Saint Jerome in His Study
Sul dipinto
In 1521, while the German artist Albrecht Dürer was in Antwerp, he painted a picture of Saint Jerome in his study surrounded by objects symbolizing transience and death. The painting was a sensation, prefiguring the genre of memento mori, images that compelled contemplation of mortality. The type became a specialty of local workshops, including that of Joos van Cleve, who is associated with more than a dozen versions of this image.
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The piece of paper tacked to the wall reads “Respice Finem” — consider the end. Grasping his head, Jerome points at a skull, whose craggy surface is rendered in detail. Beside him is a snuffed-out candle. Beyond such obvious symbols of death, the image is filled with subtler reminders of the passage of time. The crucifix, set above an Italianate ornamental frieze, casts a curved shadow on its niche, and next to it, a bird — possibly a finch, symbol of Christ’s Passion — is trapped in a cage.
Harvard Art Museums
