Re: Themes and Games

31
Huck wrote:
...
The first has a King and a Queen ... and third court card, which has raised the irritation of Ingold, is a junkfraw,
in other word a second female, and Ingold's mind, open to prohibition of all kind, realizes his "work of the devil": That's a representation of a king with a queen and a second wife for his immoral desires.
Well, and that's the devil.
...

...

4 - Emperor ... developed from "King"
3 - Empress ... developed from "Queen"
2 - Papessa ... developed from Junkfraw, but also from "Knight" or Ober or upper marshall
1 - Magician ... developed from Unter or from lower Marshal

...

No deep riddles about the Papessa ... it's the Junkfraw, and it has its first appearance to our eyes in the manuscript of Johannes of Rheinfelden (1377), then as the maiden of the playing card queen. It's very old.
Hi Huck,

Can you help me out with the "Junkfraw"? How would you translate this into English? Does it mean "bad woman"? A "Lady in waiting" I'm not sure I understand what a junkfraw is, or what her situation might be, but I'd like to learn more. Who and what is a Junkfraw?

On a different note, I find the image interesting as well as I'd like to know what is at the bottom of the scene in blue? A shield?

On the Tarot de Marseille, the bottom area of the Papess card is, to me at least, very mysterious and still unexplained. There seems to be a pattern of some type there that is no longer recognisable or understood. Jean-Michel has suggested in the past that it might be a spinning wheel. I find it puzzling and would love to have an explanation. I'm not in any way suggesting that the card here is connected to the Tarot de Marseille Papess, only that the interesting information of the blue area and the dog reminds me of the mysterious area on the Tarot de Marseille.

Or maybe it's just lines. :-B

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The Paris also has something in the bottom corner. Very odd.
Image

Re: Themes and Games

32
I think I can help.
The term was used in Low German apparently and I have a copy of a ballad from the story of Isabel and the Elfin Knight.
It goes like this......
Ach du schone junkfraw fein (ah, thou fair young maiden (lady) fine)
Du Pfalzravin, du Kaiserin (oh Consort of a Count (Palace whore), Oh Empress mine) He is been wicked and ribald!

Today Jungfrau is young maiden/Lady. Not a Lady in Waiting- perhaps a Knight's sister.(or a Nun)
Palsgravine is the consort or widow of a Palsgrave.

Aldeger is going to rape her, take her fine clothes(give the clothes to his mother) and kill her. She is a Virgin.
She calls upon the Mary, and her brother the Hunter/Knight who hears her and saves her.

In the lovely card with the green and blue cushion under her feet- the cushion is a place holder- for the Lady is a Kingmaker. She holds the cushion under her feet, until she has influenced who is to be King.(see Sophia 1)
I have a personal conviction that the Papesse is an Abbess and the at her feet is the stool of Obeisance where the nuns would kneel to give their confession. If that is a spinning wheel as Jean Micheal surmises in the other card then the Papesse has something to do with the Annunciation.
~Lorredan
The Universe is full of magical things patiently waiting for our wits to grow sharper.
Eden Phillpotts

Re: Themes and Games

33
robert wrote: Hi Huck,

Can you help me out with the "Junkfraw"? How would you translate this into English? Does it mean "bad woman"? A "Lady in waiting" I'm not sure I understand what a junkfraw is, or what her situation might be, but I'd like to learn more. Who and what is a Junkfraw?
"Jungfrau" is in modern use definitely "virgin" ... but the use in 14th and 15th century is not so clear. It's definitely (occasionally) a "court card name" ... so "somehow" for Johannes of Rheinfelden (but he wrote Latin) and "somehow" for the Hofämterspiel (which definitely uses "Junckfrawe", but it is somehow also a number card). For Master Ingold it is definitely used as a court card:
Nun sind auf dem kartenspil fier küng mit iren wauppen, und hat ieglicher under im XIII karten, das macht an ainer sum LII, und hat ieglichü das zaychen irs küngs. Etlich kartenspil hat dar zu fier küngin und fier junkfrawen, etlich haben den ackerman, den edelman, den wuchrer, den pfaffen, die toypel, den riffian, den wirt; und gewint ie ains dem andern ab: dem edelman der wuchrer, dem wuchrer der pfaff, dem pfaffen das täppelweib, dem täppelweib der riffian, dem riffian der wirt, dem wirt der weinman, dem weinman wider umb der pauman der den wein pauwen sol, der nimpt das gelt wider von dem wirt.


