
temple. So Cato had the temple restored and
the sepulchre he so highly honoured ....
Whence it is written that Cato said that he
was not so proud of any thing he had done
as of having paid such honour to Archimedes.
1474. uescouo. M75- i. data. 3. rato. 6. chimenide. 10. cio meno i. n. tanta. 12. inmaginare coe q"u"to.
1476. i. auessi trovata. 4. romani [qual] co. 5. presteza arebero conquisa. 7. ccqual. 8 potessi . . attanto. 10. chellui auessi
grademete da. n.neg.iti . . allnsspttgna. 12. serausa. 13. lo fere li gradissimi. 15 serausa fu cerco dilige. 17. magore.
18. nel [po] senato. 19. romane chessegli. 20. e no. 21. mancorono. 22. distaua. 23. dopo la 2*. 24. seragosa. 25. ca-
tone. 26. mede e [esso catone la retro] ne. 28. ella. 29. onoratissimar\\\\\. 30. scriu\\\\\. 31. cat\\\\\. 32. signoriar\\\\\.
33. cosa l\\\\\. 34. daue\\\\\. 35. ar\\\\\. 36. orn\\\\.
1474. See No. 1421, 1. 3, 6 and Vol. I, No. 343.
1475. Compare No. 1504.
1476. Where Leonardo found the statement that
Cato had found and restored the tomb of Archi-
medes, I do not know. It is a merit that Cicero
claims as his own (Tusc. V, 23) and certainly with
a full right to it. None of Archimedes' biographers
—not even the diligent Mazzucchelli, mentions any
version in which Cato is named. It is evidently a
slip of the memory on Leonardo's part. Besides,
according to the passage in Cicero, the grave was
not found 'nelle ruine d'un temp'uf — which is highly
improbable as relating to a Greek — but in an open
spot (H. MOLLER-STRUBING).— See too, as to Archi-
medes, No. 1417.
Leonardo says somewhere in MS. C.A. : Arehi-
troniio 2 una macchina di fino ramf, invention d1 Archi-
mede (see 'Saggio\ p. 20).
1477—1483-]
NOTES ON BOOKS AND AUTHORS.
447
1.282*] 1477-
Aristotele 3° della fisica, e Alberto e Aristotle, Book 3 of the Physics, and
Tomaso, 2e li altri de risaltatione, J ;a della Albertus Magnus, and Thomas Aquinas and
the others on the rebound of bodies, in
fisica, 3de cielo e mvdo. the ?th on phys[CS} on heaven and earth.
M. 62 a]
1478.
Dice Aristotile che se vna potentia Aristotle says that if a force can move
move v 'Icorpo vn tanto spafaVin tanto a bod a iven distance in a iyen t[ ^
tepo, la me^desima potentia movera la meta
diquel icorpoduetantidispationelmede- same force Wl11 move half the same body
simo tepo.l
twice as far in the same time.
C. A. 284 £; 865^]
1479.
Aristotile nel terzo dell' etica : 2Puomo-
Aristotle in Book 3 of the Ethics: Man
e degnio di lode e di uituperio solo •Srielle merits praise or blame solely in such mat-
• cose • che sono J sua potesta 4 di fare e di ters as lie within his option to do or not
no fare. to do.
C. A. 121 a;
1480.
"Dicie • Aristotele • che ogni cosa desidera Aristotle says that every body tends to
matenere la sua natura. maintain its nature.
K.2 36]
1481.
De incremeto 2 Nili , opera d' Aristotile On the increase of the Nile, a small book
piccola. by Aristotle.
W. A. IV. 151 6}
1482.
Avicenna vole 2 che 1' anima partorisca Avicenna will have it that soul gives birth
3 1' anima, e '1 corpo il corpo, 4e ogni to soul as body to body, and each member
mebro per rata. to itself.
F. o"]
Avicenna de' liquidi.
1483.
Avicenna on liquids.
1477. i. fisicha. 2. elli . . fisicha. M?8. i. chesse. 4. dua tanti spatio.
1479. i. eticha. 3. imai (?) nelle chose chessono.
1480. 2. la gravita per essere etc. etc. 1481. 3. pichola. 1482. i. aviciena. 2. chellanima parlorischa.
1483. i. avicena.
1481. De inundatione Nili, is quoted here and
by others as a work of Aristotle. The Greek
original is lost, but a Latin version of the beginning
exists (Arist. Opp. IV p. 213 ed. Did. Par.).
In his quotations from Aristotle Leonardo possibly
refers to one of the following editions : Aristotelis libri IV
de coelo et mundo; de anima libri III; libri VIII physi-
corum; libri de generatione et corruptione; de sensu et
sensato . . . omnia latine, interprete Averroe. Venetiis 1483
(first Latin edition). There is also a separate edition
of Liber de coelo et mundo, dated 1473.
1482. Avicenna, see too No. 1421, 1. 2.
448
MISCELLANEOUS NOTES.
[1484—1487.
B,M.,.'|
Rugiero Bacone fatto in istanpa.
Roger Bacon, done in print.
C. A. 139*; 419*)
Cleomete filosofo.
1485.
Cleomedes the philosopher.
Tr. 4|
1486.
CORNELIO CEI,SO.
2 II somo • bene • e la sapieza •; il somo
inale-e il dolore • del corpo; jmperoche,
essedo 3noi conposti • di 2 cose, cioe-d'a-
nima • e di corpo, *delle quali la prima • e
migliore •, la peggiore-e il corpo; la sapi-
ctia e 5della miglior parte •; il sommo male
e della peggior parte e pessima; Ottima
cosa e nell'animo la sapieza, cosl e pessima
6cosa nel corpo il dolore; ^aduque, sicorne
il sommo male e '1 corporal dolore, cosl la
supietia e deH'animo 8il somo bene, cioe
dell'uomo sagio, e nissvna altra cosa e da
coparare a questa.
CORNELIUS CELSUS.
The highest good is wisdom, the chief
evil is suffering in the body. Because, as
we are composed of two things, that is soul
and body, of which the first is the better,
the body is the inferior; wisdom belongs
to the better part, and the chief evil belongs
to the worse part and is the worst of all.
As the best thing of all in the soul is
wisdom, so the worst in the body is suf-
fering. Therefore just as bodily pain is the
chief evil, wisdom is the chief good of the
soul, that is with the wise man; and nothing
else can be compared with it.
1487.
Demetrio solea dire non essere differe-
tia • dalle parole e voci dell'inperiti ignio-
rati, 2 che sia da suoni e strepiti • cavsati dal
ventre ripieno di superfluo veto ; * e questo
no senza cagio dicea, iperoche lui no re-
putava esser differetia da qual parte 4 costoro
madassino • fuora la voce, o dalle parti
Iferiori o dalla bocca, Sche Tuna e 1' altra
era di .pari valimeto e sustatia.
Demetrius was wont to say that there was
no difference between the speech and words
of the foolish and ignorant, and the noises
and rumblings of the wind in an inflated
stomach. Nor did he say so without reason,
for he saw no difference between the parts
whence the noise issued; whether their lower
parts or their mouth, since one and the
other were of equal use and importance.
1484. i. Rugieri bacho. 1485- i- filosafo.
1486. 2. ella sapieza . . iperoche. 3. corp\\\ [lanima e meliore eel corpo. 4. pegiore . . chorpo. 5. somo . . pegior. 7. somo
. . choporal . . chosi. 8. delonsagio enivna . . chosa e da a questa coparare. ' .
1487. i. difcretia . . evoce. 2. chessia da soni e strepidi. 3. ecquesto. 3. Iperochellui . . diferetia. 4. parte. . bochn. 5. chel-
luna cllnltra.
1484. The earliest printed edition known to Brunei
of the works of Roger Bacon, is a French trans-
lation, which appeared about fourty years after Leo-
nardo's death.
1485. Cleomede. A Greek mathematician of the
IVth century B. C. We have a Cyclic theory of Me-
teorica by him. His works were not published before
Leonardo's death.
1486. Aulns Cornelius Celsus, a Roman physician,
known as the Roman Hippocrates, probably contem-
porary with Augustus. Only his eight Books 'De
Medicina', are preserved. The earliest editions are :
Cornelius Celsus , de medicina libr. VIII., Milan 1481
Venice 1493 and 1497-
1487. Compare Vol. I, No. 10.
1488 — 1491-]
NOTES ON BOOKS AND AUTHORS.
449
S. K. M. III. 93 a]
1488.
Maestro Stefano 2 Caponi, medico, 3Sta Maestro Stefano Caponi, a physician lives
alia piscina, 4a Euclide 'de posderibus'. at the piscina, and has Euclid De Ponderibus.
K.2 2 a]
1489.
5° Euclide. 2Prima definitione Tfparte
e quantita di quantita 3 minore della mag-
giore, cociosia4che la minore numeri la
magSgiore ;
6Parte propriamete detta e quella 7ch'e
moltiplicatiua, cioe che, multi8plicata per
alcuno numero, ricopo^ne il suo tutto con
precisione;
IOParte comune aggregatiua e queTIlla,
la quale, quantunche volte si piI2glia piu o
meno del suo tutto, ^ond'e neciessario
che coll'ajuto d'alI4tra quantita diuersa ri-
faccia il suo xs tutto, e percio e detta ag-
gregatiua.
l5Seconda definitione. ULa multiplicita
e maggiore della mi^nore, quando la mi-
nore misura qul8ella;
z9Di sopra difinimmo il minore estremo,
20 e qui si difinisce il maggiore; La parte
5th Book
of Euclid. First definition : a
part is a quantity of less magnitude than
the greater magnitude when the less is
contained a certain number of times in the
greater.
A part properly speaking is that which
may be multiplied,, that is when, being mul-
tiplied by a certain number, it forms exactly
the whole. A common aggregate part
Second definition. A greater magnitude is
said to be a multiple of a less, when the
greater is measured by the less.
By the first we define the lesser [magni-
tude] and by the second the greater is de-
fined. A part is spoken
K.2
1490.
relatiuamente e detta al tutto, 2e in of in relation to the whole; and all their
questi due estremi sta tutta 3 la relatione relations lie between these two extremes, and
di quegli, e chiama.4si mvltiplici. are called multiples.
S. K. M. III. 166]
1491.
Dice Ippocrate che la origine della
2 nostra semenza diriva dal cielabro • e dal
3 polmone • e' testiculi di nostri gie4nitori •,
dove si fa 1' ultima decotione; 5e tutti li
altri mebri porgono • per sudatio6ne la loro
sustatia a esso seme, per7che non si di-
mostra alcuna via, 8che a essa semeza
peruenire possino.
Hippocrates says that the origin of men's
sperm derives from the brain, and from the
lungs and testicles of our parents, where the
final decocture is made, and all the other
limbs transmit their substance to this sperm
by means of expiration, because there are no
channels through which they might come to
the sperm.
1488. 3. pesscina. 4. a heuclide.
1489. 2. p" difinitione is -written on the margin. 3. magore concosia. 4. chella. 5. gore. 6. ditta ecque. 7. che moltiplichatiua
coe. .10. cumune agreghatiua cqu"e". 12. plia [ma fa] piu . . tutt'V. 13. chollaiuto. 14. rifacea. 15. pero e detto
agregatiua. 16. 2" difinitione is written on the margin. La multiplici e magore. 19. difinimo . . extreme. 20. ecqui si di-
finissce il maggore.
1490. 2. quessti duextremi. 4. mvltiplici.
1491. i. ipocrate chella. 2. nosstra senza. 3. ettestichuli di nosstri. 4. dovessi . . dechotione. 5. ettutti . . porgano. 6. sus-
statia. 7. dimosstra alchuna.
1491. The works of Hippocrates were printed first after Leonardo's death.
VOL. n.
LLL
450
MISCELLANEOUS NOTES.
[1492-1495.
A»h. II.
1492.
Lucretio nel terzo • delle cose • naturali | Lucretius in his third [book] T)e Rerura
le mani, vnghie e dcti furono Me armi • deli Natura'. The hands, nails and teeth were (165)
atichi_(l65);
the weapons of ancient man.
•J Accra vsano per stedardo • di vno fasci- They also use for a standard a bunch of
culo d' erba • legato a vna pertica (167). grass tied to a pole (167).
Tr. a]
1493-
Ammiano Marcellino afferma, essere Ammianus Marcellinus asserts that seven
abbruciati 2 7 ceto mila volumi di libri nella hundred thousand volumes of books were
pugnia Alessadrina 3al tepo di Givlio burnt in the siege of Alexandria in the time
Cesare. of Julius Cesar.
w. xxni.)
1494.
Dice Modino che li muscoli che alza2no
li diti del piede stanno nella parte ^siluestra
della coscia, e poi soggiugne 4 che '1 dosso
del piede non a muscoli, s perche la natura
li voile fare legieri ac6cioche fussino facili
al movimeto, per?che se fussino carnosi,
sarebber piu 8gravi; e qui la sperietia mo-
stra .
Mondino says that the muscles which
raise the toes are in the outward side of
the thigh, and he adds that there are no
muscles in the back [upper side] of the feet,
because nature desired to make them light, so
as to move with ease; and if they had been
fleshy they would be heavier; and here ex-
perience shows . . .
G. 8 a]
1495-
Del' error di quelli che vsano 2la pra-
tica sanza scietia; — 3Vedi primo *la poetica
'd'Oratio.
Of the error of those who practice with-
out knowledge;— [3] See first the 'Ars poe-
tica' of Horace [5].
X49». i. naturale. 3. istedare diono.
1493. i. araiano . . abrusiati. 2. 7 ceto M"a" [di] volumi . . nela [spu] pugnia. 3. ivlio.
1494. i. chelli musscoli. a. piedi. 3. cosscia . . sogugne. 4. piedi . . musscoli. 5. le voile . . legieri a. 6. coche fussi facile.
7. fusii carnose sarebbe. 8. grave.
*495- x — 5 R- *• cror. 4. poetria.
1492. Lucretius, de rerum natura libri VI were prin-
ted first about 1473, at Verona in 1486, at Brescia in
!495> at Venice in 1500 and in 1515, and at Florence in
1515. The numbers 165 and 167 noted by Leonardo at
the end of the two passages seem to indicate pages,
but if so, none of the editions just mentioned can
here be meant, nor do these numbers refer to the
veises in the poems of Lucretius.
1493. Ammiani Marcellini historiarum libri qui ex-
tant XIH, published at Rome in 1474.
1494. "Mundini anatomia. Mundinus, Anothomia (sic).
Mundmi praestantissimorum doctorum almi studit ticiensis
(sic) cura diligentissime emendata. Impressa Papiae per ma-
gistrum Antonium de Carcano 1478," in-fol,; ristampata:
"Bononiae Johan. de Noerdlingen, 1482," in-fol.; "Padma
per Matthfitm Cerdonis de Vuindischgretz , 1484," j«-4°;
"Lipsia, 1493," <«-4°; "Venezia, 1494," in-^» e rvi "1498,''
con fig. Queste figure per aitro non sono, come si e pre-
teso, le prime che fossero introdotte in un trattaio di No-
tomia. Nel 'fasciculus Medicinal di Giovanni Ketliam,
che riproduce r'Anatomia1 del Mundinus, impresso pure a
Venezia da J. e G. de Gregoriis, 1491, in-fol.t conten-
gonsi intagli in legno (si vogliono disegnati non gia in fist da
Andrea Mantegna) di grande dimensione, e che furono
piu volte riprodotti negli anni successive. Qutsf edisione
del "fasciculus" del 1491, sta fra nostri libri e potrebbe
benissimo essere il volume d" Anatomia notato da Leonardo.
(G. D'A.)
1495. A 3 — 5 are written on the margin at the side
of the title line of the text given, entire as No. 19
1496 — 1498-]
NOTES ON BOOKS AND AUTHORS.
451
S. K. M. III. 3,$]
HEredi di maestro Giova
anno opere del Pe3lacano. If
1496.
1 Ghirigallo
The heirs of Maestro Giovanni Ghiringallo
have the works of Pelacano.
B. 8 a]
1497-
Catapulta, come dice Nonio e Plinio, e
vno strumeto ritrovato da quelli ecc.
The catapult, as we are told by Nonius
and Pliny, is a machine devised by those &c.
Ash. n. 12,5] 1498.
\
O ritrovato nele Storie delli Spagnioli
• come • nelle guerre da loro 2 avute colli
Inglesi fu Archimede Siracusano, il quale
I quel tepo ^dimorava I copagnia di Ecli-
derides, re de' Cirodastri; II quale nella
* pugnia marittima ordino • , che i navili fus-
sino con lunghi arbori, s e sopra le lor
gaggie 6 colloco • vna • antennetta di lughez-
za di 40 pie, e */3 7pie di grossezza; nel'
una stremita era vna ancora picciola, nel'
aPtra • vn contrapeso ; al' ancora era appic-
cato 1 2 piedi 9 di catena • e dopo essa
catena tata corda I0che perveniua dalla
catena al nascimeto della gaggia ch'era
attaccata con una cordella; "da esso na-
scimeto madaua I basso Tsino al nascimeto
delParbore, I2dou'era collocate vn argano
fortissimo, e 11 era fermo X3il nascimeto
d'essa corda; Ma per tornare all'ufitio
d'essa machina ^dico che sotto a detta
acora era vno foco, il quale con sommo
streispito gittava I basso i sua razzi e pi-
oggia di pegola ifocata, li qual6li piovedo
sopra alia gaggia costrignievano li omini,
che 11 erano, a ^abbadonare detta gaggia,
ode calato 1' ancora colle acut l8quella
cauava ai labri della gaggia; e subito era
tagliata la corda posta ^al nascimeto della
gaggia a sotenere quella corda ch'adava
20 dal' acora al' argano, e tirade il navilio . . .
I have found in a history of the Spaniards
that in their wars with the English Archi-
medes of Syracuse who at that time was living
at the court of Ecliderides, King of the Ciro-
dastri. And in maritime warfare he ordered that
the ships should have tall masts, and that on
their tops there should be a spar fixed [6] of
40 feet long and one third of a foot thick. At
one end of this was a small grappling iron and
at the other a counterpoise; and there was also
attached 12 feet of chain; and, at the end of
this chain, as much rope as would reach from
the chain to the base of the top, where it was
fixed with a small rope; from this base it ran
down to the bottom of the mast where a
very strong spar was attached and to this
was fastened the end of the rope. But to go on
to the use of his machine; I say that below
this grappling iron was a fire [14] which, with
tremendous noise, threw down its rays and
a shower of burning pitch; which, pouring
down on the [enemy's] top, compelled the
men who were in it to abandon the top
to which the grappling-iron had clung. This
was hooked on to the edges of the top
and then suddenly the cord attached at the
base of the top to support the cord which
went from the grappling iron, was cut, giving
way and drawing in the enemy's ship; and
if the anchor — was cast ...
1496. . maesstro jova. 2. ghirlgallo ano. 3. lachano.
1498. . chome . . guere dalloro. 2. ingilesi fu darchimede. 4. cholunghi albori. 5. essopra . . gagie. 6. chollocho . . an-
enetta di lugezza. 7. grosseza. 8. vcontrapeso . . era apicato. 9, e[tta]dopo . . chorda. 10. anassimeto . . gagia. TTte
following words are written on the margin: chera attaca etacata conuua cordella. n. nasimeto . . nassimeto delo albore.
2. vn [albore] rgano. 13. nassimeto. 14. chon somo. 15. pido . . sua raza e piogia. 16. ala gagia chostrignieva.
7. abadonare . . gagia . . chalato lancora chcle achuti rapo (?). 18. gagia essubito. 19. [assostenere] a noscimeto dela
gagia . . quela chorda. 20. navilio demi(?) essi(?) poneva(?) dancora(?).
1497. Plinius, see No. 946.
1498. Archimedes never visited Spain , and the
names here mentioned cannot be explained. Leonardo
seems to quote here from a book, perhaps by some
questionable mediaeval writer. Prof. C. Justi writes to
me from Madrid, that Spanish savants have no know-
ledge of the sources from which this story may have
been derived.
6. Compare No. 1115.
14. Compare No. 1128.
452
MISCELLANEOUS NOTES.
[1499—1503.
Ui,
Teofrasto, del flusso e riflusso 2e delle Theophrastus on the ebb and flow of the
vortici e de' acque. tide, and of eddies, and on water.
Ash. II. II t\
1500.
Trifone Alessadrino, il quale duceua Tryphon of Alexandria, who spent his life
sua eta in Apolonia citta d' Albania (163). at Apollonia, a city of Albania (163).
K.J 29*1
1501.
Mcsser Vlcentio Aliprado, che sta Messer Vincenzio Aliprando, who lives
'presso aH'osteria dell'Orso, a il Vetru3uio near the Inn of the Bear, has Giacomo An-
di lacomo Andrea. drea's Vitruvius.
53*1
1502.
Dice Vetruvio che i modelli piccoli 2 non
sono in nessuna operatione confor^mi al-
1'efTetto de' grandi ; la qual co*sa qui disotto
intendo dimostraSre tale conclusione • essere
falsa, 6e massimamente allegando quelli
me7desimi termini, coi quali lui c68clude
tale • sententia, cioe colla 9Sperientia • della
triuella, per la qua le I0lui mostra essere fatto
dalla po"tentia dell'omo vno buso di cier-
12ta quantita di diametro, e che poi *3vn
buso di dupplicato diametro no ^ sara fatto
da dupplicata potentia I5di detto uomo, ma
da molto piv; alll6a qual cosa si puo molto
ben rispo^dere, allegando che il trivello
Vitruvius says that small models are of
no avail for ascertaining the effects of large
ones; and I here propose to prove that
this conclusion is a false one. And chiefly
by bringing forward the very same argument
which led him to this conclusion; that is, by
an experiment with an auger. For he proves
that if a man, by a certain exertion of
. strength, makes a hole of a given diameter,
and afterwards another hole of double the
diameter, this cannot be made with only
double the exertion of the man's strength,
but needs much more. To this it may very
well be answered that an auger
L. 53 «]
di dupplicata figura non pu6
2 essere mosso da dupplicata po3ten-
tia, conciosiache la superfitie 4 d' ogni
corpo di figura simile e di dup5plicata
quantita alia superfitie, di 6quadrupli-
cata quatita 1'una ^all'altra, come
mostrano le due 8 figure • a • e • n.
1503-
of double the diameter cannot be
moved by double the exertion, be-
cause the superficies of a body of
the same form but twice as large has
four times the extent of the superficies
of the smaller, as is shown in the two
figures a and //.
1499- teofrassto de frusso e rifrusso. 2. vertigine.
1501. aliplado. 2. uetru.
1503. i. picho. 2. inessuna. 3. dall effecto. 4. disocto . . dimosstra. 6. que me. 8. coe colla. 9. essperictia .
10. mosstra. n. fatto. 12. diamitro. 13. diametro. 14. potemi"a". 15. homo. 16. si po . . risspo. 17
X 1503. i. duplicbata . . non po. 3. concosia chclla. 4. e di du. 6. quadruplata. 7. mosstra le due.
\
1499. The Greek philosophers had no opportunity
to study the phenomenon of the ebb and flow of
the tide and none of them wrote about it. The move-
ment of the waters in the Euripus however was to
a few of them a puzzling problem.
1500. Tryphon of Alexandria, a
marian of the time of Augustus. His
X££et»« appeared first at Milan in 1476,
Laskaris's Greek Grammar.
trinclla la qua.
trivell"o".
Greek Gram-
treatise ita&T)
in Constantin
1504—1507.]
NOTES ON BOOKS AND AUTHORS.
453
G. 95 a] 1504.
DELLA Da BEL CIRCULO, E CHI FU IL PRIMO OF SQUARING THE CIRCLE, AND WHO IT WAS
CHE LA 2TROVO A CASO. THAT FIRST DISCOVERED IT BY ACCIDENT.
3"Vetruvio, misurando le miglia colle
molte intere revolutioni 4delle rote che
movono i carri, distese nelli suoi stadi
molte linie 5 circuferetiali del circolo di tali
rote; Ma lui le inparo dalli ani6mali motori
di tali carri; Ma no conobbe quello essere
il mezzo 7 a dare il D to equale a vn circolo,
il quale prima per Archimede Siragusano
8futrovato: che la multiplicatione del semi-
diamitrod'un circolo colla 9meta della sua
circuferetia facieva vn quadrilatero rettilinio,
I0equale al circolo.
Vitruvius, measuring miles by means of
the repeated revolutions of the wheels which
move vehicles, extended over many Stadia
the lines of the circumferences of the circles
of these wheels. He became aware of them
by the animals that moved the vehicles. But
he did not discern that this was a means of
finding a square equal to a circle. This was
first done by Archimedes of Syracuse, who
by multiplying the second diameter of a circle
by half its circumference produced a rectan-
gular quadrilateral equal figure to the circlet 10].
Ash. II. 10 6} IS°5'
Virgilio dicie era lo scudo biaco e sanza Virgil says that a blank shield is devoid of
laude, perche apresso 2a li Attici le uere merit because among the people of Athens the
laude cofermate da testimoni da true recognition confirmed by testimonies . . .
B. 58 fl]
J Vjtolone sono
prospettiva.
805 • conclusion} in
1506.
In Vitolone there are
[problems] in perspective.
805 conclusions
Br. M. 79 6]
Vitolone in Sa Marco.
1507-
Vitolone, at Saint Mark's.
1504. i. de O* del ce chi . . chella. 2. achaso. 3. cholle. 4. movano i charri . . nelle sue stadi. 5. circhuferetiali del c. di . .
mallui. 6. charri . . chonobbe . . mezo. 7. a vn c il quale p"a" per . . siraghusar-o. 8. chella . . dun c. cholla. 9. cir-
chuferetia. 10. al c.
1505. i. sanza lalde. 2. atici lalde chofermate ta testimoni da\\\\\noma. 3. colegati etraversati c per molificatio cogivte(?).
1506. uitolone he 805 chonchisioni in prosspettiva. 1507. marcho.
1504. Vitruvius, see also Nos. 1113 and 343.
10. Compare No. 1475.
1505. The end of the text cannot be deciphered.
1506. (Witelo, Vitellion, Vitellon) Vitellione. E da
vedersi su questo ottico prospettico del secolo XIII Luca
Pacioli, Paolo Lomazzo, Leonardo da Vinci, ecc. e fra i
moderni il Graesse, il Libri, il Brunei, e le Memorie
pubblicate dal principe Boncompagni, e 'Sur Vorthographe
du nom et sur la patrie de Witelo (Vitellion) note de
Maximilien Curtze, professeur a Thorn1, ove sono descritti
i mold codici esistenti nelle biblioteche d1 Europa. Bernar-
dino Baldi nelle sue ' Vite d£ matematict , manoscritto presso
il principe Boncompaghi, ha una biogrqfia del Vitellione.
Questo scritto del Baldi reca la data 25 agosto 1588.
Discorsero poi di lui Federigo Risnerio e Giovanni di Mon-
teregio nella prefazione delf Alfagrano, Giovanni Boteone,
Girolamo Cardano, 'De subtilitate^ , che nota gli errori di
Vitellione. Visse, secondo il Baldi, intorno aW anno 1269,
ma secondo il Reinoldo fioriva nel 1299, avendo dedicata
la sua opera ad un frate Guglielmo di Monteca, che visse
di que 'tempi.
Intorno ad un manoscritto dell1 ottica di Vitellione, ci-
tato da Luca Pacioli v1 ha un secondo esemplare del Kurtz,
con aggiunte del principe Boncompagni, e le illustrazioni
del cav. Enrico Narducci. Nel 'Catalogo di manoscritti1
possednti da D. Baldassare dJprincipi Boncompagni, com-
pilato da esso Narducci, Roma, 1862, sotto al n. 358,
troviamo citato: Vitellio, * Perspective, manoscritto del secolo
XIV. La 'Prospettiva di VitelleonJ (sic) Thuringo-poloni
e citata dtte volte da Paolo Lomazzo nel Trattato deir arte
della pittura. Vitellio o Vitello> o Witelo. II suo libro
fu impresso in foglio a Norimberga nel 1 5 35/ ?a secondo
edizione e 0^/1551, sempre di Norimberga, ed una terza
di Basilea, 1572. (See Indagini Storiche . . . sulla Li-
breria - Visconteo - Sforzesca del Castello di Pavia . . . per
curadiG. D'A., Milano 1879. P. I. Appendicep. 113. 114).
1507. Altro codice di cotesta 'Prospettiva? del Vitolone
troviamo notato nel 'Canone bibliographico di Nicolb V\
conservato alia Magliabecchiana , in copia delf originale
verosimilmente inviato dal Parentucelli a Cosimo de1 Me-
dici (Magliab. cod. segn. I VII, 30 carte da 193 a 198).
Proviene dal Convento di San Marco e lo aveva tra-
scritto frate Leonardo Scruberti fiorentino, d ell1 or dine dei
predicalori che fu anche bibliotecario della Medicea pub-
blica in San Marco (See Indagini Storiche . . . per cura
di G. D'A. Parte I, p. 97).
454
NOTES ON BOOKS AND AUTHORS.
[1508—1513.
K.« ..*] XS°8.
Come Xenofonte pro2pose il falso. How this proposition of Xenophon is false.
*Se a cose disequali si leuano cose <dis- If you take away unequal quantities from
equali, le quali sieno nella medessima pro- unequal quantities, but in the same propor-
portione ecc. tion, &c.
B. 4.1
r5°9-
inventorie
A dl 28 d' aprile ebbi da Marchesino
103 e S. 12.
On the 28th day of April I received from
the Marchesino 103 lire and 12 dinari.
Ash. I. i a]
1510.
A dl 10 di luglio 1492 I fiorl di re On the ioth day of July 1492 in 135 Rhe-
135 1. 445 nish florins 1. 445
2 1 dinari di 6 S 1. 112 S. 16 in dinari of 6 soldi 1. 112 S 16
31 dinari di • S 5 e l/2 1. 29 S. 13 in dinari of 5'/2 soldi 1. 29 S 13
* I dinari 9 d'oro e scudi 3 1. 53 9 in gold and 3 scudi 1. 53
5
1. 811 i somma.
S. K. M. III. 47 a]
A dl • primo • di febraio • lire 1 200.
