The Morgue, Paris — Charles Méryon

TECHNICAL DATA

Full view of the impression
Overall view showing composition, tonal balance, complete plate mark, and sheet margins.

Full reverse (transmitted light)
Reverse of the sheet under transmitted light, documenting the laid structure and overall support response. Watermark not legible at this stage.

DIAGNOSTIC OVERVIEW

This section summarizes the physical condition and technical profile of the work based on direct material observation.

• Printing quality and ink body:
  The impression exhibits a rich and coherent ink laydown. Dense tonal passages remain structurally legible under magnification, consistent with controlled intaglio printing.
• Plate mark and pressure:
  A physical plate mark is present and confirmed under raking light, consistent with mechanical pressure from an intaglio printing press.
• Etching base + selective drypoint reinforcement:
  The structural image is built in etching, with selective drypoint reinforcement showing preserved burr in curvilinear strokes as a localized tonal resource.
• Crevé saturation (line-system saturation):
  Dark fields are achieved through saturation by line accumulation and groove filling (crevé), not by surface film or photomechanical processes.
• Support integrity and laid structure:
  Handmade laid rag paper is documented, including embedded blue fibers and measurable chain lines (approximately 29–30 mm). Watermark is not legible under current imaging conditions and is not asserted.

Paper

Handmade laid paper with clearly visible chain lines, measurable at an approximate distance of 29–30 mm. The laid structure is perceived as a regular system of chain lines, consistent with a traditional handmade paper mold.

I. Laid structure / chain lines
Chain lines are documented with ruler-based measurement, providing a stable, reproducible support parameter (29–30 mm).

II. Blue fibers embedded in the sheet (rag paper)
Blue fibers are observed embedded within the sheet under macro/microscopic examination. These appear as small strands or fragments integrated into the pulp, consistent with rag-based paper manufacture.

III. Watermark
Watermark not visible at this stage: due to the overall tone, ink volume, and optical properties of the printed sheet, the watermark may not be clearly legible in a standard photograph or may simply not be present on this paper.

Associated visual evidence (support set)

• Transmitted-light images (recto/verso) to attempt watermark reading.
• Chain lines with ruler documenting 29–30 mm spacing.
• Macro/microscopy of blue fibers embedded in the sheet.
• UV images (reverse) for support assessment.

Full sheet

Chain lines (29–30 mm)

Blue fibers under magnification

Reverse under ultraviolet illumination

MECHANISM OF THE DARK TONES

The examined areas demonstrate a consistent and systematic presence of high ink load across architectural elements, figures, and background fields. The dark tones are not localized or erratic, but recur uniformly throughout different structural components of the composition.

Despite the dense saturation, the dark areas retain clear internal structure. Individual engraved lines, directional hatching, and cross-hatching remain visible beneath the black tone. The black tone are therefore constructed through accumulated linear work, not through flat tonal filling.

Microscopic observation shows that the ink is retained within active incised grooves. The edges of the engraved lines remain operative under saturation, allowing contours, architectural divisions, and volumetric modeling to persist even in the darkest passages.

The wiping process appears deliberately incomplete and controlled. There is no evidence of accidental smearing, irregular wiping marks, or uncontrolled ink pooling. Instead, ink density is maintained coherently across figures, roofs, windows, and background planes.

The paper surface remains perceptible beneath the inked areas. Ink–fiber interaction is visible, indicating penetration and mechanical engagement rather than superficial deposition. The dark tone adapts to the fiber topography instead of obscuring it.

Across all four images—background field, roof plane, architectural windows, and ascending figure—the same technical behavior is observed: Darkness achieved through ink retention in engraved structures, sustained cross-hatching integrity, and preservation of form and depth under high ink load. Collectively, these features establish that the observed dark tones result from:

• retention of ink within engraved grooves,
• controlled wiping incompleteness,
• dense hatching and cross-hatching structures,
• And physical ink–fiber interaction.

This configuration reflects a deliberate exploration of maximum ink load and line behavior under saturation, consistent with an experimental working phase rather than a standardized, circulation-oriented impression.

Figure ascending the staircase — controlled saturation and line structure The ascending figure remains clearly legible despite heavy ink saturation. The body volume is constructed through dense hatching and cross-hatching, with individual incised lines still visible beneath the dark tone. The contours of the figure are defined by active groove edges retaining ink, while internal line direction and pressure variation model form and movement. The surrounding architectural lines of the staircase remain distinct, confirming that the dark tone results from controlled ink retention within engraved structures rather than surface filling.

Architectural windows — line-based definition under high ink load Multiple architectural windows remain clearly legible despite heavy ink saturation. Vertical and horizontal incised lines defining the window frames persist under dense blacks, with internal linear structure visible within each opening. The dark tone is constructed through layered hatching and controlled ink retention within active grooves, not through surface filling. Ink–fiber interaction remains perceptible, allowing architectural depth and window articulation to be preserved under extreme saturation.

