So shall a lean, muscular, vivid, thoughtful, pious, unmoral, voluptuous yet hardy, typical, young Italian of the Borgian Era be clearly, intimately, seen and known. And the medals:—Note how that the medallists have not learned to flatter or idealise; that, what they saw in their model, that they chiselled in perennial bronze. Note the character, the distinguished individuality, here preserved; the Sforza medals, for example, with their clean, compelling, vigorous, venomous, Greek profiles, which that illustrious House got (and preserves to this day in Prince Guido Sforza and his sister Princess Carolina Corsini) from Countess Polissena Russa of Montalto, who married Duke Francesco. Observe, from their manner of clothing him, how these people worshipped Man. Not for them was the concealment of his grace in dented fractured cylinders. Every natural line must be preserved, every contour displayed, in that age of unconventional realism. The frescoes of Messer Bernardo Betti (detto Pinturicchio), in the cathedral library of Siena, are said to be the fashion-plates of the day and month (1503–1507), done by an eminent artist. And the fabrics of which they made their clothes were fine and simple; for the uses of shoddy were not known. Sumptuous brocades, fairest linen of flax, furs from the East, and delicate enduring leather, adorned those men and women who had not learned to change their garments as often as they changed their minds; and who went to bed at night simply as nature made them. That they were meticulously clean, is witnessed by the embossed basins and ewers for frequent washings, the hanging lavabo on the wall of every room (when washing was a ceremonial habit), the elaborate supplies of water, the baths of macerated sweet herbs, glasswort, white lily, marsh-mallow, and lupin-meal, alkaline, mucilaginous, emollient, demulcent, which were the substitute for soap. Care for the personal appearance was extreme. Little signs show this. For example, the twentieth century man, confection of his hosier and his tailor, plays with watch-chain, stick, or card-case; the writer, hesitating over the turning of a phrase or waiting for the just word, rolls a cigarette; the painter, considering an effect, dabbles in a tobacco-jar and lights a pipe. Man has a natural craving to employ his hands. In similar situations, Messer Lionardo da Vinci’s model and studio-boy, the curly-headed Salaino, would bring rosewater and towel to refresh his master’s fingers; Canon Angelo Ambrogini (detto Poliziano) would take out an ivory comb and comb his long straight hair; and a dandy anxiously would study his image in polished metal mirrors set like bosses on his dagger sheath, or chew comfits of coriander-seeds, steeped in marjoram vinegar and crusted with sugar, to bring a special commodity to the memory. In an age when personal and private functions were pursued after the methods of cats or dogs according to the temperament of the pursuer, when that which is now