'Workj of fame by which I could show to those who are to come that I have been!
[Memorandum of order of events in the Battle of Anghiari, drawn up apparently for consultation by Leonardo in the composition of his picture on the wall of the Council Chamber of the Palazzo della Signoria at Florence.]
[Leadjers of the Florentines.
- Neri di Gino Capponi.
- Bernardetto de' Medici.
- Niccolo da Pisa.
- Count Francesco.
- Pietro Gian Paolo.
- Guelfo Orsino.
- Messer Rinaldo degli Albizi.
You should commence with the oration of Niccolo Piccinino to the soldiers and exiled Florentines, among whom was Messer Rinaldo degli Albizi. Then you should show him first mounting his horse in full armour and the whole army following him: forty squadrons of horse and two thousand foot soldiers went with him. And the Patriarch at an early hour of the morning ascended a hill in order to reconnoitre the country, that is the hills, fields and a valley watered by a river; and he saw Niccolo Piccinino approaching from Borgo San Sepolcro with his men in a great cloud of dust, and having discovered him he turned to the captains of his men and spoke with them.
And having spoken he clasped his hands and prayed to God; and presently he saw a cloud, and from the cloud St. Peter emerged and Spoke to the Patriarch. Five hundred cavalry were despatched by the Patriarch to hinder or check the enemy's attack.
In the foremost troop was Francesco, son of Niccolo Piccinino, and he arrived first to attack the bridge which was defended by the Patriarch] ?] * and the Florentines.
Behind the bridge on the left he sent the infantry to engage our men who beat ofT the attack. Their leader was Micheletto who [ . . . ] was the officer of the watch at the court. Here at this bridge there was a great fight: the enemy conquer and the enemy are repulsed.
Then Guido and Astorre his brother, lord of Faenza, with many of
their men, reformed and renewed the combat, and hurled themselves
upon the Florentines with such vigour that they regained possession
of the bridge, and pushed their advance as far as the tents.
Opposite to these came Simonetto with six hundred cavalry to
harass the enemy, and he drove them again from the spot and reoc-
cupied the bridge.
And behind him came another company with two thousand
cavalry, and so for a long time the battle swayed.
And then the Patriarch to throw disorder into the ranks of the
enemy sent forward Niccolo da Pisa and Napoleone Orsino, a beard-
less youth, and with them a great multitude of men, and then was
done another great deed of arms.
And at this time Niccolo Piccinino pushed up another unit of his
followers, and this caused yet another advance by our men; and had
it not been for the Patriarch throwing himself into the midst and
sustaining his commanders by words and deeds the enemy would have
driven them in flight.
And the Patriarch made them set up certain pieces of artillery on
the hill, by means of which he spread confusion among the infantry of
the enemy. And this disorder was so great that Niccolo began to call
back his son and all his followers and they started in flight towards
the Borgo. And at this spot there occurred a great slaughter of men,
and none escaped save those who were the first to fly or those who hid
The passage of arms continued until the going down of the sun,
1 MS. has PP.
and the Patriarch busied himself in withdrawing his troops and bury-
ing the dead, and afterwards he set up a trophy.
c.a. 74 r. b and 74 v. c
MONUMENT OF MESSER GIOVANNI GIACOMO DA
Cost of the wor\ and material for the horse
A courser, life size, with the rider, requires for the cost
of the metal ducats
And for the cost of the iron work which goes inside the
model, and charcoal, wooden props, pit for the cast-
ing, and for binding the mould, including the furnace
where it is to be cast ducats
For making the model in clay and afterwards in wax ducats
And for the workmen who polish it after it has been cast ducats
Total ducats 1582
Cost of the marble for the tomb
Cost of the marble according to the design. The piece of
marble which goes under the horse which is 4 braccia
long and 2 braccia 2 inches wide and 9 inches thick,
58 hundredweight, at 4 lire 10 soldi per hundred-
weight ducats 58
And for 13 braccia 6 inches of cornice, 7 inches wide and
4 inches thick, 24 hundredweight ducats 24
And for the frieze and architrave which is 4 braccia 6
inches long, 2 braccia wide and 6 inches thick, 20
hundredweight ducats 20
And for the capitals made of metal of which there are 8,
5 inches square and 2 inches thick: at the price of 15
ducats each they come to ducats 120
And for 8 columns of 2 braccia 7 inches, 4^ inches thick,
20 hundredweight ducats 20
1 For a discussion of the evidence relating to the project for a sepulchral monument
of Marshal Trivulzio of which this is an estimate, see the author's Mind of Leonardo
(Cape, 1928), pp. 336-9.
