Franco's remarks about "giuocho" meaning something besides a literal "game" are correct in the case of Rosselli, at least as art historians understand it. But his new discovery of a "paio" of Petrarch's Trionfi adds another wrinkle to the question, then. Could paio have the same range of meaning as giuocho?

4. Disus. Complesso di parti o oggetti o pezzi che concorrono a formare un tutto unitario e organico.
Vasari [D’Alberti]: Far che la pittura paia più presto un tappeto colorito o un paro di carte da giocare che carne unita e panni morbidi.
Crusca, IV Impress. [s. v.]:
Talora si dice ’ paio ’ a un corpo solo d’una cosa, ancor­ché si divida in molte parti, come un paio di carte da giuocare, un paio di scacchi.

What morality can be drawn from playing cards.

The kindness and goodness of God is so full of inexhaustible mercies that in the most terrible evils invented, whether produced by the malignity of nature or by the malice of our Genius, he wants man to try remedies for his Health and Relief for his affliction, whereby he allows that at the same time they offend, they are beneficial, similar to the little worms of the fig, which have the poison in their belly and the antidote in their wings. Those plants which are very bitter in their leaves, have sweetness in their fruit.

Scorpions and Vipers bring with them death and life. The Sun attracts vapors and dries them up. The Earth, which is the cradle, is also the tomb of monsters, and it produces them and buries them.
There is no evil more pernicious than the game of cards, in which anger, deceit, blasphemies, and all the vices are included and united, so blamed by the Scholars that Seneca pretends that Emperor Claudius, for being addicted to playing cards, was condemned by Aeacus as Judge of Hell to a punishment similar to that of Sisyphus: that as Sisyphus perpetually turns over a large stone /f. 592v/, so Claudius perpetually handled the cards. And Dante makes that Gambler from Navarre respond to Virgil in this way.

___Io fui del regno di Navarra nato:
___Poi fui famiglio del buon Re Tebaldo:
___Quivi mi misi a far baratteria,
___Di che i rendo ragione in questo caldo.

___[I in the kingdom of Navarre was born . . .
___Then I domestic was of good King Thibault;
___I set me there to practice barratry {i.e. abuse of public office for personal gain}
___For which I pay the reckoning in this heat. {Inferno 22:48, 52-54, trans. H. W. Longfellow.}]

It is so harmful that it is prohibited by civil laws, which in order to extinguish it completely do not allow any action against anyone who was deceived or beaten in the game. Cicero, wanting to put in his epilogue all the faults of Antony, called him Gambler.

___O hominem nequam, qui non dubitaret alea ludere.
___[O worthless man, who does not hesitate to gamble. {Philippica 2, 56 (XXIII)}.]

Finally, Martial [Epigrammata XIV.18].

___Alea parva nuces, et non damnosa videtur
___Saepe tamen pueris abstulit illa nates.

___[Gambling with nuts {often used as dice} is thought to be a harmless game,
___But it has often damaged boys’ buttocks {and so produced welts similar to the outer shells of nuts}.]

Despite all this, so abhorred by the learned, so pernicious to customs, so abominated by the Laws, it nevertheless contains within itself so many allegorical meanings, so many moralities, which equal, if not exceed, the evils that are caused by it.
/f. 593r/ The cards themselves teach the players not to touch them, and whoever first gave them the name of cards, perhaps had this thought, almost as if they were cards full of warnings, which teach us to avoid the dangers of the self-same cards. What else do those coins mean, if not those which are thrown away, which are lost, which are dissipated in gambling? One who gambles often remaining poor and naked.

___Nudaque per lusis pectora nostra patent.
___[Through games our hearts are exposed naked. {Ovid, Artis Amatoriae III.372}]

What else do those Cups show us, other than that the Players lose their intellect and reason, like drunks? What else do the sticks and swords warn us about, if not the constant brawls, the disdain, and the implacable enmities, which often cause death to the Players? Listen to Horace [1 Epist. 19, 48-49].

___Ludus enim genuit trepidum certamen, et iram; Ira trues inimicitias, et funebre bellum.
___[A game may beget dreadful strife and wrath; wrath, savage enmities and murderous war.]

