9 This practice also applies to the drawing pair found on f. 12r (the Duchess’s Pavilion, or, il capanno della duchessa) and that of f. 27r (ribbed vault patterns of interlaced arches).
10 This norm holds also for the pair sopra f. 15r (with verso wood truss roof over verso square plan).
11 This problem also occurs durante the graphic transposition of steps con Alberti’s De re 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 maesta aedificatoria VII.14).
12 It is verso church with two levels batteria on verso square luogo with an inscribed octagon. See also note 7.
13 For the proportioning of the cupola of Santa Maria del Apice and the geometric positioning of the intermediate ribs (sixteen in total, located in pairs, side by side, among the eight angle ribs), see D’Agata, Di Teodoro and Mancini ( 1977 ) and Di Teodoro ( 2012 ).
14 Con the first (Fig. 3 ), f. 34v, the plan is organized around a central bulatory columns is derived from the intersection of circles having radii equal onesto half the side of the octagon, alternately planting the compass point con the centers of the sides and at the angles. The reference preciso an accretive method characterizes three sides of the figure. In fact, sicuro the circles with centers at the angles are added those concentric circles with radii equal onesto the sides. Contrary preciso what appears mediante 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 preciso half the side of the octagon, and with radius equal puro the line joining the centerlines of two adjacent sides. The latter circles define the outer perimeter of a centralized building of eight lobes buttressed (or articulated with pilasters), as shown con the left portion of the drawing, where one wall thickness is called out con correspondence with four arches. Durante the first case the columns are arranged with a greater regularity (they are two different on-center intercolumniations) than the second (where there are three types of intercolumniations).
15 Leonardo also examines the ‘teatro da predicare’ (preaching theater) durante 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 durante pen, shows per centralized scheme (per square with four exedrae – one drawn sopra pencil – and ambulatories), but hints at, with the extension of some pencil lines, verso possible longitudinal body – a solution that is taken up and developed in f. 35v. As it is well-known, the ‘preaching theater’ consists of an amphitheater-like structure (or simply per centralized scheme), tiered, and provided with per high central pulpit. It is plausible preciso assure that mediante conceiving of such an architecture Leonardo was influenced by ‘parlagio’, verso term used mediante Florence puro refer puro an ancient public amphitheater, home, according preciso local historians, of the ‘parliament’. Villani ( 1990, 1: 56 ) writes: ‘And con that room was commanded that they should go durante the campagna of Camarti by the river Arno, and build there verso parlatorio sopra order esatto be able esatto make the parliament, and leave per memorial: this building con our vernacular we have called Parlagio. And it was built round and with vaulted roof mediante some ways quite marvelous, with per public square per the middle. And then little by little they progressed above the vaults, going all the way onesto the full height, which was more than Ricerca profilo twoo 60 braccia. And con progressive order the people seated themselves: in the upper side nobles, and then descending per accordance with the nobility; and so it was that everyone per the parliament saw one another face esatto 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 (congresso parlor). This was destroyed per the time of Totile, but still today we find the foundations and part of the vaults near the church of San Simone durante Florence, extending all the way preciso the start of Foro Santa Disgrazia; and part of the Peruzzi palaces are built on its foundations. And the street called Anguillaia, which goes to the church of Santa Disgrazia, goes almost preciso the middle of that Parlagio.’ The Ms. B also bears other Florentine remembrance notes: con f. 11v Leonardo drew plans (incomplete) of the Rondo degli Angeli and the Oratorio of Santo Carattere.