coloured in a very pleasing manner, were deservedly much esteemed and very highly praised by all the inhabitants of Siena, but more especially by Pandolfo himself, by whom Girolamo was ever most kindly treated, and who gave him many proofs of favour.
On the death of Pandolfo,[1] Girolamo returned to Urbino, where he was long kept employed by the Duke Guidobaldo II., who caused him to decorate, among other things, caparisons for horses, such as were then used, in company with Timoteo of Urbino,[2] a painter of good repute, and much experience. Aided by this master Girolamo adorned the chapel of San Martino in the episcopal palace, receiving the commission for that work from Messer Giovampiero Arrivabene, who was then Bishop of Urbino; and here both artists gave proof of very fine genius, as is sufficiently demonstrated by the chapel itself, wherein there is a portrait of the bishop which appears to be alive.
Girolamo was also much employed by the before-mentioned Duke in the preparation of scenic paintings, and other requisites for dramatic representations; and these our artist’s admirable acquirements in perspective, with his profound knowledge of architecture, enabled him to execute with the utmost perfection.
Leaving Urbino, Girolamo repaired to Rome, where he painted a Resurrection of Our Saviour Christ in the church of Santa Caterina, which is situate in the Strada Giulia. Here he made himself known as a most excellent master, having produced figures of admirable design and much beauty of attitude, with fine foreshortenings and agreeable colouring, as all those of our vocation who have seen them can bear ample testimony. [3]
While in Rome, Girolamo gave much time to the study and admeasurement of the antiquities to be found in that city, of which we have proof in the writings composed by
