And though one may be in presence of an artist of sentimental bent, a feminine genius whose quiver of tenderness one can feel, it is also certain that admirable firmness of workmanship confronts one, that the whole is very strong and very great.

Pierre gradually yielded to such sovereign masterliness, such virile elegance, such a vision of supreme beauty set in supreme perfection.

But if the "Dispute on the Sacrament" and the so-called "School of Athens," both prior to the paintings of the Sixtine Chapel, seemed to him to be Raffaelle's masterpieces, he felt that in the "Burning of the Borgo," and particularly in the "Expulsion of Heliodorus from the Temple," and "Pope St.Leo staying Attila at the Gates of Rome," the artist had lost the flower of his divine grace, through the deep impression which the overwhelming grandeur of Michael Angelo had wrought upon him.

How crushing indeed had been the blow when the Sixtine Chapel was thrown open and the rivals entered! The creations of the monster then appeared, and the greatest of the humanisers lost some of his soul at sight of them, thenceforward unable to rid himself of their influence.
From the _stanze_ Narcisse took Pierre to the _loggie_, those glazed galleries which are so high and so delicately decorated.

But here you only find work which pupils executed after designs left by Raffaelle at his death.