Re: Dummett's "Il Mondo e L'Angelo"
Posted: 05 Jun 2014, 04:23
Good addition, Huck. The article by Decker that Dummett is responding to, on a 14 card Cary-Yale proposal, is in Journal of the International Playing Card Society vol. 3, no. 1 (August 1974), pp. 23-24, 48.
Now I am going to continue with other early hand-painted decks of Milan, from Ch. 2 of Il Mondo e l'Angelo. Here are some new or otherwise noteworthy things.
(1) On the Brera-Brambilla, Dummett estimates that it, and the PMB as well, had 21 triumphs plus the Fool (p. 51).
The BB was done a little later than the CY ("il mazzo Brambilla un po’ più tardi", quoted in my last post). It is later because the cards are closer to the PMB than the CY is in style, "severe" and sparser in extraneous details. He says, in relation to the three packs. Here I have added explanatory notes to the translation, about which decks are which. In the beginning, he is speaking of the Cary-Yale (p. 47):
(2) As to the PMB, which he calls the "Visconti-Sforza", he says, e.g. in my quote discussing the BB, that it, too, reflects the 21 plus Fool standard model, since there are 14 cards per suit and 19 surviving triumphs.
All this follows and says no more than he has already said in his "pure hypothesis" that the CY had 24 trumps. Is there anything more substantial than that.
One can count the cards in the PMB. They are 19 plus the Fool, only two less than the standard 21. It is a considerably smaller jump from 19 to 21 than from 11 to 24.
One problem, of course, is that six of the 19 are by a different artist. in what he says art historians say is the style of a different period and place (Ferrara 1475 vs Milan 1450). I will get into the reasons for this dating under another heading. We have to ask: are these six new additions of c. 1475, substitutions (meaning for subjects that are in the CY but not those of the PMB new cards), or replacements (meaning new versions of subjects in the PMB originally?
Dummett argues strongly that the original PMB did not contain only the14 triumphs of the first artist. He says:
In that case the principle being followed originally would be to keep the same number of triumphs, i.e. 16. Or Hope, Faith, and Charity were kept originally, but Galeazzo never liked them and in the 1470s, he decided to make the change. We have no idea.
Another problem is with Dummett's leap from 19 to 21. There are numerous other examples of this "Milan standard pack" later in the century, and none of them have the Devil or the Tower. That could have been by chance or later removal, but it most straightforwardly suggests that, whatever was the case in other cities, these two cards weren't present in the Milanese hand-painted decks.
In favor of Dummett's hypothesis here, however, is that the Tower, at least, is present in another city's cards, those of the "Charles VI" tarot, and that both Tower and Devil are in the Cary Sheet. But the "Charles VI', besides being from a different city, also is later than the original PMB; the Cary Sheet is much later,by 25 to 50 years. Perhaps Galeazzo didn't like the Tower card and thought it might bring bad luck.
(3) As I have already said, Dummett gives two possible approximate dates for the PMB (which lacks the Visconti florins): 1450 and 1475 (p. 50). Here is what he says:
In 2007 (Artibus Historia 56, pp. 15-26) Dummett discarded the idea that the second artist cards were replacements and hypothesized that all the cards were painted around 1462-3 by Bonifacio and Benedetto Bembo, Benedetto as the second artist. He based this on stylistic similarities to ecclesiastical artworks done around that time attributed to Benedetto. I transcribed the relevant portion of his article at viewtopic.php?f=11&t=365&p=4912&hilit=Artibus#p4912.
i myself don't see the similarities, but all I have seen are poor reproductions. I hypothesize the first artist cards, which show much wear, were probably originally done for the Sforza children, and so in the early to mid 1450s. The other cards, which show much less wear, are much like two of the Belfiore Muses, probably among those done for Borso d'Este around 1449 (see viewtopic.php?f=12&t=463&p=5923&hilit=Belfiore#p5923). Ciriaco d'Ancona saw them then, just before moving to Cremona, where he died in the early 1450s. The style of these Muses later became that of the "Tarot of Mantegna" images, which seem to have influenced the Schifanoia Palace frescoes in c. 1470, a project on which many painters participated, including some from other cities. The 1475 date seems reasonable to me, both from the decreased wear and from my hypothesis that the lady on three of the cards (Temperance, Star, Moon) is likely Elisabetta Maria Sforza, Galeazzo Maria Sforza's sister, who died at age 16 as a result of childbirth, in 1472 (viewtopic.php?f=11&t=365&p=4821&hilit=Elisabetta#p4821). Stylistically, they could be any time from 1449 to 1475, depending on when the artist and/or his patron decided to follow the model of these Belfoir Muses. After 1472 is most likely, because the Schifanoia project would have been the most logical way for a Milanese artist to learn Ferrarese styles. Dummett's 1462 date is based on the date of the altarpiece now in the Sforza Castle. I see nothing Ferrarese about it in the reproductions. The La Spezia Museo Civico's Madonna of Humility is more believably in a Ferrarese style, but it is not known when it was painted. From reproductions, I see no point of resemblance in style to the six second artist cards.
