Re: The Visconti-Sforza Tarot in 3-D
Posted: 03 Feb 2016, 03:25
Additional material to the Theolinda questions:
https://ia802701.us.archive.org/17/item ... AAIAAJ.pdf
https://ia802701.us.archive.org/17/item ... AAIAAJ.pdf
Over 500 years of history in 78 cards
The question is, if the Meerwunder story connected to Theodolinda took some influence on the early (or later) heraldry of the Visconti.Adrian Goldwetter wrote:What was the question?
http://www.zedler-lexikon.de/index.html ... ormat=1%27)The Visconti Tarots that you mention were not of perfect structure because Filippo was mostly self-educated in alchemy and geomantics (> where the 16 gods stem from) and he worked with what Ottone took over from the "dead saracen" - a "bestia" (Biscione) that he swore allegiance to with the words that became the Visconti motto: >> Vipereos mores non violabo << (I will not violate the Snake's uses > mores is translated here as "uses" but can also be: custom - tradition - commandment - and some other) when he was Archbishop of Milan.
Somewhere in the "Tarotée - The Back-Door To The Secret" I mention that this was similar to the Negroli name change - an announcement to the world and those who could READ that message that HE > Ottone and his house from that moment when the Biscione emerged in Milan would never oppose the Great Serpent.
I mentioned that the dead Saracen in Ottone's story is a symbol for a "dead Barakah" (and I said that because you won't find a SERPENT in Saracenic "heraldry" especially not on a shield!) just like the one Gurdjieff was blessed with. That means a personal power to accomplish spiritual doings that can NOT be transferred to disciples (and so is DEAD).
You can read about such things in Sufic comments on the worthlessness of G's 4th WAY.
The TOOL he received instead is alive and well and was in the Biscione's entrails but could not be elevated to LIFE - until the teachers came to Filippo's court.
When the teachers finally came they corrected and completed Filippo's dilettantism and the fruit is the subject of this topic. So whatever other versions exist - THIS - the PMB - is the hallmark of Tarot.
http://www.manfred-hiebl.de/genealogie- ... _1111.htmlDecembrio, Piercandido: Seite 3
"Leben des Filippo Maria Visconti dritten Herzogs von Mailand."
Von der Abkunft der Visconti und den berühmten Gliedern des Hauses
Der VISCONTI Abkunft war vielfacher Überlieferung zufolge eine gar alte und erlauchte. Ihren Namen haben sie vermutlich, weil sie nach Vertreibung der Grafen von Anghiera [Angleria] durch FRIEDRICH an ihrer Statt zu stellvetretenden Grafen [Vicecomites = Visconti] ernannt wurden; mit der Zeit nannten sie sich aber selber Grafen. Der erste aus der Familie, der sich einen Namen erwarb, Umberto Visconti, hatte zwei Söhne, Oddo und Eribrando; von Eribrando wissen allerdings einige nicht zu berichten, daß er Umbertos Sohn war, sondern nur, daß er durch einen Sieg berühmt wurde, der ihm das Wappenzeichen der Schlange eintrug. Oddo, erwählter Bischof der Mailänder Kirche, bahnte den Seinen den Weg zur Erwerbung der Herrschaft, nachdem er die Partei der DELLA TORRE aus der Stadt verdrängt hatte. Sein Bruder hieß Obizo und dessen Sohn Tebaldo. Matteo, Tebaldos Sohn, unterwarf Vercelli und Novara. Nachdem er außerdem die Stadt Como Nuovo, die am Lario See [Comer See] liegt, erworben hatte, wurde er vom römischen König ARNULF [fälschlich statt ADOLPH VON NASSAU] zum Reichsvikar ausersehen, später aber legte er die Herrschaft nieder.
http://www.larapedia.com/viaggi_milano/ ... stica.htmlAndando verso l’altare si vede una colonna con un serpente di bronzo custodito nella basilica dal 1002!
La leggenda vuole che si tratti del serpente innalzato nel deserto da Mosè (in questo caso avrebbe più di 3000 anni!!!).
La Bibbia narra che Dio, per punire l’infedeltà del suo popolo, mandò dei serpenti velenosi. In seguito, però, commosso dalle preghiere di Mosè, disse”Fatti un serpente
E mettilo sopra un’asta; chiunque, dopo essere stato morso, lo guarderà, resterà in vita”.
... no word about the Visconti viper and the sarazen helmet.L'arcivescovo Arnolfo II da Arsago, intorno all'anno 1000, portò a Milano da uno dei suoi viaggi un serpente di bronzo e ancora adesso si trova nella Basilica di sant'Ambrogio a Milano, dov'è posto su di una colonna, al lato sinistro della navata centrale.
For such cases one can search with strg-F, for instance "theo" .... :-) or "meer"Adrian Goldwetter wrote:Hi Huck - I just finished the work on HS/HS that you linked.
You could have said though that T emerges just on the few last pages.
If I didn't like HS so much I would hold now a grudge - but I do not.
