The figures of "Grammar" and "Dialectics" in the following scenes are so much retouched that we can hardly tell what they were like originally, but we may feel almost certain that no part of them is by Pintoricchio. The architecture of the thrones differs too. We surmise that this room, the last of the series actually occupied by the Pope, was finished hurriedly, and that this accounts for the very marked falling off in the quality of the work of the last three scenes. The arch and the five octagons here are entirely repainted; they refer to the virtue of "Justice," who holds the sword and balance. The others are sacred or legendary scenes. The period of their wholesale restoration can be judged by a dragon at the side of the central octagon, which we take to be the crest of Buoncompagni, and therefore of the time of Gregory XIII. The most beautiful decorative figures in the entire range of rooms are the three full-length angels who support the Borgia scutcheon surmounted by the keys and tiara, set in a stucco frame between "Rhetoric" and "Geometry." In freedom of gesture, grace of flying drapery, and excellence of drawing, they must be ascribed to Pintoricchio himself, and may be compared with those he has executed in the Buffalini Chapel. [Illustration: _Anderson photo_] [_Borgia Apartments, Vatican, Rome_ FIGURE REPRESENTING MUSIC] The two following halls, which were those by which persons who had had audience of the Pope withdrew, are alike in architecture, and quite different from the rest. Large, and much more simply decorated, with high raised window seats; the first has a ceiling painted with patterns and grotesques (which here become much more decided in style), and has a frieze of twelve half-length figures of apostles and prophets arranged in pairs, the apostles holding scrolls bearing a sentence of the Creed, the prophets' scrolls inscribed with prophetic sayings. According to a mediæval legend, each apostle, before proceeding to evangelise the world, composed a sentence of the Creed, and to each here is assigned his traditionary verse. The painter has used a late book of the sibyls, those interesting, legendary figures to whose traditionary sayings so much importance was attached by the early Church, and who were revived in the art of the Renaissance, with other classic myths. Twelve are given, and all the prophecies, composed by the early Church, refer to the birth of the Redeemer. The ribbon upon which the oracle is inscribed was traditionary with the painters of the fourteenth and fifteenth centuries, and Pintoricchio, like most of the Umbrian painters, was particularly attached to this decorative accessory. He uses it freely in the Belvedere, in Santa Maria del Popolo, and at Spello.