Most of the Farnesina’s canonical wall paintings – Peruzzi’s illusionistic salone or Sala delle Prospettive, Sodoma’s Roxana and Alexander in the nuptial bedroom, and the story of Psyche by Raphael and his team – are the product of a distinct second phase of remodelling and decoration, not conceived from the start but put in motion when Agostino Chigi decided, by marrying, to legitimise his concubine Francesca and their children (the firstborn, Alessandro, suggesting the theme of Alexander the Great). Together with Raphael’s Galatea these frescoes became the focus of future visitors, artists, connoisseurs and art historians for centuries. In this sense they need no introduction, or at least no elaborate reconstruction and exposition. This concluding chapter will emphasise aspects of these all-too-familiar painted rooms that are freshly illuminated by the discoveries made earlier in the book. The ‘new sensibility towards the natural world’ embodied in the loggias generated new ‘fictive landscapes’ (Ch. 4 n. 65). Venus myths initiated in Peruzzi’s external paintings and astrological vault, and further explored by the house poets, continue to influence these new developments later in the decade.