Fame

Ross G Caldwell said:

Hi Huck,

here's where my memory screwed up. Panormita says in the description
http://www.bibliotecaitaliana.it/xtf/view?docId=bibit001050/bibit001050.xml

that Fortune (here conflated with Opportunity, as we later know her, with a forelock and bald behind) was followed by "six" virtues, and then proceeds to list *seven* - Hope, Faith, Charity, Fortitude, Temperance, Prudence, followed later by Justice, to emphasize her importance.

Caesar comes next, and mentions the seven virtues.

Later on, a giant tower comes surrounded by four further virtues, Magnanimitas, Constantia, Clementia, and Liberalitas.



Fame, by that name, is nowhere to be found (at least in my quick reading), but Julius Caesar (as mentioned by Burckhardt), who comes between Fortune with the virtues and the tower with four others, clearly symbolizes Fame (he is standing on a rotaing globe and declares "Behold both this changeful world and everything else unsure, except virtue." (Ecce et mundus volubilis et praeter virtutem omnia incerta).

Ubi sunt qui ante nos fuerunt (except for virtuous, recorded deeds)? is the message...

Ross

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Burckhardt (other source):
"Alfonso the Great, on his entrance into Naples (1443), declined the wreath of laurel, which Napoleon did not disdain to wear at his coronation in Notre-Dame. For the rest, Alfonso's procession, which passed by a breach in the wall through the city to the cathedral, was a strange mixture of antique, allegorical, and purely comic elements. The car, drawn by four white horses, on which he sat enthroned, was lofty and covered with gilding; twenty patricians carried the poles of the canopy of cloth of gold which shaded his head. The part of the procession which the Florentines then present in Naples had undertaken was composed of elegant young cavaliers, skillfully brandishing their lances, of a chariot with the figure of Fortune, and of seven Virtues on horseback. The goddess herself, in accordance with the inexorable logic of allegory to which even the painters at that time conformed, wore hair only on the front part of her head, while the back part was bald, and the genius who sat on the lower steps of the car, and who symbolized the fugitive character of fortune, had his feet immersed in a basin of water Then followed, equipped by the same Florentines, a troop of horsemen in the costumes of various nations, dressed as foreign princes and nobles, and then, crowned with laurel and standing above a revolving globe, a Julius Caesar, who explained to the king in Italian verse the meaning of the allegories, and then took his place in the procession. Sixty Florentines, all in purple and scarlet, closed this splendid display of what their home could achieve. Then a band of Catalans advanced on foot, with lay figures of horses fastened on to them before and behind, and engaged in a mock combat with a body of Turks, as though in derision of the Florentine sentimentalism. Last of all came a gigantic tower, the door guarded by an angel with a drawn sword; on it stood four Virtues, who each addressed the king with a song. The rest of the show had nothing specially characteristic about it. "

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That at a later time the Florentines used to travel through Italy as directors of festivals (festaiuoli), shows that the art was early perfected at home......<>
..Alfonso the Great, on his entrance into Naples (1443), declined the wreath of laurel, which Napoleon did not disdain to wear at his coronation in Notre-Dame. For the rest, Alfonso's procession, which passed by a breach in the wall through the city to the cathedral, was a strange mixture of antique, allegorical, and purely comic elements. The car, drawn by four white horses, on which he sat enthroned, was lofty and covered with gilding; twenty patricians carried the poles of the canopy of cloth of gold which shaded his head. The part of the procession which the Florentines then present in Naples had undertaken was composed of elegant young cavaliers, skillfully brandishing their lances, of a chariot with the figure of Fortune, and of seven Virtues on horseback. The goddess herself, in accordance with the inexorable logic of allegory to which even the painters at that time conformed, wore hair only on the front part of her head, while the back part was bald, and the genius who sat on the lower steps of the car, and who symbolized the fugitive character of fortune, had his feet immersed in a basin of water Then followed, equipped by the same Florentines, a troop of horsemen in the costumes of various nations, dressed as foreign princes and nobles, and then, crowned with laurel and standing above a revolving globe, a Julius Caesar, who explained to the king in Italian verse the meaning of the allegories, and then took his place in the procession. Sixty Florentines, all in purple and scarlet, closed this splendid display of what their home could achieve. Then a band of Catalans advanced on foot, with lay figures of horses fastened on to them before and behind, and engaged in a mock combat with a body of Turks, as though in derision of the Florentine sentimentalism. Last of all came a gigantic tower, the door guarded by an angel with a drawn sword; on it stood four Virtues, who each addressed the king with a song. The rest of the show had nothing specially characteristic about it.

