Middle Ages and The Renaissance

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This is a summary on Cane Corso Italiano: the origin, the history, the integration in socio-economic context into the masserie of the Meridione, and the decline, recovery and recognition of the Corso breed. It must be qualified that this summary on Cane Corso is compiled from articles, books, and the Cane Corso Pages web site., The main sources being “IL Cane Corso: Origini e Prospettiv del molosso italico” by Prof. F. Casolino and Dott. S. Gandolfi, published 1996 by Mursia, “IL Cane Corso” by Dr. Flavio Bruno published 1994, and “Testimonianze Visive E Grafiche Di Un Amico Ritrovato: “ILCORSO”: 1536 --- e la storia continua --- 1993” by Sig. Giovanni Tumminelli & Dott. Flavio Bruno 1994.  

 

Any mistake and misrepresentation in this compilation is mine and mine alone. The copy right of this compilation remains with Hu Song and the Cane Corso Pages. Permission in writing is required for reproduction of the whole or part of this compilation.

 

Hu Song Thursday, May 15, 2000, revised December 01, 2001 and May 25, 2003.

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After the fall of the Roman Empire, the new feudal Roman-Germanic society gave life to the culture of Middle Ages. The Roman Pugnaces survived the fall of the Roman Empire.

 

However, with the change of economic and social geography of Europe, the name of the ancient Roman Pugnaces changes as well. Together with the name Corso, the names of mastino, dogo, alano, and molosso were used indiscriminately to indicate molossoids in general. The reason for this confusion can probably be found in the equal confusion of languages caused by the barbarian invasions and which later led to the formation of the romance languages in Latin Europe.

 

The Italian word mastino turns up in French as matin, where it seems to indicate a sheepdog rather than a molossoid, called mastiff in English. Dogo becomes dogue in French and dogge in German (Deutsche Dogge is still the name of Great Dane in German, alano in Italian), terms which certainly refer to a molossoid and which derive from the English word dog - obviously in old English specifically a heavy breed, since the generic word at that time was hund (hound). It cannot be emphasize sufficiently that the various ways of indicating a molossoid, the barbaric invasion brought new families which surely contributed to the further changes in the old Roman Pugnaces.

 

Corso, as one of the descendants from these Roman Canis Pugnaces, were appreciated by the aristocracy of the Middle Ages and the Renaissance as well as the rural population during that period of time for working abilities and kept by them.

 

As historical documents have shown, since 16th century, there was already distinction between Mastino and the Corso. For example, distinction was made by Teofilo Folengo (1491 – 1544) between Molosso (or Mastino) and Cane Corso. Swiss naturalist Konrad von Gesner (1516 - 1565) distinguishes Corso (Curshund) from Molosso in his Historia Animalium, section De Quadrupedibus, chapter De Cane Venatico Robusto. He called this chapter Of The Robust Hunting Dog and states that “In Italy, and above all in Rome, it is said that Corsi (Curshund) are used against wild boars and wild bulls ….. The Molosso is huge and a great biter, like the Corso”.

 

The build of the Mastino and the Corso is similar, but the Corso is useful during hunting not only in the kill, but also in the chase as well. One of these documents confirmed the significance of the Cane Corso as a sturdy animal and “when a Corso has struck his fangs into a wild boar or wild bull, he can not be separated from the prey without the intervention of the hunter to his locked mandible”.

 

During Middle Ages and the Renaissance the prevailing use for the Corso during this period was in hunting-large games like bears, wild boars and wolves as well as deer, roebuck and the now extinct Italian forest cats. The Corsi hunted with the tracking dogs, caught and held the prey until the hunter came to deliver the final blow.

 

The hunters chose Cane Corsi meticulously for their purposes. They preferred those Corsi with a distinctly strong and resolute character, fawn with black mask or dark brindle, the colours that made it easy for the dog to camouflage in the woods of the Mediterranean bush. A white stripe on the nose was held in great regard, it was believed as a sign of the best hunting instinct.

 

The Corso was not only used as to hunt large-games, but for bull baiting and fights against other dogs or other animals, such as bulls, bears and large cats. The later activities were not strictly reserved to the aristocracy but often took place in the town squares. He was also the guard and protector - guarding the estates and properties of aristocrats, and whatever in these estates and properties; protecting the noblemen during hunts and travels in stagecoach from wild animals and thieves. In addition, as an extension to his job as the guard and protector of estates and aristocrats, the Corso was much appreciated as war dog in battle, especially against the cavalry, and was used to guard defensive constructions. The Corso was also used by police man as man-hunter.

 

There is no doubt that the versatility of the Corso contributed a great deal to the success the breed enjoyed until just a few decades ago. The Corso was evidently much in use and appreciated in the Renaissance courts. But it was outside the court and among the rural population that the Cane Corso became an integral part of their economy, their customs, and even their traditions, proverbs, and legends. 

