I stumbled about this ...

The King's Body: Sacred Rituals of Power in Medieval and Early Modern Europe
by Sergio Bertelli, R. Burr Litchfield (2003)
http://books.google.de/books?id=u8KHqA_ ... &q&f=false

It notes - beside much other material - a triumphal event for cardinal Vitelleschi in 1436 and another event for Corrado III Trinci in Foligno at 14th of May 1438 (after he had conquered Spoleto).
Interestingly both honored persons ended murdered in prisons, Vitelleschi in April 1440 (prisoned short before) and Corrado Trinci at 14th of June 1441(prisoned in 1439) ... so somehow in the time, which is of special interest to us.

Both died in the context of the reign of pope Eugen. If I get this right, then Vitelleschi captured Trinci, was then prisoned and killed himself some time later, and then also Trinci was killed.

Chiede rinforzi a Francesco Piccinino, a Corrado Trinci ed alle autorità di Norcia, di Bevagna e di Montefalco affinché tutti insieme assalgano Spoleto. Ai primi del mese prende la via dei monti, vince la resistenza dei presidi che sorvegliano i passi ed irrompe nottetempo nella città sottoposta ad un orrendo saccheggio che non risparmia né case né chiese. Sono mille gli spoletini cui è richiesto un riscatto e 14000 some di bottino condotte a Foligno. Il Furlano si ricongiunge ancora con Francesco Piccinino. Muove ora contro Assisi; si accampa a Santa Maria degli Angeli dove, dopo due giorni, è raggiunto da due commissari viscontei che sollecitano il suo rientro in Lombardia. Prende la strada per Pianello e si ferma ad assediare Pergola.

Mag. Umbria and Marche
He (Talione Furlano) asks for reinforcements from Francesco Piccinino, Corrado Trinci and the authorities of Norcia, Bevagna and Montefalco so that they all attack Spoleto together. At the beginning of the month he takes the road to the mountains, overcomes the resistance of the garrisons who guard the passes and breaks into the city at night, subjected to a horrendous looting that spares neither houses nor churches. There are a thousand Spoletini who are asked for a ransom and 14,000 sums of booty taken to Foligno. Furlano is reunited again with Francesco Piccinino. He now moves against Assisi; he camped at Santa Maria degli Angeli where, after two days, he was joined by two Visconti commissioners who urged his return to Lombardy. He takes the road to Pianello and stops to besiege Pergola.

...[Orfini was] certainly renovated by Trinci. The lodge was in direct communication with the Palazzo Trinci, though a bridge was destroyed probably around the mid-eighteenth century, as well as it is no longer visible, as incorporated in the building on the corner,.....
At the height of the loggia the facade consists of the representation of Cardinal Virtues (Prudence, Justice, Fortitude and Temperance), that govern the exercise of political power, work attributed to John of Corraduccio....The shelves[?] placed under the gallery hosted heads carved in stone, Roman, representatives from the seven Ages of Man, now preserved in the Museum of the City. http://www.umbriaccessibile.com/citta-u ... a/?lang=en

Phaeded wrote: 07 Jul 2023, 16:12
Mercury and Jupiter are barely identifiable here (Trinci), and not merely because of fresco damage but attributes and contemporary exempli clothing (take away Mercury's winged shoes and he's merely a messenger or orator; sagitta hardly connotes Jupiter for most people's impressions - just a warrior otherwise):

Phaeded wrote: 07 Jul 2023, 16:12 The contemporary Trinci Palace in Foligno (Sforza certainly knew the Trinci)

Ross Caldwell wrote: 07 Jul 2023, 17:35

Phaeded wrote: 07 Jul 2023, 16:12
Mercury and Jupiter are barely identifiable here (Trinci), and not merely because of fresco damage but attributes and contemporary exempli clothing (take away Mercury's winged shoes and he's merely a messenger or orator; sagitta hardly connotes Jupiter for most people's impressions - just a warrior otherwise):

The context tells the viewer, though. And the inscription might explain it as well. Jupiter rules Sagittarius, and saetta is a lightning bolt. In an astrological cycle you expect the planets, and you'd interpret the figures in that light.

