Mantegna Tarocchi: Larrarelli's bibliography

<table width="100%" border="1" cellspacing="2" cellpadding="0" > <tr> <td valign="middle" width="60"><center><a href="http://autorbis.net" target="_blank"><img src="http://trionfi.com/00/kldreieck2.jpg" width="36" height="31" border="0" alt="autorbis.net"></a></center></td> <td valign="middle" width="120"><a href="http://trionfi.com" target="_blank"><font size="5" face="Garamond, Verdana"><b><center><i> Trionfi </i></center></b></font></a></td> <td valign="middle"> </td> </tr> </table> <table width="100%" border="0" cellspacing="2" cellpadding="0"> <tr><td><a name="a"><b><font size="3" color="#0033ff" face="Verdana, Arial Narrow">    A</font></b></a><a href="http://autorbis.net" target="_blank"><font size="1" face="Verdana, Arial Narrow">UTORBIS.net </font></a> - <a href="http://trionfi.com" target="_blank"><font size="1" face="Verdana, Arial Narrow">TRIONFI.com </font></a> </td> <td align="right"><font size="1" face="Verdana, Arial Narrow">created 2003 - 2006       </td> </tr></table><hr size="1" width="90%"> <table width="100%"><tr><td rowspan="2" width="30%" align="left" valign="top" bgcolor="#dddddd"> <b><font size="+1">Mantegna Tarocchi - Research Collection</font><br><br> Mantegna Tarocchi Pictures<ul> <li><a href="http://trionfi.com/mantegna/" target="_top">Mantegna Tarocchi Pictures / <br> E-series, S-Series, Ladenspelder, Dürer, Lazzarelli, Modern</a> </ul><br> <b> Material about earlier researches<br> <ul> <li><a href="http://trionfi.com/0/m/14/">Early: Lanzi, Zani, Duchesne</a> <li><a href="http://trionfi.com/0/m/15/">Brockhaus (in development)<br> - "made by the pope"</a> <li><a href="http://trionfi.com/0/m/31/">Romain Merlin, 1859<br> - "E-series was an album"</a> <li><a href="http://trionfi.com/0/m/32/">Emile Galichon 1861 <br>- "they are not playing cards"</a> <li><a href="http://trionfi.com/0/m/16/">Burlington Magazine, 1933<br>- to Angelo Parrasio</a> <li><a href="http://trionfi.com/0/m/17/">Hind's error<br> - our Lazzarelli Hypothesis</a> <li><a href="http://trionfi.com/0/m/18/">Hind's final suggestion<br>- Mantegna Tarocchi engravers</a> <li><a href="http://trionfi.com/0/m/19/">Hind's list</a><br><br> </ul> Lazzarelli Hypothesis <ul> <li><a href="http://trionfi.com/0/m/01/">Lazzarelli's Life</a> <li><a href="http://trionfi.com/0/m/02/">Lazzarelli's scriptures</a> <li><a href="http://trionfi.com/0/m/03/">Lazzarelli 1466</a> <li><a href="http://trionfi.com/0/m/04/" target="_top">Pirckheimer - to 1466</a> <li><a href="http://trionfi.com/0/m/05/t1.php" target="_blank">Pope Sixtus IV. / pictures</a> <li><a href="http://trionfi.com/0/m/06/" target="_top">Parallels to Urbino-manuscript</a> <li><a href="http://trionfi.com/0/m/07/">Fasti - the calendar</a> <li><a href="http://trionfi.com/0/m/08/">Material to Eastern 1484 or 1485</a> <li><a href="http://trionfi.com/0/m/09/">Trithemius about Faust and Mercurio</a> <li><a href="http://trionfi.com/0/m/10/">Nuremberg 1493</a> <li><a href="http://trionfi.com/0/m/20/">Lazzarelli / sources</a><br><br> </Ul> <center><hr width="80%"></center><br><br> Beggar development (Misero) <ul> <li><a href="http://trionfi.com/0/m/">Lucian, Momus, Alberti, Diogenes</a><br><br> <ul> Artes Liberales <UL> <li><a href="http://trionfi.com/0/m/72/">Artes Liberales 1425 - 1450</a> <li><a href="http://trionfi.com/0/m/76/">Gregor Reisch, 1508 - 1517</a> <br><br></UL Muses Development<ul> <li><a href="http://trionfi.com/0/d/55/">Music in Ferrara</a> <li><a href="http://trionfi.com/0/d/551/">Added: Music in Ferrara</a> <li><a href="http://trionfi.com/0/d/56/">Artists active in the Studiolo</a> <li><a href="http://trionfi.com/0/m/11/">Muses