Allegorical and Burlesque Subjects by Stefano della Bella

Author(s): Françoise Viatte

Reviewed work(s):
Source: Master Drawings, Vol. 15, No. 4 (Winter, 1977), pp. 347-365+425-444
Published by: Master Drawings Association
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ALLEGORICAL
AND

SUBJECTS
BURLESQUE
BY STEFANO DELLA BELLA

Francoise Viatte

The studyof somedrawingsdatingfrom Stefanodella Bella'sParisianperiod

shouldleadto a betterunderstanding of his activityin Paris(1639-49)andintro-
duceus tocertaincomplexthemesthatappearandaredevelopedin Stefano'sdraw-
ingsof thistime.We shallbe led to establisha connectionbetweenthesedrawings
andthoseof theperiodthatfollowsthereturntoFlorence,notingthereappearance,
at quitedistantdates,of allegoricalandmacabrethemeswhich arefoundin the
etchingsof DellaBellaanteriorto the datewhichconcernsus here,but whichdo
not seemto havebeentreatedin his independentdrawingsbeforethe i640's.Sec-
ondly,we shallseehow,in additiontohis activityasan etcher,at theendof his life
Stefanoevokedburlesqueand satiricalthemesin his drawings,whichbringhim
verycloseto the interestsof the contemporary Florentinemilieu.
The etcher'sParisiandrawings,whichareessentiallythoserelatedto theorna-
mentandtopographical printsseries,canbe considered as a coherentgroup,easily
recognizable by the handwriting whichis thatof a peintre-graveur. They areclose
in techniqueand in subjectto the workof his Italiancontemporaries-Rosa and
in
Castiglione particular, whose prints had then begun to circulate.This easychar-
acterizationpermits a better
estimateof Stefano's place in Tuscan draughtsmanship
of the seventeenthcentury,and a clearerunderstanding of the distancewhich
separates himfromCallotfromthispointonward.Thisis perhapsthetimewhenhis
draughtsmanship is mosttrulyimprovisatory; the themestreated-ornament, fron-
tispieces,and emblems-are marked by an invention and a libertyof line not found
in the finishedwork.
The firstof thesedrawingsis thestudyof a flyingfigure,who claspsherswirl-
ing draperiesabouther as she hoversabovethe outlineof the LoireRiver(P1.i).
The drawingis executedin blackchalk,reinforced by a finepenline in brownink,
andheightenedwith graywash;this techniqueis characteristic of Della Bellaat

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NOTES
?????-?-;;
? ..- ?;i,:'._-i;:-_ '-k? I??.--??r
--
- ..r
JLia --f
s

