The translation here is of "Poppiano 1523 – Trionfi piuttosto arcani," posted July 21, 2024 at https://www.naibi.net/A/RIDOLFI.pdf. Notes inside square brackets are mine, in consultation with Franco.
This note documents a "paio" of "XX" painted "triomphi" in a well-off
Florentine family. The issues are first, what these "triomphi" are, and second, how
the terms of the description are to be understood - notably "triomphi,"
"XX" and "paio". Franco understands "paio" as, in Italian, "mazzo," which in English would be "deck" or "pack," perhaps including, he tells me in discussion, a partial deck. For myself, I am not convinced. I base this hesitancy on the entry for "paio" in the Grande Dizionario de la Lingua Italiana {GDLI), in which its fourth definition includes a quotation from an old Treccani dictionary where the word is applied to chess: https://www.gdli.it/pdf_viewer/Scripts/ ... arola=paio. However, Franco has a lot more experience with old Italian in
this particular context than I do. This issue is not important for
understanding what the "triomphi" in question are in this case, but only
for what "paio" means in other cases of "triomphi" or similar: are they
always playing cards? This is something that came up as well in an earlier note, March 16, 2024: Florence 1478 and 1479: Petrarch's Triumphs in Private Homes (with May 3 Addendum, for which search "paio" in that blog post.
Poppiano 1523 – Rather arcane triumphs
Franco Pratesi
1. Introduction
I recently have continued my study on the archive collection Magistracy
of Minors before the Principality in the State Archives of Florence
(ASFi). I had already made an incursion into the final part where it
enters the sixteenth century; this had happened because I was looking in
the well-known inventory of the Rosselli workshop for confirmation of
the triumphs that I had found coming from a few decades earlier. [note 1]
Unfortunately, I had not yet understood that those forms for printing
images of Petrarch's triumphs referred to figures of larger dimensions
and could not be considered in direct relation with the playing card
triumphs.
One fact that is clear to me, however, is that the transition from 1499
to 1500 cannot correspond to a clear boundary between two different
periods. For us, it remains convenient to divide the years into
centuries, or then, in the case under examination of the Magistracies of
Minors, into the series prior to the Principality [i.e. the Grand
Duchy] and then that of the Principality. However, the differences that
can be expected, also for the cases of our interest, are rather
long-term, as they concern customs that transformed rather slowly.
What do I then expect by continuing to search for “our” objects in the
following century? Certainly, if before it was rare to come across packs
of naibi, now they would have become true antiques, preserved only if
forgotten, in some chest of a building with many rooms, and perhaps in
the rare case that they were artistic works of excellence. The same end
is now beginning to be glimpsed also for the playing cards of subsequent
production, and even for the "new" triumphs and minchiate, which in
fact were truly new objects only for the grandparents.
In short, we shouldn't be surprised if, from a series of 887 inventory
folios, I can only describe one deck of triumphs here. Reading the
numerous books published on tarot today, it is common to come across the
noun arcano, which has come to be used to
clarify ideas about it, or confuse them. I even included it in the
title, but only as an adjective, in the sense of enigmatic, mysterious,
and this exclusively because of one detail, which fortunately doesn't
seem to have anything esoteric about it.
2. The material examined
The archival unit examined in the collection indicated is the file
immediately preceding 190, in which the Rosselli inventory is preserved.[note 2]
As usual, the fact that I discuss only one finding does not mean that
this is really the only example in the whole series; there may be others
that have escaped my examination, but there cannot be many others, also
because the date is now far from the one in which naibi and triumphs
were sometimes produced as valuable objects.
In these inventories, I also researched chessboards and game-boards, [note 3]
and I can mention that also in that case, moving forward into the
sixteenth century, these objects, and especially chess sets, are now
expected to be encountered only as exceptions, now exclusively in
stately homes, or almost so.
As for playing cards, even in the fifteenth century, they were rarely
found, and we can be satisfied if evidence of them can be found in these
almost one thousand sixteenth-century documents. Also making the
registration of playing cards unlikely is the area of origin of the
inheritances: in the ASFi inventory, it is indicated that the file
contains documents from Florence, but in fact most of the inventories of
household goods present here concern people in Florentine territory,
but not of the city center. Thus, in peasant huts it will be useless to
look for game objects together with the very few clothing and work
objects. Possibly, in the countryside they will be found in some
"gentleman’s house" where the owners of the land used to spend part of
the summer.
The inheritance in question is a rare example among these inventories of
a prestigious family with a stately home in the center of Florence and a
gentleman’s house in the Poppiano countryside (the family's territory
of origin, in the Val di Pesa between San Casciano and Montespertoli),
and this is reflected in a wealth of
________________
1. https://www.naibi.net/A/TRIOPETR.pdf
2. ASFi, Magistrato dei Pupilli avanti il Principato, N. 189. Filza d’inventari di Firenze, 1508-1532.
3. https://www.naibi.net/b/TAVOLIERI.pdf
2
entries that is extraordinarily above the average. Usually, an inventory
of household goods in a country house takes up a single page or at most
two pages, while in this case, we read 45 pages of inventory.
