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56. On Bernazzano, see J. Shell and G. Sironi, ‘Bernardinus dictus Bernazanus de Marchixelis’, Arte Cristiana 78 (1990), 363ff. 弗朗切斯科·梅尔齐父亲和叔叔欠他30斯库迪的记录，为我们了解列奥纳多社交圈内部复杂的人际关系提供了一条线索，而我们几乎对此一无所知。He was a native of Inzago, near Milan: on his possible connection with a Last Supper fresco at Inzago, see n. 115.
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57. RL 12343r, 123 54r, 12356r (illustrated), 12360r, etc.; Zöllner 2003, nos. 74–86. These were first systematically distinguished from Sforza Horse studies by Clark: see Clark and Pedretti 1968, 1.xxvi–xli.
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58. CA 492r/179v–a, R 725.
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59. F 87r.
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60. F 15r; Pedretti 1995, 26. Cf. notes on the canalization of the Adda, c. 1508, CA 949r/345r–b.
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61. F 41V, R1123A; cf. two sketches of bats in flight on F 48V.
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62. Membranes of the bat’s wings: Tn 16r. Bats fly upside down: G 63v, c. 1510–11.
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63. F 59r, R 1148C.
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64. F 4v.
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65. RL 12689r, PC 2.127–8. Cf. F 41r, c. 1508: ‘The earth is not the centre of the sun’s orbit, nor the centre of the universe,’ which is relativist but not specifically Copernican.
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66. F 12r.
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67. The lungs of a pig: cf. RL 19054V. Avicenna: i.e. the eleventh–century Arab scientist Ibn Sina. ‘Map of Elefan’: possibly referring to the Siva temple at Ele–phanta, cf. the description of a temple in CA 775v/285r–c. ‘Maestro Mafeo’: perhaps Rafaello Maffei, whose encyclopaediac Anthropologia (1506) mentions the Last Supper , or the Veronese anatomist Girolamo Maffei, probably known to Leonardo via Marcantonio della Torre, also from Verona. The rising of the Adige: cf. Leic 20r, 23r.
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68. MS D is a ‘meditated version’ of earlier notes and a testing by ‘isperienza ’, or experiment, of established authorities (Avicenna, Alhazen) on the subject (Pedretti and Cianchi 1995, 25).
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69. RL 19007V.
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70. Pedretti 1965, 140.
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71. See Pedretti 1965 for a detailed reconstruction of Libro A.
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72. Ar 224r, 231v; Pedretti 1957, 90–98. 《大西洋古抄本》内曾有一页笔记（fol. 50），现在属于私人收藏，位于瑞士，这页笔记为场景布置和后台机械提供了更多的细节［C. Pedretti, RV 28 (1999), 186–97］。佩德雷蒂比较了这页画的配重系统和《巴黎手稿F》中的挖掘机的配重系统。在这页笔记的背面写着一段谈论水的简短的文字，这些文字可以与 Leic 18r–19v 和Ar 136r–137v上的内容联系在一起（Ar 136r–137v上的内容只是草稿，后来并入了《莱斯特古抄本》）。同样来自《阿伦德尔古抄本》的笔记页上还有关于乐器和音乐家的素描（音乐家素描是由列奥纳多的学生完成的），这些可能和音乐剧《奥菲欧》有关。
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73. RL 12282r; the profile is similar to one on Ar 137r.
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74. Corriere della sera , 13 September 2001; Guardian , 14 September 2001: ‘When restorers treated the work with alcohol and water to loosen it from its backing, the ink began to disappear.’ As well as in the Trivulzio estimate (see n. 58), the yellow–green ink is found in a study for the monument (RL 12356r), and in plans for the d’Amboise summer villa (see n. 6). A page with a sketch of the Trivulzio horse (CA 786v/29ov–b) has some heads gone over in the same ink by a pupil. See PC 2.15–17.
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75. Archivio storico italiano 3 (1842), 207; Lomazzo 1973, 2.156.
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76. CA 584r/218r–a.
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77. S. Daniel, The Worthy Tract of Paulus Jovius (London, 1585), translated from Giovio’s Dialogo dell’imprese (written shortly before his death in Florence in 1552, and published in 1555); devices based on this and other works appear in Shakespeare’s Pericles (c. 1608) 2.ii. See H. Green, Shakespeare and the Emblem Writers (London, 1885).
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78. On Renaissance emblems, see M. Corbett and R. Lightbown, The Comely Frontispece (London, 1979), 9–34; F. Yates, ‘The emblematic conceit in Giordano Bruno’s De gli eroici furori ’, Journal of the Warburg and Courtauld Institutes 6 (1943), 180–209. Other important collections are Gabriello Symeoni, Imprese eroiche e morali (Lyons, 1559), Scipione Ammirato, Il Roto (Naples, 1562) and Girolamo Ruscelli, Le imprese illustri (Venice, 1566).
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79. RL 12701, cf. rough sketches on RL 12282. 雷蒂试图将它们和列奥纳多1502年为切萨雷·波吉亚的服务联系起来（Reti 1959），但我们基本可以确定，这些素描的时间大概是1508年至1509年。
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80. Clark notes that the word ‘tale ’ is missing from the motto in the earlier sketch on RL 12282: in other words the final form refers to a specific protector (‘such a star’), presumably King Louis. See Clark and Pedretti 1968,1.179.
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