Full text of "A descriptive catalogue of playing and other cards in the British Museum, accompanied by a concise general history of the subject and remarks on cards of divination and of a politico-historical character"

See other formats

Digitized by the Internet Archive

in 2008 with funding from

Microsoft Corporation

http://www.archive.org/details/descriptivecatalOObrituoft

oS ^

A DESCRIPTIVE CATALOGUE OF

PLAYING AND OTHER

CARDS.

FROM THE CARTE DI BALDINI DESCRIBED IN VOL.1 P. 6 6.

PHOTOGRAVURE J.LE1XCH & C° LONDON

A DESCRIPTIVE CATALOGUE OF

PLAYING AND OTHER CARDS

IN THE BRITISH MUSEUM

ACCOMPANIED BY

A CONCISE GENERAL HISTORY OF THE SUBJECT AND

REMARKS ON CARDS OF DIVINATION AND

OF A POLITICO-HISTORICAL

CHARACTER

By WILLIAM HUGHES WILLSHIRE, M.D. Edin.

PRINTED BY ORDER OF THE TRUSTEES

1876

B6^

CH1SWICR PRESS : — PRINTED BY WHITTINGHAM AND WILKINS,
TOOKS COURT, CHANCERY LANE.

PREFACE

HE following Descriptive Catalogue of Playing
and other Cards comprises several series which
are deposited in different departments of the
British Museum. It has been deemed advisable to treat the
collections as a whole, for the purpose of systematic arrange-
ment, and in order that they might thereby be made more
readily available for the purposes of study and reference.

The subject of what are technically called Playing Cards
is one not familiar, in its historic and literary aspects,
except to the skilled archaeologist. In order, therefore, to
show the special interest which attaches to these objects,
apart from their character as materials for amusement, the
purely descriptive portion of the catalogue has been accom-
panied by succinct explanatory remarks on the several
series or divisions, which show the wide range of inquiry

PREFACE.

and discussion necessary for the proper treatment of
subject.

The task of arrangement, and of the compilation of the
present volume, including the introduction, has been
executed by Dr. W. Hughes Willshire, under the super-
vision of the Keeper of the Prints and Drawings.

George William Reid.

April 1 2th, 1876.

TABLE OF CONTENTS.

PART I.

GENERAL History of Playing-Cards

Section I. Introductory ......

„ II. Origin of Cards ......

„ III. General Nature and Varieties of Cards .
„ IV. Connection with Wood-Engraving, Manufac-
ture of Paper, &c. .....

Section V. Size and Form of Marks and Designs on Cards, Divisions into

PAGE

3
3

7
17

Suits, Terminology

. 29

„ VI. Cards of various Countries ...... 35

European Cards . . . . . , . • 35

Oriental Cards . . . . . . . -55

PART II.

Descriptive Catalogue or Playing and other Cards . . 59

Classification of Cards ....

Genera of Cards ....

6i,62

European Playing Cards

• 63

Italian : Tarots .....

„ Numerals ....

„ Cards with a secondary purpose .

Spanish Cards .....

French Cards : Tarots

107

„ Numerals (full Set)

110

„ Piquet ....

123

„ With a secondary purpose

126

„ Of Divination

138

„ Amusing — humorous

173

„ Simply Fanciful

174

Flemish Cards : Tarots

179

„ Numerals .

180

„ Piquet

182

viii

TABLE OF CONTENTS.

PAGE

Dutch Cards :

Numerals .... *83

»>

With a secondary purpose

. 184

™

Miscellanea

• 185

German Cards'

Tarots

. 187

»j

Numerals .

. 189

»>

Suit Marks, National .

. 192

Suit Marks, Animated

. 207

»>

With a secondary purpose

. 219

Miscellanea

• 225

English Cards :

Numerals .

. 229

»»

With a secondary purpose

• 234

Politico- H istorical

243, 245

»?

Purely fanciful .

. 291

Miscellanea

• 295

Varia

• 323

Oriental Cards

Hindustani

• 331

»>

Chinese .

•

. 333

APPENDIX.

Chronological Table » . . . ... 339

Noteworthy Series . . . . . . . . . .341

Bibliography . . . . . . . . . . . ' 343

Index to Proper Names ......... 347

Index to Subjects .......... 353

N.B.— The contraction Bibl., within parenthesis, followed by a number,
e.g. (Bibl. 9, p. 20) has reference to a work recorded in the "Bibliography,"
page 343-

A capital letter within parenthesis, followed by a number, e.g. (S. 20), has
reference to a series of cards or other objects described in the systematic or second
portion of the volume.

LIST OF PLATES AND THEIR SUBJECTS

IN THE SUPPLEMENTARY

VOLUME.

* RONTISPIECE. (First Volume.)

The " Primo Mobile," from the Carte di Baldini.

PLATES I., II., III., IV., V., AND PAET OF

PLATE VI.

The Twenty-two Tarots, constituting the Emblematic series of Cards.
(Vol. IT., p. 49.)

PLATE VI.— Lower portion.

Four examples from the series known as the " Circular Cards, by
Telman von Wesel." (Vol. II., p. 69.)

PLATE VII.

The " Misero," from the Carte di Baldini. (Vol. II., p. 59.)

PLATE VIII.

The " Marte," from the Carte di Baldini. (Vol. II., p. 60.)

PLATE IX.

Italian Numerals and then* suit-marks. (Vol. II., p. 61.)

PLATE X.

Spanish Numerals and their suit-marks. (Vol. II., p. 61.)

PLATE XI.

French (and English) Numerals and their suit-marks. (Vol. II., pp,
61-67.)

PLATE XII.

German Numerals and their suit-marks. (Vol. II., p. 62.)

x LIST OF PLATES, ETC.

PLATE XIII.

Three German Card-pieces, from a rare series, having suit-marks of
Composite character. (Vol. II., p. 71.)

PLATE XIV.

A page from the " Book of Cards," by Jobst Amman. (Vol. II., p. 71.)

PLATES XV., XVI., and XVII.

Three Sheets from an early series of German Cards. (Vol. II., p. 73.)

PLATE XVIII.

Four Valets from the early sequence of French Numerals, described as
the " Chatto " Cards. (Vol. II., p. 76.)

PLATE XIX.

A Sheet of " pip " Numerals from the series of " Chatto " Cards. (Vol.
II., p. 76.)

PLATE XX.

Hindustani Cards. (Vol. II., p. 77.)

PLATE XXI.

Chinese Cards. (Vol. II., p. 78.)

PLATE XXII.

Early representation of persons playing at Cards. (Vol. II., p. 79.)

PLATE XXIII.

The relative sizes of a Variety of Playing-cards. (Vol. II., p. 80.)

PART I.

A GENERAL HISTORY OF
PLAYING-CARDS.

GENERAL HISTORY OF PLAYING-CARDS.

Section I.

INTRODUCTORY.

HOUGH five hundred years have not passed
since what may be termed the positive history of
playing-cards began, we now find these objects
spread all over the world, and forming one of
the more seductive allurements of all classes of
society. The hold thus widely and strongly
secured depends, no doubt, on the varied and
ready ways in which cards may be made to minister both to the
lawful amusement of men, and to that which is condemned as
the excitement, or vice, of gambling. The latter, based on the
vicissitudes of chance, has ever had a forcible hold on humanity.
We have records of very early periods in the world's history, telling
that men did then, in some form or other, gamble. No doubt the
mode of doing so varied, and the purposes, the value of the stakes,
and the results for which the dictates of hazard have been appealed
to, have altered, both in place and time. From the beginning, how-
ever, and associated with circumstances the most opposite in cha-
racter, men have sought the determinations of a blind fatuity in
preference to the suggestions of a rational guide. From evocation
simply of the one in suspense and anxiety, pleasure of the keenest
form has been experienced, while from following the other, half the
interest has often seemed to vanish. Nor has it happened that
under all circumstances this trust in the unforeseen and unknown
was necessarily to be reprobated. The commands of the Most High
have dictated its pursuance : (< And the Lord spake unto Moses . . .

4 GENERAL HISTORY.

Aaron shall cast lots on the two goats. . . .But tho goat on which
the lot foil to be the scape-goat." (Levit. xvi.) Again : " And
Joshua cast lots for them in Shiloh before the Lord . . . And the
lot of the tribe of the children of Benjamin came up according to
their families." (Joshua xviii.) Nevertheless, it must be remem-
bored that not any trace is to bo found in this remote antiquity
among the Hebrews of any of the ordinary games of skill or hazard
which were afterwards, and are now, so numerous in the western
world. It was not until after tho Exile that a great change made
itself felt in the manners and customs of the Hebrew people, when
Grecian games were introduced by the Herodian princes.

In reference to the Egyptians, however, Sir Gardner Wilkinson
observes : —

<f It is remarkable that a game still so common" [mora, micaro
digito, ludere par et impar] " among the lower orders of Italians,
should be found to have existed in Egypt from the earliest period
of which their paintings remain, even in the reign of the first
Osirtasen." (" Ancient Egyptians," vol. ii. p. 415.)

Mora and draughts are represented (vol. i. p. 40) as being
played on the sculptures of Beni Hassan in grottoes on the east
bank of the Nile, near the Speos Artemidos. This would be 1740
years B.C., or coeval with Joseph and the first Osirtasen.

" It is, however, evident that dice were already used by the
Egyptians in the reign of Rhampsinitus, that monarch, according to
Herodotus, being reported to have played with the goddess Ceres,
for the allegorical meaning of the story in no way militates against
the fact of such a game having been known at the period in ques-
tion, and the Egyptians, his informants, were necessarily persuaded
that it dated at least as early as his era." (Vol. i. p. 126.)

" Plutarch would lead us to believe that dice were a very early
invention in Egypt, and acknowledged to be so by the Egyptians
themselves, since they were introduced into one of their oldest
mythological fables, Mercury being represented playing at dice
with the Moon previous to the birth of Osiris, and winning from
her the five days of the epact which were added to complete the 365
days of the year." (Wilkinson, op. cit.)

In Case 44 of the Room of Egyptian Antiquities (British Museum),
and under the head of " Musical Instruments and Toys," marked
6413-6429, are some Egyptian dice, of the Roman period, along
with many latrunculi, or draughtsmen.

" I do not suppose," remarks Sir G. Wilkinson, u that the dice
discovered at Thebes and other places are of very remote epoch ;
they may not be even of a Pharaonic period, but the simplicity of
their form and mode of notation may lead us to suppose them
similar to those of the earliest ago."

INTRODUCTORY. 5

From the time alluded to until now various modes of amusement
and gambling have been common, but not any appeals to chance
and the excitement of hazard have been so generally popular as
those which may be effected through the medium of playing-cards.
Nor is this to be wondered at, seeing how convenient the latter are
for use, that they appeal to a class of combinations and calculations
quite beyond the range of dice, par et impar, and similar agents,
and that they can be made to afford, in a simplicity of use,
amusement and excitement to very illiterate people, as well as by
a more complicated application of their powers, a pastime and
the pleasure of intense suspense to cultivated intellects. Unfor-
tunately, not any pleasure can be exercised and enjoyed by man
without its becoming abused or perverted, and often into a grievous
sin. Thus has it been with cards. Scarcely known, in Europe
at least, they were made the vehicle for gambling of the most
vicious kind, and as such have continued until the present day.
Time and money are often recklessly squandered over them, and
though the latter which is wasted may be often comparatively but
of slight amount, the time which is lost through the fascinations of
card-playing is constantly to be deplored.

" How/'' asks M. Merlin, " is this rapid propagation of cards to
be explained ? Is it due to the cupidity of men, or to the tendency
of their imagination always to surrender itself to the dreams of illu-
sion, and, consequently, to the chances of hazard ? Or rather, should
we not attribute it to these causes in combination with that desire
for emotion and excitement, which seems to replace the love of the
marvellous so natural to nations which are still young, and so
general in Europe during the middle ages ? " (Bibl. 6, p. 2.)
" Let us be just, however. Cards have not created the passion of
play ; it has been a moral flaw from the highest antiquity ; but
t?hey have developed this passion by offering it at once a more
manageable and attractive instrument." {Op. cit.)

Before the second half of the fifteenth century was completed St.
Bernardin, of Sienna, preached against their employment, and his
denunciations were succeeded at intervals by those of other moralists,
as well as by numerous edicts and laws prohibiting their use.
f f Gambling," says the old French proverb, " is the child of avarice
and the father of despair." Yet not anywhere have there been
more affectionate offspring than in the country which gave the
saying birth.

It is not generally known, we suspect, that in this country play-
ing at cards on Sunday is still prohibited by law. In the Queen's
proclamation against vice, profaneness, and immorality, read every
session and assize, is the following passage : —

"And we do hereby strictly enjoin and prohibit all our loving

6 GENERAL HISTORY.

subjects of what degree or quality soever from playing on the Lord'
Day at Dice, Cards, or any other game whatsoever, either in public
or private houses, or other places whatsoever." ( See " Notes and
Queries," 1872, vol. x. pp. 311-377.)

A prohibition to play at cards enters, or did enter until lately,
among tho particulars of apprentices' indentures. Its first appear-
ance occurs in the form of an indenture for an apprentice, according
to Dr. Rimbault, in " A Book of Precedents/' printed circa 1566,
and compiled by Thomas Phayer, who describes himself as " Solici-
tour to the King's and Queen's Majesties." (" Notes and Queries,"
vol. ii. for 1852, and vol. v. p. 346.)

Notwithstanding the abuses to which playing-cards have been
put, there have been always persons, even of the highest moral
excellence, who have conscientiously admitted that such a fair
and honest use of them might bo practised as to render an
occasional and festive resort to them quite compatible with strict
rules of morality. Archdeacon Butler, e. g.y in his sermon on
" Christian Liberty," preached before the Duke of Gloucester
and the University of Cambridge, on the installation of his Royal
Highness as Chancellor in June, 1811, makes reference to the " harm-
less mirth and innocent amusements of society;" and quotes a
remarkable passage from Jeremy Taylor, who writes, "That cards are
themselves lawful I do not know any reason to doubt. He can never
be suspected in any criminal sense to tempt the Divine Providence
who by contingent things recreates his labour. As for the evil
appendages they are all separable from these games, and they may
be separated by these advices." " Such," continues the archdeacon,
' l are the sentiments of one of the most truly pious and most pro-
foundly learned prelates that ever adorned any age or country, nor
do I think that the most rigid of our disciplinarians can produce the
authority of a wiser or a better man."

There continue many of Jeremy Taylor's and Archdeacon Butler'3
way of thinking, and who, particularly at Christmas, and following
the good old times, introduce, as a matter of course, cards among
their amusements, without having any view of seducing parents to
rear their sons as gamblers or blacklegs, and their daughters to

" A youth of frolics, an old age of cards."

(Hone's "Every Day Book," vol. i. p. 98.)

There is another aspect under which cards may be viewed as
having taken a marked hold on certain classes of society. This is
their application to the purposes of divination and fortune- telling.
According to some authorities, as will be hereafter shown, this
particular use of the Tarots cards long preceded the combination
with them of a numeral series, and the appliance of the two to

INTRODUCTORY.

the purposes of gambling. These cards of emblematic and mystie
character, the Tarots, were born, say they, long since in the East,'
from whence they were brought by the Gipsies in their knap-
sacks for thaumaturgic purposes. Thus entering Europe, the
nations which received them afterwards added to them the numeral
series by which they might obtain the excitement of gambling, and
gradually discarded the emblematic sequence as an incumbrance
only. Be this as it may, the question may be passed by for the
present, it being observed simply, that whatever hypothetic and
presumptive value this theory may possess, there is not any certainty .
about it. The 'positive history of playing-cards, as far as our present
knowledge extends, certainly does not commence before the second
half of the fourteenth century.

Section II.

ORIGIN OF CARDS.

INCE the year 1704, when the Pere Menestrier in his
" Bibliotheque Curieuse" (t. 2, p. 174) occupied himself
with the history of playing-cards, several learned and
interesting works have appeared on the subject. Of
these the treatises of Daniel (1720), Bullet (1757), l'Abbe Rive
(1780) , Breitkopf (1784) , Singer (1816), Cicognara (1831) , Duchesne
aine (1837), Leber (1842), Chatto (1848), Boiteau d'Ambly (1854),
and of Merlin (1869) are by far the most important. Before the
time of Menestrier (1704), however, allusions to cards and various
games, along with remonstrances against recourse to them, occur
in many works, or cards are separately treated of. The first dis-
tinct mention of their origin is in " Das Guldin Spil," of Ingold,
printed in 1472 by G. Zainer. But such allusions and notices, as
likewise the earlier records of them extending back to 1397, are
not of that systematic character which is to be met with in the
work of Menestrier. Notwithstanding the great amount of re- /
search and ingenuity evinced by the writers mentioned, it will be /
found that we are still uncertain where cards originated, and of the Y^^S \^
exact time when they made their first appearance in Europe. There
has not been any want, it is true, of theories and assertions on
these topics, but the honest enquirer, after going through the
evidence they offer, must return, we think, the Scotch verdict in
respect to all, " not proven."

8 GENERAL HISTORY.

A general survey of the history and character of playing-cai
as elicited by the researches of investigators sinco Menestrier,
will here be given, in order to render the descriptive catalogue
the numerous examples of cards in the National Collection of greater
practical interest and service to those desirous of inquiring into a
not unimportant and rather curious subject.

Three chief opinions have been held respecting the country in
which cards originated.

Firstly :^It has been maintained that they had their birth in the
East, and thence wore propagated in Europe.

Secondly : That although there appears to be sufficient evidence
for believing that cards are of very ancient origin in India and
China, yet their presence in Europe is due to an original invention
in the latter, and not to their importation from the East.

Thirdly : That not any satisfactory evidence exists showing
that playing-cards were ever anything else than of European
origin.

In reference to the first opinion, it may be observed that one
school of archaeologists asserts that cards sprang up in the East
among the Arabs, Saracens, or Moors, who introduced them into
Europe by way of Spain. This is a very old notion, since it was
prevalent in Italy at the end of the fifteenth century. Covelluzzo,
who then wrote, observes: " Anno 1379. fu recato in Yiterbo el
gioco delle carti, che venne de Seracenia e chiamasi tra loro Naib "
(Bussi, u Istoria della citta di Viterbo.") The locality in the East
favoured by others is India, from whence cards are supposed to
have made their way into Europe by means of the Gipsies, who
carried them about their persons or in their wallets for the pur-
poses of divination and fortune-telling, the Moors, who introduced
them into Spain, having obtained them from the Gipsies. Other

1 writers have regarded Egypt as their source, recognising in the
cards known as pure Tarots, the pages of a hieroglyphic book
containing the principles of the mystic philosophy of that antique
land, in a series of symbols and emblematic figures. Nor has
China been forgotten, it having been maintained that cards were
invented there in the year 1120 of the Christian era.

The theory of the Oriental origin of cards is based chiefly on
the following grounds. First : On the statement of Covelluzzo
before mentioned. Secondly : On the supposed analogy and rela-
tions existing between cards and chess, which latter is undoubtedly
of Eastern, if not of Hindustani origin. Thirdly : On the analogies
present in certain Indian cards and the games played with them,
and European cards, particularly, as may be seen, e.g., in the game of
cards known as GJcengdifeh, played by the Muhamedans of India.
The marks of the suits in these cards, and likewise the rules of the

ORIGIN OF CARDS. 9

game, have incontestable analogies with those of tho Spanish game
of Hombre and the Minchiate of Florence. Fourthly : On the
apparent analogy of the word nalbi, the name of the primitive
European cards, and that of naypes (which term is applied to cards
in Spain at the present day), to the Hebrew and Arabic words,
nabi, naba, nabaa, which convey with them the idea of prophecy.
On the analogy between the word Tuchim, early applied in Pro-
vence to the valet or knave, and the Arabic tu'ehan, signifying
darkness, obscurity. On the continued use in connection with the
earliest type of cards of certain words apparently of Oriental origin,
as, e.g., tarots,mat,pagacl (see "French Cards of Divination/'posfea),
these verbal relations being supposed to fortify the opinion, also, that
cards were originally invented for purposes of divination and sorti-
lege rather than those to which European nations have adapted them.
Fifthly : On the fondness for and trust that many Eastern people had
in divinatory procedures and magic, and the apparent adaptation to
such purposes offered by the older European cards now known as
Tarots, the series of which seems based on combinations of the
number 7, the sacred number of the East. On the ability to
translate, as it were, the designs of these tarots into the principles
of certain Oriental systems of philosophy and mysticism.

The theory of the Oriental origin of cards may be opposed on the
following grounds. Firstly : While admitting Covelluzzo's state-
ment as satisfactory, as regards the introduction of cards into
Viterbo in the year 1379, it cannot be allowed that his assertion
that they were of Saracenic origin has any value beyond that of a
personal opinion, or at farthest of an opinion prevalent in Viterbo
when he wrote. In other words, Covelluzzo was not contempo-
raneous with the time mentioned, for his chronicle terminates in
1480, one hundred years after the date he deals with. Moreover,
Covelluzzo was looked on as rather a credulous person by Feliciano
Bussi, the historian, who follows and quotes him (Merlin, Bibl. 6, p.
18, note 2).

Secondly : The analogies between chess and cards dwelt on are
worth very little in respect to the question immediately involved,
for between all such games there must be certain inevitable approxi-
mations, and these are surely insufficient to establish an identity of
origin. It is on other conditions than on those on which stress
has been laid that correspondence should be sought, and it is there
that it fails.

" The game of chess is one purely of calculations and combina-
tions. In cards, on the contrary, the chief part of success depends
on chance, the combinations coming into play only after chance has
operated, the effects of which latter they serve to correct, diminish,
or strengthen. In chess all the pieces are exposed to observation,

io GENERAL HISTORY.

their positions aro equalized, and it is on tho after choice made by
the player in the movement of his men that their increased or
diminished valuo depends. In cards, on the contrary, a knowledgo
of tho ' hand ' of the player is carefully hidden, not only from ad-
versary but from partner. From the moment of dealing the cards
the game is unequal, hazard has intervened, and the most skilful
player may find himself so scurvily treated by fortune that he may
be beaten by a novice without having made a trick." (Merlin,
p. 21.)

Further, between the Indian game Tchaturanga, described by
Sir W. Jones and Mr. Christie, which is a kind of chess, and in the
course of which dice come into use, the connection lies rather with
backgammon than with cards.

Fourthly : Admitting that between the Muhamedan game of
India, Ohengdifeh (Gunjee fu, Gangeefah) and the Spanish game of
Hombre there are undoubtedly relations, quoad marks of suits and
rules of play, it may be inferred, nevertheless, that the Muha-
medans of India have imitated, in their game, the game of Europe,
rather than that the European game sprang from that of the East.
The reason for such inference will be given afterwards when
Oriental cards are discussed ; sufficient now to say that the pecu-
liarities which link the European to the Indian game existed in the
former in the year 1488, and Europe did not have continuous com-
munication with India until about 1494. Moreover, cards had
been known already in Europe for at least a century.

Fifthly : Not any Arabic MS. nor document gives to the word
naib such a signification as playing-cards, and the first European
traveller, Niebuhr, who recorded having seen cards in Arabia, did
so in the second half of the eighteenth century, giving to them the
title of Lab Vhamar, which means simply " game of chance."
The Arabic- French Lexicon of Marcel (1837), who remained in
Egypt during the expedition of the first Napoleon, gives to the
game of cards the name of Lab Voureq, i. e., game with leaves
of paper (Merlin, p. 18, note). The origin of the modern naibis
and naypes must be sought elsewhere than among the Arabs, par-
ticularly since —

Sixthly : The invention and use of playing-cards would be a direct
contravention of two important precepts of the Koran, viz., the
prohibition of games of chance, and the representation of human
forms. Moreover, not any allusion is made to cards in the " Arabian
Nights' Entertainment," a compilation of about the end of the
fifteenth century, in which there would have occurred ample reasons
and opportunity for mentioning them, had they been known as a
popular pastime, at least. Even now those Muhamedans who play
openly with cards are of the sect of the Chiites, or followers of AH

ORIGIN OF CARDS. 11

belonging to India and Persia, and regarded with suspicion by the
more faithful followers of the Prophet. The latter, when they so
far forget themselves as to play, do so in secret, and at games they
have acquired from the Spaniards.

Seventhly : The derivation of the word tarot, from the Egyptian,
whether according to the version of Count de Gebelin, or of his

correspondent, M. Le C. de M (Singer Bibl. 8, Appendix, pp.

303-305), is merely an ingenious play with words, while the inter-
pretation of Eliphas Levi (see " French Cards of Divination," poste),
is of too mystical a character to submit to be investigated. Again,
the word matto, signifying foolish, mad, exists in Italian ; from it
the title of the tarot, le mat, is most likely derived, seeing that
its significations better apply to the particular emblematic card in
question than would those of the Oriental mat, which are, killed,
slain, dead.

Eighthly : Though it be admitted that the Kabbalah, judicial
astrology, and occult science were common to the Semitic nations,
there is not any satisfactory evidence that cards, or their analogues,
were employed by them in the process of divination. The theories
of Count de Gebelin, Alliette, Eliphas Levi, Boiteau d'Ambly, and
others, in support of the connection of cards with early Eastern
occult philosophy and thaumaturgy, however ingenious, are of
too recondite and shadowy a character to admit of satisfactory
argument.

Ninthly : Whether the Gipsies or Zingari be of Egyptian origin,
or have sprung from the~Suders of Hindustan, who migrated at
the period of Timur Beg, they did not appear in Europe before
1417, a period when cards had been known for some time.

Tenthly : Resorting to China for the origin of cards is only
another mission to the " Refuge for the Destitute." At any rate we
are justified in assuming that if in the celestial empire cards really
had a separate and early birth, Europe had not any more hand in
robbing her of this progeny than she had in taking from her gun-
powder, printing, and engraving, all of which, with other things,
are considered by some to have been originally Chinese inventions.
Thus, as we have indicated, may reasons be adduced, which render
it very doubtful whether the origin of playing-cards should be
looked for in the East.

A far more positive circumstance is that the objects in question
made their first appearance in Europe about 500 years back. On
this point our knowledge is so sure and varied as to lead some
writers to maintain that cards had their origin about that time, and
in Europe. The latest writer of repute Qn the subject, M. Merlin
(Bibl. 6), may be taken as the chief exponent of this theory.

Whether we regard playing cards as an original invention in

12 GENERAL HISTORY.

Europe, or as introduced thcro from some other quarter of the
globe, an important question arises: What is the earliest date
known at which reference has been made to tho existence of these
agents ? Not any pretence has been made to show that this occurred
before 1278, the sixth year of the reign of Edward I. This king,
having been in Syria, has been supposed to have become acquainted
there with cards, and to have brought them with him into Europo,
a supposition which has been supported by tho following passage
from his Wardrobe Bolls : Waltero Sturton ad opus regis ad luden-
dum ad quatuor reges viiis. vd. ("Archaeologia," vol. viii.) Mr.
Chatto has, we think, shown satisfactorily that the game of the four
kings, played at by Edward I., was chess, and that this name
was a literal translation of the Indian one, Chaturaji (Chatto, p. 19) .
In a MS. of Sandro di Popozzo {il Govemo delta Famiglia) , composed,
it is said, in 1299, allusion is made to cards. Unfortunately, the
copy of it which exists is not of earlier date, according to good
authority, than a. d. 1400, and there is not any surety that the
allusion in question is not a more recent gloss. The authority of
the "Guldin Spil" for 1300, of the statutes of the military order of La
Banda for 1332, and of the MS. of " Reynard le Contrefait >' for 1341,
when carefully weighed, must be admitted as in themselves unsa-
tisfactory (Chatto, Merlin) . The same must be said of the MS.
u Pelerinage de l'homme" for a.d. 1350, of the Romance, " Jehan de
Saintre n for 1367, and of the MS. " Cite de Dieu " (a translation by
Raoul de Presle of the " Civitas Dei") for 1375. (Merlin, pp. 7-8.)
Nevertheless, there are reasons for believing that cards made
their first appearance in Europe and in Italy about the year 1350,
though the earliest direct allusion to them which is acceptable with-
out much demur, is that made by Covelluzzo in the chronicle of
Viterbo, quoted by Feliciano Bussi, and before referred to (p. 8) . In
this chronicle Covelluzzo writes, "Anno 1379. fu recato in Viterbo
el gioco delle carti," &c. As respects this date too, it should be
borne in mind that Giovanni di Covelluzzo wrote a hundred years
after the event in question. It is likewise noteworthy that not any
allusion is made to cards, either in the MS. of Hugo von Trymberg,
who lived during the second half of the thirteenth and the first of
the fourteenth century, or in the MSS. of Petrarch and Chaucer,
belonging to the first and second halves of the fourteenth century,
in all of which MSS. specific mention is made of other gambling
games and agents. According to Passavant (vol. i. p. 7, note)
there is in the Library of the Escurial a MS. of the date 1321,
composed by order of Don Alphonso the Wise, on the rules of the
games of chess and dice ; numerous figures are given, but not a
word is said in relation to cards. If Breitkopf, Von Murr, and
Weigel can be depended on, cards were known at Niirnberg circa

ORIGIN OF CARDS. 13

1380-1384, since the " Pflicht-buch " of this city is affirmed to
allude distinctly to them.

After all,- it must be allowed that what may be termed the posi-
tive history of playing-cards begins in the year 1392. At the
beginning of the eighteenth century Le Pere Menestrier discovered,
in the registers of the Chambres des Comptes of Charles VI. of
France, an account of Charles Poupart, the royal treasurer. In
this account, commencing the 1st of February, 1392, is the item: —
11 Donne a Jacquemin Gringonneur peintre pour trois jeux de
cartes a or et diverses couleurs, ornes de plusieurs devises, pour
porter devers le Seigneur Roi pour son ebatement lvi sols parisis."
This date, 1392, has never been contested, and since — as M. Merlin
well points out — Gringonneur is not alluded to as an inventor of
cards, but as a painter of them, and, considering the price paid, it
should be assumed that cards were already known.

From this date (1392) there are certain and many references to
playing-cards. The civic archives, guild books, and registers of the
German towns, particularly Niirnberg, Augsburg, and Ulm, record
early in the fifteenth century the names of both card-makers and
card-painters. We know for certain that before the conclusion of
the first half of the fifteenth century Germany had established quite
a commerce in the production of playing-cards, which were sent to
Italy, and against the continued importation of which the Venetian
senate was petitioned to interfere. Sermons and edicts against
their use, and fiscal regulations connected with them, are of frequent
occurrence from the first quarter of the fifteenth century. Bartsch
makes the following comment on a print by H. Schaiifelin (n. 36),
representing St. John Capistran exhorting by a sermon the in-
habitants of Niirnberg to burn their cards and other gambling
agents.

" On the impression in the Imperial and Royal Library the sub-
ject of the piece is described by a contemporary as follows : ' Anno
1452 sind auf eines Cardinals Nahmens Johann Capistran, Predigt,
die er allhier in Niirnberg, unter dem freyen Himmel, ver unserer
Frauen Capellen gethan hat, 76 Schlitten, 2,640 Bretspiele, 40,000
Wiirfeln, und ein grosser Haufen Kartenspiele wie auch unterschied-
lich Geschmeide und anderes, so zur Hoffart dienlich auf dem markt
offentlich verbrannt worden -/ that is to say, — In the year 1452, in
consequence of a sermon delivered in the public place opposite the
Chapel of Our Lady at Nurnberg, by Cardinal John Capistran, 76
shovel-boards, 2,640 trictracs (draught and backgammon boards),
40,000 dice, and a great heap of packs of cards, as likewise a variety
of trinkets and other objects of vanity, were burnt in the market-
place." (Bartsch, vii. p. 256.)

The supposed earliest pictorial representation of persons playing

14 GENERAL HISTORY.

at cards yet disco vorod is a miniature in a MS. volume known as
" Le Roman du Roi Meliadus de Loonnoys, par Helio de Borron,"
written for Louis II., titular king of Naples. This vellum MS. is
now in the British Museum, and may be referred to under €t Addi-
tional MSS. vol. i. 1828-1841, No. 12,228." Tho miniature is on
the verso of folio 313. A king and three attendants are at table
playing cards; three other persons are looking on. One of the
party is playing the five of Deniers with the right hand, exposing,
as he holds his cards in his left hand, a two of Batons to the spec-
tator. Another holds in his right hand the two of Deniers, as if
ready to follow the lead of the person on his left. The miniature
is relatively poor in drawing, and but slightly and badly coloured.
Outline facsimiles of it may be seen in Singer's work (Bibl. 8, p. 68),
and in the " Art Journal" for 1859, p. 87. What is the date
of the MS. ? The Library Catalogue places it between 1852 and
1362, adding that u the MS. is illustrated by upwards of 350 minia-
tures, the greater portion of which are by a contemporary hand, but
others have been added at a later period by inferior artists." Mr.
Wright, in his " Domestic Games and Amusements of the Middle
Ages" (" Art Journal," ut supra) , places the date of the MS. between
1330 and 1350. On the fly-leaf of the volume is written inter alia,
" Mr. Douce is of opinion that it was executed at least as early as
the close of the fourteenth century. It has 357 miniatures, in my
opinion of different styles and periods ; but in stating this much I
am aware that I am at issue with two powerful authorities — Singer
in his beautiful work on Playing Cards, and Dibdin in .his f De-
cameron/ " (G-. H. Freeling.)

Unquestionably Singer affirms that the miniatures appear to be
all by the hand of the same artist, and that there is not any reason
to doubt they were executed about the period at which the MS.
was written (loco 67). Dr. Dibdin, however, scarcely advances as
much. He writes (op. cit.) , inter alia, — "These illuminations are
of two characters or modes of execution," and does not assert them
to be of one and the same period ; nor does he, it is true, directly
deny them this character. In a note at page ccviii. (vol. i.) he
remarks : " The later illuminations are slightly yet most unskilfully
coloured. . . . The age of the MS. is probably towards the latter
end of the fourteenth century."

Not any opinion is here offered on the date of the MS., but
attention is drawn to the fact that the writers quoted not only
differ sixty to seventy years in respect to it, but do not speak
confidently in any instance. As regards the miniatures, it may
be stated, they have been carefully examined, and the conclusion
has been arrived at that those from folio 259 to the close of the
volume are not of the same period and style as characterise the

':»

ORIGIN OF CARDS. 15

previous illustrations of the MS. Differences in shading and
colouring begin about folio 265, with the light red washes and
stippling in red of the fortresses, &c. The card-playing miniature
appears to have been executed by an inferior hand, not only in
colouring, but also in drawing and the ability to produce a neat out-
line. Folio 259 presents the last of the older style of miniature
work common to the MS. Thus it may follow that the date of the
" Eoman du Roy Meliadus" might be that of the close of the four-
teenth century, and the period of execution of the later miniatures
might not be earlier than the end of the first quarter of the fifteenth
century, or even somewhat later. Should this be the case, this
early representation of card-playing cannot be allowed the signi-
ficance attached to it by Singer, Wright, and others. Nor should
the remark of the first-named authority be passed over as unim-
portant, viz. : u It is remarkable that no mention of the game
occurs, as far as we could discover by an examination of that part of
the MS. to which the miniature is affixed. " (p. Q8.)

Mr. Planche has offered strong opposition to the credit of this
miniature, and his paper in the " Archasological Journal" for 1871
(vol. xxvii. p. 108) may be consulted with advantage.

In Lacroix and Serre's " Moyen Age et la Renaissance " (t. ii.
art. " Cartes a Jouer ") , a large chromo-lithograph is given repre-
senting a number of royal and noble personages playing and looking
on at a game of cards. The print is stated to have been copied from
a MS. of the fifteenth century in the Bibliotheque de Rouen (" Salle
Leber"), and is entitled, " Le revers au Jeu des Suisses." Le
Suisse (B 2) holds three low cards of the suit of diamonds in his
hand, and the u Roi de France" (A 1) exhibits three "honours."

Another early representation of a card party is a miniature in a
MS. French translation made by Raoul de Presle, between the years
1371 and 1375, of the " Civitas Dei" of St. Augustine. It exhibits
two ladies with the steeple head-dresses of 1467, and a gentleman
with the small cap and long hair of the same period, playing at a
round table with cards, of which the " pips" are visible. Mr.
Chatto has given a copy of this miniature (Bibl. 4, p. 72), and Mr.
Wright likewise, in the u Art Journal " for 1859.

What is the date of this MS. ? There is not any proof that it is
that of the original translation of which it is a copy. Mr. Chatto
was of opinion that the costume represented is more like that of
1422 than of 1364 or 1380, while Planche would assign the date to
a period not earlier than 1460. However, let the actual date of the
MS. be what it may, it is worthy of note that numeral cards and
11 honours " like those now in use were known in France at the time
when the miniature was painted.

In the "Magasin Pittoresque" for 1842 (p. 324) is a cut entitled,

16 GENERAL HISTORY.

" Philippe le bon consultant uno tirouso de cartes," copiod from
painting ascribed to Jan van Eyck. Though it has been deni
that the picture is really by Van Eyck, it has been admitted that th
costume is that of tho reign of Charles VIII., between the years
1483 and 1498. Supposing that the picture does belong to this
period, we have thus evidence of cards having been used for the p
pose of divination before the close of the fifteenth century.

Among the prints of the early German masters in the National
Collection may be seen a scarce engraving by Israhel van Meckenen,
representing a lady and gentleman seated at a table, playing at
cards. Tho gentleman appears to have lost the game. On the
table may be seen the three of eicheln, or glands, and in the left
hand of the lady a figure card, to which she is drawing the attention
of her adversary. There is much expression in the faces and actions
of both persons. As remarked by Singer, it may be readily seen
from their costumes that the players are of no mean rank, and were
even in the extreme of fashion, since they wear the strange shoes with
long pointed toes, termed by the French poulains. At the same
time the simplicity of manners and mode of domestic life of the
period are obvious from various details in the print. The latter is
described in Bartsch, vol. vi. p. 302, n. 114, Passavant, vol. ii. p. 197,
n. 251, and a facsimile of it is given by Singer, to whose "Ke-
searches," &c, it forms a characteristic frontispiece. The original
was produced, probably, during the last quarter of the fifteenth century.

Another interesting representation of card-playing is that given
in the chef-d'oeuvre of the early German master of the initials M Z
(Martin Zatzinger). This print is known as "le grand bal" of Bartsch,
vol. vi. p. 377, n. 13, and may be seen in the National Collection.

The engraving represents a ball given by the Grand Duke and
Duchess of Bavaria. The royal personages have retired from it to
a recessed place, where they have seated themselves at table to play
at cards. The Duchess is pointing to a five of roth or herzen, which
she has played out on the table, while the Duke, who is about to play
his card, looks attentively at the Duchess with an expression which
seems to say, " I wonder what you'll think of this." It should be
noticed that the players are shown as each keeping a chalked score
on the table. On the window frame above the Duke's head is the
date 1500. A copy of the portion of the engraving here alluded to
is given in Singer's work, p. 274. There is an interesting print
connected with card-playing by Anthony of Worms (a.d. 1529), which
will be noticed afterwards. The only other representation of card-
playing that need be referred to here is that given in cut xli. of
Holbein's " Dance of Death " (ed. 1547). It is a gambling party
interrupted by Death and the Devil, the latter being in so great a
hurry for his prey that he seems desirous of carrying off his victim — -

ORIGIN OF CARDS. 17

the chief of the party — almost before Death has done his part. On
the table the five of diamonds (?) is turned upwards on a pack, and
on the floor lie the ace and three of the same suit. The celebrated
cuts here referred to were designed during the second quarter of
the sixteenth century.

Much controversy has ensued as to whether cards appeared first
in Spain, Italy, France, or Germany. Those who have supported
the theory of their Eastern origin have allotted them to Spain ; such
as have maintained their European origin have given them to Italy.
There have been writers who have associated them with France, as
have a few with Germany. The more satisfactory and direct
evidence points to Italy as the European district in which they first
appeared.

The particular reasons which have been advanced during the last
few years in support of the theory that cards originated in Europe
will be further alluded to when the old Florentine or "Venetian en-
gravings, known as the Tarocchi of Mantegna, the Carte di Baldini,
&c, come under consideration. It is necessary for the proper
understanding of our subject that the character and varieties of
playing-cards be entered on at once.

Section III.

GENERAL NATURE AND VARIETIES OF CARDS.

JUSTLY, of the general nature of playing-cards. All
.cards in use in Europe at the present day are, as far as
can be judged from the rare fragments preserved in a
few public collections and private cabinets, and such pic-
torial representations as have been mentioned, based on the types
which prevailed at the time of their origin. These types are two in
number, and all true playing-cards may be said to be of two kinds,
viz., tarots (proper) and numerals. Tarot cards, or " tarots/^1
constitute a series of pieces generally twenty-two in number, excep-
tionally forty-one in the Minchiate of Florence, and fifty if the early
Florentine Carte di Baldini be here included. These card pieces
are characterised by their having on them whole-length figures or
other designs emblematic of various conditions of life, and of certain
vicissitudes happening to humanity. These emblematic figures vary
somewhat, according to time and country ; but taking an early yet
still common set, they may be described as representing : * —

1 The plates in "Singer" (p. 284) may advantageously illustrate the present
text.

GENERAL HISTORY.

No. 1.

A juggler.

No. 13.

Death.

Female pope.

14.

Temperance.

An empress.

15.

The devil.

An emperor.

16.

A tower struck by light-

Tho pope. ,

ning.

The lovers (or marriage) .

17.

A large star, &c.

A chariot with warrior.

18.

The moon.

Justice.

19.

The sun.

A hermit.

20.

The last judgment.

10.

The wheel of fortune.

21.

The world, or kosmos.

11.

Force.

22.

A fool, generally un

12.

A man hanging by his

numbered, some

foot, head downwards

times placed first.

{Le Pendu).

Though there are Italian, French, Flemish, and German tarots,
the titles of these emblematic designs are more frequently in the
French language than in any other. Italian titles may be met with,
but far less frequently than French ones. As a rule, too, the ortho-
graphy is wretched. The names, as usually found printed below the
figures, are as follows : —

. 1. Le bataleur.

No. 13. Title often wanting (la

2. Lapapesse.

3. Limperatrise.

4. Lempereur.

5. Le pape.

mort) .

14. Tenperance.

15. Le diable.

16. La maison Dieu.

6. Lamoreux.

17. Lestoille.

7. Le charior.

18. La lune.

8. Justice.

19. Le soleil.

9. Lermite.
10. La roue de fortune.

20. Lejugement.

21. Le monde.

11. La force.

22. Le mat.

12. Le pendu.

These twenty-two card pieces are usually numbered with large
Eoman numerals in a margin above the design, according to the
sequence just given. In those exceptional sets in which the tarots
are more than twenty- two in number, symbolic figures of the Muses,
sciences, planets, and analogous subjects are introduced (Italian
tarots, posted) . Though the earliest tarots, likewise, were probably
more than twenty-two in amount, such as we have described were
those chosen out of the lot by more modern card-makers.

These tarots are called likewise atouts, atutti, and triomphes, be-
cause in the games played with them, in combination with numeral
or common cards, the former override the latter even to the

VARIETIES OF CARDS. 19

" kings ;" thus they are above and superior to all. To these same
cards the title tarocelii is frequently applied. The origin of the
word tarot or tarots has been much canvassed. Some have derived
it from Egyptian dialects, others have regarded it as springing from
the term tarotee, which was applied to cards diapered or marked on
the backs with lines crossing lozenge-wise, or dotted diagonally with
small spots, as such cards generally were. The earlier ones were
often painted with much delicacy, like the miniatures of MSS., on
gold grounds. - They were also occasionally bordered with a silver
margin, on which was represented a spiral or tortuous band, formed
by similar dots or points. This band being likened to a tare,
an " espece de gaufrure produite par de petites trous piques et
elignes en compartements," the cards possessing it were called
tarots. According to Menestrier, "tare" signifies properly a hole —
defaut, dechet, tache, trou — derived from the Greek rspsiv, to bore.
The dots, points, &c, in the ornamentation alluded to, simulating
little hollows, the cards having them were called tarots, or were said
to be tarotees. Some of the supporters of the theory of the Oriental
origin of cards assign to the word tarot high antiquity, while others
of the same school, as well as such as look to Europe for their
birthplace, though admitting the cards themselves to exemplify
the more ancient type, assert that the term now applied to them
is not older than the fifteenth century, their original title being
Naibis.

" Tarots" has been said also to have been derived from ta-
rocchi, or tarocehino, which is properly the name of a game
played with tarots combined with numerals, some of the latter being
suppressed. The name of the game having been applied to the
cards with which it was played, they were hence called "tarocchi
cards."

According to M. Merlin, " C'est par corruption que Ton dit le
tarot, le jeu de tarot, il faut dire le jeu des tarots. " (Bibl. 6,
p. 29, note.)

The most ancient cards which have come down to us are of the
tarots character. These are the four cards of the Musee Correr at
Venice; the seventeen pieces of the Paris Cabinet (erroneously called
often the Gringonneur, or Charles VI. cards of 1392) fine Venetian
tarots of the fifteenth century, in the opinion of some not of an*
earlier date than 1425 ; and the series of cards belonging to a Min-
chiate set in the possession of the Countess Aurelia Visconti Gonzaga
at Milan, when Cicognara wrote. The date of the latter may be
concluded from the emblematic design of Love having on it the
combined armorials of the Prince Visconti and of Beatrice Tenda,
who was married to Filippo Maria Visconti in 1413, and ordained to
death by him in 1418. It is true that the cards of the Musee Correr

20 GENERAL HISTORY.

are not emblematic ones, and therefore not in themselves true tarots
nor atutti, but they are numerals of the particular suit marks, viz.,
spade, coppe, danari, bastoni, which used to accompany the emble-
matic cards of the old Venetian sets, and hence may be assumed to
have formed part of a combined tarots sequence, probably the same
to which belong the twenty-three cards once in the cabinet of Cicog-
nara, and now in the possession of MM. Tross Freres at Paris, and
described by Merlin in the note at page 90 of his treatise.

These and other early tarots of the first half of the fifteenth cen-
tury have been drawn and painted by hand, some of them being of
very beautiful character. Facsimiles well worthy of attention may
be seen in the admirable series, " Jeux de Cartes Tarots et de Cartes
Numerates," published by the Society of Bibliophiles Francais,
1844, now a difficult work to procure, but a copy of which is in the
library of the British Museum. Admirable outline copies of the
Correr cards may be found in Merlin (pi. 8 and 9) , and of the Vis-
conti pieces in the treatise of Cicognara (Bibl., 6) . These and other
early cards are larger than the ordinary ones of the present day, some
of them being seven inches high by more than four inches broad.
Several are likewise very thick, the material of which they are formed
resembling the cotton paper of ancient MSS. Others, on the contrary,
like the Carte di Baldini, e.g., are on very thin paper, so thin, indeed,
that shuffling, dealing, and playing with them, as we do now with
cards, would be scarcely possible.

The ancient tarots from which all modern ones have been derived, .
fragmentary pieces of which have been just adverted to, and vestigia,
or copies of which may be seen transmitted in the emblems of the
Carte di Baldini or the Tarocchi of Mantegna, constituted the na,ibis
of the early Italian writers. By this term the primitive cards of
Europe, if they may be so regarded, were called. Further comment
on nomenclature, however, may be dispensed with until the character
of playing-cards has been more fully developed, it being sufficient
to add that while in accordance with one theory the word na'ibi,
derived from the Arabic, was given first by the Spaniards and
transmitted to Italy, as taught by another it originated in the latter
country, then passed into Spain, where it is still common, as it is
likewise in Portugal in the form of naypes.

The other and second kind of playing-cards are numerals, familiar
to every one, in the modern form, at least, of the cards in ordinary
use. These numerals are known also as " suit," " pip cards," and
" cartes de points." They are in full sets fifty- two in number,
divided into four suits, or colours, of thirteen cards each suit.
Each suit is distinguished by a special mark or symbol, which has
varied at different times and in different countries. The more
general marks of the suits have been cups, money, swords, and

VARIETIES OF CARDS. 21

clubs. Each suit has three coate, court, or figure cards, likewise
called " honours," mostly representing a king, queen, and a valet,
or knave, and ten "pip" or " point " cards. The latter commence
with an ace, which numbers one pip, the next card has two pips,
and so on to the tenth, carrying ten marks on it. The numerals
having but few pips are known as " low cards," with the exception
of the ace (as) , which in some games overrides all other cards ;
those numerals with several pips are " high cards." In some
games the whole fifty-two pieces are not used, certain of the lower
cards being suppressed. Sometimes, as will be seen hereafter, there
are four figure cards or ft honours" in each suit, while in other in-
stances a female figure or queen is not allowed, but a " cavalier "
is put in her place.

Careful research has proved, we think, that at first all the card
germs were purely emblematic in character — na'ibis — simple tarots,
as they are now called — not lending themselves to anything like
gambling, whatever they might do towards divinatory purposes.
As far as Europe, at any rate, was concerned, it is probable that they
were intended for instructive diversion, since Morelli, in a chronicle
written in 1393, interdicting the use of dice to children, recom-
mends na'ibis : " Non giuocare a zara ne ad altro giuoco di dadi, fa
de giuochi che usano i fanciulli, agli ossi, alia trottola, a ferri, a
na'ibi," &c. (Merlin, p. 52, note.) Further, in the " Life of the
Duke of Milan, Filippo Maria Visconti " (born in 1391), written by
Decembrio, his secretary, it is stated that one of the favourite
games of this prince, when young, was a game played with painted
figures — u qui ex imaginibus depictis fit," — and which would
scarcely be a gambling amusement, since we are informed after-
wards that the Duke played sometimes likewise games of hazard on
particular occasions : (< Solemnibus quoque diebus nonnunquam
alea lusit."

Towards the end of the fourteenth century these naibis of instruc-
tion were made subservient to the amusement of older persons,
probably, as Merlin supposes, by some ingenious Venetians, with
the hope of restraining their countrymen from the immoderate use
of dice and games of hazard. To effect this intention, and at the
same time not to eliminate in toto the element of chance from the
new amusement, the theory of numerical values was combined with
that of emblems or symbolism, these values varying in benefit to
the players according as chance might operate in the allotment
of the cards. In creating the new game the principle followed
apparently was to take about half only (twenty-two) of the original
emblematic pieces, and while retaining some of the emblems, as of
the re, imperator, papa, justicia, temperancia, luna, sol, &c, to have
displaced others by emblems of a moral character, more directly

22 .GENERAL 111 STORY.

bearing on the dangers and consequences of gambling play, such,
e.g., as the roue de la fortune, le pendu, la mort, le diable, le jugement
dernier. The figure of a juggler, placed first in the series, was in-
tended, perhaps, to point as caution against the way in which certain
dexterous hands might play the cards which followed in the sequent

A distinct series of fifty-six cards was then added to the above,
in which numerical values were to play a part, and into which
series four emblematic cards only were admitted, viz., le roi (or re) ,
regina, cavalier (or chevalier) , valet (or fameio) . These fifty-six
cards were divided into four suits of fourteen cards each suit, the
latter being distinguished by the symbols of the two theologic and
two cardinal virtues of the original naibis, as represented in the
fourth decade (B) of the Carte di Baldini, viz., Fede, Charita, Jus-
ticia, Fortezza. One suit had for its mark the cup (coppa) of
Faith, another the money (danaro) of Charity, a third the sword
(spada) of 'Justice, and a fourth the club (bastone) of Force. Each
suit had the four emblematic pieces — re, regina, cavallo, fante —
king, queen, knight, and knave, the remaining ten numerals of the
suit being marked with increasing numbers from one to ten of the
particular sign of the suit. These two series — tarots and numerals
— being brought together, made up a total of seventy-eight cards.
To the first twenty-two emblematic pieces, or tarots proper, was
given the privilege of being superior to all the other cards when
the game was played, each tarot having a number regulating its
order and value in its own suit. To these pieces the name of atutti
was also applied, and then very commonly the term of tarots was
assigned to the general combination of atutti and numerals, though
properly belonging to the atutti only. In this way most probably
originated the two characteristic types of playing-cards, which two
types were united together at a very early period, or at least as
soon as cards began to be used for the recreation of grown persons,
or for the purposes of gambling, and the latter was unquestionably
soon effected.

It would appear that to this combined series of atutti and
numerals the original term naibis also continued to be applied for
some time after the union, since we find contemporary writers and
moralists countenancing one kind of instructive amusement in which
chance went for little or nothing as afforded by the employment
of naibis, and another game which they reprobated, since it led to
gambling as bad and as surely as did the use of dice. St. Bernardin
of Sienna, writing and preaching against their use (circa 1430), thus
expresses himself in a sermon contra alearum ludos : —

u Et idem est judicium si cut de tabulariis ita etiam de tabellis
taxillis taxillorum, tertii autem participantes sunt qui fiunt parti-
cipes ex Naibis seu Charticellas de quibus innumerabilia mala egre-
diuntur."

VARIETIES OF CARDS. 23

The love of excitement and gambling, however, was too strong
for the moralist to subdue ; men were captivated by the new amuse-
ment, and even the clergy were not always proof against its seduc-
tions. The use of tarots {i.e., naibis combined with numerals)
spread rapidly throughout Europe, but each nation soon began to
modify and alter the combination and marks of the cards according
to its own particular fancy.

It does not seem possible now to determine which was the first,
Spain, France, or Germany, to imitate the original Venetian tarots
game of seventy- eight cards. The Germans unquestionably were
not only very early in so doing, but began to be the card-makers for
other nations, favouring Venice in particular with their exportations,
against which her own card-makers publicly remonstrated. In
Italy itself Florence soon began making alterations in the new and
popular game, increasing the emblematic pieces to forty in number,
and producing her MuicJtiate. At a later period Bologna suppressed
some of the numeral series, reducing the pack of seventy-eight to
sixty- two cards, thus establishing her Tarocehino, while Venice her-
self very early instituted changes connected with both atutti and
numerals under the name of Trappola.

Among the various modifications to which the old tarots game
was early subjected, the most important was undoubtedly that of
the elimination of the whole of the atutti, or emblematic series
proper, leaving the numeral series to stand and work by itself
under some such forms as we have it now. The more men played
with cards the more fascinated they became with them, and strove
to render them less cumbersome than they were, more amenable to
rapid and exciting play, and their games still more dependent on
hazard. So the first of the five suits, the true tarots, was thrown
aside, the emblems of justice, temperance, death, and judgment not
being needed, being, in fact, found de trop. The four suits of the
numeral cards were taken, and one coate-card or "honour" expunged
from each suit ; variations were made in the figure designs and in
the marks of the suits, while of the thirteen numerals of each suit left
different nations suppressed certain pieces in establishing what may
be deemed their national games. Spain had its Hombre, France its
Piquet, and Germany its Landshnechtspiel or Lansquenet. Though
such was the rule, some games still retained an emblematic series,
and to this day cards may be purchased in Italy and the south of
France of the true old tarots character.

The pervading principle throughout all the changes — with one
exception, the Minchiate of Florence — which the original Venetian
game has been made to undergo, has been the principle of reduction.
Nor is this to be wondered at, considering the purpose to which
cards tended at the outset to be popularly applied. As observed by
Merlin : —

24 GENERAL HISTORY.

" Tho game of tarots with its numerous cards was a game of
intricate combinations, which could never please the taste of common
players accustomed to dice, in the use of which chance alone gene-
rally governed everything. From the new game, therefore, every-
thing that could render its course difficult or slow was eliminated.
Its members were reduced to less than half their number [in certain
games], and it was at this price that cards became popular." (p. 62.)
Popular indeed have they been, and still are. As these pages are
being written remonstrances are appearing in some influential public
journals against the continuous and "high play" which is introduced,
surreptitiously, as it were, into clubs which have standing rules
against the practice. Mr. Chatto pointedly remarked : —

' ' He who devised the game of cards as now usually played appears
to have had a thorough perception of at least two of the weak points
of human nature, for next to man's trust in his ( luck ' in all games
of chance is his confidence in all games of skill. The shuffling, cut-
ting, and dealing of cards, together with the chance afforded by the
turn-up of the trump, place the novice, in his own conceit, on a par
with the experienced gamester, who, on the other hand, is apt to
underrate his opponent's chance from his over- confidence in his own
skill." (p. 79.)

Section IV.

CONNECTION WITH WOOD-ENGRAVING, THE MANUFACTURE

OF PAPER, &c.

¥I^e2jHE general history of playing-cards thus far developed
includes the periods of the last quarter of the fourteenth
and the first quarter of the fifteenth century, or a few
years more. Within this time is likewise embraced the
origin of wood-engraving, the earliest known example of which, with
a date to it generally allowed to be authentic, is the " Buxheim
Saint Christopher of 1423." Still there is sufficient reason for
thinking that the St. Christopher was not the first of its kind, and that
for some years before the date connected with it the art of wood-
engraving had been known and practised. Nevertheless the positive
history of wood-engraving can be said to commence a.d. 1428 only
as the positive history of playing-cards begins in 1392. In both
cases dates are connected with recorded objects. One object, the Saint
Christopher, still exists ; while the other, the so-called Gringonneur

CONNECTION WITH WOOD-ENGRAVING, ETC. 25

cards, though questionable, yet unequivocally affords in the history
associated with it the record of the precise date of the production of
certain cards, and the price paid for them.

It has been maintained by some that wood- engraving must have
been known and well practised, too, before 1423, since playing-cards
never could have been in anything like general use without their
production by some comparatively facile and cheap procedure. That
cards were obtainable by the commonalty in 1397, however they may
have been manufactured, is unquestionable, for on the 22nd of
January in that year, the Prevot of Paris issued a decree forbidding
working people to play at tennis, bowls, dice, cards, and ninepins on
working days.

Heinecken, Yon Murr, and Leber advanced the doctrine that the
first wood-engravers were card-makers, and that the production of
the more profane objects preceded and, as it were, led to that of
the Helgen, Helglein, or "little Saints" and Scriptural pieces,
which were among the earlier efforts of the wood-engraver. Mr.
Chatto was once of the same opinion, remarking in his " Treatise on
Wood-Engraving" (1836):—

"It has been conjectured that the art of wood engraving was
employed on sacred subjects before it was applied to the multiplica-
tion of those ' books of Satan ' — playing-cards. It, however, seems
not unlikely that it was first employed in the manufacture of cards,
and that the monks, availing themselves of the same principle,
shortly afterwards employed the art of wood- engraving for the pur-
pose of circulating the figures of saints, thus endeavouring to supply
a remedy for the evil, and extracting from the serpent a cure for its
bite."

At a later period the same authority expressed himself as fol-
lows : —

" As there are no cards engraved on wood to which so early a
date as 1423 can be fairly assigned, and as at that period there were
professional card-makers established at Augsburg, it would appear
that wood- engraving was employed on the execution of Helgen
before it was applied to cards, and that there were stencilled cards
before there were wood- engravings of saints. Though this conclusion
be not exactly in accordance with an opinion which I have expressed
in another work, it is yet that which, on a further investigation of
the subject, appears to be best supported by facts, and most strongly
corroborated by the incidental notices which we have of the progress
of the Briefmaler, or card-painter, from his original profession to
that of a wood-engraver in general." (Bibl. 4, p. 87.)

It is now impossible to decide whether cards were or were not the
first objects on which the wood-engraver practised his art; but
taking into consideration what has been already stated, and what has

26 GENERAL HISTORY.

to follow, it must be conceded that while there is much evidenc<
apparently of a positive kind, against their having been so, there ii
only presumption, based on hypothetic grounds, that they were.

In the first place, as before observed, the most ancient cards whicl
have come down to us have been executed by hand, and records
exist of other early cards having been so executed, as well as fc
whom, and the price paid for them.

In the second place we are told that when Saint Bernardin, of
Sienna, preached at Bologna in 1423 against the use of " Charti-
cellas seu Naibos," and so forcibly that his hearers made a fire in the
public place and threw their cards into it, a card-maker who was
present and heard the denunciations even against those persons who
supplied the obnoxious article, exclaimed : " I have not learned,
father, any other business than that of painting cards, and if you
deprive me of that, you deprive me of life and my destitute family of
the means of earning a subsistence. " To this appeal the Saint re-
plied, " If you do not know what to paint, paint this figure, and
you will never have cause to repent having done so.'" Thus saying
he took a tablet and drew on it the figure of a radiant sun, having
in the centre the sacred cipher, I.H.S.

In the Paris collection of prints, there is a celebrated engraving
of the style known as the Maniere criblee, A. d. 1474, supposed
to bear reference to this story. The Saint is holding aloft, in his
right hand, the symbol which he recommended to the card-painter.
A facsimile of the engraving may be seen among the early pieces
in the British Museum.

At the date above mentioned (1423) wood- engraving was already
practised, since the Saint Christopher is of the same period \ yet we
learn that cards were still painted.

In the third place, though card-making was a regular trade in
Germany early in the fifteenth century, and the name of a
Kartenmacher occurs in the burgess books of Augsburg for 1418,
yet the name of a wood-engraver proper, i.e., Forms chneider , is not
to be met with until 1449, when it is entered in the civic archives
of Niirnberg, and as for twenty years afterwards it is frequently
entered on the same page with that of a card-painter, Kartenmaler,
there can be scarcely a doubt that there was a distinction between
these avocations, though like the barbers and surgeons of former
days, the followers of each business belonged to the same guild or
company.

" From the circumstance of so many women occurring as card-
painters in the town books of Nurnberg between 1423 and 1477,
there appears reason to conclude that they at least were not wood-
engravers." (Chatto, p. 82.)

In the fourth place, though it be admitted with Lacroix, that " in

CONNECTION WITH WOOD-ENGRAVING, ETC. 27

the interval between 1392 and 1454, means had been discovered of
making playing-cards at a cheap rate, and of converting them into
an object of commerce/' and that painting or hand- work alone conld
scarcely suffice for this purpose, yet it by no means follows that
cards were the work of the wood-engraver. According to Chatto,
on the oldest cards he had ever seen the figures had been executed
by means of stencils, this being the case both in the cards of 1440
(Gr 122) and those known as the Stukely cards. The oldest German
examples which had come before Passavant belonged to the first
half of the fifteenth century, and had been produced from stencils.
(Vol. i. p. 12.)

In the fifth place, it is quite possible that more stress has been
placed on the statements of the old chroniclers with respect to the
extent in which cards were spread among the commonalty than is
justifiable. To quote the words of Merlin, " Doubtless cards were
then [1397-1423] known, .... but we would add that at the
beginning of the fifteenth century they were not in such general
use probably as has been supposed/' .... "Women's labour would
then perfectly suffice to keep pace with the demand for them, and
if the interdictions launched against their use during the first half
of the fifteenth century show that the taste for them made
advances alarming to morality, they do not prove that cards were
then destroyed as quickly as they are at the present time. The
more they cost the more carefully would they be husbanded. Are
not houses, and even public places of resort in the country, to be
found in our own day, where the same cards have lasted for several
years ? To change cards when they have become a little soiled is
quite a modern luxury, and a duty to which our ancestors attached
but little importance." (p. 68.)

After all that can be said, however, in favour of the opinion
that the earlier cards were painted and stencilled, and not the work of
the wood-engraver, the question is yet an open one, except as
regards such " cartes de luxe n as were executed with great delicacy,
like the miniatures of MSS., on gold grounds, diapered on the
backs and richly bordered. Leber thus wrote : —

i( The greatest adept in a knowledge of the earliest products of
xylography, Baron Heinecken, was satisfied that the first im-
pression which appeared in Europe received from a coarsely en-
graved block, was a card. In his opinion, which we think well
founded, the engraving of cards led to that of the figures of Saints,
which in its turn gave rise to the engraving of inscriptions or
legends, from which sprung the art of printing. To think that a
card should produce the press ! What a mother, and what pos-
terity ! n ("Etudes Historiques," &c. p. 3.) On this Chatto remarks :
u He who can thus persuade himself that the germ of wood-en-

28 GENERAL HISTORY.

graving in Europe is to be found in cards, will doubtless feel great

pleasure in tracing its interesting development 'ce n'est que le

premier pas qui coute/ " and therein lies our difficulty.

A circumstance worthy of notice is that cards were in use i
certain countries before the manufacture of paper went on there.
Such cards must then either have been introduced ready made, or
manufactured from paper imported for the purpose.

Exceptionally they may have been made of other material, as we
find to be the case still as respects some Oriental cards, which are
thin painted tablets of wood, ivory, metal, and even dried leaves.
Canvas and leather cards have been recorded, embroidered silk
cards have been exhibited at Kensington, and the writer has been
assured by a dealer that cards of tortoiseshell and of small tiles had
passed through his hands. Both Breitkopf and Merlin refer to
cards on silver plates, the latter giving copies of thirty-four such
cards in his own possession (plate 68).

Cards were well known in England in 1463, and if they were
made of paper, and in this country, the material must have been
imported for such purpose, since paper is not considered to have
been made here before the reign of Henry VII., or 1485-
1509. As late as the reign of Queen Anne (1702) there were
imported annually 40,000 reams of Genoa or white paper, chiefly for
the manufacture in question. Nevertheless, it is reasonable to
suppose that cards were manufactured, as well as imported, in this
country during the first half of the seventeenth century, from the
circumstance of the tradesmen having petitioned Parliament, in
1643, against their importation, which could matter to them only as
interfering with their own monopoly. Further, by a proclamation
of Charles I. of June, 1638, it was ordered that all foreign cards
should be sealed at London and packed in new bindings or covers
(E 227) . From Samuel Rowland's satire, the " Knave of Hearts/'
we may assume that cards were made here in 1612 also (E. 235
— E 239) .

MARKS, DESIGNS, ETC. 29

Section V.

SIZE AND FORM OF, MARKS AND DESIGNS ON CARDS, DIVISIONS
INTO SUITS, TERMINOLOGY, ETC.

(F the large size of some of the earlier cards of the
tarots character, mention has been already made. A
long, narrow form continues to be given to tarots, par-
ticularly for the tarocchino game. The early cards were
often very stout and inflexible, and so have been some of more
recent Italian manufacture, which are peculiar likewise in having a
narrow layer of paper, sometimes coloured, folded over the edges
of the card in front so as to form a slightly elevated border.

Some small metal plates were early engraved in Germany to
serve as cards, and in recent times extremely diminutive packs have
been manufactured ; the " Cartes Allemandes, jeu Lilliputien en
Argent," given by Merlin, pi. 68, measure only ^ of an inch long
and slightly more than ^ of an inch wide. Some modern French
cards, to be afterwards described (F 63), measure If by -J of an
inch.

The Italian tarots, I. 8, are but 1^ long, by |- of an inch wide.
The Cartes Suisses, represented in plate 68 of Merlin's treatise,
slightly exceed 1 inch in length and -| of an inch in width, but
whether these are reduced representations, or are of the actual size,
we cannot say, but we think the latter. Chinese cards are small and
generally narrow in proportion to their length, not being wider
than 1 inch and -| at the utmost. The cards of the Hindus and
Persians are often circular, and of an average diameter of 2-^ inches.
As a contrast to these small examples, the Stuttgart cards, of the
end of the fourteenth or of the beginning of the fifteenth century,
may be recalled to mind, which measure above seven inches in
height and four inches in breadth.

The figures on the coate-cards, or court-cards, or honours, of the
numeral suits, represent in the early cards a king, queen, cavalier,
and fante, or man-servant. When the numeral series was dis-
joined from the emblematic set or the atutti, one of these figure
cards was suppressed. The cavalier, or man on horseback, was the
piece more generally omitted. The Spaniards, however, would not
allow of a lady or dame in their packs, and retained a king and a
first and second caballero or caballo, or a king, a caballo, and a
sota, or valet. The Germans had with the king often an upper and
an inferior knave in place of queen and knave. The figures on

3o GENERAL HISTORY.

some of the oldor coate-cards, as also on certain of the modern
ones, have occasionally resemblance to the persons and objects they
were intended to represent. But about the latter time of the reign
of Charles VII. of France, and the reign of Henry VII. of Eng-
land, the figures ' on the honours began to change, and grad-
ually passed into the grotesque and strange-looking things to be
seen on the true old-fashioned English cards, and in many foreign
packs. For some time past in France, and more recently in Eng-
land, there has been a tendency to displace the whole-length figures
and to substitute for them mere heads or busts, printed double and
in reverse on each honour. Whichever way a card may be thrown
the design on it thus becomes at once manifest. In most cases the
busts have the strange and conventional character belonging to the
upper portions of the old full-length figures, but in others it is
much modified, and sometimes altogether displaced by a type quite
modern or quasi historic.

The French appear to have been the first to place on the coate-
cards the names of well-known persons, such as David, Hector,
Alexander, Rachel, Pallas, Judith, and others. This practice con-
tinued from about 1480 to the beginning of the eighteenth century,
since which time it has been resorted to only exceptionally.

The suits of the numeral cards from their first introduction have
been always four in number. The signs or marks of the suits have
varied, however. Those of the earliest cards have been coppe,
danari, bastoni, and spade, or cups, money, clubs, and swords.
These marks have been very generally retained in all tarots packs
and in the cards of the Spanish people, though exceptionally in
some modern tarots the marks are spades, clubs, hearts, and
diamonds, which is likewise the case in some packs manufactured
by the French for the Spanish market.

The Germans early employed other marks for the suits, viz.,
herzen (roth,) schellen, laub (grun) , and eicheln, or hearts, bells,
leaves, and glands (acorns) . Some of the more ancient cards exist-
ing have these marks of suits.

During the second quarter of the fifteenth century the French
adopted the signs of coeurs, carreaux, trefles, and piques, or hearts,
diamonds, clubs, and spades. These marks have been very gene-
rally employed throughout Europe for pure numeral sets (i.e., cards
without any emblematic figures), and as before remarked may
occasionally be found even in tarots packs, and in cards used by the
Spaniards.

Germany and England also generally accepted the French sym-
bols. The former nation, however, during the latter part of the
fifteenth and the beginning of the sixteenth century, frequently
had recourse to animals, real or chimeric, flowers, fruit, and fancy

MARKS, DESIGNS, ETC. 31

objects for marking the suits, the pieces composing many of which
have been termed animated cards.

From some of the few remaining of early hand-executed cards,
it is evident that miniatori and decorative painters of great abi-
lity in their time, were occasionally employed in the production
of these objects, both emblematic and numeral. The desirable
volume published by the Society of Bibliophiles Franc ais, on the
" Jeux de Cartes Tarots et de Cartes Numerales," proves this
in its carefully executed facsimiles of the fine Venetian tarots of
the fifteenth century, as do also the copies of the four numerals
of the Mus^e Correr on plates 8 and 9 of Merlin's treatise. The
four large and beautiful cards of the Stuttgart cabinet, represented
on plates 60 and 61 of the same work, are likewise further
evidence. These latter examples of early art are supposed by some
to have been productions of the end of the fourteenth century,
though others with more probability refer them to the commence-
ment of the fifteenth century. How exquisitely the French
could work in this way is shown by plates A and B of Merlin's
treatise, where fourteen cards of the fifteenth century, in the
cabinet of Le Carpentier, are represented.

" The grace and slender delicacy of the figures, the good taste
of the ornamentation, the elegance and lightness of the scroll-work
and floriation running round the 'pips/ and connecting them to-
gether, do not allow us to doubt that they were the work of an
artist of talent and belonged to a set destined for some rich and im-
portant person." (p. 107.)

It is on record that a set of cards " containing figures of the gods
with their emblematic animals and figures of birds likewise," was
painted for Filippo Visconti, Duke of Milan (who died in 1447), and
cost 1500 pieces of gold. According to Cicognara the piece pre-
viously mentioned commemorating the union of Beatrice Tenda with
Filippo Visconti belonged to this series, but this is doubtful.

Even as late as the last century playing-cards have been exe-
cuted solely by hand. A pack was exhibited at a meeting of the
Archaeological Association, in January, 1857, by Mr. Syer Cuming,
the pieces of which had been painted by one E. Locker, in 1799,
whose name was inscribed at the lower corner of the ace of
diamonds.

" They are not printed but limned — the whole of the figures are
spiritedly executed and well coloured — the character of the pack
may be described as of the amusing character." (" Archaeological
Journal/' vol. xiii. p. 244.)

In Germany, particularly, some of the best engravers of the
time, i.e. a.d. 1450 to 1550, undertook occasionally the production of
cards. Thus we have the " cards of the Master of 1466," those of

32 GENERAL HISTORY.

the " Master of the round cards," copies of the latter by Telman von
Wesol, the cards with the signature F. C. Z., the cards by Virgil
Solis, by Erhard Schoen, H. S. Beham, and at a somewhat later
period those from, the designs of lost Amman. In Italy the beau-
tiful engravings known as the Tarocchi of Mantegna (now generally
ascribed to Baldini and Botticelli) , were produced, likewise the Vene-
tian tarots of 1491 described by Cicognara, and of the Alb er tine
Cabinet of Vienna (Pass. vol. v. p. 129), and the tarots of Nicoletto
da Modena (?) (Pass. vol. v. p. 132.) In France, at a later period,
the artistic series of card-pieces by Desmarests and Stefano Delia
Bella saw the light. Examples of most of these cards are now of
great rarity, and some realise in the print market extraordinary
prices.

Further details connected with the subjects of this section will
be given when describing the cards of various countries. The
following tabular arrangement of the chief marks which have been
employed in different places to distinguish the numeral suits, along
with a short commentary, may appropriately conclude the present
division.

Marks and names of the suits in early numeral cards when combined
with tarots (proper) or an emblematic series.

Cups.

Money.

Swords.

Clubs

Italy . .

. Coppe

. Danari .

Spade

. Bastoni.

Spain .

. Copas

. Oros or Dineros

Espadas .

. Bastos.

Portugal .

. Copas

. Oiros — Ouros .

Spadas .

. Paos.

France .

. Coupes .

. Deniers .

Espees .

. Bastons.

Of the early cards of
Germany. . Roth or Herzen Schellen . . LauborGrun Eieheln.

Of the suits of numerals from the times of Charles VII. of France

and Henry VII. of England, and when unconnected

with tarots (proper) .

France . . Coeurs . . . Carreaux . . Piques . . Trefles.

Italy .

Spain .

Germany

England

Do. (Cuori) . . Do. (Quadri) . Do. (Picche) Do. (Fiori).

Do. (Corazones) Do. (Ladrillos) Do. (Picas) . Do. (Palos).

Do. (Herzen) . Do. (Rauten) . Do. (Spaten) Do. (Kreuzen).

Do. (Hearts) . Do. (Diamonds) Do. (Spades) Do. (Clubs).

The following remarks of M. Merlin in connection with this
portion of the subject are worthy of attention.

u That the Italian and Spanish cards have descended in direct
line from the ' Jeux de tarots Venetiens/ is at once evident from
observation of the cards — the distinctive signs of the suits
are the same ; but this is not so apparent as regards the French
and German cards. Nevertheless, on reflection we may recognise
the parentage of the latter, and show how, in spite of their

MARKS, DESIGNS, ETC. 33

differences, the French and German cards may be restored to an
Italian origin.

" In the first place, let us determine the geographic distributions
of the three types which M. Leber has truthfully arranged in three
regions according to their distinctive marks.

" 1 . Southern region (Italy, Spain, and Portugal) , cups, money,

swords, and clubs.
"2. Central region (France, England, and at the present day nearly

all Germany), coeurs, carreaux, piques, et trefles, or hearts,

diamonds, spades, and clubs.
" 3. Northern region (Ancient Germany, Switzerland), hearts,

bells, leaves, and glands.

" At first sight these three families of signs do not appear to have
any analogy with each other, but let us study their names and com-
pare their forms, and we shall find the family connections, which
were not before appreciable. In the first place, let us compare the
names of the suit marks of the French cards with those of the Italian.

" The Italians name tlieir suits . Coppe, Danari, Spade, Bastoni.
„ French „ . Coeurs, Carreaux, Piques, Trefles.

„ English „ . Hearts, Diamonds, Spades, Clubs.

" The latter a translation of the French terms, as the English adopted our
cards from the first.

" Now is it not evident that the word spades (hoyau, beche) , given
by the English to our piques, recalls the spade of the Italian
symbols ? That the term clubs, by which they distinguish our
trefles, and which means in English massue, is equally a remi-
niscence of the Italian bastone? It is, therefore, more than pro-
bable that our last two signs represent weapons like those of
the jeux d'ltalie.

11 Another indication : — It has been shown (page 1 9) that in
the jeux de Tarots, and afterwards in the national game of the
Spaniards, Hombre, the four numeral series are divisible in two
sections : one composed of cups and money, in which the value
of the cards is in an inverse ratio with the number of the pips ;
the other formed of swords and clubs, where the value is pro-
portionate with their numbers of points.

" This arrangement has passed over in the games which France
borrowed from Spain, as in Hombre, and in Quadrille and Mediateur,
derived from it ; but in order to render it practicable with our
cards, it became necessary to divide our four French marks into two
groups — a red and a black group. In the red division (coeurs et
carreaux) the value of the cards in the games mentioned is like that
of the Spanish in cups and money, viz., inverse to the number of

34 GENERAL HISTORY.

points ; while in the black division (piques et trefles) this value
follows the number of points, as in swords and clubs. It may be
added, also, that in these games of Spanish origin, the ace of piques
is called espadille (petite epee) , and the ace of trefles baste {baton) .
"Thus, then, may be perceived the charactor of piques and trefles,
which were regarded by our fathers as replacing swords and clubs.
Further, there is another proof which does not admit of the least
doubt ; when the Portuguese employ our cards, they term our coeurs,
copas ; our carreaux, ouros ; our piques, espadas ; and our trefles,
paos." (Bibl. 6, p. 64.)

Equivalents of the coate, court, figure cards, or honours in the
numeral suits.

Regina or Reina . . Cavallo . Fante.

1st Caballo or Reyna Caballo . Sota.

Reine or Dame Valet.

Ober-mann Unter-mann.

Queen Knave or Jack.

Terms for Playing-cards.

Italy .... Carte da giuocare.

Spain . . . Naypes ; Naipes cartas.

France . . . Cartes a jouer.

Germany . . Spiel-Karten ; Karten; Briefe.

Italy . .
Spain .
France .

. Re .
. Rey .
. Roi

Germany
England .

. Konig
. King .

Italy . .
Spain .
France .
Germany
Ens-land .

Terms for a pack of cards.

. Un mazzo (or pajo) di Carte.

. Una baraja de naypes.

. Un jeu de Cartes.

. Ein Spiel Karten ; Ein Spiel Briefe.

. A pack of cards.

In a note to a recent edition of Massinger's plays, it is stated
that " in our old poets a pack of cards is called a deck." In Shake-
speare's Henry VI., part 3, act v. scene i., occurs :

" The king was slyly fingered from the deck."

And in the well-known song, " The night before Larrey was
stretched," it is said that

" De deck being called for dey played
Till Larrey found one of dem cheated."

A correspondent in " Notes and Queries " (vol. v. p. 198, 1870 ; vol. ii.
p. 405, 1850), informs us that " a pack of cards is so called [deck] at
this day in the states bordering on the Mississippi river."

Formerly a pack of cards was called likewise a " paier of cards,"
as by Roger Ascham in his " Toxophilus," e.g. (see note in Singer,
p. 56).

CARDS OF VARIOUS COUNTRIES. 35

Section VI.

THE CARDS OF VARIOUS COUNTRIES.

J/ (/M^

f&C

'ITHOUT considering it proven that playing-cards had
their origin in modern times and in Europe, and not in
remote ages and in the East, we are yet of opinion that
there is more direct evidence in favour of the first
hypothesis than for the latter, which appears to derive its chief
support from theories of a fanciful and romantic character. From
what has been already stated, and that which may be found in sub-
sequent pages where tarots and cards of divination come under dis-
cussion, it will be seen, however, that the views of those who have
adopted the Eastern, and in particular the Egyptian, theory, have
not been neglected.

In accordance with the views towards which more decided incli-
nation is here given, Italy will be regarded as the birthplace of
cards, as seen in the primitive naibis, and Venice as that particular
district which so modified them by changes connected with the
emblematic series, and the addition to it of a numeral sequence, as
to acquire a right of parentage in respect to modern playing-cards
not readily to be set aside. It is true that the earliest engraved
examples of Italian cards,1 the so-called Tarocchi of Mantegna, or
the Carte di Baldini, have more of the feeling of the Florentine
school than of any other, though the names below the figures
on them are in the Venetian dialect. But these pieces, it must
be recollected, transmit a form of the old instructional naibis
combined with more recent emblematic figures, constituting a
sequence scarcely adapted or intended for the purposes of ordinary
play. Between the time of the production of this set of fifty pieces
and that of the original or primitive naibis (of which latter many
of the former were purely transcripts), there had sprung up a series
combining an emblematic virtue and a numeral power, offering the
excitements of chance and gambling, along with whatever purpose
the emblematic series might subserve. It was to this arrangement
that Venice probably gave birth, an arrangement which was the
positive source of the playing-cards of modern times, as seen in the

1 The word "cards" is here used in a general sense, not in that of our modern
numerals only for games of hazard ; the assumption is made likewise that the
engravings in question come under this category. The question is discussed
further on.

36 GENERAL HISTORY.

numeral scries divested of all association with cards of emblematic
character (antea, p. 23).

Though various nations hastened to adopt the acceptable modifi-
cation of the Venetians, they did not hesitate, sooner or later, to
make changes of their own, and to stamp their cards and the games
played with them with national characteristics. What these were
it is now our business to inquire, and we shall first notice how Italy
herself undertook to modify the character of her offspring.

It must bo admitted that Italy in general long continued to
preserve the tarots game, i.e., the game played with both an em-
blematic and a numeral series, while other nations very soon dis-
carded it for games played with the numeral series only. The latter,
however, exceptionally retained the tarots game, and even now
tarots packs of cards are published both in France and Germany,
while in modern Italy they are still more common. In recent
tarots proper the designs, particularly in Germany, are often of a
totally different character from those in the older and typical series.

In Italy there were formerly three kinds of tarots games, two of
which have been preserved to this day. These games are known
as the tarots of Venice or of Lombardy, the tarocchino of Bo-
logna, and the minchiate of Florence. The first of these — the
old Venetian tarots — is the parent of all. The sequence con-
sisted of seventy-eight cards in toto,i.e.} of twenty-two tarots proper
(or twenty-one numbered atutti, and one unnumbered, the fool) , and
fifty-six numerals, made up of sixteen figure cards, or u honours,"
and forty pip cards, i. e., four suits, of four honours and ten
plain cards in each suit. As might be expected, the subjects, as
well as the actual designs of the emblematic series in the old
Venetian sequence, approach more closely those of the encyclopaedic
or instructive naibis, as seen in the Carte di Baldini, than do those
in the Florentine modification. The matto has a positive resemblance
to the misero of the naibis, while in the minchiate it has the attri-
butes of the true " fool."

" The figures of the Venetian tarots offer but few particularities
requiring notice ; still there is one point worthy of remark, which is
the introduction among them of a figure entitled la Papesse.
What motive, it may be asked, could the author have had to prompt
him to recall to mind in these designs that absurd fable of a woman
asserted to have occupied the Chair of St. Peter, a fable that rea-
sonable Protestants themselves have abandoned? No doubt the
Venetians were often at war with the Popes, but how many
times were they not leagued with them against their common
enemies ? Besides, the manner in which this design is composed
does not reveal any malevolent, nor even an ironical intention. Per-
haps the author designed his tarots at a time when the story in

CARDS OF VARIOUS COUNTRIES. 37

question still continued to bo generally accepted. Or it might be
that this singularity was the result of a contemptuous whim of the
artist. The original author of the tarots, after having copied the
design in the naibis, where the Pope is represented without a beard,
desired to oppose to him the Patriarch of Constantinople, and in
order to distinguish the latter adorned his second design with an
oriental beard. This explanation receives some support from the
fact that in the modern minchiate cards where the Pope does not
appear at all, an emperor of the west and an emperor of the east are
to be found, the first being characterized by an eagle, the second by
a star placed above the globe of the world, which the personage
holds in his hand. It should be noted also that, like the beardless
Pope of the naibis, la papesse of the tarots holds a book on her
knees. In the case of the old hand-painted tarots, as in the minchiate
cards of the present day, we do not find any names inscribed on the
latter ; this want of indication would readily assist in the error of
the earlier engravers, and such error .might be transmitted without
attracting attention." (Merlin, pp. 81-83.)

The Pope in the seventeen tarots of the French Cabinet, known
often as the hand-painted cards of Charles VI., is without a beard,
while in the tarocchino cards of Mitelli there are two bearded
Popes, one being seated, the other standing.

The second tarots game — the tarocchino of Bologna, though a
direct descendant of the ancient Venetian tarots, is not so old as the
third game, or minchiate of Florence. The tarocchino sequence
consists in toto of sixty-two cards, *. e.} twenty-two tarots proper,
and forty numerals. The emblematic subjects and designs are
nearly identical with those of the Venetian series ; slight modifica-
tions occur in modern sets, which will be afterwards noticed.

The chief characteristic of the tarocchino of Bologna is the sup-
pression in it of the two, three, four, and five of each numeral suit,
thus reducing the numeral cards to forty, which in the Venetian
series are fifty-six in number. This modification of the tarots game
was invented at Bologna, early in the fifteenth century, by Francesco
Fibbia (Prince of Pisa) , an exile in that city, dying there in 1419. So
pleased were the Bolognese civic authorities with the ingenuity of
the new game that they awarded Fibbia the privilege of placing
his own shield of arms on the queen of bastoni, and that of his
wife, who was of the Bentivoglio family, on the queen of clanari.
(Cicognara, "Bibl."5.)

According to Cicognara the emblematic designs of the tarocchino
remained very similar to those of the Venetian tarots until the end
of the fifteenth century. After 1513 the Republic of Bologna
passed under Papal domination, and then the designs began to
vary slightly. Some of the more modern ones are very bad, and

38 GENERAL HISTORY.

one or two designs have been borrowed evidently from a Florentine
minchiate set. At tho beginning of the eighteenth century an attempt
was made by an artist and engraver of Bologna — Giuseppe Maria
Mitelli — to introduce a series of tarocchino cards of unquestionable
artistic merit. This series will come under notice afterwards. (I. 7.)
The word tarocchino is a diminutive of tarocchi, a name early
applied to any game with tarots. Thus may be found in " Costa
e Cardinali Dizionario della Lingua Italiana, Bologna, 1826 ; n
" Tarocchi sorta di giuoco ; ed anche diconsi ' tarocchi ' alcune delle
carte, con che si giuoca.

" Taroccare dicesi del giuoco delle Minchiate quando alcuno non
ha del seme delle cartacce dove sono figurati Danari, Coppe, Spade e
Bastoni e conviene che risponda alia data con qualche ' tarocco/ f-

The third tarots game is the minchiate of Florence. This,
instead of being simpler than the old Venetian game, is much more
complicated. In place of the twenty- two atutti of the latter, there are
forty-one in the Florentine series, which contains, with the numerals,
ninety-seven cards in toto. (See Merlin, p. 87, and plates 13 to 19.)
The designs of several of the Venetian tarots are frequently
altered, and the twenty additional ones are often of grotesque cha-
racter, as, e. g., in the emblems of the four elements of the ancients
— fire, air, earth, and water, and in those of the signs of the zodiac.
Not any title or name is printed below the subject; the relative
value of the card is indicated by a number above. The concluding
eight atutti are drawn on a red ground.

There are differences in the numeral series likewise. The cavalli
are chimeric figures composed of human busts on equine or other
trunks, with tails, while the fanti or valets are warriors in the suits
of spade and bastoni, and servants (fantiglie) in those of coppe
and danari. The marks of danari have heads in their fields, with
the exception of those on the nine, which have birds on them. The
marks of spade are straight swords instead of curved ones, as in the
Venetian numerals. Finally, in some of the blank spaces between
the marks of the suits there are all kinds of small ornaments in the
way of cats, elephants, monkeys, deer, and other things, though not
to the overcrowding of the field. These ornaments would appear to
be proper to the minchiate cards, since they may be found both in
the older and more recent packs. Nevertheless: —

" However numerous have been the additions made by the
Florentines to the tarots of Venice in order to devise a new game,
these changes cannot prevent us from perceiving that the founda-
tions of the latter exist in the Venetian series. If we take from the
Florentine emblems the three theologic virtues, the four elements,
and the twelve signs of the zodiac, we arrive very closely to the
Venetian tarots from which the other tarots games have descended,

CARDS OF VARIOUS COUNTRIES. 39

as the tarots of Venice themselves have been derived from the fifty
encyclopaedic Naibis." (Merlin, p. 87.)

According to Singer, in a comparatively modern version of min-
chiate, published at Munich, the number of cards had been in-
creased to 103 by doubling the twenty-two atutti, the king and
knave of hearts. (p. 30.)

The derivation of the term l ' Minchiate" is not known ; it is one
" dont on ne retrouve aucune trace dans nulle langue connue, et
qui par sa structure comme par sa signification accuse pour ety-
mologic le noni du jeu de Florence." (Merlin, p. 85.)

Costa and Cardinali (op. cit.) give its character as a game only :
" Egli si fa al piu in quatro persone o in partita ai compagni a due
per due (e questo e il vero giuoco) ovvero ciascheduno da per se
separatamente. Dicesi altrimenti { tarocchi ' e ' germini/ M

There is a tradition extant that minchiate was invented by
Michael Angelo to teach children arithmetic.

Information concerning the methods in which the preceding tarots
games were played may be obtained on reference to Singer's
treatise (notes 12 and 13, pp. 349-354, Appendix).

Venice herself was not long before she modified her original
game of tarots, and this she did with decision enough, if not with
morality. Some of her people were satisfied that they could gamble
far more quickly if they suppressed not only all the atutti, but like-
wise some of the numerals. So a game was formed and termed
Trappola, in which the true tarots were abolished, as likewise the
three, four, five, and six of each numeral suit. This game was still
in vogue in Silesia when Breitkopf wrote (1784), and according to
Merlin packs made up on the trappola principle are to this day
published at Vienna under the name of Brapulir Karten, the suits
and figures retaining their old Italian names (modified) and symbols,
viz., reh, reina, cavall, fantell ; coppe, danari, spade, and bastoni.

Singer is surely in error when he states — influenced, it is likely,
by the remarks of Gazzoni — that H Trappola is probably the most
ancient European game at cards " (p. 236) , and " probably played
with the very cards obtained from the Arabians, if it be not the
Eastern game itself." (p. 22.) It may be fairly assumed that the
reduction and suppression of the pieces before mentioned were
made solely for the purpose that chance should play a very im-
portant part in the game, and necessitates the previous existence of
more perfect series, and of games less hazardous in character. If
Singer's supposition be correct, all these changes were made by
Muhamedans, and the result — a simple and perfected game for
gambling — forwarded as a present to the unsophisticated European !
A like priority has been bestowed by others on the games of
Hombre and Lansquenet.

40 GENERAL HISTORY.

Breitkopf, Leber, and others, have spoken of trappola cards as if
they were cards having characteristic marks of suits. But they are
not so ; numerals of any suits, no matter what their marks may be,
having the three, four, five, and six of each suit suppressed, are
capable of being converted into trappola cards, i.e., cards with
which to play trappola (postea, G. 121). The marks usually on
the cards are, however, not more necessary for trappola than for
hombre, which the Spaniards play either with the same marks, viz.,
swords, cups, money, and clubs, or with those of piques, coeurs,
carreaux, and trefles, just as we could play whist with cards the
marks of which were spade, coppe, danari, and bastoni.

With respect to the derivation of the word " trappola,'' Peignot
observes: " Selon le Dictionnaire de la Crusca le mot l trappola '
signifie cosa ingennese insidia, una sorta di reta, et trappolatore est
la meme chose que ingannatore, giuntatore (trompeur, fripon).
D'autres font deriver ce mot de trappe, piege."

It will have been understood from what has been already stated,
that the marks of the suits of numerals attached to the Italian
tarots proper are coppe, danari, bastoni, and spade. Italian nu-
merals very often retain these marks when not any longer combined
with an emblematic series. Yet modern uncombined Italian nu-
merals have frequently the French marks — coeurs, carreaux, trefles,
and piques. A distinctive character of the marks themselves in the
suits spade and bastoni of Italian numerals, is the mode in which
they are interlaced or connected together in place of standing
separately or apart. The curved forms, too, of the spade or swords
are specially Italian in design.

Spanish Caeds. — Not any remains of very old Spanish cards
have reached our time. It is true that some specimens in the
Rouen Cabinet have been accorded by some archaeologists to the
last quarter of the fifteenth century, but it is probable that Merlin
is right in the statement that the earliest examples now known had
not an origin before 1600. (Merlin, p. 99, note.) But if there be
not evidence in the shape of actual cards of Spain's early possession
of the new materials for play, strong proofs of it are apparent in the
name which always has been and still is applied to playing-cards,
viz., Nay pes.

Spain as the inventor of cards found a strong champion in the
Abbe de la Rive, whose tractate may be found in the appendix to
the work of Singer. He maintained that they were given to Italy
by Spain at the time when the Spaniards entered Sicily and
Calabria under the Castilian princes, in 1267, or under Peter III. of
Arragon, circa 1282. But although several passages have been
brought forward from early MSS. alluding to cards in Spain, they

GABDS OF VARIOUS COUNTRIES. 41

have turned out on close inquiry to have been glosses and interpola-
tions of an after period. De la Rive stated that Guevara, recording
in his " Epistola Familiares" the statutes accorded in 1332 to the
military order of La Banda, had mentioned that Alphonso XI. of
Castile had included amongst them a prohibition to play at cards.
Now it has been found that not one of the earlier Spanish editions
of these epistles (1539) contains a syllable about cards, which latter
are first mentioned in Gutery's translation of the Epistles into
French in 1588, and which it seems the Abbe de la Rive must have
made his authority. Further, in the " Recopilacion de las leyes
destos reynos," 1640, a prohibition of John I. of Castile is given —
de jugar dados ne nay pes en publico ne escondido — yet the word
naypes is not to be met with either in the edition of the u Orde-
nances Reales de Castilla" of 1545 (Medina de Campo), nor in the
edition of 1508. It was simply an addition made to the Recopila-
ciones of 1640. It must be admitted, nevertheless, that the cha-
racter of the two national games, Hombre and Quadrille, proves
that they had their origin in a chivalric age, and that the Flemish
author Eckeloo, or Pascasius Justus, who lived about 1540, and had
travelled in Spain, represents the people as passionately fond of
cards, and says that " he had travelled many leagues in that king-
dom without being able to procure the necessaries of life, not even
bread or wine, yet in every miserable village cards might be met
with." The Spaniards took with them this passion for play to the
New World, and finding themselves in St. Dominique unprovided
with the necessary agents, they made cards of certain leaves and of
leather, according to De la Vega.

" Herrera mentions that upon the conquest of Mexico by the
Spaniards Montezuma took great pleasure in seeing them play at
cards; this was in 1519, and it shows that this amusement must for
some time previous have been common in Old Spain." (Singer, p. 38.)

Spanish cards are characterised by certain peculiarities evinced
to us in actual examples, and by historical allusions. It should be
observed, in the first place, that Spanish tarots are unknown, and
it is doubtful if such ever existed. All Spanish playing-cards are
of the numeral kind. Secondly, in a legitimate Spanish pack
there are only forty-eight cards, instead of fifty-two. This arises
from the suppression of the ten in each suit. Thirdly, in agree-
ment with certain Oriental and some German cards, not any queen,
dame, or woman is admitted among the honours. Her place is
supplied by a caballero or caballo. Fourthly, the old Italian marks
are retained as copas, oros, espadas, and bastos, but the Spanish
designs differ from the former, as they do likewise in the figures on
the coate- cards.

" While the Italian kings are seated the Spanish kings are erect,

42 GENERAL HISTORY.

and their vast mantles are surcharged with largo ornaments, as in
the case of the French kings. As regards the points (pips), the
swords are straight double-edged rapiers, the batons are knotty
branches of trees, and these knotty branches and rapiers are placed
sometimes horizontally, sometimes vertically, close to each other, but
always so arranged that they are never interlaced in the inconvenient
manner common to the numeral cards of the Italian tarots. Herein
lies an undoubted advantage, as the power to count at a glance
the number of points on each card is much facilitated." (Merlin,
p. 97.)

It is not known when Spain first began to manufacture her own
cards, but there is evidence to show that France early supplied the
Spanish market. To some extent she does so now, and this ex-
plains why in some modern packs of Spanish cards the marks of
the suits are coeurs, carreaux, piques, and trefles, and that a dame is
admitted in place of a caballo.

Eeferring to plate xxx. in his " History of Playing-cards," Mr.
Taylor remarks that, " though of Parisian workmanship, it is a
Spanish knave of clubs under the form of a Peruvian, with crest of
blue and scarlet feathers. Singer says that the Spanish govern-
ment maintains a monopoly of cards, but we have besides this
another proof of that country being supplied from other quarters in
the Senora Morin, who we have seen made naypes for the Spanish
market at Paris in the Rue Greneta, and immense quantities of cards
are produced in London, many of which have the suits of cups,
money, clubs, and swords, those intended for the Spanish settle-
ments being actually marked de la Real fabrica para las Indias ! "
(p. 177.) {postea, S. 15.)

M. Merlin states that the oldest cards truly of Spanish origin
that he had seen, were four kings kindly presented to him by M.
Carder era, court painter to the Queen of Spain, and author of the
beautiful work on Spanish iconography.

" The pale and slightly bistre-coloured ink with which they have
been printed might, on first inspection, cause them to be attributed
to an early period, did not a circumstance, easily to be overlooked,
betray their more recent origin. This is the number twelve en-
graved at the corners of each of these four cards. We have seen
that the Spaniards have suppressed the tens and the dames, which
reduces their pack to forty- eight cards or twelve per suit, from this
it results that the valet, the cavalier, and the king are the three
cards superior to the nine, and possess the numbers ten, eleven, and
twelve. The custom of inscribing on the cards of each suit the
numbers of their values is comparatively modern, and of which we
are ignorant of any example before the eighteenth century." (p. 98.)
(postea, cards of Jehan Volay, S. 15, of the game alluetle, S. 43.)

CARDS OF VARIOUS COUNTRIES. 43

Portuguese Cards. — Copies of Portuguese cards may be seen in
the " Jeux de Cartes Tarots et de Cartes numerales." (Bibl. 2.) The
coate-cards in this pack, supposed to have been executed in 1693,
are king, queen, and cavalier, and the suits money, cups, clubs, and
swords. The " honours" and aces have letters on them both at top
and bottom indicating the suit, the rank, and names of the cards.
The presence of the queen must be regarded as exceptional to the
Portuguese series.

" In a pack," writes Chatto, " of modern Portuguese cards now
before me, there is no queen, and the suits are hearts, bells, leaves,
and acorns. The figures of the coate-cards are half lengths and
double, de duas Gabegas, so that a head is always uppermost which-
ever way the card may be held." (p. 251.)

Was not this pack made in Germany for the Portuguese market ?

French Cards. — That France possessed cards very early there is
direct historic proof, from the entry in the accounts of the treasurer
of Charles VI., a.d. 1392. That she did not have them, of a gambling
character at least in 1369, is fairly presumable from the circumstance
that cards are not mentioned in the long list of games prohibited by
Charles V. in that year, while there is an order of the Prevot of
Paris extant of 1397 forbidding their employment.

The earliest French cards known are probably those of the
Carpentier collection, described by Merlin, p. 107, and plates, A. B.
38-39. These cards are fourteen in number, painted by hand about
the commencement of the fifteenth century. The pieces are
numerals, being all the " honours " (except the dame de coeurs), with
the six of piques and the five of trefles. The costume is that of the
previous century. Not any names are on the cards. The next
examples are those of the sheet of strange figure pieces bearing
the name of F. Clerc on a scroll held by the valet of carreaux, and
which are in the collection at Paris. These cards belong probably
to the last quarter of the fifteenth century. The third specimens
of old French cards which follow, are known wherever the history
of playing-cards is studied. They are termed the Coursube cards,
and belong to the last quarter of the fifteenth century ; though it
has been maintained by some that they were executed as early as
the first quarter.

It is evident from the Carpentier cards that early in the fifteenth
century the French cards did not necessarily retain the old Italian
marks of the suits, but had new ones of their own. The cups,
money, batons, and swords had given place to coeurs, carreaux,
piques, and trefles, and so persistently were these marks maintained
and introduced on cards exported to all countries, that a regular
type or class of cards became known as French cards, as opposed

44 GENERAL HISTORY.

to Italian cards on the ono hand and to German cards on tho other.
Thus, in fact, became established the geographic types of cards before
mentionod (p. 33), at the beginning of what may be termed the
second epoch of playing-cards. At this epoch, too, the art of wood-
engraving gave to the designer tho power of easily and perma-
nently fixing national characteristics.

Our limits prevent all discussion on tho origin and hidden mean-
ings of the French marks of suits. These subjects may be found
copiously treated in Chatto, p. 206 ; Merlin, p. 105, and in other
systematic writers.

At first the figure cards or honours were without names on them,
but about the last quarter of the sixteenth century names were
attached, the earliest example of this practice known being found
in the Goursube pieces before mentioned. These cards belong to
the Paris Cabinet ; they are ten in number in two rows of five'pieces
each row, in the following order : valet, roi, dame (trefles) ; roi,
dame (carreaux); valet, dame, roi (piques) ; dame, roi {coeurs) ; on
each card-piece, except the roi de coeurs, is an inscription in Gothic
letters. On the king of carreaux is the name Goursube, on the
king of piques is Apollin, the queen of piques bears the motto
Leaute due (leal homage), the queen of carreaux, en toi te fie, while
other cards have other legends (Jeux de tarots, &c, Bibl. 2, pp.
13-17, and plates).

Four very early knaves in the British Museum cabinet (F. 42),
bear the names Lancelot, Hogier, Rolant, and Valery. On other early
French cards may be found the names of the Knights of the Round
Table, the Neuf Preux, and of various heroes of chivalry. Some
specimens in the Dijon Cabinet bear historic titles, such as la Pucelle,
the Dukes of Burgundy, Normandy, Guyenne, the Counts of
Flanders, associated with mythologic and legendary personages.
Paris, Helene, Venus, La Sybille, Melusine, likewise make their ap-
pearance. Some cards found at Narbonne present a very strange
mixture, but the only example which need be particularized is the
rare sheet of the fifteenth century, in the collection at Paris, and
which for the first time bears the names of Alexander, Julius Caesar,
Charlemagne, and David {neuf preux) , and which at a later period,
under Henri IV. and Louis XIII., were definitely adopted as the
names of the four kings. Until then, judging "from the often com-
plete absence of names, as likewise from the variety of those which
occur, it may be reasonably concluded that the card-makers did not
follow any determinate rule nor definite system, and that the Parisians
were the only ones who finished by fixing and retaining the names
which prevail to the present day." (Merlin, p. 112.)

With these names for the kings, viz., David, Alexander, Caesar,
and Charlemagne, became associated Rachel, Argine, Pallas, and

CARDS OF VARIOUS COUNTRIES. 45

Judith for the queens, and Hector, Lancelot, Roland, and Hogier,
for the valets.

French playing-cards having on them the suit marks, coeurs, car-
reaux, trefles, and piques, are often termed Piquet cards ; the game of
piquet being supposed to have originated about the time the Coursube
cards were made, the latter being considered, therefore, the earliest
piquet cards known. Nevertheless, there is not satisfactory evidence
to show either the date at which piquet was first played, or that the
ten-figure Coursube specimens belonged to a piquet pack. The
game of piquet, it should be borne in mind, is one in which the
pack for playing it, up to the beginning of the eighteenth century,
consisted of thirty-six cards, i.e., the two, three, four, and five of each
suit were suppressed, as in trappola, and the tarocchino of Bologna.
From the date mentioned, the^ six of each suit has been omitted
likewise, so that the piquet pack has now but thirty-two cards.
The Coursube cards, being all figure cards, do not assist us in deter-
mining whether the game was in use at their period. Further,
piquet was clearly not the primitive French game in which numerals
having the present marks of suits were used, for the beautiful cards
belonging to the early part of the fifteenth century, done by hand
and in the Carpentier cabinet, present both a five and six of trefles.

Endeavours have been made to associate the origin of this game
with the epoch of Charles VII., but a decisive solution of the ques-
tion cannot be attained. Singer observes : " those who know the
game well, agree that it is one of the most amusing and most com-
plete games played with cards." In Macready's Diary is the entry
in 1840, " October 9th, played at piquet in order to learn the game
for the new piece, f Money/ "

From the circumstance that certain cards dealt may be discarded
by the players, and others taken from the stock undealt in their
stead, there is a choice, as it were, granted to each player.

" From this choice Bullet pretends the game has its name, for piquo
in Keltic signifies to choose, and the word still preserves the same
meaning among the people at Besancon; choice grapes or choice
cherries are called pique des raisins or pique des cerises. The word
is still in use among the military. A piquet is a certain number of
men chosen by companies, to be ready to mount at the shortest
notice." — Singer, Appendix, p. 272.

At the end of the eighteenth century the French Revolution not
only changed governments and dethroned kings of the earth, but
overthrew those of cards. Yet —

" In effacing the signs of royalty it had not destroyed the passion
for play ; indeed, it had never dreamt of doing so, for in granting
free trade to cards it had, on the contrary, offered more facilities to
players. But it was obliged to pursue royalty vigorously, even on

46 GENERAL HISTORY.

to cards, and it was in the choice of subject that the revolutionary
spirit found its scope. Since, however, the imagination of the card-
makers was not very fertile, the same circle was continually gone
round, but fow entirely distinct types were evolved, and fewer still
of designs from clever artists. Once more we find the kings de-
throned, and by whom ? by emblematic personages, by sages, by
philosophers ; the valets are displaced by warriors, or Roman heroes,
or by sans- culottes ; and the queens have to resign in favour of the
virtues and liberties ; and what liberties ! the liberty of marriage, of
worship, of the press, and of commerce." . ..." As soon as the
period of sanguinary executions and of public terror had passed by,
the passion for play revived, and with it returned the old cards."
. . . . " The conqueror of Marengo and of Austerlitz endeavoured
to cicatrize the wounds opened by the Republic." . . . . " The
civilizing genius, whose glance embraced everything at once, did
not pass over the designs on cards, and on the 13th of June, 1808,
the painter David was appealed to." (Merlin, p. 114.)

David, Mongez, and Gatteaux obeyed the high decree, and the
artistic cards of 1809 and 1811 were the result. (See F. 57 (2)
postea.) Nevertheless —

" Whether it was that players did not appreciate the changes, or
from some other reason, the new designs were not of long duration,
and from the year 1813 the old cards reappeared, and triumphing
so completely over the innovations, that the official mould was
adopted by the Restoration, which contented itself with only sub-
stituting the fleur-de-lys for the bees and the imperial eagle."
(Merlin, p. 114.)

Again, fresh attempts were made in 1816 to introduce other
designs, but the enterprise did not succeed, and cost the Govern-
ment a considerable sum of money. " To-day," says M. Merlin,
"we have returned to the mould of 1813, which is multiplied by the
galvano-plastic process in sufficient numbers to keep in constant
activity three steam presses at the Imperial Printing Office." (p.
116.)

German Cards. — It is generally allowed that Germany rightly
claims a high place in the early history of playing-cards. According
to trustworthy authorities allusion is made to them in the " Pflicht-
biicher" of Niirnberg for 1384, and there is extant an ordinance of
the Town Council of Ulm for the year 1397, prohibiting their em-
ployment. Even by 1441 the Germans imported cards into Venice
to such amount that the senate were appealed to to stop the supply,
as injurious to the interest of the Italian card-makers.

It is probable that the Germans very soon altered for themselves
the Italian marks of the numeral suits, making use of the figures of

CARDS OF VARIOUS COUNTRIES. 47

animals for differentiating the latter. At any rate, the earliest German
cards known — those of the Stuttgart Cabinet — have dogs, falcons,
stags, and ducks for the suit marks. These " animated'' cards were,
however, soon followed by a series having the more national signs
of roth or herzen, laub or griin, eicheln, and schellen, or hearts,
leaves, glands, and bells. The latter cards were of smaller size
than the first animated ones, which were purely handwork. But
though numerals of the national suit marks continued to be manu-
factured, some of the early German copper-plate engravers of the
end of the fifteenth and beginning of the sixteenth century reverted
to the animated types, and exercised their talents in designing cards
in which all kinds of animals — natural and chimeric — flowers, and
fruits, were made to do duty as marks of suits. Some examples of
these engraved cards known to the iconophilist are admirable speci-
mens of the early German burin, and are highly prized and paid for
by the collector.

The German cards of the end of the fifteenth and of the sixteenth
centuries are much more ornamented than are the cards of other
countries, for —

"In addition to the pips or the marks of the suits, they fre-
quently contain figures of men and women, quadrupeds, birds,
foliage, and such like, introduced by way of ornament at the caprice
of the designer. These ornamental appendages are frequently of a
grotesque character, and sometimes indecent." (Chatto, p. 236.)

Very peculiar devices were sometimes employed. There is a set
of cards by Jost Amman, in which the marks of the suits are books,
printers' inking-balls, wine cups, and goblets with bosses of glass
or earthenware. Some very pretty diminutive cards, having leaves,
bells, hearts, and acorns for the marks of the suits, were produced
by the Germans during the sixteenth century.

Much has been written concerning the origin of these national
signs, but most interest attaches to the source and meaning of the
sign, schellen, grellot, or bells. Reference may be made for informa-
tion to Chatto, pp. 239-245, and to the work of Boiteau D'Ambly.

A peculiarity of the true German pack is that the queen is omitted
from the court cards, and an upper valet or obermann is put in her
place ; thus the honours are composed of king and superior and
inferior valets. In modern packs, and particularly those made on
the French principles, the queen displaces the superior valet.

A German writer of the seventeenth century, in pointing out that
tarots figures should always be regarded as symbolical, observes
that even the marks of the German numeral series are intended to
have a deeper meaning than is usually supposed. For example, the
initial letter of the suit schellen (bells), S, with that of the suit
aicheln (glands), A, of the suit roth (hearts), R, and with that of

48 GENERAL HISTORY.

tho suit gn'ln (leaves), G, compose the German word SARG, equi
lent for coffin.

" Alii ex Uteris initialibus colorum istorum aus Schellen, Aichet
Roth, und Griin einen Sarg, composuere quia chartae historic ssepe
fiunt marsupii et lusoris sepulchrum." (Lehmen, " De Varii Luden
Generibus.")

Like other peoples, the Germans fashioned a national game of
their own. This was Landsknechtspiel, or Lansquenet. The actual
date of its invention is uncertain ; some have stated that it was known
in France in 1392, in the reign of Charles VI.; if so, it must bo
indeed a very old game, since the French borrowed lansquenet from
the Germans. The military and German origin of the game is
evident from its title, which is derived from landshnechtj lanzen-
knecht, or lanzknecht, i. e.} a foot soldier armed with a lance, such
as may be seen, e. g.3 playing at cards in the print by Anthony of
Worms (Bartsch, vii. p. 491, n. 10), of which a copy is given by
Singer, p. 235. Lansquenet is still played, and, writes Singer, "if
it be the same game which has come down to us, and that now bears
the name, its invention required no mighty effort, and it might
easily be learned and played by the common soldier." (p. 44.)

" The pipe was not then invented to solace their bivouac, and
where so likely an origin of a game requiring so little talent to com-
prehend it, and yet offering such opportunity for trickery, as a corps
de garde of these rough warriors?" (Taylor's Ed. of (t Boiteau
d'Ambly," p. 279.)

Lansquenet is described in the edition of " Hoyle's Games," pub-
lished at London in 1786, and must have continued to have been
played occasionally as a gambling game in French houses to within
the last twenty years, since Paul de Musset, in a " recit des moeurs
contemporains" (" Histoire d'un Diamant"), in the "Revue des
Deux Mondes" for September, 1874, tells us that the hero of his tale,
" se laissa mettre a une table de lansquenet. En moins d'une heure
il y perdit douze mille francs."

It has been before stated that cards having the old Italian marks
of suits, cups, swords, money, and clubs, are still employed in cer-
tain parts of Germany in playing a trappola game borrowed from the
South. True tarots games, also, are yet occasionally played, and
modern sets of cards published for the purpose. The designs on
these latter cards, however, are often totally different from those of
the old emblematic series. They are numbered in the same way,
which serves, we presume, the main purpose of the modern player.

Spielhagen acquaints us in his fi Aus meinem Jugend Stadt"
(1868), Skitzenbuche, p. 27, that both tarots and hombre were
played, with other games, at the " Abendgesellschaften" in his youth-
ful days.

CARDS OF VARIOUS COUNTRIES. 49

The entire company had now placed themselves by threes and
fours — according to whether tarot, ho?nbre, whist, or boston was to
be played — at tables."

After the party had broken up —

11 The host went from table to table to take up the f card money'
that had been placed in the ' pot' — full price of two packs if the
cards had been quite new, if not, a discretion" (p. 29.)

" We desired/' writes M. Merlin, " to be able to point out in a
satisfactory manner what were the names and structure of the Ger-
man games, but have not met with information precise enough
on the subject. We must be contented with communicating a few
remarks with which the examination of cards has furnished us.

" For figures we meet with kings, superior and inferior valets.
Sometimes the kings are seated, sometimes they are on horseback.

" The point cards are the ten, nine, eight, seven, six, and two, a
composition resembling our own Piquet, in which the ace has been
displaced by the two. This structure is that of our own Lilliputian
silver series represented on plate 68. It is likewise that of the
Saxon game termed Schvjerter Karte — cartes a I'epee.

u What appears to confirm our conjecture as to the analogy of
piquet with this jeu a Vepee, is the fact that in the modern cards
manufactured at Vienna for playing the German game, and in
which the kings are mounted, and we see the flute and the drum (as
in the old cards of the Musee Hal at Brussels) , the six is suppressed, as
it is in the French piquet since the end of the seventeenth century."

(P. 121.) '

The adoption of the French marks of suits is followed in German
packs, which often refuse to reinstate the dame or queen in the place
of the obermann or superior valet. In such cards double busts, in
place of whole-length fc^ures on the coate-cards, are usual.

Swiss Caeds. — The old cards of Switzerland were evidently de-
rived from those of Germany at a time posterior to the period of
animated cards. " There are always four kings, four superior and
four inferior valets, and one, two, six, seven, eight, and nine, in the
cards of Schaffouse, and from one to nine in those of Soleure.
The marks of the suits are slightly different, for while the glands
and the bells are retained, the hearts are displaced by shields, and
the leaves by flowers. Further, the attitudes of the figures, with
their naive and bourgeoise tournure, indicate design of the commonest
character.

"The Swiss have retained the marks of the aces on banners,
such as may be seen for example in the small cards from engraved
wood-blocks preserved in the Musee Hal at Brussels." (p. 122.)

Modern Swiss cards are either French or German.

SO GENERAL HISTORY.

English Caiids. — It is most probable that cards made their way
into England through Franco, and it must not be forgotten that
onco Normandy, Touraine, Anjou, Maine, Poitou, and other dis-
tricts wore either in the real or nominal possession of the kings of
England for nearly three hundred years. When cards were intro-
duced here is not known, but we are safe in believing they were not
in use among us until after the reign of Henry IV. (1405), and
that they were certainly employed previous to 1463, for in the Par-
liament Rolls of that year (Edward IV.) their importation was pro-
hibited. About 1484 they formed a common English Christmas
pastime, at least among the upper classes, and in 1495-6 (eleventh
of Henry VII.), an edict of the king expressly forbade their use to
servants and apprentices, except during the Christmas holidays.
That the English made cards as well as imported them by 1463 is
clear, or the card-makers would not have petitioned in favour of
their own monopoly. Such cards as were home-manufactured must
have been made of imported paper, or else of some other material.

England appears to have adopted at once the French suit marks,
and the king, queen, and knave of the figure cards or honours.
Nevertheless, the names of the suit marks are in part of Spanish
descent, e. g., clubs for bastos, and not trefoil for trefles, and spades
for espadas, instead of spear for piques. Some writers have as-
serted that Spanish cards, in fact, were introduced into this country
before the French, and point out that our knave or jack, and jack-
a-napes have more affinity with the Spanish sota or the Italian fante
than with the French valet, which in the earlier French cards bears
the name of some person in romance or history. If Spanish cards
were introduced early into England they must have soon yielded
place to the popular French ones, though at an after period attempts
were made to bring them into fashion, as the following from the
"Postman," of December, 1702, testifies.

" Advertisement.

" Spanish cards lately brought from Vigo. Being pleasant to the
eye by their curious colours and quite different from ours, may be
had at Is. a pack at Mrs. Baldwin's, in Warwick Lane."

Most inquirers have failed to meet with any proof that the old
tarots cards were ever used, or even known in this country.
Singer remarks, p. 240, however —

" We gather from the following passage, in Cleland's ( Institution
of a Nobleman/ that Taroceo was played in England in the early part
of the reign of James I. (1603) . Chap. 24 of f House Games :9 — His
Majesties permission of honest house games, as Cardes, French
Cardes called Taraux, Tables and such like plaies, is sufficient to pro-
tect you from the blame of those learned men who think them
hazards," &c.

CARDS OF VARIOUS COUNTRIES. 51

The English figure cards or honours retain to the present day
more or less of the character and costume marking the reign of
Henry VII., when they were probably first designed.

Mr. F. A. Rep ton in an article on " the costume of Coate- Cards,"
in the " Gentleman's Magazine M for November, 1843, vol. xx.,
New Series, p. 471, writes:

u Many of the readers of the ' Gentleman's Magazine ' may not
be aware that the dresses represented on our coate-cards are actu-
ally the same as those which prevailed about the time of Henry VII.
or Henry VIII. The lappets which fall on each side of the faces
of the queens are in fact a rude representation of the dress of the
females of that period, i. e., about the year 1500-1540. But the
crown or coronet as being placed at the back of the head, may be
traced as late as the reign of Elizabeth or James."

11 . . . . The knave of hearts in Rowland's poem (a.d. 1611) com-
plains against the old-fashioned flat caps. These flat caps having
several cuts round the rim may be compared with the old paintings

and the tapestry of the date 1500-40 So late as 1585 Strutte,

in his ' Anatomie of Abuses/ mentions the flat caps as being ' broade
on the crowne like the battlements of a house/ . . . The knave of
hearts also complains against the striped stockings, l My stockings
idiot-like red, grene, and yalowe/ These striped stockings may
frequently be found in old wood-cuts, particularly in those in the
Triumph of Maximilian." (Op. cit.)

Mr. Taylor writes :

" The costume and attributes of our modern court-cards vary
slightly in different pacA, though they have a general similarity.
The knave of clubs stilt hoids his arrow, now distorted into a bed-
post, with the ( head- end upward/ but with the feathers gone. It
has been suggested that the instrument held by some knaves of
spades is a kind of spring fork, formerly used by constables to catch
runaway offenders. Hearts has the ' rustic browne bill/ and dia-
monds apparently what Falstaff (Hen. IV. Pt. 1, act ii. sc. 4) calls
a Welsh hooky which Mr. Knight says was a pike with a hook
placed at some distance below its point, like some of the ancient
partisans." (Bibl. 9, p. 185, note.)

England does not appear to have worked out, at an early period,
a national game of her own. The game of 'Primer 0 (Spanish or
Italian) , was probably one of the earlier games played in this country,
and it continued to be the fashionable amusement at cards during
the reigns of Henry VIII., Edward VI., Mary, Elizabeth, and
James. A game termed Maw'e succeeded Primer 0, then came
Gleek, Hombre, Quadrille, Reversis, and Bassett. Ruff and Honours
introduced Whist, now, par excellence, the English game.

Some time about 1650, according to Barrington, however, he

52 GENERAL HISTORY.

f< learned from a gentleman, much advanced in years, in 1786, that
whist was not played upon principles until about fifty years before,
when it was much studied by a set of gentlemen who frequented
the Crown Coffee House, in Bedford Row; of these, the first Lord
Folkestone was one ; before that time it had been chiefly confined
to the servants' hall with All-fours, and Put." (Singer, p. 271.)

A tax was levied upon cards first in the reign of James I., 1615
(B. 225, E. 226) . In 1825 the duty was 2s. 6d. per pack; in 1827
it was reduced to one shilling ; it is now threepence. In 1850, duty
was paid on nearly 300,000 packs. A paragraph in the " Times * of
February 20, 1875, is as follows : —

" There was a decrease in the stamp duties on ' playing-cards/ in
the year ended March 31st, 1874. In 1873 the duty was £12,865,
in 1874 £12,584."

From the same Journal for November 29th, 1875, we learn that
H In the year ended the 31st of March last, the stamp duty of 3d.
on every pack of cards made for sale in the United Kingdom,
amounted to £13,130 9s. The number of packs was 1,050,476."

Sellers are now obliged to take out a licence.

There are two circumstances connected with the history of modern
playing-cards particularly noteworthy. One is that all attempts to
improve the bizarre figures derived from the coate- cards of the old
standard packs have been unwelcomed by the true card-player,
whether in France, Germany, or England. The attempts to effect-
that object have been manifold, and occasionally the designs desired
to be substituted have been good in themselves, and well drawn and
coloured. Not any wide or permanent degree of success has attended
them, and, as remarked by Singer, " So pertinaciously have the
original figures been adhered to, that although the improvement
has been applauded and the cards admired, they have rather been
purchased as curiosities than for use, and for the serious purpose of
card-playing the old figures have ever been preferred." A sort of
compromise between the parties has been sometimes attempted, and
even recently one of our first manufacturers attempted the feat, as
may be seen in the following passage from the " Athenaeum " of
October, 1874:—

" Messrs. De la Rue will issue this season a pack of novel playing-
cards, in which, whilst historical personages of the present time
are introduced as the honours, the traditional quaintness of the
old playing-cards is preserved, so that the card-player's attention is
not disturbed." (E. 173.)

Taylor tells an amusing story, illustrative of the Conservative
feelings club-players have for the old pack, and nothing but that
pack. (Bibl. 9, p. 450.)

CARDS OF VARIOUS COUNTRIES. 53

The number of improved! Parisian packs is considerable, but
their very variety and, after all, much repetition of the new forms,
show that not one has any endurancy. Some change no doubt is
gradually creeping in, as may be seen in the increasing frequency
of figure-cards having on them busts printed double and in reverse,
in place of single whole-length figures. Should this change con-
tinue to hold its ground, the old, conventional, whole-length figures
may disappear, though the busts which displace them may remain
of conventional character. Of the substitution of modernised or
historic persons on the figure-cards for the old forms, however, we
anticipate but little success.

We were informed (1875) at one of the principal card-makers,
that they supplied now only two London clubs with cards having
the old full-length figures. It would not be surprising, however,
to find the old cards re-assert themselves, for it is scarcely to be ex- •
pected that any compromise which artistic or other merit may offer,
will be accepted as a permanent departure from the ancient types,
as long as old associations can be cherished and preserved among a
brotherhood so exclusively occupied with but one object — that of
play — and so intently that not the slightest distraction of thought
by any secondary matter could be tolerated for a moment.

The second circumstance worthy of notice is, that all attempts
— and they have been many — which have been made in modern
times to render cards capable of communicating information and
instruction while ordinary games were being played, have never
been received with favour beyond that which their novelty would
insure. Packs of cards having the ordinary suits and symbols
more or less distinctly marked have been devised over and over
again, by which, through the addition to them of illustrations and
inscriptions, the most varied forms of knowledge were sought to be
conveyed. Cards with such a secondary purpose may be met with
intended to teach arithmetic, grammar, geography, history, heraldry,
mythology, astronomy, astrology, the use of mathematical instru-
ments, and the principles of military science and engineering. Be-
sides such cards as these, others of a satirical, proverbial, caricature,
and amusing kind have been produced, provided with the marks of
the usual suits so that they might be employed in the ordinary way.
In all these endeavours it appears to have been forgotten that those
persons who desired to learn grammar, &c, did not want to play at
cards ; and that such as would willingly play at cards might be blind
to the blandishments of grammar. Even were such not the case, it
is doubtful whether grammarian or card-player would be more con-
fused in the double duty he undertook to perform, since the definition
of the " points" and figure-cards was generally so imperfect, or so
subservient to the other illustrations, as to render ordinary play more

54 GENERAL HISTORY.

a penance than a pleasure, while the grammatical or other knowledge
was given in so concentrated, terse, or tabular a form as not to be
intellectually digestible at a moment's notice. Be this as it may,
such cards have generally found a resting-place in the cabinets of
the curious, but little favour being shown them by either the student
or the player. So apparent to many caterers to popular instruction
and amusement has been the inutility of trying to combine informa-
tion with ordinary play, that they have seized on merely the most
general principles involved in cards, discarding altogether true
playing-card games, and made the pack a vehicle for the relaxation
and laughable amusement only of children or older persons at Christ-
mas, and other festivities. In such packs the ordinary suits and
marks are unknown, each series forming a special game of its own,
sometimes very simple — mere question and answer — at other times
rather complex in character. Such cards may be fairly termed
" Cartes de Fantaisie." Fortune-telling by the Norwood Gipsy,
the Tender Passion, Manners and Customs of the Day, the
Fashions, Charades, Riddles, Pictorial illustrations of an amusing
character, grotesque and . laughable changes, and cognate themes
form their subjects. Of examples of such cards every Christmas
furnishes a new though now limited supply. Here, as in the pre-
vious case, a sort of compromise has been occasionally tried, but not
with more success as regards card-players. The following extract
from Chatto will help to illustrate it : —

" It was in December, 1692, that the London papers first an-
nounced to the world the invention of the ' Game of Carving at
Table/ This precious announcement is conceived in the following
terms : ' The Genteel Housekeeper's Pastime, or the mode of Carving
at Table represented in a pack of playing-cards, with a book by
which any ordinary capacity may learn how to cut up or carve in
mode all the most usual dishes of flesh, fish, fowl, and baked meats,
with the several sawces and garnishes proper to each dish of meat.
Price Is. 6d. {Sold by J. Moxon, Warwick Lane."

" In those cards the suit of hearts is occupied by flesh, diamonds
by fowl, clubs by fish, and spades by baked meats. The king of
hearts presides over a sirloin of beef, of diamonds over a turkey, of
clubs over a pickled herring, and of spades a venison pasty. A red
stamp on the ace of spades belonging to a pack which I have had an
opportunity of examining, contains the word ' sixpence/ If this
was the duty on each pack, it was certainly great for the period."
(p. 156.)

It has been supposed by some good authorities that in former
times cards were prepared in a special manner for ecclesiastics to
play with. The figure cards represented saints and holy persons,
and the latter were introduced even on the pip cards. Descriptions

CARDS OF VARIOUS COUNTRIES. 55

of pieces, both from wood and metal engravings, considered to
belong to such packs, may be found in Passavant, vol. i. p. 14 ;
WeigePs " Anfange der Drucker Kunst," and Sale Catalogue, Nos.
303-307.

In recent years cards have been prepared in such way that blind
persons might play with them. The marks or pips are slightly
raised, so that touch can distinguish them.

