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<div>*** START OF THE PROJECT GUTENBERG EBOOK 45584 ***</div>

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<hr class="chap" />

<p class="center"><big>PLAYING CARDS.</big></p>

<hr class="chap" />

<div class="figcenter"><a name="i_005.jpg" id="i_005.jpg"></a>
  <img src="images/i_005.jpg"
      alt="Lancelot" />
</div>

<hr class="chap" />

<div class="figcenter bord"><a name="i_006.jpg" id="i_006.jpg"></a>
    <img src="images/i_006.jpg"
      alt="Title Page" />
</div>

<hr class="chap" />

<h1>FACTS AND SPECULATIONS<br />
<span style="font-size: x-small;">ON THE</span><br />
ORIGIN AND HISTORY<br />
<small>OF</small><br />
<big>PLAYING CARDS.</big></h1>
<p class="center"><span style="font-size: x-small;">BY</span></p>
<p class="center p2">WILLIAM ANDREW CHATTO.</p>

<hr class="sect" />

<p class="center p2">Hæc mihi charta nuces, hæc est mihi charta fritillus.&mdash;<span class="smcap">Martial.</span></p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">With Cards I while my leisure hours away,</div>
        <div class="verse indent-2_6">And cheat old Time; yet neither bet nor play.</div>
  </div>
</div>

<p class="center p2">LONDON:<br />
<big>JOHN RUSSELL SMITH,</big><br />
OLD COMPTON STREET, SOHO SQUARE.<br /><br />
<small>MDCCCXLVIII.</small></p>

<hr class="chap" />

<p class="center"><small>PRINTED BY C. AND J. ADLARD, BARTHOLOMEW CLOSE.</small></p>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
<h2>PREFACE.</h2>

<p>Should a person who has never bestowed a thought on
the subject ask, "What can there be that is interesting
in the History of Cards?" it is answered, "There may be
much." There is an interest, of a certain kind, even in the
solution of a riddle, or the explication of a conundrum; and
certain learned men, such as Père Daniel, and Court de
Gebelin, having assumed that the game of Cards was originally
instructive, and that the figures and marks of the
suits are emblematic, speaking to the intelligent of
matters of great import, their amusingly absurd speculations
on the subject&mdash;set forth with all the gravity of a
"budge doctor" determining <i>ex cathedra</i>&mdash;impart to the
History of Cards an interest which, intrinsically, it does
not possess. But putting aside all that may relate to their
covert meaning, cards, considered with respect to what
they simply are&mdash;the instruments of a popular game, and
the productions of art&mdash;suggest several questions, the investigation
of which is not without interest: Where and
when were they invented, and what is the origin of their
names? When were they introduced into Europe? What
has been their progress as a popular game; and what
influence have they had on society? What changes have
they undergone with respect to the figures and the marks
of the suits; and to what purposes have picture and fancy
cards been made subservient, in consequence of those in
common use being so generally understood? And lastly,
what have been the opinions of moralists and theologians
<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>
with respect to the lawfulness of the game?&mdash;Such are
the topics discussed, and questions examined, in the
following pages.</p>

<p>Of the works of previous writers on the origin of Cards
I have freely availed myself; using them as guides when
I thought them right, pointing out their errors when
I thought them wrong, and allowing them to speak for
themselves whenever they seemed instructive or amusing.
Having no wish to appropriate what was not my own, I
have quoted my authorities with scrupulous fidelity; and
am not conscious of an obligation which I have not
acknowledged. Should the reader not obtain from this
work all the information on Cards which he might have
expected, it is hoped that he will at least acquire from its
perusal a knowledge of the true value of such investigations.
Between being well informed on a subject, and knowing
the real worth of such information, there is a distinction
which is often overlooked, especially by antiquaries.</p>

<p>In the Illustrations will be found a greater variety of
Cards than have hitherto been given in any other work on
the same subject, not excepting the splendid publication of
the Society of Bibliophiles Français, entitled 'Jeux de Cartes
Tarots et de Cartes Numérales du Quatorzième au Dix-huitième
Siècle.' All the cards&mdash;with the exception of
the French Valets, at p. 250, and the Portuguese Chevaliers,
at p. 252,&mdash;have been copied by Mr. F. W. Fairholt;
and all the wood-engravings&mdash;with the exception of the
tail-piece, by W. J. Linton, at p. 330,&mdash;have been executed
by Mr. George Vasey.</p>

<p class="right">W. A. C.</p>
<p><span class="smcap">London</span>;<br />
<i>17th April, 1848</i>.</p>

<hr class="chap" />

<h2>CONTENTS.</h2>

<hr class="sect" />

<table id="TOC-1" summary="CONTENTS-1">
  <col width="98%" />
  <col width="2%" />
  <tr>
    <td>&nbsp;</td>
    <td class="c2"><span style="font-size: x-small;">PAGE</span></td>
  </tr>
  <tr>
    <td class="center"><a href="#CHAPTER_I" style="text-decoration: none;">CHAPTER I.</a> </td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap">Of the Origin and Name of Cards</span></td>
    <td class="c2">1</td>
  </tr>
  <tr>
    <td class="chap-no"><a href="#CHAPTER_II" style="text-decoration: none;">CHAPTER II.</a> </td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap">Introduction of Cards into Europe</span></td>
    <td class="c2">60</td>
  </tr>
  <tr>
    <td class="chap-no"><a href="#CHAPTER_III" style="text-decoration: none;">CHAPTER III.</a> </td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap">Progress of Card-Playing</span></td>
    <td class="c2">92</td>
  </tr>
  <tr>
    <td class="chap-no"><a href="#CHAPTER_IV" style="text-decoration: none;">CHAPTER IV.</a> </td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap">Of the different Kinds of Cards, and the Marks of the Suits</span></td>
    <td class="c2">189</td>
  </tr>
  <tr>
    <td class="chap-no"><a href="#CHAPTER_V" style="text-decoration: none;">CHAPTER V.</a></td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap">The Morality of Card-Playing</span></td>
    <td class="c2">279</td>
  </tr>
</table>
<table id="TOC-2" summary="CONTENTS-2">
  <col width="98%" />
  <col width="2%" />
  <tr>
    <td>&nbsp;</td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap"><a href="#APPENDIX" style="text-decoration: none;">Appendix</a></span></td>
    <td class="c2">331</td>
  </tr>
  <tr>
    <td class="c1"><span class="smcap"><a href="#INDEX" style="text-decoration: none;">Index</a></span></td>
    <td class="c2">337</td>
  </tr>
</table>

<hr class="chap" />

<h2>LIST OF ILLUSTRATIONS.</h2>

<hr class="sect" />

<table id="ILLUSTRATIONS" summary="ILLUSTRATIONS">
  <col width="98%" />
  <col width="2%" />
  <tr>
    <td>&nbsp;</td>
	<td class="c2"><span style="font-size: x-small;">PAGE</span></td>
  </tr>
  <tr>
    <td class="c1">The "Honours" of an eight-suit pack of Hindostanee Cards</td>
    <td class="c2"><a href="#i_054.jpg" style="text-decoration: none;">42</a></td>
  </tr>
  <tr>
    <td class="c1">Specimens of Chinese Cards, of the kind called <i>Tseen-wan-che-pae</i></td>
    <td class="c2"><a href="#i_072a.jpg" style="text-decoration: none;">57-8</a></td>
  </tr>
  <tr>
    <td class="c1">A Card Party, from an illustration in a manuscript of the <i>Cité</i>,
	  apparently of the early part of the fifteenth century</td>
    <td class="c2"><a href="#i_086.jpg" style="text-decoration: none;">71</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of Old Stencilled Cards in the British Museum, apparently
	  of a date not later than 1440</td>
    <td class="c2"><a href="#i_104.jpg" style="text-decoration: none;">88-9</a></td>
  </tr>
  <tr>
    <td class="c1">Fac-simile of one of Murner's Cards for teaching logic, 1509</td>
    <td class="c2"><a href="#i_124.jpg" style="text-decoration: none;">105</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of Four Small Cards, from Marcolini's Sorti, 1540</td>
    <td class="c2"><a href="#i_136.jpg" style="text-decoration: none;">117</a></td>
  </tr>
  <tr>
    <td class="c1">Woodcut, "Thus of Old" and "Thus Now," from Samuel Ward's Woe
	  to Drunkards, 1627</td>
    <td class="c2"><a href="#i_150.jpg" style="text-decoration: none;">131</a></td>
  </tr>
  <tr>
    <td class="c1">The Knaves of Hearts and Clubs; and the Knaves of Spades and
	  Diamonds, from the Four Knaves, by Samuel Rowlands, 1610-13</td>
    <td class="c2"><a href="#i_152.jpg" style="text-decoration: none;">133-6</a></td>
  </tr>
  <tr>
    <td class="c1">Fac-similes of four Heraldic Cards, from a pack engraved in
	  England about 1678</td>
    <td class="c2"><a href="#i_172.jpg" style="text-decoration: none;">152</a></td>
  </tr>
  <tr>
    <td class="c1">Fac-similes of the Signatures of Edmund Hoyle and Thomas Osborne</td>
    <td class="c2"><a href="#i_191.jpg" style="text-decoration: none;">170</a></td>
  </tr>
  <tr>
    <td class="c1">Copy of a plate in Darly's Political and Satirical History,
	  showing the Coat Cards for 1759</td>
    <td class="c2"><a href="#i_205.jpg" style="text-decoration: none;">183</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of two of the painted cards, ascribed to Jacquemin
	  Gringonneur, preserved in the Bibliothèque du Roi at Paris</td>
    <td class="c2"><a href="#i_222.jpg" style="text-decoration: none;">198</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of four French Cards, coloured,&mdash;the King of Diamonds; the
	  Queen and King of Spades; and the King of Hearts,&mdash;of the
	  latter part of the fifteenth century</td>
    <td class="c2"><a href="#i_240.jpg" style="text-decoration: none;">212</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of the Four Knaves, coloured,&mdash;Lancelot, Hogier, Roland,
	  and Valery,&mdash;of the latter part of the fifteenth century. In
	  the British Museum</td>
    <td class="c2"><a href="#i_250.jpg" style="text-decoration: none;">214</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of Eight Circular Cards belonging to a pack engraved on
	  copper about 1480, with Hares, Parroquets, Pinks, and Columbines as the marks
	  of the suit</td>
    <td class="c2"><a href="#i_264.jpg" style="text-decoration: none;">222</a></td>
  </tr>
  <tr>
    <td class="c1">Four Cards of a pack engraved on copper, apparently about the end
	  of the fifteenth century, with Swords, Clubs, Cups, and
	  Pomegranates, as the marks of the suits. In the British Museum</td>
    <td class="c2"><a href="#i_275.jpg" style="text-decoration: none;">225</a></td>
  </tr>
  <tr>
    <td class="c1">The Sevens of a pack of Tarots, with Swords, Cups, Batons, and
	  Money as the marks of the suits</td>
    <td class="c2"><a href="#i_285.jpg" style="text-decoration: none;">227</a></td>
  </tr>
  <tr>
    <td class="c1">The Second Coat Cards of the suits of Acorns and Leaves&mdash;in a
	  German pack engraved on wood, 1511</td>
    <td class="c2"><a href="#i_301.jpg" style="text-decoration: none;">236-7</a></td>
  </tr>
  <tr>
    <td class="c1">The Sevens of a pack of German Cards, with Bells, Hearts, Leaves,
	  and Acorns, as the marks of the suits</td>
    <td class="c2"><a href="#i_305a.jpg" style="text-decoration: none;">238</a></td>
  </tr>
  <tr>
    <td class="c1">Copies of Four Small German Cards, of the seventeenth century</td>
    <td class="c2"><a href="#i_308.jpg" style="text-decoration: none;">239</a></td>
  </tr>
  <tr>
    <td class="c1">The Valets of a pack of French Cards, of the time of Henry IV</td>
    <td class="c2"><a href="#i_320a.jpg" style="text-decoration: none;">250</a></td>
  </tr>
  <tr>
    <td class="c1">The Chevaliers, or Valets, of a pack of Portuguese Cards, of the
	  date 1693</td>
    <td class="c2"><a href="#i_325.jpg" style="text-decoration: none;">252</a></td>
  </tr>
  <tr>
    <td class="c1">Figure of "the real Spata," as shown in Baker's Eclectic Cards, 1813 </td>
    <td class="c2"><a href="#i_334.jpg" style="text-decoration: none;">261</a></td>
  </tr>
  <tr>
    <td class="c1">Tail-piece, Cheating Time with Cards</td>
    <td class="c2"><a href="#i_403.jpg" style="text-decoration: none;">330</a></td>
  </tr>
  <tr>
    <td class="c1">Cupid; from a cut relating to Prophecies and Fortune-telling, in
	  Bagford's Collection, Harleian MSS. 5966</td>
    <td class="c2"><a href="#i_409.jpg" style="text-decoration: none;">336</a></td>
  </tr>
  <tr>
    <td class="c1">The Four of Cups, from an old card, in the same collection</td>
    <td class="c2"><a href="#i_416.jpg" style="text-decoration: none;">343</a></td>
  </tr>
</table>

<hr class="chap" />

<p class="center">ORIGIN AND HISTORY</p>

<p class="center"><span style="font-size: x-small;">of</span></p>

<p class="center"><span style="font-size: large;">PLAYING CARDS.</span></p>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>

<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I.<br />
<small>OF THE ORIGIN AND NAME OF CARDS</small></h2>


<p>Man has been distinctively termed "a <i>cooking</i> animal;"
and Dr. Franklin has defined him to be "a <i>tool-making</i>
animal." He may also, with equal truth, be defined to be
"a <i>gambling</i> animal;" since to gamble, or venture, on
chance, his own property, with the hope of winning the
property of another, is as peculiar to him, in distinction from
other animals, as his broiling a fish after he has caught it with
his hands, or making for himself a stone hatchet to enable
him to fell a tree. Whether this gambling peculiarity is
to be ascribed to the superiority of his intellectual or of
his physical constitution, others may determine for themselves.</p>

<p>Other animals, in common with man, will fight for meat,
drink, and lodging; and will do battle for love as fiercely
as the ancient knights of chivalry, whose great incitements
to heroic deeds&mdash;in plain English, killing and wounding&mdash;were
ladye-love and the honour of the peacock.
There is, however, no well-authenticated account of any
of the lower orders of animals ever having been seen risking
<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span>
their property at "odd or even," or drawing lots for choice
of pasturage. No shepherd has ever yet succeeded in
teaching his sagacious colley to take a hand at cards with
him on the hill side; the most knowing monkey has never
been able to comprehend the mysteries of "tossing;" and
even the learned pig, that tells people their fortune by
the cards, is never able to learn what is trumps.</p>

<p>Seeing, then, that to gamble is exclusively proper to
man,&mdash;<i>secundum essentiam consecutive</i>,&mdash;and admitting
that,</p>

<p class="center">"The proper study of mankind is man,"</p>

<p>it plainly follows, that as Playing Cards are the instruments
of the most fascinating species of gambling that ever was
devised by the ingenuity of man, their origin and history
are a very proper subject for rational discussion. The cooking,
tool-making, gambling animal displays its rationality,
according to Dr. Franklin, by its knowing how to find or
invent a plausible pretext for whatever it has an inclination
to do.</p>

<p>Judging from the manner in which the origin and history
of Playing Cards have been treated by various authors within
the last hundred and fifty years, it is evident that the subject,
whatever they may have made of it, is one of great
"capability," to use the favorite term of a great designer
in the landscape-gardening line; and it seems no less
evident that some of those authors have been disposed to
magnify its apparent insignificance by associating it with
other topics, which are generally allowed to be both interesting
and important. In this respect they have certainly
shown great <i>tact</i>; for though many learned men have, at
different periods, written largely and profoundly on very
trifling subjects, yet it does seem necessary for a man,
however learned and discreet, to set forth, either in his
<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span>
title-page or in his proemium, something like an apology
for his becoming the historiographer of Playing Cards,&mdash;things
in themselves slightly esteemed even by those who
use them most, and frequently termed by pious people
"the devil's books." The example which has thus been set
I am resolved to follow; for though, in the title-page, I
announce no other topic for the purpose of casting a borrowed
light on the principal subject, I yet wish the reader
to understand that I am writing an apology for it now;
and in the progress of the work I doubt not that I shall
be found as discursive as most of those who have previously
either reasoned or speculated on Playing Cards.</p>

<p>A history of Playing Cards, treating of them in all their
possible relations, associations, and bearings, would form
nearly a complete cyclopædia of science and art; and would
still admit of being further enlarged by an extensive biographical
supplement, containing sketches of the lives of
celebrated characters who have played at cards,&mdash;or at any
other game. <span class="smcap">Cards</span> would form the centre&mdash;the <i>point</i>,
having position, but no space,&mdash;from which a radius of
indefinite extent might sweep a circle comprehending not
only all that man knows, but all that he speculates on.
The power of reach, by means of the point and the radius,
being thus obtained, the operator has his choice of topics;
and can arrange them round his centre, and colour them
at his will, as boys at school colour their fanciful segments
of a circle.</p>

<p>To exemplify what has just been said about the capability
of cards as a subject of disquisition:&mdash;One writer, Père
Menestrier,<a name="FNanchor_1_1" id="FNanchor_1_1"> </a>
<a href="#Footnote_1_1" class="fnanchor">[1]</a>
preluding on the invention of cards, says,
<i>apropos</i> to the term <span class="smcap">Jeu</span>&mdash;<i>ludus</i>,
a game&mdash;that, to the
Supreme Being the creation of the world was only a kind
<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
of game; and that schoolmasters with the Romans were
called Ludi Magistri&mdash;masters of the game or sport. Here,
then, is a fine opportunity for a descant on creation; and
for showing that the whole business of human life, from
the cradle to the grave, is but a game; that all the world
is a great "gaming-house,"&mdash;to avoid using a word
offensive to ears polite,&mdash;</p>

<p class="center">"And all the men and women merely <i>players</i>."</p>

<p>Illustrative of this view of human life, a couple of
pertinent quotations, from Terence and Plutarch, are supplied
by another brother of the same craft, M. C. Leber.
<a name="FNanchor_2_2" id="FNanchor_2_2"></a>
<a href="#Footnote_2_2" class="fnanchor">[2]</a></p>

<p>According to Père Daniel,<a name="FNanchor_3_3" id="FNanchor_3_3"></a>
<a href="#Footnote_3_3" class="fnanchor">[3]</a>&mdash;a reverend father of the
order of Jesuits, who wrote an elaborate history of the
French Military Establishments,&mdash;the game of Piquet is
symbolic, allegorical, military, political, and historical, and
contains a number of important maxims relating to war
and government. Now, granting, for the sake of argument,
that the game, with respect to its esoteric principles,
is really enigmatic, it may be fairly denied that Père Daniel
has succeeded in explaining it correctly; his fancied discoveries
may be examined in detail, and shown, with very
little trouble, to be the mere seethings of his own working
imagination; others may be proposed, and, as a matter of
course, supported by authorities, ancient and modern, on
the origin, use, and meaning of symbols and allegories, and
<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
illustrated with maxims of war and state policy, carefully
selected from the bulletins, memoirs, and diplomatic correspondence
of the great military chiefs and statesmen of all
nations: thus a respectable volume&mdash;in point of size at
least&mdash;might be got up on the subject of Piquet alone, without
trenching on the wide field of cards in general.</p>

<p>Court de Gebelin,<a name="FNanchor_4_4" id="FNanchor_4_4">
</a><a href="#Footnote_4_4" class="fnanchor">[4]</a>
a Gnostic, at least in the philosophic,
if not in the religious, sense of the word, finds in the old
Italian Tarocchi cards the vestiges of the learning of the
ancient Egyptians, somewhat mutilated and disguised, indeed,
by Gothic ignorance, which suspected not the profound
knowledge concealed in its playthings, but still intelligible to
the penetrating genius which initiates itself into all ancient
mysteries, is fond of exploring the profoundly obscure, and
becomes oracular, talking confidently of what it <i>sees</i>, when
it is only groping in the dark. Court de Gebelin's theory
suggests at once a general history of science and art, which,
as everybody knows, had their cradle in ancient Egypt, and
induces dim, but glorious visions of the ancient Egyptian
kings,&mdash;Sesonch, Rameses, and Amonoph: the chronologers,
Sanchoniathon, Manetho, and Berosus, follow, as
a matter of course, whether originally known from Bishop
Cumberland, or from Mr. Jenkinson, in the 'Vicar of
Wakefield.' Then who can think of the knowledge of the
ancient Egyptians, and of its essence being contained in the
symbolic characters of a pack of cards, without hieroglyphic
<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>
writing coming into his mind?<a name="FNanchor_5_5" id="FNanchor_5_5"></a>
<a href="#Footnote_5_5" class="fnanchor">[5]</a> and this subject, being once
started, leads naturally, in chronological order, to Clemens
Alexandrinus, Horapollo, Athanasius Kircher, Bishop Warburton,
Dr. Thomas Young, and Mons. Champollion. To
write properly a history of Playing Cards in connexion with
the learning of the Egyptians, as suggested by the dissertation
of Court de Gebelin, would require the unwearied
energy of one of those brazen-bowelled scholars who flourished
at Alexandria when ancient science and art, sinking
into a state of second childhood, had again found a cradle
in Egypt. Oh, Isis, mother of Horus, how is thy image
multiplied! Though changed in name, millions still worship
it, ignorant of the type of that before which they bow.
<a name="FNanchor_6_6" id="FNanchor_6_6"></a>
<a href="#Footnote_6_6" class="fnanchor">[6]</a>
All is symbol: the cards of the gamester are symbolic; full
of meaning of high import, and yet he is ignorant of it,
cares not to know it, though Court de Gebelin would teach
him; is indifferent about his soul, and prays only that he
may hold a good hand of trumps,&mdash;symbol again!
<a name="FNanchor_7_7" id="FNanchor_7_7"></a>
<a href="#Footnote_7_7" class="fnanchor">[7]</a></p>

<p>As cards are printed on paper, from engraved blocks of
<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
wood, and as wood-engraving appears to have suggested
the art of typography, or printing from moveable types,
Breitkopf combines in one general essay his inquiries into
the origin of playing cards, the introduction of linen paper,
and the beginning of wood-engraving in Europe;
<a name="FNanchor_8_8" id="FNanchor_8_8"></a>
<a href="#Footnote_8_8" class="fnanchor">[8]</a> this essay
being but a portion of the author's intended History of
Printing. Singer<a name="FNanchor_9_9" id="FNanchor_9_9"></a>
<a href="#Footnote_9_9" class="fnanchor">[9]</a> follows very nearly the same plan as
Breitkopf; but though his Researches form a goodly quarto,
both in point of size and appearance, he yet has not looked
into every corner. The wide field of Playing Cards still
admits of further cultivation; for, though often turned up
by the heavy subsoil plough of antiquarian research and
well harrowed by speculation, it remains undrained.</p>

<p>In the 'Nouvelles Annales des Voyages,'
<a name="FNanchor_10_10" id="FNanchor_10_10"></a>
<a href="#Footnote_10_10" class="fnanchor">[10]</a> we find a dissertation
by M. Rey, on Playing Cards, and the Mariner's
Compass; apparently two incongruous things, yet indissolubly
connected by the fleur-de-lis, which is to be seen on the
drapery of some of the court or <i>coat</i> cards, and which also
forms an ornament to the north point. It appears that this
dissertation on cards and the compass is but a fragment of a
work composed by M. Rey, on the flag, colours, and badges
of the French monarchy. Judging of his talents, from this
"fragment," he appears to have been admirably fitted to
write a general history of cards; and it is to be regretted
that he did not give to his so-called "fragment," that comprehensive
title, and introduce the essay on the mariner's
<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
compass and the history of the French flag as incidental
illustrations of the fleur-de-lis, for certainly the fragment
on cards,&mdash;rent from a history of the French flag,&mdash;does
seem a little out of place, in a general collection of voyages
and travels, unless, indeed, it be there introduced as a
traveller's tale.</p>

<p>Mons. C. Leber, one of the most recent writers on
Playing Cards,<a name="FNanchor_11_11" id="FNanchor_11_11">
</a><a href="#Footnote_11_11" class="fnanchor">[11]</a>
is an author, whom it is very difficult
to follow in his devious course; for though he is always
picking up something that appears to relate to his subject,
he yet does not seem to have had any clear idea of
what he was seeking for. The grand questions, he says,
are, "Where do cards come from; what are they; what do
they say; and what ought we to think of them?" These
questions, however, Mons. Leber, by no means undertakes
to answer. He confines himself, as he says, to a very
narrow path&mdash;a very crooked one too, he might have added&mdash;avoiding
the wide and flowery field of conjecture, but diligently
amassing <i>facts</i> to guide other inquirers into the origin
and primary use of Playing Cards. He is certain that they
are of ancient origin, and of Eastern invention; and that
primarily they constituted a symbolic and moral game. He
professes to be guided in his researches by the evidence of
cards themselves; but though a diligent collector of cards of
all kinds, he does not appear to have been successful in extracting
answers from his witnesses. They all stand mute.
In short, Mons. Leber, notwithstanding his diligence as a
collector of cards, and his chiffonier-like gathering of scraps
connected with them, has left their history pretty nearly the
same as he found it. In the genuine spirit of a collector, he
still longs for more old cards,&mdash;but then, how to find them?
<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
Such precious reliques are not to be obtained by mere
labour; they turn up fortuitously, mostly in the covers of
old books, and as none that have hitherto been discovered
explain their origin and presumed emblematic meaning, it is
a <i>chance</i> that the materials for a full and complete history
of Playing Cards will ever be obtained. "In the mean
time," says Mons. Leber, "we must wait till this work
of time and perseverance shall be accomplished."
<a name="FNanchor_12_12" id="FNanchor_12_12"></a>
<a href="#Footnote_12_12" class="fnanchor">[12]</a> To
interpret his words from his own example, "to wait,"
may mean, to keep moving without advancing, like a
squirrel in a wheel. Notwithstanding all the old cards
that have been discovered, and all that has been collected
on the subject, from both tale and history, "how far are we
from possessing," exclaims Mons. Leber, "and who shall
ever amass, all the elements necessary for a positive history
of playing cards."<a name="FNanchor_13_13" id="FNanchor_13_13"></a>
<a href="#Footnote_13_13" class="fnanchor">[13]</a>
Thus much may serve by way of introduction,
and as evidence of the "capability" of the subject.</p>

<p>Man, as a gambling animal, has the means of indulging
in his hopeful propensity, as soon as he has acquired a property
either real or personal, and can distinguish odd from
even, or a short straw from a shorter. The first game that
he played at, in the golden age of happy ignorance, would
naturally be one of pure chance. We have no positive
information about this identical game in any ancient or
modern author; but we may fairly suppose, for no one can
<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
prove the supposition to be false, that it was either "drawing
lots," or guessing at "odd or even."<a name="FNanchor_14_14" id="FNanchor_14_14"></a>
<a href="#Footnote_14_14" class="fnanchor">[14]</a> Imagination suggests
that the stakes might be acorns, or chesnuts; and though
reason may "query the fact," yet she cannot controvert it.
It is evident that at either of the two simple games above
named, a player, when it came to his turn to hold, might
improve his chance of winning, by means of a little dexterous
management, vulgarly called cheating, and thus, to a certain
extent, emancipate himself from the laws of blind Fortune,&mdash;a
personification of chance which a gambler, most assuredly,
first elevated to the rank of a divinity.
<a name="FNanchor_15_15" id="FNanchor_15_15"></a>
<a href="#Footnote_15_15" class="fnanchor">[15]</a> That cheating is
nearly coeval with gaming, cannot admit of a doubt; and it
is highly probable that this mode of giving an eccentric
motion to Fortune's wheel was discovered, if not actually
practised, at the first regular bout, under the oaks of Dodona,
or elsewhere, before the flood of Thessaly.
<a name="FNanchor_16_16" id="FNanchor_16_16"></a>
<a href="#Footnote_16_16" class="fnanchor">[16]</a></p>

<p>Man, having left the woods for the meadows, progressing
from the sylvan or savage state to that of a shepherd, now
not only roasts his chesnuts, but also eats a bit of mutton
to them; and after having picked the leg clean, forms
of the small bones, between the shank and the foot, new
instruments of gaming. Taking a certain number of those
bones, three for instance, he makes on four sides of
<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
each a certain number of marks: on one side a single
point, and on the side opposite six points; on another side
three points, and on the opposite four. Putting these
bones into a cow's horn, he shakes them together, and
then throws them out; and accordingly, as the points may
run high, or as the cast may be of three different numbers,
so does he count his game.<a name="FNanchor_17_17" id="FNanchor_17_17"></a>
<a href="#Footnote_17_17" class="fnanchor">[17]</a> Conventional rules for playing
are now established; definite values, independent of the
number of points, are assigned to different casts; some
being reckoned high, while others are counted low, and sometimes
positively against the player, although the chance
of their turning up be the same as that of the former. The
game now becomes more complicated; and the chances
being more numerous, and the odds more various, a knowing
gamester who plays regularly, and makes a calculation
of the probability of any given number, or combination of
points, being thrown, either at a single cast, or out of a
certain number, has an advantage in betting over his more
simple-minded competitors. "Luck is all!" exclaims the
novice,&mdash;and guesses; the adept mutters, "Knowledge
is power,"&mdash;and counts.</p>

<p>The cutting of bones into cubes, or dice, and numbering
them on all their six sides, would probably be the next
step in gaming; and there are grounds for supposing that
the introduction of dice was shortly followed by the invention
of something like backgammon; a game which
affords greater scope for calculation than dice, and allows
also of the player displaying his skill in the management
of his men. Should it be asked, what has any of those
games to do with the origin of cards? I answer, in the
<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
words of an Irish guide, when pointing out to a traveller
several places which he was not wanting to find,&mdash;"Well,
then, none of them's it."</p>

<p>The next game, which it seems necessary to notice, is
the Πεττεια of the Greeks, and the Latrunculi of the Latins;
as in the sequel it may perhaps be found to have some
positive, though remote, relation to the game of cards.
It would be superfluous here to inquire if the game of
Πεττεια, or Latrunculi, were really that which was invented
by Palamedes during the Trojan War; it may be sufficient
to remark, that it is mentioned by Homer, who, in the
first book of the Odyssey, represents Penelope's suitors
playing at it:</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="verse indent-2_6">"Before the door they were amusing themselves at <i>tables</i>,</div>
    <div class="verse indent-2_6">Sitting on the skins of oxen which they themselves had killed."
      <a name="FNanchor_18_18" id="FNanchor_18_18"></a>
	  <a href="#Footnote_18_18" class="fnanchor">[18]</a></div>
  </div>
</div>