Lovers draw warnings from the game of cards. Whoever wants to win at cards should strive to have more points than others. The Lover, who craves possession of his beloved, will achieve victory if he has more points, i.e. more money than the others. Duro certandum [I continue steadfast: Plutarch, Moralia, “De Garrulitate” 8], said that good female [Laeana, who, loyal to her lover, did not reveal secrets under torture]. There is a game called who makes the most loses. The same is experienced in things of love. The grasses, once they sow the seed, dry up, said Seneca. Soldiers and War Captains learn from playing cards to win, and enjoy earning /f. 593v/ victory while still playing. There were those who said of Augustus:

___Postquam, bis classe victus, naves perdidit Aliquando, ut vincat lusit assidue aleam.
___[Having lost twice with {his} fleet, to win at last, he gambled assiduously.] [Seutonius, Lives of the Twelve Caesars, LXX, 124.]

Clerics learn temperance, poverty, and patience from the game of cards, since it is not necessary for an excellent cleric to desire other wine, desire other money, use other weapons, or use other sticks than those which are pretended in the cards.
Playing cards teach politicians, because they show them what they must teach in peace and in war. Sought in war to repress the violence of the enemy, weapons and Soldiers are symbolized in Swords and Coins. In peace, they want Justice and abundance; and these are expressed in Cups full of wine, and the stick, symbol of Justice: for this purpose, the Romans brought their branches before Caesar, and the scepter of Kings is nothing other than a stick.
The game of cards teaches Princes not to be so proud of their greatness, because finally what happens to the court figures in the cards happens to them: when played they also mix with those of the most minimal

points. Once the game is over, the cards are all placed back in the deck without any ranking. Death makes everyone equal, nor do the bones of a King have greater veneration than those of a simple private individual. The wind thus scatters the ashes of Irus, like that of Agamemnon. Listen to Horace: [Odes I, 4]. /f. 594r/

___Pallida mors quo pulsat pede pauperum tabernas Regumque turres
___[Pale Death whose foot kicks in the huts of paupers and the towers of Kings.]

With the game of cards all men are finally made to consider their miseries, that to be happy, they also need the favors of something as vile as cards. How truly sad is the condition of that Man, who has to sigh for the encounters of good fortune in a most vile card.
The cards of the game, depicted with coins, cups, swords, and sticks, symbolize that the acquisition of riches, goods, scepters, and armies are jokes and mockeries of fortune, of which, as things of little moment, we should not become proud.
It can be said that the four seasons of the year are understood in the game of cards. The swords indicate the spring, in which all princes take up arms. The coins represent the summer, in which the grains are harvested, and the income. Cups filled with wine signify autumn. The sticks are a symbol of winter because the trees in winter are naked like sticks; especially since in winter sticks are needed to keep warm. I could say that in the game of cards there are the four main virtues. In coins we mean justice, which suum unicuique tribuit [confers to each what he deserves]. Temperance in the cups. In the sticks prudence, which, however, was imagined by the Egyptians with one eye on a rod; and in the swords fortitude.
But let their kindness excuse me, if I have too boldly abused the excesses of their kindness, which with such grateful silence have pitied and honored my imperfections.

Reply from a Regimental Soldier Over a Deck of Picchetto Cards

Being in church one Sunday with the rest of the Company to hear Mass, instead of taking a Book of Devotion, he took a Deck of Cards out of his bag, and frankly spread them out in front of the Sergeant, who was near him, as if he had had a Book of Prayers. Having viewed similar impropriety, said Sergeant ordered him to put the cards in his pocket, pointing out the scandal and indecency of such a thing. Receiving the Sergeant's advice, the Soldier listened without saying a word, and continued with the same seriousness to hold the cards in his hands.
Once the Mass was over, the Sergeant ordered him to be conducted before the Major and made an exact explanation of the impertinence committed by the Soldier, who was seriously reprimanded by the Major himself.
And he replied thus.

