The Boiardo Tarocchi poem on its way out of some Italian dust

Tutors and Caesers

Thomas Tuohy in Herculean Ferrarra names Giovanni Aurispa in 1427 as a tutor for Meliaduse; Paolo Toscanella in 1431 as tutor to Borso, and Guarina Guarini in 1429 as tutor for Leonello. The reference Thomas Tuohy uses in Herculean Ferarra on page 7 of the "D'Este of Ferarra chapter is the Edmund G. Gardner 1904 text of Dukes and Poets of Ferarra, p.26-66, and 'for the reference to P.C. Decembrio, p. 85

Fascinating, all this...it will take me some time to digest. I may have some information about Ercole's enjoyment of Caesers in coinage or usage in decoration...but let me look again at all this to see if anything I have is relevant.

Best wishes and hope to return soon,

Cerulean Mari

Cerulean said:

Thomas Tuohy in Herculean Ferrarra names Giovanni Aurispa in 1427 as a tutor for Meliaduse; Paolo Toscanella in 1431 as tutor to Borso, and Guarina Guarini in 1429 as tutor for Leonello. The reference Thomas Tuohy uses in Herculean Ferarra on page 7 of the "D'Este of Ferarra chapter is the Edmund G. Gardner 1904 text of Dukes and Poets of Ferarra, p.26-66, and 'for the reference to P.C. Decembrio, p. 85

Fascinating, all this...it will take me some time to digest. I may have some information about Ercole's enjoyment of Caesers in coinage or usage in decoration...but let me look again at all this to see if anything I have is relevant.

Best wishes and hope to return soon,

Cerulean Mari

Click to expand...

Hm ... we have as the largest glory of Caesar in the renaissance the work of Mantegna, said to have started 1484 and ended in 1492, in Mantova. And the painting started just in the year 1484, when Ercole had just survived the two-years-attack of papal-venetian forces. And Mantova got as the prize the older daughter Isabella d'Este of Ferrara for it. Ferrara suffered in the war, but it was helped and found some solidarity from his neighbours against the attack.
Also we've the debate in the 1430's at the Ferrarese court (and elsewhere), if Scipio or Caesar would be the greater hero. Leonello and Guarino were involved.
And we've the unpleasant fact, that during Ercole'sd lifetime another Cesare (Borgia) organized with rude methodes those greater changes, which perhaps Ercole had wished to do himself in his warrior career. Ferrara had to agree in the humilating act, that the heir had to marry the pope-daughter. As this was Lucretia's third marriage and her name was connected to strange occurances ... the feelings were splitted in this activity, but Lucretia proved finally as a good choice.

Scipio also appeared in Boiardo's great-men-collection (as husband of a great women), also Pompeius as Caesar's foe.

Caesar and Hippolita were in the Saluzza-program. The choice for Caesar might have come from Ercole's interest, the choice for Hippolita from ??? ... we've the fact, that Ippolita Sforza, very-well-educated daughter of Francesco Sforza, entered in 1465 with great pomp the court of Naples by marriage to the heir of the kingdom. After this she was by function the "elder sister" to all those young princesses, who married in series in the 70's of 15th century great princes: Eleanore 1473 to Ferrara, one to Pesaro in 1475, another as queen to Hungary 1476 and there were some more, as not only the daughters of Ferrante must be considered, but also the daughters of his sister (one sister stayed childless in Ferrara with Leonello).

So Ippolita was important for Eleanor ... and so the choice of the amazon Hippolita (of the Saluzzo-program) in Boiardo's poem makes sense. And points us to the acceptance, that Boiardo's poem was written after 1473, likely as a (minor) present to Eleanor's and Ercole's wedding.

The series:

August 1471: Ercole becomes duke of Ferrara, militaric decisions against Niccolo d'Este
1472 ... the Saluzzo-mother arrives
July 1473 ... the wedding in Ferrara
September 1473 ... the Saluzzo-condottiero as guest in Ferrara with 400 horses
1474 ... the Saluzzo-mother dies

seems to indicate, that Boiardo might have had opportunity to orientate himself to the Saluzzo-picture-program with 18 persons.

