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To: alt.magick.tyagi,alt.magick,alt.divination,alt.tarot,rec.games.playing-cards,rec.games.misc From: nagasivaSubject: Early Trump-Game Artist Bio Compilation (1/2/3: Kaplan/Dummett/WWW) Date: Thu, 04 Dec 2003 00:49:26 GMT 50031119 vii om Preface what follows is the beginning of a compilation of relevant BIOGRAPHICAL DATA pertaining to early (game) Tarot artists. quite a number of people are convinced of the importance of scrutinizing the details of early (game) Tarot to see if there might be any justification for considering their occult design or content; examining bios of artists is one way of going about this, as is looking at what else was being made at the same time. i -- who: Italians (including Bembo(s)+Zavattaris) ii -- when: 15th century (esp. 1420-1490) iii -- where: Milan/Bologna/Ferrara ====================================== Artists in 15th Century Northern Italy ====================================== compilation of notes on their backgrounds, knowledge, personal history, and interests. -------------------------------------- SOURCE 1. KAPLAN, Vol II. focal interest: knowledge of occultism particular topical focus suggested by the TarotL 'Tarot History Information Sheet', compiled and edited by Tom Tadfor Little: Hermeticism Kabbalism Astrology Neoplatonism Pythagoreanism Heterodox Christianity http://www.tarothermit.com/infosheet.htm ====================================== 138 Their presence in fifteenth-century Lombardy suggests the possibility that one or more of them contributed to the preparation of early playing cards. Further research about these artists may bring to light valuable information in the search for the tarocchi artists. ------------------------------------ The Encyclopedia of Tarot, Stuart R. Kaplan, U.S. Games Systems, Inc., Volume II, 1994 (1986); pp. 138. ===================================== Ibid. here-on in Kaplan, "quoted" or [rephrased]. [there's a prayer book, the "Visconti Book of Hours", which had a bunch of artists working on it, including decorators like Belbello, who painted the Gonzaga family's prayer book, and most of the d'Este Bible. for this reason I'm leaving out all mentions what I recognize of orthodox religion, just peculiar mentions (to me) of some kind which may support some sort of reference to divination/magic/alchemy (what I deem occult) in the motivations/knowledge of these artists.] ------------------------------- A) Besozzo's Postal Planetaries Kaplan describes a letter, contended to have been about 16 cards by Michelino da Besozzo (heavily involved painting cloisters, cathedrals, "several art researches have suggested that [he painted] the frescoes at the Casa Borromeo in Milan including the famous scene of tarocchi card players", may have painted the triumphs of Petrarch (says Cattaneo)). Kaplan says that the letter is described by a Frenchman, a Mr. P. Durrieu, writing in 1911, in *Michelino de Besozzo et les relations entre l'art italien et l'art francais*. he says this letter, supposedly from a servant of Rene of Anjou to his first wife, dated 1449, described 16 cards. I find confirmations of such correspondence from more than one source otherwise also. 138 They must have been executed before 1445. They are believed to have been commissioned by Filippo Maria Visconti. The set of cards comprised four groups of triumphs, with four cards in each group. The lowest group was the triumph of Virtue, and the highest group, Pleasure, with Cupid triumphing over all. _Virtue Riches Virginity Pleasure_ Jupiter Juno Chastity (Pallas) Venus Apollo Neptune Diana Bacchus Mercury Mars Vesta Ceres Hercules Aeolus Daphne Cupid Kaplan doesn't say what the likelihood of this letter's authenticity might be, whether the letter has been confirmed as existing, etc. see below also for this artist's construction of a non-tarot deck with gods! apparently it is not considered a Tarot deck on account of its structure (60 cards?). ----------------------------- B) Giotto's Virtues and Vices _Giotto_ (1266-1337) did frescoes in the Arena Chapel at Padua. Kaplan claims Ronald Decker 139 views the Giotto frescoes that depict the virtues and vices [these Prudence Folly Fortitude Inconstancy Temperance Wrath Justice Injustice Faith Infidelity Charity Envy Hope Despair ] as suggestive of some of the Major Arcana cards in the tarot pack. A definite connection between Giotto and the early Visconti is well established.... Kaplan says "the iconographic connection is worthy of notice." no mention of anything that fits on my list above as yet. ---------------- C) Mantegna Note 139 The Tarocchi of Mantegna prints, usually