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Roberta Cauchi-Santoro
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<i>Apuleius'</i> The Golden Ass <i>in Ferrara</i>
Text.Serial.Journal
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Ferrara dimenticata? Un centro rinascimentale e la sua eredità culturale / Forgotten Ferrara? A Renaissance Town and Its Cultural Legacy
2012-11-03
2012-11-08
2016-10-20
157-166
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Roberta Cauchi-Santoro
2012
10.15160/1826-803X/279
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1826-803X
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<i>Apuleius'</i> The Golden Ass <i>in Ferrara</i>
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                                          ROBERTA CAUCHI-SANTORO


                                     Apuleius’ The Golden Ass in Ferrara


1. In this paper I briefly trace the reception of Apuleius’ The Golden Ass or, as the title was current
in antiquity, Asinus Aureus or Metamorphoses. I focus on the novel’s particularly favorable
reception at the court of Ercole I d’Este in Ferrara where it found fertile soil in the retelling of its
tales primarily by the poet Matteo Maria Boiardo.
        The Golden Ass was written by Apuleius around AD 125 in North African Madauros. It tells
the tale of Lucius, whose curiositas induces his dabbling in magic, subsequently leading to his
being turned into an ass while retaining his human mind. Only in the last of eleven books, after his
conversion to Isis Tyche or Fortuna videns, is Lucius saved from his asinine appearance and
restored to humanity.
        The Golden Ass is a masterpiece of literary stitch work drawing on earlier literature like
Apuleius’ Greek contemporary Pseudo-Lucian and his novella Lucius or the Ass1. Apuleius’ novel
also draws on the sermo typical of Roman verse satire, in its turn owing its distinctive flavor to the
master of dialogue himself – Plato. Indeed Plato’s Phaedrus is an integral part of the backdrop to
The Golden Ass and Apuleius gained celebrity in his own time as a Platonic philosophus2.
        The Golden Ass presents a mixture of entertainment whereby many stock characters and
situations give the impression of several comedies of Plautus being performed at once. It also
offers, however, religious propaganda of a very sophisticated type. Written with a sharp sense of
irony and a well-developed taste for the ridiculous, The Golden Ass was a quintessential product of
its time; nostalgic for the classical past and enamored of display. Indeed it reflects the predominant
cultural phenomenon of its age, the movement called the Second Sophistic, whose distinguishing
feature was oratory for entertainment3. In language and style the novel reflects the dazzling
rhetorical arts of the Sophist4.
        The surviving and most authoritative manuscript of The Golden Ass was preserved at the
monastery of Monte Cassino in the latter part of the eleventh century. As Haig Gaisser reports, this
oldest surviving copy, which contains three works of Apuleius – Apology, The Golden Ass or
Metamorphoses and Florida – is the Florence, Biblioteca Laurenziana, ms. 68.2, called F (Haig


1
  MARSH (1998, 37-40).
2
  HIJMANS Jr. (1987, 408-12).
3
  SANDY (1997); also ANDERSON (1993).
4
  In addition to The Golden Ass, Apuleius’ extant works include erotic poetry, forensic and epideictic oratory, and
philosophical orations and treatises. For detailed accounts of his oeuvre, including fragmentary and lost works, see
HARRISON (2000, 10-38).
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Gaisser 2008, 61). Haig Gaisser affirms that F remained in Monte Cassino until the middle of the
fourteenth century, when it was taken to Florence (Haig Gaisser 2008, 63).
        The reason why the recuperation of The Golden Ass was paramount at Monte Cassino could
well stem, as Francis Newton suggests, from the interest in restoring books associated with St.
Augustine5. Indeed Augustine makes reference to The Golden Ass in De Civitate Dei 18, 18 where
he propounds: «[…] yet had he his human reason still, as Apuleius had while he was an ass, as
himself writes in his book of The Golden Ass; be it a lie or a truth that he writes»6. Many
interpretations of The Golden Ass in the late middle ages were influenced by Augustine’s reading of
this text.


