together with their families will be devoured and killed by cruel
creatures.

[Footnote: 1--10 have already been published by _Amoretti_ in
_Memorie Storiche_ cap. XII. He adds this note with regard to
Gualtieri: "_A questo M. Gualtieri come ad uomo generoso e benefico
scrive il Bellincioni un Sonetto (pag, 174) per chiedergli un
piacere; e 'l Tantio rendendo ragione a Lodovico il Moro, perche
pubblicasse le Rime del Bellincioni; cio hammi imposto, gli dice:
l'humano fidele, prudente e sollicito executore delli tuoi
comandamenti Gualtero, che fa in tutte le cose ove tu possi far
utile, ogni studio vi metti._" A somewhat mysterious and evidently
allegorical composition--a pen and ink drawing--at Windsor, see PL
LVIII, contains a group of figures in which perhaps the idea is
worked out which is spoken of in the text, lines 1-5.]

673.

He was blacker than a hornet, his eyes were as red as a burning fire
and he rode on a tall horse six spans across and more than 20 long
with six giants tied up to his saddle-bow and one in his hand which
he gnawed with his teeth. And behind him came boars with tusks
sticking out of their mouths, perhaps ten spans.

Allegorical representations (674--678).

674.

Above the helmet place a half globe, which is to signify our
hemisphere, in the form of a world; on which let there be a peacock,
richly decorated, and with his tail spread over the group; and every
ornament belonging to the horse should be of peacock's feathers on a
gold ground, to signify the beauty which comes of the grace bestowed
on him who is a good servant.

On the shield a large mirror to signify that he who truly desires
favour must be mirrored in his virtues.

On the opposite side will be represented Fortitude, in like manner
in her place with her pillar in her hand, robed in white, to signify
... And all crowned; and Prudence with 3 eyes. The housing of the
horse should be of plain cloth of gold closely sprinkled with
peacock's eyes, and this holds good for all the housings of the
horse, and the man's dress. And the man's crest and his neck-chain
are of peacock's feathers on golden ground.

On the left side will be a wheel, the centre of which should be
attached to the centre of the horse's hinder thigh piece, and in the
centre Prudence is seen robed in red, Charity sitting in a fiery
chariot and with a branch of laurel in her hand, to signify the hope
which comes of good service.

[21] Messer Antonio Grimani of Venice companion of Antonio Maria
[23].

[Footnote: _Messer Antonio Gri_. His name thus abbreviated is, there
can be no doubt, Grimani. Antonio Grimani was the famous Doge who in
1499 commanded the Venetian fleet in battle against the Turks. But
after the abortive conclusion of the expedition--Ludovico being the
ally of the Turks who took possession of Friuli--, Grimani was driven
into exile; he went to live at Rome with his son Cardinal Domenico
Grimani. On being recalled to Venice he filled the office of Doge
from 1521 to 1523. _Antonio Maria_ probably means Antonio Maria
Grimani, the Patriarch of Aquileia.]

675.

Fame should be depicted as covered all over with tongues instead of
feathers, and in the figure of a bird.

676.

Pleasure and Pain represent as twins, since there never is one
without the other; and as if they were united back to back, since
they are contrary to each other.

[6] Clay, gold.

[Footnote: 7. _oro. fango_: gold, clay. These words stand below the
allegorical figure.]

If you take Pleasure know that he has behind him one who will deal
you Tribulation and Repentance.

[9] This represents Pleasure together with Pain, and show them as
twins because one is never apart from the other. They are back to
back because they are opposed to each other; and they exist as
contraries in the same body, because they have the same basis,
inasmuch as the origin of pleasure is labour and pain, and the
various forms of evil pleasure are the origin of pain. Therefore it
is here represented with a reed in his right hand which is useless
and without strength, and the wounds it inflicts are poisoned. In
Tuscany they are put to support beds, to signify that it is here
that vain dreams come, and here a great part of life is consumed. It
is here that much precious time is wasted, that is, in the morning,
when the mind is composed and rested, and the body is made fit to
begin new labours; there again many vain pleasures are enjoyed; both
by the mind in imagining impossible things, and by the body in
taking those pleasures that are often the cause of the failing of
life. And for these reasons the reed is held as their support.


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