to the Papacy.[968] One of them represented the three Ages of Man, the other the four Ages of the World, ingeniously set forth in five scenes of Roman history, and in two allegories of the golden age of Saturn and of its final return. The imagination displayed in the adornment of the chariots, when the great Florentine artists undertook the work, made the scene so impressive that such representations became in time a permanent element in the popular life. Hitherto the subject cities had been satisfied merely to present their symbolical gifts--costly stuffs and wax-candles--on the day when they annually did homage. The guild of merchants now built ten chariots, to which others were afterwards to be added, not so much to carry as to symbolise the tribute, and Andrea del Sarto, who painted some of them, no doubt did his work to perfection.[969] These cars, whether used to hold tribute or trophies, now formed a part of all such celebrations, even when there was not much money to be laid out. The Sienese announced, in 1477, the alliance between Ferrante and Sixtus IV., with which they themselves were associated, by driving a chariot round the city, with ‘one clad as the goddess of peace standing on a hauberk and other arms.’[970] At the Venetian festivals the processions, not on land but on water, were marvellous in their fantastic splendour. The sailing of the Bucentaur to meet the Princess of Ferrara in the year 1491 (p. 136) seems to have been something belonging to fairyland.[971] Countless vessels with garlands and hangings, filled with the richly-dressed youth of the city, moved in front; genii with attributes symbolising the various gods, floated on machines hung in the air; below stood others grouped as tritons and nymphs; the air was filled with music, sweet odours, and the fluttering of embroidered banners. The Bucentaur was followed by such a crowd of boats of every sort that for a mile all round (_octo stadia_) the water could not be seen. With regard to the rest of the festivities, besides the pantomime mentioned above, we may notice as something new, a boat-race of fifty powerful girls. In the sixteenth century,[972] the nobility were divided into corporations with a view to these festivals, whose most noteworthy feature was some extraordinary machine placed on a ship. So, for instance, in the year 1541, at the festival of the ‘Sempiterni,’ a round ‘universe’ floated along the Grand Canal, and a splendid ball was given inside it. The Carnival, too, in this city was famous for its dances, processions, and exhibitions of every kind. The Square of St. Mark was found to give space enough not only for tournaments (p. 390), but for ‘Trionfi,’ similar to those common on the mainland. At a festival held on the conclusion of peace,[973] the pious brotherhoods (‘scuole’) took each its part in the procession. There, among golden chandeliers with red candles, among crowds of musicians and winged boys with golden bowls and