re; and here,"
continued Mr. Sumner, turning for a moment toward Malcom, "are the
greatest of all Raphael's frescoes. We will now stop here for a few
minutes, and you must come again for real study. The subjects are the
representations of the most lofty occupations that engage the minds of
men--Philosophy, Justice, Theology, and Poetry. This is the first
painting done by Raphael in the Vatican, and it is all his own work,
both design and execution.

"Here on this side," pointing at a large fresco which covered the entire
wall, "is _La Disputa_, or _Theology_. Above, on the ceiling, you see a
symbolic figure representing Religion, with the Bible in one hand and
pointing down at the great picture with the other. Opposite is the
_School of Athens_. Above this is a figure emblematic of Philosophy,
wearing a diadem and holding two books. On the two end walls, broken, as
you see, by the windows, are _Parnassus_, peopled with Apollo and the
Muses, together with figures of celebrated poets,--above which is the
crowned figure with a lyre which represents Poetry,--and," turning, "the
_Administration of Law_, with ceiling-figure with crown, sword, and
balance, symbolizing Justice. In this room the painter had much to
contend against. These opposite windows at the ends, which fill the
space with cross-lights, and around which he must place two of his
pictures, must have been discouraging. But the compositions are
consummately fine, and the whole is so admirably managed that one does
not even think of that which, if the work were less magnificent, would
be harassing.

"I advise you to come here early some morning and bring with you some
full description of the pictures, which tells whom the figures are
intended to represent. Study first each painting as a whole; see the
fine distribution of masses; the general arrangement; the symmetry of
groups which balance each other; the harmony of line and color. Then
study individual figures for form, attitude, and expression. I think you
will wish to give several mornings to this one room.

"What do you think of this, Malcom? Do you not wish to get acquainted
with Plato, Aristotle, Cicero, and Virgil?" added Mr. Sumner, putting
his hand suddenly on the young man's shoulder, and looking into his face
to surprise his thought.

"I think it is fine, Uncle Rob. It's all right;" and Malcom's steady
blue eyes emphasized his satisfaction.

"What do you call Raphael's greatest picture?" asked Ba