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Abbreviations  Sources

Weisheipl 1965
Weisheipl, John. "Classification of the Sciences in Medieval Thought." Medieval Studies 27 (1965), pp. 54–90.

Weller 1943
Weller, Allen Stuart. Francesco di Giorgio, 1430–1501. Chicago, 1943.

Westfehling 1986
Westfehling, Uwe. Meisterzeichnungen von Leonardo bis zu Rodin: Eine Auswahl von Miniaturen, Handzeichnungen und Aquarellen aus der Graphischen Sammlung Museen der Städt Köln. Exh. cat., Cologne, Wallraf-Richartz-Museum. Cologne, 1986.

Weston-Lewis 1994a
Weston-Lewis, Aidan. "Appendix: The Commendatore Genevosio as a Collector of Drawings." In Weston-Lewis 1994b, pp. 129–31.

Weston-Lewis 1994b
Weston-Lewis, Aidan. Raphael: The Pursuit of Perfection. Exh. cat., Edinburgh, National Gallery of Scotland. 1994.

Wethey 1987
Wethey, Harold E. Titian and his Drawings. Princeton, N.J., 1987.

Wey 1878
Wey, Francis. I musei del Vaticano. Milan, 1878.

White 1995
White, Christopher. Anthony van Dyck: Thomas Howard, The Earl of Arundel. Getty Museum Studies on Art. Malibu, 1995.

White, Whistler, and Harrison 1992
White, Christopher, Catherine Whistler, and Colin Harrison. Old Master Drawings from the Ashmolean Museum. Exh. cat., Rome, Palazzo Ruspoli; Oxford, Ashmolean Museum. Oxford, 1992.

Wickhoff 1892
Wickhoff, Franz. "Die römische Schule." Part 2 of "Die italienischen Handzeichnungen der Albertina." Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses 13 (1892).

Wickhoff 1899
Wickhoff, Franz. "Über einige italienische Zeichnungen im British Museum." Jahrbuch der Königlich Preussischen Kunstsammlungen 20 (1899), pp. 202–15.

Wiemers 1996
Wiemers, Michael. Bildform und Werkgenese: Studien zur zeichnerischen Bildworbereitung in der italienischen Malerei zwischen 1450 und 1490. Munich and Berlin, 1996.

Wilde 1944
Wilde, J[ohannes]. "The Hall of the Great Council of Florence." Journal of the Warburg and Courtauld Institutes 7 (1944), pp. 65–81.

Wilde 1953
Wilde, Johannes. "Michelangelo and Leonardo." The Burlington Magazine 95, no. 600 (March 1953), pp. 65–77.

Wilson 1828
[Wilson, Thomas]. A Catalogue Raisonné of the Select Collection of Engravings of an Amateur. London, 1828.

Wind 1939
Wind, Edgar. "Fresh Light on Two Well-Known Italian Drawings." Old Master Drawings 13, no. 52 (1939), pp. 49–51.

Winternitz 1982
Winternitz, Emanuel. Leonardo da Vinci as a Musician. New Haven and London, 1982.

Wirtz 1998
Wirtz, Rolf C. Donatello, 1386–1466. Cologne, 1998.

Wölfflin 1899
Wölfflin, Heinrich. Die Klassiche Kunst: Eine Einführung in die italienische Renaissance. Munich, 1899.

Wood 1998
Wood, Jeremy. "Peter Oliver at the Court of Charles I: New Drawings and Documents." Master Drawings 36, no. 2 (Summer 1998), pp. 123–53.

Wood 2002a
Wood, Jeremy. "Nicholas Lanier (1588–1666) and the Origins of Drawing Collecting in Stuart England." In Collecting Prints and Drawings in Europe, c. 1500–1750, edited by Caroline Elam and Geneviève Warwick. Aldershot, 2002.

Wood 2002b
Wood, Jeremy. Rubens Drawing on Italy. Exh. cat., Edinburgh, National Gallery of Scotland. Edinburgh, 2002.

Woodburne 1978
Woodburne, Russell T. Essentials of Human Anatomy. 6th ed. New York, 1978.

Woodward 1870
Woodward, Bernard Bolingbroke. Specimens of the Drawings of Ten Masters from the Royal Collection at Windsor Castle: Michelangelo, Perugino, Raphael, Julio Romano, Leonardo da Vinci, Giorgione, Paul Veronese, Poussin, Albert Durer, Holbein. London, 1870.

