clouds? There it crushes ship and men in its talons, and drops men's limbs, armor, timber, all that's left, down to the Dark Sea monsters who wait to devour the wreckage in their huge jaws. Ugh, 'tis an ugly thought, and enough to keep any man safe this side the world."

"In some places fair, in some dark," mused Christopher. "It would be worth sailing out there to find which was the truth."

"Where would be the good of finding that if you never came back, boy?"

Christopher shrugged his shoulders. "Just for the fun of finding out, perhaps," he said.

A month later Christopher saw a galley flying the flag of Genoa enter the harbor. When the captain came on shore the boy went to him, and telling him who he was, asked for a chance to go as sailor back to Genoa. The captain knew the boy's father, Domenico Colombo, and gave Christopher a place on the galley. She was sailing north, homeward bound, and a few days later, having safely avoided all hostile ships and storms, the galley came into sight of the beautiful white city in its nest against the hills.

It was a happy day when the young sailor landed and surprised his father and mother by walking in upon them. News of Colombo's defeat by the ship of Naples had come to Genoa, and Christopher's family had given him up as lost.

But narrow as his escape on that voyage had been, such chances were part of the sailor's life in that age, and Christopher was quite ready to take his share of privation and danger with his mates. It was only by weathering such storms that he could ever hope to be put in charge of rich merchantmen or to command his own vessel in his city's defense. So he sailed again soon after, and in a year or two had come to know the Mediterranean Sea as well as the back of his hand.

Captains found he was good at making maps, and paid him to draw them, and when he was on shore he spent all his time studying charts and plans, and soon became so expert that he could support himself by preparing new charts. Yet, in spite of all his study, he found that the maps covered only a small part of the sea, and gave him no knowledge of the waters to the west. There he now began to believe the long-looked-for sea passage to the East Indies must lie.

Christopher grew to manhood, and then a chance shipwreck threw him in Lisbon, the capital of Portugal. The Portuguese were the great sailors of the age, and the young man met many famous captains who were planning trips to the western coast of Africa and about the Cape of Good Hope.

Some of the captains took an interest in the sailor who made such splendid maps and was so eager to go on dangerous exploring trips, and they brought him to the notice of the King of Portugal. One of them, Toscanelli, wrote of the young Christopher's "great and noble desire to pass to where the spices grow," and listened with interest to his plans to reach those rich spice lands by sailing west.

The ideas of Columbus seemed too visionary to most princes, and it was years before he was able to persuade the Spanish sovereigns, Ferdinand and Isabella, to grant him three small ships and enough men to start upon his voyage. But on August 3, 1492, he finally set sail from Palos, in Spain.

All the world knows the history of that great voyage, of the tremendous difficulties that beset Columbus, how his men grew fearful and would have turned back, how he had to change the ship's reckoning as he had seen his cousin change the compass, how he had sometimes to plead with his men and sometimes to threaten them.

In time he found boughs with fresh leaves and berries floating on the sea, and caught the odor of spices from the west. Then he knew he was nearing that magic land of riches sailors dreamt of, and thought he had found the shortest passage to the East Indies and Cathay. That would have been a wonderful discovery, but the one he was actually making was infinitely greater. Instead of a new sea passage he was reaching a new continent, and adding a hemisphere to the known world.

Such was the result of the dreams and ambitions of the boy born and bred in the old seaport of Genoa.

II

Michael Angelo

The Boy of the Medici Gardens: 1475-1564

The Italian city of Florence was entering on the Golden Age of its history toward the end of the fifteenth century. Lorenzo, called the Magnificent, was head of the house of Medici, and first citizen of the proud Republic. He was himself an artist, a poet, and a philosopher; he loved the beautiful things of life, and had gathered about him a little court of men of genius.

Florence at that time was also a great business city, and among the prominent merchant families was that of the Buonarotti. Ludovico Buonarotti had several sons, and he had named his second child Michael Angelo, and had planned that he should follow him in trade. Fortunately for the world, however, the boy had a will of his own.

Even while he was still in charge of a nurse, and was just beginning to learn to use his hands, he would draw simple pictures and paint them whenever he had the chance. His father had little use for a painter, and sent the boy to the grammar school of Francesco d'Urbino, in Florence, thinking to make a scholar of him. There were, however, many studios in the neighborhood of the school, and many artists at work in them, and the boy would neglect his studies to haunt the places where he might see how grown men drew and painted.

Watching the artists, young Michael Angelo soon formed a lasting friendship with a boy of great talent a few years older than himself, by name Francesco Granacci. This boy was a pupil of Domenico Ghirlandajo, a very great painter. The more Michael Angelo saw Granacci and his work in the studio the more he longed for a chance to study painting. He could think of nothing else; he begged his father and uncles to let him be an artist instead of a merchant or a scholar. But the father and uncles, coming from a long line of successful merchants, treated the boy's requests with scorn.

Michael Angelo was determined to be an artist, however, and finally, though with the greatest reluctance, his father signed a contract with Ghirlandajo by which the boy was to study drawing and painting in his studio and do whatever other work the master might desire. The master was to pay the boy six gold florins for the first year's work, eight for the second, and ten for the third.

The young Buonarotti found plenty of work to be done in his master's studio. Besides the regular day's work he was constantly painting sketches of his own, and trying his hand at a dozen different things. His eye and hand were most surprisingly true. Time and again the master or some of the older students, coming across the boy at work, would be held spellbound by his skill.

One day when the men had left work the boy drew a picture of the scaffolding on which they had been standing and sketched in portraits of the men so perfectly that when his master found the drawing he cried to a friend in amazement, "The boy understands this better than I do myself!"

There was little in the world about him that this boy failed to see. He soon painted his first real picture, choosing a subject that was popular in those days, the temptation of St. Antony. All kinds of queer animals figured in the picture, and that he might get the colors of their shining backs and scales just right he spent days in the market eagerly studying the fish there for sale. Again the master was amazed at his pupil's work, and now for the first time began to feel a certain envy of him.

This feeling rapidly increased. The scholars were often given some of Ghirlandajo's own studies to copy, and one day Michael Angelo brought the artist one of the studies which he had himself corrected by adding a few thick lines. Beyond all doubt the picture was improved. It was hard, however, for the master to be corrected by his own apprentice, and soon after that