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Funeral of Prince Francesco de' Medici

Stefano della Bella

Basic information

ID: Г-IV-857
Author: Stefano della Bella
Name: Funeral of Prince Francesco de' Medici
Country: Italy
Technique: etching
Material: paper on cardboard
Dimensions: 29.2 x 21 cm (height x width)

Additionally

Type: graphic art
Genre: history painting
Provenance: Received from the Lviv Historical Museum, 1954

Information about author

Author: Stefano della Bella
Author in the original: Stefano della Bella
Artist's lifetime: 1610–1644
Country: Italy
Biography: Stefano della Bella (Italian: Stefano della Bella; 1610, Florence – 1664, ibid.). A prominent Italian artist, engraver and etcher of the Early Baroque period, Stefano della Bella was one of the most prolific European printmakers of the 17th century. Following the untimely death of his father, the youth began training in a goldsmith's workshop. Around 1623, he moved to the workshop of the engraver Orazio Vanni, where he mastered the basic techniques of printmaking. Later, he refined his etching technique in the workshop of Remigio Cantagallina – the mentor of the famous French master Jacques Callot. Copying Callot's works significantly influenced the formation of della Bella's own refined artistic style.
During this same period, the artist secured the patronage of the Medici family, who supported him throughout his life. In 1633–1639, funded by his primary patron, Prince Lorenzo de' Medici (uncle of Ferdinand de' Medici, Grand Duke of Tuscany), the artist lived and studied in Rome. There, he immediately received major commissions and made numerous sketches of park ensembles, villas, palaces and ancient ruins, which he later incorporated into his engravings.In Rome, della Bella met the French printmakers Israel Henriet and François Langlois, thanks to whom he moved to Paris in 1639. In France, the artist quickly achieved immense popularity, establishing close and successful collaborations with them, as well as with the leading Parisian publisher Pierre Mariette. His etchings were in high demand among European collectors. In 1650, due to anti-Italian unrest in France (the Fronde), the engraver returned to his native Florence. During this late period, he significantly diversified his favourite themes, creating a series of hunting scenes, landscapes with Roman ruins and detailed depictions of horsemen.
Over his lifetime, Stefano della Bella created more than a thousand unique etchings and thousands of drawings. He worked across battle, landscape, animal, ornamental and genre scenes, capturing the events of his time with documentary precision – from the lavish theatrical pageants of the Florentine nobility to the harsh realities of the Thirty Years' War and the everyday street life of European cities. He became famous for his jewelry-fine, filigree-detailed miniature works.

Object description

The artwork is dedicated to the solemn funeral of the young Tuscan Prince Francesco de' Medici (1614–1634), who died of the plague during the siege of an enemy city during the Thirty Years' War. As the war prevented his body from being immediately transported to Florence, a symbolic yet official funeral was held in the Church of Saint Lawrence (Basilica of San Lorenzo).
The interior of the nave was completely transfigured. Each column was adorned with monumental figures of skeletons as symbols of death and the transience of time. Near the altar, a complex architectural structure was erected – a sarcophagus-cenotaph surrounded by hundreds of candles, alongside religious and military attributes. To honour the memory of his brother's funeral, Grand Duke of Tuscany Ferdinand II ordered the publication of a special commemorative mourning book titled "Esequie del Serenissimo Principe Francesco, celebrate in Fiorenza dal Serenissimo Ferdinando II Granduca di Toscana suo fratello" – [Funeral of His Serene Highness Prince Francesco, Celebrated in Florence by His Serene Highness Ferdinand II, Grand Duke of Tuscany, His Brother]. The text was authored by Andrea Cavalcanti. Stefano della Bella created a series of detailed engravings that documented the appearance of this ceremony and served as illustrations for the book.
This engraving depicts the interior of Basilica of San Lorenzo from an elevated perspective, overlooking the symbolic tomb. The Medici family coat of arms is featured at the top centre. Walls and every column are adorned with draped sculptures and skeletal figures. Flanking the nave, a large procession composed of Tuscan nobility and clergy moves towards the sarcophagus. The foreground centre depicts three figures viewing the interior with astonishment. Nearby, a female figure and two dogs are visible near the entrance. Subsequently, the remains of Prince Francesco were laid to rest in the family sepulchre – the Medici Chapel, which is located within the same Basilica of San Lorenzo.

Inscriptions

The author's initials at the bottom right of the sheet, underneath the print: "SDB" (D encompasses the letters on both sides). On the backing cardboard, underneath the sheet on the left, there is a label with a seal of Lviv Historical Museum and a numbered stamp; above it, Lviv National Art Gallery inventory number in pencil: "№ Г-IV-857/ ЛДКГ".

Legal regulation

Borys Voznytskyi Lviv National Art Gallery

Funeral of Prince Francesco de' Medici

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