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53. On Renaissance ‘lost–wax’ casting techniques: Cole 1983, 124–5. On Leonardo’s modifications of the technique: CA 976r/352r–c, PC 2.12; Kemp 1981, 205–7.
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54. RL 12346.
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55. RL 12349. 这页纸可以追溯到1492年；内容包括一小段文字，讲述了学习不感兴趣之事带来的不便，这段话几乎一字不落地在BN 2038 34 （formerly MS A, dated 10 July 1492）中又重申了一遍。温莎城堡皇家图书馆馆藏稿纸上的滑轮和齿轮可以和A 62r上的内容比较，他在这页纸上也按照一定比例画了两个马头。
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56. Ma II 140r (illustrated).
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57. Vasari 1878–85, 4.276; Vecce 1998, 138–9. Sangallo’s design for a palazz o for Il Moro is in the Vatican, Codex Barberiniano Latino 4424, 15v.
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58. The height of 12 braccia (Ma II 151v) is confirmed by Luca Pacioli (Divina proportione , preface); see R. Cianchi, RV 20 (1964), 277–97, for other contemporary statistics and estimates. 1977年，美国飞行员和艺术收藏家查尔斯·登特希望根据列奥纳多的笔记和素描，重新制作这匹马：最终成品（高23英尺，重13吨）由妮娜·阿库穆雕刻，1999年在米兰圣西罗赛马场亮相（Neil Ascherson, Observer , 25 July 1999)。芬奇镇的主广场上矗立着一座小一些的复制品，这尊雕塑的成本在600万美元左右。
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59. Taccone: see Part IV n. 120. Lancino Curzio, Epigrammaton et sylvarum libri (Milan, 1521), 1.7r, 49r. 人们通常认为这匹马的展览地点是城堡前的广场，但在比娅特丽斯·斯福尔扎1493年12月29日写给姐姐伊莎贝拉·德埃斯特的信中，她说弗朗切斯科·斯福尔扎的骑行雕像立在大教堂的一座凯旋门下（Archivio di Stato, Mantua, Vigevano E49/2; Vecce 1998, 145）。
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60. Ma II 151v.
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61. The treatise on ‘mechanical elements’ is referred to in a note of 1502 about efficient wheel–sizes on a cart, ‘as I showed in the first of the 5th [chapter] of the Elements’ (L 72r), and in later sheets: RL 19009r, c. 1510, and CA 10r/2r–a, c. 1515. The ‘book on physics’ is a lost work contemporary with Fors 22, c. 1495–7, which also covers physics (or ‘de ponderibus ’ – ‘the science of weights’), gravity, percussion, etc. See Pedretti 1995, 35.
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62. Ma I 12v.
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63. Ma I 100v; Reti 1968, pt 1, 16–17: the formula given by Leonardo is ‘a hard tin–copper compound (SnCu3) embedded in a softer tin–copper alloy’.
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64. Ma I 4r, 16r, Fors 22, 65r, v; Rosheim 2001.
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65. CA 812r/296v–a. Repubblica , 24 April 2004: the reconstruction consisted of an exhibition model (170×150 cm), a working model (50×60 cm) and interactive digital designs (http:// www.imss.fi.it). On Verrocchio’s clock, see Vasari 1987, 1.240: the putto’s ‘arms are raised to sound the hours with a hammer held in his hands’, which ‘was considered very attractive and novel at the time’.
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66. Rosheim 2001, 23.
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67. Lomazzo 1973, 1.299, 2.96.
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68. Arrival of Caterina: Fors 3 88r. Payments to her (two of 10 soldi each), 29 January 1494: H3 64v. Funeral expenses: Fors 2 64v.
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69. Freud 2001, 75–6. Cf. Eissler 1962, app. C; Fumagalli 1952, 56. Fors 3 88v（记录了卡泰丽娜到来的那页纸的背面）上有一串名字写着，“安东尼奥、巴尔托洛梅奥、露西娅、皮耶罗、列奥纳多”，维切将名单解读为列奥纳多的祖父母安东尼奥和露西娅，以及他的父亲皮耶罗；唐突出现的家谱和他母亲最近的到访似乎有关（Vecce 1998, 142）。但是巴尔托洛梅奥不可能是列奥纳多同父异母的弟弟，维切说明，直到1497年他才出生。一条不完整的笔记上（CA 195r/71r–a, PC 2.310）写着：“如果卡泰丽娜想做，请告知我。”笔记可能是指他的母亲，但这比她到来的时间早得多，大概是1480年。
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70. Fors 3 14r, 17V, 20V, 43V, 44V, 47V.
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71. H 16v, 33v.
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72. H 64v, 65V, 41r, 38r, 109r, 124V. A visit to Cremona (H 62v) may also have been made at this time: see Part VII n. 92.
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73. H 4or. On the political background of these emblems, see Solmi 1912, Reti 1959. 那个年轻的黑人男孩的头部素描（H 103V）可能暗指“摩尔人”。斯福尔扎城堡中有一幅讽喻画（PC 2.214），画的是一名黑人仆人（卢多维科）为一位淑女（意大利）刷衣服。
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74. H 130V.
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75. The caption (H 288v) is separate from the drawing (Musée Bonnat, Bayonne, 656; Popham 1946, no. 109b), but obviously refers to it.
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76. I1138v; cf. related drawing in RL 12497. Leonardo introduces Poverty with the word‘ancora’ in the narrative sense of ‘then’ (‘Then the frightening figure of Poverty comes running’ etc.), which suggests he is thinking of a dramatic representation rather than a pictorial image.
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77. CA866r/315v–a. On Bascapé: PC 2.296. 贝林乔尼给他写了一首谄媚的十四行诗，拜托他去请求“摩尔人”允许他发表他的诗作（R 1344n）。
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