I am a poor Soldier who has only five Baiocchi a day, which, not being sufficient for the necessary sustenance, Your Illustrious Excellency must not be surprised that I don't have that with which to buy an Office, or another Book of piety.

And taking the Cards out of his pocket, thus he spoke.

When I see an ace it represents to me the one God of all Things.
When I see a two I am reminded of the two Thieves, who were crucified together with NSGC [Our Lord Jesus Christ] [note 6]
In the three I contemplate the Holy Trinity.
The four reminds me of the 4 Evangelists.

The Five reminds me of the five Wise Virgins whose Lamps were lit and deserved to enter the Hall where the groom was (Psalm of David).
I see the 6 and remember that God created the World in six days.
Seven teaches me that he rested, and that we too, in imitation, must rest to pray to him and adore him.
The eight shows me the eight righteous People, who were saved from the Flood, that is, Noah, his wife, and his three children with their wives.
The Nine reminds me of the nine ungrateful lepers who did not thank God for the grace they received.
The ten reminds me of God's Ten Commandments.
If I take the Lady [Queen] in my hand, I remember the Queen of Sheba, who came from the ends of the Earth to meet the Wisdom of Solomon.
The King reminds me that I must obey and be faithful to my Sovereign. [note 7]
And the Jack represents to me this B.F. [note 8] of a Sergeant who came to accuse me.
If I then count the points of the Cards I find that they are 365, which were the Number of days of the Year.
Likewise, I find 52 Cards that form the Number of 52 Weeks, so a deck of Cards serves as a Bible, an almanac, a book, a meditation, and a game, when I like.

Surprised by the spirit of the soldier, the Major gave him a Coin, saying that many people who have spent their lives with cards in their hands have never been able to find such a beautiful and witty explanation.

mikeh wrote: 14 May 2024, 00:32 Here are another couple of finds by Franco, still rummaging through the Biblioteca Moreniani. The first is an erudite mock defense of playing cards. The author would seem to be a high-ranking member of an "academy," more like a social club, in Florence, a "Very Reverend" ecclesiastic, no less. In fact, as I discovered trying to identify the sources of some of his Latin quotations, it is taken almost wholly from a book of such academy speeches authored by one Gian Francesco Loredano (or Loredan) published in Venice in 1638, the Bizzarie academiche di Gio. Francesco Loredano, https://books.google.com/books?id=Ey7IP ... &q&f=false. English Wikipedia has a long article on Loredan. He is not mentioned in the Florentine account, that Franco can find. It is entertaining nonetheless, and I haven't seen it mentioned in playing card history sources before.

The command ....
site:letarot.it loredano
.... shows, that Andrea Vitali mentioned Loredano.
http://www.letarot.it/page.aspx?id=180&lng=ITA

"Procedendo nella disamina, risulta difficile, se non impossibile, conoscere il reale significato dei semi delle carte attraverso le descrizioni degli uomini di quel tempo, dato le diversità interpretative che ci hanno lasciato. Nell’opera Bizzarrie Accademiche di Giovan Francesco Loredano, troviamo discorsi e versi che furono letti e recitati presso l’Accademia degli Incogniti, fondata dal Loredano stesso."

There are other notes about Loredano at letarot.it, if you use the command at the browser address field.

In the "Bizzerie etc. " it seems, that only the pages 11-15 are related to playing card topics.

. . . I was heartened when my vast mind suggested to me the Game of Pelacchiù;[note 4] I had already made up my mind to trace its origin from the Parsnip Islands, [note 5] or from the Molucchas Islands; but the writing in the book on which I founded my opinion was so battered and faded that after I had slipped away, and almost lost my eyes in it, I could not distinguish whether it said either Parsnips, Crumbs [Molliche], or Molucchas; a gnat leapt at my nose, and I tore that little book in rage; for I was anxious to make a sure and not dubious discovery, and I did not wish to understand fireflies for lanterns around such matters deserving to be treated with care.

