The Girolami traced their descent to the saint and were the custodians of his bishop’s ring. Raffaello di Francesco Girolami was the dedicatee of a Latin play inspired by the life of Saint Zenobius as well as a life of the saint in Italian (Callmann 1984, Cecchi 2005). It has been suggested that the four panels decorated a room in a palace above a wainscoting or day bed ( spalliera panels Horne 1915) and it has further been proposed that the patron was Francesco di Zanobi Girolami (1441–1515), who is presumed to have commissioned them to decorate a marriage chamber for one of his sons: possibly Zanobi (1478–1519), who married Maria di Salvi Borgherini in 1500, or Raffaello (1472–1532), who married Alessandra di Francesco de’Nerli in 1497. Like the two London panels, in the nineteenth century The Met's picture formed part of the collection of the marchese Rondinelli, who lived on Via della Stufa, Florence. The first two panels of the series are in the National Gallery, London the fourth is in the Gemäldegalerie, Dresden. This is the third in a series of four panels depicting the life and miracles of Saint Zenobius, the fourth-century bishop of Florence and one of the city's patron saints.
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