Part of the google webpage translation:
The Sphinx is a century of sonnets, thirteen of which are caudates. "Pleasant and gallant" (Nigro, p. 237), they pose dilemmas and provide the solutions in a later section called the Oedipus . Despite a careful selection, it is probable that some lyrics were not appreciated by the religious authorities: sometimes the publisher plays between the enigma (where, instead of a lemma, he uses suspensive points) and the key solution. The collection was reprinted in 1641 with the same editorial coordinates but with further censorship. A second century of The Sphinx was published in Florence at the Grand Ducal Printing House in 1643. This edition is accompanied by a sonnet (p. 10) with which Galilei replied to the fifth of the "riddles" of the first century, dedicated to the telescope. The informal circulation, but probably also the preparation for the press justify the existence of numerous manuscript copies of the century. The large number of riddles produced over the years by M., excluded for various reasons (but above all for censorship reasons) from the editions in life, has stimulated over time the work of numerous scholars, who have posthumously published the riddles discarded from the prints.
When Lippi began to compose and read the first cantari of his poem in octave Il Malmantile repurchased in 1649 in the Accademia degli Apatisti, M. was involved in the enterprise with the writing of the twelve topics. Lippi imagined the taking of the manor and its reconquest by Baldone, who came to the rescue of Queen Celidora, with an army of blind, gluttonous and drunkards, led by M., under the pseudonym of Am Constant Latoni, in the guise of a ridiculous warrior (and inveterate card player). In the poem the use of the ionadactic language, the wisdom of rewriting, the labor limae, the direct commitment of friends in the drafting were not unknown practices to M., who was also the author of an initial "enimma" accompanying the poem and of the octave LXI in the first cantare, very self-congratulatory.

The Florentine poet Antonio Malatesti (1610-1672) earned a brief but significant mention in the earliest history of Italian literature for his contributions to the renewal of the sonnet form in two genres, enigmatography and dithyrambic poetry. In more recent times, his name has cropped up most frequently because of a sequence of fifty bawdy sonnets entitled La Tina, equivoci rusticali, which Malatesti dedicated and presented to the young John Milton on the occasion of his visit to Florence in 1638. The dedication manuscript disappeared soon after Milton's death and remained practically unknown until 1757, when it was found on a bookstall in London and copied as a curiosity. Then it disappeared again, and some scholars even suggested that it had never existed. The present critical edition is based on the rediscovered autograph manuscript dedicated to Milton. The sonnets are furnished with linguistic footnotes and prefaced by a note on the author from a previously unknown copy by Giuseppe Baretti (1719-1789). A comprehensive introduction sheds light on the history of the manuscript, using new archival research, and it contributes to a wider understanding of Malatesti's minor but exemplary position in the history of seventeenth-century Italian literature.

A posthumous fourth edition of La Sfinge was brougth out in 1683, in three parts, enriched with a number of quatrains on the Florentine card game called Minchiate[/quote]
Antonio Malatesti, 'La Tina': Equivoci rusticali
by Davide Messina
MHRA, 03.03.2014 - 124 pages (modern research)
https://books.google.de/books?id=XyYDAw ... navlinks_s

page 3 Introduction

This report meets the condition, that it seems, that the Minchiate text existed already in 1643, possibly published under a pseudonym "Astianatte Molino"
Le Minchiate; enimmi. [Edited by A. Cecchi.], by Astianatte MOLINO (pseud.), 1643
https://books.google.de/books?id=9-loAA ... navlinks_s

6 Febbraio 1643 should be in modern counting 6th of February 1644 (? well, I don't know, when the New Year start got its modern form) .

One way or another, Florence gives you the opportunity to celebrate, in March, the Florentine New Year. While the other Italian and European cities were already using the Gregorian Calendar – started on January 1st – since 1582, Florence assumed March 25th as the beginning of the civil calendar until 1750.