And then it was, academicians, that I, as if roused from a deep lethargy, raised my head, and, all cheered and laughing, I said to myself: Why am I here uselessly wasting time, lye, and soap [note 6] around certain games which are nothing more than games and amusements of shop-assistants and runaway boys, whatever his very subtle chirping Encomiasta [speech of praise] on the beautiful game of Goose might want to pretend to prove to the contrary [note 7] If I, too, have the itch to jabber away [cicalare] about the dignity and nobility of some game, why don't I choose that of Primiera? [note 8]

And if I don't like this, since Francesco Berni wrote a Chapter in praise of it, [note 9] why do I not take into my own hands the rules and chapters of the game of the Three Sevens, [note 10] which were printed in this City in the last year, that is to say, in the year of a century that is the most enlightened, the which is ours? For if I have the pleasure of doing myself honour, [why] do I not soon read this golden book, and after having studied it well, make some additions, or some erudite and well-reasoned commentary, and then recite it before my fellow Academicians in order to amuse them profitably and gracefully?

It is also known that the Librettine [note 11] were put in ottava rima [eight-line rhyming stanzas] by a certain I don't know who, who made much credit for himself with the Literary Republic; I too, therefore, could reduce the Chapters of the Three Sevens into tercets, and read three or four of them at our Academy, making them serve as a Cicalata, as Dr. Lorenzo Bellini practiced [note 12] in an excerpt from the Academicians of the Crusca, to whom, having to talk after dinner, he read a great passage from his Bucchereide? [note 13]

Thus I discoursed with myself, and I had almost made up my mind to this work when the game of minchiate clouded the idea I had conceived: it pretended to be preferred over any other game. [note 14] Capers! I was sorry for this, and this new theme for the Cicalata put me in great confusion and broke three strings of my chitarrino [small guitar].

That reflection, that I had to explain the origin of this noble game, [note 15] and that being obliged to rediscover the true meaning of so many tarocchi, [note 16] I am bound to raise myself in imagination to the empyrean Heaven, [note 17] and to enter with thought into the houses of so many Planets, [note 18] into that

reasoning of the verzicole declared,[note 19] the murdered Popes,[note 20] the hanged Kings,[note 21] the dead airs,[note 22] the little-esteemed virtues, [note 23] a madman who is seldom lost and who counts more than the Sages, and enters into everything, [note 24] saying, in short, that he counts as a Sixth Pope;[note 25] that there are others who always give cards;[note 26] that there are some who never pay the remainder:[note 27] that there are many who are afraid of the thirteen [note 28] and few of the Devil:[note 29] that, finally, there is no lack of people, who, promising themselves in every scuffle sure victory, then return with trumpets in the sack.[note 30] All this, in short, and many other things more, which I had to say in speaking of minchiate, made me sweat at my temples, and shiver down to my tail-bone, and put me in such apprehension, and frightened me so much, that I could not see, I went totally out of my mind, I found myself startled and thought I was almost falling down from a heart attack. The subject was beautiful, there is no denying it, but the field was too vast; and I, because of the shortness of time, saw myself squeezed between a door and a wall.

O, do you see what it has cost me in travail and sorrow to think of a subject for the Cicalata. I was at risk of putting my skin on it [i.e., dying]. Fortunately, I drove away this thought of minchiate with such fury; and although I was reminded of the historical minchiate [note 31] devised by Doctor Angiolo Maria Ricci,[note 32] also that modernly invented, if I am not mistaken, by a good French author,[note 33] even that name of minchiate raised me so much out of order and disconcerted, that I did not even want to know about these, whether smelling or burnt; and I said between my teeth the Ave Maria of the Bertuccia [note 34] for having entered with my thought into the thicket, into the labyrinth, into the mess of Games.

Ludum Minchiatarum, quas vocant, historicarum depictis figuris, subiectisque explanationibus excogitavi, quas vel in tabulis duabus explicatas, vel in folia fugitiva iisdem archetypi Ludi Legibus discretas ad eruditam animi relaxationem adolescentibus proposui. Iis vero elementa historica Regnorum Assyrii, Persici, Graeci, atque Romani compendio collegi.

