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Huck  Huck is offline
Join Date: 02 Jul 2003
Location: Germany
Posts: 2,682

Ha ..

... and now we've the nice occupation to find the riddle of this 16 cards.

0 Fool ... we've a Fool possibly already 1441 (in the present of Bianca Maria)
and with security in the 14 Bembo cards. We've the suspicion, that the iconography of the Florentine Fool (very different to the Bembo-Fool) was influenced by the Morgante of Pulci.

4 Emperor ... we've an Emperor in the Brera-Brambilla, we've an Emperor in the Karn÷ffel trumps, we've an Emperor likely in the Imperatori, in the Cary-Yale, in the Bembo. The Emperor is the most stable thing in the game. From Florence and the Apollonio Virgil-edition we've an (Emperor or King) Priamos with a similar crown.

5 Pope ... we've a Pope in the Karn÷ffel-trumps, likely in the Imperatori-game, not in the Cary-Yale-fragment, but in the Cary-Yale reconstruction and in the Bembo cards. And a Jupier with a similar hat or tiara as the pope in the Apollonio Virgil edition.

6 Love ... an unusual love with 3 pairs and two cupidos, totally 8 persons. We've a love card in the Cary-Yale (marriage deck) and in the 14 Bembo cards.

7 Chariot ... we've a male charioteer and he looks young and the chariot might have Medici heraldic with 7 palle .... we've a femele charioteer in the
Cary-Yale and in the Bembo cards

.... and we've here the first horse-symbol and we've also a death on horse and one needs two horses for chess.

And the most remarkable thing of the whole deck is the Tower (and this was never in Milan), but it was hidden in the Cary-Yale on the fame and the judgment card.

Fame isn't in the Charles VI, but there is a Tower. And the judgment cards has trumpets and trumpets are the symbol of the elephant and the elephant is used as chess-tower.

The deck has no empress. In chess this would be the Queen. It's missing in this deck, as the Queen is missing in all oriental chess games, and I think, that these have often an elephant.

So the Rooks of chess are indicated in the Judgment and Tower card. In the Cary-Yale reconstruction the towers were given to Judgment and Fame.


This deck reads the chess pairs (2 towers, 2 knights, 2 bishops) in dualistic negative/positive form:

Chariot with horses (triumph / victory) - positive
Death on horse (death / defeat) - negative

Angel (the dead people are happy and come back to life again) - positive
Tower (a scene of destruction) - negative

bishops (mostly seen as advisors in chess):
Time (shown as a wise man in this Trionfi card version) - positive
Hanging Man (the traitor) - negative

in this version the pope, follwing the oriental standard, which knows no queen



In comparition to the Cary-Yale version (reconstructed) we've some changes:

Emperor for King
Chariot for knight
Death for knight
Angel for Rook

Fame is now Tower for Rook
Pope as bishop is now Time as bishop
Popessa as bishop is now Hanging Man as bishop
Empress as Queen is now Pope as Queen.

The reconstructed version of Cary saw as the pawns the 7 virtues and as the 8th factor "Love"

In the Charles VI we've the virtues reduced to 4 and the 8th factor is stable, though variated with now 3-4 pairs of persons.

New are:
Fool - presenting Florencian literature, the Morgante
Moon - presenting Florentian wisdom and Science, Toscanelli
Sun - presenting Florentian industry.


Well, it seems, that the Charles VI is a chess-version of the Trionfi-game of ca. 1463, following mainly the earlier Milanese version (1441) in a Florentine adaptation.
This adaptation should have had at least "one bridge" in 1450, a deck, which had at least one difference to the later Charles VI (Eastern Emperor, Western Emperor).

Perhaps one might assume, that this deck also had 80 cards (5x16 structure), as it is assumed for the Cary-Yale by us.


I'm interested to remind here, that we've more or less always presented the
viewing point, that the distribution of Trionfi cards (perhaps till 1470 or little later) was not very large.

The argument, that a 5x14-version or 5x16-version must have lead to more tradition in later decks, doesn't coun, if this distribution of these decks was limited only to a small circle.

Naturally the allowance of 1450 indicates a greater distribution, but nobody tells us, if this earlier edition was a large success. Perhaps these earlier decks were simply "too expensive" and the limitation to only few persons was a natural result.

So, let's declare a sort of success:

A young triumphator, the suspicion is given, that this representation aimed in a somewhat "humble" manner on the young Lorenzo de Medici, now proud 14 years old and with that "grown-up" in the mind of persons of the time.

There is read hat.

This is Cosimo de Medici, the grand-father, and there is the same red hat.

The same hat, but the color is missing.

A series of red hats to the left, the form of Cosimo's red (olf man on horse, leading) hat is variated.

It seems obvious, that this "red hat" had special meaning and that it is indicated, that this young man now belonged to a "specific class" of persons in Florence. Whatever this class was ... I don't know it for the moment.

There are on the chariot these 7-dots-elements.

It's said (we've seen this at more than one place), that the heraldic of the Medici changed their heraldic shield from 7 palle to the later usual 6 palle. However, it's difficult to find pictures with this 7 palle.

So there's an interest to find these 7 palle at contemporary "before 1465" pictures. (Well, it's possible, that pictures from earlier time were "updated" later to six palle).
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