Who painted Plan and Elevation of the Church of the Holy Nativity?

Plan and Elevation of the Church of the Holy Nativity was painted by Jacques Callot in 1619.

Where can I see Plan and Elevation of the Church of the Holy Nativity?

Plan and Elevation of the Church of the Holy Nativity is held by National Gallery of Art.

What movement is Plan and Elevation of the Church of the Holy Nativity?

Plan and Elevation of the Church of the Holy Nativity is associated with Baroque.

Artwork

Plan and Elevation of the Church of the Holy Nativity

Jacques Callot , 1619

Plan and Elevation of the Church of the Holy Nativity 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 by the French baroque printmaker Jacques Callot, this work is an etching and engraving on laid paper. It presents both a plan and an elevation of the Church of the Holy Nativity, combining a side cutaway with a frontal view. The image functions as a detailed architectural study, integrating the building within a modest landscape setting.

Subject & Meaning

The print records the interior and exterior organization of the Holy Nativity church, labeling rooms, arches, stairs and windows with alphabetic markers. An Italian caption at the top identifies liturgical elements such as the nativity scene and altar, indicating the work’s purpose as a spatial analysis rather than a purely decorative representation.

Technique & Style

Callot employed a dual process of etching and engraving, allowing for fine line work and precise contouring typical of his baroque sensibility. The laid paper surface enhances the crispness of the architectural lines, while the restrike nature of the print suggests a careful replication of an original design.

History & Provenance

Part of a series of religious images produced by Callot, the print reflects his broader interest in documenting contemporary architecture. Though originally intended for a specific patron or workshop, the work survives as a rare example of early 17th‑century architectural printmaking, preserved in several museum collections.