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335:, also falls in love with Tancredi and betrays her people to help him, but she grows jealous when she learns that Tancredi loves Clorinda. One night she steals Clorinda's armor and leaves the city, in an attempt to find Tancredi, but she is attacked by Christian soldiers (who mistake her for Clorinda) and she flees into the forest, where she is cared for by a family of shepherds, with an old man who weaves baskets (Cantos 6–7). Later in the poem, we find her again in the company of Armida's ladies, but Erminia abandons her Muslim people and goes over to the Christian side. When Tancredi is dangerously wounded in combat, she heals him, cutting off her hair to bind his wounds (Canto 19).
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him, but Cupid restrains her hand; instead she abducts him in her chariot; Carlo and Ubaldo in Armida's garden; the knights find the lovers gazing at each other; Rinaldo abandons her. Also popular were
Tancredi baptising the mortally wounded Clorinda and Erminia finding the wounded Tancredi, a moment of high emotion in the poem and perhaps the most often depicted. She is also shown nursing him, cutting off her hair to use as bandages.
263:. The three main female characters begin as Muslims, have romantic entanglements with Christian knights, and are eventually converted to Christianity. They are all women of action: two of them fight in battles, and the third is a sorceress. There are many magical elements, and the Saracens often act as though they were classical pagans. The most famous episodes, and those most often dramatised and painted, include the following:
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213:(especially in those sections of their works that tell of sieges and warfare). One of the most characteristic literary devices in Tasso's poem is the emotional conundrum endured by characters torn between their heart and their duty; the depiction of love at odds with martial valour or honor is a central source of lyrical passion in the poem.
414:
Armida is grief-stricken and raises an army to kill
Rinaldo and fight the Christians, but her champions are all defeated. She attempts to commit suicide, but Rinaldo finds her in time and prevents her. Rinaldo then begs her to convert to Christianity, and Armida, her heart softened, consents (Canto
142:
Tasso's choice of subject matter, an actual historic conflict between
Christians and Muslims (albeit with fantastical elements added), had a historical grounding and created compositional implications (the narrative subject matter had a fixed endpoint and could not be endlessly spun out in multiple
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period, which began shortly after the poem was published. Most paintings showed the love stories, typically with lovers as the two main figures. Common scenes depicted include several with
Rinaldo, some including Armida. These include: Armida sees the sleeping Rinaldo, and draws her sword to kill
469:
The poem was immensely successful throughout Europe and over the next two centuries various sections were frequently adapted as individual storylines for madrigals, operas, plays, ballets and masquerades. Upon publication, two thousand copies of the book were sold in a day. For the work's immense
391:
Carlo and Ubaldo, two
Christian knights and close companions of Rinaldo, seek out the hidden fortress, brave the dangers that guard it and find Rinaldo and Armida in each other's arms. By giving Rinaldo a mirror of diamond, they force him to see himself in his effeminate and amorous state and to
1909:
285:(in English: Tancred) falls in love with her (Canto 3). During a night battle in which she sets the Christian siege tower on fire, she is mistakenly killed by Tancredi, but she converts to Christianity before dying (Canto 12). The character of Clorinda is inspired in part by
757:.) Tasso's poem remained popular among educated English readers and was, at least until the end of the 19th century, considered one of the supreme achievements of Western literature. Somewhat eclipsed in the Modernist period, its fame is showing signs of recovering.
396:") shows him a vision of the future in the shield, including the glories of the House of Este (Tasso drops in several prophecies of the time between 1099 and his own at various points). Rinaldo resolves to pursue the crusade with all his might (Canto 17).
720:. In the twelfth canto of Book Two, Spenser's enchantress Acrasia is partly modelled on Tasso's Armida, and the English poet directly imitated two stanzas from the Italian. The portrayal of Satan and the demons in the first two books of Milton's
473:
Certain critics of the period however were less enthusiastic, and Tasso came under much criticism for the magical extravagance and narrative confusion of his poem. Before his death, he rewrote the poem virtually from scratch, under a new title
583:. They show the story of Rinaldo, with three covering his time with Armida. As in many paintings, Rinaldo's companions Carlo and Ubaldo are also shown. Among 18th-century rooms with sets of paintings of the poem that survive intact are two in
371:
in
Ariosto's epic) enters the Christian camp asking for their aid; her seductions divide the knights against each other and a group leaves with her, only to be transformed into animals by her magic (Canto 5). Armida comes across the sleeping
143:
volumes) that are lacking in other
Renaissance epics. Like other works of the period that portray conflicts between Christians and Muslims, this subject matter had a topical resonance to readers of the period when the
273:
accuses himself in turn, and each lover pleads with the authorities in order to save the other. However, it is the arrival and intervention of the warrior-maiden
Clorinda which saves them (Canto 2).
