ove of learning is shown by his own letters, and by the
statements contained in the books that were so constantly dedicated to
his name. To Beatus Rhenanus he wrote, with reference to an approaching
visit: 'Oh, what a festal day, to be marked (as they say) with a pure
white stone, when I am able to pay my humble duty to my own Rhenanus; and
you see how great are my demands when you are entered as mine in my
accounts.' As controller of the Milanese district he became the object of
much adulation, for which his flatterers had to atone when the French
occupation came to an end. The dedication of a certain dialogue affords
an instance in point. Stefano Negri sent his book to Grolier in a
splendid shape. The presentation copy on vellum may be seen at the
British Museum among the treasures of the Grenville Library. The writer
represents himself in the preface as going about in search of a patron.
He sees Mercury descending from the clouds with a message from Minerva.
'There is one man whom the Goddess holds dear, struggling like Ulysses
through the flood of this stormy life: he is known as Grolier to the
world.' Nay, what need have you, says the author, to sing the praises of
that famous man? 'You must confess, even if you like it not, that he is
most noble in his country and family, most wealthy in fortune, and most
fair and beautiful in his bodily gifts.'

As patron of all the arts the treasurer became the friend of Francino
Gafori, the leader of the new school of music that was flourishing at
Milan. Gafori seems to have been often in Grolier's company. He dedicated
to the treasurer his work on the harmony of musical instruments, as well
as the _Apologia_ in which he afterwards convicted the Bologna school of
its errors. 'My work,' he says in his later book, 'is sound enough if
soundly understood'; and he tells his rival that, though he may writhe
with rage, the harmony of Gafori and the fame of Jean Grolier will live
for ever. The introduction to his work upon harmony contains a few
interesting details about Grolier's way of living at Milan. Gafori
addresses his book in a dialogue, and vows that it shall never come home
again if Grolier refuses to be the patron. A poetical friend adds a piece
in which the Muses appear without their proper emblems, and even Apollo
is bereft of his lyre. Gafori, they say, has taken away their harmonies
and will not give them back. They are advised to make their way to the
concert at Grolier's