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Segnatura； found this mode of artistic thought completely vulgarized and worn out。 The new and final consecration which he gave to it will remain a wonder to all ages。
The triumphal processions； strictly speaking； of victorious generals； formed the exception。 But all the festive processions； whether they celebrated any special event or were mainly held for their own sakes； assumed more or less the character and nearly always the name of a 'Trionfo。' It is a wonder that funerals were not also treated in the same way。
It was the practice； both at the Carnival and on other occasions； to represent the triumphs of ancient Roman commanders； such as that of Paulus Aemilius under Lorenzo the Magnificent at Florence； and that of Camillus on the visit of Leo X。 Both were conducted by the painter Francesco Granacci。 In Rome； the first complete exhibition of this kind was the triumph of Augustus after the victory over Cleopatra； under Paul II； where； besides the comic and mythological masks； which； as a matter of fact； were not wanting in the ancient triumphs； all the other requisites were to be foundkings in chains； tablets with decrees of the senate and people； a senate clothed in the ancient costume； praetors； aediles； and quaestors； four chariots filled with singing masks； and； doubtless； cars laden with trophies。 Other processions rather aimed at setting forth； in a general way； the universal empire of ancient Rome； and in answer to the very real danger which threatened Europe from the side of the Turks； a cavalcade of camels bearing masks representing Ottoman prisoners； appeared before the people。 Later； at the Carnival of the year 1500； Cesare Borgia； with a bold allusion to himself； celebrated the triumph of Julius Caesar； with a procession of eleven magnificent chariots； doubtless to the scandal of the pilgrims who had come fm the Jubilee。 Two 'Trionfi；' famous for their taste and beauty； were given by rival companies in Florence； on the election of Leo X to the Papacy。 One of them represented the three Ages of Man； the other the Ages of the World； ingeniously set forth in five scenes of Roman history； and in two allegories of the golden age of Saturn and of its final return。 The imagination displayed in the adornment of the chariots； when the great Florentine artists undertook the work； made the scene so impressive that such representations became in time a permanent element in the popular life。 Hitherto the subject cities had been satisfied merely to present their symbolical giftscostly stuffs and wax…candles on the day when they annually did homage。 The guild of merchants now built ten chariots； to which others were afterwards to be added； not so much to carry as to symbolize the tribute； and Andrea del Sarto； who painted some of them； no doubt did his work to perfection。 These cars； whether used to hold tribute or trophies； now formed part of all such celebrations； even when there was not much money to be laid out。 The Sienese announced； in 1477； the alliance between Ferrante and Sixtus IV； with which they themselves were associated； by driving a chariot round the city； with 'one clad as the goddess of peace standing on a hauberk and other arms。'
At the Venetian festivals the processions； not on land but on water； were marvelous in their fantastic splendor。 The sailing of the Bucentaur to meet the Princesses of Ferrara in the year 1491 seems to have been something belonging to fairyland。 Countless vessels with garlands and hangings； filled with the richly dressed youth of the city； moved in front； genii with attributes symbolizing the various gods； floated on machines hung in the air； below stood others grouped as tritons and nymphs； the air was filled with music； sweet odors； and the fluttering of embroidered banners。 The Bucentaur was followed by such a crowd of boats of every sort that for a mile all round _（octo stadia） _the water could not be seen。 With regard to the rest of the festivities； besides the pantomime mentioned above； we may notice as something new a boat…race of fifty powerful girls。 In the sixteenth century the nobility were divided into corporations with a view to these festivals； whose most noteworthy feature was some extraordinary machine placed on a ship。 So； for instance； in the year 1541； at the festival of the 'Sempiterni；' a round 'universe' floated along the Grand Canal； and a splendid ball was given inside it。 The Carnival； too； in this city was famous for its dances； processions； and exhibitions of every kind。 The Square of St。 Mark was found to give space enough not only for tournaments； but for 'Trionfi；' similar to those common on the mainland。 At a festival held on the conclusion of peace； the pious brotherhoods （'scuole'） took each its part in the procession。 There； among golden chandeliers with red candles； among crowds of musicians and winged boys with golden bowls and horns of plenty； was seen a car on which Noah and David sat together enthroned； then came Abigail； leading a camel laden with treasures； and a second car with a group of political figures… …Italy sitting be tween Venice and Liguriaand on a raised step three female symbolical figures with the arms of the allied princes。 This was followed by a great globe with the constellations； as it seems； round it。 The princes themselves； or rather their bodily representatives； appeared on other chariots with their servants and their coats of arms； if we have rightly interpreted our author。
The Carnival； properly so called； apart from these great triumphal marches； had nowhere； perhaps； in the fifteenth century so varied a character as in Rome。 There were races of every kindof horses； asses； buffaloes； old men； young men； Jews； and so on。 Paul II entertained the people in crowds before the Palazzo di Venezia； in which he lived。 The games in the Piazza Navona； which had probably never altogether ceased since the classical times； were remarkable for their warlike splendor。 We read of a sham fight of cavalry； and a review of all the citizens in arms。 The greatest freedom existed with regard to the use of masks； which were sometimes allowed for several months together。 Sixtus IV ventured； in the most populous part of the cityat the Campofiore and near the Banchi to make his way through crowds of masks； though he declined to receive them as visitors in the Vatican。 Under Innocent VIII； a discreditable usage； which had already appeared among the Cardinals； attained its height。 In the Carnival of 1491； they sent one another chariots full of splendid masks； of singers； and of buffoons； chanting scandalous verses。 They were accompanied by men on horseback。 Apart from the Carnival； the Romans seem to have been the first to discover the effect of a great procession by torchlight。 When Pius II came back from the Congress of Mantua in 1459； the people waited on him with a squadron of horsemen bearing torches； who rode in shining circles before his palace。 Sixtus IV； however； thought it better to decline a nocturnal visit of the people； who proposed to wait on him with torches and olive…branches。
But the Florentine Carnival surpassed the Roman in a certain class of processions； which have left their mark even in literature。 Among a crowd of masks on foot and on horseback appeared some huge； fantastic chariots； and upon each an allegorical figure or group of figures with the proper accompaniments； such as Jealousy with four spectacled faces on one head； the four temperaments with the planets belonging to them； the three Fates； Prudence enthroned above Hope and Fear； which lay bound before her； the four Elements； Ages； Winds； Seasons； and so on； as well as the famous chariot of Death with the coffins； which presently opened。 Sometimes we meet with a splendid scene from classical mythologyBacchus and Ariadne； Paris and Helen； and others。 Or else a chorus of figures forming some single class or category； as the beggars； the hunters and nymphs； the lost souls who in their lifetime were hardhearted women； the hermits； the astrologers； the vagabonds； the devils； the sellers of various kinds of wares； and even on one occasion 'il popolo；' the people as such； who all reviled one another in their songs。 The songs； which still remain and have been collected； give the explanation of the masquerade sometimes pathetic； sometimes in a humorous； and sometimes in an excessively indecent tone。 Some of the worst in this respect are attributed to Lorenzo the Magnificent； probably because the real author did not venture to declare himself。 However this may be； we must certainly ascribe to him the beautiful song which accompanied the masque of Bacchus and Ariadne； whose refrain still echoes to us from the fifteenth century； like a regretful presentiment of the brief splendor of the Renaissance itself：
'Quanto ？bella giovinezza； Che si fugge tuttavia！ Chi vuol esser lieto； sia： Di doman non c'？certezza。'
Part Six
MORALITY AND RELIGION
Morality and Judgement
The relation of the various peoples of the earth to the supreme interests of life； to God； virtue； and immortality； may be investigated up to a certain point； but can never be com