described as cards, date from 1470 and are often credited to Andrea Mantegna, although no evidence exists to support this claim. ---------------------------------------- D) Decembrio's Steeley Emblematic Images 140 Around 1440, Decembrio, the official biographer of Filippo Maria Visconti, wrote that the duke enjoyed playing a game that used painted figures. According to Robert Steele (1900), Decembrio also related that Duke Filippo paid fifteen hundred gold pieces to Marziano de Tortona [acted as the duke's secretary and lived with the Viscontis] for a pack of cards decorated with images of gods, emblematic animals and figures of birds. Tortona might have been acting as an agent on behalf of the unnamed artist. presumably he's talking about the following article [from his bibliography in Vol. I]: _**STEELE_, Robert. "A Notice of the Ludus Triumphorum and some Early Italian Card Games with some Remarks on the Origin of the Game of Cards," *Archaeologia*. London. 1900. LVII. Series 2. Vol. III. References to playing cards including Sermones de Ludo Cumalis and description by Cicognara of the Visconti-Sforza and Gringonneur cards (p. 185-200). the term "emblematic" caught my eye. what is meant here? -------------------------------------------- E) Courtly Bembos, Conventional Zavattaris? otherwise, the Bembos and Zavattaris (well-known in association with tarocchi art) aren't given descriptions which indicate occult knowledge. Bonifacio Bembo is believed to have been the artist of the Pierpont Morgan-Bergamo deck and the Cary-Yale tarocchi deck. his imagery merely "idealize[s] court life". if Van Marle (1926) is followed, there is little information about "the progeny of the [Zavattari] family", but following Algeri (1981), the Zavattari brothers themselves aren't described as particurly occult. Kaplan continues with Francesco Petrarch and his poem that Moakley theorized influenced early Italian tarocchi and minchiate cards. Dummett likes most of Moakley. ================================================ SOURCE 2. DUMMETT, "The Visconti-Sforza Tarot Cards" there are some very fun things therein. anything which undermines the general contentions about Tarot or reflects potential consonance with occult topics or those mentioned in the Info File, I'll mention below. first off, we might consider whether we're even using the right language. :> The word *tarot*, which has been adopted into English, was borrowed from French, in which it was formerly often spelled *tarau* or the like, and is simply the French word for the Italian *tarocco* (plural: *tarocchi*). Tarocchi was not the original name for tarot cards, but was first recorded in 1516 in one of the account books of the court of Ferrara. Throughout the fifteenth century, tarot cards were referred to simply as *carte da trionfi*, that is, cards with trumps. In the sixteenth century, the word *tarocchi* came into general use; as applied to the cards individually, it functioned in the same way as *trionfi*, namely to distinguish the trump cards from the suit cards (with some ambiguity about whether it applied to the *matto* [Fool]). The origin of the words has been and remains a mystery; in a poem published as early as 1550, Alberto Lollio speaks of it as being "without an etymology." ------------------------------------------ "The Visconti-Sforza Tarot Cards", Michael Dummett, George Braziller Inc., 1986; pp. 1-2. ========================================== so they didn't originally make 'Tarots', they made 'Cards With Trumps'. the Tarot History Info Sheet also mentions this in its content (translating *carte da trionfi* as "cards *of* the triumphs"; my emphasis.). Ibid. here-on in Dummett, "quoted" or [rephrased]. 3 [Antoine Courte de Gebelin] claims that tarot were invented by ancient Egyptian priests to conceal symbolic instruction in their religious doctrines in the guise of an instrument of play. ... In any case, the occult interpretation of tarot cards originated in France during the second half of the eighteenth century. From that time, there is a great mass of documentary references to tarot cards beginning in Italy in the fifteenth century, in France and Switzerland in the sixteenth century, and in Germany and many other countries in the eighteenth century. Naturally, some of these references record only the purchase or manufacture of tarot packs and hence provide no clues about their function. But a great many speak explicitly of the games played with them, and none give a hint of any other use. Two of the writers would undoubtedly have mentioned any occult associations, had they known of them: an anonymous fifteenth- century Dominican preacher, who