21 Trionfi with gods 1566

11
IN WORK

The following part is also from Heinz Kindermann: Das Theaterpublikum der Renaissance, Band 1, Otto Müller Verlag Salzburg, 1984. It refers to the "21 Trionfi with gods", the part, which is for us of major interests.
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1.
The Mascherata took place at night and was illuminated with 1000 torches.
Vincenco Borghini had the idea to invite the gods to the wedding celebration as it took place in myth at the wedding of Peleus and Thetis, the parents of Achilles. The costumes were arranged by Giorgio Vasari.
2.
The show started with the god Janus and was finished with Demogorgone, so the order in which the gods were presented in the book was skipped to the opposite with 21 Iano, 20 B Bacco, 19 Cerere etc.
8 persons with trumpets opened the show. 4 music bands were integrated in the show, one at chariot 20 for Bacchus, one near the chariot of 15 Pan, one for 7 Venus and the last for 1 Demogorgone.
3.
"Hesiod" opened the show of the chariots as a carrier of a flag with 5 colors, which presented the 5 elements. 6 carrier of masks did care for the order of the show, there was a Mercury, an Iris, a Hercules, a Achilles, a Cassandra and an Atlas of Tuscany, who was connected to the city Fiesole.
4.
The Janus Trionfo was the first, the chariot showed a hill with 12 altars and Janus with two faces in the mid of it. The chariot was drawn by two white male sheeps.16 persons accompanied the chariot: the religion, 2 prayers, Porrina and Postverta (from Ovid's Fasti), the favour, the good ending, Anna Perena, 2 fetiales, a Roman consul, 2 senators, 2 soldiers and the personified money.
Similar additional figures were used for others Trionfi.
5.
The 21 gods are presented together. "Cielo" is translated as "Uranus".
6.
About the last chariot, that of Demogorgone (automatic translation):
"The vehicle resembled a dark double cave. In the front grotto, Demogorgone was seen flanked by Eternity and Chaos. In the back cave was Erebus with the night and the ether. The caves were topped by a plant-covered mound that represented Mother Earth. The chariot was drawn by 4 kites. 26 figures surrounded or followed the Trionfo chariot in a processional manner: Discord, the Three Fates, the Pole, the Python, Envy, Fear, Obstinacy, Ignorance, Poverty, Hunger, Sorrow, Sickness , old age, the Hydra, the Sphinx, the debauchery, the lie, the thought, Momus, Tagetes, Anteus, the day, the toil and the oath."
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Demogorgon chariot with dragons and cave.

7.


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Vasari: Della Geneologia degli Dei
https://books.google.de/books?id=dVS_w6 ... &q&f=false

Vasari: The Genealogy of gods (English translation, starts at page 127)
https://www.gutenberg.org/files/33203/3 ... 3203-h.htm