Row / Lazzarelli 1471 </a> <li><a href="http://trionfi.com/0/m/12/">Muses Row / Gaffurio 1494</a> <li><a href="http://trionfi.com/0/m/13/">Muses Row / Ficino 1469</a><br><br> </ul> Malatesta's Contribution<ul> <li><a href="http://trionfi.com/0/m/61/">Malatesta - Start</a> <li><a href="http://trionfi.com/0/m/62/">Malatesta family (1)</a> <li><a href="http://trionfi.com/0/m/63/">Malatesta family (2)</a> <li><a href="http://trionfi.com/0/m/64/">Malatesta family (3)</a> <li><a href="http://trionfi.com/0/m/68/">Duccio at the<br>Tempio Malatestiana</a> <li><a href="http://trionfi.com/0/m/69/t1.php" target="_top">Malatesta Links</a> </ul> </b> </ul></td><td height="50" align="left" valign="top" bgcolor="#dddddd"> Mantegna Tarocchi </td></tr><tr><td align="left" valign="top" bgcolor="#eeeeee"> <h1>Lazzarelli's scriptures - Overview</h1> <table width="100%" border="0" cellspacing="2" cellpadding="5"><tr> <td align="left" valign="top"><ul><li><b>1466: <i>De apparatu patavini hastiludii.</i></b> <br><br>A report to a fighting tournament sponsored by Foscarini in 1466 in Padova - the dating is in doubt, as a German research suggests, that the tournament already took place around 1450 (which probably would mean, that Lazzarelli wrote the poem in 1466 about a tournament at "around 1450" in Padova). The context is presented in 2 articles of us:<br> <font size="+1"><a href="http://trionfi.com/0/g/85/" target="_blank">Ludovico Lazzarelli mentioned in the year 1466</a><br><a href="http://trionfi.com/0/gg/" target="_blank">A Note to Lazzarelli in Article to Willibald Pirckheimer </a></font>(under development)<br><br> <li><b>1471 (and 1474 or later): <i>De gentilium deorum imaginibus.</i></b> <br><br>The text (only extant in two manuscripts), contains 27 illuminations, from which 23 are very similar to motifs of the socalled Mantegna Tarocchi. The text was translated and published in 1997 by <a href="http://www.mellenpress.com/mellenpress.cfm?aid=2277&pc=10" target="_blank">William O Neal.</a><br> <font size="+1">Article in Preparation<br> <a href="http://trionfi.com/0/j/d/Mantegna/" target="_blank">Some pictures in Mantegna Tarocchi Presentation</a></font><br><br> <li><b>1476: </b> In Camerino a poem to the first-born son of Giulio Cesare Varano and Giovanna Malatesta (Legato invece, con chiaro intento devozionale, è il simulacro argenteo del Santo patrono di Camerino offerto come ex-voto da Giovanna Malatesta e Giulio Cesare Varano per la nascita del primogenito Venanzio, avvenuta presso il castello di Pioraco il 19 ottobre 1476. Il Lilii riporta nella sua storia di Camerino i versi celebrativi, composti per l’occasione dal Lazzarelli, poeta di San Severino - C. Lilii, <i>Istoria della città di Camerino</i>, pp. 225-226. (<a href="http://www.drengo.it/sm/26/tozzi.varano5.pdf" target="_blank">source</a>) <br><br> <li><b>1478: </b>A probably not very important poem about vine in Sanseverino, the note is from an internet source: Uomini più o meno illustri, residenti o di passaggio, sono stati colpiti positivamente dal vino sanseverinate: è il 1478 quando l'umanista del luogo Ludovico Lazzarelli, in un poemetto didascalico sull'allevamento del baco da seta, illustra come il vino settempedano possa risultare non inferiore ai vini più famosi, le cui caratteristiche li rendono utili anche per spruzzare le foglie di gelso che vengono date in pasto ai bachi, anche in quest'uso non consueto. (<a href="http://www.agri.marche.it/Assessorato/Iniziative/Vitigni%20Autoctoni/convegno1.htm" target="_blank">source</a>)<br><br> <li><b>(1479): </b>A note in a biography of the poet Paolo Marsi informs, that Marsi and Platina praise Ludovico