美国作业抄袭：圣杰罗姆
圣杰罗姆在他的牢房里可以被描述为德国艺术家Albrecht Durer 1514年的版画。在这幅艺术作品中，圣杰罗姆(St. Jerome)的一幅截然不同的肖像出现在他坐在桌子后面，全神贯注地工作(Kuretsky, 1974)。在房间的角落里放着一张桌子，这是文艺复兴时期的典型情景。可以从杰罗姆的头上画一条假想的线，直接通过桌子上的十字架到达头骨，就好像它提供了复活和死亡的矛盾。在前景中，涉及的狮子场景是传统图像的一个关键元素，更接近狗的睡眠。狗是Durer作品中最常见的动物，因为它象征着忠诚。这两种生物都参与了杰罗姆的故事，在黄金传说中包含了与圣人有关的虚构的圣典。圣杰罗姆提供了他沉思和神学生活的表现(库勒斯基，1974)。构图中有很强的亲切感，但观者很难在画面的空间中找到自己的位置。
美国作业抄袭：圣杰罗姆
然而，可以认为，即使观察者与场景的距离更近，Durer也没有把握在观众中创造存在感的关键内涵。这是因为这种亲密关系是建立在圣人的背景下的，他全神贯注于冥想和研究。它似乎有一种强烈的印象，不是通过建筑的客观性法则，而是通过与观众相关的主观性的立场来决定表现(Kuretsky, 1974)。这个观众刚进入会场。我们知道，这种表现形式正是由于透视的安排是亲密关系的一种特殊影响。《圣杰罗姆》在文艺复兴人文主义者中所提出的吸引力在于，杜勒在创作更多的圣人形象方面做得很成功，这与他在他所有的图形作品中所做的其他作品相比。这幅艺术作品被陈列在“查尔斯·迪林收藏，1965年17日”。这是一本配有大量插图的艺术书籍，展示了拉蒙·卡萨斯从西北大学图书馆收集的画作，以及芝加哥艺术学院和他的私人收藏的几幅卡萨斯油画。众所周知，这与西班牙画家卡萨斯戏剧性的解体和建立友谊有关。卡萨斯和他在西北大学的主要赞助人都是卡萨斯作品的仰慕者和收藏家。
美国作业抄袭：圣杰罗姆
Saint Jerome in his Cell can be described as an engraving of the year 1514 by Albrecht Durer, the German artist. In the art work, an extremely different portrait of St. Jerome is provided as he sits behind the desk, extremely busy in his work, completely engrossed (Kuretsky, 1974). The table kept with a cross at the corner of the room is typical in context with the Renaissance. An imaginary line can be drawn from the head of Jerome reaching the skull directly through the cross on the table, as if it provides a contradiction of Resurrection and death. In the foreground, the lion set involved is a crucial element of the traditional iconography, closer to which a dog sleeps. Dog is the animal found more often in the works of Durer, as it symbolizes loyalty. Both the creatures are involved in the story of Jerome, consisting of fanciful hagiographies related to saints, in the Golden Legend. St. Jerome provides a representation of his contemplative and theological life (Kuretsky, 1974). There lies strong intimacy in the composition, but difficulty will be faced by the viewer to locate himself with respect to the space of picture.
美国作业抄袭：圣杰罗姆
However, it can be suggested that even though there is closer proximity between the observer and the scene, Durer did not hold the key intension of creating a sense of presence among the viewer. This is because the intimacy is created in context with the saint who is engrossed strongly in meditation and study. It appears to have a strong impression for determining the representation not by the law of objectivity from architecture, but by the standpoint of subjectivity related to the spectator (Kuretsky, 1974). This spectator has just made an entry. This representation is known to be precisely owing the arrangement of perspective as a peculiar effect of intimacy. The appeal presented by Saint Jerome among the humanists of Renaissance is provided in the point that Durer had been successful in the creation of more images of the saint in comparison with any other in his oeuvre of graphics. The art work has been displayed in “The Charles Deering Collection, 1965.17”. It is a lavishly illustrated art book that provides a presentation of drawings by Ramon Casas collected from the Library of Northwestern University and several oil paintings of Casas collected from the Art Institute of Chicago and his private collections. This is known to follow the dramatic dissolution and establishment of a friendship from three ways in connection with the Spanish painter, who had been an admirer and collector of the work of Casas along with its key patron at the Northwestern University.