crudo
Con arco in mano, e con saette a' fianchi....
... Vidi un vittorioso e sommo duce
Pur com' un di color, che 'n Campidoglio
Trionphal carro a gran gloria conduce...."

On the third of these upper panels (just above the meeting of the two
kings), is a great car drawn by oxen, whose wheels are crushing
prostrate bodies in the road beneath them. The fourth carving shows a
stage drawn by two elephants. The fleshless head of Death is in the
front, with a serpent coiling round his leg, and on the car is the
figure of a woman blowing a trumpet, with a banner. This is evidently
the fourth line of the verse just quoted, "_Fama vincit mortem_." On
the fifth car, drawn by four beasts, is a great dais, and personages
beneath it. Before it walks a figure with a turban, beside it another
figure crowned with branches and carrying a tree. Emblems of the
growth of nature dispersed in the design may perhaps suggest the
passage of the seasons and the lapse of time, for "_Tempus vincit
famam_." The last line, "_Divinitas omnia vincit_," is very well
illustrated, over the door. Drawn by a lion, an eagle, an ox and an
angel, to symbolise the four evangelists, a great car supports the
three Persons of the Trinity beneath a dais; and under the wheels are
crushed various uncouth figures representing heresies. Cardinals,
popes, and bishops accompany the procession.

Though I have only mentioned, so far, two of those great royal entries
into Rouen, for which the citizens were especially famous, the details
given in Chapter XI. will alone suggest that the scenes taken from
Petrarch's verses would be very appropriate to a house in this
particular town. The still more gorgeous festivities arranged for
Henri II. and Catherine de Medicis, which I shall mention later on in
this chapter, are even more like the triumphal cars and set pageants
here represented, which have lasted on in England in the somewhat
debased form of our own Lord Mayor's show, and were perhaps themselves
the symbolical descendants of the Triumphs of the ancient Romans.

This gallery of the Cloth of Gold and the Triumphs, is decorated in
every other part with beautifully designed arabesques, and is joined
to the main facade by an exquisite turret, which rises at the corner
near the short flight of steps, and breaks up the straight line of the
walls in a way that the early Renaissance builders were extremely fond
of doing, before the transition period ha