Tarot Exhibition - Art and Magic

<body> <H1>Trionfi.com presents: Tarot Exhibition - Art and Magic </H1> <H2>Description of the Exhibition: The Tarot exhibition "Tarots - Art and Magic" searches for interested international organizers of expositions. The Tarots show was already part in many Tarot manifestations and spectacles, mainly in Italy. The display needs 350 till 700 qm. </H2> <H3>Keywords for the Tarot Exhibition: Tarot exhibition, Tarot exibition, Tarot exhibition, Tarot Gallery, Tarot Expositions, Tarot spectacle, Tarot manifestation, Tarot display, Tarot exposition, Tarot Show. Further Keywords: Association Le Tarot, Le Tarot, Association, Tarots Associations, Tarots Exposition, Tarots Expositions, Exposition, Expositions, Tarots Art and Magic, Art, Magic, Magic Tarots, Tarots, Tarot, Cards, Card, Playing Cards, Numeral Cards, Triumph, Triumphs, Triumphs Game, Tarots Game, Celestial Harmony, Celestial, Harmony, Allegories of the Tarots, Allegories of Tarots Allegories, Allegorical Iconography, Iconography, Religious Iconography, Profane Iconography, Neoplatonist Iconography, Hermetical Iconography, Magical Iconography, Mistic Stair, Stair, Cosmology and Memory Art, Cosmology, Memory Art, Memory, Divine Hermes, Hermes, Book of Thoth, Thoth, Thot, Thot Tarots, Thoth Tarots, Egyptian Tarot , Etteilla Tradition,Occultist Movement, Tarots and Cartomancy, Cartomancy, Divinatory Art, Divinatory, Modern Artists , foreign words for Tarot Exhibition: Keywords: Tarot exhibition, Tarot exibition, Tarot exhibition, Tarot Gallery, Tarot Expositions, Tarot spectacle, Tarot manifestation, Tarot display, Tarot exposition, Tarot Show, Tarot tentoonstelling, Tarot expositie, Tarot exposition, Tarot palmarès, Tarot Ausstellung, Tarot Vorführung, Tarot esposizione, Tarot exposição, Tarot exposición, Tarot exhibición, Tarot utställning, Tarot visning </H3> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <html> <head> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <meta name="author" content="autorbis@web.de"> <meta http-equiv="pragma" content="cache"> <meta name="robots" content="INDEX,FOLLOW"> <link rel="stylesheet" type="text/css" href="http://trionfi.com/00/i/textstyle-F1.css"> </head> <body> <table width="150" border="0" summary=""> <tr> <td width="150" align="center" valign="top"> <center><a href="http://autorbis.net" target="_blank"><img src="http://www.trionfi.com/1test/kldreieck.jpg" width="36" height="31" border="0" alt="autorbis.net"></a> <a href="http://trionfi.com/" target="top"><br> <font size="3" face="Garamond, Verdana"><b> Trionfi</b></font></a><br> <br> <hr width="80%"><br><br> <font size="3"> <B>Tarot <br>Art and Magic<br><br> INTERNATIONAL<br>EXHIBITION</b></font><br><br> <font size="3" face="Garamond, Verdana"> <A HREF="http://trionfi.com/tarot-exhibition/">Start</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/00/">Introduction</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/01/">Celestial Harmony</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/02/">Allegorical Iconography</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/03/">Divine Hermes</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/04/">Game of Tarots</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/05/">Book of Thot</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/06/">Cartomancy</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/07/">Modern Artists</A><br><br> <A HREF="http://trionfi.com/tarot-exhibition/08/">Technical Notes</A> <A HREF="http://trionfi.com/tarot-exhibition/09/">Le Tarot</A> <A HREF="http://trionfi.com/tarot-exhibition/10/">Andrea Vitali</A> </td> </tr> </table> <p>LE TAROT<br />Presents</p> <p>Tarots<br />Art and Magic</p> <p></p> <p></p> <p>AN INTERNATIONAL EXHIBITION<br />under the patronage of<br />Ministry for the Cultural and Environmental Heritage and Foreign Office<br />Protocol no. 16638 dated January 1995</p> <p></p> <p></p> <p></p> <p>LE TAROT<br />Cultural Trust for Historical Studies and Research</p> <p>Stradello Cappuccini 14 - 48018 FAENZA - Italy<br />Tel & Fax +39.546.661143 / cell. +39.335.5619171<br />info@associazioneletarot.it / letarot@virgilio.it<br />www.associazioneletarot.it</p> <p>"The Tarots: Art and Magic" is one of the most fascinating and original exhibitions about the European cultural heritage, in which hundreds of artistic and cultural artefacts provide a rare opportunity for the visitor to be involved in both fun and magic. It was conceived and planned in 1987 by a committee chaired by Professor Andrea Vitali with the intention of creating the most important exhibition in the world about the culture and art of Tarot cards. It was first seen in Ferrara, and then in other Italian cities; in the future it will also be seen in other countries.<br />The exhibition consists of a large selection of European Tarot cards, together with paintings, engravings, prints, ivories, ceramics, arras, manuscripts, illuminated cards, books and inlaid boxes of great historical and artistic value. Selected by a committee of university lecturers and researchers, the works on show constitute a fascinating survey of art and history from the 15th to the 20th century.<br />The many priceless Tarot cards include "The Tarots of Francesco Sforza" (6 hand-painted cards, 15th C.), "The Dasavatara Cards" (9 ivory cards from India, 17th C.), and original engraved Tarots created by famous contemporary Italian painters such as Franco Gentilini, Renato Guttuso and Lele Luzzati. Other significant exhibits include prints by Dürer, Picard and Goltzius, rare Tarot cards, and illustrated books of French, German, English, Austrian and Spanish esoterism and occultism.<br />The whole exhibition is enhanced by sculptures and scenes based on the iconography of the Tarots. Appropriate illustrative panels and explanations will guide the visitor through the exhibition and render it more readily comprehensible.<br /><br />Le Tarot<br />Cultural Trust for Historical Studies and Research</p> <p>Since 1986, the year of its foundation by Andrea Vitali, medievalist and iconographer, "Le Tarot" has sponsored a project consisting of the study and advancement of subjects which have in the past been wrongly labelled "esoteric". Many scholars and researchers specializing in humanistic doctrines were immediately enthusiastic about this project, including such important representatives of Italian and European culture as:</p> <p>Giuliana Algeri<br />Superintendent for Artistic Goods, Mantova<br />Sandrina Bandera<br />Superintendent for Artistic Goods, Milan<br />Giordano Berti<br />Essayist and expert in the History of the Tarots.<br />Marco Bertozzi<br />Professor of Philosophy of History, University of Ferrara<br />Alain Bougearel<br />Historian of the tarots, membre of SGDL and SOFIA<br />Marco Bussagli<br />Professor of the History of Art, Accademia Belle Arti, Rome<br />Omar Calabrese<br />Professor of Visual Communication, University of Siena<br />Franco Cardini<br />Professor of Medieval History, University of Florence<br />Claudia Cieri Via<br />Professor of Iconology, “La Sapienza” University of Rome. <br />Gian Paolo Caprettini<br />Professor of Semiotic. University of Turin<br />Lorenzo Dattrino<br />Professor of the History of the Church Fathers, Lateran University, Rome<br />Thierry Depaulis<br />President of ACCART<br />Donatino Domini<br />Director of Classense Library, Ravenna<br />Anna Maria Donadoni<br />Curator of the Egyptian Museum of Turin<br />Rolando Dondarini<br />Professor of Medieval History, University of Bologna<br />Michael Dummett<br />Professor of Philosophy and Formal Logic, University of Oxford<br />Giorgio Galli<br />Professor of History of Political Doctrines, University of Milan<br />Gian Carlo Garfagnini<br />Professor of History of Philosophy, University of Florence<br />Cecilia Gatto Trocchi<br />Professor of Anthropology, University of Perugia</p> <p>Alessandro Grossato<br />History of Eastern Asia institutions, University of Trieste<br />Enrichetta Leospo<br />Director of Egyptian Museum of Turin<br />Massimo Montanari<br />Professor of Medieval history, University of Bologna<br />Sergio Noja Noseda<br />Professor of Arabic language and literature, Catholic University of Milan<br />Paolo Aldo Rossi<br />Professor of the History of Scientific Thought, University of Genoa<br />Paolo Sabbatini Rancidoro<br />Historian of Hermetic Thought, expert of international relations<br />Dario Sabbatucci<br />Professor of the History of Religions, University of Rome<br />Daniele Seragnoli<br />Professor of the History of Theatre, University of Ferrara<br />Ross Sinclair Caldwell<br />Historian of the tarots<br />Claudio Widmann<br />Psychoanalist</p> <p>The presentation of the results of this research for a wider audience is an important cultural event, a fact which was underlined by the number of newspaper and magazine reviews the exhibition had received. The series of lectures and conferences is both confirmation of this and a sign of continuing research into the topics dealt with; the relevant publications help to preserve the cultural patrimony which has been created.</p> <p>Among the most important exhibitions organized by "Le Tarot" have been: </p> <p>"Cards at the Court: fun and magic at the court of the Estensi" <br />(Ferrara, Castello Estense, September 1987 - January 1988)<br />This was the most important exhibition of Tarots organized up to the 1980s, <br />created with assistance from the Italian Foreign Office and the Cultural <br />Heritage Ministry.</p> <p>"Tarots, the cards of destiny" <br />(Venice, Ateneo San Basso, Piazza San Marco, February 1989)<br />Organized on the occasion of the Venice Carnival.</p> <p>"From the alphabet of the East to the mysteries of fate" <br />(L'Aquila, Perdonanza Festival, August 1992)</p> <p>"Tarots: Man, Cosmos, Magic"<br />(Rome, Castel Sant'Angelo National Museum, February-April 1994)<br />Organized with the patronage of the Cultural Heritage Ministry and the <br />Municipality of Rome.</p> <p>" Tarots: Art and Magic" <br />(Bologna, Museo Civico Archeologico, December 1994 - February 1995)<br />Organized with the patronage of the Cultural Heritage Ministry; the main <br />cultural event on Tarots in the international field.</p> <p>" Tarots: Art and Magic" <br />(Catania, Museo Civico di Castello Ursino, December 1995 - February 1996)<br />Organized with the patronage of the Cultural Heritage Ministry</p> <p>"Tarots, the Cards of the Reign" <br />(Tourin, Palazzo Barolo, April 24 - may 25, 1997)</p> <p>"Tarots: Art and Magic"<br />(Siena, Public Palace, December 2005 - January 2006)</p> <p>Historical introduction</p> <p>During the Renaissance the "Images of the Ancient Gods" reminded the observer of the classical myths, which were considered symbols of great ethical and moral values. The game of Tarots was born in this period: it is considered to be one of the most extraordinary achievements of Italian Humanism. It reunites the most august representatives of the Greek pantheon with the Christian virtues, allegorical pictures of the human condition and symbols of the most important heavenly bodies.<br />Tarots were a game of memory which included the marvels of the visible and invisible world and gave the players physical, moral and mystical instruction. <br />In fact, the series of cardinal virtues - Strength, Prudence, Justice and Temperance - reflects ethical precepts; the series of human conditions such as the Emperor, the Empress, the Pope, the Fool and the Juggler recalls the hierarchy which enslaves human beings; and the series of planets (Stars, Moon, Sun) refers to the celestial forces which subjugate human beings - and above them the Universe ruled by God. <br />But Tarots soon lost this didactic and moral aspect, which already at the beginning of the 16th century was little understood. They were then considered no more than a game. Consequently the iconography of the figures changed according to the popular tastes of the regions where Tarots were used. <br />Only at the end of the 18th century was the philosophical meaning of Tarots rediscovered, but the new interpreters only took into account their magical and divinatory aspect because they started from wrong premises. <br />A famous article published in 1781 by the freemason and archaeologist A. Court de Gebelin states that "the book of Tooth exists, and its pages are the pictures of the Tarots". A few years later another freemason, Etteilla, began to restore some of these pictures claiming that he knew the game which had been played by the ancient Egyptians. <br />According to Etteilla, the first Tarots represented the mystery of the origin of the Universe, the formulas of various magic rites and the secret of the physical and spiritual evolution of man. Ever since then, the game of Tarots has been linked to the world of magic. <br />In this way the new era of occultist Tarots was introduced, since it was believed that these cards offer more than mere knowledge of the future. The beauty, mysticism and mystery of Tarots have influenced several artistic and philosophical Tarots. One aim of this exhibition is to illustrate all the "messages" that Tarots have evoked in the past and in the contemporary world.