And what is "most people" in this context? Not just grabbing people off the street and asking them. All of these cycles involved some degree of erudition, and demanded engagement in order to appreciate the message. It's a medium place between the bluntness of the sinners being tortured in Hell that you see in the churches, and the obscure erudtion of, say, heraldry, or Alciato's emblems (and those that came after him).

Ross Caldwell wrote: 07 Jul 2023, 19:00

Phaeded wrote: 07 Jul 2023, 16:12 The contemporary Trinci Palace in Foligno (Sforza certainly knew the Trinci)

I have no clue about this. How do you know he knew this place? Not a challenge, I really don't know.

Jul/Aug 1424: [Sforza] Joins forces with the Trinci military; together (3000 horses and many foot soldiers) they approach Perugia, plundering crops, rustling cattle, and setting fire to numerous farmers’ homes between Deruta and Marsciano. He is met in San Martino in Colle by representatives of the city; by the end of the month, Perugia surrenders to the Papal States. He breaks into the Orvieto region and the Patrimony of St. Peter to confront the followers of Montone. The castle of Monte Rubiaglio surrenders to him.

Sept 1424: [Sforza] also compels Niccolò Trinci, the lord of Foligno, to acknowledge Papal authority. The Florentines contact him to fight the Visconti; despite Pope Martin V opposing his decision, he prefers to serve under Duke Filippo Maria Visconti of Milan (commanding 1500 cavalry and 300 infantry).

June/July 1438: ]Sforza] takes possession of Assisi [just north of Foligno] (leaving the Pisan, Benedetto degli Agapiti, as his lieutenant there), passes through Panicarola and Ponte San Giovanni, where the people of Perugia present him with 100 florins and customary gifts. He acquires twelve loads of lances, pickaxes, and iron poles necessary for his troops in the city. He proceeds to Foligno and accepts the reconciliation offered to him by Corrado Trinci. The agreement concludes with the promise of a marriage between Trinci’s daughter, Marsabilia, and Sforza’s brother, Leone. He fights in Norcia and obtains its surrender in early July, with the inhabitants recognizing an indemnity of 16,000 florins to be paid over three years and the payment of an annual fee of 700 florins...

Feb. 1439: ....The Pope confirms his title as Marquess of the Marche and, in addition to his previous vicariates, grants him authority over Assisi, Pergola, Cerreto, Visso, and all the lands taken from the Trinci family. He is also promised the union of Cremona with all the territories conquered on the right bank of the Po River, with the exception of Parma, which is to be assigned to the Estensi. Sforza ensures the protection of his Abruzzo and Marche territories...

Jan. 1443: [Sforza] generally resides in Jesi. He plays a part in the defection of Pietro Giampaolo Orsini in favor of the Florentines; he also foments a revolt in Foligno.

!!!!Sforza-Trinci.jpg Viewed 2751 times 84.45 KiB

The Portrait of Ginevra Sforza
An unpublished study on a masterpiece by Leonardo da Vinci
15 NOVEMBER 2018, RICCARDO MAGNANI
https://www.meer.com/en/45099-the-portr ... vra-sforza
....
In the part that is still visible, as mentioned, there is no precise correspondence with the emblem of Bernardo Bembo, the reason why I strongly reject the claim that the lady in the portrait is Ginevra de’ Benci as assumed by scholars since today. The palm and the olive, instead leads us to the Sforza family, and precisely to the family branch from Pesaro. The small juniper branch and the Marche landscape of the Foglia Valley at the front of the painting, lead us to Ginevra Sforza, daughter of Alessandro the ruler of Pesaro, and brother of Francesco Sforza, Duke of Milan.

