A fine 1708 engraving by Nicolas Edelinck after Correggio, capturing the tender interaction between the Virgin Mary and the infant Christ.

This engraving by Nicolas Edelinck, dated 1708, reproduces a painting by Antonio da Correggio. The composition depicts the Virgin Mary cradling the infant Christ, a subject frequently explored during the Renaissance and later interpreted by printmakers of the Baroque period. Edelinck employs a sophisticated system of cross-hatching and varied line weights to translate the soft, sfumato-like transitions of the original painting into the medium of copperplate engraving.

The figures are positioned within a shallow, arched space, with the Virgin's gaze directed downward toward the sleeping child. Her expression is one of quiet contemplation. The drapery of her garments is rendered with precision, creating a sense of volume and weight that contrasts with the delicate, rounded forms of the infant. In the background, a simplified landscape suggests a natural setting, though the focus remains firmly on the intimate interaction between the two figures. The play of light across their faces and limbs demonstrates the engraver's ability to manipulate tonal values to achieve a three-dimensional effect on a two-dimensional surface.

Nicolas Edelinck was a member of a prominent family of engravers, and his work often involved the reproduction of major European paintings for a wider audience. This print reflects the technical standards of early eighteenth-century French printmaking, where the goal was to capture the spirit and tonal range of the source painting through disciplined, rhythmic mark-making. The inscription at the base indicates the original painter, Antonius De Alegris (Correggio), and notes the location of the painting at the time, providing a clear record of the work's provenance and the collaborative nature of print production during this era.