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Roger (Ruggero, Ruggiero) and Angelique (Angelica) on the hippoclaw - engraving from 1851
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Roger (Ruggero, Ruggiero) and Angelique (Angelica) on the hippoclaw - engraving from 1851
XEE4151406 Roger (Ruggero, Ruggiero) and Angelique (Angelica) on the hippoclaw - engraving from 1851 from " Roland furieux" (Orlando furioso) (16th century) by Ludovico Ariosto, known as Ariosto - Edition translated from Italian by the Count of Tressan and published by Gustave Harvard 1851 by Unknown Artist, (19th century); Private Collection; (add.info.: Roger (Ruggero, Ruggiero) and Angelique (Angelica) on the hippoclaw - engraving from 1851 from " Roland furieux" (Orlando furioso) (16th century) by Ludovico Ariosto, known as Ariosto - Edition translated from Italian by the Count of Tressan and published by Gustave Harvard 1851); out of copyright
Media ID 22477740
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This engraving from 1851 transports us back to the enchanting world of Ludovico Ariosto's "Orlando furioso". The print features the characters Roger (Ruggero, Ruggiero) and Angelique (Angelica), two central figures in this epic 16th-century Italian poem. Rendered by an unknown artist of the 19th century, their tale comes alive through delicate lines and intricate details. The scene depicted showcases Roger and Angelique on a hippoclaw, a mythical creature resembling a hybrid between a horse and a sea monster. As they navigate through treacherous waters, their expressions reveal both determination and vulnerability. This moment captures the essence of their complex relationship: Roger is passionately in love with Angelique, while she struggles with her own desires and allegiances. Ariosto's "Orlando furioso" is renowned for its exploration of chivalry, romance, and adventure. It weaves together various narratives involving knights errant, sorcerers, damsels in distress, and fantastical creatures. Through his vivid storytelling skills, Ariosto takes readers on an exhilarating journey filled with battles against giants and encounters with magical beings. This particular edition of Ariosto's masterpiece was translated into French by the Count of Tressan before being published by Gustave Harvard in 1851. The engraving itself exemplifies the beauty that can be found within literature as it transcends time periods and artistic mediums. As we gaze upon this print
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