Oriental Cards. — Between the statement of the Brahmin of
Southern India who, in presenting Captain Smith, in 1816, with a
pack of cards, assured him that it was a thousand years old, and had
been handed down in his family from time immemorial, and that of
M. Merlin, 1869, that " not any historic document, monument, nor
quotation from Eastern writers can be adduced in support of the
theory that cards had either an Arabian or Indian origin" (p. 57) ;
<l an attentive study of the various theories of the Oriental origin
of cards will very soon show that they have nearly all been the re-
sults of imagination, and that the conjectures on which they have
been based cannot bear serious examination," — there is ample op-
portunity for arriving at conclusions of less assured and positive a
character. An attempt to do so here, however, would be a task
beyond both the purpose and limits of this essay. Further, as the
question of the Eastern origin of cards has been touched upon
already, a few remarks on the general characters of Oriental cards
as we know them at present is all that is required.

Cards of India and Persia. — The cards of India are of two kinds ;
viz., those made and used by the Hindus themselves, and those
made and used by the Persian and Muhamedan sects of India, who,
less severe in their observance of the precepts of the Koran than
others of their religion, have recourse to them for amusement. To
these may be added the cards of the Persians of Teheran.

The cards of India, whether having Persian relations or not, are
generally circular in form, while those of Teheran are of the
European shape. The circular cards are about 2§- inches in dia-
meter, and the figures and marks on them are executed purely by
hand. The material of which they have been composed has been
found to be canvas, card, and thick paper, and " in Malacca they
are more cheaply supplied by leaves of the cocoa-nut or palm
tree, dried, and their distinctive characters traced with an iron
style." (Chatto, p. 55.)

The Hindu canvas and paper cards are covered front and back
with a ground of paint, afterwards highly varnished or lacquered.
The Persian cards have on them designs and paintings much ex-
ceeding in merit those on the Hindu pieces. Singer describes and
gives representations of some beautiful Persian cards, painted with

S6 GENERAL HISTORY.

much delicacy on ivory, and as highly illuminated with gold as the
miniaturos in missals and manuscripts.

The following objects have been met with as marks of suits in
Hindu cards, viz. : the ten avatars or incarnations of Vishnu, birds,
with two figure- cards also in each suit, certain marks, some o
which are of doubtful character, while others are swords (tulwars)
suns, and money. These marks are painted on different- colour
grounds (red, green, yellow, &c), which latter also indicate som
kind of series or suit. Packs of eight suits, each suit containin
two honours and ten common cards, and of ten suits of twelve pieces
each suit, have been described.

Persian cards are recorded as having for suit marks crowns, full
moons, sabres, slaves, harps, suns, letters (or firmans, or diplomas) ,
and cushions, the pieces being ninety-six in number. Five cards
from a Persian pack, very prettily painted on carton vernis, are
given by Merlin (pi. 74, p. 124), on which are represented the shah
(king), the bibi (queen), the couli (dancer), a lion (ace), and serbas
(soldier) . All these figures have been painted on different-coloured
grounds, from which it is assumed that the colours form distinctive
marks of five suits, and that the entire pack consisted of twenty-five
pieces.

Though — as far as our knowledge extends — the true Hindu
cards, like the typical Spanish and some other early European sets,
do not admit a female, or queen, into the series, it is plain that the
Teheran Persians permit of the admission.

Three kinds of games have been described by writers as of
Hindu or Persian character. These games are named Tehaturanga,
Ghendgifeh, and Nds, or Tas, or Taj. Close inquiry has shown,
however, that the first is more like European tric-trac or back-
gammon than a game with cards, and though there may be in it a
mixture of chance and computation, the evolution of both is effected
openly, and the nature of the combinations of hazard and calculation
is as different as the objects with which they are associated. (See
Merlin, p. 21.) The second, or ghendgifeh, which is of Persian
origin, is played with a pack of ninety-six cards, i.e., of eight series
of twelve pieces, of the suits, crowns (tas), full moons, swords,
slaves, &c. On reading an account of the details of this game, one
is struck first by the circumstance that " the marks of the suits, as
well as the rules of play, offer considerable analogy with those of
the national game of the Spaniards, Hombre. Thus dineros (oros)
is displaced by moons and suns, but the true character of the latter
is recognisable not only by their forms, but likewise by their names,
and which are (as already pointed out) simply abbreviatipns of
words signifying in the language of the country, gold money, silver
money (zuri soorlch and zuri soofed) . Swords are equally apparent in
the shumsheer or sabres/' (Merlin, p. 15.)

CARDS OF VARIOUS COUNTRIES. 57

Secondly, from the rules of the game, ghendgifeh " appears to
bear some resemblance to that which the French call L' Ombre a
trois, three-handed Ombre. In both games the suits appear to be
considered as ranged into two divisions, in the Hindostanee game
as the Red and the White, and in the European as the Red and the
Black. In the Hindostanee game there are eight suits, and six or
three players ; and when three play the cards are dealt by fours.
In the European game of four suits and forty cards — the tens, nines,
and eights being omitted — there are three players, and the cards
are dealt by threes. A person who can play at ombre will scarcely
fail to perceive several other points of similarity between the two
games/' (Chatto, p. 45.)

To return to M. Merlin : — " In noticing these singular analogies
is it not reasonable to suppose that the Hindustani game has been
borrowed from the Europeans ? This supposition has not escaped
Mr. Ghatto, but his conclusion is opposed to our own; for, while
allowing that the resemblances of the distinctive marks and rules
observable between ghendgifeh and the European games might
prove the importation of cards from Europe into India, while admit-
ting that cards had been in use already in the West nearly a hun-
dred years before the Portuguese conquered India, Mr. Chatto
nevertheless persists in maintaining their Oriental origin ! And
upon what does he rely ? On an imaginary genealogy of cards from
chess, and on a pretended Indian tradition, of which not a trace can
be found in ancient authors, as even Mr. Chatto himself allows."
(p. 16.)

The third game, As Nas, is a Teheran one, and according to M.
Querry, Secretary to the French Embassy in Persia, it has some
analogy with the European game Trente-et-un.

Chinese Cards. — Strongly inclined as the Chinese are to
gambling of every kind, it would have been surprising not to have
found them provided with cards. Those which they employ are
much smaller than the cards of Europe, being generally from 2 to
2 1 inches in length to \ an inch or I inch in breadth. Some are
much narrower than this, while others are of a squarer form ; those
represented by Breitkopf on plate 6 of his work, " Versuch den
Ursprung der Spielkarten zu erforschen " (1784), being 2 inches
long by 1|^ wide.

Chinese cards are made of thin cardboard, having the designs
and marks printed in black ink on them. The marks of the suits
are not easy to define, but chains, money, arms, and typographical
characters are decipherable, as well as human busts and whole-
length forms. At the upper portion of some cards, particularly
those which are figure pieces, a margin is reserved, on which are
other marks, and as if writing. The backs aro sometimes coloured
red, at other times they are black, and frequently quite plain.

58 GENERAL HISTORY.

Packs of thirty-six cards in nine suits, of thirty cards in three
suits, and of thirty-two cards have been described.

The execution is sometimes very clear and distinct, at other times
the work is rather heavy.

According to M. Vailsant, the Chinese have a drawing divided
into compartments or series, based on combinations of the number 7.

" It so closely resembles the tarot, that the four suits of the
latter occupy its first four columns ; of the twenty-one atouts four-
teen occupy the fifth column, and the seven other atouts the sixth
column. This sixth column of seven atouts is that of the six days
of the week of creation. Now according to the Chinese, this repre-
sentation belongs to the first ages of their empire, to the drying up
of the waters of the deluge by Iao ; it may be concluded, therefore,
that it is original, or a copy of the tarot, and under any circum-
stances that the latter is of an origin anterior to Moses, that it b
longs to the beginning of our time, to the epoch of the preparation
of the zodiac, and, consequently, that it must own 6,600 years of
existence." (!) ("Les Homes, histoire vraie des vraies Bohemiens,"
Paris, 1857.)

Fancy domino cards have been recorded by Breitkopf, to whose
work in particular reference should be made for representations of
Chinese cards and games of various descriptions.

Japanese Cards have been stated not to differ in size, but only in
marks, from the Chinese varieties.

" Those which I have seen," writes Blomhoff, " are marked with
numerical figures, pictures of images, and arms coloured and orna-
mented with gold and silver ; they have as well figured as numerical
names, and are somewhat larger than the fourth part of an English
card, the same shape, but a little thicker." (Singer, Appendix,
p. 364.)

On the subject of Oriental cards generally, reference may be
made as follows, with advantage: — Singer, Bibl. 8, pp. 16, 49, 59,
63, 364; Chatto, Bibl. 4, pp. 30-59; Merlin, Bibl. 6, pp. 13, 19,
24, 122.

Some beautiful representations of Hindu, Persian, and Chinese
cards are therein given, together with references to the transactions
of various learned societies which contain papers on the subject.

PART II.

JRIPTIVE CATALOGUE OF PLAYING
AND OTHER CARDS IN THE
BRITISH MUSEUM.

CLASSIFICATION.

The following arrangement has been adopted in describing the
various playing and other cards in the National Collection : —

Division I. — Eueopean Cards.
Division II. — Oriental Cards.

Division I. includes —

The cards of

Italy.

>> >>

Spain.

}) )>

France.

>> i>

Flanders.

jt J?

• .

Holland.

)t tt

Germany.

)) 3i

England.

. .

(Varia).

Division II. includes —

The cards of .

India.

a )>

Persia.

3f J)

China.

The cards of each country are divided into genera, and described
in the following order : —

Genus 1
„ 2
„ 3
„ 4

Tarots (pure and combined) .
Numerals (pure).
Cards with a secondary purpose.
Cards purely fanciful.

German Numerals are subdivided into —

Cards having national marks of suits.
Cards having animated marks of suits.

CLASSIFICATION.

Cards with a secondary purpose are arranged as —

1. Educational, Instructive Cards.

2. Biographic, Historical.

3. Politico-Historical.

4. Satirical.

5. Divinatory, Astrologic (occult sciences) .

6. Amusing, Humorous.

Under the head Miscellanea, various prints, broadsides, adver-
tisements, &c, are referred to, which did not well admit of arrange-
ment elsewhere.

EUROPEAN PLAYING-CARDS

ITALIAN PLAYING CARDS.

TAROTS.

I. i.

THIRD QUARTER OF FIFTEENTH CENTURY?
FLORENCE ? VENICE ?

QUARTO volume containing a series of fifty early
Italian engravings, known by the various names of the
Giuoco di Tarocchi di Mantegna, Carte di Baldini,
Italian Tarocchi Cards, Ancient Venetian Tarots, &c.

The sequence of prints to be passed immediately under
review is of important and interesting character. Its
members are not only among the more ancient ex-
amples of the early art of engraving in Italy, but may
be considered with much probability direct descendants — as far as their subjects
and designs are concerned — from the original source from which the primitive
Na'ibis, tarots, or immediate forerunners of our playing-cards, were derived. They
have been long a subject for animated discussion, whether as regards their place
and date of production, their author, or their original purport, and their acquisition
has continued to be a cherished object of the iconophilist who can afford- the
means for procuring them. They are of rarity under any conditions, and as a
complete series very scarce indeed, but as an uniform and intact sequence in the
state in which they were originally published, probably not more than three
examples are known; one of these, M. Galichon's copy, was recently (1875), s°ld
by auction, at Paris, for 17,000 francs, or £680, plus commissions and duty.
This same set realised at the Seratti sale in 1 8 1 6, £43 ; and at the auction of
Sir M. M. Sykes in 1824, £78 55. M. Galichon gave for it in i860 ten thou-
sand francs. It is once more in England, and a choice impression indeed it is.

Detailed descriptions of each engraving of the series, accompanied by more or
less critical discussion, may be found under the following heads : —
Bartsch, vol. xiii. pages 120-138.

Ottley's " Inquiry," vol. i. page 379, and "Notices of Engravers," vol. i. art.
Baccio Baldini.

Cumberland, " Ancient Engravers of Italian School," pages 51-74.
Passavant, vol. v. page 1 1 9.

" Kunstler-Lexicon," Meyer's Edition, 1875, vol. ii. page 589.

ITALIAN.

Merlin, Bibl. 6, page 34.

An accurate copy of the entire sequence of prints is given in the " Jeux d<
Cartes Tarots et de Cartes Numerales," published by the Societe des Bibliophiles
Franqais, in 1 844. Copies of one or two pieces may be seen in the treatises of
Cicognara and Singer, and reduced representations may be found in the work of
M. Merlin.

The series consists of fifty pieces of full-length emblematic figures with the
symbols, divided into five sets or suits. Each set contains ten pieces, and has one
of the letters A B C D E common to it marked in Roman capitals at the
lower left-hand corner of each member of the suit. A continuous numeration
runs through the entire sequence from 1 to 50, the numbers being marked at the
lower right-hand corner of each piece in Arabic numerals, and also in Roman
numbers after the title of the subject, which is engraved at the centre of the
lower margin in the Venetian dialect in Roman capitals.

Number l commences with the set the diagnostic of which is the letter E ;
number 1 1 begins the set D; number 21, C ; number 31, B ; and number 41
the set A.

The figures represented in the first series, or E, or that commencing with
number 1, illustrate various conditions of life, from the beggar and servant to
the Emperor and Pope. Those of D (l l), portray the Muses and the Arts ; of
C (21), the Sciences ; of B (31), the Virtues ; while the members of set A (41)
symbolise the Planets, or system of the world. Thus : —

E.«

1. Misero.

2. Fameio.

3. Artixan.

4. Merchadante.

5. Zintilomo.

6. Chavalier.

7. Doxe.

8. Re.

9. Imperator.
IO. Papa.

1 1 . Caliope.

12. Urania.

13. Terpsicore.

14. Erato.

15. Polimnia.

16. Talia.

17. Melpomene.

1 8. Euterpe.

19. Clio.

20. Apollo.

21. Grammatica.

22. Loica.

23. Rhetorica.

24. Geometria.

25. Aritmetricha.

26. Musicha.

27. Poesia.

28. Philosofia.
29- Astrologia-
30. Theologia-

31. Iliaco.

32- Chronico.

33- Cosmico.

34. Temperancia.

35. Prudencia.

36. Forteza.

37. Justicia.

38. Charita.

39. Speranza.

40. Fede.

41. Luna.

42. Mercuric

43. Venus.

44. Sol.

45. Marte.

46. Jupiter.

47. Saturno.

48. Octava Spera.

49. Primo Mobile.

50. Prima Causa.

The emblematic figure " Astrologia " has been numbered in the original b}
mistake 39 instead of 29.

The pieces vary slightly in size ; each is about 7 J- inches high by 4 inches
in breadth, 1. e. from the outermost engraved lines. All have good margins
in the British Museum example; some pieces, as Euterpe, 18, and Saturno, 47,
have margins |- of an inch wide. To " Zintilomo " (No. 5 E) some gold has
been applied on the collars and borders of the draperies, as likewise to the breast
of the hawk and the hair of the gentleman.

TAROTS. 67

The teclmic or manner in which the engraving has been executed is similar
in style and equal in merit throughout, while the design and drawing vary in
artistic power and taste. The engraving generally may be described as careful,
formal, and dry, the outlines heavier in character than the rest, and of uniform
thickness. The shadows are rendered always by means of short strokes, rarely
crossing each other or interlaced more than once, the one set of lines being
generally horizontal in direction, the other set being oblique, and frequently
arrested rather abruptly at the edges of the light parts. The incisions of the
burin within the contours are everywhere delicate, and, as observed by Dela-
borde, "a fleur de peau," the metal being rather scratched, or as one might say,
caressed, than incised. The whole design is enclosed within a spirally banded
or woven border like that which usually surrounds the Etruscan scarabeus, and
having the marks of the holes at the four corners by which the early engravers
fixed their plates to a table or board, to prevent their moving when ploughed by
the graver. The borders at the upper corners are connected by a four-leaved
flower or rosette.

The earlier impressions have been worked off with ink of a bluish or grey
tint, which gives a very characteristic appearance to these primitive efforts of the
engraver's art. "While being printed, the plates were not so carefully wiped or
cleaned as was afterwards done, and thus a smear of ink was left upon their sur-
faces, imparting to the paper a faint bluish fond sale which conoscenti may at
once remark.

Opinions have differed as to whether the earlier proofs were taken off by
means of the cylinder or by the hand press. Some persons have seen, as they
believe, the marks left by the damp linen layer impressed by the roller, while
others have looked in vain for any such vestigia, but have easily observed the
marks of the plate edges to have been impressed with such strength and distinct-
ness as at once to certify to the use of a press.

The taste and style of some of the designs, as the Fameio, 2 ; Merchadante,
4; Chavalier, 6; Doxe, 7; Clio, 19; Rhetorica, 23; Astrologia, 29 (39); and
Primo mobile, 49, in particular are worthy of much praise ; on the other hand,
Caliope, 1 1, Talia, 16, and Euterpe, 18, are much inferior. Several of the Muse
series, D, are the least to be commended of the whole sequence.

According to Kolloff, the impressions in the Paris Cabinet have been delicately
gilt with a brush on the hair, wings, weapons, trees, buildings, and symbolic
attributes : " a practice adopted only on impressions taken from plates which had
already suffered from use." As before observed, the Zintilomo, 5, of the British
Museum copy has had gold applied to portions of the drapery and of the hawk ;
this piece is one of the faintest impressions in the series, and thus confirms
KollofFs statement. The latter applies in its general bearing, we presume, to the
series possessed by the " Bibliotheque" previous to the obtainment of the fine
example belonging to M. Gatteaux de l'lnstitut, and which " avait une valenr dix
fois plus grande" than the former. (See "Notice Historique suivie d'un Catalogue
des Estampes, &c," par Le Vicomte Henri Delaborde, Paris, 1875, page 165.)

The sequence now before us appears to be composed of impressions in three
different states. First, of very early proofs of bluish grey tone, and from the
plates before they were either worn or retouched. Secondly, of impressions
from the plates when " wear and tear" betrayed themselves, but the metal was as
yet untouched. Thirdly, of impressions of a brownish hue, and after the plates
had been more or less retouched. Dr. Waagen states that a late Keeper of the
prints, Mr. Carpenter, informed him that, judging from other impressions he had
seen, the Museum copy of these early Italian engravings should be regarded as
only from retouched plates. If this was intended to apply to all the pieces, an
examination of the following ones will show, we believe, that the judgment was
much too sweeping, viz. : — Misero, E l ; Fameio, E 2 ; Zintilomo, E 5 ; Doxe,
E 7; Clio, D 19; Rhetorica, C 23; Musicha, C 26; Theologia, C 30 ; Cos-

68 ITALIAN.

mico, B 33; Luna, A 41 ; Mercurio, A 42; Venus, A 43 ; Sol, A
Primo mobile, A 49 ; Prima causa, A 50-

A careful comparison of the Museum specimens with the fine examples which
had belonged to M. Galichon did not authorise the conclusion that more than
the following pieces were clearly from plates which had been more or lea
retouched, viz.: Caliope, D 11; Urania, D 12; Erato, D 14; Talia, D 16;
Loica, C 22; Geometria, C 24. On the other hand, of the pieces — Clio, D 19 ;
Grammatica, C 21 ; Rhetorica, C 23; Aritmetricha, C 25 ; Philosofia, C 28;
Cosmico, B 33 ; Temperancia, B 34 ; Forteza, B 36 ; Justicia, B 37 ; Charita,
B 38 ; Fede, B 40 ; Octava spera, A 48 ; and Primo mobile, A 49, some were
fully equal to the Galichon impressions, while others very closely approached
them in excellence.

It may have been observed that in the preceding remarks certain points have
been assumed, for the purposes of general description, which claim to be sup-
ported by some show of argument or proof. It may be asked, for instance, to
what school of art do these engravings belong, at what period were they executed,
and by whom and what was their purport ?

In reply to the question — to what school of art do they belong ? — it may be
said, to the Italian school unquestionably. Not only do the general style and
feeling of these engravings at once indicate their birthplace, but certain intentions
which pervade them evince a like fact. These latter, as M. Merlin points out
(p. 80), reveal the Catholic and Italian ideas of the fourteenth century. The
Pope has supremacy over the Emperor, the latter is represented with the
attributes of the Empire of the West. The crown of the king is an Italian
crown, and the valet, the merchant, the knight, and the gentleman are in Italian
costumes. Further, the arts and sciences are arranged in the order of a trivium
and quadrivium; the three theological and four cardinal virtues, Apollo and the
Muses, are accompanied by the attributes allotted them in the West during the
Middle Ages, and not by those with which they are associated on the monuments
of Greece.

As to the particular school of Italy from which these designs and engravings
have proceeded, it may be stated that Florence, Venice, and Padua have each had
their supporters. From the circumstances that several of the inscriptions are in
the Venetian dialect, and that the Venetians are known to have early employed
certain emblematic playing-cards, held by some to have sprung from these
particular engravings, their birthplace has been assigned to the once luxurious
city of the Adriatic. Some authorities, considering them to be the vechissime carte
padovana, alluded to in " Le carte parlante " of Pietro Aretino, have given them
to Padua. The weight of authority, however, is in favour of their being of
Florentine origin, as based on their general style and feeling. It is not an unfair
supposition that the original designs were Florentine, while the series as we now
have it was engraved by a Venetian, or by a Florentine with particular adaptations
to the Venetian market. Those critics who have looked on these prints as
coming from the school of Padua, have usually associated with them the names
of Andrea Mantegna and Marco Zoppo, while such as have favoured Florence
have considered them as the conjoint productions of Botticelli and Baldini, though
the name of Finiguerra has not been without an advocate.

If doubt prevails as to their author, is there more surety as respects the date
of their production ? All that we are fairly warranted in maintaining is that it
was previous to 1485, since in another, and to all appearance later version
or edition of the series than the present one, this date is borne on the tablet
which the figure of Arithmetic (C 2$), holds in her hand (see I. 2.). Taking
into consideration the style of design and manner of technic, with their evident
assimilation to the period and schools of Botticelli and Baldini, the time allotted
to these early Italian prints by Duchesne, viz., circa 1470, may be regarded as
closely approximate. Kolloff gives them a somewhat later origin, contending
that : —

TABOTS. 69

The engraver must have continued working several years, allowing pro-
>ably impressions from single plates, or of the various decennary series to
appear before he published them collectively." ... . "As regards their technic
these pieces have close relationship to the ' Prophets and Sybils,' and the orna-
mental work of the goldsmiths ; we see the same cold monotone shadows formed
of delicate layers crossed by finer lines in several places, but the line has at the
.same time more sharpness and sureness of intention, is more docile and amenable
to the drawing, if not of more aims and of greater variety. These excellences
are so marked in some pieces, particularly in the angel of the Primo mobile,
that they at once attain the perfected art of the Renaissance period. These
admirable engravings, therefore, had an origin later than that of the Prophets
and the decorative work of the goldsmiths, an origin somewhere about 1490-
1495." .... "The highly graceful and elegant, though occasionally mannered,
but always attractive figures, the character of the beautiful female faces and the
noble heads of the men, the preference for profile, the great delicacy of the
drawing of the hands and feet, the tasteful cast of the draperies, are undoubted
characteristics of Florentine art .... nevertheless, inequalities may be
discerned in the composition and drawing which show that the designs for the
engraver proceeded from various hands." Kolloff in Meyer's " Lexikon," vol. ii.
p. 590.)

M. Le Vicomte H. Delaborde, in his article on La Gravure Florentine au X V.
Siecle ("Gaz. des Beaux-Arts," 1873, vol. vii. p. 99), advocates strongly the
Florentine origin of the prints under notice : —

" If it be allowable to say that the figures composing the sequence called the
Tarocchi were designed by various artists, it is not the less certain that these
productions may be attributed to a single engraver. There is not any inequality
of merit in the work, nor any difference in the modes of procedure, whether in
defining the contours or indicating the shadows, and the calm serenity with which
it is carried on does not belie itself, even where an energy of technic would
appear to have been natural to the expression, and where the types to be repro-
duced were those of Saturn, Jupiter, or Mars. Thus are we led to the conclusion
that the engravings of the Tarocchi are not the result of a collective undertaking,
and tli at he who produced them trusted to his own resources alone to consum-
mate his purpose. But it is probable we shall not discover anything beyond this,
and must be content to remain ignorant of the name of the engraver, though we
may recognise him elsewhere, and be convinced of his talent and fecundity.
Writers and iconophilists may choose — and most unfortunately in our own
opinion — the names of Finiguerra and Mantegna alternately, or less imprudently
the name of Baccio Baldini. The Florentine source being once established, we
are satisfied with admiring in themselves these precious examples of primitive
engraving, and refuse to sacrifice to the regret of an absent signature, or to an
obscure inquiry, that which is exacted from us by the picturesque beauty and
unhesitating tokens of ability everywhere present." {Op. cit. p. 100.)

A not less interesting question than any yet replied to is — What was the
general motive in this sequence of emblematic figures, and to what purpose was
it applied?

Two chief views have been held. According to one theory, these symbolic
designs were intended to serve simply as a source of instruction in various ways.
Certain philosophic doctrines and precepts of morality have been supposed to
have been therein illustrated, and likewise the occult sciences of the Middle Ages
to have been therein veiled.

If each series of the general sequence be closely examined it may be perceived
that the highest or most important subject has the last number — 50, and the
least or most subordinate the first number — 1. Thus, e.g. the Pope, the highest
dignitary of the Christian world, has the last number — 1 o, of the series E. Apollo,
chief of the Muses, has the last number — 20, of the series D ; the most important

ITALIAN.

lie

branch of knowledge, Theology, has the last number— 40, of B, and finally, the
First Cause, the lowest number of the series — A 50, the terminal of the entire
sequence. On the other hand, the order according to which the letters dis-
tinguishing the series are placed appears to say — if we begin with the First
Cause — "Before all things, think of God who made the world — series A; next
practise the Virtues — series B ; then cultivate knowledge — series C ; seek t
Muses, D, and lay stress on the various fortunes of life, last of all — series E.'

M. E. Galichon preferred regarding the entire sequence as representing t'
" Encyclopedic System of Dante, or as being an astrological speculation, striving
to assimilate the phases of celestial revolutions to those of terrestrial life ; as
constituting a book, in fact, in which the burin of the engraver displaces the pen of
the writer, while recounting in five chants, the rewards which await an upright
and industrious man."

Lastly, the mystic secrets of the Hebrew Kabbalah have been held by some
to have been concealed in certain of the original designs, unfortunately afterwards
modified and added to in number, while to others the philosophy of India and the
secrets of the Egyptian mysteries lay in them, but hidden, save to the eyes of the
illuminati, and to the questionings of an unhesitating faith. (Postea, " Cards of
Divination.")

Under the second head may be classed those theories which involve in the
character and purport of these emblematic figures some kind of amusing game.
The difficulty of pointing out the exact nature of the game which could be played
with such pieces (or cards) as bore on them the symbols of Logic, Rhetoric,
Theology, Primo mobile, Prima causa, &c, has given rise to various conjectures.
Some persons, like those who recognise in these emblems the mystic learning of
the East, have supposed the sequence to have been used — as the gypsies and
others use modern cards — for the purposes of divination and fortune-telling,
falling back for support on " Le Sorti di Francesco Marcolini," and Fanti's
"Triompho diFortuna" (a.d. 1526), (Singer, Bibl. 8, pp. 64-66), the latter fur-
nished with the Papal " Privilegium," and dedicated to Pope Clement VII., as
proving that analogous emblematic figures were then employed for these purposes.

Other archseologists have regarded the sequence as forming what is now known
as a tarots game of cards, or at least some adumbration or modification of it.
This school points out that a like general economy pervades the admitted tarots
games, and the sequence of the Mantegna tarocclii. The latter, e.g. is composed
of five series, and five divisions go to form a tarots game. Each series of the one
is made up of ten pieces, and in the other four series are composed of ten likewise,
whose " points " proceed from one to ten. Further, the decades of the taroccki
of Mantegna are distinguished by the letters A B C D E, while the five series
of more recent tarots are differentiated by objects, the initials of the names of
which are the letters A B C D E — atutti, bastoni, coppe, danari, espada (spade,
Ital.). It is true that in the Italian names for the tarots series the E does not
occur, since the proper word begins with S, but the Spanish word may have been
common at Venice formerly, and thus we find E {Espada for spade, Ital.) in the
early pieces, and it is not the less noteworthy that in the second edition or later
version of 1485 the E has been displaced from the last series, and S substituted,
as though the engraver, aware of the previous mistake or inconsistency, sought
to remedy the error. This view of the matter has been opposed by high authori-
ties. They dwell upon the fact that these early Italian pieces do not bear any of
the characteristic marks of suits, even were it to be admitted — which it should
not be — that the interpretation of the letters of the several decades above given
were in the least satisfactory.

Secondly, the number of the pieces of the sequence — fifty — does not coincide
with any combinations involved in the old and true Venetian tarots game of seventy-
eight cards.

Thirdly, that in the only two or three truly perfect or originally uniform sets

TABOTS. 71

known, the prints are bound together apparently as they were at first, and have
large margins, and not any impressions have been met with as yet, printed on
paper strong enough to resist the wear and tear of play. Lastly, their size is too
great for cards, and they are uncoloured.

To these objections it has been replied that it was not intended to maintain
these emblematic engravings were used loose, and were wont to be shuffled like the
cards of an after age. On the contrary, they formed originally a sort of book or
album, which might be employed by youth and moral persons, but to which,
afterwards on other occasions, " suit " members were added, so that they could
be used in a game of pure amusement and hazard. Further, their size is not
greater than that of the German painted cards of the Stuttgart collection, nor —
in height at least — than that of the numerals of the Musee Correr at Venice.
Colouring is not essential to a sequence of playing-cards, for several sets of four
suits each, evidently intended for play without having been coloured, were
delicately engraved on copper before the end of the fifteenth century.

It can be shown in addition that above one-half of the atouts of the compara-
tively modern games of chance called tarots have been borrowed from the figures
of the present sequence. Take the tarots (combined) of Besanqon, Marseilles,
and Geneva, which represent pretty faithfully the older Venetian games, and it
may be seen that out of twenty-six figures, fifteen have been borrowed, even to
minute details, from the early Italian engravings. Of the cards of the Florentine
tarots game, minchiate, which are in number ninety-seven (forty being true tarots),
having twenty more atouts than the Venetian game, it may be seen that the addi-
tions have been borrowed really from the same source. Lastly, the general
principle of the tarots game appears to have been taken from it likewise. The
atouts, e. g. which have more value in the jeux de tarots, are such as have the
higher numbers, and these latter belong to such pieces as correspond exactly
with the higher numbers of the ancient sequence, and which are included in the
numbers 41 -50.

We may say — speaking generally — that the relationship of the so-called
tarocchi of Mantegna to more recent playing-cards, through the medium of the
older tarots, has been placed in a clearer light, and has been better defined since
1869 by M. Merlin, the juror who prepared the report on the playing-cards sent
to the Parisian Exposition of 1855. According to this authority, long before the
production of the fifty early Italian emblematic pieces as a combined series of
engravings, and even anterior to the invention at Venice of games of hazard with
cards, there existed in Italy a series of pictorial representations called Na'ibis,
which were employed for the purposes both of instruction and simple amuse-
ment. The "Chronicle " of Morelli, a.d. 1393, and Decembrio's " History of the
Life of Philip Visconti, Duke of Milan," who was born in 1391, afford evidence
of this, and also lead to the belief that the subjects of these pictorial representa-
tions were the same as those of the tarocchi of Mantegna. In other words, it
may be implied that the engraver — whoever he was — of the latter copied the
devices of the former, just as the authors of the succeeding tarots have copied
the emblematic figures of the first engraved sequence.

From this latter circumstance, indeed, the early Italian engravings received
the names of tarots and tarocchi, names which there is not any reason to believe
belonged to them at first. These early prints, thus derived from the Na'ibis,
cannot, therefore, be regarded as original conceptions of the times at which they
were produced, but mast be considered as based, at least, on a common type
certainly existing a century before. The truth of this is shown, according to
M. Merlin, in the critical analysis of a MS. of the early part of the fifteenth century,
undertaken by M. Douet d'Arcy, in the " Revue Archeologique " for 1858. This
MS. contains, inter alia, a treatise on blazon — the earliest known. The latter is
composed of two portions, one portion consisting of twelve chapters of elementary
instruction on the art, and the other being a sort of petit armorial, in com-

72 ITALIAN.

bination with some rules on heraldic procedures. The latter section of t\
armorial is as follows :

" Sensuyvent les ditz et armes de ix femmes dictes et appellees Muses.1

" Caliope la premiere, porte de synople, une trompette d' argent en bende
dit : jusques aux nues.

" Uranyes, iie porte de sable, ung cerne dargent ung compas de masson
mesmes Son dit : la non pareille.

" Terpsicore iije porte dargent, ung leut de pourpre Son dit : Seule y suis.

" Erato iiije porte dor, une meule de molin de sable [c'est un tambour de bas-
que] Son dit : jatens l'heure.

" Polymnya ve porte dazur, unes orgues d' argent Son dit : moy mesmes.

" Talia vie porte de gueules, une vielle dor Son dit ; a mon devoir.

" Melpomene viie porte de pourpre ung cornet dor Son dit : jamais lasse.

" Euterpe vije porte dargent, une doulcene de sable Son dit : tant mest
doulx.

" Clio ixe de sable ung signe dargent Son dit : a la mort chante.

" Sensuyvent les vij ars.

" Grammaire, la premiere. — Une vieille ridee, beguinee, esmantelee, porte
pourpre, une lime d' argent, ung pot de mesmes.

" Logica iie. Une femme jeune, les cheveux crespes, les bras tout nudz hault
recoursez d'une chemise jusques aux piedz, es mammelles et au nombril troussee
— porte de gueules, une serpent volant d'or envelopee d'ung drap d'argent.

" Rethorica iiie. Une jeune dame, d'ung heaulme et une coronne par dessus
sa teste, ung manteau et une riche cotte vestue, en la main dextre tenant une
espee — porte de synople, deux enfants nudz d'argent soufflant deux trompettes
de mesmes.

" Geometria iiiie. Une jeune dame issant d'une nue, tenant en sa main une
esquarre [une equerre] pour compasser et mesurer pierres — porte d'argent, une
nue d'asur.

" Arismetica ve. Une femme ancienne, de crevechiefs sa teste affublee, d'une
robe longue abillee jusques aux piedz, contant argent — porte de sable, six besans
d'argent.

" Musica vie. Une jeune dame en cheveux, bien adornee, d'une fine chemise
vestue les bras tous nudz, assise sur un signe, les jambes entrellees et nudz piedz,
unes orgues, ung lehut et plusieurs autres instrumens empres elle, ung flaiol —
porte de synople, deux flaiolz d'argent.

" Philosophia viie. Une jeune dame les cheveux pendens, d'ung corset de
guerre a escailles, armee d'ung targon, au milieu ung visaige insculpe, tenant en la
main senestre, en l'aultre main ung dart ferre et empane — porte de gueles de dars
d'argent de mesure.

" Une jeune dame2 les cheveux pendens, ung chappelet de fleurs par dessus,
touchant de la main dextre ung flaiol, de l'aultre main espenchant a ung pot de
terre de l'eau qui sourdait d'une fontaine, et en ses piedz le firmament — porte
d'assur le firmament d'argent."

It will be at once apparent that in the foregoing descriptions are delineated
the emblematic figures of the Muses, Arts, and Poetry, exactly as they are repre-
sented in the pieces of the sequence of Mantegna. If it be a correct opinion

1 " The nine Muses form the subject of the second decade of Mantegna, the
seven arts are included in the sciences and arts, the third decade of the same se-
quence. The perfect identity may be at once recognised. The colours and
mottoes only are wanting." (Note by M. Merlin, op. cit. p. 48.)

2 The name of the person is wanting, but on comparing the description with
the engraving it will be found that it is — Poetry.

TAROTS.

that the MS. in question is as early as the first quarter of the fifteenth century,
the Italian designs are brought on a level, quoad time, with those alluded to by
Decembrio as having composed one of the favourite amusements of the young
Duke of Milan, born in 1 391 , an amusement qui ex imaginibus depictis Jit.

About the end of the fifteenth century some inventive genius, probably
Venetian, selecting a certain number — twenty-two — of the original emblematic
Ndibis (now converted into atutti, atouts, or tarots), added to them a series of
numeral cards by which the excitement of chance and interest of gain might be
added to the instruction, or more innocent amusement, the emblematic series was
intended to afford. This modified game, though adopted pretty generally, never-
theless soon underwent a further and most important change. This was the elimi-
nation of the whole of the emblematic (atutti, tarots) series, leaving the numeral
cards alone to play with (antea, " General History," p. 23). Some countries,
however, still retained an emblematic series in combination with the numeral cards
for certain games, though adopting, at the same time, packs of cards made up of
numerals only. To this day, even, packs of cards of the true old tarots character
may be purchased in Italy and the south of France, and are not unknown in Germany.
It is, therefore, through these tarots cards, whether ancient or modern, 1. e., the em-
blematic series conjoined with numerals, that the connection between the tarocchi
oj Mantegna and playing-cards should be sought. Traced as above indicated, the
connection is quite apparent, and thus there is not either mistake or exaggeration
in regarding the original Ndibis transmitted to us through the early Italian engra-
vings before us, as the source from which playing-cards may be said to have sprung,
the engravings in question simply representing that series of -earlier hand-painted
devices from which the old tarots' games of Venice and Florence made a selection
for their atutti series.

[7 in. X 4 in.] [Backs plain.]

I. 2.

LAST QUARTER OF FIFTEENTH CENTURY.
FLORENCE ? VENICE ?

QUARTO volume of like character to the preceding one (I. 1.),
containing forty -five early Italian engravings, known as the Giuoco
di Tarocchi di Mantegna, ancient Venetian tarots, &c.

The pieces herein contained constitute a second edition or ver-
sion with numerous variations of the sequence before described. The follow-
ing pieces are wanting : Misero, 1 ; Fameio, 2 ; Lnperator, 9 ; Primo mobile,
49 ; Prima causa, 50. On the tablet held by the emblematic figure C Arit-
metricha, xxv. — 25, are these figures in the following arrangement : —

.1.2.34.5.6*

. 7 .8 . 9 . 10

J 4Qg.5

Duchesne, Passavant, Merlin, and other writers, have considered the lowest
row of numerals to imply the date 1485, and the period when the engraving was

74 ITALIAN.

executed. Kolloff ridicules this opinion as " an highly wonderful conjecture." ,
" The counting-slate is intended to represent a so-called magic quadrature, i. c,
table with numbers so placed, that in whatever direction they may be added ii]>.
the resulting amount or sum shall be the same. Albert Diirer also has repre-
sented arithmetic by such a table in his famous piece of the 'Melancholy.'
I fare the numbers run from one to sixteen, and the sum is forty-four [sic] [34].
The Italian engraver was not aware evidently of what he had to represent.'
(Meyer's " Kiinstler-Lexicon," p. 594, vol. ii.)

Bartsch looked on the present series as the earlier or original set of the
Cartes de Tarots, (vol. xiii. p. 1 20,) and considered the one before described as
the second edition or copy of the present sequence.

In connection with this point two questions present themselves for considera-
tion; there is that of priority of production, and that of actual transcription. The
present series may have been, and we believe was, engraved after the precedii
one [I. 1.] ; but if so it need not have been directly copied from the latter. Tl
opinion long since broached by Ottley, "that many of the pieces of the one
series are rather the repetitions of the same subjects engraved with variations ii
the designs of the figures than what may be properly called copies," has sin<
been more fully stated by Merlin, who maintains that neither series is a dire
copy from the other, but that both have been based on another and more prii
tive example. Before referring to the particular marks on which this judgmei
is founded, it may be well to notice those circumstances in which these two ve
sions or editions differ from each other.

In the first place, the pieces of the present sequence are somewhat smaller in
size than are the others. The initial letter S supplants the letter E of the decade
containing the emblematic figures of the various stations of life ; the inscriptions
and numbers are of heavier, coarser, and apparently of later form, the points or
dots before and after them are here absent, and the marks of the nail holes at the
corners are wanting.

Secondly, the majority of the figures, which are turned or advance towards
the left of the spectator in the former version (I. 1 .), are here (I. 2.) turned to-
wards the right, but though thus reversed in direction, the actions are duly per-
formed with the right hand.

Thirdly, though the figures represent like subjects, several of them are of
different designs, and are accompanied by symbolic accessories of different
character.

Fourthly, there is much disparity between the technical merits of the two sets,
the present version being inferior in all respects to the one already described.
The expression of the heads is quite changed, the drawing is inferior, and the en-
graved work is of a harder, stiffer, and inferior kind. In one instance, however,
the author of the second version has improved on the earlier issue, viz., in the
drapery of Temperancia xxxiiii., which in the present series is superior on the
whole to the heavier forms in the figure of the version of 1470.

M. H. Delaborde observes : —

" It is quite certain that one of the two series, that in which the first ten pages
bear the letter E in lieu of an S inscribed in like places in the second, has far
higher merit as regards drawing and style. Is not this sufficient to decide the
question of priority in its favour, or at least to render it thus highly presumptive ?
If, in fact, it be supposed with Bartsch that the inferior one of the two versions
is the older one, we shall be forced to admit that, by a singular exception, the first
engraver of the tarocchi did not know how to profit either from the examples or
progress which had occurred during several years. Further, how could the
mediocrity of his work have awakened the spirit of imitation ? How, at a time
and in a country which were cognisant of the nielli of a Finiguerra, and the
prints of Botticelli, could the desire have arisen to plagiarise pieces which could
be made to undergo comparison so easily, and could be so satisfactorily judged ?

TAEOTS. 75

At any rate it is at least rare that a copy is better than the original work."
(" Gazette des Beanx-Arts," 1873, vol. vii. p. 101.)

Reference may be made now to the data on which Merlin confides, as proving
that neither of the editions in question was copied one from the other. This
writer proceeds to say, " the comparison which we have made of the first two
editions does not allow of our admitting, as is generally done, that one is a copy
of the other. The notable differences which may be observed between certain
subjects, do not indicate the work of two different burins simply, they reveal a
liberty of drawing incompatible with the fetters of a copy. A like circumstance
unquestionably happened in connection with these drawings as frequently occurred
in respect to MSS., before printing arrived to fix the tests. A first or original
model served as a point de depart, and the artists who reproduced it, though seiz-
ing fundamentals and numerous details, departed more or less from the primitive
type, an occurrence attended with far less risk in the case of drawing, however,
than as regarded texts.

" A further proof that the two engravers copied a different model is the fact
that in the edition of 1485, the first decade of the figures bears as a distinctive
mark of the series the letter S, while in the other edition the letter E dis-
tinguishes the like series. Now, this difference could not have been the result of
chance nor of inadvertence on the part of the engraver, for had it been it would
have appeared on two or three only of the subjects of the series, and not on the
whole ten.

"Another and a conclusive argument is this : while in the version of 1470
nearly all the figures are turned towards the left of the spectator, in that of 1485
they are directed to the right, yet the care which has been taken by both engravers
to preserve the pre-eminence of the right over the left hand in its proper offices,
shows that neither of these editions was copied one from the other. Thus, when
the person represented uses a weapon or any other object which he should hold
in the right hand, it is in this hand that the object is found in both versions,
though the figure has a contrary direction in each engraving, and the reversal of
position has bestowed occasionally a work of some difficulty on the draughtsman.
It may be added, likewise, that several figures, though representing similar sub-
jects, are of quite different designs in the two editions, nor are the accessories
always the same. We believe, then, that we are justified in regarding these two
editions as perfectly independent one of the other, and as owing their resem-
blances to the primitive model only from which they originated. Nor is this model
anterior to the engravings under consideration a chimera of our imagination, for
we have already shown that the types followed by the engravers were common in
the fifteenth century. As regards the question of priority of production rela-
tive to these two versions, we leave that to competent judges to decide; it has
been sufficient for our purpose to have demonstrated that the two engravers did
not copy one from the other, but reproduced anterior or original designs, designs
which could not be anything else than the Naibis cited by Morelli in 1393, as ob-
jects for recreation fit to be used by children, and exempt from the chances of
hazard." (Merlin, p. 78.)

The writer above quoted has the following note at page 79> m reference to
the question of priority of production, which is worthy of extract.

" As a proof of the anteriority of the sequence which M. Duchesne supposes
to be of the date 1470, that writer observes, that in this edition the figure of
Arithmetic (25) reckons with counters, while in that of 148 5 this same figure
holds a tablet containing the signs of numeration known as Arabic numbers. He
adds : ' It is quite certain that when numerals were written with Roman figures,
reckoning could be performed with counters only ; the use of Arabic numbers
being more recent, they could not be indicated by the engraver before the time at
which their employment had become general.' Notwithstanding our high esteem
for the learned iconophilist whom we have cited, it is impossible for us to adopt

76 ITALIAN.

his conclusion. In the first place, the introduction of Indian figures, known under
the name of Arabic numerals, was long anterior to 1470? Further, the Arith-
metic, to which he alludes, does not reckon with counters, she counts money in her
hand, as may be readily seen. M. Duchesne has not borne in mind that calcula-
tion with counters can be done only on a table and not in the hand, the value of
the counters being subordinate to the respective places which they occupy on the
table, and of which we retain the practice in marking games with counters."

On a fly-leaf of the volume containing the present version are the following
remarks in MS. : —

" Query — if not Ant da Brescia." " Wanting Nos. 1 , 2,9, 49, 50."
" Duchesne states that of two sets he had seen, Nos. 1 and 50 were wanting
and supplied by facsimile drawings."

In the Slade collection, forming part of the British Museum cabinet, there
two pieces of the earlier edition (1470), and one of the second (1485). The
former pieces are the Astrologia, xxxviiii, altered to 38 in the restoration
of the right-hand lower corner, and the Octava spera, xxxxviii. — 48. The
Astrologia is a remarkably fine and early impression, but the Octava spera is from
a much-worn plate.

The piece from the second edition (1485), is a fine early impression of bluish-
grey tint of Sol, xxxxiiii. — 44.

Besides these repliche there are other two pieces of the second edition, viz.,
the S Doxe, vii. — 7 an(^ *ne C Loica, xxii. — 22. These pieces are fine
and early states of bluish-grey tone, but having their surfaces worn and rubbed
and being cut down to the innermost lines of the borders. The inscriptions and
numbers are thus wanting.

By measurement, these two pieces will be found to be slightly larger, particu-
larly in length, than the engravings contained in the volume of the second edition,
I. 2. This is due to the paper having been much damped to receive the im-
pressions, and to the direction of the press or cylinder in motion having been that
of the long axis of the plate. Careful comparison of these repliche with the other
pieces in this volume will show that they are all from the same plates.

In volume I. l ., containing the first edition, may be found a copy of the A
Saturno, xxxxvij. — 47 of that series.

This piece is comparatively of modern execution, and of inferior workman-
ship. We assume it to be one of the " Copie du Jeu des 50 Tarots, par Hans
Ladenspelder d'Essen," alluded to by Passavant, vol. v. p. 127.

Passavant remarks : — " Although we have never met with an entire sequence,
we have not any hesitation in believing that Ladenspelder engraved one. This
copy was made from the original series {i.e. of 1470], and all the pieces have
the same primitive border, a wound ribbon, the same inscriptions, the same
numeration, and the distinctive letters from E to A. Some of the pieces have
the mark of Ladenspelder, among others, Hope, Faith, the Sun, and Geometry, on
which the monogram is inscribed on a tablet. The master of Essen has not
imitated in the least the manner of the old engravers, but has used the burin in
the style of the ' Little German masters,' with simple, very fine hatchings, and
without much drawing power. The impression is not at all like that of the
ancient cards — in pale ink — but in one of a decided black, though not heavily
loaded" (p. 127).

Johann or Hans Ladenspelder von Essen, a well-known engraver of the
Lower Rhine school, was born in 1 5 1 1 ; the date of his death is unknown. (See
Nagler, " Monogrammisten," vol. iii. n. 1520.)

TAROTS. 77

I- 3-

{Prints of the early Italian School, vol. ii.)

LAST QUARTER OF FIFTEENTH CENTURY.
VENICE.

OUR cards of the numeral series of a tarots sequence, of which as
yet but thirty-one pieces have been described.

One card is the Cavallo di Danari. It is represented by a
thick-set man with a buckler on his left arm, and mounted on
horseback. He gallops towards the left. Part of the horse's mouth, chest,
and nearly the whole of the forelegs are cut across by the boundary line of the
engraving. Below the foot of the horseman, and at the left is the mark of the
suit — Danari. At the upper right-hand comer is the title, Sarafino.

A second card is the Fante di Danari. A young man stands erect, inclined
backwards towards the left of the piece, directing his actions towards the right.
Though his back touches the left-hand marginal border of the engraving, his
right foot advances so far as to be within three-eighths of an inch of the right
border. He holds a bird in his left hand, and points to the ground with the
index finger of the right hand. On a large perch, projecting from the right of
the engraving, is a hawk, the cord affixed to which is wound loosely round the
perch. Below and between the right-hand border of the piece and the valet's
left leg is the mark of the suit — Danari. Not any title is present.

A third card is the Cavallo di Spade. It shows a young man on horseback,
advancing towards the left, the right foreleg of the horse being cut across by the
left marginal line of the engraving. The man holds with both hands a long
drawn sword, as if about to strike some one on the ground. From his left side
hangs the long sheath of the weapon. At the upper left-hand corner is the title
Amone.

The fourth piece is the Dama di Bastoni. A coroneted female is seated at
the left hand in a throne-like chair. She raises her left hand, and is directed
and looks towards the right. In her right hand she holds a baton-like sceptre,
which she likewise supports by her right shoulder. At the upper right-hand
corner is the title Palas.

Of these designs the Fante di Danari is by far the best, and has some
resemblance to the style of the Chavalier and Zintilomo in the previously
described sequence, I. 1 . The technic of these pieces has a strong affinity with
that of many of the prints ascribed to Baldini. There is, however, a grotesque-
ness of design and want of proportion about some figures, and especially the
horses, which do not say much for the artistic powers of their author.

These four engravings are very interesting in some respects. They appear
to form a portion of the set mentioned by Zani at p. 72 of his "Materiali," by
Cicognara, p. 162, and by Passavant, vol. v. p. 127.

The latter writer gives the following account of it under the title, " Venetian
Tarot Cards of the year 1070, after the foundation of Venice" : —

" The Count Cicognara in his memoirs on ' Nielli and Playing Cards,' alludes
to a set of Venetian cards which Zani had met with at Naples dispersed in two
collections, but of which a complete series (coloured), was preserved in the
cabinet of the Marchioness Busca (born Duchess Serbelloni) at Milan, and some

78 ITALIAN.

separate pieces in that of the Marquis Durazzo, at Genoa. Cicognara gives in his
work, plates xii. and xiii., copies of seven of these cards, offering a fair idea of
the manner in which they are engraved. He states afterwards that certain
pieces of the series are numbered, while others bear the marks of the suit
swords, money, and cups. He adds further that on the piece of Bacchus
No. xiv., the following inscription may be read : ' Col permesso del Sent
Veneto nelV anno ab urbe condita MLXX.' ; which would assign the execution
these prints to the year 1 49 1 , if the date of the foundation of that city be take
as a.d. 421, and not 453, as is usually done.

" The design and composition of these cards is remarkable in this, that the
actions of the figures and the play of the muscles have a certain exaggeration
which so recalls the style of Pordenone, that in adopting the date 453 as that of
the foundation of Venice, one would be tempted to refer their execution to 1523,
if the details of costume — which latter is the end of the fifteenth century — did
not fulfil better the conditions of the other hypothesis.

"Further, the comparatively poor design and somewhat coarse technical
execution by means of oblique hatchings, correspond better with the work of the
first epoch of Mantegna.

"We have seen twenty pieces of this series in the Albertine collection
Vienna, these came from the cabinet of Count Fries ; three other pieces in
the cabinet of the Baron de Haus, in the same city, eventually passing into the
Imperial Library, and four others in the British Museum at London. Neverthe-
less, we could not maintain that all these cards belonged to one and the same
edition, though they are of similar dimensions and treated in a like style, since
some might be copies only, as would appear to be actually the case with respect
to the two numbers 14 afterwards described, and which differ from each
other.

" Although Cicognara saw at Naples and Milan two complete series of these
cards, he gives but an incomplete account of their number, contours, figures, and
design. We would observe only that if the figure of Panfilio be marked with the
number 1, it may show that the pieces before us formed part of a Ginoco del
Fante di Spada, in which, according to the Venetian custom, this card is the
highest of all the pieces.

" As far as we can judge from the thirty-one cards known to us, there should
be twenty numbered figures, while the other cards (king, queen, knight, and
knave) bore the marks of the suits of spade, coppe, danari, and bastoni." (Pass.,
vol. v. pp. 127-129.)

[Si X 2f- in.] [Backs plain.]

I. 4.

SECOND HALF OF SEVENTEENTH CENTURY?
BOLOGNA.

TAROTS1 pack, representing the old Venetian tarots set of twenty-
two atutti, combined with the full numerals, fifty-six in number,
i. e. seventy-eight in toto. As here arranged, the true tarots
series is the last series in the book. It begins with "Le Fol,"
unnumbered as usual, followed by "Le Bateleur," Number i., and terminating
in the typical manner with "Le Monde," xxi. Each emblematic card follows

1 The force and meaning of the words tarot and tarots are fully considered
antea, p. 19, and under French " Cards of Divination," postea.

TAROTS. 79

exactly the common old titles and sequences, as are given by Merlin, p. 32.
Each of the tarots is numbered at the top in Roman numerals, and has the title
below the design.

The numeral suits are of the marks always accompanying the old Italian com-
bined tarots sets, viz. coppe (here coupes), danari (deniers), bastoni (baston), and
spade (spee). Each suit has here of course an additional coate card or honour —
the chevalier — in accordance with the rule of this typical series. Each numeral
card has the number of its value marked in Roman characters at the sides. The
coat-cards have their titles inscribed below the designs. On the two of coupes —
here the first card in the arrangement — is the following inscription at the lower
portion : Tarochi Fini Di Francesco Berti in Bologna.

On the two of deniers is inscribed " Carte Fine " within an ornamental scroll
connecting the marks of the suit, while on the four of deniers is " Al Leone " on
a tablet in the centre, on which is likewise a large bird pecking the ground.

The back of each card in all the series has a full-length figure of a man with
a turban, and in Oriental dress. He holds by the tail a live bird in his left hand,
and a dead bird, apparently, in his right. This figure, printed in black, is relieved
from off a ground watered or clouded in rose-madder colour. Below it in a
margin retained for the purpose is the address al leone.

The whole of the designs, which are from wood-blocks, are of the commonest
and coarsest character. The colouring is in keeping with the rest.

This series of cards is noteworthy, as illustrating the following remarks of
Taylor, Bibl. 9, ix. p. 229.

" With regard to the tarots, it is singular that so many of the packs, no
matter where manufactured, bear French titles, some of them, as we have seen, of
very barbarous orthography. A pack, however, in our own possession, inscribed
on the deuce of cups, Fabbricatore Gumppenberg, and on the backs of the cards,
which are tarottes in blue, l in Milano] has the titles in Italian, corresponding
with those of the French pack of 1 500."

In the set under notice, the titles of all the atutti are in French, e.g. Le
Bateleur, La Imperatrice, Le Empereur, Le Ermite, &c. The same is the case
as respects the honours of the numeral series, as, e.g. Valet de Spee, Reine de
Spee, Roy de Spee.

These cards are stiffly mounted, and like those of many Italian packs, have
the paper of their backs turned over the edges of the front so as to form a border.

[3 J X if- in.] [Backs figured and coloured.]

I- 5-

SECOND QUARTER OF NINETEENTH CENTURY.
MILANO.

PACK of seventy-eight cards, representing the old Venetian
tarots, i. e. twenty-two atutti and fifty-six numerals. There are
four honours in each suit, which latter are coppe, danari, spade,
and bastoni.
The emblematic figures or true tarots are numbered at the tops in Roman

numerals, and have the titles below the designs in the Italian language,

viz.: 1. II Bagattello ; 2. La Papessa; 3. LTmperatrice ; 4. L'Imperatore ;

5. II Papa; 6. Gli Amanti; 7. I Carro ; 8. La Giustizia; 9. L'Eremita; 10.

Ruot. dellaFor; 11. La Forza; 12. L'Appeso ; 13. Without title (Death);

14. La Temperanza; 15. II Diavolo ; 16. La Torre; 17. Le Stelle; 18. La

80 ITALIAN.

Luna ; 19. II Sole ; 20. II Giudizio ; 2 1 . II Mondo. II Matto is without
number.

The honours bear the titles: Re di Danari, Reg. di Danari, Caval di
Dinari, Fan di Danari.

Re di Spade, Reg di Spade, Caval di Spade, Fante di Spade, Re di Bastoni,
Reg di Bastoni, Cav. di Bastoni, Fan di Bastoni, Re di Coppe, Reg di Coppe,
Caval di Coppe, Fante di Coppe.

On the Re di Bastoni is the address Gius e Felice Rossi, and the govei
ment stamp, bearing the divided crown of Austria, beneath which is : F. 1 . c. V
Lombardia.

On the two of coppe may be read " Nuova Fab di Milano," and on numbe
iii. of the tarots series, " L'Imperatrice," " Tarocco Fino."

The designs and execution of these cards are common and coarse. The
backs are stamped in blue with a lace-work-like ornament, below which is
inscribed E di Milano.

[3t x lh1 [Backs decorated.]

I. 6.

SECOND QUARTER OF NINETEENTH CENTURY.
BOLOGNA ?

(Takocchino.)

MODERN pack of sixty-two cards, viz., twenty-two atutti and forty
numerals, being a perfect set representing the game known as the
old Tarocchino of Bologna.

This version of the tarots game is stated by Cicognara and others
to have been invented in Bologna at the end of the fourteenth or beginning of
the fifteenth century, by Francesco Anteminelli Castracani Fibbia, Prince of
Pisa, who was an exile in that city, and died there in 1419.

The game of tarocchino differs from the typical Venetian tarots series in the
number of the numeral cards. In the former, the two, three, four, and five of each
suit are suppressed, thus reducing the old Venetian sequence of seventy-eight cards
to sixty -two. The true tarots, or atutti, are identically the same in number and,
speaking generally, similar in design and subjects. In modern sets, however, a
modification has been introduced which will be noticed presently.

The authorities of Bologna were so well pleased with Fibbia's alteration of
the Venetian game, that they allowed the prince the privilege of placing his owi
shield of arms on the queen of bastoni, and that of his wife, who was of the Ben-
tivoglio family, on the queen of danari, a distinction which, as Duchesne remarks,
" should not prevent us from hoping that Francesco Fibbia, who had been general-
issimo of the Bolognese troops, had rendered his country more important services
than teaching it to play at tarocchino." (B. 2, p. 11.)

In the pack before us the actual numeration of the atutti series begins with
the emblem of love, or L 'Amoreux, as it is often written. This is marked with the
Arabic numeral 5 at the upper left-hand and lower right-hand corners in reverse.

The atutti continue to receive numbers up to the sixteenth card, L'Etoile.

Not any titles nor names occur on the pieces, whether atutti or numerals. The
peculiar numeration here practised agrees with the account given by Merlin, p.
32. It receives an explanation in the circumstance that this modern pack of
tarocchino cards has the four " Moor's heads or satraps " in lieu of the emblematic
figures JJEmpereur, L ' Imperatrice, Le Pape, and La Papesse, which are present

TAR0T8. 8i

in the old Venetian tarots, and the old tarocchino cards of the Paris cabinet. In
some still more recent tarocchino sets than the present series, the original emblems
have been restored (Mitelli cards).

" Several of these variations are due evidently to political circumstances. In
1513 the republic of Bologna acknowledged the sovereignty of the Pope. It was
probably after this revolution that the four figures of the tarots were displaced by
the four Moors. Other variations have been due to mistakes of the engravers,
while changes in costume occurring in time have produced the rest." (Merlin,
p. 84.)

All the figures in the present series, both atatti and numeral honours, are
busts, printed double and in reverse on each piece.

The numeral suits are of course coppe, danari, basto?ii, and spade. On the ace
of danari, above and below the symbol of the suit, is a running hare looking be-
hind her as she runs, backed by some bulrush-like plants. On the large central
mark itself is a bust, like that on coins. The six of danari bears two government
stamps, the upper one is inscribed l827» and has a baldacchino with two cross
kevs below it; on the lower stamp is the word case (B), (3). The designs and
execution of these cards are of the commonest character. The colouring is in
keeping with the rest.

The Matto or Fou of the atutti is a fancifully dressed man playing on a horn
and a drum at the same time. The card intended here for the ace of spade is
peculiar. It is probably a piece of a suit of hastoni crept in by mistake.

The long narrow form of these cards is characteristic of a tarocchino pack.
The backs are stamped in black with a large floriated or arabesque-like ornament,
which is the best designed thing in the entire set.

[4| x If in.] [Backs decorated.]

I. 7

FIRST QUARTER OF EIGHTEENTH CENTURY.
BOLOGNA.

(Il Giuoco del Tarocchino di Mitelli.)

SET of sixty-two cards, viz., twenty-two atutti and forty numerals,
representing the tarocchino of Bologna. The two, three, four, and
five of each numeral suit are suppressed in accordance with the
original game.

These cards, well known as Mitelli's, had some repute in their day, and were
included by Bartsch in his description of the works of this artist in the nine-
teenth volume, p. 305, of " Le Peintre Graveur."

Giuseppe Maria Mitelli was born at Bologna in 1 634, and died there in 171 8.
He studied painting in the schools of Albano, Guercino, Torri, and Cantarini, was
a proficient in music, and greatly addicted to hunting. Mitelli gave up much time
to engraving, but his designs are — as observed by Bartsch — " more remarkable
for their strange and sometimes ingenious character, than for the manner in which
they are executed. The drawing is not always satisfactory, and the contours
want in general purity and taste." — " The works of Mitelli are etched with a light
point, but without much feeling, and from the openness of the technic, and
the faintness of the shadows formed by simple or but rarely crossed lines, they
have a cold look about them. They are, in fact, but designs sketched without
force and efTVct, owing what merit they possess to the subjects they represent."
(B. xix. p. 270.)

82 ITALIAN.

According to Bartsch, the engravings of Mitclli, after the designs of Titian,
Albano, Cagliari, and others, are not superior to those of his own designing. To
this judgment objection may be taken. Some of the former are surely very much
better than the execution of his own bizarre and grotesque compositions. Among
the better of the latter and devoid of any extravagance are these designs for ;i s< i
<.(■ tiiroccliino cards, engraved by Mitelli for one of the family of Bentivoglio. The
copper-plates were still in the possession of the latter when Cicognara wrote, and
who perceived on the designs: " tanta grazia, che pu6 dirsi una delle migliori
sue produzioni, salvo quel po di manierato, del quale ogni opera dell' Arte
comincio a risentirsi in quell' epoca" (p. 138).

According to Cicognara, the Mitelli cards had become (1831) scarce, and in
request by virtuosi.

Of this series of tarocchino cards, the Museum possesses three distinct sets.

Set A. — Italian School of Engraving. Worhs of Mitelli.
(Vol. iii. Nos. 274 — 277, 308 and 309.)

This is a proof set of impressions from six large plates, varying from 14 in.
to 14^- in. in width, by 1 1 in. to llf- in. in height. The first or lower plate
(275), contains ten of the atutti series of emblematic figures in the following
order, beginning at the right-hand corner of the lower row : L'Empereur
barbu, No. 2 ; L'Empereur imberbe, 3 ; Le Pape assis barbu, 4 ; Le Pape debout
barbu, 5 ; L' Amour les yeux bandes, 6 ; Venus, 7 ; La Temperance, 8 ; La
Justice, 9; La Force, IO; La Fortune, 11. The second or upper plate (274),
contains ten other figures, viz. : Le Temps (veillard aile avec des bequilles), 1 2 ;
Un homme qui va tuer avec un maillet un jeune homme endormi (Le pendu, le
traitre), 13 ; La Mort, 14 ; Le Diable, 15 ; Un homme frappe de la foudre, 16 ;
Un chiffonier et au ciel une etoile (L'Etoile), 1 7 ; Diane et la lune au ciel (La
Lune), 18 ; Appollon (Le Soleil), 19; Atlas (Le Monde), 20; Un ange sonnant
de la trompette (Le Jugement Dernier), 21,

Each of these plates of unseparated card pieces bears at the upper margin
the inscription, " Gioco di carte di Tarocchini," and at the lower margin at
the right-hand corner, " Gioseppe Maria Mitelli, Inv. diss. e. Int.''''

The third plate (276), contains (commencing at the left-hand corner of the
upper row), Le Fou qui Saute, Le Bataleur qui joue du tambour de basque l .
Then follow the figure cards or honours of the numeral series in the following
order after Le Bataleur : Roi d'Epees, Roi de Batons, Roi de Deniers, Roi de
Coupes, Reine d'Epees, Reine de Batons, Reine de Deniers, and Reine de Coupes.

The fourth plate (308), contains ten honours in the following order, com-
mencing at the upper row, left-hand corner : Cavalier d'Epees, Cavalier de Batons,
Cavalier de Deniers, Cavalier de Coupes, As d'Epees, Cavalier d'Epees, Cavalier de
Batons, Valet de Deniers, Valet de Coupes, As de Batons. On a scroll on the As
d'Epees is the motto, " Custody Custos." On the As de Batons is " Ardua
Virtus."

Both these plates have inscriptions on the margins like to those previously
described.

The fifth plate (277), contains eleven numeral pieces, viz., the as, six, seven,
eight, nine, and ten of coupes, and the six, seven, eight, nine, and ten of batons.
The as de coupes is rather an elegant design, having on it the arms of the
Bentivoglio family. The designs of the cups on the other cards are all of
different character to each other.

The sixth plate (309), contains eleven numeral pieces of the suits deniers
and epees. The ace of deniers bears a female bust in an oval shield, below which
on a pedestal is the address, " Gioseppe Maria Mitelli Inv. Dis. e. Int."

TAROTS. 83

The symbols of the six of deniers bear birds, those of the seven, grotesque

lasques, the eight and nine male and female heads. On the ten of deniers are

small, full-length figures in various actions, such as painting, fencing, shooting,

fiddling, &c. Both plates bear inscriptions similar to those on the other

impressions.

This particular set is interesting, as showing the actual sequence in which
the pieces were executed, and being uncut and uncoloured, admits of a full
appreciation of such merits as the designs in it possess. Cicognara remarks : —

" A. Bentivoglio caused it to be engraved, and in this family are preserved
the worn plates. The emblems of the armorial bearings of the Bentivoglios may
be seen on many of the cards, and in particular the queen of Danari has all the
ornamental portions of her dress cut like a saw, which was the original arms of
this signiority." (Bibl. 5, p. 138.)

To the writer above quoted, and to Merlin (Bibl. 6, p. 1 28), reference may
be made for further information.

Set |3. — Tarocchino di Hitelli.

A pack (62), of the tarocchino cards of Mitelli before described. This set
is bound up as a book lettered "Playing Cards, Bologna." The pieces are
coloured, but in general less carefully and less appropriately than in the set
presently to be noticed. The tarots emblematic figure of La temperance is
uncoloured. The atutti series is placed last in the book, and follows a some-
what irregular sequence. The first card of the whole series is here the as
de deniers, on which, engraved on a pedestal, is the address : " Gioseppe Maria
Mitelli Inv. Dis. e. Int."

Set y. — Tarocchino di Mitelli.

A pack (62) of the tarocchino cards of Mitelli. This set is contained in the
original case, lettered : " Mitelli. Carte del Taroc."

The cards are well and carefully coloured. Each piece has the margin edged
with a yellow border formed by the overlapping edges of the back-mounting paper
of the card.

The as de deniers bears the usual address : " Gioseppe Maria Mitelli Inv.
Dis. e. Int."

\_4f X 2 in.] [Backs plain in all the sets.]

Among the works of Mitelli (vol. iii.), are three pieces, representing scenes
connected with playing-cards.

No. 227. — A party of four persons is here represented, seated at a table and
playing at cards. Twelve others are variously disposed, looking on. Diamonds
are being played. On the floor lie some upturned cards ; on a perch, projecting
from the wall on the left, sits an owl ; opposite is another bird (? a raven) ;
between these are three birds of nondescript character. Two dogs are snarling
at each other in the foreground. The centre scene is treated in a grotesque and
comic manner. At the upper portion of the print is the inscription : " Conver-
sacione Considerable."

At the lower left-hand corner is the address: " Pietro de Rossi inv." ; and at
the right-hand corner Mitelli's name, though barely visible.

[l6f X 10 in.]

No. 243. — Two persons are represented seated at an oval table, engaged with
cards. The numeral suit danari is being played. The three of danari lies up-
turned on the table, and the person on the left hand is about to play the five of
this suit. Cards of the latter (some of which are torn in half) and of bastoni are

of
•ds

84 ITALIAN.

on the table, along with four dice, counters, and a tray. On the floor lie to
cards.

At the top of the plate is No. $ I at the bottom are two verses of four
lines each in Italian, showing that a lazy man would gamble away even
patrimony of the sun.

The address of Mitelli is at the lower right-hand corner, and the date 1 6
on the support of the- bench upon which the man on the left is sitting.

A point worthy of notice in connection with this print is the circumstance,
that although Mitelli made himself well-known by his cards for the game of
tarocchino, the game here' being played is a different one, since the small cards
which are suppressed in the former are being employed.

[llf X 8f in.]

No. 256. — A gambler is represented holding up in his right hand a pack of
cards, with the six of danari exposed. He points with his left hand to a table, on
which are cards, counters, dice, and money, together with trays and dice-boxes.

On the floor lie cards of various suits, and balls and racket for playing tennis.
On the wall hangs a racket, and three instruments with which gambling may be
practised.

At the upper right-hand corner of the print is the number 9. In the lower
margin are two verses of four lines each, in Italian, one verse purporting to be
spoken by a gambler and one by Death : the former telling how play has always
been his delight, and that without being a Jew, he could live on usury ; the
latter replying that if by gambling a fortune may sometimes be gained, it generally
follows that the player loses his soul.

Immediately above the verse of the " Giuocatore" is the address of Mitelli.
[10{-X 7| m.]

I. 8.

SEVENTEENTH CENTURY?

SERIES of diminutive cards, thirty-eight in number. It is composed
of an aiutti suit (twenty-two), and the sixteen figure cards belonging
to the numeral suits, apparently of a tarocchino sequence.

The latter may be inferred from the circumstance that two Moors,
or satraps, displace Le Pape and La Papessc in the atutti suit.

The designs and execution are of common character; the pieces are un-
coloured.

I1 tV x 4rm0 [Backs plain.]

NUMERALS.

NUMERALS.
I. 9.

SEVENTEENTH CENTURY.
VENICE.

SERIES of twenty-nine numerals from a pack of fifty- two Venetian
cards.

The suits are coppe, danari, spade, and bastoni.
The most complete suit is that of spade, which wants the seven,
nine, and cavallo. Judging from the figure cards of the suit bastoni, which are
re, cavallo, and /ante, there was not any queen admitted into this pack, probably
from some Spanish influence or fashion prevailing at the time the cards were
designed. Nevertheless, this exception may be due only to the " honours " of a
tarots sequence having been taken, and the cavallo in lieu of the queen retained
without any specific intention.

On the two of spade is the following address : ■ " Mottavio Cartoler in Piazza
di San Marco Tien i^. in segna La Perleta."

The ace of spade bears the motto : " Di Spada Ben Gioca Chi Vince" on a
tablet in the centre of the card.

On the ace of coppe is the motto : " Chi Coppe Havera Dinari Trovera."

The kings are full-length figures, seated, bearing a sceptre in their left hands,
and the symbol of the suit in the right. The /ante of spade is an executioner,
haying the sword in his right hand, and a decapitated head in his left.

Though the designs and execution of these cards are coarse and common-
place, yet from the mode of colouring which has been followed — bad as it is — »,
a kind of richness of effect is produced, characteristic of the Venetian school of
adornment.

Merlin reproduces on the cover of his book (Bibl. 6) : " Les deux parties
de l'enveloppe d'un jeu du seizieme siecle a la perletta." It is evidently
Venetian. The present pack was sold at the sign of " La perleta"

[3f x H in-] [Backs plain.]

I. IO.

FIRST HALF OF EIGHTEENTH CENTURY?
PADUA.

PACK of fifty-two numeral cards, having as the marks of the suits
danari, bastoni, coppe, and spade.

As in the previous set, a eavallo displaces the queen, and t\\efante
of spade is an executioner.
In the centre of the two of spade is the following inscription : " Al Aquila
Coronata in Padova per Vicenza."

ITALIAN.

Within a tablet on the ace of bastoni is the motto : " Non ti fidar di me
il cor ti manca."

On the backs of these cards is a full-length figure in outline printed in
carmine ink. It represents a minstrel playing a guitar.

The designs and execution of this pack are in all respects of the most infei
character. Several of the inscriptions are quite undecipherable. In connection
with these, however, plate 29 of Merlin's work should be consulted, where a
" Jeux a deux Tetes de Vicence, 1 602," is represented having mottoes like
present series.

[3f

x 1

'•]

[Back decorated with a figure.]

CARDS WITH A SECONDARY PURPOSE.
EDUCATIONAL, INSTRUCTIVE.

1 1

FIRST QUARTER OF EIGHTEENTH CENTURY ?
BOLOGNA OR VENICE.

(Geographic and Heraldic.)

SERIES of sixty-two cards, viz., twenty-two atutti and forty numerals.
It represents a comparatively modern version of the tarocchino of
Bologna. Originally the two, three, four, and five of the numeral
suits were suppressed (as in modern piquet), but in the present
sequence they exist, while the seven, eight, nine, and ten of each suit are
absent.

A marked feature of the present series is the intention of it to impart instruc-
tion. Each tarots card has a geographic table engraved on it. Above this
table is the particular emblematic tarots device, e. g., Love, Justice, Force, &c,
with a letter of the alphabet at the left-hand corner. The number of the tarots
card is on the left-hand side, at the top of the geographic table. The matto,
or fool, has the letter O and the number 22 above a table of the '* Jtegni dell
Europa, e citta Regie.''''

In the numeral cards, the place occupied in the atutti by the geographic
table is filled with shields of armorial bearings. The latter are numbered,
No. 1 being on the queen of swords, 175 on the ace of clubs. Above the shields,
in separate compartments, are the marks of the suits, which are here money, cups,
swords, and clubs.

The honours are indicated by busts, the marks of the suits being sometimes
at the left-hand, sometimes at the right-hand corner.

On the ace of cups (No. of shield 174) is the inscription : In vece del 7,
8, 9, IO di Coppe, si prende il 2, 3, 4, 5 e cost di tutti, and on the shield,
" Libertas."

On the ace of clubs (No. of shield 175) is — Si stampa.no da Lelio dall
volpe ; while the ace of money offers — L'arme sono delli SSr%. Anziani del 1670
smo al 1725.

EDUCATIONAL— INSTRUCTIVE. 87

The ace of danari is here the first card in the series, and has on the shield
(No. 175) the cross argent of Savoy.

The cards of the atutti series are impressions from engraved metal plates ; the
numerals are from wood. The devices and symbols of both are coloured, but the
shields on the numerals have been printed off simply in black. Most of the
pieces have either dots or ornamental figures on their faces, printed off in
red ink.

On the verso of each card is an impression of an allegorical figure holding a
shield, chequered, in her left hand, and a spear in the right. She is seated, and
looking towards the ground. The various portions of the figure are numbered
up to twelve, and below, on the pedestal, is the inscription, " Divisione dell'
Europa." This figure is from an engraving on wood, and is on all the pieces,
both atutti and numerals. It is uncoloured.

We presume it is to these cards, and to the book which was published with
them, that Cicognara alludes in the following paragraph (Bibl. 5, p. 138) : —

" A short digression relative to what occurred at Bologna in 1725 may not
be out of place. A little book was there published, intitled, ' L'utile col diletto
ossia Geografia intrecciata nel Giuoco dei Tarocchi,' dedicated to the Marquis
Gio. Paolo Pepoli, and issued with the permission of the Archbishop and of the Holy
Office. Nevertheless, the little work was severely anathematised a few days
afterwards by Cardinal Ruffo, the Papal Legate, by order of the Court of Rome,
and the unfortunate game at cards ran a sort of human political career at this
epoch, when thoughts and dreams were not wont to be so severely scrutinized as
is the case at present. A certain Luigi Montier wrote the dedication of the
work, which is composed of twelve pages of text and twenty-two cards, along
with those of the tarocchi already known. Certainly the adulations of the
writer are not to be admired, who imitates the French not only in their invention
of games, but likewise in their style of dedicatory address : ' Dedicated to the
most glorious King Louis XIV. the Great. I dedicate it,' adds the author, ' to
you, most noble Signior, as to a person of blood and royal mind, and as it appears
suitable to do so to a monarch of a most flourishing kingdom, and to a conqueror
of so many provinces, so does it seem proper to do likewise to a Signior of high
and noble race, and to a cavalier who has travelled over so many parts of the
world. In the cards dedicated to him we may see those kingdoms, empires, and
states, in which from the high prerogatives of his spirit and mind more wonders
have arisen than we have been accustomed to observe in other places,' &c.

" But such bombast, very common at that age, and indeed too frequent
at all times in which meanness and hypocrisy are the roads to reward, honours,
and place, though able clearly to excite a little envy or jealousy, did not neces-
sarily lead to such violent anathemas.

" On reading the text, geography and heraldry were found to be applied to
the game of cards, and in the divisions of the four quarters of the world, indicated
below the symbols of the tarocchi, stood some elementary geographic notices in
the form under which, in a table of pedigrees, the noble arms of the Bolognese
nobility are printed, and those families who had been Confalionieri countersigned
with an asterisk."

[4|- X 2\ in.] [Backs decorated with a figure.]

ITALIAN.

I. 12.

EIGHTEENTH CENTURY.
BOLOGNA?

(Geographic and Heraldic.)

SERIES of fifty-nine cards from a tarocchino pack, intended to answer
the purposes of instruction in geography and heraldry, as well as
of ordinary play.

Three coat-cards are wanting in the numeral suit bastoni.
These cards form a duplicate set of I. 11. They resemble the latter in
respects but the following circumstance. In the present series the backs of the
cards are marked with ten shields, representing the various blazon colours anc
metals by the respective lines and dots always adopted in such cases. The
lowing inscriptions are contained in five scrolls between the shields of tl
colours : —

Colori.
Azuro. Oro. Rosso.

Verde. Argento. Porporin.

Armelind. Nero. Varri.

The numbers attached to the shields in this and the previous pack may be
presumed to refer to the descriptive account alluded to by Cicognara. The
pieces are coloured after the method adopted in I. 11.

These cards are contained in the original case, which is lettered, " Montieri
Carte del Taroc."

[4i

x i\

'•]

[Backs decorated with shields.]

I. 13-

THIRD QUARTER OF SEVENTEENTH CENTURY.

NAPLES.

(Heraldic, Historic, Geographic.)

SERIES of fifty-two cards of the suits piques, trefles, carreaux, and
cceu?s. The pieces are bound up with an explanatory text, the
whole being intended to afford instruction in heraldry, geography, and
history. The volume is lettered : fine. Giuoco D'Armi napoli.
1677. The card pieces are from engraved metal plates, and are uncoloured.

The original character of this series may be gleaned satisfactorily from the
following observations of Taylor (Bibl. 9, p. 197).

" A pack of heraldic cards by M. Claude Oronce Fine, dit de Brianville, with
a small l2mo. volume as a guide, was published at Lyons in 1659, probably
executed for Desmarests, as in a later edition there is printed as an appendix,
together with the letters patent before-mentioned, a transfer of his privilege,

EDUCATIONAL — INSTRUCTIVE. 89

dated 13th May of that year, to Benoist Coral, Mavcband Libraire at Lyons, in
so far as relates to the Cartes tie Blason. The title of this edition, which is the
only one we have been able to consult, is ' Jen d'Armoiries des Sovverains et
Kstats d'Europe, pour apprendre le Blason et la Geographie et l'Histoire curieuse.
A Monseigneur le Dauphin. Par M. de Brianville, Abbe de S. Benoist le
Quincay lez Poitiers. A Lyon, chez Benoist Coral, rue Merciere, a la Victoire,
1 672. Avec Privilege du Roy.' l

" The author commences with an advertisement to the reader, in which,
after professing his obligations to Menestrier and others for their assistance and
advice, he gives the following remarks and instructions on the method of play : —

" ' The method of playing this game does not differ from that adopted with
the ordinary cards, there being the same numbers of cards and the same points.
The only change made is that of valet and ace into prince and chevalier, which is
done to prevent any misconstruction {pour eviter tout equivoque)?

" ' The games of Here, Malcontant, or Coucou, are the most suitable, because,
being the easiest, they are not so likely to divert the attention needed for the
blazonry, geography, and history. The players range themselves around a table
covered with a map of Europe, and after the cards are dealt and exchanged to
every one's satisfaction, the lowest pays according to the laws of Here. He who
is first then describes the blazonry of the card3 he holds, forfeiting one if he
makes an error, either to the player who corrects him, or to the bank, if there is
one. The next highest then follows suit, and so on through all the rest. The
first round being completed, they then proceed to the second, describing this
time the geography of each card, and forfeiting points for mistakes as before. At
the third round they take the history in the same manner.' He recommends
that at first only the blazon should be attempted, as the game can be played in
each division separately, as well as in all three collectively.

" The cards are divided into the four suits, caiurs, trejles, piques, and carreaux,
distinguished respectively by the armorial bearings of the kingdoms, provinces,
and great dignitaries of France, Italy, the North (le Nort), and Spain. The
honours of course contain the most exalted, the King of Great Britain appearing

as the prince (knave) of the spade, or Northern suit The geographical

and historical lessons are very concise and comprehensive, the former giving the
latitude, boundaries, chief towns, &c, and the latter entering minutely into the
descent of the house whose arms are represented.

" One can easily see that the utile in games like this predominates very mate-
rially over the dulce, and it was doubtless deemed a very sorry recreation by the
royal urchin for whose edification it was devised."

Nevertheless, this historico-heraldic game was patronised, and was imported

1 We are indebted for the loan of this rare little work to the valuable heraldic
library of A. W. Morant, Esq., C.E., of Great Yarmouth. Notices of other edi-
tions will be found in the Bibliographical Appendix. In these, De Brianville is
otherwise styled " Mont-Dauphin," and " Conseiller et armoirier du Roy." The
third edition (1665) is dedicated " A son Altesse Royale de Savoye." (Note in
Taylor, op. cit.)

2 An explanation of this expression, very characteristic of the times, is given
by Singer. The aces and valets, it appears, bore in the first edition the arms of
certain princes and nobles. This being considered offensive to their dignity, the
plates were seized by the magistrates, and only restored on condition that princes
and knights should be substituted. (See on this point " The Herald and
Genealogist," vol. iii. p. 74. 1866.)

3 As this could not be done without considerable acquaintance with heraldry,
a M. Gauthier devised, in 1686, a new pack of heraldic cards, to serve the pur-
pose of a kind of grammar of the science.

ITALIAN.

into Naples in 1677, by Antonio Bulifon. Here Don Annibale Acquavn
established a society under the name of " ArmerisW'1 to play at blazon, it
device being a map of Europe, with the motto : " Pulchra sub imagine Ludi.'

At Naples, Bulifon published an Italian version of the cards, and the b(
of instruction edited by Giustiniani, of which the series now before us is
example, cards and book being bound up together. The collective work
the following title : "Giuoco D'Armi Dei Sovrani E Stati D'Europa per Apprei
dere L'Armi, la Geografia, e l'Historia, loro curiosa. Di C. Oronce Fine, detto
Di Brianville. Tradotto dal Francese in Italiano & accresciuto di molte aggiunte
necessarie per la perfetta cognitione della Storia. Da Bernardo Giustiniani
Veneto. In Napoli 1677 Appresso Antonio Bulifon All' Insegna della Sirena
con lie. e Privil."

To this volume of 360 pages there are appended the " Lettera di Alessandro
Parthenio intorno alia Societa de gli Armeristi et ad un Giuoco detto Lo Spen-
dore della nobilta Napoletana ascritta ne' cuique Leggi. In Napoli 1678, Aj
presso Antonio Bulifon."

In respect to the conversion of the valet and ace into prince and chevalie
alluded to by Taylor, Chatto (B. 4, p. 1 50), remarks : —

" Les as et les valets were represented by the arms of certain princes an(
nobles. Now, as this was evidently a breach of etiquette and a derogation of
heraldic nobility, Mons. de Brianville, like Mr. Anstis, does not seem to have
rightly understood his own 'foolish business.' The plates were seized by the
magistrates." .... " Lord Chesterfield is reported to have said to Anstis on
one occasion, when the latter was talking to him about heraldry: — 'You silly
man, you do not understand your own foolish business.' "

Though each card has a mark of its suit with the value on it at the left-hand
upper corner, we presume not any person would attempt to use the set as
ordinary playing-cards.

The rot de trejles — the first card — bears the arms of Pope Innocent XI.
la dame de trejles — the second — has the arms of Naples. Some of the pieces
have not less than three shields on them, with a description of their blazon in
Italian below.

Following the " Licenze di Superiori Ecclesiastici " to this Neapolitan version
is an engraved sheet, exhibiting the " Primi Elementi o Principy dell' Armi,"
illustrated with above sixty small shields, representing the various quarterings,
&c.

This series, as it exists in the form of a large duodecimo volume, is 5 in. X
3|- in. The card-plates are :

[3f X 2f in-] [Backs plain.]

I. 13. 2.

LAST QUARTER OF SEVENTEENTH CENTURY.
NAPLES.

(Heraldic, &c.)

LATER edition of the series last described. It is in the form of a
bound duodecimo volume, printed at Naples in 1692, by Giacomo
Raillard, who dedicates it: "All' illustriss. Signore D. Paolo Mattia
Doria Nobile Genovese," &c. " Di Napoli a di I. di Febrajo 1692."
Following the dedication is the third division only of the engraved sheet of the
" Primi Elementi o Principy dell Armi," &c, present in I. 1 3. Next to this

EDUCATIONAL— INSTRUCTIVE. 91

comes " Istruzioni per lo Giuoco." After certain poetic laudatory addresses and
epigrams, is printed the original " licenza de Superiori " of the edition of 1677
(I. 13) signed by the Vicar General: "Fr. Scanegata — Joseph imperialis Soc.
Jesu Theol. Emin." This is followed by the request of Raillard to the Cardinal
Caracciolo, Archbishop of Naples, for permission to reprint the edition previously
authorised : " Excellentiss. Signore. — Giacomo Raillard supplicando espone a
V E come desidera far stampare un libro intitolato, Giuoco oV Arme de' Sourani
d1 Europa, supplica V E per le solite Regie licenze e 1' havera a grazia, ut Deus,
&c. R. D."

The former censorship of the Apostolic prothonotary, Pompejus Sarnellius,
is referred to, and thus confirmed :

Visa supra dicta relatione, Imprimatur, et in
publicatione servetur Regia Pragmatica.
Galeota Reg. Carillo Reg. Cala Reg. Soria Reg.

Sebastianus.

Reimprimatur die 28 Januarii 1692. Moles Reg. Montecorvinus."

The first piece in the series is the Re dijiori, having on it the arms of Pope
Innocent XII. (Pignatelli), below which is the description : " Campo di Oro con
tre pentole in mezzo, o vero Pignate nere, due sopra et una sotto in triangolo.
Lo Scudo coronato della Tiara, et ornato delle due chiavi della Santa Sede."

The Giuoco oV Arme is followed, as in the former edition, by the Lettera di
Alessandro Partenio intorno alia Societa Degli Armeristi, &c.

The number of pages of the Giuoco oV Arme is here 285, in the former edition
it is 262.

The card-pieces are uncoloured.

[Size of page, 4f X 2f- in.] [Backs plain.]

I. 14.

LAST QUARTER OF SEVENTEENTH CENTURY.
NAPLES.

(Heraldic.)

SERIES of fifty-two card-pieces of the suits cmurs, piques, trefles, and
carreaux, intended to afford instruction in heraldry and history.

This set is composed of the card-pieces only of the edition of the
Giuoco a" Arme just described (I. 13, 2). The impressions have
been worked off on very thin paper, and cut down close upon the border lines.
The first piece — the king of clubs— -bears the arms with the three black pots
of Pope Innocent XII., as in the edition of 1692 (I. 13, 2). Not any book or
separate text accompanies this series. It is uncoloured, and the impressions are
sharper and earlier than those of I. 13, 2.

It is evident that there were several editions of this heraldic series ; a still
later one than that of 1692 was printed at Naples in 1725 by Paolo Petrini.

" The arms of the Pojoe in this are — Sbarra con una Serpe in campo d' Oro
sopra una rosa in campo* d' Argento, sotto 4 Sbarre a traverso rosse in campo
d' Argente. The first mentioned Sbarra is a fess, the campo a" Argento a chief;
the lower half of the shield is engraved as if it were (in English blazon) Gules
three bendlets argent. These were the arms of Pope Benedict XIII. (Ursini)
1724—1730.

" The arms of the Pope were evidently changed for every reign, but no other

ITALIAN.

alteration appears to have been made for the several editions." (" Herald and
Genealogist," vol. 3, p. 75.)

The edition of 1 725 is supplemented by a geographical discourse from Michele
Angelo Petrini.

An interesting and instructive commentary on these and some other historic
and heraldic cards may be found in " The Herald and Genealogist," vol. iii. p. 6*
1866. (Sec postea, F. 79, 2.)

[3J. x 2 in.] [Backs plain.]

I. 14. 2.

(Printed Books Department, Royal or Kiiig's Library, 269. c. 31.)
LAST QUARTER OF THE SEVENTEENTH CENTURY.

(Heraldic.)

BOUND duodecimo volume of 440 pages of text, combined with
numeral series of fifty-two card-pieces and other plates of illustratioi
The whole is intended to afford information on heraldry.

This series is based on the design of Brianville (I. 1 3. 1. 1 3. 2, F. 72.
2), and is meant to illustrate the armorials of the Venetian nobility. The author
of this adaptation was Casimir Freschot, a Benedictine. The title-page of the worl
bears the following inscription : " Li Pregi Delia Nobilta Veneta abbozzati in un
Giuoco D' Arme di tutte le Famiglie. Presentato al Serenissimo Principe, et
Eccellentiss. Senato Da D. Casimiro Freschot. B. In Venezia, M.DC.LXXXII.
Appresso Andrea Poletti — con Licenza de' Superiori."

In the " Notitia Succinta Del Blasone, 6 Arte Araldica," which prefaces the
armorial, the author remarks : " Ho seguitato nel mio Giuoco 1' ordine del Signor
Oronce Fine Gentilhomo francese nel suo Giuoco de Principi e Stati Sovrani
D' Europa cogliendo di piu. la congiuntura di esporre tutte le specie di Scudi, ed
aceompagnamenti di essi, che si trovano piu. usitati, tanto Ecclesiastici quanto
Laici, tanto d' huomini quanto di Donne," &c. (p. 1 1).

Following the " Notitia " is a chapter, " Dell' Origine Delia Nobilta Veneta
in generale," which is succeeded by the armorial proper.

The signs of the suits are here viola, rosa, giglio, and tulipano, on the marks
of which are placed letters (R D P) to indicate the coat-cards, and numbers to
determine the values.

For the four kings, the dignities of the pope, emperor, king, and doge are
taken ; for the queens, the armorials of princesses and provinces ; and for the
princes, the foreign nobility, aggregated to that of Venice. Cavaliers represent
the aces, which illustrate the generals of the armies of the Republic.

The first card-piece in the series is the king of violets, on which are the arms
of Pope Eugenio IV., of Cardinal Barbarigo, and of the Duke of Parma. On the
coat-cards there are generally four shields of arms ; on the pip pieces as many as
seven. All the armorials, which have been printed off* on thin paper, are carefully
and distinctly engraved, and are uncoloured. The full page of the volume
measures 5^ X 3 in.

[Card-plate, 4| X 2 J- in.]

[Backs plain.]

SPANISH PLAYING-CARDS.

NUMERALS.

S. 15.

SECOND HALF OF SEVENTEENTH CENTURY.

^^f ORTY-EIGHT cards of a pack of fifty-two Spanish numerals.
They are of the usual suits in the cards of Spain, viz., bastos,

Pfm

\pi Zs|3£f^i oros, copas, and espadas.

The valet, or sota, and eight of copas are wanting, as are
likewise the four and five of oros.

From the circumstance of the suits of bastos and espadas each
being complete — thirteen in number — and from all the four tens being present, it
is assumed that the set consisted originally of fiftytwo numerals, though the actual
number of the cards present, and the substitution of a caballo for a dame, might at
first sight lead to the idea that the set under notice was an ordinary or typical
Spanish one, especially as the marks of the suit are quite of the Spanish
character. On the ace of oros is a shield with the Spanish arms, and the motto,
" Rex Carolus. Dei Gratia Rex Hisbania." Below is the address : Iehan
Volay.

On the three of bastos are the initials, I V, and on the valet of the same suit
is Iehan Volay between the legs of the figure.

On the four of copas are I. V in the centre, connected by an ornamental band.
Between the marks of the suit on the two of espadas is Iehan Volay ; on the five
of the same suit is inscribed " Faictes a Tiers," while on the valet of espadas the
name of Iehan Volay is again repeated.

The designs on these cards are almost exactly such as are given by Merlin, in
plates 30, 31, A Bj as belonging to the "Cartes Espagnoles, Bibliotheque de
Rouen," with the exception of the motto on the shield of the ace of oros.

In the Rouen cards the motto runs thus: "Philippus Dei Gratia Hispanise
Rex," and over the arms of Spain is a shield of pretence of the arms of France,
i.e., three fleurs-de-lis.

Certain cards and their envelopes bearing the name of Iehan Volay have given
rise to some curious discussions.

Mr. Barrington, a well-known antiquary of the beginning of this century,
became acquainted — through Mr. Astle, the writer on Caligraphy and MSS. —
witli an old wood-block, upon which was engraved the cover-design for a pack of

94 SPANISH.

cards. This block came afterwards into the possession of Mr. Singer, who gave
impression from it in his work (p. 22 1). A facsimile was likewise given by Mr.
Barrington in his paper in the " Archaeologia," vol. viii. p. 144, which was writtei
to prove, inter alia, that cards were originally made in Spain. On this cover wt
engraved the arms of Castile and Leon, together with the marks of the suit
bastos, copas, espadas, and oros. There was also an inscription in large letters
this purport : " Cartas finnas faictes par Jehan Volay." Below this and betwet
the marks of copas and oros, there was added in letters of different charactt
either by a stencil, or by the insertion of a new piece of wood in the origins
block, the name of " Edward Warman " — probably that of the English vendor of
the cards. Mr. Barrington read the above as " Je (or Jean) Ilauvola," and the
final "y" in Volay as the Spanish conjunction for "and." The whole of the in-
scription being translated into English was made to run thus : " Superfine cards
made by John Hauvola and (Edward Warman)" — the last name being supposed to
have been substituted for that of a former partner of John Hauvola. " Now,"
writes Mr. Singer (p. 221) : "Mr. Barrington read the name inscribed on this
block erroneously, cartas finnas faictes par Ie Hauvola y Edward Warman,
whereas it evidently appears Jehan Volay was meant, although the words, froi
the carelessness of the engraver, are somewhat disjointed."

Mr. Barrington remarks : " I conceive that this advertisement was used by a
card-maker, resident in France, who notified the wares he had to sell in tl
Spanish terms of cartas finnas, because those that had been made in Spain at tin
time were in great vogue. The two words which follow are French, faictes par,
which were probably in that language that the French reader might more readily
understand the advertisement."

Mr. Gough, commenting in the " Archaeologia," vol. viii. p. 168, on Mr. Bar-
rington's statement, observes : " The insertion of Edward Warman s name in so
very different a type is a proof that he was the vendor of such cards in a far later
period. Upon inquiry I am informed by my friend, Mr. Herbert, that a person
of the name of Warman kept a stationer's shop somewhere in Bishopsgate Street
or Norton Folgate about fifty years ago, and it is not improbable that he sold
these cards, and caused this insertion to be made in the block. Mr. Herbert
could not recollect his Christian name. If I am not mistaken," continues Mr.
Gough, " this extraordinary block once belonged to Mr. Ames, who has, however,
taken no notice of it in his History of Printing."

Singer was of opinion that this engraved wood-block might be possibly of
English manufacture, and only intended to convey the idea that the cards enclosed
in it were foreign in order to obtain a higher price if they were held in greater
esteem.

That the entire block was of English fabrication cannot be admitted, though
it is clear from the following advertisement, pointed out by Mr. Haslewood to
Singer, that Spanish cards were objects of curiosity at the beginning of the last
century, and that at this period they were different from our own, and consequently
could not be in common use.

" Advertisement.

" Spanish cards lately brought from Vigo. Being pleasant to the eye by their
curious colours, and quite different from ours, may be had at 1*. a pack at Mrs.
Baldwins in Warwick Lane." — Postman, Dec. 12 — 15, 1702.

Chatto was of opinion (p. 133), that any vogue Spanish cards might have had
in the more northerly countries of Europe during the times of Elizabeth and
James I., was probably owing to the circumstance of so many Spaniards being
then resident in the Low Countries, rather than to any superiority of the cards
manufactured in Spain.

According to Leber, Jean Volay was the most celebrated French card-maker
of the sixteenth century, practising his art at the close of the reign of Francis I.

NUMERALS. 95

(151 5 — 1 547). Volay, no doubt, manufactured for the Spanish market, not only
as the engraved envelope-title here under consideration and the inscription
faictes a tiers1 on the five of espadas prove, hut as the various sheets of Spanish
cards, evidently produced in French workshops, show likewise. Such cards are
preserved in the collections at Rouen and Paris, and in the cabinets of Michelin,
Merlin, and of others.

According to Merlin, however, there is not extant a fragment of the French
manufactured Spanish cards, which is earlier than the seventeenth century, and
the specimens at Rouen bearing the name " Jehan Volay " are far from having
the age attributed to them. " The ' Recueil of the Societe des Bibliophiles
Francais ' describes the cards of the Imperial Library bearing the name of
Jehan Volay and Jean Goyrand of Paris, as having been made about 1480.
Without doubt this is an error, and if we were disposed to discuss the question
of date as respects the Rouen block signed Jehan Volay, it would be easy to show,
both by certain details of costume, and by the form of the letters, that this block
is not older at the furthest than the end of the reign of Louis XIV. The ace of
Deniers is a large coin, having on it the arms of Spain, the motto of which,
engraved in Roman capitals, runs thus : ' Phtlippus Dei Gratia IIispanije
Rex.' Now the name of Philip II., supposed to be intended by this motto, would
no doubt carry back the coin to the sixteenth century, were it not that over all
is superposed the shield of France [as a shield of pretence] which was thus placed
only on the arms of the kings who were of the royal family of France. It is
therefore rather to Philip V. that this coin belongs. The shoes and the entire
dress of the valet of Deniers of this sheet (pi. 30, 31, A. B.) are of the reign of
Louis XIV." (Merlin, Bibl. 6, p. 99, note.)

" These Rouen designs represent, pretty truly we believe, the type in use
in Spain at the time when J. Volay flourished. The cards particularly worthy
of notice are the king, cavalier, valet, ace, two, and five of Deniers."

There does not appear any reason for doubting the correctness of Merlin s
interpretation of the blazon on the ace of oros in the Rouen (Spanish) cards. It
relates to Philip V., Duke of Anjou, grandson of Louis XIV., about the time
when arose the " War of the Succession," terminated by the treaty of Utrecht in

1713.

In the pack of Volay cards in the British Museum the shield of France is not
present, the arms of Spain standing by themselves. Hence it may be assumed
that these cards were produced before the Rouen set, and belong probably to the
time of Charles II., the son of Philip IV., the last of the Austrian line.

[3* x 2-J-g- in.] [Backs plain.]

S. 16.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of fifty-two Spanish numerals of the suits oros, bastos, copas,
and espadas.

On the four of oros is a shield, surmounted by a crown, the former
having on it the inscription : " Naypes Finisinos Fabircados En
Madrid. H 1801."

On the cavallo of copas, at the lower left-hand corner, are the capitals A. IVA,

1 The French town now known as Thiers in the depart. Puy-de-Dome, near
Clermont.

SPANISH.

evidently meant for the A. HIVA, which address occurs on a similar card
another pack, S. 17»

On the ace of oros — top and bottom — are inscriptions, of which only the w<
" Real — Madrid — Pord — Felix — So — , can be made out.

The designs, execution, and colouring of these cards are of inferior chars
Some of the figures on the coate-cards are absurd, the horses of the cabal ten
being smaller than their riders. The pieces are thin in texture, and are tarotiet
on the backs with star-like dots of blue colour running diagonally.

[3}

X 2-^. in.]

[Backs decorated/

S. 17.

FIRST QUARTER OF NINETEENTH CENTURY.

PACK of Spanish numerals of the typical kind, viz., forty-eight in
number, the four tens being suppressed, and the dames, or queens,
displaced by caballos.

The suits are the usual ones of Spanish cards, viz., oros, copas,
bastos, and espadas.

Each card is numbered in reverse at two opposite corners diagonally. On
the ace of oros is the lion of Leon, and the inscription above : RL. E\ DE MD. ;
below, Ano D. 1817.

On the four of copas are the words : " Naypes Refinos," and on the caballo
of the same suit are : " A. Hiva," at the lower right-hand corner. The four of
oros has the initials "RH" in the centre of the card, enclosed within an orna-
mental frame, while on the five of this suit are the crowned lion and castle on the
central and large symbol of the suit.

The designs, execution, and colouring are of inferior character. The backs
are marked diagonally with small broad-arrows in black.

[3J- x 2£ in.] [Backs decorated.]

S. 18.

SECOND QUARTER OF NINETEENTH CENTURY.
CADIZ.

PACK of numerals of the normal Spanish type, viz., with the ter
suppressed, the queens displaced by caballos,, and the suits, oros, cope
bastos, and espadas.

The large coin-like symbol on the ace of oros has on it the initials,
" G. A." interlaced and surrounded by flowers. A crown surmounts the whole.
Between the marks on the two of oros is printed, " iER Superfino," while the four
of this suit bears the address : " Por Francisco Gonzalez Cadiz," above which is
a running stag.

The large central mark on the five of oros bears the head of Queen Isabel
(?) directed towards the right.

On the two of copas is inscribed : " Aso De 1848 " ; on the four of the sar
suit is the government duty stamp. In the middle of this latter card are ai
anchor and caduceus placed crosswise. At the lower left-hand corner of the cabal/
of copas are the capitals "a hiva."

NUMERALS.

An envelope, with an engraved title and wood-cut printed on blue paper,
iccorapanies the pack. The design is a stag running towards the right. In the
background are a well and trees. The marks of the suits copas and bastos are on
one side, and those of oros and espadas on the other. Above the engraving may
be read: "Napes de Una Oja," below it: " De lA. lER. Superfino No 5 Fabrica
de Barajas, De F. F. Gonzalez. Calle de la Veronica No. 149. En Cadiz."

The backs of these cards are marked with a network of deep pink lines, crossing
each other diagonally. The pieces are thin, being of one thickness of paper only
— una oja.

\.2>\ X if "»•] [Backs decorated.]

S. 19.

SECOND QUARTER OF NINETEENTH CENTURY.
CADIZ.

PACK of numerals — forty-eight in number, in accordance with the
Spanish type — evidently from the same blocks as is the set previously
described, S. 18. The only variations consist in the designs and
addresses relating to trade matters. For example, between the
marks of the two of oros is inscribed, "Naipe de Una Oja," and on the two of
copas, " ia Ede la." The four of oros bears the address, "J. J. Acuaviva
Cadiz," below a lion directed towards the right. The ace and five of oros, the
four of copas, and the caballo of the last suit are similar to the like cards of S. 18.
An envelope of greenish-blue paper with an engraved title, accompanies the
pack. The design of the woodcut is a lion directed towards the right hand, but
looking to the left ; beneath is the inscription : " Naipes de una oja de vitelade
hilo Fabricados por J. Acuaviva En Cadiz. Calle de Juan de Andas N°. 158

l\ DE 1A."

These cards are marked on the backs with dotted stars, printed in blue.
They are of thin texture, like the preceding.

[31- x

[Backs decorated.]

S. 20.

SECOND QUARTER OF NINETEENTH CENTURY.
CADIZ.

DUPLICATE set of S. 18, from the same publisher, Francisco
Gonzalez, Cadiz, 1848.

An envelope and title, &c, like those of S. 18, accompany the pack.
The backs are marked with dotted stars in blue. The pieces
are of like texture to those of S. 18.

[31 X if in.] [Backs decorated.]

SPANISH.

S. 21.

SECOND QUARTER OF NINETEENTH CENTURY.
MADRID ?

(El Hombre.)

SERIES of forty cards from a pack of forty-eight of the usual kind o
Spanish numerals. From the eight and nine as well as the ten of
each suit being absent, it is clear that these cards were intended for
that particular modification of the old Spanish game, El Hombre (or
Ombre) referred to in the " Compleat Gamester," where it is stated : " there
are several sorts of this game, but that which is the chief is called renegade,
which three only can play, to whom are dealt nine cards apiece ; so that by d
carding the eights, nines, and tens, there will remain thirteen cards in the stock.

" Many of our readers," writes Singer (p. 265), " will recollect, we doubt
not, to have seen three-cornered tables among old furniture ; these tables were
made purposely for Ombre, and in the print which we have mentioned above
(frontispiece to "Compleat Gamester," 1 739)? the table is of that form. To play
this game well, attention and quietness are said to be absolutely necessary, for if
a player be ever so expert he will be apt to fall into mistakes if he thinks of any-
thing else, or is disturbed by the conversation of by-standers. There are many
Avays of playing the game ; it is sometimes played with force spadille, or espadille
force, sometimes by two persons only, sometimes by three, which is the most general
way, but it may be played by four or five persons."

The Spanish game, El Hombre, appears to have been well known in England
in 1660. A full description of it, under the form of " The English Court Game,"
may be found in " Macmillan's Magazine" for January, 18 74. It is generally
considered to be the game described in Pope's " Rape of the Lock," as Ombre,
as the poet calls it :

;or

;re

z '

" Belinda now, whom thirst of Fame invites,
Burns to encounter two adventurous knights,
At Ombre singly to decide their doom,
And swells her breast with conquests yet to come.

Mr. Pardon considers Pope has described Quadrille. The latter game how-
ever, is only another species of Ombre — supposed to have been an invention of
the French nation, and appears to have been a great favourite with the ladies, as
requiring much less attention than Ombre. There was also a modification of it
which might be played by three persons, but it is generally considered far inferior
to the game by four, and was only played when a fourth player could not be had.
(Singer, Bibl. 8, p. 266.)

There is not any address nor inscription on the present cards. The ace of
oros has on it a landscape design, in which the sun is setting behind a town
backed by hills. A palm-tree is in the middle distance, and water (the sea ?) in
the foreground. Above the whole is a large sign of the suit, having a radiant sun
in the middle, the nucleus of which is a human face. The two of copas, four of
oros, and four of copas, have flowers and other ornaments between the marks of
the suits. Each card is numbered at two opposite corners diagonally.

NUMERALS.

These cards are lithographic impressions. The figure cards are wretchedly
designed, executed, and coloured. The backs are tarotees with pink diagonal
dotted lines crossing each other, so as to form large spaces, in which are placed
four pink dots.

[3f X 2 j- in.]

[Backs decorated.]

S. 22.
SECOND QUARTER OF NINETEENTH CENTURY.

PACK of forty-eight numerals of the suits oros, bastos, copas, and
espadas. The tens of each suit are as usual suppressed, but there is
the exceptional occurrence of a dama or queen, instead of the sota
generally present in Spanish cards.
These cards have been executed either by lithography or zincography, pro-
bably the former. The designs of the coate-cards are of a common and theatric
character.

The ace of each suit is peculiar. On it is a winged serpent occupying the
entire length of the card, and grasping, in three of the suits, the symbol of the
suit in its mouth. In the suit of swords is a shield over the spot where the
swords cross each other. Medallions, shields, and other ornaments occur on some
of the two and three numerals.

On the four of oros is the inscription, " Real Fabrica," on a scroll. The four
of copas bears a similar scroll, but without an inscription.

In the centre of the six of copas are the initials " F. B." interlaced, and repeated
in reverse ; above them is a crown.

The two of clubs is made up by a figure (?) card from another set.

The backs are marked with small deep blue-coloured dots running diagonally.

[2L x if in.] [Backs decorated.]

S. 23.

THIRD QUARTER OF NINETEENTH CENTURY ?
BARCELONA.

REGULAR pack of Spanish numerals (48) mounted in a book of
twelve folios, each page containing four cards. It may be recalled to
mind that in the typical Spanish set, the tens of each suit are sup-
pressed the reina or dama is displaced by a caballo, and the suits are
oros, copas, bastos, and espadas. Together with these characteristics may be
noticed the circumstance that the marks of the suits bastos and espadas are always
distinct and separate from each other, not conjoined nor interlaced, as the swords
and clubs are in the like suits of Italian numerals. Further, the figures on the
coate-cards are whole-length and erect, the kings being in large and full drapery.
Generally, too, in modern packs the cards are numbered at opposite corners
diagonally, and in reverse way.

In these cards the suits of oros and copas are printed in different gradations
of red, those of espadas and bastos in black. The method of technical execution
is peculiar ; the first ventre seems to have been from a roughly etched plate, the
second from a wood block.

lOO

SPANISH.

The ace of oros bears the arms of Leon and Castile surmounted by a crown.
Around the circular shield of the former is the inscription : " Con privile*.
esclusivo de S. M."

On the four of copas is the address : " Por Lopez y Cornp* Barcelna."

These cards are numbered in the usual Spanish way, and the kings
covered with long and ample mantles. On the uuder coat of the king of cope
is a lion rampant, while the king of espadas rests his left hand on a shield whii
bears a double-headed eagle.

The backs of these cards are marked with a series of zigzag bands, forme
of small parallel lines so arranged as to produce a series of diamond-shap(
spots, within which are smaller diamonds divided transversely. The whole
printed in black.

[Backs decorated.]

[3| X

i m-]

S. 24.

THIRD QUARTER OF NINETEENTH CENTURY ?
BARCELONA.

PACK of numerals of the typical kind, forty-eight in number. The
designs of the figure cards differ from those previously described, and
there are other variations.

The four of copas bears an allegorical winged female figure blow-
ing a trumpet, from which flutters a banderole having on it, " De una Hoja."
Her left hand rests on a shield bearing the arms of Leon and Castile surmounted
by a crown. Below the figure is the address : " Por Lopez y Compa. Barcelna."
On the ace of oros are two chimeric or sphynx-like figures bearing a large
coin in obverse, surmounted by a crown and standards. Between the marks on
the four of oros is an emblematic representation of maritime commerce.

The cards are numbered in the usual way. The backs are marked all ovt
with a series of arborescent lines printed in blue.

[3f X 2 in.] [Backs decorated.]

S. 25.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

PACK of numerals (forty- eight) of the usual kind, differing slightly
the designs from S. 23 and S. 24.

The four of copas bears the allegorical figure and address of Lope
of Barcelona.

On the ace of oros the obverse of the coin-like symbol bears the head of
Queen Isabella II., who ascended the Spanish throne in 1833, against whom
Barcelona revolted in 1841, but was compelled to re-acknowledge her by
Esparteroin 1842.

The backs of these cards are marked in a similar way to those of S. 23.
[3| X l£ in.] [Backs decorated.]

NUMERALS.

101

S. 26.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

PACK of numerals of the ordinary Spanish character.

It is a duplicate of the set described under S. 25, with the excep-
tion that the backs of the cards are marked in a different manner.
In the present series the backs have a network of red lines crossing
each other diagonally.

[3;

x 1

•]

[Backs decorated.]

S. 27,

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

PACK of forty-eight numerals of the ordinary Spanish type.

The designs generally are slightly different from those of the sets
before noticed.

The four of copas bears the allegorical figure and address of Lopez
of Barcelona. At the centre of the four of oros is a pine-apple. The figures on
the coate-cards of the suit of espadas wear armour.

The large symbol on the ace of oros is borne by two lions couchant.
The backs of these cards are marked by a network of dull red lines crossing
each other diagonally.

[3f. X 2 in.] [Backs decorated.]

S. 28.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

PACK of the ordinary Spanish sequence of forty-eight cards.

The designs differ slightly from those of the series previously
described.

On the four of copas are the allegorical figure and address of
Lopez of Barcelona. The ace of oros bears a medallion head like the obverse of
a large coin, surmounted by a crown supported by standards. Below are a
caduceus, shell, flowers, and other ornaments.

The cards are numbered at opposite corners diagonally in the ordinary manner.
The backs are marked like those of the card of S. 23.

[3f X 2 in.] [Backs decorated.]

102

srANisn.

S. 29.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

SET (forty-eight) of numerals of the usual Spanish variety. The
designs are nearly identical with those of S. 28, but the colouring of
the figures on the coate-cards is occasionally different.

The ace of oros is analogous to that of S. 28 in design, but is
coloured a little differently. The four of copas bears the allegorical figure and
address of Lopez of Barcelona.

The backs of these cards are marked with a network of blue lines crossing
each other diagonally.

[3|- in. X 2 in.] [Backs decorated.]

S. 30.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

SET (forty -eight) of numerals of the ordinary Spanish character,
numbered in the usual manner.

The designs differ slightly in some respects from those of the
previously described packs.
The ace of oros bears the arms of Castile and Leon on a circular shield, sur-
mounted by a crown and supported by standards. Below, on the bar of a large
case, are the capitals " A. L. Y. Ca."

The inscription on the circular shield is " Con Privilegio Esclusivo De S. M."
In the centre of the four of oros is a basket of flowers. The four of copas
bears the allegorical figure and address of Lopez of Barcelona.

The backs of these cards are marked with an arborescent network of blue
lines.

[3| X 2 in.]

[Backs decorated.]

S. 31.

THIRD QUARTER OF NINETEENTH CENTURY.
PARIS.

PACK of Spanish numerals of the ordinary kind, manufactured at
Paris.

The ace of oros bears two large interlaced capital letters ; " A. A."
on the mark of the suit. Above, on a scroll, is the inscription :
" Naipes-Finos."

On the four of oros is a chimeric animal — a compromise between a unicorn
and a sea monster.

The four of copas bears the inscription . " Fabrica De Alfonzo Arnoult
en Paris."

NUMERALS.

103

The engraved title of the envelope accompanies this set ; on it may. be read :
" Napes Rhfinos ; " " No. 2 " being on the mark of oros. Below are the marks
of the suits bastos and espadas, placed crosswise, having the foot of a cup (?)
placed over the point of decussation ; the backs of the cards are marked with a
neat diapered pattern of blue lines forming large diamond- shaped spaces, in the
centre of which is a blue dot.

[3} X 2 in.] [Backs decorated.]

S. 32.

THIRD QUARTER OF NINETEENTH CENTURY.
PARIS.

PACK of forty-eight numerals of the ordinary Spanish kind, manu-
factured at Paris.

On the ace of oros is a head in the centre of a radiant sun, en-
circled by a wreath of laurel.
On the four of oros at the centre is a basket of flowers. The larger mark on
the five of oros bears the inscription : " Cartes illustrees. B. P. Grimaud et Cie.
Paris " ; within are the capitals, " B P G," interlaced.

Most of these card-pieces are neatly designed, engraved, and coloured.
Where gold is intended to be represented the designs are illuminated. The ace,
two, three, and four of espadas are particularly noteworthy.

This pack was manufactured in Paris, evidently for the Spanish market, the
cards being in every respect, except commonness or coarseness of execution, truly
Spanish in character.

[3f X 2 in.]

[Backs plain.]

S. 33-

THIRD QUARTER OF NINETEENTH CENTURY.
MADRID.

SET of Spanish numerals, of different designs to those of the cards

before noticed.

The suits are the usual ones, oros, copas, espadas, and bastos,

but the cards are not numbered as in the ordinary manner.
The ace of oros bears a large blue eagle, in the middle of which are repre-
sented some houses. On the two of espadas is inscribed : " Fabricando in
Madrid." This set of cards offers points of much interest in some respects. It
was manufactured in Madrid, most likely for the use of the provinces Limousin
and Bretagne, for the purpose of playing the game known as Valluette or la luette.
This game is probably alluded to by Rabelais as among the amusements of Pan-
tagruel, under the term luettes. The pack before us appears to answer so closely
in the designs, &c. to the set described by Merlin (p. 102), and to his remarks
on the curious early cards found by M. Maurice Ardant (archiviste of Haute
Vienne), in the cardboard covers of some old registers of the Hospital of Limoges,
that the following extract may be made with advantage : " The cards are in every
respect Spanish, unless with the exception that the heavy caballeros in their
journey through France have become elegant Amazons, whose grace and steadi-
ness in the saddle may defy the most agile ecuyeres of the circus or hippodrome.

104 SPANISH.

" What was the nature of this game before the Revolution ? We cannot
say ; all we know is — it existed. It was known to Court de Gebelin, and exercised
the predilections of this savant for Egyptian symbolism. Then it had the strange
titles of Monsieur, Madame, la borgne, la vache, grand neuf, and petit neuf, but
which not anything in the designs appeared to justify. It was not then played
with the cards of to-day.

"Cast but a general glance over plate 37, and you will perceive that the
draughtsman was not only inspired with the ideas of the epoch of the Revolutioi
but endeavoured to make his designs conform to the names previously given
the cards. Thus e.g. in the old packs, Monsieur was purely and simply the three
of deniers. The name is here justified by placing the bust of a national guard of
1789 in one of the marks of the three of deniers. Madame was the three of
coupes ; here in one of the cups is introduced a female being crowned by a bird
having a long neck and beak, and to whom likewise another bird appears to
offer a bouquet of flowers.1

" The fleurs-de-lis which were distributed everywhere over the batons have
been here displaced by arrows, and the ' cap of liberty ' adorns the four of coupes,
and decorates the head of the savage who bears the ace of epees. Finally the
arms of Spain, which in the earlier packs were borne by the ace of deniers, have
resigned their places to a town in a circle placed on an eagle's breast.

" But what means this savage, belted and crowned with feathers, who supporl
the enormous trunk of a tree, representing the ace of batons ? " If we consull
the Limoges cards (pi. 32-36), we shall see on the ace of batons two diminutivi
men, supporting likewise a large branch of a tree. What is the meaning of that
shield swinging between the branches of two trees ? It is a reminiscence of the
two of batons of Limoges, where a little naked man is seen between two knotty
clubs. This four of deniers, which in the alluette of the Revolution is orna-
mented with a double triangle, so arranged as to represent a star with six points,
is it not to be met with in our Limousin cards also ? As to the robino, or the
indecorous, a piece not to be found among the numeral cards of the latter, it is
clearly a souvenir of the five of deniers of the old Spanish game, in which were
represented the heads of the Roman king and queen regarding each other."
(p. 103.)

In the present pack, within the double triangle at the centre of the four ol
oros are two cursive capital A's, slightly interlaced. One triangle is coloured
yellow, the other green. The symbols of the two of copas are peculiar. Each
cup has on it a red flat cap, from beneath which at each side projects a bird with
long neck and beak. Below the two cups is a recumbent ox, directed towards
the right, and looking at a thistle-like plant at his fore feet.

The ace of espadas is likewise noteworthy, as is also the ace of copas. Although
the designs generally are of very inferior character artistically speaking, these
cards are well worthy of study in connection with the text and plates of Merlin
before mentioned.

The backs of these cards are marked in rather a peculiar manner. They are
marbled green, the largest spaces being filled with green dots, the middle-sized
are white, and the smallest are of a uniform deep green colour.

[3J- X 2 in.] [Backs decorated.]

1 The alluette of 1776 came from the workshop of P. Sigogne. Is it not
likewise a cigogne that is meant to be represented by a bird of long neck to be
found also on the breastplate of the valet de deniers of. 1776 ?

NUMERALS.

105

S. 34.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

SET of forty- eight numerals of the ordinary Spanish suits and
numbered in the usual way.

In opposition to the common Spanish custom, however, a dama, or
lady, is admitted into the present pack, in place of the sota or knave.
The tens are suppressed as usual. The coate-cards or honours represent historic
personages. In the suit oros the rey is " D. Taime el conquistador," the lady
is a " Dama de la Corte de Fernando III.," the caballo, " D. Juan de Austria."
In copas the rey is " D. Pelayo," the lady a " Dama de la Corte de Felipe IV.,"
the caballo, " D. Alvaro de Luna." In espadas the rey is " Carlos V. Empera-
dor," the lady a " Dama de la Corte de Carlos II.," while the caballo is " Gonzalo
de Cordova." In bastos the rey is " D. Pedro el Cruel," the lady a " Dama de
la Corte de Alonso XL," the caballo is "El Cid Campeador."

The ace of oros bears a large circular shield, having a six-rayed star in the
centre of the boss, and being surmounted by a plumed helmet supported by
various arms and armour.

The four of oros has a shield and crest in its centre, while the four of copas
bears the address of " Lopez y Compa. of Barcelona."

The designs of this pack are good, and are neatly engraved in different
colours. The suit oros is yellowish-brown, copas rose-madder, espadas blue, and
bastos brown-madder. The execution of the suit oros is in particular com-
mendable, the marks having on them well-executed Gothic ornaments. Some
of the figures on the coate-cards — as those of espadas, for example — are free,
artistic, and fairly correct in costume.

Each figure of the " honours" bears the symbol of the particular suit in the
right hand. Below the whole-length and flowingly draped figure is the title of the
personage it represents.

The backs of the cards are diapered with diagonal lines, comprised of small
parallel lines stamped in a dullish-red colour. In the diamond-shaped spaces
thus formed are four-rayed stars of like colour.

[3| X 2 in.] [Backs decorated.]

S- 35-

THIRD QUARTER OF NINETEENTH CENTURY.

BARCELONA.

SET of numerals of the ordinary suits and manner of numbering.

The honours of the four suits represent figures illustrative of
races typical of the four quarters of the globe.

The suit oros typifies Asia in a representation of the Chinese.
Copas illustrates Africa in three conventional Oriental figures. Espadas repre-

o6 SPANISH.

n of

>pas,

ica."

COllf

sents Europe by figures in costume somewhat like that of the early part of the
seventeenth century ; while the suit bastos presents America under the form of
what we can only call three Red Indians.

On the mark of the ace of oros may be read " Asia ; " on that of co
" Africa;" of espadas, "Europa;" and on the spiked club of bastos, "America.
The marks throughout the suit oros bear on them what are meant to represent
Chinese characters. On the four of copas is the allegorical figure and address of
Lopez y Compa. of Barcelona.

The backs are marked by waved interlaced lines stamped in black.

[3f x li m*J [Backs decorated.]

s. 36.

THIRD QUARTER OF NINETEENTH CENTURY.
BARCELONA.

1 N ordinary set of Spanish numerals.

The peculiarity of these cards consists in the circumstance that
the figures on the coafe-cards are caricatured or grotesquely repre-
sented, while the marks of the suits bear on them laughable ornaments
or have ridiculous appendages. The ace of oros bears on its grotesque shield
the inscription : " Con real Privilegio Esclusivo De S. M.", and on the four of
copas is the allegorical figure and address of Lopez of Barcelona.

Between the marks of the four of oros are two comical figures sitting at a
table and playing at cards. The caballo and sota of the suit bastos are par-
ticularly absurd.

The backs of the cards are marked by a network of blue lines crossing each
other diagonally.

[3f x xt m-] [Backs decorated.]

FRENCH PLAYING-CARDS.
TAROTS.

F. 37-

EIGHTEENTH CENTURY.
SOUTH OF FRANCE ?

PACK of combined tarots, i.e., twenty-two atouts and fifty-six
numerals, but of which two pieces of the latter are here wanting.
The absent numeral cards are the ace of deniers and the two of
batons. The true tarots designs are a similar modification of the
old French pattern of Besancon, Marseilles, and Geneva, as may
be seen in the Flemish series (Fl. 103), bearing the address of
" F. J* Vandenbore Cartier a Bruxelles."

As in the Flemish series, No. 2 of the emblematic suit represents L1 Espagnol,
Capitano Eracasse, instead of the typical La Papesse. No. v. has on it
Bacus in lieu of Le Pape, and Le Pendu (No. xii.) must be reversed in order that
the figure may hang in the usual way, head downwards. No. xvi. is here La
Foudre, a tree struck by lightning, instead of a tower or house, La Maison Dieu,
and Le Fol is numbered xxii.

The suits of the numeral series have the old marks, batons, coupes, deniers,
and epees, and the marks are like those of the Flemish pack (Fl. 103) before
mentioned, with the exception that on the shield in the middle of the four of
deniers are the letters " I * G " in place of the lion and castle.

The two of coupes has a tablet at its lower portion bearing the following
inscription : —

" Pour conoistre que la
Plus basse de Deniez et
De coupes enporte les
Plus hautes quand a
Fait du Jeu."

The borders of all the cards are slightly different to those of the Belgian pack.
The general execution of the pieces is inferior to that of the latter, which is suf-
ficiently bad, while the titles of the subjects are most carelessly spelt. Thus on
No. i. is " Lerateleux" instead of Le Bateleur ; on No. iv. is " Lampereur;" on
v. " Bacus," and on No. xiii. is " Atrempance" in lieu of La Temperance.

The backs of these cards are smooth, and marked diagonally with small stars
of four points printed in black, having in their centres a white circular spot.

[4^ x 2J- in.] [Backs decorated.]

108 FRENCH.

F. 38.

EIGHTEENTH CENTURY.

SHEET of ten unseparated card pieces from a tarots series,
pieces are in two rows of five cards in each row. The emblematic
figures present are Temperance, xiiii. ; La Papesse, ii. ; E Empereur,
iiii. ; LImperatrice, iii. ; andZe Fol, i. The other and numeral pieces
are the ace of cups, the two of swords, the ace of money, and valet of clubs.

The designs are almost identical with those given by Merlin (plates 20-23).
They are from wood blocks, coarsely engraved, and are uncoloured.

The backs are neatly diapered with large diamond-shaped figures, having in
their centres stars. The whole is printed in blue.

[4J X 2i in.] [Backs decorated.]

F. 39-

FIRST HALF OF NINETEENTH CENTURY.
MARSEILLES.

PACK of French combined tarots, i. e., twenty-two atouts and fifty-
six numerals.

The designs, which are coarsely engraved and coloured, are
exactly like such as are represented on plates 20- 2 2 of Merlin's
treatise, and plates 1-3 of tarocchi cards at page 284 of the work of Singer.

La Papesse (No. ii.) is here present. Le Pendu (xii.) hangs head downwards,
and La Maison Dieu (xvi.) and Le Monde are of the typical or old Venetian cha-
racter.

