Das Lächeln Des Cangrande Della Scala

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Das Lächeln Des Cangrande Della Scala Originalveröffentlichung in: Zeitschrift für Kunstgeschichte 62 (1999), S. 136-143 MISZELLE PETER SEILER Das Lächeln des Cangrande della Scala Unter den Skulpturen der Scaliger­Grabmäler in fassen4. Das Gesicht der Liegefigur, die den toten Verona ist die Reiterstatue des Cangrande della Helden zeigt, stimmt jedoch mit dem der Reiter­ Scala (fi329) zweifellos die berühmteste'. Die statue motivisch überein (Abb. 2). Die heitere Faszination, die sie immer wieder auslöst, beruht Miene kann demzufolge nicht (oder zumindest in erster Linie auf ihrer effektvollen illusionisti­ nicht ausschließlich) als mimischer Ausdruck schen Ausrichtung auf den Betrachter: Cangran­ einer momentanen Gefühlslage verstanden wer­ de ist in Rüstung als paradierender Krieger ver­ den. Sie diente offenbar zur Charakterisierung gegenwärtigt und zwar so, als habe er gerade sein der Persönlichkeit des Scaligers. Schlachtroß angehalten, um sich seinen Unter­ War Cangrande ein heiterer Mensch? Beruhte tanen zuzuwenden2. Das Erstaunliche dabei ist sein Charisma nicht nur auf kriegerischen Erfol­ sein Lächeln (Abb. i)3. Wie ist dieser bei mittel­ gen, sondern auch auf persönlichem Frohsinn? alterlichen Herrscherbildnissen ansonsten nicht Hat der Bildhauer versucht, die charmante aria anzutreffende Gesichtsausdruck zu verstehen? des Scaligers zu verewigen?5 Man hat tatsächlich Da der Dargestellte durch den narrativen Relief­ die Auffassung vertreten, es handele sich um ein zyklus des Sarkophags als Eroberer der Trevisa­ »ritratto dal vivo«, das Cangrande so darstelle, ner Mark kommemoriert wird, liegt es nahe, sein wie er aussah und wie er war6. Als man 1921 den Lächeln als triumphierendes Siegerlächeln aufzu­ Sarkophag öffnete, glaubte man, die Physiogno­ 1 Zu den Grabmälern der Scaliger siehe Peter Seiler, la Scala, in: ibid., 64­94 und die in demselben Band Mittelalterliche Reitermonumente. Studien zu perso­ publizierten Ergebnisse technischer Untersuchungen. nalen Monumentsetzungen in den italienischen Kom­ Zur Entstehungsgeschichte des Grabmals von Can­ munen und Signorien des 13. und 14.Jahrkunderts, grande siehe Peter Seiler, Per un'identificazione del Phil. Diss., Universität Heidelberg 1989, Bd. I, 260­ sareofago a rilievo del Scpolcreto scaligero di Verona, 319 und Bd. II, 97­268; Ders., La trasformazione in: Bisanzio e l'Occidente: arte, archeologia, storia. gotica della magnificenza signorile: committenza vis­ Studi in onore di Fernanda de' Maffei, Rom 1996, contea e scaligera nei monumenti scpolcrali dal tardo 541­555 und ders., Untersuchungen zur Entste­ duecento alla metä dcl trecento, in: Presenze del Goti­ hungsgeschichte des Grabmals von Cangrande l. della co Europeo in Italia, hrsg. von Martina Bagnoli und Scala (im Druck). Valentino Pace, Neapel 1994, 119­140, bes. 132­134 3 Zum Lächeln des Cangrande gibt es zahlreiche kom­ und Ders., Residenz, Kirche, Grablege ­ Zur Entste­ mentierende Bemerkungen, Mutmaßungen und Deu­ hungsgeschichte des Residenzensembles der Scaliger tungsversuche, auf die ich hier nicht im Einzelnen in Verona, in: Architectural Studies in Memory of eingehen kann. Auf die wichtigsten Forschungsmei­ Richard Krautheimer, hrsg. von Cecil L. Striker, nungen wird in den folgenden Anmerkungen hinge­ Mainz 1996, 151 ­ 156. wiesen. 