Angelica and Medoro explained

Angelica and Medoro was a popular subject for Romantic painters, composers and writers from the 16th until the 19th century.^[1] Angelica and Medoro are two characters from the 16th-century Italian epic Orlando Furioso by Ludovico Ariosto. Angelica was an Asian princess at the court of Charlemagne who fell in love with the Saracen knight Medoro, and eloped with him to China. While in the original work Orlando was the main character, many adaptations focused purely or mainly on the love between Angelica and Medoro, with the favourite scenes in paintings being Angelica nursing Medoro, and Angelica carving their names into a tree, a scene which was the theme of at least 25 paintings between 1577 and 1825.^[2]

Episodes in the story

Angelica and Medoro are on different sides in the war, and their first encounter is when Angelica comes across the wounded Medoro. He has been wounded in a skirmish with Scottish knights, in which his two friends Cloridano and Dardinello were killed. They may be shown lying dead. In the poem Ariosto describes how Cupid, annoyed with Angelica's disdain for love, waits beside Medoro for Angelica with an arrow fitted in his bow. He may be shown firing this at her.^[3]

Angelica takes Medoro off to a shepherd's hut, and nurses him there, falling in love with him in the process. When he is fully recovered they depart. The Villa Valmarana Tiepolo cycle (1757) shows both scenes. The most popular scene in art is of the lovers carving their names into a tree in a sylvan setting; most often Angelica is shown doing the carving. It is when the hero Orlando, who is in love with Angelica, finds the names that he becomes furioso or mad.^[4]

Incomplete list of artists depicting Angelica and Medoro

• Andrea Casali Angelica and Medoro, 1750
• Nicolas-Sébastien Adam, Angélique et Médor, 1753
• François Boucher, Angelica and Medoro, 1763
• Ludovico Carracci, Angelica and Medoro, two heads
• Eugène Delacroix, Angelica and the wounded Medoro, 1860
• Angelica Kauffman, The Loves of Angelica and Medoro
• Laurent de La Hyre, Angelica and Medoro, 1641
• Teodoro Matteini, after a design by Raphael Sanzio Morghen
• Marcantonio Raimondi, Angelica e Medoro, after Giulio Romano
• Joshua Reynolds, Angelica and Medoro
• Bonifazio Veronese, Angelica e Medoro
• Benjamin West, Angelica and Medoro, 1763–1764
• John Wootton, Landscape with Angela and Medoro, in the Royal Albert Memorial Museum in Exeter
• Michael Stroy, Angelika und Medor (1833), a scene from the epic Orlando Furioso

Gallery

Angelica nurses the wounded Medoro

List of authors writing about Angelica and Medoro

• Francisco de Aldana (1537–1578), Medoror y Angélica, describing their adventures after the end of the Orlando Furioso
• Luis Barahona de Soto, Primera parte de la Angélica (1586), also describing the adventures after the ending of the Furioso
• Lope de Vega, La hermosura de Angélica (1602)
• Luis de Góngora, En un pastoral albergue, 1602, depicting the honeymoon of Angelica and Medoro
• José de Cañizares, Angélica y Medoro, 1722

List of composers writing about Angelica and Medoro

Libretto by Andrea Salvadori

• Jacopo Peri and Marco da Gagliano, Lo sposalizio di Medoro e Angelica, 1619

Libretto by Metastasio

• Nicola Antonio Porpora, Angelica e Medoro (Porpora), 1720, which marked the debut of Farinelli
• Giovanni Battista Mele, Angelica e Medoro, 1747

Libretto by Leopoldo de Villati

• Carl Heinrich Graun, Angelica e Medoro (3 acts, 1749)

Libretto by Carlo Vedova

• Giovanni Battista Lampugnani, Angelica e Medoro, 1738
• Giovanni Battista Pescetti, Angelica e Medoro, 1739

Libretto by Lorenzo Da Ponte

• Wolfgang Amadeus Mozart, Così fan tutte, 1790; in an aria cut by Mozart from the opera but frequently performed in concert, Rivolgete a lui lo sguardo, the character Guglielmo lists Orlando and Medoro as suitors whose passions pale beside his own.

Libretto by Gaetano Sertor

• Gaetano Andreozzi, Angelica e Medoro, 1791

Other

• Vito Giuseppe Milicco and Domenico Cimarosa, Angelica e Medoro, 1783, a cantate

Further reading

• Julius A. Molinaro, Angelica and Medoro; The Development of a Motif from the Renaissance to the Baroque, 1954
• Rensselaer W. Lee, Names on trees : Ariosto into art, Princeton University Press, 1977, 124 pages, .

Notes and References

1. Book: Waid, Candace. Edith Wharton's letters from the underworld: fictions of women and writing. 1991. UNC Press Books. 978-0-8078-4302-4. 6 October 2011. 29.
2. Book: Littlejohn, David. The ultimate art: essays around and about opera. 1992. University of California Press. 978-0-520-07608-2. registration. Angelica Medoro tree.. 6 October 2011. 111.
3. Finaldi, Gabriele and Kitson, Michael, Discovering the Italian Baroque: the Denis Mahon Collection, 1997, National Gallery Publications, London/Yale UP,
4. Hall, James, Hall's Dictionary of Subjects and Symbols in Art, p. 18, 1996 (2nd edn.), John Murray,