A detailed engraving by Gerard van der Gucht, based on a composition by Nicolas Poussin, depicting the classical literary scene of Erminia tending to the wounded Tancred.

This engraving by Gerard van der Gucht depicts a scene from Torquato Tasso's epic poem, Gerusalemme Liberata. The composition is based on an original painting by Nicolas Poussin, reflecting the enduring popularity of classical literary themes in eighteenth-century British print culture. The narrative focuses on the moment Erminia discovers the wounded Tancred after his battle with Argante. She is shown cutting her hair to bind his wounds, a gesture of devotion and sorrow.

Van der Gucht employs precise line work to translate the dramatic tension of Poussin's original composition into the medium of engraving. The figures are arranged in a classical frieze-like manner, with the fallen warrior at the centre, supported by a companion. Erminia kneels beside him, her posture conveying urgency and grief. Above the scene, two putti hover, holding torches that cast light upon the figures, adding a theatrical quality to the composition. The background features horses and a rugged, wooded terrain, typical of the heroic settings favoured by Poussin.

As a member of a prominent family of engravers working in London, Van der Gucht was skilled at reproducing the works of Old Masters for a growing market of collectors. This print demonstrates the technical proficiency required to capture the muscularity of the figures and the varied textures of armour, fabric, and foliage. The inclusion of the coat of arms and the dedication at the bottom of the plate indicates that this print was intended for a sophisticated audience, likely commissioned or produced for a private patron. The work remains a clear example of how classical subjects were disseminated through the medium of print during the Georgian era, allowing collectors to own reproductions of celebrated continental paintings.