AB, 7 Piel) MN HT ro THE PROCESSION oF And the After the Coronation at Bologna on the 24. February MD XXX. DESIGNED AND ENGRAVED BY And now reproduced wn facsimile With an Historical Introduction by EDINBURGH: () EDMONSTON & DOUGLAS, 88 PRINCES STREET, GEO. WATERSTON & SON, 56 HANOVER STREET, , ADAMS, & CO., PATERNOSTER ROW. HILD, 13 Ri E AM: FREDERIK MULLER, I A K, 130. AG AN NR I i HMA AN Ti i zs -KAROLVS. ETREORVMANNO: 15-30: The Emperor embarked at Barcelona on the 28th of July in the flag-ship of his admiral, Andrea Doria; and after touching at Palamos, Villafranca, Savona, and other ports, landed on the rath of August at Genoa. Here he was received with all honour, and lodged in the noble palace of the Dorias; and here he was met and greeted in the Pope’s name by four cardinals, headed by Cardinal Farnese. On the 3oth of August he took the road to Tortona, where he rested for a day, and on the 6th of September he reached Piaci In that town he remained for eighteen days, received an ambassador from Francis I., to whom he delivered the ratification of the Treaty of Cambray, and arranged with the ministers of the Pope that his meeting with the Pontiff should take place at Bologna, On the 26th of September he was at Parma, where he spent two nights, and was informed of the promotion of his Chancellor, Gattinara, to the Roman purple. At Reggio he also passed an entire day, and was visited by Alfonso I., Duke of Ferrara, a politic prince now chiefly known Cuap. I. The Procession of Pope Clement VII. and the Emperor Charles V. g CLEMENS . VII. PAPA , FLORENTINVS . g USNS as the husband of Lucre ia Borgia. On the 18th of October he arrived at Modena, where he must have remained upwards of a month, for the last two stages of his journey were made on the 3d and 4th of November from that town to Castel- franco, and from thence to the Certosa of Bologna. 1 The /tinerary of Charles V., by his private Vandenesse, originally written in Low German, and translated by the Rev. W. Bradford in his Correspondence of the Emp. Charles V., London, 1850, 8vo, pp. 483-576, makes him reach on the the Certosa on the 4th of October, and Bol , Saicts et 7 So also in the Description des voyag Charles, escripte de la propre main de M. de Herbays de la Chambre de la dicte majesté, 1514-1542 ; a MS. in the Biblioteca Nacional at Madrid, of which I pos: a transcript. But all the It ounts of his visit to Bologna place his entry into that city on act the sth November, and corroborate the movements of the Pope as given in the text. 4 The Procession of Pope Clement VII. and the Emperor Charles V. Cnap. I, IARDINAL GIULIO DE MEDICI, elected Pope under the name of Clement VII. ssful in 1523, ascended the pontifical throne with the fairest prospects of a succ reign. ‘“ It was universally expected,” says Guicciardini, “that he would be a greater Pope, and would do greater things than any who had ever sat in that chair.” Having begun life as a Knight of the order of St. John, he had a larger experience of the world than commonly fell to the lot of churchmen. As first minister of his cousin Leo X., he had obtained a thorough mastery of the affairs of the Papacy; he had been mainly instrumental in placing the tiara on the head of his predecessor Adrian of Utrecht, who had been tutor of Charles V., and whose election, the world said, was much the same thing as making that young prince Pope. In all his political life Clement had been a steady adherent of the Spanish or Imperial side. By continuance in the same course as Pope, he might have fairly expected both to serve the church which he ruled, and to aggrandise the family of which he was now the acknowledged chief, and whose supremacy at Florence was at least as near his heart as the interests of the church. In an evil hour, however, he listened to the windy promises of the French King, the great rival of the Emperor, or to the r-reach both these potentates. The disastrous result was, that within secret promptings of his own ambition to use and ove four years he had twice been besieged in his castle of St. Angelo, and twice a captive, once in the hands of his own rebels, the Colonnas, and once in the stern custody of the Senor Alarcon ; and that he had seen Rome sacked and Florence republican. A sadder and a wiser man, he was now prepared to return to his Imperial allegiance, and to pay whatever price was needful to obtain the use of the Lutheran soldiery, which had pillaged Rome, for the purpose of subduing Florence. In spite of the cruel reverses and humiliations of the early part of his reign, the career of Clement was not, on the whole, unfruitful of the sd. He left his family firmly planted on a ducal throne at Florence under the protection of Spain, and a famous Queen. successes he most pri terina the bride of a son of France, and soon to become Dauphines not fall below the average character of the Popes and his favourite kinswoman In spite of his crooked and ignoble policy, Clement's personal character did and successful churchmen of his evil time, when a Pope was praised for goodness if his wickedness did not surpass that He wa a man of some ability and still more learning, of a refined and cultivated taste and a simple and of other people. decent life. Clement VII. left Rome on the 7th October, and arrived at Bologna on the 23d. Etiquette required that the greater personage should be installed first at the place of meeting, that he might receive instead of appearing to pay the visit. At the solemn entry which he made into the town, the streets were decorated with temporary galleries and arches, which afterwards also served for the reception of the Emperor. Bologna /a Grassa, the Fat, derived that name from its abundance of the materials of good cheer, and the disposi- tion of its wealthy churchmen, scholars, and citizens, to enjoy them. It lies at the base of the lower Apennines, in a fertile plain watered by the Reno and the Savena. In 1529 the Fat city was in the height of its splendour, rich in fine, though unfinished, churches, lofty towers, noble palaces, and streets bordered with picturesque arcades, and justly proud of its ancient and famous university, one of the oldest in Italy, and model and type of the chief academies of Europe. Since its subjugation to the Papal rule by Julius II. it had enjoyed comparative quiet, unmolested by the tide of recent war. Learning, art, and industries of various kinds, flourished within its walls. It was celebrated for its scholars and juris- consults, its painters and sculptors; for lutes, female professors, and emasculated singers, inlaid woodwork, grapes, white ® Seen from without, the place derived a s, caviar, sausages, puddings, and convent-bred pug-nosed lapdogs. singular leaning towers of the twelfth century, the massive wine, oliv yeculiar character from its many belfries, diversified by the two Garisenda, immortalised in the verse of Dante,‘ and the lofty and slender Asinelli. the walls, on the 4th of November, and passed the night in the convent, one of Charles reached the Certosa, outsid sssed by the Italian brothers who wore the white robe and obeyed the rigid rule of St. o the largest and finest houses poss Bruno. It was situated on the banks of the Savena, about a mile to the west of the town, and it was already rich in pictures and sculptures, and other objects of art, the gifts of Popes and princes. Suppressed in 1797 by the French, the 1 Guicciardini. Storia d'Italia, libro xvi. Firenze, 1835, 8vo, p. 764. 2 «Nei nostri corrotte costumi,’ says Guicciardini, “e laudata la bont’ del Pontifice quando non trapass 8 Eyelyn’s Diary (1645). London, 1870 ; sm. 8vo, pp. 15 Andrewe Schotti /tinerarium Italie. Vi »_Storia a’ Italia, lib. xvi. p. 6 . 136. nith degli altri uomini jae (circa 1635), 12°, pp. 163-73 * Inferno, x 35) PE 3-73 3: Cuap. IL. The Procession of Pope Clement VII. and the Emperor Charles V. on SOOSOEESOSOOOSOSESS SOOO (SH Sgguto le predere ordenangereuenuto achausiola ‘Da pot la ceferea macfta e wenn M) Felatea mactha nabs vatme-xfoP elfuo elmetw eralagla "to a cbaualo el gri'maefixo be “perialz hauea uno faid vozo fopeaun caualo braco cd corte cote Be nasan uclhito Da lagropera etperozsl pe bamafcbm coltformmentt Doro ’ gE Tew y lim 2 fopra la cefarea maefta era una ombeella toro laquale jj Vj ey v % stata ba gion anmadioabomo barmee ‘ i Ricotta: mini la 2 25 genlomint giouenet lk quali ea - cana fe ola cita De bollogna inera, ONAYY f homo varme co le barde pox0 T fo compagnia cirea 100 homie ‘mi darme ben in ozdene’. LOCOCO OOCOOSOCSOOSEOSOOOOEOOOOOOOOORESOOEOS forever} convent and its grounds were turned into a public cemetery, and now form one of the most imposing of those vast cities of the dead which modern Italy loves to join to its cities of the living. A slab let into the wall of one of the chapels still records the fact that the Emperor slept there on the night of the 4th of November 1529.* On the 5th he made his public entry into 3ologna, by the gate of San Felice, with a gallant train of nobles and knights of Spain, the Sicilies, and the Netherlands. Of these personages four have left considerable names to the political and literary history of their time, the admiral Andrea Doria, Luis de Avila, historian of the Emperor's German campaigns in 1546-7, Diego de Hurtado de Mendoza, author of Lazarillo de Tormes, and Francisco Borja, afterwards second general of the Society of Jesus. He was also attended by a considerable military force of all arms. The cavalcade was led by three hundred light horsemen in red uniform. These were followed by ten pieces of artillery, with their complement of men; by a company of sappers and miners; and by three thousand German foot. Next came the commander-in-chief, Antonio da Leyva, whose disabling gout compelled him to be carried in a chair by four bearers, but who had lately, in spite of his cripp ed condition, added to the laurels won at the le -r of Pavia by capturing a French division with its leader. He was followed by twenty-four young gentlemen of Bologna, on choice Turkish horses, and dressed in yellow velvet. The Emperor appeared in complete steel and gold armour, and a helmet crested with an eagle. He was mounted on a white horse, and rode beneath a canopy of gold brocade held over his head by four men in complete armour. Twenty-five boys of good family, chosen by the town of Bologna to act as pages of honour, ran by his side. He was followed by his High Chamberlain, Henry, Count of Nassau,’ and the household; and three thousand Spanish infantry brought up the rear. When Charles halted at the gate of the town, he exchanged his white charger for a dark bay genet, with housings of gold brocade, and upper and breast-plates richly damascened in gold. He also took off his helmet and remained for some minutes bare-headed, while he kissed the crucifix held to his lips by the Cardinal Bishop Campe: He then put on a cap without any ornament, which as he rode through the thronged streets, it was remarked that he took off in reply to the salutations and acclamations which met him on all sides, only when these came from ladies in the balconies. The Italians were agreeably surprised by the mild aspect and gentle and courteous manners of the redoubted sovereign whose generals and ministers had lately been ruling them with a rod of iron, and 1A PERPETVA M CARLO V IMPE PER ESSERE CORO. LORIA the younger brother of William, Count of. Nassau, father of the famous William the Si IRE at historical title was brought into the House of Nassau by Henry, ATO IN BOLOGNA only sister of Philibert of Ch Prince of nt, by his second marriage to Claudia, ions, last Prince of O © of that line. On the death of their only son René in 15. SI TR. z devolved on William the Silent, In right of his third wife, Mencia de Mendoza, Henry, Count of Nassau, w IN QVES juess of Genete in S en to him in the inscription on the print on p, 20. IL DI IV NOVEMBRE This prelate, who had recently returned from his legation to England, is the Cardinal Campeius of Shakespeare's AN. MDXXVIIII. Henry VIII, 6 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap, II. whose armies had recently sacked Rome. They admired his light and active frame, his clear though somewhat pale complexion, his pleasant blue eyes, his aquiline nose, his fair beard, and his golden hair cut close like that of the old Roman Emperors ; and regretted that his protruding chin and lower jaw somewhat marred an otherwise comely countenance. OSES SaSOS SOOO OOOOOOOODOOOOOWSOSOSOSSSSOOOOSOCCooCCC il mo 04 Lieut mirtieea peer ume ea ga deueludo pauonaso te 4 hor el qual era principsl fopra 3000 fann todefchrel qual gran tempo eftato im millan SOOOOSSS OOO OO OOOO OOOO OOOO OO SSaoorneeoeOeoose A curious woodcut, coarsely executed, but designed with great spirit, records the entry of Charles into Bologna. It was published at Venice in July 1530, and was no doubt made from the sketch of some eye-witness of the scene. From this rare print I have selected some groups comprising the figures of the Emperor, Count Henry of Nassau, and Antonio da Leyva, which are here presented on a reduced scale.! The first interview between the Emperor and his host the Pope took place in a large temporary structure erected on the top of the broad flight of steps leading up to the great Basilica of St. Petronius, conspicuous from afar by its tal belfry, and imposing, on a nearer view, by its vast triple portal, one of the finest existing examples of Italian Gothic. About the s ze, and arranged in the fashion, of the Hall of Consistory at Rome, this audience chamber was hung with draperies of white and blue, the colours of the House of Medici, mingled with sumptuous tapestry. Clement was seated on his throne, wearing his tiara and a rich cope, and was surrounded by twenty-eight of his cardinals. Two of them received Charles in the middle of the chamber, and led him up to the Pope, to whom he made two genuflexions as he approached, and finally knelt in adoration. It was observed that both potentates turned somewhat pale at this their first meeting. Clement at first seemed by gestures to deprecate, but finally accepted, the kiss which Charles imposed on his feet and hands, and then, motioning to an attendant to take off his tiara, embraced the kneeling Emperor, and kissed him on both cheeks, and shed some tears. Charles now received from one of his chamberlains a crimson velvet purse contain- ing ten pounds weight of gold pieces, which he offered as an oblation, and which was graciously accepted. The Emperor then said, “I have come, where I have long desired to be, to the feet of your Holiness, that we may take measures together to relieve the needs of afflicted Christendom. May God grant my coming may prove to be for the good of 1 La Cavale tano Giordar ta dell’ Imperatore Carlo V. nel suo ingresso in Bologna, A full account of this extremely rare Della V fogna del Sommo Pontifice Clemente VIL. per la Coronazione in the Library of the British Museum in a volume of miscellaneous prints entitled Popish Corem 's mark 134, 9, 10, The prints are sixteen in number, and they measure about 15} inches t, with copies of all its inscriptions, will be found in ii Carlo V. Imperatore celebrata MDXXX., Bologna, 1842, 8vo. ; vol. i, pl. 134, pp. 171-186, by 26 inches wide, but they have evidently been considerably cut down They have been very badly printed, so that some of the figures are much blurred, and the inscriptions often hardly legible. ‘There is a much finer copy in the Royal Gallery at Florence, in the Pa fi ht of the print, inclusive of the border, is x foot 4} inches. Although a good deal cut and slashed, this copy is nearly perfect. Another copy is preserved in a portfolio, in its separate sheets, in the library of the the borders have been cut off, 70 deg!’ Uffizi; the sixteen sheets, joined framed and glazed, measuring 1 foot 4} inches’ high by 29 feet ro} inches wide. Above and below the res runs a narrow ornamental border, and the he y and university of Ghent, and is in some respects the best of the three, though Cuap. II. The Procession of Pope Clement VII. and the Emperor Charles V. NI His service and that of your Holiness, and useful to the Christian world!” Clement replied, “T thank God that I see you here safe after your long journey by sea and land, and that affairs are in such a state that I need not despair of seeing, by means of your authority, peace and order re-established.” Various other complimentary speeches on both sides followed, after which Charles, rising from his knees, took his place on a seat on the left of the papal throne; and the two poten- tates remained for a little while in friendly converse. They then walked together, still conversing, and attended by their trains, to the door of the church, where the Pope took his leave, the Emperor again kneeling and kissing his hand. Charles entered the church, and was for some time engaged in his devotions ; after which he was conducted to the adjacent Public palace, where a suite of apartments had been prepared for his reception. Clement was lodged in the same vast pile, and so had frequent opportunities of private and confidential intercourse with his Imperial guest. The Public palace, now the palace of the Government, is, like the church of St. Petronius, a principal feature of the fine Piazza Maggiore, or chief square of the city, rich in picturesque buildings, generally founded on massive arcades. The famous fountain of Neptune, the masterpiece of John of Bologna, had not as yet been added to the decorations of the Piazza, but in its main features it was already worthy of the praise bestowed on it in the next century by our Evelyn, who pronounced it “the most stately piazza in Italy, St. Mark’s at Venice only excepted.” 1 Evelyn, Diary (164 of it. Possibly he meant the ins |, p. 156. He mentions, as if then existing in the Pi: a, “the monument of the coronation of Charles V.” I have not been able to find any trace cription on the slab; or on some earlier slab on the wall of the Public palace, which will be found in Giordani, Venuta e dimora, Cronaco, p. 184. 8 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. III. HE time which elapsed between the arrival of the Emperor and his corona- tion, a period of nearly four months, was spent partly in the serious political business which had brought the two rivals together, and partly in splendid public festivities and ceremonies, which were probably sufficiently wearisome to both. It was an anxious time both for Charles and for Clement. The experience of the last few years had sufficiently proved to each how little the other was to be trusted. The Emperor’s peace with the French King was, and was known to be, a mere truce between two irreconcilable foes. Francis was always prepared to buy with any amount of promises support against the rival who had held him captive and driven so hard and humiliating a bargain with him at Madrid. French promises seem fated to be in Italy no less irresistible than worth] Florence still held out against the House of Medici, and, crippled as the Pope was by the late wars, its recovery without foreign aid was hopeless. ‘Is the Pope really depending solely on me to give him back Florence, or is he still looking for help from France?” was the question with the Emperor. With Clement the question was, “ Am I sure of the Emperor’s cordial support, or will he be tempted to extend his influence in Italy by coming to terms with my rebels, and setting up a republic on the Genoese model at Florence under Imperial protection?” Both questions were answered in a sense favourable to common action between the two potentates. A treaty was signed between Clement, Charles, and the Signiory of Venice, on the 24th December. It provided that Francesco Sforza, Duke of Milan, deprived of his states for adherence to the French side in the recent wars, should be reinstated in his ¢ uchy; and that the pontifical towns in Romagna which had been taken by the Republic should be given back to the Pope. Various disputes between the minor Italian princes were adjusted, generally on terms suggested by, or tolerably satisfactory to, Clement. Philibert of Chalons, Prince of Orange, who had commanded the Imperial army at the sack of Rome in succession to Bourbon, and who Cuap. IIL. The Procession of Pope Clement VII. and the Emperor Charles V. =) now was at the head of the troops sent by Charles to reduce Florence to subjection to the House of Medici, came to ss and receive orders. The Florentine republicans endeavoured to open negotiations with the Bologna, to report progt Pope; but their envoys were dismissed because they had not been provided with sufficient powers, and when they sought the good offices of Charles they got nothing but an evasive reply dictated by Clement. For these friendly d of the dutiful sons of the Church, with which he was Emperor received the papal gift of the hat and sword, a coveted rewa slemnity, on Christmas day, in the church of St. Petronius. Tournaments, cane plays, and other invested, with much s knightly sports were held, especially during the Carnival; and in these the nobles of Germany and Spain vied in prowess and splendour with the nobles of Italy. A bull was baited or chased in the Maggiore, under the windows of the Pope and Emperor. Horse-races were also organised in the Italian fashion, and the principal street being icaded, the spectators in windows and tapestried balconies were entertained by the sight of cleared and its branches ba various troops of riderless barbs galloping from the Maggiore gate to the gate of San Felice. The Carnival of 1530 eclipsed all others held that year in the Italian cities; and in a letter, still extant, a correspondent of Aretino complains that not a mask was to be bought at Modena, al having been sent to Bologna. The Emperor visited sometimes the castles and convents in the country round, sometimes the famous churches and buildings within the city walls. In the sumptuous ® monastery of San Michele in Bosco, hung with its cypress groves and terraced gardens on a spur of the Apennine, h admired the frescoes of Francesco da Imola and Bagnacavallo ; and from the lofty windows of its great dormitory, a gallery pread at his feet, taking, as some thought, the form of more than three hundred feet long, he looked down upon the city ship the tower of Asinelli serving as its mast, and the rich plains of Romagna beyond, stretching towards Venice and the sea. He visited the university, and conferred various privileges on its legal faculty; and was entertained in the Spanish college of San Clemente. In the chapel of the Public palace he presided at a solemn service for the Knights of the Golden Fleece, and in the church of San Salvatore, at another, for the Knights of Santiago. One fine day he made a tour of the grand old palaces w hich adorn the great square or Piazza of the city, those of the Podesta, and of King Enzo, and examined the Old Testament history written in quaint sculptures on the venerable front of St. Petronius. Sometimes he sions, a skilful acrobat walked about the streets to enjoy the sports and humours of the Carnival. On one of these occz performing on a lofty stage executed a leap of surpassing daring, in hopes of attracting the notice of the Emperor. rles, who unfortunately had had his eyes turned elsewhere, caused the feat On hearing the applause w hich followed, Ch to be described to him, and the performer to be invited to repeat it. “No, no!” said he; “I have risked my neck, as I never did before, once, and I won’t do it a second time for any man.” A few incidents recalled the memory of times and enmities which were supposed to have been buried in oblivion. Some Lutheran soldiers of the Emperor one night pulled down a stucco statue of the Pope from the portal of the palace, and after dragging the head about the streets with a rope, burnt it in a bonfire. At some ceremonial in St. etronius, the Marquess del Vasto, finding himself pressed upon by a shabbily-dressed stranger, rudely pushed him yack. The stranger turned out to be a brother of the Duke of Wiirtemberg’; but the Italian would make no apology, saying that if a srince desired his quality to be recognised he should’ clothe himself according to it; a view of the case which appeared to express the opinion of the Court, as no swords seem to have been drawn in consequence. Some more serious anxiety was excited by the health of the Emperor, who was seized with so severe an attack of quinsy that his ife was for a day despaired of, and two doctors of Modena and Naples derived great credit from the cure they were supposed to have made. The scene of the coronation was not determined, or at least was not announced, until a few weeks before it took slace. There were strong and obvious reasons against the appearance of the Emperor with his train of Spaniards and Germans at Rome, still showing many ugly traces of the recent sack and occupation, and nursing, in the bosoms of a fierce populace, bitter feelings against the spoilers and their master. Yet both the Pope and his guest seem to have allowed it 0 as possible, that the great rite which was to complete the Imperial title was to be solem- to be supposed, as long nised on its proper stage, the mother church of the metropolis of Christendom. On the 24th of January 1530 the eading statesmen of the two.courts met to confer on the point, and it was agreed that they should move first to Siena and thence to Rome. The decision was, however, hardly made when the Emperor received despatches from Germany requiring his presence, as speedily as might be, beyond the Alps. A. special commission therefore again considered the 1 A slab in the wall records his visit in these words :— IMP :C. BONONIAM: DIVERT HIC: QVOQV. SINGVLA: PERLY: 10 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. IIL. in conformity with the old ecclesiastical axiom, #b¢ Papa ibi Roma. yas fixed on as the place, and the 24th of question on the 3oth of January, and its resolution onal conference on the matter, Bolc imperor’s birthday, as the day. Couriers were immediately sent off to recall such ma Clement and Charles having also held p February, feast of St. Matthias and the cardinals and dignitaries as had already taken their departure for Rome, and to summon to Bologna representatives of the chapters of the Vatican and the Lateran. Such preparations as could be accomplished in twenty-four days were forthwith set about by the Papal officers and the Bolognese municipality. nda Coronasione di Carlo V.; Bologna, 1530, 410, it is said that Bologna was chosen “ per non perder tanto tempo’ 1 In the contemporary tract, Prima e Sa Cuap. IV. The Procession of Pope Clement VII. and the Emperor Charles V. II N the 2oth of February formal proofs of the election of Charles in 1519 at Frankfort, and of his coronation in 1520 at Aachen as King of the Romans and of Germany, were submitted to the Pope. To save the necessity of sending to these cities for authenticated copies of the documents, the sworn testimony of living witnesses was admitted as evidence. In compliance with ancient usage, the iron crown of Lombardy, formed of a nail of the true cross which the first Christian Emperor had worn in his helmet, was brought from the ancient treasury of the Cathedral of Monza. Enclosed in a casing of gold, the small and sacred iron circlet was placed within another gold crown formed of jewelled rays. With this venerable relic of antiquity the Emperor was ‘|| crowned by the Pope on the 22d of February in the chapel of their common palace. It was placed, not upon his bare head, but upon a cap of crimson velvet which he wore as he knelt. Kneeling at the feet of the Pontiff, Charles expressed his contrition for the sack of Rome, which had taken place, he said, without his knowledge and his orders, and for which he had already worn mourning; and he declared that, as a true son of Holy Church, he now placed himself and his army at the feet and at the disposal of the Holy Father, whose prerogative it was to determine when the sword should be drawn and when it should be sheathed. In returning from the chapel the Pope and the Emperor walked side by side to the great hall, the Emperor’s right hand being held by the Pope in his left. The greater ceremonial of the 24th of February took place in the church of St. Petronius. The Public palace in which the Pope and the Emperor dwelt had