Royal Academy of Arts
Not long before the Montagues and the Capulets were battling it out in Verona, the Brembati and the Albani were having their own problems 70 miles away in Bergamo. The Brembati-Albani clash involved fewer star-crossed lovers and vials of poison, however, and instead turned on its protagonists’ opposing loyalties to Spanish or Venetian rule. But if the Bergamo feud was less romantic than its Veronese equivalent, its end was no less bloody, and, in 1563, one of the Albani family’s servants killed Count Achille Brembati as he prayed in the city’s Church of Santa Maria Maggiore. After the murder, the Albani were forced to leave Bergamo forever; but today the two families have been reunited on the walls of the Royal Academy, where they again come face to face as part of Giovanni Battista Moroni. Moroni was Bergamo’s leading painter at the height of the Brembati-Albani dispute, and by the mid-1550s had cornered the portrait market of the city’s high and mighty. But mindful of his next commission, he was not one for taking sides: in 1553 he painted Isotta Brembati, two years later he was painting Lucia Albani and her husband, Faustino Avogadro, then in 1560 he took on Gian Gerolamo Grumelli, who soon after married Isotta.
Isotta and Lucia hang opposite one another. Resplendent in their Sunday best outfits, they drip with jewels, holding their fancy fans. The aim is clear: to look as important and as rich as possible, and Moroni has risen to the challenge. Who can miss the pink and white Ostrich feathers of Isotta’s fan, the golden-faced ermine around her neck, or the splendour of Lucia’s gold-shot silk? The portraits of the husbands are no less flamboyant: Faustino is in his military gear, an enormous feather poking from his hat and an even more enormous plumage rising from the shiny helmet by his side, which must have seen as many battles as Lucia’s golden fan. Not to be outdone, Gian Gerolamo is head-to-toe in pink, and holds a sword so long it cannot fit in the picture. Continue reading