Of the little-known life of Nardois one can deduce that he worked under the influence of Claude le Lorrain, and possibly Henri Mauperché. Whether he painted or not is uncertain, but his nine attributed etchings demonstrate a painterly sensibility, sometimes heightened by acid accidents and polish marks. They are all extremely rare. Our plate is the only one bearing a year and a place name, which reveals him working in Venice in 1648. It is also the only one where he allows his etching needle to stray into a doodle, a profile of an old man in the lower right inscription space. Such remarques are usually associated with 19th Century print-makers, for whom they were often a conscious commercial addition, whereas in Nardois’ case it gives a charming insight into a wandering imagination. Nagler Monogrammisten III, p.950, 2460, 4, second state of two with the addition of a very small date in the lower right corner. The very early British Museum impression also bears this date. In his Kunstler Lexicon Nagler does not mention a first state. A fine impression with small margins. Several flecks of ink on the verso not affecting the recto, otherwise in excellent condition.