I have placed foremost of these documents the very remarkable letters to the Defterdar of Syria.  In these Leonardo speaks of himself as having staid among the mountains of Armenia, and as the biographies of the master tell nothing of any such distant journeys, it would seem most obvious to treat this passage as fiction, and so spare ourselves the onus of proof and discussion.  But on close examination no one can doubt that these documents, with the accompanying sketches, are the work of Leonardo’s own hand.  Not merely is the character of the handwriting his, but the spelling and the language are his also.  In one respect only does the writing betray any marked deviation from the rest of the notes, especially those treating on scientific questions; namely, in these observations he seems to have taken particular pains to give the most distinct and best form of expression to all he had to say; we find erasures and emendations in almost every line.  He proceeded, as we shall see, in the same way in the sketches for letters to Giuliano de’ Medici, and what can be more natural, I may ask, than to find the draft of a letter thus altered and improved when it is to contain an account of a definite subject, and when personal interests are in the scale?  The finished copies as sent off are not known to exist; if we had these instead of the rough drafts, we might unhesitatingly have declared that some unknown Italian engineer must have been, at that time, engaged in Armenia in the service of the Egyptian Sultan, and that Leonardo had copied his documents.  Under this hypothesis however we should have to state that this unknown writer must have been so far one in mind with Leonardo as to use the same style of language and even the same lines of thought.  This explanation might—­as I say—­have been possible, if only we had the finished letters.  But why should these rough drafts of letters be regarded as anything else than what they actually and obviously are?  If Leonardo had been a man of our own time, we might perhaps have attempted to account for the facts by saying that Leonardo, without having been in the East himself, might have undertaken to write a Romance of which the scene was laid in Armenia, and at the desire of his publisher had made sketches of landscape to illustrate the text.

I feel bound to mention this singular hypothesis as it has actually been put forward (see No. 1336 note 5); and it would certainly seem as though there were no other possible way of evading the conclusion to which these letters point, and their bearing on the life of the master,—­absurd as the alternative is.  But, if, on a question of such importance, we are justified in suggesting theories that have no foundation in probability, I could suggest another which, as compared with that of a Fiction by Leonardo, would be neither more nor less plausible; it is, moreover the only other hypothesis, perhaps, which can be devised to account for these passages, if it were possible