have overcome the purely æsthetic instincts of Alberti, so that he
became in the end neither a great artist like Raphael, nor a great
discoverer like Galileo, but rather a clairvoyant to whom the miracles
of nature and of art lie open.

After the first period of youth was over, Leo Battista Alberti devoted
his great faculties and all his wealth of genius to the study of the
law--then, as now, the quicksand of the noblest natures. The industry
with which he applied himself to the civil and ecclesiastical codes
broke his health. For recreation he composed a Latin comedy called
'Philodoxeos,' which imposed upon the judgment of scholars, and was
ascribed as a genuine antique to Lepidus, the comic poet. Feeling
stronger, Alberti returned at the age of twenty to his law studies,
and pursued them in the teeth of disadvantages. His health was still
uncertain, and the fortune of an exile reduced him to the utmost want.
It was no wonder that under these untoward circumstances even his
Herculean strength gave way. Emaciated and exhausted, he lost the
clearness of his eyesight, and became subject to arterial
disturbances, which filled his ears with painful sounds. This nervous
illness is not dissimilar to that which Rousseau describes in the
confessions of his youth. In vain, however, his physicians warned
Alberti of impending peril. A man of so much stanchness, accustomed
to control his nature with an iron will, is not ready to accept
advice. Alberti persevered in his studies, until at last the very seat
of intellect was invaded. His memory began to fail him for names,
while he still retained with wonderful accuracy whatever he had seen
with his eyes. It was now impossible to think of law as a profession.
Yet since he could not live without severe mental exercise, he had
recourse to studies which tax the verbal memory less than the
intuitive faculties of the reason. Physics and mathematics became his