Abstract: The frescos that Montaigne saw daily in his study were conceived and distributed according to a program that defined a visual itinerary. The mythologies they illustrated came to life in a set of binary oppositions that are also connected by a strange set of geometric diagonals. The physical arrangement of these pictures reproduces Montaigne's off-set writing strategy: “My imaginings follow one another, and look to each other, but obliquely.”
