Trionfi.com ... Tarock players

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https://www.amazon.de/Die-Kulturgeschic ... 3903005118
Die Kulturgeschichte des Tarockspiels: Geschichte über Tarock und seine berühmten Spieler Hardcover – 6 Nov. 2015
by Wolfgang Mayr (Autor), Robert Sedlaczek (Autor)
Das Autorenduo des erfolgreichen Standardwerks „Die Strategie des Tarockspiels“ blickt in seinem neuen Buch hinter die Kulissen des beliebten Kartenspiels. Neben geschichtlichen Hintergründen wie den italienischen Wurzeln des Spiels und seine Verbreitung in ganz Europa finden sich zahlreiche Anekdoten so berühmter Spielerinnen und Spieler wie Mozart, Sigmund Freud, Johann Strauß, Marie von Ebner-Eschenbach, Johann Nestroy, Alfred Kubin, Friedrich Torberg, Peter Handke und vielen mehr. Mit Glossar.
Contents ...
https://searchworks.stanford.edu/view/11516534
"Caveles?" : "Cafe Abeles!" Tarock in historischen Witzen und in Anekdoten
Die Wege der Tarockspiele sind verschlungen und voller Überraschungen : zur Geschichte des Kartenspiels Tarock
Tiere, Chinesen und Meeresfabelwesen wurden von alpenländischen Motiven verdrängt : zur Geschichte der österreichischen Tarockspielkarten
"hierkleid spielen und tarock gespieben" : die Tarockscherze des Wolfgang Amadeus Mozart und seiner Schwester Nannerl
"Ich spiele in jedem Falle Tarock, Whist strengt mir den Geist zu stark an" : Johann Nestroys zwiespältiges Verhältnis zum Kartenspiel Tarock
Das halbe Vermögen verspielt : und trotzdem war Radetzky ein leidenschaftlicher Tarockierer
"Ich reiß dir das Beuschel aus dem Leib!" : das Tarockieren war Johann Strauß angeblich wichtiger als das Komponieren
"So spielt nur ein Krokodil!" : in einer Operette des Komponisten Adolf Müller jun : findet sich eine Schlussarie mit einem konfliktgeladenen Tarockspiel
"Spielen! Spielen! Wir sind nicht da, um uns zu unterhalten" : die Tarockpartien der Marie von Ebner-Eschenbach
"Drei Mal mit dem Mond stechen is a Gemeinheit!" Wenn Tarockierer das Schwindeln auf die Spitze treiben : eine Erzählung von Alexander Ranzenhofer
"Tarock ha'm S' a kane? Ja, Mensch, und da traun S' Ihna mit'n Bamstingl z'spül'n?" Auf einer Bahnfahrt von Salzburg nach Triest wird wild tarockiert : eine Erzählung von Alexander Ranzenhofer
"Hast z'erscht 's Anmäuerln g'lernt, bevorst a Kartn in d' Hand nimmst!" Karl Lueger konnte am Tarocktisch richtig fuchtig werden
"Wie man wilde Blumen erkennt, wie man Pilze findet und wie man Tarock spielt" : die wöchentliche Tarockrunde diente Sigmund Freud zur Entspannung
Herzmanovsky-Orlandos "Reich der Tarocke" : vier Könige aus dem Volke und der Sküs als Reichskanzler
"Chabanachta : der phönikische Unterfeldherr!" Geistreiche Kartenpartien in Wiener Kaffeehäusern
Peter Handkes der Chinese des Schmerzes : "Beim Tarock kann ich die Farben zeigen und lakonisch sein!"
"'Gemma's an, sagt 's Weib zum Mann!', und spielt auch schon aus" : der Mühl-viertler Franz Friedrich Altmann hat Krimis geschrieben, in denen eine taro-ckierende Lokaljournalstin Morde aufklärt
"Am 23. Dezember wird nicht mehr tarockiert!" Lore Krainer, die Grande Dame des Königrufens, erzählt
"Man sollte nur mit Leuten spielen, denen man vertraut!" Tarock : das Karten- spiel der Politiker und Journalisten
Der Gstieß in der Alltagssprache : Wie die Wendung "jemandem den Gstieß ge-ben, reiben" entstanden ist und warum sie uns an ein frühes Kapitel der Tarock-geschichte erinnert
Tarock, das frivole Spiel mit den Vogerln : aber der Uhu gibt uns Rätsel auf
"Bei Hof speisen" : "Der König stinkt" : "Ein Stich ist ein Walzer" : die Rede-Wendungen der Tarockierer

