the street that leads from the Archbishop's Palace into the Borgo S.
Lorenzo, dividing the above-named Strada della Paglia, forms a perfect
crossing of the ways, was made the ornament already mentioned, much
after the likeness of the ancient four-fronted Temple of Janus; and, for
the reason that from there the Cathedral Church could be seen, it was
ordained by those truly religious Princes that it should be dedicated to
sacrosanct Religion, in which how eminent all Tuscany, and Florence in
particular, has been at all times, I do not believe that it is necessary
for me to take much pains to demonstrate. And therein the intention was
that since Florence had brought with her, as was told at the beginning,
as her handmaids and companions, to give the first welcome to the new
bride, some of the virtues or attributes that had raised her to
greatness, and in which she could well vaunt herself, the intention, I
say, was to show that there also, for a no less necessary office, she
had left Religion, that she, awaiting the bride, might in a certain
manner introduce her into the vast and most ornate church so near at
hand. That arch, then, which was in a very broad street, as has been
told, was seen formed of four very ornate facades, the first of which
presented itself to the eyes of one going in the direction of the
Carnesecchi, and another, following the limb of the cross, faced towards
S. Giovanni and the Duomo of S. Maria del Fiore, leaving two other
facades on the cross-limb of the cross, one of which looked towards S.
Lorenzo and the other towards the Archbishop's Palace. And now, to
describe in order and with as much clearness as may be possible the
composition and the beauty of the whole, I say--beginning again with the
front part, to which that at the back was wholly similar in the
composition of the ornaments, without failing in any point--that in the
centre of the wide street was seen the very broad entrance of the arch,
which rose to a beautifully proportioned height, and on either side of
it were seen two immense niches bordered by two similar Corinthian
columns, all painted with sacred books, mitres, thuribles, chalices, and
other sacerdotal instruments, in place of trophies and spoils. Above
these, and above the regular cornices and friezes, which projected
somewhat further outwards than those which came over the arch in the
centre, but were exactly equal to them in height, was seen another
cornice, as of a door or window, curving between the one column and the
other in a quarter-round, which, seeming to form a separate niche, made
an effect as graceful and lovely as could well be imagined. Above that
last cornice, then, rose a frieze of a height and magnificence in accord
with the proportions of so great a beginning, with certain great
consoles, carved and overlaid with gold, which came exactly in
perpendicular lines with the columns already described; and upon them
rested another magnificent and very ornate cornice, with four very
large candelabra likewise overlaid with gold and, like all the columns,
bases, capitals, cornices, architraves, and every other thing, picked
out with various carvings and colours, and also standing in line with
the great consoles and the columns above described. Now in the centre,
springing above the said consoles, two cornices were seen rising, and
little by little forming an angle, and finally uniting as a
frontispiece, over which, upon a very rich and beautiful base, was
seated an immense statue with a Cross in the hand, representing the most
holy Christian Religion, at whose feet, one on either side of her, were
seen two other similar statues which seemed to be lying upon the cornice
of the above-named frontispiece, one of which, that on the right hand,
with three children about her, represented Charity, and the other Hope.
