Who painted Mercurio (Mercury)?

Mercurio (Mercury) was painted by Master of the E-Series Tarocchi in 1465.

Where can I see Mercurio (Mercury)?

Mercurio (Mercury) is held by National Gallery of Art.

What movement is Mercurio (Mercury)?

Mercurio (Mercury) is associated with Renaissance.

Artwork

Mercurio (Mercury)

Master of the E-Series Tarocchi , 1465

Mercurio (Mercury) is an ink print by the Renaissance artist Master of the E-Series Tarocchi. It dates from 1465 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created around 1465, this copper engraving with gilded accents is attributed to the anonymous workshop known as the Master of the E‑Series Tarocchi. The print portrays a solitary figure identified as Mercury, the Roman messenger god, rendered in a compact composition that balances intricate foreground detail with a modestly textured background.

Subject & Meaning

The central figure wears a flowing robe, a winged cap, and a long trailing element, all conventional attributes of Mercury. He grasps a staff in his right hand, a traditional caduceus, while his left hand supports a small creature, reinforcing his role as a psychopomp. Two birds—one on the ground and another perched on the staff—accentuate the theme of swift movement and communication.

Technique & Style

The work employs fine line engraving combined with selective gilding, creating a subtle contrast between matte shadows and luminous highlights. Delicate hatching conveys the folds of the garment and the texture of the background, while the gilded areas draw attention to the figure’s headgear and the staff, enhancing the three‑dimensional illusion within the limited planar space.

History & Provenance

Attributed to the Master of the E‑Series Tarocchi, a workshop active in mid‑15th‑century Italy, the print belongs to a series of allegorical images associated with early tarot decks. Though the original copper plate is lost, surviving impressions have circulated among private collections and museum holdings, providing insight into the workshop’s role in disseminating emblematic iconography during the Renaissance.