At the time of the Renaissance, and even much later, every artist was in need of a gentleman of rank to act as his benefactor. This patron was wont to give the artist commissions for work and entirely controlled his destiny. Leonardo found his patron in Lodovico Sforza, nicknamed Il Moro, a man of high aspirations, ostentations, diplomatically astute, but of an unstable and unreliable character. In his court in Milan, Leonardo spent the best period of his life, while in his service he evinced his most uninhibited productive activity as is evidenced in The Last Supper, and in the equestrian statue of Francesco Sforza. He left Milan before the catastrophe struck Lodovico Moro, who died a prisoner in a French prison. When the news of his benefactor's fate reached Leonardo he made the following entry in his diary: "The duke has lost state, wealth, and liberty, not one of his works will be finished by himself."[68] It is remarkable and surely not without significance that he here raises the same reproach to his benefactor that posterity was to apply to him, as if he wanted to lay the responsibility to a person who substituted his father-series, for the fact that he himself left his works unfinished. As a matter of fact he was not wrong in what he said about the Duke. However, if the imitation of his father hurt him as an artist, his resistance against the father was the infantile determinant of his perhaps equally vast accomplishment as an artist. According to Merejkowski's beautiful comparison he was like a man who awoke too early in the darkness, while the others were all still asleep. He dared utter this bold principle which contains the justification for all independent investigation: _"Chi dispute allegando l'autorità non adopra l'ingegno ma piuttosto la memoria"_ (Whoever refers to authorities in disputing ideas, works with his memory rather than with his reason).[69] Thus he became the first modern natural philosopher, and his courage was rewarded by an abundance of cognitions and suggestions; since the Greek period he was the first to investigate the secrets of nature, relying entirely on his observation and his own judgment. But when he learned to depreciate authority and to reject the imitation of the "ancients" and constantly pointed to the study of nature as the source of all wisdom, he only repeated in the highest sublimation attainable to man, which had already obtruded itself on the little boy who surveyed the world with wonder. To retranslate the scientific abstractions into concrete individual experiences, we would say that the "ancients" and authority only corresponded to the father, and nature again became the tender mother who nourished him. While in most human beings to-day, as in primitive times, the need for a support of some authority is so imperative that their world becomes shaky when their authority is menaced, Leonardo alone was able to exist without such support; but that