<p>In whatever country the game may have been invented,
or however it may have been originally played, it was
certainly not a game of chance. It was a scientific game
<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
requiring the exercise of the mind, and wholly dependent
as to its result on the comparative skill of the two players;
he who displayed the greatest judgment in moving his
pieces, according to the rules of the game, being the winner.
<a name="FNanchor_19_19" id="FNanchor_19_19"></a>
<a href="#Footnote_19_19" class="fnanchor">[19]</a></p>

<p>This game appears to have been similar to that described
in Strutt's 'Sports and Pastimes,' under the
name of Merrels, which is still played in many parts of
England, and which was, and may be still, a common
game in almost every country in Europe. It appears to
have branched out into several species, with the Greeks and
Romans; and though, in some of them, the game was very
intricate, it yet never attained with those people to the
perfection of chess. One of those varieties of Petteia, or
Latrunculi, seems to have been very like the game of
draughts; it was played with pieces or men, of two
different colours, placed on a board divided into several
squares, and a man of one party could be taken by the
opponent when he succeeded in inclosing it between two
of his own.<a name="FNanchor_20_20" id="FNanchor_20_20"></a>
<a href="#Footnote_20_20" class="fnanchor">[20]</a></p>

<p>Whatever may have been the origin of chess, it seems to
be generally admitted that the game, nearly the same in its
principles as it is now played,&mdash;with its board of sixty-four
squares, and men of different grades,&mdash;was first devised in
India; and, without giving implicit credit to the well-known
account of its invention by an Indian named Sissa,
we may assume that the date assigned to it, namely, about
the beginning of the fifth century of the Christian era, is
sufficiently correct for all practical purposes: a difference
of two or three hundred years, either one way or the other,
<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
is of very little importance in a conjecture about the game,
as connected with Playing Cards. Having now arrived at
Chess, we fancy that we see something like "land," though
it may be but a fog-bank after all. To speak without figure,
it seems likely that the game of cards was suggested by
that of chess.</p>

<p>The affinity of the two games, and the similarity between
the coat cards and the principal pieces in the game of
chess, have already been pointed out by Breitkopf;
<a name="FNanchor_21_21" id="FNanchor_21_21"></a>
<a href="#Footnote_21_21" class="fnanchor">[21]</a> and
he is so copious on the latter topic, that he has left but little
for any of his successors to do, in this respect, except to
condense his diffuse notes; for, as was said of William
Prynne, his brains are generally to be found scattered about
the margin of his works, and not in the text.</p>

<p>A side, or suit, of chessmen consists of six orders, which
in the old oriental game were named&mdash;1, <i>Schach</i>, the king;
2, <i>Pherz</i>, the general; 3, <i>Phil</i>, the elephant; 4, <i>Aspen-suar</i>,
the horseman, or chevalier; 5, <i>Ruch</i>, the camel; and,
6, <i>Beydel</i> or <i>Beydak</i>, the footmen or infantry. In this suit
there was no queen, as the introduction of a female into a
game representing the stratagems of war would have been
contrary to the oriental ideas of propriety; and long after
the introduction of chess into Europe, the second piece, now
called the Queen, retained its Eastern name under the form
of <i>Fierce</i>, <i>Fierche</i>, or <i>Fierge</i>, even after it had acquired a
feminine character.<a name="FNanchor_22_22" id="FNanchor_22_22"></a>
<a href="#Footnote_22_22" class="fnanchor">[22]</a>
<i>Fierge</i> at length becomes confounded
<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
with the French <i>Vierge</i>, a maid; and finally, the piece is
called <i>Dame</i>, the lady, and so becomes thoroughly European,
both in name and character. With respect to the changes
which the other pieces have undergone in the European
game of chess, it is only necessary to observe that <i>Phil</i>,
the elephant, is now the <i>Fol</i> or <i>Fou</i> of the French, and the
<i>Bishop</i> of the English; <i>Aspen-suar</i>, the horseman, is the
French <i>Chevalier</i>, and the English <i>Knight</i>; <i>Ruch</i>, the camel,
is the French <i>Tour</i>, and the English <i>Rook</i> or <i>Castle</i>; and
the <i>Beydel</i> or <i>Beydak</i>, the footmen, are now the French
<i>Pions</i>, and the English <i>Pawns</i>.</p>

<p>Now the very same change that has taken place in the
second piece in chess&mdash;namely, from a male to a female&mdash;has
also happened to the second principal figure in French
and English cards. Among the oldest <i>numeral</i> cards that
have yet been discovered no Queen is to be found; the
three principal figures or coat cards being the King, the
Knight, and the Valet or Knave. There was no Queen in
the old Spanish pack of cards; nor was there usually in the
German in the time of Heineken and Breitkopf. In the
Spanish, the coat cards of each suit were the King (<i>Rey</i>),
the Knight (<i>Cavallo</i>), and the Knave, groom, or attendant
(<i>Sota</i>); in the German, the King (<i>König</i>), a chief officer
(<i>Ober</i>), and a Subaltern (<i>Unter</i>).
<a name="FNanchor_23_23" id="FNanchor_23_23"></a>
<a href="#Footnote_23_23" class="fnanchor">[23]</a> The Italians, instead of
making any change in the old coat cards, sometimes added
the Queen to them, so that they had four instead of three,
namely, <i>Re</i>, <i>Reina</i>, <i>Cavallo</i>, and <i>Fante</i>.</p>

<p>The following extracts from an Essay on the Indian
Game of Chess, by Sir William Jones, printed in the second
volume of the 'Asiatic Researches,' seem to establish more
<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
clearly than anything that has been expressly written on
the subject, either by Breitkopf or others, the affinity between
cards and chess: "If evidence be required to prove
that chess was invented by the Hindus, we may be satisfied
with the testimony of the Persians; who, though as much
inclined as other nations to appropriate the ingenious inventions
of a foreign people, unanimously agree, that the
game was imported from the west of India, together with
the charming fables of Vishnusarman in the sixth century
of our era. It seems to have been immemorially known
in Hindustan by the name of <i>Chaturanga</i>, that is the <span class="smcap">FOUR</span>
<i>angas</i>, or members of an army, which are said, in the
Amaracosha, to be elephants, horses, chariots, and foot-soldiers;
and in this sense the word is frequently used by
epic poets in their descriptions of real armies. By a natural
corruption of the pure Sanscrit word, it was changed by
the old Persians into Chatrang; but the Arabs, who soon
after took possession of their country, had neither the initial
nor final letter of that word in their alphabet, and consequently
altered it further into <i>Shatranj</i>,<a name="FNanchor_24_24" id="FNanchor_24_24"></a>
<a href="#Footnote_24_24" class="fnanchor">[24]</a> which found its
way presently into the modern Persian, and at length into
the dialects of India, where the true derivation of the name
is known only to the learned. Thus has a very significant
word in the sacred language of the Brahmans been transferred
by successive changes into Axedras, Scacchi, Echecs,
Chess; and, by a whimsical concurrence of circumstances,
given birth to the English word <i>check</i>, and even a name
to the <i>Exchequer</i> of Great Britain.</p>

<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>

<p>"Of this simple game, so exquisitely contrived, and so
certainly invented in India, I cannot find any account in
the classical writings of the Brahmans. It is indeed confidently
asserted that Sanscrit books on Chess exist in this
country; and if they can be procured at Benares, they
will assuredly be sent to us. At present, I can only exhibit
a description of a very ancient Indian game of the same
kind; but more complex, and, in my opinion, more modern
than the simple chess of the Persians. This game is also
called <i>Chaturanga</i>, but more frequently <i>Chaturaji</i>, or the
<i>Four Kings</i>, since it is played by four persons, representing
as many princes, two allied armies combating on each side.
The description is taken from the Bhawishya Puran, in
which Yudhist'hir is represented conversing with Vyasa,
who explains, at the king's request, the form of the fictitious
warfare, and the principal rules of it. 'Having marked
eight squares on all sides,' says the sage, 'place the <i>red</i>
army to the east, the <i>green</i> to the south, the <i>yellow</i> to the
west, and the <i>black</i> the north.'"<a name="FNanchor_25_25" id="FNanchor_25_25"></a>
<a href="#Footnote_25_25" class="fnanchor">[25]</a>&mdash;It is worthy of remark,
that these colours form the ground of four of the suits of one
of the divisions of an eight-suit pack of Hindostanee cards.</p>

<p>It appears that in this game the moves were determined
by casts with dice, as in backgammon, so that it was one of
chance as well as skill. On this point Sir William Jones
observes: "The use of dice may, perhaps, be justified in a
representation of war, in which <i>fortune</i> has unquestionably a
great share, but it seems to exclude Chess from the rank which
has been assigned to it among the sciences, and to give the
game before us the appearance of <i>Whist</i>, except that pieces
are used only instead of cards, which are held concealed."</p>

<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>

<p>Though Sir William Jones mentions Whist in particular,
it is yet apparent, from his own description, that the similarity
of <i>Chaturaji</i> to any other game of cards played by
four persons is precisely the same. This evidence of the
similarity, between a game of cards and an ancient Indian
game of chess, is the more important, as the fact appears to
have forced itself upon the notice of the writer, rather than
to have been sought for.</p>

<p>It may here be observed, that in the wardrobe accounts of
Edward I, there is an item, of money paid for the use of
the king for playing at the Four Kings&mdash;Quatuor Reges&mdash;and
that it has been conjectured that the game was cards.
The Hon. Daines Barrington, who appears to have been of
this opinion, says: "the earliest mention of cards that I
have yet stumbled upon is in Mr. Anstis's History of the
Garter, where he cites the following passage from the
Wardrobe Rolls, in the sixth year of Edward the First,
[1278]: 'Waltero Sturton, ad opus regis ad ludendum ad
<i>quatuor reges</i> viiis. <i>vd.</i>' From which entry Mr. Anstis with
some probability conjectures, that playing cards were not
unknown at the latter end of the thirteenth century; and
perhaps what I shall add may carry with it some small
confirmation of what he supposes."<a name="FNanchor_26_26" id="FNanchor_26_26"></a>
<a href="#Footnote_26_26" class="fnanchor">[26]</a> As this is not the
place to discuss the question, if playing cards were known
in England so early as the reign of Edward I, it may be
sufficient to remark that the substance of what Mr. Barrington
has adduced in confirmation of Anstis's conjecture
consists in a statement of the fact of Edward having been
in Syria, and that he might have learned the game of cards
there<a name="FNanchor_27_27" id="FNanchor_27_27"></a>
<a href="#Footnote_27_27" class="fnanchor">[27]</a>
&mdash;taking it for granted that cards were of Eastern
<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
invention, and known in Syria at that period,&mdash;and in a
second-hand reference to Breitkopf for a passage in the
Güldin Spil, wherein it is stated that a certain game&mdash;cards
being unquestionably meant&mdash;first came into Germany
about the year 1300.</p>

<p>From Sir William Jones's account of the game of <i>Chaturanga</i>
or, more specifically, <i>chaturaji</i>&mdash;the Four Rajas, or
Kings&mdash;there can scarcely be a doubt that the game of the
Four Kings played at by Edward I, was chess, and that
this name was a literal translation of the Indian one.
Assuming this, then, as an established fact, we have evidence
of the number four being associated in Europe at
that period with the game of chess, which, as has been previously
shown, bore so great a resemblance to a game of cards.</p>

<p>Now, whatever may have been the origin of the name of
cards, it is undeniable that the idea of the number <i>four</i> is
very generally associated with them; there are four suits,
and in each suit there are four honours, reckoning the ace;&mdash;to
say nothing of the very old game of All Fours, which
may have originally meant winning in each of the four
Angas or divisions, now represented by High, Low, Jack,
and the Game. It is also certain that, in this country, cards
were called the Books of the Four Kings, long before the
passage relating to the game of <i>Quatuor Reges</i>, which might
have suggested the name, appeared in Anstis's History of the
Garter. They are so called by Sir Thomas Urquhart, in his
translation of Rabelais, in chapter 22, book i, which
contains an account of the games that Gargantua played at: "After
supper, were brought into the room the fair wooden gospels,
and the books of the <i>Four Kings</i>, that is to say, the tables
<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
and cards."<a name="FNanchor_28_28" id="FNanchor_28_28"></a>
<a href="#Footnote_28_28" class="fnanchor">[28]</a>
Cards are not indeed called the Books of the
Four Kings in the original text of Rabelais; though it is
certain that they were known in France by that name, and
that the Valets or Knaves were also called <i>fous</i>&mdash;a term
which, as Peignot remarks, corroborates Breitkopf's theory
of the analogy between chess and cards.<a name="FNanchor_29_29" id="FNanchor_29_29"></a>
<a href="#Footnote_29_29" class="fnanchor">[29]</a> Mrs. Piozzi,
speaking of cards, in her Retrospection, published in 1801,
says, "It is a well-known vulgarity in England to say,
'Come, Sir, will you have a stroke at the history of the
Four Kings?' meaning, Will you play a game at cards?"
A writer in Fraser's Magazine, for August, 1844, also calls
cards the books of the Four Kings, as if they were well
known by that name.</p>

<p>Now as <i>chahar</i>, <i>chatur</i>, or, as the word is sometimes
written in English, <i>chartah</i>, signifies four in the Hindostanee
language, as it enters into the composition of
<i>chaturanga</i>, and as chess probably suggested the game of
cards, I am inclined to think that both games were invented
in Hindostan, and that <i>chahar</i> or <i>chatur</i> in the language
of that country formed a portion of the original name of
cards. The common term for cards in Hindostan, is <i>Taj</i>
<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
or <i>Tas</i>; and its primary meaning, as I am informed, is a
leaf, <i>folium</i>. But as it is also used in a figurative sense to
signify a diadem or crown, and as the term signifying a
<i>crown</i> is frequently used in most languages to signify regal
authority, the compound term <i>chahar-taj</i>, or <i>chahar-tas</i>,
would be suggestive of nearly the same idea as "the Four
Kings," and be almost identical in sound with the Latin
<i>chartæ</i> or <i>chartas</i>. The name, whatever it might be,
would be liable to change in passing from Hindostan,
through other countries, into Europe; in the same manner
as we find <i>Chaturanga</i>, the Sanscrit name of chess, transformed
into the Persian <i>Chatrang</i>, the Arabic <i>Shatranj</i>, the
Greek <i>Zatrikion</i>, the Spanish <i>Axedrez</i>, the Italian <i>Scacchi</i>,
the German <i>Schach</i>, the French <i>Echecs</i>, and the English
<i>Chess</i>.</p>

<p>The name given to cards by the earliest French and
German writers who mention them, is, respectively, <i>Cartes</i>
and <i>Karten</i>&mdash;in Latin, <i>Chartæ</i>; but as <i>Charta</i> signifies
<i>paper</i>, and as cards are made of paper, it has generally
been supposed that they received their name from that
circumstance. But if a part of their original name signified
the number <i>four</i>, whether derived from an eastern root, or
from the Latin <i>quarta</i>, it can scarcely be doubted that they
acquired the name of <i>chartæ</i>, not in consequence of their
being made of paper, but because the Latin word which
signified paper had nearly the same sound as another word
which signified four,&mdash;in the same manner as <i>Pherz</i>, the
General, in chess, found a representative in <i>Fierge</i>, and
subsequently became confounded with <i>Vierge</i>: the ideal
change of <i>Vierge</i> into <i>Dame</i>, the wife of the king, followed
of course, like "wooed,&mdash;an' married an' a'."</p>

<p>It is deserving of remark, that in several old French
works, written within fifty years of the time when we have
positive evidence of the game of cards being known in
<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
France, the word is sometimes spelled <i>quartz</i> or <i>quartes</i>, as
if, in the mind of the writer, it was rather associated with
the idea of <i>four</i> than with that of <i>paper</i>. The possible
derivation of <i>cards</i> from <i>quarta</i>, was suggested by Mr.
Gough, in his Observations on the Invention of Cards, in
the eighth volume of the 'Archæologia,' though he was of
opinion that they obtained their name from the paper of
which they were made. "Perhaps," says he, "it may be
too bold a conjecture that the '<i>quartes</i>, ludus <i>quartarum</i>
sive cartarum,' by which Junius [in his Etymologicon]
explains <i>cards</i>, may be derived from <i>quarta</i>, which, Du
Cange says, is used simply for the fourth part of any thing,
and so may be referred to the <i>quatuor reges</i>; but as Du
Cange expressly says, that <i>quarta</i> and <i>carta</i> are synonymous,
I lay no stress on this, but leave it to the critics."</p>

<p>To carry still further this speculation on the Indian
origin of Playing Cards,&mdash;both name and thing,&mdash;it is to be
observed that cards are called <i>Naibi</i>, by the earliest Italian
writers who mention them; and that they have always been
called <i>Naypes</i>, or <i>Naipes</i>, in Spain, since the time of their
first introduction into that country. Now in Hindostan,
where we find the word Chahar, Chatur, or Chartah, they
have also the word Na-eeb, or Naib, which, judging from the
sound only, appears at least as likely to have been the original
of <i>naibi</i> and <i>naipe</i>, as it is of the English <i>Nabob</i>.
<a name="FNanchor_30_30" id="FNanchor_30_30"></a>
<a href="#Footnote_30_30" class="fnanchor">[30]</a> This word
<i>Na-eeb</i> signifies a viceroy, lieutenant, or deputy, who rules
over a certain district, as a feudatory who owes allegiance
to a sovereign. Now, as the game of chess was known in
Hindostan by the name of the Four Kings, if cards were
suggested by chess, and invented in the same country,
<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
the supposition that they might have been called <i>Chatur-Nawaub</i>&mdash;the
Four Viceroys, as the cognate game of chess
was called the Four Kings&mdash;and that this name subsequently
became changed into <i>Chartah-Naib</i>, is, at least, as probable
as the derivation of Naipes from N.P., the initials of Nicolas
Pepin, their supposed inventor. Though this last etymology
has very much the appearance of a conundrum, propounded
in jest for the purpose of ridiculing a certain class of etymologists
who always seek for roots at the surface, it is
nevertheless that which received the sanction of the royal
Spanish Academy, and which is given in their Dictionary.
<a name="FNanchor_31_31" id="FNanchor_31_31"></a>
<a href="#Footnote_31_31" class="fnanchor">[31]</a>
Several Spanish writers, however, of high reputation for
their knowledge of the formation of their native language,
have decidedly asserted that the word <i>Naipes</i>, signifying
cards, whatever it might have originally meant, was
derived from the Arabic; and if the testimony of Covelluzzo,
a writer quoted in Bussi's History of the City of Viterbo,
could be relied on, the question respecting the word Naibi
or Naipes, and cards themselves, having been brought into
Europe through the Arabs, would appear to be determined.
His words are: "Anno 1379, fu recato in Viterbo el <span class="smcap">Gioco
delle Carte, che venne de Seracinia</span>, e chiamisi tra
loro <span class="smcap">Naib</span>."<a name="FNanchor_32_32" id="FNanchor_32_32"></a>
<a href="#Footnote_32_32" class="fnanchor">[32]</a>
That is, "In the year 1379, was brought
<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
into Viterbo the game of cards, which comes from the
country of the Saracens, and is with them called <span class="smcap">Naib</span>."
It may be observed, that the very word here given as
the Arabic name for cards still signifies in Arabia a deputy
of the Sultan. Even though it may not be a word of
Hindostanee origin, it may have been introduced into that
language when a great portion of Hindostan was subjected
to the Mahometan yoke, and when many of the Rajahs of
native race were superseded by the <i>Naibs</i> or deputies of a
Mahometan sovereign.<a name="FNanchor_33_33" id="FNanchor_33_33"></a>
<a href="#Footnote_33_33" class="fnanchor">[33]</a> There appears reason to believe
that the word <i>Naipe</i> or <i>Naipes</i>, as applied to cards, did not
primarily signify <i>cards</i> generally, but was rather a designation
of the game played with cards; in the same manner as
"the Four Kings" signified the game at cards, in consequence
of a king being the chief of each of the four suits.
In Vieyra's Portuguese Dictionary, 1773, one of the explanations
of the word "Naipe" is, "a Suit of Cards;" and
the phrase, "Náo tenho nenhuma daquelle naipe," is translated,
"I have none of that suit."</p>

<p>It is not unlikely that the Greek word χαρτης,&mdash;Latin,
<i>Charta</i>, paper,&mdash;was derived from the East, and that it was
originally associated with the idea of "four," as expressive of
a <i>square</i>&mdash;<i>quarré</i>&mdash;of paper, in contra-distinction to a long
strip of paper or parchment, which, when <i>rolled</i> up, formed
an ενειλεμα, or <i>volume</i>. In middle-age Greek, the word
χαρταριον, or χαρτιον,
<a name="FNanchor_34_34" id="FNanchor_34_34"></a>
<a href="#Footnote_34_34" class="fnanchor">[34]</a>&mdash;which is unquestionably derived
from the same root as χαρτης,&mdash;appears to have been used
<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
to convey the idea of a square, or four-sided piece of wood,
and to have specifically signified a square wooden trencher:
the top of the trencher-cap worn at the Universities of
Oxford and Cambridge, and at some of our public schools,
may be considered as a representative of the general form
of the thing. It is curious to trace how a word primarily
expressive of the number <i>four</i> has, in Greek, Latin, French,
and English, been employed to signify either paper generally,
or a portion of paper. From the French <i>Cahier</i> or
<i>cayer</i><a name="FNanchor_35_35" id="FNanchor_35_35"></a>
<a href="#Footnote_35_35" class="fnanchor">[35]</a>
&mdash;which may be traced through <i>carré</i> or <i>quarré</i>, to
the Latin <i>quartus</i>, from <i>quatuor</i>&mdash;we have the old English
<i>quair</i>, a little paper book consisting of a few sheets; and
the modern <i>quire</i>, now signifying a definite number of
sheets of paper.</p>

<p>In Hindostanee the word <i>chit</i> signifies, I believe, a note
or letter, and is in this sense synonymous with the Latin
<i>Epistola</i>, and the German <i>Briefe</i>. Should it also signify
paper,<a name="FNanchor_36_36" id="FNanchor_36_36"></a>
<a href="#Footnote_36_36" class="fnanchor">[36]</a> either in general, or of a particular kind, and
be cognate with <i>chahar</i>, <i>chatur</i>, or <i>chartah</i>,
<a name="FNanchor_37_37" id="FNanchor_37_37"></a>
<a href="#Footnote_37_37" class="fnanchor">[37]</a>&mdash;"four,"&mdash;*
<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
the preceding speculations on the primary meaning of
χαρτης, <i>charta</i>, and <i>cards</i>, will be materially corroborated.
I leave, however, the investigation of this point to those
who understand the Hindostanee language, as all the
knowledge that I have of the word in question, is derived
from one of Theodore Hook's tales, Passion and Principle,
in the first series of 'Sayings and Doings.' Wherever he
might have picked it up, the effect with which he uses it is
peculiarly his own.</p>

<p>Breitkopf, who is decidedly of opinion that cards are of
Eastern invention, and of great antiquity, considers that the
name Naibe, or Naipes, by which they were first known to
the Italians and the Spaniards, is derived from an Arabic
word&mdash;<i>Nabaa</i>&mdash;signifying divination, foretelling future
events, fortune-telling, and such like. In this opinion he
says he is confirmed by the exposition of the Hebrew word
<i>Naibes</i>, which he seems to think cognate with the Arabic
Nabaa.<a name="FNanchor_38_38" id="FNanchor_38_38"></a>
<a href="#Footnote_38_38" class="fnanchor">[38]</a>
He, however, produces no evidence to show that
cards were known either to the Arabians or the Jews by the
name of Naibe, and from a subsequent passage in his work,
it is evident that the conjecture was suggested merely from
the circumstance of cards being occasionally employed for
the purposes of fortune-telling.</p>

<p>Heineken, who contends that cards were invented in
Germany, alleges the name&mdash;<i>Briefe</i>&mdash;given to them in that
<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
country in support of the presumed fact. "Playing Cards,"
he observes, "were called with us <i>Briefe</i>, that is <i>letters</i>, in
Latin, <i>Epistolæ</i>, and they are called so still. The common
people do not say, 'give me a pack of cards,' but 'a <i>Spiel
Briefe</i>' (un jeu de lettres); and they do not say 'I want a
card,' but 'I want a <i>Brief</i>' (a letter). We should, at least,
have preserved the name <i>cards</i>, if they had come to us from
France; for the common people always preserve the names
of all games that come from other countries."
<a name="FNanchor_39_39" id="FNanchor_39_39"></a>
<a href="#Footnote_39_39" class="fnanchor">[39]</a> This argument
is contradicted by the fact of cards having been called
<i>Karten</i> in Germany, before they acquired there the name of
<i>Briefe</i>; and this very word <i>Briefe</i>, which is merely a translation
of the Latin <i>Chartæ</i>, is presumptive evidence of the
Germans having obtained their knowledge of cards from
either the French or the Italians, with whom the name
cards, when "done" into Latin, had the same meaning as
the German word <i>Briefe</i>.</p>

<p>With respect to the term Naibes, or Naipes, there are two
etymologies which seem deserving of notice here; the one
propounded by Bullet, in his 'Recherches Historiques sur
les Cartes à jouer;' and the other by Eloi Johanneau, in
his 'Mélanges d'Origines Etymologiques.' Mons. Bullet
thinks that cards are of French origin, and that they were not
invented before the introduction of linen paper,&mdash;his chief
reason for fixing this epoch as a ne-plus-ultra being evidently
founded on their Latinised name, <i>chartæ</i>. From France he
supposes that they passed into Spain by way of Biscay, and
acquired in their passage the name of Naipes. This word,
according to Mons. Bullet, is derived from the Basque term
<i>napa</i>, signifying "plat, plain, uni," which very properly
designates cards, and corresponds with the Latin <i>charta</i>.
This etymology is fanciful rather than felicitous; if <i>charta</i>
<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
were synonymous with <i>mensa</i>,&mdash;a table,&mdash;the Basque term
<i>napa</i> would appear to correspond more nearly with it. But
the Basque language, like the Celtic, is one peculiarly
adapted for etymological speculation; a person who understands
a little of it, may readily grub up in its wild fertility
a root for any word which he may not be able to supply
with a radical elsewhere.<a name="FNanchor_40_40" id="FNanchor_40_40"></a>
<a href="#Footnote_40_40" class="fnanchor">[40]</a></p>

<p>Mons. Eloi Johanneau is of opinion that cards are of
much higher antiquity than they are generally supposed to
be; and with respect to their Spanish name, Naipes, the
origin of it, is, to him, too plain and simple to require the
aid of any scarce or voluminous works to prove it; it is, in
short, one of those truths which, to be perceived, requires
only to be enounced. This incontestable truth is, that the
word <i>naipe</i>, a card, comes from the Latin <i>mappa</i>, the <i>m</i>
being merely changed into an <i>n</i>. Of this antithesis, or
change of a letter, several examples are produced; as the
French <i>nappe</i>, a table-cloth, also from <i>mappa</i>; <i>nefle</i> and
<i>neflier</i> from <i>mespilum</i> and <i>mespilus</i>; and <i>faire la Sainte
Mitouche</i>, for <i>faire la Sainte Nitouche</i>. Then <i>naipe</i> and
<i>mappa</i> have an analogous meaning. Naipes, Playing Cards,
scarcely differ from a <i>map</i>,&mdash;which is a geographic card,&mdash;or,
except in point of size, from a <i>nappe</i>, which is spread
<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span>
like a chart on the table. In ancient times, too, mappa
signified the <i>tessara</i>, or signal, which was displayed at the
games of the circus. Tertullian, speaking of those games in
his 'Diatribe De Spectaculis,' says: "Non vident missum
quid sit. <i>Mappam</i> putant; sed est diaboli ab alto præcipitati
gula,"&mdash;"They perceive not what is displayed. They
think it the <i>mappa</i>, but it is the jaws of the devil." It is
evident from this, that in Tertullian's estimation, there was
something very wicked in the <i>mappa</i>; and the bad odour
which, even at that early period, the word was in, appears
to have been retained by its presumed derivative, <i>naipes</i>,
ever since: <i>Servavit odorem diu</i>. But then for the grand
discovery: Mons. Johanneau finds, in Ducange's Glossary,
a passage cited from Papias, a lexicographer of the eleventh
century, which proves that the word <i>mappa</i> then signified a
Playing Card, and that the game of cards was known at
least three centuries previous to the period assigned to its
invention by the Abbé Rive.<a name="FNanchor_41_41" id="FNanchor_41_41"></a>
<a href="#Footnote_41_41" class="fnanchor">[41]</a> "Mappa," according to
Papias, "is a napkin; a picture, or representation of games,
is also called mapa; whence we say mapa mundi,"&mdash;a map
of the world. An ancient Latin and French glossary, also
cited by Ducange, explains the passage from Papias to the
following effect: "Mapamundi, a mapemunde (or geographic
map); and it is derived from <i>mapa</i>, a <i>nappe</i>, a picture or
representation of games."<a name="FNanchor_42_42" id="FNanchor_42_42"></a>
<a href="#Footnote_42_42" class="fnanchor">[42]</a> Though it may be admitted
<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span>
that <i>nappe</i>, a table-cloth, or napkin, is derived from mappa,
and that the latter word was sometimes used to signify a
picture of some kind of game; it yet does not appear to be
incontrovertibly true, either that <i>mappa</i>, as explained by
Papias, signified a card, or a game of cards, or that the
word <i>naipes</i> was derived from it. What Mons. Johanneau
considers to be a self-evident truth, appears in reality to be
no better than one of those confident assertions entitled, by
courtesy, moral truths, in consequence of the sincerity of
the author's belief. A great many truths of this kind pass
current in the business of life, and maintain their nominal
value, long after their real character is known, upon the
credit of the indorsers.</p>

