tained three months' leave of absence from the gonfaloniere of Florence, Piero Soderini, and was once more employed on architectural and engineering works in Lombardy. But when the French viceroy in Milan, Charles d'Amboise, begged for an extension of the artist's leave, Soderini refused sternly. "Leonardo," he wrote, "has not treated the Republic well. He received a large sum of money, but has only made a beginning of the work which was entrusted to him. He has, in fact, acted like a traitor." The painter offered to return the money which he had received for the cartoon in the Palazzo Vecchio, but Soderini refused to take it; and when, in January, 1507, Louis XII. himself addressed a pressing letter to the Signory, begging that Leonardo might await his arrival in Milan, his request was granted.
In 1512 an unexpected change of fortune restored Lodovico's son, Maximilian Sforza, to the throne of his fathers. The French were driven out, but Leonardo remained in Milan until the following summer. Then the disturbed state of affairs sent him back to Florence; and in the following autumn he accompanied Giuliano de' Medici to Rome, to attend the coronation of his brother, the new pope, Leo X. There he received a cordial welcome from Pope Leo; but his sojourn in the Eternal City proved neither pleasant nor productive. Leonardo spent his time in anatomical studies, in vain attempts to realize his old dream of a flying-machine, and in writing a dissertation on the papal coinage. In fact, he did everything except work at his art. "Alas!" exclaimed Pope Leo, when he found the painter distilling herbs to make a new varnish, "this man will do nothing, for he thinks about finishing his picture before he begins it."
Tired of Rome, Leonardo's thoughts turned back to his old French patrons. Louis XII. was dead, but the new king, Francis I., was already well disposed in his favor; and when, in August, 1515, Francis entered Italy, Leonardo hastened to meet him at Pavia. The new monarch gave him a pension of seven hundred crowns, and treated him with the greatest honor. "King Francis," writes Cellini, "was passionately enamored of the great master's talents, and told me himself that never any man had come into the world who knew as much as Leonardo." Leonardo not only accompanied his new patron to Milan, but followed him to France in 1516, and settled at the Hotel de Cloux, a manor-house between the royal palace and the town of Amboise. His faithful pupil Melzi accompanied him, and watched tenderly over the great man's declining years. But one picture of this period remains,—the 'St. Anne,' now in the Louvre.
Leonardo's health had begun to fail, and before long his right arm became paralyzed, but his powers of mind were still as active as ever. He sketched out plans for a new palace at Amboise, and devoted his attention to the construction of a canal near Romorantin, which should connect Touraine and the Lyonnais. But his strength gradually gave way. He could no longer paint, and soon gave up writing. The last entry in his note-book bears the date June 24, 1518. He lingered on through the next autumn and winter, until, on Easter eve, April 25, 1519, feeling his end to be drawing near, he