its principal front in the great square of the city, at right angles to the front of that church. To facilitate the passage of the potentates to the high altar, a gallery or bridge was formed from one of the upper windows of the palace to the broad landing on the top of the steps leading up to the church portal’. This gallery, which in great part of its length was an inclined plane, was strongly built of wood, and was wide enough to allow six persons to move along it abreast. It appears to have been open above; it was hung with blue cloth and rich tapestries mixed with wreaths of foliage and flowers; and the floor was carpeted. At the steps of St. Petronius it widened so as to afford access to two wooden chapels constructed on the level of the portico; the one on the right repre: enting St. Mary of the two Towers at the Vatican, and the other, on the left, that of St. Gregory. The commander-in-chief of the Imperial troops, Antonio da Leyva, the famous veteran who had commanded at the siege of Pavia, watched over the safety of the Emperor's person. Unable to walk or ride owing to his gout, he was nevertheless out in the streets at daybreak in his chair borne on men’s shoulders, seeing the soldiery placed and artillery planted. From an early hour the streets were throngéd, and every tower, window, and roof commanding the great Piazza and the line of the expected procession, was filled with spectators. In all the chief thoroughfares the fronts of the houses were hung with tapestry and many-coloured draperies. The Papal procession first issued from the palace window, and filed along the gallery to the church, between halberdiers stationed at intervals along its length. First came the chamberlains, hostiaries, secretaries, and notaries, two and two in rose-coloured robes; then the Judges of the sacred Rota, represented by doctors of law at Bologna; and, in due order, the patricians of the city, the rector of the university in purple, prelates, bishops, archbishops, and cardina These were followed by the two standard-bearers of the Church in complete armour, who preceded the Pope. His Holiness wore his triple crown and a magnificent embroidered cope fastened at the throat by the famous button or clasp of Benve- a nuto Cellini, in which blazed the diamond of Lodovico Sforza il Moro and Julius II. He was carried in his state chair by servants in red liveries, in all the pomp with which it was his wont to repair from the Vatican palace to the church of St. Peter. Some time afterwards the Imperial household began its march to the church. Pages, carvers, cupbearers, stewards and heralds, a long array, were followed by military officers, councillors, secretaries, ministers, envoys, and various royal personages. After these came the Emperor himself, wearing the crown of Lombardy, a robe of brocade, and the royal mantle. A long train of attendants brought up the rear. At the wooden chapel on the right of the portico of St. Petronius Charles paused for a few minutes to take an oath and be invested with the rochet and priestly cap of a canon of the 1 The window now shown as that from which the Pope and Emperor issued is that with a large balcony. But the Prima e Segonda Coronazione di Carlo V, 1530, says it was oyer the door towards San Mammolo ; “man destra sopra la porta verso San Mammolo.” 12 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. IV. Vatican. The chapel was hung with fine arras lately brought from Flanders for the Pope, its floor was richly carpeted, and its altars gleamed with pontifical plate. Resuming his crown, but still wearing the rochet, the Emperor was in the act of entering the church when a loud crash was heard, caused by the falling of a portion of the gallery over which he had just passed. Accounts vary as to the length which fell; some make it twenty paces, others only six or eight feet; but it is certain that a considerable piece, overweighted by guards and people from the palace flocking towards the church, sank with its burden upon the crowd below. An immense panic and uproar ensued; many persons were bruised and maimed, and a few killed, some by falling on the pikes of the soldiery. The Emperor displayed his usual nerve, looking round only for a moment, and then kneeling down to join in the prayer with which a Cardinal greeted his entrance into the church. The interior of St. Petronius has undergone considerable changes since the visit of Clement and Charles. The high altar, under a tall and pretentious baldaquin of white marble, is of a much later date, and the walls and pillars, washed with white and yellow, give a modern aspect to the lofty and spacious aisles. It is only after examining details, such as the rich screen-work of marble or iron, and the various sculptures and carvings of the chapels, that the presence of the cunning workmanship of fifteenth and sixteenth century art becomes visible and palpable. The Cardinal's prayer ended, the Emperor passed into one of the side chapels, where he left his canon’s rochet, and was invested with a superb cope, on the back of which a huge imperial eagle was wrought in pearls and precious stones, and on the collar a portrait in embroidery of the Emperor himself enthroned and blessed by the Eternal Father, flanked by his device, the Pillars and Plus ultra. Various minor ceremonies were performed at different chapels. One of these was interrupted by a scuffle for precedence between the representatives of Genoa and Siena, in which the shins of the one were-kicked and the doublet of the other torn. The Emperor was at last conducted by three Cardinals to the presence of the Pope, who sat enthroned in the choir. Here the Cardinals took off their mitres, holding them in their hands against their breasts, and Charles did the like with his crown. The kiss of peace was then offered, the churchmen kissing Clement's cheek and bosom, the Emperor his toe. After the anointing with the sacred oil and various other ceremonies, the Pontiff delivered to the Emperor, one after another, the sword, the orb, and the sceptre. Finally he placed upon the brow of the kneeling prince the Imperial crown, which contained within its canopied circle of gold and gems a golden mitre, symbolical of the semi-priestly attributes which belonged to the chief of the Holy Roman Empire, but worn differently from the episcopal mitre, its openings showing over the brow and back instead of over the ears. Thus invested with the full insignia of the second dignity of Christendom, Charles was conducted to a raised chair on the Pope’s left hand, two steps lower than the Papal throne, and proclamation was made to the assembled multitude that his Holiness had been pleased to crown CaroLuM QuINTUM RoMANORUM IMPERATOREM SEMPER AUGUSTUM MUNDI TOTIUS DOMINUM, with many other Latin titles. Drums and trumpets then sounded, and cannon roared all round the church, and the multitude shouted Lvviva Carlo Imperatore! When the tumult had subsided, the Emperor, laying aside his crown and cope, approached the Pope and again kissed his toe in token of gratitude for the favour conferred. When he had resumed his insignia and his seat the Gospel was chanted in Latin and in Greek by a Cardinal and a Prelate, and the Creed by the Pope himself. Clement then proceeded to the celebration of the mass, Charles, again discrowned and disrobed, taking his place beside him as sub-deacon, offering thirty golden doubloons as an oblation, serving him with the cup, the paten, and the stoup of water, and kneeling at the elevation of the host. Two wafers of different sizes had been consecrated. Of the larger wafer the Pope and two Cardinals partook; the smaller was administered to the Emperor by the Pope. The cup was administered by a Cardinal, the Count of Nassau and Adrian de Croy Baron of Reeulx the High Steward, kneeling near, with a richly-embroidered napkin in their hands. Charles then resumed his Imperial insignia, and wore them during the rest of the service. At its close he caused Reeulx, the High Steward, to kneel before him, and in a complimentary Latin speech announced the promotion of that functionary to the dignity of Count of the Holy Roman Empire.t A plenary indulgence for all who had been present having been announced by a Cardinal, the Pope said some short prayers, and finally bestowed’ his benediction on the kneeling throng. He and the Emperor w: ked down the centre aisle of the church, the Pope, as before, taking the right hand, and holding the right hand of Charles in his left, their long and heavy robes being held up behind by great personages. Over the n plendid pair of potentates a rich baldaquin or canopy was borne by four gentlemen of Bologna. At the door of the ° hurch they had expected to descend the steps and take their place in the procession which had already in part formed itself, but the crowd outside was so great and dense that they were kept waiting half-an-hour before the guards could clear a space sufficient to admit of their horses being led up. The accident to the gallery connecting the Public palace with the @ church may well have disarranged order in the streets, and in days of frequent violence and treachery and general suspicion it must have added greatly to the anxiety of those who were responsible for the safety of the Emperor. To exhibit to the world Clement and his Imperial guest as intimate and familiar friends riding beneath the same 1 The speech is preserved by Hen. Corn. Agrippa in his De duplice Cornatione Caroli V. apud Bon No. Isiii, pp. 93-114. toniam Historiola, MDXxx. Printed by Giordano in his Docume Cuap. IV. canopy through a papal city was doubtless the chief object of the procession. Emperor, with due pomp and in Lateran. of St. Dominic. charge: gold and jewels. stood ready for the ges they were, Ere quitting the He then descen Pope, by whom he was closely followed. The Procession of Pope Clement VII. and the Emperor Charles V. 13 Its ostensible purpose was to conduct the observance of ancient usage, to his installation as a canon of the church of St. John As St. Petronius had already done duty for St. Peter's, so the Lateran church was to be represented by that portico of St. Petronius, Charles gave the sceptre and orb to the dignitaries whose and exchanged his ponderous coronation-robe for a lighter one of brocade, embroidered with ded the steps and placed himself at the shoulder of the grey Turkish horse which Not only did the Emperor hold the stirrup while Clement mounted, but, taking hold of the rein, he led the horse forward, in spite of the Pope’s protest that it was an act of homage wholly unnecessary. They had moved on about six paces before, in the words of the chronicler, “ the religious spirit of the Emperor was vanquished by the modesty and politeness of the Pontiff.” Charles then mounted his own white charger, of which the stirrup was held for him by Andrea Doria and the Duke of Urbino, and took his place at the Pope’s left hand and under the same sumptuous canopy. 14 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. V. of which it was composed, in the order of their march. The van was led by a company of drums, followed by the households of the Cardinals and nobles in groups according to the precedence of their masters. Then came the banner of the companies of arts, surrounded by men called the cw#rsori or harbingers of the procession. The banner-bearer was followed by the stewards and members of the councils of these arts, all in mantles of fine purple cloth, and holding lighted torches in their hands, the representatives of each art being preceded by a youth in a splendid antique habit, symbolising and personifying the art in question. Next came a squadron of soldiers, with many officers who were also citizens, in armour and surcoats, mounted on finely caparisoned horses, forming a guard to the four standards of the city held aloft by the public standard-bearers on foot. After these came sixteen banners of the Tribunes. of the people, likewise borne by men on t foot, in cuirasses and caps of glittering steel, the Tribunes themselves in their official costumes following on horseback. | Then came Monsignor Uberto da Gambara, the Vice-Legate, on a fine horse with splenc id housings of purple | velvet, surrounded by lackeys in rich liveries: as governor of Bologna he held in his hand the baton of command. 