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The Notebooks of Leonardo Da Vinci, Complete by Leonardo Da Vinci

Part 15 out of 16

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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.

[Footnote: 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.]

[Footnote 2: _Ho veduto movimenti_ &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. 607-611), and that of the fall of a
mountain No. 610, l. 17-30 were written from the vivid impressions
derived from personal experience. Compare also Pl. XXXIV-XL.]


[Footnote: 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 6 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.]

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 ...

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 confined, rend, and burst open the mountain, fulminating
stones and earth through the air together with the flames they

Nor when the inflamed caverns of Mount Etna [Footnote 13: Mongibello
is a name commonly given in Sicily to Mount Etna (from Djebel,
Arab.=mountain). Fr. FERRARA, _Descrizione dell' Etna con la storia
delle eruzioni_ (Palermo, 1818, p. 88) tells us, on the authority of
the _Cronaca del Monastero Benedettino 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 peninsule italique, Vol. XXII des Memoires couronnees et Memoires
des savants etrangers. Academie Royal de Belgique_).

A literal interpretation of the passage would not, however, indicate
an allusion to any great eruption; particularly in the connection
with Stromboli, 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.],
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 ...

Drafts of Letters to Lodovico il Moro (1340-1345).


[Footnote: The numerous corrections, the alterations in the figures
(l. 18) and the absence of any signature prove that this is merely
the rough draft of a 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 Pl. XXXVIII.) It is noteworthy
too that here the orthography and abbreviations 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 l. 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 compilers of the Codex Atlanticus, at any rate,
accepted it as a genuine document.

With regard to the probable date of this projected letter see Vol.
II, p. 3.]

Most illustrious Lord, Having now sufficiently considered the
specimens of all those who proclaim themselves skilled contrivers of
instruments of war, and that the invention and operation of the said
instruments are nothing different to those in common use: I shall
endeavour, without prejudice to any one else, to explain myself to
your Excellency 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.

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 pertaining 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 bombardment, 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 resembling 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) Item. 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 hindrance.

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, mangonels, _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.

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
buildings public and private; and in guiding water from one place to

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.

[32] 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 experiment
in your park, or in whatever place may please your Excellency--to
whom I commend myself with the utmost humility &c.


To my illustrious Lord, Lodovico, Duke of Bari, Leonardo da Vinci of
Florence-- Leonardo.

[Footnote: Evidently a note of the superscription of a 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.]


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

[Footnote: 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 tne occasion of
the marriage of the Emperor Maximilian with Bianca Maria Sforza.]


There are here, my Lord, many gentlemen who will undertake this
expense among them, if they are allowed to enjoy the use of
admission to the waters, the mills, and the passage of vessels and
when it is sold to them the price will be repaid to them by the
canal of Martesana.


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


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 ...
... which they well may settle rather than I ...
not my art which I wish to change and ...
given some clothing if I dare a sum ...

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 ...

[Footnote 11: See No. 723, where this passage is repeated.]

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 constantly
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] ...

[Footnote 17: See No. 1344 l. 12.]
I, having been working to gain my
living ...

I not having been informed what it is, I find
myself ...

[Footnote 19: In April, 1498, Leonardo was engaged in
painting the Saletta Nigra of the Castello at Milan.
(See G. MONGERI, _l'Arte in Milano_, 1872, p. 417.)]

remember the commission to paint the
rooms ...

I conveyed to your Lordship only requesting
you ...

[Footnote: The paper on which this is written is torn down the
middle; about half of each line remains.]

Draft of letter to be sent to Piacenza (1346. 1347).

[Footnote: 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 sentence (No. 1346, l. 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 Commission.]


Magnificent Commissioners of Buildings I, understanding that your
Magnificencies 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 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 bell-founder, another a bell ringer, and one is even a
bombardier; and among them one in his Lordship's service, who
boasted that he was the gossip of Messer Ambrosio Ferrere [Footnote
26: Messer Ambrogio Ferrere was Farmer of the Customs under the
Duke. Piacenza at that time belonged to Milan.], who has some power
and who has made him some promises; and if this were not enough he
would mount on horseback, 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 believe 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?


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.

Letter to the Cardinal Ippolito d' Este.


