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

Huck

The passage of Gallenga (posted above) shall demonstrate something:

Boiardo is called the most famous poet of 15th century, but Boiardo became not famous cause his Tarocchi poem. He became famous cause his engagement in the development of the Italian Orlando theme.

The Orlando theme development knew 4 major stations:

Luigi Pulci - Florence (most important work: his work on the Orlando-theme)

Matteo Maria Boiardo - Ferrara (most important work: his work on the Orlando-theme); called greatest poet of 15th century in Italy

Lodovico Ariost - Ferrara (most important work: his work on the Orlando-theme); called greatest poet of 16th century in Italy

Francesco Berni - Florence

It should jump into the eyes, that poets from Florence and Ferrara are involved .... the uniting common principle between Florence and Ferrara was, that both cities had friendly relations to France.
A Ferrarese ruler married a French king's daughter, the Florentian Medici gave two daughters as queens to France.
"Orlando" was a French theme.

And another contemporary French-Italian cooperation took place in the production of the Tarocchi cards.

Now we have a strange coincidence between Orlando-poets and the (Tarocchi) cards: all four mentioned poets also wrote about cards.

Pulci wrote a letter to Lorenzo de Medici (1466), in which the game of Minchiate is mentioned. He also used twice words in poems, which nobody else used (so naturally nobody knows, what they mean), words starting with "minch-" ..

Boiardo wrote the Tarocchi poem

Ariost wrote "Carte parlanti" and motifs of the Orlando theme appeared on Tarocchi cards

Berni wrote about card playing generally.

Although this coincidence might be just a result of "all 4 poets wrote much", so "they also ALSO wrote about playing cards", it somehow is likely, that other common factors helped to fulfill this "rule".

For instance belonging to a specific class of persons (poets), which had contact to the habits to the higher nobility, which had specific interest in French chivalry and ALSO enough money to have expensive playing cards.
 

Cerulean

I like the latest thesis development quite a bit.

There is more also on Ercole D'Este's grandparents on his maternal side that helps explain the chivalry romance and the delight that the Estensi family of Ercole's had in continuing these medievalistic themes.

Since Boiardo and Aristo were supporters in the D'Estensi lines--perhaps this is of interest?

No doubt you already established this, but Ercole's maternal grandfather was an author of a chivalric romance, I think I see from this citation:

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

Father of :
Ricciardia of Saluzzo. (Ricciarda) Married Niccolò III d'Este.

Now there was a grand theme of the "French chivalry" from fragments of "Celtic" tales--but I noticed that Thomas III of Saluzzo is actually Italian, and his work inspired a beautiful fresco cycle of the 1420's pictured in the link below:

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

This is in Piedmont.
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If you covered this before in another thread, please excuse. But I thought the chivalric note with citations and the addition of the fresco link might be of interest in this theme...as you develop this theme of the family histories that commission these poetic works with supporting evidence.

For me, it is important to keep in mind that at least Boiardo and Aristo were not working for their own glory, but they did such developments for a reason: namely for the developing the 'legend' of the family lines of the Estensi.

I now more fully understand why Aristo's work was so important to Alfonso, Ercole's son, now in the context of looking at the maternal line of Ercole D'Este. It seems Alfonso's pleasure in what Ludovico wrote of his paternal D'Estensi line was helpful in establishing 'ancient' glory that matched what the grandmother's (Riccarda's) family had done.

Best regards and hope this is helpful to the thread.

Cerulean
 

Huck

Hi Mari,

indeed we'd mentioned the castle of Manta in this thread ...

http://tarotforum.net/showthread.php?t=70236&page=3&pp=10&highlight=manta

... as a very early (perhaps the earliest ?) example of the 9 Heroes / 9 great females genre.

The relation of the brothers Ercole + Sigismondo to their mother was complicated ... they did see their mother again after ca. 30 years in 1472, when Ercole became duke of Ferrara. In early 1442 the succession in Ferrara still was disputed, the mother Riccarda claimed rights for her legitimate sons. Leonello was selected as heir by Niccolo before the birth of these sons ... and this was legalized (the parents of his proposed bride, a Gonzaga-girl, had expressed much interest in this detail).

