painted the Prince Don Alessandro, her son; he is fully armed, and is extending his sword over the globe of the world. Before him kneels an armed figure of Parma.
In a chapel of the Steccata, at Parma, Jeronimo painted a chapel in fresco, the subject chosen being the Apostles receiving the Holy Spirit; and on an arch similar to that mentioned when speaking of his cousin Francesco, he painted six Sybils, two coloured and four in chiaro-scuro: in a recess which is opposite to that arch, Jeronimo likewise painted the Nativity of Christ, with the Adoration of the Shepherds; this was never entirely completed, but is a very fine painting. The high altar of the Carthusian monastery, which is j ust without the city of Parma, has a picture of the three Magi by the hand of this artist, there is also one in San Piero, an abbey of the Monks of St. Bernard, at Pavia; and another in the Cathedral of Mantua,[1] which he painted for the Cardinal.[2] This last represents the Saviour in his Transfiguration, he is surrounded by a splendour of light, and is accompanied by the Apostles, and more especially by San Giovanni, of whom he appears to say, “Sic eum volo manere^'^ &c. Around this picture are six large representations, depicting the miracles performed by San Giovanni Evangelista.
In the church of the Bare-footed Friars, and on the left of the entrance, is a large picture by the hand of Jeronimo; the subject is the Conversion of vSt. Paul, and the work is an exceedingly fine one. In the church of San Benedetto at Polirone, a place about twelve miles from Mantua, there is a picture by this master, the subject of which is Christ in the Manger. The Divine Infant is receiving the adoration of the shepherds, and is surrounded by a choir of angels. This work forms the picture of the high altar. Jeronimo likewise painted—but I do not know exactly at what time—■ an exceedingly beautiful picture of five Cupids, one of whom is sleeping, while the rest are despoiling him; one takes from him his bow, another his arrows, and a third his torch. This work is now in the possession of the Signor Ottavio, whose respect for the endowments of Jeronimo causes him to hold it in the utmost estimation. Nor has the latter de-
