Following Raphael's death in 1520, his assistants Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle finished the project with the frescoes in the Sala di Costantino.

Its frescoes represent this struggle from the life of the Roman Emperor Constantine, and are the work of Giulio Romano, Gianfrancesco Penni and Raffaellino del Colle.

Continuing a long tradition of flattery, Raphael's assistants gave the features of the current pontiff, Clement VII, to Pope Sylvester in the paintings.

The vision in the sky is painted with the words in Greek "Εν τούτω νίκα" ("By this, conquer", better known as the Latin In hoc signo vinces) written next to it.

[2] The four paintings are: The Expulsion of Heliodorus from the Temple, The Mass at Bolsena, The Meeting of Pope Leo I and Attila, and The Deliverance of Saint Peter from Prison.

Instead of the static images of the Pope's library, he had dramatic narratives to portray, and his approach was to maximize the frescoes' expressive effects.

Although the focal point is the still figure of the priest at prayer, Heliodorus and the angels rush forward into space, threatening to spill out of the painting.

[4] The Pope is portrayed as a participant in the Mass and a witness to the miracle; he kneels to the right of the altar, with members of the Curia (also portraits) standing behind him.

Raphael distinguishes the "real" thirteenth-century witnesses from those who are contemporaries of the pope by their degree of engagement in the event; the latter concentrate calmly on Julius kneeling at his devotions rather than responding to the miracle.

The artist's concept brings into harmony the spirits of Antiquity and Christianity and reflects the contents of the pope's library with themes of theology, philosophy, jurisprudence, and the poetic arts, represented in tondi above the lunettes of the walls.

The theme of this room is worldly and spiritual wisdom and the harmony which Renaissance humanists perceived between Christian teaching and Greek philosophy.

The theme of wisdom is appropriate as this room was the council chamber for the Apostolic Signatura, where most of the important papal documents were signed and sealed.

[8] It represents The Parnassus, the dwelling place of the god Apollo and the Muses and the home of poetry, according to classical myth.

The fresco's position as well as the philosophers' walk in direction of the Holy Sacrament on the opposite wall suggested the interpretation of the whole room as the movement from the classical philosophy to the true religion and from the pre-Christian world to Christianity.