Giovanni Boccaccio’s Teseida delle nozze d’Emilia (1339–1341?) is an innovative vernacular text in which Teseo (Theseus) and the Scythian Amazons are reinvented as antagonists in a war fought to determine how women are meant to live their lives. Boccaccio’s characterization of these figures and their interactions offer an effective counter-narrative to the prevailing ethos that women’s inborn proclivities and deficiencies preclude, perforce, their participation in the public arena. In the absence of written criticism, cassone (marriage chest) paintings constitute the quattrocento Nachleben of the text, whose readership comprised a wide swath of the literate populace through the 15th century. I will argue that painters, in conjunction with their patrons and humanist advisors, fashioned Teseida visual narratives that undermined Boccaccio’s vision of the potential of women to productively and autonomously engage in the governance of successful societies.
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机译：乔瓦尼·博卡乔（Giovanni Boccaccio）的《特塞达·德尔·诺泽·埃米利亚（Teseida delle nozze d'Emilia）》（1339–1341？）是一部创新的白话文本，其中Teseo（Theseus）和Scythian Amazons被重新发明为战争的对立者，以确定女性如何过上自己的生活。博卡乔（Boccaccio）对这些人物及其互动的刻画提供了一种有效的反叙述，即一种普遍的精神观念，即妇女天生的倾向和不足会阻止，强迫她们参与公共场合。在没有书面批评的情况下，cassone（婚姻箱）绘画构成了文本的四重奏Nachleben，其读者群涵盖了整个15世纪的识字人群。我要说的是，画家与他们的赞助人和人文主义顾问一起塑造了Teseida视觉叙事，这破坏了Boccaccio对妇女潜在地进行生产性和自主参与成功社会治理的愿景。
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