Origin of Tarot. Research of the history of Tarot.

<div id="root" style="position:absolute;top:0;left:0;width:1316px;height:3414px"> <div style="position:absolute;left:10;top:8;width:1294;height:1980;"> <table width=1294 height=1980 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td><img height=1980 width=1294 src="//www.oocities.org/autorbis/92.gif" border=0 ></td> </tr></table></div> <div style="position:absolute;left:42;top:106;width:561;height:3233;"> <table width=561 height=3233 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td bgcolor="#F0F0F0"><span style="font-size:14"> </span></td> </tr></table></div> <div style="position:absolute;left:48;top:113;width:551;height:3217;"> <table width=551 height=3217 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td bgcolor="#F0F0F0"><span style="font-size:14">Francesco Petrarca (1304-1374) (Petrarch) (an image is </span><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/a/andrea/castagno/2_famous/9petrarc.html&find=petrarca"><span style="font-size:14">here</span></a><span style="font-size:14">, click on the image to enlarge the picture) was an Italian scholar, poet and humanist. Often he's called the father of Renaissance and was regarded as the greatest scholar of his age. Petrarch's inquiring mind and love of classical authors urged him to travel, visiting men of learning and searching the libraries for classical manuscripts. Diplomatic missions, especially in the service of the Visconti in Milano, did lead him to the most important political leaders, he met Popes, the Emperor Charles IV. and the French king.  <br>In his late years (ca. from 1356 - 1374) he wrote the poem </span><i><span style="font-size:14">ITrionphi (Trionfi)</span></i><span style="font-size:14"> in six chapters: Love, Chastity, Death, Fame, Time, Eternity. <br>From illustrations to this text developed a special theme of art, also called "Trionfi". Starting with pictures with the 6 chapter allegories on chariots, the artists developed from time to time more freedom, replacing Petrarcas allegories with others or Greek gods, finally also for natural persons. In a further development the chariot became unimportant, the artists learnt to express the idea of triumph with other stylistic measures.<br>Parallel to this development the triumphal chariot became part of the more and more excessive festivities of 15th and 16th century, especially the typical Renaissance triumphal procession developed, in which the chariots played a natural role. <br><br>From these both great general movements of art and social life jumped the idea of "Trionfi"   into the decks of the playing-cards. However, as there is not much place on a playing card, the iconography changed from  the usual many-persons-paintings to single figures, but the name was kept and these special cards also were called "Trionfi", a name, which to our knowledge first appeared around 1440, although a </span><a href="http://www.oocities.org/autorbis/marcello1.html"><span style="font-size:14">deck</span></a><span style="font-size:14">, which was called "Trionfi" by a speaker of the year 1449, Jacopo Antonio Marcello, already existed around the time of 1417 - 1424, produced for the hands of the Milanese duke Filippo Visconti.<br>Out of a great pool of various experiments with Trionfi-cards on a long way finally that developed, what was called Tarocchi or Tarot later and what was detected with considerable excitement by Court de Gebelin around 1780 as a secret book from old Egyptia, a "fact". that he - according to his own words - understood within 15 minutes. It took around 200 years to get this idea under control again.<br><br>Although nowadays there is more and more believed, that the Tarocchi. started in unclear form in the first half of 15th century in Italy, there still is much discussion about the details.<br>One of these details is the (possible) influence of Petrarca on the early decks. Did give Petrarca birth to the whole Trionfi-idea or did he express with his poem only a generally trend of his time? <br>Triumphal processions were already part of the life in old Rome, so Petrarca didn't invent anything, but Petrarca together with Boccaccio and some others were the explorers of the old and ancient knowledge and art, which was lost in the past 1000 years under the pressure of .  <br>the wandering of nations in the early centuries. And the way, how they opened the door back in the old world created the reality of the new time, did spread ideas how to go on for many others. Petrarca opened the world with "Trionfi" and Boccaccio did his best to translate Homer. Some biographers had the opinion, that cultural development took  a rest for nearly 50 years, when both died around 1374/75. <br>Mankind used the free time to learn card playing, but was lazy enough to report us only few details about the first 50 years of doing so. And people tried the first starts of printing industry, eventually guided by the wish to produce playing cards in an easier way. <br><br>About an eventual rather direct influence from Petrarca on the first steps of the Trionfi I tell you </span><a href="http://www.oocities.org/autorbis/Marcello_1.html"><span style="font-size:14">here</span></a><span style="font-size:14">. A second, perhaps even more intensive influence might have taken place with the </span><a href="http://www.oocities.org/autorbis/VMnew.html"><span style="font-size:14">Cary-Yale.</span></a><span style="font-size:14"><br><br></span><a href="http://petrarch.freeservers.com/"><span style="font-size:14">The Petrarchan Grotto </span></a><span style="font-size:14">is a very rich site with the Italian text of the poemTrionfi and informs you in a lot of directions about Petrarca inclusive biographical data. Another version of the poem </span><a href="http://www.fausernet.novara.it/fauser/biblio/index133.htm"><span style="font-size:14">"Trionfi" , </span></a><span style="font-size:14">also in Italian, is better readable with greater letters. <br><br></span><a href="http://www.bncrm.librari.beniculturali.it/ita/bibliote/petrarca.htm"><span style="font-size:14">Early editions</span></a><span style="font-size:14"> show  you some of the early editions of Petrarcas Trionfi-poem.<br></span><a href="http://history.hanover.edu/texts/petrarch/pettable.htm"><span style="font-size:14">Familiar letters </span></a><span style="font-size:14">in Petrarcas own hand inform you about details in Petrarcas life.<br></span><a href="http://www.brown.edu/Departments/Italian_Studies/dweb/dec_ov/dec_ov.shtml"><span style="font-size:14">Decameron Web </span></a><span style="font-size:14">is a great site about Bocacchio.<br><br><br></span><b><font size="+2"><span style="font-size:24">The world of Trionfi-pictures</span></font></b><span style="font-size:14"><br><br></span><b><font size="+1"><span style="font-size:18">Common Petrarca-style:</span></font></b><span style="font-size:14"><br><br></span><a href="http://www.adh.brighton.ac.uk/schoolofdesign/MA.COURSE/LTPet08.html"><span style="font-size:14">Petrarcas Trionfi  shows Trionfi in the common Petrarca-style. <br>A  </span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=bruegel&title=&comment=triumph&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumph of Death with a still living card-player in detail was painted by Bruegel. <br>A </span></a><a href="http://space.tin.it/arte/gpasett/car2.jpg"><span style="font-size:14">Trionfo del Tiempo with the seldom hourglass</span></a><span style="font-size:14"><br><br></span><b><font size="+1"><span style="font-size:18">Further developments:</span></font></b><span style="font-size:14"><br><br></span><a href="http://www.kfki.hu/~arthp/search.cgi?author=d%FCrer&title=&comment=triumphal+chariot&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumphal chariot with many allegorical figures and a very fat triumphal arch by Duerer<br></span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=Holbein&title=&comment=32-34&time=any&school=any&form=any&type=any&location="><span style="font-size:14">2 triumphs of Holbein<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/v/vorsterm/triumph.html&find=triumph"><span style="font-size:14">Triumph of Poverty</span></a><span style="font-size:14"><br></span><a href="http://www.kfki.hu/~arthp/search.cgi?author=&title=&comment=triumph+schifanoia&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumphs of Greek astrological gods in Palazzo Schifanoia, Ferrara<br></span></a><a href="http://easyweb.easynet.co.uk/giorgio.vasari/mantegna/manteg3.htm"><span style="font-size:14">Triumph of Caesar - Cycle done by Mantegna</span></a><span style="font-size:14"><br></span><a href="http://www.kfki.hu/~arthp/search.cgi?author=carpaccio&title=&comment=triumph+george&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumph of St. George</span></a><span style="font-size:14"><br></span><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/c/carracci/annibale/farnese/farnese1.html&find=triumph"><span style="font-size:14">Late Trionfi with Bacchus and Ariadne<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/p/poussin/2/15neptun.html&find=triumph"><span style="font-size:14">Late Triumph of Neptun</span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/c/carracci/annibale/farnese/farnese1.html&find=triumph"><span style="font-size:14"><br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/p/poussin/2/12flora.html&find=triumph"><span style="font-size:14">Late Triumph of Flora</span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/c/carracci/annibale/farnese/farnese1.html&find=triumph"><span style="font-size:14"><br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/p/pietro/cortona/barberi.html&find=triumph"><span style="font-size:14">Late Trionfo of Divine Providence<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/p/poussin/2a/19triump.html&find=triumph"><span style="font-size:14">Late Triumph of Pan <br></span></a><a href="http://space.tin.it/arte/gpasett/priapo.jpg"><span style="font-size:14">Trionfo del Priapus<br></span></a><a href="http://space.tin.it/arte/gpasett/euro.jpg"><span style="font-size:14">Trionfo with Europa and Zeus<br></span></a><a href="http://space.tin.it/arte/gpasett/leda.jpg"><span style="font-size:14">Trionfo with Leda and Zeus<br></span></a><a href="http://space.tin.it/arte/gpasett/hp1.jpg"><span style="font-size:14">Trionfo of Love meets Trionfo of Diana<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/m/moeyaert/triumph.html&find=triumph"><span style="font-size:14">Late Trionfo of Bacchus<br>Late </span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/r/rubens/61other/08kallo.html&find=triumph"><span style="font-size:14">Triumphal car of Kallo by Rubens</span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/m/moeyaert/triumph.html&find=triumph"><span style="font-size:14"><br></span></a><a href="http://space.tin.it/arte/gpasett/hp1.jpg"><span style="font-size:14"><br></span></a><b><font size="+1"><span style="font-size:18">Single Figures</span></font></b><a href="http://space.tin.it/arte/gpasett/hp1.jpg"><span style="font-size:14"><br><br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/g/ghirland/domenico/1early/1cercin1.html&find=triumph"><span style="font-size:14">St. Barbara<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/g/gozzoli/5various/7aquinas.html&find=triumph"><span style="font-size:14">Triumph of St. Thomas of Aquin<br></span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=Giovanni+da+Bologna&title=&comment=triumph&time=any&school=any&form=any&type=any&location="><span style="font-size:14">2 Triumphs of Giovanni da Bologna<br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/l/le_brun/triumph.html&find=triumph"><span style="font-size:14">Triumph of Faith<br></span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=&title=&comment=Ferrante+Gonzaga&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumph of Ferrante Gonzaga</span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=Giovanni+da+Bologna&title=&comment=triumph&time=any&school=any&form=any&type=any&location="><span style="font-size:14"><br></span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/r/reni/2/samson.html&find=triumph"><span style="font-size:14">Late Triumph of Samson <br></span></a><a href="http://www.kfki.hu/~arthp/search.cgi?author=Giovanni+da+Bologna&title=&comment=triumph&time=any&school=any&form=any&type=any&location="><span style="font-size:14"><br></span></a><span style="font-size:14">This </span><a href="http://www.kfki.hu/~arthp/search.cgi?author=Traini&title=&comment=&time=any&school=any&form=any&type=any&location="><span style="font-size:14">Triumph of Death </span></a><span style="font-size:14"> is from ca. 1350 and earlier than Petrarca's poem Trionfi. It reminds the Great Death from 1348-1350, which transformed Petrarcas life. According to his own words he did meet his poetical ideal Laura at Good Friday 1327, and Laura died cause the plague at Good Friday, 1348. Petrarca left his home at Vaucluse near Avignon  around 1350 and spend the most of the rest of his life in Italy. The poem Trionfi reflects his love to Laura and also the dramatic changes in his own life, probably also the deep experience of the pestilence.