their pastimes are they attracted by things horrible; and these, provided they be presented to us with art and judgment, do indeed most wonderfully delight the human heart, a truth which is made apparent from the pleasure with which we listen to the recitation of tragedy. The spectacle here alluded to was the Triumph of Death; the car was prepared in the Hall of the Pope by Piero himself, and with so much secrecy, that no breath or suspicion of his purpose got abroad, and the completed work was made known and given to view at one and the same moment.[1] The triumphal Car was covered with black cloth, and was of vast size, it had skeletons and white crosses painted upon its surface, and was drawn by butfaloes, all of which were totally black: within the Car stood the colossal figure of Death, bearing the scythe in his hand, while around him were covered tombs, which opened at all the places where the procession halted, while those who formed it chanted lugubrious songs, when certain figures stole forth, clothed in black cloth, on these vestments the bones of a skeleton were depicted in white; the arms, breast, ribs, and legs, namely, all which gleamed horribly forth on the black beneath. At a certain distance appeared figures bearing torches, and wearing masks, presenting the face of a death’s head, both before and behind; these heads of death, as well as the skeleton neck beneath them, also exhibited to view, were not only painted with the utmost fidelity to nature, but had besides a frightful expression which was horrible to behold. At the sound of a wailing summons, sent forth with a hollow moan from trumpets of muffled yet inexorable tones, the figures of the dead raised themselves half out of their tombs, and seating their skeleton forms thereon, they sang the following words, now so much extolled and admired, to music of the most plaintive and melancholy character:—
Dolor, pianto, e penetenzia, &c.
Before and after the Car rode a train of the dead on horses, carefully selected from the most wretched and meagre animals that could be found, the caparisons of these worn,
- ↑ From what Vasari has said in other places, and from the different allusions to this Masquerade, it maybe inferred to have taken place during the Carnival of the year 1511,—Ed. Flor., 1832-8.