For Johannes it is clear, that these "court cards" are the helpers of the Queen, as the male King also has his helpers
(upper marshall marshall, lower marshall).

From chess we have, that at least some figures of Chess-King and Chess-Queen are traditionally presented with helpers (probably only in very expensive sets):

http://www.chess-theory.com/encprd03713 ... s_arts.php
many pictures, old chess figures

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King

Image


Queen

The more-than-one-persons - pictures are repeated in early Trionfi decks. So in the Cary-Yale (for Emperor and Empress), and in the Charles VI (for Emperor and Pope, whereby it has to be noted, that it is assumed by the Chess Tarot theory, that the Florentine Trionfi Pope replaced the Empress and in its early version hadn't an Empress and the later Minchiate also hadn't an Empress or a Popess) and for both decks exists the strong suspicion, that they were Chess Trionfi cards (with 16 figures only).
On a different note, I find the image interesting as well as I'd like to know what is at the bottom of the scene in blue? A shield?

On the Tarot de Marseille, the bottom area of the Papess card is, to me at least, very mysterious and still unexplained. There seems to be a pattern of some type there that is no longer recognisable or understood. Jean-Michel has suggested in the past that it might be a spinning wheel. I find it puzzling and would love to have an explanation. I'm not in any way suggesting that the card here is connected to the Tarot de Marseille Papess, only that the interesting information of the blue area and the dog reminds me of the mysterious area on the Tarot de Marseille.

Or maybe it's just lines. :-B

Image
Well, I would say, that the shield - or whatever it is - is an heraldic detail, but I don't know, what it means.

It's more interesting to observe, that there is a chequered ground on this card ... and this seems to indicate, that these cards (Goldschmidt), which present the chequered ground not only at one card (5 of 8 have it, and 1 of 3 or 1 of 4 of the Guildhall cards), also belonged to the Chess Trionfi versions. Interesting is especially, that there is clearly a bishop in this deck ... normal Tarot doesn't have a bishop, but a chess game has it.

Generally one cannot talk too much of this deck and of the 3 or 4 Guildhall cards, as there are not enough cards surviving. But the chequered ground repeats at another Trionfi card, the Death-as-a-cardinal trump in Victoria and Albert Museum (Kaplan 1, p. 104), which is called a Visconti Sforza card. Another common Visconti-Sforza card (the World of the second artist of the Pierpont-Morgan-Bergamo deck - Kaplan 1, p. 104 - is by Dummett counted to the group of the 3 cards, and this more or less directly a Visconti-Sforza card.

Well ... already Franco Pratesi recognized clearly, that the crowned fish in the Guildhall cards referred to the Dauphine, the place of the crown prince of France since ca. 1350, who was called after this: Dauphin. Dauphin is related to the dolphin, and the wish actually should mean a dolphin.

Franco Pratesi attempted in his earlier text (? likely this one ... "Dauphiné cards on the wrong track", IPSC 1993 ... but I don't find it) to correlate it to the situation of late 15th century.
Possibly he wasn't aware, that earlier Hoffmann (1972) had recorded a paper analysis, that was done in Germany in the 1950's. The paper analysis dated the deck vaguely to mid of 15th century.

Without knowledge about Pratesi's earlier recognition Trionfi.com came to the same conclusion, the deck should have been made for a Dauphine court. Actually there was only one interesting Dauphine court and this had been the court of the later French king Louis XI (reigning 1461 - 1483). Studying the details of this biography it seemed plausible to date the deck to a time, when the title "Dauphin" was still of some importance for Louis, so "till 1461" ... which would fit with the time-frame suggested by the paper analysis in the 1950's.

