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Der Raub Der Proserpina Studien Zur Ikonographie Und Ikonologie Eines

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Der Raub Der Proserpina Studien Zur Ikonographie Und Ikonologie Eines Kunstgeschichte Der Raub der Proserpina Studien zur Ikonographie und Ikonologie eines Ovidmythos von der Antike bis zur frühen Neuzeit Inaugural-Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Westfälischen Wilhelms-Universität zu Münster (Westf.) vorgelegt von Christiane Brehm aus Unna 1996 Tag der mündlichen Prüfung: 12.07.1996 Dekan: Prof. Dr. K. Hortschansky Referent: Prof. Dr. H.-J. Raupp Korreferent: Prof. Dr. H. Wiegartz Meinen Eltern INHALTSVERZEICHNIS VORWORT 1 EINLEITUNG 2 1. Vorbemerkungen zum Thema der Arbeit 2 2. Problemstellung und Zielsetzung unter besonderer Berücksichtigung des gegenwärtigen Forschungsstandes 3 3. Methodik und Aufbau der Arbeit 6 I. LITERARISCHE ÜBERLIEFERUNG 9 1. Antike 9 1.1. Die Sage vom Raub der Proserpina in den Metamorphosen Ovids 9 1.2. Die attische Tradition 11 1.3. Die sizilische Tradition 12 2. Mittelalter 15 2.1. Zur Rezeption antiker Mythologie im Mittelalter 15 2.2. Pluto und die Unterwelt 16 2.2.1. Mythographische Literatur 17 2.2.1.1. Fabius Planciades Fulgentius, "Mitologiae" 17 2.2.1.2. Mythographus vaticanus III 18 2.2.1.3. John Ridewall, "Fulgentius Metaforalis" 18 2.2.1.4. Dante Alighieri, "Commedia divina" 19 2.2.1.5. Francesco Petrarca, "Africa" 20 2.2.1.6. Francesco Petrarca, "Trionfo d'amore" 21 2.2.1.7. Poetarius, "De deorum imaginibus libellus" 22 2.3. Der Raub der Proserpina 23 2.3.1. Apologetische Schriften 23 2.3.1.1. Iulius Firmicus Maternus, "De errore profanorum religionum" 23 2.3.1.2. Gregorios von Nazianz, "Oratio de sancta lumina" 24 2.3.2. Scholien 25 2.3.2.1. Pseudo-Nonnus, "Interpretatio graecarum historiarum" 25 2.3.3. Mythographische Literatur 26 2.3.3.1. Mythographus vaticanus I 26 2.3.3.2. Mythographus vaticanus II 27 2.3.3.3. Giovanni Boccaccio, "Genealogiae deorum gentilium" 27 2.3.3.4. Giovanni Boccaccio, "Amorosa visione" 29 2.3.4. Metamorphosen-Ausgaben und -Übersetzungen 30 2.3.4.1. Albrecht von Halberstadt 31 2.3.4.2. Arrigo Simintendi 31 2.3.5. Metamorphosen-Kommentare und -Moralisationen 32 2.3.5.1. Giovanni del Virgilio 32 2.3.5.2. "Ovide moralisé" 33 2.3.5.3. "Ovide moralisé en prose" 36 2.3.5.4. Pierre Berçuire, "Ovidius moralizatus" 37 2.3.5.5. "Bible des poètes" 41 2.3.5.6. "L'enlèvement de Proserpine" 43 2.3.6. Dichtung 44 2.3.6.1. "Sir Orfeo" 45 2.3.6.2. Guillaume de Machaut, "Le confort d'ami" 45 2.3.6.3. John Gower, "Confessio amantis" 46 2.3.6.4. Geoffrey Chaucer, "Merchant's tale" 47 2.3.6.5. Raoul Lefèvre, "Le livre nommé Hercules" 48 2.3.7. Zusammenfassung 49 3. Frühe Neuzeit 50 3.1. Lateinische Metamorphosen-Ausgaben und -Kommentare 50 3.1.1. Philologische Kommentare 51 3.1.1.1. Raphael Regius, Venedig 1493 51 3.1.1.2. Georgius Sabinus, Frankfurt 1555 52 3.1.2. Allegorische Kommentare 53 