2. The fortunes of The Golden Ass started to change when in the 1340s Apuleius’ novel came to the
attention of Francesco Petrarca and, even more prominently, Giovanni Boccaccio, who owned and
annotated manuscripts and used Apuleius creatively in their writing7. In the Decameron (1349-
1351), Boccaccio creatively exploited and emulated Apuleius’ style transforming pieces of the
Latin novel and incorporating them into his own Italian prose narrative8. Boccaccio’s use of
Apuleius is most evident in the two adultery stories that he borrowed from book nine of the Golden
Ass9. In the second story of book seven of the Decameron, Boccaccio masterfully twists Apuleius’
famous “Tale of the wife’s tub” to the story of Peronella who «mette un suo amante [Giannello] in
un doglio» (Boccaccio 421)10. In the tenth story of book five Boccaccio adapts a second adultery
tale from The Golden Ass entitled “Tale of the Fuller’s Wife” where «without squabbles and
dissension we three might come to reciprocal terms in bed […]» (Apuleius 201). In “Tale of the
Fuller’s Wife”, however, the wife’s boy-lover is also beaten up and finally chased out of the house.
In Boccaccio V 10, on the other hand, the homosexual Pietro di Vinciolo, on discovering his wife’s
boy-lover, decides to share the latter in bed with her, «vedelo, cognosce lo ‘nganno della moglie,
con la quale ultimamente rimane in concordia per la sua tristezza» (Boccaccio 373)11.
        With Boccaccio The Golden Ass reached the high point of its fortunes in the fourteenth
century because it had finally come into the hands of a man whose imagination was as free ranging
as Apuleius’ own. Boccaccio was also one of the first known scholars to have transcribed not




5
  NEWTON (1999, 319-21).
6
  TASKER (1972, 192).
7
  For Petrarca’s library, see DE LA MARE (1973). For Boccaccio’s see CASAMASSIMA (1982, 253-60).
8
  BRANCA (1977) and Branca’s notes in Boccaccio, Decameron (ed. BRANCA 1976).
9
  SANGUINETI WHITE (1977).
10
   BAJONI (1994, 217-25).
11
   SANGUINETI WHITE (1977, 69-154).
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simply from the literary works of Apuleius but also from the latter’s philosophical repertoire12. The
newly discovered philosophical works, overshadowed in the fourteenth century by their literary
siblings, came to the fore in the fifteenth, fuelling the reception of all of Apuleius’ works.


3. In the first half of the fifteenth century the chief beneficiary of both Boccaccio’s legacy and the
new interest in the philosophical works of Apuleius was Florence, now blooming as the foremost
centre of humanist activity. In Florence the philosophical readers of Apuleius predominated and this
was in great part due to Platonism, newly emerging in the Renaissance as a rival to the long-
entrenched Aristotelianism of the Middle Ages. At least to some degree we could claim that
Platonism pitted the new humanism against the old scholasticism, thrusting authors like Apuleius,
the philosophus platonicus, to center-stage and making it possible that Apuleius be one of the first
classical authors to appear in print. The first edition of Apuleius came into existence in 1469,
launched as a trump card in the Platonist controversy. The editor, Giovanni Andrea Bussi (1417-
1475), presented the first direct expository treatment of Apuleius’ works since Augustine’s
comments in De Civitate Dei, over a thousand years earlier13. Bussi’s edition was a monumental
turning point in the reception of Apuleius and following this edition, the floodgates for the diffusion
of this masterpiece were open.
        It is in the hub of such literary ferment that in the 1470s the duke Ercole I d’Este, presiding
over the sophisticated court of Ferrara, commissioned a translation of The Golden Ass from Matteo
Maria Boiardo, count of Scandiano (1440 or 1441 to 1494), best known for his long epic romance,
Orlando Innamorato14. The duke Ercole I d’Este encouraged both the literary and the visual arts,
and though not a scholar himself and with limited knowledge of Latin, he enjoyed translations of
exciting and entertaining tales from the classics. Boiardo translated several works for Ercole d’Este
in this period, including Herodotus’ Histories and the Lives of Cornelius Nepos. The same
masterpiece Orlando Innamorato was written, if not for the court of Ercole d’Este, then certainly
with its encouragement15.
        Boiardo drew on Apuleius in a small project for the court, a verse description of a pack of
tarot cards entitled Tarocchi o Capitoli (Tarot Cards or Chapters)16. His translation of Apuleius’
The Golden Ass, however, which he entitled Apulegio volgare, was the most important translation


