Rocznik Historii Sztuki (15.1985)

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MIECZYSŁAW PASZKIEWICZ

Polonaise [...] gravure un peu dans le goût de Rembrandt" may have been. most likely, the portrait of cavalry captain
Pieczowski. who appears both on sheet II of the Paris "Entry" and de Vesme 275, engraving from the séries "Riders".

Figures of the Pôles, or people dressed à la Polonaise, appear also on Stefano's engravings not linked with Polish
subjects at ail. On de Vesme 143 etching from 1648 the elephant's guide is unexpectedly dressed like a Polish servant,
as well as on de Vesme 28 engraving entitled "Saint Prosper délivrant la ville de Reggio de l'armée qui l'assiègent"
a number of riders in the foreground also resemble the Pôles (il. 163, 164). It was as if the artist's memory and
imagination, years after his encounter with the Pôles had obliterated the distinction between the appearance and attire
of theirs, and of the représentatives of the Muslim East.

For 10 years after his return to Florence the Polish subjects were to vanish from Stefano délia Bella's works. They
reappeared, however, in the last years of his life. Four from among the engravings dated by de Vesme as "likely 1662"
represent the Pôles: de Vesme 284 (il. 165), de Vesme 288 (il. 166), de Vesme 289 (il. 167), de Vesme 290 (il. 168).
The last of them has two of its preliminary drawings preserved in the Louvre collection (ils. 169. 170) and one in the
Berlin Cabinet of Prints. De Vesme identifies three men on de Vesme 288 etching as Hungarians. Their hair, however,
suggests their Polish origin. The background rider on de Vesme 283 (il. 171) engraving (likely 1622) defined as a Turk of
Pole, is undoubtedly wearing an Oriental costume.

In his late graphie works delia Bella experimented on half-tone effects through washing. The method he applied
(painting of a part of the copperplate with the engraving executed by means of etching with diluted acid) gave good
effects imitating painting with diluted ink, though they were not long lasting. This was the method the artist applied in
ail of his later engravings on Polish subjects and the preserved prints clearly show its results. They are usually early copies.
In the course of the printing process the effects of washing become less visible, to finally disappear in the end.

There also exist some drawings from that late period: three of them are in the Louvre collection (ils. 172-174, as
well as the above mentioned preliminary drawings for de Vesme 290), there is also one in the Uffizi (il. 175), another
one in the Prints and Drawings Department of the British Muséum (il. 176), and one in the Czartoryskis' Collection in
the National Muséum of Kraków (il. 177). Della Bella's late drawings are characterized by certain nervousness and
application of apparently useless lines, which mean. however, to suggest the dynamics of the movement.

Stefano was an acute observer and a reliable recreator of reality. Therefore. his works presenting the Pôles constitute
a valuable iconographie materiał on the epoch. One may find in them détails of the attire, weapons, and ornaments. They
reveal, however. more essential significance. Observing and retaining in his works gestures and behaviour of the oncommers
from Poland the artist did not only depict their appearance. but also characterized them. The created image, often
lively and enchanting. may be sightly exaggerated and one-sided; nevertheless. it remains convincing and true in its essence.

Translated by Piotr Paszkiewicz