3.1.2.1. Johannes Spreng, Frankfurt 1563 54 3.1.2.2. Johannes Posthius, Frankfurt 1563 56 3.1.2.3. Nicolaus Reusner, Frankfurt 1580 57 3.1.3. Zusammenfassung 59 3.2. Metamorphosen-Übersetzungen 59 3.2.1. Italienische Übersetzungen 59 3.2.1.1. Giovanni dei Bonsignori, Venedig 1497 59 3.2.1.2. Niccolò degli Agostini, Venedig 1522 61 3.2.1.3. Lodovico Dolce, Venedig 1553 62 3.2.1.4. Gabriello Symeoni, Lyon 1559 63 3.2.1.5. Giovanni Andrea dell' Anguillara, Venedig 1561 64 3.2.2. Französische Übersetzungen 65 3.2.2.1. Anonymus, Paris 1539 65 3.2.2.2. Barthélémy Aneau, Lyon 1557 66 3.2.3. Deutsche Übersetzungen 68 3.2.3.1. Georg Wickram, Mainz 1545 68 3.2.3.2. Gerhard Lorichius, Mainz 1551 70 3.2.4. Niederländische Überetzungen 71 3.2.4.1. Johannes Florianus, Antwerpen 1552 71 3.2.5. Zusammenfassung 71 3.3. Metamorphosen-Moralisationen 73 3.3.1. "Ovide moralisé" 73 3.3.1.1. William Caxton, London 1460-75 74 3.3.1.2. François Habert, Paris 1573 74 3.3.1.3. Arthur Golding, London 1567 75 3.3.2. "Ovidius moralizatus" 75 3.3.3. Zusammenfassung 75 3.4. Claudianus-Ausgaben und -Übersetzungen 76 3.5. Mythographische und ikonologische Handbücher 76 3.5.1. Giglio Gregorio Giraldi, "De deis gentium" 76 3.5.2. Natalis Comes, "Mythologiae" 77 3.5.3. Vincenzo Cartari, "Le imagini de i dei de gli antichi" 79 3.5.4. Cesare Ripa, "Iconologia" 80 3.5.5. Carel van Mander, "Wtlegghingh op den Metamorphosis" 81 3.5.6. Zusammenfassung 83 3.6. Dichtung 84 3.6.1. Dichtung mit dem Thema des Proserpina-Raubes 84 3.6.1.1. Angelo Poliziano, "Orphei Tragedia" 84 3.6.1.2. Angelo Poliziano, "Le stanze per la Giostra" 85 3.6.1.3. Luigi Pulci, "Il Morgante" 85 3.6.1.4. Joachim du Bellay, "Le ravissement de Proserpine" 86 3.6.1.5. Giambattista Marino, "La sampogna" 86 3.6.1.6. Wolfgang Helmhard von Hohberg, "Die unvergnügte Proserpina" 87 3.6.2. Ikonische Dichtung 88 3.6.2.1. Torquato Tasso, "Loda una vaghissima montagnetta" 88 3.6.2.2. Giambattista Marino,"Galleria" 89 3.6.2.3. Maffeo Barberini, "Dodici distichi per una Galleria" 89 3.6.2.4. Giovanni Michele Silos, "Pinacoteca" 90 3.6.2.5. Jacopo Agnelli, "Galleria di Pitture" 90 3.6.3. Zusammenfassung 91 3.7. Schauspiel 91 3.7.1. Anonymus, "Mey-spel amoureus" 92 3.7.2. Baccio Baldini, "Mascherata della genealogia degl'iddei" 93 3.7.3. Alexandre Hardy, "Le ravissement de Proserpine per Pluton" 94 3.7.4. Jean Claveret, "Le ravissement de Proserpine" 95 3.7.5. Charles d'Assoucy, "Le ravissement de Proserpine" 96 3.7.6. Giovanni Carlo Coppola, "Le Nozze degli Dei" 96 3.7.7. Zusammenfassung 97 3.8. Kunstliteratur 97 3.8.1. Leon Battista Alberti, "De Pictura" 97 3.8.2. Lomazzo, "Trattati dell'arte della pittura" 98 3.8.3. Carel van Mander, "Schilder-Boeck" 101 3.8.4. Zusammenfassung 101 4. Ausblick: 18.