LXVII, LXVIII and LXIX which, it is quite evident, have served as
models for the engraver.

On Pl. LXV No. 1, in the larger sketch to the right hand, only the
base is distinctly visible, the figure of the horseman is effaced.
Leonardo evidently found it unsatisfactory and therefore rubbed it
out.

The base of the monument--the pedestal for the equestrian statue--is
repeatedly sketched on a magnificent plan. In the sketch just
mentioned it has the character of a shrine or aedicula to contain a
sarcophagus. Captives in chains are here represented on the
entablature with their backs turned to that portion of the monument
which more

strictly constitutes the pedestal of the horse. The lower portion of
the aedicula is surrounded by columns. In the pen and ink drawing
Pl. LXVI--the lower drawing on the right hand side--the sarcophagus
is shown between the columns, and above the entablature is a plinth
on which the horse stands. But this arrangement perhaps seemed to
Leonardo to lack solidity, and in the little sketch on the left
hand, below, the sarcophagus is shown as lying under an arched
canopy. In this the trophies and the captive warriors are detached
from the angles. In the first of these two sketches the place for
the trophies is merely indicated by a few strokes; in the third
sketch on the left the base is altogether broader, buttresses and
pinnacles having been added so as to form three niches. The black
chalk drawing on Pl. LXVIII shows a base in which the angles are
formed by niches with pilasters. In the little sketch to the extreme
left on Pl. LXV, No. 1, the equestrian statue serves to crown a