Anhang
Tarocklexikon
Mozarts Tarock
Die Urform des Dreiertarock
Neunzehnerrufen in Polen
Die Urform des Königrufens
Königrufen in Polen
Königrufen in Czernowitz
Illustriertes Tarock in Ungarn
Brixentaler Bauerntarock
Königrufen mit doppeldeutschen Karten
https://www.tt.com/artikel/10784878/nic ... rockspiels
Die Schützenhilfe für die beiden Autoren im Wiener Café Griensteidl war prominent und reichte von Moderator Roland Adrowitzer über die 85-jährige Kabarettistin Lore Krainer (Adrowitzer: „Die Doyenne des österreichischen Tarock, Sie kann aber auch eine Domina sein.“) und die Alt-Politiker Rudolf Streicher, Andreas Khol bis zu Vizekanzler Reinhold Mitterlehner. Dieser habe, wiewohl „in der Tarockhochburg Helfenberg geboren“, erst vor rund zehn Jahren zum Tarockieren gefunden und schätze die „gedankliche Entschleunigung“ dieses Spiels, ist im Buch nachzulesen.
https://www.ooegeschichte.at/datenbanke ... ge/tarock/
Mozart war begeisterter Tarockierer, ebenso Johann Strauß oder Sigmund Freud. Auch Nestroy war ein fanatischer Anhänger, auch wenn er sich als zynischer Kritiker gab: „Ist das etwas Angnehms, wenn ich mich hinhock / und spiel von halb drei bis um neune Tarock? / Der eine spielt schmutzig, der andere schlecht, / das ist ja grad, dass man aus der Haut fahren möcht!“ Er kannte sie, die Staudenhocker, die alle Trümpfe haben und „weiter“ sagen, oder die draufgängerischen Hasardeure und die schwächelnden Mitgeher: „Da finden d’ Leut dran a Vergnügn? / Ich offen gsagt ned, ich müsste lügn!“
In den Werken vieler prominenter österreichischer Literaten wird tarockiert: bei Horvath, Werfel, Musil, Rosegger, Ebner-Eschenbach, Torberg, Handke und vor allem Herzmanovsky-Orlando. Auch unter den österreichischen Politikern gab und gibt es sie: Karl Renner und Julius Raab, Franz Vranitzky und Wolfgang Schüssel. Auch von Äbten und Bischöfen, Bankern und Managern weiß man um ihre Tarockkenntnisse. Nur Hitler hasste das Kartenspiel: In „Mein Kampf“ polemisierte er gegen Leute, denen eine Partie Schafskopf oder Tarock wichtiger wäre als das Schicksal einer Rasse.
https://www.zeitschriftmenschen.at/cont ... ull/111457
Was verbindet Sigmund Freud, Amadeus Mozart, Franz Vranizky und Reinhold Mitterlehner, Leo Windter und Lore Krainer? - Allesamt berühmte Österreicher und begeisterte Tarockspieler.
Sigmund Freud
https://www.wienerzeitung.at/startseite ... ultur.html
Huck
http://trionfi.com

Re: Trionfi.com: News and Updates

483
Louis or Ludwig Passarge (1825 - 1912) describes a large stone in his "Heimat" (Wolittnick, district Heiligenbeil in Ostpreußen), in which playing cards together with a horseshoe, a wine glass and a cake were inscribed in the stone to remember a story with the devil and persons, who once played with playing cards on this stone. The devil took the persons to hell. Likely such large stones ("Findlinge") were related to old pagan rituals.
author: https://de.wikipedia.org/wiki/Ludwig_Passarge
source: https://core.ac.uk/download/pdf/14497904.pdf .... at page 88

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https://de.wikipedia.org/wiki/Findling .... example of such a big stone

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I searched for "Teufelstein" and found, that there seems to be various locations with a Teufelstein, which mostly is a Findling.
Huck
http://trionfi.com

