was finished in 1511, as that year appears inscribed near the Parnassus. Vasari, until the finishing of the first chamber, does not speak of the improvement of his manner; on the contrary, in his life of Raffaello, he says, "although he had seen so many monuments of antiquity in that city, and studied so unremittingly, still his figures, up to this period, did not possess that breadth and majesty which they afterwards exhibited. For it happened, that the breach between Michelangiolo and the Pope, which we have before mentioned in his life, occurred about this time, and compelled Bonarruoti to flee to Florence; from which circumstance, Bramante obtaining possession of the keys of the chapel, exhibited it to his friend Raffaello, in order that he might make himself acquainted with the style of Michelangiolo;" and he then proceeds to mention the Isaiah of S. Agostino, and the Sibyls della Pace, painted after this period, and the Heliodorus. In the life of Michelangiolo, he again informs us of the quarrel which obliged him to depart from Rome, and proceeds to say, that when, on his return, he had finished one half of the work, the Pope suddenly commanded it to be exposed; "whereupon Raffaello d'Urbino, who possessed great facility of imitation, immediately changed his style, and at one effort designed the Prophets and Sibyls della Pace." This brings us to a dispute prosecuted with the greatest warmth both in Italy and other countries. Bellori attacked Vasari in a violent manner, in a work entitled: "_Se Raffaello ingrandì e migliorò la maniera per aver vedute le opere di Michelangiolo_," (Whether Raffaello enlarged and improved his style on seeing the works of Michelangiolo). Crespi replied to him in three letters, inserted in the Lettere Pittoriche,[39] and many other disputants have arisen and stated fresh arguments.