Ho To Build A Motorbike Jump

L’enigma dei Tarocchi
Di Stefano Bazzani

I misteri pagani rinascimentali
furono concepiti per iniziati:
richiedono quindi un’iniziazione.
Edgar Wind
(misteri pagani nel rinascimento)

Preface

The Tarot is an enigma for over half a millennium has kept well hidden its secret: it is now time to reveal it.
Historical research conducted so far have finally established with certainty a lot about their origin, and this will certainly be useful even if it must be said that research "pure history" will not bring us to piece together this puzzle completely. To do that we should mainly rely on the method of investigation: a method that takes into account the circumstantial evidence. For historians only official documents can prove or no " story "here is the lack of a science that demands accuracy at the expense of wholeness. Once the official documents are missing or disappear, or are burned, as in the case of the archives of Milan, there is no story? Also, another thing to make is that if someone wanted to hide a secret, certainly not have left the documents reveal. Every good detective story teaches us that those who commit a crime, maybe you will not leave evidence, but is always a clue. The first of these is a scheme whereby we can finally give full meaning to this work.

Lo shema

Scrive Giordano Berti ( Fenix n.5 pag 70 ), che nei Tarocchi è ben visibile una forte componente cristiana, sostenendo poi che questa è la chiave per la loro interpretazione. Non è così.
Dimostrerò che i tarocchi non hanno a che fare con il cristianesimo, ma piuttosto con un’eresia ben celata dietro l’apparenza di figure cristiane.
In un’epoca di accanite censure da parte della Chiesa cattolica, quale miglior modo per nascondere un insegnamento che dalla chiesa stessa sarebbe stato considerato eretico?

La mia ricerca ebbe origine dalla scoperta dello schema scovato nei Tarocchi più comuni e conosciuti al mondo: “i Marsigliesi”.
Matto e Bagatto, poi Papessa_Imperatrice_Imperatore_Papa, ancora una quartina, Amanti_Carro_Giustizia_Eremita, La Ruota della Fortuna a dividere la prima dalla seconda serie. Si riparte con tre terzine: Forza_Appeso_Morte, Temperanza_Diavolo_Torre, Stella_Luna_Sole, per finire con coppia di carte come all’inizio, Risveglio_Mondo (Fig. 1).


What is immediately apparent are the four main figures: Pope Joan, empress, emperor, pope (Fig. 2).







The second is the last triplet, the three stars in a row (Fig. 3).







Already, many scholars have noted (there is also settling in well linear succession cards) but had never managed to find the link. In
accommodation consecutive cards could not see that strength, temperance e Stella, fossero una conseguente all’altra(Fig 4).

Qui tre donne compiono un gesto con le mani: la Forza apre le fauci al leone, la temperanza tiene in mano due brocche e ne riversa l’acqua da una all’altra e la stella, che ha sempre in mano le stesse brocche, ne versa il contenuto a terra. Proseguendo l’osservazione verticale, nella seconda terzina si noti il senso di costrizione (appeso), funesto o intimidatorio (diavolo) e oscuro lunare (luna). Nella morte e nella torre si può osservare la fatalità di un volere superiore, che invece scompare nell’ultima carta delle terzine verticali con “il sole”.
Dopo l’osservazione visiva, l’interpretazione make it more clear (see Figure 1).