*?-
-.?;~
~~~~~-s
TI
-
' ?

Fig. I STEFANO DELLA BELLA. Frontispiecefor "LesVilles de la rivierede Loire''Etching.

this period but the dimensionsof the sheet are excep- serve as title page for a series published in the eigh-
tional for the artist. The course of the river is indi- teenth century, using plates which had belonged to
cated in red chalk, and the identificationof the towns Pierre Mariette.4Pierre-JeanMariette, in his Notes
is in pen, probably in the hand of the etcher.1 The manuscrites,includes it in the oeuvreof Della Bella
drawing is preparatoryfor the plate which was in- without giving any particularson the series drawn by
tended to serve as frontispiece for a publication en- Lincler, which would lead one to think that the pro-
titled Les Villes de la riviere de Loire, which is de- ject never was realized.5Louis de Lincler, known as
scribed by Jombert and De Vesme who dated the a draughtsmanand not as a publisher (as he is de-
plate, itself undated, in I648, and so at the end of the scribedon the plate with Fame), is the author of sev-
Parisian sojourn of the artist (Fig. I).2 The "pictorial eral series engraved by Francois Collignon, notably
handwriting"of the drawing correspondswith what the Vues generales des diversesvilles de France, but
we know of the series etched at this period and with he does not seem to have been associatedwith Della
the relevant preparatorystudies. A. ForlaniTempesti Bella.6
has pointed out that here one can recognize the first From our point of view, what is important is the
steps toward experiments undertaken much later by considerabledifference between the drawing and the
Della Bella when he applied acid highlights with a etching, beyond those changes which are evident at
brush onto the plate after inking, in order to achieve firstglance. The spirit and the very conception of the
an effect of wash.3 Only this projected frontispiece flying figure have been so radically transformedthat
plate seems to have survived; the rest of the scenes any connection between the print and the drawing
probablynever were etched. Proofs of the fourth state would seem improbable,were it not for the indication
of the frontispiece,with the plate somewhat reduced, in the drawing of the Loire River. In the drawing,

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 < r~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

NOTES
k

.,. ,rfel ..,XJ,

A, L. RA. rf
;1=5 &ty .

Fig.2 STEFANO DELLA BELLA and ISRAEL SILVESTRE.

"Veiieet Perspectivedu Palais Cardinal'.Etching.

Fame is representedupright and turned slightly back- representationsof Fame as this figure is describedby
ward,rising above the riveras though she were drawn Ripa,8and as we find the allegoricalfigure represent-
upward. The dynamic element suggesting flight is ed at the middle of the seventeenth century.9
indicated both by the wings and by the draperythat The representationof Fame as an angel, the motif
gives weight and amplitude to the figure. The body of the flying figure, are not limited to this single plate
of Fame appearsalmost inert, and her large feet seem for the Villes de la riviere de Loire. They should be
sufficient to direct her flight. Like the drapery, the connected with Della Bella's investigations in per-
feet are rendered with broad touches of wash which spective and topography, to his work as scene de-
spill over the contour lines. In the etching, the regis- signer and man of the theater,which broughthim his
ters of earth and sky are much clearer, though less first successes in Florence and then in Paris. Aerial
satisfying since they are less abstract.In the print the themes, connected with the notion of metamorphosis,
figure of Fame is conceived on a fixed horizontalaxis; such as columns of clouds, appearin 1637 in the deco-
her flight is directed, she glides, and her movement is rations for the Nozze degli Dei, a melodramagiven
comparableto that of a swimmer.7The indication of on the occasion of the marriageof Ferdinand II and
the course of the river is schematic;the Loire is rep- Vittoria della Rovere (De V, nos. 9I8-25), about
resented in aerial perspective from its source to its I639 in f1cranavec des rebus italiens sur la Fortune
mouth, without concern for exactitude. In the draw- (De V., no. 689), and about I660 in the Rocher des
ing, on the other hand, only a part of the river is visi- philosophes (De V., no. 69). In France, contemporary
ble, that near the mouth, but this is rendered more court ballets furnish severalanalogiesto the represen-
preciselythan in the print. The draperyplays only an tation of Fame in the guise of an angel, evoking flight,
ordinaryrole as attribute,correspondingto the usual appearance and disappearance. The Abbe de Ma-

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NOTES rolles in his Memoires du ballet de la prosperitedes Evelina Boreahas recently published an inventory
armes de France in I640 evoked "Les sauts perilleux of the propertyleft by Don Lorenzode'Medici in his
d'un certain Italien nomme Cardelin qui representait villa of La Petraia after his death in i649. She at-
la Victoire en dansant sur une corde cachee d'un tempted to identify certain of the seventy-fourworks
nuage et [qui] parut s'envoler dans le ciel''10 The mentioned there with paintings now in the Floren-
motif of Fortune already appearsin the repertoryof tine galleries (notably a Burning of Troy by Stefano
Florentine scenographyby the beginning of the sev- della Bella, an oval compositionpainted on slate be-
enteenth century, inspired by Callot, as for example tween 634 and I637).15The same text mentions four
in the Palazzo della Fama, the firstintermezzoin the other paintings by Stefano: Tritons with Marine
Giudizio di Paride, engraved by Cantagallina after Deities,16 two Battles, and a Conversion of St. Paul
Giulio Parigi in I608. We should also note that per- ("alto bracci due, largo tre")in a decoratedframe.17
spective studies and birdseyeviews date from the be- A connection with the Ecole des Beaux-Artsdrawing
ginning of Stefano'sstay in Paris, as he began to etch would be tempting,but reasonsof chronologyexclude
the Plan et Vue de la ville d'Arrasin I641 for Riche- it. The Conversion of St. Paul, if it was painted for
lieu, for whom he drew a good deal.11The Fame en- Don Lorenzo, would have been executed between
graved for the Villes de la riviere de Loire was to be I629 (when, as E. Borea points out, Stefano came in
utilized without much change in the Veiie et Perspec- contact with Lorenzo), and 1639, the date of his de-
tive du Palais Cardinal ..., etched in collaboration parturefor Paris. And more precisely, it would have
with Israel Silvestre and published by Henriet (Fig. been done between I633-34, when he arrived in
3).12 Rome where he had been sent by his protector to
Among the group of drawings by Stefano della learn to paint, and 1637, when he returned to Flor-
Bella preserved in the Bibliotheque de l'Ecole des ence. However, it is impossibleto give so early a date
Beaux-Arts,Paris,13one sheet deserves particularat- to the Ecole des Beaux-Artsdrawing because its cal-
tention in the course of this investigationof allegori- ligraphy and its format are incompatible with the
cal themes in the work of Stefano della Bella. Like work of his Roman years.This should be evident by
the Fame, with which this drawing shows certain comparisonof the Conversion of St. Paul with the
points of contact, it is quite large and executed in the drawingin the Uffizi for the Burning of Troy,studied
same harmonies of brown, generously shaded with by Anna Forlani Tempesti and E. Borea.'8 In the
gray, over a first indication in black chalk (P1. 2).14 Uffizi study, Stefano's microscopic vision, his trim
The Inventorydescribesthe drawing as a Conversion elegance, his sharp lines, are closer to the Florentine
of St. Paul. Arrangedon a single plane, the melee of scenography of the Parigi, than to the tumultuous
men and horses is disposed as a frieze of simple and minutely detailed vision of the Conversionof St.
rhythm, emphasizedby strong shadows in wash that Paul. The technique is that of the turning of the
bring out, darkagainst the light background,the cen- I650's. We may comparethe strong shadows and the
tral motif of the fall. Beyond appear the rampartsof "simultaneity"of the line which decomposesthe con-
a city, a battle scene, and two sketches of male heads. tours,with the Black Cavalierin the Uffizi (P1. 3a),19
The mobility of the scene, its dramaticquality and and with the superb Lion Attacking TwvoHorsemen
rapidityof execution have an amplitude and author- in Berlin (P1. 3b).20It is also the privilege of a linear
ity that are unusual in Della Bella's work. In this technique which allows the systematic investigation
drawing we find the full measure of his talent and of a form or a detail: the hoof of a horse, the inclina-
even a foreshadowing of the main stylistic experi- tion of its head, studied in each alternative position.
ments of this period, the passage from the i650's to The subjectof this drawing,as we have said before,
the yearsthat follow. It is one of the raredrawingsby is related to warlike themes, hunts, scenes of pursuit,
Della Bella that is truly composedand conceived as a and confrontation.21The frieze-likecomposition,the
scene in its own right without necessarilyreferringto convergence towards a central point which empha-
a painted or engravedwork. sizes the tension of the scene closed on the sides by

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 NOTES

PAirmm eu a cai .o&Fueulu ewe per gloriosa S erotpri I

Co'nbn,*ee ltafai u I rs auelae pM awoe rr mwuse
Ase msawu

Scpecr.e
N9. t _te_ a orotegeuir <ua4 j Per X w Mn.;- 4J
XrxutuawaeaD--ew.
P.. Et cEifodowU s Lfejw

Fig. 3 STEFANO DELLA BELLA. St. Prosper Delivering the City of Reggio. Etching.

two diagonals, are elements which we find in two the fallen horse or rider (P1. 4a-b).23The fleeing sil-
plates etched at this time: the Battle of the Amale- houette, with lifted arms, reappearsas a leitmotiv in
kites (about I649/50) and the St. ProsperDelivering several of these sheets (P1. 2).24They may originate
the City of Reggio (Fig. 3).22 The mobility of the with Callot, in the Massacre of the Innocents, and
forms is established by an extremely fine and ductile the GrandesMiseres de la Guerre published in 1636.
pen line, quite different from the dry calligraphy of However, these references to Callot are rather allu-
his youthful drawings. At this turning point of the sions to an ceuvre very well known both in Florence
