Another superintendant of the works of the Vatican, but rather in architecture than in painting, was Girolamo Muziano da Brescia, who, undistinguished in his native place, came young to Rome, and was there considered the great supporter of true taste. He derived his principles both in design and colour from the Venetian School, and early acquired such skill in landscape, that he was named in Rome Il Giovane de' Paesi. But he soon afterwards adopted a more elevated style, and devoted himself with such obstinate assiduity to study, that he shaved his head in order to prevent himself from going out of the house. It was at this time that he painted the Raising of Lazarus, afterwards transferred from the church of S. Maria Maggiore to the Quirinal Palace; and which, when exposed to public view, immediately conciliated to him the esteem and protection of Bonarruoti. His pictures occur in various churches and palaces of Rome, and are often ornamented with landscapes in the style of Titian. The church of the Carthusians possesses one of singular beauty. It represents a troop of Anchorets attentively listening to a Saint. There is great elegance and good disposition in the picture of the Circumcision in the Gesù, and the Ascension in Ara Coeli displays an intimate knowledge of art. The picture too of S. Francis receiving the Stigmata, in the church of the Conception, is an enchanting piece, both as regards the figures and the landscape. Nor was he beneath himself in the pictures which he executed in the Duomo at Orvieto, which are highly commended by Vasari. The chapel of the Visitation in the Basilica Loretana, possesses three pictures by him, and that of the Probatica discovers great originality and expression. In the Duomo of Foligno, a picture by him in fresco, of the Miracles of S. Feliciano is pointed out, which was formerly hidden by dust, but was a few years ago restored in a wonderful manner to all its original freshness and charm of colour. The figures of Muziano are accurately drawn, and we not unfrequently trace in them the anatomy of Michelangiolo. He excelled in painting military and foreign dresses; and above all, in representing hermits and anchorets, men of severe aspects, whose bodies are attenuated by abstinence, and his style, in general, inclines rather to the dry than the florid. We are indebted to this artist for the engraving of the Trajan Column. Giulio Romano had begun to copy it, and the laborious undertaking was continued and perfected by Muziano, and so prepared for the engraver.