Re: What are the documents for Marziano's dates?

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I have posted Phaeded's long post because of the "server error" problem.

I thought it might be too long, so I broke it up. The first two posted alright, then the third selection I made got a "server error" notice.

I took out a link, but that wasn't the problem.

Finally, I broke that part up, too, and it posted fine.

It seems to be that some kind of length, or density, makes the server react badly.

Phaeded, I hope you can paste your images in.

Re: What are the documents for Marziano's dates?

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Marziano could well have known Petrarch's Africa, since he was Vergerio's colleague in Gregory XII's papal court.

But his descriptions are mostly cribbed from Boccaccio, often verging on citation.

The choices of Aeolus, Daphne, and Cupid, yes, those are important to speculate on. Daphne is where we are compelled to suspect that Petrarch was lurking in Marziano's mind.

The inaccessible manuscript of the DSH, in Vibo Valentia, was described by its discoverer, Vito Capialbi, as "parchment ...14th century." This is one reason I suspect it might be the autograph. Marziano's hand may well have been mistaken for 14th century, even in the second decade of the 15th.

In 1835 he described the manuscript hand as “"scritte pulitissimamente in latino sopra pergamena nel secolo XIV."  "very cleanly written in Latin on parchment in the 14th century."

Francesco Carabellese in 1897 was also an independent and primary witness to Capialbi's manuscript of DSH: Ringrazio il nobile ed egregio uomo Don Vincezo Capialbi, il quale mi ha permesso di esaminare questi mss. che possiede. (“I would like to thank the noble and eminent man Don Vincezo Capialbi, who allowed me to examine these mss. that he owns.”).He also dates it to the XIV century.  (Membranaceo, secolo XIV (Parchment 14th century))
Carabellese, Francesco, « Biblioteca Capialbi » in Giuseppe Mazzatinti, ed., Inventari dei manoscritti delle biblioteche d'Italia, vol. 7 (1897), pp. 195-204.

These two independent witnesses both date the hand to the 14th century, which should be impossible. The only explanation is that the hand was in a 14th century style, perhaps someone trained then, like Marziano himself, or another old copyist.

This is what made me think Capialbi's copy may be the autograph. But whatever the case, if it is an old hand, it argues for an early date of copying.

Another thing relevant is his spelling of Daphne, "Dane," in his list of chapters. This is how Boccaccio spelled it in the Genealogia (Carabellese writes it "Pane," which I think must reflect the style of the capital D, probably with a long decorative descender, and his unfamiliarity with the 14th century forms of the name Daphne).

Image
http://www.rosscaldwell.com/marzianotex ... 5comp2.jpg

Image
http://www.rosscaldwell.com/marzianotex ... 897n36.jpg

The Queriniana copy of DSH, mid-15th century, was not copied from Marcello's version scribed by Michael Salvatico, because it too writes Daphne Damne (another Boccaccian-Petrarchan variant of the name).
Image
http://www.rosscaldwell.com/marzianotex ... adamne.jpg


Here is Boccaccio's Dane -


GDG VII

CAP. XXIX
De Dane Penei filia.


Danem Penei fluminis fuisse filiam vulgatissima fama est,

et fere delire iam anicule, eam et speciosissimam virginem,

et a Phebo dilectam novere, eumque dum fugeret, miseratione

deorum in laurum fuisse conversam, et inde ab Apolline ad

suas cytharas et pharetras ornandas assumptam.

Etc.


Here it is in the Visconti copy, lat. 7877, far right column, bottom

https://gallica.bnf.fr/ark:/12148/btv1b ... s/f86.item

Salvatico has normalized the spelling of her name to classical standards. But the Vibo Valentia manuscript, and Queriana's source manuscript, follows the 14th century conventions.

Re: What are the documents for Marziano's dates?

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Before proceeding to Marziano’s six replacement ‘heroes’, an extended sidebar on why Petrarch – who himself has heavily emended Capella – included Philology when only Capella is a source for her; quoting Bernardo on an early work of Petrarch, a comedy:

[quoteThere is evidence that from a very early age Petrarch had been intrigued by the possibility of personifying the general concept of learning or culture in a female figure” (170).