The result of her lamentations was some stress and perhaps the fine detail, that the 9 and 11 years old boys ALSO got a Trionfi deck for themselves, although of much cheaper quality in the same year (perhaps an operation to calm some waves). And result was ALSO the fact, that both sons were given to the court in Naples to avoid further trouble around them in Ferrara in 1445 (where they stayed till 1460).

Riccarda or Ricciardia Saluzzo (3rd wife of Niccolo d'Este) came (back) to Ferrara in June 1472 and died in Ferrara 16.8.1474; there was not much time to leave strong influences on Ercole, however, one doesn't know.
The major influence on Boiardo's Orlando came likely from Pulci's Morgante and Pulci was not influenced by Ercole's mother. Pulci's family was of French origin and the whole idea for the Morgante was from the mother of Lorenzo de Medici, who wished the poet to engage in this matter .... and this likely had something to do with far-reaching speculations from Cosimo (who as an experienced banker knew things always a little earlier than others), who likely specualated, that the old French king (Charles VII.) would die soon and that in the background waited Louis the Dauphin in Burgund for his chance on the throne.
The Medici wished influence on the Southern French market, which they got with the help of Louis (and Louis, who had foes in France, was happy to have help from the Medici - and the Sforzas - in Italy). Pulci's French poem (the work started 1460, the French king died in the mid of 1461) made in the house of the Medici was a clever far-reaching investment to show "friendship to French culture".
In 1465 the Medici were allowed to get the French fleurs-de-lis in their shield, then Florentian trade spread around Lyon and later in 16th century Medici princesses became impressive French queens. And the Orlando-theme became an Italian bestseller.

Whatever Cosimo speculated, for the Orlando-theme it was a lucky accident, that Ercole seems to have developed a major interest and likely induced Boiardo to take engagement in this stuff.

I see three knight orders mentioned in context to Ercole:

Golden Fleece: after he visited the marriage of Charles of Burgund to Margret of York in June 1474, he was awarded to the order in 1475 according condottieridiventura.it , on a general list of wikipedia he is missing.

Garter: he engaged to get into the Garter in 1476, as I've read (he became a member 1480)

Ermine (Naples ?) : he is mentioned by condottieri.it to have been a member of the ermine (likely in Naples, which is said to have existed between 1465 - 1494, so only with King Ferrrante); probably he became a member 1473, when he married the king's daughter

I guess, that there are not many persons, who in their life participated in 3 knight orders (at least till 1500).


In his biography various knight tournaments are mentioned (cindottieridiventura.it), and he is more than once the organizer

It could be said, that he definitely took an interest in such knight matters ... the Orlando theme in Ferrara in the early time of Ercole has some inner logic.

From the four mentioned versions (Pulci, Boiardo, Ariost, Berni) the Boiardo version is said to be the most serious; in the other versions the more funny aspects win.
 

Cerulean

Thank you, I'm going to look a little further into this...

I understand you are looking at literary themes and development.

I can move my interests in the historical family of Estensi to another thread.

I read earlier through Riccarda da Saluzzi (granddaughter of both an Este and Visconti), the D'Estensi family was able to add the coverted French Fleur de Lys to their coat of arms (which was quite prominent as early as 1431. (I think I read this in "Herculean Ferarra" and if it's of interest, work on a timeline separately.)

Thanks!

Cerulean
 

Huck

Cerulean said:
I understand you are looking at literary themes and development.

I can move my interests in the historical family of Estensi to another thread.

I read earlier through Riccarda da Saluzzi (granddaughter of both an Este and Visconti), the D'Estensi family was able to add the coverted French Fleur de Lys to their coat of arms (which was quite prominent as early as 1431. (I think I read this in "Herculean Ferarra" and if it's of interest, work on a timeline separately.)

Thanks!

Cerulean

Hi Mari,
no, it's a good place to mention details of the d'Este here. When the change of heraldic occured 1431 .. was this connected to the Niccolo's journey to France?
 

