Tarot Thrones | The Court Card Blog

Tag: giordano berti

  • Sola Busca | Mantegna | Triumphs of Caesar

    In an earlier post, Heroes Warriors and Worthies, we took a look at the naming of the Court Cards in French playing card decks and how these have been incorporated into Dame Fortune’s Tarot Wheel.

    Another deck that incorporates named court cards is the Sola Busca Tarot.

    This deck originated in Italy during the late 15th Century and is quite different from other Tarocchi decks in that it is entirely populated by warriors (with exception of the Court Queens).  The Majors are all named.  The Fool remains Il Mato (the Fool) but all else are whirled into a vortex of classical names ….Nerone (Nero), Catulo (Cattulus), Catone (Cato… no, not the Pink Panther one) and so on.

    The images in this deck are richly coloured and brooding in their mood.

    This deck is very important indeed, in that it has clearly formed the basis for the Rider Waite Smith deck.

    Look familiar? The Sola Busca’s 10 of Swords.

    As was the habit, the little Pages are not named – because in gaming decks there were only 3 court cards.

    We have:

    King of Swords – Alexandro M
    Queen of Swords – Olimpia
    Knight of Swords – Amone

    King of Staves – L Evio Plauto R
    Queen of Staves – Pallas
    Knight of Staves – Apolino

    King of Cups – Lucio Cecilio R
    Queen of Cups – Polisena
    Knight of Cups – Natanabo

    King of Coins – R Filipio
    Queen of Coins – Elena
    Knight of Coins – Sarafino

    The names have some affinity with the Heroes, Warriors and Worthies, as previously looked at here on m’blog.

    This is where my blog goes a bit off piste and veers utterly away from further discussion of the Courts, because I was very struck by the style of the vibrancy of colours, the all-male procession and the scale of the ‘booty’ and the similarity to the canvases of Andrea Mantegna’s Triumphs of Caesar which are housed at Hampton Court Palace in London.

    The nine paintings depict Caesar’s triumphant return from his campaign against the Gauls in a cavalcade of soldiers and booty.

    In his book ‘Lives of the Artists’ Vasari says: ‘The best thing Mantegna ever painted’ and the enormous canvases became extremely famous throughout Europe.

    The scale of the vases?  
    The artfully arranged trophy ‘Cups’?

    Look at the stuck-on breasts of Pallas. Do you think they resemble the bare breasts of the captive above?  The cloudy skies? 
    The only children depicted in the Triumph are captives.
    What about this child in the ‘Nerone’ (Justice) card of the Sola Busca?
    Perhaps the resemblances are pure fancy on my part, but if Mantegna’s paintings were famous throughout Europe, why wouldn’t a wealthy Italian Lord not want his own version?
    It has been suggestested that the creation of the Tarot’s Trumps IS based on Roman Triumph parades.  What if it was THIS one in particular, painted between 1484 – 1492?  The Sola Busca Tarot is estimated, by its Tarot historian champion, Giordano Berti, to be around 1490-91.
    So the two dates dovetail together nicely.
    What do you think? Is the link allllllll in my head?!

    *** edit: since I’m not a huge fan of very lengthy blog posts, I’ll just say here that I plan to write this up in greater detail and will work towards either showign a link or showing that there is no link.  And you will be able to have it as a pdf to read.  But it will take me a while, so don’t hold your breath! 😀

  • The Ancient Tarots of Lombardy | Meet the Families!

    I recently bought a handful of Marseilles-type Tarot decks and the Ancient Tarots of Lombardy is one of them.  This design dates from 1810, according to the box. It is published by Lo Scarabeo and comes with the LWB details (written by Giordano Berti) on cards, rather than a leaflet.  I find this a bit of a faff trying to find the English section amongst the cards.  But that probably says more about my untidy nature than anything else!

    Although I will be looking at the Court cards, I would just add (for review purposes) that the Tower is simply a tower – no flash of lightning or falling figures.  Strength is Major Arcana card XI and shows a powerful man pulling open the jaws of a lion (you wouldn’t put your fingers in his mouth if you were pulling it closed, imo!).  Minors are unillustrated pips.