I invented a game of Minchiate – as they call it – with scenes depicted and explanations underneath, which I proposed separately to young people for an erudite relaxation of the soul, either on two big sheets or in [normal-sized] loose sheets, with the same rules as the original game. With these, in effect, I summarily collected the historical elements of the Assyrian, Persian, Greek, and Roman kingdoms.

127
Minchiate of Ancient History, circa 1725, Florence, Anton Giusepppe Molinelli, 90 of 97 cards, includes 34 trumps (lacks XXI, XXII, XXIX to XXXI, XXXVIII), and 55 suit cards (lacks 8 of coins), copper engravings in black except trumps XXXIII to XXXX in red, square corners, wrap around spotted paper edges around each card, trump XXXII has black stamp monogram of MGM between two lions beneath the Florentine lily and signature in brown ink of Anton Giuseppe Molinelli, holder of the playing card concession from 1721 to 1731. Trumps are full length-figures, Roman numerals, extensive Italian text, describes historical places, persons, events and objects including, for example, I Tower of Babel, II idolatry, III Semiramis, V Zoroaster, VI Amazons, XXIII Ulysses, XXXX Rome, etc. Suits are full length figures, Roman numerals, Italian titles and descriptions devoted to ancient nations, swords relate to Greece, batons to Rome, cups to Persia and coins to Assyria, suits of cups and coins are yellow tinted, one index. The deck was designed by A. Pazzi with assistance of C. Mogalli as evidenced on the unnumbered card, Statua Vedutada Nabucco. Backs are wood block printed crowned coat of arms of the Medici family. Size 4 in. (10 cm.) high, 2 3/8 in. (6 cm.) wide. Slightly worn, a few minor worm holes. Kaplan II, 257-261.

Title : [Série des atouts d'un jeu de Minchiate istoriche] : [jeu de cartes, estampe] ([Exemplaire incomplet avec dos aux armes de Médicis])
Publisher : Anton Giuseppe Molinelli (Florence)
Publication date : 1725
Relationship : Notice de recueil : http://catalogue.bnf.fr/ark:/12148/cb403402878
Relation : Appartient à : [Collection Georges Marteau. Recueil. Cartes à jouer]
Relationship : http://catalogue.bnf.fr/ark:/12148/cb40917708m
Type : image
Type : still image
Type : engraving
Language : Sans contenu linguistique
Format : 32 cartes à jouer : gravure à l'eau-forte ; 10,1...
Format : image/jpeg
Format : Nombre total de vues : 65
Description : Ancien possesseur : Marteau, Georges Edgard...

In the first example, together with the signature of Anton Giuseppe Molinelli affixed to the XXXII triumph (Aquarius) are the initials AGM placed between two rampant lions and surmounted by a lily as a symbol of the stamp Fig. 19. This stamp and signature remained in effect for three contracts from 1721 to 1735.

There were four empires discussed in relation to playing cards. John of Rheinfelden assigned one to each of the suits of the moralized 60 card game. He called them monarchies, because of course his suits only went up to kings. . . .

Arne Jönsson writes, of Johannes' suits (“Card-playing as a Mirror of Society. On Johannes of Rheinfelden's Ludus cartularum moralisatus,” In O. Ferm & V. Honemann (Eds.), Chess and Allegory in the Middle Ages, 2005, pp. 359-371, on p. 370:

As regards the four suits, they represent, in Johannes’ opinion, four kingdoms, namely the four successive world monarchies, Babylonia, Persia, Macedon (or Greece), and the Roman Empire. As his symbol the Babylonian king has a man’s head, the Greek king has bells, and the Roman king an eagle. Johannes tells us that he does not understand the Persian king’s symbol.