IN WORK
Huck
http://trionfi.com

Vasari: Description of Demogorgone chariot 1566

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Giorgio Vasari: Of the Triumph of Dreams and Other Festivities (English translation, starts at page 128)
https://www.gutenberg.org/files/33203/3 ... 3203-h.htm
I believe I can affirm most surely that this masquerade—a spectacle only to be arranged by the hand of a wise, well-practised, great, and valiant Prince, and in which almost all the lords and gentlemen of the city, and many strangers, took part—was without a doubt the greatest, the most magnificent, and the most splendid which can be remembered to have been held in any place for many centuries down to our own times, for the greater part of the vestments were not only made of cloth of gold and silver and other very rich draperies, and, when the place required it, of the finest skins, but, what is more (art surpassing the materials), composed with rare and marvellous industry, invention, and loveliness; and to the end that the eyes of the spectators, as they gazed, might be able with greater satisfaction to recognize one by one which of the Gods it was intended to represent, it was thought expedient to proceed to divide them into twenty-one distinct companies, placing at the head of each company one that should be considered as the chief, and [Pg 129]causing each of these, for greater magnificence and grandeur, and because they are so figured by the ancient poets, to be drawn upon appropriate cars by their appropriate and particular animals. Now in these cars, which were beautiful, fantastic, and bizarre beyond belief, and most splendid with silver and gold, and in representing as real and natural the above-named animals that drew them, without a doubt the dexterity and excellence of the ingenious craftsmen were such, that not only they surpassed all things done up to that time both within and without the city, which at all times has had a reputation for rare mastery in such things, but they also (infinite marvel!) took away from everyone all hope of ever being able to see another thing so heroic or so lifelike. Beginning, then, with those Gods who were such that they were reputed to be the first causes and the first fathers of the others, we will proceed to describe each of the cars and of the companies that preceded them. And since the representation was of the Genealogy of the Gods, making a beginning with Demogorgon, the first father of them all, and with his car, we have to say that after a graceful, lovely, and laurel-crowned Shepherd, representing the ancient poet Hesiod, who, singing of the Gods in his Theogony, first wrote their genealogy, and who, as guide, carried in his hand a large, square, and ancient ensign, wherein were depicted in divers colours Heaven and the four Elements, and in the centre was painted a large Greek O, crossed with a serpent that had the head of a hawk; and after eight trumpeters who were gesticulating in a thousand graceful and sportive ways, representing those tibicines who, having been prevented from eating in the temple, fled in anger to Tibur, but were made drunk and put to sleep by deceit, and brought back with many privileges to Rome; beginning, I say, with Demogorgon, there was seen his car in the form of a dark and double cavern drawn by two awful dragons, and for Demogorgon was seen a figure of a pallid old man with the hair ruffled, all wrapped in mist and dark fog, lying in utter sloth and negligence in the front part of the cavern, and accompanied on one side by youthful Eternity adorned (because she never grows old) with verdant draperies, and on the other side by Chaos, who had the appearance, as it were, of a mass without any shape. Beyond that cavern, which contained the [Pg 130]three figures described, rose a graceful little mound all covered and adorned with trees and various plants, representing Mother Earth, at the back of which was seen another cavern, but darker and deeper than that already described, wherein Erebus was shown likewise lying in the guise that has been told of his father Demogorgon, and in like manner accompanied on one side by Night, the daughter of Earth, with two children in her arms, one white and the other dark, and on the other side by Æther, the child of the aforesaid Night and Erebus, who must be figured, so it appeared, as a resplendent youth with a ball of turquoise-blue in the hand. At the foot of the car, then, was seen riding Discord, who separates things confused and is therefore held by philosophers to preserve the world, and who is regarded as the first daughter of Demogorgon; and with her the three Fates, who were shown spinning various threads and then cutting them. And in the form of a youth all robed in draperies of turquoise-blue was seen Polus, who had a terrestrial globe in the hand, and over him, alluding to the fable that is related of him, many sparks appeared to have been scattered from a vase of glowing coals that was beneath him; and there was seen Python, also the son of Demogorgon, all yellow and with a mass of fire in the hand, who seemed to have come in the company of his brother Polus. After them, then, came Envy, the daughter of Erebus and Night, and with her Timidity, her brother, in the form of a pallid and trembling old man, who had the head-dress and all the other vestments made from skins of the timid deer. And after these was seen Obstinacy, who is born from the same seed, all in black, with some boughs of ivy that seemed to have taken root upon her; and with the great cube of lead that she had on the head she gave a sign of that Ignorance wherewith Obstinacy is said to be joined. She had in her company Poverty, her sister, who was seen all pale and raging, and negligently covered rather than clothed in black; and with them was Hunger, born likewise from the same father, who was seen feeding the while on roots and wild herbs. Then Complaint or Querulousness, their sister, covered with tawny draperies, and with the querulous solitary rock-thrush, which was seen to have made her nest in her head-dress, was shown walking in profound melancholy after them, having in her company [Pg 131]the sister common to them, called Infirmity, who by her meagreness and pallor, and by the garland and the little stalk of anemone that she held in her hand, made herself very well known to the spectators for what she was. And on her other side was the other sister, Old Age, with white hair and all draped in simple black vestments, who likewise had, not without reason, a stalk of cress in the hand. The Hydra and the Sphinx, daughters of Tartarus, in the guise wherein they are generally figured, were seen coming behind them in the same beautiful order; and after these, to return to the other daughters of Erebus and Night, was seen License, all nude and dishevelled, with a garland of vine-leaves on the head, and keeping the mouth open without any restraint, and in her company was Falsehood, her sister, all covered and wrapped in various draperies of various colours, with a magpie on the head for better recognition, and with a cuttle-fish in the hand. These had Thought walking on a level with them, represented as an old man, likewise all dressed in black, with an extravagant head-dress of peach-stones on the head, and showing beneath the vestments, which at times fluttered open with the wind, the breast and the whole person pricked and pierced by a thousand sharp thorns. Momus, then, the God of censure and of evil-speaking, was seen coming after them in the form of a bent and very loquacious old man; and with them, also, the boy Tages, all resplendent, although he was the son of Earth, figured in such a manner because he was the first inventor of the soothsayer's art, in token of which there was hung from his neck a lamb split down the middle, which showed a good part of the entrails. There was seen, likewise, in the form of an immense giant, the African Antæus, his brother, who, clothed in barbaric vestments, with a dart in the right hand, appeared to wish to give on that day manifest signs of his vaunted prowess. And following after him was seen Day, also the son of Erebus and Night, represented in like manner as a resplendent and joyous youth, all adorned with white draperies and crowned with ornithogal, in whose company was seen Fatigue, his sister, who, clothed in the skin of an ass, had made herself a cap from the head of the same animal, with the ears standing erect, not without laughter among the spectators; to which were added two wings of the crane, [Pg 132]and in her hands were placed also the legs of the same crane, because of the common opinion that this renders men indefatigable against all fatigue. And Jurament, born of the same parents, in the form of an old priest all terrified by an avenging Jove that he held in the hand, and bringing to conclusion the band attributed to the great father Demogorgon, was the last in their company.

And here, judging that with these deities the origins of all the other Gods had been made sufficiently manifest, the followers of the first car were brought to an end.
Huck
http://trionfi.com