As one emerged from the streets and entered the open space before the castle the contrast was striking between our peace-loving, law-abiding age and that period when life was bound up with warfare. Trees veiled in spring foliage cast a fitful shadow over what was formerly an open ground for free fighting; near the ruined castle walls children played and old people loitered in the sun. We entered the courtyard without let or hindrance, and then the sound of a tinkling bell brought out a Government _custode_. With him we ascended to the first floor by the skilfully-constructed open-air staircase which leads from floor to floor round the four sides of the court. He led the way into the large hall, a beautiful room with carved and coloured beams and double arched windows set high in the thickness of the wall. We wandered from room to room and from storey to storey. Fragments of partitions taken down, of glaring wall-papers torn from the walls, of brick and mortar, lay about here and there--disfigurements of a later date which are now in course of being removed. After centuries of concealment the ceiling construction and the old fresco decorations of the walls were being bared to the light of day, for the castle is now in the hands of the Government and is in course of restoration as a national monument. The palace chapel contained curious frescoes attributed to Spinello Aretino and Jacopo del Casentino. Remains of old wall-painting in curious patterns and of earlier date decorated the dining and other halls. We ascended to the uppermost storey, and there in the way of a caryatide supporting a leafy volute, on which rested the inner cornice of the roof, stood the figure of Count Guido of Battifolle, the son of Simone, carved in stone. It is a beautiful youthful figure, the uncovered head full of clustering curls, the face strong and somewhat defiant in expression, the body clad in plate-mail, with the one hand holding a short dagger, and the other resting on the hilt of a long sword. Whose the thought thus to place the owner of the palace, who the artist to carry it out, are not recorded, but as it stands the figure may well have delighted him who made it and him whom it represents. [Illustration: ARMS OF THE GUIDI] VII _Capo d’Arno_ “Per mezzo Toscana si spazia Un fiumicel che nasce in Falterona E cento miglia di corso nol sazia.” (_Purg._ 14, 18 ff.)