269:(in English: Sophronia), a Christian maiden of Jerusalem, accuses herself of a crime in order to avert a general massacre of the Christians by the Muslim king. In an attempt to save her, her lover
446:. But an Egyptian army is known to be arriving in a few days (Canto 18). When they arrive there is a great battle outside the walls, which the Christians win, completing their quest (Canto 20).
1861:(exhibition: Venice, Museum of Ca' Rezzonico, from September 5 to December 9, 1996; The Metropolitan Museum of Art, New York, January 24 to April 27, 1997, 1996, Metropolitan Museum of Art,
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The poem, which in detail bears almost no resemblance to the actual history or cultural setting of the
Crusades (in fact, at the start of the poem it is said that the crusaders took
575:
Another set of four oil paintings by
Tiepolo were painted c. 1742–45 as part of a decorative scheme, including a ceiling and other panels, for a room in a Venetian palace of the
2228:
764:(1845–1933) recorded that "Every girl from Scott's heroines to my own sisters seem to have been taught Dante and Petrarch and Tasso and even Ariosto, as a matter of course."
601:
378:, the greatest of the Christian knights, and abducts him in her chariot (Canto 14). He has the same name as a Carolingian paladin count who is a character in Ariosto's
392:
return to the war, leaving Armida heartbroken (Cantos 14–16). Rinaldo is deposited on a shore where he finds a shield and sword, and the "Mago d'Ascalona" ("Wizard of
259:
feature, but much of the poem is concerned with romantic sub-plots involving entirely fictional characters, except for Tancredi, who is identified with the historical
388:. She intends to kill him but she falls in love with him instead and takes him away to a magical island where he becomes infatuated with her and forgets the crusade.
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The poem was hugely successful, and sections or moments from the story were used in works in other media all over Europe, especially in the period before the
309:, which defeat the Christian knights, even Tancredi (Canto 13). Eventually, the enchantments are broken by Rinaldo, and the siege engines built (Canto 18).
301:; the circumstances of her birth (a Caucasian girl born to African parents) are modeled on the lead character (Chariclea) from the ancient Greek novel by
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which appeared in 1600 and has been acclaimed as one of the finest English verse translations. (There is also an eighteenth-century translation by
2025:
760:
It seems to have remained in the curriculum, formal or informal, for girls, in times when it was not taught at boys' schools. The English critic
1575:
716:. The description of Redcrosse's vision of the Heavenly Jerusalem in the First Book owes something to Rinaldo's morning vision in Canto 18 of
502:
and other romantic writers had begun to replace Tasso as sources of exotic love stories to adapt into other media. Some use more contemporary
442:
After the enchantments on the forest are broken, finally the Crusaders breach the walls and take the city, with some Muslims remaining in the
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842:
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and Lucrezia, Duchess of Urbino. A pirate edition of 14 cantos from the poem appeared in Venice in 1580. The first complete editions of
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506:, but attempts at authentic 11th-century decor are not seen. The scenes almost all take place outdoors, in an idealized
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2006:
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478:, or "Jerusalem Conquered"). This revised version, however, has found little favor with either audiences or critics.
1890:
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1981:
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1708:
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Most depictions until the 19th century use vaguely classical costume (at least for the men) and settings; by then
419:, but the spell is broken by a magic ring that the good sorceress Melissa brings him; earlier antecedents include
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tradition of the romantic epic poem, and Tasso frequently borrows plot elements and character types directly from
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Durant, W. and Durant, A. (1989). "The Story of Civilization: Age of Reason Begins," World Library, Inc., USA
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305:. To prevent the crusaders from cutting timber for siege engines, the Muslim sorcerer Ismen protects the
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The series of ten large paintings by Finoglio has the following scenes, which may be taken as typical:
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1816:Оксана Євсюкова - опера "Софронія на вогнищі" на 1 дію(за лібретто М.Стріхи).Концертне виконання.