I65o's there is a very curious (and probablynot fortu- and in Paris than actual direct borrowings;and these
itous) analogy between subject and calligraphy.The references become increasingly rare in Della Bella's
investigation in drawings and prints of themes rela- work as the years go on. The emotions of anger and
tive to flight, fear, and struggle is translated in the terrorcharacterizethis group of drawings, as we can
same cursive and allusive penwork on sheets of small easily see from those reproduced here. The impor-
format where several themes are sometimes treated tance of Callot's Passage de la Mer Rouge for Ste-
simultaneously. I have already compared represen- fano's Battle of the Amalekites has recently been un-
tations of the Deposition, the Massacre of the Inno- derlined, in particularfor the indication of shadows
cents, the Moses Striking the Rock, with studies for in the foreground.5 In the Conversion of St. Paul
the Hunts and noted the reappearanceof certain "dy- they are disposed in an arbitrary fashion for the
namic"motifs, such as the standard-bearingcavalier, standard-bearingcavalier at the right should be illu-

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NOTES minated by the ray of light and not plunged into theme of the frightened soldier, of which several ex-
darkness. In fact, the motif of the confused mass of amples are found in the etched work of Della Bella:
horses and cavalier appearsin Stefano's art from the plate 34 in the Principii del Disegno (De V., no. 387:
time of his first Roman stay.26The novelty here re- head of a frightened soldier who cries out); plate o1
sides rather in the treatment of the scene, in its ba- of the Recueil de divers griffonements et preuves
roque animation. As in the case of Fame, the distance d'eau-forte(De V., no. 399: the bust of an emaciated
which separatesdrawing from eventual engraving is man who cries out); the Soldat effraye et l'homme au
very considerable.If it is maintained that the Conver- bonnet de fourrure, inspired by Rembrandt (De V,
sion of St. Paul could be considered one of the steps no. 483).
in the elaborationof the St. Prosper (Fig. 3), one is The origin of such heads can be traced quite far
struck by the contrast between the drawing and back-to Leonardoda Vinci and the heads of warriors
the print. The brevity of the drawn representation in the Battle of Anghiari, or to Michelangelo, as M.
worked out on a single plane differs strikingly from Catelli Isola has pointed out, comparing a study at
the battle scene representedin the etching composed the Farnesina with the Furia or Anima Dannata en-
of successive planes in the manner of a topographic gravedby Salamanca.30The motif is thus not in itself
plan. a novelty, but its drama is appropriateto the repre-
I have said earlierthat the drawing for the Conver- sentation of a scene which is finally no more than a
sion of St. Paul contained by implication several of melee of horsemen. In its tragic significance, it is
the subjects studied by Della Bella around I650. It closely related to the series of caprices on macabre
is interesting to single out certain details for compar- themes engraved a few years earlier, notably the
ing with other contemporarydrawings that are elabo- series of Morts. I will not discuss in detail here these
rations of the same subjects-themes of violence, two series of plates, for I have done so elsewhere, and
flight, and death. This confrontation may aid us to A. Forlani Tempesti has recently supplied important
understand how the artist passed from one idea to evidence for dating them.31I limit myself to illustrat-
another,how the suggestion of fear leads to the notion ing two drawings, reproductionsof which were not
of the macabre.I have already noted the insertion of availablein 1972, and as well a third drawing that has
macabre motifs-hour-glasses, death's heads, bats, recentlyreappearedin an Americanprivatecollection.
Death beating a drum-into the ornament suites en- The firstof these drawingsis Death as a Horseman,
graved for Langlois in Paris: the Raccolta di vasi in the Hermitage, Leningrad (P1. 6), a study for the
diversi published in 1646 or the Ornamenti di fregi e etching La Mort a cheval (De V., no. 87).32 It is the
fogliami.27 These two series must be very close in first of five unnumbered oval etchings known under
time, and they share an iconographicrepertory. the name of Les cinq Morts, executed in Paris about
Let us return to the central motif of the Conversion i648, to which were later added (probablyin the last
of St. Paul: the horsemancrying out with lifted arms, years of Della Bella's life) three other etchings that
restraining his horse as he lunges toward a body on were left unfinished (see note 31). The Hermitage
the ground. There is a rupture between the fixity of possesses a second drawing for this series (P1. 7), a
this frozen image and the mobility of the figures that study, in the same direction, for the etching La Mort
surround him. They are fugitive suggestions over emportant un enfant sur son dos (De V., no. 89)33
which our glance glides. The motif of a head crying the Farnesina in Rome has a reversed study for the
out in surpriseand fear is a strikingsymbol, and such same plate.34 The relationship between the hideous
heads are not unsurprisingly found in ornament de- expression of Death and that of the man crying out
signs that are contemporarywith the suites etched for in the drawing Conversion of St. Paul is evident.
Langlois, for example, on a swordhilt in a drawing in Death takeson the visage of the fear that it engenders.
the Kunstbibliothek,Berlin (P1. 5),28 and in a draw- In yet another sheet in the Hermitage (P1. 9a), the
ing in the Uffizi representing the Head of a Medu- helmeted figure of Death confronts a fleeing woman.
sa29 These heads may be derivationsfrom the warlike This may be related to one of the groups in the back-

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ground of La Mort sur un champ de bataille (De V.,
no. 93).35 The personificationof Death represented
with human features is not an invention of Della
Bella, nor entirely new in seventeenth-centuryItaly.
A "courantmacabre,'Northern in inspiration,existed
in Florence well before Callot, and developed in the
course of the seventeenth century in festival decora-
tions, in real and simulated architecture. I have al-
ready compared funereal motifs utilized by Stefano
with certain emblems in the cartouches of Jacopo
Ligozzi,36whose inspirationoccasionallycomes close
to that of Della Bella (Fig. 4).37 Della Bella's Scenes
macabres may also be connected (but only up to a
certain point, and especially through comparisonof
graphic styles) with the battles, the scenes of sorcery,
and the witches' sabbaths of Salvator Rosa, whose
presence in Florence from I641-49 corresponds,how-
ever, with Stefano's absence. Nonetheless, Stefano
may have encountered Rosa later in Rome, and he
very probably knew the series of sixty-two plates of
the Capricci etched from I656. The work of G. B.
Castiglione, whom Stefano must certainly have
known in Rome between I633 and I639, should also
be compared with this sort of graphic investigation,
as U. Ruggeri has recently shown in a study of scenes
of plague and burial.38Earlier, about I620, well be-
fore Della Bella had begun his own career, Filippo
Napoletano (in Florence from I6I7) had published a
series of etchings representing human and animal
skeletons that look forward to Della Bella's work of
the I630's.39
In the third study related to the Morts (P1. 8), the
Fig. 4 JACOPO LIGOZZI. Death on a Battlefield.
comparison of the principal motif with the central
figure in the drawing for the Conversion of St. Paul Paris,Museedu Louvre,Cabinetdes Dessins.
is even more striking. Death appears in the back-
ground and the man he pursues throws himself for-
ward, his arms lifted and his mouth open, half flying
and half falling in the circular space he occupies. poursuivantun jeune homme, and it appearsto be a
Draperyin the backgroundis indicated moreby shad- rejected study for the plate described by De Vesme
ow than contour, line being reserved for the male (no. 92) as being left unfinished by Della Bella and
figure. The drawing is executed with a fine pen, the completed after his death by Giovanni BattistaGale-
wash laid on broadly with large reservesof paper. It struzzi. This print belongs to the group of three ma-
was describedin the catalogue of a 1964 London sale cabre subjects recently studied by A. Forlani Tem-
in which it figuredas a study for the Boree et Orythie pesti, who distinguishes them from the Morts exe-
in the Jeu des Cartes (De V, no. 495).40 Its present cuted during the stay in Paris.41It is entirely prob-
Americanowner recognizedit as a projectfor La Mort able, in fact, that the drawing of Plate 8 dates from

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 instead of being pushed forwardwith head hanging
I. down as it is in the finished etched composition (Fig.
5). The two drawings just discussed thus should be
considered as rejected projects.

The last part of this study will be devoted to an-

other aspect of Della Bella's art, perhaps the least
known of the many facets of his personality that at-
tractus-his interestin the burlesque.I shall attempt,
by regroupingseveraldrawingsthat belong to a series,
to define the role of buffoonery, caricature,and par-
ody in the Florentine world of the middle of the sev-
enteenth century, and beyond that in the baroque
universe where such curiosities were so important.
These remarksdevelop out of the I96I study that
2
Mina Gregoridevoted to La Pittura caricatae giocosa
in Tuscany;43she drew attention to this sometimes
forgottenaspectof Florentine culture-often thought
of as free from the satiric currents usually identified
with Northern Italy.44Gregori,basing her argument
on the history of caricaturegiven by Filippo Baldi-
nucci in his Notizie, has shown that there existed in
Florence from the fifteenth century onwards a ten-
dency to metamorphosis,to transformationinto gro-
4.

.' . . ..

tesque form, which originated with Leonardo da

Vinci and Piero di Cosimo. In the sixteenth century,
.S
this current reappearsas one of the possible forms of
Florentine and Roman grottesche. Caricature,as an
art form in its own right, only appearsin the seven-
Fig. 5 STEFANO DELLA BELLA. teenth century under Cosimo II with Callot, Filippo
Le Jeune Homme et la Mort. Napoletano, and Baccio del Bianco; then under Fer-
