Meneghello had a deck called Cathari's gods

I found ...
Cartari, Vincenzo; Pignoria, Lorenzo [Bearb.]
Seconda Novissima Editione Delle Imagini De Gli Dei Delli Antichi Di Vicenzo Cartari Reggiano — Padua, 1626 [Cicognara, 4688]
https://digi.ub.uni-heidelberg.de/diglit/cartari1626





Later added: There is another Cartari version of 1571, Zinetti Venetia. The pictures, likely also the text, are rather different.
Le imagini dei Dei degli antichi: nelle quali si contengono gl'idoli, riti, ceremonie & altre cose appartenenti alla religione de gli antichi
by Vincenzo Cartari
https://www.digitale-sammlungen.de/de/v ... 879?page=6

Further I see, that MikeH earlier often quoted a Cartari version of 1647.
https://books.google.de/books?id=dGIVAA ... navlinks_s

Wiki: Vincenzo Cartari
https://en.wikipedia.org/wiki/Vincenzo_Cartari
... (English wiki * 1531 ? . † 1590) (German wiki * 1531 ? in Reggio nell’Emilia; † 1569)
... treccani.it https://www.treccani.it/enciclopedia/vi ... e%20di%20S. .... (probably † 1569)

La data di morte è ignota: un termine post quem è costituito dalla dedica dell'edizione veneziana del 1571 delle Imagini, la sua opera più famosa, che è rivolta al card. Luigi d'Este e reca la data del 10 sett. 1569.
automatric translation: "The date of death is unknown: a post quem term is the dedication of the 1571 Venetian edition of Imagini, his most famous work, which is addressed to card. Luigi d'Este and bears the date of 10 Sept. 1569."

Cartari war Jean Seznec zufolge wohl ein Protegé der Herzöge von Ferrara. In seinem Werk Imagini colla sposizione degli dei degli antichi („Bilder mit Darstellung der Götter der Alten“) von 1556 nennt er als eine seiner Quellen Lilio Gregorio Giraldis Werk De deis gentium varia et multiplex historia, das im Jahr 1548 veröffentlicht worden war. Trotz des Erfolgs dieses Vorgängers wurde Cartaris Werk aufgrund seiner lebendigen Holzschnittdarstellungen der antiken Götter, die von einem gewissen Bolognino Zaltieri stammen sollen, ebenfalls populär.
automatic translation
According to Jean Seznec, Cartari was probably a protégé of the Dukes of Ferrara. In his work Imagini colla sposizione degli dei degli antichi (“Images depicting the gods of the ancients”) of 1556, he cites Lilio Gregorio Giraldi’s work De deis gentium varia et multiplex historia, published in 1548, as one of his sources. Despite the success of this predecessor, Cartari's work also became popular for its vivid woodcut depictions of the ancient gods, said to be by a certain Bolognino Zaltieri.

The first edition of Cartari's work was made 1556. The 3rd edition in 1571 got the successful pictures, 2 years after the death of the author.

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The Meneghello "Gods of the Ancients" cards ...
https://obscuriosityshop.com/products/g ... ents-cards

Quality reproduction of this deck created by Cartari, 1626
39 B&W Cards (on cream colored cardstock), Limited Edition 0f 1000, 1992

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Vincenzo Cartari, 1571

Reproduction of a late 18th century tarot deck, with imagery far removed from the 'Marseilles standard.' Imagery includes a swan-enamored woman on the 'Lovers' card to a baby-rescuing soldier on the 'Hanged Man' card. The title translates as '18th Century Arcana.' Published in 1991, in a limited edition of 1,000 copies.

If it is indeed late 18th century, it would be nice to find further details ...

https://webbit.top/index.php?main_page= ... s_id=19406

I searched for Kaplan II, p. 287/288, Museo delle Arti e delle Traduzioni Populari and its Tarocchi cards. I found this ...


.... also I found an Italian article ...
http://www.idea.mat.beniculturali.it/at ... -dell-icpi
... and a movie.
https://youtu.be/4fmnyHe5emc

The article likely was written in 2013/14.

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I'd researched this before ....

viewtopic.php?p=24286#p24286 ..... and the following



and also the other pictures at ....
https://archivi.cini.it/storiaarte/arch ... "%5D%7D%7D

Nathaniel wrote: 13 Sep 2021, 06:57 That website, the Atlante delle Xilografie italiane del Rinascimento, is well worth exploring generally. They have a huge number of high-quality images of 16th century Italian cards, which you can find by searching for "carta da gioco" (as I have done in the link). You can also look at many other woodcut images from that period.

Indeed ... the collection also contains the Leber Tarocchi from early 16th century. I didn't note this earlier. We had earlier other pictures ....