<br>It became never clear in the researches of Petrarcas life,  if there had been once a real Laura or if she was only a poetical fugure. Petrarca died similar perfect as Laura at his 70th birthday, with the writing pen in his hand, as he wished it before (might be a legend).  <br></span><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/l/laurana/alfonso_.html&find=triumph"><span style="font-size:14"><br></span></a><span style="font-size:14">The relief </span><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/l/laurana/alfonso_.html&find=triumph"><span style="font-size:14">Triumph of Alfonso in Naples </span></a><span style="font-size:14">refers to the Trionfi as a memorial to a real Triumphal procession. When Alfonso of Aragon finally did win again the throne of Naples against the interests of Rene d'Anjou in 1442, in 1443 he sponsored festivities in until then unknown dimensions. It is said, that parts of the city walls were destroyed to have enough place for the chariots to drive in the city.</span><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/l/laurana/alfonso_.html&find=triumph"><span style="font-size:14"> A t</span></a><a href="http://www.kfki.hu/~arthp/highlight.cgi?file=html/l/laurana/alfonso.html&find=triumph"><span style="font-size:14">riumphal arch</span></a><span style="font-size:14"> was builded. <br><br>Alfonso was seven years before (1435) the prisoner of Filippo Visconti and played cards with him. Astonishingly Filippo showed himself at this opportunity from his best side and finally released Alfonso without any condition - which was a dangerous act and heavily paid, cause  the important Genua, Filippos ally, was totally displeased and stopped cooperation with Milano for many years. <br>It is unclear, with which deck was played, also it is unclear, if card playing played a deciding role for the sympathy between Alfonso and Filippo and it is unclear, if eventually Trionfi-cards in the possession of Filippo raised the idea in Alfonso to win the Italian hearts with triumphal processions with figures, which look like the motives of playing cards. <br><br>Alfonso might have been played the role of an initiator for the following Trionfi-faible in Italia (Trionfi as triumphal procession, not as a card play).<br><br><br>Jacob Burckhardt describes: <br><br>"We now and then read of the actual triumphal entrance of a victorious general, which was organized as far as possible on the ancient pattern, even against the will of the hero himself. Francesco Sforza had the courage (1450) to refuse the triumphal chariot which had been prepared for his return to Milan, on the ground that such things were monarchial superstitions.<br><br>Alfonso the Great, on his entrance into Naples (1443), declined the wreath of laurel, which Napoleon did not disdain to wear at his coronation in Notre-Dame. For the rest, Alfonso's procession, which passed by a breach in the wall through the city to the cathedral, was a strange mixture of antique, allegorical, and purely comic elements. The car, drawn by four white horses, on which he sat enthroned, was lofty and covered with gilding; twenty patricians carried the poles of the canopy of cloth of gold which shaded his head. The part of the procession which the Florentines then present in Naples had undertaken was composed of elegant young cavaliers, skillfully brandishing their lances, of a chariot with the figure of Fortune, and of seven Virtues on horseback. The goddess herself, in accordance with the inexorable logic of allegory to which even the painters at that time conformed, wore hair only on the front part of her head, while the back part was bald, and the genius who sat on the lower steps of the car, and who symbolized the fugitive character of fortune, had his feet immersed in a basin of water Then followed, equipped by the same Florentines, a troop of horsemen in the costumes of various nations, dressed as foreign princes and nobles, and then, crowned with laurel and standing above a revolving globe, a Julius Caesar, who explained to the king in Italian verse the meaning of the allegories, and then took his place in the procession. Sixty Florentines, all in purple and scarlet, closed this splendid display of what their home could achieve. Then a band of Catalans advanced on foot, with lay figures of horses fastened on to them before and behind, and engaged in a mock combat with a body of Turks, as though in derision of the Florentine sentimentalism. Last of all came a gigantic tower, the door guarded by an angel with a drawn sword; on it stood four Virtues, who each addressed the king with a song. The rest of the show had nothing specially characteristic about it."