Richard Westmacott III, RA, a Plaster Relief of Paolo and Francesca Plaster, 54.2 X 36.2 In

Total Page：16

File Type：pdf, Size：1020Kb

Richard Westmacott III, RA, A plaster relief of Paolo and Francesca Plaster, 54.2 x 36.2 in. (138 x 93 cm.) New York Private Collection A painted plaster relief of Paolo Malatesta (c. 1246–1285) and Francesca da Rimini (1255– 1285), the doomed lovers Paolo and Francesca from Dante's Divine Comedy, in a painted canted frame (Figs. 1-2). They are naked, except for the swathe of drapery which entwines them. Paolo and Francesca are shown being swept along on the wind of Dante’s Inferno. Francesca buries her head in her hands, while behind her, Paolo, his head lowered towards the nape of her neck, clasps his hands around her waist. In Dante’s Divine Comedy Paolo and Francesca are among the lovers doomed to be swept along on the wind in the second circle of hell. The couple are based on Francesca da Rimini (d. 1285) and Paolo, brother of Giancotto Malatesta of Rimini, to whom Francesca was betrothed; Giancotto stabbed the two lovers to death. There was apparently another version of Paolo and Francesca for the Marquess of Landsdowne (Boxwood, Wiltshire) in 1837, once reported as being by the artist’s father, Sir Richard Westmacott RA (1775–1856). The work was exhibited at the Royal Academy in 1838 was said to have been made of marble. The present relief shows affinities to the elder Richard’s figures of Venus and Apollo in the Dream of Horace, of 1823. The original frame inscribed ‘PAOLO E FRANCESCA. Que’duo che insieme vanno, E pajon si al vento esser legieri, Nulla speranza li conforta mai, Non che di posa, ma di minor pena, Dante Inferno Canto 5.’ Cf. another plaster version of the present relief located in Nostell Priory, West Yorkshire, UK, dated 27 ‘Aug. 1838’, 48 x 29.5 in. (121.9 x 74.9 cm.) (Fig. 3). Research: James Graham-Stuart Fig. 1 Richard Westmacott III, RA, A plaster relief of Paolo and Francesca Plaster, 54.2 x 36.2 in. (138 x 93 cm.) New York Private Collection Fig. 2 Detail, Richard Westmacott III, RA, A plaster relief of Paolo and Francesca Plaster, 54.2 x 36.2 in. (138 x 93 cm.) New York Private Collection Fig. 3 Richard Westmacott III, RA, A plaster relief of Paolo and Francesca Plaster, 48 x 29.5 in. (121.9 x 74.9 cm.) Nostell Priory, West Yorkshire, UK .

Copy Link

Recommended publications

L'immagine Di Ugolino Della Gherardesca Fra Arti Figurative E
UNIVERSITÀ DEGLI STUDI DI MILANO FACOLTÀ DI STUDI UMANISTICI Corso di Laurea Triennale in Lettere Moderne L’immagine di Ugolino della Gherardesca fra arti figurative e cinema Relatore: Chiar.ma Prof.ssa Giuliana NUVOLI Elaborato finale di: Stefano Ratti Anno Accademico 2013-2014 INDICE Introduzione CAPITOLO I: Il Conte Ugolino §.1 Il personaggio della Commedia §.2 Confronto con le opere artistiche §.3 Il personaggio nella storia CAPITOLO II: La figura del Conte Ugolino nella pittura §.1 Dal XIV al XIX secolo §.2 Dal XIX secolo ad oggi §.3 I miniatori della Commedia §.4 Gli illustratori della Commedia CAPITOLO III: La figura del Conte Ugolino nella scultura §.1 Jean-Baptiste Carpeaux §.2 Auguste Rodin §.3 Altre sculture CAPITOLO IV: L’inferno e il Conte Ugolino nella cinematografia §.1 L’Inferno del 1911 §.2 Dante’s Inferno: an animated epic §.3 Uccellacci e Uccellini Bibliografia Sitografia 1 Introduzione La figura del Conte Ugolino – celebre personaggio, realmente esistito nel 1200, incontrato da Dante Alighieri alla fine del canto XXXII della Divina Commedia, anche se la sua storia viene narrata interamente nel canto successivo, il XXXIII – ha suscitato un interesse non solo nei contemporanei lettori dell’opera di Dante, ma è divenuto simbolo della sofferenza umana e della violenza assurgendo a un immaginario mitico ormai condiviso da un pubblico vastissimo. A partire dalla figura del personaggio dantesco che scaturisce dall’interpretazione del testo della Divina Commedia, si cercherà di individuare non solo la fisionomia ma soprattutto quelle caratteristiche psicologiche che il testo di Dante lascia trasparire. Quest’ultima figura dovrà essere comparata con il personaggio storicamente esistito per cogliere le analogie e le differenze.
