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Image from page 178 of "Trattato della pittura" (1792)
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Identifier: trattatopitturad00leon.Title: Trattato della pittura ( ...internetarchivebookimages/tags/bookidtrattatopitturad00leon ) .Year: 1792 ( ...internetarchivebookimages/tags/bookyear1792 ) (1790s ( ...internetarchivebookimages/tags/bookdecade1790 ) ).Authors: Leonardo, da Vinci, 1452-1519 ( ...internetarchivebookimages/tags/bookauthorLeonardo__da_Vinci__1452_1519 ) .Subjects: Leonardo, da Vinci, 1452-1519 ( ...internetarchivebookimages/tags/booksubjectLeonardo__da_Vinci__1452_1519 ) Della Bella, Stefano, 1610-1664 ( ...internetarchivebookimages/tags/booksubjectDella_Bella__Stefano__1610_1664 ) Painting ( ...internetarchivebookimages/tags/booksubjectPainting ) Drawing ( ...internetarchivebookimages/tags/booksubjectDrawing ) Perspective ( ...internetarchivebookimages/tags/booksubjectPerspective ) .Publisher: Firenze : Presso Giovacchino Pagani libraio e Iacopo Graziole stampatore ( ...internetarchivebookimages/tags/bookpublisherFirenze___Presso_Giovacchino_Pagani_libraio_e_Iacopo_Graziole_stampatore ) .Contributing Library: University of California Libraries ( ...internetarchivebookimages/tags/bookcontributorUniversity_of_California_Libraries ) .Digitizing Sponsor: Internet Archive ( ...internetarchivebookimages/tags/booksponsorInternet_Archive ) ...View Book Page: Book Viewer ( stream/trattatopitturad00leon/trattatopitturad00leon#page/n178/mode/1up ) .About This Book: Catalog Entry ( details/trattatopitturad00leon ) .View All Images: All Images From Book ( ...internetarchivebookimages/tags/bookidtrattatopitturad00leon ) ..Click here to view book online ( stream/trattatopitturad00leon/trattatopitturad00leon#page/n178/mode/1up ) to see this illustration in context in a browseable online version of this book....Text Appearing Before Image:...Text Appearing After Image:.89 INDICE DE CAPITOLI DI QUESTO TRATTATO. Q Cat. I. y^ Vello che dee prima imparare il giovane. Quale studio debbe essere né giovani.III. Qual regola si deve dare aputti pittori,IV. Noti:^ia del giovane disposso alla pit:ura . V. Precetto al Pittore.TI. In che modo dee il giovane procedere nel suo stud^ l,TU. Del modo di studiare .VITI. Avvertimtnto al pittore , IX. Precetto al pittore universale,X. Come il pittore debbe essere universale.XI. Precetto al pittare.XII. Precetto come sopra .XIII. Precetto dello schi:^-^ixre istorie e figure:XIV. Del correggere gli errori che tu scuopri. XT. Del giudico.XVI. Modo di destare l ingegno a varie invenzioni.XTII. Dello studiare insino quando tu ti desti, o prima che tu ti addormenti allo scuro.XVIII. Che si dee prima imparare la diligenza che la presta praticaiXIX. Come il pittore debbe esser vago di udire il giudizio di ognuno.XX. Che r uomo non si dee fidarsi tanto di sé j che non veggadal naturale .XX ». Delle varietà delle figure .XX11.
Drawings by Leonardo Da Vinci.
Florentine artist Stefano Della Bella was among the best etchers of the Italian Baroque. He created about 1,050 prints and thousands of drawings. His earlier work was greatly influenced by the French Jacques Callot (1592-1635) who worked for the court of the Medici. Three of Stefano’s older brothers were artists. Della Bella probably learned etching from Remigio Cantagallina (1582/3-1656), who had been Callot’s teacher. Della Bella’s earliest prints date from around 1627. Della Bella received the patronage and a stipend from Lorenzo de’ Medici and studied in Rome. In 1639 he journeyed to Paris where Della Bella collected prints by Northern European artists, copied works by Rembrandt. He received commissions from Cardinals Richelieu and Mazarin. His prints were innovative, seeming to look forward to the Rococo. Della Bella also engraved views of Paris. He visited Amsterdam in 1647. French anti-Italian feeling during the Fronde and the death of Mazarin during the late 1640s led to della Bella’s return to Florence. Della Bella produced some of his best work after his return. Della Bella is known to have illustrated some discoveries for Galileo and depicted Hansken the famous elephant, when dead. In his final years, he produced a number of prints experimenting with tonal effects attempting to achieve drawing effects in etching. In 1661 he appears to have suffered a stroke, after which he produced little work.
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