Of the castle, where for two hundred years Pallavicini and Zorzi held sway, much has survived the two Turkish sieges and the silent ravages of five centuries. Originally there must have been a triple enclosure, for several square towers of the third and lowest wall are still standing in the village and outside it. Of the second enceinte the most noticeable fragment is a large tower in ruins, while the innermost wall is strengthened by three more. In the centre of this last enclosure are the imposing remains of the large square donjon (Plate VII, Fig. 1), and adjoining this is the most interesting feature of the castle—the great Hellenic gateway (Plate VII, Fig. 2), which connects one portion of this enclosure with the other, and which Buchon has described so inaccurately[371]. It is _not_ “composed of six stones,” but of three huge blocks, nor do “the two upper stones meet at an acute angle”; a single horizontal block forms the top. Buchon omits to mention the Byzantine decoration in brick above this gateway. Of the brick conduit which he mentions I could find no trace, but the two cisterns remain. The large building near them is presumably the Frankish church of which he speaks; but the window which he found there no longer exists. Possibly, when the new church in the village was erected, the builders took materials from the chapel in the castle for its construction. At any rate, that very modern and commonplace edifice contains several fragments of ancient work. Thus, the stone threshold of the west door bears three large roses, while on the doorway itself are two stars; and the north door is profusely decorated with a rose, two curious creatures like griffins, two circles containing triangles, and a leaf; above this door is a cross, each arm of which forms a smaller cross. As usually happens in the Frankish castles of Greece—with the exception of Geraki—there are no coats of arms at Boudonitza, unless this composite cross is an allusion to the “three crosses,” said to have been originally borne by one branch of the Pallavicini. The “mediæval seal” in the possession of a local family dates from the reign of Otho! But there exists a genuine seal of the monastery of the Holy Virgin of Boudonitza, ascribed by M. Schlumberger[372] to the end of the fourteenth or beginning of the fifteenth century. The Marquesses have left behind them neither their portraits—like the Palatine Counts of Cephalonia of the second dynasty—nor any coins—like the French barons of Salona, to whom they bear the nearest resemblance. One of their line, however, the Marquess Alberto, figures in K. Rhanghaves’s play, _The Duchess of Athens_, and their castle and their ofttimes stormy lives fill not the least picturesque page of that romance which French and Italian adventurers wrote with their swords in the classic sites of Hellas. APPENDIX I 1335 DIE XVI JANUARIJ.