An artwork on Galleree from Cleveland Museum of Art.
About the artwork
Saint Jerome and the Lion (From the former Church of St. Peter in Erfurt)c. 1495
Tilman Riemenschneider
According to legend, Saint Jerome (347–420 bce) lived in the desert, where he removed a thorn from an injured lion. Jerome is venerated in the Catholic Church as a Church Father, an important early author of Christianity. Here, he wears cardinal’s clothing from around 1500.<br><br>Tilman Riemenschneider focused on Jerome’s relationship with the lion, creating empathy for the wounded animal. The delicacy of the depiction, which may have been partially painted to add highlights, is typical of alabaster, as is its fine polishing. The cord of the cardinal’s hat, missing today, may have been supplemented from another material.
In the story Saint Jerome encounters a fearsome lion, here depicted as diminutive, gentle, and submissive.
alabaster, traces of polychromy
Overall: 37.8 x 28.1 x 15.9 cm (14 7/8 x 11 1/16 x 6 1/4 in.)
Purchase from the J. H. Wade Fund
In the stillness of the desert, where the golden sands stretch endlessly beneath the sun, an extraordinary tale weaves itself into the fabric of time. This is where Saint Jerome, a gentle soul known for his wisdom and devotion, once roamed. The year was around 347 bce, and the air was heavy with silence, broken only by the rustle of wind and the soft whispers of the unseen.
Legend has it that amidst this vast expanse, Jerome stumbled upon a lion, a creature of both majesty and suffering. The lion, injured and vulnerable, bore a thorn embedded deep in its paw—a testament to nature’s unforgiving hand. With a heart full of compassion, Jerome knelt beside the great beast. His hands, marked by years of arduous study and prayer, reached delicately to dislodge the thorn. In that moment, a bond was forged, a connection blossoming between man and beast that transcended the boundaries of species.
This poignant scene reverberates through the art of Tilman Riemenschneider, an artist who captured not just the image but the essence of that relationship. Jerome is depicted in cardinal’s robes reminiscent of the early 1500s, his figure embodying both authority and humility. The strength of the cardinal’s attire contrasts beautifully with the tenderness he shows the wounded lion.
Riemenschneider’s work is a feast for the senses, drawing viewers in with its softness, typical of alabaster stone. Each curve and line of Jerome’s form has been lovingly polished, the surface glistening subtly, as if inviting one to reach out and touch it. In a touch of brilliance, portions of the piece may have been painted to add delicate highlights, capturing the ethereal glow of this divine encounter.
Yet, one cannot help but notice the absence of the cord that once adorned the cardinal's hat, a small detail that speaks volumes. This missing element might have originally been a different material, a symbol perhaps of impermanence and the passage of time, reminding us all that even the most beautiful of creations can change.
In this artwork, we are not merely observers; we are invited into the heart of the story—a story of compassion, connection, and healing that resonates through ages, beckoning us to reflect on our own bonds with the world around us.
About the artist
Creating transformative experiences through art “for the benefit of all the people forever.”The Cleveland Museum of Art is renowned for the quality and breadth of its collection, which includes more than 66,500 artworks and spans 6,000 years of achievement in the arts. The artworks shared on this platform are sourced from the museum's Open Access data under the CC0 license. No endorsement is implied.Address: 11150 East Boulevard, Cleveland, OH, USA 44106
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