the sea. The pictures on the right-hand side were divided by these Virtues, placed in the niches--Liberality, Concord, Compassion, Peace, and Religion; and opposite to these, on the other wall, were Fortitude, Civic Wisdom, Justice, a Victory with War beneath her, and, lastly, a Charity. Above all, then, were a large cornice and architrave, and a frieze full of lights and of glass globes filled with distilled waters, to the end that these, having lights behind them, might illuminate the whole apartment. Next, the ceiling was divided into four quadrangular compartments, each ten braccia wide in one direction and eight braccia in the other; and, with a width equal to that of the niches of four braccia, there was a frieze which ran right round the cornice, while in a line with the niches there came in the middle of all the spaces a compartment three braccia square. These compartments were in all twenty-three, without counting one of double size that was above the stage, which brought the number up to twenty-four; and in them were the Hours, twelve of the night, namely, and twelve of the day. In the first of the compartments ten braccia in length, which was above the stage, was Time, who was arranging the Hours in their places, accompanied by AEolus, God of the Winds, by Juno, and by Iris. In another compartment, at the door of entrance, was the Car of Aurora, who, rising from the arms of Tithonus, was scattering roses, while the Car itself was being drawn by some Cocks. In the third was the Chariot of the Sun; and in the fourth was the Chariot of Night, drawn by Owls, and Night had the Moon upon her head, some Bats in front of her, and all around her darkness. Of these pictures Cristofano executed the greater part, and he acquitted himself so well, that everyone stood marvelling at them: particularly in the Chariot of Night, wherein he did in the way of oil-sketches that which was, in a manner of speaking, not possible. And in the picture of Adria, likewise, he painted those monsters of the sea with such beauty and variety, that whoever looked at them was struck with astonishment that a craftsman of his rank should have shown such knowledge. In short, in all this work he bore himself beyond all expectation like an able and well-practised painter, and particularly in the foliage and grotesques.