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119. Ma II 128r, PC 1.327; L 79r. Cf. E 19v–20r, a passage beginning ‘O anatomical painter’, warning against an over–emphasis on ‘bones, sinews and muscles’ making a painting ‘wooden’.
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120. RL 12591r.
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121. Ar 148r–v, 149v.
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122. CA 877r/319r–b, partially transcribed R 1534, addenda in PC 2.378.
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123. CA 196r/ 71v–b, R 1526.
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124. Ar 272r, R 1372; cf. Eissler 1962, app. C.
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125. CA 178r/62v–a, R 1373A. Pedretti thinks the script, though written left to right, is ‘the type of handwriting found in the studies for the Arno canal’, i.e. 1503–4 (PC 2.319). The mechanical wing on the recto is reproduced in RV 17 (1954), fig. 6.
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126. CA 541v/202v–a.
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127. Ar 271v. ‘Jacopo Tedesco’, charged at 1 carlino per day for board and lodging, paid 15 grossini on 9 August and 1 florin on 12 August.
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128. Ma II 2v–3r. See Reti 1968, pt 2; Maccagni 1974.
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129. RL 12676r On Il Botro see Part VII n. 26.
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130. CA 765v/282 v–b.
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131. At the castle: Ma II 24V, with a note beside it, ‘The ditch which I am straightening’. Demonstration: Ma II 25r (he actually writes ‘on the last day of November, All Saint’s Day’: another calendar mistake). Drying the marshland: CA 381r/139r–a. 这些排水和挖沟项目似乎呼应了近期中止的阿尔诺河分流计划：说明他的专业知识没有浪费。
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132. Ma II 125r, PC 2.189.
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133. RL 12665r; see introduction n. 10.
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134. Ma II 112r.、
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135. Villata 1999, nos. 211–12.
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136. Tn 18r; Villata 1999, no. 218. Cf. Ma II 2r, ‘Saturday morning, 1 florin to Lorenzo’. In a memorandum of c. 1504–5 (CA 331r/120r–d, R1444) Leonardo writes, ‘Garzone che mi faccia il modello ’ (‘An assistant who could be a model for me’). Villata suggests this is Lorenzo, and that he was the model for the announcing angel on RL 12328r and the Louvre St John. See Villata 1999,184 n. 1, and RV 27 (1997).
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137. GDA 19.516–7, s.v. Llanos and Yañez. 一位名叫费尔南多·利亚诺斯（Fernando Llanos）的同事的存在，使人们对“费兰多·斯帕尼奥洛”（Ferrando Spagnolo）就是费尔南多·亚涅斯（Fernando Yañez，可能也是“西班牙的费兰多”）这件事产生了怀疑。根据文献记录，他们1506年至1510年一起在巴伦西亚工作。但利亚诺斯的最晚记录是1516年，而亚涅斯则一直活到1531年。他们都在意大利接受培训，伊莎贝尔·马特奥·戈麦斯说，“他们将创新带到了文艺复兴时期的巴伦西亚绘画中”，亚涅斯更有天赋，他的作品比他的同事“更为古典、安静、清晰，构图也更广阔”。手稿H 94r–v上提到的“费兰多”可能也是他，他15世纪90年代曾在米兰逗留；这个名字出现在建筑师贾科莫·安德烈亚旁边。For another reference to a ‘Ferrando’ painting in Milan in 1494 see Vecce 1998, 152. 他可能也是列奥纳多米兰工作室的一员，尽管这在文献中没有体现。
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138. Ma II 2r.
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139. Tavola Doria (private coll., Munich): Zöllner 2003, 242–3. Zacchia engraving: Vecce 1998, plate 40. On the Rubens engraving see Zöllner 1991; there are copies of it in the Royal Collection at The Hague and the Armand Hammer collection in Los Angeles, and an engraving of it by Gerard Edelink (British Museum).
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140. Villata 1999, no. 221.
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141. Letter to Alberto Lollio, 17 August 1549, in A. F. Doni, Disegno (Venice, 1549), 47v–48r.
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142. On the layout of the Council Hall, and difficulties of interpreting the evidence, see Rubinstein 1995, 73–5; Johannes Wilde (see n. 100), 75ff.
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143. Newton and Spencer 1982.
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