</p> <p></p> <p>THE EXHIBITION IS DIVIDED IN SEVEN SECTIONS</p> <p></p> <p>Celestial Harmony<br />The Allegories of the Tarots<br />The Divine Hermes<br />The Game of Tarots<br />The Book of Thoth<br />Tarots and Cartomancy<br />Tarots by Modern Artists</p> <p>Brief notes illustrating each of the seven sections of the exhibition are given in the following pages, before the list of exhibits.<br />The material listed below requires between 300 and 700 square metres of effective exhibiting area. It would however be possible to use a smaller area, restricting the material to be exhibited with criteria which would maintain the scholarly and cultural value of the project. <br />Appropriate illustrative panels and explanations for each exhibit will guide the visitor through the exhibition and render it more readily comprehensible.<br /><br />The History of the Tarots <br />The first six sections of the exhibition<br /><br />CELESTIAL HARMONY</p> <p>The game of the Tarots is based on 56 numeral cards, said to be Italian but in fact Arabic in origin ("coppe", "danari", "bastoni" and "spade"), and 22 cards known as Triumphs which were introduced at the beginning of the 15th century in Italy.This game derives from the "Triumphi" of Petrarch (hence "trump" from Italian "trionfi"), who in that work described the principal forces which govern men and assigned a hierarchical value to each of them. First of all comes Love (Instinct), which is won over by Modesty (Reason); next comes Death, which is defeated by Fame - which is in turn attacked by Time, Eternity, or God, stands over all. In the cards of the Tarots the Triumphs first were 6 then 22, number that in the mystical meaning of the Christian numerology represents the introduction to wisdom and the divine teachings engraved inmen.<br />The medieval theology assigns to the universe a precise order, formed by symbolic stairs going from the earth to the sky: From the top of the stairs God, the First Cause, governs the world, without getting directly involved, but operating “ex gradibus” i.e. through an uninterrupted series of negotiators. In this way his divine power is transmitted down to the lower creatures, and even to the humblest beggar. If we on the contrary read this symbology from the bottom to the top, we are taught that the man can gradually elevate in the spiritual order, climbing along the summits of the “bonum”, “verum” and “nobile” and that science and virtues take him nearest to God. <br />From the first known list of Tarots, of the beginning of the Sixteenth Century, it is evident that it was an ethical game.<br />The Bagatto shows a common man who has been provided with both temporal guides (the Emperor and Empress) and spiritual guides (the Pope and Popess, ie. Faith).<br />Human instincts themselves must be mitigated by the virtues: Love by Temperance, and the desire for power (the Chariot of Triumph) by Fortitude.The Wheel of Fortune teaches us that success is ephemeral and that even the great are destined to become dust: thus the Hermit who follows the Wheel represents Time, to which all beings are subject, while the Hanged Man depicts the danger of falling in temptation and sin before the arrival of the physical death.<br />Even the afterlife is represented according to the typical medieval idea: Hell, and thus the Devil, stands at the centre of the earth, while the celestial spheres are above earth. According to the Aristotelian vision of the cosmos, the terrestial sphere is surrounded by celestial fires which in the Tarots are represented as lightning striking a tower. The planetary spheres are synthesized in three main planets:Venus (the preeminent Star), the Moon, and the Sun.</p> <p>The highest star is the Empyrean, the seat of the angels who will be summoned to awaken the dead from their tombs at the Last Judgement - when divine Justice will triumph in weighing the souls and dividing the good from the evil.<br />Highest of all is the World, or the Holy Father, as an anonymous Dominican commentator on the Tarots wrote at the end of the 15th century. The same author places the Fool after the World, as if to illustrate his complete alienation from all rules and teachings. <br />During the 15th century the game of Tarot was known as the Ludus Triumphorum, and it was only at the beginning of the 15th century that the term Tarocchi, or Tarots, came into use. <br />The origin of the new term is still controversial today: some hold that it derives from the Arabic Tariqa, meaning The Way of Mystical Knowledge, a variant of a mystic path of Indian origin, having as inspiring source Tara, goddess of Knowledge (The Green Tara represents the goddess of the Supreme Knowledge in the Tibetan Buddhism). Others perceive a possible link to the technique used in northern Italian courts known as Taroccato, used for decorating illuminated manuscripts with a punch; still others assume that the word Tarocco comes from the dialect word tarocar, which means saying or doing foolish or senseless things while gambling.<br /><br />THE ALLEGORIES OF THE TAROTS</p> <p>The allegories which appear on the trump cards belong to the iconographical tradition common to most of Europe from the 13th century. They may be found in the decorations of the Gothic cathedrals, in the frescoes of public buildings, and in encyclopaedic and astrological manuscripts. In practice, the figures represented on the cards of the Triumphs are a real Biblia Pauperum, that means a "the Poor men's Bible". Playing the cards, people directly drew from these a knowledge of the Christian mysticism and its contents, concepts that were continually recalled in their minds, according to the method of the Ars Memoriae of the time. <br />They may be readily interpreted by reference to the cultural context of the courts of northern Italy, and their taste for moralizing images derived both from religious tradition and classical mythology. For the ancient gods continued to play a role in medieval Christian culture, even though their characters were different from those of the original divinities.<br />On the one hand, they were held to be civilizing heroes who taught men many arts, like Minerva, the first weaver, or Apollo, the medical god. On the other hand, they were interpreted as allegories of virtue and vice, and it is in this sense that they appear on some of theTarot cards. Obvious examples include Strength, represented by the mythical Hercules as he destroys the Nemean Lion - the symbol of animal instinct; Love, represented as Cupid ready to launch his darts against incautious lovers; Prudence, represented by Saturn; and the Modesty of Diana, the Immodesty of Venus, the Truth of Apollo illuminating Earth with the disc of the sun.<br />Many Tarot figures clearly employ Christian iconography. For example, the World is sometimes represented by the Celestial Jerusalem placed inside a sphere supported by angels or dominated by Celestial Glory. The card bearing the Popess, identical to that in Giotto's frescoes in the Scrovegni Chapel in Padua, derives from the image of Faith. Amongst many other possible examples, representations of virtues such as Temperance, Justice and Fortitude echo the classical iconography to be found in the sculpture of Gothic cathedrals or the minatures of the sacred books.<br />Other sources of inspiration include ancient astrological treatises. The figure of the Bagatto, or Juggler, appears among the Children of the Moon - that is to say, the trades which are influenced by the moon. The Misero, or Fool, is found among the Children of Saturn, the Lovers among the Children of Venus, the Pope among the Children of Jupiter, and the Emperor among the Children of the Sun. Moreover, astrologers appear in several packs of trumps as representations of the Moon or the Stars.<br />Lastly, there are images drawn from everyday life. An extremely interesting example is the figure of the Hanged Man, which refers to the punishment inflicted upon traitors.</p> <p>In the Bolognini Chapel of the church of San Petronio in Bologna an identical figure is represented in a fresco by Giovanni da Modena as the retaliation punishment for idolaters, since idolatry was considered the most awful kind of betrayal because addressed to the disownment of the Creator. Although the punishment of hanging by a leg has been represented in other works, the San Petronio fresco is the only known example which concides perfectly with the Tarot card.</p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p>THE DIVINE HERMES</p> <p>Hermes, who was associated with the Egyptian god Thoth, was considered in the ancient world to be the inventor of writing and the author of several magical and religious treatises. At the time of the Roman Empire, these Hermetic texts were re-interpreted in the School of Alexandria in the light of Greek philosophy, especially Pythagoras and Plato. The Fathers of the Church also viewed Hermes with great respect as a result of analogies between some of the texts attributed to him and and passages in the gospels.<br />In 1460, a manuscript found in Macedonia and wrongly attributed to Hermes Trismegistus was brought to Cosimo de Medici in Florence. The translation of this work in 1463, by the priest and philosopher Marsilio Ficino, was followed by the translation of Platonic works which revealed a fascinating conception of the Cosmos. This philosophy held that the Universe converged on the Divine Unity, ordered according to various degrees of perfection and represented by the concentric circles of the planetary and celestial spheres, while man himself possessed a divine part - the soul - that during his earthly existence could lead him to contemplation of the Supreme Good through the practice of virtue and through the mediation of the various angelical beings.<br />Another important aspect of this philosophy was the idea that the Universe was reflected in all things. Man was conceived as a little world, a Microcosmos which in structure and content was identical to the Macrocosmos. Beginning with Ficino, Renaissance philosophers devised elaborate systems of correspondence between the stars of the firmament and the various parts of the human body. One consequence of this was the revaluation of magic, astrology and alchemy - the prime example of a Hermetic art. These sciences were thought capable of enabling man to understand the secret links which held the universe together and influenced human behaviour.<br />Thus the ancient planetary divinities - Saturn, Jupiter, Mars, Venus, Mercury, the Sun and the Moon - reassumed their role as powerful and feared spirits who could be invoked and questioned for knowledge of mans fortune. Indeed man, through the creation of amulets, the performance of special rites, and the carrying out of specific operations, would be able to defend himself from the power of the stars - which was even hidden in stone and metals - and by capturing that power employ it for his own spiritual elevation.<br />This philosophy inspired such authors as the poet Ludovico Lazzarelli (1450-1500), whose "De Gentilium imaginibus deorum" was illustrated with figures from the so-called Mantegna Tarots, and the anonymous author of the Sola-Busca Tarots (approx.1490) with their references to alchemy.</p> <p></p> <p>During the same period several of the Tarot images were modified in order to conform with the Hermetic iconography. Following the Platonic conception, in fact, the starry origin of the soul is represented in the map of the Stars, and the Anima Mundi which Ficino believed to represent the mediating influence between man and God appears in the map of the World.