Re: Certame coronario October 1441

21
Huck wrote: 05 Mar 2023, 08:51
Ross Caldwell wrote: 05 Mar 2023, 08:41 25 October 1441 was a Wednesday. The Certame was held on Sunday.

I also pointed out Maxson's paper, "The Certame coronario as performative ritual" back in January in this post -
viewtopic.php?p=25621#p25621

"Maxson interprets the event, held on 22 October 1441, in the light of the marriage of Bianca Maria Visconti and Francesco Sforza, which occurred two days later. It's quite an astonishing insight. His argument is that the Florentines hoped that the wedding was a herald of lasting peace, finally, between Milan and Florence, while the Certame coronario itself, whose theme was "true friendship," reflected the hope of civic reconciliation within the city."

It's worth reading to consider the wider political context of the contest.
A web program told me, that it was a Monday.
https://happyhappybirthday.net/en/1441/10/25
Best to search with a standard calendar reference, like wikipedia, with the keywords "year" "1441" (or whatever year).
https://en.wikipedia.org/wiki/1441#:~:t ... s%20decade.

But you don't need to trust the web, since primary documentation says it was a Wednesday, e.g. (from Visioli's paper) "die ** mercurij XXV. Illustrissimus dominus comes Franciscus venit ad Sanctum Sigismondum prope Cremonam, quo etiam associata fuit domina Blancha et ibi circa hora XVIII° jlluster comes ipsam disponsavit."

I think that the 18th hour was about 11 am. Sunset the day before was 17:20 or so, so nightfall was about 18:00. This is when they would ring the first hour. Thus the 18th hour was rung at 11 am. Presuming the astrologers had anything to say about the timing, the moon was just past half full waxing, so that is good. More notably, Venus was at the highest point of the sky at 11 am.

Re: Certame coronario October 1441

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I stumbled about the following text, which uses the terminus "Protestatio", which was used for Alberti's contribution at 22 October 1441.