dinand II and CardinalLeopoldocome the burlesque
Etching, firststate. and giocosogenres.
In the catalogue of a sale in London on February
I 9, 930, lot number 93 was describedas an album by
Stefano della Bella containing "23 (Bambocciate)
Stefano's last years (he died in I664), and that it humorous subjects, done, according to the accom-
should be comparedwith a second study of the same panying inscription, for the amusement of his pupil
motif in the Farnesina, Rome (P1. 9b).42This latter Prince Ferdinand of Tuscany"'45I have been able to
drawing is characterizedby a network of lines that discover the present whereabouts of only twelve of
entirely cover the surface, immobilizing the form or these twenty-three drawings, and I hope the repro-
enclosing it in a sortof whirling web. The drawing in duction of these will bring to light the missing eleven.
the Americanprivatecollection is full of shadow, and The drawingsare all executed in pen and brown ink,
appears almost to be a negative impression of the heightened with gray wash, and the dimensions of
drawing in Rome, representing an earlier stage of the sheets varyonly slightly since they were originally
investigation. The figure is seen in a vertical plane bound in an album. They all represent groups of

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 NOTES
dwarfs. The drawing that may have been the first of subjects painted by Faustino Bocchi around I700.
the series, since it bears an explanatory text, repre- The very term Bambochadeshad, at the beginning,
sents a group of dwarfs watching a puppet show (P1. a derisoryintent. The rustic and satirical subjects-
Io).46 The scene is laid out in a lateral plane; the assaults by brigands, soldiers gambling-treated by
showman, dressed in a Scapin-like costume, stands the Bambocciantiare similarin their comic intention
on a platform that appearsto be fixed to the ground to this groupof drawingsby Stefano executed in Flor-
while the puppet theateris movable.The showman is ence some twenty yearslater. This is further proof of
an ambulant puppeteer such as those that flourished Della Bella's attractionto Northern models-he was
in France,especially in Paris on the Pont Neuf, from not interested in Rembrandtalone. It is possible that
the end of the sixteenth century, and the spectators the artist personality of Andries Both, a native of
are passers-by.The scene is lively, rapidly drawn, Utrecht, who was in Rome even before Pieter van
and full of detail. Laer, made its markon Stefano; Both is the authorof
On the cartouchebelow, the inscriptionreads Bam- burlesque series with dwarfs,48the satirical spirit of
bocciate di Stefano della Bella, fatte per il diverti- which is close to the sequence of drawingsreproduced
mento del Principe Ferdinando di Toscana di lui here.
scolare. This inscription, which is later than the Another drawing from Stefano's series is that rep-
drawing, was probablyput on in the eighteenth cen- resenting a parade of dwarf soldiers in the Ashmo-
turv. The present owner of the drawing kindly in- lean Museum, Oxford (P1. I2).49 The satirical inten-
forms me that the same inscription appearedon the tion is clear in the disproportionbetween the mon-
cover of the album. The term Bambocciate well strous figures and their equipment. Equally satirical
evokes the nature of the scenes represented,but their is the drawing of dwarfs Oriental Audience now in
purpose is incorrectly described. Stefano della Bella an Americanprivate collection (P1. I3).50 The seven
was never the drawing masterof Ferdinand II, reign- further drawings devoted to dwarf themes, where
ing Grand Duke from 1620 to 1670, but upon Ste- deformationsof face and body are combined with the
fano's return to Florence in the early I650's he was small size of the figures, constitute a group of genre
drawingmasterto Ferdinand'sson, CosimoIII (I 642- scenes without direct references to theater or mas-
1723). Nor can the Principe Ferdinando mentioned querade. One of them, preservedin the Victoria and
be Ferdinand, son of Cosimo III, who was born in Albert Museum (P1.14), representsa ball game which
I663. The inscription is thus useful in so far as it takes place on an avenue borderedby trees and a di-
identifies the drawings as a series, but fanciful in its agonal line of seated and standing spectators.51The
descriptionof the purpose and use of the drawings. foreground is strongly heightened with gray wash,
The second drawing in the series is not unlike the while the background is indicated in chalk alone,
first in that it represents a street entertainment, a without wash. The scene is lit diagonally, a procedure
peep show (P1. 11). Here a showman of optical views often used by Della Bella in his topographicaland
offers to viewers glimpses of the Mondo Nuovo, a theatrical investigations. The suggestion of depth
subject which was to be adopted a century later by producedby the use of small figures,and the taste for
GiandomenicoTiepolo in his decorationsfor the Villa the "minimal"markStefano'swork from his firstyears
Valmarana and the Ca' Rezzonico in Venice. The in Rome.52It may be that the dwarf themes appealed
subject there is the same;a hucksterinvites the crowd to him not only because of his interest in the unusual
to take turns peeking into the side of his little theater, so apparentin his graphic work, but also because of
the top of which is covered with a sheet.47 their suitability to the small formats that he pre-
The term Bambochadesused to describe the series ferred.53He enjoyed contrastingthe small scale with
is very significant in the relationshipit suggests with the colossal,as in the Six vues de la villa de Pratolino,
the paintings of certain Dutch artists established in engraved about I653 (Fig. 6), in which the statue of
Rome from I625-30. Such a connection is unusual the Apennines, a giant crouching at the entrance of
for Florence, if one makes an exception of the dwarf the grotto, overwhelms the silhouetted figures in the

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NOTES

.s
. .:- -, . O. =.
:-5?~

Fig. 6 STEFANO DELLA BELLA. The Villa at Pratolino. Etching.

foreground.54The drawings represented in Plates of drawings, in style comparable to Stefano's late

15-20 are all in the same collection; they are the only work,is contemporarywith the costume designs made
sheets out of the twenty-threethat have remained to- for the Teatrodella Pergola,which had been founded
gether. They comprisethe Dwarfs' Tourney (P1. 5), in 1652 by the Accademia degli Immobili. On the
Dwarf Falconers (P1. I6), Dwarfs Selling Fruit (P1. basis of graphic style it is possible to establish a con-
I7), Dwarf Street Singers (P1. 8), Dwarf Knife nection between the Bambocciateand the costumes
Sharpener(P1. I9), and Dwarf Ambushers(P1. 20).55 for the mad men in II Pazzo per forza in 658.56
The artist's intentions are satirical and not comic. In 1961 Mina Gregoripointed out that this sort of
Della Bella'sburlesque is cold and grating caricature, bambocciaterepresentationwas by no means invent-
with no place for laughter. The dwarfs are monstrous ed by Stefano,and Phyllis DearbornMassar,in speak-
personagesengaged in apparently"normal"activities, ing of the Quatre sujets de nains dans le go-it de
and living in a nightmare world. Their role is one of Callot,57noted that Florence in the seventeenth cen-
mockery, the allusive characterof which connects it tury possesseda troupe of dwarfs used by the grand
with the world of the theater. Furthermore,most of dukes for all sortsof popularspectacles.58Horse races
these scenes are conceived as sideshows in which the and tournamentswith dwarfs took place, for exam-
passing spectatoris as much involved as the actors. ple, on July 6, 1612; this was the FamosaGiostrade'
The setting for these spectaclesis like a theater stage, Gobbi engraved by Callot.59On August 15 and 23,
without real depth. It may be argued that this group I6I5, a race for dwarfs was organized in the via

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 NOTES

Fig. 7 AGOSTINO MITELLI, after Fig. 8 AGOSTINO MITELLI, after

STEFANO DELLA BELLA. STEFANO DELLA BELLA.

Dwarf Subjects in the Manner of Callot. Dwarf Subjects in the Manner of Callot.
Etchings. Etchings.
Ghibellina by AlessandroAdimari.In 1635 and 651 found that dwarfs performedmasqueradeson festival
jousts for dwarfs were presented at carnival time.60 floatsafter these jousts and that such events could lie
Massar,in checking through the Diario Fiorentinoof behind the Quatre sujets de nains dans le gout de
Francesco Settimani in the Florentine Archives,61 Callot reproducedin parthere (Figs. 7 and 8). Massar

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NOTES

Fig. 9 STEFANO DELLA BELLA. Dwarfs'Tournament.

Paris,Bibliothequede l'&coledes Beaux-Arts.

suggests the possibility that these illustrate satirical in the life of Baccio del Bianco. Gabburri, on the
pamphlets addressed by the Caramoggi (dwarfs) to other hand, could count in his collection in Florence
the Begl'Imbusti("petitsmaitres")in mockeryof their in 1737 trenta Caramogiate,di cui alcune compagne
knightly exercises (Fig. 9).62 The same may be true a gruppi e due paesi by Stefano della Bella;64and
of the other seriesby Della Bella on dwarf themes,the such a taste for curiosities had already appeared at
Facetieuses inventions d'amour et de guerre, en- the end of the sixteenth century in the reign of the
graved by Collignon and copied in 1684 by Agostino Francesco I. Caricature with dwarf subjects was a
Mitelli. The preparatorydrawings for this series are Florentine speciality and had its source in the Gobbi
not known.63 engraved by Callot, Stefano, and Valerio Spada.65
It is quite clear then that although Stefano's Bam- Because of a similarityof subjects, I should mention
bocciatemay have been executed as a privatepastime, a little-known series of Caramoggiby the Florentine
they reflect the contemporarytaste for the unusual, Antonio FrancescoLuccini, a pupil of Callot in Flor-
for that "invenzione bizarissima"which Baldinucci ence from I616, then in Nancy. Luccini in 1634
places in the Florentine tradition.In this context it is etched the Jeu du Pont a Pise after Stefano della
curious that Baldinucci makes no mention of such Bella;66earlier he had produced in Florence a Com-
subjectsin his life of Stefano and speaksof them only pendio dell'Armide (Figs. o-I2), signed and dated

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 NOTES

1,

ji

;I

!
~~~~~' '

