Re: The Fool
Posted: 10 Feb 2010, 20:43
Thanks Robert - it didn't show up in the preview (except as text) so I assumed pngs weren't allowed - the problem might have been spaces I guess.
Pen
Pen
But you know, Robert, although I can read a a slight doubt in the eyes of the D'Este Fool, neither fool seems to me remotely tormented...Pen wrote:The short section below is by Gertrude Moakley from her book The Tarot Cards Painted by Bonifacio Bembo for the Visconti-Sforza Family. I bought the book - I'm thrilled - it's signed!The text refers to Bembo. I hadn't come across it before so thought I'd post it for those who haven't seen it either - very revealing. It seems to lend weight to the idea that the family (or at least Galeazzo Sforza) would have no scruples about showing a relative or ancestor in a less than flattering light.For Esther Johnston with many grateful memories Gertrude Moakley.
The following year Galeazzo Sforza (Francesco Sforza's son) commissioned him to return to Pavia for more work in the halls of his Castello. The walls were to be decorated with scenes showing friends of the Count and their dogs in varous hunting episodes. In the written instructions of Count Sforza we read such directives as:
Item, that Alexio is to be shown being thrown from his horse by a stag, with his legs in the air.
In another scene the same Alexio was to be shown attacking the offending stag with his sword. In addition to the hunting scenes, instructions were given to paint Duke Giangaleazzo with all his servants "da naturale", and likewise the Duchess Catalina. Other ancestral Dukes and Duchesses were also to be shown: Fillippo Maria, Francesco, and Bianca with their councellors. The directions go into great details as to costume and the colours to be used. It is evident that the family (or at least Galeazzo Sforza) was not dependent on its artists for decorative ideas.
Pen
Maybe it is similar to how the Hanged Man doesn't tend to look too unhappy either?Pen wrote: But you know, Robert, although I can read a a slight doubt in the eyes of the D'Este Fool, neither fool seems to me remotely tormented...
I have to agree, I do not see the degree of 'tormented outsider' that Robert seems to : there seems to be inordinate focus on the fool's genitals (more or less the central point of each card).Pen wrote: But you know, Robert, although I can read a a slight doubt in the eyes of the D'Este Fool, neither fool seems to me remotely tormented...
Pen
The Charles V1 Fool is so huge compared to the kids, and seems to be too interested in playing with the string of - are they bells? to be much bothered by them.robert wrote:Maybe it is similar to how the Hanged Man doesn't tend to look too unhappy either?Pen wrote: But you know, Robert, although I can read a a slight doubt in the eyes of the D'Este Fool, neither fool seems to me remotely tormented...
If you look at the Charles VI, the kids are gathering stones to stone him, one has already aimed and is about to hit him, another holds or trips him. In the Noblet, the dog is the tormentor, about to attack his exposed genitals. The d'Este is difficult to understand. Any idea what is happening?
I've been thinking about this, and wondering if the different kinds of Fool in the distinctly different historical decks created in different places at different times (but pre-Gebelin) should be thought of individually rather than as a single character with the same attributes. Perhaps a list for the main categories would help - that might just work for the other major cards too - it might just help us to see more clearly (well me, anyway).I'd like to add a couple of old tarot images that I think, when studies, give less of the "innocent fool" impression, and more of a "tormented outsider". The outcast to be teased and harassed out of town, so to speak.
And it reminds me of this woodcut that I just stumbled across:Pen wrote:This old etching reminds me so strongly of Tarocco Neoclassico's Il Matto,
Pen