Emile Galichon, 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>Emile Galichon, 1861<br> <FONT SIZE="3"> - didn't accept it as a card deck</FONT></H1> <TABLE WIDTH="100%"><TR><TD> In 1861, Emile Galichon, noted collector of prints and director of the Gazette des Beaux-Arts, wrote an article entitled "Remarks on the collection of prints from the 15th century mistakenly called 'Tarocchi deck'" (Observations sur le recueil d'estampes du XVe siècle improprement appele _Giuoco di tarocchi_). In this article, Galichon became the first to note that the prints are on paper too thin for playing cards; and although, as noted before, Merlin had already remarked in 1859 that no known exemplar of the prints were in card form, and had suggested that they were an "album", Galichon does not appear to know Merlin's article, and independently also remarks that of the two exemplars with margins that he has seen (one of which he owned), both are "grouped in notebooks". <br> <br> However, while denying that the prints were intended as a game, Galichon does not venture the same opinion as Merlin, or, later, Hind; instead he offers that the series was intended as a moral tale based on the "encyclopedic system of Dante":<br> <br> "But if we do not at all believe that the collection in question is really a tarot deck, it loses nothing of its historical value; very much the contrary, for we see in it the _expression of the encyclopedic system of Dante, an astrological speculation tending to assimilate the phases of celestial revolutions to those of terrestrial life, a book of emblems in which the point of the engraver replaces the pen of the philosopher in order to recount in five songs the rewards that await the man who is laborious, intelligent, and just.<br><br> At first miserable, deprived of clothing which protect him from the cold, pursued by dogs which tear his flesh, man is represented becoming, by his work, an artisan, then a merchant, gentleman, knight, doge, king, emperor, and pope. However, little satisfied with the dignities which have come to him, he dreams of another happiness: he realizes that he was in no way born for an uncultivated life, nor for the pleasures which honors bring, but in order to know and to love. Still attached to the things of this world, he asks the pagan Muses, led by Apollo, to charm his senses and his spirit. Quickly he becomes tired of the joys that these goddesses can bring him, and he turns to the Christian and the more serious arts, hoping to find therein sovereign happiness and intelligence. He studies by turn Grammar, Logic, Rhetoric, Geometry, Arithmetic, Music, Poetry, Philosophy, Astrology and Theology. Now initiated into pagan and Christian doctrines, man can from there begin those sciences which lie above all others, and to write human history, whether in an 'iliac' style, or an anecdotic style; and even, if he dares, the history of the universe. But if humanity is devoured by the need to know, it bears also the need to love, and this seed of love which, under the influence of an intellectual culture, turns itself towards the truth, also directs itself towards that which is good, under the influence of a moral culture. Man thus searches these cardinal virtues, Prudence, Temperance, Fortitude and Justice, which always existed and which precede the revealed virtues, Faith, Hope and Charity, pure rays emanating from God. At last, coming to the fifth and last song, the artist wanted to translate with the burin the nine heavens placed above by Dante, which surround the Earth and in which the souls of the just will find their reward in proportion to the inequality of their merits. The final sheet leaves no doubt in this regard; it shows us the universe in its entirety; the incandescent Earth occupies the center, and hides in its entrails those depths in which the wicked will find their punishment. Around extends the terrestrial sky which neighbors Purgatory where a mild flame purifies the souls and renders them capable to penetrate to the celestial spheres of the seven planets of the Moon, Mercury, Venus, the Sun, Mars, Jupiter and Saturn. Above these planetary zones shines the region of the fixed stars, limited by that of the 'first moving', which takes in its movement all the other spheres. Beyond these heavens extends the Empyrean, habitation of the divine Trinity, which encompasses them all and penetrates the immensity of the worlds with its light. This song has given its form to those preceding. Dante did not deny all belief in astrological speculation; he thought that there were numerous correspondances between the phases of celestial revolution and those of terrestrial life. Just as, in the system of the Divine Comedy, nine heavens surround the Earth, pouring light on existing things and exercising diverse influence on beings, their character and their passions..., thus, following the Poet, nine sciences circumscribe the human spirit and illuminate it. To the seven planets then correspond, according to this genius, the seven liberal arts; to the eighth sphere of the fixed stars belongs Philosophy which extends its clarity over everything; to the first mover corresponds Astrology, which reveals us confused between physics and metaphysics, the cause of all movement; and finally, since beyond the spheres is found the Empyrean, so above all the sciences is Theology. This correspondence between the revolution of the Heaven and that of the Earth or of intelligence is found, we believe equally then, with those of the moral world. <br> The so-called 'Giuoco' (game or deck), a compilation at once philosophical, astrological, and moral, appears to have had, from its first appearance, a great success; engravers hurried to copy it, and card-makers, by some borrowings which they used for their figures, became the cause of the error commited by the iconophiles who have since wanted to see in it a game of tarot."<br><br> [<I>Observations sur le recueil d'estampes du XVe siècle improprement appele 'Giuoco di tarocchi'</i>, _Gazette des beaux-arts_, t. IX (1861) pp. 143-147]<br><br> <B>(Composed and collected by Ross Gregory Caldwell)</B> </TD><TD VALIGN="top" width="250"><CENTER> <IMG SRC="http://trionfi.com/mantegna/32.jpg" ALT=""> </CENTER></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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