*******************

The Le Minchiate work of 1643/44 was dedicated to a person Carlo Gerini. The same name appeared in another dedication of a poetry work in the year 1652.

https://archive.org/details/bub_gb_gZ7z ... p?q=gerini

M.'s work is now largely kept in the Magliabechi , Marmi and Biscioni collections of the National Library of Florence. Worthy of note are the poem Rinaldo infuriato in ten cantos, emulation of the Ariosto model, and La Chimera, or true La forest of dreams, a satirocomic poem by Astianatte Molino , another anagram of the author.

Survival
There are numerous traditions up through the Middle Ages and the Renaissance that have Astyanax survive the destruction of Troy:

Astyanax, in Andromache's lap, reaches to touch his father's helmet before his duel with Achilles (Apulian red-figure column-crater, ca. 370–360 BC).
In one version, either Talthybius finds he cannot bear to kill him or else kills a slave's child in his place. Astyanax survives to found settlements in Corsica and Sardinia.
The Chronicle of Fredegar contains the oldest mention of a medieval legend linking the Franks to the Trojans.[7] One legend, as further elaborated through the Middle Ages, established Astyanax, renamed "Francus", as the founder of the Merovingian dynasty and forefather of Charlemagne.
In Matteo Maria Boiardo's Orlando innamorato (1495), Andromache saves Astyanax by hiding him in a tomb, replacing him with another child who is killed along with her by the Greeks. Taken to Sicily, Astyanax becomes the ruler of Messina, killing the giant-king of Agrigento (named Agranor) and marries the queen of Syracuse. He is killed treacherously by Aegisthus, but his wife escapes to Reggio and bears a son (Polidoro), from whom the epic hero Ruggiero is descended (III, v, 18-27). In this tradition, the epic hero Roland's sword Durendal is the very sword used by Hector, and Roland wins the sword by defeating a Saracen knight (Almonte, the son of Agolant) who had defeated Ruggiero II.
In Ludovico Ariosto's Orlando Furioso, a continuation of Boiardo's poem, Astyanax is saved from Odysseus (36.70) by substituting another boy of his age for himself. Astyanax arrives in Sicily, eventually becomes King of Messina, and his heirs later rule over Calabria (36.70–73). From these rulers is descended Ruggiero II, father of the hero Ruggiero, legendary founder of the house of Este.
Based on the medieval legend, Jean Lemaire de Belges's Illustrations de Gaule et Singularités de Troie (1510–12) has Astyanax survive the fall of Troy and arrive in Western Europe. He changes his name to Francus and becomes King of Celtic Gaul (while, at the same time, Bavo, cousin of Priam, comes to the city of Trier) and founds the dynasty leading to Pepin and Charlemagne.[8]
Lemaire de Belges' work inspired Pierre de Ronsard's epic poem La Franciade (1572). In this poem, Jupiter saves Astyanax (renamed Francus). The young hero arrives in Crete and falls in love with the princess Hyanthe with whom he is destined to found the royal dynasty of France.
In Jean Racine's play Andromaque (1667), Astyanax has narrowly escaped death at the hands of Odysseus, who has unknowingly been tricked into killing another child in his place. Andromache has been taken prisoner in Epirus by Neoptolemus (Pyrrhus) who is due to be married to Hermione, the only daughter of the Spartan king Menelaus and Helen of Troy. Orestes, son of Agamemnon and Clytemnestra, brother to Electra and Iphigenia, and by now absolved of the crime of matricide prophesied by the Delphic oracle, has come to the court of Pyrrhus to plead on behalf of the Greeks for the return of Astyanax.

His 'Researches into the History of Playing Cards; with Illustrations of the Origin of Printing and Engraving on Wood' was published in 1816; two hundred and fifty copies were printed. It was superseded by the 'Playing Cards of Various Ages and Countries,' published in three volumes (1892–95) by Lady Charlotte Elizabeth Schreiber.

