Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/361

 columns and pierced by an arcade opening on a landscape, attempts to join his trembling hands to receive the Host which St. Ephraim of Syria extends to him on a golden patine; the deacon, in a dalmatica, holds the chalice, and in front, a young clerk kneels with a closed book in his hands; in background, St. Paulina, kneeling, kisses the hand of the Saint, while two other persons, one wearing a turban, stand behind; in foreground, left, the lion, the Saint's faithful companion, lies with his head on his paws; above, a group of four angels. Painted for 50 Roman crowns for a priest, who presented it to the Church of S. Girolamo della Carità. It excited violent criticism, Guido, Lanfranco, and the Chevalier d'Arpino accusing Domenichino of having copied the picture of Agostino Carracci. Poussin declared it one of the three best pictures in Rome, ranking it with Raphael's Transfiguration and Volterra's Descent from the Cross. Taken to Paris (1729); returned in 1815. Engraved by F. Perrier; Cesare Testa; J. Frey (1729); B. Farjat (1702); Alex. Tardieu; Chataigner, and others.—Vaticano descritto, i. Pl. 23; Larousse, iv. 755; Ch. Blanc, École bolonaise; Landon, Œuvres; Filhol, vii. Pl. 433.

Communion of St. Jerome, Domenichino, Vatican, Rome.

JEROME, ST., VISION OF, Guercino, Louvre; copper, H. 1 ft. 4 in. × 1 ft. 7 in. St. Jerome, lying on a mat in a grotto, awakes in terror on hearing the sound of the last trump, which is blown by an angel. Near him are two books and a skull. Belonged to Comte de Brienne in 1662; bought in 1685 for Louis XIV. Engraved by Nicolet; F. Chauveau; Pasqualini.—Villot, Cat. Louvre; Musée français; Filhol, x. Pl. 712.

By Parmigianino, National Gallery, London; wood, H. 11 ft. 6 in. × 4 ft. 11 in. The Virgin and Child in glory; below, St. John Baptist pointing upwards, as announcing Christ, and St. Jerome sleeping. Painted at Rome in 1527, by order of Maria Bufolina, for S. Salvatore del Lauro, in Città di Castello. Probably the picture which so engrossed the painter that he knew nothing of the sack of Rome by the troops of the Constable de Bourbon till some soldiers burst into his room. It was sold after the earthquake of 1790 to M. Durno; afterward