The deceased is Francesco di Giovanni Ridolfi, with a home in Via Maggio
in the parish of San Felice in Piazza [in Florence]; therefore, it was
the branch of the Ridolfi di Piazza, later more important than the other
two branches in the city, the Ridolfi di Ponte and the Ridolfi di
Borgo. The widow is Mona Alexandra of Antonio Ristori, pregnant, with
sons Francescho, 2 years old, and Lorenzo, 10 months old.
It is easy to find information on the history of this large family. [note 4]
Many Ristori di Piazza had gone from being merchants to becoming
important politicians (and it would be so in the following centuries);
in the most turbulent periods, they had mixed fortunes but often found
themselves at the top of the city administration. The large city house
and the country house that we encounter in the documents are the two
main headquarters of the historic family, which had its origins in the
fortified town of Poppiano.
I intend to transcribe in full only the goods found in the room with the
object of our interest, but I list all the items in the inventory that
indicate the individual rooms of the city palace and the country palace.
3. The inventory
First, on 28 August 1523, what was found in the palace in Via Maggio was listed, room after room.
______________
4. E.g., M. Vannucci, Le grandi famiglie di Firenze. Rome 1983 (2006 reprint), on pp. 381-387.3
In the vault.[note 5]
In the ground floor room of the entrance hall that goes to the oven
In the room next to the oven and in the vault
In the stable below [note 6]
In the first stable
In the ground floor room next to the loggia
In the small bedchamber or soffitta [“attic” room, with low ceiling] at the mezzanine level [ameza schala - at the middle floor; counting from the ground floor as number one, it is the second floor in the photo] [note 7]
In the antechamber of the soffitta
In the necessary [note 8]
In the room of Lorenzo, uncle of said Antonio or of Mona Bice
In the hallway that descends
In the entrance hall
In the room behind the entrance hall where Mona Bice was
In the study in said room
In the antechamber beyond the study which comes out behind in a small veranda [note 9]
In the soffitta [“attic” room] above the antechamber and study
In the great room
In the bedchamber in the room, above
In the soffitta [“attic” room] above the main room
In the large upstairs room
In the room above the kitchen
In the maidservant's room [note 10]
In the kitchen
In the room where the oil is kept
Understandably, the entries above correspond to very different spaces in the inventory, where many of the items listed are items found in chests and strongboxes, present only in the main rooms.
Family coat of arms - on the facade of the Casa Ridolfi in Via Maggio (2024)
(The local sandstone had resisted for centuries, but had to succumb to acid rain)
5. Volta. Wine-cellar (with six barrels).
6. Here a dark-haired mule; in the next one a bad barrel.
7. In addition to the attic rooms on the top floor, the rooms on the mezzanine, under the main floor, are called attic rooms.
8. Necessario. The toilet. In general, you will not find bathroom furniture there, but possibly objects and utensils stored in bulk. In this case: a pair of bad trestles.
9. The presence here of a chessboard is notable, also because I haven't seen any others in the whole series, nor even game-boards." Perhaps at the time it was really a legacy reserved only for the families of the highest classes.
10. Mostly used as a storage room or stockroom.
4
Following on August 31 - September 1, 1523, from c. 235v onwards, the inventory of goods found in the house of Poppiano, parish of San Biagio, precinct [podesteria] of Montespertoli, vicariate of Certaldo. It should be noted that, in addition to this manorial house, the family preserved several farmhouses, farms, and vineyards in the area of its origin, with plots that descended to the Virginio stream.
Cellar
(In the second room In the third room In the vault In the stockroom In the room next to the vault)
In the kitchen
In the great room
In the first bedchamber on the hall
In the antechamber
In the necessary
In the second bedchamber on the hall
In the tower room of the entrance hall
In the necessary in said room
In the storeroom
In the room facing the western meadow (details later!)
In the hallway where the house is entered and into the room
In the first room upstairs
In the second room upstairs
In the third room, servants’ bedchamber
In the fourth room or granary
In the old room
In the parlor on the ground floor
In the armoire [note 11] where we go above the hall
Item out of the house
Wheat in the holes [note 12] outside the house
Things and household goods outside the house [note 13]
11. Armario. When we find an armoire at the time, it is not a wardrobe as for modern use, but a piece of furniture in which weapons, various tools, or even everyday objects were kept.
12. Buche. A kind of cisterns next to the farmers' houses with the owners' share of grain.
13. In particular, fabrics being processed at convents or with artisans and precious objects in storage by the father-in-law.
