1705664580
1705664581
75. Archivio storico italiano 3 (1842), 207; Lomazzo 1973, 2.156.
1705664582
1705664583
76. CA 584r/218r–a.
1705664584
1705664585
77. S. Daniel, The Worthy Tract of Paulus Jovius (London, 1585), translated from Giovio’s Dialogo dell’imprese (written shortly before his death in Florence in 1552, and published in 1555); devices based on this and other works appear in Shakespeare’s Pericles (c. 1608) 2.ii. See H. Green, Shakespeare and the Emblem Writers (London, 1885).
1705664586
1705664587
78. On Renaissance emblems, see M. Corbett and R. Lightbown, The Comely Frontispece (London, 1979), 9–34; F. Yates, ‘The emblematic conceit in Giordano Bruno’s De gli eroici furori ’, Journal of the Warburg and Courtauld Institutes 6 (1943), 180–209. Other important collections are Gabriello Symeoni, Imprese eroiche e morali (Lyons, 1559), Scipione Ammirato, Il Roto (Naples, 1562) and Girolamo Ruscelli, Le imprese illustri (Venice, 1566).
1705664588
1705664589
79. RL 12701, cf. rough sketches on RL 12282. 雷蒂试图将它们和列奥纳多1502年为切萨雷·波吉亚的服务联系起来（Reti 1959），但我们基本可以确定，这些素描的时间大概是1508年至1509年。
1705664590
1705664591
80. Clark notes that the word ‘tale ’ is missing from the motto in the earlier sketch on RL 12282: in other words the final form refers to a specific protector (‘such a star’), presumably King Louis. See Clark and Pedretti 1968,1.179.
1705664592
1705664593
81. M 4r. Cf. the purely scientific observation in CA728r/270r–a, c. 1510: ‘The strong wind kills the flame, the temperate wind feeds it.’ A similar emblem in G. Ruscelli, Emblemata (1583), bears the motto ‘Frustra ’ ( ‘Frustration’ or ‘Delay’ ).
1705664594
1705664595
82. RL 12700. 旁边的另一句写着：“‘我不厌倦做有用的人’，这是一句狂欢节的格言。”这朵鸢尾花（Embolden 1987,126）也出现在Ar 251v上，日期大约是同一天。
1705664596
1705664597
83.一则边注写道：“烈火破坏了所有具有欺骗性的世故，只保留金子般的真理。”这句话中的用词类似化学或者炼金术用语：“世故”（sophistication）等同于“掺假”（adulteration）或“污浊”（impurity）。
1705664598
1705664599
84. CA 522r/192r–a.接着还有另一次付款“200法郎，汇率是48索尔迪等于1法郎”（大概是500里拉或125斯库迪）。这次付款由作家让·格罗利耶的父亲、财政官员艾蒂安·格罗利耶执行。艾蒂安1509年9月逝世，一名学徒，很可能是洛伦佐，把他过世的消息记录在了同一页上。
1705664600
1705664601
85. F, inside cover.要结婚的妹妹或是嫁给托马索·达·马佩洛的洛伦齐奥拉，她1536年成为寡妇；或是嫁给巴蒂斯塔·达·贝尔加莫的安杰利娜，她1524年成为寡妇。
1705664602
1705664603
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.
1705664604
1705664605
87. CA 669/247a.
1705664606
1705664607
88. On Bossi, see DBI; Bossi 1982. Advice of Goethe: Pedretti 1998c, 122 n.6.
1705664608
1705664609
89. Biblioteca Ambrosiana, Milan, SP6/13E/B1.f.100, 196.
1705664610
1705664611
90. M. Armellini, Un censimento della città di Roma sotto il pontificato di Leone X (Rome, 1887), 79, 90; Pedretti 1998c, 128.
1705664612
1705664613
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。
1705664614
1705664615
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.
1705664616
1705664617
93. RL 12609.
1705664618
1705664619
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。
1705664620
1705664621
95. Ar 205v, PC 2.248–9.
1705664622
1705664623
96. RL 19009r.
1705664624
1705664625
97. RL 19016.
1705664626
1705664627
98. K 48v.
1705664628
1705664629
99. RL 19017r, R 1494 (text concerning muscles of the feet, beginning ‘Mondino says that…’) and RL 12281.
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