Im Jahr 2010 kam bei der Restaurierung des ersten Protokollbands des Nidwaldner Elfergerichts (Geschworenengerichts) der Jahre 1528-1535 unterhalb des Ziegen- oder Kalbslederbezugs eine Klebepappe aus Makulatur zum Vorschein.
Diese bestand aus mehreren Schichten aufeinander geleimter Spielkarten, einem Fragment von neun papierenen Seiten einer liturgischen Handschrift sowie fünf
kleinformatigen Fragmenten aus Pergament zur Verstärkung von Ecken und Kanten.'

XV Century Catalan Playing Cards, Barcelona
These ancient playing cards were discovered inside the binding material of a printed Catalan book dated 1495.

UNPUBLISHED IN THE MODERN ERA UNTIL NOW...
From the start, the Tarot Museum had the goal of publishing an important Italian deck that hadn't seen the light of day in contemporary times . Something not too distant from the model that gave rise to the 18th century iconic illustrations of the so-called Tarot of Marseilles; (well-known to Tarot enthusiasts) and consequently extremely influential over decks published during subsequent centuries. They decided upon the 17th century Bolognese deck known as Tarocchi Fine Dalla Torre, which luckily was passed down nearly complete and in fairly good condition. The only known example of this noteworthy deck is preserved as the “Tarot Bolonais XVIIe s.” by the Bibliothèque Nationale in Paris.

.... thanks for the thought: Fortunately, the tide of water invaded other districts of Faenza, reaching as far as the city center (2 meters). In other areas it reached the second floor, so there was a big helicopter trip to rescue people who had taken refuge on the roof. I never thought a situation like this could happen here.

Rumour and Renown: Representations of Fama in Western Literature
Philip Hardie
Cambridge University Press, 02.02.2012 - 693 Seiten

The Latin word fama means 'rumour', 'report', 'tradition', as well as modern English 'fame' or 'renown'. This magisterial and groundbreaking study in the literary and cultural history of rumour and renown, by one of the most influential living critics of Latin poetry, examines the intricate dynamics of their representations from Homer to Alexander Pope, with a focus on the power struggles played out within attempts to control the word, both spoken and written. Central are the personifications of Fama in Virgil and Ovid and the rich progeny spawned by them, but the book focuses on a wide range of genres other than epic, and on a variety of modes of narrating, dramatising, critiquing, and illustrating fama. Authors given detailed readings include Livy, Tacitus, Petrarch, Chaucer, Spenser, Shakespeare, Ben Jonson and Milton.

Tests were done on the genetics of the House of Württemberg by Gerhard O. Schwerdfeger. There were cases of mental illness in the family and according to Schwerdfeger the gene came from the House of Visconti.[6][verification needed] Otto of Bavaria and Ludwig II of Bavaria both had a mental disorder, they are both descended from Antonia. Antonia's father, did have frequent rages.

Großen Raum im diesjährigen Genealogischen Jahrbuch nimmt ein Thema ein, das 1995 viel Aufmerksamkeit erregt hat: König Ludwig II. von Bayern, sein Leben und sein tragisches Ende. Dabei versuchen die beiden Autoren, die sich dieses Themas angenommen haben, aber neue Wege zu gehen: Walther Schreibmüller untersucht die "Bayerische Königskatastrophe 1886" aus der Sicht eines Juristen, Gerhard O. Schwerdfeger hat sich mit den "Erbanlagen bei Ludwig II. und Otto von Bayern aus genealogischer Sicht" beschäftigt und beleuchtet dabei vor allem genetische und biologische Fragen
automatic translation
.A topic that attracted a lot of attention in 1995 takes up a lot of space in this year's genealogical yearbook: King Ludwig II of Bavaria, his life and his tragic end. The two authors, who have taken on this topic, are trying to break new ground: Walther Schreibmüller examines the "Bavarian Royal Catastrophe of 1886" from the perspective of a lawyer, Gerhard O. Schwerdfeger has dealt with the "hereditary systems of Ludwig II and Otto von Bayern from a genealogical point of view" and primarily sheds light on genetic and biological questions.

Antonia Visconti (born after 1350, probably about 1360, Milan – 16 March 1405, Stuttgart) was Countess of Württemberg.[1]

Family

Beatrice Regina della Scala and her husband Bernabò Visconti, the parents of Antonia Visconti, later Countess of Württemberg, wife of Eberhard III, Count of Württemberg, detail of a fresco by Andrea di Bonaiuto da Firenze from the Cappella Spagnuolo, Santa Maria Novella, Florence
Antonia was the tenth of 17 children of Bernabò Visconti, Lord of Milan. She was one of the 13 legitimately born children from his marriage to Beatrice Regina della Scala from the Scaliger family, the lords of Verona.