<br /><br />THE GAME OF TAROTS</p> <p>In the first decade of the 15th Century in one of the following cities, such as Milan, Bologna or Ferrara, this card game was conceived and, from the 16th Century, it quickly spread in Europe. The Tarots were originally used in games with rules near to those of the chess and for this ingenious character, the Ludus Triomphorum was expressly omitted in the ordinances against the games of hazard emanated during the 15th Century.<br />Besides, thanks to numerous Renaissance documents, it is known that in aristocratic courts the game of Tarots was at the centre of sophisticated entertainments, for example the invention of courtly sonnets and answering questions of various kinds concerning cards taken from the pack.<br />Another common practice that lasted until 19th Century, was that of associating the Tarot figures to famous people, composing sonnets or simple mottoes on them which might be praising, comic, or decidedly satirical in tone.<br />In the 18th Century there was a rich production of Tarots developed with fantastic scenes, inspired to the animal world, to the history, to the mythology, to the customs of the various people. <br />But since it was an hazard game, with all the consequences that this involved, starrting from the 16th Century the Church intervened to repress it. Jusat after a hundred years from their creation, the Christian meaning of the Mystical Staircase on which their order was structured, had been already forgotten.<br />These playful and literary practices soon however lost their importance. As early as the end of the 15th century an anonymous Dominican preacher denounced the Tarots as the work of devils, and supported his claim by arguing that in order to draw men into vice the inventor of the game had deliberately employed solemn figures such as the Pope, the Emperor, the Christian virtues, and even God. <br />The good monk writes besides that "if the player thought about the meaning of the papers, he would run away. In fact in the cards there is a fourfold difference. There is money running away form players’ hands. And this means the instability of the money of the player, because you must think that when you enter in the game you will loose your money. They are also there the cups to show what a poverty will come, because the poor player with no more glasses will drink in a cup. They are also there the batons. The wood is dry to suggest the aridity of the divine grace in the player.<br />There are even the swords that mean the brevity of the life of the player since he will be killed, etc. Really, no kind of sinners is so desperate as that of the card players. When a player loses and cannot have the desired point, the card or the triumph, it strikes the cross in the money, cursing God or the saints, and he throws away the dice with anger telling himself “That I had my hand hand cut off” etc. <br />Very easily he becomes angry with the companion that derides him and continually rise some offenses and they beat each other etc.” The anonymous preacher then ends with the canonical sentence “Player, open your eyes or yiou’ll get a bad end”.<br />Despite the sentence of the Church the Tarots kept on spreading, so much that beginning from the 18th century, Tarots were imported in Italy from France and in particular from Marseilles - whose design was imitated by producers in Lombardy and Piedmont to renovate their own production. <br />Then, under the pressure of more modern games, the Tarots gradually disappeared, so that today they are used in a few places in Sicilia, Emilia, Lombardy, Piedmont and south-eastern France. But in the meantime the Tarot images had been subject to esoteric manipulations and interpretations which led them to be considered as "magical icons".<br /><br />THE BOOK OF THOT</p> <p>The birth of the Tarots as a magical tool came at the height of the Enlightenment, towards the end of the 18th century, with the then famous French archaeologist and freemason Antoine Court de Gebelin: "If we were to announce that, in our days, there survives a Work which contains the purest doctrines of the Egyptians, and which has escaped the flames of their libraries... who would not be impatient to consult such a precious and extraordinary Book... This Book exists and its pages are the figures of the Tarots". <br />In order to justify his assertions, Court de Gebelin explains that the word Tarot derives from the Egyptian Ta-Rosh, meaning the Science of Mercury (in Greek Hermes; in Egyptian Thoth). Then, aided by an unknown collaborator, he listed the numerous magical properties of the Book which he had just discovered.<br />These theories were taken up by another freemason, Etteilla, whose real name was Jean-Frangois Alliette: "The Tarot is an ancient Egyptian book, whose pages contain the secret of a universal medicine, the creation of the world, and the future of the human race. It was conceived in the year 2170 BC, during a conference of 17 magicians presided over by Hermes Trismegistus. It was then engraved on gold sheets which were placed around the central fire of the Temple of Memphis. Then, after various vicissitudes, it was reproduced by common medieval engravers in such imprecise fashion that the meaning was completely distorted".<br />Thus Etteilla restored to the Tarots what he believed to have been their original form: he refashioned the iconography and called it the Book of Thoth. The legacy of Neoplatonism and Renaissance Hermeticism is evident in Etteilla's re-elaborations. Indeed, he reproduced the stages of Creation in the the first eight trumps, emphasized the role of Virtue leading men's souls towards God in the next four, and in the last ten trumps represented the negative conditioning to which human beings are subjected. The fifty-six numeral cards were intepreted as the divinatory sentences written for man.<br />The fashion for cartomancy took off as a result of these revelations. It was only many years later that the mystical element of the Tarots received a similar revaluation at the hands of Eliphas Levi, who denounced Etteilla's mistakes and asserted that the 22 trumps corresponded to the 22 letters of the Hebrew alphabet. <br />He also explained the relationship to magic, masonic symbolism and above all to the 22 paths of the Cabbalistic Tree of Life - which in turn reflected the identical structure of man and the universe. By following the 22 Channels of Supreme Knowledge, man's soul could achieve contemplation of the Divine Light.</p> <p></p> <p>Eliphas Levi's theories were taken up by numerous occult brotherhoods, and each one devised a new Tarot pack which followed its own philosophical concepts. For some, initiates were to work towards the creation of a vast Humanitarian Temple whose aim was the creation of the Kingdom of the Holy Spirit which would be based on an esoteric form common to all cults; for others, the Tarots represented the stages in an individual path towards the mystical elevation or psychic exaltation which derived from magical powers.<br /><br />TAROTS AND CARTOMANCY</p> <p>It is generally accepted that between the end of the 18th century and the beginning of the 19th century the times were propitious for prophets and fortune-tellers, both in France and elsewhere, as the result of political uncertainty and economic crisis. <br />Although Merlin Cocai (pseudonym of Teofilo Folengo) in his work, the Trios' Chaos for one of 1527, has written in literary form a sort of divinatory reading with the Tarots similar to that currently used, the prophetic use with the cards wasn’t usual during the Renaissance. We know that this reading was practised since the half of the 17th Century in the court of the King Sun and that the first known document with the list of the cards and relative divinatory meanings is due to the city of Bologna dated of the first years of the 18th Century, but it is only in the 19th century that the number of fortune-tellers increased so dramatically - thanks to the astonishing revelations of Court de Gebelin, Etteilla and the occultist brotherhoods.<br />One of the most celebrated fortune-tellers of the time was Mademoiselle Lenormand, who built up a considerable fortune by paying careful attention to her public image. During her career, M.lle Lenormand's clients included men of such stature as Robespierre, Marat, Danton, Napoleon Bonaparte; she also became the confidant of the Empress Josephine. The "Sibylle des Salons", as she was known, was imitated by scores of fortune-tellers who sought to make a living from their art by declaring themselves to be disciples or even heirs to M.lle Lenormand. Others created new packs of Tarots based on the Egyptian Tarots of Etteilla or the ordinary French playing-cards.<br />By 1850, fortune-telling with Tarots and other kinds of playing-card had become a popular technique throughout Europe, and in the same period an increased interest in esoteric philosophies provided fresh impetus for the magical arts in general and cartomancy in particular.<br />The spread of this practice through all social classes was accompanied by a vast industrial production of cards to meet the many needs of customers. At least a hundred new designs of fortune-telling cards appeared during the 19th century, especially in France, Italy and Germany. Most of them however had little to do with the Tarots, but derived from books on the interpretation of dreams and the so-called "Cabala del Lotto".<br />It might be argued that this fashion has never declined, except in times of war. Today, sociologists investigate the causes of what they perceive as a return to the irrationality of the past, while it would be more pertinent to read this apparent "irrationality" as an expression of the constant desire in western history for "higher" certainties. Moreover, there is an important artistic element to be taken into consideration. Highly-skilled painters and graphic artists have devoted their attention to designing fortune-telling cards: their work is not only witness to their personal creativity, but also to the collective sensibility and taste of the periods in which they lived.</p> <p>Exhibition Structure</p> <p>1 THE CELESTIAL HARMONY <br />The Mystic Stairs<br />Cosmology and memory Art<br />The game<br />The Triumph game<br />Origin of the numeral cards<br />2 THE ALLEGORICAL ICONOGRAPHY OF THE TRIUMPHS<br />Religious and profane iconography<br />3 THE DIVINE HERMES<br />Magical-Hermetical-Neoplatonist Iconography <br />4 THE GAME OF TAROTS<br />5 THE BOOK OF THOT or<br />the esoteric interpretation of the Tarots<br />The Egyptian Tarot and the Etteilla tradition<br />The Occultist Movement<br />6 TAROTS AND CARTOMANCY<br />The divinatory arts in the History<br />The Cartomancy<br />7 THE TAROTS BY THE MODERN ARTISTS</p> <p></p> <p></p> <p></p> <p></p> <p></p> <p>The Exposed Works</p> <p>The following pages contain a list of items and works divided for sections. With the exception of some reproductions of frescos or other important artistic documents, all the works are exclusively in original.<br />It deals with miniated cards of the XV th century, hand painted papers of the following centuries, engravings of famous authors as Dürer, Goltzius, Picard, books from the 16th - 17th and 18th centuries, illustrated with beautiful flood figures page, manuscripts, ivories, ceramics and tapestries, ancient inlaid or lacquer game boxes, and original works of famous contemporary artists such as Franco Gentilini and Renato Guttuso. <br />This list is however subject to further additions, since there are always new objects and works of art to enlarge the exhibition. The exposition path is underlined by the presence of important scenographies of symbolic meaning. There are also illustrated panels for every section and explanations for every single piece, to drive the visitor and to give a very clear vision of the contents of the exposition. <br />According to the available space a choice of the more prestigious and representative material will be effected. </p> <p></p> <p></p> <p>1 CELESTIAL HARMONY<br />With prints and ancient illustrated books, this first section shows very rare miniated cards dating back to the 15th C. and oriental cards made of ivory. It illustrates the late medieval way of thinking about the world structure, the universe and the birth of the Triumphs (Tarots) an a play with moral and ethical basis</p> <p>The Mystic Stairs:<br />Cosmology and Memory Art</p> <p>Prints</p> <p>Albrecht Dürer (Nurnberg 1471 - 1528)<br />The geocentric universe<br />Wood-engraving,1493 </p> <p>Anonymous (1559)<br />The world, the four elements, the firmament and God<br />Wood-engraving</p> <p>Anonymous (School of Baccio Baldini, 15th C.) <br />The Sacred Mountain<br />Engraving, 1892 (made with 15th century plates on contemporary paper)</p> <p>Raphael Sadeler (Antwerp 1569 - München approx.1628)<br />The dream of Jacob<br />Etching</p> <p>Philip Galle (Haarlem 1537 - 1612)<br />The Triumph of Modesty<br />Etching</p> <p>Philip Galle (Haarlem 1537 - 612)<br />The Triumph of Death<br />Etching</p> <p>Anonymous (16th C.)