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Michael Hurst's collection at ....
http://pre-gebelin.blogspot.com/2009/04 ... tarot.html

I detected a series of Francesco Sforza letters between 1447-1454 ???? ...

https://www.lombardiabeniculturali.it/m ... egistri/1/
https://www.lombardiabeniculturali.it/m ... egistri/2/
https://www.lombardiabeniculturali.it/m ... egistri/3/
https://www.lombardiabeniculturali.it/m ... egistri/4/
https://www.lombardiabeniculturali.it/m ... egistri/5/
https://www.lombardiabeniculturali.it/m ... egistri/6/
https://www.lombardiabeniculturali.it/m ... egistri/7/
https://www.lombardiabeniculturali.it/m ... egistri/8/
https://www.lombardiabeniculturali.it/m ... egistri/9/
https://www.lombardiabeniculturali.it/m ... gistri/10/
https://www.lombardiabeniculturali.it/m ... gistri/11/
https://www.lombardiabeniculturali.it/m ... gistri/12/
https://www.lombardiabeniculturali.it/m ... gistri/13/
https://www.lombardiabeniculturali.it/m ... gistri/14/
https://www.lombardiabeniculturali.it/m ... gistri/15/
https://www.lombardiabeniculturali.it/m ... gistri/16/

I didn't understand the system ...

Added ... here is a sort of explanation .... https://www.lombardiabeniculturali.it/missive/registri/

Registro n. 1, 1447-1459 (103 missive)
Registro n. 2, 1442-1451 (1.791 missive)
Registro n. 3, 1447-1451 (801 missive)
Registro n. 4, 1447-1451 (1.893 missive)
Registro n. 5, 1451 (250 missive)
Registro n. 6, 1433-1451 (1.271 missive)
Registro n. 7, 1400-1453 (2.129 missive)
Registro n. 8, 1451-1452 (1.171 missive)
Registro n. 9, 1450-1469 (257 missive)
Registro n. 10, 1452 (1.018 missive)
Registro n. 11, 1451-1453 (1.770 missive)
Registro n. 12, 1451-1453 (2.324 missive)
Registro n. 13, 1451-1453 (1.330 missive)
Registro n. 14, 1412-1453 (1.952 missive)
Registro n. 15, 1441-1458 (1.468 missive)
Registro n. 16, 1450-1454 (1.825 missive)

Here is also something ....
https://www.lombardiabeniculturali.it/m ... entazione/
as automatic translation https://www-lombardiabeniculturali-it.t ... r_pto=wapp

....
https://www.lombardiabeniculturali.it/m ... ti/2.1124/

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With this "site:" command one gets a list of letters, which contains the word "malatesta"
" site:www.lombardiabeniculturali.it/missive/ malatesta "
... the command must be without " ..." so ...
site:www.lombardiabeniculturali.it/missive/ malatesta
... there must be an empty place between missive/ and malatesta ...
you must copy this to the address line of your browser
if you want attempt to search for another word in the letters you must replace "malatesta" with "the other word"
I hope you understood this.

A relatively early sequence of Petrarch trionfi (last 3) that apparently sold at auction this May:

Circle of Anovelo da Imbonate
Milan active around 1400)
The Triumphs of Fame, Time and Eternity,
oil on panel, a cassone front, overall 40 x 164 cm, integral frame
https://www.dorotheum.com/fileadmin/lot ... 056194.jpg


The present painting is an example of the front of a cassone in the late Gothic Lombard style. The three tondi depict the allegorical figures of Fame, Time and Eternity. The subject relates to the series of poems written by Francesco Petrarca in 1374 called the Triumphs, and was a theme commonly portrayed in Northern Italy. It is probable that the present cassone front was originally a pair with a second representing the three other Triumphs of Petrarca’s literary work.

The present work is influenced by the linear Gothic style of typical Lombard painting and can be compared to the works of Anovelo da Imbonate, a miniaturist and painter working at the Milanese court between the fourteenth and fifteenth centuries. In particular, similarities can be seen with da Imbonate’s signed Messale for the crowning of the Duca Gian Galeazzo Visconti (1395) in the library of the Basilica di Sant’Ambrogio and the pinnacle depicting the Crucifixion previously in San Giorgio al Palazzo, now in the Museo Diocesano in Milan.

https://www.dorotheum.com/en/l/8056194/

Wow, thanks Phaeded. That's a very interesting find. If the dating is correct, it is not just a "relatively early sequence of Petrarch trionfi" but the earliest known by far, and is not merely the earliest known illustration of the Trionfi sequence, but the earliest known illustration of any of the Trionfi at all, as far as I can recall. And it would almost certainly have been the complete sequence of six originally, with the first three triumphs depicted on the other side of the cassone, because Love and Chastity were the most popular of the Trionfi for illustration on cassoni. It is extremely unlikely that they would have been left out.

