Sculpture are to be found scattered through the note books; these
are here given at the beginning of this section (Nos. 706-709).
There is less cause for surprise at finding that the equestrian
statue of Francesco Sforza is only incidentally spoken of; for,
although Leonardo must have worked at it for a long succession of
years, it is not in the nature of the case that it could have given
rise to much writing. We may therefore regard it as particularly
fortunate that no fewer than thirteen notes in the master's
handwriting can be brought together, which seem to throw light on
the mysterious history of this famous work. Until now writers on
Leonardo were acquainted only with the passages numbered 712, 719,
720, 722 and 723.

In arranging these notes on sculpture I have given the precedence to
those which treat of the casting of the monument, not merely because
they are the fullest, but more especially with a view to
reconstructing the monument, an achievement which really almost lies
within our reach by combining and comparing the whole of the
materials now brought to light, alike in notes and in sketches.

A good deal of the first two passages, Nos. 710 and 711, which refer
to this subject seems obscure and incomprehensible; still, they
supplement each other and one contributes in no small degree to the
comprehension of the other. A very interesting and instructive
commentary on these passages may be found in the fourth chapter of
Vasari's Introduzione della Scultura under the title "Come si fanno
i modelli per fare di bronzo le figure grandi e picciole, e come le
forme per buttarle; come si armino di ferri, e come si gettino di
metallo," &c. Among the drawings of models of the moulds for casting
we find only one which seems to represent the horse in the act of