Chapter 63
Pl. Lx.x.xIX (MS. B. 17b). Elevation for the preceding figure. The comparison of the drawing marked M with the plan on page 47 Fig. 2, bearing the same mark, and of the elevation on Pl. Lx.x.xIX below (marked A) with the corresponding plan on page 47 is highly instructive, as ill.u.s.trating the spirit in which Leonardo pursued these studies.
Pl. Lx.x.xIV No. 12 shows the design Pl. Lx.x.xVII No. 3 combined with apses, with the addition of round chapels on the diagonal sides.
Pl. Lx.x.xIV No. 13 is a variation of the preceding sketch.
Pl. XC No. 3. MS. B. 25b. The round chapels of the preceding sketch are replaced by octagonal chapels, above which rise campaniles.
Pl. XC No. 4 is the elevation for the preceding plan.
Pl. XCII No. 1. (MS. B. 39b.); the plan below. On the princ.i.p.al as well as on the diagonal axes are diagonal chapels, but the latter are separated from the dome by semicircular recesses. The communication between these eight chapels forms a square aisle round the central dome.
Above this figure is the elevation, showing four campaniles on the angles. [Footnote 1: The note accompanying this drawing is reproduced under No. 753.]
Pl. Lx.x.xIV No. 3. On the princ.i.p.al axes are square chapels with three niches; on the diagonals octagonal chapels with niches. Cod. Atl. 340b gives a somewhat similar arrangement.
MS. B. 30. The princ.i.p.al development is thrown on the diagonal axes by square chapels with three niches; on the princ.i.p.al axes are inner recesses communicating with outer ones.
The plan Pl. XCIII No. 2 (MS. B. 22) differs from this only in so far as the outer semicircles have become circular chapels, projecting from the external square as apses; one of them serves as the entrance by a semicircular portico.
The elevation is drawn on the left side of the plan.
MS. B. 19. A further development of MS. B. 18, by employing for the four princ.i.p.al chapels the type Pl. Lx.x.xVIII No. 3, as we have already seen in Pl. XCI No. 2; the exterior presents two varieties.
a) The outer contour follows the inner. [Footnote 2: These chapels are here sketched in two different sizes; it is the smaller type which is thus formed.]
b) It is semicircular.
Pl. Lx.x.xVII No. 2 (MS. B. 18b) Elevation to the first variation MS. B. 19. If we were not certain that this sketch was by Leonardo, we might feel tempted to take it as a study by Bramante for St. Peter's at Rome. [Footnote 3: See_ Les projets primitifs Pl. 43.]
_MS. P. V. 39b. In the princ.i.p.al axes the chapels of MS. B. 19, and semicircular niches on the diagonals. The exterior of the whole edifice is also an octagon, concealing the form of the interior chapels, but with its angles on their axes.
Group V.
Suggested by San Lorenzo at Milan.
In MS. C. A. 266 IIb, 8l2b there is a plan almost identical with that of San Lorenzo. The diagonal sides of the irregular octagon are not indicated.
If it could be proved that the arches which, in the actual church, exist on these sides in the first story, were added in 1574 by Martimo Ba.s.si, then this plan and the following section would be still nearer the original state of San Lorenzo than at present. A reproduction of this slightly sketched plan has not been possible. It may however be understood from Pl. Lx.x.xVIII No. 3, by suppressing the four pillars corresponding to the apses.
Pl. Lx.x.xVII No. 1 shows the section in elevation corresponding with the above-named plan. The recessed chapels are decorated with large sh.e.l.ls in the halfdomes like the arrangement in San Lorenzo, but with proportions like those of Bramante's Sacristy of Santa Maria presso S. Satiro.
MS. C. A. 266; a sheet containing three views of exteriors of Domes. On the same sheet there is a plan similar to the one above-named but with uninterrupted aisles and with the addition of round chapels in the axes (compare Pl. XCVII No. 3 and page 44 Fig. 1), perhaps a reminiscence of the two chapels annexed to San Lorenzo.-Leonardo has here sketched the
Pl. XCI No. 1. Plan showing a type deprived of aisles and comprised in a square building which is surrounded by a portico. It is accompanied by the following text:_
756.
This edifice is inhabited [accessible] below and above, like San Sepolcro, and it is the same above as below, except that the upper story has the dome c d; and the [Footnote: The church of San Sepolcro at Milan, founded in 1030 and repeatedly rebuilt after the middle of the XVIth century, still stands over the crypt of the original structure.] lower has the dome a b, and when you enter into the crypt, you descend 10 steps, and when you mount into the upper you ascend 20 steps, which, with 1/3 braccio for each, make 10 braccia, and this is the height between one floor of the church and the other.
_Above the plan on the same sheet is a view of the exterior. By the aid of these two figures and the description, sections of the edifice may easily be reconstructed. But the section drawn on the left side of the building seems not to be in keeping with the same plan, notwithstanding the explanatory note written underneath it: "dentro il difitio di sopra" (interior of the edifice above)[Footnote 1: The small inner dome corresponds to a b on the plan-it rises from the lower church into the upper- above, and larger, rises the dome c d. The aisles above and below thus correspond (e di sopra come di sotto, salvoche etc.). The only difference is, that in the section Leonardo has not taken the trouble to make the form octagonal, but has merely sketched circular lines in perspective. J. P. R._].
