These painters and their contemporaries are represented in the four following rooms of the gallery. In Stanza III., a curious little panel by Domenico di Bartolo (19), with a devout inscription in honour of the Madonna, signed _Dominicus_ and dated 1433, contrasts strongly with the more typical Sienese works that surround it. The composition, the types of Angels, the naked Child, all show ill-assimilated Florentine influences. The Child in its unidealised humanity is the first nude infant in Sienese art; all Sano's babes, for instance, are more or less clothed, already dreaming divine dreams. Domenico was a native of Asciano who came to Siena, and is said to have become the pupil of Taddeo di Bartolo; all his work, however, is a kind of protest against the mystical Sienese tradition in painting. Certain great frescoes of his, which we shall see later in the Spedale, stand alone in the story of the art of Siena. Then follow some small pictures by Sassetta (21 to 24), fairly representative. Giovanni di Paolo--a prolific and always agreeable, if somewhat monotonous and weak painter--is more fully represented here, in a series of Madonnas and Saints, scriptural scenes and mediaeval legends. Two of his pictures (28 and 55) are signed and dated 1453 and 1440 respectively. His Last Judgment (27), the predella of a picture painted for San Domenico in 1445, is particularly interesting; much of it is the usual tradition, but the Paradiso on our left is full of most poetical and fanciful details, slightly reminding us of Angelico's work in the Florentine Academy, but conceived in a curiously different spirit. The scenes from the life of St Galganus (53) are a favourable example of his ingenuous narrative power. When Il Vecchietta turns from sculpture to painting, he lays aside his science and follows the Sienese tradition with the rest. His San Bernardino (63) has considerable interest, being to all intents and purposes a contemporary portrait. A large altarpiece, badly preserved (67), is one of the works that he painted as an offering for the church of the Spedale, and is signed: "The work of Laurentius Petri, sculptor, alias El Vecchietta, for his devotion." The shrine, painted on both sides with figures of Andrea Gallerani and other Sienese saints, comes from the same place. We may notice the Madonna and Child with St Francis and St Dominic (66), by Pier Francesco Fiorentino, a Florentine priest who painted in the latter part of the fifteenth century, and who shows himself as reactionary as any master of Siena; his works abound at San Gimignano and throughout the Val d'Elsa. Mr Berenson ascribes to him the four little _trionfi_ at the other end of the present room--the Triumphs of Death, Chastity, Love and Fame (4 to 7), partly after Petrarch--which were at one time erroneously attributed to Andrea di Vanni.