In spite of the express stipulation in the contract that Pinturicchio "shall be bound to make all the designs of the histories with his own hand, in cartoons and on the walls, and to paint all the heads of the figures in fresco with his own hand," Vasari declares that the designs and cartoons for all the scenes were drawn by Raphael, then a youth. This view, though once scouted by serious historians of Italian art, is winning ground again in a modified form--at least so far as the first and fifth, the journey to Basle, and the meeting of the Caesar with Leonora, are concerned, for both of which there exist what seem to be authentic drawings from Raphael's hand at Florence and Perugia respectively.[96] The mythological and allegorical devices on the ceiling, the arabesques and grotesques in the pilasters between the histories with the six times repeated twin cherubs supporting the arms of the Piccolomini, are by Matteo Balducci and other pupils and assistants of Pinturicchio. The famous marble group of the Three Graces, one of the first antiques to be worshipped in the days of the Renaissance, was brought hither by the Cardinal Francesco; from it Raphael made his first studies of ancient sculpture. Here, too, are several superb choir books, with miniatures by Sano di Pietro, Girolamo da Cremona, Liberale da Verona, and others. The sculptured woodwork is by Antonio Barili. The Adam and Eve over the door is a meritorious production of the school of Giacomo della Quercia. Over the door of the right transept, outside the Cathedral, is a very beautiful sculptured medallion of the Madonna and Child with Angels. It is ascribed by M. Reymond to Donatello.