"And Heliodorus fell suddenly unto the ground, and was compassed with great darkness."[4]
[Footnote 4: Maccabees, book ii., chapter iii., verses 25-27.]
[Illustration: HELIODORUS DRIVEN FROM THE TEMPLE _Vatican Palace, Rome_]
In the picture the priests still kneel at the distant altar while the temple treasures are being borne away in heavy chests and jars. Meanwhile swift retribution overtakes the despoiler. In gallops the mysterious gold-armored horseman, his prancing steed crushing the prostrate Heliodorus under his forefeet. On rush the two celestial avengers, springing through the air in great flying leaps. Their feet do not touch the ground as, with outspread arms and wind-blown hair, they bound lightly forward, raising their scourges to drive out the enemy. Heliodorus vainly lifts his spear to save himself; his men are panic-stricken; his plot is undone. And yet in all this the angelic avengers do not touch one of the prostrate or falling figures. Even the horse's hoofs are not planted on Heliodorus. The victory is not won by force, but by the mysterious power of celestial spirits.
Here is the way this picture affected a lover of art who stood before it: "The Scourging of Heliodorus is full of energy, power, and movement. The horse and his rider are irresistible, and the scourging youths, terrible as embodied lightning; mortal weapons and mortal muscles are powerless as infancy before such supernatural energies. Like flax before the flame--like leaves before the storm--the strong man and his attendants are consumed and borne away."
There is an interesting contrast in this great picture, for while all this terrible action is going on at one side, one sees in an opposite part a group of women and children, looking on with astonishment and alarm. Near by is a figure carried in a chair on the shoulders of strong men. This figure is Pope Julius II, and the reason why Raphael introduced him into the painting is as follows:--
Julius was a warlike Pope who had expelled the enemies of the church from the Papal territories and enlarged the boundaries of these territories. He was also a great patron of the arts. He called on Raphael to make designs for this chamber which should represent the miraculous deliverance of the church from her secular foes; and as he was regarded as the chief instrument in the victory, Raphael made him present at this Expulsion of Heliodorus.