I also love too much this deck for the reasons RAH gave.
1-Surely was the popular deck of its time thanks to the Gothic art it shows.
The people which used this deck were visual infused with this kind of images each time they went to mass just seeing the art examples around.
And this I think give to us a link between the iconography of Tarot and the kind of images we or they we have around :Both must be recognizable.
And of course we are talking about theirs time.
So it was done at early Renaissance time but with Gothic art pattern.
The educated people of that time simply rejected this Gothic art.
Just have in mind that this deck was done at least and around 50 years after the Visconti decks were done,and comparing both styles...
So I again I am agree with you RAH: I love too much this deck !
Has the purest example of visual example of what the common people as I or you,people of ours neighbourhood had around theirs common life,day by day...
That is what I really love and high value: The speach and think of the people because they "carry on " information that they will never know...
You mentioned the empty eye look ...
Well that precisely a characteristic of Romanesque style inherited by the Gothic pattern so that to us how far is the art line of the iconography we are seeing here.
That of course let me thinking about the Medieval iconography of Tarot de Marseille as we can see and from where it comes.
So from a cheaper version done of the Cary Sheet or the rest of Visconti patterns...
Why not ?
Or MAY BE NOT.May be both have differents time lines.Evolved without any connection.
May be there is another crude "ancestor" for it... (As this is )
Or may be not.
May be they coexisted each one with its own imagery...
(I vote this my friend )
So Tarot for the people of that time ...
But fullest of the richest art of theirs past.
That characteristic that Visconti (included of course the Cary Sheet ancestor of Tarot de Marseille pattern ) decks haven t ,because they were done on a present in mind conceptual art time.
2-Two things let me thinking having in mind as you correctly said that is a Florence iconography pattern so done after the Milanese Cary Sheet as the Tarot de Marseille accepted ancestor around 50 years later.
a-Why the figure depicted as LE HERMIT us we know with regard to Tarot de Marseille pattern has a lantern when Milanese pattern show an hourglass ?
b-Why the cards are numbered ? / So why the Milanese Visconti are not ?
We have only 50 years between them and different places,not less.
Link this with my vision of a popular art iconography which kept deepest inside it visual patterns that came far than 300 years.
May be the hourglass of this man came from another Tarot historical road or may be it is more closer to Tarot de Marseille
Isn t Tarot de Marseille a Milanese pattern ?
Numbered: Since when we accepted that the cards are numbered ?
Talking about Tarot de Marseille / Since Noblet ?
Are not Florence decks numbered ?
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