The series:

1473: Likely Ercole becomes knight to the Naples knight order of the Ermine
1474: Ercole as guest to the wedding in Burgund
Nov. 1475: Ercole accepted as member of the Golden Fleece (order of Burgund)
1476: Ercole makes activities to become member of the garter (realised 1480)

shows Ercole's interest to become a sort of super-knight (let's all it "Caesar's dream" - which determines Boiardo's theme "Orlando", which starts in 1476)

Leonello had Caesar's dream ... but became peacemaker and cultural maecenas
Borso made Borso's bible and playing cards and loved peace, after in his youth he made a very bad experience as leading condittiero in Soncino (heavy losses, Borso captured)
Ercole really trained his knightly engagements, participated in tournaments and wars, had successful commissions and income as condottiero - he was definitely differently oriented as his elder brothers.

Boiardo's Orlando took the knightly activities in a serious manner.

Pulci (before), based on a republican Florentian world view, focussed more on humorous aspects (Boiardo was based on nobility ideals). Although Lorenzo and Giulio Medici also had "their tournaments" in 1469 and 1475 - generally Florence had more for other cultural activities.

Ariost clearly judged, that Borso's style reignment was more successful than that of Ercole. And his Orlando became more funny than that of Boiardo.

...???
...????

I'm confused about a specific detail: Generally Ludovico "the Turk" of Mantova died at ...

"Ludovico III "il Turco", Marchese di Mantova (1444-78), *Mantova 5.6.1414, +Goito 12.6.1478; m.Mantova 12.11.1433 Barbara von Hohenzollern (*1423 +7.11.1481)"

... June 1478. But condotiieridiventura.it, usually with more knowledge about details etc. generally knows him as living (with many details) in 1479. There he died in the year 1480 in the same city (Goito) for the same reason (peste ... just two years later)

http://www.condottieridiventura.it/condottieri/g/0797 LUDOVICO GONZAGA Marchese di Mantova.htm

Curious. How could that happen?

Another Lucretia D'Este (di Ercole)

Trump 21 - Fortezza (Strength)
I am thinking that Lucretia Borgia who married Alfonso in 1502 might have been too late for the tarocchi poem? It is true in 1519 she wrote a sadly beautiful letter that is historically cited that shows clearly she knew she was mortally ill...this was after giving birth to the last of her eight children by Alfonso and it was sadly wasting and long infection. Let me suggest someone else closer to the time and D'Estensi clan:

Ercole had a natural daughter named Lucretia born before 1473, whom his kindly Elenora helped raise. Tuohy says "..arriving in Ferarrra at the young age of twenty-three, she accepeted Lucrezia, an illegitimate daughter of Ercole, as her own..." Later, Ercole visited Lucrezia after her marriage to Anibale II (1469-1540), a ruler in Bologna in 1487 and also 1492 on the way to Florence and Rome.

"A son of Giovanni II, Annibale II married Lucrezia d'Este in 1487. He served as a condottiero. In rebellion against Julius II, he reentered Bologna in 1511 with the help of the French and ruled for only a year. He was hated by other rival families, such as the Ghisilieri and the Canetoli, and was subsequently assassinated."

In exile, the Bentivoglio family established themselves in Ferrara and produced several important prelates.

http://en.wikipedia.org/wiki/Bentivoglio

Such a "noble" widow would be much admired by courtly standards, even if she had to live with her maternal relatives in exile.
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Here's the poetic reference I'm considering in terms of Lucrezia:

Italian text
Fortezza d'animo in Lucretia liete
Exequie fece: per purgar sua fama
Se uccise, e all'offensor tese atra rethe,
---
Dando exempio a chi 'l nome e l'honore ama.


English translation
Inner strength make happy the death of
Lucretia: to clean her fame
She killed herself, and she prepared for the offender a dark net.
---
She gave an example to those who love their own name and honour.

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In terms of Caesers:
Both Leonello and Ercole were said to be great coin collectors and fans of the Roman caesers, but I have to collect information. I am trying to see if any other names and references seem to directly relate to the text of the Boiardo poem.

