This passion for the antique, however, did not prevent Lorenzo from encouraging the artists of his own time or from taking a deep interest in their art. Eclectic in taste, as a collector he nevertheless had some preferences. In a letter to his son Giulio, the future Leo X, on his promotion to the Cardinalate, he gives advice as to the kind of art which is most in keeping with ecclesiastical taste, but as a matter of fact epitomizes his own penchant as a collector of art. Urging his son to give preference to antique statuary, he discourages him from becoming a collector of jewels, tapestries and embroideries. “Love in preference,” he recommends, “fine antique things and books”--_qualche gentilezza di cose antiche_. Lorenzo the Magnificent seems to stand apart from the lovers of art of his time not only on account of his culture and intelligence, his broad eclectic views and genuine cult of every expression of beauty, but as being a rare type of the grand seigneur, æsthete and humanist. Paul II is a passionate collector of art, but more a scholar than an artist, with him knowledge is supreme; Cardinal Scarampi is, as Ciriaco D’Ancona calls him, an archæologist, and Niccoli, as an eager and intelligent searcher of objects, would make a good type of antiquary of our day, but Lorenzo displays interest in every kind of elevated human expression; his character seems to conform to his noble motto, _Nul ne sait qui n’essaye_ (nobody knows who does not try). His reputation as a connoisseur and expert in art spread afar. Princes and monarchs asked his advice. Lorenzo is not only prodigal in this respect, but also in the artistic things of his collection which he sends as presents. To Mathias Corvinus he sent a bust by Verrocchio, to the Count of Madaloni of Naples a fine horse’s head--now in the museum of that city--a rare piece of work which until lately was taken for Greek but is now attributed to Donatello. The Duke of Calabria asks him for an architect, and he sends him one; in the year 1488 he sends to Ferdinand, king of Naples, a fine plan of a palace by Giuliano da Sangallo, and later he introduces Leonardo da Vinci to Lodovico il Moro, Filippino Lippi to Cardinal Carafa, Sansovino to the king of Portugal. In connection with odd requests that came to Lorenzo from princes and monarchs there is a queer one from Louis XI. The French king asks the Magnificent to lend him for a while the miraculous ring of the Florentine patron saint, San Zanobi, pledging himself to restore the ring to the owners--very likely the Girolami of Florence--and begging Lorenzo to tell him how and in what way it must be worn to perform the miracle, cure his gout and restore him to health.