"Saint Jerome in His Study (Dürer) Saint Jerome in His Study () is an engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently"
"Four Evangelists become more and more an accessory used to characterize the figure of the Evangelists themselves from the fifth century onwards. In the same way many saints, when not characterized by the instruments of their martyrdom, are accompanied by animals which identify them; as, St. Roche, with a dog; St. Hubert, with a stag; St. Jerome, with a lion; St. Peter, with a cock; St. Paul the Hermit, with a raven, etc. The Bible, also, gives some motives, as the ram of Isaac, the golden calf, the brazen serpent. With the fourteenth century, animals become less frequent in iconography."
"was later bought by the London museum. St. Jerome was a common subject of art at the time. Dürer for this works was probably inspired by similar depictions by Giovanni Bellini, or other artists influenced by Andrea Mantegna. Jerome is portrayed during his hermitage, surrounded by all the symbols traditionally attributed to him: the tamed lion, the hat and the cardinal garments on the ground (a symbol of rejection of earthly honors), the book (Jerome was a translator of the Vulgate), the stone he used to hit himself, and the crucifix for the prayers. The depiction of nature is typical"
"is accompanied by a host of details, that have points of contact with the contemporary Flemish school: books, animals, objects, all painted with a magnificent taste for detail and ""optical truth"". The scene is devised such that the light rays coincide with the perspective axes, centering on the saint's bust and hands. A Mediterranean landscape is hinted at through the windows opening on both sides of the study. Animals include a partridge (""alectoris graeca"") and a peacock, in the foreground, both having symbolical meanings, a cat and a lion, typically associated with St Jerome, in the shade on the right."
"Madonna and Child with St Jerome The Madonna and Child with St Jerome is a painting by the Italian Renaissance master Pinturicchio, painted around 1481 and housed in the Gemäldegalerie of Berlin, Germany. The painting shows an infrequent composition, with the Virgin holding the Child who writes on a book, an allusion to his intervention in the Holy Books. On the right is St. Jerome, recognizable by his cardinal dress, leaving a book on the marble throne where the Madonna sits: in this case this is one of his traditional attributes of knowledge. Jesus wears a pearl-lined coif which can"
"loyal companion after he extracted a thorn from its paw. The lion, the stone and a cardinal's hat are the traditional attributes of the saint. On the left-hand side of the panel the background is a distant landscape of a lake surrounded by precipitous mountains shrouded in mist. To the right-hand side, the only discernible feature is a faintly-sketched church, seen through the opening in the rocks. The church's presence may allude to Jerome's position in Western Christianity as one of the Doctors of the Church. The composition of the painting is innovative for the oblique trapezoid form of the"
"Antonello uses many symbols throughout the painting. The book St. Jerome is reading represents knowledge. The books surrounding him refer to his translation of the Bible into Latin, the Vulgate. The lion in the shadows to the right of the saint is from a story about St. Jerome pulling a thorn out of a lion's paws. In gratitude, the lion follows St. Jerome around for the rest of his life, like a house cat. The peacock and partridge play no specific part in the story of St. Jerome. However, the peacock generally symbolizes immortality, and the partridge is an ambivalent"
"sun lizard is the only member of the painting that looks at the baby Jesus. Lastly, a tortoise is included, which is an uncommon religious symbol. The tortoise represents reticence and chastity. This altarpiece by Botticini is unique in its remarkable inclusion of plants and animals, unlike any other Florentine painting of its period. The piece is often described as the most artistically profound work that Botticini produced during his life. The painting is now located at the Metropolitan Museum of Art in New York City, New York. Around the year 1490, Botticini completed an altarpiece of Saint Jerome, which"
"St. Jerome in the Wilderness (Dürer) St. Jerome in the Wilderness is a double-sided oil on panel painting by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed. The work was attributed to Dürer in 1957, basing on the resemblance between the lion and a similar animal on a membrane drawing from the artist's second trip to Venice, now at the Hamburger Kunsthalle. The lion was almost surely drawn from St. Mark's Lion depictions in the city. The painting was previously in the Fitzwilliam Museum of Cambridge, and"