[Show full text]
THE DIVINE COMEDY Dante Alighieri
THE DIVINE COMEDY dante alighieri A new translation by J.G. Nichols With twenty-four illustrations by Gustave Doré ALMA CLASSICS alma classics ltd London House 243-253 Lower Mortlake Road Richmond Surrey TW9 2LL United Kingdom www.almaclassics.com This translation of the entire Divine Comedy first published by Alma Classics Ltd in 2012 The translation of Inferno first published by Hesperus Press in 2005; published in a revised edition by Alma Classics Ltd (previously Oneworld Classics Ltd) in 2010 The translation of Purgatory first published by Alma Classics Ltd (previously Oneworld Classics Ltd) in 2011 Translation, notes and extra material © J.G. Nichols, 2012 Cover image: Gustave Doré Printed in Great Britain by CPI Group (UK) Ltd, Croydon, cr0 4yy Typesetting and eBook conversion by Tetragon isbn: 978-1-84749-246-3 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechani- cal, photocopying, recording or otherwise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. CONTENTS The Divine Comedy 1 Inferno 3 Purgatory 165 Paradise 329 Extra Material 493 Dante Alighieri’s Life 495 Dante Alighieri’s Works 498 Inferno 501 Purgatory 504 Paradise 509 Select Bibliography 516 Note on the Text and Acknowledgements 517 Index 519 CANTO I This canto, the prologue to Dante’s journey through the Inferno, acts also as an introduction to The Divine Comedy as a whole.
[Show full text]
Diapositiva 1
Divina Commedia – INFERNO Canto 1 Dante si perde in una selva oscura Che rappresenta: Lo stato di corruzione della sua anima (e dell’intera umanità) Viene confortato Nel vedere un colle illuminato da un sole nascente (è la via verso la salvezza) Incontra tre fiere (animali feroci) La lonza Il leone La lupa che rappresenta che rappresenta che rappresenta la lussuria la superbia l’ avarizia Dante ha paura e in lontanza vede una figura alla quale chiedere aiuto E’ il poeta Virgilio che lo conforta e gli dice che se si vuole salvare dalla dannazione eterna lo dovrà seguire in un viaggio nei 3 regni eterni Dante ha paura, ma accetta Divina Commedia - Canto 2 Dante chiede aiuto alle muse (divinità della poesia) perché lo aiutino a ricordare ciò che ha visto nel suo viaggio San Paolo Non si sente degno Enea che racconta di dell’impresa che è Sceso nell’Ade essere stato rapito stata fatta solo da per visitare in cielo nella II il padre Anchise lettera ai (Libro VI dell’Eneide) Corinzi Virgilio lo conforta e gli rivela che in seguito all’intervento della vergine Maria Beatrice, la donna amata da Dante, è scesa dal Paradiso per dare a lui (cioè a Virgilio) il compito di salvare Dante dalla perdizione Dante sentendo queste parole si tranquillizza e i due si incamminano DIVINA COMMEDIA - CANTO 3 Dante e Virgilio giungono di fronte alla porta dell'Inferno. Una volta varcata la soglia, Dante sente un orribile miscuglio di urla, parole d'ira, strane lingue che lo spingono a piangere in quel luogo buio e oscuro sono le urla degli ignavi Sono le anime di coloro che non si schierarono né dalla parte del bene né da quella del male e che ora risiedono Formano una schiera infinita nell’ anti inferno.