<p>Wherever cards may have been first invented, and whatever
may be the etymology of the words <i>chartæ</i> and <i>naipes</i>,
or <i>naibi</i>, it is certain that cards are now well known in
Hindostan, where they form the amusement of the natives,
both Hindoos and Moslems. That they were invented there,
may be a matter of dispute; but that they have been known
there from an early period, and were not introduced there
from Europe, appears to be undeniable. The Hindoo cards
are usually circular; the number of suits is eight, and in
some packs ten; and the marks of the suits, though in some
instances showing an agreement with those of European
cards, are evidently such as are peculiar to the country, and
identified with the customs, manners, and opinions of the
people. They coincide with the earliest European cards in
having no queen, the two coat cards&mdash;being a king and his
principal minister or attendant&mdash;and in the suits being distinguished
by the colour as well as by the form of the mark
or emblem.</p>

<p>It appears necessary here to notice an objection, which
<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>
readily suggests itself to the supposed derivation of <i>chartæ</i>,
cards, from a word of eastern origin, signifying "four."
It is this: if the ancient Hindoo pack consisted of <i>eight</i> or
even <i>ten</i> suits, would it not be preposterous to derive the
European name from a word which implies that there were
only <i>four</i>. Facts most assuredly are stubborn things, and no
speculation, whether lame of a leg, or going smoothly on
"all fours," can stand against them. It is not, however,
proved that the most ancient Hindoo cards consisted of eight
or ten suits; and till this be done, the speculation must
just pass for what it is worth. Whether there were eight,
ten, or twenty suits, the derivation of χαρτης, <i>charta</i>, paper,
from a word of Eastern origin, would still be unaffected.
If the game of cards were suggested by that of chess, I am
inclined to think that the earliest pack would consist of
only two suits, and that more were subsequently added to
satisfy the wants of "busy idleness," for a more complicated
game. Be this as it may, cards did not arrive at Europe
from Hindostan "per saltum;" it is probable that their
progress through the intervening countries was comparatively
slow; and even if they left home with a "suite" of eight, it
is not impossible that they might lose half of them by the
way. But, to meet the objection by a fact: from a description
of a pack of Hindostanee cards to be subsequently noticed,
and of the game played with them, it appears that the <i>eight</i>
suits are not considered as a single series, but as two divisions
of <i>four</i> suits each.<a name="FNanchor_43_43" id="FNanchor_43_43"></a>
<a href="#Footnote_43_43" class="fnanchor">[43]</a> This partition corroborates both
the theory of the game of cards being suggested by that of
chess, and of the name being derived from a word primarily
signifying the number four.</p>

<p>On the supposition, then, that cards were invented in the
East, it seems advisable to first give some account of the
<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
cards now used in Hindustan, before entering into any investigation
of the period when the game was first brought
into Europe. A high antiquity, indeed, no less than a
thousand years, is claimed for one of the packs subsequently
described; but rejecting t as a pure fiction, which the
apparent newness of the cards themselves contradicts, it
may be fairly assumed, seeing that in the East customs are
slowly changed, that the figures and symbols, or marks, on
those cards are, in their forms and signification generally, of
at least as early a date as those which are to be found on
the oldest European cards.</p>

<p>There is no collection of Hindostanee cards in the Museum
of the East India Company; the purveyors, it would
seem, not considering them likely to be interesting even to
the Lady Proprietors, who, though they have no voice, at
least in Leadenhall Street, yet have considerable influence,
by their votes, in the choice of Directors. The natives of
Hindustan always speak of "the Company" as if, in the
abstract, the great body of proprietors were a female,&mdash;"Mrs.
Company;"<a name="FNanchor_44_44" id="FNanchor_44_44"></a>
<a href="#Footnote_44_44" class="fnanchor">[44]</a> and it would appear that the "direction"
of things at home, is rapidly approximating to a pure
Gynecocracy.<a name="FNanchor_45_45" id="FNanchor_45_45"></a>
<a href="#Footnote_45_45" class="fnanchor">[45]</a></p>

<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span></p>

<p>In the Museum of the Royal Asiatic Society, there are
three packs of Hindostanee cards, one of them consisting of
ten suits, and the other two of eight suits each. In each
suit, when complete, the number of cards is twelve; that is
two coat cards, or honours, and ten others, whose numerical
value is expressed by the number of marks upon them, in a
mode similar to that by which English cards, from the ace
to the ten, are distinguished by the number of the "pips."
The cards of all the packs are circular; the diameter of the
largest is 2-3/4 inches, and of the smallest about 2-1/8 inches. The
material of which they are formed would appear to be
canvas,<a name="FNanchor_46_46" id="FNanchor_46_46"></a>
<a href="#Footnote_46_46" class="fnanchor">[46]</a>
but so stiffened with varnish, that each single card
feels like a piece of wood. All the figures and marks
appear to be executed by hand, not printed nor stencilled;
each pack is contained in an oblong box, the cards being
placed on their edges; and on the top and sides of the box, the
marks or emblems of the several suits are depicted. From
the style of their execution, I should conclude that card-painting
in Hindostan, was a regular profession, though
possibly combined with some other, to "make ends meet,"
just as card-painting was combined with wood-engraving
generally, in Germany in the latter part of the fifteenth
century; or just as shaving and hair-cutting might, in
<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
former times, afford a decent subsistence when eked out
with a little surgery, such as blood-letting, tooth-drawing,&mdash;"<i>Quæ
prosunt omnibus artes</i>."</p>

<p>In giving a separate description of each of those packs,
it seems most proper to begin with that for which the
highest antiquity is claimed. This pack is one of the two
which consist of eight suits; and, from a memorandum
which accompanies it, I have obtained the following particulars
respecting a former possessor and the presumed
antiquity of the cards. They formerly belonged to Captain
D. Cromline Smith, to whom they were presented, about
the year 1815, by a high-caste Bramin, who dwelt at
Guntoor, or some other place in one of the northern Sircars
of Southern India. The Bramin considered them to be
a great curiosity, and informed Capt. Smith that they had
been handed down in his family from time immemorial.
He supposed that they were a thousand years old, or more;
he did not know if they were perfect, but believed that
originally there were two more colours or suits. He said
they were not the same as the modern cards; that none
knew how to play at them; and that no books give any
account of them. Such is the sum of the Bramin's information.
The writer of the memorandum,&mdash;looking at the
costume of the figures and the harness of the animals, and
considering that the Mahometans do not tolerate painted
images,<a name="FNanchor_47_47" id="FNanchor_47_47"></a>
<a href="#Footnote_47_47" class="fnanchor">[47]</a>
&mdash;concludes that these cards are Hindostanee.</p>

<p>The pack consists of eight suits, each suit containing
two honours and ten common cards&mdash;in all ninety-six cards.
In all the suits the King is mounted on an elephant; and
in six, the Vizier, or second honour, is on horseback; but
in the blue suit,&mdash;the emblem or mark of which is a red
<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
spot with a yellow centre&mdash;he rides a tiger; and in the
white suit,&mdash;the mark of which appears like a grotesque
or fiendish head,&mdash;he is mounted on a bull. The backs of
all the cards are green. The following are the colours of
the <i>ground</i> on which the figures are painted in the several
suits, together with the different marks by which the suits
and the respective value of the common cards were also
distinguished.</p>

<table class="centertable" id="COLOURS-1" summary="Colours and Marks">
  <tr>
    <th class="c1">COLOURS</th>
    <th class="c2">MARKS</th>
  </tr>
  <tr>
    <td class="c1-1">1. <span class="smcap">Fawn</span></td>
    <td class="c2-1">Something like a pineapple in a shallow cup.</td>
  </tr>
  <tr>
	<td class="c1-1">2. <span class="smcap">Black</span></td>
	<td class="c2-1">A red spot, with a white centre.</td>
  </tr>
  <tr>
    <td class="c1-1">3. <span class="smcap">Brown</span></td>
    <td class="c2-1">A "tulwar," or sword.</td>
  </tr>
  <tr>
    <td class="c1-1">4. <span class="smcap">White</span></td>
    <td class="c2-1">A grotesque kind of head.</td>
  </tr>
  <tr>
    <td class="c1-1">5. <span class="smcap">Green</span></td>
    <td class="c2-1">Something like a parasol without a handle, and with
	  two broken ribs sticking through the top.</td>
  </tr>
  <tr>
    <td class="c1-1">6. <span class="smcap">Blue</span></td>
    <td class="c2-1">A red spot, with a yellow centre.</td>
  </tr>
  <tr>
    <td class="c1-1">7. <span class="smcap">Red</span></td>
    <td class="c2-1">A parallelogram with dots on it, as if to represent
	  writing (shortest side vertical).</td>
  </tr>
  <tr>
    <td class="c1-1">8. <span class="smcap">Yellow</span></td>
    <td class="c2-1">An oval.</td>
  </tr>
</table>

<p>On every one of the common cards there is also depicted,
in addition to the mark of their respective suits, something
like a slender leaf, tapering upwards, but with the top
curving down. Of this pack of cards I have nothing further
to observe here than that if they are even a hundred years
old, they must have been preserved with great care; and
that I am inclined to think that the Bramin, who gave
them to Capt. Smith, had over-rated their antiquity and
rarity in order to enhance the value of his present.</p>

<p>In a second pack, consisting, like the preceding, of eight
suits of twelve cards each, the King appears seated on a
throne; while the Vizier, as in the former, is on horseback,
except in three of the suits where he appears mounted on
an elephant, a single-humped camel, and a bull. Though
there be a difference between this pack and the former, in
<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
the marks of some of the suits, there can be no doubt that
the same game might be played with each. In the pack
now under consideration the backs of all the cards are red.
The following are the colours of the ground and the marks
of the several suits.</p>

<table class="centertable" id="COLOURS-2" summary="Colours and Marks">
  <tr>
    <th class="c1">COLOURS</th>
    <th class="c2">MARKS</th>
  </tr>
  <tr>
    <td class="c1-1">1. <span class="smcap">Yellow</span></td>
    <td class="c2-1">Apparently a flower.</td>
  </tr>
  <tr>
    <td class="c1-1">2. <span class="smcap">Black</span></td>
    <td class="c2-1">A red spot, with a white centre.</td>
  </tr>
  <tr>
    <td class="c1-1">3. <span class="smcap">Red</span></td>
    <td class="c2-1">A "tulwar," or sword.</td>
  </tr>
  <tr>
    <td class="c1-1">4. <span class="smcap">Red</span></td>
    <td class="c2-1">Man's head and shoulders.</td>
  </tr>
  <tr>
    <td class="c1-1">5. <span class="smcap">Brown</span></td>
    <td class="c2-1">(Unintelligible.)</td>
  </tr>
  <tr>
    <td class="c1-1">6. <span class="smcap">Green</span></td>
    <td class="c2-1">A circular spot.</td>
  </tr>
  <tr>
    <td class="c1-1">7. <span class="smcap">Green</span></td>
    <td class="c2-1">A parallelogram (longest side vertical).</td>
  </tr>
  <tr>
    <td class="c1-1">8. <span class="smcap">Yellow</span></td>
    <td class="c2-1">An oval.</td>
  </tr>
</table>

<p>The third pack of Hindostanee cards in the possession of
the Royal Asiatic Society, to whom it was presented by the
late Sir John Malcolm, is much more curious and interesting
than either of the other two previously noticed. It consists
of <i>ten</i> suits, of twelve cards each; and the marks of
the suits are the emblems of the ten Avatars, or incarnations
of Vichnou, one of the three principal divinities in the
religious system of the Hindoos. The King is represented
by Vichnou, seated on a throne, and in one or two instances
accompanied by a female; and the Vizier, as in most of the
suits of the other two packs, is mounted on a white horse.
In every suit two attendants appear waiting on the second
as well as on the principal "honour." The backs of all
the cards in this pack are red; and the colours of the
ground and marks of the several suits are as follows:&mdash;
<a name="FNanchor_48_48" id="FNanchor_48_48"></a>
<a href="#Footnote_48_48" class="fnanchor">[48]</a></p>

<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>

<table class="centertable" id="COLOURS-3" summary="Colours and Marks">
  <tr>
    <th class="c1">COLOURS</th>
    <th class="c2">MARKS</th>
  </tr>
  <tr>
    <td class="c1-1"> 1. <span class="smcap">Red</span></td>
    <td class="c2-1">A fish.</td>
  </tr>
  <tr>
    <td class="c1-1"> 2. <span class="smcap">Yellow</span></td>
    <td class="c2-1">A tortoise.</td>
  </tr>
  <tr>
    <td class="c1-1"> 3. <span class="smcap">Gold</span></td>
    <td class="c2-1">A boar.</td>
  </tr>
  <tr>
    <td class="c1-1"> 4. <span class="smcap">Green</span></td>
    <td class="c2-1">A lion.</td>
  </tr>
  <tr>
    <td class="c1-1"> 5. <span class="smcap">Brownish Green</span></td>
    <td class="c2-1">A man's head.</td>
  </tr>
  <tr>
    <td class="c1-1"> 6. <span class="smcap">Red</span></td>
    <td class="c2-1">An axe.</td>
  </tr>
  <tr>
    <td class="c1-1">7. <span class="smcap">Brownish Green</span></td>
    <td class="c2-1">An ape.</td>
  </tr>
  <tr>
    <td class="c1-1"> 8. <span class="smcap">Puce</span></td>
    <td class="c2-1">A goat or antelope.</td>
  </tr>
  <tr>
    <td class="c1-1"> 9. <span class="smcap">Brick Red</span></td>
    <td class="c2-1">A cattashal or umbrella.</td>
  </tr>
  <tr>
    <td class="c1-1"><span class="smcap">Green</span></td>
    <td class="c2-1">A white horse, saddled and bridled.</td>
  </tr>
</table>

<p>The following description of the ten Avatars, or incarnations,
of Vichnou, as represented in a series of drawings,
<a name="FNanchor_49_49" id="FNanchor_49_49"></a>
<a href="#Footnote_49_49" class="fnanchor">[49]</a>
will explain the meaning of nearly every one of the marks of
<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
the ten suits of cards. The only suits which do not exactly
correspond with the Avatars, as represented in the drawings,
are those numbered 8 and 9, the emblems of which are a
goat and an umbrella. It is, however, to be observed that
Hindoo authors do not agree in their accounts of the
different Avatars of Vichnou, though they generally concur
in representing them as ten in number, that is, nine passed
and one to come. It is also possible that the goat&mdash;which
appears couchant as if giving suck&mdash;and the umbrella, which
in the east is frequently the sign of regal dignity, may be
symbolical of the eighth and ninth Avatars in the description
of the drawings. Though the Bramin Dwarf, in the
fifth Avatar of the drawings, carries an umbrella, there
can scarcely be a doubt that the Man's head, in No. 5 of
the cards, is the symbol of this Avatar.</p>


<p class="center p2">THE TEN AVATARS OF VICHNOU.</p>

<p>1. <span class="smcap">Matsyavatara.</span> The first Avatar of Vichnou, as a
Fish; represented as the body of a man with the tail of a
fish. The human part is coloured blue; the rest is white.
In two of his four hands he holds the <i>Chakra</i>, or <i>Soudarsana</i>,
which here appears something like a quoit with rays proceeding
from it.<a name="FNanchor_50_50" id="FNanchor_50_50"></a>
<a href="#Footnote_50_50" class="fnanchor">[50]</a>
In the palm of another of his hands the
diamond&mdash;carré mystique&mdash;is displayed. According to the
Bhagavat Purana, the precious stone or diamond called
<i>Castrala</i>, is a sort of talisman which illuminates all things,
and in which all things are reflected. It is the perfect
mirror of the world, and Vichnou generally wears it on his
breast, or holds it in the palm of that hand which is raised
in the act of benediction.</p>

<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>

<p>2. <span class="smcap">Kourmavatara.</span> The second Avatar, as a Tortoise;
the upper part of the figure, man, the lower, tortoise. The
<i>Chakra</i> appears poised on the fingers of one of the hands.</p>

<p>3. <span class="smcap">Varahavatara.</span> The third Avatar of Vichnou, as a
<i>Verrat</i>, or wild boar, to destroy the giant Hiranyakcha.
Vichnou appears with the head of a boar, but with the
body and limbs of a man. In the cards, the head of the
boar is blue.</p>

<p>4. <span class="smcap">Narasinhavatara.</span> The fourth Avatar of Vichnou,
as a Lion, to destroy the giant Hiranycasyapa. Vichnou
appears with a lion's head, but with a human body, holding
the <i>Chakra</i> in one of his hands.</p>

<p>5. <span class="smcap">Vamanavatara.</span> The fifth Avatar of Vichnou, as a
Bramin Dwarf, to avenge the gods on the giant Bali. In
one hand he holds a kind of narrow-necked pot, with a
spout to it, and in another a <i>cattashal</i>, or umbrella.</p>

<p>6. <span class="smcap">Parasou-Rama</span>. The sixth Avatar of Vichnou, as a
Bramin, armed with an axe, to chastise kings and warriors.
The colour of the figure is green, and in one of his hands
he holds either a flower, or a kind of leaf.</p>

<p>7. <span class="smcap">Sri-Rama</span>, or
<span class="smcap">Rama-Ichandra</span>. The seventh Avatar
of Vichnou, in the family of the Kings of the race of the
Sun, to avenge the gods and men of the tyranny of Ravana,
King of Lanka or Ceylon. The figure of Vichnou in this
Avatar, is blue or green; and he is seated on a couch or
throne with his wife Sita beside him, while monkeys appear
offering him adoration. In the cards, the colour of Vichnou
is blue, and a female shares his throne, which is very much
like a font or shallow bath. Monkeys also appear before
him.</p>

<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>

<p>8. <span class="smcap">Chrishna.</span> The Eighth Avatar of Vichnou, as an
Infant suckled by his mother Devaki. Rays of glory surround
the heads of the mother and child.</p>

<p>9. <span class="smcap">Bouddha</span>, the <span class="smcap">Son</span> of
<span class="smcap">Maya</span>. The ninth Avatar of
Vichnou, who appears richly dressed, seated in an attitude
of meditation on a throne, the back of which is of a shell-like
form&mdash;"espèce de conque"&mdash;and is adorned with
Lotus flowers.</p>

<p>10. <span class="smcap">Calki-avatara</span>. The tenth, and future Avatar of
Vichnou, as a Horse, or Man-horse, armed with sword and
buckler, to destroy the world at the end of the present age.
The figure has a human body, and a horse's head.</p>

<hr class="sect" />

<p>As there are different accounts of the incarnations of
Vichnou, as has been previously observed, the following is
given with the view of throwing a little more light on the
subject: "Vichnou, the second person in the Hindoo
trinity, is said to have undergone nine successive incarnations
to deliver mankind from so many perilous situations.
The first, they say, was in the form of a lion; the second of
a hog; the third a tortoise; the fourth a serpent; the fifth
that of a Bramin (a dwarf, a foot and a half high); the sixth
a monster, namely, half man half lion; the seventh a dragon;
the eighth a man born of a virgin; and the ninth an ape.
Bernier adds a tenth, which is to be that of a great cavalier.
(Voyage, vol. ii, p. 142.) A very particular and a very
different account of these transformations is given by Mr.
Sonnerat (Voyages, vol. i, p. 158), with curious representation
of each of them."<a name="FNanchor_51_51" id="FNanchor_51_51"></a>
<a href="#Footnote_51_51" class="fnanchor">[51]</a> In this account we have both a lion,
<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
and a man-lion, which are probably symbols of the same
Avatar; and a dragon and a serpent, also probably symbols
of the same thing, though neither of them occur in the cards,
nor in the description of the drawings.</p>

<p>I shall now present the reader with a description of
another pack of Hindostanee cards, and of the game played
with them: it forms an article entitled 'Hindostanee
Cards,' in the second volume of the Calcutta Magazine,
1815; and is accompanied with two plates, fac-similes of
which are here given.</p>

<p>"The words <i>Gunjeefu</i> and <i>Tas</i> are used in Hindostanee
to denote either the game, or a pack of cards. I have in
vain searched the 'Asiatic Researches,' 'Asiatic Annual
Register,' Sir William Ouseley's 'Oriental Collections,' and
the 'Oriental Repertory,' by Dalrymple, for some account or
description of the mode of playing the cards in use among
the natives of Hindostan; and further, from the total silence
of the French and English Encyclopædias, conclude that
they have never engaged the attention of any inquirer. A
description of the gunjeefu, or cards, used by the Moslems,
may therefore be acceptable to our readers.</p>

<p>"In the 'Dictionary, Hindostanee and English,' edited
by the late Dr. Hunter, the names of the eight suits are
to be found under the word <i>Taj</i>, the name of the first
suit.</p>

<p>"The pack is composed of ninety-six cards, divided into
eight suits. In each suit are two court cards, the King,
and the Wuzeer. The common cards, like those of Europe,
bear the spots from which the suits are named, and are ten
in number.</p>

<p>"Four suits are named superior,<a name="FNanchor_52_52" id="FNanchor_52_52"></a>
<a href="#Footnote_52_52" class="fnanchor">[52]</a> and four the inferior
<a name="FNanchor_53_53" id="FNanchor_53_53"></a>
<a href="#Footnote_53_53" class="fnanchor">[53]</a>
suits.</p>

<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>

<p>
SUPERIOR SUITS.
</p>
<ul class="unordered">
  <li>Taj.<a name="FNanchor_54_54" id="FNanchor_54_54"></a>
  <a href="#Footnote_54_54" class="fnanchor">[54]</a></li>
  <li>Soofed.</li>
  <li>Shumsher.</li>
  <li>Gholam.</li>
</ul>

<p>
INFERIOR SUITS.
</p>
<ul class="unordered">
  <li>Chung.</li>
  <li>Soorkh.</li>
  <li>Burat.</li>
  <li>Quimash.</li>
</ul>

<div class="figcenter bord"><a name="i_054.jpg" id="i_054.jpg"></a>
  <img src="images/i_054.jpg"
      alt="Plate I" />
  <div class="caption">Plate I.</div>
</div>

<div class="figcenter bord"><a name="i_056.jpg" id="i_056.jpg"></a>
  <img src="images/i_056.jpg"
      alt="Plate II" />
  <div class="caption">Plate II.</div>
</div>

<p>"Plate I represents the [honours of the] four superior
suits, called <i>Beshbur</i>; and Plate II, the inferior, <i>Kumbur</i>.
The kings are easily distinguished, and are here numbered
from 1 to 8.</p>

<p>"In the superior suits, the ten follows next in value to
the king and wuzeer; and the ace is the lowest card. In
the inferior suits, the ace has precedence immediately after
the wuzeer, then the deuce, and others in succession, the
ten being of least value.</p>

<p>"The game is played by three or six persons: when six
play, three take the superior, and three the inferior suits.
The pack being divided into parcels after the cards are well
mixed, the players cut for the deal; and he who cuts the
highest card deals.<a name="FNanchor_55_55" id="FNanchor_55_55"></a>
<a href="#Footnote_55_55" class="fnanchor">[55]</a> When three play, the cards are dealt
by fours. In the first and last round the cards are exposed,
and thus eight cards of each person's hand are known to
the adversaries. The cards are dealt from <i>right</i> to <i>left</i>, the
reverse of the European mode.</p>

<p>"<span class="smcap">The Lead.</span> When the game is played by <i>day</i>, he who
holds the red king, (<i>Soorkh</i>, the sun,) must lead that and
any small card. Should he play the king alone, it is seized
by the next player. The adversaries throw down each <i>two</i>
common cards, and the trick is taken up. When the game
<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
is played by <i>night</i>, the white king, (<i>Soofed</i>, the moon,) is
led in like manner. The cards are then played out at the
option of him who leads, the adversaries throwing away
their small cards, and no attention is paid to the following
suit, unless when one of the adversaries, having a superior
card of the suit led, chooses to play it to gain the trick.</p>

<p>"In order to guard a second-rate card which may enable
you hereafter to recover the lead, it is customary to throw
down a small one of that suit, and call the card you are
desirous to have played. With this call the adversaries
must comply. As in Whist, when the person who has the
lead holds none but winning cards, they are thrown down.
After the cards have been all played, the parties shuffle their
tricks, and the last winner, drawing a card, challenges one
of his adversaries to draw out any card from the heap before
him, naming it the fourth or fifth, &amp;c. from the top or
bottom. The winner of this trick in like manner challenges
his right-hand adversary. The number of cards in the
possession of each party is then counted, and those who
have fewest are obliged to purchase from an adversary to
make up their deficiency of complement. The greatest
winner at the end of four rounds has the game.</p>

<p>"The following terms used in the game may be acceptable
to those who desire to understand it when played by
natives: I think they unequivocally prove that <i>Gunjeefu</i> is of
Persian or Arabian origin.</p>

<ul class="unordered">
<li>"Zubur-dust, the right-hand player.</li>
<li>Zer-dust, the left-hand player.</li>
<li>Zurb, a trick.</li>
<li>Ser, a challenge.</li>
<li>Ser-k'hel, the challenging game.</li>
<li>Ekloo, a sequence of three cards.</li>
<li>Khurch, the card played to one led; not a winning card.
<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></li>
<li>K´hel java, to lay down the winning card at the end of a deal.</li>
<li>Chor, the cards won at the end of a deal; the sweep.</li>
<li>Ghulutee, a misdeal.</li>
<li>Wuruq, a card.</li>
<li>Durhum-kurna, to shuffle.</li>
<li>Wuruq-turashna, to cut the cards.</li>
</ul>

<p>"From my observation of the game when played, I do
not think it sufficiently interesting to cause its being preferred
by Europeans to the cards in vogue in Europe. The
number of the suits are too great, and the inconvenient
form of the cards (the size and shape of which are represented
by the plates<a name="FNanchor_56_56" id="FNanchor_56_56"></a>
<a href="#Footnote_56_56" class="fnanchor">[56]</a>)
are great objections. The Hindoostanee
cards are made of paper, well varnished; the figures
appropriately painted, and the ground and backs of every
suit of one colour. The Slave standing before the King in
No. 3, is the figure used as the spot or crest on all the
common cards of that suit.... The tradition regarding
the origin of the Hindoostanee cards is, that they were
invented by a favorite <i>sultana</i>, or queen, to wean her husband
from a bad habit he had acquired of pulling or eradicating
his beard."</p>

<p>With respect to the word <i>Gunjeefu</i>, which, according to
the preceding account, appears to be a general name for
cards, I am informed that it is of Persian origin, and that it
signifies both a pack of cards and the game. In Bengal,
cards are more generally known by the name of <i>Tas</i>, which
is a Hindoo word, than that by <i>Gunjeefu</i>, or <i>Gang&#275;efah</i>, as
it is otherwise written. From the reference, in the preceding
account, to the 'Dictionary, Hindoostanee and
<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
English,' edited by the late Dr. Hunter,<a name="FNanchor_57_57" id="FNanchor_57_57"></a>
<a href="#Footnote_57_57" class="fnanchor">[57]</a> I am inclined to
think that <i>Taj</i> and <i>Tas</i> have the same signification, with
reference to cards; and that the only difference between
them consists in the pronunciation and mode of spelling.
Now, the word <i>Taj</i> is said to signify a crown; but if it be
also used figuratively for a king, the wearer of a crown&mdash;just
as "crown" is figuratively used to signify empire
or regal power&mdash;the Hindoo name for cards would be
synonymous with "Kings." That cards were known in
England by the name of the "Four Kings" has been already
shown; and if my speculations on the terms <i>Chartæ</i> and
<i>Naipes</i> be correct, it was by a name originally signifying
four kings, or four viceroys, that cards were first known in
Europe.</p>

<p>With regard to the game described in the preceding
account, it appears to bear some resemblance to that which
the French call "l'Ombre à trois,"&mdash;three-handed Ombre.
<a name="FNanchor_58_58" id="FNanchor_58_58"></a>
<a href="#Footnote_58_58" class="fnanchor">[58]</a>
In both games the suits appear to be considered as ranged
in two divisions: in the Hindostanee game, as the Red
and the White; and in the European, as the Red and the
Black. In the Hindostanee game there are eight suits,
and six or three players; and when three play, the cards
are dealt by fours. In the European game of four suits
<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
and forty cards&mdash;the tens, nines, and eights being omitted&mdash;there
are three players, and the cards are dealt by threes.
A person who can play at Ombre will scarcely fail to perceive
several other points of similarity between the two games.
From the terms used in the game of Ombre&mdash;Spadillo,
Basto, Matador, Punto, &amp;c.&mdash;there can scarcely be a doubt
that the other nations of Western Europe derived their
knowledge of it from the Spaniards. The Hon. Daines
Barrington, in his 'Observations on the Antiquity of Card
Playing in England,' derives the names of the game from
the Spanish, "hombre," a man; and there is reason to
believe that it was one of the oldest games at cards played
at in Europe. If the game of cards were introduced into
Europe by the Arabs, it is in Spain that we might first
expect to find them. Pietro della Valle, in his Travels in
the East, between 1614 and 1626, speaks of the people
playing at cards, though differing from ours in the figures
and number of suits; and Niebuhr, in his Travels, also
speaks of the Arabians playing at cards, and says that the
game is called Lab-el-Kammer.<a name="FNanchor_59_59" id="FNanchor_59_59"></a>
<a href="#Footnote_59_59" class="fnanchor">[59]</a> It is, however, to be
observed, that the game of cards is not once mentioned in
the Arabian Nights; and from this silence it may be concluded
that at the time when those tales were compiled card-playing
was not a popular pastime in Arabia. The compilation,
it is believed, is not earlier than about the end of
the fifteenth century, though many of the tales are of a
much higher antiquity.</p>

<p>Leaving out of consideration the pack of ten suits, with
the emblems of the ten incarnations of Vichnou, as being
of a mythological character, and probably not in common
use for the purposes of gaming, it is evident from the other
three packs, of eight suits each, that the cards known in
<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
Hindostan are not uniform in the marks of the different
suits, though it is obvious that any game,&mdash;depending on
sequences and the conventional value of the several cards,&mdash;which
can be played with one of the packs, may be also
played with either of the other two. The difference in
the marks is, indeed, much less than is to be observed
in old French, Spanish, and German cards, which present
so many differences as to render it impossible to derive
them from one original type. The mere mark or emblem,
whatever it might originally signify, appears to have had no
specific meaning or value, beyond what might be assigned
to it by the conventional rules of the game; whether it
were a sword or a chalice, a club or a piece of money,
a heart or a diamond, a green leaf or a hawk's bell, in
playing and counting the game, it was a "pip," and nothing
more.</p>

