パラッツォ・デル・テの「ムーサたちのロッジア」の図像分析―16 世紀マントヴァ宮廷におけるオルフェウス神話の受容―

本稿は，北イタリア・マントヴァのゴンザーガ家の離宮パラッツォ・デル・テの「ムーサのロッジア」(諸芸術の女神ムーサたちの開廊，1525-30 頃)に描かれた伝説上の音楽家，詩人，預言者であるオルフェウスの神話図像を分析するものである．美しい竪琴の演奏と詩歌で野獣を従順にさせ，森林や岩石，冥府の神々の心まで揺り動かしたと伝承をもつ詩聖オルフェウスは，15 世紀の人文主義思想において文化推進者，教育者，また輪廻転生を教義にもつ秘教の創始者と多面的な人物像で語られた．古代ローマ最大の桂冠詩人でマントヴァ出身のウェルギリウスもまたオルフェウスと亡き妻エウリュディケーの悲話を『農耕詩』で謳い，それが15，16 世紀のマントヴァで都市および都市の支配者ゴンザーガ家を称揚する芸術主題の一つとなった．本論ではオルフェウスとエウリュディケー，彼女に恋慕した養蜂家アリスタイオスを描いた「ムーサのロッジア」の北壁を図像分析し，それが『農耕詩』と『農耕詩』をもとに15 世紀末に創作されたアンジェロ・ポリツィアーノの戯曲『オルペウスの物語』を典拠とすることを確認し，施主であるマントヴァ侯爵フェデリーコ・ゴンザーガ二世を文芸庇護者，実学技術の推進者と称揚し，さらに愛人イザベッラ・ボスケッティへの愛も表象した主題であったことを明らかにしていく．

This paper examines the mythological images of Orpheus and his wife Eurydice in the Loggia delle Muse of the Palazzo del Te, a suburban palace of the Gonzaga Family at Mantua in the Northern Italy. Orpheus is a legendary musician, poet and prophet in the ancient myth; Orpheus, playing a lyre and singing, tamed the beasts and stirred the woods or rocks and the Gods of underworld. In the Renaissance humanism, therefore, he is interpreted as the allegories of an art-culture promoter, an educator, a sage and a mystic leader of the Orphism that has the dogma of metempsychosis. At the Gonzaga court during the fifteenthsixteenth centuries, through the text of the Georgics, one of the masterpieces of a poet laureate Virgil who was born near Mantua and was a civic pride, and the text of Fabula di Orfeo written by Angelo Poliziano in the 15th century, the Orphic myth took the politicalrhetorical role to glorify the Mantuan Gonzaga family and it was also used in the theatrical performances, in the visual arts etc. After confirming that three characters ( Orpheus, Eurydice and beekeeper Aristaeus ) painted in the Loggia delle Muse correspond to the Georgics, in this study it revealed that the iconographic program celebrated the patron, the fifth marquis of Mantua Federico Gonzaga II, as eminent patron and promoter of practical sciences in the consideration of the political and cultural milieu of the marquis. Furthermore, it is surmised that it represented also his love dedicated to Isabella Boschetti, his consolation.