Huck
Lothar (autorbis) wrote the following in the groups LTarot and TarotL:
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Hind in his article about the Mantegna article comes in his final passage to this opinion:
"On the other hand there is a close similarity between the present series and the engraved maps of the Ptolemy printed at Rome in 1478. The precise cutting of the maps and the representation of forests and hills are closely related in style. If the engraver of these maps is identified, some solution might be found for the engraver of the socalled Tarocchi might have undertaken the work of the Roman printer."
From my own researches to Lazzarelli's life, his connections to the Accademia Romana and my consideration, that Hind made a wrong conclusion about his Mantegna-Tarocchi-origin "around 1465", it seems promising to search for the origin of the final set at a later time than 1465 and in a connection to Lazzarelli and especially in Rome, cause that's the place, which seems to be focused.
So two suspicions (Hind's and mine) meet here, although I contradict Hind in his basic assumptions.
Hind's citation above looks, as if the producer of the Ptolemy is completely unknown. However, it isn't and as it seems, not since young times, so I do wonder, why Hind speaks in this way.
The Ptolemy from 1478 has the following story: Conrad Sweynheim and Arnold Pannartz are two printers, which left Mainz 1462 and reached Subiaco near Rome in 1464/1465. They are called the "first printers in Italy".
Here they started to print, and after 3 years they moved to Rome. This is parallel to a development, in which the current pope Paul II. threw a lot of writers out of their jobs. But: it's also said, that Paul II. reacted with enthusiasm about the printing machine .... So it seems, that Paul II. realised, that he had too much writers and would need in future more printers, this administative action seems to be part of a media revolution. The writers lost their jobs and their protest did lead to the attack against the Accademia Romana.
Pannartz and Sweynheim printed and printed. However, the Pope died in 1471. Sixtus IV was elected, and 1472 a letter is known, in which the bishop of Aleria, Johannes Andreae reported to the pope about difficulties of the printers - they had made 28 editions and more than 12000 books ... and now they had difficulties, sitting on all this printed papers. Likely is, that Paul II has guarenteed to buy books and the new pope Sixtus didn't fulfill earlier promises, as it often happens in printing business.
The problem solved in a specific way. Pannartz kept to the printing business, but Sweynheim turned to the production of a single book since 1473, the mentioned Ptolemy, together with a very active editor of other books, Domitius Calderinus.
The names Calderinus and Andrae appear together already in the mid of 14th century, when an Anreae of some fame adopted a Calderinus, so this new appearance of an Andreae(= bishop of Aleria)-Calderinus-combination in Sweynheim-context seems to point to old familiary connections, which haved worked here.
Conrad Sweynheim died, Domitian Calderinus died, Pannartz died, either in 1475, 1476, 1477, 1478. The informations are unclear. A peste is mentioned in Rome 1475/76, Regiomontanus died with it (in the case, he wasn't poisoned by the sons of Trapezunt) and Regiomontanus was also in the printing business. It stays, that in October 1478 an Arnold Bucking was in possesssion of the Ptelomy-prints, which were a finer edition than that illustrated by the Ferrarese Crivelli in Bologna one year before. One theory assumes, that Arnold Bucking was just a second name for Arnold Pannartz.
Who was the engraver? It seems that Sweynheim and Bucking in assistance did the work.
It seems unlikely, that Hindn't did have any information about Sweynheim, cause the story is reproted in older German books, it is not new research, so perhaps his text contains at other place an information, why he considers the engraver of the Ptolemy a mystery.
Till ca. 1480 and a little later there are no printings of Mantegna Tarocchi extant - beside four printings of the cardinal virtues in a manuscript of St. Gallen, written in the year 1468. 4 printed virtues do not give evidence for 50 fulldeveloped socalled Mantegna Tarocchi prints.
Printers usually do not act creative, but reproduce already existent art and writing. It was normal to them to copy something. When for instance Sweynheim made the Mantegna-Tarocchi in 1475, most motifs would have already existed with the Lazzarelli manuscript. From the Emperor motif we know, that it was used in an illuminated manuscript in Bologna 1467.
Calderinus, Sweynheim's Italian partner in the late years, commented a text, which was also commented by Giorgios Merula, Lazzarelli's earlier teacher. That's the only possible connection between the group of printers and Lazzarelli's world, that I detected, but perhaps others. However, Calderinus was an active book editor, who participated in a lot of printing productions - such people have a lot of contacts, and they're naturally searched by poets and other persons in the literary business.
There might have been some hostility between printers and people, who earned their money by copying texts by hand, naturally. As Rome should have had a lot of these persons ....
The prints of Sweynheim and Pannartz and later the prints of Pannartz alone were made in the Palazzo Massimo, the house of two knights, Pietro and Francesco Massimo. The house was destroyed during the Sacco di Roma 1527, nowadays there is another new Palazzo Massimo.
