( fl 1506–12). Italian painter. Girolamo’s only authenticated surviving work is a Coronation of the Virgin with SS John the Baptist and John the Evangelist (ex-S Francesco dell’Ospedale, Udine; Udine, Mus. Civ.) signed Opus ieronimi Utinensis. He is almost certainly the same Girolamo, son of Bernardino da Verona (1463–1528), who signed a contract to paint a chapel in SS Biagio e Giusto in Lestizza, near Udine, in March 1511 and who died the following year. Attempts to associate him with a document of 1539 have been shown to be mistaken. Girolamo must have been resident for most of his career in Venice, since the style of the Coronation is very close to that of Cima da Conegliano. The fairly literal borrowing of the figure of the Baptist from its counterpart in Cima’s Rest on the Flight to Egypt (c. 1495–8; Lisbon, Mus. Gulbenkian) suggests a date of about 1500 for the Coronation and confirms that Girolamo had access to the contents of Cima’s workshop. Another work in the style of Cima that is generally attributed to Girolamo is an Adoration of the Shepherds (Worcester, MA, A. Mus.), in which the stylization of the draperies and the timid little figures with button-like eyes bear a close resemblance to the figure types in the Coronation. Girolamo may have been responsible for several other variants on designs by Cima; he also seems occasionally to have collaborated with his compatriot Giovanni Martini da Udine ( fl 1497–1535), for example on the lunette (Udine, Mus. Civ.) of Giovanni’s documented St Ursula altarpiece of 1503–7.

• Girolamo da Udine
  • Cima da Conegliano, §2: Working methods and technique