But the religious processions were not only mingled with secular accessories of all kinds, but were often replaced by processions of clerical masks. Their origin is perhaps to be found in the parties of actors who wound their way through the streets of the city to the place where they were about to act the mystery; but it is possible that at an early period the clerical procession may have constituted itself as a distinct species. Dante[954] describes the ‘Trionfo’ of Beatrice, with the twenty-four Elders of the Apocalypse, with the four mystical Beasts, with the three Christian and four Cardinal Virtues, and with Saint Luke, Saint Paul, and other Apostles, in a way which almost forces us to conclude that such processions actually occurred before his time. We are chiefly led to this conclusion by the chariot in which Beatrice drives, and which in the miraculous forest of the vision would have been unnecessary or rather out of place. It is possible, on the other hand, that Dante looked on the chariot as a symbol of victory and triumph, and that his poem rather served to give rise to these processions, the form of which was borrowed from the triumph of the Roman Emperors. However this may be, poetry and theology continued to make free use of the symbol. Savonarola[955] in his ‘Triumph of the Cross’ represents Christ on a Chariot of Victory, above his head the shining sphere of the Trinity, in his left hand the Cross, in his right the Old and New Testaments; below him the Virgin Mary; on both sides the Martyrs and Doctors of the Church with open books; behind him all the multitude of the saved; and in the distance the countless host of his enemies--emperors, princes, philosophers, heretics--all vanquished, their idols broken, and their books burned. A great picture of Titian, which is known only as a woodcut, has a good deal in common with this description. The ninth and tenth of Sabellico’s (p. 62) thirteen Elegies on the Mother of God contain a minute account of her triumph, richly adorned with allegories, and especially interesting from that matter-of-fact air which also characterises the realistic painting of the fifteenth century. Nevertheless, the secular ‘Trionfi’ were far more frequent than the religious. They were modelled on the procession of the Roman Imperator, as it was known from the old reliefs and from the writings of ancient authors.[956] The historical conceptions then prevalent in Italy, with which these shows were closely connected, have been already discussed (p. 139).