Hi Jean-Michel,
jmd said:
I understand also some of the likely reasons for proposing the Angel-high card in the sequence (and the cardinal virtues together lower down), and yet wonder also if, given the mention of Ferrara, a similar attempt has been made for the C (ie, Marseille) pattern? This, especially IF the B (Ferrara) pattern is in fact a modification of the Marseille order, for then it may lend further credence that there may be internal alphabetic relation of this pattern too.
My thoughts on the priority of the southern or A sequence, including Angel as the highest trump, are something like this:
Which sequence was earliest? There are cards and lists, both numbered and unnumbered.
Looking at the earliest World and Angel cards, from the 15th and (perhaps) early 16th century, we notice that the Angel doesn't change much in design. It is still called "Angel" in the Steele Sermon, although this is the B order. In fact, it is never called anything else in Italian, except "Paradiso" (Piscina, 1565).
The Angel stays the same design, but its meaning changes in France. It becomes Judgement. This is peculiar in a way, since the B order elevates Justice to the position occupied by the Angel in C. That is, it seems that B interprets the meaning of the sequence in the same way as C, although not enough to change the function of the Angel to that of Judgement.
"A" seems to interpret the sequence differently. There, Angel is the last card. This iconography, and position, reflects the sequence and iconography of Petrarch's "Trionfi", where the Angel's trumpet and the resurrection of the dead are used to symbolize "Eternity". The resurrection, final Judgement, and end of Time are all conflated in one image.
B and C seem to want to distinguish between these events, B the most. In B, first is Resurrection (Angel), then Judgement (Justice), then Eternity (New Heaven and Earth). In C, the sense seems to be that the Angel is both Resurrection and Judgement, and World is the Eternal New World.
So much for the position of the Angel. The design of the Angel doesn't change much.
The World card is very different. The earliest known is arguably the Cary-Yale. It is a female figure holding a sceptre and orb, over a terrestrial scene with the elements (earth, water, air); very similar to the Charles VI and Catania in this respect. And thus very similar to the A type, southern decks, which show a mercurial figure with a sceptre and orb standing on a depiction of the world. This in both cases must be the fleeting, fickle world.
But in the B sequence printed, the Met. Museum and Budapest sheets, an Angel is bringing down an World - this must be the New World, Eternal world. So the change in iconography reflects a change of meaning. Similar to this is the Visconti Sforza World, painted perhaps in Ferrara in the 1470s. With its winged putti, it resembles the Met. Museum sheet depiction - an Angel or Angels are *giving* a World, a New World. It is significant thus that this card in the VS deck was painted in Ferrara. We can presume that this B order was already in use in Ferrara in the 1470s.
That's a good start. We have 1470 for B. When C and A? If the Cary Sheet's iconography is any indication, and the dating and provenance can be deduced, then around 1500 for C. But this is *very* insecure. The earliest certain date for the C order is 1543, in Alciato's list. It does not match TdM perfectly, but World is high.
A is represented by numbers on the Charles VI and Catania. These cards and numbers are of uncertain date, but while 1450 is not out of the question (and may become the consensus soon), 1470 is safe.
The number "18" on the Este Sun card doesn't tell us much, since we don't know the position of Justice in that set, and the Sun is numbered XVIII in the Budapest and Met. Museum sheets. Since it is Ferrara, and around 1475 for this set, we can presume it is B order - that is, World high. Temperance is low (there appears to be a 7 or 8 on Temperance), and the World doesn't bear a number, like on the sheets. There is a winged putto (like the VS card) and an Eagle (perhaps reflecting Jupiter). The idea of an Angel bearing a World seems to be a contribution of B.
So strictly historically, A and B are contemporary. C may be contemporary also, but I hold it to be invented in France, and imported into Italy. The historical record does not contradict this.
How to decide? It comes down to subjective judgements, or informed guesses.
It seems that having the Angel as the last card is too abrupt. But this feeling comes from the sense that the Angel represents only Judgement (and the need for Judgement is reflected in the position of Justice in the B order, and the name of the card in France) - what about what comes after? It is only when we realize that the Angel could very well represent ETERNITY in contemporary iconography, that it seems less abrupt and quite appropriate as an ending to the series.
And, if it is too abrupt, why would the designer of the A order have done it so? That is, if the New World was the original design and order, why would the A designer have made such a radical change in both order and imagery? I believe it is more likely that the meaning of Eternity in the Angel picture is more easily misunderstood, and that the optimism of a New World was seen as a more appropriate ending to the series by some. Thus the figure on top was changed into an angel *bearing* the World, rather than an embodiement of the fleeting world (=Mercury).
This is too short - but I have to run, and I'll post this.
Ross