Who painted Large Pendant, Temperance Standing at Centre?

Large Pendant, Temperance Standing at Centre was painted by Daniel Mignot in 1593.

Where can I see Large Pendant, Temperance Standing at Centre?

Large Pendant, Temperance Standing at Centre is held by National Gallery of Art.

What movement is Large Pendant, Temperance Standing at Centre?

Large Pendant, Temperance Standing at Centre is associated with Renaissance.

Artwork

Large Pendant, Temperance Standing at Centre

Daniel Mignot , 1593

Large Pendant, Temperance Standing at Centre is an ink print by the Renaissance artist Daniel Mignot. It dates from 1593 and is held in the collection of the National Gallery of Art.

About this work

Overview

The inscription Temperentia appears beneath the figure, identifying the theme of self‑control.

Daniel Mignot’s 1593 engraving, titled Large Pendant, Temperance Standing at Centre, presents a richly ornamental composition typical of late‑Renaissance pendant prints. Executed in black ink on paper, the image is dominated by a central figure holding an elongated cup, surrounded by a profusion of decorative motifs such as birds, floral clusters, teardrop forms and miniature crowns. The inscription Temperentia appears beneath the figure, identifying the theme of self‑control.

Subject & Meaning

The central standing figure embodies the virtue of temperance, a moral ideal frequently illustrated in moralizing art of the period. The tall cup he holds symbolizes measured consumption, while the surrounding fauna and flora reinforce the notion of natural balance. The inclusion of crowns and teardrop shapes adds allegorical layers, suggesting the reward of restraint and the emotional equilibrium achieved through moderation.

Technique & Style

Mignot employed the traditional engraving method, incising fine lines into a copper plate before transferring the image onto paper with ink. The work is distinguished by its intricate, swirling line work that creates a dense decorative framework. Minute hatching and cross‑hatching generate tonal variation, allowing the artist to render delicate details such as feathered birds and intricate floral patterns within the limited monochrome medium.

History & Provenance

Created in 1593, the print reflects the flourishing market for devotional and emblematic pendants in late‑sixteenth‑century Europe. While specific ownership records are scarce, the piece is documented in several early modern print catalogues, indicating its circulation among collectors interested in moral allegories. Its survival in museum collections today attests to the durability of copper‑plate engravings and the continued scholarly interest in Mignot’s oeuvre.