A highly detailed and historically significant 17th-century engraving depicting the plan of the Church of the Holy Sepulchre in Jerusalem, created by Alain Manesson Mallet and published in Paris in 1683 as part of his monumental work de l’Univers. This composition represents one of the earliest widely circulated European visual interpretations of Christianity’s most sacred site, combining architectural precision with decorative artistry. The print is titled “Chapelle du St. Sepulchre de N.S. Jesus Christ à Jerusalem” and “Plan de l’Eglise du Saint Sepulchre et du Mont-Calvaire à Jerusalem Moderne.” At its core lies a meticulously rendered ground plan of the basilica, illustrating the complex spatial arrangement as understood in the late 17th century. The large circular rotunda—home to the tomb of Christ—is prominently shown on the left, surrounded by chapels and devotional spaces identified by numbered references. The adjoining structures include the site of Calvary (Golgotha) and various chapels associated with different Christian denominations, reflecting the layered religious history of the site. Above the plan, a decorative cartouche presents a small perspective view of the edicule—the shrine enclosing the Holy Sepulchre—framed by elegant drapery, adding both visual interest and contextual clarity. Below, a charming vignette depicts three figures observing the landscape, a typical artistic device of the period used to provide scale and evoke the experience of pilgrimage. Mallet’s de l’Univers is regarded as one of the most ambitious illustrated geographical and historical works of the 17th century, combining maps, plans, and views from across the known world. Plates such as this were instrumental in shaping European understanding of distant and sacred places at a time when travel to the Holy Land was rare. This engraving is particularly appealing for its combination of religious significance, architectural detail, and decorative presentation, making it a compelling piece for collectors of early cartography, biblical history, and Jerusalem imagery. Condition: Good condition with age-appropriate toning and light soiling to the margins. Minor surface wear and faint discoloration visible, consistent with a 17th-century sheet. Plate impression visible. Overall well-preserved with strong, clear printing. Technique: Copper engraving Maker: Alain Manesson Mallet, Paris, 1683