he proceeded to Home, where he laboured until 1550, in the designing and copying of the most notable works to be found there. At this time and afterwards, he was employed in the works then in course of execution by Perino del Vaga at the Castel Sant’ Angelo: he also painted a Battle-piece in fresco on the ceiling of the Chapel of St. Denis in the Church of St. Louis of the French; and herein he acquitted himself so much to his credit, that, although Girolamo Sicciolante of Sermoneta had executed many works in that chapel, yet those by Pellegrino were by no means inferior'; nay, many considered him to have surpassed that artist in the design and colouring of his pictures, whether in boldness or grace. These works afterwards caused Pellegrino to be employed by Monsignore Poggio, who, having built a palace on the Esquiline Hill,[1] where he had a Vigna outside the Porta del Popolo, desired that Pellegrino should paint certain figures on the front, and should also decorate a Loggia on the side of the Tiber; this he painted accordingly with much care; and it is considered a beautiful and graceful production.
In the court of a house belonging to Francesco Formento, which is situate between the Strada del Pellegrino and the Parione, this artist painted a Façade and two figures besides. In the Belvedere he painted a large Escutcheon of Arms with two figures, by order of the stewards of Pope Julius III.; and at the church of Sant’ Andrea, outside the Porta del Popolo, which that Pontiff had erected, he painted figures of San Pietro and Sant’ Andrea, both which were much commended. The design for the San Pietro we have now in our book, with other drawings carefully executed by the same artist. Being subsequently despatched to Bologna by Monsignore Poggio, Pellegrino painted numerous stories in fresco at a Palace[2] which that prelate possessed there; among these there is a very beautiful one, wherein the artist surpassed himself, whether as to the composition, the excellence of the figures, or the beauty of the draperies, insomuch that he has not since produced anything superior to this.
At the Church of San Jacopo in the same city, Pellegrino commenced a chapel for the same Cardinal Poggio; but this was afterwards finished by Prospero Fontana. Being subsequently taken by the Cardinal of Augusta to the Madonna
