Saint Jerome holding a crucifix 1656 - 1660

Editor: Here we have Coryn Boel’s “Saint Jerome holding a crucifix,” an engraving from between 1656 and 1660. There’s a lot going on in this print – a landscape background, a figure in the foreground, and of course the crucifix itself. It's quite striking. What do you see in this piece? Curator: I see layers of visual and symbolic language accumulated over time. Notice how Saint Jerome, a key figure known for translating the Bible, is depicted not just with the crucifix, a symbol of faith and sacrifice, but also with the lion, a symbol often associated with him due to the legend of him removing a thorn from a lion's paw. Editor: Interesting! I hadn't considered the lion beyond just an animal in the scene. Curator: It’s the interplay of these symbols, the cultural memory embedded in them, that fascinates me. The crucifix speaks to the core of Christian belief, while the lion represents Jerome’s compassion and erudition. How do these symbols speak to you? What feelings or thoughts do they evoke? Editor: I suppose it suggests a contrast between faith and reason, maybe? The crucifix representing faith, and the scholarly attributes representing reason. Curator: Precisely. This contrast wasn’t accidental, it’s reflective of the Baroque period’s complex relationship with faith, reason, and the rediscovery of classical knowledge. Look closely—what else do you observe? Perhaps something seemingly minor might offer further insight? Editor: The halo? It seems a standard indication of sainthood, but perhaps its presence also links him with earlier artistic traditions? Curator: Exactly! The halo anchors him to a long line of saintly representations, creating a visual link to centuries of faith. The choice of the artist is not only about the individual. It shows continuity through potent, repeated visual symbols. Editor: It's amazing how much can be read into what initially seemed like a simple portrait. Curator: Indeed! These symbols serve as windows into cultural memory.