Florence, Biblioteca Riccardiana
MS Ricc. 2136, Datable to the late 16th century
369 numbered chapters without headings, 51 illustrations
Table of Contents
Florentine provenance documented by watemark
This manuscript is one of the earlierst surviving copies of the abridged Treatise on Painting.
This manuscript may have been copied from the Codex Urbinas independently from other earlier copies, such as F6, from wich it differs in both text and images. In some respect F2 is closer to Melzi's compilation (VU) but in many others it departs more distinctly than other early copies, such as F6. At a later moment the text of F2 was checked against the text of F6 and numerous textual additions were added (additions are evident in the following pages: 4v, 7v, 21, 30v, 32r-v, 36v, 38v, 49) (Pedretti 1964). This process of revisions did not include the illustrations as illustrations missing in F2 but present in F6 were not added, such as I006. Like in FM2, in this manuscript Leonardo’s text is bound together with a short treatise on perspective by Giacomo Vignola. Vignola’s text comes after Leonardo’s, while in FM2 it comes before Leonardo’s text, and it is written by the same hand on continuous pages, as if indeed the two text were imagined as a unit. Vignola wrote his perspective treatise in the 1560s for his own use, but then circulated it widely in manuscript.
The early ownership of F2 is unknown, although it was once regarded as the copy owned by Lorenzo Giacomini Malespini Tebalducci (1552-1598) (Pedretti 1964).
[IV] + 1 - 51 + 1 + 53-58v + 2 + 61-67 + 14, 36.8 x 26.3 cm , in folio fols. 53-58v Table of Contents; fols. 61-67 Vignola's second rule of persepctive (no title).
8 chain lines, watermark type Zonghi 1707 – 1710 (dated around 1592 and 1597)
Pedretti, Commentary to the Literary Works of Leonardo da Vinci by Jean Paul Richter, 1977, p. 22-23; Steinitz, "Trattato Studies. II,” in Raccolta Vinciana 19 (1962), p. 223; Tanturli, "Un nuovo manoscritto della Vita del Brunelleschi di Antonio Manetti", in Studi di filologia italiana, Bollettino annuale dell'Accademia della Crusca, vol. 51, 1993, pp. 135-136; Barone, “Cassiano dal Pozzo's manuscript copy of the Trattato: new evidence of editorial procedures and responses to Leonardo in the seventeenth century” Raccolta Vinciana, 35 (2011), pp. 223-286; Fiorani, “The Shadows of Leonardo's Annunciation and Their Lost Legacy,” in Imitation, Representation and Printing in the Italian Renaissance, Roy Eriksen and Magne Malmanger (eds), 2009), pp. 119-156; Sconza, La réception du Libro di pittura de Léonard de Vinci: de la mort de l’auteur à la publication du Trattato della pittura (Paris 1651). Ph.D. Diss. Université de la Sorbonne nouvelle Paris III and Università degli Studi di Macerata, 2007.
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