From a heraldic point of view, the palm and the olive are separated in the Sforza’s family emblem. Therefore, the fact that, in the emblem painted at the back of the canvas, they are joined to form an Uroboros, suggest something that Lorenzo Di Credi’s painting clearly shows: a marriage. This would also explain the anomaly in the geometric erosion below Ginevra Sforza’s emblem. This would also point us to a crest which in this specific circumstance, is the family crest of her husband – Giovanni II Bentivoglio – also called Bencivoglio hence the name of Ginevra de’ Benci - a friend who was like a brother to Leonardo da Vinci; in fact, they were portrayed at least twice together in works by Benozzo Gozzoli (in Cappella dei Magi in Florence and in Sant'Agostino’s church in San Gimignano).

The two coats of arms would seem to be completed in the description of that Uroboros represented by the olive branch and the palm leaf, the supreme expression of spiritual marriage, whose ring held at the tip of her fingers which is still a symbolic expres-sion in contemporary ritual gestures. Among other things, it should be noted that Ginevra Sforza di Alessandro was an illegitimate daughter, and details about the mother are unknown.

In this sense, it is perhaps important to note that in the direction dictated by the perspective view of the painting, on the right side, is Piagnano with its castle, inhabited during that period by Count Gianfrancesco Oliva, a man of arms associated with Leone Sforza, brother of Alessandro. In 1441, after Leone Sforza died in battle, Gianfrancesco Oliva married his widow Marsibilia Trinci. It is here where Alessandro's illegitimate daughter Ginevra, born in 1440, most likely grew up. Perhaps it is precisely for this reason that Leonardo paints Ginevra Sforza in Sassocorvaro, with the Valle del Foglia and Pia-gnano in the background: because it is here that Ginevra was raised. At this point, I would not exclude the possibility that Marsibilia Trinci was her mother, and that Gianfrancesco Oliva offered to raise the child in the Castello di Piagnano as a favor to the powerful Alessandro Sforza.

Marsibilia belonged to the powerful Trinci family of Foligno, while Alessandro Sforza was the son of Muzio Attendolo, ancestor of the Sforza family, and his mother was Lucia Terzani of Torgiano, a place not far from Foligno [i.e., Francesco then had maternal relatives nearby to Foligno]. Knowing how the "political" dynamics with which marriages and kingships were formed at the time I would not exclude the possibility that the choice to having Ginevra grow with a Trinci (assuming that she was not the natural mother) would find it fairly well founded. Perhaps this would help to clarify the only element that of this attribution which still does not find a reasonable location at the moment: the two bell towers on the right edge of the painting. It is said that where was once a fortification, called "barchetto", where today an industrial area occupies this part, but at the moment I cannot find documentation supporting this hypothesis, which, if confirmed, would give further clarification to everything described above.

Ross Caldwell wrote: 07 Jul 2023, 08:11 There is a descriptive list of 66 groups of famous men and women in Italy in the Oxford university doctoral thesis of Tanya Bastianich, 2000, pp. 230-257; "Appendix I: Uomini Illustri Cycles on the Italian Peninsula."
https://ora.ox.ac.uk/objects/uuid:7dc68 ... ork=Thesis
An Illustrious Man and his Uomini Illustri: Francesco di Marco Datini and the decoration of his palace in Prato.

"even more pleasing will be when your keen intelligence will notice several most famous Heroes, whose glorious virtue, for the greatness of their gifts, or their mighty power, made into gods, and offered them as memorable to posterity. By thus paying attention to them, be ready to be roused to virtue."

"As an ardent lover of the virtues, you have extended hospitality to these viri illustres, not only in your heart and mind, but also very magnificently in the most beautiful part of your palace ... To the inward conception of your keen mind you have given outward expression in the form of most excellent pictures, so that you may always keep in sight these men whom you are eager to love because of the greatness of their deeds."

Phaeded wrote: 07 Jul 2023, 22:23
But most of this is immaterial - Sforza did not design trionfi, but was certainly aware of these programs that I understand as related series of art.