<br><br>In the </span><a href="http://www.idbsu.edu/courses/hy309/docs/burckhardt/5-9.html"><span style="font-size:14">article Festivities</span></a><span style="font-size:14"> by Burckhardt you do find more about Trionfi and festivities in renaissance. The whole book, </span><a href="http://www.idbsu.edu/courses/hy309/docs/burckhardt/burckhardt.html"><span style="font-size:14">The Civilization of the Renaissance in Italy </span></a><span style="font-size:14">by Jacob Burckhardt,<br>you can see by clicking and also the </span><a href="http://www.gutenberg2000.de//burckhar/renaiss/renaiss.htm"><span style="font-size:14">German original</span></a><span style="font-size:14">.<br><br><br></span><b><span style="font-size:14">Extracts from the chronology of </span></b><a href="http://www.storiadimilano.it/cron/cronindex.htm"><b><span style="font-size:14">Storia di Milano:</span></b></a><a href="http://www.storiadimilano.it/cron/cronindex.htm"><span style="font-size:14"><br></span></a><span style="font-size:14"><br>YEAR 1435: <br><br>5 agosto: Battaglia navale di Ponza. Vengono fatti prigionieri Alfonso V d'Aragona, suo fratello Giovanni re di Navarra e l'infante don Enrico. La flotta genovese-viscontea è guidata dal notaio genovese Biagio Assereto.<br><br>15 settembre: I prigionieri aragonesi arrivano a Milano dove vengono ospitati nel Castello e nel palazzo Borromeo da Vitaliano. Il 21 settembre Filippo Maria Visconti firma un trattato con i <br>rappresentanti di Renato d'Angiò per fornirgli un sostegno militare a Napoli. Nel frattempo però <br>il duca tratta con gli Aragonesi.<br><br>10 dicembre: Dopo varie trattative, gli aragonesi vengono liberati all'insaputa dei genovesi. Il trattato, che conservava alcune parti segrete, verrà ratificato il 15 settembre 1442.<br><br>27 dicembre: I genovesi si ribellano contro il duca di Milano. Viene linciato il commissario visconteo Opizzino d'Alzate e bandito Biagio Assereto.<br><br><br>YEAR 1450<br><br>25 marzo: Festa dell'Annunciazione. Francesco Sforza entra in Milano da Porta Ticinese, rifiutando l'onore del carro trionfale con il baldacchino col drappo d'oro bianco; raccoglie con l'acclamazione popolare la successione dei Visconti. Si stabilisce nella Corte Vecchia dov'era il governo repubblicano. Gian Galeazzo è nominato conte di Pavia secondo la tradizione viscontea.<br>Luigi Bossi rientra a Milano e diventa consigliere ducale. Il governo è costituito dal Vicario di <br>Provvisione con i 12 consiglieri addetti alla Sanità, Ordine Pubblico, Commercio, Dazio e <br>Rendite; dal Podestà per la giustizia civile e dal Capitano di Giustizia per quella penale.<br>Il Consiglio Generale non viene quasi più convocato. Il popolo è rappresentato dai capitani e <br>deputati delle Porte, dai sindaci delle 86 parrocchie e dai paratici.<br>F. Sforza chiama a Milano Angelo Simonetta come Segretario ducale. Cicco, Andrea e Giovanni<br>Simonetta arrivano a Milano e diventano cittadini milanesi.</span></td> </tr></table></div> <div style="position:absolute;left:203;top:3380;width:240;height:22;"> <table width=240 height=22 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td><font color="#0000FF"><span style="font-size:14">copyright: autorbis@yahoo.com</span></font></td> </tr></table></div> <div style="position:absolute;left:52;top:24;width:546;height:73;"> <table width=546 height=73 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td bgcolor="#9999FF"><b><i><font color="#FF0000" size="+1"><span style="font-size:18">The contents of this page have developed:<br>                            <br>                             </span></font></b></i><a href="http://trionfi.com/01/t"><b><i><font color="#FF0000" size="+1"><span style="font-size:18">Click here for new version</span></font></b></i></a></td> </tr></table></div> <div style="position:absolute;left:197;top:3348;width:240;height:22;"> <table width=240 height=22 border=0 cellpadding=0 cellspacing=0><tr valign="top"> <td align="center"><a href="http://www.oocities.org/autorbis/index.html"><b><font size="+1"><span style="font-size:18">Home</span></font></b></a></td> </tr></table></div> </div>