DESCRIPTION DE L'EGYPTE. Edfou (Apollinopolis magna). Plan, coupes et élévations du petit temple. (ANTIQUITES, volume I, planche 62)

Original etching in plano, untrimmed, from the so-called "Imperial" edition of the Description de l'Égypte ou Recueil des observations et recherches faites en Égypte pendant l'expédition française, publié par les ordres de Sa Majesté l'Empereur Napoléon le Grand.
Produced between February 1802 and 1829 by order of Napoleon Bonaparte and published from 1809 [actually 1810], it was printed in 1000 copies on laid paper watermarked "Égypte ancienne et moderne" and presented to institutions.
Light marginal foxing with no damage to the engraving, otherwise in very fine fresh condition and well-preserved.
EDFU:
Plate from a series of views of the great temple of Edfu and the buildings of its religious complex. The Temple of Horus, jewel of Ptolemaic architecture and exceptionally well-preserved, consists of a majestic entrance portico and a hypostyle hall, both abundantly documented thanks to the engravings by the scholars of the Institut d'Égypte. Begun in 237 BCE by Ptolemy III and completed 180 years later under Tiberius, it offers a spectacular view to the draftsmen who came to explore the left bank of the Nile.


Volume ANTIQUITIES, I:
These engravings provide Jean-François Champollion with fundamental epigraphic documentation for deciphering hieroglyphs and inspire a lineage of archaeologists like Mariette, Maspero and Carter who give a new face to ancient Egypt. They generate such enthusiasm that they give birth to the phenomenon of Egyptomania and the Orientalism of Delacroix, Fromentin, Marilhat, Decamps but also Théophile Gautier... Financiers, politicians, merchants, and diggers of all kinds will rush to the banks of the Nile in search of good deals following this rediscovery of Egypt. At the origin of Egyptology, these plates will have an immense posterity.

THE DESCRIPTION DE L'ÉGYPTE, IMPERIAL edition (1809-1829):
The Description de l'Égypte is one of the masterpieces of French publishing and the starting point of a new science: Egyptology. Titanic exposition of Egypt at the time of Bonaparte's conquests between 1798 and 1799, it is divided into 23 volumes including 13 volumes of engravings gathering nearly 1000 plates in black and 72 in color. The 6 volumes of plates entitled Antiquités are devoted to the splendors of pharaonic Egypt. L'Histoire naturelle is divided into 3 volumes of engravings. One volume is devoted to Cartes géographiques et topographiques while the 3 volumes : État Moderne present a striking portrait of Coptic and Islamic Egypt as it was seen by Bonaparte's armies of the East.

The "Egyptian campaign," military disaster, reveals through the engravings of the Description de l'Égypte the scientific success it became, thanks to the some 167 scholars members of the Commission des sciences et des arts of the Institut d'Égypte who followed Napoleon's army. The Institute brought together in Egypt the mathematician Monge, the chemist Berthollet, the naturalist Geoffroy Saint-Hilaire, as well as numerous artists, engineers, architects, doctors... They were charged with rediscovering modern and ancient Egypt, showing its natural riches, and the know-how of its inhabitants.

The first edition, called "Imperial," of the Description de l'Égypte was produced in four large formats, two of them specially created for it and called "Moyen-Égypte" and "Grand-Égypte" formats. A specific press was built for its printing, which spread over twenty years, between 1809 and 1829. The Imperial edition proved so popular that a second edition in 37 volumes entirely in black and without the watermark "Égypte ancienne et moderne," called the "Panckoucke" edition, was published from 1821 by the C.-L.-F. Panckoucke printing house (Paris).
The realization of this monument of erudition owes much to Baron Dominique Vivant Denon, illustrator, diplomat, collector and subsequently director of the Louvre's Musée Napoléon who accompanied Napoleon to Egypt with many other scholars but decided alone to venture into the South of the country, while the other invited scientists remained confined to the Cairo region. The fabulous sketches brought back by Denon during his romantic ride gave Bonaparte the idea to send the other members of the Institute there and thus draw a faithful and complete portrait of the territory. Following Denon, it was therefore the greatest French scientists and artists who ventured along the Nile as far as Nubia. Among them, the painter at the museum of natural history H.J. Redouté (brother of Pierre-Joseph Redouté, author of Les Roses), the mineralogist Dolomieu, the draftsman Joly, and the engineers Fourier and Costaz, charged with the scientific study of the ancient vestiges of Upper Egypt.
Probably for the first time assembled in such an expedition, the French scientific and artistic elite, composed of more than 160 "scholars" including nearly 50 artists, methodically studies Egypt for three years. They then realize, under the aegis and to the glory of Napoleon, the most vast historical, geographical, scientific, economic and ethnological analysis ever carried out on a country. But it is perhaps the engravings that constituted the major technical challenge of this Description de l'Égypte, as witnessed by Yves Laissus, curator of the exhibition organized in 2009 by the RMN and the Musée de l'Armée at the Invalides:
"The illustration, 836 plates including about sixty in colors, engraved with etching and burin in formats hitherto unused (the largest covers nearly a square meter), necessitated the construction of new molds and vats for paper manufacture, justified the invention, by Nicolas Conté, of a machine designed to lighten the burden of the engravers, and required the realization of new presses capable of printing these immense images. Some of them required two years of work. Nearly 200 engravers reproduced on copper the works of 62 draftsmen of whom 46 participated in the expedition."
Rare and superb original engraving of exceptional workmanship and graphic quality, testimony to one of the most ambitious French editorial adventures.