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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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111. For Michelangelo’s biography see DBI, s.v. Buonarroti; Bull 1996; Paul Barolsky, Michelangelo’s Nose: A Myth and its Maker (University Park, Pa., 1991). On the contemporary Life by Ascanio Condivi (1553), heavily influenced by Michelangelo himself, see Michelangelo 1987. On the rivalry with Leonardo, see Goffen 2002.
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112. Vasari 1987, 1.337–8; Goldscheider 1940, 9–10. 一页两面都画着列奥纳多素描的稿纸最近出现在法国（苏富比拍卖行2000年7月5日售出，据报道一名瑞士藏家以1.3万英镑的成交价买下）。这幅精美的素描用粉笔和墨水绘成，描绘了拿着棍子的大力神赫拉克勒斯。佩德雷蒂猜测，这可能和列奥纳多为《大卫》石雕做的工作有关（Guardian , 18 September 2000），其纪念碑风格可能是对《大卫》的呼应，而非对尚未被雕成《大卫》的石料的一个想法。这可能还与列奥纳多一条涉及雕塑的备忘录有关：1508年左右为皮埃尔弗朗切斯科·吉诺里创作的《赫拉克勒斯的功债》（see Part III n. 62）。
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113. Anthony Burgess, ‘Michelangelo: the artist as miracle worker’, Sunday Times , 2 February 1975.
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114. Archivio dell’Opera del Duomo, Deliberazioni 1496–1507, 186; Villata 1999, no. 186.
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115. Landucci 1927, 213–14.
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116. 朱塞佩·佐基很久以后描绘圣三一广场的画作展现了宫殿北面和西面的墙，依然没有凉廊，一小群人聚集在西南角接近桥的地方，那里可能是凉廊的起点。See the reproduction in Hibbert 1994, 209.
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117. Michelangelo to Giovanni Francesco Fattucci, 1523, in P. Barocchi and R. Ristori, eds., Il carteggio di Michelangelo (Florence, 1965–79), 3.7–9.
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118. Vasari 1987, 1.341–2. Documents in the Fondazione Herbert Horne, Florence, confirm Vasari’s statement about Michelangelo’s tenancy of Sant’Onofrio. See L. Morozzi, ‘La Battaglia di Cascina di Michelangelo: nuova ipotesi sulla data di commisssione’, Prospettiva 53 (1988– 9), 320–24.
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