Count Giovanni, the one with the Cardinal of Mortaro.
[Footnote: As this note is in the same small Manuscript as the
passage here immediately preceding it, I may be justified in
assuming that Leonardo meant to use the features of the person here
named as a suitable model for the figure of Christ. The celebrated
drawing of the head of Christ, now hanging in the Brera Gallery at
Milan, has obviously been so much restored that it is now impossible
to say, whether it was ever genuine. We have only to compare it with
the undoubtedly genuine drawings of heads of the disciples in PI.
XLVII, XLVIII and L, to admit that not a single line of the Milan
drawing in its present state can be by the same hand.]
668.
Philip, Simon, Matthew, Thomas, James the Greater, Peter, Philip,
Andrew, Bartholomew.
[Footnote: See PI. XLVI. The names of the disciples are given in the
order in which they are written in the original, from right to left,
above each head. The original drawing is here slightly reduced in
scale; it measures 39 centimetres in length by 26 in breadth.]
669.
On the battle of Anghiari.
Florentine
Neri di Gino Capponi
Bernardetto de' Medici
Micheletto,
Niccolo da Pisa
Conte Francesco
Pietro Gian Paolo
Guelfo Orsino,
Messer Rinaldo degli
Albizzi
Begin with the address of Niccolo Piccinino to the soldiers and the
banished Florentines among whom are Messer Rinaldo degli Albizzi and
other Florentines. Then let it be shown how he first mounted on
horseback in armour; and the whole army came after him--40 squadrons
of cavalry, and 2000 foot soldiers went with him. Very early in the
morning the Patriarch went up a hill to reconnoitre the country,
that is the hills, fields and the valley watered by a river; and
from thence he beheld Niccolo Picinino coming from Borgo San
Sepolcro with his people, and with a great dust; and perceiving them
he returned to the camp of his own people and addressed them. Having
spoken he prayed to God with clasped hands, when there appeared a
cloud in which Saint Peter appeared and spoke to the Patriarch.--500
cavalry were sent forward by the Patriarch to hinder or check the
rush of the enemy. In the foremost troop Francesco the son of
Niccolo Piccinino [24] was the first to attack the bridge which was
held by the Patriarch and the Florentines. Beyond the bridge to his
left he sent forward some infantry to engage ours, who drove them
back, among whom was their captain Micheletto [29] whose lot it was
to be that day at the head of the army. Here, at this bridge there
is a severe struggle; our men conquer and the enemy is repulsed.
Here Guido and Astorre, his brother, the Lord of Faenza with a great
number of men, re-formed and renewed the fight, and rushed upon the
Florentines with such force that they recovered the bridge and
pushed forward as far as the tents. But Simonetto advanced with 600
horse, and fell upon the enemy and drove them back once more from
the place, and recaptured the bridge; and behind him came more men
with 2000 horse soldiers. And thus for a long time they fought with
varying fortune. But then the Patriarch, in order to divert the
enemy, sent forward Niccolo da Pisa [44] and Napoleone Orsino, a
beardless lad, followed by a great multitude of men, and then was
done another great feat of arms. At the same time Niccolo Piccinino
urged forward the remnant of his men, who once more made ours give
way; and if it had not been that the Patriarch set himself at their
head and, by his words and deeds controlled the captains, our
soldiers would have taken to flight. The Patriarch had some
artillery placed on the hill and with these he dispersed the enemy's
infantry; and the disorder was so complete that Niccolo began to
call back his son and all his men, and they took to flight towards
Borgo. And then began a great slaughter of men; none escaped but the
foremost of those who had fled or who hid themselves. The battle
continued until sunset, when the Patriarch gave his mind to
recalling his men and burying the dead, and afterwards a trophy was
erected.
[Footnote: 669. This passage does not seem to me to be in Leonardo's
hand, though it has hitherto been generally accepted as genuine. Not
only is the writing unlike his, but the spelling also is quite
different. I would suggest that this passage is a description of the
events of the battle drawn up for the Painter by order of the
Signoria, perhaps by some historian commissioned by them, to serve
as a scheme or programme of the work. The whole tenor of the style
seems to me to argue in favour of this theory; and besides, it would
be in no way surprising that such a document should have been
preserved among Leonardo's autographs.]
Allegorical representations referring to the duke of Milan
(670-673).
670.
Ermine with blood Galeazzo, between calm weather and a
representation of a tempest.
[Footnote: 670. Only the beginning of this text is legible; the
writing is much effaced and the sense is consequently obscure. It
seems to refer like the following passage to an allegorical
picture.]
