Muses of Fulgentius. Research of the Mantegna Tarocchi

<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 Row of the Muses<br><font size="4"> - identical to the row of the Mantegna Tarocchi and the row of Fulgentius</font></h1> <table width="100%" border="0" cellspacing="2" cellpadding="0"> <tr> <td valign="top"> <p>Lazzarelli used in his <b>De Gentilium Deorum Imaginibus (ca. 1471) </b>27 figures, first the Spheres group (Mantegna Tarocchi Nos 50 - 41), which is followed by Musica (Mantegna Tarocchi No 26) and then the first book ends. The second book starts with Poetry (Mantegna Tarocchi No 27), and then the Muses+Apollo-series starts (Mantegna Tarocchi Nos 20 - 11). The both series ("Lazzarelli 1-11 = Spheres plus Musica" AND  Lazzarelli 12-22 "Poetry plus Apollo + 9 Muses") seem to mirror each other. Then 5 gods are added : Athena (which is later used as Philosophia, Mantegna Tarocchi No. 28), Juno, Pluto, Neptun and Victoria (4 figures, which are unknown to the Mantegna Tarocchi). As a mathematical composition Lazzarelli seem to see a group of 11 (or 10+1) elements paired with a second group with also 11 (or 10 + 1) elements, and an additional group with 5. The idea to combine Musica with the group of the 10 spheres seem to have been inspired by Pythagorean ideas, in which spheres also are connected to music. Poetry - in Lazzarelli's interpretation - seem to reign the world of Apollo and the 9 Muses. As Lazzarelli must be considered surely as a poet and, perhaps, also as a singer, his representation shows till this point inner logic.</p> <table width="90%" border="1" cellspacing="2" cellpadding="0" bgcolor="white"> <tr> <td bgcolor="#dddddd"><b> MUSIC </b></td> <td>No 50</td> <td>No 49</td> <td>No 48</td> <td>No 47</td> <td>No 46</td> <td>No 45</td> <td>No 44</td> <td>No 43</td> <td>No 42</td> <td>No 41</td> <td bgcolor="#dddddd" rowspan="2"> <center><b>5 added<br>figures</center> </tr> <tr> <td bgcolor="#dddddd"><b> POETRY</b></td> <td>No 20</td> <td>No 19</td> <td>No 18</td> <td>No 17</td> <td>No 16</td> <td>No 15</td> <td>No 14</td> <td>No 13</td> <td>No 12</td> <td>No 11</td> </tr> </table> <br><br>Lazzarelli uses the same row of Muses as the Mantegna Tarocchi, although his short chapters to each figure follow, slightly variated, only the descending order 20-11. During our studies we became aware of 2 other different contemporary orders of Muses, one of Franchino Gaffurio (1494) and another of Marsilio Ficino (1469 or little later) and we started to explore, if we could find the origin of these orders. John Meador was successful and could identify 2 of them: the Lazzarelli/Mantegna order as from Fulgentius (see below) and the Gaffurio order as from Martianus Capella <a href="http://trionfi.com/0/m/12/" target="_top">(see at this page)</a>. It was not possible to find an earlier source for the Muses order of Marsilio Ficino, who combined a series of forms of Bacchus to his order, but Taylor, one of our sources, assumed, that Marsilio took his order from Proklus <a href="http://trionfi.com/0/m/13/" target="_top">(see this page for details)</a>. In three rows in comparition:<br><br> <center> <table width="400" border="1" cellspacing="2" cellpadding="0"> <tr> <td><b>Spheres</b></td> <td><b>Mantegna <br> Tarocchi </b></td> <td><b>Ficino <br> to spheres </b></td> <td><b>Gaffurio<br> to spheres </b></td> </tr> <tr> <td>Primo Mobile</td> <td>11 Caliope</td> <td> </td> <td> </td> <tr> <td>Soul of the world</td> <td> </td> <td>Caliope</td> <td> </td> </tr> <tr> <td>Eight Sphere</td> <td>12 Urania</td> <td>Urania</td> <td>Urania</td> </tr> <tr> <td>Saturn</td> <td>13 Terpsicore</td> <td>Polymnia</td> <td>Polyhymnia</td> </tr> <tr> <td>Jupiter</td> <td>14 Erato</td> <td>Terpsicore</td> <td>Euterpe</td> </tr> <tr> <td>Mars</td> <td>15 Polimnia</td> <td>Clio</td> <td>Eratho</td> </tr> <tr> <td>Sun</td> <td>16 Talia</td> <td>Melpomene</td> <td>Melpomene</td> </tr> <tr> <td>Venus</td> <td>17 Melpomene</td> <td>Erato</td> <td>Terpsicore</td> </tr> <tr> <td>Mercury</td> <td>18 Euterpe</td> <td>Euterpe</td> <td>Caliope</td> </tr> <tr> <td>Moon</td> <td>19 Clio</td> <td>Thalia</td> <td>Clio</td> </tr> <tr> <td>Earth</td> <td> </td> <td> </td> <td>Thalia</td> </tr> </table> </center> <p></p> <h3>Row of the Muses after Fulgentius</h3> <p><b>Mariken Teeuwen </b>in<b> Harmony and Music of the Spheres: The Ars Musica in Ninth-Century Commentaries On Martianus Capella, 2002 </b>finds to the following:</p> <table