Written by the Roman humanist Novidio Fracco during the first half of the 16th century and published subsequently in 1547, the Sacri Fasti is an elegiac poem modelled on Ovid’s own Fasti and structured upon the Catholic liturgical calendar. As a work of the Cinquecento, one of the more novel attributes of the poem is in its combination of Ovidian mythologizing with the contemporary political and religious dynamics of Rome. In this way, Fracco draws on scenes from Ovid’s Fasti which celebrate Augustus and the imperial domus and refigures them for the age of Paul III. In this essay, I analyse the proem of Fracco’s third book, a grand battle between Christ and Mars, as emblematic of this synthesis between the mythological and the political. I begin with the poet’s invocation to the Virgin Mary, which, I contend, locates the poem within the Ovidian tradition and which forms an intertext with the opening of Fasti book four, Ovid’s appeal to the goddess Venus. I then discuss the main episode, the conflict between Christ and Mars, in which Fracco reorients March and the city of Rome as Christian and which establishes another intertext with the foundation myth for Rome at the opening of Fasti book three. Finally, I argue that Fracco, like Ovid, imbues his panel with political significance, using it as a means to sanction the partnership, anticipated and idealized during the Cinquecento, between Pope Paul III and Emperor Charles V.

《Sacri Fasti》由罗马人文主义者诺维迪奥·弗拉科 (Novidio Fracco) 在 16 世纪上半叶撰写，随后于 1547 年出版，是一首以奥维德自己的《斋戒》为蓝本并以天主教礼拜日历为基础的挽歌诗。作为一部十五世纪的作品，这首诗的一个更新颖的特点是它结合了奥维德的神话与罗马当代的政治和宗教动态。通过这种方式，弗拉科借鉴了奥维德的《法斯蒂》中庆祝奥古斯都和皇宫的场景，并根据保罗三世的时代重新塑造了它们。在这篇文章中，我分析了弗拉科第三本书的序言，即基督与火星之间的一场大战，作为神话与政治之间这种综合的象征。我从诗人对圣母玛利亚的祈求开始，我认为这将这首诗置于奥维德传统之内，并与法斯蒂第四卷的开头，奥维德对女神维纳斯的祈求形成了互文。然后我讨论主要情节，即基督与火星之间的冲突，其中弗拉科将马奇和罗马城重新定位为基督教，并在法斯蒂第三卷的开头与罗马的基础神话建立了另一个互文。最后，我认为弗拉科和奥维德一样，为他的小组赋予了政治意义，利用它作为批准教皇保罗三世和查理五世皇帝之间在五世纪期间预期和理想化的伙伴关系的手段。