1. 811 in all.
On the first day of February, lire 1200.
S. K. M. III. 43 a\
1512.
126 passi e la sala 2di corte, larga The hall towards the court is 126 paces
braccia 27. long and 27 braccia wide.
H.3 77")
La gronda stretta sopra la sala 2lire 30;
^le grode sotto • a di questa •; sieno,
ciascuno 4 quadro per se, lire -7, e di spesa
tra azzurro, 5Oro, biacca •, giesso, indaco e
colla-lire 3; 6di tepo giornate . 3 ;
7le storie sotto a esse grode coi suoi
8pilastri lire 12 per ciascuna;
9stimo la spesa fra smalto, azzurro e
oro, I0 e altri colori • lire una e 1J2 ;
11 le giornate stimo 3 • tralla investigati-
one "del coponimeto, pilastrello e altre
cose.
The narrow cornice above the hall lire 30.
The cornice beneath that, being one for
each picture, lire 7, and for the cost of blue,
gold, white, plaster, indigo and glue 3 lire;
time 3 days.
The pictures below these mouldings with
their pilasters, 12 lire each.
I calculate the cost for smalt, blue and
gold and other colours at iJ/2 lire.
The days I calculate at 3, for the inven-
tion of the composition, pilasters and other
things.
1508. i. zenofonti. 3. si leua. 4. qual sieno. 6. sima pro"nc". 1509. addi.
1510. 2. dinar. 3. dinari. 4. I di 9 doroesscudi. 5. soma.
1513. i. clla. 2. larga br 27.
1513. i. streota. 3. socto a di quessta. 4. azurro. 5. oro br biache . . indacho echolla. 7. groda chosua. 8. pilastre . .
ciasschuna. 9. azuro e a oro. 10. lire i e 1/2. n. invessdchatio.
1508. X^nopfiqn's works were published several
times during Leonardo's lifetime.
1509 Instead of tVe indication of the year there
is a blank space after cFaprile. — Marchesino Stange
was one of Lodovico il Moro's officials. — Campare
No. 1388.
1514-1517-]
INVENTORIES AND ACCOUNTS.
455
H.3
Ite per ciascuna volta • sola • lire 7
2 di spesa tra azzurro e oro • lire • 3 T/2
3 di • tepo • giorni 4.
4 per le finestre lire iaeV2
sil cornicione sotto alle finestre S 16 il
braccio
6 item per 24 storie romane lire I4l'una
7i filosofi lire 10
8i pilastri, vn ocia d' azzurro soldi 10
9 in oro soldi 15
I0sono lire 2 e T/2.
Item for each vault 7 lire
outlay for blue and gold 3J/2
time, 4 days
for the windows iT/2
The cornice below the windows 16 soldi
per braccio
item for 24 pictures of Roman history
14 lire each
The philosophers 10 lire
the pilasters, one ounce of blue 10 soldi
for gold 15 soldi
Total 2 and */2 lire.
H.3
Groda di sopra lire 30
2groda di sotto lire 7
3le storie 1'una per Pal tra lire 13.
The cornice above lire 30
The cornice below lire 7
The compositions, one with another lire 1 3
H.3
I5l6.
Salai lire 6 . . . 3 soldi 4 ... 6 soldi 10 in Salai, 6 lire ... 4 soldi . . . 10 soldi for
?vna ca8tena; a chain; —
914 di marzo 6 avuto lire 13 IOS 4, On the 14th of March I had 13 lire S. 4;
resta lire 16. 16 lire remain.
H.2
Quate braccia e alto il pia delle
mvra?
2 1 23 braccia
3Quat'e larga la sala?
iQuat'e larga la ghirlanda?
530 ducati.
6 A dl 29 di gienaro 1494.
?Panno per calze lire 483
8soppano S 16
9fattura S 8
10 Salai S 3
"anello di diaspro S 13
I2pietra stellata S n
^Caterina S 10
"t Caterina S 10.
How many braccia high is the level of
the walls? —
1 23 braccia
How large is the hall?
How large is the garland?
30 ducats.
On the 29* day of January, 1494
cloth for hose lire 4 S
lining
making
to Salai
a jasper ring
a sparkling stone
to Caterina
to Caterina
3
S 16
S 8
S 3
S 13
S ii
S 10
S
10
1514. i. chiasscuna voltaiola lire. 2. aruro. 5. cornicone . . il br. 6 ite. 7. i filosafi. 8. ipila vnScia dazuro. 10. simolire.
JS'S- 3- perllaltra.
1516. i -10 R. i. 6 in vna. 2. rev(?). 3. soldi 4 nv. 4. varco eli. 5. goni. 7. nona. 9. mazo.
1517. i. br e. 2. R. — 122 br. 4. girlando. 5—14 R- — 6. addi. 7. chalze. 11. di diasspis.
4$6
INVENTORIES AND ACCOUNTS.
[1518—1522.
»•» JJ«)
1518.
La rota
lire 7
The wheel
lire 7
Mabro
li 10
the tire
lire 10
3 scudo
li 4
the shield
lire 4
*carello
li 8
the cushion
lire 8
spoli del'albero
li 2
the ends of the axle-tree
lire 2
6letto e telajo
li 30
bed and frame
lire 30
7 canale
li 10.
conduit
lire 10
S. K. M. II.* 44]
Petrosemolo parti 10
2meta parte i
3serpillo parte I
* aceto . . . . e sale poco ;
scanavaccio 2 pezzi per Salai.
Parsley 10 parts
mint i part
thyme i part
Vinegar . . . and a little salt two pieces
of canvas for Salai.
S. K. M. IM o-] I52°-
Martedl si copro il uino da mattina, On Tuesday I bought wine for morning [drink-
2venerdl a dl 4 di settebre il simile. ing]; on Friday the 4th day of September the same.
s. K. M. H.I 94 1\ IS21
Piscina all'ospedale, —
2 ducati 2, — J fave, — 4 melica biaca, — s meli-
ca rossa, — 6panico, — ^ miglio, — 8 fagiuoli, —
9 fave, — x " pisegli.
The cistern at
the Hospital , — 2 ducats , — beans , — white
maize, — red maize, — millet, — buckwheat, —
kidney beans, — beans, — peas.
S. K. M. II. i 950] I522-
SPESE PER LA SOTTERATURA DI CATERINA. EXPENSES OF THE INTERMENT OF CATERINA.
2Libbre 3 di cera
3 per lo cataletto
4palio sopra il cataletto
s portatura • e portura di croce
6 per la postatura • del morto
i per 4 preti e 4 cherici
8canpana •, libri, spuga
9 per li sotteratori
10 all' atiano
11 per la licietia • ali ufitiali
12 il medico
^zucchero e cadele
S 27
S 8
S 12
S 4
S 8
S 20
S 2
S 16
S 8
S i
For the 3 Ibs of tapers
For the bier
A pall over the bier
For bearing and placing the cross
For bearing the body
For 4 priests and 4 clerks
Bell, book and sponge
For the gravediggers
To the senior
For a license from the authorities
106
S 2
S 12
The doctor
Sugar and candles
1 20
27 S
8 S
12 S
4 S
8Q
O
20 S
2 S
16 S
8 S
1 S
106 S
2 S
12 S
120 S
1518. 1—7 R. 6. ettelaro.
1519. i. petrose milo parte. 3. srpilo pa. 4. aceto
1521. i. piscin damozania(r) allospedadi. 4. meliga.
1533. i. socteratura. 2. In libr. 3/ 3. catalecto. 4.
medico. 13. zuchero.
peneo essale. 5. canovacci 2 prsi.
5. meliga. 8. fagioli.
sopra catalecto. 7. cerici. 8. libr. 9. socteratori.\ 10. allatiano. 12. in
1519. This note, of about the year 1494, is the ear-
liest mention of Salai, and the last is of the year
1513 (see No. 1465, 3). From the various notes in
the MSS. he seems to have been Leonardo's assistant
and keeper only, and scarcely himself a painter. At
any rate no signed or otherwise authenticated pic-
ture by him is known to exist Vasari speaks some-
what doubtfully on this point
1520. This note enables us to fix the date of the
Manuscript, in which it is to be found. In 1495 tne
4th of September fell on a Friday; the contents
of the Manuscript do not permit us to assign it to
a much earlier or later date (Compare No. 1522,
and Note).
1522. See Nos. 1384 and 1517.
1523—1526.]
INVENTORIES AND ACCOUNTS.
457
L. 94 a]
I523-
La cappa di Salai a dl 4 d'aprile 1497.
2 4 braccia di panno argietino 1. 15 S 4
^velluto verde per ornare 1. 9 S
4 bindelli 1. S
5 magliette 1. S
6manifattura 1. I S
7bindello • per dinazi li • S
8puta
9ecco di suo grossoni • 13 li 26 S 5
10 Salai ruba li soldi.
9
12
5
5
Salai's cloak, the 4th of April 1497.
4 braccia of silver cloth
green velvet to trim it
binding
loops
the making
binding for the front
stitching
here are 13 grossoni of his
Salai stole the soldi.
S 4
9 S -
9
12
5
5
1. 26 S 5
1.2
1524.
Lunedl coprai braccia 4 di tela, lire 13 On Monday I bought 4 braccia of cloth
14 .2e T/2, a dl 17 di ottobre 1497. lire 13 S -i4T/8 on the 1 7th of October 1497.
Br. M. 229 1/]
I525-
Ricordo come a dl 8 d'aprile 1503 io
Leonardo da Vinci prestai a Vate mi2nia-
tore ducati 4 d'oro in oro; portogli Salai
e li dette in sua propia 3mano; disse ren-
dermile infra lo spatio di 40 giorni;
4 Ricordo come nel sopradetto giorno
io redei a Salai ducati 3 d'oro, i quali
s disse volersene fare vn paio di calze ro-
sate co' sua fornimeti, e li restai a dare
6 ducati 9-, posto che lui ne de' dare a me
ducati 20, cioe 17 prestai li a Milano e 3
a Venezia;
7 Ricordo come io diedi a Salai braccia
21 di tela da fare camicie, a S. io il brac-
cio, 8le quali li diedi a dl 20 d'aprile
I503-
Memorandum. That on the 8th day of
April 1503, I, Leonardo da Vinci, lent to
Vante, miniature painter 4 gold ducats, in
gold. Salai carried them to him and gave
them into his own hand, and he said he would
repay within the space of 40 days.
Memorandum. That on the same day I
paid to Salai 3 gold ducats which he said
he wanted for a pair of rose-coloured
hose with their trimming; and there remain
9 ducats .due to him — excepting that he owes
me 20 ducats, that is 17 I lent him at Milan,
and 3 at Venice.
Memorandum. That I gave Salai 2 1 brac-
cia of cloth to make a shirt, at io soldi
the braccio, which I gave him on the
20th day of April 1503.
C. A. -job; 2086]
1526.
La mattina di Sco Pietro a dl 29 di
giugno 1504 2tolsi ducati io, de' quali ne
diedi uno a Tomaso, mio 3famiglio, per
spedere;
On the morning of San Peter's day,
June 29th, 1504, I took io ducats, of which
I gave one to Tommaso my servant to
spend.
1523. 2. 4 br di. 9. ecci di suo. io. P. 1524. i. br 4.
1525. i. chome. 2. innoro . . elli detti. 3. losspatio . . gorni. 4. assalai. 5. elliresstai addare. 6. duchati 9 possto chellui . .
amme . . coe i [6] 7 prestali . . e [4] 3 a vinegia. 7. assalai br 21 . . daffare camice a S io il bracco. 8. la queli . . addi.
1526. i — 22. Written from left io right, i. pitro addi . . gugno. 2. i attomaso. 3. isspedere. 4. fr i assalai . . isspendere in
1525. With regard to Vante or Attavante, the mi-
niature painter (not Nanni as I formerly deciphered
this name, which is difficult to 'read; see Zeltschrift
fiir Bild. A'unst, 1879, p. 155), and Vasari, Lives of Frate
Giovanni da Fiesole, of Bartolommeo della Gatta,
and of Gherardo, miniature. He, like Leonardo, was
VOL. II.
one of the committee of artists who, in 1503, considered
the erection and placing of Michel Angelo's David.
The date of his death is not known; .he was of the
same age as Leonardo. Further details will be found
in 'Notizie di Attavanle miniatore, e di alcuni suoi lavor?
(Milanese's ed. of Vasari, III, 231—235).
MMM
458
MISCELLANEOUS NOTES.
[1527.
«lunedl mattina fiorino uno a Salai per
spendere in casa,
smartedl tolsi fiorino uno per mio spen-
dere,
6mercoledl sera fiorino uno a lomaso,
inati cena,
7sabato mattina fiorino uno a Tomaso,
8lunedl mattina fiorino uno maco S 10,
'giouedi a Salai fiorino uno maco S 10,
10 pel giubbone fiorino uno,
"pel giubbone j f
"e per berretta \
•Jal calzaiolo fr. i°,
ME Salai fr. i°;
'5 Venerdl mattina a dl 19 di luglio fiorino
uno maco S 6, rest6 mi fr. 7 e 22 in cassa ;
l6martedl a dl 23 di luglio fiorino uno
a Tomaso,
^lunedl mattina a Tomaso fiorino uno,
I8[mercoledl mattina fiorino uno a Tomaso]
'9giouedl mattina a dl p° d'agosto fiorino
uno a Tomaso,
20domenica 4 d'agosto fiorino uno;
2Ivenerdl a dl 9 d'agosto 1504 "tolgo
ducati 10 dalle casse.
On Monday morning i florin to Salai to
spend on the house.
On Thursday I took i florin for my own
spending.
Wednesday evening i florin to Tommaso,
before supper.
Saturday morning i florin to Tommaso.
Monday morning i florin less 10 soldi.
Thursday to Salai i florin less 10 soldi.
For a jerkin, i florin.
For a jerkin ) a .
A , •* > 2 florins.
And a cap J
To the hosier, i florin.
. To Salai, i florin.
Friday morning, the 19th of July, i florin,
less 6 soldi. I have 7 fl. left, and 22 in the box.
Tuesday, the 23th day of July, i florin to
Tommaso.
Monday morning, to Tommaso i florin.
[Wednesday morning I fl. to Tommaso.]
Thursday morning the ist day of August
i fl. to Tommaso.
Sunday, the 4th of August, i florin.
Friday, the 9th day of August 1504, I
took 10 ducats out of the box.
Br. M.
1527.
1504.
2 Venerdl a dl 9 d'agosto 1504 tolsi
fiorini IO d'oro J. . . . venerdl a dl 9
d'agosto grossoni quintiici cioe fr. 5 S 5
•».... dato a me fr. i° d'oro a dl 12 d'a-
gosto, 5. ... a dl 14 d'agosto grossoni 32 a
Tomaso, 6e a dl 18 del detto grossoni 5
a Salai, ?a dl 8 di settebre grossoni 6 al
fattore 8per spendere cioe il dl della donna;
9 a dl 1 6 di settembre detti grosso 4 10a
Tomaso in domenica.
1504.
On the 9th day of August, 1504, I took
10 florins in gold [2] . . . . [3] on Friday the
9th day of August fifteen grossoni that is
fl. 5 85 .... given to me i florin in gold
on the 12th day of August [4] on the
i4th of August, 32 grossoni to Tommaso. On
the 18th of the same 5 grossoni to Salai.
On the 8th of September 6 grossoni to the
workman to spend; that is on the day of
our Lady's birth. On the i6th day of Sep-
tember I gave 4 grossoni to Tommaso: on
a Sunday.
chasa. 5. fr i. 6. mercholedi. 6. fr i attomaso . . cene. 7. fr i attomaso. 8. fr i macho. 9. goncdi assalai fr i macho.
10. gubone fr !. n. gubone. 14. assalai. 15. vene "rdi" [sabato] mattina '"a di 19 di luglo" fr i° macho. 16. luglo fr
i" attomaso. 17. attomaso fr i°. 18. [mercholedi mattin . . fr i° attomaso]. 19. govedi "mattina" addi . . fr i" attomaso.
20. domenicha . . fr i". 21. addi. 22. tolgho.
1527. Written from left to right. 3. anne dato [addi] venerdi . . coe. 4. m\\\\\ dato ame fri doro addi 12 d'agosto. 5. an\\\\\\to
addi . . 3 (?) atto maso. 6. addi . . assalai. 8. isspendere coe. 9. addi. 10. attomaso indomenicha.
1527. In the original, the passage given as No. 1463
is written between lines 2 and 3 of this text, and
it is possible that the entries in lines 3 and 4 refer
to the payments of Jacopo Tedesco, who is there
mentioned. The first words of these lines are very
illegible.
7. Al fattore. II Fattore, was, as is well known,
the nick-name of Giovanni Franceso Penni, born in
Florence in 1486, and subsequently a pupil of Ra-
phael's. According to Vasari he was known by it
even as a boy. Whether he is spoken of in this
passage, or whether the word Fattore should be trans-
lated literally, I will not undertake to decide. The
latter seems to me more probably right.
I528—I533-]
INVENTORIES AND ACCOUNTS.
459
F. o ]
1528.
A dl d'ottobre 1508 ebbi scudi 30;
2 13 ne prestai a Salai per copiere la dota
alia 3Sorella, e 17 ne resto a me.
On the day of October, 1508, I had
30 scudi; 13 I lent to Salai to make up his
sister's dowry, and 17 I have left.
C. A. 189 a; 565 a]
X529'
Ricordo de' danari che io ho avuto dal
re per mia prouisione dal luglio 1508 insino
2aprile prossimo 1509: prima scudi IOO •,
poi 70, e poi 50, e poi ^20, e poi 2OO
fiorini a 48 S. per Puno.
Memorandum of the money I have had
from the King as my salary from July 1508
till April next 1509. First 100 scudi, then
70, then 50, then 20 and then 200 florins at
48 soldi the florin.
C. A.
Sabato a di 2 di marzo 2ebbi da Sea
Maria Nova ^ducati 5 d'oro, resto 4ve ne
450, de' quali 2 ne sdetti il medesimo dl
a Salai, 6che me li avea prestati.
Saturday the 2nd day of March I had from
Santa Maria Novella 5 gold ducats, leaving
450. Of these I gave 2 the same day to
Salai, who had lent them to me.
C. A. 253 b; 748 a]
11 Giovedl, a dl 8 di givgnio 2 tolsi gros-
soni 17 S i8;t 'giovedl detto da mattina
a Salai 4 per spendere S 22.
Thursday, the eighth day of June, I took
'? grossoni, 1 8 soldi; on the same Thurs-
day in the morning I gave to Salai 22 soldi
for the expenses.
w. xxxii.]
I532t
A Salai grossoni 4, e I braccio 2di vel-
luto 5 lire, e x/2, 3sapere S • io, maglie d'ar-
gieto; ^ Salai S 14 per bindelli, sfattura
della cappa S 25.
To Salai 4 grossoni, and for one braccio
of velvet, 5 lire, and I/2 ; viz. io soldi for
loops of silver; Salai 14 soldi for binding,
the making of the. cloak 25 soldi.
c. A. 17 b-, 676] T533-
IDetti a Salai lire 293-S 6; 36 ne
avuti lire 67, 4resta dare 26- S 6.1
I gave to Salai 93 lire 6 soldi, of which
I have had 67 lire and there remain 26 lire
6 soldi.
1528. 2. assalai. 3. amme.
1529. i. Richordo de dinari . . da dal luglo.
1531. i. giove. 3. assalai. 4. perisspedere.
1533. i. assalai . . 4 e e i br. 2. br 5 lire he V
1533. i. assalai. 3. one auiti.
'53O- 5- assalai.
- 3- velluto br 5 lire he x/2- 3- saPr-
1529. Compare No. 1350 and 1561.
1530. See 'Conto corrente di Leonardo da Vinci con
Io Spedale di S. Maria Nuova' [1500 a 1507, 1513— 152°]
published by G. UZIELLI, Ricerche intorno a Leonardo
da Vinci, Firenze, 1872, pp. 164, 165, 218 and 219.
The date here given by Leonardo does not occur in
either of the accounts.
1532. Compare No. 1523.
460
MISCELLANEOUS NOTES.
[I534—I539-
C. A. }***•, 949*1
A Salai
'dozzine 2 di stringe
J in fogli
<vn pajo di scarpe
sin veluto
6spada e coltello
7 in barbiere
8 a Paolo per una . . .
9 per dire la uentura
1534-
S 42
S 8
3
14
14
S 21
S ii
S 20
S 6
S
S
S
To Salai
2 dozen of laces
for papers
a pair of shoes
for velvet
a sword and knife
to the barber
to Paolo for a .
S 42
S 8
S 3
S 14
S 14
S 21
S ii
S 20
For having his fortune told S 6
Br. M. 372*1
Venerdl mattina
2fiorino uno a Salai
per spe^dere; avuto
S 3
1535-
in pane
S.
.d
in uino
S.
.d
in oua
S.
.d
•» in funghi
S.
.d
sin frutti
S.
.d
6 in crusca
S.
.d
7 in barbiere
S.
.d
8 in scarpe
S.
.d
. On Friday morning, bread
one florin to Salai to wine
spend; 3 soldi re- grapes
ceived mushrooms
fruit
[6] bran
S. . d
S. . d
S . . d
S. . d
S . . d
S. . d
at the barber's S . . d
for shoes S . . d
C. A. 1166; 3951]
Giovedi mattina fiorino uno.
1536.
On Thursday morning one florin.
C. A. 212*; 627*]
II DI di Sco Ambrosio S 36 da
tina in giovedo.11
mat- On Saint Ambrose's day from the morning
to Thursday 36 soldi.
C. A. 258*; 784!
1538.
I danari ch'io 6 avuto da Ser Matteo:
2prima grossoni 20, poi 13 volte 3 f., e di
poi grossoni 61, 3e poi 3, di poi 3 • 3 •;
S 46 grossoni 12.
The moneys I have had from Ser Matteo ;
first 20 grossoni, then on 13 occasions 3 f.
and then 61 grossoni, then 3, and then 3-3;
46 soldi 12 grossoni.
Tf rt//1
I carta S 18
8 1 tela S 30
3i carta S 10 d 19
* somma
73
1539-
For paper
for canvas
for paper
S 18
S 30
S 10 d 19
Total S 73
1534. i. assalai. 2. dozine o . . string. 4. pa disscarpe 8 apago[o pr"a" croetta.
1535. i — 8. WritUn front left to right. 2. fr. I assalai perispe. 3. auta, — innova. 5. frutte. 6. crussca. 8. iniscarpe.
1536. i. govedi . . fr !. 1337. abrosio.
1538. i. chio auuto. 2. pr grossoni.
1535. 6. Compare Nos. 1545, 1. 4 arid 5, with similar entries for horse's fodder.
1 54°" I5420 INVENTORIES ATSTD ACCOUNTS. 461
Br. M. 2270:]
Libbre • 26 • d' azzurro di .20 pounds of German
Magnia, vn ducato la libbra 1. 80 S d blue, at one ducat the pound lire 80 S d
2libbre • 60 di biacca S . . 60 pounds of white, S . .
la libbra lire 15 S d the pound lire 15 S d
3libbre ix/2 S. 4 la libbra lire 06 S d impound at 48 the pound lire 6 S d
icinabro libbre 2, S 18 2 pounds of cinnabar at
la libbra lire Oi S 16 d S 18 the pound lire i S 16 d
Sverde libbre 6, S 12 6 pounds of green at S 12
la libbra lire 03 S 12 d the pound lire 3 S 12 d
6giallo libbre 4, a S 12 4 pounds of yellow atS 1 2
la libbra lire 02 S 08 d the pound lire 28 8 d
7minio libbra una, a i pound of minium at S 8
S 8 la libbra lire oo S 08 d the pound lire o S 8 d
8aiorica libbre 4, S 2 4 pounds of at 82
la libbra lire oo S 08 d the pound lire o S 8 d
9 oguria libbre se.i, a S 6 pounds of ochre at S i
uno la libbra lire oo S 06 d the pound lire o S 6 d
I0nero in pietra S 2 la black ... at 82 the pound
libbra per 20 lire 02 S oo d for 20 lire 28 o d
"ciera per fare lestelle wax to make the stars
libbre 29 a S la libbra lire S d 29 pounds at S — the pound lire o S o d
12 olio per dipingere 40 pounds of oil for paint-
libbre 4 a soldi 5 la libbra lire 10 S d ing at 5 soldi the pound lire 10 S o d
J3in somma lire I2O: Altogether lire 120 d 18
S 1 8 sanza 1'oro 18 without the gold. 18
'4 stagnio per appiccare 1'oro 1 20 18 tin for putting on the gold 120 18
58 58
Br. M. 42<5J I54I-
Due scuri grandi e vna piccina, 8 cue- Two large hatchets and one very small
chiai d'ottone; 24 touaglie, 2 guardanappe, one, 8 brass spoons, 4 tablecloths, 2 towels,
1 5 tovagliolini, 2 tovagliole , canava 2, 3 2 15 small napkins, 2 coarse napkins, 2 coarse
invoglie, 3 paia di lenzuola, 2 paie nove cloths, 2 wrappers, 3 pairs of sheets, 2 pairs
e uno vecchio. new and i old.
Br. M. 212 a] I542-
Letto 7 o S. Bed 7 o S
2anello 7 o ring 7 o
3stovigli 2 5 crockery 2 5
^ortolano I 2 gardener i 2
smainardo 28 28
6fachini 2 i porters 2 i
7bichieri i o glasses i
8 in ferri da foco 3 6 fuel 3 6
9 in serrature i. a lock i
1540. 1—14. Written from left to right, i. libra, libre throughout for libbra ; libbre dazurro. 2. biaccha S. [6] [7] o la libra.
4. libr "2" 22 "4". 7. libre f a. 8. [aivrichaf "aioricha". 9. aquiriajibr sei a i la. 12. dipigniere libre 4 o [per] soldi.
13. insoma. 14. apichare.
1541. r. scure grande . . chuchiai. 2. tovagli . . guardanape 14 "15" tovaglolini 2 tovaglole canava. 3. nove e i vechio.
1543. 5. mainard"o". 8. inferi da focho.
462
MISCELLANEOUS NOTES.
[I543—I545.
3 • paji di lezuola
di 4 teli 1'uno,
2 lenzoli piccoli
2 tovaglie e '/2
1 6 matili
H.J Ml
Peltro novo,
1 6 • scodcllini,
36 scodelle •
*2 piattegli grandi
53 piattegli mezzani,
6 2 piatteletti, 8 camicie
7pcltro vechio 9 pannetti
8 3 scodellini 2 sciugatoj
94 scodelle
10 3 quadretti
"2 scodellini
I2uno scodellone
'-•uno piattello
'« 4 cadellieri
'5 1 candelliere piccolo. .
C. A. 1320; 402 a]
Calze
2 paglia
3 biada
* vino
s pane
6 carne
?uova
8salata
9barbiere
I0cavalli
C. A. 26a; 87 rt]
Domenica
2 carne
S
10
d
3 vino
S
12
d
* crusca
S
5
d
4
serba
S
10
d
6ricotta
S
4
d
4
7melone
S
3
d
8 pane
S
3
cl
i
'luifedl 1
9
8
I0.,..le
S
6
d
"vino
S
12
d
12 crusca
s
9
d
4
^ricotta
s
4
d
4
'*erba
s
8
d
1543-
New tin-ware
6 small bowls,
6 bowls,
2 large dishes,
2 dishes medium size
2 small ones
3 pairs of sheets
each of 4 breadths,
2 small sheets,
2 tablecloths and l/2,
, 1 6 coarse cloths,
8 shirts,
Old tin-ware
3 small bowls,
4 bowls,
9 napkins,
2 hand-towels.
3 square stones,
2 small bowls,
i large bowl,
i platter,
4 candlesticks,
i small candlestick.
1544-
Hose S 40
straw S 60
wheat S 42
wine S 54
bread S 18
meat S 54
eggs S 5
salad S 3
the Barber S 2 d
6
horses S i
1545-
Sunday
meat S 10 d
wine S 12 d
bran S 5 d
herbs S 10 d
4
buttermilk S 4 d
melon S 3 d
bread S 3 d
4
i
Monday S 9
8
..... S 6 d
wine S 12 d
bran S 9 d
buttermilk S 4 d
herbs S 8 d
4
4
'543- '• para. 3. picolo. 6. piattelecti. 8. sciugatto. 12. !. 13. !. 15. picolo.
1544. 7. hova.
'545- J— 25 P- <• domenic S. 6. ricote. 7. mcloroi(?). 13. ricotc. 23. -melonne. 24. cruvsca.
1546. 1 547-J
INVENTORIES AND ACCOUNTS.
463
*s martedl
. . .
s
d
Tuesday
S
d
16 carne
1 7 vino
18 pane
^crusca
20erba
CO CO CO CO CO
o
12
3
5
8
d 8
d
d
d 4
d
meat
wine
bread
meal
herbs
S
S
S
s
sc
o
12
3
5
8
d 8
d
d
d 4
d
2Imercoledl
Wednesday
22 vino
23melone
2* crusca
25erba
S
S
S
s
5
2
5
8.
d
d
d 4
wine
melon
meal
vegetables
s
s
s
s
5
2
5
8.