width="90%" border="1" cellspacing="2" cellpadding="12" align="center" bgcolor="white"> <tr> <td>"A similar allegory of Apollo and the nine Muses as representatives of the human voice is found in <b>Fulgentius, Mythologiae I15</b>. Fulgentius, however, describes 10 elements of the human voice: 9 for the Muses, and the 10th for Apollo himself. His order of the Muses is also different. In his myth Clio <font color="red">[8 in the Capella order / 19 in the Mantegna-Tarocchi] </font>comes first, as the will to be taught. Euterpe <font color="red">[3 / 18] </font>is the second Muse, as the delight in that which is wanted. Third comes Melpomene <font color="red">[5 / 17]</font>, the pursuit of that in which delight is found. Talia <font color="red">[9 / 16] </font>is next, as the ability to grasp what was pursued. Polynmia <font color="red">[2 / 15] </font>is put in fifth place, and she symbolizes the ability to remember what was grasped. Erato <font color="red">[4 / 14] </font>is the act of finding similarities to that which is remembered. Terpsichore <font color="red">[6 / 13] </font>is the ability to judge that which was found, Urania <font color="red">[1 / 12] </font>to select that which was judged and, finally, Calliope <font color="red">[7 / 11] </font>is the eloquent presentation of that which was selected."</td> </tr> </table> <p>It's easy to verify, this this order is different from the Cappella-Ramis-Gaffurio version, and also it's possible to identify this row from Fulgentius with the identical rows of Lazzarelli and of the Mantegna-Tarocchi. "The Mitologiae in particular served as a basic compendium of mythology, influential both in its own right and through its absorption into the work of the so-called Third Vatican Mythographer, now generally identified as a certain Master Alberic of London.", so informs <a href="http://www.people.virginia.edu/%7ebgh2n/fulgentius.html" target="_blank">this internet page to Fulgentius</a>.<br> </p> <p>Fulgentius row is very similar to the row of Muses in the English translation of Hesiod's <i><b>Theogony, </b></i>surely the oldest known text to the Muses: 5 positions are identical, No 16 with No 17 and No 13 with No 15 are exchanged, perhaps the difference goes back to a simple writing (or translation) error.</p> <table width="90%" border="1" cellspacing="2" cellpadding="15" align="center" bgcolor="white"> <tr> <td>"From the Heliconian Muses let us begin to sing, who hold the great and holy mount of Helicon, and dance on soft feet about the deep-blue spring ... These things, then, the Muses sang who dwell on Olympus, nine daughters begotten by great Zeus, <font color="red">Cleio (19)</font> and <font color="red">Euterpe (18)</font>, <font color="red">Thaleia (16)</font>, <font color="red">Melpomene (17)</font> and <font color="red">Terpsichore (13)</font>, and <font color="red">Erato (14)</font> and <font color="red">Polyhymnia (15)</font> and <font color="red">Urania (12)</font> and <font color="red">Calliope (11)</font>, who is the chiefest of them all, for she attends on worshipful princes: whomsoever of heaven-nourished princes the daughters of great Zeus honour, and behold him at his birth, they pour sweet dew upon his tongue, and from his lips flow gracious words." <a href="http://www.greekmythology.com/Books/Hesiod-Theogony/Theog__1-115_/theog__1-115_.html" target="_blank">(source)</a></td> </tr> </table> <p> </p> <p><b>(autorbis in cooperation with John Meador)</b></p> </td> <td valign="top" width="270"><center> <img src="http://trionfi.com/0/m/p/muses1.jpg" alt="" height="350" width="250" border="0"><br> <table width="250" border="0" cellspacing="2" cellpadding="0"> <tr> <td> <center> <b>One of 9 Muses, which are said to have been combined with Apollo and Athena and shown in a small side-room in the palace of Urbino (late 15th century by Giovanni Santi and Timotheo Viti). </b><b>Perhaps a reflection of the Lazzarelli manuscript, which also was found in Urbino? In the manuscript Apollo, the 9 Muses, and Athena were presented as the figures 13-23.</b> <p><b>Timothy Viti was the brother of </b><b>Pier Antonio Viti, who was in the 90ies involved in the production of the Boiardo deck, Giovanni Santi was the father of Raffaello, who also painted Muses in a fresco (1509). </b></p> </center> </td> </tr> </table> </center> </td> </tr> </table><br> </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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