(4) Dummett notes a possible third early deck from Milan, in a footnote on p. 51:
I have already summarized the rest of the chapter at viewtopic.php?f=11&t=1017#p15124. However there are a couple of things that didn't have to do with how many decks and how cards are identified with what decks. Principally, he has a lot to say about the Goldschmidt cards, commenting on two articles in the 1980s by John Shephard ("The Goldschmidt Sun", The Ploying Card, Vol XVI, 1987, pp. 37-40'The Lance and the Fountain: some Variant Forms of the World', The Playing Card, Vol XVII, 1988, pp. 54-7). He likes Shephard' idea that the subject of a card can be identified by what is shown on top. So for example when there are gravestones on the bottom and a sun at the top, the subject is the Sun. The idea also fits with the principle of "immediate recognition" for the players. He does not like Shephard's idea that in the Goldschmidt cards, all the trumphs have ceckered floors. That is because on one card, of a lady in prayer, there is no checkered floor and also no suit sign (p. 74 . Dummett can't imagine a hand-painted suit card without a suit-sign. Agaisnt Shephard here, Dummett makes the intersting proposal that the Goldschmidt cards might be the earliest instance of the suppression of the Pope and Popess cards. There is a bishop and a lady at prayer on a kneeler (images scanned from Shephard's article)
Dummett proposes that the Pope and the Popess have been downgraded, at the request of a pious family.
I myself find it unclear whether the Guildhall cards are part of the same deck, because the borders are different: one Guildhall has a border the same color, white, but much wider than the Goldschmidt's The other, the World card, has a dark border. I illustrated this on my other post (viewtopic.php?f=11&t=1017#p15124, scroll down to the pictues). If the World card is not part of the Goldschmidt's deck, then the Goldschmidt cards could be considerably earlier than 1475. But perhaps they are companion decks, done together, with the idea that if a card from one is lost, it can be temporarily replaced from the other.
Another issue regarding the Goldschmidt is the shape of the Baton suit-signs: gnarled cudgels in both the Guildhall and Goldschmidt, much like those of the "Spanish" suit style, which early on could have been either Spanish or French. He resists the idea that they are non-Italian, because the French only learned about tarot too late for these cards, something he will argue for later. Spanish suits could have been familiar by way Naples; there is also Shephard's proposal, which Dummett does not oppose, p. 73, that they were made for Cesare Borgia, of Spanish descent, with the Dolphin an allusion to the duchy in which he was a count, Delphinato:
Now I am going to continue with other early hand-painted decks of Milan, from Ch. 2 of Il Mondo e l'Angelo. Here are some new or otherwise noteworthy things.
(1) On the Brera-Brambilla, Dummett estimates that it, and the PMB as well, had 21 triumphs plus the Fool (p. 51).
As to the number of triumphs, it seems to me that there are other reasonable possibilities. It is so close in time to the Cary-Yale that it might have been part of the "primitive"--and experimental--time period. There are only two surviving triumphs. It is hard to say much from that.A parte le Spade diritte nel mazzo Visconti-Sforza e le frecce sulle figure del seme di Bastoni nel mazzo Brambilla, la composizione e i disegni di questi due mazzi si accordano pienamente con l’ipotesi che siano stati, in origine, due mazzi di tarocchi del formato standard di settantotto carte: tutti i semi contenevano evidentemente le regolamentari dieci carte numerali e quattro figure; e i trionfi pervenutici, inclusi i sei del mazzo Visconti-Sforza, che sono opera del secondo artista, presentano tutti soggetti convenzionali.
