We may here notice six likenesses still preserving to us the form and fashion of that body, with which his people's posterity thus strangely held converse, beginning with, I. the portraits of Federigo and his consort, painted in tempera by Piero della Francesca, now in the Uffizi gallery at Florence, which we reproduce. The individuality belonging alike to the features and the costumes could scarcely be doubted, even had we not historical authority for the Count's broken nose, and that of Giovanni Sanzi for Battista's "grave and modest eye," already more particularly mentioned at page 218.[*209] The clear tone and enamel finish are admirable, notwithstanding a thick varnish, with which old tempera pictures are invariably dabbled, under the recent management of the Florence gallery. The panels are painted on both sides, the subjects on the reverse being triumphs of the two sovereigns in a style of mythological allegory then in fashion. On a car drawn by two milk-white steeds with docked tails, driven by Cupid, Federigo sits on a curule chair, in full armour, pointing forward with his truncheon, and holding a helmet on his knee, whilst a winged Victory, standing behind, crowns him with a garland. On the front of the car ride four female figures, one of whom, representing Force, has in her arms a broken Corinthian column; another, emblematic of Prudence, is placed in the centre of the group, holding a mirror in her hand; her face, bright with youthful hope, looks in advance to the future, and the profile or mask of a bearded and wrinkled old man, affixed to the back of her Janus head, contemplates the past with matured experience; a metaphor closely followed by Raffaele for his Jurisprudence in the Stanza della Segnatura. Justice is introduced with her scales and two-edged sword; and the fourth figure is scarcely seen. The distant country, in this as in the others of these pictures, shows that their author was unable to apply to landscape the excellence in linear perspective displayed by his architectural designs. Countess Battista's triumph is similarly treated; but her car is drawn by bay unicorns, types of purity, and she sits on a chair of state, splendidly attired, with an open book on her knee. Behind her a bright maiden, meant probably for Truth, contrasts with an elderly female in semi-monastic dress who may be intended for "A pensive nun, devout and pure, Sober, steadfast, and demure, All in a robe of darkest grain, Flowing with majestic train, And ashy stole of Cyprus lawn Over her decent shoulders drawn." [Footnote *209: Cf. _L'Arte_, ann. IX., fasc. i. (Miscellanea).] On the front of the car, Faith, with cross and chalice, sits by Religion, on whose knee the pelican feeds her young, emblematic of the Saviour's love for mankind. Under each of these allegorical paintings is a strophe of Sapphic measure, which may be thus rendered:--