tion which these two drawings offer, thus set side by side, and, following it through the drawings at Florence, Venice, and Milan, construct a sort of series, illustrating better than anything else Lionardo's type of womanly beauty. Daughters of Herodias, with their fantastic head-dresses knotted and folded so strangely, to leave the dainty oval of the face disengaged, they are not of the Christian family, or of Raffaelle's. They are the clairvoyants, through whom, as through delicate instruments, one becomes aware of the subtler forces of nature, and the modes of their action, all that is magnetic in it, all those finer conditions wherein material things rise to that subtlety of operation which constitutes them spiritual, where only the finer nerve and the keener touch can follow; it is as if in certain revealing instances we actually saw them at their work on human flesh. Nervous, electric, faint always with some inexplicable faintness, they seem to be subject to exceptional conditions, to feel powers at work in the common air unfelt by others, to become, as it were, receptacles of them, and pass them on to us in a chain of secret influences.
But among the more youthful heads there is one at Florence which Love chooses for its own—the head of a young man, which may well be the likeness of Salaino, beloved of Lionardo for his
