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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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1705662201
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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1705662207
103. Edward Lucie Smith, ‘Leonardo’s anatomical drawings’, Illustrated London News , November 1979, 94–5.
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1705662209
104. Kemp 1981, 270–77; RL 19099V; Embolden 1987, 93–4.
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105. Beltrami 1919, doc. 206.
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106. G 1r. Further observations on the Brianza lakes: CA 740r/275r–a.
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107. Mountains on red paper: RL 12410–16. ‘Gravel stones are whiter than the water’ : RL 12412.
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108. RL 12416.
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109. RL 19092v, R 1436.
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110. RL 12400. 坎普有一张今天的阿达河同一段的照片（1989, 73）。
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