DOI Artikel:
Paszkiewicz, Mieczysław: Tematyka polska w twórczości Stefano della Belli, Część II
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.12455#0131
TEMATYKA POLSKA W TWÓRCZOŚCI STEFANO DELLA BELLI
127
placed at the bottom, forming in this way a peculiar portait gallery of the Poles from the middle of the 17th century.
The names are written twice: in pencil and in ink. The pencil version, though almost illegible in some places, is far more
correct in view of the spelling. The ink version has the names written so incorrectly they can hardly be recognized.
The gallery of personages includes many of those who played a significant role in the history of Poland, as well as
several illustrous writers of the Polish Baroque: the envoy. Krzysztof Opaliński himself. author of popular and highly
estimated Satires, Stanisław Oświęcim, author of the remarkable Dyaryusz (1643-1651), and last but not least. Jan Andrzej
Morsztyn, one of the most outsdanding poets of the epoch, author of erotics, frivolous epigrams. faithful partizan of the
pro-French tendency in Poland. He took part in the entry dressed "à la Française", which Stefano to his surprise immediately
noticed. Morsztyn brough himself from Paris a future wife, Catherine Gordon de Huntly, who was Scottish by origin and
who was the Queen's lady-in-waiting. However. from the historical point of view one is to regard as most valuable numerous
figures of solidiers, courtiers, and noblemen, presenting a vast cross-section of the Polish society, shown of course in rather
untypical circumstances. all dres ed up in their solemn attires, pompously entering a strange capital, but wanting at the
same time to présent sumptously their country.
Similarly as in Rome, in Paris in 1645, too, the artist executed numerous smaller sketches apart from the many-sheet
"Entrv". A number of them have been preserved in the Louvre collection (ils. 112-116), that of Uffizi (ils. 106-111), and
in the Gabinetto Nazionale délie Stampe in Rome (ils. 17-122). In the catalogue of the exhibition Disegni di Stefano délia
Bella, that is of the artisfs drawings preserved in the Gabinetto Nazinale (Villa délia Farnesina. 1976) several other
drawings (nos. 42, 43, 45-48) are defined, groundlessly however. as presenting the Poles, moreover, as connected with the
Paris "Entry". They présent, in fact, figures in Oriental costumes. Persian or Turkish perhaps. They are most probably
based on wood-cuts and copperplate engravings by other artists. They may have been used by Stefano for designing
théâtre and ballet costumes, in sphère he was very active.
Della Bella's drawings on actually Polish subjects dating from the time of the Paris entry served the artist as materiał
for numerous etçhings. Though the multi-sheet engraving presenting the whole of the ceremony was not to be executed, the
contact with the Poles had a far more noticeable impact this time. Etchings presenting the Poles were bei-ng accomplished
for the next five of six years. until the artisfs return to Florence. Some of them. such as de Vesme 275 (il. 153 —
cavalry captain Pieczowski) or de Vesme 276 (ił. 156 — colonel Szczodrowski) have their identical équivalents among the
persons depicted in the "Entry". They belong to the séries "African, Polish, and Hungarian Riders" (de Vesme 270-280).
The title referring to the figures inscribed in the circles was given by Alexander de Vesme for the purpose of his catalogue,
not by the artist himself.
The séries of "Riders...", one of the most popular and most frequently reprinted graphie works of the artist deserves
a more detailed analysis. First of all, dubious remains the dating detenmined by de Vesme as "likely year 1651". On
several etchings there appears the formula: "Cum Priuil. Régis" which after Stefano's return to Florence in 1650 could
not have occurred, unless the plates had been executed by the artist for his old Paris publishers. As far as the title
is concerned, the collection of the Uffizi is in possession of a drawing catalogued as no. 7990 which is a sketch for the
African rider from the above séries (de Vesme 272; il. 146) and which bears the artist's inscription "ad alcuni cavalieri
dei quatro parti del mondo". Therefore, the whole séries might have been designed as "Riders from all over the world".
The idea to présent horses of différent nations and continents was popular from 16th to the 18th century. Similar séries
were completed by illustrous artists, to mention only délia Bella's predecessor Antonio Tempesta (1555-1630), and his
successor, Johann Elias Ridinger (1698-1767). Stefano never accomplished his ambitious attempt, therefore it was not
probably him who executed the frontispiece.
