eight capitals three braccia long and six wide, above which were the architrave frieze and cornice, four braccia and a half high, and this was carried on in a straight line from one pillar to the next and so, continuing for eight hundred braccia, surrounded the whole temple, from pillar to pillar.  To support this entablature there were ten large columns of the same height as the pillars, three braccia thick above their bases which were one braccia and a half high.

The ascent to this temple was by twelve flights of steps, and the temple was on the twelfth, of an octagonal form, and at each angle rose a large pillar; and between the pillars were placed ten columns of the same height as the pillars, rising at once from the pavement to a height of twenty eight braccia and a half; and at this height the architrave, frieze and cornice were placed which surrounded the temple having a length of eight hundred braccia.  At the same height, and within the temple at the same level, and all round the centre of the temple at a distance of 24 braccia farther in, are pillars corresponding to the eight pillars in the angles, and columns corresponding to those placed in the outer spaces.  These rise to the same height as the former ones, and over these the continuous architrave returns towards the outer row of pillars and columns.

[Footnote:  Either this description is incomplete, or, as seems to me highly probable, it refers to some ruin.  The enormous dimensions forbid our supposing this to be any temple in Italy or Greece.  Syria was the native land of colossal octagonal buildings, in the early centuries A. D. The Temple of Baalbek, and others are even larger than that here described.  J. P. R.]

V.  Palace architecture.

But a small number of Leonardo’s drawings refer to the architecture of palaces, and our knowledge is small as to what style Leonardo might have adopted for such buildings.

Pl.  CII No. 1 (W.  XVIII).  A small portion of a facade of a palace in two stories, somewhat resembling Alberti’s Palazzo Rucellai.—­Compare with this Bramante’s painted front of the Casa Silvestri, and a painting by Montorfano in San Pietro in Gessate at Milan, third chapel on the left hand side and also with Bramante’s palaces at Rome.  The pilasters with arabesques, the rustica between them, and the figures over the window may be painted or in sgraffito.  The original is drawn in red chalk.

Pl.  LXXXI No. 1 (MS. Tr. 42).  Sketch of a palace with battlements and decorations, most likely graffiti; the details remind us of those in the Castello at Vigevano._ [Footnote 1:  Count GIULIO PORRO, in his valuable contribution to the Archivio Storico Lombardo, Anno VIII, Fasc.  IV (31 Dec. 1881):  Leonardo da Vinci, Libro di Annotazioni e Memorie, refers to this in the following note: “Alla pag. 41 vi e uno schizzo di volta ed accanto scrisse:  ‘il pilastro sara charicho in su 6’ e potrebbe