Abstract
The ideas of the Neapolitan philosopher Giovanni Battista Vico attracted little attention during his lifetime, except in Venice, where his works found an enthusiastic audience. Giovanni Battista Tiepolo's early ceiling fresco in the Palazzo Sandi (1725–26) offers a unique example of how contemporary Venetian intellectuals read Vico's work. It appears that Tiepolo's patrons based the iconography of their salone on Vico's Universal Law (1720–22) and first New Science (1725) to illustrate the main tenets of the myth of Venice, a political fiction that legitimized the class structure of the republic and the absolute legislative and judicial authority of its aristocracy.
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