[He then goes over the scraps of information we have for the lost comedy]:

Fam. II, 7.5, Petrarch letter to Cardinal Giovanni Colonna: “You will remember in my Philology, which I wrote only to drive out your cares through entertainment [same sentiment echoed in Marziano’s prologue], what my Tranquillinus says: ‘the greater part of man dies waiting for something.’ And so it is.” (170). [Bernardo states that it looks like the comedy may have been written for Cardinal Colonna, whose large extended family in Rome, many holding important positions in the Church, may have inherited the manuscript and thus circulated it among clerical circles so perhaps Marziano was familiar with it via his participation in the Church, but my argument depends on nothing more than the Africa].

Fam. VII.16.6. Petrarch letter to humanist Lapo di Castiglionchio, thanking him for an oration of Cicero but can’t send his PP: “I do not deny that at a somewhat tender age I wrote the comedy you request bearing the title of Philologia. Unfortunately it is located far from here, you will learn from our common friend who bears this letter [Boccaccio!] what my opinion of it is, and the degree to which I consider it worthy of the ears of learned men such as yours” (170-171).

• Life of Petrarch (De vita et moribus Domini Francisci Petracchi), Bocaccio. “Boccaccio not only suggests Petrarch actually surpassed Terence in his comedy, but refers to it with the title of Philostratus….justification for Boaccaccio’s use of this title may be found in the letter from Petrarch to Barbaro da Sulmona….alludes to his comedy as “Philologia Philostrati”…. (172). [Bernardo notes Philostratus is “a man overcome and overthrown by love.”].


Putting together all these scanty facts about Petrarch’s comedy, certain significant conclusions can be reached. The title itself, Philologia Filostrati, suggests the combining of a rather learned subject with a love theme. It also reveals a third possible character in the play in addition to Philologia and Tranquillinus. This in turn suggests a possible threesome reflecting three perspectives, learning, loving and living [I would have preferred cupidity versus learning, with the contemplative life as the resolution….all of this echoed in the trionfi of Cupid versus Chastity]. Finally, the verse cited in Fam. II.7.5 implies a moral-philosophic theme that had apparently attracted the attention of Petrarch’s closest and most influential friends. In all of this, there seems to be no evidence disproving our original assumption that the concept or character of Philologia was a borrowing or at least an echo of Capella Capella’s elaborate allegory of the wedding of Philology with the god, Mercury”Bard (Aldo S. Bernardo, Petrarch, Laura, and the Triumphs 1974: 172).


Scipio – in addition to the Africa (for which Petrarch was crowned in Rome as laureate poet in 1341), - and Philology cum Daphne/Laura would remain central to Petrarch to the degree that the question is not why did Marziano use Petrarch, but how could not have?

• The ekphrastic description of the palace of Syphax (Africa 3.87-262) was an excerpt available before the long-delayed publication of the Africa itself, notably as early as 1339-40 in the hands of Petrarch’s friend Pierre de Bersuire.

• Petrarch’s first two trionfi, Cupidinis and Pudicitaie, were written as a pair in c. 1352 before Petrarch’s first stay in Milan. The Africa’s hero Scipio is featured alongside Laura/Daphne in their journey together to the temple of Patrician Chastity in Rome.

• Petrarch based in Milan 1353-1361 where he apparently invented the family imprese and motto of a bon droyt, worn on the person of Filippo Visconti in his medals and of course trionfi decks.

• Scipio was the featured hero in Petrarch’s treatise on “famous men” [ Scipio “…was to occupy the central position in the De viris illustribus. Three progressively enlarged versions of his biography survive dating from 1338-39, 1343, and probably 1353. For a study of the three redactions, see Guido Martellotti, La vita di Scipione l’Africano (Milan and Naples: Ricciarardi, 1954). Petrarch: A Critical Guide to the Complete Works. Ukraine: University of Chicago Press, 2009. Eds. Armando Maggis and Victoria Kirkham Scipio, 2009: 382).

