ld see in the noble work of this old Paduan master what
Giotto might have done had he lived a century or more later.

Mr. Sumner, however, said that he was sure that Giotto, with his
temperament, could never have wrought detail with such exactness and
refinement as did Mantegna--but also, that Giotto's color would always
have been far better than Mantegna's. The likeness between the two
artists is the intense desire of each to render expression of thought
and feeling.

The following day, on their way from Padua to Milan, they were so
fortunate as to be all in the same compartment, and as their train
rushed on, their conversation turned upon Leonardo da Vinci, whose
works in Milan they were longing to see.

During their stay in Florence they had read much about this great
artist, and Mr. Sumner now suggested that each tell something he had
learned concerning him.

Margery began, and told how he used always to wear a sketch-book
attached to his girdle as he walked through the streets of Florence, so
that he might make a sketch of any face whose expression especially
attracted him; how he would invite peasants to his studio and talk with
them and tell laughable stories, that he might study the changes of
emotion in their faces; and how he would even follow to their death
criminals doomed to execution, in order to watch their suffering and
horror.

"He did not care much for the form or coloring or beauty of faces;--only
for the expression of feeling," she added.

"But," said Malcom, after waiting a moment for the others to speak if
they chose, "he studied a host of other things, also. For in the letter
he sent to Duke Ludovico of Milan asking that he might be taken into his
service, he wrote that he could make portable bridges wonderfully
adapted for use in warfare, also bombshells, cannon, and many other
engines of war; that he could engineer underground ways, aqueducts,
etc.; that he could build great houses, besides carrying on works of
sculpture and painting. And there were many other things that I do not
now remember. It seems as if he felt himself able to do all things. I
believe he did make a magnificent equestrian statue of the duke's
father. And he studied botany and astronomy, anatomy and mathematics,
and all sorts of things besides. I really do not see how he could have
got much painting in."

"He has left only a very few pictures to the world," said Barbara. "We
saw two or three at Florence, but I think