The marks of the numeral suits are of the Italian character, viz., cups,
money, swords, and clubs.

The orthography of the titles is often bad ; thus we have " Limperatrise"
" Chcharior" " Tenperance," " Le Stoille" &c, in place of the proper method.
The suit marks on the two of deniers are connected by a scroll bearing the
address of" Bernardin Suzanne, Rue Vacon. 1. Marseille."

The backs of these cards are clouded or marbled in rose-madder.

[4f- X 2f- in.] [Backs coloured.]

F. 40.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of seventy-eight cards — twenty-two atouts and fifty-six

numerals.

The designs on the emblematic series are entirely different from

those usually met with. They consist in general of animals in various
and absurd actions and attitudes, badly and often most ridiculously conceived and
coloured. On No. 8 is a rearing unicorn, the head, trunk, and two legs of

TABOTS. 109

which arc blue, two legs pink, and the mane, tail, and horn yellow. On No. 1 2
a man plays the flageolet to a dancing bear, while on No. 14 a crocodile with
scales of red, bine, and yellow colours, is swallowing a man in red breeches and
yellow jacket. The frog on No. 16 is as big as its neighbour, the turtle; but
the most extraordinary of all the figures is that of the lion (?) on No. x., which
has a yellow body and three yellow legs, one pink leg and tail, a green mane,
and green shaggy hair on the right thigh.

No. i., answering to the Bataleur of the typical variety, represents a sort of
mountebank, or quack doctor, holding up in his left hand a bottle of physic, and
grasping with his right the handle of a harlequin's wand. The last atout is un-
numbered, and shows a man in parti-coloured trousers dancing and playing the
flute. He has on a cocked hat with a feather, and carries a sword at his side.
This figure answers to the Mat, or fool (No. xxii. when numbered) of the ordi-
nary series. Each card of the atout series is numbered top and bottom in re-
verse. The numbers are of extraordinary size, being more than half an inch in
height, contained in a margin J- of an inch wide. The number on 2 1 occupies a
space ly inch wide by J- in. in height.

Not any titles are attached to the atout pieces.

The marks of the suits of the numeral series are piques, carreaux, cceurs, and
trefies. The court-cards are valet, cavalier, dame, and roi. The figures on
the latter are whole-length, and the cavalier is always mounted on a most absurdly
coloured horse. In general, however, the designs are better and less grotesque
in conception and execution than are those of the true tarots.

Over the right leg of the king of hearts is a circular clear space left, as if for
a duty stamp, but which has been placed instead on the seven of the same suit.

The backs of these cards are marbled in deep green.

The engraved title of the envelope accompanies this set. It is ornamental
and printed in black on a buff-coloured ground. At the top is inscribed, " Grand
Etteila" in large letters. Below may be read: " Le grand jeu des 78 Tarots
Egyptiens ou Livre de Thot Fabrique et verifie par Zlismon." (Concerning
Etteila, see under " French Cards of Divination.")

[4|- X 2 1 in.] [Backs coloured.]

F. 41.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of seventy-eight cards — twenty-two atutti and fifty-six
numerals.

All the tarots proper are printed double and in reverse, but the
designs on each half of the card are different. On one half Chinese
figures variously engaged are represented, on the other division are mermaids,
tritons, or other sea monsters. On No. i. is a female dancing and playing a tam-
bourine, and a harlequin dancing and playing a harp. The fool, here unnum-
bered, is represented by the half-length figure of a harlequin hi double and reverse.
He holds in his right hand a disc, from the centre of which rises a point on which
is poised by the left leg the whole-length figure of a diminutive harlequin.

The figure on No. 1 3 reminds one of the old cut representing Mother Shipton
in her favourite conveyance, though here the animal is a camel instead of a stag.
The marks of the suits of the numeral series are piques, trefies, cozurs, and
carreaux.

The designs on the coate-cards, or. honours, are busts printed double and in

no FRENCH.

reverse; nevertheless, the cavalier is mounted, the fore part of his horse alone
being shown.

These cards have been printed from engraved metal plates of a soft character.
The colouring is indifferent.

The backs are tarotees with pink spots.

[4 X 2 J- in.] [Backs decorated.]

NUMERALS— FULL SET (52).
F. 42.

LAST QUARTER OF FIFTEENTH CENTURY?
PARIS?

OUR sheets of cards from a series of fifty-two numerals of the suits
trefles, piques, cceurs, and carreaux.

Two of the sheets contain four valets each ; the valets of piques
and trejles being repeated on one sheet, those of camrs and carreaux
on the other.

Two sheets contain " pip " cards of the suits cceurs and carreaux, the nine,
four, five, and seven of carreaux being on one sheet, and the ten, four, five, and
eight of cceurs on the other.

These specimens of early French playing-cards are among the more important
and interesting examples preserved in the National Collection. Their general
history and relations may be satisfactorily understood by perusal of the following
extract from the work of Mr. Chatto (Bibl. 4), premising that they should
be studied in connection likewise with the early French Piquet (?) cards found by
M. Henin (in the cover of an old book), and now in the collection at Paris.
These latter cards, which are known as the Coursube cards, may be found
facsimiled in the " Jeu de Tarots et de Cartes numerales " (Bibl. 2, pi. 19), where
they are described as " ces cartes rarissimes," and of which it is said that they
" faisaient partie d'un jeu de cartes numerales gravees sur bois sous notre roi
Charles VII. vers 1425." The correctness of this date is questioned by Mr.
Chatto, but whatever may have been the year of production of the Coursube
cards, he doubts whether the latter be really older than the cards of the " Ser-
mones M. Vincentii," now to be described. Mr. Chatto observes : " Those four
knaves, which are now in the Print Room of the British Museum, were discovered
by the writer in the cover of an old book which he bought of Mr. Robert Crozier,
bookseller, 27, Bow Street, about the latter end of December, 1841. The book,
which is a small quarto, had formerly belonged to the Cathedral Library of
Peterborough,1 and its subject is the ' Sermons of St. Vincent de Ferrer,' a
Spanish friar of great repute in his day, who died in 1 41 9. It wanted both
the title-page and the last leaf, and consequently had no date, but looking at
the character of the type — old Gothic — and the rude execution of the initial
letters, I should conclude that it was printed in France within the last ten years
of the fifteenth century. The other leaves forming with the cards the " boards "
of the cover, were portions of the gloss or commentary of Nicholas de Lyra on
the Old Testament, which leaves, apparently, are of a date somewhat older than

1 This book was sold, together with others, from the Cathedral Library of
Peterborough, by Mr. Hodgson, 192, Fleet Street, December 13-18, 1841.
In his catalogue, No. 1492, it is described " Sermones M. Vincentii" (wants
end).

NUMERALS. in

the volume. Seeing that old cards have so often been found in the covers of old
books, it might be conjectured that certain pious persons had made it a point of
conscience to thus employ them for useful purposes. This supposition is, how-
ever, rendered untenable by the fact of those cards being intermixed with the
pious lucubrations of Nicholas de Lyra. Besides the two squares of paper con-
taining the four knaves, there were also two other squares consisting of 'pips' of
diamonds and hearts, which were so arranged that each square of paper might be
cut into four cards : the low cards on one square were the nine, four, five, and
seven of diamonds ; and those on the other, the ten, four, five, and eight of hearts.
The ' pips ' on those low cards were evidently impressed by means of a stencil.
On one square of paper were the valets of clubs and spades — Lancelot and Hogier
— and on another the valets of diamonds and hearts, that of diamonds being
named Rolant, and that of hearts containing the inscription : ' Valery : f.'
Though each piece of paper contained four cards, it yet displayed only two
different characters — the valet of each suit occurring on it being repeated in the
alternate compartments. The outlines of the figures and the names have
evidently been engraved on wood, and are printed in a brownish colour, some-
thing like Indian ink mixed with bistre, and the colours have been laid on by
means of stencils. The names of these valets — Rolant, Valery f., Lancelot, and
Hogier — compared with those occurring on other French cards of an early date,
seem to prove that originally the French coat-cards received their names merely
at the caprice of the card-maker. Any argument, therefore, respecting the origin
of cards, or the invention of Piquet as founded on the names of the coat-cards,
must be utterly without foundation.

" With respect to the names of those valets, it seems to be generally agreed that
Roland, spelled Rolant on the cards, was the nephew of Charlemagne, so famed
in romance, and that Hogier, or Ogier, was the renowned Hogier of Denmark.
According to a modern author this hero was a grandson of Pepin of Heristal,
the great-grandfather of Charlemagne, and the appellation ' of Denmark ' was
conferred on him, not from his being of that kingdom, but from his being a
native of Dane-Marche — that is, of the district now called Ardennes."

— "With respect to Lancelot, the reader is left to determine whether the name
were intended for one of the Paladins of the court of Charlemagne, or Lancelot
du Lac, one of the knights of King Arthur's Round Table. The appearance of
this name on the valet of clubs proves that Daniel was right in his conjecture, as
has been previously observed, though Mons. Leber seems to argue that he either
was or ought to have been wrong.

" The name Valery, which occurs on the knave of hearts, has not been found on
any one of the other old cards hitherto discovered, and from the circumstance of
its having the letter/ after it, which might be intended to signify fecit, it might
be supposed that it was the card-maker's name. It is, however, to be observed
that the word fecit is of very rare occurrence, as signifying the work of the artist
whose name precedes it, on engravings, for whatever purpose executed, of the
fifteenth century. It may even be asserted, with small hazard of contradiction,
that/, as an abbreviation of fecit in its artistic application, is not to be found on
a single engraving, whether on wood or copper, executed previous to the year
1 500.

" For whatever person the name of Valery may have been intended, it seems
certain that it is not to be found as that of a distinguished character in any of
the old French romances. M. Paulin Paris having been consulted on this subject,
thus gives his opinion in a letter addressed to his friend, Thomas Wright, Esq.,
so well known for his numerous publications on Middle-Age literature : ' The
name of the valet of hearts seems to me extremely curious, for it ought necessarily
to bring to mind the name of Erart de Valeri, the famous companion of Charles
of Anjou, king of Sicily, to whom his contemporaries chiefly ascribed the gain of
the battle of Tagliacozza, in which Manfred (the opponent of Charles) was killed.

1 1 2 FRENCH.

It might, therefore, be supposed that the pack (to which the four valets in
question belonged), was either of Sicilian or Italian fabrication; for the names,
Lancelot, Roland, Ogier, and Valeri, were equally familiar to the Sicilians of the
fourteenth century. I have said a few words about this Erard de Valery in the
article on Charles, of Anjou in my " Romancero Francois."'

" Though by no means agreeing with M. Paulin Paris, that these cards were
either of Italian devising or manufacture, I am yet inclined to think that his
conjecture about the name of Valery is correct, and that a corroboration of it is
to be found in the inscription on the valet de piques in the Coursube cards, pre-
viously noticed at page 211. This inscription is read ciarde by M. Duchesne,
but to my eye the letters as they appear in the facsimile given in the specimens
of cards published by the Society of Bibliophiles Francois, appear much more
like the name erarde, and if, on a careful examination of the original, it should
be ascertained that this was the word intended, I should then unhesitatingly
conclude that the person represented by this card was Erard de Valery. The
objection that one of these cards is the valet of hearts, and the other the valet
of spades, is of no weight, for the old French card-makers were by no means
consistent in the practice of always giving the same name to the same card.
From the red rose which appears on the shield held by Valery, an Englishman
might be justified in supposing that those cards, if not of English manufacture,
were more especially, if not exclusively, fabricated for the English market at a
period shortly after the accession of Henry VII. when the Red Rose of Lancaster
had obtained the ascendancy. By assuming, indeed, a small portion of French
license on this subject, it might even be asserted that those cards were of English
manufacture, seeing that they were discovered in the covers of a book which had
formerly belonged to an English monastery, and that the features, expression,
and bodily proportion of the valets are rather characteristic of Englishmen than
Frenchmen. In support of this speculation it may further be observed, that in
former times monks were accustomed to act as their own bookbinders, and that
there is reason to believe that playing-cards were manufactured in England as
early as 1463." (Op. cit., pp. 214-220.)

MM. Leber, Duchesne, and Lacroix, judging from the costume, &c. of the
Coursube cards, agree in supposing them to have been executed about 1425, in
the reign of Charles VII., but, writes Mr. Chatto : " Conclusions, however, drawn
from the costume displayed on cards, are not of much weight in the determina-
tion of a date, seeing that persons supposed to be well acquainted with the subject
of costume have not been able to determine from that alone the date of any old
drawing, even within fifty years. To whatever period the costume of the Cour-
sube cards may belong, that of the four knaves (now under consideration) may be
fairly presumed to be of as early a period, but yet, looking at the costume of the
latter, and the style of their execution, I should not take them to be of an earlier
date than 1480." (p. 214.)

Mr. Taylor agrees with Chatto that speculations as regards date, founded
on costume, are " very often fallacious, as any type once become conventional
might continue in circulation for a considerable period, and this, too, in different
countries." (p. 1 15.)

To these considerations Mr. J. R. Planche replies that " Persons who could
not determine on the date of a costume within fifty years would never have been
supposed by me to be well acquainted with the subject, and that though I quite
agree with Mr. Taylor as to the perpetuation of an ancient type, as in our present
court-cards, — we still find king, queen, and knave represented in the costume of
Henry VII. (" Builder," Nov., 1870, p. 92 1 .)

It must be submitted, however, that Mr. Chatto does not refer to the date of the
costume, but to the date of the production of the card on which the costume is
represented.

[3f X 2f in.] [Backs plain.]

NUMERALS.

113

F- 43-

SECOND QUARTER OF SIXTEENTH CENTURY?
PARIS.

WO sheets of figure cards from a numeral series of the suits trefles,
piques, cceurs, and carreaux. Each sheet contains six pieces more
or less perfect. On one sheet, and forming the upper row, are the
roi de trefles ; dame de cceurs, Judic ; and roi de carreaux, Caesar ;
below are the dame de trefles, Rachel ; roi de piques ; and dame de piques, Palas.
The latter three card-pieces have been cut away at the busts.

The second sheet has suffered greater mutilation than has the other one, the
dame de piques, Palas being the only nearly perfect figure of the set. On one
side of the dame is a roi named Charles, destitute of the mark of the suit ; on
the other side is the mere slip of the weapon in the left hand of a king. Above
these three pieces are but fragmentary portions of two dames and a roi.

On the head of the partisan of the roi de carreaux, Caesar, is the letter R, on
that of the roi de piques is an inverted " L," which may be perhaps the initials
of Robert Lecornu, whose cards date from the beginning of the reign of Francis
!•) 1515_1547 (see Lacroix, "LeMoyen Age et la Renaissance," tome 2.)

These cards have had the outlines, figures, and names engraved on wood,
and printed in a brownish colour, like the preceding " Valery " cards. The gene-
ral colouring is after the same style, but the forms and the costume are very
different.

[3|-

X 2f in.]

[Backs plain.]

F. 44.

SIXTEENTH CENTURY.

|IX sheets of figure cards from a numeral series, the marks of the suits
of which are not indicated.

Each sheet contains three toavs, of five pieces each row. Only
the central row in each sheet is perfect. The figures in the upper
rows of five of the sheets are cut away from above the knees, and in the lower
rows from below these joints. On one sheet the upper row shows three-fourths
of each figure, and the lower row the busts only. The figures on two of the
sheets have suffered so much damage as to be wholly wanting in some of the
divisions.

On a scroll on five of the valets is the name Iehan Fa veil. The central
row of the best-preserved sheet has the following series of figures, commencing at
the left hand, viz., valet, dame, roi, dame, roi. On the heads of some of the parti-
sans in the hands of the" valets are the letters " L. F."

The designs and execution of these card-pieces are of a superior character.
The costume is rich and well drawn. The two dames in the central row of sheet
1 are admirable ; the dame with the flower toward her nose is most expressive
and graceful in action. Neither suit marks nor names are present, and the cards
are uncoloured.

X 2f in.] [Backs plain.]

[3f

ii4

FRENCH.

F. 45-

SIXTEENTH CENTURY.
ROUEN.

OUR sheets relating to a numeral series of the ordinary French suit
— piques, trefles, cceurs, and carreaux. On two sheets are four roi
of card-pieces of the suits piques and trefles alternately. There
generally five perfect pieces and part of another card -piece in ei
row. The values of the pieces present range from five to ten.

A third sheet consists of the stamped tarotee paper, intended for the backs
of the cards. It is marked with lozenge-shaped spots, running in slightly curved
diagonal lines across the paper, printed in black ink.

A fourth sheet consists of the mutilated wrapper, intended to enclose the cards
when perfected for the market. On an upper fragment are parts of a woodcut
and inscription, the former exhibits a Sudarium or Veronica, and the latter the
words " Sauveur du Monde >J< ." The whole is printed in black ink. On a
lower fragment is a mutilated impression from a woodcut, printed in red ink.
Beneath a broad ornamental border is the inscription —
" Cartes Fines Factes a Rouen
Par Robert Benieres."

Below are portions of a coat of arms and its supporters, of which three fleur-de-
lis and the heads of two angels are all that can be seen.

The strange addition of a religious emblem and inscription to the cover of a
pack of playing-cards, as shown on this sheet, may be explained by the circum-
stance that Rouen being a cathedral town, the seat of an archbishopric and col-
lege, it bestowed its patronage and certain privileges on a particular printing
and publishing-house, which thus provided the inhabitants with amusement or
piety according to circumstances.

[3i x 1i m-] [Backs decorated.]

F. 46.

SECOND QUARTER OF SIXTEENTH CENTURY.
ROUEN.

WO sheets of figure cards from a numeral series of the suits piques,

trefles, cceurs, and carreaux.

On one sheet the pieces are coloured, and have the marks of

their suits at the top right-hand corner. On the other sheet the
cards have not been coloured, nor have they the suit marks. The coloured sheet
has been torn ; the upper two rows of figures are imperfect, the lower two rows
are nearly entire. Each row exhibits six pieces, composed of the kings, queens,
and valets. A queen in the upper row of the coloured sheet is named pentha-
silee ; a king of trefles, Hector ; and a valet of trefles bears on a scroll " Capitaine
Vallante," and NB [Nicholas Besniere] on a shield between his legs. A king in
the second row is named Charles, a queen of spades Persabee (Bethsabee), a
valet of spades has the address of " Nicolas Besniere " on a scroll, and a king of
the same suit is entitled David. On the third row from the top a king of hearts

NUMERALS.

115

is named Jullius Caesar ; a valet of hearts Siprien Roman ; a valet of clubs as
before, a queen of clubs Pentaxilee (Pentasilee), and a king of clubs Hector.
On the lowest row is a king of diamonds named Charles, a valet of diamonds
who is " Capitaine Metely," a queen of diamonds called Lucrelle (Lucresse), a
king of spades who is David, and a valet of spades with the address of " Nicolas
Besniere."

The other and nncoloured sheet has the four rows in a like sequence of six
figures, each nearly perfect. A queen is here present named Heleine, torn away
in the other sheet, and the address of " Robert Besniere," instead of " Nicolas
Besniere," is on the valets.

These two sheets of card-pieces are interesting as being examples of the
cards known as those of Charles, or David, Dubois, slightly modified, as executed
at Rouen by the brothers Besniere. The influence of Spanish and Italian types
may be seen here in the designs, which belong probably to the second quarter of
the sixteenth century, or to about the time of the Battle of Pavia, fought in the
early part of 1525, near that town, between the French and the Imperialists.
The former were defeated, and their king, Francois Premier, after fighting with
great valour, was obliged at last to surrender himself a prisoner. Francis wrote
to his mother, Louisa of Savoy, Regent of the kingdom during his absence,
" Tout est perdu, Madame, fors l'honneur."

According to Lacroix, the valet of piques in the Dubois cards resembles Charles
the Fifth.

[3f X if in.] [Backs plain.]

F. 47.

LAST QUARTER OF SIXTEENTH CENTURY.

SHEET of figure cards from a numeral series. It is torn at the
lower portion. There are two rows of figures of five pieces in each
row — king, queen, valet, king, and queen in the upper row, and
queen, king, valet, queen, and king in the lower row. The pieces
are nncoloured, and the marks of the suits are absent. On the central figure of
each row — a valet — is a scroll bearing the address of " Jehan Genevoy." On the
breast of the upper valet is a lion, sable, rampant, and on that of the upper king
a double-headed eagle.

These cards are more carefully designed and engraved than usual, and appear
to have served as a model for an Italianised version, to be immediately noticed.
X 2f- in.] [Backs plain.]

[3f

F. 48.

END OF SIXTEENTH CENTURY.

WO sheets of figure cards from a numeral series of the suits coeurs,
carreaux, piques, and trefles. Each sheet contains two rows of figures,
five figures being in each row. On one sheet the figures are heavily
and coarsely coloured, and the signs of the suits are present. The
pieces of the other sheet are uncoloured; and are devoid of the marks of
the suits.

These two sheets are evidently from different blocks, but which were intended

116 FRENCH.

to represent the same designs, the latter being an Italianised version of the
French cards previously described — F. 47.

On the scrolls of the valets of both rows of the coloured sheet is the add
of " Francesco Franco" very plainly marked, while on the valet of the uncoloured
sheet the letters appear to be frbnsos frenc. The letter F may be seen on the
heads of the partisans of the valets in the uncoloured sheet. On the verso of the
latter is the following memorandum in MS. : "trovate nella fodera di un libro
stampato a Torino nel 1 600."

Though the execution is here of a heavier and coarser character than in the
previous version, the proportions of some of the figures are juster, and the actic
of the valets in particular better expressed.

Lacroix remarks : —

" Under Henry II. and his sons as many Italian as French cards were manu-
factured at Paris. The card-makers were even Italians." (" Le Moyen Age et la
Renaissance.")

[3$ * 2f m-] [Backs plain.]

F. 49.

END OF SEVENTEENTH CENTURY.
PARIS ?

ilGHT figure cards from a numeral series of the suits cceurs, carreaux,
trefies, and piques.

The cards present are the king and queen of cceurs, the king and
queen of carreaux, another king and queen, and two valets. The
kings and queen of coeurs and carreaux have the suit marks, the other cards are
without them. All the pieces are coloured.

The king of cceurs is entitled Charles, the queen of coeurs, Judic, the king of
carreaux, Cezar, the queen of carreaux, Rachel.

Another king is David, a queen Argine, one valet is named Hogier, while
the other has the address of " Jean Lebahy."

On the head of the partisan borne by the latter valet are the initials, J. L.
These cards are of neat execution. The pieces have not been backed nor
mounted.

[3f X 2^ in.] [Backs plain.]

F. 50.

EIGHTEENTH CENTURY.
PARIS.

'HIRTY-FOUR cards from a numeral series of fifty-two of the suits
cceurs, carreaux, trefies, and piques.

The cards present in the suit of cceurs are the ace, 2, 4, 5, 6, 7, 8,
9, IO, valet, and dame. In carreaux the ace, 2, 5, 7, 9, 10, dame,
and roi. In trefies, the 2, 3, 4, 5, 6, 7, and 9. In piques, the ace, 3, 5, 7, 8, 9,
IO, and valet.

On the valet of camrs is the title, Lahire.

[3} X if in.] [Backs plain.]

NUMERALS.

F. 51.

EIGHTEENTH CENTURY.

PARIS.

)IFTEEN cards from a series of fifty-two numerals of the suits camrs,
carreaux, treses, and piques.

The cards present are in the suit cceurs, the ace, 2, 4, 5, 9, and
IO. In carreaux, the 5, 7> dame, and rot. In trefies, the 4 and 6, and
in piques, the ace, 3, and 7.

On the king of carreaux there is a monogram at the left-hand lower corner,
and one on the head of the partisan on the right hand of the figure ; but they are
not decipherable.

[3f-Xlfin.] [Backs plain.]

F. 52.

EIGHTEENTH CENTURY.
PARIS.

WO coate-cards from a numeral series of fifty-two.

The cards present are the dame of piques and the valet of cceurs.
On the former at the left-hand lower corner are the letters r c on
a small shield.

'is

in.]

[Backs plain.]

F. 53-

EIGHTEENTH CENTURY.
PARIS.

WO pip cards from a numeral series of fifty-two. The cards present
are the nine and ten of cceurs.

These cards, along with P. 50, F. 51, F. 52, were found about 17 50
behind some wainscoating in a house at Cambridge undergoing

repan*£

[3 1 X If in.]

[Backs plain.]

F. 54-

LAST QUARTER OF EIGHTEENTH CENTURY.
PARIS.

|NE card from a numeral series manufactured probably for the Spanish
market.

The card present is the five of swords. On the front of the card is
the address, " Guillau Mandrou," and 1792 has been added in MS.
On the back of the card is the following engraved inscription, contained within an
ornamental framework, surmounted by the Royal Arms of France : " Eftin
Maitre cordonnier de la Reine Demeure rile Comtesse D'Artois en face de la rue
Mauconseil chez Mr. Corneille Md. Epicier. a Paris."
The piece is coloured.
[3j. x 2f^ in.] [Back decorated.]

FRENCH.

F. 55-

EIGHTEENTH CENTURY.

SINGLE figure card — the queen of hearts — from a numeral sei
the usual kind.

The queen holds a sceptre in her left hand ; she is turned towards
. the right.
The piece is coloured. On the back is a study in oil of a head by some
artist.

[3f X H in0

[Back decorated by hand.]

F. 56.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

*N entire set of a numeral series of fifty-two cards of the usual suit
The coate-cards represent full-length figures, the roi de piques being
entitled David, the dame Pallas, and the valet Hogier. The roi de
trefles is Alexandre, the dame Argine, and the valet Lancelot. The
roi de carreaux is Cesar, the dame Rachel, and the valet Hector. The roi de
camrs is named Charles, the dame Judith, and the valet Lahire.

The valet of trefles holds in his right hand a shield bearing the inscription :
" 1816 Administ : des Contrib : Indir:" Around the mark of the suit on the
ace of trefles is a wreath of oak -leaves.

The designs on the coate-cards are from engraved plates of a soft metal, and
though stiff are neatly executed, as is likewise the colouring.

[3 ' X 2 in.]

[Backs plain.]

F. 57-

FIRST QUARTER OF NINETEENTH CENTURY.
PARIS.

JN entire set of a numeral series of fifty-two cards of the usual suits.
The pack is a replica of the one just described (F 56), but the
designs have been printed off* on cream-toned paper of considerable
lissage, and the figure cards coloured in a heavier style.
The engraved title of a wrapper accompanies the pack. On it is inscribed :
" Cartes tres-fines de la Fabrique De Jounin. Rue du Four-Saint Germain
No. 7 1 . Pres de la Croix-Rouge a Paris."

On one edge of the wrapper is the word " Piquet,'" showing that the same
title was used for various sets, the present series not being a piquet pack.

[3| X 2 in.]

[Backs plain.]

NUMERALS. n9

F. 57. 2.

FIRST QUARTER OF NINETEENTH CENTURY.
PARIS.

SHEET containing the twelve coate-cards (unseparated) of a numeral
series of fifty-two of the suits trefles, piques, cceurs, and carreaux.

The honours are king, queen, and valet. The kings bear the
names of David, Charles, Caesar, and Alexandre ; the queens those of
Abigail, Hildegarde, Calpurnie, and Statira, while the valets are entitled Azael,
Ogier, Cur ion, and Parmenion. The valet of trefles rests his right hand on a
shield, in the central circle of which is the address : " Gatteaux, 181 1."

These card-pieces are interesting from the circumstance that they form part
of the series of designs made by M. Gatteaux (pere) at the command of the
Emperor Napoleon I. who " dcsirant substituer aux figures bizarres des rois,
dames, et valets, un dessin dont l'extreme elegance et la purete rendent la contre-
fac,on difficile et qui puisse en meme temps, par la fidelite des costumes et l'exacti-
tude des attributs, repondre au but allegorique que parait s'etre propose l'inventeur
de ce jeu," desired that David, Mongez, Gatteaux, and other eminent artists of
the time should be requested through the Conseil d ' Etat to furnish specimens.
{Antea, p. 46.)

These inventions of M. Gatteaux may be said to be in a general way well
conceived, carefully drawn, and neatly executed, but a close examination of them
elicits faults which, considering the source of the designs, demand notice. The
male forms are heavy and too short for the size of the heads, some of the figures
being scarcely more than six and a half heads high. The full and broad dra-
peries, in which the kings particularly are clothed, increase the stumpy appear-
ance of the figures still more. Certain of the female forms also are short for the
size of the heads, while at the same time they are drawn on a scale which
makes them all as tall as the men. The drawing of the upper extremities of
some of the male forms is defective, and the head-dresses of two of the valets
(hearts and spades) are mean. As a rule the actions are good, the poses
statuesque and well-balanced, and the draperies satisfactory and largely designed.
The attributes are appropriate and clear in their intentions. The technic, or
engraving, is of a superior character, though from the closeness of the lines in
some of the shadows the former have become clogged in inking, and hence pro-
duced a slightly blurred appearance in the impression.

The pieces are uncoloured. Spaces are left at the upper corners of the card
for the ordinary suit marks, which in the example before us have not been added.
Nevertheless, the suits are indicated, though in a manner very liable to pass un-
noticed. The small ornaments in the borders of the draperies are composed
chiefly of the marks of the suits, and the ends, or tails, of the chief folds of the
mantles and scarves have diminutive pendants, or ornaments, of the form of the
marks of the suits.

The card-pieces are here in two rows of six pieces each row. In the upper
row are the king, queen, valet of spades, and valet, king, queen of hearts. In the
lower row are the valet, queen, and king of diamonds, and valet, queen, and king
of clubs. The valet of hearts carries a scroll in his right hand on which is in-
scribed the word " Ordre."

The designs of M. Gatteaux and others of the First Empire are alluded to
by Merlin. (Bibl. 6, p. 1 14, 1 15.)

[3| X 2 in.] [Backs plain.]

i2o FRENCH.

F. 58.

NINETEENTH CENTURY.
PARIS.

SET of fifty -two numerals of the usual suits.

The coate-cards or honours have full-length figures in national
costumes, representing the following personages. In the suit trefies
the Emperor Napoleon (III.), the Empress Eugenie, and a royal
huntsman. In cceurs, the Prince Consort of England, Queen Victoria, and a
jockey. In piques, the Tsar of Russia, the Tsarina, and a royal serf. In
carreaux, the Emperor of Austria, the Empress, and an imperial groom. On the
ace of trefies are the imperial arms of France, and the word " France" at the
left-hand lower corner. On the ace of cceurs are the arms of England, and the
word " Angleterre" at the left-hand lower corner. On the ace of piques are the
arms of Russia, and on that of carreaux those of Austria, with the respective
words at the left-hand corner. On a smaller shield, placed like a shield of pre-
tence over the royal arms, is the mark of the suit of each ace.

A wrapper accompanies the set ; it is of glazed pink paper, having on it the
following inscription, printed in blue and gold : — " Cartes Imperiales et Roy ales
France — Angleterre Russie — Autriche B. P. Grimaud & Cie 70 Rue de
Bondy Paris B P Grimaud et Cie."

The designs — particularly the armorial bearings — are neatly engraved and
coloured.

The backs are coloured bright rose-colour, and have much lissage.

[3^- X 2 in.] [Backs coloured.]

F. 59.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

PERFECT set of a numeral series of fifty-two cards of the ordinary
suits.

The coate-cards of this sequence are full-length figures represent-
ing popular characters, in theatrical or quasi-historic costumes. The
roi de piques is entitled D'Artagnan ; the dame, Madame Bonacieux ; the valet,
Planchet. In trejies, the roi is Athos ; the dame, Lady Winter; the valet,
Grimaud. In carreaux, the roi is Porthos ; the dame, Duchesse de Chevreuse ;
the valet, Mousqueton. In cceurs, the roi is Aramis ; the dame, Anne d' Autriche ;
and the valet, Bazin. These figures are well and picturesquely designed; they
are printed off" in chromo-lithography from several stones in bright and positive
colours, and in parts illuminated in gold.

Around the mark of the suit on each ace is an ornamental wreath. The
figure cards representing the kings have each a gold coronet at the left-hand
upper corner, immediately above the mark of the suit.

The backs of the cards have much lissage, and are coloured light blue.
The title of the wrapper accompanies the set. It is printed in gold letters
on a blue glazed paper, and bears the following inscription : " Costumes du Temps
de Louis 1 3. Les Mousquetaires B. P. Grimaud & Cie 70, Rue de Bondy."
[3f- x 2i m0 [Backs coloured.]

NUMERALS. 121

F. 60.

NINETEENTH CENTURY.
PARIS.

PACK of fifty-two numerals of the usual suits, viz., piques, carreaux,
trefies, and cceurs.

The figure cards or honours have on them busts printed in double
and reverse, and bear the names of David, Pallas, and Hogier in
piques ; Charles, Judith, and Lahire in cceurs ; Alexandre, Argine, and Lancelot
in irejies ; Caesar, Rachel, and Hector in carreaux.

The valet of trefies holds a shield in his right hand, on which is inscribed :
"Administ. Des Contrib : Indir. 1853."

Around the mark of the suit on the ace of trefies is a wreath of oak -leaves.
These cards are after the same designs as those of F. 56, with the exception
of the alterations necessary for the coate-cards.
The backs are coloured of a buff hue.
[3|- X 2 in.] [Backs coloured.]

R 61.

NINETEENTH CENTURY.
PARIS.

SET of fifty-two numerals of the ordinary suits. The coate-cards
have busts printed in double and reverse.

The designs in each suit are different. The costumes of the roi
and valet are of earlier character than those of the dames, which are
quite modern.

On the valet of piques is the address, "F. d'Alph Arnoult a Paris," printed
at the left-hand lower and right-hand upper corners.

The title of the wrapper accompanies the set. It is an ornamental neatly
engraved piece, bearing the inscription, "Cartes Fines Allemandes en taille-
douce a deux-tetes — No. 5."

It is presumed that these cards are styled allemandes because they do not
constitute a piquet pack, pure et simple, and that the figures are double and in
reverse.

The backs are marbled pink and white.

[3g- X 2 J- in.] [Backs coloured.]

F. 62.

NINETEENTH CENTURY.
PARIS.

SET of small-sized cards of the usual suits.

The figure cards have on them busts, printed double and in reverse.
The dame of trefies holds a fan.

The title of the wrapper accompanies the pack. It is printed in
black on a pink ground, and bears the following inscription : " Deux-Tetes, Jeu
de Patience, Fabrique de Testu Rue Croix-des-Petits champs 37. Paris." The
backs are coloured pink.

[2 x if in.] [Backs coloared.]

122 FRENCH.

F. 63.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

PACK of fifty-two numerals of the ordinary suits.

These cards are extremely diminutive, delicate, and pliable, and
could be carried readily in a purse, waistcoat-pocket, or concealed
the palm of the hand beneath a glove.
The figure cards have on them busts, printed double and in reverse.
The marks of the suits on the aces are placed within an ornamental frame.
The lissage of the backs is considerable, and the latter are tarotees in gold,
having rosettes within circles, between which are pierced squares. This orna-
mentation is, however, not proportionate to the size of the cards. It is too
large.

The pack is enclosed in a delicate lilac-coloured and glazed paper case.
[l|. X |- of an inch.] [Backs decorated.]

F. 64.

NINETEENTH CENTURY.
PARIS.

PACK of fifty -two numerals of the ordinary suits. The coate-cards
have on them busts, printed double and in reverse. The figures are
devoid of titles. The dame of each suit holds in her right hand a
different flower; in piques the latter is a tulip ; in carreaux, a pink or

clove (here coloured yellow) ; in trefies a poppy (coloured yellow), and in cceurs

a rose.

The backs are tarotees with pink stars and dotted serpentine lines, but vary

in pattern. Judging from the differences of the latter it may be assumed that

this pack has been made up from three different sets, as shown, e.g. by the ace of

piques, king of piques, and the eight of piques.

[3f- x 2ts *n'] [Backs decorated.]

F. 65.

SECOND HALF OF NINETEENTH CENTURY.

SET of fifty-two numerals of the ordinary suits. The coate-cards
have on them busts, printed double and in reverse. The figures are
strongly coloured and illuminated in gold, and are rather neatly en-
graved. The marks of the suits on the aces are encircled by an orna-
mental wreath. On the valet of trefies is the address, "B. P. Grimaud et Cie,
Paris, France."

The backs of these cards are coloured pink, and are highly glazed.

[3f X 2f in0 [Backs coloured.]

NUMERALS. 123

F. 66.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

PACK of fifty -two numerals of the usual suits, piques, cceurs, carreaux,
and trefles.

The coate- cards have busts printed double and in reverse.
On the aces are landscapes, also double and in reverse, representing
coloured views in Portugal; the mark of the suit is placed in a white circular space
in the centre of the card. On the ace of piques is represented, " Rua diretta da
Junqueira enLisboa," and "Estatua equestre del Rei &' lose l°en Lisboa." On
the ace of cceurs is a " Vista de Porto," and a " Vista de Coimbra." On the ace
of trefles is " O Passeio Publico em Lisboa," and " Peira da Cordoaria no Porto."
On the ace of carreaux is the "Palacio de Mafra," and a "Vista de Lisboa."

The pack is accompanied by the engraved title of the wrapper, printed in
gold on a pink ground, highly glazed. It bears the inscription, " Cartes Royalcs
Extra Fines."

The backs of the cards are marked with delicate transverse lines, and are
neatly watered in pink. The corners of each piece are rounded off and gilt.
[3|- x 2 in.] [Backs decorated.]

PIQUET.
F. 66. 2.

NINETEENTH CENTURY.

SET of piquet cards, i. e. thirty-two numerals, the two, three, four,
five, and six of each suit of the ordinary set of fifty-two being sup-
pressed (antea, p. 45). The coate-cards have on them full-length
figures, bearing the names of David, Pallas, Hogier in piques ;
Alexandre, Argine, Lancelot in trefles ; and Csesar, Rachel, and Hector in
carreaux.

The designs are the same as those of the full set F. 56; the valet of trefles
bears a like shield, having on it, " 18 16. Aministr. des Contrib : Indir."

The mark of the suit on the ace of trefles is surrounded by a wreath of oak-
leaves, and that on the king of each suit is surmounted by a crown.

These cards are neatly engraved and coloured, and the backs are marked by
vermiform dotted lines of a pink colour.

[3J- x 2 in.] [Backs decorated.]

F. 67.

NINETEENTH CENTURY.
PARIS.

SET of piquet cards of the ordinary suits. The coate-cards present
full-length figures in character costumes, and are named as follows :
In the suit piques the roi is Comte de Brissac, the dame, Diane de
Poitiers, the valet is without title. The latter holds a greyhound by
a string, and at the left-hand lower corner is engraved the word France. In

124 FRENCH.

trefies the roi is Bussy d'Amboise, the dame, Dame de Monsoreau ; the valet, a
groom holding a horse, is without title. In carreaux the roi is Cinq-Mars, tin
dame, Marion Delorme ; the valet, bearing glasses on a salver, is untitled
cceurs the roi is the Chevalier d'Eon, the dame, the Comtesse de Rochefort ;
valet; who is footman, is without title, but on the base of a pilaster in the bi
ground is the address, " Gibert a Paris."

The marks of the suits on the aces are enclosed within an ornamental fr
The engraved ornamental title of the wrapper accompanies the cards,
bears the following inscription, printed in black and gold, on a highly glazed and
pink-coloured paper : " Entieres illustrees." " Brevet d'invention," " cartes dites
opaques, B. P. Grimaud et Cie. Portrait Francais Illustre, 70, Rue de Bondy
Paris. B. P. Grimaud et Cie." " La transparence des cartes ordinaires est un
inconvenient fort grave. Les cartes opaques ont une incontestable superiorite.
Elles ne peuvent etre reconnues au travers sous quelque jour qu'elles soient
placees. Roche inc."

These cards are from neatly etched plates, and are carefully coloured. The
backs are coloured pink, and the lissage is considerable.

[3f X 2 in.] [Backs coloured.]

F. 68.

NINETEENTH CENTURY.
PARIS.

SET of piquet cards ; being a replica of the previously described set,
F. 67. Not any title accompanies the pack.

[3f X 2 in.] [Backs decorated.]

R 69.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SET of piquet cards of the usual suits. The coate-cards have whole-
length figures on them in the costume of the time. Gentlemen in
paletots, frock, dress, and hunting coats represent the kings ; ladies in
walking, indoor, and dress costumes portray the queens, and persons
in the habits of coachmen, footmen, and gamekeepers, signify the valets.

The marks of the suits on the kings have a crown above them, and those on
the aces are surrounded by an ornamental framework.

On the valet of trefies is the address of " O Gibert Fab1. Paris," at the left-
hand lower corner. On the valet of piques, a footman, is the word Depose at the
same place.

The engraved ornamental title of the wrapper accompanies the set. Alle-
gorical female figures are represented emptying from a cornucopceia all kinds of
fashions in the way of bonnets, muffs, shoes, &c. Above is printed " Modes,
Cartes Parisiennes," below, "Paris Rue des Singes No. 3." The whole is
printed in black on a glazed blue paper.

The backs are coloured blue, and are smooth.

[3tV x 2 m-~\ [Backs coloured.]

NUMEBALS— PIQUET. 125

R 70.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SET of piquet cards of the ordinary character. The coate-cards have

busts on them printed double and in reverse. They bear the names

of David, Pallas, and Hogier in the suit of piques; Alexandre,

Argine, and Lancelot in trefles ; Caesar, Rachel, and Hector in

carreaux ; and Charles, Judith, and Lahire in cceurs.

The mark of the suit on the ace of trefles is surrounded by a wreath of oak-
leaves.

The backs are pink in colour and are glazed.

[3J- X 2 in.] [Backs coloured.]

F. 71

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SET of piquet cards of the usual suits. The coate-cards present
busts printed double and in reverse, and are strongly coloured.
[3f X 2 in.] [Backs plain.]

F. 72.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

PIQUET set of the usual kind. The coate-cards have busts printed

double and in reverse, of different designs to those in the last set.

The costumes are less conventional, and more historic in character,

strongly coloured, and illuminated in gold.

The suit marks on the aces are contained within an arabesque ornament.

The valet of trefles bears a shield, on the border of which is the address, " O

Gibert Paris."

The title of the wrapper accompanies the cards. It is printed in black on a
pink ground, highly glazed, and bears the following design and inscription, viz. —
two allegorical female figures, one emptying a cornucopoeia filled with bonnets,
muffs, and other articles of fashionable female attire. Above them is : "Costumes
Historiques Frangais," " Cartes Parisiennes," " Paris Rue des Singes No. 3."
The backs of the cards are glazed and coloured pink.
[3tV X 2 *n-J [Backs coloured.]

FRENCH.

F. 73-

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SET of piquet cards of the usual suits. On the coate-cards are full-
length figures of English historic personages. The king of spades
represents Buckingham, the queen the Comtesse de Marlborough,
the valet, who bears glasses on a salver, is unnamed. The king of
clubs is Sir Rhys Thomas, the queen the Comtesse de Salisbury, the valet, who
carries a helmet in his hand, is unnamed, but the word France is engraved at
the left-hand lower corner. The king of diamonds is Leicester, the queen the
Comtesse d' Oxford, the valet is unnamed. The king of hearts is Mac-Farlan,
the queen the Comtesse d'Argyle, while the valet, who bears a falcon on his lef
hand, is unnamed, but the card has the address, " Gibert Fab1 a Paris," at the
background. The costumes are intended to be historic. The marks of the
suits on the kings have a crown above them, and those on the aces are containet
within arabesque ornaments.

These cards have been carefully designed and etched, and fairly coloured.
The backs are coloured blue.

The engraved and ornamental title to the wrapper accompanies the set. It
represents the allegorical female figures with the cornucopia of articles before
described, and bears the inscription : " Cartes Parisiennes, Paris Rue des
Singes. No. 3."

It is printed in black on a blue and glazed paper.

[3-|- X 2 in.] [Backs coloured.]

CARDS WITH A SECONDARY PURPOSE.
EDUCATIONAL — INSTRUCTIVE.

F. 74. A.

Engravings of the Italian School. Worhs of Stefano Delia Bella3

yd Volume.

F. 74. B.

(Jeu des Reynes Benommees.)

F. 74. c.

(Les Jeux de Cartes des Boys de France} 1664.)

NUMERALS— PIQUET. 127

FIRST HALF OF SEVENTEENTH CENTURY.

PARIS.

The Cards 01 ' esmarests and of Stefano Della Bella.

URING the time of Louis XIV. a French academician, Jean Des-
marests1 (born Paris, 1596), undertook, at the suggestion of Cardinal
Mazarin, to prepare some series of games with cards, which might serve
the purpose of instructing the young king. With this view Desmarests
(who died in 1676 at the mansion of the Cardinal, of which he had been made in-
tendant), associated with himself Stefano Della Bella, the well-known Florentine
artist and engraver. They produced four series of instructive cards, Desmarests
undertaking the general designs and arrangements, and Della Bella the particular
illustrations and the engraving of them. The various series were afterwards
sold by Henri Le Gras, of the Royal Library, letters patent of the date 1644
having been issued to Desmarests, granting him certain privileges and monopo-
lies connected with the cards, and forbidding their sale by any one than his
authorized publisher, under a penalty of 3,000 livres and confiscation of the
articles.

The first of these instructive or educational cards published, was a set
entitled " Le Jeu des Fables ou de la Metamorphose,"1 hi which were represented
" the gods, demi-gods, goddesses, and heroes of antiquity," accompanied by a
precis Mstorique " at the lower part of each card, illustrative of the mythology of
the ancients. Then followed " Le Jeu des Rois de France" or " Le Jeu de
VHistoire de France" exhibiting the various kings from Pharamond to Louis
XIV., and indicating in abridged histories then* particular characters, &c.
Thirdly appeared " Ze Jeu des Reynes renommees" in which " is passed under
review the queens, heroines, and other illustrious women, from the remotest
antiquity until the present time. Some in chariots, some on horseback, others
on foot, along with expositions of their characters ; and an abridged account of
the more striking incidents in their history." (Jombert, p. 28.)

Finally appeared " Le Jeu de la Geographie" " the whole forming a series of
nearly 200 plates, extremely interesting, and of the best period of the work of S.
Della Bella." (Jombert.)

A little explanatory book of sixty pages (F 74, C), was afterwards produced
by Desmarests, having the following title: " Les Jeux de Cartes Des Roys
de France, des Reines renommees, de la Geographie et des Fables. Cy-devant
dediez a la Reine Regente pour 1' instruction du Roy et depuis mis ensemble en
un volume portatif pour apprendre tres facilement l'Histoire, la Geographie
et les Fables. Par IDM. A Paris, chez Florentin Lambert rue Saint Jacques,
vis-a-vis Saint Yves a Tlmage Saint Paul — m.dc.lxiv. avec Privilege du Roi."

This brochure contains in the first place an address, " A la Reyne Regente,"
who is informed that " Ce sont des Jeux en apparence que je presente a, votre
Majeste mais en effet c'est un livre, et une estude pour les Jeunes Princes, aussi
serieuse pour le moins que divertissante. Voicy un nouvel Art qu'a produit une
extreme passion de servir mon Roy apres avoir considere ses belles et genereuses
inclinations, les beaux fruits que produira cette Royalle plante estant bien cultivee
et les biens et la gloire dont vos Majestez et toute la France serout comblees, si
l'on adjouste une soigneuse education a la grandeur et a la merveille de sa
naissance," &c. &c.

Next follows a " Lettre d'une Dame de Rennes a M. Desmarests sur le Jeu
des Reines renommees," in which M. Desmarests' selection and rejection of par-

1 Spelt also Des-Marets.

128 FRENCH.

ticular " Dames renomniees," and his historical account of the selected ones, are
somewhat severely criticised. This letter is signed M. D. B., and is dated
" De Rennes ce 27 Decembre 1644." After this comes M. Desmarests' reply,
dated " De Paris, ce IO Janvier 1645." In it the writer makes a strong, but
courteous reclamation against the strictures of one whom he believes to be
" une Dame de qualite et de tres bon esprit."

The following is an analysis of the educational and instructive series of
cards by Desmarests and Delia Bella (F. 74. a., F. 74. b., F. 74 c), as pre-
served in the British Museum.

F. 74. A. i. "Jeu des Fables.11

A sequence of fifty- two separated card-pieces, and a title engraved au
travers, bearing the inscription, "Jeu des Fables." The series is intended to
afford instruction in ancient mythology and fable. Each piece has a figure subject
of mythologic character, occupying half the card. Immediately below the design
is its title, followed by a short, descriptive summary. Under this, towards the
right-hand corner, is the mark of the particular suit to which the piece belongs,
and towards the left is the number indicating its value. The intended coate-cards
or honours have R, D, and \4. on them in place of the numbers.

The marks of the suits are coeurs, trefles, piques, and carreaux.

The coate-cards of the suit coeurs represent Jupiter, Juno, and Mars ; those
of carreaux, Saturn, Venus, and Apollon ; of piques, Pluton, Diane, and Bacchus ;
of trefles, Neptune, Pallas, and Mercury. The ace of piques exhibits Amphion
seated on a rock overlooking a stream ; in the background are castellated walls.
Below is inscribed " Amphion. Roy de Thebes, bastit les murs de Thebes au
son de sa Lyre, les pierres suivant les cadences et se rangeant d'elles memes."

A copy of the ace of trefles is given by Boiteau d'Ambly, p. 133, and by
Taylor, p. 328, pi. 35. It represents " Arion" seated on a dolphin playing the
violin. Below is the following: — "Excellent musicien fut jette dans la mer par
des marchands pour avoir son bien, et ayant joue de sa lyre avant que d'estre
jette, un dauphin le recoit et le mit au bord."

The subjects of " Cephale et Procris," " Jupiter et Danae," " Thesee et
Ariadne," "Hippomene et Atalante," &c, vary the illustrations with "Nep-
tune," " Ceres," " Niobe," " Pigmalion," and others.

Of this particular set, impressions of three different states exist in. the collec-
tion of the works of S. Delia Bella in the British Museum. (Vol. 3.)

1. First State.— Brilliant impressions before any inscriptions, marks, and
numbers of suits. The card-pieces are unseparated, being contained in four
large sheets of twelve cards in three rows of four cards each row, and in two
smaller sheets, one sheet having three, the other two pieces engraved on it. A
vacant place is on the latter sheet, which contains the title, engraved au
travers.

2. Second State. — Card-pieces separated. Inscriptions and numbers added,
together with the marks of the suits. The latter in camrs and carreaux are in
outline only. The coate-cards are devoid as yet of the letters R, D, A. The
title-piece is wanting.

3. Third State. — The marks of the suit carreaux, before in outline, are now
filled up by perpendicular lines, as are likewise the marks of the suit camrs. The
letters R, D, A, are added to the coate-cards.

The title-piece is present, and bears the inscription, " Jeu des Fables." The
pieces are separate. Some of the designs of these card-pieces are very graceful
and poetic, and the execution of them admirable, but they should be seen as
impressions of the first state to be justly appreciated.

[3i X 2i in-] [Backs plain.]

EDUCATIONAL— INSTRUCTIVE. 129

F. 74. a. 2. F. 74. c.1 " Cartes des Boys de France.1'

A series of forty card-pieces, including a title, the secondary purpose of which
is to afford historical instruction. Each piece has on it a figure or figures,
equestrian or otherwise, representing kings or regents of France, from Phara-
mond to Louis XIV., the latter being portrayed as a youth in a stately chariot
guided by his mother. Below each design is engraved an historic account of the
person represented. Above it is a number (generally at the left-hand upper
corner), indicating the person's position in the sequence of the French kings.
At the right-hand upper corner is recorded the number of years of the particular
reign.

In illustration, the card-piece on which is represented "Francois le" may be
taken. Occupying somewhat less than half the card is the figure of a king on
horseback, directed towards the left hand. He is in armour, wears a plumed
helmet, and extends his right hand, in which is the baton of authority. At the
left-hand upper corner is the number 58 in rather large figures, implying that
Francis was the fifty -eighth king; at the left-hand upper corner is engraved
" regna 32."

Below the design is the following account, engraved on a piece of hanging-
drapery : — " Francois I. Vaillant, liberal, humain, ay man t les lettres, il gagna
contre les Suisses une grande bataille disputee 2 jours. II resista a toute l'Europe
liguee contre la France, il combatit de toutes partes la puissance de Charles
quint, mais sa prise devant Pavie luy fit perdre tons ses avantages."

Though there are but thirty-nine cards (one of the forty being a title), the
number of designs proceeds to sixty-five, some of the pieces having four or five
figures on them.

On one card are the numbers 6, 7, 8, 9, 14, belonging to " cruel kings," who
are Childebert, cruel et avare, 6 ; Clotaire, tue de sa main ses neveux, 7 ;
Cherebert, 8; Chilperic, 77 estrangla sa femme, 9; Childeric 2e, 11 fit foueter
un gentilhomme qui le tua, 14.

A copy of one of the pieces, viz. that representing five " fayneants* may be
seen in Boiteau d'Ambly's work, p. 134, and in Taylor's version, p. 344, pi.
xxxvi. The kings selected appear to be arranged in the following manner : —
" Good kings," " simple-minded kings," " cruel kings," " faithless kings," " un-
fortunate kings," " kings neither good or bad." The latter include Charles the
Bald, Francis II. , and Louis the Stammerer.

Of the last king, Louis XIV., it is stated : — " Prince longtemps attendu, et
qui estant donne de Dieux aux voeux d'une bonne et sage reyne et de tout le
peuple faict esperer qu'il possedera toutes les vertus royales et que son regne sera
tres heureux, puis qu'il a commence par la bataille de Bocroy et la prise de
Thionville."

The ornamental title engraved au travers, bears the following inscription :
" Cartes des Rois de France. A Paris Chez Henri Le Gras Libraire au troisieme
pilier de la grande Salle du Palais." — Avec Privil."

The set of card-pieces under notice has not any indications of suits nor of
values. Each piece is separate, and all are neatly designed and engraved.
[3i X 2t-6 m-] [Backs plain.]

F. 74. a. 3. " Jeu des Reynes Renommees."

A set of fifty-two card-pieces with a title, the secondary purpose of which
is to aiFord instruction in history.

1 F. 74. c. The dedicatory and descriptive volume before mentioned at p. 1 27,
refers to all the series in the 3rd vol. of the works of S. Delia Bella.

130

FRENCH.

These pieces have on them neatly engraved whole-length figures of renowned
women, from Dido to Queen Elizabeth; they are variously engaged, go-
of them being on horseback and some in chariots. They are classed
follows : —

Saints and holy women
Good women
Wise women
Clever women
Celebrated women
Brave women
Happy women
Cruel women
Licentious women
Capricious women
Unfortunate women

as St. Helena, e.g.
„ Penelope.
„ Isabel of Castile.
„ Catherine de Medici.
„ Dido.
„ Penthesilea.
„ Roxana.
„ Clytemnestra.
„ Messalina.
„ Sabina.
„ Octavia.

The personages chosen under these heads are so arranged in separate classes, as
to indicate the ordinary suits and values of playing-cards. In another set pre-
sently to be referred to, the four suits are likewise differentiated by the way in
which the drapery is coloured. Any attempt, however, to employ these and
their congeners as ordinary playing-cards would lead to confusion only.

Each piece of the present series, with the exception of twelve intended to
represent the honours, has a number indicating its value at the upper left-hand
corner. At the right-hand upper corner is engraved the generic character of
the personage represented. Below the design are the title and a description of
the " reyne renommee." Thus, e.g. on a card intended to form the ten of a suit
is the number lO, and the word " pieuse" at the upper corners respectively.
Half the card is then occupied by a female figure in a religious habit, and
carrying a crucifix. At the lower half is engraved " Elizabeth d'Arragon.
Femme de Denys Roy de Portugal, elle vescut sainctement et un jour
portant dans un coin de sa robe de 1' argent pour les pauvres le Roy luy demanda
ce quelle portait, elle lui dit, ce sont des roses, le Roy le voulut voir, et l'argent
se trouva change en roses."

A copy of a "reyne galante" is given by Boiteau d'Ambly, p. 136. Some of
these female figures are of very elegant design and of careful execution.

The ornamental title is engraved au tr avers, and has on it " Jeu des
Reynes Renommees." At the lower portion is the address of Henri Le Gras,
" avec Privilege." The address has been cut through, but sufficient remains to
permit of the identification.

[3f

x 2-,

in.]

[Backs plain.]

F. 74. b. " Jeu des Reynes Renommees.11

Another copy of the set just described, in which the pieces have been
coloured so as to indicate the four suits. Boiteau d'Ambly, commenting on
this set, observes : —

" Lescartes sont, par couleurs, dorees, ou argentees, ou vertes, on de teinte
dite columbine, c'est-a-dire d'un rose tendre tirant un peu sur le chamois." — {Op.
cit. p. 1 36.)

These pieces have been separated, and stiffly mounted like playing-cards. The
colouring detracts from the goodness of the designs and engraving, and is but of
slight help in the way intended.

The title is absent.

[3f x 2i in0 [Backs plain.]

EDUCATIONAL— INSTRUCTIVE.

F. 74. a. 4. " Jeu de Cartes de la Geographies

A series of fifty-two card-pieces, without the title, intended to give instruction
m geography.

Each card-piece has on its upper half a design or figure in a national cos-
tume, emblematic of a geographic division of the globe. Below are the title, and
an account of the place represented. Thus, on a card intended to represent an
ace is the number 1 at the left-hand upper corner. The upper half of the piece is
occupied by a full-length figure with a trailing habit of Mauresque character ; he
bears a lance with pennon in his right hand, and wears a plumed turban or cap.
Below is the following inscription : "Barbarie. Belle et temperee, s'estendle long
de la mer mediterranee jusques au destroit de Gilbratar [sic] les villes Tunis,
Biserte, Alger et Tripoly, sont tenues par des pyrates sous la protection du Turc."

The four quarters of the globe represent the four suits, each having twelve
divisions, i.e. 13 X 4 = 52. In one suit the king is represented by Europe, the
queen by France, and the valet by Spain, or their emblematic figures. The
numerals of the suit include Sicily, Dalmatia, Greece, Servia, Hungary, Poland,
Scandinavia, Great Britain, Germany, and Italy.

The supposition that these cards could be used for the purposes of ordinary
play is quite illusory. The designs and executions of this series are very com-
mendable. Some of the former, such, e.g. as those illustrating the four quarters
of the globe, are rich and pictorial.

[3t X 2i in.] [Backs plain.]

Of this series, two copies exist in the Museum collection. Both are among
the works of Stefano Delia Bella, vol. iii. ut antece.

1 . An imperfect set of early impressions of twenty-five of the card-pieces,
before the addition of the numbers at the left-hand upper corner. Each piece
having been cut away immediately below the design, the places of the inscriptions
are wanting.

[2X2 in. average.] [Backs plain.]

2. A full and fine set — minus the title, however — having both numbers and
inscriptions, as before described.

Charles Antoine Jombert, in his " Essai d'un Catalogue de Toeuvre D'Etienne
De la. Belle," &c, Paris, 1772, 8vo., has the following note in reference to these
various series of cards: —

" In order to be sure of the first states, it is requisite to possess all these small
prints, " avant la lettre" as they may be seen among the works of Delia Bella
which are in the cabinet of the king, and which it is almost impossible to gather
together. Under any circumstances, these four series should be obtained with
the address of Henri Legras at the Palace, and not with that of Florent
Lecomte, " Rue St. Jacques au ChifFre Royale," as this author advises in the
second volume of his catalogue (second part, p. 1 17), of the works of Delia Bella,
since Le Comte did not come into possession of the plates until long after the
time of Henri Legras. These four series are very amusing, and are of the best
period of the artist. They were designed by Desmarets (author of the poem
'Go vis'), according to the order of Cardinal Mazarin, to facilitate the studies of
Louis XIV. when a child." {Op. cit. p. 1 13.)

i32 FRENOH.

R 75-

EIGHTEENTH CENTURY.

PARIS.

(Geographic.)

PIQUET set of card-pieces (thirty-two), the secondary purpose of
which is to teach geography.

The suits are distinguished by small squares of colour at the upper
corners of each piece. Each square is likewise marked with either
the number of the suit or the initial letter of the "honour." The greater portion
of each piece is occupied by a neatly engraved geographic map, or a chart having
references to a description below.

The aces of the different suits represent respectively a plan of the celestial
universe, an armillary sphere, and the two terrestrial hemispheres.

These cards are neatly engraved and coloured, and care has evidently been
taken to render them geographically correct. The degrees of latitude and longi-
tude are marked on the maps.

The backs of these cards are marbled with a variety of brilliant colours.
[4| X 2§- in.] [Backs coloured.]

R 76.

LAST QUARTER OF SEVENTEENTH CENTURY.

PARIS.

(Military Science.)

LARGE engraved sheet, containing fifty-two unseparated card-pieces,
intended to serve the purpose of instruction in military engineering
science, as well as that of ordinary play.

The marks of the suits are piques, trefles, carreaux, and cceurs; the
figure-cards are roi, dame, and valet.

There are five rows of cards. Of the upper two rows, each contain eleven
pieces ; the middle row has seven, a dedicatory address, and a general bird's-eye
view of a " Place Complete des Fortifications." The fourth row has eleven pieces,
and the fifth, or lowest, contains twelve.

In a broad margin above the divisions are several inscriptions. The central
and titular one is as follows : — " Le Jeu des Fortifications dans lequel les
differents ouvrages qui servent a la defense des places et des camps sont exacte-
ment dessines selon la plus nouvelle maniere avec toutes leur definitions et une
explication courte et facile des termes qui sont en usage dans cet art."

On each side of the above are the " Regies du Jeu," in which it is stated that
" ce Jeu souffre toutes les differentes especes de jeu qui se jouent avec les cartes
ordinaires. On le pent jouer aussi avec deux Des observant les regies marquees
cy dessous."

At the left-hand corner of the upper margin is a paragraph pointing out the
connection of geometry with military engineering science; while at the right-hand
corner of the same, the nature of fortification is pointed out. The dedication in
the third row runs thus: — " A L'lllustre Jeunesse elevee dans le college de Louis
Le Grand." Twenty lines of address then follow, with the signature of " Votre
ties humble et tres obeissant serviteur, I. Mariette."

ED UOA TIONAL—INS TB UG TI VE. 133

The lower portions of these unseparated card-pieces are occupied by engraved
and coloured representations of particular details in fortification or engineering
work, and of defence.

At the upper part is the title, and a more or less extended description of the
design below. At the upper right-hand corner is a diminutive representation of
an ordinary numeral playing-card, having a number at the top, proceeding from
No. 1 on the ace of diamonds (the first card on the lowest row) to 52 on the
king of hearts, the fifth card-piece of the middle row. The figure or coate-
cards have on them diminutive full-length figures, standing, and wearing red
mantles.

Some of the card -pieces of the lowest series have on them diagrams and
descriptions in geometry.

All the designs and descriptions are from neatly engraved copper-plates, and
some, like the " Fausse Braye," or the four of piques, in the top row, the " Pont
Levis," or the nine of cceurs, in the second row ; the " Ports de Mer," or the two
of trefies, in the centre row ; and the "Chateau," or ten of cceurs, in the same
series, form agreeable views or landscapes.

A margin is preserved at the left-hand side of the sheet for a " Table Alpha-
betique des Termes contenus en cette carte."

At the bottom, between the broad border-line and the plate edge-mark, is the
following address, at the left-hand corner : — " Invente et dessine par Gilles de la
Boissiere, ingenieur ordinaire du Roy."

At the right-hand corner is " A Paris, chez I. Mariette, rue St. Jacques aux
Colonnes d1 Hercules, avec Privilege du Roy."

The general sheet of card-pieces measures 19^ X 27| in.

[3f X 2-|- in.] [Backs plain.]

F. 77.

LAST QUARTER OF SEVENTEENTH CENTURY.

PARIS.

(Military Science.)

LARGE engraved sheet, 19 J- in. high by 27 in. wide, of fifty-two un-
separated card-pieces, intended to serve for instruction in the prin-
ciples of military science as well as for ordinary play. The suits and
honours are of the usual kind.

There are five rows of cards. The upper two rows contain eleven pieces each
row ; the centre series has seven, and a dedicatory address, together with a repre-
sentation of a monarch investing a hero Avith some dignity. The fourth row con-
tains eleven pieces, and the lowest series twelve.

In a broad margin above the upper row of cards are several inscriptions, the
central one being titular, and as follows : — " Le Jeu de la Guerre " — " ou tout ce
qui s'observe dans les Marches et Campements dans les Batailles, Combats, Sieges
et autres actions Militaires est exactement represente avec les Definitions et les
explications de chaque chose en particulier."

At each side of the above are the " Regies du Jeu," which commence with the
information that " ce Jeu soufFre toutes les differentes especes de Jeux qui se
jouent avec les cartes ordinaires, dont le nombre est represente par 52 Figures
marquees de Pique, de Treffle, de Cceur et de Carreau. Le Chiffre Romain qui
se voit dans chaque Carte en marque la Valeur, 1' R signifie le Roy, le D la Dame,
r V le Valet.

" Ce jeu se joue aussy avec deux Dez ordinaires," &c. &c.

The dedication in the third row of card-pieces is to " Monseigneur le Due de

134 FRENCH.

Bourgogne." It contains fourteen lines, and is signed by "Votre tres II et obeis:
Serv : I. Mariette."

To the left is the representation of the French monarch seated on a throne,
the steps of which an officer is ascending to receive a marshal's baton.

Below is the couplet —

" L'hero'ique valeur que ce grand Roy couronne
N'estime dans ces prix que la main qui les donne."

The upper half of each card-piece exhibits a neatly designed and engrave
representation of some military operation; the lower half has the title and de-
scriptive details.

Some of the designs are very picturesque, forming little bits, much after the
styles of Callot and Stefano Delia Bella. Each piece has the mark, in outline, of
its suit at the upper left-hand corner, containing within it the value of the
particular card. At the opposite and upper corner is the general number, rising
from 1 on the ace of hearts (the first card on the lowest row) to 52 on the king
clubs, in the middle of the centre series.

At the lower margin of the sheet, at the left-hand corner, is the address
" Invente et dessine par Gilles de Boissiere Ing^nieur ordinaire du Roy et Grave
par Pierre le Pautre."

At the right-hand corner is " A Paris ohes I, Mariette rue St. Jacques auj
Colonnes d'Hercules avec Privilege du Roy,"

[3f x 2t in-] [Backs plain.]

R 78.

NINETEENTH CENTURY.

PARIS.

(Mythologic.)

PIQ UET set of cards (thirty -two), of the usual suits. Its secondary
purpose is that of giving instruction in mythology.

On the coate-cards are full-length figures, representing, in piques,
Pluton, Proserpine, and Minos ; in trefles, Neptune, Amphitrite, and
a Triton ; in carreaux, Mars, Bellone, and Achille ; in ccews, Jupiter, Junon,
and Mercure. Each roi has a crown at the upper right-hand corner. The
aces have a double set of designs, between the upper and lower of which is
placed the mark of the suit. On the ace of piques are represented the Rape of
Proserpine, and the Bark of Charon ; on that of trefies, the Nereids and Nymphs;
on the ace of carreaux are the Trojan War, and the ship Argo, which had an oak
for a mast, predicting future events ; while in cceurs are Leda and the Swan, and
the workshop of Vulcan.

Each pip-card has on it either two circular medallions, or one larger oval
medallion, containing a mythologic figure, such as Eurydice, Cerberus, Latona,
and Hercules. The names of the subjects and persons represented are placed
below them. Between and around the pips runs a delicate ornamental line in
blue, having attached to it ornaments illuminated in gold. The medallions have
likewise illuminated borders, and the crowns, arms, attributes, &c. of the figures
and scenes are also illuminated in gold. All the cards are neatly engraved and
coloured, and are printed off on paper having a slight blue tone of colour. The
proportions of some of the figures are very bad indeed. The backs are coloured
buff and are glazed. On one or two of the pieces is " Lith Vor Arouy Rue St.
Honore 67," accompanied oii the seven of trefies by " V, Lange del et Lith."

EDUCATIONAL— INSTRUCTIVE. 135

The engraved ornamental title of the wrapper accompanies the set. It is
printed in blue ink, and bears the following inscription : " Cartes mythologiques
Vor Lange Paris V. Lange."

[34 X 2| in.]

[Backs coloured.]

R 79.

LAST QUARTER OF SEVENTEENTH CENTURY.

LYONS ?

(Heraldic.)

SERIES of fifty-two cards of the suits piques, trefles, cceurs, and
carreaux, bound together as a small volume. This set is intended to
afford instruction in heraldry, and is one of the original French versions
of the sequence which originated with Oronce Fine dit de Brianville,
an Abbe of Poitiers, and was first published by Benoist Coral, a bookseller at
Lyons. A full description of this original edition, and of the Italian versions
which succeeded it, has been already given under I. 13, I. 13. 2, I. 14.

In the present series the king of hearts and eight of clubs are wanting ; but
their places have been filled with hand-drawings of the arms absent.

On the king of clubs are the arms of Pope Innocent XL (Odeschalci),
1676-1689, with the following description: — "Porte d' argent a six coupes
couuertes de gueules posees trois deux et un, entre trois filetes de meme mis en
face, surmontes d'un lion leoparde aussi de gueles au chef cousu d'or charge d'un
aigle esployee de sable. Lescu tymbre de la Thiare et orne des deux clefs du S*
Siege."

The present series commences, however, with the king of spades bearing the
arms of Leopoldo of the holy Roman empire and of Germany, with a shield oi.
pretence of the arms of the house of Austria.

All the armorials are neatly coloured in their proper blazon, but the technical
execution of the copper-plate engraving is but mediocre. The engraved descrip-
tions and titles are in French.

Accompanying these heraldic cards is a curious book-shaped case which for-
merly contained them. It is of ebony, inlaid with ivory and different coloured
woods, and fitted with clasps and hinges of chased steel. The following arms are
represented on the external face of each cover by means of the ornamental inlaid
ivory and wood, viz. — two lion's jambs couped and crossed in saltire, between an
estoile of eight rays in chief and a fleur-de-lis in base. These are borne on a
shield placed between the four letters

in mother-of-pearl.

The author of the article in the "Herald and Genealogist" (vol. in. p. 77,
1866), alluding to these arms, remarks: "We have not ascertained the name to
which the arms on the case belonged. The family of Rasponi of Rome bore
Azure two lion's jambs crossed in saltire or, and Raspi of Venice had also lion's
jambs in saltire, with a lion's head in chief and an eagle's leg in base. The
letters, however, do not point to a name commencing with that initial."

[3t X 2| in.] [Backs plain.]

i36 FRENCH.

HISTORIC— BIOGRAPHIC,

R 79. 2.

NINETEENTH CENTURY.
PARIS.

PIQUET set of cards (thirty-two) of the ordinary suits.

Biographical and historical information is intended to be conveyed
by it, while it is meant also for the purposes of ordinary play.

The coate-cards exhibit full-length coloured figures of eminei
male and female personages. In the suit piques, the king is Caesar, the dame
Judith, and the valet Guttemberg; in trefles the king is Alexander, the dame Sail
Genevieve, the valet Christopher Columbus; in carreaux the king is Charlemagne,
the dame Lucretia, and the valet Moses ; while in cceurs the king is Homer, the
dame Joan of Arc, the valet Napoleon I.

In these " honours " the mark of the suit is placed at the upper left-hand
corner ; at the right, is either the mark repeated or the word " Heros " on a
wreath, to indicate the character of the person represented. The king of piques;
Caesar, has " Heros," while the valet, Guttemberg, has a wreath. Below the figure
is the name and other information. Thus, below the figure on the valet of trefles
is " Christophe Colomb. 1 492-1506. Amerique." Under that of the dame de
cceurs is " Jeanne d'Arc. 1428-1431. Sauva La France;" and below the dame de
carreaux is " Lucrece. 509. AV. J.C. Pudeur. Vertu."

Moses holds in his hands the decalogue ; Charlemagne a tablet, inscribed
" Capitulaires, Ecoles ;" and Guttemberg displays a scroll, having on it, " Et la
lumiere fut."

The ordinary pip-cards have the signs of their suits at each upper corner, the
value of the cards being indicated by small medallion heads of illustrious people,
in number equivalent to the value of the particular card. Below each medallion
is a name and date. Each set of medallion heads is repeated on the correspond-
ing cards of the four suits. Thus, on the seven of piques are the heads of Cuvier,
Newton, Arago, A. Pare, Archimedes, Plato, and Franklin, which are repeated on
the seven of carreaux, and on the sevens of the other suits.

The aces have each two designs, the mark of the suit being placed between
them. On these pieces the histories of Cain and Abel, of the Creation, the Deluge,
the Crucifixion, are portrayed.

All the cards have ornamental borders around the designs.
On the ace of caurs is the address " Mel. G. Deschamps Inv*. Eug. Moreau
Fecit. Minne Sculp."

The ornamental engraved title of the wrapper accompanies the set. It is
printed in black and gold on glazed pink paper, and is identical with that described
on F. 67.

[3-g- x 2i m>] [Backs plain.]

SATIRICAL. 137

SATIRICAL.
F. 80.

FIRST QUARTER OF NINETEENTH CENTURY.
PARIS.

5|fl ORTY-FIVE cards from a pack of fifty-two numerals of the usual
suits. The four, seven, and ten of cceurs, the ace of piques, the ace,
two, and queen of carreaux are wanting.

The secondary purpose of these cards is chiefly of a satirical
character, though there prevails much caricature and comic spirit among them.
On the other hand, some of the pieces, particularly of the suit trefles, are of purely
artistic design.

The coate-cards have full-length coloured figures on them, and smaller
whole-length figures are introduced on many of the lower numerals. The
latter figures are uncoloured, the colour being confined to the marks of the suits
variously disposed, which are often made to constitute or fit into portions of the
bodies. There is much spirit in some of the designs, and the engraving and
colouring has been neatly and carefully executed.

The satire which prevails is directed against the dominant political party of the
time. On the king of trefles is represented the editor of the " Journal des Debats,"
endeavouring to carry two large bags, the one inscribed " Empire," the other
" Debats." Pie has a pen behind his ear, and his countenance and action express
the difficulty of his labour. Between his legs are two donkeys in the middle
distance, caressing each other. On one donkey hang the ribbon and medal of
some order.

The dame de trefles represents the " Gazette " as an elderly lady, seated at a
table writing. She has stopped for a moment to look up at a magpie in a cage
hung up above the table.

The valet of the same suit exhibits the person of Talleyrand, under the title
of " Clopineau." He carries his cocked hat under his left arm, and supports him-
self by his left hand on a stick. His left leg is shorter than the right one, and he
wears on the left foot a high-heeled shoe. Near the top of the card are the signs
of the political zodiac, which the minister has already passed through.

In cceurs the king symbolises the popular journal, the " Constitutionnel." He
is a figure in Roman costume, with sword and shield, defending a column on
which is inscribed " Charte constitutionnel, Liberte de la Presse, Liberte indi-
viduelle, Loi des Elections, Tolerance." The dame is Minerve, standing on the
steps of a temple, and putting to flight certain evil spirits of the parti pretre.
The valet is Figaro, in character costume.

The king of piques is " Conservateur," a Jesuit, at the head of his troop of
brethren, carrying a flaming torch and sword. The dame is the " Quotidienne,"
an ugly old woman, with an open book in her left hand, and an extinguisher in
the other, which she is about to place on the head of Truth, a nude, good-looking
young female, rising, glass in hand, from a well. The valet represents Chateau-
briand, under the title of Bazile. He is a fine figure, in a clerical habit, hiding
under his cloak a Jesuit's cap, which he holds in his left hand. Kneeling at his
left side is a donkey, which is looking up at him and braying.

In the suit carreaux the king is represented by the " Moniteur," a brazen
head on a truncated cone, in which are stuck various flags, indicative of the
numerous parties which have been supported by the journal. A figure of Time

,38 FRENCH.

is at the upper right-band corner, flying away. The dame is here absent.
valet is " Don-Quichotte " attacking a windmill.

Some of the designs of the pip-cards in cceurs and piques are laughable eno
while in trefles are represented " L'Ange des Tenebres vaincu par St. Mich
" Le roi Dagobert," " Insectes," " Vases Etrusques," " Tombeau Turc," &c,

These cards have been described by Chatto (p. 264), and alluded to
Peignot (p. 297) in 1826. The latter writer speaks of them as "a very malicious
series, published at Paris seven or eight years ago, and, as far as I can remember,
during the ministry of M. D. C . . . . , under the title of ' Cartes a rire.' The
pack is attributable to M. A . . . . , C. A.D. C.D.D.O. All the cards, whether
figure or numeral, are of excellent design, with ingeniously grouped figures in
agreeable attitudes. But the spirit of satire is carried to excess, and it is not by
such caricatures as these that unanimity can be re-established among the French
people."

[3t X 2i m-] [Backs plain.]

CARDS OF DIVINATION.

HE series of cards now to follow illustrate the application
of the latter to the purposes of divination, sortilege, and
fortune-telling.

The more important and quasi- scientific — if we may
so speak — of such cards have been based generally in modern packs
on tarots sequences, and of these latter, such as F. 39 may be
taken as a fair example.

Of the tarots, here playing so prominent a part, much has been
before stated (pp. 18, 36, 65); but they have yet to be considered
under their mystical aspect, which forms so important and curious a
branch of their history, as insisted on by some investigators. Their
relations in this respect underlie, in fact, according to certain writers,
not only a particular branch of thaumaturgic knowledge, but the whole
history of playing-cards. These emblematic figures, the tarots, are

y asserted to have had a very remote origin ; an origin stretching as

far back, indeed, as the ancient Egyptians, from whom they have
descended to us as a book or series of subjects of deep symbolic mean-
ing. Some of these subjects have in the course of time, however,
become somewhat changed or metamorphosed, yet leaving traces in
sufficiency of the original symbols by which those learned in arche-
ology and illuminism may establish their true nature.

The discovery and explication of this supposed source and hidden
meaning of the tarots employed in modern times was claimed by
M. Court de Gebelin in 1781, who in his " Monde Primitif analyse
et compare avec le Monde Moderne," tome i. p. 363, gave a disserta-
tion, " Du Jeii des Tarots ; ou l'on traite de son Origine, ou on
explique ses allegories et ou Yon fait voir qu'il est la source de nos
cartes modernes a jouer," &c.

In this dissertation M. de Gebelin affirms that the series of seventy-

DIVINATION— CARTOMANCY. 139

eight Venetian tarots, i. e. twenty-two atutti and fifty-six numerals,
has an unquestionable claim to be regarded as an Egyptian book,
which escaped the flames destroying the ancient libraries, and as
coming down to us with an epitome of the purest Egyptian doctrine >^
on some of the most important and interesting topics. If, states ^
M. de Gebelin, the tarots game be closely investigated, it must be
evident that it is based on the sacred Egyptian number seven. Each
suit or colour is composed of twice seven cards. The atouts are in
number three times seven; the total number of cards being seventy-
seven ; the fool, or "Matto," being 0. If we search the allegories
they contain, their ancient and Egyptian source becomes still more
evident.

The atouts in general represent the spiritual and temporal heads
of society, the physical chiefs of agriculture, the cardinal virtues,
marriage, death and resurrection, or the Creation, the various
aspects of fortune, the sage and the fool, and Time, the consumer of
all things. /

Let us examine these emblematic figures in detail,1 commencing
with No. 1, Le Bateleur, or cup-player (thimble-rigger) , and proceed
up to No. 21, Le Monde, as it is the custom of the present time to
begin with the lowest number, though the Egyptians, it would
appear, began at the higher and descended to the lower numbers.

The first of the atouts in the ascending, and the last in the
descending scale, is a conjurer with cups, seen at his table, on which
are dice, cups, knives, and balls. He is known also by his Jacob's
staff or magician's wand, and by the ball which he holds between
two fingers, and which he is going to make vanish. Placed at the
head of all estates of men, he implies that our whole life is but a
dream, an illusion, a perpetual game of chance, the impulse of a
thousand circumstances over which we have no control, but upon
which much influence is necessarily produced by an over-ruling ad-
ministration. Nos. 2, 3, 4, and 5 are the spiritual and temporal
heads of society. No. 2, La Papesse, is the chief priestess, the wife
of the chief priest ; No. 5, Le Tape.

We know that among the Egyptians the heads of the sacerdotal
rank were married. Had these cards been the invention of modern
times there would not have occurred any high priestess, far less one
under the title La Papesse, as the German card-makers have ridicu-
lously entitled the present. The high priestess is: seated in an
arm-chair, has on a long dress, with a kind of veil behind her
head, and which crosses over the chest. She wears a double crown
with two horns, as did Isis, holds an open book on her knees, and

1 The study of the following pages, 139-155, should be accompanied by that
of a Tarots sequence like F. 39 or of the plates in Singer (Bibl. 8) p. 284.

i4o FRENCH.

has two bands adorned with crosses passing like an X over the
stomach.

No. 5, the high priest, Le Pape, in long dress and large mantle,
secured at the neck by an agraffe ; he wears the triple tiara; in one
hand is a sceptre with a triple cross, with the other hand, of which two
fingers are extended, he bestows benediction on two persons at his
knees. The Italian and German card-makers have converted these
two emblematic figures (2 and 5) , upon whom the ancients bestowed
the names of father and mother (Oriental terms, signifying abbe and
abbesse) , into a pope and popess, in accordance with their own cir-
cumscribed knowledge. As to the sceptre with the triple cross, it is
purely an Egyptian relic ; it may be seen on the table of Isis, under
the form of T T ; it is a precious relic, bearing relation to the triple
Phallus, carried in the famous festival of Pamylies, representing the
recovery of Osiris, and symbolising the regeneration of plants and
of the whole of nature.

No. 3, L'Imperatrice, represents the queen, and No. 4, VEmpe-
reur, the king. Both have for attributes an eagle on a shield, and
a sceptre surmounted by a globe thautified, or crowned with a cross,
termed " thau," the chief of all symbols.

No. 6, L' Amour eux, is marriage. A young man and woman
pledge mutually their faith, a priest blesses them. The card-
makers name this design V Amor eux, and it would appear they added
the Cupid with his bow and arrows in order to make it of a speak-
ing character.

No. 7, Le Oharior, is Osiris triumphant. He advances, sceptre
in hand and crown on head. He is in his chariot of war, drawn by
two white horses. Osiris was the grand and supreme deity, in-
visible, except as manifesting himself in nature. He disappeared
during winter, but re-appeared in spring with new glory, having in
the interim conquered all that opposed him.

Nos. 8, 11, 12, and 14 are the four cardinal virtues. No. 8 is
Justice as a queen, or " Astrea/' seated on a throne, holding a
sword in one hand and a pair of scales in the other. No. 11 is
Force, a woman who has overcome a lion, whose jaws she opens
with a like facility as she would those of her lap-dog ; on her head
is the hat of a shepherdess. No. 12, Le Pendu, is in the place of
Prudence. Could the Egyptians — it may be asked — have forgotten
the latter for this representation of humanity ? Yet we do not find
Prudence in the sequence. Instead of it we find, placed between
Force and Temperance, a man suspended by his leg ! What does this
mean ? It is the work — writes M. de Gebelin — of some wretched,
presumptuous card-maker, who, not understanding the beauty of the
allegory contained in the original design, took upon himself to cor-
rect it, as he thought, but in lieu disfiguring it in toto.

DIVINATION— CARTOMANCY. 141

'rudence could be represented to sight satisfactorily only by
means of a person erect, who, having one foot firmly fixed on the
ground, advances the other, keeping it raised while searching for a
spot on which he can place it securely. The original title of this
card was equivalent to a man " pecle suspensu." The card-maker,
not understanding the sense of the latter, designed a figure sus-
pended by the foot ! As might be expected, the question has been
asked why there is such a strange figure as this ' { Le Pendu " in the
tarots sequence ? It has been replied that it represents the just
punishment of the inventor of it for having represented therein a
female Pope !

No. 14 is Temperance, a winged female pouring water from one
vessel into another to cool the fluid they contain.

No. 9, L'Ermite, is the sage, or seeker after truth and justice.
He is a venerable philosopher in long mantle, with a cowl on his
shoulders, leaning on a stick as he walks. He holds a Ian thorn in
his left hand, as he searches for virtue and justice. The card-
makers have transformed him into a hermit. There is not any harm
in having done so. In the East to become addicted to the occult
sciences and s'herme'tiser is almost one and the same thing. The
Egyptian hermits were equal in this respect to those of India and
to the Talapoins of Siam, and the same may be said of the Druids.

No. 10 is the Wheel of Fortune. Here human beings under the
form of monkeys, dogs, rabbits, &c, rise in their turns upon the
wheel to which they are attached. It is a satire on Fortune, and
on those whom she elevates rapidly into notice, and lets fall with a
like rapidity.

No. 13, La Mort, is Death mowing down all humanity. Whether
kings or queens, rich or poor, none can resist his terrible scythe.
Nor is it to be wondered at that Death should be placed under this
number, which has always been regarded as of unfortunate character.
According to an ancient legend it was on the thirteenth day of the
infancy of the world that some great misfortune happened, the
remembrance of which had an influence on all the people of
antiquity ; on the Jews to the extent that the thirteen tribes have
never yet been able to complete more than twelve of their number.

No. 15, Le Diable, is Typhon, a celebrated Egyptian personage.
He was the brother of Osiris and Isis, the evil principle, the chief
demon of Hell. He has bat's wings, the hands and feet of a harpy,
and on his head the horns of a stag. At his feet stand two little
devils with long ears and tails, and their hands tied behind them.
They are secured to each other by a cord round their necks, which
is attached at its centre to the pedestal of Typhon. This implies
that the latter does not readily allow those to escape who belong to
him ; Typhon likes too well his own flock to suffer that negligence.

i42 FRENCH.

No. 16, La Maison Dieu, is the Castle of Plutus. It is a towi
filled with gold but falling in ruins, and crushing its worshippers as
it falls. It symbolizes the history of the Egyptian Prince Rhamp-
sinit, spoken of by Herodotus. It is a lesson against avarice. The
moderns added the thunder and lightning of God in bringing to
close the worship of Mammon.

No. 17, L'Estoille,\a Sirius or the Dog-star. We perceive a lar
star having around it seven smaller star3. Below is a woman rest-
ing on one knee while she pours out two streams of water (two
rivers) from vases in her hand. Near her is a butterfly on a flower
(or bird on a tree) . It is purely Egyptian all through. The large
star is Sirius, rising as the sun passes from the sign of Cancer (in
the next tarots emblem). The seven smaller stars are the planets,
and the woman below so attentive at this moment in discharging
the water from her vessels is the Queen of Heaven, Isis, to whose
beneficence are to be attributed the inundations of the Nile, which
begin at the rising of Sirius. For this reason the latter star was
sacred to Isis; it became her symbol par excellence. The flower and
the butterfly on it are emblems of the regeneration and resurrec-
tion of nature due to the rising of Sirius and the favours of Isis,
causing the naked plains to become laden with fresh harvests.

No. 18, La Lune, is the moon following the course of the sun,
accompanied by tears of gold and of pearls, showing that she con-
tributes on her part benefits to the earth. According to the
Egyptians it was the tears of Isis which each year increased the
waters of the Nile, fertilizing the plains of Egypt. At the lower
part of the design may be seen a crab, which is the sign Cancer,
indicating alike the retrograde course of the moon, and that it is at
the time when the sun and the moon leave the sign of Cancer that
the inundations caused by their tears occur on the rising of the
Dog-star represented in number 17. On each side is a tower,
symbolizing the two renowned columns of Hercules, on this side
and beyond which these two great luminaries never pass. Between
the towers are two large dogs baying at, and as if guarding, the
moon ; an idea perfectly Egyptian, correlative to that which likened
the tropics to two palaces, each building guarded by a dog, as if to
prevent the sun and moon departing from the centre of the
heavens and gliding to the poles.

No. 19, Le Soleil, is the sun, here represented as the physical
father of man and of all nature ; as enlightening society and as
presiding over its communities. Tears of gold and of pearls drop
from his rays, symbolizing the benign influences proceeding from
the chief of stars.

No. 20, Le Jugement, has been sadly mistaken and metamor-
phosed by the card-makers, who have thus converted the original

DIVINATION— CARTOMANCY. 143

emblem into the solemnity of the last day. An angel is seen sound-
ing a trumpet, and at the same time an old man, a woman, and a
naked child appear to rise from the earth. The card-makers per-
sisting in their mistake have added tombs to the design. But take
away these tombs and the emblem answers to the Creation, taking
place in and at the beginning of time typified in the next emblem
No. 21.

No. 21, Le Monde, properly represents time. In the centre is
the Goddess of Time, with her scarf flowing and serving as a kind
of peplum. She is in the action of movement like Time, within a
circle which represents the revolutions of the latter, and also an
egg from which everything in the course of time has proceeded.
At the four corners are the emblems of the four seasons composing
the revolutions of the year. These emblems are like the four heads
of the cherubim — the eagle, the lion, the ox, and the young man.
The eagle symbolizes spring, when the birds re-appear ; the lion,
summer, or the fervour of the sun ; the ox, autumn, when there are
labour and sowing; and the young man, winter, when we re-unite in
society.

Leaving the emblematic tarots and passing to the numeral series,
four distinct suits may be observed. They are equivalent to the
four states into which were divided the ancient Egyptians. The
sword (or epees, piques, spades) designates the sovereign and all the
military nobility ; the cup (or coeurs, hearts) the sacerdotal rank or
clergy ; the club {batons, trefles, clubs) agriculture ; and money
(deniers, carreaux, diamonds) implies commerce. The name of the
sequence — taro or tarots — is pure Egyptian. It is composed of
the word tar, signifying way, or road, and ro, ros, rog, implying*
king or royal. The word taro meaning, therefore, the " Royal
Road of Life." Other Oriental words are still preserved in con-
nection with the cards. The word " mat," e. g. the ordinary term
for the fool, and which exists in Italian as matto, is derived from
the Oriental mat, meaning assomme, meurtri, fele. Fools have
always been considered as having le cerveau fele. The conjurer
with the cups is called pagad in the course of the game. This
word, which does not resemble anything in our Western tongues, is
of purely Eastern origin. It has been well chosen, for pag means
chief, master, Lord, and gad is fortune. Thus le bateleur is repre-
sented as disposing of fate with his magician's wand. Further,
when the numeral cards are employed for the purposes of divination
in Spain at the present time, the three of oros (money) is termed
the lord (or Osiris) ; the three of copas (cups), the queen (or Isis) ;
the two of copas, the cow (or Apis) ; the nine of oros, Mercury ;
the ace of bastos (clubs), the serpent (symbol of agriculture among
the Egyptians) ; and the ace of oros, the eye (or Apollo, the sun) .

144 FRENCH.

Such is an outline of the views of M. de Gobelin, which receiv
a further development in a memoir with which he accompanied
own dissertation. This memoir may be found printed entire in th
appendix to the work of Singer, and is entitled " Recherches sur Lea
Tarots et sur la Divination par les Cartes des tarots Par M. le C.
de M. . . ."

While Court de Gebelin was revealing to the world the origin of
tarots, and the treasures of wisdom they contain, there was living
at Paris a perruquier of the name of Alliette.

" Now perruquiers," writes M. Boiteau d'Ambly, " have been,
and still are, persons of imagination and of inquisitive spirit.
Without dwelling on Tasmin, how many of these hair-curlers have
sought to shine by other qualities than the certainty and perfection
of the cut of their scissors, and the stroke of their combs ! Many
have written, even in verse. One lumberingly facetious, wrote
over the entrance to his shop this highly distinguished sentence :
1 To-day we shave for money, to-morrow we shave gratis/ Ano-
ther, highly erudite, had verses in Greek inscribed above his door.
Alliette was one of the greater men of the caste of perruquiers, nay,
still more, he was the Pontifex maximus of ' cartomancy/ By
chance he read the dissertation of Court de Gebelin ; a light flashed
across his brain; he became enlightened. He at once reversed the
order of the letters, composing his name, and from Alliette became
Etteilla, and prophesied — illustrious Etteilla ! One yet finds at
thousands of little shops on the quays thousands of atrocious
bilboquets, having inscribed on their covers : ' The art of Divination
by cards according to the rules of the celebrated Etteilla/

u Alliette was earnest in his inspiration. He gave himself up
with his whole soul to the most out-of-the-way studies. He
became absorbed in the theory of numbers, according to the system
of Pythagoras ; he heard the harmonious murmur of the celestial
spheres, and described their courses in space after the formulae of
the sublime arithmetic. He invented mythical calculations, de-
veloped them in designs, grouped their numbers, and finally
became a professed habbalist. The Jeu des Tarots was his chief
war-horse. For thirty years he was its apologist, detailing its
wonders, and interpreting the secrets it could unveil.

•* The more remarkable of his .writings is the l Maniere de se
recreer avec le Jeu de Cartes nominees Tarots/ 1783 : —

" l We may well be astonished/ writes Alliette, ' that time which
destroys, and ignorance that changes everything, should have
allowed a work composed in the 1828th year of Creation, 171
years after the Deluge, and written 3953 years ago, to have
descended to our own times. This work was produced by seventeen
Magi, including the second of the descendants of Mercury —

DIVINATION— CARTOMANCY. 145

Athotis ; who was grandson of Cham, and great-grandson of Noe ;
this Tri-Mercury (or third of the name) , decreed the Book of Thot
in accordance with the science and the wisdom of his ancestors/'

" It is impossible to be more precise ; and how well Alliette
knew how to profit by this science ! f I find therein/ he says,
' Time and Place through the discipline of the great Hipparch, the
Rhodian, and the just Aristarch, the Samian/

" Notice Hipparchus and Aristarchus ! Alliette adopts an or-
thography which has an Asiatic, and consequently very religious
aspect. He willingly quotes those whom he calls his predecessors,
Raymond Lully, Jean Bellot, Duchesne (ordinary physician to the
king), Croilus, Agrippa, D'Aubly, and others. Cartomancy thus
resting on so fanciful a basis, could not fail to strike the minds of
ignorant fashionable women. The perruquier Alliette became an
important person, the High Priest of a religion. Perceiving this,
he assisted Fortune in turning her wheel through his own domain,
and straightway installed himself in the ' Hotel de Crilloli/ Rue
de la Verrerie. Etteilla made disciples, who soon became his rivals.
Female ones, especially, were prominent. Under the pretence that
Greece had the Delphic priestess, that Judea had the Pythoness of
Endor, that Rome had the Cumaean Sibyl, and that their own Gaul
had listened to the Druidesses, the women reclaimed their heritage,
and began to prophesy" (p. 323.)

The author of the introduction to the " Nouvel Etteilla/' (F 82)
observes that Alliette, " in rendering justice to the science of Court
de Gebelin, overthrew what that grave antiquary had transcribed in
his eighth volume of the ' Monde Primitif/ it being nothing more
than information obtained from an amateur who himself had gained
his knowledge concerning the present subject from his cook only."

If Etteilla and his more recent disciples can be thus severe on
De Gebelin, the great man himself, when weighed in the balance
by Eliphas Levi, is found not to be perfect.

u The tarot, this miraculous book," writes E. Levi, "the source of
inspiration of all the sacred books of the ancient peoples, is the most
perfect instrument of divination that can be employed with entire
confidence, on account of the analogical precision of its figures and its
numbers. In fact, the oracles of this book are always rigorously true,
and even when it does not predict anything, it always reveals some-
thing that was hidden, and gives the wisest counsel to those who con-
sult it. Alliette, who from &perruquier, became a kabbalist in the last
century, after passing thirty years meditating on the tarot ; Alliette,
who writing his name backwards, or as we read Hebrew, called
himself kabbalistically Etteilla, was very near finding out all that had
been concealed in this strange work, but finally succeeded only in
displacing the keys of the tarot in lieu of understanding them. He

146 FEE N Gil.

inverted the order and character of the figures, without, howeve
entirely destroying their analogies, so sympathetic and coi
spondont are they with each other. The writings of Ettoilla — n(
bocome rather scarce1 — are obscure, tiring, and of truly barbarous
stylo. All have not been printed, some MSS. yet existing in tl
hands of a publisher in Paris, to whom we have been indebted
the means of inspecting them. The more remarkable of their
characteristics are the obstinate opinions and the incontestable
good faith of the author, who all his life had a presentiment of
grandeur of the occult sciences, yet was forced to die at the gate oi
the sanctuary without ever having passed behind its veil." (" Dogme
et Rituel de la Haute Magie," vol. i. p. 357.) In another work,
" Histoire de la Magie," the same writer observes : —

The cartomancy resuscitated in France by Etteilla was nothing
more than the consultation of Fate by means of signs agreed on
before hand ; these signs combined with numbers inspired the
medium, who became magnetized from looking on them, with
oracles. These signs were drawn at hazard after the pack had
been slowly shuffled, were then arranged according to kabbalistic
numbers, and they always responded to the thoughts of the person
who interrogated them seriously and in good faith." " This kabba-
listic and wise book — (the " Tarot ") — is in its various combinations a
revelation of the harmonies pre-existing among its signs, letters,
and numbers, and is therefore capable of truly marvellous applica-
tion. But we cannot with impunity thus wrest solely for ourselves
the secrets of our intimate communication with the universal light.
The consultation of cards and of tarots is a veritable^ conjuration
which cannot be prosecuted without danger and crime. In all evoca-
tions we compel our astral body to appear before us, and to hold
converse with us in the divination which results. We thus give
embodiment to our chimeras, and convert into a proximate reality
that future which will become veritably our own when we have
I evoked it by the word and adopted it by faith." (Op. cit. p. 465.)
Early in this century Dr. Alexander Buchan read a paper before
the Antiquarian Society in reference to the origin and import of
cards. The opinions therein broached were communicated by him
afterwards to Mr. Singer, who printed them in extenso in the
appendix to his well-known work. The more important of Dr.
Buchan's views were as follows: —

The twelve honours in a pack of cards are emblematic of the
twelve signs of the Zodiac — mansions of the sun — and equivalent to
the twelve months of the solar year. Each of these signs is divided

1 Two volumes of the early Amsterdam editions are in the British Museum
Library— PM. 8630, c. 1, 5- 1, 3-

DIVINATION— CARTOMANCY. 147

into throe decans or thirty degrees ; each honour is equivalent in

value to ten and 30 X 12 1= 360, the number of the days of the

ancient Egyptian year, and equal to the number of degrees into

which the equator is still divided. Cards are generally distinguished

by the colours, red and black answering to the great division of the

year into two equal parts from solstice to solstice, equinox to equinox.

The four suits indicate the four seasons, spades represent acorns

matured in autumn, while cups — now hearts — mean that wine was

ready and fit to be drunk in the winter season. The whole number

of cards in a pack, fifty-two, is equal to the number of weeks into

which the year is divided, and the number of cards in each suit, viz.

thirteen, is equivalent to the number of weeks contained in each

quarter of the civil year.

The number of pips on one suit is

55
Which multiplied by 4

220

Pips on honours

Twelve honours taken at ten each

120

Number of cards in each suit

365 =

to the precise number of days in the solar year.

Cards are usually played and dealt circularly from left to right ac-
cording to the apparent course of the sun, and when arranged as tricks
they amount to thirteen of four suits each j if each card be considered
as representing a week, then the tricks may be regarded as symboli-
cal of the thirteen lunar months composing the year.

Thus cards were originally devised for the purpose of reminding
those who understood the allusions, of the system of the universe, a j^r

system with which the Magi and priests of ancient Egypt were well
acquainted, though they carefully concealed such knowledge from
the profane vulgar. Should these and other conjectures be admitted
some light may be reflected on the very general employment of
cards for the purpose of divination or fortune- telling, particularly by
the gipsies. Judicial astrology, or an opinion that the fates and
fortunes of the sons of men are influenced by the positions and
aspects of the celestial bodies, is one of the most ancient forms of
superstition that have prevailed among mankind. But why should
cards in particular be employed as the instruments of discovering
this mysterious influence unless they were originally supposed to
bear some relation to astrology, a science which by the vulgar has
always been confounded with astronomy ?

Still more recently views analogous to those of Court de Gebelin,
Etteilla, and the divinatory and astrological purposes alluded to by

148 FRENCH.

Buchan, have been advanced by certain writers. In 1857 e. g. M.
Vailsant, in a work entitled " Les Romes, histoire vraie des vrais
Bohemiens," sought to show that in the tarots designs were to be
found the highest conceptions of Hindustani wisdom, while M.
Eliphas Levi (Alphonse Constant) in his " Dogme et Rituel de la
Haute Magie," 1861, and his "Histoire de la Magie," 1860, argues
learnedly for the tarots being a revelation of the mysteries of the
Hebrew kabbalah. Further, M. Boiteau d'Ambly in his " Les Cartes
a Jouer et la Cartomancy," Paris, 1854, seeks to prove that cards
were introduced into Europe from India by means of the gipsies for
the purposes of divination.

" It is evident that the tarots, altered as they are, nay perverted
from their original design, still retain the impress of a civilization
which is by no means European " . . . " how comes it about that
the tarots series seems based on the combinations of the number
seven, the sacred number of the East f" ... " these scraps of
Eastern speech, these assumed combinations which centre round a
sacred number, these names of certain figures, assuredly all this
taken as a whole must be something more than mere speculation n
... "we can perfectly avail ourselves of these arguments [those
of Court de Gebelin] , which go to prove that cards are the offspring
of the learning of Egypt, and at the same time keep to our own
hypothesis of their Asiatic origin — from India, in fact — along with
the Gipsy immigration. There is no contradiction involved here.
Egypt is the East all the same, and every one knows there is a
family connexion between these venerable civilizations of the past
—those of Egypt and India. In the ancient legends of Egypt the
science of cards is connected even with their divinities." (Taylor's
version of "Boiteau d'Ambly," pp. 13-21.)

M. Eliphas Levi (Alphonse Constant) in his extraordinary works
"Dogme et Rituel de la Haute Magie" (Paris, 1861, 2 vols.), and
" Histoire de la Magie " (Paris, 1860), finds in the tarots a revela-
tion of the mysteries of the Hebrew kabbalah. The key to this
revelation " is contained in a word, and in a word of four letters :
it is the ' Tetragramma ' of the Hebrews, the Azot of the Al-
chemists, the Thot of the Bohemians or Gipsies, and the Taeo of
the kabbalists. This word so variously expressed implies God to
the profane, signifies Man to the philosopher, and offers to adepts
the last word of human sciences, and the key of Divine power. But
he alone knows how to employ it who understands the necessity of
never revealing it/ (" Dogme," &c. vol. i. p. 90.)

" The incommunicable axiom is kabbalistically included in the
four letters of the { Tetragramma/ disposed in the following way : —

DIVINATION— CARTOMANCY.

149

Likewise in the words Azoth and Inri written kabbalistically, and
in the monogram of Christ as it was embroidered on the lab arum,
and which the kabbalist Postel interpreted by the word Rota, and
from which adepts have formed the Taro or Tarot by repeating
twice the first letter to indicate the circle and make it understood,
that the word reverts, as it were, upon itself." (Op, cit. p. 154.)
Thus we have

"the key of hidden things" — aa word which may be read rota,
signifying the Wheel of Ezechiel or tarot, which is then synonymous
with the azoth of the hermetic philosophers. It is a word which
expresses kabbalistically the dogmatic and natural Absolute; it is
formed of the characters in the monogram of Christ after the man-
ner of the Greeks and Hebrews. The latin R or the Greek P is
placed between the Alpha and the Omega of the Apocalypse : then
the tau, the sacred image of the Cross, contains the word in its
entirety." (Op. cit. p. 341.)

" When the Sovereign Priesthood ceased in Israel, when all the
oracles of the world became silent in presence of the Word become
Man and speaking by the mouth of the most popular and gentle of
sages, when the Ark was lost, the sanctuary profaned, and the
Temple destroyed, the mysteries of the Ephod and Theraphim no
longer recorded on gold and precious stones, were written or rather

bed

and

150 FRENCH.

figured by certain wise kabbalists first on ivory, parchment,
gilt and silvered leather, and afterwards on simple cards, whic
wero always objects of suspicion to the Official Church as containing
a dangerous key to its mysteries. From these have originated
those tarots whose antiquity was revealed to the learned Court de
Gebelin through the sciences of hieroglyphics and of numbers, and
which afterwards severely exercised the doubtful perspicacity
tenacious investigation of Etteilla." {Op. cit. vol. i. p. 337.)

u Without the tarot, tho magic of the Ancients is a closed book
us, and it is impossible to penetrate any of the great secrets of tho
kabbalah. The tarot alone affords an interpretation of the magic
squares of Agrippa and Paracelsus" (p. 342). "We have stated
that the twenty-two keys of the tarots are the twenty- two letters of
the primitive kabbalistic alphabet. The following is a table of the
variations of this alphabet, according to different Hebrew kabba-
lists."

" tf, Being, Spirit, Man or God, comprehensible object, unity tho
mother of numbers, the primordial substance.

" All these ideas are hieroglyphically expressed by the figure of
the Bataleur (No. 1). His body and his arms form the letter ft,
around his head is a nimbus of the form go, the symbol of life and
of the universal spirit. Before him lie swords, cups, and pantacles,
and he raises his miraculous wand towards the sky. His figure is
youthful, and his hair in curly locks like unto Apollo or Mercury.
He has the smile of assurance on his lips, and the look of intelli-
gence in his eyes.

'O. The House of God and of Man, the sanctuary, the law,
gnosis, the kabbalah, the hidden church, the binary principle,
woman, mother.

" The hieroglyphic tarot is La Papesse ; a woman crowned with
a tiara, having the horns of the moon or of Isis, the head surrounded
by a veil. The solar cross is on her chest, and on her knees a book
which she hides with her mantle.

" J . The Word, the ternary principle, fullness, fecundity, nature,
the generative faculty in the three worlds.

" The symbol is L'Imperatrice, a winged female, crowned, seated,
and having at the end of her sceptre the globe of the world. She
has for her sign an eagle, image of the soul and of life.

" *J. ' La Porte/ or government among the Orientals, initiation,
power, the tetragramma, the quaternary principle, the cubical stone
or its base.

(< The hieroglyph is ISEmpereur, a sovereign whose body repre-
sents a right-angled triangle and his legs a cross, the image of
Athanor of the philosophers.

" p[. Indication, demonstration, instruction, law, symbolism,
philosophy, religion.

ON—GABTOMANG

" Hieroglyph — Le Pape or the Grand Hierophant. In the more
modern tarots this sign is displaced by the figure of Jupiter.
The Grand Hierophant is seated between the pillars of Hermes and of
Solomon, makes the sign of esoterism, and rests on a cross having
three transverse bars forming a triangle. At his knees are two inferior
ministers, so placed that having above him the capitals of the two
columns, and below the heads of the two ministers, he becomes the
centre of the quinary principle and represents the divine penta-
gramma, and of which he thus affords the complete sense. In fact
the columns are Necessity or Law, and the heads Liberty or Action.
A line may be drawn from head to head, and two lines from each
column to each head, thus obtaining a square divided into four
triangles by a cross, in the centre of which will be the Grand
Hierophant.

" 1. Attachment, entanglement, lingam, union, embrace, contest,
antagonism, combination, equilibrium.

"Hieroglyph — (ISAmoreux), a man between Vice and Virtue.
Above him beams the Sun of Truth, from which Love bends his
bow threatening Vice with his arrow. In the sequence of the ten
Sephiroth this symbol corresponds to Tiphereth, that is, to idealism
and to beauty. The number six [of the tarots] represents the
antagonism of the two ternaries, i.e. of absolute negation and of the
absolute affirmative.

" t. Arms, sword, flaming sword of the cherub, the sacred
septenary principle, triumph, royalty, priesthood.

" Hieroglyph — a cubical chariot having four columns, and azure
and starred drapery. In the chariot and between the four columns
is a conqueror crowned with a circle, from which rise and radiate
three pentagrams of gold. The conqueror has on his cuirass three
chevrons one above the other ; on his shoulders are the Urim and
Thumin of the High Sacrificator, represented by the two crescents of
the moon in Gedulah and in Geburah ; his attitude is proud and
tranquil. A double sphinx, or two sphinxes united by their after
portions, are harnessed to the car, he guides a sphinx towards each
side, but one of the sphinxes turns its head so that they both look
to one point. The sphinx which turns its head is black, the other
is white. On the square which forms the fore part of the chariot is
the Indian Lingam, surmounted by the flying sphere of the Egyptians.
This hieroglyphic is perhaps the most beautiful and complete of all
the emblematic designs of the tarots.

" n. Balance, attraction and repulsion, life, fright, promise and
menace.

" Hieroglyph — Justice with her sword and scales.

" CO. Goodness, horror of evil, morality, wisdom.

" Hieroglyph — a Sage, resting on his staff, and carrying a lamp
before him. He covers himself closely in his mantle. The inscrip-

152 FRENCH.

tion is VErmite or le Gapucin, but his proper name is Prudence, anc
he thus completes the four cardinal virtues which appeared incom-
plete to Court de Gebelin and to Etteilla.

u *, Principle, manifestation, praise, manly honour or virility,
phallus, paternal sceptre.

" Hieroglyph — La Roue de Fortune, that is to say, the cosmogoni
wheel of Ezechiel, with an Hermanubis ascending on the right hai
and a Typhon descending on the left hand. Above is a sphinx ii
equilibrium, holding a sword with its lion-like claws. An admirable
symbol disfigured by Etteilla.

" 3. The hand in the act of taking and holding.

" Hieroglyph — La Force, a woman crowned with the vital oo, ai
quietly and without effort closing the mouth of a furious lion.

u S. Example, instruction, public teaching.

lt Symbol, a man hanging by a foot, whose hands are tied behind him
in such way that his body forms a triangle, with the point downwards,
and his limbs form a cross above the triangle. The gibbet has the
form of a Hebrew tan, the two trees which support it have each six
amputated branches. It is a symbol of sacrifice and of work
accomplished.

" D- The heaven of Jupiter and of Mars, domination and force,
rejuvenescence, creation, and destruction.

" Hieroglyph — La Mort, who mows down crowned heads in a field
in which men are seen sprouting.

" 3. The heaven of the sun, climates, seasons, movement,
changes of life always new and always the same.

" Hieroglyph — Jja Temperance, an angel having the sign of the
sun on his forehead, and on his chest the square and triangle of the
septenary principle. He pours the two essences which compose
the elixir of life from one vase into another.

' { D . The heaven of Mercury ; occult science, magic, commerce,
eloquence, mystery, moral force.

' ' Hieroglyph — Le Diable, the he-goat of Mendes, or the Baphomet
of the temple, with all his pantheistic attributes. This hieroglyph
is the only one that Etteilla perfectly understood and interpreted
satisfactorily.

u y. The heaven of the moon ; changes, subversions, weaknesses.

"Hieroglyph — a tower, probably that of Babel, struck by lightning.
Two persons, Nimrod without doubt, and his false prophet or
minister, are precipitated from the ruins. One in falling represents
perfectly the letter ]?, gnain.

u £}• The heaven of the soul ; effusions of thought, moral in-
fluence of idea on forms, immortality.

" Hieroglyph — a brilliant star and eternal youth.

"V. The elements, the visible world, reflected light, material
forms, symbolism.

DIVINATION— CARTOMANCY. 153

" Hieroglyph — the moon, dew, a crab in the water ascending
towards the earth, a dog and a wolf at the base of two towers howl-
ing at the moon. A path lost in the horizon is sprinkled with drops
of blood.

"p. Things united — the head, the summit, the prince of heaven.

" Hieroglyph — a radiant sun and two naked children, giving each
other their hands within a fortified enclosure. In some tarots the
symbol is a woman spinning human destinies ; in others it is a naked
child mounted on a white horse, and unfolding a scarlet banner.

11 % The vegetative principle, the generative power of the earth,
eternal life.

" Hieroglyph — Le Jugement. An angel sounds a trumpet, and
the dead rise from their graves. Of these revivified dead we see a
man, woman, and child, the ternary of human life.

" W. The sensitive principle, the flesh, eternal life.

" Hieroglyph — Le Fou : a man dressed absurdly, walking at ran-
dom, carrying a wallet behind him, i.e., loaded with absurdities and
vice.

"ft. The microcosm — the recapitulation of the all-in-all.

u Hieroglyph — the hether or the kabbalistic crown between the
four mysterious animals. In the centre of the crown is Truth, hold-
ing in each hand a magic wand.

1 ' Such are the twenty- two keys of the tarot, by which are explain-
able all the numbers of the latter. The Bataleur, or key of the unities,
explains the four aces, with their quadruple signification, progressive
in the three worlds and in the first principle. Thus the ace of denier or
of the circle is the soul of the world; the ace of swords is the combative
intelligence ; the ace of cups is the animating intellect ; the ace of
batons, the creative intelligence. They are likewise the principles of
movement, of progress, of fecundity, and of power. Each number,
multiplied by a key, affords another number, which, in its turn
explained by the keys, completes the philosophic and religious
revelations contained in each sign. So each of the fifty-six cards
(that is of the numeral series) may be multiplied by the twenty-two
keys in turn ; thus results a series of combinations all yielding the
most surprising results of revelation and of light. It is a true philo-
sophic machine, preventing the spirit from being led astray, at the
same time leaving it its powers of initiation and of liberty. It is
mathematics applied to the Absolute, the union of the Positive with
the Ideal ; it is a lottery of thoughts as rigorously correct as are
numbers ; in fine, it is perhaps, at the same time, the simplest and
the grandest conception of human genius.

" The method of reading the hieroglyphs of the tarot is to arrange
them either in squares or triangles, by placing the even numbers in
opposition, and in conciliating them by the uneven ones. Four
signs always express the Absolute in any order, and are explainable

154 FRENCH.

by a -fifth sign. Thus tho solution of all questions in magic is that
of tho Pentagramina, and all tho antinomies arc explained by
harmonious unity.

lf Thus disposed the tarot becomes a true oracle, answering
possible questions with more preciseness and infallibility than does
the Androidis of Albert the Great. A prisoner deprived of books
might, in some years' time, if he had only a tarot which he knew how
to employ, acquire the knowledge of an universal science, and discuss
everything with a wisdom which has not any equal, and with an in-
exhaustible eloquence. This wheel, in fact, is the true key to the
art of oratory, and to the great science of Raymond Lully. It is the
veritable secret of the transmutation of darkness into light, it is the
first and most important of all the arcana of the great work."

1 ' By means of this universal key of symbolism all the allegories of
India, of Egypt, and of Judea become plain ; the Apocalypse of St.
John is a kabbalistic book, the sense of which is rigorously indicated
by the designs and numbers of the Urim and Thumin, of the Thera-
phim, and of the Ephod all combined and completed by the tarot.
The ancient sanctuaries have not any longer mysteries, and we com-
prehend for the first time the meaning of the objects in Hebrew
worship. Who does not perceive, in fact, in the table of gold,
crowned, and supported by the cherubim, and which covered the
ark of the covenant and served as propitiatory, the like symbols as
in the twenty-first key of the tarot ? The ark was a hieroglyphic
resume of all kabbalistic dogmas. It contained the Jod, or flowering
rod of Aaron ; the He, or cup, the gomor of manna ; the two tables
of the law, a symbol like that of the sword of justice ; and the
manna contained in the gomor — four things which translate marvel-
lously the letters of the divine " Tetragraruma." (" Dogme," &c,
vol. ii. pp. 344-357.)

" The book of the tarot having so high a scientific importance, it
is much to be desired that it should remain unchanged." " An im-
portant work remains to be performed : it is that of engraving and
publishing a tarot, rigorously complete and carefully executed."
" Vestiges of the tarot may be found among every people. The
Italian tarot is, as we have stated, the best preserved and most faith-
ful ; but it may be improved by some valuable hints to be borrowed
from certain Spanish numeral series. The two of cups, e.g. in the
Na'ibi, is purely Egyptian ; we there observe two antique vases, the
handles of which are formed by Ibises, placed above a cow. In the
same cards we may see an unicorn in the middle of the four of deniers ;
the three of cups represents the figure of Isis emerging from a vase,
with Ibises rising from other two vases ; one Ibis bearing a crown
for the goddess, the other a lotus flower, which it appears to offer
her. The four aces bear the image of the hieratic and sacred serpent;
and in certain packs, in the centre of the four of deniers, may be

4at

DIVINATION— CARTOMANCY.

155

found the double triangle of Salomon, in place of the symbolic
unicorn.

"The German tarots have undergone more change; little else
being found than the number of the keys surcharged with bizarre
or pantagruelesque figures. We have before us a Chinese tarot,
and some specimens from a like pack may be seen in the Imperial
Library. M. Paul Boiteau, in his remarkable work on playing-
cards, has given some examples very well executed. The Chinese
tarot still preserves several of the primitive emblems ; the deniers
and the swords are readily to be distinguished but it would be
more difficult to make out the cups and the clubs. "

" It was during the time of the Gnostic and the Manichean
heresies that the tarot became lost to the Church, and it was at the
same period that the meaning of the Divine Apocalypse ceased to
be understood. It was no longer comprehended that the seven
seals of this Kabbalistic book are seven pantacles explainable by the
analogies of the numbers, characters, and figures of the tarot."
(Op. cit. vol. ii. p. 361.)

As opposed to the preceding recondite and thaumaturgic views,
and all such as place the origin of cards in the East, the opinions
of M. Merlin (Bibl. 6, p. 37), may be opportunely considered.

According to this writer, if we take the tarots of Geneva, of Mar-
seilles, and of Besancon as more faithfully representing the ancient
Venetian tarots, and compare them with the ( ' tarots-images ** known
as those of Mantegna,1 we may perceive that of the twenty-six
figures [i. e. the twenty- two atouts and the four additional " honours"]
of the modern tarots, fifteen are due to the sequence in question.
For example, the

Fou (mat, matto) . corresponds

to the Misero . . l,

Series E of Mantegna.

L'Empcreur, iv.

Imperator . 9,

Lc Papc, v. .

Papa . .10,

Le Chariot, vii.

Mars . . 45,

La Justice, viii.

Justicia . . 37,

L'Hermite, ix.

Saturno . .47,

La Force, xi.

Forteza . .36,

t«

La Temperance,

xiv. ,,

Temperancia 34,

„

L'Etoilc, xvii.

Venus . .43,

La Lime, xviii.

Luna . .41,

Le Soleil, xix.

Sol . . . 44,

Le Monde, xxi.

• 5J

S Jupiter . . 46,
X Prima Causa 50,

11
11

Among the

" honours " of the numerical series

—

Le Roi

. corresponds

to tl

Le RE ... 8,

Series E of Mantegna.

Le Cavalier .

Chavalier . 6,

Le Valet .

>»

Fameio . . 2,

r. 1.

Page 65.

i56 FRENCH.

Should scepticism exist in reference to this re-embodiment
the figures of the so-called Mantegna series in the more modei
tarots, it should be dissipated on a closer examination of the d<
signs of the former. For example, the Misero, No. 1, of the serie
E, is being seized at the leg by a dog ; so is the mat or fool of the
tarots. Venus, 43, of the series A, is represented in the water with
a shell or cup in her hand, while I/Etoile, xvii. of the tarots, is
likewise a naked woman at the edge of a stream, from which she
draws water with one hand to pour over her limbs with the other.
Mars, 45, series A, is represented with the attributes awarded him
in mythology. He appears as a seated warrior, on a car, sword in
hand ; both warrior and car are seen direct or in full face. The
Chariot, vii. of the tarots, likewise shows a warrior on a car, with
crown on head, cuirass on chest, and sceptre in hand. Warrior,
chariot, and horses, all are seen direct or in full face. In both de-
signs the car is surmounted by a dais supported by columns. Sa-
turn, 47, series A, is portrayed as the old Saturn of the fable.
With his left hand he conveys to his mouth a little child to be de-
voured, while he supports himself with his right on a staff, holding
at the same time a winged serpent with its tail in its mouth —
symbol of eternity. The tarot, more human, has made a hermit of
him j nevertheless, the profile attitude, the lanthorn held on a level
with the head, and the staff which gives support, recall the attitude
of the Saturn of Mantegna. Further, the idea of Time has con-
tinued to be linked with this figure, for in the so-called " Cards of
Charles VI." the hermit holds an hour-glass instead of a lanthorn.

At first sight, but little or no connection may be traced between
La Prima Causa, 50, of series A, and Le Monde, xxi. of the tarots,
except in the symbols of the four Evangelists, which exist in both,
though it must be admitted not in the earlier version of 1470 of the
sequence of Mantegna. But if we reflect on the meaning of the series
of concentric circles of the design of the Prima Causa, we shall be able
to trace the required affinity at once. This design represents the world
according to the Ptolemaic system, the only system known in the four-
teenth and fifteenth centuries. A like figure may be found in the
' ' Geomance de Cattan * (translated by Gabr. du Preau) , having above
it the inscription " General figure of the two parts of the elementary
and celestial World." In the "Margarita Philosophical of Reisch, a
curious encyclopaedia often reprinted during the earlier portion of
the sixteenth century, the same design may be observed illustrating
a chapter " De Machinse Mundi partitioned' It is likewise the case
that Le Monde is the last number (21) of the tarots, as is the Prima
Causa the last of the series A. There cannot be any doubt that the
author of the former took the title of " The World" from the design
of the latter. As to the design of Le Monde of the tarots, which
is sometimes a naked woman much like a savage, at other times a

DIVINATION— CARTOMANCY. 157

naked woman dancing ; its explanation is difficult. It may be that
its author intended to symbolize " La Volupte " which reigns over
the universe; but if so, it must be confessed that the engravers
have translated his ideas in a very peculiar way. Perhaps the oval
frame, within which this female stands erect, may have been sug-
gested by what may be seen in the Jupiter, 46, of series A.

Finally, look at the " Temperance" of the two series. The attitude
and action are alike in each, so are they in the valet of cups in the
modern combined tarots and in the Fameio of the ancient sequence.

M. Merlin proceeds to show that for the additional cards going
to form the Minchiate of Florence (which consists of forty emble-
matic cards and fifty-seven numerals) , not less than twenty more
designs have been taken from the older series, thus forming a theft,
if we may so speak, in the total of thirty-five designs towards the
composition of modern tarots.

Attention may be called next to the fact that the general economy
of the " Jeu des Tarots " appears to have been taken from that of
the more ancient game. We find e.g. that the atouts of higher
value in the former are those, the numbers of which are the more
elevated. Now these are precisely such as correspond to the
higher numbers of the latter or ancient series, and which are in-
cluded between numbers forty-one and fifty. The lowest number
of the older series is No. 1, the " Misero ; " the figure of the modern
tarots corresponding to it is the " Fou," which is the ' ' Zero w of the
latter, or their weakest card. It cannot take any other card, and
acquires value in a secondary way only, and by favour, as it were,
of other cards.

Five series compose the "Tarots-Images" of Mantegna, alike num-
ber go to form the " Tarots- Jeux." These five series are each made
up of ten pieces in the former, while in the latter four of the series are
often each, with pips running from one to ten. There is another coinci-
dence, the decades of the old sequence are distinguished by the letters
ABODE; the five series of the "Tarots- Jeux" are distinguished by
objects, the initial letters of the names of which are ABCDE,u.
atouts, batons, coupes, denier s, epees, and their equivalents in Italian
and Spanish. It is true that in Italian the initial letter E does not
occur, seeing that in this tongue the word for sword is spaa1 a, and
not espada, as in Spanish. But as if this objection had been foreseen,
the letter E of the earlier version [1470] has been displaced by the
letter S in the version of 1485. 1 Yet once more; if the fourth
decade of the ancient sequence be examined — the series of Virtues
— it may be noticed that the signs of the four numeral suits of the
u Tarots- Jeux," i. e. cups, money, swords, and clubs, are to be found
among the attributes of the four virtues. Faith, 40, holds a chalice ;

1 Antea, page 70.

158 FRENCH.

Charity, 38, an inverted purse from which issues money; Justice,
37, is armed with a sword ; and Force, 36, with a maco or club.
Surely such coincidences, insists M. Merlin, clearly enough indicat
the parentage of the " Tarots-Jeux."

In vain may it be objected that differences are to be observec
between the modern representations and the designs drawn an(
painted by hand during the earlier periods, and of which fragment
are preserved in some privileged collections. These differences d<
not offer any satisfactory basis for reasonable doubt, since the cards
illustrated by such fragments have been quite exceptional in charac-
ter, and generally produced for purposes of presentation, or in con-
nection with important circumstances when, as it may be readily
conceived, the artists would feel justified in giving full reins to their
imaginations.

Finally, to what nation, asks M. Merlin, must we not attribute
the parentage of the Na'ibis cited by Morelli, the precursors of all ?
To the Italian, without doubt. Everything in them reveals the
Catholic thought and Italian ideas of the epoch [1393] . The pope
has in them supremacy over the emperor, who is represented with
the attributes of the empire of the West. In the version of 1485 the
crown of the king is an Italian crown ; the valet, merchant, cavalier,
and gentleman all have Italian costumes. Further, the sciences
are arranged in the order of the trivium and quaclrivmm ; we find
the three theologic and the four cardinal virtues, and if we meet
with Apollo and the Muses it is with the attributes bestowed on
them by occidentals of the middle ages, and not with such as
accompany them on the ancient monuments of Greece and Rome.
(Merlin, Bibl. 6, pp. 38-80.)

Thus, then — if the views of M. Merlin be correct — the (t Tarots-
Jeux n cards proper have sprung from the old Florentine or Venetian
sequence — the cards of Baldini, the tarocchi of Mantegna; and this
latter had its origin in a series of designs already existing in Italy
in the fourteenth century, done by hand and termed " Na'ibis. " To
Italy is likewise due the invention of the latter, and the fable of their
Eastern origin must be altogether resigned. " Sic transit gloria
mundi," quoad the reveries of Court de Gebelin, Etteilla, Levi,
Buchan, Vailsant, Boiteau d'Ambly, and others. But it may be
asked — is the matter really to be so disposed of ?

There still remains to be noticed a view of the origin and meaning
of numeral cards, which may be as appositely referred to here as any-
where else. It is that of Saint Bernard and of Saint Anthony. Accord-
ing to the former, who preached at Bologna in 1474, against the use
of cards, the latter are the work of the devil. Satan became jealous
of the act of Christ in causing the offices of his church to be recorded
in books richly adorned with miniatures. He decided therefore, "nee
deficere volo officiis meis Breviaria ac Diurna, quse esse jubeo char-

DIVINATION— CARTOMANCY. i59

ticellas seu Naibos in quibus varias figures pingantur, sicut fieri solet
in Breviariis Christi ; quae figuram in eis mystica prasfigurent ut
puto : (i.e. St. Bernard).

Denarii } avaritiam.

Bacidi, stultitiam seu caninam saevitiam.

Calices, ebrietatem et gulam.

Enses, odium et guerram.

Beges atque Begince prsevalentes in nequitiis supra dictis.

Militcs etiam inferiores et superiorcs luxuriam et sodomiam aperta
fronte proclamant/'' — See note in Merlin,, p. 51.