La Sfinge del Malatesti è giunta alle stampe solo in parte e in più riprese. Anche le edizioni delle prime due Parti, uscite mentre il Malatesti era in vita, furono stampate a cura di Giovan Battista Pusterla per acquistare il favore dei personaggi a cui dedicò le edizioni. Con tutta probabilità, già la Prima Parte della Sfinge rappresentò una selezione fra un numero più alto di enimmi; la prima edizione avvenne a Venezia nel 1640 e si può presumere che andasse subito esaurita. Pochi mesi dopo fu deciso di ristampare gli enimmi e con l’occasione ne furono sostituiti due e aggiunti dieci alla fine in modo da portare la Prima Parte
al numero complessivo di centodieci. Anche in questo caso, come per l’edizione precedente, si tratta di un’edizione rara: basti pensare che di
nessuna delle due ho rintracciato copie nelle principali biblioteche pubbliche fiorentine.

The Sphinx by Malatesti came to the press only in part and on several occasions. Even the editions of the first two Parts, released while Malatesti was alive, were printed by Giovan Battista Pusterla to win the favor of the characters to whom he dedicated the editions. In all likelihood, the First Part of the Sphinx already represented a selection from a higher number of riddles; the first edition took place in Venice in 1640 and it can be assumed that it was immediately sold out. A few months later it was decided to reprint the riddles and with the occasion two were replaced and ten added at the end in order to bring the First Part to the total number of one hundred and ten. Also in this case, as for the previous edition, it is a rare edition: just think that of neither of them I have found copies in the principal Florentine public libraries.

Cl. VII 674 – Sembrerebbe l’ultimo codice autografo importante presente in questa serie. É uno dei pochi manoscritti datati della Sfinge e il suo interesse deriva dal fatto che tale data è il 1637, prima cioè di qualsiasi edizione a stampa. Inizialmente sono riportati 133 enimmi seguiti dal relativo Edipo o insieme di soluzioni e spiegazioni. In seguito nel manoscritto sono inseriti vari argomenti, compresa l’introduzione alla Tina, lettere di richiesta di impiego, vari altri enimmi sparsi. Interessante anche l’indice della Seconda Parte degli enimmi, che ne elenca 77 (di cui un discreto numero ripetuti dall’elenco della Prima Parte) senza che questi siano riportati nel seguito, eccetto qualche esempio.

Cl. VII 674 – It would seem the last important autograph code in this series. It is one of the few dated manuscripts of the Sphinx and its interest derives from the fact that this date is [color = # FF0000] 1637 [/ color] , ie before any printed edition. Initially 133 enymmas are reported followed by the relative Oedipus or set of solutions and explanations. Subsequently, various topics are included in the manuscript, including an introduction to [color = # FF0000] Tina [/ color], letters of request for employment, various other scattered riddles. Also interesting is the index of the Second Part of the riddles, which lists 77 (of which a fair number repeated from the list of the First Part) without these being listed below, except for some examples

Michele Camerota starts his extraordinary biography of Galileo Galilei with a poem, L’Enimma [The Enigma]—which is full of bitter irony, and was published posthumously, in 1643, in the second part of La Sfinge [The Sphinx] by Antonio Malatesti—which Galileo wrote shortly before dying [IX, 212].

Originally published in 1990, Dictionary of Riddles is a collection of nearly 1500 of the most cryptic and entertaining riddles from history. Drawn from sources throughout the world, the collection ranges from earthy medieval jokes about fleas, worms and vegetables to the sophisticated puzzles composed by literary figures from Schiller, Swift, Voltaire, Rousseau and Cervantes to Edgar Allen Poe, Lewis Carroll and J.R.R. Tolkien. The book traces the history of riddles from their origins in antiquity through the golden age of the Renaissance, to their decline into the nursery and the first few signs of their modern revival, and draws together all the strands of the riddling art.

