The second chamber. the Stanza d'Eliodorn (1512-14) , represents the triumph of the Church over its temporal foes and over false doctrine.
The medallions and the beautiful decorations of the ceiling are after Raphael's designs, but the wall paintings were executed, at least in part, by himself. The conception is somewhat dis turbed by the introduction of Papal portrait, into three of the frescoes. but granting this ne ccssit?, the composition could not have been better done. The "Expulsion of Heliodorus from the Temple," a painting of mighty dramatic power, symbolizes the expulsion of Charles VIII. of France from Italy. "Attila and Leo the Great" is a remarkable composition, designed almost entirely of horsemen. The "Miracle of BoIsom" shows how the host changed into blood under the eyes of an unbelieving priest, and over the other window "Peter's Release from Prison" is remarkable for its portrayal of the gloom of the night, under the triple illumination of the moon, torches, and the apparition of the angel. The paintings of this room, particularly the one last mentioned, are Raphael's most remarkable color istic production. and show the influence of the Venetian Sebastian° del Piombo, who was at that time in Rome. They also show, in the splendid dramatic action, a further influence of :Michel angelo, probably derived from frescoes in the Sis tine Chapel. This is still more evident in the fresco of "Isaiah" (1512; San Agostino), and in those of the "Sibyls" Santa :Maria della Pace), in which Raphael enters the list as a rival of Michelangelo. A third important in fluence upon Raphael's art was that of the classic monuments of Rome; but he harmonized all of these factors into an individual art of his own.
Before the death of Julius II. in 1513, Raphael atiS111111.11 an important position at the Papal Court. and under Leo. X. his influence increased. Upon the death of Bramante, in 1514, he was made chief architect of St. Peter's, at his dying predecessor's request, and in 1515 he was ap pointed conservator of all the excavations of antiquities in and near Rome. The greatest statesmen and humanists of the day sought his friendship, and kings requested, as an especial favor, a work of his hand. Be attended court with a following of fifty painters, and lived like a prince. Under such circumstances it was im possible for him to execute the remaining decora tions of the Vatican with his own hand. He was compelled to intrust them and the execution of his architectural and other designs to his numer ous pupils. His compositions became grander
than ever, even though the execution suffered. The celebrated engraver Marcantonio Raimondi (q.v.) was entirely occupied in carrying out his designs for prints.
The third chamber of the Vatican, the Stanza del Tneendio (1514-17), is decorated with his torical scenes from the lives of Leo III. and Leo IV., the best of which, the "Incendio del Borgo," after which the room is named. represents Leo IV. miraculously extinguishing a fire at Rome. It is a wonderful piece of dramatic realism. Of the fourth chamber, the Sala Constantina. the de signs only were furnished by Raphael. and of these only two were used, the principal of which, the "Victory of Constantine Over 'Afaxentius." was executed by Giulio Romano. Near by are the decorations of the Loggie of the Vatican, which, of all his works, show the highest influence of the antique. The adorm»ent is mainly of gro tesques, copied after the Roman models lately discovered in the Baths of Titus, and on the ceil ing is the so-called Raphael's Bible, fifty-two pic tures of biblical subjects executed by Giulio Ro mano.
But the most powerful decorative work of Raphael's later life is the ten delicately col ored cartoon±, for the tapestries which hung up on the walls of the Sistine Chapel. The orig inal tapestries are still in the Vatican. and there are copies at Berlin, Dresden, and :Madrid, but only seven of the cartoons survive—all of them showing wonderful technique and power. The two best are the "Miraculous Draught of Fishes" and "Peter and Paul Preaching." For his friend Agostino Chigi lie also designed the archi tecture and decorations of the Chigi Chapel in Santa Maria del Popolo, and the beautiful dec orations of the Villa Farnesina. Of these, the fresco "Galatea" (1514) is perhaps the most perfect of all modern mythological pictures. In it the antique lives again, executed, however, with the more naturalistic technique of the six teenth century. Raphael's talent as a narrator was never more perfectly exhibited than in the Farnesina with his story of "Cupid and Psyche" (1518-20). which, though executed by his pupils, contains some of the best modern versions of . antique mythology. Especially beautiful is the fresco of -Jupiter Kissing Cupid," in which the majesty of old age and the beauty of youth are charmingly contrasted.