Please use this identifier to cite or link to this item: http://dx.doi.org/10.18688/aa2313-4-35
Title The Iconography of the Mythological Characters of Dante’s “Divine Comedy” in the Manuscripts of the 14th–15th Centuries: Possible Role and Origins
Author email admiroshnik@edu.hse.ru
About author Miroshnik, Alina D. — bachelor, student. National Research University Higher School of Economics, Staraya Basmannaya ul., 21/4с1, 105066 Moscow, Russian Federation; admiroshnik@edu.hse.ru; ORCID: 0009-0004-9133-8177 Pozhidaeva, Anna V. — Ph. D., associate professor. National Research University Higher School of Economics, Staraya Basmannaya ul., 21/4с1, 105066 Moscow, Russian Federation; apozhidaeva@hse.ru; SPIN-code: 3683-0443; ORCID 0000-0002-0247-933X
In the section Western European Medieval Art DOI10.18688/aa2313-4-35
Year 2023 Volume 13 Pages 441456
Type of article RAR Index UDK 7.033.5...4 Index BBK 85.14
Abstract

The history of illustration of the “Divine Comedy” by Dante in the 14th–15th centuries rarely attracts the attention of researchers. Nevertheless, a careful analysis of the manuscripts would make it possible to understand how the text was illustrated, full of means of artistic expression and citations from ancient sources, many of which were largely unknown to the authors of the iconographic program. This study is devoted to the visualization of selected mythological characters based on six manuscripts, four of which are fully illustrated (Egerton MS. 943, first half of the 15th century (c. 1320–1350), British Library, London; MS. M 676, 1345–1355, Morgan Library, New York; Yates Thompson MS. 36, 1444 – c. 1450, British Library, London; Urb. Lat. 365, c. 1480, Vatican Library, Vatican); and two partially (Cod. Ital. 1, c. 1333–1350, University Library, Budapest; Chantilly 0597, c. 1330–1340, Condé Museum, Chantilly).

Keywords
Reference Miroshnik, Alina D.; Pozhidaeva, Anna V. The Iconography of the Mythological Characters of Dante’s “Divine Comedy” in the Manuscripts of the 14th–15th Centuries: Possible Role and Origins. Actual Problems of Theory and History of Art: Collection of articles. Vol. 13. Eds A. V. Zakharova, S. V. Maltseva, E. Iu. Staniukovich-Denisova. — Lomonosov Moscow State University / St. Petersburg: NP-Print, 2023, pp. 441–456. ISSN 2312-2129. http://dx.doi.org/10.18688/aa2313-4-35
Publication Article language russian
Bibliography
  • Austin H. D. Three Dante Notes. Italica, 1936, vol. 13, no. 1, pp. 1–5.
  • Barolini T. Minos’s Tail: The Labor of Devising Hell (Inferno 5.1–24). Romanic Review, 1996, vol. 87, no. 4, pp. 437–454.
  • Boespflug F. Le dogme trinitaire et l’essor de son iconographie en Occident de l’époque carolingienne au IVe Concile du Latran. Cahiers de civilisation médiévale, 1994, no. 147, pp. 181–240 (in French).
  • Botterill S. The Form of Dante’s Minotaur. Forum Italicum: A Journal of Italian Studies, 1988, vol. 22, iss. 1, pp. 60–62.
  • Brieger P. H.; Meiss M.; Singleton Ch. S. Illuminated Manuscripts of the Divine Comedy. Princeton, Princeton University Press Publ., 1969. 350 p.
  • Cherchi P. Charon. Lansing R. (ed.). The Dante Encyclopedia. London, Routledge Publ., 2010, p. 160.
  • Cornish A. Furies. Lansing R. (ed.). The Dante Encyclopedia. London, Routledge Publ., 2010, p. 429.
  • Dante Alighieri. The Divine Comedy. Lozinskii M. (trans.); Golenischev-Kutuzov I. N. (com.). Moscow, Nauka Publ., 1967. 665 p. (in Russian).
  • Delcorno K. Dante e l’exemplum medievale. Lettere Italiane, 1983, vol. 35, no. 1, pp. 3–28. (in French).
