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Title

Saint Jerome Translating the Gospels

painter

Francés, Nicolás [attributed to] (León. Active 1434-1468)

Generic classification
Painting
Object
Painting
Date
1450
Century
Mid 15th c.
Cultural context / style
International Gothic
Material
Wood
Technique
Tempera
Iconography / Theme
San Jerónimo, Evangelio, León
Provenance
Possible origin from Castile and Leon (Castilla y León, Possible origin from Castile and Leon, Spain)
Current location
National Gallery of Ireland (Dublín, Ireland)
Inventory Number in Current Collection
NGI.1013
Object history

This work was attributed to Nicolás Francés by Chandler Rathfon Post, who recognised in the expression of the figures and the taste for the anecdotal the hand of the master. The original location of the piece is not known with certainty, but it would be logical to assume that it originated from the Castilian-Leonese area, given the places where Nicolás Francés carried out his work. The piece later became part of the Lambert Collection in Oudenaarde (No. 71), and from there it entered the personal collection of the banker Otto Hermann Kahn in 1930. Kahn's sudden death in 1934 compelled his wife to liquidate part of his collection. Thus, in 1939, Robert Langton Douglas, Director of the National Gallery of Ireland, acquired the panel through the Mogmar Foundation (New York) for the museum at a total of £4,200 (Gaya Nuño, 1958; Mulcahy, 1988).

Description

Saint Jerome, known for his role in translating the Bible into Latin, is depicted seated in his study, working alongside four monks and a lion. The saint points to one book while writing in another, and the monks around him are searching through books, possibly for the meaning of a word. Therefore, the work in the National Gallery of Ireland portrays the moment when Saint Jerome is translating the Holy Scriptures. Nicolas Francés includes an anecdotal detail by showing one of the monks removing a thorn from the lion's paw, a symbol of the saint that alludes to the legend in which Saint Jerome helped the animal, who, in gratitude, became his loyal companion.

* The relative location of dealers, antique shops, art galleries, and collectors leads us to the places where they were based or had one of their main headquarters. However, this does not always indicate that every artwork that passed through their hands was physically located there. In the case of antique dealers and art merchants, their business often extended across multiple territories; sometimes they would purchase items at their origin and send them directly to clients. Similarly, some collectors owned multiple residences, sometimes in different countries, where they housed their collections. It is often difficult to determine exactly where a specific piece was kept during its time in their possession. Consequently, the main location of the dealer or collector is indicated. These factors should be considered when interpreting the map. Refer to the object's history in each case.
Bibliography
  • GAYA NUÑO, Juan Antonio (1958): La pintura española fuera de España (historia y catálogo), Espasa-Calpe, Madrid.
  • MULCAHY, Rosemarie (1988): Spanish Paintings in the National Gallery of Ireland, National Gallery of Ireland, Dublín.
  • POST, Chandler Rathfon (1947): A History of Spanish Painting, vol. 9 (The Beginning of the Renaissance in Castile and Leon), nº 1, Harvard University Press, Cambridge (Massachusetts).
  • REBOLLO GUTIÉRREZ, Carmen (2007): "Maese Nicolás Francés: su obra y estilo. Estado de la cuestión", nº 6, De Arte.
  • SÁNCHEZ CANTÓN, Francisco Javier (1964): Maestre Nicolás Francés, Instituto Diego Velázquez, Madrid.
Citation:

Isabel Escalera Fernández, "Saint Jerome Translating the Gospels" in Nostra et Mundi. Cultural Heritage from Castile and Leon around the world, Fundación Castilla y León, 2025. https://inventario.nostraetmundi.com/en/work/12