"Now, let us give names to all these parts, with the divisions that we shall make in the whole chamber, and we shall thus be able to distinguish each part on every side, all the way round. Dividing it into five sections, then, the first shall be the 'head'; and this I presume to be next to the garden. The second, which must be that opposite to the first, we shall call the 'foot'; the third, on the right hand, we shall call the 'right'; the fourth, on the left hand, the 'left'; and the fifth, situated in the midst of the others, shall be named the 'centre.' Thus, distinguishing all the parts with these names, we shall speak, for example, of the lunette at the head, the facade at the foot, the concavity on the left, the horn on the right, and so with any other part that it may be necessary to name; and to the spandrels that are at the corners, each between two of these boundaries, we shall give the name both of the one and of the other. And thus, also, we shall determine on the pavement below the situation of the bed, which, in my opinion, must be along the facade at the foot, with the head turned to the left-hand facade. "Now, all the parts having received a name, let us turn to give a form to them all in general, and then to each by itself. First of all, the concavity of the vaulting, or rather, the oval, shall be represented--so the Cardinal has judiciously determined--as being all heaven. The rest of the vaulting, comprising the four spandrels together with the border that we have already mentioned as enclosing the oval all around, shall be made to appear as the unbroken surface within the chamber, and as resting upon the facades, with some beautiful architectural design of your own devising. The four lunettes I would have counterfeited as likewise concave; and, whereas the oval above represents a heaven, these must represent heaven, earth, and sea, as if without the chamber, in accordance with the various figures and scenes that shall be there. And since, the vaulting being very flat, the lunettes are so low that they will not hold any but little figures, I would divide each lunette into three parts along its length, and, leaving the ends in a line with the height of the spandrels, I would deepen the centre part below that line, in such a manner that it may be like a great high window and show the exterior of the room, as it were, with figures and scenes proportionate in size to the others. And the two extremities that remain on either side, like horns to the lunette--and horns henceforward they will be called--shall be left low, of the height that they are above that line, and in each of them must be painted a figure seated or recumbent, and seeming to be either within or without the room, whichever you please, for you must choose what looks best; and what I say of one lunette I say of all four.