http://www.dantecollection.com/index.ph ... g%5D=23249
.....
A precious composite manuscript or zibaldone, probably produced in the milieu of the Studio Fiorentino, containing an almost complete text of the Commedia (the first two cantiche are complete but the compiler suddenly broke off, in the middle of the verso of the last leaf, the transcription of the Paradiso at verse 192 of Canto xvii) and supplemented with earlier encomiastic and exegetical texts, reflecting how Dante's poem circulated, and was read and re-interpreted in the fifteenth century. It represents an attempt to create, in a kind of personal notebook, an introductory ‘manual' to the Commedia, and is a striking example of the lasting influence of the earlier fourteenth-century works relating to Dante. The miscellany opens with the sermo or protestatio de iustitia held on 15 May 1456 by Pandolfo de' Pandolfini, a friend of Leonardo Bruni and Giannozzo Manetti. In the first half of the fifteenth century the protestatio de iustitia was a traditional Florentine public ceremony, held – as stipulated in the 1415 Statutes – on the installation of the city's new Priors, who undertook in rhetorical declarations to perform their duties with impartiality and equity. Texts of protestationes are often to be found in the zibaldoni assembled and transcribed by Florentine students, as standard pedagogical practice. This manuscript, written in a single hand in humanistic script, could have been produced after 15 May 1456 in the milieu of the Studio Fiorentino. The group of codices of the Commedia transcribed in humanistic script between 1425 and ca. 1450 is limited, increasing the importance of the manuscript presented here.
The miscellanea dantesca in the strict sense begins on fol. 11r with the Libro della vita, studii costumi di Dante Allighieri [et] di messer Francescho Petrarca, the text of the Vitae of Dante and Petrarch composed in 1436 by Leonardo Bruni (1370-1444). The version included in this manuscript is especially noteworthy: it presents vernacular marginal glosses in red ink, identical in content to those extant in a manuscript of Bruni's Vita di Dante copied in 1440 by the Florentine notary and reader of Dante, Piero Bonaccorsi, or Bonaccorso da Montemagno (1410-1477), preserved in the Biblioteca Laurenziana in Florence (ms Plut. 90 sup. 131, fols. 81v-86v). Bruni had carefully read Boccaccio’s Trattatello in laude di Dante, and in the proemio comments critically on numerous details of this earlier work. It is no coincidence that, following Bruni’s account, the unknown compiler of this zibaldone copied an excerpt from the first redaction of the Trattatello (dated between 1351 and 1355; Boccaccio’s autograph is preserved in the Biblioteca Capitolar in Toledo, ms Zelada 104.6), containing the famous description of Dante’s appearance: a choice that mirrors the popularity of Boccaccio’s work in Florence in the fifteenth century.
.....
Actually I was interested in the person Piero Bonaccorsi, who appeared in this German text:
Bernhard Huss: Petrarcas Trionfi als Versuch poetischer Selbstermächtigung gegen Dante
inside the book: Poetische Selbstautorisierung in der Frühen Neuzeit (2021)
https://www.degruyter.com/document/doi/ ... 09-003/pdf
Francesco Petrarca wurde in eine Zeit hineingeboren, da der (gemessen an der eifrigen Tätigkeit von Kopisten und Kommentatoren) vielleicht größte Rezeptionserfolg der italienischen Literaturgeschichte in vollem Gange war: Alle Welt kannte und las Dantes Commedia. Im späteren vierzehnten und im fünfzehnten Jahrhundert verbreitete sich angesichts dieser Situation der ironisch-kritische Gemeinplatz vom‚Dante villano‘ – ein villano war Dante demnach, weil er alles Sagenswerte bereits gesagt und niemandem die Möglichkeit gelassen hatte, nach ihm noch weitere relevante Äußerungen zu tätigen und nennenswerte literarische Texte zu verfassen: «Dante è villano [. . .] perché à decto ogni chosa degnia di memoria e fama nelle sue opere poetiche e non à lassato a dire nulla ad altri». (Footnote 1)
Francesco Petrarca soll nach einer anekdotischen Notiz von Vincenzo Borghini(Zibaldone B.N.F. II.x.116) seinen Gefühlen gegenüber Dante villano unter anderem auf seinem Schreibtisch sehr konkret Ausdruck verliehen haben: Petrarca habe, so heißt es da, eine bildnerische Darstellung eines an den Füßen aufgehängten Dante vor sich stehen gehabt, als beständiges Erinnerungszeichen daran, dass der derart als Räuber bestrafte Dante ihm «ogni occasione di scriverecosa che buona fosse» geraubt habe.
automatic translation
Francesco Petrarch was born at a time when what was perhaps the greatest success in reception in Italian literary history (measured by the eager activity of copyists and commentators) was in full swing: everyone knew and read Dante's Commedia. In the later fourteenth and fifteenth centuries, in view of this situation, the ironic-critical truism of 'Dante villano' spread - Dante was a villano because he had already said everything worth saying and had given no one the opportunity to make further relevant statements after him and to write notable literary texts: «Dante è villano [. . .] perché à decto ogni chosa degnia di memoria e fama nelle sue opere poetiche e non à lassato a dire nulla ad altri».(Fotnote 1)1
According to an anecdotal note by Vincenzo Borghini (Zibaldone B.N.F. II.x.116), Francesco Petrarch is said to have expressed his feelings towards Dante villano very concretely on his desk, among other things: Petrarch, it says, has a pictorial representation of one on his feet hanged Dante standing in front of him as a constant reminder that Dante, punished as a robber in this way, had stolen from him «ogni occasione di scriverecosa che buona fosse».
I don't claim to understand these notes completely myself.

Something else happened in the year 1440 ...
https://en.wikipedia.org/wiki/Andrea_del_Castagno
Andrea del Castagno was born at Castagno, a village near Monte Falterona, not far from Florence. During the war between Florence and Milan, he lived in Corella, returning to his home after its end. In 1440 he moved to Florence under the protection of Bernadetto de' Medici. Here he painted the portraits of the citizens hanged after the Battle of Anghiari on the facade of the Palazzo del Podestà, gaining the nickname of Andrea degli Impiccati.
Andrea del Castagno worked later (1449-50) on pictures of Dante, Petrarca and Boccaccio, further 3 Florentine condottieri and 3 Sybils.
In the same years he collaborated with Filippo Carducci to paint a series of Illustrious People for the Villa Carducci at Legnaia. These include Pippo Spano, Farinata degli Uberti, Niccolò Acciaioli, Dante Alighieri, Petrarch, Giovanni Boccaccio, the Cumaean Sibyl, Esther and Tomiri.
We discussed these objects earlier ... It's strange to find for the year 1440 a report about a Dante, hanged in the manner of Trinfi card hanged man.
Huck
http://trionfi.com

"Triumph" of Sigismondo Malatesta in Florence in 1448?

25
Looking at the Matteo de' Pasti medal for Sigismondo Malatesta which shows the design of the completed “Tempio Malatestiano”, probably designed and modeled by Alberti, the page asserts something -
Sul recto corre l'iscrizione "SIGISMONDVS PANDVLFVS MALATESTA PAN F" (Sigismondo Pandolfo Malatesta figlio di Pandolfo II) ed è particolarmente interessante la versione più diffusa, quella con la corona d'alloro. Non è chiaro perché il signore di Rimini si fece ritrarre in tale modo solo in questa medaglia, forse si tratta di un'esaltazione della propria figura dopo il trionfo ricevuto a Firenze nel 1448.