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Y

Yakush 1985
Yakush, Mary, ed. Leonardo to Van Gogh: Master Drawings from Budapest. Translated from the Hungarian by Janos Scholz. Exh. cat., Budapest, Museum of Fine Arts; Washington, D.C., National Gallery of Art; The Art Institute of Chicago; Los Angeles County Museum of Art. Washington, D.C., 1985.

Yriarte 1888
Yriarte, Charles. "Les relations d'Isabelle d'Este avec Léonard de Vinci." Gazette des Beaux-Arts, ser. 2, 37 (1888), pp. 118–31.

Yriarte 1895
Yriarte, Charles. "Isabelle d'Este et les artistes de son temps." Gazette des Beaux-Arts, ser. 3, 13 (1895), pp. 13–32.

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Z

Zacharias and Kirk 1998
Zacharias, S., and A. Kirk. "Drawing with the Non-dominant Hand: Implications for the Study of Construction." Canadian Journal of Neurological Sciences 25, no. 4 (November 1998), pp. 306–9.

Zambrano 1990
Zambrano, Patrizia. "Un nuovo disegno del Sodoma per Monteoliveto Maggiore." Paragone, no. 487 (1990), pp. 59–63.

Zammattio 1974
Zammattio, Carlo. "The Mechanics of Water and Stone." In Reti 1974, pp 190–215.

Zammattio 1980
Zammattio, Carlo. "Hydraulic and Nautical Engineering." In Leonardo da Vinci 1980, pp. 467–82.

Zammattio 1980
Zammattio, Carlo, ed. Leonardo the Scientist. New York, 1980.

Zentai 1998
Zentai, Loránd. Sixteenth Century Italian Drawings. Exh. cat., Budapest, Szépmüvészeti Múzeum. Budapest, 1998.

Zeri 1991
Zeri, Federico. "Rivedendo Piero di Cosimo." In Giorno per giorno nella pittura: Scritti sull'arte toscana dal Trecento al primo Cinquecento. Turin, 1991.

Zeri and Zuffi 1995
Zeri, Federico, and Stefano Zuffi. Leonardo da Vinci: Della natura, peso e moto delle acque: Il Codice Leicester. Exh. cat., Venice, Palazzo Querini-Dubois. Venice, 1995.

Zöllner 1987
Zöllner, Frank. Vitruvs Proportionsfigur: Quellenkritische Studien zur Kunstliteratur im 15. und 16. Jahrhundert. Worms, 1987.

Zöllner 1989a
Zöllner, Frank. "Die Bedeutung von Codex Huygens und Codex Urbinas für die Proportions- und Bewegungsstudien Leonardos da Vinci." Zeitschrift für Kunstgeschichte 52, no. 3 (1989), pp. 334–52.

Zöllner 1989b
Zöllner, Frank. "Ogni Pittore Dipinge se." In Der Künstler über sich in seinem Werk. Internationales Symposium der Bibliotheca Hertziana. Rome, 1989.

Zöllner 1989c
Zöllner, Frank. Review of Leonardo-Studien, by Ludwig H. Heydenreich. The Burlington Magazine 131, no. 1033 (April 1989), pp. 301–02.

Zöllner 1991
Zöllner, Frank. "Rubens Reworks Leonardo: 'The Fight for the Standard.'" Achademia Leonardi Vinci: Journal of Leonardo Studies and Bibliography of Vinciana 4 (1991), pp. 177–90, and unpaginated figures.

Zöllner 1994
Zöllner, Frank. Leonardo da Vinci: Das Porträt der Lisa del Giocondo, Legende und Geschichte. Frankfurt, 1994.

Zöllner 1998
Zöllner, Frank. La Battaglia di Anghiari di Leonardo da Vinci fra mitologia e politica. Lettura Vinciana, 37 (18 aprile 1997). Florence, 1998.

Zöllner 2000
Zöllner, Frank. Leonardo da Vinci, 1452–1519. Cologne, 2000.

Zöllner 2002
Zöllner, Frank. Leonardo da Vinci, 1452–1519. Rome, 2002.

Zubov 1968
Zubov, Vasilii P. Leonardo da Vinci. Cambridge, Mass., 1968.