From the automatic translation: Plot

The poem, inspired by two short stories by Cunto de li cunti del Basile, narrates in twelve cantos in octave rhyme the fantastic dispute between Celidora and Bertinella for the realm of Malmantile, a castle that has now disappeared and then was ruined and devoid of inhabitants near Signa . . [5] The poet describes it jokingly:

«Malmantil resides on a hillock,
And whoever turns his eyelashes towards him,
He says that the founders had the concept
of making the eighth wonder.
Then the large country, which he has subjected,
It is not known (I want to play) a thousand miles: It
looks good, blue, ultramarine,
And there is no lack of hen's milk. "

Malmantile is the residence of the very ugly Bertinella, who wrested the kingdom from the legitimate queen Celidora. Baldone, lord of Ugnano, cousin of Celidora, intervenes to put her back on her throne, and sets sail with an army of blind, gluttonous and drunkards from Sardinia , where she was, in Tuscany . [6] The sorceress Martinazza, arriving on a chariot driven by two demons, joins Bertinella in the defense of her kingdom.

Martinazza descends to Hell, where she obtains the promise of diabolical assistance. Baldone's army storms the castle. Bertinella, forced to capitulate, comes to terms with the winners, welcomes them inside the walls, invites them to dinner, and gives them a dance party. Boldone falls in love with Bertinella, but soon the fight is rekindled. The result is a turmoil in which Baldone tears up his rivals, forces Bertinella to kill himself, and restores the throne to Celidora.

Analyses

Burlesque parody of the liberated Jerusalem , in the wake of Tassoni's kidnapped Secchia , Il Malmantile racquistato stands out for its fantastic and bizarre taste, which deforms aspects of Florentine daily life in a grotesque key, often described with great precision, and above all for its lively and colorful, which reproduces that spoken by the people, with a great wealth of idioms , proverbs and slang expressions. In 1688, Leopoldo commissioned Puccio Lamoni ( Paolo Minucci ) to publish a Florentine version with footnotes to explain all the peculiarities of the language to non-Florentines.[7] The burlesque and heroic-comic style, a mix of fantasy and bizarre details, hides a double meaning in almost every sentence, and the poem is full of vulgar humor, linguistic experimentation and Florentine idioticism. [8] To the annotations of Paolo Minucci were then added those of Antonio Maria Biscioni and Anton Maria Salvini . [9] The poem is inseparable from the exegetical apparatus, of linguistic commentary. Thus for example the verses (IV 8 1-4):

"And, because he did not have all his months,
he was the first to exclaim, and make a
strong sea shouting: - Alas, I'm going to Descend
for the pain that comes in the mouth of the hen [...]."

they are almost incomprehensible to a non-Florentine, without the linguistic comment that accompanies them: He does not have all his months : he is disproportionate, he does not have the entire perfection of the brain. It was not all nine months in his mother's womb that he perfected his brain [...]. To marine : let's say to marine those who pretending to be strangled and mischievous shout and regret to make themselves believe such [...]. I go to Scesi : when we say: "so-and-so went to Scesi", we mean "he is dead", if it seems that we say "he went to the city of Scesi", or Assisi, because the verb "to descend" is used to mean " die" [...]. For the pain that comes in the mouth of the hen: the evil that comes into the mouth of the hen is called "pipita" [...]. And because among the low people instead of saying "appetite" they say "appipito", but they get this saying [...] and they mean "appipito", that is, hunger. [10]

"In Malmantile, among other things, the commentators recognize and define the so-called" ionadactic "language:" This spice of speaking, which is spice of cunning, is widely used in Florence as a joke. [...] The Ionadactic language is made up of capricious words which have no other real word to pronounce than the first letters: since it is seen in seminato said in exchange for wisdom "." [11]

The poem features numerous historical characters and close friends of the poet, hidden by anagrams , such as Salvator Rosa (Salvo Rosata), a great friend of Lippi, Carlo Dati (Alticardo), Antonio Malatesti (Amianto Latoni) or Lorenzo Magalotti (Grazian Molletto).

Malmantile is part of that restarting phase of the Accademia della Crusca which, after the prolonged stasis that followed the second edition of the Vocabulary in 1623, resumed work at the end of 1640 on the initiative of Pietro de 'Bardi, with the contribution, among others, by Michelangelo Buonarroti the Younger and Benedetto Buommattei . A first result came precisely in 1643 when these three writers gave birth, respectively, to Avinavoliottoneberlinghieri (begun towards the end of the sixteenth century, but completed only many years later), Ajone and the third edition of Della lingua toscana. The first two are considered the models of burlesque poetry closest to Malmantile , while the third is a treatise that develops the positions of Benedetto Varchi's Hercolano ( published posthumously in 1570), theorising the opening of Florentine to the spoken language, "to the alive voice of the people », while respecting the authority of the fourteenth century fathers and the canon of Lionardo Salviati .