i
e~~~~J

--
_, i

Fig. 10 ANTONIO FRANCESCO LUCCINI. "Compendio dell'Armide'Etchings.

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NOTES

Fig.
d. A E -U -
ki

; 7

' .
AN
Fig ON 11
IO- R ..S. L C I I .

F.g. :B) Is '

~T' .'i~~~~~~~~~~s
'~'.:.~~~~~~~~~~~~r

Fig. II ANTONIO
FRANCESCO
LUCCINI. "Compendiodell'ArmideI'Etchings.~~~~~~~'

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 NOTES
SX~~I-
Oa 'Tie

'r~~~~~~~~~~~~~~~~~~~

_r. __ ,

._
--- , As
I ._

i n :r

Fig. 12 ANTONIO FRANCESCO

LUCCINI.

dell'Armide'
"Compendio

Fig. 13 G. MANNI, after

STEFANO DELLA BELLA.

Schoolfor Dwarfs.
Etching.
Paris,BibliothequeNationale,
Cabinetdes Estampes.

I- Qapnij&v& -A

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NOTES I625, nine years after the Varie Figure of Callot.67 Riviere de Loire, cette piece ayant ete faite pour
A final work that should be included in the dossier on servir de frontispice a une suite de veues des prin-
Florentine burlesque series is the School for Dwarfs cipales villes qui sont situees sur cette riviere, des-
sinees par de Lincler."A hand-colored proof of the
(Fig. I3), an etching after Della Bella unknown to third state is preserved in the Bibliotheque Na-
Jombert and De Vesme.68 It is a strange yet intimate tionale, in the Lallemant de Betz Collection (Cabi-
scene, the mute tragedy of which is nearer the spirit net des Estampes, Vx I9, pp. I56-57).
of the baroque than to the ornament repertory of the
6. For Lincler see M. de Marolles, Le Livre des
end of the sixteenth century, where dwarf themes
peintres et des graveurs, Paris, 1855, pp. 53-54.
were valued above all for their purely decorative
7. For the alternative solutions of diagonal and hori-
qualities. zontal poses to evoke flight see G. Bachelard, L'Air
et les songes, Paris, 1943, p. 79ff. The position of
AUTHOR S NOTE: I should like to thank the following
the figure in the drawing may be likened to figures
collectors, curators, and scholars for their kind assistance of angels or caryatids in decorative compositions of
in the preparation of this article, and in some cases, for
the Italian Baroque, such as tabernacles and altar
the permission to reproduce drawings in their collections:
surrounds. The fact, on the other hand, that the
Mr. J. Adhemar, Mr. Winslow Ames, Dr. E. Bercken-
flying drapery can be identified as the single alle-
hagen, Dott.ssa M. Catelli Isola, Dott. M. Chiarini, Mrs.
Elisabeth M. Drey, Dott.ssa A. Forlani Tempesti, M. J. gorical identification of Fame is established by a
Portuguese emblematic drawing representing Drap-
Foucart, Mr. J. Fryszman, Mme. C. Monbeig-Goguel,
Melle A. Jacques, Mr. J. Kuznetsov, Mr. H. MacAndrew, ery Floating from a Trophy of Arms, in the Templo
da Fama of Manoel Pinheyro Arnaut, dated 1665
Mr. Mathias Polakovits, Sir J. Pope-Hennessy, Mr. E.
(reproduced P Hofer, Baroque Book Illustration,
Schapiro, Mr. Julien Stock, Dr. M. Stuffmann, Mr. P Cambridge, Mass., 195I, pl. 89).
Ward-Jackson, Dr. M. Winner, Prof. L. Zorzi, and M.
Maxime Preault. 8. "La Renommee, comme on la peint ordinairement"
is one of the four Fames described in a French edi-
1. Sale, London, Christie's, March 26, 1974, no. 40; tion of Ripa (Iconologie, Paris, 1644, p. 80): "Elle a
Paris, private collection. Pen and brown ink, gray deux grandes aisles dont elle s'esleve en l'air, une
wash over black chalk. I8.3 x I9.4 cm. Inscribed robbe deliee telle que je viens de la descrire et deux
from left to right: Montsaureau; Saumur; La Dive; trompettes a la main, dont elle sonne ordinairement,
Pont de Ce; Le Lys [?]; Loire R.; Guinatte R.; Seure paraissant assise sur les nues. Toutes lesquelles
R.; Boulongue R.; Isle de Bouin; Pierre Maine; Isle choses ensemble sont assez claires pour faire voir
de Normoultier.
que c'est sa coutume de ne demeurer jamais en
2. Charles-Antoine Jombert, Essai d'un catalogue de mesme lieu, et de publier indifferemment le men-
l'oeuvre d'Etienne de la Belle, peintre et graveur songe et la verite par tout par ou elle passe'
florentin..., Paris, 1772, no. 135; A. de Vesme, Le 9. For example II Trionfo della Pieta engraved in 1658
Peintre-graveur italien, Milan, 1909, no. 949, p. 249
by G. B. Galestruzzi after Grimaldi (A. Bartsch, Le
(abbreviated as De V. followed by the catalogue
Peintre-Graveur,xxI, no. 53), or the flying figure of
number).
Fame, painted by Charles Mellin in the Palazzo
3. See A. Forlani Tempesti, Stefano della Bella, Inci- Muti-Balestra in Rome, which Della Bella could
sioni, Florence, I972, p. I2. I think particularly of have seen (reproduced Y. Bonnefoy, Rome 1630,
the Madonnas with Child, notably DeV., no. 4, a Paris, 1970, p. I75).
square composition executed about i64I of which
there exists an artist's proof reworked in pen (For- 10. Cited by J. Rousset in La Litterature de l'age ba-
lani Tempesti, pl. xxv) and of the Death series, no- roque en France; Circe' et le paon, Paris, 1954,
p. 20.
tably, Death on a Battlefield (De V., no. 93).
4. See De Vesme. 11. See F Viatte, Inventaire general des dessins italiens
du Louvre, II: Stefano della Bella, Paris, 1974, no.
5. Pierre-Jean Mariette, Notes manuscrites sur les
IOI.
peintres et les graveurs, Paris, Bibliotheque Na-
tionale, Cabinet des Estampes, Ya 2 24, pet. fol., 12. Veue et Perspective du Palais Cardinal du coste du
vol. I, p. 12I verso, no. 91: "la Renommee en l'air Jardin, et en suitte celles du Louvre, et des Tuileries
au-dessus de la carte du Pays qui est arrose par la de diverse costez et des autres lieux les plus curieux