• The intimately related subject of the Aeneid (the mythical background to Petrarch’s “historical” Africa), is in the same Venus-based Visconti genealogy in Gasparino Barzizza, and an early project of Decembrio c. 1419 was to translate the Aeneid (stopped after 89 lines, but continued in 1428).


Marziano’s Six Replacement ‘Heroes’ to those in Petrarch’s Africa

Marziano, to reiterate, created a matrix of moral categories for the four suits and it is those that drove him to seek suitable (pardon the pun) replacements, as a particular god/goddess could best exemplify the category into which they were being placed. The method he employed was otherwise straight forward – the replacements were in almost every case cognates for those gods/goddesses replaced. I would also point to the close relations between the Valois and Visconti and that Pizan’s Ovide-inspired Othea was likely a source for the pictorial program employed by Marziano (perhaps carried over into the CY, whose “World” trump with an allegorical divinity on an arcing cloud nimbus looks precisely like those used in the Othea - and note it was first dedicated to Valentina Visconti’s husband Duc d’Orleas).


* Daphne for Philology. See above. It is the centerpiece of Petrarch’s personal mythology and indeed he himself moved away from the Philology-related comnedy of his youth for the Daphne/Laura symbol. While Philology was chaste she was married – Daphne instead confers the

* Hercules for Perseus. Cognates in that both are Greek heroes sired by Zeus. Perseus was associated with Persia (even in Pizan) and why used for a Carthaginian-related king – they hailed from Phoenicia and allied with Persia during the classical era wars with ancient Greece. Hercules is associated with bringing civilization to Italy/Rome and a model for Virtus, hence the preference here (Visconti had no connection to Perseus).

* Aeolus for Vulcan: both based in the same geographical location of Sicily/Aeolian islands (e.g., Pindar's First Olympian Ode) and related natural phenomena - volcanic movement/smoke and winds produced from the same region. Aeolus is central to the Aeneid in blowing Aeanas and crew to Carthage/Africa, and is emphasized as a dire sign for Hannibal in the final showdown with Scipio in Book 7 of Petrarch’s Africa, where the Aeoloian islands and region are named (line 355) and where the oncoming force against Hannibal is likened to Polphemus’s cave under mount Aetna (where Vulcan had his forge) and where Turbidus Eolio will appear like a baleful comet, linking the winds to the celestial gods (line 838 Terribilis, qualis pastor Poliphemus ab antro / Turbidus Eolio, uel qualis ab ethere tristis. https://petrarch.petersadlon.com/read_africa.html?s=7 )

* Bacchus for Pan. Cognates for sexual wantonness, and either would be suited in Pleasures, however “Liber” was more connected to Rome and a more civilized god who brought wine. Featured in Pizan, Harley 4431 f. 106: http://www.bl.uk/IllImages/Ekta/mid/E070/E070017.jpg

* Vesta for Cybele: Both closely associated with the earth, but the suit of Virginity drives the search for a cognate here which can only be explained by Cybele’s famously strange male priests were castrati: A gallus (pl. galli) was a eunuch. Marziano all but describes Vesta and her followers as nuns - a sort of pagan religious order. Although Marziano does not bother to strictly adhere to gender sameness in the suits, he does in Virginities and Vestal virgin simply trumps Cybele, who was sullied with a male lover, Adonis.

Finally,

* Ceres for Saturn: This one looks prima facie the weakest of all, particularly with the gender change, but Marziano himself provides the straight-forward answer in his tractatus: “[Ceres] was engendered of Saturn”. Moreover, Ceres is one of the few deities listed in Capella, in region 5 in the Etruscan system. The familial and food connections allowed her to be placed in Pleasures along with Bacchus – both featured in Pizan (Harley 4431) and in the Vat. Reg. Lat 1290 MS of the Libellus, where, like Saturn, she holds a sickle, thus a cognate in turns of production of the earth:


That’s all six replacements.
[/quote]



Many thanks to Ross for inserting my long-winded post in three parts. Above I added the missing relevant image - showing iconographically why Ceres could be substituted for Saturn but again Marziano's own text provides the most compelling reason - the familial connection: “[Ceres] was engendered of Saturn”.

