So where did the basse dance begin? It must have been around in the fourteenth century, as Troubadour Raimond de Cornet wrote of “cansos e bassa dansas” as early as 1340. However, the basse dance rose in popularity in the fifteenth century. This century is when we start to see dance steps being recorded. The first evidence we have of this was in 1445 at a fete in Nancy, that was held in the honour of Margaret of Anjou. Margaret was on her way over to England to marry Henry VI at Titchfield Abbey, in Hampshire (coincidentally where this website’s dance instructional videos were filmed). This movement of people is probably how the basse dance became known in England.
As far I know, Filippo Maria was known for interests in chess and also in astrology, but for dancing ....? Some authors believe, that he was crippled and couldn't move very well. Well, he had an elder sister France and possibly there was opportunity, that she informed him about the fashions in France.
Emperor Charles IV. was educated in France before 1330, perhaps he knew something about early versions of the basse dance.
https://musical-life.net/kapitel/heilig ... -veitstanz
Im Jahr 1355 wurde das durch König Karl IV. in Pavia erworbene Haupt des hl.Vitus nach Prag transferiert, um es, wie damals üblich, im neu erbauten Veitsdom zum Schutz und zur Verehrung aufzubewahren .....
Die Verehrung und die Patronate des hl.Vitus, der im 14. Jahrhundert zu einem der Vierzehn Nothelfer erhoben worden war, weisen zahlreiche regionale und zeitliche Unterschiede auf. Er wurde unter anderem bei Unfruchtbarkeit, bei Bitten um Regen und Sonnenschein, gegen Gewitter und Feuergefahr, bei Schlangenbissen, Besessenheit, Fallsucht, Tollwut und letzten Endes auch bei Tanzwut angerufen. Er galt nicht nur als Schutzpatron der Apotheker, Gastwirte, Bierbrauer, Winzer, Kupferschmiede und Jugendlichen, sondern auch der Tänzer und Schauspieler, wobei der Reigen der Mägde vor dem gefangenen Heiligen bisweilen als Begründung für sein Patronat für den krankhaften Tanz hervorgehoben wurde. Während im süddeutschen, böhmischen und ostalpinen Raum der hl. Vitus als Schutzpatron der Tanzwütigen galt, nahm in den nördlichen und westlichen Teilen Europas Johannes der Täufer diese Rolle ein.
In 1355, the head of St. Vitus, acquired by King Charles IV in Pavia, was transferred to Prague in order to keep it, as was customary at the time, in the newly built St. Vitus Cathedral for protection and veneration .....
The veneration and patronage of St. Vitus, who was raised to one of the Fourteen Holy Helpers in the 14th century, show numerous regional and temporal differences. Among other things, it was used for infertility, requests for rain and sunshine, against thunderstorms and the danger of fire, for snake bites, obsession, epilepsy, rabies and finally also for Tanzwut called. He was not only considered the patron saint of pharmacists, innkeepers, brewers, winegrowers, coppersmiths and young people, but also of dancers and actors, whereby the round dance of the maids before the imprisoned saints was sometimes cited as justification for his patronage of the morbid dance. While in southern Germany, Bohemia and the eastern Alps, St. Vitus was considered the patron saint of those who loved to dance, and in the northern and western parts of Europe, John the Baptist assumed this role.
https://www.dancilla.com/PDF/Schwerttan ... _Tirol.pdf
Die erste schriftliche Nachricht eines Schwerttanzes wohl im heutigen Sinn in Europa kommt um 1350 aus Nürnberg. Da sollen die Messerer von König Karl (später Kaiser Karl IV.) das Privileg erhalten haben, den Schwerttanz zur Fastnacht abhalten zu können. Zwischen dem 2. und 13. Jhdt. gibt es keine weiteren Informationen.
The first written report of a sword dance, probably in the modern sense in Europe, comes from Nuremberg around 1350. The knives are said to have received the privilege of King Karl (later Emperor Karl IV.) to be able to hold the sword dance for Shrovetide. Between the 2nd and 13th centuries there is no further information.
Giangaleazzo paid for the duke title in Prague 1395. The Bohemian court might have influenced the customs in Milan inclusive the playing card fashions. The 60-cards-deck of John of Rheinfelden had 5 court cards and the Hofämterspiel from Bohemia had somehow 6 court cards.
Well, generally I assume, that we don't have fragments of all variants of Trionfi decks in the group of the known variants of 15th century in Italy and I would also think, that the group of the unknown variants is considerable larger than the group of the known variants. So I don't mind opinions about these unknown dimensions to make Trionfi decks during 15th century.
In the case of the interpretation the CY-Trionfi-fragment I've another opinion than you. However, I think, that I cannot claim 100% security or something similar to it for my suggestion, so alternatives are interesting.