(Apart from the straight Swords in the Visconti-Sforza pack and the arrows on the figures in the suit of Batons in the Brambilla pack, the composition and patterns of these two packs fully agree with the hypothesis that they were originally two tarot packs of the standard form of seventy-eight cards: all the suits demonstrably contain the regular ten numeral cards and four figure; and the triumphs that have survived, including the six in the Visconti-Sforza pack that are the work of the second artist, all show the conventional subject matter.)
The BB was done a little later than the CY ("il mazzo Brambilla un po’ più tardi", quoted in my last post). It is later because the cards are closer to the PMB than the CY is in style, "severe" and sparser in extraneous details. He says, in relation to the three packs. Here I have added explanatory notes to the translation, about which decks are which. In the beginning, he is speaking of the Cary-Yale (p. 47):
Another reason for dating the BB later than the CY is that the 14 cards per suit reflect a less "primitive" period in the tarot's development. Later in the book, on p. 106, quoted in my last post, Dummett hypothesizes the time of the deck's standardization to around 1444.Questo mazzo è collegato al mazzo Brambilla dall’impiego del fiorino di Filippo Maria e dall’altemarsi rovesciato di frecce e mazze nel seme di Bastoni. Ciò nonostante. Giuliana Algeri ritiene a ragione che il suo stile artistico differisca da quello degli altri due mazzi. Gli altri mazzi sono in un certo senso severi: dai trionfi e dalle figure è assente ogni dettaglio superfluo per la rappresentazione dei loro soggetti, mentre nel mazzo Visconti di Modrone le carte figurate mostrano spesso personaggi supplementari e in essenziali. Se fu dipinto da un altro artista, si trattò comunque di un artista della stessa scuola.
(This pack [the CY] is connected to the Brambilla pack by the use of the florin of Filippo Maria, and of alternating inverted arrows and clubs in the suit of Batons. Nonetheless, Giuliana Algeri rightly feels that the artistic style differs from that of the other two packs [the BB and the PMB]. The other packs are in a certain sense severe: every detail unnecessary for the representation of the subjects is absent from the triumphs and figures, while in the Visconti di Modrone pack the figure cards often show additional inessential personages. If it was painted by another artist, it was nevertheless an artist of the same school.)
(2) As to the PMB, which he calls the "Visconti-Sforza", he says, e.g. in my quote discussing the BB, that it, too, reflects the 21 plus Fool standard model, since there are 14 cards per suit and 19 surviving triumphs.
All this follows and says no more than he has already said in his "pure hypothesis" that the CY had 24 trumps. Is there anything more substantial than that.
One can count the cards in the PMB. They are 19 plus the Fool, only two less than the standard 21. It is a considerably smaller jump from 19 to 21 than from 11 to 24.
One problem, of course, is that six of the 19 are by a different artist. in what he says art historians say is the style of a different period and place (Ferrara 1475 vs Milan 1450). I will get into the reasons for this dating under another heading. We have to ask: are these six new additions of c. 1475, substitutions (meaning for subjects that are in the CY but not those of the PMB new cards), or replacements (meaning new versions of subjects in the PMB originally?
Dummett argues strongly that the original PMB did not contain only the14 triumphs of the first artist. He says:
I can tentatively accept all of this except the last sentence. Just because 3 cards repeated old subjects doesn't mean that the three others did so as well. We have no idea what the circumstances were. Perhaps the 3 theological virtues of the CY were just omitted from the original PMB, and Galeazzo Maria, remembering his visit to Florence and the Star, Moon, and Sun cards there, decided they should be added to the deck. At the same time, he decided that the Fortitude card should commemorate his father, perhaps even changing the name to "Forza", and the Temperance card--along with the Star and the Moon--should commemorate his sister Elisabetta, who died after childbirth in 1472. (Dummett claims that "Forza" never appears in the 16th century literature (p. 71):Se, dei sei trionfi dipinti dal secondo artista, nessuno era compreso nel mazzo Visconti di Modrone, sarebbe plausibile l’ipotesi che si tratti di addizioni successive. Le cose non stanno però cosi: versioni di due di essi, la Fortezza e il Mondo, sono incluse fra le carte Visconti di Modrone. Poiché la Giustizia ha fatto fin dall’inizio
parte del mazzo Visconti-Sforza, non si può sostenere che le virtù fossero originariamente del tutto assenti da questo mazzo.È pertanto estremamente probabile che le versioni della Fortezza, della Temperanza e del Mondo ad opera dall’altro pittore siano o componenti del mazzo originario o sostituti di carte smarrite. Se le cose stanno così, si indebolisce notevolmente l’ipotesi che la Stella, la Luna e il Sole siano addizioni successive; anch’esse sarebbero o componenti originari o sostituti.
