Girolamo Genga, who was of Urbino, was apprenticed by his father at the age of ten to the wool trade, but he followed it with the greatest ill-will, and, according as he could find time and place, he was for ever drawing in secret with charcoal or an ordinary pen. Which circumstance being observed by some friends of his father, they exhorted him to remove the boy from that trade and to set him to painting; wherefore he placed Girolamo with certain masters of little reputation in Urbino. But, having seen his beautiful manner, and that he was like to make proficience, when the boy was fifteen years of age the father apprenticed him to Maestro Luca Signorelli of Cortona, an excellent master in painting of that time; with whom he stayed many years, following him to the March of Ancona, to Cortona, and to many other places where he executed works, and in particular to Orvieto, in the Duomo of which city, as has been related, Luca painted a chapel of Our Lady with an infinite number of figures. At this our Girolamo worked continually, and he was always one of the best disciples that Luca had. Then, having parted from Signorelli, he placed himself with Pietro Perugino, a much esteemed painter, with whom he stayed about three years, giving considerable attention to perspective, which was so well grasped and understood by him, that it may be said that he became very excellent therein, even as is evident from his works in painting and architecture. This was at the same time that there was with Pietro the divine Raffaello da Urbino, who was much the friend of Girolamo. After leaving Pietro, he went off to live in Florence, where he studied for some considerable time. Then, having gone to Siena, he stayed there for months and even years with Pandolfo Petrucci, in whose house he painted many rooms, which, from their being very well designed and coloured in a pleasing manner, were rightly admired and praised by all the people of Siena, and particularly by the above-named Pandolfo, by whom he was always looked upon with great favour and cherished most dearly. Pandolfo having died, he then returned to Urbino, where Guidobaldo, the second Duke, retained him for a considerable time, causing him to paint horse's caparisons, such as were used in those times, in company with Timoteo da Urbino, a painter of passing good name and much experience, together with whom he painted a chapel of S. Martino in the Vescovado for Messer Giovan Piero Arrivabene of Mantua, then Bishop of Urbino. In this, both the one and the other of them gave proof of very beautiful genius, as the work itself demonstrates, in which is a portrait of the above-named Bishop, which has all the appearance of life. Genga was also particularly employed by the same Duke to execute scenery and settings for comedies, which, since he had a very good understanding of perspective and was well-grounded in architecture, he made marvellously beautiful.