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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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103. Edward Lucie Smith, ‘Leonardo’s anatomical drawings’, Illustrated London News , November 1979, 94–5.
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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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111. CA 173r/61r–b; Embolden 1987, fig. 36. Cupolas: CA 414b/153r–e; Embolden 1987, fig. 37. See also RL 19107V, with architectural studies of Villa Melzi, and a bird’s wing related to flight studies in MS E. An engraving of Villa Melzi by Telemaco Signorini, c. 1885, is in Nanni and Testaferrata 2004, fig. 38.
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112. RL 19077V. On the siege of Trezzo, see Clark and Pedretti 1968, 3.32; L. Beltrami, Miscellanea Vinciana 1 (Milan, 1923).
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113. RL 12579.
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114. Clark 1988, 237–8; see also Clayton 2002, 68–71, on two other portraits of aged men (RL 12499, 12500): ‘An old bearded man drawing an old bearded man cannot have been oblivious to an element of self–portraiture.’
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115. RL 12726; Clayton 2002, 110. On the copy at the Biblioteca Ambrosiana, Milan, see L. Beltrami, ‘Il volto di Leonardo’, Emporium 49 (1919), 5. As well as the woodcut portraits in Vasari’s Lives (1568 edn) and Giovio’s Imagines clarorum virorum (1589), there are painted portraits in the Museo Giovio, Como (1536); in the Uffizi (late sixteenth century: see Ottino della Chiesa 1967, 85); and in a private collection (triple portrait showing Dürer, Leonardo and Titian, attributed to the workshop of Angelo Bronzino, c. 1560–65; see Vezzosi 1997, 128.) 因扎戈的圣罗科教堂中有一幅《最后的晚餐》壁画，壁画被修复后，有许多人认为这就是列奥纳多1500年左右绘制的那幅，而且其中还包括列奥纳多的自画像：画中那位蓄胡子的门徒（Times , 24 April 2000）。但这种说法无法自圆其说：画中的门徒年纪太大，不可能是列奥纳多1500年左右的自画像，那时他才48岁；就像我之前说的，那时候的列奥纳多长得像布拉曼特在帕尼伽罗拉府的壁画中的赫拉克利特。然而，这位门徒的确和列奥纳多晚年蓄着胡子的肖像有几分相似，如果将这幅壁画的年代重新定在1512年左右或之后，那么这是他的自画像的说法就很好理解了，虽然这幅自画像画得不是很好。根据壁画的年代，还有另一种可能，即这幅壁画由列奥纳多风格艺术家贝尔纳赞诺绘制，而且他是因扎戈本地人（生于1492年）。
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116. RL 12300v, tentatively accepted as a portrait of Leonardo by Clark (Clark and Pedretti 1.17) and more enthusiastically by Clayton (2002, 110–12).
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117. See, for example, reverse images found on the versos of one of the Madonna and Child with a Cat drawings (BM 1826–6–21–1v); of a sketch for the Trivulzio monument (RL 12356v); of the template for the Burlington House cartoon (BM 1875–6–12–17V); and many others.
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