[Show full text]
A British Reflection: the Relationship Between Dante's Comedy and The
A British Reflection: the Relationship between Dante’s Comedy and the Italian Fascist Movement and Regime during the 1920s and 1930s with references to the Risorgimento. Keon Esky A thesis submitted in fulfilment of requirements for the degree of Doctor of Philosophy, Faculty of Arts and Social Sciences. University of Sydney 2016 KEON ESKY Fig. 1 Raffaello Sanzio, ‘La Disputa’ (detail) 1510-11, Fresco - Stanza della Segnatura, Palazzi Pontifici, Vatican. KEON ESKY ii I dedicate this thesis to my late father who would have wanted me to embark on such a journey, and to my partner who with patience and love has never stopped believing that I could do it. KEON ESKY iii ACKNOWLEDGEMENTS This thesis owes a debt of gratitude to many people in many different countries, and indeed continents. They have all contributed in various measures to the completion of this endeavour. However, this study is deeply indebted first and foremost to my supervisor Dr. Francesco Borghesi. Without his assistance throughout these many years, this thesis would not have been possible. For his support, patience, motivation, and vast knowledge I shall be forever thankful. He truly was my Virgil. Besides my supervisor, I would like to thank the whole Department of Italian Studies at the University of Sydney, who have patiently worked with me and assisted me when I needed it. My sincere thanks go to Dr. Rubino and the rest of the committees that in the years have formed the panel for the Annual Reviews for their insightful comments and encouragement, but equally for their firm questioning, which helped me widening the scope of my research and accept other perspectives.
[Show full text]
Inferno Canto 05
!Inferno: Canto 5! pg.1 Entrance to Second Circle - Minos - Good Friday Night THE STORY. Dante and Virgil descend from the First Circle to the Second (the first of the Circle of Incontinence). On the threshold sits Minos, the judge of Hell, assigning the souls to their appropriate places of torment. His opposition is overcome by Virgil's word of power, and the Poets enter the Circle, where the souls of the Lustful are tossed for ever upon a howling wind. After Virgil has pointed out a number of famous lovers, Dante speaks to the shade of Francesca da Rimini, who tells him her story. From the first circle thus I came descending To the second, which, in narrower compass turning, Holds greater woe, with outcry loud and rending. There in the threshold, horrible and girning,!4 Grim Minos sits, holding his ghastly session, And, as he girds him, sentencing and spurning; For when the ill soul faces him, confession!7 Pours out of it till nothing's left to tell; Whereon that connoisseur of all transgression Assigns it to its proper place in hell,!10 As many grades as he would have it fall, So oft he belts him round with his own tail. Before him stands a throng continual;!13 Each comes in turn to abye the fell arraign; They speak - they hear- they're whirled down one and all. "Ho! thou that comest to the house of pain,"!16 Cried Minos when he saw me, the appliance Of his dread powers suspending, "think again How thou dost go, in whom is thy reliance;!19 Be not deceived by the wide open door!" Then said my guide: "Wherefore this loud defiance? Hinder not thou his fated way; be sure!22 Hindrance is vain; thus it is willed where will And power are one; enough; ask thou no more." And now the sounds of grief begin to fill!25 My ear; I'm come where cries of anguish smite My shrinking sense, and lamentation shrill - A place made dumb of every glimmer of light,!28 Which bellows like tempestuous ocean birling In the batter of a two-way wind's buffet and fight.
