reader may be referred to the quotations from the accounts for the picture in question given by Milanesi in his edition of Vasari (Vol. IV, p. 44, note) where we find entries of a similar character to those in Leonardo's note books for the year 1505; S. K. M. 12 (see No. 636).*
*That Leonardo was employed in designing decorations and other preparations for high festivals, particularly for the court of Milan, we learn not only from the writings of his contemporaries but from his own incidental allusions; for instance in MS. C. l5b (1), l. 9. In the arrangement of the texts referring to this I have placed those first, in which historical personages are named—Nos. 670-674. Among the descriptions of Allegorical subjects two texts lately found at Oxford have been included, Nos. 676 and 677. They are particularly interesting because they are accompanied by large sketches which render the meaning of the texts perfectly clear. It is very intelligible that in other cases, where there are no illustrative sketches, the notes must necessarily remain obscure or admit of various interpretations. The literature of the time affords ample evidence of the use of such allegorical representations, particularly during the Carnival and in Leonardo's notes we find the Carnival expressly mentioned—Nos. 685 and 704. Vasari in his Life of Pontormo, particularly describes that artist's various undertakings for Carnival festivities. These very graphic descriptions appear to me to throw great light in more ways than one on the meaning of Leonardo's various notes as to allegorical representations and also on mottoes and emblems—Nos. 681-702. In passing judgment on the allegorical sketches and emblems it must not be overlooked that even as pictures they were always accompanied by explanations