vehemently denounces tarot cards, regular cards, and dice in a sermon against gaming, and the sixteenth- century Ferrarese poet Alberto Lollio in his mock-serious verse diatribe against the game. Tarot cards were unquestionably invented to play a particular type of game, forms of which remain immensely popular in various parts of Europe (above all in France, where the game has had a great revival during the last thirty years) and, until de Gebelin's ideas were adapted by professional French fortune-tellers and occultists and, after 1880, by those of other countries, they were never used for any other purpose. Dummett mentions that it is the *trumps* that serve to distinguish the decks we're examining from other types of decks, and that these were invented in Europe, but probably not in tarot: 4-5 The first game to incorporate the idea of trumps was probably not tarot but a game of the German peasantry called Karnoffel. (Karnoffel, however, used partial trumps, able to beat some, but not all of the cards of a plain suit.) But, almost certainly, the idea of trumps arose independently of the two games, and etymology shows that it was from tarot -- not Karnoffel -- that it was borrowed for trick-taking games played in every country of Europe. The Italians added new cards to the pack to act as trumps; in other countries, one of the four suits of the regular pack assumed this role. The idea spread more quickly than the game of tarot itself: a game called Triumphe was being played in France by 1482, and games with similar names appeared in England (as the ancestor of Whist) and Spain in the sixteenth century. These games differed markedly from one another but were all known by their then most unusual feature, the use of a trump suit. The English word *trump* is simply a corruption of *triumph*, and, like the German *Trumpf*, is derived from the Italian *trionfo*, used originally for a trump card in a tarot pack. The invention of tarot cards thus contributed a fundamentally important idea to card play, without which many of the card games played today could not exist. see below for Little's explication of Pratesi and the deck created for Marziano da Tortona by Michelino! the author states that "a tarot pack, with its thirty-eight picture cards, allowed greater scope for artistic invention" and even though it is "more likely that precious hand-painted cards would survive than cheap popular ones", based on the enormous number of extant cards remaining of this type, which "outnumber regular decks by more than two to one", Decker says 6 it is hard to resist two conclusions: first, that tarot was enormously popular at the courts of Ferrara and Milan and, second, that it originated as a game for the nobility. he says the first written records of the cards is in 1442. he says that the trumps varied a bit in their sequences, and that this is because initially they weren't numbered. this is similar to his claim with Decker in "A History of Occult Tarot: 1870-1970", Duckworth, 2002. 7 With only one exception, none of the hand- painted packs have numbered trumps. Nor do either of the two fragmentary late fifteenth-century popular Milanese tarot packs that have survived, although the numeral XXI is found on a single trump, the World, that remains from a late sixteenth-century popular Milanese pack. In Bologna, no numbers were placed on the trump cards until the second half of the eighteenth century. Before that, as card game books indicate, a player was required to memorized the order of the trump subjects. This was evidently true everywhere until the practice of numbering the trump cards was adopted in one place after another. The pioneer appears to have been Ferrara: in a late fifteenth-century popular pack from that city, all of the trumps are numbered, save the World. he describes 3 trump-sequence traditions, and the history of card deck composition. the three trads are: Ferrara, Bolognese, and Milanese. analysis of these three would be important to any who maintain that a significance may be found in the original(s) with some arcane or occult meaning. Dummett describes the order of trumps "everywhere in Europe outside of Italy of the Milanese type". he also mentions that 11 It is generally agreed that the Visconti-Sforza pack was painted for Francesco, the first Sforza duke of Milan. His predecessor was the third duke, Filippo Maria Visconti.... the pack... cannot have been painted earlier than 1450 [when he had secured the surrender of Milan and "made good his claim to the duchy" "to which hereditary title he had, of course, no legitimate claim"]. and that the other decks may have been done earlier. Dummett