(If, of the six triumphs portrayed by the second artist, none were included in the Visconti di Modrone pack, it would be plausible to assume that they were succeeding additions. But things are not so: versions of two of them, Fortitude and the World, are included among the Visconti di Modrone cards. As Justice was part of the Visconti-Sforza pack from the beginning, it cannot be argued that the virtues were originally entirely absent from this pack. [54] It is therefore highly likely that the versions of Fortitude, Temperance and the World by the other painter were components of the original pack or substitutes for lost cards. If this is so, it weakens considerably the hypothesis that the Star, Moon and Sun are later additions; these also would be original components or substitutes.)
"Forza" is in fact an alternate name for Fortezza in Folengo, http://www.tarotpedia.com/wiki/Caos_Del_Triperuno, and Imperiali, http://www.tarotpedia.com/wiki/Lollio_a ... ra_1550_ca; and Alciato calls it "Forti", http://www.tarotpedia.com/wiki/Alciato_on_the_Trumps.)Nella letteratura italiana del Cinquecento, la carta che rappresenta la virtù cardinale è sempre chiamata ‘la Fortezza’, mai ‘la Forza’, come avviene nel moderno Tarocco piemontese;
In Italian literature of the sixteenth century, the card that represents the cardinal virtue is always called 'la Fortezza', never 'la Forza', as in the modern Piedmont Tarot;
In that case the principle being followed originally would be to keep the same number of triumphs, i.e. 16. Or Hope, Faith, and Charity were kept originally, but Galeazzo never liked them and in the 1470s, he decided to make the change. We have no idea.
Another problem is with Dummett's leap from 19 to 21. There are numerous other examples of this "Milan standard pack" later in the century, and none of them have the Devil or the Tower. That could have been by chance or later removal, but it most straightforwardly suggests that, whatever was the case in other cities, these two cards weren't present in the Milanese hand-painted decks.
In favor of Dummett's hypothesis here, however, is that the Tower, at least, is present in another city's cards, those of the "Charles VI" tarot, and that both Tower and Devil are in the Cary Sheet. But the "Charles VI', besides being from a different city, also is later than the original PMB; the Cary Sheet is much later,by 25 to 50 years. Perhaps Galeazzo didn't like the Tower card and thought it might bring bad luck.
(3) As I have already said, Dummett gives two possible approximate dates for the PMB (which lacks the Visconti florins): 1450 and 1475 (p. 50). Here is what he says:
The 1475 date is on the assumption that the second artist cards were painted at the same time as the first artist cards, by an assistant. The 1450 is on the assumption that the second artist cards were painted later, i.e. 1475, as replacements for earlier versions of the same cards. Later he gives a lower limit for the date of the second artist cards. Speaking of the decks that derive from the PMB, he says (p. 55):Se le sei carte secondarie del mazzo Visconti-Sforza rimpiazzano carte precedenti, il mazzo è databile intorno al 1450; ma se sono [49] opera di un collaboratore, secondo l’ipotesi di Ronald Decker, la data cade attorno al 1475, a causa dello stile delle sei carte.
(If the second six cards replace cards in the Visconti-Sforza pack earlier, the pack can be dated around 1450; but if they are [49] by an assistant, according to the hypothesis of Ronald Decker, the date falls around 1475, because of the style of the six cards.)
The reason for the late dating of these cards is their style (p. 45):Quelli che contengono copie di una delle sei carte Visconti-Sforza dipinte dal
secondo artista devono essere posteriori al 1470, che è la prima data plausibile per quelle carte;...
(Those that contain copies of one of the six Visconti-Sforza cards painted by the
second artist must be later than 1470, which is the first plausible date for those cards
He says that the second artist cards are in a style of 1475 Ferrara.