Lippi finds to a large extent the stimuli for his poetic choices in the context of this renewed strategy of the Crusca, or at least of a part of its members. Paolo Minucci and Filippo Baldinucci , frequent patrons of Lorenzo, had well indicated the salient points of Malmantile, one introducing the monumental apparatus of notes, the other embedding a long commentary on the painter's biography. The two texts in large parts coincide, so much so that they are "agreed", in particular on the linguistic aspects: Lippi, demonstrating the ease of speaking Florentine, is based on the principle that speaking well is a natural property and is therefore accessible even to those who do not possess the artifices of rhetoric; therefore the living language is that of the people and - both commentators argue polemically - ridiculous is those who affect an ancient language by using and abusing disused words, even if attested by the venerable fathers of the "best century"; finally, under the guise of a collection of domestic short stories for children, and therefore in occasional similitude with the " trattenemiento de 'peccerille»By Basile suggested to Lippi by Salvator Rosa, Malmantile constitutes a precious repertoire of Florentine proverbs, phrases and lexicons. Strengthened by this last consideration, Minucci summarizes the strategy of his painter friend with the phrase - highlighted in italics -: "Seizing the most beautiful flower of the mother tongue", which, being exemplified in the Petrarchian motto of the Crusca, in a certain way affixes the academic seal on the poem and certifies its congruity of purpose.

Il toponimo significa letteralmente "cattiva tovaglia", intesa come "cattiva accoglienza", e la sua origine è riportata nella Leggenda Aurea di Jacopo da Varagine come derivante da un episodio avvenuto nel IV secolo, all'epoca della visita a Firenze del vescovo di Milano sant'Ambrogio e del suo incontro con san Zanobi, vescovo di Firenze, nel punto ancora oggi segnato da un tabernacolo commemorativo. I due santi furono ospitati in un casolare della zona, ma la cattiva accoglienza fece maledire il casale che sarebbe sprofondato in un crepaccio.
... automatic translation
The toponym literally means "bad tablecloth", understood as "bad reception", and its origin is reported in the Golden Legend of Jacopo da Varagine as deriving from an episode that occurred in the fourth century, at the time of the visit to Florence of the bishop of Milan Sant'Ambrogio and his meeting with San Zanobi, bishop of Florence, in the spot still marked today by a commemorative tabernacle. The two saints were housed in a farmhouse in the area, but the bad reception cursed the farmhouse that would have sunk into a crevasse.

https://books.google.de/books?hl=de&id= ... te&f=false
Malatesti 5-(6)
Amostante 189-190-219
Minchiate --- 0
Germini --- 0
Tarocchi 16 (= page 11)
carte 11-67-92-175-186-204

https://books.google.de/books?id=atW7n2 ... navlinks_s
Malatesti 0-0-0-1-49-50-93-393-459
Amostante 1-50-132-133-417-440-507-528540
Minchiate 33-38-94-106-132-206-400-408-411-416
Germini 408-414-416
Tarocchi 33-408-409-411
carte 8-9-10-33-38-94-132-141-149-161-193-195-206-220-237-238-278-300-317-349-359-400-402-406-408-409-410-411-413-414-416-417-440-451-472-477-478

https://books.google.de/books?id=lP9NAA ... navlinks_s
Malatesti xxiii-xxv-44-314-315-435
Amostante 44-21-93-94-101-102-310-311-338-339-343-344-393-394-414-424-435
Minchiate 81-82-237-306-313-318-325-326
Germini 309-318-319-326
Tarocchi 14-318-319-320-322-325-326
carte 4-39-40-81-82-85-119-123-131-156-172-187-204-306-309-310-311-318-319-320-321-322-323-324-325-326-339-354-367-379