Some studies of the early time before 1450 and till 1456 (which is a crucial date of the biography) didn't reveal any fitting situation. In 1456 Louis' father Charles VII. attempted to capture his father. In an adventurous escape Louis took the chance and searched a refuge at the court of the mighty Duke of Burgundy, Philip the Good. Louis spend his time there at hunting ... he took his wife from Savoy to accompany him and they got children, but the children died. In 1461 it looked, as if this child would survive. He lived in Genappe, a small village on the country with this heraldic (at least nowadays, but one has to observe, that the Village Genappe likely never had have more general meaning than during this stay of Louis for six years in 15th century.)

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The latter seems to be an older image of the castle, but likely it presents not the state of 15th century.

In the year 1461 the Milanese painter Zanetto Bugatti went to Rogier van Weyden in Brussels, the painter, for an arrangement, that he should learn for 3 years Flemish painting.
This arrangement was done by Bianca Maria Visconti, duchess of Milan. But Zanetto Bugatti made a few things wrong, he drank too much wine and he took a foreign commission from Louis, Dauphin of France, then still in Genappe. So Rogier van Weyden became angry about him, and I could imagine, that Rogier had been especially angry about this commission, that Zanetto got from Louis. It likely created difficulties, if an outside artist called a "pupil" took independently commissions.

Bianca Maria Visconti had to write a letter personally and she humiliated herself to keep Rogier van Weyden content and Zanetto Bugatti a pupil of Rogier.

It's not clear, which commission was made by Zanetti Bugatto. It seems plausible, that it was something, which Flemish artists couldn't easily do themselves. Milanese specialities, for instance playing cards in Milanese style with gilded background, possibly unknown in Burgundy.
Huck
http://trionfi.com

Re: Themes and Games

34
The Fool

Without other cards alongside it to make a recognisable theme it's difficult to be definite about the Fool's purpose. As the subject doesn't seem suitable for a card that outranks other cards as a trump would, it may be that this was an example of the other type of special card used in games: the wildcard.

Some other types of decks may have had similar cards. German and Swiss packs often had the Unter, or Jack, of Schellen/Bells depicted as a fool.

Image


The design of German cards later changed but the modern Swiss Jass cards still have the figure.

Image


But in the earliest complete surviving pack of cards, The Cloisters Deck (Flemish, c.1475), a similar card is much more prominent.

Image


It may have been there just to complete the courtly theme amongst the highest cards but later card games suggest a special use. The French card game of the mid-1600s called Lenterlu used the Jack of Clubs both as the highest trump and as a wildcard for forming flushes. A special card may have been included in the Tarot for use with Italian card-combination games like Flusso.

Finished.
Al Craig

Re: Themes and Games

35
Al Craig wrote:Thanks, Huck, that's a nice exposition of your thoughts on the origins of Karnöffel and the relation of the Tarot to normal cards.
Karnöffel/Imperatori - game is the father of the later Tarot cards
That's what I've been implying here.
... :-) ... Yes, that's really an advantage, that you're not blinded by the many iconographic possibilities, but have some sense for the idea, that it is a game.
Tarot developed from the usual card deck
Agreed.
Karnöffel ... there was a devil in this game ... there is a devil in Tarot ... was it the same devil?
It's odd that a German game should be represented in an Italian pack of cards. The suggested scheme of four cards doesn't match perfectly with the later descriptions of the game. I'd assume that it was an earlier, simpler version of the game and a variation of Kaiserspiel.
I think, the mystery of the parallel development of German Karnöffel and Italian Imperatori cards (which is, as far we can observe it, possibly a Florentine/Ferrarese speciality) is possibly the council of Constance. This had been, at least occasionally, a festivity in gigantic dimensions, something, which the West European world hadn't seen for decades, possibly the largest public event in Europe since the great plague. Generally the plague and its various reappearances had with some security reduced traffic, trade and tourism. The general calculation says, that since ca. 1450 the general population number started to increase again ... till then we have likely only reduced development. In Northern Italy we've a successful development in Milan since 1350, cause Milan could protect itself against the first big wave of the plague. The result of the protection was the expansion of Milanese territory and around 1400 we've Giangaleazzo thinking about the idea to become an Italian king, a plan, which is disrupted by Giangaleazzo's death 1402 (a similar successful development and expansion we've in Bohemia for some time cause the same reason ... also Bohemia weren't too much effected by the first wave). Giangaleazzo's death is followed by chaos in Milan and this dukedom begins to redevelop with Filippo Maria's ascension 1412. Similar the question of the German Empire in a positive manner since 1411: Sigismondo established himself as a man able to satisfy the general hopes. King Wenzel had disappointed ... he never overcame his start difficulties and he was abdicated in 1400. The following Ruprecht couldn't really establish himself.

