which are seated colossal figures, one in each of the eight divisions, and all representing men who have been remarkable for their services in the defence of the republic, or for their obedience to her laws. The centre, or highest part of the ceiling, is divided into three compartments, so that in the middle and immediately over the octangles there is a circle formed, while there are squares over each of those on the walls beneath.
In one of the octangles is the figure of a Woman surrounded by Children; she holds a heart in her hand, and represents Patriotism, or the Love of Country. The second octangle has also the figure of a Woman, with an equal number of Children, and this represents Civic Union; while in the circle between the two octangles is a figure of Justice with the Sword and Scales in her hand: this last is foreshortened with so much boldness as to be matter of admiration to all, whether we consider the drawing or the colouring. The latter commences darkly in the lower part, but from the knees upward it becomes gradually lighter, and, continuing to brighten towards the back, shoulders, and arms, attains to a celestial splendour at the head, and the figure appears to become lost, and to vanish by slow gradations into the air. It is not possible, I do not say to find, but to imagine, any figure more beautiful than this, nor is there one completed with finer judgment or more profound art, among all the number thus painted by various artists, to appear foreshortened, that is to say, when viewed from below.[1]
With respect to the stories themselves; in the first, which is that at the end of the hall and to the left of the entrance, is an historical representation, the subject of which is the Reconciliation of the Censors, Marcus Lepidus and Fulvius Flaccus, who being much at enmity with each other, had yet no sooner become associates and colleagues in the magistracy than, laying aside all thought of their private resentments in consideration of the public interest, they fulfilled the duties of their office in the strictest amity. They kneel together at the same altar, while around them stand numerous figures and behind all are magnificent temples and other buildings, of which we have perspective views of such extraordinary
- ↑ For certain remarks on what Vasari here affirms, see Lanzi, ut supra, vol. i. p. 297
