Trionfi as procession in the time of renaissance: Milan

<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">Trionfi <br> - not related to playing cards</font></b><br><br><ul> <li><a href="http://trionfi.com/0/t/00/">Start</a> <li><a href="http://trionfi.com/0/t/01/">Triumpe - Greeting a God</a> <li><a href="http://trionfi.com/0/t/02/">Petrarca and the Trionfi</a> <li><a href="http://trionfi.com/0/t/03/">Material to Petrarca</a> <li><a href="http://trionfi.com/0/t/04/">Trionfi Examples in Art</a><br><br> <li><a href="http://trionfi.com/0/t/05/">Trionfi as Procession</a> <li><a href="http://trionfi.com/0/t/06/">Trionfi and Spectacle in Milan</a> <li><a href="http://trionfi.com/0/t/21/">Feast of the pheasant, Burgund 1454</a> <li><a href="http://trionfi.com/0/t/22/">Medici Marriage, Florence 1565/66, 21 chariots</a><br><br> <li><a href="http://trionfi.com/0/t/10/">Name Trionfi - wild Notebook</a> </ul> </ul></td><td height="50" align="left" valign="top" bgcolor="#dddddd"> Trionfi - when not related to Playing Cards </td></tr><tr><td align="left" valign="top" bgcolor="#eeeeee"> <h1> Trionfi and spectacles in Milan </h1> - Analyses based on <a href="http://emeroteca.braidense.it/eva/sfoglia_articolo.php?IDTestata=&CodScheda=&CodVolume=776&CodFascicolo=5870&CodArticolo=60694" target="_blank"> <i>Ghinzoni Pietro: Trionfi e rappresentazioni in Milano</I> (1887 dic, Serie 2, Volume 4, Fascicolo [4])</a> <br><br> <table width="100%" border="0" cellspacing="10" summary=""> <tr> <td align="left" valign="top"> Ghinzoni's main source was the then-newly published "Annali della Fabbrica del Duomo".<br><br> He says that nobility and the wealthy started to have plain parades (marches), themed parades (rappresentazioni) or trionfi in the various quarters, or "gates" of the city, of which there were six (later a seventh). The purpose was to raise money for the construction and upkeep of the Duomo. First they were irregular occasions, then later the dates were fixed (he doesn't say if each quarter had a date or a year, he just notes that in 1455 it was 20 June, and in 1460 the 26 May). The quarter's parade marched from the quarter to the Duomo and presented the offering, which was usually in the form of money or building materials. The "Annali" notes the heightened emotions both the citizens and even country dwellers felt on such occasions. There were always members of the Ducal family, courtesans and state officials present. Ghinzoni notes that the frequency of such rappresentazioni, jousts, tournaments, horse- shows, dancing parades, feasts of fools, masquerades and other such diversions shows how old the festival tendency was in the Milanese people (Ghinzoni laments that so much of the records were destroyed by the revolution of 1447).<br><br> He says it is interesting to note how many of the rappresentazioni were on profane history, rather than the old-style sacred-profane parades coming out of the Mystery processions.<br><br> For instance, he notes that on 22 December 1389, the subject of a rappresentazione in the quarter Vercellina was "for the solace (solazzi) of Jason and Medea." There was a lion with a golden head, an image or statue covered with silver, a lance, a shield with a golden lion on it, two red penants (penoncelli) with golden lions on them, and a linen flag (drapo) painted with an image of water with fish and ships. The offering was presented (the Cathedral was not yet built) in a building constructed of wood on the plaza dell'Arengo.<br><br> The same structure was still standing on the piazza dell'Arengo on 28 May 1390, when the quarter Orientale had its fund-raiser for the Duomo (no parade is mentioned).<br><br> Ghinzoni now jumps to 1421. On 3rd of August that year, on the piazza dell'Arengo was constructed "the city called Pamplona" (civitatem nuncupatam Pampalunam). Whether there was a rappresentazione it doesn't say.<br><br> 1423 was a big year in Milan.<br><br> On June 3rd, 1423, the quarter Romana celebrated with 182 wooden carriages, one made of stone (?) (carrigium unum lapidum coctorum), and 1627,8,6 Lire. Ghinzoni thinks this was only a parade and not a rappresentazione.