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Jacques Callot’s Spectacular Combat at the Barrier
A curation by Harris Schrank Fine Prints.
Jacques Callot (1582-1635), the renowned French printmaker, was commissioned in 1627 to illustrate the magnificent festival in honour of the beautiful Duchess of Chevreuse, who was in exile at the Lorraine court after the discovery of her part in a plot against Richelieu.
The ten etchings of the Combat at the Barrier set illustrate the magnificent chariots and floats accompanying the luminaries as they entered the tournament arena, as well as the arena itself during the joust for the favour of the Duchess between the Duke Charles IV of Lorraine and the Prince of Phalsbourg.
Jacques Callot began his artistic career as an apprentice engraver in Rome, but his career blossomed in Florence, where he learned the process of etching, inventing new etching techniques, and eventually becoming a towering figure in the art of printmaking. By 1627, the year of the “Combat”, his fame was well-established; he had created many sets of prints such as the Beggars, the Balli di Sfessania, sets of the Large and Small Passions, Capricci, as well as well-known individual plates such as The Fan and the massive Fair at Impruneta, which many consider the most accomplished etching ever made.
Frontispiece, 1627, 15.5 x 10.9 cm, etching. The frontispiece features the Three Graces surrounding the Arms of the Duchess of Chevreuse.
Entrance of the Prince of Phalsbourg, 1627, 15.3 x 24.2 cm, etching. An allegory of Love, followed by Apollo and the planets; fame guides the second chariot, then 20 pages, Mars and Hercules, and Cupid.
Entrée de M. De Macey, 1627, 15.3 x 24.2 cm, etching. A beautiful composition, not overly embellished, with drummers and flute players leading the march.
Entrance of Vroncourt, Tyllon and Marimont, raised up on a dolphin, 1627, 15.3 x 24.2 cm, etching.
Entrance of Couvonge and Chalabre, 1627, 15.3 x 24.2 cm, etching. With the demons and representatives of Hell, this appearance caused an uproar in the arena – and it’s one of the most memorable images of the set.
Entrance of Brionne, 1627, 15.3 x 24.2 cm, etching. With Jason and the Argonauts, the Island of Colchos, and a palace on a rock.
Entrance of Henry of Lorraine, 1627, 15.3 x 24.2 cm, etching. Chariots are followed by floats of large birds, and an angry giant lizard.
Entrance of the Duke Charles IV, 1627, 15.3 x 24.2 cm, etching. Also known as Entry of His Highness Representing the Sun.
Parade on Foot, 1627, 15.3 x 24.2 cm, etching. The box for ladies is at the left, the Duchess in the front row; above the crowd is a cloud machine from which light blazes.
The Combat at the Barrier, 1627, 15.3 x 24.2 cm, etching. The culminating plate, with the 2 combatants, the cloud at the right along with the parked festival carts.
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