666.

Another lays his hand on the table and is looking. Another blows his mouthful. [3] Another leans forward to see the speaker shading his eyes with his hand. [5] Another draws back behind the one who leans forward, and sees the speaker between the wall and the man who is leaning [Footnote: 6. chinato. I have to express my regret for having misread this word, written cinato in the original, and having altered it to "ciclo" when I first published this text, in 'The Academy' for Nov. 8, 1879 immediately after I had discovered it, and subsequently in the small biography of Leonardo da Vinci (Great Artists) p. 29.].

[Footnote: In No. 666. Line I must refer to the furthest figure on the left; 3, 5 and 6 describe actions which are given to the group of disciples on the left hand of Christ.]

667.

CHRIST.

Count Giovanni, the one with the Cardinal of Mortaro.

[Footnote: As this note is in the same small Ma.n.u.script as the pa.s.sage here immediately preceding it, I may be justified in a.s.suming that Leonardo meant to use the features of the person here named as a suitable model for the figure of Christ. The celebrated drawing of the head of Christ, now hanging in the Brera Gallery at Milan, has obviously been so much restored that it is now impossible to say, whether it was ever genuine. We have only to compare it with the undoubtedly genuine drawings of heads of the disciples in PI. XLVII, XLVIII and L, to admit that not a single line of the Milan drawing in its present state can be by the same hand.]

668.

Philip, Simon, Matthew, Thomas, James the Greater, Peter, Philip, Andrew, Bartholomew.

[Footnote: See PI. XLVI. The names of the disciples are given in the order in which they are written in the original, from right to left, above each head. The original drawing is here slightly reduced in scale; it measures 39 centimetres in length by 26 in breadth.]

669.

On the battle of Anghiari.

Florentine Neri di Gino Capponi Bernardetto de' Medici Micheletto, Niccolo da Pisa Conte Francesco Pietro Gian Paolo Guelfo Orsino, Messer Rinaldo degli Albizzi Begin with the address of Niccolo Piccinino to the soldiers and the banished Florentines among whom are Messer Rinaldo degli Albizzi and other Florentines. Then let it be shown how he first mounted on horseback in armour; and the whole army came after him-40 squadrons of cavalry, and 2000 foot soldiers went with him. Very early in the morning the Patriarch went up a hill to reconnoitre the country, that is the hills, fields and the valley watered by a river; and from thence he beheld Niccolo Picinino coming from Borgo San Sepolcro with his people, and with a great dust; and perceiving them he returned to the camp of his own people and addressed them. Having spoken he prayed to G.o.d with clasped hands, when there appeared a cloud in which Saint Peter appeared and spoke to the Patriarch.-500 cavalry were sent forward by the Patriarch to hinder or check the rush of the enemy. In the foremost troop Francesco the son of Niccolo Piccinino [24] was the first to attack the bridge which was held by the Patriarch and the Florentines. Beyond the bridge to his left he sent forward some infantry to engage ours, who drove them back, among whom was their captain Micheletto [29] whose lot it was to be that day at the head of the army. Here, at this bridge there is a severe struggle; our men conquer and the enemy is repulsed. Here Guido and Astorre, his brother, the Lord of Faenza with a great number of men, re-formed and renewed the fight, and rushed upon the Florentines with such force that they recovered the bridge and pushed forward as far as the tents. But Simonetto advanced with 600 horse, and fell upon the enemy and drove them back once more from the place, and recaptured the bridge; and behind him came more men with 2000 horse soldiers. And thus for a long time they fought with varying fortune. But then the Patriarch, in order to divert the enemy, sent forward Niccolo da Pisa [44] and Napoleone Orsino, a beardless lad, followed by a great mult.i.tude of men, and then was done another great feat of arms. At the same time Niccolo Piccinino urged forward the remnant of his men, who once more made ours give way; and if it had not been that the Patriarch set himself at their head and, by his words and deeds controlled the captains, our soldiers would have taken to flight. The Patriarch had some artillery placed on the hill and with these he dispersed the enemy's infantry; and the disorder was so complete that Niccolo began to call back his son and all his men, and they took to flight towards Borgo. And then began a great slaughter of men; none escaped but the foremost of those who had fled or who hid themselves. The battle continued until sunset, when the Patriarch gave his mind to recalling his men and burying the dead, and afterwards a trophy was erected.

[Footnote: 669. This pa.s.sage does not seem to me to be in Leonardo's hand, though it has. .h.i.therto been generally accepted as genuine. Not only is the writing unlike his, but the spelling also is quite different. I would suggest that this pa.s.sage is a description of the events of the battle drawn up for the Painter by order of the Signoria, perhaps by some historian commissioned by them, to serve as a scheme or programme of the work. The whole tenor of the style seems to me to argue in favour of this theory; and besides, it would be in no way surprising that such a doc.u.ment should have been preserved among Leonardo's autographs.]

Allegorical representations referring to the duke of Milan (670-673).

670.

Ermine with blood Galeazzo, between calm weather and a representation of a tempest.

[Footnote: 670. Only the beginning of this text is legible; the writing is much effaced and the sense is consequently obscure. It seems to refer like the following pa.s.sage to an allegorical picture.]

671.

Il Moro with spectacles, and Envy depicted with False Report and Justice black for il Moro.

Labour as having a branch of vine [or a screw] in her hand.

672.

Il Moro as representing Good Fortune, with hair, and robes, and his hands in front, and Messer Gualtieri taking him by the robes with a respectful air from below, having come in from the front [5].

Again, Poverty in a hideous form running behind a youth. Il Moro covers him with the skirt of his robe, and with his gilt sceptre he threatens the monster.

A plant with its roots in the air to represent one who is at his last;-a robe and Favour.