Then in the space, or, to speak more precisely, in the angle of the
frontispiece, there was seen as the principal device of that arch the
ancient Labarum with the Cross, and with the motto, IN HOC VINCES, sent
to Constantine; beneath which was seen set with beautiful grace a very
large escutcheon of the Medici with three Papal crowns, in keeping with
the idea of Religion, for the three Pontiffs whom she has had from that
house. And on the first level cornice, on either side, was seen a statue
corresponding to the niche already described which came between the two
columns; one of which, that on the right hand, was a most beautiful
young woman in full armour, with the spear and shield, such as Minerva
used to be represented in ancient times, save that in place of the head
of Medusa there was seen a great red cross on her breast, which caused
her to be recognized with ease as the new Order of S. Stephen, founded
so devoutly by our glorious and magnanimous Duke. The other on the left
hand was seen all adorned with sacerdotal and civil vestments in place
of arms, and with a great cross in the hand in place of a spear; and
these, towering over the whole structure in most beautiful accord with
the others, made a very imposing and marvellous effect. Next, in the
frieze that came between that last cornice and the architrave that
rested upon the columns, where according to the order of the composition
there came three compartments, were seen painted the three kinds of true
religion that have been from the creation of the world down to the
present day. In the first of these, which came on the right hand
beneath the armed statue, was seen painted that kind of religion which
reigned in the time of natural law, in those few who had it true and
good, although they had not a perfect knowledge of God, wherefore there
was seen figured Melchizedek offering bread and wine and other fruits of
the earth. Even so, in the picture on the left hand, which came in like
manner beneath the statue of peaceful Religion, was seen the other
religion, ordained by God through the hands of Moses, and more perfect
than the first, but all so veiled with images and figures, that these
did not permit the final and perfect clearness of Divine worship to be
fully revealed; to signify which there were seen Moses and Aaron
sacrificing the Paschal Lamb to God. But in the central picture, which
came exactly beneath the large and above-described statues of Religion,
Charity, and Hope, and over the principal arch, and which in proportion
with the greater space was much larger, there was seen figured an altar,
and upon it a Chalice with the Host, which is the true and evangelic
Sacrifice; about which were seen some figures kneeling, and over it a
Holy Spirit in the midst of many little Angels, who were holding in
their hands a scroll in which was written, IN SPIRITU ET VERITATE; so
that it appeared that they were repeating those words in song, Spiritus
meaning all that concerns the sacrifice natural and corporeal, and
Veritas all that appertains to the legal; which was all by way of image
and figure. Beneath the whole scene was a most beautiful inscription,
which, supported by two other Angels, rested on the cornice of the
central arch, saying:
VERAE RELIGIONI, QUAE VIRTUTUM OMNIUM FUNDAMENTUM, PUBLICARUM RERUM
FIRMAMENTUM, PRIVATARUM ORNAMENTUM, ET HUMANAE TOTIUS VITAE LUMEN
CONTINET, ETRURIA SEMPER DUX ET MAGISTRA ILLIUS HABITA, ET EADEM
NUNC ANTIQUA ET SUA PROPRIA LAUDE MAXIME FLORENS, LIBENTISSIME
CONSECRAVIT.
But coming to the lower part, and returning to the niche which came on
the right hand, between the two columns and beneath the armed Religion,
and which, although in painting, by reason of the chiaroscuro appeared
as if in relief; there, I say, was seen the statue of our present most
pious Duke in the habit of a Knight of S. Stephen, with the cross in his
hand, and with the following inscription, which had the appearance of
real carving, over his head and above the niche, saying:
COSMUS MEDIC. FLOREN. ET SENAR. DUX II, SACRAM D. STEPHANI
MILITIAM CHRISTIANAE PIETATIS ET BELLICAE VIRTUTIS DOMICILIUM
FUNDAVIT, ANNO MDLXI.
Even as on the base of the same niche, between the two pedestals of the
columns, which were fashioned in the Corinthian proportions, there was
seen painted the Taking of Damiata, achieved by the prowess of the
valiant knights of Florence; as it were auguring for those his new
knights similar glory and valour. And in the lunette or semi-circle
which came above the two columns, there was seen his private and
particular escutcheon of balls, which, by the red cross that was added
to it with beautiful grace, made it clearly manifest that it was that of
the Grand Master and Chief of the Order.
Now, for the public and universal satisfaction, and in order to revive
the memory of those who, born in that city or that province, became
illustrious for integrity of character and for sanctity of life, and
founders of some revered Order, and also to kindle the minds of all
beholders to imitation of their goodness and perfection, it was thought
right and proper, since there had been placed on the right hand, as has
been related, the statue of the Duke, founder of the holy military Order
of S. Stephen, to set on the other side that of S. Giovanni Gualberto,
who was likewise a knight of the household, according to the custom of
those times, and the first founder and father of the Order of
Vallombrosa. Most fittingly, even as the Duke was beneath the armed
statue, in like manner he was seen standing beneath the sacerdotal
statue of Religion, in the habit of a knight, pardoning his enemy;
having in the frontispiece over the niche a similar escutcheon of the
Medici, with three Cardinal's hats, and on the base the story of the
miracle that took place at Badia di Settimo, when the friar, by the
command of the above-named S. Giovanni Gualberto, to the confusion of
the heretics and simonists, passed with his benediction and with a
cross in his hand through the midst of a raging fire; with the
inscription likewise in a little tablet above him, which made all that
manifest, saying:
JOANNES GUALBERTUS, EQUES NOBILISS. FLOREN., VALLIS UMBROSAE
FAMILIAE AUCTOR FUIT, ANNO MLXI.
