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49. An ‘artificial’ malachite, a precipitate of copper salts, was also used: it is found in the landscape of Uccello’s Battle of San Romano (National Gallery, London), dating from the 1430s; see Dunkerton and Roy 1996, 28, 31.
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50. CA 704bv/262r–c; cf. a similar recipe in CA 195v/71v–a (R 619), a sheet containing fragments of poetry datable to c. 1480.
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51. Villata 1999, no. 17. The Ingesuati, whose monastery stood outside the Porta a Pinti,were another of Ser Piero da Vinci’s clients (Cecchi 2003, 123).
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1705663257
52. Dull landscapes: CU 33v, McM 93. Indecorous Annunciation : CU 33r, McM 92. 现存乌菲兹美术馆的波提切利的《天使报喜》，不是唯一遭到列奥纳多批评的作品（see, for example, Luca Signorelli’s, Johnson Coll., Philadelphia)。‘Sandro!’: CA 331r/120r–d；这里的争论可能是波提切利在后萨伏那洛拉时期的宗教狂热，与科学拥趸列奥纳多之间更深层次的断裂的伏笔。（Argan 1957, 127f.)
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53. Baxandall 1988, 111–14. 乔瓦尼·桑蒂斯是乌尔比诺公爵的御用画师。这首诗表面上的背景是公爵在1482年春天到访佛罗伦萨，但这些诗句似乎写得更早。1482年时，佩鲁吉诺大概33岁，而列奥纳多30岁，因此他们都不再是“少年”了，也都离开了佛罗伦萨。这首诗也赞扬了吉兰达约、菲利皮诺·利比、波提切利和卢卡·西尼奥雷利。短语“par d’amori”可能意味着“喜欢他们的人数一样”，也就是同样受人钦佩。
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54. On Credi’s Annunciation (Louvre), see Marani 1999, 67–8; Zöllner 2003, 220.
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55. GDA 19.675, s.v. Lorenzo di Credi; Covi 1966.
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56. Contracts for Piero della Francesca’s Madonna della Misericordia , San Sepolcro, 1445, and Filippino’s Strozzi–chapel frescos, 1487: Baxandall 1988, 20–21.
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57. According to Vasari, the Pollaiuolo Tobias (Gall. Sabauda, Turin) was by both brothers in collaboration, and was painted for the guild hall of Orsanmichele (Vasari 1987, 2.74).
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58. Brown 2000, 14–19; cf. W. Suida, ‘Leonardo’s activity as a painter’, in Marazza 1954, 315–29.
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59. Scalini 1992, 62–3.
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60. Landucci 1927, 33, 42. Gostanzo ‘won twenty palii [in various cities] with his Barbary horse, Draghetto’ – the ‘Little Dragon’.
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61. CA 629av/231v–b, R 707. 背面的建筑设计图案是他1508年前后为夏尔·德安布瓦兹设计的夏季别墅，说明这部“喜剧”是为这位在米兰的法国人准备的。‘Birds which can fly’: Lomazzo 1584, 106.
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62. Baxandall 1988, 71–6; Ventrone 1992, 57–9.
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63. Martines 2003, 14.
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64. Lubkin 1999, app. 4.
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65. Machiavelli, Istorie Fiorentine , Bk 7, ch. 28 (Machiavelli 1966, 2.729).
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66. Coll. Bartolini–Salimbeni, Florence.这幅画有时会被认为是由乔瓦尼·巴蒂斯塔·贝尔图奇（或乌蒂利）所绘。
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67. 1987, 1.235–6. 我们今天看到的球体已经不是韦罗基奥的作品了，他的原作已在1600年1月17日那个电闪雷鸣的夜晚中被摧毁。1602年3月，球体被替换，并留存至今，现在的球体比韦罗基奥的原作要大。
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68. Landucci 1927, 9, and note citing entries in the Quaderno di Cassa of the Opera del Duomo.
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69. G 84v.
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70. Vasari 1987, 1.146–7.安东尼奥·马内蒂的早期传记未曾提到这一事件。
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71. On the construction of the dome, see King 2001, 83–107; R. Mainstone, ‘Brunelleschi’s dome of S. Maria del Fiore’, Transactions of the Newcomen Society 42 (1969–70), 107–26.
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72. Kemp 1989, 219–22, on which this paragraph is based. See also Pedretti 1976, 9–13; Reti 1965. 在一页1478年的纸上的布鲁内莱斯基的机械细节提出了较晚的日期（Uffizi GDS 446E） 。
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73. Reversible hoist or collo grande (illustrated): CA, 1083v/391v (Kemp 1989, plate 120). On this device, also called the ‘ox hoist’, and a drawing of it by Mariano Taccola, see King 2001, 58–61. Revolving crane: CA 965r /349r–a (Kemp 1989, plate 121). Crane on rails: CA 808r/295r–b (Pedretti 1976, plate 7).
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