Of tricks [or of magpies] and of burlesque poems [or of starlings].

Those who trust themselves to live near him, and who will be a large crowd, these shall all die cruel deaths; and fathers and mothers together with their families will be devoured and killed by cruel creatures.

[Footnote: 1-10 have already been published by Amoretti in Memorie Storiche cap. XII. He adds this note with regard to Gualtieri: "A questo M. Gualtieri come ad uomo generoso e benefico scrive il Bellincioni un Sonetto (pag, 174) per chiedergli un piacere; e 'l Tantio rendendo ragione a Lodovico il Moro, perche pubblica.s.se le Rime del Bellincioni; ci hammi imposto, gli dice: l'humano fidele, prudente e sollicito executore delli tuoi comandamenti Gualtero, che fa in tutte le cose ove tu possi far utile, ogni studio vi metti." A somewhat mysterious and evidently allegorical composition-a pen and ink drawing-at Windsor, see PL LVIII, contains a group of figures in which perhaps the idea is worked out which is spoken of in the text, lines 1-5.]

673.

He was blacker than a hornet, his eyes were as red as a burning fire and he rode on a tall horse six spans across and more than 20 long with six giants tied up to his saddle-bow and one in his hand which he gnawed with his teeth. And behind him came boars with tusks sticking out of their mouths, perhaps ten spans.

Allegorical representations (674-678).

674.

Above the helmet place a half globe, which is to signify our hemisphere, in the form of a world; on which let there be a peac.o.c.k, richly decorated, and with his tail spread over the group; and every ornament belonging to the horse should be of peac.o.c.k's feathers on a gold ground, to signify the beauty which comes of the grace bestowed on him who is a good servant.

On the shield a large mirror to signify that he who truly desires favour must be mirrored in his virtues.

On the opposite side will be represented Fort.i.tude, in like manner in her place with her pillar in her hand, robed in white, to signify ... And all crowned; and Prudence with 3 eyes. The housing of the horse should be of plain cloth of gold closely sprinkled with peac.o.c.k's eyes, and this holds good for all the housings of the horse, and the man's dress. And the man's crest and his neck-chain are of peac.o.c.k's feathers on golden ground.

On the left side will be a wheel, the centre of which should be attached to the centre of the horse's hinder thigh piece, and in the centre Prudence is seen robed in red, Charity sitting in a fiery chariot and with a branch of laurel in her hand, to signify the hope which comes of good service.

[21] Messer Antonio Grimani of Venice companion of Antonio Maria [23].

[Footnote: Messer Antonio Gri. His name thus abbreviated is, there can be no doubt, Grimani. Antonio Grimani was the famous Doge who in 1499 commanded the Venetian fleet in battle against the Turks. But after the abortive conclusion of the expedition-Ludovico being the ally of the Turks who took possession of Friuli-, Grimani was driven into exile; he went to live at Rome with his son Cardinal Domenico Grimani. On being recalled to Venice he filled the office of Doge from 1521 to 1523. Antonio Maria probably means Antonio Maria Grimani, the Patriarch of Aquileia.]

675.

Fame should be depicted as covered all over with tongues instead of feathers, and in the figure of a bird.

676.

Pleasure and Pain represent as twins, since there never is one without the other; and as if they were united back to back, since they are contrary to each other.

[6] Clay, gold.

[Footnote: 7. oro. fango: gold, clay. These words stand below the allegorical figure.]

If you take Pleasure know that he has behind him one who will deal you Tribulation and Repentance.

[9] This represents Pleasure together with Pain, and show them as twins because one is never apart from the other. They are back to back because they are opposed to each other; and they exist as contraries in the same body, because they have the same basis, inasmuch as the origin of pleasure is labour and pain, and the various forms of evil pleasure are the origin of pain. Therefore it is here represented with a reed in his right hand which is useless and without strength, and the wounds it inflicts are poisoned. In Tuscany they are put to support beds, to signify that it is here that vain dreams come, and here a great part of life is consumed. It is here that much precious time is wasted, that is, in the morning, when the mind is composed and rested, and the body is made fit to begin new labours; there again many vain pleasures are enjoyed; both by the mind in imagining impossible things, and by the body in taking those pleasures that are often the cause of the failing of life. And for these reasons the reed is held as their support.

[Footnote: 676. The pen and ink drawing on PI. LIX belongs to this pa.s.sage.]

[Footnote: 8. tribolatione. In the drawing caltrops may be seen lying in the old man's right hand, others are falling and others again are shewn on the ground. Similar caltrops are drawn in MS. Tri. p. 98 and underneath them, as well as on page 96 the words triboli di ferro are written. From the accompanying text it appears that they were intended to be scattered on the ground at the bottom of ditches to hinder the advance of the enemy. Count Giulio Porro who published a short account of the Trivulzio MS. in the "Archivio Storico Lombardo", Anno VIII part IV (Dec. 31, 1881) has this note on the pa.s.sages treating of "triboli": "E qui aggiunger che anni sono quando venne fabbricata la nuova cavallerizza presso il castello di Milano, ne furono trovati due che io ho veduto ed erano precisamente quali si trovano descritti e disegnati da Leonardo in questo codice".

There can therefore be no doubt that this means of defence was in general use, whether it were originally Leonardo's invention or not. The play on the word "tribolatione", as it occurs in the drawing at Oxford, must then have been quite intelligible.]

[Footnote: 9-22. These lines, in the original, are written on the left side of the page and refer to the figure shown on PI. LXI. Next to it is placed the group of three figures given in PI. LX No. I. Lines 21 and 22, which are written under it, are the only explanation given.]

Evil-thinking is either Envy or Ingrat.i.tude.

677.