A head, full face, of a young man with fine flowing hair, Many flowers drawn from nature, A head, full face, with curly hair, Certain figures of Saint Jerome, [6] The measurements of a figure, Drawings of furnaces. A head of the Duke, [9] many designs for knots, 4 studies for the panel of Saint Angelo A small composition of Girolamo da Fegline, A head of Christ done with the pen, [13] 8 Saint Sebastians, Several compositions of Angels, A chalcedony, A head in profile with fine hair, Some pitchers seen in(?) perspective, Some machines for ships, Some machines for waterworks, A head, a portrait of Atalanta raising her face; The head of Geronimo da Fegline, The head of Gian Francisco Borso, Several throats of old women, Several heads of old men, Several nude figures, complete, Several arms, eyes, feet, and positions, A Madonna, finished, Another, nearly in profile, Head of Our Lady ascending into Heaven, A head of an old man with long chin, A head of a gypsy girl, A head with a hat on, A representation of the Passion, a cast, A head of a girl with her hair gathered in a knot, A head, with the brown hair dressed.
[Footnote: 680. This has already been published by AMORETTI Memorie storiche cap. XVI. His reading varies somewhat from that here given, e. g. l. 5 and 6. Certi Sangirolami in su d’una figura; and instead of I. 13. Un San Bastiano.]
[Footnote: 680. 9. Molti disegni di gruppi. VASARI in his life of Leonardo (IV, 21, ed. MILANESI 1880) says: “Oltreché perse tempo fino a disegnare gruppi di corde fatti con ordine, e che da un capo seguissi tutto il resto fino all’ altro, tanto che s’empiessi un tondo; che se ne vede in istampa uno difficilissimo e molto bello, e nel mezzo vi sono queste parole: Leonardus Vinci Accademia”. Gruppi must here be understood as a technical expression for those twisted ornaments which are well known through wood cuts. AMORETTI mentions six different ones in the Ambrosian Library. I am indebted to M. DELABORDE for kindly informing me that the original blocks of these are preserved in his department in the Bibliothèque Nationale in Paris. On the cover of these volumes is a copy from one of them. The size of the original is 23 1/2 centimetres by 26 1/4. The centre portion of another is given on p. 361. G. Govi remarks on these ornaments (Saggio p. 22): “Codesti gruppi eran probabilmente destinati a servir di modello a ferri da rilegatori per adornar le cartelle degli scolari (?). Fregi somigliantissimi a questi troviamo infatti impressi in oro sui cartoni di vari volumi contemporanei, e li vediam pur figurare nelle lettere iniziali di alcune edizioni del tempo.”
Dürer who copied them, omitting the inscription, added to the second impressions his own monogram. In his diary he designates them simply as “Die sechs Knoten” (see THAUSING, Life of A. Dürer I, 362, 363). In Leonardo’s MSS. we find here and there little sketches or suggestions for similar ornaments. Compare too G. MONGERI, L’Arte in Milano, p. 315 where an ornament of the same character is given from the old decorations of the vaulted ceiling of the Sacristy of S. Maria delle Grazie.]
[Footnote: 680, 17. The meaning in which the word coppi, literally pitchers, is here used I am unable to determine; but a change to copie seems to me too doubtful to be risked.]
Taken from The Notebooks of Leonardo da Vinci edited by Jean Paul Richter, 1880.