Artwork

The Prima Macchina for the Chinea of 1748: The Son of Venus and Mars Presented to the Temple of Minerva

The Prima Macchina for the Chinea of 1748: The Son of Venus and Mars Presented to the Temple of Minerva is an ink print by the Baroque artist Louis-Joseph Le Lorrain. It dates from 1748 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:Lettered LL: "L. Le Lorrain inv. et cut. 1748" Lettered LC, below image: "FORTES CREANTUR FORTIBUS / Prospettiva della prima Macchina con la quale s'intende rappresentare il Nascimento d'un Figlio di Venere e Marte [...] l'anno 1748"

About this work

Overview

Louis-Joseph Le Lorrain’s 1748 etching, titled The Prima Macchina for the Chinea of 1748: The Son of Venus and Mars Presented to the Temple of Minerva, depicts a theatrical mythological tableau. Executed as a print, the work combines a central temple, swirling clouds, and a cast of classical figures, angels, and winged beings, all arranged in a dynamic, Baroque composition.

Subject & Meaning

The scene illustrates the legendary birth of the offspring of Venus and Mars being offered to Minerva, the goddess of wisdom. The narrative is conveyed through a procession of robed figures below the temple and celestial beings above, suggesting a ritual presentation that links love, war, and intellect within a single mythic episode.

Technique & Style

Le Lorrain employed the etching process, incising lines into a copper plate with a needle before applying acid to create tonal variation. The resulting print showcases the Baroque penchant for movement, dramatic contrast, and elaborate ornamentation, evident in the swirling clouds, the fallen bird, and the intricate drapery of the participants.

History & Provenance

Created as the primary design for the 1748 Chinea, a ceremonial tribute from the Papal States to the French monarchy, the print functioned as a visual program for the associated festivities. It remains a documented example of Le Lorrain’s involvement in state-sponsored artistic projects of mid‑18th‑century France.

Context

The work reflects the broader 18th‑century fascination with classical mythology as allegory for contemporary political and cultural themes. By juxtaposing the divine offspring of Venus and Mars with Minerva’s temple, the composition aligns the virtues of love, martial prowess, and wisdom, resonating with the diplomatic symbolism of the Chinea ceremony.