Brilliant pantomimes of the same kind were given at Bologna, at the marriage of Annibale Bentivoglio with Lucrezia of Este.[947] Instead of the orchestra, choral songs were sung, while the fairest of Diana’s nymphs flew over to the Juno Pronuba, and while Venus walked with a lion--which in this case was a disguised man--among a troop of savages. The decorations were a faithful representation of a forest. At Venice, in 1491, the princesses of the house of Este[948] were met and welcomed by the Bucentaur, and entertained by boat-races and a splendid pantomime, called ‘Meleager,’ in the court of the ducal palace. At Milan Lionardo da Vinci[949] directed the festivals of the Duke and of some leading citizens. One of his machines, which must have rivalled that of Brunellesco (p. 411), represented the heavenly bodies with all their movements on a colossal scale. Whenever a planet approached Isabella, the bride of the young Duke, the divinity whose name it bore stepped forth from the globe,[950] and sang some verses written by the court-poet Bellincioni (1489). At another festival (1493) the model of the equestrian statue of Francesco Sforza appeared with other objects under a triumphal arch on the square before the castle. We read in Vasari of the ingenious automata which Lionardo invented to welcome the French kings as masters of Milan. Even in the smaller cities great efforts were sometimes made on these occasions. When Duke Borso came in 1453 to Reggio[951] to receive the homage of the city, he was met at the door by a great machine, on which S. Prospero, the patron saint of the town, appeared to float, shaded by a baldachino held by angels, while below him was a revolving disc with eight singing cherubs, two of whom received from the saint the sceptre and keys of the city, which they then delivered to the Duke, while saints and angels held forth in his praise. A chariot drawn by concealed horses now advanced, bearing an empty throne, behind which stood a figure of Justice attended by a genius. At the corners of the chariot sat four grey-headed lawgivers, encircled by angels with banners; by its side rode standard-bearers in complete armour. It need hardly be added that the goddess and the genius did not suffer the Duke to pass by without an address. A second car, drawn by an unicorn, bore a Caritas with a burning torch; between the two came the classical spectacle of a car in the form of a ship, moved by men concealed within it. The whole procession now advanced before the Duke. In front of the Church of S. Pietro, a halt was again made. The saint, attended by two angels, descended in an aureole from the façade, placed a wreath of laurel on the head of the Duke, and then floated back to his former position.[952] The clergy provided another allegory of a purely religious kind. Idolatry and Faith stood on two lofty pillars, and after Faith, represented by a beautiful girl, had uttered her