They began one, therefore, on Montecavallo, opposite to S. Silvestro, in company with Pellegrino da Modena, which encouraged them to make further efforts to see whether this should be their profession; and they went on to execute another opposite to the side-door of S. Salvatore del Lauro, and likewise painted a scene by the side-door of the Minerva, with another, which is a frieze of marine monsters, above S. Rocco a Ripetta. And during this first period they painted a vast number of them throughout all Rome, but not so good as the others; and there is no need to mention them here, since they afterwards did better work of that sort. Gaining courage, therefore, from this, they began to study the antiquities of Rome, counterfeiting the ancient works of marble in their works in chiaroscuro, so that there remained no vase, statue, sarcophagus, scene, or any single thing, whether broken or entire, which they did not draw and make use of. And with such constancy and resolution did they give their minds to this pursuit, that they both acquired the ancient manner, the work of the one being so like that of the other, that, even as their minds were guided by one and the same will, so their hands expressed one and the same knowledge. And although Maturino was not as well assisted by Nature as Polidoro, so potent was the faithful imitation of one style by the two in company, that, wherever either of them placed his hand, the work of both one and the other, whether in composition, expression, or manner, appeared to be the same. In the Piazza di Capranica, on the way to the Piazza Colonna, they painted a facade with the Theological Virtues, and a frieze of very beautiful invention beneath the windows, including a draped figure of Rome representing the Faith, and holding the Chalice and the Host in her hands, who has taken captive all the nations of the earth; and all mankind is flocking up to bring her tribute, while the Turks, overcome at the last, are shooting arrows at the tomb of Mahomet; all ending in the words of Scripture, "There shall be one fold and one Shepherd." And, indeed, they had no equals in invention; of which we have witness in all their works, abounding in personal ornaments, vestments, foot-wear, and things bizarre and strange, and executed with an incredible beauty. And another proof is that their works are continually being drawn by all the foreign painters; wherefore they conferred greater benefits on the art of painting with the beautiful manner that they displayed and with their marvellous facility, than have all the others together who have lived from Cimabue downwards. It has been seen continually, therefore, in Rome, and is still seen, that all the draughtsmen are inclined more to the works of Polidoro and Maturino than to all the rest of our modern pictures.