When Raphael finished the Camera della Segnatura he was about twenty-eight years old. His remaining nine years added certain remarkable portraits, the Castiglione, the Leo X, Figure 190, the Fornarina and the young Cardinal at Madrid, one sublime altar-piece, in the Sistine Madonna; a dramatic masterpiece in the Transfiguration, and a few frescoes. But in the main these are years of retrogression. His popularity had got beyond his power to utilize it. Michelangelo in 1512 had unveiled the ceiling of the Sistine Chapel. Raphael, with all Rome, felt qualities of energy and grandeur which he himself lacked, and, with less than his usual intelligence, began a fruitless emulation. The last three _Stanze_ show in their very look that Raphael is no longer his unperturbed self. The figures no longer hold up their place on the wall, they crowd out toward the spectator appallingly. The compositions no longer show restful patterns which conform to the flatness of the wall. There are disturbing flashes of light and obscure gaps. The figures themselves are contorted and vehement; straining sinews and knotted muscles are advertised for their own sake. Emulating the sublimity of Michelangelo, Raphael only achieves sensationalism. Then he is no longer a painter but a director of painting. Nothing but the designs are now his own. The working sketches and cartoons are by his pupils, who work under the sway of a young Mantuan of facile and brutal talent, Giulio Romano. One passes through the last three Stanze with mixed feelings. The high pleasures of art are left behind; remains the spell of great power and intelligence now almost untouched by taste. [Illustration: FIG. 190. Raphael. Pope Leo X.—_Pitti._ ] [Illustration: FIG. 191. Raphael. Heliodorus driven from the Temple by a Celestial Horseman. Fresco.—_Vatican._ ] The Stanza of Heliodorus finished in 1514 contains a superbly dramatic fresco of Heliodorus, Figure 191, thrust by a celestial horseman from the temple he would profane. The execution is mostly by Giulio Romano. Raphael himself appears in one of his most massive designs, the Mass of Bolsena. The theme is a sceptical priest persuaded of the truth of the sacramental miracle through the bleeding of the wafer. The miracle takes place in the presence of Pope Julius II. There is a weight of character in the picture which is unique in Raphael’s mural painting. The adjustment of masses is in an impeccable symmetry all the more difficult that the space is irregular and refractory. The fine figures that carry the theme down into the narrow rectangles alongside the window are in part repainted by a young rival of Raphael, Michelangelo’s protegé, Sebastiano del Piombo.