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20). (This sequence echoes a similar storyline in Ariosto: the witch Alcina ensnares the knight
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251:), tells of the initial disunity and setbacks of the Christians and their ultimate success in
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better reflect the actual balance of the poem, also showing the military parts of the story.
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Scenes from the poem were often depicted in art, mainly by Italian or French artists in the
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landscape, which can occupy much of the composition, as in the 18th-century fresco cycles.
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1766:"King of Critics": George Saintsbury, 1845-1933, Critic, Journalist, Historian, Professor
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540:, home of the local ruler, where they remain. Scenes from the poem were also depicted in
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The first illustrated edition was in 1590, in Italian, and others followed. A set of 35
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The fame of Tasso's poem quickly spread throughout the European continent. In England,
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1613:'s short story "Carcassonne" uses imagery from the epic as its central thematic motif.
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158:, which provided alternative stories combining love, violence, and an exotic setting.
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1790:"Оперна реінкарнація Тассо: у Києві українською заспівали "Софронію на вогнищі""
1482:(1647/1650), and other subjects, Kunsthistorisches Museum, Gemäldegalerie, Wien.
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119:. Tasso began work on the poem in the mid-1560s. Originally, it bore the title
1814:
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popularity as a subject for dramatic settings, see "Works based on..." below.
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93:
1492:(1630s): "Tancred and Erminia" c.1630 in at least two versions, one in the
123:. It was completed in April 1575 and that summer the poet read his work to
1915:
1335:
1320:
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103:, first published in 1581, that tells a largely mythified version of the
1751:
This section: Roberto Weiss, introduction to the Fairfax translation of
1485:
706:
described Tasso as an "excellente poete" and made use of elements from
591:
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136:
112:
1971:
1886:, English translation (The Medieval and Classical Literature Library)
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37:
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Rinaldo about to destroy the tree that controls the enchanted forest
205:. Tasso's poem also has elements inspired by the classical epics of
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31:
1924:
1882:
384:; he is the son of Bertoldo and was the reputed founder of the
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in 1594. More significant was the complete rendering by
737:, who published his version of the first five cantos as
587:, at the Palazzo Temple Leader and Palazzo Panciatichi.
1834:
For a longer list, see the "Appendix" in Max Wickert's
532:
were painted from 1634 on for the Palazzo Acquaviva in
528:
decorated some palaces. A set of ten large canvases by
1894:, English translations at Google Books (pdf download)
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The numerous paintings inspired by the poem include:
1571:, 1742/45, Art Institute of Chicago, and many others
46:(1629). Cupid restrains her from stabbing her enemy.
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2017:
1990:
1964:
739:
Godfrey of Bulloigne or the recoverie of Hierusalem
645:Carlo and Ubaldo urge Rinaldo to fulfill his duty
1680:, pp. 263-4, 296, 1996 (2nd edn.), John Murray,
1678:Hall's Dictionary of Subjects and Symbols in Art
702:seem to have admired it, and, most importantly,
1107:Das eroberte Jerusalem, oder Armida und Rinaldo
665:Rinaldo, victorious, puts the enemy into flight
630:The duel between Raimondo di Tolosa and Argante
606:Rinaldo and Armida meet in the enchanted forest
232:Clorinda attacks Tancredi, one of a series by
221:"Erminia" redirects here. For other uses, see
1936:
1459:Herminia and Vaprino Find the Wounded Tancred
8:
1768:, p. 5, 1992, University of Michigan Press,
281:joins the Muslims, but the Christian knight
1006:(Venice, 1626) - only the libretto survives
517:Part of the Palazzo Panciatichi scheme, in
327:Another maiden of the region, the Princess
191:of varying length. The work belongs to the
77:
2229:Cultural depictions of Godfrey of Bouillon
1943:
1929:
1921:
1520:, with over 100 figures, exhibited at the
1328:(Venice/Ferrara, 1813), based on the play
640:Rinaldo and Armida in the enchanted forest
1559:The pictorial series Jerusalem Delivered
939:Gli avvenimenti di Erminia e di Clorinda
850:(1624) from his eighth book of madrigals
2026:Il combattimento di Tancredi e Clorinda
1854:ed. Lanfranco Caretti (Mondadori, 1983)
1646:
660:Erminia discovers the wounded Tancredi
625:The encounter of Clorinda and Tancredi
564:(c. 1757), and in the bedroom of King
147:was advancing through Eastern Europe.
