The Pavilion assigned to the painters stands in the Villa garden, with the accustomed growth and fragrance of orange-trees, magnolias, azaleas, roses, and violets. Overbeck entered on the work with poetic ardour. The Massimo Pavilion is little more than three rooms standing on the ground; the first, indeed, is an Entrance Hall, and therein Schnorr painted copiously from Ariosto. On the left a door leads to the room assigned to Cornelius for the illustration of Dante: the ceiling fell to the lot of Veit. On the right another door opens to a corresponding room of like dimensions, set apart to Overbeck and Tasso's _Jerusalem Delivered_.[10] This small interior is not more than fifteen feet square, and the wall-spaces are much broken up by doors and windows, so that only one of the four sides remained disencumbered. The compositions are eleven in number, and are unequal alike in size and merit. The largest and most noteworthy is fifteen feet long by ten feet high, representing the _Meeting of Godfrey de Bouillon and Peter the Hermit_. The narrative is lucidly told, the picture well put together, and the successive planes of distance are duly marked. Altogether the fundamental principles of wall-decoration are clearly understood in this the most complex composition yet attempted by the painter. Another thoroughly studied design is _Sophronio and Olindo on the Funeral Pyre delivered by Clorinda_.[11] The action has more than usual force and movement, and the undraped figures are drawn with severe exactitude. Presiding over the whole series, in the middle of the ceiling, is an allegorical figure of _Jerusalem Delivered_.[12] An angel on either side unlooses the fetters of an innocent placid maiden crowned with thorns. These frescoes, notwithstanding their situation in a cold, damp garden-house, remained, when I saw them last, in January, 1878, in sound condition: thus once more we find Overbeck, equally with Cornelius, to have been solidly grounded in the method of wall-painting.