Who painted Plan and Elevation of the Church of S. Iacoma?

Plan and Elevation of the Church of S. Iacoma was painted by Jacques Callot in 1619.

Where can I see Plan and Elevation of the Church of S. Iacoma?

Plan and Elevation of the Church of S. Iacoma is held by National Gallery of Art.

What movement is Plan and Elevation of the Church of S. Iacoma?

Plan and Elevation of the Church of S. Iacoma is associated with Baroque.

Artwork

Plan and Elevation of the Church of S. Iacoma

Jacques Callot , 1619

Plan and Elevation of the Church of S. Iacoma 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. Created in 1619, the work titled *Plan and Elevation of the Church of S.

About this work

Overview

Created in 1619, the work titled *Plan and Elevation of the Church of S. Iacoma* is a print executed by Jacques Callot, a French printmaker active in the early seventeenth century. The piece combines etching and engraving on laid paper, presenting two complementary views of a church: a three‑dimensional elevation above and a ground‑plan below, each rendered with precise linear detail.

Subject & Meaning

The image functions as a technical illustration of ecclesiastical architecture, showing the spatial organization of the building.

The image functions as a technical illustration of ecclesiastical architecture, showing the spatial organization of the building. The elevation depicts walls, a staircase, and a central dome, while the plan outlines the floor layout, including a circular nave and labeled spaces such as the sacristy. By juxtaposing these perspectives, Callot provides a comprehensive visual study of the church’s design and liturgical functions.

Technique & Style

Callot employed both etching and engraving, allowing him to achieve fine line work and varied tonal depth on laid paper. The etched lines convey texture and perspective in the elevation, whereas the engraved strokes give the plan a crisp, measured quality. His baroque sensibility appears in the dynamic rendering of the dome and the meticulous attention to architectural detail, hallmarks of his extensive printmaking practice.

History & Provenance

The print belongs to Callot’s prolific output of more than 1,400 prints, many of which documented military, religious, and courtly subjects. As a restrike, this impression was likely produced after the original plate’s creation, a common practice for disseminating architectural drawings in the period. The work reflects the artist’s interest in recording contemporary religious structures and contributes to the visual record of early‑modern church architecture.