671.
Il Moro with spectacles, and Envy depicted with False Report and
Justice black for il Moro.
Labour as having a branch of vine [_or_ a screw] in her hand.
672.
Il Moro as representing Good Fortune, with hair, and robes, and his
hands in front, and Messer Gualtieri taking him by the robes with a
respectful air from below, having come in from the front [5].
Again, Poverty in a hideous form running behind a youth. Il Moro
covers him with the skirt of his robe, and with his gilt sceptre he
threatens the monster.
A plant with its roots in the air to represent one who is at his
last;--a robe and Favour.
Of tricks [_or_ of magpies] and of burlesque poems [_or_ of
starlings].
Those who trust themselves to live near him, and who will be a large
crowd, these shall all die cruel deaths; and fathers and mothers
together with their families will be devoured and killed by cruel
creatures.
[Footnote: 1--10 have already been published by _Amoretti_ in
_Memorie Storiche_ cap. XII. He adds this note with regard to
Gualtieri: "_A questo M. Gualtieri come ad uomo generoso e benefico
scrive il Bellincioni un Sonetto (pag, 174) per chiedergli un
piacere; e 'l Tantio rendendo ragione a Lodovico il Moro, perche
pubblicasse le Rime del Bellincioni; ciò hammi imposto, gli dice:
l'humano fidele, prudente e sollicito executore delli tuoi
comandamenti Gualtero, che fa in tutte le cose ove tu possi far
utile, ogni studio vi metti._" A somewhat mysterious and evidently
allegorical composition--a pen and ink drawing--at Windsor, see PL
LVIII, contains a group of figures in which perhaps the idea is
worked out which is spoken of in the text, lines 1-5.]
673.
He was blacker than a hornet, his eyes were as red as a burning fire
and he rode on a tall horse six spans across and more than 20 long
with six giants tied up to his saddle-bow and one in his hand which
he gnawed with his teeth. And behind him came boars with tusks
sticking out of their mouths, perhaps ten spans.
Allegorical representations (674--678).
674.
Above the helmet place a half globe, which is to signify our
hemisphere, in the form of a world; on which let there be a peacock,
richly decorated, and with his tail spread over the group; and every
ornament belonging to the horse should be of peacock's feathers on a
gold ground, to signify the beauty which comes of the grace bestowed
on him who is a good servant.
On the shield a large mirror to signify that he who truly desires
favour must be mirrored in his virtues.
On the opposite side will be represented Fortitude, in like manner
in her place with her pillar in her hand, robed in white, to signify
... And all crowned; and Prudence with 3 eyes. The housing of the
horse should be of plain cloth of gold closely sprinkled with
peacock's eyes, and this holds good for all the housings of the
horse, and the man's dress. And the man's crest and his neck-chain
are of peacock's feathers on golden ground.
On the left side will be a wheel, the centre of which should be
attached to the centre of the horse's hinder thigh piece, and in the
centre Prudence is seen robed in red, Charity sitting in a fiery
chariot and with a branch of laurel in her hand, to signify the hope
which comes of good service.
[21] Messer Antonio Grimani of Venice companion of Antonio Maria
[23].
[Footnote: _Messer Antonio Gri_. His name thus abbreviated is, there
can be no doubt, Grimani. Antonio Grimani was the famous Doge who in
1499 commanded the Venetian fleet in battle against the Turks. But
after the abortive conclusion of the expedition--Ludovico being the
ally of the Turks who took possession of Friuli--, Grimani was driven
into exile; he went to live at Rome with his son Cardinal Domenico
Grimani. On being recalled to Venice he filled the office of Doge
from 1521 to 1523. _Antonio Maria_ probably means Antonio Maria
Grimani, the Patriarch of Aquileia.]
675.
Fame should be depicted as covered all over with tongues instead of
feathers, and in the figure of a bird.
676.
Pleasure and Pain represent as twins, since there never is one
without the other; and as if they were united back to back, since
they are contrary to each other.
[6] Clay, gold.
[Footnote: 7. _oro. fango_: gold, clay. These words stand below the
allegorical figure.]
If you take Pleasure know that he has behind him one who will deal
you Tribulation and Repentance.