Dense background field- ink retention with cross-hatching integrity In this image, the building retains its complete architectural structure despite the heavy ink saturation because the black is constructed using densely overlapping, incised lines. The windows remain legible thanks to the persistence of the engraved groove, which retains the ink and preserves directionality, relief, and an active edge. The continuous presence of hatching and cross-hatching beneath the black excludes surface filling and demonstrates exceptional technical control of the inking and wiping

Roof plane -dense cross-hatching with controlled ink retention Dense architectural roof plane constructed through tightly layered cross-hatching. Despite the high ink load, individual engraved lines remain legible, with active surco edges retaining ink and preserving directional structure. The continuous horizontal architectural line at the lower edge remains sharply defined under saturation, while the surrounding field shows clear ink–fiber interaction. The dark tone is achieved through accumulated linear work and controlled wiping, not through surface filling.

Methodology of Material and Macrographic Analysis

The validation of the presented print is not limited to its iconography, but is based on a detailed analysis of its physical execution. Through macrographic observation of critical sections of the plate, the coexistence of chemical and mechanical processes that define Meryon's visual language has been documented. The following section presents a synthesis of the technical findings that articulate the structure, atmosphere, and drama of this copy of La Morgue (1854), followed by the visual evidence that supports each point.

The detailed analysis of the samples (Figs. 1, 2, 3, and 4) allows us to conclude that the work is an exceptional testament to Meryon's technical complexity, where the engraving ceases to be a linear reproduction and becomes a material construction. The convergence of the four points analyzed dictates the following:

Substantive Integration: The work does not rely on a single technique, but rather on the superimposition of layers. The basic structure of the etching is enhanced by the mechanical aggression of the burin and dry point, allowing the architecture to possess an almost stony solidity that contrasts with the fragility of the human figures.

Mastery of Uncertainty: The use of crevé and active burr demonstrates that Meryon integrated "accident" and the wear of the metal as narrative resources. These techniques not only contribute darkness but also simulate the erosion and soot of Parisian buildings, giving the print a three-dimensional and tactile quality.

Material Atmosphere: The support is crucial. The choice of paper with blue fibers, combined with a deliberate plate tone, eliminates the coldness of pure white. This technical decision is what endows the work with its characteristic atmosphere: a suffocating, humid, and melancholic Paris, where the light seems to filter through the industrial smog of the mid-19th century.

Final Assessment: The simultaneous presence of heavy inking, gentle wiping, and structural reinforcements confirms that this copy was produced according to the artist's highest standards. The work analyzed is not a simple image, but a complex technical object where every fiber of the paper and every saturation of black has been calculated to convey a dramatic and tangible presence.

1 — Detail of selective reinforcement using dry point and active burr
In this section, the mechanical application of dry point to emphasize the curved forms of the architecture is observed. The main characteristic is the presence of the burr: the groove of metal raised by the needle which, not being polished, retains an excess of ink irregularly. This generates a line with a velvety edge and a tonal depth greater than that of the etching base. The image shows how these saturated lines settle on the support, interacting directly with the visible fibers of the paper to create an organic transition between the physical structure of the building and the atmosphere of the work.

2 — Figures created using dry point and burin on an etching base
The technique of saturating blacks is employed to define the human figures with clarity and volume. The use of direct cutting tools on the copper—dry point and burin—allows for a superior tonal density, giving the figures a dramatic and tangible presence that contrasts with the vaporous atmosphere of the surroundings.

3 — Structural Etching with Plate Tone Integration
Detail that demonstrates the precision of the etching in defining openings and architectural surfaces. The image reveals the use of a rag paper support with inclusions of blue fibers, whose chromatic interaction generates an ambient grayish tone that eliminates pure white. This base is complemented by a plate tone (surface ink veil) remaining from gentle wiping, which unifies the texture of the stone and contributes the atmosphere of humidity and pollution characteristic of Paris in 1854.

4 — Saturation by Crevé (Line Breakdown)
This phenomenon, caused by prolonged acid etching that eliminates the physical separation between adjacent lines, generates areas of absolute black. Its presence is deliberate in Meryon's work to lend a material quality of wear and heaviness to the architecture, integrating with the grayish tone of the blue fibers of the paper to create unsurpassed visual depth.

The metal that should separate one line from another has been eaten away by the acid due to excessive etching or lines that are too close together. This creates a "pit" in the plate that retains a massive amount of ink. Therefore, in the print, the figures do not appear drawn, but rather sculpted in shadow.

Look how that solid black of the crevé visually "bites" the paper. Around the black stain, the blue and yellowish fibers you mentioned earlier are clearly visible, creating a stark contrast between the mass of ink and the porosity of the paper.

MICROSCOPIC EXAMINATION

Systematic microscopic examination unequivocally confirms that the work was created using fully consistent and physically verifiable manual intaglio processes, without technical anomalies or internal contradictions.

The presence of active burr preserved in curvilinear drypoint strokes demonstrates direct intervention on the copper, with selective reinforcement of lines intended to intensify volume and tonal depth. This burr is neither residual nor accidental: it retains continuity, direction, and response to grazing light, confirming an early and technically controlled impression.

