Saint Jerome has always been my favourite Saint. His life story is well documented and we know that he was a cardinal in Rome and went into the Syrian desert at one point, where he was “mortifying his flesh”. While in the desert he is known to have pulled a thorn from the paw of a lion – who became his pet for the rest of his life, supposedly.

Painters have usually portrayed him either as an ascetic hermit, or else as a scholar in his study deeply immersed in his research. He is famous for having translated the bible into Latin.

I will start with the charming image by Niccolo Colantonio (1420- c.1487), who has chosen the unlikely scenario of St. Jerome pulling out the thorn of his pet´s paw in the midst of his study which is overflowing with books. Of course one can assume that the Saint attended to his lion while in the wilderness. The scene of the lion patiently holding his paw among the cosy study is so very appealing that we don´t mind where the encounter actually may have taken place.

Perhaps the most famous depiction of St.Jerome is the wonderful copper engraving by the extraordinary German painter Albrecht Dürer (1471-1529). His print of the Saint in his sunlit study fills me with awe. Notice the skill with which he creates light and shade in this difficult medium. The image exudes peace and contentment. St. Jerome seems totally absorbed by his work, lion and dog are asleep and the whole room is basked in the light coming through the bottle glass window panes. This timeless portrayal of a scholar immersed in his studies to me depicts the joy and peaceful contentment which often accompany intellectual endeavours. The big question is: where could he have found a representation of a lion in 16th century Germany?

Lucas Cranach (1472-1553) was Dürer´s contemporary. In his painting , St. Jerome´s face is impassive and he holds the stone rather than actually mortifying himself with it.

A touching part is how the lion cuddles up to his kneeling master.

At the same time, Lucas van Leyden (1491-1533) was active in the Netherlands. How very different his approach! A melancholy figure, the Saint, dressed like a monk, is pointing at a skull, symbol of mortality, while reading a book. A Greek column in the back hints at a convent or a cloister. This time the lion is licking his master´s toes – is that why Queen Victoria gave it to Prince Albert as a birthday present?

Back to Italy, we find Antonio da Messina (c. 1430-1479): he was trained in Naples in Collantonio´s workshop. The canvas shows the Saint as a Cardinal, sitting stiffly in a wooden chair, while reading. There is no lion yet because this refers to a period before St. Jerome left Rome. I must admit I miss the lion. Without the animal the image is lifeless. Do we really take much interest in this stern figure?The lack of colour – all brown with only the red in the cardinal´s robe – doesn´t help. If I saw this painting in a gallery I would walk right past it without a second glance.

That would not be the case with my last example. During the same period as all the examples above Marinus van Reymerswaele (1497-1567) gives us a close-up of the Saint, with an emaciated face and long spidery fingers. His index finger points to the skull as if he wants to remind us of our mortality. There is such an intensity in his expression – as he looks directly at us – as if he wants us to get the message. Only the cardinal robe together with the book and the crucifix are meant to tell us which Saint this is. No lion, alas!