[Footnote: This letter addressed to the Cardinal Ippolito d'Este is
here given from Marchese G. CAMPORI'S publication: _Nuovi documenti
per la Vita di Leonardo da Vinci. Atti e Memorie delle R. R.
Deputazioni di Storia patria per la provincie modenesi e parmenesi,
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, arcivescovo 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
ch'ei professava alle arti lasci credere che le proteste di servitu
di Leonardo piu che a gratitudine per favori ricevuti e per opere a
lui allogate, accennino a speranza per un favore che si aspetta.
Notabile e ancora in questo prezioso documento la ripetuta signatura
del grande artista 'che si scrive Vincio e Vincius, non da Vinci
come si tiene comunemente, sebbene l'una e l'altra possano valere a
significare cosi il casato come il paese; restando a sapere se il
nome del paese di Vinci fosse assunto a cognome della famiglia di
Leonardo nel qual supposto piu propriamento avrebbe a chiamarsi
Leonardo Vinci, o Vincio (latinamente Vincius) com'egli stesso amo
segnarsi in questa lettera, e come scrissero parecchi contenporanei
di lui, il Casio, il Cesariano, Geoffrey Tory, il Gaurico, il
Bandello, Raffaelle Maffei, il Paciolo. Per ultimo non lascero
d'avvertire come la lettera del Vinci e assai ben conservata, di
nitida e larga scrittura in forma pienemente corrispondente a quella
dei suoi manoscritti, vergata all'uso comune da sinistra a destra,
anziche contrariamente come fu suo costume; ma indubbiamente
autentica e fornita della menzione e del suggello che fresca ancora
conserva l'impronta di una testa di profilo da un picciolo antico
cammeo._ (Compare No. 1368, note.)]

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

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
Raphaello Hieronymo, at present one of the illustrious members of
the Signoria before whom my cause is being argued; and more
particularly it has been laid by his Excellency the Gonfaloniere
into the hands of the said Ser Raphaello, 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, recommending 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 despatch; 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 Reverend Highness' letter, to whom I once more humbly commend
myself. _Et bene valeat_.

Florence XVIIIa 7bris 1507.
E. V. R. D.

your humble servant
Leonardus Vincius, pictor.

Draft of Letter to the Governor of Milan.


I am afraid lest the small return I have made for the great
benefits, I have received from your Excellency, have not made you
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 Lordship that I am almost at an
end of the litigation 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 the 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 [Footnote:Compare Nos. 1009 and 1010. Leonardo
has noted the payment of the pension from the king in 1505.] its
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. [Footnote: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 l5l0--when he
besieged Pope Julius II. in Bologna--till his death, which took
place at Correggio, February 11, 1511. Francesco Vinci, Leonardo's
uncle, died--as Amoretti tells us--in the winter of l5l0-11 (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 letizio che io o con mie
fratetgli ... Ancora ricordo a V. Excia la facenda che o cum Ser
Juliana mio Fratello capo delli altri fratelli ricordandoli come se
offerse di conciar le cose nostre fra noi fratelli del comune della
eredita de mio Zio, e quelli costringa alla expeditione, quale
conteneva la lettera che lui me mando._]

Drafts of Letters to the Superintendent of Canals and to Fr. Melzi.


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...

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 outlets 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 Lordship
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 Excellency 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 whomsoever you please. I should be very glad to 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 outlets are
regulated, to remind the said President 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 outlets, 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 Girolamo Cusano, to
whom you will commend me and offer my duty to his Magnificence.

[Footnote: 1350. 28-36. Draft of a letter to Francesco Melzi, born
l493--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 Galerien_ &c.,
p. 476).]

Drafts of a letter to Giuliano de' Medici (1351-1352).


[Most illustrious Lord. I greatly rejoice most Illustrious Lord at

I was so greatly rejoiced, most illustrious 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

[Footnote 1351. 1353: 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. III, 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 intorno a se uomini ingegnosi, ed ogni nuova
cosa voleva provare._

See too GREGOROVIUS, _Geschichte der Stadi Rom_, VIII (book XIV.
III, 2): _Die Luftschlosser furstlicher Grosse, wozu ihn der Papst
hatte erheben wollen zerfielen. Julian war der edelste aller
damaligen Medici, ein Mensch von innerlicher Richtung, unbefriedigt
durch das Leben, mitten im Sonnenglanz der Herrlichkeit Leo's X.
eine dunkle Gestalt die wie ein Schatten voruberzog._ Giuliano lived
in the Vatican, and it may be safely inferred from No. 1352 l. 2,
and No. 1353 l. 4, that Leonardo did the same.

From the following unpublished notice in the Vatican archives, which
M. Eug. Muntz, 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 nome del nostro
ill. S. Bernardo Bini e chompa di Roma, e prima della illma 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. 40.