"Crucifixion between Sts. Jerome and Christopher The Crucifixion between Sts. Jerome and Christopher is a painting by the Italian Renaissance master Pinturicchio, painted around 1481 and housed in the Borghese Gallery of Rome, Italy. It is one of the earliest known works by the Umbrian painter, after some of the panel of the ""Histories of San Bernardino"" (1473). The work depicts the Crucifixion on a river valley background, whose small details show the influence of Flemish painting. At the sides are a penitent St. Jerome, with the traditional symbols of the tamed lion, the cardinal hat on the ground, and"
"foreground has probably been borrowed from Flemish works, which Mantegna could have seen in the Este collections. Two hammers are resting on a beam hanging in the cave, possibly referring to Christ's Passion, whilst perched above the cave entrance is a barn owl, traditionally linked to magic and superstition, which Jerome and Ulisse fight with the light of reason. St. Jerome in the Wilderness (Mantegna) St Jerome in the Wilderness is a tempera on panel painting, measuring 48 by 36 cm and attributed to Andrea Mantegna. It dates to between 1449 and 1450 and is now in the São Paulo"
"This could symbolize the world floating towards decay. An owl and little owl are depicted on a branch: they allude, respectively, to heresy and the struggle against heresy. The Ten Commandments tables can be seen above the cave. The landscape is wide, in green tones. St. Jerome at Prayer (Bosch) St. Jerome at Prayer is a painting of St. Jerome by Hieronymus Bosch, thought to have been completed c. 1482. Today it is housed at the Museum of Fine Arts in Ghent. The work is known only from its acquisition by the museum in 1908. As for most of Bosch's"
"Saint Jerome in Meditation (Caravaggio) Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria). Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted him at least eight times (only three survive). Whether this was from personal choice or at the request of patrons is unknown, but it gave Caravaggio the opportunity to"
"animal life: The paintings of the first period, as seen in the Catacombs of Rome, show us, usually, the lamb accompanying the Good Shepherd, a representation of the Christian soul during its earthly life. The lamb was strongly associated with religious sacrifices in the ancient Near East, and was adopted as a symbol of Christ and his sacrifice on behalf of humanity. Birds, too, appear either as simple decorative elements transmitted from antique paintings, or used symbolically as in Noah's dove, symbolical of the Christian soul released by death; the peacock, with its ancient meaning of immortality, and the phoenix,"
"Saint Jerome Writing Saint Jerome Writing, also called Saint Jerome in His Study or simply Saint Jerome, is an oil painting by Italian painter Caravaggio. Generally dated to 1605-1606, the painting is located in the Galleria Borghese in Rome. The painting depicts Saint Jerome, a Doctor of the Church in Roman Catholicism and a popular subject for painting, even for Caravaggio, who produced other paintings of Jerome in Meditation and engaged in writing. In this image, Jerome is reading intently, an outstretched arm resting with quill. It has been suggested that Jerome is depicted in the act of translating the"
"do not represent the devil, but actual wildlife encountered by Jesus, specifically in his forty days in the ""wilderness"" or desert in between his Baptism and Temptation. Schapiro assembled a good deal of textual material showing tropes of wild beasts submitting to Christ and other Christian figures, especially in the context of the early monasticism of the desert, where the attitude of the challenging local fauna was a live issue. The legend of Saint Jerome and the lion is an enduring example, and later Saint Francis of Assisi renewed the theme. This interpretation has met with considerable acceptance, though the"
"in the inclusion of bloodshot eyes. The dragon is usually included as a reference to Saint Sylvester. Similarly, the pig in the bottom right is a common symbol of Saint Anthony Abbot, representing gluttony. A highly debated animal is the white dove which is depicted drinking from a steam in the very bottom of the painting. The dove is usually used to represent the Holy Spirit, however the style of this dove does not resemble any of the usual marks of the Holy Spirit. Herbert Friedmann has theorized that the dove is instead a symbol of the twin sister of"
