[33]Cost of the work in marble[35].

Round the base on which the horse stands there are 8 figures at 25 ducats each ............ duc. 200.

And on the same base there are 8 festoons with some other ornaments, and of these there are 4 at the price of 15 ducats each, and 4 at the price of 8 ducats each ....... duc. 92.

And for squaring the stones duc. 6.

Again, for the large cornice which goes below the base on which the horse stands, which is 13 br. and 6 in., at 2 due. per br. ...... duc. 27.

And for 12 br. of frieze at 5 due. per br. ........... duc. 60.

And for 12 br. of architrave at 1 1/2 duc. per br. ....... duc. 18.

And for 3 rosettes which will be the soffit of the monument, at 20 ducats each .......... duc. 60.

And for 8 fluted columns at 8 ducats each ......... duc. 64.

And for 8 bases at 1 ducat each, duc. 8.

And for 8 pedestals, of which 4 are at 10 duc. each, which go above the angles; and 4 at 6 duc. each .. duc. 64.

And for squaring and carving the moulding of the pedestals at 2 duc. each, and there are 8 .... duc. 16.

And for 6 square blocks with figures and trophies, at 25 duc. each .. duc. 150.

And for carving the moulding of the stone under the figure of the deceased .......... duc. 40.

For the statue of the deceased, to do it well .......... duc. 100.

For 6 harpies with candelabra, at 25 ducats each ......... duc. 150.

For squaring the stone on which the statue lies, and carving the moulding ............ duc. 20.

in all .. duc. 1075.

The sum total of every thing added together amount to ...... duc. 3046.

726.

MINT AT ROME.

It can also be made without a spring. But the screw above must always be joined to the part of the movable sheath: [Margin note: The mint of Rome.] [Footnote: See Pl. LXXVI. This passage is taken from a note book which can be proved to have been used in Rome.]

All coins which do not have the rim complete, are not to be accepted as good; and to secure the perfection of their rim it is requisite that, in the first place, all the coins should be a perfect circle; and to do this a coin must before all be made perfect in weight, and size, and thickness. Therefore have several plates of metal made of the same size and thickness, all drawn through the same gauge so as to come out in strips. And out of [24] these strips you will stamp the coins, quite round, as sieves are made for sorting chestnuts [27]; and these coins can then be stamped in the way indicated above; &c.

[31] The hollow of the die must be uniformly wider than the lower, but imperceptibly [35].

This cuts the coins perfectly round and of the exact thickness, and weight; and saves the man who cuts and weighs, and the man who makes the coins round. Hence it passes only through the hands of the gauger and of the stamper, and the coins are very superior. [Footnote: See Pl. LXXVI No. 2. The text of lines 31-35 stands parallel 1. 24-27.

Farther evidence of Leonardo's occupations and engagements at Rome under Pope Leo X. may be gathered from some rough copies of letters which will be found in this volume. Hitherto nothing has been known of his work in Rome beyond some doubtful, and perhaps mythical, statements in Vasari.]

727.

POWDER FOR MEDALS.

The incombustible growth of soot on wicks reduced to powder, burnt tin and all the metals, alum, isinglass, smoke from a brass forge, each ingredient to be moistened, with aqua vitae or malmsey or strong malt vinegar, white wine or distilled extract of turpentine, or oil; but there should be little moisture, and cast in moulds. [Margin note: On the coining of medals (727. 728).] [Footnote: The meaning of _scagliuolo_ in this passage is doubtful.]

728.

OF TAKING CASTS OF MEDALS.

A paste of emery mixed with aqua vitae, or iron filings with vinegar, or ashes of walnut leaves, or ashes of straw very finely powdered.

[Footnote: The meaning of _scagliuolo_ in this passage is doubtful.]

The diameter is given in the lead enclosed; it is beaten with a hammer and several times extended; the lead is folded and kept wrapped up in parchment so that the powder may not be spilt; then melt the lead, and the powder will be on the top of the melted lead, which must then be rubbed between two plates of steel till it is thoroughly pulverised; then wash it with aqua fortis, and the blackness of the iron will be dissolved leaving the powder clean.

Emery in large grains may be broken by putting it on a cloth many times doubled, and hit it sideways with the hammer, when it will break up; then mix it little by little and it can be founded with ease; but if you hold it on the anvil you will never break it, when it is large.

Any one who grinds smalt should do it on plates of tempered steel with a cone shaped grinder; then put it in aqua fortis, which melts away the steel that may have been worked up and mixed with the smalt, and which makes it black; it then remains purified and clean; and if you grind it on porphyry the porphyry will work up and mix with the smalt and spoil it, and aqua fortis will never remove it because it cannot dissolve the porphyry.

If you want a fine blue colour dissolve the smalt made with tartar, and then remove the salt.

Vitrified brass makes a fine red.

729.

STUCCO.

Place stucco over the prominence of the..... which may be composed of Venus and Mercury, and lay it well over that prominence of the thickness of the side of a knife, made with the ruler and cover this with the bell of a still, and you will have again the moisture with which you applied the paste. The rest you may dry [Margin note: On stucco (729. 730).] [Footnote: In this passage a few words have been written in a sort of cipher--that is to say backwards; as in l. 3 _erenev_ for _Venere_, l. 4 _oirucrem_ for Mercurio, l. 12 _il orreve co ecarob_ for _il everro (?) co borace_. The meaning of the word before _"di giesso"_ in l. 1 is unknown; and the sense, in which _sagoma_ is used here and in other passages is obscure.-- _Venere_ and _Mercurio_ may mean 'marble' and 'lime', of which stucco is composed.

12. The meaning of _orreve_ is unknown.]

well; afterwards fire it, and beat it or burnish it with a good burnisher, and make it thick towards the side.

STUCCO.

Powder ... with borax and water to a paste, and make stucco of it, and then heat it so that it may dry, and then varnish it, with fire, so that it shines well.

730.

STUCCO FOR MOULDING.

Take of butter 6 parts, of wax 2 parts, and as much fine flour as when put with these 2 things melted, will make them as firm as wax or modelling clay.

GLUE.

Take mastic, distilled turpentine and white lead.

On bronze casting generally (731-740).

731.

TO CAST.

Tartar burnt and powdered with plaster and cast cause the plaster to hold together when it is mixed up again; and then it will dissolve in water.

732.

TO CAST BRONZE IN PLASTER.

Take to every 2 cups of plaster 1 of ox-horns burnt, mix them together and make your cast with it.

733.

When you want to take a cast in wax, burn the scum with a candle, and the cast will come out without bubbles.

734.