With which was terminated that most ornate and beautiful principal
facade.
Entering beneath the arch, one saw there a passing spacious loggia, or
passage, or vestibule, whichever we may choose to call it; and in
exactly the same manner were seen formed the three other entrances,
which, being joined together at the intersection of the two streets,
left in the centre a space about eight braccia square. There the four
arches rose to the height of those without, and the pendentives curved
in the manner of a vault as if a little cupola were to spring over them;
but when these had reached the cornice curving right round, at the point
where the vault of the cupola would have had to begin to rise, there
sprang a gallery of gilded balusters, above which was seen a choir of
most beautiful Angels, dancing most gracefully in a ring and singing in
sweetest harmony; while for greater grace, and to the end that there
might be light everywhere beneath the arch, in place of a cupola there
was left the free and open sky. And in the spaces or spandrels,
whichever they may be called, of the four angles, which of necessity,
narrow at their springing, opened out as they rose nearer to the cornice
in accordance with the curve of the arch, were painted with no less
grace in four rounds the four beasts mystically imagined by Ezekiel and
by John the Divine for the four writers of the holy Evangel. But to
return to the first of those four loggie or vestibules, as we have
called them; the vaults there were seen distributed with very graceful
and lovely divisions, and all adorned and painted with various little
scenes and with the arms and devices of those religious Orders which
were above or beside them, and in whose service, principally, they were
there. Thus on the facade of that first one on the right hand, which was
joined to the Duke's niche, there was seen painted in a spacious picture
the same Duke giving the habit to his knights, with those observances
and ceremonies that are customary with them; in the most distant part,
which represented Pisa, could be perceived the noble building of their
palace, church, and hospital, and on the base, in an inscription for the
explanation of the scene, could be read these words:
COSMUS MED. FLOR. ET SENAR. DUX II, EQUITIBUS SUIS DIVINO
CONSILIO CREATIS MAGNIFICE PIEQUE INSIGNIA ET SEDEM PRAEBET
LARGEQUE REBUS OMNIBUS INSTRUIT.
Even as in the other on the opposite side, attached to the niche of S.
Giovanni Gualberto, was seen how that same Saint founded his first and
principal monastery in the midst of the wildest forests; with an
inscription likewise on the base, which said:
S. JO. GUALBERTUS IN VALLOMBROSIANO MONTE, AB INTERVENTORIBUS ET
ILLECEBRIS OMNIBUS REMOTO LOCO, DOMICILIUM PONIT SACRIS SUIS
SODALIBUS.
Now, having despatched the front facade, and passing to that at the
back, and describing it in the same manner, the less to hinder a clear
understanding, we shall say, as has also been said before, that in
height, in size, in the compartments, in the columns, and, finally, in
every other ornament, it corresponded completely to that already
described, save that whereas the first had on the highest summit in the
centre the three great statues described above, Religion, Charity, and
Hope, the other had in place of these only a most beautiful altar all
composed and adorned after the ancient use, upon which, even as one
reads of Vesta, was seen burning a very bright flame. On the right hand,
towards S. Giovanni, there was seen standing a great statue in becoming
vestments and gazing intently on Heaven, representing the Contemplative
Life, which came exactly in a perpendicular line over the great niche
between the two columns, as has been described in the other facade; and
on the other side another great statue like it, but very active, with
the arms bare and with the head crowned with flowers, representing the
Active Life; in which statues were comprised very fittingly all the
qualities that appertain to the Christian Religion. In the frieze
between the one cornice and the other, which corresponded to that of the
other part, and which was likewise divided into three compartments,
there were seen in the largest, which was in the centre, three men in
Roman dress presenting twelve little children to some old and venerable
Tuscans, to the end that these, being instructed by them in their
religion, might demonstrate in what repute the Tuscan religion was held
in ancient times among the Romans and all other nations: with a motto to
explain this, taken from that perfect law of Cicero, which said: ETRURIA
PRINCIPES DISCIPLINAM DOCETO. Beneath which was the inscription, similar
and corresponding to that already given from the other facade, which
said:
FRUGIBUS INVENTIS DOCTAE CELEBRANTUR ATHENAE,
ROMA FEROX ARMIS IMPERIOQUE POTENS.
