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| Girolamo da Carpi Holy Family with young St John the Baptist and an Angel ca. 1540-50 oil on panel Blanton Museum of Art, Austin, Texas |
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| Girolamo da Carpi Adoration of the Magi ca. 1538-48 oil on panel National Gallery, London |
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| Girolamo da Carpi The Four Elements before 1556 oil on panel private collection |
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| Girolamo da Carpi Allegory of Opportunity and Patience ca. 1541 oil on canvas Galleria Estense, Modena |
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| Girolamo da Carpi Portrait of a Knight of the Order of St John ca. 1526-27 oil on canvas Lower Saxony State Museum, Hanover |
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| Girolamo da Carpi Portrait of a Gentleman 1535 oil on panel Museo di Capodimonte, Naples |
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| attributed to Girolamo da Carpi after Titian Portrait of Cardinal Ippolito de' Medici (detail) after 1532 oil on panel National Gallery, London |
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| Girolamo da Carpi Vignette with St Bartholomew ca. 1554 detached fresco Palazzo dei Diamanti, Ferrara |
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| Girolamo da Carpi Vignette with St George ca. 1554 detached fresco Palazzo dei Diamanti, Ferrara |
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| Girolamo da Carpi St Catherine of Alexandria 1554 detached fresco Palazzo dei Diamanti, Ferrara |
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| Girolamo da Carpi The Annunciation ca. 1550 oil on panel Museo del Settecento Veneziano, Ca' Rezzonico, Venice |
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| workshop of Girolamo da Carpi Virgin and Child with St John the Baptist and adoring Pope ca. 1550-55 oil on panel Palazzo Ducale, Mantua |
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| Girolamo da Carpi Pentecost ca. 1525-50 oil on panel Palazzo dei Diamanti, Ferrara |
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| Girolamo da Carpi St Luke drawing the Virgin ca. 1535 oil on panel Art Institute of Chicago |
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| Girolamo da Carpi Apparition of the Virgin ca. 1530-40 oil on panel National Gallery of Art, Washington DC |
"The histories of the Ferrarese and Bolognese schools of painting intersect even more than is usual in the person of the first of the Ferrara-born artists who belongs entirely to the new century, Girolamo da Carpi. Born in 1501, the son of a minor painter of the city, he was (according to an old document, now no longer traceable) in 1520 in Garofalo's shop. By the middle twenties at the latest, however, he had taken up residence in Bologna, and he worked mainly there for about ten years. An initial Raphaelesque inclination acquired from Garofalo was accentuated in Bologna, and more quickly than in Garofalo or Dosso it was at once compounded and significantly altered by the influence of Giulio Romano. By 1530 or 1531 Girolamo was as expert in the transcription of Giulio's style as an exact pupil. . . . After this, however, working mostly in Ferrara until 1549, Girolamo adopted a much less expressively erratic style, and one more in conformity with the modes of the two Dossi and Garofalo. . . . Girolamo's work is distinguished from that of his other close colleagues in Ferrara by his more distinctly Giulian manner, smoother and more classicistically correct than that of the later Dossi, but more energetic than Garofalo's and more recognizably au courant. In 1549 Girolamo went to Rome, where he worked for Julius III in the capacity of an architect, on the construction of the Vatican Belvedere. He returned to Ferrara in 1554 and died there two years later."
– S.J. Freedberg, Painting in Italy 1500-1600 in the Pelican History of Art series (1970)