Marsilio Ficino
Marsilio Ficino found a great sponsor in the late Cosimo de Medici, who short before his death (1st of August 1463) allowed him to use the villa in Careggi, a few kilometers outside of Florence, where Ficino installed the socalled Platonic academy. The theme between Marsilio and Cosimo, who, sick, prepared for death, were the Orphic hymns - the work was disrupted, when the Corpus Hermeticum arrived and Ficino focussed his energies on the translation of these texts. After Cosimo's death it becomes a little silent around Marsilio Ficino, and one might suspect, that Cosimo's son Pietro de Medici, the ruler of Florence between 1463-1469 showed interest only in a lower degree. When Pietro died in December 1469 Ficino got a new chance as scholarly teacher of the young new regents Lorenzo and Giuliano and with an intellectual community in the academy, however, the general situation of these early years demanded - according to the rules of youth - a lot of festivities and Ficino's interests were countered mainly by the poet Luigi Pulci, who with a spirit open for the humorous and satirical aspects of life also possessed considerable influence on Lorenzo. A clash between these both forces around Lorenzo happened in 1475, when Pulci attacked Ficino and Ficino fired back and in the end finally Luigi Pulci had to leave the city, spending the rest of his life accompanying the condottieri Sanseverino.From Thomas Taylor: The HYMNS OF ORPHEUS, Translated from the original Greek With a Preliminary Dissertation on THE LIFE AND THEOLOGY OF ORPHEUS.1792.
"Ficinus, on Plato's Theology (begun 1469), has the following
remarkable passage, translated, most likely from some manuscript work
of Proclus, as I conjecture from its conclusion; for, unfortunately,
he does not acquaint us with the author. "Those who profess, says he,
the Orphic theology, consider a two-fold power in souls and in the
celestial orbs: the one consisting in knowledge, the other in
vivifying and governing the orb with which that power is connected.
Thus in the orb of the earth, they call the gnostic power Pluto, the
other Proserpine.
[ The reader may observe that this two-fold power
is divided into male and female; the reason of which distribution we
have already assigned from Proclus.]
In water, the former power
Ocean, and the latter Thetis. In air, that thundering Jove, and this
Juno. In fire, that Phanes, and this Aurora. In the soul of the lunar
sphere, they call the gnostic power Liknitan Bacchus, the other
Thalia. In the sphere of Mercury, that Bacchus Silenus, this Euterpe.
In the orb of Venus, that Lysius Bacchus, this Erato. In the sphere of
the sun, that Trietericus Bacchus, this Melpomene. In the orb of Mars,
that Bassareus Bacchus, this Clio. In the sphere of Jove, that
Sebazius, this Terpsichore. In the orb of Saturn, that Amphietus, this
Polymnia. In the eighth sphere, that Pericionius, this Urania. But in
the soul of the world, the gnostic power, Bacchus Eribromus, but the
animating power Calliope. From all which the Orphic theologers infer,
that the particular epithets of Bacchus are compared with those of the
Muses on this account, that we may understand the powers of the Muses,
as intoxicated with the nectar of divine knowledge; and may consider
the nine Muses, and nine Bacchuses, as revolving round one Apollo,
that is about the splendor of one invisible Sun." The greater part of
this fine passage is preserved by Gyraldus, in his Syntagma de Musis,
and by Natales Comes, in his Mythology, but without mentioning the
original author."
| ELEMENTS | Water | Ocean | Thetis |
| Air | Jupiter | Juno | |
| Fire | Phanes | Aurora | |
| Earth | Pluto | Proserpina | |
| SPHERES | Moon Sphere | Liknitan Bacchus | Thalia |
| Merceury Sphere | Bacchus Silenus | Euterpe | |
| Venus Sphere | Lysius Bacchus | Erato | |
| Sun Sphere | Trietericus Bacchus | Melpomene | |
| Mars Sphere | Bassareus Bacchus | Clio | |
| Jupiter Sphere | Sabazeus | Terpsicore | |
| Saturn Sphere | Amphietus | Polymnia | |
| Eight Sphere | Pericionius | Urania | |
| Soul of the World | Bacchus Eribromus | Calliope | |
Lorenzo de Medici
Lorenzo de Medici made a poem to Ariadne and Bacchus and the theme was shown during a carnival procession. The date is indestinct and the nearer conditions also (a likely date is "about 1475"). The special personal relationship between Lorenzo and Marsilius Ficino allows us to assume a relationship of the poem to the above mentioned Hymn of Orpheus.Carnival found development with Pope Paul II (1464 - 1471), who is described as "sitting at the window of the papal palace and enjoying the carnival procession" and as "having developed a new, more intensive level of carnival". In Florence two tournaments dedicated to the young rulers Lorenzo de Medici (1469) and his younger brother (1475) received great audience, also a visit of Galeazzo Maria Sforza in 1471, but also famous became the annual Florentian carnival festivities and the special addiction of Lorenzo to it, also his creative invention of carnival songs. The choice of the theme "Bacchus" gives evidence, that these early carnival festivities had a natural relationship to alcohol - as nowadays.