5
At this point we can focus on the details of the room and the cases. Especially bed linen and clothing items were stored in the chests [casse], and as a rule there were several of them, placed against the walls, perhaps with headboards, or directly against the bed.
_________________In the room facing the western meadow
One white wooden bed with walnut veneered chests of 4 ½ arm-lengths
One bad mattress in said bed full of fur
2 quilts [coltrice] for said bed full of feathers
with plumes not good of 270 pounds
One sparrowhawk [note 14] of linen in said bed
In the chests []capse] around the bed within which [note 15] were these things, that is, in the first place
Four women's shirts with fittings, ready to be sewed
26 thin handkerchiefs in one thread
2 arm lengths of Rensa [note 16]
One pillowcase within which
One white silk net to tie
One becha [note 17] with striped train
One small box of one arm-length within which
One small bag and a pair [paio] of paternosters [note 18]
One pair [paio] of shoes
One tusk with silver rings
One pair [paio] of man's knives with silver ferrule fork everything provided
One pair [piao] of knives with mother-of-pearl handles
Silver fork and velvet sheath supplied in silver for women
One box inside which
More lace and ribbons and other zachere [note 19]
In the second chest [capsa]
Six small and two large knives
8 used women's shirts
3 men's shirts
One pair [paio] of linen sleeves
3 ruffs [note 20] and a woman's apron
One red velvet collar
One collar of red satin
6 large hand towels between large and small
Two pieces of red taffeta to make pillows
One purse with a silver-filled dagger
One box two-thirds of one arm-length within which
One man's netting
5 women's silk nets of various types and various other zachere, beche, mazochi [note 21] and otherwise
14. Sparviere, Sparrowhawk. In the Renaissance, name for quadrangular bed canopies, so called because they were equipped with curtains having the appearance of a sparrowhawk with open wings (Treccani).
15. Drentovi, that is, within which. The list of contents begins at the next entry, but it is not always obvious where it ends.
16. Rensa. White linen fabric, of very fine grain, also called canvas, used for fine linens and also in the first oil paintings on canvas (Treccani).
17. Beca. Or bécca, silk scarf, which once upon a time (especially in Venice in the 16th century) ecclesiastics, magistrates and university professors wore over their shoulders. (Treccani)
18. Paternostro. Rosary
19. Zachere. From Zacchera, Bagattella, trifle, little thing of little importance, insignificant (Treccani).
20. Gorgierie. Frenchism; properly indicates what covers the throat, the neck (Treccani).
21. Mazzocchio. Part of the hood, consisting of a circle of wool or silk waste covered with cloth, which wrapped the head (GDLI).
6
____________One box with several zachere [trifles] and used handkerchiefs
In the chests [casse] at the foot of the bed, within which
40 pounds of accia [thread] [note 22] for panata [note 23] of linen
28 pounds of thread in skeins of linen, tow, and other more valuable pieces
Two antique-style chests [casse] within which
One new rough canvas of 100 arm-lengths of broad sheet cloth weighing 55 lbs.
One tablecloth at the bottom of one of said chests [casse]
Four narrow tablecloths of various types
XII used napkins
Two used napkins
Two straps and four used canvases
One large tablecloth [note 24] of 6 arm-lengths approx.
One Perugia-style [note 25] tablecloth, 7 arm-lengths wide
26 pounds of accia in skeins of tow
Two bunches [mazi] of linacciuolo [some type of linen? - just a guess] weighing 2 ½ pounds
In the other chest [capsa], within which
More bound books of stories [historie] and in the vernacular and books of household accounts, that is
Seven books between great and small and other old contracts
Flat shoes of Antonio and Alexandra, his wife, X pairs [paia], used and new
One pair of triumphs of the XX, historiated and put with gold [Un paio di triomphi del XX historiati et con oro messi] [note 26]
16 tin soup plates
7 small tin soup plates
Two tin platters and 7 half-sized plates for cutting, weighing 45 pounds
One small flute [or flageolet] to play [note 27]
One chest [cassone] of about 3 arm-lengths within which
One large carpet of 6 arm-lengths
8 pounds of thread [accia]
One small bag within which
Two pounds of satile [note 28] thread
One small bag within which
6 arm-lengths of green cloth
3 sheets cut in X lengths of 7 arm-lengths or longer
One white quilt [coltre] in the manner of almonds [note 29]
Another quilt [colre] in the manner of almonds
One white quilt [coltre] with buttons, broken
Two pairs [paia] of used sheets
Another chest [cassone] of 3 arm-lengths within which, that is
One white thick quilt [coltrone] full of cotton wool
One white quilt [coltre] in the almond style [see n. 29]
Another blanket [coltre] of tablecloth
8 good large sheets
22. Accia: Raw and skeined thread, made of linen, hemp, etc. (Treccani).
23. Pannata. Gown (GDLI).
24. Mantile. Mostly ordinary, cheap, commonly used, everyday tablecloth (GDLI).
25. Usually the cities of origin of the fashions are otherwise: Paris, Naples, Milan, Venice.
26. This is the entry that justified the whole description, to be discussed separately.
27. After the triumphs, it can be considered the second intruder among the various objects.
28. Satile=Sottile: thin.
29. A mandorle. Almond-shaped. Knitting with almond-shape design, which can be full-almond or empty-almond, depending on whether the links form a solid or empty rhomboid shape (Treccani).