<p>Whether the two packs of eight suits each, in the possession
of the Royal Asiatic Society, are considered by the
natives of Hindostan as consisting of two divisions of four
suits each, as in the pack described in the extract from the
'Calcutta Magazine,' I have not been able to ascertain.
In all the three packs the sword is to be found as the mark
of one of the suits; and the <i>soofed</i> and <i>soorkh</i> of the one
pack&mdash;silver coin and gold coin, figuratively the moon and
the sun&mdash;I consider to be represented by the circular marks
in the other two; and the oval in these is not unlike the
mark of the suit named <i>Quimash</i>&mdash;merchandise&mdash;in the
former. The mark of the suit <i>Burat</i>, see Plate II, No. 7&mdash;which
is said to mean a royal diploma or assignment, corresponds
very nearly with a parallelogram containing dots,
as if meant for writing, in the pack formerly belonging to
Capt. D. Cromline Smith; but though a parallelogram&mdash;crossed
by two lines, and with the longest side vertical&mdash;also
occurs in the other pack, its agreement with the <i>Burat</i>
<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
is by no means so apparent. The marks of the suits <i>Taj</i>,
a Crown, and <i>Chung</i>, a Harp.<a name="FNanchor_60_60" id="FNanchor_60_60"></a>
<a href="#Footnote_60_60" class="fnanchor">[60]</a> (see Plate I, fig. 1, and
Plate II, fig. 5,) I am unable to recognise, either by name
or figure, in the other two packs; though I am inclined to
think that, in one of them, the place of the <i>Taj</i> is supplied
by a kind of fruit, and in the other by a flower. It will
be observed that, in the plate, the mark of the suit called
<i>Chung</i>, a harp, is a bird. In the other two packs, the
suits which I consider to be the substitutes of the <i>Chung</i>
have a mark which I have not been able to make
out; but in one of them the Vizier, as in the <i>Chung</i>, is
mounted on a single-humped camel. In the suit called
<i>Gholam</i>, a slave&mdash;Plate I, fig. 4&mdash;I cannot make out what
is intended for the mark,&mdash;whether the <i>Mahut</i>, who appears
guiding the elephant, or the kind of mace carried by the
Vizier; whatever may be the mark, I consider the suit to
be represented by that with a white ground in Capt. D. C.
Smith's cards, the mark of which is a grotesque head, as
in both suits the Vizier is mounted on a bull. The corresponding
suit in the other pack I conceive to be the one
which has for its mark a man's head.</p>

<p>With respect to the marks of the several suits, in the
different packs of Hindostanee cards, previously described,&mdash;what
objects they graphically represent, what they might
<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
have been intended to signify by the person who devised
them, and what allegorical meanings may have assigned to
them by others,&mdash;much might be said; and a writer of quick
imagination, and hieroglyphic wit, like Court de Gebelin,
might readily find in them not only a summary of all the
knowledge of the Hindoos&mdash;theological, moral, political, and
scientific&mdash;but also a great deal more than they either knew
or dreamt of. As I feel my inability to perform such a
task, or rather to enjoy such pleasures of imagination; and
as the present work does not afford space for so wide a
discursus, I shall confine my observations to such marks
as appear to have, both in their form and meaning, the
greatest affinity with the marks to be found on early
European cards. The marks in the pack consisting of ten
suits, representing the incarnations of Vichnou, I shall only
incidentally refer to, as I am of opinion that those cards are
not such as either are or were generally used for the
purposes of gaming, but are to be classed with those emblematic
cards which have, at different periods, been devised
in Europe for the purpose of insinuating knowledge into the
minds of ingenious youth by way of pastime.</p>

<p>In referring to any of the marks to be found in the three
eight-suit packs of Hindostanee cards, which appear to be
intended for the purposes of play only, it seems unnecessary
to specify the particular pack to which they belong, as my
object is merely to call attention to the apparent agreement
between some of the marks of Hindostanee cards, and those
which are either known to have been the marks of the
earliest European cards, or are to be found on such old
cards as are still preserved in public libraries, or in the
collections of individuals.</p>

<p>In the early European cards, which have cups, swords,
pieces of money, and clubs or maces for the marks of the
<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
four suits,<a name="FNanchor_61_61" id="FNanchor_61_61"></a>
<a href="#Footnote_61_61" class="fnanchor">[61]</a>
the sword and piece of money of the Hindostanee
cards are readily identified; and if we are to suppose that
in these cards certain emblems of Vichnou were formerly
represented&mdash;but which are not to be found either on the
ordinary Playing Cards, or on those displaying the ten
incarnations of Vichnou&mdash;it would not be difficult to account
for the cups, and clubs or maces; for, according to Dr.
Frederick Creutzer,<a name="FNanchor_62_62" id="FNanchor_62_62"></a>
<a href="#Footnote_62_62" class="fnanchor">[62]</a> the mace or war club is frequently to
be seen in one of the hands of Vichnou; and Count von
Hammer-Purgstal remarks, that "the sword, the club, and
the cup, are frequent emblems in the Eastern Ritual."
<a name="FNanchor_63_63" id="FNanchor_63_63"></a>
<a href="#Footnote_63_63" class="fnanchor">[63]</a> As
the marks in European suits, cups, or chalices, swords, money,
and clubs, have been supposed to represent the four principal
classes of men in a European state, to wit, Churchmen;
Swordmen, or feudal nobility; Monied men, merchants or
traders; and Club-men, workmen, or labourers,&mdash;it is just as
easy to run a parallel in the four superior suits of one of the
packs of Hindostanee cards, given in Plate I; there may be
found <i>Taj</i>, a crown, royalty; <i>Soofed</i>, silver money, merchants;
<i>Shumsher</i>, a sword, fighting men, seapoys; and <i>Gholam</i>, a
slave, the coolies both of hill and plain. It may not be unnecessary
here to observe that the four great historical castes
of the Hindoos are, 1, Bramins, priests; 2, Chetryas, soldiers;
3, Vaisyas, tradesmen and artificers; and 4, Sudras, slaves,
and the lowest class of labourers. Of these four castes the
Bramins alone remain unmixed; the other three, as distinct
<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
castes, exist only in name, for they have become so intermixed,
that the subdivisions can neither be ascertained nor
reckoned by the learned pundits themselves.
<a name="FNanchor_64_64" id="FNanchor_64_64"></a>
<a href="#Footnote_64_64" class="fnanchor">[64]</a></p>

<p>In the oldest stencilled, or printed, European cards, which
are probably of as early a date as the year 1440, the marks
of the suits are bells, hearts, leaves, and acorns; and in the
Hindostanee cards we find a leaf or a flower, as the mark of
one of the suits; and I am inclined to think that, in the
latter, the figures of the oval, and of that which appears
something like a pineapple in a shallow cup, were the types
of the bells and the acorns. When those marks are compared,
without reference to their being representations of
specific objects of which the mind has already a preconceived
idea, the general agreement of their forms is, to the eye,
more apparent. For the heart, I have not been able to
discover any corresponding mark in the Hindostanee cards.
Should I be told that the form of the heart might be suggested
by that of the leaf, I have to observe that the
form of the leaf in Hindostanee cards, is not the same
as that which occurs in European, and that in the latter, the
colour of the so-called heart appears always to have been
red.</p>

<p>Between the marks of the suits on old French cards,&mdash;Cœur,
Carreau, Trèfle, and Pique,&mdash;and those to be found
on Hindostanee cards, I shall not venture to make any direct
comparison. It, however, may be observed that the form of
<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span>
the Pique&mdash;the spade in English cards&mdash;is almost precisely
the same as that of the leaf in other European packs; and
that the Trèfle&mdash;the club, in English cards&mdash;in its outline
bears a considerable likeness to the acorn. Those who
please may derive the Carreau, or diamond, from the <i>Castrala</i>,
or mystic diamond, worn on the breast, or held in
the palm of the hand of Vichnou; it does not, however,
occur as the mark of a suit in any of the Hindostanee cards
that have come under my observation; and the mark to
which it bears the greatest resemblance is that of the suit
<i>Burat</i>, as shown in Plate II, No. 7. An examination of a
greater variety of Hindostanee cards, and more extensive
knowledge of the names and significations of the marks of
the suits, and of the different games played, would probably
lead to the discovery of more points of resemblance than I
have been able to perceive.</p>

<p>The different things signified by marks, apparently agreeing
in their general forms, on Hindostanee and European
cards, may be partly accounted for on the following
grounds, which will also in some degree serve to explain
the difference, both in form and name, of the marks of the
suits in different packs of old European cards.</p>

<p>Graphic forms of all kinds, whether symbolic, or positive
representations of specific objects, which are readily understood,
both in their figurative meaning and direct signification,
by the people with whom they originated, are, when
brought into a different country without their explanations,
often interpreted by that people according to their knowledge
and opinions; and forms for which they have no corresponding
originals, or which they fail to identify, are referred to
objects of similar shape with which they are familiar, and
are called by their names. Similar changes in the meaning
of symbolic figures also take place with the same people, in
<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
consequence of the original meaning becoming obsolete,
through change of customs and opinions, in the course of time.
In this manner a figure of the horned Isis, with the young
Horus in her lap, appears to have been taken for a representation
of the Virgin Mary, with the crescent moon on her
head, nursing the infant Jesus; and thus the figures of
Jupiter and Minerva have passed for those of Adam and Eve.
In the sixteenth century it appears that in Italy the suit of
Bastoni&mdash;clubs, or maces, proper&mdash;was also called <i>Colonne</i>,
pillars; and the suit of Danari&mdash;money&mdash;<i>Specchi</i>, mirrors;
<a name="FNanchor_65_65" id="FNanchor_65_65"></a>
<a href="#Footnote_65_65" class="fnanchor">[65]</a>
merely because the club or mace as depicted on the suits, bore
some resemblance to a slender pillar, and that the form of
Danari, like that of an ancient mirror, was circular. Among
the pitmen in the neighbourhood of Newcastle-on-Tyne, the
diamonds on the cards are frequently called <i>Picks</i>, from
their similarity to the head of a pick, the tool with which
they dig the coals; a writer like Court de Gebelin, might
discover in this connexion between picks and "black
diamonds" "a type with a pair of handles." It may be
here observed, that the suit which the French term piques,
is that which we, improperly, call spades.</p>

<p>But, even admitting the agreement, both in figure and
signification, of several of the marks of the suits in early
European cards, and those which occur in the cards now
used in Hindostan, it may be said that this fact by no
means proves either that cards were invented in the East,
or that the marks of suits on the Hindostanee cards were
actually the models of those resembling them which are to
be found on early European cards; for cards might find
their way into the East from Europe as well as into Europe
from the East. When St. Francis Xavier was in the East
<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
Indies,&mdash;from 1541 to 1552,&mdash;card-playing was a common
amusement with the European residents and traders;
<a name="FNanchor_66_66" id="FNanchor_66_66"></a>
<a href="#Footnote_66_66" class="fnanchor">[66]</a>
and it is very likely that the first Portuguese ship that
arrived there, about half a century before, had a pack of
cards on board. That European cards were sent to the
East, among other articles of merchandise, towards the end
of the sixteenth century, appears evident from a passage in
a narrative of the first voyage of the English, on a private
account, begun by Captain George Raymond, and finished
by Captain James Lancaster;<a name="FNanchor_67_67" id="FNanchor_67_67"></a>
<a href="#Footnote_67_67" class="fnanchor">[67]</a> and we learn from Sir
Alexander Burnes, that commerce has imported cards into
the Holy City of Bokhara, that the pack consists of thirty-six
cards, and that the games are strictly Russian.
<a name="FNanchor_68_68" id="FNanchor_68_68"></a>
<a href="#Footnote_68_68" class="fnanchor">[68]</a></p>

<p>Looking, however, at all the circumstances,&mdash;the probability
of Cards having been suggested by Chess, the names
<i>Chartæ</i> and <i>Naipes</i>, the marks to be found on them, and
the tradition of their having been known in Hindostan
from a very early period,&mdash;the balance of evidence appears
decidedly in favour of the conclusion that cards were invented
in the East. The writer of an article on Cards, in
No. xlviii of the 'Foreign Quarterly Review,' previously
referred to, speaks confidently of the great antiquity of
<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span>
cards in Hindostan, but does not give any authorities for
the fact. "We know," he says, "that the Tamuli have
had cards from time immemorial; and they are said to be
of equal antiquity with the Brahmins, who unquestionably
possess them still, and claim to have invented them." The
statement of the Bramin who gave the cards to Captain
D. Cromline Smith, though certainly not true with respect
to that individual pack, may yet be received as confirmatory
of the traditional evidence in favour of cards
generally having been known in Hindostan from a very
early period.<a name="FNanchor_69_69" id="FNanchor_69_69"></a>
<a href="#Footnote_69_69" class="fnanchor">[69]</a></p>

<p>Playing Cards appear to have been known from an early
period in China. In the Chinese dictionary, entitled
<i>Ching-tsze-tung</i>, compiled by Eul-koung, and first published
<span class="smcap">A.D.</span> 1678, it is said that the cards now known in China as
<i>Teen-tsze-pae</i>, or dotted cards, were invented in the reign
of Seun-ho, 1120; and that they began to be common in
the reign of Kaou-tsung, who ascended the throne in
1131.<a name="FNanchor_70_70" id="FNanchor_70_70"></a>
<a href="#Footnote_70_70" class="fnanchor">[70]</a>
&mdash;According to tradition, they were devised for the
amusement of Seun-ho's numerous concubines. M. Abel
<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
Remusat, probably on the authority of the Ching-tsze-tung,
has also observed that cards were invented by the Chinese
in 1120.<a name="FNanchor_71_71" id="FNanchor_71_71"></a>
<a href="#Footnote_71_71" class="fnanchor">[71]</a>
Mons. Leber, however, considers it to be more
likely that they got their first cards from Hindostan; and
that, like the Europeans, they merely changed or modified
the types, and invented new games.</p>

<p>The general name for cards in China is <i>Che-pae</i>, which
literally signifies "paper tickets." At first they are said to
have been called <i>Ya-pae</i>, bone or ivory tickets, from the
material of which they were made. A pack of dotted cards
consists of thirty-two pieces, and the marks&mdash;small circular
dots of red and black&mdash;are placed, alternately, at two of
the corners; for instance, in a card containing eight dots,
four are placed in one corner and four in the other diagonally
opposite to it. Ten of those cards are classed in pairs; the
first pair are called <i>Che-tsun</i>,&mdash;"the most honorable,"&mdash;and
are superior to all the others; these may be considered
as coat cards, as the one contains the figure of a woman,
and the other that of a man; both these cards are also
marked with black and red dots,&mdash;that of the woman with
six, and that of the man with twelve. The second pair are
called <i>Tien-pae</i>,&mdash;"celestial cards;" each contains twenty-four
dots of black and red, corresponding with the twenty-four
terms in the Chinese year. The third pair are called
<i>Te-pae</i>,&mdash;"terrestrial cards;" each contains four red dots
corresponding with the four cardinal points of the compass.
The fourth pair are called <i>Jin-pae</i>,&mdash;"human cards;" each
contains sixteen red dots, relating to benevolence, justice,
order, and wisdom in a four-fold degree. The fifth pair are
called <i>Ho-pae</i>; each card contains eight black dots, relating
to a supposed principle of harmony in nature extending
<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span>
itself towards all points of the compass. The remaining
twenty-two cards have distinct names, which it is needless
here to give: the aggregate of the dots upon them is said
to have reference to the number of the stars.</p>

<p>The cards most commonly used in China, are those called
<i>Tseen-wan-che-pae</i>,&mdash;"a thousand times ten thousand
cards." There are thirty cards in a pack; namely, three
suits of nine cards each, and three single cards which are
superior to all the others. The name of one of the suits is
<i>Kew-ko-wan</i>; that is, the nine ten-thousands, or myriads of
<i>Kwan</i>&mdash;strings of beads, shells, or money. The name of
the other suit is <i>Kew-ko-ping</i>,&mdash;"nine units of cakes;" and
that of the third is <i>Kew-ko-so</i>,&mdash;"nine units of chains."
The names of the three single cards are, <i>Tseen-wan</i>, a
thousand times ten thousand; <i>Hung-hwa</i>, the red flower;
and <i>Pih-hwa</i>, the white flower.</p>

<div class="figcenter"><a name="i_072a.jpg" id="i_072a.jpg"></a>
  <img src="images/i_072a.jpg"
      alt="No. 1" />
  <div class="caption">No. 1.</div>
</div>

<div class="figcenter"><a name="i_072b.jpg" id="i_072b.jpg"></a>
  <img src="images/i_072b.jpg"
      alt="No. 2" />
  <div class="caption">No. 2.</div>
</div>

<div class="figcenter"><a name="i_073a.jpg" id="i_073a.jpg"></a>
  <img src="images/i_073a.jpg"
      alt="No. 3" />
  <div class="caption">No. 3.</div>
</div>

<div class="figcenter"><a name="i_073b.jpg" id="i_073b.jpg"></a>
  <img src="images/i_073b.jpg"
      alt="No. 4" />
  <div class="caption">No. 4.</div>
</div>

<div class="figcenter"><a name="i_073c.jpg" id="i_073c.jpg"></a>
  <img src="images/i_073c.jpg"
      alt="No. 5" />
  <div class="caption">No. 5.</div>
</div>

<div class="figcenter"><a name="i_073d.jpg" id="i_073d.jpg"></a>
  <img src="images/i_073d.jpg"
      alt="No. 6" />
  <div class="caption">No. 6.</div>
</div>

<p>In the annexed specimens of Chinese cards, Nos. 1 and 2
are the first and third of the suit of nine myriads of Kwan;
<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
Nos. 3 and 4 are the one and the three of the suit of cakes;
No. 5 is the one of the suit of chains; and No. 6 is that of
the three superior cards, which is called the white flower.</p>

<p>Besides those above described, the Chinese have several
other varieties of cards: one pack or set is called <i>Pih-tsze-pae</i>,
the hundred boys' cards; another, <i>Tseen-wan-jin-pae</i>,&mdash;"a
thousand times ten-thousand mens' names cards," containing
the names of persons famous in Chinese history; and a
third has the same name as Chinese Chess, <i>Keu-ma-paou</i>,
chariots, horses, and guns. This latter name corroborates
what has been previously said about the probability of the
game of cards having been suggested by that of chess.</p>

<p>The marks to be found on Chinese cards scarcely afford
a gleam of light by which we might judge of their relation
to the cards of other countries: in a pack of such as are
chiefly used in Cochin China, I have observed the form of
the diamond nearly the same as it appears on English cards;
and in a pack of the Chinese cards called Tseen-wan-che-pae,
the mark of the suit of Nine Cakes is nearly the same as
that of the old Italian <i>Danari</i>, which Galeottus Martius&mdash;in
his treatise 'De Doctrina promiscua,' written about 1488&mdash;considers
to have been meant for a loaf.</p>

<p>The cards commonly used in China, are much narrower
than ours; an idea of their size may be formed from the
specimens given, making allowance for a small margin of
white paper all round, but rather wider at the top and
bottom than at the sides. The Chinese name for a card,
considered singly, or as one of the pieces of a pack or set,
appears to be <i>Shen</i>, a fan.</p>


<h3>FOOTNOTES:</h3>

<div class="footnotes">
<p class="footnote"><a name="Footnote_1_1" id="Footnote_1_1"></a>
<a href="#FNanchor_1_1"><span class="label"> [1]</span></a>
Bibliothèque curieuse et instructive, tom. ii, chap. xii. Des Principes des
Sciences et des Arts, disposé en forme de Jeux. Trevoux, 1704.</p>

<p class="footnote"><a name="Footnote_2_2" id="Footnote_2_2"></a>
<a href="#FNanchor_2_2"><span class="label">[2]</span></a></p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse">Ita vita est hominum quasi cum ludas Tesseris:</div>
        <div class="verse">Si illud, quod maximè opus est jactu, non cadit,</div>
        <div class="verse">Illud quod cecidit fortè, id arte ut corrigas.</div>
  </div>
</div>
<div class="footnote">
<div class="right">
<span class="smcap">Terent.</span>
<i>Adelph.</i> act. iv, sc. 7.</div>
</div>

<p class="footnote">
"Ludo Tesserarum Plato vitam comparavit, in quo et jacere utilia oportet,
et jacientem uti benè iis quæ ceciderunt."&mdash;
<span class="smcap">Plut. Op. Mor.</span> <i>Epist. ad Paccium.</i>&mdash;Etudes
historiques sur les Cartes à Jouer, par M. C. Leber, p. 63.
</p>

<p class="footnote"><a name="Footnote_3_3" id="Footnote_3_3"></a>
<a href="#FNanchor_3_3"><span class="label">[3]</span></a>
In a paper entitled, l'Origine du Jeu de Piquet, trouvé dans l'Histoire de
France sous le règne de Charles VII. Printed in the Mémoires pour l'Histoire
des Sciences, &amp;c.&mdash;Trévoux; in the vol. for May, 1720, p. 934-968.</p>

<p class="footnote"><a name="Footnote_4_4" id="Footnote_4_4"></a>
<a href="#FNanchor_4_4"><span class="label">[4]</span></a>
In a dissertation "Du Jeu de Tarots, où l'on traite de son origine, où l'on
explique ses allégories, et où l'on fait voir qu'il est la source de nos Cartes
modernes à jouer," &amp;c. This dissertation is contained in his Monde primitif,
analysé et comparé avec le Monde moderne.&mdash;Dissertations mêlées, tom. i,
p. 365-394. Paris, 1781. It is not unlikely that he was led to make this
discovery from the notices of a <i>philosophic</i> game of the ancient Egyptians,
quoted by Meursius, in his treatise De Ludis Græecorum, p. 53. Lugduni
Batavorum, 1622. A summary of Court de Gebelin's conceits on the subject
of Tarots is to be found in Peignot's Analyse de Recherches sur les Cartes à
jouer, p. 227-237.</p>

<p class="footnote"><a name="Footnote_5_5" id="Footnote_5_5"></a>
<a href="#FNanchor_5_5"><span class="label">[5]</span></a></p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">He shall have a bell, that's Abel;</div>
        <div class="verse indent-2_6">And by it standing one whose name is Dee,</div>
        <div class="verse indent-2_6">In a rug gown; there's D and Rug, that's Drug;</div>
        <div class="verse indent-2_6">And right anenst him a dog snarling <i>er</i>;</div>
        <div class="verse indent-2_6">There's <i>Drugger, Abel Drugger</i>. That's his sign.</div>
        <div class="verse indent-2_6">And here's now Mystery and Hieroglyphic!</div>
  </div>
</div>

<div class="footnote">
<div class="right"><i>The Alchymist</i>, act ii.</div>
</div>

<p class="footnote"><a name="Footnote_6_6" id="Footnote_6_6"></a>
<a href="#FNanchor_6_6"><span class="label">[6]</span></a>
See an image of Isis, horned, with the infant Horus on her knee; and note,
that antiquaries have not settled why the Virgin Mary is sometimes represented
with the crescent on her head. Isis was the protectress of seafaring people;
and her image, as we learn from Petronius and other writers, was frequently
placed in ships.</p>

<p class="footnote"><a name="Footnote_7_7" id="Footnote_7_7"></a>
<a href="#FNanchor_7_7"><span class="label">[7]</span></a>
The <i>hand</i> occurs frequently in Egyptian hieroglyphics: it would be superfluous
to tell the learned reader what it means. The hand holding a hammer,
in the hieroglyphic usually known as the Blacksmiths' Coat of Arms, is sufficiently
explained by the motto,</p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">"By Hammer and Hand,</div>
      <div class="verse indent-2_6">All Arts do stand."</div>
  </div>
</div>

<p class="footnote"><a name="Footnote_8_8" id="Footnote_8_8"></a>
<a href="#FNanchor_8_8"><span class="label">[8]</span></a>
Versuch, den Ursprung der Spielkarten, die Einführung des Leinenpapieres,
und den Anfang der Holzschneidekunst in Europa zu erforschen. Von
J. G. I. Breitkopf. 4to. Leipzig, 1784.</p>

<p class="footnote"><a name="Footnote_9_9" id="Footnote_9_9"></a>
<a href="#FNanchor_9_9"><span class="label">[9]</span></a>
Researches into the History of Playing Cards; with Illustrations of the
Origin of Printing and Engraving on Wood. By Samuel Weller Singer. 4to.
London, 1816.</p>

<p class="footnote"><a name="Footnote_10_10" id="Footnote_10_10"></a>
<a href="#FNanchor_10_10"><span class="label">[10]</span></a>
Tome deuxième de l'année 1836. 'Origine Française de la Boussole et des
Cartes à jouer.' Fragmens d'un ouvrage sous presse, intitulé, 'Histoire du
Drapeau, des Couleurs, et des Insignes de la Monarchie Française,' &amp;c. Par
M. Rey. Livre X&mdash;Universalité des Fleurs de Lis.</p>

<p class="footnote"><a name="Footnote_11_11" id="Footnote_11_11"></a>
<a href="#FNanchor_11_11"><span class="label">[11]</span></a>
Etudes historiques sur les Cartes à jouer. Par M. C. Leber. Originally
printed in the sixteenth volume of the 'Mémoires de la Société royale des Antiquaires
de France,' and subsequently published separately. Paris, 1842.</p>

<p class="footnote"><a name="Footnote_12_12" id="Footnote_12_12"></a>
<a href="#FNanchor_12_12"><span class="label">[12]</span></a>
"... Ce n'est pas l'affaire de quelques années, ni des travaux, ni
des sacrifices d'une seule vie, que de rassembler tant de chétifs débris, de pièces
égarées, souillées, mutilées, informes, et dont la découverte n'est plus souvent
qu'un caprice du hasard, une bonne fortune plutôt qu'une bonne action. Il
faut donc attendre que cette œuvre du temps et de la persévérance soit accomplie."&mdash;Etudes
Historiques, p. 60.</p>

<p class="footnote"><a name="Footnote_13_13" id="Footnote_13_13"></a>
<a href="#FNanchor_13_13"><span class="label">[13]</span></a>
Catalogue des Livres imprimés, Manuscrits, Estampes, Dessins, et Cartes
à jouer, composant le Bibliothèque de M. C. Leber, tom. i, p. 238. Paris,
1839. This library, the Catalogue of which consists of three volumes, now
belongs to the city of Rouen. The cards are described in the first volume,
pp. 237-48.</p>

<p class="footnote"><a name="Footnote_14_14" id="Footnote_14_14"></a>
<a href="#FNanchor_14_14"><span class="label">[14]</span></a>
With the Latins, Ludere par impar; with the Greeks, αρτιαζειν; ραιζειν,
αρτια η περιττα. "Nempe ludentes, sumptis in manu talis, fabis, nucibus,
amygdalis, interdum etiam nummis, interrogantes alteram divinare jubebant,
'αρτια η περιττα'; paria, nempe, an imparia
haberent."&mdash;Meursius, de Ludis
Græcorum, p. 5, edit. 1622.</p>

<p class="footnote"><a name="Footnote_15_15" id="Footnote_15_15"></a>
<a href="#FNanchor_15_15"><span class="label">[15]</span></a>
Fortune is a <i>parvenue</i>, in the Olympian circle,&mdash;of great means, but no
family:</p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">Di chi figluola fusse, ò di che seme</div>
        <div class="verse indent-2_6">Nascesse, non si sa; ben si sa certo</div>
        <div class="verse indent-2_6">Ch'infino à Giove sua potentia teme.</div>
  </div>
</div>

<div class="footnote">
<div class="right"><span class="smcap">Macchiavelli</span>,
<i>Capitolo di Fortuna</i>.</div>
</div>

<p class="footnote"><a name="Footnote_16_16" id="Footnote_16_16"></a>
<a href="#FNanchor_16_16"><span class="label">[16]</span></a>
Dr. Thomas Hyde is inclined to think that the game of Astragali was
known from the time of the general Deluge.&mdash;De Ludis Orientalibus. Oxon.
1694.</p>

<p class="footnote"><a name="Footnote_17_17" id="Footnote_17_17"></a>
<a href="#FNanchor_17_17"><span class="label">[17]</span></a>
The ancient Greek game of Astragali or Astragalismus&mdash;the Tali of the
Romans&mdash;appears to have been played in a manner similar to that described in
the text. The names given to the different casts are to be found in Meursius,
De Ludis Græcorum, under the word ΑΣΤΡΑΓΑΛΙΣΜΟΣ.</p>

<p class="footnote"><a name="Footnote_18_18" id="Footnote_18_18"></a>
<a href="#FNanchor_18_18"><span class="label">[18]</span></a></p>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">Πεσσοισι προπαροιθε θυραων θυμον ἐτερπον,</div>
        <div class="verse indent-2_6">Ἡμενοι ἐν ῥινοισι βοων οὑς ἐκτανον ἁυτοι.
	      &mdash;<i>Odyss.</i> A. 107.</div>
  </div>
</div>

<div class="footnote">
<p>The word used by Homer, ρεσσοι,&mdash;which properly means the pebbles or
pieces employed in the game,&mdash;is here translated <i>tables</i>; a term, which having
now become nearly obsolete as signifying draughts, may be used to denote an
ancient cognate game.
</p>
<p>
It might be plausibly urged by a commentator fond of discovering Homer's
covert meanings, that the poet intended to censure the games of Astragalismus
and Petteia,&mdash;the former as a cause of strife, and the latter as a fitting amusement
for idle and dissipated persons, like the suitors of Penelope. In the
twenty-third book of the Iliad, v. 87, Patroclus is represented as having killed,
when a boy, though unintentionally, a companion with whom he had quarrelled
when playing at Astragali or Tali:
</p>
</div>

<div class="poetry-container">
  <div class="poetry">
        <div class="verse indent-2_6">... παιδα κατεκτανον Ἀμφιδαμαντος,</div>
        <div class="verse indent-2_6">Νηπιος, οὐκ ἐθελων, ἀμφ' ἀστραγαλοισι χολωθεις.</div>
  </div>
</div>

<p class="footnote">
It is not unlikely that an ancient piece of sculpture, in the British Museum,&mdash;representing
a boy biting the arm of his companion, with whom he has quarrelled
at Tali&mdash;relates to this passage.</p>