Cerulean

Niccolo's marriage to Riccarda in 1431 seemed pivotal

The short answer to your question, is it is not said directly what prompts this granting of the Fleur de Lys in 1431---although the marriage of Riccarda di Saluzzo and Niccolo III and the birth of Ercole in 1431 seems to be pivotal. The implication is there is a favor and flavor of French refinement, a currying of royal favor from Niccolo through Ercole. The Estes certainly used a Francophile leaning in choosing Riccarda as a marriage partner and naming all the sons and daughters with heroes of Arthurian legend--even though these names were "Italianized."

I'm going to put some notes below and as people gain more information or can assist, it can be added to if this helps the thread or people reading the information about the Estes and favoritism with the poetic themes of Arthurian romance and chivalry.

A. In 1429 Niccolo III had received Papal sanction to appoint Leonello as heir when Leonello reached the age of 21. (A1)

Riccarda di Saluzzo is referred to as Rizzarda in the Herculean Ferarra book; Thomas Tuohy uses C.Gardener's Dukes and Poets of Ferrrara's timeline records of birth and family records in his 2006 text. Below all is taken from Herculean Ferrarra, unless otherwise noted--I am tracking Riccarda di Saluzzo's family lines, so I put the link where I found the information of her family online.

B. Circa 1430, Riccarda di Saluzzo's half brother, Valeriano (1374-1443) is said to have arranged the marriage of Riccarda and Niccolo III, with Valeriano while acting as regent for Lodovico (1406-73). (From Herculean Ferrara)

Notes on Riccarda's family follows here (website research)

1. Riccarda di Saluzzo is named for her grandmother, Riccarda Visconti, who married grandfather Tomasso II--but not much seems to be noted as I can see in December 2007, other than some older family relations to Visconti and D'Este clans:

2. Riccarda Visconti was the daughter of Galleazzo Visconti when he was lord of Milan and a Beatrice D'Este (they were married in 1300)...Galleazzo has said to have had resided in the Estensi regions while fleeing Milan circa 1300...so her grand-daughter Riccarda di Saluzzo was probably aware of far back family relations to Niccolo III before her marriage.

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

C. Riccarda di Saluzzo's father, Tomasso III, was the author of the chivalric romance, Le Chevalier Errant, written while imprisoned in France. A copy of the book in Paris, France, is illustrated with the Nine Worthies, military heroes of the Old Testament, Classical Antiquities and Medieval Romance, together with the Nine Heroines, and the same figures were painted in the Castle of La Manta, near Saluzzo, for Valeriano (C1)

D. January 1431 -Riccarda di Saluzzo's marriage to Niccolo III.

E. October 1431 - Ercole D'Este was born

F. 1431 - Riccarda di Saluzzo's marriage coincided with the granting by King Charles VII of France of the use of the fleurs de lys in the Este coat of arms (F1)

G. In Herculean Ferarra, it is said of Riccarda di Saluzzo:

..and coming from an essentially French background, she would not have felt too displaced within the predominantly francophile culture of the Ferarrese court.

Also noted:

H...The names by which Niccolo III baptised his children give an indication of this literary culture in the early fifteenth century, as most are derived from Arthurian romances, familiar at court largely through French manuscripts....(it goes on to write of the names of the children and the Arthurian romantic character...but the end of the paragraph is likely the most interesting to us here...)

I. The choice of Hercules (Ercole) as a name for a child might seem to indicate an orientation towards classical antiquity, but as Maurice Keen has observed, the eagerness for knowledge of classical antiquity owed as much to vernacular French translations of classical texts as to Italian humanism, and in Jean de Courancy's Chemin de Valance, Hercules, Achilles and Jason were amongst the heroes added to the Nine Worthies. (1)
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Anyway, in terms of Ercole, he was in Ferarra until he was 13 and it said he witnessed the Council of Ferarra and Leonello's first marriage, then he and younger brother went to Naples from 14-30...he returned to help Borso as a miltary advisor and commander, and managed to win favor of Borso over the young dandy Niccolo di Leonello...and took over as Duke of Ferarra...