"St. Jerome at Prayer (Bosch) St. Jerome at Prayer is a painting of St. Jerome by Hieronymus Bosch, thought to have been completed c. 1482. Today it is housed at the Museum of Fine Arts in Ghent. The work is known only from its acquisition by the museum in 1908. As for most of Bosch's works, dating has been long disputed, dates having varied from 1490–1500 to 1495–1505. However, dendochronologic analysis has proved that it has been painted not after 1482. St. Jerome was a frequent subject of 15th century European art, depicted in his studio or during his penitence"
"of Saint Jerome: on the left, the removal of the thorn from the lion's paw and, on the right, the saint's experience in the desert. In the spandrel between these scenes is the coat of arms of king Manuel I, while the archivolt and tympanum are covered in Manueline symbols and elements. The Madonna (""Santa Maria de Belém"") is on a pedestal on top of the archivolt, surmounted by the archangel Michael, while above the portal there is a cross of the Order of Christ. The portal is harmoniously flanked on each side by a large window with richly decorated"
"and upwards-pointing finger are reminiscent of Leonardo's painting ""St. John the Baptist"". Vision of Saint Jerome The Vision of Saint Jerome is a painting by the Italian Mannerist artist Parmigianino, executed in 1526–1527. It is now in the National Gallery, London, United Kingdom. The work was commissioned on 3 January 1526 in Rome, by Maria Bufalini, wife of Antonio Caccialupi, to decorate the family chapel in the church of San Salvatore in Lauro. The contract mentioned ""Francesco Mazola de Parma"" and one ""Pietro"" with the same name, perhaps Parmigianino's uncle Piero Ilario Mazzola. The elongated shape derives from its original"
"Saint Jerome and the Angel of Judgement Saint Jerome and the Angel of Judgement is an oil on canvas painting by Jusepe de Ribera, signed and dated by the artist in 1626. It was produced as a display for a side chapel next to the high altar of the church of Santissima Trinità delle Monache, which also housed Ribera's ""Earthly Trinity"". The religious order running the building was suppressed in 1813 and the canvas instead entered the Bourbon Collection and the National Museum of Capodimonte in Naples - it still hangs in the latter. It is typical of Neapolitan Caravaggism."
"creatures are found in many mythologies. In Christian art, the tetramorph is the union of the symbols of the Four Evangelists, derived from the four living creatures in the Book of Ezekiel, into a single figure or, more commonly, a group of four figures. Each of the four Evangelists is associated with one of the living creatures, usually shown with wings. The most common association, but not the original or only, is: Matthew the man, Mark the lion, Luke the ox, and John the eagle. In Christian art and iconography, Evangelist portraits are often accompanied by tetramorphs, or the symbols"
"of animals. In images where the creatures surround Christ, the winged man and the eagle are often depicted at Christ’s sides, with the lion and the ox positioned lower by his feet, with the man on Christ's right, taking precedence over the eagle, and the lion to the left of the ox. This positions reflects the medieval great chain of being. The use of the tetramorph in architecture is most common in the decoration of Christian churches. On medieval churches, the symbols of the Evangelists are usually found above westerly-facing portals and in the eastern apse, particularly surrounding the enthroned"
"introverted mood of this painting is strikingly similar to that of ""John the Baptist"", now in Kansas City at the Nelson Atkins Museum, painted at about the same time. Saint Jerome in Meditation (Caravaggio) Saint Jerome in Meditation (c. 1605) is a painting by the Italian Baroque master Caravaggio, now in the Museum of Montserrat, next to the Monastery of Santa Maria, Montserrat (Museu del Monestir de Santa Maria). Saint Jerome, hermit, Father of the Church, and responsible for the translation of the Bible into Latin, (the Vulgate Bible) was a popular figure in Caravaggio's time, and the artist painted"
"Saint George. Some myths depict her working alongside other forest deities, and she is sometimes accompanied by the legendary hunting dog Q'ursha. Later stories, developed after the rise of Christianity in Georgia, conflate Dali with an evil nature spirit called the ""ali"". Many authors have described parallels between Dali and stories from other mythologies. As a patron of the hunt associated with hoofed beasts, she has been compared with Artemis of Greek mythology, a Scottish hag called the ""glaistig"", and the maiden who tames the unicorn. Her associations with gold, seduction, and the morning star have led scholars to draw"
