Now Gentile, either because he had more experience and greater skill in painting on canvas than in fresco, or for some other reason, whatever it may have been, contrived without difficulty to obtain leave to execute that work not in fresco but on canvas. And thus, setting to work, in the first scene he made the Pope presenting a wax candle to the Doge, that he might bear it in the solemn processions which were to take place; in which picture Gentile painted the whole exterior of S. Marco, and made the said Pope standing in his pontifical robes, with many prelates behind him, and the Doge likewise standing, accompanied by many Senators. In another part he represented the Emperor Barbarossa; first, when he is receiving the Venetian envoys in friendly fashion, and then, when he is preparing for war, in great disdain; in which scene are very beautiful perspectives, with innumerable portraits from the life, executed with very good grace and amid a vast number of figures. In the following scene he painted the Pope exhorting the Doge and the Signori of Venice to equip thirty galleys at their common expense, to go out to battle against Frederick Barbarossa. This Pope is seated in his rochet on the pontifical chair, with the Doge beside him and many Senators at his feet. In this part, also, Gentile painted the Piazza and the facade of S. Marco, and the sea, but in another manner, with so great a multitude of men that it is truly a marvel. Then in another part the same Pope, standing in his pontifical robes, is giving his benediction to the Doge, who appears to be setting out for the fray, armed, and with many soldiers at his back; behind the Doge are seen innumerable noblemen in a long procession, and in the same part are the Palace and S. Marco, drawn in perspective. This is one of the best works that there are to be seen by the hand of Gentile, although there appears to be more invention in that other which represents a naval battle, because it contains an infinite number of galleys fighting together and an incredible multitude of men, and because, in short, he showed clearly therein that he had no less knowledge of naval warfare than of his own art of painting. And indeed, all that Gentile executed in this work--the crowd of galleys engaged in battle; the soldiers fighting; the boats duly diminishing in perspective; the finely ordered combat; the soldiers furiously striving, defending, and striking; the wounded dying in various manners; the cleaving of the water by the galleys; the confusion of the waves; and all the kinds of naval armament--all this vast diversity of subjects, I say, cannot but serve to prove the great spirit, art, invention, and judgment of Gentile, each detail being most excellently wrought in itself, as well as the composition of the whole. In another scene he made the Doge returning with the victory so much desired, and the Pope receiving him with open arms, and giving him a ring of gold wherewith to