<p class="footnote"><a name="Footnote_19_19" id="Footnote_19_19"></a>
<a href="#FNanchor_19_19"><span class="label">[19]</span></a>
See a work by the late Mr. James Christie&mdash;more generally known to the
world as an auctioneer than as a man of learning and of great research&mdash;entitled
"An Enquiry into the ancient Greek game supposed to have been invented by
Palamedes antecedent to the Siege of Troy; with Reasons for believing the
Game to have been known from remote antiquity in China, and progressively
improved into the Chinese, Indian, Persian, and European Chess." London,
1801.</p>

<p class="footnote"><a name="Footnote_20_20" id="Footnote_20_20"></a>
<a href="#FNanchor_20_20"><span class="label">[20]</span></a>
Julius Pollux, Onomasticon, lib. ix, cap. 7.</p>

<p class="footnote"><a name="Footnote_21_21" id="Footnote_21_21"></a>
<a href="#FNanchor_21_21"><span class="label">[21]</span></a>
"As the military groundwork of the game of cards, and its similarity to
chess, cannot be denied; so a closer examination of this affinity may readily
lead to the origin of the change in their figures and colours."&mdash;Breitkopf,
Ueber den Ursprung der Spielkarten, s. 30.</p>

<p class="footnote"><a name="Footnote_22_22" id="Footnote_22_22"></a>
<a href="#FNanchor_22_22"><span class="label">[22]</span></a>
"Le traducteur du Poëme de la Vielle, en décrivant les Echecs, s'exprime
ainsi;</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse indent-2_6">'La Reyne, que nous nommons Fierge,</div>
  <div class="verse indent-2_6">Tient de Venus, et n'est pas Vierge;</div>
  <div class="verse indent-2_6">Aimable est et amoureuse.'" &amp;c.</div>
  </div>
</div>

<p class="footnote">
&mdash;L'Origine du Jeu des Echecs, par Mons. Freret. Hist. de l'Académie des
Inscriptions, tom. v, p. 255.</p>

<p class="footnote"><a name="Footnote_23_23" id="Footnote_23_23"></a>
<a href="#FNanchor_23_23"><span class="label">[23]</span></a>
"Comme c'est un jeu militaire, il y a dans chaque couleur un roi, un officier
supérieur ou capitaine, nommé <i>Ober</i>, et un bas-officier appelé <i>Unter</i>. On appelait
encore de nos jours dans l'Empire, où les mots François ne sont pas en
vogue, les officiers supérieurs <i>Oberleute</i>, et les bas-officiers <i>Unterleute</i>"&mdash;Heineken,
Idée Générale d'une Collection d'Estampes, p. 241. Leipsic, 1771.</p>

<p class="footnote"><a name="Footnote_24_24" id="Footnote_24_24"></a>
<a href="#FNanchor_24_24"><span class="label">[24]</span></a>
It would appear that the etymology of this name was a matter of great
uncertainty even among people of oriental race. According to some, it was
<i>Sad-rengh</i>, the <i>hundred turns</i>, or wiles of the players; according to others, it was
<i>Sad-rangi</i>, the hundred vexations of the game. A third derivation was from
<i>Shesh-rengh</i>, <i>six colours</i>, as if each of the six orders of pieces had been distinguished
by a separate colour.&mdash;Hyde, De Ludis Orientalibus. Par. 1. Historia
Shahiludii, cap. De Nomine Shatrangi. Oxon. 1694.</p>

<p class="footnote"><a name="Footnote_25_25" id="Footnote_25_25"></a>
<a href="#FNanchor_25_25"><span class="label">[25]</span></a>
That the suits of cards were formerly distinguished by an emblem which
was suggestive of a particular colour, as well as representing a particular form,
is certain. The Germans still call two of their suits <i>Roth</i> and <i>Grün</i>&mdash;red and
green&mdash;and the emblems are a heart and a leaf.</p>

<p class="footnote"><a name="Footnote_26_26" id="Footnote_26_26"></a>
<a href="#FNanchor_26_26"><span class="label">[26]</span></a>
Observations on the Antiquity of Card-playing in England. In the Archæologia,
vol. viii.</p>

<p class="footnote"><a name="Footnote_27_27" id="Footnote_27_27"></a>
<a href="#FNanchor_27_27"><span class="label">[27]</span></a>
"Edward the First, when Prince of Wales, served nearly five years in Syria,
and therefore, whilst military operations were suspended, must naturally have
wished some sedentary amusement. Now, the Asiatics scarcely ever change
their customs: and as they play at cards, though in many respects different
from ours, it is not improbable that Edward might have been taught this game,
<i>ad quatuor reges</i>, whilst he continued so long in this part of the globe."&mdash;Archæol.
viii, p. 135.</p>

<p class="footnote"><a name="Footnote_28_28" id="Footnote_28_28"></a>
<a href="#FNanchor_28_28"><span class="label">[28]</span></a>
"Après souper venoient en place les beaulx Evangiles de bois, c'est-à-dire
force tabliers, ou le beau flux, ung, deux, trois."&mdash;Rabelais, livre i, chap. 22.</p>

<p class="footnote"><a name="Footnote_29_29" id="Footnote_29_29"></a>
<a href="#FNanchor_29_29"><span class="label">[29]</span></a>
The following verses relating to this point are quoted by Peignot, in his
Analyse de Recherches sur les Cartes à Jouer, from a poem intituled "La
Magdeleine au Désert de la Sainte-Baume en Provence, Poëme spirituel et chrétien,
par le P. Pierre de St. Louis, religieux Carme." Lyons, 1668.
</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse indent-2_6">"Voila quant à l'église: allons à la maison</div>
<div class="verse indent-2_6">Pour voir après cela si ma rime a raison.</div>
<div class="verse indent-2_6">Les livres que j'y voy de diverse peinture,</div>
<div class="verse indent-2_6">Sont les <span class="smcap">livres des Roys</span>, non pas de l'Escriture.</div>
<div class="verse indent-2_6">J'y remarque au dedans différentes couleurs,</div>
<div class="verse indent-2_6">Rouge aux Carreaux, aux Cœurs, noir aux Piques, aux Fleurs;</div>
<div class="verse indent-2_6">Avecque ces beaux Roys, je vois encore des Dames,</div>
<div class="verse indent-2_6">De ces pauvres maris les ridicules femmes.</div>
<div class="verse indent-2_6">Battez, battez les bien, battez, battez les tous,</div>
<div class="verse indent-2_6">N'épargnez pas les Roys, les Dames, ni les FOUS."</div>
  </div>
</div>

<p class="footnote"><a name="Footnote_30_30" id="Footnote_30_30"></a>
<a href="#FNanchor_30_30"><span class="label">[30]</span></a>
"The <i>b</i> and <i>v</i> in Persian are constantly used for each other; one instance
will suffice&mdash;the plural of <i>na-eeb</i>, a viceroy, is equally pronounced <i>nu-vaub</i> and
<i>nu-baub</i>, or, according to our pronunciation, <i>nabob</i>."&mdash;A Personal Narrative of
a Journey from India to England, by Captain the Hon. George Keppel, vol. ii,
p. 89. Second edit. 1827.</p>

<p class="footnote"><a name="Footnote_31_31" id="Footnote_31_31"></a>
<a href="#FNanchor_31_31"><span class="label">[31]</span></a>
"Naipe, carton, &amp;c. Tamarid quiere que sea nombre Arabigo, y lo mismo
el Brocense; pero comunamente se juzga que se los dio este nombre por la
primer cifra que se las puso, que fue una N y una P, con que se significaba el
nombre de su inventor, Nicolao Pepin: y de ahi con pequeña corrupcion se
dixo Naipe."&mdash;Diccionario de la Academia Españolo, edit. 1734.</p>

<p class="footnote"><a name="Footnote_32_32" id="Footnote_32_32"></a>
<a href="#FNanchor_32_32"><span class="label">[32]</span></a>
Istoria della Citta di Viterbo, da Feliciano Bussi, p. 213. Roma, 1743.
The passage relating to cards appears to have been first pointed out by Leber,
in his Etudes Historiques sur les Cartes à jouer, p. 43. "Though we have
no information respecting the precise date of Covelluzzo's birth or death," says
Mons. Leber, in a note at p. 17 of Mons. Duchesne's Précis Historique, "it
is yet certain that this chronicler, whose name is properly Giovanni de Juzzo de
Covelluzzo, wrote in the fifteenth century, and that what he relates about cards
being brought into Viterbo in 1379, was extracted from the chronicle of Nicholas
de Covelluzzo, one of his ancestors, who, as well as himself, was an inhabitant
of Viterbo, and who possibly might have resided there at the period when cards
were first introduced."</p>

<p class="footnote"><a name="Footnote_33_33" id="Footnote_33_33"></a>
<a href="#FNanchor_33_33"><span class="label">[33]</span></a>
Mahmoud, the Gasnevide, first invaded Hindostan in <span class="smcap">a.d.</span> 999.</p>

<p class="footnote"><a name="Footnote_34_34" id="Footnote_34_34"></a>
<a href="#FNanchor_34_34"><span class="label">[34]</span></a>
"χαρταριον; Gallicum, <i>quartier</i>; scutulum quadratum. Extat. apud Codinum
de Offic. aulæ Constantinop. χαρτιον, idem quod χαρταριον."&mdash;Meursii
Glossarium Græco-Barbarum, 4to, Lugd. Batavor., 1605.&mdash;<i>Quartier de bois.</i> A
quarter, or square piece of timber.&mdash;Cotgrave's French and English Dictionary.</p>

<p class="footnote"><a name="Footnote_35_35" id="Footnote_35_35"></a>
<a href="#FNanchor_35_35"><span class="label">[35]</span></a>
"<i>Cayer</i>. A quire of written paper; a piece of a written book, divided
into equal parts."&mdash;Cotgrave. The <i>cayer</i> appears to have been synonymous
with the <i>pecia</i> of monkish writers. It may be observed that from <i>chartar</i>, a
Persian word literally signifying '<i>four-strings</i>,' the Rev. Stephen Weston has
traced the descent of κιθαρα; <i>cithara</i>; <i>chitarra;</i> and <i>guitar</i>. To these derivates
the old English <i>gittern</i> may be added."&mdash;Specimens of the Conformity of
the European Languages, especially the English, with the Oriental languages,
especially the Persian. By Stephen Weston, B. D. 12mo, 1802.</p>

<p class="footnote"><a name="Footnote_36_36" id="Footnote_36_36"></a>
<a href="#FNanchor_36_36"><span class="label">[36]</span></a>
It may be here noted that the word <i>Wuruk</i> or <i>Wuruq</i>, used by the Moslems
in Hindostan to signify a card, signifies also the <i>leaf</i> of a tree, a <i>leaf</i> of paper,
being in the latter sense identical with the Latin <i>folium</i>. See Richardson's
Arabic Dictionary, word "Card;" and the word "<i>Wuruq</i>"' in the list of terms
used at the game of cards as played at Hindostan, given in a subsequent page.</p>

<p class="footnote"><a name="Footnote_37_37" id="Footnote_37_37"></a>
<a href="#FNanchor_37_37"><span class="label">[37]</span></a>
Should I be told that the correct word for "<i>four</i>" in Hindostanee, is <i>chatur</i>,
<i>chatta</i>, or <i>cattah</i>,&mdash;not <i>chartah</i>,&mdash;and be required to account for the ρ in χαρτης,
supposing the latter word to be derived from the same root, I should answer
by giving a case in point&mdash;the derivation of <i>quartus</i> from <i>quatuor</i>,&mdash;leaving
others to assign the reason. I subjoin here, by way of contrast, a different
etymology of <i>carta</i>&mdash;Epistola, a letter. "Quieren algunos que este nombre
Castellano, Carta, se derivasse de la ciudad de Carta insigne por aver sido cuna
de la reyna Dido, y atribuyen à esta ciudad la etimologia, por aver sido la primera
que dio materia en que las Cartas se escriviessen."&mdash;Seneca impugnado
de Seneca, &amp;c. Por Don Alonzo Nuñez de Castro, p. 220, 4to. Madrid, 1661.&mdash;Is
there any evidence to show that the form of ancient Carthage was <i>Square</i>?</p>

<p class="footnote"><a name="Footnote_38_38" id="Footnote_38_38"></a>
<a href="#FNanchor_38_38"><span class="label">[38]</span></a>
"Im Arabischen heist <i>Nabaa</i>: er hat einen leisen Ton, wie die Zauberer
thun, von sich gegeben; davon <i>Naba</i>, die Zaubertrommel, und <i>Nabi</i>, ein Prophet,
Wahrsager, herkömmt. Eichhorn erklärt, in der Einleitung zum A. Testamente,
die hebräischen Worte <i>Nabi</i>, Nabüm, durch göttliche Eingebung, und
durch Leute, die durch göttliche Eingebung handeln."&mdash;Ueber den Ursprung
der Spielkarten, s. 15.</p>

<p class="footnote"><a name="Footnote_39_39" id="Footnote_39_39"></a>
<a href="#FNanchor_39_39"><span class="label">[39]</span></a>
Heineken, Idée Générale d'une complète Collection d'Estampes, p. 240.
Leipsic, 1771.</p>

<p class="footnote"><a name="Footnote_40_40" id="Footnote_40_40"></a>
<a href="#FNanchor_40_40"><span class="label">[40]</span></a>
The Abbé Bullet, previous to the appearance of his little book on Cards, in
1757, had commenced the publication of a Celtic Dictionary. In the former
there are many traces of his mind having acquired a bent from his Celtic researches.
He finds the origin of the term <i>as</i> or <i>ace</i> in the Celtic <i>as</i>; and in the
same language he finds the true meaning of the names of the Queens of Clubs
and Hearts, Argine and Judith. Argine is formed of <i>ar</i>, la, the, and <i>gin</i>,
belle, beautiful; and Judith is a corruption of Judic,&mdash;which is formed of <i>jud</i>,
a queen, and <i>dyc</i>, twice. Both those queens, according to his fancy, are intended
to represent Anne of Bretagne, wife of Charles VIII and Louis XII.
According to Père Daniel, Argine is an anagram of Regina, and is meant for
Mary of Anjou, wife of Charles VII; and Judith is not the heroine of the Old
Testament, but the wife of Louis-le-Debonnaire. Though those doctors disagree,
yet each appears to have <i>equally good</i> reasons for his opinions. The
consequence is that we can put no faith in either.</p>

<p class="footnote"><a name="Footnote_41_41" id="Footnote_41_41"></a>
<a href="#FNanchor_41_41"><span class="label">[41]</span></a>
The Abbé Rive, grounding his opinion on an interpolated passage in
Guterry's French translation of Guevara's Epistles, ascribes the invention of
cards to the Spaniards, and places it about the year 1330. With respect to the
origin of the name Naipes, he adopts the N P etymology of the Spanish Academy.
The Abbé's <i>brochure</i> on cards is entitled 'Eclaircissements Historiques
et Critiques sur l'Invention des Cartes à jouer.' Paris, 1780.</p>

<p class="footnote"><a name="Footnote_42_42" id="Footnote_42_42"></a>
<a href="#FNanchor_42_42"><span class="label">[42]</span></a>
"<span class="smcap">Mappa</span>, dit Papias, <i>togilla</i>,
(c-est-à-dire, touaille, nappe); <span class="smcap">Mapa</span> etiam
dicitur <span class="smcap">Pictura</span> vel
<span class="smcap">Forma Ludorum</span>, unde dicitur
<span class="smcap">Mapamundi</span>. Un vieux
glossaire latin-français de la Bibliothèque de Saint-Germain-des-Prés, cité par
Ducange, reproduit et explique ainsi ce passage précieux, en le traduisant:
'<span class="smcap">Mapamundi</span>, mapemunde; et dicitur a
<span class="smcap">Mapa</span>, nappe ou picture, ou form de
jeux.'"&mdash;Mélanges d'Origines Etymologiques et de Questions Grammaticales.
Par M. Eloi Johanneau, p. 40. Paris, 1818.</p>

<p class="footnote"><a name="Footnote_43_43" id="Footnote_43_43"></a>
<a href="#FNanchor_43_43"><span class="label">[43]</span></a>
The description alluded to will be found at p. 41.</p>

<p class="footnote"><a name="Footnote_44_44" id="Footnote_44_44"></a>
<a href="#FNanchor_44_44"><span class="label">[44]</span></a>
The sex of the Company appears to be a matter of interest even with the
ladies of Affghanistan. "At night the ladies of Mahomed Shah Khan, and
other chiefs who were travelling in our company, invited Mrs. Eyre to dinner.
She found them exceedingly kind in manner and prepossessing in outward
appearance, being both well-dressed and good-looking. They asked the old
question as to the gender of the Company."&mdash;Lieut. Eyre's Journal of Imprisonment
in Affghanistan.</p>

<p class="footnote"><a name="Footnote_45_45" id="Footnote_45_45"></a>
<a href="#FNanchor_45_45"><span class="label">[45]</span></a>
"Apropos de bottes,"&mdash;"Now you speak of a <i>Gun</i>:" Moore, in his Life of
Sheridan, observes that but a very imperfect report of Sheridan's celebrated
speech on the impeachment of Warren Hastings is preserved. The following
piquant passage relating to the East India Company, as then constituted and
acting, occurs in a report of the speech published in an old Magazine, for
February, 1787. "He remembered to have heard an honourable and learned
gentleman (Mr. Dundas) remark, that there was something in the first frame
and constitution of the Company, which extended the sordid principles of their
origin over all their successive operations, connecting with their civil policy,
and even with their boldest achievements, the meanness of a pedlar and the
profligacy of pirates. Alike in the political and the military line could be
observed auctioneering ambassadors and trading generals; and thus we saw a
revolution brought about by affidavits; an army employed in executing an arrest;
a town besieged on a note of hand; a prince dethroned for the balance of
an account. Thus it was they exhibited a government which united the
mock majesty of a bloody sceptre, and the little traffic of a merchant's
counting-house, wielding a truncheon with one hand and picking a pocket
with another."</p>

<p class="footnote"><a name="Footnote_46_46" id="Footnote_46_46"></a>
<a href="#FNanchor_46_46"><span class="label">[46]</span></a>
It is expressly stated that the cards of one of the packs are made of canvas,
in a memorandum which accompanies them. This is the pack which is
said to be a thousand years old. On first handling them they seemed to me to
be made of thin veneers of wood.</p>

<p class="footnote"><a name="Footnote_47_47" id="Footnote_47_47"></a>
<a href="#FNanchor_47_47"><span class="label">[47]</span></a>
Though Mahometans might object to paint figured cards, it appears that
they do "tolerate" them, and that very amply, by using them. See a description
of the Gunjeefu, or cards used by the Moslems, at page 41.</p>

<p class="footnote"><a name="Footnote_48_48" id="Footnote_48_48"></a>
<a href="#FNanchor_48_48"><span class="label">[48]</span></a>
In a note to the article on Whist, in the Foreign Quarterly Review, No. 48,
previously referred to, this pack of cards is noticed, and the suits are thus enumerated:
"While this article was in the press, we have been favoured with a
sight of two packs of cards in the possession of the Royal Asiatic Society: and,
as truth is more strange than fiction, one of these, consisting of
<span class="smcap">Ten</span> Suits, certainly
does represent the <span class="smcap">Ten</span> Avatars or incarnations
of the <span class="smcap">Vistnou</span>, or Vishnava,
sect.... The suits are:
</p>

<div class="footnote">
<ul class="unordered">
  <li> 1. The Fish.</li>
  <li> 2. The Tortoise.</li>
  <li> 3. The Boar.</li>
  <li> 4. The Lion.</li>
  <li> 5. The Monkey.</li>
  <li> 6. The Hatchet.</li>
  <li> 7. The Umbrella (or Bow.)</li>
  <li> 8. The Goat.</li>
  <li> 9. The Boodh.</li>
  <li>10. The Horse.</li>
</ul>

<p>
"The Dwarf of the 5th Avatar is substituted by the Monkey; the Bow and
Arrows of the 7th by the Cattashal or Umbrella, which gives precisely the same
outline; and the Goat there, as often elsewhere, takes the place of the Plough."
</p>
<p>
On the pack of eight cards, which was probably one of those previously
noticed in the present volume, the writer of the article makes the following
observations: "The other pack has eight suits, of eight cards and two court cards
each; eighty in all. [The number of cards, inclusive of the honours, in each
suit, is twelve, as has been previously observed.] The Parallelogram, Sword,
Flower, and Vase, answer to the Carreau, Espada, Club, and Copa of European
suits: the Barrel (?), the Garland (?), and two kinds of Chakra (quoit) complete
the set."&mdash;The Sword is plain enough, and so is the parallelogram. The Flower
and the Cup, I confess, I have not been able to make out; and I question much
if the Parallelogram&mdash;which in another pack, subsequently described, represents
a royal diploma or mandate&mdash;be the original of the Carreau or Diamond on
European cards. The "two kinds of Chakra" are simply two circular marks.</p>
</div>
<p class="footnote"><a name="Footnote_49_49" id="Footnote_49_49"></a>
<a href="#FNanchor_49_49"><span class="label">[49]</span></a>
Engravings of those subjects, as well as their description, will be found in
'Religions de l'Antiquité, considerées principalement dans leurs formes symboliques
et mythologiques; ouvrage traduit de l'Allemand du Dr. Frederic
Creutzer, par J. D. Guigniant.' Planches, premier cahier, p. 11, 8vo; Paris,
1825.</p>

<p class="footnote"><a name="Footnote_50_50" id="Footnote_50_50"></a>
<a href="#FNanchor_50_50"><span class="label">[50]</span></a>
"Espèce de roue enflammée, symbole de la force vivante qui pénètre et
meut l'univers."</p>

<p class="footnote"><a name="Footnote_51_51" id="Footnote_51_51"></a>
<a href="#FNanchor_51_51"><span class="label">[51]</span></a>
The Institutions of Moses and those of the Hindoos compared. By Joseph
Priestly, LL.D. p. 56. 8vo. Philadelphia, 1799.</p>

<p class="footnote"><a name="Footnote_52_52" id="Footnote_52_52"></a>
<a href="#FNanchor_52_52"><span class="label">[52]</span></a> Beshbur.</p>

<p class="footnote"><a name="Footnote_53_53" id="Footnote_53_53"></a>
<a href="#FNanchor_53_53"><span class="label">[53]</span></a> Kumbur.</p>

<p class="footnote"><a name="Footnote_54_54" id="Footnote_54_54"></a>
<a href="#FNanchor_54_54"><span class="label">[54]</span></a>
The names of the suits are thus explained: <i>Taj</i>, a crown. <i>Soofed</i>, white,
abbreviated from the original appellation, <i>zur-i-soofed</i>, a silver coin; figuratively,
the moon. <i>Shumsher</i>, a sabre. <i>Gholam</i>, a slave. <i>Chung</i>, a harp. <i>Soorkh</i>, red,
or <i>zur-i-soorkh</i>, gold coin; figuratively, the sun. <i>Burat</i>, a royal diploma, or
assignment. <i>Quimash</i>, merchandize.</p>

<p class="footnote"><a name="Footnote_55_55" id="Footnote_55_55"></a>
<a href="#FNanchor_55_55"><span class="label">[55]</span></a>
In cutting for the deal, <i>Taj</i> is the highest suit, and the rest have precedence,
after that suit, in the order above recited.</p>

<p class="footnote"><a name="Footnote_56_56" id="Footnote_56_56"></a>
<a href="#FNanchor_56_56"><span class="label">[56]</span></a>
"By an oversight of the engraver, a native Bengalee artist, the Moon in
No. 2, Plate I, is represented as crescent instead of full. [The error has been
<i>faithfully retained</i> in our fac-similes.] The price of the pack was two rupees."</p>

<p class="footnote"><a name="Footnote_57_57" id="Footnote_57_57"></a>
<a href="#FNanchor_57_57"><span class="label">[57]</span></a>
"In the Dictionary Hindostanee and English, edited by the late Dr.
Hunter, the names of the Eight Suits of Cards are to be found under the word
<i>Taj</i>, the name of the first suit."&mdash;On the authority of a gentleman of eminent
attainments in Hindostanee literature, I am informed that there is no <i>Sanscrit</i>
word for Playing Cards.</p>

<p class="footnote"><a name="Footnote_58_58" id="Footnote_58_58"></a>
<a href="#FNanchor_58_58"><span class="label">[58]</span></a>
A particular account of the mode of playing the game of "L'Hombre à
trois," will be found in the first volume of the 'Académie des Jeux.' The author
observes, "Il est inutile de s'arrêter à l'etymologie du jeu de l'hombre; il
suffit de dire que les Espagnols en sont les auteurs, et qu'il se sent du flegme
de la nation dont il tire son origine." According to the same authority, "<i>La
Quadrille</i> n'est, à proprement parler, que l'hombre à quatre, qui n'a pas, à la
verité, la beauté, ni ne demande pas une si grande attention que l'hombre à
trois; mais aussi faut-il convenir qu'il est plus amusant et plus recréatif."</p>

<p class="footnote"><a name="Footnote_59_59" id="Footnote_59_59"></a>
<a href="#FNanchor_59_59"><span class="label">[59]</span></a>
Barrington's Observations on the Antiquity of Card-playing in England.&mdash;Archæologia,
vol. viii, 1787.</p>

<p class="footnote"><a name="Footnote_60_60" id="Footnote_60_60"></a>
<a href="#FNanchor_60_60"><span class="label">[60]</span></a>
Chung is also the Chinese name for a kind of harp.&mdash;In three other packs
of Hindostanee cards, of the same kind, which I have had an opportunity of
examining, the harp occurs both in the honours and the numeral cards. I
suspect that the bird has been substituted through a mistake of the native artist
who engraved the cards. In one of the packs just alluded to, the cards are not
circular, but rectangular, like European cards, but of much smaller size. In
another pack of Hindostanee cards which I have seen, the marks in all the eight
suits are birds; in four of the suits, they are all of the same form&mdash;something
like that of a starling&mdash;but differing in their colour; in three others they are
all geese, and of the same colour, so that the suit is only to be distinguished by
the ground on which they are painted. The mark of the eighth suit is a
peacock.</p>

<p class="footnote"><a name="Footnote_61_61" id="Footnote_61_61"></a>
<a href="#FNanchor_61_61"><span class="label">[61]</span></a>
These are still the marks of the suits in Spain: "Copas, Espadas, Oros, y
Bastos." The "Oros," literally golden money, are also called <i>Dineros</i>, that
is, money in general. The same marks are also to be found on old Italian
cards, and the names for them were, Coppe, Spade, Danari, and Bastoni. The
discrepancy between the names, Spades and Clubs, and the marks of these suits,
in English cards, will be noticed in its proper place.</p>

<p class="footnote"><a name="Footnote_62_62" id="Footnote_62_62"></a>
<a href="#FNanchor_62_62"><span class="label">[62]</span></a>
Religions de l'Antiquité; traduction Française de Guigniant.</p>

<p class="footnote"><a name="Footnote_63_63" id="Footnote_63_63"></a>
<a href="#FNanchor_63_63"><span class="label">[63]</span></a>
Von Hammer's Mines of the East.</p>

<p class="footnote"><a name="Footnote_64_64" id="Footnote_64_64"></a>
<a href="#FNanchor_64_64"><span class="label">[64]</span></a>
This is Mr. Colebrooke's conclusion. Sir John Malcolm gives a different
account, the correctness of which may be very justly doubted, both as regards
the present time and the past: "The four divisions of Hindoos, viz. the priests,
soldiers, merchants, and labourers, appear to have existed in every human society,
at a certain stage of civilization; but in India alone have they been maintained
for <i>several thousand years</i> with prescriptive vigour."&mdash;Essay on the Bhills (Beels)
by Sir John Malcolm, in the Transactions of the Royal Asiatic Society, vol. i,
p. 65, 1824.</p>

<p class="footnote"><a name="Footnote_65_65" id="Footnote_65_65"></a>
<a href="#FNanchor_65_65"><span class="label">[65]</span></a>
Innocentio Ringhieri, Cento Ginochi liberali et d'Ingegno, p. 132. 4to.
Bologna, 1551.</p>

<p class="footnote"><a name="Footnote_66_66" id="Footnote_66_66"></a>
<a href="#FNanchor_66_66"><span class="label">[66]</span></a>
The Life of St. Francis Xavier, by Father Bouhours: translated by John
Dryden, pp. 71, 203, 697.</p>

<p class="footnote"><a name="Footnote_67_67" id="Footnote_67_67"></a>
<a href="#FNanchor_67_67"><span class="label">[67]</span></a>
"The 6th October, [1592] they met with a Malacca ship of 700 tons,
which, after her main-yard was shot through, yielded.... They found
on board fifteen pieces of brass cannon, 300 butts of Canary and Nipar or Palm-wine,
with very strong raisin wine; all sorts of haberdashery-wares, as hats, red
knit caps, and stockings of Spanish wool; velvets, taffeties, camblets, and silks;
abundance of suckets, rice, Venice glasses, counterfeit stones (brought by an
Indian from Venice, to cheat the Indians), <i>Playing Cards</i>, and two or three
packs of French paper." The prize was taken in the Straits of Malacca; and
the articles of European manufacture appear to have been brought to Malacca
by the Portuguese.&mdash;The Naval Chronicle; or Voyages of the most celebrated
English Navigators, vol. i, p. 392. 8vo. 1760.</p>

<p class="footnote"><a name="Footnote_68_68" id="Footnote_68_68"></a>
<a href="#FNanchor_68_68"><span class="label">[68]</span></a>
Burnes's Travels into Bokhara, vol. ii, p. 169. Second edit. 1835.</p>

<p class="footnote"><a name="Footnote_69_69" id="Footnote_69_69"></a>
<a href="#FNanchor_69_69"><span class="label">[69]</span></a>
Card-playing appears to be a very common amusement in Hindostan.&mdash;"I
could remind or perhaps inform the fashionable gamesters of St. James's
Street, that before England ever saw a dice-box, many a main has been won
and lost under a palm-tree, in Malacca, by the half-naked Malays, with wooden
and painted dice; and that he could not pass through a bazaar in this country
[Hindostan] without seeing many parties playing with cards, most cheaply
supplied to them by leaves of the cocoa-nut or palm-tree, dried, and their distinctive
characters traced with an iron style.... At the corner of
every street you may see the Gentoo-bearers gambling over chalked-out squares,
with small stones for men, and with wooden dice; or Coolies playing with cards
of the palm-leaf. Nay, in a pagoda under the very shadow of the idol, I have
seen Brahmins playing with regular packs of Chinese cards."&mdash;Sketches of
India: written by an Officer for Fireside Travellers at Home, pp. 68 and 100.
Fourth edition, 1826.</p>

