h Brutus-Lorenzino cut short with a traitor's
poignard-thrust in Via Larga. How many men, illustrious for arts and
letters, memorable by their virtues or their crimes, have trod these
silent corridors, from the great Pope Julius down to James III.,
self-titled King of England, who tarried here with Clementina Sobieski
through some twelve months of his ex-royal exile! The memories of all
this folk, flown guests and masters of the still-abiding
palace-chambers, haunt us as we hurry through. They are but filmy
shadows. We cannot grasp them, localise them, people surrounding
emptiness with more than withering cobweb forms.

Death takes a stronger hold on us than bygone life. Therefore,
returning to the vast Throne-room, we animate it with one scene it
witnessed on an April night in 1508. Duke Guidobaldo had died at
Fossombrone, repeating to his friends around his bed these lines of
Virgil:

Me circum limus niger et deformis arundo Cocyti tardaque
palus inamabilis unda Alligat, et novies Styx interfusa
coercet.

His body had been carried on the shoulders of servants through those
mountain ways at night, amid the lamentations of gathering multitudes
and the baying of dogs from hill-set farms alarmed by flaring
flambeaux. Now it is laid in state in the great hall. The dais and the
throne are draped in black. The arms and _batons_ of his father hang
about the doorways. His own ensigns are displayed in groups and
trophies, with the banners of S. Mark, the Montefeltrian eagle, and
the cross keys of S. Peter. The hall itself is vacant, save for the
high-reared catafalque of sable velvet and gold damask, surrounded
with wax candles burning steadily. Round it passes a ceaseless stream
of people, coming and going, gazing at their Duke. He is attired in
crimson hose and doublet of black damask. Black velvet slippers are on
his feet, and his ducal cap is of black velvet. The mantle of the
Garter, made of dark-blue Alexandrine velvet, hooded with crimson,
lined with white silk damask, and embroidered with the badge, drapes
the stiff sleeping form.

It is easier to conjure up the past of this great palace, strolling
round it in free air and twilight; perhaps because the landscape and
the life still moving on the city streets bring its exterior into
harmony with real existence. The southern facade, with its vaulted
balconies and flanking towers, takes the fancy, fascinates the eye,
and lends itself as a fit stage for