Briefly:
In 1473 in preparation for his wedding, Thomas Tuohy in Herculean Ferarra writes:..."In 1473, Ercoled ordered a series of balconies to be built on the Torre di Rgobello which looked down the length of the square. These were decorated with medallions of the Twelve Caesars and the uppermost balcony had a lead roof: it was from one of these balconies that the new ducess and her husband watch jousts on 7 July of that year (Ugo Calefini, 1473, July 7 from Notizie di Ugo Calefini--diary source in London).
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Incidently, the commerative deck of Maria Matteo Boiardo by M. Maurizio Bonora has two color samples posted on the Museo di Tarocchi Bolognese website for their Oct-Nov. Ferarra tribute: link first and images follow

http://www.museodeitarocchi.net/mostrabassani.htm


If I have more 'relevant', I'll post. Thanks!

Cerulean Mari

Cerulean said:

Trump 21 - Fortezza (Strength)

Ercole had a natural daughter named Lucretia born before 1473, whom his kindly Elenora helped raise. Tuohy says "..arriving in Ferarrra at the young age of twenty-three, she accepeted Lucrezia, an illegitimate daughter of Ercole, as her own..." Later, Ercole visited Lucrezia after her marriage to Anibale II (1469-1540), a ruler in Bologna in 1487 and also 1492 on the way to Florence and Rome.

"A son of Giovanni II, Annibale II married Lucrezia d'Este in 1487. He served as a condottiero. In rebellion against Julius II, he reentered Bologna in 1511 with the help of the French and ruled for only a year. He was hated by other rival families, such as the Ghisilieri and the Canetoli, and was subsequently assassinated." ....

Click to expand...

Great information, I didn't know that.

But Lucretia had the top position in the deck ... we have to calculate the possibility, that the poem was made for this till now not reflected "unknown" Lucretia. ... and in this case the whole was done in 1487 and made for the marriage of Lucretia. The fifth possibility now.

Is it possible, that Lucretia was send also to Naples for some time? Beatrice was educated in Naples (when? in which years? perhaps during the war 1482-84 to have them in safety?). Perhaps Lucretia accompanied them?

Then Hippolyta in the deck as "hidden Ippolita Sforza" would have some logic.

Bologna was a cardmakers city (or it developed to this state). The deck was made in woodcut - which might point to a Bolognese production.

---------------------------------------------------------------------
In terms of Caesers:
Both Leonello and Ercole were said to be great coin collectors and fans of the Roman caesers, but I have to collect information. I am trying to see if any other names and references seem to directly relate to the text of the Boiardo poem.

Briefly:
In 1473 in preparation for his wedding, Thomas Tuohy in Herculean Ferarra writes:..."In 1473, Ercoled ordered a series of balconies to be built on the Torre di Rgobello which looked down the length of the square. These were decorated with medallions of the Twelve Caesars and the uppermost balcony had a lead roof: it was from one of these balconies that the new ducess and her husband watch jousts on 7 July of that year (Ugo Calefini, 1473, July 7 from Notizie di Ugo Calefini--diary source in London).
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Click to expand...

Also very interesting. Which 12 Caesars?

Huck said:

Which 12 Caesars?

Click to expand...

Svetonius?

Marco

DoctorArcanus said:

Svetonius?

Marco

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Hi Marco,

Yes, likely, thanks. I found it already, follwing the keyword "12 Caesars"

I've trouble with the identification of Lucretia d'Este, illegitimate daughter of Ercole.

her mother: Ludovica Condolmieri, no dates, but ...

Gabriele Condolmieri, original name of Pope Eugen IV. (died 1447), who was uncle to Francesco Condolmieri (cardinal 1431, died 1453) and uncle to Paul II., pope 1464 - 71) ...

... so really "high" context somehow. In this last period (1464 - 1471), which likely somehow includes the birthdate of Lucretia, Ercole was occasionally highpaid condottieri for the Venetian republic (the popes Eugen and Paul were Venetians) ... so the connection is understandable.

