The fountain, generally referred to as a work of Giovanni Bologna, Vasari attributes to Tribolo, and the mixture of bronze and marble is fine. It is divided into various basins; on the larger one are four little bronze “putti” lying on the edge of the marble basin playing with the water. Below them, in the centre of the fountain, seven marble “putti” are seated upon lions’ claws; four rams’ heads look over the edge of the upper and smaller basin, and marble figures of children hold wild geese by the necks which spout water from their bills. Four other “putti” are seated below the pedestal on which Hercules is wrestling with Antæus, a group by Ammanati, so curiously like figures by Pollaiuolo that it might have been suggested by one of his drawings. Breasting the hill and crossing another terrace we come to a large cool grotto scooped out of the hillside, its roof decorated with masks, scrolls, baskets of flowers and arabesques done in different coloured shells. Queer, nearly life-size animals fill the three recesses in the grotto, a camel with a monkey on its back, a unicorn, a wild boar, a ram, a lion, a bear, hounds, and smaller creatures carved out of various marbles and stone to correspond to the colours of the animals portrayed, stand on rocks in happy confusion. Animals from every quarter of the globe are united here by the fanciful artist whose one idea was not zoology but the amusement of the members of a Florentine ducal house during long summer days. In order to enhance illusion he has given the stag and the ram real horns, and the boar has real tusks in his ferocious mouth. The large sarcophagii, or baths, under these groups, of white and pink marble, are very fine. One has all sorts of sea fish sculptured on its side; the others, a tangle of shells, crabs, lobsters and crayfish; all three rest on large dolphins. On the terrace above this grotto are remains of the labyrinth described by Vasari in his life of Tribolo, some fine trees and a large round reservoir full of emerald green water with an island in the centre on which crouches a colossal bronze figure of the Apennines surrounded with lilies and ferns. The statue is said to be by Tribolo, and one asks oneself how the same man who designed the lovely fountain in the garden could perpetrate such a hideous monster. The walk (about a mile) from Castello to Petraja through the ilex wood is very charming, and passes close by a small church—or rather one may call it a campanile with a chapel attached, for the exquisite beauty of the bell-tower is the first thing to attract one as it rises from the hillside so evenly balanced by a group of cypresses. The whole forms a perfect jewel of architectural effect. No wonder the people of the country round are proud of their campanile and call it “la meraviglia di Castello.”