Francesco Botticini – Saint Jerome in Penitence with Saints and Donors Part 2 National Gallery UK

The composition is structured around a central figure kneeling within a rocky grotto, framed by an elaborate architectural arch that serves as both pictorial device and implied setting. This central figure, identifiable as Saint Jerome due to the lion at his side and the presence of a skull – traditional attributes signifying mortality and repentance – is depicted in a posture of profound penitence. His aged face is etched with lines suggesting hardship and spiritual struggle; he gazes downwards, seemingly lost in contemplation or prayer.
Flanking him are several figures arranged in distinct groups. To the left, a clerical figure wearing a papal tiara stands prominently, holding a crozier – a symbol of authority and ecclesiastical power. A younger man in red robes is positioned near him, likely representing a donor or patron whose presence underscores the painting’s commission. Further to the right are two female saints, identifiable by their habits and halos. One holds a staff, suggesting her role as a pilgrim or wanderer; the other appears more serene, with a gentle expression. A small child stands before them, perhaps symbolizing innocence or piety.
The background is divided into distinct zones. Above, in the upper corners, two groups of angels are positioned against a dark, almost black sky. Their presence introduces an element of divine intervention and spiritual elevation, contrasting with the earthly suffering depicted below. The grotto itself is rendered with meticulous detail, showcasing Botticini’s skill in depicting naturalistic elements – rocks, foliage, and light effects. A bird flies above Jeromes head, a possible allusion to the biblical story of Saint Jerome and the dove that brought him ink for translation.
The painting conveys several subtexts related to faith, repentance, and patronage. The inclusion of the papal figure suggests an endorsement of Saint Jerome’s sanctity by the Church hierarchy. The donor figures highlight the role of wealthy individuals in supporting artistic endeavors and religious devotion during the Renaissance. The juxtaposition of earthly suffering (Jeromes penitence) with divine grace (the angels) emphasizes the possibility of redemption through faith. The lion, traditionally a symbol of Christ or Jerome’s own inner demons subdued by his piety, adds another layer of symbolic complexity. Finally, the architectural frame not only defines the pictorial space but also suggests a transition between the earthly realm and a more sacred domain.