Baltard, Altar of the Chapel at Château Découen, Engraving, 1800

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Élévation de l’Autel de la Chapelle du Château d’Écouen – Engraving by Louis-Pierre Baltard A refined architectural engraving by Louis-Pierre … Read more Élévation de l’Autel de la Chapelle du Château d’Écouen – Engraving by Louis-Pierre Baltard A refined architectural engraving by Louis-Pierre Baltard (1764–1846), titled Élévation générale de l’Autel dans la Chapelle du Château d’Écouen, executed in Paris around 1795–1800. This work depicts the richly ornamented altar of the Château d’Écouen chapel—an exquisite example of French Renaissance interior design, showcasing the harmony of classical structure and sculptural decoration. The composition reveals the altar’s monumental elevation framed by paired Corinthian pilasters and intricate moldings. The central panel, likely illustrating a biblical or allegorical scene, is surrounded by finely detailed bas-reliefs and statues representing virtues and saints. The decorative language blends antique motifs—such as acanthus leaves, putti, festoons, and symbolic cartouches—interpreted through Baltard’s precise neoclassical engraving technique. Louis-Pierre Baltard was one of the great architectural engravers of late 18th-century France. His work bridges the late Enlightenment’s fascination with classical antiquity and the emerging Empire style of Napoleonic France. This engraving, part of his architectural series on the Château d’Écouen and the Louvre, exemplifies his mastery of line and perspective, combining the analytical clarity of an architect with the finesse of an artist. The Château d’Écouen, built for Anne de Montmorency in the 16th century and now home to the Musée National de la Renaissance, remains one of the most important monuments of French Renaissance architecture. Baltard’s print serves both as a historical record and as a work of art celebrating France’s architectural heritage. Condition report: Very good impression with a crisp plate mark and full margins. Some light foxing and faint water staining at lower right corner, not affecting the image. Paper edges slightly irregular, consistent with age. Framing tips: An ivory mat with a dark walnut or black wooden frame will best highlight the engraving’s tonal contrasts and architectural depth. Ideal for display in an interior with classical or academic décor. Technique: Copperplate engraving Maker: Louis-Pierre Baltard, Paris, circa 1795–1800 See less