Ercole then was not "first heir", but Niccolo, Leonello's son. The preference for Ercole as successor of Borso developed, as it seems, late, possibly since 1469, after Ercole treated Borso with respect and didn't accept an offer for a rebellion against Borso.
But Ercole avoided to legalize his Venetian liaison (likely in the exspectation of an higher title) and somehow the papal side seems to have accepted this.

It would be interesting to know more details about this (Lucretia and her life).

This article ...

http://links.jstor.org/sici?sici=0034-4338(199424)47%3A4%3C770%3AVEITMI%3E2.0.CO%3B2-L

.. which I don't get (Istor) is offered by google with this short text ...

"Ercole: Lodovica Condolmieri Lucrezia, b. 1471-2, betrothed at age 6-7 to Annibale Bentivoglio whom she marries in 1487 Lady-in-waiting of Eleonora ..."

Hi, Cerulean,

Cerulean said:

Trump 21 - Fortezza (Strength)
I am thinking that Lucretia Borgia who married Alfonso in 1502 might have been too late for the tarocchi poem?
...

Here's the poetic reference I'm considering in terms of Lucrezia:

Inner strength make happy the death of
Lucretia: to clean her fame
She killed herself, and she prepared for the offender a dark net.
She gave an example to those who love their own name and honour.

Click to expand...

I'm not sure what you are looking for. Boiardo's reference here, like most of the others, is pretty clear and, like the others, describes a classical figure, not a contemporaneous one. The subject of the verse is the Roman noblewoman Lucretia, who famously killed herself and thereby indirectly created the Roman Republic. She was a hugely popular figure in art and literature, and a moral exemplar from ancient times. Both her rape and suicide were the subject of many paintings, sculptures, engravings, as well as being subject #21 in Boiardo's trumps. Her example of moral strength and disdain for this world is in contrast to to the worldly weakness of Folly: The World.

World, you are vainly loved by the mad,
And a fool thinks he can bring you on his donkey,
Because the stupid only trust your state.

The other 20 subjects are also paired, creating a context for understanding the design. When the subjects are examined in terms not merely of the abstract allegorical qualities but according to the examples given in the verses, the paired design becomes more clear. The odd numbers from 1-19 appear to be portrayed as negative, while the even numbers from 2-20 appear to be, for the most part, positive. They might even be called vices and virtues. The vices are exemplified by male figures and the virtues are female. With a little digging around on the Web, keeping in mind both the allegorical subject of each figure and the classical exemplar used, most of them can be understood.

1. Idleness 2. Labor
3. Desire 4. Reason
5. Secrecy 6. Grace
7. Disdain 8. Patience
9. Error 10. Perseverance
11. Doubt 12. Faith
13. Deception 14. Wisdom
15. Chance 16. Modesty
17. Peril 18. Experience
19. Time 20. Oblivion

Idleness and Labor form an obvious pair, and other readily apparent pairs include Disdain and Patience, Doubt and Faith, Deception and Wisdom, etc. Peril might be the cost and Experience the benefit, for example. Some pairs seem to be direct opposites, some might represent deficiency and remedy, while others—such as Time and Oblivion—suggest cause and effect. But the figures need to be considered as well.

Desire and Reason are a traditional opposition, one of the Four Passions of the Soul triumphed by Reason. The verse on Desire uses Acteon as its exemplar, who according to Ovid looked upon Diana and paid a great price for his lust. Reason is exemplified by Laura, whose Chastity famously triumphed over Cupid in Petrarch's Triumphs. Another example is Error. It is exemplified in terms of Jacob, who wanted Rachel but was deceived by Laban. His error was in fact overcome with Perseverance: “Now look this way: behold the patriarch, Mocked and yet constant, who through seven years Served to win Rachel, then for seven more: A mighty love that hardship could not quell!” Perseverance is then illustrated with Penelope and Odysseus, separated for 20 years while Penelope fends off suitors.

The intended meanings can be ferreted out, but only by looking at the intended subject matter. So, I'm just not sure what looking at figures like Lucretia Borgia is all about...

mjhurst said:

So, I'm just not sure what looking at figures like Lucretia Borgia is all about...

