The Notebooks of Leonardo Da Vinci by Leonardo Da Vinci (ebook reader ink TXT) 📖

first story, over which rises an attic with a Pediment reproduced on page 67. The details drawn close by on the left seem to indicate an arrangement of coupled columns against the wall of a first story.

Pl. LXXXV No. 14 (MS. S. K. M. Ill 79a) contains a very slight sketch in red chalk, which most probably is intended to represent the facade of a palace. Inside is the short note 7 he 7 (7 and 7)._

MS. J2 8a (see pages 68 Fig. 1 and 2) contains a view of an unknown palace. Its plan is indicated at the side.

In MS. Br. M. 126a(see Fig. 3 on page 68) there is a sketch of a house, on which Leonardo notes; casa con tre terrazi (house with three terraces).

Pl. CX, No. 4 (MS. L. 36b) represents the front of a fortified building drawn at Cesena in 1502 (see No. 1040).

Here we may also mention the singular building in the allegorical composition represented on Pl. LVIII in Vol. I. In front of it appears the head of a sphinx or of a dragon which seems to be carrying the palace away.

The following texts refer to the construction of palaces and other buildings destined for private use:

 

760.

 

In the courtyard the walls must be half the height of its width, that is if the court be 40 braccia, the house must be 20 high as regards the walls of the said courtyard; and this courtyard must be half as wide as the whole front.

[Footnote: See Pl. CI, no. 1, and compare the dimensions here given, with No. 748 lines 26-29; and the drawing belonging to it Pl. LXXXI, no. 2.]

On the dispositions of a stable.

 

761.

 

FOR MAKING A CLEAN STABLE.

The manner in which one must arrange a stable. You must first divide its width in 3 parts, its depth matters not; and let these 3 divisions be equal and 6 braccia broad for each part and 10 high, and the middle part shall be for the use of the stablemasters; the 2 side ones for the horses, each of which must be 6 braccia in width and 6 in length, and be half a braccio higher at the head than behind. Let the manger be at 2 braccia from the ground, to the bottom of the rack, 3 braccia, and the top of it 4 braccia. Now, in order to attain to what I promise, that is to make this place, contrary to the general custom, clean and neat: as to the upper part of the stable, i. e. where the hay is, that part must have at its outer end a window 6 braccia high and 6 broad, through which by simple means the hay is brought up to the loft, as is shown by the machine E; and let this be erected in a place 6 braccia wide, and as long as the stable, as seen at k p. The other two parts, which are on either side of this, are again divided; those nearest to the hay-loft are 4 braccia, p s, and only for the use and circulation of the servants belonging to the stable; the other two which reach to the outer walls are 2 braccia, as seen at s k, and these are made for the purpose of giving hay to the mangers, by means of funnels, narrow at the top and wide over the manger, in order that the hay should not choke them. They must be well plastered and clean and are represented at 4 f s. As to the giving the horses water, the troughs must be of stone and above them [cisterns of] water. The mangers may be opened as boxes are uncovered by raising the lids. [Footnote: See Pl. LXXVIII, No.1.]

Decorations for feasts.

 

762.

 

THE WAY TO CONSTRUCT A FRAMEWORK FOR DECORATING BUILDINGS.

The way in which the poles ought to be placed for tying bunches of juniper on to them. These poles must lie close to the framework of the vaulting and tie the bunches on with osier withes, so as to clip them even afterwards with shears.

Let the distance from one circle to another be half a braccia; and the juniper [sprigs] must lie top downwards, beginning from below.

Round this column tie four poles to which willows about as thick as a finger must be nailed and then begin from the bottom and work upwards with bunches of juniper sprigs, the tops downwards, that is upside down. [Footnote: See Pl. CII, No. 3. The words here given as the title line, lines 1—4, are the last in the original MS.—Lines 5—16 are written under fig. 4.]

 

763.

 

The water should be allowed to fall from the whole circle a b. [Footnote: Other drawings of fountains are given on Pl. CI (W. XX); the original is a pen and ink drawing on blue paper; on Pl. CIII (MS. B.) and Pl. LXXXII.]

VI. Studies of architectural details.

Several of Leonardo’s drawings of architectural details prove that, like other great masters of that period, he had devoted his attention to the study of the proportion of such details. As every organic being in nature has its law of construction and growth, these masters endeavoured, each in his way, to discover and prove a law of proportion in architecture. The following notes in Leonardo’s manuscripts refer to this subject.

MS. S. K. M. Ill, 47b (see Fig. 1). A diagram, indicating the rules as given by Vitruvius and by Leon Battista Alberti for the proportions of the Attic base of a column.

MS. S. K. M. Ill 55a (see Fig. 2). Diagram showing the same rules.

 

764.

