The third fresco represents the "Deliverance of St. Peter from Prison," and the fourth, Attila arrested in his march on Rome in 452, by the apparition of St. Peter and St. Paul. A frightful hurricane is raging at the time, and the Huns are filled with terror. Leo X., who had succeeded Julius II., desired to be immortalized instead of St. Leo, so, with a touch of human nature not entirely spiritual, caused himself and his court, driving the French under Louis XII. out of Italy, to be painted in the picture. Passavant says, "A few very animated groups of soldiers had to be sacrificed; but on the whole the composition gained by the alteration, from the contrast of the calm gentleness of the pontiff with the ferocity of the barbarians. In execution this fresco may be considered as one of the most perfect by this master." While this second room in the Vatican was being painted, Raphael, as usual, was engaged also in other work. In the Chigi palace, or Farnesina, he painted the beautiful fresco, "Galatea." The subject is taken from the narrative of Philostratus about the Cyclops. "In the fresco," says Passavant, "Galatea is gently sailing on the waves. Love guides the shell, which is drawn by dolphins, and surrounded by tritons and marine centaurs, who bear the nymphs. Little cupids in the air are shooting arrows at them. All these figures form a contrast with the beautiful Galatea, whose languid eyes are raised to heaven, the centre of all noble aspirations. "Galatea is an image of beauty of soul united to that of the body. It is, indeed, a sort of glorified nature; or, rather, a goddess clad in human form. Raphael's genius defies all comparison, and has attained in this masterpiece a height which approaches very nearly to perfection." This fresco won the most enthusiastic praise. His friend, Count Castiglione, wrote him in hearty commendation, and Raphael replied,-- "As for 'the Galatea,' I should think myself a great master if it possessed one-half the merits of which you write, but I read in your words the love you bear to myself. To paint a figure truly beautiful, I should see many beautiful forms, with the further provision that you should be present to choose the most beautiful. But, good judges and beautiful women being rare, I avail myself of certain ideas which come into my mind. If this idea has any excellence in art I know not, although I labor heartily to acquire it." How modest the spirit of this letter, and how fully it shows that the young artist lived in an ideal world, filled with exquisite things of his own creating. Some natures always see roses instead of thorns, sunshine behind the clouds; believe in goodness and purity rather than in sin and sorrow; and such natures make the world lovelier by their uplifting words and hopes.