Pen wrote:Thanks Huck, that's helpful. I wondered whether Etteilla had copied the images from the Liber Chronicarum or from the deck of cards. Are there only five cards in existence?
Edited to add: Sorry, I somehow overlooked your info re. the rest of the cards...
Pen, I think you've discovered the very real source for this image from the Grand jeu de l'Oracle des Dames
. Etteilla had nothing to do with the design of it, however. This deck was published around 1865 by M.-F. Delarue, and the designs were made by the artist G. Régamey (I take this to be Guillaume Régamey (1837-1875), from a family of artists).
According to Decker et. al. A Wicked Pack of Cards
(WPC), pp. 147-149 (the research on Etteilla was mostly Thierry Depaulis'), a taxonomy of Etteilla tarots was made in 1972 by Detlef Hoffmann and Erika Kroppenstedt, in their book Wahrsagekarten
(fortune-telling cards). They called them Etteilla I, II and III.
Etteilla's own designs are "Etteilla I", appearing at least as early as 1788. They are just about identical to those still published by Grimaud as Grand Etteilla ou Tarots Egyptiens
Etteilla II is a version published in 1838, a new design based on the original, issued by the publisher Simon Blocquel.
(three cards from this deck are illustrated on plate 9a of WPC
Etteilla III - "The third in the sequence of avatars of Etteilla's pack recognised by Hoffmann and Kroppenstedt is Grand Etteilla III, known in its day as the Grand jeu de l'Oracle des Dames. On the basis of an example in the Rothschild Collection at the Louvre, it has been dated to about 1865. Grand Etteilla II went out of production soon after 1900, unable to compete with its two rivals. The Grand Oracle des Dames - Grand Etteilla III - was designed by G. Régamey, printed by chromolithography by Hangard-Maugé and published in Paris by M.-F. Delarue, Blocquel's son-in-law and the Parisian stockist for the publications of Blocquel and Castiaux. The inscriptions, at top, bottom and sides, are exactly the same as in Grand Etteilla II, and consequently the subjects are also the same; on card 5, however, there are no longer the symbols of the four Evangelists, but four genuine quadrupeds - clockwise from top right, a lion, a horse, a bull and an elephant. Etteilla's designs have, however, been transformed beyond recognition, with the aim of achieving a neo-Gothic style. Grand Etteilla III was highly popular for a time, but does not seem to have survived the First World War." (p. 149)
(I should note that I am puzzled by that last statement, since this deck is still in print and easily available where they sell divinatory tarots)
From the Chronicle's Japeth
it is easy to see that the Grand Etteilla III's Folly is modeled upon it. The question is whether it is a direct source or if there is an intermediary, where Japeth was interpreted as a fool in another source. I can't answer this question without knowing if the illustrations in the Chronicle were published by 1865 (naturally by an artist redrawing them).
Added - Japeth is definitely not a "Fool" in the Chronicle - he is just dressed in contemporary garb, albeit with an "exotic" headress, to indicate foreignness. The "Fool" aspect is given in the Grand Jeu
by adding bells to his hat and motley colors to his clothing.