SB trumps vs. standard ones

This blog derives from my posts on THF starting at http://forum.tarothistory.com/viewtopic.php?f=11&t=988. These posts in turn were stimulated by a recent exhibition catalog put out by the Brera Gallery in Milan, concerning the Sola-Busca tarot deck, named for the two noble Italian families that passed down this rare heirloom, until finally it is a treasure of the Brera's collection. Since the catalog is in Italian only, and it presents worthwhile arguments, I want to present them here, along with a few comments of my own.

Although the Sola-Busca has survived intact with 78 cards including 22 numbered triumphs, it is unlike any other tarot deck known. Unusually, it has scenes on the number-cards incorporating the necessary number of suit objects, as well as unusual court cards. The triumphs are also unusual, in that they seem to refer to various Roman military heroes. On various cards, in the suits as well as the triumphs, there is also imagery suggestive of alchemy or metallurgy. The essays in the exhibition catalog represent substantial contributions to unraveling the mysteries of the Sola-Busca tarot. I will give transcriptions and translations of the most important passages from these essays here, as well as discussing what they have to say.


CORRELATING THE SOLA-BUSCA TRIUMPH SUBJECTS WITH THE STANDARD ONES 

In her essay, "Il segreto dei I tarocchi Sola Busca e la cultura ermetico-alchenrm tra Marche e Veneto alla fine del Quattrocento" in the Brera's catalog, (Milano 2013), Laura Paola Gnaccolini has an interesting couple of paragraphs addressing the relationship between the SB trumps and the standard ones. While agreeing that the trump order is not that of any other trump sequence, she finds the same subjects in them as in the rest. I will give the Italian first, then my attempt at a translation.

After first noting that the Matto is obviously present as the SB Mato, she writes (pp. 37, 39):

