Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/50

38 him to execute certain stories from the Life of the Signor Giovanni, father of the Duke Cosimo. In one of these is seen that Signor making the passage of the rivers Po and Adda; the Cardinal Giulio de’ Medici, who was afterwards Pope Clement VII., the Signor Prosper Colonna, and other nobles being present; over this Battista painted the Redemption of San Secondo.

On the opposite side of the arch was another story by the hand of the same artist, and herein was represented the city of Milan with the Camp of the League around it, which, • breaking up, leaves the Signor Giovanni in the place. To the right of the arch there was on one side another picture, wherein was a figure representing Opportunity with her hair unloosened; offering those tresses, which she holds in one hand, to the Signor Giovanni: on the other side is Mars, who presents him with the sword. Beneath the arch was also a story by the hand of Battista, the Signor Giovanni that is to say, fighting between the Tesino and Biegrassaupon the bridge of Rozzo, and, like another Horatius, defending the same with incredible valour. On the opposite side was depicted the taking of Caraveggio; and in the midst of the battle was seen the Signor Giovanni passing fearlessly through the ' fire and swords of the enemies’ hosts. Between the columns to the right hand was painted an oval compartment, within which was represented Garlasso, taken by the same leader with a single company of soldiers; and amidst the columns on the left was a Bastion of Milan, also wrested from the enemy by the prowess of the Signor Giovanni. On that front of the arch which was left behind by him who would enter the city gate, was furthermore depicted the same Signor Giovanni de’ Medici as seen on horseback beneath the walls of Milan, where he is engaged in single combat with a cavalier, whom he is transpiercing with his lance from one side to the other.

Finally, over the principal cornice, at the point which joins the edge of the upper cornice whereon the pediment is placed, Battista painted another large story, with very great care; this represented the Emperor Charles V., seated on a roek in the centre of the picture, crowned and holding a sceptre in his hand; at his feet lay a figure presenting the ' river Betis, and holding a vase which poured water from two