I hope this is helpful.

Cerulean

Supporting notes to text:

(A1) Thomas, Tuohy, Herculean Ferarra, 2006, Chapter I, The Este of Ferarra, page 8 (reference from Giuseppe Pardi, Leonello D'Este, Marchese di Ferrara, Bologna 1904).

(C1) Jorga, N, Thomas III, Marquis de Saluces, etude historique et literaire, St. Denis, 1983. The manuscript in Paris, BN, MS, Fr, 12559, cited in Keen, Maurice, Chivalry, Yale, 1984. For the Nine Worthies, see Loomis, R.S., Arthurian Legend in Medieval Art, New York, 1939, pp. 27-40. See also Griseri, A. Jaquario e il realismo gotico in Piemonte, Turin, n.d.,pp.61-71

(F1) Spaggiari A. and Trenti, G., Gli stemmi estensi e austrio estensi, profilio storico, Modena, 1985

(I.1) Gardener, Edmund G. The Arthurian Legend in Italian Literature, London, 1930.
 

Huck

I'm a little confused about precise datings and relations of persons.

The marriage of Riccarda Saluzo and Niccolo I've for 1429, the same year, when Leonello was legalised (it makes some logic, to rule these things together; somehow the interest of Mantova to make Leonello the legal heir should have happened before the marriage was fulfilled).
As Ercole (first result of the marriage connection) was born Okt. 1431, this makes sense. In 1429 the (new) French king became crowned, it makes sense, that the rights with the Fleurs-des-lys in the heraldic of the Este were given after this decision in 1431.
Ercole was called after Hercules, Greek hero and god ... in carnival 1433 (in this year a remarkable feast with masks of Greek Gods - short before one of the daughters of Parisina had her wedding with Sigismondo Malatesta) and with Guarino as teacher for Leonello the decision for Greek studies had been done. The brother Sigismondo (* 1433) likely was named after Emperor Sigismondo (and perhaps a little bit ALSO after this new brother-in-law Sigismondo Malatesta).

Condottieridiventura has the following notes to "Saluzzo" in the biographies (Niccolo d'Este and a Tommaso di Saluzzo):

1431: Gli è concesso dal re di Francia Carlo VII la possibilità di inserire nel suo stemma i gigli d'oro in campo azzurro.
### The change in the heraldic is confirmed

May 1433: Con il marchese di Saluzzo conclude la pace di Ferrara fra i vari belligeranti.
### Which says that the Marchese of Saluzzo (which should be the long reigning Ludovico di Saluzzo - reigning 1416 - 1475, son of the author Tommaso di Saluzzo - reigning 1396 - 1416) seems to be important for the new peace between Venice and Milan.

http://genealogy.euweb.cz/italy/saluzzo2.html

May 1440: Accoglie la figlia del marchese di Saluzzo, di passaggio per Ferrara e diretta a Cipro per sposarsi con il re.
This is confusing: A daughter of Saluzzo is in Ferrara on her passage to marry the king of Cyprus in May 1440 .... but the first queen of Cyprus isn't dead (she dies September 1440) and the new queen is called Helena, daughter of somebody else. Tommaso had a daughter Elena, but her existence is disputed. The descriptions of daughters of Ludovico in the genealogy don't fit with the situation.
It's of special interest, that a girl on the way to her marriage crossed Ferrara, as Bianca Maria Visconti was in Ferrara since begin of October 1440 ...

???? This is puzzling. Was Bianca Maria disguised as a "daughter of Saluzzo on her way to Ferrara/Cyprus" to avoid attacks of the Venetians? As the queen of Cyprus really died in September 1440 the month May might be a "time confusion" in the notes. A journey in October 1440 would have had some logic.

And this:
A Tommaso Saluzzo (called a lord of Authon in Dauphine) is engaged for Louis XI. of France and for Milan. In September 1473 he is with 400 horses as guest in Ferrara and Bologna.