It has been the opinion of some authorities that cards were intro- "1 /
duced into Europe for the purposes of divination and fortune- telling
by the gipsies some time between 1275 and 1325, an opinion
strongly opposed by others.1 The truth is, we are not sure of the
exact time when the gipsies entered Europe, of the birth-place of
cards, nor of the period when they were first employed for thauma-
turgic purposes. But since, as Taylor observes (p. 453), there is
so great a faculty of wonder in the uneducated — so infinite a
longing for some knowledge of events to come, there can be
little doubt that very early, both high and low alike sought oracular
responses from any adepts who could be found, and would be satis-
fied if the replies were only vague enough to give countenance to
the hopes they entertained.

According to Chatto (p. 116), there is in the "Magasin Pit-
toresque," for 1842, p. 324, a cut entitled "Philipe le Bon con-
sultant une Tireuse de Cartes," copied from a painting attributed
to Jan Van Eyck. Though it has been denied that this picture
is really by V. Eyck, who died in 1467, it is allowed that the
costume represented in it belongs to the reign of Charles VIII.,
between 1483 and 1498. If this be correct, we have thus evidence
of cards having been used for the purpose of fortune-telling before
the close of the fifteenth century. We have positive evidence that
they were applied to this purpose early in the sixteenth century in the
publication of the rare and beautiful book known as " Le Sorti di
Francesco Marcolini da Forli, intitolate Giardino di Pensieri, alio
illustrissimo Signore Hercole Estense, Duca di Ferrara/' the colo-
phon of which runs as follows : — " In Venetia per Francesco Marco-
lini da Forli negli Anni del Signore MDXXXX. del mese di Ottobre."

It has been supposed that this work was not the first of its kind,
and that Marcolini may have been prompted to his undertaking
by the treatise of Sigismondo Fanti, of Ferrara, entitled
" Triompho di Fortuna di Sigismondo Fanti," and printed at
Venice in 1526. But this latter treatise, though professing to teach
the art of solving questions by divinations of various kinds, does

1 Antea, pp. 8, 1 1.

160 FRENCH.

not profess to use cards. The interpreters of fate are the signs
the zodiac, the constellations, sibyls, and various astrological per-
sonages, dice sometimes being used for the direction of the coi
sultant. The cards employed by Marcolini are the king, knight,
knave, 10, 9, 8, 7, 2, and ace of danari. Though the ten was em-
ployed in MarcoUm's system, it appears to have been generally
omitted from the packs used by the Italian jugglers of the sixteenth
century. The work of Marcolini is known to iconophilists for the
beauty of its woodcuts after the designs of Giuseppe Porta, or
Salviati. Reference may be made to Singer, p. 64, Chatto, p. 117,
and to Jackson and Chatto' s "Treatise on Wood Engravings," p. 390,
for details connected with the treatise of Marcolini. In Jackson
and Chatto's work copies of several of the cuts are given, accom-
panied by some valuable criticism. In vol. i. I. W. 4, folio 136, of
Italian Chiaro-scuros, in the British Museum, may be seen the
engraved frontispiece to Marcolini's book, to which Jackson and
Chatto make particular allusion.

Leber assures us that he had examined ffun grand nombre de
tours de cartes," described in the pamphlets of the Italian jugglers
of the sixteenth century, yet he refers to two works only on the sub-
ject printed before 1600. One of them is entitled " Opera Nuova
non piu vista, nella quale potrai facilmente imparare molti giochi
di mano. Composta da Francesco di Milano nominato in tutto il
mondo il Bagatello," 8vo. circa 1550. The other bears the title
t( Giochi di Carte bellissimi e di Memoria, per Horatio Galasso."
Venetia, 1593. These works, however, together with the brochure
11 Li Rari et Mirabili Giuochi di Carte da Alberto Francese detto
Perlimpimpim" (Bologna 1622), have more to do really with ordi-
nary legerdemain than with divination.

It appears to have been the case that the recourse to cards for
divinatory purposes gradually declined among the upper classes
until the middle of the eighteenth century, though it was prevalent no
doubt among the lower grades of society frequenting fairs and the
caravans of mountebanks. About 1750 divination through cards
again became popular — in Paris at least — for in 1751, 1752, and
1753, three persons were publicly known as offering their services
for this intention. To these adepts were soon added others, since
the venture was profitable, but the cry of sacrilege was raised, and
\y^ in order to save — as it was pretended — the card-augurs from the

vengeance of the devots, the former were seized and sent by the
police to the Bicetre, or to the Salpetriere, unheard in their defence
and regardless of remonstrance.

It was at the latter period, i. e. 1753, that Etteilla (Alliette)
made his debut by superseding the ordinary practice of employing
the cards of a pack singly, and in substituting the art of reading
the masteries they might unfold when the whole sequence was

DIVINATION— CARTOMANCY. 161

arranged upon the table. The former practice was , according to
Etteilla, but an absurd imitation of ancient sortilege, or of consult-
ing the oracles through the Odyssey and the verses of Virgil.
Etteilla, enlightened — as we have seen — in 1757 by the Pied-
montese as to the tarots, and afterwards by the theories of Court
de G-ebelin on that series of emblematic figures, published in 1783
his work on the " Tharoth or tarots," following it up by additional
memoirs on occult and divinatory subjects as connected with
u cartomancy." These treatises, when afterwards collected to-
gether, bore the title : " Collection sur les hautes Sciences ou Traite
theorique et pratique de la sage Magie des anciens peuples absolu-
ment complet en douze livres lesquels contiennent tout ce que
Etteilla a ecrit sur la philosophie hermetique, Fart de tirer les cartes
— et notamment le sublime livre de Thot." Paris, 1783-90, 4
tomes, 12° figs.

The part the writings of Etteilla have played in furnishing the
stock, and often the whole ingredients of the many popular works
and chapbooks on cartomancy and its associated subjects published
since his time, may be well judged of — as far as France, at least, is
concerned — on reference to the first volume, p. 227 et seq. of M.
Charles Nisard's interesting work : (< Histoire des Livres Populaires
ou de la Litterature du Colportage depuis le XV. siecle jusqu'a 1852.
Paris, 1854/'

The annals of cartomancy, like those of supernatural appearances
and second-sight, contain among them a few anecdotes associated
with evidence which prevents us either rejecting the relations as
false, or of explaining the circumstances in a satisfactory way. ,
For example, Eowland in his " Judicial Astrology Condemned,"
relates the following in respect to Cuffe, a celebrated Greek scholar,
" a man of exquisite wit and learning, but of a turbulent disposi-
tion," and secretary to the unfortunate Earl of Essex : —

" Cuffe was told twenty years before his death that he should
come to an untimely end, at which Cuffe laughed, and in a scornful
manner intreated the astrologer to show him in what manner he
should come to his end \ who condescended to him, and calling for
cards, intreated Cuffe to draw out of the pack three which pleased
him. He did so, and drew three knaves, and laid them on the
table with their faces downwards by the wizard's direction, who
then told him if he desired to see the sum of his bad fortunes, to
take up those cards. Cuffe, as he was prescribed, took up the first
card, and looking on it he saw the portraiture of himself cap-a-pie,
having men compassing him about with bills and halberds ; then he
took up the second, and there he saw the judge that sat upon him ;
and taking up the last card, he saw Tyburn, the place of his
execution, and the hangman, at which he laughed heartily; but

162 FRENCH.

many years after, being condemned for treason, he remembered
declared this prediction."

Cuffe was hung at Tyburn on the 13th of March, 1602,
having counselled and abetted the Earl of Essex in his treason,
alluding to this story, Taylor remarks : —

" It is evident that the cards used by the cartomancist on
occasion were tarots. The first drawn was in all probability an
atout, called the traitor, which in some Italian packs held the place
of the devil, the second could be no other than Justice, and the third
would be sufficiently shadowed forth by the hanged man (Le
Pendu)." (Bibl. 9, p. 456.)

During the exciting periods of the first consulship of Napoleon I.,
and of the empire which followed, the higher as well as the lower
grades of the people eagerly sought to question the augurs of the
future. At that time lived a well-known divini tress, named
Mademoiselle Lenormand, the believed truth of whose predictions
gained her such repute, that crowned heads were not beneath
craving her assistance. Herself naturally vain and arrogant, thus
flattered, she could scarcely keep at last within decent bounds, and
actually attended the Congress at Aix-la-Chapelle, deeming her
presence there of the highest importance. She published ten
volumes in 8vo. of " Souvenirs Prophetiques," and " Memoires His-
toriques," and in 1825 appeared the prospectus of an "Album de
Madlle. Lenormand mis en ordre et enrichi de manuscrits auto-
graphes, de commentaires, de notes biographiques sur la Revolution
Francaise et sur les Auteurs et les Acteurs de ce Drame politique."
This album was intended to form five volumes in 4to. or twenty-
eight vols, in 8vo., and to cost 975 francs. Sufficient subscribers
were not forthcoming, however, to justify its being given to the
world. (Boiteau d'Ambly, p. 330.)

On one occasion, Joachim Murat, when King of Naples, sought
the aid of Mademoiselle Lenormand. He was received by the
prophetess with her customary haughtiness, who, however, produced
the cards. Murat cut the pack. The king of diamonds appeared.
Now this card, according to some systems of cartomancy, is re-
garded as a portent of the extremest ill-fortune, and receives the
name of the " grand pendu." Mademoiselle Lenormand told the
king that, prosperous as he might then be, an execution awaited
him. Murat, disconcerted, laid two Napoleons on the table, and
begged for another trial. It was granted. He again cut the king
of diamonds. Still more dissatisfied, Murat again produced a similar
sum. The Sibyl permitted another trial. The sortilege was made,
and for a third time the king of diamonds was cut. Bewildered
and annoyed, Murat now produced fifty Napoleons, and besought
the hesitating Pythoness to grant him one more experiment. It

DIVINATION— CARTOMANCY. 163

was at length permitted, when with fatal iteration the same ma-
lignant portent — the king of diamonds — again appeared. In
desperation, the king now offered Lenormand one hundred Napo-
leons for another and final chance. Angrily she threw the cards
at him, telling him to begone, and turned him out of her sanctum,
with the assurance that his fate would be the gallows or the
musket-ball. It is well known that Murat met his fate by military
execution in Calabria in the year 1816.

Again, Gerard, one of Bernadotte' s aid-de-camps, was one day
relating to the latter stories illustrating the strange power of
Mademoiselle Lenormand. Gerard at last asked his superior to
accompany him to the house of the prophetess. Bernadotte agreed,
and they proceeded to the Rue de Tournon. This, it should be
remembered, was in January, 1804. Colonel Gerard presented his
general as a rich merchant, desirous to learn what would be the
issue of some commercial speculations which he was on the point of
commencing in various parts of Germany. Examining her cards,
the sibyl remarked : " Sir, you are not a merchant, but a military
officer, and an officer of very high rank." She was assured that she
was wrong. Lenormand shook her head, replying : " Well, sir, if
you go into commercial speculations, you will be unsuccessful, and
forced to re-enter the career intended by destiny." After examining
the cards again, she continued : u Not only are you of high military
rank, but you are, or will be, related to the emperor." "What
emperor?" exclaimed Bernadotte and Gerard. "I mean the first
consul," said Lenormand. Then with her finger slowly tracking
the mysterious signs as they opened before her, she answered in a
solemn and as if inspired tone : " Yes, he will be emperor, but here
are some clouds intervening between you." On Bernadotte looking
significantly at Gerard, the sibyl continued : " But there is not any
separation; you are still attached to him — ah! how his star is
rising ! " She ceased, as if in surprise, for a moment, and then
resumed : " Sir, be careful not to break with him j he will be very
powerful, the world will be at his feet, and you — you, far away from
him, will be a king — yes, yes, you will be a king." She stopped.
" Good," said Gerard ; " what then ? " "I cannot perceive any-
thing more, nor can I add anything," replied the prophetess.

Napoleon was crowned emperor by the Pope in December, 1804,
and Bernadotte afterwards became King of Sweden and Norway.

Thus, inj3pite of the poet's assertion,

" Heaven from all creatures bides the Book of Fate,"'

humanity has always persisted in trying to read it, and carto-
mancy, not unlike other expedients, has had its fortunate episodes,
and occasionally, without intending it, has spoken the truth.

164

FRENCH.

F. 81.

FIRST HALF OF NINETEENTH CENTURY.

PARIS.

(Grand Etteilla.)

SET of emblematic cards based on the designs of the typical tarots,
accompanied by a numeral series, the whole being equal in number
to the earlier Venetian sequence of seventy-eight pieces. The marks
of the suits of the numerals are batons, coupes, epees, and deniers. The
coate- cards have on them whole-length figures holding in their hands the signs of
their suits.

This set of cards is designed and arranged for the purposes of divination. It
is accompanied by a book of explanations and directions, bearing the title :
" Maniere de tirer. Le Grand Etteilla ou tarots Egyptiens. Paris, chez tous les
marchands des nouveautes."'

In the " Notions Preliminaires " with which the book commences, it is stated
that Hart de tirer les tarots, or the Egyptian cards, is an agreeable science and of
exciting interest, but that its results become serious or recreative, miraculous or
frivolous, in a ratio with the greater or less degree of faith possessed by those
who resort to it. It is a pursuit that merits especially the confidence of amateurs,
particularly female ones, who are so partial to secrets.

Directions then having been given pour tirer les tarots, the meanings of the
latter are explained under seventy -eight heads, and then follow the details neces-
sary to elicit these meanings, and certain other values appertaining to the
numeral series.

All the card-pieces in the set are numbered consecutively from one, Etteilla
questionnant, to seventy-eight, Folie, which seems to correspond to the Fou or
Misero of the older tarots. The designs of the emblematic series of this set are
much modified in several instances by Etteilla's interpretation of the older type,
as is likewise the order of the sequence. Nos. 1 and 2, the questionnant and feu,
may be said to be equivalent to No. 1 9, Le Soleil, of the ordinary series.

STo

Eau . . .

. to No

. xviii

. La Lune.

Air

xvii.

L'Etoile.

Terre . . .

xxi.

Le Monde.

Jour . . .

)

■>•>

Protection .

Questionnante

11 .

1 ,

La Justice

viii.

La Justice.

10.

La Temperance

xiv.

La Temperance.

»>

11.

La Force .

xi.

La Force.

12.

La Prudence .

„

J xii.

Le Pendu.

13.

Mariage .

vi.

L'Amoreux.

14.

Force Majeure

XV.

Le Diable.

15.

Maladie .

Le Bataleur.

16.

Jugement

XX.

Le Jugement.

17-

Mortalite . .

xiii.

La Mort. ♦

»»

18.

Traitre .

ix.

L'Ermite.

»»

19.

Mis ere . .

xvi.

La Maison Dieu.

20.

Fortune .

La Roue de Fortune

21.

Dissension .

vii.

Le Chariot.

The designs on these emblematic pieces are mostly full-length figures, and
subjects simulating more or less the typical tarots, and are often accompanied by

DIVINATION— CARTOMANCY. 165

astronomic or astrologic signs. Above and below each design is a title, e. g. on
No. 5 is Voyage at the top and Terre at the bottom of the card ; on No. 1 1 is
La Force above and Le Souverain below. Each card is numbered twice, viz. at
opposite corners diagonally and in reverse like Spanish cards.

The numeral series begins with the suit batons. The king and queen are
seated and wear crowns, the cavalier is mounted, the valet is on foot. Each
personage carries a long wand or staff. Each honour has two titles. Above the
king of batons is Homme de campagne, below, Homme bon et severe. Above the
queen is Femme de campagne, below, Bonne Femme. On the cavalier is depart
and disunion. On the valet is Stranger and nouvelle. The honours of the other
suits have like titles of various import.

The marks of the suits are placed in proper number on either blue or green
coloured grounds, below the compartments containing which are bright yellow
squares, some of them having within astrologic and other symbols or small
emblematic figures; other yellow compartments are void of all marks. Each
of the pip cards has an upper and lower title printed in reverse like the
honours. On the eight of deniers, e. g., is Fille Brune above, and plus below.
On each of the marks of the suit, here coloured pink on a green ground, is fi
(Omega). On the lower and yellow division of the piece is a crescent moon with
Venus by her side. On the aces are always a human hand and part of the arm,
the former holding up a large symbol of the particular suit. In the ace of deniers
the hand bears a figure of Apollo with a radiant sun above his head, while below
in the yellow compartment is a circle for the mark of the suit. These cards are
all neatly engraved and coloured, some of the numeral series being particularly
clear and distinct. The backs are ornamented with pink dots.

[4i X 2 J- in.] [Backs decorated.]

F. 82.

FIRST HALF OF NINETEENTH CENTURY

PARIS.
(Petit Etteilla.)

PIQUET set of cards (thirty-two) made subservient to the purpose

of divination through dreams.

The series is accompanied by a book of directions and solutions,

which bears the following title : " Le nouvel Etteilla ou moyen
infaillible de tirer les cartes et de lire dans l'avenir par 1' interpretation des songes.
Auquel on a joint un tableau alphabetique de tous les objets qui se presentent
dans les songes et les visions nocturnes, avec leur signification, traduit d'un
manuscrit de Pythagore, commente par le celebre Urbain Grandier, lTman de la
grande mosquee d'Alexandrie, et divers auteurs persans et arabes. Paris, Impr.
de Ducessois $$ quai des Gr. Augustins (Pres le Pont Neuf)." On the opposite
fly-leaf we are informed that " Dans le meine magazin Ton trouve : Le grand et
le petit Etteilla ; L' oracle des dames ; Les grands tarots italiens et allemands ;
et generalement tout ce qui a rapport a la cartomancie."

After an exordium au beau sexe et a tous les amateurs de la cartomancie, comes
a sketch of what we owe to the " celebrated," the " profound Etteilla," who made
his debut in 1 753 by his " L'art de tirer les Cartes." The information also is afforded
us that this " learned professor of cartomancy, instructed by a native Piedmont
that the book of the first Egyptians, the book named thot or tout, written in hiero-
glyphics and known by the name and game of tarots, or better tharoth, contained
all the ancient sciences, he made a serious study of it, and in spite of the hinder-
ances of the royal censors, of the library administrations, and of the police during

166 FRENCH.

1782, published in 1783 his work on the tharoth or tarots, a work which had
cost him more than ten consecutive years of study and reflection." (p. 16.)

Page 20 enters on the "Methode pour tirer les cartes," which extends to
page 50, when follows a " Maniere simple, naturelle et facille d'expliquer les
songes avec les cartes." A " Treatise on Dreams and Visions after the Egyptians
and Persians " concludes the book.

Each card-piece, 3| in. in height by 2-^ in. in width, has the representation
of a particular card in its centre, \\ X 1 in. in size. Around this are certain
titles, phrases, and numbers, having reference to the mode of employment of th
cards, and the details of the divinatory doctrines propounded. Around the
quadrangle of the ace of trefies, e.g., are engraved at the upper margin the words,
Bourse d' Argent, No. 26, Orphelin, R 5 Mauvais, E Prison ; at the lower margin
in reverse way, Noblesse, No. 26, Rancune, R 5 Mauvais, E Prison. At the
right hand side, 4 As Lotterie, 3 As Petite reussite, 2 As Duperie ; and at the left,
4 As Deshonneur, 3 As Libertinage, 2 As Ennemi. The coate-cards have on them
full-length coloured figures in erect attitudes, with titles and numbers similar to
the lower cards. Thus on the Dame de piques may be read Femme Veuve, No.
16 Vie, R 13 Ivrognerie, E . . . Cocuage, Femme du Monde, No. 18, Avarice,
R 1 3 Ivrognerie, E . . . Cocuage, 4 Dames, grand pour parlery 3D... tromperie
de femme, 2D... amie, 4 Dames mauvaise societe, 3D... gourmandise, 2
D . . . ouvrier, ouvrage. The first card in the series is marked N 1 Etteilla ou
le Questionant, and has the direction, Voyez ce que signifie cette carte etant a cote
des autres cartes.

All the cards are from neatly engraved copper plates, and are carefully
coloured. The backs are marked with small hexagons formed by dotted lines of
a blue colour.

[3 1 x 2f m*] [Backs decorated.]

F. 83.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of forty -two separate card-pieces, including twenty-two pure
tarots and twenty distinct numerals, the remaining numerals being
added to the tarots series, as smaller cards placed at the lower corners
of the tarots. In the twenty separate numerals, the pip and honour
cards likewise appear only as smaller cards at the lower corners of emblematic
designs.

The series is intended to serve the purposes of divination and fortune-telling.
It is accompanied by a book of directions, entitled " Le petit Oracle des Dames
ou recreation du curieux contenant soixante-douze figures coloriees, formant le jeu
complet de cinquante-deux cartes avec la maniere de tirer les cartes, tant avec ce
jeu qu'avec les cartes ordinaires." Paris Impr. de Ducessois S3 quai des Gr.
Augustins (pres le Pont Neuf).

An " Epitre aux Dames " commences the book, in which we are assured that
" lorsqu'une belle prend les cartes magiques, et tache de lever un coin du voile
quicouvrel'avenir, elle nest portee a ce mouvement de curiosite que par une ten-
dresse bien juste, un sentiment bien honorable," &c.

A description of the mysteries symbolized in the tarots cards is next given.
These latter are divided into three series, each of the magic number seven. The
first series of seven represents the Golden Age of the world, the second series the
Silver Age, the third series the Age of Brass.

DIVINATION— CARTOMANCY. 167

The first emblematic card of the first series is terre, voyage, 4' element,
corresponding to Le Monde, xxi., of the typical sequence, and is thus described,
" under the Sign of the Lion :" — " The goddess Isis in the centre of a circle
formed by a serpent biting its tail, representing the Universe. The circle is the
emblem of the yearly revolutions, and the symbol of eternity, which has neither
beginning or end. Isis, whom the Egyptians regarded as the origin of all things,
appears ready to run. At the four corners of the design are the emblems of the
seasons. The Eagle, under the sign of the Virgin, indicates the Spring, which
brings back the birds. The Lion, under its ordinary sign, implies Summer, or the
ardour of the sun. The Ox is the allegory of Autumn, when one labours and sows ;
while the Youth, under the sign of the Twins, represents Winter, the season when
we re-unite together. To this design is added the eight of diamonds, which is
placed beneath the Ox. It implies the same subjects as before -mentioned — the
country, earth, labour. When this design is preceded by the sign of Jupiter, it
becomes of very favourable augury."

Details of the various ways in which the cards may be worked are given, along
with an account of the pieces, "auxquelles les diseurs de bonne aventure attachent
des pronostics."

Some of the tarots proper have each two designs on them, printed in reverse.
Thus the piece No. 10 is divided into two equal portions. On the upper portion
is a seated female, pouring a fluid from a vase in her right hand into a vase held
in her left. At the lower left-hand corner of this division is represented a small
numeral card, viz. the four of hearts. The title, La Temperance, is engraved
above the figure. On the lower division is represented Night, in the form of the
moon beaming down from the darkened heavens on the earth.

Some of the tarots designs are almost identical with the typical ones, though
bearing other numbers, but several are sui generis. No. 2 1 of the tarots repre-
sents Le Bataleur, while No. 22 is both consultant and consultante, with appro-
priate designs.

All the separate numeral cards have each two emblematic designs on them,
printed in reverse. Some of the designs have at the corners the representation of
a diminutive pip or honour card ; others have not. Above each design is a title.
On No. 29, a ship in a tempestuous sea is represented in the upper division of the
piece, and a diminutive ten of spades is at the left-hand lower corner. Above is
the title Naufrage, Grand Malheur.

In the lower division are the arched vaults and staircase of a prison, with the
title "prison." The number 29 is at the upper left-hand and lower right-hand
corner in reverse.

The designs, execution, and colouring of these cards are of inferior character
The backs are marbled in madder and white.

[3^ X 2£ in.] [Backs decorated.]

F. 84.

NINETEENTH CENTURY.

PARIS.

SET of seventy-eight cards, viz., twenty-two atouts and fifty-six
numerals, designed and adapted to the purposes of divination. As
far as the twenty -two tarots proper are concerned they may be said
to be coarse copies on wood of the designs of the tarots of F. 81.
Some slight differences of detail exist, as in No. l, Le Chaos, No. 10, La Tem-
perance, No. 12, La Prudence, No. 15, Maladie, and No. 21, Droit. As in F. 81,
the fou is No. 78, the last card of the series, and entitled Folie.

FRENCH.

The marks of the suits of the numeral series are batons, coupes, epees, anc
deniers. The designs on these pieces differ from F. 8l in certain respects. Eacl
piece is divided into two compartments, the lower and smaller compartment
always coloured yellow, but the upper division is in all instances parti-colourc
pink and blue. The symbols represented in the lower or yellow compartmei
differ from those of F. 8l. In batons, keys, tablets, cards, lightning, arrows
&c, are to be seen ; in coupes medallions, within which are various things,
harp, dolphin, bull's head, bee-hive, &c. ; in epees, busts of men ; and in deniers
whole-length female figures seated, and at various occupations. The honours
exhibit like designs to those of F. 8 1 , but are differently coloured.

The titles and descriptions on all the cards differ in certain details from those
on the series F. 8 1 . On No. 2, for example, at the summit of the card, is printed
Droit eclaircissement ( 1 er jour de la creation) ; below the design are Renverse,
feu (2e element) ; on the right-hand side is La Lumiere, and the same on the
left. At each corner of the piece is the number 2. Each of the numeral series
has its suit and value printed on each side of the design, thus on the third figure
card in batons, le chevalier de baton is printed on each side of the man on horse-
back, and on the like card of the suit coupes, is le chevalier de coupe. But in
general, though the marks of the suits are the old Italian ones, as before stated, a
twofold description of the suit and value of each card is given, viz., one answer-
ing to their actual signs, and the other to the more recent French symbols. Thus
on the left-hand of the ten of deniers is printed le dix de denier, and on the
right-hand le dix de trefles, on the three of coupes is le trois de coupe on one side,
and le trois de cornr on the other.

The book of directions which accompanied this series is wanting.

The backs are coloured blue.

[4| X 2 J-]. [Backs coloured.]

F. 85.

NINETEENTH CENTURY.
PARIS.

SERIES of seventy-eight cards, viz., twenty-two tarots proper, ant
fifty-six numerals. The suits of the latter are batons, coupes, epees,
and deniers.

These cards are designed according to the principles of Le Grand
Etteilla, and adapted to the purposes of divination. Most of the designs are in-
tended to be Egyptian or Assyrian in character.

The first card of the tarots series is L'homme qui consulte, sagesse, genie.
The last piece, lefou, is No. 78 of the whole sequence, and entitled Folie.

No. 2 is Osiris ou le soleil, No. 3, Isis ou la lune, No. $, Apis ou les saisons,
(Horus), No. 13, le premier prophete, gardien des divines paroles, No. 18, L'ermite
de la grande Thebaide dEgypte, No. 1 9, Le Rhamesseium ou Temple funeraire
de Rhamses LI. (Mejamoun), No. 21, le Tyran Buswis.

The king of batons is le Roi Ptolemee Lagus, the queen Didon, reine de Car-
thage, the cavalier, le Prince- Gouverneur oVEthiope, and the valet is the Surinten-
dant des Greniers ; the king of cups is le Grand Pretre, the queen Esther, reine de
Perse, the cavalier le Prince- Gouverneur de Memphis, and the valet le grand
E chanson ; the king of swords is represented by Ninus, roi aVAssyrie, the queen
by Semiramis, veuve du roi Ninus, the cavalier by le surintendant de la cavaleric,
and the valet by le chef des grammates du palais ; the king of money is Sesostris
(Rhamses Mei'amoun le Grand), the queen Makeda, reine de Saba et oVEthiope, the

DIVINATION— CARTOMANCY. 169

cavalier Joseph, surintendant du double tresor, while the valet is le commandeur des
constructions du palais.

The pip cards of the suit batons are divided into two portions ; the upper and
larger portion contains the marks of the suit, here termed baguettes ou batons, the
ace representing la baguette ou verge de Mo'ise. The lower divisions have a
variable number of objects like long nails arranged together in various ways.

The conditions and fortunes symbolized by the various pieces are indicated by
such terms as melancholie, catastrophe, bonnes nouvelles, union, ordre. On No. 65
(Makeda, or reine de deniers) is femme genereuse below the figure, and femme brune,
femme suspecte above it in reverse. On the ace of deniers are Le Denier de la
Fortune, and Bonheur parfait below, and argent above.

The designs on these cards are of good character, and have been very neatly
engraved on wood. All are uncoloured, but have been printed off on a buff-
toned paper.

[4 X 2|- in.] [Backs plain.]

F. 86.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of fifty-five cards, including fifty-two numerals of the suits
trefles, piques, cosurs, and carreaux, and three supernumerary pieces,
viz. a "Consultant," a " Consultante," and a "Diable," or zero, the
symbol of negation.

This set is intended for the purposes of prognostication and fortune -telling, in
aid of which there is a book of directions and solutions, entitled, " Livre du Grand
Oracle avec le Jeu explicatif, compose de S3 cartes. Paris, chez Gustave
Arnoult 24 Rue des Fosses Saint- Victor, 1 858."

Each card-piece is of considerable size — at least 4f X 3 j- in. — and may be
said to consist of three portions. The upper division has at its left-hand corner
the representation of a diminutive numeral card of the usual character, pip or
honour, as the sequence may require. At the right-hand corner in a similar space
is a kabbalistic sign. Between the card and the sign are a varying number of
stars in special astrological positions as respects each other, and connected by
continuous and dotted lines.

In the central division is an emblematic design of whole-length figures indi-
cating some virtue or state, as concord, power, perfection, marriage, fecundity, &c,
as illustrated in the history of some true or fabulous person or event. Sometimes
two events are recorded in the central design. At the lower third of the piece are
other emblematic illustrations of pictorial character.

The following account is given in the " Livre du Grand Oracle," of the " Roi
de Trefle, No. I." — " Man of knowledge and of great sagacity, capable of giving
wise and judicious advice."

Chief subject : —

" Phineus, king of Thrace, become blind as a punishment, is seated at a table
taking his repast ; on one side the harpies are fouling his dishes, on the other he is
giving advice to the Argonauts as to the road they should take to Colchis.

" Follow in all points the counsels of a venerable man whom you have need to
consult."

Lower portion. Subject of the right-hand side : —

" Two groups of rocks, a dove on this side of them.

" Distrust and precaution to prevail on undertaking a journey."

170 FRENCH.

Subject of the left-band side : —

" Two groups of rocks, a dove beyond them.

" Safety on undertaking a journey."

Flowers.

" Plumbago, Sweet Basil, Poppy.

* The undertaking on which you are about to enter is a doubtful one, but riches
and glory are connected with it, and on taking precautions and counsels from a
wise man you may succeed."

Like descriptions are given of each of the fifty-two cards. The pieces repre-
senting the male and female consultants, have on them simply full-dressed whole-
length figures. On the " Diable," " Emblem of a wicked Genius," are the swords
of the angel Gabriel and of the angel of Justice, and a thistle in flower.

The designs are generally mediocre in conception and inferior in engraving and
colouring.

The backs are coloured blue.

[4J- X 3s- in.] [Backs coloured.]

F. 87.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

SET of seventy-eight cards, 1. e. twenty-two pure tarots and fifty-six
numerals, intended and arranged for the purposes of fortune-telling.

It is accompanied by an ornamental title bearing the inscription :
" Le Grand Jeu de 1' Oracle Des Dames. 78 Cartes Tarots." "Des.
et Lith, par G. Regamey Delarue Editeur. Lith, Haugard-Meuge."

The designs and sequence of the pure tarots are according to one of Etteilla's
versions. No. l is Chaos ; 2, La Lumiere ; 3, Les Plantes ; 1 5, Le Magicien ;
16, Le Jugement dernier; 21 is Le Despot, corresponding to Le Charior, No.
vii., of the typical series.

Each tarots is numbered at the four corners, and has " Droit " at the top and
" Renverse " (in reverse) at the bottom of the design. At each side of the latter
is the title. Le Fou is here the last card, and is numbered 78.

The figure-cards of the numeral series are whole-length figures bearing the
symbols of their suits in their right hands. They are numbered at each corner,
have " Droit " and " Renverse " top and bottom respectively, and the title and
value on each side. The marks of the suits are batons, coupes, epees, and denier s.
In the pip pieces the marks of the suits are contained within large shields, sur-
rounded by floriated ornaments. The face of the shield is unornamented, except
in the case of the aces, where a delicate tendril-like design is present.

The marks of the suit deniers represent the obverses and reverses of small
Roman coins. On the large sign on the ace is the figure of Ceres.

These cards have been executed in chromo-lithography, and printed in rather
positive colours. Some of the designs are very good, and care has evidently been
taken in the treatment of the costumes and draperies, which are intended to be
those of the time of the long-toed, pointed shoes known as "poulains."

[4|- X 2J- in.] [Backs decorated.]

DIVINATION— CARTOMANCY. 171

F. 88.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

PIQUET set of cards (thirty- two), of the ordinary suits — piques,
trefles, cceurs, and carreaux.

Each piece may be regarded either as an ordinary playing-card, or
as a fortune -telling one, the latter belonging rather to the amusing
or comic variety than to the serious divinatory class. A quarter portion of each
piece is occupied by the representation of an ordinary playing-card, so large and
so distinct that there would not be any embarrassment in using the set in cus-
tomary play. The remaining portion of the card-piece is taken up with some
amusing design, below which is the title. Thus, e.g. on the seven of carreaux a
man's head with a night-cap and large spectacles projects from behind the smaller
pip card in the left-hand upper corner ; just below, the man puts out his right
hand, holding up the index finger towards a woman, who holds up her's likewise,
and appears with open mouth to be arguing with the man above. The woman
rests with her left hand on a long birch-broom handle. Below the pip card
hangs a red parroquet in a cage. Under the design are the words " Bavardage,"
" Caquets."

On the reine de trefles is a very neat design of the honour card at the left-
hand upper corner. Below is a three-quarter figure of a young woman, regard-
ing with satisfaction a handful of gold coin, of which there are three piles upon
the table over which she leans. Below is engraved " Amour d' Argent."

This set is accompanied by a small ornamental title, on which is inscribed :
" Le petit Sorcier compose de 32 Cartes."

These cards are from engraved metal plates of a soft description, such as
pewter or zinc. Some of the small figure-pieces or honours are of extremely
careful and neat execution. The pieces are gaily coloured throughout.

The backs are marked with dotted arrow-heads, and large stars of a green
colour.

[3f x 2t m-] [Backs decorated.]

F. 89.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

PIQUET set of cards of the suits piques, cceurs, carreaux, and
trefles. It is intended for the purposes of fortune-telling as well as
for ordinary play, but belongs to the amusing variety of fortune-telling
cards, and not to the serious divinatory class.
Each card-piece has a representation of a small numeral card at its upper
left-hand corner. Occupying the greater portion of the piece is an emblematic
design, including full-length figures and landscapes ; below is the title. The ace
of piques has on it a Cupid on clouds, about to let off an arrow on some one
below. Above him are two billing doves, below is the title, V Amour. The ten
of carreaux exhibits a large parterre of flowers, from which a serpent protrudes
his neck. Over these are some birds hovering, and at a little distance other

172 FRENCH.

birds arc being caught in a net. At the lower margin are the words : " Piege ou
Trahison."

A book of explication accompanies the set. It is entitled : " Le Livre de
Destin," and commences with an " Epitre aux Dames," by M. Violet, editeur,
which begins with the assurance that " L'homme galant doit toujours faire
hommage aux Dames du fruit de ses travaux." After the address comes the
" Maniere de tirer les Cartes," followed by an " Explication des Cartes," with
finally the " Rencontre des Cartes ayant meme valeur."

The imprint is " Impr. de Carpentier Mericourt, Rue Trainee S. Eustache,
No. 15."

These cards have been carefully designed, neatly engraved on metal, and the
impressions coloured. The costumes and accessories are of modern description.

[4g- X 2i in.] [Backs plain.]

F. 90.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

PIQ UET set of cards (thirty-two), of the usual suits, subservient to
the purposes of fortune -telling, as well as of ordinary play.

This pack is a replica of F. 89, accompanied by the book of
directions.
X 2i in.] [Backs plain.]

F. 91

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

PIQUET set of cards of the usual suits, intended for the purposes of
fortune-telling as well as of ordinary play.

The set belongs rather to the amusing than to the serious class of
divinatory agents, being based on exactly the same principles as are
F. 89 and 90.

The greater portion of each piece is occupied by an emblematic design, while
the representation of an ordinary numeral of small size is placed at the upper
left-hand corner. The title of the design is engraved beneath the latter. The
emblematic representations, though after the same kind as those of the previous
series, are yet different in detail. On No. 1, the ace of piques, e.g. are two
Cupids wrestling among the clouds, and around whom roses are scattered. Below
is the title : " La Bagatelle ou L' Amour." Some of the compositions are very
fair, and all are neatly engraved and coloured. The small numerals and
honours at the summits of the large pieces are particularly good.

This set is accompanied by a book of directions, on which is the title in MS.
"Cartes du Destins" — (aux Dames) — "Aug. Legrand." It opens with an
account " De la Maniere de Tirer les Cartes ;" which is followed by a " Troisieme
moyen pour connaitre la pensee de quelqu'un," and concludes with an "Explica-
tion des Cartes."

The edges of these cards are gilt.

[3t X 2|- in.] [Backs plain.]

AMUSING— HUMOROUS.

AMUSING-HUMOROUS.
F. 92.

SECOND HALF OF NINETEENTH CENTURY.
PARIS.

FULL set (fifty -two) of numerals of the ordinary suits, carnrs, piques,
trefles, and carreaux.

The series is of an amusing and humorous character.
The court-cards are full-length figures, strongly and positively
coloured by chromo-lithography, while the figures which are on the pip -pieces
are left in outline and hi shadow, the marks of the suits being coloured over them.

The king of spades represents a Red Indian chief with spear and shield, the
queen Joan d' Arc, the valet a " Suisse " in the well-known attire ; the king of
clubs is a tippling Boniface on a donkey, the queen a Swiss flower-girl, and the
valet a gardener mowing. The king of diamonds is an inferior Court attendant of
the period of long-pointed shoes, the queen a buxom market-woman, the valet a
man-servant sweeping the carpet. The king of hearts is Cupid, the queen a
" star of the ballet," the valet a porter delivering a letter. A supernumerary
piece of this valet commences the series. A variety of amusing and comic
designs are on the pip numerals.

Some of the compositions are serious, however, such as the subject on the
ace of spades, which represents a nun at devotion before an altar ; on the four
of clubs is a bishop in full canonicals with crozier, and on the ten of clubs is a
monumental effigy of a knight in armour. The way in which the mark of the
suit, spades, is made to constitute the head and face of a negro nurse in the four
of the suit is admirable.

The backs are of a rose-colour.

[3i X 21 in.]

[Backs coloured.]

SIMPLY FANCIFUL.
F. 93-

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of thirty cards, having on them whole-length figures repre-
senting eminent personages of the time of Louis XIV.

These pieces are purely cartes de fantaisie, not possessing any
of the essentials of ordinary playing-cards. A book of biographical

summaries connected with the persons represented accompanies the series.

It is entitled, " Le Siecle de Louis XIV., ou Vie des Personnages Celebres qui

174 FRENCH.

out illustre ec Siecle. Paris Libraire de Gide Fils, Rue S. Marc-Feydc
No. 20."

Among the celebrities are Boileau, Conde, D'Aguesseau, Fenelon, Luxembourg,
Mansard, Le Notre, Poussin, Racine, Madame de Sevigne, and Turenne.

The portraits- are in general well designed, and neatly engraved and coloured ;
some, like those of Tourville, Conde, and Racine, are bad in proportions and
attitudes. The representations of Flechier, Bossuet, and Fenelon, are particu-
larly good.

The name is engraved in a separate marginal compartment below the desic

[4f x 2f in.] [Backs plain/

F. 94.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of thirty-eight cards, eighteen of which represent emblematic
designs ; the remaining twenty giving descriptions of the scenes and
persons represented.

These pieces are purely cartes de fantaisie, not having any of the
essentials of ordinary playing-cards. The character of the amusement offered
may be gleaned from the following account given on the introductory piece of
the set :

" Jeu de Societe : charades en action.
" Chaque charade est composee de trois petites scenes en monologues, ren-
fermant le premier mot, le second et l'entier de la charade. La Societe se divise
en deux parties, Tune pour jouer et 1' autre pour deviner.

" Les charades se jouent comme les ' Proverbes,' autre jeu qu'on trouve
chez l'auteur de celui-ci, soit en pantomimes, soit en scenes dialoguees. II est
bon d'avoir les objets et les costumes qui conviennent a la scene que Ton vent
representer. La partie qui a devine joue a son tour."

The words of the charades represented by the designs on the eighteen cards
are ballot, mariage, theatre, oranges, ecriteau, and delire.

The compositions and execution of these pieces are but of mediocre character.
[4J- X 2|- in.] [Backs plain.]

F. 95.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of fifty-two pieces, having on them emblematic designs with
their titles below. The set is purely fanciful, not having any of the
characters of true playing-cards. A supernumerary piece has on it
" Explication du Jeu de la Sybylle des Salons. Se vend a Paris

chez Alph. Giroux & Cie. Rue du Coq. St. Honore, No. 7 ; Gihaut Freres,

Boulevard des Italiens, No. 5."

This series of designs is excellent in all respects. The compositions are good,

and full of meaning : they are etched with freedom and delicacy, and the colouring

SIMPLY FANCIFUL. 175

is tasteful, light, and appropriate. On each piece at the lower left-hand
corner is " Mangion, inv1."

The class of subjects represented maybe gleaned from the following emblems.
On one card a countryman has brought money to an accountant, which is
being sorted in piles on a table, over which the accountant leans ; behind the
countryman at his feet are bags of money. Below is the motto : " Beaucoup
d' Argent." A man closely enveloped in a cloak, from which protrudes a bludgeon,
is waiting concealed behind a wall, for a person who is on the point of passing
before him. Below is inscribed, " Ennemi." Some of the figures are well
worthy of Gavarni, and such pieces as the Maison de Ville and Maison de
Campagne are extremely characteristic of the places represented.

[4§- X 2|-in.] [Backs plain.]

F. 96.

FIRST HALF OF NINETEENTH CENTURY.

PARIS.

SERIES of thirty-six card-pieces, having on them whole-length
figures of persons supposed to be engaged in the furtherance and
celebration of a marriage. Accompanying the series is a description
of the game, which is entitled : " La Dot. Nouveau Jeu de Societe."
Each player must have twenty counters, and be supposed to represent one of
the various persons engaged in the ceremony, e.g., le Pretendu, la Pretendue, le
Pere, la Mere, le Cure, le Bedeau, and others. Of these counters the players
contribute, according to circumstances, to the " Corbeille de Mariage." La Pre-
tendue, a nicely designed and executed demoiselle, has La Demande made in
reference to her, as follows :

" Un jeune homme bien ne, d'une bonne tournure,
Desirait s'unir a cet objet charmant,
On dit qu'il le prendrait sans dot assurement,
Mais il est toujours bon de doter la future."

The above demande is engraved on a distinct card, as are likewise Le
Consentement and Le Contrat.

The last card exhibits a .table of Refraichissemens, which " ayant paru les
imporiuns qui restent dans la main des joueurs ne paient rien, et la partie est
terminee."

Some of the designs are good, others but mediocre. The execution and
colouring are careful.

[31- X 2B"m-] [Backs plain.]

F. 97.

FIRST HALF OF NINETEENTH CENTURY.

PARIS.

SERIES of thirty-six cards, having on them whole-length male and
female figures, in characteristic costumes.

Four of the cards have each a figure of Polichinello in various
pantomimic attitudes ; one being on stilts. The remaining thirty-two
pieces are divided into four suits, distinguished by the colours of the costumes.

76 FRENCH.

The eight cards in each suit have different designs on them, but these designs are
repeated in each suit.

In each suit there is a leader of the "troupe" with book and baton ; a courtier
in full dress, plumed cap, and sword ; a countryman by whose side is a diminutive
Polichinello on stilts ; a lady in Court costume with ermined train ; a lady in
long veil and train ; a lady with stomacher and feathered hat ; a lady in a bonnet
leaning over a parapet, and a country girl with basket on arm.

To each of these suits belongs a Polichinello.

It is not easy to make out in all cases the suit to which the card belongs,
there being often such a mixture of colours in the costumes as to render the
question doubtful. In other cards the distinction is plain enough. The colours
distinguishing the suits appear to be brown or violet, blue, red, and green.

Excluding the four Polichinello cards, the number of each suit is that of
the suit of a piquet set of cards, but there are neither pips, numbers, nor any
indications on the pieces by which they might be said to simulate ordinary
playing-cards.

The designs, engraving, and colouring, are of a superior character, much care
and artistic ability being displayed in them.

Accompanying the cards is a title, cut apparently from a sale catalogue. It
runs thus : " Jeu des Polichinels Yampires, par A. Giroux. Coloured. Paris, 36."

[4£ x 2f in.] [Backs plain.]

F. 98.

FIRST HALF OF NINETEENTH CENTURY.

PARIS.

SERIES of thirty -two fancy cards, designed for Le Jeu de Quilles.

On nine pieces is represented a large skittle in the upright position
against a landscape background ; then follow nine pieces with skittles
on the ground, and landscapes ; next come nine bowls ; then three
pieces, each piece with a running dog on it ; and lastly, two cards, on each of
which are two prostrate skittles.

Each of the nine pieces having prostrate skittles is numbered at the upper
left-hand corner. The cards with the dogs on them are named Medor, Diamant,
and Mirault respectively, while those with two prostrate skittles on each are num-
bered 2, 4, and 3, 6, 9, respectively.

A number of counters must accompany the cards, the game requiring a pool.
A paper of directions and rules is given with this set. The engraving and
colouring are careful.

[3f X 2f in.] [Backs plain.]

R 99.

FIRST HALF OF NINETEENTH CENTURY.
PARIS.

SERIES of twenty-four cards, having on them designs and scenes
emblematic of the vicissitudes of human life.

These cards are described here as of purely fanciful character, not-
withstanding that the marks of the suits, piques, trejles, cceurs, and
carreaux, are placed at the right-hand lower corner of each piece. There is one

mark c

SIMPLY FANCIFUL. 177

rk only on each card, and the same mark extends but to six pieces. The six
cards with the mark of piques, and the six with that of tref.es, i. e. les douze cartes
noires, represent the troubles of humanity ; while those pieces having on them the
marks of cceurs and carreaux, i.e., les rouges, symbolize its joys.

Each card has a number and the title of the design at the lower margin.

On the card numbered 8, with the mark of trejies, a young lady in a violent
passion is smashing the drawing-room chairs ; below is the inscription, " Madame
brise Menage."

On the piece numbered 6, and with the mark of cceurs, a marriage ceremony
is being performed. Below is the title, " Les Amans a l'Autel."

The game requires to be played with counters, a set of which accompanies the
pack. The counters are blue, red, yellow, and white.

An explication du jeu is given, entitled, " Jeu des Vicissitudes Humaines, on
les Peines et les Plaisirs."

The designs, execution, and colouring are but of mediocre character.

[3t X 2f in-] [Backs plain.}

F. 100.

FIRST HALF OF NINETEENTH CENTURY

PARIS.

SERIES of ninety cards, having on them designs representing hu-
morous characters, or laughable incidents. Accompanying these
pieces are twenty-four long cards, each card being divided into
twenty-seven squares. Some of these squares are coloured, others
are left plain ; the colours being yellow, green, blue, and red. The fifteen plain
squares on each card are numbered with large numerals, varying from one to
ninety according to circumstances.

A leaf of instructions accompanies the series, entitled " Regie du Jeu de Loto
en Cartes a rire."

Counters are required in the game, as a pool is necessary.
Each pictorial card is numbered at the top, and below the number is the title
of the design represented.

On No. 8 is " Le bon Coin," with the representation of a drunken man
(whose hat has fallen off) leaning helplessly against the friendly corner of a
wine-shop, the owner of which, " Boneau Md de Vin," is at the door, gazing with
astonishment at the drunkard. Some of the designs are comical enough in inten-
tion, but the artistic power displayed is in many instances but of very mediocre
character. All the pieces are coloured.

[3 J x 2f m-] [Backs plain.]

F. 101.

FIRST HALF OF NINETEENTH CENTURY.

PARIS.

SERIES of thirty-six cards, having on them whole-length male and
female figures, in national costumes.

These pieces are for the purpose of playing the Jeu du Nigaud, the
performance of which is described on an accompanying sheet. Counters
are required in the amusement, a set of which goes along with the cards. These

178 FRENCH.

square counters are numbered with large figures up to 36, and correspond
like numbers on the cards.

Some of the designs are admirable in respect of drawing, engraving,
colour.

[3r x 2 J- in-] [Backs plain.]

R 102.

NINETEENTH CENTURY.
PARIS.

SERIES of twenty-eight cards, representing the pieces of a set of
dominoes. Each card is divided into six equal compartments. In
the middle white space are marked the values of the pieces by the
usual black dots, here having a white star in the centre. In the
lateral divisions at the corners, opposite diagonally, are shields with castellated
crowns, and arabesque ornaments are at the other corners. Each shield is divided
longitudinally, having the domino points of the central compartments repeated in
its divisions.

On the first card is inscribed across the upper central compartment : " Propriete
de l'auteur."

The engraving of these cards is very neatly executed ; the shields and orna-
ments being relieved white off a black ground.

[3f X 2| in.] [Backs ?]

FLEMISH PLAYING-CARDS.

TAROTS.

Fl. 103.

EIGHTEENTH CENTURY ?

BRUXELLES.

COMPLETE set of combined tarots, i. e. twenty -two atouts and
fifty-six numeral cards. The marks of the latter suits are coupes,
epees, deniers, and batons. The designs of the tarots proper
are like those of the French set, F. 37, before described. No. 2
has on it a whole-length portrait of Le Spagnol Capitano Era-
casse, in place of the typical La Papesse. On No. 5 is Bacus
in lieu of Le Pape, and No. l 2, Lepen-du, must be reversed in order that the figure
may hang in the usual way, viz., head downwards. No. 16 is La Foudre, a tree
struck by lightning, instead of La Maison Dieu, and Le Fou bears a number —
xxii. The title on No. 1 is spelt Le Bataleux, on vi. Lamour, and No. 13 has
here a title — La Mort.

On the ace of deniers is inscribed — top and bottom and jn reverse — " Cartes
de Suisses, fabriquees par F. I. Vandenborre Cartier a Bruxelles." On the two
of deniers is "F. I. Vandenborre" on a scroll between the marks of the suit, and on
the two of coupes on a broad margin at the bottom may be read : " Pour conoistre
que la plus basse de Deniez et de Coupes, en porte les plus hautes quand au fait
du jeu." On the shield in the middle of the four of deniers is a lion rampant
with a castle on his right paw, in place of the letters I * G in the pack F 37.

Though the designs and execution of these cards are poor enough, they are
not so bad as those of the French set.

M. Merlin, alluding to the old Venetian or Lombardian tarots, draws atten-
tion (p. 83) to the constancy with which the primitive types have been preserved
and transmitted without notable change to the south and east of France, as like-
wise to Switzerland. " The alterations produced by time have done scarcely
more than affect the costume of the figures belonging to the numeral series,
the cavaliers and valets of which on entering France relinquished undoubtedly
the iron armour of the fifteenth century for the garments of a more recent epoch.
It is not implied that the engravers have been always faithful to the primitive

180 FLEMISH.

models; they have swerved from them but rarely, however, and in the rich
collection of tarots in the Imperial library scarcely three or four examples of such
a liberty are to be seen. . . . The Swiss had a jeu de tarot, however, slightly dif-
ferent from the Venetian tarot, at least in the eighteenth century, for some engraved
wood-blocks preserved in the i Musee de la porte Hal' at Brussels yield the figures
of a series, the ace of deniers in which bears the following address, viz. : ' Cartes
de Suisse, fabriquees par T. S. Vanden Borre Cartier a Bruxelles.' " In this set,
No. 2, instead of representing La Papesse, is L Espagnol Capitano Fracasse,
while on No. 3 the Pope is displaced by a Bacchus astride on a barrel and holding
a bottle in his hand."

The backs of these cards are marked with a net-work of hexagonal monili-
form meshes, within which are radiant suns printed in black.

[4J- X 2J- in.] [Backs decorated.]

NUMERALS. FULL SET (52).
Fl. 104.

NINETEENTH CENTURY.
LIEGE.

SET of fifty-two numerals of the suits trejies, cceurs, piques, and car-
reaux. The figures on the honours are whole-length and bear titles.
In trejies the latter are Alexandre, Argine, and Lancelot ; in cceurs
Charles, Judith, and Lahire ; in piques David, Pallas, and Hogier; and

in carreaux Caesar, Rachel, and Hector.

The valet of trejies holds a shield in his right hand, on the border of which

are the words, " Administ. des Droits Reunis, 1813." On each coate-card the

mark of its suit is placed both at top and bottom, the bottom mark being reversed.

Below each mark are black circular spots, three in number on the kings, two on

the queens, and one on the valets.

[3J- * 2i i11*] [Backs plain.]

Fl. 105.

FIRST HALF OF NINETEENTH CENTURY.
BRUXELLES.

SERIES of fifty-two numerals of the usual suits — piques, cceurs,
trejies, and carreaux.

The coate-cards have on them whole-length figures in semi-histo-
rical, semi-theatrical middle-age and subsequent costumes. The kings
of piques and of carreaux wear armour, the queen of cceurs has a high pointed
head-dress and long veil, and the queen of piques an elevated cap with large veil.
The designs and execution are very mediocre. An introductory or supplementary
card accompanies the set ; on it are represented a hand displaying a pip card of
each suit, a large mark of a suit at the corners of the piece, and a flower at each
side of the hand. The impression is in black from either stone or a zinc plate,
probably from the latter.

The backs are dotted in pink.

C3f X 2f in.] [Backs decorated.]

NUMERALS. i8i

Fl. 106.

NINETEENTH CENTURY.
BRUXELLES.

SERIES of fifty-two numerals of the ordinary suits.

The coate-cards have busts printed double and in reverse. The
queens hold roses in their right hands. The designs and execution
are of mediocre character. Engraved on zinc probably.

The backs are dotted and starred in black.

[3i X 2fm-] [Backs decorated.]

Fl. 107.

SECOND HALF OF NINETEENTH CENTURY.
BRUXELLES.

SERIES of fifty-two numerals of the ordinary suits.

The figure-cards have busts printed double and in reverse.
This set appears to be a replica of Fl. 1 06, somewhat differently
coloured. It is accompanied by a supplementary piece, on which is
represented a boy dancing, and holding up in his right hand a seven of diamonds.
He holds a cap with feather in his left hand. The backs are like Fl. 1 06.
[3 J X 2\ in.] [Backs decorated.]

Fl. 108.

NINETEENTH CENTURY.
BRUXELLES.

SET of fifty-two numerals of the ordinary suits.

The figure-cards have on them busts printed double and in reverse.
On a tablet in the middle of the roi de cceurs is the title " Hubertus
Agneessens." The aces are illustrated in an exceptional manner.
They have each two landscapes printed in reverse, neatly engraved and coloured,
the truthfulness of which, however, is less than doubtful. Within a circular space
in the middle of the card is placed the mark of the suit. On the ace of spades
are portrayed the " Conte de Fife" and the " Conte de Perth ;" on that of clubs
the " Chateau de Ribnian" and the " Bord du Rhin." On- the ace of diamonds
are the " Chateau de Finckenstein" and the " Chateau de Ribnian ;" on that of
hearts the " Bord du Rhin" and " Saint Leonard." The backs are marked with
blue vermiform lines.

[3i * 2f m-] [Backs decorated.]

182

FLEMISH.

Fl. 109.

NINETEENTH CENTURY.
BRUXELLES.

SET of fifty-two numerals of the usual suits.

The honours exhibit busts printed double and in reverse.
The roi de carreaux represents Napoleon I. crowned with a
wreath, and holding an eagle in his left hand. The valet of the
same suit is a Turk with a scimitar. The king of spades is Henry IV. of
France, crowned with a wreath, and holding a drawn sword in his left hand.
On the belt of the valet of clubs is the name VEYRAT P. The backs are
marked with a blue vermiform line.

[3i * 2|m*] ' [Backs decorated.]

PIQUET.
Fl. 1 10.

NINETEENTH CENTURY.
BRUXELLES.

PIQUET set (thirty-two) of cards of the suits piques, trefl.es,

carreaux, and cceurs.

The honours are whole-length figures in conventional costumes,

very poorly designed and coloured. The king of hearts rests his
right hand on a shield bearing a double-headed eagle. One or two of the designs
have a slight Spanish look about them. Part of an engraved wrapper accompa-
nies this set. It exhibits a valet in conventional costume, having a drawn
scimitar in his right hand and a shield on his left, bearing what look like three
marks of the suit trefles with feathered tails. The backs are marbled in Vandyke
brown colour.

[3f X i-g-m-] [Backs coloured.]

DUTCH PLAYING-CARDS.

NUMERALS-FULL SET,

D. in.

FIRST HALF OF NINETEENTH CENTURY.
AMSTERDAM.

PACK of fifty-two numerals of the suits spades, hearts, diamonds,
and clubs.

The coate-cards or honours have on them whole-length,
standing figures, in full characteristic costumes, representing
historic personages, whose arms are borne by the valets on
'• shields placed on their chests. The king of spades is
Crodefroid de Bouillon; the Queen, Richilde, the valet is unnamed. The
king of hearts is Baudouin de Constantinople, and the queen, Marguerite
d'Autriche. The king of clubs exhibits Philippe le Bon, the queen
Marie de Bourgogne. The king of diamonds is Franc,ois Premier ; the
queen, L' Infante Isabelle. On the king of each suit a crown surmounts
the mark of the latter. The marks of the suits on the aces are surrounded by
ornamental and arabesque framework, printed in blue. On the ace of spades is
inscribed "Cartes Deposes;" on the ace of hearts, " Daveloy," " Brevete."

All the designs are neatly executed and coloured. The lissage is consider-
able, the cards working most freely in the hand. The backs are marked with blue
dots.

The engraved ornamental title of the wrapper accompanies the set. On it is
the inscription : " Supra Fijne Speelkaarten Erve Wijsmuller Amsterdam."
[3i X 2f in-] [Backs decorated.]

D. 112.

FIRST HALF OF NINETEENTH CENTURY.
AMSTERDAM.

PACK of fifty-two numerals of the ordinary suits.

The figure cards have on them busts, printed double and in re-
verse. The same bust is printed twice on each card. That on the
king of spades represents Prins Willem HI. ; that on the queen of this
suit, a lady of Friesland ; on the valet, a field labourer of Noord Brabant. The

184 DUTCH.

king of diamonds exhibits Prins Willem I. ; the queen, a young woman of Eiland-
marken; the valet, a boatman of Zeeland. On the king of clubs is Prins
Frederick Hendrik ; on the queen, a lady of Kamper-eiland ; on the valet, a
countryman of Eilandmarken. Oh the king of hearts may be seen Prins
Maurits ; on the queen, a young woman of Zuid Holland ; and on the valet, a
fisherman of Scheveningen. On each of the aces are two landscapes in reverse.
On the ace of clubs are representations of Zaandam and Scheveningen ; on that
of diamonds are Leyden and Utrecht. On the ace of spades are Amsterdam
and Sgravenhage, and on that of hearts are Rotterdam and Dordrecht.

All the figures and landscapes are neatly engraved and coloured, the cards
generally being of superior manufacture. The backs are coloured blue, and over
them runs a lace-like pattern of leaves and flowers in white.

An engraved ornamental title of a wrapper accompanies the pack. It bears
the inscription, " Nederlandsche Speelkaarten. Supra fin."

Below are the arms, with supporters, of Holland, and the motto, "je main-
tiendrai."

[3f X 2i in.] [Backs decorated.]

D. 113.

FIRST HALF OF NINETEENTH CENTURY.
AMSTERDAM.

PACK of fifty-two numerals of the usual suits.

The figure cards have on them busts, printed double and in reverse.
The kings hold sceptres, the queens flowers, and the knaves partisans.
The aces are plain
The backs are marked with oak -leaves (?), printed in blue.
The engraved title of the wrapper is present, and bears the inscription : "Supra
Fijne Speelkaarten Erve Wijsmuller Amsterdam."

[3t x 2f m-] [Backs decorated.]

CARDS WITH A SECONDARY PURPOSE.
SATIRICAL.

D. 114.

Number 1 642 of Political and Personal Satires.

FIRST QUARTER OF EIGHTEENTH CENTURY.

SERIES of fifty-two numerals and two supplementary card-pieces,
printed off on a large sheet, 2l|r X I7f in. in size.

The marks of the suits are spades, diamonds, clubs, and hearts.
The marks are placed at the upper right-hand corners of the cards.

The values are indicated by Arabic numerals placed at the sides of the marks in

the suits spades and clubs, and in the centre of the marks in diamonds and hearts.

The figure cards are Heer, Vrouw, and Knecht, the names of which displace the

Arabic numerals.

SATIRICAL.— MIS GELLANE A. 185

The major portion of each piece is occupied by a figure and its accessories
below which is a couplet in Dutch verse, referring to the emblematic sense of the
figure.

This set is made subservient to satire on the South Sea, Mississippi, and other
bubble companies of the year 1720. Besides the present copy there is another
which may be found as No. 8, in vol. i. of " Het Groote Tafereel Der Dwaasheid,"
a collection of Dutch satires on those schemes in the Library of the Print Room.

One of the supplementary pieces bears a large, strutting cock, holding by its
beak a placard, on which is represented a horse grazing. Below is the following
inscription : — "Dese fyne modese kaarten worden gemaakt to Schothauenburg by
Lawrens Bombarist in de Wroetende droom goud-myn graver." (These fine,
fashionable cards were made at Schothauenburg at Lawrence Bombarist's in the
rooting dream (of the ?) digger of gold mines.)

On the other supplementary piece is the title to the series. A man holds ex-
tended a piece of drapery having on it, " April-Kaart of Kaart Spel van Momus
Naar de Nieuwste Mode."

Below is a couplet, having reference to Law and to Frederick Henry's ghost.

These card-pieces have been ably designed and engraved; they are not
coloured. A set was exhibited before the Archaeological Association by Mr.
Patin ("Herald and Genealogist," v. 3, p. 72, 1866; "Notes and Queries,"
I. v. 217).

A detailed description of each of the fifty -two pieces, and other information
connected with the satire therewith conveyed, may be found in the second volume
of the "Catalogue of Political and Personal Satires," p. 648, No. 1642.

[3 1- X l|-in.] [Backs plain.]

MISCELLANEA.
D. 115.

THE WORKS OF REMBRANDT.

Etchings, vol. V. folio 3.

N an impression of the scarce landscape known as the " Vue d'Omval
pres d' Amsterdam" (Ch. Blanc, No. 3 1 2, Wilson, No. 206) in one of
the sets of the etchings of the great master in the National Collection,
three designs have been superadded, which were etched by some
strange hand on the original copper after it had become worn, apparently for the
purpose of destroying the plate, or preventing further impressions of its original
state being taken.

These designs are an eight of clubs, 3y X 2f- in. in size ; a woman carrying milk
or water-pails, l\ X if in., and a boy blowing soap-bubbles, 2| X if in. in size.
The first two compositions occupy places at the upper right-hand corner of the
impression lying transversely, and the piece having the milk-woman on it is so
drawn as to appear lying partly over the eight of clubs. The upper right-hand
corner of the card touches the right-hand side of the plate mark of the landscape,
and the lower left-hand corner of the piece of the woman approaches the upper
margin of the landscape. A branch of the large tree on the right is intruded on
by the card and the woman. The naked boy blowing bubbles is placed obliquely
across the deep mass of foliage, beneath which sit the two figures near the lower

186

DUTCH.

left-hand corner of the piece. The composition of the boy is represented as lying
on a large piece of green -coloured paper.

On the piece of the milk -woman is the word "Boerinne 5," at the upper part
of it ; her boddice is tinted yellow, as are likewise the pails, while the skirt of her
dress is light red: A wash of the latter colour has been thrown over a portion
of the boy, the flower-pots on each side of him being coloured yellow. Above the
boy is inscribed " Leven 2." The marks of the suit in the card are coloured blac

In reference to this peculiar impression M. Charles Blanc remarks : " 1 sav
a singular impression of this plate at the British Museum. In place of the t\
figures which are on the left, those of the young girl and young man who ph
a garland on her head, is a small coloured engraving of a child blowing sot
bubbles between a vase of flowers, and another vase from which smoke esca[
Above is inscribed the word " Leven " (la vie) and the numeral 2. On the rigl
above the two mills a card — the eight of clubs — is drawn diagonally, and on this
card appears to be thrown a coloured figure of a woman after the style of the boy
and equally coarse. Above the figure is inscribed " Boerinne " (paysanne), and
close to it is the number 5. At first I supposed that I had before me simply an
impression disfigured by some barbarian, but on closer examination I perceived
that the original plate had been scraped, and that another hand had engraved
these designs, of which two are coloured, on the veritable copper of Rembrandt.

" This is the only example I have seen of this disfigurement of the plate. Who
could have been the unhappy person that, possessing a plate of Rembrandt, could
have permitted or have perpetrated such an act of Vandalism ? " (" L'ceuvre
complet de Rembrandt," vol. ii. p. 291.)

Wilson, in his " Descriptive Catalogue," p. 1 50, writes : " There are impres-
sions of this plate when worn, on which an eight of clubs is engraved at the top
on the right." Whether Wilson here speaks of " impressions " from actual obser-
vation, or from hearsay only, is not determinable. The present impression
belonged to the Slade collection, and was formerly in the possession of Deighton,
his mark being at the lower right-hand corner of the landscape. It has been
recorded here chiefly on account of its peculiarity and rareness.

GERMAN PLAYING-CARDS.

TAROTS.
G. 116.

EIGHTEENTH CENTURY.
STUTTGART ?

COMPLETE set of combined tarots, seventy-eight in number,
or twenty-two tarots proper and fifty-six numerals.

The marks of the numeral suits are hearts, diamonds, clubs,
and spades, and the figure-cards are king, queen, cavalier, and
valet.
'* The designs on the tarots represent a wedding procession,

each card-piece having on it either figures on horseback, or groups of the mar-
riage guests drawn in festively decorated cars. Below each composition is a
couplet in German ; above is the number of the tarot in numerals five-eighths
of an inch long.

The piece corresponding to the Fou is unnumbered, and appears first.
It exhibits two persons : a man in rather a comical costume standing and playing
a harp, a woman semi-recumbent playing a guitar. The couplet is as follows : —

" Da wenn unsre Saiten klingen
Mils das Herz vor Freiide springen."

No. 1, equivalent to "Le Bataleur," is a trumpeter on horseback, holding up
a large glass of wine, and has below : —

" Ihr Hochzeitgaste kombt herbey
Damit der freude volkom sey."

The clergyman is represented on No. 6, and has below the following
couplet : —

" Der Pastor waru heiit so schon
Will er zu frau Pastorin gehn."

On No. 21 are wedding guests in a decorated car, with the verse below : —

" Briider last uns lustig sein
Denn die freiid ist allgemein."

188 GERMAN.

The designs on these cards are but of mediocre character, but the technical
execution of them is rather peculiar. They are from engravings on metal, are
coloured and illuminated both in silver and gold. The marks of the suits in
spades and clubs have a few gold lines on what may be considered the shadow
side, here the left ; the marks in hearts and diamonds have them likewise, but on
the right side.

The figures on the coate-cards are whole-length and heavily draped. In
spades, the king is in conventional costume, holds a sceptre in his right hand, be-
neath which is a harp. In diamonds, the king wears a turban with a plume and
aigrette, and carries a sceptre surmounted by a crescent. In hearts, the cavalier
is a mounted Tartar (?). Below the figure of the valet of clubs is the address —
" Andreas Benedictus Gobel."

The backs of the cards are diapered with stars and cross -lines printed in blue.

[4i X 2J m«] [Backs decorated.]

G. 117.

EIGHTEENTH CENTURY?

SET of combined tarots, or twenty-two atutti and fifty-six numerals.

The suits of the latter are spades, clubs, diamonds, and hearts. The

figure- cards are king, queen, cavalier, and valet.

The designs on the proper tarots are very poor in character, being
chiefly animals in ludicrous actions or positions. The matto or fou is without
number, and is represented by a violin- player in fantastic dress. No. 1 is a
harlequin, having a child-harlequin perched at the end of the conventional flat
sword of the former.

These cards are numbered at both top and bottom with large numerals in
margins an inch wide ; the designs occupying the spaces between. The design
on No. 7 is an unicorn. At the lower part of the valet of clubs is the address —
"I. M. BAKOFEN."

The backs are marbled in rose-madder.

[4f- x 2f in.] [Backs coloured.]

G. 118.

EIGHTEENTH CENTURY?
REGENSBURG.

PACK of combined tarots, seventy-eight in number. The suits of
the numeral series are spades, clubs, diamonds, and hearts. Two
cards are wanting, viz., the queen of diamonds and valet of spades.
The designs on the tarots proper are landscapes and sea-pieces of
the most inferior design. They are printed double and in reverse on each card,
above and below the designs being the numbers in wide margins.

The fou is a plumed Indian warrior, discharging an arrow from his bow.
No. 1 , equivalent to the Bataleur, is a harlequin holding a human head in his right
hand, which is extended upwards. The landscapes, &c, on most of the atouts,
though double, vary in composition on each card. On No. 2 is the address —
" Wolfgang Scheidl. B. und Karten fabricant in Regensburg."

TAROTS. 189

The figure-cards of the numeral series have on them busts, printed double
and in reverse.

All the cards have an ornamental border.

The backs are marbled in rose-madder.

[4 x 2f in.] [Backs coloured.]

G. 119.

THIRD QUARTER OF NINETEENTH CENTURY.
POMERANIA.

PACK of modern North German tarots, seventy-eight in number.
The marks of the numeral suits are spades, clubs, diamonds, and
hearts. The tarots proper have each two different designs on them
printed in reverse. Each design is numbered in large, open, Arabic
figures within the composition. All these tarots designs are from neatly engraved
metal plates, and remain uncoloured, with the exception of the " fool," which is a
double bust of a man with cap and bells neatly coloured. The compositions vary
much in character. On No. 1 5 is a stout gentleman hailing the train on a rail-
way ; on No. 10 is a scene reminding one of that in " Auerbach's Keller " (Faust)
and likewise a joust at a tournament. No. 19 represents Napoleon I. the
night before the battle of Austerlitz, and No. 1 1 a countryman having the grease
removed from his coat by a man at a stall, who is vaunting his wonderful compo-
sition. The words " Flek Seife " are on an advertisement board by the table of
the renovator of soiled garments. On one of the designs of No. 1 3 is a young
girl in sorrow at a tomb, near which on a monumental cross is the word " Pommer "
and the date " 1852."

The figure-cards of the numerals have on them busts printed double and in
reverse, and are coloured.

Most of the compositions are carefully drawn and neatly engraved. The true
fou of the tarots is remarkably good.

The backs are marked with sinuous dotted lines terminating in three larger dots,
printed in blue.

[4| X 2|- in.] [Backs decorated.]

NUMERALS. SUIT MARKS, ITALIAN.
G. 120.

SECOND HALF OF FIFTEENTH CENTURY.

BOUND volume (in a case) lettered "Trappola Cards," (and having
the press number 94), containing forty-seven card-pieces lightly
mounted on its pages. These cards are from a series of fifty-two
numerals, the suits of which are swords, cups, fruit, and batons ; the

fruit being a pomegranate. The pieces wanting are the three of cups, the nine,

ten, valet, and king of pomegranates.

This is an important and interesting sequence, and one, though very rare, well

known both to the archaeologist and iconophilist from the references made to it by

various writers. The designs are from engravings on copper, the productions of

i9o GERMAN.

tin
are,

a very early master of the German school, who worked with a goldsmith-like
technic. They have been attributed by some writers to Israhel van Meekenen,
an ascription, however, not acquiesced in by others. There are good reasons for
believing that these cards cannot be more ancient than the time of Martin Schon-
gauer — the last quarter of the fifteenth century — since the design on the two of
batons of the figure of the naked female with a child upon her knees, and having
her right hand on the top of an escutcheon, appears to be taken from a circular
print — B. vi. p. 1 6 1 , No. lOO — by this master. The idea of the sow and young pigs
on the three of swords surely has also a connection with the design of Martin
Schongauer, B. vi. p. 160, No. 95.

The figure-cards, or " honours," are king, queen, and valet, proving that in so
early German cards a second valet did not displace the dame, a circumstance here,
perhaps, in unison only with the adoption of the Italian marks of suits, coppe,
spade, and basloni; the fruit, or pomegranate, being substituted for the sign
danari. This fruit " was perhaps intended by the artist to commemorate the
marriage of Philip the Fair, son of the Emperor Maximilian, with Joanna,
daughter of Ferdinand and Isabella, King and Queen of Spain, who on their
subjugation of the kingdom of Granada in 1497 appear to have adopted the
Granada, or pomegranate, as one of their badges. The cards unquestionably
belong to that period, and in support of the speculation it may be further observed
that they are generally ascribed to Israel van Mecken, who, as a native of Bocholt,
was a subject of Philip, who inherited the Netherlands in right of his mother
Mary of Burgundy." (Chatto, Bibl. 4, p. 226.)

The figure-cards are decidedly better designed and executed than any of the
other pieces. In some of the former may be perceived the work both of a superior
artist and engraver to that of the authors of the ordinary numerals. The queen
of swords is an admirably designed and executed figure, and the arabesque work
below is delicately and carefully engraved. When placed by the side of the six
of batons, for example, the contrast is very marked. The king of swords, valet,
queen, and king of cups, and king and queen of batons may be instanced as note-
worthy pieces.

The valet is always represented on horseback ; the kings, bearing the symbols
of their suits in their hands, are seated on rich thrones of Gothic character, and
the queens are slender and elegantly draped forms.

All the cards are richly ornamented with groups of figures, often of a burlesque
or grotesque character, and with a variety of arabesque-like ornaments. Some of
the latter, however, are too large in proportion, and look heavy in work for the
size of the card. On the tens and aces are scrolls or banners, on which are
letters and inscriptions more or less distinctly engraved, but to which it is
difficult to give any meaning. On a scroll on the ace of swords are the following
letters, some of which, too, it must be admitted, are of doubtful definition : —
C. T. A. O. T. S. E. S. H. D. On the three of swords are "Ante,
Motorum, Meus." On the ten of swords, H. Z. D. H., on the ten of cups C. B. F.
S. A., on the ten of batons J N K. Z. Q. Some of these inscriptions are printed
in reverse.

In the Suit of Sivords,

On the ace are a large scimitar and scroll, having on one side an unicorn, on
the other a bird on a shrub.

On the two, the pictorial design is a man kneeling, and asking alms of a lady.

On the three is a sow with her pigs.

On the four are birds, and armed men on horseback.

On the five are monkeys and flowers.

On the six is large arabesque ornamentation.

On the seven are two naked children playing with a stag, and plants.

On the eight is a peasant addressing a lady.

NUMERALS. 191

On the nine, St. George killing the Dragon.
On the ten a man in armour, holding a large banner, having below a tree and
an escutcheon.

In the Suit of Cups,

On the ace is an ornamental fountain, on the brink of which are two falconers,
and above are two Cupids, discharging arrows.

On the two is a fool below, a lady and gentleman are above.

On the four above is a man kneeling, below is a nondescript animal's head.

On the five are two armed men.

On the six are four naked children playing.

On the seven are only seven cups, each cup being of a different design.

On the eight is a lady in the middle, playing with a bird.

On the nine is a grotesque figure, into whose mouth falls a stream from one
of the cups.

On the ten is a banner carried by a lion.

In the Suit of Pomegranates or Fruit,

On the ace are two children, seated within the opened fruit, above which are
five birds.

On the two are two naked children below, one of whom emerges from the
fruit ; above are three children, one of whom is entering a fruit.

On the three are three naked children, and birds and flowers.

On the four are five naked children, two of whom are seated within pome-
granates, and threaten each other with bows and arrows.

On the five are two wild hairy men, and a child in a pomegranate.

On the six are various fanciful figures, among which are a naked man, woman,
and a monkey.

On the seven is a fool below, and above are two boys fighting.

On the eight are eight birds.

In the Suit of Batons,

On the ace are two men sawing the trunk of a tree.

On the two is a naked woman with a child on her knee, and her right hand
on the top of an escutcheon. Birds are above the marks of the suit.

On the three is a centaur fighting against two dragons.

On the four are five naked children ; playing on the back of the central figure
is a bird.

On the five are two birds, and three naked children.

On the six are birds, and three playing children.

On the seven are birds, flowers, and arabesque ornamentation.

On the eight are two playing children above, and arabesques below.

On the nine is a scroll at the summit of the central mark of the suit.

On the ten is a banner carried by a griffin.

The tens in each suit are distinguished by the Roman numeral X only, which
i,s placed, as in all the other pip cards, at the upper margin of the piece.

The example in the collection of the British Museum of this rare series was
formerly in the possession of Dr. Silberrad, of Niirnberg. It afterwards passed
into the cabinet of Count de Fries at Vienna, next into the hands of the Messrs.
Woodburn, and finally into the keeping of Messrs. Smith, of Lisle Street, from
whom it was purchased by the authorities of the British Museum.

Breitkopf has inserted copies of nine of these engravings in his work on the
origin of playing-cards ; Chatto has given four, including the ten of pomegranates,
which is wanting in the present series, and Mr. Ottley, in his " Facsimiles of
Scarce and Curious Prints," London, 1828, has introduced the entire sequence of
forty-seven pieces, accompanied by descriptions of each engraving.

i92 GERMAN.

These cards are described by Bartsch, vol. x. p. 76, No. 2, under the title of
" Cartes allemandes, avec les marques de la trappola," and are referred to b)
Passavant, vol. ii. p. 246, as "Cartes a Jouer Allemandes Anciennes."

The series of pieces before us has been called erroneously one of " Trapj
cards."

Breitkopf described the engravings as " German Piquet Cards of the 1 5t
Century with Trappola Characters ; " then Von Murr termed them " Trappola
Cards ;" Bartsch, " Cartes allemandes avec les marques de la Trappola ;" while
Passavant wrote of them as " Cinquante-deux cartes d'unjeu de Trappola-"

The truth is, there are not any marks special to trappola cards, and that
these cards were not intended simply for the game of trappola, nor for that of
piquet. The game of trappola is played with a series of numerals, of which the
3, 4, 5, and 6 of each suit are suppressed, and as long as this is done, trappola
may be played with cards showing no matter what marks of suits. Now the
series under consideration has all the low cards, and therefore could not have
been intended solely for the game of trappola. The latter might be played with
them, no doubt, if the low cards mentioned were rejected.

, From the circumstance of trappola being a Venetian game, the original marks
of the suits were naturally the Italian ones, viz. spade, bastoni, coppe, and danari.
Since like marks, or slight modifications of them have been retained for the cards
in Silesia, and a few other places where the game has been practised in more
recent times, the idea arose that these marks have some essential connection with
the game in which such cards are employed.

[5 X 2|- in.] [Backs plain.]

G. 121.

SECOND HALF OF FIFTEENTH CENTURY.

SINGLE figure -card — the valet of cups — from the numeral series
before described. A young gentleman on horseback advances towards
the left hand carrying the symbol of the suit in his right hand. The
cavalier wears a low, plumed cap, his hair over his shoulders, and looks
downwards towards the right side. Beneath the feet of the horse is arabesque
ornamentation, having in the centre a bird.

This piece belonged to the Slade Collection, and is among the works of the
early German masters.

[5 X 2J- in.] [Back plain.]

SUIT MARKS, NATIONAL.
G. 122.

SECOND QUARTER OF FIFTEENTH CENTURY.
ULM?

BOUND quarto volume, on the pages of which are mounted eight
small sheets, containing generally three perfect card-pieces and portions
of others. The cards are numerals of the suits herzen, schellen, and
eicheln ; both court and pip-cards are present.
The first sheet contains a perfect knave of eicheln and king of schellen, with
portions of other five figure-cards. The second sheet exhibits a perfect knave of

NUMERALS— SUIT MARKS NATIONAL. 193

irrzcn, king of schellen, knave of eicheln, and portions of other four figure-cards.
On the third sheet are the four of herzen, and the two and five of schellen. On
the fourth sheet are the two, three, seven, and nine of glands ; while the fifth sheet
contains a king of glands or eicheln, a king and knave of herzen, with parts of
other pieces of the suits herzen, schellen, and eicheln. The sixth sheet contains
the knave of eicheln, and portions of four other pieces, and the seventh presents
the five and six of eicheln, with parts of four other pieces. The eighth and last
sheet presents the ten of herzen, the ten of schellen, the king and knave of herzen,
and parts of other two pieces.

In the figure-cards the kings are seated, the king in the suit of schellen having
a sceptre in the left hand.

The Unterm'dnner, or lower knaves, or inferior valets, have either a crossbow
or scimitar in their raised hands. On sheet 3, the two of schellen shows the figure
of a lion below the marks of the suit. On the first piece (two of eicheln) of sheet
4, likewise, is a lion and part of an inscription in a scroll. The latter is not
satisfactorily decipherable ; it may be read perhaps as either niulner, inwiner, or
in(or zu)ulm.

These card-pieces are uncoloured, stencilled in black, and of stiff*, archaic
design. There is, nevertheless, expression in the head of the king of schellen on
sheet 5, and the designs of the suit marks are of good character.

These cards, along with F. 42, are in an archaeological aspect two of the more
interesting series in the national collection. The present set constitute probably
the most ancient playing-cards in the Museum Cabinet.

Facsimiles of sheets 2 and 5 are given by Chatto, p. 88, accompanied with
the following observations : — [these old cards] " formed part of the covers or
boards of an old book, and were sold to the British Museum by Mr. D. Colnaghi.
Looking at the marks of the suits in these cards, the character of the figures, and
the manner in which they are executed, I should say that they are not of a later
date than 1440. Though cards of only three suits occur, namely, hearts, bells,
and acorns, there can be little doubt that the fourth suit was leaves, as in the
pack described by Mr. Gough in the eighth volume of the ' Archasologia.' As
in Mr. Gough's cards, so in these there is no queen, though like them there
appears to have been three coate-cards in each suit, namely : a king, a knight or
superior officer, and a knave or servant ; in other words, king, jack, and jack's man.
The lower cards, as in Mr. Gough's pack, appear to have been numbered by their
pips from two to ten without any ace.

" That these cards were depicted by means of a stencil is evident from the
feebleness and irregularity of the lines, as well as from the numerous breaks in
them, which in many instances show where a white isolated space was connected
with other blank parts of the stencil. The separation seen in the heads of the
figures in No. 1 of the facsimiles here given would appear to have been occasioned
by the stencil either breaking or slipping, while the operator was passing the
brush over it.

" From the costume of the figures in these cards I am inclined to think that
they are the production of a Venetian card-maker. A lion, the emblem of St.
Mark, the patron saint of Venice, and a distinctive badge of the city, appears as in
the annexed cut in the suit of bells, and a similar figure with part of a mutilated

inscription also occurs in the suit of acorns From repeated examination

of them I am convinced that they have been depicted by means of a stencil, and
not printed nor ' rubbed' off from wood-blocks." (Bibl. 4, pp. 88-90.)

A close examination of these card-pieces along with the copies of the " Stukely
Cards" given by Singer, p. 172, et seq. leads to the belief that they were meant
to be a like series with the latter, with the exception of the emblematic figure on
the two of glands, which figure in the " Stukely cards " is a unicorn couchant,
having below a shield bearing a pick and hammer crosswise, probably the arms or
mark of the card-maker. The resemblance between the present cards and the

i94

GERMAN.

" Stukely" ones had struck Mr. Taylor also, who referred to it at page 1 14
the work he edited.

The remarks of Passavant in respect to the present subject may be quot
here appositely.

"In the Royal Library at Berlin are thirty-one German playing-cards, wl
belong to the fifteenth century. They have been engraved on wood in a rati
coarse manner, in simple outline, the figures being coloured in red and gre<
The sequence appears to have consisted of forty-eight cards, in four suits of tweh
pieces each suit, the latter being hearts, bells, leaves, and glands.

" The king is seated, the two valets are erect, the remainder being numerals
from two to ten. The ace is wanting, but the two has on it a shield bearing en
saltire a pick and a hammer. On the two of glands is a unicorn whose horn is
edged like a saw ; the intended meaning here of this animal, usually a symbol of
chastity, it is not easy to divine. The pick and the hammer are connected with
miners' labour, and these coarsely executed cards may have been intended for
the amusement of those persons who worked in the mines. The Berlin specimens
came from the HofFmann-Fallersleben Library, and are for the most part in bad
condition. The card least mutilated measures still 2 inches 8 lines in length,
and l inch 9 lines in width. Dr. Stukely, of London, possessed in 1763 forty
similar cards, which Chatto, who gives facsimiles^ regarded as ancient Venetian
cards, but they are only copies of those at Berlin, and of very inferior character."
(Bibl. vol. i. p. 15.)

In connection with the present series it may not be out of place to consult the
remarks of Singer, pp. 1 7 2-7, upon the Stukely sequence.

[3x2 in.] [Backs plain.]

G. 123.

WO facsimiles of card-pieces in the set before described, G. 122.
The pieces here present are the seven of eicheln and the king of
schellen.

[3X2 in.]

[Backs plain.]

G. 124.

SECOND HALF OF FIFTEENTH CENTURY.

HREE cards from a numeral series, the suits of which are schellen,
herzen, eicheln? and laub?

One of the pieces is the king of herzen, another the superior valet
of schellen, and the third is the three of schellen.
The king is seated, and holds up the index and third finger of the left hand as
in the act of benediction ; his right hand rests upon his knee. These card-pieces
are not from stencils but from engraved wood-blocks, and are slightly coloured.
They are from a very early series unquestionably, and appear to have been re-
moved from the binding of a book.

[3J- X 2 in.] [Backs plain.]

1 Singer gives facsimiles of the " Stukely cards," Chatto facsimiles of the
present series, which are like the Stukely ones.

{

NUMERALS— SUIT MARKS NATIONAL.

195

G. 125,

FIRST HALF OF SIXTEENTH CENTURY.
NURNBERG OR ULM?

WO pieces of four unseparated cards, each piece belonging to a numeral
series of the suits eicheln, laub, roth, and schellen.

The cards present are the three of eicheln, three of laub or
griin, six of eicheln and six of laub on one sheet ; and the three of
roth, three of schellen, four of roth, and four of schellen on the other sheet.

On the pieces of eicheln and griin are arabesque-like or ornamental trees to
which the suit marks are attached, while on roth and schellen at the lower half
of the cards are animal and other figures,- but so indistinct, from imperfect printing
and mutilation, that they cannot be described.

These card-pieces have been printed from engraved wood-blocks and coloured
in an inferior manner. They are of stout consistence, and appear to have been
removed from the binding of a book. They were formerly in the Weigel collec-
tion. See Weigel, " Die Anfange der Druckerkunst," vol. ii. p. 1 86, n. 311.
[3x2 in.] [Backs plain,]

G. 126.

FIRST QUARTER OF SIXTEENTH CENTURY.
ULM.

^IVE card-pieces, two of which contain two cards each, the other piece
is a single card.

The cards are numerals of the suits eicheln, schellen, and herzen,
or roth. On one piece are the kings of eicheln and schellen, on a
second the six and eight of roth, and the third is the nine of roth.

The kings are seated, holding the symbols of the suits in their hands. The
king of eicheln is bearded, and turned towards the right, the king of schellen is
bearded, and directed to the left. On a broad margin to the left of the king of

eicheln is the inscription ZU VLM J-fZ* • On a scroll on the eight of herzen

is the date 1 504, and below the marks of the six of herzen is a dog running
towards the right. On the separate card of the nine of herzen is the monogram,

The cards appear to have been executed from stencils, and are of neat and
careful design. They are uncoloured. Weigel, of whose collection they formed
part, remarks : " We do not know anything respecting the author of these cards.
On roth nine there is a monogram, which refers probably to the printer or pub-
lisher of the cards, and not to the designer of them. If this be the case, the
monogram is perhaps that of the well-known Ulm printer, Johannes Zainer, or of
a son of the latter, who was living in 1523, and printed not only books but wood-
cuts." (Op. cit. p. 183.)

These pieces have been removed evidently from the binding of a book.

[3| X 2J-in.]

[Backs plain.]

i96 GERMAN.

G. 127.

FIRST QUARTER OF SIXTEENTH CENTURY.
ULM.

PIECE of three unseparated numeral cards of the suit roth or herzen.
The cards are the six, seven, and nine of herzen. On the six is the
figure of a dog running towards the right, with his head raised, and on

the nine of the suit is the monogram VHfc • Below the latter, which

is on the central card, is the address ZU VLM tl~£ , in a broad margin. These

card-pieces are from a series of the same designs as those before noticed — G. 1 26.
They are not from the same stencils, however, which have been here of a heavier
or coarser kind. The stencil plate appears to have undergone a slip angularly
during the working-off the design, and so doubling the lines ; the right-hand
lower corner having been the more fixed point.

The cards are uncoloured, and have been removed from the binding of a
book.

[3f x 2j in-l [Backs plain.]

G. 128.

[NE entire card and part of another of the suit herzen. The entire
piece is the six of the suit, the other is probably the seven.

Below the marks of the suit on the first card is the figure of a dog
running with his head downwards, towards the right hand. In outline
only, and from stencils, uncoloured.

This specimen is from a series after the designs of G. 126 and G. 127, but
not from thg same stencil plates.

[3f X 2J- in.] [Backs plain.]

G. 129.

SECOND HALF OF SIXTEENTH CENTURY.

EN more or less perfect cards of the ordinary old German suits, glands,
hearts, leaves, and bells. Seven of the ten pieces exhibit the fronts,
three the versos of the card-pieces.

The numerals present are the three and four of leaves, the four
and nine of glands, the five and six of hearts, and the three (?) of bells.

In several of the pieces below the suit marks are ornamental designs and
figures, difficult to define satisfactorily, however, from the bad condition of the
cards.

The backs of the cards shown are diapered with fieurs-de-lys running diagonally,
and printed in black.

The cards are from wood-blocks, and are uncoloured.

[3f x 2 in.] [Backs decorated.]

NUMERALS— SUIT MARKS NATIONAL. 197

G. 130,

SECOND HALF OF SIXTEENTH CENTURY.
SOUTHERN GERMANY.

MUTILATED sheet, containing portions, more or less perfect, of
sixteen card-pieces ; nine cards are in tolerably good condition. The
suits are eicheln, roth, laub, and sche.llen. A noteworthy circum-
stance is that seated queens occupy the places of the superior valets, or
obermdnner, in the suits of acorns and hearts. It may be remarked also that while
in the suit of glands or acorns, and probably in leaves, the suit-marks are con-
nected by arabesque or ornamental trees, the marks in hearts and bells are not so
connected.

The kings of hearts, glands, and bells are in the central row of pieces ; each
king is mounted on a rearing or curvetting horse, and holds a sceptre in the left
hand. On the horses behind the kings of bells and glands are sows rearing up on
their hind legs. The king of bells rides towards the right hand, the king of glands
towards the left. The eight of hearts and eight of bells are perfect pieces.

In the upper row the lower portions only of the unter -manner, or inferior valets,
can be seen.

The queens of glands and hearts and the king of leaves in the lower row are
entire, with the exception of the feet.

The costume of the figures points to the second half of the sixteenth century.
The designs are but of mediocre character, and the execution, as regards the
printing, is bad. The pieces are uncoloured.

Formerly in the Weigel collection.

[3 X 2 J- in.] [Backs plain.]

G. 131.

FIRST HALF OF SIXTEENTH CENTURY.
NURNBERG OR ULM ?

(IX pieces of four cards each piece, of the suits herzen, laub, schellen,

and eicheln.

Eight figure-cards are present, viz., the under valets of leaves,

glands, bells, and hearts, the kings of glands and hearts, and the queens
of bells and leaves ; queens in this series displacing the superior valets. The
queen of bells is represented by a young female turned towards the left, in a long,
stiff robe, bordered at the lower part, and with puffy sleeves. On her head is a
narrow dentated crown, and in her raised right hand she holds the symbol of the
suit. The queen of leaves is a nearly naked female, having a little drapery around
her waist only, one end of which scarf is thrown over her right forearm. Around
her neck are a ribbon and medal, on her head a narrow crenated crown, and in her
right hand the symbol of the suit. The kings of glands and hearts are on horse-
back, holding swords in their right hands. Narrow crowns are on their heads. The
horses are slightly caparisoned. The valets of leaves and hearts have drawn
swords in their right hands, while the valet of glands bears an arquebus on his left
shoulder, and the valet of bells holds a cup in his left hand, which is raised.

i98 GERMAN.

The pip-cards present are the four, five, six, and nine of leaves ; the seven,
two, three, and eight of leaves ; the three, five, seven, and nine of glands ; and
the four, six, eight of glands, and the three of bells.

The suit marks are connected "by arabesque -like work. Below the marks
the three of bells is a running stag followed by a dog. On the two of leaves is
stag crouching on his hinder quarters, from whose muzzle springs an arabesqi
stem, supporting and connecting by its branches the marks of the suit.

The artistic value of these card designs is but slight. The figure-cards
uncoloured. The pip-pieces are coloured green and red.

The costume points to the second half of the sixteenth century. The backs of
the figure-cards are diapered with large black squares or lozenges, running
diagonally, each square containing four white pearl-like drops.

These cards were formerly in the Weigel collection, and three of them may
seen figured in the second vol. p. 184, of the " Anfange der Druckerkunst."

[3t x 2 m0 [Backs decorated.]

G. 132.

FIRST HALF OF SIXTEENTH CENTURY.
ULM?

|EVEN cards from a numeral series, the suits of which are leaves, bells,
glands, and hearts (?).

The cards present are the four, six, seven, and nine of leaves; the
six and seven of bells, and the ten of glands.
The marks of the suit of leaves are connected by a tree-like stem ; those of
bells are not so connected. The marks on the ten of glands are connected, and
two birds are perched on the base of the flower-like stalk.

The impressions are from wood-blocks, and scarcely more than in outline ; the
shadow sides of the leaves being indicated by distant lines, and those of the cups
of the glands by punctations.

On the backs of some of the pieces are the remains of the tarotage. It con-
sists of alternate figures of fieurs-de-lys and flowers, running diagonally, in large
diamond spaces across the back of the card. They are printed in black.

[4 X 2| in.] [Backs decorated.]

G. 133.

SEVENTEENTH CENTURY?

WELVE cards from a numeral series of fifty-two, the marks of the suits
being leaves, glands, hearts, and bells.

The cards present are the king, four, and seven of leaves ; the
three and nine of glands ; the five, seven, eight, and nine of hearts ;
and the upper valet, seven, and eight of bells.

These cards have on them either figures or arabesque ornaments, along with
the marks of the suits.

On the king of leaves is a whole-length figure in armour, with large plume to
his helmet, and long straight sword by his side. He extends his left hand, and
looks upwards towards the left, to which his steps are directed.
Below is the couplet,

" Ein konig aufrichtig un grecht

Ein loblich gdechtn9 enpfecht." [sic.']

NUMERALS— SUIT MARKS NATIONAL.

199

At each of the upper corners of the piece is a mark of the suit.

At the base of the tree-like stem, uniting the marks on the four of leaves, are
two naked children at play. One is drawing the other in a sledge. At the bottom
of the seven of leaves are two arabesque dolphins.

The marks on the three of glands rise on a stem from a large vase, on each side
of which is a small whole-length figure ; a female on the right, a man on the left-
hand side.

On the five of hearts is a group of armed men, fighting ; on the seven of the
suit there appears to be an ogre or giant about to devour a boy ; on the eight of
hearts is a large vase-like ornament ; and on the nine are a man and a woman, as
if warming their hands over a cylindrical German of en.

The obermann, or superior valet of bells, is represented by a military officer in
puffed sleeves and breeches, and with a single stiff feather in his cap.

Below is a couplet, undecipherable, with the exception of the words —

" Eines hauptmas gerechte —
feld gut regiment."

On the seven and eight of bells are grotesque faces and arabesque ornaments.

The coarse and slovenly colouring of these cards hinders a full appreciation of
the designs.

On the back of each card-piece is a musical score of three lines. On that of
the king of leaves is likewise the inscription, " Paciencia mus ich han." On the
seven of hearts may be read also, " Sie ist mein Bui." 1 2 ; while on the obermcum
of bells are the words, " So wiinsch ich Ihm ein giite nacht."

[3f x 2f m-J [Backs decorated.]

G. 134.

SEVENTEENTH CENTURY.

SINGLE figure-card, apparently ; but there is not any title or indica-
cation of suit.

The design is a whole-length figure of an Oriental, with spear and
shield. The figure is in outline, enclosed in broad dotted border, and
of inferior workmanship.

[3 J x 2I" m0 [Backs plain.]

G. 135-

FIRST HALF OF SIXTEENTH CENTURY.

NURNBERG ?

(Cards of F. C. Z.)

SHEET of ten unseparated card-pieces in two rows of five pieces each
row. The marks of the suits are hearts, bells, leaves, and glands.

The upper row contains the sixes of the four suits and the nine of
irlands ; the lower row the fives of the four suits and the nine of
hearts.

These cards are highly ornamental, the marks of the suits being connected or
accompanied by decorative stems and foliage, having below groups of figures of
very varied kind.

The designs and technical execution are of very superior character, recalling
to mind the best period of the school of German wood-engraving.

200 GERMAN.

The pieces are uncoloured. Commencing at the left-hand corner of the upper
row is the six of hearts. On it is a standard-bearer in a landscape, who raises a
standard with his right hand, between the marks of the suit. Next comes the six
of bells, having below the marks, a fool with the cap and bells on the left hand,
and a female on the right hand of an ornamental pedestal which springs from a
female head, and has on the top the head of a cherub. On the six of leaves arc
seated an amorous couple. The man has his right arm around his companion's
waist, to whom he offers something to drink from a large cup. At the base of the
six of glands is a wedding (?) procession, preceded by a fool with cap and bells,
who plays a violin. On the nine of glands are two boars seated, with an open
backgammon board between them. The left-hand boar has one foot on the board
and appears to be addressing his opponent, who is in the attitude of listening,
In both animals there is much expression. On the lower row, beginning at the
left, is the five of hearts, having a couple at a fountain. The woman has her
back to the spectator. She holds a vase-like pitcher in her left hand, and keys in
her right. On the next card — the five of leaves — are a richly dressed burgher and
his wife, followed by a female servant, having a pannier-basket at her back, and a
large pitcher in her right hand. Below the marks on the five of bells are four
naked children dancing in a circle. One child has the back turned to the specta-
tor, and holds a flaring torch in the right hand. In the centre of the group is a
pedestal, at the top of which is a child blowing two horns. On the five of glands
is a man mounted on a goat, and tilting with a spear against a boar. Behind a
contiguous tree is a woman attentively regarding the result, and holding up a
laurel crown in her left hand. The whole appears to be a travesty of St George
and the Dragon.

The last card of the row is the nine of hearts, having on it the figure of a
naked child who fondles a dog with each hand. From the boy's head springs an
ornamental pedestal, which rises among the signs of the suit.

A point of interest in connection with the present sheet of cards is that it
forms part of a sequence of fifty-two numerals, known as the cards of F. C. Z.,
copies of thirty- six of which are given in the work of the Bibliophiles Francais
(Bibl. 2, pp. 92-95,) of four in Singer, pp. 210-213, and of two in Chatto, pp.
236, 237. Thirty-four pieces were in the Weigel collection. In commenting on
them in his larger work, "Die Anfange Der Druckerkunst " (p. 191, vol. ii.),
Weigel makes the following remarks : —

"No. 314. German Playing-cards with the signature, F. C. Z. 36 pieces
(a.d. 1525-1550). These interesting specimens, which are among the best of the
German playing-cards of the sixteenth century, are most probably of Nurnberg
origin, since the ace of hearts, or roth, bears the arms of the city. Chatto places
their origin in the year 1 5 1 1 • We are not aware of the source from which
Chatto draws this deduction. On the examples before us there is not any date,
but we believe we may, without hesitation, assign their origin to the second quarter
of the sixteenth century.

" The technic and costume of the figures point to that period, and particular
figures, as the king of bells, for example, strikingly recall certain ones in Diirer's
woodcuts. The king of glands would appear to be the portrait of the Emperor
Maximilian I. The designer of the cards has placed his monogram, F. C. Z., on
the ace of glands [on the two ?] We have searched in vain Murr and Baader's
catalogue of old Nurnberg's Formschneider Kartenmacher and llluministen, for the
meaning of the signature. A Formschneider of the name of Christ. Zell lived during
the second half of the sixteenth century, but it might be too venturesome to look
for the author in him, or even in one of his ancestors.

" The series, of which we possess thirty-six pieces, is of the ordinary suits ;
the pieces are five pip-cards, vi.-x., under and upper valets, king, and ace of each
suit The pip-cards are ornamented with figures overstepping occasionally, in
their actions and stories, the bounds of propriety. The drawing is of consider-

NUMERALS— SUIT MARKS NATIONAL. 201

able delicacy, spirit, and firmness, and full of appreciation of the forms and
costumes it is intended to portray. The technic is decided, and that of a practised
hand Two examples of these cards, viz., under valet of glands and upper valet
of leaves, are given — but not very accurately — by Chatto (pp. 236-7), who finds
therein a resemblance to the style of Lucas Cranach. Two other copies may be
seen in Singer's ' Researches,' and in the beautiful French work, ' Jeux de Cartes
Tarots, par la Societe des Bibliophiles Franqais ; ' other representations may be
found on plates 92-95."

" In the latter work the series is more complete, since, including the pieces
now detached, but evidently formerly present, it contains forty-eight cards. Never-
theless, we are inclined to believe that our own series, which — as before stated —
contains but thirty-six pieces, is a complete set, since each suit begins with the
pip-card six. We have here evidently two different editions of one and the
same series of cards, intended perhaps for different countries and places, just as
we have at the present day. This is clear from the complete difference of the
ace of leaves in our own set from that in the Paris example ; in the latter it bears
the arms of Saxony, which probably induced Chatto and others to look on these
cards as of Saxon manufacture, and as related to the style of L. Cranach." (Op.
cit. pp. 191-6.)

We may remind the reader that numerals of five pips are present in the
British Museum example, and of two, three, four pips in the Paris series. It is note-
worthy, also, that the piece bearing the arms of Saxony in the Paris version, has
on a shield below them a pick and mallet in saltire, resembling those in the
Stukely cards before mentioned (p. 193).

On a shield borne by a lion on the two of glands, in the Paris set, is another
mark, impossible to describe by words, however. This is the same card which
bears the signature F. C. Z., the last letter implying zeichnet, probably.

These card-pieces are uncoloured, and the backs free from any decoration.

[3f X 2} in.] [Backs plain.]

G. 136.

FIRST QUARTER OF SEVENTEENTH CENTURY.

WO pieces, exhibiting fragments of four numeral cards on each piece.

On one piece are the aces of glands and of bells, and the seven of

glands and of bells. On the second piece are the aces of leaves

and of hearts, the seven of leaves, and the six of hearts.

The suit marks are connected by neatly engraved arabesque ornaments. On

the aces are large scrolls bearing inscriptions, but of which wis ; is ; ni only

remain. The marks of the suits have been coloured — but not carefully — green

and red.

In these pieces the divisions between the cards, where the latter should be
separated, are indicated by crosses, and not by the usual border lines.

One piece has been backed with printed paper, having a Latin text on it.
From the Weigel Cabinet.

[3ir X 2f in-] [Backs plain.]

202 OEBMAN.

G. 137.

FIRST QUARTER OF SEVENTEENTH CENTURY.
ULM?

"WO sheets of numeral cards, each sheet having three rows of three
cards each row, of the usual suits.

In the upper row of the first sheet are the under valet of leaves,
the king of leaves, and the king of bells. In the second row are the
under valets of hearts and bells, and the upper valet of bells. On the lower
range are the five, ten, and eight of bells.

On the second sheet, upper row, are the kings of hearts and of glands, and
the upper valet of leaves. Second row, the under valet of glands, the upper
valet of glands, and upper valet of hearts. Lower row, the seven, nine, and six
of bells.

All the kings are seated, and bear sceptres in their hands ; those of leaves and
glands wear turbans, and semi-Oriental costumes. The valets in the central rows
have drawn swords in their hands, and are represented in various actions, and
positions of attack and defence. The under valet of glands has a sword in each
hand. The under valet of leaves (first row of first sheet), is a standard-bearer ;
he rests the colours on his left shoulder. The upper valet of leaves (first row of
second sheet), is an officer directed towards the left ; he wears a plumed hat,
carries a commander's baton in the right hand, resting the former on his right
hip, and his left hand on the other hip. He stands with outstretched legs in a
formal manner.

Below the marks of the suit on the five of bells, a female is represented
sitting in a large bath-tub, leaning over which is a fool with cap and bells, and
harlequin's wand(?) in his right hand. At the bottom of the ten of bells sits a
hare, turning round a dog on a spit over a fire. On the eight of bells is a goat,
and a tub before him. On the seven of bells a fox is seizing a duck ; on the
nine of the same suit is represented the fable of the " Fox and the Stork." On
the six of bells is a naked woman astride on a hedgehog or porcupine, and holding
a mirror in her left outstretched hand, while she seizes with her right the ear of
the animal.

On the right-hand margin of the first sheet runs an inscription in Roman
capitals, but too mutilated to be decipherable.

The technical execution of these card-pieces is of an inferior character in all
respects. They are from wood-blocks, and are uncoloured. They formed part
of T. O. Weigel's collection, who observes of them : —

"In R. v. Eitelberger's Essay on Playing Cards (Wien, i860), at p. 16, two
examples are given, viz. the two of leaves and upper knave of bells, which closely
resemble our own set ; for the soldier on the upper valet of bells is represented in
a like offensive position, and the general intention of the figures and the costume
are substantially of the type of our own cards. Both examples are in the fine
Hauslab collection at Vienna, and belong to a series of kemptener origin, bearing
the address of the designer, George Schachomair. The date of their production is
about the end of the sixteenth century. Our own set appears, from the costume
of the figures, to belong to that period, and is probably likewise of Kemptener
or Ulm origin, since, as before observed, the whole type of the series strikingly
coincides with the cards of the Hauslab collection." {Op. cit. vol. ii. p. 197.)

These cards are very thickly mounted, and- the backs are diapered with large
rosettes, running diagonally. Printed in black.

[3{- x 2i m>] [Backs decorated.]

NUMERALS— SUIT MARKS NATIONAL. 203

G. 138.

THIRD QUARTER OF SIXTEENTH CENTURY.

FRANKFURT ?

(Cards or H. S. Beham ?)

HREE large sheets of unseparated card-pieces, of the suits leaves,
glands, flowers, and fruits.

The marks of the latter two suits are somewhat of a conventional
character, the flower being something like a rose, and the fruit having
a distant resemblance to a poppy capsule, or a pomegranate with a slit in it.

The first sheet contains the twelve figure-cards, and below them the twos
of the four suits.

In the first row are the four under valets, in the second row are the four
kings, and in the third row from the top are the four upper valets. The kings
are mounted ; the horse of the king of leaves is standing quiet, the horses of the
kings of glands and of flowers are rearing, and that of the king of fruit trotting
forwards. The king of leaves has on a crown with a convex top, surmounted by
a small cross. The other kings have simple dentated crowns. The king of
leaves, directed towards the right hand, bears the symbol of his suit in his left
hand. The king of glands, advancing in the same direction, bears it in his right
hand. The king of flowers, advancing towards the left, carries the long-stalked
rose in his left hand ; while the king of fruit, trotting towards the right, turns
round in his saddle to the left, and elevates the large capsule with both hands.

The valets of leaves are military figures in large plumed hats, like the designs
of Burgkmair and of the time of Maximilian. Those of glands are adorned as
dissolute rustic Bacchuses ; the valets of flowers are running peasants, with
cowl-like caps on their heads, the upper valet blowing a horn as he advances.
The valets of fruit are characterised by their jerkin boots with large overlapping
tops. The marks of the suits, glands, flowers, and leaves, are borne on long
curved stalks by the valets. The stalk of the rose on the under valet of flowers
is broken and separated from the blossom.

The marks of the suits on the pip-cards are throughout the series connected
on each piece by a central stout, arborescent, and leafy stem, having lateral
branches. Slight variations, however, occur on two cards. On the two of
glands (first sheet), at the lower part, is a shield bearing a large pine-apple or
fircone-like fruit. This shield hangs from the neck of a winged child, who is
holding it with his left hand while he kneels and extends the right arm. From
the child's head springs a short stem, bearing the dependent symbols of the suits.
At the base of the three of glands (second sheet) is a hog, supporting the short
leafy stem which bears the signs of the suit.

The second sheet presents the three, four, five, and six, seven, eight, nine,
and ten, of fruit and glands.

The third sheet bears the three, four, five, and six, and the seven, eight, nine,
and ten, of the suits flowers and leaves.

All the aces of the series are absent or have been originally suppressed.

Each pip-card has its value indicated in Roman numerals at the top, and in
Arabic ones at the bottom.

These card-pieces are from well-engraved wood-blocks, and are of superior
character. They have been attributed to Hans Sebald Beham, a distinguished
engraver, born at Nurnberg 150a, and dying there about 1550. As far as the
designs alone of the marks of the suits are concerned, there is much similitude
between them and the designs of the suit marks in the series of cards ascribed to

204

GERMAN.

Errhard Schon (Singer, pp. 42-3). The groups below the connecting stei
in the pip-cards, present in the E. Schon series, are wanting in the present 01
" Beham " sequence.

These cards are uncoloured ; the figure pieces are devoid of names or titles,
and not any address or inscription is present.

[3i x 2i m-J [Backs plain.]

G. 139.

FIRST QUARTER OF NINETEENTH CENTURY?
PRAG.

*W0 sheets of sixteen unseparated card-pieces in each sheet.

The cards absent are the four aces, and the three, four, and five
of each suit.

Each sheet has three rows of six card-pieces on each row. The
suit marks are leaves, glands, bells, and hearts.

The first sheet contains all the figure-cards, and the six, seven, eight, nine, and
ten of hearts, and the seven of bells. In the first row are the four superior valets,
in the second row are the four kings, in the third row are the four inferior valets.

The superior valets of bells and leaves are whole-length figures in Oriental
costume, those of glands and hearts are in dresses of Frederick the Great's time.
The valet of hearts carries a letter in his right hand, in his left a footman's cane
with tassel.

All the kings are on horseback, advancing towards the left hand. The horse
of the king of hearts is rearing on his hind legs. The king of leaves is in Oriental
costume, and wears a turban surmounted by a crescent. In his left hand is a
sceptre, having at the top a radiant sun. The other kings are crowned and carry
short sceptres. The king of bells alone has spurs.

The under valets of leaves and hearts are in Oriental costume, directing their
gaze upward. The under valet of bells is a postilion in " Kannonen Stiefeln,"
and with a whip in his right hand. The under valet of glands is a "jager," hold-
ing a hawk in his left hand.

Each figure-card has the mark of the suit at the proper corner. On the six
of hearts — the first card in the upper row of the first sheet — is a monumental
erection, having an urn at the top and large tablet at the base, on which is in-
scribed— " Feine Teische Karten zu finden Bei Anton Herbst. in Prag. No. 257."

On the eight of hearts are two half-draped semi-savage figures, with bows and
arrows in their hands. Below the marks on the seven of hearts are two female
figures, one carrying a large jug, the other having a tray upon her head. On the
seven of bells — the sixth piece in the upper row of sheet one — are two men,
having between them a couple of posts, connected by a cord at the top, from
which hangs a bird. The man on the right is running towards the latter, while
he on the left appears as if shooting or pointing with a stick upwards. On the
ten of hearts is an Indian woman, reclining in a sort of hammock supported by
palm trees ; below, seated on the ground and raising his left hand, is an Indian,
with the conventional circle of feathers around his head. On the nine of hearts is
a drummer and another person in a dancing attitude ; both have feather head-
dresses.

The second sheet contains the six, eight, nine of bells, seven and nine of glands,
and seven of leaves in the first row. On the second row are the eight of glands,
two of hearts, glands, bells, and leaves, and eight of leaves. On the third row are
the six of glands, the nine of leaves, the ten of glands, the ten of bells, the ten of
leaves, and the six of leaves. On each of these card-pieces are figures or scenes

NUMERALS— SUIT MARKS NATIONAL. 205

of a grotesque character. Monkeys wear cocked hats and ride dogs, carry lant-
horns, umbrellas, &c. A mermaid is on the two of bells ; a sea-dog or lion, from
whose fish-like tail rises the stem bearing the symbols of the suit, is on the two of
glands, while on the seven of leaves a man rides astride on the trunk of an ele-
phant. A rearing tiger, muzzled, and led in chains by a man in Oriental dress, is
on the eight of leaves. The tens are the only pip-cards which have their values
expressed in Roman numerals placed at the top of the pieces. Each card has an
ornamental border.

This series consists of very inferior designs from wood-blocks engraved in an
equally bad manner, as far, at least, as the decorative figures and scenes are con-
cerned. The suit marks themselves have been executed in a neater manner.
All the pieces are uncoloured.

[3 j. X 2 j- in.] [Backs plain.]

G. 140.

FIRST HALF OF NINETEENTH CENTURY.
PRAG.

SHEET containing eighteen unseparated card-pieces of the suits, bells,
leaves, hearts, and glands. There are three rows, each row having six
cards. The upper row exhibits the under valet of leaves, the upper
valets of bells and glands, the ten of hearts, the nine of hearts, and the
six of this suit.

On the second row are the kings of leaves, bells, and glands, the two of hearts,
with the under valet and seven of the same suit.

On the third row are the upper valet of leaves, the under valets of bells and
glands, the king of hearts, the upper valet, and ten of hearts.

The designs on this sheet of card-pieces have been suggested evidently by
those in G. 137 — the sequence containing the fighting figures. The valets of
bells, glands, and hearts have swords in their hands, and are in either offensive or
defensive postures. The valets of glands carry a sword in each hand, as do the
valets of the like suit in G. 137. The under valet of leaves is here a military
fifer, the upper valet a drummer.

The four kings are in Oriental costume and seated, as in G. 137. The
costume of both kings and valets is based clearly on that in the previous series.
The pip-cards have ornamental designs on them. On the ten of hearts a Cupid
holds his bow towards a flower ; on the nine of the same suit is a cone, around
which is spirally twisted a branch of leaves.

On the two of hearts is a shield of armorial bearings, crested by a bird and
leaves. The seven of hearts exhibits a tub, from which rises a small tree, while
the six of hearts bears on a shield the following inscription —

" Hib Karden Fein
Zu Finden Seind

On the ten of hearts is the value in a Roman numeral at the top of the piece.

All the pieces are uncoloured, the drawing, technic, &c, being even worse than
in the preceding series, G. 1 39.

[3f X 2iin0 [Backs plain.]

2o6 GERMAN.

G. 141

FIRST QUARTER OF NINETEENTH CENTURY.
FRANKFURT.

PACK of fifty-two numerals of the suits hearts, clubs, spades, aiu
diamonds. The coate-cards are king, queen, and valet, as busts
printed double and in reverse.

All the aces bear two designs (in reverse) of battle scenes, white
circular spaces being reserved in the centre of the card for the mark of the suit.
On the ace of hearts are represented an attack on Frankfurt and the battle of
Hanau. On the upper division is the following address, on a pedestal surmounted
by a shield bearing an eagle and machiolated crown — "Zu finden bei E L Wiist
in Frankfurt a/m." The word Frankfurt is at the upper right-hand corner, and
that of Hanau at the lower left-hand corner (in reverse) of the card-piece.
Within the space for the suit mark is " J C F Neubauer fee."

The battle of Leipzig and " heiliger augenblick," or prayer before action, are
represented on the ace of diamonds ; on the ace of spades are the engagements
at Brienne and Katzbach. On the ace of clubs are the attack on Montmartre and
the entry into Paris.

The busts on the figure-cards are intended to be in the costume of the time.
Mr. Chatto, who was cognisant of this series, remarks, " The Duke of Wellington
figures as the knave of diamonds, and Marshal Blucher as the knave of clubs " (p.
260).

An ornamental engraved title of a wrapper accompanies this set, having on it
the following inscription : — " Feine Spiel-Karten in Staats Militair Costum, dem
Andenken in die merkwiirdigen Jahre 1813 und 1814 gewidmet. Von. Corn,
Ludw., Wiist in Frankfurt a.M."

The above is encircled in a wreath of oak -leaves, at the top of which is an
eagle displayed with the letter F on its breast ; below are a sword and conqueror's
palm within another wreath. The whole is printed in blue ink.

These cards are neatly engraved and coloured, but the compositions on the aces
are destitute of any artistic merit.

The backs are adorned with blue dotted lines and oval ornaments.

[3s X 2i m-] [Backs decorated.]

G. 142.

SECOND QUARTER OF NINETEENTH CENTURY?
VIENNA?

^LL the coate-cards, with the exception of the valet of spades, of a
numeral series of fifty-two (?).

The figures are king, queen, and valet, in busts printed double and
in reverse.

On one of the divisions the name of the person represented is engraved in
modern Greek, on the other in Roman characters. Thus, the king of spades is
^.ovXifxdv on one bust, and Soliman on the other. The queen of the same suit is
(deotiwpa and Theodora. The king of hearts is Apovy a\ pav^id and Harun al

NUMERALS— SUIT MARKS NATIONAL. 207

Rashid, the queen 2o/3/3cu£e and Sobbaide, the valet BoTffaptg and Botsarys.
The king of diamonds bears MexpeS and Mohammed II., the queen P^avrj and
Koxane, the valet Ylvppog and Pyrrhus. The king of clubs is Ti/xovp-Bey and
Timur Beg, the queen is ^artfui and Fatima, and the valet E/cavdep-Bey and
Skanderbeg.

On a transverse space between the busts on the valet of clubs is the address,
"Niederlage am Peter, No. 577-"

These cards are neatly engraved and coloured, though without any particular
artistic merit. The backs are tarotees with pale blue dots in diamond shapes,
within dotted circles.

The series was probably published at Vienna for the Greek market.

[3| X 2 in.] [Backs decorated.]

SUIT MARKS ANIMATED.
G. 143.

SECOND HALF OF FIFTEENTH CENTURY.

COLOGNE.

(Circular Cards.)

HREE circular card-pieces of a numeral series, the exact number of
the suits of which is, in the opinion of some persons, undetermined.

The cards here present are the upper valet of parroquets, the
under valet of roses, and the under valet of columbines.

The upper valet of parroquets is a single piece ; the two other pieces are on
one sheet, having been engraved on the same plate. They touch each other by
the outer borders.

The valet of parroquets is an armed man, running towards the right hand.
He bears on his right shoulder a mace-like flail, having a spiked iron globe at-
tached. A long curved sword is at his side. On a level with his shoulder, at the
right-hand upper part of the field, is the mark of the suit.

The valet of roses is a man proceeding towards the right. He bears a cross-
bow on his left shoulder, and holds an arrow in his right hand. From his left
side, and projecting from behind his back, is a bundle of arrows. The mark of the
suit is on a level with his knee, at the right-hand lower part of the circular field.

The valet of columbines is an armed man dressed in a long slit coat, and
walking towards the left. He bears a long spear or halberd on his left shoulder,
and from his left side projects a long straight sword. He carries the mark of the
suit in his right hand.

The groundwork of each piece is formed of hillocks with plants on them. The
field of each card-piece is enclosed within a border of three circles.

Considering their time of production the designs on these cards are good, as is
also the technic.

Though the three specimens here present are of the same set as regards de-
sign, it may be doubted if they have all been engraved by the same hand. The
lower two cards appear to be the work of a heavier burin than that which produced
the upper valet.

Much interest attaches to these specimens of early German metal engraving,
and rare examples of play ing- cards ; they are three of a sequence described by
Bartsch, vol. x. p. 70; Singer, pp. 45, 205; Passavant, vol. ii. pp. 176-7;
alluded to by Chatto, p. 223, and by Taylor, p. 119.

208 GERMANY.

The following quotation is from Passavant, under " Le Maitre des Cartes a
jouer de forme ronde" {Op. cit.): —

" The originals of these cards are to be ranked among the finer engravings, au
burin, of the fifteenth century. The inscription, Salve Felix Colonia, accompanied
by three crowns,- which is on the titled wrapper, informs us that these cards had
their origin at Cologne. We must conclude, at the same time, that they appeared
between the years 1461 and 1483, if we accept the figure of the mounted king of
columbines as representing Louis XI. of France, who reigned at that period.
Up to the present time we have remained in ignorance «,s to the master who exe-
cuted these engravings, and further, it is almost impossible to point out any other
engraving which could be safely attributed to him. His manner resembles that of
John of Cologne, from Zwolle, though it cannot be said to be identical with it in
details. The five suits — each suit having thirteen pieces — contain nine pip-cards
in each suit, an upper and under valet (pber et unter), a dame, and a king, as was
formerly the practice in Germany.

" Hitherto but a few incomplete specimens of the original series have been
recorded, as those, e.g., at Oxford and Dresden. They are executed with much
delicacy of drawing, the etching generally terminating with points or dots, and
some impressions being printed off" in a pale black ink.

" There are two copies of the original cards.

" (a). The first copy, that by Telman de Wesel, bears at the lower portion of
each piece the initials T. W.

" (b). The second, by an engraver of Upper Germany, is treated in a stiff
and very inferior manner to the former by Telman. The king of pinks (Bartsch,
N. 39 of the original series) bears on the bridle of the horse the inscription :
' Demi. Ich. War. Gertei (Getrei ?).' In the Albertine collection.

" Heinecken (* Neue Nachrichten,' p. 353), mentions a mounted king of
the suit of pinks, who bears on his crown the inscription, 'Ich. Win,' &c."
{Op. cit.)

From the scattered and imperfect sets of these cards which exist, two deduc-
tions have been drawn, one of which is no doubt right, but the other we think
rather questionable. The first conclusion has been that not any pip-cards of the
value ten entered into either of the suits. Nevertheless, the number of pieces in
each suit was the regular one, viz. thirteen ; but this was made up by there being
four figure-cards or honours, viz., a king, queen, and two valets.

The second conclusion has been that this series consisted of five suits, viz.
hares, parroquets, pinks, columbines, and roses. It is true that some pieces of a
suit of roses exist, as likewise of suits of pinks and columbines, and which appear
to be undoubtedly the work of the same engraver, as proved by the examples in
the British Museum collection. This suit of roses was intended, we think, to dis-
place, as occasion or taste might demand, the suit of pinks, and not to be added
to it. Singer's belief that tens existed in the sequence, that there were five suits
of fourteen cards each suit, and that the series belonged to Tarocchino, does not
merit discussion.

Mr. Chatto writes in connection with these examples : —

" In the circular cards described by Bartsch and Singer the inscription on
the ace of hares is in Latin, and the initials of the engraver, T. W. are wanting.
(See next series, G. 144.) From a wrapper, of which a facsimile is given by
Singer, it would appear that those cards were engraved at Cologne, and it has
been supposed that they are of as early a date as 1470. They are unquestionably
the work of either a German or a Flemish artist ; and some amateurs of
engraving have erroneously ascribed them to Martin Schongauer. Bartsch, in his
description of them, includes a fifth suit — namely, that of roses — and says that each
suit consisted of thirteen cards, which would thus give sixty -five pieces for the
complete pack. Mr. Singer also, in his account of such of those cards as were
formerly in the collection of Mr. Douce, gives it as his opinion that the complete

NUMERALS— SUIT MARKS ANIMATED. 209

pack ought to consist of five suits of fourteen cards each — in all seventy pieces.
Mons. Duchesne, however, thinks that those authors were wrong, and that the
complete pack consisted of only four suits of thirteen cards each, as displayed by
those preserved in the Bibliotheque du Roi. But as he entirely overlooks the
difficulty of accounting for a suit of roses engraved in the same style, he does not
seem to be justified in pronouncing so decisively that Bartsch and Singer are
wrong in supposing that a complete pack consisted of five suits, for it is by no
means unlikely that a fifth suit might have been introduced by the artist with a
view of giving variety to the game, but which might have been subsequently
discarded as inconsistent with the old established principles of the game, and as
only making it more complicated, without rendering it more interesting."
(Op. cit.) These cards are uncoloured.

[2f in. diameter.] [Backs plain.]

G. 144.

FIRST QUARTER OF SIXTEENTH CENTURY.

(Circular Cards by Telman von Wesel.)

BOUND folio volume, lettered " Cartes a jouer du XVI. Siecle,"
with the press mark, " Sheepshanks Cabinet, 23, No. 2."

It contains a series of fifty-two circular card-pieces of the suits
hares (or rabbits), parroquets, pinks, and columbines. Of the
specimens present, twenty-six are genuine pieces, and twenty-six are facsimile
drawings. The card-pieces are unseparated, with the exception of two — the
queens of hares and columbines — appearing as they came from the hands of the
printer in separate sheets, either of four or six cards each sheet. The original or
genuine pieces are the four aces on sheet 1 ; the two and three of columbines on
sheet 2 ; the nine of hares on sheet 4 ; the four, five, six, seven, eight, and nine
of pinks on sheet 6 ; the four, five, six, seven, eight, and nine of parroquets on
sheet 7 ; the six valets on sheet 8 ; and the queen of hares, number 9.

Within the outer circle of the border at the lower part of each card are the
initials T. W. This circumstance, combined with the style and technic of these
rare and interesting objects, has led to the opinion that they are copies by Telman
von Wesel, generally in reverse, and with certain variations of the series last
noticed (G. 143).

The values of the pip-cards are given in Roman numbers at the lower portion,
and in Arabic figures at the upper part of each piece close to the inner circle of
the border. In the Arabic numbering the numerals 4 and 7 are of the old forms :
* (4) 1 (7), and the 5 is 7-

The figure-cards have not either titles or numbers. On the first sheet are
the aces of the four suits — rare, genuine pieces. In the first ace, that of hares,
the hare sits upright in the centre of the circle, having above a long waved scroll
or banderol, on which is the inscription in Platt-Deutsch :

. a a

" AVE. MI. DRINT. ME. VIN
DAEROM. MOT. IC. EN. LEPUS. SIN."

The precise meaning of this it is not easy to determine. Passavant read it thus :

" O weh ! mich drangt man fein,
Darum muss ich ein Hase sein."

1. e. Alas ! men hotly me pursue,
I am a hare it is most true.

210 GERMAN.

Chatto remarks : " Taking the contracted ave to have been intended for auwe,
a meadow, the couplet may be thus done into English —
1 Me o'er fields men keen pursue,
Therefore I'm the hare you view.'

But supposing the word ave to have been meant for augen, the eyes, and gn
slight turn to one or two other words, the meaning would be that the hare
called lepus, quasi lippus, on account of its blear eyes" (p. 222).

