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Saint Jerome in the Desert

Desiderio da Settignanoc. 1461

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

Desiderio da Settignano, born in a small village in the hills above Florence, numbers among the most brilliant marble sculptors of the Renaissance. His mastery of relief sculpture is apparent in this pictorially rich image, with its complicated space in which figures move in different planes, all suggested by the subtlest manipulations of the marble surface.


Clearly Desiderio had learned much from the low-relief techniques of Donatello. The sculptor invented a rocky, wilderness landscape with a cloud-streaked sky and tall, pointed cypress trees receding into the distance among the cliffs. In the foreground, Saint Jerome kneels in penitential prayer before a crucifix. He wears only a few crumpled wisps of drapery, and his gaunt face tells of fervent, ascetic devotion. On the right, in particularly fine low relief, suggesting he is some distance in the background, a terrified boy flees from the lions that emerge from the rocks on the left behind the cross.


According to legend, Jerome tamed a lion by removing a thorn from its paw, and the lion therefore often appears as his attribute in art. The lions here, clearly no threat to the saint, suggest his harmonious relationship with nature, achieved through solitary meditation, prayer, and penance.

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  • Title: Saint Jerome in the Desert
  • Creator: Desiderio da Settignano
  • Date Created: c. 1461
  • Physical Dimensions: overall: 42.7 x 54.8 cm (16 13/16 x 21 9/16 in.) framed: 58.4 x 70.2 x 9.5 cm (23 x 27 5/8 x 3 3/4 in.)
  • Provenance: Possibly the marble "basso relievo" of "San Gírolamo" in the "Prima Stanza della guardaroba segreta" in Palazzo Vecchio in 1553.[1] (Tito Gagliardi, Florence); purchased c. 1870 by Grand Duchess Maria Nikolaévna [1819-1876, daughter of Czar Nicolas I] as a gift to Baron Karl Eduard von Liphart [1808-1891], Florence;[2] removed c. 1891 to the family estate, Raadi Manor, near Tartu, Estonia (known in German as Schloss Ratshof, near Dorpat);[3] his grandson, Baron Renaud de Liphart, Raadi Manor, by 1907,[4] then Poland,[5] and later Copenhagen; purchased 1921 through (Wilhelm R. Valentiner, New York) by the Estate of Peter A.B. Widener;[6] inheritance from the Estate of Peter Widener by gift through power of appointment of Joseph E. Widener, Lynnewood Hall, Elkins Park, Pennsylvania, after purchase 1921 by funds of Joseph E. Widener; gift 1942 to NGA. [1] Nicholas Penny (citing Cosimo Conti, _La prima reggia di Cosimo I de' Medici nel Palazzo già della Signoria di Firenze_, Florence, 1893: 141), in _Desiderio da Settignano: Sculptor of Renaissance Florence_, exh. cat., Musée du Louvre, Paris; Museo Nazionale del Bargello, Florence; National Gallery of Art, Washington, D.C., Florence, 2007: 192, no. 15. [2] Sergey Androsov, "Collection de la Grande Duchesse Marie Nicolaévna et de Karl Eduard von Liphart," _Baltic Journal of Art History_ (Autumn 2011-Spring 2012): 294-296. Androsov quotes from an unpublished manuscript by Liphart's son, Ernst von Liphart (1847-1932), in the archives of the State Hermitage Museum, Saint Petersburg: "L'(h)eritage du duchesse Marie," fond 23, opis' I, delo 69, ff. 2, 3. See also Wilhelm von Bode, _Italienische Bildhauer der Renaissance: Studien zur Geschichte der Italienischen Plastik und Malerei auf Grund der Bildwerke und Gemälde in den Königl. Museen zu Berlin_, Berlin, 1887: 55-57. Baron von Liphart was an Estonian nobleman residing in Florence, and was Maria Nikolaévna's principal consultant in the formation of her collection. [3] Wilhelm Bode, "Eine Marmorkopie Michelangelo's nach dem antiken Cameo mit Apollo und Marsyas," _Jahrbuch der königlich preussischen Kunstsammlungen_, 12, 1891: 167; Wilhelm Neuman, "Aus Baltischen Gemäldersammlungen," _Zeitschrift für Bildende Kunst_, 35, vol. II of new series (December 1900): 269, fig. 6; from Penny 2007. [4] Published as in this collection by Paul Schübring, _Donatello, des Meisters Werke in 277 Abbildungen_, Stuttgart and Leipzig, 1907: 186. [5] Melissa Beck Lemke, "The mysteries of Desiderio's 'St. Jerome' revealed by Clarence Kennedy," _The Burlington Magazine_ 150 (November 2008): 756, 756 n. 17, 757. [6] See correspondence between Valentiner and Baron de Liphart, then in Copenhagen, dated 1921, in NGA curatorial files.
  • Rights: CC0
  • Medium: marble
National Gallery of Art, Washington DC

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