Re: Panegyric of Bruzio Visconti by Bartolomeo da Bologn
Posted: 24 Nov 2016, 09:42
Except for a few details, I can only say again that I don't disagree with the positive part of your analysis above. I agree with the pregnancy angle on the Star, and its dynastic importance (of less importance for Bianca at the time I think the card was done, but still relevant for Elisabetta and others), and allusion to the Virgin Mary. I agree that Chastity is less an issue in the PMB Chariot, as opposed to virtue generally (and likewise in the Florentine cards), but still see the winged white horses as those of Plato's Phaedrus, which propel the virtues in their courses, as opposed to some doubled Pegasus. This is a minor detail.
With 4 of 6 Petrarchans represented in the CY, 2 of them in surviving titles, I cannot see how you can deny his relevance. Also, the order remains important and cannot be dismissed with a wave of the pen (or keyboard) as of no interest. The proliferation of Petrarchan illuminations, cassoni, and birth trays in Florence after 1440 would certainly seem to be attributable to the proliferation of the tarot around then. There were a few adjustments, yes. In Florence the Chariot card represents Virtue in action (I don't think you disagree), and Time at some point gets a different representative (2 of the celestials, if not also the World as its limit). These are outlined, more or less, by Shephard (viewtopic.php?f=11&t=1120&p=17956#p17956). And while Dante is one place where relevant correspondences can be found, there are others, such as Plato, the Platonists, and the medieval church. There is no need for a single source; in fact, the more the better (more "hooks" by which to remember them). The particular subjects, and their placement, between Death and Eternity still need to be accounted for, especially the Devil and the Tower. It seems to me that the Divine Comedy works well enough, with the Devil as Hell and the Tower as the Mountain of Purgatory, as seen in the 1465 fresco in the Duomo of Florence, with the celestials in the "order of light", for the convenience of the players. Plutarch's On the Face in the Moon accounts for certain C order details later, starting with the Cary Sheet.
With 4 of 6 Petrarchans represented in the CY, 2 of them in surviving titles, I cannot see how you can deny his relevance. Also, the order remains important and cannot be dismissed with a wave of the pen (or keyboard) as of no interest. The proliferation of Petrarchan illuminations, cassoni, and birth trays in Florence after 1440 would certainly seem to be attributable to the proliferation of the tarot around then. There were a few adjustments, yes. In Florence the Chariot card represents Virtue in action (I don't think you disagree), and Time at some point gets a different representative (2 of the celestials, if not also the World as its limit). These are outlined, more or less, by Shephard (viewtopic.php?f=11&t=1120&p=17956#p17956). And while Dante is one place where relevant correspondences can be found, there are others, such as Plato, the Platonists, and the medieval church. There is no need for a single source; in fact, the more the better (more "hooks" by which to remember them). The particular subjects, and their placement, between Death and Eternity still need to be accounted for, especially the Devil and the Tower. It seems to me that the Divine Comedy works well enough, with the Devil as Hell and the Tower as the Mountain of Purgatory, as seen in the 1465 fresco in the Duomo of Florence, with the celestials in the "order of light", for the convenience of the players. Plutarch's On the Face in the Moon accounts for certain C order details later, starting with the Cary Sheet.