Thus from the corners, or angles of the lunette there is on each side a gradual rise up to the head of _Prudence_, that suggests a pyramid or a triangle within the curved space. The same triangular effect is repeated in the pattern, made by the figures of _Prudence_ and the Cupid who holds the torch. The curve of the torch is so arranged as to balance the slope of the woman’s legs. So the geometric plan may be the repetition of a smaller, inside a larger triangle, contrasted with the curve of the lunette. On the other hand, if you look at the painting again, you notice that the Cupid with the torch is balanced by the one who holds the mirror. Their bodies have a vertical or upright direction, and then the tops of the torch and the mirror supply points which the eye seems to join by a horizontal line, so that a rectangle occupies the center of the composition as it does in the _Disputá_. This strong contrast of a rectangular form to the curve of the lunette, and then again the contrast of the diagonal lines, formed by the Cupids’ figures across the angles of the space, may be the simple geometric elements out of which this composition grew.