has done for the third of the three great masters what Grimm has done for Michelangelo, and Passavant, long since, for Raffaelle. Antiquarianism has no more to do. For others remain the editing of the thirteen books of his manuscripts, and the separation by technical criticism of what in his reputed works is really his, from what is only half his or the work of his pupils. But a lover of strange souls may still analyse for himself the impression made on him by those works, and try to reach through it a definition of the chief elements of Lionardo's genius. The legend, corrected and enlarged by its critics, may now and then intervene to support the results of this analysis.
His life has three divisions,—thirty years at Florence, nearly twenty years at Milan, then nineteen years of wandering, till he sinks to rest under the protection of Francis the First at the Château de Clou. The dishonour of illegitimacy hangs over his birth. Piero Antonio, his father, was of a noble Florentine house, of Vinci in the Val d'Arno, and Lionardo, brought up delicately among the true children of that house, was the love-child of his youth, with the keen puissant nature such children often have. We see him in his youth fascinating all men by his beauty, improvising music and songs, buying the caged birds and setting them
