DOI Artikel:
Shorr, Dorothy C.: The identification of the captives in Petrarch's Triumph of Fame
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.6337#0049
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2. The Triumph of Fame. Florentine School, circa 1400. Cassone panel in the possession of Dr. Mog, Munich
3. Master of the Smaller Vienna Passion, the Six Triumphs of Petrarch. Engraving. Vieiina, Albertina
massacred and Spendio with the other chiefs was crucified beneath the walls of Tunis. Finally,
in spite of Mathos' efforts, a pitched battle resulted in the total defeat of his armv. Mathos
was brought back to Carthage where a triumph was celebrated, and perished amid the most
cruel tortures inflicted upon him by the victors. Such is the Störy of Spendius and Mathos
as told by Polybius in the first book (I. 69—88) of his history and over two thousand years
later by Gustave Flaubert in Salammbo. The captives having been thus identified, the
questions still remain: when did they originate and why did the engraver choose just these
two historical characters to fill the role of the shackled prisoners?
4. The Triumph of Fame. Cafaggiolo plate after the engraving by the Master of the Larger Vienna Passion.
London, Victoria & Albert Museum - 5. The Triumph of Fame. Illuminated ms. of Petrarch's Trionfi.
Modena, Bibl. Estense
6*
43
2. The Triumph of Fame. Florentine School, circa 1400. Cassone panel in the possession of Dr. Mog, Munich
3. Master of the Smaller Vienna Passion, the Six Triumphs of Petrarch. Engraving. Vieiina, Albertina
massacred and Spendio with the other chiefs was crucified beneath the walls of Tunis. Finally,
in spite of Mathos' efforts, a pitched battle resulted in the total defeat of his armv. Mathos
was brought back to Carthage where a triumph was celebrated, and perished amid the most
cruel tortures inflicted upon him by the victors. Such is the Störy of Spendius and Mathos
as told by Polybius in the first book (I. 69—88) of his history and over two thousand years
later by Gustave Flaubert in Salammbo. The captives having been thus identified, the
questions still remain: when did they originate and why did the engraver choose just these
two historical characters to fill the role of the shackled prisoners?
4. The Triumph of Fame. Cafaggiolo plate after the engraving by the Master of the Larger Vienna Passion.
London, Victoria & Albert Museum - 5. The Triumph of Fame. Illuminated ms. of Petrarch's Trionfi.
Modena, Bibl. Estense
6*
43