From this we learn, that seven ducats formed the German's monthly
wages, but according to No. 1353 l. 7 he pretended that eight ducats
had been agreed upon.]

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 Niccolo 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 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

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 Lordship 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.


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, 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 below; and so I should
constantly see the work he might do, and it could be corrected with
greater ease.

Draft of letter written at Rome.


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

Miscellaneous Records (1354. 1355).


[Footnote: 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 Hercules lifted him up and
so conquered and strangled him. Lucan gives a full account of the
struggle. Pharsalia IV, 617. The reading of this passage, which is
very indistinctly written, is in many places doubtful.]

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 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.


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 .........

[Footnote: This passage, very difficult to decipher, is on the
reverse of a drawing at Windsor, Pl. CXXII, which possibly has some
connection with it. The drawing is slightly reduced in this
reproduction; the original being 25 cm. high by 19 cm. wide.]

O blessed and happy spirit whence comest 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 hostile,
and worse if they are friendly.

Miscellaneous drafts of letters and personal records (1356--1368).


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 soul; and I
could not in any length of time describe his nature to you, but I


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 informed 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.


[Footnote: 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.]

And in this case I know that I shall make few enemies seeing that no
one will believe what I can say of him; for they are but 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 statues 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
[Footnote 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 Leonardo
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 Leonardo
refers here to customs of nations of America.] 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 preserves 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?


As I told you in past days, you know that I am without any....
Francesco d'Antonio. Bernardo di Maestro Jacopo.


Tell me how the things happened.


j lorezo\\\ 2 inbiadali\\\ 3 inferri de\\\ 4in lorezo\\\ 5[inno
abuil]\\ 6 in acocatu\\\ 7 per la sella\\\ 8colte di lor\\\ 9v
cavallott\\\ I0el uiagg\\\ IIal\\\ I2a lurez\\\ 13in biada\\\
14inferri\\\ 15abuss\\\ 16in viagg\\\ 17alorz\\\ [Footnote: 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.]


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.

[Footnote: A preparatory note for the passage given as No. 798, 11.


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

[Footnote: This note probably refers to the text No. 1221.]


[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.]


Tell me if anything was ever done.


Tell me if ever I did a thing which me ....


Do not reveal, if liberty is precious to you; my face is the prison
of love.

[Footnote: This note seems to be a quotation.]


Maestro Leonardo of Florence.

[Footnote: 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, l. 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 Pl. I, has in the original two lines of writing
underneath; one in red chalk of two or three words is partly
effaced: _lionardo it... lm_ (or _lai_?); 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.]

Notes bearing Dates (1369--1378).


The day of Santa Maria _della Neve_ [of the Snows] August the 2nd
1473. [Footnote: W. An. I. 1368. 1369. This date is on a drawing of
a rocky landscape. See _Chronique des Arts_ 1881 no. 23: _Leonard de
Vinci a-t-il ete au Righi le 5 aout 1473_? letter by H. de
Geymuller. The next following date in the MSS. is 1478 (see No.


On the 2nd of April 1489, book entitled 'Of the human figure'.
[Footnote: While the letters in the MS. notes of 1473 and 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 Pl.
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 hardly 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 previous
to l480.--Compare the facsimile of the manuscripts 1479 on Pl.LXII,
No. 2; No. 664, note, Vol. I p. 346. This shows already a marked
simplicity as compared with the calligraphy of I478.

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. 1463,
No. 1517, No. 1024, 1025 and 1461 to the year 1494; Nos. 1523 and
1524 to the year 1497.


On the 1st of August 1499, I wrote here of motion and of weight.

[Footnote: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 partito Lionardo
per andare a Firenze; ed e quindi probabile, che i mesi di governo
nuovo e incerto abbia passati coll' amico suo Francesco Melzi a
Vaprio, ove meglio che altrove studiar potea la natura, e
soprattutta le acque, e l'Adda specialmente, che gia era stato
l'ogetto 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.]


On the 9th of July 1504, Wednesday, at seven o'clock, died Ser Piero
da Vinci, notary at the Palazzo del Podesta, my father, --at seven
o'clock, being eighty years old, leaving behind ten sons and two

[Footnote: 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. Leonardo 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, Francesca, daughter of Ser Giovanni
Lanfredi, then only fifteen. Their children were Leonardo's
halfbrothers, Antonio (b. 1476), Ser Giuliano (b. 1479), Lorenzo (b.
1484), a girl, Violante (b. 1485), and another boy Domenico (b.
1486); Domenico's descendants 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.]


On Wednesday at seven o'clock died Ser Piero da Vinci on the 9th of
July 1504.

