Chapter 64
MS. B, 55a (see page 56, Fig. 1). A domed church after the type of Pl. XCV, No. 1, shows four theatres occupying the apses and facing the square_ "coro" (choir), which is in the centre between the four pillars of the dome.[Footnote 1: The note teatro de predicar, on the right side is, I believe, in the handwriting of Pompeo Leoni. J. P. R.] The rising arrangement of the seats is shown in the sketch above. At the place marked B Leonardo wrote teatri per uldire messa (rows of seats to hear ma.s.s), at T teatri, and at C coro _(choir).
In MS. C.A. 260, are slight sketches of two plans for rectangular choirs and two elevations of the altar and pulpit which seem to be in connection with these plans.
In MS. Ash II, 8a (see p. 56 and 57. Fig. 2 and 3). "Locho dove si predica" (Place for preaching). A most singular plan for a building. The interior is a portion of a sphere, the centre of which is the summit of a column destined to serve as the preacher's pulpit. The inside is somewhat like a modern theatre, whilst the exterior and the galleries and stairs recall the ancient amphitheatres.
[Ill.u.s.tration with caption: Page 57, Fig. 4. A plan accompanying the two preceding drawings. If this gives the complete form Leonardo intended for the edifice, it would have comprised only about two thirds of the circle. Leonardo wrote in the centre_ "fondamento", a word he often employed for plans, and on the left side of the view of the exterior: locho dove si predicha (a place for preaching in).]
_D. Design for a Mausoleum.
Pl. XCVIII (P. V., 182._ No. d'ordre 2386). In the midst of a hilly landscape rises an artificial mountain in the form of a gigantic cone, crowned by an imposing temple. At two thirds of the height a terrace is cut out with six doorways forming entrances to galleries, each leading to three sepulchral halls, so constructed as to contain about five hundred funeral urns, disposed in the customary antique style. From two opposite sides steps ascend to the terrace in a single flight and beyond it to the temple above. A large circular opening, like that in the Pantheon, is in the dome above what may be the altar, or perhaps the central monument on the level of the terrace below.
The section of a gallery given in the sketch to the right below shows the roof to be constructed on the principle of superimposed horizontal layers, projecting one beyond the other, and each furnished with a sort of heel, which appears to be undercut, so as to give the appearance of a beam from within. Granite alone would be adequate to the dimensions here given to the key stone, as the thickness of the layers can hardly be considered to be less than a foot. In taking this as the basis of our calculation for the dimensions of the whole construction, the width of the chamber would be about 25 feet but, judging from the number of urns it contains-and there is no reason to suppose that these urns were larger than usual-it would seem to be no more than about 8 or 10 feet.
The construction of the vaults resembles those in the galleries of some etruscan tumuli, for instance the Regulini Galea.s.si tomb at Cervetri (lately discovered) and also that of the chamber and pa.s.sages of the pyramid of Cheops and of the treasury of Atreus at Mycenae.
The upper cone displays not only a.n.a.logies with the monuments mentioned in the note, but also with Etruscan tumuli, such as the Coc.u.mella tomb at Vulci, and the Regulini Galea.s.si tomb_[Footnote 1: See FERSGUSON, Handbook of Architecture, I, 291.]. _The whole scheme is one of the most magnificent in the history of Architecture.
It would be difficult to decide as to whether any monument he had seen suggested this idea to Leonardo, but it is worth while to enquire, if any monument, or group of monuments of an earlier date may be supposed to have done so._[Footnote 2: There are, in Algiers, two Monuments, commonly called "Le Madracen" and "Le tombeau de la Chretienne," which somewhat resemble Leonardo's design. They are known to have served as the Mausolea of the Kings of Mauritania. Pomponius Mela, the geographer of the time of the Emperor Claudius, describes them as having been "Monumentum commune regiae gentis." See Le Madracen, Rapport fait par M. le Grand Rabbin AB. CAHEN, Constantine 1873-Memoire sur les fouilles executees au Madras'en.. par le Colonel BRUNON, Constantine l873.-Deux Mausolees Africains, le Madracen et le tombeau de la Chretienne par M. J. DE LAURIERE, Tours l874.-Le tombeau de la Chretienne, Mausolee des rois Mauritaniens par M. BERBRUGGER, Alger 1867.-I am indebted to M. LE BLANC, of the Inst.i.tut, and M. LUD, LALANNE, Bibliothecaire of the Inst.i.tut for having first pointed out to me the resemblance between these monuments; while M. ANT. HERON DE VlLLEFOSSE of the Louvre was kind enough to place the abovementioned rare works at my disposal. Leonardo's observations on the coast of Africa are given later in this work. The Herodium near Bethlehem in Palestine (Jebel el Fureidis, the Frank Mountain) was, according to the latest researches, constructed on a very similar plan. See Der Frankenberg, von Baurath C. SCHICK in Jerusalem, Zeitschrift des Deutschen Palastina-Vereins, Leipzag 1880, Vol. III, pages 88-99 and Plates IV and V. J. P. R.]
_E. Studies for the Central Tower, or Tiburio of Milan Cathedral.