• d
d
d 4
Ash. i. 186}
Miseracione divina sacro sancte Romane ecclesie tituli n • cardinalis 2 wulgariter nun- Notes by
cupatus venerabili religioso fratri Johanni Mair d'Nustorf 3ordinis praedicatorum provintie "persons"
teutonic (?) conventus Wiennensis capellano ^nostro commensali salutem in dno sempi- am^nfsthe
ternam Religione zelus rite ac in [ferite?] shonestas aliarumque laudabilium probitatis et (1546-1565).
virtutum merita quibus apud nos fide 6digno commendationis testimonio Magistri videlicet
ordinis felicis recordacionis Leonardi de ?Mansuetis de Perusio sigillo suo . . . . us dans
tibi ad opera virtutum comen(salem) ? 8 locum et tempus success(ores) cujus simi-
liter officium ministratus qui praedecessoris sui donum (?) 9Confirmavit et de novo dedit
aliorumque plurima [laudatis] qui opera tua laudant I0nos inducunt ut tibi (?) reddamus
ad gratiam liberalem hinc est quod nos cupientes. •
w. xii b\
1547-
Johannes • Antonius • di Johannes Am-
brosius de Bolate; 2Chi perde il tempo e'
virtu non aquista ; 3 quanto piu pensa 1' ani-
mo piu s'attrista; 4 Virtu non ha in potere
lo auere; chi lascia onore per acquistare
auere; 5Non vale fortuna a chi non s'affa-
tica; 6Colui si fa felice, che Christum vestiga;
7perfetto dono no s'a sanza gran pena;
8Passano nostri triumfi, nostre pompe; 9 la
gola • e '1 sonno • e 1' otiose • piume Anno •
dal mondo-ogni virtu sbandita, 10tal • che
dal corso • suo • quasi • smarita; Nostra • na-
tura»e vinta dal costume; "Ormai-con-
vien • cosl • che tu ti spoltri; Disse il maestro
che segiendo • in piuma, I2in fama • non si
viene, ne sotto coltri, Sanza la qual • chi
sua • vita • consuma ^tal • uestigia • in terra
di se lascia -, Qual • fumo • in aria • o nel-
1'acqua la s'chiuma.
Johannes Antonius di Johannes Ambro-
sius de Bolate. He who lets time pass and
does not grow in virtue , the more I think
of it the more I grieve. No man has it in
him to be virtuous who will give up honour
for gain. Good fortune is valueless to him
who knows not . toil. The man becomes
happy who follows Christ. There is no per-
fect gift without great suffering. Our glories
and our triumphs pass away. Foul lust, and
dreams, and luxury, and sloth have banished
every virtue from the world; so that our
Nature, wandering and perplexed, has almost
lost the old and better track. Henceforth it
were well to rouse thyself from sleep. The
master said that lying in down will not bring
thee to Fame ; nor staying beneath the quilts.
He who, without Fame, burns his life to waste,
leaves no more vestige of himself on earth than
wind-blown smoke, or the foam upon the sea.
1546—1566. All Uiese texts are written in the ordinary -way from left to right.
'547' !• Ambrossius. 3. pensse . . satrista. 4. lassa honore . . aquistare havere. 5. safaticha. 6. coluy . . Xstum. 7. perfecto
donnosa. 8. pasano. .9. ellotiose . . del. 10. chorso . . issmarita . . chostume. n. chonvien chosi chettutti spoltri . .
maesstro chessiegiendo. 12. si uen nessotto choltri. 12. chissua . . chonsuma. 13. uesstigia . . lasscia . . onnellacqua
lasschiuma.
1546. The meaning of this document, which is in Leonardo's hand. (Nos. 483, 661, 519, 578, 392,
very difficult to decipher, and is written in unintelli- 582, 887 and 894.)
1547. From the last sentence we may infer that
this text is by the hand of a pupil of Leonardo's. —
gible Latin, is, that Leonardo di Mansuetis recom-
mends the Rev. Mair of Nusdorf , chaplain at Vienna,
to some third person ; and says also that something,
which had to be proved, has been proved. The rest
of the passages on the same leaf are undoubtedly
On the same sheet are the notes Nos. 1175 and 715
in Leonardo's own handwriting.
464
MISCELLANEOUS NOTES.
[1548. 1549.
Br. M. 148
I548.
La mattina de santo Zanobio a dl 29
de maggio nel 1504 2ebbi da Lionardo
Vinci dvcati 15 d'oro, e cominciai a spendere
^ a mona Margarita S 62 d 4
<a rifare- 1'anello S 19 d 8
On the morning of Santo Zanobio the
29th of May 1504, I had from Lionardo Vinci
15 gold ducats and began to spend them,
to Mona Margarita S 62 d 4
i panni
°bon bove
?uova
S 13 d
S 4
S 6 d
8al banco debito
9velluto
S 7 d
S 12
I0vino
"carne
"more
'J funghi
'^insalata
S 6 d 4
S 4 d
S 2 d 4
S 3 d 4
S i d
's frutta
l6candele
17
S i d 4
S 3 d
S i d
18 farina
S 2 d
'^domenica
198 • 8
20pane
"vino
"carne
2-5 minestra
S 6 d
S 9 d 4
S 7 d
S 2 d
2* frutta
2Scandele
S 3 d 4
S 3 d o
26Lvnedl
31
2 7 pane
28carne
S 6 d 4
S 10 d 8
29vino
3° frutta
31 minestra
S 9 d 4
S 4 d
S i d 8
to remake the ring
S 19 d 8
clothes
s 13
good beef
S 4
eggs
S 6
debt at the bank ,
S 7
velvet
S 12
wine
S 6 d 4
meat
S 4
mulberries
S 2 d 4
mushrooms
S 3 d 4
salad
S i
fruit
S i d 4
candles
S 3
....
S !
flour
S 2
Sunday
198 8
bread
S 6
wine
S 9 d 4
meat
S 7
soup
S 2
fruit
S 3 d 4
candles
S 3 d
Monday 3 1
bread
S 6 d 4
meat
S 10 d 8
wine
S 9 d 4
fruit
S 4
soup
S i d 8
32
Br. M.
1549-
Martedl
2 pane
•*carne
4 vino
s frutta
6 minestra
7 insalata
Tuesday
S 6 d
S ii d
S 7 d
9 d
2 d
i d
S
S
S
bread
meat
wine
fruit
soup
salad
S 6
S ii
S 7
S 9
S 2
S i
1548. i. matina . . ganobi . . mago. 2. ebi . . comincai. 3. magarita. 4. arefaere. 6. bonbove. 7. hove. 9. veleto. 13. fonghi.
15. frvte. 17. poniti. 19. domenega. 24. frute. 25. candcl. 30. frvte.
'549- '• martedi here Leonardo notes in his usual handwriting ',, a grecho. 5. frvte. •
1548. 1549. On the same sheet is the text No. 1015 in Leonardo's own handwriting.
I550—I554-] NOTES BY UNKNOWN HANDS.
465
Br. M..I49*] 1550.
A Mona Margarita d 5 To Monna Margarita S 5
2 a Tomaso S 14 to Tomaso S 14
3 a mona Margarita di 5 S 2 to Monna Margarita -d 5 S a
4 el dl di san Zanobi on the day of San Zanobi
sresta left after
6de pagamento di 13 S 2 d 4 payment d 13 S 2 d 4
7di mona Margarita of Monna Margarita
8 in somma ?d 14 S 5-4 altogether d i4~S 5 d 4
Br. M. 271 a] r55J-
II • Ivnedi a dl 13 di febraio prestai lire On Monday, the 13th of February, I lent
S 7 a Lionardo per spendere 2venerdl d 7. lire S 7 to Lionardo to spend, Friday d 7.
Br. M. 2740]
IStephano, Chigi, Canonico ..... 3 fa- Stephano Chigi, Canonico ..... , ser-
miliare del chiarissimo 4 Conte Grimani ; 5 a vant of the honorable Count Grimani at S.
Santo Apostolo.U Apostoli.
C. A. 4*5 na] X553'
Essendomi sollecitato; 2d'amor non ne Having become anxious .......... Ber-
che • dvnque . . . 3 Bernardo • di Simone, 4Sil- nardo di Simone, Silvestro di Stefano, Ber-
uestro di Stefano •, s Bernardo • di Jacopo, nardo di Jacopo, Francesco di Matteo Bon-
6 Francesco di Matteo Bonciani, ? Antonio ciani, Antonio di Giovanni Ruberti, Antonio
di Giovanni Ruberti; 8 Antonio da Pistoia da Pistoia .... Antonio; He who has time
. . , ., Antonio; 9Chi tenpo a e tenpo aspetta and waits for time, will lose his friends and
*° perde 1' amico • e' danari. his money.
C. A. 34 6; 109 a} I554-
Reverendissimo maestro domino Giouani Reverend Maestro, Domino Giovanni, I
come fratello jo parlai a maestro Zacaria di spoke to Maestro Zacaria as a brother about
quella 2facenda et 1'ho fatto esser contento *is business> and J m/de him satisfied with
... , ,. ' the arrangement that I had wished; that is,
di quella ordinatione ch 10 ho uoluto, 3Cioe ag regards the commission that I had from
in quato alia comissione ch'io ho dalle the parties and I say that between us there
parti, et dico che tra noi no ha 4a correre is no need to pay money down, as regard
denari inquanto alii quadri della ... the pictures of the ...
1550. i. margerita d 5'/i(-?) 5- 4- ganobi. 5. resta se mo da lord. 6. de. 7. di cai(?)li mona malgarita. 8. soma. 10. [a mone
margerita S. 7.]
1551. i. el Ivnedi . . prestaio . . perispende. 2. vermadi d. 7 nel i. 3. di poi imponi di chossto nonebbi mi se nuoperepochi
soldimi foro.
1552. 2. de dn. c (?) cegno. 3. k"mo".
*553- 3- br bernardo. 4. saluesstro. 5. dia chopo. 6. franc"o". 7. anf'o". 8. pistoia gbagha diche. 9. asspetta. 10. lamicho
e danari nvna. n. chiasmo e accierbi o esser surado (?).
1554. R "do" mstr do . . como frWlo mro. 3. dicochtra. 4. denari inquato . . guadri. Here the texts breaks off.
1551. This note is followed by an account very like the one given as No. 1549-
1552. Compare No. 674, 21 — 23.
VOL. II. NNN
466
MISCELLANEOUS NOTES.
[1555-1560.
C. A. 75«s
1555-
Delle cose vedute infra la nebbia quella Of things seen through a mist that which
parte che sara piu 2 uicina alii estremi, sara is nearest its farthest limit will be least visible,
manco uisibile, e tanto meno 3qUato so and all the more so as they are more re-
piu remote. mote.
Cod. A. 77;*MS*1
Teodoricus Rex 2 semper Augustus.
Theodoricus Rex Semper Augustus.
C. A. c»t; 2716]
1557-
..r , „ „.,,. , ,..:«. Either you say Hesperia alone, and it will
"Aut Hesperia sola dicis et significat mean Ita, Qr add uW and it wil,
Italia, 3aut addis vltima et significat Ispa-
nia; 4Vmbria par Tuscie. mean sPain- Umbria, part of Tuscany.
C. A. 121 1; 376*5)
1558.
Tot?
C. A. 130*; 397<I1
1559-
Canonica di a dl 5 di Luglio 1 507.
2Cara mia diletta madre, e mie sorelle, e
mio cognato, avisovi come 3Sono per la
grazia di dio . . . . di quella spada che io . . .
Canonica of on the 5th of July 1507;
my dearly beloved mother, sisters and cou-
sin I herewith inform you that thanks to God
I am . . about the sword which I
portat;ela 4alla piazza delli Strozzi (?) a Maso bring it to Maso at the piazza ....
della . . . e spediro la facenda 5 di Piero in and I will settle the business of Piero so
modo che .... that .
c. A. 164*; 490*1 1560.
Ut bene respondet Naturae ars docta! dedisset
Vincius, ut tribuit cetera • sic animam •
Noluit ut similis magis haec foret: altera sic est:
Possidet illius Maurus amans animam.
'555- i- prte- 2- extremi . . ettanto.
1556. Teodoricus R. 1557. 3. sig "cas" ispania.
1559. i. canonica ?) didio(?) adi. 2. dileta . . sorele . . chome. 4. istro"a"zi . . maso della violc.
1557. The notes in Greek, Nos. 1557, 1558 and
1562 stand in close connection with each other, but
the meaning of some words is very doubtful, and a
translation is thus rendered impossible.
1559. AMORETTI, Mem. Stor. XXIV, quotes the first
three lines of this letter as by Leonardo. The cha-
racter of the writing however does not favour this
hypothesis, and still less the contents. I should
regard it rather a rough draft of a letter by young
Melzi. I have not succeeded in deciphering com-
pletely the 13 lines of this text. Amoretti reads at
the beginning Canonica di Vaprio, but Vaprio seems
to me a very doubtful reading.
1560. These three epigrams on the portrait of
Lucrezia Crivelli, a picture by Leonardo which must
have been lost at a very early date, seem to have
been dedicated to Leonardo by the poet. Leonardo
used the reverse of the sheet for notes on geometry.
1561 — 1564.]
NOTES BY UNKNOWN HANDS.
467
Hujus quam cernis nomen Lucretia, Divi
Omnia cui larga contribuere manu.
Kara huic forma data est; pinxit Leonardus, amavit
Maurus, pictorum primus hie, ille ducum.
Naturam, ac superas hac laesit imagine Divas
Pictor: tantum hominis posse manum haec doluit,
Illae longa dari tam magnae tempora formae,
Quae spatio fuerat deperitura brevi.
C. A.
; 515,*]
Egidius Romanus de formatione cor-
pons humani in vtero matris.
2 A Mons. le Vintie,-des chevaux (?)
3de 1'escuyer du Roy...; 4lajssez payement
contmuer a Ms. sLyonard Paintre du Roy.
Amboyse.
Egidius Romanus on the formation of
the human body in the mother's womb[i].
[ 2] To Monsieur le Vinci,-the h6rses of the
king's equerry .... Continue the payment
to Ms. Lyonard, Painter to the King.
[6jAmboise.
C. A. 175 a; 526a]
TOI
C. A. 227/5; 685 a]
1563.
Memoria a maestro Lionardi di avere
.... lo stato di Firenze ....
Memorandum to Maestro Lionardo to
have . . the state of Florence.
C. A. 334 6; 1017 6]
15^4.
Ricordo a Vostra Eccellentia come Ri-
dolfo 2Manini • condusse a Firenze una som-
ma 3 di cristallo ..... altre pietre come
sono • • •
To remind your Excellency that Ridolfo
Manini brought to Florence a quantity
of crystal besides other stones such as
are ...
1561. i. informatione. 2. des cheuaux a(?). 3. de l'escuyeres(?). 5. peintre(?) du Roi P. 6. Amboyse Amboyse. 7. Amboyse
Amboyse.
1563. i. a m "r o" Lionardo dihavere p'sto la nolo stato.
1564. i. vra ELL"tia". 2. Manini [porte] conduse . . som i. 3. cristillo inporse (?) altre.
1561. i. Liber magistri Egidii de pulsibus matrice
compositus(cumcommentarioGentilis deFulgineo) published
in 1484 at Padova, in 1494 and in 1514 at Venice,
and in 1505 at Lyons.
2. This text appears to be in a handwriting differ-
ent from that in the note, 1. i. Here the reading is
not so simple as AMORETTI gave it, Mem. Stor. XXV:
A Monsieur Lyonard Peintre du Roy pour Amboyse. He
says too that this address is of the year 1509, and
Mr. Ravaisson remarks: "De cette inscription il semble
qu'on peut inferer que Leonard etail alors en France, &
la cour de Louis XII . . . Pour condure je crois qu'il
rfest pas prouve que Leonard de Vinci rf ait pas fait un
voyage de quelques mois en France sous Louis XII, entre
le printemps de 1509 et fautomne de 1510." — I must
confess that I myself have not succeeded in deci-
phering completely this French writing of which two
words remain to me doubtful. But so much seems to
be quite evident that this is not an address of a letter
at all, but a certificate or note. Amboise [1. 6] I believe
to be the signature of Charles d' Amboise the Go-
vernor of Milan. If this explanation is the right
one, it can be easily explained by the contents of
Nos. 1350 and 1529. The note, line I, was perhaps
added later by another hand; and Leonardo himself-
wrote afterwards on the same sheet some geome-
trical explanations. I must also point out that the
statement that this sheet belongs to the year 1509
has absolutely no foundation in fact. There is no
clue whatever for giving a precise date to this note.
468
LEONARDO'S WILL.
[1565. 1566-
C. A. 339*8 993»\
I565-
XVI0 C. 6 de Ciuitate Dei, 2se Antipodes.
Will.
Bibl. Melii)
Sia manifesto ad ciaschaduna persona
> presente et aduenere, che nella corte del
Re nostro signore in Amboysia avanti de
noy personalmente^ constituito messer Leo-
nardo de Vince pictore del Re, al presente
comorante nello locho dicto du Cloux ap-
presso de Amboysia, el qual considerando
la certezza dela morte e Pincertezza del
hora di quella, ha cognosciuto ct confessato
nela dicta corte nanzi de noy nela quale
s' e somesso e somette circa cio havere facto
et ordinato per tenore dela presente il suo
testamento et ordinanza de ultima volonta
nel modo qual se seguita. Primeramente
el racomanda 1'anima sua ad nostro Signore
Messer Domine Dio, alia gloriosa Virgine
Maria, a Monsignore Sancto Michele, e a
tutti li beati Angeli Santi e Sante del Paradise.
Item el dicto Testatore vole essere sep-
pelito drento la giesia de sancto Florentino
de Amboysia et suo corpo essere portato
li per li capellani di quella.
Item che il suo corpo sia accompagnato
dal dicto locho fin nela dicta giesia de
sancto Florentino per il colegio de dicta
giesia cioe dal Rectore et Priore, o vero
dali Vicarii soy et Capellani della giesia di
sancto Dionisio d' Amboysia, etiam li Fratri
Minori del dicto locho, et avante de essere
portato il suo corpo nela dicta chiesia,
esso Testatore, vole siano celebrate ne la
dicta chiesia di sancto Florentino tre grandi
messe con diacono et sottodiacono, et il dl
che se diranno dicte tre grandi messe che
se dicano anchora trenta messe basse de
Sancto Gregorio.
Item nella dicta chiesia de Sancto Dio-
nisio si mil servitio sia celebrate come di
sopra.
Item nella chiesia de dicti Fratri et re-
ligiosi minori simile servitio.
Item el prefato Testatore dona et con-
cede ad Messer Francesco da Melzo, Gen-
tilomo da Milano, per remuneratione de'
sen itii ad epso grati a lui facti per il pas-
1566.
Be it known to all persons, present and
to come that at the court of our Lord the
King at Amboise before ourselves in per-
son, Messer Leonardo da Vinci painter
to the King, at present staying at the 'place
known as Cloux near Amboise, duly con-
sidering the certainty of death and the uncer-
tainty of its time, has acknowledged and
declared in the said court and before us that
he has made, according to the tenor of these
presents, his testament and the declaration of
his last will, as follows. And first he com-
mends his soul to our Lord, Almighty God,
and to the Glorious Virgin Mary, and to our
lord Saint Michael, to all the blessed Angels
and Saints male and female in Para-
dise.
Item. The said Testator desires to be
buried within the church of Saint Florentin
at Amboise, and that his body shall be borne
thither by the chaplains of the church.
Item. That his body may be followed
from the said place to the said church of
Saint Florentin by the collegium of the said
church, that is to say by the rector and the
prior, or by their vicars and chaplains of the
church of Saint Denis of Amboise, also the
lesser friars of the place, and before his body
shall be carried to the said church this Tes-
tator desires, that in the said church of Saint
Florentin three grand masses shall be cele-
brated by the deacon and sub-deacon and
that on the day when these three high masses
are celebrated, thirty low masses shall also
be performed at Saint Gregoire.
Item. That in the said church of Saint
Denis similar services shall be performed, as
above.
Item. That the same shall be done in
the church of the said friars and lesser
brethren.
Item. The aforesaid Testator gives and
bequeaths to Messer Francesco da Melzo,
nobleman, of Milan, in remuneration for ser-
vices and favours done to him in the past, each
1565. i. XVI" "6°" de Ciu"ite" Dei. 2. esse.
1565. A facsimile of this note, which refers to a well known book by St. Augustin, is given on page 254.
1566. See page 420.
566.]
LEONARDO'S WILL.
469
sato, tutti et ciaschaduno li , libri, che il
dicto Testatore ha de presente et altri In-
strument! et Portracti circa 1'arte sua et
industria de Pictori.
Item epso Testatore dona et concede
a sempre mai perpetuamente a Battista de
Vilanis suo servitore la meta zoe medieta
de uno iardino, che ha fora a le mura de
Milano et 1'altra meta de epso iardino ad
Salay suo servitore nel qual iardino il pre-
fato Salay ha edificata et constructa una
casa, la qual sara e restera similmente a
sempremai perpetudine al dicto Salai, soi
heredi et successori, et cio in remuneratione
di boni et grati servitii, che dicti de Vila-
nis et Salay dicti suoi servitori lui hano
facto de qul inanzi. .
Item epso Testatore dona a Maturina
sua fantescha una veste de bon pan negro
foderata de pelle, una socha de panno et
doy ducati per una volta solamente pagati :
et cio in remuneratione similmente de boni
servitii a lui facti epsa Maturina de qul
inanzi.
Item vole che ale sue exequie siano
sexanta torchie, le quali seranno portate
per sexanta poveri, ali quali seranno dati
danari per portarle a discretione del dicto
Melzo le quali torzi seranno divise nelle
quattro chiesie sopradicte.
Item el dicto Testatore dona ad cia-
scheduna de dicte chiesie sopradicte diece
libre cera in candele grosse che saranno
messe nelle dicte chiesie per servife al dl
che se celebreranno dicti servitii.
. Item che sia dato ali poveri del ospe-
dale di Dio alii poveri de Sancto Lazaro
de Amboysia, e per. cio fare sia dato et
pagato alii Tesorieri d'epsa confraternita la
summa et quantita de soysante dece soldi
tornesi.
Item epso Testatore dona et concede
al dicto Messer Francesco Melee presente
et acceptante il resto della sua pensione
et summa de' danari qual a lui sono debiti
del passato fino al dl della sua morte per
il recevoir, ovvero, Tesaurario general M.
Johan Sapin, et tutte et ciaschaduna summe
de' danari che ha receputo dal p.° Sapin
de la dicta sua pensione, e in caxo chel
decede inanzi al prefato Melzo, e non al-
tramente li quali danari sono al presente
nella possessione del dicto Testatore nel
dicto loco de Cloux como el dice. Et si-
milmente el dona et concede al dicto de
Melze tucti et ciaschaduni suoi vestimenti
quali ha al presente ne lo dicto loco de
Cloux tam per remuneratione de boni et
and all of the books the Testator is at pre-
sent possessed of, and the instruments and
portraits appertaining to his art and calling
as a painter.
Item. The same Testator gives and bequeaths
henceforth for ever to Battista de Vilanis
his servant one half, that is the moity, of his
garden which is outside the walls of Milan,
and the other half of the same garden to
Salai his servant; in which garden aforesaid
Salai has built and constructed a house which
shall be and remain henceforth in all per-
petuity the property of the said Salai, his
heirs and successors; and this is in remune1
ration for the good and kind services which
the said de Vilanis and Salai, his servants
have done him in past times until now.
Item. The said Testator gives to Matu-
rina his waiting woman a cloak of good
black cloth lined with fur, a of cloth
and two ducats paid once only; and this
likewise is in remuneration for good service
rendered to him in past times by the said
Maturina.
Item. He desires that at his funeral
sixty tapers shall be carried which shall be
borne by sixty poor men, to whom shall be given
money for carrying them ; at the discretion
of the said Melzo, and these tapers shall be
distributed among the four above mentioned
churches.
Item. The said Testator gives to each
of the said churches ten Ibs. of wax in thick
tapers, which shall be placed in the said
churches to be used on the day when those
said services are celebrated.
Item. That alms shall be given to the
poor of the Hotel-Dieu, to the poor of Saint
Lazare d'Amboise and, to that end, there
shall be given and paid to the treasurers of
that same fraternity the sum and amount of
seventy soldi of Tours.
Item. The said Testator gives and be-
queaths to the said Messer Francesco Melzo,
being present and agreeing, the remainder of
his pension and the sums of money which
are owing to him from the past time till
the day of his death by the receiver or
treasurer -general M. Johan Sapin, and
each and every sum of money that he h'as
already received from the aforesaid Sapin
of his said pension, and in case he should
die before .the said Melzo and not otherwise ;
which moneys are at present in the pos-
session of the said Testator in the said place
called Cloux, as he says. And he likewise
gives and bequeaths to the said Melzo all and
each of his clothes which he at present pos-
sesses at the said place of Cloux, and all in
470
LEONARDO'S WILL.
[I566.
grati servitii, a lui facti da qui inanzi, che
per li suoi salarii vacationi et fatiche chcl
potra avere circa la executione del presente
Testamento, il tutto per6 ale spese del dicto
Testatore.
Ordina et vole, che la summa de quat-
trocento scudi del sole che ha in deposito
in man del Camarlingo de Sancta Maria
de Nova nela citta de Fiorenza, siano dati
all soy fratelli carnali residenti in Fiorenza
con el profitto et emolumento che ne po
essere debito fino al presente da prefati
Camarlinghi al prefato Testatore per casone
de dicti scudi quattrocento da poi el dl
che furono per el prefato Testatore dati et
consignati alii dicti Camarlinghi.
Item vole et ordina dicto Testatore die
dicto Messer Francisco de Melzo sia et
rcmana solo et in sol per il tutto executore
del Testamento del prefato Testatore, et
die questo dicto Testamento sortisca suo
pleno et integro efiecto, et circa ci6 che
e narrato et decto havere tenere guardare
et observare epso Messer Leonardo de
Vince Testatore constitute ha obbligato et
obbliga per le presente epsi soy heredi et
successori con ogni soy beni mobili et im-
mobili presenti et advenire et ha renunciato
et renuncia per la presente expressamente
ad tucte et ciaschaduna le cose ad cio con-
trarie. Datum nelo dicto loco de Cloux
ne la presencia de magistro Spirito Fieri
Vicario nela chiesia de Sancto Dionisio de
Amboysia, M. Gulielmo Croysant prete et
capellani, magistro Cipriane Fulchin, Fratre
Francesco de Gorton et Francesco da Mi-
lano religioso del convento de fratri minori
de Amboysia, testimonii ad cio ciamati et
vocati ad tenire per il iudicio de la dicta
Corte in presentia del prefato M. Francesco
de Melze acceptante et consentiente il quale
ha promesso per fede et sacramento del
corpo suo per lui dati corporalmente ne le
mane nostre di non mai fare venire, dire,
ne andare in contrario. Et sigillato a sua
requesta dal sigillo regale statuito a li con-
tracti legali d' Amboysia, et in segno de
verita.
Dat-a dl XXIII de Aprile MDXVIII
avanti la Pasqua.
Et a dl XXIII d'epso mese de Aprile
MDXVIII ne la presentia di M.. Gulielmo
Borian notario regio ne la corte de Baliagio
d' Amboysia il prefato M. Leonardo de
Vince ha donato et concesso per il suo
testamento et ordinanza de ultima volunta
supradicta al dicto M. Baptista de Vilanis
presente et acceptante il dritto de laqua
remuneration for the good and kind services
done by him in past times till now, as well as
in payment for the trouble and annoyance he
may incur with regard to the execution of this
present testament, which however, shall all
be at the expense of the said Testator.
And he orders and desires that the sum
of four hundred scudi del Sole, which he
has deposited in the hands of the treasurer
of Santa Maria Nuova in the city of Florence,
may be given to his brothers now living in Flo-
rence with all the interest and usufruct that
may have accrued up to the present time, and
be clue from the aforesaid treasurer to the afore-
said Testator on account of the said four hun-
dred crowns, since they were given and con-
signed by the Testator to the said treasurers.
Item. He desires and orders that the
said Messer Francesco de Melzo shall be
and remain the sole and only executor of
the said will of the said Testator; and that the
said testament shall be executed in its full and
complete meaning and according to that which
is here narrated and said, to have, hold, keep
and observe, the said Messer Leonardo da Vinci,
constituted Testator, has obliged and obliges by
these presents the said his heirs and successors
with all his goods moveable and immoveable
present and to come, and has renounced and
expressly renounces by these presents all and
each of the things which to that are contrary.
Given at the said place of Cloux in the
presence of Magister Spirito Fieri vicar, of
the church of Saint Denis at Amboise, of
M. Guglielmo Croysant priest and chaplain,
of Magister Cipriane Fulchin, Brother Fran-
cesco de Gorton, and of Francesco da Milano,
a brother of the Convent of the Minorites
at Amboise, witnesses summoned and requi-
red to that end by the indictment of the
said court in the presence of the aforesaid
M. Francesco de Melze who accepting and
agreeing to the same has promised by his
faith and his oath which he has administered
to us personally and has sworn to us never
to do nor say nor act in any way to the con-
trary. And it is sealed by his request with
the royal seal apposed to legal contracts at
Amboise, and in token of good faith.
Given on the XXIIIrd day of April
MDXVIII, before Easter.
And on the XXIIIrd day of this month of
April MDXVEI, in the presence of M. Gu-
glielmo Borian, Royal notary in the court
of the bailiwick of Amboise, the aforesaid
M. Leonardo de Vinci gave and bequeathed,
by his last will and testament, as aforesaid,
to the said M. Baptista de Vilanis, being
present and agreeing, the right of water which
S66.]
LEONARDO'S WILL.
che qdam bone memorie Re Ludovico XII
ultimo defuncto ha alias dato a epso de
Vince suxo il flume del naviglio di Sancto
Cristoforo ne lo Ducato de Milano per
gauderlo per epso De Vilanis a sempre
mai in tal modo et forma che dicto Signore
ne ha facto dono in presentia di M. Fran-
cesco da JVTelzo Gentilhomo de Milano et io.
Et a dl prefato nel dicto mese de Aprile
ne lo dicto anno MDXVIII epso M. Leo-
nardo de Vinci per il suo testamento et
ordinanza de ultima volunta sopradecta ha
donate al prefato M. Baptista de Vilanis
presente et acceptante tutti et ci-aschaduni
mobili et utensili de caxa soy de presente
ne lo dicto loco du Cloux, in caxo pero
che el dicto de Vilanis surviva al prefato
M. Leonardo de Vince, in presentia del
prefato M. Francesco da Melzo et io No-
tario etc. Borean.
the King Louis XII, of pious memory lately
deceased gave to this same de Vinci, the
stream of the canal of Santo Cristoforo in
the duchy of Milan, to belong to the said
Vilanis for ever in such wise and manner
that the said gentleman made him this gift
in the presence of M. Francesco da Melzo,
gentleman, of Milan and in mine.