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 des environs de Paris. Par Israel Sylvestre, Perelle, 19. Inv. 7990 F Pen and brown ink. Study for DeV., NOTES
Marot et de la Belle. L. E. Faucheux, Catalogue no. 270.
raisonnehde toutes les estampes qui forment l'cuvre
20. Berlin, Staatliche Museen, Kupferstichkabinett,
d'Israel Silvestre, Paris, 1857, no. 49.
Inv. KK 15001 recto. Pen and brown ink, over black
chalk.
13. I should mention in particular, in the Ancien Fonds:
Inv. no. i i8, Projet de costume de ballet. Exhibited 21. F. Viatte, 1974, no. 328.
Dessins italiens de l'tcole des Beaux-Arts, Paris,
22. De V., no. 3; De V., no. 28, around 1652. For these
I937, no. I5. Inv. no. 117. Three drawings from
the first Roman period including a Vue du Pont St.- two plates see A. Forlani Tempesti, I973, nos. 55
and 69.
Ange; Inv. no. 1264, Scene de naufrage, avec St.
Nicolas implorant la Vierge; Inv. nos. 259 and 1263, 23. For this hunting theme see, for example, the beauti-
Feuilles d'etudes d'ours et de lions; Inv. nos. 3872 ful recto-verso study in the Berlin Kupferstichkabi-
and 3878, Deux etudes de nains. In the Masson nett for a tiger hunt (note 30, Pls. 3b and 4b), Inv.
Collection: M. 2257, Portrait de Charles Cantu, dit KK 15001. Black chalk, pen and brown ink, brown
Buffet, study for De V., no. 30, exhibited Paris, wash (recto), pen and brown ink, black chalk (verso),
I937, no. 8; M. 2259, Six figures de ballet, exhib- and the study on the same theme in the Stadel Insti-
ited Paris, I937, no. 3; M. 2263, study for L'Eau tute in Frankfort, Inv. no. 518, pen and brown ink,
(DeV., no. 754), exhibited Paris, 1937, no. 1i; M. over traces of black chalk. 15.o x 2I.0 cm. (P1. 4a).
2267, studies for two of the Huit marines of 1634
(DeV., nos. 810-17); M. 2264, Scene de bataille; 24. Notably on the recto and the verso of the Berlin
M. 2265, Un sanglier attaque par deux chiens (for sheet and at the center of the Conversion of St. Paul
DeV, no. 736); M. 2268, Portrait of Petrus Pagna of the Ecole des Beaux-Arts (P1. 2).
in a Cartouche; M. 2260, Costume de ballet avec 25. A. Forlani Tempesti, 1973, no. 55.
panache de plumes, exhibited Paris, 1937, no. I4;
M. 2271, Deux vues de porte de mer, for the Divers 26. See in particular the Two Cavaliers Struggling, Inv.
Embarquements (DeV, no. 807). 5965 S. and the Battle on a Bridge, Inv. 6038 S,
preserved in the dated album of 1636 in the Uffizi.
14. Paris, Bibliotheque de l'fcole Nationale Superieure
27. F Viatte, 1974, no. 77; F Viatte, "Stefano della
des Beaux-Arts. Inv. Masson 2258. Pen and brown
Bella: Le Cinque Morti,' Arte Illustrata, V, I972,
ink, gray wash over black chalk. 19.I x 32.6 cm. no. 49, p. 20I.
15. F Borea, "Dipinti alla Petraia per don Lorenzo de' 28. Inv. no. 2404/56. E. Berckenhagen, Die Franzo-
Medici: Stefano della Bella, Vicenzo Mannozzi, il sischen Zeichnungen der Kunstbibliothek Berlin,
Volterrano, i Dandini e altri' Prospettiva, 2, 1975, Berlin, 1970, p. 90.
pp. 24-38.
29. Inv. 7979 F. Black chalk, pen and brown ink, 74.0 x
16. "Un quadro in tela dipintovi piu Tritoni e dei ma- 46.0 cm.
rini, con cavalli, si crede di mano di Stefanino della
Bella con ornamento tutto dorato alto bracci due e 30. M. Catelli Isola, Disegni di Stefano della Bella
un mezzo largo tre,' Borea, op. cit., p. 37, note 41. dalle collezioni del Gabinetto Nazionale delle
A pen drawing in Berlin (Inv. KdZ I6513), stylis- Stampe, 1976, no. 109, repr.
tically suggestive of the years 1630-40, represents a 31. DeV., nos. 87-90; DeV., nos. 91-92; A. Forlani
winged sea god riding on a mount with the claws of
Tempesti, I973, nos. 55, 95-98.
an eagle and the tail of a Triton, which perhaps could
be associated with this canvas. 32. Inv. 42.239. F. Viatte, op. cit., 1972, p. 201, note 5.

17. "Un quadro dipintovi la Conversione di San Paolo 33. Inv. 42.238. F. Viatte, I972, note 112.
con piu'figure e cavalli, con ornamento tinto di rosso
34. Inv. F C. 127608. M. Catelli Isola, op. cit., 1976,
all'indina rabescato e filettato d'oro alto bracci due
no. 107, repr.
largo tre di mano di Stefanino' Borea, loc. cit.
35. Leningrad, Hermitage, Inv. 42.240. Pen and brown
18. Inv. 279 P A. Forlani Tempesti, Mostra di Incisioni ink. 14.0 x 12.0 cm.
di Stefano della Bella, Florence, 1973, p. 9; E. Borea,
1975, p. 27 and note 31. 36. F. Viatte, I972, p. 202, note 23.