<br><br> On August 1st, 1423, the Ticinese quarter had a rappresentazione of "a story (ystoriam) of the seven planets of heaven, starting with the Moon, (then) the Sun, Mars, Mercury, Jupiter, Venus and finally Saturn." ("Annali" Appendici, vol. II, page 9).<br><br> The quarter Comasina had their parade on the 8th of August 1423, showing the story of "Arminiachis" who took many captives from the city of Alexandria. <br><br> The quarter Nuova had theirs on the 22nd of August 1423. They showed Eneas ("Aeneas" in English sometimes) with a great army, coming from Troy to Carthage, where he was received with great pomp by Dido. <br><br> On 5 October 1438, two painted elephants appear in the Annali. Ghinzoni suggests they were for some "oriental" subject. <br><br> In December 1442, two large castles were erected on the piazza del Duomo by the quarter Comasina. Ghinzoni suggests they must have been part of a rappresentazione. <br><br> There was also a massive rappresentazione of the Roman story of Coriolanus to raise money for the Duomo in August 1453, when Francesco Sforza was camped near Ghedi (Brescia territory) in war against the Venetians. The point was for the Milanese to have faith. Bianca Maria was there, and Simonetta wrote a letter to Francesco describing it in breathless terms (but not much detail). <br><br> Finally Ghinzoni notes a strange one, undated, from the quarter Vercellina, which took place on the piazza del Duomo. It is a sacred- profane rappresentazione where 18 Cardinals present their offerings. Then, before a representation of the city of Rome, they preach a bit. After preaching, they go into conclave and elect a Pope.. With trumpets they announce to the crowd "habemus Papam, dominum Senensem" ((Pope Pius II had been elected, 8 August 1458, and Ghinzoni thinks this is around that time. Pius was cardinal from Siena, with the support of 18 cardinals). After the coronation of the Pope, the fool Bassano (Bassano buffone) beside the Pope, gives a blessing to all and damns and excommunicates "count Ludovico". Ghinzoni doesn't know who this "count Ludovico" is. <br><br> <b>(Analyses by Ross Gregory Caldwell)</b><br><br> <hr width="90%"><br><br> <b>Additional note: </b><br><br> <ul> <li>The Trionfo of Filippo Maria Visconti in June 1425 is astonishingly not noted (of some importance for the dating of the "oldest Tarot book").<br><br> <li><a href="http://www.storiadimilano.it/cron/dal1426al1450.htm" target="_blank">Storia di Milano</a> notes a further Trionfo in Milan for 12th of October 1449, celebrating the new peace with Venice. "Grande spettacolo in piazza dell'Arengo per celebrare la pace con Venezia. Due personaggi che rappresentano san Marco e sant'Ambrogio si abbracciano e così fanno tutti gli altri membri delle due repubbliche." It's noted by another source, that "allegorical figures" were used. <li>The appearance of very much spectacles in 1423 meets the fact, that Alfonso of Aragon created a great festivity in Naples in the same year in Naples - ironically it was followed short after it by a new war between Alfonso and Giovanna, Queen of Naples. It might be, that the example of Alfonso influenced the interest of Filippo Maria to show his own greatness by similar events to balance the new force of Aragon in Italy. </ul> </td> <td align="right" valign="top"></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 "Name Trionfi"</b> presents material to the usage of the word "Trionfi" in other contexts.<br> Author: when not otherwise specified, autorbis. Copyright: trionfi.com. Links do lead occasionally to foreign sources, we've no influence on these sites and are not responsible for their representations and opinions.<br><br> <b>Central pages: <a href="http://trionfi.com">International Start</a> - <a href="http://trionfi.com/tarot-history/">Tarot History</a> - <a href="http://trionfi.com/tarot-playing-cards-museum/">Tarot Museum</a> - <a href="http://trionfi.com/tarot/">Tarot in all Aspects</a> - <a href="http://trionfi.com/tarot/cards/">Tarot Iconography</a> - <a href="http://trionfi.com/tarot-free-reading/">Tarot Reading</a> / <a href="http://google.com">Google</a> - <a href="http://yahoo.com">Yahoo</a> </font></center> </BODY></HTML>