and soon afterwards he received a pension from Lorenzo de' Medici. Through this influential patron he obtained a commission in 1478 to paint an altar-piece for the chapel of the Palazzo Vecchio, and in 1480 he signed a contract by which he agreed to complete another for the monks of San Donato. Neither of these pictures was ever executed; but the cartoon of the 'Adoration of the Magi,' which still hangs in the Uffizi, was probably a design for one of the two. …
In July, 1481, Leonardo was living in his own house in Florence. After that his name disappears from contemporary records; and it is not until 1487 that we find any mention of him again. By that time he was a painter and architect of great renown, and was living in Milan in the service of Lodovico Sforza. This silence of documents has given rise to all manner of strange theories accounting for Leonardo's occupations during the interim of five or six years. Dr. Richter ventured on the bold conjecture that the painter visited the East, and entered the service of the Sultan of Cairo as engineer; but this ingenious theory has been refuted by convincing arguments. In the absence of other documents we turn to the narrative of the Anonimo who wrote Leonardo's biography early in the sixteenth century. That writer tells us that when Leonardo was thirty years old he was sent to Milan by Lorenzo de' Medici, to bear a silver lute to his friend Lodovico Sforza. This would fix the date of Leonardo's arrival at the Milanese Court in 1482, or early in the following year.
Lodovico Sforza, from the moment of his accession to power in 1480, had determined to raise a colossal statue in memory of his father, the famous Duke Francesco. He had probablv applied to his friend, Lorenzo de' Medici, for a sculptor who could execute the work, and it was then, no doubt, that Leonardo wrote the famous letter in which he offered his services to the duke, and proudly enumerated his different talents and capabilities. After dwelling on his capacity as military engineer and his ability to construct cannons and scaling-ladders, mortars and engines of beautiful and useful shape, he concludes: "In time of peace, I believe I can equal any one in architecture, in constructing public and private buildings, and in conducting water from one place to another. I can execute sculpture, whether in marble, bronze, or terra-cotta; and in painting I can do as much as any other, be he who he may. Further, I could engage to execute the bronze horse in eternal memory of your father and the illustrious house of Sforza."
Lodovico soon recognized the rare genius of the young Florentine master, and manifold were the lines in which Leonardo's talents were employed during the sixteen years which he spent in the duke's service. But the equestrian statue was probably the first important commission which he received. Endless were the preparations which Leonardo made for this great task. He applied himself to an elaborate study of the structure and anatomy of the horse, and wrote a whole treatise on the subject. Unfortunately, he could not satisfy himself, and tried one design after another, without deciding upon any of them, until even the duke began to lose patience. Three years and a half later, however, at the wedding of Lodovico's niece Bianca, Leo-