7
Two large fine linen [Rensa] tablecloths
Six tablecloths without tassels, about 6 arm-lengths long, used
Four tablecloths.
Two straps
One bedsheet of 4 cloths of 6 arms-length of tow
One piece of linen cloth weighing 15 pounds, 35 yards or more
One and a half pounds of thin thread
17 used napkins
One pair [paio] of pillows with netted pillowcases
One our Lady [note 30]
One sword
One hatrack with 6 rods 6 arms-length long
______________
30. The painting of the Madonna that cannot be missing in the rooms of the time.
ASFi, Magistracy of Minors prior to the Principality, 189 c. 240v, detail (Reproduction prohibited)
8
4. The triumphs
Here we finally arrive at the key point, the triumphs. We must try to better understand what can be indicated more precisely in the entry, which at first sight appears rather enigmatic: Un paio di triomphi del XX historiati et con oro messi [One pair of trionfi of the XX, historiated and put with gold]. If we were to "translate" the lexicon into more recent Italian we would read: Un mazzo di trionfi del 20 istoriati e messi a (oppure in o con) oro [One deck of triumphs of the 20, historiated and put to (or with or in) gold]. Let's look point by point.
A deck of triumphs only creates problems for us if we want to understand why it is there, how long it has been there, what it was used for, and what it could have been used for - but the indication of "a pair of triumphs" is already sufficient to describe the object uniquely. In this case, it could not have been a book of the Triumphs of Francesco Petrarca, neither printed nor manuscript, nor even larger prints such as those produced in the Rosselli workshop. The term “of the 20” had never been seen before and requires further discussion.
“Historiated” [with a story, not “with a history”] is more than plausible: they are triumphs illustrated with images that have their own meaning, which can be read and interpreted in some way - or rather in multiple ways, as they still do today. “Put in gold” also does not create any problems for us, since, with a little imagination, we can immediately compare them with the triumphs that came to us from the great ducal courts of Milan and Ferrara. The Florentine gold-beaters had been active for centuries. and their precious thin sheets had been used extensively, even centuries before, starting from the backgrounds of the panels of crucifixes, Madonnas and saints on wood.
In the end, to understand what object it is precisely, only the “20” remains. There seems to be no doubt that it is precisely 20. It is true that this 20 is actually read as XX, but one certainly cannot think at the time of the ecs being used as a sign of the unknown! In short, it is not possible to read triumphs made by an artist who would have been indicated XX because they no longer knew the name. It so happens that in the line above we read another X, with the very predictable meaning of 10. So XX are 20, and that's all.
At this point, I leave it up to each reader to find the explanation that most convinces him of this number. It may be that more than one will be suggested; it may be that, unusually, all experts agree on one. As far as I'm concerned, I would have found an explanation that at least convinces me, which is no small thing.
Here's how I read the inventory entry: we found a deck of triumphs that have unusual characteristics: they are illuminated and have a gold background and decorations; they are valuable, but they are not our minchiate decks with 40/41 tarocchi in addition to the 56 cards of the four suits. This is a deck with 20 tarocchi, that is, one that is now used (and referred to as tarocchi for the entire deck) far from here. Well. You might tell me that the hypothesis doesn't hold up because then the 20 should have been a 22, or at least a 21 without considering the Fool. It doesn't bother me; this is why I invited each reader to find the explanation that convinced them the most.
Once convinced, sooner or later, of an explanation of the deck, it remains to understand its history and destiny as much as possible, which is no less challenging. In my opinion, the destiny is to remain closed in its "capsa" [chest], because it is too beautiful and prestigious to be destroyed, but at the same time useless to play with because no one would have used it as such in Florentine territory, where tradition was now to play minchiate.
However, it remains very difficult, if not impossible, to propose definitive hypotheses regarding the past history of the deck, above all because here its production date remains undefined, when even a single decade more or less could greatly change its value as evidence.
The only certain point is that the Ridolfi di Piazza were an important family, one of the main ones in the city, but they certainly did not belong to the category of the dukes of northern Italy who are known to us as owners of similar decks. In short, if in Northern Italy (including Rimini) the triumphs of luxury were exclusive objects, present only in the hands of the lords of the cities, in Florence, they could be part of the trousseau of many high-class families. At the same time, it will not have been difficult for all interested Florentines to obtain less expensive versions.
Florence, 07.21.2024
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