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Alonso Berruguete Paredes De Nava, Ca. 1488- Valladolid, 1561 The Alonso Berruguete Paredes de Nava, ca. 1488- Valladolid, 1561 The Penitent Saint Jerome Gilded and polychromed wood 107 x 41 x 31 cm. (42 ¼ x 16 ¼ x 12 ¼ in.) Provenance: D. Juan Antonio Güell y López, Count of Güell, 3rd Marquis of Comillas (1874-1958). Bibliography: Güell, Le Comte, La Sculpture polychrome religieuse espagnole (Une collection). Paris, Dujardin, 1925, pp. 22-23. This sculpted figure is depicted standing, turned slightly to its right and installed on a broad base that extends up behind it to waist level and on which a lion is located. The figure is an elderly man, bald on the top of his head, with a moustache and a long beard extending to half-way down his chest. His skull is oval, his face bony and wasted with very pronounced cheekbones, a furrowed brow, half-closed eyes, a straight nose and an open mouth that shows his few remaining teeth. The treatment of the anatomy is detailed and realistic. The figure is only covered by a large piece of cloth that is wrapped around his waist and falls from the right shoulder and left hip down and across the entire length of the body. His shoulders are rounded and in his right hand he holds a stone which he is looking at, while his left arm is bent back across his chest. His legs are long, with the right held straight and the left advanced at the level of the knee. The feet are not entirely resting on the ground as both heels are raised, the left higher than the right. The figure has a suffering expression that reflects his imminent act of beating himself with the stone. The lion, which has a thick, curly mane, is positioned frontally, lying on the base, its large head turned and looking upwards with a startled expression. The base imitates a rocky landscape and functions to support the figure. The back of the sculpture, which is hollowed out with an adze, is not carved, which indicates that it was designed to be installed in a niche. The entire work is carved from a single piece of wood. Together with Saints Augustine, Ambrose and Gregory the Great, Saint Jerome was one of the four Doctors of the Latin Church and the translator of the Bible. For a period of his life he retired to a retreat in the Syrian desert. Despite his importance as a scholar, in Christian iconography Jerome is most frequently depicted as an ancient, penitent hermit, almost naked, beating his breast with a stone and holding a crucifix. By his side is the faithful and grateful lion from whose paw the saint removed a thorn, according to legend. This highly realistic model may be inspired by a Saint Jerome in polychromed alabaster executed by Damián Forment between 1522 and 1525 for the Altarpiece of Saint Anne in the chapel of that saint in Huesca cathedral. Forment’s work launched a new concept of the study of the human body inspired by classical compositions and made use of the tree trunk as a supporting element (fig. 1). The face of the saint, his head and beard are all notably similar. The pose is identical although reversed, suggesting that the model was disseminated through a print. The base is very similar and the lion is of the same shape and size, although in Forment’s work it looks out at the viewer. The technique, modelling and style of the present work are all characteristic of Alonso Berruguete. The elongated proportions, perfect depiction of the anatomy, ample drapery and polychromy with extensive use of gilding are the artist’s most defining traits. This is also true of the facial features of Berruguete’s figures, which have slanting eyes, prominent cheekbones and open mouths, the type of hands with long, bony fingers, and the large, flat feet, all of which reveal the originality of his creations. Another characteristic of Alonso Berruguete is the composition of the figure, in this case conceived in moderate foreshortening and with the interplay of different directions counterbalanced by the torsion and angle of the head, the position of the arms, the extended left leg with the flexed knee and the rounded shoulders. In addition to the feet, which are not resting completely flat on the base but have the heels raised, the drapery contributes to defining the figure, turning and falling to create movement in a way very close to other figures of saints, patriarchs and prophets by the artist. Around 1517, soon after his return to Spain after a lengthy formative period in Italy, Alonso Berruguete began to work with some of the leading sculptors of the day. One of his first commissions, the funerary monument of the Flemish chancellor Jean le Sauvage in the chapel of Saint John the Baptist in the Royal Monastery of Santa Engracia in Zaragoza, was undertaken in collaboration with Felipe Bigarny in the city where another of the great artists of the day, Damián Forment, was also active. At this period Forment completed the principal altarpiece for the Basilica del Pilar, in alabaster, while he worked in polychromed wood for the altarpieces in the church of San Pablo (in which the figure of Saint Paul has a majesty comparable to that of Saint Jerome) and San Miguel de los Navarros, both in the same city. 1 Forment’s influence on the young Berruguete is evident from the start of the latter’s career as a sculptor. Soon after this date Berruguete moved to Granada, another of the leading artistic centres of the day, in order to follow Bigarny. However, he soon settled in Valladolid, where he established his workshop and undertook most of the commissions for the city, before moving to Toledo where he spent the remainder of his life and where he produced masterpieces such as the choirstalls for the cathedral and the tomb of Cardinal Tavera. Four versions of Saint Jerome by Alonso Berruguete have been identified to date. The first is the one in the church of Nuestra Señora de la Soterraña in Santa María la Real de Nieva (Segovia), which probably came from the altarpiece in Mejorada de Olmedo (1523-26). It is executed in gilded, polychromed wood and measures 99.5 x 45 x 30 cm (fig. 2). The model is very similar to the present figure. In both cases the saint is depicted as an old man with the top part of his head bald (although in the Nieva version he has a lock of hair in the centre), with a long beard and identical drapery. The difference lies in the pose, given that in the latter his right knee is bent against the lion’s flank so that he is half kneeling and turned to the left. The base and the rock are smaller and behind the figure is a tree trunk on which Jerome rests his left arm, as well as a book and skull. In his right hand is a stone of the same shape as the present work and the hand also has the long fingers bent to convey tension which is one of the artist’s most original traits. Berruguete carved a second Saint Jerome for his most ambitious project, the principal altarpiece for the monastery of San Benito el Real in Valladolid. This version, made between 1526 and 1532, is of gilded, polychromed wood and measures 90 x 38 x 33 cm. Like much of the altarpiece, it is now in the Museo Nacional de Escultura de Valladolid (fig. 3). In this second version the figure is considerably more slender and stylised; Jerome seems to rise up to the sky due to the flame-like composition so often employed by Berruguete for his figures. With the lion as a base, the saint has his right leg on the animal while resting his left hand on his right knee and firmly clutching the stone with his right hand, as in the two previous examples. His facial features are similar although much more dramatic in this case. Another version of the saint by Berruguete which was probably part of the altarpiece for the Colegio de Santiago el Mayor in Salamanca (1529) and is now in the Museo Diocesano in that city. Like the previous versions, it is made of gilded, polychromed wood but it is considerably smaller, measuring just 67 cm high. Notable features include the unstable pose, the thinness of the body and the distinctive treatment of the face. The composition is very similar to the version for San Benito el Real, this time with the left leg forward and bent in the air, probably because it originally rested on a now lost lion (fig. 4). 2 Finally, there is a depiction of Saint Jerome on one of the seats in the choirstalls of Toledo cathedral (1539-42). The model is similar to the other versions but is in profile and fully clothed, a feature used by Berruguete to create an exaggerated sense of movement of both the drapery and the pose, which seems to escape from the framework and which is very similar in compositional terms to the other magnificent reliefs that the artist sculpted for that location (fig. 5). A comparative study of the four versions indicates that the present Saint Jerome is much closer to the one for Santa Maria la Real de Nieva than to the other three, for which reason it should be seen as a work from the artist’s initial period. As noted above, the modelling is similar, the cloth covering the body is of the same type and only the pose is different.
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