The frescoes were removed in 1767, when the architect Ennemond Petitot was commissioned to renovate the villa by Duke Philip of Bourbon and modified the sixteenth-century layout of the residence.
The surviving pieces, of different shapes and sizes, depict mythological scenes that, due to their fragmentary nature, do not allow us to precisely identify a single narrative plot. The question of their original location is also not yet definitively clarified, even if recent restoration work in the palace has led to the assumption that the paintings, unanimously attributed to Bertoja, already originally separated by frames, were located in one of the small rooms now located in the attic, beyond the so-called Perseus room.
Even in this scene, set in a fantastic landscape in which the protagonists of the myth of Amore e Psiche can be recognized, Bertoja’s modernity can be found: the pictorial layout recalls the subjects of the other cycles he frescoed in the Palazzo del Giardino, such as in the Hall of the Kiss, where the elongated figures according to the “manner” taken from Parmigianino seem to float in the space between rocks, caves and fantastic landscapes. The stylistic traits and that particular effect that seems to dissolve the forms are similar to the works of the youthful period, around 1566, just after the creation of the Madonna della Misericordia of the Gallery.