Page:Studies in the history of the renaissance (IA studiesinhistor01pategoog).djvu/115

Rh free as he walked the streets of Florence, fond of odd bright dresses and spirited horses.

From his earliest years he designed many objects, and constructed models in relief, of which Vasari mentions some of women smiling. His father, pondering over this promise in the child, took him to the workshop of Andrea del Verrocchio, then the most famous artist in Florence. Beautiful objects lay about there,—reliquaries, pyxes, silver images for the pope's chapel at Rome, strange fancy work of the middle age keeping odd company with fragments of antiquity, then but lately discovered. Another student Lionardo may have seen there—a boy into whose soul the level light and aërial illusions of Italian sunsets had passed, in after days famous as Perugino. Verrocchio was an artist of the earlier Florentine type, carver, painter, and worker in metals in one; designer, not of pictures only, but of all things for sacred or household use, drinking-vessels, ambries, instruments of music, making them all fair to look upon, filling the common ways of life with the reflection of some far-off brightness; and years of patience had refined his hand till his work was now sought after from distant places.

It happened that Verrocchio was employed by the brethren of Vallombrosa to paint the Baptism