The young painter's consuming interest in nature and zoomorphic forms manifested itself in another drawing from the same period as the View of the Arno, one dependent on Verrocchio workshop productions – his fearsome Bust of a Warrior in Profile (fig. 10), incongruously scratched in the delicate medium of metalpoint. This study, preserved in the British Museum, is based on Verrocchio's lost, fanciful profile relief of the ancient Persian king, Darius, crudely reproduced in surviving glazed terracotta facsimiles. Lorenzo de’ Medici sent the original metal sculpture, along with a similar portrait of Alexander the Great, to King Matthias Corvinus of Hungary as a gift – from whose possession it disappeared without a trace (likely destroyed in the second or third decade of the sixteenth century, during the Turkish invasion and occupation). Verrocchio probably loosely modeled his reliefs on antique cameos in Lorenzo's collection, such as the lost profile Bust of Athena (known from documents and a reproductive illustration of 1483), in which the Greek goddess wore comparable, fantastic armor. Lorenzo might have pointed out this pedigree-by-association in an accompanying letter to Corvinus.