This version is from 31st of May
2003 – it is intended to keep this article in this form, never updated, so
useful for citations etc.. The updated version you can reach at http://trionfi.com/0/b/
This article was written on the base of secondary sources without
possibility to look at the original source. The original material was visited
and material was researched later by Ross Gregory Caldwell. A translation of
the original text is in preparation.
Main Source:
Franco Pratesi: The Earliest Tarot Pack Known in The Playing Card , Vol. XVIII,
No. 1, August 1989. p. 28 - 32.
Franco Pratesi: The Earliest Tarot Pack Known in The Playing Card, Vol. XVIII,
No.2, November 1989, p. 33 - 38.
Text:
Just to avoid misunderstandings: The object described here is refered to
in Kaplan: Tarot
Encyclodia I, p. 20, under two different
entries: Decembrio, 1440, translated by Polismagna in Italian
language, and Isabella de Lorraine, 1449. Kaplan presented
his data as refering to two different objects.
Kaplan published his book in 1978, but in 1989 the game researcher Franco Pratesi discovered by
revisiting the source, Codex 8745, in Bibliotheque Nationale de Paris, that
both entries relate to the same object, a card deck of Filippo Visconti,
painted by Michelino da Besozzo and described by Marziano da Tortona
in an accompanying manuscript.
This card deck + manuscript + letter was sent in a parcel in 1449 to Isabella,
Queen of Lorraine, wife of Rene d'Anjou, by Jacopo Antonio Marcello,
a Venetian general. As transporting messenger served a Giovanni Cossa,
probably identical to a better known Jean de Cossa, an Italian with some
important functions in France, mostly in the service of Rene d'Anjou.
Codex 8745
in Bibliotheque Nationale of Paris contains three parts:
1. A letter, written in the "ides of november, 1449" by Jacopo
Antonio Marcello, a Venezian general, adressed to Isabella, Queen of Lorraine,
wife of Rene d’Anjou.
2. An introduction made by Marziano da Tortona (which calls himself in the text
Martianus de Sankto Alosio, Sankto Alosio being a small village near Tortona)
to a treatise about a card-game. The text is titled: "Tractatus De
Deificatione Sexdecim Heroum".
3.A description of the cards with some notes about playing rules: The 16 special
motives of the cards, Greek gods, which were later by Marcello called
"Trionfi cards", are described in a longer passage in detail. These
part was also made by Martiano da Tortona.
Missing: The single object of the letter,
the introduction and the treatise, a famous and precious card play, however, is
missing. It was painted by Michelino da Besozzo.
Missing: A second, less famous card play,
which was probably also part of the parcel sent to Isabella is - unlucky world
of card research - missing, too.
Not the Original: The book (introduction
and description mentioned above), probably with text compiled by Marziano (and
in its original form possibly with figures and book-paintings) is not present
in its original form, but just as a handwritten copy combined with the letter.
So all we do really have, is probably produced in the year 1449.
Marcello did send the parcel some time after getting card deck and book from
his home town Monselice, where he - in his private atmosphere - had enough time
to arrange his present to Isabella in the form he wished. The reason for this
could be, that the original book was in a deranged form, so Marcello wished to
update it, or, another possibility, that it contained book-paintings (for
instance pictures of all cards) and Marcello wished to keep the original book
in his own possession.
Surprizingly the deck seems to have only 4 kings without any further court
cards - an information, which is given in unclear form by both, Marziano and
Marcello. However, as Marcello had opportunity to forge the manuscript to that,
what he was willing to send to Isabella, it is possible, that the original card
play done for Filippo Visconti and described by Marziano, looked a little
different from that, what we do know now about it. Perhaps there were only 4
kings in the original form from ca. 1417 - 1425, perhaps it had more
court cards then.
The card-play became famous as the most precious card game ever, cause
Decembrio, secretary of Filippo Visconti, noted in his biography of Filippo,
that the duke paid 1500 gold pieces to Marziano da Tortona for a single pack of
cards with images of gods, emblematic birds and figures.