Our very vicious associate,
The Devil got it wrong this time. He believed that by often coming into your hands he would cause you displeasure. Let this Beast be sufficiently convinced of His Poor ability while he has still not managed to penetrate the future. The visits he made to you at night are exchanged for a day of pleasure. Hence the proverb is very true that the Devil is not as bad as he is painted.
Therefore on Sunday 12 1783 at the first hour of the afternoon you are awaited, our most vicious Associate, with your Consort, in the usual residence of Casa Ferrini to enjoy the table prepared for you by the Devil, who himself has bothered to invite you.
Expect a Devil's lunch: don't make yourselves wait; goodbye.
House number 15
The Secretary of the Devil depicted

Our very vicious associate,
Next Sunday, the 16th of February, the Devil wants to come to table again, in the usual House placed in Baccano, because it seemed to him that he had postponed the well-satisfied Conversation, and now he yearns for it much more, because these Baccanali days are consecrated to him, and he is more in fashion than before. But he would not like to be seen, because we must know that he worked much less than last time, as a consequence he is thinner, in view of which he thought of taxing everyone's purse in an equal portion, to provide himself with a little fodder to fatten up, and thus by putting on meat he hopes to make you happy, to send you home well fed.
The Secretary
In His name at your feet now here it is
That I place the memorial, and also himself.
Now you make it so that he doesn't remain dry,

Because in that case he will come after me,
And he will tell me that I am the cause
And that I didn't express myself politely,
Because I'm a certain stupid Ambassador,
That I didn't know how to explain his desire well;
The recreation will go to waste
We will be left with dry teeth, you and me.
From House No. 15.

Mosel, Giovanni Felice. Italian violinist and composer. (Florence, 1754 - ? , after 1812). He studied violin with his father, who had been a pupil of Tartini, and made his debut as a child in his hometown, where he later perfected himself with Pietro Nardini. He was a member of the orchestra of the Grand Duke of Tuscany and, upon the death of his teacher, in 1793 he succeeded him in the role of director, holding the position for some years. In 1812 he was director of the Teatro della Pergola; afterward, we have no further news of him.

Pietro Leopoldo (1765-1790), always intent on the serious cares of the Kingdom and of useful reforms to the State, could only slightly concern himself with music; however, he did pay a few distinguished professors of that art for his services. One of them was the famous Pietro Nardini from Livorno, a delicate and pleasing violinist representing the Padua School in Florence, who included among his best students Giovanni Felice Mosell and Luigi Campanelli, who succeeded him in the office of First Violin and Director to the Sovereign. [note 1]

Players
Bowed instruments
First Violin Pietro Nardini with pension
Second Violin Giovan Felice Mosell
More violins

N. 2 Curious invitations "from the Devil" to Gio. Mosell, "very vicious member" of an association of merry-makers who met at table during the Carnival of 1783. At the top, the figure of the devil is badly painted between two playing cards.

Last Saturday a new literary Academy was started under the title of the Faticanti [Laboring] with a very select concourse of nobles and virtuous people in the salon of Signore Ferrini located in Baccano, whose opening was made by Signore Abate Catani with a well-reasoned,

and erudite dissertation followed by other poetic compositions that were interspersed with
by beautiful musical pieces. [note 10]

The present season of Advent, being appropriate for the academic amusements of these “Faticanti” Gentlemen, was given on Sunday evening in the salon of Signore Giovacchino Ferrini, one of the members of the said Academy, with chosen others and numerous contributors to an Academic Conversation of Poetry, Sound, and singing, where members Gio. Mosel, [note 11], Brocchi, and Giuseppa Fineschi, distinguished themselves, and some arias were heard with great pleasure, excellently sung by a certain gentleman Babbini Tenore, who is passing through here on his way to Bologna. The instrumental and vocal concerts and the extemporaneous poetic faculties, no less studiously refined by art, form a completely harmonious and varied entertainment, which is only typical of the Florentines, and which is at the same time interesting and attractive. There is no place for doubt that this Academy, which has not been founded for even a year, and which is still nascent, so to speak, will soon reach the eminent level of the other similar ones established here, which form the ornament of our City. [note 12].