Dense oblique etching, with lines stably etched by the acid, constitutes the structural basis of the image. The lines maintain defined edges and metric regularity, evidencing a controlled chemical bite and prior planning of the tonal field. No artificial granulation, screening, or mechanical regularity characteristic of indirect processes is observed.

The architectural field constructed in etching exhibits a stable linear structure. The spatial construction is based on the conscious superimposition of lines, not on flat masses of surface ink.

The plate mark observed under raking light confirms a real physical deformation of the paper produced by pressure, consistent only with intaglio printing. The interaction between relief, fiber, and ink is consistent with manual printing on laid rag paper.

Tonal saturation by crevé manifests as a progressive filling of the engraved grooves through the extreme accumulation of linear work. This saturation does not negate the underlying structure: the grooves remain active and functional, generating deep blacks built by graphic density and not by superficial application of ink.

Taken together, all observed phenomena—active burr, stable acid etching, coherent architectural structure, physical plate mark, and crevé saturation—converge without contradiction within a single technical system aligned with historical intaglio practice.

1. Active burr along curvilinear drypoint reinforcement
Densely curved line work showing actively preserved burr along incision edges, retaining ink and producing localized tonal deepening while maintaining directional continuity.

2. Dense oblique etching hatching — stable acid-bitten lines
Oblique etched lines with consistent directionality and stable edges. Tonal depth is achieved by line density and cross-hatching without granular texture.

3. Architectural field in etching — stable linear structure
Orthogonal and curved etched lines retain individuality under density; ink remains contained within grooves, demonstrating line-based construction.

4. Plate mark in raking light — physical deformation of the paper
Raking-light view confirming press-induced deformation of the paper, consistent with intaglio printing.

5. Active burr in drypoint — preserved burr in curved stroke
Soft raised profile and irregular ink accumulation adherent to burr along a curved stroke, confirming deliberate drypoint reinforcement.

6. Saturation by crevé — tonal saturation by groove filling
Progressive breakdown of line individuality under extreme accumulation; ink remains structurally contained within the engraving micro-topography.

Conclusion

Microscopy confirms a fully physical intaglio system: active burr in selective drypoint, stable etched grooves, physical plate mark deformation, and crevé saturation built through groove filling. No evidence of halftone screening, photograin, or planar surface film deposition is observed.

DIGITAL OVERLAY & MUSEUM COMPARISON

A direct digital overlay was performed between the Álvarez Collection print and the institutional reference held at The Met (The Mortuary), using uniform proportional scaling, alignment by structural axes, and matching plate contours. No distortions, optical corrections, or interpretive adjustments were applied.

The overlay confirms structural identity of the matrix: plate outline and internal proportional relationships correspond. Observable differences are limited to ink intensity, localized preservation of burr, and pressure-related micro-relief—variations expected between authentic impressions printed at different moments within the active life of a plate.

Overlay: Figures and Architecture
Detail of the technical overlay showing the absolute correspondence between Meryon's original structure and the analyzed example. The Álvarez Collection (coded in green) serves as the basis for aligning the group of figures and the parapet of the museum's example (in black). The overlay demonstrates a precise match in the architectural lines and the anatomy of the figures, while the green channel reveals greater sharpness in the burr and crevé, confirming that the Álvarez work possesses a fresh impression.

Comparative Study of 1:1 Scale and Platemark
Structural overlay study for matrix validation. The Álvarez Collection specimen (coded in green) serves as the technical basis for the comparison, preserving the integrity of the platemark and the original scale. The museum's institutional reference (in black) integrates perfectly within the pressure limits of the base piece. The absolute alignment of the architectural axes demonstrates that both pieces share the same copper plate, while the greater density of the green lines confirms a richer ink load and superior preservation of the burr in the Álvarez specimen.

Provenance and History

The print was passed down through generations, remaining within the same family. Its state of preservation suggests minimal handling: it was kept for decades in a protected environment, away from direct light, humidity fluctuations, and common framing-related damage. It is likely that the print has been handled far less in the last hundred years than during the last months, when it was meticulously examined under microscopy, with raking light, and through support analysis as part of this technical study.

This continuity of private custody—with no recorded sales, auction appearances, or dealer intervention—helps explain the exceptional state of preservation and the persistence of fragile physical characteristics often lost in circulating impressions, such as preserved burr, stable plate mark relief, and intact support features.

Provenance supports the technical reading through material consistency: the sheet’s condition aligns with an impression preserved with minimal disturbance over time.

References

Delteil, Loys. Le Peintre-Graveur Illustré, Volume 2: Charles Méryon. Paris, 1907.

Burke, James D. Charles Méryon: Prints and Drawings. Yale University Art Gallery, 1974.

Schneiderman, Richard S. Catalogue Raisonné of the Prints of Charles Méryon. Garton & Co., 1990.

Gascoigne, Bamber. How to Identify Prints. Thames & Hudson, 2004.

Access and research collaboration