Most of Leonardo’s architectural drawings still await examination with regard onesto proportion

4. Conclusions

Still, the exploration conducted on the sheets of Ms. B — which is only slightly antecedent puro Leonardo’s studies of the problem of the Tiburio of Milan Cathedral, in which he thus comes into contact with the realities of construction 22 — has brought to light some modalities that Leonardo puts to use (valid at least for the drawings of this codex from Paris):

• Leonardo rapidly derives the elevations from the plans;
• this method is facilitated either by the fact that the plans are drawn before the elevation, or by the reciprocal position of the two drawings;
• per the simplest examples the elevations are defined starting from a particular element of the plan by means of progressions (for the pair at the culmine of f. 21r the progression is 1, 2, 4, 8);
• mediante the more complex cases the lines passing through quite particular portions of the plan define the heights and the cornices of the exterior (ff. 24r, 39v, 19r–18v, 18r–17v);
• per some cases the golden section intervenes either per the definition of the plan (ff.19r–18v, 18r–17v) or mediante that of the elevations (ff. 18r–17v).

The recourse preciso the golden section is not odd because Leonardo, who applies per simple graphic method, seems preciso have been familiar with it since his Florentine years and at least since the beginning of the 1470s.

Taccuino

1 Esatto Scholfield ( 1958: 52, 139–141 ) is owed one of the first contributions pertaining esatto the proportions of the plan per the temple mediante f. 95v of Ms. B of Leonardo da Vinci, as part of per broader study of the octagon protagonista scheme (with reference puro number theory and the number ? of the Pell series; see Figure 2 ).

2 Pedretti ( 1962: 178 ) refers sicuro Wittkower ( 1952 ), the

second edition of Architectural Principles durante the Age of Humanism, and makes explicit reference ( 1962: 133 n. 63 ) esatto the sistema of Scholfield.

3 For the drawings of Ms. B and the themes explored here see, durante particular, Heydenreich ( 1929 ); Maltese ( 1954: 333–358, especially 343–346 and plates CXXX–CXLV ); Heydenreich ( 1974 ); Firpo ( 1963 ); and Schofield ( 1991: 137–143 ). For some issues sopra the codex (bridges, pilings, pile drivers, barns, fireplaces), see Di Teodoro ( 1985 ; 1993 ; 2009 and [ forthcoming ]).

4 For the central plan, con accessit preciso the fundamental Wittkower ( 1949 ) and Lotz ( 1964 and its Italian translation, 1989: 43–47 ); see also Adorni ( 2002 ).

5 Sopra arriving at this number I have also considered structures that are not ‘churches’ a nel caso che, but that contain per centralized or basilical plan: verso plan and perspective section of the ‘Pavilion of the Duchess’s Garden’ (‘Casotto del serra della duchessa’; f. 12r) and the ‘preaching theater’ (‘notorieta da p(re)dicare’; ff. 52r, 55r, 95r).

6 The drawings are distributed mediante the ten http://datingranking.net/it/wantmatures-review folded sheets that originally formed the codex as follows (the folded sheet 10 constitutes the present Codex Ashburnham 2037): folded sheets 1 (5), 2 (13), 3 (24), 4 (8), 6 (12), 10 (18).

7 Sopra ff. 17v–18r and 18v–19r the plans are on the right sheet and the perspective views are on the left; f. 21r bears two distinct pairs of drawings; in f. 21v the pair of diagrams is accompanied by an enlarged detail of the plan and by two internal elevation details; f. 25v bears two pairs of drawings; f. 93v contains five pairs of diagrams, while in f. 94r the plan and perspective elevation are accompanied by per partial section. The other sheets (22r, 24r, 39v, 52r, 95v) each contain individual pairs.