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NOTES 37. See in particular the Death on a Battlefield in the (F. W. H. Hollstein, Dutch and Flemish Etchings,
Louvre, Inv. 5034. Pen and brown ink, brown wash, Engravings and Woodcuts, iII, p. 162). We are most
heightened in gold, which offers a very curious pre- grateful to J. Foucart for calling attention to this
sentation of Death represented as Wind (Fig. 4). relation with the painting of Andries Both.
38. H. Langdon, "Salvator Rosa in Florence, I640- 49. Oxford, Ashmolean Museum. Pen and brown ink,
I649, Apollo, I974, pp. I95-97; U. Ruggeri, black chalk, gray wash. 14. I 27. cm. K. T Parker,
"Disegni del Grechetto" Critica d'Arte, XL, no. 139, Catalogue of the Collection of Drawings in the Ash-
I975, PP 33-43. molean Museum, II: Italian Schools, 1956, no. 789.
Another drawing representing a procession of tur-
39. Concerning this series of etchings by Filippo Napo-
baned cavaliers escorted by dwarfs carrying pikes
letano, see G. Gabrielli in Maso Finiguerra, Iv, was exhibited at Colnaghi's in I969 (May-June
1939, pp. 253-60. The two drawings in the Alber-
tina representing the Death as a Standard-Bearer, 969, no. 17 of the catalogue), but we do not know
its present whereabouts.
and Death Holding a Bow in Hand are more likely
to be related to this series by Filippo Napoletano 50. New York, Private Collection. Pen and brown ink,
than Della Bella, as we have suggested (repr. F
gray wash. I3.5 x 23.7 cm. Formerly F Stonor Col-
Viatte, 1972, note 17, figs. I6 and 17). Marco lection. Sale, London, Sotheby's, March 27, I969,
Chiarini suggests that these are copies by Della Bella no. 43, repr.
after the prints by Filippo Napoletano.
51. London, Victoria and Albert Museum, E. 514- I 939.
40. With Colnaghi's in London in June-July, 1964, Black chalk, pen and brown ink, gray wash. At-
no. 40. Pen and brown ink, gray wash, over a sketch tributed there to Baccio del Bianco, but the style is
in black chalk; the oval indicated in black chalk and that of Della Bella. The catalogue of the London
reinforced in pen. I7.9 x I4.3 cm. sale mentions, under no. 84, a series of similar sub-
41. A. Forlani Tempesti, 1973, no. 96, fig. 93. jects by Baccio del Bianco who, according to Baldi-
nucci, did execute "storiette piacevoli, caramoogi e
42. Inv. FC. 126034. M. Catelli Isola, I976, no. 108, ritratti di persone con disegno caricato"(see M. Gre-
repr. gori, 196I, p. 402, figs. 192b and d.).
43. M. Gregori, "Nuovi accertamenti in Toscana sulla 52. See F Viatte, 1972, no. 39 ff.
pittura Caricata e Giocosa,' Arte Antica e Moderna,
53. I think particularly of the portrait of Horace Gon-
196I, pp. 400-16.
zales (De V, no. 35) and the frontispiece to the
44. P Meller has recently attributed to Francesco del Oeuvres de Scarron (DeV, no. 951), or to the fron-
Cossa a group of drawings of dwarfs formerly given tispiece of the comedy Li Buffoni, comedia ridicola
to Quentin Massys: "Drawings by Francesco Cossa of Martherita Costa (DeV., no. 934).
in the Uffizi, Master Drawings, IIi, I, 1965, pp.
54. De V, no. 843. On the necessary connection be-
3-20.
tween the dwarf and the giant, see E. Tietze-Conrat,
45. Catalogue of Drawings by Old Masters of the Ital- Dwarfs and Jesters in Art, London, 1957 and M. E
ian, Dutch and French Schools. The Property of a Christout, Le Merveilleux et le theitre du silence,
Nobleman. Sale, London, Sotheby's, Feb. I9, 1930, Paris, 1965, p. 133. It is perhaps interesting to note
no. 83. that on the walls of this same villa of Pratolino, Gio-
46. London, Private Collection. Pen and brown ink, vanni da San Giovanni had shortly before repre-
sented Gianni, the Grand Duke's dwarf, as a satyr
heightened with gray wash. i8.o x 27.8 cm.
attached to a tree and mutilated by nymphs. E.
47. New York, Private Collection. Inscribed: "Le Ma- Tietze-Conrat recalls that the name Morgante given
raviglie del Mondo Nuovo' Black chalk and gray to the dwarf painted by Bronzino was that of a giant
wash, pen and brown ink. 8.o x 28.2 cm. Formerly in the Histoire de Roland. Bronzino's painting was
C. R. Rudolf Collection; Exhibition of Old Master kept in the Sala dei Nani of Buontalenti's Palazzo
Drawings, London, Colnaghi's, May-June 1957, no. Nonfinito (today the Anthropological Museum of
18; sale, London, Sotheby's, June 26, 1969, no. I70. Florence).
48. See the Marchand d'amulettes from the Butot Col- 55. Paris-New York, E. Schapiro Collection. Tourna-
lection, shown at the Boymans Museum in 1973, ment Scene. Pen and brown ink, gray wash. 17.7 x
and the series of Five Senses engraved by Jan Both 29.5 cm.; Hunt with a Falcon. Pen and brown ink,

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 gray wash, over sketches in black chalk. 4.5 x 25.4 65. SalvatorRosa,duringhis stay in Florence,actedin NOTES
cm.; Fruit Vendors (?). Pen and brown ink, gray theCommediadell'Arteplayingthe rolesof Caviello
wash, over sketches in black chalk. 18.0 x 27.5 cm. and of Pascariello(H. Acton, Gli ultimi Medici,
Annotation in red chalk on verso, Stef. della Bella.; Turin, 1962, p. 21).
Street Singers. Same technique. 18.2 x 26.0 cm.
66. DeV., no. o059.
Annotation in red chalk on verso, Stef. della Bella.;
A Miller. Same technique. 17.4 x 27.5 cm. Annota- 67. Compendio dell'Armide. Caramoggi d'Ant. Franc.
tion in red chalk on verso, Stef. della Bella.; An Lucini in Firenze. An. M.D.C. XXVII. F.L.D.
Ambush. Same technique. 20.4 x 28.2 cm. On the Ciatres excud. (Paris, Bibliotheque Nationale, Cabi-
verso is a sketch of the same subject and the annota- net des Estampes, Res. Tf. I. Fol. pp. 97-99).
tion, Stef. della Be. . . in red chalk.
68. Paris, Bibliotheque Nationale, Cabinet des Es-
56. See Phyllis Dearborn Massar, "Costume Drawings tampes, S.nr. 124, no. 489I. Etching. Inscribed:
by Stefano della Bella for the Florentine Theater' S. D. Bella In, G. Manni scul.
Master Drawings, vIIi, 3, 1970, pls. 4a-9.

