Tarot In History

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Tarot In History

From old records, it appears that playing cards first showed up in Europe in the 1300s. These had suits similar to the traditional Tarot: Swords, Staves, Cups, and Coins (still used in the traditional decks of Italy, Portugal and Spain) corresponding to today’s Swords, Wands, Cups, and Pentacles.

There is much disagreement as to the origin of the Tarot. However, documentary sources seem to indicate that the first Tarot decks were produced in northern Italy in the early 1400s. These decks had extra picture cards added to the then extant decks of playing cards. The new cards were, at that time, known as carte da trionfi, triumph cards. The extra cards were called trionfi a term that soon became trumps in English. The oldest cards that can be found today are partial decks which date back to the middle 1600s. These were painted for the Visconti-Sforza family who ruled Milan at that time.

Divination is a term that means getting information from the Divine. Documentary evidence suggests that Tarot was first used in divination during the 1700s. But divination using similar cards can be documented back as far as 1540.

A book with the title of The Oracles of Francesco Marcolino da Forli introduces an easy method of divination using the coin suit of a regular playing card deck. Writings from 1735 (The Square of Sevens) and 1750 (Pratesi Cartomancer) record vestigial divinatory significations for the cards of the Tarot, in addition to a system for putting down the cards. In 1765, Giacomo Casanova penned in his journal that his Russian mistress oftentimes used a deck of cards for divination.

Early Cards:

Christian Europe first encountered Playing cards some time prior to 1367 - with a document forbidding on their use, in Bern, Switzerland. Prior to this, cards were used for many decades in Moslem Al Andalus. Early European authors identify a pack of cards with generally fifty-two cards, like a modern deck without any jokers. The seventy-eight-card Tarot came from adding the twenty-two trumps to an early fifty-six card variation (fourteen cards per suit).

Extensive employment of cards in Europe can, reasonably, be given from 1377 forward. Tarot cards seem to have evolved some forty years later, and they're referred in the existing text of Martiano da Tortona. Da Tortona's textual matter is believed to date to between 1418 and 1425, because in 1418 the artist Michelino da Besozzo came back to Milano, and Martiano da Tortona passed away in 1425.

Da Tortona reports a deck of cards somewhat like those utilized for Tarot card games in several particulars though what he reports is more a harbinger to tarot than what we may have in mind as actual Tarot cards. For example, his pack of cards only has sixteen trumps, with themes that are not like common Tarot cards (they're Greek gods) and the suits are four kinds of birds, not the regular Italian suits. What establishes da Tortona's deck as similar to today's tarot game cards is that the sixteen cards are evidently considered trumps in a card game; approximately a quarter of a century later, Jacopo Antonio

Marcello, spoke of them as a "ludus triumphorum", or "game of the triumphs". The succeeding papers that appear to affirm objects similar to Tarots are two decks of cards from Milan (Brera-Brambrilla and Cary-Yale-Tarocchi) - extant, but fragmental - and three written documents, all from the court of Ferrara, Italy. A precise date on the cards cannot be established, but it is reckoned that they were created around 1440. These three texts go back to January 1, 1441 to July 1442, with the word trionfi first documented in February 1442. The text from January 1441, which utilized the term trionfi, is viewed as undependable; nonetheless, the fact that the same artist, Sagramoro, was hired by the same patron, Leonello d'Este, as in the February 1442 document, suggests that it is at least plausibly a representative of the same type. Subsequently to 1442 there are approximately seven years with no examples of like material. The game seems to have gained in importance in the year 1450, a Jubilee year in Italy, in which there were many celebrations and the movement of numerous pilgrims.