Zucker 1980
Zucker, Mark J. The Illustrated Bartsch: Early Italian Masters. Vol. 25. Commentary, formerly vol. 13, part 2. New York, 1980.

Zwijnenberg 1995a
Zwijnenberg, Robert. "Denken op papier: De manuscripten van Leonardo da Vinci." Ph.D. diss., University of Amsterdam, 1995.

Zwijnenberg 1995b
Zwijnenberg, Robert. "De wetenschap der schilderkunst: Leonardo da Vinci's Paragone." In Dans der muzen: de relatie tussen de kunsten gethematiseerd, edited by C. G. Anneke, L. G. Korpel, and Kees Meerhoff, pp. 23–32. Hilversum, 1995.

Zwijnenberg 1999
Zwijnenberg, Robert. The Writings and Drawings of Leonardo da Vinci: Order and Chaos in Early Modern Thought. Translated by Caroline A. van Eck. Cambridge, 1999.

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Leonardo's Manuscripts: Abbreviations

Ar. = Codex Arundel 263, British Library, London. The diverse compilation of material dates from ca. 1478–1518.

C. A. = Codex Atlanticus, 12 vols., Biblioteca Ambrosiana, Milan. The drawings and notes pasted into these volumes also represent an amalgamation of material from dates that range from ca. 1478 to 1518. Here citations refer to the foliation of the codex both before its restoration in 1977–1980 (to correspond with Jean Paul Richter's anthology of Leonardo's notes; Richter 1883, 1970) and after restoration.

C. Urb. = Codex Urbinas Latinus 1270, Biblioteca Apostolica Vaticana. This is the Libro di Pittura, posthumously compiled by Francesco Melzi, based on Leonardo's notes. The anthology of precepts was produced between 1515 and 1570.

C. V. U. = Codice del Volo degli Uccelli, or Codex on the Flight of Birds, Biblioteca Reale Cod. Varia 95, Turin. This manuscript was originally part of Paris Ms. B, Institut de France, Paris, and was probably extracted in the theft by Count Guglielmo Libri (1803–1869) around 1840–47. The manuscript is dated 1505.

Fo. I, Fo. II, Fo. III = Codex Forster I, Codex Forster II, Codex Forster III, Victoria and Albert Museum, London. The first part of Forster I (fols. 1–40) is dated 1505, the second part (fols. 41–55) is probably from ca. 1487–90. The first part of Forster II (fols. 1–63) probably dates from ca. 1495–97, while the second part (fols. 64–159) dates from ca. 1494–97. Forster III appears to date from ca. 1490–97.

Leic. = Codex Leicester (formerly, Leicester 699, Holkham Hall; formerly called the Codex Hammer, when it was owned by Armand Hammer), Collection of Bill and Melinda Gates, Seattle, Washington. The codex dates from ca. 1508–12. See cat. no. 114 in the exhibition catalogue.

Libro di Pittura = C. Urb. = Codex Urbinas Latinus 1270, Biblioteca Apostolica Vaticana (see C. Urb. above).

Ma. I, Ma. II = Codex Madrid I (8937), Codex Madrid II (8936), Biblioteca Nacional, Madrid. Codex Madrid I dates from ca. 1493–99. Codex Madrid II bears the dates 1491, 1493, and other material in this volume seems to date ca. 1503–5.

Paris Ms. A = Manuscript A (2172; 2185), Institut de France, Paris. Sometime between ca. 1840 and 1847, the second part of this manuscript (fols. 81–114) was stolen by Count Guglielmo Libri, from whom it was bought by Lord Ashburnham in 1875 (designated as Ms. Ashburnham 1875/2). This part was acquired by the Bibliothèque Nationale as Ms. B.N. It. 2038 around 1888, and was then restituted to the Institut de France. Fols. 54, 65–80 were probably lost at the time of Libri's theft. The modern reconstitution of the two parts of the manuscript postdates the publication of the first edition of the famous anthology of Leonardo's notes by Jean Paul Richter (Richter 1883). In the early Leonardo literature, the second part of Paris Ms. A is referred to as Ms. Ashburnham II. In the later literature this second part is also designated as Ms. B.N. 2038 (the citation used in Richter 1939), while the recent Leonardo literature presents the foliation of the fully reconstituted manuscript. The first part of Paris Ms. A is dated 1492, but was begun earlier, ca. 1490–91.

