y the
apparition of St Peter and St Paul, and St Peter delivered from prison.
The third stanza painted by Raphael is the 'Stanza dell' Incendio' (the
conflagration), so called from the extinguishing of the fire in the
Borgo by a supposed miracle, being the most conspicuous scene in
representations of events taken from the lives of Popes Leo III, and
IV.; and the fourth chamber, which was left unfinished by Raphael, and
completed by his scholars, is the 'Sala di Constantino,' and contains
incidents from the life of the Emperor Constantine, including the
splendid battle-piece between Constantine and Maxentius. At these
chambers, or at the designs for them, during the popedoms of Julius II.,
who died in the course of the painting of the Camere, and Leo X., for a
period of twelve years, till Raphael's death in 1520, after which the
'Sala di Constantino' was completed by his scholars.

Raphael has also left in the Vatican a series of small pictures from the
Old Testament, known as Raphael's Bible. This series decorates the
thirteen cupolas of the 'Loggie,' or open galleries, running round three
sides of an open court. Another work undertaken by Raphael should have
still more interest for us. Leo X., resolving to substitute woven for
painted tapestry round the lower walls of the interior of the Sistine
Chapel, commanded Raphael to furnish drawings to the Flemish weavers,
and thence arose eleven cartoons, seven of which have been preserved,
have become the property of England, and are the glory of the Kensington
Museum. The subjects of the cartoons in the seven which have been saved,
are 'The Death of Ananias,' 'Elymas the Sorcerer struck with Blindness,'
'The Healing of the Lame Man at the Beautiful Gate of the Temple,' 'The
Miraculous Draught of Fishes,' 'Paul and Barnabas at Lystra,' 'St Paul
Preaching at Athens,' and 'The Charge to St Peter.' The four cartoons
which are lost, were 'The Stoning of St Stephen,' 'The Conversion of St
Paul,' 'Paul in Prison,' and 'The Coronation of the Virgin.'

In those cartoons figures above life-size were drawn with chalk upon
strong paper, and coloured in distemper, and Raphael received for his
work four hundred and thirty gold ducats (about _L650_), while the
Flemish weavers received for their work in wools, silk, and gold, fifty
thousand gold ducats. The designs were cut up in strips for the
weavers' use, and while some strips were destroyed, the rest lay in a
warehouse at Arras, till R