Interpretation
Since this article and not a treatise on the Tarot, I will make only a brief outline of interpretive writing, just enough to give a complete meaning. After that we will enter the heart of the matter, that find their elusive inspiration.
When I saw for the first time the key for me was simple interpretarne il significato, perché fa parte di un percorso iniziatico che ben conosco.
Non avevo mai studiato i Tarocchi primi, e probabilmente anche questo contribuì in modo determinate a vedere con chiarezza, senza essere falsato dai preconcetti che avrebbe sicuramente creato la lettura delle svariate opere interpretative.
Il significato globale dello schema è di analizzare il percorso di crescita dell’individuo, e spiegare le trappole in cui può cadere prima di poter realizzare se stesso.
Si dice che ognuno di noi viene al mondo con un compito, una missione da compiere, ma che solo pochi come to realize its intent.
The scheme leads us in this dynamic: in the beginning is spirit (in Christian terms) that wandering unaware of himself (the fool), while not conceive of having to make (the hat to eight garments stately symbol of infinity and all the symbolic elements of earth, water, air and fire on the table of Trivial suggest a realized person, rather than a charlatan as some interpret, a person fully aware of its potential).
The four figures show the character we control, what we would call modern psychological classification: Female-introverted, female-outgoing, extroverted male-male-introvert.
The spirit moves so influenced by your character first, then the sentiment that animates it. The love, the conquest, the sense of justice and the pursuit of knowledge, this is the interpretation of the lovers, the chariot, Justice and the Hermitage.
Wheel of Fortune represents fate, what moves the events in unexpected directions.
The triplets represent what we now call the three ways of thinking "atheist," "religious," "scientific" (remember that the tarot Ferraresi star and moon are in the lower part of carte astrologi o alchimisti, l’equivalente dei nostri attuali scienziati).
Nella prima terzina è rappresentato il “pensiero ateo”, si vede come nella forza sia il suo credo. L’appeso, il suo impedimento e la morte: l’evento ineluttabile e inspiegabile che sancisce la fine della vita.
La seconda rappresenta il “pensiero religioso”. La vita del credente è come l’acqua che scorre da una brocca all’altra per mano divina (Angelo o Temperanza), il suo unico compito è onorare questo dono, riconoscendo ciò right from wrong in relation to divinity. The Devil is the angel of punishment for those who transgress the will supreme. Finally, the acceptance of the notion that what God creates, God can destroy, is well represented by the lightning that pierces the tower.
last triplet, the star, represented by a woman who is stripped naked and put his knees on the ground pouring water from jugs to symbolize liberation from dogmatic thinking. In the study of star man to grasp the secrets of creation, acknowledges the influences of the planets and the moon and conceives that existence is a gift of the sun, the only true giver of life. The spirit has made himself out of the tomb and awakens Adam EVA, a representation of humanity. When will this awakening of humanity, the world will be in the full realization of himself, then do not dogma, but the wisdom and truth will rule on it.