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Huck said:

Stella radiosa .... the Angel? Who is this Lucrezia inside this context. The normal Roman Lucrezia?

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The pontiff did not interfere in these affairs further than to endeavor to bring the parties to a mutual accommodation; but while he refrained from external wars he incurred the danger of more serious troubles at home. Stefano Porcari was a Roman citizen, equally distinguished for nobility of birth and extent of learning, but still more by the excellence of his character. Like all who are in pursuit of glory, he resolved either to perform or to attempt something worthy of memory, and thought he could not do better than deliver his country from the hands of the prelates, and restore the ancient form of government; hoping, in the event of success, to be considered a new founder or second father of the city. The dissolute manners of the priesthood, and the discontent of the Roman barons and people, encouraged him to look for a happy termination of his enterprise; but he derived his greatest confidence from those verses of Petrarch in the canzone which begins, "Spirto gentil che quelle membra reggi," where he says,—

"Sopra il Monte Tarpejo canzon vedra, Un cavalier, ch' Italia tutta onora, Pensoso piu d'altrui, che di se stesso."

Stefano, believing poets are sometimes endowed with a divine and prophetic spirit, thought the event must take place which Petrarch in this canzone seemed to foretell, and that he was destined to effect the glorious task; considering himself in learning, eloquence, friends, and influence, superior to any other citizen of Rome. Having taken these impressions, he had not sufficient prudence to avoid discovering his design by his discourse, demeanor, and mode of living; so that the pope becoming acquainted with it, in order to prevent the commission of some rash act, banished him to Bologna and charged the governor of the city to compel his appearance before him once every day. Stefano was not daunted by this first check, but with even greater earnestness prosecuted his undertaking, and, by such means as were available, more cautiously corresponded with his friends, and often went and returned from Rome with such celerity as to be in time to present himself before the governor within the limit allowed for his appearance. Having acquired a sufficient number of partisans, he determined to make the attempt without further delay, and arranged with his friends at Rome to provide an evening banquet, to which all the conspirators were invited, with orders that each should bring with him his most trust-worthy friends, and himself promised to be with him before the entertainment was served. Everything was done according to this orders, and Stefano Porcari arrived at the place appointed. Supper being brought in, he entered the apartment dressed in cloth of gold, with rich ornaments about his neck, to give him a dignified appearance and commanding aspect. Having embraced the company, he delivered a long oration to dispose their minds to the glorious undertaking. He then arranged the measures to be adopted, ordering that one part of them should, on the following morning, take possession of the pontiff's palace, and that the other should call the people of Rome to arms. The affair came to the knowledge of the pope the same night, some say by treachery among the conspirators, and others that he knew of Porcari's presence at Rome. Be this as it may, on the night of the supper Stefano, and the greater part of his associates, were arrested, and afterward expiated their crime by death. Thus ended his enterprise; and though some may applaud his intentions, he must stand charged with deficiency of understanding; for such undertakings, though possessing some slight appearance of glory, are almost always attended with ruin.

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Huck said:

Just on a sidepath I found this, somehow a piece of evidence for Petrarca-enthusiasm in the relevant time (enthusiasm about new iconographical type "Fame" should be likely regarded as detail of the Petrarca-enthusiasm.

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