Towards the end of the fifteenth century the Fabbricceria del Duomo had to settle on the choice of a model for the crowning and central part of this vast building. We learn from a notice published by G. L. Calvi [Footnote: G. L. CALVI, Notizie sulla vita e sulle opere dei princ.i.p.ali architetti scultori e pittori che fiorirono in Milano, Part III, 20. See also: H. DE GEYMULLER, Les projets primitifs etc. I, 37 and 116-119.-The Fabbricceria of the Duomo has lately begun the publication of the archives, which may possibly tell us more about the part taken by Leonardo, than has..h.i.therto been known.] that among the artists who presented models in the year 1488 were: Bramante, Pietro da Gorgonzola, Luca Paperio (Fancelli), and Leonardo da Vinci.-
Several sketches by Leonardo refer to this important project:
Pl. XCIX, No. 2 (MS. S. K. III, No. 36a) a small plan of the whole edifice.-The projecting chapels in the middle of the transept are wanting here. The
Pl. C, No. 2 (Tr. 21). Plan of the octagon tower, giving the disposition of the b.u.t.tresses; starting from the eight pillars adjoining the four princ.i.p.al piers and intended to support the eight angles of the Tiburio. These b.u.t.tresses correspond exactly with those described by Bramante as existing in the model presented by Omodeo. [Footnote: Bramante's opinion was first published by G. MONGERl, Arch. stor. Lomb. V, fasc. 3 and afterwards by me in the publication mentioned in the preceding note.]
Pl. C, 3 (MS. Tr. 16). Two plans showing different arrangements of the b.u.t.tresses, which seem to be formed partly by the intersection of a system of pointed arches such as that seen in **
Pl. C, No. 5 (MS. B, 27a) destined to give a broader base to the drum. The text underneath is given under No. 788.
MS. B, 3-three slight sketches of plans in connexion with the preceding ones._
Pl. XCIX, No.1 (MS. Tr. 15) contains several small sketches of sections and exterior views of the Dome; some of them show b.u.t.tress-walls shaped as inverted arches. Respecting these Leonardo notes:
758.
L'arco rivescio e migliore per fare spalla che l'ordinario, perche il rovescio trova sotto se muro resistete alla sua debolezza, e l'ordinario no trova nel suo debole se non aria
The inverted arch is better for giving a shoulder than the ordinary one, because the former finds below it a wall resisting its weakness, whilst the latter finds in its weak part nothing but air.
[Footnote: _Three slight sketches of sections on the same leaf-above those reproduced here-are more closely connected with the large drawing in the centre of Pl. C, No. 4 (M.S, Tr. 41) which shows a section of a very elevated dome, with double vaults, connected by ribs and b.u.t.tresses ingeniously disposed, so as to bring the weight of the lantern to bear on the base of the dome.
A sketch underneath it shows a round pillar on which is indicated which part of its summit is to bear the weight: "il pilastro sara charicho in. a. b." (The column will bear the weight at a b.) Another note is above on the right side: Larcho regiera tanto sotto a.s.se chome di sopra se (The arch supports as much below it [i. e. a hanging weight] as above it).
Pl. C, No. 1 (C. A. 303a). Larger sketch of half section of the Dome, with a very complicated system of arches, and a double vault.
Each stone is shaped so as to be knit or dovetailed to its neighbours. Thus the inside of the Dome cannot be seen from below.
MS. C. A. 303b. A repet.i.tion of the preceding sketch with very slight modifications._]
[Figs. 1. and Fig. 2. two sketeches of the dome]
MS. Tr. 9 (see Fig. 1 and 2). Section of the Dome with reverted b.u.t.tresses between the windows, above which iron anchors or chains seem to be intended. Below is the sketch of the outside._
_PI. XCIX, No. 3 (C. A., 262a) four sketches of the exterior of the Dome.
C. A. 12. Section, showing the points of rupture of a gothic vault, in evident connection with the sketches described above.
It deserves to be noticed how easily and apparently without effort, Leonardo manages to combine gothic details and structure with the more modern shape of the Dome.
The following notes are on the same leaf,_ oni cosa poderosa, and oni cosa poderosa desidera de(scendere); farther below, several multiplications most likely intended to calculate the weight of some parts of the Dome, thus 16 x 47 = 720; 720 x 800 = 176000, next to which is written: peso del pilastro di 9 teste _(weight of the pillar 9 diameters high).
Below:_ 176000 x 8 = 1408000; and below:
Semjlio e se ce 80 (?) il peso del tiburio _(six millions six hundred (?) 80 the weight of the Dome).
Bossi hazarded the theory that Leonardo might have been the architect who built the church of Sta. Maria delle Grazie, but there is no evidence to support this, either in doc.u.ments or in the materials supplied by Leonardos ma.n.u.scripts and drawings. The sketch 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 pa.s.sage 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 bas.e.m.e.nt.
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 bas.e.m.e.nt with steps; he supported his a.s.sertions 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 a.s.siste, 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 circ.u.mference 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 s.p.a.ces. 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. Lx.x.xI 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 ra.s.somiglia a.s.sai 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 ma.n.u.script, 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.