The plate was not part of any early collection or sale and is probably not anymore in existence.

St. Jerome is one of the four Patriarchs, also known for his translation of the Bible in Latin. He lived as a hermit for four years. He was very popular in the 17th century and consequently often depicted in works of art. Almost always in the company of a lion, referring to the legend that the lion became his loyal friend when Jerome removed a thorn from its pawn. Other artefacts related to Jerome are a cardinals’ hat and a skull. Rembrandt made no less than seven etchings (B 100 till B 106), three drawings and one painting of St. Jerome.

The moment depicted here is when the lion, wrongly accused by St. Jerome of having killed his friend, looks at the remaining carcass of an ass. The legend tells us that it was later discovered that the ass was stolen and the reputation of the lion restored.

Münz refers to a woodcut by Albrecht Altdorfer (1480-1538, New Hollstein 60) for the pose of the lion.

A painting by Rembrandt of Jerome reading is only known from a print by Johannes van Vliet (1631, Hollstein 13).
It is included in the collection “Rembrandt in Black & White”, number 385. 
There is also a painting Hermit reading (Corpus C 16, Bredius 605 Louvre), but it is no longer attributed to Rembrandt, despite its likeness to this etching.

The New Hollstein lists four copies, of which one (B) in the same direction, by Joseph-Alexander le Campion (two states, 108 x 87 mm, WB 1).
There are three copies in reverse. A is by Danckert’s workshop signed Rembrandt in. 1632 (112 x 91 mm, WB 3). C is by Thomas Worlidge (125 x 96 mm, NH c, WB 2). D is an anonymous one (143 x 112 mm).

The etching is considered ‘special’ by Wilson.
The plate was made by a pupil according to Middleton, Seymour Hayden (Ferdinand Bol) and Coppier.
But Münz points at a copy (in reverse) by Ferdinand Bol and concludes that it shows that Seymour Haden´s assignment to Bol (on the basis of his Good Samaritan, nr 101) is not correct. Münz believes that Rembrandt only corrected and finished the plate, probably made by Johannes van Vliet.
Hind points at the resemblance to B 44, The Angel appearing to the shepherds, confirming the authenticity.
The plate is not by Rembrandt according to Singer.

The New Hollstein, as most authors, lists one state only. Hind and Nowell-Usticke list two states, both contemporary.
In the 1st state (NH, WB, NU) the right contour of the sleeve gives an angular effect at the elbow. There is no division between the knees and the back of the book. Hind sees false biting in the shadow of the tree behind Jerome’s back.
In the 2nd state (NU only) the right contour of the sleeve seems rounded. There is a clear line between the knees and the backside of the book.
WB and Biörklund consider the assumed 1st state of Hind with the ´foul biting´ (in the British Museum) to be of a later date, the spot being wear, not false biting.

Double-headed eagle (1632-34); Basel crosier (c 1634-35); Foolscap.

H 119, BB 34-H, G 100, M 190, Mz 245, RA 313-315, Cl 103, W 105, Bl 71, Du 103, CD 84
Hinterding 2008, p. 217ff; Verdi 2014, p110ff;

New Hollstein/White-Boon: only state
A fair impression, showing some wear.
Sheet 133/134 x 113/114 mm, wide margins of 11 to 13 mm. on all sides (+57%).
No watermark, horizontal chain lines at approx. 24 mm.

The Rotunda at Exchange Square, Hong Kong, January 2008;
Rembrandt in Zwart-Wit, Stedelijk Museum Zutphen, Jan ten Horne Museum (Weert), Stadsmuseum Harderwijk, November 2013 – August 2015; Stedelijk Museum Vianen, October 2017 – January 2018;
Rembrandt in Black & White, Schloß Britz (Berlin), Chateau de Penthes (Geneva), November 2015 – October 2016;
Rembrandt, 17th century photographer, Daegu Art Museum (Korea), November 2023 – March 2024;