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The Bembo Collection, and Evocations of Noniano
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Chapter 7 focuses on Pietro Bembo’s renown as a collector of antiquities, books, manuscripts, contemporary art, and scientific instrumentation. De Aetna’s relevance to this topic lies partly in its credentials as a work of naturalist collection in itself, recording the physical and topographical features that Pietro encountered on Etna. The chapter further explores the ways in which, later in his life, De Aetna is nostalgically evoked in the material arts. The main exhibits are the portrait medal Pietro commissioned in the early 1530s from the eminent Valerio Belli, and two portraits of Cardinal Bembo by Titian. The chapter also considers the controversial case of Giovanni Bellini’s Portrait of a Young Man of c. 1505, not to argue that Bellini’s sitter in this painting is in fact Pietro, but rather to illustrate the interplay claimed for De Aetna between its content and form, its typeface and verbal portraiture.
Title: The Bembo Collection, and Evocations of Noniano
Description:
Chapter 7 focuses on Pietro Bembo’s renown as a collector of antiquities, books, manuscripts, contemporary art, and scientific instrumentation.
De Aetna’s relevance to this topic lies partly in its credentials as a work of naturalist collection in itself, recording the physical and topographical features that Pietro encountered on Etna.
The chapter further explores the ways in which, later in his life, De Aetna is nostalgically evoked in the material arts.
The main exhibits are the portrait medal Pietro commissioned in the early 1530s from the eminent Valerio Belli, and two portraits of Cardinal Bembo by Titian.
The chapter also considers the controversial case of Giovanni Bellini’s Portrait of a Young Man of c.
1505, not to argue that Bellini’s sitter in this painting is in fact Pietro, but rather to illustrate the interplay claimed for De Aetna between its content and form, its typeface and verbal portraiture.
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