And on the aforesaid day in the said
month of April in the said year MDXVIII
the same M. Leonardo de Vinci by his last
will and testament gave to the aforesaid
M. Baptista de Vilanis, being present and
agreeing, each and all of the articles of
furniture and utensils of his house at pre-
sent at the said place of Cloux, in the event
of the said de Vilanis surviving the aforesaid
M. Leonardo de Vinci, in the presence of
the said M. Francesco Melzo and of me
Notary &c. Borean.
REFERENCE TABLE TO THE NUMERICAL ORDER OF THE
CHAPTERS..
XI.
736.
H.3 52 b.
766
C. A. 3180; 9610.
737-
Tr. 52.
767
Ash. III. 13^.
NOTES ON SCULP-
738.
Tr. S3-
768
H.3 73*-
TURE.
739-
Tr. 54.
769
G. 520.
740.
Tr. 55-
706.
A. 43 a.
707.
W. P. 50.
XII.
XIII.
708.
709.
A. ia.
Ash. I. igl>.
ARCHITECTURAL DE-
THEORETICAL WRITINGS
ON ARCHITECTURE.
710.
W. X.
SIGNS.
711.
W. XI.
741.
• B. 160.
I. ON FISSURES IN WALLS.
712.
C. A. 2I3/S; 628 b.
742.
B. i$b.
770
Br. M. 1570.
713-
W. XII.
743-
B. 153.
771.
Br. M. 157^.
714.
W. XIII.
744-
Br. M. 270 £.
772.
Br. M. 1380.
715-
W. XII.
745-
B. 37^-
773-
Br. M. 1580.
716.
W. H. 64.
746.
B. 360.
774-
Br. M. 159^.
717,
W. II. XV.
747-
Br. M. 270 b.
775-
Br. M. 157^.
718.
C. A. 286 £; 870 a.
748.
C. A. 75^; 2210.
776.
A. 530.
719.
C. A. 3820; 11820.
749-
K.3 36 £.
720.
C. 15 £ (I a).
75°-
B. 600.
II. ON FISSURES IN NICHES.
721.
Leic. 9 b.
75'-
B. 120.
777-
Br. M. 1580.
722.
C. A. 3160; 9580.
752-
B. 19-5.
778.
Br. M. 141^.
723.
C. A. 328^; 983 a.
753-
B. 39^.
724.
C. A. 272 b; 833 a. .
754-
Ash. II. 8^.
III. ON THE NATURE OF
725.
C. A. 176-5; 5330.
755-
B. i8t>.
THE ARCH.
726.
G. 43 a.
756.
Ash. II. 70.
779-
A. 500.
727.
C. 15 £ (1.0).
757-
B. 240.
780.
A. 50 b.
728.
Mz. o'.
758.
Tr. 15.
781.
A. 510.
729-
G. 75^-
759-
C. A. 2800; 8570.
782.
H.' 35^-
73°-
C. A. 3130; 9510.
760.
W. XIX.
783-
H.I 360.
731-
S. K. M. III. 500.
761.
B. 39 <*•
784-
S. K. M. II.2 676.
732. S. K. M. III. 53 a. .
762.
B. 28 £.
785.
Br. M. 158^.
733. S. K. M. II.i 950;.
763-
Br. M. 1920.
786.
A. 49 £.
734. S. K. M. III. 5S3.
764.
S. K. M. III. 48 a.
787-
S. K. M. II.2 66 b.
735. S K. M. III. 560.
765.
L. 196; 200.
788.
B. 270.
VOL. II.
OOO
474
REFERENCE TABLE.
832.
W. An. IV. 1840 (7).
882.
F. 8£.
IV. ON FOUNDATIONS, THE
833.
W. XXL
883.
F. loa.
NATURE OF THE GROUND
834.
C. A. 890; 2580.
884.
F. o".
AND SUPPORTS.
835-
G. 90 a.
885.
G. 34 a.
789.
Br. M. 138*.
836.
C. A. 89 a; 2580.
886.
W. L. I32«.
790.
A. 50 a.
837.
W. An. IV. 1840 (7). 887.
Ash. I. 1 9 a.
791.
A. 53 a.
838.
W. An. 202 a (-B-)
888.
Br. M. 78*.
792.
A. 48*.
839-
W. An. II. 202* (-B-)
889.
A. 64 a.
793-
S. K. M. II.« 720.
840.
Tr. 14.
890.
C. A. 2340; 704 a.
794-
S. K. M. III.' 91 a.
841.
W. An. IV. 151*.
891.
T. 12.
795-
A. S3".
842.
H.« 32 a.
843-
W. An. II. 43 b (8).
III. THE MOON.
844.
W. An. UI. 24 1 a.
892.
Br. M. 94 a.
XIV.
845-
H.« 41 b.
893-
F. 93 a.
ANATOMY, ZOOLOGY
846.
S. K. M. III. 74 a.
894.
Ash. I. 1 9 a.
AND PHYSIOLOGY.
847-
C. A. 75^; 219**.
895-
Br. M. 28 a.
848.
F. i a.
896.
Br. M. 94 b.
I. ANATOMY.
849-
Leic. 21 b.
897.
Br. M. 1030.
796.
W. An. IV. 167 a.
850.
W. An. IIL 226 a (-M-)
898.
A. 640.
797-
W. An. II. 36 a (21).
8SI.
Br. M. 147^.
899.
Leic. 300.
798.
W. An. IV. 1570 (B).
852-
W. XIII.
900.
Leic. 36*.
799-
W. 2ioa.
853-
Tr. 7.
901.
Leic. i b.
800.
W. An. IV. XXI.
854-
Tr. 49.
902.
Leic. -2 a.
801.
W. An. II. 39* (o).
855.
C. A. 77 b; 22$b.
903-
F. 840.
802.
W. An. IV. 1510.
856.
W. An. III., XXV.
904.
F. 84*.
803.
W. An. IV. XXII.
9<>5-
F. 850.
804.
W. XXIII.
V V
906.
Br. M. 1 9 a.
805.
W. An. I. I*.
A V •
907.
Leic. 5 a.
806.
F. 95 J.
ASTRONOMY.
908.
C. A. 341*; 1055 a.
807.
W. 238 b.
909.
W. XXVII.
808.
K.3 28 a.
I. THE EARTH AS A
910.
C. A. 1870; 561 a.
809.
W. An. II. 76*.
PLANET.
8 10.
W. An. IV. 7 (AA).
857.
Br. M. 1760.
IV. THE STARS.
Sii.
W. 2390 (= W. L. 131).
858.
F. 4i£.
911.
F. 5*.
812.
S. K. M. III. 66 a.
859.
Br. M. 1510.
912.
F. 57 a.
813-
S. K. M. III. 65 b.
860.
Br. M. 1750.
9i3-
F. 60 a.
814.
W. An. II. 37 a.
861.
F. 22 b.
914.
Br. M. 279 b.
815-
W. An. III. 2300.
862.
F. lib.
9'5-
E. o'.
863.
Tr. 28.
016.
Br. M. 173* and 190 b.
II. ZOOLOGY AND COM-
864.
Leic. la.
W
QI7.
Br. M. 1760.
PARATIVE ANATOMY.
865.
C. A. nib; 345 £.
W 9
918.
Br. M. 191 a.
816.
W. An. IV. 1733.
866.
F. 560.
817.
W. An. II. 206 b (I).
867.
F. 25*.
818.
W. An. IV. 153*.
868.
W. XXVI.
XVI.
819.
W. An. IV. 1670.
869.
E. 156.
820.
G. 64 £.
870.
F. 60 b.
PHYSICAL GEOGRAPHY.
821.
M. 67 a.
871.
Br. M. 174^.
822.
W. An. IV. 1570 (B).
872.
G. 36.
INTRODUCTION.
823.
W. XXIV (-55-)
873-
A. 646.
919.
Leic. 5 a.
824.
K.3 29 £.
874.
F. 94*.
920.
Leic. 1 5 b.
825.
E. i6a.
875-
Br. M. 250.
921.
Leic. 90.
826.
C. A. 2920; 888 a.
876.
Br. M. 28 a.
922.
F. 87*.
877-
F. 77*-
923-
F. 88 a.
III. PHYSIOLOGY.
878.
W. X.
924.
F. 90*.
827.
W. An. IV. 1730.
925-
Br. M. 35 a.
828.
H.*-38a.
II. THE SUN.
926.
Br. M. 35 b.
829.
G. 44a.
879.
F. 5 a.
927.
Br. M. 1 22 a.
830.
Br. M. 64*.
880.
F. 4*.
928.
Br. M. 45 a.
831.
H.3 6 1 a.
881.
F. 6a.
929.
A. 55*.
REFERENCE TABLE.
475
026.
H.I i a.
I. OF THE NATURE OF
V. ON MOUNTAINS.
027.
Leic. 2 1 a.
WATER.
979-
C. A. IS7a; 4660;.
028.
Leic. 3 2 a.
930.
E. 12 a.
980.
Leic. loa.
029.
Leic. 1 1 £.
931-
C. 261, (4).
981.
L. 760.
1030.
C. A. 2iia; 6190.
932.
1.2 240: and b.
982.
Br. M. 303.
1031.
C. A. 211 £; 6ig//.
933-
Leic. 34 <5.
983-
C. A. 124-5; 383^.
1032.
C. A. 27oa; 821 a.
934-
A. 58*.
984.
Leic. 3 1 a.
1033-
G. la.
935-
E. 4-5.
1034.
L. 6 a.
936.
Leic. lob.
VI. GEOLOGICAL PROBLEMS.
i°35-
L. 6b.
937-
Leic. 35 b.
985-
Leic. 3 a.
1036.
L. 10 b.
938.
Leic. 36.1.
986.
C. A. 1 52 a; 452 a.
1037-
L. 153.
939-
F. 27 a.
987-
Leic. 8-5.
1038.
L. 19^.
940.
A. 58 £.
988.
Leic. 9 a.
1039.
L. 33*-
941.
A. 55*-
989.
Leic. 9 b.
1040.
L. 36 £.
942.
F. 73 a.
990.
Leic. loa.
1041.
L. 40 a.
943-
A. 58 £.
991.
Leic. lob.
1042.
L. 46 b.
944-
A. 560.
992.
Leic. 20 a.
1043.
L. 47 a.
945-
A. 56^.
993-
Leic. 360;.
1044.
L. 66 £.
994.
Br. M. 156-5.
1045.
L. 67 a.
II. ON THE OCEAN.
1046.
L. 72 a.'
946.
G. 48<5.
VII. ON THE ATMOSPHERE.
1047.
L. 77 a.
947-
G. 49 a.
995-
Leic. 20 a.
1048.
L. 78 a.
948.
Leic. 2 1 b.
996.
Leic. 22 b.
1049.
L. 78<5.
949.
G. 38 a.
997-
Leic. 23 a.
1050.
L. 88 £.
95°-
C. A. 157*5; 4660.
998.
S. K. M. II.2 i<)b.
1051.
W. L. 229 a.
95i-
C. A. 83 b; 2406.
999;
H.3 52 a.
1052.
L. 943.
952-
Ash. III. 25 a.
1000.
Leic. 340.
IOS3
L. o".
953-
Leic. 20 a.
1054
L. 21 a.
954-
Leic. 27 #.
i°S5
Leic. 9^.
955-
C. A. 162 a; 482(1.
XVII.
1056
Leic. iob.
956.
Leic. 173.
TOPOGRAPHICAL NOTES
1057
G. \b.
957-
Leic. 5 a.
1058
Leic. lib.
958.
Leic. 66.
I. ITALY.
1059
C. A. 86 £; 250(5.
959-
Leic. 1 3 a.
IOOI.
C. A. 45 a; 14° «•
1060
Leic. 4 a.
960.
Leic. 35-5.
IOO2.
L. I a.
1061
Leic. gb.
1003.
C. A. 284 a; 865 a.
1062
C. A. 231 b; 6<)6a.
III. SUBTERRANEAN WATER
IOO4.
Br. M. 273 £.
1063
Leic. loa.
COURSES.
1005.
Br. M. 274 a.
1064
E. i a.
961.
C. A. 157 b; 4660.
IO06.
W. L. 226 a.
1065. E. 8oa.
962.
Leic. 310.
1007.
Leic. 1 8*.
1066.
C. A. I37a; 4i4a.
963-
Leic. 21 b.
IO08.
Leic. 1 3 a.
1067.
K.i 2 a.
964.
Br. M. 233 £.
1009.
C. A. 387 a; 11970.
1068.
Leic. 31(5.
965-
Br. M. 236/5.
IOIO.
F. 76<5.
II. FRANCE.
966.
G. 700.
IOII.
Leic. 1 8 a.
967.
A. 556.
IOI2.
C. A. 139 b; 421 b.
1069.
C. A. 353^; 1105-5.
968.
A. 56 a.
1013.
C. A. 2333; 7ooa.
1070.
C. A. 358(5; 1124^.
969.
Leic. 1 1 b.
1014.
H.2 43 a.
1071.
Leic. 27 b.
1015.
Br. M. 1 49 a.
1072.
Leic. 34 <5.
IV. ON RIVERS.
1016.
C. A. 72-5; 211 b.
1073-
K.3 2oa.
970.
Leic. 333.
1017.
I.1 32(5.
1074.
Br. M. 269 a.
971.
Leic. 5 a.
1018.
I.i 34a.
1075-
Br. M. 270^.
972.
Leic. 1 5 a.
1019
L. 15 a.
1076.
Br. M. 269 £.
973-
Leic. 1 6b.
1020
E. i a.
1077.
Br. M. 270 &
974-
G. 48 a.
IO2I
Leic. 28 a.
1078
C. A. 329-5; 993 <*•
975-
C. A. 362 a; 1134 b.
IO22
W. XXVIII.
1079
Br. M. 263*5.
976.
G. 49 b.
1023
B. 58 a.
1080
B. 6ia.
977-
Leic. 6b.
1024
H.2 17/5.
1081
B. 63 b.
978.
Leic. 3 1 b.
IO25
H.I 38 a.
1082
Leic. ib.
4/6
REFERENCE TABLE.
III. THE COUNTRIES OF THE
XIX.
1183. Ash. I. la.
WESTERN END OF THE
MEDITERRANEAN.
PHILOSOPHICALMAXl.MS.
—MORALS, POLEMICS
1184. F- 96*.
1185. C. A. 108*; 338*.
1186. W. xnr
1083.
1084.
A. 57 a.
C. A. 212*; 626*.
AND SPECULATION.
I. PHILOSOPHICAL MAXIMS.
1187.
1 1 88.
S. K. M. II. 77 a.
B. **.
1085.
1086.
1087.
Leic. 10*.
Leic. 27*.
F. 6ia.
1132.
"33-
S. K. M. III. 64*.
W. An. IV. 1 72 a.
1189.
1190.
"• j "•
Tr. 2.
E. 31*.
1088.
B. 82*.
"34-
A. 24 a.
1191.
H.3 70*.
1089.
Ash. II. 120.
"35-
S. K. M. III. 49 a.
1192.
H.3 7 1 a.
1136.
Tr. 75-
"93-
Tr. 39.
IV. THE LEVANT.
"37-
S. K. M. II.i 43«-
1194.
II. 16*.
1090.
Leic. 310.
1138.
Tr. 40.
1195.
C. A. 115*; 357*.
1091.
Leic. 3 1 a.
"39
H.3 93 a.
1196.
S. K. M. II.2 24 a.
1092.
C. A. 321*; 9710-
1140.
W. XXIX.
1197.
H.z 12*.
1093.
C. A. 94*; 276a.
1141.
Tr. 78.
1198.
L. o".
1094.
B. 61*.
1142.
C. A. 58a; i8oa.
1199.
L. 90*.
1095.
Leic. 34*.
"43-
C. A. 753; 2i9a.
1200.
C. A. 75*; 219*.
1096.
Leic. 21*.
1144.
Br. M. 278*.
12OI.
G. 49 a.
1097.
Leic. 22 a.
"45-
Tr. 65.
1202.
Tr. u.
1098.
Leic. 32*.
1146.
Tr. 70.
12P3-
C. A. 64*; 197*.
1099.
B. 6l *.
1147.
Tr. 45^
1204.
Ash. II. 1 3 a.
I IOO.
B. 62*.
1148.
Tr. 51.
HOI.
Leic. 10*.
1149.
C. A. 85 a; 247 a.
III. POLEMICS. — SPECU-
T ATIOV
IIO2.
L. o'.
1150.
S. K. M. III. 80*.
L.A 1 IwFl.
IIO3.
W. XVII a.
1151.
I.i i8a.
1205.
G. 47 «.
1104.
W. XVII*.
1152.
M. 58*.
1206.
S. K. M. II.2 67 a.
1105.
C. A. 256a; 773a.
"53-
C. A. 151 a; 449 a.
1207.
C. A. 75*; 219*.
1106.
F. 50 a.
1-154.
Mz. la.
1208.
F. 5*.
1107.
F. 68 a.
"55-
E. 8*.
1209.
Tr. 68.
1 1 08.
Leic. 31*.
"56.
Br. M. 191 a.
1210.
W. An. III. 241.
1109.
L. 66 a.
1157.
W. An. III. 24 1 a.
tan.
C. A. 187*; 562*.
1 1 10.
Leic. 28 a.
1158.
G. 95*.
1212.
B. 4*.
IIII.
C. A. 94*; 276 a.
"59-
C. A. 75«; 2iga.
1213.
W. An. II. 242*. (N)
ma.
c. A. 3M; "89*-
1160.
1.2 82 a.
1214.
W. An. II. 242 a.
1161.
G. 8 a.
1215.
W. An. II. 201*.
XVIII.
12l6.
Br. M. 13 1 a.
NAVAL WARFARE.—
II. MORALS.
1217.
Br. M. 1 56 a.
MECHANICAL APPLIAN-
1162.
B. M. 156*.
1218.
Br. M. 155*.
CES.— MUSIC.
1163.
C. A. 70 a; 207 a.
1219.
Br. M. 156*.
1113-
G. 54 a.
1164.
H.2 33*.
XX.
1114.
1115.
Leic. 22*.
Ash. II. 4*.
1165.
1 1 66.
C. A. 75*; 219*.
G. Sga.
HUMOROUS WRITINGS.
11x6.
Ash. IL 6a.
1167.
C. A. 365*; 1141*.
I. STUDIES ON THE LIFE
1117.
B. 81*.
1 1 68.
Mz. 8a (12).
AND HABITS OF ANIMALS.
1 1 18.
S. K. M. III. 25*.
1169.
S. K. M. III.; 36*.
I22O.
H.i 5 a.
1119.
C. A. 7a; iga.
1170.
C. A. 75 a; 2iga.
1221.
H.i 5*.
1 1 20.
Ash. II. 5*.
1171.
C. A. ilia; 345 a.
1222.
H.i 6 a.
II2I.
S. K. M. III. 46*.
1172.
C. A. 223*; 671*.
1223.
H.i 6*.
1122.
Mzt 3 a. (6)
"73-
Tr. 32.
1224.
H.i 7 a.
1123.
Mz. 12 a. (10)
1174.
Tr. 68.
1225.
H.i 7 *.
1124.
Mz. 9*. (13)
1175.
W. XII.
1226.
H.i 8 a.
1125.
Mz. 130.
1176.
Ash. I. I *.
1227.
H.i 8*.
1126.
C. A. 372*; 1156*.
1177.
C. A. 284*; 885*.
1228.
H.i 9 a.
1127.
Ash. II. 4«.
1178.
W. An. II. 2033 (24).
1229.
H.i 9*.
1128.
Tr. 48.
1179.
S. K. M. III. 1 7 a.
I23O.
H.i 10 a.
1129.
Br. M. 1 75 a.
u So.
C. A. 153*; 455*.
1231.
H.i 10*.
1130.
Br. M. 1360.
1181.
Tr. 57-
1232.
H.i 1 1 a.
II3I.
B. 4*.
1182.
Tur. 17*.
1233-
H.i u*.
REFERENCE TABLE.
477
1234. H.I 12 a.
1289
Tr. 78.
j 1338.
F. 370.
1235. H.I 12 b.
1290
S. K. M. 11.2 44 «.
1339-
Br. M. 1550.
1236. H.I 13 a.
1291. S. K. M. II.2 430.
1340.
C. A. 3880; 1182 0.
1237. H.I 130.
1292. F. o'
I34I-
S. K M. III. 290.
1238.
1239.
1240.
1241.
1242.
1243.
1244.
H.I 140.
H.I 14*.
H.I 150.
H.I 170.
H.I lib.
H.I 180.
H.I i80.
1293
1294
1295
1296
1297
IV. PROPHECIES.
C. A. 1430;; 4260.
C. A. 1430; 4260.
C. A. 3620; 11340.
C. A. 3620; 11340. '
Br. M. 420.
1342.
1343-
1344-
1345-
1346.
1347-
, 1 348.
S. K. M. III. 230.
S. K. M. III. 790.
C. A. 3080; 339,7.
C. A. 3280; 9830.
C. A. 3160; 9580.
C. A. 3160; 9580.
M. D.
1245.
1246.
1247.
1248.
H.I 19 a.
H.i 190.
H.I 20 a.
H.I 20 b.
1298
1299.
1300
1301.
I.2 150.
1.2 150.
1.2 i6a.
1.2 1 60.
1349-
I35°-
135I-
1352.
C. A- 3100; 9440.
C. A. 3640; 11380.
C. A. 2430; 729 a-
C. A. 2780; 850^.
1249.
1250.
H.I 21 a.
H.I zi b.
1302.
I3°3-
I.2 \1 a.
1.2 170.
r 2 18 f,
1353-
1354-
C. A. 1790; 541 a-
C. A. 3040; 925 a.
1251.
H.I 22 a.
1304.
L.£ 1O (It
1355.
W. XXXI.
1252.
H.I 22 b.
1305-
1.2 1 80.
X356.
H.3 890.
1253-
H.I 230.
1306.
I.2 190.
I3S7-
C. A. 3800; 11790.
1254-
1255-
H.i 230.
H.I 24 a.
1307.
1308.
L. 910.
K.2 10.
1358.
1359.
W. An. III. 2410.
C. A. 40; 110.
1256.
1257-
1258.
H.I 240.
H.I 25 a.
H.I 25^.
1309.
1310.
1311.
C. A. 1270; 3900.
Br. M. 2120.
S. K. M. II.2 350.
1360
1361
1362
C. A. 380; 1240.
C. A. 170; 670.
W. 174^7.
1259.
1260.
H.I 260.
H.I 26 0.
1312.
13I3-
S. K. M. II.2 30.
S. K. M. 11.2.690.
1363
1364
C. A. 650; 1990.
C. A. 2480; 7370.
1261.
H.I 270.
V. DRAUGHTS AND SCHEMES
1365
Br. M. 2510.
1262.
H.i 270.
FOR THE HUMOROUS
1366
Br. M. 2533.
1263.
H.I 480.
WRITINGS.
1367
S. K. M. III. 850.
1264.
H.3 53 a.
13*4.
Br. M. 420.
1368
C. A. i880; 5640.
13*5-
C. A. 660; 2010.
1369
F. U.
II. FABLES.
1316.
H.2 150.
i37o
W. Ant. I. i a.
1265.
H.2 30.
1317-
S. K. M.2 12 a.
1371
C. A. 1030; 3250.
1266.
C. A. 1150; 3570.
1318.
J-1 39^-
1372
Br. M. 2720.
1267.
C. A. 1170; 361 a.
1319-
H.1 440.
1373
C. A. 700; 2080.
1268.
C. A. 66 a; 2000.
1320.
H.2 I40.
1374
S. K. M. I. 10.
1269.
C. A. 66 b; 200 0.
1321.
Tri. 73.
1375-
F. la.
1270.
C. A. 660; 201 3.
1322.
S. K. M. III. 660.
1376.
W. An. III. 2170.
1271.
S. K. M. III. 930.
1323-
L. o'.
1377-
G. o'.
1272.
C. A. 172-5; 5160.
1324.
S. K. M. III. 480.
1378.
C. A. 245 a; 7310.
1273-
C. A. 66 a; 201 a.
1325-
L. 72 0..
1274.
C. A. 66 0; 20i<J.
1326.
I.2 910.
1275-
C. A. 750; 2190.
1327-
G. 890.
1276.
S. K. M. III. 45 «.
1328.
C. A. 360; ii60.
XXII.
1277.
C. A. 660; 200 a.
1329.
W. XXX.
1278.
C. A. 66 a; 200 a.
1330.
F. 470.
MISCELLANEOUS NOTES.
1279.
C. A. 660; 201 a.
J33«-
C. A. 680; 2030.
I332-
Tr. 2.
1379-
Cod. Atl. 2430; 7270.
III. JESTS AND TALES.
1333-
B. M. 1290.
1380.
C. 190.
1280.
C. A. 1170; 361 a.
!334-
C. 190.
1381.
B. 500.
1281.
S. K. M. III. 730.
!335-
C. A. 750; 2190.
1382.
Ash. II. 130.
1282.
C. A. 66 a; 201 a.
1383-
F. U.
1283.
S. K. M. III. 580.
XXI.
1384.
S. K. M. III. 10.
1284.
C. A. 1470; 439 «•
LETTERS. — PERSONAL
1385-
S. K. M. III. 300.
1285.
M. 580.
RECORDS.— DATED
1386.
S. K. M. III. 550.
1286.
C. A. 120; 420.
NOTES.
1387-
S. K. M. III. 940.
1287.
C. A. 3OO0; 9140.
1336.
C. A. 1430; 4260.
1388.
C. A. 3280; 9800.
1288.
C. A. 750; 2190.
1337. C. A. 21 10; 621 a.
1389.
H.3 470.
478
REFERENCE TABLE.
1390. H.* 14*-
1449
C. A. 313*; 950*.
1508. K.* 12*.
1391. II.* 460.
1450.
C. A. 358*; 1124*.
1509. B. 4 a.
1392. S. K. M. II. 2. 7«-
1451-
Br. M. 48 a.
1510. Ash. I. i<7.
1393. S. K. M. II.* lt>.
I452-
Br. M. 132*.
1511. S. K. M. III. 470.
1394. S. K. M. II.* 120.
•453-
Br. M. 150*.
1512. S. K. M. III. 430.
1395. S. K. M. II.* 2oa.
1454-
Br. M. 191 a.
1513. H.3 770.
1396. S. K. M. II.» 22 a.
1455-
Br. M. 1920.
1514. H.3 76*.
1397. S. K. M. II.» 27 a.
1456.
Mi. A.
1515. H.3 8l*.
1398. S. K. M. II.* 52 a.
1457-
Br. M. P.
1516. H.* 94*.
1399. S. K. M. II.* 530.
1458.
C. 15* [I].
1517. H.2 16*.
1400. S. K. M. II.* 630.
1459-
S. K. M. III. la.
1518. H.* 33a.
1401. S. K. M. II.* 68*.
1460.
H.3 58*.
1519. S. K. M. II.* 40.
1402. S. K. M. II.* 6ga.
1461.
H.' 41 a.
1520. S. K. M. II.i o'.
1403. S. K. M. II.* 75*-
1462.
H.3 57 a.
1521. S. K. M. II.i 94 j.
1404. S. M. M. II.* 78*.
1463.
Br. M. 271*.
1522. S. K. M. II.i 95 a.
1405. I.2 1 1 a.
1464.
G. o".
1523- L- 94 «•
1406. I.* 70 6, a.
1465.
E. la.
1524. L* I*.
1407. 1.2 72*.
1466.
C. A. 670; 202 a.
1525. Br. M. 229*.
1408.
I.* 87 a.
1467.
C. A. 2600; 793 a.
1526. C. A. 70*; 208*.
1409.
I.i 280.
1468.
C. A. F. 279 a; 8550.
1527. Br. M. 271*.
1410.
W. P. 7«.
1469.
C. A. 2070; 609 a.
1528. F. o".
1411.
W. 5*.
1470.
S. K. M. III. 87*.
1529. C. A. 1890; 5650.
1412.
W. A. II. 202*.
1471.
F. o".
I530-
C. A. 760; 2230.
1413-
W. X.
1472.
Leic. 130.
i53i-
C. A. 253*; 7480.
1414. I., o'
1473-
C. A. 376*; n68a.
1532. W. XXXII.
1415.' L. la.
1474.
L. 94*.
1533.' C. A. 17*; 67*.
1416. L. \b.
1475-
W. 191 a.
1534. C. A. 312*; 949<*-
1417.
L. 2 a.
1476.
Br. M. 279*.
1535. B. M. 272*.
1418.
L. 30*.
1477. J-2 82*.
1536. C. A. 116*; 3950.
1419.
L. o"
1478.
M. 62 a.
1537. C. A. 212*; 627*.
1420.
Br. M. 202*.
1479-
C. A. 284*; 865*.
1538. C. A. 2580; 784.
1421.
F. o'
1480.
C. A. I2ia; 3750.
1539- E. o".
1422.
F. 27<!>.
1481.
K.*3*.
1540.
Br. M. 2270.
1423.
VV. An. III. 2170.
1482.
W. 151*.
IS4I-
Br. M. 42*.
1424.
W. An. III. 232*. (F)
1483-
F. o".
1542.
Br. M. 2120.
I425-
M. o'.
1484.
B. M. 71*.
1543-
H.3 89*.
1426.
M. 8 a.
1485.
C. A. 139*; 419*.
IS44-
C. A. 1320; 401 a.
1427.
M. S3*.
1486.
Tr. 4.
1545-
C. A. 26a; 8ja.
1428.
Mz. o".
1487.
Tr. 57.
1546.
Ash. I. 18*.
1429.
Tr. 22.
1488.
S. K. M. III. 93 a.
1547-
W. XII.
1430.
K.* 27*.
1489.
K.* 20.
1548.
Br. M. 148(1.
1431-
K.3 48*.
1490.
K.2 2*.
1549.
Br. M. 148*.
1432.
W. An. in. 1520.
1491.
S. K. M. in. 1 6*.
1550-
Br. M. 149*.
1433-
W. An. IV. l S3 a.
1492.
Ash. II. 11*.
I5SI.
Br. M. 271*7.
1434-
W. An. IV. 167.
H93-
Tr. 2.
I5S2.
Br. M. 2740.
1435-
W. L. 141 4.
1494.
W. XXIII.
!553-
C. A. 40; 11 a.
1436.
