Here Bellini experiments with the style of his brother-in-law, Andrea Mantegna: the rock forms in the foreground on the left have straight edges and look, like Mantegna’s, as though they have been carved with a chisel. The draperies, too, resemble Mantegna’s in their crisp sharp folds.

Christ’s pink tunic blends with the peach light of the dawn sky, which highlights the undersides of the plump clouds. Bellini would continue to develop his extraordinary sensitivity for the changing effects of light on landscapes throughout his career

Bellini painted this subject several times, always using landscape and dramatic lighting to convey meaning. Cliffs tower around Jerome, cutting him off from civilisation (represented by the walled city in the background). A bright light falls on the saint and on the distant towers, but the landscape between them is plunged in shadow.

Recent technical study has confirmed that the painting is by Bellini himself, rather than a follower. Jerome’s head is painted with great attention to detail, and if you look closely you can see the individual brushstrokes in his hair and beard.