7 Near him, on his left hand, on a horse superbly barded and housed, rode the Count Angelo Ranuzzi, Gonfaloniere of Justice, in those days the supreme magistrate of Bologna. He wore a robe of gold brocade, with double chain of x massive gold hangi over his back and breast; and in his right hand he bore aloft the banner of his country, a flag of light blue silk emblazoned with three lilies across, and Liperras in letters of gold. His lackeys were in red and white, the colours of Bologna. T Podesta of Bologna, Alphonso Sadoleto, came next in gold brocade, } > followed by his spearmen and servants : he rode between two rectors of the university, also on horseback, the Rector of the Legal Faculty on his right, and the Rector of Philosophy and Medicine on his left, both in robes of purple velvet. After them came the eight Ancients with hoods and cloaks lined with the richest furs, on fine and well-caparisoned | horses. These were followed by Alessandro de’ Medici Duke of Penna,’ magnificently dressed, on a horse superbly 'y I y appointed, bearing the standard of the Church; Don Juan Manrique, son of the Count of Aguilar, in beautiful armour, with a surcoat of cloth of gold lined with silver, bearing the Imperial standard with the eagle; and the Count Giuliano Cesarini, also richly attired, bearing the stanc ard of the Roman people. The Baron of Utrecht, a Fleming, and chamberlain of the Emperor, also finely arrayed, bore the white banner with a red cross, followed by three gentlemen. The banner of the Medici, the family of the Pope, was carried by Lionetto } a da Teano, in place of the Prince of Salerno, who ought to have carried it; Count Lodovico Rangone bore the standard with the keys of the Holy Roman Church; and Lorenzo Cibo, captain of the Papal guard, a very handsome man, that of the Crusades, with the image of the crucified Redeemer, which is displayed in war against the Turks. All these gentlemen wore rich dresses of si Next came four Papal grooms leading four white palfreys, with housings of gold brocade and saddles with gilded ornaments, for the use of his Holiness ; two gentlemen of the privy-chamber, in copes and hats, on hors g ack, one bearing a silver vase, and t the other the mitre of his Holiness; and six honorary chamberlains, on light hors four of them bearing aloft * The Pope’s illegitimate son, afterwards first Duke of Florence. Cuap. V. The Procession of Pope Clement VII. and the Emperor Charles We 15 sai ee on gilt staves the four red velvet hats of his Holiness, and two, on red staves,-heads of cherubim. Four trumpeters came next on horseback, blowing from time to time a blast on their trumpets, from which fluttered small silken bannerets embroidered with the Imperial eagle. These were followed by a long train of gentlemen of the chamber, colytes, secretaries, advocates, and other official members of the Pontifical household, on choice horses, and wearing each the proper costume of his charge. In the place of the Auditors of the Holy Roman Rota, who had to appear amongst the advocates of the Papal household, appeared twelve Doctors of the Legal College of Bologna, in their proper costume, followed by trumpeters, and four macers of the Imperial court with their silver maces, who preceded the hostiaries, chamberlains, and other servants of his Czesarean Majesty, in their proper order, with their staves of office in their hands, and mounted on fine horses, the last of them being the four Heralds, or Kings-at-Arms, in their coats of yellow velvet trimmed with crimson velvet, with the Imperial eagle embroidered on their breasts and backs, and with the wands or sceptres which indicated their grades. After the Heralds came the special ambassadors of the Princes cities, and people of Italy, and of various foreign countries, splendidly attired and mounted. Next, on a mule nobly caparisoned, rode the Papal Cross-bearer, or Pontifical sub-deacon, Monsignor Giovanni Alberino, supporting the triple cross on a golden staff surmounted by a crucifix. He wore a cope over a rochet, and on his head a sky-blue hat; and he rode between two Papal chaplains in copes, also on mules, carrying go den candlesticks with lighted candles, screened by cases of clear These were preceded by another chaplain carrying the precious tiara, adorned with its three jewelled crowns. The mules which these clergymen rode were splendidly appointed, as were all the rest of the Roman portion of the yrocession. Twelve Senators of Bologna on foot, with lighted torches in their hands, preceded as many priests, who I 5 8. » went before the most holy Sacrament, placed in a noble custodia, or tabernacle of silver and gold, elaborately wrought and furnished with glass so that the consecrated Host might be seen by the people. The Sacrament was carried on the back of a docile grey horse, with a silver bell hung from its neck, and housed in silk brocade embroidered with gold. A senator of , and other senators in their robe! Bologna led the ho walked by his side, holding lighted torches of unusual size. A magnificent baldaquin, in form like a portable throne, of cloth of gold, supported on four staves upheld by doctors, art and senators by turns, canopied the holy Sacrament ; and immediately behind it came the official guardian of the custodia, Monsi nor Gabriel Toschi, Archbishop of Dyrrachium, sacristan of his Holiness, in his sacred vestments, and with his wand in his hand, on a very beautiful horse. He was followed by a long train of secretari s, commendators, cross-bowmen, gentlemen, barons, counts, marquesses, dukes, princes, dignitaries of various nations, and high personages, all on fine horses richly equipped ; and amongst them were seen various Imperial officers and chamberlains with their staves of office. After these came Adrian, Count of Roeulx,' High Steward of his Imperial Majesty, and the chief H d, by name Burgundy, with bags at his saddle-bow full of gold and silver meda 's ima s, stamped with his Majest with his newly ve 3 received crown, which medals the said herald threw amongst the crowds who thronged the streets to see this splendid and unheard-of triumph. The Sacred College of Cardinals came next in due order, mounted on handsome mules, in rich red housings with gold lace; they wore their purple copes and hats with long tassels of crimson, which gave those reverend persons a very dignified appearance. The Cardinals were followed by two long files, on the right, of ecclesiastics— Patriarchs, Archbishops, Bishops, and Prelates; and on the left of personages attached to the Emperor's court—orators, envoys, representatives of crowned heads, republics, and cities ent at the Papal and Imperial courts; and various dignitaries and ministers, amongst whom were distinguished, by the magnificence of their dresses and appointments, the Dukes of Escalona, Madalona, Najera, and Sevilla; the Marquesses of Astorga, Villafranca, and Villarey ; the Counts of Fuentes, Saldaria, Altamira, and Aguilar; the Admiral of Castille, and many others too numerous to mention. _ Four Heralds of war in 1 He is called on the plate Comes Asfordius, a title of which I can find no trace, and I can only conjecture that it may have been given to him by mistake for Aerschot, a title borne not by him, but by a Croy and a near relation. 16 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. V. complete armour and with very rich surcoats, and with their sceptres in their hands, came next, representing the Kings- of-Arms of his Majesty the Emperor, of the Most Christian Francis, King of France, of Henry, King of England, and of Che empire, Bonifacio, Marquess of Monferrato, the imperial sceptre, Francis Maria, Duke of Urbino, the sword of state, rles, Duke of Savoy. Then came the four princely grand-dignitaries, bearing, as at the coronation, the insignia of Duke Philip of Bavaria the golden orb, and Charles, Duke of Savoy, a very rich hat for the Emperor to put on if he should wish to take off the crown." Of one of these personages, the Duke of Urbino, General-in-chief of the armies of f Titian.’ Venice, the soldier-like countenance and bearing is well known by the portraits o The Duke of Savoy was humpbacked and otherwise mean of aspect, but his manners were courteous and affable; and he was as sumptuous in attire and equipment as his peers. After these came two Cardinals, Innocenzo Cibo, Archdeacon and Legate of Bologna, and Paolo Cesi, Deacon, who had taken a leading part in the coronation. Near them rode a chief herald or treasurer in black velvet, throwing to the people imperial medals of three sizes, of silver and gold. On these medals, as on those scattered by the great herald before mentioned, were on one side the likeness of his Majesty in profile, and on the other the columns of Hercules with the date MDXXX. surrounded by a wreath of laurel. It is hard to say whether the multitude in the streets at this point of the procession was most agitated by the desire of securing the medals, or by curiosity to the two greatest sovereigns in the world, who were now approaching, riding side by side. The oman Pontiff was robed in the splendid cope, covered with gold and gems, which he had worn at the coronation, fastened at his throat with the famous button or clasp made by Cellini, in which sparkled the great diamond of Julius II., which had belonged to Ludovico Sforza il Moro, and Charles the Bold, Duke of Burgundy. On his head was the precious triple crown, and his regular and majestic features were lit up with an unusual look of gladness which made 3 him look younger by many years than his real age, which was fifty-two.’ The Emperor wore his crown and the silken mantle with golden ornaments and fringes mingled with pearls and gems, which-he had put on at the door of the church. “ His face also wore an expression of sober joy, and in his noble and graceful bearing majesty beamed forth, as if Victory sate fixed upon his crest, to fill the world with his glory.” Charles rode at the left hand of Clement, both riding under the same baldaquin, which was upheld, as over a throne, by twelve nobles of Bologna, of senatorial rank, and of the Council of Forty, in their official costume. They relieved each other from time to time, not so much for the purpose of resting, as for allowing all to have the honour of walking beside the two illustrious sovereigns. Next after these came Henry, Count of Nas Coria, Palencia, Osma, Arras, and Civita, the Patriarchs of Antioch and Aquileia, Monsignor William of Vandenesse, u, wearing the insignia of the order of the Fleece; and after him the Archbishop of Bari, the Bishops of imperial grand-almoner, with other prelates, in capes and pontifical hats, or in rochets and mantelets of purple, or purple robes. The College of the Doctors of Laws of Bologna, canon and civil, next appeared, wearing their hoods of miniver and their gold chains, and divers other doctors and public lecturers of the university and of various foreign countries, forming a respectable and honourable company. After them came the trumpeters and drummers of the Imperial court, playing on their instruments. They were followed by a numerous band of chosen men-at-arms led by the Marquess of Ascoli, the Count of Rodi,‘ and the Barons of Antiego, Viera, San Saturnino, and other nobles of illustrious Bolognese or Italian blood, ‘‘all on fine horses, and saluting, as they went, with hand or eye, the beautiful ladies who looked down on them from windows and balconies.” Then came the companies of Burgundian, German, and Spanish infantry, led by their valiant officers; and various bold captains around the general-in-chief Antonio da Leyva, who was carried in a chair by slaves 1 Some writers say the iron crown of Monza was borne by the Duke of Savoy. 2 Dennistoun ; Dukes of Urbino. London, 1851, 3 vols. 8vo. ii, pp. 301-437, and iii. pp. 3-56, are devoted to his life. His portrait aft Titian forms the frontispiece to vol. iii. 8 Giulio de’ Medici, afterwards Clement VIL, natural son of Giuliano brother of Lorenzo the Magnificent, was born 1478, made Cardinal and Archbishop of Florence younger, having been born on the 24th February 1500. in 1513 by his first cousin Leo X, elected Pope in 1523, and died in 1534. Charles V. was twenty-two years * This Count of Rodi or Rhodio is perhaps identical with the Count of Reeulx, High Steward. See pp. 12 and 29, note 1. Cuap. V. The Procession of Pope Clement VII. and the Emperor Charles V. 17 wearing his livery. Behind him came the artillery all prepared for battle. Last of all marched various squadrons and companies of horse and foot soldiers, with their helmets, lances, pikes, and various sort of firelocks. Amongst these towered the Fleming Antonio Pepulier, a man seven feet high, with a noble countenance and martial bearing, wielding an enormous lance, and mounted on a horse of proportionate stature. Some slaves in fine dresses held over his head a huge silk umbrella’ or canopy, on the top of which was a double-headed crowned eagle. The streets through which the procession passed were crowded to excess, all the windows and balconies were filled with spectators, and at many points wooden IMP. CA'SAR CAROLVS .V, HISPANIARVM RE i structures erected for the occasion were also thronged with persons who had flocked from all parts of the country to see G « \ NN the splendid sight. On all sides were heard acclamations in honour of the Pope and the Emperor,—“ Evviva a! Pontefice el Imperatore; Viva Clemente e Carlo.” Along the line of the procession the streets were hung with rich carpets, tapestries, and other draperies, with pictures and with decorations of evergreen boughs and artificial flowers, the spring not being sufficiently advanced to supply real flowers and fresh abundant foliage. The road taken was somewhat circuitous, having been chosen, no doubt, that the two sovereigns might regale with their splendour the chief thoroughfares of the city. The church 18 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. V. of St. Dominic, the point to be reached, lies behind and to the south-east of the church of St. Petronius, from the portal of which the procession set forth; but the drummers and the banner of the arts, which led the van, moved nearly due north, traversing the Piazza and turning eastwards at its further end. The cavalcade then passed through the Calzolerie, the Mercato di Mezzo, the Strada Maggiore as far as the corner of the little church of St. Thomas, the Cartoleria Nova as far as the small piazza of San Biagio, that portion of the Strada San Stefano which passes the front of the Zampieri palace, and thence to the Strada delle Clavature. About the middle of this street the Pope took leave of the Emperor, and, preceded by his cross and the Sacrament, returned to his palace. The Emperor, under another canopy which there awaited him, proceeded by the corner of the Pepoli palace, along the Via Toschi and the little oblong Piazza de’ Calderini, to the church of St. Dominic, a venerable pile, still unfinished, but glorious with the tomb of its saint, clothed with matchless bas-reliefs by the chisel of Niccold da Pisa. The streets and squares of Bologna trav d by the Pope and Emperor seem to remain, as regards their lines, very much as they were in 1530. But the buildings of which they consist have undergone great changes. In the Piazza Maggiore, the church of St. Petronius, of which the rich marble casing has not been carried higher than the portal, is probably the only edifice which stands as it stood in the presence of the gallery of timber which connected it with the Public palace. The Calzolerie seems to have formed part of that outlying portion of the Piazza Maggiore in which the Fountain of Neptune now stands. The Mercato di’ Mezzo, the middle market, is a very narrow, and, as the name suggests, a very busy street of considerable length, lined with lofty houses, and describing a gentle curve through the heart of the town. Beginning in the Piazza Maggiore, it ends at the space surrounding the tower of Asinelli. For some portion of its course that tall tower is seen against the sky, soaring into the air to a height which the lofty walls on either hand have the effect of rendering stupendous. Beneath the Asinelli tower the procession turned sharply to the right, into other narrow streets, overhung by feudal battlements and d eeply corbelled walls. Many of the grim brick palaces have been replaced by structures of a more pacific and ornate character, and perhaps the gaunt and ragged palace of the Pepoli is the only edifice now presenting the aspect which met the gaze of Clement and Charles. The irregular Piazza of San Domenico is still adorned with two isolated monuments, which were already old in 1530. At the portal of the Dominican church the Emperor was met by the canons of the Lateran drawn up in two files, and having been admitted into their society with the usual ceremonies, he received the kiss of peace, and took his seat amongst them. On resuming his Imperial robes and insignia, which he had exchanged for his canon’s cap and rochet, he conferred knighthood on two hundred gentlemen, giving the accolade to each with his naked sword. Hot and weary with his long-continued changes of dress, posture, and ceremonial, he mounted his horse and rode back by the streets of San Domenico and San Mammolo to the Public palace, the baldaquin over him being held by senators of Bologna.’ Dismounting in the court of the palace, the tired Emperor found a new relay of gentlemen waiting his arrival, and the standards of the city, which had preceded him in the cavalcade, were presented to him. Under their shadow he again drew his sword and made some more knights, while the artillery, which had begun to thunder as he entered the palace, completed the fitting salute. Attended by the great dignitaries, he then ascended the broad and somewhat steep staircase and passed into the great hall, where the banquet was prepared. On a table on the dais at the upper end was a gilt statue of a king, before which Charles divested himself of his crown and robes, and retired for a little rest. The entire ceremonial, from the departure from the palace to the return to it, lasted about nine hours, from eight to five o'clock. After changing his dress and lying down on his couch for the quarter of an hour, the Emperor reappeared in the hall, and took his place alone at the upper table. Near it, on the floor, another table was prepared for ten principal personage four Cardinals, the Dukes of Savoy, Bavaria, and Urbino, the Marquess of Monferrato, Alessandro de’ Medici, and Antonio da Leyva. In an adjoining hall, two tables, of thirty covers each, were spread for the persons next in rank; and the senators, the general nobility, and the doctors of the University, were entertained in other apartments. Drums and fifes played during the feast, and small guns were fired at intervals in the Piazza. At his first draught of wine the Emperor stood up and drank to the health of the Pope, in acknowledgment of which the nephew of Clement, the Cardinal Ippolito de’ Medici, rose and bowed. Other toasts followed, proposed by one or other of the guests, the Empre , the King of Bohemia, and the baby Prince of Spain. When the feast was over, all that was left on the tables was thrown out of the windows to the populace, to whom two men were also constantly employed in flinging loaves of bread. s night set in the Piazza was illuminated, and the troops were feasted there at the cost of the senate of the city. Near the palace of the Podesta two tall columns had been reared, displaying the Imperial PLUS ULTRA, and supporting an architrave crowned by the Imperial double-headed spread eagle, and a pair of gilt lions, from whose mouths flowed red and white wine. Between the columns was a sculptured group of Hercules stifling Anteeus.? Hard by, the carcase of a fat ox was roasted whole over a bonfire, the * On the anne: ed plan of the city, executed in r I have endeavoured to indicate, by a line of arrows, the course of the procession from the church of St, Petronius to that of St, Dominic, and thence to the Public palace, A cross shows the point where the Pope parted from the Emperor, and a line of slighter arrows marks the course by which it is probable that the Pope returned home from that point. * Of this group there is no trace in the plate. H. C. Agrippa says that the eagle ran red wine and the lions white. Giordano, Doc, pp. 105-6, Cuar. V. The Procession of Pope Clement VII. and the Emperor Charles V. 19 spit being turned by eight soldiers. The ox was stuffed with smaller animals and birds, sucking pigs, lambs, hares turkeys, and fowls, whose heads were allowed to protrude from slashes in the beef. When it was sufficiently dressed, the soldier-cooks lifted it on to a huge table and cut it up and distributed the meat to their comrades. The banquet over, the Emperor retired to another hall, where he received the congratulations of his guests and visits of ceremony from various public bodies, including the Faculties of the University. He chose that time for affixing his signature to the decree creating the Doctors of Laws of Bologna Counts-palatine of the Empire, and conferring upon them and their successors the power of making knights of those to whom the degree was accorded. The evening concluded by the distribution of more knightly honours by the indefatigable sword of the Emperor. In handing him the sword the Duke of Urbino failed to see that the pommel was loose; and the ball at the end of it dropping off, the jewels with which it was studded were scattered on the floor. From this occurrence men drew various omens, according to their various idiosyncrasies. It seemed a sign, to some, that the Imperial army would mutiny in the Emperor's absence; to others, that, as he was waving the sword towards the east, his officers would probably be enriched by the spoil of the Turks. Cuap. VI. Fae den Googaenven ssaug ende Gepfer bolihoe alleen ven donye huchtiahen ende eoeicn @raue van Maffou / Marquis. van Cenetren/ Hidder vanven guinen, blfefe/bes Ziépfers albevopperfte Caimeriines. a beoud vole Paus oe terfiont twee nan fn avecaesraulte ende Li} eneeren/te instenben pyineipaciften JBebernnendeden ope, pajter Serealy, z FROM THE WOODCUT OF THE PROCESSION BY ROBERT PERIL, 1530. HE Emperor remained at Bologna for nearly a month after his coronation. Such time as he could spare from business was often spent in visiting the works of art in the various convents, churches, and palaces; such as the pictures and frescoes of Costa, Francia, Perugino, and Raffaelle, at San Giovanni in Monte; the pictures in the Casali palace; and the delicate inventions in inlaid wood Cap. VI. The Procession of Pope Clement VII, and the Emperor Charles V. ae Z of the famous living éfarséatore, Fra Damiano da Bergamo, in the convent of St. Dominic. he may have had an o imperor, rudely thrus Excellency well,” said Emperor then offered accepted on condition out to be siding wit! had been r ig FROM THE PR which he had sat on his coronation-d t back from the arti his ser ain duties which had hin the duchy that the Duke and his gentlemen should remain outside. INT OF THE PROCESSION BY A, COMERIC Of the skill of that artist »portunity of seeing something in the stalls of that church, inlaid with pictures from Bible history, in ay asacanon. In a visit which he made to Fra Damiano’s studio, Charles was accompanied by Alfonso, Duke of Ferrara, whom, much to the surprise of the party, the friar, after he had admitted the “T know his The nis door. Charles told him who the Duke was, but to no purpose. but I won’t admit him here, and for good reasons, and I stand on my rights.” ces as mediator, if there was any cause of ill-will between them, an offer which the friar The cause of Damiano’s grievance turned been levied, as he considered unjustly, on some iron-work necessary to his art, when he of Ferrara. The Emperor having stated the case to the Duke, Alfonso agreed that the money paid should be refunded, and the friar furnished with an exemption from similar exactions in the future. On 22 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. VI. these terms the Duke of Ferrara was admitted into the studio, where he so far ingratiated himself with his host that Damiano presented him, as well as his companion, with a fine specimen of his skill. Sometimes Charles rode out into the country to hunt or shoot; sometimes he held receptions at home; and sometimes he accepted invitations to entertainments in the city. It was at Bologna that he first received the ainter Titian, who became his favourite artist. The great Venetian, then in his thirty-third year, painted the I Emperor's portrait of life-size, in armour and mounted on the white charger on which he had made his entry into the city. The portrait was finished on the 16th of March, and was exhibited in the Public palace in a room opening on the first court, where it excited general admiration; Titian received a thousand crowns of gold for his pains, and the title of Painter in Ordinary to the Emperor. Francesco Mazzola, better known as Parmigianino, who was also at Bologna, after going several times to see the Emperor dine in public, executed a large picture in which Charles was portrayed at full ength receiving a crown from the hand of Fame. The work having been submitted to the Pope, he was so much pleased with it that he desired the artist to take it to the Emperor, who likewise approved of it, and would have bought it, but the painter said it was unfinished, and the purchase was never made. A third portrait of Charles executed at this time was an excellent medallion by Alfonso Lombardi, who modelled it by stealth, having been admitted to Titian’s studio in the guise of a colour-grinder.. The Emperor, detecting the nature of his occupation, desired to see the work, and liked it so much that he gave him four hundred crowns, and ordered it to be executed in marble.2 To commemorate his visit to 3ologna, and its cause, the Emperor expressed his intention of endowinga chapel to St. Maurice in the church of St. Petronius, and engaging the aid of the best artists to paint therein the ceremony of his’ coronation, with portraits of himself, the Pope, and the other principal persons who were present; but the intention was never carried into effect. The week of the coronation was also marked by the death of Properzia de’ Rossi, w hose beauty, artistic genius, and sad story, have been recorded by Vasari, who calls her “a miracle of nature and our time.” She sang and played better than any lady of Bologna; and her groups of figures carved in peach stones* were no less spirited than the bas-reliefs in marble which she contributed to the portal and sacristy of St. Petronius. One of them represented Joseph and Potiphar’s wife, a Scriptural story, in which she is aid to have told her own, her end having been hastened, as was supposed, by an unrequited passion. Her last works were engravings on copper, which, says Vasari, “were faultless and famous.” “Indeed,” he adds ‘everything succeeded with her but her unfortunate love.” er reputation having reached the ears of the Pope, he desired soon after the coronation, to see her, and was told that she was dead, and had just been buried, by her own desire, in the Hospital of Death. Early in March the society of Bologna received a brilliant addition by the arrival of the seautiful Duchess of Savoy, eatrice of Portugal, with a train of eighteen ladies also remarkable for their beauty. They were lodged in the Pepoli palace, and the Emperor attended some of the banquets and balls given in honour of his sister-in-law. He and the Pope were present at a comedy acted in the palace, and composed for the occasion by a poet of Lucca, named Agostino Ricchi, only eighteen years of age. It was entitled 7%e* Three Tyrants, and it represented in allegorical fashion the pow of Love, Fortune, and Gold.’ The chief drawback to the pleasures of the Imperial and Papal courts was the quarrels which were constantly taking place between the Spaniards and the citizens of Bologna. The Spaniards at least according to the talian version of the story, considered that they might behave at Bologna with all the arrogance which they had been used to display at Milan, which had now been for some years in their power, and the Bolognese resented their haughty and swaggering ways. The gentlemen of the city, having suffered various outrages from these insolent foreigners, formed themselves into bands fe mutual protection, and became aggressors in turn. Spaniards were often hunted through the streets, and scarce a night passed in which some of them were not slain. Antonio da Leyva complained loudly to the Pope, and urged him to forbid his subjects to carry arms. Camillo Gozzadino, a gentleman who had himself narrowly escaped with his life in one of the earliest of these street encounters, happening to be present, and feeling indignant at the proposal, remarked that he hoped his Holiness would remind the Spanish general that his subjects were obliged to go armed for their own protection as well as for their sovereign’s service. Leyva testily replied that he had put a bit in the mouth of Milan, and ‘would do the same for Bologna. “At Milan,” retorted the Italian, “ they make pins and needles ; here we make daggers and swords, and breed men who know how to use them.” SS , 1 Tt does not appear to be known whether these portraits of Charles V. e in existence. Contemporary medallions of him are not uncommon, and several exist in the Ambras collection at Vienna. Important works by Parmigianino and Titian are less an portrait in the Museo Real at Madrid belongs to a much later date, probably to 1550, and the horse is not white but bay. Vite dé Pittori, Firenze, 1568. ome of these probably still exist, s ly to have escaped notice, so it may be feared that these have perished. The noble 3 vols. 4to, ii. p. 177. form the subject of a volume entitled Z nce they sione dé alcunt minutissimé Intaghi dé mano di Prope fol.; with her portrait and prints of 13 carvings in peach-stones, including two small crowns in wood set in an eagle of silver filigree-work. ‘Th dé Rossi; Bologna, 1840, vere then the property of i; Vite dé Pittori, etc, Fiorenza, 1368 ; 3 vols. 4to, ii. p. x74. In the first edition (Fiorenza, 1330, 8vo, 2 vols. p. 776) he gave her epitaph in Latin, s printed soon afterwards under the following title : Comedia dé Agostino Ricchi da Lucca, intitolata i tre Tiranni, recitata in Bologna a N. Signore ea Cesare, [In Venetia per Bernardino de’ Vitali, 1333.] Small 8yo. is) Cuap. VI. The Procession of Pope Clement VII. and the Emperor Charles V. On the 23d of March the Emperor took leave of the Pope. Between dinner time on the 22d, and the morning of his departure, Charles, it was noticed, paid his host no less than seven visits. They parted at the top of the second staircase, to which Clement insisted on accompanying Charles, who.walked by his side cap in hand, entreating him not to take that trouble. When the parting guest wished to kneel to kiss his foot, the Pope positively refused to allow it to be done, but suffered him to kiss his hand: he then tenderly embraced him, kissing him on the cheek, and finally bestowed the benediction. Both seemed much affected and shed tears. The Emperor wore his armour, and before he mounted his horse put on his helmet. A group of cardinals, ready mounted, were at the palace door; and they escorted him through the and the crowded square and streets to the gate of San Felice. At that gate many of the churchmen took their leav: Senators of the city were in waiting to pay their respects. Preceded by his troops, and accompanied by two cardinals, ‘arnese and Pucci, the Emperor then took the road to Mantua. On the 31st of March the Pope also took his departure, and set out on his journey to Rome.’ imora in Bologna del Sommo Pontifico 1 For the greater part of the facts contained in the foregoing account I am indebted to Gaetano Giordani’s Della Venuta e L 2, 8yo, an interesting book with careful references to authorities and an elaborate + Bologna, t VIL. per la Coronas ne de Carlo V. Imperatore celeb ion of the Procession is little more than a condensed and abridged translation of Giordani’s account ; where I have aphy of books relating to Charles V. My descr reproduced his very words the fact has been generally indicated by inverted commas. 