Perugino, Sodoma, Signorelli, and others; but when Raphael
had produced the "Disputa" in the Sala della Signatura, Pope Julius II
recognized the work as so transcendent that he ordered the other artists
to cease and even had some of their paintings obliterated that there
might be more space for the exercise of Raphael's genius. In the
"Disputa" are glorified the highest expressions of the human
intellect--the domain portrayed being that of Theology, Philosophy,
Poetry, and Justice. The splendor of this creation transcends all
attempts of interpretation in language. Against a background of gold
mosaic are portrayed these typical figures enthroned on clouds where
genii flit to and fro bearing tablets with inscriptions. Theology holds
in the left hand a book, while the other points to the vision of angels;
Poetry, laurel-crowned, is seen seated on a throne with books and lyre;
Philosophy wears a diadem, and Justice, with her balance and her sword,
is also crowned. The title of this marvellous work is misleading. Its
message is not that of disputation but of beatitude. At the altar are
grouped the congregation; the mystic spell of heavenly enthusiasm
enfolds the scene as an atmosphere, as above the heavens open and the
glorified Christ, surrounded by the saints who have kept the faith, is
disclosed to the devotees kneeling below, while a choir of listening
angels bend over them from the distant clouds in the background.

Under Poetry are grouped Apollo and the Muses, and the figures of Homer,
Dante and Virgil, of Petrarcha, Anacreon and Sappho, of Pindar and of
Horace are recognized. The great scholars seen in the Philosophy include
Plato and Aristotle, while in the groups under Justice, Moses and Solon
are seen.

"Raphael seems to have never known despair," remarked Franklin Simmons
of the work of this divine genius. "His paintings reveal no struggle,
but seem to have been produced without effort, as if brought into
existence by an enchanter's wand."

No observation could more vividly interpret the wonderful effect
produced on the student by Raphael, and he cannot but recall the truth
expressed in these lines of Festus:--

"All aspiration is a toil;
But inspiration cometh from above
And is no labor."

The inspiration of Raphael was of the noblest order. His genius, his
kindling enthusiasm, his ecstasy of religious devotion, have left an
imperishable heritage to art. By his transcendent gifts he re