[Footnote: 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.]


Begun by me, Leonardo da Vinci, on the l2th of July 1505.

[Footnote: Thus he writes on the first page of the MS. The title is
on the foregoing coversheet as follows: _Libro titolato
disstrafformatione coe_ (cioe) _d'un corpo nvn_ (in un) _altro sanza
diminuitione e acresscemento di materia._]


Begun at Milan on the l2th of September 1508.

[Footnote: 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.]


On the 9th of January 1513.

[Footnote: No. 1465 belongs to the same year. No. 1065 has the next
date 1514.]


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.

[Footnote: Giuliano de Medici, brother to Pope Leo X.; see note to
Nos. 1351-1353. In February, 1515, he was married to Filiberta,
daughter of Filippo, Duke of Savoy, and aunt to Francis I, Louis
XII's successor on the throne of France. Louis XII died on Jan. 1st,
and not on Jan. 9th as is here stated.-- This addition is written in
paler ink and evidently at a later date.]


On the 24th of June, St John's day, 1518 at Amboise, in the palace

[Footnote: _Castello del clli_. The meaning of this word is obscure;
it is perhaps not written at full length.]


_Miscellaneous Notes._

_The incidental memoranda scattered here and there throughout the
MSS. can have been 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
Leonardo 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. l379--l457), as well 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
considerable 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 1500 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 have been 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 that nothing whatever exists to inform us as to his life and
doings in Milan 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 not--as it 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, 11, 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 held paramount.
Archimedes is the sole exception, and Leonardo frankly owns 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
convenience (1469--1508)._

_The passages next in order contain accounts and inventories
principally of household 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 have
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
preserved in the Melzi Library. It has already been printed by
Amoretti and by Uzielli. It is not known what has become of the
original document._

Memoranda before 1500 (1379-l413).


Find Longhi and tell him that you wait for him at Rome and will go
with him to Naples; make you pay the donation [Footnote 2: _Libro di
Vitolone_ see No. 1506 note.] and take the book by Vitolone, and the
measurements 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 Lombardo the linen draper of Verona.
Buy handkerchiefs and towels,.... and shoes, 4 pairs of hose, a
jerkin of... and skins, to make new ones; the lake of Alessandro.
[Footnote: 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.]

Sell what you cannot take with you. Get from Jean de Paris the
method of painting in tempera and the way of making white [Footnote:
The mysterious looking words, quite distinctly written, in line 1:
_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 backwards we find for _ingol_: logni-probably _longi_,
evidently 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.]

salt, and how to make tinted paper; sheets of paper folded up; and
his box of colours; learn to work flesh colours in tempera, learn to
dissolve gum lac, linseed ... white, of the garlic of Piacenza; take
'de Ponderibus'; take the works of Leonardo of Cremona. Remove the
small furnace ... 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.


This was done by Leone in the piazza of the castle with a chain and
an arrow. [Footnote: This note must have been made in Milan; as we
know from the date of the MS.]



Callias of Rhodes, Epimachus the Athenian, Diogenes, a philosopher,
of Rhodes, Calcedonius of Thrace, Febar of Tyre, Callimachus the
architect, a master of fires. [Footnote: Callias, Architect of
Aradus, mentioned by Vitruvius (X, 16, 5).--Epimachus, of Athens,
invented 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, 7), 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


Ask maestro Lodovico for 'the conduits of water'. [Footnote:
Condotti d'acqua. Possibly a book, a MS. or a map.]


... at Pistoja, Fioravante di Domenico at Florence is my most
beloved friend, as though he were my [brother]. [Footnote: On the
same sheet is the text No. 663.]


On the 16th day of July.

Caterina came on 16th 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 falconer has fine hind quarters;
it is behind the Comasina Gate.

The big horse of Cermonino, of Signor Giulio. [Footnote: Compare
Nos. 1522 and 1517. Caterina seems to have been his housekeeper.]



Any one who spends one ducat may take the instrument; and he will
not pay more than half a ducat as a premium to the inventor of the
instrument and one grosso to the workman every year. I do not want
sub-officials. [Footnote: Refers perhaps to the regulation of the
water in the canals.]


Maestro Giuliano da Marliano has a fine herbal. He lives opposite to
Strami the Carpenters. [Footnote: Compare No. 616, note. 4.
legnamiere (milanese dialect) = legnajuolo.]


Christofano da Castiglione who lives at the Pieta has a fine head.


