e.

12. Christ at Emmaus.

13. The Ascension.

14. The Descent of the Holy Ghost.

15. The Martyrdom of St. Stephen.

16. The Conversion of St. Paul.

17. Paul and Barnabas at Lystra.

18. Paul Preaching.

19. Death of Ananias.

20. Elymas the Sorcerer.

21. An earthquake; showing the delivery of Paul and
Silas from prison: named from the earthquake which shook
the foundations of the building. The artist endeavours
to render it ideally visible to the spectator by placing
a gigantic figure, which appears to be raising the
superincumbent weight on his shoulders; but the result
is not altogether successful.

22. St. Peter healing the cripple.

23-24. Contain emblems alluding to Leo the Tenth. These
are preserved in one of the private apartments of the
Vatican palace.

25. Justice. In this subject the figures of Religion,
Charity, and Justice are seen above the papal armorial
bearings. The last figure gives name to the whole.

When the cartoons were finished they were sent into Flanders to be
woven (at the famous manufactory at Arras) under the superintendence
of Barnard Van Orlay of Brussels, and Michael Coxis, artists who had
been for some years pupils of Raphael at Rome. Two sets were executed
with the utmost care and cost, but the death of Raphael, the murder of
the Pope, and subsequent intestine troubles seem to have delayed their
appropriation. They cost seventy thousand crowns, a sum which is said
to have been defrayed by Francis the First of France, in consideration
of Leo's having canonised St. Francis of Paola, the founder of the
Minims.

Adrian the Second was a man "alienissimo da ogni bell'arte;" an
indifference which may account for the cartoons not being sent with
the tapestries to Rome, though some accounts say that the debt for
their manufacture remained unliquidated, and that the paintings were
kept in Flanders as security for it. They were carried away by the
Spanish army in 1526-7 during the sack of Rome, but were restored by
the zeal and spirit of Montmorenci the French general, as set forth in
the woven borders of the tapestries Nos. 6 and 9. Pope Paul the Fourth
(1555) first introduced them to the gaze of the public by exhibiting
them before the Basilica of St. Peter on the festival of Corpus
Domini, and also at the solemn "function of Beatification." This use
of them was continued through