Sigismund was the first, who reflected the "good old time", when "older kings reigned" ... there had been a radical change in the North European around 1378: The old Emperor died, the old French king died, the old English king died and the Pope died, creating by his death the schism, which still lasted in 1411. From the young followers, partly still not-grown-up, when they started to reign, the German empire king was abdicated 1400, the English king was abdicated and killed 1399/1400 and the French king became insane. The replacement kings didn't satisfy completely.
Now Sigismund, an experienced monarch, started to reign, and in 1413 the old (also) sick English king died and a new one appeared with fresh energies.

So there was a general optimism after a deep depression and Sigismondo attacked the schism. A new time seemed to start. In Constance occasionally had been 100.000 visitors, a lot from foreign countries and from these the most came from Italy.
In Italy card playing had been - as far we can know it - more often prohibited than in Germany. Italians learned in 1415 about the contrast. Also Italians learned, that in Northern countries were considerable improvements in matters of music, likely they learned about new fascinating colors for painting, they learned about unknown old texts in German libraries, they learned that elsewhere in Europe were other customs in matters of sexual freedom.

Possibly they learned also about woodcut pictures.

It seems evident, that at least some Italians became enthusiastic about it. They loved this tourism, and they responded to their impression, when they returned back. Those, who had stayed at home, didn't necessarily reply with the same enthusiasm, and San Bernardino started to preach in 1417 against their new ideas and the general change of time. But Bernardino had learned from the council of Constance ... his preachings are said to have been attended occasionally by 100.000 ... perhaps these numbers were partly only marketing strategy, but actually Bernardino imitated the system of "the many people at one place" to create religious hysteria and to use it for his aims.

We generally see from this development only, that the number of playing cards use documents increase in number in the 1420's. We also have two high-prize-card-decks notes, one 1423 in Ferrara and one possibly of Milan 1425 (if our preferred dating for the Michelino deck is correct, otherwise at least 1418 - 1425 as a plausible date). "High prizes" seem to indicate special movement, possibly in context to a general change, for instance introduction of far spread use of woodcut technique. The first surviving woodcut is the St. Christopherus from 1423 ... the experts in this research differ very much in their opinion. Some assume 1370, others are even earlier and some propose "late". In the recent years there were reports, that in Spain woodcut playing cards had appeared from around 1400.
Well, if I consider the plausible suggestion, that playing cards were in Bohemia in 1340, but needed 35 long years to explode with might around 1377 in Europe, then it's not impossible, that Spain had playing cards with woodcut printing "around 1400", but that mass market was reached in its beginning maybe ca. 1420-1440. The Venetian document of 1441 speaks of the condition, that Venetian card makers earlier had the mystery, but that now the technological advantage was gone. It's a good question, what "earlier" means in this statement ... perhaps 1420?
Generally in the Islamic world the woodcut use had been much earlier, naturally also in China. Generally the use of woodcuts in textile printing happened much earlier than the use for paper printing.

Generally it's a factor of the development, that cities and producers with envy protected their technological advances, not interested to show them anybody else. So we have also have this very slow development for the paper mills. Spain had it early, Italy around 1264. Officially Germany has the 1390 in Nurremberg, however, taking a look in the modern research, there seems to have been many other attempts before here, though they missed to become successful.

So, inside this all we have the reported deal, that Parisina had her servant buy "VIII Imperatori cards" in Florence in 1423. In the follow-up the word "Imperatori" in context to playing cards reappears only in Ferrara and once in Germany ... not in Florence. From this it appears, as if the product "Imperatori cards" never became a big success in Florence, but got some life in Ferrara, a court with many children, from which finally a lot of girls were married to many other courts, and of which some of boys became rather influential. And a court, at which the name "Trionfi cards" appears for the first time.