The séries has really been very popular. Particular "Riders" seem to be included in every exhibition of délia Bella's
works. Other artists have also profited from them, applying single figures in the works of their own. J. Lingelbach, for
example, placed the Polish rider seen from the back (de Vesme 274; ils. 149-150) in his composition View of the Port
with Figures in Oriental Costumes (or Genua Port), dated 1670, and now kept in the Dulwich College Picture Gallery
(il. 151). The same engraving was profited from by Ferdinando Maria Campani, a Siena desinger of maiolica, who was
active in the middle of the 18th century. The influence can be seen on his plate from the Bowes Muséum, Barnard
Castle, County Durham (il. 152). Campani also followed the engraving presenting the Hussar (colonel Szczodrowski —
de Vesme 276; il. 156) when decorating another maiolicc plate, now in the Musée de Cluny in Paris (il. 157).
It has to be added that de Vesme 274 (Polish Rider seen from the back) can be found in more than one, known
to Alexander de Vesme state, but at least in two, which differ in the présentation of clouds (ils. 149. 150).
Paris-period engravings on Polish subjects, less famous than the "Riders" were included by Stefano in the collections
like "Varje figure" (de Vesme 173-180), "Diverses figures" (de Vesme 459-481). or "Diversi caprici" (de Vesme 128-151).
They are usually small sketches of figures, heads.. busts. <or groups of Poles, of a servant holding a horse, infantry solidier,
old nobleman leaning against a "nadziak" and watching the march of an army, etc. According to the certain and
probable dating from de Vesme catalogue they are: from 1945 — de Vesme 175 (il. 123). from 1646 — de Vesme 399
(il. 126), de Vesme 400 (il. 127), de Vesme 414 (ils. 128-130 — which was known to Aleksander in one state but exists in
three), de Vesme 428 (il. 131), de Vesme 457 (il. 132), de Vesme 471 (il. 133); from 1648 - de Vesme 142 (ils. 134.
135). de Vesme 146 (il. 137), de Vesme 147 (il. 138), de Vesme 158 (il. 139), de Vesme 160 (il. 140), de Vesme 161
(il. 141); from 1649 - de Vesme 172 (il. 142). de Vesme 302 (il. 143). de Vesme 384 (ils. 144. 145).
Alexander de Vesme is however wrong when identifying the turbaned man's bust as that Pole (de Vesme 391; il. 124),
whereas the engraving de Vesme 457 entitled by him as "Deux Hongrois" présents the Poles. Depicted men have short
hair "à la Polonaise"; according to the Hungarian fashion of the middle of the 17th century, in turn, men usually wore
their hair long.
The engraving from the séries "I principii del disegno" (de Vesme 384) and defined by de Vesme as "Buste de
127
placed at the bottom, forming in this way a peculiar portait gallery of the Poles from the middle of the 17th century.
The names are written twice: in pencil and in ink. The pencil version, though almost illegible in some places, is far more
correct in view of the spelling. The ink version has the names written so incorrectly they can hardly be recognized.
The gallery of personages includes many of those who played a significant role in the history of Poland, as well as
several illustrous writers of the Polish Baroque: the envoy. Krzysztof Opaliński himself. author of popular and highly
estimated Satires, Stanisław Oświęcim, author of the remarkable Dyaryusz (1643-1651), and last but not least. Jan Andrzej
Morsztyn, one of the most outsdanding poets of the epoch, author of erotics, frivolous epigrams. faithful partizan of the
pro-French tendency in Poland. He took part in the entry dressed "à la Française", which Stefano to his surprise immediately
noticed. Morsztyn brough himself from Paris a future wife, Catherine Gordon de Huntly, who was Scottish by origin and
who was the Queen's lady-in-waiting. However. from the historical point of view one is to regard as most valuable numerous
figures of solidiers, courtiers, and noblemen, presenting a vast cross-section of the Polish society, shown of course in rather
untypical circumstances. all dres ed up in their solemn attires, pompously entering a strange capital, but wanting at the
same time to présent sumptously their country.
Similarly as in Rome, in Paris in 1645, too, the artist executed numerous smaller sketches apart from the many-sheet
"Entrv". A number of them have been preserved in the Louvre collection (ils. 112-116), that of Uffizi (ils. 106-111), and
in the Gabinetto Nazionale délie Stampe in Rome (ils. 17-122). In the catalogue of the exhibition Disegni di Stefano délia
Bella, that is of the artisfs drawings preserved in the Gabinetto Nazinale (Villa délia Farnesina. 1976) several other
drawings (nos. 42, 43, 45-48) are defined, groundlessly however. as presenting the Poles, moreover, as connected with the
Paris "Entry". They présent, in fact, figures in Oriental costumes. Persian or Turkish perhaps. They are most probably
based on wood-cuts and copperplate engravings by other artists. They may have been used by Stefano for designing
théâtre and ballet costumes, in sphère he was very active.
