The fresco of Parnassus repeats approximately the grouping of the School of Athens, but changes the mood to one of lyrism, and shifts the scene to a hill top. About Apollo and the Muses wander the forms of the elder and recent poets. Often the faces are a bit insipid, but no one thinks of that, so easy are the postures, so gracious the whole effect, so instinct with the quiet good breeding of an academic pastoral. All the Umbrian reticence and discretion and humility of Raphael are in this beautifully calculated work. It betrays, too, certain ominous symptoms of display, in the way, for example, in which the figures at the window protrude beyond the wall. Primarily this is only a way of softening two ugly angles of the window opening, but it is also a concession to Michelangelo’s dangerous habit of painting away the architecture. All the forms have an amplitude and dignity akin to that of classical sculpture. Hellas is for Raphael no longer a far-away, inaccessible world, as it was, for example, to Botticelli. Raphael has effectively reconstructed it, in part by a gracious act of intuition, in part by study of the wall paintings and statues of old Rome. [Illustration: FIG. 189. Raphael. Prudence, Temperance, Force—generally called Jurisprudence. Fresco.—_Vatican._ ] The decoration of the Camera della Segnatura was completed triumphantly with the fresco symbolizing Jurisprudence, Figure 189, in which Raphael invents a new and beautiful compositional formula. Having to deal with a lunette awkwardly shortened by the window, he used three seated figures signifying the judging, restraining and rewarding aspects of justice. There is no strict centrality and no exact symmetry. The large curves of the figures play off from each other in a continuous rhythm melting into the bounding curve. One may conceive it in terms of the growth of plants, as so many sprays meeting, diverging, opposing each other, and all managing to conform to the line of an arch. It is a type of composition that Raphael will develop with still greater subtlety in the Sibyls of the Madonna della Pace.