Having thus been engaged on these and some other works in the service of the Duke, until the time when he took to wife the Lady Donna Leonora of Toledo, Battista was next employed in the festive preparations for those nuptials, on the triumphal arch at the Porta al Prato, where Ridolfo Ghirlandajo caused him to execute some scenes of the actions of Signor Giovanni, father of Duke Cosimo. In one of these that lord could be seen passing the Rivers Po and Adda, in the presence of Cardinal Giulio de' Medici, who became Pope Clement VII, Signor Prospero Colonna, and other lords; and in another was the scene of the delivering of San Secondo. On the other side Battista painted in another scene the city of Milan, and around it the Camp of the League, which, on departing, the above-named Signor Giovanni leaves there. On the right flank of the arch he painted on one side a picture of Opportunity, who, having her tresses all unbound, was offering them with one hand to Signor Giovanni, and on the other side Mars, who was likewise offering him his sword. In another scene under the arch, by the hand of Battista, was Signor Giovanni fighting between the Tesino and Biegrassa upon the Ponte Rozzo, defending it, as it were like another Horatius, with incredible bravery. Opposite to this was the Taking of Caravaggio, and in the centre of the battle Signor Giovanni, who was passing fearlessly through fire and sword in the midst of the hostile army. Between the columns, on the right hand, there was in an oval Garlasso, taken by the same lord with a single company of soldiers, and on the left hand, between the two other columns, the bastion of Milan, likewise taken from the enemy. On the fronton, which was at the back of anyone entering, was the same Signor Giovanni on horseback under the walls of Milan, when, tilting in single combat with a knight, he ran him through from side to side with his lance. Above the great cornice, which reached out to the other cornice, on which the pediment rested, in another large scene executed by Battista with much diligence, there was in the centre the Emperor Charles V, who, crowned with laurel, was seated on a rock, with the sceptre in his hand; at his feet lay the River Betis with a vase that poured water from two mouths, and beside that figure was the River Danube, which, with seven mouths, was pouring its waters into the sea. I shall not make mention here of the vast number of statues that accompanied the above-named pictures and others on that arch, for the reason that it is enough for me at the present moment to describe that which concerns Battista Franco, and it is not my office to give an account of all that was done by others in the festive preparations for those nuptials and described at great length; besides which, having spoken of the masters of those statues where the necessity arose, it would be superfluous for me to say anything about them here, and