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 Appropriati and Florentine Decks

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PostSubject: Appropriati and Florentine Decks   Appropriati and Florentine Decks I_icon_minitimeMon Mar 18, 2013 8:41 am

The game spread from Italy to France, then to Switzerland, Germany, and beyond, and became very popular in the sixteenth and seventeenth centuries. During this period the Tarot trumps also found employment as a literary motif. For example, an involved riddle was published in which the answer was Tarot. There are a number of surviving sixteenth-century examples of tarocchi appropriati, suggesting a kind of parlor game in which people creatively spun out associations by which a given card or cards could be used to describe themselves or another person. The cards were not given any special meaning; instead, their obvious subjects were worked into verse as a playful exercise of verbal agility, humor, and flattery. The meaning of the Medieval allegory may have been already forgotten, and was probably ignored from the beginning. From the players' perspective, they were just trumps in a card game.

In 1540 Francesco Marcolini published in Venice a fortune book that can be considered the first known document about cartomancy. The cards that were used in the divination process were not tarot and actually played a rather marginal role.

Perhaps the most curious item from the 16th century concerns Tarot's Devil card. Venetian Inquisition records suggest that the Devil card was used by witches for Satanic ritual and adoration. Whether this was true or not, it demonstrates that some inquisitors were familiar with Tarot, but, contrary to modern Tarot folklore, did not speak against it. The Church never spoke against Tarot, and the one known sermon which strongly condemns Tarot, along with dice and regular playing cards, does not suggest that Tarot was anything other than a game of chance. The confused preacher denounces Tarot for its moral allegory in which the Emperor and Pope are subject to the same allegorical and eschatological fate as the rest of mankind. This is exactly the same kind of moral allegory painted on church walls and in Books of Hours.

Variations such as the expanded Minchiate deck were developed. In that deck additional allegorical cards were added, raising the ratio of trumps to suit cards, and it became and extremely popular form of Tarot. (Other Tarot decks achieved a higher trump/suit-card ratio by leaving out the lowest-ranking pips.) In Florence, iconographic changes were made to some trumps which altered the highest-ranking images from a medieval Christian triumph of God to a humanistic triumph of Fame. The World card showed Europe as the center of the world, and triumphing over that was the Fama card with a picture of Florence. This was more in keeping with Renaissance sensibilities and Florentine hubris. Other card games with allegorical, symbolic, or merely novel content continued to be developed, including one based on the triumphs of Petrarch, a game of Apostles with our Lord, a game of seven virtues; and a game of planets with their spheres. None of these other games became popular enough to leave any trace beyond the single document which mentions their names. One well known non-standard deck which has survived is the Hofämterspiel, showing the social structure of royal courts during the late Middle Ages. Another is the Book of Trades by Jost Ammon.

Detailed Timeline

Tarot History: 1501 - 1600
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