welcome, the other column fell to pieces with the lay figure upon it. Further on, Borso was met by Cæsar with seven beautiful women, who were presented to him as the seven Virtues which he was exhorted to pursue. At last the Cathedral was reached, but after the service the Duke again took his seat on a lofty golden throne, and a second time received the homage of some of the masks already mentioned. To conclude all, three angels flew down from an adjacent building, and, amid songs of joy, delivered to him branches of palm, as symbols of peace. * * * * * Let us now give a glance at those festivals the chief feature of which was the procession itself. There is no doubt that from an early period of the Middle Ages the religious processions gave rise to the use of masks. Little angels accompanied the sacrament or the sacred pictures and reliques on their way through the streets; or characters in the Passion--such as Christ with the cross, the thieves and the soldiers, or the faithful women--were represented for public edification. But the great feasts of the Church were from an early time accompanied by a civic procession, and the naïveté of the Middle Ages found nothing unfitting in the many secular elements which it contained. We may mention especially the naval car (_carrus navalis_), which had been inherited from pagan times,[953] and which, as an instance already quoted shows, was admissible at festivals of very various kinds, and has permanently left its name on one of them in particular--the Carnival. Such ships, decorated with all possible splendour, delighted the eyes of spectators long after the original meaning of them was forgotten. When Isabella of England met her bridegroom, the Emperor Frederick II., at Cologne, she was met by a number of such chariots, drawn by invisible horses, and filled with a crowd of priests who welcomed her with music and singing.