"Christian symbolism the four living creatures of scripture (a man, an ox, a lion, and an eagle) have traditionally been associated with the Four Evangelists. The eagle is the symbol of Saint John the Evangelist. In medieval and modern heraldry eagles are often said to indicate that the armiger (person bearing the arms) was courageous, a man of action and judicious. Where an eagle's wings were spread (""displayed"") it was said to indicate the bearer's role as a protector. In the same way that a lion is considered the king of beasts, the eagle is regarded as the pre-eminent bird"
"may well have been panel icons which, like almost all classical painting, have disappeared. Initially Jesus was represented indirectly by pictogram symbols such as the ""Ichthys"" (fish), peacock, Lamb of God, or an anchor (the ""Labarum"" or ""Chi-Rho"" was a later development). Later personified symbols were used, including Jonah, whose three days in the belly of the whale pre-figured the interval between the death and resurrection of Jesus, Daniel in the lion's den, or Orpheus' charming the animals. The image of ""The Good Shepherd"", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and"
"The fifteenth and sixteenth centuries use them again, but copied more closely from life, usually of small size, and without any intention of symbolism. One finds now animals such as rats, snakes, rabbits, snails, and lizards. Raphael's ""Madonna del cardellino"" (Madonna of the Goldfinch) portrays John the Baptist holding a goldfinch while Christ reaches out his arms to touch it. The bird is associated by legend with the crucifixion, the red spot on its head supposedly arising from a drop of Christ's blood. Some of the most important symbolic animals are described in the table. Animals in Christian art In"
"be seen in another Pinturicchio's work of the period, the ""Crucifixion between Sts. Jerome and Christoper"" (c. 1475), now at the Borghese Gallery. The theme, used also by Fiorenzo di Lorenzo, was later abandoned by the Umbrian artist in favour of a free, curly hair. On the right is an open landscape, a typical element of the Renaissance Umbrian school. Madonna and Child with St Jerome The Madonna and Child with St Jerome is a painting by the Italian Renaissance master Pinturicchio, painted around 1481 and housed in the Gemäldegalerie of Berlin, Germany. The painting shows an infrequent composition, with"
"but they provide a remarkable look at medieval life and the medieval imagination. The panels include paintings of the Virgin Mary and the Infant Christ; Saint Peter; several canons (recognizable by their fur hats); several priests praying or preaching; a demon with the tail of a serpent; angels playing instruments; a fallen angel with the wings of a bat; a centaur; a mermaid; a dragon; an elephant; a tiger; an ostrich; domestic animals, such as horses, dogs and pigs; and common wild animals, such as wolves and deer. People from ordinary medieval life are also portrayed; a butcher, a knight,"
"and its meaning is either the same as before or, more frequently perhaps, it is symbolic of Christ the expiatory victim. The dove is the Holy Spirit, and the four animals that St. John saw in Heaven are used as personifications of the Four Evangelists. Under the influence of Byzantine art, a great variety of fantastic animals, such as dragons, birds with human heads, winged lions, etc., entwined themselves around the decorative forms until foreign wars and the iconoclast movement brought this period of vigorous art to an end. During the succeeding three centuries, it is only in the Romanesque"
"Madonna with the Fish Madonna of the Fish, known also as Madonna with the Fish is a painting by the High Renaissance master Raphael. Mary sits enthroned with the Jesus on her knee. On one side is St. Jerome kneeling by the Lion; he is holding a book. On the other side the archangel Raphael is presenting at the foot of the throne the young Tobias, whom he formerly guided to the River Tigris, and who bears the miraculous fish whose heart, liver and gall were to restore his father's sight, and drive the demons from his bride. Tobias with"
"a dragon. The earliest image of St Theodore as a horseman (named in Latin) is from Vinica, Macedonia and, if genuine, dates to the 6th or 7th century. Here, Theodore is not slaying a dragon, but holding a ""draco"" standard. One of the Vinica icons also has the oldest representation of Saint George with a dragon: George stands besides a cynocephalous St. Christopher, both saints treading on snakes with human heads, and aiming at their heads with spears. Maguire (1996) has connected the shift from unnamed equestrian heroes used in household magic to the more regulated iconography of named saints"