"In gorgeous triumph is borne the hero, whom enduring fame worthily celebrates as a sovereign, equalling in his virtues the greatest generals. "Thus conducted amid her prosperity, and illustrated by the laurels of her mighty husband's deeds, her name circles in the mouths of mankind."[210] [Footnote 210: Clarus insigni vehitur triumpho, Quem, parem summis ducibus, perhennis Fama virtutum celebrat decenter Sceptra tenentem. Quemodum rebus tenuit secundis, Conjugis magni decorata rerum Laude gestarum, volitat per ora Cuncta virorum.] II. Our next portrait of this Duke was probably obtained by the Barberini family at the devolution of Urbino to the Holy See, about 1630, and remains in their palace at Rome. It is on a three-quarters panel, life size, in full armour, wearing the ducal mantle of crimson flowered with gold, and an ermine cape. From his neck hangs the order of the Ermine, and below his left knee is the Garter. The ducal cap of yellow silk, thickly studded with pearls, hangs on a tall lectern in front of his armchair. He holds a crimson book, and reads from it to his son, standing by his knee, in a yellow frock richly jewelled, a sceptre in the boy's right hand. This head and figure have been copied by Clovio, in an illuminated volume which we shall describe in VI. of the Appendix; and although ascribed to Mantegna, they may rather be a work of Piero della Francesca (if I may form an opinion after the single visit and distant inspection allowed me in 1845 by its jealous owner), but always with the proviso that that able artist's blindness[*211] had not supervened in 1478, when, from the prince's age, this picture must have been done. We have no notice of Mantegna having been at Urbino, although this is probable, from Sanzi's admiration of him.[212] [Footnote *211: It is to Vasari we owe the statement that Piero was blind in 1458, being then sixty years old (cf. VASARI, _Vite_, vol. II., p. 500). This appears to be another of Vasari's mistakes. Fra Luca, who records so many facts concerning his master, is silent as to his blindness, while if dates are looked into they will easily disprove the statement. Cf. W.G. WATERS, _Piero della Francesca_ (London, 1901), p. 93.] [Footnote 212: See his catalogue of painters in the Appendix to our second volume.]