On the obverse runs the inscription 'SIGISMONDVS PANDVLFVS MALATESTA PAN F' (Sigismondo Pandolfo Malatesta son of Pandolfo II) and the most common version, the one with the laurel wreath, is particularly interesting. It is not clear why the lord of Rimini had himself portrayed in such a manner only in this medal, perhaps it is a matter of exalting his own figure after the triumph he received in Florence in 1448.
https://it.wikipedia.org/wiki/Medaglia_ ... latestiano
I had never heard of Sigismondo receiving a triumph before. Giusto Giusti doesn't mention it (Newbigin pages 96-99 deal with 1448). Condottieridiventura doesn't mention it.

Sigismondo's own Italian wikipedia page gives a little more detail -
Necessitanti di aiuto, i Fiorentini ruppero infine le diffidenze e il 10 dicembre 1447 assoldarono il Malatesta a fianco delle milizie di Federico da Montefeltro. La guerra venne condotta rapidamente, garantendo la vittoria di Piombino il 15 luglio 1448, grazie proprio alla bravura del Malatesta. Se tale successo fu un importante tassello della sua fortuna professionale (e quindi economica), gli inimicò completamente Alfonso di Aragona, risentito per la condotta dell'ex alleato che aveva compromesso il suo successo. Ma tale problema non preoccupava in quel momento il Malatesta, che riceveva il trionfo a Firenze e veniva acclamato da Basinio da Parma, nelle Hesperis, come il salvatore della Toscana[2].

In need of help, the Florentines finally broke their mistrust and on 10 December 1447 hired Malatesta alongside the militia of Federico da Montefeltro. The war was swiftly waged, securing the victory of Piombino on 15 July 1448, thanks precisely to Malatesta's skill. If this success was an important building block of his professional (and therefore economic) fortune, it completely antagonised Alfonso of Aragon, who resented the conduct of his former ally that had compromised his success. But this problem did not worry Malatesta at the time, who received his triumph in Florence and was acclaimed by Basinio da Parma, in the Hesperis, as the saviour of Tuscany[2].
https://it.wikipedia.org/wiki/Sigismond ... _Malatesta
There's the “triumph” again, but it adds Basinio da Parma, who turns out to have been Sigismondo's court poet after 1449. https://it.wikipedia.org/wiki/Basinio_Basini
His remains are interred at the church in Rimini.

The note (2) on Sigismondo's wikipedia page refers to Treccani biography pages in general which only link back to the wikipedia page itself. So, going to the Treccani page, we find it mentions nothing about any triumph in Florence for 1448 -
Per ragioni di strategia militare e di equilibrio, Firenze accantonò le diffidenze verso il M. e, il 10 dic. 1447, lo assoldò per un anno accanto a Federico da Montefeltro che aveva già preparato le milizie da condurre in Toscana. La vittoria conseguita a Piombino, il 15 luglio 1448, grazie alla rapidità e alla bravura del M., rappresentò l'inizio di una serie di successi militari che, se da una parte costituirono anche la sua fortuna economica, dall'altra acuirono i risentimenti del re di Napoli, perché fu proprio il M., più di ogni altro, a impedire agli Aragonesi il successo. Vari episodi di questa felice campagna militare furono esaltati, secondo la tradizione dell'epica classica, nella Hesperis di Basinio da Parma, il quale acclamò il M. salvatore della Toscana.

For reasons of military strategy and balance, Florence set aside its mistrust of Malatesta, and, on 10 Dec. 1447, hired him for a year alongside Federico da Montefeltro, who had already prepared the militia to be led to Tuscany. The victory he achieved at Piombino on 15 July 1448, thanks to Malatesta's speed and skill, was the beginning of a series of military successes that, while on the one hand also constituted his economic fortune, on the other, exacerbated the resentments of the King of Naples, because it was Malatesta himself, more than anyone else, who prevented the Aragonese from succeeding. Various episodes of this successful military campaign were extolled, in the tradition of classical epic, in the Hesperis by Basinio da Parma, who acclaimed Malatesta as the saviour of Tuscany.
https://www.treccani.it/enciclopedia/si ... iografico)
So, it seems that the next step is to go to Basinio da Parma's works, which are linked on his wikipedia biography page, and see if the erudite editors there shed any more light on it. For the moment I'm guessing it's a poetic description of some kind of event, not a full-on civic pageant.

