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Citizen
Join Date: 11 Dec 2003
Location: Brighton, UK
Posts: 142
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Mother on the Pope Card
As there has been a fair amount of discussion about the presence or absence of the mother on the Pope card, I've posted a sheet of cards printed in Milan by Lattanzio Lamperti in the mid 19th century, which shows her very clearly. http://i9.photobucket.com/albums/a58/invbks/blog006.jpg http://i9.photobucket.com/albums/a58/invbks/blog007.jpg Although I don't go along with Venicebard's schema, the presence of these figures does, for me at least, deepen the card. Last edited by f. silvestris; 15-07-2005 at 07:19. |
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Citizen
Join Date: 31 Mar 2005
Location: California, USA
Posts: 922
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Without meaning to rain on your (our) parade, are you sure that's mom? To my eye it looks more like the first pair of suppliants are followed by a second pair, or else that three are being introduced by a fourth, perhaps of higher rank... OR a mom, I can't really tell. I'm interested in why her presence deepens the symbol for you. Does it have to do with the central essence of my take on it, that it focuses symbolism on blessing-cleansing rather than the personality of the particular pontiff? __________________ G.K. Spain, poet-fiddler and inadvertant thread-killer who now mostly just lurks and learns. |
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Citizen
Join Date: 11 Dec 2003
Location: Brighton, UK
Posts: 142
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no raining involved. Your posts made me take notice of the arm in some Marseilles decks, and I was interested to see it expanded into a definite figure on this sheet (at least, I would take the figure to be an elaboration of the arm, rather than independent invention on the part of Lamperti, or whoever). The reproduction I have is wretchedly small (3.5 x 1.5 cm - approx 1.5 x 0.5 inches) and, of course, breaks up too much to be of any great use if I try to expand it to a useful size. As far as I can make out, there are two tonsured figures, one behind the other, on the right, and an untonsured figure, with another figure, arm slightly raised, just behind it, on the left. No, I personally don't see any reason to definitely identify this last figure as mama, but then I'd say the same of the other appearances of the arm I've come across - it could be lashed to the end of a pole, for all we know. I was, however, taking your attribution as given for the sake of argument, and thought this was perhaps an interesting expansion of the image. Best, Felis ps. Picture source – Lise: Il Giochi di Carta, 1988 |
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Citizen
Join Date: 31 Mar 2005
Location: California, USA
Posts: 922
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Quote:
__________________ G.K. Spain, poet-fiddler and inadvertant thread-killer who now mostly just lurks and learns. Last edited by venicebard; 18-07-2005 at 03:25. |
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Citizen
Join Date: 11 Dec 2003
Location: Brighton, UK
Posts: 142
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Quote:
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fourhares
Join Date: 05 Aug 2001
Location: Melbourne, Australia
Posts: 8,502
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Rather than 'the arm being rarely noticed' by some of us, it is the ambiguity or unclarity of various decks that is noted, which a very small number of decks have seemingly increased in ambiguity by colouring the card in such a manner as to render the possibility of an additional arm more prominent. As posted by f. silvestris, there are of course a small number of decks that increase the two smaller figures, and thereby try to make sense of lines from some earlier decks that are difficult to bring to inner clarity. One of the beautiful aspects of many Italian decks is that they do aim for calrity of image, whilst seeking to, wherever possible, reflect earlier tradition. Personally, I do not in the least think that there was an arm intended nor even depicted. Rather, carved the lines are such as to present the folds of a cape. Of course, in working with certain decks, the ambiguity does allow for an arm to be 'seen'. I personally would not, however, universalise the specific lines of such a deck and claim that this is what constitutes more typical Marseille-style accuracy - especially given this lack of possible arm in many other Marseille-style decks. As a personal preference for the Grimaud and other decks depicting this ambiguity, of course, and especially if it fits better with one's personal insights into correlations that may be made, then the depiction may be prefered... but not necessarily by those of us who do not work with such additional correlations. |
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Citizen
Join Date: 31 Mar 2005
Location: California, USA
Posts: 922
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Fair enough, jmd. I've worked from Grimaud so long that I take certain things for granted I perhaps should not. Still, I think the case can be made: the hand is at a slightly odd angle to be the boy's. Yet I will say you have the diminutive size of the hand on your side perhaps (I have always taken this to mean it is feminine). The only Marseilles-type (early) designs that really do away with this feature (as opposed to just making it more ambiguous than Grimaud) would appear to be those that for other considerations as well can be shown to be other than mainstream: the bitterly satiric quality in Noblet for instance, or the artistic license of a Vieville. (They also possess a roughness of design, a lack of refinement not present in the Conver, which is surely why this became standard.) I don't have time right now to fully research and argue the case, but will in a few weeks I hope. __________________ G.K. Spain, poet-fiddler and inadvertant thread-killer who now mostly just lurks and learns. |
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