1738:, Book 2, Canto 12, Stanzas 74–5 and
1532:Clorinda Rescues Olindo and Sophronia
812:Armida discovers the sleeping Rinaldo
655:Rinaldo abandons the enchanted Island
404:Clorinda Rescues Olindo and Sophronia
317:Erminia discovers the wounded Tancred
255:. The main historical leaders of the
71:
7:
975:Suite d'Armide ou Jerusalem Delivree
843:Combattimento di Tancredi e Clorinda
1416:Clorinda Deleste, El Camino del Sol
749:, and there are modern versions by
107:in which Christian knights, led by
73:[ladʒeruzaˈlɛmmelibeˈraːta]
1877:External links (translations etc.)
1734:Compare the "Song of the Rose" in
1404:by Oksana Yevsyukova (2023), opera
726:is also indebted to Tasso's poem.
620:The Torture of Olindo and Sofronia
459:Erminia tends to Tancredi's wounds
25:
1697:Art Institute of Chicago database
1496:in St Petersburg, another in the
835:Ballet de la Delivrance de Renaud
1904:
650:Armida tries to restrain Rinaldo
1859:Giambattista Tiepolo, 1696–1770
1838:(Oxford University Press, 2009)
1479:Rinaldo in the enchanted forest
838:by Pierre Guedron (Paris, 1617)
729:The first attempt to translate
671:Influence in English literature
175:The poem is composed of 1,917
40:Discovers the Sleeping Rinaldo
1:
1498:Barber Institute of Fine Arts
635:Baptism and death of Clorinda
1899:Plot summary, canto by canto
1599:Museum of Fine Arts, Houston
1095:Renaud, ou la Suite d'Armide
524:Series of works in paint or
187:lines), grouped into twenty
1914:public domain audiobook at
1836:The Liberation of Jerusalem
1574:Giovanni Battista Tiepolo
1569:Rinaldo Enchanted by Armida
1430:. Ediciones La Sirena 2006.
979:Philippe II duke of Orleans
951:Amori di Rinaldo con Armida
777:Tancredi Baptizing Clorinda
58:The Liberation of Jerusalem
27:Epic poem by Torquato Tasso
2250:
1982:Tancred, Prince of Galilee
1857:Christiansen, Keith, ed.,
1764:Dorothy Richardson Jones,
1595:Tancred Baptizing Clorinda
958:(Brescia, 1697) music lost
476:La Gerusalemme Conquistata
439:off to a faraway island.)
342:Rinaldo and the wizard of
261:Tancred, Prince of Galilee
220:
1565:Giovanni Battista Tiepolo
1418:. Partially adapted from
1266:Christoph Willibald Gluck
1030:(Verona, 1711) music lost
946:(Venice, 1693) music lost
944:Carlo Francesco Pollarolo
898:(Venice, 1639) music lost
733:into English was made by
558:Villa Valmarana (Lisiera)
554:Giovanni Battista Tiepolo
348:Giovanni Battista Tiepolo
2224:Poems adapted into films
2058:Armida al campo d'Egitto
1755:(Centaur Classics, 1962)
1071:Armida al campo d'Egitto
1023:Armida regina di Damasco
581:Art Institute of Chicago
307:forest with enchantments
253:taking Jerusalem in 1099
223:Erminia (disambiguation)
1742:Canto 16, Stanzas 14–15
1653:Caretti pp.lxv and lxix
1463:Giovanni Antonio Guardi
1444:Rinaldo Abandons Armida
1402:Sophronia at the hearth
1138:(Breslau/Wrocław, 1726)
992:Giovanni Maria Ruggieri
927:La Gerusalemme liberata
824:La Gerusalemme Liberata
550:School of Fontainebleau
546:Palace of Fontainebleau
530:Paolo Domenico Finoglia
234:Paolo Domenico Finoglia
125:Duke Alfonso of Ferrara
68:La Gerusalemme liberata
1901:, by Michael McGoodwin
1699:; Christiansen, 134-47
1466:
1451:
1196:Giovanni Battista Mele
1112:Georg Caspar Schurmann
1040:George Frideric Handel
874:(Bologna, before 1629)
818:
804:
784:
687:
612:
570:Schloss Hohenschwangau
521:
466:
411:
350:
324:
236:
172:
66:
47:
2194:Epic poems in Italian
1636:, a 1958 Italian film
1628:, a 1918 Italian film
1577:Rinaldo leaves Armida
1457:
1442:
1316:(St Petersburg, 1786)
1214:The Inchanted Forrest
1184:Luca Antonio Predieri
1155:L'abbandono di Armida
982:(Fontainebleau, 1704)
810:
795:
775:
678:
604:
579:, but are now in the
516:
457:
402:
341:
315:
231:
164:
35:
2219:Jerusalem in fiction
2007:The Mighty Crusaders
1852:Gerusalemme liberata
1740:Gerusalemme liberata
1633:The Mighty Crusaders
1508:Tancred and Clorinda
1420:Gerusalemme Liberata
1374:(1863, 1868) cantata
1143:Il trionfo di Armida
1088:Giuseppe Maria Buini
1064:Giuseppe Maria Buini
879:Erminia sul Giordano
855:Le lagrime d'Erminia
731:Gerusalemme liberata
708:Gerusalemme liberata
566:Ludwig II of Bavaria
129:Gerusalemme liberata
18:Gerusalemme liberata
2163:Rinaldo discography
1957:Jerusalem Delivered
1911:Jerusalem Delivered
1892:Jerusalem Delivered
1884:Jerusalem Delivered
1753:Jerusalem Delivered
1591:Domenico Tintoretto
1586:province of Vicenza
1518:Jerusalem Delivered
1504:Theodor Hildebrandt
1490:Jerusalem Delivered
1488:'s illustration to
1218:Francesco Geminiani
1208:Carl Heinrich Graun
920:Jean-Baptiste Lully
862:(Parma, after 1620)
781:Domenico Tintoretto
680:Tancred and Erminia
423:'s attempt to keep
303:Heliodorus of Emesa
193:Italian Renaissance
109:Godfrey of Bouillon
87:The freed Jerusalem
52:Jerusalem Delivered
2234:Ascalon in fiction
2066:Armida abbandonata
1550:Rinaldo and Armida
1541:Rinaldo and Armida
1467:
1452:
1348:Gioacchino Rossini
1326:Gioacchino Rossini
1237:Armida abbandonata
1191:La Armida aplacada
1172:Ferdinando Bertoni
1119:Armida abbandonata
1059:Armida abbandonata
1016:Giuseppe Boniventi
1004:Claudio Monteverdi
999:Armida abbandonata
987:Armida abbandonata
884:Michelangelo Rossi
848:Claudio Monteverdi
819:
805:
785:
688:
613:
610:Giacinto Gimignani
522:
467:
412:
351:
331:(or "Hermine") of
325:
247:and conquered the
245:Alexios I Komnenos
237:
173:
168:in her garden, by
166:Rinaldo and Armida
131:were published in
48:
2171:
2170:
1869:, 9780870998126,
1776:, 9780472103164,
1736:The Faerie Queene
1360:Gaetano Donizetti
1160:Antonio Pollarolo
1114:(Brunswick, 1722)
1047:Armida in Damasco
932:Carlo Pallavicino
896:Benedetto Ferrari
872:Girolamo Giacobbi
762:George Saintsbury
713:The Faerie Queene
463:Alessandro Turchi
156:Romantic movement
152:French Revolution
16:(Redirected from
2241:
1945:
1938:
1931:
1922:
1908:
1907:
1839:
1832:
1826:
1825:
1824:
1823:
1811:
1805:
1804:
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1801:
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1756:
1749:
1743:
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1726:
1721:
1715:
1706:
1700:
1694:
1688:
1674:
1668:
1667:
1660:
1654:
1651:
1611:William Faulkner
1537:François Boucher
1528:Eugène Delacroix
1494:Hermitage Museum
1309:Armida e Rinaldo
1290:Antonio Sacchini
1278:Josef Mysliveček
1242:Niccolò Jommelli
816:Anthony van Dyck
801:Francesco Maffei
788:Music and operas
596:Antonio Tempesta
548:, by the second
408:Eugène Delacroix
249:Sultanate of Rum
170:François Boucher
91:
88:
85:
82:
79:
75:
55:, also known as
21:
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2242:
2240:
2239:
2238:
2214:Romance (genre)
2174:
2173:
2172:
2167:
2144:
2013:
1986:
1960:
1949:
1905:
1879:
1848:
1846:General sources
1843:
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1620:
1607:
1582:Villa Valmarana
1546:Francesco Hayez
1437:
1411:
1372:Johannes Brahms
1254:Antonio Salieri
1230:Tommaso Traetta
1148:Tomaso Albinoni
1131:Armida al campo
1100:Henry Desmarest
1076:Antonio Vivaldi
1066:(Bologna, 1716)
1052:Giacomo Rampini
1028:Teofilo Orgiani
1011:Armida al campo
956:Teofilo Orgiani
910:(Ferrara, 1641)
908:Marco Marazzoli
828:Giaches de Wert
790:
770:
684:Nicolas Poussin
673:
484:
452:
381:Orlando Furioso
226:
219:
202:Orlando Furioso
185:hendecasyllabic
89:
86:
83:
80:
44:Nicolas Poussin
28:
23:
22:
15:
12:
11:
5:
2247:
2245:
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2231:
2226:
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2211:
2209:Torquato Tasso
2206:
2204:Crusade poetry
2201:
2196:
2191:
2186:
2176:
2175:
2169:
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2166:
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2062:
2054:
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2038:
2030:
2021:
2019:
2015:
2014:
2012:
2011:
2003:
1994:
1992:
1988:
1987:
1985:
1984:
1979:
1974:
1968:
1966:
1962:
1961:
1952:Torquato Tasso
1950:
1948:
1947:
1940:
1933:
1925:
1919:
1918:
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1896:
1888:
1878:
1875:
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1855:
1847:
1844:
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1840:
1827:
1806:
1796:(in Ukrainian)
1781:
1757:
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1716:
1701:
1689:
1669:
1655:
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1629:
1619:
1616:
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1602:
1601:
1588:
1572:
1562:
1555:Paolo Finoglio
1552:
1543:
1534:
1525:
1524:, London 1822.
1514:Robert Seymour
1511:
1501:
1483:
1448:Charles Errard
1436:
1433:
1432:
1431:
1410:
1407:
1406:
1405:
1399:
1387:
1384:Antonín Dvořák
1375:
1363:
1355:Torquato Tasso
1351:
1350:(Naples, 1817)
1339:
1317:
1314:Giuseppe Sarti
1305:
1293:
1281:
1269:
1257:
1256:(Vienna, 1771)
1245:
1244:(Naples, 1770)
1233:
1232:(Vienna, 1761)
1221:
1220:(London, 1754)
1211:
1210:(Berlin, 1751)
1199:
1198:(Madrid, 1750)
1187:
1186:(Vienna, 1750)
1179:Armida placata
1175:
1174:(Venice, 1747)
1163:
1162:(Venice, 1729)
1151:
1150:(Venice, 1726)
1139:
1127:
1126:(Prague, 1725)
1115:
1103:
1091:
1090:(Venice, 1720)
1079:
1078:(Venice, 1718)
1067:
1055:
1054:(Venice, 1711)
1043:
1042:(London, 1711)
1031:
1019:
1018:(Venice, 1708)
1007:
995:
994:(Venice, 1707)
983:
971:
959:
947:
935:
934:(Venice, 1687)
923:
911:
899:
887:
875:
863:
858:song-cycle by
851:
839:
831:
789:
786:
769:
768:Works based on
766:
751:Anthony Esolen
743:Edward Fairfax
704:Edmund Spenser
672:
669:
668:
667:
662:
657:
652:
647:
642:
637:
632:
627:
622:
577:Cornaro family
552:in France, by
544:cycles at the
483:
480:
451:
448:
437:Ogier the Dane
427:on her island
367:and the witch
241:Constantinople
218:
215:
145:Ottoman Empire
117:take Jerusalem
101:Torquato Tasso
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2246:
2235:
2232:
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2227:
2225:
2222:
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2217:
2215:
2212:
2210:
2207:
2205:
2202:
2200:
2199:Italian poems
2197:
2195:
2192:
2190:
2187:
2185:
2182:
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2179:
2164:
2161:
2159:
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2140:
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2036:
2035:
2031:
2028:
2027:
2023:
2022:
2020:
2016:
2009:
2008:
2004:
2001:
2000:
1999:The Crusaders
1996:
1995:
1993:
1989:
1983:
1980:
1978:
1975:
1973:
1970:
1969:
1967:
1963:
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1958:
1953:
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1679:
1676:Hall, James,
1673:
1670:
1665:
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1656:
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1647:
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1630:
1627:
1626:
1625:The Crusaders
1622:
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1612:
1609:
1608:
1604:
1600:
1597:, 1586–1600,
1596:
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1533:
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1526:
1523:
1522:Royal Academy
1519:
1515:
1512:
1509:
1505:
1502:
1500:, Birmingham.
