It seems that every allegorical painting opens some door to deeper truth. The Calumny of Appelles  was painted by Sandro Botticelli in 1494 from the description of a lost painting by Apelles, a Greek painter, who lived in the 4th century BC. Now, the painting resides in the Uffizi in Florence, and does not stop to amaze gallery visitors with its beauty and metaphorical insight. In the centre of this painting is an innocent man on the floor who is being dragged to King Midas on the throne who has to decide on his fate. Calumny (Slander), in blue and white, is dragging the man by his hair, while Perfidy (Deceit) and Fraud are behind her, arranging her hair. A man dressed in black, holding Calumny’s hand, is Rancour (Envy) who is stretching his hand to the King. The old woman in black is Remorse, who glances at the naked Truth, a young woman who points to the sky. The lady is naked because, like the man on the floor, she has nothing to hide, and she urges the others to consider higher values in life. By pointing at heaven, she also gives a sign to others that a fair judgement is reserved for all after their deaths. However, King Midas, who has to pass a judgement on the innocent man, has his eyes downcast, not seeing the picture fully and clearly in front of him. He is guided by Ignorance and Suspicion, the two ladies on each side of him, who whisper in his donkey ears their suggestions on the course of action to take.