How did Florence come to the Imperatori cards? Florence had made a decision for Pope Giovanni XXIII and a big Flrentine delegation, between them Cosimo di Medici, accompanied him to the Council of Constance. It happened, what happened, and Giovanni attempted to escape the disaster, but was captured. The Florentine delegation made itself a quick escape under difficult conditions. Giovanni found a prison.
There he stayed till 1419.

http://www.newadvent.org/cathen/08434a.htm
In conformity with a resolution passed at the Council of Pisa, John had summoned a new council to meet at Rome on 29 April, 1412, for the purpose of carrying out ecclesiastical reforms. ... From the beginning of 1412 conferences and meetings of the clergy had been held throughout France in preparation for this council ... But, when the council was opened in April, there were so very few participants that it had to be prorogued several times. When the sessions finally began, the only thing accomplished was the condemnation of the writings of Wycliff, the council being dissolved in March, 1413.
John's regrettable weakness in dealing with Ladislaus of Naples soon led to another attack by the latter upon papal territory. In May, 1413, he invaded the Roman province, and John was compelled to fly with his cardinals. He escaped to Florence, where he sought the protection of Sigismund, King of Germany, then labouring in Northern Italy for the convocation of a general council to put an end to the unfortunate schism. John's legates were authorized to come to an understanding with Sigismund on this matter, and Sigismund took advantage of the pope's predicament to insist on the selection of Constance as the meeting-place of the council. On 30 October, 1413, Sigismund invited Popes Gregory XII and Benedict XIII and all Christendom to attend, and prevailed on John XXIII, with whom he had a meeting at Lodi towards the end of November, to issue the Convocation Bull (9 December, 1413) of the general council to be opened at Constance on 1 November, 1414.

... On 1 October, 1414, John set out for Constance with a large following and supplied with ample means, but with heavy heart and anxious forebodings. Timidity and suspicion had replaced the warlike spirit he had shown as cardinal. On his way through the Tyrol he formed an alliance with Frederick of Austria, who was on terms of enmity with Sigismund. John and his nine cardinals made their entry into Constance on 29 October, 1414, and on 5 November the council was opened.

The prospects of the Pisan pope became daily more hopeless. The emperor had not bound himself by any permanent obligation towards John. He had needed this pope, as possessing ;the largest obedience, to bring about the council, but, from the summer of 1413, he had come to the conclusion that unity could be promoted only by the abdication or the deposal of all three claimants of the papacy. John at first dominated the council, while he endeavoured to increase his adherents by presents, and, by the aid of spies, to learn the temper of the members. However, the hostility of the council towards him became ever more apparent. ...

In the second session of the council, John was persuaded to read aloud a formal promise of voluntary abdication of the papacy (2 March, 1415), and to repeat this promise in a Bull of 8 March. But on 20 March he fled secretly from Constance to Schaffhausen in the territory of Duke Frederick of Austria, and thence to Freiburg im Breisgau, which belonged to the Duke of Burgundy, also his adherent. John's flight, in consequence of the great difficulties it caused the council, only increased the hostility towards him, and, while he himself tried to negotiate further concerning his abdication, his supporters were obliged to submit to Sigismund. Formally deposed in the twelfth session (29 May, 1415), John made his submission and commended himself to the mercy of the council. John was accused of the gravest offences in several inimical writings as well as in the formal charges of the council. Undeniably secular and ambitious, his moral life was not above reproach, and his unscrupulous methods in no wise accorded with the requirements of his high office. On the other hand, the heinous crimes of which his opponents in the council accused him were certainly gravely exaggerated. After his abdication he was again known as Baldassare Cossa, and was given into the custody of the Palatine Louis, who had always been his enemy. The latter kept him confined in different places (Rudolfzell, Gottlieben, Heidelberg, and Mannheim). At the forty-second session of the council, 28 Dec., 1417, after Martin V had been elected, the release of Cossa was decreed. It was not, however, till the following year that he recovered his liberty. He then set out for Florence, where Martin V was staying, and did homage to him as the Head of the Church. ...


http://en.wikipedia.org/wiki/Antipope_John_XXIII
The Medicis had supported Cossa in his campaign to become cardinal and pope. Once in office, John XXIII made the Medici Bank the bank of the papacy, contributing considerably to the family's wealth and prestige. ...