Re: Trionfi.com: News and Updates

484
Huck wrote: 08 Jan 2011, 22:02 A somehow intensive publication appeared 2009 in German language, a dissertation by Ulrike Wörner with 457 pages from the row
Regensburger Schriften zur Volkskunde - vergleichenden Kulturwissenschaft by the Regensburger Verein für Volkskunde

http://books.google.com/books?id=oeQxUX ... navlinks_s

The title is: "Die Dame im Spiel" (The Lady in the Game) with the subtitle "Spielkarten als Indikatoren des Wandels von Geschlechterbildern und Geschlechterverhältnissen an der Schwelle zur Neuzeit" (Playing Cards as indicators of change in gender pictures and gender relations at the swell of modern age).
Huck,
Did you ever get a chance to check out or acquire this work, besides the 95 some pages scanned on Google? I've been rereading JvR's earliest card games, some of which include queens, so it would seem almost immediately there was a need to interpret the Mamluk top cards as deficient in not having a woman, which in Medieval Europe was critical due to it being a possible means of acquiring the husband's dominions (hence a wife's stemma usually present in various works of art to depict marital unions). Otherwise there are clearly games which were straight interpretations of Mamluk decks with three men as the court or "Hof".

I'm not sure why Wörner leads with the PMB when clearly the Visconti must have been influenced by early German luxury decks, discussed here:
viewtopic.php?p=22234#p22234

The Stuttgart (c. 1430) solution was simply to make the three males of the court into women in two of the suits, to better match the wooing rituals of the courts one would presume. This would post-date Marziano but predate the CY, but its hard to believe it was an innovation and did not exist even earlier. At all events, the insertion of a female (or more) into a suit was clearly the European innovation early on, after the reception of the Mamluk decks, and Wörner is right to highlight this.

Thanks,
Phaeded

Re: Trionfi.com: News and Updates

485
If one believes John of Rheinfelden, then there were in 1377 decks, which had had only women as court cards.

There's in chess and its many variants the condition, that Eastern countries didn't have a Queen, but other figures. Only the European countries had a Queen in chess ... so it looks to me, but I haven't controlled this completely.
For the first note about the Courier game in the Wigalois (c. 1210) we have the condition, that the women had the Courier game between their things, not the men.
There's some suspicion, that Theophanu, mother of Otto III, brought chess to Germany. There's evidence of chess in Einsiedeln in Switzerland and a very old chess poem (10th century). Otherwise chess is then and before known in Cordoba, which was in this period possibly the largest city in Europe.
In the Courier game there is a specific opening, which involves the Queen. A similar curiosity appears in the chess variant "short assize" ...
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https://en.wikipedia.org/wiki/Short_assize

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https://en.wikipedia.org/wiki/Courier_chess


Both variants appear very early. Somehow possibly a sign, that female players were involved in the studies of early chess.

In the run of general history we have the curious condition, that there was a long time a male emperor in Constantionople ... then it happened, that Irene became empress ...
https://en.wikipedia.org/wiki/Irene_of_Athens
.... and it happened, that Charlemain in Aachen claimed to become an emperor himself.
Has these events an influence on the development of the European chess Queen?

It seems to me, that Ulrike Wörner overlooks the condition, that chess preceded the playing card development. When I type "Schach" in the search engine of the book text, I get enough notes about chess, but nothing, which reflects the missing Queen in Asian chess versions. When chess entered Europe, the probable ways would have been either Cordoba or Constantinople.
When I type Courier, Currer or Kurier in the book search engine, I get zero results. Evrart Conty is also negative.

The book is a dissertation, 39 Euro.

The author in an interview ....

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Wir scheuen keinen Widerspruch
Ulrike Wörner (Jahrgang 1945) ist Kuratorin der Ausstellung “Frau am Kreuz - eine neu entdeckte Kultfigur” und Autorin des Katalogs.
Artikel aus der Passauer Neuen Presse vom 30. September 2015
https://www.kloster-asbach.com/pressespiegel/
Huck
http://trionfi.com

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486
Huck wrote: 28 Apr 2022, 02:19 If one believes John of Rheinfelden, then there were in 1377 decks, which had had only women as court cards.

There's in chess and its many variants the condition, that Eastern countries didn't have a Queen, but other figures. Only the European countries had a Queen in chess ... so it looks to me, but I haven't controlled this completely.
Ask any question, and the answer is always the same: chess.
;-)

Its fairly inconceivable that Islamic culture would have ever featured a female court card. On the flip side, women in cards are not an expression of chess - chess is rather potentially one expression of Courtly Love, something represented over and over in European representational art (and of course Islamic art largely only shows decorative motifs, interwoven into which we find cups, polo sticks, etc.).