[9] This represents Pleasure together with Pain, and show them as
twins because one is never apart from the other. They are back to
back because they are opposed to each other; and they exist as
contraries in the same body, because they have the same basis,
inasmuch as the origin of pleasure is labour and pain, and the
various forms of evil pleasure are the origin of pain. Therefore it
is here represented with a reed in his right hand which is useless
and without strength, and the wounds it inflicts are poisoned. In
Tuscany they are put to support beds, to signify that it is here
that vain dreams come, and here a great part of life is consumed. It
is here that much precious time is wasted, that is, in the morning,
when the mind is composed and rested, and the body is made fit to
begin new labours; there again many vain pleasures are enjoyed; both
by the mind in imagining impossible things, and by the body in
taking those pleasures that are often the cause of the failing of
life. And for these reasons the reed is held as their support.
[Footnote: 676. The pen and ink drawing on PI. LIX belongs to this
passage.]
[Footnote: 8. _tribolatione_. In the drawing caltrops may be seen
lying in the old man's right hand, others are falling and others
again are shewn on the ground. Similar caltrops are drawn in MS.
Tri. p. 98 and underneath them, as well as on page 96 the words
_triboli di ferro_ are written. From the accompanying text it
appears that they were intended to be scattered on the ground at the
bottom of ditches to hinder the advance of the enemy. Count Giulio
Porro who published a short account of the Trivulzio MS. in the
"_Archivio Storico Lombardo_", Anno VIII part IV (Dec. 31, 1881) has
this note on the passages treating of "_triboli_": "_E qui
aggiungerò che anni sono quando venne fabbricata la nuova
cavallerizza presso il castello di Milano, ne furono trovati due che
io ho veduto ed erano precisamente quali si trovano descritti e
disegnati da Leonardo in questo codice_".
There can therefore be no doubt that this means of defence was in
general use, whether it were originally Leonardo's invention or not.
The play on the word "_tribolatione_", as it occurs in the drawing
at Oxford, must then have been quite intelligible.]
[Footnote: 9--22. These lines, in the original, are written on the
left side of the page and refer to the figure shown on PI. LXI. Next
to it is placed the group of three figures given in PI. LX No. I.
Lines 21 and 22, which are written under it, are the only
explanation given.]
Evil-thinking is either Envy or Ingratitude.
677.
Envy must be represented with a contemptuous motion of the hand
towards heaven, because if she could she would use her strength
against God; make her with her face covered by a mask of fair
seeming; show her as wounded in the eye by a palm branch and by an
olive-branch, and wounded in the ear by laurel and myrtle, to
signify that victory and truth are odious to her. Many thunderbolts
should proceed from her to signify her evil speaking. Let her be
lean and haggard because she is in perpetual torment. Make her heart
gnawed by a swelling serpent, and make her with a quiver with
tongues serving as arrows, because she often offends with it. Give
her a leopard's skin, because this creature kills the lion out of
envy and by deceit. Give her too a vase in her hand full of flowers
and scorpions and toads and other venomous creatures; make her ride
upon death, because Envy, never dying, never tires of ruling. Make
her bridle, and load her with divers kinds of arms because all her
weapons are deadly.
Toleration.
Intolerable.
No sooner is Virtue born than Envy comes into the world to attack
it; and sooner will there be a body without a shadow than Virtue
without Envy.
[Footnote: The larger of the two drawings on PI. LXI is explained by
the first 21 lines of this passage. L. 22 and 23, which are written
above the space between the two drawings, do not seem to have any
reference to either. L. 24-27 are below the allegorical twin figure
which they serve to explain.]
678.
When Pluto's Paradise is opened, then there may be devils placed in
twelve pots like openings into hell. Here will be Death, the Furies,
ashes, many naked children weeping; living fires made of various
colours....
679.
John the Baptist
Saint Augustin
Saint Peter
Paul
Elisabeth
Saint Clara.
Bernardino
Our Lady Louis
Bonaventura
Anthony of Padua.
Saint Francis.
Francis,
Anthony, a lily and book;
Bernardino with the [monogram of] Jesus,
Louis with 3 fleur de lys on his breast and
the crown at his feet,
Bonaventura with Seraphim,
Saint Clara with the tabernacle,
Elisabeth with a Queen's crown.
[Footnote: 679. The text of the first six lines is written within a
square space of the same size as the copy here given. The names are
written in the margin following the order in which they are here
printed. In lines 7--12 the names of those saints are repeated of
whom it seemed necessary to point out the emblems.]
List of drawings.
680.
A head, full face, of a young man
with fine flowing hair,
Many flowers drawn from nature,
A head, full face, with curly hair,
Certain figures of Saint Jerome,
[6] The measurements of a figure,
Drawings of furnaces.
