A friend of Giovan Francesco, and likewise a disciple of Raffaello, was Pellegrino da Modena, who, having acquired in his native city the name of a man of fine genius for painting, and having heard of the marvels of Raffaello da Urbino, determined, in order to justify by means of labour the hopes already conceived of him, to go to Rome. Arriving there, he placed himself under Raffaello, who never refused anything to men of ability. There were then in Rome very many young men who were working at painting and seeking in mutual rivalry to surpass one another in draughtsmanship, in order to win the favour of Raffaello and to gain a name among men; and thus Pellegrino, giving unceasing attention to his studies, became not only a good draughtsman, but also a well-practised master of the whole of his art. And when Leo X commissioned Raffaello to paint the Loggie, Pellegrino also worked there, in company with the other young men; and so well did he succeed, that Raffaello afterwards made use of him in many other things. He executed three figures in fresco in S. Eustachio at Rome, over an altar near the entrance into the church; and in the Church of the Portuguese, near the Scrofa, he painted in fresco the Chapel of the High-Altar, as well as the altar-piece. Afterwards, Cardinal Alborense having caused a chapel richly adorned with marbles to be erected in S. Jacopo, the Church of the Spanish people, with a S. James of marble by Jacopo Sansovino, four braccia and a half in height, and much extolled, Pellegrino painted there in fresco the stories of that Apostle, giving an air of great sweetness to his figures in imitation of his master Raffaello, and designing the whole composition so well, that the work made him known as an able man with a fine and beautiful genius for painting. This work finished, he made many others in Rome, both by himself and in company with others. [Illustration: THE LAST SUPPER (_After the fresco by =Gaudenzio Milanese [Gaudenzio Ferrari]=. Milan: S. Maria della Passione_) _Anderson_]