Rinaldo and Armida
The characters of Rinaldo and Armida are from Torquato Tasso’s poem “La Gerusalemme Liberata” (Jerusalem Delivered) circa 1581. The poem’s tale is one of love and heroism in battle during the First Crusade (1096-1099). The sorceress Armida is sent to kill the knight Rinaldo, but instead falls in love with him and bewitches him. By 1600, the poem had been translated into English, and it was to remain popular in England into the nineteenth century, inspiring music, plays and numerous paintings. Notably in 1711, Handel’s opera “Rinaldo” was London’s first Italian opera.
Acknowledgement: Myrna Schkolne, Staffordshire Figures 1780-1840 Volume 2, page 4
Anthony van Dyck made two paintings of this subject. His 1629 painting and the Derby figure of the late 1770s show Rinaldo with his eyes closed. Coincidentally in 1629 Poussin also painted the subject with a sleeping Rinaldo. These portrayals depict the moment at which vengeful Armida finds Rinaldo asleep, but overwhelmed by his beauty is unable to kill him.
However, in van Dyck’s 1634/5 painting of Rinaldo and Armida, Rinaldo’s eyes are open. The scene painted by Van Dyck shows a tender moment between the couple before Rinaldo’s comrades, who are approaching in the background, disturb their idyll and compel Rinaldo to return to the fight. This earthenware figure also shows Rinaldo’s eyes open, as Armida dangles a laurel crown over his head, although the laurel crown is sadly missing here.
Anthony van Dyck’s 1634/5 painting is now in the collection of the National Gallery, London, where you can read more about the subject and examine a high resolution image of the painting.
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King of Sardinia
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