1499:
1495:
1491:
1487:
1484:
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1475:
1474:Lorenzo Lippi
1472:
1471:
1470:
1464:
1460:
1456:
1449:
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1434:
1429:
1428:84-934710-8-9
1425:
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1318:
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1311:
1310:
1306:
1303:
1299:
1298:
1294:
1292:(Paris, 1783)
1291:
1287:
1286:
1282:
1280:(Milan, 1780)
1279:
1275:
1274:
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1268:(Paris, 1777)
1267:
1263:
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1136:Antonio Bioni
1133:
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1128:
1125:
1124:Antonio Bioni
1121:
1120:
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1109:
1108:
1104:
1102:(Paris, 1722)
1101:
1097:
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1083:Armida delusa
1080:
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736:
735:Richard Carew
732:
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724:
723:Paradise Lost
719:
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433:Morgan le Fay
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386:House of Este
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257:First Crusade
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105:First Crusade
102:
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54:
53:
45:
41:
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34:
30:
19:
2155:
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2104:
2096:
2088:
2080:
2072:
2064:
2056:
2048:
2040:
2032:
2024:
2005:
1997:
1956:
1955:
1910:
1891:
1883:
1871:google books
1858:
1851:
1835:
1830:
1820:, retrieved
1815:
1809:
1798:. Retrieved
1793:
1784:
1778:google books
1765:
1760:
1752:
1747:
1739:
1735:
1730:
1719:
1704:
1692:
1677:
1672:
1663:
1658:
1649:
1631:
1623:
1594:
1576:
1568:
1558:
1549:
1540:
1531:
1517:
1507:
1489:
1478:
1468:
1458:
1443:
1419:
1415:
1414:Max Turiel.
1401:
1389:
1377:
1365:
1362:(Rome, 1833)
1353:
1341:
1329:
1319:
1307:
1302:Joseph Haydn
1295:
1283:
1271:
1259:
1247:
1235:
1223:
1213:
1201:
1189:
1177:
1165:
1153:
1141:
1129:
1117:
1105:
1093:
1081:
1069:
1057:
1045:
1033:
1021:
1009:
997:
985:
973:
968:André Campra
961:
949:
937:
925:
913:
901:
889:
886:(Rome, 1633)
877:
865:
853:
841:
833:
823:
811:
803:, c. 1650–55
796:
776:
759:
738:
730:
728:
721:
717:
711:
707:
689:
679:
664:
659:
654:
649:
644:
639:
634:
629:
624:
619:
614:
605:
589:
574:
523:
500:Walter Scott
493:
485:
475:
472:
468:
458:
444:Temple Mount
441:
413:
403:
390:
379:
373:
359:(modeled on
354:
352:
328:
326:
316:
282:
276:
275:
270:
266:
265:
238:
217:Plot summary
200:
174:
165:
149:
141:
128:
120:
115:in order to
98:Italian poet
67:
57:
56:
51:
50:
49:
36:
29:
1396:Judith Weir
867:Il Tancredi
755:Max Wickert
718:Gerusalemme
243:and killed
181:ottava rima
121:Il Goffredo
2189:1581 poems
2184:1581 books
2178:Categories
1965:Characters
1867:0870998129
1822:2023-05-18
1800:2023-05-18
1774:0472103164
1686:0719541476
1510:(ca. 1830)
1450:(c. 1640).
