It was common practice in early modern printmaking to repurpose existing engravings. This print of the inner courtyard of Solomon’s Temple was most probably derived from a view first published in Ezechielem Explanationes (1604): a collection of imagined plans and drawings of Solomon’s Temple by the Jesuit architect Juan Battista Villalpando (1552–1608). Villalpando’s conception of the building was the model for engravings in Athanasius Kircher’s (1602–80) treatises on antique and biblical architecture and also for Johann Fischer von Erlach (1656–1723)’s Entwurff einer historischen Architektur, published in multiple English editions from 1721.
This particular adaptation was published by Henry Overton between 1706 and 1739. It shows Inner Court or the Court of Priests (described in 1 Kings 6:36 and 2 Chronicles 4:9), with worshippers and priests gathered around the Altar of Burnt Offering and the Brazen Lavers (ritual basins made of bronze) preparing offerings. The Temple’s architectural features are numbered and correspond to letterpress descriptions below the image.
- Full title:
- A Collection of 19 Maps of the World, by Nicolas Sanson, Guillaume de l'Isle, Charles Inselin, I.V. Kircher, S. Parker, J. Perry. Sutton Nicholls sculp. Reprinted by Henry Overton. With] The Monarchs of England, or Heads of all the Kings and several of the Queens, from William the Conqueror to ... George II. The Effigies of the Royal Martyr, King Charles the First, etc. The Victorious Battles of the Immortal Prince John, Duke of Marlborough, etc. A True and exact representation of the proceedings of the cruel Court of Inquisition as practised at this day in the Kingdoms of Spain and Portugal. An Exact Representation of the Temple of Solomon, etc. An Exact View of the inside of the Court of the Priests in Solomon's Temple, etc
- Henry Overton
- Etching / Engraving / View
- Usage terms
- Public Domain
- Held by
- British Library
- Maps C.45.f.5.
- Article by:
- Alice Rylance-Watson
- Antiquarianism, Transforming topography
Alice Rylance-Watson explores the practice of fore-edge painting – the painting of an image on the edge of a book.