 

 

 

Notes On Middle Ages and The Renaissance

 

The name Cane Corso had been referred to with consistency since 16th century. Whether it is in the main land Italy or in Sicily Island, it is one and the same: Cane Corso. Besides evidences from historical documents there are evidences from Italian iconography. Both are listed below:

 

 

Iconographic Evidences

 

A miniature called "Cacia di porco cingiate" by Giovanni de’ Grassi (14th century) illustrates a pack of 7 dogs attacking a wounded boar. 3 dogs have definite molossoid heads with short muzzles and broad skulls, long legs, tugged-up bellies and lean structure typical of racing dogs. The rest consists of 2 sight hounds and 2 dogs of lesser molossoid connotations, probably leporarius magnus, cross breed between the two types which was common at that time.

 

There is also a miniature of an undershot molossoid by Giovanni de’ Grassi (1390). The athletic body, reactive and dry, reminds of the Corso.

 

In the marble relief of the Arc of Triumph the monumental entrance at Castel Nuovo, Naples (1443), are Corsos with soldiers.

 

Fresco in a noble palace in Verona (15th century) shows dogs very similar to Corso hunting wild boar.

 

A rampant silver Corso on a blue field is depicted in the Coat of Arms of the ancient Sicilian family of Baron Corso (since 1500).

 

"Hunting the Bears", painting by B. C. Ruthart (1630-1703) showing three Corsi of different colours. There is a wonderful stung collars studded with sharp tips on one of them.

 

The fountain dedicated to the myth of Atteone and Diana (1790) is still in the park of Reggia di Caserta. One end of the fountain shows Corso with cropped-ears. There are stone sculpture of dogs from sight hounds to Corso to the heavier Mastino Napoletano.

 

In the Museum of Floridiana, Naples, majolica from Strasburg (18th century) depicting a molossoid very similar to the Corso.

 

Small statues representing the Corso are to be found in some of the loveliest and most famous of the Chrimas creshes.

 

"Gruppo del Sammartino", creche from the Catello Collection (18th century), showing fawn Corso.

 

Napoletano creche (18th century) showing fawn Corso with black mask.

 

Cuciniello creche (18th century) showing wheaten Corso with gray mask.

 

Map between Campania and Molise (1743) shows Corso and bull.

 

The painting "Caccia ai tori" in Piazza San Marco, or "Hunting the Bulls" in Public Square of Saint Mark, (1750), by Antonio Canal (also known as Canaletto) and G. Battista Cimaroli, shows Corso in bull baiting.

 

Famous Roman engraver and sculptor, Bartolomeo Pinelli (1781-1835), often included Corso in his works. There are many such engravings:

- Author at ease (1815);

- Self portrait with a Corso stretched out at his feet (1828);

- Corsos attacking of martyr Christian (1829);

- The unrehearsed poet at Testaccio in the month of October (1830);

- Fight between two Corsos (19th century);

- A Corso catching the bull by its ear (19th century); and

- Street scene of a gentleman separating two women fighting with his Corso standing next to him (19th century).

 

Fernando I on a "Wild Boar Hunt In The Estate of Cassano", the painting by Filippo Hackert (1737-1807) now in the art museum of Capodimonte, depicts the 3 phases of the hunt on horseback.

 

In the same art museum of Capodimonte there exists a <i>table service of decorated porcelain plates</i> from about 1780. It shows a pack of Corsos, with proportions extraordinarily similar to those modern dogs, blocking a large male boar, spurred on by the sound of the horns of the mounted hunters.

 

"Caccia all’orso", biscuit (or porcelain) by Francesco Gallo (1790-1806), Real Fabbrica Ferdinandea, showing dogs very similar to modern Corsos hunting bear.

 

"Monach and peasants", work of Fillipe Palizzi (1818-1899) conserved in the art museum of  Capodimonte.

 

During the Reign of the Two Sicilies the Bourbons of Naples so admired the Corso that they had them painted by artists of the court.

 

 

Historiographic Evidences

 

In his Latin translation and commentary of Aristotle’s Storia degli animali Giulio Cesare Scaligero (1484-1558) mentioned about large-sized dogs capable of affronting bulls and wild boar called Alani, Corsi, dogas.

 

Teofilo Folengo (1491-1544) described the dog in his slang-Latin manuscript Baldus. He depicted the scenes of the grappling bear being surrounded by Cani Corsi and men with sharp lances and of the wounded lion roaring and sinking his teeth and nails helplessly into the skin of Cani Corsi or mastiffs.

 

Niccolo Macchiavelli (1469-1527) in his unfinished poem <i>L’Asino</i> mentioned this breed in a passage: "e un Can corso abbaiar alla luna" or "And a Cane Corso baying at the moon".

 

In 1530 Federico Gonzaga, Duke of Mantova, sent a letter to King of Poland who had asked him for some dogs, saying that his cani corsi all have been killed by boar in the hunt.