Florence
paid in the year 1380 for a "Copa de Lancia", a "sword" and
a page 21 ducatos, for a cross-bow shooter with page 13 ducatos in a month,
which means, one could hire with 1500 ducatos around 225 well-trained
mercenaries for one month (it is unclear - at least to me - if the Florentine
ducatos were comparable to those paid in Milano) Cause of this enormous sum it
is considered, that the payment to Marziano included also a reward for other
services done by him to the duke, also one might suspect, that the accompanying
manuscript was produced in a very worthful manner. The highest sum, which
became known in Ferrara as the price of a playing card, are 40 ducatos in 1423
- and the account books of Ferrara mostly present their entries ).
P. Durrieu had noted the letter of Marcello 1911 in "Michelino de Besozzo
et les relations entre l'art francais", but already mentioned it in a
conference held on in March 1895 in Paris. It was not realised in card
research, that Marcellos letter and Decembrio's remark do refer to the same
deck, until 1989, although it was occasionally suspected.
Isabella, the receiver of the parcel, was the wife of the famous Rene d’Anjou,
who was friend to Francesco Sforza, Cosimo de Medici and Marcello during his
time in Italy 1437 – 1442 and 1453. Isabella
died 1453.
Marcellos Letter
The letter, written by Marcello 1449, informs us, that in the year
before Marcello was in the camp of Francesco Sforza as leader of the Venetian
troops, fighting together with Sforza against the Milanese Ambrosian republic.
Scipio Caraffa arrived from France, bringing with him news from Isabella and
Rene d’Anjou (from other sources it is known, that Marcello became acquainted
to Rene d'Anjou through Francesco Sforza in 1442 - or little earlier - during
Rene's stay in Italy; in his later life Marcello called Rene and Francesco
"close friends"). It happened, that during Caraffa's visit Marcello
got a present, a pack of Trionfi-cards (ex eo ludo quem triumphum apellant
cartae). Immediately Caraffa was rather engaged to induce Marcello to send
this card deck as present to the Queen of Lorraine.
Marcello was enjoyed about the idea, but considered the deck being one of a
lower quality, not worth to be in use by a queen (not well enough pictured and
engraved; neque enim pro regio fastigeo ornatae et excultae esse videbantur;
"engraved" may indicate a printing process, used in manufacturing
playing cards, - examples of this are known from contemporary German decks not
from Italian decks, but from the studies of Gherardo
Ortalli we do know, that the technic had arrived in Italy). Marcello starts to
look for some artists, who are expert in these productions (solertissimus harum
rerum artifex).
From other sources it is known, that Marcello's worth as a militaric general is
not as highly evaluated as he likes to give the impression; actually it seems,
that he had more the role of a "spy and an ambassadore". His present
to Isabella might have not been spend by his own money, but invested by the
state of Venice for good diplomatic connections; in Marcellos later life
other worthful presents by him to Rene d'Anjou play a greater role.
His"friendship" to Francesco Sforza might have had a similar
background.
On his research Marcello became aware, that Filippo Visconti, who died shortly
before, had invented a certain new and very fine kind of triumphs (novum
quoddam et exquisitum triumphorum genus). Filippo is famous to Marcello for
inventing objects in various fields (the text indicates invention of "maximarum
rerum", greatest things, most important matters).
In a short description Marcello relates to the game: 16 celestial princes and
barons, 4 kings leading the orders of 4 different birds. Filippo gave the
scheme to a scholar and expert in astrology to describe the game (the name
Marziano is not noted by Marcello) and ordered Michelino da Besozzo to
picture the game in a most original and decorative way.
Marcello realizes, that this is the deck, that he shall look for. We don't
know, if Marcello's exaggerates the difficulties he had to make the present
look greater than it was, but he "thinks day and night" how to get
book and deck out of the great disorder of all the earlier possessions of
the duke (from other sources we know, that after Filippo's death the Milanese
citizens in their aim to build up the Ambrosian republic had stormed the
Visconti-castle and destroyed it more or less completely; Francesco Sforza did
build the Castello Sforzesco at the same place, when he became duke).
Information could only be received by enemies, but at last and with some good
fortune, Marcello has reason for highest and undescribable satisfaction, he
gets both, book and deck. "Nothing is impossible wishing to
honour his lord and prince."