<p class="footnote"><a name="Footnote_70_70" id="Footnote_70_70"></a>
<a href="#FNanchor_70_70"><span class="label">[70]</span></a>
For the reference to the Ching-tsze-tung, and the explanation of the
passage relating to cards, I am indebted to Mr. S. Birch, of the British
Museum.</p>

<p class="footnote"><a name="Footnote_71_71" id="Footnote_71_71"></a>
<a href="#FNanchor_71_71"><span class="label">[71]</span></a>
"Second Mémoire sur les Relations politiques des Rois de France avec les
Empereurs Mongols," dans le Journal Asiatique, de Septembre, 1822, p. 62.</p>
</div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>

<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II.<br />

<small>INTRODUCTION OF CARDS INTO EUROPE.</small></h2>

<p>At what period Playing Cards first became known in
Europe,&mdash;whether as an original invention, or introduced
from some other quarter of the world,&mdash;has not yet been
ascertained. From the silence, however, of all authorities
by whom we might expect to find them distinctly named
if they had been in common use, it may be fairly concluded,
that, though they possibly might be known to a few persons
before the year 1350, they did not begin to attract notice
nor come into frequent use till towards the latter end of the
fourteenth century. Packs of cards are distinctly mentioned
by the name which they still retain in France&mdash;<i>Jeux de
Cartes</i>&mdash;in an entry made in his book of accounts, about
1393, by Charles Poupart, treasurer of the household to
Charles VI of France. Considering, then, this entry as an
established fact in the history of cards, I shall now proceed
to lay before the reader some of the grounds and evidences
on which it has been asserted that cards were well known
in Europe before that period.</p>

<p>Several writers of the sixteenth and seventeenth centuries,
in discussing the lawfulness of card-playing, gratuitously
assuming that the game was included under the general
term <i>Alea</i>,<a name="FNanchor_72_72" id="FNanchor_72_72"></a>
<a href="#Footnote_72_72" class="fnanchor">[72]</a>
have spoken of cards as if they had been known
<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>
from time immemorial. The easy mode of deriving <i>aliquid
de aliquo</i> by means of a comprehensive <i>genus</i>, is of frequent
use with those decisive characters who delight in settling
cases of conscience with a strong hand; and who, enveloped
in the dust of the Schools, lay vigorously about them, both
right and left, with weapons borrowed from "the old Horse
Armoury of the Fathers," and re-ground, for present use,
on the Decretals. He who can discover cards, <i>implicitè</i>, as
Olearius has it,<a name="FNanchor_73_73" id="FNanchor_73_73"></a>
<a href="#Footnote_73_73" class="fnanchor">[73]</a>
in St. Cyprian's tract, De Aleatoribus, or
in the injunctions against gaming in the canons of any
Council or Synod previous to 1390, will have no difficulty
in finding "Roulette" and "E or O," implied under the
general term <i>Tabulæ</i>. Having thus indicated the value of
the hypothetic evidence in favour of cards being known in
early times,&mdash;because the game was subsequently comprehended
under a schoolman's definition of the term <i>Alea</i>,&mdash;it
may be left to pass for what it is worth.</p>

<p>Mons. Eloi Johanneau's proof that cards were known in
<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span>
the eleventh century, from the testimony of Papias, previously
noticed, neither requires, nor indeed admits of serious
refutation. If it could be shown that the word <i>Naipe</i> or
<i>Naibe</i> was ever used in Spain or Italy to signify a painted
cloth or a picture, before it was used to signify a Playing
Card, its affinity with <i>Nappe</i> and <i>Mappa</i> might be admitted
to be clearly established. John of Salisbury, who was born
in the early part of the twelfth century, says not a word in
his work 'De Nugis Curialium'&mdash;on the Trifling of Courtiers&mdash;which
might indicate a knowledge of cards, although one
of the chapters is especially devoted to an examination of
the use and abuse of gaming.<a name="FNanchor_74_74" id="FNanchor_74_74"></a>
<a href="#Footnote_74_74" class="fnanchor">[74]</a> Had cards formed one
of the common pastimes of the courtiers of his age, it is
highly probable that he would have mentioned them, by
some name or other, so as to distinguish them from the
other games which he enumerates.</p>

<p>The 38th canon of the Council of Worcester, held in
1240, contains the following prohibition: "Prohibemus
etiam clericis, ne intersint ludis inhonestis, vel choreis, vel
ludant ad aleas vel taxillos; nec sustineant ludos fieri de
Rege et Regina, nec arietes levari, nec palæstras publicas
fieri:" that is, "We also forbid clergymen to join in disreputable
games or dancings, or to play at dice; neither
<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
shall they allow games of King and Queen to be acted
[fieri], nor permit ram-raisings, nor public wrestlings.
"<a name="FNanchor_75_75" id="FNanchor_75_75"></a>
<a href="#Footnote_75_75" class="fnanchor">[75]</a>
Ducange, who quotes the passage in his Latin Glossary,
under the word Ludi, is inclined to think that the game <i>de
Rege et Regina</i>&mdash;King and Queen&mdash;might have been the
game of cards. There are not, however, any just grounds for
entertaining such an opinion. The conjecture seems to have
been suggested merely from the circumstance of there being
a King and Queen in the cards with which the writer was
most familiar; but had he known that no Queen is to be
found in the earliest European cards, he probably would not
have made so bad a guess. Besides, looking at the context,
there can scarcely be a doubt that the <i>games</i>&mdash;not <i>game</i>&mdash;of
King and Queen were a kind of mumming exhibitions
which the clergy enjoyed as spectators, not as performers.
Payments to minstrels and mummers for their exhibitions
for the amusement of the monks, and eke of the lord Abbot
himself, are not of unfrequent occurrence in the account
books of old monasteries. In the same clause, the clergy
are enjoined not to allow of ram-raisings nor public wrestlings&mdash;sports
in which they were as unlikely to appear as
actors as in the games of the King and Queen. What
may have been meant by ram-raising&mdash;<i>arietes levari</i>&mdash;the
curious reader is left to find, if he can, in the pages of
Strutt and Fosbroke.</p>

<p>The next passage, supposed to relate to Playing Cards,
which demands attention, is that which occurs in the Wardrobe
accounts of Edward I, anno 1278, and which has
been already quoted in the first chapter. It appears necessary
to give it here again, together with the Hon. Daines
Barrington's remarks on it, in the chronological order of
evidences adduced in favour of the antiquity of Card Playing
<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
in Europe. "The earliest mention of cards that I have yet
stumbled upon, is in Mr. Anstis's 'History of the Garter'
(vol. ii, p. 307), where he cites the following passage from
the Wardrobe rolls, in the sixth year of Edward the First:
'Waltero Sturton ad opus regis ad ludendum ad <i>quatuor
Reges</i>, viii.<i>s.</i> v.<i>d.</i>'; from which entry Mr. Anstis, with some
probability conjectures, that Playing Cards were not unknown
at the latter end of the thirteenth century; and
perhaps what I shall add, may carry with it some small
confirmation of what he supposes."</p>

<p>The simple fact that the game of cards was known, both
in France and England, by the name of the Four Kings,
long before we had any special dissertations respecting its
origin, is of more weight, in corroboration of Anstis's supposition,
than Mr. Barrington's supplemental conjectures.
The first question to be determined, is the identity of the
game of cards, and that of the Quatuor Reges; but, without
adducing the slightest evidence, he assumes the fact, and
then proceeds to speculate where Edward might have learnt
the game. But even admitting that cards were meant by the
term <i>Quatuor Reges</i>, it is just as likely that Edward learned
the game from his Queen, Eleanor of Castile, as that he
learned it from the Saracens in the Holy Land; for, admitting
it to be of Eastern origin, and that Europeans first obtained
a knowledge of it from the Saracens, or a people of Arab
race, it may be fairly supposed that Spain would be one of
the countries in which cards would be earliest introduced.
In the cards now in use in England, there are certain
peculiarities in the names of two of the suits, as compared
with the marks, which seem to intimate that we obtained
our first knowledge of the game from Spain, although subsequently
we might import our cards from France.</p>

<p>Seeing that chess was known in the East by a term
signifying the Four Kings, and that it was a favorite amusement
<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span>
with the higher classes in Europe in the reign of
Edward I, there can scarcely be a doubt that this was the
game to which Walter Sturton's entry relates. If cards
were indeed known in Europe in the early part of the
reign of Edward the First, the silence respecting them, of
all contemporary writers, for about a century afterwards,
must be admitted as conclusive, though negative, evidence
of their not being in common use. Petrarch, though
he treats of gaming in one of his dialogues, never mentions
them; and though Boccacio and Chaucer notice various
games at which both the higher and lower classes of the
period were accustomed to play, yet there is not a single
passage in the works of either, which can be fairly construed
to mean cards.</p>

<p>From the following passage, which occurs in a work on
the 'Government of a Family,' in manuscript, composed by
Sandro di Pipozzi,<a name="FNanchor_76_76" id="FNanchor_76_76"></a>
<a href="#Footnote_76_76" class="fnanchor">[76]</a> in 1299, it has been concluded by
Breitkopf that cards were at that period well known in Italy:
"Se giucherà di denaro, o cosi, o alle <i>carte</i>, gli apparecchieria
la via, &amp;c." Zani, however, opposes to the authority of
the manuscript, the negative evidence of Petrarch, who
flourished at a subsequent period, and who, he thinks, would
not have failed to have mentioned cards if they had then
been known among the various games which he enumerates
in the first dialogue of his treatise 'De Remediis utriusque
Fortunæ.'<a name="FNanchor_77_77" id="FNanchor_77_77"></a>
<a href="#Footnote_77_77" class="fnanchor">[77]</a>
Mons. Duchesne also remarks, in his 'Observations
sur les Cartes a jouer,' that, as the copy of Sandro
di Pipozzi's work, cited by Taraboschi, and examined by
<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
Zani, is not of an earlier date than 1400, there is reason to
believe that the express mention of cards in it, was the
interpolation of a transcriber. That such interpolations were
frequently made both by printers and transcribers, will
appear evident from the following observations on several
works, both printed and manuscript, which have been cited
in proof of the antiquity of card-playing in Europe.
<a name="FNanchor_78_78" id="FNanchor_78_78"></a>
<a href="#Footnote_78_78" class="fnanchor">[78]</a></p>

<p>The Abbé Rive, who ascribes the invention of cards to
Spain, endeavours to show that they were known there in
the early part of the fourteenth century. The evidence of
this is, according to his statement, to be found in the
Statutes of the military order of the Band, promulgated by
Alphonso, King of Castile, where there is a passage expressly
forbidding the members to play at cards. Whether cards are
expressly mentioned in any old Spanish manuscripts of the
Statutes in question, has not been ascertained; but of all
the different editions, original and translated, of Guevara's
'Golden Epistles,' the work from which the Abbé Rive
obtained his information, the first in which cards are expressly
named, is that of the French translation by Gutery,
published at Lyons in 1558.<a name="FNanchor_79_79" id="FNanchor_79_79"></a>
<a href="#Footnote_79_79" class="fnanchor">[79]</a> As the word is not to be
found in the original Spanish editions, nor in the Italian
translations made from them, there cannot be a reasonable
doubt of its being an interpolation of Gutery, who probably
thought that a general prohibition of gaming necessarily
included cards; and thus, "par conséquent," the Abbé
<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
Rive is furnished with positive evidence that the game of
cards was common in Spain in 1332. Another authority,
referred to by the Abbé Rive in favour of the antiquity of
Spanish cards, is of the same kind. In a collection of the
'Laws of Spain,' printed in 1640, he finds the following
passage in an Ordonnance issued by John I, King of
Castile, in 1387: "We command and ordain that none of
our subjects shall dare to play at dice or at cards (<i>Naypes</i>)
either in public or in private, and that whoever shall so play,
&amp;c."<a name="FNanchor_80_80" id="FNanchor_80_80"></a>
<a href="#Footnote_80_80" class="fnanchor">[80]</a>
There can, however, be no doubt that the word
cards (Naypes) is an interpolation; for it is not to be found
in the same Ordonnance as given in the collection entitled
'Ordenanças Reales de Castilla,' printed at Medina del
Campo, 1541. In this earlier edition, playing at dice and
tables for money is indeed forbidden&mdash;"de jugar juego de
dados ni de tables, a dinero"&mdash;but cards are not mentioned.</p>

<p>Jansen, in his 'Essai sur l'Origine de la Gravure en
Bois et en Taille-douce,' cites the four following verses from
the romance of Renard le Contrefait, pointed out to him
by the late Mons. Van Praet, in evidence of cards being
known in France at least as early as 1341, the year in which
the romance was finished:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"Si comme fols et folles sont,</div>
    <div class="verse indent-2_6">Qui pour gagner, au bordel vont;</div>
    <div class="verse indent-2_6">Jouent aux dez, aux cartes, aux tables,</div>
    <div class="verse indent-2_6">Qui à Dieu ne sont délectables."</div>
  </div>
</div>

<p>The manuscript containing the verses as they are here
given is in the Bibliothèque du Roi; but certainly it is
not of earlier date than 1450; while in another manuscript,
of the same romance, apparently about a hundred years
older, also preserved in the Bibliothèque du Roi, the word
<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
"Cartes" is not to be found in the corresponding verse,
which is as follows:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"Jouent à geux de dez ou de tables."</div>
  </div>
</div>

<p>Meerman<a name="FNanchor_81_81" id="FNanchor_81_81"></a>
<a href="#Footnote_81_81" class="fnanchor">[81]</a>
imagined that he had discovered a positive
date for the early use of cards in France, in the work known
as the Chronicle of Petit-Jehan de Saintré, but which was,
in fact, written by Antoine de Lassale, in 1459.
<a name="FNanchor_82_82" id="FNanchor_82_82"></a>
<a href="#Footnote_82_82" class="fnanchor">[82]</a> Saintré
had been one of the pages of Charles V, and on his being
appointed carver to the King on account of his good conduct,
the governor of the pages is represented as giving them a
lecture on their bad courses: "Observe your companion
here, who, through his good conduct, has acquired the
favour of the King and Queen, and of all; while you are
dicers and card-players, keeping bad company, and haunting
taverns and cabarets."<a name="FNanchor_83_83" id="FNanchor_83_83"></a>
<a href="#Footnote_83_83" class="fnanchor">[83]</a> The fact of the work having been
composed in 1459, however, renders it of no authority on
the question; and even if it had been written by Jehan
Saintré himself, there cannot be a doubt that the term
"<i>Cartes</i>" is an interpolation.</p>

<p>The term "<i>joueux de cartes</i>," card-players, is indeed to
be found in the earliest printed editions of the work, and
<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
also in a manuscript preserved in the Bibliothèque du Roi;
but then this manuscript does not appear to be of an earlier
date than the latter end of the fifteenth century, and there
is also reason to believe that it is the identical manuscript
from which the work was first printed. The word <i>Cartes</i>,
however, is not to be found in a manuscript copy of the
work in the library of the Sorbonne, nor in another in the
library of St. Germains. The latter is much older than
either of the others. Mons. Duchesne says that, in 1583,
it belonged to Claude d'Expilly, and that these two verses,
which show that it was even then considered an old manuscript,
are written in the first folio:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"Ce livre soit gardé, non tant pour sa beauté,</div>
    <div class="verse indent-2_6">Que pour le saint respect de son antiquité."</div>
  </div>
</div>

<p>"From this examination," says Mons. Duchesne, "we
may conclude that the word <i>Cartes</i> is an interpolation made
by a transcriber a century later: consequently it cannot
be admitted as a proof that cards were known in 1367."
<a name="FNanchor_84_84" id="FNanchor_84_84"></a>
<a href="#Footnote_84_84" class="fnanchor">[84]</a></p>

<p>In an edition of William de Guilleville's allegorical poem,
entitled 'Le Pelerinaige de l'Homme,'
<a name="FNanchor_85_85" id="FNanchor_85_85"></a>
<a href="#Footnote_85_85" class="fnanchor">[85]</a> printed at Paris by
Verard in 1511, the following verses, in which cards are
named, were pointed out to me by my friend Mr. N. Hill,
of the Royal Society of Literature, to whom I am greatly
indebted for much curious and interesting information
relating to the Origin and History of Playing Cards.</p>

<p>At folio xlv, <i>a</i>, Oysivete tempts the pilgrim to quit the
<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
right way by recounting to him the pleasures enjoyed by
those who place themselves under her guidance:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"... Je meyne gens au bois,</div>
    <div class="verse indent-2_6">Et la leur fais-je veoir danseurs,</div>
    <div class="verse indent-2_6">Jeux de basteaulx et de jougleurs,</div>
    <div class="verse indent-2_6">Jeux de tables et déschiquiers,</div>
    <div class="verse indent-2_6">De boulles et mereilliers.</div>
    <div class="verse indent-2_6">De <i>cartes</i>, jeux de tricherie,</div>
    <div class="verse indent-2_6">Et de mainte autre muserie."</div>
  </div>
</div>

<p>At folio lxxii, <i>a</i>, <i>Quartes</i>&mdash;for so the word is there
spelled&mdash;is noticed as a prohibited game:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"Mains ieux qui sont denyez,</div>
    <div class="verse indent-2_6">Aux merelles, <i>quartes</i>, et dez," &amp;c.</div>
  </div>
</div>

<p>As there was reason to suspect that the word <i>Cartes</i>
or <i>Quartes</i>, in the printed copies of De Guilleville's poem,
was an interpolation, the same as it was found to be in
other works examined by M. Duchesne, M. Paulin Paris,
assistant-keeper of the manuscripts in the Bibliothèque du
Roi, was requested by a friend of Mr. Hill, to compare the
printed text with that of the earliest manuscript copies of
the poem preserved in the collection under his care. The
result of the collation was that the suspected words had
been interpolated. The following is a translation of a portion
of M. Paulin Paris's letter on the subject.</p>

<p>"I have compared the verses of our MSS. of the Pilgrimage
of Human Life with the printed editions, and
have found the latter very inexact. Cards are neither
named nor alluded to in the MSS.; and in them the first
passage, pointed out by your friend Mr. N. Hill, stands
thus:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">Ja leur fais je veoir baleurs,</div>
      <div class="verse indent-2_6">Gieux de bastiaux et de jugleurs,</div>
      <div class="verse indent-2_6">De tables et de eschequiers,</div>
      <div class="verse indent-2_6">De boules et de mereliers,</div>
      <div class="verse indent-2_6">De dez et d'entregsterie,</div>
      <div class="verse indent-2_6">Et de mainte autre muserie.</div>
  </div>
</div>

<p class="blockquot">
  <span style="padding-left: 50%"><i>MS.</i> 6988, fol. 44, <i>verso</i>.</span><br />
  <span style="padding-left: 60%">(No. 2), fol. 47, <i>verso</i>.</span></p>

<p><span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>

<p>"The other passage referred to is, in both MSS. as
follows:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">Tant l'aime que je en suis sote,</div>
      <div class="verse indent-2_6">Et que en pers souvent ma cote,</div>
      <div class="verse indent-2_6">A mains jeux qui sont devées,</div>
      <div class="verse indent-2_6">Aux merelles, tables, et dez."</div>
  </div>
</div>

<p>As all the different interpolations referred to appear to
have been made in good faith,&mdash;not for the purpose of
showing the antiquity of card-playing, nor with any view
of deceiving the reader, but merely to supply what the
transcriber, looking at the manners of his own age, felt to
be an omission,&mdash;they afford good grounds for concluding
that, at the time when the several works were first written,
cards were not a common game in either France or Spain;
for, had they then been well known in those countries, it is
just as likely that they would have been mentioned by the
original writers as that they should have been interpolated
by later transcribers.</p>

<div class="figcenter bord"><a name="i_086.jpg" id="i_086.jpg"></a>
  <img src="images/i_086.jpg"
      alt="Card-playing" />
</div>

<p>In an article on Cards, in the 'Magasin Pittoresque' for
April, 1836, an illustration is given, of which the annexed
<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
cut is a fac-simile. The writer of the article says that
it is exactly copied from a miniature in a MS. of the
<i>Cité de Dieu</i>, translated from St. Augustine by Raoul de
Presles, who began the translation in 1371, and finished it
in 1375. The writer, considering the MS. to be of the
same date as the translation, says that the miniature represents
persons of distinction of the reign of Charles V.
<a name="FNanchor_86_86" id="FNanchor_86_86"></a>
<a href="#Footnote_86_86" class="fnanchor">[86]</a> As
he adduces, however, no evidence to show that the MS.
is of so early a date, his so-called demonstration that cards
were well known in 1375, is essentially defective; for, in
transcripts of books, nothing is more common than to find,
in the illustrations, things which were unknown when the
works were first written. The costume, indeed, appears
more like that of persons of distinction about the latter
end of the reign of Charles VI, 1422, than of the reign of
Charles V, 1364-1380. From the kind of cards which
the parties are seen playing with, no safe conclusion can be
drawn with respect to the age of the manuscript; for it is
not positively known what kind of cards were chiefly used
in France between 1392 and 1440. But, whatever may
be the date of the manuscript, it is evident that numeral
cards marked with "pips" and honours, similarly to those
now in common use, were known in France at the time
when the drawing was made.</p>

<p>The following account of the introduction of cards into
Viterbo, in 1379, previously referred to in Chapter I, is
<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
here given as it is to be found in Leber's 'Etudes Historiques
sur les Cartes à jouer.' "Feliciano Bussi relates, in
his 'History of Viterbo,'<a name="FNanchor_87_87" id="FNanchor_87_87"></a>
<a href="#Footnote_87_87" class="fnanchor">[87]</a> a work but little known, that in
1379, the epoch of the schism caused by the opposition of
the anti-pope Clement to Urban VI, the mercenary troops of
each party committed all manner of annoyances and spoliations
in the Roman States, and that a great number of
cattle, which had been stolen by the marauders, and driven
to Viterbo for the provisionment of that city, were there
seized, and carried off in a moment. 'And yet,' adds the
historian, 'who could believe it! In this same year of
so much distress there was introduced into Viterbo the
game of cards, or, as I would say, playing cards, which previously
were not in the least known in that city;' the words
of Covelluzzo, are, folio 28, verso: 'In the year 1379,
was brought into Viterbo the game of cards, which
comes from the country of the Saracens, and is with them
called <i>Naib</i>.'" As the introduction of cards into Viterbo
is here directly recorded as a historical fact, there can be
little doubt, if the passage in Covelluzzo be genuine, that
cards were known to the Italian condottieri in 1379. In
the chronicle of Giovan Morelli, of the date 1393, <i>Naibi</i> is
mentioned as a kind of game; and, from the context, it has
been concluded that it was one at which children only
played.<a name="FNanchor_88_88" id="FNanchor_88_88"></a>
<a href="#Footnote_88_88" class="fnanchor">[88]</a> At any rate it appears there as a game at which
older people might play without reproach. Long after cards
were condemned by synods and civic ordinances, as a game
of hazard, grave writers allowed that sober, decent people
might enjoy the game provided that they played purely for
<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
the sake of recreation, and not for the chance of winning
their neighbour's money.</p>

<p>Heineken quotes from the 'Güldin Spil,' a book written
about the middle of the fifteenth century by a Dominican
friar, of the name of Ingold, printed at Augsburg, by
Gunther Zainer, in 1472, the following passage relating
to cards:<a name="FNanchor_89_89" id="FNanchor_89_89"></a>
<a href="#Footnote_89_89" class="fnanchor">[89]</a> "Nun ist das Spil vol untrew; und, als ich
gelesen han, so ist es kommen in Teutschland der ersten
in dem iar, da man zalt von Crist geburt, tausend dreihundert
iar." That is: "The game is right deceitful; and, as
I have read, was first brought into Germany in the year
1300." The title of 'Güldin Spil,'&mdash;the Golden Game,&mdash;appears
to have been given to the work by the author, on
account of its being a kind of pious travesty of the principal
games in vogue in Germany at the period when he wrote:
having given each game a moral exposition, that which was
formerly dross is converted into gold: the "old man" is
put off, and the reformed gambler, instead of idling away
his precious time at tric-trac, dice, or cards for beggarly
groschen, "goes" his whole soul at the 'Güldin Spil.'</p>

<p>That the author had read somewhere of cards having
been first brought into Germany in 1300, may be admitted
without question; for to suppose that he told an untruth,
would require to be backed by a supplementary conjecture
as to his motives for falsifying,&mdash;a mode of eliciting
the "truth," in frequent use indeed with philosophic
historians when discussing questions of great import in the
history of nations, but not exactly suitable for determining
a trifling fact in the history of Playing Cards. Having
admitted the good faith of the author of the 'Güldin Spil,'
the next question that presents itself is, whether what he had
read about the introduction of cards into Germany was in
<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>
itself true; it is, however, unnecessary to discuss it here,
for even if cards were known in Germany at so early a
period, there is no satisfactory evidence of their having
been common in that country until about a century later.</p>

<p>Von Murr, who also cites from the 'Güldin Spil' the
preceding passage relating to cards, thinks that the epoch
assigned, 1300, is at least fifty years too early.
<a name="FNanchor_90_90" id="FNanchor_90_90"></a>
<a href="#Footnote_90_90" class="fnanchor">[90]</a> He, however,
states that he found cards&mdash;<i>Carten</i>&mdash;mentioned in an old
book of bye-laws and regulations of the city of Nuremberg,
to which he assigns a date between 1380 and 1384. The
word occurs in a bye-law relating to gaming&mdash;'<i>Vom Spil</i>'&mdash;from
the penalties of which the following games are, under
certain circumstances, excepted: "Horse-racing, shooting
with cross-bows, <i>cards</i>, shovel-board, tric-trac, and bowls, at
which a man may bet from two pence to a groat." Whether
the date assigned by Von Murr be correct or not, I am
unable to determine. His reason for concluding that it was
between the years 1380 and 1384, is as follows: "There is
indeed no date to this bye-law, but it is written in the same
hand as a law relating to the Toll-houses before the New
Gate; and at folio 4 there is a precise date, namely the
second day before Walpurg's day, 1384." The reason is not
a very good one; for, even admitting the identity of the
hand-writing in the ordinance relating to gaming, and in the
act of 1381 relating to the toll-houses, yet both might have
been copied into the book at a subsequent period. It is also
to be observed, that, according to Von Murr's own account,
the date 1384 occurs in the fourth folio, while the ordinance
in which cards are mentioned, is in the <i>sixteenth</i> folio. But
though the date assigned by Von Murr to the Nuremberg
regulation, may be a few years too early, there is good
reason to believe that cards were well known in Germany
<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span>
towards the conclusion of the fourteenth century. According
to Mons. Neubronner, administrator at Ulm, (about
1806,) there was in the archives of that city an ancient
parchment volume, called the Red Book, on account of its
red initial letters, which contained a prohibition against
Card Playing, dated 1397.<a name="FNanchor_91_91" id="FNanchor_91_91"></a>
<a href="#Footnote_91_91" class="fnanchor">[91]</a></p>

<p>Having now laid before the reader the principal authorities
which have been alleged by various writers,&mdash;whether
for the purpose of showing the antiquity of card-playing in
Europe generally, or with the design of supporting their
own opinion as to the invention of cards in some particular
country&mdash;it is now time to enter on what may be termed
the positive history of cards, beginning from the year 1393.</p>

<p>Charles VI of France lost his reason in consequence of a
<i>coup-de-soleil</i>, in 1392; and during the remainder of his
life continued insane, though with occasional lucid intervals.
In either the same or in the following year, 1393, this
entry occurs in the accounts of his treasurer, Charles
Poupart, or, as he is named by Monstrelet, Charbot Poupart:
"Given to Jacquemin Gringonneur, painter, for three packs
of cards, gilt and coloured, and variously ornamented, for the
amusement of the king, fifty-six sols of Paris."
<a name="FNanchor_92_92" id="FNanchor_92_92"></a>
<a href="#Footnote_92_92" class="fnanchor">[92]</a> Menestrier,
who was the first to point out this passage, concluded from
<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
it that the game of cards was then first invented by
Gringonneur for the purpose of diverting the king's melancholy;
and his account of the invention long passed as
authentic in the politely learned world. That the game of
cards was invented by Gringonneur is in the highest degree
improbable; for the general tenor of the passage in which
they are named by Poupart implies that the game was then
already known, though from the notice of the gilding and
colouring of the cards, it may be supposed that Gringonneur
had a special order for them, and that they were not then
in general use.</p>

<p>"If," says Piegnot, "Père Menestrier had paid attention
to the manner in which the passage is drawn up, he would
have perceived that the expression 'for three packs of cards,'&mdash;'<i>pour
trois jeux de cartes</i>'&mdash;clearly announces, from its
very simplicity, that cards were already known, and that
their invention was of a much earlier date. The writer
would not have mentioned so simply a collection of figures,
just conceived and painted by Gringonneur on small pieces
of paper, and very remarkable, as well from their symmetry
and regularity, as from the characters represented on them.
"<a name="FNanchor_93_93" id="FNanchor_93_93"></a>
<a href="#Footnote_93_93" class="fnanchor">[93]</a></p>

<p>The Hon. Daines Barrington, in his 'Observations on the
Antiquity of Playing Cards in England,' doubts if Poupart's
<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
entry actually relates to Playing Cards. He is of opinion
that the words "<i>trois jeux de cartes</i>" mean three sets of
illuminations upon paper, "<i>carte</i> originally signifying
nothing more." If Mr. Barrington had produced any
authority to show that, either in the time of Charles VI, or
at any other period, "un <i>jeu</i> de cartes" was used to signify
a set of illuminations, or that the term ever signified anything
else than a pack, or a game, of cards, his doubt would
not have had so much the appearance of a starved conceit.</p>

<p>Though in 1393 cards might have been but little known
and seldom played at, except by the higher classes, the
game in a short time appears to have become common; for
in an edict of the provost of Paris, dated 22d of January,
1397, working people are forbid to play at tennis, bowls,
dice, <i>cards</i>, or nine-pins, on working days. From the
omission of cards in an ordonnance of Charles V, dated
1369, forbidding certain games and addressed to all the
seneschals, baillies, provosts, and other officers of the
kingdom, it may be safely concluded that if cards were
known in France in 1369, the game was by no means so
common as in 1397. Duchesne indeed says that it is
between 1369 and 1397, a period of twenty-eight years,
that the invention of Playing Cards, or at least their introduction
into France, ought to be placed.</p>