On the ace of hares in the original set, from which the present is supposed to
have been copied, is the following inscription, according to Bartsch (vol. x. p. 75) :
" Felix medic, quisquis turba parte quiet," which favours rather Passavant's
reading than that of Chatto.

On the second ace is a parroquet perched on a stumpy tree ; above in a waved
scroll is the inscription — " quidquid facimus. venit. ex alto."

On the ace of pinks, above the large flower in the centre, on a very long
waved scroll is : " fortuna. opes, auferre. non. animum. potest."

On a scroll around the drooping flower on the ace of columbines may be

read — " Par. ille. Svpis [superis] cvi Partt (? Parturiunt) Dies, et Fortvna.
Fvit."

On sheet 2 are inlaid the two and three of columbines, genuine pieces, and
the two and three of hares, facsimile copies. On the two of hares is a large
leaf below the marks of the suit.

On sheet 3 are copies only of the two and three of parroquets, and of the
two and three of pinks.

On sheet 4 the only genuine card is the nine of hares, the four, five, six,
seven, and eight of hares being copies. The hares on the four, five, and six are
represented eating leaves.

On the fifth sheet all the pieces are copies, and consist of the four, five, six,
seven, eight, and nine of columbines.

The six cards of the sixth sheet are genuine, and include the four, five, six,
seven, eight, and nine of pinks.

On sheet 7 all the pieces are genuine, and comprehend the four, five, six,
seven, eight, and nine of parroquets.

Sheet 8 includes six valets in two longitudinal rows of three each row. All
the pieces are genuine. The first valet is the ober of hares. His dress is peculiar:
he has a long-tailed cap on his head, carries a large arrow in his right hand, and
runs towards a hare on a bank on the right. The hare jumps towards the man. The
unter of parroquets has been discharging an arrow at the bird sitting on the ground
at the right hand ; the bird has caught the arrow in its mouth. The third valet
is the unter of hares. He is in oriental costume, bears a lance on his left shoulder,
and carries a hare head downwards by the hind legs in his right hand. The first
card in the lower row is the ober of columbines. His back is turned to the spec-
tator. He advances towards the right, bearing a lance on his left shoulder, and a
long sword projecting backwards from under his right arm. The untermann of
columbines follows ; he is a young man of condition advancing in front, extending
the left hand, and supporting some object — difficult to define — with the right
against his chest. The symbol of the suit is at the right hand. There are some
peculiar marks immediately in the foreground at the feet of the young man ; they
may be intended for ants, upon which the student-like youth may be moralising.
The unter of pinks is a stooping figure in a large cloak directed towards the left,
and contemplating with raised hand the flower, the mark of the suit. Below this
sheet (8) of valets is a single card, No. 9, representing the queen of hares. It is
genuine. The lady is mounted and rides towards the left ; she wears a coronetted
head-dress, rich drapery spotted with fleurs-de-lys, and having peculiar leafy appen-
dages to the arms. The palfrey is richly caparisoned, and has a tuft of hair with
a cross upon it projecting from the brow. Behind the queen on the left hand a

NUMERALS— SUIT MARKS ANIMATED. 211

hare is seated on a bank level with the lady's shoulder. On sheet l o are four
facsimiles of the kings of hares, parroquets, columbines, and pinks. The king of
hares is a mounted Turk galloping towards the right. The hare is behind, spring-
ing towards his back from a bank. The king of parroquets is mounted on a
rearing horse turned towards the left. The bird is perched on a branch behind
the horseman. The king of columbines on horseback advances towards the
right ; the mark of the suit is behind him on the left. The king of pinks mounted
rides towards the left. The flower of the suit is on the right. The king of pinks
is a youthful and graceful figure with long wavy hair, the king of columbines is
an old man.

Sheet 1 1 contains facsimiles only of the queens of pinks and parroquets, and
of the upper valets of the same suits ; both queens are on horseback advancing
towards the left hand. The flower of the suit is on the right, and behind the queen
of pinks ; the bird of the queen of parroquets is on the left in front of the lady.
The two valets are armed men running towards the left ; one bears a halberd, the
other a mace-like flail on his shoulder — long swords are at their sides. The
marks of their suits are on the left hand, i.e. in front of them.

Below is No. 1 2, a single card, being a facsimile of the queen of columbines.
She is seated on a mule advancing towards the right. Her full-front is towards
the spectator. The head-dress is peculiar. The flower-mark of the suit is on
the left-hand side of the circle.

It should be remarked that in the present sequence there are not any tens, but
that there are four court-cards — king, queen, and upper and under valets. In
reference to this circumstance Chatto observes : " The third character in those
coat-cards cannot properly be called a cavalier, and has indeed very little pre-
tensions to the designation of squire. The knaves are evidently common foot-
soldiers, such as were known in Italy by the name of fanti." — " The distinction
between the two latter is not, indeed, very clearly expressed in the costume,
though there cannot be a doubt that the lowest character is that which in each
suit is represented as running, and thus plainly corresponding with the Italian
/ante.'" (p. 221.)

Though a full and regular numeral sequence is here present, viz., fifty -two
cards divided into four suits of thirteen cards each suit, some authorities con-
sider that the series has properly five suits of fourteen cards each suit ; in toto,
seventy pieces, similar to the sequence G. 143. According to this view the
original sequence is supposed to have possessed the tens and a fifth suit, the suit
of roses. The number being thus increased to seventy, the multiplicity of suits
and the circular shape of the pieces have been assumed to show in this example,
not only the Oriental origin of playing-cards, but the Persian characteristics of
the latter in the style and decorations of the pieces.

" Demandez " — writes M. B. d'Ambly — " au Cabinet des Estampes l'exem-
plaire des cartes rondes. Elles sont a peu pres du meme temps, car on croit y
lire la date 1477, ce sont les seules que j'aie vues avec cette forme. En Orient
on aime, on adore veritablement cette forme-la, qui est la forme symbolique du
pantheisme. En Europe on n'en a pas voulu ; nous aimons les angles." (Bibl.
3, P. 85.)

A complete set of genuine impressions — fifty-two in number — of these card-
pieces is preserved in the Paris Collection. It formerly belonged to a Monsieur
Volpato, " Amateur distingue attache au Theatre Italien a Paris." (Bibl. 2, fol. 2
verso, No. 10), and were purchased of him for the Bibliotheque du Roi in 1833.
M. Volpato received in exchange twenty-six genuine cards of the same series,
and twenty-six facsimile drawings of other pieces necessary to complete the set,
along with a sum of money. M. Volpato afterwards sent his copy to the Messrs.
Smith of Lisle Street for sale. It passed into the Sheepshanks Cabinet, and from
thence to the Collection of the British Museum, being the series now under
examination.

212 GERMAN.

Accompanying the latter is the legal agreement to the transaction just refer
to, having attached to it M. Guizot's signature. It is as follows :

*' Entre les Soussignes Letronne Directeur de la Bibliotheque royi
agissant au nom du conservatoire de la dite Bibliotheque et avec l'autorisation
Ministre de l'lnstruction publique, a lui donnee par la lettre en date du 22
Deceinbre, 1832, d'une part.

" Et Jean Antoine Vincent Volpato artiste graveur demeurant a Paris, rue
Godot Mauroy, No. 36, d' autre part.

" II a ete convenu de ce qui suit, savoir moi Volpato, je cede au departement
des estampes cartes et plans de la Bibliotheque royale, un jeu de cartes complet
de 52 cartes grave vers 1477, toutes dans un etat de parfaite conservation
et a, pleine marge. Ces cartes proviennent de la vente du Cabinet de M. Bitter,
Peintre, faite a Bercy en 1 832, sont en forme de medallions ronds et portent au bas
la marque T. W. ; elles sont au nombre de six sur six planches, et de quatre
sur quatre autres planches.

" La quelle cession en faite par moi pour le prix de deux mille cinq cents
francs.

" Et j'accepte pour le prix de la meme jeu — 1°, une somme de mille huit
cents francs qui me sera fournie en deux payemens; 2°, pour les sept cents
francs restant je m'engage a prendre vingt-six cartes de ce meme jeu, savoir,
trois planches entiere de six medaillons chaque, mais sans marge et avec
quelques deteriorations, une planche contenant les quatres As, enfin quatres
autres cartes separees et rognees.

" Et moi Letronne m'engage a faire payer a M. Volpato la somme de mille
huit cents francs en deux paymens, savoir, le premier sur les depenses de Janvier,
1833, et le second sur celles d'Avril, 1833, et a lui livrer pour solde du prix
total de 2,500 francs les vingt six cartes ci-dessus mentionnees pour la valeur de
sept cents francs les dites cartes provenant, vingt quatre du volume No. 624,
pages 13, 14, 15, et 16 de la collection donnee par M. Begon en 1 770, la vingt
cinquieme du No. 57, page 10 de la Collection acquise de M. de Marolles en
1666, et la vingt sixieme d'une donation faite par M. Delamotte en Tan 9.

" Apres que le Present Marche aura ete soumis a l'approbation du Ministre
de l'instruction publique, conformement a l'ordonance du Roi en date du 14
Septembre, 1822.

" Le present Acte Fait double, Paris, Bibliotheque royale, le 10 Janvier,
1 833. " Volpato.

" Letronne Directeur de la B. Re.

"Vu et approuve Paris, le 22 Janvier, 1833. Le Ministre Secretaire
d'Etat au departement de l'lnstruction publique. " Guizot."

The set thus acquired by the Parisian authorities from Volpato has been
copied in entirety by the Bibliophiles Franc, ais for their work on " Jeux de Cartes
Tarots et de Cartes Numerates " (pi. 71-80).

[2J in. diameter.] [Backs plain.]

G. 145.

FIRST QUARTER OF SIXTEENTH CENTURY.
FRANKFORT ?

WO circular card-pieces of a numeral series of fifty-two. The cards
present are the under valet of hares and the upper valet of par-
roquets. Within the circle of the border at the lower part of each
piece are the letters T. W.
These examples are from the series just described (G. 144), supposed to have

NUMERALS— SUIT MARKS ANIMATED. 213

been engraved by Telman von Wesel, after an older sequence (G. 143). The
description of the two valets of hares and parroquets, under that number, may
apply to the present examples, which formed part of the Willet Collection.
[2f- in. diameter.] [Backs plain.]

G. 146.

FIRST QUARTER OF SIXTEENTH CENTURY.
FRANKFURT ?

WO circular card-pieces of a numeral series of fifty -two. The cards
present are the six of hares and the seven of columbines. Within
the circle of the border at the lower part of each piece are the
letters T. W.

From the series previously described, as engraved by Telman von Wesel
(G. 144). The examples formed part of the Slade collection.

[2f in. diameter.] [Backs plain.]

G. 147.

LAST QUARTER OF FIFTEENTH CENTURY?

CARD-PIECE from a numeral series, one of the suits of which had
chimeric animals for its sign.

The example present is a three of animals, the latter being a frog
and two dragons.

The animals are represented as on the declivity of a hill on which grow a tree
and plants. A large dragon with spotted body and jagged curled tail is in the
centre. To the left is another dragon with small body, but a longer neck and
tail. Its head is at the bottom of the piece, the tail extending upwards to the
spot on the side of the hill from which the tree springs ; above the central dragon
and near the top of the hill is a large frog, directed towards the left.

This example was formerly in the Weigel cabinet, into which it had passed
from that of Quandt. It is No. 446 in Weigel' s large work.

"Its period of production may be assumed to have been from 1470 to 1480.
The somewhat awkward and laboured technic implies the hand of the goldsmith.
The print is interesting from the circumstance that it appears to be not an im-
pression from one plate simply, but from two superimposed plates/' (Vol. ii.

P- 379;)

This piece is referred to by Passavant, vol. ii. p. 243, n. 226, but neither he
nor Weigel alludes to it as a card. Bartsch, however, recognized its true character,
and as such described it (vol. x. p. 103, No. 8).

[3r x 2f m-l [Back plain.]

214 GERMAN.

G. 148.

SECOND HALF OF FIFTEENTH CENTURY.

PORTION of a card-piece of a numeral series, one of the suits of
which were quadrupeds — bears and lions.

The part present represents a bear sucking his left fore -paw, anc
scratching himself with his right hind claw.

In the sequence of which this card-piece forms part, the suits appear to hav<
been — bears and lions, stags, birds, and flowers and leaves (laub or grun).
somewhat different view is taken by Chatto, pp. 224, 225. We are of opinion,
however, that the strange little figures in the numeral piece five of plate 9 1 , in
the " Jeux de Cartes Tarots," &c. of the Bibliophiles Francais (Bibl. 2), beloi
to the suit of leaves.

The present example appears to be an impression from a card-plate which
had been cut down to form a separate print, on account of the admirable technical
execution and truth to nature exhibited in the design, or for the reason adduced
by Wilson, presently to be noticed.

The sequence, of which it is supposed to be an unit, may be found described
by Passavant, vol. ii. p. 73, as the work of "Le Maitre aux cartes a jouer," who
is presumed to have belonged to the school of the Master of 1446.

In the work of the Bibliophiles Francais, forty pieces of the sequence are re-
presented by lithographic facsimiles. We believe that twenty-nine of the cards in
the Paris Cabinet were procured at the sale of Mr. Wilson's collection, and are
described by the latter writer in his " Catalogue Raisonne of the Select Collection
of Engravings of an Amateur," London, 1828, p. 87.

In Mr. Wilson's cabinet and in the Dresden Collection were several pieces of
separate figures of the suit marks to which the present specimen belongs. Mr.
Wilson remarks in connection with these pieces: "All these plates are of an
irregular form, several of them the exact shapes of the figures which they contain ;
those indicating the suits on the court-cards are all impressed in spaces curiously
left for the purpose in the work of the larger plates."

Bartsch alludes in vol. x. p. 80, et seq. to some pieces of this series.
[l£ X 2f in.] [Back plain.]

G. 149.

LAST QUARTER OF FIFTEENTH CENTURY.

SINGLE piece from a numeral series, the mark of one of the suits of
which was deer.

The example present is the three of deer.

To the right is a stag, full horned, raising his right fore and hind
rs; a fawn is grazing in the foreground, and behind and above, on a gentle
elevation, is a doe looking towards the left. Large plantain-like herbs are on the
ground.

The impression is from a copper plate, and the technic that of the goldsmith
engraver. It is described by Bartsch, vol. x. p. 103, n. 6.

[3i X 2y in-] [Back plain.]

NUMERALS— SUIT MARKS ANIMATED.

215

G. 150.

LAST QUARTER OF FIFTEENTH CENTURY.

SINGLE card -piece from a numeral series of which dogs formed the
mark of one of the suits.

The example present is the four of dogs.

The animals are placed two above and two below. The left
lower one sits on his hind quarters and looks towards the right. The right
lower dog lies and licks himself. The upper left animal turns towards the right
upper one, who rears on his hind legs and regards his neighbour.

The engraving is from a copper-plate, and evidently the work of a firm and
practised hand. It is described by Bartsch, vol. x. p. 1 06, n. 1 5 ; Pass. vol. 2, p.
249, n. 4.

Accompanying this card are two photographs of a five of dogs and an eight of
the same suit, contained in the Douce Collection, now at Oxford. These pieces
are evidently by the same able hand, whether as respects design or technic, as
the four of dogs here described ; but they are not of the same dimensions as the
latter, nor as regards each other. The five of dogs is 4§- X 3f- in., the eight of dogs
Sw X 3f in- The originals are described by Bartsch, vol. x. p. 106, n. 16 ; 108,
n. 20.

X 3f in.] [Back plain]

[4|-

G. 151.

LAST QUARTER OF FIFTEENTH CENTURY?

SINGLE card from a numeral series having a suit of birds.

The example present is a three of birds, two of which are chimeric
cocks opposed to each other on a hillock. The other is a large crow
flying above towards the left. The cock on the right hand has the
crest erected, and elevates his right leg as if in anger ; the one opposite regards
him with disdainful astonishment.

From a copper- plate coarsely engraved in the style of a goldsmith engraver.

Described by Bartsch, vol. x. p. 112, No. IO.

[3 f X 2 J in.] [Back plain.]

G. 152.

LAST QUARTER OF FIFTEENTH CENTURY.

SINGLE card-piece of a numeral series of which one of the suits was
birds.

The example present is the three of birds.

In the upper part of the field is a parroquet, perched on an orna-
mental scroll-like branch, seizing one end of it by the mouth. Below, to the
left, a sort of eagle bites his own right wing ; while at the base, towards the right
hand, another eagle -like bird seizes by the beak an ornamental branch.

From a copper-plate, heavily and coarsely engraved in the goldsmith style.

Described by Bartsch, vol. x. p. 11 2, n. 9.

[3t X 2| in.] [Back plain.]

216

GERMAN.

G. 153.

FIRST QUARTER OF SIXTEENTH CENTURY.

SINGLE card-piece from a numeral series having a suit of birds.

The example present is a three of birds, or chimeric eagles,
of the latter flies off above with a small ornamental branch in
claws ; below, at the left hand, a long-necked chimeric raptor
scratches his raised right leg with his beak, while to the right hand another bii
raises his right leg and looks upwards.

From a copper-plate which, though heavily and stiffly engraved, has bee
rather more carefully worked than the preceding.
Described by Bartsch, vol. x. p. 1 11, n. 7.
[37 X 2f- in.] [Back plain.]

G. 154.

LAST QUARTER OF FIFTEENTH CENTURY.

SINGLE card-piece from a numeral series, having birds for one of its
suits.

The example present is a four of birds, from a different series to

any of the preceding.

At the upper part of the field two parrot-like birds fly, the bird on the left

hand downwards, that on the right upwards. Below, on the right, is a chimeric

cock, strutting towards the left hand. On the left is a fanciful, peacock-like bird

walking towards the left, but looks back at his neighbour the cock.

From a copper-plate engraving, the technic of which is more delicate and re-
fined than that of any of the previous bird-pieces. The plate appears to have been
very irregularly cut in a circular form by the artist, previous to having it more
carefully trimmed by the coppersmith.
Described by Bartsch, vol. x. p. 90.
[3 2 in. longest diameter.] [Back plain.]

G. 155-

LAST QUARTER OF FIFTEENTH CENTURY.

SINGLE card-piece from a numeral series, one of the suits of which
is birds.

The example present is the eight of birds.

At the upper part of the piece are three parrots ; one has a long
tail, another scratches his head with the right claw, and at the extreme right is a
pelican (?). In the centre is a parrot with a long tail extended horizontally.
At the lower part is a heron-like bird on the left, and to the right are two non-
descript birds, one of which has a long tail extended horizontally.

The design and technic of this piece are evidently from the same hands to
which we owe the suit of dogs, G. 150.

Described by Bartsch, vol. x. p. 1 16, No. 20. Pass. v. 2, p. 250, n. 8.

[3* X 4f m.]

[Back plain.]

NUMERALS— SUIT MARKS ANIMATES. 217

G. 156.

SECOND HALF OF SIXTEENTH CENTURY.

NURNBERG ?

(Cards by Virgll Solis.)

IFTY-ONE card-pieces from a numeral series of fifty-two, the suits of
which are lions (for schelleii), monkeys (for eicheln), peacocks (for
griiri), and parrots (for herzen).

The suits of lions, monkeys, and parrots are complete ; the suit of
peacocks wants one coate-card, viz., the queen.

Certain pieces of the sequence under consideration are original impressions,
others are copies only. All the members of the suit of lions here present are
genuine, as are likewise those of the suits of peacocks and monkeys. In parrots,
all the pieces are copies, except the nine and king of the suit.

This is an important and interesting series of card-pieces. It forms one of the
better examples of card -engraving produced during the sixteenth century, and one
of the chief efforts of the well-known designer and engraver, Vergilius (or Virgil)
Solis, who was born at Nurnberg hi 15 14, and died in 1562. Though not at the
summit of his art, V. Solis, like Jobst Amman, his follower, produced among the
almost innumerable prints which bear his mark, some very good engravings, both
on wood and copper. His engravings on metal as designs for gold and silversmiths,
and his friezes and scrolls are very beautiful, and probably represent the master
at his best. Impressions from many of these plates have now become scarce in
good states and condition, and command high prices. The set of cards under
notice is extremely rare as a complete sequence, and when of fine impression is of
proportionate price. In the Weigel cabinet was a choice set in admirable condition.
The possessor of it observed :

" This series belongs to the more interesting and beautiful German playing-
cards of the sixteenth century. It includes four suits and fifty-two pieces, but these
are not expressed by schellen, eicheln, grii?i, and roth, but by animals ; by lions,
monkeys, peacocks, and parrots. There is another peculiarity to be noticed :
instead of upper and inferior knaves, queen and valet appear. This departure
from the usual custom appears to show that this ' tarocks pack ' was not intended
for the commonalty, but for the higher classes of the community at the time of its
production.

" Since but a small part of that mannered and marked handicraft style which
pervaded his [V. Solis] later productions appears in these cards, and as they bear
the impress of a fresh and youthful spirit, they must have been produced at his
earlier and better period, a time when he was more sensibly affected by the influence
which Durer and his pupils produced on German art. The drawing, making
allowance for some hardness of line, is in general sure and masterly, and recalls to
mind, in the figures particularly of the soldiers, the manner of Aldegrever. The
technic is careful and clean, the composition full of taste and rigidly symmetric, the
actions of the animals natural, and often not without humour ; and moreover there
is less of that vulgarity and grossness which the master afterwards introduced often
in his playing-cards.

" In R. Eitelberger's ' Memoir on Playing-Cards, with special reference to some
examples of old packs existing at Vienna' (Wien, 1 860), may be seen a faithful copy
in wood of the ace of lions." (" Anfange," &c. vol. ii. p. 207.)

The pip -cards in the various suits have their values in Roman numerals marked
at the tops ; the figure-cards are devoid of marks and inscriptions. On the aces
of the four suits, the titles of the suits and the cipher of the master are placed.

2i8 GERMAN.

The symbols of a suit are symmetrically and harmoniously connected by
variety of arabesque and ornamental work. On the ace of lions the upper half i
the piece is occupied by a lion seated on his hind quarters. He holds in his ex-
tended fore paws an ornamental bar, to which is suspended a shield, on which is
inscribed the word, " Schelen," below which is the master's cipher. The lower
third of the piece is filled up with arabesques, and the number I. is above the hea
of the lion.

The queen of lions (schelleri) exhibits a richly costumed, coronetted lady on
horseback. She holds in her left hand a long sceptre, and the horse, riclily
caparisoned, curvets and directs his steps towards the left. On a fallen tree
the right hand behind the horse is a lion gazing at the lady.

The upper third of the ace of monkeys is occupied by an ape seated on an
ornamental frame between two baskets of fruit. Above is the number I. Below
the monkey, and in the centre of the card on a shield, is the word aicheln, having
under it the cipher of the master. Three ornamental human masks disposed
triangularly occupy the lower part of the card. The knave of monkeys repre-
sents a soldier in a landscape and walking towards the right. He carries an ape
astride on his right shoulder, who bears a musket on his left shoulder, the stock
of which is supported by the left hand of the man. The queen of monkeys is a
lady mounted on a richly caparisoned horse advancing to the right hand. She is
crowned, bears a sceptre in her left hand, and has her back turned towards the
spectator. Behind her on the hind quarters of the horse stands an ape extending
his right arm to the lady's shoulder, and micturating on her dress. The king of
monkeys is mounted on a decorated charger, advancing to the right. A plume of
feathers is on the forehead of the horse. The king has on a crown, over which
falls the tasselled end of a cap. He carries a sceptre in his right hand. On
the horse's hind quarters stands an ape, leaning with the right arm on the king's
left shoulder. The ape holds a whip in his left hand and raises his left leg to-
wards the king.

On the ace of peacocks, the sign bird stands with outspread tail on some
ornamental foliage which is at the centre of the piece. Below is a shield, on
which is the word gruen, having under it the cipher of the master. Vine-leaves
and grapes are on each side of the shield.

On the ace of parrots the bird stands with outspread wings on some flower-
stalks at the upper part of the piece. The tail of the parrot descends to the
beginning of the upper third of the card, where is a shield having inscribed on it
B.OT, and below the cipher of the master.

All the pieces of the suit of parrots are but copies, it should be remembered,
except the nine and king. The knave is a soldier advancing towards the left, where
may be seen the symbolical bird perched on a branch, and stretching towards the
man. The latter carries a halberd on his left shoulder and a long, straight sword
at his left side. The cipher of the master has been added at the lower left-hand
corner. The queen is mounted and turned towards the spectator ; the horse
advances towards the left, she carries a sceptre in her left hand, at the upper right-
hand corner is the bird of the suit, perched on a slender branch. The cipher of
the master has been added at the left-hand lower corner. The king of parrots is
mounted on a charger and trots towards the left. He carries a sceptre in his
right hand, and from his left side hangs a sword, at the upper right-hand corner
is the bird of the suit.

The impressions, both originals and copies, are from metal and are uncoloured.

This series of playing-cards is described by Bartsch, vol. ix. p. 282, No. 300-
351 ; is alluded to by Chatto, p. 238 ; and by Taylor, p. 124.

Why Weigel should term this sequence a " Tarocks-Spiel " is not apparent.

[3f X 2|in.] [Backs plain.]

NUMERALS— SUIT MASKS ANIMATED. 219

G. 157.

SECOND HALF OF SIXTEENTH CENTURY.

NURNBERG?

'WENTY-FOUR card-pieces from a numeral series of fifty-two, the
suits of which are lions, monkeys, parrots, and peacocks.

These examples are from the sequence designed and engraved by
Virgil Solis, before described (G. 156).
The cards present are the three, eight, nine, and ten of lions, the entire suit
of monkeys, the one, two, three, six, and ten of peacocks, and the nine and king of
parrots.

The members of the suit of lions are all genuine, those of monkeys are copies,
the pieces of the suit of peacocks are from the original plates, and those of parrots
are copies.

The impressions in the suit of peacocks have, it must be admitted, a somewhat
suspicious look ; but this is explained by their having been taken after the original
plates had been re-worked and rather heavily inked.

[3f X 2fin.] [Backs plain.]

G. 158.

SECOND HALF OF SIXTEENTH CENTURY.

NURNBERG ?

(OUR card-pieces from the numeral series, designed and engraved by
Virgil Solis (G. 156).

The examples present are the two, three, andjfour of monkeys, and
the nine of lions.
The pieces of the suit of monkeys are genuine, the nine of lions is a copy.
[3f X 2J- in.] [Backs plain.]

CARDS WITH A SECONDARY PURPOSE.
EDUCATIONAL, INSTRUCTIVE.

G. 159.

LAST QUARTER OF SEVENTEENTH CENTURY.

NURNBERG.

(Geographic.)

SEQUENCE of fifty-two numerals, the suits of which are spades*
clubs, hearts, and diamonds.

The honours are konig, dame, and k?iecht, indicated by these titles
only.

This series is intended to be subservient to the purpose of instruction in geo-
graphy.

Each piece, with the exception of an upper margin rather more than an inch
wide, is occupied by a map or chart of a particular country or sea-board.

220 GERMAN.

Above it, in the upper margin, is the name of the place represented, and gene-
rally a scale of miles. Above these are the name and mark of the suit in the
" honours," and in the pip-cards the particular number of marks placed in a single
horizontal line, with their value in Arabic numerals at the left-hand corner.

The ace of spades has on it " Typus Orbis Terrarum," with the address :
H. Seyfrid delineavit. Wilhelm Pfaun Sculpsit."

The suits of spades and hearts are occupied with the various regions and dis
tricts of Germany, Austria, and Prussia, as formerly recognized.

On the suit of diamonds are maps of Switzerland, Belgium, Holland, Flanders,
Spain, and other places ; while the king of clubs shows Anglia, the dame Scotia,
and the knave Hibernia.

Norway, Poland, Italy, &c. &c. are likewise in the suit.

A volume of more than 230 pages, bound in vellum, gilt edged, and illus-
trated with maps, accompanies this set of cards. The whole is enclosed in
an old-fashioned leathern slip-case, above five inches high and more than three
inches in width. This case is probably two hundred years old. The volume in
question has the following title: — "Europaeisch-Geographische Spiel-Charte/
Darinnen Vermittels lii Sonderbarer Blatlein alle in Europa befindliche Konig-
reiche und Lander, samt deren Vornemsten Stadten, zu des curiosen Lesers
Sonderbarer Belustigung und anmuthigen ZeitkUrtzung in moglichster Nettig-
keit praesentiret werden ; worzu noch iiber das V absonderliche Land-Chart-
lein gefuget worden welche Solche Oerter vorstellig machen die nicht
fdglich unter die andern haben konnen gebracht werden. Samt einer Kurtze
Beschreibung aller vorneemsten und notablesten Sachen so in denen beriihmtesten
Landern und Stadten theils zu sehen sind ; theils sich vor langer und kurzer
Zeit ereignet und zugetragen. Niirnberg. In Verlegung Johann Hoffmann Buch
und Kiinsthandlers. Anno 167 8."

In a " Kurtze Voransprache an den Hochgeneigten Leser " we are informed
that the credit of the invention is due to the learned and well-known author
" Herrn M. Johann Pretorio," to whom, as likewise to his associated and able
representative Hn. I. H. Seyfrieden, not a small amount of thanks is due. To
Franciscus Nigrinus the reader is indebted for the geographic descriptions which
follow.

An engraved and coloured frontispiece precedes the title page. It represents
eight persons seated at a long table covered with green cloth, playing with the
geographic cards. At the top of the print is the following title on a scroll, borne
by a figure of Mercury, descending wi£h a pack of -cards in his right hand: —
" Europaisch Geographische Spiel-Charte." At the bottom is the couplet —

" Durch Spielen das Land
Wird werden bekannt."

HlNSCHMAN.

This series of cards was known to Mr. Taylor, who writes : — " Mr. Quaritch
has a German geographical pack, in which the marks of the suits are arranged in
the same way as the above, in a row at the top, but of the French order and pattern
— konig, dame, knecht, and Asz, and the full number of pips. The ace of spades is
entitled " Typus Orbis Terrarum," and contains a map on Mercator's projection,
the longitude calculated from Ferrol. It bears the designer's and engraver's
name, I. H. Seyfrid and Wilhelm Pfaun. Each card has a coloured map of one of
the countries of Europe, without apparent preference, except that the ace of
hearts is Europe and the king Germania. The cards are of larger size than the
ordinary sort, their backs marbled, and the edges gilt. As Livonia is not included in
* Muscovia,' and St. Petersburg not mentioned, they are probably of the latter part
of the seventeenth century, and anterior to Peter the Great." (Bibl. 9, p. 213.)

[4f X 2i in.] [Backs marbled.]

EDUCATIONAL— INSTRUCTIVE. 221

G. 160.

NINETEENTH CENTURY.

IlX cards from a numeral series, the marks of the suits of which are
clubs, diamonds, spades, and hearts.

The cards present are the two, four, and seven of clubs, the seven

of diamonds, and the seven and ten of spades.

The whole field of each piece is occupied by representations of animals of

various kinds, in a landscape. The designs, which are from engraved metal

plates, are coloured, and over these the marks of the suits are stamped in the

ordinary way.

The secondary intention of these cards is to afford instruction in natural
history.

On the two of clubs is a stag in the foreground ; in the distance a stag hunt is
represented. On the four of clubs is a mountain huntsman, accompanied by his
dog. On the seven of the same suit are two rabbits, each animal showing different
aspects. Two dogs of different kinds are on the seven of diamonds, as is the case
also with the seven of spades. On the ten of the last suit is a dog jumping
towards a monkey with whip in hand on horseback.

[3f X 2f in.] [Backs plain.]

AMUSING.
G. 161.

{Printed Books Department, 554, b. 38.)
LAST QUARTER OF SIXTEENTH CENTURY.
NURNBERG.
(Cards by Jobst Amman.)

BOUND small quarto volume of sixty-four leaves, containing a
sequence of fifty-two card-pieces of a numeral series, along with
dedicatory, poetic, and other printed matter.

The marks of the suits are printers' ink-balls, books, wine-cups of
metal (•*. e. formed by the skill of the goldsmith), and vases or goblets studded
with large bosses.

The figure -cards or honours are kings, upper and inferior valets.
The page, or each card-piece is 7|- in. high by 5-| in. wide. The central
portion, to the extent of 4 in. and 2|- in., is occupied by the card design itself,
above which are four lines of Latin verse, and below from four to eight lines of
German verse, which are generally a free translation of the Latin superscription,
explanatory of the design.

The suit marks are large in size, and occupy the upper portion of the
card-space ; below are figure compositions, representing nobles, burghers, and
artisans at various occupations, either of duty or amusement.

The value of the ten of each suit is indicated by the Roman numeral X on a
small scroll at one of the upper corners ; the mark of the suit (one in number
only), is held by a female (whole-length figure) in rich costume.

222 • GERMAN.

All the kings are mounted. On the three and five of books, the eight and
nine of cups, animals form the subjects of the compositions, and play parts like-
wise in some of the other pieces. The designs on the six of printers' balls, the
five of books, and the ace of goblets, have incidents of a vulgar, gross, or eve
obscene character.

On the aces of printers' balls and of books are shields of armorial beari
below the marks of the suits. On the nine of cups are the letters i a (I<>l>,<t
Amman), on an ornamental tablet in the centre of the field, between the two rows
of suit marks. On the ace of printers' balls are represented the arms of " Sig-
mundt Feyrabend — weit gepreist."

The title-page of the volume bears the inscription printed in black and red
ink : — Iodoci Ammanni, Civis Noribergensis Charta Lvsoria Tetrastichis
illustrata per Ianum Heinricum Scroterum de Gustrou Megapolitanum, Equitem &

p, L, Caesarem £mijllicl)e vfi wolfleriflene $t#ur<n in dmien ftarteii

spiel durch den Kunstreichen und Weitberiimteu Jost Amman, Burger in Nurn-
berg, — Allen vnd jeden der Kunst liebhabenden / zu besonderm nutz / liest und
wolgefallen jetzund erst new an tag geben. Und mit Kurtzen latienischen und
teeutschen Verslein illustrirt. Durch Ianum Heinricum Schrbterum von Giist-
row/ Kayserlichen Coronirten Poeten. Gedruckt zu Nurnberg/ durch Leonhardt
Heusler. Anno m.d.lxxxviii."

Then follows a dedicatory address in Latin poetry — " Vere nobilibus magni-
fies etq. clarissimis viris ac Dominis D. Hilario Rulando — D. Gerhardo Rulando —
D. Oswaldo Rulando — Fratribus Germanis, Dominis et Patronis suis perpetua ob-
servantia reverenter colendis. — Sigmund."

This is succeeded by laudatory verses to the same.

After the dedicatory and laudatory addresses, we have the following from the
"Liber de Leipso:" —

" Charta mihi titulum tribuit Lijsoria ; lusus

Et Chartse in pretio munera vulgus habet
Sed nee ego laudes moror aut convicia vulgi

Sit mihi sat claris posse placere viris
IIos rogo, ut a rerum quandam graviore vacantes

Cura, si chartis ludere forte velint
Colludant nostris : sine rixis vulnere morte

Ludenti quoniam lucra benigna dabunt."

Then follow the fifty- two card -pieces. After which come two compositions :
the first representing a lady and gentleman, seated on a garden seat, embracing
each other ; the second, a whole-length figure of a richly dressed female playing
on a guitar. On the first piece is the following inscription : " Duas sequentes
Tabellas addimus ne vacarent chartse," with six lines of Latin verse referring to
the design. On the second piece are eight lines of Latin verse.

Finally comes " Eiusdem Scroteri Carmen in landem jodoci Ammanni hujus
Chartse inventoris ad Candidum Lectorem."

The short colophon runs thus : " Noriberg^e Excudebat Leonhardus Heus-
lerus."

As an example of the character of the pages of the volume we may instance
the three of printers' inking-balls. Below the marks of the suit a gentleman and
his wife are represented as seated at a table, on which is a lighted candle and a
pack of cards. A large dog is by the side of the lady. The latter holds a goblet
in her right hand, and a card in the left, which she appears to be showing to her
husband, who, while regarding it, seems about to play his card with the right hand,
as he holds some pieces in the left. Above the composition are the following
lines: —

AMUSING. 223

" Sum tua, vicisti, vitae o mihi dulce levamen
Sit tibi cura mei, sit mihi cura tui
O suave imperium, vel nectare dulcius unum
In geminis ubi cor, mens amor et studhmi."

Below are these lines in German : —

" Du hast gewonnen edler Hort
Ich will nun dein sein hie et dort
Da lebet Gott wo Mann und Weib
Zwey menschen sein, ein Seel, ein Leib."

This rare and choice volume (formerly in the Praun collection) is a good
example of design and wood- engraving. The artist, Jobst Amman, was born at
Zurich in 1539, and died at Nurnberg in 1591. He was one of the most prolific
designers of his time for engraving, both in wood and metal.

The rarest of all the works of this master is the present book of cards.
Becker (" Jobst Amman Zeichner und Formschneider Kupferatzer und Stecher von
C. Becker nebst Zusatzen von R. Weigel mit 1 7 Holzschnitten und Register,"
Leipzig, 1854) remarks: "Although it is probable that an average number of
impressions was printed, few examples are known. Among them, however, is a
very well-coloured copy. The separate woodcuts are not to be met with in other
books, the opposite of which occurrence mostly happens in the case of the other
works of Amman. One or two copies only are known in which the wood-blocks
have been worked off on sheets to the number of six on each sheet. The technic
of these highly humorous woodcuts is so peculiar and masterly that one cannot
help believing the engraving itself must have been executed by the hand of Amman,
a belief supported by the circumstance that the mark of a formschneider is not to
be found on any of the blocks, while it is usually to be met with in most of the
woodcut books of the master." (p. 140.)

Becker concludes by stating that "this rare work has not been described by
any writer on art." Becker is wrong in this statement. The book was fully
described nearly half-a-century before Becker himself did it. It is true that the
work escaped Bartsch's notice, nor is it alluded to by Nagler in his " Kunstler-
Lexicon ;" but Singer in his well-known work devotes nearly twenty pages to its
consideration, and gives facsimiles of eight entire card-pieces and groups from five
others. (Bibl. 8 pp. 180- 197.)

From Singer's commentary on Amman's book the following is extracted.

" The beautiful pack of cards engraved by Jost Ammon, of which the suc-
ceeding pages afford specimens, is accompanied by moral distichs in Latin and
German, and were published in the form of a small volume in 4to. as well as for
the purpose of playing-cards. Their moral intention was apparently to inculcate
the advantages of industry and learning over idleness and drunkenness. The
subjects are for the most part treated humorously ; the four suits are books,
printers' balls, wine-pots, and drinking- cups. We shall give a brief description of
the subject on each card, and proceed to present the reader with facsimiles of
some of the most interesting cards of each suit, beginning with that of books,
emblematical of learning, the deuce of which suit contains the following spirited
representation of the ancient bookbinder, accompanied by Latin and German
verses by H. S. de Gustrou.

" De Murr in his ' Bibliotheque de Peinture, de Sculpture, et de Gra-

vure,' Francfort, 1770, 12mo. v. 2, p. 470, mentions them among the works of
Jost Ammon, thus : ' Charta Lusoria tetrastichis illustrata per Janum Heinricum
Scroterum de Gustrou JSToribergas,' 1588, 4to. It seems, however, probable that
they had been some time used as playing-cards before they were thus collected
together in a volume and accompanied by metrical inscriptions, and Sigismund
Feyrabend's name occurs in the German verses under the ace of printers' balls, so

224 GERMAN.

that he was most probably the publisher. It has been already mentioned that
Jost Ammon was principally employed in decorating books printed by him. . . .
We had omitted to notice that the set of these cards which we here describe
have been formed from the little book before mentioned ; the accompanying verses
are pasted on the backs of the cards. Notwithstanding the numerous impressions
which it is most likely were taken off, copies of this little book or complete packs of
the cards are at the present day of the utmost rarity, even in Germany. We were
assured by the parties from whom the present set were obtained that another
complete copy would with difficulty be found, even in the most celebrated col-
lections in that country. Single cards of various packs are to be found in the
cabinets of some curious collectors, but we know not of any other complete set of
these decorated cards in this country." {Op. cit.)

Though it is possible that these cards may have been used for the purposes of
ordinary play, as suggested by Singer, yet we think it not very probable, and should
accord with Chatto's opinion, that judging from the verses, " Liber de Leipso "
previously quoted, they were not originally designed with that intention.

[4 X 2|- in.] [Backs plain.]

G. 162.

FIRST QUARTER OF NINETEENTH CENTURY.
TUBINGEN.

SERIES of fifty-two numerals, the suits of which are clubs, spades,
hearts, and diamonds. The figure-cards or honours are, roi, dame,
valet. Each piece is occupied by a composition, over which are placed
the marks of the suit in the usual form. The designs are of very
varied character; instructive, amusing, laughable, &c.

This series is interesting, as being the first which appeared of Cotta's " Karten
Almanach" at Tubingen in 1806. The latter continued to be published for
several years " as a small pocket volume of a square form, and the illustrations
consisted entirely of fanciful cards, the mark of the suit being always introduced
into each subject either by hook or by crook. The designs for the cards in the
first four volumes, from 1806 to 1809 inclusive, are said to have been made by a
lady." (Chatto, p. 259.)

In the present sequence the roi de trefles represents Pirrhus, the dame, Ester,
the valet, Areas. In piques the roi is Assuerus, the dame, Andromaque, the valet,
Burrhus. In carreaux the roi is Agamemnon, the dame, Agripine, the valet,
Oreste. In carnrs the roi is Ulisse, the dame, Iphigenie, the valet, Mardochee.
The words roi, dame, valet are engraved above the whole-length figure on each
coate-card, the symbol of the suit being at one of the upper corners, and the title
at the bottom of the piece.

The ace of trefles bears the address : " A Tubinge chez T. G. Cotta, Libraire."
On the six of carreaux is a representation of the ponte rotto, formerly the
pons palatinus or senatorius, the first stone bridge built at Rome, and half of
which was destroyed by an inundation of the Tiber in 1 598. Some of the cards,
e. g. the five and seven of trefles and of piques, the three and eight of piques have
on them designs of a religious character. On others are domestic scenes ; the ten
of carreaux exhibits a Christmas tree with children amusing themselves. On the
seven of camrs is a family tea-party. Several of the pip-cards of the suit coeurs
have purely fanciful or ideal subjects, in which Cupids play an important part.
The design on the nine of piques is comic in character, and includes two boys
playing at cards.

AMUSING. 225

The members of this series have been executed in the " stipple " manner by
means of the roulette on copper, and afterwards coloured carefully and delicately.

A11 explanatory little book accompanies the set, having as title, " Karten
Almanach, Tubingen, in der J. G. Cotta' schen Buchhandlung, 1806."

An ingenious conversation is represented as being carried on between several
male and female persons, which serves to elucidate the subjects treated on the
cards of the various suits. The researches of Breitkopf are specially alluded to,
and the theory maintained that playing-cards owe their origin to chess.

" The knight, however, was suppressed, and the gallant French people changed
the commander, a second Tiresias, into a lady." (Explanatory Book.)

[3f X2[ in.] [Backs plain.]

MISCELLANEA.
G. 163.

(Print Room,, Library, German Books, No. 7.)

SMALL octavo volume, bound, and lettered "Schopferi I1ANO-
IIAIA 1568."

The title-page bears the following inscription: — " nANOHAIA
Omnium illiberalium mechanicarum aut sedentiarum artium genera

continens " " accesserunt etiam venustissimse Imagines omnes omnium arti-

ficura negociationes ad vivum Lectori representantes ante hac nee visa?, nee
unquam edita3 : per Hartman Schopperum Novoforens, Noricum. Francofurti ad
Mamum cum Privilegio Ca3sareo mdlxviii."

This work is generally known as " Iobst Amman's Book of Trades." The cuts
in it were designed by the artist, and the descriptions in Latin verse were by
Hartman Schopper. It issued from the press of " Sigismundus Feyrabend civis
et Typographies Francfurdianius. Calend. Januarii Anno mdlxviii."

The volume contains cuts of a Formschneider and a Briefmaler. The first
appears to be engraving on wood, and the second to be colouring certain figures
by means of a stencil. Up to the latter end of the fifteenth century a distinction
was preserved between the calling of a kartenmaler, and that of a form-
schneider, though persons following either belonged to the same guild. A few
years subsequent to the formschneider, the briefmaler occurs in the civic books
of various German towns, but though his designation has the same literal meaning as
that of the kartenmaler, his business seems to have been more general, including
that of the card-painter, and of the wood-engraver.

" About 1470, we find the briefmalers not only employed in executing figures,
but also in engraving the text of block books; and about the end of the fifteenth
century, the term seems to have been generally synonymous with that of form-
schneider. Subsequently, the latter term prevailed as the proper designation of a
wood-engraver, while that of briefmaler was more especially applied, like that of
the original kartenmaler, to designate a person who coloured cards and other
figures.

" Though we have positive evidence that about the year 1470, the briefmaler
was a wood-engraver as well as a colourer of cards, and though it be highly
probable that the outlines on the figures on cards were then engraved on wood,
and that from this circumstance the briefmaler became also a wood-engraver, yet
we have no proof that the earliest wood-engravers in Europe were the card-
makers." (Chatto, p. 84.)

Notwithstanding that at the time when the work now under notice was pub-
lished, the business of a briefmaler was considered as distinct from that of a

226 GERMAN.

fbtttuchteider, there is reason to believe that the old briefmalers continued both
to engrave and to print wood-cuts. On several large cuts, bearing the dates
1553.1554, may be read: " Gedruckt zu Niirnberg durch Hanns Glaser Brieff-
maler."

The following illustrations in the ITANOriAIA should be referred to: —

Adumbrator — Der Reisser, folio C.

Sculptor — Der Formschneider, folio C. 2.

Illuminator imaginum — Brieffmalcr, folio C. 6."

G. 164.

SECOND HALF OF EIGHTEENTH CENTURY.

POLITICAL broad-side sheet, having on the upper half a represen-
tation of a party seated at a round table playing at cards (hombre),
in a drawing-room of the "Frau Germanin." On the lower half is a
descriptive account in sixteen verses, of the sentiments supposed to
be expressed by the various persons engaged at the game.

On an ornamental scroll at the bottom of the engraving is the inscription :
" Abbildung des Jetzigen Politischen L'Ombre Spiels in Hause der Frau Ger-
manin. 1757."

Six persons are seated, playing, viz. a Prussian officer, who holds up the ace
of spades, an English nobleman, a French marquis, a son of the Frau Gcrmcmin,
an Hungarian magnate, and a Swedish baron. Standing by, or sitting and over-
looking the players, are a Danish cavalier, the Frau Germanin herself, a Saxon
officer, and a Russian tourist. Behind, and away from the table, are a Dutch
sea-captain, a Swiss proprietor, a Polish woywod, an Italian nobleman, and a
grandee of Spain. Through an open window a Turkish night patrol looks into
the room.

A number is affixed to each member of the group, which corresponds to a
verse below — the supposed sentiments of the person indicated.

Heaps of money and bags are on the table. A chandelier with eight lighted
candles illuminates the scene, while three other lights project from the ornamental
scroll-work frame with which the engraving is bordered. Mirrors and a sword
hang up against the walls of the room.

The Frau Germanin (No. 15), is represented as coming forward and ad-
dressing the players at the table in the following words : —

" Ich bitt die Herren doch dem Spiel ein end zu machen
Es ist doch an der Zeit ; statt schlafen muss ich wachen
Sie seyn mir Hebe Giist ; wenn sie mir las sen Ruh
Und wenn sie einmal fort, mach ich die Thiire zu."

The Turkish patrol calls out (No. 16) :

"Ihr Herren machts sein End, und geht einmal nach Hans
Wo nicht, so komme ich, und losch die Lichter aus."

An engraved ornamental frame borders the letter-press.

[18 X 13111.] [Back plain.]

MISCELLANEA.

227

G. 165.

Engravings by early German Masters, vol. vi.

FIRST QUARTER OF SIXTEENTH CENTURY.

HE rare engraving known as "Le grand bal," by the Master MZ,
described at page 16 of General History, and in Bartsch, vol. vi. p.
377, No. 13.)

The Grand Duke and Duchess of Bavaria are represented playing
at cards, and keeping their scores marked upon the table. A five of hearts is
exposed. The date 1 500 is on the engraving.
Singer, page 274, may be referred to.

G. 166.

LAST QUARTER OF FIFTEENTH CENTURY?

*N engraving by Israhel Van Meckenen, representing a lady and gentle-
man playing at cards. The three of glands is exposed on the table,
and a figure-card is in the lady's hand.

This piece has been described previously — General History, p. 16.
See the frontispiece to Singer's " Researches," also Bartsch, vol. vi. p. 302,
n. 114.)

ENGLISH PLAYING-CAKDS.

NUMERALS.
E. 167.

(MS. Department, Sloane Collection, 1044, fol. 93 verso, art. 421.)

LAST QUARTER OF SEVENTEENTH CENTURY.
LONDON.

SHEET of ten unseparated card-pieces, in two rows of five
pieces each row.

The cards present are king, queen, knave, king, and queen in
the first row; and king, queen, knave, king, and queen in the
second row.

Not any marks of suits are present, but the examples may
be assumed to belong to a numeral series of fifty-two, of the suits spades, clubs,
hearts, and diamonds.

On a tablet between the feet of the knave in the upper series is the address :
" C. Hewson."

The designs are of the conventional character ; the queens bear flowers in
their hands.

The impressions are from wood-blocks, and are entirely uncoloured.

[3f X 2i m0 [Backs plain.]

E. 168.

(MS. Department, Harleian Collection, 5947, fol. 2 verso, fol. 3.)

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

WO sheets of card-pieces, each sheet containing nine cards arranged in
three rows.

The pieces present are all figure-cards, a king, queen, and knave
being in each row. Not any suit marks are present.
The designs are of the conventional character, and the impressions remain
entirely uncoloured.

230 ENGLISH.

These examples closely approach the scries before mentioned, E. 167
the address of C. Ilewson is not present, however, and the engraving of the
wood-blocks has been somewhat coarser and the printing less careful than in E.
167.

[3t X 2i inJ [Hacks plain.]

E. 169.

LAST QUARTER OF EIGHTEENTH CENTURY.
LONDON.

PACK of fifty-two numerals, the suit-marks of which are in reality
spear-heads, diamonds, trefoils, and cups, though intended to imply
spades, diamonds, clubs, and hearts.

The series is interesting from the attempt shown in it to make the
card-emblems and the names piques, trefies, cceurs, and carreaux more consistent
with each other than is usually the case.

On the ace of spades or spear-heads is the duty stamp of the reign of " G. III.
Rex." The piece is marked No. l o, and bears the address of " Rowley and Co."

On the ace of diamonds is the design of a precious stone cut in facets. It is
enclosed within an ornamental oval frame-work of oak-leaves, surmounted by
the winged cap of Mercury, supported by a trident and caduceus.

In the centre of the ace of trefoils is the temate leaf of a trifolium, surrounded
by an ornamental frame, above which appear the heads of a scythe, rake, pitch-
fork, and reaping-hook. The marks of this suit are printed of a green colour.

The ace of cups or hearts has a sacramental -like chalice in the middle of the
card, having within it a heart. An ornamental frame-work, into which olive-leaves
and fruit enter, surround the emblem ; above which is a bishop's mitre, a
pastoral staff, and a cross. The figure-cards — king, queen, and knave — are
three-quarter figures contained in ovals, and having flat ruled backgrounds.

The king of spades wears a crown, carries a sceptre in his right hand, and his
mantle is marked with fleurs -de- lys. The queen of this suit wears a crown, and
fleurs-de-lys are on her dress. The knave is a soldier, with wig and pig-tail, and
carrying a lance. He looks towards the right.

The king of diamonds is dressed like one of the German monarchs, wears a
crown, carries a sceptre erect, and looks towards the left, The queen is crowned,
and her dress adorned with ermine ; the knave is a soldier in cloak and circular-
frilled collar, conical hat and feather, and carrying a partizan in his right hand.

The king of trefoils is dressed in a mantle adorned with crowns ; the queen
has a veil, descending from the back of the head over her right shoulder ; while
the knave is a soldier, having a double-headed black eagle on the front of his tall
cap, and carrying a spear in his right hand.

The king of the suit of chalices or hearts evidently implies England, from the
mantle and order which he wears. The queen intends the same, and the knave
is meant for one of the well-known Tower " Beef-eaters." On his chest below
a crown is the letter G.

All the figure-cards are printed in bluish-black ink. Throughout the series
the ace of spades alone is in pure black.

The impressions are from engravings on copper, done in a neat but formal
style.

This series was known to Taylor, who observes : — "We have already noticed
an attempt (p. 1 83) to make our card emblems and their names more consistent

NUMERALS. 231

with each other, but an earlier and more complete essay in the same direction
occurs in a pack, date l 790, by Rowley and Co. Here again the spade is a kind
of dagger, of a clumsy and inconvenient form, the ace of the suit being, however,
a regular duty-card. The ace of clubs is a clover leaf in an oval, surmounted by
agricultural implements. ' Diamonds ' clearly points to the original conventional
form of representing this gem, being a veritable diamond, lozenge-shaped, with
the facets of the cutting shown in relief. This idea of a quadrangular shape is
involved in all the names of the diamond suit, whether it be panes of glass (rau-
ten, ruyten, &c.), or paving-tiles (Spanish, ladrillos), a sense also given to car-
reaux by Menestrier. The ace of hearts in the same pack is represented by a
chalice, with a heart engraved on the front, an irreverent introduction charac-
teristic of that epoch, for we are left in no doubt as to what is meant, for the
oval in which it is contained is surmounted by a mitre, cross, and crozier. The
court-cards appear to be portraits, and the costumes are of the period." (Taylor,
p. 232.)

The intention of the cup or chalice in this suit was, we assume, to link the
suit with the coppe or cups of the early Italian numerals, which were believed
to have originally symbolized the clergy, the coppe themselves descending from
an emblem symbolizing the ancient Egyptian hierarchy. In the same way swords,
piques, spades, symbolized the military class ; money, deniers, carreanx, diamonds,
the mercantile ; and bastoni, trefles, clubs, the agricultural communities.

[3i X 2\ in.] [Backs plain.]

E. 170.

LAST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

PACK of fifty-two numerals of the suits spear-heads (spades), dia-
monds, trefoils (clubs), and cups (hearts).

This series is a duplicate of the one last described, G. 1 69.
The duty-card — the ace of spades — bears the number 16, with
the address of Rowley and Co.

[3 J- X 2£ in.] [Backs plain.]

E. 171.

LAST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

PACK of fifty-two numerals of the usual suits, spades, diamonds,
hearts, and clubs.

The designs on the figure cards are of the old conventional character,
but there are certain variations in those of each suit.
The king of spades has a three-quarter face turned towards the right ; the
kings of clubs and of hearts have three- quarter faces turned towards the left.
The kings of spades and of clubs hold swords erect in their left hands, the king of
hearts holds a sword in guard across the head, while the king of diamonds carries
a partizan.

All the queens have three-quarter faces ; those of spades and hearts are turned
towards the left, those of diamonds and clubs to the right hand. Each queen
holds a rose (?) in her left hand.

232 ENGLISH.

The knaves of spades and of hearts have profile faces to the right, those
diamonds and clubs have three-quarter faces, one to the right, the other to tin
left hand. The knave of spades holds a spear in his left hand, the other knaves
have spears in their right hands. The knave of spades has a curved sword, the
knaves of diamonds and of hearts straight weapons. The knave of clubs is with-
out a sword.

The decorations of the dresses differ somewhat in each figure.

The ace of spades is the " duty-card."

The mark of the suit on the latter is on a large oval shield, surmounted
a crown, having below the motto, " Dieu et mon Droit." Around the shield is
the motto of the Order of the Garter, " Iloni soit qui mal y pense." The card
bears the inscription : " G. m Rex. No. 6. Exportation 1. Hardy."

[3f X 2iin.] [Backs plain.]

E. 172.

TIME OF GEORGE III.
LONDON.

PACK of fifty-two numerals of the usual suits.

The coate-cards have figures on them, nearly similar to those
the cards last described (E. 171), but they are not from the same
blocks, and may be perhaps of a somewhat earlier date than E. 1 7
The ace of spades is the " duty-card," of the same character as that of E.
171. The inscriptions are " Sixpence additional Duty " above the crown and
at the sides of the shield. Below is the address, " Gibson." The number of
the pack is l $0.

[3|- X 2~ in.] [Backs plain.]

E. 173.

THIRD QUARTER OF NINETEENTH CENTURY.
LONDON.

PACK of fifty-two numerals of the ordinary suits.

The figure-cards are king, queen, and knave, represented in busts
printed double and in reverse.

Accompanying the pack are two wrappers, an outer and inner
one. The last is of bright green glazed paper, having on it a bust of the " Great
Mogul," printed in gold ; below which is the inscription, " International Playing-
Cards. Ent. Sta. Hall." At the right-hand margin is " Designed by Reuben
Townroe for Felix Summerly's Art Manufactures." On the left margin is the
address, " De La Rue and C° 1 1 0 Bunhill Row London." The outer envelope
is the stamp or duty cover, ornamentally engraved, and printed in light blue.
On the central fold may be read, " De La Rue & C°. 110 Bunhill Row London.
The seller is to cancel the Stamp by writing in Ink or printing his name upon
it. Penalty for omission £5." Below this is elaborately engraved, by machine,
the stamp of four circles, having at the top " Card-Stamp," at the bottom
" Three pence," and the letters "V R " in large open capitals at the sides.

On the left lateral fold is engraved, in open letters, the following caution :
" On opening a pack of cards, the wrapper is to be destroyed. Penalty £20, if
retained for use again."

NUMERALS. 233

A notice of these cards reprinted from the " Times " of December 3rd,
1874, accompanies the pack, from it the following extracts are taken :

"The well-worn adage as to the non-existence of novelty under the sun
does not altogether apply to the international cards, since we find that although
national, political, and educational cards have been produced, the notion is
original of making international cards. In giving effect to this idea it is
satisfactory that the general appearance of the cards is not sacrificed to the
temptation of rendering them confusingly picturesque. The leading conventional
features of ordinary playing-cards are retained, while an interesting cachet of the
period of production is given to the international cards which will not, as might
be apprehended, distract the most solemn of whist players. . . . The idea of
international playing-cards, as now carried out in this production, was recently
originated by Mr. Felix Summerly, with the aid of Mr. Reuben Townroe, an
artist whose originality in design and its varied forms of treatment is testified
to by the ornamental terra- cotta work on the centre of the Royal Albert Hall,
and many decorative works at the South Kensington Museum.

" At first glance, if we overlook the aces the cards have the appearance of
the modern stereotyped form of cards, a style which we adopted from the French
cards made at Chartres in 1 702 ; but on closer inspection we find his Royal
Highness the Prince of Wales doing duty as the king of diamonds, the King of
the Belgians as the king of hearts, the Crown Prince of Prussia as the king of
spades, and the King of Italy as the king of clubs. The likenesses are fairly
good, especially that of the King of Italy.

" The aces are allotted to the greatest potentates — thus, Her Majesty, as
Empress of India and Queen of the United Kingdom, appears as the ace of
hearts ; the President of the United States is the ace of spades, the Emperor of
Russia is the ace of diamonds, and the German Emperor is the ace of clubs. But
Mr. Felix Summerly, with perhaps a pardonable penchant to pay an irreproach-
able compliment, has allotted to her Royal Highness the Princess of Wales the
high office of queen of hearts, while to the Crown Princess of Germany he assigns
the dignity of the queen of clubs. The Queen of Greece appears as queen of
diamonds, and the Empress of Austria as queen of spades. The four knaves
have a more original character about them than the other court-cards. The
square and blocky conventionality is maintained, although the actual details are
totally different from what are used in ordinary playing-cards. A Scotch piper
with distended cheeks vigorously blowing his pipe, the utmost determination
of purpose shown in his features, appears as knave of hearts. An officious and
splendid functionary, obviously a gendarme, is the knave of spades. A yellow-
bearded Swiss guide with his rope on his shoulder, and clenching a spiked staff,
is the knave of clubs ; while Spain is represented by a keen-eyed and carefully
coifed matador as knave of diamonds. As a number of portraits some of the
cards are less successful than others. Looking, however, to the restrictions as
respects attitude and form which were imposed on the designer, Mr. Reuben
Townroe, we must congratulate him upon the success he has obtained in his
portraits of Her Majesty the Queen, the Emperors of Austria and Russia, the
Princess of Wales, King Victor Emmanuel, the King of the Belgians, and the
Crown Prince of Germany."

The backs of these cards are of a deep blue colour of extreme lissage, having
on them printed in gold the royal arms of England, with those of Saxe-Coburg-
Gotha on a shield of pretence. Below is the double-headed eagle of Prussia,
with the George and Dragon on a shield of pretence. The whole is surrounded
with an ornamental design composed of oak-leaves, acorns, thistles, shamrocks,
and roses.

It is right to observe that as far as the idea simply of international playing-
cards is concerned, it had been previously illustrated by the French. See F. 58.

[3f X 2i m-l [Backs decorated.]

234 - ENGLISH.

CARDS WITH A SECONDARY PURPOSE.
EDUCATIONAL— INSTRUCTIVE.

E. 174.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Grammatical.)

SET of fifty-two numerals of the ordinary suits and honours.

The marks of the suits are relatively large, and placed at the
upper left-hand corner of each piece. The values of the pip-cards ar
indicated by large Roman numbers at the upper right-hand corners.
On the honours are busts of king, queen, and valet, mostly of different designs h
each suit, they are from engraved wood-blocks, are of inferior character in
respects, and remain uncoloured.

This series is intended to serve the purpose of teaching the rules of grammar,
as comprised in the four principal parts of " Lillie's Grammar." All the rules
and instructions are in the Latin language, and occupy in print of different sizes
the greater portion of each card.

Ten pages of descriptive matter and address in English precede the cards.
On the title-page is the inscription : " Grammatical Cards. Imprimatur. June
1, 1676. J. Jane. London. Printed for S. Mearn and A. Clark, and are to be
sold by J. Seller, at the Hermitage Stairs in Wapping, and J. Hill, in Exchange
Alley, 1677."

Then follows the dedication and address : " To all ingenious gentlemen, the
perusers of these Sciential cards." The gentlemen have advice addressed them,
based on the following quotation from Plutarch: "Proinde recte monebat Plato
ut neque corpus exerceremus sine animo neque animum sine corpore, sed veluti
conjugii cujusdam Eequilibrium teneremus corpori." This address is signed
" yours, T. B." Next comes " A short tract tauching (sic) the use of these
Grammatical cards," in which the reader is assured that " All games may be
played thereon with witty jests, sweet flowing Latine and great understanding."
" In fine and to conclude all briefly, the use and practise of them shall perform
more than I will or can speak in praise of them."

The suit of spades teaches " Orthographia," that of clubs " Etyinologia,"
hearts " Syntaxis," and diamonds " Prosodia." Below the bust of the smiling
knave of spades is inscribed, " Mel in ore, Orthographia. Cavendum est ab iis
vitiis quae vulgo propria videntur, viz :

Iocatisimus. Lit. 1. nimia extensio.

Lambdacismus. Lit l. nimis operosonus.

Ischnotes. Loquendi exilitas.

Traulismus. Oris hesitantia.

Plateasimus. Vocis crassa et rustica expressio.

Below the knave of clubs is " Omnium horarum homo, Etymologia," &c. &c.
On the knave of hearts is " Syntaxis," " Grata Novitas," and the names of the
" Dictionis sex " and " Constructions 8," the " figura novata arte aliqua dicendi
forma." The knave of diamonds bears " Prosodia. Palinodiam Canit," &c.

Of- X 2f- in.] [Backs plain.]

EDUGATIONA L—INS TB UG TI VE. 235

E. 175.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Grammatical.)

ORTY cards from a numeral series of fifty-two pieces of the usual suits
and honours.

The cards wanting are the four of spades, king and five of hearts,
the king, three, four, six, seven, eight of clubs, and the king, ace, and
ten of diamonds.

This imperfect sequence is a duplicate of the set last described, E. 1 74,
wanting the introductory descriptive pages. In place of the latter is a supple-
mentary card, having on it the following inscription : —

" These cards are ingeniously contrived for the comprising the general rules
of Lillie's Grammar, in the four principal parts thereof, viz. Orthographia,
Prosodia, Etymologia, and Syntaxis, thereby rendering it very useful to all Per-
sons that have already the Latine Tongue, for the recollecting their memories, and
also for the better Improvement of such as have made some beginnings in the
study thereof, besides the Divertisements they afford in all our English games as
other common cards.

" Advertisement.

" These grammatical, as also the geographical cards so ingeniously contrived for
improvement of Geography, with any sorts of maps both great and small, and
Atlas's both for sea and land, and all the Maps, Charts, Books, and Atlas's made
by John Seller, the king's Hydrographer, are sold by John Hills, Stationer, in
Exchange Alley, near the Royal Exchange in London."

[3f X 2i in-] [Backs plain.]

E. 176.

EIGHTEENTH CENTURY. .

LONDON.

(Arithmetical.)

PACK of fifty-two numeral card-pieces of the ordinary suits.
This series is made subservient to arithmetical instruction.
In the upper right-hand corner of each piece is a reduced repre-
sentation of a particular card of the usual design. On the remaining
portion of the piece an arithmetical question is proposed and the sum worked out
in detail. The whole is enclosed in a frame-like border.

The ace of diamonds, which commences the series, has on it the " numeration
table," and a " duty stamp (?) " in red. Below is the inscription, " This table shows
how to express properly the true value of any number whatsoever whether it be
written or named."

The ace of hearts illustrates the " Substraction of Cloth Measure," the ace of
spades the " Reduction of Money," and the ace of clubs the " Reduction of Cloth
Measure." The knave of clubs, the last card of the series, works out " Question 5 " in
" Practice." The whole sequence is thus made to include the arithmetic of addition,
subtraction, multiplication, division, reduction, the rule of three, and practice.

These cards are, as respects both designs and text, impressions from neatly
engraved copper-plates.

[3 1 X 2 J- in.] [Backs plain.]

236

ENGLISH.

E. 177.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

SERIES of thirty-one card-pieces from a numeral set of fifty-two
the ordinary suits.

This sequence is more like a shopkeeper's illustrated catalogue
mathematical instruments than anything else." More than 2i inches
of eiach piece is occupied by a neat engraving from copper of persons engaged in
the use of various astronomic, mathematic, and other scientific appliances. At
the upper right-hand corner of each piece is the diminutive representation of ai
ordinary playing-card, similar to E. 176. On a shield to the left of the small
card is the name of the instrument represented in use below. At the lower
portion is a description of the design above. Thus on the six of clubs is " baro-
meter," on a shield above four standard barometers, backed by numerous
enquiring personages. Below is inscribed : " An instrument shewing the gravito
tion of ye Air (invented by Torricellus) being altered by the different compres-
sions of ye Atmosphere it foretells ( $ riseing) Fair or Frost ( § falling)
Snow, Wind, or Storms."

The first card of the series is the king of clubs, which bears the following :

" These cards, globes, spheres, mathematical Books, and instruments for Sea
and Land, with many other curiositys in Gold, Silver, Steell, Brass, Ivory, and
Wood, and the best Charts, Maps, and Prints at ye King's Amies and Globes at
Charing Cross, and against the Royal Exchange in Cornhill, by Tho. Tuttell,
Mathematical Instrument maker to the King's most excellent Majesty, where are
taught all parts of the Mathematics."

Above this account are the arms of England with the motto, " Je maintien-
dray ;" from which it may be concluded that the series was published during the
reign of William III.

On the ace of spades is a list of " Books and Instruments for Navigation."

Chattohas the following remarks : — :" In the reign of Charles II. or James II.
was published a pack of mathematical cards by Thomas Tuttell, ' Mathematical
instrument maker to the king's most excellent Majesty.' These cards were
designed by Boitard, and engraved by J. Savage, they represent various kinds
of mathematical instruments, together with the trades and professions in which
they are used. They were evidently * got up ' as an advertisement. A few
years afterwards Moxon, also a mathematical instrument maker, followed suit."
(Bibl. 4,p. 155.)

These cards are neatly designed and executed. See postea, E. 222. MS.
Depart. Harleian MSS. No. 5947, fol. 6.

[3t X 2f in-] [Backs plain.]

E. 178.

LAST QUARTER OF SEVENTEENTH CENTURY.
LONDON.

(Geographic.)

SERIES of fifty-two numerals of the ordinary suits. These cards
are intended to convey geographical information. The greater portion
of each piece is occupied by a geographical account of various
countries, a systematic classification of which is given in a tabular
form on the ace of each suit. At the left-hand upper corner of each card is the

EDUCATIONAL— INSTRUCTIVE.

mark of the suit, and at the right-hand upper corner is the valne of the card in
Roman numerals, while a small Arabic number is below the mark itself. Each
coate-card has a bust within a circle at its upper portion. In the case of the
kings there is a crown on the right of the circle, the mark of the suit being on
the left. The king of clubs represents John IV. of Portugal for Brazil, the
queen Elizabeth for English Plantations, the knave a cannibal for Caribee
Islands. The king of diamonds is Vanlie for China; the queen Statira for
Persia, the knave a janissary for Turkey in Asia. The king of hearts is Charles
II. for the British Isles, the queen Rhea Silvia for Spain and Portugal, the
knave a Greek for Turkey in Europe. The king of spades is Zaga Chris for
Ethiopia, the queen Candace for Nubia, the knave is a Negro for " the country
of the Negros or Blacks."

The ace of clubs is the first piece of the series, and has on it a table of the
divisions and subdivisions of Septentrional and Meridional America. Above the
table is marked Lat. N. 80, below Lat. S. 54, Long. W. 235, Long. E. 350.

This sequence was known to Taylor, who notices it at page 195 (Bibl. 9.) He
gives the following note in reference to the king of spades, Zaga Chris. "See
' Une Relation Veritable de Zaga-Christ, Prince d'Ethiope,' in a curiously illus-
trated work called ' La Terre Sainte, 4to., Paris, 1 664.' "

The medallion busts on the figure-cards are coloured.

[3 1 x 2 J- in.] [Backs plain.]

E. 179.

THIRD QUARTER OF SEVENTEENTH CENTURY.

LITTLEBURY, ESSEX.

(Geographic, &c.)

^ORTY-ONE card-pieces from a series of fifty-two numerals of the
usual suits. The ace, two, and ten of spades, the two, three, seven,
and king of diamonds, the six, seven, and queen of clubs, and the
ten of hearts are wanting.

This set is intended to afford instruction in geography and ethnology. Each
cai'd-piece has a descriptive account of one of the states of the four quarters of
the globe. On the upper part of the card is the symbol and value of it, or the
name of the honour, supported by two figures representing the inhabitants of a
particular portion of the world. Between these figures and as a background is a
landscape or view of some town. The lower half of each piece is occupied with
a general account of the place and persons represented above.

The ace of hearts appears to have been intended as the first piece of the set,
since it has the address of " H. Winstanley, at Littlebury, Fecit " on it, below the
descriptive account of Europe, which is as follows:

" Europe is the least of the four parts of the world, and yet it is not much
inferior to any at this present, for containing many nations, most polished and
ingenious where arts and sciences flourish and are cherished, trading abounding
and conversation without danger." Shee may boast her riches, fruitfulness, and
stately towns and palaces, but above all in that the Christian religion is wholly
professed in her bounds, whereas the rest of the world is for the most part
ignorant of a true Deity, but what they learn of Christian colonies that have
seated themselves amongst them, to force as it were a tribute of the best of all
that Europe can be sayd to want ; of which nations the situation, the chief citys
and habits, and religions, and fruitfulness, &c. see the following cards for all the
world. Europe is distinguished with roses, Asia with suns, Africa with moons,
and America with stars."

238

ENGLISH.

The king of hearts represents London and the English, and bears the dut
stamp in red. On the king of spades are "Tangier and the Tingitanians," ontl
king of clubs "James Town and the Verginians," while on the knave of hearts
are " Rome and the Italians," and on the knave of diamonds "Babylon and the
Babylonians." .These card-pieces are from neatly engraved copper-plates, ar
are uncoloured.

X 2i in.] [Backs plain.]

C3t

E. 180.

THIRD QUARTER OF NINETEENTH CENTURY.

SERIES of fifty-two card-pieces of the usual suits. A preliminary
card of information accompanies the set, which is composed, we are
informed, of " Instructive Playing-cards. The object of these cards is
to convey instruction while seeking amusement. To play the game
of stops, &c. The cards may also be used for any other game known."

In the game of stops a pool with counters is necessary, and " whoever holds
the ace of diamonds and plays it, wins the pool."

Each card has its mark and value printed double and in reverse, as also an
account of the object under description. Thus "Ace of diamonds" is printed in red
at the upper part of the card, below which may be read : " Diamonds were formerly
called adamant." On the same card in reverse are the words, " Ace of diamonds ; "
diamonds are the most costly of gems." Below the nine of diamonds are the
words " The nine of diamonds is called the ' Curse of Scotland ; ' " l in reverse,
" There are thirty-three counties in Scotland." On the seven of spades is printed
" Side-saddles were first used in England in 1 380," and in reverse, " Saltpetre
was first made in England in 1625." On the three of hearts may be read "Hans
Holbein, historical and portrait painter, died in 1 554," in reverse, " Hogarth,
the painter and engraver, died in 1 7 64."

It may be observed that the information intended to be conveyed is of the most
opposite and varied kind. The coate-cards are without designs, the titles king,
queen, and Jack being used instead.

The title of the wrapper accompanies the set, the following inscription being
printed in black and red on a rose-coloured ground : " Moral and Instructive
Playing-cards. Amusement and information combined. London : Dean and
Son, Ludgate Hill." At each corner of the title is a mark of one of the four suits.

[2} X 2f in.]

[Backs plain.]

E. 181.

SECOND HALF OF EIGHTEENTH CENTURY.
LONDON.

^ORTY-NINE card-pieces from a series of fifty-two numerals of the
ordinary suits.

The cards absent are the seven of diamonds, the king of spades,
and the nine of clubs. At the upper part of each card is the mark of
the suit, and the value in Roman numbers of the particular piece. Below, and
occupying generally more than half of the card, is a whole-length allegorical
figure, with emblems in a circle, followed by a description of the symbolical de-

See Chatto, p. 266.

EDUCATIONAL— INSTRUCTIVE.

sign. The honours are not otherwise distinguished than by having the words
king, queen, knave at the upper left-hand corner of the card.

The ace of hearts has on it, within the circle, an emblematic figure of Religion ;
below which is the following account : —

" Religion.

" A woman veiled, a Book in her right, and a flaming fire in her left hand.
The Veil informs us that Religion has its mysteries. The Book expresses the
Divine Law, and the flaming Fire the utmost ardency of Devotion."

On the knave of clubs is an emblem of Deceit, described as " a monstrous old
man, with tails of serpents twining instead of legs ; three hooks in one hand, a bag
of flowers with a snake issuing from it ; and behind him, a panther hiding his
head, and shewing his beautiful back.

"His Humane shape and Flowers denote his specious pretences; the Serpents'
tails, the Hooks, and the Snake, his villanous intentions ; the Panther hiding his
ugly head, his Subtelty."

The figure designs are from engravings on wood ; some of those in the suits
of hearts and diamonds being of a superior character. Both text and designs in
these suits are printed in red.

[3f X 2i in-] [Backs plain.]

E. 182.

EIGHTEENTH CENTURY.
LONDON.

'WO large sheets of card-pieces, each slieet containing twenty-six
pieces. Of the latter there are four rows, of six in each'row, and two
in a middle row. The lower row in each sheet is appropriated to the
honours, the other rows to the point numerals.
There are not any marks of suits present. The impressions are from neatly
engraved wood-blocks, scarcely more than in outline, and are uncoloured.

The series is intended to serve the purposes of instruction, but the designer
does not seem to have been overburdened himself with that which he desired to
bestow on others : for example, on a three pip-card in the central row of sheet l,
is inscribed within an oval in the centre :

" These cards was truely well designed
To ground all Letters in youths minde."

On the adjacent four pip-card may be read:

" Both youth and age may learne hereby
All sorts of Letters speedily."

On an ace in the central row of sheet 2 is :

" These cards are good, well understood ;"

while on the adjacent two we are told :

" Her's Criscross Row for thee to know
Thy Letters all both greate and small."

Below on a ten is :

" These cards may be a Scoole to thee
If you deserne what you may Lerne."

240 ENGLISH.

The subjects intended to be taught are the letters of the alphabet, in their
black-letter, Roman, and italic forms, a few words of one syllable, and some moral
axioms worthy of remembrance by the card-player.

Each point numeral has a large central oval, surrounded by ornamental wc
generally of a floral character, but occasionally birds and butterflies are intro-
duced. On the third row of the second sheet human figures, of a fanciful or poetic
kind, may be seen.

In the central ovoid spaces are upper and lower-case examples of the hit
of the alphabet in three forms, viz. S£s, Aa, Aa.

Above the oval is a square space, at the left-hand corner of which the yj
of the piece is indicated in Roman figures, room being reserved towards the right
for the mark of the suit, here absent.

On four pieces of the fourth row of sheet l are the words: Ab, eb, ib, ob, ub,
and so on, there being five words of one syllable in each oval.

The ovals on the honours contain moral axioms, like the following on
sheet 2 : —

Knave. — " A gamester that doth play for game,

Is but a knave and that is plaine."
King. — " Play faire Do not sweare,

From Oaths forbeare."
Queen. — " Cards may be used but not abused

And they used well all games exell."
Knave. — " Play not for Coine in these regards,

Men loose and then they curs the Cards."

On a king on sheet 1 may be read :

" When these cards are understood,
You'l say that my design is good."

In the lower rows, or coate-cards, the Roman numbers in the square spaces
above the ovals are displaced by half-length figures of king, queen, and knave, the
titles of which are given below. •

[3f X 2i in.] [Backs plain.]

BIOGRAPHIC— HISTORIC.
E. 183.

FIRST QUARTER OF NINETEENTH CENTURY.

LONDON.

(Baker's Eclectic Cards.)

PACK of fifty-two numerals, having as marks of suits swords {spata),

hearts, glands (acorns), and diamonds.

The figure cards are king, queen, and knight, and represent

historic personages in assumed costumes of their times, the marks of
their suits being distinctly indicated at one of the upper corners of the cards.
The marks of the suits are large and plain in all the pip-pieces, but particularly
so in the aces and lower cards.

The sword or spata is a broad, double-edged one. The heart is larger on its
left than on its right side, which is under-cut towards the apex, and is pierced
longitudinally by an arrow in the ace. The diamond is a lozenge divided into

BIOGRAPHIC— HISTORIC. 241

four smaller lozenges, while the gland is an acorn) in the ace pedieled, and having
diminutive acorns and oak-leaves bi-laterally. All the pip-cards have the margins
ornamented with floral designs, those on the right-hand side of the piece being
emblematic of the country which the suit is intended to represent. On the suit
of swords, which represents Wales, there is a leek on the right and mistletoe on
the lower edge of the card. On diamonds, typifying Scotland, is a thistle. On
hearts, implying Ireland, a shamrock ; and on glands (acorns), by which England
is represented, there are oak-leaves and roses. On each ace are the letters " B.
& C°."

A supplementary card introduces the series. On it is inscribed — " Baker &
Co'8. Eclectic Cards. In England, Ireland, Scotland, and Wales. Sold Wholesale
and Retail at their Manufactory, No. 2. King Arthur or New Card Court, York
Street, Black Friars Road, London. N.B. To be had of all Respectable
Stationers in the United Kingdom."

Above this inscription is a whole-length figure of Sir John Falstaff, con-
tained in an octangular frame, within the angles of which, at the upper and lower
portions, are the marks of the four suits.

Accompanying this series is a pamphlet of twelve pages, the title page of
which bears the following : — " A short account of Baker and Co.'s Complete,
Grand, Historical, Eclectic Cards, for England, Ireland, Scotland, and Wales,
being a selection or an Eclectic Company of Twelve of the most eminent per-
sonages that ever distinguished themselves in those respective Countries for
Heroic Deeds, Wisdom, &c." ; and the other forty cards descriptive of the local
and national emblems of the four nations.

" Historian, Poet, Painter, all combine

To charm the eye, the taste and mind refine ;

Fancy and sentiment their aid impart

To raise the genius and to mend the heart."

" Price, third class, 1 5& ; second class, 1 *]s. 6d. ; first class, 20*. London.
Printed by Theodore Page, Blackfriars Road. 1 8 1 3."

Then follows the dedication : — " With most humble submission to every re-
spectable person in the British Empire." After which is the description of
" Baker's and Co.'s complete, grand, Imperial, historical, eclectic cards for Eng-
land, Ireland, Scotland, and Wales, which are designed, drawn, engraved, and now
finished at a very great expense by some of the most eminent artists in England,
being copper-plate engravings, beautifully executed, and pencil-coloured, upon
an entire new and elegant plan, especially intended for the circles of taste and
fashion, and peculiarly calculated for the encouragement of youth to study the
interesting history of their native country.

" In the selection which we have made to form our set of court-cards, we
have, as we before observed, chosen them from among those characters who have
rendered themselves most conspicuous in the history of the United Kingdom. In
this particular we have had recourse not only to historical truth, which we have
rigidly observed, but we have taken care to fix upon personages who lived at
different periods, and which are calculated in colour, variety of dress, and
characteristic features, to form an agreeable and elegant contrast, and to avoid
that unpleasant monotony which must have taken place if they had all been se-
lected from the same period of time, and it will be a peculiar gratification to us
in our attempts to form a set of cards should we contribute in the smallest degree
to augment the elegant and rational amusement of taste and fashion.

" Nor have we been inattentive to minor objects in our anxiety to complete the
plan. We believe it has never been attempted to be explained why the coarse
and vulgar appellation of knave was originally given to the card next in degree
to the queen. Perhaps the following demonstration is the most plausible way in

242 ENGLISH.

which it can be accounted for. It was usual with kings in ancient times to choose
some ludicrous person, with whose ridiculous and comical tricks they might be
diverted in their hours of relaxation from the cares and formalities of royally.
Tin's person was generally chosen from among men of low condition, but n<
wholly destitute of talent, particularly in that species of low cunning and humour
calculated to excite mirth and laughter, and the tricks of knavery (in which he
was allowed free indulgence in the presence of the king) gave him the appellatic
of the king's fool or knave.

" Whether this explanation be really the origin from whence the knave in tl
old cards is derived may still remain undetermined, but it appears to us the m<
rational way of accounting for it. Nor is it, indeed, essential to our pi
purpose. The name of knave, in our opinion, is vulgar, unmeaning, and raccn
sistent, and being, moreover, absolutely incompatible with the dignity of 01
characters and the uniformity of our plan, we have entirely rejected it and sul
stituted a knight in its stead, this being a title of honour not only in immediate
succession to that of king and queen, but is ever considered as an honourabl
appendage to royalty itself.

"And as we have now restored that most ancient and most honourable order
of the Knights of the Round Table, under its great patron and founder Prince
Arthur of immortal memory, the great champion for chivalry, religion, and liberty,
the Briton's king and emperor, we here insert a list of this our first installation,
with a brief account of their history, and cause of selection.

" Persons, or the Eclectic Company of Knights.

" For England.

" King of clubs (glands) — Arthur, the great and victorious hero, king of
Britain.

11 Queen of clubs — Elizabeth, the wise and virtuous queen of England.

" Knight of clubs — Sir John FalstafF, the facetious knight, and companion of
Henry V., knight of England.

" For Ireland.

" King of hearts — Gathelus, the Grecian prince, king of Ireland.
" Queen of hearts — Scotia, his wife, the Egyptian princess, queen of Ireland.
" Knight of hearts — Ossian, the warrior and poet, son of Fingal, knight of
Ireland.

" For Scotland.

" King of diamonds — Achajus, the fortunate contemporary and in alliance with
Charlemagne, king of Scots.

" Queen of diamonds — Mary Stuart, the unfortunate dowager-queen of
France, and queen of Scots.

" Knight of diamonds — Merlin, the magic prophet, cabinet counsellor to
Vortigern, Aurelius Ambrosius, Uter Pendragon, the father of King Arthur,
and to King Arthur who was his pupil, knight of Scotland.

uFor Wales.

" King of spata — Camber, the third son of Brute, king of Cambria.

" Queen of spata — Elfrida, the beautiful queen of Mona and of the moun-
tains.

" Knight of spata — Thaliesson, the Welsh bard and poet, dressed like a
herald or king-at-arms of the divine and ancient Druids, as he sung to King
Henry II. of the great deeds of Arthur, the justly-termed hero of the British
Isle, knight of Cambria.

" A description of these twelve plates and the history of them ; also an
account of the emblems and wreaths of the numerical cards, with our reasons for

BIOGRAPHIC— HISTORIC. 243

appropriating the different suits to the different nations, and for altering the pip
or numerical cards by substituting the acorn, which is the offspring and seed of
our invulnerable oak, for the black mark denominated club in the old cards.
Also for producing the true representation of the real spata, which is not a coal-
heaver's spade, but a two-edged heavy sword without a point, as used by the
ancient Britons to fight with, cut, hew, and slash down either enemy or tree.
So says our ancient history.

" The alterations in the hearts and diamonds are equally beautiful, both in
form and colour. To the history is added a new and most interesting game,
called ' Courtship and Wedding,' in which is shown the absurdity of many of the
words and terms now used at cards which ought not to be heard in genteel
company."

Chatto had cognizance of this series, of which he observes (p. 261) : —

" These cards, which are considerably larger than those in common use,
display considerable skill and fancy in the designs, and are beautifully coloured."

These card-pieces are of a very stiff and stout character.

[4^ X 2f in.] [Backs plain.]

POLITICO-HISTORICAL.
E. 184.

Manuscript Department, Harleian MSS. No. 5947 (5 1 . F.)

Bagford Collection.

'HIS volume of the Harleian MSS., forming part of the "Bagford
Collection," contains some curious and interesting " cuttings " and
advertisements connected with playing-cards. Among the adver-
tisements is one having immediate reference to the particular class
of playing-cards to come under immediate notice.

On the verso of folio five is " An advertisement concerning a new Pack of
Cards," which would seem to have appeared in more than one newspaper of the
latter part of the year 1679.

From which paper John Bagford's example was cut we do not know. Taylor
refers (p. 168) to the first number of " Mercurius Domesticus " for December
19th, 1679, as containing a modified form of the advertisement. We have met
with it, however — as will be shown presently — as early as October 21st, 1679,
in the thirty-first number of the " Domestic Intelligence." Bagford's copy runs
as follows : —

" There is newly published a Pack of cards, containing a History of all the
Popish Plots that have been in England, beginning with those in Queen Eliza-
beth's time, and ending with this last damnable plot against his. sacred majesty,
King Charles the Second, whom God long preserve ; wherein are an exact
account of the Spanish Invasion of 1588, the manner of their attempting Eng-
land, and their being almost all burnt and taken by Sir Francis Drake. The
conspiracy of Dr. Parry to kill Queen Elizabeth, his confessing the design upon
his Tryal, and his Papist-like denying it at his Execution. The History of the
horrid Gunpowder plot to blow up the King, Lords and Commons, when they
were all sitting in the Parliament House ; the manner of its discovery by a letter

244 ENGLISH.

sent to the Lord Monteagle, the Papists rebelling upon it, their being routed,
and the Tryals and Executions of the several accomplices. And lastly, a true
account of this present hellish plot against the life of his Present Majesty, the
murdering of Sir Edmondbury Godfrey, the several meetings, Tryals and Execu-
tions of the Traytors, with all other material passages relating thereto. All of
them so contrived that a child that can but read English will be acquainted with
a chronicle for above loo years past of all the bloody purposes and devilish
designs of the Papists against the Protestant Religion and the true Professors of
it, all excellently engraved on copper-plates, with very large descriptions under
each card. The like not extant.

" Some persons that care not what they say so they can get by it, lying being
as essential to them as eating, for they can as soon live without the last as tin;
first, have endeavoured to asperse this Pack by a malicious libel intimating that
it did not answer what is proposed : the contrary is evident to any person that
shall peruse them, there being not one material passage in any of the above
mentioned plots, but is neatly engraven and exactly described in writing to the
great satisfaction of all who have seen them. But malice must shew itself most
where the least reason, the aspersors of this Pack do plainly show themselves
Popishly Affected in that they would not have the English World know that the
Papists have been always as well as now ennemies to the Protestant Religion.

" They are to be Sold by Randal Taylor near Stationer's Hall and at the Harrow
in Fleet Street, at the Three Bibles on London Bridge, at the Feathers at Pope's
Head Alley, and in Cornhill at the Ship in S'. Pauls churchyard, at the Three
Flower-de-Luces in Little Brittain and at the Bell in Duck Lane and by most
other Booksellers. The price of each Pack is one Shilling."

During the year 1679, there was published in London among other news-
papers the " Domestick Intelligence or News both from City and Country. Pub-
lished to prevent False Reports," and also " The True Domestick Intelligence
or News both from City and Country. Published to prevent False Reports."
In one or other, and sometimes in both of these papers, during the months of
November and December, some advertisements connected with the subject of
politico-historical cards occur, and which merit particular notice here.

The first advertisement we have met with — as before remarked — is in No.
31 of the "Domestick Intelligence" for Tuesday, October 21st, 1679. This is
frequently repeated, and does not need repetition here.

In No. 35 of the " True Domestick Intelligence" for November 4th, 1679,
is the following : —

" The Horrid Popish Plot lively represented in a Pack of Cards Printed for
Jonathan Wilkins and Jacob Sampson."

In No. 50 of the " True Domestick Intelligence" for December 26, 1679,
occurs this advertisement : —

" There is lately published a new Pack of Cards neatly cut in copper, in
which are represented to the life the several consults for killing the King and
extirpating the Protestant Religion, the manner of the murthering Sir Edmond-
bury Godfrey, the Tryals and Executions of the Conspirators, and all other
material designs relating to the contrivance and management of the said horrid
Popish Plot, with their attempt to throw it on the Protestants. These have
something more than the first have, and yet nothing left out that was in them nor
any old impertinent things added. Printed and sold by Robert Walton at the
Globe, on the north side of St. Paul's Churchyard, near the West end, where you
may have a pack for eightpence of the very best, you may have them in sheets
fit to adorn studies and houses. There is likewise a broadside with an almanack,
and some of the aforesaid pictures about it, which may not unfitly be called the
Christian Almanack fit for Shops, Houses and Studies. Sold as above said, the
price Sixpence."

This was repeated in No. 53 for January 6th. 1680: —

POLITICO -HISTORICAL. 245

Mr. Chatto, who was acquainted with the copy of the advertisement pre-
served by Bagford, and before given, thus comments on it (p. 1 53) : —

" In a ' puff collusive,' l forming a kind of postscript to this announcement,
approbation of these cards is thus indirectly made a test of staunch Pro-
testantism.

" Such a pack of cards as that announced in the advertisement referred to —
containing an history of all the popish plots that have been in England, begin-
ning with those in Queen Elizabeth's time — I have never seen, and from the
objection which was made to it at the time, namely, 'that it did not answer what
was proposed, I am inclined to think that it was the same pack as that which
relates entirely to the pretended Popish Plot of 1678s, and the murder of Sir
Edmondbury Godfrey."

Certainly the British Museum collection of playing-cards does not contain
any single pack illustrating all the events and plots above mentioned, but it has
several distinct series of cards referring to many of them. Thus, it has a pack
relating to the Spanish Armada, one in connection with the " Popish Plot," and
other sequences illustrative of the " Rye House Plot," the victories of Marl-
borough, and events of the Reign of James II., with the arrival in England of
the Prince of Orange. The Rebellion of 1698, and the story of Dr. Sacheverel
are likewise portrayed.

In order that those persons who may refer to these politico-historical cards
in the national collection, may have at hand a ready key in the catalogue to their
descriptions and devices, it has been deemed advisable to supply here a succinct
account of the various events and plots which the series of cards in question
illustrate. As Locke elegantly expresses it : " The pictures drawn in our minds
are laid in fading colours, and if not sometimes refreshed, vanish and disappear."
("On Human Understanding," b. ii. ch. 10.)

HISTORIC INTRODUCTION.

URING the Parliamentary Session of 1584-5 a stringent
law was passed relative to Catholics. All Jesuits and
secular priests were ordered to quit the kingdom
within forty days ; those remaining after that time were
to be held guilty of treason, and such as harboured or relieved them
guilty of felony. All students at foreign Catholic seminaries were
to return home within six months, or be considered treasonable if
not doing so, and those who supplied them with money were to be
liable to a prcemunire. This bill was strongly opposed by one
William Parry, a Doctor of Civil Law, who declared " the bill
savoured of treason, was full of blood and danger, of despair and
terror to the English subjects of this realm, and spoke with so much
passion and vehemence that he was committed to custody/'' (Old-

1 " The puff collusive is the newest of any, for it acts in the disguise of de-
termined hostility. It is much used by bold booksellers and enterprising poets."
" The Critic," act i.

The "puff collusive" was not an invention of Sheridan's time, but merely the
revival of an old trick.

246 ENGLISH.

mixon, vol. i. p. 520.) Being commanded to give his reasons foi
what ho said, he obstinately refused, unless before the Privy Coun-
cil. Upon his submission after a few days' time he was re-admitted
to the House of Commons. Scarcely at liberty, however, than Ed-
mund Nevil (who claimed the inheritance of the fugitive Earl
Westmoreland, lately dead in Flanders) accused him of conspirii
against the Queen, and upon this ho was committed to the Tower.
Parry's confession was in substance as follows. We follow
Keightley, " History of England/' v. ii. p. 220.

He was in the Queen's service from 1570 to 1580, when having
attempted to kill a man to whom he was in debt, and having ob-
tained a pardon, he went to Paris, where he was reconciled to the
Church of Rome. At Venice, some time after, he hinted to a Jesuit
named Palmio, that he had found a way to relieve the English Ca-
tholics if the Pope, or any learned Divines, would justify it as law-
ful. Palmio extolled the project (which was to kill the Queen) as
a pious design, and recommended him to the Nuncio. Letters of
safe conduct for Parry to go to Rome were sent by Cardinal Como.
Parry returned, however, to Paris, and there conversing with his
countryman Morgan, the agent of the Queen of Scots, he declared
himself ready to kill the greatest subject in England in the cause of
the Church.

" Why not the Queen herself?" said Morgan. But of this Parry
now had doubts, as Watts, an English priest, and Creighton, the
Scottish Jesuit, had assured him it was not lawful. The Nuncio
Raggazzoni, however, confirmed him in his design, and he received,
after his return to England, a letter from Cardinal Como, in the
Pope's name, recommending his project and giving him absolution.
He had communicated this letter to some at Court, and though he
had had several interviews with the Queen, he went on such occasions
always unarmed, lest he might be tempted to injure her, for such
was the force of his natural feelings.

A book which had been written recently by Dr. Allen, however,
had again confirmed him in his earlier resolution. He had hence
communicated it to Neville, and they had arranged their plans, but
Lord Westmoreland dying at the time, Neville, in hopes of obtaining
the family estates, had betrayed him.

Without/ stopping to inquire how far this confession was true or
false, " we will only observe," writes Keightley, " that the world had
just had a convincing proof that the Catholic party scrupled not at
assassination. On the 10th of July, 1584, the Great Prince of
Orange was shot by a man named Balthazar Gerard, who confessed
that he had been kept for some time in the Jesuits' College at
Treves by one of the brotherhood, who approved of his design and
instructed him how to proceed. Philip II. had set a large reward

POLITICO-HISTORICAL. 247

on the Prince's head, and his great general the Prince of Parma
sullied his fame by personally examining the qualifications of the as-
sassins who presented themselves." (Keightley, v. ii. p. 221.)

Oldmixon tells us that " Parry was condemned, as a traitor, to
be hanged, drawn, and quartered, and a gallows was put up in the
Palace yard at Westminster, near the Parliament House, to which
he was drawn through the City of London from the Tower, and
there executed on the 2nd of March.""

Spanish Invasion in 1588. — The execution of Mary, Queen of
Scots, in 1587, formed an excuse for the Catholic powers, under the
pretence of avenging her treatment, to attempt the overthrow and
destruction of Elizabeth and the Protestant faith. But it happened
that Philip II. of Spain was the only Prince who could, at the time,
venture openly to turn any true force against the Queen and her
kingdom. That designs against the latter were being made by
Spain was soon known, for, says Welwood, " Walsingham had in-
telligence from Madrid that Philip had told his council he had des-
patched an express to Rome with a letter in his own hand to the
Pope, acquainting him with the true design of his preparations, and
asking his blessing upon it, which, for some reasons, he would not
yet disclose to them till the return of the courier. The secret being
thus lodged with the Pope, Walsingham, by means of a Venetian
priest retained at Rome as his spy, got a copy of the original letter,
which was stolen from the Pope's cabinet by a gentleman who took
the keys out of the Pope's pocket while he slept."

On this becoming known in England, Sir Francis Drake went
out to Cadiz and other places and inflicted such damage on the
Spaniards that they postponed their intended invasion for a year.
Consequently, in 1588 was fitted out what was termed the " Invin-
cible Armada." " This boasted fleet," writes Oldmixon (v. i. p. 584),
"consisted of 150 sail, great and small, containing near 60,000 tons of
shipping, and had on board about 20,000 soldiers, 8,450 marines, 2,088
slaves, 2,630 great brass guns, &c. Farnese had ready to join them
13,000 foot, and 4,000 horse soldiers." Thus the Spanish army
when united would have consisted of about 37,000 men, horse and
foot. The Duke de Guise, to encourage the Spaniards, had brought
12,000 men to the coast of Normandy. These forces belonged to
the League, who could very ill spare them out of France. The
command of the Spanish fleet was designed for the Marquis of Santa
Cruz, but he dying soon after he had been punished the previous
year by Sir Francis Drake, the Duke of Medina Sidonia, a fresh-
water admiral, was appointed in his place.

Besides Philip's whimsical pretensions to the crown of England
he made use of another thing not more rational and solid than that,
to support him in his undertaking. This was a Bull of Pope Sixtus.

248 ENGLISH.

V., which he thundered against Queen Elizabeth, absolving her
subjects from their oaths of allegiance, and giving her kingdoms to
the first who should seize them. The Bull of Pope Gregory XIII.
was renewed also by William Allen, priest, to whom the Pope had
given a cardinal's cap, and sent him into Flanders to be nearer at
hand to England, and to stir up the Catholics there to rebellion by his
missionaries. Allen brought the Bull of Sixtus with him into tin
Netherlands, and wrote an admonition to the English to adhere
the Pope and the Spaniards. Upon York and Stanley's betrayin
their garrisons in the Low Countries to the Spaniards, Allen wrote
libel entitled, " Epistolse de Daventriae Ditione," wherein he highl
commended their treason, exciting others to do likewise, as the
were not bound to serve or obey the Queen, she being under ex
communication. Allen despatched several priests to Rowland York,
whose regiment of 13,000 men, English and Irish, needed them as
chaplains and confessors. He published his admonition under the
protection of Alexander Farnese, Prince of Parma, governor of the
Spanish Netherlands. To the latter Queen Elizabeth sent Dr.
Valentine Dale mildly to expostulate against the treasonable attempts
of Allen. Farnese pretended that he knew nothing of them, dis-
missing Dale without any satisfactory reply.

Nevertheless, while all these preparations were going on, the
Prince of Parma endeavoured to amuse and beguile Elizabeth with
negotiations for an amicable settlement of all difficulties between
England and Spain. But neither England nor her sovereign were
to be entrapped. At the beginning of November, 1587, orders had
been given to prepare resistance.

" All the men from sixteen to sixty were enrolled and trained by
the Lords Lieutenant of counties, who were directed to appoint
officers and provide arms. One army of 36,000 men under Lord
Huntsdon was to be assembled for the guard of the royal person ;
another of 30,000 men, under Leicester, was to be stationed at
Tilbury to protect the city. The seaports were required to supply
shipping according to their means. On this occasion the city of Lon-
don set a noble example ; being called upon to furnish 5,000 men and
fifteen ships, the citizens voluntarily pledged themselves to send
double the number of each. The royal navy consisted of but thirty-
four ships, but many noblemen fitted out vessels at their own
expense, and the whole fleet numbered 181 ships of all kinds,
manned by 17,472 seamen. The chief command was entrusted to
Howard of Effingham, Lord High Admiral of England; the three
distinguished seamen, Drake, Hawkins, and Frobisher, held com-
mands under him. The main fleet was stationed at Plymouth ; a
squadron of forty ships under Lord Henry Seymour lay off Dunkirk,
to watch the motions of the Prince of Parma." (Keightley, vol. ii.
p. 241.)

POLITICO -HISTORICAL. 249

After some hindrances to its progress, the Armada was seen on
the 19th of July, 1588, off the Lizard Point at Cornwall, by one
Fleming — a sort of Scottish pirate — who quickly conveyed the
news to Plymouth.

"The admiral got his fleet out to sea, though with great difficulty,
as the wind blew strong into the port. The instructions of the
Spanish admiral were to avoid hostilities till he had seen the army
of the Prince of Parma safely landed in England ; he therefore
rejected the advice of his captains to attack the English fleet, and
the Armada proceeded up the Channel in the form of a crescent, of
which the horns were seven miles asunder. The motion of the
fleet, the greatest that had ever ploughed the ocean, was slow,
though every sail was spread. 'The winds/ says Camden, 'being
as it were tired with carrying them, and the ocean groaning under
their weight/

11 The plan adopted by the English admiral was to follow the
Armada and harass it, and cut off stragglers. During six days, which
it took the Spaniards to reach Calais, the annoyance was incessant,
and several of their ships were taken or disabled, the superior sea-
manship of the English, and the agility and low build of their ships
giving them great advantage over the unwieldy galleons and galle-
asses. At length (27th) the Armada cast anchor near Calais, and the
admiral sent off to the Prince of Parma, requiring him to embark his
troops without delay. But this it was not in his power now to do ;
his stores were not yet prepared, his sailors had run away, and the
Dutch blockaded the harbours of Dunkirk and Newport. The
Armada itself narrowly escaped destruction. On the night of the
29th the English sent eight fire-ships into it; the Spaniards in
terror cut their cables, the English fell on them in the morning
when they were dispersed, and took two galleons, and the following
day (31st), a storm came on and drove them among the shoals and
sands of Zealand. Here, in a council of war, it was decided, as the
navy was now in too shattered a condition to effect anything, to
return to Spain without delay. But the passage down the Channel
was so full of hazard that it was resolved in preference to sail round
Scotland and Ireland, dangerous as that course appeared. The
Armada set sail, the English pursued as far as Flamborough Head,
where want of ammunition forced them to give over the chase.
Storms assailed the Armada in its progress, several ships were cast
away on the west and south coasts of Ireland, where the crews were
butchered by the barbarous natives, or put to the sword by orders of
the Lord Deputy. The total loss was thirty large ships and about 10,000
men." — "The Queen of England had shown throughout the spirit of a
heroine. She visited the camp at Tilbury (Aug. 9) , rode along the
lines on a white palfrey with a truncheon in her hand, and animated

250 • ENGLISH.

the soldiers by her inspiriting language. When the danger was
over, she went in state to St. Paul's to return thanks to Heaven.
She then granted pensions to the disabled seamen. She bestowed
her favours on the admiral and his officers, and she had actually
caused a warrant to be prepared, appointing Leicester to the office
of Lord Lieutenant of England and Ireland, but the influence of
Burleigh and Walsingham prevented her from signing it, and as
Leicester was on his way to Kenilworth after disbanding his
army he fell sick and died at Cornbury Park, in Oxfordshire
(Sept. 4) . The Queen lamented him, but she caused his goods to
be seized for payment of his debts to the Crown." (Op. cit. v. ii.
p. 243.)

The Gunpowder Plot. — In 1605, at the end of October, the
Lords of the Council became suspicious of a plot, which on the 4th
of November following was completely discovered by the Lord
Chamberlain, Lord Monteagle, and others, on examining the cellars
under the Parliament-house. These they found stuffed with billets,
fagots, and coal, from under which was finally brought to light thirty-
six barrels of gunpowder, and Guy, or Guido Fawkes was seized as
he was slipping out at the door of the cellar with a dark lanthorn,
tinder-box, and matches in his possession. By these and a slow
match he was soon to have fired the mine, to have escaped by a
small vessel then lying in the river, and have carried the news over
to Flanders.

Many of the conspirators in this plot, originally concocted by
Eobert Catesby, known to and agreeable to the Jesuit party, but
not, it is probable, to the Catholics generally, nor to the secular
priesthood, were convicted and condemned, and others were shot
while being arrested. Fawkes avowed and gloried in the design
contemplated, that, viz., of blowing up the Parliament-house with
all assembled in it.

The Great Plague and Fire in London. — In 1665 (5th year of the
reign of Charles II.) , during a period of great and long summer heat,
the plague ravaged London. About this time some " sham plots,"
as they have been termed, were supposed to have been discovered.
They were thought to have for their object the overthrow of the
Government in England, through means of the discontented Pres-
byterians and Republicans exiled in the Dutch States, and of others
secretly abiding at home. De Witt entered into correspondence
with Ludlow, Sidney, and other exiles for this purpose, Lord Say
and others forming a council at the Hague to correspond with
their associates in England. The result was that when Parliament
met at Oxford at the end of the year (1665) to grant supplies, an
Act was passed for attainting all British subjects who should con-
tinue in the service of the States.

POLITICO -HISTORICAL. '251

During the next year — 1666 — the " Great Fire" took place,
destroying 13,000 houses, 89 churches, and necessitating 20,000
persons to lie in huts or in the open air in the fields between
Islington and Highgate.

" It is not to be supposed that the real simple cause would
be assigned for this calamity. Incendiaries, it was averred, were
seen firing the city in various parts. Some laid it on the French,
some on the Republicans, but it was finally fixed on the general
scapegoat, the Papists, and the beautiful column raised by authority
on the spot where the fire commenced long

1 Like a tall bully lifted its head and lied '

in the inscription which it bore." (Keightley, Op. cit. vol. iii.
p. 125.)

The Popish Plot. — In 1678, while the kingdom was at peace,
what is known as the " Popish Plot " was discovered during
the recess of Parliament. As King Charles II. was walking in
the Park on the 12th of August, a person named Kirby, who was
accustomed to assist the King in his laboratory, approached him,
and said, " Sire, keep within the company, your enemies have a
design upon your life ; you may be shot within this very walk."
Kirby was placed under examination, the result being the arrest
of Dr. Tonge, or Tongue, the Rector of St. Michael's, Wood-street,
and the coming forward of Titus Oates, who had taken orders at
Cambridge, been indicted for perjury, had been a chaplain in the
Navy, charged with sodomy, and obliged to quit his ship. He
was appointed, nevertheless, one of the chaplains of the Duke of
Norfolk, became a real or pretended convert to the Catholic faith,
went over to St. Omer, thence to Spain, and had returned to
England just at this period. Previously to having Oates examined
before the Council, he was sent before a magistrate (Sept. 6th)
named Sir Edmond Berry (Edmondbury is wrong) Godfrey, when
he made oath to the truth of a narrative extending to eighty-one
articles. Before the Council, Oates (dressed in a clergyman's
gown) deposed to the following effect : —

1 { The Jesuits " (we quote from Keightley) ' ' had resolved by
all means to re-establish the Catholic religion in the British
dominions. They were organising a rebellion and massacre in
Ireland ; in Scotland, disguised s as Presbyterian ministers, they
were opposing episcopacy ; here they proposed to assassinate the
King, and then to offer the crown to the duke, provided he would
consent to hold it of the Pope, and aid in extirpating Protestantism ;
if not, ' to pot James must go/ was their expression. They had
abundant funds, having £100,000 in bank, £60,000 a-year in rents,
&c. Father Leshee (La Chaise), the French king's confessor, had

252 ENGLISH.

given them £10,000, and they were promised an equal sum from
Spain.

" In March last, two men named Honest William (Grove) and
Pickering (the last a lay-brother of the Order), were often directed
to shoot the King with silver bullets at Windsor, for which the
former was to have £1,500, the latter 30,000 masses, and on their
neglecting to do so William had been reprimanded, and Pickering
had received twenty lashes on his bare back.

" On the 24th of April there had been a great meeting of th(
Jesuits at the White Horse Tavern, by St. Clement's in the Stranc
to deliberate on the assassination of the King and two Benedictines
named Coniers and Anderton, and four Irishmen, whose names h(
knew not, were added to the former two. £10,000, and afterwards
£15,000, had been offered to Wakeman, the queen's physician,
to poison the King, and he had reason to believe he had undertaken
it. He had also learned since his return that the Jesuits had caused
the fire in 1666, on which occasion they had expended 700 fire-balls ;
and they would then have murdered the King, but they relented
when they witnessed his zeal and humanity. They had secured
amidst the conflagration diamonds to the value of £14,000; ten years
afterwards they had made £2,000 by setting fire to South wark ; and
they had now a plan for burning Westminster, Wapping, and the
shipping. Finally, the Pope had lately issued a Bull, appointing to
all the dignities in the Church of England, as the Catholic religion
was sure to triumph as soon as the King was taken out of the
way/'

Oldmixon, in his "History of England during the Reigns of
the Royal House of Stuart," observes, vol. i. p. 612 : —

li The Pope, in a congregation de 'propaganda fide, consisting of
about 300 persons, held about December, 1677, declared the King of
England's dominions to be part of St. Peter's patrimony, as forfeited
to the Holy See for heresy, and to be disposed of as he should think
fit. Cardinal Howard, nominal Archbishop of Canterbury, was
accordingly appointed Legate of England, to take possession of it in
the Pope's name; he was also to have 40,000 crowns a year augmen-
tation for the maintenance of his legatine authority.

' f Perrot was made Archbishop of York ; Corker, Bishop of London ;
Whitebread, Bishop of Winchester ; Strange, Bishop of Durham ;
Godden, Bishop of Salisbury ; Napper, Bishop of Norwich ; Lord
Arundel of Warder, Lord Chancellor of England ; Lord Powis,
Lord Treasurer; Sir William Godolphin, Lord Privy Seal; Edward
Coleman, Esq., Secretary of State ; Lord Bellasis, General of the
Army; John Lambert, Esq., Adjutant- General; Richard Langhorne,
Advocate-General.

" The lay officers had all commissions sent them ready sealed by

POLITICO -HISTORICAL. 253

Joannes Paulus de Oliva, Father-General of the Jesuits' Society,
residing at Rome, who was to give directions to the Provincial of
the Jesuits residing at London how to proceed in this affair. Pedro
de Jeronimo de Corduba, Provincial of the Jesuits in Spain, was to
assist with counsel and money, and misrepresent the actions of his
Britannic majesty to the Spanish court, which likewise was to be
done by a Jesuit confessor to the Emperor in relation to England
and that court. The correspondence for France was carried on
between Coleman and Father Terriers first, and afterwards Father
La Chaise, confessor to the French king/'

To revert to Keightley's history, it may be remarked that, though
Oates by his own account had feigned to be a convert, with the sole
purpose of discovering the secrets of the Jesuits, and betraying
fchem, though, as he said, he was so highly in their confidence that
numerous documents had been in his hands, he had not retained a
single one of them, and there was nothing but his bare assertion for
the truth of the almost incredible circumstances which he related.
His only chance, therefore, was that something of a confirmatory
character might be found among the papers of those persons who
were committed on his information. And here fortune stood his
friend. Notwithstanding that little trust can be attached to Oates'
assertions, the following passage in Burnet (vol. ii. p. 159) is worthy
of attention: —

" Tillotson told me that Langhorn's wife, who was still as zealous
a Protestant as he was a Papist, came off to him, and gave him notice
of everything she could discover among them, though she continued
a faithful and dutiful wife to the last minute of her husband's life.
Upon the first breaking out of the plot, before Oates had spoken a
word of commissions, or had accused Langhorn, she engaged her
son in some discourse upon those matters, who was a hot, indiscreet
Papist. He said their designs were so well laid that it was impos-
sible they should miscarry, and that his father would be one of the
greatest men in England, for he had seen a commission from the
Pope constituting him Advocate-General. This he told me in
Stillingfleet's hearing."

Among the persons accused by Oates was Coleman, the Duchess
of York's secretary. Though the son of a Protestant clergyman, he
had become a Catholic, and exerted himself greatly for the propaga-
tion of his faith. In connection with this endeavour he was in
correspondence with La Chaise, and his successor in office, St. Ger-
main. Hearing of the danger which threatened him from the state-
ments of Oates, he hid his papers, but forgot a drawer which contained
some correspondence carried on during 1674 and the following two
years. In one of the letters therein deposited he had written, " We
have here a mighty work upon our hands, no less than the conversion

254 ENGLISH.

of three kingdoms, and by that, perhaps, the utter subduing of a per-
sistent herosy which has a long time domineered over a great pai
of this northern world. There were never such hopes of succes
since the days of our Queen Mary as now in our days," &c.

In other correspondence Coleman alluded to the interests of tl
crown of England being inseparable from those of France and tl
Catholic religion, and describes the king as inclined to favour the
Catholics, but at the same time as being thoroughly venial.
Keightley observes, when we consider the language of Coleman, anc
add to it the other evidence we possess, we may venture to say that
the following assertion of Hallam is probably correct : " There was
really and truly a popish plot in being, though not that which Titus
Oates and his associates pretended to reveal ; but one alert, enter-
prising, effective, in direct operation against the established Protes-
tant religion in England. In this plot the King, the Duke of Yorl
and the King of France were chief conspirators ; the Romish priests,
and especially the Jesuits, were eager co-operators. " (" Constitu-
tional History," vol. ii. p. 570.)

It has been stated that Titus Oates made his first averments before
the magistrate, Sir Edmond Berry Godfrey. Though the latter was
a zealous Protestant he kept on good terms with the Catholics, and
warned Coleman of his danger. Nevertheless, he appears to have
become impressed with the belief that some trouble would befall him
on account of the matter in hand, telling Dr. Lloyd (the rector of
his parish) and Dr. Burnet that he had been informed he would "be
knocked on the head." To a person who inquired of him if he had
had any hand in taking the informations concerning the plot, he re-
plied in the affirmative, adding, " I know not what will be the con-
sequence of them, but I believe I shall be the first martyr."

On the 12th of October — a Saturday morning — not a month after
the interview with Oates, Sir E. Godfrey left his home, going to
various parts of the town. He was met in St. Martin's Lane by
persons of whom he inquired the way to Paddington Woods, and
was seen by others in Marylebone Fields and Soho. At one o'clock
he was seen in the Strand, was afterwards recognised in Lincoln's
Inn Fields, and a person supposed to be he was seen in Red Lion
Fields on the way to Primrose Hill, and finally in a field near the
latter eminence. He continued absent from home, however, which
" caused great uneasiness to his family and friends, and various
conjectures were made to account for it. Some thought he was
gone out of the way from his creditors, others gave out that he was
married, and 'that not very decently,' or that he was run away
with a harlot, but the more prevalent report was that he was
murdered by the papists. For some .days no account could be got
of him, but on Thursday evening (the 17th), as two men were

POLITICO-HISTORICAL. 255

going towards the White House at Primrose Hill, they saw a cane
and a pair of gloves lying on a bank by a ditch, and on searching
further they found in the ditch the dead body of a man, with a
sword run through him. His rings were on his fingers, and his
money was in his pocket. There was a double crease round his
neck, which was so limber that the face might be turned round to
the shoulder. The body was at once recognised to be that of the
missing Justice. A coroner's jury, swayed by the opinions of two
ignorant surgeons, brought in a verdict that he had been strangled,
and it was supposed that the assassins had run his own sword
through him that he might be supposed to have killed himself.
That the papists had done the deed was a point about which few
had any doubt, and those who had, thought it most prudent to con-
fine their suspicions to their own bosoms." (Keightley, Op. cit.
vol. iii.p. 170.)

According to Oldmixon (vol. ii. p. 614), the body was seen by
Drs. Lloyd and Burnet, the late Bishops of Salisbury and Worcester,
and their evidence tended to more than a suspicion that priests
were concerned in the murder, for "there were many drops of
white wax-lights on his breeches, which he never used in his house,
and since only persons of quality or priests use these lights, this
made all people conclude in whose hands he must have been. ;Twas
visible he was first strangled and then carried to that place."

A reward of £500 having been offered for the arrest of the
murderer of Sir E. Godfrey, a letter dated from Newbury was re-
ceived by the Secretary of State the day after the funeral, request-
ing that the writer of it — William Bedloe — might be arrested at
Bristol and conveyed to London. This was accordingly done, and
Bedloe examined on November the 7th in the presence of the King.
Bedloe said that he had seen the body of Godfrey at Somerset
House (the residence of the Queen) , where he had been smothered
between pillows by two Jesuits, and that he had been offered two
thousand guineas to help remove it. At a subsequent examination
he said that Godfrey had been inveigled into Somerset House
about five in the evening, and there strangled with a linen cravat.
But it happened that at that very hour the King was visiting the
Queen, that the place was full of guards, and the room in which he
said he saw the body was one appropriated to the Queen's footmen,
who were always in it. At first, too, he knew nothing of the plot,
but having read (Dates' narrative, his memory brightened, and he
called to mind many circumstances learned from English regulars
and other religious persons he had met on the Continent.

The fact is, Bedloe was, if possible, a greater liar than Oates.
Originally a servant of Lord Bellasis, he had travelled chiefly as a
courier over much of the Continent, had been guilty of many acts of

256 ENGLISH.

robbery and swindling, had been often the inmate of a prison, an(
had but recently come out of Newgate.

" The plain truth, however, appears to be that in this instance
the unfortunate Papists were perfectly innocent, and that Godfrey
died by his own hand. There was an hereditary melancholy in his
family, and for some days before his disappearance a strangeness
in his manner and behaviour had been observed. The apprehension
of being brought into some trouble on account of having taken the
deposition of Oates, probably led to the catastrophe. As by the
law the property of a felo de so was forfeit to the Crown, it was
the interest of his brothers to have it believed that he had been
murdered. The report, laying the guilt on the Papists, was traced
to them ; they kept back important evidence, and they dealt with
the coroner and the surgeons."

However, the result was that Lord Danby was impeached, Cole-
man, Grove, Pickering, and Ireland a Jesuit, were brought to tris
along with Hill, Green, and Berry, and all, with the exception
Lord Danby, were condemned upon the evidence of Oates, Bedloe
Prance, and Carstairs, and executed, though protesting their inne
cence, whether in the general plot or Godfrey's murder, to the last
Some time after, five Jesuits, Whitebread (Provincial) , Fenwick,Gavai
Turner, and Harcourt were condemned and executed ; then followe
Langhorne to share their fate. Sir George Wakeman, Croker,
Marshall, and three Benedictine monks were next tried, but were
acquitted by the jury, when the two chief and now baffled informers,
Oates and Bedloe, had the audacity to declare " that they would
never more give evidence in a Court where Scroggs presided/' and
actually exhibited articles against him to the Council (Keightley,
Op. cit.) The writer here referred to observes with justice that when
we consider how universal and strong was the belief in the plot,
and how artful the modes adopted by some profligate politicians to
exaggerate its activity, we shall find here as in the civil war grounds
for admiring the freedom from bloodthirsty characteristics of the
English people. Respecting the execution of the Catholic priests, for
instance, Sir William Temple has informed us that " upon this point
Lord Halifax and I had so sharp a debate that he told me if I
would not concur in points that were so necessary for the people's satis-
faction he would tell every body I was a Papist, affirming that the
plot must be handled as if it were true, whether it were so or no."

On the accession of James II. (1685) the tide turned completely
against Oates. He was indicted for perjury, thrown into prison,
convicted, sentenced to stand in the pillory five times a year during
his life, and to be whipped from Aldgate to Newgate, and thence to
Tyburn. Though he suffered considerably from the latter part of
his punishment, which was severely carried out, he recovered, re-

POLITICO -HIS TORI GAL. 257

gained his liberty, and found confiders, if not in his veracity, at least
in his services to faction, who procured him in the reign of William
III. a pension of £400 a-year for his life. T. Oates died in 1705.

Meal-Tub Plot.- — Dangerfield and Madame Cellier. — 1679-1680. —
While the various political intrigues connected with the Popish plot
and Titus Oates's affairs were going on, a man named Dangerfield
and a Madame Cellier, a midwife, started the idea of fabricating a
plot of the Presbyterians against the Government.

Madame Cellier introduced Dangerfield to Lady Powis, who pro-
cured him interviews with Lord Peterborough, and finally obtained
him communication with the Duke of York. The latter gave Dan-
gerfield twenty guineas, and secured for him an interview with
King Charles, from whom Dangerfield received forty guineas for the
information he had offered.

Dangerfield advised that revenue officers should be sent to the
lodgings of a certain Colonel Mansel, the intended quarter-master
of the future Presbyterian army, to search for smuggled lace. On
search being made treasonable documents were found concealed
behind his bed. But these turning out to have been only forgeries,
Dangerfield was committed to Newgate. While in prison he averred
that he had been bribed by the Catholics to invent the plot to
assassinate the King and Lord Shaftesbury. To confirm the truth
of his statements Dangerfield requested that Madame Cellier' s rooms
should be searched, where in a meal-tub might be found documents
which would prove the truth of his story. In such a place were
discovered papers seemingly confirmatory of Dangerfield' s state-
ments. Nevertheless, on the trials both of Madame Cellier and of
Lord Castlemain the juries declined to give credit to his assertions.

" The whole affair is as usual involved in mystery ; the Catholics
may have endeavoured to get up a counterplot, the Monmouth
party may have sought by means of a sham plot to cast odium on the
Duke of York. All parties at this time, in their anxiety about ends,
were but too indifferent as to means." (Keightley, vol. iii. p. 191.)

The Rye House Plot, 1683. — After the dissolution by King Charles
of the Parliament which had met at Oxford in 1681, the leaders of
the popular party began to confer seriously among themselves as
to what should be done in opposing the Government, should it
appear to aim at a despotic authority.

Shaftesbury was impetuous, and advised instant action, but this
was deemed inadvisable by the rest of the party, which resolved to
proceed with caution, and only after further deliberation.

Shaftesbury dying at the Hague in 1683, his old associates felt now
at liberty to proceed from words to action. A council, composed
of the Lords Monmouth, Essex, and Russell, of Howard, Algernon
Sydney, and John Hampden (grandson of the " great Hampden ") ,

258 ENGLISH.

was formed, for the purpose of arranging matters for a general rising.
But it would seem after all, that when the plot was discovered in the
summer of 1683, not anything very determinate or practical had been
consummated.

The discovery of this conspiracy, known as the " Rye House
Plot," was made as follows : —

u Rumsey, West, and other satellites of Shaftesbury used to hole
meetings of their own, in which there was frequent talk of ' lopping
the two sparks/ as West expressed it, that is, killing the King and
Duke. West spoke of doing it as they were going to or from the
play-house, then he said ' they would die in their calling/ There
was one Rumbold, an old officer of Cromweirs army, who had
married a maltster's widow, and thus become master of a house
called the Rye, near Hoddesden in Herts, close by which the Kin/
used to pass on his way to Newmarket. He happened to say how
easy it would be for a man to shoot the King at that place. West
caught at the idea, and hence the plot was named the ' Rye-house plot/

" In this case, also, although there was a real conspiracy, nothing
would seem to have been actually determined on, and things re-
mained in this state till the month of June, when on the very day
(12th) that judgment was given against the city, one Josiah Keeling,
a sinking merchant, who was one of the confederates, resolved to
turn informer. He went to Legge (now Lord Dartmouth), who
sent him to secretary Jenkins, and on the information which he gave,
rewards were offered for nine of the conspirators, but they had been
forewarned by Keeling's brother, and had concealed themselves.
Two days after West and Rumsey came in and surrendered, and on
their information, together with that of one Shephard, a wine mer-
chant, Russell and Sidney were arrested and sent to the tower.
Lord Grey was arrested, but he contrived to escape from the mes-
sengers, the Duke of Monmouth also escaped, but Howard was
taken concealed in a chimney in his own house. To save his life
he discovered all that he said he knew, and on his information Lord
Essex and Hampden were arrested." (Keightley, op. cit. vol. iii.
p. 209.) Essex committed suicide, Russell suffered decapitation,
as did Sidney. Monmouth was pardoned on condition that he ac-
knowledged in a letter to the King the truth of the conspiracy.
King Charles II. died on February the 6th, 1684-85.

The Committal of the Seven Bishops, 1685-1688. — On the death
of Charles II. his brother James ascended the throne without oppo-
sition; but, soon after his accession, the Duke of Monmouth (na-
tural son of Charles by Lucy Waters) who had been banished the
kingdom on account of his connection with the Rye-house plot,
landed in England with 100 men, had himself proclaimed king at
Taunton, and set a price on the head of King James. He was soon

POLITICO -HISTORICAL. 259

defeated at the battle of Sedgemoor, when finding himself abandoned
he knelt to the King for mercy, but in vain. He was beheaded a
few days after on Tower-hill.

James having caused his ' ' Declaration for liberty of conscience n
to be republished with additions, he, by the advice, it is said, of
Father Petrie, made an order in council (May 4th) , that it should be
read out in the churches during the time of Divine Service, and the
bishops were required to distribute it for that purpose.

The Archbishop of Canterbury (Dr. Sancroft) and the bishops of
Asaph, Ely, Bath and Wells, Peterborough, Chichester, and Bristol
declined to carry out this order, affirming, writes Burnett, that
" they could not in prudence, honour, and conscience make them-
selves so far parties to it as the publication once and again in God's
house and in the time of Divine Service must amount to."

The bishops were at length cited to appear before the council,
and were afterwards committed to the tower for their contumacy.

" A week after their commitment they were brought upon a
habeas corpus to the King's Bench, where their counsel offered to
make it appear to be an illegal commitment, but the court allowed
it in good law. They were required to enter into bonds for small
sums to answer to the information that day fortnight. When the
day fixed for their trial came on, there was a vast concourse — the
trial did last long, above ten hours — the court sat again next
day, and the jury came in with their verdict (acquittal) , upon which
there were such shoutings, so long continued, and as it were echoed
in the city, that all people were struck with it, every man seemed
transported with joy." (Burnet's " History of his own Times,"
vol. iii. p. 225.)

As the result of this trial, which was considered all over Europe,
according to Burnet, to determine whether the King or the Church
were more likely to prevail, the King was defeated.

The birth of a son, however, might appear to have been a suffi-
cient consolation under his disappointment ; but here, too, the King's
usual misfortune attended him, for both his own paternity and the
origin of the child were among certain parties equally disputed.
Yet if ever there was a prince about whose birth there should seem
to have been not a shadow of doubt, it was this particular Prince of
Wales.

