4 Veturia and Volumnia Appealing to Coriolanus and The Three decorations for the room, also viewed the ceiling as an Graces, now in the da Schio collection, Castelgomberto, exemplum virtutis for the marriage of Tommaso Sandi's Vicenza. son, Vettor, in 1724. Aikema's thesis, however, depends 5 Antonio Morassi (i95$b, 4). Bernard Aikema (1986, on a misreading of the date of the wedding. I7in.n) and Filippo Pedrocco (2002, 280) have 13 For example, Christopher Drew Armstrong has pro- reaffirmed this interpretation. posed an important new interpretation of the ico- 6 Vincenzo Cartari, Le imagini degli dei degli antichi nography, rooted in Giovanni Battista Vice's theories (Venice: Vincentio Valgrisi, 1571), 341. of history and natural law, first outlined in a lecture, 7 Andrea Alciati, Emblematum liber (Paris: Christiani "Myth and Enlightenment: Tiepolo and the New Wecheli, 1542), 226-27. Science," University College, University of Toronto, 8 Brown 1993, 201. March 17, 2004 (to be published in a forthcoming 9 As Antonio Morassi first observed (i9$$b, 7), Tiepolo article). For important insights into the intellectual probably reworked the Hercules scene much later, interests of the Sandi family, see Francesco dalla perhaps on account of some damage to the original, Colletta, I principi di storia civile di Vettor Sandi: Diritto, which explains the more even handling of light and the istituzioni, e storia nella Venezia de metd Settecento (Venice: neater contours of the figures, connected to his much Istituto veneto di scienza, lettere, e arti, 1995). later style, perhaps post-1753. 14 Knox 1993, 141. 10 Knox 1993, 135-37. 15 See entries in The Oxford Guide to Classical Mythology in 11 Knox 1993, 135; and Levey 1986, 23. the Arts. Pegasus held a crucial position in Arcadian 12 Others have interpreted the theme even more broadly poetics, suggesting a possible connection of the Sandi with Michael Levey (1986, 23) considering the work to Arcadian circles. See, for example, Liliana Barroero as centering on the notion of ingenuity Bernard and Stefano Susinno, "Arcadian Rome: Universal Aikema (1986, 167), connecting the ceiling with the full Capital of the Arts," in Bowron and Rishel 2000, 52. 26