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Annibale Caracci painted some ornaments on a ceiling of the Farnese palace, which the Duke of Sessa, Spanish ambassador to the Pope, took for sculptures, and would not believe they were painted on a flat ground, until he had touched them with a lance. Agostino Caracci painted a horse, which deceived the living animal a triumph so celebrated in Apelles.
And especially did Walsingham bewail the implicit confidence which the Queen placed in the sugary words of Alexander, and the fatal parsimony which caused her to neglect defending herself against Scotland; for he was as well informed as was Farnese himself of Philip's arrangements with the Scotch lords, and of the subsidies in men and money by which their invasion of England was to be made part of the great scheme.
Many noble and knightly volunteers, both from England and the republic, were on board, including, besides those already mentioned, Lord Thomas Howard, son of the Duke of Norfolk, Sir John Wingfield, who had commanded at Gertruydenburg, when it had been so treacherously surrendered to Farnese; Count Lewis Gunther of Nassau, who had so recently escaped from the disastrous fight with Mondragon in the Lippe, and was now continuing his education according to the plan laid down for him by his elder brother Lewis William; Nicolas Meetkerk, Peter Regesmortes, Don Christopher of Portugal, son of Don Antonio, and a host of other adventurers.
That day, as Pierre went from the Trastevere to the Palazzo Farnese, where he was expected, he chose a roundabout route, following the Via di Pettinari and the Via dei Giubbonari, the former so dark and narrow with a great hospital wall on one side and a row of wretched houses on the other, and the latter animated by a constant stream of people and enlivened by the jewellers' windows, full of big gold chains, and the displays of the drapers' shops, where stuffs hung in bright red, blue, green, and yellow lengths.
Rogers, envoys on the part of the Queen, arrived in the Netherlands in February. The commissioners appointed on the part of Farnese were Count Aremberg, Champagny, Richardot, Jacob Maas, and Secretary Garnier.
Alberoni, an Italian priest, brought into Spain by the Duke of Vendome, drew her attention to the Princess of Parma, Elizabeth Farnese. The principality was small, the princess young; Alberoni laid stress upon her sweetness and modesty.
And, bringing his glance nearer in, the city again appeared with its jumble of edifices, on which his eyes lighted at random. Close at hand, by its loggia turned towards the river, he recognised the huge tawny cube of the Palazzo Farnese. The low cupola, farther away and scarcely visible, was probably that of the Pantheon.
His only egress was into Picardy and so home to Artois, through the base of the isosceles triangle between the two rivers and on the borders of Picardy. On this base Henry had posted his whole army. Should Farnese assail him, thus provided with a strong position and superiority of force, defeat was certain. Should he remain where he was, he must inevitably starve.
As the territories of the duchess were surrounded by Philip's Italian states, and at all times exposed to his arms, he could, with the less danger, entrust the supreme power into her hands. For his full security her son, Alexander Farnese, was to remain at his court as a pledge for her loyalty.
This is by no means identical in design with the Naples picture, but appears much less studied, much more directly taken from the life. The astute Farnese Pope has here the same simiesque type, the same furtive distrustful look, as in the great unfinished group now to be described.
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