two: Matteo Balducci, a native of the Perugian contado, who appears originally to have been Pinturicchio's assistant and pupil, and afterwards to have become a pupil of Bazzi.[68] His work, however, shows no trace of the influence of the latter master, but is purely Umbrian in character. In Stanza VIII., besides a series of small pictures painted for the Confraternity of Fontegiusta (1, 2, 35, 36), is Bazzi's famous fresco of Christ at the Column (27), even in its damaged condition unmistakably divine. His Judith (29) is likewise a work of great beauty; but the St Catherine ascribed to him (32) is unworthy alike of the painter and of the subject. The two frescoes (8, 9), representing a Ransom of Prisoners and the Flight of Aeneas from Troy, come from the palace of Pandolfo Petrucci; they were executed by Girolamo Genga, but the composition is probably by Luca Signorelli. Two Madonnas (12 and 30) are ascribed by Mr Berenson to Girolamo del Pacchia. By Matteo Balducci are an Angel (21) and the Madonna and Child, with St Catherine and San Bernardino (34). There is also a Madonna (26) by Girolamo Magagni, called Giomo, a pupil of Bazzi's, who robbed his master's studio while the latter lay sick in Florence. Both in this room and the next there is some excellent wood carving by Antonio Barili. The gems of Stanza IX. are two pictures hung under the name of Pinturicchio--a Nativity (28), which Mr Berenson attributes to Matteo Balducci, and a Madonna and Child holding a pomegranate, with the little St John, against a gold background (29), recognised by the same authority as an early work of Baldassare Peruzzi. We have several Madonnas by Fungai (1, 21, 23, 24, 33); five Saints by Pacchiarotti (5); a whole series of Umbrian pictures--Saints (2, 37), Virtues (10, 11, 15, 19), and a Madonna (17)--attributed to Balducci by Mr Berenson. By Balducci is also the Madonna and Child with St Jerome and St Francis (14). There are dated pictures by Guidoccio Cozzarelli (7) of 1482, and by Andrea di Niccolò (8), an unimportant painter of the end of the Quattrocento. The Trinità, with the two St Johns, St Cosmas and St Damian, is one of Beccafumi's earliest and best works; it was painted in 1512 for the Spedale, as the presence of the two patrons of the healing art--a kind of mediaeval duplication of Aesculapius--indicates.