First Act
The scene opens on the Schiavoni River at a foggy hour of dawn. One might discern to the left, despite the penumbra, the sumptuous palace of Paolo Baglione, upright on arches by day, supported by elegant columns whose lines cut the scene obliquely. The three stories of the palace open out onto immense terraces, separated at the center by a large green marble staircase with a balustrade of porphyry. To vases on the three terraces are bound with large ropes in the enormous figure of a bow the faces, in ebony and gold, of those Paolo Baglione has deported to Turkish jails, who seem to writhe in embarassment, frightful and indomitable prisoners. In the background, through the nebulous tangle of masts and trembling sails, little by little one sees freeing itself from the penumbra the profile of the Fortunata, a great battleship, nearly complete, suspended on numerous beams as if on crutches, ready for its maiden launch. Its prow and stern swarm with gesturing figures contorting themselves around enormous bronze lanterns garnished with fiery crystals.
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