Paris Ms. B = Manuscript B (2173; 2184), Institut de France, Paris. The second part of this manuscript (fols. 91–100) was also stolen ca. 1840–47 by Count Guglielmo Libri, and has the same history as the second part of Paris Ms. A, until it was acquired by the Bibliothèque Nationale as Ms. B.N. It. 2037, and then restituted to the Institut de France. When in Lord Ashburnham's collections, this part of Paris Ms. B was known as Ms. Ashburnham 1875/1. Fols. 3, 84–87 of Paris Ms. B were probably lost at the time of Libri's theft. The parts of Paris Ms. B were also reconstituted after the publication of the first edition of Richter's famous anthology. In the early Leonardo literature the second part of Paris Ms. B is referred to as Ashburnham I. In the later literature this second part is also designated as Ms. B.N. 2037, while the recent Leonardo literature presents the foliation of the fully reconstituted manuscript. Paris Ms. B dates from ca. 1486–90.

Paris Ms. C = Manuscript C (2174), Institut de France, Paris. This is dated 1490, 1491.

Paris Ms. D = Manuscript D (2175), Institut de France, Paris. The notebook seems to have been produced ca. 1508.

Paris Ms. E = Manuscript E (2176), Institut de France, Paris. Fols. 80–96 of this manuscript were lost probably at the time of Libri's theft ca. 1840–47. The manuscript seems to date from 1513–14.

Paris Ms. F = Manuscript F (2177), Institut de France, Paris. This is dated 1508.

Paris Ms. G = Manuscript G (2178), Institut de France, Paris. The material probably dates from 1510 to 1515.

Paris Ms. H = Manuscript H (2179), Institut de France, Paris. The firs part (fols. 1–48) is dated March 1494, the second part (fols. 49–94) is dated January and February 1494, and the third part (fols. 95–142) is dated 1493, 1494.

Paris Ms. I = Manuscript I (2180), Institut de France, Paris. The first part (fols. 1–48) probably dates ca. 1497–99, while the second part (fols. 49–139) from ca. 1497.

Paris Ms. K = Manuscript K (2181), Institut de France, Paris. The first part (fols. 1–48) and second part (fols. 49–80) seem to date from ca. 1503–4 (and possibly 1505), while the third part (fols. 81–128) appears to be from ca. 1506–7 (and possibly 1508).

Paris Ms. L = Manuscript L (2182), Institut de France, Paris. Ms. L probably dates ca. 1497–1502 (and possibly 1504).

Paris Ms. M = Manuscript M (2183), Institut de France, Paris. The majority of the notebook probably dates from ca. 1498–1500, but was probably begun ca. 1495.

Tr. = Codex Trivulzianus N 2162, Castello Sforzesco, Milan. This codex dates ca. 1487–90.

All of Leonardo's manuscripts are now available in facsimile reproductions published by Giunti Barbèra–Giunti Gruppo Editoriale (the Giunti Publishing Group), Florence, under the direction of Carlo Pedretti. Earlier partial or full facsimile editions are listed in the Bibliography under the manuscript name.

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Sources

Adorno 1991; Bambach 1999a; Bambach 1999b; B=Beltrami 1919a; Bernacchioni 1992; Brown 1998b; Butterfield 1997; Calvi 1916; Calvi 1925a; Davies and Hemsoll 1996; Elam 1996a; Elam 1996b; Fiorio 1996a; Fiorio 1996b; Frey 1892; F=Frey 1909; Fusco and Corti 1992; Guicciardini 1984; Kemp 1989; Kemp 1995; Kirwin 1995; Legacy of Leonardo, 1998; Letze and Buchsteiner 1997; Marani 1989; Marani 1996; M=Marani 2000b; Morozzi 1988–89; Passavant 1969; Pedretti 1953; Pedretti 1973a; P=Pedretti 1977; Pedretti 1995a; Pedretti and Roberts 1984–96; R=Richter 1970; Schofield and Shell 1996; Shell and Sironi 1991; S=Sironi 1981; Smiraglia Scognamiglio 1900; Uzielli 1896; Vasari–Milanesi 1906; Vecce 1998a; V=Villata 1999; Wilde 1944.