frescoes of the Vatican, with the exception of two excellent specimens, the Attila and the Liberation of Peter (painted immediately after the accession of Leo), were completed very much in this way by his scholars. Even the Incendio del Borgo, so remarkable for its invention and composition, has but few traces of his own hand in the execution. The frescoes of the Vatican have often been described as exhibiting one comprehensive plan as to their meaning, but it is well known that the subjects of the Attila and the Liberation of Peter were suggested by incidents in the life of Leo, and consequently that they could not have been thought of before the accession of that pope. Of all these works the Attila is justly considered to be the most perfect example of fresco painting, and to exhibit the greatest command over the material; though produced after the death of Julius, it may be regarded as the noblest result of that impulse which the pontiff’s energy had communicated to Raphael. The character of Leo X., as a protector of art, has been perhaps sometimes too favourably represented. More educated than his predecessor, he loved the refinement which the arts and letters imparted to his court; but he had no deep interest, like Julius, in inciting such men as Raphael and Michael Angelo to do their utmost under his auspices. Whether from the indifference of Leo, or from his neglecting, as Vasari hints, to discharge his pecuniary debts to Raphael, we soon find the painter employed in various other works, and the remaining frescoes of the Vatican bear evidence of the frequent employment of other hands. Many works of minor importance in the same palace were entirely executed by his assistants.