Group Observes Guillotine and Carnival Preparations in the Square
The three continue down the Corso toward the Piazza del Popolo, where the crowd thickens. Two objects dominate the view above the multitude: the central obelisk topped with a cross, and the uprights of the scaffold at the junction of the three streets, with the curved blade of the mandaïa gleaming between them. Although masks cannot circulate and carriages are halted, the square is full of festive observers behind windows, doors, and balconies, while scaffolds rise and flags are hung for the Carnival.
Count Reveals Rented Window and Provides Masquerade Costumes
At the corner of the street, the Count’s steward meets them with news of the window the Count has let at an exorbitant price, located on the second floor of the great palace between the Via del Babuino and the Monte Pincio. The rented space comprises a small dressing-room opening into a bedroom, providing privacy when the connecting door is closed. Elegant blue and white satin masquerade costumes are laid out on chairs; the Count explains that he chose them because they are fashionable and because confetti flour will not show on the fabric.
Execution Procession Enters the Piazza del Popolo
A procession emerges from the little church of Santa Maria del Popolo. A brotherhood of penitents in gray sackcloth, with holes cut for the eyes and lighted tapers in hand, leads the way. Behind them walks the executioner—immense, nearly naked save for cloth drawers and sandals laced with cords, with a large knife in a sheath at his left side and a heavy iron sledge-hammer on his right shoulder. He is followed by the two condemned men, Peppino and Andrea, each flanked by two priests and without blindfolds, the crucifix repeatedly raised to their lips.
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