pdf - Fondazione Internazionale Menarini
Transcript
pdf - Fondazione Internazionale Menarini
n° 377 - ottobre 2016 © Tutti i diritti sono riservati Fondazione Internazionale Menarini - è vietata la riproduzione anche parziale dei testi e delle fotografie Direttore Responsabile Lorenzo Gualtieri - Redazione, corrispondenza: «Minuti» Edificio L - Strada 6 - Centro Direzionale Milanofiori I-20089 Rozzano (Milan, Italy) www.fondazione-menarini.it The Five Centuries of Orlando’s ‘Fury Oliphant known as ‘Roland’s Horn’ Toulouse, Musée Paul-Dupuy Ferrara celebrates the 500th anniversary of the publication of Ludovico Ariosto’s masterpiece with a series of special events Giorgione (attr.): Warrior with Equerry, also known as ‘Il Gattamelata’ Florence, Galleria degli Uffizi i ‘As to every poet what may chance — Or fate allot as a private doom — He travelled the roads of Ferrara And, at the same time, walked the moon.’ (Jorge Luis Borges, ‘Ariosto and the Arabs’ from Dreamtigers) On 22 April 1516, a workshop in Ferrara finished the print run of Orlando Furioso, a work that has become a symbol of the Italian Renaissance. On the five-hundredth anniversary of the poem’s publication, Ferrara is celebrating with an original exhibition at Palazzo dei Diamanti from 24 September 2016 to 8 January 2017. Orlando Furioso 500 Anni. Cosa vedeva Ariosto quando chiudeva gli occhi brings together paintings, sculptures, tapestries, books, illuminated manuscripts, musical instruments, glazed ceramics, weapons, and rare artefacts to reconstruct the universe of imagery that fuelled Ludovico Ariosto’s imagination as he penned the episodes and brought to life the characters that compose that extraordinarily complex fresco that is Orlando Furioso. ‘O happy town! . . . / Even to such pitch thy glorious fame should rise, / Thou from all Italy wouldst bear the prize.’ Thus, in the pages of Orlando Furioso, does Ariosto – one of the greatest interpreters of early 16thcentury courtly culture – speak of Ferrara, where his family moved when he was ten from his native Reggio Emilia, and where he spent practically all of his life. After studying law, young Ludovico obtained his father’s permission to foray into literature; in a capital of Renaissance civilisa- 2 Andrea Mantegna: Minerva Expelling the Vices from the Garden of Virtue Paris, Louvre tion such as the Ferrara of the 15th and 16th century, he received a solidly-grounded humanist education – but after his father’s death he was forced to abandon his studies. Following a stint as secretary to Cardinal Ippolito d’Este, he entered the service of Duke Alfonso I, who entrusted him with writing for the court theatre. This rather light work left him the leisure to cultivate his vocation for poetry, and so was born Orlando Furioso, one of the immortal masterpieces of world literature. So what did the poet see, when he closed his eyes, as he wet his pen to scribe a narration of a battle, a duel between knights, the effects of a magic spell? Which artworks inspired the visions that found their way into the poem? These are questions to which the curators of the exhibition attempt to provide answers by matching the major plotlines and the iconographic sources that could have inspired such an intricate narrative abounding in events that interweave and overlap as though threads in a Renaissance tapestry. The exhibition is a guided tour through Orlando’s universe, its battles and tournaments, knights and romances, dreams and enchantments, along a path marked out by the works of the greatest artists of Ariosto’s time who, from Paolo Uccello to Andrea Mantegna, from Dosso Dossi to Leonardo da Vinci, from Michelangelo to Titian, bring Titian: The Bacchanal of the Andrians Madrid, Museo del Prado back to life the fabulous chivalric world of Orlando and its paladins and offer a vision of the Italy of the Renaissance courts in which the poem was conceived. The oliphant from Toulouse, rumoured by legend to be the horn blown by Roland at Roncevaux, is enveloped in an aura of mystery; the Uffizi’s Warrior with Equerry, attributed to Giorgione, is perhaps a portrait of the 15th-century soldier of fortune Gattamelata in a meditative pose, with a faraway expression; Perseus Freeing Andromeda by Piero di Cosimo, again from the Uffizi, may be the source of the