Medioevi - Rivista di letterature e culture medievali
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The Creation of «Alexanderlied» and the Authors’ Use of Sources. The Apollonius Sequence
Full text linkABSTRACT: This paper aims at scrutinising the ties between the twelfth-century German poems on Alexander the Great and contemporary chronicles from the Levant by Fulcher of Chartres and William of Tyre. The key is the Apollonius allusion at the end of the Tyre episode in Lambrecht’s Alexanderlied, which opens a window on the manifold literary models involved in the creation of the Early Middle High German text. In the Tyre sequence, Alexanderlied diverges from the Pseudo-Callisthenes and Julius Valerius tradition and, according to its Old French relatives (namely, the different versions of the Roman d’Alexandre), follows Curtius. Curtius’s text represents the skeleton of its compilative achievement, which merges biblical and romance narrative themes and is characteristic of the contemporary preoccupation with overseas incidents. Alexanderlied, independent from its Old French relatives, encapsulates in the frame borrowed from Curtius the multi-authored Jewish-Christian legend of King Solomon, Sheba and King Hiram of Tyre (from the Book of Kings, Josephus and William Archbishop of Tyre), which puts the German poet on the trail of Apollonius.KEYWORDS: Lambrecht’s Alexanderlied – Historia Apollonii regis Tyri – Crusade Writing – Fulcher of Chartres – William of Tyre – Source Contamination
Sermoni e preghiere in versi in antico veronese. 1. «Dell’amore di Gesù» e «Del Giudizio universale». Edizione
Full text linkRIASSUNTO: Il presente contributo contiene un’edizione critica dei componimenti Dell’Amore di Gesù e Del Giudizio universale, due sermoni in versi redatti in antico veronese e databili a fine Duecento/inizio Trecento. Il testo critico è corredato da criteri di edizione, apparato e note editoriali.PAROLE-CHIAVE: Veronese antico – Edizione critica – Letteratura didatticomoraleggiante ABSTRACT: This article contains a critical edition of the texts Dell’Amore di Gesù e Del Giudizio universale, two sermons in verse written in Old Veronese and dated to between the end of the 13th and the beginning of the 14th century. The critical text is accompanied by editorial criteria, apparatus and editorial notes.KEYWORDS: Old Veronese – Critical edition – Didactic and moral literatur
Giulia Murgia, La “Tavola Ritonda” tra intrattenimento ed enciclopedismo, Roma, Sapienza Università Editrice, 2015
Full text linkRec. a Giulia Murgia, La “Tavola Ritonda” tra intrattenimento ed enciclopedismo, Roma, Sapienza Università Editrice, 2015
Alexandre le Grand ou le faux Frédéric II de Hohenstaufen dans les peintures murales du palais abbatial de San Zeno, à Vérone
Full text linkRÉSUMÉ : L’Auteur propose d’évaluer deux hypothèses concernant les peintures murales de la tour abbatiale de San Zeno à Vérone. F. Zuliani considérait, en suivant les anciennes études de G. Gerola, que les peintures représenteraient Frédérique ii de Hohenstaufen recevant l’hommage des peuples de la terre, assis son trône à Jérusalem en 1229. G. P. Marchi a pour autant identifié le même souverain avec le roi biblique Salomon recevant la visite de la Reine de Saba. L’A. considère à son tour que chacune des deux hypothèses est partiellement correcte : les fresques ont certainement un rapport avec l’empereur allemand – l’écu d’or portant l’aigle noir impérial, peint dans le coin Nord-ouest est un témoin avéré –, tout en étant inspirées par un thème d’origine biblique. L’analyse des groupes qui forment le cortège accompagnant le souverain montre que ce cortège est composé de Persans, Éthiopiens, Hébreux, Scythes, Chaldéens, hommes cornus, Pygmées et deux autres groupes inconnus. Ce regroupement de peuples se retrouve dans la légende d’Alexandre le Grand et la scène peut être identifiée avec le séjour de ce dernier à Babylon, tel qu’il a été raconté dans la Bible, au début du premier livre des Maccabées (1 Maccabées 1 : 1-6). L’A. croit que les peintures, faites sans doute pour Frédéric de Hohenstaufen, devraient lui rappeler que la gloire du monde était transitoire. La Roue de la Fortune, peinte sur la paroi Ouest de la même salle, soutient cette interprétation. La signification des peintures est alors celle d’indiquer à l’empereur allemand qu’il devait veiller avant tout au salut de son âme.MOTS-CLÉS : Peintures murales - Alexandre le Grand - Maccabées - Frédéric de Hohenstaufen. ABSTRACT : The Author assesses two hypotheses concerning the mural paintings of the San Zeno abbey tower in Verona. F. Zuliani followed the previous hypothesis of G. Gerola and considered that the paintings represent the German emperor Frederick ii sitting on his throne in Jerusalem in 1229, and receiving the homage of the peoples of the Earth. G. P. Marchi has nonetheless interpreted the same scene