Currently not on view

St. Jerome,

1596

Hendrick Goltzius, 1558–1617; born Mülbracht, Netherlands; died Haarlem, Netherlands
after Jacopo Palma, Italian, 1548–1628
x1934-684
Hendrick Goltzius was one of the most talented and versatile printmakers working in the Netherlands at the end of the sixteenth century. As indicated in the inscriptions, this devotional print is based on a drawing by the mannerist painter Palma il Giovane, whom Goltzius met in Venice in 1591; it is also dedicated to the Venetian sculptor Alessandro Vittoria (1525–1608), who was Palma’s friend. Goltzius’s innovative engraving technique is exemplifi ed in his treatment of St.
Jerome’s musculature and the head of the lion, where he combined parallel lines of varying thickness, cross-hatching, and stippling to suggest the movement of light and shadow across three dimensions.

Information

Title
St. Jerome
Dates

1596

Medium
Engraving
Dimensions
plate: 40.5 x 27.9 cm (15 15/16 x 11 in.) sheet: 43.5 x 30 cm (17 1/8 x 11 13/16 in.)
Credit Line
Bequest of Junius S. Morgan, Class of 1888
Object Number
x1934-684
Place Made

Europe, Netherlands

Inscription
Dedication and signatures in rectangle at top right: Alexandro Victorio Insigni / Statuario et Architecto / amicitiae ergo / D.D. / Jacobus Palma Inuent. HGoltzius sculp. Imperial privilege and date on book at lower right: Cum Privil. Sa. C. M. / Anno 1596 Four lines of Latin in two columns in margin: Vir pietatis amans mollis solatia vite ... Hinc sibi presidium, Jusidium[ue] petens. Signed in plate, lower right corner: C. Schoneus.
Marks/Labels/Seals
Collector's stamp in red ink, verso lower left: Rijksprentenkabinet Rijksmuseum (Lugt 240) Collector's stamp in purple ink: Rijks Prentenkabinet (Lugt 699) In graphite, verso lower left: 1st etat, Leipzig 1929, 60 Rks
Reference Numbers
Bartsch 81.266; Hollstein 311; New Hollstein 330; Strauss 335
Culture
Materials

Rijksmuseum, Rijksprentenkabinet, Amsterdam [Lugt 240]; deaccessioned [Lugt 699]. Possibly sale in Leipzig, 1929; Junius S. Morgan [1867-1932]; bequeathed to Princeton University Art Museum, 1932.