Book contents
- Frontmatter
- Dedication
- Contents
- Illustrations
- Abbreviations
- Acknowledgements
- Introduction: Cardinals and their Images
- Part I Individuality and Identity: Florence and Rome
- Part II Divided Loyalties: Venice and Rome
- Part III Collecting and Display: Portraits and Worldly Goods
- Part IV Post-Tridentine Piety: The Devout Cardinal
- Conclusion: Cardinal Portraits beyond Italy
- Index
- Plate Section
10 - Group Portraits of Cardinal Bembo and his Friends in the Wake of Trent
Published online by Cambridge University Press: 19 October 2021
- Frontmatter
- Dedication
- Contents
- Illustrations
- Abbreviations
- Acknowledgements
- Introduction: Cardinals and their Images
- Part I Individuality and Identity: Florence and Rome
- Part II Divided Loyalties: Venice and Rome
- Part III Collecting and Display: Portraits and Worldly Goods
- Part IV Post-Tridentine Piety: The Devout Cardinal
- Conclusion: Cardinal Portraits beyond Italy
- Index
- Plate Section
Summary
Abstract
Despite being primarily famous as a poet and literary theorist, Pietro Bembo's visual legacy is dominated by images of him as an aged cardinal. The majority of these images of Cardinal Bembo were produced posthumously, and several representations occur in group portraits including cardinals affiliated with Paul III's programme of ecclesiastical reform; many of these individuals were Bembo's closest friends at the papal court. Exploring the important place that Bembo assumed within the Roman Curia during his cardinalate, and his association with the group known as the spirituali, this essay will consider how cardinal portraiture could be used to articulate visually a particular agenda of church reform.
Keywords: Pietro Bembo; Jacopo Sadoleto; Reginald Pole; Council of Trent; Caprarola
In 1543, Anton Francesco Doni visited Paolo Giovio's villa in Como. He subsequently wrote a letter to Pietro Bembo's godson, Agostino Landi, which included an ekphrastic description of a fresco in the villa depicting Mount Parnassus. Unlike Raphael's famous version, Giovio's Parnassus did not include ancient poets, and, with the exception of Dante, Petrarch, and Boccaccio, all the literary figures depicted were contemporaries. Central among them it is hardly surprising to find Pietro Bembo himself. By this stage Bembo's status as a writer and literaryfigure was canonical, almost to the point of deification among his followers. His name was often preceded by the epithet ‘il divino’, used also in reference to other cultural giants like Michelangelo. Bembo had figured prominently in several poetic descriptions of Parnassus, including those composed by Lodovico Dolce and Pietro Aretino. Yet his appearance in Giovio's fresco is novel in that, rather than an Apollo-like, resplendent figure, Doni specifies that Bembo is ‘vestito da cardinale’ (dressed as a cardinal), paired with his old friend from the court of Leo X, Jacopo Sadoleto, riding mules in the custom of churchmen. This visual pairing of Sadoleto and Bembo was to gain a certain currency, recurring in other fresco cycles, and evokes a particular moment in Pauline Rome in the years surrounding the convocation of the Council of Trent in 1545.
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- Portrait Cultures of the Early Modern Cardinal , pp. 261 - 284Publisher: Amsterdam University PressPrint publication year: 2021