Saint Jerome

Vittoria combined several drawing media: an underdrawing in red chalk and leadpoint establishes the basic anatomy, while brown ink outlines and cross‑hatching build volume. The later addition of reed‑pen strokes introduces finer texture and deeper shadows, producing a dynamic interplay of light and form through rapid, loose lines.

Created during Vittoria’s mature Mannerist phase, the drawing reflects his reputation as a leading Venetian sculptor who also produced religious studies alongside his three‑dimensional commissions. The piece remains documented as part of his oeuvre, illustrating his engagement with drawing as a preparatory and expressive medium.

In the mid‑sixteenth century, Venetian artists emphasized expressive figuration and refined drawing techniques. Vittoria’s Saint Jerome exemplifies this trend, merging sculptural awareness of anatomy with the fluidity of ink work, a practice also seen in the output of his contemporary, Giambologna.