it decorates the reception hall of barberini palace in rome, home of pope urban viii, a great patronf the arts. to the modern sensibility, molded by the notion that less is more, it may seem decorative and confusing. a careful look at this work, done at the height of the baroque period, reveals a well-thought-out design based on a written plan. when urban looked up at his ceiling, he saw the figure of divine providence stretch her arms to a chorus of maidens who carry his family emblem, the barberini bees. they carry the bees to crossed keys of saint peter, the symbol of the papacy, and to the papal crown. the painting's meant to be read. it tells us that pope urban viii is a great and worthy man, but also that the ideals of the classical world have been subordinated to the values of triumphant christianity. every figure in this swirling panorama has meaning. the scenes painted around the sides of the ceiling tell stories extolling the pope's virtues. his unyielding battle against heresy is here symbolized by athena destroying insolence and pride in the shape of the giants. here his