-20. Jahrhundert 102 II. IKONOGRAPHISCHE ÜBERLIEFERUNG 110 1. Antike 110 1.1. Vasenmalerei 110 1.2. Malerei und Mosaik 111 1.3. Rundplastik 112 1.4. Relief 112 1.5. Zusammenfassung 116 2. Mittelalter 116 2.1. Repräsentationsbilder 117 2.2. Bildtypen des Proserpina-Raubes 120 2.2.1. Typ "Sarkophagrelief" 120 2.2.2. Typ "Sir Orfeo" 122 2.2.3. Typ "Simultandarstellung" 124 2.2.4. Typ "Leonardo da Besozzo" 125 2.2.5. Typ "Planetengottheiten" 127 2.2.6. Typ "Le livre nommé Hercules" 128 2.2.7. Typ "Brügge 1484" 129 2.3. Zusammenfassung 132 3. Frühe Neuzeit 134 3.1. Bildtypen 134 3.1.1. Typ "Sarkophagrelief" 134 3.1.1.1. Kopien römischer Sarkophag- und Cippusreliefs 134 3.1.1.1.1. Proserpina-Sarkophag, London, Sir John Soane's Museum 135 3.1.1.1.2. Proserpina-Sarkophag, Paris, Louvre 137 3.1.1.1.3. Proserpina-Sarkophag, Aachen, Domschatz 140 3.1.1.1.4. Proserpina-Sarkophag, Florenz, Uffizien 142 3.1.1.1.5. Proserpina-Sarkophag, Rom, Villa Pamphilj 145 3.1.1.1.6. Proserpina-Sarkophag, Rom, Palazzo Giustiniani 146 3.1.1.1.7. Proserpina-Sarkophag, Rom, Villa Medici 147 3.1.1.1.8. Kopien römischer Cippusreliefs 147 3.1.1.2. Antikisierende Kompositionen 150 3.1.2. Typ "Sir Orfeo" 161 3.1.3. Typ "Brügge 1484" 162 3.1.4. Typ "Venedig 1497" 162 3.1.5. Typ "Giovanni Battista Rosso" 170 3.1.6. Typ "Bernard Salomon" 173 3.1.7. Typ "Antonio Tempesta" 183 3.1.8. Typ "Christoph Schwartz" 186 3.1.9. Typ "Joseph Heintz" 192 3.1.10. Typ "Giuseppe Scolari" 196 3.1.11. Typ "Vincenzo de'Rossi" 198 3.1.12. Typ "Gian Lorenzo Bernini" 201 3.1.13. Typ "François Girardon" 208 3.2. Beispiele nicht-typenbildender Kompositionen 210 3.2.1. Palazzo Schifanoia 211 3.2.2. Meister der Stratonike 214 3.2.3. Pietro Perugino 216 3.2.4. Manno di Bastiano Sbarri 217 3.2.5. Niccolò dell'Abbate 219 3.2.6. Taddeo Zuccari 221 3.2.7. Luca Cambiaso 223 3.2.8. Frans Floris 224 3.2.9. Alessandro Allori 227 3.2.10. Annibale Fontana 229 3.2.11. Jan Soens 231 3.2.12. Alessandro Masnago 234 3.2.13. Lodovico Carracci 236 3.2.14. Peter Paul Rubens 237 3.2.15. Rembrandt van Rijn 241 3.2.16. Zusammenfassung 244 3.3. Gattungsspezifische Untersuchungen 245 3.3.1. Metamorphosen-Illustrationen 245 3.3.2. Autonome Druckgraphik 249 3.3.3. Handzeichnungen 250 3.3.4. Gemälde 251 3.3.5. Wand- und Deckenmalerei 252 3.3.6. Majolika 253 3.3.7. Plastik 254 3.3.8. Textilkunst 255 3.4. Antikenrezeption 256 3.4.1. Rezeption antiker literarischer Quellen 256 3.4.1.1. Ovid 256 3.4.1.2. Claudianus 259 3.4.2. Rezeption antiker ikonographischer Quellen 260 III. IKONOLOGIE 263 1. Bedeutungsebene 263 1.1. Historische Deutung 263 1.2. Naturallegorische Deutung 265 1.3. Moralische Deutung 267 2. Funktionsebene 272 2.1. Naturallegorische Bildprogramme 272 2.1.1. Jahreszeiten-Zyklen 272 2.1.2. Kosmologische Zyklen 273 2.1.3. Elemente-Zyklen 274 2.2. Panegyrische Bildprogramme 276 3. Zusammenfassung 280 IV. SCHLUßBETRACHTUNGEN 282 V. VERZEICHNIS DER ABGEKÜRZT ZITIERTEN LITERATUR 287 1. Bibliographische Abkürzungen 287 2. Quellen und Texte 289 3. Sekundärliteratur 297 VI. KATALOG 332 Vorwort 1 VORWORT Die Anregung zur motivgeschichtlichen Untersuchung eines mythologischen Themas von der Antike bis ins 20.
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