    FoB – Young friend, messenger
    FoD – Study, reflection, news from a child
    FoS – Espionage, secrecy
    FoC – love messenger
    The Fante equates to the ‘Page’ in other decks.
    What do you think of the Danari and Coppe Fante cards being shown from a rear view (and what a pert little rear that Bastoni chap has, don’t you think?!)  And what’s with the swan neck on the Fante of Danari (Pents)?  Nice to see the Fante of Spade (Swords) marching like a little soldier and the dreamy Fante of Coppes (Cups) has decided to wander off somewhere……  
    CoB – Enterprising, fiery man
    CoD – Useful, obliging strange person
    CoS – Ability, hot temper, imprudence
    CoC – young lover, intimate friend
    The Cavale equates to the Knight card.
    Look at all these Cavale – or rather look at their horses’ asses, because that’s pretty much what we’re presented with here!  By presenting us with the back view of these cards, how do you feel? That you are witnessing action, unseen? 
    The Cavale of Wands and the Cavale of Spade are in almost identical poses (with the exception of the activity levels of their horses).  The Cavale of Coppe looks absolutely lost….but the Cavale of Danari looks like a young Alexander The Great, or Napoleon.
    Note that the Cavale of Danari and Cups don’t hold their symbols.  The Cups Knight isn’t even looking at his symbol….
    RoB – Friendship with mature woman
    RoD – Severe but generous woman
    RoS – Widowhood, sadness
    RoC – Woman friend, wife, fiancee
    No surprises here – Regina equates to the Queen cards.
    The Queens are, other than the symbol of their suit, quite personality-less. Queen of Swords has sceptre and sword and looks quite cheerful for a widow.
    Again, notice how Danari and Cups do not hold their symbols
    RoB – good relations with mature man
    RoD – Well-disposed speculator
    RoS – Legal actions
    RoC – Business or law man
    Re equates to the standard King card.
    The Kings are all mature, except King of Swords who looks substantially younger than the others.
    All sit in more or less same position.  Danari doesn’t hold his suit symbol, but does hold some kind of sceptre.  Take a good look at the King of Swords – he looks genuinely startled – see his left hand and expression.
    King of Cups has ram’s head on throne and the King of Pentacles has man’s head on throne, neither of which correlate to astrological associations currently used for these Courts.
    Summary
    I’ll be honest, I didn’t like this deck when I started examining it.  The long neck of the Fante of Cups was a bit freaky (and a couple of the head/necks in the Major arcana are similar) and the bog-standard representation of the Queens left me cold.  However, the style of the deck is growing on me and I must admit, the etchings are beautiful.
    If you like a lot of symbolism in your decks then this might not be for you, but if you are an experienced reader, looking for something classically-inspired to add to your collection, this might just be for you.
    Do you own this deck? What do you think of it?  

  • Page of Swords | Sola-Busca Tarot | Giordano Berti

    The Page of Swords – Sola-Busca Tarot
    If you have a passion for classical Tarot decks, you will know that the Wolfgang Mayer version of the 15th century Sola-Busca Tarot is enjoying a resurgence in popularity.  


    Giordano Berti, Tarot author and scholar, is the man behind this work and he has very kindly agreed to answer some questions about the deck, and, more specifically, the Court Cards.


    First of all, Giordano, tell me how you came to reprint the
    Sola-Busca Tarot?



    The version of
    the Sola-Busca Tarot     I’m promoting is not my
    work. As you know I’m writer, not Tarot producer.     This is the deck realised by
    Wolfgang Mayer in 1998 in Germany, faithfully reprinted from the
    original deck of 1491.

    Mayer made an edition limited to 700
    copies.  Each of these decks has a Warranty card numbered and
    hand-signed by Mayer.

    In 2012 the Mayer family decided to
    sell the warehouse stocks, the printer having died, and I have bought
    about 300 decks.
    What is your involvement with the
    artwork – has it been edited or recoloured?

    Mayer’s version is really
    extraordinary because it respects both the measurements and the original
    colours of the fifteenth century deck.

    Since the decks that I bought from
    the family Mayer had no packaging, I asked an Italian craftsman to
    manufacture two types of box. A book-shaped box, with marbled paper
    in Florentine style (DeLuxe box), and a box with sturdy golden
    cardstock (Golden box).

    Then, I added the
    deck’s 8-page booklet where I summarise the story of this deck.      I also give the meanings of  the 78 cards taken from the book ‘Sola-Busca
    Tarot’     by Sofia Di Vincenzo (US Games
    Systems, Stamford, 1998) and a simple method to use these cards.
    Is is quite a large
    format deck?

    Each cards measure exactly 150 x 82
    mm, i.e. 5.9 x 3.2 inches.      Wolfgang Mayer used a cardstock
    slightly larger so you can see exactly the boundaries of the paper in
    its original size.
    The Sola Busca is the first Tarot to
    show fully illustrated Minor Arcana cards, is that correct?
    We must remember
    that     the Sola-Busca is the only Tarot deck
    that came up to our day complete with all 78 cards. But this deck is
    very important historically because is the first fully-illustrated deck.     It was necessary to wait for the
    Rider-Waite-Smith Tarot, printed in 1909, to find a new deck
    illustrated in the Minor Arcana.     In fact,
    some of the Sola-Busca served as inspiration for the Arthur Edward
    Waite and Pamela Colman Smith.
    This is, of course, not your first
    Tarot deck – which other decks have you been involved with, Giordano?

    I started to study the Tarot around
    1974 and afterwards I studied at the University the relationship
    between art and esotericism … but the Tarot are my first love and I
    have devoted a lot of effort both in the historical study and the
    design of new decks.

    I have created many
    h    istorical exhibits about Tarot in
    important places such as the Castello Estense in Ferrara (1987), the
    Archaeological Museum of Bologna (1983) and the Museum of Castel
    Sant’Angelo in Rome (1985).

