Having thus illustrated the divine origin of man's chief faculties, and of ecclesiastical authority, Raffaele in the two remaining rooms exchanged allegory for historical delineation. That called the Stanza del Incendio shows us the Coronation of Charlemagne by Leo III., and the justification of that Pontiff on oath in presence of the same Emperor; the Victory of Leo IV. over the Saracens at Ostia, and his supernaturally staying a conflagration which threatened the basilicon of St. Peter,--a theme belonging rather to the category of the second room. The ceiling here, having been executed by Perugino, and reverently spared by Raffaele from the sweeping sentence of Julius, has no immediate bearing upon these subjects, though full of fervid feeling. The last and largest of the suite is called the Hall of Constantine, whose religious history is there delineated in four leading scenes: his Baptism, by St. Silvester; his Vision of the Cross before Battle; his Victory over Maxentius at the Ponte Milvio; and his Donation of Rome and its temporalities to the successors of St. Peter. The roof, of posterior date and far inferior merit, has nothing to do with Raffaele's creations. This meagre outline may indicate the leading theme of these the grandest compositions of modern art; but to form an idea of their difficulties, of the varied and profound knowledge they display, of the many noble episodes they embrace, and of all the interesting portraits they embody, demands no brief or light study, no ordinary learning or accomplishment. Nor is it easy to appreciate their technical merits or artistic beauties, vast as is their extent, with baffling and insufficient cross-lights, and a surface considerably impaired. Hence the general disappointment felt by casual and superficial visitors, and the superior gratification afforded by good engravings of the series. In these, and in the not less perfect tapestry-cartoons which it is the privilege of our country to possess, may be appreciated Raffaele's unity of composition, his symmetrical and unostentatious design, his full contours and flowing lines, and the earnest but unaffected sensibility which distinguishes his transcendent works.