Text and images of Ovid in the Trecento.The manuscript of Berchorius Gotha, Forschungsbibliothek, Membr. I 98 and its cultural context

在12世纪和13世纪重新发现奥维德之后，在14世纪开始了对《变形记》的新的、非常密集的采用。在这方面起源也Ovidius moralizatus的Petrus Berchorius。这个文本的第一个版本是写在阿维尼翁约1340年。对奥维德的所有故事进行系统的解读，目的是为了使古代诗歌合法化，并提高其价值。已经在1350年左右有在博洛尼亚，可能是Bruzio Visconti，一个周期的插图，其中应包括超过200图像。神话的叙事内容和情感张力是微缩模型的主要关注点。画家们对动物或植物从人身上的许多变化特别感兴趣，这不仅对自然史有影响，而且对心理也有影响。微缩模型的周期几乎是未知的，我们将在文本和图像之间的关系中分析本我，并将本我置于早期人文主义文化的背景中。哥达手稿在世纪关于古代神话的争论中占有重要地位。

After the rediscovery of Ovid in the 12th and 13th centuries starts in the 14th century a new and very intensive adoption of the Metamorphoses. In this context originate also the Ovidius moralizatus of Petrus Berchorius. The first version of this text was written in Avignon around 1340. The systematic interpretation of all the stories told by Ovid is directed at a legitimation and an increase in value of the ancient poetry. Already around 1350 there was made in Bologna, probably for Bruzio Visconti, a cycle of illustrations, which should include over 200 images. The narrative content and the emotional tension of the myths is the main focus of the miniatures. The painters have a special interest in the many metamorphoses from men in animals or plant, which has a psychological effect as well as one in natural history. The cycle of miniatures is nearly unknown and we will analyses id in the relationship between text and images and also contextualize id in the culture of early humanism. The manuscript in Gotha has a key-position for the debate on the ancient myths in the 14th century.