Work of ... of the stable of Galeazzo; by the road of Brera
[Footnote 4: Brera, see No. 1448, II, 13]; benefice of Stanghe
[Footnote 5:Stanghe, see No. 1509.]; benefice of Porta Nuova;
benefice of Monza; Indaco's mistake; give first the benefices; then
the works; then ingratitude, indignity and lamentations.


Chiliarch--captain of 1000.


A legion, six thousand and sixty three men.


A nun lives at La Colomba at Cremona; she works good straw plait,
and a friar of Saint Francis. [Footnote: _La Colomba_ is to this day
the name of a small house at Cremona, decorated with frescoes.]


Needle,--Niccolao,--thread,--Ferrando, -lacopo
Andrea,--canvas,--stone,--colours, --brushes,--pallet,--sponge,--the
panel of the Duke.


Messer Gian Domenico Mezzabarba and Messer Giovanni Franceso
Mezzabarba. By the side of Messer Piero d'Anghiera.


Conte Francesco Torello.


Giuliano Trombetta,--Antonio di Ferrara, --Oil of .... [Footnote:
Near this text is the sketch of a head drawn in red chalk.]


Paul was snatched up to heaven. [Footnote: See the facsimile of this
note on Pl. XXIII No. 2.]


Giuliano da Maria, physician, has a steward without hands.


Have some ears of corn of large size sent from Florence.


See the bedstead at Santa Maria. Secret.


Arrigo is to have 11 gold Ducats. Arrigo is to have 4 gold ducats in
the middle of August.


Give your master the instance of a captain who does not himself win
the victory, but the soldiers do by his counsels; and so he still
deserves the reward.


Messer Pier Antonio.


Oil,--yellow,--Ambrosio,--the mouth, --the farmhouse.


My dear Alessandro from Parma, by the hand of ...


Giovannina, has a fantastic face,--is at Santa Caterina, at the
Hospital. [Footnote: Compare the text on the same page: No. 667.]


24 tavole make 1 perch. 4 trabochi make 1 tavola. 4 braccia and a
half make a trabocco. A perch contains 1936 square braccia, or 1944.


The road of Messer Mariolo is 13 1/4 braccia wide; the House of
Evangelista is 75.

It enters 7 1/2 braccia in the house of Mariolo. [Footnote: On this
page and that which faces it, MS.I2 7la, are two diagrams with
numerous reference numbers, evidently relating to the measurements
of a street.]


I ask at what part of its curved motion the moving cause will leave
the thing moved and moveable.

Speak to Pietro Monti of these methods of throwing spears.


Antonio de' Risi is at the council of Justice.


Paolo said that no machine that moves another .... [Footnote: The
passage, of which the beginning is here given, deals with questions
in mechanics. The instances in which Leonardo quotes the opinions of
his contemporaries on scientific matters are so rare as to be worth
noticing. Compare No. 901. ]


Caravaggio. [Footnote: _Caravaggio_, a village not far from the Adda
between Milan and Brescia, where Polidoro and Michelangelo 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_.]


Pulleys,--nails,--rope,--mercury,--cloth, Monday.



Maghino, Speculus of Master Giovanni the Frenchman; Galenus on


Near to Cordusio is Pier Antonio da Tossano and his brother
Serafino. [Footnote: This note is written between lines 23 and 24 of
the text No. 710. Corduso, Cordusio (_curia ducis_) = 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
Possano, the contemporary painter, had no connection with them.]


Memoranda after 1500 (1414--1434)


Paul of Vannochio at Siena ... The upper chamber for the apostles.

[4] Buildings by Bramante.

The governor of the castle made a prisoner.

[6] Visconti carried away and his son killed. [Footnote 6: Visconti.
_Chi fosse quel Visconte non sapremmo indovinare fra tanti di questo
nome. Arluno narra che allora atterrate furono le case de' Viconti,
de' Castiglioni, de' Sanseverini, e de' Botta e non improbabile
che ne fossero insultati e morti i padroni. Molti Visconti annovera
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. Stor. XIX.).]

Giovanni della Rosa deprived of his money.

Borgonzio began ....; and moreover his fortunes fled. [Footnote 8:
Borgonzio o Brugonzio Botta fu regolatore delle ducali entrate sotto
il Moro, alla cui fuga la casa sua fu pur messa a sacco da'
partitanti francesi. (AMORETTI, l. c.)]

The Duke has lost the state, property and liberty and none of his
entreprises was carried out by him.

[Footnote: l. 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.]


Ambrosio Petri, St. Mark, 4 boards for the window, 2 ..., 3 the
saints of chapels, 5 the Genoese at home.


