The engraving shows the single figure of Saint Jerome, translator of the Bible into Latin, deep in his transcription at his writing desk. In so many of Dürer’s other works, the religious or moral action is presented to us with the help of other figures – in the engravings of the Book of Revelation, for example, St John devours the Book as the face of the divine light looks down on him and a supporting cast of angels fills the sky. Flemish School, 1533Saint Jerome in his studydated upper left on the clock:1533oil on panel36 5/8by 27 3/8in. In Antonello's Saint Jerome in His Study we see Jerome reading at his desk on a raised platform which forms the floor of his study. Saint Jerome in His Study (1480) Domenico Ghirlandaio (1449–1494) But the Church remembers him in the canon of saints as a scholar and translator of the Bible who exemplified a holiness of life worthy of emulation. The lion refers to the legend in which Jerome pulled a thorn out of a lion’s paw, who in return, became his companion. The table, on the corner of which is a cross, is typical of the Renaissance. Title: Saint Jerome in his Study. “Saint Jerome in His Study”, Pieter Coecke van Aelst, 1530, oil on wood panel. Accession Number: 19.73.68 Saint Jerome is shown sitting behind his desk, engrossed in work. Saint Jerome in His Study. Colantonio,_Jerome_in_his_Study.jpg ‎ (534 × 456 pixels, file size: 94 KB, MIME type: image/jpeg) This is a file from the Wikimedia Commons . His engraving of St Jerome the Penitent in the Wilderness dates from some 15 years previously - when Dürer’s own journeys were far from over - and shows a figure, true to legend, in the rocky and barren wastes, albeit in a distinctly northern European landscape. Saint Jerome in His Study (1475) Saints Jerome 8C St. Jerome is the Church's doctor and father and the library's patron. Saint Jerome in His Study, 1451, by Antonio da Fabriano II, shows writing implements, scrolls, and manuscripts testifying to Jerome's scholarly pursuits. (60.7 x 46.7cm.) Search for crossword clues found in the Daily Celebrity, NY Times, Daily Mirror, Telegraph and major publications. Widely known as one of the greatest of the Latin Fathers, Jerome commented on the Scriptures, weighed in on theological controversies, wrote hundreds of letters and homilies, and … According to legend, Jerome extracted a thorn from a lion's paw. Antonello is traditionally given credit for the introduction into Italy of painting with oil glazes, a technique perfected by Jan van Eyck, where thin translucent layers of oil paint are painstakingly built up enabling the artist unparalleled scope for the depiction and modulation of detail. The example of this work would take on a new currency within years of the engraving being published, when Martin Luther began his work on a German-language Bible which would seek to correct the misreadings of Catholic doctrine. St. Jerome wasn't a rich family, but they did have their own houses and servants. The engraving is full of references to the legends and attributes of Saint Jerome, which would have made the figure seem even more familiar to 16th century viewers. in Puttfarken, 94). Antonello da Messina, Saint Jerome in his Study, about 1475, The National Gallery, Trafalgar Square, London Antonello da Messina, Saint Jerome in his Study The painting is recorded in a Venetian collection in 1529 as by Antonello, Van Eyck or Memling. Delicate and intricate in its execution and rich in its symbolism, this small panel painting attributed to the workshop of Jan van Eyck depicts Saint Jerome, the fourth-century translator of the Bible, reading in his study. Title: Saint Jerome in His Study. He was popularly, if anachronistically, represented as a cardinal, so his distinctive cardinal’s hat is on its peg. Perhaps the most intriguing feature of the composition is our point of sight – though the perspective of the room does not quite bear this out, we feel almost as if we are peeking in at the man at work, keen not to disturb his thoughts. Saint Jerome is shown sitting behind his desk, engrossed in work. Saint Jerome in His Study (lang-de|Der heilige Hieronymus im Gehäus) is a copper engraving of 1514 by the German artist Albrecht Dürer. On one analysis, these three ‘master engravings’, or ‘Meisterstiche’, are said to represent three different fields of human endeavour: an active life in the world around us, an immersion in scientific study and the imagination, and the religious or contemplative life. 2); a pair of discarded shoes lies at Creator: Albrecht Dürer. Jerome elected to use hedera (from the Greek, meaning ivy) over the more common Latin cucurbita from which the related English plant name cucumber is derived, perhaps to avoid confusion while making a more perfect analogy to the typology of Christ "I am the Vine you are the branches". Generally dated to 1605-1606, the painting is located in the Galleria Borghese in Rome. Art historian Erwin Panofsky comments on the perspective: The position of the sight point, quite far off centre, strengthens the impression of a representation determined not by the objective law of the architecture but by the subjective standpoint of the spectator who is just entering – a representation which owes to precisely this perspective arrangement a large part of its peculiarly 'intimate' effect. The lion in the foreground is part of the traditional iconographyof St. Jerome, and near … But there is a wooden structure dedicated to the study in the center, with shelves full of books, a desk, and seating, which may underline how this Saint, inside the Catholic Church, dedicated himself to prayer through reason, the main virtue of the humanist era. Classification: Prints. ; 93.2 by 69.5 cm. Your institution or library may have a subscription to the site. Type: Prints. St. Jerome was born in modern-day Croatia. he was born in 342AD. During this time Dürer made 11 copper engravings, three of these: Saint Jerome in His Study, Melancholia I, and The Knight, Death and the Devil, are considered his master engravings. A reading Saint Jerome in his Study The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. 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