[128] Vat. Urb. MSS. No. 1248, f. 58.

[129] There must be some mistake as to the length, which would scarcely half suffice for a hundred and fifty horses. See the original in Promis' Turin edition of Francesco di Giorgio's Works, I., p. 171.

[130] Much confusion of dates has arisen regarding this church, owing to its slow advance,—unusually protracted even for Italy. Lazzarini tells that it was founded by Federigo in 1447, and consecrated to S. Crescentino in 1534, but that the façade was not completed till 1781. The cupola, planned by Muzio Oddi, was erected in 1604, but fell in 1789. The pulpit and organ were designed by Girolamo della Genga, and the latter was painted by Baroccio. The stuccoes were executed by Federigo Brandani, who died in 1575.

[*131] It is the work of Lorenzo Laurana.

[132] The kindness of Mr. F.C. Brooke, of Ufford Place, Suffolk, enables me to supplement from his note-book this imperfect mention of the most interesting feature of the palace. "The small cabinet has shared a better fate than that of the remainder of the apartments, and requires little else than cleaning up to restore it to its original state. The ceiling is divided into several scanty compartments, of octangular form and relieved with gold, while the wainscoted walls are inlaid with tarsia, representing bookcases, or rather cupboards, with their contents, amongst which are a ship, a tambourine, military weapons, a cage with a parrot in it, and, as if for the sake of variety only, a few volumes of books, over one of which, containing music, with the word 'Rosabella' inscribed on its pages, is suspended a crucifix. On the central case opposite to the window, and occupying as it were the post of honour, is the Garter, with its motto, 'Honi soit q mal i pense'; a device which has been sculptured on the exterior of the stone architrave of the door of this apartment. It appears again in tarsia in the recess of the window, where may also be seen, within circles, 'G. Ubaldo Dx.' and 'Fe Dux.' On the frieze, and in a single line interrupted only by the spaces occupied by the door and window, is the following inscription in tarsia:—

"'Aspicis æternos venerandæ matris alumnos,
Doctrina excelsos ingenioque viros.
Vi nuda cervice cadant ante . . .
. . . . . genu.
Justiciam pietas vincit reverenda, nec ullum
Pœnitet ultrici succubuisse suæ.'

"I might also have mentioned as amongst the devices, the crane standing on one leg, and holding, with the foot of the other which is raised, the stone he is to drop as a signal of alarm for his companions. Among other feigned contents of a bookcase are an hour-glass, guitar, and pair of compasses; in another are seen a dagger, dried fruits in a small basket made of thin wood, and a tankard; while in a third is represented an open book surmounted with the name of Guidobaldo, who probably made the description inscribed on the two pages of the volume, comprising verses 457 to 491 of the tenth Æneid."

It is unnecessary here to introduce this long quotation; for the last combat and death of Pallas by the spear of Turnus, however happily described by Virgil, bear no traceable analogy to incidents in the Montefeltrian family. Mr. Brooke conjectures that it was recommended by the passage,—

"Stat sua cuique dies; breve et irreparabile tempus
Omnibus est vitæ; sed famam extendere factis,
Hoc Virtutis opus:"

a sentiment equally beautiful in itself, and appropriate to the fortunes of Guidobaldo; yet why not have given point to the epigram by isolating it from the inappropriate context?