[Show full text]
Each Round, Choose One of Three Scary* People from Our Collection to Love, Lust, Or Leave
A SCARY LOVE, LUST, LEAVE Each round, choose one of three scary* people from our collection to love, lust, or leave. Love: Good for the long-term. Bring them home to mom and raise a family ’til death do you part. Lust: This is your hit-it-and-quit-it option. It's great while it lasts, but forever isn’t necessary. Leave: The one you can’t stand the sight of. Kick them to the curb—you deserve better! * We're highlighting selected aspects of their traits and life for this game, but there is always more to the story! ROUND ONE Polynices He's the son of Oedipus (that guy who wanted to kill his dad and bed his mom). Because Polynices and his brother argued so much about who would take over Thebes when dad dies, Oedipus prayed to Zeus to curse them both to die by the other's hand, so the future was not very bright for this guy. FYI, he was “technically” married to the king of Argos’s daughter, who was given to him as a prize for winning a battle. As you do in ancient Greece. Jean-Nicolas Billaud-Varenne Though not one of the most well known figures from the French Revolution, Jean-Nicolas was instrumental in the Reign of Terror. He is considered one of the most violent anti-Royalists of the 18th century. He gave passionate speeches about kicking out all the foreigners living in France and employing the death penalty for unsuccessful French generals fighting for the country.
[Show full text]
Dante's Divine Comedy
Criterion: A Journal of Literary Criticism Volume 10 | Issue 1 Article 7 2017 Dante’s Divine Comedy: A Pastoral Subversion Katie Francom Brigham Young University, [email protected] Follow this and additional works at: https://scholarsarchive.byu.edu/criterion Part of the Italian Literature Commons BYU ScholarsArchive Citation Francom, Katie (2017) "Dante’s Divine Comedy: A Pastoral Subversion," Criterion: A Journal of Literary Criticism: Vol. 10 : Iss. 1 , Article 7. Available at: https://scholarsarchive.byu.edu/criterion/vol10/iss1/7 This Article is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in Criterion: A Journal of Literary Criticism by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Dante’s Divine Comedy: A Pastoral Subversion Cover Page Footnote A huge thank you to Dr. Michael Lavers for encouraging me to write and publish this article and to Adrian Ramjoué for his editing expertise. This article is available in Criterion: A Journal of Literary Criticism: https://scholarsarchive.byu.edu/criterion/vol10/iss1/7 Dante’s Divine Comedy A Pastoral Subversion Katie Francom In Virgil’s writings, “pastoral poetry came to be used as a vehicle for allegory or veiled social and political comment” (“Pastoral Poetry”). It is thus fitting that Dante, in his attempt to write what he believed to be the greatest allegory ever created, chose Virgil to be his literary and narrative guide. Dante pulls from what Prue Shaw, a prominent Dante critic, calls the “fertilising powers” of Virgil’s allegorical and pastoral influences throughout The Divine Comedy (172).
[Show full text]
IT 415: Dante
La Divina Commedia di Dante ITAL 415 Fall 2016 Pennsylvania State University Prof. Michele Rossi Contacts and Information Michele Rossi, Ph.D. Email: [email protected] Office: Burrowes Bldg., Room 044 Office Hours: Tuesday and Thursday, 10:30am-11:30am; and by appointment Class Schedule: Tuesday and Thursday, 12:05pm-1:20pm, Health and Human Development Bldg. Course Description: As stated by Italo Calvino, “a classic is a book that has never finished saying what it has to say.” The Divine Comedy, Dante’s masterpiece, continues to speak to us even seven centuries after its composition. In this course, we will read Dante’s poem focusing on its famous characters – Francesca da Rimini, Pier delle Vigne, Ulisse, il conte Ugolino, Manfredi, Guido Gunizzelli, Virgilio, Beatrice… –, and we will explore different topics: love, power, and literature, 1 among others. We will also investigate the relationships between the concepts of metaphor and metamorphosis, with the goal of illuminating Dante’s unique and complex poetics. In our journey from Hell to Heaven, we will place the Divine Comedy in the cultural, historical, and literary context in which it was conceived (Italy in the Middle Ages), without forgetting its enduring influence today, even in our pop culture, as demonstrated by contemporary books (Dan Brown’s Inferno), movies (Seven), music bands (The Divine Comedy), and videogames (Dante’s Inferno). The course will be taught in Italian. Prerequisite: any 300-level Italian course. Required Book (complete version: Inferno, Purgatorio, and Paradiso): Dante Alighieri, The Divine Comedy, eds. Durling and Martinez, Oxford University Press. Course Requirements - Class Participation (25%).