...Per gli altri trionfi ci sono identificazioni sicure (le Stelle: IIII. MARIO (figg. 1.3,1.127); il Carro: VII. DEO TAVRO (fig. 1.84); la Giustizia: Vili. NERONE; (fig. 1.116), con intento sarcastico [120]; la Fortuna: X. VENTVRIO (fig. 1.8); la Luna: XII. CARBONE (fig. 1.18, 1.126); la Morte: XIII. CATONE [121] (figg. 1.25,1.85); il Traditore: XIIII. BOCHO (figg. 1.93, 1.133); il Sole: XVI. OLIVO (figg. 1.76); la [start p. 39] Sagitta [122]: XX. NENBROTO (fig. 1.4); il Mondo: XXI. NABVCHODENASOR; fig. 1.77), identificazioni probabili (il Bagatto [123]: I. PANFILIO (fig. 1.5); la Temperanza: V. CATVLO con la groma (figg. 1.10); Amore [124]: VI. SESTO con la fiaccola accesa (figg. 1.24); la Fortezza: XV. METELO con la colonna - figg. 1.21,1.128; il Diavolo [125]: XVII. IPEO - fig. 1.9; il Tempo - in seguito Eremita [126]: XVIII. LENTVLO - fig. 1.22) e trionfi che non riesco a identificare con un sufficiente grado di sicurezza (le carte IL POSTVMIO - fig. 1.26; III. LENPIO - fig. 1.6; VIIII. FALCO - fig. 1.7; XI. TVLIO - fig. 1.23; XVIIII. SABINO - figg. 1.19,1.95), che dovrebbero essere, ma non sappiamo in quale ordine, la Papessa, l’lmperatrice, l'Imperatore, il Papa e l’Angelo (cioè il Giudizio). A questo punto, se queste osservazioni sono valide, noi avremmo una sequenza molto particolare, che non corrisponde a nessuno dei tre tipi italiani individuati dagli studiosi [127], pia questa della grandissima originalità del mazzo anche sotto questo punto di vista [128].
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120. Si veda l'iconografia, che ricorda quella del Giudizio di Salomone, così come è raffigurato ad esempio nella tempera di Mantegna e bottega conservata a Parigi (Musée du Louvre), cfr. S. L'Occaso, in Mantegna 2008, cat. 127 pp. 314-315.
121. II coloritore ha inserito nella carta la stella e il motto "TRAHOR FATIS", che non esistevano nella versione a stampa.
122. In seguito più noto come Torre, ovvero Fuoco, ovvero Casa del Diavolo. Nei mazzi quattrocenteschi superstiti si trova solo nei "Tarocchi di Carlo VI", cfr. Berti 2007, p. 223. Vitali 1987, pp. 145-148 e Cieri Via 1987, pp. 158-160.
123. A causa della posizione della carta nella sequenza, D. Pagliai, in Le carte di corte 1987, pp. 162-163.
124. Immediatamente prima del Carro, Dummett 1987, pp. 80 n. 6, 136.
125. Dalla radice greca della parola potrebbe indicare "ciò che sta sotto", quindi un essere infernale. Il diavolo è raffigurato in veste di frate ad esempio nella vetrata neotestamentaria del duomo di Milano realizzata su cartoni di Vincenzo Foppa: ill. in Pirina 1986, p. 181. Si tratta invece dell'Eremita secondo Dummett 1993, pp. 80 n. 6, 136.
126. L'identificazione parrebbe confortata dal confronto della posa e della fisionomia (anche se qui una fiamma ha sostituito la clessidra) con il cosiddetto "Eremita" (denominazione più tarda per il "Tempo") nei due mazzi ferraresi noti come "Tarocchi di Alessandro Sforza" e "Tarocchi di Carlo VI", cfr. Algeri 1987, pp. 32-35 catt. 2-3; Cieri Via 1987, pp. 170-171.
127. Dummett 1993.
128. La sequenza sembra, almeno quanto alla posizione delle virtù, una mescolanza del tipo B, tipicamente ferrarese (con la Temperanza collocata sotto il trionfo più basso del secondo segmento della sequenza, cioè 6. Amore), e del tipo C, milanese. Molte sono le particolarità: si segnala l'inserimento dei "trionfi" di Stelle, Luna e Sole uno per ogni segmento; il fatto che il segmento iniziale parrebbe composto solo da quattro "trionfi" (anziché cinque) e una virtù (Temperanza); le altre virtù vengono inserite separatamente nel secondo (Giustizia) e nel terzo segmento (Fortezza), seguendo la posizione relativa del tipo C. La sequenza del secondo segmento rispecchia in linea di massima l'ordine dei tarocchi di Marsiglia (a parte l'inserimento della Luna), e non è chiaramente di tipo B perché la Giustizia è all'ottavo posto. Il terzo segmento è il più difficile da valutare, in quanto nelle due posizioni più alte ricorrono la Sagitta (20) e il Mondo (21), mentre non è chiara la posizione dell'Angelo (Giudizio). La quantità di varianti della sequenza Sola Busca rispetto ai tre tipi individuati dal Dummett, e da lui ricondotti rispettivamente all'area bolognese, ferrarese e milanese, conferma che ci troviamo davanti ad una serie ideata e realizzata in una zona diversa da quelle citate, stante il legame molto stretto tra sequenza e territorio d'origine a più riprese ribadito dallo studioso.

And my Google-assisted translation, with spacing and highlighting to make her points clearer:

There are for other triumphs secure identifications (the Stars: IIII. MARIO (Figs. 1.3,1.127); the Chariot: VII. DEO TAVRO (Fig. 1.84); Justice: VIII. NERONE (Fig. 1.116), with sarcastic intent [120]; Fortune: X. VENTVRIO (Fig. 1.8); the Moon: XII. CARBONE (Fig. 1:18 , 1,126); Death: XIII. CATONE [121] (Figs. 1.25,1.85), the Traitor: XIIII. BOCHO (Figs. 1.93, 1.133); the Sun: XVI. OLIVO (fig. 1.76); the Arrow: XX. NENBROTO (Fig. 1.4); and the World: XXI. NABVCHODENASOR fig. 1.77);

likely identifications (the Bagatto: I. PANFILIO (fig. 1.5); Temperance: V. CATVLO with the groma (fig.1.10); Love [123]: VI. SESTO with the lighted torch (Fig. 1.24); Fortitude: XV. METELO with the column - figs. 1.21,1.128), the Devil [124]: XVII. IPEO - Fig. 1.9; Time – later the Hermit [126]: XVIII. LENTVLO - fig. 1.22);

and triumphs that I cannot identify with a sufficient degree of security (the cards II. POSTVMIO - fig. 1:26; III. LENPIO - fig. 1.6; VIIII. FALCO - fig. 1.7; XI. TVLIO - Fig. 1:23; XVIIII. SABINO - Figs. 1.19,1.95); they should be, but we do not know in what order, the Popess, the Empress, the Emperor, the Pope and the Angel (Judgment).

