248 ANDREW JACKSON HOWE. 



of Lorenzo. While a student in the palace, he exe- 

 cuted a basso-relievo in marble, representing the bat- 

 tle of Hercules with, the Centaurs. The figures in this 

 group are admirable, and even then the genius of a 

 sculptor was recognized in them. 



The rising artist's next work was a crucifix in 

 wood. It was executed for the monastery of San 

 Spirito, and with such skill that the Prior assigned 

 him a dissecting room, and bodies for anatomical 

 demonstrations. 



Michael Angelo also studied anatomy with Realdo 

 Colombo, an eminent physician and surgeon of the 

 time, whose fame has been honorably associated with 

 anatomical discoveries. While receiving instruction 

 he made sketches which he intended to utilize in a 

 book designed for sculptors and painters in the ex- 

 hibition of the human form. T*o forward and enhance 

 the work, a friend furnished him the body of a fine 

 young Moor, from which he was expected to obtain 

 some points in surface displays, and develop rules for 

 outlining the human figure. Condi vi says of Michael 

 Angelo, that " his knowledge of human anatomy and 

 of other animals was so correct that those who had 

 studied it as a profession hardly understand the sub- 

 ject so well. I speak only of that department neces- 

 sary to the arts of design, but not as to the minutiae 

 valuable to the surgeon." He studied the horse with 

 the same care as the anatomy of man, and availed 

 himself of the drawings of Leonardo da Vinci. Gon- 

 faloniere Soderini was ambitious to engage the talent 

 of the two anatomists to ornament the hall of the 

 ducal palace at Florence, and commissioned them to 

 make two grand paintings, each artist to choose his 

 own subject. Leonardo da Vinci, whose knowledge of 