<br />The Triumph of Fame<br />Etching</p> <p>Georg Pençz (Nurnberg approx. 1500 - Konigsberg 1550)<br />The Triumph of Time<br />Etching</p> <p>Anonymous (16th C.)<br />The Triumph of Glory<br />Etching</p> <p>Adrian Collaert (Antwerp 1520 – approx. 1570)<br />Caesar's triumph<br />Etching</p> <p>Daniel Van den Bremden (Antwerp 1587 - approx. 1650)<br />Time goes, Death comes<br />Etching</p> <p>Crispin Van de Passe (Köln 1560 - Utrecht 1637)<br />Grammar<br />Dialectic<br />Rhetoric<br />Music<br />Arithmetic<br />Geometry<br />Astronomy (Burin)</p> <p>Sébastien Le Clerc (Metz 1637 - Paris1714) and Jean Audran (Lion 1667 - Paris1756)<br />Retorica (Rhetoric)<br />Poesis (Poetry)<br />Astronomia (Astronomy)<br />Geographia (Geography)<br />Matematica (Mathematics)<br />Architectura (Architecture)<br />Historia (History)<br />Erudizio (Erudition)<br />Etchings, 1719 </p> <p>Andrea van Rymsdyck (Holland ? - Bath 1786)<br />Alpha et Omega<br />Etching</p> <p>Anonymous (Italy, 19th C.)<br />Erato - (Erato)<br />Polimnia (Polyhymnia)<br />Urania (Urania)<br />Calliope (Calliope)<br />Etchings</p> <p>Ferdinando Strina (Naples active 1730 - 1760)<br />Strada per salire alla divina unione<br />(Road to climb to the divine union)<br />Burin, 1789</p> <p>Illustrated Books</p> <p>Francesco Petrarca<br />I Trionfi <br />(The Triumphs) <br />Lion, 1551</p> <p>Francesco Petrarca<br />I Trionfi<br />(The Triumphs)<br />Venice, 1563</p> <p>Scipione Bargagli<br />I Trattenimenti<br />(The Entertainments)<br />Venice, 1587</p> <p>Hieronimo Natali<br />Evangelicae Historiae Imagines <br />(Images of the Evangelic Histories)<br />Antwerp, 1593</p> <p>Erasmo da Rotterdam<br />Colloquia familiaria<br />(Domestic conversations)<br />Amsterdam, 1621</p> <p>University of Cambridge<br />Historiae Sacrae Novi Testamenti<br />(Sacred Histories of the New Testament)<br />Cambridge, 1638</p> <p>Guillaume Derham<br />Theologie astronomique ou demonstration de l'existence et des <br />attributs de Dieu par l'examen et la description des Cieux <br />(Astronomical theology as demonstration of the existence and of the attributes of God through the analysis and description of the Heaven) <br />Paris, 1729<br />Giambattista Vico<br />La Scienza Nuova <br />(The New Science)<br />Turin, 1852</p> <p>Playing Cards “Trionfi”</p> <p>Tarots of Francesco Sforza (made in Milan in about 1460-1480)<br />6 illuminated cards, 172 x 87 mm (attributed to Bonifacio Bembo)<br />The Sun<br />The Lovers<br />The Fool<br />The Page of Swords<br />The 2 of Cups<br />The 5 of Coins</p> <p>Master from Ferrara (near to Francesco Del Cossa, 15th C.)<br />Carte del cosiddetto "Tarocco del Mantegna" <br />(Cards of the so-called Mantegna-Tarot) 2 cards xilographed by Leopoldo Cicognara "Memorie spettanti alla storia della Calcografia" (Atlante) <br />(Memories due to the Calcography history – Atlas, Prato, 1831</p> <p>Anonymous (Venice or Ferrara, end of the 15th C. - early 16th C.)<br />Tarocchi Sola-Busca (Sola-Busca Tarots)<br />4 cards xilographed by Leopoldo Cicognara "Memorie spettanti alla storia della Calcografia" (Atlante) <br />(Memories due to the Calcography history - Atlas)<br />Prato, 1831</p> <p>Reproductions</p> <p>Antonio Cicognara ? ( Milan, 15th C.)<br />Tarocchi Colleoni-Baglioni (Visconti)<br />17 miniated cards<br />Bergamo, Biblioteca Carrara<br />New York, Pierpont Morgan Library<br />Ferrara, 15th C.</p> <p></p> <p>Anonymous ( Ferrara? 15th C.)<br />Cosidetti “Tarocchi di Carlo VI” <br />(Cards of the so- called “Tarots of Charles VI”)<br />16 miniated cards<br />Paris, Bibliotèque Nationale</p> <p>Master from Ferrara (near to Francesco Del Cossa, 15th C.)<br />Carte del cosiddetto "Tarocco del Mantegna"<br />(Cards of the so-called “Mantegna-Tarot”)<br />50 cards, burin engraving <br />Pavia, Museo Civico.</p> <p>The origins of Numbered Minor Arcana</p> <p>Cards </p> <p>Anonymous (15th C.)<br />Muluk Wanuwwab <br />Arabian cards<br />Hand-painted drawings <br />(reproductions of the only one existent deck, from the Top-Kapi Museum)</p> <p>Anonymous (17th C.)<br />Dasavatara cards<br />Indian cards<br />9 ivory cards </p> <p>Books</p> <p>Innocenzo Ringhieri <br />Cento giuochi liberali, et d’ingegno <br />(Thousand liberal and talent games)<br />Venice, 1553</p> <p>Girolamo Bargagli<br />Dialogo de' giuochi che nelle vegghie Sanesi si usano di fare del <br />materiale Intronato<br />(Dialogue about the games played in Siena during winter evenings with throne cards)<br />Siena, 1572</p> <p>Thomaso Garzoni da Bagnacavallo<br />La Piazza universale di tutte le professioni del mondo<br />(The universal Place for all world professions)<br />Venice, 1593</p> <p>Gianpietro Zanotti<br />Le pitture di Pellegrino Tibaldi e di Nicolò Abbati <br />(The paintings of Pellegrino Tibaldi and Nicolò Abbati) <br />Venice, 1756</p> <p>Romain Merlin<br />Origines des cartes a Jouer<br />(Origin of the Playing Cards)<br />Paris,1869</p> <p>Prints</p> <p>Gio.Wenzel<br />La predica di San Bernardino da Siena<br />(The sermon of St. Bernardino from Siena ) <br />Water-colours painted incision from "The Perfect Legendary or Life of the Saints"<br />(Rome 1841)</p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p>2 ALLEGORICAL ICONOGRAPHY (15th - 19th centuries)<br />The following works illustrate the relationship between the allegorical iconography of the twenty-two Triumph cards and of their following transformation and mixture with the religious and profane art. They are ancient prints and illustrated printed books.</p> <p>Prints</p> <p>Anonymous (15th C.)<br />Samson and the lion<br />Wood-engraving</p> <p>Michael Wolgemuth (Nurnberg 1434 - 1519)<br />Popess Joan<br />Wood-engraving</p> <p>Michael Wolgemuth (Nurnberg 1434 - 1519)<br />Pope sitting on the throne<br />Wood-engraving </p> <p>Albrecht Dürer (Nurnberg 1471 - 1528)<br />Wheel of fortune<br />Wood-engraving</p> <p>Albrecht Dürer (Nurnberg 1471 - 1528)<br />The fool on the crayfish<br />Wood-engraving</p> <p>Sebastian Munster (Hessen 1489 - Basel 1552)<br />The astronomer<br />Wood-engraving, 1530</p> <p>Hieronimus Cok (Heemskerk 1498 - 1574)<br />The last judgement<br />Wood-engraving</p> <p>Master of Virgil of Grüninger (16th C.)<br />The destruction of Troy<br />Wood-engraving, 1502</p> <p>Master of Virgil of Grüninger (16th C.)<br />Fame<br />Wood-engraving, 1502</p> <p>Anonymous (16th C.)<br />Emperor sitting on the throne<br />Wood-engraving</p> <p>Heinrich Steiner (active in Augsburg 1510 - 1540)<br />St Christopher<br />Wood-engraving</p> <p>Virgil Solis (Nurnberg 1514 - 1562)<br />Allegory of Good and Evil<br />Wood-engraving</p> <p>Virgil Solis (Nurnberg 1514 - 1562)<br />Samson and the lion<br />Wood-engraving</p> <p>Adriaen Collaert (Antwerp 1520 - approx. 1570)<br />The celestial Jerusalem<br />Etching </p> <p>Hendrick Goltzius (Mühlbrecht 1558 - Haarlem 1617)<br />The fall of Phaeton<br />Etching</p> <p>Anonymous (16th C.)<br />The hanged man<br />Wood-engraving</p> <p>Anonymous (16th C.)<br />Fortune Pantea<br />Etching </p> <p>Francesco Villamena (Assisi 1566 - Rome 1624)<br />The holy Graal<br />Etching, 1598</p> <p>Giuseppe Cesari called "Il Cavalier d'Arpino" (1568 - 1640)<br />Temperance<br />Wood-engraving</p> <p>Giuseppe Cesari called "Il Cavalier d'Arpino" (Antwerp approx.1510 - Rome 1570)<br />Inconstancy<br />Wood-engraving</p> <p>Anonymous (16th C.)<br />The vision of Ezekiel<br />Etching </p> <p>Jakob Matham (Haarlem 1571 - 1631)<br />Fortitude<br />Etching</p> <p>Heinrick Ulrick (Nurnberg approx. 1572 - 1621)<br />The Jester<br />Etching</p> <p>Anonymous (16th C.)<br />The Fortune with cornucopia<br />Etching</p> <p>Daniel Van den Bremden (Antwerp 1587 - approx. 1650)<br />The fool fighting against the dung<br />Etching</p> <p>Daniel Van den Bremden (Antwerp 1587 - approx. 1650)<br />Fire and Love<br />Etching</p> <p>Frederich Heindrick. van den Hove (Den Haag approx. 1628 - London after 1715)<br />Job upon the Dunghill<br />Etching </p> <p>Frederich Heindrick. van den Hove (Den Haag approx. 1628 - London after 1715)<br />St. Lucke<br />Etching </p> <p>Burnford (England 17th C)<br />St. Mathew<br />Etching</p> <p>M. Vander Gueat (Flanders 17th C.)<br />Building the Tower of Babel<br />Etching </p> <p>Giovan Battista Bonacina (active in Milan 1631 - Rome 1659)<br />Games of fortune<br />Etching</p> <p>Frederick de Widt (Amsterdam 1610 - 1698)<br />Judas traitor<br />Etching</p> <p>Sébastien Le Clerc (Metz 1637 - Paris 1714) / Jean Audran (Lion 1667 - Paris 1756)<br />Scriptura Sacra (Sacred Scripture)<br />Sacra Teologia (Sacred Theology)<br />Lex Canonica (Canon Law)<br />Lex Civilis (Civil Law)<br />Etchings, 1719</p> <p>Anonymous (17th C.)<br />Prudence<br />Etching</p> <p>Jan Van Somer (Amsterdam 1641 - approx.1724)<br />The seven signets of the book<br />Etching</p> <p>Jan Van Somer (Amsterdam 1641 - approx.1724)<br />The chained dragon<br />Etching </p> <p>Peter Paul Bouchè (Antwerp 1646 - ?)<br />The recovery of the possessed ones<br />Etching</p> <p>John Kip (Amsterdam 1653 - London 1722)<br />Sodom burnt<br />Etching</p> <p>Bernard Lense (London 1659 - 1725)<br />The last judgment<br />Etching </p> <p>Anonymous (17th C)<br />In manibus sortes<br />(The Fates in the own hands)<br />Etching, 1685 </p> <p>Jacob Andreas Friderich (Germany 1683 - 1751)<br />Justice<br />Etching </p> <p>Jacob Andreas Friderich (Germany 1683 - 1751)<br />Cherubs<br />Etching</p> <p>Georg Daniel Heüman (Nurberg 1691 - 1759) )<br />The three Kings<br />Etching</p> <p>Johann Georg Pintz (Augsburg 1697 - 1772)<br />Jesus tempted by the Devil<br />Etching </p> <p>Johann Georg Pintz (Augsbourg 1697 - 1772)<br />The possessed ones<br />Etching</p> <p>Masson (England 18th C.)<br />The Beast of the Apocalips<br />Etching</p> <p>Masson (England 18th C.)<br />The Dragon of the Apocalyps<br />Etching</p> <p>Jacques - Philippe Le Bas (Paris 1707 - 1783)<br />La tentation de St. Antoine<br />(The temptation of St. Antony)<br />Etching</p> <p>Philipp Gottfred Harder (Bavaria 1710 - 1749)<br />The Suicide of Judas<br />Etching</p> <p>Ignaz Frey (Iglau 1727 –Brünn 1790)<br />Jove and Callisto<br />Etching</p> <p>M. Turoff (18th C)<br />Tempestas fulminea<br />(Rapid storm with lightnings)<br />Etching</p> <p></p> <p>Jacob Cats (Altona 1741 - Amsterdam 1799)<br />Mors ultima linea rerum<br />(Death is the boundary line of the things)<br />Acquaforte</p> <p>Antoine Jean Duclos (Paris 1742 - 1795)<br />Joseph De Longueil (Lille 1733 - Paris 1792)<br />Diana and Atteon<br />Etching</p> <p>Robert Delaunay (Paris 1754 - 1814)<br />Diana's bath<br />Etching</p> <p>Catharina Klauber (Augsbourg 18th C.)<br />Spes Jobi<br />(Job’s hope)<br />Etching</p> <p>Carlo Lasinio (Treviso 1759 - Pisa 1838)<br />The Last Judgement and Hell<br />Etching</p> <p>Molien (France - England 18th. C.)<br />Momo<br />Etching</p> <p>Antonio Morghen (Florence 1788 - 1853)<br />Cupid, Venus and Saturn<br />Etching</p> <p>I. Smith (England 18th C.)<br />Disce mori mundo vivere disce Deo<br />(Learn to die in the world, learn to live in God)<br />Black manner</p> <p>Anonymous (18th C.)<br />Saturn devours his own children<br />Etching</p> <p>R.V.A. Gandensis (19th C.)<br />Caesar aureo curru insignis ad Capitolium triumphans incedit<br />(Cesar entering the Capitol in triumph over a golden cart)<br />Etching<br />Anonymous (Bologna 1877)<br />La giostra della fortuna: gioco della andata in alto e calata in basso <br />(The Fortune roundabout: play of going up and down)<br />Colour Lithography from the Magazine “ Papagallo”</p> <p></p> <p>Illustrated Books</p> <p>Jean de Meun<br />Le plaisant jeu du dodechedron de Fortune <br />(The agreeable game of Fortune)<br />Lyon, 1574</p> <p>Vincenzo Cartari<br />Imagines Deorum qui ab Antiquis colebantur<br />(Images of the Gods of the Ancient ones)<br />Lion, 1581</p> <p>Biblia Sacra Vulgatae Editionis Sixti Quinti Pont.Max.