12
    At about the same time that he was finishing the Decameron, Boccaccio transcribed his own manuscripts of
Apuleius’ Apology, Metamorphoses and Florida (Florence, Biblioteca Laurenziana, ms. 54.32). The manuscript is
described by CASAMASSIMA (1975, 152-4).
13
   MIGLIO (1978, 13-5).
14
   For more information on Ercole and his court, see GUNDERSHEIMER (1973, 173-228).
15
   For courtly elements in Orlando Innamorato, see Matteo Maria Boiardo, Orlando Innamorato in ed. ROSS (1989, 14-
9).
16
   The work is edited and discussed by FOÀ (1993).
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work carried out for the duke and the Este court. Boiardo’s translation enjoyed great success at the
court of Ferrara, becoming a favourite with Duke Ercole and his family. This produced considerable
repercussions on both the literary and artistic reception of Apuleius, and soon inspired literary and
artistic treatments of the story of Cupid and Psyche.


4. The essential study of Apulegio volgare has been carried out by Edoardo Fumagalli17. Boiardo
completed Apulegio volgare by the early 1479, basing this translation, as Fumagalli demonstrated,
on Giovanni Andrea Bussi’s 1469 edition (Fumagalli 1988, 1-28; 31-91). The precise copy of
Bussi’s edition that Boiardo used has not been identified, but Fumagalli suggests that it had been
corrected against a manuscript (not by Boiardo himself), and that its corrections were similar to
those in the copy now in Huntington Library (Fumagalli 1988, 31-91). The duke of Este drastically
limited the circulation of Apulegio volgare, which he claimed to consult every day18. This limited
circulation is evident in the next publication of Apulegio volgare which did not take place before
1519, long after the deaths of both Ercole d’Este and Boiardo himself. Furthermore, Fumagalli
reports that only two manuscripts are extant19. Nonetheless, in the 1490s, while Ercole and his
family jealously guarded its diffusion, Apulegio volgare inspired at least three important literary and
artistic works associated with Cupid and Psyche and the Este family.
        These were a long poem entitled Fabula Psiches et Cupidinis by Boiardo’s cousin Niccolo’
da Correggio (1450-1508)20; a fresco cycle in Ercole d’Este’s Belriguardo palace (now lost)21; and a
comedy by Galeotto del Carretto entitled Noze de Psiche e Cupidine22. Of these three works,
Correggio’s poem was perhaps the most important and the one that heavily drew on Boiardo’s
Apulegio volgare. It was dedicated to Ercole’s daughter, Isabella Gonzaga, marquess of Mantua,
and, according to the dedication, executed at her express request23. The marquess had almost
certainly read Boiardo’s translation at her father’s court and in 1512 she wrote to Ferrara requesting
another copy of Apulegio volgare, after the Gonzaga copy went missing (Fumagalli 1988, 12-5).
For Correggio, Apulegio volgare was not simply influential but his primary source for Fabula
Psiches et Cupidinis, as the clear verbal echoes between the two texts attest (Fumagalli 1988, 217-
345). Correggio’s story of Psyche and Cupid, however, does not lend itself to allegorical

17
   FUMAGALLI (1988, 217-345). There is, to my knowledge, no modern edition of the work as a whole but Fumagalli
has edited Boiardo’s translation of the story of Psyche. Also FUMAGALLI (2000, 73-82).
18
   Ercole d’Este made the claim in a letter of 1481 to Federico Gonzaga as an excuse for sending him a copy rather than
the original of Boiardo’s translation. The letter is quoted by FUMAGALLI (1988, 10).
19
   FUMAGALLI (1988, 161-3); FUMAGALLI (2000, 79 n. 10). For the publication history, see especially FUMAGALLI
(1988, 163-84).
20
   For Correggio’s life and works, see FARENGA (1983, 466-74).
21
   GUNDERSHEIMER (1972).
22
   Galeotto Del Carretto, Noze de Psiche e Cupidine in TISSONI BENVENUTI-MUSSINI SACCHI (1983, 611-725).
23
   Correggio, dedication of Fabula Psiches et Cupidinis in TISSONI BENVENUTI (1969, 47-96).
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interpretation, rather offering entertainment for courtly readers already familiar with versions of the
story.
         Matteo Maria Boiardo’s Apulegio volgare itself, on the other hand, is anything but a faithful
translation of Apuleius’ The Golden Ass. Boiardo glossed over difficult passages and did not strive
to reproduce Apuleius’ style. For Boiardo, who wanted to satisfy the duke’s interest in intricate and
exotic tales, the story was everything, albeit not all the story. Boiardo significantly omitted book
eleven and thus protagonist Lucius’ redemption and conversion to Isis, substituting it with the
farcical conclusion of the Onos (Ass) of Pseudo-Lucian24.
         In Apulegio volgare Loukios, restored to human shape by his own efforts, returns to the
amorous matron only to be rejected because he is no longer the beautiful ass she loved but only
«una brutta scimmia senza coda», an ending with obvious obscene implications25. This conclusion
changes the tone of the novel, firmly keeping Apulegio volgare away from serious questions raised
by Lucius’ final transformation and conversion in Apuleius’ The Golden Ass. But this was not
Boiardo’s only addition to Apuleius.


