ench, and enabled the King to
regain his van.

It is incredible, considering the nature of the ground and the number
of the troops engaged, that the allies should not have returned to the
attack and have made the passage of the French into the plain
impossible. De Comines, however, assures us that the actual engagement
only lasted a quarter of an hour, and the pursuit of the Italians
three quarters of an hour. After they had once resolved to fly, they
threw away their lances and betook themselves to Reggio and Parma. So
complete was their discomfiture, that De Comines gravely blames the
want of military genius and adventure in the French host. If, instead
of advancing along the left bank of the Taro and there taking up his
quarters for the night, Charles had recrossed the stream and pursued
the army of the allies, he would have had the whole of Lombardy at his
discretion. As it was, the French army encamped not far from the scene
of the action in great discomfort and anxiety. De Comines had to
bivouac in a vineyard, without even a mantle to wrap round him, having
lent his cloak to the King in the morning; and as it had been pouring
all day, the ground could not have afforded very luxurious quarters.
The same extraordinary luck which had attended the French in their
whole expedition, now favoured their retreat; and the same
pusillanimity which the allies had shown at Fornovo, prevented them
from re-forming and engaging with the army of Charles upon the plain.
One hour before daybreak on Tuesday morning, the French broke up their
camp and succeeded in clearing the valley. That night they lodged at
Fiorenzuola, the next at Piacenza, and so on; till on the eighth day
they arrived at Asti without having been so much as incommoded by the
army of the allies in their rear.

Although the field of Fornovo was in reality so disgraceful to the
Italians, they reckoned it a victory upon the technical pretence that
the camp and baggage of the French had been seized. Illuminations and
rejoicings made the piazza of S. Mark in Venice gay, and Francesco da
Gonzaga had the glorious Madonna della Vittoria painted for him by
Mantegna, in commemoration of what ought only to have been remembered
with shame.

A fitting conclusion to this sketch, connecting its close with the
commencement, may be found in some remarks upon the manner of warfare
to which the Italians of the Renaissance had become accustomed, and
which proved so futile on the