The other two missing images are Capella's original text (which includes Ceres) is below - and Panofsky's chart.
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Re: What are the documents for Marziano's dates?

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I'll have to consider your arguments for the substitutions carefully, Phaeded. You have done it elegantly.

I can't ignore two things, though.

1) the first 12, except for Bacchus, are Dii consentes, i.e. Olympians (a term neither he nor Boccaccio uses). To me it seemed that he removed Vulcan out of discretion, for Filippo Maria's malady of the feet. But I can see the attraction of Aeolus as well, although I find this one, not Ceres for Saturn, as the weakest argument. It is rather strong, actually.

2) Marziano's reliance on Boccaccio. It could be that, for mythographic descriptive purposes, he needed more than Petrarch provides. But Marziano's descriptions owe nothing to any of the mythographers except for Boccaccio.

Re: What are the documents for Marziano's dates?

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We should also consider the Libellus as a 15th century creation. See Farkas Gábor Kiss, "Un nouveau témoin illustré du Libellus de imaginibus deorum (Eger, Bibl. Arch., ms. B.X.44)" in Humanistica Lovaniensia. Journal of Neo-Latin Studies, Vol. LXIV - 2015, pp. 23-41 -

HL_2015___Kiss_DEF_u.pdf

(also posted on his academia.edu page
https://elte.academia.edu/FarkasGaborKiss )

It could be as late as the 1430s.

Marziano owes nothing to it, in any case.

Re: What are the documents for Marziano's dates?

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Ross Caldwell wrote: 17 Jul 2022, 18:05 We should also consider the Libellus as a 15th century creation. See Farkas Gábor Kiss, "Un nouveau témoin illustré du Libellus de imaginibus deorum (Eger, Bibl. Arch., ms. B.X.44)" in Humanistica Lovaniensia. Journal of Neo-Latin Studies, Vol. LXIV - 2015, pp. 23-41 -

HL_2015___Kiss_DEF_u.pdf

(also posted on his academia.edu page
https://elte.academia.edu/FarkasGaborKiss )

It could be as late as the 1430s.

Marziano owes nothing to it, in any case.
Just to be clear, there are famous illustrated versions of the Libellus but Seznec and Panofsky date that anonymous Libellus expansion of Bersuire's Moralizatus to c. 1400, before Marziano. That is also roughly contemporary with Conty's work (which involves chess and Ovid). So within a decade or so before he wrote his work for Visconti, Marziano could easily have been exposed to the latest allegorization of chess and the expanded abridgement of gods (that not necessarily be illustrated, but likely was - but again, I feel he found an artist familiar with Pizan's Othea for the actual execution, given the evidence of the CY World trump - a French or French-inspired artist would have been most pleasing to Filippo). Most critically, the Libellus relies on Bersuire, and Bersuire on Petrarch. That didn't happen in some forgotten past but involved the most famous scholar in Marziano's midst, who provided his patron with their very motto and imprese. Marziano must have been aware of all of this, and being the scholar he was, I assume he understood Capella behind Petrarch - the presence of Philology points nowhere else. Almost all of Marziano's gods are in the Libellus (and he only discards a handful) - it can't be a coincidence. The two that aren't rely on Petrarch - all of it does.

Phaeded

PS Given the Visconti intermarriage with the French crown and their genealogy's reliance on Venus (what leads Marziano to the Ovid tradition and the Libellus), the similarities between the CY world and Pizan Othea's Venus here (a work dedicated to Valentina Visconti's husband, Duke of Orleans) are most striking:
!CY World and Pizan Venus.jpg !CY World and Pizan Venus.jpg Viewed 2709 times 108.99 KiB

Re: What are the documents for Marziano's dates?