 

B toro superiore … . . toro superiore 2B nestroli … … astragali quadre 3B orbiculo … … . . troclea 4B nestroli … … astragali quadre 5B toro iferiore … … toro iferiore 6B latastro … … . . plintho

[Footnote: No explanation can be offered of the meaning of the letter B, which precedes each name. It may be meant for basa (base). Perhaps it refers to some author on architecture or an architect (Bramante?) who employed the designations, thus marked for the mouldings. 3. troclea. Philander: Trochlea sive trochalia aut rechanum. 6. Laterculus or latastrum is the Latin name for Plinthus (pi lambda Xiv) but Vitruvius adopted this Greek name and “latastro” seems to have been little in use. It is to be found besides the text given above, as far as I am aware, only two drawings of the Uffizi Collection, where in one instance, it indicates the abacus of a Doric capital.]

 

765.

 

STEPS OF URRBINO.

The plinth must be as broad as the thickness of the wall against which the plinth is built. [Footnote: See Pl. CX No. 3. The hasty sketch on the right hand side illustrates the unsatisfactory effect produced when the plinth is narrower than the wall.]

 

766.

 

The ancient architects …… beginning with the Egyptians (?) who, as Diodorus Siculus writes, were the first to build and construct large cities and castles, public and private buildings of fine form, large and well proportioned …..

The column, which has its thickness at the third part …. The one which would be thinnest in the middle, would break …; the one which is of equal thickness and of equal strength, is better for the edifice. The second best as to the usefulness will be the one whose greatest thickness is where it joins with the base.

[Footnote: See Pl. CIII, No. 3, where the sketches belonging to lines 10—16 are reproduced, but reversed. The sketch of columns, here reproduced by a wood cut, stands in the original close to lines 5—8.]

The capital must be formed in this way. Divide its thickness at the top into 8; at the foot make it 5/7, and let it be 5/7 high and you will have a square; afterwards divide the height into 8 parts as you did for the column, and then take 1/8 for the echinus and another eighth for the thickness of the abacus on the top of the capital. The horns of the abacus of the capital have to project beyond the greatest width of the bell 2/7, i. e. sevenths of the top of the bell, so 1/7 falls to the projection of each horn. The truncated part of the horns must be as broad as it is high. I leave the rest, that is the ornaments, to the taste of the sculptors. But to return to the columns and in order to prove the reason of their strength or weakness according to their shape, I say that when the lines starting from the summit of the column and ending at its base and their direction and length …, their distance apart or width may be equal; I say that this column …

 

767.

 

The cylinder of a body columnar in shape and its two opposite ends are two circles enclosed between parallel lines, and through the centre of the cylinder is a straight line, ending at the centre of these circles, and called by the ancients the axis.

[Footnote: Leonardo wrote these lines on the margin of a page of the Trattato di Francesco di Giorgio, where there are several drawings of columns, as well as a head drawn in profile inside an outline sketch of a capital.]

 

768.

 

a b is 1/3 of n m; m o is 1/6 of r o. The ovolo projects 1/6 of r o; s 7 1/5 of r o, a b is divided into 9 1/2; the abacus is 3/9 the ovolo 4/9, the bead-moulding and the fillet 2/9 and 1/2.

[Footnote: See Pl. LXXXV, No. 16. In the original the drawing and writing are both in red chalk.]

Pl. LXXXV No. 6 (MS. Ash. II 6b) contains a small sketch of a capital with the following note, written in three lines: I chorni del capitelo deono essere la quarta parte d’uno quadro (The horns of a capital must measure the fourth part of a square).

MS. S. K. M. III 72b contains two sketches of ornamentations of windows.

In MS. C. A. 308a; 938a (see Pl. LXXXII No. 1) there are several sketches of columns. One of the two columns on the right is similar to those employed by Bramante at the Canonica di S. Ambrogio. The same columns appear in the sketch underneath the plan of a castle. There they appear coupled, and in two stories one above the other. The archivolls which seem to spring out of the columns, are shaped like twisted cords, meant perhaps to be twisted branches. The walls between the columns seem to be formed out of blocks of wood, the pedestals are ornamented with a reticulated pattern. From all this we may suppose that Leonardo here had in mind either some festive decoration, or perhaps a pavilion for some hunting place or park. The sketch of columns marked “35” gives an example of columns shaped like candelabra, a form often employed at that time, particularly in Milan, and the surrounding districts for instance in the Cortile di Casa Castiglione now Silvestre, in the cathedral of Como, at Porta della Rana &c.

 

769.

 

CONCERNING ARCHITRAVES OF ONE OR SEVERAL PIECES.

An architrave of several pieces is stronger than that of one single piece, if those pieces are placed with their length in the direction of the centre of the world. This is proved because stones have their grain or fibre generated in the contrary direction i. e. in the direction of the opposite