Has anyone read the folded sheet of paper that comes with every Il Meneghello deck? Recently I became curious enough to dust off my Italian dictionary and read it carefully. Osvaldo Menegazzi, the owner and artistic force behind Il Meneghello, is a native of Milan who’s been immersed in tarot most of his long life. I was hoping for special insights from a Milanese perspective. Instead I got a dose of Oswald Wirth. Read more
Posts from the ‘Tarot History’ Category
Yves Reynaud has produced facsimiles of historically important decks like the Madenié, Burdel and Conver. Now he’s done it again with a recreation of the 1713 Jean-Pierre Payen Tarot, one of the few Tarot de Marseille Type I decks available to purchase. If you’re familiar with any of Reynaud’s decks, the Payen is the same high-quality, limited-edition production housed in a sturdy box. Let’s put this deck in context with the Tarot de Marseille tradition. Read more
Hop on a magic carpet and let Jean Huets fly you back to 1447, when a war between Milan and Venice had northern Italy in turmoil, the Sforzas were still a few years away from ruling Milan, and tarot was a novelty.
The Tarocchino Bolognese engraved by Giuseppe Mitelli is a unique treasure. Just as the Visconti-Sforza deck was a luxury item commissioned by an aristocrat from a prominent artist in Cremona, this exceptionally beautiful deck was commissioned around 1660 by Count Bentivoglio of Bologna from a prolific Bolognese artist. Read more
Yves Reynaud, who has given new life to historically important TdMs like the Burdel, Payen and Madenié, just issued his restoration of the 1760 Conver deck in a limited edition of 1500. A decade ago, the only historically correct version of this deck on the market was a photo-facsimile of a deck housed in the Bibliothèque Nationale in Paris, published by Heron around 1980. Reynaud has based his restoration on this deck. Read more
Sigismondo Malatesta, bad boy of the Renaissance, gave us our first documented evidence for tarot. Researcher Franco Pratesi discovered a note in a Florentine account book dated September 16, 1440 saying a deck of naibi a trionfi had been sent to Malatesta that was beautiful, expensive and decorated with his arms. In 1452 he surfaced again in connection with tarot. Bianca, the Duchess of Milan, sent a note to her husband Francesco saying Malatesta was asking for the trionfi cards that were made in Cremona. Read more
Waves of shock and grief are rolling through a large segment of the tarot community in reaction to the announcement that www.tarotforum.net will be shut down as of July 14, 2017. Since 2002, Tarotforum has been one of the largest and best-moderated communities on the internet. When Tarot_L on Yahoo shut down over a decade ago, Tarotforum became my go-to place for tarot history. I’m greatly relieved to learn that the forum will still exist in read-only form, so we won’t be losing its huge storehouse of information. Read more
Are you ready for immersion in the electrifying atmosphere of pre-revolutionary Paris? Etteilla, Cagliostro and de Gebelin flourished in this era of scientific marvels, crackpot inventions and magnetic healing. Pseudo-science, alchemy, astrology, and fantasies of the Golden Age swirled about uncritically in the public mind. In this atmosphere, stories of golden tablets under the pyramids inscribed with ancient wisdom didn’t seem the least bit implausible. Read more
If you want to immerse yourself in the world that gave us the Visconti-Sforza and Sola Busca decks, this book, subtitled Arts, Culture and Politics 1395 to 1530, will deliver.
Nothing was ever the same in Italian politics and society after Gian Galeazzo Visconti purchased the title of Duke from the Holy Roman Emperor in 1395. Other rulers soon followed suit: the Gonzaga of Mantua, Montefeltro of Urbino, d’Este of Ferrara and the rulers of Savoy.
Unlike a French or German aristocrat who could trace his pedigree back to Charlemagne, a newly-minted Italian duke did not have a divine right to rule. These parvenus were acutely aware of their modest origins as merchants or condottieri who had usurped civic power. They felt tremendous pressure to over-compensate by amassing a trophy art collection and building ostentatious palaces that were stage settings for elaborate ceremonies and festivals. Read more