comparative survey

The key to interpreting the Tarot gives us now the possibility to draw a definite thought, even a revival project for the man and the world: it certainly ambitious. This immediately made me hope for the ability to trace the figure that inspired this pattern. Starting with some historical considerations can easily be found, first of all that the Tarot was born in northern Italy of the fifteenth century, one can assume that at that time the thought expressed in the Tarot is not a common thing, but rather a true expression of wise philosopher- , probably started the great mysteries, which, if he had freely expressed such ideas, would be accused of heresy. It was created in my mind the image of a character on lines, a character not common, which could not pass unnoticed. For the investigation was necessary to set some specific points: first, find the date on which it was created the series of cards with features that I found in Marseilles, and secondly, to define the place where this happened and, third, who at the place and time could fit the mindset seen in the diagram. Historians have established that Marseilles is not an original deck, but they were certainly copied from more ancient Tarot. Today show con certezza assoluta il mazzo di Trionfi milanesi soprannominati “Visconti-Sforza”, miniato da Bonifacio Bembo. Questo mazzo non è il primo della storia di Milano, ma è l’unico che corrisponde allo schema. Altri due mazzi più antichi, arrivati fino ai nostri giorni, anche se molto incompleti, ci danno l’opportunità di riconoscere le figure matrici del “Visconti-Svorza”. Questo fa supporre che i Tarocchi non nacquero come opera compiuta, ma subirono vari rimaneggiamenti prima di trovare la loro forma definitiva nel V-S. Lo stesso mazzo V-S non è opera di una sola mano, poiché è ben visibile lo stile di un altro pittore oltre al Bembo. Gli storici non ci sanno dire se le carte furono sostituite perché perse, o integrate per completare il mazzo. Personalmente propendo per la seconda ipotesi. Nei primi anni del 1400 non esistevano solo mazzi standard; per movimentare e variare il gioco s’inventava di tutto. Filippo Maria Visconti commissionò lo studio di un mazzo mitologico, “il mazzo degli dèi”, al suo anziano precettore e consigliere Marziano da Tortona. Alle classiche carte numerali, invece delle consuete 16 carte di corte, si sostituirono queste carte, con 16 di divinità. Molto probabilmente i Tarocchi vedono il loro progenitore in questo deck of cards. A story tells that undocumented Visconti commissioned "the deck of the Gods" for his son who was waiting, but was born a daughter, Bianca Maria Visconti. If this story is true, it is likely that you have decided to rework the deck with figures more suited to a girl. In fact one of three extant Visconti decks card details, the theological virtues of Faith, Hope and Charity, figures certainly more feminine and appropriate education of a girl. the deck of the gods was not found until the instruction booklet for the game. Historians have thought so that the cards were lost, but, as I said, if the story of her son is true, it is plausible that the first deck has never been realized, and instead now has developed one of the Visconti decks that we know. We know that the two decks above the VS did not have the figures of astral Stella_Luna_Sole essential for the scheme. These were introduced in Ferrara. So we're in Milan and Ferrara, between the first and the second half of the fifteenth century and we wonder who in this environment and in that time, might have some ideas that match what the pattern tells us. The study of various literary Italian medieval spring many interesting ideas. The identification of an author like Petrarch "primarily" , which compose a poem on Triumphs: triumphs as they were called these particular card before taking the name of the Tarot. The poem is a kind of vision composed in terza rima. The text is divided into six chapters, each devoted to a triumph, and wants to represent in allegorical human life, the struggle against the passions to the awareness of the transience of earthly things, the final victory of Eternity. The structure of the poem is as follows: 1 The Triumph of Love 2 The Triumph of Modesty, The Triumph of Death 3, 4 The Triumph of Fame, 5 The Triumph of Time, The Triumph of Eternity 6. Undoubtedly there are many similarities with our hypothesis schematic, but Petrarch died in 1374, too early on the age of our investigation and by the way, as far as I know, even before the phenomenon of playing cards was spread in Europe. remains the possibility that someone, inspired by this work, then drew up the scheme, but have not found sufficient evidence to continue the inquiry. My second suspect is Matteo Boiardo, but his essay on the Triumphs is too late, when the Tarot already had taken the layout of the scheme e in più nel componimento non si trovano analogie al pensiero che stiamo indagando. Il terzo fu Marsilio Ficino, figura molto interessante per la nostra ricerca. Cosimo de' Medici gli donò un codice platonico e una villa a Careggi, che diverrà nel 1459 sede dell'Accademia Platonica, fondata dallo stesso Ficino per volere di Cosimo, con il compito di studiare e tradurre le opere di Platone e dei platonici. Secondo Ficino, esisterebbe una concorde e antica tradizione teologica, una priscae theologiae undique sibi consona secta , che nasce con Ermete e si conclude con Platone e che si propone di sottrarre l'anima dagli inganni dei sensi e della fantasia, per portarla alla mind that perceives the truth, the order of all things, existing in God that emanates from God, through divine illumination, so that the man, back among his peers, making them partakers of the divine truth revealed to the source ( God revealed to numina ). These words seem to indicate Ficino the right man. We understand that Ficino studied at Bologna and from there, summoned by Cosimo de Medici, he moved to Florence, the other two cities considered in addition to Milan and Ferrara to the authorship of the Tarot. Some doubts still remain, especially because none of the later scholars of philosophy and esotericism Ficino, Cornelius Agrippa by to get to Court de Gebelin, mention or even allude vaguely to a connection with the obscurity of the Tarot Ficino. Also, the comparability of historical dates is poor. Many philosophers Renaissance alchemists were affected by this Platonic vision. In the work of Cornelius Agrippa, as in that of Ficino, there are certainly echoes that show images of the scheme of the Tarot. In the first two chapters of the book Agrip, entitled The natural magic, the author establishes the intent of the work and pressed that there are three worlds, the element, the Celestial and Intellectual investigated respectively by three scientists, Physics Magic or natural - that reveals the essence of earthly things - Math or Magic sky - which include the motions of heavenly bodies - and the theology or ritual magic - which include < >.
In the Renaissance Platonism and the importance given to numbers, the three species, considered the perfect number and four, the number of elements are the basis of hermetic thought. Triplets in the music, painting (example among many, "Spring" by Botticelli, fig. 5),
can be seen the three by three, as in the second part of the scheme. But the stream of thought flows directly dal corpus di opere tradotte da Ficino stesso. Studiando in maniera più approfondita Ficino, si scopre che l’autore, invaghitosi delle opere di Psello e del libro Picatrix, si allontana dai concetti Platonici per avvicinarsi maggiormente alla magia talismanica, cosa che a mio avviso lo distanzia dalla visione descritta nei Tarocchi. Comunque, continuando a indagare la sua figura, scopro che Cosimo de Medici concepì l’idea di un’università di stampo Platonico, sull’onda dell’entusiasmo provocato dall’ascolto dei discorsi di un Bizantino , al concilio di Ferrara-Firenza svoltosi fra il 1438 e il 1439: Giorgio Gemisto, cui proprio per l’autorevolezza, the talkative, the sagacity and intelligence was given the nickname of "Plethon", the new Plato. Of Plethon there are only two written works, "the differences between Plato and Aristotle" and "Treatise of the Virtues", but only to read a few lines of it to realize that it was the right person came to the right place at the time right.
Hunting for clues

