Leonardo da Vinci, artist, thinker and man of science; . modelsof the end of the fifteenth century, and consequently involves themore or less direct intervention of Leonardo. We must retrace our steps for a moment to mention a commis-sion received by Leonardo in 1510, from the authorities of MilanCathedral. They asked him to furnish designs for the choir stalls,conjointly with various distinguished artists—G. A. Omodei, Andreada Fusina, and Cristoforo Solari. Such a proceeding at least showsthe esteem in which the Milanese held their quasi-compatriot.Understanding his superiority, mingled with

Leonardo da Vinci, artist, thinker and man of science; . modelsof the end of the fifteenth century, and consequently involves themore or less direct intervention of Leonardo. We must retrace our steps for a moment to mention a commis-sion received by Leonardo in 1510, from the authorities of MilanCathedral. They asked him to furnish designs for the choir stalls,conjointly with various distinguished artists—G. A. Omodei, Andreada Fusina, and Cristoforo Solari. Such a proceeding at least showsthe esteem in which the Milanese held their quasi-compatriot.Understanding his superiority, mingled with

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Leonardo da Vinci, artist, thinker and man of science; . modelsof the end of the fifteenth century, and consequently involves themore or less direct intervention of Leonardo. We must retrace our steps for a moment to mention a commis-sion received by Leonardo in 1510, from the authorities of MilanCathedral. They asked him to furnish designs for the choir stalls,conjointly with various distinguished artists—G. A. Omodei, Andreada Fusina, and Cristoforo Solari. Such a proceeding at least showsthe esteem in which the Milanese held their quasi-compatriot.Understanding his superiority, mingled with so much independenceand originality of character, they knew how difficult it was to get sotranscendent a genius to stoop to such a piece of work as a model or ^ Certain writers declare, quite without foundation, that Leonardo himself furnishedthe designs for the Palazzo Mclzi, in 1481. (C. Calvi, Noiizie deiprincipali P/v/asori diBelle Arti, vol. iii., ji. 17.) ^ See Frizzoni, Artv i/aliana del Riiiascimenlo, p. 15S-160. XIX S/iidy of a 11 viiai!.. RESTORATION Ol THE HOUSE OF SFOR/A 191 design for the cabinetmaker. But tliey wislied to show him thateven in such a matter they would not pass him by.^ The master found limt: to interest himself in the discovery ofstone quarries. In 151 i he mentions a quarry of pictra faldata,at Monbracco, near Saluzzo, which yielded stone as white as Carraramarble. His friend, Master Benedetto, had promised him a sample.^ The Milanese meanwhile had once more changed masters. TheGovernor, Charles dAmboise, had died in 1511, after an administra-tive career, which would seem to have been extremely stormy. OnEaster Day, 1512, Gaston de Foix, the general of Louis XII. and a spoilt child of victory, died at Ivavenna in the midst of his triumphs.A few months afterwards the French had to evacuate Milan, wherenothing but the Castle remained in their hands. Scarcely had theymade their exit by one gate than Maximilian Sforza, II Moros eldestson, made his