off and corrected, it too certainly relative to the purchase of the Codex, to read “by the great power of Gold ” (hereinafter preceded by “Purchased”), without other purpose, it would appear, than to make a greater profit from the long sought-after sale. Guglielmo Della Porta, the sculptor of the sepulchre of Paul III, had been to Rome, if the date given by Vasari is right, in 1537, and died there, according to Bertolotti, in 1577. If the story told in the document cited is true (which would still require an explanation of what happened to the inheritance of “manuscripts and drawings” of Guglielmo Della Porta from 1577 to 1690), the failure to mention this Codex in the memoirs, regarding the fate of the Leonardo relics belonging to Melzi, would concur in leading us to believe that the Leicester Codex must be placed in that category of manuscripts which according to the classification of Uzielli were not left in Leonardo’s will to Francesco Melzi, both because Leonardo had lent some of them to other people while he was alive, and for other causes; or of those which, by chance were separated at an early stage from the original group belonging to Francesco Melzi. Having said what we know about the history of the Codex, I shall now give a description, copying here in brief the notes found upon examining the Codex. The volume (enclosed in a leather box) is bound in red leather. External measurements of the binding, 240 x 310 mm. measurements of the sheets composing the Codex, 218 x 295 mm.
[Ist cover sheet, recto:]
[In pencil:] 696 [earlier marking in the Library of Lord Leicester].
[In pen:] Tho.s Will.m Coke.
[In pen:] This Treatise on the nature weight and/motion of water, written by Lionardo/da Vinci alla mancina, or from right to/left, has never been printed.
On the reverse of the modern Title/may be found an extract from the Life/of Lion. da Vinci, by du Fresne, in/which this volume is particularly/mentioned.
It appears from the Title page (altho ’the name of the possessor has been obliterated) that/it has belonged to Giuseppe Ghezzi, an eminent/painter at Rome; who, according to the inscripn/“had obtained it, by a vast sum of money, to/(perfect), compleat the laborious collection of his library”. A very legible transcript of this original/MS. is in the Collection at Holkham

W. Roscoe