57. De. V, nos. 152-55. Stefano della Bella. Catalogue

raisonne by Alexandre de Vesme, with Introduction
and Additions by Phyllis Dearborn Massar, New
York, 197I, pp. 72-73. Massar agrees with De
Vesme's doubts as to the attribution of this series to
Scenesfora CalderonPlay
Della Bella, suggesting the possibility of giving it to
Collignon. by BacciodelBianco
58. Somewhat in the same spirit, in France, Louis XIV
favored the installation in I677 in the Theatre du Phyllis Massar
Dearborn
Marais of a Troupe Royale des Pygmees consisting
of wooden marionettes.
59. Study for the frontispiece of the Gobbi, repr. J. THE FLORENTINE Baccio del Bianco
draughtsman
Lieure, Jacques Callot. Catalogue de l'ceuvre grave,
(1604-1657) is the author of eleven drawings illus-
I, La Vie Artistique, Paris, I929, fig. 76. See also
the Gobbi musiciens, engraved by Valerio Spada, trating a presentation manuscript of a Calder6n play,
repr. Lieure, figs. 283-84. Andromeda y Perseo, MS Typ 258H, Houghton

60. A. Solerti, Musica, Ballo e Drammatica alla Corte Library, Harvard University, gift of Philip Hofer.
Medicea dal i600 al 1637, Florence, 1905, second All eleven are signed, thus augmenting secure at-
edition, New York, 1968, p. 197. tributions to Baccio. Cited only in the 1948 Landau
61. Vol. x. I645-59. P Dearborn Massar, op. cit., p. 73. sale catalogue and in a I958 catalogue of illuminated
and calligraphic manuscripts, the drawings have
62. "I635. A di 20 detto (febbraio) martedi del Carne-
never been fully published, nor has the text of the
vali S.A. il Giorno fece fare una Giostra da' Cara-
moggi che fu bellissima e ridicolosa, e la sera un play been ascribed to Calderon.1
festina da ballo in palazzo" (Solerti, p. 195; P Dear- These theater drawings by Baccio are the only
born Massar, op. cit., p. 73). The Bibliotheque de group which can presently be connected with his
l'cole des Beaux-Arts preserves a drawing repre- career in Spain (he died in Madrid in 1657, six years
senting, in a cartouche, a joust of dwarfs in a circu- after his arrival there), and also the latest of his draw-
lar square with a procession of floats and monsters
which could be related to this carnival. The attribu- ings known. Sent to Madrid at the request of Phil-
tion to Della Bella remains, however, hypothetical ip IV by the Tuscan Grand Duke, Ferdinand II
(Inv. 0 1626. Fig. 9). de'Medici, in i651, Del Bianco was wvell-known as a
63. De V., nos. 1061-79. theater engineer (in our terms, a stage designer and
technical director), and as an inventor of theatrical
64. G. Campori, Raccolta di cataloghi ed inventari ine-
diti di quadri, statue, disegni . . ., Modena, machines. Baldinucci praised him highly as a de-
i870,
pp. 521-96: "Descrizione dei disegni della Galleria signer of costumes, and an inventor of both theatrical
Gabburri in Firenze.: machines and perspective scenery.2

[365]

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PlateI STEFANO DELLA BELLA. Figure of Fame.

Paris,PrivateCollection.(347)

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Plate2 STEFANO DELLA BELLA. The Conversionof St. Paul.

Paris, Bibliothaque de l'Scole des Beaux-Arts. (350)

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 Plate3a
STEFANO DELLA BELLA.
BlackCavalier.
Florence, Uffzi, Gabinetto
Disegni e Stampe. (350)

Plate3b
STEFANO DELLA BELLA.
LionAttacking
TwoHorsemen.
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Kupferstichkabinett. (350)

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 Plate4a
STEFANO DELLA BELLA.
TigerHunt.
Frankfort,Stidelsches
Kunstinstitut. (351)

Plate4b
STEFANO DELLA BELLA.
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Plate5 STEFANO DELLA BELLA. Design for a Sword Hilt.

Berlin, Kunstbibliothek. (352)

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Plate6 STEFANO DELLA BELLA. Death as a Horseman.

Leningrad, Hermitage. (352)

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Plate7 STEFANO DELLA BELLA. Death Carryinga Child.

Leningrad, Hermitage. (352)

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Plate8 STEFANO DELLA BELLA. Death Pursuing a Young Man.

PrivateCollection.(353)

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STEFANO DELLA BELLA.
DeathPursuinga Woman.
Leningrad,Hermitage.(352)

Plategb
STEFANO DELLA BELLA.
DeathPursuinga YoungMan.
Rome, Gabinetto Nacionale delle
Stampe. (354)

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PlateJo STEFANO DELLA BELLA. A Puppet Show.

London, Private Collection. (355)

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PlateIn STEFANO DELLA BELLA. "Le Maravigliedel Mondo nuovo'

New York,PrivateCollection.(355)

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Plate12 STEFANO DELLA BELLA. Parade of Dwarf Soldiers.

Oxford, Ashmolean Museum. (355)

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Plate13 STEFANO DELLA BELLA. An Oriental Audience.

New York, Private Collection. (355)

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Plate14 STEFANO DELLA BELLA. Dwarfs'Ball Game.

London, Victoria and Albert Museum. (355)

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Paris, E. $chapiro Collection. (356)

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Platei6 STEFANO DELLA BELLA. Dwarf Falconers.

Paris, E. Schapiro Collection. (356)

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Plate1 STEFANO DELLA BELLA. DwarfKnifeSharpener.

Paris, E. Schapiro Collection. (356)

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Plate 20 STEFANO DELLA BELLA. Dwarf Ambushers.

Paris,E. SchapiroCollection.(356)

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Vos, Maarten de. 51-54 West, Benjamin. 40I-03, fig. I, pls. 48-49
Wark, Robert R.: Drawings by Thomas Rowlandson in the White, Christopher J. 185-88 (REVIEWS)
Huntington Collection. Review. 55-58 Williams College, Graduate Program in the History of Art.
Washington, D.C., National Gallery of Art, Ailsa Mellon 403-17 (review)
Bruce Fund. 394-98, figs. 7, 9, I (Piranesi) Windsor Castle, Royal Library. 269-78, pls. 28-45 (Wind-
, Rosenwald coll. 388-99, figs. 3-4, 13 (Piranesi) sor design book); 4I , pl. 46 (Rubens)
, Private coll. 36, pl. 30 (Zanetti) Wtewael, Joachim. 16-21, figs. I-3, pl. 16
Weimar, Goethe-Nationalmuseum. 375-87, pls. 32, 39, 42- Zanetti, Anton Maria, the Younger. 31-44, figs. 1-4, pl. 30
45 (Van de Velde the Younger), 40-41 (Van de Velde the Zeichnungen aus der Ermitage zu Leningrad. Review. I86
Elder)

ERRATA
No. I: Page i , line 31, for "is" read "it";Page 159, line 36, line 7, for "(P1. I8)" read "(P1. 33b)'
for "(P1. 6)" read "(Pl. I6)" No. 3: Plate 3, add "Paolo Veronese" to the caption.
No. 2: Plate 21, caption, for "book" read "block"; Page 170, No. 4: Plate gb, caption, for "Nacionale" read "Nazionale'

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