The science of levers: potential and real arms
Balances, pendants and pulleys analysed by mathematical lines
A working page of Leonardo's theory of the balance, filled with diagrams of beams, suspending cords, pendants and pulleys. On 116v he sets down that a lever and its counter-lever always meet at a right angle, and that his calculations count only the mathematical (potential) lines, ignoring the real weight of an instrument's parts; a second figure teaches how to separate natural weight (gravity) from accidental weight (force). On 119r further sketches treat pulleys and cords, showing that with equal axles a counterweight moves an equal load, and that real cords and arms convert into potential ones. Letter labels such as a, b, c, d, e, f, m, n, q, r key the geometry throughout.
On this page
Lever and counter-lever meet at a right angle
The junction of a lever with its counter-lever is always right-angled. From the heavy body a, potential levers b c and q r are drawn to the supports m q and n b, and the perpendicular f n dropped below the body's centre forms the right angle b f n at point f.
Mathematical lines, not real weights
The reckoning counts only the mathematical powers, disregarding the weight and position of the instrument's material members. Since the potential lever b c is half of b n, it requires double the power to sustain b n.
Dividing gravity from accidental force
The lower figure resembles the upper but accounts for the weight the cord a b c bears from the heavy body s: the natural weight called gravity and the accidental weight called force. It teaches how to divide gravity from force by the cords a b c below the line of equality a d c.
Equal axles, equal loads on pulleys
Four units of counterweight on pulley n move four of weight on pulley m, provided the axles of the pulleys are of equal thickness and the wheels, though of various diameters, are of equal thickness.