<p>Cards having been presented at the court of France for
the amusement of the king, and prohibited in the city of
Paris, either as too good or too bad for the amusement of
working people, appear forthwith to have become fashionable;
but, besides the recommendations alluded to, the game possesses
charms of its own which could scarcely fail to render
it a favorite with gamesters of all classes, as soon as its
principles should be known.<a name="FNanchor_94_94" id="FNanchor_94_94"></a>
<a href="#Footnote_94_94" class="fnanchor">[94]</a> To ladies and gentlemen who
<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
might play, merely as a relaxation from the more serious
business of hunting and hawking, dressing and dining,
no game could be more fascinating; while to those who might
play for gain, what other game could be more tempting?
The great infirmity of human nature, with the noble as
well as the ignoble, as old stories plainly show, is the too
eager desire to obtain money, or money's worth, in a short
time and at little cost; and, hence, to risk a certain sum on
the chance of obtaining a greater, whether at dice, cards, state
lotteries, or art-union little-goes: in the latter, indeed, under
the prudent direction of what may be called "handicap"
legislators,&mdash;from their always coming out strong towards
the end of the session, like the beaten horses for a
handicap at the end of a race week,&mdash;the spirit of gaming
is refined, and made subservient to the purposes of pure
charity and the promotion of the fine arts. He who devised
the game of cards, as now usually played, appears to have had
a thorough perception of at least two of the weak points of
human nature; for next to man's trust in his "luck," in all
games of chance, is his confidence in himself in all games of
skill. The shuffling, cutting, and dealing at cards, together
with the chance afforded by the turn-up of the trump,
place the novice, in his own conceit, on a par with the
<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>
experienced gamester; who, on the other hand, is apt to
underrate his opponent's chance, from his over-confidence in
his own skill.</p>

<p>During the middle ages, the clergy, notwithstanding their
vows and their pretensions to superior sanctity, appear to
have been not a whit more exempt from the weaknesses of
human nature than the unsanctified laity; nay, from the
history of the times, it would seem that their vows rendered
them not only more susceptible of temptation, but more
likely to fall. Their preaching pointed one way, and their
lives another; and hence the old proverb, "Mind what the
friar <i>says</i>, not what he <i>does</i>." The vices of the times are
indeed written in the canons of synods and councils, and in
the penitentials of bishops directed against the immoralities
of the clergy; and from the experience of the past,
thus recorded, we have ample proof that clerical vows are
not always a certain charm against secular vices. After cards
were once fairly introduced, it would appear that the clergy
were not long in "cutting in;" for, according to Dr. J. B.
Thiers, they were expressly forbid to play at cards, by the
synod of Langres, 1404.<a name="FNanchor_95_95" id="FNanchor_95_95"></a>
<a href="#Footnote_95_95" class="fnanchor">[95]</a></p>

<p>Menestrier refers to the statutes of Amadeus VIII, Duke
of Savoy, 1430, forbidding all kinds of gaming for money
within his territories, though his subjects are allowed to
amuse themselves at certain games, provided they play
<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
only for meat and drink.<a name="FNanchor_96_96" id="FNanchor_96_96"></a>
<a href="#Footnote_96_96" class="fnanchor">[96]</a> "With respect to cards, they
are forbidden; nevertheless, they are allowed to women, with
whom men may also play, provided that they play only for
pins,"&mdash;"dum ludus fiat tantum cum spinulis." In this
passage a jurist would not construe the word "spinulis"&mdash;pins&mdash;literally,
but would take it to mean any small articles
of pins' worth. In France, about 1580, the douceur given
by a guest to a waiter at an inn was called "his pins"&mdash;"épingles;
"<a name="FNanchor_97_97" id="FNanchor_97_97"></a>
<a href="#Footnote_97_97" class="fnanchor">[97]</a>
and the proverbial phrase, "Tirer son épingle
du jeu," seems to allude rather to "pin-stakes," than to the
game of "push-pin."</p>

<p>Early in the fifteenth century, card-making appears to
have become a regular trade in Germany, and there is
reason to believe that it was not of much later date in Italy.
In 1418 the name of a card-maker&mdash;"<i>Kartenmacher</i>,"&mdash;occurs
in the burgess-books of Augsburg. In an old rate-book
of the city of Nuremberg, the name "<i>Ell. Kartenmacherin</i>"
occurs under the year 1433; and in the same book under
the year 1435, the name "<i>Elis. Kartenmacherin</i>," probably
the same person. In the year 1438 the name "<i>Margret
Kartenmalerin</i>" occurs.<a name="FNanchor_98_98" id="FNanchor_98_98"></a>
<a href="#Footnote_98_98" class="fnanchor">[98]</a> From those records it would appear
that the earliest card-makers and card-painters of Nuremberg
were women; and that cards were known in Germany by
the name of "Karten" before they acquired the name of
"Briefe." Heineken, however, maintains that they were
first known in Germany by the latter name; for as he
claimed the invention for his countrymen, the fact of the
<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
name being derived either from the French or Italian was
adverse to his theory.</p>

<p>Nuremberg, Augsburg, and Ulm appear to have been
the chief towns in Germany for the manufacture of cards
about the middle of the fifteenth century; and, from the
following passage, cited by Heineken from a manuscript
chronicle of the city of Ulm, ending at 1474, it would
appear that the German manufacturers, besides supplying
the home market did also a large export business: "Playing
cards were sent in small casks [<i>leglenweiss</i>] into Italy,
Sicily, and also over sea, and bartered for spices and other
wares."<a name="FNanchor_99_99" id="FNanchor_99_99"></a>
<a href="#Footnote_99_99" class="fnanchor">[99]</a>
It was probably against the German card-makers
and painter-stainers that the magistracy of Venice issued
an order in 1441, forbidding the introduction of foreign
manufactured and printed coloured figures into the city
under the penalty of forfeiting such articles, and being
fined xxx liv. xii soldi. This order appears to have been
made in consequence of a petition from the fellowship of
painters at Venice, wherein they had set forth that "the
art and mystery of card-making and of printing figures,
which were practised in Venice, had fallen into total decay
through the great quantity of foreign playing cards, and
coloured printed figures which were brought into the city.
"<a name="FNanchor_100_100" id="FNanchor_100_100"></a>
<a href="#Footnote_100_100" class="fnanchor">[100]</a>
The magistrates' order, in which this passage occurs as the
<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
preamble, was discovered by an Italian architect, of the
name of Temanza, in an old book of rules and orders
belonging to the company or fellowship of Venetian
painters. Temanza sent an account of his discovery to
Count Algarotti, who published it in the fifth volume of his
'Lettere Pittoriche.'</p>

<p>As it has been assumed that the earliest professional card-makers
were wood-engravers, and that the engraving of
cards on wood led to the execution of other figures, it
appears necessary to trace the Briefmaler's progress, and
to show how he came to be identified with the "wood-engraver
in general." That the early card-makers or card-painters
of Ulm, Nuremberg, and Augsburg, from about
1418 to 1450, were also wood-engravers, is founded entirely
on the assumption that the cards of that period were engraved
on wood, and that those who manufactured them,
both engraved and coloured the figures. It is not, however,
certain that the figures of the earliest cards, not drawn by
hand, were engraved on wood; in the oldest cards, indeed,
which I have had an opportunity of examining, and which
appear to be of as early a date as the year 1440, it is evident
that the figures were executed by means of a stencil.
<a name="FNanchor_101_101" id="FNanchor_101_101"></a>
<a href="#Footnote_101_101" class="fnanchor">[101]</a> From
the circumstance of so many women occurring as card-painters
in the town books of Nuremberg between 1433
and 1477, there appears reason to conclude that they,
at least, were not wood-engravers.</p>

<p>The name of a wood-engraver proper&mdash;<i>Formschneider</i>&mdash;first
occurs in the town-books of Nuremberg, under the
year 1449; and as for twenty years subsequently, it frequently
occurs on the same page with that of a card-painter&mdash;
<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
<i>Kartenmaler</i>&mdash;there
cannot be a doubt that there was a
distinction between the professions, although, like the barbers
and surgeons of former times, they both belonged to
the same fellowship or company.</p>

<p>A few years subsequent to the <i>Formschneider</i>, the <i>Briefmaler</i>
occurs; but though his designation has the same
literal meaning as that of the <i>Kartenmaler</i>, yet his business
seems to have been more general, including both that of
the card-painter and wood-engraver. About 1470 we find
the <i>Briefmalers</i> not only employed in executing figures,
but also in engraving the text of block-books; and about
the end of the fifteenth century the term seems to have
been generally synonymous with that of <i>Formschneider</i>.
Subsequently the latter term prevailed as the proper designation
of a wood-engraver, while that of <i>Briefmaler</i> was
more especially applied, like that of the original <i>Kartenmaler</i>,
to designate a person who coloured cards and other
figures.<a name="FNanchor_102_102" id="FNanchor_102_102"></a>
<a href="#Footnote_102_102" class="fnanchor">[102]</a></p>

<p>Though we have positive evidence that, about the year
1470, the <i>Briefmaler</i> was a wood-engraver as well as a
colourer of cards; and though it be highly probable that
the outlines of the figures on cards were then engraved on
wood, and that, from this circumstance, the <i>Briefmaler</i>
became also a wood-engraver, yet we have no proof that the
<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
earliest wood-engravers in Europe were the card-makers.
Von Murr indeed confidently affirms "that card-makers and
card-painters were known in Germany eighty years before
the invention of typography, and that the card-makers were
at first properly wood-engravers, but that, after the art of
wood-engraving was applied to the execution of sacred
subjects, a distinction was made."
<a name="FNanchor_103_103" id="FNanchor_103_103"></a>
<a href="#Footnote_103_103" class="fnanchor">[103]</a> He who can thus
persuade himself that the germ of wood-engraving in Europe
is to be found in cards, will doubtless feel great pleasure in
tracing its interesting development; the first term, cards
engraved on wood, being assumed, we then have figures of
saints with their names, or short explanations, engraved on
wood; next block-books consisting of sacred subjects with
copious explanatory text; and lastly typography and the
press: "ce n'est que le premier pas qui coute."
<a name="FNanchor_104_104" id="FNanchor_104_104"></a>
<a href="#Footnote_104_104" class="fnanchor">[104]</a></p>

<p>At what period the art of wood-engraving was first
introduced in Europe, or in what country it was first
practised, has not been precisely ascertained. Not the
slightest allusion is made to its productions by any writers
of the fourteenth century; and the earliest authentic date
that has hitherto been observed on any wood-engraving,
is 1423. A wood-engraving said to contain the date 1418
was indeed discovered at Malines in 1844, pasted in the
<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
inside of an old chest; but as the numerals have evidently
been repaired by means of a black-lead pencil, both the
genuineness and the authenticity of the date have been very
justly questioned. The person by whom it was found, the
keeper of a little public-house, almost immediately sold it
to an architect named De Noter, of whom it was purchased
by the Baron de Reiffenberg, for the Royal Library of
Brussels, of which he is the conservator, and where it is now
preserved.<a name="FNanchor_105_105" id="FNanchor_105_105"></a>
<a href="#Footnote_105_105" class="fnanchor">[105]</a></p>

<p>Before this discovery, the earliest wood-engraving with a
date, was the St. Christopher, in Earl Spencer's collection,
in which the date 1423, partly in words and partly in
numerals&mdash;"<i>Millesimo cccc<sup>o</sup> xx<sup>o</sup> tercio</i>"&mdash;is seen engraved
in the same manner as the other parts of the subject. The
first person who published an account of the St. Christopher,
was Heineken. When he first saw it, it was pasted on the
inside of the cover of a manuscript volume in the library of
Buxheim, near Memmingen in Suabia, within fifty miles of
Augsburg, a city which appears to have been the abode of
wood-engravers almost from the very commencement of the
art in Europe, and in which we find a card-maker so early
as 1418. On the inside of the cover, Heineken also observed
another cut, of the annunciation, of the same size as
<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
the St. Christopher, and apparently executed about the same
time. The volume within whose covers those cuts were
pasted, was bequeathed to the convent by Anna, canoness
of Buchaw, who was living in 1427, but who probably died
previous to 1435. The Annunciation, as well as the St.
Christopher, is now in the possession of Earl Spencer.</p>

<p>From the time of their first introduction, woodcuts of
sacred subjects appear to have been known in Suabia and
the adjacent districts by the name of <i>Helgen</i> or <i>Helglein</i>, a
corruption of <i>Heiligen</i>, saints; and in course of time this
word also came to signify prints or woodcuts generally. It
would seem that originally the productions of the wood-engraver
were considered as imperfect till they were coloured;
and as the St. Christopher, the Annunciation, and others of
an early date, appear to have been coloured by means of a
stencil, there is reason to conclude that most of the "Helgen"
of the same period were coloured in the same manner. In
France the same kind of cuts, probably coloured in the same
manner, were called "<i>Dominos</i>,"&mdash;a name which of itself
indicates the affinity of the subjects with those of the <i>Helgen</i>.
Subsequently, the word "Domino" was used to signify
coloured or marbled paper generally; and the makers of
such paper, as well as the engravers and colourers of woodcuts,
were called <i>Dominotiers</i>.</p>

<p>Though we cannot reasonably suppose that the cut of
St. Christopher, with the date 1423, was the very first
of its kind, there is yet reason to believe that the art of
wood-engraving was then but little known. As the earliest
woodcuts are observed to be coloured by means of a
stencil, it would seem that at the time when wood-engraving
was first introduced, the art of depicting and colouring
figures by means of a stencil was already well known; but
as there are no cards engraved on wood to which so early
a date as 1423 can be fairly assigned, and as at that
<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span>
period there were professional card-makers established at
Augsburg, it would appear that wood-engraving was employed
on the execution of "<i>Helgen</i>" before it was applied
to cards, and that there were stencilled cards before there
were wood-engravings of saints. Though this conclusion
be not exactly in accordance with an opinion which I have
expressed in another work,<a name="FNanchor_106_106" id="FNanchor_106_106"></a>
<a href="#Footnote_106_106" class="fnanchor">[106]</a>
it is yet that which, on a further
investigation of the subject, appears to be best supported
by facts, and most strongly corroborated by the incidental
notices which we have of the progress of the Briefmaler or
card-painter from his original profession to that of a wood-engraver
in general.</p>

<div class="figcenter"><a name="i_104.jpg" id="i_104.jpg"></a>
  <img src="images/i_104.jpg"
  alt="Old Stencilled Cards No. 1" />
  <div class="caption">Old Stencilled Cards in the British Museum. No. 1 (p. 88.)</div>
</div>

<div class="figcenter"><a name="i_106.jpg" id="i_106.jpg"></a>
  <img src="images/i_106.jpg"
  alt="Old Stencilled Cards No. 2" />
  <div class="caption">Old Stencilled Cards in the British Museum. No. 2 (p. 88.)</div>
</div>

<p>The annexed cuts are fac-similes of some of the old cards
to which I have alluded at page 83. The originals are
preserved in the print-room of the British Museum; and
from a repeated examination of them, I am convinced that
they have been depicted by means of a stencil, and not
printed nor "rubbed off" from wood blocks. They are not
coloured, nor cut into single cards; but appear just as they
are shown in the fac-similes. They formed part of the
covers or "boards" of an old book, and were sold to the
British Museum by Mr. D. Colnaghi. Looking at the
marks of the suits in those cards, the character of the figures,
and the manner in which they are executed, I should say
that they are not of a later date than 1440. Though cards
of only three suits occur, namely, Hearts, Bells, and Acorns,
<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span>
there can be little doubt that the fourth suit was Leaves, as
in the pack described by Mr. Gough, in the eighth volume
of the 'Archæologia.' As in Mr. Gough's cards, so in
these, there is no Queen; though, like them, there appears
to have been three "coat" cards in each suit, namely, a
King, a Knight, or Superior Officer, and a Knave, or
Servant; in other words, King, Jack, and Jack's Man.
The lower cards, as in Mr. Gough's pack, appear to have
been numbered by their "pips" from two to ten, without
any ace.</p>

<p>That those cards were depicted by means of a stencil is
evident from the feebleness and irregularity of the lines, as
well as from the numerous breaks in them, which, in many
instances, show where a white isolated space was connected
with other blank parts of the stencil. The separation seen
in the heads of the figures in No. 1 of the fac-similes here
given, would appear to have been occasioned by the stencil
either breaking or slipping
while the operator was
passing the brush over it.
From the costume of the
figures in these cards, I
am inclined to think that
they are the production of
a Venetian card-maker. A
lion, the emblem of St.
Mark, the patron saint of
Venice, and a distinctive
badge of the city, appears,
as in the annexed cut, in
the suit of Bells; and a
similar figure, with part
of a mutilated inscription,
also occurs in the suit of Acorns.</p>

<div class="figcenter"><a name="i_108.jpg" id="i_108.jpg"></a>
  <img src="images/i_108.jpg"
      alt="Lion in the Suit of Bells" />
</div>

<p><span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span></p>
<p>Card-playing appears to have been a common amusement
with the citizens of Bologna, about 1423. In that year St.
Bernardin of Sienna, who died in 1444, and was canonized
in 1450, preaching on the steps in front of the church of
St. Petronius, described so forcibly the evils of gaming in
general, and of Card-playing in particular, to which the
Bolognese were much addicted, that his hearers made a fire
in the public place and threw their cards into it. A card-maker
who was present, and who had heard the denunciations
of the preacher, not only against gamesters, but against
all who either supplied them with cards or dice, or in any
manner countenanced them, is said to have thus addressed
him, in great affliction of mind.
<a name="FNanchor_107_107" id="FNanchor_107_107"></a>
<a href="#Footnote_107_107" class="fnanchor">[107]</a> "I have not learned,
father, any other business than that of painting cards; and
if you deprive me of that, you deprive me of life, and my
destitute family of the means of earning a subsistence." To
this appeal the Saint cheerfully replied: "If you do not
know what to paint, paint this figure, and you will never
<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span>
have cause to regret having done so." Thus saying, he
took a tablet and drew on it the figure of a radiant sun,
with the name of Jesus indicated in the centre by the
monogram I.H.S. The card-painter followed the saint's
advice; and so numerous were the purchasers of the reformed
productions of his art, that he soon became rich. In the
Bibliothèque du Roi at Paris, there is an old woodcut of
St. Bernardin, with the date 1454, which has been supposed
to have been engraved with reference to this anecdote, as
the saint is seen holding in his right hand the symbol which
he recommended the card-maker to paint. A fac-simile of
this figure of St. Bernardin is given in the 'Illustrated
London News,' of the 20th of April, 1844, and reprinted
in a work recently published, entitled 'The History and
Art of Wood Engraving.'</p>

<p>John Capistran, a disciple of St. Bernardin, and also a
Franciscan friar, followed the example of his master in
preaching against gaming; and his exhortations appear to
have been attended with no less success. In 1452, when
on a mission to Germany, he preached for three hours at
Nuremberg, in Latin, against luxury and gaming; and his
discourse, which was interpreted by one of his followers,
produced so great an effect on the audience, that there
were brought into the market-place and burnt, 76 jaunting
sledges, 3640 backgammon boards, 40,000 dice, and cards
innumerable. Under an old portrait of Capistran, engraved
on wood by Hans Schaufflein, there is an inscription commemorating
the effects of his preaching as above related.
<a name="FNanchor_108_108" id="FNanchor_108_108"></a>
<a href="#Footnote_108_108" class="fnanchor">[108]</a></p>


<h3>FOOTNOTES:</h3>

<div class="footnotes">
<p class="footnote"><a name="Footnote_72_72" id="Footnote_72_72"></a>
<a href="#FNanchor_72_72"><span class="label">[72]</span></a>
"Aleæ nomen quamvis pro omni ludo, qui in varietate fortunæ consistat,
sumi queat juxta sententiam, vel opinionem aliquot scriptorum; quorum è numero
est Joannes Azorius in tertia parte Institutionum Moralium, dicens:
'Aleæ ludus comprehendit Ludum Chartarum Lusoriarum, Taxillorum, Tabularum,
et Sortium.' Propriè tamen, ut ait Jacobus Spiegelius, accipi solet pro
Tesseris, quæ Tali etiam, vel Taxilli, et vulgò Dadi vocitantur: Tesseræ autem,
Tali, vel Taxilli, et Cubi, vel Dadi, sunt idem, diversi vero quantum ad numerum
laterum et punctorum.... Non desunt alii, qui Aleæ
nomen pro Chartis Lusoriis passim intelligendum esse velint, ut Polydorus
Virgilius, et alii scribunt."&mdash;Commentarius contra Ludum Alearum, Chartarum
scilicet ac Taxillorum; a Fratre Angelo Roccha, Episcopo Tagastensi, p. 2, 4to.
Romæ, 1616.</p>

<div class="footnote"><a name="Footnote_73_73" id="Footnote_73_73"></a>
<a href="#FNanchor_73_73"><span class="label">[73]</span></a>
"<i>Bishop of Bamberg.</i> What do you say is the name of the emperor who
wrote your <i>Corpus Juris</i>?

<p>
<i>Olearius.</i> Justinian.
</p>
<p>
<i>Bishop.</i> A clever prince!&mdash;I drink to his memory. It must be a grand book.
</p>
<p>
<i>Olearius.</i> It may indeed be styled the book of books: a collection of all
laws, ready for the decision of every case; and whatever is now obsolete or
doubtful is expounded by the comments with which the most learned men have
enriched this most admirable work.
</p>
<p>
<i>Bishop.</i> A collection of all laws! The deuce!&mdash;Then the Ten Commandments
are there?
</p>
<p>
<i>Olearius.</i> <i>Implicitè</i>, they are; <i>explicitè</i>, not.
</p>
<p>
<i>Bishop.</i> That is just what I mean;&mdash;there they are, plainly and simply, with
out explication."&mdash;<i>Götz von Berlichingen</i>, a Play, by Goethe, act i.</p>
</div>

<p class="footnote"><a name="Footnote_74_74" id="Footnote_74_74"></a>
<a href="#FNanchor_74_74"><span class="label">[74]</span></a>
John of Salisbury&mdash;Joannes Saresberiensis&mdash;was born in England about
1110. He went to France when he was about seventeen years old, and remained
in that country several years. He subsequently visited Rome in a
public capacity. On his return to England, he became the chaplain and acquired
the friendship of Thomas à Becket. After the murder of à Becket&mdash;of which
he was an eye-witness&mdash;he withdrew to France, in order to shun the hostility
of his patron's enemies. From his attachment to à Becket, no less than from
his reputation as a learned and pious man, he was elected Bishop of Chartres,
where he died in 1182. The work by which he is principally known is that
referred to in the text. The general title of it is, 'Policraticus sive de Nugis
Curialium, et Vestigiis Philosophorum, libri octo.' The chapter on gaming,
"De Alea, et usu et abusu illius," is the fifth of the first book. Edit. Leyden,
1639.</p>

<p class="footnote"><a name="Footnote_75_75" id="Footnote_75_75"></a>
<a href="#FNanchor_75_75"><span class="label">[75]</span></a>
Archæologia, vol. viii, 1787.</p>

<p class="footnote"><a name="Footnote_76_76" id="Footnote_76_76"></a>
<a href="#FNanchor_76_76"><span class="label">[76]</span></a>
Mons. Leber, in his Etudes Historiques sur les Cartes à jouer, remarks that
Singer refers to this author as <i>Pipozzi di Sandro</i>, and that the name thus transposed
has been copied by other writers on the subject of cards. It is, however,
to be observed that Breitkopf twice gives the name in the same manner as
Singer.</p>

<p class="footnote"><a name="Footnote_77_77" id="Footnote_77_77"></a>
<a href="#FNanchor_77_77"><span class="label">[77]</span></a>
Materiali per servire alla Storia dell' Origine et de' Progressi dell' Incizioni
in rame, in legno, &amp;c. p. 159. 8vo. Parma, 1802.</p>

<p class="footnote"><a name="Footnote_78_78" id="Footnote_78_78"></a>
<a href="#FNanchor_78_78"><span class="label">[78]</span></a>
Those observations have been chiefly derived from Mons. Duchesne's paper
on cards above referred to, and from a letter written by Mons. Paulin Paris,
assistant keeper of the MSS. in the Bibliothèque du Roi, in answer to certain
queries submitted to him through a friend of the writer.</p>

<p class="footnote"><a name="Footnote_79_79" id="Footnote_79_79"></a>
<a href="#FNanchor_79_79"><span class="label">[79]</span></a>
The original Spanish edition of Guevara's Epistles was printed at Valladolid
in 1539, and the work was several times reprinted in Spain and in Flanders. The
letters were also translated into Italian and French; and several editions were
published before the year 1600. There is an English translation by Geffery
Fenton, 1582; and another by Edward Hellowes, 1584.</p>

<p class="footnote"><a name="Footnote_80_80" id="Footnote_80_80"></a>
<a href="#FNanchor_80_80"><span class="label">[80]</span></a>
"Mandamos y ordenamos q&#772; ningunos de los de nuestros reynos,
sea&#772; osados
de jugar dados ni naypes, en publico ne en esco&#772;dido, y
qualquier q&#772; los jugare,"
&amp;c.&mdash;Recopilacion de las Leyes destos Regnos, &amp;c. Edit. 1640.</p>

<p class="footnote"><a name="Footnote_81_81" id="Footnote_81_81"></a>
<a href="#FNanchor_81_81"><span class="label">[81]</span></a>
Meerman, Origines Typographicæ, vol. i, p. 222. Edit. 1765.</p>

<p class="footnote"><a name="Footnote_82_82" id="Footnote_82_82"></a>
<a href="#FNanchor_82_82"><span class="label">[82]</span></a>
"Tout le monde sait que ce charmant ouvrage a été composé en 1459 par
Antoine de Lassalle."&mdash;Duchesne, Précis Historique sur les Cartes à jouer,
p. 5, prefixed to the 'Jeux de Cartes Tarots,' &amp;c. Mons. Duchesne himself
does not appear to have known "what all the world knows" when he wrote his
'Observations sur les Cartes à jouer,' printed in the Annuaire Historique, 1837;
for he there seems to admit that the work was composed by a person who lived
at the period to which it relates, and refers to two manuscripts in which the
word "cartes" is not to be found. He says that a third manuscript, which
contains it, appears to have been transcribed about the end of the fifteenth century,
but does not inform the reader that the work itself is a mere romance,
written in 1459.</p>

<p class="footnote"><a name="Footnote_83_83" id="Footnote_83_83"></a>
<a href="#FNanchor_83_83"><span class="label">[83]</span></a>
"Veez ci vostre compaignon qui, pour estre tel, a acquis la grace du Roy et
de la Royne et de tous, et vous qui estes noiseux et <i>joueux de cartes</i> et de dez,
et sieuvés deshonnestes gens, taverniers, et cabarets."</p>

<p class="footnote"><a name="Footnote_84_84" id="Footnote_84_84"></a>
<a href="#FNanchor_84_84"><span class="label">[84]</span></a>
Peignot considers the passages in which Cards are mentioned genuine, both
in the Chronicle of Petit-Jehan de Saintré and in the romance of Renard le
Contrefait. He had taken the passages just as he found them in Meerman and
Jansen, and made no further inquiry. Saint-Foix appears to have been the
first person in France who pointed out the passage relating to cards in the
Chronicle of Petit-Jehan de Saintré. See Peignot's Recherches sur les Danses
des Morts, et sur l'Origine des Cartes à jouer, pp. 211-262, 315.</p>

<p class="footnote"><a name="Footnote_85_85" id="Footnote_85_85"></a>
<a href="#FNanchor_85_85"><span class="label">[85]</span></a>
This work was composed about 1330.</p>

<p class="footnote"><a name="Footnote_86_86" id="Footnote_86_86"></a>
<a href="#FNanchor_86_86"><span class="label">[86]</span></a>
"... Voici une démonstration concluante: c'est le <i>fac-simile</i> d'une
miniature du manuscrit de la traduction de la <i>Citéde Dieu</i> de Saint Augustin,
par Raoul de Presles, qui le termina en 1375. Cette miniature représente des
personnages de distinction du règne de Charles V, débout autour une table ronde
et jouant aux cartes. Nous devons cette miniature à l'obligeance de M. le Comte
H. de Viel-Castel, qui nous l'a communiquée, ainsi que d'autres documens qu'il
avait réunis sur les cartes. Le manuscrit d'où on a tiré la miniature, achevé en
1375, avait été commencé en 1371."&mdash;Magasin Pittoresque, Quatrième Année,
Avril, 1836, p. 131.</p>

<p class="footnote"><a name="Footnote_87_87" id="Footnote_87_87"></a>
<a href="#FNanchor_87_87"><span class="label">[87]</span></a>
Istoria della Citta di Viterbo, p. 213. Folio, Roma, 1742.</p>

<p class="footnote"><a name="Footnote_88_88" id="Footnote_88_88"></a>
<a href="#FNanchor_88_88"><span class="label">[88]</span></a>
"Non giuocare a zara, nè ad altro giuoco di dadi, fa de' giuochi che usano i
fanciulli; agli aliossi, alla trottola, a' ferri, a' <i>Naibi</i>,
a' coderone, e simili,"&mdash;Cronica
di Giovan. Morelli, in Malespini's Istoria Fiorentina, p. 270. 4to,
Florence, 1728.</p>

<p class="footnote"><a name="Footnote_89_89" id="Footnote_89_89"></a>
<a href="#FNanchor_89_89"><span class="label">[89]</span></a>
Idée Générale d'une Collection complète d'Estampes, p. 240.</p>

<p class="footnote"><a name="Footnote_90_90" id="Footnote_90_90"></a>
<a href="#FNanchor_90_90"><span class="label">[90]</span></a>
C. G. von Murr, Journal zur Kunstgeschichte, 2ter Theil, s. 98. 8vo,
Nuremberg, 1776.</p>

<p class="footnote"><a name="Footnote_91_91" id="Footnote_91_91"></a>
<a href="#FNanchor_91_91"><span class="label">[91]</span></a>
Jansen, Essai sur l'Origine de la Gravure en Bois, &amp;c., quoted by Peignot,
p. 256.</p>

