Fritjof Capra (41 page)

9
. Ms. A, folio 1v.

10
. Ms. A, folio 10r. As noted above, Leonardo, like many of his contemporaries, used the word “pyramid” to also describe cones and other solids that have a single apex; see p. 193, footnote 8.

11
. Ms. A, folio 1v.

12
. See Keele (1983), p. 46.

13
. Ms. Ashburnham II, folio 23r.

14
. Ms. A, folio 8v.

15
. See Chapter 4.

16
. See Chapter 9.

17
. See Chapter 2.

18
. Arasse (1998), pp. 300–301.

19
. See Chapter 4.

20
. Ms. A, folio 3r.

21
. See Chapter 9.

22
. Ms. Ashburnham II, folio 18r.

23
. Ibid., folio 25.

24
. See Kemp (1981), p. 33.

25
. See Chapter 5.

26
. See Kemp (1981), p. 35.

27
. See Chapter 3.

28
. Codex Arundel, folio 70v.

29
. See Keele (1983), pp. 55–56.

30
. Ms. A, folio 19r.

31
. See Keele (1983), p. 141.

32
. See Chapter 2.

33
. Codex Atlanticus, folio 676r.

34
. Ibid.

35
.
Trattato
, chapters 681–82.

36
. Clark (1989), p. 129; quoted also on p. 87 in present text.

37
.
Trattato
, chapter 17.

38
. See Keele (1983), p. 132; see also p. 226 in present text about Leonardo’s use of the camera obscura.

39
. See Chapter 5.

40
. Codex Arundel, folio 94v.

41
. Ibid.

42
. See Keele (1983), pp. 91–92.

43
. Ms. F, folio 41v.

44
. See Kemp (1981), p. 323; see also p. 155 in present text.

45
.
Trattato
, chapter 25.

46
. Codex Atlanticus, folio 372v.

47
. Anatomical Studies, folio 118v.

48
. Ibid., folio 22v.

49
. It would be wrong to read any occult meaning into Leonardo’s frequent use of the term “spiritual.” He defines it clearly to mean simply “invisible and immaterial” and uses it consistently in this sense; see p. 244.

50
. The concept of energy was defined precisely only in the seventeenth century. Leonardo uses both
potentia
and
virtù
to mean power, or energy.

51
. Anatomical Studies, folio 22v.

52
. See Capra (1975), p. 61.

53
. Ms. Ashburnham II, folio 6v.

54
. Ibid.

55
. Ms. A, folio 9v.

56
. Ibid., folio 61r.

57
. More precisely, the water particles move in small circles; see Capra(1975), p. 152.

58
. See Chapter 9.

59
. Ms. A, folio 61r.

60
. Ms. H, folio 67r.

61
. There is even some speculation that Huygens may have been aware of Leonardo’s research when he published his famous work on optics,
Traité de la lumière
, in 1690; see White (2000), p. 177.

62
. See Kenneth Keele, “Leonardo da Vinci’s Physiology of the Senses,” in O’Malley (1969).

63
. Ms. F, folio 49v.

64
. Codex Atlanticus, folio 545v.

65
. See White (2000), p. 182.

66
. Ibid., p. 183.

67
. See Chapter 4.

68
. Codex Leicester, folio 4r.

69
. See Keele (1983), p. 215.

70
. Ms. B, folio 4v.

71
. Ms. A, folio 61r.

72
. Ibid., folio 22v.

73
. See Chapter 8.

74
. See Chapter 4.

75
. Anatomical Studies, folio 148v.

76
. Codex Madrid I, folio 126v.

77
. Ibid.

78
. See Martin Kemp (1999b), “Leonardo and the Visual Pyramid,” in Farago (1999).

79
. Ms. F, folio 34r.

80
. Ms. D, folio 4v.

81
. See Kemp (1999b).

82
. Ms. E, 16v.

         
CHAPTER
9         

1
. Codex Atlanticus, folio 949v.

2
.
Trattato
, chapter 28.

3
. See Keele (1983), p. 61.

4
. Codex Atlanticus, folio 327v.

5
. Ms. D, folio 5v.

6
. Codex Atlanticus, folio 345r.

7
. Ms. F, folio 39v.

8
. See Keele (1983), pp. 73–74.

