happen to figures in the best ages of art, as if it had been boned for a pie, was called a fantoccio da cero, a tower-puppet; consequently improved taste, with Cecca to help it, had devised for the magnificent Zecca a triumphal car like a pyramidal catafalque, with ingenious wheels warranted to turn all corners easily. Round the base were living figures of saints and angels arrayed in sculpturesque fashion; and on the summit, at the height of thirty feet, well bound to an iron rod and holding an iron cross also firmly infixed, stood a living representative of St. John the Baptist, with arms and legs bare, a garment of tiger-skins about his body, and a golden nimbus fastened on his head—as the Precursor was wont to appear in the cloisters and churches, not having yet revealed himself to painters as the brown and sturdy boy who made one of the Holy Family. For where could the image of the patron saint be more fitly placed than on the symbol of the Zecca? Was not the royal prerogative of coining money the surest token that a city had won its independence? and by the blessing of San Giovanni this "beautiful sheepfold" of his had shown that token earliest among the Italian cities. Nevertheless, the annual function of representing the patron saint was not among the high prizes of public life; it was paid for with ten lire, a cake weighing fourteen pounds, two bottles of wine, and a handsome supply of light eatables; the money being furnished by the magnificent Zecca, and the payment in kind
