Sacerdos cornu olei unxit Salomonem omnisque clamauit. . . . ( Plate 45) |
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Description
Fine etching by Nicolas Chapron, after Raphaël's (Raffaello Sanzio) frescoes in the Vatican Loggia.
Scene illustrating a priest anointing Solomon with oil.
From the first Parisian edition by Pierre Marriette of "Sacrae historiae acta a Raphael Urbin in Vaticanis xystis".
Pierre Mariette, who did bring the copper plates to Paris to have them reprinted after the first printing published in Rome in 1649.
The second edition is characterized by the addition of "cum privilegio regis" at the bottom, according to Brunet, which lists 4 states of the plates.
Nicolas Chaperon (Châteaudun, bapt. 19 October 1612 — Lyon 1656) was a French painter, draughtsman and engraver, a student in Paris of Simon Vouet whose style he adopted before he was further matured by his stay in Rome (1642–1651) in the studio of Nicolas Poussin.
Chaperon made a name for himself with his suite of engravings after the Raphael Loggie of the Vatican, Rome, 1649, but art historians remember him for the stream of fulminating invective with which Poussin in his correspondence with Paul Fréart de Chantelou described this unruly and vindictive practician who refused to carry through his copy of a Transfiguration. So little is known of Chaperon that this episode stands out.
Scene illustrating a priest anointing Solomon with oil.
From the first Parisian edition by Pierre Marriette of "Sacrae historiae acta a Raphael Urbin in Vaticanis xystis".
Pierre Mariette, who did bring the copper plates to Paris to have them reprinted after the first printing published in Rome in 1649.
The second edition is characterized by the addition of "cum privilegio regis" at the bottom, according to Brunet, which lists 4 states of the plates.
Nicolas Chaperon (Châteaudun, bapt. 19 October 1612 — Lyon 1656) was a French painter, draughtsman and engraver, a student in Paris of Simon Vouet whose style he adopted before he was further matured by his stay in Rome (1642–1651) in the studio of Nicolas Poussin.
Chaperon made a name for himself with his suite of engravings after the Raphael Loggie of the Vatican, Rome, 1649, but art historians remember him for the stream of fulminating invective with which Poussin in his correspondence with Paul Fréart de Chantelou described this unruly and vindictive practician who refused to carry through his copy of a Transfiguration. So little is known of Chaperon that this episode stands out.
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