Thus did Cesare, sincerely or otherwise, attempt to lessen the Republic’s chagrin to see him ride lance-on-thigh as conqueror into the dominions which she so long had coveted. France once more placed Yves d’Allègre at Cesare’s disposal, and with him went six hundred lances and six hundred Swiss foot. These swelled the forces which already Cesare had assembled into an army some ten thousand strong. The artillery was under the command of Vitellozzo Vitelli, whilst Bartolomeo da Capranica was appointed camp-master. Cesare’s banner was joined by a condotta under Paolo Orsini--besides whom there were several Roman gentlemen in the duke’s following, including most of those who had formed his guard of honour on the occasion of his visit to France, and who had since then continued to follow his fortunes. Achille Tiberti came to Rome with a condotta which he had levied in the Romagna of young men who had been moved by Cesare’s spreading fame to place their swords at his disposal. A member of the exiled Malvezzi family of Bologna headed a little troop of fellow-exiles which came to take service with the duke, whilst at Perugia a strong body of foot awaited him under Gianpaolo Baglioni. In addition to these condotte, numerous were the adventurers who came to offer Cesare their swords; indeed he must have possessed much of that personal magnetism which is the prime equipment of every born leader, for he stirred men to the point of wild enthusiasm in those days, and inspired other than warriors to bear arms for him. We see men of letters, such as Justolo, Calmeta, Sperulo, and others throwing down their quills to snatch up swords and follow him. Painters, and sculptors, too, are to be seen abandoning the ideals of art to pursue the ugly realities of war in this young condottiero’s train. Among these artists, bulks the great Pietro Torrigiani. The astounding pen of his brother-sculptor, Benvenuto Cellini, has left us a sharp portrait of this man, in which he speaks of his personal beauty and tells us that he had more the air of a great soldier than a sculptor (which must have been, we fancy, Cellini’s own case). Torrigiani lives in history chiefly for two pieces of work widely dissimilar in character--the erection of the tomb of Henry VII of England, and the breaking of the nose of Michelangelo Buonarroti in the course of a quarrel which he had with him in Florence when they were fellow-students under Masaccio. Of nothing that he ever did in life was he so proud--as we may gather from Cellini--as of having disfigured Michelangelo, and in that sentiment the naïve spirit of his age again peeps forth. We shall also see Leonardo da Vinci joining the duke’s army as engineer--but that not until some months later.