Epithalamium, at center a winged putto seated on a peacock standing on a barrel, at left a figure in fur-lined hat and outercoat holds a piece of wood over a brazier, at right a figure dressed in an ivy crown holds a goblet in one hand and a bottle in the other, surrounded by scrollwork and grapevines

Art Historical Context

In the heart of Bernard Picart's 1726 etching *Epithalamium*, a playful winged putto perches triumphantly on a peacock atop a barrel, ev the joyous spirit of a wedding celebration.Epithalamium," from ancient Greek wedding hymns, sets the festive tone, with intricate scrollwork and grapevines framing the scene. To the left, a figure a fur-lined hat and coat tends a brazier with a piece of wood, suggesting warmth and hearthly comfort, while on the right, crowned in ivy—symbol of Bacchus, god of wine—raises a goblet and bottle in merry toast. Tags highlighting women, peacocks, vines, and insignia hint at emblematic motifs of love, fertility, and revelry. Picart, a masterful French-Dutch engraver (1673–1733), excelled in detailed etchings that captured Rococo whimsy and Baroque intricacy during the early 18th century. This small plate (4 7/8 x 6 1/4 in.) showcases etching's precision, allowing fine lines to render textures like feathers, foliage, and flowing garments with remarkable clarity. Produced amid Europe's Enlightenment fascination with ceremonies and symbols, the print likely drew from wedding iconography in emblem books, blending classical mythology with domestic festivity. Today, housed in the Metropolitan Museum of Art's Drawings and Prints department (Bequest of Phyllis Massar, 2011), *Epithalamium* invites visitors to ponder timeless rituals of union, where putti and peacocks dance in etched elegance.

About the Artist

Bernard Picart · 1673–1733

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