A head of the Duke,
[9] many designs for knots,
4 studies for the panel of Saint Angelo
A small composition of Girolamo da Fegline,
A head of Christ done with the pen,
[13] 8 Saint Sebastians,
Several compositions of Angels,
A chalcedony,
A head in profile with fine hair,
Some pitchers seen in(?) perspective,
Some machines for ships,
Some machines for waterworks,
A head, a portrait of Atalanta raising her
face;
The head of Geronimo da Fegline,
The head of Gian Francisco Borso,
Several throats of old women,
Several heads of old men,
Several nude figures, complete,
Several arms, eyes, feet, and positions,
A Madonna, finished,
Another, nearly in profile,
Head of Our Lady ascending into Heaven,
A head of an old man with long chin,
A head of a gypsy girl,
A head with a hat on,
A representation of the Passion, a cast,
A head of a girl with her hair gathered in a knot,
A head, with the brown hair dressed.
[Footnote: 680. This has already been published by AMORETTI _Memorie
storiche_ cap. XVI. His reading varies somewhat from that here
given, _e. g._ l. 5 and 6. _Certi Sangirolami in su d'una figura_;
and instead of I. 13. _Un San Bastiano_.]
[Footnote: 680. 9. _Molti disegni di gruppi_. VASARI in his life of
Leonardo (IV, 21, ed. MILANESI 1880) says: "_Oltreché perse tempo
fino a disegnare_ gruppi _di corde fatti con ordine, e che da un
capo seguissi tutto il resto fino all' altro, tanto che s'empiessi
un tondo; che se ne vede in istampa uno difficilissimo e molto
bello, e nel mezzo vi sono queste parole: Leonardus Vinci
Accademia_". _Gruppi_ must here be understood as a technical
expression for those twisted ornaments which are well known through
wood cuts. AMORETTI mentions six different ones in the Ambrosian
Library. I am indebted to M. DELABORDE for kindly informing me that
the original blocks of these are preserved in his department in the
Bibliothèque Nationale in Paris. On the cover of these volumes is a
copy from one of them. The size of the original is 23 1/2
centimetres by 26 1/4. The centre portion of another is given on p.
361. G. Govi remarks on these ornaments (_Saggio_ p. 22): "_Codesti
gruppi eran probabilmente destinati a servir di modello a ferri da
rilegatori per adornar le cartelle degli scolari (?). Fregi
somigliantissimi a questi troviamo infatti impressi in oro sui
cartoni di vari volumi contemporanei, e li vediam pur figurare nelle
lettere iniziali di alcune edizioni del tempo._"
Dürer who copied them, omitting the inscription, added to the second
impressions his own monogram. In his diary he designates them simply
as "_Die sechs Knoten_" (see THAUSING, Life of A. Dürer I, 362,
363). In Leonardo's MSS. we find here and there little sketches or
suggestions for similar ornaments. Compare too G. MONGERI, _L'Arte
in Milano_, p. 315 where an ornament of the same character is given
from the old decorations of the vaulted ceiling of the Sacristy of
S. Maria delle Grazie.]
[Footnote: 680, 17. The meaning in which the word _coppi_, literally
pitchers, is here used I am unable to determine; but a change to
_copie_ seems to me too doubtful to be risked.]
681.
Stubborn rigour.
Doomed rigour.
[Footnote: See PI. LXII, No. 2, the two upper pen and ink drawings.
The originals, in the Windsor collection are slightly washed with
colour. The background is blue sky; the plough and the instrument
with the compass are reddish brown, the sun is tinted yellow].
682.
Obstacles cannot crush me
Every obstacle yields to stern resolve
He who is fixed to a star does not change
his mind.
[Footnote: This text is written to elucidate two sketches which were
obviously the first sketches for the drawings reproduced on PL LXII,
No. 2.]
683.
Ivy is [a type] of longevity.
[Footnote: In the original there is, near this text, a sketch of a
coat wreathed above the waist with ivy.]
684.
Truth the sun.
falsehood a mask.
innocence,
malignity.
Fire destroys falsehood,
that is sophistry, and
restores truth, driving out
darkness.
Fire may be represented as the destroy of
all sophistry, and as the
image and demonstration of truth;
because it is light and drives
out darkness which conceals
all essences [or subtle things].
[Footnote: See PI. LXIII. L. 1-8 are in the middle of the page; 1.
9-14 to the right below; 1. 15-22 below in the middle column. The
rest of the text is below the sketches on the left. There are some
other passages on this page relating to geometry.]