Already referring to Garofalo, the small panel was returned by Carlo Volpe to his great pupil Girolamo da Carpi. In this painting, if the polite formal integrity and the refined elegance of the pose refer to that meditated cultural infusion of Raphaelesque matrix that characterizes the painter's production throughout his career, the cadences of more refined and subtle elegance that derive from Parmigianino, who survived in 1527 in Bologna from the Sack of Rome, and point towards a dating around the thirties. The most stringent comparisons are to be made with the frescoed tondi that Girolamo painted for the church of San Giorgio in Ferrara (1630) in collaboration with the ancient master Garofalo. The graceful figure of the saint is presented according to the iconography also disclosed by the famous Raphael altarpiece, but the archeological taste of the ruins at the bottom, restored in an almost romantic atmosphere, now reveal the influence of Giulio Romano.