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Phaeded wrote: 17 Jul 2022, 19:16
Just to be clear, there are famous illustrated versions of the Libellus but Seznec and Panofsky date that anonymous Libellus expansion of Bersuire's Moralizatus to c. 1400, before Marziano.
I mean the text, not the illustrations. We can't know what Michelino based his designs on, but Marziano's text contains no trace of the text of the Libellus. We just don't need it to explain any aspect of Marziano.

Kiss addresses all of the dating arguments.

Africa is different, which is why I find your argument interesting.

Re: What are the documents for Marziano's dates?

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Ross Caldwell wrote: 17 Jul 2022, 17:48 I'll have to consider your arguments for the substitutions carefully, Phaeded. You have done it elegantly.

I can't ignore two things, though.

1) the first 12, except for Bacchus, are Dii consentes, i.e. Olympians (a term neither he nor Boccaccio uses). To me it seemed that he removed Vulcan out of discretion, for Filippo Maria's malady of the feet. But I can see the attraction of Aeolus as well, although I find this one, not Ceres for Saturn, as the weakest argument. It is rather strong, actually.

2) Marziano's reliance on Boccaccio. It could be that, for mythographic descriptive purposes, he needed more than Petrarch provides. But Marziano's descriptions owe nothing to any of the mythographers except for Boccaccio.

Regarding #2, Boccaccio
Boccaccio's vita and general praise of Petrarch, as well as being the "privileged interlocutor till the end of their lives" (to quote a typical scholar), would hardly be differentiated to any meaningful degree in Marziano's mind in terms of those two “crowns’” effort in bringing back pagan learning. I'm happy to concede that the language Marziano used was primarily that of the encyclopedic Boccaccio, but the idea of 16 specific gods came from Petrarch/Capella (Petrarch's weakness was merely being descriptive - Boccaccio was reassuring in naming sources). That Petrarch's 16 gods were ready-made to fit a fourfold schema made it too irresistible not to press into service.

Regarding #1, Aeolus, here's your handy if older translation of Marziano:
AEOLUS
I considered that Aeolus, the King of the Winds, must be put in the fourteenth place; even if, according to Virgil, he has the regin as well as the power by the spouse of Jove, Aether, it was conceded by his order to soothe the waves, and by the wind to raise them, and in whatever way to agitate in all respects the kingdom of Neptune. By his command the appearance of this world is very often changeful. The hills become covered in white, the woods are laid bare; the plains become dirty, and what were formerly rushing torrents, freeze. The whole earth itself begins to shiver. Because of his fury, sometimes the now-ripe gifts of Ceres and Bacchus perish. But when he summons the mild delightful Zephyr, the hillsides turn green instead of white, the woods are clothed with young leaves, all the fields laugh with grass, and new sweet streams flow from the sources; the glad world is adorned with foliage and a variety of flowers, and the whole sky resounds, pleasant with the song of flying creatures, and each living thing by nature inclines to love and coupling. Furthermore he is god of the clouds and the power of the hail-storm; in the mid-day, he can cover the land in darkness, and give back the light itself after having put the darkness to flight. Begotten by Jove, he reigned at the windy Aeolian islands in the Tyrrhenian Sea near Sicily. Described as being dressed like a king, enthroned among the cliffs of his islands, bringing up a gale by the sceptre, because he so skillfully foretold the future changes of the air and the weather, as if he had the power of containing and releasing the winds by his hand.

Right away we should note that the Aeolus passage includes two other replacement gods - Ceres (over Saturn) and Bacchus (over Pan) - and despite his protests regarding Virgil, Marziano places Aeolus in the same suit of Riches headed by the "spouse of Jove", which is based on the Aeneid. It is perhaps significant that Petrarch in his Africa also does not refer to Juno by her proper name but by her familial relationship to Jupiter: Iovis soror.

Ceres and Bacchus, as tied to food and drink, of course belong to Pleasures, but Aeolus's seasonal affect on them underscores the relationship of Riches to Pleasures - Riches being where we find Juno and Aeolus, connected to the other "negative" suit.

