countryman Raffaele, like whom, he died on the day his thirty-seventh year was completed. [Illustration: _Alinari_ THE LAST SUPPER _After the picture by Baroccio in the Duomo of Urbino_] His brother FEDERIGO, fourteen years his junior, was brought to Rome in 1550, and committed to his charge. The advantage of an associate on whom he could rely was immense to one whose works were, even from youth, in a great measure, executed by others; and fraternal affection, cemented by a similarity of tastes and pursuits, grew up into an identity of character and habits which extended to their respective works, and enabled the younger Zuccaro satisfactorily to terminate the commissions which Taddeo left unfinished. Precocity was a characteristic of both; and the only interruption to their harmony arose from the latter having retouched some frescoes done by Federigo, when but eighteen years old, outside of a house in Rome. The quarrel having become serious, a compromise was effected by mutual friends, on an understanding that the designs, but not the finished works of the youth, should be submitted to his brother's correction. During his residence in Rome, Federigo was, however, chiefly employed on those mural paintings which we have already mentioned as undertaken by Taddeo; and when about twenty-two, he spent a considerable time in Venice, painting, on his own account, in the Grimani Palace, whilst his contemporaries were still busy with their preliminary studies. There was even a proposal to assign to him the façade of the great council hall, but jealousy among the native artists prevented this taking effect. He was, however, consoled by the friendship of Palladio, who engaged him to decorate a large temporary theatre, and whom he subsequently accompanied on a tour through Friuli and Lombardy. Thence he visited Florence, in time to take part in the festive decorations which welcomed Joanna of Austria to her new capital, and, after a visit to his family, arrived at Rome early in 1566. It was about this time he painted for Duke Guidobaldo the Liberation of St. Peter from prison, now in the Pitti Gallery, a picture of no great intrinsic merit, though dexterous in effect; and now, too, Verdizotti of Venice complimented his early promise in this elegant sonnet, wherein the "tree of Jove" means the oak, the badge of Urbino and its dukes.