The church was a favourite one with the Rovere family. Pope Sixtus himself often went to vespers there. In 1480 he instituted his nephew, Girolamo Riario, as chief warden. Here he came in state to give thanks after the victory of Campo Morto had delivered Rome from the fear of the Calabrian invader. Roderigo Borgia, too, as early as 1473, had given a marble altar to be placed in front of a miracle-working picture of the Madonna. Vasari speaks of two chapels painted by Pintoricchio in this church: one with the history of St. Jerome, for Domenico della Rovere, as a memorial of his brother, Christoforo, who died in 1479; the other for Cardinal Innocenzio Cibo. The Umbrian frescoes were destroyed, and the baroque ornamentation we now see, substituted. There is a third chapel, dedicated to Santa Catarina, in which the painter executed half-lengths of the four evangelists in an arched ceiling, for a Portuguese ecclesiastic, Cardinal Costa. Finally, a fourth chapel had been the gift of Giovanni Basso della Rovere, the brother-in-law of Pope Sixtus, whose portrait was already painted by Pintoricchio in the fresco of the Baptism in the Sixtine Chapel. Two of the half-lengths of the evangelists--"St. Jerome and Pope Gregory"--though both spoilt and repainted, remain as Pintoricchio's work, together with two children supporting a scutcheon. In the chapel of St. Augustine, the three sons of Giovanni raised a monument to their father, and some years after his death (to judge by the introduction of grotesques) it was painted in frescoes, which guide-books still assign to Pintoricchio. They are in his manner, and were probably executed while he was working at the choir in 1505, for the papal shield of Julius II., who succeeded in 1503, appears on the ceiling. The "Pietà" in the lunette above the monument may possibly have been painted earlier than the rest of the chapel, and Schmarsow sees in it the hand of Pintoricchio, influenced by Melozzo da Forli. It is difficult to think that he can be answerable for it when we compare it with the "Pietà" over the polyptych at Perugia. The coarse, heavy body of the Christ, the badly-draped loin cloth, the clumsy attitude of the expressionless angels, seem rather to be the work of some pupil from North Italy, with a mingling of the Teutonic, and have nothing in common with the delicate and devotional Umbrian rendering, so evidently inspired by Perugino.