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,
--swimming-belt,--a book of white paper for drawing,--charcoal.--How
much is a florin ...., a leather bodice.


Borges shall get for you the Archimedes from the bishop of Padua,
and Vitellozzo the one from Borgo a San Sepolcro [Footnote 3: Borgo
a San Sepolcro, where Luca Paciolo, Leonardo's friend, was born.]

[Footnote: Borges. A Spanish name.]


Marzocco's tablet.


Marcello lives in the house of Giacomo da Mengardino.


Where is Valentino?--boots,--boxes in the
custom-house,...,--[Footnote 5: Carmine. A church and monastery at
Florence.] the monk at the Carmine,--squares,--[Footnotes 7 and 8:
Martelli, Borgherini; names of Florentine families. See No. 4.]
Piero Martelli,--[8] Salvi Borgherini,--send back the bags,--a
support for the spectacles,--[Footnote 11: San Gallo; possibly
Giuliano da San Gallo, the Florentine architect.] the nude study of
San Gallo,--the cloak. Porphyry,--groups,--square,--[Footnote 16:
Pandolfini, see No. 1544 note.] Pandolfino. [Footnote: 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 engagements by him see pp.
224 and 243, note.]


Concave mirrors; philosophy of Aristotle;[Footnote 2: _Avicenna_
(Leonardo here writes it Avinega) the Arab philosopher, 980-1037,
for centuries the unimpeachable 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.] the books of Avicenna Italian and Latin
vocabulary; Messer Ottaviano Palavicino or his Vitruvius [Footnote
3: _Vitruvius._ See Vol. I, No. 343 note.]. bohemian knives;
Vitruvius[Footnote 6: _Vitruvius._ See Vol. I, No. 343 note.]; go
every Saturday to the hot bath where you will see naked men;

'Meteora' [Footnote 7: _Meteora._ See No. 1448, 25.],

Archimedes, on the centre of gravity; [Footnote 9: The works of
Archimedes were not printed during Leonardo's life-time.] anatomy
[Footnote 10: Compare No. 1494.] Alessandro Benedetto; The Dante of
Niccolo della Croce; Inflate the lungs of a pig and observe whether
they increase in width and in length, or in width diminishing in

[Footnote 14: _Johannes Marliani sua etate philosophorum et
medicorum principis et ducalis phisic. primi de proportione motuum
velocitate questio subtilissima incipit ex ejusdem Marliani
originali feliciter 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
ticinensem._ 1474.] Marliano, on Calculation, to Bertuccio.
Albertus, on heaven and earth [Footnote 15: See No. 1469, 1. 7.],
[from the monk Bernardino]. Horace has written on the movements of
the heavens.

[Footnote: _Filosofia d'Aristotele_ see No. 1481 note.]


Of the three regular bodies as opposed to some commentators who
disparage the Ancients, who were the originators of grammar and the
sciences and ...


The room in the tower of Vaneri.

[Footnote: This note is written inside the sketch of a plan of a
house. On the same page is the date 1513 (see No. 1376).]


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].

[Footnote: L. 1-3 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 devine the meaning of the following sentence.

2. 3. _Gherardo_ Miniatore, a famous illuminator, 1445-1497, to whom
Vasari dedicated a section of his Lives (Vol. II pp. 237-243, ed.
Sansoni 1879).

5. _Bernardo_, possibly the painter Bernardo Zenale.]


Hermes the philosopher.


Suisset, viz. calculator,--Tisber, --Angelo Fossobron,--Alberto.


The structure of the drawbridge shown me by Donnino, and why _c_ and
_d_ thrust downwards.

[Footnote: 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


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.

[Footnote: This seems to be a speculation about the flying machine
(compare p. 271).]


This stratagem was used by the Gauls against the Romans, and so
great a mortality ensued that all Rome was dressed in mourning.

[Footnote: Leonardo perhaps alludes to the Gauls under Brennus, who
laid his sword in the scale when the tribute was weighed.]


Alberto da Imola;--Algebra, that is, the demonstration of the
equality of one thing to another.


Johannes Rubicissa e Robbia.


Ask the wife of Biagio Crivelli how the capon nurtures and hatches
the eggs of the hen,--he being drunk.


The book on Water to Messer Marco Antonio.

[Footnote: Possibly Marc-Antonio della Torre, see p. 97.]