Re: Certame coronario October 1441

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Hesperis: Epos in 13 Büchern über den Kampf zwischen Sigismund Malatesta und Alfons V. von Aragon, Arbeit bis 1457.
https://de.wikipedia.org/wiki/Basinio_Basini
Battle at Piombino

I wrote once a little bit about it.
search.php?keywords=basinio

https://www.google.com/search?q=hesperi ... =928&dpr=1
The text has a lot of pictures.

https://gallica.bnf.fr/ark:/12148/btv1b ... 58/f1.item

Humanism and Creativity in the Renaissance: Essays in Honor of Ronald G. Witt
BRILL, 01.02.2006 - 434 Seiten
Good summary
https://www.google.de/books/edition/Hum ... frontcover
Huck
http://trionfi.com

Re: Certame coronario October 1441

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There is an interesting relation between Giannozzo Manetti and Sigismondo Malatesta ...

https://www.encyclopedia.com/religion/e ... annozzodeg
MANETTI, GIANNOZZO ° (1396–1459), Hebraist and humanist. Manetti acquired a wide knowledge of Hebrew language and literature and was even taught to speak Hebrew by a Jewish teacher (later baptized) who lived with him. Manetti took lessons also from a Florentine Jew named Immanuel (probably the loan-banker Manuelo of San Miniato), giving him instruction in philosophy in exchange. Many of the Hebrew manuscripts in the Vatican library were originally in Manetti's possession. He made a Latin translation of the Psalms, which he defended against its critics in a five-volume work. In 1447 Sigismondo Malatesta of Rimini organized a religious *disputation at his court between Manetti and Jewish scholars.
Manetti had been a foe of card playing short before in Pistoia, according a biography of Vespasiano da Bisticci. From an old discussion ....
viewtopic.php?p=5574#p5574

1453 Malatesta / Manetti
https://www.academia.edu/18901695/Limma ... i_LXI_2010
https://www.academia.edu/41000086/Un_ca ... li_allievi

From the life of Malatesta ...
https://www.ereticopedia.org/printer--f ... -malatesta
Huck
http://trionfi.com

Re: Certame coronario October 1441

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Huck wrote: 01 Jun 2023, 21:40
Hesperis: Epos in 13 Büchern über den Kampf zwischen Sigismund Malatesta und Alfons V. von Aragon, Arbeit bis 1457.
https://de.wikipedia.org/wiki/Basinio_Basini
Battle at Piombino

I wrote once a little bit about it.
search.php?keywords=basinio

https://www.google.com/search?q=hesperi ... =928&dpr=1
The text has a lot of pictures.

https://gallica.bnf.fr/ark:/12148/btv1b ... 58/f1.item

Humanism and Creativity in the Renaissance: Essays in Honor of Ronald G. Witt
BRILL, 01.02.2006 - 434 Seiten
Good summary
https://www.google.de/books/edition/Hum ... frontcover
Hesperis book by Christian Peters, introduction, text, and translation. €72. https://www.winter-verlag.de/de/detail/ ... peris_PDF/

This appears to be the only printed edition.

Here is Christian Peters' 2014 dissertation, Mythologie und Politik : Die panegyrische Funktionalisierung der paganen Götter im lateinischen Epos des 15. Jahrhunderts (Mythology and Politics : The Panegyric Functionalisation of the Pagan Gods in the Latin Epic of the 15th Century),
https://d-nb.info/1140737090/34

Re: Certame coronario October 1441

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The dissertation looks rather intensive.

There is an Austrian translation project ...
https://neolatin.lbg.ac.at/research/bas ... s/?lang=en

A work of 1880 (old German fractur)
Die wiederbelebung des classischen alterhums: oder Das erste jahrhundert des humanismus, Band
by Georg Voigt
G. Reimer, 1880
https://books.google.de/books?id=_-orAA ... &q&f=false
The last 25 pages belong to the Malatesta court.
Huck
http://trionfi.com

Re: Certame coronario October 1441

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Huck wrote: 02 Jun 2023, 11:58
There is an Austrian translation project ...
https://neolatin.lbg.ac.at/research/bas ... s/?lang=en
They decided it was best to limit access to the text and translation to very few people by publishing with Brill sometime in the future:
...an annotated English translation of the Hesperis with facing Latin text, and introduction (to be published in 2022 as part of Brill’s RSA Text and Studies Series)
It was not published in 2022.
https://brill.com/display/serial/RSA

Volumes of this series average 200 euros. See the PDF linked at that page for the price list.

By contrast, The I Tatti Renaissance Library's collection is a standard 35 US dollars a volume.
cron