A cartouche with armor, a skull with armor and a helmet with feathers at top, from 'Eight Emblems for the Funeral of Francesco de Medici' (Huit emblèmes pour les funérailles du prince François de Médicis) 1640 - 1660

Curator: This etching by Stefano della Bella, dating roughly from 1640 to 1660, is titled 'A cartouche with armor, a skull with armor and a helmet with feathers at top, from 'Eight Emblems for the Funeral of Francesco de Medici'. Editor: Immediately, I’m struck by its intricate detail. The density of the lines, the baroque exuberance—it's like a visual feast. A bit morbid, perhaps, with the skull perched at the top. Curator: Indeed. This print served as one of eight emblems commissioned for the funeral of Francesco de Medici. Della Bella, known for his exquisite draftsmanship, captured the pomp and solemnity of the occasion through carefully crafted symbols of mortality and nobility. Editor: Nobility being very literal, judging by the layers of armor and the proud inscription. I'm fascinated by the juxtaposition of the stern war symbols against the decorative, almost frivolous flourishes of the cartouche itself. What kind of materials were used? Curator: The artwork’s execution relies on the skillful application of etching and engraving techniques to printmaking, allowing for detailed replication. Consider that these prints would have been disseminated widely, acting as both memorial and political statement concerning the Medici legacy. Editor: It is curious that an etching of armor can become a reflection on Medici legacy. But perhaps the medium is not a message in itself; instead, it reveals larger considerations like the labor, printmaking industry, the role of the patron and his funeral! Curator: Precisely. The creation and consumption of these prints speak volumes about social structures. The symbolic armour worn by death hints not only at Medici’s power, but more broadly on the endless production cycle. Editor: It pushes us to read past the immediate subject matter. It encourages questions about labor.   Curator: Yes! Looking closer at the production it moves us beyond face value of vanitas. Editor: I now see more, thank you. The emblem becomes something more.