The mullioned windows and the double mullioned window on the piano nobile in this wing of the building look out on an interesting stringcourse cornice in white stone with inlays in black lava stone that create sober but elegant decoration with geometric motifs. In the central strip an inscription of a moral character is inserted (on the cardinal virtues), in Latin, in Gothic letters, a clear example of a “literary” reference to the ancient in a construction that is fully Gothic. DEUM DIRIGERE PRUDENCIA EST-IESUM ADORARE IUSTICIA-NULLIS IN ADVERSIS AB EO ABSTRAHI FORTITUDO EST-NULLIS IN ILLECEBRIS EMOLISI TEMPERANTIA EST-ET IN HIS SUNT ACTUS VITUTUM-PAR DOMUS E COELO SED MINORE DOMINO (prudence consists in loving God, justice consists in adoring Jesus, fortitude consists in not going away from Him in every adversity, temperance consists in not being overcome by the seductions of pleasure, and in these things the actions of all virtues are found; a house like this descends from heaven, but under a lesser lord than God). The whole building has battlements around it at the top, unifying the general external image, although the merlons take on different shapes in the three parts of the building; in this case too it is a device, perhaps serving to underline the importance of the building in the immediate urban context, to be found in other examples in the fourteenth and fifteenth centuries. The entrance to the courtyard, that is to say to the heart of the building, is on the south side through an interesting main portal; with a strongly depressed arch, almost a platband folded at the extremities, it presents particular interlacement between a cornice drawn on the plan with the insertion of a “line” of lava stone and the embossed archivolt, again with a keel outline and enlivened by truncated elements that emerge from the principal moulding.