Facts and Speculations on the Origin and History of Playing Cards

by William Andrew Chatto

Mons. Leber calls both Spanish and German cards Tarots, even though they may contain no Atous; which yet appear to have been the very pieces which were more especially distinguished as Tarocchi or Tarots; and from the use of which, in combination with other cards, a particular kind of game was called Tarocchino, or Tarocchio. Thus, in consequence of his not sufficiently distinguishing between Spanish and German cards, he speaks of the marks which occur on them indiscriminately; and explains Swords and Money as if they belonged to the same pack which has one of its suits distinguished by Bells. His account of the marks on the French cards is to the following effect. "The Cœur explains itself; it is a symbol of the most noble and generous sentiments, and more especially indicates courage, valour, and intrepidity, qualities the most brilliant in princes. The Trèfle has its name from its resemblance to the plant so-called; though properly it is a Flower, or rather a Fleuron with three branches, symbolical of the mysterious number Three, which, in ancient times, was regarded with religious veneration. This number being the first which contained in itself the principal characteristics of numbers,—namely, Unity and Plurality, Odd and Even,—became the symbol of a union of the most excellent virtues, such as Power, Wisdom, Love; and, by analogy, Sovereignty, Wisdom, Justice. It is this three-branched Fleuron which appears on the monuments of the French kings of the first and second race; but, in consequence of its being badly designed and worse understood, it became confounded with the heraldic Fleur-de-Lis, and is in fact now displaced by it. The Carreau seems to have been better understood by the French than their neighbours, with whom this figure is a jewel, a precious stone, an ornamental article. The English take it for a diamond, and the Spaniards, for a jewel worn by ladies, or for the decoration of the toilet. Their error has doubtless arisen from the comparison which they made between the Carreaux of cards and the figures of precious stones which they had before their eyes. [293] The diamonds and precious stones forming the ornaments of royal vestments, and of dresses of court ladies, have usually the form of carreaux, and are painted in vermilion, or in carmine in the manuscripts of the middle age; and this conventional form, having been adopted by heralds, was introduced into armorial bearings as the macle and lozenge. The Carreaux of cards, however, have no connexion with diamonds and precious stones, any more than they have with the quarrells or square-headed arrows of a crossbow. The Carreau, as well as each of the other marks of the suits, is a symbol, and not a rebus. All iconographers represent Fortune as standing, upon one foot, on a wheel or a ball, to signify her instability. The contrary idea was necessarily attached to the figure of a square or a cube, considered as a firm and immoveable base. It was for this reason that the ancients placed the figure of Wisdom and Firmness on a cube; and Aristotle speaks in the same sense when he informs us that a true philosopher ought to be square,—carré—that is to say, immoveable in courage and virtue. Heraldry has also admitted the square, placed lozenge-wise, as an emblem of Constancy and Firmness; and the Squares of cards, called Carreaux, can only be supposed to have the same signification. As to the Pique, there can be no doubt with respect to its meaning. It represents the head of a lance, and is thus an emblem of military force. The Germans, however, seem to have misconceived the character of this figure, which they converted into a Leaf,—Grün; [294] —but this mistake, or rather this difference, may be ascribed to the imperfection of the painting in ancient cards; and more especially to the coarseness of the first essays of wood-engraving, in which it was almost impossible to distinguish the figure of a leaf from that of a pike-head. On comparing the earliest German cards with shields of arms, of the same period, and with old wood-engravings which contain trees, it will be immediately seen how easy it was to confound the two forms. There is no difference between the Piques of cards and the leaves of the tree on the right of the woodcut of St. Christopher of the date 1423; and the Crequier [295] of heraldry is precisely the same as the seven of Pique [296] in German cards of the fifteenth century. But whatever may have been the cause of this anomaly, it is generally admitted that the Pique in French cards is the figure of a weapon; and it can scarcely be doubted that it was the equivalent of the Sword in the Tarots. In this respect the Spanish and Italian nomenclature is in perfect accordance with our own. In the southern parts of Europe the French Pique is La Picca or La Spada."

Thus, according to Mons. Leber, the four suits of French cards have the following signification: Cœur, valour, greatness of soul; Trèfle, wisdom and justice united with power; Carreau, firmness, stability, constancy; Pique, physical force, or the power of the military. The suits, again, may be considered as representing four monarchies, or political societies; namely, Cœurs, governed by a generous and courageous prince; Trèfles, by a sovereign just, wise, and powerful; Carreaux, by a king consistent in principle, and decided in action; and Piques, by a warlike prince, who owes his power to his arms.

Though Mons. Leber has freely censured Daniel for writing on the subject of cards chiefly from books, without referring to cards themselves, he is yet exceedingly prone to follow Daniel's example; and though his explanation of the symbolical meaning of cards be less extravagant than the latter's account of the origin and signification of the game of Piquet, it can scarcely be called more reasonable; since both writers interpret the marks on the cards according to their own conceit. The one informs us that the Trèfle signifies that a general ought only to encamp in a place which affords plenty of fodder for his cavalry; and the other says that the Carreau, which, as it stands, in the cards, seems the very emblem of instability, signifies firmness, stability, constancy; an interpretation which seems to rest chiefly on the ingenious hypothesis of the Carreau being an emblem of the cube.

The variations which occur on cards from the commencement of the sixteenth century, either as regards the marks of the suits or the names of the coat cards, throw no light on their origin; as such variations have evidently been introduced merely at the caprice of the card-maker in accordance with the prevalent taste of the period. In a pack of French cards, engraved by Vincent Goyraud, in the time of Henry IV, all the coat cards appear in the costume of the period; though the Kings and Valets still display in their dress that variety of colour which is to be seen on cards of an earlier period, but which, at that time, appears to have been out of fashion. Such cards would appear to have been in common use in England in the early part of the reign of James I. In Rowland's 'Knave of Hearts,' first printed in 1612, the Knave, in his supplication to the card-makers, complains of the pie-bald suits which he and his fellows are compelled to wear. [297] In the pack referred to the names and designations of the Coat cards are as follows:

SUIT.	Cœur.	Carreau.	Trèfle.	Pique.
Kings.	Salomon.	Auguste.	Clovis.	Constantine.
Queens.	Elizabeth.	Dido.	Clotilde.	Pantalisee.
Valets.	Valet de Court.	Valet de Chasse.	Valet d'Eté.	Valet de Noblesse.

The Valet de Court has his hat under his arm; the Valet de Chasse holds a dog in a leash; the Valet d'Eté carries a large flower; and the Valet de Noblesse bears a hawk on his fist. The mark of the card-maker appears on two of the Valets, namely, on the Valet of Cœur, and on the Valet of Pique. A pack of those cards is preserved in the Bibliothèque du Roi; and fac-similes of the Kings, Queens, and Valets, in their proper colours, are given in the 'Jeux de Cartes Tarots et de Cartes Numérales,' published by the Society of Bibliophiles Français. From those fac-similes the outlines of the four Valets here given have been copied.

Valet de Cour. (p. 250.)