Book and cards and letter go to the hand of Giovanni Cossa with the order to
bring them to the queen, also included are (diplomatic important) regards to
the husband and also those superior cards (adiunxi et eis cartes ilias
superiores). (In this Latin sentence "et" is not a problem,
it can be translated as "also" or "too", the unusual position
in the text is often observed. "Superiores" is a problem: One
interpretation might lead to the conclusion, that there are higher cards,
absent in the original version, now required to complete the deck. In this case
Marcello did send one updated pack, formed by new and old cards. More probable
looks the interpretation, that "superiores" could be understood as
"mentioned above" and refered to the pack of Trionfi that arrived in
the camp and was not good enough for the use of a queen. In this case Marcello
send two packs.)
Ironically the date of sending gives "Monselice, in the ides of
November." In Monselice is the home of the Marcello-family, which became
in the later century rather important in Venice - and Monselice lies near
Padua far in the east of Milano, quite the opposite direction of the adress of
Isabella, which was in the west (with thanks to Ross Gregory Caldwell:
“Isabelle of Lorraine lived in the Chateau of Launay, near Saumur (in the Loire
region) from August of 1449 until her death on 28 February, 1453”).
So Marcello at least didn't really haste to send his parcel, perhaps it's
a simple truth, that he hadn't much difficulties to get the deck, but took the
opportunity to elaborate a nice story to make the deck look very romantic -
such things were favoured especially at the court of Rene d'Anjou (who in his
youth escorted Jeanne d'Arc – perhaps a forgery) and Marcello did know that
(and from other sources we do know, that he is suspected to write in a
little exaggerating manner, being also a poet in his soul - similar to Rene).
However, as mentioned above, Marcello didn't send the original book but a copy,
perhaps cause the reason that the original text was in bad condition. This
repairing action he could have hardly done in a camp of soldiers, so eventually
this is the reason for the "letter from Monselice".
There should be much material to the person of Jacopo Antonio Marcello in the
book of
Margaret L. King. The Death of the
Child Valerio Marcello. Chicago: University of Chicago Press, 1994. Pp. xviii +
484 + 20 halftones. ISBN 0-226-43620-9
which I do know only from a review in the Internet.
There it turns out, that Marcello is a well respected man in the 50ies and
60ies of 15th century, especially honoured by artists and humanists, cause it
seems, he had a lot of money to spend for their productions. For instance, the
famous Mantegna worked for him, before he was engaged in Mantua in 1459 by
Ludovico Gonzaga, where he stayed for his life.
The above mentioned Giovanni Cossa, who became responsible for the transport of
the parcel and who at first impression might look as an unimportant servant,
turned out to be (99 % security) the nephew of Baldassare Cossa alias Pope
John XXIII. (1410 – 1415), one of 3 Popes at the same time before the Concil of
Konstanz, where all 3 Popes lost their job and John, now Baldassare Cossa
again, was accused and held in prison for four years in Heidelberg. Formerly,
when still Pope John, Baldassare took charge in the interests of the Anjou
against the residing king of Naples, Ladislaus (died 1414). During that time
the condottieri Muzio Attendola (father of Francesco Sforza) changed sides from
Pope to Ladislaus (the Pope didn’t pay), which the furious John alias
Baldassare countered with puppets hanging head down from trees,
with a signboard around their neck: “I’m Muzio Attendola, farmer of
Cotignola …” (a common sign for treachery – it developed to be a Tarot
card).
According to the foes of Pope John he of a family of pirates in Naples and was
used to enormous sexual excesses. Gaspare, John’s brother and Giovanni’s
father, also engaged for the Anjou and had to leave Naples. When in 1435 Queen
Jeanne II. of Naples died, the old question of Anjou or Aragon araised again.
Giovanni was on the side of the Anjou as his father and uncle and became a
leading figure for the Anjou party in the city, defending the Anjou’s interest
in Naples till the end in 1442, but had to capitulate finally, when Alfonso
d'Aragon took Naples. Giovanni Cossa followed Rene to France, but seems to have
been often in secret diplomatic mission in Renes interests in Italy, probably
working on the project to fight for Naples again. Major attempts were done
later, in 1453 (together with Francesco Sforza) and 1459, when Alfonso had
died. Both actions failed.
