In like manner Granacci was employed in the sumptuous and magnificent preparations that were made in the year 1513 for the entry of Pope Leo X, one of the Medici, by Jacopo Nardi, a man of great learning and most beautiful intellect, who, having been commanded by the Tribunal of Eight to prepare a splendid masquerade, executed a representation of the Triumph of Camillus. This masquerade, in so far as it lay in the province of the painter, was so beautifully arranged and adorned by Granacci that no man could imagine anything better; and the words of the song, which Jacopo composed, began thus: Contempla in quanta gloria sei salita, Felice alma Fiorenza, Poiche dal Ciel discesa, with what follows. For the same spectacle Granacci executed a great quantity of theatrical scenery, as he did both before and afterwards. And while working with Ghirlandajo he painted standards for ships, and also banners and devices for certain Knights of the Golden Spur, for their public entry into Florence, all at the expense of the Captains of the Guelph Party, as was the custom at that time, and as has been done in our own day, not long since. [Illustration: FRANCESCO GRANACCI: THE HOLY FAMILY (_Florence: Pitti, 199. Panel_)] In like manner he made many beautiful embellishments and decorations of his own invention for the Potenze[11] and their tournaments. These festivals were of a kind which is peculiar to the Florentines, and very pleasing, and in them were seen men standing almost upright on horseback, with very short stirrups, and breaking a lance with the same facility as do the warriors firmly seated on their saddles; and all this was done for the above-mentioned visit of Leo to Florence. Granacci also made, besides other things, a most beautiful triumphal arch opposite to the door of the Badia, covered with scenes in chiaroscuro and very lovely things of fancy. This arch was much extolled, and particularly for the invention of the architecture, and because he had made an imitation of that same door of the Badia for the entrance of the Via del Palagio, executed in perspective with the steps and every other thing, so that the painted and supposititious door was in no way different from the real and true one. To adorn the same arch he executed with his own hand some very beautiful figures of clay in relief, and on the summit of the arch he placed a great inscription with these words: LEONI X PONT. MAX. FIDEI CULTORI.