The basis of the text of the Swiss theologian Hans Urs von Balthasar (1905–1988) about the image of St. Hieronymus of Stridon, as Albrecht Dürer understood and embodied him, is a lecture given by the author for the 500th anniversary of the artist (Nuremberg, 1971). Balthasar, from the position of a Christian thinker and art critic, explores how Dürer’s perception of the life and theological feat of the great philologist, creator of the canonical Latin text of the Bible, evolves. An exhaustive series of the master’s works is traced from the earliest to the masterpiece “Saint Jerome in the Cell”, which belongs to the cycle of “Master Engravings”. (Below are some of the works from this series; the book reproduces all of Durer’s works depicting St. Jerome, to which the author refers.) “What are we talking about? Of course, about the focus of the spiritual task, which coincided with the focus of Jerome’s genius: about what attracted humanists and Christian philologists so much in him, and Dürer believed to embody in a visual image.” The indicated coincidence and the genius of the “roaring lion” of Jerome, according to Balthasar, consisted in the fact that this powerful character, possessing an irresistible temperament, an adept of an unmistakable lofty word, was able in the finale of his life - as in the finale of Durer's series - to dissolve kenotically in silence, submitting to the “full-voiced and loud Divine word”, born only in “apparently eternal” silence, for which Dürer found a unique visual image.