5. As Fumagalli has pointed out, in Apulegio volgare Boiardo often uses both phrasing and content
from the above-mentioned imitations of Apuleius in Boccaccio’s Decameron (V 10 and VII 2)26.
Despite Fumagalli’s choice to call the process contaminatio, these additions by Boiardo could also
be seen from a different angle. By using Boccaccio as an intertext, Boiardo incorporated the
imitation into the original, giving his tales a double resonance. The incorporation of Boccaccio, like
the substitution of the ending, not only made Apulegio volgare something more intricate than a
mere translation, but it also suited the interests of Ercole and his court. Boiardo could be sure that
the duke and his entourage would recognize and savour his echoes of Boccaccio and smile at his
sardonic and racy ending. Boiardo’s artistry did not stop here. If he used Boccaccio’s imitations of
Apuleius as an intertext in Apulegio volgare, he also used both Apuleius and Apulegio volgare as
intertexts in Orlando Innamorato27.
         The most intriguing example is yet another adultery tale Boiardo translates from the ninth
book of The Golden Ass, one that, significantly, is not used in the Decameron. Apuleius uses it as
an embedded story entitled “Tale of the Jealous Husband” in book nine, Boiardo as a novella in


24
   For Pseudo-Lucian, he seems to have relied on the Italian translation of Niccolo’ Leoniceno, who was also at Ercole’s
court in the 1470s. See ACOCELLA (2001, 17-75).
25
   In Boiardo, Apulegio volgare, quoted from Acocella (2001, 66). The phrase «senza coda» is an obscene addition to
Pseudo-Lucian in both Leoniceno and Boiardo.
26
   FUMAGALLI (1988, 137-44).
27
   See FUMAGALLI (1988, 150-6); for verbal echoes in Orlando Innamorato from Boiardo’s translation of the story of
Psyche, see pp. 217-345. The first two books of Orlando Innamorato were published in 1482-1483; the third was
unfinished at Boiardo’s death. See BRUSCAGLI (1995, 675f.).
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Orlando Innamorato (II 26, 20-52). The plot is the same in both. A lover gains access to a married
woman by bribing the slave set to guard her. While he is enjoying her favours, the husband comes
home unexpectedly. The lover escapes, but in his haste he leaves behind an article of clothing («in
his confusion he forgot to slip on his shoes» 196 in Apuleius; a cloak: «a pie’ del letto un manto» II
26, 41 in Boiardo). The husband discovers the clothing, sees that he has been betrayed, and angrily
binds the treacherous slave and drags him off («gyved and marched off to the Forum» 197 in
Apuleius; to the gallows, «sopra alle forche il debbano impiccare» II 26, 43 in Boiardo). The lover
sees them, realizes what has happened, and at once devises a clever ruse. He furiously throws
himself at the slave and begins to berate him for stealing his clothing on the previous day («You’re
the man that stole my shoes yesterday from the Baths» 197 in Apuleius; «Ove e’ il mio manto, di’
falso strepone, /quale me involasti iersera a l’osteria?» II 26, 47 in Boiardo). The husband is clearly
taken in.
        But the plot is all that Boiardo has taken from Apuleius. The two tales differ in tone,
characterization, and emphasis, but above all in their narrator and position in the larger work.
        In Apuleius’ The Golden Ass the story is narrated to the miller’s wife by her elderly procuress
in order to arouse in her appetite for a new lover. All the details in this story within a story in The
Golden Ass point towards the already adulterous miller’s wife suggesting that, «every kind of vice
had flowed into her heart as if that were a general cesspool of devilry» (Apuleius 193). But the
young man the old bawd presents is nothing like the lover in her tale. When the miller comes home
unexpectedly, the lover hides ignominiously under a grain trough. He is trembling with fear on
being discovered and is finally thrown out after being both sexually and physically humiliated: «he
