error of not acting in accordance. Venus and the dancers The ten dancers featured in the middle of The Effects of Good Government fresco are the subject of many discussions. It is believed that they are the representation of Venus's children. It was believed in Lorenzetti's day that there were two manifestations of Venus. These two sides found their forms in either the legitimate planetary deity, or as the nude goddess born of the sea. When looking at the depictions of the personifications of the other planets along the fresco borders, we see that they are seen placed in both their houses. Venus on the other hand is only placed in Taurus, her daytime house. With this careful choice, Lorenzetti legitimizes her side as a planetary goddess. This is further enforced with her modest dress, instead of being depicted nude. Her children then in turn gain the representation of chastity, matrimonial love, friendship, and sociability, all aspects that flourish during daylight hours. The movement of their dancing mimics the arm movements of Venus, and this in combination with their larger scale, creates and draw emphasis to the resounding message that peace in the city must be found in conjunction with the movements of the Heavens. Perspective When examining The Effects of Good Government, the viewer is aware of the use of a skewed perspective. The cityscape and the scale of the figures, as well as the perspective, do not seem to follow a rational scheme. There have been two hypothesizes put forward to explain this departure from a more traditional use of perspective. One hypothesis that has been formulated is that the skewed perspective comes from the fact that the mural derives its perspective from a center directly in front of the figure of Tyranny on the opposite wall. The perspective then in the depiction of good government radiates from this center, making use of a more radial perspective. The second and more popular hypothesis put forward is the idea that the perspective is derived from the gaze line of Justice. This hypothesis is supported by the fact that whereas the other virtues sit in an upright position, looking either into space or discreetly at each other, Justice's line of gaze is directed across to the corner of the room. To further support this idea photographs have been taken following her line of sight, and with these photographs the buildings