Plate 3: a procession of horse-drawn cannons, riding to the right, a horse-drawn cannon to the right seen from the back, from 'Troops, cannons, and attacks on towns' (Dessins de quelques conduites de troupes, canons, et ataques de villes) 1635 - 1645

Editor: So this is Stefano della Bella's "Plate 3: a procession of horse-drawn cannons" created around 1635 to 1645 using pen, ink, and engraving. It feels like a document, illustrating war, not romanticizing it. What strikes you about it? Curator: Considering the date, I immediately think about the material cost involved. Pen and ink were relatively accessible, of course, but the engraving process indicates a desire for reproducibility, for distribution. It’s about disseminating information about military technology. Editor: So, you see it less as art for art’s sake and more about…military strategy? Curator: Not just strategy, but the industrial aspect of war. Look at the meticulous detail on the cannons. Della Bella isn’t just depicting war; he's cataloging the tools and infrastructure of early modern conflict. What was the process of obtaining the horses? Who managed the gunpowder production? Editor: I guess I hadn't considered the logistics, just the grand scene. The labor involved must have been extensive. How does viewing it this way change how we perceive it? Curator: It forces us to confront the human element within the machine of war. We are not just looking at some heroic representation, but the fruits of labor, resources, and social structures needed for cannons and horses to move across a battlefield. The landscape almost becomes a backdrop for examining this machine and its operators. Editor: That makes me see the image in a whole new light. I appreciate your perspective! Curator: And I, yours. Seeing this from a compositional viewpoint reminds me to step away from materials sometimes and notice structure. Thank you.