Della Bella's drawings on actually Polish subjects dating from the time of the Paris entry served the artist as materiał
for numerous etçhings. Though the multi-sheet engraving presenting the whole of the ceremony was not to be executed, the
contact with the Poles had a far more noticeable impact this time. Etchings presenting the Poles were bei-ng accomplished
for the next five of six years. until the artisfs return to Florence. Some of them. such as de Vesme 275 (il. 153 —
cavalry captain Pieczowski) or de Vesme 276 (ił. 156 — colonel Szczodrowski) have their identical équivalents among the
persons depicted in the "Entry". They belong to the séries "African, Polish, and Hungarian Riders" (de Vesme 270-280).
The title referring to the figures inscribed in the circles was given by Alexander de Vesme for the purpose of his catalogue,
not by the artist himself.
The séries of "Riders...", one of the most popular and most frequently reprinted graphie works of the artist deserves
a more detailed analysis. First of all, dubious remains the dating detenmined by de Vesme as "likely year 1651". On
several etchings there appears the formula: "Cum Priuil. Régis" which after Stefano's return to Florence in 1650 could
not have occurred, unless the plates had been executed by the artist for his old Paris publishers. As far as the title
is concerned, the collection of the Uffizi is in possession of a drawing catalogued as no. 7990 which is a sketch for the
African rider from the above séries (de Vesme 272; il. 146) and which bears the artist's inscription "ad alcuni cavalieri
dei quatro parti del mondo". Therefore, the whole séries might have been designed as "Riders from all over the world".
The idea to présent horses of différent nations and continents was popular from 16th to the 18th century. Similar séries
were completed by illustrous artists, to mention only délia Bella's predecessor Antonio Tempesta (1555-1630), and his
successor, Johann Elias Ridinger (1698-1767). Stefano never accomplished his ambitious attempt, therefore it was not
probably him who executed the frontispiece.
The séries has really been very popular. Particular "Riders" seem to be included in every exhibition of délia Bella's
works. Other artists have also profited from them, applying single figures in the works of their own. J. Lingelbach, for
example, placed the Polish rider seen from the back (de Vesme 274; ils. 149-150) in his composition View of the Port
with Figures in Oriental Costumes (or Genua Port), dated 1670, and now kept in the Dulwich College Picture Gallery
(il. 151). The same engraving was profited from by Ferdinando Maria Campani, a Siena desinger of maiolica, who was
active in the middle of the 18th century. The influence can be seen on his plate from the Bowes Muséum, Barnard
Castle, County Durham (il. 152). Campani also followed the engraving presenting the Hussar (colonel Szczodrowski —
de Vesme 276; il. 156) when decorating another maiolicc plate, now in the Musée de Cluny in Paris (il. 157).
It has to be added that de Vesme 274 (Polish Rider seen from the back) can be found in more than one, known
to Alexander de Vesme state, but at least in two, which differ in the présentation of clouds (ils. 149. 150).
Paris-period engravings on Polish subjects, less famous than the "Riders" were included by Stefano in the collections
like "Varje figure" (de Vesme 173-180), "Diverses figures" (de Vesme 459-481). or "Diversi caprici" (de Vesme 128-151).
They are usually small sketches of figures, heads.. busts. <or groups of Poles, of a servant holding a horse, infantry solidier,
old nobleman leaning against a "nadziak" and watching the march of an army, etc. According to the certain and
probable dating from de Vesme catalogue they are: from 1945 — de Vesme 175 (il. 123). from 1646 — de Vesme 399
(il. 126), de Vesme 400 (il. 127), de Vesme 414 (ils. 128-130 — which was known to Aleksander in one state but exists in
three), de Vesme 428 (il. 131), de Vesme 457 (il. 132), de Vesme 471 (il. 133); from 1648 - de Vesme 142 (ils. 134.
135). de Vesme 146 (il. 137), de Vesme 147 (il. 138), de Vesme 158 (il. 139), de Vesme 160 (il. 140), de Vesme 161
(il. 141); from 1649 - de Vesme 172 (il. 142). de Vesme 302 (il. 143). de Vesme 384 (ils. 144. 145).
Alexander de Vesme is however wrong when identifying the turbaned man's bust as that Pole (de Vesme 391; il. 124),
whereas the engraving de Vesme 457 entitled by him as "Deux Hongrois" présents the Poles. Depicted men have short
hair "à la Polonaise"; according to the Hungarian fashion of the middle of the 17th century, in turn, men usually wore
their hair long.
The engraving from the séries "I principii del disegno" (de Vesme 384) and defined by de Vesme as "Buste de