And for 8 bases, 5% inches square and 2 inches high 5
hundredweight ducats 5
And for the stone, where it is upon the tomb, 4 braccia
10 inches long, 2 braccia 4V2 inches wide, 36 hundred-
weight ducats 36
And for 8 feet of pedestals, which are 8 braccia long,
6 l / 2 inches wide, 6 l / 2 inches thick, and 20 hundred-
weight ducats 20
And for the cornice that is below, which is [ . . . ]
braccia 10 inches long, 2 braccia 5 inches wide and
4 inches thick, 32 hundredweight ducats 32
And for the stone of which the recumbent figure (il
morto) is to be made, which is 3 braccia 8 inches long,
1 braccia 6 inches wide, 9 inches thick, 30 hundred-
weight ducats 30
And for the stone that is beneath the recumbent figure,
which is 3 braccia 4 inches long, 1 braccia 2 inches
wide, 4^ inches thick ducats 16
And for the slabs of marble interposed between the
pedestals, of which there are 8 — 9 braccia long, 9
inches wide, 3 inches thick — 8 hundredweight ducats 8
Total ducats 389
Cost of the wor\ upon the marble
Round the base of the horse there are 8 figures at 25
ducats each ducats 200
And in the same base are 8 festoons with certain other
ornaments, and of these there are 4 at the price of 15
ducats each, and 4 at the price of 8 ducats each ducats 92
And for squaring these stones ducats 6
Further for the large cornice, which goes below the base
of the horse, which is 13 braccia 6 inches at 2 ducats
per braccio ducats 27
And for 12 braccia of frieze at 5 ducats per braccio ducats 60
And for 12 braccia of architrave at 1 V2 ducats per braccio ducats 18
And for 3 rosettes which form the soffit of the monument,
at 20 ducats the rosette ducats 60
And for 8 fluted columns at 8 ducats each ducats 64
And for 8 bases at one ducat each ducats 8
And for 8 pedestals, of which there are 4 at 10 ducats
each, which go above the corners, and 4 at 6 ducats
each ducats 64
And for squaring and framing the pedestals at 2 ducats
each, there being eight ducats 16
And for 6 tables with figures and trophies at 25 ducats
each ducats 150
And for making the cornices of the stone which is be-
neath the recumbent figure ducats 40
For making the recumbent figure, to do it well ducats 100
For 6 harpies with candlesticks, at 25 ducats each ducats 150
For squaring the stone on which the recumbent figure
rests, and its cornice ducats 20
Total ducats 1075
The total of everything added together is ducats 3046.
c.a. 179 v. a
The Labours of Hercules for Pier F. Ginori.
Antonio: lily and book.
Bernardino: with Jesus.
Lodovico: with three lilies on his breast, with crown at his feet.
Bonaventura: with seraphim.
1 From the juxtaposition of these two notes in the manuscript the first may perhaps
be interpreted as a reference to an intended commission, probably for a work in sculp-
ture, to be executed or studied for among the casts in that Garden of the Medici in
the piazza di San Marco, where in the time of II Magnifico an Academy of the Arts
existed under the charge of the sculptor Bertoldo. Its existence is referred to by Vasari
in his lives of Donatello and Torrigiano. The fact of Leonardo having worked for a
time in this garden is borne witness to in the short biography of him written just
before the middle of the sixteenth century by a Florentine known as the Anon mo
'He lived as a youth with Lorenzo de' Medici II Magnifico who in order to make
provision for him set him to work in the garden of the piazza of San Marco in
[Diagram for Altarpiece]
San Piero Our Lady Paolo
.1 I 1 I
Elisabetta • Santa Chiara
1 . I I.
Bonaventura Antonio da Padua
Santa Chiara: with the tabernacle.
Elisabetta: with queen's crown. 1 1 107  r.
[Notes apparently relating to some commission]
Ambrogio de Predis.
Board for the window.
The saints of the chapel.
The Genoese at home. lit.
[Note with drawing — apparently of mechanism of stage scenery]
a b, c d is a hill which opens thus : a b goes to c d and c d goes to e /;
and Pluto is revealed in g, his residence.
When Pluto's paradise is opened then let there be devils placed there
in twelve pots to resemble the mouths of hell.
There, there should be Death, the Furies, Cerberus, many nude Putti
in lamentation. There fires made in various colours. . . .
b.m. 231 v.
1 Following on his identification of the names at the head of the two lists as those
of the two patron saints of Brescia, Dr. Emil Moller has put forward reasons for regard-
ing this sketch as intended for an altar-piece for S. Francesco at Brescia, which he
believes to have been contemplated by Leonardo in the year 1479. (See Repertorium fur
[For heraldic devices — with drawings]
MESSER ANTONIO GRI, VENETIAN, COMPANION OF
On the left side let there be a wheel, and let the centre of it cover the
centre of the horse's hinder thigh-piece, and in this centre should be
shewn Prudence dressed in red, representing Charity, sitting in a fiery
chariot, with a sprig of laurel in her hand to indicate the hope that
springs from good service.