9
. Ibid., p. 69.

10
. Codex Atlanticus, folio 545r.

11
. See Chapter 8.

12
. See Chapter 6.

13
. Ms. D, folio 1r.

14
. See Keele (1983), pp. 74–75.

15
. Spectacles were well known in Leonardo’s day. They were of two kinds, those “for the young” (concave lenses) and those “for the old” (convex lenses); see Keele (1983), p. 210.

16
. Ibid., p. 204.

17
. See Chapter 8.

18
. Ms. D, folio 3v.

19
. See Keele (1983), p. 201.

20
. Anatomical Studies, folio 115r. Leonardo was unaware that central vision actually takes place at the macula on the periphery of the optic disk.

21
. Codex Atlanticus, folio 546r.

22
. See Chapter 6.

23
. Keele (1969), and Keele (1983), p. 60.

24
. See Chapter 8.

25
. Keele (1969).

26
. Keele (1983), p. 63.

27
. Ibid., pp. 64–65.

28
. The optic chiasma is actually a partial crossing in which each nerve separates into two branches, and the inner branch from each eye crosses over to join the outer branch from the other eye.

29
. Codex Atlanticus, folio 832v.

30
. The anterior ventricle consists of two almost completely separated lateral wings and is therefore also described as two lateral ventricles.

31
. Following Kenneth Keele, I am using Leonardo’s Italian term
senso comune
for this region of the brain, since the English “common sense” has quite a different meaning; see Keele (1983), p. 62.

32
. Leonardo may have coined the term
impressiva
(or
imprensiva
) in analogy to related terms like
apprensiva
and
comprensiva
, used by medieval scholars; see Farago (1992), pp. 301–2. “Receptor of impressions” is the translation proposed by Martin Kemp; see Kemp (1981), p. 127.

33
.
Trattato
, chapter 28.

34
. For more extensive discussions of Leonardo’s studies of the human voice, phonetics, and music, see Giulio Panconcelli-Calzia, “Leonardo’s Work in Phonetics and Linguistics,” and Enrico Magni-Dufflocq, “Da Vinci’s Music,” in
Leonardo da Vinci
, Reynal, New York, 1956; and especially Keele (1983), p. 215.

35
. Keele (1983), p. 219.

36
. See Chapter 3.

37
. See Chapter 2.

38
. See Arasse (1998), p. 222.

39
. Anatomical Studies, folio 39r.

40
. See Windelband (2001), p. 62; see also p. 145 in present text.

41
. See Keele (1983), p. 267.

42
. Codex Arundel, 151r, v.

43
. See Capra (2002), p. 33.

44
. See Chapter 4.

45
. See Laurenza (2004b), pp. 86–88.

46
. Codex Atlanticus, 434r.

47
. Anatomical Studies, folio 114v.

48
. See Chapter 5.

49
. Codex Atlanticus, folio 166r.

50
. See Capra (2002), p. 61.

51
. Ms. B, folio 4v.

52
. Anatomical Studies, folios 198r and 114v.

53
. Codex Atlanticus, folio 680r.

54
. See Capra (2002), pp. 40–41.

         
EPILOGUE
         

1
. See Introduction.

2
. Keele (1983); see also Nuland (2000).

3
. Emboden (1987).

4
. Galluzzi (1996); see also Pedretti (1999); Laurenza, Taddei, and Zanon(2005).

5
. Laurenza (2004b).

6
. Leonardo’s engineering and architecture are both covered extensively in the beautiful catalog of an exhibit at the Musée des Beaux-Arts de Montréal; see Galluzzi (1987).

7
. Codex Madrid I, folio 6r.

8
. See, e.g., Ms. E, folios 38ff.

9
. Anatomical Studies, folio 114v.

10
. See Capra (2002), pp. 229ff.

11
. See Chapter 2.

12
. See Chapter 2.

13
. Codex Leicester, folio 13r; see also folio 32r.

14
. See Capra (1996), pp. 6–7.

15
.
Trattato
, chapter 34.

16
. See Fritjof Capra and David Steindl-Rast,
Belonging to the Universe
, HarperSanFrancisco, 1991.

17
. See Capra (1982).

18
. See Capra (1996), and Capra (2002).

         
APPENDIX