His palaces swarmed with cutthroats and physicians, philosophers and empirics, pimps and theologians, heaven-commissioned artists and pope-commissioned agents for indulgences, who would sell one absolution beforehand for the foulest excesses in lust or violence. His crowded halls were the very stage of the ante-renaissance, where the priest, the poisoner, the romantic hero and the sordid villain, the flaunting doxy and the white dove of innocence, rubbed shoulders with the scene-painter and conductor in a disordered rehearsal of the melodrama to come. And so we alight on him in this Rocca, sinister and lonely, the protagonist of the piece to which he was in a little to supply the most tragic dénouement. He lay sunk back in pillows on a couch set in an alcove high and apart. One long, jewelled hand caressed the head of a boarhound. Judged by the swift code of his times, he was already mature, a sage of thirty-one. His eyes were small and deep-seated under gloomy thatches, his forehead narrow and receding, his cheeks ravenous, his nose was hooked. But in contrast with this pinched hunger of feature were the bagging chin and sensual neck, as well as the grossness of the body, which attenuated into feeble legs. One could not look on him and gather from crown to foot the assurance of a single generous youthful impulse. The curse of an inherited despotism had wrinkled him from his birth. An effeminate luxury, which was presently to make Milan a byword among the austerer principalities, spoke in his dress. His short-skirted tunic, puff-shouldered, and pinched and pleated at the waist within a gem-encrusted girdle, was of Damascene silk, rose-coloured and lined with costliest fur. His hose were of white satin; his slippers, of crimson velvet, sparkled with rosettes of diamonds and rubies. On his head he wore a cap of maintenance, also of red velvet, and sewn with pearls; and a short jewelled dagger hung at his waist. By his side, a very foil to his magnificence, stood one in a sad-coloured cloak. This was Lascaris, a Greek professor, whom he had invited to Milan for his learning, and used, like Pharaoh, to expound him his dreams. For he was subject to evil dreams, was this Galeazzo—hauntings and visions which wrought in him that state that he would become a very madman if so little as the shadow of an opposition crossed his imagination. And even now such a mood was working in him, as he lounged darkly conning the life of the hall from his eyrie.