The presentation has remarkable similarities to the early Florentine images from the 1440s, although also notable differences, including a simpler presentation in general, which supports the attribution to both an earlier time and a different region. Despite these differences, this panel appears to be proof that there was some kind of continuous tradition of Trionfi illustration going all the way back to about 1410 at least, even though few traces are known from before 1440.

Given the historical significance, the price seems like quite a bargain, but of course the art market is rarely as concerned about historical significance as I would like it to be...

I'm still working on an essay on some manuscript images of the Trionfi and their likely links to the earliest Trionfi cards, but the rest of my life has seriously intervened, and I doubt I'll get much more work done on that before November, unfortunately.

Die Gifte in der Weltgeschichte: Toxikologische, Allgemeinverständliche Untersuchungen der Historischen Quellen
by L. Lewin, Springer-Verlag, 08.03.2013 - 596 pages
https://books.google.de/books?id=X56fBg ... navlinks_s
An older German book about the use of poisons with a large part about poisons in the renaissance (mainly "9. - 11. Buch", starting at page 223).

Italian content (overview)
https://books.google.de/books?id=X56fBg ... e&q&f=true
page 288 Visconti and Sforza
https://books.google.de/books?id=X56fBg ... &q&f=false

Nathaniel wrote: 29 Sep 2022, 10:50 If the dating is correct, it is not just a "relatively early sequence of Petrarch trionfi" but the earliest known by far, and is not merely the earliest known illustration of the Trionfi sequence, but the earliest known illustration of any of the Trionfi at all, as far as I can recall.

Yeah, raises a lot of questions. I was actually researching the artist and this popped up. I'm not familiar with Lombard cassoni and the board at 15" wide seems kind of narrow (was it perhaps a spalliera instead?) but with the additional framing maybe wide (high) enough.

Time is rather vague with no attributes beyond the deer - why are his hands outstretched? Seems like a globe, armillary sphere or hourglass should be there, but hard to tell it was repainted and the detail lost (the art is cartoonishly bad - I think a lot of details got washed out with a repaint). And no crutch which is unusual, as even when sitting there is usually one:
I'm guessing one outstretched hand was holding a cane or crutch and the other holding out a hourglass - originally fine brush strokes - and both were lost with the repainting of the gray background. Something like this:


And that early date still bugs me, as does a Lombard provenance.

It's true that it is very unusual for the figure of Time to be holding nothing at all. However, the absence of a crutch is not particularly surprising—there are several instances of 15th century Italian depictions of Time where the figure is not shown with a crutch (notably including the Charles VI and Catania cards).

Maybe there was some messy restoration which painted over an object in the figure's hands. But on the other hand, there is nothing missing in the tondi of Fame and Eternity that we would otherwise expect to see. Moreover, the work looks like a relatively poor copy of another, presumably higher-quality work: Time's chariot is evidently meant to be pulled by two stags—there are two pairs of antlers, and these two stags would correspond to the two youths pulling the chariot of Fame—but the artist appears to have painted them so poorly that they look like a single cartoonish animal. So without a physical examination of the paintwork, it's very hard to say if anything we see is due to poor restoration or simply due to the poor quality of the artist's work.

As for the date, it does genuinely look very early. The cassoni of the mid-15th century are all far more elaborate than this. There are a few manuscript illuminations from the mid-15th century which have something of the simple cartoonish quality of this work, but there is nothing like this on cassoni from that period. So the earliest years of the century do seem entirely plausible, and such an early date could perhaps also explain the absence of any object in Time's hands. Simona Cohen, on pp. 68 to 72 of Transformations of Time and Temporality in Medieval and Renaissance Art (Leiden: Brill, 2014), presents two 12th century manuscript images showing an allegorical figure representing time in the form of a bearded older man, not holding any of the usual objects; one of them holds nothing but a scroll bearing the word TEMPUS. It is therefore entirely conceivable that a personification of Time painted around 1400 might simply have depicted the figure as a bearded old man with no attributive object in his hands.

So the early date seems quite likely. What about the place of provenance? There is some similarity to the work of Anovelo da Imbonate, and it's a little like the work of the Master of the Vitae Imperatorum, so the attribution to Milan does seem plausible. It also somewhat resembles the Pesaro manuscript from 1459 (ÖNB Cod. 2649, which contains the image of Time walking with crutch and hourglass that Phaeded showed in the post above).

What it certainly doesn't look like, is anything from Florence—and that fact alone means that this panel substantially rewrites our history of Trionfi illustration. It would appear to be proof that the standard iconographic scheme that developed in Florence in the 1440s owed a great deal to an existing tradition which was a few decades older and probably originated somewhere else in northern Italy, possibly Milan. Rather than viewing the Florentine iconographic scheme as an entirely new creation, we should instead see it as an amalgam of various influences. One of those influences was the existing tradition exemplified by the Dorotheum panel, but another influence could very possibly have been the earliest Trionfi cards.