o at Perugia with
the heroes, philosophers, and worthies of the ancient world. We are thus
led by a gradual progress up to the final achievement of Raphael in the
Vatican. Separating the antique from the Christian tradition, but placing
them upon an equality in his art, Raphael made the "School of Athens" an
epitome of Greek and Roman wisdom, while in the "Dispute of the Sacrament"
he symbolised the Church in heaven and Church on earth.

Another class of ideas, no less illustrative of mediaevalism, can be
studied in the Palazzo Pubblico at Siena. There, on the walls of the Sala
della Pace or de' Nove, may be seen the frescoes whereby Ambrogio
Lorenzetti expressed theories of society and government peculiar to his
age.[143] The panels are three in number. In the first the painter has
delineated the Commune of Siena by an imperial male figure in the prime of
life, throned on a judgment-seat, holding a sceptre in his right hand and
a medallion of Justice in his left.[144] He wears no coronet, but a
burgher's cap; and beneath his footstool are the Roman twins, suckled by
the she-wolf.[145] Above his head in the air float Faith, Charity, and
Hope--the Christian virtues; while Justice, Temperance, Magnanimity,
Prudence, Fortitude, and Peace, six women, crowned, and with appropriate
emblems, are enthroned beside him. The majestic giant of the Commune
towers above them all in bulk and stature, as though to indicate the
people's sovereignty. The virtues are his assessors and inspirers--he is
King. Beneath the dais occupied by these supreme personages, are ranged on
either hand mailed and visored cavaliers, mounted on chargers, the
guardians of the State. All the citizens in their degrees advance toward
the throne, carrying between them, pair by pair, a rope received from the
hands of Concord; while some who have transgressed her laws, are being
brought with bound hands to the judgment-seat. Concord herself, being less
the virtue of the government than of the governed, is seated on a line
with the burghers in a place apart beneath the throne of Civil Justice,
who is allegorised as the dispenser of rewards and punishments, as well as
controller of the armed force and the purse of the community. The whole of
this elaborate allegory suffers by the language of description. Those who
have seen it, and who are familiar with Sienese chronicles, feel that,
artistically laboured as the painter's work may be, every figure had a
passionate a