AT NOSTRA HAEC MITIS PROVINCIA ETRURIA RITU
DIVINO ET CULTU NOBILIORE DEI,
UNAM QUAM PERHIBENT ARTES TENUISSE PIANDI
NUMINIS, ET RITUS EDOCUISSE SACROS;
NUNC EADEM SEDES VERAE EST PIETATIS, ET ILLI
HOS NUMQUAM TITULOS AUFERET ULLA DIES.
In one of the two smaller pictures, that which came on the right hand,
since it is thought that the ancient religion of the Gentiles (which not
without reason was placed on the west) is divided into two parts, and
consists, above all, of augury and sacrifice, there was seen painted
according to that use an ancient priest who with marvellous solicitude
was standing all intent on considering the entrails of the animals
sacrificed, which were placed before him in a great basin by the
ministers of the sacrifice; and in the other picture an augur like him
with the crooked lituus in the hand, drawing in the sky the regions
proper for taking auguries from certain birds that were shown flying
above.
Now, descending lower, and coming to the niches; in that, I say, which
was on the right hand, was seen S. Romualdo, who in this our country, a
land set apart, as it were, by Nature for religion and sanctity, founded
on the wild Apennine mountains the holy Hermitage of Camaldoli, whence
that Order had its origin and name; with the inscription over the niche,
which said:
ROMUALDUS IN HAC NOSTRA PLENA SANCTITATIS TERRA, CAMALDULENSIUM
ORDINEM COLLOCAVIT ANNO MXII.
And on the base the story of the sleeping hermit who saw in a dream the
staircase similar to that of Jacob, which, passing beyond the clouds,
ascended even to Heaven. On the facade which was joined to the niche,
and which passed, as was said of the other, under the vestibule, was
seen painted the building of the above-named hermitage in that wild
place, carried out with marvellous care and magnificence; with the
inscription, which in explanation said:
SANCTUS ROMUALDUS IN CAMALDULENSI SYLVESTRI LOCO, DIVINITUS SIBI
OSTENSO ET DIVINAE CONTEMPLATIONI APTISSIMO, SUO GRAVISSIMO
COLLEGIO SEDES QUIETISSIMAS EXTRUIT.
In the niche on the left hand was seen the Blessed Filippo Benizi, one
of our citizens, who was little less than the founder of the Servite
Order, and without a doubt its first ordinator; and he, although he was
accompanied by seven other noble Florentines, the one niche not being
large enough to contain them all, was placed therein alone, as the most
worthy; with the inscription above, which said:
PHILIPPUS BENITIUS CIVIS NOSTER INSTITUIT ET REBUS OMNIBUS
ORNAVIT SERVORUM FAMILIAM, ANNO MCCLXXXV.
With the story of the Annunciation, likewise, on the base, wherein was
the Virgin supported by many little Angels, with one among them who was
shown scattering a beautiful vase of flowers over a vast multitude that
stood there in supplication; representing the innumerable graces that
are seen bestowed daily by her intercession on the faithful who with
devout zeal commend themselves to her. In the other scene, in the great
picture that came in the passage below, were the same S. Filippo and the
seven above-mentioned noble citizens throwing off the civil habit of
Florence and assuming that of the Servite Order, and shown all occupied
with directing the building of their beautiful monastery, which is now
to be seen in Florence, but was then without the city, and the venerable
and most ornate Church of the Annunziata, so celebrated throughout the
whole world for innumerable miracles, which has been ever since the head
of that Order; with the inscription, which said:
SEPTEM NOBILES CIVES NOSTRI IN SACELLO NOSTRAE URBIS, TOTO NUNC
ORBE RELIGIONIS ET SANCTITATIS FAMA CLARISSIMO, SE TOTOS
RELIGIONI DEDUNT ET SEMINA JACIUNT ORDINIS SERVORUM D. MARIAE
VIRG.
There remain the two facades which formed as it were arms, as has been
told, to the straight limb of the cross. These were smaller than those
already described, which was caused by the narrowness of the two streets
that begin there; wherefore, since less space came to be left for the
magnificence of the work, in order consequently not to depart from the
due proportion of height in their much smaller size, with much judgment
the arch which gave passage there had on either side not a niche but a
single column; over which rose a frieze in due proportion, in the centre
of which was a painted picture that crowned the ornamentation of that
facade, but not without an infinity of such other embellishments,
devices, and pictures as were thought to be proper in such a place. Now,
that whole structure being dedicated to the glory and power of the true
Religion and to the memory of her glorious victories, they chose the two
most noble and most important victories, won over two most powerful and
particular adversaries, human wisdom namely, under which are comprised
philosophers and heretics, and worldly power: and on the part facing
towards the Archbishop's Palace was seen depicted how S. Peter and S.