[Show full text]
Lectura Dantis 2002-2009
UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” LECTURA DANTIS 2002-2009 Dolce color d’orïental zaffiro (Purg. I 13) omaggio a Vincenzo Placella per i suoi settanta anni A cura di ANNA CERBO con la collaborazione di MARIANGELA SEMOLA Tomo IV 2009 NAPOLI 2011 Lectura Dantis 2002-2009 omaggio a Vincenzo Placella per i suoi settanta anni Opera realizzata con il contributo del Dipartimento di Studi Letterari e Linguistici dell’Europa e con i Fondi di Ricerca di Ateneo © 2011, UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” ISBN 978-88-95044-90-3 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” www.unior.it IL TORCOLIERE • Officine Grafico-Editoriali d’Ateneo Edizione 2011 INDICE Tomo IV LECTURA DANTIS 2009 Lectura Dantis 2009 (a cura di Anna Cerbo e Mariangela Semola) AMNERIS ROSELLI, «La fretta che l’onestade ad ogn’atto dismaga». Un’eco ciceroniana in Purg. III 10-11 1173 JULIA BOLTON HOLLOWAY, La Vita Nuova: paradigmi di pellegrinaggio 1181 SANDRA DEBENEDETTI STOW, La mistica ebraica come chiave per l’apertura del livello anagogico del testo dantesco 1205 CRISTINA WIS MURENA, La profezia del Veltro e il Verbum Dei 1231 CLAUDIA DI FONZO, L’edizione dei commenti antichi alla Comedìa: redazioni o corpora? 1301 VINCENZO PLACELLA, Il canto XXXI dell’Inferno 1321 GIUSEPPE FRASSO, Il canto XXXII dell’Inferno 1353 SAVERIO BELLOMO, Il canto XXXIII dell’Inferno 1369 ENCARNACIÓN SÁNCHEZ GARCÍA - ROBERTO MONDOLA, Burgos 1515: cultura rinascimentale e ricezione della Comedìa 1387 Indice dei nomi 1417 Postfazione di Anna Cerbo 1429 SAVERIO BELLOMO IL CANTO XXXIII DELL’INFERNO Assieme all’episodio di Francesca, quello di Ugolino conobbe un successo, iniziato nel Trecento e che perdura tutt’oggi, superiore a qualunque altro della Commedia, e non solo in Italia1.
[Show full text]
Dante Alighieri I
Dante Alighieri "Canto V" Divine Comedy of Dante Alighieri a verse translation with introds. & commentary by Allen Mandelbaum ; drawings by Barry Moser. Berkeley University of California Press, 1980. 39-45. ISBN: 0520045173 CQD 16092806. pdf The Divine Comedy of Dante Alighieri i A Verse Translation uvith Introductions & Commentary by Allen Mandelbaum NOTICE: This material may be protected by Copyright Jaw (Title 17 U.S. Code) Drawings by Barry Moser FENWICK LIBRARY GEORGE MASON UNIVERSITY FAIRFAX,VA. University ofCahfornia Press Berkeley •Los Angeles •London f r 1 i a l.3^re S'^'' 1 `d So I descended from the first enclosure down to the second circle, that which girdles less space but grief more great, that goads to weeping. There dreadful Minos stands, gnashing his teeth: 4 examining the sins of those who enter, he judges and assigns as his tail twines. I mean that when the spirit born to evil 7 appears before him, it confesses all; and he, the connoisseur of sin, can tell the depth in Hell appropriate to it; I0 as many times as Minos wraps his tail around himself, that marks the sinner's level. Always there is a crowd that stands before him: 13 each soul in turn advances toward that judgment; they speak and hear, then they are cast below. Arresting his extraordinary task, i6 Minos, as soon as he had seen me, said: "0 you who reach this house of suffering, be careful how you enter, whom you trust; 19 the gate is wide, but do not be deceived!" To which my guide replied : "But why protest? Do not attempt to block his fated path: our passage has been willed above, where One can do what He has willed ; and ask no more." Now notes of desperation have begun 25 to overtake my hearing; now I come where mighty lamentation beats against me.
