ARTE, Società Inter-nazionale di Arte e Cultura, leader in the production and diffusion of limited edition works of art, recently published a new version of I Promessi Sposi (The Betrothed) by Alessandro Manzoni.
The book is illustrated in colour and black and white by Alberto Sughi, and enriched by a general introduction and by an accurate analysis of every character by Ferruccio Ulivi, one of the top Italian experts of the famous novelist.
The story of this novel is rather curious. Publisher Ferrario printed its first official edition on June 15, 1827. It was an instant success at the time, so much that one of Manzonis daughters remarked: "Cest une vraie fureur, on ne parle que de cela" ("its a veritable passion, people only talk about it").
There was satisfaction, pride, and some perplexity as well. Alessandro Manzoni was not entirely convinced by his own work. He went back to his writing desk and tooled, rephrased, explored characters and situations in further detail. His objective was to give a popular flavour to his novel, making it accessible to larger audiences. He became his own publisher and started a serialized publication of I Promessi Sposi (from 1840 to 1842), illustrated with numerous pictures that, according to Manzonis opinion, would have promoted a wider diffusion. A sort of countermelody to the prose, which could narrate and describe Manzonis landscapes through the faces, colours, and costumes of the period.
Initially, Manzonis collaborator was Francesco Hayez, an artist who enjoyed great success at the time, who unfortunately had to stop after a while due to unforeseen problems. The task was then passed to Francesco Gonin, a young man from Turin who was an acquaintance of the DAzeglio household and a relative of Manzoni. Not just an illustrator but "an admirable translator," because Gonin completely followed the suggestions of the novelist who proposed and advised him, offering a constant flow of creative ideas and extraordinary details. After an initial commercial success, the popularity of Manzonis novel rapidly decreased. The price was not that affordable (37,80 Italian lira of the time, corresponding to about $180 Cdn of today), and the fading popularity increased Manzonis fatigue and depression (as well as his inborn pessimism).
The ARTE edition of I Promessi Sposi avails itself of the contribution of one of the best contemporary illustrators, Alberto Sughi (who exhibited in Prague, Budapest, Moscow, Sao Paulo in Brazil, Rio de Janeiro, and Ferrara), a protagonist of Existential Realism. "Alberto Sughi," wrote Rossana Bossaglia "has gone back to his quick and dirty lines, with delicate pastels and sibilant silvery strokes& Hes gone back to an inner reflection, to the motif of peoples loneliness, of subjective meditation."
His imposing portraits, sculpted with masterful touches, his faces that hide secrets, passions, devastation and travail, are quite striking. Black and white are violated by colours that abruptly shine over monochrome atmospheres.
The breviary of Don Abbondio, the white of the starched necks and laces of Donna Prassede and Don Ferrante, the purple that invades the portrait of Cardinal Borromeo absorbed in his studies and readings, the violet of the sash of Don Rodrigo, rebellious, bold, surrounded by his back-lit braves.
Ferruccio Ulivi sheds new light over Manzonis novel through his analysis of the characters. His are illuminating comments and opinions. "Don Abbondio," he writes, "lacks any virtue, except for some senile benevolence, just as much as he lacks any vice. He has a little bit of everything& Don Abbondios cowardice never reaches an acme, its not dramatic. Its a sort of caustic allegretto, not without some irresistibly comic moments, such as when, walking with The Unnamed toward his castle in order to free Lucia, watching the faces of the braves who were saluting their boss, now converted, he thinks: What if they think that Ive come as a missionary! Poor me! Theyll martyr me!
"This is the pivotal point of a derisive countermelody without comparison in the whole Italian literature, except maybe for Dantes devils of Malebolge." In regards to the historical period when I Promessi Sposi is set, Ferruccio Ulivi explains: "We should keep in mind that this is that reckless, excessive, overabundant, and truly Baroque century" when huge figures such as Cardinal Federigo Borromeo towered.
"A gentleman and a scholar," explains Ulivi, "a great Christian humanist, an intellectual, the responsible and stern enactor of his priestly and bishopric mission," with a quasi feverish anxiety that induced him to act "for the benefit of somebody elses good." Ferruccio Ulivi also examines the "diffuse habit of the nobility of the 17th century to force junior sons and daughters to take the monastic vows. A civil and ecclesiastic tragedy that had been vibrantly denounced by several religious moralists."
There were attacks and condemnations, but also compassion for weak and helpless women. The Nun of Monza, for instance (Marianna de Leyva, a real woman belonging to an ancient Spanish family, took perpetual vows in 1591, at 16, assuming the name of Gertrude). "She was outstanding, scandalous"; a desperately lonely soul, forced by someone elses decision to pursue a destiny of misfortune.
Gertrudes figure is echoed by other images of women displaying concise, harrowed beauty, such as the mother of Cecilia, the girl killed by the plague, or Lucia, the protagonist of the novel, resembling Manzonis "beloved and venerated" wife, Enrichetta, who gave him "emotions, feelings, confidence and affection," continues Ferruccio Ulivi . Because, he adds, if we were to cut the novel to the bone of its meaning, I Promessi Sposi comes out as a tale about love. Lucia represents its romantic side, coated with concreteness and poignant discretion. A humane and tangible figure, mysterious and out of the reach of all those who come near her and love her. Renzo, her fiancé; Federigo Borromeo, benevolently and paternally protective; The Unnamed, don Rodrigo, desperately passionate&". Lucia has, anyway, morals of her own and a sensational wisdom.
Especially towards the end, when smiling "sweetly" she corrects and consoles her dear Renzo with a remark: "troubles are sweetened and made useful for improving our lives by our trust in God". A sublime character, similar to Dantes Pia or Flauberts Madame Arnoux.
The book has 480 pages, a limited print run (1050 copies), and its cover was designed and made in calfskin hand-stained in blue with titles in gold (by the artistic bookbinding shop LArte del Libro, in Todi).
I Promessi Sposi has been published in the framework of an editorial project called ARTE SCRIPTA, which aims to divulge the "Texts of Conscience," produced by great masters of contemporary art.