We thank Dr. Till-Holger Borchert for his assistance with the dating of the painting. He notes that Georges Marlier lists two versions of the present work, one in the Museum Mayer van den Bergh in Antwerp (also known to Max Friedländer) and the other - which is likely to be ours - in a private collection in Ghent. While this composition was once believed to be related to Ambrosius Benson, more recent scholarship has disproved this connection, so its author remains shrouded in mystery. This iconic painting depicts Saint Jerome, one of the most revered Doctors of the Church, shown in a moment of intense spiritual contemplation. The saint is portrayed with remarkable psychological depth, his ascetic features and penetrating gaze illuminated against a dark, atmospheric background. The traditional attributes — the crucifix, the lion at his side, and the hermit’s staff — firmly anchor the composition within the learned iconographic tradition of the Counter-Reformation. The work displays hallmarks characteristic of early seventeenth-century Flemish painting, notably the sober naturalism, refined modelling of flesh tones, and a controlled use of chiaroscuro that enhances the dramatic presence of the figure without resorting to theatrical excess. The treatment of the face and hands reveals a painter of accomplished skill, attentive to both anatomical accuracy and expressive nuance. The restrained colour palette, combined with the dignified stillness of the composition, reflects the Northern European sensitivity to realism and introspection, while also demonstrating awareness of contemporary Italian influences. Such images of Saint Jerome were highly prized by learned patrons and collectors, both for private devotion and for their intellectual and moral resonance. This compelling painting stands as a powerful example of Flemish religious art at the threshold between late Mannerism and early Baroque, embodying the spiritual gravity and pictorial sophistication of the period. Provenance: Aristocratic private collection, Ghent. Literature: G. Marlier, Ambrosius Benson et la peinture à Bruges au temps de Charles Quint, Damme 1957. Condition: The state of conservation is good for its age, with a stable paint layer and high legibility, which could be further improved with minimal cleaning. On a curious note, the red stole covering the saint's right nipple is certainly an early overpainting, commissioned by some prudish owner. In consultation with your restorer, you may decide to keep it, as evidence of the painting's collecting history, or to have it easily removed, thus restoring the original appearance of the naked torso.