<br />(Sacred Bible, “Vulgata” Edition of Sistus the Fifth Pontifex Maximum)<br />Venice, 1603</p> <p>Natale Conte<br />Mythologiae libres decem <br />(Mythology in ten books)<br />Parma, 1616</p> <p>Andrea Alciati<br />Emblemata <br />(Emblems)<br />Parma, 1621</p> <p>Jacob Cats<br />Spiegel Van den Ouden ende Nieuwen Tijdt <br />(Mirror of the 8th and 9th hour)<br />Hague, 1632</p> <p>Paolo Aresi<br />Delle sacre imprese <br />(About the Sacred Undertakings)<br />Tortona, 1635</p> <p>Platina<br />Vita de' Pontefici <br />(Life of the Popes)<br />Venice, 1666</p> <p>Cesare Ripa<br />Iconologia <br />(Iconology)<br />Venice, 1669</p> <p>Paolo Alessandro Maffei<br />Gemme antiche figurate (Vol. I°)<br />(Old figured gems)<br />Rome, 1707</p> <p>Paolo Alessandro Maffei<br />Gemme antiche figurate (Vol. II°)<br />(Old figured gems)<br />Rome, 1708</p> <p>Biblia Sacra Vulgatae Editionis Sixti V. Pontificis Max.<br />(Sacred Bible, “Vulgata” Edition of Sistus the Fifth Pontifex Maximum)<br />Venice, 1710</p> <p>Abate Pluche<br />Istoria del Cielo <br />(History of the Heaven)<br />Venice, 1741</p> <p>Michael Angelus Causeus<br />Romanum Museum sive Thesaurus Eruditae Antiquitatis (Book I°)<br />(Roman Museum or Treasure of the Erudite Antiquity)<br />Rome, 1746</p> <p>J. B. Boudard<br />Iconologie <br />(Iconology)<br />Parma, 1759</p> <p>Petri Busenelli<br />De Joanna Papissa dissertatio <br />(Dissertation about Pope Joan)<br />Parma, 1767</p> <p>Petro Joshepo Cantelio<br />De romana Repubblica <br />(About the Roman Republic)<br />Venice, 1768</p> <p>Reproductions</p> <p>Giotto <br />Stultizia<br />(Foolishness)<br />Fresco. <br />Padua, Cappella degli Scrovegni</p> <p>Anonymous (16th C.)<br />I Figli della Luna <br />(The Moon’s Sons)<br />Miniature from the code “De Sphaera”<br />Modena, Biblioteca Estense </p> <p>Giotto<br />Fides <br />(Faith)<br />Fresco<br />Padua, Cappella degli Scrovegni</p> <p>Bartolo di Fredi (1367)<br />Distruzione della Casa di Giobbe <br />(Destruction of Job’s House)<br />Fresco<br />San Gimignano, Collegiata.</p> <p>Giovanni da Modena (1410)<br />L’Inferno (particolare) <br />(The Hell, detail)<br />Fresco<br />Bologna, San Petronio, Cappella Bolognini.</p> <p></p> <p></p> <p></p> <p>3 THE DIVINE HERMES<br />This section underlines the iconographical relationship between the Renaissance tarots and the Hermes taught (Platonist and Neoplatonist taught). Here are displayed ancient prints, illustrated printed books and manuscripts.</p> <p>Magical-Hermetical-Neoplatonist Iconography </p> <p>Prints</p> <p>Michael Wolgemuth (Nurnberg 1434 - 1519)<br />Christ in majesty<br />Wood-engraving </p> <p>Hans Burgmair (Augsburg 1473 - 1531)<br />The young prince learning magic<br />Xylography</p> <p>Anonymous (16th C.)<br />Adorazione di Sole e Luna <br />(Adoring the Sun and the Moon)<br />Xylography</p> <p>Harmensz Van Rijn Rembrandt (Leida 1606 - Amsterdam 1669)<br />Doctor Faust<br />Etching (Copy of 19th C)</p> <p>Anonymous (17th C.)<br />Hermetic allegory<br />Etching</p> <p>John Kip (Amsterdam 1653 - London 1722)<br />The Ark send back<br />Etching</p> <p>John Kip (Amsterdam 1653 – London 1722)<br />Uzza struck by God<br />Etching</p> <p>Bernard Picard (Paris 1673 - Amsterdam 1734)<br />Les Danaides <br />(The Danaides)<br />Burin</p> <p>Gaetano Gherardo Zompini (Nervosa 1700 -Venice 1778)<br />Anton Maria Zanetti (Venice 1697 - 1767)<br />Chirone insegna l’alchimia ad Achille <br />(Chiron teaches alchemy to Achilles)<br />Etching and drypoint</p> <p>Jean Jacques Aliamet (Abbeville 1726 - Paris 1788)<br />Departure for witches’ Sabbath<br />Etching </p> <p>François Joseph Foulquier (Toulouse 1744 - Martinica 1789)<br />Evocation of dead people<br />Etching </p> <p>Anonymous (French school 18th C.)<br />Magic rite<br />Etching </p> <p>Joseph Friedrich Rein (Augsburg 1720 - 1795)<br />Tacentem ne iudica <br />(He does not judge the silents)<br />Etching </p> <p>Victor André Texier (La Rochelle 1777 - Paris 1864)<br />The alchemist meditating <br />Etching </p> <p>William French (England 1815 - 1898)<br />The chemist<br />Steel</p> <p>Joseph Claiton Bentley (Bradford 1809 - London 1851)<br />The alchemist<br />Steel</p> <p></p> <p></p> <p></p> <p></p> <p>Illustrated Books</p> <p>Alisandro Piccolomini<br />Della Sfera del mondo <br />(About the world Sphere)<br />Venice, 1553</p> <p>R. P. Luigi Contarino Crocifero<br />Il vago e dilettevole Giardino ove si leggono…I fatti e la morte de Profeti…Il nome e l'opere delle dieci Sibille…<br />(The vague and amusing garden where one reads... the facts and the death of the <br />Prophets.. the name and the work of the ten Sibyls)<br />Venice, 1619</p> <p>Gustave. Lebé<br />Figures des histories de la Sancte Bible <br />(Images of the Sacred Bible stories)<br />Paris, 1666</p> <p>Giovanni Battista Grassetti <br />La vera e falsa astrologia <br />(True and false astrology)<br />Rome, 1683</p> <p>La Barre De Beaumarchais<br />Le Temple des Muses <br />(The Temple of the Muses)<br />Amsterdam, 1733</p> <p>La Barre De Beaumarchais<br />Le Temple des Muses <br />(The Temple of the Muses)<br />Amsterdam, 1742</p> <p>Francesco Scipione Maffei<br />Arte magica dileguata <br />(Dissipated magical art)<br />Verona, 1750</p> <p>Bartolomeo Preati<br />L’arte magica dimostrata <br />(Demonstrating the magical art)<br />Venice, 1751</p> <p></p> <p>Antoine Court de Gebelin<br />Monde primitif (Vol. I°)<br />(The Primitive World)<br />Paris, 1773</p> <p>Antoine Court de Gebelin<br />Monde primitif (Vol. II°)<br />(The Primitive World)<br />Paris, 1774</p> <p>Antonio De Haen<br />De magia, dissertatio teologico - phisica<br />Naples, 1777</p> <p>Charles François Dupuis<br />L'Origine de tous les cultes (Tre volumi + Atlante)<br />(The origin of all the cults - Three volumes + Atlas)<br />Paris, 1795</p> <p>Manuscripts</p> <p>Friar Everardo da Udine<br />Libro esorcismo o Scongiuri con li quali si dimanda dei Tesori nascosti, o altre sume ad uno spirito chiamato Fanfarello<br />(Exorcism or incantation book where one asks a spirit called Fanfarello about hidden treasures or other secrets) <br />Manuscript, 17th C.</p> <p>Reproductions</p> <p>School of Giulio Romano (16th C.) <br />Figura di Naiade <br />(Naiad figure)<br />Mantova,. Palazzo Te, Sala di Psiche.</p> <p>Leonhard Turneyesser Zum Thurn (1574)<br />Anima Mercurii <br />(Mercurious soul)<br />Xilography fron the alchemy book “Quinta Essentia” (Quintessence)<br />Wien, Graphische Sammlung Albertina</p> <p></p> <p>4 THE GAME OF TAROTS 16th - 20th centuries<br />This section is illustrated by ancient hand-painted cards coming from different Italian regions and European Nations, ancient illustrated books and manuscripts about the game and its rules, etchings with card players, posters and edicts from kings or governments, very rare and precious boxes to hold cards and counters.</p> <p>Cards</p> <p>The list here is only illustrative and synthetic and not final. In fact, for every Italian regionour Cultural Association has a wide number of specimen of tarots. Here, being the exhibition targeted to the symbolic universe and the allegorical iconography of the Tarots, it does not include the exhibition of identical packs coming from different printers, being the iconography very similar. The presence of German Tarots, as well as of Austrian and French Tarots with landscape and animal sceneries, is purely explanatory of a trend, as is the exhibition of posters and edicts from kings or governments and of card boxes.</p> <p>Tarots from Bologna</p> <p>Tarocchino Al Leone<br />Bologna, beginning of 18th C.<br />Wood-cuts painted with stencils</p> <p>Tarocchino Grandi<br />Bologna, half of the 19th C.<br />Wood-cuts painted with stencils</p> <p>Tuscan minchiate</p> <p>Minchiate Etruria<br />Florence, 1725<br />Wood-engravings painted with stencils</p> <p>Minchiate Al Mondo<br />Bologna, 18th C.<br />Wood-engravings painted with stencils</p> <p>Minchiate Neoclassiche<br />Florence, 1820<br />Wood-engravings painted with stencils</p> <p></p> <p></p> <p>Lombard Tarots</p> <p>Tarot Al Soldato<br />Milan, 1780<br />Wood-engravings painted with stencils</p> <p>Tarot Neoclassico<br />Milan, 1810<br />Wood-engravings painted with stencils</p> <p>Tarot Gumppenberg-Della Rocca<br />Milan, 1825<br />Wood-engravings painted with stencils</p> <p>Tarot Gumppenberg<br />Milan, 1850<br />Wood-engravings painted with stencils</p> <p>Tarot Dotti<br />Milan, 1850<br />Wood-engravings painted with stencils</p> <p>Tarot Dotti<br />Milan, 1860<br />Wood-engravings painted with stencils</p> <p>Ligurian and PiedmonteseTarots</p> <p>Tarot Lando<br />Turin, 18th C. <br />Wood-engravings painted with stencils</p> <p>Tarot Marengo<br />Turin, 18th C. <br />Wood-engravings painted with stencils</p> <p>Tarot G.B. Guala in Ghemme<br />Turin, 1850<br />Wood-engravings painted with stencils</p> <p>Tarot Viarengo<br />Turin, second half of 19th C.<br />Wood-engravings painted with stencils</p> <p>Sicilian Tarots</p> <p>Tarot Fortuna<br />Palermo, approx. 1840<br />Wood-engravings painted with stencils (Reproductions)</p> <p>Tarot of Concetta Campione<br />Catania, 1940<br />Offset in colour</p> <p>French Tarots</p> <p>Tarot of Marseille N. Conver<br />Marseille, 1760<br />Hand-painted wood-engraving</p> <p>Tarot of Marseille B. Suzanne<br />Marseille, 1820<br />Hand-painted wood-engraving</p> <p>Tarot of Marseille Gassmann<br />Geneva, 1863<br />Wood-engravings painted with stencils</p> <p>Tarot of Besançon Renault<br />Besançon, 1830<br />Hand-painted wood-engraving</p> <p>Tarot Nouveau <br />Paris, 1900 (Grimaud)<br />Chromolithographs </p> <p>Tarots with fantasy scenes</p> <p>Tarot Allegorico<br />Tarot by Joseph Estel, Wien, 1815<br />Hand-painted wood-engravings</p> <p>Tarot Industrie und Glück (Industry and Fortune)<br />Wien, 1870 (Piatnik)<br />Hand-painted etchings</p> <p></p> <p>Tarot Industrie und Glück (Industry and Fortune)<br />Wien, 1900 (Piatnik)<br />Chromolithographs</p> <p>Tarot with Animal scenes<br />Tarot by A.B. Gobl, Munich, end of 18th C.<br />Hand-painted etchings</p> <p>Tarot Dondorf <br />Frankfurt, 1906<br />Chromolithographs </p> <p>Tarot with Hunting scenes <br />Trieste, early 19th C.<br />Wood-engravings painted with stencils</p> <p>Jugendstil –Tarock (Ditha Moser)<br />Wien, 1982<br />Offset (Piatnik)<br />The original version of these cads appeared in 1906.</p> <p>Books</p> <p>.Sieur de la Marinière ( Jean Pinson de la Martinière )<br />La Maison Academique <br />(The academic House)<br />Lyon, 1674</p> <p>Anonymous<br />Istruzione per i novelli confessori <br />(Instructions for the new confessors)<br />Lucca, 1725</p> <p>Carlo Pisarri<br />Istruzioni necessarie per chi volesse imparare il giuoco dilettevole delli <br />Tarocchini di Bologna <br />(Necessary instructions for who wants to learn the amusing game of the Tarocchini di Bologna) <br />Bologna, 1754</p> <p></p> <p>Antonio Malatesti<br />La Sfinge, enigmi sulle Minchiate <br />(The sphynx, enigms about the Minchiate)<br />No place, no date (Florence ?, late 17th C.)</p> <p>Miche L'Angelo Barbiellini<br />Trattato de' giochi e de' divertimenti permessi o proibiti ai cristiani<br />(Treaty about the games allowed and prohibited to the christians)<br />No place, 1768</p> <p>Diderot - D'Alembert<br />Pamphlet about the manufacture of cards, from the "Encyclopedie"<br />Paris, 1770</p> <p>Anonymous <br />Academie Universelle des Jeux <br />(Universal Game Academy)<br />Lyon, 1805</p> <p>Camillo Cavedani. <br />Lettera di un dilettante della partita a Tarocchi ad un amico desideroso d’apprendere un metodo facile per conteggiare con la massima sollecitudine<br />(Letter of an amateur of the Tarot game to a friend willing to learn immediately a simple counting method)<br />Bologna, 1812</p> <p>Carlo O.<br />Regole inalterabili per tutti i giuochi di tarocco detti di commercio (Unchangeable rules for all Tarot games called commercial)<br />Turin, 1830 </p> <p>Anonymous<br />Regole generali del gioco delle Minchiate <br />(General rules for the Minchiate game)<br />Florence, 1852</p> <p>Anonymous<br />Il gioco dei Tarocchi<br />(The Tarot game)<br />Pictures included in Sonzogno Almanac, Milan, 1886</p> <p></p> <p>Henry Ren d'Allemagne<br />Les cartes à jouer (Vol.s I°- II° – III° – IV°) <br />(The playing cards)<br />Paris, 1906</p> <p>Manuscripts </p> <p>Anonymous<br />Leggi correttive degli abusi introdottisi nel gioco delli Tarocchi<br />(Correction rules for the abuses made during the Tarot game)<br />no date, 18th C. </p> <p>Anonymous<br />Del modo di giuocare il Tarocco, ossia alla Partita <br />(About the way of playing Tarot, or about the game)<br />Bologna, 1840</p> <p>Anonymous<br />Il Giuoco de' Tarocchini sopra Michele Tekeli ribello<br />(The Tarocchino game as per Michele Tekeli, rebellious)<br />Bologna, 19th C.