[Footnote: The biographies say so much, and the author's notes say so little of the invention attributed to Leonardo of making artificial birds fly through the air, that the text here given is of exceptional interest from being accompanied by a sketch. It is a very slight drawing of a bird with outspread wings, which appears to be sliding down a stretched string. Leonardo's flying machines and his studies of the flight of birds will be referred to later.] 704. A DRESS FOR THE CARNIVAL. To make a beautiful dress cut it in thin cloth and give it an odoriferous varnish, made of oil of turpentine and of varnish in grain, with a pierced stencil, which must be wetted, that it may not stick to the cloth; and this stencil may be made in a pattern of knots which afterwards may be filled up with black and the ground with white millet.[Footnote 7: The grains of black and white millet would stick to the varnish and look like embroidery.] [Footnote: Ser Giuliano, da Vinci the painter's brother, had been commissioned, with some others, to order and to execute the garments of the Allegorical figures for the Carnival at Florence in 1515--16; VASARI however is incorrect in saying of the Florentine Carnival of 1513: "_equelli che feciono ed ordinarono gli abiti delle figure furono Ser Piero da Vinci, padre di Lonardo, e Bernardino di Giordano, bellissimi ingegni_" (See MILANESI'S ed. Voi. VI, pg. 251.)] 705. Snow taken from the high peaks of mountains might be carried to hot places and let to fall at festivals in open places at summer time. *** End of Volume 1 The Notebooks of Leonardo Da Vinci Volume 2 Translated by Jean Paul Richter 1888 XI. The notes on Sculpture. Compared with the mass of manuscript treating of Painting, a very small number of passages bearing on the practice and methods of 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.