episode in which Ruggiero saves Angelica from the dragon’s clutches (Ariosto viewed the works of this visionary Renaissance painter during his stays in Florence); from Andrea Mantegna’s busy Minerva Expelling the Vices from the Garden of Virtue, seen by Ariosto in Isabella d’Este’s camerino, may have come the poet’s inspiration for the parade of monstrous creatures met by Ruggiero in Alcina’s kingdom. Ariosto never ceased working on his poem: he had it reprinted in Ferrara in 1521, with slight alterations, and again, after a major revision, a few months before his death in 1532. The years between the first and third versions saw radical upsets on the political scene, beginning with Francesco I’s defeat at the Battle of Pavia (1525) which pulled the Po valley 3 courts into the political and cultural orbit of Charles V’s Spain; the figurative arts saw the rise of what Vasari called the ‘modern manner’, that broad-ranging artistic language whose highest representatives were Raphael and Michelangelo. Ariosto had the opportunity to take personal note of the evolution of pictorial language: he viewed the paintings by Michelangelo and Raphael that Alfonso I d’Este, Lord of Ferrara, admired and attempted to purchase, and he was directly involved in selection of the subjects of the works painted for Alfonso by such artists as Dosso and Titian, such as the latter’s Bacchanal of the Andrians. This masterpiece from Alfonso’s camerino delle pitture is back in Italy from Madrid’s Museo del Prado, on occasion of the exhibition, almost five hundred years after its creation. The painting must have been a source for the poet: while Botticelli’s idealised Venus would seem to inspire the figure of Angelica, described in the 1516 edition ‘With long and knotted tresses; to the eye / Not yellow gold with brighter lustre glow’, the verses that illustrate the sensual figure of Olimpia in the 1532 edition find pictorial correspondence in the nude Ariadne reclining in the foreground of Titian’s Bacchanal , which concludes the exhibition tour. In forty cantos, Orlando Furioso is a strange and wonderful fresco, the theatre of Ariosto’s song ‘of loves and ladies, knights and arms, . . . / of courtesies, and many a daring feat’; of a remote and fabulous world – and the poem was an instant, resounding success. Among the documents on show bearing witness to the vast echo aroused from the top, clockwise Piero di Cosimo: Perseus Freeing Andromeda - Florence, Galleria degli Uffizi Paolo Uccello: Saint George and the Dragon Paris, Musée Jacquemart-André Dosso Dossi: Melissa Rome, Galleria Borghese by the poem is a letter in which, in 1517 – just a year after the first edition – Niccolò Machiavelli complains of the fact that Ariosto, in a poem so ‘beautiful and in many parts marvellous’ , should have omitted naming him. Painted in 1518, Dosso Dossi’s Melissa is the first example of a pictorial representation of a character from Orlando: the court painter to Alfonso I d’Este depicts the sorceress Melissa inside the magic circle with the book and flame, the instruments used by that ‘same enchantress, still benign and wise’ to lift the spell cast by Alcina that had transformed the knights into flowers, trees and animals. Orlando is set in the 8th century and narrate the conflicts between Charlemagne’s empire and the Saracens who had invaded Spain. Ariosto’s interest in the Arab world is highlighted by several of the items on exhibit, da- pag. 4 ting to the same era as the poem, such as the sword of Boabdil – the last sultan of Granada, defeated by the forces of Isabella of Castile – and the first book printed in Arabic characters in Fano in 1514. One peculiar aspect of the fantastic world created by Ariosto is the poem’s imaginary geography. Italo Calvino wrote that Orlando Furioso is ‘an immense game of chess played on the map of the world’. And in Ferrara we find the monumental Carta del Cantino, a fixture in the Estense family’s collections from 1502: an enormous Portuguese planisphere that takes its name from Alberto Cantino, the Duke of Ferrara’s agent who successfully smuggled it to Italy. This world map illustrates several of the sites mentioned in Orlando, such as the Mountains of the Moon whence Astolfo commences his adventurous journey to recover Orlando’s lost wits. federico poletti