This paper aims to tackle the ambiguity of Péladan’s interpretation of the Malatesta Temple of Rimini, the prestige of which is related for him to the faith in the Absolute of Art. In effect, in Példan’s novel Le Vice Suprême, Sigismondo becomes a hero for both his criminal reputation and his artistic prestige. Furthermore, in his theoretical work L’Art Idéaliste et Mystique, Péladan states that Sigismondo was devoted to the perfect religion of Beauty and was, therefore, pure. His Neoplatonic faith, as it is expressed in the artistic masterpieces of the Temple, makes him a priest of the only true Religion of Arts. This apparently linear stance veils in fact an ambivalent ideological attitude, that Péladan shares with the Decadent generation as a whole. Although conservative he was, the French writer was not aware of the consequences of some of his aesthetical statements, that inspired the far-right political movements of the early Twentieth Century’s Europe. The intrinsic ambivalence of ideological interpretation of monuments is, therefore, exemplarily represented by Péladan’s work.
|Translated title of the contribution||[Autom. eng. transl.] Sigismondo Malatesta, a neo-Platonic criminal. Péladan mystical reader of the Malatesta Palace.|
|Number of pages||12|
|Journal||L'ANALISI LINGUISTICA E LETTERARIA|
|Publication status||Published - 2018|
- Joséphin Péladan
- Temple de Malatesta