as the biblical king Solomon receiving the visit of the Queen of Sheba. The A. believes that both hypotheses are partially right: the frescoes do indeed have something in common with the German emperor, as proven by the presence of a golden coat of arms bearing the black imperial eagle in the North-Western corner of the room; but they are also inspired by a biblical storyline. While analyzing the attributes of the groups of worshippers forming the procession in the paintings, he noted that they could be identified as Persians, Ethiopians, Hebrews, Scythians, Chaldeans, horned men, Pygmies, and two other unidentifiable groups. This gathering of peoples corresponds to that presented in the legend of Alexander the Great, and the scene should be interpreted as the Macedonian’s passage through Babylon such as narrated in the Bible, at the beginning of the first Book of the Maccabees (1 Maccabees 1 : 1-6). The A. implies that the paintings were intended for Frederick ii. They were supposed to remind him that all earthly glory is short-lived. The Wheel of Fortune painted on the Western wall of the same hall supports this interpretation. The implication of the murals is clear: they hinted that the German emperor’s first preoccupation should have been that of saving his soul.KEYWORDS: Mural paintings - Alexander the Great - Maccabees - Frederick ii Hohenstaufe
Pierluigi Leone Gatti, Ovid in Antike und Mittelalter. Geschichte der philologischen Rezeption, Stuttgart, Franz Steiner Verlag, 2014
Full text linkAlberto Varvaro, Il latino e la formazione delle lingue romanze, Bologna, il Mulino, 2014
Full text linkRec. a Alberto Varvaro, Il latino e la formazione delle lingue romanze, Bologna, il Mulino, 2014
Unfolding the Cocharelli Codex: some preliminary observations about the text, with a theory about the order of the fragments
Full text linkABSTRACT: The so-called ‘Cocharelli codex’ is an early fourteenth-century manuscript, considered one of the most astonishing products of medieval Italian illumination art. Unfortunately, only 27 leaves of it survive today. The extant folios are housed in three different libraries: 25 ff. in London, British Library, MSS. Add. 27695, Add. 28441, Eg. 3127, Eg. 3781; 1 f. in Florence, Museo del Bargello, MS. inv. 2065; and 1 f. in Cleveland, Museum of Art, Wade Fund, MS. n. 1953.152. This manuscript belonged to the wealthy merchant Genoese family of the Cocharelli, and the text (a treatise on the virtues and vices) was written by one of its members for the education of his sons. Many details included in the examples used to explain each vice concern historical events dealing with Genoa and the Latin East (Acre and Cyprus). At the beginning of his work, the anonymous author tells us that he took many of the anecdotes contained in his treatise from the memoirs of his grandfather Pellegrino Cocharelli. The presence of Pellegrino in Acre, Cyprus and Genoa is witnessed by a series of notarial deeds drawn up between the end of the thirteenth century and the beginning of the fourteenth century, and this evidence allows to hypothesize that he personally witnessed some of the historical events described in the treatise. The unique style of the miniatures of the Cocharelli codex has been studied in detail, but little has been done for what concerns the text, that is still unpublished. The aim of the present paper is to try to reconstruct the exact order of the fragments (that are today pell-mell bound), to give a general overview on the structure and sources of the treatise, as well as to offer some considerations on the connections between the text and the miniatures.KEYWORDS: Medieval Latin literature – Moral treatises – History of Genoa – History of the Latin East – Medieval Italian miniatur
Interpretazioni dell’affresco della torre abbaziale di San Zeno a Verona
Full text linkRIASSUNTO: Von Sacken (1865), Gerola (1927) e Zuliani (1992) ritengono che l’affresco della Torre di San Zeno a Verona rappresenti l’omaggio di diversi popoli a Federico II, l’autore vede invece nella scena l’incontro di Salomone con la Regina di Saba: tale iconografia è comunque suscettibile diessere interpretata in senso filoimperiale.PAROLE-CHIAVE: Federico II – Salomone – Regina di SabaABSTRACT: Von Sacken (1865), Gerola (1927) and Zuliani (1992) are convinced that the fresco of the Tower of St Zeno’s cathedral in Verona represents the tribute of different peoples to the emperor Frederick II. On thecontrary, the author thinks that the fresco depicts the meeting between Solomon and the Queen of Sheba: this representation can still be interpreted in a pro-imperial way.KEYWORDS: Frederick II – Solomon – Queen of Sheb
Stefano Milonia, Rima e melodia nell’arte allusiva dei trovatori, Roma, Edizioni Nuova Cultura, 2016
Full text linkRec. a Stefano Milonia, Rima e melodia nell’arte allusiva dei trovatori, Roma, Edizioni Nuova Cultura, 2016