</p> <p>Posters</p> <p>Editto sul gioco delle carte<br />(Edict about playing cards)<br />Naples, King Ferdinand the Fourth, 1760</p> <p>Manifesto camerale <br />(Room poster)<br />Turin, Royal printing-office, March 28, 1761</p> <p>Edict of his majesty<br />Turin, Royal printing-office, December 18, 1763</p> <p>Manifesto camerale <br />(Room poster)<br />Turin, Royal printing-office, December 29, 1774</p> <p></p> <p>Manifesto camerale<br />(Room Poster)<br />Turin, Royal printing-office, January 10, 1776</p> <p>Manifesto camerale <br />(Room poster)<br />Turin, Royal printing-office, June 12, 1815</p> <p>Editto Reale<br />(Regal edict)<br />Turin, Royal printing-office, May 16, 1815</p> <p>Manifesto camerale <br />(Room poster)<br />Turin, Royal printing-office, November 17, 1820</p> <p>Avviso sulle tasse delle carte <br />(Notice about the cards tax)<br />Turin, Royal printing-office, November 18, 1825</p> <p>Avviso sul bollo delle carte<br />(Notice about the stamp of the playing cards) <br />Turin, Royal Printing - office, November 18, 1825 </p> <p>Avviso sul bollo delle carte<br />(Notice on the stamp of the paying cards) <br />Bologna, General Contractor of the Stamp on the playing cards authorized by the Monsignor General Treasurer, November 18, 1825. </p> <p>Patente sul bollo delle carte da gioco - Regno Lombardo Veneto<br />(Patent on the stamp of the playing cards - Lombard and Venetian Kingdom) <br />Our Residence in Wien (We, Ferdinand the First, with the Grace of God, Austrian Emperor), January 27 th 1840. </p> <p>Tools for the games</p> <p>Card box<br />Inlaid wood, with several compartments<br />Italy, 18th C.</p> <p>Card and counter box<br />In lacquered wood, containing four boxes with bone counters - Love scenes on <br />top and bottom of the main box and on the internal boxes.<br />Venice, 18th C.<br />Card and counter box<br />In lacquered wood, containing four boxes with bone counters - Chinoiserie scenes on top and bottom of the main box and on the internal boxes.<br />Venice, 18th C.</p> <p>Card and counter box<br />In lacquered wood, containing four boxes with bone counters - Seafaring scenes on top and bottom of the main box and on the internal boxes.<br />Venice, 18th C.</p> <p>Card and counter box<br />In lacquered wood, containing four boxes with bone counters - Mythological scenes on top and bottom of the main box and on the internal boxes.<br />Venice, 18th C.</p> <p>Game box<br />Made of red lacquered wood, with flower patterns, it contains four rectangular smaller boxes to hold the counters. Each cover of the smaller boxes holds a turning disc made of bone to count the scores.Chips made of bone.<br />Venice, 18th C.</p> <p>Card and counter box<br />In lacquered wood, containing four boxes with landscapes painted on the lids, <br />counters of various shapes in coloured ivory.<br />Vienna, early 19th C.</p> <p>Card box<br />In lacquered wood, containing four boxes with bone counters – Neo-classic rose-pot on top and bottom of the main box and on the internal boxes. Chips made of bone.<br />England, early 19th C.</p> <p>Card box<br />In wood finished with silver, containing four boxes with the figures of four kingspainted by hand on the lids, counters of various shapes in precious stones.<br />Italy, early 20th C. </p> <p>Art Dec card box<br />Walnut, corners in thuya, feet in silver, back in ebony with ivory inserts. <br />Italy ?, around 1930 </p> <p></p> <p>Prints</p> <p>Jacques Callot (Nancy 1592 - 1635)<br />The cardsharper<br />Etching</p> <p>Jonas Süyderhoef (Leida 1613 - Haarlem 1686)<br />Brawl between card-players<br />Etching</p> <p>Cornelis Pietersz Bega (Haarlem 1620 - 1664)<br />The young inn-keeper caressed<br />Etching </p> <p>Nikolaus Van I Hoy (Antwerp 1631 - Wien 1679)<br />Noblemen playing<br />Etching </p> <p>Giuseppe Maria Mitelli (Bologna 1634 - 1718)<br />Conversazione considerabile <br />(Considerable conversation)<br />Etching</p> <p>Giuseppe Maria Mitelli ( Bologna 1634 - 1718)<br />Chi gioca per soldi perde per necessità <br />(Who plays for necessity will surely loose)<br />Etching</p> <p>Anton Joseph von Prenner (Wallerstein 1698 - Wien 1761)<br />Brawl between card-players<br />Etching </p> <p>D.C. C. Fleischmann (active in Nurnberg 1690)<br />The empty jug<br />Etching </p> <p>Heinrich Guttemberg (Wöhrd 1743 - Nurnberg 1818)<br />Card players<br />Etching </p> <p>Jean Heudelot (Montpellier 1730 - ?)<br />The interrupted game<br />Etching </p> <p>Pieter Tanjé (Bolswart 1706 - Amsterdam 1761)<br />The cardsharper<br />Etching </p> <p>Jean Dambrun (Paris 1741 - 1808)<br />Le partie de Whist<br />Coloured engraving </p> <p>Johann Jacob Haid (Kleineslingen 1704 - Augsbourg 1767)<br />Das Lombre Spiel <br />(The play of the Man)<br />Etching </p> <p>Pierre Chenu (Paris 1730 - approx. 1780)<br />Sailors having fun<br />Etching </p> <p>Pierre Chenu (Paris 1730 - approx. 1780)<br />Les amusements des matelots <br />(The amusements of the sailors)<br />Etching</p> <p>Anonymous (18th C)<br />L’Apotecaire charitable<br />(The benevolent chemist)<br />Etching</p> <p>Anonymous (18th C)<br />The cardsharper<br />Etching </p> <p>Anonymous (France beginning of the 19th C.)<br />Napoleon Officiers and gentlemen playing cards<br />Drypoint</p> <p>Carl Daniel Voigt (Brunswick 1747 - Kiel 1813)<br />The cheating players<br />Aquatint</p> <p>Richard Hatfield (London 1809 -1867)<br />The reduced gentleman's daughter<br />Steel </p> <p>Claude Thielley (Rully 1811 - 1891)<br />Paris Salon<br />Colour Lythography</p> <p>Anonymous (19th C.)<br />Knights of our Lady<br />Lythography and coloured chalk</p> <p>Albert Henry Payne (London 1812 - Leipzig 1902))<br />Der Trumpeter <br />(The trumpeter)<br />Etching</p> <p>Edward. Smith (London active 1823 - 1851)<br />The queen of hearths<br />Etching <br />Lithography in colour </p> <p>Anonymous (19th C.)<br />Merry friars<br />Lithography coloured in chalks</p> <p>Albert Henry Payne (London 1812 - Leipzig 1902)<br />Bambini al gioco delle carte<br />(Childrens playing cards)<br />Etching</p> <p>Berard (France, 19th C.)<br />Une soirée d’etudians<br />(An evening of students)<br />Litography</p> <p>Other works</p> <p>Anonymous (France 17th C.)<br />Brawl between card-players<br />Arras</p> <p>5 THE BOOK OF THOTH <br />or the Esoteric Interpretation of the Tarots<br />This section tells the birth of the Tarots as a magical instrument, that took place at the end of the 18th C. in France, while the Enlightenment reigned supreme. Here we show cards, etchings, illustrated books, manuscripts, majolica pieces and other Art objects.</p> <p>The Egyptian Tarot and the Etteilla tradition</p> <p>Books</p> <p>Antoine Court de Gebelin<br />Le Monde Primitif <br />(The primitive world)<br />Paris, 1781 (Vol. VIII° )</p> <p>Etteilla<br />Collection of 5 essays including:<br />Etteilla ou la seule manière de tirer les cartes <br />(Etteilla or the only way of reading cards)<br />Amsterdam, 1773<br />Le petit Etteilla <br />(The small Etteilla)<br />18th C.<br />Le Zodiaque mystérieux <br />(The mysterious zodiac)<br />Amsterdam, 1772<br />Extrait d'une réponse à une lettre anonyme <br />(Abstract of an answer to an anonymous letter)<br />18th C.<br />Mention manuscrite suivante de la main d'Etteilla <br />(Manuscript mention from Etteilla hand)<br />18th C.</p> <p>Etteilla<br />Manière de se recréer avec le jeu de cartes nommées tarots<br />(How to get amused with the card game called Tarot – Vol. I°)<br />Pour servir de premier Cahier à cet Ouvrage.<br />Amsterdam, 1783</p> <p></p> <p>Etteilla<br />Manière de se recréer avec le jeu de cartes nommées tarots <br />(How to get amused with the card game called Tarot – Vol. II°)<br />Pour servir de second Cahier à cet Ouvrage.<br />Amsterdam, 1785</p> <p>Etteilla<br />Manière de se recréer avec le jeu de cartes nommées tarots <br />(How to get amused with the card game called Tarot – Vol. IV°)<br />Pour servir de quattrieme Cahier à cet Ouvrage.<br />Amsterdam, 1785</p> <p>Etteilla<br />Philosophie des hautes sciences <br />(Philosophy of the high sciences)<br />Amsterdam, 1785</p> <p>Etteilla<br />Leçons théoriques et pratiques du livre de Thoth <br />(Theoretical and practical lessons from the book of Thoth)<br />Amsterdam, 1787</p> <p>J.B Millet St.Pierre <br />Recherches sur la dernier sorcier et la dernière école de magie<br />(Researches about the last magician and the last magics school)<br />Havre, 1859</p> <p>Cards</p> <p>Tarot "Egyptien" - Grand Etteilla I<br />Hand-painted etchings, Paris, early 19th C.</p> <p>Tarot "Egyptien" - Grand Etteilla II<br />Wood-engraving in colour, Paris, 1850</p> <p>Tarot "Jeu de la Principesse" (Princesse game) <br />Hand-painted etchings, Paris, 1888 </p> <p>Grand Etteilla III<br />Chromolithographs, Paris, approx.1880 </p> <p></p> <p>Manuscript</p> <p>Madame Etteilla<br />Manuscript letter from Madame Etteilla to Monsieur De La Salette, Artillery Captain in Grenoble<br />Paris, approx. from 1785 to 1790 </p> <p>The Occultist Movement</p> <p>Books</p> <p>Elifas Levi<br />Dogme et Rituèl de la Haute Magie <br />(Dogmas and rites of high magics)<br />Paris, 1861</p> <p>Paul Christian<br />L'Homme Rouge des Tuileries <br />(The red man of the Tuileries)<br />Paris, 1863</p> <p>Paul Christian<br />Histoire de la Magie et du Monde Surnaturel <br />(Hisory of magics and <br />supernatural wordl)<br />Paris, 1870</p> <p>Ely Star<br />Les Mysterés de l’Horoscope <br />(The horoscope mystery)<br />Paris, 1888</p> <p>Stanislas de Guaita<br />Essais des Sciences Maudites II: Le serpent de la Genèse<br />(Essai of the damned sciences II: the Genesis snake)<br />Le Temple de Satan <br />(Satan's Temple)<br />Paris, 1891</p> <p>Stanislas de Guaita<br />Essais des Sciences Maudites II: Le serpent de la Genèse<br />(Essai of the damned sciences II: the Genesis snake)<br />La Clef de la Magie Noire <br />(The black magic key) Paris, 1897<br />Papus<br />Le Tarot des Bohèmiens <br />(The gipsy Tarots)<br />Paris, 1889</p> <p>Papus<br />Le Tarot Divinatoire <br />(The divinatory Tarot)<br />Paris, 1909</p> <p>René Falconnier<br />Les XXII Lames Hermetiques du Tarot Divinatoire <br />(The 22 hermetical cards of the divinatory tarot)<br />Paris, 1896</p> <p>Pierre Piobb<br />Formulaire de Haute Magie <br />(High Magics forms)<br />Paris, 1907</p> <p>Eudes Picard<br />Manuel Synthétique et pratique du tarot <br />(Synthetical and practical manual of the Tarots)<br />Paris, 1909</p> <p>Arthur Edward Waite<br />The pictorial key to the Tarot<br />London, 1911</p> <p>Elie Alta<br />Le Tarot Egyptien <br />(The Egyption Tarot)<br />Vichy, 1922</p> <p>Oswald Wirth<br />Le Tarot des Imagiers du Moyen Age <br />(The Tarots od the Middle Ages Illustrators)<br />Paris, 1927 (a copy which belonged to Andrè Breton, with the author's <br />signature and figures drawn by Wirth himself)</p> <p>George Muchery<br />Le Tarot Astrologique <br />(Astrological Tarot)<br />Paris, 1927<br />George Muchery<br />La synthèse du tarot <br />(The synthesis of the Tarots)<br />Paris, 1927</p> <p>A.A.V.V<br />Le Voile d’Isis <br />(Isis Veil)<br />Paris, 1928</p> <p>Paul Marteau<br />Le Tarot de Marseille<br />Paris, 1949</p> <p>Cards</p> <p>Les XXII Lames Hermétiques du Tarot Divinatoire <br />(The 22 hermetical cards of the divinatory tarot)<br />René Falconnier - Maurice O. Wegener<br />Wood-cuts from the work of the same title, Paris, 1896</p> <p>Le Tarot Divinatoire <br />(The divinatory tarot)<br />Papus - Gabriel Goulinat<br />Wood-engravings from the work of the same title, Paris, 1909</p> <p>Rider Waite Tarot <br />Painted by Pamela C. Smith<br />Chromolithographs, London, 1910</p> <p>Spanish esoteric Tarot<br />Lithographs in colour, 20th C.