forces were it not that our material is inadequate just here. We content ourselves by emphasizing the fact, concerning which hardly any doubt still exists, that the productions of the artist give outlet also to his sexual desire, and in the case of Leonardo we can refer to the information imparted by Vasari, namely, that heads of laughing women and pretty boys, or representations of his sexual objects, attracted attention among his first artistic attempts. It seems that during his flourishing youth Leonardo at first worked in an uninhibited manner. As he took his father as a model for his outer conduct in life, he passed through a period of manly creative power and artistic productivity in Milan, where favored by fate he found a substitute for his father in the duke Lodovico Moro. But the experience of others was soon confirmed in him, to wit, that the almost complete suppression of the real sexual life does not furnish the most favorable conditions for the activity of the sublimated sexual strivings. The figurativeness of his sexual life asserted itself, his activity and ability to quick decisions began to weaken, the tendency to reflection and
