So much has been said of the Camera della Segnatura that it is sometimes forgotten that there are other rooms at the Vatican decorated by Raphael, only less wonderful than this. If they existed anywhere else they would be prized very highly, and if they were by any other artist would place him among the great artists of all time. The Camera del Incendio, so called because of the representation of "The Fire in the Borgo," has in this scene one of the most dramatic pictures ever painted. There are other great dramatic subjects finely treated here, as "The Oath of Leo III" and the "Coronation of Charlemagne." In this work Raphael was probably assisted to a noteworthy extent by pupils and associates, yet all of it is stamped with his genius. There are in the Camera del Eliodoro such pictures as "Jacob's Dream," the "Sacrifice of Isaac" and the "Burning Bush," which show Raphael's wonderful power of composition and at the same time the readiness of genius which enabled him to turn from one subject to another, accomplishing {11} so much that one is astounded to think of how ideas must have crowded on him and yet how well all is done considering that the artist so often needs above all the element of time to perfect his work. Had Raphael been spared to the ordinary length of life or to such years as Michelangelo's four score and ten or Titian's almost five score, what an abundance of his art there would be in the world. One of Raphael's greatest works at Rome is comparatively little appreciated except by those whose attention has been particularly called to it. This was his making of the cartoons for the series of tapestries to be hung in the Sistine Chapel. These tapestries were to be manufactured in the Low Countries, but the Pope wanted the subjects that were to be represented to come from Raphael. Raphael consented to make the cartoons for them, though he knew that they would be cut into rolls some two inches wide to be handed over to the weavers. He had no idea that they would ever be exhibited except in the imperfect way in which tapestry can represent painting. Most artists of high rank would probably refuse such a commission. Certainly it seemed rather derogatory to his dignity as an artist to think that he should furnish only copies that were themselves to have no place among his collected works and prove at most a dubious addition to his fame. Under these circumstances it would not have been surprising if the composition and the manner of execution of the cartoons had been far below that of his works in painting and fresco.