We see a wheel with eight columnar spokes. To give an effect of rotatory motion, the border is inlaid in small lozenges of black and white marble, arranged to represent cogs. At the top of the wheel sits a King, enthroned and crowned, with orb and sceptre. Clinging to the two sides and bottom are three figures of men, whose anxiety to retain their hold, as the wheel revolves, is forcibly expressed. The wheel is surrounded by a continuous band of black and white marble, which, looped octagonally at the angles, incloses, in the spaces so formed, half lengths of the following four Sages: Epictetus, Aristotle, Seneca and Euripides. Each Sage holds a scroll, with a quotation from one of his own writings. (Ill. VI.) [Illustration: LOMBARDI PHOTO.] [1372. AUTHOR UNKNOWN VI. THE WHEEL OF FORTUNE (No. 37)] This design may be compared with another Wheel of Fortune, inlaid by Domenico del Coro in the lower panel of a door in the Chapel of the Palazzo Comunale. Padre Micheli calls it the Wheel of Ambition,[31] although the wheel itself is inscribed “_Rota della Fortuna_.” He thus describes it: “To the lower part is a man clinging, beside whom is written the inscription ‘_So senza Regno_’ (I am without a Kingdom). Half way up the wheel, to his right, clings another figure of a man, this time with the head of an ass, and the inscription ‘_Regnero_’ (I will reign). On the top of the wheel is seated an ass, with the word ‘_Regno_’ (I reign); and lastly, on the other side, going downwards, is an ass with a man’s head, and the motto ‘_Regnai_’ (I have reigned).” The author of this inlaid panel, who must in his former position of Capo-maestro, have known well the larger and older design, probably wished to improve upon it; but it is somewhat remarkable to find it placed among panels symbolising the Articles of Christian Faith. * * * * * Let us now turn to 4. THE SOUTH AISLE. Both this and the North Aisle are adorned with representations of the ten Sibyls, five in each. These Sibyls were all placed here under the Rectorship of Alberto Aringhieri in the years 1482–83.[32] The introduction of these mythical personages into ecclesiastical art was not unusual at this period, and they take their place beside the Prophets, as forerunners of Christ.