But Marziano is also keen to point out the geographical location of Aeolus - Aeolian islands...near Sicily - which was the crux of my argument for replacing Vulcan, whose forge was under Sicily's Mt. Aetna. The interrelated myths of Typhon struck by Jupiter’s bolts and buried under Aetna, whose burning body provides the material from whence Vulcan has his forge, and the nearby volcanic Aeolian islands where Aeolus has his cave of of the winds can be found in Pindar Pythian Ode 1.15-28, Thucydides 3.116Plato Phaedo 111d-112a, Aeschylus Prometheus 365-74, Euripides Cyclops 599, Callimachus Hymn to Delos 141-6, Virgil Aeneid 8.414-54, Anonymous Aetna 29-32, Proclus Timaeus commentary II.826-8, Solinus 5.9 and even Dante acknowledges Vulcan as the source for Jupiter's bolts (Inferno 14.56-7).

The rationale to drop Vulcan/Hephaestus from a depiction of the gods in a heavenly vault is also geographical, in a vertical sense:
But above all Hephaestus was connected with Mount Etna, not just in Sicilian cult and myth but in classical tradition right down to the end of antiquity. There, underneath the earth, was his home - and especially his workplace. The common reluctance to give this fact its due significance is a result of failing to appreciate that, in spite of Hephaestus' formal inclusion in the Olympian pantheon he essentially never lost his role as a god of the inner depths of the earth (Kingsley, Peter. Ancient philosophy, mystery, and magic: Empedocles and Pythagorean tradition. 1995: 76-77).
As for Petrarch, again Aeolus is central to the Aeneid (Juno asks Aeolus to blow Aeneas off course) that provided the model for many aspects of the Africa, and Aeolus appears as a dire sign for Hannibal in the final showdown with Scipio in Book 7 of Petrarch’s Africa, where the Aeolian islands and region are named (355) and where the oncoming force against him is likened to Polphemus’s cave under mount Aetna from whence turbulent Aeolus turbidus Eolio will appear like a baleful comet, linking the phenomena to the celestial gods (line 838-9 Terribilis, qualis pastor Poliphemus ab antro / Turbidus Eolio, uel qualis ab ethere tristis. )

In Boccaccio's Genealogy he even complains about Aeolus having broken forth from his cave in the preface of book IV and that Aeolus has returned to his cave to allow him to continue the work in his preface to book V, in trying to virtually navigate the world in order to fully describe all of the gods. Why Aeolus is in Riches has to be related to mercantile trade; for instance, thirteenth century maps were Portolan Charts focused on Mediterranean trade routes, especially to the spice rich Levant, showing key harbors along the way and compass roses - something intimately tied to wind roses. Nothing was more beholden to winds of fate than trade in Petrarch, Boccaccio, and Marziano's day. Boccaccio is explicit about this in his opening preface to Book 1: “…and if from the maritime traveler Aeolus from his cave issued forth winds as strong as they were favorable....” (I.14, p. 9)

Given the shared mythological and geographical terrain, I just don't see how Aeolus replacing Vulcan, a largely subterranean god, is a controversial replacement hero in Marziano.

Phaeded

PS Aeolus in "popular culture" (after Marziano, but still of interest for how Aeolus might have looked)
Apollonio di Giovanni,The Shipwreck of Aeneas, ca. 1450–60

Juno speaking with Aeolus in his cave, on the right side of which the blue painted individual winds escaping, which can barely be made out - above Juno appears again encouraging the winds as they push Aeneas's fleet off course to Carthage, where they arrive on the right (in the middle Neptune calms the waters, allowing Aeneas and his men to make it to Carthage):
Image

Re: What are the documents for Marziano's dates?

519
https://gallica.bnf.fr/ark:/12148/btv1b ... m%20heroum

Image
Image


What is the Latin word for "riches"? I understand "duutiarum" regarding the text of Martiano .... Google translator gives "of the duties" or German "des Waffenstillstands".

