About this sheet
Classical Antiquities and Sacred Figures, Montfaucon Engraving, London 1721
This large and visually rich engraving originates from Bernard de Montfaucon’s monumental work Antiquity Explained and Represented in Sculptures, Volume I, published in London in 1721. The plate presents an encyclopaedic survey of classical religious and mythological imagery, combining statues, relief fragments, votive figures, and engraved gems into a single, carefully structured composition. At the centre stands a commanding winged female figure, rendered in full sculptural scale, surrounded by a dense array of smaller antiquarian vignettes illustrating Roman and Greco-Roman cult objects, nymphs, genii, ritual figures, and symbolic attributes.
Montfaucon’s project was not intended as a purely artistic publication, but as a scholarly visual archive of ancient sculpture and material culture, based on original Roman marbles, bronzes, reliefs, and engraved stones then held in major European collections. Plates such as this were designed to be read visually as much as academically, offering rhythm, balance, and monumental presence despite their composite nature. The engraving functions almost like an antiquarian wall tableau, making it particularly appealing for interior use today.
Although the line quality reflects its documentary purpose rather than decorative sharpness, the impact lies in scale, density, and classical authority. When framed generously, this plate reads as a statement piece: intellectual, architectural, and unmistakably early 18th century. It works especially well in libraries, hotel corridors, stairwells, or refined classical interiors where presence and historical depth matter more than surface refinement.
Condition
Overall good antique condition. Light age toning throughout, as expected for an early 18th-century engraving. Minor edge wear and soft creases visible on close inspection. No losses to the engraved image.
Framing suggestions
Frame with a wide, understated moulding in ebonised wood, dark walnut, or muted gilt. A generous off-white or warm ivory mount will emphasise the scale and allow the composition to breathe. Museum glass recommended to preserve tonal subtlety and surface texture.
Technique: Copperplate engraving
Maker: Bernard de Montfaucon, published in London, 1721