Have Avicenna's work on useful inventions translated; spectacles
with the case, steel and fork and...., charcoal, boards, and paper,
and chalk and white, and wax;.... .... for glass, a saw for bones
with fine teeth, a chisel, inkstand ........ three herbs, and Agnolo
Benedetto. Get a skull, nut,--mustard.

Boots,--gloves, socks, combs, papers, towels, shirts,....
shoe-tapes,--..... shoes, penknife, pens. A skin for the chest.

[Footnote: 4. Lapis. Compare Condivi, _Vita di Michelagnolo
Buonarotti_, Chap. XVIII.: _Ma egli_ (Michelangelo) _non avendo che
mostrare, prese una penna (percioche in quel tempo il lapis non era
in uso) e con tal leggiadria gli dipinse una mano ecc._ The incident
is of the year l496.--Lapis means pencil, and chalk (_matita_).
Between lines 7 and 8 are the texts given as Nos. 819 and No. 7.]

Undated memoranda (1435-1457).


The book of Piero Crescenze,--studies from the nude by Giovanni
Ambrosio,--compasses, --the book of Giovanni Giacomo.



To make some provisions for my garden, --Giordano, _De
Ponderibus_[Footnote 3: _Giordano_. Jordanus Nemorarius, a
mathematician of the beginning of the XIIIth century. No particulars
of his life are known. The title of his principal work is:
_Arithmetica decem libris demonstrata_, first published at Paris
1496. In 1523 appeared at Nuremberg: _Liber Jordani Nemorarii de
ponderibus, propositiones XIII et earundem demonstrationes,
multarumque rerum rationes sane pulcherrimas complectens, nunc in
lucem editus._],--the peacemaker, the flow and ebb of the sea,--have
two baggage trunks made, look to Beltraffio's [Footnote 6:
_Beltraffio_, see No. 465, note 2.

There are sketches by the side of lines 8 and 10.] 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.


Giovanni Fabre,--Lazaro del Volpe,-- the common,--Ser Piero.

[Footnote: These names are inserted on a plan of plots of land
adjoining the Arno.]


[Lactantius], [the book of Benozzo], groups,--to bind the book,--a
lantern,--Ser Pecantino,--Pandolfino.--[Rosso]--a square, --small
knives,--carriages,--curry combs-- cup.


Quadrant of Carlo Marmocchi,--Messer Francesco Araldo,--Ser
Benedetto d'Accie perello,--Benedetto on arithmetic,--Maestro Paulo,
physician,--Domenico di Michelino,-- ...... of the Alberti,--Messer
Giovanni Argimboldi.


Colours, formula,--Archimedes,--Marcantonio.

Tinned iron,--pierced iron.


See the shop that was formerly Bartolommeo's, the stationer.

[Footnote: 6. _Marc Antonio_, see No. 1433.]


The first book is by Michele di Francesco Nabini; it treats on


Messer Francesco, physician of Lucca, with the Cardinal Farnese.

[Footnote: _Alessandro Farnese_, afterwards Pope Paul III was
created in 1493 Cardinal di San Cosimo e San Damiano, by Alexander


Pandolfino's book [Footnote 1: _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 allusion of Leonardo's is an
important evidence in favour of Pandolfino's authorship (compare No.
1454, line 3).],--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 [Footnote 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.],--Antonio
Covoni,--A book by Maestro Paolo Infermieri, --Boots, shoes and
hose,--(Shell)lac, --An apprentice to do the models for me. Grammar,
by Lorenzo de Medici,--Giovanni del Sodo,--Sansovino, [Footnote 15:
_Sansovino_, Andrea--the _sculptor_; 1460-1529.]--a ruler,--a very
sharp knife,--Spectacles,--fractions....,
--repair.........,--Tomaso's book,-- Michelagnolo's little chain;
Learn the multiplication of roots from Maestro Luca;--my map of the
world which Giovanni Benci has [Footnote 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 published in the
_Archaeologia_ Vol. XI (see p. 224).];-Socks,--clothes from the
customhouse-officier,--Red Cordova leather,--The map of the world,
of Giovanni Benci,--a print, the districts about Milan--Market book.

