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ly interesting from that matter…of…fact air which also characterizes 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 the writings of ancient authors。 The historical conceptions then prevalent in Italy； with which these shows were closely connected； have already been discussed。
We now and then read of the actual triumphal entrance of a victorious general； which was organized as far as possible on the ancient pattern； even against the will of the hero himself。 Francesco Sforza had the courage （1450） to refuse the triumphal chariot which had been prepared for his return to Milan； on the ground that such things were monarchial superstitions。 Alfonso the Great； on his entrance into Naples （1443）； declined the wreath of laurel； which Napoleon did not disdain to wear at his coronation in Notre…Dame。 For the rest； Alfonso's procession； which passed by a breach in the wall through the city to the cathedral； was a strange mixture of antique； allegorical； and purely comic elements。 The car； drawn by four white horses； on which he sat enthroned； was lofty and covered with gilding； twenty patricians carried the poles of the canopy of cloth of gold which shaded his head。 The part of the procession which the Florentines then present in Naples had undertaken was composed of elegant young cavaliers； skillfully brandishing their lances； of a chariot with the figure of Fortune； and of seven Virtues on horseback。 The goddess herself； in accordance with the inexorable logic of allegory to which even the painters at that time conformed； wore hair only on the front part of her head； while the back part was bald； and the genius who sat on the lower steps of the car； and who symbolized the fugitive character of fortune； had his feet immersed in a basin of water Then followed； equipped by the same Florentines； a troop of horsemen in the costumes of various nations； dressed as foreign princes and nobles； and then； crowned with laurel and standing above a revolving globe； a Julius Caesar； who explained to the king in Italian verse the meaning of the allegories； and then took his place in the procession。 Sixty Florentines； all in purple and scarlet； closed this splendid display of what their home could achieve。 Then a band of Catalans advanced on foot； with lay figures of horses fastened on to them before and behind； and engaged in a mock combat with a body of Turks； as though in derision of the Florentine sentimentalism。 Last of all came a gigantic tower； the door guarded by an angel with a drawn sword； on it stood four Virtues； who each addressed the king with a song。 The rest of the show had nothing specially characteristic about it。
At the entrance of Louis XII into Milan in the year 1507 we find； besides the inevitable chariot with Virtues； a living group representing Jupiter； Mars； and a figure of Italy caught in a net。 After which came a car laden with trophies； and so forth。
And when there were in reality no triumphs to celebrate； the poets found a compensation for themselves and their patrons。 Petrarch and Boccaccio had described the representation of every sort of fame as attendants each of an allegorical figure； the celebrities of past ages were now made attendants of the prince。 The poetess Cleofe Gabrielli of Gubbio paid this honour to Borso of Ferrara。 She gave him seven queens… …the seven liberal artsas his handmaids； with whom he mounted a chariot； further； a crowd of heroes； distinguished by names written on their foreheads； then followed all the famous poets； and after them the gods driving in their chariots。 There is； in fact； at this time simply no end to the mythological and allegorical charioteering； and the most important work of art of Borso's timethe frescoes in the Palazzo Schifanoiashows us a whole frieze filled with these motives。 Raphael； when he had to paint the Camera della Segnatura； found this mode of artistic thought completely vulgarized and worn out。 The new and final consecration which he gave to it will remain a wonder to all ages。
The triumphal processions； strictly speaking； of victorious generals； formed the exception。 But all the festive processions； whether they celebrated any special event or were mainly held for their own sakes； assumed more or less the character and nearly always the name of a 'Trionfo。' It is a wonder that funerals were not also treated in the same way。
It was the practice； both at the Carnival and on other occasions； to represent the triumphs of ancient Roman commanders； such as that of Paulus Aemilius under Lorenzo the Magnificent at Florence； and that of Camillus on the visit of Leo X。 Both were conducted by the painter Francesco Granacci。 In Rome； the first complete exhibition of this kind was the triumph of Augustus after the victory over Cleopatra； under Paul II； where； besides the comic and mythological masks； which； as a matter of fact； were not wanting in the ancient triumphs； all the other requisites were to be foundkings in chains； tablets with decrees of the senate and people； a senate clothed in the ancient costume； praetors； aediles； and quaestors； four chariots filled with singing masks； and； doubtless； cars laden with trophies。 Other processions rather aimed at setting forth； in a general way； the universal empire of ancient Rome； and in answer to the very real danger which threatened Europe from the side of the Turks； a cavalcade of camels bearing masks representing Ottoman prisoners； appeared before the people。 Later； at the Carnival of the year 1500； Cesare Borgia； with a bold allusion to himself； celebrated the triumph of Julius Caesar； with a procession of eleven magnificent chariots； doubtless to the scandal of the pilgrims who had come fm the Jubilee。 Two 'Trionfi；' famous for their taste and beauty； were given by rival companies in Florence； on the election of Leo X to the Papacy。 One of them represented the three Ages of Man； the other the 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 giftscostly 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 symbolize the tribute； and Andrea del Sarto； who painted some of them； no doubt did his work to perfection。 These cars； whether used to hold tribute or trophies； now formed 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