Paul and the other Apostles, filled with the divine spirit, disputed
with a great number of philosophers and many others full of human
wisdom, some of whom, those most confused, were seen throwing away or
tearing up the books that they held in their hands, and others, such as
Dionysius the Areopagite, Justinus, Pantaenus, and the like, were coming
towards them, all humble and devout, in token of having recognized and
accepted the Evangelic truth; with the motto in explanation of this,
which said: NON EST SAPIENTIA, NON EST PRUDENTIA. In the other scene
towards the Archbishop's Palace, on the other side from the first, were
seen the same S. Peter and S. Paul and the others in the presence of
Nero and many of his armed satellites, boldly and freely preaching the
truth of the Evangel; with the motto--NON EST FORTITUDO, NON EST
POTENTIA, referring to that which follows in Solomon, whence the motto
is taken--CONTRA DOMINUM. Of the facades which came under the two vaults
of those two arches, in one, on the side towards the Archbishop's
Palace, was seen the Blessed Giovanni Colombini, an honoured citizen of
Siena, making a beginning with the Company of the Ingesuati by throwing
off the citizen's habit on the Campo di Siena and assuming that of a
miserable beggar, and giving the same habit to many who with great zeal
were demanding it from him; with the inscription, which said:
ORIGO COLLEGII PAUPERUM, QUI AB JESU COGNOMEN ACCEPERUNT; CUJUS
ORDINIS PRINCEPS FUIT JOANNES COLOMBINUS, DOMO SENENSIS, ANNO
MCCCLI.
And in the other, on the opposite side, were seen other gentlemen,
likewise of Siena, before Guido Pietramalesco, Bishop of Arezzo, to whom
a commission had been given by the Pope that he should inquire into
their lives; and they were all intent on making manifest to him the wish
and desire that they had to create the Order of Monte Oliveto, which was
seen approved by that Bishop, exhorting them to put into execution the
building of that vast and most holy monastery, which they erected
afterwards at Monte Oliveto in the district of Siena, and of which they
were shown to have brought thither a model; with the inscription, which
said:
INSTITUITUR SACER ORDO MONACORUM QUI AB OLIVETO MONTE NOMINATUR,
AUCTORIBUS NOBILIBUS CIVIBUS SENENSIBUS, ANNO MCCCXIX.
On the side towards S. Lorenzo was seen the building of the most famous
Oratory of La Vernia, at the expense in great part of the devout Counts
Guidi, at that time lords of that country, and by the agency of the
glorious S. Francis, who, moved by the solitude of the place, made his
way thither, and was visited there by Our Lord the Crucified Jesus
Christ and marked with the Stigmata; with the inscription that explained
all this, saying:
ASPERRIMUM AGRI NOSTRI MONTEM DIVUS FRANCISCUS ELEGIT, IN QUO
SUMMO ARDORE DOMINI NOSTRI SALUTAREM NECEM CONTEMPLARETUR, ISQUE
NOTIS PLAGARUM IN CORPORE IPSIUS EXPRESSIS DIVINITUS CONSERVATUR.
Even as on the opposite side was seen the Celebration held in Florence
of the Council under Eugenius IV, when the Greek Church, so long at
discord with the Latin, was reunited with her, and the true Faith, it
may be said, was restored to her pristine clearness and purity; which
was likewise made manifest by the inscription, saying:
NUMINE DEI OPTIMI MAX. ET SINGULARI CIVIUM NOSTRORUM RELIGIONIS
STUDIO, ELIGITUR URBS NOSTRA IN QUA GRAECIA, AMPLISSIMUM MEMBRUM A
CHRISTIANA PIETATE DISJUNCTUM, RELIQUO ECCLESIAE CORPORI
CONJUNGERETUR.
OF S. MARIA DEL FIORE.
