while Justice lies tightly bound below. The so-called Mantegna Tarocchi (c. 1465–75) are sets of fifty educational cards depicting personifications of social classes, the planets and heavenly bodies, and also social classes. A new pair, once common on the portals of large churches, are Ecclesia and Synagoga. Death envisaged as a skeleton, often with a scythe and hour-glass, is a late medieval innovation, that became very common after the Black Death. However, it is rarely seen in funerary art "before the Counter-Reformation". When not illustrating literary texts, or following a classical model as Botticelli does, personifications in art tend to be relatively static, and found together in sets, whether of statues decorating buildings or paintings, prints or media such as porcelain figures. Sometimes one or more virtues take on and invariably conquer vices. Other paintings by Botticelli are exceptions to such simple compositions, in particular his Primavera and The Birth of Venus, in both of which several figures form complex allegories. An unusually powerful single personification figure is depicted in Melencolia I (1514) an engraving by Albrecht Dürer. Venus, Cupid, Folly and Time (c. 1545) by Agnolo Bronzino has five personifications, apart from Venus and Cupid. In all these cases, the meaning of the work remains uncertain, despite intensive academic discussion, and even the identity of the figures continues to be argued over. Theory Around 300 BC, Demetrius of Phalerum is the first writer on rhetoric to describe prosopopoeia, which was already a well-established device in rhetoric and literature, from Homer onwards. Quintilian's lengthy Institutio Oratoria gives a comprehensive account, and a taxonomy of common personifications; no more comprehensive account was written until after the Renaissance. The main Renaissance humanists to deal with the subject at length were Erasmus in his De copia and Petrus Mosellanus in Tabulae de schematibus et tropis, who were copied by other writers throughout the 16th century. From the late 16th century theoretical writers such as Karel van Mander in his Schilder-boeck (1604) began to treat personification in terms of the visual arts. At the same time the emblem book, describing and illustrating emblematic images that were largely personifications, became enormously popular, both with intellectuals and artists and craftsmen looking for motifs. The most famous of these was the Iconologia of Cesare Ripa, first published unillustrated in 1593, but from 1603 published in many different illustrated editions, using different artists. This set at least the