_Before leaving this group, it is well to remark that the germ of it seems already indicated by the diagonal lines in the plans Pl. Lx.x.xV No. 11 and No. 7. We shall find another application of the same type to the Latin cross in Pl. XCVII No. 3.
_2. Churches formed on the plan of a Latin cross.
We find among Leonardo's studies several sketches for churches on the plan of the Latin cross; we shall begin by describing them, and shall add a few observations.
A. Studies after existing Monuments.
Pl. XCIV No. 2. (MS. B. 11b.) Plan of Santo Spirito at Florence, a basilica built after the designs of Brunellesco.-Leonardo has added the indication of a portico in front, either his own invention or the reproduction of a now lost design.
Pl. XCV No. 2. Plan accompanied by the words: "A_ e santo sepolcro di milano di sopra"(A _is the upper church of S. Sepolcro at Milan); although since Leonardo's time considerably spoilt, it is still the same in plan.
The second plan with its note: "B_ e la sua parte socto tera" (B _is its subterranean part [the crypt]) still corresponds with the present state of this part of the church as I have ascertained by visiting the crypt with this plan. Excepting the addition of a few insignificant walls, the state of this interesting part of the church still conforms to Leonardo's sketch; but in the Vestibolo the two columns near the entrance of the winding stairs are absent.
B. Designs or Studies.
PL. XCV No. 1. Plan of a church evidently suggested by that of San Sepolcro at Milan. The central part has been added to on the principle of the second type of Group III. Leonardo has placed the_ "coro" (choir) in the centre.
_Pl. XCVI No. 2. In the plan the dome, as regards its interior, belongs to the First Cla.s.s of Group IV, and may be grouped with the one in MS. B. 35a. The nave seems to be a development of the type represented in Pl. XCV No. 2, B. by adding towers and two lateral porticos[Footnote 1: Already published in Les projets primitifs Pl. XLIII.].
On the left is a view of the exterior of the preceding plan. It is accompanied by the following note:_
757.
This building is inhabited below and above; the way up is by the campaniles, and in going up one has to use the platform, where the drums of the four domes are, and this platform has a parapet in front, and none of these domes communicate with the church, but they are quite separate.
_Pl. XCVI No. 1 (MS. C. A. 16b; 65a). Perspective view of a church seen from behind; this recalls the Duomo at Florence, but with two campaniles[Footnote 2: Already published in the Saggio Pl. IX.].
Pl. XCVII No. 3 (MS. B. 52a). The central part is a development of S. Lorenzo at Milan, such as was executed at the Duomo of Pavia. There is sufficient a.n.a.logy between the building actually executed and this sketch to suggest a direct connection between them. Leonardo accompanied Francesco di Giorgio[Footnote 3: See MALASPINA, il Duomo di Pavia. Doc.u.ments.] when the latter was consulted on June 21st, 1490 as to this church; the fact that the only word accompanying the plan is:_ "sagrestia", _seems to confirm our supposition, for the sacristies were added only in 1492, i. e. four years after the beginning of the Cathedral, which at that time was most likely still sufficiently unfinished to be capable of receiving the form of the present sketch.
Pl. XCVII No. 2 shows the exterior of this design. Below is the note: edifitio al proposito del fodameto figurato di socto (edifice proper for the ground plan figured below).
Here we may also mention the plan of a Latin cross drawn in MS. C.
A. fol. 266 (see p. 50).
Pl. XCIV No. 1 (MS. L. 15b). External side view of Brunellesco's Florentine basilica San Lorenzo, seen from the North.
Pl. XCIV No. 4 (V. A. V, 1). Princ.i.p.al front of a nave, most likely of a church on the plan of a Latin cross. We notice here not only the princ.i.p.al features which were employed afterwards in Alberti's front of S. Maria Novella, but even details of a more advanced style, such as we are accustomed to meet with only after the year 1520.
In the background of Leonardo's unfinished picture of St. Jerome (Vatican Gallery) a somewhat similar church front is indicated (see the accompanying sketch).
[Ill.u.s.tration with caption: The view of the front of a temple, apparently a dome in the centre of four corinthian porticos bearing pediments (published by Amoretti Tav. II. B as being by Leonardo), is taken from a drawing, now at the Ambrosian Gallery. We cannot consider this to be by the hand of the master.]_
_C. Studies for a form of a Church most proper for preaching.
The problem as to what form of church might answer the requirements of acoustics seems to have engaged Leonardo's very particular attention. The designation of_ "teatro" _given to some of these sketches, clearly shows which plan seemed to him most favourable for hearing the preacher's voice.
Pl. XCVII, No. 1 (MS. B, 52). Rectangular edifice divided into three naves with an apse on either side, terminated by a semicircular theatre with rising seats, as in antique buildings. The pulpit is in the centre. Leonardo has written on the left side of the sketch_: "teatro da predicare" _(Theatre for preaching).