At Florence the Bridge della Trinita was an object of especial interest to him. “As it was still a question what was the exact form of its arches, and particularly whether they were or were not pointed, he determined to measure two of them, and, as time and means were wanting to accomplish this from below, he ingeniously set out level lines on the outside of the parapet, and let fall a series of ordinates to the fillet of the archivolt. After a long and careful investigation, he came to the conclusion that the arches were not designed to be pointed; but the original curve had been so crippled by irregular settlement, that its exact nature could not now be ascertained. He greatly admired the elegance of proportions in the arch and superstructure. To the curve itself, however, he had a decided objection. He had, and always retained, an antipathy to the ellipse and all which he considered irregular curves. Whether in single arches or vaulting, no curves pleased him that were not portions of circles, and whenever in the course of his practice semicircular vaulting would have destroyed proportion, he would adopt a coved ceiling, or any other expedient, rather than resort to the hated ellipse. In his first design for the new Westminster Bridge, the arches were segments of circles, and it was not without difficulty that he could be induced to substitute the ellipse. Even in Gothic work he never willingly employed a Tudor arch; but, where cramped for height, he preferred the arch formed by two flat segments of circles, making an angle with the jambs (as seen in certain windows at Winchester). Irregularity in curves excited in him a feeling that was absolutely painful.” In this indefatigable study and criticism he passed the last few months of his sojourn abroad. They were months of intense enjoyment: for his spirits were buoyant, his disposition frank and genial. Work he always loved for its own sake, and difficulties he rather enjoyed.[24] But they were also months of serious thought and study. “It was evident” (says his friend) “that the leading principles of composition which influenced him throughout his career were already rooted in his mind.” First and foremost came a love of truth. “The false in architecture he abhorred; and all external features, which did not at least indicate the internal design, he condemned ruthlessly. Even a blank window offended him. The showy but screen-like façades, so often applied in Italy to comparatively mean buildings, were to him impostures, worthy of contempt.”