On the opposite side let there be placed in like manner Fortitude
with her necklace in hand, clothed in white which signifies . . . and
all crowned, and Prudence with three eyes.
The housing of the horse should be woven of plain gold, bedecked
with many peacocks' eyes, and this applies to all the housings of the
horse and the coat of the man.
The crest of the man's helmet and his hauberk of peacocks' feathers,
on a gold ground.
Above the helmet let there be a half-globe to represent our hemi-
sphere in the form of a world, and upon it a peacock with tail spread
out to pass beyond the group, richly decorated, and every ornament
which belongs to the horse should be of peacocks' feathers on a gold
ground, to signify the beauty that results from the grace bestowed on
him who serves well.
In the shield a large mirror to signify that he who really wishes for
favour should be mirrored in his virtues. b.m. 250 r.
Count Giovanni, of the household of the cardinal of Mortaro.
Giovannina, face of fantasy; lives at Santa Caterina at the hospital.
Forster 11 3 r.
Alessandro Carissimo of Parma for the hand of Christ.
Forster 11 6 r.
One who was drinking and left the cup in its place and turned his
head towards the speaker.
Another twists the fingers of his hands together and turns with stern
brows to his companion.
Another with hands opened showing their palms raises his shoulders
towards his ears and gapes in astonishment.
Another speaks in the ear of his neighbour, and he who listens turns
towards him and gives him his ear, holding a knife in one hand and in
the other the bread half divided by this knife.
Another as he turns holding a knife in his hand overturns with this
hand a glass over the table.
Another rests his hands upon the table and stares.
Another breathes heavily with open mouth.
Another leans forward to look at the speaker and shades his eyes
with his hand.
Another draws himself back behind the one who is leaning forward
and watches the speaker between the wall and the one who is leaning. 1
Forster 11 62 v. and 63 r.
Cristofano da Castiglione lives at the Pieta, he has a fine head.
Forster in 1 v.
The Florentine morel of Messer Mariolo, a big horse, has a fine neck
and a very fine head. 2
White stallion belonging to the falconer has fine haunches, is at the
Big horse of Cermonino belongs to Signor Giulio. Forster in 88 r.
[With drawing of foreleg with measurements}
The Sicilian of Messer Galeazzo.
Make this the same within, with the measure of all the shoulder.
Windsor: Drawings 12294
[With drawing of horse}
The big jennet of Messer Galeazzo. Windsor: Drawings 12319
[These verses, presumably sent to Leonardo by an admirer of his art,
are the evidence of his having painted a portrait of Lucrezia Crivelli,
a lady of the Milanese Court]
1 Description of action of figures in 'The Last Supper'.
2 MS. Morel fiorentino di miser Mariolo. Morel, a dark-coloured horse (Murray). As
the manuscript in which these notes occur bears references to the years 1493 and 1494
they may refer to studies for the equestrian statue of which a model was erected in the
Ut bene respondet naturae ars docta: dedisset
Vincius, ut tribuit cetera, sic animam.
Noluit, ut similis magis haec foret: altera sic est:
Possidet illius Maurus amans animam.
Hujus, quam cernis, nomen Lucretia: divi
Omnia cui larga contribuere manu.
Rara huic forma data est: pinxit Leonardus: amavit
Maurus: pictorum primus hie: ille ducum.
Naturam et superas hac laesit imagine divas
Pictor: tantum hominis posse manum haec doluit.
Illae longa dari tarn magnae tempora formae:
Quae spatio fuerat deperitura brevi.
Has laesit Mauri causa: defendet et ipsum
Maurus: Maurum homines laedere diique timent. 1
ca. 167 v. c
1 How well the master's art answers to nature. Da Vinci might have shown the
soul here, as he has rendered the rest. He did not, so that his picture might be the
greater likeness; for the soul of the original is possessed by II Moro, her lover.
This lady's name is Lucrezia, to whom the gods gave all things with lavish hand.
Beauty of form was given her: Leonardo painted her, II Moro loved her — one the
greatest of painters, the other of princes.
By this likeness the painter injured Nature and the goddesses on high. Nature
lamented that the hand of man could attain so much, the goddesses that immortality
should be bestowed on so fair a form, which ought to have perished.
For II Moro's sake Leonardo did the injury, and II Moro will protect him. Men
and gods alike fear to injure II Moro.