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1705664531
50. BM 1875–6–12–17r; Zöllner 2003, no. 27; Pedretti 1968, 27–8.
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51. Daily Telegraph , 16 January 1996.
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1705664535
52. J. McEwen, ‘Leonardo restored’, Independent Magazine , 20 May 1989, 53–7.
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53. Dalli Regoli 2001, 116–19. 这是唯一一幅已知的“跪着的丽达”的油画版本。一般认为，乌菲兹美术馆的4幅“站立的丽达”均在1509年至1510年或这之后绘制的，又称为“斯皮罗宗丽达像”（Spirodon Leda），以前一位拥有者卢多维科·斯皮罗宗命名。马拉尼认为这些作品由费兰多·亚涅斯绘制，而娜塔莉认为是洛伦佐·迪·克雷迪工作室所绘（Dalli Regoli 2001, 140）。In the Galleria Borghese, Rome, attributed to Il Sodoma; at Wilton House, Salisbury, attributed to Cesare da Sesto; and in the Johnson Collection, Philadelphia. 赫尔曼·戈林曾短暂拥有过“斯皮罗宗丽达像”，1941年加洛蒂·斯皮罗宗伯爵夫人把画卖给了他。
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54. Leda’s face: RL 12515–8. Her features are closely echoed in Giampietrino’s Nymph Hegeria (Coll. Brivio Sforza, Milan), Venus and Cupid (Coll. Nembini, Milan) and Cleopatra (Louvre), and to a lesser extent in his Dido (Coll. Borromeo, Isola Bella) and Salome (National Gallery, London). The stance of his Venus is demonstrably based on the standing Leda. Cf. L. Keith and A. Roy, ‘Giampietrino, Boltraffio and the influence of Leonardo’, National Gallery Technical Bulletin 17 (1996), 4–19.
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55. Technical report by Hans Brammer (Kassell, 1990), summarized by Jürgen Lehrmann in Dalli Regoli 2001, 116–18.A further connection of Giampietrino with Leonardo’s studio in c. 1509 is the polyhedron painted on the back of his Madonna and Child (Poldi Pezzoli, Milan), which derives from one of Leonardo’s illustrations for Pacioli’s Divina proportione (Venice, 1509); a copy of the painting by Giovan Battista Belmonte bears the date 1509.
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56. On Bernazzano, see J. Shell and G. Sironi, ‘Bernardinus dictus Bernazanus de Marchixelis’, Arte Cristiana 78 (1990), 363ff. 弗朗切斯科·梅尔齐父亲和叔叔欠他30斯库迪的记录，为我们了解列奥纳多社交圈内部复杂的人际关系提供了一条线索，而我们几乎对此一无所知。He was a native of Inzago, near Milan: on his possible connection with a Last Supper fresco at Inzago, see n. 115.
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1705664545
57. RL 12343r, 123 54r, 12356r (illustrated), 12360r, etc.; Zöllner 2003, nos. 74–86. These were first systematically distinguished from Sforza Horse studies by Clark: see Clark and Pedretti 1968, 1.xxvi–xli.
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58. CA 492r/179v–a, R 725.
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59. F 87r.
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60. F 15r; Pedretti 1995, 26. Cf. notes on the canalization of the Adda, c. 1508, CA 949r/345r–b.
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1705664553
61. F 41V, R1123A; cf. two sketches of bats in flight on F 48V.
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62. Membranes of the bat’s wings: Tn 16r. Bats fly upside down: G 63v, c. 1510–11.
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1705664557
63. F 59r, R 1148C.
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1705664559
64. F 4v.
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65. RL 12689r, PC 2.127–8. Cf. F 41r, c. 1508: ‘The earth is not the centre of the sun’s orbit, nor the centre of the universe,’ which is relativist but not specifically Copernican.
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1705664563
66. F 12r.
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1705664565
67. The lungs of a pig: cf. RL 19054V. Avicenna: i.e. the eleventh–century Arab scientist Ibn Sina. ‘Map of Elefan’: possibly referring to the Siva temple at Ele–phanta, cf. the description of a temple in CA 775v/285r–c. ‘Maestro Mafeo’: perhaps Rafaello Maffei, whose encyclopaediac Anthropologia (1506) mentions the Last Supper , or the Veronese anatomist Girolamo Maffei, probably known to Leonardo via Marcantonio della Torre, also from Verona. The rising of the Adige: cf. Leic 20r, 23r.
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68. MS D is a ‘meditated version’ of earlier notes and a testing by ‘isperienza ’, or experiment, of established authorities (Avicenna, Alhazen) on the subject (Pedretti and Cianchi 1995, 25).
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69. RL 19007V.
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70. Pedretti 1965, 140.
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71. See Pedretti 1965 for a detailed reconstruction of Libro A.
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1705664575
72. Ar 224r, 231v; Pedretti 1957, 90–98. 《大西洋古抄本》内曾有一页笔记（fol. 50），现在属于私人收藏，位于瑞士，这页笔记为场景布置和后台机械提供了更多的细节［C. Pedretti, RV 28 (1999), 186–97］。佩德雷蒂比较了这页画的配重系统和《巴黎手稿F》中的挖掘机的配重系统。在这页笔记的背面写着一段谈论水的简短的文字，这些文字可以与 Leic 18r–19v 和Ar 136r–137v上的内容联系在一起（Ar 136r–137v上的内容只是草稿，后来并入了《莱斯特古抄本》）。同样来自《阿伦德尔古抄本》的笔记页上还有关于乐器和音乐家的素描（音乐家素描是由列奥纳多的学生完成的），这些可能和音乐剧《奥菲欧》有关。
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73. RL 12282r; the profile is similar to one on Ar 137r.
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74. Corriere della sera , 13 September 2001; Guardian , 14 September 2001: ‘When restorers treated the work with alcohol and water to loosen it from its backing, the ink began to disappear.’ As well as in the Trivulzio estimate (see n. 58), the yellow–green ink is found in a study for the monument (RL 12356r), and in plans for the d’Amboise summer villa (see n. 6). A page with a sketch of the Trivulzio horse (CA 786v/29ov–b) has some heads gone over in the same ink by a pupil. See PC 2.15–17.
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