Antonia's sister Taddea Visconti married Stephen III, Duke of Bavaria and was mother of Isabeau of Bavaria, wife of Charles VI of France and ancestor to some notable people in history, including the Tudor Dynasty. Another sister, Agnes, married Francesco I Gonzaga and was executed for supposed adultery in 1391. Antonia's youngest sister Elisabetta was married to Ernest, Duke of Bavaria.

Antonia's maternal grandparents were Mastino II della Scala and his wife Taddea da Carrara. Her paternal grandparents were Stefano Visconti and his wife Valentina Doria.

Her father Bernabò was a cruel and ruthless despot, and an implacable enemy of the Church. He seized the papal city of Bologna, rejected the Pope and his authority, confiscated ecclesiastical property, and forbade any of his subjects to have any dealings with the Curia. He was excommunicated as a heretic in 1363 by Pope Urban V, who preached crusade against him.[2] When Bernabò was in one of his frequent rages, only Beatrice Regina (her mother) was able to approach him.[3]

Marriage
Antonia was originally betrothed to Frederick III the Simple. This was different from other family marriages because most of Antonia's sisters married members of the House of Wittelsbach. Ten years after the first suggestion of marriage, a marriage contract was drawn up, Antonia's family was to provide a dowry of ten thousand florins plus another twenty thousand in florins jewelry.[4] However, Antonia never married Frederick because he died 27 January 1377 before the marriage could take place. Antonia could have become Queen consort of Sicily if she had married Frederick.

Antonia married, on 27 October 1380, to Eberhard III, Count of Württemberg, in Bad Urach.[5] Antonia laid out water gardens in their castle grounds, known as "der Frau von Mailand Garten".[citation needed]

Antonia and Eberhard had three sons, but only one lived to adulthood:

Eberhard IV, Count of Württemberg, (23 August 1388, Stuttgart–2 July 1419, Waiblingen), successor to his father.
Ulrich (died young)
Ludwig (died young)
Antonia and Eberhard were married for twenty-five years. On 26 March 1405 Antonia died at Old Castle (Stuttgart), leaving her husband and surviving son. Eberhard remarried after Antonia's death to Elisabeth, daughter of John III, Burgrave of Nuremberg and Margaret of Bohemia. They had a daughter, also called Elisabeth.

A treasure in the house of Württemberg

Antonia Visconti (+ 1405) is one of the legendary female figures in the history of Württemberg. 2005 marked the 600th anniversary of her death. Antonia, from the powerful Visconti family in Milan, married Count Eberhard III in 1380. from Wuerttemberg. In the history of Württemberg, it stands for the early connection to Italy and the transmission of Italian high culture via the Alps.

The dowry register of Antonia Visconti is of particular importance as a source for the cultural history of the late Middle Ages far beyond the history of Württemberg. Under the title "Liber iocalium" ("Book of Treasures"), it lists the personal treasures that Antonia Visconti from Milan brought to her marriage to Eberhard III on 94 pages. brought from Württemberg in October 1380.

Precious pieces of jewellery, including numerous rings, precious stones, pearls, gold and silver items, candlesticks, chalices, paternosters, as well as lavishly crafted and decorated clothing, coats, overgarments, overgarments and undergarments, scarves, bags and pouches, as well as books, crockery and hand tools - the "Liber iocalium" opens up an overwhelming view of the wardrobes, chests and jewelery boxes of Antonia Visconti; it offers insight into their pastimes and thus into their very personal environment.

At the beginning of the dowry list, a large number of valuable gemstones and rings are listed over several pages, which Antonia took with her to Württemberg in October 1380 as part of her bridal treasure.

In addition to chest and shoulder jewelry, bracelets, necklaces and pins, Antonia's dowry also included seven valuable zoyelli, brooches. Six of them were given to Antonia specifically for the wedding. The brooches were set with pearls and sapphires, with emeralds, garnets and topazes. A particularly beautiful stone adorned the center of each. At the top of this list is a particularly large and sumptuous brooch set with a brilliant sapphire at its centre. Eight large pearls, 16 large and 24 small emeralds and 71 garnets adorned this valuable wedding gift.

shortened from:
Antonia Visconti
Exhibition in the Main State Archives in Stuttgart 2005–2006, © Main State Archives in Stuttgart, www.landesarchiv-bw.de

The Trionfi Project
(Heather Smith et al., Wilfred Laurier University) investigates the intersection of cultural, social, and intellectual history through digital humanities platforms. Their headline project, Sonorities of the Street: Music and Identity in Renaissance Florence (1484-1539), contextualizes novel recordings of Lorenzo de’ Medici’s Canzone within the contemporary streetscape of Renaissance Florence.

About the Trionfi Project
Created out of a passion for Italian Renaissance history, The Trionfi Project employs a variety of sources across digital humanities platforms as a means of investigating new avenues of cultural, social, and intellectual history.
There is an open invitation for scholars working on the Italian Renaissance, or in related fields, to contribute to the Trionfi Project. If you would like to post as a contributor on the site, please send us a message via the contact page.
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The Trionfi Project