Moses, Daniel, David and Jeremiah, and opposite them the Persian, Cumaean, Lybian, Tyburtine and Delphic sibyls. Perugino crowned this most singular mixture of pagan and of Hebrew figures with a portrait of God the Father in glory. Many of the faces in this group are very beautiful, notably that of Daniel, which is said to be a portrait of young Raphael, and is a truly exquisite thing. Jeremiah is represented as a young and very melancholy man, and his face is said to be a portrait of Pinturicchio, but if this fact is true the likeness is much idealized. In the two frescoes at the end of the room, namely, the Nativity and the Transfiguration, Pietro was in his old and dearer element. The former of these is a beautiful bit of his best religious work, but it has been terribly damaged by smoke, as the lamp of the Cambio used to hang beneath it. There is some dispute as to whether Pietro worked alone at these frescoes. It appears almost certain that he did do so, with the exception, perhaps, of one of his scholars, l'Ingegno, who is said to have painted the face of Christ in the Transfiguration.[90] The ceiling, where the planets are painted in medallions, is perhaps the work of his school, although the drawings were entirely supplied by Perugino. Pinturicchio is said to have helped in the painting, and Raphael doubtless watched it with delight, and from it drew suggestions which he carried later to the Vatican. Delightful animals, dragons, and different birds pull the chariots of the various planets. The arabesques are infinitely varied, and form a study in themselves. Small boys and cherubs ride astride of dragons or of goats, and strange fantastic animals turn and twist themselves through flower stalks and bowls of fruits and flowers. Squirrels, peacocks, snakes, and many other known and unknown creatures, cover the arches like enamelled gems. * * * * *