at the top, and almost but not quite pointed at the foot.  At the back of this were two handles, which were gripped by both hands, and the blow delivered with the smaller end of the shield.  When the press of the fight was not very great, no doubt this shield was used as a club.  These targoni were decorated with mottoes or a device, as we may see from these now in the Museo; they were evidently even heirlooms in the family which had the honour to see one of its members chosen for the Battaglia.

Four comandanti or captains on each side entered the battle itself.  Two of these on each side stood on the parapet of the bridge directing their men.  The two northerners wore a scarlet uniform with white facings, the two southerners a green uniform with white facings.  Two other comandanti in each army stood on the ground.  The two first were unarmed, and were not allowed to interfere with the fight, but the two on the ground, who were allowed two adjutants, could scarcely have been prevented from giving or receiving blows.

Before the fight began, the banner of Pisa, a silver cross on a red ground, floated from a staff in the middle of the bridge.  This was lowered across the bridge to divide the two armies; and at the close of the fight it was so lowered again, and, according as either side was in the enemy’s territory, so the victory went.

When the battle was over, the victorious side made procession through the city.  If the north had won, all Pisa north of Arno was alight with bonfires, the houses were decorated, everyone was in the streets; while south of Arno the city was in darkness, the people in their houses, not a dog lurked without.  Then followed, after a few days, the great trionfo of the victors.

“The procession was headed,” says Mr. Heywood, “by two trumpeters on horseback, followed by a band of horsemen clad in military costumes, and by war-cars full of arms and banners of the vanquished.  Thereafter came certain soldiers on foot with their hands bound, to represent prisoners taken in the battle; then more trumpeters and drummers; and then the triumphal chariot, drawn by four or six horses richly draped and adorned with emblems and mottoes.  It was accompanied and escorted by knights and gentlemen on horseback.  The noble ladies of the city followed in their carriages, and behind them thronged an infinite people (infinito popolo) scattering broadcast various poetical compositions, and singing with sweet melodies in the previously appointed places, the glories of the victory won, making procession through the city until night.”  After dark, bonfires were lighted.  On high above the triumphal car was set some allegorical figure, such as Valour, Victory, or Fame.[72]

The last Giuoco del Ponte was fought in 1807.  “Certain pastimes,” says Signor Tribolati, “are intimately connected with certain institutions and beliefs; and when the latter cease to exist, the former also perish with them.  The Giuoco del Ponte was a relic of popular chivalry, one of the innumerable knightly games which adorned the simple, artistic, warlike life of the hundred Republics of Italy....  What have we to do with the arms and banners of the tourneys?  At most we may rub the cobwebs away and shake off the dust and lay them aside in a museum."[73]