CAMERA DI OVIDIO O DELLE METAMORFOSI - Picture of Palazzo Te, Mantua
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However, in the manuscript illustration the Maenads are using stones instead of sticks to kill Orpheus. Positive and Negative Changes There are however two exceptions.
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A new scene was introduced in the edition of Agostini of Fig. Although most woodcuts in this edition are thematically similar to the ones from the edition, Orpheus is presented on his journey to hell, and not on his wedding day. He is playing his lira da braccio or violin in front of Pluto and Proserpina, while Eurydice is standing next to them.
This scene is described in a similar way by Agostini in his translation and may have been made especially for this edition. We would expect a third woodcut representing his murder, but this is missing. The fact that the murder scene is missing, and that Orpheus is represented playing to Pluto and to the animals, maybe indicates a more positive inclination towards Orpheus and the power of music. A negative interpretation of Orpheus can be found in the edition of Anguillara. This type of composition is completely new.
Instead, in the engraving in book ten Orpheus looks back at Eurydice, who is dragged back into hell by some infernal inhabitants Fig. In book eleven Orpheus is killed by women Fig. Does this mean that the artist chose to show only the negative sides of Orpheus? Die Textbegleitende Druckgraphik Berlin: The Metamorphosis of Orpheus of the positive scene of Orpheus and the animals with his mistake of turning around could indicate this.
Conclusion We can conclude that the Italian translations of the Metamorphoses neither show a constant image, nor a uniform development in the interpretation of Orpheus. Texts and woodcuts show separate developments, but they both keep turning back to prior examples. This positive allegorical commentary on the Orpheus myth was printed and reprinted several times at the end of the fifteenth and the start of the sixteenth century.
Afterwards, other editions with a more positive view of Orpheus appeared again. These differing views of Orpheus depend partly on the conflict between the admiration for ancient texts and the repugnance to pagan gods. The woodcuts hardly show any significant changes in the depiction of Orpheus, until the edition of Anguillara, which emphasises only the negative sides of Orpheus. Therefore, in the end the development of Orpheus demonstrates some kind of a metamorphosis, both in the texts and in the woodcuts.
Cambridge University Press, elaborates on the Renaissance problem of artists who on the one hand loved the classical examples, but on the other hand were appalled by paganism. Le Metamorfosi ridotte in ottava rima. In Ovidius moralizatus, Flemish manuscript, fifteenth century.
Edited by Erminia Ardissino. The Mirror of the Gods. Classical Mythology in Renaissance Art.
Le Metamorfosi di Ovidio
Tutti gli Libri de Ouidio Metamorphoseos. Cambridge University Press, Formen und Funktionen der Volkssprachlichen Wiedergabe klassischer Dichtung in der italienischen Renaissance. Harald Boldt Verlag, Ikonografisches Repertorium zu den Metamorphosen des Ovid. Untersuchungen und Texte, III.
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Storia e metastoria, edited by Mario Martelli. Raphaeli Regii in Metamorphosin Ovidii enarrationes. The Survival of the Pagan Gods.
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Princeton University Press, Giovvanni dei Bonsiignori, Ovidio metamorphoseo m os vulgare Ven nezia: Giovanni Zooane Rosso, Gioovanni dei Boonsignori, Ovid dio metamorphooseos vulgare Venezia: Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers.
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