THE VIN

aolo,

position entirely absorb her. She still retained some social connections and was a patroness of art and culture. The daughter of a nobleman, she was a person of consequence, whose private apartments were such as a princess might have. Alr

heel, a series of gilded ribs radiate towards the sides, cutting the whole space into triangular sections whose surfaces are slightly hollowed. The oval windows of the trellis open in these sections, one in each triangle, and sixteen in all. Above every window hangs a bunch of fruit, seemingly suspended from the centre by ribbons fancifully braided about the ribs. The outer edge of the design, wh

y be seen through every window, busy and happy in their innocent sport. One is the delighted possessor of a quiver of arrows, from which he draws a shaft. Others play with

TION IN THE SA

of S. Pa

the image for

his shoulder a merry companion, peeps out, and lower down, on the other side, appears the head of an animal like a doe. In the next window is a boy with a wreath of flowers with which he and a companion apparently mean to crown the head of the stag. The third boy of the group has for the moment lost interest in the

s of course, square in shape. In our illustrat

ng-spear, or perhaps a pole with which he hopes to reach the fruit. In some way he has managed to get both feet through the window, and is now in a precarious p

r mythological meaning. In our illustration we see first the figure of Chastity, holding in her right hand the dove, which is the emblem of innocence. The dress is the

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oul is found

iveried ange

f each thing o

dream and s

ngs that no gro

and the lily, which is the symbol of purity. The other two figures, of which we see only the

it was impossible for outsiders to gain admittance, and the "Sala del Pergolato" was a sealed treasure. Finally, in 1794, the Academy of Parma gained permis