That the whole sixteen mural paintings and two of the ceilings were designed by Raffaele is beyond question; the portions executed by himself, and those assigned to his pupils, are matter of keen controversy, upon which we need not enter. It is, however, agreed that the Camera della Segnatura, and half that of Heliodorus, belong to the reign of Julius, whilst the Stanza del Incendio was painted under Leo X., when Sanzio's manifold employments and commissions obliged him to entrust too much to his scholars. Of the Sala di Costantino only two figures, painted in oil as an experiment, had been finished when premature death closed his career of glory. The price allowed for each fresco seems to have been about 1200 ducats of gold.[183] Theology, the earliest of the series, painted immediately on his arrival at Rome, has most of the freshness and devotional sentiment of his early genius and Umbrian education. It and the Philosophy are most pregnant with abstruse scholarship, drawn in part from the learned companionship of Duke Guidobaldo's court. The glowing and harmonious colouring of the Heliodorus, and Miracle of Bolsena fully equals any known production of Venetian art; and in the Incendio, the Heliodorus, and the Battle of Maxentius, we have the energy and vigour of Michael Angelo, without his exaggerations. In all may be seen the vast stride he had made from the timid Cenacolo at Florence, while his transition from Peruginesque hatching to a full and free streak, and a bold handling, is particularly traceable in the Disputa, which Passavant justly characterises as surpassing every antecedent effort of pictorial art. [Footnote 183: FEA, _Notizie_, p. 9. Raffaele's own letter of 1514 mentions that sum for each Stanza.]