Okay thanks Dave, I appreciate your comments.
Yeah, everybody has their own theory, including the people from the Renaissance. There is no doubt the concepts worked back and forth, but to pin it down into *one* correctly numbered allegory as Place does made no sense to me.
Minchiate decks have many more majors majors in them, some of them like the tarot trumps, some not, and some of the tarot trumps change the names--I think Juno and Jupiter from the Minchiate are the Empress and Emperor in tarot or the Pope and Popesse--the concepts moved around and were customized by the people of the day, including within parades where Jupiter and Minerva, Venus, Mars, Vulcan et al. were very popular. Death and the Fool seem to have been standardized, if not in position, than in use.
I was quite surprised that Place would describe allegorical absolutes with such conviction, bordering on rhapsodic rhetoric, since he seems careful about history, examining various theories and symbolism and telling people that we don't really know. He's quite devoted to this theory of an allegorical absolute of 22 cards in such and such an order, which does not hold true under evidence.
The things he explains as reasons for his conviction are things like the parades which varied widely as I said, so I have no idea why he has latched onto this dogmatic assumption. You are right in saying that concepts influenced, but there is no evidence that all the symbolism was standardized in these years, in theory or in practice, and yet Place says it was and it contained a mysterious allegory.
I'm sure that a general body of beliefs about Triumph parades came into being -- coalescing into an "ideal" that may not have matched either the small town parades or the larger city parades.
I don't agree, I think this is a fallacy of our time. We are projecting those standardized beliefs and ideals in a yearning for a set theory of mysticism. There is no evidence that they were standardized.