which tells that the blood-stained tyrant of Rome once dwelt there, is supposed to be a slumbering volcano. Its rich iron ore was once highly productive, and the herbs and simples grown on it were esteemed above all others in Italy. Far on the sky-line are discerned the Sassi di Simeone, twin rocks of singularly abrupt form, separated by the Tuscan frontier. Northward from these stands the massive Monte Carpegna, cradle of the Montefeltrian race, domineering over their original fief, and giving its local name to the wind which sweeps from its heights upon the Adriatic. The mountain view terminates with the triple peaks of San Marino, isolated, it would seem, by nature, as well as by the forms of its constitution and the accidents of its history. The merit specially dwelt upon in the old descriptions of this palace is the carved work in wood and stone, executed by sculptors brought from various places, and facilitated by the excellent quality of a close-grained grey limestone, imported from the Dalmatian coast. The most striking of its decorations are accordingly the elaborate tracery encircling the architraves, doorways, lintels, and chimneys, and running along the cornices. This consists of fine arabesque designs, mingled with dancing loves, and interlaced with military trophies and heraldic fancies, among which frequently occur the Garter of England, the Ermine of Naples, the Eagle of Montefeltro, with several monograms and devices usually worn by Count Federigo, the origin whereof is described in No. V. of the Appendices. A kindred art, here lavishly expended, is that of _tarsia_, or wood inlaying, which, unlike the more modern _marquetrie_, was enriched by pure arabesque designs, and even by historical or religious compositions. In this style, though now sadly defaced, were many of the doors, and especially the tiny chapel, with its adjoining sacristy, the latter elaborately panelled in varied scrolls, and bearing the titles of Federigo, with the date 1476. On the stone-work of this chapel occur the devices and initials of Duke Guidobaldo II., marking probably the alterations made by him.[123] [Footnote 123: Pungileone has found a payment of 7 florins, in 1473, to Maestro Giacomo, from Florence, on account of _intarsia_ for the audience-hall, which seems, from other entries there cited, to have been decorated during 1464 with paintings now lost. _Elogio_ di G. Santi, p. 47.]