ss of the swan with Leda. The breaking
of the egg was also introduced, from which sprang Castor and Pollux,
according to the ancient fable. The Duke heard of this; and on the
return of the Medici, he feared that he might lose so great a treasure
in the popular disturbance which ensued. Accordingly he despatched one
of his gentlemen, who found Michelangelo at home, and viewed the
picture. After inspecting it, the man exclaimed: 'Oh! this is a mere
trifle.' Michelangelo inquired what his own art was, being aware that
men can only form a proper judgment in the arts they exercise. The
other sneered and answered: 'I am a merchant.' Perhaps he felt
affronted at the question, and at not being recognised in his quality
of nobleman; he may also have meant to depreciate the industry of the
Florentines, who for the most part are occupied with trade, as though
to say: 'You ask me what my art is? Is it possible you think a man
like me could be a trader?' Michelangelo, perceiving his drift,
growled out: 'You are doing bad business for your lord! Take yourself
away!' Having thus dismissed the ducal messenger, he made a present of
the picture, after a short while, to one of his serving-men, who,
having two sisters to marry, begged for assistance. It was sent to
France, and there bought by King Francis, where it still exists."

As a matter of fact, we know now that Antonio Mini, for a long time
Michelangelo's man of all work, became part owner of this Leda, and
took it with him to France. A certain Francesco Tedaldi acquired
pecuniary interest in the picture, of which one Benedetto Bene made a
copy at Lyons in 1532. The original and the copy were carried by Mini
to Paris in 1533, and deposited in the house of Giuliano Buonaccorsi,
whence they were transferred in some obscure way to the custody of
Luigi Alamanni, and finally passed into the possession of the King.
Meanwhile, Antonio Mini died, and Tedaldi wrote a record of his losses
and a confused account of money matters and broker business, which he
sent to Michelangelo in 1540. The Leda remained at Fontainebleau till
the reign of Louis XIII., when M. Desnoyers, Minister of State,
ordered the picture to be destroyed because of its indecency. Pierre
Mariette says that this order was not carried into effect; for the
canvas, in a sadly mutilated state, reappeared some seven or eight
years before his date of writing, and was seen by him. In spite of
injuries, he could trace the hand of a