W. L. 141 a.
1495-
G. 8 a.
1554-
C. A. 34*; loga.
'437-
W. L. 2120.
1496.
S. K. M. III. 3*.
1555-
C. A. 75 a; 22oa.
1438-
W. L. 2030.
1497-
B. 8a.
1556. C. A. 77*; 225*.
1439-
C. A. ii*; 37*.
1498.
Ash. II. 12*.
1557. C. A. 94*; 271*.
1-440.
C. A. 19*; 72*.
1499.
Leic. 1 6*.
ISS8.
C. A. 121*; 376*.
1441.
C. A. 270; 890.
1500.
Ash. II. u*.
1559-
C. A. 1303; 397 a.
1442.
C. A. 700; 207 a.
1501.
K.3 29*.
1560.
C. A. 164*; 490*.
1443-
C. A. 1 130; 3490.
1502.
L. 53*.
1561.
C. A. 171*; 515*.
1444.
C. A. 118*; 3660.
I503-
L. 530.
1562.
C. A. 1 75 a; 526a.
1445-
C. A. 1450; 4320.
1504.
G. 95 a.
1563-
C. A. 227*; 6850.
1446.
C. A. 176*; 532*.
I505-
Ash. II. 10*.
1564.
C. A. 334*; 1017*.
1447-
C. A. 185*; 557*.
1506.
B. 580.
1565. C. A. 329*; 993 a.
1448.
C. A. 222 a; 6640.
1507.
Br. M. 79*.
1566. Bibl. Melzi.
s»M'
H8S
APPENDIX
THE HISTORY OF THE MANUSCRIPTS.
i. Leonardo by his will expressly devised all
his MSS. and drawings to his younger friend
Francesco Melzi, who carried them back to Mi-
lan. Four years after Leonardo's death Alberto
Bendedeo wrote from Milan to Alfonso d'Este,
Duke of Ferrara : "Et perche ho fatto mentione
de la casa de Melzi, aviso a V. Ex. cheunfra-
tello di questo che ha giostrato fit creato de Lio-
nardo da Vinci, et herede et ha molti d£ suoi
secreti, et tutte le sue opinioni . . . Credo ch'egli
habbia quelli libriccini de Lionardo de la Nuto-
mia, et de molte altre belle cose" See G. Cam-
pori, Nuovi 'Documenti.
When Vasari visited Milan — probably in
1566 — he saw Leonardo's MSS. in Francesco
Melzi's possession, and wrote as follows : Lio-
nardo . . . di brutti caratteri scrisse lettere, che
sono fatte con la mano mancina a roves do; t chi
non ha pratica a leggere, non fintende, perche non
si leggono se non con lo specchio. Di queste carte
della notomia degli uomini rte gran parte nelle
mani di messer Francesco da Melzo gentiluomo
mi/anese, che nel tempo di Lionardo era bellis-
simo fanciullo e molto amato da lui, cost come
oggi e bello e gentile vecchio, che le ha care e tiene
come per reliquie tal carte, insieme con il ritratto
della felice memoria di Lionardo: e chi legge
quegli scritti, par impossible che quel divino
spirito abbi cost ben ragionato delf arte e de1 mu-
scoli e nervi e vene, e con tanta diligenta d'ogni
cosa. Come anche sono nelle mani di . . . .,pittor
milanese, alcuni scritti di Lionardo , pur di
caratteri scritti con la mancina a rovescio, che
trattano della pittura e de1 modi del disegno e
colorire. Costui non e molto che venne a Fiorenza
a vedermi, desiderando stampar questa opera,
e la condusse a Roma per dargli esito; ne so poi
che di cib sia seguito. (Ed. Sansoni, IV. 37).
In another place Vasari mentions that he
himself possessed some drawings by Leonardo.
Lomazzo, the Milanese painter, writes , in
1590 (Idea del Tempio della pittura, 2nd Ed.,
P- 15):
Ma sopra a tutti questi scntton e degno di
memoria Lionardo Vinci, il qual insegnb I'Ana-
totnia dei corpi umani, e dei cavalli, cKio ho
veduta appresso a Francesco Melzi, designata
divinamcnte di sua mano. Dimostrb anco infigura
tutte le proporzioni dei membri del corpo umano;
scrisse della prospettiva dei lumi, del modo di
tirare le figure maggior del naturale, e molti altri
libri . . . Ma di tante cose niuna se ne ritrova in
stampa; ma solamente di mano di lui, che in
buona parte sono pervenute nelle mani di Pom-
peo Leoni, statovaro del Cattolico Re di Spagna,
che gli ebbe dal figliuolo di Francesco Melzi, e n'e
venuto di questi libri ancora nelle mani del Sig.
Guido Mazenta, Dottore virtuosissimo, il quale
gli tiene molto cari.
2. In the short anonymous biography of Leo-
nardo which, as it seems to me, must have
been written somewhat earlier than Vasari's Vite
(published by Milanesi, Arch. Star. Ital. XVI)
the MSS. are mentioned in these terms : (Leo-
nardo} tornossene a Milano et dipoi in Fran da
al servizio del re Francesco, dove portb assai d£
sua disegni, de quali ancora ne lascib in Firenze
nello Spedale di S. Maria Nuova con altre mas-
480
Till: HISTORY OF THE MANUSCRIPTS.
serizie ft la maggior parte del car tone del/a sala
del Consiglio, del quale e il disegno del gruppo
de cavalli che oggi in opera si vede rimaso in
Palazj . . . ft lascb per testamento a messer
Francesco da Melzio, gentile horn > Milanese, tutti i
danari cmtanti, panni, libri, scritture, disegni et
instrument et ritratti circa la pittitra et arte et
industria sua che quivi si trovava , et fecelo
executore del suo testamento.
These references to them, which are
the oldest known, may be supplemented by
some information which I owe to the
kindness of Signor Enrico Stevenson, Scrit-
tore in the Library of the Vatican. MS. 71
Boncompagni (previously Albani 511), XVIth
century, contains the catalogue of MSS. be-
longing to 'Sangallo'. In this catalogue a MS.
volume, To.ne XXXIX, is thus described: Ope-
nione di Limardo da Vinci nel dipigniere pro-
spettive, ombre, lontananze, altezze, bassezze d'a-
presso o da lontano, et altro.
It seems therefore doubtful whether after
the death of Francesco Melzi, about 1570, the
Melzi family still possessed Leonardo's lite-
rary bequest intact, or at any rate, were the
sole possessors of it. We have fuller informa-
tion at the beginning of the XVIIth century,
for Leonardo's MSS. had by that time become
famous and were sought after as relics and
curiosities. Guido Mazenta, who is mentioned
by Lomazzo as possessing MSS. by Leonardo,
was the brother of the author of an interesting
memoir entitled: Alcune memorie de1 fatti da
Leonardo da Vinci a Milano e de' suoi libri del
P. D. Gio. Amb° Mazzentd, Milanese, Cherico
Rrg*' minor e di S. Paolo a!trimtl detti Barna-
l>iti.1 An exact translation of this into French
has been given by M. Eugene Piot in the
Cabinet de l'Amateur(i863,p.6i — 63). I quote
from it the following passage relating to the
history of the MSS.
Ala mort de Melzi , . . les manuscrits resterent
duns sa villa -de Vaprio, ou ses heritiers, qui
avaient des gouts et des occupations bien different*,
1 The Italian MS. by Mazenta was until 1882
in the possession of the firm of booksellers A. Firmin-
Didot, of Paris; but I was constantly forbidden to
examine its contents. It has lately passed into
the possession of an antiquary in Paris. The follow-
ing interesting passage is again taken from M. Plot's
translation, which adequately takes the place of the
original: Sa observations s'etendent memes jusqu'aux
chases historiques; il y met sous nos yeux Us antiques
cataractes dont les Plolomees se servaient en Egypte pour
rfpanire et distribuer les faux bienfaisantes du JVM; les
belles inventions relatives a la navigation de la mer de
Nuomedie, ait moyen des lacs et des fleuves, dont il est
question dans les lettres de Trajan et de Pline; mat's je
crois que ce curieux genie prenait plaistr a deguiser sous
ces noms ceux de Milan et de Nuovocomo (!?).
negligerent a ce point ces tresors quit fut facile
a Lelio Gavardi, qui enseignait les humanites
dans cette famille, if en prendre tout ce qiiil vou-
lut et de porter treize de ces I'olumes a Florence,
dans le dessin de les offrir au grand-due. Mais
ce prince tomba malade et mourut a son arrivee,
et il vint a Pise chez Manuce. Je lui fis honte
de son bien mal acquis, et il en convint. Mes
etudes etaient finies, jedevais partir : il me pria
de reporter les volumes a Milan, ce dont je iri 'ac-
quittal de bonne foi en consignant le tout au chef
tie la famille, le D" O ratio Melzi, qui fut tres-
etonne de rembarras que favais voulu prendre,
et qui m'en fit don en me disant qrfil avail du
meme peintre beaucoup d'autres dcssins qui de-
meura'icntabandonnes dans des caisses sous les toils
de sa villa. Ces livres r est e rent done entre mes
mrins, et, plus tard, entre celles de mes freres.
Ceux-ci en Jirent un eta/age un -pen trop grand,
raconterent a ceux qui les voyaient avec quelle
facilite je les avals obtenus, de sorte que beau-
coup de personnes retmrnerent chez le docteur
Oratio et en tirercnt des des sins , des modeles ana-
tomiques, et beaucoup de precieuses reliques de
r atelier de Leonard. Pompeo Leoni fut un de
ses chasseurs; son pere avail ete eleve de Michel
Ange Buonarotti, et lui-m:tne etait au service du
roi d* Espagne, pour qui il a fait tons les bronzes
de rEscurial. Pompeo promit au Z^ Melzi
offices, magistratures , siege dans le senat de
Milan, s'il pouvait reprendre les treize volumes
et les lui donner pjur les envoyer au roi Philippe,
grand amateur de ces sortes de curiosites. Excite
par de telles csperances, Melzi vole chez mon
frere, le prie a genoux de lui rendre les manu-
scrits quails mtavait donncs; c; etait son colfegue
au college; de Milan, bien digne de sa compassion
et de son amitie; sept volumes lui furent rendus.
Des six qui restaicnt a la maison, un fut offert
au cardinal Frederic Borromee; il est aujour-
d"hui conserve dans la bibliothtque Ambrosienne;
c'est un in-folio, couvert de velours rouge, qui
traife tres philosophiquement de la lumiere et des
ombres, au point de vue de la peinture, de la per-
spective et de roptique. Un autre fut donne a
Ambroise Figini, noble paintre de cette epoque,
qui le laissa a Hercule Bianchi avec le reste de
son cabinet. Press e par le due Charles- Einantid
de Savoie qui desirait en posseder,j'en obtins de
ratnitie de mon frere un troisieme quej'envoyai
a cette Altesse. Apres la mort de mon frere, les
trots autres sont parvenus entre les mains de
Pompeo Aretin?, qui, avec ceux qrfil avait re-
ceuillis , en separa les feuillets pour en for-
mer un gros volume qui passa a soh heritier
Polidore Calchi, et fut vendu ensuite a Galcaz
Arconati pour trois cents ducats. Cet horn me
genereux le conserve dans sa galerie remplie de
mille choses precieuses ; il a du plusieurs fois resi-
I
THE HISTORY OF THE MANUSCRIPTS.
481
ster aux pricres du due de Savoie et d'autres
princes qui le lui demandaient : il en a refuse plus
de six cents ducats.
3. The MSS. in the possession of the brothers
Mazenta, had, it would seem, been gradually
reduced to three. Guido Mazenta whose name
is to be seen in the MS. given by him to Car-
dinal Borromeo (see Bibl. No. 2), died in 1613.
In 1636, Count Galeazzo Arconati — who
is named in Mazenta's report — presented
twelve MS. volumes by Leonardo to the Am-
brosian Library at Milan. The explicit deed
of gift may be seen, translated into French in
the Cabinet de P Amateur, 1861, pp. 53 — 59. In
the catalogue of these MSS. the binding is
more particularly described than the contents.
The following twelve MSS. were included in
this gift. i. the Codex Atlanticus (Bibl. 38),
2. a MS. now lost, but described as follows:
Le deuxieme est un livre in-folio ordinaire,
de la grandeur du papier coupe ordinaire. II est
relie en bois convert de cuir rouge, orne def rises
et de fleurs d'or, Le volume est entierement com-
pose de feuillets de velin et commence par ces
paroles , ecrites en rouge: T A VOL A DELL A
PRESENTE. Suivent huit feuillets sans pagina-
tion. Elle commence au suivant, qui a un ornement
en tete qui dit: Eccellentis s. prencipe, etc., et la
pagination suit jusqu'au cent vingtieme feuillet,
quatre-vingt-sept pour le text, trois blancs et le
reste des dessins divers calories, le premier desquels
est intitule: Sfera solida, et le dernier : Piramis
laterata exagona vacua; au fond du feuillet est
un texte grec qui exprime la meme chose.
3. Le troisieme est un livre in-quarto, relie en
velin, sur le dos duquel on lit les paroles sui-
vantes: DI LEONARDO DA VINCI; il est
de cent feuillets juste, mats le premier manque;
sur le second il y a quelques cerises noires,feuilles
et fruits calories. Dans finterieur du volume, au
feuillet 49, on a ins ere cinq feuillets de dessins va-
ries, armes de hast pour la plupart, et a la fin un
autre petit volume (volumetto) de diver ses figures
de mathematiques et d1 oiseaux, dedix-huit feuillets,
qui a ete cousu dans la meme reliure en velin.
Bibl. 3, 4. Ash. II and B; The appendix
(volumetto) is now lost; the last mention of it
occurs in Venturi's Essai (1796). Compare No.
1465, Note 4.
4. MS. of 1 14 leaves (see Bibl. 5, 6, Ash. I
and A).
5 . Le cinquieme est un autre livre semblable,
in-quarto, couvert, comme le precedent, de cin-
quante-quatre feuillets. Sur le premier sont des-
sinees diverses tetes bouffonnes, et sur le dernier
quatre colonnes de texte, ecrites a rebours. II est
marque sur le dos LEONARDO DA VINCI.
This description corresponds with the MS.,
Bibl. 28 Tr. 6.
6. MS. see Bibl. 25, E.
7. MS. see Bibl. 22, F.
8. MS. see Bibl. 26, G.
9. Three MSS. bound in one vol.; see Bibl.
8 — 10, H1, H2, H3.
10. Two small MSS. bound in one, see
Bibl. 13, 14.
11. MS. see Bibl. 18, L.
12. MS. see Bibl. 27, M.
In 1674 Count Orazio Archinti presented
to the same Library a MS. by Leonardo, con-
sisting of three small note-books in one Vol.;
Bibl. 32— 34.
In 1790, Stefano Bonsignori made a short
catalogue of the MSS. in the Ambrosian Li-
brary at Milan. It includes i.MS. C. A, see
Bibl. 28; 2. MS. B and Ash. II, see Bibl. 3, 4;
3. MS. Ash. I and A, Bibl. 5, 6; 4. MS. D,
Bibl. 31; 5. MS. E, Bibl. 25; 7. MS. G, Bibl. 26;
8. MSS. H1, H2, H3, Bibl. 8— 10.
The descriptions of the others are too
vague and slight to admit of our indentifying
by them any MSS. now existing: 6. Miscellanea;
idrostatica, etc. E in- 8 piccolo, in cartone rustico.
9. Miscellanea. Moto , macchine, macchinette da
forar cristalli, etc. E in-i6, legato in perga-
mena. 10. Miscellanea in-i6, in cartone rustico,
ii. Miscellanea. Abbozzi informi, moto ecc. E
m-i6, pergamena (see Dozio, degli scritti . . . di
Leonardo da Vinci. Milano \%i\,pp. 21 — 24).
It will be observed that one MS. fewer is here
named than in the deed of gift from Count
Arconati; on the other hand a MS. D, not
previously mentioned, is now included. The
fifth MS. of Arconati's list is evidently wan-
ting in this list. The volume given to the Am-
brosian Library by Cardinal Borromeo in 1603
(Bibl. 2, C) seem also to have been omitted.
It is evident then that we cannot exactly
determine how many of these MSS. were to be
found in the Ambrosian Library in the year
1796. At the suggestion of Bonaparte the
Directory of the French Republic conveyed
many works of art from Italy into France. So
much as this is, at any rate certain : in August
1796 the Codex Atlanticus was in the Biblio-
theque Nationale: and "Douze petits MSS. de
Leonardo de Vinci, sur les sciences1'1 were in the
Institut National (Institut de France). The
authors of the catalogue of the pictures and
MSS. removed from the Ambrosian Library—
Peignon, commissaire de guerre and le Citoyen
Tinet, agent des Arts' (dated Milan, May 24,
1796) either do not mention Leonardo's MSS.
at all, or — which is more probable — include
them under the following somewhat vague
designation "Le Carton des ouvrages de Leo-
nardo - d 'avinc? '. It is certain, on the other
hand, that in 1815 the commissary of the
PPP
482
APPENDIX.
Austrian governement demanded the restora-
tion to the Ambrosian Library of thirteen (or
fourteen?) MSS., being the number stated in
Venturi's Essay written in 1796. (Venturi says
in his essay : Les Manuscrits sont au nombrc de
quatorze, parceque le Volume B contient un appen-
dice de dix-huit feuillets qu'on peut separer et
considerer comme le quatorzifme volume).
However, only the Codex Atlanticus found
its way back again; the other twelve MSS. re-
main in the possession of the Institut de France.
These facts cover all that is known of the
history and fate of the volumes now on the
continent, that is to say in France and Italy.
I am unfortunately not in a position to give
so full an account of the vicissitudes of such
of Leonardo's MSS. as are now in England.
Of the MS. volume at Windsor, W. L. (6101.36)
Chamberlain tells us (Original Designs, Lon-
don, 1812): // was one of the three volumes, which
became the property of Pompeo Leoni that is tiow
in his Majesty1 s possession. If is rather probable
than certain that this great curiosity was acqui-
red for King Charles I. by the Earl of Arundel,
when he wetit an Ambassador to the Emperor
Ferdinand II. in 1636, as may indeed be inferred
from an instructive inscription over the place,
where the volumes are kept, which sets forth
that James King of England offered three thou-
sand pistoles for one of the volumes of Leonardo's
works. And some documents in the Ambrosian
Library give colour to this conjecture. This
volume was happily preserved, during the civil
wars of the last century , among other speci-
mens of the fine arts, which the munificence of
Charles I. had amassed with a diligence equal to
his taste. And it was discovered scon after his
present Majesty's accession, in the same cabinet,
where Queen Caroline found the fine portraits
of the court of Henry VIII. by Hans Holbein,
which the King's liberality permitted me lately
to lay before publick.
Chamberlain, apparently misled by the
well-known inscription1 in the Ambrosian Lib-
rary seems to assume that Lord Arundel must
1 The following inscription is on the staircase of
the Ambrosian Library
|| LEONARDI VINCII || MANU . ET . INGENIO .
CELEBERRIMI || LUCUBRATIONUM . VOLUMINA .
XII | HABES . O . CIVIS || GALEAZ— ARCONATUS
II INTER . OPTIMATES . TUOS || BONARUM . AR-
TIUM . CULTOR . OPTIMUS || REPUDIATIS . RE-
GIO . ANIMO . || QUOS . ANGLIAE . REX . PRO .
UNO . OFFEREBAT || AUREIS . TER . MILLE . III-
SPANICIS H NE . TIBI. TANTI . VIRI . DEESSET .
ORNAMENTUM || BIBLIOTHECAE . AMBROSIA-
NAE.CONSECRAVIT || NE. TANTI. LARGITORIS.
DEESSET . MEMORIA |J QUEM . SANGUIS. QUEM .
MORES || MAGNO . FEDERIGO1. FUNDATORI |
ADSTRINGUNT || BIBLIOTHECAE . CONSERVA-
TORES y POSUERE . ANNO . MDCXXXVII. ||
have derived the Leonardo MSS. in his posses-
sion from Arconati, and not from Spain; but
Mr. Alfred Marks of Long Ditton, has lately
disproved this clearly in two contributions to
the Athenaeum, Nos. 2626 and 2645. John
Evelyn in his Memoirs (Vol. I, p. 213 ed. 1818)
tells us that when travelling in Italy in 1646
he received from Lord Arundel, then sick at
Padua, where he died in the course of this year,
advice as to what he should try to see. After-
wards, visiting the Ambrosian Library, Evelyn
writes: —
"In this room stands the glorious (boasting)
inscription of Cavaliero Galeazzo Arconati,
valueing his gift to the librarie of several! draw-
ings by Da Vinci, but these we could not see,
the keeper of them being out of towne and he
always carrying the keys with him, but my Lord
Martial, who had seene them , told me all but
one booke are small, that an huge folio cm tain' d
400 leaves full of scratches of Indians [sketches
of engines?] &=c., but whereas the inscription
pretends that our King Charles had offered 1 ,000 /.
for them , my Lord himself e told me that it was
he 7i>ho treated with Galeazzo for himself e in
the name and by permission of the King, and
that the Duke of Feria, who was then Governor,
should make the bargain: but my Lord having
seen them since did not think them of so much
worth?
The leaves of the Codex Atlanticus are
numbered up to 393; hence it is probable that
in giving this description Lord Arundel had this
single MS. in his mind. The MS. W. L. at
Windsor which, with the MS. C. A. formerly
belonged to Pompeo Leoni now consists of
only 234 folio leaves. Arconati (see above)
mentions, it is true, one collection only of MSS.
i. e. MS. C. A. as being in the hands of Pompeo
Leoni; but it can hardly be doubted that the
MSS. and drawings W. L. were also in his
possession, since Leoni's name is given in the
inscription on the old binding of the two vo-
lumes in the same way.
"Pompeo Leoni of Arezzo, Court sculptor
to King Philip II. of Spain, died in Madrid A. D.
1610, as we learn from Carducho 'Dia/ogos de
la Pinturd (1633). Part of his property was
publicly sold at Madrid; some works which
had belonged to it being afterwards purchased
by Charles the First when, as Prince of Wales,
he visited Spain in 1623.
From the Spanish portion of Pompeo's col-
lection thus sold came, in all probability, the
two volumes of Leonardo's of which Carducho
speaks as being then in the possession of Don
Juan de Espina: "Alii vi dos libros dibujados y
manoscritos de mano del gran Leonardo de Vinchi,
de particular curiosidad y doctrina" ("two
THE HISTORY OF THE MANUSCRIPTS.
483
books/' may we say? "one of sketches, one
manuscript"), which the Prince of Wales had
in vain sought to purchase. The contents of
these volumes Carducho unfortunately descri-
bes only in very general terms. In Mr. Sains-
bury's 'Original Unpublished Papers illustrative
of the Life of Rubens/ we find evidence that
Lord Arundel was subsequently in treaty for
these very books, or, perhaps, for one of them
only. On p. 294 will be found a note of Endy-
mion Porter's "of such things as my Lord
Embassador Sr Francis Cottington is to send
owt of Spaine for my Lord of Arondell; and
not to forget the booke of drawings of Leo-
nardo de Vinze wch is in Don Juan de Espinas
hands." This is of the date 1629, when Sir
Francis was for the third time setting out for
Spain as ambassador. His negotiations for the
book were unsuccessful, for on January 19th,
1636 — 37, we find (p. 299) Lord Arundel writ-
ing from Hampton Court to Lord Aston, then
Ambassador to Spain, — "I beseech yu be mind-
full ofD. Jhon. de Spinas booke, if his foolish
humor change." There can, I think, be little
doubt that, on the change of Don Juan's "foo-
lish humor," a priceless treasure, the object of
so many fruitless attempts, at last rewarded the
persistence of the great English collector" (A.
MARKS).
Here, beyond a doubt, only the MS. W. L.
is meant, for this, as being a collection of Leo-
nardo's most important drawings, must be re-
garded as exceptionally precious. But did
Lord Arundel ultimately get this Manuscript.
We cannot say more than that this seems pro-
bable; and for this reason: Hollar engraved
drawings of Leonardo's which are now in
Windsor and inscribed them "W. Hollar fecit
1646 ex collectione Arundeliana", — drawings
which most probably were'included in this W.
L. collection before it was divided.
On the other hand it can be positively
shown that Lord Arundel possessed the MS.
Br. M., Bibl. 23, which was no doubt purchased
by him for a relatively small sum in conside-
ration of the smaller artistic interest of the
drawings, and for the same reason it is quite
intelligible that no mention should be made of
it in the correspondence at the time. But
whether the MS. W. L. was purchased by
Charles II. when Lord Arundel's collections
were sold in Holland, or whether Charles I. had
previously acquired it after his journey to Spain
as Prince of Wales in 1623 — when he, in per-
son, purchased some works of art from among
Leoni's collection, is not known. So much as
this alone is certain, that it has now for a very
long period belonged to the Royal collections.
Though Chamberlain's statement as to the
acquisition of Leonardo's MSS. and drawings
in the Windsor Library is, as we have seen,
probably inaccurate, we may still give credit
to his information as to the finding of them by
Queen Caroline in Kensington Palace, for he —
as Royal Librarian at the time— must certainly
have been acquainted with the facts. His
statement is moreover confirmed by Walpole
(Anecdotes of "painting I, 84: Soon after the
accession of the late King, Queen Caroline found
in a bureait at Kensington, a noble collection of
Holbein's original drawings for the portraits of
some of the chief personages of the court of
Henry VIII).
This, however, is by no means the earliest
information we possess regarding Leonardo's
MSS. and drawings in the possession of Roy-
alty. In the MS. Department of the British
Museum I found an old inventory from which
I give the following extracts : List of the draw^
\ in ye Cabinet in \ His Maj^5 Lower [| Apart-
ment || in this is marked what \ has been Deli-
ver* d for |1 her Ma]** use || Page 28. A list of
the Books of drawings and Prints in the btiroe
in His Majesty's great Closet at Kensington.
No. 3. By Hans Holbein those framed 6°
hang at Richmond.
No. 5. Prints by Hollar; delivered to her
Majiy Aug. 1735 af*d by her lent to Lady Bur-
lington, since put in Volumes and laid in ye Lib-
rary at Kensington.
No. 6. Drawings by Leonardo de Vinci.
No. 13. Drawings by Leonardo di Vinci; —
these markd with a cross were delivered for her
Majtys use in ye year 1728.
The oldest inventory in Windsor Castle —
is only of the beginning of the present century.
On p. 23 we find: " 'Leonardo da Vinci, Tom. 1"
and a list follows of the drawings, comprised
on 41 pages. For instance: page i His own
portrait, profile, red chalk (a well known draw-
ing in the present collection). Only a few can
be identified, for the descriptions are very brief.
On p. 26 we come to " Leonardo da Vinci,
Tom. //" which is also a list of drawings com-
prised on 40 pages. It begins: page i, the last
Supper, the Architecture is varied in the painting
at Millan where an open door is represented be-
hind our Saviour, black chalk. NB. This Draw-
ing was not in the Vol. compiled by Pompeo Leoni,
but in one of the Volumes in the Buonfiliuolo
Collection bought at Venice. (By the way I men-
tion that the drawing in question, still at Wind-
sor, is not an original drawing, but an old
copy). This gives us an incidental clue to a
second source whence the treasures of the
Windsor collection have been derived. Nothing
more, however, is known concerning the Buon-
filiuolo collection.
484
APPENDIX.
On p. 29 of the Inventory we come to a
catalogue of the contents of a third Vol. of 205
sheets, in which 549 drawings are named and
shortly described, for instance :
-- \ 2 Heads, of Judas and one of the
No' " j Apostles for the last supper at Milan.
i Mechanical Pouters
\' Anatomy.
NB. All the Leaves from 41 to 142,
except those few> marked otherwise, are
full of very copious and accurate study s
in Anatomy which were done with
the assistance of Marc Antonio della
Torre &>c.
Manuscript — Here ends the Ana-
tomical study.
As the reader will have observed, the num-
ber of leaves in the MS. W. L. does not corre-
spond to that in either of these three Volumes.
There can be no doubt that, at that time most
of the drawings had been taken out of it. Re-
cently most of the finest drawings in the Royal
collection have been mounted on card-board
and arranged in four portfolios, while some
'43
of the MS. leaves remain in the folio W. L.
(Bibl. 36), and others are mounted on old thin
card board, more particularly the texts W. P.,
Bibl. 15, and W. An. I, Bibl. i; others again
are not mounted nor even — at the present date
— arranged. Their large number rendered it
necessary that they should be classified accord-
ing to their contents and the probable date of
their being written, with a view to this present
publication. I therefore sorted them under the
following heads: W. H., Bibl. 16; W. An. II.,
Bibl. 17; W. M., Bibl. 19; W. An. III., Bibl. 24;
W. An. IV., Bibl. 35 ; W., Bibl. 37. The loose
leaves in the Windsor collection are numbered
consecutively (from i — 249) without any refe-
rence to their connection, while the Roman
numbers refer to those sheets which are moun-
ted. By this means reference to the originals is
facilitated.
It will be noticed that Anatomical writings
preponderate greatly, and they are the portion
which Vasari most admired, when he had the
opportunity of seeing Leonardo's MSS. in
Melzi's house.
II.
BIBLIOGRAPHY.
The Manuscripts are arranged here in the
same chronological order as shown in Vol. I. pp.
5 — 7. The numbers of the sheets are generally
not by the author, but in a more modern hand-
writing. The few instances when these numbers
A = Acqua (Water).
Ar = Architecture.
F = Forza (Force).
Fo = Fortezza (Fortress).
Ge = Geometry.
M = Moto, colpo (on movement &c.).
Ma = Mathematics.
are by Leonardo will be found mentioned in the
lists. The bindings are in parchment, if not other-
wise stated. The following abbreviations have
been introduced in the description of the contents
(the Italian words are headings used by Leonardo) :
Mn = Machines.
O = Optics. .
P = Peso (Weight).
Ph = Physics.
V = Volatili (Flight of Birds).