At this point, if these observations are valid, we should have a very particular sequence, that does not match any of the three Italian types identified by scholars [127], thus indicating the great originality of the deck from this point of view [128].
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120. See the iconography, reminiscent of the Judgment of Solomon, as is depicted for example in the tempera of Mantegna and workshop kept in Paris (Musée du Louvre), cf . S. L'Occaso, in Mantegna 2008, cat. 127 pp. 314-315.
121. The colorist introduced in the card the star and the motto "TRAHOR FATIS", which did not exist in the printed version.
122. In what followed, more commonly known as the Tower, or Fire, or House of the Devil. In the surviving fifteenth century decks, found only in the " Tarot of Charles VI", cf . Berti 2007, p. 223, Vitali 1987, pp. 145-148 and Cieri Via 1987, pp. 158-160.
123. Because of the location of the card in the sequence, D. Pagliai in The Cards of the Court 1987 pp. 162-163.
124. Immediately before the Chariot, Dummett 1987, p.80 n . 6, 136.
125. From the Greek root of the word, it could mean "that which is below", thus an infernal being. The devil is
depicted as a monk, for example, in the New Testament window of Milan cathedral realized in cartoon by
Vincenzo Foppa: ill. in Pirina 1986, p. 181. It is instead the Hermit according to Dummett 1993, pp. 80 n . 6,136.
126. The identification seems confirmed by comparison with the pose and physiognomy (although here a flame
has replaced the hourglass) of the so-called " Hermit" (the later name for "Time") in the two decks of Ferrara known as "Tarot of Alessandro Sforza" and "Tarot of Charles VI", cf. Algeri 1987, p. 32-35 Catt. 2-3; Cieri Via 1987, p. 170-171.
127. Dummett 1993.
128. The sequence seems, at least as to the location of the virtues, a mixture of type B, typically Ferrara (with Temperance located below the lowest triumph of the second segment of the sequence, i.e. 6. Love), and type C of Milan. There are many special features: please note the inclusion of "triumphs" Stars, Moon and Sun one for each segment, and the fact that the initial segment would seem to only consist of four "triumphs" (instead of five) and a virtue (Temperance), the other virtues entering separately in the second (Justice) and third segment ( Fortitude), following the relative position of type C. The sequence of the second segment reflects in principle the order of the Tarot of Marseille (apart from the inclusion of the Moon), and is clearly of type B because Justice is in eighth place. The third segment is the most difficult to evaluate, as in the two highest positions recur: the Arrow (20) and the World (21), while there is no clear position for the Angel (Judgment). The amount of sequence variants in the Sola Busca with respect to the three types identified by Dummett, and traced respectively to Bologna, Ferrara, and Milan, confirms that we are faced with a series designed and built in an area other than those mentioned above, given the very close relationship between sequence and region of origin often repeatedly found by researchers.

Justice, of course, is not in 8th place in the type B order, but rather in the C order. That might be a misprint. But to look at the order in another way, the order of the virtues is that of the Rosenwald and Bolognese decks, which are of Dummett's type A, i.e. Florence and Bologna (http://4.bp.blogspot.com/-YlU6F53x-_E/U ... .35+PM.png). Other type A decks do not have that order, however. The order of the virtues wasn't part of Dummett's characterizations of A, B, and C.

To see the cards, in 2014  http://www.tarotpedia.com/wiki/Sola-Busca_gallery was the best place, for the comments.. In 2015 there is http://queenoftarot.com/tarot_decks/18. The commentary here is historically irrelevant.