thereafter describes the origination of the Visconti-Sforza and its artists Only four cards are missing from the Visconti- Sforza pack: the Devil, the Fire (or Tower), the Knight of coins, and the 3 of swords. Six of the trumps are manifestly of a different artist: Fortitude, Temperance, the Star, the Moon, the Sun, and the World. It is usually supposed that the same artist painted the remaining sixty-eight cards, and the Brambilla and Visconti di Modrone packs as well. These two packs are generally thought to have been painted for Filippo Maria Visconti because, in the Brambilla pack, the sign of the coins suit was made from actual imprints of both sides of a coin issued by the duke; the same is true of the Visconti di Modrone pack except for the ace, the 2, and the court cards. More- over, although the Brambilla pack has fewer heraldic features than the other two, those it has all relate to the Visconti, and none specifically to the Sforza: the caparisons of the *cavalli* bear Visconti emblems, and, as in the Visconti-Sforza pack, the Visconti motto, *a bon droyt* (with good right), appears on several cards. It therefore seems quite certain that it was painted for Filippo Maria. Dummett goes on to analyze the probable artists of the Brambilla and Visconti-Sforza packs. he mentions Bonafacio Bembo and Francesco Zavattari, the art historians Toesca (1912; assigns the cards to the Zavattari brothers), Longhi (1928; Bembo), Wittgens (1936; confirming Bembo), Rasmo (1939; also confirming Bembo), and finally Algeri ("very recently"; Francesco Zavattari). Dummett describes Gertrude Moakley's theory "in her splendid book on the Visconti-Sforza pack" 14 that the Visconti di Modrone pack was a *germini* or *minchiate* deck, a suggestion followed by Algeri. This theory, one of Moakley's very few mistakes, is utterly unhistoric. The only basis for it is the presence of the three theological virtues. A *germini* pack has, like ordinary tarot decks, four court cards, not six. Moreover, with forty trumps, it is essential to number them, whereas the Visconti di Modrone trumps are unnumbered.... It's invention, as a deliberate variation on an established game, is to be dated to between 1526 and 1543, and arose in a quite different cultural milieu from the Visconti court at Milan. Describing the Visconti di Modrone cards as a *germini* pack is a piece of pseudo-scholarship. I don't see any descriptions of the knowledge or intent of the deck designers or artists within Dummett's book, other than the general comments which he makes above. so much for what I have (as yet!) of Dummett (soon!) ================================================ SOURCE 3: WWW ------------------------ www.tarothermit.com Little's conclusion within the Tarot History Info Sheet as to artist's meaning is that: care should be used in making statements about the original meaning of the cards based on the familiar titles and ordering. The intention of the original designer(s) of the tarot in selecting the symbols for the trump cards is unknown, although there are many conjectures, some more plausible than others. Writers should avoid giving the impression that the intention is known or obvious.... ---------------------------------------- http://www.tarothermit.com/infosheet.htm various contributors mentioned; Copyright 2000-2001 members of TarotL ======================================== Little *does* have something more to say about that on his site, newer than either of the previous authors (Kaplan '86, reissued in 1994; Dummett '86), and relates to a source unmentioned by either Kaplan or Dummett, named Franco Pratesi (1989). Little describes him as an Italian card historian who wrote within 'The Playing Card' (1989) of a precursor to the Cards With Trumps. [note: here are the articles I found referenced by Pratesi at http://www.geocities.com/research_of_tarot/trionfireference.html Pratesi 1989a Franco Pratesi: The Earliest Tarot Pack Known in The Playing Card , Vol. XVIII, No. 1, August 1989. p. 28-32. Pratesi 1989b Franco Pratesi: The Earliest Tarot Pack Known in The Playing Card, Vol. XVIII, No.2, November 1989, p. 33-38. Pratesi 1990 Franco Pratesi, "Carte da gioco a Firenzo: il primo secolo (1377-1477) (Florentine cards - The First Century) in The Playing Card, XIX No. 1, August 1990, p. 7-17.] Tom's examination of Micholino's deck as previously described in Kaplan is much more extensive as it describes an *accompanying book*: Marziano da Tortona served as secretary to duke Filippo Maria Visconti of Milan. But that perhaps gives the wrong impression of him. He was a scholar, Filippo's tutor, and specialist in astrology (or astronomy, as