We may also include:
Il Trionfo Tridentino di Leonardo Colombino
In which Fama appears among the Triumphs, possibly as a substitute for Temperance, which is missing. The Popesse is also missing, so that including 'il Saggio Matto' there are 21 Triumphs in all, appropriated to the Noble Ladies of Trentino with the exception of 'il Saggio Matto' to Francesco the gardner.
Il Mondo
La Giustizia
L'Angelo
Il Sole
La Luna
La Stella
La Saetta
Il Diavolo
La Morte
LA FAMA
La Traditora
Il Vecchio
La Rota
La Fortezza
L'Amore
Il Carro
Il Papa
L'Imperatore
L'Imperatrice
Il Bagatello
Il Saggio Matto
In Death's stanza, appropriated to Isabetta, we are told those that die worthily do well and may call heaven and fate propitious for they have not infamy but rather immortal honour.
Chiamin propizio il ciel non che la sorte
Chè non ha infamia anzi immortale onore
E fa bel fin chi degnamente muore
Isabetta is followed in the procession [going from highest triumphs to lower] by Genevra, her triumph is not named in the stanza, but is given as La Fama in the list of appropriati. Thanks to her one sees virtue prosper, to whom death and time impossibly hope, and whose shores oppose the River of Forgetfulness.
Questa gran Dama che la bella schiera
Seguendo viene al mondo è tanto in preggio
E sempre in sua fiorita primavera
Mercè le sue virtù prosperar veggio
A cui la morte e il tempo indarno spera
Benchè si sforzi arrecar macchia o sfreggio
Chè di Genevra le bellezze han sponde
Valide a ostar di Lete all avid onde
Genevra in turn is followed by a woman the author neither knows "nor can imagine how this beautiful woman is a traitor, who has such a graceful face and such ornate hair. I do not know how she is rebellious to faith, she whose name I do not know."
References:
https://books.google.com.tr/books?id=Jr ... &q&f=false
Note: The Devil stanza, and reference to the Devil in the list of appropriati, is missing in this edition, but are in the original. The Devil stanza has been published online previously by Andrea Vitali.
See also:
Festa cortigiana e autocelebrazione aristocratica nel “Trionfo Tridentino” di Leonardo Colombino by Patrizia Cordin :
https://storiaeregione.eu/attachment/ge ... 829999.pdf
EDITED TO ADD:
Links to the Vitali reference
I Tarocchi in Letteratura I -I documenti più importanti
by Andrea Vitali
Italian:
https://web.archive.org/web/20210307044 ... 99&lng=ITA
Tarot in Literature 1 - The most important documents
by Andrea Vitali, translated into English by Michael Howard
English:
https://web.archive.org/web/20210514104 ... 99&lng=eng
With thanks to Nathaniel for the links, who rightly notes that Vitali does not give a source for his quote.
Vitali is in agreement with Cordin that the Devil is appropriated to Bartolomea Podestessa, Cordin only gives us the line:
“tanta zizania da’ belli ochi sparse”
from Stanza 29
Which is line 3 in Stanza XXIX as quoted by Vitali:
Apena il Diavolo nel giardin comparse
Che già scandalizar comincian molti,
Tanta zizania dai belli occhi sparse
A chi nel mal oprar vi eran già involti.
Ma a questa Podestessa già non parse
Che in gratia alcun di lor fossero tolti
E altri che il suo consorte mai in eterno
Non speri entrar la porta del suo inferno.
As soon as the Devil appears in the garden
Many are straightaway scandalized,
Her beautiful eyes spread much discomfort
Amongst those involved in wicked ways.
But to this Podestessa it appears
That none will depart in grace,
And her consort ever in eternity hopes
None other will enter her infernal gates.*
*Pietro Larcher had the poem printed for "The Happy Marriage of Vincenzo Larcher & Maria Ciani", for which occasion possibly this stanza with its allusion to adultery was expurgated, rather than for the subject of the Devil in and of itself.
Ignoring the capitalization there are a couple of slight differences between Vitali and Cordin :
Tanta zizania
dai belli
occhi sparse
tanta zizania
da’ belli
ochi sparse
Which might mean they had different sources,
if both are accurately transribed from their sources,