--------------------
The expanding articles to the theme Lazzarelli and the Mantegna Tarocchi (still in an unsorted order) are located in provisonal form at:
http://trionfi.com/0/gg/
---------------------------------------
Hind in his article about the Mantegna article comes in his final passage to this opinion:
"On the other hand there is a close similarity between the present series and the engraved maps of the Ptolemy printed at Rome in 1478. The precise cutting of the maps and the representation of forests and hills are closely related in style. If the engraver of these maps is identified, some solution might be found for the engraver of the socalled Tarocchi might have undertaken the work of the Roman printer."
From my own researches to Lazzarelli's life, his connections to the Accademia Romana and my consideration, that Hind made a wrong conclusion about his Mantegna-Tarocchi-origin "around 1465", it seems promising to search for the origin of the final set at a later time than 1465 and in a connection to Lazzarelli and especially in Rome, cause that's the place, which seems to be focused.
So two suspicions (Hind's and mine) meet here, although I contradict Hind in his basic assumptions.
Hind's citation above looks, as if the producer of the Ptolemy is completely unknown. However, it isn't and as it seems, not since young times, so I do wonder, why Hind speaks in this way.
The Ptolemy from 1478 has the following story: Conrad Sweynheim and Arnold Pannartz are two printers, which left Mainz 1462 and reached Subiaco near Rome in 1464/1465. They are called the "first printers in Italy".
Here they started to print, and after 3 years they moved to Rome. This is parallel to a development, in which the current pope Paul II. threw a lot of writers out of their jobs. But: it's also said, that Paul II. reacted with enthusiasm about the printing machine .... So it seems, that Paul II. realised, that he had too much writers and would need in future more printers, this administative action seems to be part of a media revolution. The writers lost their jobs and their protest did lead to the attack against the Accademia Romana.
Pannartz and Sweynheim printed and printed. However, the Pope died in 1471. Sixtus IV was elected, and 1472 a letter is known, in which the bishop of Aleria, Johannes Andreae reported to the pope about difficulties of the printers - they had made 28 editions and more than 12000 books ... and now they had difficulties, sitting on all this printed papers. Likely is, that Paul II has guarenteed to buy books and the new pope Sixtus didn't fulfill earlier promises, as it often happens in printing business.
The problem solved in a specific way. Pannartz kept to the printing business, but Sweynheim turned to the production of a single book since 1473, the mentioned Ptolemy, together with a very active editor of other books, Domitius Calderinus.
The names Calderinus and Andrae appear together already in the mid of 14th century, when an Anreae of some fame adopted a Calderinus, so this new appearance of an Andreae(= bishop of Aleria)-Calderinus-combination in Sweynheim-context seems to point to old familiary connections, which haved worked here.
Conrad Sweynheim died, Domitian Calderinus died, Pannartz died, either in 1475, 1476, 1477, 1478. The informations are unclear. A peste is mentioned in Rome 1475/76, Regiomontanus died with it (in the case, he wasn't poisoned by the sons of Trapezunt) and Regiomontanus was also in the printing business. It stays, that in October 1478 an Arnold Bucking was in possesssion of the Ptelomy-prints, which were a finer edition than that illustrated by the Ferrarese Crivelli in Bologna one year before. One theory assumes, that Arnold Bucking was just a second name for Arnold Pannartz.
Who was the engraver? It seems that Sweynheim and Bucking in assistance did the work.
It seems unlikely, that Hindn't did have any information about Sweynheim, cause the story is reproted in older German books, it is not new research, so perhaps his text contains at other place an information, why he considers the engraver of the Ptolemy a mystery.
Till ca. 1480 and a little later there are no printings of Mantegna Tarocchi extant - beside four printings of the cardinal virtues in a manuscript of St. Gallen, written in the year 1468. 4 printed virtues do not give evidence for 50 fulldeveloped socalled Mantegna Tarocchi prints.
Printers usually do not act creative, but reproduce already existent art and writing. It was normal to them to copy something. When for instance Sweynheim made the Mantegna-Tarocchi in 1475, most motifs would have already existed with the Lazzarelli manuscript. From the Emperor motif we know, that it was used in an illuminated manuscript in Bologna 1467.
Calderinus, Sweynheim's Italian partner in the late years, commented a text, which was also commented by Giorgios Merula, Lazzarelli's earlier teacher. That's the only possible connection between the group of printers and Lazzarelli's world, that I detected, but perhaps others. However, Calderinus was an active book editor, who participated in a lot of printing productions - such people have a lot of contacts, and they're naturally searched by poets and other persons in the literary business.
There might have been some hostility between printers and people, who earned their money by copying texts by hand, naturally. As Rome should have had a lot of these persons ....
The prints of Sweynheim and Pannartz and later the prints of Pannartz alone were made in the Palazzo Massimo, the house of two knights, Pietro and Francesco Massimo. The house was destroyed during the Sacco di Roma 1527, nowadays there is another new Palazzo Massimo.
--------------------
The expanding articles to the theme Lazzarelli and the Mantegna Tarocchi (still in an unsorted order) are located in provisonal form at:
http://trionfi.com/0/gg/