Italian painter. He was a pupil of Giovanni Bilivert, and according to art historian Houbraken worked in the workshop of his master for twelve years and has worked with Francesco Furini.
The majority of his work consists of large paintings on mythological and religious subjects, but he also produced a series of paintings to decorate the ceiling of the church of the Certosa di Firenze, which are signed and dated 1653 and 1655.
The episode is taken from the Orlando Furioso by Ludovico Ariosto, and it is one not commonly translated to painting form, making this version by Orazio Fidani is one of the most interesting examples. In Canto XIX Ariosto tells of the handsome Saracen soldier, Medoro. Injured in the battle in which King Dardinello and his friend Cloridano were killed, he is sheltered with a family of shepherds and nursed by the beautiful Angelica, with whom he falls in love. The scene shows the moment when a now fit Medoro is about to leave his hosts’ home, together with his beloved. Angelica, sitting on the right, gives her hostess a bracelet. When the count, arriving at the shepherd’s house, recognizes the jewel, he finally has proof of the love between the two and from that time, his madness will begin.
The chivalric poems of Ariosto and Tasso were popular subjects, especially in 16th- and 17th-century paintings, both in terms of their literary and mythical content and because of the kaleidoscopic variety of stories lived by the protagonists which were excellent for providing moral interpretations.
Typical of Florentine traditions and of this painter in particular, is the taste for sophisticated formal solutions in the choreography and theatrical pose of the figures, as if imagined on a stage, in elegant costumes with carefully studied colours.
Similar compositions can be found in other museums ascribed to other artists such as Bartolomeo Manfredi and Cesare Dandini. The present picture is attributed to Fidani on the basis of an inscription on its stretcher.
