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Rh it has in the midst a quaint court, surrounded by galleries and stairs. The great salle had its ceiling painted by Carlone in the seventeenth century. It represents the fall of Phaeton, and is one of those subjects in the debased style of the period that are tours de force in perspective. It represents an arcade of Corinthian pillars with windows between them painted on the flat surface, seen in perspective from a single point only. The castle was occupied by the Allies in 1815; a Piedmontese garrison was placed in it, and the soldiers amused themselves with firing at the head of Phaeton. The painter spent three years over this absurd work, and when leaving it complete he wept and said, "Bella mea cascata di Phaëton, io non piu te vedere, mai, mai, mai!" It is really not worth looking at, save as an example of the degradation of art. The castle no longer appertains to the Grimaldi; it has been sold. Eze is reached by tram, passing the beautiful bay of Villefranche, to the foot of the precipice on which it stands, and from whence it is reached by a scramble up a zig-zag path in about an hour. It is a curious example of a town, built on the summit of a rock, walled about, once with its castle planted in its midst, where it might, it was hoped, be safe from Moorish and Algerine pirates. Once an important place, with its consuls, it has sunk to ruin, and is now occupied by only ninety people. The church was built in 1772. The castle is levelled to the foundations, but the town walls remain. In 1770 the Corniche Road did not exist. David the Painter was on his way to Italy to study at Rome. He arrived at Eze at night, and the curé very kindly took in the poor and footsore young artist. He was interested in David, and gave him a letter of introduction to a