 

Tito Giovanni Scandiano in his Poema della Caccia (1556) related the Corso as "others, called Corso, to catch, bite, and hold wild boar, bears and wolves".

 

Swiss naturalist Konrad von Gesner (1516-1565) described the robust hunting dog in Italy and translated Cane Corso in Latin as Canum ex Corsica or Corsicanum. He distinguished the Corso from Molosso or Mastino, with the former useful not only in the kill but in the chase as well (Chapter De Cane Venatico Robusto, Adversus magnus aut fortes Feras, Section De Quadrupedibus of Historia Animalium, edited in Latin).

 

In his 1591 poem La Caccia Erasmo da Valvasone (1523-1593) praised Corso for his power, strength, agility, quickness, bravery, and his grip in hunting bears, wolves and wild boars.

 

La Caccia first Canto:

“The Corso has great power, bravely he assaults

     And holds the beast: he has such a grip,

  That he knows not how to let go; but less does he

     Value in the chase of one extended in flight:

  Heaven knows no name equal to the readiness

     Of his heavy body

  And the virtue which lives in his great breast

     Fill it to the full, and is never diminished.”

 

La Caccia second Canto:

“Similar to a sight hound in all his members

     Be he Corso or Alano or perhaps arrived

        From Epirus or Great Britian:

  As the hound be he agile and quick

     But in temperament brave and generous:

        Be he grand but not heavy

  Or hindered by such size that he loses his energy:

     Abounding in large bones and great strength,

        Easily angered, brave and proud.”

 

Included in the collection  <i>La Sampogna</i> by Giambattista Marino (1569-1625), there is a poem describing the hunt of Atteone who was turned into a stag by god of hunting Artemide out of vengeance. In it Marino catalogues many dogs of Atteone on the basis of their talents as pursuers of the prey and puts alani and Corso surpassed in speed only by the sight hounds.

 

The breed name shows up in Poemetto in onore del Cardinale Scipione Borghese by Leporea  (1628), written in honor of the Cardinal to celebrate the completion of his new villa in Rome. First line of one canto says: "Qui le ciechi lepier e corsi" or "Here sight hounds and corsi".

 

In the Dizionario della lingua italiana by Nicolo Tommaseo (1802-1877) one finds: "Can corso, uomo di aspetto ed attitudine fiera" or  "Can corso, man of proud aspect and bearing".

 

The Nuovo Dizionario Siciliano-Italiano (New Sicilian-Italian Dictionary) (1838) was edited by Baron Vincenzo Mortillaro. In it at Point V under the term "Cani", it is stated "Cani Corsu, Can Corsico or Corso" and added "Lasserisi jiri cum un Cani Corsu" or "throw one’s self on something with violence".

 

In his Mammiferi di Sicilica (1868) Mina Palumbo distinguishes "Canis molossus. Common name Cani Corsu Inglisi" from "Canis mastivus. Common name Cani Corsu; head heavy and short, muzzle very large, ears hanging, coat ashen colour striped obliquely with black, not very intelligent. Catania, Petralia, Sottana, Castelbuono, Palermo".

 

The efficacy and solidity of Corso’s bite is so proverbial that Giovanni Verga (1840-1922) repeated the saying "morde peggio di un Cane Corso” or "bite worse than a Cane Corso" in his famous novel I Malavoglia.

 

In E. Emma Alaimo’s Proverbi Siciliani there is a phrase in Sicilian dialect, "A cani corsi nun ci diri’ngirri", meaning "don’t incite one who is already irascible". There is another old saying from Enna, Sicily in Sicilian dialect: "Oggi haiu vistu lu munni alla riversu ca lu liebru assicutava u cani corsu" or "today I saw the world upside down; a hare was chasing a Cane Corso".

 

In the Vocabulario Siciliano-Italiano per la interpretazione dei sogni as uno dei Giocatori del Reggio Lotto (Sicilian-Italian vocabulary for the interpretation of dreams, for the use of those who gamble in the state lottery), the Corso is linked to the number twenty-two.

 

Prof. Danilo Mainardi of Ca’Foscari University, and ENCI judge, Italy published an article in Corriere della Sera, a prestigious Italian newspaper, on June 1, 1989 about use of the breed as an aide to guards and police. He stated that Leonardo Sciascia had written about this in his Occhio di Capra (Eye of the Goat), an interesting dictionary of the dialect in and around Racalmuto. Sciascia was quoted saying the following: 

 

"Reading the word barraggieddru I had learned that, with a decree issued on 30th November 1750, Charles III had prohibited the use of Cane Corso by policemen to chase criminals" and "This means that he was also a man-hunter, at least in the earlier centuries in Sicily, this dog ….. a terrible, indomitable molossoid ….. an animal rich in fascination and history".

 

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