We may now return to the original subject of our inquiry, examine the principles of the Roman School, and attend it to its latest epoch. Raffaello at all times employed a number of scholars, constantly instructing and teaching them; whence he never went to court, as we are assured by Vasari, without being accompanied by probably fifty of the first artists, who attended him out of respect. He employed every one in the way most agreeable to his talent. Some having received sufficient instruction, returned to their native country, others remained with him as long as he lived, and after his death established themselves in Rome, where they became the germs of this new school. At the head of all was Giulio Romano, whom, with Gio. Francesco Penni, Raffaello appointed his heir, whence they both united in finishing the works on which their master was employed at his death. They associated to themselves as an assistant Perino del Vaga, and to render the connexion permanent, they gave him a sister of Penni to his wife. To these three were also joined some others who had worked under Raffaello. On their first establishment they did not meet with any great success, for, as Vasari informs us, the chief place in art being by universal consent assigned to Fra Sebastiano, through the partiality of Michelangiolo, the followers of Raffaello were kept in the back ground. We may also add, as another cause, the death of Leo X., in 1521, and the election of his successor, Adrian VI., a decided enemy to the fine arts, by whom the public works contemplated, and already commenced by his predecessor, remained neglected; and many artists, in consequence of the want of employment, occasioned by this event, and by the plague, in 1523, were reduced to the greatest distress. But Adrian dying after a reign of twenty-three months, and Giulio de' Medici being elected in his place under the name of Clement VII., the arts again revived. Raffaello, before his death, had begun to paint the great saloon, and had designed some figures, and left many sketches for the completion of it. It was intended to represent four historical events, although the subjects of some of them are disputed. These were the Apparition of the Cross, or the harangue of Constantine; the battle wherein Maxentius is drowned, and Constantine remains victor; the Baptism of Constantine, received from the hands of S. Silvester; and the Donative of the city of Rome, made to the same pontiff. Giulio finished the two first subjects, and Giovanni Francesco the other two, and they added to them bassirelievi, painted in imitation of bronze under each of the same subjects, with some additional figures. They afterwards painted, or rather finished the pictures of the villa at Monte Mario, a work ordered by the Cardinal Giulio de' Medici, and suspended until the second or third year of his papal reign. This villa was afterwards called di Madama, and there still remain many traces,