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Brother Gregorio
Belo of Vicenza
Artist: Lorenzo Lotto
(Italian, Venice ca. 1480–1556 Loreto)
Date: 1547
Medium: Oil on canvas
Dimensions: 34 3/8 x 28 in. (87.3 x 71.1 cm)
PRESENTATION BY
NATHANIEL ARON (LEADER),ANTHONY NAPPI,
ANGELINA IZZO, TANG TANG
Fra	Gregorio,	a	member	of	the	order	of	the	
Hieronymites,	or	Poor	Hermits	of	Saint	Jerome,	
sat	for	the	artist—as	noted	in	his	account	book—
in	December	1546	and	the	painting	was	
completed	the	following	year.	Lotto	knew	
members	of	this	order	in	Venice	and	in	
neighboring	Treviso,	and	was	probably	in	
harmony	with	their	evangelical	fervor	and	ideals.	
The	friar	is	in	the	habit	of	the	order	and	his	
gesture,	beating	his	chest,	alludes	to	Saint	
Jerome.	He	reads	the	Homilies	of	Saint	Gregory	
the	Great,	probably	in	the	edition	published	in	
Venice	in	1543.	These	would	have	led	him	to	
meditate	on	the	Crucifixion,	shown	in	the	
background	in	a	vignette	of	deeply-felt	emotion
The brother makes direct
contact with his audience with
out-of-convergent eyes shadowed
by lowered eyebrows.
With slightly pursed lips
held tightly together,
and his furrowed brow,
this painting clearly portrays
concentration and determination.
The	man	in	this	portrait	is	clencing
his	right	fist,	pressing	it	againt
himself	in	emulation	of	Saint	
Jerome,	whose	penance	involved	
pounding	his	chest	with	a	rock. As	
a	member	of	the	order	of	the	
Hieronymites(Poor	Hermits	of	
Saint	Jerome),	Gregorio	opted	to	
be	portrayed	with	the	attributes	of	
the	saint	he	venerated,	taking	on	
Jerome’s	behavior	and	attire. The	
placement	of	the	brightly	lit	fist	on	
the	horizontal	midline	of	the	
picture,	along	with	the	high-value	
vertical	sliver	of	white	sleeve	
bordering	it,	underscores	the	
centrality	of	this	hand’s	action	to	
the	meaning	of	the	painting.
Also	lying	on	the	composition’s	
horizontal	midline,	Gregorio’s
other	hand	holds	open	a	small	
book,	which	has	been	identified	
as	the	brother’s	name-saint	
Gregory	the	Great’s Homilies	on	
the	Gospels. The	hand	is	cradled	
by	the	arc	created	by	a	sleeve	
edge	painted	with	the	highest	
value	pigment	on	the	canvas,	
directing	the	eye	to	the	book	
above	it.
The	brother	leans	on	a	large
brown-gray	stone	block	on	which	
is	inscribed	his	name	and	the	
date	of	the	work,	an	additional	
reference	to	the	sitter’s	
rock-solid	faith	and	devotion.
In	the	upper	left	of
the	painting	there	is	
the	scene	of	Christ	
still	nailed	to	his
cross. Summarily
painted	with	small	
daubs	of	mostly	bright
color,	the	figures	of	
Mary,	Mary	Magdalene
and	Saint	John	the
Baptist	participate	
in	this	iconic	scene
In	a	valley	formed	by	
outcroppings	of	bare	rock,	
dead	trees	are	along	each	
side	of	the	opened	book,	a	
comment	on	its	contents. By	
contrast,	trees	are	elsewhere	
in	full	leaf,	and	vegetation	
covers	most	of	the	turf. To	
the	right	of	the	cross	a	sapling	
bends	at	an	angle	parallel	to	
the	head,	and	light	shrubbery	
on	the	crest	of	the	hill	just	to	
the	right	of	his	left	ear	mimics	
the	tufts	of	hair	on	his	head,	
an	example	of	the	humorous	
note	often	discoverable	in	
Lotto’s	pictures.

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