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As I did not know who she was I did not take much notice of it, and after I had finished my coffee I put on my mask and walked towards the Spiaggia del Sepulcro, where M. de Bragadin's gondola was waiting for me. As I was getting near the Ponte del Paglia I saw the same masked woman attentively looking at some wonderful monster shewn for a few pence.
Found the enemy's rear-guard behind the Mondego, at Ponte de Marcella, cannonaded them out of it, and then threw a temporary bridge across the river, and followed them until dark.
Then the Piazza del Ponte for the northern army, the Piazza de' Bianchi for the southern, were enclosed with palisades to form the camps, and the battle began. In order to save the soldato from hurt, his head was covered with a falzata of cotton, and guarded by an iron casque with a barred vizor. The body was also swathed in cotton or a doublet of leather, over which iron armour was worn.
Thereupon the head of the Saint, enclosed in its case of solid silver, was accordingly borne in solemn procession with wailing and repentant crowds behind it to an improvised shrine, hung with garlands, on the Ponte della Maddalena, at the extreme eastern boundary of the city.
The Pitti side of the river is less interesting than the other, but it has some very fascinating old and narrow streets, although they are less comfortable for foreigners to wander in than those, for example, about the Borgo SS. Apostoli. They are far dirtier. From the Pitti end of the Ponte Vecchio one can obtain a most charming walk.
Morley's picture, until we reach Sansovino's Palazzo Manin, now the Bank of Italy, a fine building and the home of the last Doge. The three steamboat stations hereabouts are for passengers for the Riva and Lido, for Mestre, and for the railway station, respectively. The palace next the Ponte Manin, over the Rio San Salvatore, is the Bembo, with very fine windows.
Da Ponte, as may be imagined, lost no time in calling on Garcia and setting on foot a scheme for bringing forward "my 'Don Giovanni," as he always called it.
Miss Hogarth's contribution to the exhibition of the New English Art Club, 1902, was called "The Green Shutters," a very peculiar title for what was, in fact, a picture of the Ponte Vecchio and its surroundings, in Florence. It was interesting. It was scarcely a painting; a tinted sketch would be a better name for it. It was an actual portrait of the scene, and skilfully done.
She hurried down the stairs, she went out into the street without looking at her sick people, and walked at a swift pace along the Via de' Bardi towards the Ponte Vecchio.
The repairs necessarily undertaken at this time were however extensive, and interfere in many directions with the earlier work of the palace; still the only serious alteration in its form was the transposition of the prisons, formerly at the top of the palace, to the other side of the Rio del Palazzo; and the building of the Bridge of Sighs, to connect them with the palace, by Antonio da Ponte.
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