If you wish to make a figure in marble, first make one of clay, and when you have finished it, let it dry and place it in a case which should be large enough, after the figure is taken out of it, to receive also the marble, from which you intend to reveal the figure in imitation of the one in clay.  After you have put the clay figure into this said case, have little rods which will exactly slip in to the holes in it, and thrust them so far in at each hole that each white rod may touch the figure in different parts of it.  And colour the portion of the rod that remains outside black, and mark each rod and each hole with a countersign so that each may fit into its place.  Then take the clay figure out of this case and put in your piece of marble, taking off so much of the marble that all your rods may be hidden in the holes as far as their marks; and to be the better able to do this, make the case so that it can be lifted up; but the bottom of it will always remain under the marble and in this way it can be lifted with tools with great ease.

707.

Some have erred in teaching sculptors to measure the limbs of their figures with threads as if they thought that these limbs were equally round in every part where these threads were wound about them.

708.

MEASUREMENT AND DIVISION OF A STATUE.

Divide the head into 12 degrees, and each degree divide into 12 points, and each point into 12 minutes, and the minutes into minims and the minims into semi minims.

Degree—­point—­minute—­minim.

709.

Sculptured figures which appear in motion, will, in their standing position, actually look as if they were falling forward.

[Footnote:  figure di rilievo.  Leonardo applies this term exclusively to wholly detached figures, especially to those standing free.  This note apparently refers to some particular case, though we have no knowledge of what that may have been.  If we suppose it to refer to the first model of the equestrian statue of Francesco Sforza (see the introduction to the notes on Sculpture) this observation may be regarded as one of his arguments for abandoning the first scheme of the Sforza Monument, in which the horse was to be galloping (see page 2).  It is also in favour of this theory that the note is written in a manuscript volume already completed in 1492.  Leonardo’s opinions as to the shortcomings of plastic works when compared with paintings are given under No. 655 and 656.]

Notes on the casting of the Sforza monument (710-715).

710.

Three braces which bind the mould.

[If you want to make simple casts quickly, make them in a box of river sand wetted with vinegar.]

[When you shall have made the mould upon the horse you must make the thickness of the metal in clay.]

Observe in alloying how many hours are wanted for each hundredweight. [In casting each one keep the furnace and its fire well stopped up.] [Let the inside of all the moulds be wetted with linseed oil or oil of turpentine, and then take a handful of powdered borax and Greek pitch with aqua vitae, and pitch the mould over outside so that being under ground the damp may not [damage it?]