An Iconic Line: Claude Mellan’s The Sudarium of Saint Veronica (1649)

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Christ gazes out of the page dolefully, head canted and haloed. He seems to float, disembodied, between our world and the next. And, at first, we could step back in sympathy, shocked by the blood that drips like teardrops from those baleful thorns. But something else soon catches light. It might be the ringed texture of his eyeshine or that fingerprint whorl on the nose's tip. Then we notice the print's corners, where curves recede as waves do from a skipping stone. It can't be, we think — but it is. This image was made with a single line.




Born into a family of coppersmiths in northern France, Claude Mellan (1598--1688) trained in Rome with the painter Simon Vouet, before creating his pièce de résistance in 1649. To make this immaculate engraving, Mellan used a technique known as the "swelling line", which takes advantage of the burin's asymmetrical profile. Just as letters formed by a fountain pen will swell or shrink as the angle shifts between nib and page, by rotating his tool — or widening a preexisting groove — Mellan created visual depth and texture in an unbroken line, incised directly onto a metal plate. While engraving emerged in Germany ca. 1430 as an offshoot of goldsmithing and metalwork, spurred by a newfound access to paper in Europe, swelling lines were not common before the 1560s. As curators at RISDwrite, the technique was particularly suited for "reproducing the dramatic light and tonal effects of paintings as well as the exaggerated, heroic forms of late Renaissance and Mannerist art". In Mellan's case, he used the technique to reproduce a different kind of dramatic light: the holy afterglow of relics.

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