822:Madrigals
747:John Hoole
534:Conversano
496:Lord Byron
353:The witch
295:Bradamante
1641:Citations
1435:Paintings
830:(c. 1595)
783:, c. 1585
465:, c. 1630
450:Reception
139:in 1581.
111:, battle
94:epic poem
92:), is an
2042:Tancrède
1977:Clorinda
1916:LibriVox
1465:(1750s).
1336:Voltaire
1331:Tancrède
1321:Tancredi
963:Tancrède
592:etchings
585:Florence
526:tapestry
508:pastoral
425:Odysseus
417:Ruggiero
321:Guercino
283:Tancredi
278:Clorinda
267:Sofronia
183:(15,336
154:and the
2157:Rinaldo
2149:Related
2050:Rinaldo
1724:Commons
1605:Fiction
1486:Poussin
1367:Rinaldo
1035:Rinaldo
700:Drayton
686:, 1630s
560:in the
556:in the
488:Baroque
435:taking
421:Calypso
394:Ascalon
375:Rinaldo
344:Ascalon
333:Antioch
329:Erminia
323:(1619).
299:Ariosto
293:and by
291:Camilla
197:Ariosto
177:stanzas
137:Ferrara
113:Muslims
96:by the
81:
63:Italian
2141:(2005)
2138:Armida
2133:(1904)
2130:Armida
2125:(1817)
2122:Armida
2117:(1784)
2114:Armida
2109:(1783)
2106:Renaud
2101:(1780)
2098:Armida
2093:(1777)
2090:Armide
2085:(1772)
2082:Armida
2077:(1771)
2074:Armida
2069:(1770)
2061:(1718)
2053:(1711)
2045:(1702)
2037:(1686)
2034:Armide
2029:(1628)
2018:Operas
2010:(1958)
2002:(1918)
1972:Armida
1865:
1772:
1713:photos
1709:photos
1684:
1561:(1640)
1426:
1398:(2005)
1391:Armida
1386:(1904)
1379:Armida
1343:Armida
1338:(1760)
1304:(1784)
1297:Armida
1285:Renaud
1273:Armida
1261:Armide
1249:Armida
1225:Armida
1203:Armida
1167:Armida
915:Armide
903:Armida
891:Armida
696:Daniel
692:Sidney
562:Veneto
542:fresco
538:Apulia
519:fresco
504:armour
498:, Sir
482:In art
429:Ogygia
369:Alcina
356:Armida
287:Virgil
271:Olindo
211:Virgil
189:cantos
38:Armida
1991:Films
1409:Plays
365:Homer
361:Circe
319:, by
207:Homer
133:Parma
1863:ISBN
1770:ISBN
1711:and
1682:ISBN
1618:Film
1424:ISBN
753:and
698:and
431:and
209:and
135:and
78:lit.
1954:'s
1461:by
1446:by
1394:by
1382:by
1370:by
1358:by
1346:by
1334:by
1324:by
1312:by
1300:by
1288:by
1276:by
1264:by
1252:by
1240:by
1228:by
1216:by
1206:by
1194:by
1182:by
1170:by
1158:by
1146:by
1134:by
1122:by
1110:by
1098:by
1086:by
1074:by
1062:by
1050:by
1038:by
1026:by
1014:by
1002:by
990:by
977:by
966:by
954:by
942:by
930:by
918:by
906:by
894:by
882:by
870:by
846:by
826:by
814:by
799:by
779:by
710:in
682:by
608:by
594:by
568:at
536:in
461:by
406:by
363:in
297:in
289:'s
199:'s
179:in
42:by
2180::
1792:.
1593:–
1584:,
1580:,
1567:–
1557:–
1548:–
1539:–
1530:–
1516:–
1506:–
1476::
1422:.
694:,
572:.
346:,
76:;
65::
1944:e
1937:t
1930:v
1803:.
1666:.
474:(
410:.
225:.
90:'
84:'
61:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
