atican; and that such was the case, is proved by the evidence of a
fresco in the Ospedale di Santo Spirito at Rome, representing the interior
of the library. This hospital was rebuilt by Sixtus IV. on an enlarged
scale[398], and after its completion in 1482, one of the halls on the
ground floor was decorated with a series of frescoes representing the
improvements which he had carried out in the city of Rome. Recent
researches[399] make it probable that the earlier pictures in the series
of which the library is one, were selected by Platina, and executed before
his death in 1481. I am able to present to my readers a reduced copy of
this invaluable record (fig. 99) executed for me by Signor Danesi, under
the kind superintendence of Father Ehrle.

The artistic merit of such a work as this is not great, but I feel sure
that the artist faithfully reproduced what he saw with the limitations
prescribed by his own want of skill. The desks bear a general resemblance
to those at Cesena; they are plainer than the Accounts would warrant, but
this may be due to want of skill on the part of the artist. The chains
have also been omitted either for the same reason or from a wish to avoid
detail. It will be noticed that each desk is fully furnished with volumes
laid out upon it, and that these vary in number and size, and have
different bindings. It may be argued that the artist wished to compliment
his patrons by making the most of their property; but I should be inclined
to maintain that this was the normal condition of the Library, and that
the books, handsomely bound and protected by numerous bosses of metal,
usually lay upon the desks ready for use.

If this fresco be compared with the earlier work of Melozzo da Forli, it
is not difficult to identify four of the persons present in the Library
(other than the readers). The central figure is obviously Sixtus IV., and
the Cardinal to whom he is speaking is, I think, meant for Giuliano della
Rovere, afterwards Julius II. The figure immediately behind the Pope may
be intended for Pietro Riario, and the figure behind him is certainly
Platina. The others, I take it, are simply attendants.

Nor must it be forgotten that, important as this fresco is in connexion
with the Library of the Vatican, it is of even greater interest as a
contemporary representation of a large fifteenth century library.

The arrangement of each room is not quite so simple as might appear at
first sight; and, besid