Another interesting collection of early Tarocci (little Tarots) is described by Count di Parravicino, who states that the pack was painted early in the fifteenth century by a Ferrarese artist named Antonio Cicognara. These cards have been owned in one family several centuries with an authentic history of them, for in the annals of Cremona, written by Domenico Bordegallo, is found the following reference to the pack: "1484. In this year our townsman, Antonio di Cicognara, a most skillful painter of pictures and an admirable miniaturist, designed and illuminated a magnificent pack of cards called Tarots, which have been seen by me, and he made a present of them to the most honorable, reverend, and illustrious Lord Ascanio M. Sforza, Cardinal of the Holy Church, Bishop of Pavia and Novara, at one time dean of our cathedral and now commendatory of the canons of St. Gregory, and son of the most illustrious and excellent Francesco Sforza and the Lady Bianca Visconti, born here in Cremona." "The same artist," states Count di Parravicino, "illustrated other packs for the sisters of this Cardinal. They were nuns in the Augustine Convent founded in this town by the aforesaid Madonna Bianca." This naïve record of the amusements of the religious communities of the fifteenth century presents a novel picture to the minds of those who suppose that cards were not permitted within the sacred precincts, although such was not the case, as is confirmed by a proverb of the day that says "Mind what the friar says, not what he does." The Tarocco cards were thus called from the game "Little Tarots" or "Tarocci," played at the time, said to have been invented by Francis Fibbia. Thus the older name of Tarots became corrupted to Tarocco, although the number and value of the original pack remained unaltered. The cards painted for Cardinal Sforza are still in existence. Some are shown in the Carrara Museum at Bergamo; others are in the possession of Count Alessandro Colleoni; while thirty-five cards of this pack are owned by Mr. Pierpont Morgan and are exhibited by him in the Victoria and Albert Museum in London. It is impossible to do justice to the beauty of this set of cards that are painted in the most delicate manner. The background is of gold picked out or embossed with a diapered pattern dotted in raised designs on a smooth surface; the figures are cleverly moddeled and beautifully executed; the faces are painted with the delicate touch of an accomplished miniaturist. That of the Knave of Money is seen in profile, and is so expressive that it is probably a likeness, since the treatment is even more careful and the features better drawn than those of most of the Atouts.