In his biography it is noted, that he returned to France from Italy in May 1448
and was back in Italy in May 1450, his residence in the meantime is unknown. As
we do know from Marcellos letter he was in Monselice, Italia, November 1449,
probably with the intention to have a highly conspirative talk with the
Venetian general, ambassodore and spy Jacopo Antonio Marcello. A central theme
was surely, that Francesco was on his turn to become duke of Milan in spring
1450 (compare storia di Milano). In Milan, one of
the greatest cities in Europe (have an impression
here, a map from 16th century, a little later), some 1000 people were at
this moment near to die for hunger (they died really, a little later).
Venetia, which wished to see only a small Milanese influence in North Italia
for the future, not a strong Milan under the capable general Sforza, had tried
– to the later regret of Marcello - to cheat Sforza, whom Marcello, although
himself a Venetian general, saw as a friend. The chances for Sforza to achieve
his goal were considered to be small at this moment.
There were also other things to talk, when the parcel was send to Isabella, the
world had greater themes than playing cards. Italy was at a great change of its
history and nobody did know, how it would turn out.
For playing card history it is especially interesting, that Marcello
knows artists (not only one), who are already specialised to produce trionfi
decks. Together with the documents in great number in Ferrara (since
1450), Florence (1450) and Milano (1450 and 1452) it testifies, that there is
some greater distrubution of the decks at this time.
But: Very interesting it is, that Marcello is willing to use the
term "New kind of Trionfi" for the deck of Filippo, which is
quite far off that, what is generally (and especially in our modern eyes) be
considered to be a Tarocchi-game, differing in the number of the cards and
differing in the motives- which rather definitely means, that the
relation between playing card decks and the term "Trionfi" is more or
less undefined in the time of Marcello.
This means: When in 1442 in Ferrara and around 1450 "Trionfi"
are manufactured and bought, we don't know,
how the relevant objects looked like and we don't know, how many trump cards were in these decks.
This conclusion is of some importance for the theory about the
5x14-deck.
Marziano calls himself in the text Martianus de Sankto Alosio, Sankto
Alosio being a small village near Tortona.
The work is devoted to Filippo Maria, Duke of Milano. Filippo was duke since
1412 (his reigning brother Giovanni Maria
Visconti was murdered at May 16, 1412) and Marziano was active in
service for the duke until 1423 and definitely dead at February I, 1425. In
this range of time 1414 - 1418 was considered earlier as the probable
production time of the text, but an information of "storia di
Milano" says, that the painter Michelino returned in 1417 back to Milano
after staying more than a decade outside of town, so the dating-question should
be considered again.
The title "Tractatus De Deificatione Sexdecim Heroum" and the
later text ("celestial princes and barons") give the
impression, that the Greek gods are considered as deified heroes, it
seems, that Marzianus or his time is confused by common additional names to the
gods in classical texts and so he speaks of 3 Jupiters (two Arcadians, one of
Creta), 4 Apollos etc., believing, that there once had been three different
mortal heroes with the name Jupiter (these additional names normally relate to
different cults or temples or appearances of the gods, not to persons).
There are four order of gods, related to birds and qualities (suits), each of
the suits has its own king (una quaeque proprio parens regi - beside the king
no other court card is mentioned; Marcello also spoke only of kings, when
describing the deck):
VIRTUES
(eagle)
1. Jupiter 5.
Apollo 9.
Mercury 13. Hercules
RICHES
(phoenix) 2.
Juno 6.
Neptun 10. Mars
14. Eolus
VIRGINITIES
(turtle) 3. Pallas
7. Diana 11.
Vesta 15. Daphnae
PLEASURES
(dove)
4. Venus
8. Bacchus 12.
Ceres 16. Cupido
Marziano turns in rudimentary to the rules of the play:
1. No bird has power above the others - the suits are equal in worth (Harum
vero Avium ordo est quia nulla earum species in alteram vis habet).
2. The power is direct for eagles and turtles, reverted for phoenices and doves
- this rule is still known from still living Tarock-variantes, two suits range
from ace to ten, the other both from ten to ace (Aquilarum et
turturarum multae paucis praesunt ... foenicum una et columbarum pluribus
pauciores imperant).