+ = blank pages.
i a 1370, notes on the skull \ i b 805
the teeth \ 3 b, 4 a on the skull | 4b +
I. W. An. I.
2 a, notes on the skull \ 2 b 4- 3 a on the skull and on
2. C.
Inscribed in golden letters on the front
eoi<er: > VIDI • MAZENT^ || PATRITII •
MEDIOLANENSIS fl LIBERALITATE || AN-
M • D • C • III. Inside the cover: C and [O].—
On the first sheet (by an unknown hand}-. Auto-
graphum Leonard! Vincii || cujus in ejusdem
rebus gestis meminh || Raphael Trichet Fres-
neus || agit autem de lumine et umbra. — First
sheet verso: O. — Second sheet marked [,G,] and
O. The following sheets are numbered i — 30, by
an unknown hand. These numbers disagree with
Leonardo's own numbers, here given in brackets ().
He seems to have counted the sheets backwards.
They are on the back of the sheets , but some are
BIBLIOGRAPHY.
485
wanting: ia 254 | ib (15) 253 | 2 a 221 | 2b
(14) 220 I 3* 219 3b (13) 218 I 4a 217 4b
(12) 216 and PI. VI, 3 | 5 a 252, 215, and
PI. VI, 2 | 5b (n) moto, voce, forza e moto
6 a del moto dell' aria e dell'acqua | O | 6b (10)
forza e peso,, colpo \ ;a colpo, peso e forza;
213, A 1 7b (9) M, 30, P 12 lines, 160, F | 8 a
131, O 8b 259, 180, 260 | 9a O | 9b O ioa
262, 141 and PI. II, 2.3. | 10 a — nb O | i2a
258, 229 | 12 b 289 | 13 a 290 I 13 b 26l I I4a
256 | i4b (16) 255, 123 | 15 a M, A | i5b (i)
Binding in pig- skin; marked B inside the
front-cover. On the first sheet is a short, indistinct
note in Spanish, probably by P. Leoni, stating that
Leonardo wrote backwards. The following sheets
are numbered by very large numbers from 3 — 90
(see the facsimile PI. LXXIX, 2): 3a. Drawings
in water colours, representing some fruits \ 3b
329, 346, 638, 675, 1188, F | 4 a 1509, 1131,
Ph | 4b A, 1212 Ma | 5 a Fo | 5 b and 6a Mn I
6b Mn | natura de' spechi | 7a and 7b Mn
Fo | 8a 1497 | 8b ioa Arms | iob dapassare
un flume, Ge | 1 1 a Mn | 1 1 b PI. XCIV, No. 2
and No. 3, Mn | 12 a PI. LXXXVIII, No. 6
and No. 7, 751 | 12 b Ge, Ar | 13 a Mn, sketch
of flowers \ 1 3 b and 1 4 a Ge and sketches of
flowers | i4b camino, Ma | 15 a PL XCIII,
No. i, Fo | 15 b PI. LXXVII, No. i and 2, 742,
743 | i6a PI. LXXVII, No. 3, 741 | i6bFo,
Me | i;a Ge | i;b PI. LXXXIX | iSa Vol.
II, p. 47, Fig. i, and Fig. 2 Mn | i8b PL
LXXXVII, No. 2, 755, Fo | 19 a Fo | i9b
752, Ar | 20 a A Mn | 20 b A 511 | 21 a PL
LXXXVII, No. 3 and No. 4, Fo | 2ib PL
XXXVIII, Nos. 1—5 | 22 a PL XCIII, No. 2,
Mn j 23 a construction of bridges \ 23 b PL LXXX,
No. 2 I 24a PL XCVI, No. 2, 757 | 24b Mn
Fo | 25 a A | 25 b PL XC | 26a A Mn | 26b
Mn | 27 a PL C, No 5, 788 ] 2;b arms, draw-
ing of a small figure \ 28 a Ge, spechi | 28 b
762, PL CII, No. 3 | 29 a Ge, strade che vano
attraverso a vno argine d'u fiume | 2gb Mn
3oa Ar, Fo | 3ob 32 a arms 32 b on passing a
river PL CIII, No. 2. | 33 b and 4^ Mn | 34b
Vol. II, page 44, Fig. 3 | 35 a Mn | 35 b
Vol. II, page 45, Fig. i, Ar | 36 a PL
i6b(i9)O
720,1458,727 | i6adeochio, M
i;aO | i;b (18) O | l8a. 303
O I I9b 1334, 1380 I 2oad7/</20bO I 21 a 174
2 Ib (i;) 257 | 22 a A, M, O I 22 b (8) P I 23a
251 I 23 b (?) A I 24a 250 | 24b (6) A | 25a A,
O | 25 b (5) M, A | 26 a A I 26b(4) 931, acqua
e terra | 27a>O|27b (3) 53, O | 28a M | 28b
(2) P | 29 a inscribed by an unknown hand: le
carte sono di nro 28 cioe Ventiotto . 29b [G]
oa O ob +
3- B.
LXXIV, No. 2, 746, Mn | 36 b Fo | 37 a PL
LXXVIII, Nos.2 and 3 i 3 7b PL LXXIX, No.i,
745 I 38a 745 No*e | 37b canals \ 39a PL
LXXVIII, No. i, 761 | 39b PL XCII, No. i,
753 I 34anomi d'arme da offendere, Ge | 4ob
a bresscia alia minera del fero sono madaci
d' u pezo cioe sanza corame ecc. ; arms
41 a — 46b arms \ 47 a Ar | 47 b Mn | 48 a and
48b Fo | 49a and 49b Mn | 5oa Fo | sob
1381, Mn 5 1 a and 5 1 b Mn 52 a PL XCVII
52bFo, Mn | 53a camino j 53b A Mn | 54a
d'alzare acque, bombarda j 54 b A Mn | 55 a
Vol. II, p. 44 Fig. 2 and p. 56 Fig. i | 55 b
modo di misurare alteze | 56 a same subject,
modo chome si debbe riparare a vna furia di
soldati | 56 a PL XCII, No. 2 and No. 3, and
Vol. II, p. 45 Fig. 2 | 57 a PL XCV, No. 2 |
5 7b Vol. II, p. 51, Diagram, rivellino | 5 8a 1506,
1023, Ar, lupanario | 58 a Fo | 59 a Mn | S9b
Fo | 60 a PL LXXXII, No. 3, 750 | 6ob on
passing a river \ 6ia 1080, A | 6ib 1094,
1099 | 62a PL LXXXV, No. 13, on passing a
river \ 62b iioo | 63 a F. P. | 63 b 1081 | 64a
A Mn | 64 b Stivali da aqua, Mn | 65 a — 67 a
Mn | 67 b and 68 a A | 68 b schale docpie ia
per lo chastellano 1'altra per i provisionati
69a — 7oaFo | 7ob Mn, PL CIII, No. i | 71 a
PL CII, No. 2 | 7ib— 73 b I 74a 75a flyinS
machine \ 75a Vol. II, p. 56 Fig. i | 75 b — 77b
Mn | 78a Fo | 78b— 8ia | 8ib 1117 | 82 a
Ma | 82 b 1088 | 83 a Mn | 84—87 wanting
88 a Mn | %%^ flying machine \ 89 a Mn | 89 b
V | 90 a Mn | 90 b modo di sfondare vn
navilio, voce. — Inside the back cover is the
mark S.
4. Ash. II.
1 6 sheets, small numbers; sheets i and 16,
and 2 and 1 5 forming originally one sheet, are
tinted in blue on the inside and have drawings of
arms, drawn with the silverpoint ; the outside is
left blank. On sheets 3 a and 1 4 a are three draw-
ings in water colour, apparently not by Leo-
nardo. They represent instruments. 4a 1127
4b 1115, Fo | 5 a Fo | 5b 1120, Mn | 6ain6
6b PL LXXXV, No. i— ii, Vol. II, p. 45
Fig. 3, p. 74 first lines | 7 a 756, PL XCI,
No. i | 7b Fo | P, Mn | 8a Vol. II, p. 56
Fig. 2, p. 57 Fig. 3 and 4 | 8b PL XCI,
No. 2, 754 | 9a Mn | 9b arms \ ioa arms and
ships | iob 1505, arms and a nude youth, resting
his left hand on a sword \ 1 1 a ships \ 1 1 b
1492, arms 1500 | 12 a cars, 1089 | I2b 1498
1 3 a. 1204 \four columns of names \ 13 b 1382
Sketches of insects, a caricature &c.
486
APPENDIX.
5. Ash. I.
i a 1510, 686, Drawing of knots, 1183
ib knots, 1176, Ge | 2a 267, 580, 589, 516
2b 55'. 484, 515. 284 | 3 » 283, 132, 547,
203 | 3b 574 and PI. XXXI, No. 4, the
head on the right, 245, 133 | 4a 5^8, 563,
528, 540, 561, 439 | 4b 536, 504, 601 | sa
602 | 5h595, 182, 196 | 6a 584, 592, 164
6b 573 and PI. XXXI, No. 4 the head on
the left, 368, H2, 585, 522 | 7a 367, 364,
555 I 7h 530, 49i
492,
494 8
497, 489, 587 | 9*572, 507, 495 | 9b496,
532, 502, 285 | ioa 295, 500, 486 | iob 501,
655 I l'a 656, 529 I "b 531, 523 I "a
PI. XLI, No. i, 142, 344, 34, 92 | ia» 99,
538, 102, 558 | 13-1 508, 23, 294, 591 | i3b
119, 125, 199 | i4a 552, 559, 122, 550 | i4b
606, 594 | 15 a 520, 567, 176, 567 11- 13—22,
361 15 b 566, 659, 652, 513, 600 j i6a 654 i
Bound in parchment, marked A outside and
inside the cover. The numbers of the sheets i — 64
are in Leonardo1 s handwriting.
i a 628, 190, 527, 708 | ib [P], [M] 524,
83 I 2* O, 235, 518 | 2b O, PI. XVII, No. i,
P, Mn
5b Ge
3a5° I 3bMPO | 4a — 5 a P M
6a Ge P | 6b Ge | 7a Mn, Ge | 7b
1 | 8b 129, 624, 100, 93, 234 | 9a
M | 9b 88, O, 69 | ioa 52 | iob 94, 85 | na
98 Ge | nb and i2aGe | i2b Ge, O | 13* —
i5a Ge | isb, i6a PGe | i6b— i8bGe | iga
acoustics, M | i9b 281, O, acoustics \ 20 a 282,
O, Ph | 20b, 2Ia Ma | 2Ib 22b M | 23a
549, 514, 586, M, acoustics \ 23 b A | 24a M,
1134, A | 24b— 25b A | 26a A, M | 26b O
M|27aMs8|27bMA| 28a M | 28b PI.
XXU, No. 4, 369, 596 I 29 a PI. XXII, No. 3,
359 | 29b O, M | 3oa— 35 b M P 3ob 383
36* M P, acoustics \ 36b 55 | 37a O, 56 | 37b
57, O 1 38a O, 86 | 38b 41, PI. XXXI, No. 3,
526 | 39 a— 40 a Ge I 4ob 543 | 41 a 544 j
i <*b 535, 653 I 1 7 a 298, 145, 604 | 1 7 b 582,
14, 291, 391, 299 | i8a 483, 661, 519, 578,
392, 583 | i8'» 1546, O | 19* 887, 894, 565,
576, 588, 557 I 1 9 h 542, 709, 509 I 20 * 139,
140 | 20 b 138 | 2ia48, 236, 205, 533
21 b PI. Ill, No. 2, 149 | 22* PI. Ill, No. r,
275, 148 | 22 b PI. II, No. i, 61, 40, 546 ! 23 a
PI. VI, No. 4, 224 | 23b 173 | 24 a a diagram
without text \ 24 b PI. IV, No. 3, 173 | 25 a
PI. IV, No. 2, 169 | 25 b 293, 239, 485, 541,
537, 534 I 25 I. a 171, 352 | 25 Ib a diagram
without text \ 26* PL XXXVIII, No. 2, 579
26b p | 27a Ma I 27b Ge | 27b 63 | 27 I*
Ge | 28a + | 28b 517, 147, 202 | 29* PI.
XXXI, No. 2 512 | 29 b 560, PI. XXVIII,
No. 6, 390, Ph
M | 32 bO, 68.
P |3ib 506 | 32
6. A.
4ib 545 | 42a O, 527 | 42 b 525, P A 1 43a
acoustics, 706, A | 43 b — 48-1 M P | 48 b 792,
P | 49a P | 49b 786 | soa 790, 779 | sob
Ma, 780 | Sia78i, Mn | 5ib-52bPM j 53a
795. 79i, 776 | 53 b M P | 54 is wanting
55a M P O | 55b 929, 967, 941 | s6a A
968, 944 | 56b 945 Ph | S7a Ph, 1083 | 57b
M | 58 a A | s8b A, 934, 940, 943 | 59a-
6iaA|6ibMO|62aMP| 62b 311, two
heads of horses, P | 63 a 312, PI. VIH, No. 1 1
63 b A | 64a 898, 889, A | 64b O 214, 249,
873. The following blank sheet has the marks S
on the front, and Sb and the number 4, on the
reverse. They are by an unknown hand. —
A splendid edition of the whole volume was
published in 1881 by A. Quantin, Paris.
It contains photographs of all the texts. M.
Charles Ravaisson-Mollien, the editor, has added
to the facsimile the transcript of the Italian,
a French translation, notes and an elaborate
index.
7. S. K. M. III.
Marked 32 on the first sheet by an unknown
hand: i a 1459 | i b ^84 | 2 a— 3a Ph | 3b
1496, del moto delle corde | 4a — %*• putties
8b Ge | 9a Ar | 9b + | ioa Vol. II, p. 89
the last two diagrams | iob — ua Mn
ii b + | i2aP | i2b+ | 13 and 14 are wan-
32
b Mn
33
O | 33
Ge |
Ge |
b
b — 34 a Mn | 34b +
ting |
"79
15 a + | i5b, i6a A | i6b 1491
44bM
Ph
65ii
1342 | 24a
Mn | 24b + | 25 a 498 | 25 b 1118 j 26 a
knots \ 26b Ge | 2/a Mn | 27b + | 28a and
28bGe | 29ai34i | 2gbMn | 30*1385 | 3ob
Ar | 3 1 b cientro della gravita | 3 2 a aquaforte
i8a—
23 a Ge
25 a 498
27a Mn
23
25
35a Mn | 3
36b 1169 |
33a + I 39
1512 | 43 b 44 a +
c° | 45b, 46a P
47 b Vol. II, p. 71 Fig. i 48* 662, 1324
764 | 49 a 1135 | 49b Mn | 5oa 731
5ib Mn | 52 a M | 52 b A, 629 | 53* 614, 646,
34 :
PI. XCIX, No. 2 ;
' 208 | 38aM | 38b,
42 is wanting \ 43 a
45 a 1276,' fran-
47 a 15" I
732 53
54 a moto della saetta | 54
forma di corpo | 55 a Vol. II, p. 71 Fig. 2,
647, 1386 | 55 1> 734 | 56 a 735 | 56 b distan-
tia
buse | 57 b Mn
1283
BIBLIOGRARHY.
487
384 | 59a Ph | 59b A | 60 is wanting \ 6ia A |
6ib M | 62 a cavaletti da lauorare | 62 b. a dia-
gram 1 63 a + | 63 b A | 64^ Ge | 64b 1132-1'
65 a Mn ] 65 b PI. CVIII, No. 3, 813, M | 66 a
812 | 66b 1322 67 a Ma | 67 b + | 68 a a
sketch of clouds \ 68 b sketch of a horse \ 69 is
wanting \ 7oa 4- | 7ob circles \ 71 a A | 71 b,
72 a sketches of legs of horses \ 72 b sketches of
windows \ 73 a Mn | 73 b 1281 | 74a M, 846
74b passavolante | 75 a P | 75 b, 76 a + | 76b
Mn | 77 a 1187 | 77 b fossa, strumenti | 78 a + |
78b Ar | 79
a PI. LXXXV, No.
14 1 791
1343 i 80 a P
8ob 1150
•8ia Ar 1
8 1 b circle
82 z'j wanting \ 83 a, 83 b Mn | 84
a circles
84b + | 85 a 633, 1367 |
85 b— 87 a
sketches oj
costumes \ 87 b
1470
88 a circle \ 88 b centra
•del mondo, P
I 89a
Ma
1 89 b, 90
a P | 90^
acoustics | 9 1 a
794 1
9ib
92 a P Ar
92b A
93 a 1488 | 93 b 1271
1 94 a 1387 1
94b boni-
fatio *. — See- No.
20
for the
histcry oj
this MS.
8. H.3
The three small Note books H3 H2 H1 are
bound in one Volume. From the dirty state of the
sheets at the beginning and at the end of each
division it becomes apparent that Leonardo had
used them separately. The cover is in parchment
and is twice marked H on the outside and once
inside, and Q on the back of the first sheet. In-
side the back cover is the mark Q *, and on the
last sheet but one N N 48, meaning probably the
number of sheets originally belonging to H.3
MSS H2 and H3 are numbered throughout. The
sheets of H3 are also numbered i — 47, below
the text and in a reversed position. The numbers
here given are above the text \ 47 a A | 47 b
1389 | 48 a Ma | 48bdimmi semai, sketch of a
man's head in profile \ 49 *•, 49 b
670 | 5ob, 51 a notes | 5ib 689 |
52b736 53 a 1264, 690 | 53 b— 55
Mn |
5°a
52a 999
a Mn
55b
Sketch reproduced with No. 1112 | 56 a
P | 57aP, 1462 | 57 bM. sketch of a horse \ $%*•
sketch of horses and oxen drawing a car \ 58 b
1460 | 59 a — 6ob Mn | 6ia 831 Mn | 6ib —
69b Mn | 7oa 691 I 7ob 1191 [ 71 a 1192 j
7i b— 73 a Mn | 73bPl. LXXXV, No. 16,
768 | 74 a il cietro dell' ochio fia for del-
1'abaco x/s di a.b. | 74b — 76a Mn | 76bi5i4 |
77 a 1513 | 77 b, 78a + | 78b terminations of
Latin verbs \ 79 a — 80 a slight sketches \ 8ob,
8 1 a Mn | 8 1 b 1515 | 82 a Sketch of a car drawn
by horses \ 82 b— 84a Mn | 84b, 853 — 86a
drawings of gear \ 85 a 27 | 85 b, 86 b, 87b,
88 a, conjugation of the Latin verb \ 88 b 644
| 89 a sum, eram &c. 1356 | 8gb 1543 | 90 a —
b amo, amas, amat &c. I 03 a amor, amaris
92
&c, 1139
persone j
93 ,
94 b 1516.
93
amo, legione cotiene 6063
9. H.'
See introductory note to No. 8. — The first
sixteen sheets are numbered twice, i — 16 being
also written below the texts, but in reversed order.
i a 232 | i b 692 | 2 a, 2 b A Mn | 3 a a sketch \
3b 1265 | 4a — naA | ii b knots, A | i2
knots, Mn | 12 b 1197, a sketch of ornaments
13* 693 | 13 b, i4a A | i4b 1390, 1320, M
i5a M 1 i5b 694, 1316 i6a A i6b
1517 | 1 7 a A, 1010 Note
1024 | i8a 152 | i8b Mn
A, 464 | 20b A | 2IaAM
Mn | 23 a 228, A
2b A Mn 26a
23
b Mn
26b A P
1 7 b PI. CX, No. 2,
| i9a, igbA | 2oa
21 b, 22aA I 22b
a Mn | a4b —
a PI. XXIII,
3, 377 | 27bMMn
105, 163
A 29 b A, 304
A, padiglo di legni a vigievine
molino
| 3oaA
3 1 a M
33
b M
— 35
b A
3 1
1518
3^a Mn
canale | 38 a 828, 31 | 38 b Mn | 39 a, 39
A J 40 a sketch of a barrel on a car, A 32
40° 671 | 41 a M A | 41 b 845 | 42 a ricor-
dati quado cometi lacque || dallegar prima
la sperieza \ e poi la ragione | 42 b 134 |
43 a 1014 | 43b 33 | 44a P | 44b P A|
45a A | 45b Ge | 46 a 1391 | 46b 620,
yhs maria 1493, and by an unknown hand the
mark Y 46.
10. H.1
See introductory note of No. 8. — The text
is upside-down on the first 28 sheets. ia amo,
amas amat &c., 1026 | ib + j 2a amabam
&c., A|2b, 3a + | 3b 4a forms <7/"amo |'4b
SK j 5 a 1220 | 5b 1221 | 6a 1222
1223 I 7 a 1224 I 7b 1225 I 8 a 1226
1227 j 9a 1228 I 9b 1229 I ioa 1230 I 10
6b
8b
b
1231 IIa 1232
I2
1235
i3a
| nb 1233
1236 | i3b
1238 | I4b 1239 J 15 a 1240 |
i6b 1194 | i7a 1241 j i7b
1243 | i8b 1244, 643 j 19 a
1246 | 20 a 1247 I 20b 1248
21 b 1250 j 22 a 1251 I 22 b
I I2a 1234 |
1237 | I4a
15 b, i6a +|
1242 | i8a
1245 | i9b
2 1 a 1249 |
1252 | 23 a
APPENDIX.
1253 I *3b "54 | 24a "55 I 24
25 a "57 I 25b I25» I 26a I259
ia6o | 27 a ia6i | 27b "6a I z8
28btessta della viola | 2pa 29'' Mn
"56
I 26 b
Mn
30* —
31 a A | 31 b 308 | 32 a 842, Ge | 32 b, 33
knots
knots
33 b Mn, 1164 | 34a A | 34b Mn
35 '' 782 | 36 a 783 | 36b Mn | 37aP|
39
37b A | 38-1 1025 | 38b A Mn | 39*,
Mn | 4oa 695 | 40 b 696 | 41 a 1461 | 41 b—
43 a Mn | 43 b knots and sketch \ 44 a P, 1319 |
44 b, 45 a sketches of tents \ 45 b, 46 a instru-
ments \ 46 b A | 47a Mn | 48a A M | 48^
1263 |
ii. S. K. M. II.2
The two MSS. S. A'. M. //2 andS. K. M. //'
are bound in one volume; the sheets are separately
numbered on the top of each front sheet, but the
two volumes are placed in the binding in reversed
position, so that the two parts begin at the oppo-
site ends of the volume. i a Vol. II, p. 62
sketch | ib 666, 697 | 2a 665 | 3a 1312,
Ma | 3b Ma | 4a 1519 | 4b + I 5a M I S >
6a + | 6b M | 7a 1392, M | 7bM, 1393 | 8a
Mn I 8b + | 9a Ge | 9b Mn | ioa sketch of
a flower | iob O | 1 1 a P | nb PI. LXXXV,
No. 15, Vol. II, p. 74 below | 1 2a 1394, 1317,
sketch of a head \ I2b Ar | 13 a knots 13 b
Mn | i4a 372 | i4b, '15 a Mn | 15 b Fo i6a
M | i6b 103, P | i7aPh | i7b, i8aMn | i9b
998 | 20a 1395, 376, PI. XXIII, NO. 2 | 20b,
21 a P | 21 b sketches \ 22a 1396 | 22 b — 23 b
sketches \ 24* 1196 | 24b — 25 b sketches \ 26 a
+ | 26 b Ma | 27 a 1397 | 27b + | 28 is wan-
ting | 29 a -f- | 29 b slight sketch of a woman
seated, holding a child in her lap \ 30 a + | 30 b
sketch | 3 1 a P '
*ing\ 35 a v I
3i + | 32,
35'
33 > 34 are wan-
1311 | 36 a M | 36b Ma
37a acoustics \ 37 b M | 38 — 42 are wanting
43 a + I 43 b 1291 | 44 a 1290 | 44 b knots
45, 46, 47 are wanting \ 48 a — 49 a knots
49b + I 5°a sketch of a head \ 5ob, 51 a +
5ib, 52aGe | 52bi3g8 | 53 a 1399 | 53 b, 54a
Ge | 54b Mn j 55 is wanting \ 56-1 + | 56b
sketch \ 57 a — 59 a Ma 59 b sketch of a head
60 a + | 6ob, 6iaMa 62aGe | 62 a + | 62b
Ge | 63 a 97, 1400 | 63 b — 64 b Ma | 653 —
66b Mn | 67a Ar | 68a Mn | 68b 1401 | 6ga
1313, 1402 | 69b + | 70, 71, 72 are wan-
ting | 73a + I 73b M | 74a P | 74, 75a + |
75 b 1403 Mn | 76 a Ge | 76 b 154 | 77 a — 78 a
Ge | 78b 667, 1404 | 79a Ma | 8oa Mn | 8ob
knots. — On the same sheet are the marks K K
62 and 25 by an unknown hand.
12. S. K. M.
See preliminary Note of No. 1 1 . — The
numbers of the sheets are in Leonardo's thand-
writing and begin from the end, going backwards.
The first sheet or cover sheet has no number \
1520, M, 612 | i a 36 | ib Ge | 2a — 26a
26 b — 28 a de chonfregatione | 28 b — 42 b
43 a "37 | 43
1206 | 67 b 784 |
68a
66b 787
perpetuum
P,
mo-
bile j 7ib Ar | 72 a 793 | 72 b — 75 b P 76 a—
86 a Mn | 86 b Sketch Vol. I, p. 201 and
Vol. n, p. 99 below | 87 a— 88 b Mn | 89**
793 Note | 89 b Mn goa — 93b peso — 94a
centre del mondo, A | 94b 1521 | 95 a 733,
627, 1522 | 95 b mechanica potissimum in fine
incipiendu, this note is not in Leonardo* s hand-
writing, but by a later hand.
13. I.2
This and MS/1 are bound in one volume.
The mark I is outside and Q and Q 3 inside the
cover, i a magistr Mto jachomo (this note is
not in Leonardo's handwriting). ib 1524,704
2 a — 7 b Latin and Italian vocabulary \ 4 a has
also the note simon de calima tintore | 8:l Vol.
II, p. 68 Fig. i and 2 | 8b — iob Mn | na
nb M | i2a — i4a A | i4bMa I iqa
| i5b 1299 | i6a
1302 | 17 b 1303
| i9a 1306 | i9b — 24a
1405
1298
I7a
1305
932 I
1300
I i8a
i6b
1304
1301
i8
Ge
-3ib A | 31
24
second Latin declination \ 32b — 36a A | 36 b —
38a M | 38b— 43a M |
sketches i>f knots and shells
44 a— 47 a M
\ 48 a sketch of a dog's
head \ 48 b contrapeso | 49 a ornamental design
of two cornucopiae \ 49 b sketch \ 50 a — 56 b
M | 57 a, 58aA, 58b + I 59a ^79 I 59b +
60 a A | 6ob— 6ibM | 62 a PI. LXXXV, No.
62 b P 63 a acoustics | 63 b + | 64*—
13
66a M | 66b — 7oa A
72a M | 72b 1407
b —
— 7ia 1406
— a A
M
78b +
75 a A | 75 b — 78 a Latin vocabulary \
79a, 79b A | 8oa — 8ib voce d'echo — 82 a
1160 | 82 b M 1477 | 83 a — 86a M P | 86 b
uterque, utraque &c. | 87 a 1408 | 87 b alius,
alia &c. | 88 a qui que quod | 88 b M | 89 a —
90 a amo, amas &c. | 90 b 672 | 91 a 673,
1326 | 9 1 b numbers. - • The two following
sheets bear only the marks Q 3 and Q.
BIBLIOGRAPHY.
489
I4. I.'
See No. 13 preliminary note. -- i — i2a
Ge | i2b 394 | i3a, ^b Ge | i4a, i4b M '
15 a 1140 Note | 15 b — i7a Ge | i7b 241
i8a 1151 242 | i8b Ar | i9a sketch \ igb
37* | 20 a 38 | 2ob — 23 a Mn | 23 b da forare
37 a Mn | 37 b pi. XXVIII, No. 5, 188, 452 |
38a Q | 38b, 39a sum^ es^ est &c I 39b
1318 I 40 a quis vel qui que quod vel quid
&c.
Mn
40b_42
43a O | 43
j 46b sketch \ 47a 1092 Note I
•• rt_
•** i ** i *-* i w I T- / .1 wy <•& 1^1 VJ 1C I /I /
cristalli | 24a — 25 a sketches of shields \ 25 b | sketch 48a 463 | 48b Mn. — The Marks II
27 b Mn
1017 | 33 a O
1409
33 b Ge
Mn
1018 [ 34
b—
48 and • 20 • are by an unknown hand.
15. W. P.
Most of these researches are written on
loose sheets of unequal size. The dimensions
of each sheet are here given in brackets: ia
(2oY2 X 30 Cm) 324 | jb 322 2 » (2l3/4 X
26J/2) 310, 337, PI. VII, Nos. i and 2* | 2b
sketch of a horse's legs, measurements and notes.
3 Ia (13 '/2 X i4*/2 Cm) PI. XI, 318 | 3 Ila
(17 X 15 Cm) PI. VII, No. 4, 327, 321
3 Ib, 3 lib + I 4a (2I >< I2i/2 Cm) PI. XIX,
No. i, 347 | 4b 325 | 5a (44 x 32 Cm) 341
11- i—4, 317 11- I—I3, 625, 341 11. 5—8, 317
11. 14—17, PI. XXXV, No. i, 348 11. 16—55,
11. 11-15, PL XVII, No. 2, 336, 348 11. i-
10 | 707, 348, 56—68 | 5b Vol. II, p. 44
Fig. i and p. 47 Fig. 3 | 6Ia (21^2 X 16
Cm) PL VIII, No. 2, 332 | 6 Ib 333 | 6 IIa
(22 X i43/4 Cm) PI. XIV, No. 2, 334 | 6 lib
PI. XVI, No. i, 335 7a (4o X 28 Cm) 1410,
3i4, 338, 328, PI. XIII, 326, 330, PI. XIV,
No. i | 7b 349, Pl. XX, 339, PI. XVI, No. 2,
342 8a (28 X 2o</2 Cm) PI. XV, 331, 345,
323 8b + | 9a (27 x 20V2) V | 9b + | i0a,
iob (22 Xi6 Cm) Mn I na (29^ x 20 Cm)
PI. LXIII, 684 | 1 1 b 685 | 1 2 a PI. x, 3i6. -
Sheets 9 — 12 which treat on different subjects
are only added here, because in the Windsor
Collection they form a set with Sheets i — 8.