the two disciplines had not yet gone their separate ways in the 15th century). Some time around 1415 (date not entirely certain, but not later than 1420), the young duke (he was in his early twenties, having assumed the title in 1412 at the age of 20) directed Marziano to devise a card game according to the duke's instructions. Instead of the ordinary suits of swords, coins, staves, and cups, the new deck was to have suits representing virtues, riches, virginities, and pleasures. The suit signs were appropriate birds: eagles, phoenixes, turtles (turtledoves?), and doves. Each suit also had four cards higher than kings, depicted as classical deities. This was apparently an early exploration into the idea of "trumps", because whereas the regular suit cards have no power over cards of different suits, the sixteen deities have an internal ordering that bypasses their suit assignments and determines which card wins over others. The amazing thing is that Marziano actually wrote a book to go with this deck of cards. In the book, he describes the structure of the deck, and then goes into great detail about each of the classical deities, what they represent, and how they are depicted on the cards. This was the first ever "companion book" for a deck of cards, and it is sitting in the Bibliotheque Nationale in Paris to this day! Not surprisingly, it does not give divinatory meanings. But interestingly, neither does it gives the rules of a card game. The focus is on the allegorical meaning of the pictures and their proper ranking. But Marziano didn't make the cards himself. They were turned over to a noted artist, Michelino da Besozzo, who apparently made cards of extraordinary beauty. In 1449, after the duke had died, a Venetian captain named Marcello (in alliance with Francesco Sforza in the attempt to capture Milan) heard of the enormous value of these cards and "acquired" them from the duke's estate and had them sent to the queen of Lorraine as a present. He was also determined to get the book along with them, which he did. The cards apparently have not survived. these appear to be the same as the previous reference to the 16 cards referred to by Mr. P. Durrieu in 1911 in *Michelino de Besozzo et les relations entre l'art italien et l'art francais*. apparently this book only recently came to light? has anyone seen it or know if a translation of its content has been made? Tom continues: Now obviously, these are not precisely tarot cards. But this is the earliest and most extraordinary insight into the way in which allegorical playing cards were being invented in northern Italy in the 15th century. (The Boiardo game is a somewhat later example of a similar idea, and we might toss in the Sola-Busca and the 16th-century workshop inventory that included such items as "the game of our Lord and the apostles", "the game of the triumphs of Petrarch", and so on).... ---------------------------------------------------- http://www.tarothermit.com/marziano.htm Copyright 1999 Tom Tadfor Little =========================================== ---------------------------------------------------- other WWW NOTES re early deck structure: There are 6 (perhaps only 4) documents which give informations about the deck structure of Trionfi decks, 3 of them are fragments of playing card decks: 1. Brera-Brambilla deck: very unsecure in his informative worth, even allow a 4x14 + 4 - deck 2. Cary-Yale deck: has 24 courts and 56 pips, the number of trumps is unclear, motives vary of the "standard" (probably a 5x16-structure) 3. Pierpont-Morgan-Bergamo deck: The first artist (Bonifacio Bembo) produced (probably) 70 cards, all trumps are known. 4. Document B: The present to Bianca Maria speaks of "14 Figure" 5. Document 03: Marziano describes 16 gods and 4 court cards and 40 pips, with some insecurities this would be 60 cards totally. 6. Document 16: 70 cards are mentioned, probably refering to a 5x14-deck 2 documents and one unsecure document suggest a 5x14-structure 1 document and an unsecure document suggest experiments with the number of 16 trumps. No document really suggests the existence of 22 trump cards. ------------------------------------------------------------- http://geocities.com/research_of_tarot/trionfidoc.html ------------------------------------------------------------- re the deck designed by Marziano and created by Michelino Preliminary translation (by Ross Gregory Caldwell) He sometimes played at triumph cards. And in this game he took so much delight that he paid for one finished pack of triumph cards one thousand and five hundred ducats. Of this the foremost author and (casone) was Marziano da Tortona his secretary, who