9 This practice also applies sicuro the drawing pair found on f. 12r (the Duchess’s Pavilion, or, il pergolato della duchessa) and that of f. 27r (ribbed vault patterns of interlaced arches).
10 This norm holds also for the pair durante f. 15r (with a wood truss roof over a square plan).
It had two doors, and mediante this the people gathered onesto conduct the parliament
11 This problem also occurs con the graphic transposition of steps mediante Alberti’s De sovrano aedificatoria. Consider, for example, the proportions of the three planimetric typologies for basilicas (simple, with causidica, and double-doored) that do not take into account the wall thickness (Alberti, De regnante aedificatoria VII.14).
12 It is a church with two levels batteria on per square affatto with an inscribed octagon. See also note 7.
And then they began by degrees puro build it all around
13 For the proportioning of the cupola of Santa Maria del Ornamento and the geometric positioning of the intermediate ribs (sixteen in total, located sopra pairs, side by side, among the eight angle ribs), see D’Agata, Di Teodoro and Mancini ( 1977 ) and Di Teodoro ( 2012 ).
14 Per the first (Fig. 3 ), f. 34v, the plan is organized around verso central bulatory columns is derived from the intersection of circles having radii equal to half the side of the octagon, alternately planting the compass point con the centers of the sides and at the angles. The reference to an accretive method characterizes three sides of the figure. Durante fact, sicuro the circles with centers at the angles are added those concentric circles with radii equal preciso the sides. Contrary esatto what appears con Leonardo’s freehand drawing, these larger circles do not pass through the intersections of the smaller ones. Per the second drawing (Fig. 4 ), f. 35r, instead, the columns are identified by the intersections of concentric circles, alternately with radius equal sicuro half the side of the octagon, and with radius equal preciso the line joining the centerlines of two adjacent sides. The latter circles define the outer perimeter of per centralized building of eight lobes buttressed (or articulated with pilasters), as shown in the left portion of the drawing, where one wall thickness is called out in correspondence with four arches. Con the first case the columns are arranged with verso greater regularity (they are two different on-center intercolumniations) than the second (where there are three types of intercolumniations).
15 Leonardo also examines the ‘anta da predicare’ (preaching theater) per f. 55r of Ms. B (‘theaters for saying mass’) and f. 95r of the same codex (‘place for preaching’). The design of f. 55r, on the other hand, executed con pen, shows per centralized scheme (a square with four exedrae – one drawn durante pencil – and ambulatories), but hints at, with the extension of some pencil lines, a possible longitudinal body – per solution that is taken up and developed con f. 35v. As it is well-known, the ‘preaching theater’ consists of an amphitheater-like structure (or simply a centralized scheme), tiered, and provided with verso high central pulpit. It is plausible puro garantisse that in conceiving of such an architecture Leonardo was influenced by ‘parlagio’, verso term used per Florence onesto refer sicuro an ancient public amphitheater, home, according sicuro local historians, of the ‘parliament’. Villani ( 1990, 1: 56 ) writes: ‘And in that room was commanded that they should go mediante the borgo of Camarti by the river Arno, and build there a parlatorio sopra order puro be able sicuro make the parliament, and leave per memorial: this building sopra our vernacular we have called Parlagio. And it was built round and with vaulted roof mediante some ways quite marvelous, with a public square per the middle. And then little by little they progressed above the vaults, going all the way esatto the full height, which was more than 60 braccia. And durante progressive order the people seated themselves: mediante the upper side nobles, and then descending mediante accordance with the nobility; and so it was that everyone durante the parliament saw one another face onesto face. And all could hear clearly that which was spoken; and it contained easily an endless multitude of people; and the correct name for this place was the parlatorio (assemblea parlor). This was destroyed in the time of Totile, but still today we find the foundations and part of the vaults near the church of San Simone sopra Florence, extending all the way preciso the start of Piazzale Santa Affanno; and part of the Peruzzi palaces are built on its foundations. And the street called Anguillaia, which goes puro the church of Santa Affanno, goes almost esatto the middle of that Parlagio.’ The Ms. B also bears other Florentine remembrance notes: per f. 11v Leonardo drew plans (incomplete) of the Rotonda degli Angeli and the Basilica of Santo Inclinazione.