3. Each of the gods is higher than all orders of birds and also higher than the
kings of the orders - probably meaning, that gods are considered to be trumps (Deorum
vero quisque omnibus ordinibus avium et ordinum regibus praeerit).
4. The gods (trumps) have a row, the first listed reigns above all
following - in the later treatise to the gods Marzianus gives ordinal numbers
(see the table above), which probably serves his aim to arrange the gods in a
hierarchy. (Sed inter se diihac lege tenebuntur, quod (?) qui prior
inferius annotabitur sequentibus omnibus praesit).
Probably the deck had 60 cards, 4x10 pip cards (although Marzianus doesn't lose
any word, if all 10 numbers are included), 4 kings without any other court
card, 16 gods. But security in this question doesn't exist, as all
informations, that we do have, went through the hands of Marcello. We see that,
that Marcello wanted, that Isabella should see.
The original part of the manuscript has 50 pages, however, written in
rather great letters, so actually the text is short with around 600 -.700
signs per page. The text length for the single gods varies from 2.5 - 4 pages.
The text given here is an abstract done by Franco Pratesi in Italian language
in 1990, translated with personal comments by Ross Gregory Caldwell in English
in 2003. To our knowledge it is the first presentation of the shortened content
in English language - a good example, how quick the ways in Tarocchi research
had been in the past. A translation of the complete Latin text is in
preparation.
1. Giove: Seduto in trono è
provvisto di quattro insegne celesti: a destra in alto lo splendore della
giusta ragione; a sinistra in alto la luce con cui fondò le leggi; in basso a
destra la stella lucente simile a Marte che brilla nei salvatori dello stato;
in basso a sinistro il fulmine.
I.
Jupiter: Sitting on a throne, surrounded and provided with 4 heavenly signs in
the corners. Above right is the splendour of wisdom and above left the light,
with which laws are given, at the right bottom is a bright star like Mars,
which shines in those who preserve the state; in the left bottom the
thunderbolt.
Note: Pratesi has
translated Marziano’s latin “rectae rationis” as “giusta ragione”, and has
suggested the English translation be Wisdom. I believe it carries the sense of
“Just measurement”, of God as the Great Architect. I do not know what a
Splendor of it would look like – perhaps a banner with the words. It is
interesting to note that the Italian phrase “a giusta ragione” (with good
right) is translated by the French “à bon droit”, in a trilingual legal
document at http://www.vpb.admin.ch/deutsch/doc/65/65.95.html
“A BON DROYT” is of course the Visconti family motto recommended to Gian
Galeazzo by Petrarch.
2.
L'aspetto la indica sposa di Giove; col capo velato all'uso della matrone,
l'ordini della corona indica il numero dei regni. E’ ornato riccamente; le sue
belle vesti colorate sono però evanescenti. Il carro e le armi, a lei assegnati
da Virgilio, sembrano qui da tralasciare.
II.
Her aspect indicates the spouse of Jupiter; with head veiled in the manner of
matrons, the order of the crown indicates the number of reigns. It is richly
adorned; her beautiful dress somberly coloured, but evanescent. The chariot and
arms, assigned to her by Virgil, seem abandoned.
Note: I am not sure what
“ordini della corona indica il numero dei regni” refers to. The last clause is also obscure.
3.
Pallade. Colla destra tiene un pacifico olivo; indossa un amitto multiplo e una
vestae variegata (a indicare le modifiche col tempo dei pareri dei saggi) .
Tiene un leggero scudo reso orribile della Gorgone.
III.
Pallas (Athena). With the right hand holds an olive-branch of peace; wearing a
multiple mantle and a multicoloured robe (to signify the modifications of the
counsels of the wise over time). Holds a light
shield made horrible by the Gorgon.
Note: Amitto -
the related English word “amice” is a liturgical garment which descends from a
Roman garment, “amictus”, a cloak or mantle which covered the upper body and
head, but could be pulled back. I assume that here it refers to the classical
garment.
4 Venere:
Con aspetto piuttosto lascivo, chioma sparsa, petto e braccia scoperti,
ginocchi nudi, per indurre più facilmente all'amore; con un amitto sciolta di
pelle di lince; con l'arco pronto e la faretra indossa per cacciare e ferire
gli animi degli uomini che vagano nelle tenebre.
