Madonna and Child with Saint Jerome and Saint John the Baptist

Cima da Conegliano

National Gallery of Art

A woman holding a baby, who stands on her lap, is flanked by two men in a deep landscape in this horizontal painting. At the center of the composition, the woman sits behind a stone ledge. Her pale-skinned, oval face tips to our left, and she looks down and to our right with brown eyes. She has a long, straight nose, round cheeks, a slight double chin, and her pale lips are closed. A white cloth drapes over a translucent veil that covers her forehead. Her indigo-colored dress is edged with gold writing and ornamental designs against a red and black background. A parchment-brown cloth is tied as a belt under her bust. The nude child with notably pale skin stands on one of her knees, and she holds his other foot with one hand. Her other hand braces his chest, and he holds onto that thumb. His other hand is held up with the thumb and first two fingers raised toward the man to our left, at whom he looks. A halo, drawn as a thin gold line, encircles his blond curls. He has chubby cheeks and thighs but looks seriously at the man to our left. Both men have tanned skin, and they face inward, almost in profile. They are shown from about the hips up on the far side of the stone ledge. The man to our left is balding with a long, white beard. Wrinkles line his forehead and cheeks. He looks off to our right with shadowed eyes, and he has a hooked nose. He wears a tan garment under an ultramarine-blue cloak, which drops from one shoulder and wraps around his hips. He holds one hand to his chest and the other palm up. To our right, the second man looks to our left with deep-set eyes. He has high cheekbones, a straight nose, and his lips are parted. Copper-brown hair falls in shaggy curls to his shoulders, and he has a full, red beard. His hands are together in prayer in front of his chest, and a tall thin stick with a narrow crossbeam to make a cross is tucked into one elbow. His voluminous, carnation-pink robe almost covers a brown, shaggy garment beneath. Beyond the group, rocky cliffs lead back to a castle-like structure to our left and grassy, tree-dotted hills roll into the distance to our right. Pale gray and white clouds drift across a violet-purple and blue-streaked sky across the top quarter of the composition. The artist signed the work as if he had carved into the stone ledge in front of Mary: “IOANNES BAPTISTA PINXIT.”