But most scholars, he adds, consider that the deck except for these cards was done during the reign of Francesco Sforza, "probably in the earlier years of his reign" [probabilmente nei primi anni del suo regno].L’opinione corrente è che queste sei carte siano state dipinte circa vent’anni
dopo da un ignoto artista di scuola ferrarese; ma Ronald Decker considera il mazzo frutto di una collaborazione ineguale fra due artisti del tempo del duca Galeazzo Maria 6.
(Current opinion is that these six cards were painted about twenty years later by an unknown artist of the School of Ferrara; Ronald Decker considers the deck the result of an unequal collaboration between two artists of the time of the Duke Galeazzo Maria 6.)
______________________
6. See R. Decker, 'Two Tarot Related Studies', Part III, Journal of the Playing-Card Society, Vol IV, 1975, pp. 46-52.
In 2007 (Artibus Historia 56, pp. 15-26) Dummett discarded the idea that the second artist cards were replacements and hypothesized that all the cards were painted around 1462-3 by Bonifacio and Benedetto Bembo, Benedetto as the second artist. He based this on stylistic similarities to ecclesiastical artworks done around that time attributed to Benedetto. I transcribed the relevant portion of his article at viewtopic.php?f=11&t=365&p=4912&hilit=Artibus#p4912.
i myself don't see the similarities, but all I have seen are poor reproductions. I hypothesize the first artist cards, which show much wear, were probably originally done for the Sforza children, and so in the early to mid 1450s. The other cards, which show much less wear, are much like two of the Belfiore Muses, probably among those done for Borso d'Este around 1449 (see viewtopic.php?f=12&t=463&p=5923&hilit=Belfiore#p5923). Ciriaco d'Ancona saw them then, just before moving to Cremona, where he died in the early 1450s. The style of these Muses later became that of the "Tarot of Mantegna" images, which seem to have influenced the Schifanoia Palace frescoes in c. 1470, a project on which many painters participated, including some from other cities. The 1475 date seems reasonable to me, both from the decreased wear and from my hypothesis that the lady on three of the cards (Temperance, Star, Moon) is likely Elisabetta Maria Sforza, Galeazzo Maria Sforza's sister, who died at age 16 as a result of childbirth, in 1472 (viewtopic.php?f=11&t=365&p=4821&hilit=Elisabetta#p4821). Stylistically, they could be any time from 1449 to 1475, depending on when the artist and/or his patron decided to follow the model of these Belfoir Muses. After 1472 is most likely, because the Schifanoia project would have been the most logical way for a Milanese artist to learn Ferrarese styles. Dummett's 1462 date is based on the date of the altarpiece now in the Sforza Castle. I see nothing Ferrarese about it in the reproductions. The La Spezia Museo Civico's Madonna of Humility is more believably in a Ferrarese style, but it is not known when it was painted. From reproductions, I see no point of resemblance in style to the six second artist cards.
(4) Dummett notes a possible third early deck from Milan, in a footnote on p. 51:
I have already discussed the remainder of the chapter at . He dates these later hand-painted decks of Milan to 1475-1510. The lower date is due to the fact that many of the decks copy the second artist designs.11. S.R. Kaplan riproduce nella sua Encyclopedia of Tarot, Vol. II, New York, 1986, p. 24, un’incisione di una Dama di Denari da Bertolo Belotti, La vita di Bartolomeo Colleoni, Bergamo, 1923. L’incisione rappresenta ovviamente una carta da gioco dipinta a mano e dorata, e corrisponde aìl’incirca alla carta Visconti di Modrone, ma non con esattezza completa; in particolare, la moneta della carta Visconti di Modrone porta l’emblema del sole raggiante, mentre quella dell’incisione porta il biscione visconteo. Il Belotti non cita la provenienza dell’incisione, e le indagini di Kaplan non l’hanno scoperta.
(11. S.R. Kaplan shows, in his Encyclopedia of Tarot, Vol. II, New York, 1986, p. 24, an engraving of a Queen of Coins, from Bertolo Belotti, Vita di Bartolomeo Colleoni, Bergamo, 1923. The engraving is obviously of a hand-painted and gilded playing card, and corresponds to a card in the ambit of the Visconti di Modrone, but not with complete accuracy; in particular, the coin on the Visconti di Modrone card bears a radiant sun emblem, while the engraving bears the Visconti viper. Belotti does not mention the origin of the engraving, and Kaplan’s investigation has not uncovered it.
