Who painted Elevations of the Holy Manger and the Sepulchre of Rachel?

Elevations of the Holy Manger and the Sepulchre of Rachel was painted by Jacques Callot in 1619.

Where can I see Elevations of the Holy Manger and the Sepulchre of Rachel?

Elevations of the Holy Manger and the Sepulchre of Rachel is held by National Gallery of Art.

What movement is Elevations of the Holy Manger and the Sepulchre of Rachel?

Elevations of the Holy Manger and the Sepulchre of Rachel is associated with Baroque.

Artwork

Elevations of the Holy Manger and the Sepulchre of Rachel

Jacques Callot , 1619

Elevations of the Holy Manger and the Sepulchre of Rachel is an ink print by the Baroque artist Jacques Callot. It dates from 1619 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1619, this print by Jacques Callot presents two architectural elevations rendered in black line on laid paper. The work combines etching and engraving techniques, producing a restrained, monochrome image that records the design of a modest shrine and a domed, round‑arched structure, each annotated with labels and measurements.

Subject & Meaning

The paired sketches depict religious edifices: one a simple manger‑type shrine with a flat roof and steps, the other a sepulchral building featuring a rounded arch and dome. The accompanying notes reference terms such as “sepulchre” and “poggio,” indicating a focus on sacred sites and their spatial organization.

Technique & Style

Callot employed a hybrid of etching and engraving, allowing fine, controlled lines to convey architectural detail. The use of laid paper provides a subtle texture, while the precise linear rendering emphasizes structural elements—arches, steps, and cornices—without decorative shading or color.

History & Provenance

Part of Callot’s extensive output of more than 1,400 prints, this piece reflects his early interest in documenting contemporary religious architecture. Produced in the Duchy of Lorraine, it exemplifies his practice of creating reference images for patrons or scholarly use, though specific ownership records for this particular impression are not documented.

Context

During the early 17th century, European artists frequently produced measured drawings of holy sites for devotional, instructional, or antiquarian purposes. Callot’s work aligns with this tradition, offering a clear, schematic view that would have aided architects, clergy, or collectors interested in the visual study of sacred spaces.