[Footnote 665, 666:  In the original MS. there is no sketch to accompany these passages, and if we compare them with those drawings made by Leonardo in preparation for the composition of the picture—­Pl.  XLV, XLVI—­, (compare also Pl.  LII, 1 and the drawings on p. 297) it is impossible to recognise in them a faithful interpretation of the whole of this text; but, if we compare these passages with the finished picture (see p. 334) we shall see that in many places they coincide.  For instance, compare No. 665, 1. 6—­8, with the fourth figure on the right hand of Christ.  The various actions described in lines 9—­10, 13—­14 are to be seen in the group of Peter, John and Judas; in the finished picture however it is not a glass but a salt cellar that Judas is upsetting.]

666.

Another lays his hand on the table and is looking.  Another blows his mouthful. [3] Another leans forward to see the speaker shading his eyes with his hand. [5] Another draws back behind the one who leans forward, and sees the speaker between the wall and the man who is leaning [Footnote:  6. chinato.  I have to express my regret for having misread this word, written cinato in the original, and having altered it to "ciclo" when I first published this text, in ‘The Academy’ for Nov. 8, 1879 immediately after I had discovered it, and subsequently in the small biography of Leonardo da Vinci (Great Artists) p. 29.].

[Footnote:  In No. 666.  Line I must refer to the furthest figure on the left; 3, 5 and 6 describe actions which are given to the group of disciples on the left hand of Christ.]

667.

CHRIST.

Count Giovanni, the one with the Cardinal of Mortaro.

[Footnote:  As this note is in the same small Manuscript as the passage here immediately preceding it, I may be justified in assuming that Leonardo meant to use the features of the person here named as a suitable model for the figure of Christ.  The celebrated drawing of the head of Christ, now hanging in the Brera Gallery at Milan, has obviously been so much restored that it is now impossible to say, whether it was ever genuine.  We have only to compare it with the undoubtedly genuine drawings of heads of the disciples in PI.  XLVII, XLVIII and L, to admit that not a single line of the Milan drawing in its present state can be by the same hand.]

668.

Philip, Simon, Matthew, Thomas, James the Greater, Peter, Philip,
Andrew, Bartholomew.

[Footnote:  See PI.  XLVI.  The names of the disciples are given in the order in which they are written in the original, from right to left, above each head.  The original drawing is here slightly reduced in scale; it measures 39 centimetres in length by 26 in breadth.]

669.

On the battle of Anghiari. 
Florentine
Neri di Gino Capponi
Bernardetto de’ Medici
Micheletto,
Niccolo da Pisa
Conte Francesco
Pietro Gian Paolo
Guelfo Orsino,
Messer Rinaldo degli
Albizzi