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86. Beatis 1979, 132.
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87. On Pacifica Brandano, see Pedretti 1957, 138–9; Ammirato 1637, 3.134–5. Pacifica and Giuliano’s illegitimate son, Ippolito, was created a cardinal by Pope Clement VII. On Isabella Gualanda, see Vecce 1990. 她的朋友科斯坦扎·达瓦洛斯，弗兰卡维拉公爵夫人，也曾被游说过；最早是被阿道夫·文图里游说，这被记录在了《意大利美术史》中（Storia dell’arte in Italia ，Milan，1925，9.37–42）。埃内亚· 伊尔皮诺的一首诗似乎暗示，她在这幅列奥纳多为她绘制的肖像画里披着黑纱，尽管支持瓜兰达观点的人认为这首诗指的是瓜兰达。近年有人认为她是卡泰丽娜·斯福尔扎，即加莱亚佐·玛利亚公爵的私生女。这种猜测的根据是《蒙娜丽莎》和洛伦佐·迪·克雷迪早前为卡泰丽娜所作的肖像画非常相似。对弗洛伊德来说，这著名的似笑非笑的表情是列奥纳多对母亲的记忆；对另一些人而言，这幅画是一幅理想化的肖像，画家没有特别要画谁，只是对“纯真”的描绘。面对种种谜团，坎普为《阳台上的圣母》（Portrait of a Lady on a Balcony ）写了简明的图说（Kemp 1981），但这不能说服那些深信她其实是“他”，或是列奥纳多自己易装成模特的人。
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88. Beatis 1979, 133–4.
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89. Shell and Sironi 1991.
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90. 有关文献的一个奇特之点是，在那份罗列了萨莱物品的原始清单中，这幅画没有被称为“La Joconda”，而是被称为“La Honda”。如果我们忽略多余的拉丁字母h，就可以得出一个有趣的观点，即这份清单的记录者认为这幅画应该叫“La Onda”，即“波浪”。遵从严格的时间排序的话，这是这幅画第一个已知的标题。
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91. Zöllner 1993, 118.策尔纳进一步怀疑皮耶罗·德尔·乔康达是否是瓦萨里关于这幅画的消息来源，但瓦萨里可能还有更好的来源——丽莎本人。1539年时，她肯定还活着，那时她将基安蒂的一处房产转到女儿卢多维卡的名下，朱塞佩·帕兰蒂发现了相关文件（Sunday Telegraph , 1 August 2004）；蒙娜丽莎本人可能活到了1551年。在瓦萨里写这幅画的故事、阐述他的观点时，她还健在：那些认为模特另有其人说法的拥护者竟忽视了这简单的人为因素。
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92. Sassoon 2001, 113–15, citing Gautier’s review of Paul Foucher’s play La Joconde (1855), and his Les dieux et les demi –dieux de la peinture (Paris, 1865). Gautier was the dedicatee of Baudelaire’s Les Fleurs du mal (Paris, 1857), which includes a fine poem mentioning Leonardo, ‘Les phares’ (‘Beacons’): ‘Léonard de Vinci, miroir profond et sombre …’–‘Leonardo da Vinci, deep dark mirror’.
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93. Sassoon 2001, 128, 98, citing the journals of Jules Michelet (ed. C. Digeon, Paris, 1976, 3.83) and Edmond and Jules de Goncourt (Paris, 1956, 1.719).
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94. See Yeats’s introduction to The Oxford Book of Modern Verse (Oxford, 1936), viii. Pater’s influential essay on Leonardo originally appeared in Fortnightly Review , November 1869. Sassoon discerns echoes of it in Joyce’s Portrait of the Artist as a Young Man (1916): see Sassoon 2002, 157–8. On the nineteenth–century ‘cult’ of Leonardo see also Severi 1992.
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95. Oscar Wilde, ‘The Critic as Artist’ (1890), in Complete Works (London, 1969), 1028–9. See also his short story ‘The Sphinx without a Secret’.
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96. E. M. Forster, A Room with a View (1907; repr. Harmondsworth 1955), 95.
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97. Somerset Maugham, Christmas Holiday (1939), 213; Berenson 1916, 1–4; T. S. Eliot, ‘Hamlet and his Problems’, in The Sacred Wood (1920, repr. 1960), 99.
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98. Full and entertaining accounts of the theft and its aftermath are in Sassoon 2002, 173– 210; McMullen 1975, 197–215. See also A. Manson, Le roman vrai de la IIIe République (Paris, 1957), vol. 3: ‘Le vol de la Joconde ’. For some cultural ramifications of the theft, see Leader 2002.
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99. Alfredo Geri, in McMullen 1975, 209.
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100. See Johannes Wilde, ‘The hall of the Great Council of Florence’, Journal of the Warburg and Courtauld Institutes 8 (1944), 65–81.
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101. Villata 1999, no. 183.
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102. ASF, Signori e collegi 106, 40v–41r (Villata 1999, no. 189). Cf. the later deliberazione authorizing payment of 45 florins for three months, April–June 1504 (ASF, Operai del Palazzo, Stanziamenti 10, 64v; Villata 1999, no. 194).
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103. ASF, Signori e collegi 106, 36r; Villata 1999, no. 187. For the activities of February in the next paragraph: ibid., no. 188.
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104. CA 1109r/398v–c, PC 2.382.
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105. CA 202a/74r–b, v–c, R 669. On Leonardo Dati see Pedretti 1972, 417–25.
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106. Istorie fiorentine , Bk 5, ch. 33, in Machiavelli 1966, 2.656–7.
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107. Numerous preparatory sketches, including battle studies (Accademia, Venice, nos. 214– 16; RL 12338–9), individual horsemen (RL 12340r; K 14v), horses in extremis (RL 12326r), and the superb figure studies and head studies at Budapest (Szépmüvészeti Muzeum, inv. nos. 1174, 1175). See Zöllner 2003, nos. 42–55
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108. A 30v–31r, ‘Modo di figurare una battaglia ’.
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109. Villata 1999, nos. 190–92. 1500年，列奥纳多完成了托瓦格利亚乡间别墅的草图。萨莱希望从列奥纳多对伊莉贝拉的请求的抗拒中获得好处：“列奥纳多·芬奇有个名叫萨莱的学生。他年纪轻轻但造诣匪浅，非常希望能为阁下您效劳。”（Luigi Ciocca to Isabella, 24 January 1505: ibid., no. 210）
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110. Amadori to Isabella, 3 May 1506: ibid., no. 227.
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