2 Die sicherlich erst in den vierziger Jahren des ^.Jahr­ 4 Zu den verschiedenen Anlässen und Varianten des hunderts entstandene Reiterstatue wurde 1910 durch Lächelns bzw. Lachens in kriegerischen Kontexten eine Kopie ersetzt. Das Original befindet sich im (Demonstration von Unerschrockenheit und Über­ Museo di Castelvecchio in Verona. Vgl. hierzu Gian legenheit vor dem Kampf, Frohlocken über besieg­ Maria Varanini, Cipolla, Simeoni, Da Lisca: la corris­ te Feinde) vgl. die der antiken und mittelalterlichen pondenza sulla statua equestre di Cangrande I, in: La Epik entnommenen Belege in Karl Richard Kremer, statua equestre di Cangrande I della Scala. Studi, Das Lachen in der deutschen Sprache und Literatur ricerche, restauro, a cura di Sergio Marinelli e Giulia des Mittelalters, Phil. Diss., Bonn 1961, 54, 61, 129, Tamanti, Verona 1995, 51­59. Zum Erhaltungszu­ 144, 15 5ff­, 175, 177. Zum »Gefahrverlachen« und stand der Statue siehe Giulia Tamanti, Le vicende zum »erlösenden Lachen« nach einer Gefahr vgl. conservative della statua equestre di Cangrande I del­ auch Martin J. Schubert, Z«r Theorie des Gebarens 136 i. Grabmal des Cangrande della Scala, Verona, Reiterstatue, Detail im Mittelalter. Analyse von nichtsprachlicher Äuße­ Hochberg, Max Black, Kunst, Wahrnehmung, Wirk­ rung in mittelhochdeutscher Epik. Rolandslied, Ene­ lichkeit, Frankfurt/Main 1972, 17. asroman, Tristan (Kölner Germanistische Studien, 6 Carlo Cipolla, La statua equestre di Cangrande I a Ve­ Bd. 31), Köln­Wien 1991,92. rona, in: Arte e Storia, ser. IV, 29, 1910, 225­228; Fer­ 5 Der Begriff »aria« war nach dem Zeugnis Petrarcas nanda De Maffei, Le arche scaligere di Verona, Verona bei zeitgenössischen Malern in Gebrauch. Er soll von 1955, 52 und 54. Bettini versuchte mit der angenom­ diesen zur Kennzeichnung der für eine Person beson­ menen Portraitähnlichkeit sogar die Frühdatierung der ders charakteristischen Gesichtszüge verwandt wor­ Reiterstatue »um 1330« zu begründen, siehe Sergio den sein. Francesco Petrarca, Eamiliarum rerum, Lib. Bettini, La pittura gotica internazionale a Verona. Ap­ XXIII, 19, 78­94. Le Familiari, Edizione critica a cu­ punti dalle lezioni di Storia deU'Arte Medioevale, Isti­ ra di Vittorio Rossi, vol. IV per cura di Umberto Bos­ tuto di Storia dell'arte ­ Universitä di Padova, Anno co, Libri XX­XXIV, Florenz 1942, 206; vgl. hierzu Accademico 1973­74, 18: »(Mi) sembra incontestabile auch Ernst H. Gombrich, Maske und Gesicht. Die che (il Cangrande a cavallo) sia un autentico ritratto del Wahrnehmung physiognomischer Ähnlichkeit im Le­ >gran lombardos e un ritratto eseguito da vivo. E diffi­ ben und in der Kunst, in: Ernst H. Gombrich, Julian cile, quasi impossibile supporre che un artista, sia pure r37 mie des Bildnisses in derjenigen des Leichnams gelangen können. Aber sind die physiognomi­ wiederzuerkennen (Abb. })7. In einem damals schen Details überhaupt von Bedeutung? Könnte abgefaßten Bericht ist sogar vom Lächeln des es nicht sein, daß der Bildhauer sich gar nicht Scaligers die Rede: »Cangrande (...), conserva darum bemühte, diese ganz präzise