In triangles, formed in the roof by heavy borders of grotesques, Pintoricchio has placed four sibyls, Erythrean, European, Tiburtine, and Samian. Each sits in a carved niche, on a throne with raised steps; the same thrones, on a smaller scale, as those in the chamber of the Arts and Sciences in Rome. Books, open or clasped, lie about the steps; at each end of the thrones are erected altars, inscribed with the mystic sayings of the inspired women. The sibyls themselves, as they read or write or look upwards in an ecstasy, are much more elaborate in dress and fashion of hair than the symbolical figures in the Vatican. In style, they approach more nearly to the sibyls afterwards painted in the choir of Santa Maria del Popolo, or to the personages in the Library at Siena. The three walls of the little side chapel are filled by paintings of the "Annunciation," the "Nativity," and "Christ disputing with the Doctors." From the inscription on the "Annunciation," recording the finishing of the chapel, we gather that the painter began at the opposite side, with the "Dispute." He places this scene in the courtyard of the temple, a Bramante-like building of rather clumsy proportions, which fills the background, and has a niche on either side, with statues of Flora and Minerva. The group in the foreground suggests that Pintoricchio is still full of recollections of the "Dispute of St. Catherine," and is dwelling on the contrast he there emphasised between the fragile champion and the old philosophers. The Child is checking His arguments on His fingers in the same way, the doctors press around him in Eastern caps and turbans. On the extreme left an austere dignitary in dark robe and biretta can be no other than the bishop, Troilo Baglioni himself. The books of the learned men are thrown upon the ground, as they listen to the Child's wisdom. Raphael has used the same incident in his "Disputà." On the right, Joseph and Mary hurry forward, but she checks her husband's impatience with her hand upon his girdle; behind Mary are several women, in whose heads we recognise models used in the "Burial of St. Bernardino," strong profiles, of which he must have had the sketches by him.