As they left the Loggia and entered "Raphael's Stanze," a series of rooms whose walls are covered with his frescoes, Mr. Sumner said:—
"We will to-day only give a glance at the paintings in this first room. They are, as you see, illustrative of great events in the history of Rome. They were executed wholly by Raphael's pupils, after his designs."
"I shall come here again," said Malcom, in a positive tone. "This is more in my line than Madonnas," and he made a bit of a wry face.
"And better still is to come for you," returned his uncle with a smile, as they passed on. "Here in this next room are scenes in the religious history of the city, and here," as they entered the third room, "is the famous Camera della Segnatura."
"Room of the Signatures! Why so called?" asked Barbara.
"Because the Papal indulgences used to be signed here; 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.