    On Tarot I also wrote several books
    and exhibition catalogues, but one of my biggest satisfaction has
    been the design of new Tarot decks.

    Since 1994 I have
    created eleven new decks, all illustrated by great artists.     The
    complete list can be found on the website Tarotpedia, at the page dedicated to Giordano Berti.

    I couldn’t say which of these is
    most important, because each deck requires a great effort and
    each one almost becomes a child to you.
    • Celtic
      Tarot       (Lo
      Scarabeo, 1994), 78 illustrations by Giacinto Gaudenzi and Saverio
      Tenuta.
    • Tarot
      of Druids       (Lo
      Scarabeo, 1994), with Bepi Vigna, 78 illustrations by Antonio
      Lupatelli and Severino Baraldi.
    • Enchanted
      Tarot       (Lo
      Scarabeo, 1995), 78 illustrations by Giacinto Gaudenzi.
    • Dante’s
      Tarot       (Lo
      Scarabeo, 2001), 78 illustrations by Andrea Serio       Dante_Tarot.
    • Ramses.
      Tarot of Eternity       (Lo
      Scarabeo, 2003), 78 illustrations by Severino Baraldi.
    • Golden
      Tarot of Renaissance – Estensi Tarot       (Lo
      Scarabeo, 2003), 78 illustrations by Jo Dworkin.
    • Bacchus
      Tarot       (Dal
      Negro, 2005), 78 illustrations by Luigi Scapini.
    • Venice
      Tarot       (Dal
      Negro, 2007), 78 illustrations by       Davide
      Tonato       ([8]).
    • Angels
      Tarot       (Lo
      Scarabeo, 2007), 78 illustrations by Arturo Picca.
    • Universal
      Wirth Tarot       (Lo
      Scarabeo, 2007), 78 illustrations by Stefano Palumbo.
    • Initiatory
      Tarot of the Golden Dawn       (Lo
      Scarabeo, 2008), 78 illustrations by Patrizio Evangelisti.
    I think that the
    artwork is beautiful and I have been looking at the Court Card
    images.     Why are the Pages the only
    rank who do not have names?

    I suppose
    the inventor of these cards have not given a name to the Pages
    because there are few references to famous servants in ancient
    literature.
    What significance
    are the names of the remaining Court members?     Are
    they characters from classical literature?

    Some
    famous Knights, Queens and Kings are included in the Sola-Busca Tarot with the
    clear intent to put them in relation with the life of the Alexander
    the Great, represented in the King of Swords.
    Tell me about the Major
    Arcana of this Tarot, how is it different to other Tarots?

    The Major
    Arcana of the Sola-Busca Tarot portray characters from Greek and Roman history,
    except for     Nenbroto
    (Trump XX) and     Nabuchodenasor
    (Trump XXI), who are Biblical characters, and the     Fool
    (Trump 0), which has no name.

    I suppose the
    intent of the inventor was not to create a gallery of ancient
    celebrities, because many of the names of the     Major
    Arcana are not famous for anything. Probably there is a profound
    mystery in choosing these characters: they could refer to friends of
    the author of the deck, who shared philosophical interests with him.

    In any case, the
    iconography of the     Major Arcana in
    the Sola-Busca Tarot is very different from the traditional one. In many figures
    there are torches and altars with fires: a detail that, according to
    Sofia Di Vincenzo, alludes to the practice of Alchemy.

    Apparently the
    supposed inventor of the     Sola-BuscaT, the
    painter Nicola di Maestro Antonio, was a friend of alchemists.
    The Page of
    Swords is a wonderful image – he seems to be strumming a tune on his
    lute to the sword in front of him!     Tell me about his
    character and how he is interpreted in the Sola Busca Tarot.

    This image, in my opinion, show in
    allegorical way the ambiguity of feelings that animate the immature
    people, not just those who are young. The contrast is given by the lute,
    an instrument of peace and poetry, near the sword, instrument of war
    and death.

    The proximity of the sword means
    that at any moment the Page could take it in his hand with menacing
    intent, both defensively and offensively.
    How is your Sola Busca edition
    different to other issues of the deck?

    I am convinced, along with Sofia Di
    Vincenzo, that the Sola-Busca Tarot is the first deck to be designed
    with non-gaming purposes, but this is purely speculative.  It is evident in
    many cards references to Alchemic tradition, which must be
    interpreted not as a way to make gold but as practice for improving
    the individual.

    I hope to
    publish    , before the end of 2013, a
    book I’m working on, entitled     Sola-Busca
    Tarot. Secret Code of Alchemy.


    If you would like to buy the Sola-Busca Tarot,  write to: giordano.berti@gmail.com

    Many thanks to Giordano Berti for taking the time to answer my questions about the Sola-Busca Tarot.  You can explore the deck here.

    Giordano provided his answers in English, which I edited in one or two places to read more smoothly.  Any translated errors are, therefore, entirely of my own making 🙂

    ‘like’ the Sola-Busca Facebook page!

    Visit Giordano’s website to explore the deck in greater depth.  Read other articles about the Sola Busca Tarot here