with marvellous ingenuity and greatest industry finished this deck of cards with the figures and images of the gods and with the figures of animals and birds which he placed under them. ----------------------------------------------------------- http://www.geocities.com/research_of_tarot/tri28.html =========================================================== [note: I can't get this one again to confirm!] ------------------------------------------------------------- pop-author contentions Robert M. Place ("Tarot of the Saints"): I believe that the internal structure and symbolism of the Tarot is mystical. Therefore, its creators could be called mystics. However, by that I don't mean to imply that they were a secret of a heretical group. Historic evidence leads to the scenario that the Tarot was a product of popular culture in 15th century northern Italy. Renaissance culture made a synthesis of various historic trends that began to appear in the centuries that proceeded it. The Medieval Christian Gnostics called themselves Cathari, and although we can trace a line of transmission between them and the ancient Gnostics, there are many aspects of their beliefs that changed over the centuries. The Cathari lived in Southern France and northern Italy in the 13th century, and some have theorized that they were the source of the doctrine expressed in the Tarot. note that this presumes a doctrine expressed therein. Robert O'Neill, author of Tarot Symbolism, has done a lot of research into this possibility. Recently he wrote a series of articles on this subject in which he reaches the conclusion that the Cathari are definitely not the source of the Tarot images. Two of the main reasons are, first, that the Cathari believed in such a strong separation between the spiritual world and the physical that they considered most aspects of the physical world evil. This included shunning all sacred relics and icons. Therefore, they were not about to create a series of sacred images. Secondly, the inquisition did its best to insure that most of the Cathari went out of existence before the Tarot was created. What O'Neill did find is that the Cathari had a more lasting influence by contributing to the mix of ideas that became the Renaissance. Their lack of materialism and spiritual striving inspired more orthodox groups such as the Franciscans and synthesized well with Neoplatonic and Hermetic mysticism. It is this Hermitic mysticism that I believe is captured in the Tarot. The Hermeticists were striving for gnosis and can be called Gnostics. However, Hermeticism was part of mainstream culture in the Renaissance. ---------------------------------------------- http://www.llewellynjournal.com/article/359 ============================================== the author provides no examples of Hermeticism in early Tarot imagery or explanations for why early artists would have had occult intentions (rather than ordinary illustrative motivations) for use of any such images. ============================================================= Googlegroups was the last stop: Jess Karlin had this general description: ...tarot arose in North Italy some time between 1425-1450. Its symbolism is filled with ideas and persons that reflect that North-Italian birthplace. There is NO evidence that tarot originated for any other purpose than as a gaming device. On the other hand, it is fair to say that no one can reasonably speculate about what the people who used tarot in the beginning (or prior to 1781) either thought about it, nor how they may have used it, in addition to gaming. ---------------------------------------------- I found this in an old post of JK's alt.tarot FAQ, http://groups.google.com/groups?q=Renaissance+Tarot+Italian+artist&hl=en&lr=&ie=UTF-8&selm=360E3B16.373C92C7%40texas.net&rnum=8 which FAQ has been revised and now sits at: http://jktarot.com/faq.html#4 ============================================== URLs/sites I checked at which I could find no occult mentions in bios of early artists on these pages about the artists: http://geocities.com/autorbis/trionfiartists.html ------------------------------------------------------------- http://www.wonderful-tarot.com/english/masters.htm are there more complete descriptions of early artist bios? other resources online that have personal bio infos for compilation? those who want to contribute to this project please send only quotations from sources with relevant data (deck artist bios which pertains to the occult topics for which we're looking, complete with source info, copyright information, etc.). thanks! nagasiva@luckymojo.com
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