To cite this record: http://ddd.uab.cat/record/70314
Le lettere nascoste: Caterina d’Aragona e le tappezzerie del liocorno
Piccat, Marco (Università degli Studi di Trieste)

Additional title: The hidden letters: Katherine of Aragon and the unicorn tapestries
Date: 2009-2010
Abstract: Le cinque celebri tappezzerie tradizionalmente denominate della Dame à Licorne (fi ne xv-inizi xvi° secolo), conservate al Museo di Cluny a Parigi, presentano, all’interno del loro fantastico disegno, un’unica scritta esplicativa del loro particolare messaggio e della loro nobile committenza. L’analisi della medesima, «A mon seul desir K», nasconde un’inedita chiave di lettura: l’alleanza matrimoniale tra Arturo Tudor e Katerina d’Aragona, principi destinati ad intrecciare, nel loro destino, due paesi europei, Inghilterra e Castiglia, dalle antiche e diverse tradizioni. Il tragico e brusco infrangersi dell’unione ebbe come conseguenza la comparsa delle tappezzerie sui mercati e la loro acquisizione da parte di una famiglia francese, i Le Viste, unita alle stesse per l’affi nità del simbolo araldico. L’articolo analizza l’ipotesi della genesi e delle fortune di un capolavoro cresciuto come alfabetiere di un sentimento d’amore dichiaratamente mediterraneo, ponte per mondi altrimenti incomunicabili, ed utilizzato, come immaginario di un sorprendente teatro popolare.
Abstract: The five celebrated tapestries traditionally referred to as Dame à Licorne (end of the 15th centurybeginning of the 16th century), housed in the Cluny Museum in Paris, present within their spectacular pattern a single piece of writing which explains their message and the fact that they were commissioned by nobles. An analysis of the writing, «A mon seul desir K» shows that it may hide an unpublished interpretation: namely the matrimonial alliance between Arthur Tudor and Katherine of Aragon, members of two royal families whose marriage was destined to unite the two European countries of England and Castile with their ancient but different traditions. The death of Arthur Tudor put an end to the proposed marriage and as a result the tapestries appeared on the market and were acquired by a French family, the Le Vistes, who were linked to them by an affinity with a heraldic symbol. This article analyses a hypothesis of the genesis and fortunes of a masterpiece that grew from the alphabetic blocks of a declaration of love that was clearly Mediterranean and that represented a bridge between two worlds that would otherwise not have communicated and it was later used as an image of a surprising popular theatre.
Rights: Aquest document està subjecte a una llicència d'ús Creative Commons. Es permet la reproducció total o parcial, la distribució, la comunicació pública de l'obra i la creació d'obres derivades, sempre que no sigui amb finalitats comercials, i sempre que es reconegui l'autoria de l'obra original. Creative Commons
Language: Italià.
Document: article ; recerca ; article ; publishedVersion
Subject: Tappezzerie ; Dama ; Liocorno ; Tapestries ; Lady ; Unicorn
Published in: Locus amoenus, Núm. 10 (2009-2010) , p. 17-37, ISSN 1135-9722



21 p, 1.6 MB

The record appears in these collections:
Articles > Published articles > Locus amoenus

 Record created 2011-05-02, last modified 2014-07-30



   Favorit i Compartir
QR image