On the other hand there are Arab texts on surviving Mamluk cards (that a bilingual knight or messenger could have interpreted) that do point at courtly love themes. The calligraphic texts along the tops of the cards consist of rhyming aphorisms “With the sword of happiness I shall redeem a beloved who will afterwards take my life", “O my heart, for thee the good news that rejoices”, etc.

If the three Mamluk "court" figures don't even look like people (essentially the prototypes of the king, over and under knaves), yet courtly wooing could be associated with them then the change in gender is then not wholly unexpected. The single queen of chess is not needed for the explanation for why women get added to cards. The source of cards, Mamluks, and writing thereon, is of course the best explanation, coupled with the Courtly Love pervading 14th/15th century Europe.

Phaeded

Trionfi News ... Pico de Mirandola and Poliziano murdered in 1494

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La Stampa (December 2013)
Pico e Poliziano
by GIACOMO GALEAZZI
https://www.lastampa.it/blogs/2013/12/1 ... .37285663/
automatic translation
Angelo Poliziano and Pico della Mirandola, two princes of the Renaissance culture, were poisoned with arsenic by the same killer, within a few weeks of each other, in the last months of 1494. And the killer now has a name: that of Pico della Mirandola's personal secretary, Cristoforo da Casalmaggiore, who perhaps acted in complicity with his brother Martino. Mentioned in Pico's will with strong bequests, the two brothers were linked to Piero de 'Medici; both were papists and had a strong hatred of friar Girolamo Savonarola. And among the instigators of the double murder the suspects were Piero de 'Medici, Pope Alexander VI and the philosopher Marsilio Ficino. The thesis is supported by Silvano Vinceti, president of the National Committee for the enhancement of historical, cultural and environmental heritage, who today in Florence, at Palazzo Medici Riccardi, presented the results of a historical-documentary research concerning the murder of Poliziano and Pico of Mirandola. Vinceti based his hypothesis, among other things, on the re-reading of the forgotten diaries of Marino Sanuto, a Florentine chronicler of the end of the 15th century. On the same occasion, Vinceti presented the physiognomic reconstruction of Poliziano's face in hyper-realism, made by Chantal Milani. Vinceti's historical-documentary research originated from the scientific investigation carried out in 2008 which revealed the presence in the bone remains of Pico della Mirandola and Poliziano of ´`a very high quantity of arsenic not attributable to the normal medical use of the times`. Until now it was believed that Poliziano had died on 29 September 1494 due to syphilis and that Pico had also died of the same disease on the following 17 November of that year. As for the possible instigators, namely those who would have armed the killer's hand with poison, the list of suspects according to the research of Silvano Vinceti leads first of all to Piero de 'Medici, son of Lorenzo the Magnificent, who had a strong hatred of Poliziano. The research carried out on the bodies of the two humanist illiusters also made it possible to identify some curiosities: Pico had large and robust bones, with strong muscles, a large skull with a pronounced chin and suffered from a fairly frequent foot defect, known as `` toes a hammer; Poliziano, on the other hand, was short, frail, with a pronounced nose and most likely suffered from an anomaly in his neck. The remains of Pico and Poliziano are found in the Basilica of San Marco in Florence.
La Stampa (2008)
https://www.lastampa.it/cultura/2008/02 ... .37111122/

Youtube (2011)
https://youtu.be/ODhpWU2jxeM

Stefano Grassini (2019)
https://www.stefanograssino.it/il-dupli ... poliziano/
Huck
http://trionfi.com

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489
https://tarotgarden.com/22-arcani-sec-xviii/

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Reproduction of a late 18th century tarot deck, with imagery far removed from the 'Marseilles standard.' Imagery includes a swan-enamored woman on the 'Lovers' card to a baby-rescuing soldier on the 'Hanged Man' card. The title translates as '18th Century Arcana.' Published in 1991, in a limited edition of 1,000 copies.
If it is indeed late 18th century, it would be nice to find further details ...
Huck
http://trionfi.com

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490
I have that deck from Il Meneghello. There is no further information, no little book nor even a card with historical information.

22 trumps, that's all. It doesn't look like late 18th century to me, the font style at least. And being 22 trumps only is suspiciously post-occultist, which pushes it toward the 19th century. But I have no other basis for doubting the "late 18th century" than that.