Tempera and oil painting on panel. 'St Jerome kneeling and praying outside a cave', attributed to Francesco Granacci, ca. 1490

At the entrance of a cave through which is shown a landscape, St Jerome with behind him a lion, is clutching a rock in one hand and kneeling before a Crucifix tied to a tree from which hang his cardinal hat. In front of him are three books, one open and two closed, while on the left his robe lies against a rock.

Accepted by HM Government in lieu of Inheritance Tax and allocated to the Victoria and Albert Museum, 2005

Accepted by HM Government in lieu of Inheritance Tax and allocated to the Victoria and Albert Museum, 2005

Historical significance: This painting was formerly attributed to Andrea del Castagno and Jacopo Sellaio, but is probably an early work of Francesco Granacci. The painting portrays St Jerome in penitence in the desert.

St Jerome is represented here in meditation before a crucifix, with books alluding to his dedication to study, and his simple drapery to his austerity. He holds a rock in his hand, with which he mortified his flesh so as to resist temptation. A lion, his traditional attribute, lies behind him, while his red circular cardinal's hat and robes hang lie beside him. The rocky cave alludes to the arid desert setting of St Jerome's life of abstinence.

Although the present painting is small enough to have served as a circular desco da parto (birth tray), such a subject would be most unusual for such an artefact, which were typically decorated with auspicious allegorical subjects such as the 'Triumph of Love' or scenes of childbirth. This painting was probably made for private devotion, as the pentient St Jerome was an auspicious example for the devout. The penitent St. Mary Magdalene was similarly popular with female patrons.

Francesco Granacci (1469-1543) trained in Florence in the workshop of Domenico Ghirlandaio (1448/9-1494) with Michelangelo, and both later studied sculpture in the Medici garden at S Marco under the supervision of Bertoldo di Giovanni (ca.1420-1491). Granacci was an important member of Ghirlandaio's workshop in the 1490s, and later visited Rome to assist Michelangelo in painting the ceiling of the Sistine Chapel in the Vatican. According to Vasari, Granacci was often employed by the Medici to design scenery and festive decorations.

Objects and images were used for protection, intercession, and as votive offerings since Antiquity. Amulets, rings and talismans often included pagan and erotic imagery. Popular images were also produced for the purposes of intercession, protection and instruction. The Virgin, Christ and the saints were favourite subjects, as they were considered to be intermediaries with God, and agents of protection against evil. Christians expressed and strengthened their faith through public rituals, such as celebration of the Eucharist, and personal devotions. Believers were encouraged to contemplate events from the life of Christ, the Virgin, or the saints, and to imagine that they had been present at the scene. Small religious images of the Virgin and Child frequently emphasized their tender relationship and were especially popular for private devotion.

St Jerome was born Eusebius Hieronymous Sophronius and is recognised as one of the Fathers of the Western Church. He is best known for his translation of the Bible from Greek into Latin. From 375 to 378, after becoming a monk, he retreated into the Chalcis desert. St Jerome in the desert was a popular subject in Renaissance Italy, but few circular ('tondo') paintings represent a single saint. Two others depicting St Jerome in the desert are that dated 1500 by Piero di Cosimo (Museo Horne, Florence) and another by Fra Bartolomeo (formerly Collezione Vittorio Cini, Venice).

This work is currently on loan to Longleat House, Warminster, where it forms part of the decor of the State Drawing Room designed by Crace in 1877 as a Neo-Renaissance setting for the 4th Marquess of Bath's collection of Italian pictures.

Formerly attributed to Andrea del Castagno and Jacopo del Sellaio

Francesco Granacci (1469-1543) trained in Florence, with Michelangelo, in the workshop of Domenico Ghirlandaio (1448/9-1494), and the two then studied sculpture in the Medici garden at S Marco under the supervision of Bertoldo di Giovanni (ca.1420-1491). Granacci was an important member of the Ghirlandaio’s workshop during the 1490s before going to Rome in order to assist Michelangelo in painting the ceiling of the Sistine Chapel in the Vatican. According to Vasari, Granacci was often employed by the Medici to design scenery and festive decorations.

This painting of circular format could have been a tondo or a desco da parto (birth tray) due to its relatively small size. The subject presents St Jerome in the desert in a traditional way, the saint kneeling before a crucifix, a rock in his hand as a sign of penitence. This work may have been made for private devotion. On account of their edifying penitential subject-matter, images of St. Jerome in the Desert were especially popular as secular decorations in Renaissance Florence.

E.371-2006