<\/span>More<\/div>\nThe inter-columns between both types of windows are filled with monochrome gold figures that symbolise the Liberal Arts (on the opposite side), the personages that excelled in such disciplines: Grammar\/Aristarchus; Rhetoric\/Cicero; Logic\/Zeno of Elea; Poetry\/Homer; Painting\/Zeus; Music\/Heron; and Arithmetic\/Pythagoras. The door set on the west wall, is dominated from above by a half-bust of Aristotle, intellectual by definition, and flanked by the figure of Study, shown with the features of the young Giulio II Arese. On the opposite side, the door to the east is surmounted by the bust of Gaius Julius Cesar, with the Allegory of Intelligence at his side. In this way the wise route through the room is complete: the study and the Aristotle-type of methodology brings the young student, Arese, to master all the sciences and arts, following the example of the great philosophers of the past, but also in developing the ability to combine his own innate intelligence with the operational skills Cesar was gifted with. Lastly, on the contrary compared to the other halls, the Gallery is the only room of the first floor in which the centre of the ceiling\u2019s panels are painted with a series of cupids holding the emblems of the arts and sciences, and in the corners, the stems of the mansion\u2019s owners.
\nAn inscription painted on the entrance door leading to the southern staircase, bears the date 1663, to be interpreted as the year of the start of the decorative works on the hall, in honour of the studies undertaken by the young count. His sudden death in 1665, however, led to the start of a series of modification in the last two bays of the hall, especially on the ceiling where the cupids drop the Wings \u2013 symbol of the Arese family, and the stems connected to these are replaced by that of the Borromeo lineage, the new heirs of Bartolomeo III.
\nAs to the autograph of this complex painting works, critiques found from the 17th-century inventories, a note referring to several sets of hands, later identified as those of Antonio Busca (1625-1686), probably the author of the decorations on the vault, the artist Giovanni Ghisolfi (1623-1683), for the architectonic frames in the background, and the brothers Giovanni Stefano (1612-1690) and Giuseppe Doneda (1609-1680 ca.) so-called Montalto, for the allegorical figures.
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