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    Museum collections / Art Institute of Chicago
    Saint Augustine's Vision of Saints Jerome and John the Baptist
    Matteo di Giovanni. Saint Augustine's Vision of Saints Jerome and John the Baptist, 1476. The Art Institute of Chicago. Public domain (CC0).

    Public collection via the Art Institute of Chicago

    AT-00000696

    Saint Augustine's Vision of Saints Jerome and John the Baptist

    by Matteo di Giovanni

    View at the Art Institute of Chicago

    Provenance

    Placidi altarpiece, Chapel of Saint Jerome, Church of San Domenico, Siena, from 1476 until the dismemberment of the altarpiece sometime between 1784 and 1803 [Trimpi 1983 identified this painting, The Dream of Saint Jerome (1933.1018), and The Crucifixion, now in a private collection, as from the predella of the altarpiece on the basis of Mons. Francesco Bossio, Visita apostolica (1575), Siena, Archivio Arcivescovile, MS. 21, fol. 678r–678v and an August 23, 1803 inventory of pictures from San Domenico in the Palazzo Pubblico, Siena, Archivio di Stato Biccherna 1089, fol. 459r–460v]. Possibly removed to Palazzo Pubblico, Siena, by 1803 [according to Trimpi 1983, who cites the inventory referenced above]. Adelbert Wellington, third Earl Brownlow (d. 1921), Ashridge Park, Berkhamsted, by 1904 [according to the London 1904 exhibition catalogue], sold as a pair with 1933.1018, Christie’s London, May 4, 1923, no. 26 (ill.), as Benvenuto di Giovanni, to Colnaghi for £850 [according to an annotated copy of the sale catalogue at Christie’s, London]; sold by Colnaghi to Martin A. Ryerson (d. 1932), Chicago, 1925 [according to Colnaghi’s invoice, Ryerson papers, Art Institute archives]; on loan to the Art Institute from 1925; bequeathed to the Art Institute, 1933.

    Exhibition history

    London, Burlington Fine Arts Club, Pictures of the School of Siena and Examples of the Minor Arts of That City, 1904, no. 43. New York, The Metropolitan Museum of Art, Painting in Renaissance Siena, 1420–1500, December 20, 1988 – March 19, 1989, no. 49c. Atlanta, GA, High Museum of Art, The “Gates of Paradise”: Lorenzo Ghiberti’s Renaissance Masterpiece, April 28-July 15, 2007; Art Institute of Chicago, July 28-October 13, 2007; Metropolitan Museum of Art, October 30, 2007-January 13, 2008 [Chicago Only]. London, National Gallery, Renaissance Siena: Art for a City, October 24, 2007 – January 13, 2008, no. 37. Florence, Palazzo Pitti, Galleria Palatina, Il Sogno nel Rinascimento, May 21 – September 15, 2013, no. 34; traveled to Paris, Musée du Luxembourg, 2013–2014 .

