Papessa giovanna boccaccio biography

Only two hand-painted Papessa cards survive from the 15th century -
The Papessa of the Pierpont-Morgan-Bergamo (or Visconti-Sforza) pack (left)
and that from one of two incomplete packs in the Fournier Playing-Card Museum
in Vittoria, Spain (right).
Although clearly related, the cards are by different artists, and most commentators believe that
the Fournier Papessa is a later production, one or more copies removed from Bembo's in the Visconti-Sforza deck.
The notable differences between them are the darker colour of the Fournier
Papessa's habit or cope, and the prominence of her triple tiara.
Because the artist has darkened the Papessa's cope, he has correspondingly
lightened the colour of her book.

One difference in detail seems not to have been noted before -
the tip of a slipper with a rosette is visible coming from
beneath the Fournier Papessa's cope.

The differences between the two Papesse can perhaps be attributed to a desire of the Fournier artist to heighten

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La Papessa
Rosenwald Sheet (uncut sheet of cards)
late 15th - early 16th century
National galleri of Art, Washington IN ONE OF THE EARLIEST LISTS Of triumph kort, the c. �Steele Sermon�, the anonymous author calls triumph number 4 �La Papessa.� While we do not know for certain which set of triumphs the author of the Sermon was looking at when he made his list, the titles match those known from the earliest titles on printed cards, if not always the ordering, of the surviving early sheets of woodcut prints of tarocchi. Given this and the fact that this fryst vatten the iconographic form she takes in all the styles of tarocchi that possess La Papessa, we may presume that his Papessa looked like one of these.

The earliest konto of Papessa Iohanna fryst vatten from around , when the Dominican Jean dem Mailly mentioned her story in his Chronicle. The story was repeated bygd another Dominican, Etienne dem Bourbon (died ). Both authors place the story around According to Alain Boureau, author of La P

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“A palpable hieroglyphick”: The Fable of Pope Joan

" “A palpable hieroglyphick”: The Fable of Pope Joan". Premises and Motifs in Renaissance Thought and Literature, Princeton: Princeton University Press, , pp.

(). “A palpable hieroglyphick”: The Fable of Pope Joan. In Premises and Motifs in Renaissance Thought and Literature (pp. ). Princeton: Princeton University Press.

“A palpable hieroglyphick”: The Fable of Pope Joan. Premises and Motifs in Renaissance Thought and Literature. Princeton: Princeton University Press, pp.

" “A palpable hieroglyphick”: The Fable of Pope Joan" In Premises and Motifs in Renaissance Thought and Literature, Princeton: Princeton University Press,

“A palpable hieroglyphick”: The Fable of Pope Joan. In: Premises and Motifs in Renaissance Thought and Literature. Princeton: Princeton University Press; p

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