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 analogy 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. Documents.] 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). Principal front of a nave, most likely
of a church on the plan of a Latin cross. We notice here not only
the principal 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).

[Illustration 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).

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 mass), 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.

[Illustration 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 Galeassi tomb at
Cervetri (lately discovered) and also that of the chamber and
passages of the pyramid of Cheops and of the treasury of Atreus at
Mycenae.

The upper cone displays not only analogies with the monuments
mentioned in the note, but also with Etruscan tumuli, such as the
Cocumella tomb at Vulci, and the Regulini Galeassi 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 Institut, and M. LUD,
LALANNE, Bibliothecaire of the Institut 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 principali 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 hitherto
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 nave appears to be shortened and seems to be
approached by an inner "vestibolo".--

Pl. C, No. 2 (Tr. 21). Plan of the octagon tower, giving the
disposition of the buttresses; starting from the eight pillars
adjoining the four principal piers and intended to support the eight
angles of the Tiburio. These buttresses 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 buttresses, 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
buttress-walls shaped as inverted arches. Respecting these Leonardo
notes:_