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264:, to objectify the space of the representation, distancing it and distinguishing it from the spectator. The "cell" of the writing desk appears perfectly organised, with its furniture, shelves, and other minute objects, such as the majolica vases for herbs. The open books on the shelves seem to be arranged in this way to measure the depth of the recess. The geometrically tiled floor appears to be a veritable tour de force of perspective, perfect in its geometric definition and the play of light and shadow that varies according to the source of illumination. It is possible that Antonello was influenced by
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185:, who were compiling a catalogue of early Flemish painters. The painting was initially believed to have been executed during the early days of Antonello's Venetian sojourn. However, its varied perspectives and complexities make it likely to have been a demonstration work, intended to be shown to Venetian patrons. A synthesis of perspective and light, this work was probably brought to Venice as a "painting essay" to attract future commissions.
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Antonello uses many symbols throughout the painting. The book Saint Jerome is reading represents knowledge. The books surrounding him refer to his translation of the Bible into Latin. The lion in the shadows to the right of the saint is from a story about Saint Jerome pulling a thorn out of a lion's
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windows illuminating the vaults. Despite the complexity, the light manages to produce a unified effect, linking the different parts of the panel, thanks also to the solid perspective construction. The richness of the details is also reminiscent of the
Flemish manner, with the careful description of
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on the right. The room is lit by a complex use of light which, in the
Flemish manner, comes from several sources: firstly, from the central arch flow rays come in perspective directions, directing the viewer's gaze to Saint Jerome, particularly to his hands and book, giving the saint a particular
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Despite its small size, the painting has a striking effect due to the interplay of the light with the Gothic architecture as it highlights solids and voids, strikes the subject, and then flows outwards through the windows, revealing the manicured landscape. The central perspective takes the gaze
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paw. In gratitude, the lion follows Saint Jerome around for the rest of his life, like a house cat. The peacock and partridge play no specific part in the story of Saint Jerome. However, the peacock generally symbolises immortality, and the partridge is an ambivalent reference to truth/deceit.
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and with magnification, has identified, in the fine drawing of some of the floor tiles, the signature, date, and place of execution of the work: ANTN, XI 1474, MISSI. According to
Micalizzi, the painter would have concealed his name, Antonello, the date, November 1474, and the city of Messina.
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stateliness. Then, from a series of apertures piercing the background wall; in particular from two windows in the lower half of the painting, which respectively illuminate a room on the left and the colonnade on the right in
281:. On the ledge on which the saint's desk sits, from the left is seen a cat and two potted plants: a boxwood, which alludes to faith in divine salvation, and a geranium, a reference to the Passion of Christ. On the
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of Saint Jerome in the
Wilderness, when a limping lion came to the saint. He examined the injured foot and extracted the thorn he found there. This cured the foot and the lion stayed with Jerome until his death.
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for
Antwerp and one for London, the latter year can be doubted. The Messina scholar Carmelo Micalizzi, analysing a print reproducing the picture and observing it
154:) and a peacock in the foreground, both having symbolical meanings, a cat, and a lion, typically associated with Saint Jerome, in the shade on the right.
148:, focusing on the saint's torso and hands. A verdant landscape is revealed through the windows from both sides of the study. Animals include a partridge (
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The painting is thought to have been completed c. 1475, but as
Antonello finished two more elaborate and precise paintings in 1475, a
97:. The painting depicts human, natural, and divine knowledge, and is filled with architectural qualities. It was the property of
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In the foreground, on the left, the partridge alludes to the Truth of Christ, while the peacock recalls the Church and divine
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Detail of the colonnade and the window on the left, with the lion that followed Saint Jerome wherever he went
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It was not until 1856 that the work was positively attributed to
Antonello da Messina by the art critics
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The presence of the outer frame is a compositional expedient, present in
Flemish art but also cited by
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In the painting, Jerome's study is shown as a raised room with three steps, set in a large
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332:"Antonello da Messina | Saint Jerome in his Study | NG1418 | The National Gallery, London"
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141:: books, animals, pottery, etc., all painted with precise detail and "optical truth".
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directly to the figure of the saint, who has taken off his shoes and is sitting on a
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of Saint Jerome, best known for his translation of a large portion of the Bible into
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painter, the protagonist is accompanied by a host of supporting details pertinent to
404:. 2nd series. Vol. VI. Henry Wace. New York: The Christian Literature Company.
