"If this portrait, as may well be believed, represents the same person as that of the Barberini house, we are compelled to admit that the countenance, always intelligent, of this young girl, had become wonderfully animated in the time between the execution of the two portraits. However," he adds, "it would be indeed astonishing if constant intercourse with the author of so many masterpieces, and one of the most perfect human organizations that nature ever produced, should have failed to influence the facile character of a young girl. This second portrait, to judge by the manner in which it is painted, must belong to the last years of Raphael's life." With this fervent and lasting love for Margherita in his heart, Raphael painted the other three mural paintings in the Vatican hall: the "Parnassus," Apollo surrounded by the Nine Muses, Homer singing, Dante and Virgil conversing, with Pindar, Sappho, Horace, Petrarch, Ovid, and others; "Jurisprudence," with Emperor Justinian and Gregory IX., the one founding the laws of the State, the other the laws of the Church; the "School of Athens," with the masters of ancient philosophy and science assembled. On the left we see the most ancient of the philosophic schools gathered around Pythagoras. Socrates, Plato, and Aristotle are surrounded by their pupils; Archimedes and Zoroaster are the central figures of the interested group. Diogenes sits on the central steps of the grand hall where more than fifty great men are assembled. Passavant says, "In the 'School of Athens,' Raphael showed the full power of his genius, and that he was completely master both of his style and of his execution. In the part of this picture requiring great learning, it is possible, and indeed highly probable, that Raphael consulted the most erudite of his friends, and amongst others the Count Castiglione, who had just come to settle at Rome. "However this may be, to Raphael alone belongs the great honor of having succeeded in representing, in a single living and distinct image, the development of Greek philosophy. It was Raphael who conceived the idea of grouping the personages according to the rank they occupy in history, and rendered the tendencies of these philosophers apparent, not merely by ingenious grouping, but also by their actions, their attitudes, and countenances. "This fresco, in which he rose to such dignity and to such a grand style, is justly considered as the most magnificent work the master ever produced. It does, indeed, unite the technical experience of drawing, coloring, and touch--the conquests of the more modern schools--to the severity bequeathed to them by the more ancient ones....