chased him out of the house; and thus did that most gallant of adulterers scamper away in tears […]
bearing a snowy bottom sadly the worse for wear» (Apuleius 202).
        Apuleius’ story is one of deceit and venality; the “Miller’s tale” in which the “Tale of the
Jealous Husband” is embedded is equally squalid and ends not only in the mistreatment of the lover
but also the murder of the miller by witchcraft. Boiardo takes the embedded story out of this sordid
context and brings it into the romantic world of Orlando Innamorato. The tale becomes one of true
love which culminates in marriage and conversion to Christianity. The frame story is that of lovers
Fiordelisa and Brandimarte and the story of the quick-witted lover is related by Doristella, a damsel
rescued from an enchanted castle. With his choice of narrator Boiardo turned Apuleius’ story inside
out. The narrator is no longer unreliable, as in Apuleius, but one of the main actors with whom the
reader sympathizes. In Apuleius the wife was the least charming of characters while Boiardo makes
her central and lets us empathize with her by seeing everything from her perspective: «ed io tra me
dicea: "Tu cerchi invano, / che’ pur le corne a mio piacer ti pianto"» (II 26, 41). In Boiardo, the
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wife’s unfaithfulness and deceit, exemplified in the intertext from Apulegio volgare where she
feigns sleeping and snoring when the husband Usbego enters the bedroom, «mostrandomi adormita
e sonocchiosa» (II 26, 40)28, are justified because Usbego is not a believer in love, «quello amor che
lui stimava vano» (II 26, 49). Doristella finally marries her lover Teodoro, who is, as his name
suggests, a gift from God, and converts everyone in their Islamic Armenian homeland to
Christianity. In Orlando Innamorato Boiardo has radically transformed the adultery tale in The
Golden Ass. Boiardo’s story, however, does not lose touch with its Apuleian source. In both
Apulegio volgare and the intertexts in Orlando Innamorato Boiardo does not slavishly imitate but
he engages in a dialectical emulation of Apuleius, on the one hand advertising, on the other hand
exploiting the variegated spectrum that spans the affective landscapes portrayed.
        By the end of the fifteenth century The Golden Ass enjoyed a remarkable reception at the
court of Ferrara. Within a little over twenty years, from around 1479 to 1500, the novel was
translated, imitated, illustrated, versified and dramatized29. Boiardo had inaugurated the process
with Apulegio volgare; the latter made Apuleius available to a generation of Italian poets and artists.


Roberta Cauchi Santoro
University of Western Ontario, Canada
Department of Modern Languages and Literatures.
rcauchi2@uwo.ca




28
   The sleeping and the snoring are absent from Apuleius, who says nothing about the wife’s actions after the husband’s
return, but both details appear in Boiardo’s Apulegio volgare. See FUMAGALLI (1988, 150-5).
29
   See CHERCHI (2003, 185-284).
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Bibliographical Abbreviations

ACOCELLA 2001
Mariantonietta Acocella, L’Asino d’oro nel Rinascimento: dai volgarizzamenti alle raffigurazioni
pittoriche, Ravenna, Longo.

ANDERSON 1993
Graham Anderson, The Second Sophistic: A Cultural Phenomenon in the Roman Empire, London,
Routledge.

BAJONI 1994
Maria Grazia Bajoni, La novella del dolium in Apuleio Metamorfosi IX, 5-7 e in Boccaccio,
Decameron VII, 2, in «Giornale storico della letteratura italiana» CLXXI 217-25.

BRANCA 1976
Vittore Branca (a cura di), Tutte le opere di Giovanni Boccaccio, Milano, Mondadori.

BRANCA 1977
Vittore Branca, Giovanni Boccaccio: profilo biografico, Firenze, Sansoni.

BRUSCAGLI 1995
Riccardo Bruscagli, Matteo Maria Boiardo, in Enrico Malato (a cura di), Storia della letteratura
italiana, vol. III, Il Quattrocento, Roma, Salerno Editrice, 675-6.

CASAMASSIMA 1975
Emanuele Casamassima, Mostra di manoscritti, documenti e edizioni: VI Centenario della morte di
Giovanni Boccaccio, vol. I, Certaldo, a cura del Comitato promotore.

