A detailed topographical print by Thomas Girtin, capturing the Pont St. Michel in Paris as seen from the Pont Neuf in 1802.

This print originates from the series A Selection of Twenty of the Most Picturesque Views in Paris, published shortly after the artist's death. Thomas Girtin travelled to Paris in 1801, seeking a milder climate for his failing health. During this brief period, he produced a series of sketches that captured the architectural character of the city. These drawings were later etched and finished with aquatint to replicate the tonal qualities of his original watercolours. The composition depicts the Pont St. Michel as seen from the vantage point of the Pont Neuf. Girtin employs a restrained palette, relying on sepia tones to define the massing of the Parisian buildings and the reflective surface of the Seine. The towers of Notre-Dame appear in the distance, providing a vertical anchor to the horizontal expanse of the riverbank. The artist focuses on the structural rhythm of the bridge arches and the dense, irregular facades of the houses that once lined the riverfront. Unlike the highly finished topographical works of his contemporaries, Girtin's approach here remains focused on atmospheric light and the physical presence of the urban environment. The use of aquatint allows for soft transitions between the shadowed areas of the buildings and the light reflecting off the water. This work provides a record of Paris before the extensive urban renovations of the nineteenth century. It demonstrates the artist's ability to translate the immediacy of a sketch into a formal print series, maintaining a sense of scale and spatial clarity. The work is a representative example of British topographical art at the turn of the century, documenting a specific moment in European travel and architectural history.