as poet of the poem "De fastis Christianae religionis". In a report from the Beinecke-Yale Library to a printed edition of this text it is assumed, that this poem originated 1480 - 1485, however, elements in the text point to the year 1477, and Platina, one of 11 poets, who praise Lazzarelli for this work, already died 1482. <b> The note in the life of </b> Paolo Marso: "<i>Dopo il ’79, il Marso dovette dedicarsi al commento della « Pharsalia » e della « Rethorica ad Erennium », di cui fa cenno nella stessa lettera di dedica al Cornaro, senza trascurare l’attività poetica: collaborà, infatti, col Platina in una raccolta di versi scritti per esaltare il poema « De fastis Christianae religionis » del sodale Lodovico Lazzarelli, e con altri poeti del sodalizio pomponiano nella compilazione di un’antologia, andata poi perduta, in onore di un adolescente senese spentosi all’età di 16 anni. In questo periodo Paolo Marso dovette occupare un posto di grande rilievo nella ricostituita Accademia romana</i>. (<a href="http://www.sezioned.terremarsicane.it/arte2/paolomarso.htm" target="_blank">source</a>)<br><br> <li><b>1480 - 1485: <i>De fastis Christianae religionis.</i></b> <br><br> <a href="http://trionfi.com/0/gg/" target="_blank"><font size="+1">Our commentary to a report by Beinecke-Yale Library, which owns a later printed edition</font></a> <p></p> <li><b>1484 or 1485: Epistola Enoch. </b>A short text, by which we know of an action at Eastern 1484 or 1485, which is described in the internet source <b><i><a href="http://www.esoteric.msu.edu/VolumeII/Sympdevil.html" target="_blank">Sympathy to the devil</a></i></b> by <b>Wouter J. Hanegraaff:</b></p> <table width="95%" border="5" cellspacing="5" cellpadding="5" align="center" bgcolor="white"> <tr> <td> <p><br> Little is known about the author. Lazzarelli (1450-1500) was one of the many minor Italian humanists of the period, part of whose works are still accessible only in manuscript. He seems to have studied mathematics and astrology, and Greek as well as Hebrew. We are told that Lazzarelli exorcized impure spirits by the sign of the cross, predicted the future, and at one time fell under the suspicion of magical practice. Especially interesting is his connection with the strange figure of Giovanni "Mercurio" da Correggio (?1451-?), a wandering prophet who made a spectacular appearance in Rome on palm sunday 1485. The episode has been described in detail in an anonymous Epistola Enoch, attributed to Lazzarelli. Correggio rode to the Vatican on a black horse, then left the city, to return riding a donkey, clothed in a blood-stained linen robe, and carrying a crown of thorns on his head. Correggio presented himself to the people as Jesus of Nazareth's chosen servant and son, and referred to himself as Pimander. This, as well as his added name Mercurio, demonstrate his self-identification as the hermetic Christ. Lazzarelli appears to have seen in Giovanni da Correggio his spiritual master, who had effected his "spiritual regeneration" . It is in this context that the Crater Hermetis must be understood.<br> <br></p></td></tr></table> <p>Lazzarelli's story of Mercurio happens - according to some insecurity of the dating of the text of Lazzarelli - either Eastern 1484 or Eastern 1485. In the way, as Lazzarelli presents it, the event must have caused a deep cut in his life. The whole action is in doubt, the discussion to it is reported in the article </p> <p><a href="http://trionfi.com/0/g/82/t.html#a"><font size="+1">Material to Eastern 1484/1485</font></a></p> <p></p> <p><li><b>1487 - 1490: </b><i>Definitiones Aesclapii.