372:. 2nd series. Vol. VI. Henry Wace. New York: The Christian Literature Company.
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De heilige
Hieronymus in het studeervertrek of: hoe Vlaams is Antonello da Messina
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133:(probably within a Gothic monastery). In common with several other works by the
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45.7 cm × 36.2 cm (18.0 in × 14.3 in)
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A Select
Library of Nicene and Post-Nicene Fathers of the Christian Church
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A Select Library of Nicene and Post-Nicene Fathers of the Christian Church
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The painting is first recorded in 1529 by the Venetian art scholar
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The small picture is painted in oil on limewood panel. It portrays
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San Girolamo nello Specchio. Riflessioni su Antonello De Antonio
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San Girolamo nello specchio. Riflessioni su Antonello De Antonio
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The scene is devised such that the light rays coincide with the
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Antonello, il teatro sacro, gli spazi, la donna (Il labirinto)
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Web Gallery of Art, searchable fine arts image database
478:"St Jerome and the Lion by WEYDEN, Rogier van der"
352:di Carmelo Micalizzi edito da Di Nicolò di Messina
105:; since 1894 it has been in the collection of the
506:Antonello da Messina: Sicily's Renaissance master
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305:. It then widens to the details of the study.
257:", i.e., the way each surface refracts light.
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292:The lion is less symbolic and alludes to the
545:https://www.youtube.com/watch?v=ds_fYJ-pNlY
509:. New York: The Metropolitan Museum of Art.
253:the individual objects and their specific "
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224:(the translation that became known as the
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765:Paintings in the National Gallery, London
550:http://www.stefaanvanbiesen.com/skin.html
528:Active exploration of details of the work
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739:Male portraits by Antonello da Messina
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232:. His list of writings is extensive.
103:Thomas Baring, 1st Earl of Northbrook
540:Analysis of the symbols in this work
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453:, Di Nicolò Edizioni, Messina 2016
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760:Paintings by Antonello da Messina
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408:from the original on 11 July 2014
376:from the original on 11 July 2014
212:A doorway in the form of a large
462:Detroit Institute of Arts Museum
16:Painting by Antonello da Messina
139:the contemporary Flemish school
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458:"Saint Jerome in the Desert"
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617:(c. 1460–1469; disputed)
503:Barbera, K, ed. (2005).
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670:San Cassiano Altarpiece
533:21 October 2021 at the
271:De Prospectiva pingendi
622:San Gregorio Polyptych
435:. Palermo: Novecento.
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266:Piero della Francesca
262:Leon Battista Alberti
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89:is a painting by the
716:(c. 1454–1455, 1475)
686:Christ at the Column
586:Antonello da Messina
338:on 3 September 2009.
95:Antonello da Messina
42:Antonello da Messina
775:Paintings of Jerome
665:(London; 1475–1476)
449:Carmelo Micalizzi,
431:Battisti, Eugenio.
183:Joseph Archer Crowe
164:Marcantonio Michiel
91:Italian Renaissance
681:(Palermo; c. 1476)
285:to the right is a
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101:and afterwards of
99:Antonio Pasqualino
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678:Virgin Annunciate
662:Portrait of a Man
630:Virgin Annunciate
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713:Crucifixion
673:(1475–1476)
279:omniscience
246:chiaroscuro
191:Crucifixion
113:Description
754:Categories
318:References
196:specularly
109:, London.
64:Dimensions
721:Ecce Homo
609:(c. 1455)
593:Paintings
309:Symbolism
241:colonnade
218:cabinetry
135:Messinese
531:Archived
487:15 April
468:15 April
406:Archived
374:Archived
303:cathedra
214:low arch
131:aperture
78:, London
72:Location
732:Related
654:Calvary
605:Abraham
425:Sources
250:trefoil
239:with a
230:Gospels
226:Vulgate
158:History
93:master
51:c. 1474
657:(1475)
641:(1474)
625:(1473)
607:panels
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412:7 June
380:7 June
294:legend
283:coffer
255:lustre
208:Detail
38:Artist
222:Latin
203:Style
603:and
489:2019
470:2019
437:ISBN
414:2010
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