</p> <p>Le Tarot Astrologique<br />George Muchery)<br />Chromolithographs in colour, Paris, 1927</p> <p>Oswald Wirth Tarot <br />Impressions in colour, Paris, 1927</p> <p>Luxury cartomancy<br />Offset in colour, 1942</p> <p>Thoth Tarot<br />Aleister Crowley - Frieda Harris <br />Colour prints, New York, 1970</p> <p>Esoteric Iconography</p> <p>Prints</p> <p>Michael Wolgemuth (Nurnberg 1434 - 1519)<br />The conversion of St Paul the Apostle<br />Wood-engraving </p> <p>Michael Wolgemuth (Nurnberg 1434 - 1519)<br />The martyrdom of St Peter<br />Wood-engraving</p> <p>Anonymous, 16th C.<br />The Virgin Mary with the Holy Child<br />Etching</p> <p>Anonymous (16th C.)<br />The virtue of Faith<br />Wood-engraving</p> <p>Anonymous (16th C.)<br />Isis - Fortune<br />Etching</p> <p>Jean Pesne (Rouen 1623 - Paris 1700)<br />The Marriage of the Virgin<br />Etching</p> <p>Johan Baptist Homann (Kamlog 1663 - Nurnberg 1724)<br />Solar system and planetarium<br />Hand-painted etching </p> <p>Francisco Rosello (active in Palma de Mallorca 1671 - 1700)<br />Isis and her symbols<br />Wood-engraving</p> <p>Jacop Frey (Hochdorf 1681 - Rome 1752)<br />Hercules at the crossroads between vice and virtue<br />Engraving<br />Georg-Daniel Heümann (Nurberg 1691 -1759)<br />Iside multimammia<br />(Multiform Isis)<br />Etching</p> <p>Johann Georg Pintz (Augsbourg 1697 - 1772)<br />Scenographia Atrii Sacerdotum<br />(Scenography of the Atrium of the Priests)<br />Etching, 1734</p> <p>William Hogarth (London 1697 - 1764)<br />Hudibras beats Sidrophel and his man Whacum<br />Etching</p> <p>Hubert François Bourguignon detto Gravelot (Paris 1699 - 1773)<br />Secret<br />Etching</p> <p>Robert Strange (Orkneys 1721 - London 1792)<br />Hercules at the crossroads between vice and virtue<br />Etching, 18th C.</p> <p>Bernard (France, 18th C.)<br />Antiquités Babyloniennes et Egyptiennes<br />(Babylonian and Egyptians antiquities) <br />Etching</p> <p>Illustrated books</p> <p>Abbé Perau<br />L'Ordre des Franc-Maçon trahi et le secret de Mopses devoilé<br />(The treason of the Freemasonry order and the disclosure of Moses secret)<br />Amsterdam, 1745</p> <p>Diderot - D'Alembert<br />Pamphlet about the ancient alphabets, from the "Encyclopedie"<br />Paris, 1770</p> <p>Leo Taxil<br />I misteri della Framassoneria <br />(The Freemasonry misteries)<br />Genoa, 1888</p> <p>Other works</p> <p>Mario Ortolani (the master of Franco Gentilini)<br />The sacred colours <br />Majolica plate, Faenza, 1915 (50 cm in diameter)</p> <p>Anonymous<br />Masonic Sash, The Scottish Ancient and Accepted Rite<br />(5th Degree, Perfected Master)<br />England, 19th C.</p> <p>Anonymous<br />Masonic Apron<br />Italy, 19th C.</p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p></p> <p>6 TAROTS AND CARTOMANCY<br />The following books and prints regard the divinatory arts and introduce, by means of explanatory panels, the art of Cartomancy, which was developed in France from the 18th century.</p> <p>The Divinatory Arts in the History </p> <p>Illustrated books</p> <p>Gioacchino da Fiore<br />Vaticini, overo Profetie dell'Abate Gioacchino & di Anselmo Vescovo di <br />Marsico <br />(Vaticination or prophecy of Abbot Gioacchino and Anselmo Bishop of Marsico)<br />Venice, 1590 </p> <p>Giovanni Opsopeo<br />Sibyllina Oracula <br />(Sibyl’s oracle)<br />Paris, 1599</p> <p>Lorenzo Pignoria<br />Annotationi di Lorenzo Pignoria al libro delle Imagini del Cartari; Seconda parte delle Imagini de gli dei indiani .<br />(Lawrence Pignoria’s Note to the book of the Cartari’s Images. Second part of the Indian Gods Images) <br />Padua, 1608</p> <p>Sigismondo Fanti<br />Triompho di Fortuna<br />(Fortune Triumph)<br />Venice, 1526 (facsimile 1968)</p> <p>Giovan Battista Dalla Porta<br />Della fisonomia dell'huomo <br />(About the men physiognomy)<br />Padua, 1623</p> <p>Filippo Finella<br />De Metroposcopia <br />(About Metroposcopy)<br />Antwerp, 1648</p> <p>Jean Belot<br />De Chyromanzia <br />(About Chiromancy)<br />Lyon, 1654</p> <p>Jean d’Indagine<br />La Chiromancie et phisionomie <br />(About Chiromancy and Physiognomy)<br />Paris, 1662</p> <p>Jean Taisnier<br />La science curieuse ou trait de la Chyromancie <br />(The curious science or the Chiromancy)<br />Paris, 1667</p> <p>Ferd. Caroli Winhart<br />Medicus Officiosus <br />(Doctor operating)<br />Venice, 1724</p> <p>Ludovic lavateur<br />Essai sur la Physognomie <br />(Essay about the Physiognomy)<br />Paris, 1737</p> <p>Petro Josepho Cantelio<br />De romana repubblica <br />(About the Roman Republic)<br />Venice, 1768</p> <p>Antoine Court de Gebelin<br />Monde primitif (Book II°)<br />(Primitive world)<br />Paris, 1778</p> <p>Laurtent Bourdelon<br />Storia delle immaginazioni stravaganti del Sig. Oufle <br />(History of the strange imaginations of Mr. Oufle)<br />Venice, 1785</p> <p>Pietro G.P. Casamia<br />Il Giro astronomico <br />(The astronimic path)<br />Faience, 1787<br />Raphael<br />The prophetic messenger for 1827<br />London, 1826 </p> <p>Mad.me Lemarchand<br />Le Grand Oracle des dames et des Demoiselles <br />(The high oracle for ladies and girls)<br />Paris, 1880 </p> <p>Teynier<br />La bonne aventure dans la main <br />(The fortune in the hand)<br />Paris, no date.</p> <p>Albert d’ Angers<br />La double clef des songes <br />(The double key of the dreams)<br />Paris, no date.</p> <p>Anonymous<br />Oracolo nuovissimo ossia Libro dei Destini dell’Imperatore Napoleone I°<br />(New oracle or Destiny book of the Emperor Napoleon the First)<br />Milan, 1932</p> <p>Prints</p> <p></p> <p>Michael Wolgemuth (Nurnberg 1434 -1549)<br />Joseph explains the dream of the pharaon Mephres<br />Wood-engraving in colour</p> <p>Anonymous (16th C.)<br />The Prophet Daniel unveils the dream to King Nabuchodonosor<br />Bulin</p> <p>Jean Messanger (Paris? 1649)<br />The prophets<br />5 etchings</p> <p>Anonymous (16th C.)<br />Vates sibyllinae<br />Wood-engraving</p> <p>Anonymous (16th C.)<br />The divinatory rod<br />Wood-engraving</p> <p>Peter Paul Bouche (Antwerp 1646 ?)<br />The Prophet Ezekiel<br />Wood-engraving</p> <p>George Daniel Heüman (Nurberg 1691 - 1759)<br />La pitonessa di Endor <br />(Endor fortune-teller)<br />Etching</p> <p>William Hogarth (London 1697 - 1764)<br />Credulity, superstition and fanatism<br />Engraving </p> <p>Benoit Audran II (Paris 1700 - 1772)<br />Bohèmiene disant la bonne aventure <br />(Gipsy telling the fortune)<br />Etching</p> <p>Gaetano Gherardo Zompini (Nervesa 1702 - Venice 1778)<br />The fortune-teller<br />Engraving</p> <p>Simon Fokke (Amsterdam 1712 - 1784)<br />The false gipsy<br />Etching</p> <p>Astor Loder (Frankfurt 1721 - 1760)<br />The country magician<br />Engraving</p> <p>Giuseppe Canale (Rome 1725 - Dresda 1802)<br />Eritrean Sibyl<br />Etching</p> <p>Pieter F. Martenasie (Antwerp 1729 - 1789)<br />Les divineresses <br />(The Soothsayers)<br />Colour lithograph</p> <p>Louis Michel Halbou (France 1730 - Paris approx. 1810)<br />Les Bohèmiennes <br />(The gipsies)<br />Etching</p> <p>Johann Winckler (Denmark 1734 - 1791)<br />David Teniers fait dire la bonne aventure à sa femme<br />(David Teniers asking his wife to tell the fortune)<br />Etching</p> <p>Jean Michel Moreau (Paris 1741 - 1814)<br />The sibyl of Delphi<br />Engraving</p> <p>Heirich Guttemberg (Wöhrd 1749 - Nurberg 1818)<br />Endor Soothsayer<br />Etching</p> <p>Louis Leopold Boilly (La Bassée 1761 - Paris 1845)<br />La bonne aventure <br />(The fortune)<br />Lithograph in colour, 1824</p> <p>Bartolomeo Pinelli (Rome 1781 - 1835)<br />La zingara indovina <br />(The gipsy fortune-teller)<br />Etching</p> <p>Halbert A. Payne (London 1812 - Leipzig 1902)<br />The fortune-teller<br />Steel</p> <p>Charles W. Sharpe (Birmingham 1818 - 1899)<br />Cup Tossing <br />(The reader of the coffee-grounds)<br />Etching</p> <p>Adolphe Lalauze (Rive-de-Gier 1838 – 1906)<br />La diseuse de Bonne Aventure<br />(The fortuneteller)<br />Etching,1874</p> <p></p> <p>Cattier (Paris 19th C)<br />La plus belle dette<br />(The most beautiful duty)<br />Litography</p> <p>F. Semino (Italy 19th C.)<br />The astrologer Fovars foretells Maria de' Medici's fortune<br />Hand-painted lithograph</p> <p>Manuscript</p> <p>Anonymous (1643)<br />Pronostico composto dallo Astrologo di Sassonia dedicato dallo stesso alla Santità di N. S. Papa Urbano ottavo…… all’Imperatore.<br />(Prediction composed by the Saxon Astrologer and dedicated by him to His Holiness the Pope Urban the Eight and…… to the Emperor.)</p> <p>Anonymous (France)<br />Cataloque des etoiles zodiacales pour le commencement de l’anné 1765.<br />(Catalog of the zodiac stars for the beginning of the year 1765)</p> <p>Cartomancy</p> <p>Illustrated books</p> <p>Albert d'Alby<br />L'oracle parfait <br />(The perfect oracle)<br />Paris, 1802</p> <p>Melchior Montmignon D'Odoucet<br />Science des signes ou mèdecine de l'esprit connue sous le nom d'Art de <br />Tirer les Cartes <br />(Science of the signs or spirit medecine, known as art of reading cards)<br />Paris, no date (1804) (signed by the author)</p> <p>Anonymous <br />Les songes espliquées et rapresentées par 74 figures gravées en taille <br />douce <br />(Explanation of the dreams with 74 figures engraved in small sizes)<br />Lille, 1809<br />Marie Anne Lenormand<br />Souvenirs prophètiques d'une Sibylle <br />(Prophetical souvenir of a Sibyl)<br />Paris, 1809</p> <p>Marie Anne Lenormand<br />Les oracles sibyllins<br />(Sibyls' oracles)<br />Paris, 1817 (signed by the author)</p> <p>Marie Anne Lenormand<br />La Sibylle au congrès l'Aix la Chapelle <br />(The Sibyl at the congress in l'Aix la Chapelle)<br />Paris, 1819 (signed by the author)</p> <p>Anonymous<br />Le Petit Etteilla, ou L’Art de tirer les cartes, d’après les plus célébres cartomanciens<br />(The Small Etteilla, or The Art of interpreting cards, according to the most celebrated fortune-tellers)<br />Lille, no date (approx 1820)</p> <p>Marie Anne Lenormand <br />Le petit homme rouge au château des Tuileries <br />(The small red man of the Tuileries castle)<br />Paris, 1831 (signed by the author)</p> <p>Marie Anne Lenormand<br />Arrêt Suprême des dieux de l'Olympe <br />(Supreme sentence of the Olympus gods)<br />Paris, 1833 (signed by the author)</p> <p>Julia Orsini<br />La grande Etteilla, ou l'art des tirer les cartes et de dire la bonne <br />aventure <br />(The high Etteilla, or the art of reading cards and telling the fortune)<br />Paris, no date (1838)</p> <p>Johannes Trismègiste<br />L'art de tirer les cartes <br />(The art of reading cards)<br />Paris, 1849</p> <p>Henri Delaage<br />Le monde prophètique ou moyen de connaitre l'avenir<br />(The prophetic world or the way of knowing the future)<br />Paris, 1853</p> <p>Paul Boiteau d'Ambly<br />Les cartes à jouer et la cartomancie <br />(Playing cards and cartomancy)<br />Paris, 1854</p> <p>M.lle Lemarchand<br />Les rccrèations de la Cartomancie <br />(Recreating with Cartomancy)<br />Paris, 1856</p> <p>Anonymous <br />La cartomancie complète <br />(Complete cartomancy)<br />Paris, no date (approx. 1850) </p> <p>Halbert D'Angers<br />La cartomancie ancienne et nouvelle <br />(Ancient and new cartomancy)<br />Paris, no date (1858) </p> <p>Alfred De Caston<br />Les vendeurs de Bonne Aventure <br />(The Fortune sellers)<br />Paris, 1866</p> <p>Antonio Magus<br />L'art de tirer les cartes <br />(The art of reading cards)<br />Paris, no date (1874)</p> <p>Esmael<br />Manuel de Cartomancie <br />(Cartomancy manual)<br />Paris, 1875</p> <p>Jules de Granprê<br />L’art de predire l’avenir <br />(The art of telling the future)<br />Paris, no date (approx. 1880)<br />Astaroth<br />L'avenir devoilé par les cartes <br />(The future discovered by the cards)<br />Paris, no date (1880)</p> <p>V. Gross<br />La Cartomanzia, ovvero la vera arte di tirar le carte <br />(Cartomancy, or the true art of reading cards)<br />Milan, 1884</p> <p>Dott. Brunn<br />Cartomanzia<br />(Cartomancy)<br />Trieste, 1884</p> <p>Louise Amron<br />La véritable cartomancie <br />(True cartomancy)<br />Paris, no date (approx.1885)</p> <p>Anonymous <br />L’art de tirer les cartes, Oracle parfait <br />(The art of reading cards: the perfect oracle)<br />Paris? no date (approx.1890)</p> <p>Anonymus<br />Almanach de la Bonne Aventure contenant l'art de tirer les cartes avec <br />les cartes ordinaires et lesTarots <br />(Fortune almanac explaining the art of reading cards with the normal playing cards and with the Tarot cards)<br />Paris, 1886</p> <p>Anonymous <br />Almanach ou l’Oracle des Dames et des Demoiselles <br />(Almanac, or the oracle for ladies and girls)<br />Paris, Delarue, no date (approx. 