St. Jerome in His Study (Dürer)

Infobox Painting

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image_size= 300px
title=St. Jerome in His Study
artist = Albrecht Dürer
type=engraving
year=1514
height=24.7
width=18.8
museum=British Museum
city= London

"St. Jerome in His Study" (German: "Der heilige Hieronymus im Gehäus") is an engraving of 1514 by the German artist Albrecht Dürer.

In the engraving, St. Jerome sits behind a 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 in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the "Golden Legend" (c. 1260), which contained fanciful hagiographies of saints.

"St. Jerome in His Study" is often considered as part of a group of three Dürer engravings, the other two being the well-known "Melencolia I" (1514) and "" (1513). Together they have been viewed as representing the three spheres of activity recognized in medieval times: "Knight, Death, and the Devil" belongs to the moral sphere and the "active life"; "Melencolia I" represents the intellectual; and "St. Jerome" the theological and contemplative life.

The composition is intimate, but the viewer has difficulty locating himself in relation to the picture's space. Thomas Puttfarken suggests that while the scene is very close to the observer, Dürer did not intend the viewer to feel present: "the intimacy is not ours, but the saint's as he is engrossed in study and meditation." (94) 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. (Qtd. in Puttfarken, 94)

References

* Puttfarken, Thomas (2000). "The Discovery of Pictorial Composition: Theories of Visual Order in Painting 1400–1800." New Haven & London: Yale University Press. ISBN 0-300-08156-1.