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

Phaeded ...
Marziano’s Six Replacement ‘Heroes’ to those in Petrarch’s Africa
etc.
I guess, that Marziano definitely was inspired by the Manilius text, which was found near Constance in 1415/16 by Poggio in a library. There you have 11 of 12 gods of the Olymp in the standard system. The papal delegation, when it returned with the new pope from Constance took its way via Milan. With some security there were reports about the finding of the text. For Poggio Bracciolini, who found the text, we have ...
After Martin V was elected as the new pope in November 1417, Poggio, although not holding any office, accompanied his court to Mantua in late 1418, but, once there, decided to accept the invitation of Henry, Cardinal Beaufort, bishop of Winchester, to go to England. His five years spent in England, until returning to Rome in 1423, were the least productive and satisfactory of his life.
First the delegation went to Milan after crossing the Alps, then to Mantua.

This I researched 2012 ... viewtopic.php?p=13057#p13057
1418 23 agosto
La duchessa Beatrice viene accusata di adulterio con il musico Michele Orombello.

1418 13 settembre
Beatrice di Tenda viene decapitata nel castello di Binasco. Filippo Maria Visconti presenta all'imperatore Sigismondo la richiesta di poter legittimare come suo successore nel Ducato un figlio naturale.

1418 ottobre
Per concessione di Martino V, gli Osservanti di S. Angelo ottengono l'uso di un giardino vicino a S. Maria della Scala dove c'erano ancora rovine delle case dei Torriani. Poiché in quell'area non si poteva costruire, i frati da principio lo usano come luogo aperto e centrale dove radunare i fedeli per le loro predicazioni. In seguito (dal 1451) iniziano una serie di costruzioni (da principio abusive) che porteranno alla chiesa di S. Maria del Giardino.

1418 16 ottobre
Martino V consacra l'altare maggiore del Duomo. Il papa era giunto a Pavia il 5 ottobre e il 12 era entrato in Milano. Il 14 ottobre viene abbattuta l'abside di S. Maria Maggiore e viene predisposto il nuovo altare. Per ricordo, Iacopino da Tradate eseguirà nel 1424 la statua del papa oggi al museo del Duomo.
http://www.storiadimilano.it/cron/dal1401al1425.htm

I get, that Martin stayed in Geneve for 3 months, which he left likely after 23 September. He reached Pavia at 5th of October and entered Milan at the 12th.

I don't get. when precisely Martin left Milan again ...
I find now ..
.... the new pope elected by the Council of Constance, Martin V, briefly took up residence in Mantua (October 29, 1418–February 2, 1419)
https://books.google.de/books?id=TFq8Dw ... ua&f=false

It seems very probable, that the Milanese court with its strong interest in astrology quickly realised a copy of the text, which wasn't very long.
https://www.digitale-sammlungen.de/de/v ... 12?page=18

Vulcanus was exchanged for Bacchus, cause Filippo was regarded as a cheated husband ... as Vulcanus. The scandal with Beatrice de Tenda was very close.

The 4 added figures Hercules, Aeolus, Daphne, Amor look like 4 of the Trionfi of Petrarca ...
Hercules, the astronom ... Father Time 5th Trionfo
Aeolus, who accompanied Fama 4th Trionfo
Daphne ... Chastity 2nd Trionfo
Amor .... Love 1st Trionfo

Africa was written long ago in France, the Trionfi poem started, when Petrarca was in Milan.
Huck
http://trionfi.com

Re: What are the documents for Marziano's dates?

520
Huck wrote: 18 Jul 2022, 05:21 https://gallica.bnf.fr/ark:/12148/btv1b ... m%20heroum

Image
Image


What is the Latin word for "riches"? I understand "duutiarum" regarding the text of Martiano .... Google translator gives "of the duties" or German "des Waffenstillstands".
The word is divitiae, here in Genitive plural, divitiarum.

Here is the same passage in the Queriniana copy of the text, a little more cursive and clearer -
Image
http://www.rosscaldwell.com/marzianotex ... itiae2.jpg
cron