The Medicis oversaw the construction of his magnificent tomb by Donatello and Michelozzo in the Battistero di San Giovanni in Florence. Pope Martin V protested in vain against the inscription on the sarcophagus: "John the former pope".

During his time in the prison, an attempt was made to free him illegally ... likely it was a Florentine attempt. He was only released after a payment was done (likely paid by Florentine friends) . And he got a magnifient tomb, after he had died in 1419 (paid by the Medici).
In the time which followed the Medici focused on money-business with the popes - till the point, that the Medicis themselves had popes in their family.

And we have "Imperatori cards" produced in Florence in 1423, from which we may assume, that between the VIII cards were at least "one emperor and one pope".

From this it seems apparent, that one cannot cut off the "Imperatori deck" from some rather concrete matters, which happened before ... one has to place its appearance in the real situation. Perhaps a game developed in Germany, which made some satirical jokes about that, what had happened before in Constance. Perhaps Giovanni himself brought knowledge about it to Florence. Perhaps a Florentine artist modified the German invention to a manner, where the Italian pope looked better than the Emperor and it was such a deck, which was bought by Parisina.
Huck
http://trionfi.com

Re: Themes and Games

36
Al Craig wrote:The Fool

Without other cards alongside it to make a recognisable theme it's difficult to be definite about the Fool's purpose. As the subject doesn't seem suitable for a card that outranks other cards as a trump would, it may be that this was an example of the other type of special card used in games: the wildcard.

Some other types of decks may have had similar cards. German and Swiss packs often had the Unter, or Jack, of Schellen/Bells depicted as a fool.
A nice collection ... naturally the Bells attracted the Fool idea. Another figure with bells is the Giant Fool (assumed to present Morgante) in the Charles VI deck.

Image


The literary Morgante from Luigi Pulci has a special weapon, which is the big striker of a church bell.

These bells had been in use by fools. Generally it was attractive to give "comical effects" - generally cards served for games and games need funny things occasionally - to the Unters. Possibly the Liechtenstein Spiel (though its age is disputed) is the oldest funny fool known in a card deck - a pissing fool (cause he belongs to the cups). Another Unter in this deck is a nude woman, riding at a polo-stick.
It may have been there just to complete the courtly theme amongst the highest cards but later card games suggest a special use. The French card game of the mid-1600s called Lenterlu used the Jack of Clubs both as the highest trump and as a wildcard for forming flushes. A special card may have been included in the Tarot for use with Italian card-combination games like Flusso.

Finished.
Thanks ... this is interesting. In Germany generally the Jack of Clubs is often the highest trump (Skat).
Huck
http://trionfi.com

Re: Themes and Games

37
Popess, Empress and Queens

I need to make another adjustment.

The Emperors group seems too small to to be considered as a set of trump cards on it's own. Instead, it should be seen as supplementary to the main groups that were decorated with the themes of Petrarch and philosophy. The Emperor and the Pope were needed to make those up to the required number for a game and the Empress and Popess could have had a similar purpose.

The whole scheme of splitting the Tarot trumps into groups seems too complicated to have been viable as a commercial product. The pack would have had to have been sold with an instruction sheet to indicate which cards went with one another. Instead, it could be seen as a private project where the details of the scheme only needed to be known by a few people. Also, the two decorative themes of poetry and philosophy could be seen as educational. Putting these together, the original Tarot may have been intended for the children of an Italian prince.

This could be used to explain another anomaly in the Tarot: the presence of an extra rank of court cards amongst the suits. Later Italian packs did not have Queens and only three ranks of courts. So, whereas boys could have played with the Emperor and Pope above the Kings, girls had the option of using the Empress, Popess and Queens as replacements.

Image


Thus, the female Pope could be explained as just a silly joke for the benefit of children.
Al Craig