standing on the marble steps of Orgagna's Loggia, seemed to be keeping aloof in discontent and scorn.
Approaching nearer, she paused to look at the multifarious objects ranged in gradation from the base to the summit of the pyramid. There were tapestries and brocades of immodest design, pictures and sculptures held too likely to incite to vice; there were boards and tables for all sorts of games, playing-cards along with the blocks for printing them, dice, and other apparatus for gambling; there were worldly music-books, and musical instruments in all the pretty varieties of lute, drum, cymbal, and trumpet; there were masks and masquerading dresses used in the old carnival shows; there were handsome copies of Ovid, Boccaccio, Petrarca, Pulci, and other books of a vain or impure sort; there were all the implements of feminine vanity—rouge-pots, false hair, mirrors, perfumes, powders, and transparent veils intended to provoke inquisitive glances: lastly, at the very summit, there was the unflattering effigy of a probably mythical Venetian merchant, who was understood to have offered a heavy sum for this collection of marketable abominations, and, soaring above him in surpassing ugliness, the symbolic figure of the old debauched Carnival.
This was the preparation for a new sort of bonfire—the Burning of Vanities. Hidden in the interior of the pyramid was a plentiful store of dry fuel and gunpowder; and on this last day of the
