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

4. Conclusions

Still, the exploration conducted on the sheets of Ms. B – which is only slightly antecedent to Leonardo’s studies of the problem of the Tiburio of Milan Cathedral, sopra 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 https://datingranking.net/it/wantmatures-review/ two drawings;
• in the simplest examples the elevations are defined starting from a particular element of the plan by means of progressions (for the pair at the apice of f. 21r the progression is 1, 2, 4, 8);
• per 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);
• con some cases the golden section intervenes either in the definition of the plan (ff.19r–18v, 18r–17v) or mediante that of the elevations (ff. 18r–17v).

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

Notes

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

2 Pedretti ( 1962: 178 ) refers puro Wittkower ( 1952 ), the second edition of Architectural Principles in the Age of Humanism, and makes explicit reference ( 1962: 133 n. 63 ) puro the rete di emittenti of Scholfield.

3 For the drawings of Ms. B and the themes explored here see, in 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 durante the codex (bridges, pilings, pile drivers, barns, fireplaces), see Di Teodoro ( 1985 ; 1993 ; 2009 and [ forthcoming ]).

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

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

6 The drawings are distributed mediante the ten 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; per 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 mediante 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.