IV.
Venus: With a somewhat lustful demeanour, hair loose, breast and arms bare,
knees naked, the easier to induce love; with a supple lynx-skin cloak; with the
bow ready and the wearing the quiver to hunt and wound the souls of men who
wander in the shadows.
5.
Apollo. Ha aspetto conforme alla vita militare; il capo chiomato è adorno di
alloro per diritto guerriero e poetico; porta arco e frecce nel cui uso
eccelse.
V.
Apollo: Has a look conforming to the military life; his long head of hair is
crowned with laurel, by right warrior and poet; he carries bow and arrows, in
whose use he excels.
6.
Nettuno. Con aspetto regale di vecchio stampo siede su un carro d'oro trainato
da due delfine. Ha un tridente per scettro a indicare le tre proprietà
dell'acqua.
VI.
Neptune: with regal aspect of the old school, seated on a chariot drawn by two
dolphins. Has a trident as scepter to show his rulership of the water.
7. Diana.
Vestita di un amitto bianco, vaga con arco e frecce su una biga d’oro, trainata
da bianchi cervi con corna dorate brillanti. Si raffigura con aspetto trino.
VII.
Diana: Dressed in a white mantle, flying on a golden carriage with arrows and
bow, drawn by two white deer with shining golden horns. Figured with threefold
aspect.
Note: Diana is
sometimes presented with three faces.
8. Bacco.
Con voltre sempre giovanile e le tempie ornate con le sue viti Secondo il sue
nome, porta un bastone per il sostegno degli ubriache. Tirano il carro due
tigri.
VIII.
Bacchus: With a face of everlasting youth and his temples decorated with his
vines. As his name signifies, he carries a stick to support himself when
drunken; the car is drawn by two tigers.
9.
Mercurio: Come gli Arcadi ha il capo coperto da un galero; col caduceo separa
serpenti in lotta; calza i talari.
IX.
Mercurio: Like the Arcadians, has the head covered with a "galero"
(broad-brimmed cardinal's hat); with caduceus, ringed with two snakes; winged
shoes.
10.
Marte: Col carro decorato da mille insegno tolte ai nemici. Cavalca con la
spada sguainata cosparsa di sangue a indicara la via.
X.
Mars: With chariot decorated by a thousand ensigns of victory over enemies.
Rides with drawn bloodied sword to indicate the way.
XI.
Vesta: Dall'aspetto castigato alla maniera delle monache sta presso l'altare
davanti agli immortali e prega gli dei.
XI.
Vesta: With chaste aspect like monks standing near an altar before its
immortals praying to the gods.
12. Ceres: Procede con abito regale e mèssi ai lati; tiene in mano una
fiaccola ardente
XII.Ceres: Advances in regal vestment, harvests at each side; holding in hand a
burning torch.
13.
Ercole. Con il terribile aspetto, la fronte incoronata di alloro, trascurando
vesti leggiadre, con lu spoglie dell'enorme leone Nemeo, insegno monumento
della forza. Ai suoi piedi giace copito dalle frecce il mostro antropomorfo
delle Strofadi.
XIII.
Hercules: in his terrible aspect, his forehead crowned with a laurel,
carelessly clothed with the skin of the huge Nemean lion, monumental sign of
force. At his feet, wounded by arrows, lies the anthropomorphic monster of the
Strofadi.
Note: Strofadi is the
island home to the harpies.
14. Eolo.
Seduto in abito regale tra gli scogli delle sue isole ricavando fiamme con lo
scettro.
XIV.
Aiolus: Sitting in regal garment among the reefs of his island creating flames
with his scepter.
15.
Dafne. In abito virgineo abbracciata al suo Alloro.
XV.
Daphne: In virginal dress clinging to her Laurel.
16.
Cupido: In volo per marcare l'instabilita degli amanti e cinto di cuori umani.
Vaga nudo per cielo e terra con l'arco pronto a scoccare.
XVI.
Cupido: In flight to show the instability of the lovers and wearing a human
heart. Wandering nude through heaven and earth with bow ready to shoot.
Copyright: autorbis@yahoo.com
