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61. The treatise on ‘mechanical elements’ is referred to in a note of 1502 about efficient wheel–sizes on a cart, ‘as I showed in the first of the 5th [chapter] of the Elements’ (L 72r), and in later sheets: RL 19009r, c. 1510, and CA 10r/2r–a, c. 1515. The ‘book on physics’ is a lost work contemporary with Fors 22, c. 1495–7, which also covers physics (or ‘de ponderibus ’ – ‘the science of weights’), gravity, percussion, etc. See Pedretti 1995, 35.
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62. Ma I 12v.
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63. Ma I 100v; Reti 1968, pt 1, 16–17: the formula given by Leonardo is ‘a hard tin–copper compound (SnCu3) embedded in a softer tin–copper alloy’.
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64. Ma I 4r, 16r, Fors 22, 65r, v; Rosheim 2001.
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65. CA 812r/296v–a. Repubblica , 24 April 2004: the reconstruction consisted of an exhibition model (170×150 cm), a working model (50×60 cm) and interactive digital designs (http:// www.imss.fi.it). On Verrocchio’s clock, see Vasari 1987, 1.240: the putto’s ‘arms are raised to sound the hours with a hammer held in his hands’, which ‘was considered very attractive and novel at the time’.
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66. Rosheim 2001, 23.
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67. Lomazzo 1973, 1.299, 2.96.
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68. Arrival of Caterina: Fors 3 88r. Payments to her (two of 10 soldi each), 29 January 1494: H3 64v. Funeral expenses: Fors 2 64v.
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69. Freud 2001, 75–6. Cf. Eissler 1962, app. C; Fumagalli 1952, 56. Fors 3 88v（记录了卡泰丽娜到来的那页纸的背面）上有一串名字写着，“安东尼奥、巴尔托洛梅奥、露西娅、皮耶罗、列奥纳多”，维切将名单解读为列奥纳多的祖父母安东尼奥和露西娅，以及他的父亲皮耶罗；唐突出现的家谱和他母亲最近的到访似乎有关（Vecce 1998, 142）。但是巴尔托洛梅奥不可能是列奥纳多同父异母的弟弟，维切说明，直到1497年他才出生。一条不完整的笔记上（CA 195r/71r–a, PC 2.310）写着：“如果卡泰丽娜想做，请告知我。”笔记可能是指他的母亲，但这比她到来的时间早得多，大概是1480年。
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70. Fors 3 14r, 17V, 20V, 43V, 44V, 47V.
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71. H 16v, 33v.
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72. H 64v, 65V, 41r, 38r, 109r, 124V. A visit to Cremona (H 62v) may also have been made at this time: see Part VII n. 92.
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73. H 4or. On the political background of these emblems, see Solmi 1912, Reti 1959. 那个年轻的黑人男孩的头部素描（H 103V）可能暗指“摩尔人”。斯福尔扎城堡中有一幅讽喻画（PC 2.214），画的是一名黑人仆人（卢多维科）为一位淑女（意大利）刷衣服。
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74. H 130V.
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75. The caption (H 288v) is separate from the drawing (Musée Bonnat, Bayonne, 656; Popham 1946, no. 109b), but obviously refers to it.
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76. I1138v; cf. related drawing in RL 12497. Leonardo introduces Poverty with the word‘ancora’ in the narrative sense of ‘then’ (‘Then the frightening figure of Poverty comes running’ etc.), which suggests he is thinking of a dramatic representation rather than a pictorial image.
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77. CA866r/315v–a. On Bascapé: PC 2.296. 贝林乔尼给他写了一首谄媚的十四行诗，拜托他去请求“摩尔人”允许他发表他的诗作（R 1344n）。
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78. H 31v.
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79. H 105r.
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80. Noyes 1908, 173–5.
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81. Vecce 1998,149–51; M. Sanudo, La spedizione di Carlo VIII (Venice, 1873), 118–19.
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82. CA 914r/335v–a.
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83. Bandello: see Part IV n. 121.
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84. 在温琴佐·班代洛1487年12月4日写给院长的信中［Archivio storico Lombardo 1 (1874), 33–4］，卢多维科罗列了他委托并且付款给感恩修道院的项目（讲坛、圣器室、宿舍等）。他提到的“绘画”可能特指列奥纳多的作品：蒙托尔法诺镇的壁画由修道院院长本人亲自委托。除了《最后的晚餐》，列奥纳多在感恩修道院教堂还画了两幅作品：在修道院和教堂之间门上的《救世主基督》（Redentore） ；位于教堂主入口上方半圆壁的《圣母升天》（Assunta ），1603年扩建这扇门时，这件作品遭到破坏。第一幅画或许和米兰布雷拉画廊收藏的基督头像有关，这可能是一幅后来重新绘制过的列奥纳多作品。绘有卢多维科、比娅特丽斯和他们孩子的小幅油画肖像，分散在蒙托尔法诺镇湿壁画的各个角落，现在几乎难以辨认，也都是列奥纳多的作品。
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85. RL 12542. 这张纸下方的几何学笔记及素描可能与卢卡·帕乔利的《算数、几何与比例集成》有关，列奥纳多有一本。如果真是这样，后者的出版时间（1494年11月10日）应是这幅构图草图的绘制时间。
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