wiederzuge­ tutta la sua pelle che mostra la sua forte muscula­ ben, da es ihm in erster Linie darauf ankam, die tura; i suoi capelli ricciuti sono biondi castagni, la individuelle aria des Cangrande darzustellen? sua fronte e lisca e spaziosa, gli zigomi porgono Man zögerte immer wieder, den Glauben an die un poco, il volto e regolare e rotondo, gli occhi personale Authentizität der Heiterkeit des Scali­ guardano quasi con un'espressione di vita; egli gers in Frage zu stellen, da es für diesen Charak­ sembra ancora sorridere dalla sua bocca semia­ terzug einen schriftlichen Quellenbeleg zu geben perta che mostra i denti conservatissima«8. scheint: die in dem Serventese in morte di Can­ Ende der 30er Jahre äußerte Harald Keller eine grande enthaltene Personenbeschreibung. In ihr abweichende Meinung und er registrierte andere heißt es, Cangrandes Gesicht sei »pieno di alle­ Ubereinstimmungen: »Natürlich zeigte das Ge­ grezza« gewesen. Die Bedeutung dieses Zeugnis­ sicht nicht das archaische Lächeln der Reiter­ ses erschließt sich jedoch erst aus dem inhalt­ figur, aber die kleine Nase mit den Flügeln, die lichen Zusammenhang: etwas nach oben gezogen sind und die knappen Lippen waren ihm wirklich eigen ­ und gerade El nobele barun ingraciato das sind ja die Eigentümlichkeiten der Skulptur. Misser Can de la Scala era cla(mat)o; Auch der Schädel des Toten war so abnorm steil Per tutto lo mondo era disidrato De vedere. wie der des Standbildes«9. Versucht man die Angaben zu den einzelnen De soe prode^e asai sen poria dire physiognomischen Details zu überprüfen und Plu che de barun che may sia; berücksichtigt man dabei auch die Liegefigur Per tutto '1 mundo l'ä fatto florire La soa po­ (was z.B. Keller nicht tat), dann stellen sich Irri­ sana. tationen ein: Waren Kopf und Gesicht des Scali­ gers eher rund oder »steil«? Wie sah seine Nase Misser Can de la Scala, franca lanca aus? War sie »lievemente aquilino«10 oder gerade, (El plu le) al che sia de qui a Franca wie die beider Bildnisse? Hatte Cangrande tat­ (per) lo mondo ello porta nomennaca De pro­ sächlich Augenbrauenbögen, die so rund und de$e. hoch in die Stirn ragten wie diejenigen modisch geschminkter Madonnen der transalpinen Gotik? Franco barone e de gran gentile^e, Kann man wirklich davon ausgehen, daß der Largo e cortexe e nobil per $ertec,e, lebende Cangrande ebenso schmale Lippen hatte El so viso era pleno d'alegreca One staxone. wie sein ausgetrockneter Leichnam oder ist die Ubereinstimmung von Bildnissen und Leichnam Misser Can de la Scala, quel barone, hinsichtlich dieses Merkmals zufällig? Zu siche­ In la Vergene avea gran devocione; ren Antworten auf diese Fragen wird man kaum Fiolo de Deo, che soferi pasione, O Ii perdona". di eccezionali virtü interpretative ed evocative, e maga­ un cosi eccezionale ritratto.« Vgl. auch Gian Lorenzo ri con l'ausilio di qualche ritratto in pittura o miniatura Mellini, Tracce di Giotto a Verona, in: Critica d'arte 8, (oggi tuttavia inesistente) abbia potuto conferire, a dis­ 1961, 17­26 und ders., Scultori veronesi del Trecento, tanza di almeno vent'anni dalla morte del principe, e Mailand o.J. (1971), 94­100, bes. 96. presumibilmente senza averlo mai veduto
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