Triumph of Bacchus and Ariadne | |
|
How beautiful youth is Through ever fleeing! Let him be happy who wants to be: There's no certainty of tomorrow. Here are Bacchus and Ariadne, Handsome, and burning for each other: Because time flies and beguiles, They remain ever happy together. These nymphs and these others Are always merry. Let him be happy who wants to be: There's no certainty of tomorrow. These happy little satyr Enamoured of the nymphs In caves and groves Have set a hundred traps for them: Now warmed by Bacchus, They're always dancing and leaping. Let him be happy who wants to be: There's no certainty of tomorrow. These nymphs in turn are glad To be beguiled by them; No one can shield himself from Love Except crude and ungrateful people: Now mingling together They play instruments and sing always. Let him be happy who wants to be: There's no certainty of tomorrow. |
This load coming behind Upon the ass is Silenus: Old as he is, he's drunk and happy, Already full of flesh and years; If he can't hold himself straight, at least He laughs and revels always. Let him be happy who wants to be: There's no certainty of tomorrow. Let every one open his ears well: Let no one feed on tomorrow; Today, young and old, let's be Happy, everybody, women and men: May every sad thought fall away; Let's be celebrating always. Let him be happy who wants to be: There's no certainty of tomorrow. Ladies and young men in love, Long live Bacchus and long live Love! Let every one make music, dance and sing! Let hearts be fired with sweetness! No straining, no grieving! Whatever has to be, must be. Let him be happy who wants to be: There's no certainty of tomorrow. How beautiful youth is Though ever fleeing! Lorenzo di Medici, Introduction to Italian Poetry: A Dual-Language Book, (P.57-59), edited by Luciano Rebay, copyright 1969 by Dover Publications, Inc. ISBN: 0-486-99930-0 |
According to art historian Charles Dempsey, an early dating of the poem might be around 1475 as engraver Baccio Baldini also has an image dating around this time, known as the Triumph of Bacchus and Ariadne. The image features Bacchus and Ariadne in a car drawn by centaurs and accompanied by fauns and nymphs. Lorenzo's canzione might have been written as early as the mid-1470's for some earlier Triumph of Baccus and then again sung at a later date. The End of the Masquerade, Inventing the Renaissance Putto, Charles Dempsey, P. 196, 197, Chapter 5
Material to Lorenzo de Medici (still unsorted)
- Triumph of Fame - 1449 Birth of Lorenzo de Medici
- Bacchus and Ariadne - Lorenzo de Medici - I Trionfi.- (trionfo di Bacco e Arianna \ trionfo dei sette pianeti). “Trionfo” significa corteo trionfale. Lorenzo descrive un corteo carnevalesco di carri allegorici e cittadini mascherati. I personaggi, tratti dalla mitologia celebrano la bellezza della vita e la gioia dell’amore
- Florentine Festival - Trionfi - modern interpretation
- Bacchus and Ariadne - text
- Burckhardt, chapter to Trionfi - text
- Book description - from Antonio Grazzinimodern interpretation
- Jacob Burckhardt
Tutti i Trionfi, Carri, Mascherate, o Canti Carnascialeschi andati per Firenze dal tempo del Magnifico Lorenzo de' Medici fino all'Anno 1559. In questa seconda Edizione corretti, con diversi mss. collazionati, delle loro varie lezioni arricchiti, notabilm Pel Benedini]: "In Cosmopoli" [Lucca:, 1750. Two volumes. 4to, contemporary calf, spines decorated with giltstamped floral devices within double-gilt-ruled compartments between gilt-ruled raised bands, two later giltlettered spine labels per volume. lx, [1]-256; [257]-594 pp. Engraved allegorical pictorial title-pages and 43 inserted portraits engraved after contemporary prints, paintings, and medallions. Volume I rebacked, with original spine laid down; covers aged; but a handsome set indeed. Second Edition, enlarged and illustrated, of this collection of songs for carnivals, processions, masquerades, etc., that was first published in 1559. The compiler, Antonio Grazzini, better known as "Il Lasca, Academico Fiorentino," was a quarrelsome scholar who is regarded as one of the masters of Italian prose. This long-delayed second edition was edited by Rinaldo Maria Bracci, under the pseudonym of Neri del Boccia. Lorenzo di Medici was fond of the sorts of public spectacles during which these songs were performed and wrote numerous pieces himself--including the great & sprightly "Quant' è bella giovinezza" that opens this collection. And even Machiavelli composed a "Canto de' Diavoli." This form of popular verse died along with the festivities that had given birth to it. Brunet, who sneers at this edition as "médiocre et très-commune," distinguished between two issues. This copy belongs to the latter one, which has a corrected text but 'worn-out' engravings. [Brunet, V, cols. 988-989. Gamba 268. Graesse, VI: II, p. 217.]
Bacchus and Ariadne
<Spheric Model of De Sphera