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Hi Michael,

... ... you're not at the head of the argument; we had already mentioned the general pairing of the trumps and also mentioned already who is who of the classical figures ... long ago ... so Lucretia with her sharp instrument was naturally identified, too.

The argument is about the reasons for the choice of the figures, which ALSO belonged to the repertoire of the poet (which was Boiardo), ... and we've started the current debate following your own suggestion: " ... it seems like a good time to reflect on what has been learned, if anything ...", post Nr. 26 in this thread, and the argument is inside the question for the time, when and at which opportunity Boiardo wrote his poem.

Suggested were from earlier times (compare post 27)

1468 or short after (Boiardo in love)
1473 (Eleanore's marriage)
1489 (marriage Elisabetta Goinzaga)
short after 1494 (Boiardo is dead, but the poem was used for a deck in Urbino)

Thanks to Mari's suggestion now a fifth possibility enterred, which refers to the marriage of Lucretia, Ercole's illegitimate daughter (a person which might be easily overlooked), who married 1487 the son of Giovanni Bentivoglio, tyrant in Bologna - which actually seems to have good chances to be the right one.

Mari herself noted, that Lucretia Borgia is obviously "too late".

Hi, Huck,

Huck said:

you're not at the head of the argument; we had already mentioned the general pairing of the trumps and also mentioned already who is who of the classical figures ... long ago ... so Lucretia with her sharp instrument was naturally identified, too.

Click to expand...

Great! (I'm usually the slow kid in class -- that's why I asked, "what has been learned?" I'll try to catch up.)

What was said about her? What prooftexts were identified and quoted? What relationship with the design of the deck was suggested?

Was that done with all the other trumps as well? Such a comprehensive investigation should be more widely known. Please give us a URL to where all that hard work can be seen -- that URL would be an excellent answer to my question, "what has been learned?"

Two years ago, when Ross and Marco's translation went up, I spent some time looking for those explanations, and some were easy, others were obscure and it was difficult to track down a relevant prooftext or source passage in any period works. And the overall design itself remains obscure.

However, I'm still missing the point. These things are not to be mentioned and then disregarded. These things are the substance of the poems. What I don't understand is 1) why those things are being ignored rather than followed up on, and 2) what you are currently looking for in place of the intended meaning of the trumps? If you know about the Lucretia Boiardo was referring to, (which you admitted, in passing, in January of last year), what are you now looking for?

In any case, if someone has done all that work identifying the passages to which Boiardo was actually referring, as you claim, I would LOVE to see it!

PLEASE SHARE IT WITH US!

Hi, Huck,

The argument is about the reasons for the choice of the figures, which ALSO belonged to the repertoire of the poet (which was Boiardo), ... and we've started the current debate following your own suggestion: " ... it seems like a good time to reflect on what has been learned, if anything ...",

Click to expand...

And if someone has explained the trumps somewhere, that would be exactly the kind of thing I was asking about -- what has been learned?

On the other hand, what you are doing in this thread is the opposite of summarizing what has been learned about the Boiardo Tarocchi. You are attempting to discover something new, and something apparently not related to the Boiardo Tarocchi in any direct fashion. That is fine, of course, but I'm trying to be clear about what the last few years have produced. New speculations have nothing to do with answering that question.

The translation of Boiardo's poems and Viti's commentary are both fascinating, (and they provide an opportunity for someone like myself, an illiterate, to do some poking around), but they seem to offer no new insights about Tarot history beyond what was presented by people like Moakley, Hoffmann, Dummett, Kaplan, Mann, et al. You claimed that Boiardo's Tarocchi had been overlooked by all the playing-card historians, and that great new findings were waiting in store. A lot of time has passed -- it's been a couple years since the translation, for example -- so it seems like a good time to ask what you've found about the Boiardo Tarocchi, in terms of playing-card history, that casts new light on it.

But when I asked what had been learned before, you offered more questions rather than any list of findings. And here you offer a brainstorming session, not directly related to the Boiardo Tarocchi, in lieu of any substantive findings. So I'm asking, as clearly as I can, "what has been learned?" If, as you claim, the substance of the poems has been identified and explained, that URL would be a GREAT answer.