The Warming-pan Plot, 1688. — King James was twice married,
his first wife was the daughter of the Earl of Clarendon, and died
in 1671. His second wife was Mary Beatrice, Princess of Modena,
daughter of the Duke Alphonse d'Este. Mary of Modena had
several children, but they died soon after birth. In 1687 it was
reported that the Queen was again pregnant ; this was news much
astonishing the people. Extraordinary surmises were slowly mooted

26o ENGLISH.

about, but which led generally to the opinion that the Catholic
party, prompted by the Jesuits, was determined to have by some
means or other an heir to the throne, trained up in their own doc-
trines.

On the birth of the child, James Francis Edward Stuart (June 10,
1688), it was asserted by some that he was really the son of a
miller's wife, the child having been procured by Father Petre, who
had him brought to the Queen's bed in a warming-pan, and then
passed off as an actual child of King James and Mary of Modena.

According to a ballad of the time {" Roxburghe Ballads," vol. iii.
p. 724— B. M. C 20 f) :—

" A NEW SONG ENTITULED, THE WARMING-PAN—

since it was determined an heir mnst be got,
No matter from Kettle from Pan or from Pot,
In mettles fertile the old Jesuit's clan
Produced a brave boy from a brass Warming-pan.

Derry-down," &c. &c.
*****

Another party had not any hesitation in awarding the Church a
still more direct hand in the production of the young prince, whom
they called the " spawn of a Fryer/' describing his origin in a series
of obscene and blasphemous jokes, inexcusable even in an age of free
thought and very open expression.

Father Petre, whose name so frequently recurs in connection
with the Warming-pan Plot, was a Jesuit of noble family, and had
been long in the confidence of the king. Shortly before the preg-
nancy of the Queen he had been made a privy-councillor. The
following is from Burnet's " History of his own Times," vol. iii.
pp. 236-246 ; Clarendon Press edition.

" The Queen had been for six or seven years in such an ill state
of health, that every winter brought her very near death. Those
about her seemed well assured that she who had buried all her
children soon after they were born, and had now for several years
ceased bearing, would have no more children. Her own priests

apprehended it, and seemed to wish for her death." " In

September (1687) the queen went to Bath, where as was already
told, the king came and saw her, and stayed a few days with her ;
it was said that at the time of her coming to the King, her mother,
the Duchess of Modena, made a vow to the Lady Loretto that her
daughter might by her means have a son, and it went current that
the Queen believed herself to be with child in that very instant in
which her mother made her vow. A conception said to be thus
begun looked suspicious. It was soon observed that all things

POLITICO- HISTORICAL. 26:

about her person were managed with a mysterious secrecy, into
which none were admitted but a few Papists. She was not dressed
nor undressed with the usual ceremony. The thing upon this
began to be suspected, and some libels were writ treating the
whole as an imposture. Those about the Queen did all of the
sudden change her reckoning, and began it from the King's being
with her at Bath. It was given out by all her train that she was
going to be delivered. Some said it would be next morning, and
the priests said very confidently it would be a boy. The next
morning, about nine o'clock, she sent word to the King that she was
in labour. The queen-dowager was next sent to ; but no ladies
were sent for, so that no women were in the room but two dressers
and one under-dresser, and the midwife. The King brought over
with him from Whitehall a great many peers and privy- councillors,
and of these eighteen were let into the bed-chamber, but they stood
at the furthest end of the room. The ladies stood within the alcove.
The curtains of the bed were drawn close, and none came within
them but the midwife and an under-dresser. The Queen lay all the
while a-bed, and in order to the warming one side of it a warming-
pan was brought. But it was not opened that it might be seen
that there was fire and nothing else in it. So there was matter for
suspicion with which all people were filled. A little before ten the
Queen cried out as in a strong pain, and immediately after the mid-
wife said, aloud, she was happily brought to bed. . . No cries were
heard from the child, nor was it shown to those in the room ; it was
not known whether the child was alive or dead, it looked like the
giving time for some mismanagement; all that concerned the milk
or the Queen's purgations was managed still in the dark. This
made all people inclined more and more that there was a base
imposture now put on the nation." [It was soon reported that the
infant prince was dead,] "and it looked as if all was ordered
to be kept shut up close till another child was found. One that
saw the child two days after, said to me that he looked strong, and
not like a child so newly born. It was said that the child was
strongly revived of a sudden. Some of the physicians told Lloyd,
Bishop of St. Asaph, that it was not possible for them to think
it was the same child. They looked on one another, but durst
not speak what they thought. What truth soever may be in these
[reports], this is certain, that the method in which this matter was
conducted from the first to last was very unaccountable, if an
imposture had been intended it could not have been otherwise
managed." {Op. cit.)

The note in the Clarendon Press edition referring to the preced-
ing account is in part as follows : — " So here are three children "
[Swift], (< first the Queen is surmised not to have been with child ;

262 ENGLISH.

secondly, to have miscarried ; thirdly, a child in a warming-pan is
supposed to have been conveyed into the bed-chamber; fourthly,
perhaps no child to have been carried into the next room ; fifthly,
the child seen by all in the room to have died ; sixthly, a substituted
child to have died. Thus, as Swift observes, we have three children,
the new-born infant, seen by all, the substituted child, and the
Prince of Wales. It is lamentable that such a man as Burnet
should have disgraced himself by the recital of these stupid an
inconsistent falsehoods." (Op. cit. p. 245.)

Descriptions of several satirical prints referring to the u Warm-
ing-pan Plot V may be found in the first volume of the " Catalogue
of Prints of Political and Personal Satires," Nos. 1156-1166, and
1177, 1211, page 710 et seq.

Marlborough. The Might of James. The Prince of Orange. — 0
the accession of King James II. (1685), Lieutenant- Colonel Churchill
had been sent to France to announce the occurrence. On his re-
turn from this duty he was raised to the English Peerage, with the
title of Baron Churchill of Sundridge. By his vigilance and skill
he contributed greatly to the suppression of the insurrection of
Monmouth, which occurred shortly.

As the behaviour of the King, on the suggestions of the Earl of
Sunderland, and of others of the Catholic party, had soon rendered
James unpopular with the Protestants, overtures were made by in-
fluential members of the latter to William Prince of Orange, that he
should rid them of a sovereign so inclined towards Rome, and if all
went satisfactorily, take the vacant office on himself. The Dutch fleet,
with the prince on board, anchored at Torbay on the 5th of Novem-
ber, 1688. On landing, the prince and his retinue proceeded to-
wards London. The success of the Dutch invasion was such as to
lead King James to mistrust the fidelity of his army, to fly from
England, and seek an asylum at St. Germain from the King of
France.

The Prince of Orange then issued writs for the election of mem-
bers to a national convention, and on the 13th of February, 1689,
he, along with the Princess of Orange, received the two Houses of
Parliament at Whitehall, by which was made, through Lord Halifax,
a solemn tender of the Crown of England. The same day the
prince and princess were proclaimed as King William III. and
Queen Mary II.

During the revolution of 1688, which banished James and secured
the Prince of Orange, Churchill behaved towards the former with a
duplicity and treachery deserving severe condemnation. While
professing to support James he entered the service of his rival.

On the coronation of the latter, Churchill assisted at the cere-
mony, and was created afterwards Earl of Marlborough and a Privy

POLITICO -HISTORICAL. 263

Councillor. In 1689 he received the command of the English
forces in the Netherlands. He next served in Ireland, but was re-
called to Flanders. Being suspected of a traitorous correspondence
with the exiled King (James II.), he was deprived of his command
and imprisoned in the Tower. He was soon released, however, but
did not regain the favour of William until 1697.

On the outbreak of the war connected with the Spanish succes-
sion, Marlborough received the chief command of the forces of the
United Provinces, and was named Ambassador to France. He be-
came master of several places in the Netherlands by 1702, gained
(under Prince Eugene) the battle of Blenheim in 1704, defeated
Villeroy at Ramillies in 1706, was victorious at Oudenard in 1708,
and at Malplaquet in 1709. By 1712 Marlborough's fortune had
changed, and he was dismissed from all his offices at the beginning
of this year.

To escape the charges of having prolonged the war, of peculation,
and the disquietudes of home, he went abroad with the duchess,
who also had been displaced at Court. In 1714, Marlborough re-
turned to England, and was restored by King George I. to office;
but an attack of apoplexy soon compelled him to retire once more,
and he died at Windsor Lodge in 1722.

" The character of Marlborough presents a perplexing combina-
tion of noble and base qualities, which have served as the ground-
work of extravagant eulogy and fierce invective. His rare ability
as a general, his skill and success as a diplomatist, are unquestion-
able. No less so are his vast ambition, his avarice, and his
treachery/' (" Dictionary of General Biography/' Coates.)

Dr. Sacheverell, 1709-1710. — Henry Sacheverell, an English
divine, was educated at Oxford, where in 1708 he obtained the
degree of Doctor of Divinity. In 1709 he was appointed preacher
at St. Saviour's, Southwark. On the 5th of November of that year,
having become a willing tool of the party then opposing the adminis-
tration of Marlborough and Godolphin, he preached a violent sermon
at St. Paul's before the lord mayor and aldermen, on " The Perils of
false Brethren both in Church and State," and " Perfidious Prelates
and false Sons of the Church." He assailed the Government,
declaring it tended both in ecclesiastical and civil affairs to the
destruction of the constitution ; called Godolphin Volpone, asserted
that the toleration grantedbylaw to the Protestant dissenters was both
unreasonable and unwarrantable, maintained the doctrine of "passive
obedience," and called on the people to stand firm in the defence of
principles which the crown and its advisers tended to overthrow and
destroy. Forty thousand copies of the printed sermon are stated to
have been circulated by the political party of its author.

Godolphin resolved on Sacheverell's impeachment, and the Ser-

264 ENGLISH.

jeant of the House of Commons delivered him to the custody of the
Deputy Usher of the Black Rod on the ensuing January 14th, 1710.
Sacheverell was admitted to bail. On the 27th of February he was
brought to trial at Westminster Hall, Queen Anne being then and
every day of the trial present — incognita. As she approached the
hall in her sedan chair the people crowded around it, exclaiming,
" God bless your Majesty and the Church, we hope your Majesty is
for Dr. Sacheverell ." As the latter descended from the coach in
which he was brought daily from the Temple, the persons near him
tried to kiss his hands.

The trial continued for three weeks, being prosecuted by Si
Joseph Jekyl, General Stanhope, Walpole, King, and othei
Sacheverell was defended by Sir Simon Harcourt and Phipps,
assisted by Drs. Atterbury, Smallbridge and Friend. He was
declared guilty by sixty- nine lords against fifty -two, who pronounced
him not guilty.

" Accordingly sentence passed upon him — that Henry Sacheverell,
Doctor in Divinity, shall be and is hereby enjoined not to preach
during the term of three years next ensuing. That Dr. Henry
Sachever ell's two printed sermons, referred to by the impeachment
of the House of Commons, shall be burnt before the Royal Exchange
in London, between the hours of twelve and one on Monday, the
27th of this instant March by the hands of the common hangman, in
the presence of the lord mayor of the city of London, and the two
sheriffs of London and Middlesex." (Oldmixon, vol. iii. p. 438.)

" This gentle sentence," writes Keightley, " was regarded by the
Tory party as a triumph, and such in fact it was. Bonfires and
illuminations in London and all over the kingdom testified to their
joy, and addresses in favour of non-resistance poured in from all
quarters. But the other side was greatly annoyed."

" 'Twill be astonishing to posterity," writes Oldmixon, " that so
many noblemen and gentlemen should countenance such an insigni-
ficant tool in his seditious and insolent behaviour, or endeavour to
screen him from punishment — the merciful sentence past upon him
for which the Whigs have paid dearly from that time to this."
{Op. cit. vol. iii. p. 442.)

POLITICO -HISTORICAL. 265

E. 185.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Spanish Armada.)

PACK of fifty-two numerals of the ordinary suits and honours. This
series illustrates the chief events connected with the history of the
Spanish Armada, of the English Fleet engaged in its overthrow, of the
Acts and Progresses of Queen Elizabeth, of the Earls of Oxford,
Northumberland, and Cumberland, of the Lord High Admiral Howard, and of
others.

The greater portion of each card-piece is occupied by a design illustrating
some of the events mentioned. Above the pictorial composition a broad margin
is left clear, at the right-hand corner of which is the mark of the suit, and at the
left-hand is indicated in Roman numbers the value of the particular number of
the series. The coate-cards or honours have busts in circles at the left-hand
upper corners in place of the Roman numerals. The title of the honour is
engraved between the bust and the mark of the suit. Below the design is a de-
scription of the events therein represented. The events are not recorded in the
perfectly systematic order of their actual occurrence, but are variously placed
through the different suits.

On the knave of hearts is shown " the Pope consulting with his Cardinalls, and
contributing a million of gold towards the charge of the Armada."

The Holy Father is seated with four cardinals at a table on which are several
bags of money. An attendant is approaching with more bags. A mitred bishop
forms the bust in the medallion above.

On the nine of hearts are represented " the twelve Spanish Shipps caled the
12 Apostles."

The ten of hearts exhibits " The Spanish Armada consisting of 1 30 Shipps
where of 72 were Galleasses and Galeons, in whch were 19290 soulders 8359
marriners, 2080 gaily slaves, and 2630 great ordinance, ye Navy was 3 whole
yeares preparing."

On the eight of hearts may be seen " The Spanish Fleete weighing Ancor
from the River Tagus the 20th of May, 1588."

The king of clubs presents us with " The English Fleet whereof the Ld Charles
Howard was Ld Admirall and Sir Fran. Drake vice-admirall."

The five of clubs represents " The Earle of Oxford, Northumberland, Cum-
berland, with many more of the nobility and gentry going to visit the English Fleet."

On the queen of hearts is shown " Queen Eliz : visiting her Camp at Tilbury,
being mounted on Horseback with a truncheon of an ordinary Captain in her hand."

The queen of clubs represents " Queen Eliz : walking up and downe ye Camp
at Tilbury, and encouraging the Captaines and Souldiers."

In both these compositions the queen wears her crown.

On the ace of clubs we see how " The Admirall ye Ld Sheffield S Tho :
Howard and others joyn with Drake and Fenez ag' ye Spanish Fleet & worst them."

On the three of clubs are shown the " 8 Fireships sent by ye English Admirall
towards ye Spanish Fleet in ye middle of ye night under the conduct of Young
and Prowse."

The two of clubs exhibits " The Spaniards on right of the Fireships weighing
Ancors, cutting cables, and betakeing themselves to flight with a hideouse noise,
& in great confusion."

On the eight of clubs is represented "The third fight between ye Engh and
Spanish Fleetes, being the 25th of June, 1588, where in the English had again ye
better."

266 ENGLISH.

The ten of spades describes " The Spaniards consulting and at last resolving
to return into Spain by the North Ocean, many of their Ships being disabled."

On the eight of spades are shown " The Spanish Ships lost on the coast of
Scotland, and 700 souldiers and marriners cast ashore."

The seven of spades shows the " Spanish ships castaway on the Irish Shoare
with marriners and seamen."

The nine of spades exhibits the " Spanish Commanders taken prisoners an
brought into England."

The knave of diamonds tells how " The Spanish fleet that remained returned
home disabled or with much dishonour."

A monk forms the bust in the medallion above.

On the two of spades we have " The Spaniards bewailing ye misfortune of
their friends."

The scene now changes on the three of spades, for here is " Queene Eliz
with Nobles and Gentry and a great number of people giving God humble thanks
in Sl. Pauls church and having set upp the Ensignes taken from the Spaniards."

On the four of spades is " Queene Eliz : Riding in Triumph through London
in a chariot drawn by two Horses, and all ye companies attending her with their
Baners."

The sequence of events may be said to conclude on the knave of spades, on
which are exhibited " Severall Jesuits hang'd for Treason against the Queene,
and for having a hand in the Invasion."

The bust of the knave in the medallion is that of a Jesuit.

According to Taylor (p. 409) these cards were issued as " quiet reproofs to
the mendicant priests who haunted England previous to the abdication of the
King, to whom his brother, himself a King of England, said, ' Never mind York,
they will never shoot me to make a way for you.' When said York was perhaps
anxious to make an illicit way to the throne, please the Pope, satisfy the
Presbyters and otherwise cool down the Nonconformists to a reasonably tepid
point. No, no, Vagabond Charles was perhaps not the most moral, but incon-
futably the best of the later Stuarts, and he saw through York's ' diminutive game.' "

It has been stated that this series of cards was formerly exhibited by Sir
Joseph Banks before the Society of Antiquaries.

These card-pieces are from neatly engraved copper-plates, and are un-
coloured.

The backs are marked by an hexagonal network in pale black ink, a St.
Andrew's cross within a circle forming the centre of the several hexagonal meshes.

In connection with the Spanish Armada Series, the prints and medals num-
bered from forty-one to fifty-four inclusive, described in the first volume of the
Catalogue of Prints relating to ' Political and Personal Satires,' may be consulted
with advantage.

[3t x 2f *n-] [Backs decorated.]

E. 186.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON (1679?).

(Popish Plot, &c.)

PACK of fifty-two numerals of the ordinary suits.

This series illustrates the events which took place, or were assumed

to have taken place, in connection with what are known as the Popish

Plot, the Titus Oates and Sir Edmond Berry Godfrey's Affairs.

Each card-piece is occupied in its greater portion by a design illustrating an

occurrence of the before -mentioned narratives. Above it, in a reserved and broad

margin, are the mark of the suit at the left-hand corner, and the value of the piece

POLITICO -HISTORICAL. 267

in Roman numerals at the right-hand corner. In the-" honours " a title displaces
the numerical value.

Below the pictorial design is engraved a description of it. The ace of hearts
may be said to begin the drama, and represents " The plot first hatcht at Rome
by the Pope and Cardinalls, &c."

The holy father, three cardinals, and a bishop, are seated at a table, beneath
which the devil is crouching and grinning.

On the nine of clubs a monk is declaiming from a pulpit to a mixed audience ;
from his mouth proceeds a scroll on which is inscribed " Extirpate Heriticks root
and branch."

Below the composition may be read, " Father Connyers preaching against ye
Oathes of Alejance and Supremacy."

On the five of hearts, " Dr. Oates receives letters from ye Fathers to carry
beyound Sea."

Two Jesuits and two conspirators are shown, the latter handing despatches to
Oates, while the Jesuit fathers look on.

On the eight of clubs may be seen " The conspirators Signeing ye Resolve for
Killing the King."

The knave of diamonds shows how " Pickerin attempts to kill ye K. in S'
James Park."

Pickering is crouching gun in hand behind a tree while the king passes with
his attendants. His majesty has on his hat, the attendants wear large wigs.

The three of this suit tells how " Ashly received instructions of White-
bread for the Society to offer Sir George Wakeman <£ 1 o OOO " [to poison the
King.]

A Jesuit is seated at a table listening to the arguments of Ashby and point-
ing his finger at a document.

On the king of hearts, " Dr. Oates discovereth ye Plot to ye King and Cown-
cell," while the two of this suit represents " Sr E B Godfree takeing Dr. Oates his
depositions."

The queen of spades exhibits " The Club at ye Plow Ale house for the
murther of S. E B Godfree" ; and the nine of the same suit represents " Sir E B
Godfree strangled — Girald going to Stab him."

On the three of spades may be seen " The execution of the Murtherers of Sir
E B Godfree." The criminals are hanging on the gallows, and the cart in which
they are standing is in the act of being drawn away.

The ace of clubs exhibits " The Consult of Benedictine Monks and Fryers
in the Savoy."

On the six, " Capte Berry and Alderman Brooks are offered 500 £ to cast the
Plot on the Protestants."

On the nine of hearts we have, " The seizing severall conspirators."

On the four of the clubs comes " The tryall of Sir G Wakeman and 3
Benedictine Monks."

And on the five of clubs is " The Execution of the 5 Jesuitts."

On the six of hearts is " Coleman drawn to his Execution."

On the two of diamonds may be seen " Ireland and Grove drawn to their
execution."

And on the knave of clubs is " Reddin standing in ye Pillory."

The six of diamonds exhibits " Pickerin Executed." His body is on the
ground and about to be " quartered " by the executioner.

The events now change to the Great Fire of London.

On the three of clubs is shown that " Gifford and Stubbs give money to a
made to fire her master's house," while on the two of the same suit, London is re-
presented in flames, beneath which design is inscribed —
" London remember

The 2nd of September,) ! 6*

268 ENGLISH.

This interesting series has been noticed more or less in detail by various
writers, and the cards have been exhibited before several antiquarian societies.

Mr. Chatto refers, at p. 154 (Bibl. 4), and Mr. Taylor at p. 169 (Bibl. 9'
to the present sequence. In the first volume of the " Catalogue of Prints relatii
to Political and Personal Satires," descriptions of several prints and broadsidi
relative to the events illustrated by these cards may be found, from Nos. 1,057-
1,068, 1,073-1,078, 1, 135-1,142, pp. 601-702.

A detailed list of the various subjects treated of in the order of the suits, be-
ginning with the ace of hearts and ending with the king of spades, together with
copies of eight of the cards, may be found in the " Gentleman's Magazine " fo
September, 1849, vol. xxxii. New Series, p. 265. In this article reference
made to a pocket volume published in 1681, bearing the title, "The Plot in a
Dream ; or, the Discoverer in Masquerade, in a succinct discourse, and narra-
tive of the late and present designs of the Papists against the King and Govern-
ment. By Philo-patris." In the course of this work are several copper-plate
engravings, the designs of which, in some cases, closely follow those of the present
series of cards, though on the whole, they are much inferior to them. The
writer in the " Gentleman's Magazine " instances the " attempted assassination of
the King in St. James's Park ; the carrying of Sir E. B. Godfrey's body to Prim-
rose Hill ; Reading's standing in the Pillory ; and the Papists hiring servants to
fire houses," as examples of such imitation.

In the " Catalogue of a Collection of Printed Broadsides in the Possession of
the Society of Antiquaries of London" (Printed Books Department, B. M. 1,190,
2. h. [academies]), are the following records : —

" 1679, June. 581. — A true Narrative of the Horrid Hellish Popish-plot.
To the Tune of Packington's Pound. The second part.

" Describing in Verse, and in a series of twelve coloured engravings, the prin-
cipal points of the Jesuits' or Oates's Plot. Thomas Whitbread, the Provincial of
the Jesuits in England, and four others of that order were executed at Tyburn on
the 20th June, 1679.

" 582. — Specimens of a part of a series of Historical cards, some of the sub-
jects and costumes being evidently taken from the above broadside. They were
published in the ' Gentleman's Magazine ' in 1 849, and are inserted in this collec-
tion in illustration of the preceding article. The idea of making playing-cards a
vehicle of amusement, instruction, or political satire, has been a favourite one at
all times. In 1812 the late Queen Charlotte, for her own amusement, had a
private printing press at Frogmore Lodge, and one of its productions was a series
of five sets of historical and chronological cards." {Op. cit. p. 134.)

Mr. S. A. Hankey exhibited a pack of these cards before the Royal Archaeolo-
gical Institute in March, 1873. In the paper read in connection with it, the
author drew attention to the " very singular (and possibly unique) example of the
display of popular feeling as stamped upon the ordinary appendages to mere play
or amusement. And the publication of a series of plates so intensely partizan in
their character, affords a remarkable testimony to the agitated state of the public
mind while under the influence of the stirring revelations of Titus Oates, Bedloe,
and the other informers. This pack was published in the year 1679 or 1680,
when the excitement and apprehension of the alleged Popish plot was at its
highest, and it contains the history of all the imputed conspiracies ' excellently
engraved,' as the advertisement runs, ' on copper-plates, with very large descrip-
tions under each card.'

" This class of cards will be found to be the offspring of periods of extraor-
dinary political or party excitement. They were the caricatures of the day, and
it may be doubted if their publication had any other object than the expression of
popular feeling in a form which, if convenient for general circulation, must have
been objectionable to players, as likely to distract their attention from the game.

" I have vainly essayed to discover a connection between the sequence of the

POLITICO. HISTORICAL. 269

cards under their respective suits and the order of the events which the several
plates record. For the personal history of the informers is so intermingled with
the story of the plot, that it is difficult even to set out the cards in their historical
order, and, except in the account of Sir Edmondbury Godfrey, such an effort at
arrangement only brings about a hopeless confusion in suits and numbers. God-
frey's prominence in these events is, however, well sustained, for his tragic history
occupies nearly the whole of the suit of spades, the description of which section
may serve as a fair sample of the entire series.

" Beginning with the queen, and following in order downward to the two of
spades, we find pictorial representations described as follows : —

" l. The Club at the Plow Alehouse for the murther of Sir E. B. Godfree.

" 2. He is dogg'd by Se Clement's Church.

" 3. He is persuaded to goe down Sommerset house yard.

" 4. He is strangled. Girald going to stab him.

" 5. The eight of spades missing. [Sir E B Godfree carrying up into a
Roome.]

" 6. The body is shewed to Capt. Bedlow and Mr Prance.

" 7« The dead body conveyed out of Sommerset house in a Sedan.

" 8. The body carry'd to Primrose Hill on a horse.

" 9. The Murtherers are diverting themselves at Bow after the Murther.

" 10. Next, but out of its historical place, comes the three of spades, showing
the execution of the murtherers.

"11. (And after that) The Funerall of Sr E B Godfree.

" The two of hearts actually opens this story, the description at the foot
being, ' Sir E. B. Godfree takeing Dr. Oates his depositions,' while the king of
spades, which in the natural order should have commenced the history, only repre-
sents an after event, viz. • Mr. Prance discovering the Murther to the King and
Council.' Not less than six of the cards represent capital executions, and the
spirit of the whole series may be observed in the ace, or one of hearts, which
represents ' The plot first hatcht at Rome by the Pope and Cardinalls, &c, in
which his Holiness appears sitting key in hand, with three Cardinals and a Bishop,
while the Devil is seen crouching under the Council table.'

" Besides this there are depicted several ' Consults,' or minor plots, among
Jesuits and others, in various localities. In one plate Father Conyers occupies
the pulpit, preaching disloyalty, and in several others bribes are being offered or
money distributed to forward the designs of the conspiracy. Coleman, White-
bread, Langhorne, and Dugdale have each their respective histories, while two of
the cards bring into the plot the guilt of the Fire of London, one of these repre-
senting ' Giffard and Stubbs bribing a made to set fire to her Master's House,' and
the other shewing London in flames, with the inscription at the foot —
" London remember
The second September (date)
2 September, 1666.' "

The Archceological Journal for 1873, vol. xxx. p. 185.

The designs and inscriptions on these card-pieces are from engraved copper-
plates. The cards are uncoloured.

[3t x 2i ">•] [Backs plain.]

270

ENGLISH.

E. 187.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Popish Plot, &c.)

SERIES of fifty- one card-pieces from a numeral set of fifty-two.
The card wanting is the four of diamonds.

This is a duplicate of the series last described (E. 1 86) relating
to the Popish Plot and the murder of Sir Edmond Berry Godfrey.
in. [Backs plain.]

E. 188.

{Printed Books Department, 1754. c.)

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Popish Plot, &c.)

SERIES of fifty-two numerals of the usual suits, but having the ace
of spades, the ace of clubs, the queen of hearts, and the knave of clubs
belonging to a different set.

The present is another sequence of the cards previously described
relating to the Popish Plot and the murder of Sir Edmond Berry Godfrey. E. 186.
E. 187.

The exceptional pieces, the two aces, the queen and the knave before men-
tioned, belong to a series to be presently described, illustrating the " Rye House
Plot."

These cards are contained in a folio volume (1754. c.), in which are several
prints and broadsides relating to persons and subjects of the time.

There are two titles in MS. to the volume, which run thus : — " A Pack of
cards of the reign of Charles 2nd, Engraved by Faithorne, Illustrating the Great
Fire of London, the horrid Popish Plot, Executions, Murder of Sir Edmondbury
Godfrey. London : 1 684."

Facing the first title is a portrait bust of Charles II. in a large oval. He
looks towards the left. He wears a large wig, breastplate, slashed sleeves, collar
and tassels. Below are the royal arms with the inscription, " Carolus secundus
Dei Gratia MagngB Britaniae Francise et Hiberniee Rex."

The print has been cut down, so that both painter's and engraver's names — if
they existed — have been removed.

Following the first title is " England's Mournful Elegy for the Dissolving
the Parliament ; " it consists of eighty -two lines, beginning with —

" Are all our hopes thus on a sudden dashed ?
Our trust confounded and rejoicings quashed."

POLITICO -HISTORICAL. 271

And ends with —

" Good counsel she doth on her sons bestow,

Bids them be bold but not with rage to swell ;

Petition, pray and all their griefs to tell

To Heaven and their King, but not rebel.

London : printed for S. N.w
On the following page are two woodcuts. One represents the execution of
Thomas Venner (the religious enthusiast) and his disciples, in January, 1660-
1661 (Grainger, vol. vi. p. 9), the other an attack by armed horsemen on the
coach of Charles II.

On the opposite page is an impression from a copper-plate engraving of four
card players sitting at table. Clubs are being played, the ace and four of the
suit are out, and the five is shown in the hand of one of the party. A person is
looking on, another is dancing and holding up a bag of money in his left hand,
while a third person is sitting in a pensive mood at a side-table on which is a
decanter and wineglass. Below is the couplet —

" Who has the better Game still Fears the end,
Who has the worst still Hopes his game will mend."

On the page opposite the folio containing the eight, nine, ten, &c, of spades,
is a broadside entitled " Merlin revived ; or an old prophecy, lately found in a
manuscript in Pontefract Castle in Yorkshire."

The prophetic verses are divided into five sections, one section relating to
a. d. 1650, another to 1660, a third to 1666, a fourth to 1680, and a fifth to
1682.

The verses commence —

" When M D C shall join with L,
In England things will not go well
A body shall without an head,
Make all the neighbouring Nationes dread.
The Lyon's whelps shall banished be,
And seek their prey beyond the Sea ; "
and end thus —

" A triple league shall then be made
And Rome of England be afraid ;
And he who lives till eighty three,
All this to come to pass shall see."

On the verso of the folio last-mentioned is a printed sheet having the title,
" A new Ignoramus, being the second new Song to the same old Tune, Law lyes
a Bleeding." There are eight stanzas, of twelve lines each stanza, beginning —

" Since Popish plotters
Joined with Bogg- Trotters,
Sham-plots are made as fast as pots are formed by potters,"

and concluding —

" They sham us and flam us,
They ram us and damn us,
When, according to the Law, we find Ignoramus.

London : printed for Charles Leigh, 1 68 1 ."

On the verso of the next folio is " A Dialogue betwixt H. B.'s Ghost and his
Dear Author R. L. S." The Ghost enters with —

" Be not afraid, its kindness brings me here,
And makes me leave a while the lower sphere,
That I in time may warn thee of the wrong
Done by thy scribbling pen and Lying tongue."

272 ENGLISH.

The conclusion is by R. S. in the following words : — " So he's gon ; I hope
he'l now be quiet : This is, I think, the nine and thirtieth warning I have had
and to as little purpose as all the rest, and so Tie let 'urn know in my next pam-
phlet, which shall out as soon as I can agree with a Bookseller. 'Tis good to be
true to one's principles.

" Let ghosts talk what they will of Hell and Pain,
From real pleasure they shan't me restrain
The itch of scribbling and the sweet of Gain.

Finis. London : printed for J. M."

The volume concludes with another copy of the broadside, " Merlin revived
or, an old prophecy Lately found in a manuscript in Pontefract Castle in York-
shire."

To this copy are added in MS. the names of the persons alluded to and
satirized under fictitious titles in the prophetic verses. Thus — -

" A man of cole shall plots design," is Coleman.

" When Janock and the Truckle- Couch" may be read, Dr. Oates and Bedlc

" And when the Valley of the Breast" implies Dugdale.

" The son of Jane shall first relate," is Jannison.
" An officer to tell his tale
In wooden house shall hither sail,"

implies Serjeant who came from Flanders.

" Through Loop-hole shall a Lawyer look,
And Vulcan's son shall write a book ;
A Willow to a Field shall change,
And shew things dangerous and strange ;
Then shall a Price be strongly prest
To buy the Valley of the Breast,
And Mother -Midnight shall declare
She for religion will make war."

The names to be supplied are Reading, Smith, Willoughby alias Dangerficld,
Mrs. Price, who would suborn Dugdale, and Mrs. Celair, a midwife.
To the following :

" Janock shall go nigh to be slain,

And Knockt down in a Dirty Lane ;

But Janock shall escape at last

And see the dangers he had past."

the comment is, " Dr. Oates was accused of Sodomy by one Knox and Lane."
" Superstition shall have a fall,
Its trinkets hung out on a Wall.
The Whore of Babylon's attire
Shall by the Wall be burnt ith' Fire,"

refers to Sir William Waller, who " burnt Papist garments."
In connection with —

" Then from three there shall arise
A flaming Meteor in the Skies,
Which shall to England threat much Woe,
And down the Miter overthrow,"
is the gloss, " The biggest Comett yt ever was seen on Dec : 1680.

All the MS. annotations present refer to the lines which include the year
"MDCLXXX.— 1680."

In connection with Titus Oates, reference should be made to the following
prints and to the comments upon them in the first volume of the " Catalogue of
prints relating to Political and Personal Satires," p. 615 et seq. Nbs. 1073, 1078,
1134-1139, and 1142.

[Cards 3^ X 2[ in.] [Backs plain.]

POLITICO-HISTORICAL. 273

E. 189.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Rye House Plot.)

SERIES of fifty -two numerals of the ordinary suits. It illustrates
the conspiracy known as the " Rye House Plot." Each card-piece is
occupied by a design connected with the history of the plot, and has
below the requisite description. At the upper right-hand corner, in
most instances, is the mark of the suit ; sometimes the latter is placed at the left-
hand corner. At the opposite upper corner is the value of the card in Roman
numbers. The illustrative designs extend to the upper edge of the card-pieces ;
hence the marks and numbers are printed on the faces of the former. In the
honours the titles are given in place of the Roman numbers.

Allusion is made to this series by Chatto, who observes : " Another pack of
historical cards, apparently published in the same reign, but of inferior execution
to the former (E. 1 86), appears to have related to the Rye House Plot. As these
cards are even of greater rarity than those relating to the Popish Plot, the follow-
ing description of four of them is here given as a stimulus to collectors." (p.

On account of the rareness of this sequence, a list of all the subjects illustrated
in the order of the suits will be given here, premising that a consecutive historic
order in the occurrence of the events has not been followed by the designer.

Diamonds. — Ace. Lord Shaftsbury going for Holland. Ferguson taking
leave.

2. Walcot coming from Ireland.

3. Walcot and Ferguson coming from Holland.

4. The Counsell of Six sitting.

5. Colliford standing in the Pillory.

6. Rump Officers ready to take command on them.

7. Blunderbusses sent downe to Rumbold's House.

8. Walcot, Hone, and Rouse executed.

9. Walcot and other conspirators ready to charge ye King's Guards.
l o. The designe of shooting the K8 Postilian.

Knave. Rumbold the Malster [who is exclaiming, " They shall dye "].

Queen. The designe of shooting into the Ks Coach.

King. The places mentioned for killing ye King [one conspirator names " Bed-
ford Wall," a second " from Newmarket," a third " bull feast," and a fourth
" downe ye river "].

Hearts. — Ace. The King's declaration read in churches, 9th of Septbr.

2. Goodenough and Nelthrop flying away in disguise.

3. Conspirators viewing the city and deviding it into 20 pr 8 [one of the per-
sons exclaims, " Wapping, &c, is ours "].

4. Dr. Smith sent into Scotland to invite comissinors [he exclaims, " I question
not a Scott"].

5. Mon, Arms, and Grey viewing the Guards [one of them observes, " They
may be seized"].

6. Lord Russell beheaded in Lincolne Inn Fields.

7. Hone and Rouse going to be executed.

8. Walcot going to be executed.

9. Rumbolds Houss.

274 ENGLISH.

lO. Conspirators waiting for ye K. coming by Rumbole**' House [one con-
spirator says to the other, " Faile not"].

Knave. Nelthrop [who exclaims, "here's a modell"].

Queen. Thompson, one of ye Conspirators, taken at Hamersmith.

King. E. of Essex cutting his throat in ye Tower.

Clubs. — Ace. Keeling troubled in mind [he utters, " King killing is Dt
nable "].

2. West going downe to White hall.

3. Keeling going to the Ld Dart.

4. Keeling examined by Sr L. Jenkins.

5. C Rumsey delivering himself [he exclaims, "I beg the King's mercy "].

6. Rumsey examined by the King and Councell.

7. West writing a Letter to Sr G. J. [he mutters, " I must discover all"].

8. Lord Grey apprehended.

9. Lord Grey making his escape.
1 0. Lord Grey sent Prisoner to the Tower.

Knave. Ferguson, the Independent Parson [who declaims, " Fight the Laird's
battel"].

Queen. A conspirator overturning a cart to stop the King's coach.
King. The Lord Shaftsbury [he says, " Assist me freind "].
Spades. — Ace. Hone taken prisoner at Cambridge.

2. Hone and Rouse sent Prisoners to Newgate.

3. The fire at New-Market.

4. Walcot taken in Southwarke.

5. Walcot sending a letter to Sr L. I.

6. Rumsey sent by Shaftsbury to the Consult at Sheaphard.

7. Lord Russell apprehended.

8. L'1 Howard Writing an account of the Plot.

9. Walcot and Hone tryed at the Old Bayly.
1 0. Lord Russell tried at the Old Bayly.

Knave. Goodenough [he exclaims, " The Jury is ours"].

Queen. West bying of Armes.

King. Ferguson paying West £lOO.

The designs and technical execution of these cards are inferior in all respects
to those of both E. 185 and E. 186. The impressions are from engraved metal
plates, and are uncoloured.

The ace of spades, ace of clubs, queen of hearts, and knave of clubs of this set
may be found making up deficiencies in the previous sequence of the Popish Plot,
E. 188 (P. B. Dep. 1754 c.)

Reference may be made to No. 1 1 29, in the first vol. of the " Catalogue of
Prints relating to Political and Personal Satires."

[3ir X 2\ in.] [Backs plain.]

E. 190.

LAST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

(Reign or James II.)

'WENTY-EIGHT cards from a numeral series of fifty-two of the
ordinary suits.

The two and three of clubs, four, eight, nine, ten, and king of
hearts, four, five, six, seven, eight, nine, ten, and knave of spades,
and the two, three, five, six, seven, eight, nine, ten, and king of diamonds are
wanting.

POLITICO. HISTORICAL. 275

This sequence is intended to illustrate events during the reign of King James
II. (1685-1688).

Each piece is occupied for the greater portion by an illustrative design, be-
neath which is its description. Above in a broad margin is the mark of the suit
at the right-hand corner, and at the left the value of the piece is indicated in
Roman numbers. The suit marks in hearts and diamonds are in simple outline,
on the coate-cards the titles in large letters displace the Roman numbers.

The twenty-eight pieces here preserved relate to the following circum-
stances: —

Clubs. — Ace. A new comishond Court for the inquier into the Ecclesias-
ticall Afairs.

4. About 200 ministers suspended in ye countey of Duram for not reading
the Kings Declaration.

5. The Archbishop of Canterberey with 6 more Bishops Deliver a petishon
to the King.

6. The Bishops are sent to the Tower by Watter.

7. The Bishops are cleared at their triall 2 of ye judges, were after displaced
they giving for the Bishops.

8. The Keys of the Tower sent to the Lord Major.

9. Judg Harbert writing a book in Defence of the King's dispensing Power.
1 o. Oxford and Winchester Declared to be Desolved from being a bodey politik.
Knave. The French wayting an apertunity to Land in England, but are

prevented by the Dutch.

Queen. The F. King and ye K. of Spain with other Princes ingaging to root
out ye Northern herisey.

King. Comishoners sent into ye cuntry to perswade ye people to choose such
men as shall take of ye pen1 Laws.

Hearts. — Ace. The King leaving London about three a clock in the morn-
ing in his barge.

2. The King and with 2 more are stoped by rude Seamen being in an

hoy by the Isle of Shipey.

3. The Chancellor taken in Wapping in Disguise.

5. The Chancellor going to the Tower, and is followed by many more of ye
Brethren.

6. The Prince of Orange going into Exeter.

7. The Prince of Orange coming to St. Jameses, is received with great Joy.
Knave. The Queen and child and father Peters going away in the night.
Queen. A fight at Reding, wherein the Irish souldiers suffred most, the people

firing out at window on them.

Spades. — Ace. 500 thousand pounds sent from France yearly to Charls the
2 to keep the sitting of the Parliament of.

2. Severall persons sent to Newgate for murdering the El of Essex.

3. The Duches of Modena Presenting a wedge of gold to the Lady of
Loreta that ye Q. might conceive a Son.

Queen. Severall firebauls found on severall persons in Southwark yet sum
were cleared.

King. Strikt watch kept by the Inhabitants of London.

Diamonds. — Ace. Many witnesses sworn before a great body of ye Peers
that ye child was a Lawful! Prince of Wales.

4. The Dutch flett put out to Sea, and are driven back by a Tempest.
Knave. The King coming from Salisbury, the Annie following in hast, the

Enemy not being near.

Queen. The King going to Salisbury.

These card-pieces are poor in design, and are coarsely executed. They are
from copper-plates, and are uncoloured.

The orthography is very bad.

[3t X 2fin.] [Backs plain.]

276 ENGLISH.

E. 191.

FIRST QUARTER OF EIGHTEENTH CENTURY ?

LONDON.

(Reign of James II. Rebellion, &c.)

>IFTY-TWO card-pieces of a numeral series of the usual suits.

This series illustrates events of the reign of James II., more parti-
cularly such as relate to the attempts to restore Catholicism in England,
and to the Rebellion which followed.

Each card is occupied in greater part by a design commemorating the events
in question. Below is a description of the design, and above the latter in a broad
margin is the mark of the suit at the left-hand corner, and the value of the piece
at the right-hand corner in Roman numbers. In the coate-cards titles displace
the value numbers at the right-hand corners. At the centre of the upper margin
each card is marked with an Arabic numeral — the number going from one to
fifty-two — indicating its place in the sequence of events.

The series begins with the knave of clubs — which represents the Ld Chancellor
condeming Protestants in West.

Clubs. — Ace (2). The Earle of Essex's throat cut.

Two (3). The inscription taken out of ye monument.

Three (4). Oates whipt from Algate to Tyburn.

Four (5). Drinking the King's Health in the West, Ld Che', &c.

Five (6). Hanging Protestants in ye West.

Six (7). Two BP* and Judge Jenner speake rudely to D' Huff [one of the
Bishops exclaims, " Fie huff ye Dr Huff for all your huff"]

Seven (9). The Tryal of the Seaven Bishops.

Eight (8). Magdalen Colledge Scholars turned out.

Nine (10). The Seaven Bishops going to the Tower.

Ten (12). Refuseing to assist at ye Entrance of ye Pope's Nuncio.

King (ll). The Earle of Castlemain sent Embassador to ye Pope.

Queen (13). The Midwife cutting her Husband to pieces.

Spades. Ace (14). The Popish midwife putting his quarters in ye Privy.

Two (15). The Popish midwife burning.

Three (16). Whiping Heresy out of Windsor chaple.

Four (17). The Procession of ye Host through Sl James's Park.

Five (18). Doing of Penance up a high hill with Peas in his Shoos.

Six (19). A Lady going to S Winifrids well for Penance.

Seven (22). Praying to ye Lady of Loretto for a Prince of Wales to be bom.

Eight (23). From Rome a consecrated smock.

Nine (25). Prince of Wales dressing by ye Fire.

Ten (26). P. of Wales baptizd ye Nuncio stands Godfather. for ye Pope.

Knave (20). A Jesuit preaching against our Bible [one of the audience
exclaims, " You lie "].

Queen (21). Madam W — ks at Confession.

King (24). My Lord Chancellor at the Beds feet.

Diamonds. — Ace (39). T. Ellis in Grocers Ally entertaining his Friends [the
host raising a glass in his right hand exclaims " to ye P. of Orange."]

Two (38). Lime Street Chaple pulling down and burnt.

Three (37). Burning ye Popish Chaple in Lincoln's Inn Fields.

Four (35). Bucklers Berry Popish Chaple burnt in the Stocks Market.

POL IT I CO- HISTORICAL. 277

Five (34). The Prince of Orange coming to London.

^x (33)- Father Peters burning his papers.

Seven (36). The Fight at Redding.

Eight (29). Mortar peices put upon the Tower.

Nine (30). The Prince of Orange Landing.

Ten (28). The Mass house at St. Jones's pulling it down, &c. [one of the
destroyers calls out, " Capt. Tom "].

Knave (31). Singing of Mass thinking that the French had landed.

Queen (32). The Queen and Prince of Wales making their escape.

King (27). Prince of Wales giving audience.

Hearts. — Ace (52). My Lord Chancellor in the Tower.

Two (51). L. P. taken in disguise going to Sea.

Three (50). A Papist of quallity taken at Wapping.

Four (49). A papist in disguise taken at ye Tower.

Five (47). A preist marching off with bag and baggage.

Six (46). A preist hard very hard at Work.

Seven (45)- A preist selling of Relicks by auction [he exclaims, " Thos. a
Becket's old stocking $s. once"].

Eight (42). Singing of Lilly bullero.

Nine (4 1 ). Cry ye Prince of Orange's third Declaration.

Ten (40). The Army going over to ye Prince of Orange.

Knave (48). Tyrconel arming ye Papists in Ireland.

Queen (43). Singing O brave popery, delicate Popery, oh.

King (44). My Ld Mayor & Sheriffs wait on ye Prince at Windsor.

The designs on these card-pieces are in general good, as is also their technical
execution. The orthography is better as a rule than in the previous series.
The impressions are from engraved metal plates, and are uncoloured.

[3i X 2f in.] [Backs plain.]

E. 192.

FIRST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

(Marlborough and his Time.)

SET of fifty-two numerals of the ordinary character.

These cards illustrate the victories of Marlborough, and the
political events of his time. Satirical designs relating to the contem-
porary history of France and Germany are also included.
Each piece is chiefly occupied by an illustration, having its description below.
The suit mark is above at the right-hand corner, and the value of the piece is
shown by Roman numbers at the left-hand upper corner.

The marks and values have been engraved on the field of the compositions, not
any separate margin having been retained for them.

Some of the compositions are of a very curious character, perhaps more being
attempted to be conveyed in them than in the designs of any of the other politico-
historical cards.

The following pieces may be cited as worthy of particular notice :-—
Ace of Spades. — The French King (Louis XIV.) is in bed, three large cats
are on the floor of the chamber. Below is the following inscription :

" The French King's Dream. The fat cat denotes the Partisans fatten'd with

278 ENGLISH.

ye substance of y* nation, ye lean cat ye People of France exhausted by heavy Im-
positions, and ye blind cat ye K9 Councel who are at their witts end."

Queen of Spades. — Represents the French King and Madame de Maintenon
driving turkeys. From the King's mouth, " How do you sell your Turkeys now " ?
and from Madame de Maintenon, " To ye old trade again."

Below the composition may be read —

" At first dishonest when I Turkeys fed,
Little I thought t' enjoy a Monarchs bed,
But now y* dotard's glutted with a baddy reign
I may to Turkey keeping go again."

Two of Clubs. — Represents the siege of Dendermond, below which is : " Sept'
ye St l7o6i Dendermond surrenders to General Churchill his Grace ye Princt
and D. of Marlboros Brother.'*

Three of Clubs. — " The French abandon Ghent at the approach of Marlb'ro,
June 2, 1706."

Eight of Clubs. — " The Duke of Marlboro obliges Limburg to surrender at
discretion, Sept. 28, 1705."

Ten of Diamonds. — Here is represented " The Battle of Ramillies, where ye
D. of Marlborough, &c. took 26 standards and 63 ensigns, the French loosing
20,000 men, all their Baggage, Ammunition, &c."

Eight of Diamonds. — " The Burgomasters and Magistrates of Brussells present
the D. of Marlborough with ye Keys of ye City in a Gold Bason, Oct. 27, 1706."

Ace of Hearts. — Exhibits Queen Anne in a triumphal chariot, the horses of
which are trampling on the arms, crown, and insignia of the King of France and
the Pope. Below are the lines —

" As ye bright chariot of the quickening Sun
Dos over noisome Clouds and Vapours run,
So mighty Anne on Victory dos ride,
And tramples down ye Pope's and tyrant's Pride."

On the ace of clubs is an equestrian portrait of "Joseph, Emperour of
Germany, born July 16, 167 8."

On the ten of clubs is a portrait bust of " Prince Eugene of Savoy, born
October 18, 1663."

The queen of clubs presents a large portrait bust of " Anne by ye Grace of
God, of Great Britain, France, and Ireland, Queen Defender of ye Faith."

On the king of clubs is the companion portrait of " Charles III. King of
Spain, born October l8, 1685."

While the queen of diamonds presents us with "The Princess Roy1 of
Prussia."

The last cards of the sequence are the king and queen of hearts. On the first
piece is a portrait bust of " His Royal Highness, George, Prince of Denmark,"
born 1 653. On the second, one of " The most Illustrious Anna Sophia of
Hannover, born 1630."

The impressions are from engraved metal plates, the technic of which, is
laboured, and heavy, and but of mediocre character. The cards are uncoloured.

[3f X 2f in.] [Backs plain.]

POLITICO -HISTORICAL.

279

E. 193.

FIRST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

(Marlborough and his Time.)

SERIES of fifty-two numerals of the usual suits. These cards illus-
trate the victories of Marlborough, and the events — both domestic and
foreign — of his time.

This set is a duplicate of that last described (E. I92).
2f in.] [Backs plain.]

E. 194.

{Prints relating to Political and Personal Sati?'es, No. 1 546.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

LONDON, 1710.

SERIES of twenty-six card-pieces of the suits of hearts and diamonds,
engraved on a single sheet, 17^- in. wide by 14 in. high.

The greater portion of each piece is occupied by a design illus-
trating some event in the career of Dr. SacheverelL Below is a
couplet referring to the design above. At the upper right-hand corner of each
piece is the representation of a diminutive playing-card of the ordinary kind.

On the two of diamonds Dr. Sacheverell is shown in his coach, attended by
a crowd which cheers him ; below is the verse —

" Others would swell with pride if thus cares'd,
But he bears humble thoughts within his breast."

The ace of hearts exhibits Dr. Sacheverell walking towards a pulpit, and below
the lines —

" From hence the Church's restoration rose,
And made Discovery of her secret Foes."

The knave of hearts represents Mr. Dolben, son of a former Archbishop of
York, presenting the Articles of Impeachment against Dr. Sacheverell to the House
of Lords. Below may be read —

" Here an Archbishop's son ye Church impeaches,
Whose sire, if living, would abhor such speeches."

A detailed account of each of these twenty-six card-pieces may be found in the
second volume of the "Catalogue of Prints relating to Political and Personal
Satires," p. 332, No. 1546. The impressions are from copper-plates. The
designs and technic are of mediocre character. The card-pieces are uncoloured.

[3§- X 2fin.] [Backs plain.]

28o ENGLISH

E. 195.

SECOND HALF OF SEVENTEENTH CENTUIIY.

LONDON ? HOLLAND ?

(Rump Parliament.)

SET of photographs from a numeral series of fifty -two card-pieces of
the ordinary character.

The rare originals from which these photographs were taken were
presented by Thaddeus Hyatt, Esq., of Gloucester Gardens, Hyde
the late Hon. Charles Sumner, of Boston, U.S., in the possession of
whose executors these cards now are, it is believed. Before they left Englanc
these photographs were allowed to be executed, as records for the National Col-
lection by permission of Mr. T. Hyatt.

A pack of the original cards was exhibited before the Archaeological Associa-
tion by Mr. S. L. Tucker in 1854, on which a paper was read by Mr. Pettigrew, to
be found in the " Journal of the British Archaeological Association," vol. ix. pp. 121,
308, 1854. Mr. Pettigrew remarked on the originals before the Association, that
" These cards are to be considered as belonging to a political game, and are es-
pecially illustrative of the Rump Parliament and the private actions and conduct
of several of the individuals most conspicuous during the Commonwealth. The
nature of the subject clearly fixes the period to which they belong. They must be
assigned to the time of Charles II., and it may be presumed that they were executed
in Holland, and that they formed a source of amusement to the royalists at the
Hague during that sovereign's residence in that country, on the captivity and
execution of his father. The history of them, as far as I have been able to obtain
it, is but meagre. They were purchased by the late — Prest, Esq., of Conn aught
Place. He obtained them at the Hague, for the sum of thirty-five guineas, of a
gentleman who stated that they had descended in his family from the time of their
fabrication, and they have been in Mr. Prest's family for upwards of thirty years.
It is not a little singular that no other copy is known, and that hitherto no notice
of such a pack has appeared. As an addition, therefore, to the materials of the
history of playing-cards, a description of these, illustrated by historical notes and
references, may not be inappropriate in the pages of oiu* Journal, and useful to
future labourers in this branch of inquiry.

" The pack consists of fifty-two cards, measuring 3^ in. in length by 2 in.
in breadth. They are engraved on copper, and their execution exhibits no
deficiency of talent on the part of the artists employed. The suits are marked,
and the number of the suit on the upper corners of the cards, and the description
of the subject, occupying the body of the card is engraved at the bottom."

Mr. Pettigrew's paper is accompanied by copies of eight of the original cards.
On the first sheet is given the eight of diamonds, which represents " Don Haselrig
K* of ye coddled braine ; " the nine of diamonds, showing how " Lenthall runs away
with his Mace to the Army ; " the queen of diamonds illustrating " the takeing of
the Holy League and Covenant ; " and the five of hearts, portraying " The E. of
Pem. in ye H. of Com. thanks ye Speaker for his admission."

On the second sheet are the seven of hearts, representing " Nathaniel Fines,
whereby hangs a tale ; " the eight of hearts, having a full-length figure of " Lam-
bert, K* of ye Golden Tulip ; " the knave of the same suit, whereon " Hugh Peters
shews the bodkins and thimbles given by the wives of Wappin for the good old
cause ; " and the five of spades, where stand figured " Nye and Godwin, Oliver's
Confessors."

[3f X 2 in.] [Backs plain ?]

POLITICO -HISTORICAL. 281

E. 196.

LAST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

SMALL sheet, 8^- x 9f in. wide, having engraved on it a knave and
a king, between which is an ordinary figure in Oriental costume, kneeling
on one leg, and holding a diamond (card suit mark) up in each hand
towards the figure on each side of him.
The king is in profile and in the usual conventional card-costume of the time,
but the face is intended to be a portrait of George III. The knave has a three-
quarter face — a portrait of Lord Chancellor Thurlow — looking towards the king
and the diamond held by the central figure. The knave wears a large wig and
broad hat. Below the coate-card, the king, is engraved " Geo. III.," below the
knaAre, " Thurlow," while beneath the central figure may be read " Hastings."

At the base of the sheet is the inscription, " Court cards the best to deal
with." At the right-hand corner is the address, " Boyne. Price 3s. the Pr. cold."

The impressions are from aquatinta plates, and are strongly marked and
coloured. On the verso of the sheet is written in MS. "Pubd. Feb. 8th. 1788,
for S. Doughty and Co. No. 19 Holborn, London."
See Taylor Bibl. 9, pp. 433, 520.
[3|- X 2g in.] [Backs plain.]

SATIRICAL.
E. 197.

FIRST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

SERIES of thirty- four cards from a numeral set of fifty-two pieces
of the usual character. The cards wanting are the four, five, six,
seven, eight, nine, ten, knave, queen, and king of spades, and the ace,
two, three, four, five, six, seven, and eight of diamonds. This se-
quence is of a satirical character. Each of its members is occupied by a figure
subject, having its explanation in verse below the design. Above at the left-
hand corner is a representation of a small playing card of the ordinary kind.
The small coate-cards are of the conventional forms.

On the nine of diamonds five ladies are represented in a saloon seated at a
card-table. Two cards are displaved, one is an ace. Below is the couplet —

%
" Whilst fields of blood y Heroes do delight,
The Fair at Oumber wast ye tedious night."

On the ten of diamonds the interior of a shop is exhibited ; articles of plate
are on the shelves, and a dice-box and dice are on the counter, by which stand
two ladies and a gentleman. Below may be read —

" At Epsom oft these Rafflings I have seen
But assignation's we they cheifly mean."

282 ENGLISH.

On the knave of the same suit a quack, standing on a platform, is exhibiting
and praising his nostrum before a crowd. The accompanying lines are —

" Give me the gold cryes quack heres my Pills,
You think for cure, no, to increase your Ills."

On the four of clubs a ruined gambler is returning in despair from a club-
house. He has thrown down on the ground cards, dice-box, and dice. A jeering
companion is holding a money-bag towards him and exclaiming —

" You seem to be craisy at ye loss of your coin,
If you want money take some of mine."

On the king of clubs are shown a man and his wife dancing together ; a
fiddler is playing to them ; on a table is an overturned empty wine-jug, by which
stands a large glass. Below is the couplet —

** A well matched pair they'l never freet,

For a pound of greif woint pay an ounce Debt."

On the four of hearts is a lady petting a parrot, and the lines —

" Phillis thy lovers I'm affraid have left you,
That Poll's so much in favour to divert thee."

* On the five of hearts is a widow being visited by a female friend ; they are
taking a glass of cordials together, while the latter exclaims —

" No more wth deep Concern ye dead lament,
A living Husband's w* we Ladys want."

The ten of hearts shows us Jupiter descending on an eagle towards a seated
woman ; below is the verse —

" Jove for a mistres down to Earth does come,
And like a london Rake leaves his poor wife alone."

On the three of spades may be seen four billiard-players engaged at their
amusement ; the accompanying lines are —

" Think not a lossing gamester will be fair
Who at ye best ne're play'd upon the square."

Mr. Chatto alludes to these satirical pieces, observing —

" A pack of satirical cards, belonging to W. H. Diamond, Esq. Frith
Street, Soho, appears to have been executed about the same time (Reigns of
Queen Anne and King George I.) All the subjects are coarsely engraved,
though some of them display points of character very much in the style of
Hogarth.

11 In the ten of spades a Moorfields Quack is seen pointing to his sign, with
the inscription —

' To famed Moorfields I dayly do repair,

Kill worms, cure itch, and make ye ladies fair.'

" In the ace of diamonds a lady is seen showing her palm to a fortune-teller,
with the inscription —

' How can you hope this Gipsey drabb should know
The Fates' decrees and who was made for you.'

" In the four of diamonds a lady is seen exchanging some of her clothes for
china ware with an itinerant dealer. The inscription is —

" Your pockets madam surely are wondrous bare,
To sell your very clothes for china ware.' (p. 158.)
In the pack alluded to by Mr. Chatto there was a red duty stamp on the ace
of spades ; it is not present here.

[3$ X 2i in-3 [Backs plain.]

SATIRICAL. 283

E. 198.

(Prints of Political and Personal Satires, vol. i. No. 81.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

SATIRICAL print representing James I., Henry IV. of France,
Prince Maurice (Stadtholder) , and Christian IV. of Denmark, playing
at cards and backgammon against the Pope and his ecclesiastical
brethren. King Henry is playing a trump card — the ace of hearts ;
his antagonist, a monk, having the knave only. A five of hearts is displayed upon
the table as mark of the trump suit.

This print bears at its upper margin the title of " The Revells of Christen-
dome." At the lower right-hand corner is " T. Cocksonus Sculp."

The lower portion of the sheet is occupied by forty-eight lines of verse, in
four columns of twelve lines each. Below these is the address, " Sould by Mary
Oliver in Westminster Hall."

Thomas Cockson, the engraver of this print, nourished circa 1620 ; his better
works, at least, are dated 1 620- 1 630.

" He worked exclusively with the graver in a neat, finished, stiffmanner, and
engraved a great variety of portraits, among them of James I. sitting in Parlia-
ment, his daughter, the Princess Elizabeth, Charles I. in Parliament, Louis XIII.,
Mary de Medicis, also the ' Revels of Christendom,' and some pieces with
shipping." (Redgrave "Dictionary of Artists of the English School," p. 87.)

The "Revels of Christendome " was probably "of German origin, and pub-
lished in 1609, when England and France were negotiating the peace between
the United Provinces and Spain. This peace was a severe blow to the Pope, and
Maurice was watching the game which promised so much benefit to his country.
See 'Royal and Ecclesiastical Gamesters,' No. 101, 1626, which was imitated
from this print." (Catalogue of Prints, &c, relating to "Political and Personal
Satires," vol. i. p. 42, No. 8 1, where this piece is described in detail.)

[13J. X 8$ in.]

E. 198. 2.

SEVENTEENTH CENTURY.

REDUCED copy with several alterations of the piece just described.
Four verses in Dutch displace all other inscriptions. The technic is
of an inferior character to that of E. 198.
[lof x 7jin.]

284 ENGLISH.

E. 199.

{Prints of Political and Personal Satires, vol. i. No. 101.)

SECOND QUARTER OF SEVENTEENTH CENTURY.

LONDON (1626).

SATIRICAL print, imitated and reversed from E. 198. This

version is made to refer to the support given to the principles of the

Reformation by resistance to the Catholic powers. The trump card

exposed on the table is here the ten of hearts. There is an article

on this print in the " Gentleman's Magazine " for July, 1 853. The print is also

fully described in the first volume of the " Catalogue of Prints relating to

Political and Personal Satires," page 61, No. IOI.

[I4f X IO* in.]

E. 200.

{Prints of Political and Personal Satires, vol. i. No. 1033.)

THIRD QUARTER OF EIGHTEENTH CENTURY.

LONDON.

PRINT executed in aqua tinta, representing " Hans Buling, a mounte-
bank of great notoriety, who frequently exhibited in Covent Garden."
The design is copied. from a Delft dinner-plate, on the back of
which are the initials "B. S. 17 50." The centre of the plate
is occupied by Buling with a monkey, &c. Coming towards him, as he enters
from the left, is a harlequin grotesquely draped. On the broad edge of the plate
are four groups of playing-cards, two groups containing four cards each group, and
two having five cards. Immediately below the inferior margin of the plate is
the address : "I. R. Cruickshank fecit."

This piece is described in the first volume of the " Catalogue of Prints re-
lating to Political and Personal Satires," p. 584, No. 1033.
[10 X 8f in.]

E. 201.

{Prints of Political and Personal Satires, vol. ii. No. 1407.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

LARGE woodcut with letterpress, coloured in red, crimson, and blue,
representing "A prodigal sifted and found out in his several De-
baucheries. With a lively representation of the many inconveniences
and trams of Evils attending Idleness, Tipling, Gaming, and Drun-
kenness, &c."

SATIRICAL.

285

Tlie composition represents a room, on the walls of which hang pictures of the
evil events in the life of the prodigal. Among these, gambling is portrayed on
the fourth design from the left. The prodigal is being held on a large sieve by
his father and mother, through the meshes of which his actions are being sifted.
As the latter fall, cards and dice, among other symbols of prodigality, may be ob-
served. The ace of hearts and the three of clubs are displayed. The kneeling
and repentant prodigal is supposed to exclaim —

" Pardon, dear Parents, and I'll tell the truth,
What I have done in my debauched Youth."

The print is stated to have been " Published in Love to those concerned, and
recommended to them as a tender caution to avoid the same excess. London :
Sold in Aldermary Church yard."

This piece is described in the second volume of the " Catalogue of Prints relating
to Political and Personal Satires," p. 1 53, No. 1407.

[171 X 12f in.]

E. 202.

SECOND HALF OF EIGHTEENTH CENTURY.

LONDON.

SHEET of eight card-pieces, representing caricatured figures of well-
known personages. Two figures in the lower row are designed as
knaves ; the first, directed towards the left hand, is entitled " Monsr le
Dupe," the other, turned to the right, is " Monsr Sure Card," the name
" Fox " being at the upper right-hand corner, and the knave's face fox-like in cha-
racter. Above these knaves are caricature representations of Fox and Welbore
Ellis. Fox is exclaiming, as he marches to the left, " Military Government — no
Militia," while he holds in his left hand papers marked " Irish Reversions," " Peer-
ages," " 1400 in Agent." Welbore Ellis, with a drum, cries out, "No, no Militia,
by Gad." A figure of S. Anson follows ; he remarks, " Deep play this, or nothing."
Winchelsea succeeds, muttering, " I'll walk on over to Germany." In the lower
row are a statue of " Cumberland " beneath an architectural canopy, and a figure
of an armed man standing on a prostrate skeleton, which points at him a dart.
A bag, from which money has escaped, lies in the foreground of the latter compo-
sition.

The Jleurs-de-lys on the ground of the two knaves are noteworthy. The impres-
sions are from etched plates of a soft metallic character, and are uncoloured.
[Knaves, 3^ X 2f in.] [Backs plain.]

286 ENGLISH.

AMUSING.
E. 203.

LATTER PART OF SEVENTEENTH CENTURY.
LONDON.

PACK of fifty-two numerals of the usual suits, the honours havii
on them full-length costume figures. The suit marks are placed
upon the cards in the ordinary positions, those of spades and clubs
being engraved, those of hearts and diamonds being stamped in red
colour. On the general face of the card various animals with landscape back-
grounds are represented.

Accompanying the series are two supplementary pieces, on which is engraved
the following inscription : " The Use. These cards of all sorts of Birds and
Beasts are very ingeniously contrived, and very diverting to young Gentlemen
and Ladys who are Lovers of ingenuity. The suites of Harts and Diamonds con-
tain all sorts of Birds. The Clubbs and Spades all sorts of Beasts. Sold by John
Lenthall, stationer, at ye Talbot, agst S'* Dunstan's church in Fleet Street,
London. Where are sold the severall Fine Sorts of Pictured Cards following, viz :
The Whole World described, each card being a compleat map, neatly engraved
and corrected by ye best Geographers, &c."

A few of these card-pieces are of a somewhat amusing character, e. g. the
ten of spades has on it a " cat a fidling and mice a dancing." On the four of
spades is represented " Orpheus playing to the Wild Beasts." On the two of
clubs is an unicorn, while on other pieces bulls are fighting, bears are being
hunted, &c.

Lenthall, the publisher of these cards, carried on business at the before-
mentioned address from 1665 to 1685. He professed to be related to William
Lenthall, speaker of the House of Commons during the Long Parliament (1641-
1^53)? which opposed Charles I. at the beginning of 1642. This, however,
did not prevent him, as Taylor remarks, from figuring " one-eyed Hewson "
as the knave of clubs, accoutred in a leather apron, in allusion to his original
trade of a cobbler, the subject of many a satire in the songs of the Cavaliers.

" And here are old Noll's brewing vessels,

And here are his dray and his slings,
Here are Hewson' s awl and his bristles,

With diverse other odd things."

(" The Sale of Rebellious Household Stuff," Percy's Reliques, ii. b. iii. 14.)

See Taylor, Bibl. 9, p. 209, and " Journal of the Archaeological Association,"
vol. ix. p. 316, concerning " Huson the Cobbler."

The duty stamp in red is placed on the ace of spades, above the head of the
lion thereon represented. Taylor has a note to the following effect : " After the
1 1 th of June, 1 7 1 1 , for thirty-two years, the Act directs there shall be a
duty on each pack of cards made of sixpence, and one of the cards stamped on
the spotted side, as the commissioner of stamp duties shall direct, under a penalty
of £5. Lenthall's cards, however, which were certainly before 1685, bear a red
stamp with a crown, and that sum stamped over the design on the ace of spades,
as do also more than one other pack of that period mentioned in the course of this

r AMUSING. 287

history." {Op. cit. p. 225.) Though the crown can be made out on the present
ace of spades, the inscription above it is not apparent.
The designs on these cards are bad, and the execution of them is of a very
inferior character. The impressions are from metal plates, and are coloured
occasionally in a most absurd manner. Around each piece is an ornamental
frame-like border. The names of the animals delineated are placed above the
latter, often a very necessary procedure for their due recognition.

[37 x 2f m*3 [Backs plain.]

E. 204.

LAST QUARTER OF EIGHTEENTH CENTURY.

PACK of fifty-two numerals of the usual kind. Each card has the
suit* mark stamped at the upper right-hand corner, of a size much
larger than the design traced out by the engraver. The value of
the piece is indicated by Roman numbers at the left-hand upper corner.
On the honours the titles are engraved at the tops of the pieces in the centre.

The greater portion of each card is occupied by an engraved design, mostly
of a laughable or grotesque character, intended to illustrate some humorous
proverb which is inscribed below. For example, on the five of clubs a woman
has rushed into a house in search of her daughter, whom she discovers in a cup-
board bed-place. In the room are a man's hat and cloak on a stool. Below the
design is the following proverb : " The old woman had never lookd in the oven
for her Daughter had she not been there herselfe." The five of spades illustrates
the saying : " Every one as they like, said the old woman when she kissed her
cow." On the nine of spades is a party drinking, fiddling, and dancing, to the
proverb : " An ounce of mirth is worth a pound of sorrow." On the eight of
diamonds are portrayed women and geese quarrelling, below may be read :
" Where there are women and geese there wants noe noise." The king of
diamonds exhibits three persons in doctors' robes at a table, above which are books
on a shelf, below are the words : " If youl avoid old Charon, the fferry man, con-
sult Dr. Dyett, Dr. Quiett, and Dr. Merry man." The design on the five of
diamonds shows the devil sitting by a cauldron over a fire, from which he has taken
a bowl of soup, and with which he regales himself. Cautiously approaching the
bowl on the devil's knees is a man with a long-handled spoon, by which he trusts
to obtain a mouthful of the savoury potage ; below is the proverb : " A good
stomach is the Best Sawce." This has not appeared to some former possessor of
the cards to be sufficiently to the point so he has written the following around the
foregoing motto : " There's need of a long spoon to eat with the devil." The
proverb illustrated on the eight of hearts is the following : " He yl Letts his
wife go to every wake, and his Horse drinke at every Lake, shall never be without
a Jilt and a Jade."

One or two of the compositions are of a gross and repulsive kind. All are
uncoloured, and mostly poor in design and technical execution.

[3l X 2t in-3 [Backs plain.]

288 ENGLISH.

E. 205.

FIRST QUARTER OF NINETEENTH CENTURY.

LONDON.

SERIES of fifty -two numerals of the usual suits.

The card-pieces composing this sequence are of artistic as well
of amusing character. Each member of it exhibits one or more figur
and accessories with good architectural backgrounds. The subjects
illustrated are of very varied and opposite kinds. Egyptian, classic, Gothic themes
occur ; events in ancient and mediaeval history, of the modern stage, and panto-
mimes.

The full-length figures on the coate-cards are carefully coloured, the kings
having a crown above the mark of the suit, which is placed at the upper right-
hand corner. The designs, composition, drawing, and engraving on these card-
pieces have been well studied and carefully executed. The technic is chiefly in
the stippled, dotted, or Bartolozzi manner.

This set is alluded to by Chatto, Boiteau D'Ambly, and Taylor. The latte:
gives two illustrations from it, accompanied by the following remarks : —

" Specimens of pictorial cards designed by a Viennese artist, and published
four at a time in the 'Repository of Arts' for 1818-19, and as a pack afterwards,
two editions of which are in the Paris library. We should need the entire set to
be engraved to give a full idea of the variety of the very original and fantastic de-
signs on these cards — knights in armour, Eastern warriors, figures of the classic
mythology, scenes from modern tales and dramas, costumes of every age and
clime, well drawn, and displaying great versatility of talent, but with no apparent
order or object, and crowded with accessories of every conceivable kind, in which
the marks of the suits are introduced in the most ingenious manner possible. The
descriptions in the original work are by the late J. B. Papworth, Esq., architect,1
from which we extract the one explanatory of Plate xxxii.

"The six of diamonds represents the characters of a pantomime, and the several
personages of the scene will be easily recognised. The emaciated and decrepit
debauchee is still assuming the gallant, and mixing the habiliments of the soldier
with the airs and manners of a youthful petit maitre. He is gazing on a distant
lady, while she whom he vainly fancies he possesses in perfect security, is bestow-
ing her favours on the first idiot that solicits them. The female is wantonly
attired, and holding in her right hand a mask, the emblem of her duplicity, and
from the other arm suspends a ridicule, the type of her condescensions. The
diamond forms an ornament to a fan, ridicules and the furniture of the apartment.
The descriptions of the two succeeding contain no more than the prints themselves
will suggest. Only the marks of suits are coloured, and even this hardly redeems
them from the charge of being too indistinct for use." (Bibl. 9, p. 181.)

These card-pieces are of very limp texture, large in size, and undecorated
backs.

[3J- X 2i in.] [Backs plain.]

1 John Buonarotti Papworth, who, on the establishment of the Government
School of Design in 1837, was appointed director. He fitted up and arranged
the schools. (" A Dictionary of Artists of the English School," &c, by Samuel
Redgrave. London: 1874.)

■

AMUSING. 289

E. 206.

SECOND QUARTER OF EIGHTEENTH CENTURY.

LONDON.

(Musical.)

SERIES of forty-eight cards from a set of fifty-two of the ordinary
suits.

The pieces here absent are the ten of spades, the four and eio-ht
of diamonds, and the four of clubs.
This sequence is composed of musical cards. Most of the pieces have on
them four lines of music, commencing at the top ; following these is a verse of a
song, to which succeeds two more lines of music, for accompaniment by the flute.
Between the upper lines of music are words of the song, of which the verse in the
centre of the card is a continuation.

A few of the cards have eight lines of music with accompanying words, in
place of six lines, and verse in the centre. The lower lines are of flute accom-
paniment.

At the upper left-hand corner of each piece is the representation in miniature
of an ordinary playing card. The designs on the honours are of the conventional
character, and are uncoloured. The whole designs, music and words, are from
neatly engraved copper-plates. The orthography is often very bad. The duty
stamp of " vi Pence " has been impressed in red on the ace of spades, immediately
on the small card design at the upper left-hand corner.

The king of spades commences the series, to the music and words of " The
First King :"

" When Adam was the King of Spades,

And Eve his wife did sew ;
Then delving was the best of Trades,
No pride no Fraud they knew."

The queen of the same suit follows to the tune, &c, of " The Fair Jade," and
the knave to that of the *' Miser."

The other cards of the suit produce the " Fair Ingrate," " Little Jeny," " Dis-
pairing Lover," "Lovers' Resolution," " All Must Love," "Pritty Cloe," "Dying
Lover," " Advice to Celia," and " Vain Pursuit."

In the suit of diamonds, the king appears under the aspect of " True Lover,"
assuring his beloved that

" Not all the Diamonds, all the gold
That all the Mines on Earth can hold,
Should tempt me to resign my right
To the my Diamond, my Delight."

The queen represents " The Lover's Treasure ;" and from the knave, who is
Jack Shepherd, we learn that

" The People lament, alack and alack,
'Twas pity to hang up their Favourite Jack ;
For Britains hate thinking, and all would be dumb,
But for Shepherd and Faux, Faustus, Wild, and Tom Thumb."

2go

ENGLISH.

The pip-cards of the suit of diamonds have on them " The Fool's Thought,"
" The Fickle Lover," " A Merry Song," " The Critical Minute," " Damon and
Phillis," " Bright Cloc," " Coy Celia," and " The Jovial Soul."

The king of clubs appears as Sir Oliver Rant, and —

14 Sir Oliver Rant is a Terrible fellow,
He drives all before him when'er he is Mellow ;
He Scowers the Watch, and he ranges the Town,
And all that resist him he strait knocks 'em down.

44 The BalifTs and Marshalls men dare not come nigh him,
Free masons and Mollies and Schemers all fly him ;
The Bullies he kicks and their Harlots he drubs,
And all round ye Hundreds, he's cal'd King of Clubs."

The queen is the " Bewitching Charmer," and the knave all " Contradiction.

Then follow "No Fault in Loving," "Cupid's Snare," "Jovial Top(
"Drinking Song," " Faithful Love," " Sally's Dart," "Love for Love," "Lover's
Wish," "Brisk Joan."

In hearts, the king shows Cupid's dart useless ; but the queen supplies the
refrain of a " Broken Heart :"

44 Oh what Heart but needs must yield,

When like Pallas you advance,
With a Thimble for your shield,

And a Needle for your Lance.
Fairest of the Stitching Train,

Ease my Passion by thy Art ;
And in pity to my Pain,

Mend the hole that's in my Heart."

The " Sly Knave " succeeds, followed by " The Faithful Lover," " The Un-
constant Lover," "Tender Heart," " The Happy Swain," "Young Damon,"
"Beauteous Celia," "Dejected Cloe," "Charming Cloe," "Sly Cloe," and the
44 True Lover," who wisely concludes the general lament,

44 I'll hast to some far distant shore,

And never, never, never, never think of Woman more."

[3f X 2r m- without margin.]

[Backs plain.]

E. 207.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON.

SERIES of fifty-one cards from a numeral set of fifty-two of the
ordinary suits. The ace of spades is here absent. The designs are
of a humorous character. The marks of the suits of clubs and
spades are in white, on a deep blue ground. Within each mark a
grotesque face is etched in imitation of a pen-and-ink drawing. The diamonds
and hearts are on a light madder-coloured ground, and treated in a similar
manner. The coate-cards are the king, queen, and knave of conventional cha-
racter, with laughable expressions in their faces. A printed title-card accom-

CARDS PURELY FANCIFUL. 291

panies this set, which is described as composed of "Imperial Royal Playing-
Cards," and as being of a serious and Historic character !

The discrepancy which exists between the description of the cards and their
actual character, can only be explained by assuming that a wrong supplemen-
tary descriptive card has become accidentally attached to the series.

The latter was published by " S and J. Fuller, at the Temple of Fancy, No.
34, Rathbone Place."

The cards are stiff, and marked on the backs with large stars, made up of dull
red spots.

On the whole they form a very poor effort, whether as relates to design or
execution.

[3f X 2£ in.] [Backs decorated.]

CARDS PURELY FANCIFUL.
E. 208.

LAST QUARTER OF EIGHTEENTH CENTURY.
LONDON.

WELVE card-pieces of emblematic character.

In the centre of each piece on a large shield, the emblematic
object is represented. Above the shield is the crest of the Prince
of Wales ; a motto scroll, curtain-like drapery and palm branches
are other accessories. On the lower part of each card is a verse of four lines,
referring to the emblem above.

The designs and inscriptions are from engraved copper-plates, the former
being coloured. Each card has a yellow border between engraved lines.

A wrapper, with engraved ornamental title, accompanies the set. It bears
the following inscription within a large oval, surmounted by the crest of the
Prince of Wales : — " Wallis's Emblematical Cards for the Amusement of Youth.
London. Published Sept. I5,h, 1788, by J. Wallis, No. 16, Ludgate Street, J.
Binny, Leeds, and L. Bull, Bath. Price one Shilling, neatly coloured."
Card No. 1 has on it a crown for the emblem. Below is the verse : —

" Crowns are ambitious gilded toys,

As blessings never meant,
Know that the greatest Joys on Earth,

Are plenty and Content."

On No. 2 is a clock ; below which is : —

" The Clock a daily monitor,

Points to each passing Hour,
And bids you well employ the time

Which now is in your pow'r."

No. 3 has a ship, No. 4 an anchor, No. 5 a cannon, No. 6 a basket of flowers,
No. 7 a horn, No. 8 a guitar, No. 9 a harlequin, No. 10a rocking horse, No. 1 1
a kite, and No. 1 2 a boy with a whipping-top.

Below each emblem are appropriate lines.

Though devoid of any artistic merit, the designs have been neatly and care-
fully engraved.

[3t X 2i in-] [Backs plain.]

292

ENGLISH.

Roberts.

E. 209.

THIRD QUARTER OF NINETEENTH CENTURY.

LONDON.

SERIES of forty-five card-pieces, nine of which have text alone or
them, the rest have full-length figures of historical personages.

A descriptive pamphlet accompanies the sequence, which is en-
titled " The Royal Historical Game of Cards, invented by Miss Jane
London. Robert Hardwicke, 26, Duke Street, Piccadilly, and all
Booksellers."

After "Directions for playing the Game," "the inventor hopes that thif
Simple Division of the thirty-five reigns, or thirty-six periods of English History,
between the nine centuries which have elapsed since the Conquest, will enable
the players with a little practice to remember the exact line of succession to tin
British Throne."

The figures are in the assumed costume of their times ; the designs and pro-
portions of the former are often of very inferior character.

Printed with bronze powder. The backs of these cards were marked by deep
blue and light red lines, forming bands running across the card diagonally.
[4 X 2i in.] [Backs decorated.]

t,. 2IO.

SECOND QUARTER OF NINETEENTH CENTURY.

ROMSEY.

SERIES of fifty pieces, having historical problems in printed text on
them, which have to be solved by the players. Two supplementary
cards accompany the set, having on them "Rules for playing the
Game," and the " Key" to the historical problems.
These card-pieces are here arranged as a bound volume, bearing the follow-
ing inscription : — " Darvall. Historical, Biographical, and Geographical Cards.
Romsey. 1 830."

Not any pictorial designs nor marks are present.

C3i X 2i in0 [Backs plain.]

E. 211.

SECOND HALF OF NINETEENTH CENTURY.

LONDON.

IFTY-TWO card-pieces, of which fifty-one have on them printed
problems connected with literature, which have to be solved by the
players. One card-piece is occupied by the " Rules and Regulations."
The title of the wrapper accompanies the set, and bears the in-
scription, " Price 2*. 6d. An Evening Game of Cards on a Novel and In-
teresting Plan. Poetry and Literature. London : Hamilton, Adams, and Co., and
all Booksellers."

It has here " been an object to prepare such questions as shall be full of interest
and freshness to those who enjoy and appreciate English Poetry and Literature."
Not any pictorial designs nor marks are present.
[3 J X 2f in.] [Backs plain.]

CARDS PURELY FANCIFUL. 293

E. 212.

SECOND HALF OF NINETEENTH CENTURY.

MANCHESTER.

SEQUENCE of thirty card-pieces, of which fifteen have riddle ques-
tions derived from Shakespeare on them, and fifteen have their answers.
Ten other and larger pieces are present, entitled " Key to the Riddles."
A supplementary card of directions accompanies the set, as likewise
a title bearing the following inscription, " [Entered at Stationer's Hall.] Shak-
sperian Playing-Cards. Shakespere's Riddles. Selected and arranged by John
B. Marsh. Examiner and Times Office, Manchester. One Shilling. Manchester :
John Hey wood, 143, Deansgate. London : Simpkin, Marshall, and Co. and sold
by all Booksellers."

Not any pictorial designs nor marks are present.

[3 X if in.] [Backs plain.]

E. 213.

SECOND HALF OF NINETEENTH CENTURY.

MANCHESTER.

SEQUENCE of thirty card-pieces, the latter having love letters
printed on them.

A " Card of Directions " accompanies the set, as does likewise a
title bearing the following inscription : " [Entered at Stationer's Hall.]
Shakesperian Playing Cards, No. II. Shakespere's Love Letters. Selected and
arranged by John B. Marsh. Manchester, One Shilling. Manchester: John
Hey wood, 143, Deansgate. London: Simpkin, Marshall, and Co. and sold by
all Booksellers."

Not any pictorial designs nor marks are present.

l3l- X 2i in-] [Backs plain.]

E. 214.

SECOND HALF OF NINETEENTH CENTURY.
LONDON.

SERIES of thirty-six card-pieces, eighteen of which have a question
in the form of two lines of poetry on each of them, and eighteen have
the answers in four or more lines.

The ornamental title of a wrapper accompanies the set, and bears
the following inscription : —

" Shuffle and cut, question as you will,
Yet every answer shall prove fitting still.

" Comic Conversation Cards, by Joyce Jocund, Esq.

294 ENGLISH.

" Most Packs are in full cry when game they're after,
This Comic Pack now try, — whose game is laughter.

" London :• Published by Reynolds and Son, Playing Card Manufacturers By
appointment to his Majesty, 29 and 30, Vere Street, Lincoln's Inn Fields. Ent.
at Stat. Hall. Price l*. 6"."

The only pictorial design is on the title of the wrapper. It represents two
knaves in attendance upon two Kings and two Queens seated at table.

[3? X 2i in0 [Backs plain.]

E. 215.

LAST QUARTER OF EIGHTEENTH CENTURY.
LONDON.

SEQUENCE of thirty-two card-pieces, having on them emblemati
designs of various character, and below moral apophthegms to whicl
the designs have reference. Each piece has a number at the upper lef
hand corner, answering to certain explanatory and descriptive tables

given in a book of directions, which here accompanies the cards. The title-page

of this book of 31 pages bears the following inscription : —

" Les Amusemens des Allemands, or the Diversions of The Court of Vienna,

in which the Mystery of Fortune-Telling from the Grounds of the Coffee-Cup is

unravelled, and Three pleasant Games, viz. : —

" 1. Fortune-telling from the Grounds of the Coffee-Cup.

2. Fortune -telling by laying out the cards.

3. The new Imperial Game of numbers

are invented.

Admirably calculated to promote Useful reflections and Innocent Festivity, By
the means of Extempore Composition. The whole illustrated with a Pack of
Thirty-Two Emblematical Cards.

" Here fertile fancy may amuse the mind,
With moral truths and sprightly wit combined."

London : Printed for Champante and Whitrow, Jewry-Street, Aldgate, And
may be had at every Booksellers and Toy Shop in the Kingdom, 1 796. Entered
at Stationer's Hall."

According to an advertisement on the back of the title-page, " these enter-
taining games first made their appearance at Vienna in 1794, where they still are
the favourite amusement of the Empress of Germany and the Imperial Court.
They have since been diffused through all the fashionable circles in that country.
The Editor therefore has to hope that in a country where the liberality and
curious discernment of its inhabitants is so conspicuous as that of Britain, they
will not be held in less estimation."

Designs and text are from engraved copper-plates ; the former are uncoloured
and of mediocre character.

[3f X 2i in-] [Backs plain.]

CARDS PURELY FANCIFUL. 295

E. 216.

NINETEENTH CENTURY.

LONDON.

SERIES of thirty unseparated card-pieces. The latter are here
contained in six sheets of three rows of two pieces each sheet.

Below the cards is the inscription on each sheet : " March's
Conjuring Cards. No. 1. Price one Halfpenny. Directions — Cut
them apart through the lines, then with a pin bore holes where dotted, tye a
thread in each end and twirl the card quickly round, when the goat will have a
monkey on his back, the gridiron 3 mackerel, and so on with the others. J.
March, Publisher, 1 2, Webber Street, New-Cut."

The back of each card-piece has on it a design in reverse to that which is on
the front. The design on the latter is uncoloured, that on the back is coloured,
[lj- x 1 j- in.] [Backs with designs on them.]

MISCELLANEA.
E. 217.

SECOND QUARTER OF EIGHTEENTH CENTURY.

LONDON.

Flints of the English School,

Works of and after Francis Hay man. B. 1708 — D. 1 77^*

'HIS piece represents one of a series of paintings executed by Hayman
for Vauxhall Gardens, and by which chiefly he is celebrated.

The design of the present work appears to have been suggested
by a composition of Gravelot, of which Hayman fully availed himself.
In the print before us, a young lady and gentleman appear seated at a round
table " Building Houses with Cards," at another and small side- table are two
little girls following a like amusement. Four persons are looking on. The card-
house of the first group is tumbling down. The gentleman holds the five of
hearts in his right hand, and towards which the attention of the lady is directed.
Below the composition are the following lines : —

" Whilst innocently youth their hours beguile,
And joy to raise with cards the wondrous pile,
A breath, a start, makes the whole fabric vain,
And all lies flat to be began again.

Ambition thus erects in riper years,
Wild schemes of power, and wealth, and endless cares,
Some change takes place, the labour d plan retards,
All drops — Illusion all — an House of Cards."

296

ENGLISH.

Immediately below the engraving are the inscription and addresses : " Building
Houses with Cards. II. Gravelot, Invenit ; F. Hayman, Pinx. ; L. Trachy, Sculp,
From the original Painting in Vaux-hall Garden. Published according to Act of
Parliament, 4th April, 1 743."

[llf X l3f in.]

E. 218.

SECOND QUARTER OF EIGHTEENTH CENTURY.
LONDON.

Prints of the English School.

Works of and after Francis Hayman. B. 1708 — D. 1776.

HE composition represents a lady and two gentlemen seated at a card-
table playing Quadrille. Two ladies and a gentleman are looking on.
A female servant and a negro page are at a side-table engaged with
tea-things. The two gentlemen who are playing are showing their
cards to the ladies seated near them ; the cards are of the suit of hearts. The
ace of spades (?) is on the table, together with other cards and counters.

The inscription and addresses at the lower margin are as follows : " Quadrille.
Engraved from the original Painting in Vaux Hall Garden. F. Hayman, pinx1,
C. Grignion, Sculp1, Printed for John Bowles, at the Black Horse in Cornhil,
and Carington Bowles, in St. Pauls Churchyard, London."

In reference to the game of Quadrille as here played by three persons, the
following extract from Singer (p. 266) is worthy of attention. " Quadrille,
which is only another species of Ombre, appears to have superseded it, and to
have been very popular in England until whist began to be played upon scientific
principles. Although this game has a Spanish name, it is supposed to be an
invention of the French nation, and appears to have been a great favourite with
the ladies, as requiring much less attention than Ombre ; there was also a
modification of it which might be played by three persons, but it is generally
considered far inferior to the game by four, and was only played when a fourth
player could not be had.'

[9;

3y in., without margin.]

E. 219.

SECOND QUARTER OF EIGHTEENTH CENTURY.

LONDON.

SMALL engraving from a copper-plate representing two ladies and
two gentlemen seated at a table playing cards. Below is the inscrip-
tion, " The Quadrille Party."

This appears to be after a design of Gravelot, otherwise Henri
D'Anville and Hubert Frangois Bourguignon. He came to England in 1733,
and for a time kept a drawing school in the Strand. He was largely employed
by the London booksellers, and his assistance was likewise sought by various
artists. " He attempted small compositions and conversation-pieces, and is said
to have been a designer by choice, an engraver by necessity." " He was born in
Paris, March 26, 1699, died in Paris 1773. (Redgrave's "Dictionary of Artists
of the English School.")

iSi X 3t in-> without margin.]

MISOELLANEA. 297

E. 220.

Drolls published by Robert Sayer, Laurie, and Whittle,

1792-1803, No. 108.

LONDON.

PRINT representing two ladies and three gentlemen playing at loo.
One of the latter is scratching his head in desperation, another and
one of the ladies are regarding with vexatious astonishment the cards
— (a flush of diamonds) — which their successful antagonist displays in
her hands. Her opposite neighbour smiles with complacency as he shows the
knave of clubs.

Below, in the margin, may be read " Loo. Pam saves me. A Flush. Pub-
lished 20th Feb1"., 1 796, by Lawrie and Whittle, 53, Fleet Street, London."
On the table are cards and counters or money.

Loo or lanterloo was at one period a very fashionable game, but began to go
out soon after the time when whist began to be played on scientific principles.

" If you are acquainted with my Lady Barrymore," writes H. Walpole to his
friend Montagu, " pray tell her that in less than two hours t'other night, the
Duke of Cumberland lost four hundred and fifty pounds at loo ; Miss Pelham
won three hundred, and I the rest. However, in general loo is extremely gone
to decay. I am to play at Princess Emily's to-morrow for the first time this
winter, and it is with difficulty she has made a party." This was in December,

1761.

In 1759 Walpole wrote: "Loo is mounted to the zenith. The parties last
till one and two in the morning. We played at Lady Hertford's last week, the
last night of her lying-in, till deep into Sunday morning, after she and her lord
were retired. It is now adjourned to Mrs. Fitzroy's, whose child the Town calls
1 Pam-ela.: "

At certain games the knave of clubs is called Pam. In the " Toast," a
satirical poem, written about 1730, by Dr. William King, Principal of St. Mary's
Hall, Oxford, Dr. Hort, Archbishop of Tuam, is called " Lord Pam." He is also
called Pam by Swift.

" A few years ago the name was applied to the celebrated public character,
whom Byron is supposed to have designated as ' a moral chimney-sweep ' in one
of the cantos of Don Juan." (Chatto, p. 269.)

[6£ X 9|- in. without margin.]

E. 221.

SECOND HALF OF SEVENTEENTH CENTURY.
LONDON.

BROADSIDE sheet of politico-satirical verses, headed by three
lines of music, and entitled " A New Game at Cards." The words
within the lines of music are as follows : —

" Ye merry hearts that love to play at Cards,
See who hath won the day ;

298 ENGLISH.

m
You that once did sadly sing
The Knave of Clubs hath won the King ;
But now more happy times we have,
The King hath overcome the Knave,
The King hath overcome the Knave."

Then follow eight verses of seven lines, each verse in two columns. The
verses refer to Cromwell and the Rump Parliament.
The second verse runs thus : —

" Old Noll, he was the Knave o' th' Clubs,
And dad of such as Preach in Tubs ;
Bradshaw, Ireton, and Pride,
Where three other Knaves beside,
And they Plaid with half the Pack,
Throwing out all Cards but Black."

The last of the sequence is : —

" After this Game was done, I think

The Standers by had cause to drink,

And the Loyal Subjects sing

Farewell Knaves, and welcome King,

For till we saw the King returned

We wish'd the Cards had all been Burn'd,

We wish'd the Cards had all been Burn'd."

The whole of the music and typography of this broadside is from an engraved
copper-plate.

[I2f- X 7£ in. without margin.]

E. 222.

Manuscript Department.
Harleian MSS. No. 5947 (5 1 F.)

HIS volume of " Bagford's Collection," previously alluded to (E 1 84)
as containing the advertisement relating to the " Popish Plot " cards,
has, in addition, the following " cuttings " : —
On folio 4, a wrapper or introductory title to a pack of cards as follows :
" The Scientiall Cards, or a new and ingenious knowledge, gramatically epitomised,
both for the plea ure and profit of Schollers and such as delight to recollect
(without any labour) the Rudiments of so necessary an art as Grammer is with-
out hindring them from their more necessary and grave studies : Offering them
as a second course unto you which in all points and suites doe represent your
vulgar or common cards : So that the perfection of the Grammer principles may
hereby be easily attained unto both with much delight and profit, Together with
a Key shewing the redy use of them. Written by a Lover of ingenuity and
Learning. And are to be sold by Baptist Pendleton, Cardmaker, at his House
neere Sc. Dunston's Church in the East, or by John Holden, at the Anchor in the
New Exchange. 1 65 1 •"

Referring to this advertisement, Mr. Chatto remarks (p. 140) : — " Of those
cards or of the key showing how they are to be used, I know nothing beyond
what is contained in the title above given. I, however, greatly suspect that the
1 lover of learning and ingenuity ' who devised them was specially employed for the

M18GELLANEA. 299

purpose by the maker, Mr. Baptist Pendleton, who, sensible of the decline of his regu-
lar business, and noting the signs of the times, might think it both for his interest and
credit to manufacture cards which might serve indifferently for the purposes of
instruction, but equally as well for play as ' your vulgar or common cards/ which
were then in very bad repute. The Scientiall cards would appear to have been
well adapted for the use of persons who wished to save appearances with the
Puritans, and yet had no objection to play a quiet game with the profane."

Secondly follows the envelope of a pack printed in blue ink, bearing in the
centre the inscription, " trielles [?] des fines de Jacques Legras faites a Morlais."
On the upper border in reverse is " a bon jeu bon argent," and on a plain margin
at the left hand is the mark of the suit piques in the centre.

Thirdly. The title of a wrapper, printed in black ink, from a coarsely en-
graved wood-block, having as a device Diana seated, an unicorn standing and
gazing at her with much expression of admiration and curiosity. Below is the
couplet :

" The Unicorn tho deafe to Subtle Charmes,
A Virgin's Smiles allayes his Furious Stormes."

Then follows " Fine cards made by John Savage."

On folio 4 comes the titled cover of a pack of cards, printed in black ink,
from a carefully engraved metal plate. The chief part is occupied by a medallion
portrait of Edward VI., below which is the following inscription : " These super-
fine cards are sold by Richard Fountaine only, at the Golden Lion, in Se. Law-
rens Lane, London." Below this are the marks of the suits of hearts and spades,
having between them the letters " It. * F." as ornamental capitals. The whole
is enclosed in a frame-like border.

The next cutting is the ornamental title of a wrapper, printed from a neatly,
but rather stiffly engraved copper-plate. In the upper portion are the royal arms
of England, with supporters and mottoes, while the lower part bears the follow-
ing inscription, within an ornamental shield with scrolled edge, viz. : " Cards
containing the arms of the King, and all the Lords Spiritual! and Temporall of
England. This may be printed. Norfolke and Marshall."

In the "Herald and Genealogist," vol. iii. p. 358, 1861, may be found an
elaborate paper on the cards referred to in the present title: —

" It is supposed that these cards, which thus appeared with the imprimatur
of the Earl Marshal, were edited by Gregory King, then Somerset Herald, as 'A
Pack of Cards containing the arms of the English nobility. Lond. 1684,' is
attributed to him in Watt's ' Bibliotheca Britannia.' "

These cards, known as " Gregory King's Peerage Cards," are fully described
(loco ciY.), from a pack in the possession of Evelyn Philip Shirley, Esq., F.S.A.,
and the remark is made that they " are now so exceedingly scarce as to be almost
unknown."

At page 79 of this volume of the " Herald and Genealogist" is the following
statement: —

"In the ' Observator,' No. 239, for Feby. 12, 1 686-7, are advertised cards
containing the arms of the King and all the Lords Spiritual and Temporal of
England. Printed for John Nicholson, and sold by E. Evets, at the Green
Dragon and St. Paul's Church Yard." (See Chatto, p. 152.)

On the verso of folio 4 is an ornamental title of a wrapper, with a device
from an engraving on a copper-plate. It represents a black man standing with
his right arm extended, in a tropical landscape. Above the figure on a scroll is
the title " Prince Giolo." Below the device is the inscription : " These principal
superfine large cards are made by me, Andrew Layton."

Then follow the marks of the suits of diamonds and clubs, having between
them the ornamental capital letters "A * L."

Adjacent is the mutilated cover of a pack of cards, having on it a device

3oo ENGLISH.

from a coarsely engraved metal plate. The device is a man in a jockey-cap
horseback, with a hunting-whip in his hand. The horse is at full gallop. Th(
hind-quarters of the horse are torn away. At the left margin, towards which tl
figure is directed, appears a hand in the sky holding a large double-handled vt
or tankard towards the rider, near whose head is the inscription : " The Joe —
(The rest is torn away.)

On another piece of paper, which apparently formed part of this enveloj
are the words : " Of London — Master Card-maker of England. E. I.
Between these latter capitals is a horseman in a gallop towards the right hand.

On folio 5 is the title of a wrapper, printed from a wood-block bearing a
crown, having below and within a motto-garter the device of a falcon seizing
another bird. Beneath is the inscription: " Superfine cards made by Nichol
Faulcon."

The motto on the garter seems to be " The Faulcon playing — Takes me
Flying."

At one of the margins of the cover are the capital letters N. F., with i
marks of the suits of diamonds and clubs.

On the verso of folio 5 is the " Advertisement concerning a new pack
cards," previously alluded to. [E. 184.]

On folio 6 is the engraved title to " Tuttle's Mathematical Cards." This is
inscribed on a shield surrounded with figures and designs symbolical of mathe-
matic forms and instruments. At the lower margin of the plate are the ad-
dresses : " Boitard Delhi. J. Savage Sculp."

It may be here noticed that on folio 33 is the following intimation : " John
Savage, Engraver, who bought Mr. Isaac Beckett's mezzo-tinto plates and prints,
and lived at his House at the Golden Head in the Old Bayly, is removed to
ye Golden Head in S'. Paul's Churchyard, where you may be furnished with all
sorts of Mezzotints, Prints, Frames, Glasses, &c."

John Savage resided in London about 1680, and was noted for engraving
the portraits of malefactors. (See Walpole's " Anecdotes," and Bryan's " Dic-
tionary.")

Following the title to Tuttle's cards on folio 6 is the following " Advertise-
ment" : —

" There is now published a pack of Proverb Cards with Figures on each card,
lively representing the Proverbs. A Design, altogether new and very diverting
to the Fancy of all Lovers of ingenuity, the whole curiously engraved on copper-
plates. Price is. 6d. per pack.

Where you may likewise have Frost-fair, or an exact and lively Mapp or
Representation of Booths, and all the Variety of Shows and Humours upon the
Ice on the River of Thames by London, during that memorable Frost in King
Charles the Second's Reign, curiously engraven on a copper-plate, with an Alpha-
betical Explanation of the most remarkable figures. Price 1*.

Both of which are to be sold by W. Warter, Stationer, at the Sign of the
Talbot, under the Mytre Tavern in Fleet Street, London."

MISCELLANEA.

JOHN BAGFORD.

OHN BAGFORD, to whose collection among the
Harleian MSS. we are indebted for the preceding
and other fragments, was born in London about 1675,
and died at Islington in 1716. He was buried in the
cemetery of the Charterhouse. Originally a shoemaker, he began
in early life to interest himself about antiquarian subjects, particu-
larly such as related to printing and old English literature. He
travelled in Holland and elsewhere in search of literary curiosities,
which he managed to pick up at low prices, and re-sold them
honestly at moderate profits. With many of these he enriched the
library of Dr. John Moore, Bishop of Ely, through whose influence
Bagford was admitted a Carthusian.

" Most of the very many [literary curiosities] in the British
Museum under the general title of { Bagford' s Collectanea ' con-
sist of printed title-pages, advertisements, hand-bills, fugitive
papers of all kinds, vignettes, prints, &c, pasted into paper books,
sometimes with MS. notes interspersed, but oftener without any.
Bagford's MSS., properly so called, are comparatively few, inter-
mixed with the numerous volumes above-mentioned, and pro-
miscuously arranged and deposited along with them in the depart-
ment of MSS. Besides these there are very many MSS. in the
same rich repository that have printed papers and tracts bound
up with them." — (Nicholas " Literary Anecdotes of the Eighteenth
Century/' vol. ii. p. 462.)

A portrait of Bagford may be seen in Dibdin' s H Bibliographical
Decameron," vol. iii. p. 28, and much about him in a note on that
page where he is styled the u faithful book jackal of Lord Oxford."
In his " Bibliomania " also, first edition, Dr. Dibdin is not sparing
of his animadversions. Among them is the following : —

u A modern collector and lover of perfect copies will witness with
shuddering among Bagford's immense collection of title-pages in
the Museum the frontispiece of the ' Complutensian Polyglot ' and
Chauncy's ' History of Hertfordshire ' torn out to illustrate a history
of printing."

Dr. Dibdin admits, nevertheless, that Bagford's " enthusiasm, how-
ever, carried him through a great deal of laborious toil, and he supplied
in some measure by this qualification the want of other attainments.
His whole mind was devoted to book-hunting, and his integrity and
diligence probably made his employers overlook his many failings."

In the third edition of the "Bibliomania" (1842), (note to p.
326) , John Bagford is again discussed at some length, and, on the

302 ENGLISH.

whole, with rather more favour, as based chiefly on the accounts
Thomas Hearne.

Bagford described himself as <c Dr. John Bagford, patron of print
nig." Howard painted his portrait and Vertue engraved it,1 wl
one of his friends found a coat of arms for him in this wise :

w For my Lovinge friend Mr. Jno. Bagford — you having shewe
me so many rebuses, as I was returning home I thought of one fo
you — a bagge, and below that a fourd or passable water/' (Harl
MSS. No. 5910.)

In the Sloane collection of MSS. vol. 1044, folio 1, is the following
in Bagford' s handwriting, which well indicates both the ambitioi
character and extensive scope of the author's intentions : —

" Proposals for the Printing an Essay for the Famous Art of
Typography & Calcography from ye first Invention of it by Coster
at Harlem, with Blocks or Molds of Wood collected from the most
approved Authors and the Observation of ye books themselves first
printed therewith, with a discourse of the several ways of printing
by the Antient Chinese.

" An Ace" of the Invention of Matrices of Single Types at Mentz
by Joh: Fust & Peter Sceffer & not by Guttenburg as shall be made
plainly appear. •

" Also a Catalogue of what books were printed from ye year 1450
to 1500 in several parts of ye World, viz. Germany, Italy, Holland,
Flanders, France, Spain, Portugal, Denmark, Swedland, Switzer-
land, East and West Indies, Turkey, and Russia.

" Some observations on the Antiquity of Paper made with rags.
When Invented where made & ye Places most famous for making
the same with the Maker's marks.

" An Acco" of the bringing printing into England first to Oxford
by Nicolas Corselis, & St. Albans, Westminster, London, South-
wark, Greenwich, York, Canterbury, Worcester, Ipswich, Tavis-
tock, Cambridge, Chester, Bristol, Exeter, &c.

({ Scotland at Edinburgh, Glasgow, Aberdeen.

" Ireland at Dublin, &c.

" The Lives and Effigies of our most celebrated Printers.

"The whole Interwoven with a description of the manner of
making books, first MSS. and the several materials they certainly
wrote on, as vellum, Parchment, Paper, &c.

"The Instruments used in writing, viz., Styles, Pens, Reeds, &c.

"The Ink used by the Antients both in Writing and Printing
with an account of Book Binding in all its Parts.

" To which shall be added a catalogue of such books as early
appear

by John Bagford."

1 Brit, Mus. Coll. " English Portraits." (Bromley, vol. i. p. 232.)

MISCELLANEA. 303

E. 223.

Newspapers. Printed Boohs Department.
Public Advertiser, Saturday, December 1, 1759. No. 78 12.

" Advertisement.

HIS day is published Price 5* plain each pastime improved by a new
pack of cards called Beau Monde, or the Bath, Tunbridge, and Scar-
borough portraits engraved from particular persons and their like-
nesses to Beasts and Birds by Figures, and have Pips like common
cards ; likewise new and curious. Pack of regimental cards with the words of
command under each card containing portraits of the Pretty Smarts belonging to
the Army and the Militia ; Stampt for George Bickham in Mays Buildings Covent
Garden."

The George Bickham here mentioned must have been G. Bickham, Junior,
it is presumed. He was one of our earlier caricaturists, and engraved the
humorous pieces published by the Messrs. Bowles, and analogous subjects. It
is true that this advertisement appeared in 1759, and George Bickham died in
1758, but a pack of cards having humorous subjects, portraits, &c, on its pieces
would take some time to prepare.

"Public Advertiser, Monday, December 17th, 1759, No. 7816.

" Advertisement.

" This day is published price 5*. each. Three packs of diverting cards
curiously engraved. On one corner of which is the court-card and pips, painted
so striking that they may be played with as ready as common cards, which
renders them liable to a duty of a Is. a pack. On one pack the various
passions of Love are emphatically represented with a title and four lines in verse
entirely new and explanatory of the design. Another the cries and Humours of
London, finely copied after nature with their proper mottos, the other iEsops
fables, exactly copied after Barlow, the Fables and Morals in Verse.

" To be had of the proprietor I Kirk, at the Grotto Toy Shop in St. Paul's
Churchyard, and at I Kirk's Toy shop in St. James' Street. Also the impenetrable
secret or the Proverb Cards, price 1 s. to be had as above.

" Of all the passions that possess mankind
Love is the noblest when with Virtue joined
To guard the Fair, the Lover swiftly flies
And all the danger that surrounds defies.

" Love cards.u

A small woodcut design of the nine of clubs heads the above advertisement.

Public Advertiser, Wednesday, December 26th, 1759,^0. 7823.

" Advertisement.

" This day is published and sold in May's Buildings, Covent Garden, Price
5s. each Pack. Some of them coloured.

" l . Knowledge improved by County-cards describing the Cities and Towns.

304 ENGLISH.

" 2. Drollery improved by a New Pack of Picture cards from Erasmus' F0II3
" 3. Pastime improved by a curious pack of cards called the Beau Monde.
" 4. Militia Cards or the Pretty Smarts of the Army and Militia with Rej
mentals."

A diminutive representation of the nine of clubs heads this advertisement.

E. 224.

(Printed Books Department, 505> £ 4-)

LAST QUARTER OF FIFTEENTH CENTURY.

LONDON.

HE volume here referred to is that of the " Nova Statuta," printed
William of Mechlin, or Machlinia, as he is generally called, about
the years 148 2 -3.

It is a folio volume of Statutes, without date, place, or name of
printer.

According to Dibdin (" Bibliotheca Spenceriana," vol. iv. No. 896), " This is
the most elaborate production of the press of Machlinia, and must be considered
no mean acquisition to the library of the legal antiquary. The type is exactly
similar to that of the Tenures described in the preceding page, and leaves no
doubt of the printer by whom this volume was executed. The ink and the paper
merit more commendation than the type, indeed the paper is of no ordinary
excellence."

In this work the first printed allusion to playing-cards occurs in relation to
England. It may be found " Anno tercio Regis Edwardi IV., Cap. iiij." The statute
here quoted is one of the year 1463, prohibiting the importation of playing-cards.

Since an act was passed in the eleventh year of the reign of Henry IV.,
1409, a.d. directing the penalties to be inflicted upon persons offending against a
statute of 12 Richard II. cap. 6, anno 1388, forbidding certain games, as "coytes,
dyces, gettre de pere, keyles, and aultres tielx jeues importunes," and not any
mention is made of cards, it may be assumed that the latter were not in use
in England in 1409. It must have been some time between this date and 1463
that playing-cards found their way into this country. The Statute of the 3rd of
Edward IV. allows it to be presumed, however, that the prohibited article was
known some years before its importation was made illegal.

The extract from the Statute of Edward IV. relating to cards is given here
from the following work.

E. 225.

{Printed Books Department, 505, h. 11.)

LAST QUARTER OF FIFTEENTH CENTURY.
LONDON.

HIS is a reprint by Richard Pynson of the "Nova Statuta" of
Machlinia previously referred to.

It is a folio of statutes, commencing with the first year of the reign
of Edward III., and concluding with the twelfth of Henry VII.
There is not any title-page to the volume, nor is any date given in the
colophon, which runs thus on sig. Gr. 2. i. :

<[♦ CEmprpnteti bj mp Iftpcljav&e $pn#on>

MISCELLANEA. 305

On the verso is the device, No. 5 of Johnson's " Typographia," having on
it a shield bearing as a monogram R. P., and below, in stout Gothic letters,

tc Etcijarti £j>nfon "

There are running titles and signatures, but neither catch-words nor numerals.
The book commences with a blank leaf, which is followed by a full alphabetical
table on sig. a. ii. The statutes are generally in Norman-French, but some are
in Latin, e.g., " Anno xxxiii Henrici Sexti," " Anno xxxix Henrici Sexti," while
from the first of Henry VII. to the end of the volume the statutes are in English.

This work is supposed to have been the first statute-book printed by Pynson.

That portion of the statute of the third year of Edward IV. relating to the
prohibition of the importation of playing-cards is as follows : —

C &nno tercku (Ritoartii iiiu

"jpoftre trefreboute fouerapn fetgnour le rop leg premttfeg
confi&erant $ bofllant $ en ceo tag puruoir tie remetipe Del
atiuptf affent $ auctorite fufgftftetf an ortieigne enacte $ etfablie
que mil marcfjant neeg fttbj'et tie noftce feigneour le rop tietn=
?etn nettranp ne alctm autre perfone apreg le iFette tie fepnt
^pcljell 'lardjaunpl proftljem aucfgnft amefne mantie ne
conuofe ne caufe tiafmener maunder ne conuoper en meCme
celt ropalme SDengleterre $ »>eiQ;nourpe tie (0ale0 afcunes tie
ceftej cljaffaregf toareg ou cbofetf tieCoubj efcrtpte^ ceft alTauoir
afcunetf bonetteg laun$ aCcunjs tirapg laun? laceg corfeg rpbantf
frengeg tie Cole / $ tie file laceg tie file Cope en fille / fope en afcune
maner enbraubeg laceg tior %ivt* tie Cope ou tior £>elleg
etfriueng ou afcune IjernetTe reg;artiaunt ag feellers (Efperong
molefn* pur tremeg auntiireng gretiirnejzf afcuneg manerg
ferureg martens foulprement nommeg Jamerg ppnfong fire=
tongetf tireppngpanneg titfej renpjj ballet popnreg laceg burfes
cpraunt^ cctnte? Ijarnetg pur ceincteg tie ferre 3De laton tialTer
tiettafn ou tie alfcempne cboc ouef tiaCc qutrre ^atoe afcune
maner pellure tatoe ljufeoug Colerg plops* ou corkeg cotelj
daggers tootiknpueg botfcpna »>ljere0 pur lafllouna* Cifourg
l&afourg »>ftete?5 Cartieg a Juer (Efptnpg patina Siguier pur
»>akfce£ toulprement nommer pafcnetiete afcune maner cljaffare
ou toare tiepepnte iFotrcec^, Caffeetle^"

Mr. R. P. Cruden, referring (in a letter to the late Mr. Singer) to this statute
making it illegal to import cards, remarks, " I should like extremely to know the
result of an inquiry into the manner of making playing-cards in England imme-
diately after the year 1 463, when they were no longer to be obtained from abroad.
That they were used is not to be doubted. The Act afterwards restraining
the use of them did not pass till the 33 Henry VIII. cap. 8, anno 1 54 1 ."

" It is a curious fact that a tax was first levied upon cards anno 1 63 1 , in the
reign of Charles I. ; it was one of the impositions complained of as arbitrary and
illegal, being levied without consent of Parliament, and which complaints ter-

3o6 ENGLISH.

rainated in the sacrifice of the monarch and his minister (Strafford)." (Singer,
Bibl. 8, p. 365, appendix.)

The last statement is erroneous, as to the first imposition of a tax on playing-
cards, as the following records under E. 226 will show, a tax being levied in 1615,
though not by parliamentary statute, which was first done during the reign of
Queen Anne, session 1711.

The Company of Card-makers was incorporated by letters patent of Charles I.
the 22nd of October, 1629, under the title of "the Master, Wardens, and Com-
monalty of the Mistery of the Makers of Playing-cards of the City of London." —
Ilec. Roll, Pat. 4, Car. i. p. 22, No. 6. (See Singer, p. 226, Note.)

E. 226.

(Printed Books Department, 2076. 6.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

LONDON.

tlNGER, in his researches, observes (p. 223) that towards the close of

Elizabeth's reign patents were so frequently granted by favour, that

the House of Commons deemed it necessary to make some inquiries

respecting them. At this period a patent was granted to one Edward

D'Arcy for cards.

" On the mention of the monopoly of cards Sir Walter Raleigh blushed.
Upon reading the patents, Mr. Hakewell of Lincoln's-inn stood up, and asked
thus, ' Is not bread there ?' ' Bread ! ' quoth one. ' Bread !' quoth another. ' This
voice seems strange,' quoth another. ' No,' quoth Mr. Hacket, ' if order be
not taken herein, bread will be there before the next Parliament.' " (Singer,
p. 223.)

The volume referred to under the present head, E. 226, is the " Calendar
of State Papers," Domestic Series, James I. a.d. 1611-1618, from which the
following minutes are selected : —

"1615. July 20, Westminster. — (19.) Letters Patent granting to Sir
Richard Coningsby, for a rent of £200 per annum, the imposition of 5*. per
gross on playing-cards, and the office of Inspector of all playing-cards imported
in recompense of £1,800 due to him from the king, and of his patent for the
sole export of Tin granted by the late queen." — Warrant for the above granted
July 19. (Sign. Man., vol. v. No. 41.) — (Page 296.)

" 1615. July 21. — (19) Proclamation of the Patent granting to Sir Rich.
Coningsby the right of searching and sealing all playing cards made in England
or imported printed." (Proc. Coll., No. 44 A.) — (Page 297.)

" 1616. (124.) Reasons against the Suit of the Card-makers who remon-
strate against the exercise of Sir Richard Coningsby's patent for importation of
playing-cards." — (Page 420.)

"1617. Dec. 21.— (75.) Petition of Sir Thos. Smythe and the merchants
trading to France to the Council to renew their order to the Lord Chief Justice
of the King's Bench to stay a suit commenced against them by Radnor, an
informer, for importing playing-cards, and to permit the importation of the same
on payment of the usual duties." — (Page 504.)

Among the valuable series of proclamations preserved in the Library of the
Society of Antiquaries is that alluded to previously (July 20, 1615), as granting
the right to Sir R. Coningsby of imposing a duty of 5*. per gross on playing-
cards : —

MISCELLANEA. 307

" djaifticl) from anti after tlje TDaentietlj da? of 3|ttlp tljen
nejt coming fyouto Ijappen to be brought from an? of t&e partg
beponti tlje feag into our realme of (England 2Dominton of
faHaleg or $ort anD ^Eotone of 23ertoicfee b? an? ^erfon or
^erfons (En&litymeti tienf^en^ or »>tranpr0 to tjje enti to be
uttereti folD or put to fale a a b? tlje fame our Eettertf more at
large it Dotl) anti ma? appeared

Following this proclamation is

" The Copie of the Lord Treasourers Letter.
" After my heartie commendations, whereby it hath pleased his Majestie to
direct a Privy Seal to me, touching the imposition of five shillings upon every
grosse of Playing Cards that shall be Imported into this Kingdome or the
Dominions thereof by vertue of his Majesties Letters Patents granted to Sir
Richard Coningsby knight under the Greate Seale of England. In regard
whereof These are to wil and require you to take notice thereof and not to suffer
any merchant to make any entry of Playing-Cards until the same impositions be
payed according to the said Letters patents. Provided that the Patentees give
caution for maintayning the Custome and Import according to a Medium thereof
to be made as in such cases is used ; And so having signified his Majesties
pleasure to you in that behalfe I bid you heartily farewell.

" Your Louing Friend,

" THO : SUFFOLKE.

" From Northampton House the 29th of October, 161 5."

Numerous other references to the subject of playing-cards may be found in
the " Calendar of State Papers, Domestic Series," particularly in the volumes
relating to the latter part of Queen Elizabeth's reign. The details connected
therewith, however, falling beyond the scope of the present work, further allusion
here to the records of the " Calendar " would be out of place.

E. 227.

{Printed Books Department, Tracts relating to Trade, vol. 12, 816. m. 12/72.)

SECOND QUARTER OF SEVENTEENTH CENTURY.

(King Charles I.)

LONDON.

N this volume of " Notabilia " may be seen, as above indicated, the
Proclamation referred to by Chatto, p. 137. It is as follows : —

" BY THE KING.

" A Proclamation concerning playing-Cards and Dice.

" Whereas the kings Majeftie having lately fettled a
courfe for tfje conttant toeefelp buging anti taking from tlje Cara

3o8 ENGLISH.

makers anti 2Dicemalier*, Cud) of tljem a* are Iji* natucall born
fubjecta, tljcir manufacture* of Card* and 2Dice, bp Iji* Pcoclama=
tion publittjed tlje fifteentlj nap of Slpay in tlje tljirteentlj pear of
Iji* l&eign (Voljereby tljey mt'gljt be enabled to litie of tljeir trade*)
did therefore require anti command tljat all Cards and 2Dtce
made fjere or otljerloiCe imported from foreign part* fljould be
brougljt to fti'0 ^ajeftie* officer in London, appointed for tlje
fearcljing and fealing of fuel) a* fljould be found pod and
merchantable before tlje fame Card* or 3Dice fljould be fold or
difpofed of: 2Sut Iji* ^ajeftie nolo finding: tljat fundry toaye*
of deceipt Ijafce bun and are daily practiced a* toell bj> tlje
matter* of Card* and 2Dice a* bp tjofe tljat import tlje fame, i*
pleafed to ratifie and confirme Iji* faid proclamation and again
to declare Iji* further Eoyall pleasure therein and tiotft therefore
ftraitly cljarge and command tljat no perfon or perfon* toljatfo--
eber (otljer tljan Iji* ^ajeftfe* faid officer) fl[jall hereafter pre=
fume to feal or mark any piaying--Card* or 2Dice or to fij; tljereon
any Ceal0 or printed paper* nolo ufed or toljiclj Ijereafter ftjall
be ufed by tlje faid Officer ; and tjat none but fuclj a* fce fljall
appoint, do engrave, cut, or print any of tl)e faid feal* for tlje
fealing: of Card* or 3Dice or do imitate or counterfeit tlje fame;
and tljat no foreign Card* or 2Dice imported or to be imported
fljjall be from Ijencefortlj landed in any otljer oflji* ^afeffie*
Port* in England or Wales, tljen in tlje port of London only*
and tftat upon ttie landing thereof in tlje fame port or loitfjin
tloo daye* after notice be tljereof gitoen bv tlje Importer* or
£Dtoner* to Iji* ^ajefiie* faid Officer of tlje juft quantitie*
tljereof, and tljat none of tlje Officer* in any otljer of Iji*
S^ajeftie* Port* (under pain of lotfe of tljeir office) fljall fuffer
any Card* or 2Dice to be imported or landed contrary to Iji*
^ajefiie* command but tijjall fei^e tlje fame and gifoe notice of
fucj fei^ure toitljtn convenient time after.

"and further lji*^ajeftie dotlj ttraigljtly cljarge and com=
mand, ^ICljat no ^ercljant fatter or Ctoner of »>ljip* Mariner*
or otljer* fljall Ijereafter import or fuffer to be imported any
foreign Card* or 3Dice to any otljer Port tljan tlje Port of
London only and tljereof duly to gifoe knowledge a* aforefaid*
&nd for ttje better difcofoery of deceipt* Ijerein Iji* ^ajeftie dotfj
Ijereby ffraigljtly cljarge and command, i:ijat all foreign Card*
after 9$icljaelma* ne;rt (Ijall be brougljt to tlje office in London
for dealing of Card* toljere tljey fyall be put into GEngliflj
^Binder*, or neto bound b^ Iji* ^ajeffie* faid Officer or Iji*
2Deputie, before tfie fame fljall be fold; and tljat no perfon or

MISOELLANEA. 309

perfong of toljat contrition or qualttie Coeijec after 92fcl)aelma0
nejct tyall buy fell ufe utter keep or Dtfpofe of any CarDg totjatCo--
etoer, tljat be or fyall be put in foreign 35fntiec0 before tbe fame
tyalt be nelo bounti, or put in (IEngltty BinDerg, anti be feaieti iip
Ijig ^ajettietf Officer or W 2Deputie upon pain of tlje forfeiture
tljereof*

#na to t!)efe fite 9@afeffie0 Kopall commanft* f)e require
eft all Hue conformitie anD obetiience of all Vojom it tyall con=
cern upon pain of fte loCCe anD forfeiture of all fuclj Carug or
3Dice as? lt>all be £>ealeD ^arkeD Counterfeited 3|mpoctet> or
otljertoife bought fold or Difpofeti of contrary to |f# 9£afefffe*
pleafure Serein Declared anti upon Cue!) further penalties anD
punitymentg ag by tfje %a\nz$ or fe>tatuteg of tfje Eealm or
ottjectotCe may be inaicteD for tfceir contempt or neglect tjecem*

" Given at our court at Greenwich the eighteenth day of June, in
the fourteenth yeer of our Reign.

" God Save the King.

u Imprinted at London by Robert Barker, Printer to the Kings
moft Excellent Majeftie : and by the Affignes of John Bill. 1638."
[25| X 10| in.]

E. 228.

(Printed Books Department, Single Sheets, vol. 3, 669./. 7/28.)

SECOND QUARTER OF SEVENTEENTH CENTURY.

(Charles I.)

LONDON.

*HE following order of Parliament is contained as above indicated : —
" Die Martis 1 1 Julii 1643.
' Committee appointed by Parliament for the Navy and Customes.
" Upon the Humble Complaints of severall Poore Cardmakers of
London, who having beene bred up in their Trades of making Playing-Cards are
likely to perish with their families by reason of Divers Merchants secretly bring-
ing in Playing-Cards into this Kingdome, contrary to the Lawes and Statutes of
this Realme ; It is this day ordered by this Committee, That the Officers of the
Custome House of the Port of London and likewise of the Out Ports within the
Kingdome of England and Dominion of Wales and all other Officers whom it doth
concerne respectively do seize and put into safe custody all sorts of Playing-Cards
of Forraigne making which are or hereafter shall be brought into this Kingdom
or Dominion of Wales. And that they doe thereupon proceed against the parties
so offending according to the Lawes and Statutes in that case provided.

" And it is further ordered That the Copy hereof be sent unto the Custome
House of the Port of London and unto all other the Outports within the King-
dome of England and Wales, that the Officers may take notice thereof accordingly.
" Treasury Chamber, Westminster.

" Giles Grene.
" London, Printed by F. R. for Joseph Hunscott. July 1 2, 1643."
[14 x 91 in-]

3io

ENGLISH.

E. 229.

(Printed Books Department, Tracts relating to Trade, vol. 12, 816. m. 12/73.)

LAST QUARTER OF SEVENTEENTH CENTURY.

(King Charles II.)

LONDON.

HE following proclamation succeeds in the present volume the previoi
one of King Charles I. of the year 1638 (E. 227) : —

"BY THE KING.

" A Proclamation

Prohibiting the Importation of Foreign Playing-Cards and for feizing
fuch as are or (hall be IMPORTED.

" Charles R.

* Mlljereas bp tlje Eatos and Statutes of tljiS our l&ealm,
all foreign playing Cards (amongft ditiers otljer foreign
manufactures) are prohibited to be imported, untier penalty of
forfeiture; get nottottljtfanding, as toe are giton to underttand
bp tlje ljumble petition of tlje fatter, (Lfllardens, and flfliaants
of tlje Company of Cardmakers of London, ditiers of Cur
Subjects and otljers, are fo Ijardy, to bring into tijis I&ingdom
great quantities of foreign playing=CardS and publicity to
e^pofe tge fame to fale in contempt of us ana our HatoS and to
tlje great impoundment of tlje poor artificers of tje faiti com=
pany anti otljer our fubjects imployed in making tlje faiti manu-
facture-, flflie taking tlje fame into our ferious condderation
anli being delirous in tljis particular, as toe altoays fjitljerto
Ijabe been in tjje toljole coucfe of our d5otiernment, to encourage
manufactures toitljin tljis Cur kingdom, toljnreby our fubjects
are maintaineti in good eftate, anti <3Trade increased, are gra*
cioufly pleafeti toitb tlje adtiice of our pritiy council by tljis Cur
l&oyal proclamation to command and direct ^ lljat all latos
noto in force prohibiting tlje importation of any foreign
piaying--CardS be duely put in execution by all our CflGtcerS and
otljer perfons concerned : &nd tljat all foreign playing-cards
already imported be fortljtoitlj fearcljed for, fei^ed and con-
demned, and all fuel) as make refinance therein proceeded
againft according to tlje utmoft rigour of Hato : bereby (trictly
commanding and requiring all 3|utfices of tlje peace, payors,

MISCELLANEA. 311

feijecfffft JBajlffift Conttableg ana otfjec officers* tojatfoetjec to
be from time to time titling; and Mtftmstn all tjing# requtttte
foe anti touching tfje due obferfoatton anti execution of tlje fat'D
lLa\n$ anti of tfjte 4Dur l&opal proclamation at t^eic perils

" Given at our Court at Whitehall the feventh day of November
1684. In the fix and thirtieth year of our Reign.
" God Save the King.
u London.
" Printed by the Afligns of John Bill, deceafed : And by Henry
Hills and Thomas Newcomb, Printers to the Kings mod Excellent
Majefty. 1684."
[13t x iof in.]