The thin cards, on which these sheets are
mounted have a broad ornamental border in
water colours.
16. W. H,
With regard to these studies see Vol. II, p. 4.
The sheets are numbered 46 — 68, differing in size,
and many not mounted are coloured in various
tints: Compare also Lomazzo, Trattato dell'arte
della pittura I chap. 20, IV, 23 and Idea del
tempio della pittura chap. 16. — Vasari also
mentions these studies. 64. 716 | IV. 717.
17. W. An. H.
The sheets forming this treatise are all of the
same size and originally formed a small book.
At present the sheets are separated. The old
numbers and marks which are to be found on
most of the sheets are here given in brackets after
the new numbers: 36 (21) 797 | 36 b muscles
of the leg | 37 a 814, PI. CVIII, No. 4 | 37 b
the veins on the head &c. | 38 a (o) 38 b veins
of the leg | 39b veins on the leg and on the
spine | 39b 801 | 4oa nervi, matrice | 40 b + [
4ia (7) Belli musscholi che mova li labri della
bocha I 4ib nervi, matrice | 42a (10) nervi
42b veins of the leg
che mova la lingha
43 a (8) Belli musscholi
43 b muscles of the foot,
i28b
i73
843 | 44* ($) veins of the arm \ 44^ veins \ 74 a
(12) veins of the womb \ 74. b muscles on the forza de' mvsscholli | 2O5b misenterio
arm of the ape (scimmia) and of man (omo) ' (I)polmone | 206 b vesscicha, 817 | 2
75 a (2)> 75 b muscles of the leg \ 76a dello 1214 | 242
vfitio de mesoplevri | 76b PI. CVIII, No. i,
809 | 77 a (21) muscles of the leg \ 77 b, 78 a
(n) veins of the leg \ 78 b veins of the hand \
84a (10) 84b the chest \ 85 a the lungs \ 85b
albero di tutti i nervi | 86 a (13) arteries \ 86 b
veins of the arm \ 87 a )i4) the lungs , 87 b the
heart \ 125 a — 1 2 7 a (4) blood-vessels \ 1 2 7 b the
spine | i28a (5) the mouth and the lips
matrice di uaccha | i56a, 1 5 6 b genitals
(16. 17 — t^vo sheets, not separated} intestines
827 | 173 b 816 | i78a, i78b intestines \ 183 a
veins on the neck \ i83b veins \ 20 ia (M)
bones \ 20^1215 | 202 a (-B-) 1412, 838 | 202b
839 genitals, \ 203 (24) 1178, 375, PI. XXIII,
No. i | 203 b 357, PI. XXII, No. i | 2o4a (3)
stomacho | 2o4b vene, fegato | 205 a della
2o6a
2 (N)
VOL. II.
2o6b vesscicha, 817
1213.
QQQ
490
APPENDIX.
1 8. L.
This volume is in the original cover; it is a
thin card of light blue cohur. It is marked L
on the outside and Q c inside : o x 1414, 1323,
1102 | I a 1002, 1415 I I b 1416 | 2 a 1417, 648,
knights kneeling | 2 b Ma | 3 a sketch of a head
3b 4a knights kneeling 4b A | sa a note \ 5b
knots | 6a 1034 | 6 b 1035 | 7a, 7bFo | 8aco-
lobaia | 8b Ma | 9° — ioa plans \ iob 1036 \
na + | nb — I2a Mn | i2b, i3a + | i3b
PL XCIV, No. i | i6a P Ar | i6b Fo | 17=*
A I i?b P I i8a i8b Mn I i9a Fo I iob PI.
CX, No. 3, left side 1038
right side 765 | 20 b Ma
23 a Ma I 23 b Mn
20 a PI. CX No. 3,
2 I a IO54 | 2 I b—
Fo I 24, b — 26a Mn
P
knots
1418 |
36a Mn
37bMa
40b, 41
Mn | 27b P, 378 | 28aMn
Fo | 29b Mn | 3oa A | 3ob Mn
— 33 a A | 33 b Mn 1039 | 34a—
36 b 1040, PI. CX, No. 4 1 37 a Ar
;8a — 39a Ar | 39b Mn | 4oa 1041
Mn | 41 b 35 | 42a_44b M | 45a
Ma | 4SbAr
47 b A
46 b 1042
48b Ar | 49a_
1503 I 53 1J 1502 | 541
-60 b
Fo I
V |
66 a
6ib — 62'' V | 63a — 6sb
CX, No. i | 66 b 1044 | 67 a 1045 I 68 a, 68 b
47 a 1043
n | 53 a M
6ia Ar
nog, PI.
69 b— 71 a Mn
1325 | 73a Ge
75b3<>7M
71 b a sketch
Ar | 69a P A
72 a 1046 | 7
77 b 226 78 a 1048 A | 78 b 1049 | 79 a 488,
citadella 79bGe | 8oavoce | %o*> drawing of
a draped fgure, very like the one on PI. XXVIII,
no 7 | 8ia Ge | 8ib sketch of trees \ 82 a 1047
Note | 82 a and 83 a Vol. II, p. 244, sketch
83^ 84 a outline sketch of mountains \ 84 b P
85 a Mn | 85 b p | 86 a Ge | 86b Mn | 87 a
449 ! 87b 393 I 88 a sketch \ 88 b 1050 | 89a
sketches \ 89 b Mn | gobjigg | 91 a 1307 j | 92a
623, M | 92 b Mn | 93 a Ma | 93 b voca bolo
lombardo &c | 94 a 1523 | 94 b I474> IO52
O" 1053, 1198, 1419, and, by an unknown hand:
Le carte sono 94 cioe nouata quart.
19. W. M.
See Vol. II, p. 224 and No. 1051 Note.
As to the Maps in MS. W. L. see No. 36.
The follcnving maps are on separate sheets i .
PI. CXIII, The original is someivhat larger
(19 X i3V4 in) ;the whole is executed in water
colours. The rivers are in blue 2. PI. CXIV,
(i53/4 XII, in) | 3. Part of the Arno, in water-
colours (39X22) PI. CXII. 4. Map of apart of
Tuscany, in water colours (40 X 27 Cm), includ-
ing Livorno, Pisa, Luccha, Volterra. 5. Central
Italy (45 X 23 Cm) within the limits of Cor-
neto, Rimini, Pesaro, washed in Indian ink.
6. Study for the Map PI. CXIII, washed in In-
dian ink; the names are written in Leonardo's
ordinary writi/ig (28 X 21 Cm).
20. S. K. M. I.1
This small MS. is bound in one Volume with
MS. S.K. M. I2. On the first sheet is the note,
written in German: TCeonarbo ba $inci ber
groftc .flaaler. aug bet italienifdjtn
1452 su fcinci ce&oren, ttat 1502 alg
Daumcitfcr in die ^icnflc j ^ersogg Valentin
Borgia, unb flarB 1519. - - This volume and
the^ltto others n<nv in the Forster Library of
the South Kensington Museum, London, were
given to Mr Forster by Lord Lytton, who is said
to have bought them at Vienna for a low sum.
The title of the treatise on sheet i a fs given in
X374> Note ; no other subject is discussed en the
38 sheets which form this MS. ib 1374 jo
voglio abbassare la grosseza d'una tavola a
data grosseza sanza mvtatione di sua largheza |
domado quato cressce in sua lugezza £c. | 4a,
6 a, 8b, na^ I2^ jgb are blank. - - On the
last sheet 39 a is the mark 46.
21. S. K. M. I.2
See introductory note to No. 20. — At the
end of this Note h ok is the mark 6614. This
MS. has the pages numbered \ — 28. -- i — 4
Mn | 5 635, 649 | 6 Mn | 7 385 i 8 650,
636 | 9 Mn | 10 Mn A | n — 15 Mn A | 16
de poderibus, modo di misurare vn alteza
17—28 Mn A.
BIBLIOGRAPHY.
491
22. F.
The cover of thin grey card is original. It '
has the mark F inside and outside, o' 1421,
1292 | I a 1375, 848 I I b Ge I 2 a A I 2 b 2 j
3 a A | 3b,, 4 a p | 4b h'5ro I0 delle varie pro-
fondita e globlosita . . . dell'acque, 880 I 5a
libro 9, dell'acqua che passa per un bottino,
879 | 5b 9", 1208 | 6 a 881 | 6b flusso e
reflusso | 7a — 8aA | 8b882 | 9a, 9b A | ioa
883 | iob, na Ge | nb 862, A | i2a— i7b
A | i8a 302 | i8b — 2ib A | 22 a 244, PI.
XLI, 3, 4 | 22 b 861 | 23 a 5, 277 | 23 b— 24 b
A | 25 a ochiale di cristallo &c. | 25 b 867
26a P | 26b A [ 27a 939 | 27b 1422 | 28a —
30 a O | 30 b A | 31 a — 34a O | 34b Libro 32
del moto che fa il fuoco | 35 a Libro 42 delle
pioggie 474 35b~ 37a
1338
A | 38 b— 40 a O | 40 b, 41 a A | 41 b 858, V
42 a A, anatomy \ 42 b — 46b A | 47 a 1330
47 b — 48 b A | 49 a P | 49 b P, O | 50 a 1106
A V | 54a— 55 a A | 55 b Ge, cells \ 56 a 866,
b—
617 | 56 b acoustics | 57 a 912 | 57 b — 59
Ge | 6oa 913, 870 | 6ia M, 1087 | 6ib— -
64b O | 65 a— 67 a A | 67 b dell'arco celeste
68a A, 1107 | 68b A | 69 a P | 69b— 72b A
73 a 942 | 73 b Ph | 74a, 74b M | 75 a 278
75a M A | 76a O j 76b IQIO 1 77a A | 77b
877 I 78 a, 78b I 79 a delli animali che an
1'ossa di fori &c. | 79b delle ossa de pesci che
si trova ne' pesci petrificati | 80 a nichi e loro
necessaria figura | 8ob de nichi ne' moti
8 1 a — 82 a A | 82 b prova che la spera del'ac-
cqua e perfettamente tonda | 83 a37i, G | 83 b
P | 84a 903 | 84 b 904 | 85 a 905 | 85 b—
86 b O | 87 a aria | 87 b 922 | 88 a 923 | 88b—
90 a A | 90 b 924 | 91 a — 92 b A | 93 a 893
93 b, 94a A I 94b 874, O | 95 a A, O I 95 b
806 I 96 a chemical materials 613 | 96 b 1184,
626, chemical materials \ O" carte 96 a questo
Libro saza la coperta, 1483, 1471 11. i — 3,
1528, 884, 698, 1471 11. 4, 5.
23. Br. M.
Bound Volume in the MSS. Department of
the British Museum , numbered - Plut. CLXV.
D and 263 Arundel Collection. This collection
takes its name from Thomas Howard, twenty-
third Earl of Arundel, whose MSS. were origi-
nally divided between the Royal Society and the
College of Arms, but in 1831 those which had
been in the possession of the Royal Society were
acquired for the British Museum. — On the
second sheet is the note: "Soc. Reg. Lond (ex
dono Henr. Howard) Norfolcensis". — This
volume has been partly made up from loose
sheets of unequal size and quality of paper. Only
the first sheets can be assigned to the date indi-
cated at the head of Vol'. ia 4, M | ib— i8b
Ph | igagoe | i9b — 23bGe | 24a, 24b man-
tice | 25 a A, 875 | 25 b A, geology \ 26*
modo brevissimo di misurare una distantia
26b— 27bMa| 28 a 895, 876
3o
982
A | 35a925 I
M | 42 b 1314
44a350
2 6 | 33a— 34
a A | 37a— 42a
1297,1541 43 a V M | 43 bM
45 a 928 | 45 b~ 47bMaPh
35b926
48b— 56bGe,Mn | 57* O
6iaA,O,Ge | 62aiog [ 62bGe | 63a+ 63 b
Mn | 64 a le proportioni delli archi &c. | 64 b
830 | 65 a — 77bphMa 71 b 1484 | 72bcentro
dellagravita | 78a + | 78b888 | 79ap I 79b
80*— 93 a Ph Ma | 93 b 207 | 94a
896 | 95a A j 95b O ) 96a V |
b Ph Ma | 103 a 897 | 103 b— 112 a
1507
892 | 94
96b— io2
Ph O
453
1 12 a, 1 13 a + | ii3b 458 | ii4a
4b 459, 435 i "5a + I JI5b 227 |
n6a — iiga P | iiQb + | i2oa 1'universo
non a cosa minor ne piv bassa che'l suo
cietro | P | i2ob A | 121 a bastioni | 121 b
Ma | I22a 927 | 'I22b + I I23a !24bP I
1 25 a + I i25b sails \ 1 2 6 a P, architectural
drawing Vol. II, p. 68 Fig. 3 | i26b V,
A | i27a — i28bPM | i29a + | i29b 1333,
V | i3oaA, aria | 13 ia 1216 | I3ib45 | 13 2 a
46 | i32bi452 | 133 a, i33bMa | 134^ i34b
V | 135 % X35b A M | 136* 1130 | i36b—
i37b Mn | i38a 789, 772 and PI. CVI
J3^ + I Z39a ^45 I i39b fiamme | i4oa
Mn | i4ob M | 141 a + | 141 b 778 and PI.
CV, 4—7 | i42aGe | i42b + | i43a— !45b
Mn | i46a V, P j i46b + | 147 a A | i47b
851 | i48a 1548 | i48b 1549 | i49a 1015 |
i49b 1550 1 i5oa + | isob 1453 | i5ia
859 | i5ib— i54b M Ma | 155-1 1339 | issb
1218 | 156 a 1217 | i56b 994, 1219, 1162
i57a PI. CIV 770 | i57b PI. CV 775, 771
i58a 777, 773 | i58b 785 | i59a Ma | i59
774 | i6oa— i66aMaPh | i66bV | i67a—
i68aA | i69a6o5, 305 | i69b+ | i7oa chemi-
cals | 1 7ob 181, 165 11. i — 5, 172, 127, 165 11. 6—
9, 167 | i7iano, 136, 143, 126 | i7ibsio,76,
O | i72a + | i72b 471, 454, 476 | i73a 687 i
i73b 1916 | i74a 615, P, M | i74b 871 | 175 a
860, 1129 and PI. CXXI* | i75b A | 176 a
917/857 | i76b— i87b Ph Ma | i88a 231 |
Z88b — igoa Ph Ma | igo15 916 | 191 a 918,
«56; 1454 I i9ibMn | 192 a + | i92bi455,
763 | 1 93 a + .| i93b — 202 a Ph Ma | 202 b
1420 1 203a 2IIa Ph Ma | 2IIb 266 | 2I2a
492
APPENDIX.
1542 212 1310
Ma | 220-' 75, 84 | 22ob, 22 1 a Ma | 22 ib
74 | 222a+ I 222b — 223bGe | 2 2 4 a P J/r/1-
ches of mountains and view of a cavern \ 22 4b
-f | 225a decorative designs \ 22? b + | 226 a,
226bM | 22
M | 229a +
Ph 23 1 a +
232
235
237
243" +
1540 | 22 7 b P | 2 28 a, 228b
| 229b 1525 I 230-1 Mn | 230''
| 231 b 678, sketch with figures \
a, 232 bGe J 237 a A | 233 b 964 | 234-1—
236'* 9^5 23 7 "S
Ph Ma | 243-1 185
+ | 248 b
674 I »rrvb
I 252
186. 124
251 a +
25 11' 1365 I 252-1 +
2501
b sa-
goma | 2 53 a 1366 | 253a sketch of a child's
head, drawn with the silverpoint \ 254° — 255 a
+ | 255 b — 262 b Mn 263 a + | 263 b 1079
264-1 — 268 Ph Mn | 269a 1074 and PI.
CXV I 269b 1076 | 270* sketches 270''
744, 747, 1075, 1077 | 271 a 1551 | 271''
1463, 1527 A | 272 a 1372 | 272') 1535 | 273 a
sketches \ 273hioo4 | 274-11552, 1005 | 274b,
275-1 + | 275 b canals \ 276* — 277a del
veto | 277b473 | 21%*. sketch of a river \ 278'*
Ge
1144 279a e 279'' 1476, 914 | 28oa—
282-1 Ge Ph j 282 b, 283-1 + | 283 b centro
della gravita, and sketches.
24. W. An. III.
Among the numerous anatomical drawings in
the Windsor Collection there is one set which
appears to have formed originally a Volume by
itself. Here the paper is of a thin greyish blue
colour and of a rather rough surface. Leonardo
seems to have made use of it exclusively for this
particular treatise. All the sheets are of the same
size. Each of them is marked by a Roman capi-
tal letter, as shown here in brackets. Sheet 217
bears the date 1513. — 1 1 5 a (B) on veins 1 1 5b
the heart \ 1 1 6a (K) blood-vessels \ 1 1 6b + 1 1 7a
(E) spine and shoulders \ 117 b + | n8a (H)
blood-vessels \ n 8 b + | i6ia (O) blood-vessels
i6ib + | 192-1 (T) the arms , A | 192'' +
1 93 a (V) vento | i93b + | 196-1 (P) muscles
ig6b + | 21 7 a (G) polmone 1376, 1423
217 b + | 225a (N) battimento del cuore
225 b + j 226a (M) 850 | 226b + | 227'
(H) cuore, polmone | 22 7 b + | 228a (R)
cuore, O | 22§b the heart and veins \ 22 9 a
(A), 229b the heart \ 23oa (S) discorso delli
nerui muscoli, corde &c., 815 | 230 b + | 23 2 a
(F) the heart \ 23 2 b 121, 265, 292 11. i — 3,
1424, 292 11. 4— n, 59, 287, 209, 195, 204,
158, 1424: The sheet W. L. 136 (X) originally
belonged to this series of sheets.
25. E.
The cover of thin grey card is the original
binding. The outside bears the mark E. B is
tivice written inside the cover. The compiler of
the treatise on painting in the Vatican library
(Urbinas 1270) which was published by Manzi
in 1817, and by Ludwig in 1882 gives a few
passages from this MS, of which he correctly
notes the corresponding number of pages, to which
the mark B is added, o1 915, 479* | ia 1465,
1064, 1020 P | ib Ge, P | 2a del cognoscere
la parte settentrionale della calamita, M | 2b
211 I 3 a de codensatione, 360, 238 | 3 b 117,
467 | 4a
562, Ge
4b acoustics
1 V
> 935
5a
A | 5b, 6
ap
6b 366, 470, 403
7 a P
7b,
8a Ge | 8
b n«
•5, Ma
oa — 1 1 a Ge
1 1 1 b Mn
12 a 930
i2b — 14-1 strumenti aquatici
i4b
per fare
1'arco | 15 a 230, 156,
380 | 15 b
869 | i6a 108, 825 | i6b 107 | 17 a 237, 153,
268, 153, 355 | i7b 24 | 1 8 a 286 j i8b 440,
PI. XXVin, No. 3 right side \ 19 a 461, 441,
PI. XXVIH, 3 left side \ i9b 363* | 2oa 362,
P | 20b, 21 a P | 22 a - 23 bV | 24-1 + | 24b
—27 a Ge | 27b Machina murale | 28 a Mn,
Ph | 28b— 29bPhMa | 30-1 Ge | 3ob O, 212
3 1 a 161 j 3 1 b 135, 1190, 197, PI. XLI, No. 5
32a PI. IV, No. i, 162, 198 | 32 '> 264, 159,
240, 157 | 33 a Ge, del centro della
33bDagenerareventomirabile | 34-1 Mn
h 35— 51-1 V
b 55a, 55b
Si
b Ma
Ge
52a—
56b—
35 a
V|S4'
PM | 7_ .
17 | 8oa 222, 1065 | 80 b 15, 223 | o'" le carte
sono . . . giusto 96 cioe 'Nouantasei : this ncte is
not in Leonardo's handwriting \ 480, 1539.
26. G.
The cover of thin grey card is the original
binding. Inside and outside the cover is the mark
G. The numbers of the sheets are in Leonardo's
handwriting. O' 1377, le carte sono di numero
giusto 96 ciofc Nouantasei eccetto che maca il
7 et il 1 8 col suo conpagno 31. This note is
by an unknown hand \ i a 1033 | li pedali delli
alberi anno superficie ... i b 1057 | 2 a Mn | 2 b
426 | 3 a 425 | 3b 118,872, 427 | 4 a 428 4l>429
11. i— ir, 406, 429 11. 12—14 I 5 a 405, Mn | 5 b
BIBLIOGRAPHY.
493
5°3; 5°5 I 6 a 455 I 6 b 607 1 7 is wanting \ 8 a 1495,
1161,19,421,430 | 8b43i | 9 a 432 9b 442 1 10 a
del moto dell' aria 423 | iobpl.XXVIII,No.2,
424, 433 | 1 1 -i sketch of a /torse's head and note
lib 556, 460 1 12 a 436 | I2b247 | 13 a 399
I3b go, P | I4a 400, P
603 i I5b + I l6a M I
Ge i !9a 554- I i9b 4^5
444 | 21 a 445 | 2 ib 446
468 | 23 a 469 23 b 564 | 24a 422 | 24b short
I4b A
6b4i5
443
22 a 447
24a 422
15
notes about plants \ 25 a 482, 499 | 25
398 | 35b 407 I 36 a 408
401, 263, 49, sagoma | 37 b 481, A | 38 a 949,
38 b—
Ge
V I 42
43 b Ge
•b Mn
bG
26 a 590* | 26b Pl. XXVIII, No. 4, 451
T«* 1
4*3
27 b 457, 4l8, Pl. XXVII, No. 3
28a
414;
PI. XXVII, No. 4 | 28 b 434; 438
29a
417,
Pl. XXVII, No. 5 | 29b 106 | 30a P
M
30 b 416 | 3i is wanting
32*155 1 32b
404
| 33 a 412, 402, Pl. XXVII, No. 2
33b
4i9>
553 1 34a 885* 34b
•307 1 7<a A.
jy/ i o j ilj
43 a 726, PI. LXXVI, No. 2
44a 829 | 44b de cigognola | 45a,
45D Mn | 46a de potentia della voce | 46b
637 | 47 a Mn 1205 | 47 b sagoma | 48 a
48 b 946 | 49a I20i, 947 I 49b 976, A
Ge | 50 b del moto de navili | 5ia 410
Mn I 52 a 769, Mn | 52 b Ge | 53 a 641
I 54a
| 62 b M
65aV |
16, 89, 306, 569
M I 55 b— 62 a Ge
64a V I 64b 820 I
69b Ge | 7oa 966
974
I 5°'
I 5i
I 53
54b, 55
66 a—
73 a —
75 a P M 'I 75 b 729 I' 76a_88a Mn, Ph | 88 b
411 | 89a 1327, 1166 | 89a de potentia | 9oa
835 I 9°b A I 91 a veto | 9ib On clouds
92 a on the wings of the fly \ 92b vento, della
velocita de' nuvoli | 93a A
409 | 3?a I464.
94b p I 95a I5o4j Mn
93D, 94a Mn
1158, Mn I o'
27. M.
The cover of thin grey card is the original
binding, marked M outside the cover, o' 1425 |
I a— 3b Ge | 4a 699, PI. LX, No. 2 | 4b
No. 3 | 5 a 701, PI. LX,
6 a on the earth \ 6b — 7b
Ma | 36b — 53a p
54b bonibarda, passa-
373 I 551i> 56a ponte
1285 , 1152
700, PI. LX,
No. b Ge
Ge
M
volanti
Mn
4 I 5
8 a 1426
53 b 1427
55 a
59a— 6ib Ph M I 62a 1478 I 62b_66b Ph
Mn | 67a 821 | 67b— 76b ph M | 77 a + |
;;b 420, PI. XXVHI, No. i | 78a p | 78b
395, PI. XXVII, No. i, left side | 79a 396,
PI. XXVII, No. i, right side | 79b XI6* |
8oa 115 | 8ob Ge | 8ia— 84a Mn | 84b,
85 a + | 85 b Ge | 86a camino | 86b—
88a Ge | 88b+ | 89a_94b p^ Mn. O"
mark Q.
28. Tr.
Marked S inside the cover and on the first
sheet. At the beginning of the Volume is the
following note: 1783-5 • Gennaro • Questo Co-
dicetto di Leonardo da Vinci era del Signor
Don Gaetano Caccia Cavaliere Nouarese, ma
domiciliato in Milano, morto 1'anno i752 alii
9 di Gennaro sotto la Parocchia di S. Dami-
anino La Scala. Jo Carlo Triuulzio 1'acquistai
dal detto Caualiere intorno 1'anno 1750 unita-
mente a un quinario d' oro di Giulio Maporiano
e a qualche altra cosa che non piu mi ricordo
dandoli in cambio un orologio d'argento di
ripetizione che io due anni avanti aveva com-
perato usato per sedici gigliati mache in verita
era ottimissimo, che pero questo codicetto mi
viene a costare sei in sette gigliati. In the MS.
the pages are numbered, not the sheets. 2 14 9 3,
caricatures, 1332, 1189 j 3 1469 Note, ships
4 1486 | 5 Mn | 6 P Mn | 7 853 Ar Mn | 8, 9
list of words | io + | n 1202 | 12 891 | 13
Fo | i4 840 | 15 PI. XCIX, No. i, 758 I 1 6
PI. C, No. 3 | 1 7 Vol. II, p. 61 Fig. i and
2 | 1 8, i9 + j 2o lists of words, 144 | 21 PI.
C, No. 2 | 22 1429, 177 I 23 — 26 lists of
Italian and Latin words \ 27 Mn | 28 863,
168* | 29 201, 146 | 30 sketch of a male
figure | 31 list of words \ 32 1173 (33, 34
Mn | 35 — 38 lists of Italian words \ 39 1193,
Italian words \ 4o Italian words: 4i PI. C,
No. 4, Vol. II, p. 61 | 42 PI. LXXXI, No. 1 1
43 sketch of a building resembling the one given
on PI. LXXVIII, No. I | 44 geometrical
sketch | 45 1147 | 46 Ph | 48 1128 | 49 854,
640, acoustics | 50 list of Italian words \ 51
list of Italian words, 1148 | 52 737 | 53 bom-
barda, 738 | 54 739 | 55 740 j 56 bom-
barda [ 57 1487, 1181, list of Italian words \
58 nulla puo essere • scripto per nvouo ricer-
chare 1 ecquale cosa dite a me stesso pro-
metta, — list of Italian words \ 59 sketch of a
head, fornello, list of Italian words \ 60 list of
Italian words | 61 A, list of Italian words \ 62
list of Italian words \ 63 Mn | 64 A, list of
Italian words \ 65 1145 | 66 list of Italian
words, bombarda | 67 list of Italian words \
68 1209, 43, 1174, list of Italian words \ 69
acoustics | 70 1146, 1138, list of Italian words \
71 M, 539 | 72 list of Italian words \ 73 1321,
494
APPENDIX.
Mn | 74 28 I 75 "3^, 296 | 76, 77 + I 7«
Mn, 1141, 1289, 622 | 79 P I 80 + 8 1 M, list
of Italian words \ 82—95 H*t of Italian words
96 on warfare, list of Italian words \ 97 lists
of Italian words \ 98 triboli | 99 sketch of a
bow | 100 — 104 lists of Italian words. — A
short account of this MS was published in 1 88 1
by count Giulio Porro in the Archivio Storico
Lombardo VIII, IV. There is also a facsimile
of p. 59.
29. Leic.
Bound volume in leather cover. On the first
five sheets before the beginning of the original
MS are the following Notes. On i a marked in
pencil 596: This treatise on the nature, weight
and motion of water . . . has never been printed.
On the reverse of the modern title may be found
an extract from the life of Lionardo da Vinci, by
Dufresne, in which this volume is particularly
mentioned. It appears from the title page (al-
though the name of the possessor has been obli-
terated) that it has belonged to Giuseppe Ghezzi,
an eminent painter at Rome. — W. Roscoe.
jb + | 2a + | 3a Libro Originale || Delia
Natura, peso, e moto delle Acque, || Com-
posto, scritto, e figurato di proprio || Carattere
alia mancina || Dall' Insigne Pittore e Geo-
metra || Leonardo da Vinci || In tempo di
Ludouico il Moro, nel condur || che fece le
Acque del Nauilio della || Martesana dall' Adda
a Milano. || Si autentica con la precisa Men-
tione che ne fa Raffaelle du fresne nella Vita
di detto Leonardo, descritta nel suo Libro
stampato in Parigi daGiacomoLonglois 1'Anno
1 65 1 intitolato || Trattato || Delia Pittura || Ac-
quistato 'conla gran forza dell'Oro' (these words
<•.•»/* // ,7V.w//v), per sublimare || le fatigose
ra^tolte del suo studio || da || Giuseppe Ghezzi
Pittore in Roma Q 3 b (in another handwriting]
Soleua il Vinci scrivere Alia mancina, secondo
1'uso degli Ebrei, nella qual maniera erano
scritti quei sedici Volumi de quali di gia
abiamo fatto menzione, et esendo il carattere
buono, si legeua assai facilmente mediante un
spechio grande, e probabile ch'egli facessi
questo, accio tutti non legessero cosi facilmente
i suoi scritti. L'impresa dell nauiglio di Marte-
sana gli diede ocasione di scriuere un libro
della natura, peso e moto delle Aque pieno di
gran numero di disegni di varie rote, Machine
per molini, a regolar il corso dell' aque, e le-
uarle in Alto | 4 + | 4 a (in an earlier hand-
writing) Libro scritto da Leonardo Vincio che
tratta del sole, della luna del corso dell' acqua
dei ponti e dei moti | 4b + | The arrangements
of this MS. are somewhat unusual. On the
head of many pages there are title lines here
placed between ' ' giving the numbers of 'cases' (casi)
or subjects treated on the page. Most of these
cases are introduced by 'Come' (How, or that).