As far as Gnaccolini's identifications, it is noteworthy that if correct there are some false leads to anyone who might want to identify the subject by an object familiar from another deck. CATON.XIII (http://queenoftarot.com/tarot_cards/1218) has a much more obvious star than MARIO.IIII (http://queenoftarot.com/tarot_cards/1209), even though IIII has five small ones. You have to see the dead body to know that XIII is Death.

Her Justice, VIII.NERON (http://queenoftarot.com/tarot_cards/1213), is holding a baby upside down over a fire; one might think it was the Hanged Man card, except for its number. The Hanged Man, however, is for her the historical figure who betrayed the queen he was serving once he saw it was a lost cause, XIIII.BOCHO, who kneels servilely (at left). He seems to have saved his kingship, as his son of the same name succeeded him.

Also, her Wheel, X.Venturio (http://queenoftarot.com/tarot_cards/1215), just looks cautious , unlike V.CATULO, who actually has a wheel (http://queenoftarot.com/tarot_cards/1210), Again it is the number that is determinative. (Catulo here is not, at least not primarily, the Latin poet with poems of uncontrollable passion for a married lady, but rather a Roman general who kept fighting and won, despite the leg wound seen on the card.)

Of the subjects Gnaccolini cannot identify, interestingly, four are the "papi" of Bologna. However it does not seem to me hard to say who some of them might be. The religious figures would be II.POSTVMIO (http://queenoftarot.com/tarot_cards/1207) and III.LENPIO (http://queenoftarot.com/tarot_cards/1208), because II is looking at a skull and III is performing a ritual involving fire (perhaps also an alchemical operation). Also, they are together, as they are in the B order, and where they should be, if the Emperor and Empress had not been moved. The secular heads would seem to be VIIII.FALCO (http://queenoftarot.com/tarot_cards/1214), who has a crown, and  XVIIII.SABINO (http://queenoftarot.com/tarot_cards/1224) also with a crown, XI.TVLIO (http://queenoftarot.com/tarot_cards/1216) has no crown and carries a torch (divine ardor?); given that he is identified with Cicero, I would put him as Judgment (called Angel then); he was infamously judged by Lepidus and Antony, who were judged by Augustus and history. Elsewhere in the sequence number takes precedence over clues on the card in determining the subject (see next paragraph); but here I am not sure.