A "visit of Saluzzo" in September 1473 (after the marriage of Ercole in July 1473 and after the mother Riccarda returned to Ferrara in 1472) has logic, but who is this Thommaso, Lord of Authlon? I don't find him in the genealogy.

He is mentioned as a condottieri, dying 1482, working for Louis XI and for Milan (Galeazzo Maria)
 

Cerulean

I have found a note of marriage negotiation in proxy in 1430

m thirdly ([1429/31]) RICCIARDA di Saluzzo, daughter of TOMASO III Marchese di Saluzzo & his wife Marguerite de Roucy (-Ferrara 16 Aug 1474, bur Ferrara Santa Maria degli Angeli). "Marchese Nicolao d'Este fù Alberto" issued a proxy dated 2 Dec 1430 for the negotiation of his marriage to "Rizarda figlia del fù Marchese di Saluzzo"[61].

http://fmg.ac/Projects/MedLands/MODENA, FERRARA.htm#_Toc111995978

Would that explain the dating confusion of exactly when Riccarda was married? Perhaps the historians that I am reading will not count the marriage as complete unless Riccarda di Saluzzo was in Ferarra and such union was consummated, as it apparantly was in 1431.
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And if it is much more reasonable to find Greco-Roman classical allegory for the choice of Ercole's naming in 1431, that's quite excellent. Thomas Tuohy in Herculean Ferarra in his next paragraphs of describing the background of Niccolo III's court speaks of the wonderful tutors that came for teaching Meliaduse, Borso and Leonello.

Certainly the name Ercole may have been chosen for not only it's classical associations, but perhaps it also was in harmony with the mood of romantic chivalry that went in the naming of the older sons?

In any case, thank you for the points and discussion... and if I come across anything that might be helpful, I willl post.

Regards,

Cerulean
 

Huck

Cerulean said:
m thirdly ([1429/31]) RICCIARDA di Saluzzo, daughter of TOMASO III Marchese di Saluzzo & his wife Marguerite de Roucy (-Ferrara 16 Aug 1474, bur Ferrara Santa Maria degli Angeli). "Marchese Nicolao d'Este fù Alberto" issued a proxy dated 2 Dec 1430 for the negotiation of his marriage to "Rizarda figlia del fù Marchese di Saluzzo"[61].

http://fmg.ac/Projects/MedLands/MODENA, FERRARA.htm#_Toc111995978

Ah, that's very good, an interesting page with possibly clearifying informations, not only in this case. But it also shows 1429 ... perhaps the negotiations already started around that time. The real marriage should have started soon after December 1430, otherwise Ercole wouldn't have been born in Oct. 1431.

And if it is much more reasonable to find Greco-Roman classical allegory for the choice of Ercole's naming in 1431, that's quite excellent. Thomas Tuohy in Herculean Ferarra in his next paragraphs of describing the background of Niccolo III's court speaks of the wonderful tutors that came for teaching Meliaduse, Borso and Leonello.

Has he names for them, beside Guarino?

Certainly the name Ercole may have been chosen for not only it's classical associations, but perhaps it also was in harmony with the mood of romantic chivalry that went in the naming of the older sons?
It's somehow possible, that in late 14th century the enthusiasm about Greek gods might have been greater in France than in Italy.

So we can't say, if the choice of Ercole as name was Italian influence (for instance induced by Filippo Maria Visconti's interest in 16 Greek gods in a card game) or French, for instance from the mother.

I found this page and it mentions the names of the 18 figures ...

"Ettore di Troia, nelle cui sembianze, come testimoniato fin dai documenti coevi, è raffigurato lo stesso committente dell’opera, Valerano, Alessandro il Grande, Giulio Cesare, Giosuè, Re Davide, Giuda Maccabeo, Re Artù, Carlo Magno, Goffredo di Buglione, e quindi le dame, Delfile, Sinope, Ippolita, Semiramide, Melanippe, Lampeto, Tamiri, Teuca, Pentesilea"

http://www.storiaolivetti.telecomitalia.it/cgi-bin/Societa/agenda2003.asp

... and, well, your idea to look to Saluzzo once more was REALLY good, cause I recapitulated our earlier researches, which lead to some results:

First, the recently "finished poem" is of course not finished, but two years ago just was made to get an idea, what was roughly inside the text. It has - at least at one major point, a great fault: Boiardo, who wrote in the opening ...