1 a 864 | ib 1082, 901 | 2a 902, PL CVIII,
No. 5 | 2 b Come si debbe votare vno stagno
che sbochi nel mare, Ph on the moon | 3 a A,
985 | 3b A | 4a 300, 1060 | 4b A | 5a 957,
971, 919, 907, luna | 5b A | 6a libro 2° delle
diuersita delFonde dell' acqua | 6b 958, A,
977 I 7 a dell' acqua della luna, Ar | 7 b A, O |
8a A, 386, PL XXIV, No. 3, Ph | 8b <8'
987 | 9a 'Carte 10 e coclusioni 853' 988,
921 | 9b '16' 989, 721, 1055, 1061, A | ioa
'15' 3rd case: 1063, 980, 990, Mn | iob '15'
991, 1056, rioi, 936, 1085, Mn | na 'casi
13' A | nb 'casi 27', 4th case 1058, 7th 969,
9th 1029 I 12 a 'casi, — in queste 7 carte e
casi 657 d'acque e di sua fodi' | i2b fcasi 24'
A | i3a 'casi 16' 1472, 4th and 5th 959, i5th
and i6th 1008 | 13 b 'casi 16' A | i4a 'casi 21'
A | i4b 'casi 24' A | 15 a 'proposition} 26'
ist and 2nd 972 | 15 b 'propositioni 38' 920 on
the margin \ i6a 'pro positioni 23' A j i6b
'casi 1 8' 1499 on the margin, 973 | i7a 'casi
2 9' A | 1 7 b 'hordine del libro delle acque, casi
28' 956 | i8a 'casi 32', 22nd ion [ i8b 'casi
1 6', 1007 on the margin \ i9a 'casi 17' | i9b
'casi 37' | 20a'casi32*, 7th 992, 14th and i5th
953> l6th 995 I 2°
24' A | 2ia 'propo-
sitioni 12', 2nd 1027 21 b 'proni 25', 4th 948, 5th,
6th 849,963, 7^1096, 8th 96311.7,8 | 22a'casi
2 9' 9th 1097 | 22 b 'casi 39', i2th andff. 1114, i,
the last 996 2 3 a 'casi 20' 6th 997 | 23 b 'casi 1 5'
A | 24 a 'casi 20' 24 b A | 25 a 'casi 12 questi
son casi che anno a stare nel principio* on air
and water \ 25 b 'casi 15' A | 26 a 'casi 18'
A | 26b 'casi 15' A | 27 a 'casi 23' A | 27b
'19' i3th 1071, 7th 1086, 8th 954 28a'8'iiioo«
the margin, 1021 | 28b'i5'A | 29^13' A | 29b
aria | 3oa 899 | 3ob A | 3ia '900. 5 coclu-
sioni 9' 962 on the margin, 5th 1091, 6th andjf.
1090, 984 on the margin | 3ib, 4th 1068, 5th
1108, 8th and 9th 978 | 32 a A, 1028 | 32 b
1098 | 33 a A | 33 b 970 | 34 a 1000, A | 34b
933»I095. I072, A | 35 a 960 | 35h 937
36 a 938, centro del mondo, 301, 993, 36 b
900, A.
BIBLIOGRAPHY.
495
30. Mz.
The grey card cover is original. The sheets
are twice numbered, in Leonardo's handwriting
and by a more recent hand. The original numbers
are here given in brackets, because they are not
consectitive, subsequently they have been altered:
o' 728 | i a (3) I154, p | j b Ge P | 2 a (4) p
2b V 3a(6) 1122, V | 3bV | 4a(6?)> 4bV
5 a (8 altered in 7) | 5b V | 6a (9 altered in 8)
6b, 7a (10 altered in 9) | 7b V | 8a (12 altered
in n) 1168, V, Ge | 8b, 9a (13 altered in 12)
V 1 qb 1124 I ioa (14 alteredin 13) 705 [ iob,
1 1 a (15 altered in 1 4)
in 15) 1123 | i2b V
V, 1125, 381 | 13 b
the architectural
Vol. II; p. 67.
nbV | I2a(i6 altered
13 a (17 altered in 16)
baga, V | o" 1428, and
drawing reproduced
Marked D inside and outside the cover of
grey card, S inside the back cover. Four blank
sheets are at the beginning. This MS. treats of
the eye. The following texts are a selection of
the headings. ia Perche la natura non fece
equal virtu e potentia nella virtu visiva | ib
perche li razzi de' corpi luminosi si fan tato
maggiori quanto son piu remoti dal lor nasci-
meto | 2ase 1'idolo over simulacro a termi-
nato sito sopra dell' ochio o no ... come la
rettitudine del concorso delle spetie si piega
nello entrare nell'ochio | 2 b come le spetie
di qualuche corpo che per alcuno spiraculo
passano all'ochio s'inpremon sotto sopra nella
sua popilla e'l senso le vede diritte | 3a come
le cose destre no pajono destre alia virtu visiva,
se le sue spetie non passan per due interse-
gationi | 3b come le spetie si danno alia virtu
visiva con due intersegationi per neciessita j
4a perche lo spechio scambia alii simulacri
delli obietti li lati destri ne' sinistri e li sinistri
ne' destri | 4b che sia vero che ogni parte
della popilla abbia uirtu visiua | 5a dell'ochio
delli animali nocturni | 5b La popilla del-
l'ochio si muta in tante varie grandezze quante
son le varieta. delle chiarezze o scurita delli ob-
bietti che dinati se li rapresentano | 6 a II simu-
lacro del sole e vnico in tutta la spera dell'ac-
qua che vede ed e veduta da esso sole ma pare
diuiso in tante parti quanti son li ochi delli
animali che in diversi siti vedono la superfitie
dell' acqua | 6 b La popilla dell' ochio a virtu
visiua tutta per tutto e tutta in ogni sua parte
7 a come la popilla piglia li simulacri delle cose
antiposte all' ochio solamente dalla luce e non
dallo obbietto | 7 b perche la cosa destra non
pare sinistra nell'ochio | 8a 71 | 8b dimostra-
tione perche 1' ochio vede adietro a se cose
poste nelli spati laterati | 9 a dell' ochio vmano |
9b perche li corpi luminosi mostrano li lor
termini pieni di diritti razzi luminosi | ioa
delle spetie delli obbietti che passano per
stretti spiracoli in loco oscuro | iob delle
spetie delli obbietti infuse per 1'aria. — At the
end four blank sheets, two bearing the mark S.
32. K.'
The three MSS K1 K2 K3 are bound in
one Volume with a leather cover inscribed LEO-
NARDI I] VINCI || in golden letters. The sheets
of each MS. are separately numbered. Inside
the cover are the marks K and 13. On the first
sheet is the inscription: Commentarii auto-
graphi || Leonardi Vincii || Pictoris Archi-
tecti || cerissimi || quos dono dedit || Bibliothe-
cae Ambros. || Comes Horatius Archintus
Ingenuarum Artium || studiosissimus ]| Anno
MDCLXXIV || Then follow four blank sheets. ia
A, and the mark 44 | i b Ma | 2 a 1067 | 2 b
Ge | 3 a Dividi il trattato delli vccelli in 4 libri
&c. | 3b — i4a V j I4b sketch of a male
figure | i5a + | 15 b, 31 a Ge ma in black
chalk | 3ib— 48 a in ink \ 47 b has the mark
O O 47 I 4§b + |
The introductory note No. 32. ia P
1308 | 2 a 1489 | 2 b J 1490 | 3 a Ma
I48! I 4a_sa Ge I 8b + | 9a— na V |
de fiumi | 12 a Ma | i2b 1508 | 13 a Ge j
33-
ib
3b
ib
,b
i4a + | 15 is wanting \ i6a — i7a Ma | 17'
i8a A | i8b + | !9a — 27a Ma | 27b 1430
28 a — 32 a Ma.
496
APPENDIX.
34. K.3
ia la setola
17
See introductory Note No. 32.
del bue | ib — 9a Ge | 9b Mn | n
Ge | i2» + | 133 — 16» A | i6b Ma
i9bA | 2oa 1073 | 20b — 21 b A |
muscoli | 22b — 25a A | 25 b 113 | 26a 114 j
2$b — 27bA | 28a 808 | 28b, 29a aqua del
navilio | 29 b 1501, 824 PI. CVIII, No. 2
de
3oa M I 3ob 657* | 31
3ib 175, O
calcidonio | 35 b manica
33
36 a
'' Mn | 34a, 3s
colla di riso
36b 749, PL LXXXII, No. 2 | 37a A | 37''
chemicals \ 38 a Ph | 38b— 40 a O | 4ia, 41 b
V | 42 a, 42 b O | 43 a— 44a M | 44 b— 47 b
popilla 1 48 a vaso | 48 b 1431 , and the mark
L L48.
35. W. An. IV.
The treatise is written on loose sheets of
equal size (compare No. 24); here the paper is
white in colour. The old marks on some of the
sheets are here given in brackets. 157 a (-B-)
798, 822 | 15 7 b muscles of the spine \ 7a
(A A) 810 | 7b + | 80 a (Cn) the spine \ 80 b
busts of tivo men \ 89 a (3) bones of the leg \ 89 b
muscles of the arm and of the neck \ 90 a (3)
(Ma), 90 b, 91 a (99) arm and shoulder \ 91 b
the spine \ i29a (P) blood-vessels \ i2gb pol-
mone | 130 a, i3ob figuratione della mano
i3iaalberodi uene | 13 ib + | 132 a, 132 b
the leg \ 134 a muscles \ I34b + | 141 a (17)
ufitio del polmone, Ge | 1 45 a (O) bones of the
foot | J45b muscles of the arm \ i46a (P) the
torso | i46b head and hand \ i47a, I47b mus-
cles | i48a (no) the leg \ 148 b the torso
i49a on veins \ I49b the spine \ 15 ia nervi,
802 | 15 1 b coitus, 841, 1482, per queste figure
si dimostrera la cagione di molti pericoli diferite
e malattie 1 5 2a embryos, 1432, coitus, 658 1 5 2b
embryos \ I53a 1433, intestines i53b embryos,
29, 818 | i54a de utilita strumentale de' membri
i54b+ | i55a coitus, 155 b+ | i59a muscles \
X59b + I l6°a (l8) torso, the heart \ i6ob
thefacc\ i62a (-8-) Ge | i62b + | i63a the
heart \ 1 63 b 3, the heart; 1 64-1 (-D-)— 1 65 a del
core | 165'' a woman's head, drawn by a pupil
i66a(B)delcuore | i(>(>\> the stomach] 167-1(0)
on veins, 1434 11. 1-7, 819, 7, 1434 11. 8-17, 796 j
i67b the heart \ 370 | i69a (Y)thf heart \ i69b
intestines \ 1 70 a(o/o)albero delle corde | i7ob
muscles \ 1 7 1 a (o/o) albero delle vene | 1 7 1 b
intestines \ i72a Ge, intestines, 1133 | i;2b
Ge | I74a intestines \ i74b the neck \ i77a the
strait-gut \ I77b + | i.8ia— i82a the heart \
i82b + | i84a (7) 832/837 | i84b seguita
1'articulatione della voce umana | i89a P |
i8gb muscles of the eye \ i99a the ribs i99b
A | 200a(-G-) | 20ob intestines \ 21 ia muscles
of the leg\ 2iib + | 2i2a muscles \ 2 1 2 b + |
2i3aGe, Anatomy \ 2i3b + | 2i4a, 2i4bGe,
intestines \ 2i6a muscles of the torso \ 2i6b
+ | 2 i8a(-H«) polmone, 570 | 2i8b + | 22oa
(iA-) vcne \ 220b + | 22 ia 22 ib muscles of
the foot | 222a bones of the arm \ 222b the
torso | 223a Polmone | 223 b urine-bladder \
23 4 a 1'inpeto del sangue | 23 4 b la revolutione
del sangue nel anteporta del cuore, O | 25 oa
che vfitio faccino li muscoli delle coste |
2l8b +.
36. W. L.
The history of this Volume is given on pp. 482,
483. Here as in the MS. C. A. the original sheets
were fixed on the sheets of the volume, but most
of them have been taken out again. The following
references are exclusively to such sheets as are still
to be found undetached in this celebrated volume.
The size varies greatly. On the folio No. 124
(containing no drawing at present] is the Spanish
note: ogni falsaua esta y nosecueta. The back
of some sheets is covered by the mounting. 132 a
886, Ma | i36aMn | 141 a 1436 | 141 b 1435 I
M5 a A 597, PL V, 183, B 66, 270, 78, C
276, D 81, 11 24—53, "O, 81 11. 15—23, 11.
54—97* I i45b A 288, B 77, C 80, 47, 87, D
79 11. 1—5, 274, 81 11. 1—14, 73, 79 11. 6—12 |
i46a 62, 130 | i46b Ma | ig8a 682
683 | i99a i99b A | 200 a sketch of a head.
2oob sketchmaps of the Valle Brembana with the
names and distances of the villages from Bergamo
and Ponte a San Piero up to the Val Tellina,
and of the Val Trompia bet;ceen Brescia and
the lago d'Idro. 2 03 a 1438, Ge Mn | 203b
sketch for the map on fol. 2i2a | 2i2a part
of the Arno river 1437 | 2 1 2 b sketch-plan of
Florence, 1004 Note, 1016 Note | 21 7 a five
plans, showing the divisions of some fields \ 2 1 7 b
water colour drawing of a villa with gardens
(not by Leonardo) \ 224°- sketch-map of the Val
di Serio between Bergamo and Ardese, with
numbers showing the distances between the
BIBLIOGRAPHY.
497
Tillages | 224b small map of the same valley,
map of the Oglio between Palazzolo and Ponte
secco: Pontaseg — confini d' Italia, sketch-map
of rivers between Bergamo and Brescia | 226a
sketch of the valley of the Arno 1006 | 229 a
plan of Imola 1051 and PI. CXVI, No. i
23 1 a map of the river Arno near Florence
23 1 b whirlpools \ 234-1 sketch of river \ 23 4 b
map of the valley of the Arno including Florence,
Prato, Pistoja, Lucca
37-
The detached sheets of MSS. in the Windsor
Collection chiefly treat on Anatomy. They vary
greatly in size, nor is there any consecutive or-
der. The following accoutit of the very rich ma-
terials must therefore be confined here to general
statements ia. 387, PL XXIV, No. i | ib +
2aFo|2b + | 3a 379, 297, PL XXIII,
No. 4 | 3 b drawing of a head \ 4a Mn, Ana-
tomy | 4b writing by an unknown hand with the
date 1443 I 5a A P 1411 | 6a 6b measurements
of a horse \ 8a drawing of legs \ 8b Joannes
de pasqualibus debet dare etc. by an unknown
hand; 9a sketch of a head, not by Leonardo;
9b P M., drawing of a horse Vol. II p. 24
above to the left i ioa — 35 b chiefly small
drawings \ 36 a 797 | 36 b legs and muscles \
45 a intestines \ 45 b + j 69 a Mn, 69 b + |
PL LII, No
mostly sketches
8ia 832. anatomy | 83 b +
88b + | 92 a— 99a
male figure \ ioob +
79a 79 b anatomy of the head \
a the muscles \
sketches \ 100 standing
ioia PI. XXXVIII,
No. 3 | ioib +| io2a (19. 21) Pl.XXVIII^
No. 7 | io2b + | io3a standing male figitre \
103 b + | io4a PI. VII, No. 5 | io4b +
105, in — 114 various sketches \ H9a 313
PI. VII, No. 3 | i2oa 12 1 a sketches of heads
122 a PI. CI, No. 3 | i23a# similar drawing
1293- blood-vessels \ i29b polmone | 13 6 a —
1 44 anatomy, various notes and sketches \ 1 5 8 a
608, PI. XXXV No. 2 and 3 | is8b 609 |
1 65 a cuore polmone | 1 65 b drawing of 'a female
head, not by Leonardo | i74a 1362 | 175 —
1 80 anatomy \ i85a — i87b anatomy \ i88a
Ar | i88b anatomy \ 190 Ar, Ph | i9ob anato-
my | i9ia Ge, 1475 j 191 b intestines \ i94a
i95b muscles, the heart \ 197-1 351, PI. XIX,
No. 2 | i97b sketches \ ig8a legs \ 207 — 209
Mn Ph | 2ioa 799 | 2iob popilla de'animali
notturni | 21 5 a 358, PL XXII, No. 2 | 2i5b
+ | 2i9a 2igb muscles of the arm \ 224a
veins \ 224^ + | 231* 477, PL XXXVI, PL
XXXVII | 233 a A, 233b + | 235—238-1
vento, A, P, anatomy \ 23 8 b 807 | 23 9 a 811 |
23 9 b + | 24oa lo 6 per strumento di questo
4° libro a maneggiare 6 cose, cioe polo, subbio,
leva, corda, peso e motore | 24ob 365, 269 |
241 a 1157, 1358, 844, 1210 | 241 b + | 243a
68i,Pl.LXII,No.2 | 243b+ | 2 ^sketches of
trees \ 244^ + | 245 a sketch of fire \ 245 b + j
246a PL XL, No. 2 | 246b + | 247a— 249a
sketches of horses \ 250 anatomy. — The following
Roman numbers refer to selected drawings with
MSS., most of which are mounted on cartoons:
I PL XXXII, 137, 575, 577 | II 170 | III 356,
PL XXI | IV 389 PL XXV | V PL XXVI* |
VI 456 | VII 475 | VIII 642, IX 688, PL
XLIV | X7io, 1413, 878 | Xl7ii,PLLXXV|
XII 713, 1175, XIIb 1547 | XIII 639,714, 852,
1186 | XIV 715 | XV 717 | XVI PL LXXX,
No. 4 (reversed in the reproduction) \ XVII PL
LXXXIII, 1103, XVII b 1104 | XVIII CII,
No. i | XIX PL CI, No. i, 760 | XX PL CI,
No. 3 | XXI 800, 833 | XXII 803 | XXIII 804,
1494 | XXIV 823 | XXV 856 | XXVI 868 |
XXVII 909 | XXVIII 1022 | XXIX 1140 |
XXX 1329 | XXXI 1355, PL CXXII | XXXII
1532, Vol. II p. 24 the sketch on the right.
The Arabic numbers of sheets not given among
the foregoing references will be found inserted in
the notices of the various treatises at Windsor
Castle, given previously under separate headings.
38. C. A.
This best known and most voluminous Vo-
lume is composed of loose sheets of various size,
each folio containing one or more sheets of original
MS.. The mounting is the same as in the Volume
W. L. Such sheets as have notes on both
sides are not fixed by their back to the folio
sheets, but set into a paper frame. The numbering
of sheets refers only to the folios. In the interest
of identification and in order to facilitate a com-
parison of the writing on the opposite sides of one
and the same sheet , I have introduced here, in
addition to the numbers of LeonV s folio sheets,
second numbers which refer to the separate ori-
ginal sheets. — In the following description it see-
med to me desirable to refrain from giving detailed
accounts of the contents of such sheets, as do
not bear upon the various subjects of the pre-
sent publication , the more so, as the order of the
sheets, being quite accidental, throws no light
whatever on the connection of the various shi-
RRR
APPENDIX.
dies extending over about thirty years. Outside
the cover is the inscription in golden letters:
DISEGNI . Dl MACCHINE. | DELLE . ARTI .
SECRETE 0 ET . ALTRE . COSE 0 Dl . LEO-
NARDO DAVINCI RACCOLTI DAD POMPEO
LEO \ HI II On the back of the cover is the
No. 248 . ia, iaandib, ibQ5 | 2a 2 a — 4a ioa
Mn | 4a na 1553 I 4b nb63i, 1359. The fol-
lowing draivings and texts nearly all refer to ma-
chines | 7a I9a 1119 I "a 37a P I. nb 37b
1439 | i2a42ai286,SketchVol.IIp.62 | i6b
Pl.XCVI, No. 1 1 i7a 67a Mn | I7b67bi36i,
1545 26b 87bMn | 27a 89* 1441 | 27b 89b
canons \ 3obgr61)2OO, Pl.XLI,No.2 | 34b io9b
'554 I 36aii5ai78 | 36bn6bi328, A, M | 87b
I24bi36o | 4ia 132-1101 | 4ibi32bA, Antonius
Salualichus. 44 a 13 7 a farai la natomia dell'alie
d'uno vcello insieme colli muscoli del petto
motori d'esse alie | 44b I37b272, 353 45a
i4Oaioor | i^o^cana/s \ 46 b i44b 150 58 a
180*1142 | 64 a 197 a Ma 64 b i97b 1203 65 a
i98a V. | 65b i99b 1363 | 66a 2ooa 1268 11.
1—15, 1277, 1268 11. 16—25, I278 | 66a 201 a
1282, 1279, 1273 | 66 b 206 b 1269, 1315, 1270
11. 1—25, 1274, 1270 11. 26 — 36 | 67 a 202*
1466 | 67 b 202 b superfitie | 67 b 203 b 702 |
68*203aAr | 68 b 203 b 1331 | 7oa 207 a 1163,
1440, 619 | 7oa 207 a 1163, 1442, 619 lionardo
mio etc- by an unknown hand \ 70 b 2O7b
632, 621 | 70 b 208 b 1526, 1373, 1525 | 71 b
209b 616 | 72 b 21 ib 1016 PL CIX | 73*
2i4a 669 | 75a 2i9a 1275, 1170, 20, 1143,
"59 I 75 a 2ooa 1555 | 75 b 2i9b 1288, 1165,
847, 1207, 1200, 1335 I 75 b 22 1 b 748, PL
83 b
86a
834
27
64
LXXXI,No.2 76a 223 a 1530 |
voce d'eco | 77 a 225 a Ge | 77 b 225b 1556,
855 | 78a228a6io,Pl.XXXVni, No.i,472|
245 a 51 | 85 a 247 a 1149
5obio5g | 89^58^36,
| 94a 27ia Ge | 94b 27ib 1557 | 94b
1093, mi | 98b 3o8a 354 | ioob 3i3b
io3a 325-1 1371 | io8a 338a aqua, vino |
b 865 | n
H5a357a
, 1266
1443
1171, O | mb
ii4'/zb355bl'
357b»95 I "< __, „ . . „
1280 I ii7b 361 b 12, 9, 21, 10 I n8a 366a
1444
376b 1558
192, 246 |
1309 | 130
398b I5i> 104
70 |
i2i
b 82 | i2
243, 983
| 130*
132 a 401 a 1544 | i33
65 | I36b4i2b 25, 60
383*248,
. I37a4i5a593 I *39 .
I39b4i9bi48s | 42ob2io | 42ibioi2 | 142!
425 h 96 | 1 43 a 426 a 1293, PL CXVIH, PL
CXIX, 1136 note | i43b426b 1336, 1294, PL
cxvi.cxvn i i45 a 432 a 1446,487
434a 194 I M6 Ha 436a 8 | 147 b 439b 1284)
1 5 1 a 449 a 1153 | 152*451-1 6n | 1 5 2 a 45 2 *
986 | i53b 45 5 b 1180 | 157* 463* 309, 581,
526 note, 466 | i57b 466* 961, 950, 979 |
i62b 482'' 955 | 164* 49oa Ge | i64b 490''
1560 | i7i*5i5aGe | 171 b5isb 1561 | i72b
i74a 523a 184)
M, bombarda |
I76b533b725 I 176° 53~2b 1446 I i76b53ib
67 I i78a 536* 374, 271 | i79b 541 b 1353
i8ia 546aGe | x8ib 546 b 493, PL CI, No. 2!
280, 462, V | i84b 555b 189 | 185-1 557a
corda | i85b 557bi447 | i87a 56ia Ge, 910 |
187*562*273, 187, PL IV, No-5 | i87b562b
I2ii | i88b 564b 1368 | 189* s65a 1529 ]
ig2b 571 b 279 | i96b 586b 548, 490, PL
XXXI, No. i | 200-1 594a 13, 39 | 201 a 597a
54, 179, PL IV, No. 4 | 2oib598b72 | 202b
599b PL LXXXVI | 205 a 605 a and 606 a
astronomy \ 207 a 609 a 1469 | 2iia 619*
1030 | 2iib 6i9b 1031 | 21 i b 62 i a 1337 |
2I2b 626b 1084 | 2I2b 627b 1537 I 2I3a
628 a superfitie | 2 13 b 628 b 712, PL LXXVI,
No. i | 217 a 641-1 V, Mn | 2i7b 641 b Magni-
fico mio messer simone ( five lines, left to right] \
2i8b 648* 18 | 22 1 b 66 1 b sketch-map pavia,
milan, lodi, brescia | 222a 664-1 1448 | 223 b
23 1
890
b 696 1062
237 IIb 7i
72 7 a 1379 243
702-
243
243
233-1 700 1013 234
5b 191, PL VI, No. i
b 727b vaso pieno, Ma
a 73 1 a 1378, Ge | 246a733a
in ! 248 a 73 7 a M, 1364 | 25 2 b 748 b 1531 |
256-1 773 a 1105 | 258a 784-1618, 1538 | 258b
785, fedelissimo amico aviso ti come qui ne di
passati fu uno (not continued} O Ma | 260 a 793 a
1467 | 262a 799* PL XCIX, No. 3 | 266 IIb
8i3bPLLXXXVH, No. i | 270^21*1032
2 7 2b 83 3* 724, O | sketches of hats \ 278a85oa
J352 I 278b85obMn | 27ga 855-1 1468 | 28oa
857a759 I 284a 865 a 1003 | 284b 865 b 1479,
1177 | 286b8;ob7i8 | 292a 888*826 | 292b
8 8 gb five lines about Rome, not by Leonardo \ 2 9 2 a
89iaMn | 293b 89ibVol.II. p.63.
notes about washing, and: bucato di Salai
9i4a 1287 | 303 a 924a PL C, No. i | 304*
925 a 1354 I 3°8 a 938-1 pi. LXXXII, No. i,
3o8b 939b 1344 | 3ioa944a 1349 | 312;
1534 I 3x3a 95 ia 73°
1449 | 316* 95 8 a 1346, 722
J347 I 3i7a959a68o | 3i8a 961 *766P1.CIH,
No. 3 | 32ib97ibio92, PL CXI, No. 2 | 328a
98oai388, sketch of a river | 3 28 b 983 b 1345,
723 | 929a 99ia sketch map: castiglione are-
tino, montecchio etc. | 329b9g2a sketch map:
Corneto, Valley of the Tiber | 329b 993 a 1078,
r565 I 334b ioi7b 1564 | 337b io62b 598,
22 | 339a, 1033* 26 | 341-1 I052a 59g, 382 \
34ibio55a9o8 | 344b 1066*388, PL XXTV,
BIBLIOGRAPHY.
499
No. 2 I 346a, 1072* 478 | 349a io85a Vol. II
p. 104 architectural drawing | 35oa io89a
340 | 353a II05a Io69 I 354a n°8a PI.
LXXXIV j 358b H24b 1070, 1450 | 362 a
ii34a 1295 | 362b ii34b 975,1296* | 363
193 | 364^ ii38a Mn | 364^
X35O
376b
1357
1167 | 372a ns6a 1126
68 1473 | 38o
1340, 719 |.384
1 1 97 a 1009, iig8a, PL LXXXII, No. 4 |
I2o8a Ar 1 393b 1222 b Mn (Last sheet}.
39—55-
39. The drawings and MS S. by Leonardo in
the Royal Library, Turin, are mounted on card.
Card 7 319, PI. XII | 7b Mn | 25 Mn | 17
1182 | 1 1 320 | i 1369 Note, PI. I | 5 PI.
XLII | 6 PI. CXX.
40. Florence, Uffizi Collection of drawings
Frame 115 No. 446 663, 1383. A drawing of
a machine is on the back. — Drawing of Land-
scape (2% X i9T/2 Cm)z'# a portfolio, not exhibited,
not mounted nor numbered. 1369.
41. Venice, Academy of Fine Arts, Room
VIII, Frame IV, 16, 315, PI. IX, Frame V
i a Notes on P \ i b PI. XCIV, No. 4, Frame V \
4a PI. LV | 4b Notes on P, Frame V \ 9a PL
LIV | 9b Motoride'corpi, notes \ Frame VI 3
PL XVIII, 343 Frame X, 8, PL XLVI, 668.—
The drawing PL LIII is in a portfolio in the
library of the Academy (exhibited in 1883).
42. Among the drawings by Leonardo in the
Gallery of the Ambrosian Library there is only
one with a MS. note: 1456.
43 . Collection of drawings, made by P. Resta,
a large bound vohune in the Ambrosian Library
contains an anatomical drawing with notes by
Leonardo.
44. Munich, Pinacoteca, a drawing with
notes on warfare.
45. The collection of drawings made by Val-
lardi, a large volume in the Library of the Louvre
contains a sheet with notes on arms and several
drawings by Leonardo, but only two out of these
bear on the subjects of this publication: PL
LXXX and PL LXXX, No. i.
46. Louvre, Collection of drawings, mounted
on card (not exhibited) see Vol. I p. 297 and
No. 594 Note.
47. Paris, Collection of drawings in the posses-
sion of M. Armand; a drawing with MS.
note similar to that at Munich and to that in
the Collection of A. Morrison, Esq. London.
48. British Museum, Printroom. Several
drawings by Leonardo : 1457 and PL LII, No. 2
and a drawing with MS. notes on warfare.
49. A mounted sheetVl. LXII, No. I 664,
in possession of K. W. Thibaudeau, Esq. London.
50. Collection of A. Morrison, Esq. (see
No. 47).
5 1 . Collection of the late Prince Henry of the
Netherlands; one sheet containing notes and a dia-
gram, referring to Perspective.
52. The five Manuscript sheets formerly in
the possession of Libri (described in his catalogue
of the reserved portion}, were bought in 1862 by
the Marquis of Breadalbane. After his death
they came into the possession of the Hon. Mr.
Baillie Hamilton, Langton, Berkshire. Here they
seem to have mysteriously disappeared, and I have
not been able to trace them any further.
53. In the Library of Christ Church Ox-
ford; two mounted drawings preserved in port-
folios. The first is marked 4 and has notes on
machines, on weight and a sketch of a horseman
fighting. The second is reproduced in parts in
Vol. I PL LIX, PL LX, No. i, PL LXI 676,
677.
54. Modena, Archivio Palatino: No. 1348.
55. Treatise of Francesco di Giorgio, MS.
in possession of Lord Ashburton, with notes in
Leonardo's handwriting written on the margin,
on Fol. 13 b 767, on Fol. 25 a 952, on Fol. 27 b
44. Others on mechanics 6-r. on Fol. I5b, 32a,
41 a and 44b.
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