... so contemporary German readers should have realized, that it was spoken of Lombardy.Lombardy found in old German the expressions Lombardei, Lambartien, Lampart, Lamparten, Lamperten lant, Lombarten, Lumpertey according ...
https://books.google.de/books?id=8LN9-T ... ei&f=false
It was noted in the quote from the biography of Caspar von der Roen ... "Die uralte Sage ist überliefert in Boccaccio´s Decamerone III, 2, in dem Gedichte „Das Meerwunder“ im Heldenbuche Caspar´s von der Roen, sowie in einem Meisterliede und einem Spruchgedichte des Hans Sachs."You should have noticed that the Decamerone of Giovanni Boccaccio c. 1350 (all the while ITALIAN to the bone!) is mentioned thereat as another version of the T story that I would suggest to read too.
... :-) ... I don't know of this, but it appeared already in the Sfera illuminated manuscript, which went with Anna Sforza to Ferrara. I've to smile ... "family secret" ...
It is the title page of a (to my knowledge) mostly lost handwritten private dokument of a few pages (like a volouptous letter) that was prensented to Francesco II Sforza - (the last) Duke of Milan - on his 14th birthday when I remember correctly to make him familiar with the family secret.
If Eribrand (died 1037) established "something with a viper" more than 200 years ago, then Ottone, if he really established this motto (as you claim), wasn't very original with it.Like Siegfried they BECAME the dragon (now you may understand better what Ottone meant when he swore to "not violate the uses of The SERPENT"). It was manyfold!
... :-) ... from my pov ttp that's tpsYou see that The SERPENT rules the WHOLE WORLD.
when the contextual text is:You see that The SERPENT rules the WHOLE WORLD.
You see that The SERPENT rules the WHOLE WORLD.
All 4 quarters of the shield are HIS. To get a grip on the black that crosses from EAST to WEST and so crosses on it's way to the top the poor little EAGLE (not otherwise because the SUN is BORN to the right and RISES to to the left > the NIGHT JOURNEY of The SUN is not shown here but a MAJOR part to understand this Hieroglyphic) you can have a look at heraldry but you won't be informed there about the personal use the Sforza made of common symbolism.
"Als Th. (Theodolinda) dies erröthend ihrer Kammerfrau erzählt, meint diese, der vermeinte Gesandte könne kein anderer sein als ihr Verlobter.
Mit einem bairischen Ehrengeleite ziehen dann die Langobarden heim, an der bairisch-italienischen Grenze aber hebt sich Authari, so hoch er kann, im Sattel und schleudert seine Streitaxt wuchtig in einen Baum, indem er ausruft: Solche Hiebe führt Authari! Da erkennen auch die bairischen Herren, daß er der Langobardenkönig selber sei."
Well, there is this, about the Stuttgart Playing Cards (Timothy Husband, The World in Play, pp. 17-18)Second, there is currently an exhibition sponsored by the Metropolitan Museum in New York of luxury decks from the 15th and 16th centuries. The web-page for the PMB is at http://www.metmuseum.org/exhibitions/li ... orza-tarot, with links to other pages about other decks. While I am sure the cards are under glass, by looking at them at an angle might clarify something. Unfortunately I am a continent away from New York. I have ordered the catalog. If it says anything of interest I will report it.
There is also Heribert Meurer, Das Stuttgarter Kartenspiel/The Stuttgart Playing Cards (Stuttgart, Konrad Theiss, 1991), Husband's primary source for these card. Husband thinks that all the surviving 15th century luxury cards were made for show and not play, but this is the only argument that I can find for that position, and it is only with regard to the one deck. But perhaps the points fit the others as well.The largest of all the early playing cards, these are made of six layers of paper glued together to make
pasteboard. Some of the paper has watermarks that have been identified with a paper mill in Ravensburg
and can be dated between 1427 and 1431; this, along with the style, supports the generally accepted date of
about 1430. The corners of these cards are rounded, and there is some wear, particularly on the gold
ground. Because the wear is on the high relief areas of the cards’ uneven surfaces, it evidently resulted from
the abrasion caused by stacking one card on another over the centuries. There is no wear or accumulated
grime concentrated along the lower edges, where cards are typically handled—a further indication that
they were intended primarily for visual delectation. The pasteboard was first coated with a white primer that was then smoothed and polished, a technique commonly used in panel painting. (15) The backs were all painted with red lead containing vermilion. The outlines of the figures and principal forms were etched into the ground with a stylus, with lesser details underdrawn in pen and ink. For the background of every card, a thin red bole was laid down. [end of 17] over which gold leaf was applied and burnished, again as it would he in panel painting. The pigments were generally mixed with lead white. In some elements, like the feathers of the falcons, a thin black glaze was applied over white to yield shades of gray. Several different techniques of applying gold and silver were used to achieve varying optical effects. Finally, glazes of red lake were used over the gold to tone the feet and bills of the ducks as well as the perches and hoods of the falcons, while a green glaze was used on the heads of several ducks.
15 For a complete technical study, see Ernst-Ludwig Richter and Heide Harlin, “The ‘Stuttgarter Kartenspiel’: Scientific Examination of the Pigments and Paint Layers of Medieval Playing Cards,” Studies in Conservation 21, no. 1 (February 1976), pp. 18-24.