Ghirlandaio and Botticelli: Jerome and Augustine I (Ognissanti IV)
Chiesa di San Salvatore di Ognissanti Choir Other side
Domenico Ghirlandaio ‘Self-portrait’
In his “Lives of Ghirlandaio and Botticelli” in 1568, Vasari writes the following:
“And in the Ognissanti in Florence, he [Ghirlandaio] painted, in competition with Sandro Botticelli, a fresco of Saint Jerome, which currently occupies a place beside the door to the choir: he surrounded the saint with an enormous quantity of instruments and books, as learned individuals have. And because the friars had to remove the choir screen, this painting, as well as that of Sandro Botticelli, was encased by iron bands and, without damage, transferred to the middle of the church, just these days, now that these Lives are being printed for the second time.” Cited and translated from: Giorgio Vasari, ‘De Levens van de grootste schilders, beeldhouwers en architecten Van Cimabue tot Giorgione’, Contact, Amsterdam, 1990 deel I blz. 249, 259-260 (oorspronkelijke uitgave 1568).
In his “Lives of Ghirlandaio and Botticelli” in 1568, Vasari writes the following:
“On the choir screen of the Ognissanti, near the door leading to the choir, he [Botticelli] painted in fresco for the Vespucci family a Saint Augustine on which he particularly exerted himself, for with this he sought to surpass all those who were active as painters in his time, especially Domenico Ghirlandaio, who had provided a Saint Jerome on the other side of the door; by giving the head of this saint the expression of deep thought and subtle acumen, characteristic of wise men who constantly engage in their research of very difficult and lofty matters, this work was successful and he was highly praised. As I have recounted in the Life of Ghirlandaio, this painting was removed from its original location this year (1564), with the entirety remaining intact.” Cited and translated from: Giorgio Vasari, ‘De Levens van de grootste schilders, beeldhouwers en architecten Van Cimabue tot Giorgione’, Contact, Amsterdam, 1990 deel I blz. 249, 259-260 (oorspronkelijke uitgave 1568).
Ghirlandaio ‘Jerome in his Study’ 1480
The order of the Humiliati likely commissioned the frescoes, although opinions on this matter in the literature are strongly divided. What is certain is that the coat of arms of the Vespucci family is painted next to Augustine. One possibility is that while the Humiliati gave the commission, the Vespucci family paid for Botticelli’s painting work. With the dismantling of the choir screen in 1564, the paintings had to be moved. The frescoes were transported with the entire wall, which is why Vasari mentions iron bands. The two frescoes are placed in the middle of the walls opposite each other between the chapels. On the left as you enter the church, between the third and fourth altars, is Augustine, and on the right, Jerome.
The texts on the friezes above the two church fathers were added at the time of the relocation. Above Augustine, the following can be read:
SIC AVGVSTINVS SACRIS DE TRADIDIT VT NON MVTATVM SIBI ADHVC SENSERIT ESSE LOCVM
Augustine has immersed himself so deeply in the holy scriptures that he has not yet noticed the change of place.
Botticelli ‘Augustine in his Study‘ 1490 – 1494
Above Jerome, the text (until 1966) was: NE TIBI QVID PICTO HIERONYME SANCTE DEESSET EST NVPER MIRVM MOTVS AB ARTE DATVS
So that you, Saint Jerome, who is painted here, lack nothing, you have recently, O Wonder, been moved by skill [transported fresco].
In 1966, beneath the text added during the relocation, the original text from 1480 about Jerome was discovered. It is now readable again and reads as follows: REDDE NOS CLAROS LAMPAS RADIOSA SINE QVA TERRA TOTA EST VMBROSA
Enlighten us, you radiant light, without which the entire earth would remain in darkness.
Both frescoes are designed to be shown together. The size alone, the architectural framing, the perspective, the study rooms of both church fathers, the writing desks, and the quills all indicate that we are dealing with pendants here.
Although the two saints in their studies do not look each other in the eye, they are oriented towards each other. The theme and design must have been conceived as a single concept. For the Humiliati, work was very important, as were the rules of Benedict Gutenberg, to which the monks adhered.
According to Saint Benedict, study was of great importance for every monk. Additionally, during the rise of humanism, knowledge became a highly valued asset. Church fathers and scholars like Jerome, who translated the Bible into Latin, and the influential writings of Augustine served as instructive examples for the Humiliati. In the painting of Jerome, a rolled-out piece of paper can be seen on the top shelf. Although Hebrew letters are painted on it, they do not form readable sentences. Directly below the open folio, there is a small piece of paper with a Greek text that is readable. This makes it clear that this church father mastered Latin, Greek, and Hebrew. Pope Damasus I did not task Jerome with translating the Old (Hebrew) and New (Greek) Testaments into Latin for nothing; this translation is known as the Vulgate (Wikipedia Vulgate).
Continuation Florence day 6: Ghirlandaio and Botticelli: Jerome and Augustine II (Ognissanti V)