hesitation—this man who, as his daughter Caterina proudly declared, _never knew fear_. Mounting his horse in the outer court, he rode out beneath the Tower of Filarete, followed by a gorgeous throng of courtiers, and his brilliant figure disappears from the Castello for ever. Later on the same day a messenger passed out of the gate charged by Bona with three rings, a turquoise, a ruby, and a precious seal, and with a vest of white cloth of gold, for the adornment of his body, which lay laced with twenty-three dagger wounds, in the Canonica of S. Stefano. With the death of Galeazzo, the historic interest of the Castello shifts to the Rocchetta. This inner keep has remained more in its old state than the Corte Ducale, and is the most picturesque part of the castle to-day. The cortile is one of those characteristic colonnaded buildings which are generally described as Bramantesque in Milan. Two of the sides of the quadrangle, however—to the left of and facing the entrance from the outer court—are of older date, having been built by Francesco and Galeazzo Maria respectively. The columns and capitals show the character of the early Renaissance in Milan; upon the capitals are carved the shields and various devices of the dukes. The other part was not finished till later. The lofty tower at the north-east angle, called the Torre di Bona, was built during the brief regency of Galeazzo’s widow, when Cecco Simonetta hastened to complete the defences of the Rocchetta in order to ensure her authority. This measure, however, only served for her undoing at the hands of Lodovico il Moro, who, having taken advantage of her weakness and folly to possess himself of the Rocchetta, the person of the little Duke, and, in consequence, of the supreme government of the state, made his abode in this, the heart and key of the whole stronghold.