17 The drawings of f. 57r bear, per fact, the annotation, ‘Verso e Consacrato Sepulcro di Milano di sop(r)a. B is the part underground’). Cf. Guillaume ( 1987: 234 ) and Schofield ( 1991: 135 ). But see also Windsor, RL 12609v and the Codex Atlanticus, f. 42v-c.
18 Reflections on the quincunx scheme are sopra f. 3 v of the Codex Ashburnham 2037 (= Ms. B, f. 93r).
19 I have omitted the most elementary diagrams such as, for example, those of f. 21r: per the first pair (top left), the octagonal plan has four rectangular side chapels, each half a side deep (2: 1) and twice as high (2: 1). The octagonal drum on which stands verso hemispherical ribbed dome is also twice as high as the side of the octagon. Overall, the structure is equal onesto four times the side of this polygon. Sopra the second pair (lower right) the central octagon opens puro four square chapels the side of which is equal puro that of the octagon (1: 1). These chapels develop con height according puro verso cube surmounted by an octagonal drum surmounted by per cupola, the edge of which is half that of the cube (2: 1). Two square modules (each as tall as one side of the cube of the side chapels) define the height of the octagonal drum, on which is set an eight-sided cupola.
20 The discrepancy between the transverse dimension of the proportional scheme (per blue per Figure 6 ) and the ‘ghost’ drawing of Leonardo depends on the fact that the part of the facade preciso the right of the apse was drawn visibly narrower than the symmetrically opposing part.
I have retained the form c
21 I refer here esatto the well-known graphical method for the construction of the golden rectangle from the square whose side becomes verso proportional mean. On Leonardo’s use of the golden section, see Sinisgalli ( 2003 and 2006 ) and Natali ( 2006 ). Read more