Indeed, some of the tubes are already dropping out of their place; and as the eye follows them, it rests upon a number of other musical instruments lying on the ground,—the pipe, the violin, the tambourine, castanets, and others. It is as if we were shown the various instruments which she had set aside as not satisfying to her, and at last were shown her organ itself falling to pieces and dropping from her hands. So faint and imperfect, the painter seems to say, are all these forms of earthly music when compared with the heavenly.

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St. Cecilia is here in a company of other saints, not indeed of her day and generation, but chosen by Raphael to give expression to various ideas and sentiments. St. Paul, the great apostle to the Gentiles, stands in a thoughtful attitude, one hand carrying a scroll and resting on the hilt of a sword; for in one of his epistles, he speaks of "the sword of the Spirit, which is the word of God." He is listening, and at the same time looks down upon the instruments as if he were thinking how his earthly words, too, were dull beside the voice of the Spirit.

On the opposite side of the picture is Mary Magdalene. She holds the pot of ointment with which she anointed the feet of Christ, and by the movement of her feet she seems just to have come into the scene, and looks out of the picture as if she were bidding us and all other spectators look on the saint and listen to the angels. Perhaps the artist, in choosing her for one of his figures, was mindful of the words of the Lord, who praised her for bringing a precious gift, without thinking of its worth, simply because she loved him, and wished to show her devotion. So St. Cecilia poured out her music, the richest gift she had, not thinking how she could turn it into money and give it to the poor.

Next to St. Paul, behind him and St. Cecilia, stands the evangelist St. John. Painters and scholars alike have always seen in this figure the beloved disciple, the one who leaned on the Lord's breast at the last supper, and they delight to show him as a young man of refined and beautiful countenance. His hand, with the parted fingers, seems to make a gesture bidding one listen, and his face has a look of rapture. It was natural indeed that Raphael should thus have placed in the company one whose gospel is full of feeling, the life of Christ set to music as it were.

Finally, we have St. Augustine, one of the Fathers of the church, standing in his priestly robe and holding a bishop's crook. He is apparently exchanging glances with St. John. Perhaps he is designed to show that the church makes much of music in its service.