    Publications

    Bernard Berenson, The Central Italian Painters of the Renaissance, 2d ed. (New York and London, 1909), p. 194. Gustav Friedrich Hartlaub, Matteo da Siena und seine Zeit (Strasbourg, 1910), pp. 117–18, 139. J. A. Crowe and G. B. Cavalcaselle, A History of Painting in Italy, T. Borenius ed., 2d ed., vol. 5 (New York, 1914), p. 184 n. 2. Fogg Art Museum, Harvard University: Collection of Mediaeval and Renaissance Paintings (Cambridge, Massachusetts, 1919), p. 128. Rose Mary Fischkin, “Two Paintings by Matteo di Giovanni,” Art Institute Bulletin 20 (1926), pp. 30–32, fig. 2. Rose Mary Fischkin, “Martin A. Ryerson Collection of Paintings and Sculpture, XIII to XVIII Century, Loaned to The Art Institute of Chicago,” (unpub. MS, 1926, Ryerson Library, The Art Institute of Chicago), pp. 41–43. Lionello Venturi, Pitture italiane in America (Milan, 1931), pl. CCXXVII. Bernard Berenson, Italian Pictures of the Renaissance (Oxford, 1932), p. 350. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 181, no. 1687.25. William R. Valentiner, Paintings in the Collection of Martin A. Ryerson, (unpub. MS, 1932, Archives, The Art Institute of Chicago), n. p. M. Gengaro, “Matteo di Giovanni,” La Diana 9 (1934), pp. 166–68. Bernard Berenson, Pitture italiane del Rinascimento (Milan, 1936), p. 301. Raimond van Marle, The Development of the Italian Schools of Painting, vol. 16 (The Hague, 1937), pp. 342–43. George Kaftal, Saints in Italian Art: Iconography of the Saints in Tuscan Painting (Florence, 1952), pp. 256, 529, 532. Beatrice Wilczynski, “Matteo di Giovanni: Two Episodes from the Life of Saint Jerome,” Art Institute of Chicago Quarterly 50 (1956), pp. 74–76, ill. Helen I. Roberts, “Saint Augustine in ‘St. Jerome’s Study’: Carpaccio’s Painting and Its Legendary Source,” Art Bulletin 41 (1959), p. 289, ill. John Pope-Hennessy, “A Crucifixion by Matteo di Giovanni,” Burlington Magazine 52 (1960), pp. 63–67, fig. 21. The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 306. Hans Huth, “Italienische Kunstwerke im Art Institute von Chicago, USA,” in Miscellanea Bibliothecae Hertzianae (Munich, 1961), p. 517. Franco Russoli, La raccolta Berenson (Milan, 1962), p. XLIX. Bernard Berenson, Italian Pictures of the Renaissance: Florentine School, vol. 1 (London, 1968), p. 258. Sara Ekwall, “Ett ikonografiskt Birgittaproblem,” Konsthistorisk Tidskrijt 37 (1968), pp. 15–18, ill. Gustina Scaglia, “Fantasy Architecture of Roma antica,” Arte lombarda 15, 2 (1970), pp. 17–18, ill. T. Buddensieg, “Criticism of Ancient Architecture in the Sixteenth and Seventeenth Centuries,” in Robert Ralph Bolgar, ed., Classical Influences on European Culture, A.D. 1500–1700 (Cambridge, England, 1971), p. 338 n. 5. Burton B. Fredericksen and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections (Cambridge, Massachusetts, 1972), pp. 139, 376, 408. Denys Sutton, “Robert Langton Douglas: An Annus Mirabilis,” Apollo 59 (1979), p. 304, fig. 21. Fredrika Herman Jacobs, “Carpaccio’s Vision of S. Augustine and S. Augustine’s Theories of Music,” Studies in Iconography 6 (1980), p. 83 n. 4. Erica Trimpi, “Iohannem Baptistam Heironymo aequalem et non maiorem: A Predella for Matteo di Giovanni’s Placidi Altarpiece,” Burlington Magazine 125 (1983), pp. 457–66, fig. 6. Edwin Hall and Horst Uhr, “Aureola super Auream: Crowns and Related Symbols of Special Distinction for Saints in Late Gothic and Renaissance Iconography,” Art Bulletin 67 (1985), p. 578, fig. 8. Erica Trimpi, “A Re-attribution and Another Possible Addition to Matteo di Giovanni’s Placidi Altarpiece,” Burlington Magazine 127 (1985), pp. 363–67, fig. 29. John Pope-Hennessy, “Whose Flagellation?” Apollo 124 (1986), pp. 163–65. Piero Torriti, La Pinacoteca nazionale di Siena: i dipinti (Genoa, 1990), p. 260. Peter Anselm Riedl and Max Seidel, Die Kirchen von Siena, vol. 2, pt. 1, 2 (1992), pp. 620–22. Shelley E. Zuraw, "Mino da Fiesole's First Roman Sojourn: The Works in Santa Maria Maggiore" in Verrocchio and Late Quattrocento Italian Sculpture, ed., Steven Bule, Alan Phipps Darr and Fiorella Superbi Gioffredi (Florence, 1992), pp.313-14. Christopher Lloyd, Italian Paintings before 1600 in The Art Institute of Chicago: A Catalogue of the Collection (Chicago, 1993), pp. 151–58, ill. Dóra Sallay, “Nuove considerazioni su due tavole d’altare di Matteo di Giovanni: La struttura della pala Placidi di San Domenico e della pala degli Innocenti di Sant’Agostino a Siena,” Prospettiva 112 (2003), p. 89 n. 4. Alison Wright, The Pollaiuolo Brothers: The Arts of Florence and Rome (New Haven, 2005), p. 418. Mariarosa Cortesi, Leggere I padre tra passato e presente (Florence, 2010), p. 167. Gabriele Fattorini, “Matteo di Giovanni’s ‘St. Jerome’ for the notaries’ Guild of Siena,” Burlington Magazine 154 (2012), p. 472, ill. Gabriele Fattorini in Carl Brandon Strehlke and Machtelt Brüggen Israëls, The Bernard and Mary Berenson Collection of European Paintings at I Tatti (Milan, 2015), pp. 433, 436, 437.

    Open-access museum data

    This record comes from the open-access collection data that the Art Institute of Chicago publishes for unrestricted use (Creative Commons Zero). Art Trackers shows a selection of the museum's published fields. The Art Institute of Chicago is not an Art Trackers client and has not reviewed or endorsed this page; the museum's own website is the authoritative record.

    • View this work at the Art Institute of Chicago
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    Data retrieved from the Art Institute of Chicago on October 8, 2026. The museum may have updated its record since.

    Quick Overview

    Artist
    Matteo di Giovanni (Italian, c. 1430–1495)
    Date
    1476
    Medium
    Tempera on panel
    Dimensions
    37.6 × 66.1 cm (14 3/4 × 26 in.); Framed: 43.2 × 71.8 × 5.4 cm (17 × 28 1/4 × 2 1/8 in.)
    Type
    Painting
    Classification
    tempera
    Style
    15th century
    Place
    Italy
    Department
    Painting and Sculpture of Europe
    Credit line
    Mr. and Mrs. Martin A. Ryerson Collection
    Accession no.
    1933.1019

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    Open-access museum record · AT-00000696

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