</i> A translation by Lazzarelli of the chapters XVI-XVIII of the Corpus Hermeticum, which were not included in the earlier translation of Marsilio Ficino. See<b> </b><a href="http://www.ritmanlibrary.nl/c/p/pub/on_pub/pat/pat_man_C.html" target="_blank">Extract from JR Ritman Library</a></p> <table width="95%" border="5" cellspacing="5" cellpadding="5" align="center" bgcolor="white"> <tr> <td> <p><br> <p><b>9 Hermes Trismegistus. De potestate et sapientia Dei</b><br> Ms on vellum, late fifteenth century<br> (Viterbo, Biblioteca Communale II D I 4)<br> <br> Copy of Ficino's translation of the Corpus Hermeticum I-XIV, to which is added the Latin Asclepius, together with the first Latin translation of CH XVI-XVIII, the Definitiones Asclepii, which were lacking in the Greek manuscript which Ficino used [no 3]. The translation of the Definitiones was made by Ludovico Lazarelli (1450-1500) after an unknown Greek manuscript. Lazarelli dedicated the work to his teacher Giovanni Mercurio da Corregio, a prophet whom he met in Rome in 1484 and decided to follow. Da Corregio preached like a sort of Hermetic Christ, decked out with a crown of thorns supplied with the text: 'This is my son Pimander whom I have elected'.<br> <br> The Greek text of the Definitiones Asclepii saw the light in 1554 as book XVI of the Corpus Hermeticum edition of Turnebus [no 43].<br> <br> Ref. Kristeller 1969, 221-47.<br> <br></p> </td></tr></table> <p> <p><li><b>1492: </b><i><b>Crater Hermetis</b></i>. The work, which made Lazzarelli famous as a hermetist. The text address Ferrante, King of Naples and Pontano, the leading humanistic scholar in Naples. <a href="http://www.ritmanlibrary.nl/c/p/pub/on_pub/pat/pat_pri_B1.html">Extract from JR Ritman Library:</a></p> <table width="95%" border="5" cellspacing="5" cellpadding="5" align="center" bgcolor="white"> <tr><td><p><br> <p><b>24 Hermes Trismegistus. Pimander. Asclepius.</b><br> Ludovico Lazarelli. Crater Hermetis.<br> Paris, Henri I Estienne 1505<br> <br> First edition of Ficino's translation of the Corpus Hermeticum in which the Asclepius is presented as a complement. The commentaries by Lefèvre d'Etaples have been added to the separate discourses in this edition. The Asclepius is divided into fifteen paragraphs, and likewise provided with explanatory notes.<br> <br> Lefèvre categorically rejects the famous magical passage from the Asclepius; it is an 'error' of Hermes. In the margin of Chapter XIII he writes in capital letters: 'lapsus Hermetis'. In the explanation he refers to Augustine's De civitate Dei VIII [see no 1].<br> <br> Added to this edition is a hymn by Ludovico Lazarelli (1450-1500), the translator of the Definitiones Asclepii (CH XVI-XVIII) [see no 9], which is entitled Crater Hermetis, a text modelled after CH IV, in which the magical passage from Asclepius is interpreted in a Christian sense. Lazarelli explains the animation of statues as an act of creation through the Word - with reference to the Kabbala - and he compares the animation of statues by demons with Christ's inspiration of the apostles: a rebirth which the master brings about in the disciple, who as a result comes to self-knowledge and the knowledge of God.