given at the side shows the arrangement of the second and third socle on the apses of the choir of that church; and it is remarkable that those sketches, in MS. S. K. M. II2, 2a and Ib, occur with the passage given in Volume I as No. 665 and 666 referring to the composition of the Last Supper in the Refectory of that church._]

_F. The Project for lifting up the Battistero of Florence and setting it on a basement._

_Among the very few details Vasari gives as to the architectural studies of Leonardo, we read: "And among these models and designs there was one by way of which he showed several times to many ingenious citizens who then governed Florence, his readiness to lift up without ruining it, the church of San Giovanni in Florence (the Battistero, opposite the Duomo) in order to place under it the missing basement with steps; he supported his assertions with reasons so persuasive, that while he spoke the undertaking seemed feasable, although every one of his hearers, when he had departed, could see by himself the impossibility of so vast an undertaking."_

[Footnote: _This latter statement of Vasari's must be considered to be exaggerated. I may refer here to some data given by_ LIBRI, Histoire des sciences mathematiques en Italie (II, 216, 217): "On a cru dans ces derniers temps faire un miracle en mecanique en effectuant ce transport, et cependant des l'annee 1455, Gaspard Nadi et Aristote de Fioravantio avaient transporte, a une distance considerable, la tour de la Magione de Bologne, avec ses fondements, qui avait presque quatre-vingts pieds de haut. Le continuateur de la chronique de Pugliola dit que le trajet fut de 35 pieds et que durant le transport auquel le chroniqueur affirme avoir assiste, il arriva un accident grave qui fit pencher de trois pieds la tour pendant qu'elle etait suspendue, mais que cet accident fut promptement repare (Muratori, Scriptores rer. ital. Tom. XVIII, col. 717, 718). Alidosi a rapporte une note ou Nadi rend compte de ce transport avec une rare simplicite. D'apres cette note, on voit que les operations de ce genre n'etaient pas nouvelles. Celle-ci ne couta que 150 livres (monnaie d'alors) y compris le cadeau que le Legat fit aux deux mecaniciens. Dans la meme annee, Aristote redressa le clocher de Cento, qui penchait de plus de cinq pieds (Alidosi, instruttione p. 188-- Muratori, Scriptores rer. ital., tom. XXIII, col. 888.--Bossii, chronica Mediol., 1492, in-fol. ad ann. 1455). On ne concoit pas comment les historiens des beaux-arts ont pu negliger de tels hommes." J. P. R.]

_In the MS. C. A. fol. 293, there are two sketches which possibly might have a bearing on this bold enterprise. We find there a plan of a circular or polygonal edifice surrounded by semicircular arches in an oblique position. These may be taken for the foundation of the steps and of the new platform. In the perspective elevation the same edifice, forming a polygon, is shown as lifted up and resting on a circle of inverted arches which rest on an other circle of arches in the ordinary position, but so placed that the inverted arches above rest on the spandrels of the lower range._

_What seems to confirm the supposition that the lifting up of a building is here in question, is the indication of engines for winding up, such as jacks, and a rack and wheel. As the lifting apparatus represented on this sheet does not seem particularly applicable to an undertaking of such magnitude, we may consider it to be a first sketch or scheme for the engines to be used._

_G. Description of an unknown Temple._

759.

Twelve flights of steps led up to the great temple, which was eight hundred braccia in circumference and built on an octagonal plan. At the eight corners were eight large plinths, one braccia and a half high, and three wide, and six long at the bottom, with an angle in the middle; on these were eight great pillars, standing on the plinths as a foundation, and twenty four braccia high. And on the top of these were eight capitals three braccia long and six wide, above which were the architrave frieze and cornice, four braccia and a half high, and this was carried on in a straight line from one pillar to the next and so, continuing for eight hundred braccia, surrounded the whole temple, from pillar to pillar. To support this entablature there were ten large columns of the same height as the pillars, three braccia thick above their bases which were one braccia and a half high.

The ascent to this temple was by twelve flights of steps, and the temple was on the twelfth, of an octagonal form, and at each angle rose a large pillar; and between the pillars were placed ten columns of the same height as the pillars, rising at once from the pavement to a height of twenty eight braccia and a half; and at this height the architrave, frieze and cornice were placed which surrounded the temple having a length of eight hundred braccia. At the same height, and within the temple at the same level, and all round the centre of the temple at a distance of 24 braccia farther in, are pillars corresponding to the eight pillars in the angles, and columns corresponding to those placed in the outer spaces. These rise to the same height as the former ones, and over these the continuous architrave returns towards the outer row of pillars and columns.

[Footnote: Either this description is incomplete, or, as seems to me highly probable, it refers to some ruin. The enormous dimensions forbid our supposing this to be any temple in Italy or Greece. Syria was the native land of colossal octagonal buildings, in the early centuries A. D. The Temple of Baalbek, and others are even larger than that here described. J. P. R.]

_V. Palace architecture.

But a small number of Leonardo's drawings refer to the architecture of palaces, and our knowledge is small as to what style Leonardo might have adopted for such buildings.

Pl. CII No. 1 (W. XVIII). A small portion of a facade of a palace in two stories, somewhat resembling Alberti's Palazzo Rucellai.--Compare with this Bramante's painted front of the Casa Silvestri, and a painting by Montorfano in San Pietro in Gessate at Milan, third chapel on the left hand side and also with Bramante's palaces at Rome. The pilasters with arabesques, the rustica between them, and the figures over the window may be painted or in sgraffito. The original is drawn in red chalk.

Pl. LXXXI No. 1 (MS. Tr. 42). Sketch of a palace with battlements and decorations, most likely graffiti; the details remind us of those in the Castello at Vigevano._ [Footnote 1: _Count GIULIO PORRO, in his valuable contribution to the_ Archivio Storico Lombardo, Anno VIII, Fasc. IV (31 Dec. 1881): Leonardo da Vinci, Libro di Annotazioni e Memorie, _refers to this in the following note:_ "Alla pag. 41 vi e uno schizzo di volta ed accanto scrisse: 'il pilastro sara charicho in su 6' e potrebbe darsi che si riferisse alla cupola della chiesa delle Grazie tanto piu che a pag. 42 vi e un disegno che rassomiglia assai al basamento che oggi si vede nella parte esterna del coro di quella chiesa." _This may however be doubted. The drawing, here referred to, on page 41 of the same manuscript, is reproduced on Pl. C No. 4 and described on page 61 as being a study for the cupola of the Duomo of Milan._ J. P. R.]

_MS. Mz. 0", contains a design for a palace or house with a loggia in the middle of the 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