From 1508 to 1520, the year of his death, Raphael resided in Rome. Vasari relates that Bramante, the architect of Julius II., being from the same city with Raphael and distantly related to him, had recommended him to the Pope, as qualified to paint in fresco certain rooms of the Vatican; but it was more probably Raphael’s great reputation, now second to none, which was the real cause of the Pope’s notice, although Bramante may have been the medium of communication. To the honour of Julius it should be remembered, that he had discernment enough to fix in every instance on the best artists of his age, and he left no means unemployed, sometimes even to an indulgence at variance with the haughtiness of his character, to secure their best efforts in his service. At no period of Raphael’s laborious life were his exertions greater than during the reign of Julius II., that is, till 1513, the year of that pontiff’s death. The room called the Camera della Segnatura, where the great artist began to work, was evidently planned by him as one design, and its four walls were appropriated to four comprehensive subjects,—theology, philosophy, poetry, and jurisprudence. The ceiling is occupied with single figures and subjects forming part of the same scheme. The subject of Theology, commonly called the _Disputa_, was begun the first, and the right hand of the upper part was first painted. This is evident from a certain inexperience in the mechanical process of fresco painting, which is found to disappear even in the same work. Six of these vast subjects, besides other works, were executed between 1508 and 1513, and the two last, the Miracle of Bolsena and the Heliodorus, are unsurpassed in colour, as well as in every other excellence fitted for the subject and dimensions. For richness and force of local colour these two works have often been compared to those of Titian; it should be added that they are earlier in date than the finest oil pictures of Titian, and that they are decidedly superior in colour to the frescoes by that master in Padua. The supposition of Rumohr, that Giorgione may have seen and profited by these specimens, is, however, not to be reconciled with the date of that painter’s death. The impatience of the character of Julius, who was bent on the speedy prosecution of this undertaking, makes it probable that some works attributed by Vasari to this period were executed later. The portrait of Julius, that of Bindo Altoviti, the musician in the Sciarra palace, the Madonna di Fuligno, the Madonna della Sedia, and the Vision of Ezekiel, belong however to this time. The St. Cecilia, begun in 1513, was not sent to Bologna till some years afterwards. In the last, the assistance of subordinate hands is evident; and the variety of works in which Raphael was employed under Leo X. made this practice of intrusting the execution of his designs to others more and more necessary. Unfortunately, his grand works, the