It's plain that the themes portrayed on the trumps, which were appended to the normal deck of cards with a 'four suits of fourteen cards' structure, were ideologically influenced. They're believed to depict a specific system of carrying subject matter* of a different message; early illustrations demonstrate social, philosophical, and astrological themes, for example, in addition to a group of old Roman/Grecian/Babylonian heroes, as in the instance of the Sola-Busca-Tarocchi (1491) and the Boiardo Tarocchi poem (created at an unidentified time between 1461 and 1494). For instance, the earliest-known pack, surviving only in its verbal description in Martiano's small book, was developed to demonstrate the organization of Greek gods, a subject that was popular in Italy at the time. Its creation could have accompanied a triumphant celebration of the commissioner Filippo Maria Visconti, duke of Milan, implying that the function of this deck of cards was to convey and consolidate the political power in Milan (as was normal for early artworks of the time). The four suits depicted birds, themes that appeared regularly in Visconti heraldry, and the order of the gods gives grounds to presume that the deck was meant to imply that the Visconti identified themselves as descendants from Jupiter and Venus (which were considered not gods but deified human heroes).

The earliest existing Tarot cards are three early to mid 15th century sets, all created for members of the Visconti house. The first deck is the alleged Cary-Yale Tarot (or Visconti-Modrone Tarot), which was produced sometime between 1442 and 1447 by an anonymous artist for Filippo Maria Visconti. These posters (just 66) are now in the Yale Library of New Haven. But the most notable of the early tarot cards were created in the mid 15th century, to observe the rule of Milano by Francesco Sforza and his wife Bianca Maria Visconti, daughter of the duke Filippo Maria. These cards were likely, painted by Bonifacio Bembo. Thirty-five of These cards are in the Pierpont Morgan Library. Thirteen of them are at the Casa Colleoni. Twenty-six are at the Accademia Carrara. Two cards, 'The Devil' and 'The Tower', are lost, or perhaps never created. This widely copied "Visconti-Sforza" deck blends the suits of swords, batons, coins and cups with the court cards King, Queen, Knight and Page with Major Arcana Cards that depict established iconography of the time.

Because the early tarots were hand painted, Tarot cards were an exclusive right of the upper class for many years, and, even though some preachings railing against the wickedness innate in playing cards date back to at least the fourteenth century, most civil authorities didn't regularly doom tarot cards during tarot's early years.

Later Tarot Decks:

Not until the invention of the printing press was the mass production of cards possible. Cards from this era survive from various areas in France (notably, the Tarot de Marseilles, named for the city of Marseilles where they originated). During this same period of time, the designation tarocchi came along.

A French occultist named Alliette, under the pen name "Etteilla" (his name transposed), who functioned as an oracle and Tarot card reader shortly before the French Revolution, introduced the first wide publicity of prophecy by tarot. Etteilla contrived the first esoteric Tarot deck, by adding astrological symbolism and "Egyptian" themes to several cards, changing them from the Marseilles pictures, and appending divinatory meanings in text right on the cards.

During the latter 1700s and 1800s.. Tarot began to be associated with esoterica. In 1781, a Swiss Freemason and clergyman, by the name of Antoine Court de Gébelin, released Le Monde Primitif, an exploratory analysis which included religious symbolism as it appeared in the contemporary world. De Gébelin maintained that the symbolization of the Tarot de Marseille exemplified the mysteries of Isis and Thoth.

Eliphas Lévi saw Tarot as a mystic key and brought it to the English-speaking world. Lévi, not Etteilla, is believed by many to personify the real "founding father" of most present-day schools of Tarot; his 1854 Dogme et Rituel de la Haute Magie ("Transcendental Magic", in English) presented a rendering of the Tarot which connected it to Hermetic Qabalah.

Tarot divination became popular the Americas from 1910 on, with the release of the Rider-Waite-Smith Tarot (contrived and illustrated by two members of the Golden Dawn), which built upon the traditionally simple pip cards with designs of symbolic pictures. Waite's deck likewise further veiled the Christian allegories of the Tarot de Marseilles and of Eliphas Levi's packs by changing some of the symbolism (for instance changing "The Pope" to "The Hierophant" and "The Popess" to "The High Priestess"). The Rider-Waite-Smith deck is still the number one selling Tarot deck in the English-speaking world.