Here is Gnaccolini's list again, with my more or less accurate additions indicated, and also her reasons (besides the number) in parentheses. I also consulted Zucker, who notes, when he has nothing else to say, that the titles correspond to good Roman names.
0. MATO - Fool (half naked, disheveled, typical)
I. PANFILIO - Bagatto ("Panfilio" was a Venetian game per Cigagnaro, after its high card, the Page of Swords). It is "all-love" in Greek; and he seems to be smiling at someone.
II. POSTUMO - my guess: Popess. He's young, looking at skull i.e. mortality, and the right number in the C (Milan) order; but II is Empress in Ferrara.  De Marchi suggests alchemical nigredo. (Per http://www.tarotpedia.com/wiki/Sola_Bus ... :_Postumio, Spurius Postumius suffered one of Rome's worst defeats and was enslaved. Silvius Postumus, however, was "worthy".)
III. LENPIO - My guess: Pope, because he's doing a ritual, possibly alchemical. (Lepidus, who insisted, with Antony, on Cicero's death against Octavian's reluctance.)
IV. MARIO - Stars. Looking at 5 in sky. (Caius Mario, Lieutenant of Metellus, the protagonist of the Jugurthine war with Sulla and then his opponent in the civil war.)
V. CATULO - Temperance. as just below Love and above Pope in B order, even though he has a wheel. (C. Lutatius Catulus, consul of 242 B.C. winner in the naval battle in 241 that ended the first Punic War: "the wound in his thigh that did not prevent him from participating in combat, as is shown in the card, is attested by only Orosius".)
VI. SESTO - Love (torch; alchemical Mercurius)
VII. DEO TAURO - Chariot (he is in one; Deiotarus, Tetrarch of Galatia in Asia Minor and faithful ally of the Romans; also pun on Mithraic god)
VIII. NERON - Justice (Roman Emperor, C position antitype). But he holds baby upside down, as in the Hanged Man.
IX. FALCO - my guess for Emperor or Empress: crowned. (Orosius's name for Q. Valerius, consul 238 b.c., in only that source)
X. VENTURIO - Fortune (by the number): without wheel, but looks happy; see my comment later
XI. TULIO - my guess for Angel: no crown, but looking up with torch, symbol of light & ardor, as if Judgment; (Cicero).
XII. CARBONE - Moon (in sky; Ludovico Carbone, Ferrarese humanist; albedo). There is also a Carbone who was co-leader with Marius, Zucker says.
XIII. CATONE - Death (victim on ground stabbed with his spear; Cato of Utica). There is also a star, for Fate. This Cato has more connection with other names on the list; but Cato the Elder was more the soldier who didn't hesitate to kill.
XIIII. BOCHO - Hanged Man (traitor King of Mauritania). (Per http://www.tarotpedia.com/wiki/Sola_Busca_Cards:_Bocho, he went to aid of Jugurtha against Marius; but when his army was slaughtered, he put Jugurtha in chains and gave her to Marius.)
XV. METELO - Fortitude (warrior with column, http://queenoftarot.com/tarot_cards/1216, but "many homonyms". (Q. Metellus Creticus, or Metellus Celer, praetor in 63 BC during the Catiline conspiracy, as suggested by initials SC on card, senatus consultum, as he was charged by senate to make the arrests. There is also the Mettelus Scipio who joined with Cato of Utica against Caesar and was killed).
XVI. OLIVO - Sun (in sky; has basilisk, necessary ingredient for getting gold, associated with sun). .
XVII. IPIO Devil (per Zucker, Hippias tyrant of Athens; see http://en.wikipedia.org/wiki/Hippias_%28tyrant%29). Bat wings, revering an idol.
XVIII. LENTULO - Time/Hermit; bearded old man carrying lamp, crown and helmet on floor; (many homonyms, but "This gesture of the old man who pulls out his beard is a sign of defeat", so possibly P. Cornelius Lentulus Sura, Cateline follower who was put to death.) However I notice on Wikipedia (http://en.wikipedia.org/wiki/Lentulus) that three other Lentuluses were also executed by one or another ruler; one of them was with Cato. Another Lentulus suffered an ignominious defeat from Spartacus in a valley called Lentula.
XVIIII. SABINO - my guess for Emperor or Empress, crowned. (Pietro Sabino, late 15th century Roman humanist, circle of Leto).
XX. NENBROTTO - Arrow (lightning, broken tower; "a mighty hunter in the sight of God" (Genesis 10, 8-10 ), but "was read by Dante (Inferno XXXI , 46-81 ; Purg. XII, 34-36 ; Par. XXVI, 126) as a giant who instigated the people to the building of the tower of Babel and was punished by God for this"). http://www.tarotpedia.com/wiki/Sola_Bus ... :_Nenbroto gives other references to the same character.
XXI. NABACHUODENASOR - World, sphere behind him with dragon and stars = cosmos, crown off, scepter held ambiguously ("King of Babylon, responsible for the ruin of Judah and Jerusalem (who conquered it in 586). The dragon can be read as a symbol of evil, the new Babylon mentioned in the Book of Revelation (chapters 17-18)"; also mercurius soldificato in alchemy. At http://www.tarotpedia.com/wiki/Sola_Bus ... chodenasor are other hermetic and biblical references, i.e. Daniel 1:1-2 and 4:25-34, Judith 2:1-7. To me the way he holds his scepter above a table is reminiscent of the Bagatto.

As far as their historical antecedents, three are not identified by anyone: Sesto, Venturio, and Olivo. My thought (and Zucker's) is that "Sesto" is simply for Six. "Venturio" seems to me so-called for adventura, happening, and advent, what is coming. And Olivo for oliva, olive, symbolically the oil of purification, whose branch symbolizes peace and life.

Even if the false leads are not false, and the order is eccentric, it is clear enough that the subjects are intended to be the conventional ones, adapted to an "illustrious men" theme. Whether the four "papi" or the two secular and two spiritual heads of society are being used is unclear.  The order of the virtues is that of the Bolognese (which has the four "papi") and the Rosenwald (which doesn't have the four "papi").