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1705658994
11. CA 611r/225r–b, R 1448. 根据瓦萨里描述，圣艾智德教堂的波尔蒂纳里家族礼拜堂内有一幅画，我们现在可以认为这是佛兰德大师汉斯·梅姆林绘于约1470年的《基督受难》（The Passions of Christ ，Galleria Sabauda，Turin）。这幅画对最后的晚餐戏剧化的表现可能影响了列奥纳多对同一主题的处理。See R. Papa, ‘Giuda, disordine e la grazia’, in Pedretti 1999.
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1705658996
12. On Dei, see DBI; L. Courtney, The Trumpet of Truth (Monash, Australia, 1992); and his Cronica , ed. R. Barducci (Florence, 1984). ‘In principio era buio ’: Pulci, Morgante maggiore (1482), canto 28, 42; P. Orvieto, Annali d’italianistica 1 (1983), 19–33.
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1705658998
13. See n. 50 below.
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1705659000
14. Landucci 1927, 33 and note.
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1705659002
15. On Bramante, see DBI; A. Bruschi, Bramante (London, 1977); Malaguzzi–Valeri, 1913–23, vol. 2: Bramante e Leonardo .
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1705659004
16. On Ambrogio and his family, see Shell 2000, 123–30.
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1705659006
17. Beltrami 1919, docs. 23–4. On the complex history of this painting, see Davies 1947; Sironi 1981; Marani 2003; Zöllner, Burlington Magazine 143 (2001), 35–7; Zöllner 2003, 223– 4.
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1705659008
18. Clark 1988,90–91. 这一论点的难点之一在于，这幅画是为了适配一个1482年制作的画框（马伊诺在1482年8月7日收到了制作画框的钱）。在一张蓝色预制纸上，画着幼年基督（BM 253a），这种纸就是列奥纳多在佛罗伦萨用的那种；但其他同种类纸上的素描有可能是他早年在米兰时画的（CA 1094r/ 394r–b; RL 12652r）。See PC 2.312.
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1705659010
19. ASM, Autografidei pittori 102/34, 10; Glasser 1977, 345–6. 一份文件明确显示，1484年12月28日，列奥纳多和德·普雷迪斯兄弟收到了730里拉，这笔报酬的支付时间可能也是他们完成卢浮宫绘画的时间（Shell and Sironi 2000），但马拉尼对具体的完工时间有所怀疑，他认为是1489年（Marani 2003, 7）。
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1705659012
20. For some of the links in this speculative chain, see Ottino della Chiesa 1967, 93–5; Marani 2001, 140–42; Gould 1975. On Ambrogio’s presence in Innsbruck, see Shell 1998a, 124; Malaguzzi–Valeri 1913–23, 3.7–8.
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1705659014
21. RL 12519. Cf. Clark and Pedretti 1968, 1.92; Clayton 2002, 55.
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1705659016
22. On the setting, see R. Papa, ‘Il misterio dell’ origine’, Art e dossier 159 (2000).
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1705659018
23. Embolden 1987, 125–32.
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24. Triv 6v, (R 891) with diagram.
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25. CA 184v/65v–b, R 1203, c. 1493.
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26. CA 950v/346v–a. ‘Spirits of wine’ = aqua vitae. Cf. B 3v: ‘Note how spirit collects in itself all the colours and scents of wild flowers.’
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1705659026
27. B 15v–16r (illustrated), 36r–39r, etc. The lavatory: 53r. 在位于乌尔比诺的费德里科·达·蒙特费尔特罗工作室中，弗朗切斯科·迪·乔治·马尔蒂尼完成了一幅主题为“理想城市”的绘画，他在米兰认识了列奥纳多。在城市规划的后期（见本章第25条注释），列奥纳多设想了一种将米兰分成10个卫星城的方案，每个卫星城有5000处住宅。Cf. Fors 3 64V, which studies an area between the Porta Romana and the Porta Tosa, representing one of these tenths.
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1705659028
28. CA 1059v/381v–b, c. 1485.
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1705659030
29. Daily Telegraph , 17 March 2000 (preparation) and 27 June 2000 (jump); Sunday Times , 2 July 2000. The ‘coated linen’ (pannolino intasato , literally ‘blocked–up linen’) of Leonardo’sspecification probably means starched.
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30. Inventory nos. JBS 17r, v (both illustrated), 18r, v. 其中一则讽喻画（18r）画了蛇、狐狸和老鹰，很明显带有政治寓意，但其实际寓意为何很模糊：see Kemp 1989, 156–7。
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31. Triv 96r, 98r; G. Perro, Archivio storico Lombardo 8, Pt 4 (1881); R 676n.
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32. RL 19097, c. 1493.
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33. Kunsthalle, Hamburg; Zöllner 2003, no. 396.
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34. Popham 1946, 58.
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35. On the handwriting of MS B, see Marinoni’s introduction to the facsimile edition, 1990; Calvi 1925, 45; Pedretti 1995, 22.
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