[Footnote: The importance of the notes included under this number is not diminished by the fact that they have been lightly crossed out with red chalk. Possibly they were the first scheme for some fuller observations which no longer exist; or perhaps they were crossed out when Leonardo found himself obliged to give up the idea of casting the equestrian statue. In the original the first two sketches are above l. 1, and the third below l. 9.]

711.

THE MOULD FOR THE HORSE.

Make the horse on legs of iron, strong and well set on a good foundation; then grease it and cover it with a coating, leaving each coat to dry thoroughly layer by layer; and this will thicken it by the breadth of three fingers. Now fix and bind it with iron as may be necessary. Moreover take off the mould and then make the thickness. Then fill the mould by degrees and make it good throughout; encircle and bind it with its irons and bake it inside where it has to touch the bronze.

OF MAKING THE MOULD IN PIECES.

Draw upon the horse, when finished, all the pieces of the mould with which you wish to cover the horse, and in laying on the clay cut it in every piece, so that when the mould is finished you can take it off, and then recompose it in its former position with its joins, by the countersigns.

The square blocks _a b_ will be between the cover and the core, that is in the hollow where the melted bronze is to be; and these square blocks of bronze will support the intervals between the mould and the cover at an equal distance, and for this reason these squares are of great importance.

The clay should be mixed with sand.

Take wax, to return [what is not used] and to pay for what is used.

Dry it in layers.

Make the outside mould of plaster, to save time in drying and the expense in wood; and with this plaster enclose the irons [props] both outside and inside to a thickness of two fingers; make terra cotta. And this mould can be made in one day; half a boat load of plaster will serve you.

Good.

Dam it up again with glue and clay, or white of egg, and bricks and rubbish.

[Footnote: See Pl. LXXV. The figure "40," close to the sketch in the middle of the page between lines 16 and 17 has been added by a collector's hand.

In the original, below line 21, a square piece of the page has been cut out about 9 centimetres by 7 and a blank piece has been gummed into the place.

Lines 22-24 are written on the margin. l. 27 and 28 are close to the second marginal sketch. l. 42 is a note written above the third marginal sketch and on the back of this sheet is the text given as No. 642. Compare also No. 802.]

712.

All the heads of the large nails.

[Footnote: See Pl. LXXVI, No. i. This drawing has already been published in the "_Saggio delle Opere di L. da Vinci_." Milano 1872, Pl. XXIV, No. i. But, for various reasons I cannot regard the editor's suggestions as satisfactory. He says: "_Veggonsi le armature di legname colle quali forse venne sostenuto il modello, quando per le nozze di Bianca Maria Sforza con Massimiliano imperatore, esso fu collocato sotto un arco trionfale davanti al Castello_."

713.

These bindings go inside.

714.

Salt may be made from human excrements, burnt and calcined, made into lees and dried slowly at a fire, and all the excrements produce salt in a similar way and these salts when distilled, are very strong.

[Footnote: VASARI repeatedly states, in the fourth chapter of his _Introduzione della Scultura_, that in preparing to cast bronze statues horse-dung was frequently used by sculptors. If, notwithstanding this, it remains doubtful whether I am justified in having introduced here this text of but little interest, no such doubt can be attached to the sketch which accompanies it.]

715.

METHOD OF FOUNDING AGAIN.

This may be done when the furnace is made [Footnote: this note is written below the sketches.] strong and bruised.

Models for the horse of the Sforza monument (716-718).

7l6.

Messer Galeazzo's big genet

717.

Messer Galeazzo's Sicilian horse.

[Footnote: These notes are by the side of a drawing of a horse with figured measurements.]

718.

Measurement of the Sicilian horse the leg from behind, seen in front, lifted and extended.

[Footnote: There is no sketch belonging to this passage. Galeazze here probably means Galeazze di San Severino, the famous captain who married Bianca the daughter of Ludovico il Moro.]

Occasional references to the Sforza monument (719-724).

719.

Again, the bronze horse may be taken in hand, which is to be to the immortal glory and eternal honour of the happy memory of the prince your father, and of the illustrious house of Sforza.

[Footnote: The letter from which this passage is here extracted will be found complete in section XXI. (see the explanation of it, on page 2).]

720.

On the 23rd of April 1490 I began this book, and recommenced the horse.

721.

There is to be seen, in the mountains of Parma and Piacenza, a multitude of shells and corals full of holes, still sticking to the rocks, and when I was at work on the great horse for Milan, a large sackful of them, which were found thereabout, was brought to me into my workshop, by certain peasants.

722.

Believe me, Leonardo the Florentine, who has to do the equestrian bronze statue of the Duke Francesco that he does not need to care about it, because he has work for all his life time, and, being so great a work, I doubt whether he can ever finish it. [Footnote: This passage is quoted from a letter to a committee at Piacenza for whom Leonardo seems to have undertaken to execute some work. The letter is given entire in section XXL; in it Leonardo remonstrates as to some unreasonable demands.]

723.

Of the horse I will say nothing because I know the times. [Footnote: This passage occurs in a rough copy of a letter to Ludovico il Moro, without date (see below among the letters).]

724.

During ten years the works on the marbles have been going on I will not wait for my payment beyond the time, when my works are finished. [Footnote: This possibly refers to the works for the pedestal of the equestrian statue concerning which we have no farther information in the MSS. See p. 6.]

The project of the Trivulzio monument.

725.

THE MONUMENT TO MESSER GIOVANNI JACOMO DA TREVULZO.

[2] Cost of the making and materials for the horse [5].

[Footnote: In the original, lines 2-5, 12-14, 33-35, are written on the margin. This passage has been recently published by G. Govi in Vol. V, Ser. 3a, of _Transunti, Reale Accademia dei Linea, sed. del 5 Giugno, 1881,_ with the following introductory note: _"Desidero intanto che siano stampati questi pochi frammenti perche so che sono stati trascritti ultimamente, e verranno messi in luce tra poco fuori d'Italia. Li ripubblichi pure chi vuole, ma si sappia almeno che anche tra noi si conoscevano, e s'eran raccolti da anni per comporne, quando che fosse, una edizione ordinata degli scritti di Leonardo."_

The learned editor has left out line 22 and has written 3 _pie_ for 8 _piedi_ in line 25. There are other deviations of less importance from the original.]

A courser, as large as life, with the rider requires for the cost of