hat liberally, to those who had rescued it.
Thereupon it was once more put on board ship and brought at last to
Sicily, where they set it up in Palermo; in which place it has more
fame and reputation than the Mount of Vulcan itself.

While Raffaello was engaged on these works, which, having to gratify
great and distinguished persons, he could not refuse to
undertake--not to mention that his own private interests prevented
him from saying them nay--yet for all this he never ceased to carry
on the series of pictures that he had begun in the Papal apartments
and halls; wherein he always kept men who pursued the work from his
own designs, while he himself, continually supervising everything,
lent to so vast an enterprise the aid of the best efforts of which
he was capable. No long time passed, therefore, before he threw open
that apartment of the Borgia Tower in which he had painted a scene
on every wall, two above the windows, and two others on the unbroken
walls. In one was the Burning of the Borgo Vecchio of Rome, when,
all other methods having failed to put out the fire, S. Leo IV
presents himself at the Loggia of his Palace and extinguishes it
completely with his benediction. In this scene are represented
various perils. On one side are women who are bearing vessels filled
with water in their hands and on their heads, whereby to extinguish
the flames; and their hair and draperies are blown about by the
terrible fury of a tempestuous wind. Others, who are seeking to
throw water on the fire, are blinded by the smoke and wholly
bewildered. On the other side, after the manner of Virgil's story
of Anchises being carried by AEneas, is shown an old sick man,
overcome by his infirmity and the flames of the fire; and in the
figure of the young man are seen courage and strength, and great
effort in all his limbs under the weight of the old man, who lies
helpless on the young man's back. He is followed by an old woman
with bare feet and disordered garments, who is flying from the fire;
and a little naked boy runs before them. On the top of some ruins,
likewise, may be seen a naked woman, with hair all dishevelled, who
has her child in her hands and is throwing him to a man of her
house, who, having escaped from the flames, is standing in the
street on tiptoe, with arms outstretched to receive the child
wrapped in swathing-bands; wherein the eager anxiety of the woman to
save her son may be recognized no less clearly than her tor