He is the artist who, together with the sculptor Guido Mazzoni, best embodies the potential of Modena at the end of the fifteenth century. The panel constitutes an important addition to the catalog of the painter, author of the famous' altarpiece of the three crosses' for San Francesco in Mirandola (now Galleria Estense), where he is aware of the novelties proposed by Ercole de 'Roberti, as well as of the taste archaeologist by Andrea Mantegna. Compared to that intense youthful test, this Saint Jerome testifies to a vision of a modern sign, where the landscape opens up to the sweetness of Venetian painting and the optical subtleties of the Flemish brand. On the road that leads to the beautiful altarpiece painted around 1506 for the Benedelli family in San Pietro, by now heralds the new and solemn classicism with which the painter redeems the tragic hardships of his early training.