I have already summarized the rest of the chapter at viewtopic.php?f=11&t=1017#p15124. However there are a couple of things that didn't have to do with how many decks and how cards are identified with what decks. Principally, he has a lot to say about the Goldschmidt cards, commenting on two articles in the 1980s by John Shephard ("The Goldschmidt Sun", The Ploying Card, Vol XVI, 1987, pp. 37-40'The Lance and the Fountain: some Variant Forms of the World', The Playing Card, Vol XVII, 1988, pp. 54-7). He likes Shephard' idea that the subject of a card can be identified by what is shown on top. So for example when there are gravestones on the bottom and a sun at the top, the subject is the Sun. The idea also fits with the principle of "immediate recognition" for the players. He does not like Shephard's idea that in the Goldschmidt cards, all the trumphs have ceckered floors. That is because on one card, of a lady in prayer, there is no checkered floor and also no suit sign (p. 74 . Dummett can't imagine a hand-painted suit card without a suit-sign. Agaisnt Shephard here, Dummett makes the intersting proposal that the Goldschmidt cards might be the earliest instance of the suppression of the Pope and Popess cards. There is a bishop and a lady at prayer on a kneeler (images scanned from Shephard's article)
Dummett proposes that the Pope and the Popess have been downgraded, at the request of a pious family.
Dummet's idea is that all these Milanese decks are painting the standard PMB subjects. In his view, the Goldschmidt cards are part of a deck to which two Guildhall cards also belong, with close to the same dimensions and same color of back. One of them has a hunter-type figure very similar to one of the Goldschmidt cards. The other is a very close copy of the PMB World card. So they would date somewhere around 1475-1500.. The Bishop [card (c)] could replace the Pope, and maybe the lady on the kneeler [card (e)] the Popess; if so, we would have here the oldest example of the frequent suppression of those two cards, very often deemed offensive: The Goldschmidt pack may have been produced for a clergyman or a particularly devout noble family. The lady at the kneeler could be a portrait from life; this hypothesis seems particularly likely for the lady with the miniature castle, who should be the founder of some famous castle. as was the case with portraits of bishops with reference to cathedrals.
I myself find it unclear whether the Guildhall cards are part of the same deck, because the borders are different: one Guildhall has a border the same color, white, but much wider than the Goldschmidt's The other, the World card, has a dark border. I illustrated this on my other post (viewtopic.php?f=11&t=1017#p15124, scroll down to the pictues). If the World card is not part of the Goldschmidt's deck, then the Goldschmidt cards could be considerably earlier than 1475. But perhaps they are companion decks, done together, with the idea that if a card from one is lost, it can be temporarily replaced from the other.
Another issue regarding the Goldschmidt is the shape of the Baton suit-signs: gnarled cudgels in both the Guildhall and Goldschmidt, much like those of the "Spanish" suit style, which early on could have been either Spanish or French. He resists the idea that they are non-Italian, because the French only learned about tarot too late for these cards, something he will argue for later. Spanish suits could have been familiar by way Naples; there is also Shephard's proposal, which Dummett does not oppose, p. 73, that they were made for Cesare Borgia, of Spanish descent, with the Dolphin an allusion to the duchy in which he was a count, Delphinato:
Shephard pensa anche che le figure umane dipinte nei tarocchi Goldschmidt siano quasi tutti ritratti dal vivo. A suo parere, il mazzo fu realizzato per Cesare Borgia nel 1500; ravvisa nel delfino incoronato un’allusione al ducato di Valentino nel Delfinato, e ritiene che la carta equivalga all’Asso di Denari, così come il biscione del gruppo Tozzi. Così si spiegherebbero, a suo avviso, i Bastoni di tipo spagnolo, poiché Cesare era, ben
inteso, di lignaggio spagnolo. Questo tipo di Bastoni non era ancora molto diffuso in Spagna, ma sappiamo dal foglio di Barcellona che esisteva a quel tempo.
Shephard also believes that the human figures painted on the Goldschmidt tarots are almost all portraits from life. In his opinion, the pack was created for Cesare Borgia in 1500; he sees in the crowned dolphin an allusion to the Duchy of Valentino in Delfinato, and believes that card is equivalent to the Ace of Coins, as well as the Tozzi group snake. This would explain, in his view, the Batons of the Spanish type, because Cesare was well known as of Spanish ancestry. This type of Batons was not still widespread in Spain, but we know from the folio in Barcelona that it existed at that time.