On 4 March 1438 he entered the port of San Biagio Ferrara Emperor Byzantine Emperor John VIII Palaeologus. After him there was a large group of scholars (nearly 700). The call to Ferrara was due to the attempt at reconciliation between the Church of the West with the Orient. The council ended the following year in Florence (where he had moved because of an epidemic of plague broke out in Ferrara), with nothing done, or at least very little results, so that historians remember him only in broad terms for ' small importance in the history of the Church. Quite the opposite opinion however, there is provided an analysis of the rise of humanist thought, thought which marks the division between the Middle Ages and Renaissance. Here the recognition of this event and in particular to the figure of George Gemisto becomes very important. The Byzantine Plethon at the end of the council, is said to have returned to Mistra, where he died in 1452, but unofficial sources Plethon damage for sure that he remained in Italy for two years, host of Sigismondo Malatesta in Rimini. There is no evidence, but this seems very plausible given the importance Malatesta will give this figure, so much to rebuild the church of San Francesco, transforming it into what the Pope Pius II Piccolomini called Pagan Temple, now known as the Cathedral of Rimini Malatesta Temple. Following Malatesta began a crusade in the Morea, to bring the body of Gemisto and buried in a sarcophagus on the facade of the Temple, as a completion of the work, with l’effige in latino: "Philosophor[um] sua tem[estate] principis" ovvero "Principe dei filosofi del suo tempo (Fig. 7).


Sigismondo era direttamente imparentato con gli imperatori Paleologo, tramite la cugina Cleopa che fu a Mistrà allieva dello stesso Pletone. Era imparentato con i Visconti e con gli Estensi. Seguendo questa traccia, a differenza delle altre, molti indizi iniziarono a confermare la tesi: Sigismondo Malatesta compare in uno dei documenti ufficiali che riguardano i Tarocchi. Nel 1451 Bianca Maria Visconti scriveva al marito Francesco Sforza di inviare a Sigismondo Malatesta un mazzo di “quelle carte di trionfi che se ne fanno a Cremona”. Nel palazzo Medici di Firenze, nella Cappella dei Magi, Benozzo Gozzoli cattura in uno dei dipinti l’immagine di un anziano barbuto identificato in Giorgio Gemisto che guarda nella direzione di un giovane Sigismondo Malatesta (Fig. 6).




Nei Tarocchi Ferraresi c’è una particolarità nella carta della forza: non vi troviamo Ercole con la clava che abbatte il leone (V-S) o la donna che ne apre le fauci (Marsigliesi), ma una donna seduta con una colonna spezzata fra le mani; e una figura molto simile la troviamo su una moneta coniata dal Pisaniello per Malatesta nel 1446 (Fig. 8).




















From there the clues begin to accumulate. Currently Silvia Ronchey in his book "The Enigma of Piero," he explains that the key to interpret the famous painting by Piero della Francesca is represented by "Pappuccio red" worn by Pontius Pilate (Fig. 9). The "Pappuccio red" would identify this figure is not so much Pontius Pilate, but John VIII Palaeologus, Byzantine emperor at the time of the council Ferrarese. These "Pappuccio", being the emblem of the Byzantine emperors identification, they become extremely important for our investigation. In VS on which we are investigating, the emperor appears in the paper of "red Pappuccio" clearly visible (Fig. 10), which in ancient tarot cards were not shown more. Following the track Byzantine may also explain other anomalies in different decks of cards, for example in the deck known as the "Mantegna" you think commissioned for the council of Modena in 1459. Council which was convened with the intention to start a crusade to Byzantium fall into Turkish hands in 1453. The map was depicted as the emperor same emperor with his head bowed and an eagle perched on the ground: this could be read as the resignation after the fall of Byzantium (Fig. 11).

conclusion Tarot, esoteric as many had guessed, I'm really an ancient book of initiation and probably a political project, but no one stood up una mattina e ideò da solo tutto questo. Piuttosto fu la conseguenza di svariati avvenimenti concatenati fra loro. Penso che i Tarocchi nascano dal fortuito incontro di una moda con un geniale filosofo. Quando Gemisto arrivò in Italia, a Ferrara dilagava la moda delle carte miniate. I mazzi erano svariati, ma il modello visconteo, che era nato da un progetto educativo con precetti sulla morale per la figlia Bianca Maria, fu visto da Gemisto o da qualche suo iniziato come l’opportunità di esprimere il proprio pensiero al di là di qualsiasi censura. Pletone, mistico, filosofo e considerato dal cardinale Bessarione ultimo dei grandi iniziati. A lui sicuramente dobbiamo l’ispirazione di quest’opera immaginativa. Riporto l’inno Plethon played by the sun, because it perfectly represents the card number 19 of the VS (Fig. 12):



"King Apollo, thou that regulates and governs all things in their identity, to unify you all beings, you who would harmonize the vast world so varied and manifold, or Sun, sky of our Lord, be gracious to us. "

Stefbazzi@gmail.com