The Arts in the Middle Ages and at the Period of the RenaissanceJacob, P. L.
History
The Arts in the Middle Ages and at the Period of the Renaissance
Jacob, P. L.
Art, Medieval; Art, Renaissance; Middle Ages
The second pack, or fragment of a pack, which is dated back to this
epoch, presents a similarity to our present cards of a yet more striking
nature, at least in the characters and costumes of the figures; although
the names and devices of the personages still are suggestive of their
Saracenic origin. We must remark, under this head, that for several
centuries the names coupled with the different personages were
incessantly varying. In this pack we find “kings,” “queens,” and
“knaves” of clubs, hearts, spades, and diamonds; the Saracenic crescent
has disappeared. The “kings” are all holding sceptres, and the “queens”
carry flowers. Everything in the representations is not only in harmony
with the fashions of the period, but in addition to this, there are no
violations either of the laws of heraldry or of the usages of chivalry.
According to tradition, this pack, the true piquet-pack, which
superseded the Italian _tarots_ and the cards of Charles VI., and soon
became generally used in France, was the invention of Etienne Vignoles,
called La Hire, one of the bravest and most active soldiers of that
period. The tradition has a right to our respect, for the mere
examination of this piquet-pack proves that it must have been the work
of some accomplished _chevalier_, or at least of a mind profoundly
imbued with the manners and customs of chivalry. But, without any wish
to exclude La Hire, who, as the historians say, “always had his helmet
on his head and his lance in his hand, ready to attack the English, and
never rested until he died of his wounds,” we are led rather to ascribe
the honour of this ingenious invention to one of his contemporaries,
Etienne Chevalier, secretary and treasurer to the king, who was
distinguished by his skill in designing. Jacques Cœur, whose commercial
relations with the East brought upon him the accusation of having “sent
arms to the Saracens,” might well have become the importer of Asiatic
cards into France, and Chevalier might then have amused himself by
applying devices to them or, as was then said, by _moralising_ or
symbolising them. In India it had been the game of the vizier and of
war; the royal treasurer turned it into a pack having reference to the
knight and chivalry. In the first place he placed on it his own armorial
bearings, the unicorn, which figures in several ancient packs of cards.
He did not forget the allusive arms of Jacques Cœur, and substituted
“hearts” for the _coupes_. He made the “clubs” imitate the heraldic
flower of Agnes Sorel; and also changed the _deniers_ into diamonds, or
arrow-heads (Fig. 210), and the _épées_ into spades, to do honour to the
two brothers Jean and Gaspard Bureau, grand-masters of artillery in
France.
[Illustration: Fig. 210.--Ancient French Card of the Fifteenth Century.
(Bibl. Imp., Paris.)]
[Illustration: Fig. 211.--Specimen of a Pack of Cards of the Sixteenth
Century. (Bibl. Imp., Paris.)]
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