Kublai took his station in a large wooden castle, borne on the backs of four elephants, whose bodies were protected with coverings of thick leather hardened by fire, over which were spread housings of cloth of gold. His army was disposed in three grand divisions, each division consisting of ten battalions of horsemen each ten thousand strong, and armed with the great Mongol bow. The right and left divisions were disposed so as to outflank the army of Nayan. In front of each battalion were stationed five hundred infantry, who, whenever the cavalry made a show of flight, were trained to mount behind them, and to alight again when they returned to the charge, their duty being to kill with their lances the horses of the enemy. As soon as the order of battle was arranged, wind instruments of various kinds and in great numbers were sounded, while the host of warriors broke into song, as was the Tartar practice before engaging in battle. The battle began with a signal from the cymbals and drums, the sound of the instruments and the singing growing deafening. At the signal both wings advanced, a cloud of arrows filling the air, while on both sides numbers of men and horses fell. Their arrows discharged, the warriors engaged in close combat with lances, swords, and iron-shod maces, while the cries of men and horses were such as to inspire terror or rouse all hearers to the battle-rage. For a long time the fortune of the day remained undecided, Nayan's people fighting with great zeal and courage. But at length their leader, seeing that he was almost surrounded, attempted to save himself by flight. He was made prisoner, however, and brought before Kublai, who ordered him to be put to death on the spot. This was done by enclosing him between two carpets, which were violently shaken until the spirit departed from the body, the dignity of the imperial family requiring that the sun and the air should not witness the shedding of the blood of one who belonged to the royal stock. These extracts from the narrative of the Venetian traveller may be fitly followed by a portion of Coleridge's remarkable dream-poem on the subject of Kublai's palace. The poet, having been reading from "Purchas's Pilgrimage" a brief description of the palace of the Great Khan,--not the one above described, but a pleasure-retreat in another section of his dominions,--fell asleep, and his dreams took the form of an extended poem on the subject. On waking he hastened to write it down, but was interrupted by a visitor in the midst of his task, and afterwards found himself unable to recall another line of the poem, only a shadowy image of which remained in his mind. The part saved is strangely imaginative.