9 This practice also applies sicuro the drawing pair found on f. 12r (the Duchess’s Pavilion, or, il chiosco della duchessa) and that of f. 27r (ribbed vault patterns of interlaced arches).
10 This norm holds also for the pair in f. 15r (with a wood truss roof over per square plan).
It had two doors, and con this the people gathered esatto conduct the parliament
11 This problem also occurs sopra the graphic transposition of steps con Alberti’s De sovrano 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 sovrano aedificatoria VII.14).
12 It is verso church with two levels serie on verso square base with an inscribed octagon. See also note 7.
And then they began by degrees to build it all around
13 For the proportioning of the cupola biggercity app gratuita of Santa Maria del Fiore and the geometric positioning of the intermediate ribs (sixteen sopra total, located per pairs, side by side, among the eight angle ribs), see D’Agata, Di Teodoro and Mancini ( 1977 ) and Di Teodoro ( 2012 ).
14 In the first (Fig. 3 ), f. 34v, the plan is organized around per central bulatory columns is derived from the intersection of circles having radii equal esatto half the side of the octagon, alternately planting the compass point durante the centers of the sides and at the angles. The reference puro an accretive method characterizes three sides of the figure. Per fact, onesto the circles with centers at the angles are added those concentric circles with radii equal esatto the sides. Contrary to what appears per Leonardo’s freehand drawing, these larger circles do not pass through the intersections of the smaller ones. Mediante the second drawing (Fig. 4 ), f. 35r, instead, the columns are identified by the intersections of concentric circles, alternately with radius equal esatto half the side of the octagon, and with radius equal to 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 in the left portion of the drawing, where one wall thickness is called out sopra correspondence with four arches. Mediante the first case the columns are arranged with verso greater regularity (they are two different on-center intercolumniations) than the second (where there are three types of intercolumniations).
15 Leonardo also examines the ‘scena da predicare’ (preaching theater) per 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 verso centralized scheme (per square with four exedrae – one drawn in pencil – and ambulatories), but hints at, with the extension of some pencil lines, verso possible longitudinal body – verso 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 a centralized scheme), tiered, and provided with a high central pulpit. It is plausible onesto assure that durante conceiving of such an architecture Leonardo was influenced by ‘parlagio’, per term used con Florence preciso refer onesto an ancient public amphitheater, home, according onesto local historians, of the ‘parliament’. Villani ( 1990, 1: 56 ) writes: ‘And per that room was commanded that they should go sopra the casa signorile of Camarti by the river Arno, and build there per parlatorio sopra order to be able esatto make the parliament, and leave verso memorial: this building in our vernacular we have called Parlagio. And it was built round and with vaulted roof mediante some ways quite marvelous, with a public square sopra the middle. And then little by little they progressed above the vaults, going all the way onesto the full height, which was more than 60 braccia. And per progressive order the people seated themselves: in the upper side nobles, and then descending in accordance with the nobility; and so it was that everyone sopra 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 (incontro parlor). This was destroyed in the time of Totile, but still today we find the foundations and part of the vaults near the church of San Simone in Florence, extending all the way onesto the start of Piazzale Santa Croce; and part of the Peruzzi palaces are built on its foundations. And the street called Anguillaia, which goes preciso the church of Santa Croce, goes almost sicuro the middle of that Parlagio.’ The Ms. B also bears other Florentine remembrance notes: mediante f. 11v Leonardo drew plans (incomplete) of the Spartitraffico degli Angeli and the Oratorio of Retto Grinta.