CASAMASSIMA 1982
Emanuele Casamassima, Dentro lo scrittoio del Boccaccio: i codici della tradizione, in Aldo Rossi
(a cura di), Il Decameron: pratiche testuali e interpretative, Bologna, Cappelli, 253-60.

CHERCHI 2003
Paolo Cherchi, Favola Di Psiche e Cupido: Due Volgarizzamenti Quattro-Cinquecenteschi, in
Letteratura italiana antica, vol. IV, Ravenna, Longo, 185-284.

DE LA MARE 1973
Albinia C. De La Mare, The Handwriting of Italian Humanists, vol. I/1, Oxford, Oxford UP.

FARENGA 1983
Paola Farenga, Niccolò da Correggio, in «Dizionario biografico degli Italiani» XXIX 466-74.

FOÀ 1993
Simona Foà (a cura di), Matteo Maria Boiardo. Tarocchi, Roma, Salerno Editrice.
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FUMAGALLI 1988
Edoardo Fumagalli, Matteo Maria Boiardo volgarizzatore dell’Asino d’Oro: contributo allo studio
della fortuna di Apuleio nell’Umanesimo, Padova, Editrice Antenore.

FUMAGALLI 2000
Edoardo Fumagalli, Amore e Psiche in centri padani. A proposito del volgarizzamento del Boiardo,
in «Fontes» III 73-82.

GUNDERSHEIMER 1972
Werner L. Gundersheimer, Art and Life at the Court of Ercole I d’Este: The De triumphis religionis
of Giovanni Sabadino degli Arienti, Genova, Librairie Droz.

GUNDERSHEIMER 1973
Werner L. Gundersheimer, Ferrara: The Style of a Renaissance Despotism, Princeton, Princeton
UP.

HAIG GAISSER 2008
Julia Haig Gaisser, The Fortunes of Apuleius and the Golden Ass, Princeton-Oxford, Princeton UP.

HARRISON 2000
Stephen J. Harrison, Apuleius: A Latin Sophist, Oxford, Oxford UP.

HIJMANS Jr. 1987
Ben L. Hijmans Jr., Apuleius, Philosophus Platonicus, in «Aufstieg und Niedergang der r mischen
Welt» II/36/1, 395-475.

LINDSAY 1962
Jack Lindsay (ed.), Apuleius. The Golden Ass, Bloomington, Indiana UP.

MARSH 1998
David Marsh, Lucian and the Latins: Humour and Humanism in the Early Renaissance, Ann Arbor
(Michigan), Michigan UP.

MIGLIO 1978
Massimo Miglio (a cura di), Giovanni Andrea De’ Bussi. Prefazioni alle edizioni di Sweynheym e
Pannartz prototipografi romani, Milano, Politilo.

NEWTON 1999
Francis Newton, The Scriptorium and Library at Monte Cassino, 1058-1105, Cambridge,
Cambridge UP.

ROSS 1989
Charles Stanley Ross (ed.), Matteo Maria Boiardo. Orlando Innamorato, Berkeley, California UP.

SANDY 1997
Gerald Sandy, The Greek World of Apuleius: Apuleius and the Second Sophistic, Leiden, Brill.
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SANGUINETI WHITE 1977
Laura Sanguineti White, Boccaccio e Apuleio: caratteri differenziali nella struttura narrative del
Decameron, Bologna, EDIM.

SEGRE 1997
Cesare Segre (a cura di), Giovanni Boccaccio. Decameron, Milano, Mursia.

TASKER 1972
Randolph G.V. Tasker (ed.), Augustine. The City of God (De Civitate Dei), introd. by E. Barker,
vol. II, London, Dent («London Everyman's Library»).

TISSONI BENVENUTI 1969
Antonia Tissoni Benvenuti (a cura di), Niccolò da Correggio. Opere. (Scrittori d’Italia 244) Bari,
Laterza.

TISSONI BENVENUTI-MUSSINI SACCHI 1983
Antonia Tissoni Benvenuti-Maria Pia Mussini Sacchi (a cura di), Teatro del Quattrocento: le corti
padane, Torino, Utet, 611-725.

ULIVI 1986
Ferruccio Ulivi (a cura di), Matteo Maria Boiardo. Opere, Milano, Mursia.