Get the Friar di Brera to show you [the book] '_de Ponderibus_'
[Footnote 11: _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.],--

Of the measurement of San Lorenzo,--

I lent certain groups to Fra Filippo de Brera, [Footnote 13:
_Brera_, now _Palazzo delle Scienze ed Arti. Until 1571 it was the
monastery of the order of the Umiliati and afterwards of the

_De ponderibus_, compare No. 1436, 3.]--

Memorandum: to ask Maestro Giovannino 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

Ask Benedetto Portinari how the people go on the ice in Flanders,--

On proportions by Alchino, with notes by Marliano, from Messer

The measurement of the sun, promised me by Maestro Giovanni, the

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 [Footnote 23: _Fondamento_ is commonly used by
Leonardo to mean ground-plan. See for instance p. 53.],--

Groups by Bramante [Footnote 24: _Gruppi_. See Vol. I p. 355, No.
600, note 9.],--

The book on celestial phenomena by Aristoteles, in Italian [Footnote
25: _Meteora_. By this Leonardo means no doubt the four books. He
must refer here to a MS. translation, as no Italian translation is
known to have been published (see No. 1477 note).],--

Try to get Vitolone, which is in the library at Pavia [Footnote 26:
_Vitolone_ 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_'!] 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

[Footnote 12: _Sco Lorenzo_. A church at Milan, see pp. 39, 40 and

[Footnote 13. 24: _Gruppi_. See Vol. I p. 355, No. 600, note 9.]

[Footnote 16: The _Portinari_ were one of the great merchant-
families of Florence.]


Francesco d'Antonio at Florence.


Giuliano Condi[1],--Tomaso Ridolfi,-- Tomaso Paganelli,--Nicolo del
Nero,--Simone Zasti,--Nasi,--the heir of Lionardo Manelli,
--Guglielmo di Ser Martino,--Bartolomeo del Tovaglia,--Andrea
Arrigucci,-- Nicolo Capponi,--Giovanni Portinari.

[Footnote: I. _Guiliano Gondi_. Ser Piero da Vinci, Leonardo's
father, lived till 1480, in a house belonging 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 mention 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 d'eta d'anni 24 a
Napoli, Simone d'eta d'anni 23 in Ungheria._

He himself was a merchant of gold filigree (_facciamo lavorare una
bottegha d'arte di seta ... facciamo 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 1. 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 Gondi_" (see
UZIELLI, _Ricerche_, passim).

Most of the other names on the list are those of well-known
Florentine families.]




Vespuccio will give me a book of Geometry.

[Footnote: See No. 844, note, p. 130.]


Marcantonio Colonna at Santi Apostoli.

[Footnote: 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 Captains 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 Apostoli which is now
known as the Palazzo Colonna (see GREGOROVIUS, _Gesch. der Stadt
Rom._ Vol. VIII, book XIV I, 3. And COPPI, _Mem. Colonnesi_ p.


A box, a cage,-- A square, to make the bird [Footnote 2: Vasari
states that Leonardo invented mechanical birds which moved through
the air. Compare No. 703.],-- Pandolfino's book, mortar [?],-- Small
knives, Venieri for the

[Footnote: Much of No. 1444 is repeated in this memorandum.]

Pen for ruling, stone,--star,--

To have the vest dyed, Alfieri's tazza,--

The Libraries, the book on celestial

Lactantius of the go to the house of
Daldi,-- the Pazzi,

Book from Maestro small box,--
Paolo Infermieri,--

Boots, shoes and small gimlet,--

Lac, .......,--

An apprentice for .....,--

Grammar of Lo- the amount of the
renzo de' Medici, ...

Giovanni del Sodo .....
for...,--the broken

Sansovino, the....

Piero di Cosino the wings,--

[Footnote 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.]

Filippo and Lorenzo [Footnote 17: _Filippo 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 evidence to
his intimate relations with Leonardo.],--A ruler-,-- Spectacles,--to
do the..... again,--Tomaso'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,--1/3 of which I have 5/6,--on the celestial
phenomena, by Aristotle [Footnote 36: _Meteora_. See No. 1448,
25.],--boxes of Lorenzo di Pier Francesco [Footnote 37: _Lorenzo di
Pier Francesco_ and his brother _Giovanni_ were a lateral branch of
the _Medici_ family and changed their name for that of
Popolani.],--Maestro Piero of the Borgo,--To have my book
bound,--Show the book to Serigatto,-- and get the rule of the clock
[Footnote 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.).],--
ring,--nutmeg,--gum,--the square,--Giovan' Batista at the piazza,
de' Mozzi,--Giovanni Benci has my book and jaspers,--brass for the


Search in Florence for......


Bernardo da Ponte ... Val di Lugano ... many veins for anatomical

[Footnote: This fragmentary note is written on the margin of a
drawing of two legs.]


Paolo of Tavechia, to see the marks in the German stones.

[Footnote: 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 Academy of Arts, in London. This cartoon is
commonly supposed to be identical with that described and lauded by
Vasari, which was exhibited in Florence 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.]

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