As for the Cathedral Church, the central Duomo of the city, although it
is in itself stupendous and most ornate, nevertheless, since the new
Lady was to halt there, met by all the clergy, as she did, it was
thought well to embellish it with all possible pomp and show of
religion, and with lights, festoons, shields, and a vast and very well
distributed quantity of banners. At the principal door, in particular,
there was made in the Ionic Order of composition a marvellous and most
graceful ornament, in which, in addition to the rest, which was in truth
excellently well conceived, rich and rare beyond all else appeared ten
little stories of the actions of the glorious Mother of Our Lord Jesus
Christ, executed in low-relief, which, since they were judged by all who
saw them to be of admirable artistry, it is hoped that some day they may
be seen in bronze in competition with the marvellous and stupendous
gates of the Temple of S. Giovanni, and even, as in a more favoured age,
more pleasing and more beautiful; but at that time, although of clay,
they were seen all overlaid with gold, and were let in a graceful
pattern of compartments into the wooden door, which likewise had the
appearance of gold. Above which, besides an immense escutcheon of the
Medici with the Papal Keys and Crown, supported by Operation and Grace,
were seen painted in a very beautiful canvas all the tutelary Saints of
the city, who, turned towards a Madonna and the Child that she was
holding in her arms, appeared to be praying to her for the welfare and
felicity of Florence; even as over all, as the principal device, and
with most lovely invention, was seen a little ship which, with the aid
of a favourable wind, appeared to be speeding with full sail towards a
most tranquil port, signifying that Christian actions are in need of
the divine grace, but that it is also necessary on our part to add to
them, as not being passive, good disposition and activity. Which was
likewise made clearly manifest by the motto, which said, [Greek: Syn
Theo]; and even more by the very short inscription that was seen
beneath, saying:
CONFIRMA HOC DEUS QUOD OPERATUS ES IN NOBIS.
OF THE HORSE.
On the Piazza di S. Pulinari, not in connection with the tribunal that
was near there, but to the end that the great space between the Duomo
and the next arch might not remain empty, although the street is very
beautiful, there was made with marvellous artistry and subtle invention
the figure of an immense, very excellent, very fiery and well-executed
horse, more than nine braccia in height, which was rearing up on the
hind-legs; and upon it was seen a young hero in full armour and in
aspect all filled with valour, who had just wounded to death with his
spear, the butt of which was seen at his feet, a vast monster that was
stretched all limp beneath his horse, and already he had laid his hand
on a glittering sword, as if about to smite him again, and seemed to
marvel to what straits the monster had been reduced by the first blow.
That hero represented the true Herculean Virtue, which, as Dante said so
well, chased through every town and banished to Hell the dissipatrix of
kingdoms and republics, the mother of discord, injury, rapine, and
injustice, that evil power, finally, that is commonly called Vice or
Fraud, hidden under the form of a woman young and fair, but with a great
scorpion's tail; and, slaying her, he seemed to have restored the city
to the tranquillity and peace in which she is seen at the present day,
thanks to her excellent Lords, reposing and flourishing so happily.
Which was demonstrated in a manner no less masterly by the device,
placed fittingly on the great base, in which, in the centre of an open
temple supported by many columns, upon a sacred altar, was seen the
Egyptian Ibis, which was shown tearing with the beak and with the claws
some serpents that were wound round its legs; with a motto that said
aptly: PRAEMIA DIGNA.
OF THE BORGO DE' GRECI.
Even so, also, at the corner of the Borgo de' Greci, to the end that in
the turn that was made in going towards the Dogana, the eyes might have
something on which to feast with delight, it was thought well to form a
little closed arch of Doric architecture, dedicating it to Public
Merriment; which was demonstrated by the statue of a woman crowned with
a garland and all joyous and smiling, which was in the principal place,
with a motto in explanation, saying: HILARITAS P.P. FLORENT. Below her,
in the midst of many grotesques and many graceful little stories of
Bacchus, were seen two most charming little Satyrs, which with two skins
that they held on their shoulders were pouring into a very beautiful
fountain, as was done in the other, white and red wine; and as in the
other the fish, so in this one two swans that were under the boys,
played a trick on him who drank too much by means of jets of water that
at times spurted with force from the vase; with a graceful motto that
said: ABITE LYMPHAE VINI PERNICIES. Above and around the large statue
were seen many others, both Satyrs and Bacchanals, who, shown in a
thousand pleasing ways drinking, dancing, singing, and playing all those
pranks that the drunken are wont to play, seemed as if chanting the
motto written above them: