1. A signal instance of the treatment of Jerome as patron saint occurs in a fine picture by Wohlgemuth, the master of Albert Dürer.[253] It is an altar-piece representing the glorification of the saint, and consists of three compartments. In the centre, St. Jerome _stands_ on a magnificent throne, and lays his left hand on the head of a lion, raised up on his hind legs: the donors of the picture, a man and a woman, kneel in front; on each side are windows opening on a landscape, wherein various incidents of the life of St. Jerome are represented; on the right, his Penance in the Wilderness and his Landing at Cyprus; and on the left, the merchants who had carried off the ass bring propitiatory gifts, which the saint rejects, and other men are seen felling wood and loading the lion. On the inner shutters or wings of the central picture, are represented, on the right, the three other doctors,—St. Augustine, with the flaming heart; St. Ambrose, with the bee-hive; both habited as bishops; and St. Gregory, wearing his tiara, and holding a large book (his famous Homilies) in his hand. On the left, three apostles with their proper attributes, St. Andrew, St. Thomas, and St. Bartholomew; on the other side are represented, to the right, St. Henry II. holding a church (the cathedral of Bamberg), and a sword, his proper attributes; and his wife St. Cunegunda.[254] On the left St. Elizabeth of Hungary and St. Martin. There are besides, to close in the whole, two outer doors: on the inner side, to the right, St. Joseph and St. Kilian;[255] on the left, St. Catherine and St. Ursula; and on the exterior of the whole the mass of St. Gregory, with various personages and objects connected with the Passion of Christ. The whole is about six feet high, dated 1511, and may bear a comparison, for elaborate and multifarious detail and exquisite painting, with the famous Van Eyck altar-piece in St. John’s Church at Ghent.[256] 2. In his character of patron, St. Jerome is a frequent subject of sculpture. There is a Gothic figure of him in Henry the Seventh’s Chapel, habited in the cardinal’s robes, the lion fawning upon him. When St. Jerome is represented in his second great character, as the translator of the Scriptures, he is usually seated in a cave or in a cell, busied in reading or in writing; he wears a loose robe thrown over his wasted form; and either he looks down intent on his book, or he looks up as if awaiting heavenly inspiration: sometimes an angel is dictating to him. * * * * * 1. In an old Italian print, which I have seen, he is seated on the ground reading, in _spectacles_;—an anachronism frequent in the old painters. Sometimes he is seated under the shade of a tree; or within a cavern, writing at a rude table formed of a stump of a tree, or a board laid across two fragments of rock; as in a beautiful picture by Ghirlandajo, remarkable for its solemn and tranquil feeling.[257]