"The number in the verses runs:
One, two, three, ending at the highest;
Now it remains for you to find the art of the game."

.. which should be read, that there are some literary, poetical tricks in the Italian composition of Boiardo. One is, that the terzets of the number cards always start (after the theme) with the beginning letter of the relevant Italian number ... so for instance the Aces in the eck start with an "u" for Italian "uno" = one

1. TIMOR un'alma tien tanto dubiosa ...
2. GELOSIA un vero amor non po smarrire ...
3. SPERANZA unita tien co `l corpo un'alma ...
4. AMORE, un che cum te cerchi bon stato ...

... I hope you see "un'alma", "un vero", "unita" and "un che"

naturally a little difficult to translate. And this is done for all number cards.

A second trick (now for the trumps) is that in each trump description the TITLE (and hidden meaning of the terzet) is in the first word ... and these words are important to understand the poem, as it is the key system. See

http://www.geocities.com/autorbis/boiardo.html

.. so for instance in
"Pericul de gran focho una favilla
Porta: ecco Cesar morto nel senato
Da doi; e fuggi già il furor de Scilla. "
... is "Pericul" (Danger) the keyword

and in
Experientia in Rhea fu, che occultato
Giove nel monte de Ida, ordino i suoni
Che al pianger suo non fusse ritrovato
... is "Experientia" (experience) the keyword

and pericul is related to experientia, as these keywords of the trumps are formed in related pairs, "Danger" resulting from "being not experienced". So each "negative" word is balanced by a "positive" word the trump titles.
In the translated poem this somehow essential quality was disregarded just in the provisional interest to be not blocked just by not knowing Italian words. So the translation often starts with other words confusing the poet's intentions.


Another rule is, that the main person in the trumps terzets with "negative" starting words are men and the main persons in the trumps terzets with "positive" starting words are women (with one exception).

This specific construction tells us .. if it wouldn't have been told already at another part of the text with "Four passions of the soul, milady,
Are forty cards in this game.. " (naturally Boiardo said Signora, not milady), that this poem was made for a woman. The women in the poem are always wise and the men always a little stupid or otherwise in error.

Here are the persons, the first and the last tercet one should as "special, the other 20 build logical pairs:

Start (contains 0 Fool + 21 World)

1/2 Sardanapalus - Hyppolita
3/4 Actheon - Laura
5/6 Antiochus - NOBODY, missing female part
7/8 Herodes - Psyche
9/10 Jacob - Penelope
11/12 Egeus - Sophonisba
13/14 Hercules - Hipermestra
15/16 Pompeyus - Emilia
17/18 Caesar - Rhea
19/20 Nestor - Elice/Dido, two females

End (contains 11 Strength - ? Fame ? Death ? Lucretia)


NOW, Mari, we can see something: Hippolita and Caesar appear in the 18 figures of Saluzzo, the Manta castle.
However, Boiardo uses another scheme, he has 10 pairs and all the other figures are different, but he constructs a fault, one female position isn't filled and in one 2 females appears. So he has 10 women and 10 men, but somehow also "9 women". Naturally we don't know, why the poet with intention confused his own system ... but perhaps he wanted to relate his "new version" with the "old version" in this game between 9 and 10. Which would mean: Boiardo knew the Saluzzo version and refered to it ... a natural intention, when we consider, that Boiardo's master Ercole knew the Saluzzo-order also and was enjoyed about this relation.

Another point: We have an Ercole as Hercules in the poem and this Hercules is shown in his scene of his death (as more or less all other male heroes), where his wife Dianira is cheated by Nessus, the dying Centaur. So Hercules didn't fail, but his wife was "in error".

Well, perhaps this tells us, that the poem was for Eleanor.