Artwork

St. Peter, Apostle; St. Mary of Angels; Discovery of the Body of St. Stephen; St. Dominicus

St. Peter, Apostle; St. Mary of Angels; Discovery of the Body of St. Stephen; St. Dominicus is an ink print by the Baroque artist Jacques Callot. It dates from 1634 and is held in the collection of the National Gallery of Art. Created circa 1634, this etching on laid paper presents four distinct vignettes within oval frames, each identified by a saint’s name.

About this work

Overview

Created circa 1634, this etching on laid paper presents four distinct vignettes within oval frames, each identified by a saint’s name. Executed by Jacques Callot, a prolific French printmaker active in the Duchy of Lorraine, the work belongs to his extensive output of more than 1,400 etched images.

Subject & Meaning

The four panels depict episodes associated with St. Peter, St. Mary of the Angels, the discovery of St. Stephen’s body, and St. Dominicus. Each scene combines a religious figure—such as an angel, a robed woman, a caretaker, and a scholarly saint—with narrative details that suggest devotion, martyrdom, and ecclesiastical authority.

Technique & Style

Callot employed fine, sharply incised lines to render intricate figures and architectural elements, while cross‑hatching creates subtle shadows that give the small compositions a sense of depth. The use of oval frames and precise labeling reflects the artist’s systematic approach to multi‑scene prints.

History & Provenance

The etching was produced during the Baroque period, a time when Callot’s prints circulated widely across Europe, documenting both sacred themes and contemporary life. Though specific ownership records are scarce, the work is representative of his output for the Lorraine court and the broader market for devotional prints.

Context

Callot’s religious prints often merged spiritual iconography with the visual language of everyday and courtly settings. This piece illustrates that blend, situating holy narratives within recognizable architectural spaces and populated scenes, a hallmark of his approach to illustrating faith in the early 17th century.