young nephew by slow poison, yet was so susceptible to religious impressions that he turned his worst passions into a kind of religious cultus, and who took for his device the mulberry tree—symbol, in its long delay and sudden yielding of flowers and fruit together, of a wisdom which economises all forces for an opportunity of sudden and sure effect. The fame of Lionardo had gone before him, and he was to model a colossal statue of Francesco, the first duke. As for Lionardo himself he came not as an artist at all, or careful of the fame of one; but as a player on the harp, a strange harp of silver of his own construction, shaped in some curious likeness to a horse's skull. The capricious spirit of Ludovico was susceptible to the charm of music, and Lionardo's nature had a kind of spell in it. Fascination is always the word descriptive of him. No portrait of his youth remains; but all tends to make us believe that up to this time some charm of voice and aspect, strong enough to balance the disadvantage of his birth, had played about him. His physical strength was great; it was said that he could bend a horseshoe like a coil of lead.
The Duomo, the work of artists from beyond the Alps, so fantastic to a Florentine used to the mellow unbroken surfaces of Giotto and Arnolfo, was then in all its freshness; and below, in the streets