E. 230.

(Printed Boohs Department, Tracts relating to Trade, vol. 12, 8 16. m. 12/68.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

(Queen Anne.)

LONDON.

N the volume here referred to are :

" Considerations
In Relation to

<3TIje gimpoatton on CarW,

Humbly submitted to the
Honourable House of Commons."

" Nine parts in Ten of the Cards now made are sold from 6s, to 24s. per
gross, and even these six shillings in Cards by this Duty are subjected to pay
£3 1 2*. tax.

" This with humble submission will destroy Nine Parts in Ten of this manu-
facture for those Cards which are now bought for 3c?. can't then be afforded under
lOd. or a shilling, for every hand through which they pass will add a gain in con-
sideration of the Tax imposed and therefore the generality of the people will
buy none at all.

"If any of your Honours hope by this Tax to suppress expensive Card-
playing, It is answered, That the Common sort who play for innocent diversion
will by this tax be only hinder' d ; for those sharp gamesters who play for money
but do not use the Twentieth part of the Cards sold, will not by this Tax be dis-
couraged ; for those who play for many Pounds at a game will not be hindered by
paying 1 2c?. per pack : And the destruction of this manufacture will be attended
with these ill consequences : —

" First. Nothing (in comparison) will be (clear of all charges) raised by this
duty imposed.

" Secondly. All that depend upon this manufacture will be rendered incapable
to maintain their numerous families or pay their debts.

" Thirdly. The English paper manufacture (which is the middle of the Cards)
will be extreamly prejudiced.

" Fourthly. The importation of the Genoa White Paper (with which the Cards
are covered) will be very much diminished ; and in the consequence thereof,

312 ENGLISH.

" Fifthly and lastly, Her Majesty will lose as much Paper duty as the cle
Duty on the Cards to be sold will amount unto.

" And if it be intended to charge the Stock in hand, then the present Posses-
sors will be thereby obliged to pay a Duty for Ten times more Cards than ever
they will sell.

" Wherefore it is humbly hoped, That your Honours will not lay a Duty which
its humbly conceived will bring no profit to the Queen, but inevitably ruin many
hundreds of her subjects."

[I2f X 7f in.]

E. 231.

(Printed Boohs Department, Tracts relating to Trade, vol. 12, 816. m. 1 2/69.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

(Queen Anne.)

LONDON.

HE case of the Merchants Importing Genoa paper, the Stationers,
Haberdashers of small ware, the English Paper-Makers and
Card-makers,"

" In relation to the Intended Duty on Cards, humbly submitt
to the Honourable House of Commons."

The first portion or preamble of this petition against the duty on cards is the
previous one, 8 16. m. 1 2/68, as far as the words " duty imposed," with a few slight
alterations. The petition then proceeds to point out as ill consequences :

Secondly. " The English Paper- Manufacture extremely prejudiced, because
by a modest computation there are 150 Paper Mills in England and each of
these one with another Annually make 400 Rheams ; one-Fourth of which is now
used in the ordinary cards, and none of these will (when this great Duty is im-
posed) be ever made.

" Thirdly. Her Majesty's Customs arising from the Importation of Genoa
Paper will be extremely lessen'd : for it is reasonably supposed that there are
40,000 Rheams of Genoa paper annually used in this manufacture, which already
pays Custom \od. per Rheam, amounting to £1666 135., which by this intended
duty will be quite lost, the said Genoa paper being of little use but in Card-
marking.

"Fourthly. Three parts in four of the card-makers, and the many families
which depend upon them, will by this intended Tax be inevitably ruin'd, for those
Card-makers depend upon their credit and work 8 months in 1 2 for the Winter-
Season, and during those 8 months scarce receive enough to find their families
with Bread, and therefore can never pay this great Duty, and consequently not.
follow their trade.

" Seeing by this intended Duty her Majesty's loss in her Customs, the loss of
the Merchants importing paper, of the Stationers who credit the Card-makers, of
the Wholesale Haberdashers who sell the Cards, and of the Card-makers, will
amount to fiye times more than this designed imposition can clear of all charges be
suppos'd to raise ; and five parts in six of the Card-makers and their numerous
Dependents inevitably ruined.

" It is therefore humbly hop'd this Honourable House will give relief in the
Premisses."

On the back of this petition is the inscription : " The many Losses from severall
Trades and Manufactures attending the great Imposition on Cards."

[I2f X 7f in.]

MISCELLANEA.

313

E. 232,

(Printed Books Department, Tracts relating to Trade, vol. 12, 816. m. 12/70.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

(Queen Anne.)

LONDON.

[EASONS Humbly offer'd by the Card-makers against the Tax upon
Playing- Cards."

" The Card-makers in and about the City of London are about
One Hundred Master Workmen. For some time past (Paper having
been double the Price as formerly) the trade is much Decayed.

" The most they sell their Cards for to the Retailers (one sort with another)
is Three Half-pence the Pack, and their Profit not above one Half-penny. So
that the Tax intended will be double the value of the Cards and six times their
gain.

" The generality of these Cardmakers are Poor men and out of the Small Gains
above can hardly maintain their families : And therefore to impose a Tax to be
immediately paid upon making by the Cardmakers (whose Stocks and Abilities
are so very mean, that they now make hard shift to forbear the Retailers the or-
dinary time of Credit) will be a direct way to Ruine these Poor Men.

" Besides there is at present a Stock of Cards in the retailers hands sufficient
for the consumption of Four or Five years ; and they will assuredly sell all the
old stock off before they take any at the New advanced rate : The consequence
whereof will be :

" First. That the Cardmakers till that stock be sold off can make no new
ones.

" Secondly. That during that time they and their Families must needs starve.

" Lastly. That until the card-makers can make new ones no money can arise
by such Tax.1'

[12x7 in-]

E. 233.

{Printed Boohs Department, Tracts relating to Trade, vol. 12, 816. m. 12/71.)

FIRST QUARTER OF EIGHTEENTH CENTURY.

(Queen Anne.)

LONDON.

[EASONS humbly offer'd to the Honourable House of Commons by
the Company of CaC&^afcCCg against the Tax upon Playing-
Cards."

This petition of the " Company " itself varies, but very slightly,
from the one previously given (816. m. 12/70), viz., that of the "poor Card
makers."

[I2f X 7 in.]

314

ENGLISH.

E. 234.

(Printed Books Department, 1076, i. 10.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

(King James I.)

LONDON.

PRINTED book of forty-four pages containing satirical poems in
ference to characters of loose or immoral kind.
The title-page bears the inscription :

" The Knave of Clubbs.
'Tis Merry when Knanes Meet.

"Printed at London by E. A. Dwelling nere Christ-Church 161 1."
The central part of the title-page is occupied by a wood-cut, with a device of
two full-length figures representing the knaves of clubs and of hearts. The knave
of clubs on the left holds a long arrow-like lance in his left hand, the knave of
hearts supports a partisan in his right hand, while he raises his left and addresses
his companion. The knave of hearts is seen in profile.

The first page (A. 2.) has an address by the author S. R.

who is asked to

" To Fustis Knave of Clubbs,'*

" March in the forefront of my Booke
And say I use thee kinde
A crew of madmen, knaves and fooles
Thy fellowes, come behinde."

The last page informs the reader that

" The knave of Clubs his part hath plaid,
But now wee want Hart, Diamond, Spade,
To shew themselves like in true shape,
The reason why they doe escape
Is this : of late they fell at iarre,
Disperst asunder very farre,
Harts in the Country at new-cut,
And Spades in Newgate safe is shut,
And Diamonds he is gone to seas
Sick of the scurvy which disease
If he escape, and get on shore
We will present you with all foure
And make them march unto the presse
To utter all their roguishnes,
So till they be together drawne
Pray keepe the Knave of Clubs in pawne.
Finis."

[7X5 in.]

MISCELLANEA. 315

E. 235.

(Printed Books Department, 1076, i. 11.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

(King James I.)

LONDON.

PRINTED book of forty- eight pages, each page containing about
twenty lines of satirical verse. The title-page bears the inscription :
*' The Knave of Harts, Haile Fellow, well met. London : Printed for
John Bache and are to be sold at his shop at the entring in of the
royall Exchange, 16 13."

The central part of the title-page is occupied by a wood- cut, representing the
knaves of hearts and of clubs as soldiers, one of whom bears a partisan in his left
hand (hearts), the other (clubs) a long arrow-like lance in his right hand. The
figures regard and address each other, and have the marks of their suits placed at
the side of their heads. The knave of hearts wears likewise a sword and buckler.
A second block has been stamped in red over the greater portion of this last
figure and the sign of the suit. On the first page (A. 2.) is an address of " The
knave of Harts to his three Brethern Knaves," and on the last is the " Epilogue,"
concluding with the lines :

" Farewell, farewell in haste adue

The cardes want Harts to make them true.'

[7X5 in.]

E. 236.

(Printed Books Department, c. 32. b. 17.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

(King James I.)

LONDON.

PRINTED volume of forty-eight pages, consisting of satirical poems
referring to various characters and customs of loose or questionable
description. The titlepage bears the inscription, "More Knaves yet?
The Knaves of Spades and Diamonds. London : Printed for John
Tap, dwelling at Saint Magnus." The central portion of the title-page is occu-
pied by a representation of two full-length figures, personifying the knaves of
spades and diamonds. The knave of spades is seen in profile on the left hand
addressing his companion, who carries a partisan and wears spurs.

On the first page (A. 3.) is, " The epistle to any man but especially to Fooles
and Mad-men." On the last page is concluded a poem on " The seaven deadly
Sins all Horst and riding to Hell," following which is the verse :

3i6 ENGLISH.

" The knaves are delt, the game is plaid,
And with this wish concludeth spade,
I would all knaves who ere they bee
Were knowne by sight as well as wee.
Finis."

The previous two volumes, E. 234 and E. 235, are the original editions of the
series of " Rowlands' Knaves." The present work is but a reprint, the verso of
the supplementary leaf to which bears the following inscriptions : " Vereor ne haec
forte nimis antiqua, et jam obsoleta videantur." — Cicero in Verrem. " Reprinte
at the Beldomie Press, by G. E. Palmer for Edwd. V. Utterson, in the y«

MDCCCXLI."

E. 237.

(Printed Books Department, c. 32. b. 20.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

(King James I.)

LONDON.

PRINTED volume of forty-two pages of satirical verse. It is entitled,
" The Knave of Clubbs, 'tis merry when Knaves meet. Printed at
London by E. A., dwelling nere Christ-Church, 1 6 1 1 ." This volume
is a modern reprint of E. 235.
On the last page of the present work is the inscription, " Reprinted at the
Beldornie Press, by G. E. Palmer for Edwd. V. Utterson, in the year mdcccxli."

E. 238.

(Printed Books Department, c. 32. b. 15.)

FIRST QUARTER OF SEVENTEENTH CENTURY.

(King James I.)

LONDON.

PRINTED volume of forty- six pages, consisting of satirical verse.
It bears the title, " Knave of Harts, Haile Fellow, well met. London :
Printed for John Bache, and are to be sold at his shop at the entring
in of the Royall Exchange, 1613."
This volume is a modern reprint of E 235. " Reprinted at the Beldornie
Press by George Butler, for Edwd. V. Utterson, in the year mdcccxl."

MISCELLANEA. 317

E. 239.

{Printed Books Department, A. c. 9480.)
SECOND QUARTER OF NINETEENTH CENTURY.
LONDON.

HIS, is the ninth volume of the " Early English Poetry, Ballads, and
popular Literature of the Middle Ages. Edited from original Manu-
scripts and scarce publications by the Percy Society. London,
mdcccxliii". It contains reprints of " The four Knaves. A series
of satirical tracts by Samuel Rowlands. Edited with an Introduction and Notes
by E. F. Rimbault, Esq., Ph.D., F.S.A., Member of the Royal Academy of Music
in Stockholm, &c."

These " four Knaves " are the works previously described, viz., E. 234, E. 235,
E. 236. Dr. Rimbault in his introduction remarks : " Samuel Rowlands, the
author of the (foregoing) tracts, was a prolific writer of the end of the sixteenth
and early part of the succeeding century." . . . . " Excepting that he lived and
wrote nothing is now known of his history." . . . . " All his productions have now
become exceedingly rare, but perhaps none more so than the series of quaint satirical
tracts reprinted in the following pages. The first, ' The knave of Clubbs, 'tis
merry when Knaves meete/ upon its appearance in 1600, gave such offence on
account of the severity of its satire and the obviousness of its allusions, that an
order was made that it should be burnt, first publicly, and afterwards in the Hall
Kitchen of the Stationers' Company.'

" In accordance with a promise given at the end of the ' Knave of Clubbs,'
Rowlands went on with his series of Knaves, and in 1612 gave to the world,

' The Knave of Harts, Haile Fellowe well met.' ' The last of the series of

Rowlands' Knaves was ' More knaves yet ? The Knaves of Spades and Diamonds.'
It was printed without a date, but in all probability (from allusions to Ward
and Dansikar, two famous pirates whose story was then popular) about the same
period as the preceding tract."

Another tract by Rowlands bears the title: "A paire of spy-knaves." Between
the publication of the first and second tracts (E. 234, E. 235) an anonymous
writer, without (according to Dr. Rimbault) a particle of wit or drollery, en-
deavoured to take advantage of Rowlands' popularity by imitating the title-page
of one of the most successful of his publications. The work alluded to is entitled,
"Roome for a messe of knaves, &c. London: Printed by N. F., 1610."

From the remarks by Mr. Utterson, appended to his various reprints of these
knave tracts, the following has been taken. Samuel Rowlands "appears to
have visited the haunts of profligacy and vice, in search of objects for his sarcastic
Muse, and the result of such Enquiries communicated in his various pieces, is

productive of amusement as well as instruction to modern readers." " All his

productions are now become very rare, although most of them went through re-
peated editions." "There are copies of the three several volumes of 'Knaves'

in the Malone collection in the Bodleian Library ; in the British Museum are the
knaves of Harts and Clubs, and the three works bound together were in Mr.
Heber's collection, having been purchased by him at Mr. Brindley's sale.1 The
present reprint is limited to fifteen copies, none of which are intended for sale."

On folio B of the " Knave of Harts," E. 235, is " The knave of Harts his suppli-

1 For £3$ 3*.

318

ENOLISn.

cation to card makers," in which the petitioner, on behalf of himself and his brother
knaves of clubs, diamonds, and spades, complains of the way in which the card-
makers persist in dressing them, and that they

" Are kept in pie-bald suites which we have worne
Hundred of yeares, this hardly can be borne.

* * * *

How can we choose but have the itching gift
Kept in one kinde of cloaths, and never shift ?

* * * *

How bad I and my fellow Diamond goes
We never yet had garter to our hose
Nor any shooe to put upon our feete
With such base cloaths, 'tis e'en a shame to see't
My sleeves are like some Morris-dauncing fellow
My stockings ideot like, red greene and yeallow
My Breeches like a pair of lute- pins be
Scarse Buttocke-roome as every man may see
Like three-penie watch men, three of us doe stand
Each with a rusty Browne-bill in his hand
And Clubs he holds an Arrow like a Clowne
The head-end upward and the feathers downe

* * * *

Shew us (I pray) some reason how it haps
That we are ever bound to wear flat caps

And some because we have no beards do think e
We are foure Panders with our lowsie lockes
Whose naked chinnes are shaven with the

* * * *

Good card-makers (if there be any goodnes in you)
Apparell us with more respected care
Put us in hats our caps are worne thread-bare
Let us have standing collers in the fashion
(all are become a stiffe-necke generation)
Rose Hatbands with the shagged-ragged Ruffe
Great cabbage shooe -strings (pray you bigge enough)
French Dublet, and the Spanish Hose to breech it
Short cloakes old Mandilions (we beseech it)
Exchange our Swords, and take away our Bils,
Let us have Rapiers (Knaves love fight that kils)
Put us in Bootes and make us leather legs
This Harts most humbly and his fellowes begs."

On the title-page of " More knaves yet ? The knaves of Spades and Diamonds,"
E. 236, the figures appear, clad in a different costume to those of the knaves
making the above complaint, E. 235, and to the conventional dress derived from
the time of Henry VII. The dress in E. 236, has been modernized by the card-
makers. For the change, as far as it went, the knaves of spades and diamonds
thus return thanks :

" As now the honest Printer hath bin kinde
Bootes and stockins to our legs doth finde
Garters, polonia heeles, and rose shooe-strings
Which, somewhat us two knaves in fashion brings

MISCELLANEA. 3*9

From the knee downeward, legs are well amended
And we acknowledge that we are befrended
And will requite him for it as we can
A knave some time may serve an honest man."

It is open to question, we think, whether the knaves have profited by the
changes following their complaint. The knave of spades is rather smart about
the legs with his garters and shoe-strings, and the knave of diamonds is booted and
spurred, but on the whole we would have preferred, had we been the knaves,
remaining as we were. Even the latter are not wholly satisfied, and evince desire

" For the great large abominable breech

Like brewers hop-sackes ; yet since new they be

Each knave will have them, and why should not wee ?

Some laundresse we also will entreate

For bannes and ruffes, which kindnes to be great

"We will confesse yea and requite it too

In any service that poore knaves can doe

Scarffes we doe want to hang our weapons by

If any puncke will deale so courteously

As in the way of favour to bestow them

Rare cheating tricks we will protest to owe them

Or any pander with a ring in 's eare

That is a gentleman (as he doth sweare)

And will affoord us hats of newest blocke

A payre of cardes shall be his trade and stocke

To get his lyving by, for lack of lands

Because he scornes to overworke his handes

And thus ere long we trust we shall be fitted

Those knaves that cannot shift, are shallow witted."

Impressions from the wood-blocks belonging to the Percy Society, illustrating
the costume of the " Four Knaves," may be found in Chatto's treatise, Bibl.
PP- 133, 136.

E. 240.

{Printed Books Department, e. 246, Tract xi.)

SECOND QUARTER OF SEVENTEENTH CENTURY.

(King Charles I.)

LONDON.

N this volume is a tract (No. xi.) entitled, " The Bloody Game at
Cards as it was played betwixt the King of Hearts and the rest of his
Suite, against the residue of the Packe of Cards wherein Is dis-
covered where faire play was plaid and where was fowle. Shuffled
at London, Cut at Westminster, Dealt at Yorke, and Plaid in the Open fiel by
the City -clubs, the country spade-men, Rich-Diamond men, and Loyall Hearted
Men."

In the centre of the title page is the representation of the honour card — the
king of hearts — in the conventional way. It is from a wood-block, the design on
which has been carefully drawn and engraved. It is uncoloured.

On the eighth page— the last — the account concludes as follows: — "The King

320 ENGLISH.

of Hearts as his suit is best in colour and in courage, so they are such understand-
ing gamesters that they will not be taken in any over-sight, there are no bunglers
there, nor any fumbling in all their play, but all expert and cunning gamesters ;
it is, therefore, no wonder if successe doth attend them and that they still come
winners off in all the games they play. The rest of the pack have therefore done
very well and wisely to crave a truce of the King of Hearts who is more willing to
forgive them then they have bin apt to oppose him.

" Since they on both sides have been cross't
And both have wonne and both have lost
It now is thought high time of Day
Friendly to part and leave off play.
Finis:1

E. 241.

{Printed Books Department, e. 309, Collection of Pamphlets, 233.)

SECOND QUARTER OF SEVENTEENTH CENTURY.

(King Charles I.)

LONDON.

RACT No. 19 in this volume is one entitled, "Chartae Scriptae, or a
New Game at Cards called Play by the Booke, printed in the year

1645."

In the dedication, " To the most Vertuous and therefore most
accomplished Lady, the Lady V. M.," allusion is made to the well-known French
card-maker, Nicholas Besniere, (antea, F. 46.)

" Madam, — Though other cards passe here and there
Under the name of Nicholas Beniere,'
And his Protections good (unless it be)
From the Exciseman or Monoply," &c.

The aces and honour cards are here first personified, and made to express half-
moral, half-satirical sentiments in verse. Then follow the tens with ten poetic
apophthegms, the nines with nine, and so on, concluding on p. 24 with " Duo
sacramenta."

E. 242.

{Printed Boohs Department, e. 983, Collection of Pamphlets, 790.)

THIRD QUARTER OF SEVENTEENTH CENTURY.

LONDON.

"HIS volume contains a tract (No. 9) entitled, " Shufling, Cutting, and
Dealing in a Game at Pickquet, being Acted from the Year 1653 to
1658, by O. P. and others ; with great Applause. Tempora
mutantur et nos. Printed in the year 1659."
Oliver Cromwell is represented after the dissolution of the Long Parliament
(20th April, 1653), playing at cards along with certain of his old officers and

MISCELLANEA, 321

friends, together with his opponents and some public offices personified, such as
the Exchequer, Common Pleas, Presbyterianism, &c. All these persons as
they sit at piquet are snpposed to express sentiments in respect to the political
transactions previously and then taking place. The game opens with —

" Oliver P. — I am like to have a good begining on't ; I have thrown out all
my best cards, and got none but a company of wretched ones, so may very well be
capetted."

It concludes with the

" Divines. — I was pickquet the last, but am now rejoicing."

"Papist. — If you all complain, I hope I shall win at last."

Following the game is the " Epilogue. It is to be noted that the gentlemen
that have been eminent in this last dealing of the cards playd very fair in the
former game here described. With a Plaudite." " Sic transit gloria mundi."

These politico -satirical tracts (E. 240, E. 241, E. 242) were known to Chatto,
who remarks in regard to them : — " When the civil war commenced and the people
became interested in a sterner game, card-playing appears to have declined. The
eard-playing gallant whose favourite haunts had been the play-house and the tavern,
now became transformed into a cavalier, and displayed his bravery in the field at the
head of a troop of horse, whilst his old opponent, the puritanical minister, incited
by a higher spirit of indignation, instead of holding forth on sports and pastimes,
and household vices, now thundered on the ' drum ecclesiastic ' against national
oppressors, urged his congregation to stand up for their rights as men against
the pretensions of absolute monarchy and rampant prelacy, and to try the crab-
tree staff against the courtier's dancing rapier."

" Among the numerous pamphlets which appeared during the contest, there are
a few whose titles show that the game of cards, though not so much in vogue as
formerly, was still not forgotten."

Besides these " A Murnival of Knaves " (l 683) " Win first lose at last, or the
game of cards which were shuffled by President Bradshaw, cut by Col. Hewson,
the Cobler, and played by Oliver Cromwell and Ireton till the Restoration of
Charles II. (1707)." A "Lenten Litany," "Poems on State Affairs" (1704),
"Jamesanna, or a Pythagorical Play at Cards," are politico-satirical literary
ventures which may be here recorded. (See Chatto, p. 1 38.)

E. 243.

Printed Books Department, Roxburghe Ballads, vol. ii. pp. 81, 243, 360, also
p. 149, Edited by Mr. Chappell.

(Published by the Ballad Society), Hertford, 1873.

»N this volume there is a quaint wood-cut heading three ballads, pp. 81,
243, and 360. Among the figures on the cut is a great rabbit
holding up in each front paw a card with the pips exposed to the
spectator, viz. the three of spades and the five of clubs.
Mr. Chappell remarks in reference to this cut, that it is probably derived from
one of Robert Greene's books on " Coney-Catching."

Heading another ballad at p. 149 is a cut representing a sot standing near a
table on which, among other things, is an upturned card.

VARIA.

V. 244.

SECOND QUARTER OF NINETEENTH CENTURY.
RUSSIA.

PACK of fifty-two numerals of the suits, diamonds, hearts,
spades, and clubs. The honours are king, queen, and knave
figured in busts, printed double and in reverse.

The individual marks of the suits are characterized by their
very acute or prolonged forms, where their contour lines meet or
decussate. The ternate form of the sign for clubs is also note-
worthy. The mark on the ace of diamonds is surrounded by a sinuous border,
having large dots in the hollows of its curves.

The designs on the figure-cards are from metal plates of soft character. The
knave of hearts bears a shield, on which is the double-headed eagle of Russia.
On the two of diamonds is the Russian duty stamp.
This series should be compared with V. 246.

The backs of these cards are very neatly diapered with dotted lines, forming
the Greek key ornament running diagonally, and printed in blue.

[3i X 2f in.]

[Backs decorated.]

V. 245.

SECOND QUARTER OF NINETEENTH CENTURY.

PORTUGAL.

PACK of fifty-two numerals of the suits, hearts, diamonds, spades,
and clubs. The honours are king, queen, and knave, figured as
busts, printed double and in reverse.

Each ace has on it two landscapes printed in reverse, a central
circular space being kept clear for the symbol of the suit.

On the four of diamonds are the arms of Portugal, having inscribed below :
" Thesouro Publico, Pagou quarenta reis de Sello."

The designs on the figure-cards are of half costume, half modern character,
strongly coloured. The landscapes on the aces are heavily coloured.

324 SWITZERLAND.

The marks of diamonds, spades, and clubs, approach those of the before-men-
tioned set, V. 244.

The backs are marked with sinuous dotted lines, printed in red.

[3.3 x 2f- in.] [Backs decorated.]

V. 246.

SECOND QUARTER OF NINETEENTH CENTURY.
SWITZERLAND (?)

PACK of fifty -two numerals of the suits, spades, hearts, diamonds,
clubs. The honours are represented as busts, printed double and in
reverse ; the designs being of half historic, half costume character.
The general design of the whole series approximates to that of
V. 244. It is presumed that the Swiss relationship of these cards recorded on
the title has been inferred from their having been procured from Switzerland.
The backs are marked with sinuous, dotted red lines, and large red stars.
[3f x 2i m,J [Backs decorated.]

V. 247.

THIRD QUARTER OF THE NINETEENTH CENTURY.

NEW YORK.

SET of fifty-two numerals, the marks of the suits and designs of the
figure-cards being of a special character, and designed for American
feeling and taste.

The intent of this series may be accurately learnt from the follow-
ing address printed in red, on a buff-coloured ground, and which accompanies the
cards : —

" The American Card Co., confident that the Introduction of National Emblems
in the place of Foreign, in Playing Cards, will be hailed with delight by the
American People, take pleasure in presenting the Union Playing Cards as the
first and only Genuine American Cards ever produced, in the fullest confidence
that the time is not far distant when they will be the leading card in the American
market.

" Explanation. — The Union Cards are calculated to play all the games for
which the old style of Playing Cards are used. The suits are Eagles, Shields,
Stars, and Flags. Goddess of Liberty in place of Queen, Colonel for King, Major
for Jack. In playing with these cards they are to be called by the names the
emblems represent, and as the emblems are as familiar as household words every-
where among the American people, they can be used as readily the first occasion
as Cards bearing Foreign Emblems."

An engraved title is present, representing the " Goddess of Liberty," enclosed
within a framework of the following inscriptions : " Nationality everything."
[Two marks of admiration follow.] " National Emblems, something new in the

VABIA. 325

card world. Time for a change. Foreign Emblems used long enough in
the U. S."

Then succeeds : "Entered according to Act of Congress in the year 1862, by
Benj. W. Hitchcock, in the Clerk's Office of the District Court of the United
States for the Southern District of New York."

The ace of eagles also bears the above authorization below an eagle and cage.
From the mouth of the bird proceeds a scroll having on it E pluribus unum.
Above is a larger scroll, bearing the address of the " American Card Company.
Below on a third scroll, may be read: " 14 Chambers Sl. & 165 William S'.,
New York."

The eagle is backed by a radiant sun. The suits of eagles and of shields are
printed in blue, those of stars and flags in red colours.

The " colonel" (king) of the suit of eagles is a three-quarter figure in a blue
military surtout, with epaulettes, sword, and sash. He stands in a hilly land-
scape, having tents in the background.

The queen of the same suit is represented by the Goddess of Liberty, bearing
a red Phrygian cap at the end of a lance, and extending her left hand towards the
mark of the suit. By her right side is an eagle perched on a shield, bearing the
stars and stripes. The goddess bears a radiant star on her head, and her drapery
(decorated witli stars and stripes), is raised above her knee, so as to expose the
whole of the left leg.

The major (Jack), is represented by a person in jack-boots, Tyrolean hat,
blue jacket, and red breeches, holding a lance in his right hand. Behind him is a
gun and carriage, and in the middle distance is an orderly bringing forward the
major's horse. In the distance a steamer is seen descending a river. At the
right-hand upper corner is the mark of the suit.

The backs of these cards are marked with an elaborate design, printed in
blue, made up of shields, banners, anchors, oak leaves, stars, stripes, &c. &c.
The whole is of very vulgar character.

[3^ X 2t m-] [Backs decorated.]

V. 248.

THIRD QUARTER OF NINETEENTH CENTURY.
LONDON.

THIN quarto volume of sixteen leaves, having fifty-two divisions,
representing the pieces of a numeral series of the ordinary character,
together with descriptions and blank divisions. Each leaf has four
equal divisions ; on the first compartment of the first page is the
following account : —

" Marginal Index or Self-sorting and Distinguishing Safety Playing-Cards. —
Your Hand at Whist, and all other Games distinguished at a glance by yourself
alone, without the trouble of sorting. All risks of Revokes and Involuntary play
of winning Cards Effectually prevented. Whether playing at Cards for Love or
Money, no others should be used.

" To be had at all Licensed Vendors of Playing Cards throughout the King-
dom. London : Printed by John A. Rufus, Cross Street, Finsbury Square, E.C.
1 869. Entered at Stationers Hall, and right of Translation Reserved."

The method here adopted will be satisfactorily explained by the following re-
duced copy of one of the compartments, viz. that which represents the eight of
hearts

326

EN 0 LAN J).

Hearts
Eight

VIII

•tF w w w '7V* -a* TV*

IIIA

?T[3ig;

On the last leaf are four drawings representing by marks and numbers the six
of hearts, the nine of spades, the seven of diamonds, and the ten of clubs after the
following manner :

Then succeeds the note in MS. : —

" N.B. The foregoing Marginal Marks (or any of them) are intended to de-
note the suit and the number of Pips on Playing-Cards, and to be conveniently
placed on the margins or corners of the Cards. In the margin under the first
corner pip, and its corresponding pip, will be found a very appropriate position for

VARIA. 327

indication of the number, or the numbers may be marked on the pip itself as illus-
trated in the sketch.

The Author.

On the general field of the card-piece, within the marginal index, the marks of
suit, or the design of the figure-card, are to be represented in the ordinary

the suit, or
way.

V. 249.

THIRD QUARTER OF NINETEENTH CENTURY.
LONDON.

FOLDED sheet, on the first page of which is a description of " Four
colours or new Playing-cards, by Francis John Bettles," and on the
second and third pages are " Drawings of Eighty-one Cards, Forming
the four Colours or New Playing-cards, by Francis John Bettles."
In his account of the new cards the author remarks, " it had occurred to me
that there was a much greater fund of amusement to be obtained from playing-cards
than by those at present in use, and this has induced me to turn my attention by
trying if something simpler, and more diversified, could not be introduced, and the
result is my present ' Four Colours, or new Playing- Cards,' which I beg to bring
to the notice of the public. I call them new, as I am not aware of any similar cards
having ever been used, and I believe the result will be, that any of the games at
present played with the existing playing-cards, can be played with them, and an
entirely new scope of games and diversions, simple or complicated, can be added.
I will, therefore, commence with a description. First of all, each of these cards
will have on the face a line drawn across the middle, on each side of which there
will be either a blank, or one or more stars, (or any other mark instead of a star
which the taste of the printer may prefer) ; there will be only one card a double
blank, and four sets of the following, each set being distinguished by a different
colour, thus say, Red — blank one side of the line and one star on the other, blank
and two, blank and three, blank and four, blank and five, one and one, one and
two, one and three, one and four, one and five ; two and two, two and three, two
and four, two and five ; three and three, three and four, three and five ; four and
four, four and five ; five and five ; thus twenty cards of one colour, and the fore-
going twenty cards repeated in three other different colours, say Green, Blue, and
Black (or other colours if preferred by the printers), there being eighty-one cards
in all, as seen in the drawing annexed."

The method of using these cards in playing what is termed by the deviser the
" Matching Game," is described to " show the diversified amusement that may be
afforded with them."

Entered at Stationers' Hall, 27th October, 1871.

1 The three of diamonds is employed here twice over on account of the facility
of printing the suit mark ; the marks and values furnished in the original being
the three of diamonds and the five of spades.

ORIENTAL PLAYING-CARDS.

ORIENTAL PLAYING CARDS.

HINDUSTANI.

O. H. 250.

SECOND QUARTER OF NINETEENTH CENTURY.

AHMEDABAD (?).

SET of Hindustani cards ninety-six in number.

There are three suits of different colours, viz. red,
green, and yellow. The red and green suits have each
three series, viz. a deep green, a medium green, and
light green sequence. The yellow suit has but two series,
a light yellow and orange yellow sequence. Each of the
eight series has ten point cards and two figure cards. The
marks of the suits are birds on the various coloured grounds,
in number according to the value of the card ; No. 1 having the mark in the
centre of the piece similar to the European ace.

The first rank of the red (chocolate) suit has a peacock (?) for the sign ; the
second rank (deep red) has a black bird ; the third (light red) has a white bird
with slate coloured wings.

The first rank (deep green) of the green suit has a large white bird of the
goose tribe for its sign ; the second (medium green) has the same ; while the
third rank (light green) has a red bird for its symbol.

The first rank of the yellow suit has the black bird symbol. The second
rank (orange yellow) has the goose for its mark.

Each rank has ten point or pip cards, and two figure-cards or honours ; the
latter being represented by a Wusseer and a mounted Schah, or king. The
Wusseer is mounted on a white horse in five of the ranks, and on a camel (medium
green) or a tiger (light green) or a bull (light yellow) in the others. He gallops
always towards the left, extending the arm and hand towards the sign of the rank
to which he belongs, and which is represented above the horses' head. The white
horses have large black spots on the necks and flanks. In six of the ranks the
king is seated under a canopy in the centre of the card. He is turned towards
the left, apparently addressing an attendant, towards whom he extends his right
arm. Behind the king stands another attendant, waving a large fan. Above
the attendant standing opposite the king, the sign of the rank is represented.

In the third rank of the green suit (light green) the king is a radiant sun face

332 ORIENTAL.

above the back of a tiger, preceded by an attendant, and followed by anothei
servant with a fan. Above the sun-like full face is an umbrella, and above the
tiger's head is the mark of the rank. This honour closely resembles figure N»
6 on plate 2 of Chatto's work (Hibl. 4), page 42, there said to be the king of tin
suit — soorkh, red, or Zur i soorkh — gold coin, figuratively the sun.

The king of the light yellow rank is seated on an elephant. Before him is the
driver, behind is the attendant with the fan. Above the head of the elephant is
the black bird, the mark of the rank. This card closely approximates the figure,
No. 4, of plate 1, in Chatto as before mentioned, and there stated to repr
sent the king of Gholam, or of the suit, slaves. Reference may be ma
with advantage to plate 70 in Merlin's Treatise (Bibl. 6) — the lowest card
the left hand.

Alluding to Hindustani cards, Merlin observes : " They are generally
lacquered cardboard. They are curious, but the painting on them is of a primitive
kind ; the Hindu draughtsmen do not know how to represent the eyes. One class
of artists always draws profile eyes, even in a full face ; another class always por-
trays a full eye, even in a profile face." (p. 123.)

In the pack now under consideration there is but one full face represented, viz.
the green king of the third rank ; and here the eyes, as respects the position of the
cornea and pupil, are evidently of profile character.

The cards of the present series are circular in form, and seem to be made of thick
paper or thin pasteboard. They are painted on both faces, and highly varnished
on the front face, by which process the pieces have been made very stiff and
firm. The colour of the ground stops short about one-eighth of an inch from the
circular margin of the card, which is edged red, with a narrow light yellow line
within the circle.

On the figure-cards or honours, within the yellow and inner circle, is another
and gilt circle, from which, in places, slight leaf-like ornaments occasionally project
within the field of the card.

The backs of all the pieces are coloured red, of the same depth as the ground
of the third rank of the red suit. A light yellow circle forms a border to them.

Whether this set of Indian cards should be described as above, or, rather, as
consisting of eight suits of twelve cards each suit, is, it must be admitted, open to
question.

Colours, or red, green, and yellow, are the more general differentia, but then
they are not equally divided among the eight ranks. Red and green have each
three ranks ; yellow has but two. If the birds be taken as marks of the chief
divisions, a like inequality may be found: e.g. there are three ranks of geese, two
of black birds, one of red birds, one of white birds, one of peacocks. Further,
the geese occupy both the green and the yellow colours, and the black birds the red
and the yellow. There is a green peacock (?) on the red ground, and a red bird
on the light green colour.

Accompanying this set of Indian cards is a memorandum in MS. as given
below : —

" The following is an extract from William Carpenter's letter, dated Ahme-
dabad, Sept. 22nd, 1851, relating to the Playing-Cards used in India.

" ' I write you what little information I have obtained about the cards. One
contains 1 20 pieces of the Avatars of Krishna, ten suits of twelve each. There
are twelve figures painted on (?), from one to ten in number, like our play-
ing cards :

1 . Horse.

2. Gholaum.

3. Fish.

4. Tortoise.

5. Lion.

6. Umbrella,

7. Fusee — apiece of iron Goscins carry.

8. Flag.

9. Sword.
10. Bow.

y^ ?• — dark green.

HINDUSTANI. 333

•• 4 The other contains eight suits of twelve each, from one to ten — a King and a
Wuseer. They are divided into two sets, and have different coloured grounds.
The first set is this, and counts from ten to one in playing :

" ' Samseer — dark red (or a sword). This signifies bravery and is expressed
symbolically.

Rupee — black.

Taj — green.

Gholaum — yellow (for slave) — a little animal having a faint resemblance to a
human being.

Brath — light red.

Cit er note.

Kumach — orange. This, with the first, is Persian, and I don't know the
meaning.

s , r — light green— a gold coin.

Chan

Bell (1

" ' This set reckons from one to ten. With regard to the method of play I can
tell you nothing till I have seen it, as these natives I am acquainted with, and
who speak English, do not understand it.' "

The whole is contained in an oblong wooden box, with sliding lid, ornamented
with flowers painted on a green ground ; gold also has been used in the decora-
tion. The box is coarsely made, and is nearly 4^- in. long, 2~ in. wide, and
2| in. deep.

[Circular, l-J- in. diameter.] [Backs coloured.]

CHINESE.
O. C. 251.

NINETEENTH CENTURY.

CHINA.

SERIES of thirty-eight cards from a set of forty-five apparently.
It is probable that in the perfect sequence there are five suits of nine
pieces each suit, the marks of which are bags, money, batons (or bows),
swords, and a fifth mark not satisfactorily demonstrable.
The pieces of the suits of bags and money have on them the marks only in
proper number — from one to nine — according to the value of the piece. Those
of batons and swords have full-length figures, bearing in their hands the symbols
of the suits. The pieces of the fifth suit have figures on some, at least, of their
number.

The suits of bags and money are presumed to be complete, i.e. of nine pieces
each suit. The suit of batons is assumed to want two cards, the suit of swords
one, and the fifth suit wants four pieces, at least this is according to the arrange-
ment which appears to be the more satisfactory.

On No. 2 of the suit of batons the figure holds a bow in a state of tension, in
place of a baton or spear. The latter, however, may be intended for an unstrung
bow, yet it should be remarked that on the six of the suit the mark has decidedly
a partisan-like head to it. Above the marks and figures of the suits are Chinese
characters. The eight and nine of bags have been stamped in red over the part
occupied by the Chinese writing. The six, seven, and eight of swords have been

334 ORIENTAL.

stamped in the same way, as well as four of the cards which appear to belong to
the fifth suit. On one of the latter the red stamp has been twice impressed.
This stamp is composed of four semi-circular irregular lines one within the other
and connected at the extremities. One of the red stamped pieces in " swords "
has characters above the usual ones, and outside the border line of the engraving.
Those suits having figures on the pieces have small characters near the heads <>f
the figures as if indicating the title of the person represented.

Mr. Chatto, alluding to Chinese cards, remarks, " In a pack of the Chinese
cards called Tseen-wan-che-pae, the mark of the suit of Nine Cakes is nearly the
same as that of the old Italian danari, which Galeottus Martius, in his treatise
' De Doctrina Promiscua,' written about 1488, considers to have been meant for

a loaf." " The Chinese name for a card considered singly, or as one of the pieces

of a pack or set, appears to be Shen, a fan " (p. 59).

The relative values of the cards of four of the suits are easily to be surmised,
such is the purpose and distinctness with which the designs have been executed.

The impressions are on thin flexible card-board, the backs of the pieces being
of a deep red colour, and very smooth.

[2^ X l in. size of impression.] [Backs coloured.]

[2 J- X l| in. whole card.]

O. C. 252.

NINETEENTH CENTURY.

CHINA.

WENTY cards from a numeral series of probably thirty pieces, the
marks of the suits of which appear to be chains, money, and heads.

The cards present are the one, three, five, six, seven, and eight of
chains, the two, three, four, six, and others of money (?), seven pieces
of the suit of heads, one piece of which is a full-length figure-card having on it
two red stamps. The five of money (?) bears two red stamps as it does in the
series O. C. 255. In the suit of chains there are characters above the marks of
the suit in the pieces one and five as is the case in O. C. 255 on the one and nine.
The series is made of thin card-board, and the backs of the pieces are of a deep
orange colour and smooth.

[2f X \ in. size of impression.] [Backs coloured.]

[3_I_ x -§- in. whole card.]

O. C. 253.

NINETEENTH CENTURY.
CHINA.

IGHT cards from a numeral series, probably of thirty pieces, the suits
of which are chains, money, and heads.

The cards present are the six of chains, the two, three, six, and
another of money, and three pieces of the suit of heads.
X ^ in. size of impression.] [Backs coloured.]

X |- in. whole card.]

GUINESE.

335

O. C. 254.

NINETEENTH CENTURY.
CHINA.

HREE cards from a numeral series, probably of thirty pieces, the suits
of which are chains, money, and heads.

The cards present are the six of chains, the six of money, and a
piece of the suit heads (?).
X i in. size of impression.] [Backs coloured.]

X J- in. whole card.]

O. C. 255.

NINETEENTH CENTURY.
CHINA.

SEQUENCE of thirty cards, forming probably a perfect set as regards
number, but one at least of the suits is made up of pieces from
another set.

The marks of the suits are chains, money, and heads. There are
three separate superior cards. Each suit has nine numeral members ; the suit of
money is here a made-up suit.

On the nine of chains is an oval stamp in red over the centre of the card.
This stamp is twice repeated on two other cards. On the one and nine of chains
are Chinese characters above and outside the border lines of the impressions, as is
likewise the case in two other pieces. Certain of the heads have characters im-
mediately above them, as if indicating their titles.

These cards are much like those represented in the work of Singer, page 59,
and some of the lower cards at p. 60.

As far as relates to the characters above the heads, these cards accord like-
wise with the two figured in Chatto, p. 57, the first and third of the suit —
Nine Myriads of Kwan.

One of the three separate cards in the present series is similar in its upper
portion to that of No. 6, p. 58, of Chatto's Treatise, representing one of the
superior members called " Pih-hwa," the White Flower.

M. Boiteau d'Amly justly observes that engraved representations of some
narrow Chinese cards go far towards reminding one of cakes of Indian ink.

The narrow size of these cards is remarkable. They are of thin card-board,
rounded at both ends, and have their backs coloured deep orange.

X f in. size of impression.] [Backs coloured.]

[3t x t m- whole card.]

APPENDIX.

CHRONOLOGICAL TABLE.

SERIES OF EARLIER CARDS, etc., ARRANGED
CHRONOLOGICALLY.

( The dates are approximative only in scve?*al instances.)

Cards of the

Card

s of the

2nd

quarter,

15th century

, G. 122.

2nd

quarter,

16th

century, F. 43.

3rd

>»

15 th

I. 1.

2nd

»»

16th

F. 46.

3rd

15th

»>

G. 120.

3rd

>»

16th

G. 138.

4th

15th

I. 2.

4th

16th

?»

G. 161.

4th

»>

15th

»>

I. 3-

4th

»1

16th

F. 47.

4th

>»

15th

F. 42.

4th

)»

16th

>»

F. 48.

4th

15th

G. 147.

1st

half,

16th

G. 125.

4th

»>

15th

5»

G. 149.

1st

>»

16th

G. 132.

4th

>»

15th

»»

G. 150.

1st

>»

16th

»»

ft 135.

4th

*»

15th

»»

G. 151.

2nd

„

16th

I. 4.

4th

15th

„

G. 152.

2nd

»>

16th

G. 129.

4th

15th

>»

G. 154.

2nd

»>

16th

G. 130.

4th

>»

15th

?»

ft 155.

2nd

16th

>»

ft 131.

4th

15th

J»

G. 166.

2nd

»i

16th

»>

G. 156.

4th

15th

»>

E. 224.

2nd

16th

ft 157.

4th

>»

15th

E. 225.

2nd

„

16th

G. 258.

2nd

half,

15th

»>

G. 1 24.

2nd

16th

»»

G. 163.

2nd

15th

»>

ft H3.

16th

F. 44.

2nd

5»

15th

>»

G. 148.

16th

F. 45.

1st

quarter,

16th

»*

G. 126.

1st quarter,

17th

G. 136.

1st

16th

G. 127.

1st

?»

17th

»»

G.137.

1st

16th

G. 128.

1st

»»

17th

»»

E. 198.

1st

)»

16th

»J

G. 144.

1st

17th

E. 198. 2

1st

>»

16th

G. 145.

1st

»>

17th

E. 234.

1st

?»

16th

G. 146.

1st

17th

»»

E. 235.

1st

16th

»»

G. 153.

1st

17th

E. 236.

1st

»»

16th

»»

G. 165.

1st

>»

17th

>»

E.237.

340

C///i

ONOLOG

ICAL

TAh

PiA\

Cards of the

Cards

of the

1st quarter,

1 7th century, E. 238.

4th quarter,

17 th century, E. 184.

2nd

» .

17th • „

E. 199.

4th

17th ,

, E. 185.

2nd

1 7th „

E. 228.

4th

»»

17th

, E. 186.

2nd

17th „

E. 240.

4th

17th ,

E. 187.

2nd

1 7th „

E. 241.

4th

»>

17th ,

E. 188.

2nd

17th „

s. 15.

4th

17th ,

, E. 189.

3rd

1 7th „

I. 13.

4th

17th ,

, E. 190.

3rd

1 7th „

E. 179.

4th

17th ,

, E. 203.

3rd

»>

1 7th „

E. 242.

4th

»>

17th ,

, E. 229.

4th

17th „

I. 13. 2.

1st

•>i

17th ,

, F. 74-

4th

1 7th „

I. 14.

1st

17th ,

, E. 226.

4th

»»

17th „

I. 14. 2.

2nd

half,

17th ,

, G. 159.

4th

»>

17th „

F. 76.

2nd

i»

17th

, E. 195.

4th

>»

1 7th „

F. 77-

2nd

»>

17th

„ E.227.

4th

17th „

F. 79. 2.

17th

„ I. 8.

4th

»>

17th „

E. 167.

17th

„ I. 9.

4th

»»

17th „

E. 168.

17th

„ F. 49.

4th

17th „

E. 174.

17th

„ D.115.

4th

17th „

E. 175.

17th

>, G.133.

4th

17th „

E.177.

17th

„ G.134.

4th

17th „

E. 178.

34 1

NOTEWORTHY SERIES.

SERIES OF CARDS, etc., TO WHICH SPECIAL INTEREST
IS ATTACHED.

1. The so-called (erroneously) Tarocchi of Mantegna, or Carte di Baldini,
I. I, page 65.

2. Venetian Tarots of the Marchesa Busca Serbelloni, I. 3, p. 77.

3. Early Stencilled Cards of 1440 (?), G. 122, p. 192.

4. The "Chatto Cards," (or the cards of the binding of the Sermones M. Vin-
centii) of the last quarter of the 15th century, F. 42, p. 1 10.

5. The so-called (erroneously) " Trappola Cards," of the last quarter of the
15th century, having the Granada as a mark of a suit, G. 120, p. 189.

6. Circular Cards of Cologne, with animated marks of suits, G. 143, p. 207.

7. Telman von Wesel's version of the Circular Cards of Cologne, G. 144,
p. 209.

8. Cards having chimeric animals as marks of suits, G. 147, p. 213.

9. Cards having animated marks of suits, from G. 148, to G. 155, inclusive,
pp. 214-216.

10. German Numerals, from G. 124, to G., 132, inclusive, pp. 194-198.

1 1 . The " Jehan Volay," Spanish numerals, S. 1 5, p. 93.

1 2. The several series of French numerals, from F. 43, to F. 49, inclusive,
pp. 113-116.

13. French Tarots, F. 37, p. 107.

14. Flemish Tarots, Fl. 103, p. 179.

15. The Cards of Stefano della Bella, F. 74, p. 126.

16. F. C. Z. Cards, G. 135, p. 199.

17. The Beham Cards, G. 138, p. 203.

18. The Jobst Amman Cards, G. 161, p. 221.

19. The Virgil Solis Cards, G. 156, p. 217.

20. German Tarots, G. 1 16, p. 187.

21. English Cards, E. 167, p. 229.

22. Spanish Armada Cards, E. 185, p. 265.

23. The Popish Plot Cards from E. 186, to E. 188, inclusive, pp. 266-270.

24. The Rye House Plot Cards, E. 189, p. 273.

25. The Seven Bishops' Cards, E. 190, p. 274.

342 NOTEWORTHY SERIES.

26. King James II. Cards, E. I91,p. 276.

27. Duke of Marlborough Cards, E. 192, p. 277.

28. Dr. Sacheverell Cards, E. 194, p. 279.

29. Rump Parliament Cards, E. 195, p. 280.

30. The Alluette Game Cards, S. 33, p. 1 03.

31. French Satirical Cards, F. 80, p. 137.

32. Artistic Cards, E. 205, p. 288.

33. Musical ditto, E. 206, p. 289.

34. The Gatteaux designs, F. 57. 2., p. 1 19.

35. Altered plate of Rembrandt, D. 115, p. 185.

36. Print by the Master M. Z., G. 165, p. 227.

37. Print by Israhel van Meckenen, G. 166, p. 227.

38. Bagford Collection, E. 184, E. 222, pp. 243, 298.

39. Nova Statuta, E. 225, p. 304.

40. Proclamations, E. 227, p. 307.

41. Rowlands' Satirical Works, from E., 234, to E. 239, inclusive, pp. 314-

42. Marginal Index Cards, E. 248, p. 325.

43. Circular Indian Cards, O. H. 250, p. 331.

44. Narrow Chinese Cards, O. C. 255, p. 335.

45. The Wood-engraver and Card-painter at work, G. 163, p. 225.

46. Le Roman du Roi Meliadus referred to, p. 14.

317.

343

BIBLIOGRAPHY.

HE following works will prove amply sufficient for those persons
who may desire further information on the subjects treated of
in the preceding pages, but yet who do not purpose entering into
a minute and critical investigation of the whole History of
Playing- Cards. Such as intend to do so, however, may find all
the necessary sources of instruction referred to in the biblio-
graphical lists appended to the treatises of Chatto (No. 4), of the Bibliophiles
Francais (No. 2), and of Boiteau d'Ambly (No. 3).

The " Analyse critique et raisonnee de toutes les Recherches publiees jusqu'a
ce jour sur l'origine et l'histoire des Cartes a, Jouer," which forms the second
portion of the " Recherches Historiques et Litteraires sur les Danses des Morts
et sur l'origine des Cartes a Jouer, par Gabriel Peignot. Dijon et Paris.
mdcccxxvi." may be also consulted.

No. l. Bartsch (Adam). Le Peintre-Graveur. Leipsic, 1803-21 -54, 8vo.
Vol. vi. p. 55; vol. x. pp. 70-120; vol. xiii. pp. 120- 138.

No. 2. Bibliophiles Franc, ais (Societe des). Jeux de Cartes Tarots et de
Cartes Numerales du Quatorzieme au Dix-huitieme Siecle. Paris, 1 844, folio.

No. 3. Boiteau d'Ambly (P.). Les Cartes a Jouer et la Cartomancie. Paris,
1854. 8vo.

No. 4. Chatto (William Andrew). Facts and Speculations on the Origin and
History of Playing-Cards. London, 1848, 8vo.

No. 5. Cicognara (Leopoldo). Memorie spettanti alia storia della Calcografia.
Prato, 1831, 8vo., tavole in foglio.

No. 6. Merlin (R.). Origine des Cartes a Jouer. Recherches Nouvelles sur
les Nai'bis, les Tarots, et sur les autres especes de Cartes. Paris, 1869, 4to«

No. 7. Passavant (J. D.). Le Peintre-Graveur. Leipsic, i860, 8vo. Vol. i.,
pages 6, 208, 213, 243; vol. h\, pages 66, 70, 100, 176, 205, 242, 246, 247 ;
vol. v., pages 11, 119, 126, 129, 132, 134.

No. 8. Singer (Samuel Weller). Researches into the History of Playing-Cards,
with Illustrations of the Origin of Printing and Engraving on Wood. London,
1816, 4to.

No. 9. Taylor (Rev. Ed. S. and others.) The History of Playing-Cards, with
Anecdotes of their Use in Conjuring, Fortune- Telling, and Card-Sharping. London,
1865, 8vo. This work forms an English version, with additions and changes, of
Boiteau d'Ambly's treatise, No. 3.

INDEX.

INDEX TO PROPER NAMES.

JCQUAVIVA, 90.

Acuaviva, 97.

Agrippa, 150.

Aldegrever, 217.

Alexander, 44.

Ali, followers of, 10.
Alliette, 11, 144, 145, 160.
Alphonso, Don, 12.
Ames, 94.

Amman, Jobst, 47, 217, 221, 223, 225.
Anne, Queen, 28, 307, 31 1-313.
Anson, S., 285.
Anstis, 90.
Anthony, St., 158.
Antonio da Brescia, 76.
Ardant, 103.
Aretino, 68.
Argine, 44.

Arnoult, 102, 121, 169.
Arouy, 134.
Ascham, Roger, 34.
Astle, 93.

Bache, 315.

Bagford, J., 243, 298, 301, 302.

Baker, 240-243.

Bakofen, 188.

Baldini, 17, 68.

Baldwin, Mrs., 50, 94.

Banks, Sir Joseph, 266.

Barbarigo, Cardinal, 92.

Barker, 309.

Barrington, 51, 93, 94-

Bartsch, 16, 192.

Bavaria, Duke and Duchess of, 16, 227.

Becker, 223.

Beckett, Isaac, 30 o.

Bedloe, 255.

Beg, Timur, 1 1 .

Begon, 212.

Beham, 32, 203.

Benedict XIII., Pope, 91.

Benieres, 1 14, 320.

Bentivoglio, 37, 82, 83.

Bernadotte, 163.

Bernard, St., 158.

Bernardin, St., 5, 22, 26.

Berti, 79.

Besniere, 114, 115.

Bettles, 327.

Bickham, George, 303.

Bill, John, 309, 311.

Binny, 29 1.

BlomhoflT, 58.

Boissiere, 134.

Boiteau d'Ambly, 7, 47, 144, 149, 21 1,

335-
Bologna, Tarocchino di, 80.
Borron, Helie de, 14.
Botticelli, 68, 74.
Bourgogne, Due de, 133, 134.
Bourguignon, 296.
Bowles, 296, 303.
Boyne, 281.
Bradshaw, 321.
Breitkopf, 7, 12, 28, 40, 57, 58,

191.
Brescia, Ant. da, 76.
Brianville, 88, 89, 90, 92, 135.
Brindley, 317.
Buchan, 146.
Bulifon, 90.
Buling, Hans, 284.
Bull, 291.
Bullet, 7, 45.
Burgkmair, 203.
Burgundy, Mary of, 190.
Burnet, 260.

348 INDEX TO

Busca Serbelloni, Marchesa, 77.
Bussi, Feliciano, 8, 9, 12.
Butler, 316. .
Butler, Archdeacon, 6.
Butler, G., 316.
Byron, 297.

Caesar, 44.

Callot, 134.

Capistran, Card. J., 13.

Capitaine Metely, Vallante, 1 1 4, 115.

Carderera, 42.

Carpenter, 67, 332.

Carpentier, Le, 31.

Cellier, Madame, 257.

Ceres, 4.

Champante, 294.

Chappell, 321.

Charlemagne, 44.

Charles L, 28, 305, 307, 319, 320.

Charles II., 251, 270, 280, 311.

Charles VI. of France, 13, 19, 37, 43,

48.
Charles VII. of France, 30, 112.
Charles VIII. of France, 16.
Chateaubriand, 137.
Chaucer, 12.
Chatto, 24, 25, 27, 54, 110, 193, 210,

225, 273,307,321,335.
Chauncy, 301.
Chess, 8, 9.
Chesterfield, Lord, 90.
Chris Zaga, 237.
Christian IV. of Denmark, 283.
Christie, IO.
Cicognara, 7, 37, 87.
Clarendon, Lord, 260.
Clark, 234.

Clement VII., Pope, 70.
Clerc, F., 43.
Cocksonus, 283.
Coleman, 253.
Colnaghi, D., 193.
Coningsby, Sir Richard, 306.
Constant, Alphonse, 148.
Coral, B., 89, 135.
Costa, 38, 39.
Cotta, 224, 225.
Covelluzzo, 8, 9, 1 2.
Cranach, Lucas, 20 1 .
Cromwell, Oliver, 320, 321.
Crozier, 1 1 o.
Cruden, 305.
Cruickshank, 284.
Cuffe, 161.
Cuming, Syer, 31.

Danby, Lord, 256.

Dangerfield, 257.

D'Anville, 296.

Daniel, 7.

D'Arcy, 306.

Darvall, 292.

Daveloy, 183.

David, 44.

David, the painter, 46, 119.

Dean, 238.

Decembrio, 21, 71.

Deighton, 186.

Delaborde, 67, 69, 74.

Delia Bella, Stefano, 32, 1 26- 1 3 1 , 1 34.

De la Rue, 52, 232.

De la Rue, Regamey, 1 70.

Deschamps, 136.

Desmarests, 32, 88, 126-131.

Diamond, W. H., 282.

Dibdin, Dr., 14, 301, 304.

Dolben, 279.

Douce, 14, 208.

Doughty, 281.

Douet d' Arcy, 7 1 .

Drake, Sir F., 247.

Dubois, 1 1 5.

Ducessois, 166.

Duchesne, 68, 73, 75, 80, 112, 209.

Durazzo, 76.

Diirer, Albert, 74, 2 1 7.

Eckeloo, Pascasius, 41.

Edward III. of England, 304.

Edward IV., King, 304, 305.

Eftin, 1 1 7.

Eitelberger, 202, 217.

Elizabeth, Queen, 51, 249, 306.

Ellis, Welbore, 285.

Espartero, lOO.

Etteilla, 109, 144, 145, 147, 160, 161

Eugenio IV., Pope, 92.

Evets, 299.

Eyck, Van, 16, 159.

Faithorne, 270.
Falstaff, 51.
Fanti, 70, 159.
Faulcon, N., 300.
Faveil, Jehan, 113.
Fawkes, Guido, 250.
F. C. Z., 32, 200, 201.
Fibbia, Prince of Pisa, 37, 80.
Fine, Oronce, 88, 135.
Fines, Nathaniel, 280.
Finiguerra, 68, 69, 74.
Folkestone, Lord, 52.

PROPER NAMES.

349

Forli, 159.

Henry IV. of England, 50.

Foimtaine, 299.

Henry IV. of France, 283.

Fox, 285.

Henry VI. of England, 305.

Francese, Alberto, 160.

Henry VII. of England, 28, 30, 32,

Francis L, 94, H3, 115, 129.

50, 112,305.

Franco, F., 1 1 6.

Henry VIII., King, 51, 305.

Freeling, G. H., 14.

Herbs t, 204.

Freschot, 92.

Herbert, 94.

Fries, Count, 78, 191.

Heuslerus, 222.

Fuller, S. and T., 291.

Hewson, 229, 230, 321.

Hey wood, 293.

Galasso, 160.

Hills, 235, 311.

Galichon, 65, 70.

Hirschman, 220.

Gatteaux, 46, 67, 119.

Hitchcock, 324.

Gauthier, 89.

Hiva, 95, 96.

Gavarni, 175.

Hoffmann, 2 20.

Gazzoni, 39.

Hogier, 44*

Gebelin, Court de, 11, 104, 138, 144,

Holbein, 16.

147.

Holden, 299.

George III., 281.

Hort, Dr., 297.

Germanin, Frau, 226.

Hoyle, 48.

Genevoy, 1 1 5.

Hunscott, 309.

Gerard, 163.

Huson, 286.

Gibert, 124.

Hugo v. Trymberg, 1 2.

Gibson, 232.

Hyatt, Thaddeus, 280.

Gihaut, 174.

Giroux, 174, 176.

Iao, 58.

Gloucester, Duke of, 6.

Ingold, 7.

Gobel, 188.

Innocent XL, Pope, 90, 135.

Godfrey, Sir Edmund Berry, 254.

Innocent XII., Pope, 9 1 <

Godolphin, 263.

Isabella, Queen, 96, 100.

Gonzaga, A. V., 19.

Ireton, 321.

Gonzalez, 96, 97.

Isis, 141, 143.

Gough, 94, 193.

Grandier, Urban, 165.

James I., King, 50, 283, 314-316.

Gravelot, 296.

James II, King, 259, 262, 274, 275,

Greene, 321.

276.

Grene, Giles, 309.

Jane, 235.

Grignion, 296.

Jehan de Saintre, 1 2.

Grimaud, 103, 121.

John of Castile, 4 1 .

Gringonneur, 13, 19.

John of Cologne, 208.

Guevara, 41.

Johnson, 305.

Guizot, 212.

Jombert, 131.

Gumpenberg, 79.

Jones, Sir W., 10.

Gutery, 4 1 .

Jounin, 1 18.

Judith, 44.

Hamilton, Adams, & Co., 292.

Hankey, 268.

Keightley, 246-264.

Hardwicke, 292.

King, Gregory, 299.

Hardy, 232.

King, Dr. W., 297.

Hastings, 28 1.

Knight, 51.

Haus, Baron de, 78.

Kirk, 303.

Hayman, Francis, 295, 296.

KollofF, 68, 74.

Heinecken, 25, 27, 208.

Henin, 1 1 0.

Lacroix, 15, 26, 113, 116.

Henry II. of France, 1 16.

Ladenspelder, H., 76.

350

INDEX TO

Lahire, 1 1 6.

Lancelot, 44.

Lange, 135. .

Laurie, 297.

Lebahy, 1 16.

Leber, 25, 27, 33,40, 111*

Lecomie, 131.

Lecornu, 1 13.

Legrand, 172.

Le Gras, H., 127, 129, 130-131, 299.

Lehmen, 48.

Lenormand, 162.

Lenthall, 286.

Letronne, 212.

Levi, Eliphas, 11, 145, 148.

Littlebury, 237.

Locker, E., 31.

Lopez, 100-106.

Louisa of Savoy, 1 1 5.

Louis XIII. of France, 45.

Louis II. of Naples, 14.

Louis XIV., 87, 129.

Lully, Raymond, 154.

Lyra, Nic. de, 1 1 0.

Machlinia, 304.

Macready, 44.

Mandrou, 1 1 7 .

Mantegna, Tarocchi di, 65, 68.

Marcel, 10.

March, 295.

Marcolini, 70.

Mariette, I., 132, 133, 134.

Marlborough, Duke of, 262, 277, 279.

Marsh, 293.

Martius, Galeottus, 334.

Mary, Queen of Scots, 247.

Master of 1466, 31, 214.

Master of the round cards, 32, 211.

Maurice, Prince, 283.

Maximilian, 90, 203.

Mazarin, Cardinal, 127, 1 3 1 .

Mearn, 234.

Mechlin, William of, 304.

Meckenen, Israhel van, 16, 90, 227.

Medina de Campo, 4 1 .

Menestrier, 7, 231.

Mercury, 4.

Mericourt, 172.

Merlin, 5, 7, 11, 27, 28, 29, 31, 32,

46,66, 155, 157, 179, 332.
Milan, Duke of, 21, 31.
Minne, 136.

Mitelli, G. S., 37, 38, 81, 82, 84.
Modena, Princess of, 260.
Modena, Duchess of, 261.

Momus, 185.

Mongez, 46, 119.

Monmouth, Duke of, 258.

Monogram, the sacred, 149.

Montezuma, 41.

Montier, 87.

Montieri, 88.

Morant, 89.

Moore, Dr., Bishop of Ely, 301.

Moreau, 136.

Morelli, 21, 71, 75, 158.

Morin, Senora, 42.

Mottavio, 85.

Moxon, J., 54, 236.

Murat, Joachim, 162.

Murr, Von, 12, 25, 192, 223.

Musset, Paul de, 48.

M. Z., 16, 227.

Napoleon I., 119.
Napoleon III., 120.
Newcomb, 311.
Nicholson, 299.
Nicholl, 301.
Nicoletto da Modena, 32.
Niebuhr, 10.
Nisard, Ch., 161.

Oates, Titus, 253, 272.
Odeschalci, 135.
Oldmixon, 252, 255.
Oliver, 283.
Osiris, 4.
Ottley, 74.
Oxford, Lord, 30 1 .

Pallas, 44.

Palmer, 316.

Pam, 297.

Papworth, J. B., 288.

Paracelsus, 150.

Pardon, 98.

Parma, Duke of, 92.

Parma, Prince of, 249.

Parris, Paulin, 111.

Parry, Dr., 245.

Passavant, 12, 16, 27, 55, 194, 209.

Patin, 185.

Peignot, 40, 138.

Pendleton, 298.

Peter III. of Arragon, 40.

Peter the Great, 2 20.

Petrarch, 12.

Petre, Father, 260.

Petrini, 91, 92.

Pettigrew, 280.

TROVER NAMES.

35"

Pfaun, 220.
Phayer, T., 6.

n.iiip II., 95; iv., 95; V., 95.

Philippe le Bon, 1 6, l 59.

Philo-patris, 268.

Planche, 15, 112.

Pope Benedict XIIL, 9 1 .

Pope Eugenio IV., 92.

Pope Innocent XL, 90 ; XII., 9 1 .

Pordenone, 78.

Porta, G., 160.

Prest, 280.

Pretorio, 2 20.

Postel, 149.

Poupart, Charles, 13.

Preau, Du, 156.

Pynson, Richard, 304, 305.

Quandt, 213.
Quaritch, 220.
Querry, 57.

Rachel, 44.

Raillard, 90.

Raleigh, Sir W., 306.

Raspi, 135.

Rasponi, 135.

Rembrandt, 185, 186.

Redgrave, S., 283, 288, 296.

Reisch, 156.

Repton, F. A., 51.

Reynolds, 294.

Rimbault, Dr., 6, 317.

Rive, PAbbe, 7, 40, 4 1 .

Roberts, Miss, 292.

Roche, 124.

Rolant, 44.

Romsey, 292.

Rossi, 80, 83.

Rowland, William, 161.

Rowlands, Samuel, 28, 314-319.

Rowley, 230, 231.

Rufus, 325.

Rulando, 222.

Sacheverell, Dr., 263, 279.
Sandro di Popozzo, 12.
Sarnellius, 91.
Savage, 236, 299, 300.
Sayer, 297.
Scanegata, 91.
Schachomair, 202.
Schaufelin, 13.
Scheidl, 188.
Schongauer, 90, 208.
Scroterus, 223.

Sebastianns, 91.

Seller,^ 234, 235.

Seratti, 65.

Seyfrid, 220.

Shaftesbury, Lord, 257.

Sheridan, 245.

Shipton, Mother, 109.

Shirley, 299.

Sigogne, 104.

Silberrad, 191.

Singer, 7, 39, 52, 144, 193, 223, 305,

335-
Smith, Captain, 55.
Smith, Messrs., 191, 211.
Solis, Virgil, 32, 217, 219.
Spielhagen, 48.
Strutt, 51.
Stukely, Dr., 194.
Sturton, Walterus, 12.
Suffolke, 307.
Summerly, Felix, 232.
Sumner, 280.
Suzanne, 108.
Sykes, Sir M. M., 65.

Talleyrand, 137.

Tap, John, 315.

Taylor, Jeremy, 6.

Taylor, Rev. Ed. S., 42, 51, 52, 193,

230, 286.
Telman von Wesel, 32.
Tenda, Beatrice, 19.
Thurlow, Lord, 281.
Townroe, 232.
Toxophilus, 34.
Tross, 20.
Tucker, 280.

Tuttel, Thomas, 236, 300.
T. W., 208, 209, 212.

Utterson, 316, 317.

Vailsant, 58, 148.

Valery, 44.

Vandenbore, 107, 1 79.

Vega, de la, 41.

Veyrat, 182.

Violet, 172.

Virgil, 161.

Visconti, Filippo, 19, 20, 21, 71.

Volay, Jehan, 42, 93, 95.

Volpato, J. A. V., 21 1, 21 2.

Waagen, 67.
Wallis, 291.
Walpole, 297, 300.

352

INDEX TO PROPER NAMES.

Warman, 94.

Warter, 300.

Weigel, 12,-55, 195, 200.

Wesel, Telman von, 32, 208, 209, 213.

Whittle, 297.

Wijsmuller, 183, 184.

Wilkinson, Sir Gardiner, 4.

Wilson, 185, 186, 214.

Winstanley, 237.

Worms, Anthony of, 16, 48.
Wright, 14, 15, 111.
Wiist, 206.

Zainer, G., 7, 195.
Zatzinger, Martin, 16.
Zell, Christ., 200.
Zlismon, 109.
Zoppo, Marco, 68.

INDEX TO SUBJECTS.

BENDGESELL-

SCHAFTEN, 48.
Absolute, the, 149,

i$3-

Abuses, Anatomie of,

51-

Acts of Parliament, 50, 304-313.

Advertisements, 50, 303.

Advertiser, the Public, 303.

Ahmedabad, cards of, 33 1 .

Albertine Collection, 78.

Alderinary Churchyard, 285.

All fours, 52.

Alluette, 103.

Almanack, Cotta's Card, 224, 225.

Alpha, 149.

Alphabet, kabbalistic, 1 50.

Alphabet cards, 239.

Amman's cards, 47 ; Book of Trades,

225.
Amone, Busca cards, 77.
Anatomie of Abuses, 5 1 .
Animals, chimeric, on cards, 213-216.
Animated cards, 31, 47, 207.
Antiquaries, Society of, 266, 306.
Antinomies, the, 154.
Apocalypse, the, 1 54, 1 55.
Apollo, 66, 68, 69.
Apprentices, 6.
Aquila coronata, 85.
Arabian Nights' Entertainments, 10.
Archaeologia, 12, 193.
Archaeological Association, 280.
Archaeological Journal, 31, 280.
Archeologique, Revue, 7 1 .
Aretino, cards of, 68.
Arithmetical cards, 235.
Aritmetricha of 1485, 73, 75.
Armada, Spanish, 247, 265.
Armeristi, 90.
Armorial, 71.
Art Journal, 14.
Artistic cards, 288.

Arts, Repository of, 288.

Arts, the, 66, 72.

As Nas, 57.

Astrologia, Tarots, 66.

Astrological cards, 146, 147, 169.

Astrology condemned, 1 6 1 .

Astronomical cards, 146, 147, 166.

Athenaeum, 52.

Atouts, 18, 139.

Atutti, 18, 139.

Augsburg, 13, 26.

Avatars of Krishna, 332.

Avatars of Vishnu, 56.

Azot, 148.

Azoth, 149.

Bacchus, 78.

Bagatello, II, 160.

Bagford's collection, 243, 298, 30 1 , 302.

Baker's eclectic cards, 240-241.

Bal, le grand, 16.

Baldini, carte di, 1 7, 35, 65, 1 S3.

Ballad Society, 321.

Ballads, Roxburghe, 321.

Banda, la, 12, 41.

Barcelona, cards of, 99, 106.

Bassett, 51.

Bears on cards, 214.

Beaux- Arts, Gazette des, 69, 75.

Becker, Memoir on I. Amman, 223.

Beham cards, 32, 203.

Beldornie Press, 3 1 6.

Bells, 47, 192-200.

Berti, F., cards of, 78.

Bibliography, 343.

Bibliophiles Francais, work of, 31, 201,

212.
Bibliotheque Curieuse, 7-
Bibliotheque du Roi, 211.
Biographic cards, 1 36, 240.
Birds on cards, 207-215-217.
Bishops, the Seven, 258.
Blazon, 71.

A A

354

INDEX TO

Bloody Game at Cards, 319.

Boerinne, 186.

Bologna, Republic of, 37, 80

Bolognese tarocebino, 80.

Book of Cards, Amman's, 221-224.

Trades, Amman's, 225.
Boston, 49.
Briefmaler, 25, 225.
Broadsides, 271, 272, 284, 297.
Bruxelles, cartes de, 179-182.
Bubble schemes, 185.

companies, cards relating to, 185.
Busca cards, 77.
Byron's Don Juan, 297.

Caballero, 29, 99.

Cabinet des Estampes, 211.

Cabinet, Weigel, 195, 198.

Cadiz, cards of, 96, 97.

Calendar of State Papers, 307.

Cambridge, cards found at, 1 1 7 .

Card Company, American, 324.

Card-houses, 295.

Card-makers' Company, 306, 313.

Card-playing, early representations of,

14, 15, 16.
Cards, American, 324.

amusing, humorous, 53, 221, 286,
290, 293.

animated suits, 31,47,207, 209-
219.

bears on, 214.

Beham, H. S., 203.

biographic, historical, 53, 240,
292.

birds on, 207, 21 5-2 17.

Book of, by I. Amman, 221 -224.

canvas, 28, $5-

Carpentier cabinet, 31, 43.

carving, 54.

catalogue of, 59.

Chatto, 1 1 o.

chimeric animals on, 213, 2 16.

Chinese, 29, 57, 58, 333"335-

chronologic sequence of, 339.

circular, $$, 207, 209, 331.

costume on, 51, 318, 319.

Coursube, 1 10- 1 12.

dates of, 339.

deer on, 214.

dogs on, 2 1 5.

Dutch, 183.

educational, instructive, 58, 86,
126, 234, 239.

emblematic, 18, 21, 139- 143, 164,
290.

Cards, English, 50, 51, 229.
European, 12, 65, 93.
fancy objects on, 221.
Flemish, 179.

flowers on, 92, 207, 209, 213.
forbidden, 5, 13, 22, 50.
for blind persons, 55.
for ecclesiastics, 54.
found at Cambridge, 1 1 7 .
four-colour, 327.
French, 30, 33, 44, 106, 164.
fruit on, 189.
genera of, 61.
general nature of, 1 7.
geographic distribution of, 33,

34.
geographic, heraldic, 86, 92, 127,

131, 132,219.
German, 29, 33, 46, 187, 207.
Greek, 206, 207.
groups on, 224.
hares on, 208, 209, 2 1 3.
heraldic, 86, 92, 127, 131.
Hindu, 29, 55, 331.
human figures on, 207, 209, 213,

224.
improved, 46, 52, 81, 1 19, 325,

327.
index and marginal, 325.
Italian, 33, 36, 65.
Japanese, 58.
large, 29, 81.
lions on, 214, 217-219.
materials of, 28, $$•
monkeys on, 217, 219.
musical, 199, 289.
Nai'bis, 20, 21, 73.
names on English, 33.
names on French, 30, 44, 111,

115-118.
natural history on, 286.
noteworthy, 341.
numeral, 20, 85, 1 10, 229.
of Aretino, 68.
of Besancon, Marseilles, and

Geneva, 107.
of Charles YI., 156.
of Delia Bella, 126-131.
of Desmarests, 126-131.
of divination, 54, 138, 164,294.
ofF. C. Z., 200, 201.
of great interest, 34 1.
of I. Amman, 221.
H. S. Beham, 203.
of Telman von Wesel, 208, 209,

213.

SUBJECTS.

355

Cards of T. W., 209, 213.

of Virgil Solis, 21 7.

Oriental, 8, $5, 56, 58, 33*.

origin of, 7-

packs of, 33.

Persian, 29, 55, 56, 57.

politico-historical, 53, 226, 243,
265.

Portuguese, 42, 43, 323.

Prag, 204, 205.

proclamations concerning, 313.

purely fanciful, 54, 173, 291.

Russian, 323.

satirical, 53, 137, 281.

shields on, 49.

small, 29, 122, 335.

Spanish, 29, 40, 50, 93.

Stukely, 193, 194, 201.

Swiss, 29, 49, 324.

tarots, 18, 19, 65, 107, 179, 187.

tax on, 52, 305.

Teheran, $$, 56.

terms for, 34.

Union playing, 324.

varieties of, 7.

various countries, 35-

with secondary purpose, 53, 86,
126, 184, 219, 234.
Carte di Baldini, 35, 65, 155.

padovana, 68.

parlante, 68.
Cartes de fantaisie, 54, 1 74.

de la geographie, 131.

de Limousin et de Limoges, 1 04.

de points, 20.

des Reynes renommees, 1 29, 1 30.

rondes, 211.

des Roys de France, 1 29.

opaques, 124.

Suisses, 29.
Cartomancy, 138, 148, 164, 294.
Cavaliers, songs of the, 286.
Cavallo, 77.

Changes in design, 44, 46, 1 19.
Charade cards, 1 74.
Charles VI.'s cards, 13, 19, 156.
Charta Lusoria, by I. Amman, 222.
Chartae Scrip tse, 320.
Charticellas, 22, 159.
Chatto cards, 1 1 0.
Chiaro-oscuros, 160.
Chiites, 10.

Chimeric animals, 21 3-2 16.
China, 8, 11.

Chinese cards, 29, 333-335-
Christendome, revells of, 283.

Christmas, cards at, 6, 50, 54.
Christopher, St., woodcut, 24, 26.
Chronicle of Morelli, 21, 7 1 .
Chronological table, 339.
Circular cards, 29, 207, 209, 331.
Cite de Dieu, 12.
Civitas Dei, 12, 15.
Classification of cards, 61.
Cleland, 50.
Club -players, 52.
Coate-cards, names of, 34.
Coffee house, Crown, 52.
Collection, Albertine, 208.

Bagford, 243.

Begon, 212.

Hauslab, 202.

Heber, 317.

Malone, 317.

Praun, 223.

Quandt, 213.

Weigel, 195-198.

Willet, 213.
Cologne, circular cards of, 208.
Company, card-makers', 306, 3 1 3.
Coney-catching, 321.
Conversation cards, 293.
Conjuring cards, 295.
Correr, Musee, 19, 20, 71.
Costume of English knave cards, 51,

318, 319.
Cotta's card almanacs, 224.
Coucou, game of, 89.
Counters, 75.

Coursube cards, 43, 1 10- 1 1 2.
Cross, the, 149.

Dates of cards, 339.

Death, Dance of, 16.

Decameron, 14.

Deck of cards, 34.

Deer on cards, 214.

De la Rue's cards, 232.

Designs, 29, 44, 46, 1 19.

Desmarests' cards, 126-131.

Destins, Livre de, 172.

Dice, 4, 307.

Divination, 6, 138, 164, 294.

Divinatory cards, 138, 164, 294.

Dogs on cards, 215.

Dominoes, 178.

Dot, jeu de la, 175.

Double busts, 53.

Dreams and visions, 166.

Drolls, by Sayer, 297.

Ecclesiastics, cards for, 54.

356

INDEX TO

Eclectic cards, 240-241.
Edward I., King, 1 2.
Edward IVM 50, 304, 305.
Egyptian symbolism, 139-143* 168.
Egyptians, 4, 1 39.
Eitelberger's memoir, 202, 217.
Elizabeth, Queen, 246, 307.
Emblematic cards, 18, 66, 139, 291.
Emblematic figures, 18, 22, 139-143,

164.
England, cards in, 30, 50, 229.
England, figure-cards of, 5 1 , 53.
Ephod, 149.
Escurial, MS. in, 1 2.
Espadille, 34, 98.
Essay, Eitelberger's, 202, 21 7.
Essex, Earl of, 162.
Etching by Rembrandt, 185.
Etteilla, Grand, 164, 168.
Etteilla, Nouvel, 145, 165.
Ezechiel, wheel of, 149.

Fanciful cards, 54, 173, 291.
Fancy objects on cards, 221.
Fante, knave of cards, 34, 85.
F. C. Z. cards, 32, 200, 201.
Fighting valets, 202, 205.
Flemish cards, 178.
Florentine Minchiate, 38.
Florentine school, 35, 68, 69.
Flush, a, 297.

Flowers on cards, 92, 207, 209-2 1 3.
Form, 29.

Formschneider, 26, 225.
Fortification cards, 132, 133.
Fortune-telling by cards, 54, 70, 164-

172, 294.
Four-colour cards, 327.
Four kings, game of, 12.
Four knaves, 314-319.
French cards, 30, 43, 106, 126.

tarots, 107.

numerals, 1 10.
Fries cabinet, 78.
Fruit on cards, 189.

Galvano-plastic process, 46.
Gambling, 3, 5, 24, 282, 284, 297.
Games at cards, 51, 56, 57, 297.

Hindu, 56.

Hoyle's, 48.
Gamester, the Compleat, 98.
Gatteaux, designs, 46, 1 20.
Gazette des Beaux- Arts, 69, 75.
Geographical cards, 131, 132, 236,
237.

Geomance de Cattan, 156.
George III., cards, time of, 232.
Genoa paper, 311, 312.
German cards, 3 1 , 46, 1 86.

• suits, 47, 189, 192, 207.
Ghendgifeh, 8, 10, 56, 57.
Gibson's cards, 232.
Gipsies,. 7, 11, 159.
Giuoco del fante di spada, 78.
Giuoco d'armi, 90, 91.
Gleek, 5 1 .
Gnostic heresy, 1 55.
Godfrey, Sir E. B., cards relative to,

266-270.
Gomor, 154.
Grammar, Lillie's, 234.
Grammatical cards, 234.
"Granada," mark of suit, 190.
Gravure Florentine, 69.
Greek names on cards, 206-207.
Gringonneur cards, 13, 19, 24.
Guerre, de la, cards, 133.
Guldin Spil, das, 7, 12.
Gumpenberg, cards of, 79.
Gunjee fu, 10.
Gunpowder Plot, 250.

Hardy's cards, 232.

Hares on cards, 208, 209, 213.

He\ 154.

Helgen, 25.

Helglein, 25.

Herald and Genealogist, 89, 92, 13,5,

185,299.
Heraldic cards, 86-92> 135.
Here, game of, 89.
Herrera, 41.

Hewson's cards, 229-230.
Hieroglyphs on cards, 138, 150.
High cards, 21.
Hindustani cards, 29, 331.
Historic introduction, 245.
Historico-political cards, 243, 245, 265.
HofTmann-Fallersleben library, 194.
Hoja, una, 100.
Holbein's Dance of Death, 1 6.
Holland, cards of, 183.
Hombre, 9, 10, 23, 33, 51, 56, 57, 98.

226.
Honours, game of, 51.

names of, 34.
Housekeeper1 s Pastime, the, 54.
Houses, card, 295.

Illuminations, 14, 56.
Importation of cards, 3 1 0.

SUBJECTS.

357

Imposition on cards, 3 1 1 .

Improved cards, 52, 325-326, 327.

Ibis, 154.

Index cards, 325.

INRI, 149.

Institutions, Cleland's, of a nobleman,

50.
Intelligence, domestic, 243.
International cards, 232.
Interpolations of the word cards, 12,

13.

Introduction, historic, 245.

Isis, 141-H3, 154-
Italian cards, 36, 65, 86.

cards with a secondary purpose,
86.

numerals, 85.

school, 68, 126.

tarots, 65 .
Ivory cards, 28, $$.

Jack-a-napes, 50.

Jamesanna, 321.

James II., King, 258, 259.

James II., King, cards relating to, 274,

276.
Jeu a l'Epee, 49.

de Cartes Tarots, &c, 20, 66, 201.

de Loto, 177.

de Patience, 121.

de Polichinello, 175.

deSociete, 174, 175.

dela Dot, 175.

de la Geographie, 1 3 1 .

de la Guerre, 1 33.

de la Sybylle, 1 74.

des Fables, 128.

des Quilles, 1 76.

des Reynes Renommees, 129.

des Roys de France, 1 29.

des Suisses, le, 1 5-

des Vicissitudes Humaines, 1 77.

du Nigaud, 177.

Lilliputien, 29, 49.
Jod, 154.
Jombert's catalogue, S. Delia Bella,

131-
Journal, Archaeological, 31.
Jugglers, Italian, 160.

Kabbalah, 11, 70, 148.
Karten Almanach, Cotta's, 224.
Jvartenmacher, 26, 225.
Kartenmaler, 26, 225.
Kemptener cards, 202.
King, Gregory, his cards, 299.

Kings, honour cards, 41, 42.
Knave, 50.

of clubs, 314.

of hearts, 3 1 5.
Knaves, a murnival of, 321.

more, yet, 315.

S. Rowlands', 314-319.
Koran, 10.

Labarum, 149.

Lab l'kamar, 10.

Lab l'oureq, IO.

Ladenspelder's copies, 76.

Landsknechtspiel, 23, 48.

Landscape, Rembrandt, 185.

Lansquenet, 23, 48.

Latrunculi, 4.

Leather cards, 28.

Leaf cards, 28.

Lebahy, J., 1 16.

Leone, Al, cards, 79.

Liber de Leipso, 222

Library, Hoffmann-Fallersleben, 194.

Library, Berlin, 194.

Licence to sell cards, 52.

to tax cards, 306-307.
Lions on cards, 214, 217-219.
Liliputian cards and games, 29, 49,

122, 335.
Litany, a Lenten, 321.
Livres populaires, 16 1.
Locke, quoted, 245.
Lombardian tarots, 179.
Loo, 297.

Lord Treasurer's letter, 307.
Loto, 177.
Lots, casting, 4.
Low cards, 21.
Luette, la, 103.
Lyra, commentaries of N. de, 1 1 0.

Madrid cards, 95, 98, 103.
Magasin Pittoresque, 15.
Magie, Haute, 146-148.
Magazine, Gentleman's, 51, 284.
Maitre aux cartes a jouer, 2 1 4.
Malcontant, game of, 89.
Manichean heresy, 155.
Maniere criblee, print in the, 26.
Mantcgna, tarocchi di, 65, 68, 155.
Manuscripts, 12, 14, 56.
Margarita philosophica, 156.
Marginal index cards, 325.
Marcolini's system, 160.
Marks of suits, 29, 44, 49, 207-213.
Marcolini, le Sorti di, 70, 159.

»4, 15-

33-
157-

Naibis, g, 20,35,65, 158.
Names of suits, 32.
Names on cards, 30, 44, 45,
Naypes, 9, 95-97-
Netherlands, cards of, 1 84.
Neuf preux, the, 44.
Newspapers, 303.
Nielli, 74, 77.
Nigaud cards, 177.
Notes and Queries, 6, 34.
Nova Statuta, 304.
Numerals, 20, 23.

1 11-

Niirnberg,

358 INDEX TO

Marlborough cards, 277, 279.

Marseilles tarots, 107, 108.

Master of 1466, 31, 214.

Master of the round cards, 211.

Massinger, plays of, 34.

Mathematical cards, 236, 300.

Mat, 9, 11, 143.

Matto, 9, 11, 143.

Mawe, 51.

Maximilian, triumph of, 51.

Mediateur, 33.

Meckenen, Israhel van, print by, 16,

227.
Melancholy, A. Diirer's, 74.
Meliadus, le Roman du Roy.
Metal cards, 28.
Micare digito, 4.
Milan tarots, 79.
Military science, cards on, 132, l
Minchiate, 9, 17, 23, 36, 38, 39,
Miniatori, 31.

Miniatures, 14, 15, 27, 31, 56.
Miscellanea, 62, 225, 295.
Missals, 56.
Mitelli, works of, 82.
Money, comedy of, 44.
Monkeys on cards, 21 7-2 19.
Monogram, Sacred, 149.
Moor's head tarots, 80, 81, 84.
Mora, 4.

Moral cards, 238.
Moral and instructive cards, 238.
Morelli, Chronicle of, 21, 71.
Mousquetaires, les, 120.
Moyen age, 15
Muhamedans, 8.
Musee Correr cards, 19, 71.
Musee Hal, 49.
Muses, the, 66, 72.
Museum, British, 66, 67, 78.
Musical cards, 199, 289.
Mythologic cards, 134.
M. Z., print by, 16, 227.

Numerals, Dutch, 1
English, 239.
Flemish, 180.
French, 1 1 o.
German, 189.
Italian, 85.
Spanish, 93.
12, 13.

83.

Oates, Titus, relative to, 272.

Obermann, 47.

Observator, the, 299.

Oja, una, 97.

Ombre a trois, 56, 98.

Omega, 149.

Oracle des Dames, petit, 166.

Oracle des Dames, grand, 169, 1 70.

Oriental cards, 332-335.

suit marks, 33 2-335-

origin of cards, 8, 1 0.
Osiris, 140, 143.

Padova numerals, 85.

Padua, school of, 68.

Pagad, 9.

Paier of cards, 34.

Pam, 297.

Panfilio, Busca cards, 78.

Pantacles, 155.

IIANOITAIA, Schopper and Amman,

225.
Paper, 28, 3 11, 312.
Papesse, la, 36, 37.
Parliament, orders of, 305, 306-310.
Patents granted to tax cards, 306-307.
Patience, Jeu de, 121.
Pavia, 115.
Peerage cards, 299.
Pelerinage de l'homme, 1 2.
Pentagramma, 154.
Perleta, la, 85.
Perletta, la, 85.
Perlimpimpim, 160.
Persian cards, 29.
Petitions, 311-313.
Percy Society, 317, 319.
Philippe le bon consultant une tireuse

de cartes, 16.
Pip cards, 20.

Piquet, 23,45,49, Hi, 123.
Plague, great, 250.
Plate, Delft dinner, 284.
Plot, Gunpowder, 250.

Meal-tub, 257.

of Dangerfield and Cellier, 257.

Popish, 251, 266-272.

SUBJECTS.

359

Plot, Rye House, 257, 273.

Warming-pan, 259.
Polichinello, 1 75.
Politico-historical cards, 245, 265.
Pomegranate, 90.
Pope quoted, 6, 98.
Popes, the, 36, 37, 68, 69, 70, 135-
Popish Plot, 251-272.
Portugal, 123.

Portuguese cards, 42, 43, 323.
Positive, the, 153.
Poulains, 16.
Prag, cards of, 204-205.
Pregi, li, 92.
Press, Beldornie, 316.
Primero, 51.
Print after an illumination, 14, 15.

after Van Eyck, 1 5.

by Anthony of Worms, 1 6.

Diirer, 74.

Holbein, 16.

Israel van Meckenen, 16, 227.

Mitelli, 83, 84.

Rembrandt, 185.

Schaiifelin, 13.

M. Z.(M. Zatzinger), 16, 227.
Prints after Hay man, 295, 296.

of the Italian school, 77, 84.
Proclamations, 307, 310, 313.
Prophets and sibyls, 69.
Proverb cards, 300.
Put, 52.

Quadrille, 51, 53, 98, 296.
Quatuor Reges, Game, 1 2.
Question and answer cards, 292-293.
Quilles, jeu de, 176.

Rape of the Lock, 98.

Raoul de Presle, 12, 1 5.

Rebellion of 1688, 263, 276.

Reduction, 23.

Reign of Queen Elizabeth, 246, 307.

Rembrandt's etching, N. 206 of Wilson,

185.
Revells of Christendome, 283.
Reversis, 51.
Revolution, French, 45.
Revue Archeologique, 7 1 .
Revue des Deux Mondes, 48.
Reynard le Contrefait, 12.
Reynes Renommees, cards, 129, 130.
Robino, 104.
Ro, Ros, Rog, 1 43.
Romancero Francois, l 1 2.
Rota, 149.

Rouen cards, 1 1 4.

Round cards of Cologne, 32, 207.

Round cards of India, 29, 331.

Rowland, satires of, 28, 51, 3 1 4-3 19.

Rowley's cards, 231.

Roys de France, cards of, 1 29.

Ruff, 51.

Rump Parliament, 280.

Russia, cards of, 323.

Rye House Plot, 257, 273.

Sacheverell, impeachment of, 264.

cards relating to, 279.
Sacred image of the cross, 149.
Sacred monogram, 149.
Saintre, Petit Jehan, 1 2.
Sarafino, Busca cards, 77«
Sarg, 47.
Satan, 159.

Satires, Rowland's, 28, 51, 31 4-3 19.
Satirical cards, 137, 28 1.
Scarabeus, 67.
Schaffouse, cards of, 49.
Schah, 332.

Schaiifelin, print by, 13.
Schellen, 47, 192.
School, Florentine, 35.
Scientiall cards, 298.
Sculptures, Egyptian, 4.
Semitic nations, 1 1 .
Series, noteworthy, 34 1 .
Sermones M. Vincentii, 1 IO.
Seven bishops, 258, 274.
Seven, the number, 9.
Shakespere cards, 293.
Sheepshanks cabinet, 211.
Shields on cards, 49.
" Shufling, cutting, and dealing," 320.
Sibyls and prophets 69.
Silesia, 39.
Silk cards, 28.

Size of cards, 29, 81, 122, 335.
Slade collection, 76.
Society of Antiquaries, 306.

Percy, 317.
Soleure cards, 49.
Solis, Virgil, cards by, 217.
Sorti, le, di F. Marcolini, 70, 159.
Sortilege, 161.
Sota, knave, 34, 93.
South Sea Bubble cards, 1 84.
Spadille, 98.
Spain, Queen of, 42.
Spanish Armada cards, 265.

cards, 30, 40, 41, 93.

invasion of 1588, 247.

36o

INDEX TO SUBJECTS.

Spata, 242.
Squares, magic, 1 50.
Stamp duty, .52, 232, 286.
State papers, 306.
Statuta, Nova, 304.
Statutes, Machlinia, 304.

Pynson, 304.
Stencils, 27.

Stukely cards, 27, 193, 194.
Stuttgart cards, 29, 47.
Suit marks, 21,32, 33, 192, 207, 324,

327. 331-335.

German, 192, 207.

Oriental, 331-335-
Suits, 20, 44.

French, 45.
Sunday, cards on, 5.
Switzerland, cards of, 49, 325.
Sybylle cards, 1 74.
Symbolism, 139-143.

Table, chronological, 339.

Knights of Round, 111.

Tare, 19.

Taroccare, 38.

Tarocchi, 19, 38, 65, 73-

Tarocchino, 19, 23, 36, 37, 80, 8 1, 86.

Tarocchino di Mitelli, 8 1-84.

Tar, 143.

Tarot, 11, 19, 143, 148, 149.

Tarotee, 19.

Tarots images, 157..

Tarots, 9, 17, 19, 65 ; (Italian) 70, 78,
79; 107 (French); 109, 1 87 (Ger-
man).

Tarots- Jeux, 157.

Tarots of South of France, 71, 107,

155.

Tarots, version of 1470, 65, 75.
Tarots, version of 1485, 73, 75.
Tax on cards, 52, 286, 305, 31 1.
Tchaturanga, 10.
Temperancia (of 1485), 74.
Terminology, 29.
Tetes, jeu a deux, 86.
Tetragramma, 148, 154.
Theraphim, 149, 154.
Thot, 109, 148.
Tharot, 161.
Thumin, 154.
Tile cards, 28.

Times newspaper, 233.
Tortoise-shell cards, 28.
Tracts, satirical, 317, 31 9-32 1.
Trappola, 23, 39, 40, 189, 192.
Trente-et-un, 57.
Triomphes, 18.
Triompho di Fanti, 70.
Triumph of Maximilian, 5 1 .
Tu'chan, 9.
Tuchim, 9.
Tutteli's cards, 236.
T. W., cards by, 208, 212.
Typographia, Johnson's, 305.

Ulm, 13.

cards of, 1 95-202.

printers, 195.
Untermann, 47.
Urim, 154.

Vampires, jeu des, 176.

Varia, 323.

Venetian dialect, 66.

Venetian tarots, 19, 21, 32, 65, 70,

77-79, 85, 155, 179.
Venice, 36, 38, 78.
Viennese designs, 288.
Vishnu, avatars of, 56.
Viterbo, 8, 9, 12.
Volay, Jehan, cards, 93.

Warming-pan Plot, 259.

Weigel collection, 195-198, 218.

Wallis's emblematical cards, 29 1 .

Whist, 51.

Wesel, Telman von, cards by, 208-

213.
Walpole's Anecdotes, 300, 297.
Wooden cards, 28.
Wood-engraving, 24.
Works on cards, 65, 343.
Worms, Ant. of, print by, 16.
Wright, 14, 15.
Wusseer, 331.

Xylography, 27.

Zatzinger, M., print by, 16, 227.
Zero, 157.
Zingari, 1 1 .
Zintilomo, 66.

CHISWICK miiSS : FKINTJiD BY whittingham and wilkins,

TOOKS COUItT, CHANCERY LANE.

DESCRIPTIVE CATALOGUE OF PLAYING

AND OTHER CARDS IN THE

BRITISH MUSEUM.

(SUPPLEMENTARY PORTION.)

HE arrangement adopted in describing the various
playing and other cards in the national collection
may be found detailed at pages 61 and 62 of the

first part of this Catalogue.

The contraction Bibl., accompanied by a number, in the fol-
lowing pages, refers to the " Bibliography/ ' vol. i., p. 343.

PREFACE.

FEW prefatory remarks are necessary on this
supplementary portion of the " Descriptive
Catalogue of Playing and other Cards." It
was not until the first Division was ready for publication
that the Trustees decided to issue this supplementary part,
which should include an account of several items acquired
by the Museum since the former part had been completed.
It was also determined that advantage should be taken of
this supplement to include in it a series of illustrations
by which a fuller explanation of several of the topics dis-
cussed in the first part of the Catalogue might be given
and the reader's interest in them be thereby increased.

This subsequent decision will account for the absence
from the first part of all reference to the commentary
and plates in the present portion of the Catalogue.

vi PREFACE.

The present supplement to the Catalogue has beei
executed by the author of the former portion, under the
supervision of the Keeper of the Prints and Drawings.

March, 1877.

George William Reid.

TABLE OF CONTENTS.

French Cards :

Flemish Cards:
German Cards :

English Cards

PART I.

UROPEAN Playing-cards

Italian Cards : Tarots
Spanish Cards : Numerals
French Cards : Numerals

„ Piquet

„ With a secondary

Amusing .
Miscellanea
Numerals
Tarots
Numerals .

With a secondary purpose
Amusing .
Numerals .
Piquet

With a secondary purpose
Educational — instructive
Amusing .
Humorous
Miscellanea

Varia

Oriental Playing-cards
Hindustani „
Chinese ,,

purpose

PAGE
2

14
»4
14
15
18
19

20
23
23

28
28

29
29

35
37
39
4i

PART II.

Commentary on and Description of the Plates

Description of Tarots .......

„ of the Miseeo and Maete of the Carte di Baldini

Explication of the Symbols of the Numeral Suits .

„ „ Suit Marks of Italy and Spain .

„ „ „ of France and Germany .

of English Cards

47
49
59
61, 62
. 62
• 63
. 67

viii TABLE OF CONTENT*.

Animated Marks of Suite ......... 69

Composite Marks of Suits . . . . . . . . .71

" Charta Lusoria," or Book of Cards. By Jobst Amman . . 71

Early German Cards (circa a.d. 1440 P) ...... 73

The " Chatto Cards," or the Cards from the Binding of the " Sermones

M. Vincentii" 76

Hindustani Cards . . . . . . . . . -77

Chinese Cards ........... 78

Early Representation of Playing at Cards . . . . . -79

The Sizes of Cards 80

mmmm

EUROPEAN PLAYING-CARDS.

ITALIAN PLAYING-CAKDS.

TAROTS.
I. 256.

LATTER THIRD OF SEVENTEENTH CENTURY.
FLORENCE.

(MlNCHIATE.)

N imperfect sequence of combined tarots, i. e., an em-
blematic series along with numerals, constituting a
modification of the old Venetian tarots, known as the
" Minchiate of Florence." A perfect set of Minchiate
playing-cards is composed of ninety-seven pieces, viz.,
forty-one tarots proper and fifty-six numerals. The
present incomplete set includes twenty-six tarots proper
and thirty-nine numerals ; it is hence deficient of thirty-
two pieces.

The " Minchiate " is alluded to in vol. i. p. 38 as the third tarots game, or
that modification of the early Venetian tarocchi which became the national game
of the Florentines and Tuscany, a game not any longer one of simple combina-
tions like its parents, but one of arithmetical perplexity.

An account of the " Valore di Tarocchi " in this complex amusement, and of
the numerical combinations arising out of them, may be met with in the following
treatise by a professor of mathematics at Rome: —

" Giuochi delle Minchiate, Ombre, Scacchi ed altri d'ingegno, Dedicati Alia
Illma, ed Eccma Signora la Signora Principessa Donna Guilia Albani Chigi
Da D. Francesco Saverio Brunetti Da Corinaldo. In Roma, per il Bernabo, e
Lazzarini, 1747. Con licenza de' Superiori," 8vo, pp. 128.

A copy of this uncommon work is in the Library of the British Museum,
7915 a a a.

In the treatise by Brunetti may be found a full description of the way in
which Minchiate should be played, the laws relative to the game, as also
" Avvertimenti per giuocar bene." Following each notice of particular details is
a " Nota Allcgorica," with quotations from Latin and Italian writers. The Nota
Allegorica to the " Capo Priino " on the " Mazzo delle Carte " is as follows : —
"This extensive series of cards may be likened to the catastrophes and

4 ITALIAN.

casualties of mankind ; the whole is analogous to the Human race, which Uvea
mixed up together on this earth. The lour suits represent the lour early
monarchies- of the Assyrians or Chaldeans, which commenced with Ninus, the
father-in-law of Semiramidis, in the year of the world 1944, contemporaneously
with Deborah, and ended with Darius Medus, the son of Astiagus, contem-
poraneous with Daniel, in the year of the world 3450. The second monarchy
of the Persians commenced with Cyrus, the nephew of the sister of the before-
mentioned Darius, and ended with Darius Codomanus, who was conquered by
Alexander the Great. With the latter commenced and finished the third
monarchy of the Greeks, since the latter were afterwards broken up into several
kingdoms. These latter gradually succumbed to the Roman power, which
culminated gloriously in the fourth monarchy."

" The forty tarocchi, which are superior to or * take ' all the other suits, may
be likened to the fifth universal monarchy, which brought together every nation
under its aegis. We have at last the ' Matto ' which responds to every other
card, but never takes nor can be taken unless all be lost. Perhaps we should
bear in mind that the human race became mad from its origin ; and that, never-
theless, fools will last to the end of the world, when more men will not be pro-
duced any longer. Staltorum plena sunt omnia (Cic. Ep. ix.)."

" I have desired to point out the above in order that, with the opportunity of
playing Minchiate, those engaged in it should desire to obtain a knowledge of his-
tory and above all of chronology, because nescire quod anteaquam natus sis acei-
derit, id est semper esse puerum. Cic. in Oratore." (Brunetti, op. cit. p. 15.)

There is a tradition that the game of Minchiate was invented at Sienna
by Michael Angelo to teach young persons arithmetic, but that it did not become
fashionable until the time of Pope Innocent the Tenth ( 1 644 a.d.), whose portrait
is that of the Pope of these cards. (Gough, in " Archaeologia," vol. viii. p. l 72.)

In the " Regole Generali del Giuoco delie Minchiate," etc., a work to be
presently alluded to, is the following statement : —

" Ebbe, questo Giuoco a sua prima origine in una conversazione de nobili
Cittadini Fiorentini die studiosi nell' aritmetica lo inventarono per occuparsi con
util diletto nell' ora di loro recreazione."

The precise origin of the term Minchiate is not known, but is probably
from the old Italian word Menchia, signifying game, sport, etc. It was obligingly
pointed out to the author by C. Knight Watson, Esq., of the Society of Antiqua-
ries, that in the old " Vocabolario Italiano e Inglese," by Florio, London, 1659,
the name of the game is spelt Menchiatte.

Florio gives also Menchia, game, some sport, etc. In more recent dic-
tionaries the word is always spelt Minchiate.

In the latter part of the year 1 803 a paper was read at the Society of Anti-
quaries by Mr. J. Smith, describing " Minchiate," who, at the same time
presented the Society with a pack of the cards. In this paper, which may be
found in the fifteenth volume of the " Archaeologia " (for 1806), p. 140, Mr.
Smith observes: —

" I have the honour to present to the Society a complete set of Minchiate
cards such as have been long in use at Florence, and with it a small treatise, in
the Italian language, containing the rules of the game and directions for playing
it, both of which I have brought from the Continent some years ago, and have
had them by me ever since.

" There is no game on the cards of which I have any knowledge that requires
closer attention, a more ready talent for figures, or greater exercise of the memory
than this of Minchiate. It is held in high estimation among the fashionable
circles in Tuscany, where almost everybody exclaims in the language of the
treatise, ' E senza dubbio il piu nobile di tutti i Giuochi clic siensi mai potato
inventare colle carte.' "

Opportunity has been afforded the author of examining Mr. Smith's gift to

TAROTS. 5

the Society. He has found the set of cards to be complete and in good condition,
ami the little work accompanying it to bear the following title : —

" Regole Gcncrali del Giuoco delle Minchiatc con Diversi Istruzioni brcvi, e
ffecili per bene imparare a giuocarlo,

" In Firenze mdcclxxxi.

" Nella Stamperia Vanni e Tofani. Con Approvazione.

"A Spese de Vincenzio Landi." (8vo, pp. 70.)

The characteristics of the Florentine Minchiate may be thus described: —

In place of the twenty- two atutti of the old Venetian sequence there are
forty-one tarots proper, i.e., nineteen of the older series, or what are equivalent
to them, and twenty-two additional tarots, including the matto or fou. The
chief modifications of the old Venetian sequences are as follows, viz. : the figure
of Le Pape (No. v.) is withdrawn ; La Papesse (No. ii.) becomes " Le Grand Due " ;
I? Imperatrise (No. iii.) and EEmpereur (No. iv.) represent the " Emperor of
the West " and the " Emperor of the East " respectively ; VHermite (No. ix.)
becomes an old man upon crutches (le Sablier No. xi.), having behind him a star
and above his shoulder an hour-glass transfixed by an arrow ; while La Maison
Dieu ou la Foudre (No. xvi.) is discarded, or, perhaps, is metamorphosed into
VEnfer (No. xv.). L'Etoile (No. xvii.), La Lune (No. xviii.), Le Soleil
(No. xix.), and Le Monde (No. xxi.), are retained.

To this slight modification of the old Venetian tarots are added the three
theological Virtues — Faith (No. xviii.), Hope (No. xvi.), and Charity
(No. xix). Other additional pieces are, one of the four cardinal virtues,
Prudence (No. xvii.) ; the four elements of the ancient philosophers, as Fire
(No. xx.), Water (No. xxi.), Earth (No. xxii.), Air (No. xxiii.) ; the twelve
signs of the Zodiac (Nos. xxiv. to xxxv.) ; the remainder of the series concluding
with the Star, the Moon, the Sun, the World, and La ~Renomm.ee.

A peculiarity of the emblematic series in the Minchiate sequence is that the
cards do not bear any titles nor names below the subjects represented on them, as
they are borne in the other tarots sets. The subjects can be known by their
attributes only.

The cards are numbered above in Roman numerals.

Another characteristic of the Minchiate tarots is that the concluding eight of
the series — viz., the Lion (No. xxxiii.), the Bull (No. xxxiv.), the Twins
(No. xxxv.), the Star, the Moon, the Sun, the World, and La Renommee —
have the designs on them relieved from a red or rose-coloured ground.

The numeral series consists of four suits of fourteen cards each suit, as in the
other tarots sequences. Here, as in the case of the emblematic series, certain
peculiarities may be observed.

The cavalli of the court-cards, or " honours," are chimeric or centaur-like
figures, composed of human busts, on equine or other trunks with fantastic tails.

The fanti, or valets, are warriors in the suits of spade and hastoni, and
fantiglic, or servants, in those of coppe and danari.

The suit-marks of danari on the pip-cards have heads in their fields, with the
exception of the nine, on which are birds.

In spade the swords are straight and pointed for thrusting with, except as
regards the cavallo and fante, whose weapons are scimitars.

In the suit of spade particularly the designer of the Minchiate variation has
placed various animals, such as cats, elephants, monkeys, and other creatures,
with now and then objects, such as stars, etc., on the faces of the cards, as
ornamental additions. These would appear to be proper to the Minchiate pieces,
since they may be seen both on the older and more recent versions.

Breitkopf would appear, from an observation he makes ("Versuch," etc.,
p. 27, note m), to award to the Neapolitans the increase of the old tarots sequence
to the number of ninety-seven pieces, as found in the present Minchiate ; and
though he refers to the " Regole Generali del Giuoco delle Minchiate," published

ITALIAN.

at Florence in 1781, and before alluded to, the author did not observe therein
any warranty for such award while examining this little treatise at the Society of
Antiquaries. The same writer observes, also, that at Munich a modification of
the series might be met with, in which the pack consisted of 103 cards, a result
obtained by doubling the twenty-one tarots proper and the fuu, as also the ace,
king, and knave of cceurs [sic] i.e., 42 tarots, 2 fous, 1 ace, 1 knave, l kii
= 47, added to the 56 numerals = 103.

The present series is of very inferior character as respects design, execution,
and colouring — so inferior, indeed, that the subjects on some of the cardpiecen
are with difficulty made out.

The backs of the cards are marked Avith the arms, apparently, of Cosmo de
Medici the Third, i.e., circa the latter end of the seventeenth century. The
shield is surmounted with a ducal crown, and has below the motto " Fortuna."

The armorial bearings are enclosed within a broad border, composed of small
points or dots. The whole is printed in very faint black ink. A like but narrower
border encloses the designs of the faces of the cards.

[4 X 2f in.]

[Backs decorated.]

I. 257.

LATTER THIRD OF SEVENTEENTH CENTURY.
FLORENCE.

'N imperfect sequence of combined tarots, constituting " Minchiate,"
a Florentine modification of the old Venetian series of emblematic
cards.

Of the perfect set of ninety-seven pieces the present series
contains the following eleven tarots and eight numerals = 1 9 in toto.

Tarots proper

Le Bataleur .
La Force
Le Pendu
La Mort
L'Eau
L'Air

La Balance
La Vierge
La Capricorne
Les Poissons
Le Lion

Numerals Coppe

Danari .
Spade

Number

„ vii.

„ xii.

xiii.

" X*!*

,, xxiii.

„ xxiiii.

„ xxv.

„ xxviii.

„ xxxi.

„ xxxiii.

Reina and the 6.

Cavallo and the 9.

Ace and the 8,

9 and Re.

On the " Balance " (No. xxiiii.) is a modern stamped cipher of " F.C.S."

The backs of these cards are marked with the same armorial bearings as are

the previously-described set (I. 256), though the supporters or decorative

encadrement of the shield are slightly different. Below the arms is the motto

" COLOMBA."

Dotted borders are present as described in the set I. 256.
The designs, etc., are slightly better in the present set than they are in I. 256,
and much more easily decipherable.

[4 X 2|- in.] [Backs decorated.]

SPANISH PLAYING-CARDS.

NUMERALS.

S. 258.

EIGHTEENTH CENTURY ?

PACK of numerals of the normal Spanish type, viz., forty-
eight in number, having the queens displaced by caballos,
the tens suppressed, and the suite being cojhis, oros, bastes, and
espudds.

One piece, the three of oros, is here wanting.
The ace of oros has a large coin-like sign, having on it the
arms of Spain, over the centre of which, on a shield of pretence, are the Jieurs-de-l is
of France. A crowned eagle is a supporter (vol. i. p. 95).

On scrolls above and below the mark of the suit is the address of "Gio.
Bartolomeo Bocciardt."

On the four of oros is a double interlaced triangle, having in the hexagonal
centre the initial capitals " G.B.B."

On the large central mark of the five of oros are busts of Ferdinand the Second
of Aragon and Isabella of Castile, his consort. By the marriage here in ques-
tion the union of Castile with Aragon was perpetuated (a.d. 1479-1512).

The device appears to have been taken from an old coin of the period men-
tioned. It became a frequently employed sign for the mark of the suit oros in
Spanish playing-cards. Yet there is some obscurity about this device as used
for Spanish cards. For example, on the central mark of the five of oros in the
oldest Spanish playing-cards which have reached our time, viz., the " Rouen cards
of Jehan Volay " (vol. i. p. 93, S. 15), the busts of Ferdinand and Isabella may
be seen surrounded by the inscription : " -f- Grossus. Vsnoniis. Imperatoris.

ROMANORUM."

We are informed by numismatologists that there was an old German coin
named " Grossus," and it is therefore presumable that " imperatoris romanorum "
has also German relations. What " Vsnonus " — for it certainly is that — may
imply is not apparent. At one time we were inclined to read these words as signi-
fying, Crassns nonassis, i.e., a large nine "As" piece, but such a rendering is, we
are told, out of all question.

Across the middle of the two of copas is the address, " Gio. Bar : Boccia."
On the four of the same suit are the initials " G. B. B." enclosed within the loops
of a central ornament.

8 SPANISH.

The designs, execution, and colouring of the cards are of mediocre charact
There is one border line only on each card, and it remains continuous in each si
(Postea, B. 259.)

The backs of these cards arc marked by a series of broad arrow-lies:
running transversely across the pieces. Printed in black ink.

[31 x 2^m-] [Backs decorated.]

S. 259.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of Spanish numerals of the full sequence of fifty-two cards.
One card, the two of oros, is here wanting.

The suit-marks are of the typical character, and the dama is dis-
placed by a caballo, but the tens are not suppressed.

A common characteristic, though by no means a universal one, of Spanish
cards, is here present, while another and frequent one is absent. It may be
observed that the border lines on each of the pieces of the suit of oros are con-
tinuous and perfect. In the suit of copas the upper and lower portions of the
border lines are each broken by a single gap. In the suit espadas the upper and
lower portions of the border lines are each broken by two spaces, while in the
suit of bastos the like lines have each three solutions of continuity. Thus the
character of a suit may be at once known by not exposing anything beyond the
upper and lower margins of the cards. In many Spanish packs each pip-numeral
has the value of the piece marked with an Arabic figure in reverse', at two
opposite corners, diagonally. This peculiarity is here wanting.

On the four of oros is a central shield surmounted by a crown. The shield
bears the inscription : " Naypes finisinos [finisimos] Fabircados [Fabricados] en
Madrid. H. 1801."

Above the mark of the suit on the ace of oros is the inscription : " Real
Fabrica De Madrid ;" below is, " Por D Felix Solesioe II. . . ."

On the caballo of copas is " A IVA " at the left-hand lower corner, and across
the middle of the two of copas may be read, " Para Caracas."

The backs of these cards are marked with a series of blue stars, having
central white spaces hi them ; between the stars are series of small blue dots.

[3 *. x 2| in.] [Backs decorated.]

S. 260.

FIRST QUARTER OF NINETEENTH CENTURY.

MADRID.

PACK of Spanish numerals, having several of the ordinary characters
of Spanish playing-cards. The pieces are forty-eight in number — the
tens being suppressed, and a caballo displaces the dama. The border
lines of the cards in three of the suits are broken after the manner
described under S. 259.

The figures on the coate-cards are not after the usual Spanish type (vol. i.

NUMERALS.

p. 41), but are busts printed double, and in reverse. The pip-cards have not
their values marked on them at the corners.

Within a scroll above the mark of the suit on the ace of oros is the word
" Fabrica ;" below are the letters, "DD"C . . ." On the mark itself is a
shield of the arms of Castile and Leon. On the four of oros is a central shield
surmounted by a crown. On the shield is inscribed, " Roxas a nu de 1 814."

The backs of these cards are marked with a series of large rayed stars,
having between them small dots. The whole is printed in blue.

[3t X 2f in.] [Backs decorated.]

S. 261.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of cards of the ordinary Spanish character, viz., the tens are

suppressed, the dama is displaced by a caballo, and the border lines in

three of the suits (S. 259) are broken up into parts ; but the pieces

have not their values marked at the corners.

On the sign of the ace of oros is a shield of the arms of Castile and Leon,

surmounted by acrown. Above, on a scroll, is the address, " Calle de las MAL,"

and below is "Donad a' ad 1811." (?)

On an ornamental shield, surmounted by a crown, on the four of oros, is
inscribed, " Fabrica d Madrid 1 8 1 1 ."

On the caballo of the same suit is the word " aiva," at the lower left-hand
corner.

These cards are of small size, and of mediocre execution.

The backs are marked with a scries of small arrow-heads running across the
cards diagonally and reversed in position. They are printed in blue.

[2i- x 1-j-in.] [Backs decorated.]

S. 262.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of fifty-two numerals, the suits of which have the French marks,
viz., cmurs, carreaux, piques, and trcfles. Damas are present among
the "honours."

On the ace of carreaux is the inscription, " Fabrica de Madrid,"
within a scroll at the upper part of the card, and below are the words, " Por D
Clemente Roxas."

On the four of carreaux, in the centre, is the figure of a horse galloping to
the right. The sota, or valet, of carreaux is a whole- length standing figure of a
soldier, with a halberd in his left hand ; the title of " Hector " is marked at the
left-hand lower corner of the card. The dama of the same suit is a whole-length
standing figure, entitled " Rachel," while the rey, or king, is " Cezar." On the

io SPANISH.

lower part of the tunic of the latter personage is a medallion head of a grey-
hound, with crown on the head.

On the ace of trefles is a large brown eagle, bearing on its breast the symbol
of the suit. The head of the eagle is crowned. On the four of trefles is an
elephant in the centre of the card, and the valet of the same suit carries
mirror (?) by a ribbon in his right hand, and a halberd in his left. He is un-
named. The damn, or queen, is entitled " Argine," and the rey is " Alegandre."

On the ace of cceurs is a large yellow eagle, holding a thunderbolt in \i< clMil
and the symbol of the suit in its beak. On the four of this suit is the figure of
lion directed towards the right hand. The valet of the suit is a whole-Ien
figure, "Lahire," the dama, " Judic," and the rey is "Charles."

The ace of piques is decorated with two geese, regarding each other, and hoi
ing the symbol of the suit between them. On the four of this suit, in the mid
of the card, is a leopard, directed towards the right hand.

The sota, or valet, is "Hogier," bearing a halberd in his left hand, while a dog.
supporting himself by the forcpaws against the man's thigh, looks inquiringly up
at him. The dama is " Pallas ; " the roi, " David," having his right hand on the
top of a large harp.

The border lines of the cards in all the suits are continuous, and the values of
the pieces are not marked at the corners.

The backs of these cards are marked with diagonal rows of large diamonds or
lozenges, having dots in their centres. The whole is printed in blue.

[3f X 2i in.] [Backs decorated.]

S. 263.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of numerals of the usual Spanish type, viz., forty-eight in
number, with the tens suppressed, the dama displaced by a caballo,
and the top and bottom border lines of each card in three of the suits
broken up in divisions. The values of the pieces are not marked at
the corners.

The coate-cards have on them whole-length costume figures, intended to
symbolize the four quarters of the world. It is not easy to recognize America,
however, except by assuming Spanish America only to be represented, a not
unlikely circumstance, considering the series of cards is of Spanish origin.

On the rey of oros are the letters " D". C. R." upon the pedestal supporting the
symbol of the suit, which latter represents America.

Europe is represented by the " honours " of the suit of espadas, Asia by those
of bastos, and Africa by the honours of the suit of oros.

On the ace of oros the mark of the suit bears the arms of Castile and Leon,
surmounted by a crown. Below, a lion grasps a sword and ball. Columns and
drapery serve as decorative supports to the arms, and a tower and ship are repre-
sented in the distance. Throughout the suit oros the marks bear in their centres
the castle and lion alternately.

On the ace of copas a satyr supports on each side the symbol of the suit.

The figures on the honours of the suit espadas are clothed in more or less
of armour.

The fours of each suit have ornamental designs in their centres. On the
four of espadas is Mars, aroused by a genius holding a blazing torch, the god is

NUMERALS.

about to assume the helmet of war. On the four of copas are two amorini
reclining on a bank ; ou that of bastos is a circular group of naked children
dancing; while the four of oros has, in the middle, a group of four naked children
seated at a table playing with cards.

The central mark of the suit on the five of oros is a large circular shield,
having on it a Mercury's head and a horn of plenty at each side.

On the ace of bastos two turbaned figures raise up the mark of the suit.

The designs, engraving, and colouring of these cards are of a superior
character to the usual run of Spanish sequencies, though, in some pieces, the
colouring is rather heavy and opaque, and detracting from their appearance. The
backs of the cards are marked with a reticulation of neatly-engraved ivy leaves,
printed in a slightly greenish-blue colour.

[3t x 2I m-J [Hacks decorated.]

S. 264.

FIRST QUARTER OF NINETEENTH CENTURY.
MADRID.

PACK of forty-eight cards according to the rule of Spanish numerals.
The tens are suppressed, caballos displace the demos; the upper and
lower border lines of the pieces in three of the suits arc broken, and
the values of the pieces are marked in Arabic numbers in reverse, at
two opposite corners diagonally.

The " honours " arc whole-length costume figures of an historic character, with
the exception of the suit of bastos, which represents Africa.

The ace of oros bears a large medal or coin, on which is a bust of " Ferdi-
nando VII. Rcy dc Esp. E. Ynd." This medal is surrounded by an ornamental
design, of which flowers, coins, a harp, etc., are the components. All the signs of
the suit oros have on them busts of the Kings of Spain, with the name, etc.,
accompanying them as on the obverse of a coin.

The designs, engraving, and colouring of this series are of a superior character.
Several of the compositions are quite artistic, and some of the groups of animals
and flowers arc worthy of commendation. The central portions of the fours in
each suit are occupied with ornamental designs. On the four of copas a satyr
plays a Pandean pipe beneath a bower of fruits and flowers ; on the four of oros
two swans are floating on a reedy stream ; on the four of bastos dogs are hunting
a wild boar ; and on the four of cspadas is a group of military weapons, musical
instruments, etc.

The backs of these cards are marked by a series of small diamond-shaped
figures, arranged in diagonal lines very neatly engraved, and printed in a warm,
black ink.

[3|. X 2| in.]

[Backs decorated.]

12 SPANISH.

S. 265.

FIRST QUARTER OF NINETEENTH CENTURY.
BARCELONA.

PACK of forty-eight numerals of the ordinary Spanish character, viz.,
the tens are suppressed, the damas supplanted by caballos, the borde
lines of the cards of three of the suits are broken up into division
and the values of the pieces are marked in numbers at the corner
diagonally. An exceptional feature in this pack is, the sota, or valet, being repre
sented by a female.

The coate-cards are whole-length figures emblematic of the four elements of the
ancient philosophers. The " honours " of the suit of oros symbolize Water. The
sota, or valet, is a "Sirena" in the sea, holding in her right hand the sign of the
suit, and in her left hand a harp. The caballo is a " Triton " on a sea-horse ; he
holds the sign of the suit in the right hand, and a shell which he is blowing in his
left hand. The rey is " NeptUno," standing on a shell, bearing a trident in his
left hand, and in his right the symbol of the suit.

The sota of the suit of copas is " Venus," by whose side is Cupid with flaming
torch, typifying the^re of love. The caballo represents "Faetonte" on one of
the horses of the sun — " C. Flegon," with flaming feet ; while the rey is " Jupiter,"
holding in his right hand a thunderbolt and in his left hand a winged sceptre. Air is
symbolized by the suit espatlas ; the sota is " Belona," about to rush through the air
with shield and sword ; the caballero is " Marte," mounted on the horse " El
Terror," and galloping through the air ; the rey is " Eolo," towards whom Eolus is
blowing a favourable wind. Earth is typified in the suit bastos; the sota is
" Ceres;" the caballero, " Belerofonte " mounted on "C. Pegaso," riding over the
hills ; while the rey is " Hercules " trampling the serpent on the earth. On the ace
of oros the mark of the suit is borne on the mast of a ship. Above is a scroll having
on it the inscription, " Fabrica de Forns y Compania." On the four of copas is a
central ornament bearing the inscription, " Barcelona en Cataluna."

The designs, engraving, and colouring of this series are far inferior to the sets
(S. 263, S. 264) last described. The backs of the cards are marked by alternate
series of stars and small bars printed in black.
l [3|- X 2|- in.] [Backs decorated.]

S. 266.

SECOND QUARTER OF NINETEENTH CENTURY.
BARCELONA?

PACK of forty-eight cards of the usual Spanish character. The tens
are suppressed, the damas displaced by caballeros ; the upper and
lower border lines in the pieces of three of the suits are broken into
divisions, and the values of the pieces are marked in numbers at oppo-
site corners.

The whole-length figures on the coate-cards typify the four quarters of the
globe, the sota of each suit having on it the designation of that part of the world

NUMERALS.

the suit is intended to signify. "Europa" is illustrated by the "honours" of
copas, " America " by those of oros, " Asia " by those of espadas, and " Africa "
by the honours of bastos.

The large mark of the suit on the ace of oros, containing the arms of Castile
and Leon, is supported by conventional American figures. Above it is a winged
genius blowing a trumpet, and holding in the right hand a scroll, on which is in-
scribed, " Fabrica de Forns." The figures supporting the mark of the suit hold
a scroll between them, on which may be read, " Y Compania."

The designs, engraving, and colouring are only mediocre. The backs of these
cards are marked with alternate series of stars and bars printed in black, similar to
the sequence last described.

[3j- X 2£ in.] [Backs decorated.]

S. 267.

SECOND HALF OF NINETEENTH CENTURY.
NAPLES.

PACK of modern cards of Spanish character fabricated at Naples,
and adapted to playing the Spanish game El Hombre (vol. i. p. 98).
The sequence is composed of forty cards only, the eight, nine and
ten of each suit being suppressed. There is not any dama.

The cards are not numbered, nor are there any border lines ; the backing of
each piece is folded over the edges of the front of the card, forming an ornamental
border after the manner to be seen in many Italian packs.

The marks of the suits espadas and bastos are discrete, or separate, as they
are in all true Spanish cards (vol. i. p. 42), and not interlaced as in the Italian
series.

The ace of oros bears the duty stamp, on which is a head of Mercury, having
inscribed around it, " Regno d'ltalia." " Centesimi 30." This stamp has been
impressed for the mark of the suit on the breast of a double-headed eagle, below
which is the address, " Luigi Pignalosa" " STR. Mercantial Cerriglio 7."

The designs, etc., are of an inferior character.

The backs are stamped with a representation of the Royal Palace, printed
double and in reverse, surrounded by a border marked with diagonal lines.
Between the two designs on the back of the card is printed on a transverse band
" P. Rcale," and the same in reverse. The whole has been worked off in blue ink.

