upon the escutcheon, which is fixed over the door of a house that the major-domo then occupied, opposite to S. Giuliano, near the Priests of S. Antonio. When this work was seen, all the craftsmen of Florence formed the same judgment that Tribolo had pronounced before. [Footnote 3: See note on p. 132, Vol. II.] After this, he carved a boy squeezing a fish that is pouring water from its mouth, for the fountains of Castello. And then, Tribolo having given him a larger piece of marble, Piero made from it two children who are embracing each other and squeezing fishes, causing water to spout from their mouths. These children were so graceful in the heads and in their whole persons, and executed with so beautiful a manner in the legs, arms, and hair, that already it could be seen that he would have been able to execute the most difficult work to perfection. Taking heart, therefore, and buying a piece of grey-stone, two braccia and a half in length, which he took to his house on the Canto alla Briga, Piero began to work at it in the evenings, after returning from his labours, at night, and on feast-days, insomuch that little by little he brought it to completion. This was a figure of Bacchus, who had a Satyr at his feet, and with one hand was holding a cup, while in the other he had a bunch of grapes, and his head was girt with a crown of grapes; all after a model made by himself in clay. In this and in his other early works Piero showed a marvellous facility, which never offends the eye, nor is it in any respect disturbing to him who beholds it. This Bacchus, when finished, was bought by Bongianni Capponi, and his nephew Lodovico Capponi now has it in a courtyard in his house. The while that Piero was executing these works, few persons as yet knew that he was the nephew of Leonardo da Vinci; but his labours making him well known and renowned, by this means his parentage and his birth were likewise revealed. Wherefore ever afterwards, both from his connection with his uncle and from his own happy genius, wherein he resembled that great man, he was called by everyone not Piero, but Vinci. Now Vinci, while occupied in this manner, had often heard various persons speaking of the things connected with the arts to be seen in Rome, and extolling them, as is always done by everyone; wherefore a great desire had been kindled in him to see them, hoping to be able to derive profit by beholding not only the works of the ancients, but also those of Michelagnolo, and even the master himself, who was then alive and residing in Rome. He went thither, therefore, in company with some friends; but after seeing Rome and all that he wished, he returned to Florence, having reflected judiciously that the things of Rome were as yet too profound for him, and should be studied and imitated not so early in his career, but after a greater acquaintance with art.