24 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. VII. LTHOUGH Charles V. did not fulfil his intention of commemorating his coronation by the pencils of eminent painters in a chapel at St. Petronius, that ceremony became the subject of various pictures. According to Vasari, it was depicted by Domenico Ricci, called Brusasorci (1494-1567) in the Ridolfi palace at Verona.' At Bologna it was painted in fresco, in the college of San Clemente of the Spaniards, on the wall under the portico, by a scholar of the Carracci; but, on the suppression of the college, it was allowed to go to decay, and was replaced by an architectural scene. In the middle of the seventeenth century, in the Public palace, Luigi Scaramuccia, a pupil of Guido Reni, painted it on a wall of the Hall of the Swiss; and, somewhat later, Girolamo Gatti executed a picture of it on a smaller scale for the Hall of the Ancients. Giuseppe Gambarini painted it for Count Vincenzo Ranuzzi, Marchesi for Francesco de Maria Cesari, and a scholar of Crespi for the Malvezzi-Medici palace. At Florence, Vasari painted it in the Palazzo Vecchio on the ceiling of the chamber called after Clement VII., and Gaspar de Crayer for the Town Hall of Ghent. Vasari’s composition is graceful and pleasing: in the centre and at some distance the kneeling Emperor receives the crown from the Pope; while Doria, Leyva, and the Duke of Urbino, are seen in the foreground. n the Museum of the University of Bologna are some relics of the Coronation: a majolica dish, 10.3 in. in diameter, and apparently contemporary, on which it is painted; a bronze medal with the Emperor's profile in a cap, inscribed CAROLVS.V.IMP.BONON.CORONATVS., M.D.X profile, much resembling the rare print by Marc-Antonio Raimondi;* and a third bronze medallion, or small bas-relief, , 3-3 in. in diameter ; a lead medal 2 in. in diameter, with his 4.2 in. in diameter, with a bust of the Emperor bare-headed and with his hair cut straight across his forehead, with a ht shoulder, and an illegible inscription.? Turk dimly seen to his left, an angel looking over his rig The Procession of Clement VII. and Charles V. after the Coronation was also a favourite subject with painters of the sixteenth and seventeenth centuries. The most successful and famous representation of it was perhaps that by Domenico Ricci, called Brusasorci, painted in oil on the frieze of the great hall of the Ridolfi palace at Verona. Lanzi, who calls Brusasorci the Titian of Verona, speaks of this procession with high admiration, praising its masterly composition, life-like portraits, spirited studies of men and horses, sus ained dignity, and festal splendour.* This fine work has been twice engraved: in 1791 by Filidoni® by order of Cardinal Carrara, and in this century by Comerio.* Brusasorci repeated the subject in fresco in the Murari palace at Ponte Nuovo, and so successfully that some critics preferred the Murari fresco to the Ridolfi frieze." The procession again appeared in the decoration of another house at Verona, that of the Quaranta family, now or lately belonging to the family of Lisca a San Mamaso, by Paolo Farinato degli Uberti (15 -1606), in 1589. It formed the ornament of a frieze of a room on the ground-floor. In the mansion of the Fumanelli, Jacopo Ligozzi likewise executed a fresco frieze, which was nearly a copy of the composition of Brusasorci. Antonio Tempesta (1555-1630) painted the proces- sion in oil on a frieze in the gallery of the Mattei palace at Rome. It may also have formed the subject of a fine bas- relief in silver, described as the “ Triumph of Charles V.,” and said to have been designed by Michael Angelo and chiseled by Benvenuto Cellini, which in 1783 e3 d in a mansion at Ravenna, but has since disappeared. 3esides the engraving by Nicolas Hogenberg, which forms the subject of the present work, there is a large and interesting woodcut of the procession by Robert Peril of Antwerp, a print so rare that the first edition is known only by a single copy on parchment now in the Antwerp Museum. It measures 19.7 inches high by 33.12 inches wide, and it represents the procession in two parts, in the upper part the figures proceeding from left to right, and in the lower part from right to left. At one end of the print is the bust-portrait of the artist Robert Peril, and the 1 Vasari; Vite. Fiorenza, 1568 ; ili. p. 524. He seems to imply that Brusasorci painted two separate works on the visit of the Pope and Emperor to Bologna, the Coronation and the Cavalcade. His words are “In casa Mess, Pellegrino Ridolfi pur in Verona dipinse il medesimo la incoronazione di Carlo Quinto, e quando dopo essere coronato in alea con il Papa par la cit con grandissima pompa.” Brusasorci, or Burn-rats, owed his vulgar name to a poison for rats invented by his father. 2P7. * The Library of the University of Bologna has a fine MS. relating to Charles V. which may be here noticed :—dnnale Lpitomion quo Imp. Cas. Caroli V,P.F. Aug. presentatur E. 1nno MDLIIX (1558). After the peror, which begins at the Helvetian war and ends at the taking of Rome, there are 109 neatly executed illustrations chiefly emblematical of victory. ‘They begin Bologna ca Vita. Museo Jacobi Strade Antiquarii, The dedication to Philip II. fills seven pages, and is dated x Norico Calend. Januar. life of the with the Emperor's arms, and there are also two portraits of him not like and very conventional in character. ‘The size of the MS. is 15.7 in. * 10.7 in, and the press mark or catalogue number is 1005. Lanzi; Storia Pittorica; Bassano, 1818. 6 vols. 8yo, iii. p. 165. * It is a print of which the plate-mark measures 10.3 inches high by 7 feet ro inches wide. It is signed Giovanni Benini, Veronese delineo. Gioacchino Filidoni, Romano, incise; and in the Breve Descrisione della celebre cavalcata, beneath the procession, it is said that the ¢ a work of little merit, but probably somewhat rare. ‘There is an impression, preserved as roll, in the Municipal Library at Bologna. ® La gran cavaleata di Clemente VIL. e Carlo V. 1530, dipinta dal Brusasorci, incivsa da A. Comerio. Verona, n.d. oblong folio. 7 Lanzi aving was made by the order of Cardinal Francesco Carrara in 1791. It is Storia Pittorica; iii. p. x66. Cuap. VIL. The Procession of Pope Clement VII. and the Emperor Charles V. 2 oy colophon Jmprimé en la tres renommée Mercuriale ville a’ Anvers de par moy Robert Peril 1530. The other descriptive ettering on the print is in MS. Of a second edition printed at Antwerp—Antwerpie apud Antonium Tilenium, Brech- tanum, ad insigne Struthionis 1579—also of great rarity, a copy is in the library of the Duke of Aremberg at Bruxelles. In this edition there are descriptions of the principal groups and personages in letterpress in Latin and German.* Although there is a good deal of independent work in Peril’s print, the resemblance between some of the figures in it and in the procession by Nicolas Hogenberg is too strong and too close to have been accidental. This resemblance is not so obvious in the portraits of the Pope and Emperor, as it is in some of the other figures; but there can be no doubt that the second artist knew and borrowed from the work of the fi To which of the two the priority of design must be accorded, is a point which must be decided by careful comparison of the two. Peril’s print is dated 1530, Hogenberg’s is not dated. There is so much more of life and vigour and individual character in the work of Hogenberg, so much more of variety and spirit in the details, and general mastery in the execution, that I am disposed, in spite of the want of a date, to believe it to have been the source whence Peril obtained the materials for his composition. 1 There is a full account of this interesting work in a paper in the Bulletins de ’Academie Royale de Belgique, 2me series, tom. xxvii. 1869, 8vo, pp. 322-354, entitled spi Robert Peril, Graveur du quinsieme siecle, sa vie et ses ar M. le Chevalier Léon de Burbure, which has been also published in a separate form. 26 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. VIII. HE plates of the Procession of Clement VII. and Charles V. by Nicolas Hogenberg, were probably executed soon after the date of the event which they commemorate, and if before the print of Robert Peril, in the very year of the Coronation. They re here reproduced chiefly from a fine set in the possession of Mr. James Drummond, member of the Scottish Royal Academy, and curator of the rick National Gallery of Scotland, with occasional assistance from another good copy, which Mr. Fre Muller, the well-known bookseller of Amsterdam, kindly placed at the disposal of Messrs. Waterston. Bi is found in both shapes, sometimes bound as a volume, and sometimes mounted on paper or cloth and kept as a roll. iS iographers and iconographers have done scant justice to this interesting book. or print, for it It has been carefully described by Giordani in his Coronation of Charles V. at Bologna, Bologna, 1842, 8vo; Documenti, xlvii. pp. 69-72; but he had seen only two of the editions to be hereafter described, the one here copied in fac- simile, and the later edition of Hondius. The first considerable bibliographical notice of the work known to me occurs in the Catalogue des Livres, Manuscripts, et Estampes, de M. Foseph Paelinck, parties i. and ii.; Bruxelles, 1860, 8vo, No. 466, p. 84. The compiler of that cata- logue, M. F. J. Ollivier of Bruxelles, had the advantage of the advice and aid of M. Charles de Brou, keeper of the gallery of the Duke of Aremberg at Bruxelles, who has devoted much time to inquiry as to the work of Nicolas Hogenberg, and who has probably seen and compared a greater number of copies than any other person. According to the Paelinck- catalogue there are six editions of this Procession, or Cavalcade, all consisting of two plates with inscriptions, and thirty- eight plates with figures. I. With the space above the figures blank. II. With shields and Latin inscriptions placed within a variety of elaborate borders, displaying the coats of arms, names, and titles of some of the immediate ancestors of Charles V., on such of the plates as were not filled in their upper portions with banners, lances, or canopies. uy: 2 With shields, as above, the inscriptions being in > rie a invA 2) . ees : pions °1n8 12 French. V. ) With arms and inscriptions expunged, the plates retouched and cut down, and published by H. Hondius at Wats y the Hague. This information was repeated by Brunet in his Mandel du Librairve, Paris, 1862-5, 6 vols., 8vo, iii., col. 250, and with some amplifications by Mr. Muller in his Beredencerde Beschriving von Nederlandsche Historie platen Zinneprenten en FHistorische Kaarten, Amsterdam, 1863, 8vo, No. 377, pp. 33, 34, an interesting and valuable catalogue of his very remarkable collection of historical prints. In a more concise form it appears, with a slight alteration, in W. Drugulin’s Historischer Bilderatlas, Leipzig, 1867, under date 1530, p. 7. Mr. Muller purchas S> for 230 francs the copy of the Procession in the Paelinck sale, the copy from which the following reproductions have been in g at measure taken. But, since the Paelinck-catalogue appeared, M. de Brou, pursuing his researches, has found reason to revise and modify the opinions and the statements therein contained. He admits the existence of copies in the state previous to the addition of the arms and inscriptions. That these embellishments did not enter into the original plan is evident from the fact that in some few cases a lance is here and there crossed by a shield or an inscription, the artist not having taken the pains to remove it, but having worked over it. In M. de Brou’s opinion, these armorial and genealo al ornaments were not by Hogenberg, but by a different hand. But he now believes that the copies iss g, ied without them were so few that it may be supposed they were mere proofs, and hardly worthy to be called an edition. The fine anc singularly clear and bright copy in the Duke of Aremberg’s library at Bruxelles is not, as the Paelinck-catalogue asserts, of this edition, without