<br> <br> Ref. Pantin; Rice, 133-37; Walker 1958, 64-72 </p> </td></tr></table> <p></p> <p><li><b>1497: </b><a href="http://www.med.yale.edu/library/historical/lazarelli/thumbnails.htm" target="_blank">De Bombyce - original text</a> <p></p> <center><hr width="90%"></center> <br> <p><b><font size="+1">NOTES</font></b></p> <p><b>Wouter J. Hanegraaff & Ruud M. Bouthoorn have announced a new book to the theme of Lazzarelli's later writings:</b></p> <p><a href="http://www.asu.edu/clas/acmrs/publications/mrts/news.html" target="_blank">Volume in progress</a> - exspected in the next months</p> <table width="95%" border="5" cellspacing="5" cellpadding="5" align="center" bgcolor="white"><tr><td> <p><i><b>Lodovico Lazzarelli (1447 - 1500): The Hermetic Writings and Related Documents</b></i>. By Wouter J. Hanegraaff and Ruud M. Bouthoorn This is the first complete edition and translation in any modern language of the Hermetic writings of Lodovico Lazzarelli, an Italian poet and mystical philosopher of the late 15th century. While recognized as a seminal figure by Italian scholars such as Kristeller and Garin, Lazzarellis life and work have nevertheless been neglected by historians. This books extensive Introduction challenges existing interpretations and presents a fresh new perspective on Lazzarellis work and significance. It also argues that the evidence about him and his spiritual master, the prophet Giovanni Mercurio da Correggio, forces us to rethink Frances Yates concept of Renaissance Hermeticism. (ISBN: 0-86698-324-4 / MR 281)</p> </td></tr></table> <br><p><b>In a private contact to Mr. Hanegraaff I got the information about the content of the new book:</b></p> <ul> <li>Acknowledgements / Abbreviations <li>I. Lodovico Lazzarelli and the Hermetic Christ: At the Sources of Renaissance Hermetism<br> by Wouter J. Hanegraaff <li>II. Lodovico Lazzarelli: The Hermetic Writings<br> - Epistola Enoch <br> - Three Prefaces addressed to Giovanni da Correggio<br> - Crater Hermetis<br> - Alchemical Writings<br> <li>III. Related Documents<br> - Filippo Lazzarelli, The Life of Lodovico Lazzarelli<br> - Giovanni da Correggio, Sonetto<br> - Giovanni da Correggio, Oratio<br> - Johannes Trithemius about Giovanni da Correggio<br> <li>Bibliography<br></ul> <br> <p><b>Links to Hermetic Literature<br> </b></p> <p><a href="http://www.skygodproject.net/history/Bibliotheca_Philosophica_Hermetica.htm" target="_blank">General Overview</a></p> </td> <td align="rigth" valign="top"><center> <img src="http://trionfi.com/0/g/p/laz-manuscript.jpg" alt="" height="445" width="266" border="0"></div> </td></tr></table> </td></tr></table> <hr><br><br> <center><b><font size="1">Trionfi.com </b>has its focus on Tarot History and especially the origin of Tarot in 15th century, also the representation of about 100 000 Tarot and other playing cards in the Tarot Museum. <br><b>The chapter "Mantegna Tarocchi"</b> presents specific material to the socalled "Mantegna Tarocchi" - it's likely not produced by Andrea Mantegna, the famous painter. We present a specific hypothesis, by us called "Lazzarelli hypothesis", which contradicts common opinions about the objects, 50 copperplate engravings, which are sorted in a 5x10-scheme and of which not a single playing card deck of the early time has survived, but a lot of "normal" copperplate engravings (general opinion assumes, that they were never polaying cards in the early time). Common opinion usually says, based on the representation and arguments of Arthur M. Hind in the year 1938, that this composition was manufactured around 1465 ... we contradict and assume, that it was produced, after Ludovico Lazzarelli found some pictures in a Venetian bookstore and composed out of them 27 illuminations accompanying a manuscript. Then the final redaction would have been surely after 1470 ... for special reasons we suggest a date around 1475.<br> The Mantegna Tarocchi is extant in two different versions, one is called E-series and normally assumed to be the older, the other is called S-series. <br> Author: when not otherwise specified, autorbis. Copyright: trionfi.com. 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