A complete set of this series, comprising nine prints depicting the costumes of the French royal guards, appears in the album on three consecutive folios. The prints from this first edition are not numbered. The type A mounts indicate that the deliberate ordering here is Cassiano's. He placed the children, possibly the hungry servants of the guardsmen, at the end (S. Welsh Reed, 'French Prints from the Age of the Musketeers', exhibition catalogue, Boston : Museum of Fine Arts, 1998, p. 64). André Blum (1924) records the title page with the name of Melchior Tavernier II, who published the edition in this album. That it was the younger Tavernier who published this set of prints is indicated by the address of his shop on the Île du Palais (M. Préaud, P. Casselle, M. Grivel and C. Le Bitouzé, 'Dictionnaire des éditeurs d'estampes à Paris sous l'Ancien Régime', Paris, 1987, pp. 288-9; J. Lothe, 'L'oeuvre gravé d'Abraham Bosse: graveur parisien du XVIIe siècle', Paris, 2008, p. 4). Georges Duplessis (1859) knew only of the undated edition published by François Langlois (Ciartres) after he had acquired the plates from Tavernier. Copies made in 1643 by Abraham Aubry (d. after 1682) attest to the appeal of the series (J. Lothe, 'Estampes copiées sur celles d'Abraham Bosse', Nouvelles de l'estampe 179-80, 2001-2, pp. 53-61).
This information has been transcribed from The print collection of Cassiano dal Pozzo: ceremonies, costumes, portraits and genre, Mark McDonald. Part C.I of The paper museum of Cassiano Dal Pozzo: a catalogue raisonné (3 volumes, Royal Collection Trust 2017).
- Article by:
- Mark McDonald
- Antiquarianism, Transforming topography
Cassiano dal Pozzo's collection of prints and drawings is one of the most important collections of the early modern period. It was an attempt to embrace the entirety of human knowledge through visual media. Mark McDonald reviews some of the prints acquired by George III and now held at the British Library.