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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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81. M 4r. Cf. the purely scientific observation in CA728r/270r–a, c. 1510: ‘The strong wind kills the flame, the temperate wind feeds it.’ A similar emblem in G. Ruscelli, Emblemata (1583), bears the motto ‘Frustra ’ ( ‘Frustration’ or ‘Delay’ ).
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82. RL 12700. 旁边的另一句写着：“‘我不厌倦做有用的人’，这是一句狂欢节的格言。”这朵鸢尾花（Embolden 1987,126）也出现在Ar 251v上，日期大约是同一天。
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83. 一则边注写道：“烈火破坏了所有具有欺骗性的世故，只保留金子般的真理。”这句话中的用词类似化学或者炼金术用语：“世故”（sophistication）等同于“掺假”（adulteration）或“污浊”（impurity）。
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84. CA 522r/192r–a.接着还有另一次付款“200法郎，汇率是48索尔迪等于1法郎”（大概是500里拉或125斯库迪）。这次付款由作家让·格罗利耶的父亲、财政官员艾蒂安·格罗利耶执行。艾蒂安1509年9月逝世，一名学徒，很可能是洛伦佐，把他过世的消息记录在了同一页上。
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85. F, inside cover.要结婚的妹妹或是嫁给托马索·达·马佩洛的洛伦齐奥拉，她1536年成为寡妇；或是嫁给巴蒂斯塔·达·贝尔加莫的安杰利娜，她1524年成为寡妇。
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86. RL 12280. The recto which contains the list has geometric studies; the verso has a large anatomical drawing transferred from RL 12281.On the date of these sheets, see Clark and Pedretti 1968, 1.78.
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87. CA 669/247a.
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88. On Bossi, see DBI; Bossi 1982. Advice of Goethe: Pedretti 1998c, 122 n.6.
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89. Biblioteca Ambrosiana, Milan, SP6/13E/B1.f.100, 196.
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90. M. Armellini, Un censimento della città di Roma sotto il pontificato di Leone X (Rome, 1887), 79, 90; Pedretti 1998c, 128.
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91. RL 12515上的头像旁有一则笔记（“不必破坏它就可以将它移除”）表明，模特头上的辫子只是发饰。
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92. RL 12281. On the Fabbri gate, see L. Beltrami, La pusterla dei Fabbri (Milan, 1900); it is marked (as ‘fabbri’) on Leonardo’s sketch–map of Milan, RL 19115V. On Alfei and Bellincioni, see Bellincioni 1876, 241–2.A Cremonese woman mentioned by Leonardo in H 62v, c. 1493–4 (‘A nun lives at La Colomba in Cremona, who does good work with strawplait’), seems unlikely to be La Cremona.
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93. RL 12609.
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94. Paolo Maria Terzago, Museum Septalianum (Tortona, 1664), no. 33. 在贝尔加莫的绘画中，赤裸胸脯的女子被鲜花簇拥着。麦克马伦称她是《福洛拉》（Flora ）或《科伦拜恩》（Columbine ）的“表亲”（McMullen，1975，156–7）；后者出自梅尔齐之手，也藏于艾尔米塔什博物馆，尽管她没有摆出《蒙娜丽莎》的姿势。另外一幅著名的“裸体乔康达”是现藏于法国尚蒂伊的卷发海妖，用黑色粉笔画成，并且已经钻好孔，准备转移到画布上（McMullen 1975, 66–7）。佩尔·达恩在枫丹白露宫的绘画导览中为蒙娜丽莎辩解道：“她是一位品德高尚的意大利女子，而不是某些人认为的那种高级妓女。”他的辩护或许正是因为她的形象出现了这些不雅的流变。
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95. Ar 205v, PC 2.248–9.
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96. RL 19009r.
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97. RL 19016.
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98. K 48v.
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99. RL 19017r, R 1494 (text concerning muscles of the feet, beginning ‘Mondino says that…’) and RL 12281.
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100. RL 19063, R 1210.
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101. RL 19071r.
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102. RL 19000v, PC 2.114.
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