Academies
The Academies are in large numbers in Florence. The famous Academies of Crusca, Fiorentina and Apatisti have their residence in the same place. In addition to these Literary Academies, there are many others which serve during Lent to provide some entertainment to the Nobility and Citizens of both sexes.
They are known under the names of the Ingenious, the Harmonious, the Laboring [Faticanti], etc., etc. Only the first of these enjoys the honor of Royal protection. All the others have simple approval from the Government. Their meetings consist of some little arias and duets performed by good musicians, in concerts with all sorts of instruments, and other similar things; the entertainment is interspersed with poetic compositions, where everyone is free to recite, and which serve to give a convenient rest to the teachers of singing and sound rather than forming the main object of the Festival.
You cannot enter without a printed ticket, on which is written the name of the Academician who distributes it, and the person for whom it is intended: some are reserved for foreigners of rank, who ordinarily still pass without the ticket, especially when they have been recognized and distinguished by the Ministers of their Nation resident in Florence.
The Ladies participate elegantly dressed, and for a singular use in Lent in such circumstances a richness and magnificence is flaunted that is overlooked in Carnival through the incognito of the mask.
It seems at first sight that these Academies of simple entertainment have acquired greater credit than those that were established for the growth and splendor of letters and sciences. [note 13]

CHAPTER V

This is what must be observed in games.

With an illustrious Lord it is not allowed to
___Set up a game; just play when
___He commands it, or he himself has invited us to the game.
When playing, do not show greed
___To gain from it: this indicates
___Baseness of spirit and cowardice.
Whoever doesn't have a sweet and yielding nature
___It is fitting that he abstain from every game
___For whatever inconvenience may follow.
To discover whose character you desire,
___Or his virtues to know, or his vices,
___Let Cards, or dice, as they say, be given into his hands
Continuous attention must be applied, and not without
___Very accurate keeping to the order [i.e. following the rules] of the game
___And never losing through complacency.
And this so as not to seem stupid, and again
___To demonstrate to the one with whom one plays,
___That he is honored with all possible care.
If joking at all times is little
___Commendable, it will be thereafter very little
___Plausible to make fun of any in the game.
To either sing or whistle is uncivilized
___In the game, and also in a low voice, like
___The habit when someone is idle.
Neither with your hands nor with your feet to play
___Is given, with the feet to go beating the ground,
___And with the fingers to play the tambourine.
If the game is Ball, and if one is occupied
___With Trucco, or Ball, or Maglio,
___Keeping dirty postures with the body is not suitable.
If any despondency in the game happens,
___As often happens, not rudely does one persist,
___But complacently one recovers and gives in.
To sustain a kick or a blow, one lets the case
___Faithfully be reported, and in peace, and that decided,
___One appears to remain satisfied.
Because everything in the game sweet
___And peaceful must be: making oaths
___Is a cowardly thing, and it is a grave sin.
They still sin, and already the great Chrysostom
___Said it, speaking of games___
___That there are mixed [with it] blasphemies and thefts and fights.
Once the stake is won, civilly
___Let it be collected without much heat,
___But with all sweetness, and coolly.
If someone failed to place the bet,
___This should not be said to him: one must only say:
___It seems that all the Bets are not placed.
When the bet is lost, so let it be given
___Quickly to those who want the money, and never
___Wait for it to be requested by the Winner.
It is a mark of a well-born spirit
___Quickly to pay what is owed in the game,
___Without showing difficulty and restraint.
It is also still of a generous spirit
___Not only in the game, but in everything else
___To be ready to pay without delay.
Two things make a man lose credit.
___The Persian says: one is to be a debtor,
___The other is to deny the creditor the debt.
If someone is playing with you
___Much greater, if losing hurts him,
___Continuing the game is civility.
If fate shows itself against us,
___To withdraw from the game is praiseworthy,
___And to manage with our own strength.
It's a risk to encounter mockery,
___And I still despise those who do [by continuing to play] out of complacency
___What their state [losing what little they have] does not allow them.
If anyone goes into anger in the game,
___One must not make retorts to his words;
___But pity him in his transports.
If it is a Lady, this is done much more;
___Everything must be accepted on the good side
___And have for her respect and civility.
If anyone comes higher [socially] than you and has an itch
___For the game, you must be ready
___To withdraw and give the place up to him.

Playing with discretion is done like this:
___There is still another precept in the game;
___That you don't have to play every night and every day.
In the book of Ecclesiastes, it is written:
___There is a time for the Dance, and a time for the Game,
___But there it is also prescribed the time to pray.