the upper ornaments, but with them, the inscriptions being in French. M. de Brou considers the existence of editions with Latin or Low German inscriptions, at the least, very doubtful. He has never seen one himself, nor met with any person professing to have seen one, or ena fragment of one. His present belief therefore is that copies without the arms and inscriptions, ry of M. E. F. Rugs 4000 frances, are exceptional copies, and that the true first edition is that with the arms and the French inscriptions. such as the copy on vellum in the sale of the libra eri, in Paris in March 3-11, 1873, which sold for Later editions, from which the arms and inscriptions have been expunged, and with the plates cut down and Cuap. VIII. The Procession of Pope Clement VII. and the Emperor Charles V. to NI retouched, are also known. In some copies the plates have not been wholly cut down, but portions, as where a tall flag with the Imperial eagle occurs, left taller in order to spare the design. The amount of retouching seems to vary in various copies. An edition issued at the Hague by H. Hondius bears under the frontispiece tablet with verses his mark Th exc., and under the other tablet of verses, Hage Com. Henr. Hondius excudit. I have had the advantage of receiving these comments on the information contained in the Paelinck-catalogue from the lips of M. de Brou himself, who is engaged in preparing an account of this interesting pageant print, which I hope may ere long appear in one of the Be gian periodicals. He has also kindly favoured me with further remarks in writing, which enable me provisionally to describe the various editions, as follows :— I. With the space above the figures blank, the plates being 40 in number, the first with the inscription beginning GRAT& ET LABORIBUS 2QU4} POSTERITATE, and the last, with the inscription Divo 1nvicro Caro o, etc., and each with six Latin verses. The architectural borders enclosing these inscriptions are finished in the first on the left (the spectator’s left) of the print, and in the second on the right, indicating that the work was intended to be joined in one continuous piece. Of these 40 plates the first 28 are marked with letters thus, A, B, C, q, q (s¢c), F, G, H, I, K, L, M,N, O, 157, (©), ReSy GaN, XG Ya 2, AA BBY eee; of the Pope and Empe and the remaining 12 are not marked. Plate EE, which contains the figures NICOLAVS HOGENBERG MONACHENSIS, F. On the 37th plate are the artist’s initials, F. H., on the base of one of the supports of the spit on which the ox is roasting. On the last plate, at the bottom is the inscription CVM PRIVILEGIO SACRATISS. IMP. CAROLI V. OPVS HOC ABSOLVTVM. EST | NICOLAO HOGENBERGO ARTIFICE ENGELBERTO BRVNING SOCIO IMPEN- SARVM. The plates are all etched, and are executed with great freedom, spirit, and power. Of this edition the copy on is inscribed just over the I vellum formerly belonging to M. Ruggieri is the only one known to M. de Brou. It is described in the Catalogue de la Bibliothéque di M. E. F. D. Ruggieri, vente 3-11 Mars 1873, 8vo, No. 891. It brought 4000 francs, and is said to be for sale at Paris for 5000 francs. I have been told that the first and last Plates are in photolithographic facsimile. Mr. Drugulin, in his ist. Bilderatlas, 1867, p. 7, says that the first edition has only 38 plates, a statement which does not agree with the account of the Ruggieri copy, which is said to have 40, and to be numbered A, B, C, etc. II. With armorial shields of ancestors of Charles V., and their names in French within rich borders above the figures. These shields, inscriptions, and borders are etched, but, in the opinion of M. de Brou, not by the same hand as the Procession. They seem to have been executed on the original copper plates, and not printed, as they might have been, separately from other plates. Some of the words occasionally encroach on the borders, but neither there nor elsewhere is any indication found of erasures, which could hardly have failed to have left some traces had the French inscriptions supplanted the supposed inscriptions in Latin. The Procession, M. de Brou informs me, in many of its figures, has been retouched and strengthened with the graver. As in No. L, the first 26 plates are numbered A-CC, the 28th, EE, and the 27th, and the rest from 29 to 40, not numbered. Of these I have seen and examined the following copies :— In the libre Hl of the Duke of Aremberg at Bruxelles, mounted, the paper measuring 14.2 in. high. on of M. F. J. Ollivier, bookseller, at Bruxelles, not mounted, and the paper unusually large, 17.2 in.x 12.2 in. This copy is described in the Catalogue de M. C. P. Serrure, ii. Partie, Vente 23 Oct., Bruxelles (F. J. Ollivier), 1873, 8vo, p. 69, at 1000 francs. It appears to have been coloured, and the colouring extracted, somewhat to the impoverishment of the No. 2375, and was sold to M. Ollivier for 850 francs, and was priced in his catalogue, 1874, impressions. 3. Royal Library, Bruxelles, an imperfect copy. 4. In the collection of M. Muller at Amsterdam, mounted, and measuring 14 in. high. 5. In the library of Mr. James Drummond at Edinburgh, mounted on canvas, 14 in. high. 6. Library of British Museum (press mark, 1o Table), imperfect, wanting plates A, B, C, and the last, but the impressions good. 14.4 in. x 12.2 in. ; 7. Library of British Museum (press mark, 603.1.16), mounted on canvas and kept as a roll; 17.6 in. high. 8. Fitzwilliam Museum, Cambridge. Plate A wanting, and the last prefixed as a frontispiece, but good impressions, 14 in, high. III. With the armorial bearings and royal names erased, the plates still marked A, B, etc., as in No. II. Of this edition I know but a single copy, that in the library of Mr. Charles Morse, The Orchards, Aylsham, Norfolk, plates mounted, 14.4 in. high. Some of the impressions are very fine, others less good, and some poor. The 4oth plate is wanting, and also Q and R, but the places of these two have been supplied with impressions from a later edition, being numbered 15 and 16 respectively. IV. With the numeration by letters erased. The first plate, GRAT& ET LABORIBUS, etc., is still marked A, the 28 The Procession of Pope Clement VII. and the Emperor Charles V. Cuap. VIII. last, Divo rnvicro, is not marked, and the rest are numbered in Arabic numerals 1-38. The name of N. Hogenberg has disappeared from the 27th plate, but his initials remain on the 37th, and the inscription on the bottom of the last as in the others. Of this edition I have seen these copies :— rt. In the Bibliotheca Marucelliana at Florence, 15 in. high, bound in fine old stamped calf of sixteenth century, the volume measuring 15.7 in. * 12.9 in. 2. In the Library of the University of Bologna, 16 in, = 13.4, in., in a volume in old vellum. 3. In the Print Room of the British Museum, 14.7 in. x 1 in. V. Similar to No. IV., but the plates reduced in height, except in 32 and 36, where, in order to leave intact the eagles in the standard and the wine fountain, a small piece of each has been left of the original height. At these points these two plates measure 13.7 in. high. There is a copy in the Library of the Duke of Aremberg at Bruxelles. VI. The edition of Henry Hondius, in which the plates have been much retouched. On the first plate heve., and on the last Hage Com. Henr. Hondius excudit, in addition to the original imprint of Hogenberg. I have seen these and other copies 1. In the British Museum (press mark, 144-9, 3). 2, In the Municipal Library of Bologna, kept as a roll. 3. In my own collection, in a volume. VII. The address of Hondius has been expunged, and a sky engraved in horizontal lines. In the last Plate a man, whose head in the previous editions is cut off by the edge of the Plate, has been re-engraved, the figure being turned the other way so as to bring his head within the Plate. For my knowledge of this edition I am indebted to M. de Brou. All editions of the work, even the two last, retouched as they are, are rare. The book does not occur in the catalogue of Cicognara,* peculiarly rich in pageants, and I inquired for it in vain even in the fine and vast collection of prints of the Archduke Albert at Vienna. Of Nicolas Hogenberg nothing is known beyond the fact, disclosed by himself on one of these Plates, that he was a native of Munich. His name will be sought for in vain in many dictionaries of artists. Nagler calls him Hans Hoogen- bergh,? painter and engraver, born at Munich in 1500, who exercised his profession at Mechlin. A few of his prints are cited by Nagler; amongst them the Entry of Charles V. into Bologna,’ doubtless our Procession. Some authorities place Hogenberg’s death in 1544, others in 1554. Giordani, who gives a very minute, and, on the whole, accurate notice of the work, errs in describing it as engraved from the frieze by Brusasorci in the Ridolfi palace at Verona. When it is com- pared with Comerio’s print from the latter, I think that no resemblance between the two compositions will be found, beyond such general agreement as must be naturally expected in drawings, made by two independent artists, from the same subject. 1 Catalogo dei Libri d’ Arte possedute dal Conte Cicognara. Pisa, 1821, 2 vols, 8yo. G. K. Nagler, Kiinstler Lexicon. Miinchen, 1837, 22 vols. 8vo, vi. p. 288. use au Moyen Age et d Vepoque de la Renaissance, and his Me 5... au Moyen Age; Paris, 1873, 4to, in the second, to “ Lucas de 3 Tt is also so called by M. Paul La Croix in his / pp. 290-1, and pp. 526-7, where portions of the Procession are given in small woodcuts. In the first he ascribes the “Entry” to Jean Hogenberg ; Cranach daprés un fresque de Brusasorci de Vérone” Such blunders, by an eminent bibliographer, prove the rarity of the work. ‘Pp. 14-17 TN ATTAIN i MEE ELEC EEN ELMAN NENT SSesaeEEE FROM POPE CLEMENT VII. TO CARDINAL WOLSEY. Rome, 31st May 1529, [Znscribed in another hand :| 1529, 31 Maii, Roma. Clemens papa propria manu. British Museum, Cotton MSS. Vitellius, B. XI. F. rqz. ILECTE fili noster salutem et apostolicam benedictionem Anglie Rex ac ciycumspectio tua uelera uestra erga nos et sedem ed molestissime apostolicam merita novis officiys augeretis optabamus occasionem in qua e¢ wos nostrum amorem cognoscere Posse tulimus eam primune esse oblatam in gua circum septi angustis terminis tustitie non possemus progredi quantum uellemus studio uobis gratifjicandi multis ac rationabilibus causis desiderium nostrum impedientibus guod quidem Regis oratoribus zstuc vedeuntibus demonstrare conati sumus sed super his et publicis negocijs copiosius uobiscum loguetur Dilec| tus] filius noster Cardinalis Campegius. —Datum Rome, die ultima Matz MDXxix. FULIUS. L ed in another hand] Dilecto filio nostro Thome titali sancte Ceilie presbytero Cardinali Eboracensi in An cato de latere, fia nostro et sedis apostolic le The syllables or letters printed in Roman type denote those which in the original are contracted or omitted. Date [N00 to Ofoooooooooeo TRANSLATION OF THE ABOVE EE it EAR: 1529, grst May. Pope Clement with his own hand. Museum Brit. Cotton MSS. Vitellius, B. XI. F. r4r. ELOVED SON, We give you our greeting and the apostolical benediction. That the King of England and you, whose circum- spection we appreciate, should increase your meritorious services rendered in time past to us and the Apostolic See by the performance of new services for the future, we were wishing for an opportunity in whiclr you might know our love also for you; but we have been very much grieved that it has been first presented to us in a matter, wherein hemmed in as we are by the strait bounds of justice we could not advance so far as we would fain have done in our desire to gratify you, many and reasonable c causes hindering our wish to do so, as we have endeavoured to explain to the king’s ambassadors returning thitherward. But upon that and public affairs generally, our beloved son Cardinal Campegio will speak more fully with you—Given at Rome, the last day of May 1529. JLULIUS] To our beloved son ‘Thomas, Cardinal-presbyter of York, by the title of St. Cecilia, Legate de Jatere of us and of the Apostolic See in England, Autograph Letter of Pope Clement VII. to Cardinal Wolsey. Rome, 31st May 1529. Al : ci a 3 AMMA 9 Fhe orca WA 4 ws nmol Ee lee fA pm ats Jos ps de rer [eps ate fits sty as eesiot OTe oh ie ee ye Wns Aw ecto whim Fess do Diletta Themed wh Cecthe phro car. M chorace, me Angla mh b ve sedis aplied legate , dete’. day >? BRITISH MUSEUM, COTTON MSS. VITELLIUS, B. XI, F. 141 OCESSION A060 GOHOGNA MDXXX. ILGRAN CARLO QVINTO TMPERATORE NACQVE NE: GLANNI DE CRISTOMD: = SSS Ze SS a ieee GE AONE ME RE I, ns TI LT i, ala LACE LE AN | Q9C or PraTes | = tile 1506 & Cardinal _eet ie with Cran(lations of the eee Z Original Lettering. A& O KIND POSTERITY GRATEFUL FOR THESE LABOURS | ATES 23. BURGUNDY THROWING CORONATION-MEDALS HERE C. AR AND HIS HOLINESS BEHOLD, TOUT Z WITH ALL THEIR HOST LON ARRAY ENROLLED; AND HONOUR HIM WHOSE CUNNING HAND COULD GRAVE 24. COLLEGE OF CARDINALS : : : : : _ AA THE NOBLE NAMES AND PRESENCE OF THE BRAVE BONIFAZIO PALEOLOGUS, MARQUESS OF MONFERRATO, ON RIGID BRASS; THIS BOON, POSTERITY, eames tae Z mee 2 = THE PAINTER HOGENBERG CONFERS ON THEE! A WAHOGS W508 JAANE, SOURS) AS ENUTUO) BEN DUKE OF URBINO, BEARING THE IMPERIAL SWORD . BB [These Verses were by Joannes Nicolaius Secundus, author of the famous Basia. They wil =e we E ese be found in his Ofera omn ta cura Petri Bosscha, Ludg. Bat., 1821, 2 26. PHILIP, COUNT PALATINE OF THE RHINE AND DUKE OF oe Sv. , He was born at the Hague in 1511, and BAVARIA, BEARING THE ORB; CHARLES, DUKE OF SAVOY, died in 1536. e aie PLATES Z BEARING THE IMPERIAL CROWN 4 4 : ae 2. SERVANTS OF PRINCES; NOBLES, AND MILITARY OFFICERS B 3. BANNERS OF THE CITY OF BOLOG c 27 GUARDS Wit Panties ie 4. MAGISTRATES OF BOLOGNA . " 5 4 é Sat 28, POPE CLEMENT VII. AND THE EMPEROR 5. BANNERS OF THE COLLEGES OF BOLO! a CHARLES V.. 0 : b B x 2 WE 6. TWELVE DOCTORS OF CANON LAW. GOVERNOR OF 29. HENRY, OF ‘AU, HIGH CHAMBERLAIN, ARCH- BOLOGNA : . : : : a : a 18 30. BISHOP OF BARI, BISHOPS OF CORIA AND BRIXEN, 7. RED BANNERS OF THE POPE'S HOUSEHOLD. 