After passing the great loggia, which is adorned with stucco-work and with many arms and various other bizarre ornaments, one comes to some rooms filled with such a variety of fantasies, that the brain reels at the thought of them. For Giulio, who was very fanciful and ingenious, wishing to demonstrate his worth, resolved to make, at an angle of the palace which formed a corner similar to that of the room of Psyche described above, an apartment the masonry of which should be in keeping with the painting, in order to deceive as much as possible all who might see it. He therefore had double foundations of great depth sunk at that corner, which was in a marshy place, and over that angle he constructed a large round room, with very thick walls, to the end that the four external angles of the masonry might be strong enough to be able to support a double vault, round after the manner of an oven. This done, he caused to be built at the corners right round the room, in the proper places, the doors, windows, and fireplace, all of rustic stones rough-hewn as if by chance, and, as it were, disjointed and awry, insomuch that they appeared to be really hanging over to one side and falling down. Having built this room in such strange fashion, he set himself to paint in it the most fantastic composition that he was able to invent--namely, Jove hurling his thunderbolts against the Giants. And so, depicting Heaven on the highest part of the vaulting, he placed there the throne of Jove, representing it as seen in foreshortening from below and from the front, within a round temple, supported by open columns of the Ionic Order, with his canopy over the centre of the throne, and with his eagle; and all was poised upon the clouds. Lower down he painted Jove in anger, slaying the proud Giants with his thunderbolts, and below him is Juno, assisting him; and around them are the Winds, with strange countenances, blowing towards the earth, while the Goddess Ops turns with her lions at the terrible noise of the thunder, as also do the other Gods and Goddesses, and Venus in particular, who is at the side of Mars; and Momus, with his arms outstretched, appears to fear that Heaven may be falling headlong down, and yet he stands motionless. The Graces, likewise, are standing filled with dread, and beside them, in like manner, the Hours. All the Deities, in short, are taking to flight with their chariots. The Moon, Saturn, and Janus are going towards the lightest of the clouds, in order to withdraw from that terrible uproar and turmoil, and the same does Neptune, who, with his dolphins, appears to be seeking to support himself on his trident. Pallas, with the nine Muses, stands wondering what horrible thing this may be, and Pan, embracing a Nymph who is trembling with fear, seems to wish to save her from the glowing fires and the lightning-flashes with which the heavens are filled. Apollo stands in the chariot of the sun, and some of the Hours seem to be