The whole ceiling in this room is soft and restful in character, the pattern is mechanical, but the form and spacing of the great octagon and the ingenuity of the divisions of the architraves complete a thoroughly harmonious effect. The Borgia crest re-appears with inevitable monotony. The coat-of-arms shines from the centre of radiating sun rays, and upon a dark blue ground. At either end of the vault great white bulls approach an altar, where they are received by charming _putti_ with trumpet blasts of triumph. The whole is so blended and subdued that though each detail is full of the beauty of nature, it is yet perfect, looked at as mere decoration. In the Spanish Chapel in Florence (which Pintoricchio had never, as far as we know, seen), in the Castles of Urbino and Bracciano, among other places, from Giotto down to the followers of Raphael, the arts and sciences had been a favourite theme treated by his forerunners. Here they have some slight resemblance to the series painted under the superintendence of Melozzo for the Duke of Montefeltro, two of which are now in the National Gallery. They are like enough to make us think that Pintoricchio had seen them or had their description, and in accepting and enlarging on the suggestion, he has in this room achieved a remarkable series. In the preceding chambers his task has been one of comparatively little difficulty. The well-known sacred histories asked no great flight of fancy, originality was unnecessary and they were naturally rich in incident and detail. The scenes from the lives of the saints lend themselves easily to dramatic effect and allow of every sort of accessory. But in this room, which Steinmann suggests was Pope Alexander's study, each of the seven spaces has for its prevailing object of interest the single figure of a woman, and relief from monotony depends upon the appropriate figures grouped around. Each of the emblematical forms sits upon a throne, with a stiff, architectural back,[27] from several of which winged _putti_ are drawing back heavy curtains, and about the steps are gathered philosophers and disciples of the art or science. Beyond, a softly-tinted landscape is detached against a blue and gold embossed firmament. Over the whole broods an idyllic peace. Calm, serene beings are absorbed in culture and the pursuit of knowledge, contemplative and thoughtful, almost as far removed as the saints from the worldly plotting and fierce intrigues which are carried on under their unimpassioned eyes. Unfortunately this beautiful hall has suffered more than any other, and several of the frescoes are almost destroyed by damp and restoration. [27] These thrones, each with a single figure, resemble the ones in the series of Virtues painted by Pollaiuolo and Botticelli for Lorenzo dei Medici. Pintoricchio may have had a description of these.