  • Diskin C. The Metamorphosis of Ovid in Dante’s Divine Comedy. Miller Jh. F.; Newlands C. E. (eds). A Handbook to the Reception of Ovid. New Jersey, John Wiley & Sons, Inc Publ., 2014, pp. 174–186.
  • Eisner M. The Materiality of the Text and Manuscript Culture. The Oxford Handbook of Dante. Gragnolati M.; Lombardi E.; Southerden F. (eds). Oxford, Oxford University Press Publ., 2021, pp. 1–15.
  • Forte A. La Rappresentazione del Minotauro Dantesco nei Manuscritti Trecenteschi della Commedia tra Commento Scritto e Commento Figurato. Lombardo L.; Maldina N.; Pegoretti A.; Zanini F. (eds). L’Alighieri Rassegna Dantesca. Ravenna, Angelo Longo Editore Publ., 2015, pp. 37–58 (in Italian).
  • Fugelso K. Engaging the Viewer: Reading Structures and Narrative Strategies in Illuminated Manuscripts of the Divine Comedy, Ph. D. Dissertation. New York, Columbia University, 1999. 519 p.
  • Gillerman D. H. Trecento Illustrators of the “Divine Comedy”. Dante Studies, with the Annual Report of the Dante Society, 2000, no. 118, pp. 129–165.
  • Hollander R. Dante’s Use of Aeneid in Inferno I and II. Comparative Literature, 1968, vol. 20, no. 2, pp. 142–156.
  • Leclerq J. De la Terre-Mère à la luxure. Cahiers de civilisation médiévale, 1975, no. 69, pp. 37–43 (in French).
  • Mansfield M. N. Dante and the Gorgon within. Italica, 1970, vol. 47, no. 2, pp. 143–160.
  • Ovid. Metamorphoses. Shervinskii S. (trans.). Moscow, Biblioteka nauchnoi literatury Publ., 1977. 432 p. (in Russian).
  • Owen R. Dante’s Reception by 14th and 15th century Illustrators of the Commedia. Reading Medieval Studies, 2001, iss. 27, pp. 163–225.
  • Porcari C. Minotaurs & Geryons: The Symbolic Monsters of Violence and Fraud in the Sources. Dante’s Lines of and in Their Literary or Visual Comments: Lecture Paper. Calgary, University of Calgary Publ., 2018, pp. 4–23.
  • Pozhidaeva A. V. The Example of Geryon in Illustrations for the “Divine Comedy” of the 14th–19th Centuries: Origins and Transformations. Deviatye Danilovskie chtenija. Antichnost’ – Srednevekov’e – Renessans. Pamiatniki v kontekste epokhi. K stoletiju I. E. Danilovoi (Conference with international participation “Ninth Danilov Readings. Antiquity – Middle Ages – Renaissance. Monuments in the Context of the Era. To the centenary of I. E. Danilova”). Moscow, Novoe literaturnoe obozrenie Publ., 2022 (in Russian).
  • Robertson M. Geryoneis: Stesichorus and the Vase-Painters. The Classical Quarterly, 1969, vol. 19, no. 2, pp. 207–221.
  • Seznec J. The Survival of the Pagan Gods: The Mythological Tradition and Its Place in Renaissance Humanism and Art. New York, Harper Torchbooks Publ., 1961. 405 p.
  • Terzoli M. A. Visibile Parlare: ecfrasi e scrittura nella “Commedia”. Terzoli M. A.; Schütze S.(eds). Dante und die bildenden Künste. Berlin, De Gruyter Publ., 2016, pp. 23–48 (in Italian).
  • Virgil. Eclogues. Georgics. Aeneid. Fiction. Osherov S. A. (trans.). Moscow, Khudozhestvennaia literatura Publ., 1979. 462 p. (in Russian).
  • Volkmann L. Iconografia Dantesca: The Pictorial Representations to Dante’s Divine Comedy. Sarolea Ch. (trans.). London, Grevel Publ, 1899. 228 p.
  • Williams E. Speak of the Devil: A Brief Look at the History and Origins of Iconography of the Devil from Antiquity to Renaissance. Carson, California State University Dominquez Hills Publ., 2004. 100 p.