1895) </p> <p>Anonymous <br />Les sciences mysterieuses <br />(The mysterious scenes)<br />Paris, 1899</p> <p>C.Thorpe<br />Card fortune telling<br />London, 1918<br />Halbert D'Angers<br />Le Quadruple Oracle des dames et des demoiselles <br />(The quadruple oracle for ladies and girls)<br />Paris, no date ( approx.1920)</p> <p>Schémahni<br />Le Tarot Ègyptien <br />(Egyption Tarot)<br />Paris, no date</p> <p>Anonymous <br />L’art de tirer les cartes <br />(The art of reading the cards)<br />Paris,1922</p> <p>Schémahni<br />La cartomancie scientifique expliquée à la lumière de la Science Sacrée. Le tarot des Bohémiens.<br />(Scientific Cartomancy explains the light of the sacred science. The tarot of the Gypties)<br />Paris, no date (approx.1920)</p> <p>Francesco Graus<br />La Cartomanzia <br />(Cartomancy)<br />Naples, 1923</p> <p>M.me Ada-Rabab<br />La vraie manière de se tirer les cartes soi-même <br />(The true way of reading cards for yourself)<br />Paris, no date (1930)</p> <p>La Deguésah<br />Ce que disent les cartes <br />(What the cards say)<br />Paris, no date</p> <p>Andreina D’Amico<br />Il giuoco delle carte rivelato dalla celebre indovina <br />(The card game explained by the famous fortune-teller)<br />no place, no date</p> <p></p> <p>Felice Vacarènscara<br />Cartomanzia e divinazione <br />(Cartomancy and divination)<br />Naples, no date </p> <p>Anonymous <br />L’arte di predire il futuro con le carte <br />(The art of telling the future with the cards)Promotional booklet for the lenitive tablets “Pastiglie Valda” <br />Milan, 1949</p> <p>Docteur Marius<br />Il destino svelato dal Tarocco <br />(The destiny unveiled by the Tarot)<br />Trieste, 1955</p> <p>Dott. Carlo Mooron<br />L’avvenire svelato dalle carte<br />(The destiny unveiled by the cards<br />Milan, 1958</p> <p>Dott. Moorne<br />Suprema arte egizia per la divinazione delle carte <br />(Supreme Egyptian art for the divination with the cards)<br />Milan, 1960</p> <p>Manuscript</p> <p>Anonymous <br />Manière de tirer les cartes <br />(How to read cards)<br />France, 18th C.</p> <p>Cards</p> <p>Le livre du destin <br />(The Destiny book )<br />Hand-painted etchings, Paris, approx. 1800</p> <p>Epitre aux dames <br />(Letter to the ladies)<br />Hand-painted etchings, Paris, 1820</p> <p>Divinatory Flowers<br />Hand-painted etchings, France, approx. 1840</p> <p>Kartenspiel der berühmten Wahrsagerin Mlle. Lenormand in Paris <br />(Card game of the famous fortune-teller Mlle. Lenormand in Paris)<br />Hand-painted lithography, Leipzig, approx. 1850<br /><br />Italian Divinatory cards<br />Lithography, Rome, approx. 1840 </p> <p>Grand Jeu de Societé - Cartes Astro-Mytho- Hermétiques <br />(Grand society game with astrological, mythological and hermetical cards)<br />Hand-painted etchings, Paris, 1864.</p> <p>Kartenspiel der Wahrsagerin Mlle.Lenormand <br />(Card game of the fortune-teller Mlle. Lenormand in Paris)<br />Hand-painted etchings, Paris, 1850</p> <p>L’ Oracle Symboliquè – Jeu de Salon <br />(The symbolic oracle - a society game)<br />Hand-painted etchings, Paris, approx. 1880<br />.<br />Neueste Aufschlagkarten <br />(The newest reading cards)<br />Zincotype, Wien, approx. 1880 </p> <p>M.lle Lenormand ‘s Wahrsage-Karten <br />(Reading Cards of Mlle. Lenormand)<br />Hand-painted wood-engraving, Germany end of the 18th C.</p> <p>Grand jeu de M.lle Lenormand (Grand game of Mlle. Lenormand)<br />Colour Chromolithographs , Paris, approx. 1900 </p> <p>The sibyl of the salons<br />Chromolithographs, Paris, late 19th C.</p> <p>Le petit cartomancie: jeu de bonne aventure <br />(Small cartomancy: the good fortune game)<br />Color lithograph, Paris, late 19th C.</p> <p>Le petit oracle des dames <br />(The small oracle for ladies)<br />Stencil - col.lithograph, Paris, late 19th C.</p> <p>Nouveau jeu de la main <br />(New hand game)<br />Chromolithograph, Paris, approx. 1890 </p> <p>Les secrets du destin – l’avenir devoile <br />(The destiny secrets - the unveiled future)<br />Hand-painted wood-engraving, Paris, approx. 1892</p> <p>Sibylle, die wahrsagende Zigeunermutter <br />(Sibyl, the gipsy mother telling the truth)<br />Hand-painted lithograph, Germany, approx. 1890</p> <p>Le Jeu du Destin Antique <br />(The game of the old destiny)<br />Lithograph, Paris, approx. 1912 </p> <p>Neueste Aufschlagkarten <br />(The newest reading cards) <br />Chromolithographs, Austria, end of the 19th C.</p> <p>Jeu de cartes de Mlle.Lenormand <br />(Card game of Mlle. Lenormand)<br />Lithograph, Paris, approx. 1890</p> <p>Different divination card packs <br />Litographs and chromolitographs, Germany - Austria, end of 19th C. </p> <p>Italian Divinatory cards<br />"Mignon da viaggio" (Little cards for trip). Colour chromolithograph<br />Italy, early 20th C.</p> <p>The 36 Sibylline cards<br />Colour chromolithograph, Rome, 1920</p> <p>Lenormand Deck<br />Colour lithograph, Bruges, approx. 1910</p> <p></p> <p></p> <p></p> <p>Prints about cartomancy</p> <p>Marcolino da Forlì ( Italy, † 1559)<br />Oracolo con le carte <br />(Oracle with the cards)<br />Hand-painted wood-engraving, Venice, 1540</p> <p>Jacques Chéreau (Blois 1688 - 1776 )<br />La tireuse des Cartes <br />(The card reader)<br />Hand-painted etching</p> <p>Louis Michel Halbou (France 1730 - Paris 1810)<br />La credulité sans reflexion <br />(Credulity without reflecting)<br />Hand-painted etching, 1770</p> <p>Augustin Legrand - pseudonym of Auguste Claude Simon (Paris 1765 - approx. 1815)<br />Les amans curieuxs <br />(The curious lovers) <br />Hand-painted etching </p> <p>Auguste Blanchard I, the Elder (France 1766 - approx. 1833)<br />La tireuse des cartes <br />(The card reader)<br />Hand-painted etching </p> <p>Auguste Blanchard I – the Elder (France 1766 - approx. 1833 <br />La tireuse de cartes – Mode du jour n° 7 <br />(The card reader, Mode of the 7th day)</p> <p>Auguste Blanchard I – the Elder (France 1766 - approx. 1833 <br />La diseuse de bonne aventure – Le bon genre <br />(The fortune-teller, the good kind)<br />Hand-painted etchings</p> <p>Carl Ernest Wagner (Rossdorf 1796 - Meiningen 1867)<br />Ruhende Zigeunerkinder<br />(Gipsy children at rest)<br />Steel painting to hand</p> <p></p> <p>Anonymous (France 19th C.)<br />Les divineresses <br />(The Soothsayers)<br />Hand-painted print</p> <p>Paul Gavarni, pseudonym of Chevalier Sulpice Guillaume (Paris 1804 - 1866)<br />La Douarière<br />(The widow)<br />Hand-painted litograph </p> <p>Johann Heinrich Knolle (Brunswick 1807 - 1877)<br />The gipsy fortune-teller<br />Hand-painted etching </p> <p>Anonymous (Austria 19 th C)<br />The fortuneteller<br />Etching</p> <p>Adrien Schleich (München 1812 - 1894)<br />Die Kartenschlaegerin <br />(The card reader)<br />Hand-painted etching</p> <p>Albert Henry Paine (London 1789 - 1864)<br />Die Zigeunerin <br />(The gipsy)<br />Hand-painted steel</p> <p>H.Cook (London active 1812 -1844) <br />Lady Caroline Maxsé<br />Etching</p> <p>François Frederic Chevalier (Orleans 1812 - Paris 1849)<br />The fortune-teller<br />Etching</p> <p>Anonymous (France approx. 1830 ) <br />Leur credulité fait toute sa science <br />(Credulity becomes science)<br />Hand-painted etching</p> <p></p> <p>Gustave Dorè (Strasbourg 1832 - Paris 1883)<br />Jean Baptiste Fortuné de Fournier (Ajaccio 1789 - Paris 1864)<br />Eine Wahrsagerin in einer Zigeunerhöhle auf den Monte Sacro <br />(A fortune-teller in a gipsy cave on the Monte Sacro)<br />Hand-painted wood-engraving </p> <p>Gustave Dorè (Strasbourg 1832 - Paris 1883)<br />Jean François Prosper Delduc (Pézénas - Paris 19th C.)<br />Zigeuner in Lotana <br />(Gipsy in Lotana)<br />Hand-painted wood-engraving</p> <p>Kaspar Kaltenmoser (Harb sur Neckar 1806 - Munchen 1867)<br />Die kartenschläegerin<br />(The fortune - teller)<br />Lithograph, 1840</p> <p>Félix Augustin Milius (Marseille 1843 - 1894)<br />L’Horoscope réalizé<br />(The accomplished -horoscope)<br />Etching, 1874</p> <p>Paul Edme Le Rat (Paris 1849 - 1892)<br />L'Horoscope <br />(The Horoscope)<br />Etching</p> <p>M.lle Rachel Rhodon (France, sec. XIX)<br />L’Escamoteur<br />Etching, 1874</p> <p>Anonymous (Germany 19th C.)<br />The house of the gipsy fortune-tellers<br />Hand-painted wood-engraving </p> <p>Arthur Knesing (München 19th C.)<br />Bei der Kartenschlaegerin <br />(At the fortune-teller's)<br />Hand-painted wood-engraving</p> <p>Anonymous (France 19th C.)<br />The gipsy fortune-teller<br />Chalk<br /><br />Lavrate (France 19th C.)<br />Les divineresses <br />(The Soothsayers)<br />Hand-painted lithograph, popular print</p> <p>V. Courmont (Paris 19th C)<br />Bohémienne<br />(Gipsy)<br />Chalk</p> <p>Grandville (France 19th C)<br />L’as ‘de coer m’annuounce qu’il y a du trèfle dans votre affaire<br />(The Ace of Hearts tells that there is a money in your business)<br />Hand-painted lithograph</p> <p>Anonymous (Perpignan early 20th. C.)<br />La réussite <br />(The success)<br />Promotional card of the “Ancienne Maison Thèrèse Bellocc”<br />Chromolitograph </p> <p>Cortazzo (France early 20th C.) <br />Une tireuse de cartes<br />(A cards reader)<br />Hand-painted lithograph</p> <p>Other works</p> <p>Anonymous (England approx. 1850)<br />Wheel of Fortune<br />Hand-painted ink drawings and figures, with hand-written fortune-tellers' <br />Replies.</p> <p>Anonymous (Paris 1860)<br />Carte da visite de M.me Noirot physionomiste <br />(Visit card of M.me Noirot physiognomist)</p> <p></p> <p></p> <p>7 TAROTS BY MODERN ARTISTS <br />In recent years several artists have attempted - whether out of pure inspiration, on commission or as an exercise - to re-create the Tarot pictures. <br />Famous painters such as Renato Guttuso, Franco Gentilini, Domenico Balbi and illustrators from every part of the world have allowed themselves to be charmed by these magical pictures. In doing so, they have created original works which often bear little resemblance to the Tarots except in name. </p> <p>Original Tarots by the following italian artists will be shown:</p> <p>Franco Gentilini (Faenza 1909 - Rome 1981)<br />N° 22 etchings - acquatints<br />(Il Cigno Edition, Rome, 1971)</p> <p>Renato Guttuso (Bagheria, Palermo 1912 - Rome 1987)<br />N°78 litographs <br />(La Traccia Edition, Rome, 1972)</p> <p>Ezio Bertocci<br />La Mirabile Giostra dei Tarocchi<br />(The admirable roundabout of the Tarots)<br />N°22 serigraphs<br />(L'Asterisco Edition, Iesi, 1995)</p> <p>Domenico Balbi (Genova, 1927)<br />N° 2 acrilics </p> <p>Gian Maria Potenza<br />N°22 serigraphs <br />(Venice, 1987 - 1988)</p> <p>Andrea Picini<br />N° 6 serigraphs<br />(Art Gallery L'Antenna, Bergamo, 1978)</p> <p>Lele Luzzati<br />N° 5 serigraphs on cloth, no date <br />N° 4 serigraphs, no date </p> <p>Velda Ponti<br />N° 9 oil-paintings, 1987</p> <p>Bianca Rosa Rizzoli<br />N° 3 wash-drawings, 1984<br />Alfredo Di Prinzio<br />N°2 mixed techniques, 1986 -1987 </p> <p>Dioscoride Dalmonte<br />Nà 5 oil-paintings, 1987</p> <p>Luigi Bollini<br />The enigma of the Tarots<br />N°22 litographs, 1979</p> <p>Nani Tedeschi<br />A bit of Tarots<br />N° 4 serigraphs, 1987 </p> <p>Gianni Predieri<br />Venice’s Tarots<br />N° 22 etchings<br />(Segno Grafico Edition, Venice, no date)</p> <p>Carla Tolomeo<br />Casanova’s Tarots<br />N° 22 etchings<br />(Raffaele Bandini Editor, no place, no date)</p> <p>Norberto Corti<br />N° 22 quinquina inks, no date</p> <p>Massimo Pulini<br />N°22 lithographs, no date</p> <p>Claudio Cappelli<br />N° 22 litographs, 1980</p> <p>Gianni Novak<br />N°22 litographs <br />(Biancoenero Editions, no date</p> <p>Harlicez<br />N° 6 etchings, 1975 </p> <p>Tinin Mantegazza<br />Nà 22 wash-drawings, no date</p> <p>SCENOGNAPHY<br />The exhibition is set out by means of scenes linked to the philosophy which has permeated the history of Tarots. These scenes are magnificent symbolic representations in a variety of techniques which create a powerful emotional impact, and have been designed by Professor Antonio Utili, art historian and scenographer at the Accademia di Belle Arti in Ferrara.</p> <p>The scenography is based on the following themes: </p> <p>The Wheel of Fortune<br />The Tree of Life, with the "Coniunctio" of the Sun and the Moon<br />A Ruined Tower<br />Temperance (with running water)<br />The Hell<br />Hermes Trismegistus<br />Castle of great tarots cards</p> <p></p> <p>THE CATALOQUE<br />The exhibition is complemented by a scholarly catalogue of some 150 pages with essays written by members of the organizing committee, with both colour and black-and-white photographs, which could be translated and personalized for individual showings. </p> </body>