These cards are of stiff and firm character and small in size.

A decorative envelope accompanies the pack. In the centre is a circular
shield within a wreath surmounted by a crown. Above may be read, "Napoli;"
below, " Carte Corrcnti Napoli." At the sides is the address, " Luigi Pignalosa
Strada Cerriglio A Mercanti No 7."

[3£- X 2 in.] [Backs decorated.]

FKENCH PLAYING-CARDS.
NUMERALS.— PIQUET.

F. 268,

NINETEENTH CENTURY.
PARIS.

SET of piquet cards, i.e., thirty -two numerals only, the two,
three, four, five and six of each suit being suppressed (vol. i.
pp. 45, 123). The coate-cards have on them whole-length
figures entitled, Hogier, Pallas, and David in the suit of piques ;
Argine and Alexandre in the suit of trefles; and Judic and Charles
©s^^fcAeVj^a in the suit of cceurs.

The valets in the suits trefles, cceurs and carreaux are unnamed, as is also
the dame in carreaux On the roi and dame of each suit is the word ridan at
the lower margin, and on the valet of trefles is the address, "A Paris.1' The
valet of piques bears the word ridan as well as " Hogier," and holds in his right
hand an oval shield with a flower on it. On the roi de cceurs also is the word ridan.
The designs and execution are of an ordinary and conventional character.
The fabrication and lissage are good.

[3| X 2f in.]

[Backs plain.]

CARDS WITH A SECONDARY PURPOSE.

AMUSING.

F. 269.

FIRST QUARTER OF EIGHTEENTH CENTURY.
PARIS?

SERIES of 181 cards belonging to the suits cceurs, carreaux, trefles,
and piques. In each suit there are several duplicate pieces both figure
and pip-cards, and there are two different sets of the suit trefles.

In the suit cceurs there are 54 pieces, in piques 42, in carreaux 42 ;

in one set of trefles there are 33, in the other set of that suit only 10 pieces.

It would appear that the cards of two or three different sets are here intermingled.

MISCELLANEA. 15

The designs on the coate-cards are whole-length figures of the old conventional
kind, and bearing the well-known names of David, Charles, Alexandre, and Cezar
for the kings ; Pallas, Judic, Argine, and Rachel for the queens ; Hogier, Lahire,
and Hector for the valets.

On some of the figure-cards of the suits piques, cceurs, and of one set of trefles,
is the address " Maudrou " at the lower margins, and on the valets of one set of
trefles is the word " Caen " at the bottom, while close by the side of the right
leg of the figure is a duty stamp (?), on which is a crown above two hands grasping
each other ; below is an inscription not decipherable.

On the backs of all these cards are printed either amusing questions or
answers in red, or blue, or black ink. These are contained within ornamental
borders stamped in variously coloured ink. The designs and colouring of these
borders show that the cardpieccs of various sets go to form the collection. The
character of the questions propounded may be gleaned from what follows : —

On one of the dames de piques is the question,
" Etes vous mon ami?"
on another is,

on a rot de cceurs is,

on a six of piques is,

" Pensez vous souvent a moi ? "

Some of the questions are rather free and gallant, and might be replied to by
certain of the- answers in a manner which should forbid the indiscriminate use of
the cards among young people.

The designs and execution are of a conventional character.

[3f X 2i m-] [Backs decorated.]

" Me croye vous ingrates ? "

" Aimez vous les Soupirs d'un Amant ?'

MISCELLANEA.
F. 270.

FIRST QUARTER OF EIGHTEENTH CENTURY.
PARIS.

N octavo volume, in which are bound up together the following
works : —

l. Le jeu de L'Hombre, augmente des Decisions Nouvelles sur
les difficultez et Incidens de ce Jeu.
Le prix est de 30 Sols.
A Paris. Chez Pierre Ribou, a la Descente du Pont Neuf, sur le Quay des
Augustins, a Tlmage S. Louis, m.dcc.ix.

Avec approbation, et Privilege du Roy, (pp. 166).

2. Decisions Nouvelles sur les difficultez et Incidens du jeu de lTIombre.
Le prix est de dix Sols broche, et quinze Sols, relie en veau.
A Paris chez Pierre Ribou a la Descente du Pont Neuf, sur le Quay des
Augustins, a Timage S. Louis, m.dcc.ix.
Avec Permission, (pp. 36).

16 FRENCH.

The first treatise opens with an address of " Le Libraire au Lectenr,'
which the following is a translation : —

"Here is a new game of Hombre, which I present to yon, friendly reader.
That which I laid before you previously has become so different from the manner
in which the game is now played that it is not of any use. This one has been
described under the form of subject-paragraphs, so that the attention may bf
kept within bounds, and not be led to jump from precept to precept without
profit being reaped.

"Endeavours have been made not to omit anything that might facilitate the
understanding of the matter by those who have not the least smattering of it, and
would desire to learn it nevertheless. Such as are instructed in it may find, at
least, hints to guide them through the difficulties which a different mode of play
may originate at any moment. Perhaps it may be thought strange that thing!
sufficiently explained before have been here repeated, but it should be borne in
mind that such repetitions have been made in consideration both of beginners
and of the essentials of the game.

11 To this sixth edition have been added several examples of the most advisable
methods of play under particular circumstances. These methods may be accepted
as rules, and as indicating the proper manner of playing the cards under the most
puzzling combinations. New decisions, relative to the difficulties and incidents of
the game, have been also appended.

"Further, as there are terms which arc not understood by everybody, and
which lead those ignorant of them to believe that they are derived from ' la magie
noire,' they, along with explanations of them, have been added at the end of the
volume. Thus may be effaced the idea held by many, viz., that the game of
Hombre is a barbarous game, the very language of which is unchristian."

The chapter " Du Jeu de l'Hombre " informs the reader that —

" It is useless to ponder over the etymology of the game of Hombre : it is
sufficient to say that the Spaniards were the authors of it, and that it is stamped
with the temper of the nation from which it has been derived.

" It is a game which necessitates close attention, and, however quick one may
be, many errors will be infallibly committed by those who think of something
else while at play, or who are distracted by the conversation of lookers-on.

" Therefore, for playing satisfactorily, silence and quietude are indispensable.
Those present, then, should be careful not to engage in anything beyond obser-
vation of the play, if such thing cannot be done without distracting the players.

" But what I say should not make those who desire to learn the game believe
that it will be a task of more trouble than pleasure, for it is without contradiction
the finest and most diverting of all games for such as possess what is usually called
the ' spirit of play.'

" Further, if under ordinary circumstances it is played in a way by which little
money is lost, this rule is not inviolable.

"There are various modes of playing Hombre. Sometimes espadille force is
played ; occasionally two persons play at the game, at other times five persons
play, but ordinarily the game is played by three persons."

Of the modifications of the game of Hombre discussed in this volume, the
following may be noticed : —

Des pertintailles. La partie quarrce des dames du temps.

La consolation. La triomphante.

Le bon air. L'estrapade.

Le parfait contentement. Le degout.

La guinguette. Les yeux de ma grand'mere.

Le mirlino. La chicoree.

Les fanatiques. L'espadille force.

Le charivary. L'hombre a, deux.

La discorde. L'hombre a cinq.

MISCELLANEA. 17

The more important sections of the treatise are accompanied by diagrams of
both figure and pip-cards from neatly engraved wood-blocks.

In the second treatise in this volume, " Decisions Nouvelles, etc.," there is an
" Avertissement de l'Auteur " which states that " The game of Hombre, being one
of the most entertaining and ingenious of amusements, has become also one of the
most fashionable and most in vogue at all assemblies and companies where it is
desired to pass time in play, involving but little risk and expense."

" Fashionable and amusing as the game is, and to many persons as agreeable to
be seen played as to be played at, it would be still more popular if fewer diffi-
culties and incidents occurred causing disputes and contestations going to greater
lengths than desirable."

To obviate this drawback the present work was undertaken, so that by it
most doubts and difficulties might be readily solved. Nevertheless, " There yet
remain many difficulties which have occurred, and which could not be recorded in
these pages. Fresh ones happen indeed every day. But all such may be readily
solved when they bear any relations to those mentioned in this repertory, where
such only are recorded of which actual examples have occurred, giving rise to
disputes which have been definitely settled."

Thus the author "Des Decisions du Jeu de l'Hombre" does not hesitate
accepting the address on his work : —

11 Ah ! que les amateurs de l'Hombre et de la Paix
Vous seront obligez, sgavant Jurisconsulte
Parceque votre code en bannit pour jamais
Tout proces et toutes disputes."

FLEMISH PLAYING-CARDS.

NUMERALS.

Fl. 271

FIRST QUARTER OF NINETEENTH CENTURY.

LIEGE.

PACK of fifty-two numerals of the suits piques, trejles, <
and carreaux.

The coate-cards are busts printed double and in reverse.
The valet of piques is entitled Hogier, the dame Pallas,
the roi David.

In trejles the valet is Maior, the dame Argine, the roi
Alexandre.

In cceurs the valet is unnamed, the dame is Judic, the roi Charle.
In carreaux the valet is unnamed, the dame is Rachel, the roi Cezar.
The designs are of the usual conventional character. The make and lissage
are good.

The backs of these cards are marked with parallel series of stars with
four points and open centres, between which run waved lines of small dots. The
whole is printed in pale black.

Accompanying this set is the engraved ornamental title of a wrapper. On an
oval shield is the inscription, " Fabrique de J T Dubois, Rue Souverain-Pont
No. 314, a Liege." Above, on an ornamental scroll, borne by a winged Fame,
are the words " Cartes Fines ; " at each corner of the design is the mark of a suit.
The whole is printed in red.

[3 1 X 2l in-] [Backs decorated.]

GERMAN PLAYING-CARDS..

TAROTS.

G. 272,

FIRST QUARTER OF NINETEENTH CENTURY.
LEIPZIG.

COMPLETE sequence — wanting one card — of combined tarots,
i.e., seventy-eight pieces, composed of a set of twenty-two em-
blematic cards and fifty-six numerals.

The marks of the suits of the numeral series are hearts,
spades, clubs, and diamonds.

The designs on the tarots are whole-length coloured figures
in the national costumes of Turkey.

The figure occupies the central and chief division of the cardpiece, above
and below which, in a broad plain margin, is the number of the tarot in large
Roman numerals. Close to either the right or left margin of the border line of
each card is engraved the title of the character and costume represented.

The only piece in which the spirit of the old emblematic tarots is preserved is
the unnumbered piece (22), answering to the fou, or matto, of the latter. In
the present sequence the foil represents a harlequin dancing to the music of
his cymbals.

The " honours " of the numeral series are also whole-length coloured figures
in the national costumes of Turkey. The king of spades represents " Le Grand
Seigneur ;" the king of diamonds, " Le Grand Pacha ;" the king of clubs,
" Capidje Pacha ;" and the king of diamonds, " Le Reis Effendi."

At each of the upper corners of the king-cards is the mark of the suit with a
crown above it.

The equestrian knave of spades signifies " Le Grand Vizir a Cheval ;" the
titles and descriptions of all the pieces being given in French.

The designs on the cards are of a superior character, and are carefully en-
graved and coloured On some of the atutti two figures are introduced.

The piece wanting in this pack is the seven of hearts.

The backs of these cards are marked by a series of hexagonal figures, having
dots in the centres, and are printed in blue. The make and lissage are good.

The set is contained in a green case, on which is a title in red, bearing the
following inscription : " Extra Feine Tarok-Karte mit Turkischen National-
trachten. Leipzig im Industrie Comtoir."

[4f X 2f in.] [Backs decorated.]

2o GERMAN,

G. 273.

FIRST QUARTER OF NINETEENTH CENTURY.

LEIPZIG.

SET of combined tarots, i.e., twenty-two atutti and fifty-six numers

The emblematic series illustrates some of the well-known fable
of iEsop and of other writers.

In the centre of each cardpiece is the pictorial composition
above and below in wide margins is the number of the tarot.

As examples, reference may be made to No. ii., which illustrates the fable of
" The Boy who cried Wolf;" No. v., representing " The Rabbits of La Fon-
taine ;" No. vi., " The Fox and the Pitcher;" No. vii., "The Fox and the Crow
with the Piece of Cheese ;" No. x., " The Stag and the Stream ;" No. xi., " The
Wolf and the Crane ;" No. xii., " The Fowler and the Wolf;" No. xiii., " The
Gourd and the Pine ;" No. xiv., " The Stork and the Frogs ;" No. xvi., " The
Men and the Bear;" No. xvii., "The Frog and the Well;" and No. xxi., which
represents " The Dog and his Shadow."

The malto, or fou, has on it the bust of a harlequin with cymbals in his
hands, printed double and in reverse.

The suit-marks of the numeral series are of French character, viz., piques,
trefles, cceurs, and carreaux.

The figures on the "honours" are costume busts printed double and in
reverse.

The designs (which are either from stone or zinc), are, as respects composi-
tion, technic, and colour, of an ordinary description.

The backs of these cards are marked with rows of four-rayed stars and dots,
printed in a dull red colour. The make and lissage are good.

The title of a wrapper accompanies the set. It bears the following inscription :
" Feine Tarochkarte mit Doppelten Figuren. Leipzig. Industrie-Comptoir."

[4| X 2\ in.] [Backs decorated.]

NUMERALS.
G. 274.

FIRST QUARTER OF NINETEENTH CENTURY.
FRANKFURT -AM-MAINE.

WELVE coate-cards and four aces of the suits of a numeral sequence
of which the signs are spades, clubs, hearts, and diamonds.

The figures on the " honours " are busts printed double and in
reverse. The costume is intended to represent that of the time of
the persons represented, who belong to different segments of the Germanic
empire.

NUMERALS.

I On each ace is an ornamental design made up of armour, instruments of war-
fare, banners, etc., in the centre of which is the mark of the suit.

On the banner of the ace of hearts is the double-headed black eagle; on that
of spades, the single-headed black eagle ; on the banner of clubs, the black eagle
with a crown ; and on the flags of the ace of diamonds is a leopard, and " G iii."
with a crown above.

The engraving and colouring of these cards are of a better description than
usual, though the latter is occasionally opaque and heavy. A narrow ornamental
border runs along the margins of each cardpiece.

The backs are marked witli sinuous dotted lines printed in light rose colour.

[3t X 2i m0 [Backs decorated.]

G. 275.

FIRST QUARTER OF NINETEENTH CENTURY.
FRANKFURT-AM-MAINE.

PACK of fifty-two numerals of the French suits piques, trefles, coeurs,
and carrcaux.

The coate-cards have on them busts printed double and in reverse,
and are valet, dame, and rot. The designs are of the modernized con-
ventional character.

The backs are marked with stars and double sinuous lines of dots printed in
blue.

[3f X 1\ in.] [Backs decorated.]

G. 276.

FIRST QUARTER OF NINETEENTH CENTURY.
FRANKFURT ?

PACK of fifty-two numerals having the French marks of suits, viz.,
piques, trefles, coRurs, and carreaux.

• The " honours " have on them busts printed double and in
reverse. The figure-designs are of inferior character, and the marks
on the pip-cards are equally bad.

The backs of these cards are marked with stars and sinuous lines of small
bars printed in a light pink colour.

[3^ X 2-f- in.] [Backs decorated.]

22 GERMAN.

G. 277.

FIRST QUARTER OF NINETEENTH CENTURY.
BERLIN.

PACK of fifty-two numerals having French suit-marks.

The figure-cards have on them busts printed double and in
reverse. The designs are of semi-historic costume character, and are
much inferior to those of the previously described sequence, as are
also the technic and colouring.

The valet of clubs bears on his right arm an oval shield, having on it the
Prussian eagle, around which is the motto, " Unter seinem Schutze sind wir
sicher."

On the valet of hearts is the address, " F. G. B. in Berlin."

The backs of these cards are marked with rows of stars printed in red.

[3|- X 2 1 in.] [Backs decorated.]

G. 278.

FIRST QUARTER OF NINETEENTH CENTURY.
LEIPZIG.

PACK of fifty-two numerals of the suits spades, hearts, diamonds,
and clubs.

The coate-cards have on them whole-length costume figures of
good design and of careful technic and colour. The valets of the
suits are soldiers in armour bearing partisans.

The valet of clubs points with the index finger of his right hand downwards
to an oval shield, on which is inscribed, " Industrie Comptoir Leipzig."

The " honours " have their titles, viz., roi, dame, valet, engraved at the lower
left-hand corners of the cards.

The dames are dancing females with wreaths and flowing scarves. The kings
are crowned, and have on long trailing robes.

The backs of these cards are marked with alternate rows of stars and perpen-
dicular bars, printed in a blue colour.

[3$ x 2f m-3 [Backs decorated.]

AMUSING. 23

CARDS WITH A SECONDARY PURPOSE.
AMUSING.
G. 279.

FIRST QUARTER OF NINETEENTH CENTURY.

TUBINGEN.

SERIES of fifty-two numerals, contained in a book of 102 pages,
which has on the title-page the following inscription : " Karten-
Almanach, Tubingen in der J. G. Cotta'schen Buchhandlung, 1810."
The marks of the suits are cceurs, treffel, pick, and karo, i.e.,
hearts, clubs, spades, and diamonds.

Each ordinary numeral consists of a more or less humorous composition of
several figures connected with the military or with subjects of domestic life.
The marks of the suits are so placed over these designs as to fit in, as it were,
naturally to particular portions of the body, and as if forming parts of the original
design.

The engraving is executed in a half stippled and line manner, and is
uncoloured ; the marks of the suits hearts and diamonds only are coloured.

The " honours " are placed together at the end of the volume, and represent
whole-length figures, which travesty the heroes and heroines of ancient mythology.
The king of clubs has been removed from its natural place in the sequence to
form a frontispiece to the book, and represents a travesty of Jupiter, smoking,
seated in an arm-chair, and wearing a large wig. The dame of this suit is Juno,
with parasol and feathers, and the valet is Momus, or an enraged author, holding
open a book, on which may be read, " Schlag ihm nur todt den Hund, er ist ein
Recenseur."

The title of the honour is placed at one of the upper corners of the piece,
and the mark of the suit at the other corner. Below the designs are the names
of the characters travestied, some of which are so effected in a most ludicrous
manner.

On the valet of karo, which concludes the series, is represented Paris as
a capering French dancing-master, with cocked hat and fiddle under his arms.

Accompanying each cardpiece is a humorous poem or description in prose
connected with the pictorial composition opposite.

At p. 78 of the volume the pip-numerals finish with the ten of karo, and
its description.

Following these are the honours, accompanied by " Neue Mythologische
Briefe an Emilie," in which some of the chief points in the histories of the
Olympian heroes here burlesqued are jocosely referred to.

The present series of amusing playing-cards is interesting, from its being the
fifth issue of the work once well known as " Cotta's Card Almanack." The latter
was referred to at p. 224 of the first volume, where the first issue in 1806 is
described (G. 162).

The almanack now under consideration is dedicated to "Hirer Majestat

24 GERMAN.

Louisen Koniginn von Preussen seiner Erhabenen Landes Mutteij, in ticfster
Ehrfurcht gcwidmet von G. Reinbeck."

Following tlic dedication is a poem relating how " Jokus und Phantasus" wove
a wreath of flowers, and bestowed it on a poet, who places it, in the form of the
present work, at the feet of Louisa.

A preface follows, to this purport : —

" The Card Almanack may boast of having received for four years the dis-
tinguished favour of the public. The witty ideas, so ingeniously developed and
embodied by female hands, deserved this encouragement. On the present oc-
casion, the fifth yearly issue, the work appears under another form, and by
other hands. That which the designer, ' Ilcrr Osiandcr in Tubingen,' evolved,
with rich, if often wayward fancy, from the simple card-marks, the poet under-
took to describe in his own way. Designer and poet worked, in other respect
quite independent of each other. As the latter received the designs from the
artist as soon as they were ready, without any understanding with him, it remainei
free to the genius of the writer to make out of them what he could, as well as to
infuse into them any fancy of his own. Thus originated this ' quod libet,'
which the author commits in full trust to the forbearance of the public.

" The whole should not be regarded otherwise than as an amusing game of jest
and fancy, and, indeed, of that kind, in its own way, which bouts rimes are in
theirs. Not any higher credit is to be attributed to the author. The poet,
therefore, entreats that he be not judged by any other standard ; in particular
he deprecates any comparison with Lichtenberg's celebrated commentary to
Hogarth's engravings, with which the present work, either as regards matter
or object, has nothing in common, and he declares — since, alas ! such declarations
are requisite in our own times — that he himself is determined not to enter the
lists with such a master. What would alone entitle him to do otherwise he knows
better, perhaps, than many who would impose on him such a comparison. . . .
The plates have been engraved by Herr Bissell, in Manheim."

The volume consists of 102 duodecimo pages, independent of the card-
pieces.

[4f- x 3| in.] [Backs plain.]

ENGLISH PLAYING-CARDS

NUMERALS.

E. 280.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON.

PACK of fifty-two numerals of the usual suits, viz., spades,
diamonds, clubs, and hearts.

The figure-cards have on them busts of the conventional type,
printed double and in reverse.

The marks of the suits are modified slightly in design.
•^^^•V^*"© Around the ordinary sign of the spade, at the sixteenth of an
inch distance from it, runs a black line, following the form of the symbol itself, a
narrow white space being thus preserved between the two.

In the suit of diamonds there is a rather small white mark of the suit in the
centre of a larger red one.

In clubs there is a small white mark of the suit enclosed within a larger
black one.

In hearts there is an outside line around the symbol, as in the suit of
spades.

The designs on the aces bear reference to the four chief orders of knighthood
in this country.

The ace of spades bears the sign of the suit within the insignia and mottoes of
the Order of the Garter, " Honi . Soit . qui . Mal . y . pense ; " below which is the
motto, "Dieu et Mon Droit." The date of the year, 1344, in which the first
step was made by Edward III. towards founding the Order, is placed below the
mark of the suit, the Order being definitely constituted a.d. 1349.

On the ace of spades are also the inscriptions : " G iii. Rex," " Sixpence
additional Duty " (repeated three times), " T. Wheeler, No. 56."

On the ace of diamonds the mark of the suit is surrounded by the insignia and
motto of the Order of the Bath, " Tria Juncta in Uno," below which is the date
1 399, and " Ich dien." This Order, though stated to be of early origin, was for-
mally constituted only by Henry IV. two days previous to his coronation in the
Tower. He conferred the honour of fellowship upon forty-six esquires who had
watched the night before and had bathed. After the coronation of Charles II.
the Order became neglected, but was revived by George I., a.d. 1 725.

On the ace of clubs the Order of the Thistle is represented writh its motto,

26 ENGLISH.

" Nemo me impune lacessit." Below is the date of its revival by Queen Anne,
viz., 1703.

The Order is considered to have been of very ancient date, as early, indeed, as
the year 800; but its usual recognition is only from the year 1540, when
James V. definitely founded it. After the death of James, in 1 542, the Order was
discontinued. It was renewed by James VII., King of Scotland, and II. of Eng-
land in the year 1687, increased by Queen Anne in 1703, and again augmented
by George IV. in 1827.

On this cardpiece — the ace of spades — is also the inscription, " Ludlow and
C°. Patent Knight's Cards," with the date below, " 1800."

On the ace of hearts are the insignia and motto of the Order of St. Patrick,
" Quis SErERABiT," and the date below of 1 783. This was an Order instituted by
George III. in 1783, and in 1784 the establishment of the St. Patrick Benevolent
Society of London was effected. The Order was increased in the years 1821, 1 83 1 ,
and 1 833. The Prince of Wales was installed a Knight of the Order in April, 1 868.

The designs, particularly of the aces, have been carefully engraved, but the
colouring of the figure-cards is opaque and heavy.

A wrapper, with duty stamp on it, accompanies the sequence. On one face is
a bust of the "Great Mogul," below which is the address of "Thos. Wheeler,
from Gibson, No. 27, opposite Fetter Lane, Holborn, London."

The duty stamp of sixpence has been affixed on the front of the Great Mogul.

On the other face of the wrapper is an ornamental design printed in red and
iuscribed, "Stamp Office." "£lO penalty selling any playing-cards unlabelled.
£20 penalty selling or buying any Label or Wrapper used before."

The backs of these cards are quite plain, but the edges are coloured green.
The manufacture is good.

[3f x 2t m-] [Backs plain.]

E. 281.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON.

PACK of fifty-two numerals of the several suits, spades, hearts,
diamonds, and clubs,.

On the coate-cards, or " honours," are whole-length figures of the
conventional kind.

The ace of spades bears the duty stamp of " George iii. Rex," and the
number IO.

The execution of the figure-cards is of an inferior character.
A peculiarity of these cards is the relative small size of the figures on the
honours. They are barely 2 J- of an inch high by \\ in. wide, and are contained
within a clear border of |- of an inch wide.

An engraved wrapper accompanies the pack. On the former is a bust of the
" Great Mogul," having below the address of " Hall and Bancks, Card-Makers
to her Majesty and their Royal Highnesses the Prince and Princess of Wales,
No. 23 Piccadilly London." A duty stamp of sixpence has been placed over the
bust of the Great Mogul. On one end of the wrapper is the warning, "£lO
Penalty selling any playing-cards unlabelled, £20 Penalty selling or buying any
Label or Wrapper used before."

[3 J- X 2f in.] [Backs plain.]

PIQUET. 27

E. 282.

LAST QUARTER OF NINETEENTH CENTURY.
LONDON.

SINGLE card — the three of hearts — from a numeral series of fifty-
two pieces. It serves as a specimen of a variety of the ornamental
devices recently introduced for the backs of playing-cards.

In the middle of the card, on the verso, is a bust of Shakespeare,
placed within a double and acuminated oval frame. The points of the external
frame nearly touch the upper and lower edges of the card. Between the inner
and outer frames are small designs of the seven ages of man, with their titles,
and on a mark of the suit of spades at the bottom is inscribed, " We are all
players." Within the lines of the outer framework or oval border may be
read —

" All the world's a stage, and all the men and women merely players,
" They have their exits and their entrances, and one man in his time
plays many parts."

Leaves and tlowcrs of ornamental character form parts of the general design.
All is printed in black and red, on a yellow ground.

The fabrication and linage arc good, but such adornments will not meet
with the patronage of regular card-players. (See vol. i. p. 5 2.)

[3J- X 2~ in.] [Backs decorated.]

PIQUET

E. 283.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON.

PIQUET set of cards of English manufacture.

The pack consists of thirty-two numerals of the suits hearts,
clubs, spades, and diamonds. In accordance with the game of
piquet^ the two, three, four, live, and six of each suit are suppressed.
(Vol. i. p. 45.)

The coate-cards have on them whole-length figures of the conventional kind,
and of a like size, character, and execution as those of E. 281, or even inferior
to them.

Around the mark of the suit on the ace of spades are a garter and crown.
Within the former is inscribed, " Duty — VI. Pence."

[3f X 2| in.] [Backs plain.]

ENGLISH.

CARDS WITH A SECONDARY PURPOSE.

EDUCATIONAL, INSTRUCTIVE.

E. 284.

LAST QUARTER OF EIGHTEENTH CENTURY.

LONDON.

(Geographic.)

SERIES of fifty-two cardpieces of the suits spades, clubs, hearts,
and diamonds.

This set is intended to afford instruction in geography and
ethnography.

Each card is occupied with a general account of various portions of the earth's
surface. At the upper left-hand corner of each piece, in a space about £ of an
inch square, is the mark of the suit, in its proper colour, and having stamped on
it, in Arabic numerals, the value of the particular card.

The mark on the ace of each suit bears the name of that quarter of the
globe which is described on the cards of the particular suit to which the ace
belongs.

The figure-cards, or " honours," are indicated by the letters J, Q, and K, for
Jack, Queen, and King, placed on the marks of the suits. These marks have also
ornaments, as crowns, flowers, etc., above and below them.

A narrow ornamental border or edging printed in the colour of the suit
runs round each card.

Accompanying the pack is a supplementary cardpiece explanatory of the
intention of the series. It bears the following inscription: —

"A Systematical Compendium of Geography on the face of $1 cards."

The four quarters of the globe are thus arranged: —

" Asia under Spades ; Africa under Clubs ; Europe under Hearts, and America
under Diamonds.

" The Cards with the names of the quarters in the pips give an account of each
and take the rank of Aces ; those of kings have a K in the pips and contain the
Kingdoms, to which figures are annexed referring to cards of the same suit (rank-
ing according to their number) which describe them ; the Q and J cards rank as
Queens and Jacks or Knaves, and contain all the Islands.

" If the reader wishes to find any Island, if in Asia look on the Q and J of
Spades ; if in Africa look on the Q and J of Clubs, and so of the others.

" Note. — The kingdoms between two lines on the K cards are described on
those cards of the same suit which the figures denote — for instance, China on the
K of Spades has 2 and 3 ; its description begins on 2 (where Tartary ends) and
finishes on 3. Turkey in Asia with its provinces have 8, 9, and l o. See 8, 9
and 10. Guinea and its divisions on the K of Clubs have 8 and 9, look on those
numbers of that suit. Spain and Portugal on the K of Hearts have 6, look on 6,
and so of all the other kingdoms.

" B stands for bounded ; N for north, &c. ; O for ocean ; R for river ; M for
miles.

" Entered as the Act directs, February 17...."

[3f x 2t in*] [Backs plain.]

AMUSING— HUMOROUS. 29

AMUSING.
E. 285.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON?

WENTY-FOUR numeral-cards of the suits diamonds, hearts, and
clubs.

Of these suits only the aces, the twos, threes, fours, fives, sixes,
sevens, and eights are present. In the middle of each cardpiece is a
large X nearly an inch square, stamped in a red colour. The backs of the cards
are both undecorated and uncoloured.

Of the nature of the game intended to be played with these cards, and as to
whether the series is complete or not, we are ignorant. It is assumed the former
must have been of the amusing character.

[3f x 2i in.] [Backs plain.]

HUMOROUS.
E. 286.

FIRST QUARTER OF NINETEENTH CENTURY.
LONDON.

SERIES of forty-eight numerals from a sequence of fifty-two cards

of the suits hearts, diamonds, spades, and clubs.

The pieces absent are the five of clubs, the eight, ten, and queen

of spades.

These cards are of a half-jocose, half-satirical character. On each piece are
designs of various kinds treated in a humorous manner and associated with
descriptions, exclamations, etc. The marks of the suits are made to fit into
particular portions of the bodies of the figures. Thus on the upper part of the
four of hearts is a gentleman bowing like a dancing-master to a lady opposite.
He is represented as saying, " Madam, I am eternally yours." The lady replies,
" Are you in earnest, Sir ?" Below is the bust of a male person, who exclaims to
that of a lady hiding her face with a fan, " Angels are painted fair, to look like
you." The lady replies, " Spare my blushes."

On the seven of clubs is represented " Miss Pricilla Prickfinger, Milliner and
Fancy-dress maker," etc., with three of her young ladies at work. Miss Priscilla
herself appears to be engaged on a pair of man's small-clothes. A pug-dog is
seated on the work-table.

On the six of spades is represented the " Englishman in Paris." A lady and
gentleman are at dinner in a restaurant. The gentleman holds up a frog on his
fork and addresses a waiter, who replies, "lis sont les veritables grenouilles

monsieur." " Green owls," replies the gentleman ; '* D e they're nothing

but frogs."

3o ENGLISH.

It is not unlikely that the cards here wanting to complete the set had on them
designs of more than equivocal character, and were destroyed by a former pos-
sessor on aecount of that circumstance. It is assumed that this may have been
the case from the fact that the four of spades had been torn in six pieces, ai
the design on it is such as we have stated.

The designs are in general of a common description, except those on tl
figure-cards, which are superior in every respect. On the latter are whole-lcnj
figures of the conventional form, with the countenances made humorous.

In the suits diamonds and hearts, the faces remain human but laughable. Ii
the suit clubs, the knave has the face of a ram, the queen the head of a parrot (P)
and the king the head of a bull.

In spades, the knave has the head of a dog, and the king that of an ape.

Each figure on the coate-cards is enclosed within a border, ornamented wit
small designs of pip and figure-cards.

The marks of the suits on many of the higher pip-cards remain uncolourcd.

Some of the pieces bear the name of " Cowell " at the bottom, as that of the
etcher of the compositions.

[3f * 2i in-] [Backs plain.]

MISCELLANEA.
E. 287.

SECOND HALF OF EIGHTEENTH CENTURY.
LONDON.

SMALL octavo volume of fifteen printed pages, and seventy-five en-
gravings, having on the title-page the following inscription : " A
Political and Satyrical History of the years 1756 and 1757. In a
series of Seventy-five Humorous and Entertaining Prints, containing
All the most remarkable Transactions, Characters, and Caricaturas of those two
memorable Years. To which is annexed an explanatory Account or Key to
every Print which renders the whole full and significant. The Second Edition.
London : Printed for E. Morris, near St. Paul's."

Among the engravings in this volume, plates 7> *4> *5> 26, and 38 have on
them satirical designs under the guise of cards.

On plate 7 is represented, according to the " Explanation ": —

" A remarkable Caricatura compounded of several Species, being by some sup-
posed to be a Sea-Calf, by others, a Sea Lion ; after having been tossed about on
its native Element for some Years it was cast ashore on a gaming Island, where it
was so captivated with Cards and Dice, that it was Naturalized, commenced game-
ster, and fixed upon the Island ever since."

On the plate above the figure is inscribed, " The Sea Lyon ; " below, " Mores
Homines." On the ground lie several figure-cards.

On plate 14 is the knave of spades, having below the title, " Monsr Dupe."
Along the bottom of the piece run three fleurs-de-lis. According to the " ex-
planation," this plate " expresses by the Flower de Luce how much the carica-
tura was connected with our enemies, and was even a dupe to them against the
interest of his country."

MISCELLANEA. 31

On plate 1 5 is the knave of hearts with a fox's head, having below the title,
"Monsr Surecard." This figure " infers by the sharpness of the Nose that Craft
and Snbtilty that is natural to creatures of a similar kind known by the name
of Foxes, and is here pointed out as a k e."

On plate 26 is the knave of clubs, having inscribed below, "Null Marriage."

" This caricatura was esteemed the most atrocious knave in the Pack and the
worst of the black sort."

On plate 38 is the knave of diamonds, having above, " Hie niger est;" below,
" Acapulca."

" This caricatura's propensity to gaming tells us at once how valuable he
must be to a shipwrected state, and that he deserves (like a drunken pilot in a
storm) to be thrown overboard to make room for one of clearer brains and more
integrity."

The last plate (75) in this volume represents " The true Patriot," and is
dedicated " To the Rl Hon,,,e the Lord Mayor Aldermen and Common Council of
the City of London " " by their humble servants Darby and Edwards " " To be
had at the Acorn facing Huiigerford Strand."

E. 288.

SECOND HALF OF EIGHTEENTH CENTURY.
LONDON.

SMALL octavo volume of eight printed pages and twenty-five en-
gravings, having on the title-page the following inscription : —

" A political and Satyrical History of the Years 1758 and 1759 In
a series of Twenty-five Humorous and Entertaining Prints containing
all the most remarkable Transactions Characters and Caricaturas of those two
memorable years. To which is annexed an explanatory Account or Key to
every Print which renders the whole full and significant.

" Part II. London. Printed for E Morris near Sl Paul's. "

The plates in this volume are numbered so as to follow in sequence those of
the work last described (E. 287). They commence therefore with No. 76, and
end with No. 100.

Plates 79, 80, and 90, convey their satire under the guise of cards. On plate
79 are two knaves of clubs as supporters to a shield of armorial bearings, the
components of which are dice and dice-boxes on a chevron, two cards (aces of
hearts and diamonds) in chief, one card (ace of spades) in base. The coat is an
arm with dice-box in hand rising from a coronet. The motto is " Claret," " Cogit,"
" Amor," " Nummi." The " explanation" (p. 4) is as follows: — "The arms of
two great gamesters well-known at Arthurs and the Cocoa-tree."

On plate 80 are "The court-cards or all trumps 1756," under the guise of
the twelve figure-cards of the ordinary numerals. From the mouth of each figure
proceeds an exclamation : such as, " I'll have England," from the French king,
the king of clubs ; and " I'll stick to France," from the king of Spain, or the king
of diamonds. Below each figure is the title of the person intended to be repre-
sented. The "explanation" of this plate is the following: — "The different
resolutions of the great personages of that time is here represented according to
the appearance they then made in the affairs of Europe."

On plate 90 are " the court-cards of 1759, a heart is trumps, and has won

ENGLISH.

the game." . The figures are the twelve " honours " of a pack of cards, designed on
the same principle as are those on plate 80. Of the present it is remarked in
the "explanation" : " The labels and characters here represented are sufficient
to explain the meaning of the print with the least application " (p. 6).

The series terminates with an engraving described below : " 'Tis a Christians
duty to show mercy to his enemys." For a full account of the literary and
politico-satirical history of these works (E. 287, E. 288) the reader should refer to
the third volume of the Catalogue of " Political and Personal Satires," " The 2
II, IPs" (No. l), March, 1756, by Mr. Frederic George Stephens.

It may be remarked here, however, that Mr. Stephens points out that th
are copies of two earlier editions of the work now described in the genei
library, and two more versions occur in the Grenville Library, the latter inclu
ing a series of copies from the engravings on new plates, of which last there is
imperfect series in the Print Room.

Reference should be made also to the first volume of the present Catalogue
Playing-cards, where at p. 285, E. 202, are described some prints of cardpiecefl
which seem to be re-engraved versions of some of the pieces connected with the
present series (E. 287, E. 288).

V A R I A.

V. 289.

MIDDLE OF FIFTEENTH CENTURY?
GERMANY.

{Number 305 of the Weigel Collection, and now in the British Museum. Early
German prints from metal in relief and wood.)

MONG the rare and interesting examples of early German cuts
obtained at the sale of the Weigel collection, at Leipzig, in
1872, was the piece marked No. 305 in the large work of
Weigel and Zcstermann,1 and in the sale catalogue.

This piece bears on it a design of the Holy Cross, and cipher
©v^^x^Aev^a^o "y h s" — in hoc signo, or, Jesus Hominum Salvator? treated in
a floriated ornamental manner.

The cross is in the middle of the composition, and forms the upright portion
of the letter "h"; on the left of the latter is a large "y", and on the right an
"s". Above the cross is a large crown, from which, at the upper part, spring
three branches, bearing at their extremities appendages of an acorn-like character.
The centre and shortest of these branches bears three glands, the two others one
acorn each. Other two branches run out from beneath the crown, having acorns
at their ends. The latter branches are longer than the upper ones, and are each
looped once.

Below the cross and cipher is an inverted lily (?), embedded in much orna-
mental leaf-work. The whole composition is enclosed within a double-lined
border, and has been coloured. The border and crown are yellow, the cross
crimson-madder, the letters crimson-madder, yellow, and green.

" These colours point to Swabia. The paper has not any water-mark. The
piece was produced probably towards the middle of the fifteenth century — at
least, the style and treatment of the ornamental portions tend to such an
inference."

" The decoration of the crown with eicheln (glands, acorns) is peculiar, such
has not previously come before us on analogous prints, and the symbolic meaning
of which, in relation to the general design, is less clear and apparent than would
have been that of ordinary leaf-work employed in its place. Perhaps it may be
inferred from this that we have here to do, not simply with a representation of the

1 Die Anf ange der Druckerkunst in Bild and Schrift. Leipzig, 1 866. Vol. ii.
P. 175.

VA1UA.

religious symbols, but with a playing-card for the ecclesiastical orders, other
examples of such cards being present in our collection. The eicheln would then
not appear out of place, and would simply illustrate the suit of "glands" in
German playing-cards." (Op. cit.)

The view here taken by Weigel we find difficult of acceptation. In the
place, the size of the piece, though not positively negativing it, is certain
against it; in the second place, a gold-thread, or otherwise composed acorn-F1
ornament, is an old and still frequent termination to decorative bands and coi

(Vol. i. p. 54-)

[Backs -plain.]

V. 290.

PEN and ink facsimile drawing of the piece numbered 199, p. 88, ir
Wilsons " Catalogue Raisonne of the Select Engravings of an
Amateur." London, mdcccxxviii.

The same piece, a live numeral-card, may be found represented
on plate 91 in the " Jeux de Cartes Tarots," etc., of the Bibliophiles Francois.
(Bibl. 2.)

The character and relations of this cardpiece have been previously alluded to
in vol. i. p. 214, G. 148.

V. 291.

LAST QUARTER OF SEVENTEENTH CENTURY.
LONDON.

•T pp. 234 and 235 of the first volume are described (E. 174, E. 175)
two series of the educational and instructive cards issued by John
Seller. These series are of a grammatical character. The present
volume is " A Book of Geography, shewing all the Empires, Monar-
chies, Kingdoms, Regions, Dominions, Principalities, and Countries in the whole
World. By John Seller, Hydrographer to the King, and are sold at his House
at the Hermitage at Wapping."

It is presumed that this book of cards with a secondary purpose is composed
of " the geographical cards " alluded to in the advertisement quoted under E. 175,
vol. i. p. 235.

Appended to the geographic cardpieces are several tables, almanacks,
astronomic diagrams, and representations of the surface of the moon.

This volume came into the possession of the Museum too late to admit of its
insertion and full description in the proper place.

ORIENTAL PLAYING-CARDS.

°v«^

ORIENTAL PLAYING-CARDS.

HINDUSTANI.

O. H. 292.

PLACE AND DATE UNCERTAIN.

SEQUENCE of ninety circular cards from a series appa-
rently of ninety-six pieces. There are three suits of colours,
viz., red, yellow, and green. These colours in different shades
form the grounds of the various cardpicces. The red and green
suits have each three series, ranks, or grades of colour, viz., a
©v^^ttex^^ chocolate-red, a deep red, and a light red colour ; a deep green,
a medium green, and a light green colour. The yellow suit has but two grades,
or ranks, viz., an orange-yellow and a light yellow colour.

Each of the eight suits should have normally ten pip or point numerals, and
two figure-cards, or "honours." There being, as in the set described in vol. i.
P- 33 *> O. II. 250, eight suits of twelve cards each suit. In the present set five
of the suits are incomplete in their numbers, and in two there are duplicates
apparently by mistake. Thus, e. g.y the deep green-coloured rank of the green
suit wants the one, or ace, and there arc in it two seated schahs, or kings,
instead of one king and one wusseer.

It is extremely difficult to define the nature of the symbols on the various ranks
of the coloured suits. The symbols here are totally different to those in O. H.
250. The first rank (chocolate) of the red suit has a small green disc with
three dark spots on it, and a scries of white spots below it, or reversed it may be
likened to a purse, the white spots representing the open and beaded mouth.

The second rank (deep) of the red suit has a long leaf, or tulwar or sword, for
its sign ; while the third rank (light red) has a parallelogram with dots, and a
curved line on it, as if to represent writing.

In the orange rank of the yellow suit the symbol, or mark, is a small green
oval body, having one white and two dark spots on it ; in the light yellow rank
of this suit it is a man's head and shoulders.

In the deep-coloured rank of the green suit the mark is a circular white
spot — perhaps silver coin. There is a three in lieu of an ace, or one, and a second
schah in place of a wusseer.

In the second rank of the green suit the ten is wanting. The wusseer is
mounted on a camel.

In the third rank, or light green suit, the number of pieces is complete. Both
wusseer and schah are mounted on tigers running towards the left hand. The

4o HINDUSTANI.

schah has a full radiant sunlike face, but with profile eyes. On the latter pecu-
liarity, sec Merlin, Bibl. 6, p. 124.

On comparing the present set with the one previously described (vol. i.
p. 331, O. II. 250) it may be observed that the more important details con-
nected with the figure-cards, or honours, are alike. Thus, in each set, the
schah is seated under a sort of canopy and attended by slaves in the three red
ranks. In each set the schah of the light yellow rank is mounted on an ele-
phant, and in the light green rank of each set he is a radiant sun, also mounted.

In the second rank (medium green) of this suit the sign may be intended fc
a flower (?), and in the light green rank it represents, perhaps, a gold coin
money.

In connection with the marks or symbols in the suits of these cards, the
observations of Mr. Chatto (Bibl. 4, pp. 35, 46-50) may be referred to wit I
advantage.

In the chocolate-red rank the pieces here present are the one, three, four.
five, six, seven, eight, nine, and ten point-cards, and two figure-cards,
honours, viz., a mounted wusseer galloping towards the left, and a scatet
schah, or king.

In the second rank of the red suit the pieces present are the one, four, five
six, seven, eight, nine, and ten numerals, and the two figure -cards, or honoui
a mounted wusseer and seated schah.

In the light red rank the number of pieces is complete — ten pip -cards and tw(
honours.

In the orange rank of the yellow suit the six and seven pip-pieces are
wanting. In the second rank (light yellow) of this suit the number is entire,
and the schah is not seated in the usual way, but is mounted on an elephant.

In the first rank (light) of the green suit there are twelve pieces, and both
schah and wusseer are mounted on tigers.

In each set the vmsseer is mounted on a horse in the three red and in the two
yellow ranks, while in the medium green he is on a camel, and in the light green
on a tiger.

The present cards are circular in form, as are those of O. II. 250, but are of
larger diameter. They appear to be made of a similar material, or else of
canvas, are painted red on the backs, and are highly varnished or lacquered on both
faces. The designs and execution of the present set are inferior to those of
O. H. 250.

These cards are contained in a box of corresponding character to that of
G. H. 250.

[2|- in. in diameter.] [Backs coloured.]

CHINESE.
O. C. 293.

NINETEENTH CENTURY.
CHINA.

SERIES of cards consisting of thirty pieces, probably complete.

There appear to be five suits — viz., a suit of chains (?), of ten
pieces ; a suit of heads, of ten pieces ; a suit of money or cakes, of
live pieces ; a suit of three pieces, the sign of which we are scarcely
able to decipher, but designate tables ; and a suit of two pieces, on one of which
latter are several Chinese characters. It is possible, however, that there may be
in this series three suits only, the five, three, and two cards last mentioned
belonging to one suit, thus making it to consist of ten pieces, in conformity with
the suits of chains and heads. This is the more likely, since one of the card-
pieces of the lot containing two cards bears on it a red stamp.

The signs and values of the one, two, three, four, five, six, seven, eight, and nine
of chains are easily to be distinguished, but not so those of the piece assumed to
represent the ten. This numeral piece has on it five marks only of the suit, and
it bears a large red stamp. The outer broad black margin of the one and nine of
chains is cut off in an oblique manner at the upper right-hand and lower left-hand
corners ; the two has an arched notch at the upper right and lower left-hand
corners of the inner edge of the broad black border ; the three has a needle-
shaped slit at the same places ; the four has an arched notch in the middle of the
inner edge of the same border ; the five has two arched notches outerly, top and
bottom ; the six has two slits in the margin, top and bottom, at opposite corners,
diagonally ; the seven has three oblique notches on the black margin, top and
bottom, directed in reverse way; the eight has a notch centrally, top and
bottom; the nine has the corners of the outer margin cut off obliquely, as in the
one of the suit (chains) ; while the tenth cardpiece, with the red stamp, has a
slit in the margin at the upper left-hand and lower right-hand corners of the broad
black border.

The pieces of the suit of heads arc marked with slits and notches in a manner
almost identical with that common to the suit of chains. The tenth cardpiece
has a red stamp covering its face and Chinese characters at the upper margin.

The designs have been stamped off in deep black ink, and belong to the
heavier and coarser variety of Chinese cards.

The texture is that of thin cardboard. The backs of the pieces are smooth,
and of a brownish-yellow colour.

Two cards from the suits of heads and of tables (?) are represented on
plate 21.

[2£ in. X o| in., size of impression ; 2-|- in. X of in., whole card.]

[Backs coloured.]

42 CHINESE.

O. C. 294.

NINETEENTH CENTURY.
CHINA.

SERIES of twenty-eight cards, composed of seven suits of four pieces
each suit.

Each cardpiece is divided into three parts, enclosed in a general
broad outer border and in a narrow inner one. In the centre of eacli
piece is the representation of an animated sign (vol. i. p. 47) of a division, above
and below which is the name of the suit in Chinese characters. Through the
obliging assistance of Professor Douglas, we are enabled to state that the names
of the seven primary suits are as follows : — viz., scholars, generals, knights
(probably, or a grade equivalent to that of the knights in chess), soldiers
(equivalents to pawns in chess), elephants, horses, oarriages.

In the centre of the pieces of the suit of " scholars " is what looks like a
crab, in'that of "generals," a scarabavs, in "knights," an escalop or limpet shell,
in "soldiers," a snail, in "elephants," a dragon, in "horses," a Jish, and in the
middle of the pieces of the suit of " carriages " is something like a tick.

The designs are stamped in deep black ink, and belong to the heavier or
coarser kind of Chinese playing-cards.

The texture is that of thin cardboard. The backs are smooth, and of a
brownish-yellow colour.

Cards from the suits of " horses " and " carriages " are represented on
plate 21.

[2 X o|- in., size of impression ; 2\ X o| in., size of card.] [Backs coloured.]

O, C. 295.

NINETEENTH CENTURY.
CHINA.

SERIES of fifteen cardpieces, having their imports denominated in
Chinese characters, painted in a water-colour of "Chinese Ver-
million," some of the characters being six-eighths of an inch in
length.

There is a card entitled leader, or commander, or black king, two cards re-
presenting " aids to the black king," two cards are " black knights," four are
" soldiers," two represent " black elephants," and four other pieces — two of a
kind — are too obscure to decipher, or the characters designating them are con-
tractions.

The texture is that of thin cardboard. The backs are smooth, and of a deep
reddish-brown colour.

Two cards from the suits of black knights and the contracted characters are
represented on plate 2 1 .

[3|- X of in.] [Backs coloured.]

CHINESE.

O. C. 296.

NINETEENTH CENTURY.
CHINA.

IIIRTY-TWO cardpieccs, consisting apparently of three suits. One
suit is of figures, a second of animals and of flowers, and a third of
boxes or cases.

Each cardpiece is divided into three portions. The centre is
occupied by the mark of the suit, the upper and lower parts are marked with
round domino-like dots of different values, on some cards in red, on others in
black ink, and on some pieces both red and black dots are present. The exact
numerical progression and sequence of these domino points are not easily deter-
minable, though they no doubt indicate the values of the pieces on which they
occur.

In the suit of figures there are five designs, once repeated. These figures
are whole-length males and females, carrying various devices. The first two
cards have figures of men, carrying small banners, and are dotted like each
other at top and bottom. The next two figures are females, bearing flags and
provided with swords ; then follow two males carrying whips, next two females,
each carrying a child, and lastly two males with swords (?) and flags.

In the suit of animated cards (vol. i. p. 47) there are here eight pieces
only ; three have on them flowers, two have fishes, two butterflies, and one bears
a tiger.

In the third suit, or that of boxes, there are fourteen cards ; in the middle of
each piece is an open ornamental box or case, on the lid and inside of which are
repeated the domino points in like value to those marked on the upper and lower
portions of each card.

All the figures or designs are neatly executed and coloured. The texture is
that of thin cardboard, the lissage is considerable, and the backs are marked
with hexagonal figures stamped in black ink.

Two cards from the suits of animated signs are represented on plate 2 1 .

It is doubtful if this series be complete, and whether or not the cards to be
next described belong to it.

in.] [Backs decorated.]

O. C. 297.

NINETEENTH CENTURY.
CHINA.

WENTY cardpieces, marked with domino points in black and red ink
at their tops and bottoms in reverse way. The middle portion of
each cardpiece is quite plain.

It is not improbable that these cards may form a plain suit in the
foregoing sequence (O. C. 296), as the backs are marked in a like way.

The texture is thinner than that of the previous series, the lissage is good,
and the cards are marked with hexagonal figures in black.

[3f x °i m-l [Backs decorated.]

PART II

COMMENTAEY ON AND DESCRIPTION

OF THE PLATES.

<L<^^^>

DESCRIPTION OF THE PLATES.

T has been stated at p. 35, vol. i., that although it
be not proven, playing-cards had their origin in
Europe, and in modern times, yet that there is more
direct evidence in favour of such opinion than can be
adduced in support of the hypothesis that they have
descended to us — in the form of the tarots or emblematic series, at
least — from remote ages, and had their birth in the East. While
maintaining here a like doctrine, and laying stress on the obscure
and recondite character of the data on which the belief of an Oriental
source of the tarots has been based, it is nevertheless freely ad-
mitted that the meaning of many of the relations and peculiarities of
these cards are left quite unexplained by the theories of their
European origin, while those affirming their Eastern source do
really attempt some elucidation of them, however fanciful and
mystical it may bo considered to be by the opponents to the theories
from which it springs.

While feeling satisfied then that there is not any direct proof of
tho Oriental origin of playing-cards, and that not any documentary
evidence can be produced for their existence before the second half
of tho fourteenth century, we cannot refuse to allow that the theory
which regards the numeral playing-cards of Europe as having been
invented cither in Spain or Venice, for the purpose of displacing
tho emblematic tarots (which had become prohibited from their
connection with the practice of " la magie noire " and divination
derived with them from the East) , has been supported by much
ingenious illustration, obtained from translating the emblems in
question through the doctrines of the Hebrew Kabbalah and of the
Egyptian mystics.

The entire displacement of the tarot cards has not only not
been accomplished, but even their fusion with the numeral series
has not been prevented : that series which, according to the theory

48 * DESCRIPTION OF THE FLATUS.

***'

last referred to, was invented to supplant them, and in connec-
tion with, which thoy continue to exist in some countries to the
present day. To such as carry out the theory of the Oriental origii
of cards to the still greater extent of tracing tho original conception
of tho true numerals as well as of tho emblematic series to India 01
Egypt, this persistency of union will not be surprising. Perhaps,
too, it might be difficult to show a valid reason why acceptance
should not be given to the hypothesis in its entirety, if given to it
at all. (Vol i. pp. 20, 73.)

However this may be, wo find that for five hundred years have
endured, with some slight modifications of design, a series of cards
of emblematic composition ; the source, exact meaning, and original
intention of which have been variously interpreted, and concerning
which wo are in darkness at the present time.

Details connected with this series — tho tarots— formed an impor-
tant part of the history and examples recorded in the previous volume.
It has been felt that, notwithstanding the attempt made to render
their nature and symbolical meanings, as derived from the Oriental
and Kabbalistic theories of their source, tolerably clear by the dis-
quisition on Divination and Cartomancy, etc. (pp. 138-163, vol. i.),
that a fair idea could be formed of them by those strange to the
subject, only by having before them while studying the previous
pages an actual tarots sequence, or carefully executed plates illus-
trative of the symbolic designs therein contained.

As these advantages might not be always at hand, and that the
labour already performed should not remain more fruitless than it
need, it has been deemed advisable to supplement the text of vol. i.
by a series of plates illustrative of this obscure subject.

It must not be assumed — it is once more insisted — from the
comments which follow, and from what has been previously stated
(vol. i.), that the occult and thaumaturgic doctrines touched on are
here accepted as verities, or even as probably hidden or intended
to be expressed in tho emblematic composition of the tarots. They
have been brought forward simply as a necessary part of the scheme
proposed in this work, of illustrating the general history of playing-
cards. Without viewing these objects under their aspect of em-
blematic cards or tarots, and these again, in connection with their
Oriental and mystical relations, the consideration of the subject
would have remained imperfectly performed.

PLATES I., II., III., IV., V., AND PART OF VI.

N these plates are represented the twenty- two em-
blematic cards or tarots described at pp. 18, 36, 38,
150, and 155 of vol. i.

In these designs the oldest typical forms, as far as
they can be attained to now, of the yet compara-
tively modern renderings of a supposed ancient hieroglyphic and
kabbalistic alphabet are given, in order that the interpretations of
the symbolic figures, and their accessories, according to the recondite
theories of Court de Gebelin and others detailed at p. 138 et seq.
of vol. i., may be easily followed. The cardmakers have generally
caused these designs to be drawn, engraved, and coloured in so
coarse and careless a manner, and with such small amount of regard
to essential details, that direct facsimiles of any actual sequence in
the Museum collection would not have answered the purpose of
illustrating the esoteric doctrines of those who would derive the
tarots from the patriarchal East, so well as will the compositions
here placed before the reader. Nevertheless, on comparing them
with those of any actual tarots sequence of the fifteenth and sixteenth
centuries, and of such more recent series as have imitated the older
emblematic cards, it may be seen at once that like emblems and ob-
jects are intended to be represented, though on a smaller scale in our
illustrations than is usual in the cardpieces of ordinary tarots. The
earliest known tarots have been supposed to be after all but compara-
tively modern renderings, during the latter portion of the fourteenth
and beginning of the fifteenth centuries, of other forms gradually
vanishing in the twilight of Oriental obscurity; and however close
the esoteric doctrines themselves, as taught in modern times, may
be to those inculcated originally, through a series of hieroglyphs
and emblems, it is quite impossible that the latter could approach
but in intention, and as translated by modern art and influences,
the assumed original symbolical designs.

Egypt is to us the cradle of wisdom and science, since it clothed
in hieroglyphic forms the ancient dogmas of the first and true
Zoroaster, forms purer and more exact, if not richer than those of
Hindu birth. The right expression of these symbolic forms and

So COMMENTARY ON AND

their interpretation constitute the kabbalistic and thaumaturgic
science of hieroglyph s, which in Egypt had for its basis an alphabet
in which all the gods were letters, all the letters were ideas, all the
ideas were numbers, and all the numbers perfect signs. This
kabbalistic alphabet was in one of its forms, according to certain
writers, the famous book of Thauth or Thot,1 to be found broken up
and scattered amongst the debris of Egyptian monuments, and from
it have descended, they affirm, the spirit and intention of the tarots
of the fourteenth century. These latter, along with the numeral
series, in the opinion of the extremer theorists, constitute, in the
eyes of the initiated, an alphabet of twenty-two allegorical letters,
and of four series of ten hieroglyphs relating to the four letters of
the name of Jehovah or the tetragramma. The various combinations
of these signs, and of the numbers corresponding to them, compose
so many kabbalistic oracles, which may become in the hands of such
as belong to the higher initiation the exponents of all wisdom and
science. (Eliphas Levi, u La Clef des Grands Mysteres," etc. p. 208.)

According to Levi, the best key to the primitive hieroglyphic
alphabet on which this tarot sequence has been founded, was to be
met with in the mensa isiaca, formerly belonging to Cardinal Bembo,
but afterwards unfortunately destroyed. This table was of copper,
having on it engraved figures filled with a sort of incrusted
enamel. A copy of the table with an interpretation of its hiero-
glyphs and emblems, etc., may be seen in the following work of the
learned Jesuit Father Athanasius Kircher, viz. : —

"iEdipi iEgyptiaci. Athanasii Kircheri. Eomae 1652 ." t. 3.
cap. v. p. 123.

A fine copy is in the Library of the British Museum —
87.1.4.7.

According to Kircher, this table contained the hieroglyphic key
to the sacred alphabets of Egypt.

If the table — as given in Kircher's treatise — be placed by the
side of our present tarots not any similarity of actual pictorial de-
signs can be found, it is true. But if the intention of the emblems-
of the former or their interpretation by Kircher be considered, it
may be readily conceived in what way the followers of the schools
of De Gebelin and Levi have been led to borrow an origin so
remote as they have done for the tarots of the fourteenth century.

To the statement that there is not any likeness between the
figures of the modern tarots and the emblems of the Egyptian
hieroglyphs, whatever there may be between the dogmas which
have been extorted from the esoterism of each, reply may be

1 The Egyptian Hermes or Mercury, and the patron deity of scribes and
writing.

DESCRIPTION OF THE PLATES.

made in inferring a continuedly advancing metamorphosis as
necessarily involved in the varying iconic phases of the tarots as
they have come down to us on the stream of time.

It is advisable that the series of tarot figures contained in
Breitkopf s work1 be consulted side by side with that presented
here, as certain modifications of the ordinary designs proper to be
noticed are therein given, and which do not exist in the present
illustrations.

To the general account which has been laid before the reader in
vol. i. p. 138 et seq. of the emblematic figures represented on plates
1, 2, 3, 4, 5, and 6 in this appendix, the following remarks on some
particular tarots will not be out of place, for the more perfect
explanation of them in their connection with occult philosophy, and
with the theories of De Gebelin, Eliphas Levi, and others.

On the kabbalah generally the following work may be advan-
tageously cousulted : —

" The Kabbalah. Its Doctrines, Development, and Literature.
An Essay by Christian D. Ginsburg, LL.D. London, 1865."

TAROT NUMBER II. LA PAPESSE.

In this design the binary principle is intended to be symbolized
as represented by the High Priestess of the Egyptians, now meta-
morphosed into a female Pope in certain tarot series (vol. i.
pp. 36, 37), and reverting in others to the true correlative, the
goddess Hera of the Greeks and Juno of the Eomans. (Breitkopf,
op. cit, Tarot No. 11.) In the latter, the figure properly follows
what is more likely to have been the normal action of the antiquer
emblems in elevating one hand towards heaven, and pointing down-
wards with the other towards the earth, formulating by this gesture
the dogmas of unity and dualism, which constitute the basis of
" la haute magie," and commence the symbols of the emerald table
of Hermes. (Breitkopf, op. cit. Tarot No. 11. Eliphas Levi, "Dogme
et Rituel," etc. vol. i. p. 133. Desbarrolles, " Chiromancie Nouvelle,"
" Les Mysteres de la main reveles et expliques." Paris, 1859, p. 33.)

TAROT NUMBER V. LE PAPE.

The Pope of the ordinary emblematic cards is the grand hiero-
phant of the Egyptians, and changes in certain Italian sequences to
his correlative, Zeus of the Greeks and Jupiter Optiraus Maximus of
the Romans. As the latter, he descends from heaven on an eagle,

1 " Versuch den Ursprung cler Spielkarten, die Einfuhrung des Leinenpapieres
imd den Anfang der Holzschneidekunst in Europa zu erforschen." Leipzig.
1784. Erster Absehnitt, p. 20.

COMMENTARY ON AND

bearing thunderbolts and lightning in each hand. (Breitkopf, Tare
No. V.)

In accordance with the mystical and Oriental theory of tl
import of the tarots, it has been presumed that the normal form
this present emblem, in which the Pope is seen extending tl
fingers of the right hand in benediction, showed the hierophi
making the sign of esoterism which prescribes silence, and whicl
may be observed also in the accompanying figure of Addha-Nari,
the Isis of the Hindus, a pantheistic emblem typifying Nature, Truth,
and Religion.

The hand which holds the wand has the first three fingers
extended, signifying Force, Power, and Fate; the annular and
auricular fingers, which typify science and light, are hidden or bent.
This gesture may be translated as implying — " I speak thus to the
initiated." " Unite together, for so you have strength and dominion
to guide the fatality which is in your hands ; but from the un-
initiated— since they are the vicious, the unintelligent of men —

DESCRIPTION OF THE PLATES. 53

hide (esoterism) all light and science ; n such teaching being quite
in accordance also with the doctrines of Egyptian philosophy.

In this Hindu emblematic figure the four symbols of the ancient
tarots, now the suit-marks of the numeral series of the playing-cards
of Italy and Spain, are placed in the hands; viz., the cup, the
circle or money, the sword, and the wand or club. These attri-
butes will be again referred to {postea, p. 62).

TAROT NUMBER VII. LE CHARIOR.

This emblem represented normally the advance or triumph of
Osiris ; afterwards the chariot of Hermes, then the Marte of
the Carte di Baldini} and finally " Le Charior " of the modern
tarots.

It symbolizes the septenary principle, or the No. 7, representing
the universal synthesis.

The number seven was absolute among the Eastern magi. The
seventh year was a jubilee with the Jews, and the seventh day, the
end of the week, was consecrated by them to rest and prayer.

" In Septenario (qui sacratissimus est in oraculis numerus et
mysteriorum plerissimus) tarn sacrum augustumque decus in est, ut
inter eos numeros qui concluduntur in denario singularem eximiam
pras cseteris rationem habent." (Petri Bungi, " Bergomatis Nume-
rorum Mysteria," etc. Bergomi i3XCi. De Numero vii. p. 282.
Which see also on other numbers. There is a copy in the Museum
Library, 529, c. 8.)

" On the seventh day God ended his work which he had made
— and God blessed the seventh day, and sanctified it because that in
it he had rested from all his work." (Genesis, chap. ii. v. 2, 3.)

Noah was directed to take the clean beasts and birds into the ark
by sevens, " and it came to pass after seven days that the waters of
the flood were upon the earth.-" (Genesis, chap. vii. v. 2-10.)

So holy was the seventh day to be regarded that on the sixth day
a double quantity of manna was given to the Israelites on their
journeyings, as the bread of two days, with the order, " Abide ye
every man in his place, let no man go out of his place on the seventh
day ; so the people rested on the seventh day," and thus not any
infraction of its repose ensued. (Exodus, chap. xvi. v. 29, 30.)

The Hebrew slave became free on his attaining his seventh year
of service. u Six years he shall serve, and in the seventh he shall
go out free for nothing." (Exodus, chap. xxi. v. 2.)

There was the u mystery of the seven stars/' of the " seven
golden candlesticks/' and there were u seven churches which are in
Asia." (Apocalypse, chap, i.) .

54 COMMENTARY ON AND

There were " seven lamps of fire burning before the throne,
which are the seven spirits of God," and the book " sealed with sevt
seals" (Apoc. chap. v.). There were the <c seven angels which
the seven trumpets n (chap, viii.), and there was " a beast rise
from out of the sea, having seven heads " (chap, xiii.) . There wei
" seven angels which had the seven vials full of the seven It
plagues" (chap. xxi.).

In the days of Elisha there were yet " seven thousand in Israel
who had not bowed unto Baal. (1 Kings, chap. xx. v. 18.)

When Elisha u said to his servant, Go up now, look towards the
sea ; and he went up, and looked, and said, There is nothing."
Elisha replied, " Go again seven times ; and it came to pass at the
seventh time," etc. (1 Kings, chap. xix. v. 43, 44). The same
prophet also declared that " the Lord hath called for a famine, and
it shall also come upon the land seven years." (2 Kings, chap. viii.
v.l.)

When Elisha restored the dead son of the Shunamite he
<( prayed unto the Lord, and he went up and lay upon the child —
and the flesh of the child waxed warm — and the child sneezed seven
times, and the child opened his eyes." (2 Kings, chap. iv. v. 33-35.)

It was said by Jesus to the anxious nobleman of Galilee, " Go
thy way, thy son liveth ;" and when " he enquired of them the hour
when he began to amend, they said unto him, At the seventh hour
the fever left him." (John, chap. iv. v. 50-52.)

On the stone laid before Joshua were to be " seven eyes."
(Zechariah, chap. iii. v. 9.)

There were seven chief Archangels — Michael, Gabriel, Raphael,
Anael, Samael, Zadkiel, and Oriphiel, the latter four being the
Uriel, Barachiel, Sealtiel, and Jebudiel of the Gnostic Christians.
To these the seven Christian sacraments are correlates, and unite
with the seven Virtues (the seven cords of the human lyre) , having
their analogues in the seven colours of the prismatic spectrum and
the seven notes of the musical octave. With these were included
by modern kabbalists the seven precious stones, viz., the carbuncle,
crystal, diamond, emerald, agate, sapphire, and onyx ; and the seven
chief metals, gold, silver, iron, copper, mercury, tin, and lead.
Finally came the kabbalistic signs of the seven spirits, the symbols
of all these being to be found on the stones graven by the ancients,
particularly on the talismans known as Abraxas of the Gnostic
epoch.

This number seven rules, in a mysterious way, the numbers of
the tarots sequence, according to certain writers. There are in this
sequence twenty-one pieces (the matto being unnumbered, or zero),
i.e., the sacred number seven multiplied by the ternary principle,
which is the universal dogma, the perfect word, the fulness of unity.

DESCRIPTION OF THE PLATES.

Even the numerals in the combined tarots sequencies are fifty-six
in number, i.e., eight by seven, making in the old Venetian series a
total, with the tarots proper, of seventy-seven, i. e., eleven by seven,
rejecting the unnumbered matto or fool. (Taylor, Bibl. 9, p. 19.)

In an ancient design of this emblematic figure the symbolic
lingam of the Hindus, surmounted by the flying
sphere of the Egyptians, was represented on the
front panel of the car in place of the varying marks
now to be met with. (See the representation of
" Le Charior d'Hermes, Supreme Clef du Tarot,"
in Eliphas Levi's "Dogme et Rituel," etc. vol. ii.
p. 332.)

TAROT NUMBER X. LA ROUE DE FORTUNE.

This emblem has its analogue, according to Levi, in the wheels
of Ezekiel and of Pythagoras. (" Dogme et Rituel," vol. i. p. 333.
"La Clef des Grands Mysteres," p. 117.)

Etteilla, in his cards for divination, displaced the original
descending typhon on the left by a man ; the ascending Hermanubis
on the right by a rabbit, mouse, or nondescript animal ; and the
sphinx above by an ape. (See the figure of " La dixieme Clef du
Tarot " in " La Clef," etc. of E. Levi, p. 116.)

TAROT NUMBER XII. LE PENDU.

According to E. Levi (" Dogme et Rituel," vol. i. p. 255), this
emblematic figure has been misunderstood by Court de Gebelin
and by Etteilla, who perceived in it merely an error committed by a
German cardmaker. This design represents a man having his hands
tied behind his back, and with two bags of money attached to
his armpits in certain of those tarots in which the figure has
the hands tied behind. In " Le Pendu" of the series of cards
known as those of Charles the Sixth, or of Gringonneur (vol. i. pp.
13, 14) , the arms are free and dependent, and the figure holds a
large bag of money in each hand. (See Bibl. 2, plate 35.) In u Le
Pendu" of the Minchiate series also, described under I. 256 and I.
257 of the present volume, pp. 3, 6, the arms are free and dependent,
and a bag hangs from each hand. The man is suspended by one foot
to a gibbet composed of the trunks of two trees, each trunk showing
the roots of six truncated branches and being surmounted by a
transverse beam completing the figure of the Hebrew Tau, D. The
legs of the culprit are crossed, and his elbows form a '£ angle with
his head. Now the triangle surmounted by a cross signifies in

56 COMMENTARY ON AND

alchemy the end and the perfection of the Great Work, a significa-
tion identical with that of the letter H, which is the last letter of the
sacred alphabet.

u. ' Lo Pendu/ then, is the adept bound by his engagements,
spiritualized, or with the feet turned towards heaven. The emblem
typifies also the ancient Prometheus suffering in everlasting tortui
the punishment of his glorious larceny. Vulgarly it represents
Judas the traitor, and his execution menaces the revealers of the
Great Secret." (" Dogme et Rituel," vol. i. p. 255.)

" In the ancient writings, anterior to the captivity, the Hebrew
tau had the form of a cross, a circumstance further confirmatory of
our interpretation of the twelfth piece of the kabbalistic tarot. The
cross, generatrix of four triangles, is also the sacred sign of the duo-
denary principle (the cyclical number and that of the universal
symbol), called the ' Key of Heaven ' by the Egyptians for that
reason."

" Thus Etteilla, embarrassed in his protracted endeavours to
reconcile the analogical requirements of the figure with his own
personal views, placed in the hands of his reversed pendu, with
which he symbolizes prudence, an hermetic caduceus formed of
two serpents and a Greek tau. Since he had comprehended the
necessity of the tau, or cross ("Book of Thot," p. 12), he ought to
have understood the multiple and magnificent symbol of the hermetic
pendu, the Prometheus of science, the living man who touches
earth by thought only and whose base is in heaven ; the free and
sacrificed adept, the revealer, menaced with death." (" Dogme,"
etc. vol. i. p. 258.)

TAROT NUMBER XIII. LA MORT.

In accordance with the misfortune and ill-fatedness attached
to the number thirteen, the present member of the emblematic
series represents Death in each of the chief tarots sequencies, viz. :
the old Venetian sequence, the tarocchino of Bologna and the
minchiate of Florence. (Vol. i. p. 141, No. 13.)

" Juxta Hoebreorum traditionem anno a mundo condito tertio-
decimo primus reproborum exemplar, primus parricida, civitas
diaboli et regni impiorum conditor, Cain nascitur." (Petri Bungi,
op. cit. de num. xiii. et xiv. p. 401.)

u This idea of misfortune attached to the number thirteen is
essentially Oriental. The symbolical atouts are numbered, so to
say, from low to high, just as certain modes of Asiatic writing pro-
ceed from right to left. Has this also not some hidden meaning ? n
(Boiteau d'Ambly, op. cit. p. 21.)

DESCRIPTION OF THE PLATES. 57

A striking series of coincidences has been recently recorded in
an account of one of the more remarkable of the Arctic expeditions
of modern times.1

" At last/' writes Commander Payer, " every trace of land dis-
appeared from our gaze, a hopeless waste received us, in which no
man could tell how long we should be, nor how far we should pene-
trate. . . A change, however, was soon to come over the scene. . .
A dreadful day was the 13th of October — a Sunday — it was decisive
of the fate of the expedition. To the superstitious amongst us the
number 13 was clothed with a profound significance : the committee
of the expedition had been constituted on February 13 ; on the
13th of January the keel of the ' Tegetthoff' had been laid down; on
the 13th of April she was launched; on the 13th of June we left
Bremerhaven ; on the 13th of July, Tromsoe ; after a voyage of 13
days we had arrived at the ice ; and on the 13th October the
temperature marked 13 degrees below zero. In the morning of
that day, as we sat at breakfast, our floe burst across, immediately
under the ship — just as in the risings of a people, the wave of
revolt spreads on every side, so now the ice uprose against us,
mountains threateningly reared themselves from out the level fields
of ice, and the low groan which issued from its depths grew into a
deep rumbling sound, and at last rose into a furious howl, as of
myriads of voices. Noise and confusion reigned supreme, and step
by step destruction drew nigh in the crashing together of the fields
of ice." (Vol. i. pp. 161-4.)

It may be observed en passant} that in the sequence known as
" Charles the YIth cards" (vol. i. pp. 13, 19), Death is mounted
and on a black horse instead of on a white one (Bibl. 2) . The like
emblematic figure is also mounted in the two minchiate tarots
(sets I. 256, I. 257) described at pp. 3, 6 of the present volume.
Here the horse being unshaded is probably intended to be white.

TAROT NUMBER XVI. LA MAISON DIEU.

Herein is symbolized an event in the life of the Egyptian Prince
Rhampsinitus, or Eameses the Second, which is alluded to in vol. i.
p. 142.

The history of this event is given in detail by Herodotus, whose
account of the end of the thieves differs in some particulars from
the following version, taken from Court de Gebelin.

According to the latter, the Prince Rhampsinitus ordered a great

1 " New Lands within the Arctic Circle. Narrative of the Discoveries of the
Austrian ship ' Tegetthoif.' " By Julius Payer, one of the Commanders of the
Expedition. Translated from the German. London. 1 876.

53 DESCRIPTION OF THE PLATES.

tower to be built, for the purpose of containing his treasures.
Though he alone possessed a key to it, he found his treasures daily
diminish, and yet not anyone passed the door. In order to discover
the adroit thieves, the Prince placed snares around the vases con-
taining his money ; by these the robbers were indicated, and turned
out to be the two sons of the architect who had built the tower.
The latter person had so disposed a stone that it might be easily
removed and replaced at will, without risk of discovery. This
secret he intrusted to his sons, who availed themselves of it as
related. Having been betrayed while at their work, through the
Prince's arrangements, they threw themselves down headlong from
the summit of the tower.

TAROT NUMBER XXI. LE MONDE.

Eliphas Levi, in his chapter ("Rituel," etc. p. 172) on " Le Grand
CEuvre," remarks : " The twenty-second key, which bears the number
21, because the fou which precedes it in the kabbalistic order is not
numbered, represents a youthful female divinity, slightly veiled,
running within a blossoming wreath, supported at the four corners
by the four animals of the kabbalah. The goddess holds a wand in
each hand, in the Italian tarots ; while in the tarots of Besancon she
retains both wands in a single hand, placing the other hand on her
thigh ; symbols equally indicative of the magnetic action, whether
alternate in its polarization, or simultaneous by opposition and
transmission/'

In an article " Sur la Kabbale," in the supplement to " La Clef
des Grands Mysteres," the author writes : u That which most
attracted the attention of Court de Gebelin, when he discovered
the tarot, were the hieroglyphs of the twenty-first piece, which bears
the title of ' Le Monde/ This card (which is nothing but the
same key of William Postel) represents Truth, naked and triumphant,
within a wreath divided into four portions by four flowers of the lotus.
At the four corners of the card may be seen the four symbolic
animals, which are afforded by an analysis of the sphinx, and which
Saint John borrowed from the prophet Ezekiel, as Ezekiel himself
had taken them from the bucephalous or other sphinxes of Egypt
and Assyria. These four figures — which a tradition, uncomprehended
even by the Church, still allots to our four Evangelists — represent
the four elementary forms of the kabbalah ; the four seasons ; the
four metals; in fine also the four mysterious letters of the TORA of
the Jews, of the wheel of Ezekiel, ROTA, and of the TAROT,
which, according to Postel, is the key of things hidden from the
beginning of the world/'

PLATES VII. AND VIII.

N plate 7 is a facsimile of the piece "No. 1, the
Misero of the series B of the Carte di Baldini,
or the so-called Tarocchi of Mantegna. (Vol. i.
pp. 66, 155.)

On comparing this emblematic figure of the Italian
sequence with the mat, matto, or fou, the unnumbered piece
or zero of the tarots. on plate 6, it may be seen how in both
examples a dog is seizing the man by his left leg. In this
instance the descent of both symbolical designs from some earlier
type is certainly fairly presumable, and if it be admitted with
Merlin and others, that the engraved Italian version of 1470 (?)
was derived from a pictorial series of emblematic representations
existing long anterior to the invention at Venice (?) of games of
hazard with cards, there cannot easily be placed any limit to the
traditional origin — if we may so speak — of the common type of
both examples. (Vol. i. p. 71.)

On the other hand, the opponents to the theory of the Oriental
source of cards, and their original mystical teachings, may point
to the resemblance in question as proof simply of the fact that
the matto of the old Venetian tarots was borrowed directly from
the Florentine sequence of 1470, and, therefore, as helping to
support the doctrine that the twenty-two old Venetian emblems
are of more recent origin than the Carte di Baldini. (Vol. i. p. 156.)

It should be noted also that in some of the tarots versions the
matto, or fou, is represented like the Misero of the Florentine
sequence, that is, more of a beggar than a fool, as which latter
he is given in other tarots.

According to one system of interpretation the unnumbered
emblem, the matto, or fou, of the ordinary tarots (plate 6) is
to be regarded as symbolizing Folly with a sackful of faults on his
back, while the animal biting him signifies the pangs of conscience
and of remorse which so often attack the possessor of such a
burden.

In the Misero of the Carte di Baldini (plate 7) are portrayed

60 DESCRIPTION OF THE PLATES.

the want and destitution to which such faults have brought theii
owner. Conscience yet pricks him — in the biting dog — thougl
the faults be gone, while the leafless barren trees and broken wal
typify the fruitlessness and waste of such a fool's existence.

On plate 8 is a facsimile, the actual size, of No. 45 the Mai
of series A of the Carte di Baldini. (Vol. i. p. 66.)

This design should be compared with No. 7 of the tarots figures
on plate 2.

In the former or present emblem the figure appears as a sedate
warrior in helmet and armour, bearing in his right hand a sword,
and bending his left arm on his left thigh. He is observed to be
seated in direct or full face on a car, having an architectural canopy
above, supported by columns. A dog is at his feet.

In the tarot piece No. 7 (plate 2), we have Osiris advancing in
his chariot, bearing a sceptre in his right hand, and bending his left
arm on his left thigh. The figure is in direct or full face to the
spectator, and the car has a canopy above supported by columns.
Two animals are in front of the car.

The same kind of comparison is applicable here as in the case
of the matto and Miser o just noticed. The resemblance be-
tween the two emblems testifies either to the descent of both
compositions from an antecedent and common type, or to the fact
that the piece No. 7 of the old Venetian tarots is simply a modifica-
tion of No. 45 of the Italian sequence. (Vol. i. p. 156.)

PLATES IX., X., XL, AND XII.

|EPKESENT the marks, signs, or symbols of the suits
of the numeral playing-cards of Italy, Spain, France
(England), and Germany, whether uncombined or
combined with an emblematic series. A general rule
prevails, however, that when numerals are conjoined
to an emblematic series the suit-marks of the former are of the
Italian character.

In the typical and full numeral series of each country there are
always four suits.

Plate 9 exhibits the marks of the suits of Italian numerals.
(Vol. i. pp. 32, 85.) These are coppe (cvqps) , spade (swords), danari
(money) , and bastoni (clubs) .

It should be observed that the marks of the suits spade and
bastoni are crossed or interlaced among themselves, and that the
narrow width of each piece in proportion to the length indicates
that these particular numerals belonged to a combined tarots or
tarocchino sequence. The proportions of these cards are true, but
the general size is smaller than that of the originals.

Plate 10 represents the marks of the suits in Spanish numerals.
(Vol. i. pp. 40, 93.) There are copas (cups), espadas (swords),
oros (money) , and bastos (clubs) .

It should be noticed that the marks of the suits espadas and
bastos are discrete or separate, which circumstance along with
the numbers at opposite corners diagonally, and the divisions of the
inner border lines on the pieces in three of the suits into separate
portions of different number [antea, p. 8), distinguish the Spanish
numeral pip-cards from the Italian numerals.

Plate 11 shows the marks of French numerals, viz., coeurs
(hearts zz cups), piques (spades = swords) , carreaux (diamonds zz
money), and trefles (clubs). (Vol. i. pp. 46, 50, 111.)

These suit-marks have always been adopted for English
numerals, frequently for Italian, occasionally for Spanish, and in

62 COMMENTARY ON AND

modern times pretty constantly for the numeral playing-cards
Germany. France and Belgium manufacturing cards for various
countries naturally introduce these symbols, except when fabricating
to order what may be turned factitious Italian, Spanish, and othei
cards.

Plate 12 represents the national suit-marks of the earlier cards oi
Germany, viz., roth or herzen (hearts :zr cups) ; laub or griin (leaves
zz swords, spades) ; schellen or "grelots" (bells zz money,
diamonds), and eicheln (glands zz trefles, clubs). (Yol. i.
pp. 47, 192.)

EXPLICATION OF THE SYMBOLS OF THE
NUMERAL SUITS.

THE SUIT-MARKS OF ITALY AND SPAIN.

||OT only has the series of emblematic cards, or tarots,
been translated into the dogmas of an ancient and recon-
dite philosophy, but the symbols of the numeral-cards
accompanying them in combined or compound sets have been also
interpreted in a similar manner. As a natural consequence a
like interpretation was afterwards applied to the same marks of the
suits of numerals, when the latter appeared unconnected with an
emblematic sequence. Kemarks relative to this point may be found
on reference to vol. i. pp. 143,153-155. To these we shall add the
following observations.

On examining such numerals as are found first to have been con-
joined with the tarots proper they may be observed to bear the
ordinary marks of the four suits of the playing-cards of Italy and
Spain, viz., the cup, money, sword, and club.

It was at an after period that the French and other symbols
were so employed, but even then, as far as our own experience
extends, quite exceptionally.

According to the schools of the occult philosophy, the four
thaumaturgic signs of the tarot may be seen in the hands of the
Hindu symbolic figure Addha-Naki, which was given antea, p. 52.

These signs represent also the symbols of the four numeral suits,
and correspond to the four elements of the old philosophers. There is
the cup in the lower right hand of the figure, which in other emblems
when held by a man zz aquarius, typifies water ; there is the staff or
club of wood in the upper right hand, signifying the fire, which it

DESCRIPTION OF THE PLATES. 63

feeds ; in the lower left hand is the circle (afterwards meta-
morphosed into the form of money), emblematic of air, while the
upper left hand grasps the sword or knife of Mithra, which immo-
lates yearly the sacred bull, whose blood causes the sap to flow
and fill all the fruits of the earth. (E. Levi, " Dogme/' etc. vol. ii.
p. 333.)

If we pass from India to Egypt and its occultism and then to the
Hebrews and their theosophy, it may be assumed that the symbols
of the numeral suits are the hieroglyphs of the tetragramma.
(Yol. i. pp. 148, 154.)

The " club " is the phallus of the Egyptians, and the jod of the
Hebrews ; the " cup >y is the cteis, and the primitive' he; the
" sword " is the conjunction of the phallus and cteis represented in
Hebrew anterior to the captivity by the vau ; while the " circle n
(pantacles) and money (vulgarly the emblem of the world) is the
final he of the Divine name. Thus we have jl 1 H * j°d he vau he,
or, as we conventionally pronounce it, Jehovah. (" Dogme et
Kituel," etc. vol. i. p. 230.)

Some adherents to the theory of the Oriental origin of cards,
refusing to admit such extremely transcendental views as those just
mentioned, nevertheless go to the extent of recognizing in the
symbols of the numeral suits the four chief castes into which men
were divided on the banks both of the Nile and the Ganges. Ac-
cordingly, the "cup" denotes the sacerdotal rank, or priesthood;
the ' ' sword " implies the king, warrior, or military rank. ; the
' ' circle " typifies the world, or commercial community, of which
money is the sign ; and the " club " is emblematic of agriculture,
or of the tillers of the soil.

THE SUIT-MARKS OF FRANCE AND GERMANY.

HE origin and meaning of the marks of the suits of the
numeral playing-cards of France and Germany have been
variously determined, and much research and ingenious
attempts expended on their elucidation.

The adherents to the theory of the Eastern source of cards have
assumed the like intentions to be conveyed in them as in the suit-
marks of Italy and Spain. It has been urged against such a view
that the signs of France and Germany do not accord with each
other, or ostensibly only in respect to one sign, viz., roth or herzen,
and coeurs. How, then, can these signs make common cause to-
gether, and link themselves with those of Italy and Spain ? It has
been replied that a sufficient analysis will show that the three other

64 COMMENTARY ON AND

suit-marks of Germany and France are modifications one of the
other.

But, if so, which were the originals ? It is probable, wo thin]
that the German signs were first in the field, though Leber am
Merlin are not of this opinion. Bo that as it may, in the suits roth
or herzen, and coeurs, may be found the analogues of the vase or
if cup," the emblem of the sacerdotal rank or clergy, with its irre-
proachable, unworldly heart. Laub or griln, and carreaux, are
modifications of the u circle" or money, typical of commerce and
wealth; in schellen (bells) and piques (spades) may be found the
spade or swords of the nobles and military; while in the suits
eicheln (glands) and trefles (clubs) is signified the agricultural
status.

In tracing the connection between the suit-marks of France and
Germany and those of Italy and Spain there does not arise much
difficulty, except in the case of the schellen and piques of the former
and the spade and espadas of the numerals of the latter countries.
In respect to schellen, or bells, the difficulty is not insuperable, if it
be borne in mind that bells were the insignia of rank and importance
in the East from the earliest times. They were the signs of worldly
position before the second epoch of heraldic distinctions (a.d. 1152),
and at an after period the bell was used in Falconry1 by princes and
nobles of the highest class. The bell thus became the emblem first
of the falcon and afterwards of the upper and richer grades, to
which its employment was confined.

The robe of Aaron, the high priest, was directed to be thus
adorned : —

u A golden bell and a pomegranate upon the hem of the robe
roundabout/'' (Exodus, chap, xxviii. v. 34.)

" And they made bells of pure gold, and put the bells between
the pomegranates upon the hem of the robe." (Exodus, chap,
xxxix. v. 25 )

u It is probable, however, that these bells had a symbolical an-
nouncement, like all the other parts of the high priest's dress. The
pomegranate was the emblem of fulness, and the bell of announce-
ment, and the alternation of these on the me'il indicated the wearer's
function as the preserver of the Divine Word in its fulness, and the
announcer of it to the people. It is remarkable that there is
no appearance of any kind of bell in the Egyptian monuments."
(Kitto, u Cyclopasdia of Biblical Literature.")

It may be added that the decoration of their idols with bells was
a common practice with the Hindus.

1 It is not implied that the bell was thus made use of at the earlier period of
that sport.

DESCRIPTION OF THE PLATES. 65

Breitkopf gives (" Versuch den Ursprung der Spielkarten zu
erforschen," taf. iv. s. 33) representations of Wulphild, the Emperor
Henry VI., and Otto IV., the draperies in which are all adorned
with small bells exactly like those on German playing-cards. In con-
nection with these illustrations and the argument maintained by Breit-
kopf, viz., that the German suit- marks are older than the French
ones, and date at least from the fourteenth century, the author ob-
serves, in the following notes (pp. 33, g. ; 116, s. 33, anmerk. g.): —

"In Gabr. Bucelini Germanise Topo-Chronostemmato-graphicge
Sacrse et profange ; Parte altera; Aug. Vindel. 1662. fol. von pp.
346-423, where are introduced Agilolfingicce familice Principum
Guelforum veterum, etc., generis deductione, are also representations
of various emperors and princely personages of the Guelpho-
Brunswick houses, who are clothed with these once princely adorn-
ments. Among them are Guelpho II. and his consort Ermengarde,
who lived about the years 1002-24, adorned with waist-girdles of
bells ; Wulphild, the wife of Rudolph Com. Brig, circa 1138, with a
necklace of bells; the Emperor Henry VI., who died in 1197, with
a waist-girdle of bells ; and the Emperor Otto IV., who died in
1218, with a collar of bells, which hangs behind him from across the
shoulders to the calves of the legs. Since, then, this old princely
clothing was worn from the eleventh to the thirteenth century, we
may infer that these alterations of the suit-marks must have been
made soon after the introduction of cards into Germany, and that
the French piquet, which first appeared during the fifteenth century,
is only a copy of the German changes, unless it be assumed that
this old decoration, becoming recalled to mind, was ingeniously
made to serve the purpose of the present argument." ....

. " The figures in question were most likely taken from the old
German chronicle of the Guelphs, preserved in the convent of
Weingarten, and from which Eccard also took them for his { Orig.
Guelf.' t. ii. pp. 279, 323, 357. At the earliest they were not executed
before the beginning of the fifteenth century, as may be presumed
from the presence of the Saxon rue, but they were taken, probably,
from older originals. Keysler, in his recent travels (( Hannover,
1751-4/ 1 ster Theil, vi Schreiben, s. 27), alludes to these figures
of the Dukes of Brunswick as statues placed in the ' autorshofe ' at
Brunswick, and at the same time refers to the previously- mentioned
work of Bucelini, and to the portraits of princely personages in the
% Rathhaus ' at Luneburg."

Leber and Chatto treat Breitkopf s theory of bell decoration
very slightingly, the former remarking on the costume of Breitkopf 's
illustrations: " II est hors de toute vraisemblance qu'on y ait suppose
une parure de grelots etrangere au monument original." Chatto
observes : " Breitkopf !s conjecture is undeserving of remark ; had

66 COMMENTARY ON AND

he asserted that his old German emperors and princes were adorned
with bells to indicate their rank and precedence in the manner of
leading pack-horses he would, perhaps, have been as near the truth. "
(Bibl. 4, p. 240.)

The form of the sclielle, grelot, or bell, on the " old German
princely-bell costume " of Breitkopf, and on the numeral cards of
Germany, is denied by Lampe (" De Cymbalis Veterum ") to bear
resemblance to the KporaXov, Kpuxrfta, ctotalum et crusma, of the
Greeks and Romans, which are frequently translated by the word
grelot, " et en effet la figure du grelot ne se retrouve dans aucun
monument d'une antiquite* bien etablie." (See note 4, p. 242, in
Chatto, Bibl. 4.) l

Some writers make the schellen of the German numerals answer
to the danari (money) of the Italian suits, and to the carreaux
(diamonds) of the French cards, instead of to the spade and espadas
of the southern numerals, and the piques of the French series.
Laub or griin, they regard as the correlate of spade and pique,
while others compare the former with bastoni, trefles, and clubs.

Three well known writers — Daniel, Bullet, and Leber — pro-
pounded theories of which the following are short abstracts.

According to Pere Daniel, the signs of the French suits are
emblematic of the necessities of war. Trefles — trefoil, or the
clover-plant — symbolize " forage;" piques, "pikes and powder-
shovels ;" carreaux, arrows, stones, etc., shot from crossbows — the
carreau being a kind of heavy arrow having the head carre, or
squared. Coeurs signify the bold hearts and courage of soldiers.

Bullet accepts with some modifications Pere Daniel's theory. He
supposes that the sign piques represents offensive weapons, like the
pique or lance, and that of carreaux, defensive arms, as represented
by a lozenge-shaped buckler.

In Leber's opinion, the sign coeurs explains itself, being a symbol
of the nobler sentiments, and especially indicative of intrepidity
and courage. Trefle is a flower, or fleuron, with three branches,
symbolical of the mysterious number 3, or the sacred ternary. It
is the three-branched fleuron which appears on the monuments of
the early French kings, but in consequence of its having been badly
designed, and worse understood, it became confounded with the
heraldic fleur-de-lis, and is now in fact displaced by it. Carreau
is a square placed lozenge- wise, as an emblem of constancy and firm-
ness. The genius " Fortune " is always represented as standing by
one foot on a wheel or globe to signify her instability. The oppo-

1 In an engraving by Mantegna (B. xiii. p. 240, n. 19), known as " La Bac-
clianale a la Cuve," two figures may be observed decorated with grelots ; at least,
in the copy by Zoan Andrea (?) now before us such is the case.

DESCRIPTION OF THE PLATES. 67

site idea to unstableness was attached to a square or cube, considered
as a firm and immovable base. It was for this reason that the
ancients placed the figure of Wisdom and Firmness on a cubical
support, and Aristotle speaks in a like sense when he tells us that a
true philosopher should be square — carre — that is to say, immovable
in courage and virtue.

The pique, according to Leber, represents the head of a lance,
and signifies the warrior force, or soldier, and is the equivalent of
the spada of the Italian numerals.

Thus the French suits typify four monarchies or political societies.
The suit coeurs signifies a State governed by a generous and coura-
geous prince ; trejles, one ruled over by a sovereign wise and just ;
carreaux signifies a community swayed over by a king both con-
sistent in principle and decided in action; while the suit piques
implies the appanage of a warlike ruler, who owes his territory to
his arms.

THE SUIT-MARKS OF ENGLISH CARDS.

HILE the English names of the suits are in part adopted
from those of the Italian and Spanish cards, the signs or
marks of them are exactly those of the French numerals.
It is most probable that the term " spade " given in England
to the French sign pique, is derivable either from the spada
of Italian, or the espada of Spanish numerals ; while the term
" clubs " is related to bastone of the Italian, and to basto, or baston,
of the Spanish suit, though here applied to the French sign trefle.
(Vol. i. pp. 33, 240, E. 183.)

' ( The Hon. Daines Barrington, in his paper in the eighth volume
of the ' Archseologia/ ' On the Antiquity of Card-playing in England/
maintains the probability that cards of the Spanish type, and bearing
the marks of cups, money, clubs, and swords (of the Spanish names
of the last two, bastos and espadas, our clubs and spades are certainly
of the one a translation, and of the other a corruption), preceded the
adoption of French cards in this country ; and he endeavours to con-
nect them with the arrival of Philip the Second and his suite ; though
an equally plausible argument might be founded on the marriage of
Henry VIII. with a Spanish Princess, Catharine of Aragon, of
whom it is recorded by Sir William Forest, that in her youth —

" ' With stoole and with needyl she was not to seeke
And other practiseings for ladyes meete
To pastyme at tables, tick tacke, or gleeke
Cardis and dyce ' &c.

" Mr. Chatto, in support of this assumed priority of the Spanish
cards, remarks that the knave, or jack, of our popular game, the

68 DESCRIPTION OF THE PLATES.

meaning of which he defines to be ' a servant of low condition/ has
more affinity in character with the Spanish sota, or the Italian fante,
than with the French valet, which, in the earliest French cards,
always bears the name of some person in romance or history. This
sense of knave, however, which is curiously parallel to the modern
sense of valet — like the still earlier one of ' man-child/ soon became
obsolete, and the word came to be used exclusively to denote
cheat or dishonest person. According to the same author, the
original of the English term ' Jackanapes/ was in all probability
Jack-a-na'ipes, i. e., a buffoon in a parti-coloured dress, like a
knave on cards. (See a very interesting discussion in Mr. Chatto's
'Facts and Speculations/ p. 230.) The earliest use of this appel-
lation occurs in a ballad in the British Museum, date about 1450,
where Jac Napes is applied as a term of reproach to the unfortunate
Duke of Suffolk, then lately murdered." (Taylor, Bibl. 9, p. 140.)

On the other hand, Singer refers (Bibl. 8, p. 37) to a volume of
Latin Dialogues, printed at Antwerp in 1533, in which the suit of
piques, or our own " spades," is termed ligones, and he observes :
" The resemblance of the object represented on cards of that suit to
one of the forms of the agricultural spade is striking, and hence
we may account for the origin of this denomination." So also
Chatto, who remarks in a note at p. 230 : " It is but fair to
observe here that the Dutch name for the suit which we call
spades is scop, or shovel, or spade ; and that, as this name has
been evidently given to the suit from the mark bearing some resem-
blance to a spade, the same suit might have been called spades by
the English, for the same reason. This objection, however, does
not affect the conjecture with respect to clubs." In the " Nuga3
Venales," printed in Holland, 1648, we meet with the following :
" Query. — Why are the four kings of cards, Diamonds, Trefoil,
Hearts, and Spades — Ehombuli, Trifolii, Cordis, et Ligonis — always
poor ? Answer. — Because they are always at play, and play,
according to the proverb, is man's perdition. Their state is also in
other respects most miserable, for when through them much money
is lost, they are condemned to the flames, and burnt like wizards.
The modern Dutch names for the suits of French cards are hart,
heart ; ruyt, a lozenge-shaped figure, a diamond -shaped pane of
glass — diamonds ; Haver, clover, trefoil — clubs ; scop, a spade,
shovel, or scoop = spades."

In some systems of cartomancy the suit of diamonds is con-
sidered to offer, during the operations, the signs of bad omen ;
while in others the suit of spades performs that function. On the
u king of diamonds " reference may be made to vol. i. p. 162 ; and
on the " nine of diamonds " or the " curse of Scotland," Chatto,
Bibl. 4, p. 266, should be consulted.

PLATE VI. LOWER PORTION.

ANIMATED MARKS OF SUITS.

N the lower part of plate 6 are very slightly reduced
facsimiles of four circular cards, from the series de-
scribed in vol. i. p. 209 as the " Circular Cards by
Telman von Wesel" (G. 144).

These specimens are given for the purpose of illus-
trating a variety of the so-termed "animated suits" of early
German playing-cards (vol. i. pp. 47, 207). The pieces selected
are : the four and five of the suit of parroquets, the ace of that suit,
and the ace of hares.

Of the engraver of these cards — "TWW — very little is known.
He must have lived during the first decade of the sixteenth century,
since he copied some of the earlier works of Albert Diirer; though
judging from the general style of his technic he may have worked
also during the latter portion of the fifteenth century. Telman
von Wesel has been considered to have been a goldsmith-engraver
of the lower Ehine, as his name indeed would indicate. On his
copy (Heller, No. 135) of Albert Diirer's "Nativity" (Heller,
No. 127) is the following inscription : —

" DJT : HUS : JS : GOT : BEKANT :
IT : HUS: TO: ....LEM: IT: GENANT:
TELLMAN : OP: DEN: DJCK : TO: WESEL."

The set of cards from which the present examples have been
taken is considered to represent the engraver at his best.

It has been supposed that cards having animated marks of suits
and delicately engraved on copper, produced at the end of the
fifteenth century and beginning of the sixteenth, were not intended
to be used in actual play.

The earliest German cards known have animated suit- marks,
and are considered by Merlin as belonging probably to the end of
the fourteenth or the beginning of the fifteenth century. They are

DESCRIPTION OF THE PLATES.

preserved in the Royal collection at Stuttgart. The suits appear
have been formed in illustration of the pleasures of sporting, as one
suit has for its sign the " dog," another the " falcon/' a third the
"stag," and a fourth the "duck." Admirable representations oi
four of the figure-cards may be found in Merlin's Treatise, plate
60, 61.

PLATES XIII. AND XIV.

SUIT-MARKS OF A COMPOSITE CHARACTER.

N plate 13 are represented facsimiles, the actual size,
of three cardpieces from the sequence described in
vol. i. p. 189, G. 120.

The suit-marks in the rare and interesting series
from which these examples have been taken are of a
mixed character. The signs of three of the suits are of Italian im-
port, viz., cups, swords, and clubs, while the fourth suit has fruit or
the pomegranate for its symbol.

Although the actual design of the sword — here a scimitar —
and that of the club are not Italian in character, yet the interlaced
manner in which the marks of the suits on the nine of swords and
on the eight and nine of clubs are figured, evinces the spirit of the
Italian numerals. The designs of the vessels on the different pieces
of the suits of cups are of a Mediaeval or Gothic character, their
feeling and technic evincing the craft of both goldsmith and gold-
smith-engraver.

The cardpieces selected are the sevens of cups and pome-
granates and the queen of swords (vol. i. p. 191).

The remarks previously made (p. 64) in reference to schellen,
or bells, as a suit-mark should be referred to, as the pomegranate is
therein mentioned.

On plate 14 is given, in facsimile and of actual size, a full page
from the series G. 161, described in vol. i. p. 221, as the "Charta
Lusoria," or " Book of Cards," by Jobst Amman.

The series in question characteristically illustrates the curious
and varied suit-marks occasionally employed by the German de-
signers, for we have in the ' { Charta Lusoria " printers' ink-balls,
books, metal wine-cups, and glass or earthenware bossed vases, as
marks of the suits. It also affords an example of the amusing and
grotesque auxiliary compositions with which the Teutonic artists
adorned their cards. The example selected is the three of the suit

DESCRIPTION OF THE PLATES.

of bossed vases. The lines below the design may be freely trans
lated as follows : —

" Since man and wife are drunk and blind,
Behold, my friends, the dog has mind
To have his share and (ill his jowl,
So claims at once the roasted fowl ;
Thus, in such cases, none need wonder
Honour and riches oft sink under,
For such example as the master
Sets, will his servants follow after."

As to whether this series of cardpieces was intended for ordi-
nary play or not consult vol. i. pp. 222, 224.

PLATES XV., XVI., AND XVII.

N these plates are represented facsimiles, the actual
size, of three sheets from the series of German nume-
rals described at p. 192, G. 122 of vol. i.

The sheets chosen are No. 2 (plate 15), No. 5
(plate 16), and No. 3 (plate 17).

On plate 15 may be seen a knave of herzen, or roth, a king of
schellen, grelots, or bells, a knave of eicheln, or glands, and portions
of five other figures.

On plate 16 are a king of herzen, or roth, a knave of herzen, a
king of eicheln, and portions of cardpieces of the suits laub or griln,
schellen, herzen, etc.

On plate 17 are shown the four of herzen, the five of schellen,
the two of schellen, and portions of three other cards, the central
piece being of the suit schellen.

On the two of schellen, in plate 17, is the figure, comparatively
large, of a lion, below the marks of the suit. We may here recall
to mind that Mr. Chatto, who first described these cardpieces
(G. 122), and as not, probably, of a later date than 1440, and
executed from stencils, was of opinion that they were not unlikely
the production of a Venetian card-maker. This opinion was based
on the circumstance that "a lion, the emblem of St. Mark, the
patron saint of Venice, and a distinctive badge of the city, appears,
as in the annexed cut, in the suit of bells, and a similar figure, with
part of a mutilated inscription, occurs in the suit of acorns.-" (Bibl.
4, p. 89.)

It is a curious circumstance that the most ancient document
supposed to refer to wood-engraving in Italy is an order of the
Venetian Senate, of the date 1441, refusing to permit the importation

74 COMMENTARY ON AND

of playing-cards and figure stampide into Venice. It has hence been
assumed, and no doubt correctly, that playing-cards were then made
in that city, or otherwise the Senate would not have been petitioned
by the card-makers to preserve their monopoly. It has also been
assumed that such cards and figure stampide were executed by
means of wood- engravings ; an assumption of very doubtful accuracy,
since they may have been the product of pure hand-work and of
stencils, or of a process like that known as " block-printing," or
stamping. Passavant, however, maintained that from this order of
the Venetian Senate, and the particular terms made use of in it,
" engraving on wood was already (1441) known, and practised
throughout the extent of the Republic at a rather early period ; and
if not any examples remain of Italian playing-cards, or other en-
gravings on wood of this period, we are forced to conclude that
the art of wood-engraving had never obtained but a very secondary
rank there, and that it soon fell into desuetude."

Passavant then refers to the opinion of Chatto as to the
Venetian origin of the series of cards which plates 15, 16, and
17 partly illustrate: — " Chatto gives, it is true, in his work
entitled ' Origin and History of Playing-cards/ London, 1848,
p. 88, facsimiles of playing-cards preserved in the British Museum,
which he believes to be of Venetian origin, from the circumstance
that on the two of bells may be seen a lion, which he takes for
the lion of Saint Mark; but it should be observed that the lion
is not winged, which it would have been were it the heraldic lion.
We may remark, at the same time, that these cards, engraved on
wood (as is evident from the breaks observed in them), are copies of
playing-cards some of the original series of which are preserved in
the library at Berlin, as before stated. The latter cards are much
better drawn and engraved than are the cards in London, and if it
be maintained that the latter are really of Venetian manufacture
(which we cannot allow), they offer us but a sorry specimen of
Venetian art at that period." (Bibl. 7, vol. i. p. 130.)

We agree with Passavant as to the character of the lion on the
two of bells, but believe, on the other hand, with Chatto, that the pre-
sent cardspieces were worked from stencils, and not from wood blocks.
Of what process the Berlin examples are the result we cannot say,
as we have not seen them.

Mr. Taylor (Bibl. 9, p. 115) observes, in reference to the date
of production : " It is, after all, very possible that the estimated
antiquity of these cards may be erroneous ; for we have before us
examples of a pack answering in every respect the description given,
and corresponding exactly with the plates, save that the card-makers'
arms on the deuces is wanting, and on the nine of hearts the date
1546 is legibly impressed in Arabic numerals, and, in addition to

DESCRIPTION OF THE PLATES. 75

e colours before mentioned, yellow is employed for the bells and
the kings' crowns."

It is true that these remarks were more immediately applied by
Mr. Taylor to the German pack described by Mr. Gough in the
eighth volume of the " Archaeologia," and generally known as the
" Stukely cards " (vol. i. pp. 27, 193, 194) j but since he considered
the present set to resemble the " Gough cards w in essential
particulars, his observations as to the date of production of the
former series are not inapplicable here : —

" This resemblance [between the ' Stukely cards ' and the
stencilled cards of 1440 ?] is most strikingly seen in the king of
bells, the design of which in both packs is nearly identical. The
number of ' pips' appears also to have been the same, with the
same ' coat ' or court-cards, king, knight or superior officer, and a
knave or inferior — or, as Mr. Chatto expresses it, king, Jack, and
Jack's man."

In connection with what has been stated regarding the order of
the Venetian Senate in respect to figure stampide, the author's
"Introduction to the Study and Collection of Ancient Prints,"
2nd edition, vol. i. pp. 43-48, may be consulted for further details.

PLATES XVIII. AND XIX.

EREON are figured two sheets from the series

French numerals described at p. 110, vol. i. F. 4
and referred to in the table of noteworthy series
(p. 341) as the " Chatto cards," or the cards from the
binding of the u Sermones M. Vincenti."

On plate 18 is a facsimile, tho actual size, of the sheet con-
taining the valets of trefles and piques repeated. The valet of
trefles is entitled " Lancelot," the valet of piques, " Hogier."

On plate 19 is represented the sheet of pip-numerals con-
taining the four, five, eight, and ten of the suit coeurs.

It may not be out of place to recall here the statement of
Mr. Chatto, that, " From the red rose which appears on the shield
held by Valery,1 an Englishman might be justified in supposing
that these cards, if not of English manufacture, were more especially,
if not exclusively, fabricated for the English market, at a period
shortly after the accession of Henry VII., when the Red Rose of
Lancaster had obtained the ascendency." It must be remembered,
however, that at the period to which Mr. Chatto refers these cards
the union of the Roses had been effected by the marriage of
Henry VII. (red) with the Princess Elizabeth, daughter of
Edward IV. (white), a.d. 1486. The badge of Henry VII. after
this marriage was the Tudor rose — quarterly gules and argent.

In a note at p. 219 of his work, Mr. Chatto remarks:
"M. Duchesne observes that of all the old cards preserved in the
Bibliotheque du Roi only one displays a rose — namely, a king.
There is an old coat-card, engraved on copper, in the print-room of
the British Museum, which, like that alluded to by Mons. Duchesne,
has a rose as the mark of the suit."

We cannot strictly identify the card here alluded to by Mr.
Chatto, but under I. 142 (p. 92, vol. i.), and G. 143 (p. 207, vol. i.),
suits of roses are described.

See the sheet containing the two valets of cceu?s, in F. 42 (vol. i. p. 110).

PLATE XX

'N this plate are represented facsimiles, the actual size,
of eight pieces from the Hindustani series of circular
cards described under 0. H. 250, p. 331, vol. i.

" In the East," writes Boiteau d'Ambly " (op. cit.
p. 86), "the circular form is loved, is worshipped;
this form which is the symbol of Pantheism. In Europe we reject
it ; we prefer angles."

The examples selected are from each of the suits, red, green, and
yellow, and from the series or ranks of orange-yellow, medium green,
deep green, light red, deep red, and chocolate-red.

No. 1 is the three of geese of the series or rank orange-yellow.

No. 2 is the six of light- coloured birds with slate wings, of the
light red rank.

No. 3 is the ten of geese of the orange-yellow rank.

No. 4 is the schah, or king, of the light green rank, having a red
bird for its symbol.

No. 5 is the mounted (camel) wusseer of the medium green series
or rank, which has the goose for its symbol.

No. 6 is the mounted (white horse) wusseer of the deep red rank,
which has a black bird for its symbol.

No. 7 is the seated schah, or king, of the deep green rank, having
the goose as its symbol.

No. 8 is the seated schah, or king, of the medium green series,
which has the goose for its symbol.

For further details connected with the series from which these
examples have been taken reference should be made to vol. i.
pp. 331, 332, and in connection with the subject of Oriental cards
generally, to p. 58 of the first volume.

PLATE XXI.

seven

N this plate are represented twelve pieces, from six
different sets or packs of Chinese playing-cards.
Nos. 1 and 2, beginning at the left hand, are from
the set 0. C. 251, p. 333, vol. i. The examples given
are a figure from the suit of arms or batons, and the
of chains. Nos. 3 and 4 are from the set 0. C. 255,
p. 335, vol. i. The examples are taken from the suits of money
and heads.

Nos. 5 and 6 are from the set 0. C. p. 293 of the present volume.
The examples given are from the suits of tables and heads.

Nos. 7 and 8 are from the set O. C. p. 294 of the present
volume. They are from the suits of carriages and horses, which
have the signs of ticks and fishes respectively in the middle of
the cards.

Nos. 9 and 10 are from the suit 0. C. p. 296 of the present
volume. The examples given are from the suits of figures and
from the " animated " suit.

Nos. 11 and 12 are from the set 0. C. p. 295 of the present
volume. The pieces selected are from the suit of black knights
and the suit indicated by contracted characters not easily de-
cipherable.

PLATE XXII.

COPY of a miniature in a manuscript volume1 pre-
served in the British Museum, and fully described at
p. 14, vol. i. (Singer, Bibl. 8, p. 68, " Art Journal "
for 1859, p. 87.)

1 " Le Roman du Roi Meliadus de Leonnoys par Helie de Borron." Additional
MSS. vol. i. 1828-1841,^0. 12,228.

PLATE XXIII.

'N this plate are represented the actual and relative
sizes of some of the largest and smallest playing-
cards known.

No. 1. Actual size of old German figure-cards of
the fifteenth century. Preserved in the Royal col-
lection at Stuttgart. (Vol. i. p. 47. Merlin, Bibl. 6, plates 60
and 61.)

No. 2. Size of the Carte di Baldini, or the so-called " Tarocchi
of Mantegna," of the version of 1470 in the British Museum.
(Vol. i. p. 65. Bibl. 2, plates 21-70. Singer, Bibl. 8, p. 202.

No. 3. Size of the cards known as the " Gringonneur cards/' or
the " cards of Charles VI."" Preserved in the Cabinet des Estampes
de la Bibliotheque Eoyale de France. (Yol. i. pp. 13, 19, 24.
Bibl. 2, plates 2-18. Chatto, Bibl. 4, p. 198.)

No. 4. Size of a Flemish tarot belonging to a pack in the
British Museum. Fl. 103. (Vol. i. p. 179.)

No. 5. Actual size of a French numeral-cardof the nineteenth
century. From a pack in the British Museum. F. 63. (Yol. i.
p. 122.)

No. 6. Size of a tarot-card for a tarocchino game from a
sequence in the British Museum. I. 8. (Yol. i. p. 84.)

INDEX.

INDEX TO PROPER NAMES.

;aron, 64.

Acapulca, 31.

Addha-Nari, 52, 62.

A, Iva, 8.

Amman Jobst, 7 * •
"• Andrea Zoan, 66.
Angelo, Michael, 4.
Aragon, Catharine of, 67.
Aristotle, 67.

Baal, 54.

Baldini, 59.

Bancks, 26.

Barrington Daines, Hon., 67.

Bernbo, Cardinal, 50.

Bernabo, 3.

Bissell, 24.

Boccia, 7.

Bocciardi, 7.

Boiteau d'Ambly, 56, 69.

Breitkopf, 5, 51, 65.

Brunetti, 3, 4.

Brunswick, Dukes of, 65.

Bucelini, 65.

Bullet, 66.

Bungi, 53, 56.

Caen, 15.

Catharine of Aragon, 67.

Chatto, 40, 65, 67, 68, 73, 74-

Chigi, Donna Guilia, 3.

Colomba, 6.

Cotta, 23.

Court de Gebelin, 49, 51, S3, 57-

Cowell, 30.

Daniel, 66.
Darby, 31.
Desbarrolles, 51.
Douglass, Professor, 42.
Dubois, 18.
Duchesne, 76.

Dupe, Monsieur, 30.
Diirer, Albert, 69.

Eccard, 65.

Edward III., King, 25.

Edwards, 3 1 .

Egypt, 49.

Elisha, 54.

Elizabeth, Princess, 76.

Etteilla, 55, 56.

Ezekiel, $5, 58.

Ferdinand II., of Aragon, 7.

Ferdinando VII., 11.

F. G. B. (Berlin), 22.

Florio, 4.

Forest, Sir William, 67.

Forns, 12, 13.

Fortuna, 6.

Gebelin, Court de, 49, 51, $5, $1>

George III., Rex, 26.

George IV., King, 26.

Gibson, 26.

Ginsburg, 51.

Gough, 4, 75.

Great Mogul, 26.

Guelpho -Brunswick House, 65.

Hall, 26.
Heller, 69.

Henry VI., Emperor, 65.
Henry VII., 76.
Henry VIII., 67.
Hera, 51.
Hermes, 50, 53.
Herodotus, 57-

Isabella of Castile, 7.

Jackanapes, 68.
Jehovah, 63.

John, St., 58.
Judas, 56.
Juno, 51.
Jupiter, 51.

Keysler, 65.
Kircher, 50.
Kitto, 64

INDEX TO PROPER NAMES.

Rameses II , 57.
Reinbeck, 24.
Rhampsinitua, 57.
Ribou, 1 5.
Ilidan, 14.
RoxaB, 9.

Lampe, 65.

Landi, 5.

Lazzarini, 3.

Leber, 63, 65, 66.

Levi, Eliphas (Alphonse Constant), 50,

ss> 58.

Liege, 18.

Louisen von Preussen, 24.
Ludlow, 26.
LUneburg, 65.

Mandrou, 15.
Mantegna, 59, 66.
Medici, Cosmo de, 6.
Mercury, 50.
Merlin, 40, 59, 69.
Mithra, 62.
Mogul, the Great, 26.
Morris, 30, 31.
Munich, 6.

Napoli, 13.
Noah, 53.

Osiander, 24.
Osiris, 60.
Otto IV., 65.

Passavant, 74.
Payer, 57.
Philip II., 67.
Pignalosa, 13.
Postel, 58.
Pythagoras, $$.

Seller, 36.
Shakespeare, 27
Singer, 68.
Smith,J., 4.
Solesioe, 8.

Stephens, F. George, 32.
Suffolk, Duke of, 68.
Sure Card, Monsieur, 31,
Swabia, 35.

Taylor, $$, 68, 74.
" Tegetthoff," 57-
Telman von Wesel, 69.
Thauth, Thot, 50.
Tofani, 5.
Turkey, 19.
Tuscany, 4.

Valery, 76.
Vanni, 5.
Volay, Jehan, 7.

Wales, Prince of, 26.
Wales, Princess of, 26.
Watson, C. Knight, 4.
Weigel, 35.
Weingarten, 65.
Wesel, Telman von, 69.
Wheeler, 25, 26.
Wilson, 36.
Wulphild, 65.

Zestermann, 35.
Zeus, 51.
Zoroaster, 49.

INDEX TO SUBJECTS.

BRAXAS, 54.

Acorn ornaments, 35.

Addha-Nari of Hin-
dus, 52, 62.

iEdipi Egyptiaci, 50.

Almanack cards, 23.
Amateur, engravings of an, 36.
Amusing cards, 14, 23, 29.
Animals of Kabbalah, 58.
Animated cards, 43, 69, 70.
Antiquaries, Society of, 4, 6.
Archasologia, 4, 67.
Archangels, the chief, 54.
Atutti, 5.

Bacchanale a la Cuve, La, 66.
Baldini, Carte di, 59.
Bells, 64, 65, 66.
Bell decoration, 66.
Book of Cards, by Jobst Amman, 7 1 .
Books (suit-marks), 71.
Border lines, broken in Spanish cards,
8.

Card makers, 49.

Cards, amusing, 14, 23, 29.

animated, 43.

costume, 19.

circular, 39.

of Charles VI., 55.

educational, 28.

with fables, 20.

English, 25, 67.

emblematic, 5.

geographic, 10, 12, 28.

of Gringonneur, $5.

humorous, 29.

satirical, 30, 31.

sizes of, 80.

of European origin, 1, 47.

of Eastern or of Oriental origin, 47.

Cards, Chinese, 41, 78.

for ecclesiastics, 36.

English, 25, 67.

Flemish, 18.

French, 14, 63.

German, 19, 63, 69.

Italian, 3.

of Rouen, 7.

Spanish, 7.

Oriental, 37, 39, 77.

Hindustani, 77.

Book of, by Jobst Amman, 7

the " Chatto," 76.
Carreaux, 66.
Carte di Baldini, 59.
Cartomancy, 48, 68.
Cavalli, 5.
Charior, le, 53.
Charles VI., cards, SS-
" Charta Lusoria," 7 1 .
" Chatto cards," the, 76.
Chinese characters, 4 1 .

playing-cards, 41.
Cipher, sacred, 35.
Circular-cards, 39.
Coate-cards, 8.
Cceurs, 66.

Collection, Weigel, 35.
Costume-cards, 19.
Cotta's card almanack, 23.
Cross, Holy, 35.
Crowned Heads of Europe, 3 1 .
Cteis, 63.

Cups (suit-mark), 71.
" Curse of Scotland," 68.

"Death," 56.
Diamonds, King of, 68.

nine of, 68.
Divination, 48.
Dog (suit-mark), 70.

86 INDEX TO

Domino points, 43.
Duck (suit-mark), 70.
Duty on cards, 26.
stamp, 26.

Ecclesiastics, cards for, 36.
Educational, instructive cards, 28.
Edward IV., 76.
Eicheln, 35.
Emblematic cards, 5.
Emerald table of Hermes, 5 1 .
English cards, 25.
English suit-marks
French „

German „

Italian „

Spanish „
Espadille, 16.
Evangelists, symbols of, 59.

67, 68.

61, 66, 67.

62, 63, 66.
61,62.
61, 62.

Fable cards, 20.

Falcon (suit-mark), 70.

Falconry, 64.

Fancy Shakespeare cards, 27.

Fantiglie, 5.

Figure stampide, 73, 75.

Flemish cards, 1 8.

Fleur-de-lis, 66.

" Fortune," 66.

France and Germany, suit-marks of, 63.

Geographic cards, 10, 12, 28, 36.
German cards, 19.
numerals, 20.
German suit-marks, 73.
Grelot, 66.

Grenville Library, 32.
Gringonneur cards, $$.

Hares, suit of, 69.
Hermanubis, 55.
Hieroglyphs, 49.
Hindustani cards, 39.
Holy Cross, 35.
Humorous cards, 29.

Ink balls (suit-marks), 7 1 .
Isis of the Hindus, 52.
Italian playing-cards, 3.

Jackanapes, 68.

Kabbalah, 47, 48, 51.

animals of, 58.
Karo, 23.

King of diamonds, 68.
Knighthood, orders of, 25, 26.

Lancaster, red rose of, 76.
L'Hombre, 15, 16, 17.
Lingam, 55.
Lion of St. Mark, 73.

Maison, Dieu le, 57.

Mantegna, tarocchi of, 59.

" Marte," 60.

" Matto," 4, 59, 69.

Meil, 64.

Menchia, 4.

Menchiatte, 4.

Mensa isiaca, 50.

Minchiate, 3, 55, 57.

Miniature, of playing at, cards, 79.

in Le Roman du Roi Meliadus, 79.
Miscellanea, 15, 17, 30.
" Misero," 59, 60.
Monde, Le, 59.
Mort, La, 56.

Name, the Divine, 63.

Naypes, 8.

Nine of diamonds, 68.

Numeral-cards, signs of their suits, 61.

Numeral series, 5.

Numerals, English, 25.

Flemish, 18.

German, 20.

German, suit-marks of, 73.

Spanish, 7.

Old cards at Stuttgart, 69, 70.
Orders of knighthood, 25, 26.
Oriental playing-cards, 37, 77*
Osiris, 60.

Pape, le, $1,

Papesse, la, 51.

Parroquets, suit of, 69.

Pendu, le, $5-

Pick, 23.

Piquet (English), 27.

Phallus, 63.

Plates, description of, 47, 49.

Political and personal satires, catalogue

of, 32.
Politico-Satirical cards, 30, 3 1 .
Pomegranate (suit-mark), 64, 91.

Red Rose of Lancaster, 76.
Rose, Red, of Lancaster, 76.

SUBJECTS.

Rota, 58.

Roue de Fortune, la, 55.

Satirical cards, 30, 3 1 .
Schah, 39.
Schelle, 66.
Schellen, 64, 66.

or Grelots or Bells, 66.
Scotland, curse of, 68.
Septenary principle, 53.
Sermones, M. Vincenti, 76.
Seven, the number, 53.
Signs, symbols of suits, explication of,

62.
Signs of suits in Italian cards, 61.

Spanish cards, 6 1 .

French and English cards, 6 1 .

German cards, 62.
Signs, symbols of suits, 6 1 .
Spain, Kings of, 1 1 .
Spanish numerals, 7.

playing-cards, 7.

with broken border lines, 8.
Sphere, flying, $$.
Stag (suit-mark), 70.
Stamp duty, 26.
Stuttgart, old cards at, 69, 70.
Suits, animated, 43.
Suit-marks, animated, 69, 70.
Suit-marks of various countries, 61,

of England, 67, 68-

of France, meaning of, 66, 67.

Germany, meaning of, 66.

composite, 71.

Symbols of ancient Tarots, 53.
of Evangelists, 58.

Table of Cardinal Bembo, 50.

of Hermes, 51.
Tarocchi, 4, 59.
Tarocchi Valore, di, 3.
Tarocchi of Mantegna, 59.
Tarocchino di Bologna, 56.
Tarok-Karte, 19, 20.
Tarot, the, 58.
Tarots, symbol of ancient, 53.

German, 19.

Italian, 58.

Venetian, 5.
Tau, SS

" TegetthofF," the, 57.
Tetragramma, 50.
Thot, Book of, 50, 56.
Tora, 58.
Trefle, 66.
Turkish costume -cards, 19.

Valery, 76.

Valore di Tarocchi, 3.

Varia, 35.

Vases, bossed (suit-mark), 7 1 .

Venetian Lion, 73.

Senate, 73.

Tarots, 5.

Wheels of Ezekiel and Pythagoras,

SS, 58.

Wine-cups (suit-marks), 71.
Wusseer, 39.

CHISWICK PRESS :— C. WHITTINGHAM, TOOKS COURT, CHANCERY LANE.

PHOTOGRAVURE & IMP GO.UP1L & ClE _ PARIS _ LONDRES

Ill

LA FOPvCE

XVI

LAMAISQN-DIEL'

. >■■''. . ■ . 'M'j-H ■

xviu

LALVNE- G3

HOTCCRAVUP.F, . ' UONDEEi

Vll

MIS ER'O

PHOTOGRAVURE & IMP C-OUPIL & C-B_ PARIS ..LONDRES

Vlll

XXX

W GOUPIL &.- C1". PA.PJS-LON

J A

YiBlI

■•

♦

Xll

Xlll

lIS_liONDRES

XIV

Dbrmtt herus, potateoniuiiXj cam's fmpfgertfcar
Relliquias avido vendicat ore fibi:

Et miraniadhuc bona maxima difsipari'
Interdum: ut Dominus,Ocetiam famuli*.

'HBtitJjtttrvnt 5ratt> ftin wtl tm& blinb
WomyQtint sd&awfir&cfi' JpauggeftnD
©er J^unt)/ fa*w% fan t^eft wt( {jan/
®t*1taf <tr Jputt* ficfc ma ffef an;
©er m$m ftcfc n«r nfmtatiB tmwtkr/'

'<* >"!

i. .

!HftW

•O;

3 /

•— v,! ">-

'<■

•t • ^ 'A

m-i .

;>»- — V-' -•*. mm*

t-.*K

^'F^SJ*

PHOTOORAVURK 8. 1MR GOUPIL 1.-. CF _ PARIS - LONDRKS

XVI

■y^s,

55^-ra

XV11

•

XIX

V
V

¥
V V

¥ ¥

V/ V

- -

XXI

v. *> »— ; — — -^

tf>

» »

' : C-CL'PIL fc CIE - PARIS . LOr

XXII

& J^e

XXU1

6. Trench; Numeral' of Id*?1' Century, ircnv cu pack in/ -(he/

British/ Museum^ (J£. 68 J
6. Tarccchcno -hxrob of 17*^ Century, •frcrw w scries ins ffie/

JBrMsTi/ MuscluWj (1*8*)

V 9 M VS IWW

wA^

GV British Museum

1235 A descriptive catalogue of

B68 playing and other cards

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "A descriptive catalogue of playing and other cards in the British Museum, accompanied by a concise general history of the subject and remarks on cards of divination and of a politico-historical character"

See other formats