4 ae NICOLAS PERRENOT, MICHAEL MAIO, MANY DOCTORS 8. JA, CHAMBERLAIN OF THE POPE, AND Tt Bie OF CANON LAW; COUNCILLORS AND PREI ; DRUM- ANCIENT BANNERS OF THE ROMAN 32. MERS, TRUMPETERS, SQUADRONS OF MEN-AT-ARMS LED PEOPL BANNERS OF ST. GEORGE AND OF THE 33 BYE MAR QUESS PUTA, THE COUNT OF ASCOLI, IMPERIAL EAGLE. : : : : .#H 34, AND THE BARONS OF RHODIO,? V 9. BANNERS OF THE CROSS OF THE CHURCH AND THE POPE I 2TC. GERMAN AND SPANISH FOOT-GUARDS. 10, SIX HOR LED BY *ROOMS . : : : ee 35. ANTONIO DA LEYVA, COMMANDER-IN-CHIEF. “ 11. FOUR HATS OF THE POPE. PAPAL CHAMBERLAINS . ¥ ay 36. ARTILLERY. * 12. NSELLORS, ADVOCA’ AUDITORS OF | M 37. FOUNTAIN, AN EAGLE BETWEEN LIONS, THEIR MOUTHS a RUNNING RED AND WHITE WINE. * Ey N 14. MACERS, VERGERS, HOSTIARIES, PORTERS : : » © 38. OX STUFFED WITH VARIOUS ANIMALS, ROASTING WHOLE. * 5. HERAL! 4 Pp : : ene ne ¥ 39. BREAD OF ALL KINDS DISTRIBUTED ON ALL SIDES. * 16. THE POPE'S PASTORAL STAFF Q sate ees “4 40. TO THE SACRED AND UNCONQUERED EMPEROR CHARLES V., 17. THE POP’ TWO GOLDEN CANDLESTICKS. TWE am NIE fi 2 ESS SIN, A PRINCE PIOUS AND AUGU WA LIGHTED . ; : é é oo JESAR! WHOM BOTH EAST AND W [ OBEY, 18, THE HOLY EUCHARIST, ATTENDED BY PATRICIANS OF A WORK SHALL KEEP THEE IN THE LIGHT OF DAY! BOLOGNA AND DOCTORS P ME! AINE % CALL, AND THY GREAT SK IS SPED, DOCTORS OR MEDICINE Ss OBLIVION’S NIGHT SHALL CLOSE NOT O'ER 19. PAPAL SACRIST. VARIOUS PRINC COUN MAR. | FOR THOU, THOUGH DEAD AND GONE, QUES: DUKES SHALT LIVE WITH THEM THAT LIVE THROUGH ALL THE AG: x a [By Joan. Nicolaius Secundus. Ofera, Epig. Lib, i. Ep. xlv. p. 329.1 20. GREAT NOBLES OF VARIOUS COUNTRIE é a. Ww oi, TREE, GTR ANS > BY THE PRIVILEGE OF THE Most SACRED EMPEROR CHARLES V. THIS WORK 1S ca aia oy aa 2 i : S b 2s FINISHED BY NicoLas HOGENBERG, ARTIST, AND ENGELBERT BRUNING, A ADRIAN, COUNT OF ASFORD,' HIGH STEWARD . : pas PARTNER IN THE Cost. be _ Adrian, unt des Reeulx. Asford is a title which I have been unable to 2 The Pk thus marked have no distingui: ig letters, ee ae a mei ae Aerschot, Ue s ae house of Croy, hel ® Rhodio i in form of Reeulx, and the High Steward, Count of Reeulx, bore the title of Baron See Zutroduction, W. and V., pp. 12, 15 note 1, and 16 note 4. upon his promotion, See note 1. CHD IN “Perfonages © Corporations whofe Arms are emblazoned in this work. WAY WMI SI 1.—On Buildings or Banners tn the Procession. PLares PLATES HE EMPEROR CHARLES V, WITHIN A WREATH ; THE EMPEROR CHARLES V, THE CHURCH. POPE ON THE INNER RIGHT SIDE OF A TRE CLEMENT VIL 9 UMPHAL ARCH, 2 THE EMPEROR CHARLES V. 33 THE CITY OF BOLOGNA ON A BANNER. THE CITY OF ROME. ST. GEORGE. 8 —Within Wreaths, above the Procession, the Names being within Ornamental Borders. RST QVARTER. HIRD QVARTER. PATERNAL, FATHER’S SIDE, AVSTRIA. MATERNAL, FATHER’S SIDE, ARAGON. JAYME I, [IL] KING OF ARAGON, AND 4 AND COUNTE BLANCHE (OF ANJOU) OF NAPLES. 19 S) 4 PEDRO IIL, KING OF ARAGON AND SICILY, AND ALBERT II, ARCHDUKE OF AUSTRIA, AND CONSTANTIA, QUEEN OF SICILY. ea JOHANNA, COUN’ OF PFURT, 4 = ee area apres ELEONORA, QUEEN OF ARAGON AND SICILY, AND LEOPOLD IIL, ARCHDUKE OF AUSTRIA, 4 FORNEenclon cistite ae VIRIDIS, VISCONT I. OF MILAN. 5 ERNEST 1, ARCHDUKE OF AUSTRIA, AND ae ee ee OF ARAGON AND SICILY, AND SIBERG (CYMBVRGIS), OF MASOVIA. 6 OOS OLE CS * 23} THE EMPEROR FREDERICK IIL, AND JUAN II. (OF LEON), KING OF ARAGON AND SICILY, AND ELEONORA OF PORTUGAL. 7 CATERINA DE MENDOZA. 24 THE EMPEROR MAXIMILIAN 1, AND FERDINAND IL (THE CATHOLIC), KING OF ARAGON AND MARY, DUCHESS OF BURGUNDY. g |p SICILY, AND PHILIP, ARCHDUKE OF AUSTRIA, DUKE OF BURGUNDY, KING ISABELLA, QUEEN OF CASTILLE. 25 OF CASTILLE, AND AND JVANA, QUEEN OF CASTILLE AND ARAGON. 10 PHILIP, DUKE OF BURGUNDY, ETC. aS COND QVARTER. i ne QVARTER. PATERNAL, MOTHER'S SIDE, FRANCE- MATERNAL, MOTHER'S SIDE, CASTILLE. BVRGVNDY. ¢ ALFONSO VIII, KING OF CASTILLE, AND JOHN OF VALOIS, KING OF FRANCE, AND . ELEONORA DE GUZMAN. [ELEANOR OF ENGLAND] 27 BONA OF BOHEMIA. ie HENRY IL, KING OF CASTILLE, AND OF BURGUNDY, AND TUANAVORGAsnriin: a MARGARE S$ OF FLANDERS. 12 OHN, DUKE OF BURGUNDY, AND ARGS Uy HSUNTES LC YOREEND ABUSE) Os AENEID G8 NORA OF ARAGON. 29 MARGARET OF BAVARIA, [HOLLAND]. 13 PHILIP THE GOOD, DUKE OF BURGUNDY, AND | pe Sea or Sia aND ISABELLA OF PORTUGA 14 | NEO TANG OSLER: 30 CHARLES THE BOLD, DUKE OF BURGUNDY, AND JUAN II, KING OF CASTILLE, AND BELLE OF BOURBON. 26 ISABELLA OF PORTUGAL. 31 MARY, DUC OF BURGUNDY, AND ISABELLA L, THE CATHOLIC, QUEEN OF CASTILLE, AND THE EMPEROR MAXIMILIAN I. 16 FERDINAND IL, THE CATHOLIC, KING OF ARAGON. 32 PHILIP, ARCHDUKE OF A “ASTILLE, AND JUANA, QUEEN OF CASTILLE, AND JVANA, QUEEN OF CASTILLE AND ARAGON. 17 PHILIP, DUKE OF BURGUNDY. # THE EMPEROR CHARLES V., AND ISABELLA OF PORTUGAL, 39 It may be observed that the eng ver, whoever he may have been, who is responsible for these heraldic decorations, has done his work very carelessly. It has obviously been his intention to represent the descent of the Emperor Charles V. for seven generations, and to show his immediate ancestors, 1sf, on the side of his paternal grandfather, the Emperor Maximilian I., and his paternal grandmother, Mary, Duchess of Burgundy; and 2d, on the side of his maternal grandfather, Ferdinand IL, n King of Aragon, and Isabella I, Queen of Castille. ‘The first seven descents are headed (No. 3) Paternal Quarter, F of Austria, and the next seven (No. 11) Second Quarter- Paternal of France, But the third seven (No, r9) are headed like the econd, while the fourth seven (No. 27) have no heading at all. Various inaccuracies also occur in the Hames ; as, for example, in No. 13, Margaret of Holland is called of Bavaria, and in No. 19, Blanche of Anjou is made wife of Jayme I, instead of Jayme II., his grandson. But the shields and mantling, the borders enclosing the names, and the wreaths round the lozenge-shaped scutcheons of the ladies, are fine examples of rich sixteenth century decoration. Bae i LN RL LE AR nO TAT PATNA ATTA AAD ET TAT GRATAEETLABO | en TTT POS TERITATI « ( ASA REAS SANC TIQVEPATRIS LONGO ORDINET VRMAS ASPICE, ET ARTIF ICEMTER VENERAREMAN VM TRADEREQVAPOTY PERIGIDOMANSVRA METALIO) NOM INA MAGNORVACTO BGENEROSALV TRV | PICTORHOGHE NBERGV S-QVODPERTVA. SACVLACERN HOC TIBIPOSTERITAS VIVIDAFECITOPY 5 a a WI TE I HATA oe AAT ATT ATE ATA TT iia ATT MAGN ATES ER SERVANTS OF PRINCES; NOBLES, AND MILITARY OFFICERS e) LIE Ln. eC ) QVARTTER PATERNEL € MILITIA DVCES aS G x Ser ea Telyon deles progerntettes rernels sae ir monfrAucnin & lpiga Dan gg at cal Z pant ic Aome, Empeter de nome ret dé fon ri a er le eta Atd ene elem Perey? Ro: Dautburg o- bert. Conte de FH ery eat poe fatal i hilesmigge et spihere de sae ee hanya thie &¢Conte deTty10 delaquelleatentt Raed che huc Daurice ge ae ae EXILLA COMMVNIS BONONIEN SIS MILITARY OFFICERS BANNERS OF THE CITY OF BOLOGNA <2 DAVSTRICE-LE PREMI a on Atchrdue dauflrrce 1 Cacinthie & Carmolte Conte de Thirot or pafhurg efpoula Jchanne fille ex heritiere Witte Conte de Fertette dont sl emft Leopolde M A GISTRATVS BONON dq MAGISTRATES OF BOLOGNA Spates Ernefte Archiduc. Wyn, COLLEGIORVM BONON VEXLLLA al BANNERS OF THE COLLEGES OF BOLOGNA TWELVE DOCTORS OF DOCTOR CANON LAW. Ernefle le Lyon. Archid TIA panes ie DAlexe Seen on Male tonal lerro1zre{me. le Lemperuer Frederic ESLUL+ETGANON VM XII VRBISPONOGVBEBNAIL TWELVE DOCTORS OF CANON LAW. GOVERNOR OF BOLOGNA OR es Oia ga Ei Ye “Frederic mong enpraeln pDauliticeEm, _, peraret I a 4, Pinos Je rrorziefme. petenr St tan crea de igal {ec VRBIS BONO VEXIL* BANNER OF THE CITY OF BOLOGNA VEXILLA RVBRAPONTIFICIA CVBICVLAR G KC RED BANNERS OF THE POPE'S HOUSEHOLD engendia le Ro in ee bucd Dau. YOR Ni in wut, NKKy i \ PONT FAMIL DVCIS PENNA * ANTIQVV:PO-ROVEXILS GEORGIE: AQVILA IMPE oH DUKE OF PENNA, CHAMBERLAIN OF THE POPE, AND ATTENDA ANCIENT BANNERS OF THE ROMAN PEOPLE. AND OF ST. GEORGE RIL VE XI LLACRVCIS-ECCLESIA PONTIFICIS EQVISEXGENEROSISS A TOTIDE L THE IMPERIAL EAGLE AND BANNERS OF THE CROSS OF THE CHURCH AND THE POPE hiltppeJeLyon Arelidise Prurce & gpres-Roy || Q Calh Tle. E{ponla ee ue Rieke pee v naurde.& Elizabeth Rey Catholique paragon & |e Defpargne.donr eft celcerrdit Chiarles A prefenr Emperair deRomme ¥. 5, Ages, QE AM HELCLARIIS PRODVCTI SIX HORSES LED BY SIX GROOMS P) TESECOD OVARTIER( PATERNEL DE FRANCE : n evaloys Roy deFrance fils dep ae e chan (eee cs BAS ed ser auc debourromyaedl efpoufaBone.fi le Je! le oe ourg Roy de Boheme, dont rlas{t phr rppe DucdéBoutgomene dit lehardy 4 QV ATV ORPONTIFICIS CAPELLA PONT CVBICVLARIL SCRIBALAV FOUR HATS OF THE POPE. PAPAL CHAMBERLAINS LICl ADVOCATI A VDITORES ROTAE 4 M By SECRETARIES, COUNSELLORS, ADVOCATES, AUDITORS OF THE ROTA ‘is Sai Sa lees = a , BN Than devalo ys Due de Bourgornzne Comede Flandies exit en mariaee Mateuertre wllenalherr pnc de Bamiere Conte Dio! le & phaynar delaquefle lenft PI pelebon pire de Borrr, gongne Y Contede Flendres. <2 Tv BICINES N TRUMPETERS ee ea = Se (siesta mG con Vi 1& lebon Duc deBour, Sak a Cantede Henderse: enfide Ge Tell de Jehan Boydu Pormyil ptemier trnom Charles pucde Bonrgomyne F CORYNOPHORI VIRGIFERI HOSTIARIT IANITORES TOE MACERS, VERGERS, HOSTIARIES, PORTERS Q he Chailes deyalo s DucdeBourgomene Bia, @ » bani Conte e Flanders Hollindene dpow (7, a Uabd fille de Charles. pucdeBourbon, e, dela ‘ode latin Marie e(poufede Maxim & Arcudue Daulince uw Empereur, Z HERALDI DIVERS ORVM -P. HERALDS; AMBASSADORS: OF VARIOUS STATES i 3 tee Arie ie valoys puchdlle deaeae omge ae de aa es cull de Maximihan Ririce le Roy Ph the duc Daulirice ef Ducd POPVLORVM ORATORE S$ Q de oo oe ourgoing PASTORALEPONTIE ICIS BACVLV THE POPE'S PASTORAL STAFF iN ie hulippe Le lyon Ardurdnc Prince a )) pres Roy de ile E fpoufa Fille de Pedinande a Elabahan AS ae que Datragon ct Delpargne. dont elt delcen dit Charles a prelent £m pereuit de Romme ¥ TYARA PONTIFICIA IICADELABRA AVREA 3d CERAE CADIDAR ARDETES R THE POPE'S TIARA. TWO GOLDEN CANDLESTICKS. TWELVE WAX TORCHES LIGHTED AEDAE SANCTA EVCHARISTIA BONON PATRICIIS AC MEDICIN DOCTORIB: STIP THE HOLY EUCHARIST, ATTENDED BY PATRICIANS OF BOLOGNA AND DOCTORS OF MEDICINE ATA -aques ch.dearlsne Ray Dattagon yon Ptemier defon nom fils palphon{e Contene Besilone et dewrrace fille hrerrmete DeRamayce Roy Dattagon e(porla Blanche fille de Charles paniou poy de Naples. L premret defonno.ayani delle le Roy pretreDarrago ie ie ig PON T:SACRISTA VARII PRINCIPES COMITES a PAPAL SACRISTAN. VARIOUS PRINCES, MARCHIONES COUNTS, MARQUESSES, DUKES DVCE DIVER SARVMQVE NATION VA. LINGVARVMQVE SATRAPAE, VIRI NOBILES AG. GREAT NOBLES OF VARIOUS COUNTRIES ET POTENTES Ethonore deBarfalonne Roy ne Darragon oo de Secrlle ayans efpoufe Iehan lepremrerdefon nom Roy Defpaygne laiffa deluy Henty le trot, xieline Defpaigne et Ferdinand le premier Darragon ei de Sccille xoys -F “x4 IMPERIAL CHAMBERLAINS CAESAREI ‘i Ferdinande de Leon. dit lebon Roy Datragon et de Secrile.euftefpoule Elronore fille de pierre diftant de Cafille, pue palbroquec de lagudle | ilewft {chan Roy Dartagon et de Seale. ARCHETRICLI NI STVEMGRIDOMY $ MAGNVS ARCHTTRICLINV S ADRIA 4 HIGH CHAMBERLAIN, ADRIAN COUNT ASFORD ¢ jpomr Cyril eritiqure “Vila qarelle 1 NV SCOMESARHODIO BVRGV NDV SHER ALDVSINSIGNEN VMI SMA SPARGENS, Zz BURGUNDY HERALD THROWING CORONATION-MEDALS TO THE PEOPLE F cena de Leon ou de Tae ROY Darra gon aces cille fecond de fon hom du lecan holy, que aes de Gemade dp oulaglrzal acau fe fill leaker deIehan roy pelparen elec fale finehectke: oe nom ayan: d SA St COLLEGIVM CARDINALIVM. 4 LA ~ COLLEGE OF CARDINALS BONIFACIVSPALEOLOGVS MA nt ee ~ — ten, = ng ca en : : - ———— a ee ee SS amet Leon a Avie ae et herttiae dere nande & elrzabeth ips ohque tant parsagd que ne(paigne enft de philippe parrftirce disc Bourgomgne % pxmce deBelges Lemperrur lescinguielme ~ 54 A i. Sa & A RCHIOMONEERCV S CEPTROIMP: FRANCISCVSMARIADV XVRBINIGL ADIVI MI+FEREN § BB BONIFAZIO PALEOLOGUS, MARQUESS OF MONFERRATO, WITH IMPERIAL SCEPTRE; FRANCISCO MARIA, DUKE OF URBINO, BEARING IMPERIAL SWORD eS ee oe. DESPATGNE SECOND MATEBNEL( oO RS ge rp eo G oO A\lyhonle de Leou Roy Delpaigne viuzn Cong Hnenopn Aly dunoy Ferdinade leqnat inielmeode M foun @ fille qe philippele quiatirielme Roydé France enlt deklionoreh! edunie Dirc de Golman Henty deTrilts, mate lé [econd Boy pefpatene. Se *HIDIPEXPALATIN-RHEETBAVADVCIB;CVAVREOPOMO CAROLDVX SABAVD LMP DIADEMATENENS CC: PHILIP, COUNT PALATINE OF THE RHINE AND DUKE OF BAVARIA, BEARING THE ORB; CHARLES, DUKE OF SAVOY, BEARING THE IMPERIAL CROWN Tensy de Traflamate pnw k fond de Roy Defpaigne is & Nchnn s Gent de Caflilie de la queile 11euQ) Jehan fe pretater du noin Roy 2 Delpargne GUARDS WITH PARTIZANS. 6 CieMENs vit PONT: MAX IMP-CAES-CAROLVS'‘V P-F AVG ? + NICOLA VS “HOGENBER Gys- MONA CHENST s.- EE POPE CLEMENT VII. AND THE EMPEROR CHARLES V. ‘on le Res. dunomrR oy Del argze at Chay de (maria a Elronore fille et herittere de pretre. Darron et deSecitle.deuat nome; dont fiuceede, rent Flenty ke itorzzelmm.e DelpargeeFerdinade le Punfer Datrayo Roysde leuts noms.coime dit eft 4 HENRICCOMESANASSAV ARCEIEPS BARREN EPSCAVRIEN -FPVSBRIXIEN = NIC HENRY, COUNT OF NASSAU, ARCHBISHOP OF BARI, BISHOPS OF CORIA AND BRIXEN, we EX é = | deLzon. le Trorzre(me Roy pelparene enild cients c atherqiedelle geichen eqn pucde Lancaftre delaquelle tlengendra le Roy dchan le ptemter du quonphebiaiene Resnd de lees: OL PERNOT: MICHAEL MAIV S$ INNVMERICANONVM LEGVYM QVE DOCTORES VIR ONSVI NICOLAS PERRENOT, MICHAEL MAIO, MANY DOCTORS OF CANON LAW. ehan deLeon Roypelpargne din auften marrage {label fille de edward noydepor rogal done larflavne frelle fille Tfabel compat. | ie de Ferdmande Roy Darragon &deSecrile le econd de fon nom dirle Garholrqsse ARES ETRRALLATI TIMPANISTAE T VBI COUNCILLORS AND PRELATES; DRUMMERS, ail = deLeon on Triftamare > dererdmande le Catholique Roy Daria alle pate efpoule de philippe ps pucdeBourgoinyne Prince de Belyes.prisino oF Calle, sus ICINES CATAPHRACTARVM EQVITVM. ARMATAE PHA TRUMPETERS, SQUADRONS OF MEN-AT-ARMS LANGES: PVTA MARCHIONIS ASQOLEN COMITIS A RHODIO BARONIS AVTREGIE MEN-AT-ARMS LED BY THE MARQUESS OF PUTA, THE COUNT OF ASCOLI, THE BARONS OF RHODIO, VIENEN, ST. SATURNINO, ETC. DNIVIENNEN BARONIS SSATVRNINI GERMANIETHISPANI PEDITES CVSTO GERMAN AND SPANISH FOOT-GUARDS. DIAS AGEN TES ANTONIO DA LEYVA, COMMANDER-IN-CHIEF. SS A é gy) i yon. de ¥ : & e Dauliti . - wy " ee oO 4 5 TF 0 hihe