[Show full text]
La Commedia in Palcoscenico. Appunti Su Una Ricerca Da Fare Dante E L’Arte 1, 2014 67-84
La Commedia in palcoscenico. Appunti su una ricerca da fare Dante e l’arte 1, 2014 67-84 La Commedia in palcoscenico. Appunti su una ricerca da fare Marzia Pieri Università di Siena [email protected] Riassunto Da circa due secoli la Divina Commedia è fatta oggetto, in Italia, di letture teatralizzate e di vere e proprie riduzioni drammaturgiche, che hanno raggiunto vaste masse di spet- tatori, e la cui popolarità non accenna ancora oggi ad esaurirsi. Il fenomeno delle “dan- tate” – che non conosce equivalenti in altre culture europee – accompagna l’avventura risorgimentale per la conquista dell’indipendenza, ed è legato alla tradizione italiana del grande mattatore romantico: a partire da Gustavo Modena (l’attore mazziniano che intende portare Dante al popolo come veicolo di emancipazione politica), i grandi guitti italiani romantici, naturalistici e poi novecenteschi (di avanguardia o di “tradizione”) hanno continuato a recitare il poema, costruendo, per via performativa, una peculiare ecdotica, ancora tutta da studiare. Le celebrazioni dantesche del centenario del 1865, in una Firenze appena consacrata capitale del Regno d’Italia, segnano un acme di questa fortuna festiva e teatrale. Parole chiave: Divina Commedia, Risorgimento, Recital, Gustavo Modena, Roberto Benigni, Firenze capitale, cinema muto. Abstract For the last two centuries in Italy, the Divine Comedy has been made subject of dramati- zed readings and proper dramatic reductions that have reached the bulk of the audience, and whose popularity doesn’t yet show any sign of exhaustion. The phenomenon of the ‘dantate’ – with no equivalent in other European cultures – accompanies the risorgimen- tale adventure for the sake of gaining independence.
[Show full text]
The Equations of Medieval Cosmology
The equations of medieval cosmology Roberto Buonanno and Claudia Quercellini University of Rome “Tor Vergata” Department of Physics Via della Ricerca Scientifica 1, 00133 Rome, Italy Abstract. In Dantean cosmography the Universe is described as a series of concentric spheres with all the known planets embedded in their rotation motion, the Earth located at the centre and Lucifer at the centre of the Earth. Beyond these “celestial spheres”, Dante represents the “angelic choirs” as other nine spheres surrounding God. The rotation velocity increases with decreasing distance from God, that is with increasing Power (Virtù). We show that, adding Power as an additional fourth dimension to space, the modern equations governing the expansion of a closed Universe (i. e. with the density parameter 0>1) in the space-time, can be applied to the medieval Universe as imaged by Dante in his Divine Comedy. In this representation the Cosmos acquires a unique description and Lucifer is not located at the centre of the hyperspheres. PACS: 95.90.+v; 98.80.Bp. Keywords: History and philosophy of astronomy – Cosmology. The Dantean cosmography started about 600 years ago, when the medieval concept of the Universe was already fading away. It is probably not a mere coincidence that the first scholars to deal with the problem at the end of XVth century were two architects who accepted the challenge to visualise those sites, their shapes and sizes which had been poetically described by Dante in his Divine Comedy. The first one was a young Filippo Brunelleschi, who analysed the “site and the size” (il sito e le misure) of all the locations reported in the Divine Comedyi; the second one, Antonio di Tuccio Manettiii,iii a specialist in perspective studies, derived the shape and size of the Hell examining Dante’s poem.
[Show full text]