<p class="footnote"><a name="Footnote_92_92" id="Footnote_92_92"></a>
<a href="#FNanchor_92_92"><span class="label">[92]</span></a>
"Donné à Jacquemin Gringonneur, peintre, pour trois jeux de cartes à or
et à diverses couleurs, ornés de plusieurs devises, pour porter devers le Seigneur
Roi, pour son ébatement, cinquante-six sols parisis."&mdash;Menestrier, Bibliothèque
curieuse et instructive, tom. ii, pp. 168-94. 12mo, Trévoux, 1704. According
to Barrois, the name <i>Gringonneur</i> signified a maker of . "Ce nom a
fait prendre le change; il signifie faiseur de grangons.
'Grangium <i>Grangons</i>certus tesserarum
ludus.' Voir Glossarium de Ducange, Supplément, t. ii, col. 651. Les
premières cartes se vendaient à Paris, chez Jacquemin, gringoneur, fabricant de
dés, parce que les dés et les cartes s'employaient simultanément. (Voir Miniature
de notre cabinet dans l'Abusé en Court, manuscrit de XV<sup>e</sup> siècle.) D'où
dégringoler, rouler en sautillant comme les dés."&mdash;
Elémens Carlovingiens, linguistiques
et littéraires, p. 265. 4to, Paris, 1846.</p>

<p class="footnote"><a name="Footnote_93_93" id="Footnote_93_93"></a>
<a href="#FNanchor_93_93"><span class="label">[93]</span></a>
The following "shrewd reply," which owes its point to Menestrier's account
of the invention of cards, appeared in a weekly journal about three years ago.
"Sir Walter Scott says, that the alleged origin of the invention of cards produced
one of the shrewdest replies he had ever heard given in evidence. It was
made by the late Dr. Gregory, at Edinburgh, to a counsel of great eminence at
the Scottish bar. The doctor's testimony went to prove the insanity of the
party whose mental capacity was the point at issue. On a cross-interrogation
he admitted that the person in question played admirably at whist. 'And do
you seriously say, doctor,' said the learned counsel, 'that a person having a
superior capacity for a game so difficult, and which requires, in a pre-eminent
degree, memory, judgment, and combination, can be at the same time deranged
in his understanding?' 'I am no card-player," said the doctor, with great
address, 'but I have read in history that cards were invented for the amusement
of an insane king.' The consequences of this reply were decisive."</p>

<p class="footnote"><a name="Footnote_94_94" id="Footnote_94_94">
</a><a href="#FNanchor_94_94"><span class="label">[94]</span></a>
About the beginning of the fifteenth century the passion for gaming appears
to have been very prevalent in France; and persons who were addicted to it
endeavoured to guard themselves from its fascinations by voluntary bonds, with
a penalty in case of infraction. The following account of a bond of this kind is
extracted from the Memoirs of the Academy of Dijon for 1828. "Mons.
Baudot a trouvé deux actes de ce genre, qui méritent d'être conservés à cause
de leur singularité. Le premier est tiré du protocole de Jehan Lebon, notaire,
et de ses clercs Jehan Bizot, Guyot Bizot de Charmes, et Jehan Gros. On y
lit qu'en 1407, il y eut convention de ne pas jouer pendant une année, entre
Jehan Violier de Vollexon, boucher, à Dijon; Guillaume Garni, boucher,
Huguenin de Grancey, tournestier (employé aux tournois), Vivien le Picardet,
pâtissier, et Gorant de Barefort, coustellier, tous de Dijon, à peine de deux
francs d'or au profit de ceux qui n'auront pas joué, et de deux francs d'or à
lever par le Procureur de la Ville et Commune de Dijon, au profit de la Ville."&mdash;The
second was a similar engagement, in the year 1505.</p>

<p class="footnote"><a name="Footnote_95_95" id="Footnote_95_95"></a>
<a href="#FNanchor_95_95"><span class="label">[95]</span></a>
Thiers, referring to the Synod of Langres of 1404, Tit. de Ludibus prohibitis,
thus gives the prohibition: "Nous défendons expressement aux Ecclesiastiques,
principalement à ceux qui sont dans les saints ordres, et sur tout aux
prêtres et aux curés, de jouer aux dez, au triquetrac, ou aux cartes."&mdash;Traité
des Jeux et des Divertissemens, par M. Jean Baptiste Thiers, Docteur en Théologie,
p. 193. 12mo, Paris, 1686. Though this synod is also referred to by
Menestrier, Bullet, and others, it is overlooked by Mons. Duchesne, who,
speaking of the prohibition of cards to the clergy, says, "C'est seulement au
synode de Bamberg, in 1491, qu'au titre xvi on trouve la défense: 'Ludosque
taxillorum et chartarum, et his similes, in locis publicis.'"&mdash;Observations sur
les Cartes à jouer, dans l'Annuaire Historique, pour l'année 1837, p. 176.</p>

<p class="footnote"><a name="Footnote_96_96" id="Footnote_96_96"></a>
<a href="#FNanchor_96_96"><span class="label">[96]</span></a>
Peignot, who affects great precision in dates and names, says that the Statuta
Sabaudiæ were "publiées en 1470 par Amédée VIII, Duc de Savoie."
Amadeus VIII, the amateur hermit&mdash;who was elected Pope by the Council of
Basle in 1439, and who took the name of Pope Felix V&mdash;died in 1451.</p>

<p class="footnote"><a name="Footnote_97_97" id="Footnote_97_97"></a>
<a href="#FNanchor_97_97"><span class="label">[97]</span></a>
"Donnez nous du linge blanc. Faictes que nons ayons des linceux blancs,
et vous aures demain voz espingles."&mdash;J. T. Fregii Pædagogus, p. 112.
Basle, 1582.</p>

<p class="footnote"><a name="Footnote_98_98" id="Footnote_98_98"></a>
<a href="#FNanchor_98_98"><span class="label">[98]</span></a>
Von Murr, Journal zur Kunstgeschichte, 2er Theil, s. 121, 122.</p>

<p class="footnote"><a name="Footnote_99_99" id="Footnote_99_99"></a>
<a href="#FNanchor_99_99"><span class="label">[99]</span></a>
Heineken, in his French version of this passage, in the Idée Générale,
erroneously translates the word <i>leglenweiss</i>, "en ballots." In his Neue
Nachrichten, however, he gives the correct explanation, "das ist, in kleinen
Fassern"&mdash;"that is, in small casks." Though the word Lägel, a barrel, is
obsolete in Germany, yet its diminutive, "leglin,"&mdash;as if Lägelin&mdash;is still used
in Scotland for the name of the ewe-milker's kit. It is needless to cite the
work from which I copy this bit of information, as the author, I am sure, will
not find any fault with me for any liberties that I may take.</p>

<p class="footnote"><a name="Footnote_100_100" id="Footnote_100_100"></a>
<a href="#FNanchor_100_100"><span class="label">[100]</span></a>
"Conscioscia che l'arte e mestier delle carte e figure stampide, che se fano
in Venesia è vegnudo a total deffaction, e questo sia per la gran quantità de
carte a zugur e figure depente stampide, le qual vien fate de fuora de Venezia."&mdash;Algarotti,
Lettere Pittoriche, tom. v, p. 320.</p>

<p class="footnote"><a name="Footnote_101_101" id="Footnote_101_101"></a>
<a href="#FNanchor_101_101"><span class="label">[101]</span></a>
A stencil is a thin piece of pasteboard, parchment, or metal, in which the
outlines and general forms of any figures are <i>cut out</i>, for the purpose of being
"stencilled" on cards, paper, pasteboard, plastered walls, &amp;c. The operation is
performed by passing over the stencil a brush charged with colour, which entering
into the <i>cut out</i> lines imparts the figure to the material beneath.</p>

<p class="footnote"><a name="Footnote_102_102" id="Footnote_102_102"></a>
<a href="#FNanchor_102_102"><span class="label">[102]</span></a>
In a work entitled "ΠΑΝΟΠΛΙΑ omnium illiberalium mechanicarum aut
sedentariarum artium," &amp;c., with cuts designed by Jost Amman, and descriptions
in Latin verse by Hartman Schopper, Frankfort, 1568, there is a cut of a
<i>Briefmaler</i>, and another of a <i>Formschneider</i>; the former appears to be colouring
certain figures by means of a stencil; while the latter appears to be
engraving on wood. There are also editions of the work, with the descriptions
in German verse by Hans Sachs, the celebrated Meistersänger and shoemaker of
Nuremberg. Though it appears evident that at the time of the publication of
this work the business of a <i>Briefmaler</i> was considered as distinct from that of a
<i>Formschneider</i>, there is yet reason to believe that the old Briefmalers still continued
both to engrave and print woodcuts. On several large cuts with the
dates 1553 and 1554, we find the words "Gedrukt zu Nürnberg durch Hanns
Glaser, Brieffmaler."</p>

<p class="footnote"><a name="Footnote_103_103" id="Footnote_103_103"></a>
<a href="#FNanchor_103_103"><span class="label">[103]</span></a>
"Kartenmacher, und Kartenmaler, oder wie sie später (1473) hiessen, Briefmaler,
sind schon in Deutschland 80 Jahre vor der Erfindung der Buchdruckerkunst
gewesen. Die Kartenmacher waren anfangs die eigentlichen Formschneider,
ehe man geistliche Figuren schnitt, da sie dann in der Folge der
Zeit eine besondere Innung ausmachten."&mdash;Von Murr, Journal zur Kunstgeschichte,
2er Theil, s. 89.</p>

<p class="footnote"><a name="Footnote_104_104" id="Footnote_104_104"></a>
<a href="#FNanchor_104_104"><span class="label">[104]</span></a>
"L'homme le plus versé dans la connaissance des premiers produits de la
xylographie, le Baron de Heineken, était intérieurement persuadé que la première
empreinte tirée sur un ais grossièrement sculpté, qui parut en Europe,
<i>était une carte</i>. Dans son opinion, que nous croyons bien fondée, la gravure
des cartes à jouer conduisit à celle des images de Saints, qui donna l'idée de la
gravure des inscriptions ou légendes, d'où naquit l'imprimerie.&mdash;Ainsi, une
carte aurait produit la presse! Quelle mère et quelle postérité!"&mdash;Leber,
Etudes Historiques sur les Cartes à jouer, p. 3.</p>

<p class="footnote"><a name="Footnote_105_105" id="Footnote_105_105"></a>
<a href="#FNanchor_105_105"><span class="label">[105]</span></a>
The subject of this cut is the Virgin with the infant Jesus in her arms, surrounded
by four female saints, namely, St. Catherine, St. Barbara, St. Dorothy,
and St. Margaret. A fac-simile of it is given in the Athenæum for the 4th
October, 1845. The Baron de Reiffenberg, who published a particular account
of the cut, and of the circumstances of its discovery, entertains no doubt of the
authenticity of the date; and considers that the costume of the figures and the
general style of drawing are in perfect accordance with the period. Another
writer, however, questions the authenticity of the date, which he says has been
retouched with a black-lead pencil; and, from the costume, he concludes that it
is not of an earlier date than 1468. He supposes that the numeral l may have
been omitted before xviii in the date, which in the fac-simile of the cut stands
thus: mcccc · xviii.&mdash;See Quelques Mots sur la Gravure au Millésime de
1418, par C. D. B. 4to, Brussels, 1846.</p>

<p class="footnote"><a name="Footnote_106_106" id="Footnote_106_106"></a>
<a href="#FNanchor_106_106"><span class="label">[106]</span></a>
"It has been conjectured that the art of wood-engraving was employed on
sacred subjects, such as the figures of saints and holy persons, before it was
applied to the multiplication of those 'books of Satan,' playing cards. It,
however, seems not unlikely that it was first employed in the manufacture of
cards; and that the monks, availing themselves of the same principle, shortly
afterwards employed the art of wood-engraving for the purpose of circulating
the figures of saints; thus endeavouring to supply a remedy for the evil, and
extracting from the serpent a cure for his bite."&mdash;A Treatise on Wood Engraving,
Historical and Practical, p. 58. Published by Charles Knight and Co.
London, 1839.</p>

<div class="footnote"><a name="Footnote_107_107" id="Footnote_107_107"></a>
<a href="#FNanchor_107_107"><span class="label">[107]</span></a>
Father Tommaso Buoninsegni, in his 'Discorso del Giuoco,' p. 27, Florence,
1585, thus refers to the opinion of St. Bernardin and others on the subject of
gaming. "Sono stati alcuni tanto scrupolosi e severi, i quali hanno detto, che
non solo quegli che giuocano à restituire tenuti sono, ma di più li heredi, e quei
che prestano dadi, tavole, carte, e chi vende, e compera baratterie e bische, ed
inoltre li artefici, i quali fanno e vendono carte, e dadi, ed altri strumenti da
giuocare; e di più li Ufficiali, Rettori, Magistrati e Signori, i quali potendo
prohibire cotali giuochi, non li proibiscono."

<p>
In the notice of the life of St. Bernardin, in the Acta Sanctorum, cited by
Peiguot, he is said to have required that cards [<i>naibes</i>], dice, and other instruments
of gaming should be given up to the magistrates to be burnt. The anecdote
of the card-painter is given in Bernini's Histoire des Hérésies, tom. iv, p.
157. Venise, 1784. Thiers, in his Traité des Jeux, pp. 159-161, gives an
extract from a sermon of St. Bernardin against gaming: his reference to the
works of St. Bernardin is "<i>Serm. 33, in Dominic.</i> 5, <i>Quadrag</i>. 1 <i>part. princ</i>."
but he does not mention the edition.
</p>
<p>
It may here be observed that the opinion of Dr. Jeremy Taylor on this subject
is opposed to that of St. Bernardin. See his discussion of the Question on
Gaming: "Whether or no the making and providing such instruments which
usually minister to it, is by interpretation such an aid to the sin as to involve
us in the guilt?"</p>
</div>

<p class="footnote"><a name="Footnote_108_108" id="Footnote_108_108"></a>
<a href="#FNanchor_108_108"><span class="label">[108]</span></a>
Geschichte der Holzschneidekunst von den ältesten bis auf die neuesten
Zeiten, nebst zwei Beilagen enthaltend den Ursprung der Spielkarten und ein
Verzeichniss der sämmt xylographischen Werke, von Joseph Haller, s. 313.
8vo, Bamberg, 1823.</p></div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>

<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III.<br />

<small>THE PROGRESS OF CARD-PLAYING.</small></h2>


<p>Having now shown at what period cards were certainly
well known in Europe, and at what period card-making
was a regular business in Italy and Germany, I shall
proceed to lay before the reader a series of facts showing
the prevalence of the game in various countries, both among
great and little people.</p>

<p>From the repeated municipal regulations forbidding card-playing,
to be found in the Burgher-books of several cities
of Germany, between 1400 and 1450, it would seem that
the game was extremely popular in that country in the
earlier part of the fifteenth century; and that it continued
to gain ground, notwithstanding the prohibitions of men
in office. There are orders forbidding it in the council-books
of Augsburg, dated 1400, 1403, and 1406; though
in the latter year there is an exception which permits card-playing
at the meeting-houses of the trades. It was forbidden
at Nordlingen in 1426, 1436, and 1439; but in
1440 the magistrates, in their great wisdom, thought proper
to relax in some degree the stringency of their orders by
allowing the game to be played in public-houses. In the
town-books of the same city there are entries, in the years
1456 and 1461, of money paid for cards at the magistrates'
annual goose-feast or corporation dinner. In the books of
the company of "Schuflikker"&mdash;cobblers&mdash;of Bamberg,
there is a bye-law agreed to in 1491, which imposes a fine
of half a pound of wax&mdash;not shoemakers', but bees' wax for
the company's holy candle, to burn at the altar of the
<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
patron saint,&mdash;upon any brother who should throw the backgammon
pieces, cards, or dice out of the window.
<a name="FNanchor_109_109" id="FNanchor_109_109"></a>
<a href="#Footnote_109_109" class="fnanchor">[109]</a> From
this it may be concluded that the "Schuflikker" of Bamberg
in 1491 were accustomed, like gamesters of a more
recent period, to vent their rage, when losers, on the cards
and dice.</p>

<p>Baptista Platina, in his treatise 'De Honesta Voluptate'&mdash;which
is neither more nor less than an antique "School of
Good Living," teaching how creature comforts may be best
enjoyed&mdash;mentions cards as a game at which gentlemen
may play, after dinner or supper, to divert their minds, as
deep thinking after a hearty meal impedes digestion. There
was, however, to be no cheating nor desire of gain&mdash;which
is as much as to say that the stakes were to be merely nominal&mdash;lest
bad passions should be excited, and the process of
healthy concoction disturbed.
<a name="FNanchor_110_110" id="FNanchor_110_110"></a>
<a href="#Footnote_110_110" class="fnanchor">[110]</a></p>

<p>Galeottus Martius, a contemporary of Platina, is perhaps
the earliest writer who "speculated," or at least published
his speculations, on the allegorical meaning of the marks
of the four suits of cards. I shall give a translation of the
passage, which occurs in chapter xxxvi of his treatise 'De
Doctrina promiscua,' written, according to Tiraboschi,
between 1488 and 1490. I leave others to divine the
<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
author's precise meaning, referring them to the original
text which is given below. The topics of this chapter are:
"The greater and lesser Dog Star, Orion, the Evening Star,
the Pleiades, the Hyades, Bootes, the Kids, the planet
Venus, and the game of Cards." Towards the conclusion,
after having exhausted his astronomical topics, he thus
proceeds, <i>apropos</i> of the benign influence of Venus.</p>

<p>"From the excellency of this planet it is not surprising
that the ancients called a happy throw at dice Venus,&mdash;not
Jove, though considered of greater fortune. Thus Propertius:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse">"Venus I hoped with lucky dice to cast,</div>
      <div class="verse indent-2_6">But every time the luckless Dogs turned up."</div>
  </div>
</div>

<p>"An unlucky cast was called the Dog&mdash;"<i>Canis</i>"&mdash;and
also the Little Dog&mdash;"<i>Canicula</i>"&mdash;with reference to the
Stars. Thus Persius:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse">"Far as the luckless little Dog-star's range."</div>
  </div>
</div>

<p>"What kind of stars the Great and Little Dog were,
has been already shown. Some persons, indeed, might
laugh at the invention of such kind of games being
ascribed to the learned, were it not plain from reason that
the game of cards was also devised by wise men. To say
nothing about the Kings, Queens, Knights, and Footmen,&mdash;for
every one knows the distinction between dignity and
military service,&mdash;is it not evident, when we consider the
significance of swords, spears, cups, and country loaves,
that the inventor of the game was a man of shrewd wit?
When there is need of strength, as indicated by the Swords
and Spears, many are better than few; in matters of meat
and drink, however, as indicated by the Loaves and Cups,
a little is better than a great deal, for it is certain that
abstemious persons are of more lively wit than gluttons and
drunkards, and much superior in the management of
<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
business. What I call country loaves, from their form and
colour,&mdash;Pliny speaks of bread of a yellow colour&mdash;are the
marks which are ignorantly supposed to signify pieces of
money. The Cups are goblets, for wine."
<a name="FNanchor_111_111" id="FNanchor_111_111"></a>
<a href="#Footnote_111_111" class="fnanchor">[111]</a></p>

<p>The remainder of the passage cannot be literally translated
into English, as it relates chiefly to the pronunciation
of the word "<i>Hastas</i>"&mdash;Spears. The substance of it,
however, is as follows: "The common people say 'Hastas,'
as the aspiration H, and the letter V are interchangeable,
and so are B and V, both in Greek and Latin. As Bastoni
[clubs] are vulgarly called Hastoni, so have they sometimes
the form of spears [Hastarum], but mostly that of bills, for
<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
both are military weapons." The original passage is
extremely perplexing; and the only thing in it that appears
plain to me is the writer's desire to convert Bastoni&mdash;Clubs&mdash;into
"Hastas," Spears. The Bastoni, which he says
are called Hastoni, or the Hastoni which are called Bastoni,&mdash;for
there is here an ambiguity, as in the celebrated oracular
response, "Aio te, Æacida, Romanos vincere posse"&mdash;can
only relate to the figures of the things as seen on
cards, and not to the things themselves; for the author
says that they have sometimes the shape of spears, but more
frequently that of bills. The real meaning of this I take to
be, that the Bastoni&mdash;Clubs&mdash;on cards were more like
bills than spears, notwithstanding that H and V, and V
and B, were interchangeable letters. From the account
of Galeottus, it is evident that the usual marks of the
suits of Italian cards were in his time, Coppe, Spadi,
Danari, and Bastoni,&mdash;Cups, Swords, Money, and Clubs.</p>

<p>In 1463 it would appear that cards were well known in
England; for, by an act of parliament passed in that year,
which was the third of Edward IV, the importation of playing
cards was expressly prohibited. This act, according
to Anderson, was passed in consequence of the manufacturers
and tradesmen of London, and other parts of England,
having made heavy complaints against the importation of
foreign manufactured wares which greatly obstructed their
own employment.<a name="FNanchor_112_112" id="FNanchor_112_112"></a>
<a href="#Footnote_112_112" class="fnanchor">[112]</a>
If we suppose that cards were included
<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span>
in the prohibition for the above reason, it would follow that
card-making was then a regular business in England.</p>

<p>Whether cards were home-manufactured or obtained
from abroad, they appear about 1484 to have been, as they
are at present, a common Christmas game. Margery
Paston thus writes to her husband, John Paston, in a
letter dated Friday, 24th Dec., 1484: "Right worshipful
husband, I recommend me unto you. Please it you to
weet that I sent your eldest son John to my Lady Morley,
to have knowledge of what sports were used in her house
in the Christmas next following after the decease of my
lord her husband; and she said that there were none
disguisings, nor harpings, nor luting, nor singing, nor none
loud disports; but playing at the tables, and chess, and
<i>cards</i>; such disports she gave her folks leave to play, and
none other. Your son did his errand right well, as ye shall
hear after this. I sent your younger son to the Lady
Stapleton; and she said according to my Lady Morley's
saying in that, and as she had seen used in places of worship
thereas [where] she hath been."
<a name="FNanchor_113_113" id="FNanchor_113_113"></a>
<a href="#Footnote_113_113" class="fnanchor">[113]</a> It may not be
improper here to caution the reader against confounding
"places of worship," with "houses of prayer," and hence
inferring that cards were then a common game in churches,
with gentlemen's servants, at Christmas time. By "places
of worship" are meant the dwelling-places of worshipful
persons, such as lords, knights, and justices of the peace:
in those days there were no stipendiary police-magistrates,
and every Shallow on the bench was "a gentleman
born."</p>

<p>Whether Richard III, in whose reign the letter above
quoted was written, added dicing and card-playing to his
other vices, we have no account either in public history
<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
which deals, or ought to deal, wholesale, in "great facts,"
or in private memoirs, which are more especially devoted
to the retailing of little facts. His successor, however,
Henry VII, was a card player; for Barrington observes that
in his privy-purse expenses there are three several entries
of money issued for his majesty's losses at cards. Of his
winnings there is no entry; though his money-grubbing
majesty kept his accounts so exactly as to enter even a six-and-eightpenny
bribe, given to propitiate his mercy
in favour of a poor criminal,&mdash;thus turning a penny by trafficking
with his prerogative of pardoning:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse">"To have the power to forgive,</div>
      <div class="verse indent-2_6">Is empire and prerogative."</div>
  </div>
</div>

<p>It would appear that cards was a common game at the
court of Henry the VII, even with the royal children; for,
in 1503, his daughter Margaret, aged 14, was found playing
at cards by James IV of Scotland, on his first interview
with her, after her arrival in Scotland for the purpose of
being married to him.<a name="FNanchor_114_114" id="FNanchor_114_114"></a>
<a href="#Footnote_114_114" class="fnanchor">[114]</a>
James himself is said to have been
greatly addicted to card-playing; and in the accounts of
his treasurer there are several entries of money disbursed
on account of the game. On Christmas night, 1496, there
are delivered to the king at Melrose, to spend at cards,
"thirty-five unicornis, eleven French crowns, a ducat, a
ridare, and a leu"&mdash;in all forty-two pounds. On the 23d
August, 1504, when the king was at Lochmaben, he appears
to have lost several sums at cards to Lord Dacre, the
warden of the English marches; and on the 26th of the
<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
same month, there is an entry of four French crowns given
"to Cuddy, the Inglis luter, to louse his cheyne of grotis,
quhilk he tint at the cartis,"&mdash;to redeem his chain of groats
which he lost at cards.<a name="FNanchor_115_115" id="FNanchor_115_115">
</a><a href="#Footnote_115_115" class="fnanchor">[115]</a></p>


<p>M. Duchesne, in his 'Observations sur les Cartes à jouer,'
says, somewhat inconsistently, that cards are of Italian
origin, and that it was either at Venice or at Florence, that
the Greek refugees from Constantinople, first made them
known. M. Duchesne is as incorrect in his chronology,
as he is singular in his notions with respect to the Italian
origin of playing cards,&mdash;first brought to Venice or Florence,
by Greeks.<a name="FNanchor_116_116" id="FNanchor_116_116"></a>
<a href="#Footnote_116_116" class="fnanchor">[116]</a>
The refugees to whom he apparently
alludes were the Greeks who sought an asylum in Italy,
when Constantinople was taken by the Turks, in 1453,
which is sixty years after the time that we have positive
evidence of cards being known in France. But though no
evidence has been produced to show that cards were first
brought into Europe from Constantinople, it is yet certain
that they were known to the Greeks, before the end of
the fifteenth century; for Ducange, in his Glossary of
Middle-Age Greek, under the word "XAPTIA, Ludus chartarum,
<a name="FNanchor_117_117" id="FNanchor_117_117"></a>
<a href="#Footnote_117_117" class="fnanchor">[117]</a>
quotes the following verse from a manuscript of
Emanual Georgillas on the Plague at Rhodes:</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse indent-2_6">"Και τα ταυλια, και τα χαρτια, και ζαρια κατακαυσουν."</div>
  </div>
</div>

<p class="center"><span style="font-size: 0.9em;">"Burn the tables, cards, and dice."</span></p>

<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
<p>"It appears from this," says Ducange, "that the game
of cards, the origin of which is uncertain, was at least
known in 1498, the year in which this mortality happened."
In the 'Journal des Dames,' for the 10th April, 1828&mdash;a
publication, which I have not had the fortune to see,
but which is referred to by Brunet the younger, in his
'Notice Bibliographique sur les Cartes à jouer,'&mdash;there is
a detailed account of the modern Greek cards manufactured
at Frankfort.<a name="FNanchor_118_118" id="FNanchor_118_118"></a>
<a href="#Footnote_118_118" class="fnanchor">[118]</a></p>

<p>Towards the close of the fifteenth, and in the early part
of the sixteenth century, before Luther had sounded the
tocsin of religious reform, and given a new impulse to both
the busy and the idle, the Germans appear to have been
greatly addicted to gaming. Woodcuts of this period
showing men and women playing at cards and dice are
common. John Geiler of Kaisersberg, a famous preacher
in his day, who, like Latimer, was accustomed to season his
sermons with a little humour&mdash;not to say fun&mdash;rings a
peal against gaming in his 'Speculum Fatuorum,' first
printed at Strasburg about 1508. He says that there are
some games at cards which are purely of chance, such as
<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>
"<i>der offen Rusch und Schantzen</i>,"
<a name="FNanchor_119_119" id="FNanchor_119_119"></a>
<a href="#Footnote_119_119" class="fnanchor">[119]</a> while others, such as
"<i>des Karnefflins</i>" depend on both chance and skill. In
treating of the lawfulness of playing at cards, dice, and
similar games "for the sake of recreation"&mdash;a saving clause
which appears to have been introduced in favour of the
laboriously studious and devout,&mdash;he cites authorities both
<i>pro</i> and <i>con</i>. A certain gloss says that to play at such
games, whether for money, or "gratis," is a deadly sin;
and Hostiensis says that to play for recreation, for money,&mdash;"to
kill themselves for love, with wine"&mdash;is a deadly sin
in the laity as well as the clergy. Angelus, however, says
that it is lawful for both clergy and laity to play for recreation,
for small stakes: "<i>pro modico non notabili</i>." Geiler's
own conclusion is that, as doctors differ, there is danger.
Gaming in his time, as in our own, appears to have levelled
all distinctions: lords and ladies, and even clergymen,
dignified or otherwise, eager to win money, and confiding
in their luck, or their skill, cared but little for the rank or
character of those with whom they played, provided they
could but post the stakes; and felt no more compunction
in winning a ruffling burgher's money, than a peer would
in receiving the amount of a bet from a cab-man, or a
wealthy citizen, a few years ago, in rendering bankrupt the
wooden-legged manager of a thimble-rig table at Epsom or
Ascot.&mdash;The "thimble-rig," however, is now numbered
with the things that have been&mdash;"<i>fuit</i>." Lord Stanley
brought it into political disrepute; and Sir James Graham
put it down, just about the time that the railway speculation
began to be the "rage" under the auspices of a
knowing Yorkshireman.</p>

<p>Thomas Murner, a Franciscan friar, availing himself
<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
apparently of the popularity of card-playing, introduced the
term "Chartiludium" as a "caption" in the title of his
'Logica Memorativa,' printed at Strasburg, in 1509.
<a name="FNanchor_120_120" id="FNanchor_120_120"></a>
<a href="#Footnote_120_120" class="fnanchor">[120]</a> The
work is evidently that of a scholastic pedant, who might
possibly be expert enough in ringing the changes on verbal
distinctions, but who had not the least knowledge of things,
nor any idea of the right use of reason. The book is
adorned with numerous cuts, which represent cards, inasmuch
at the top of each there is an emblem, just as there
is the mark of the suit in each of our coat cards. The
cuts and the text taken together, for they mutually render
each other more intelligible, form such a mass of complicated
nonsense as would puzzle even a fortune-teller to
interpret. In his prologue, Murner asks pardon for the
title of his book; and assures the studious youths, for
whose instruction it was devised, that he had not been led
to adopt it from any partiality to card-playing; that, in
fact, he had never touched cards, and that, from his very
childhood he had abhorred the perverse passion for play.
In 1518 Murner, apparently stimulated by the success of
his logical card-play, published an introduction to the civil
law, written and pictorially illustrated in the same manner
as the former.<a name="FNanchor_121_121" id="FNanchor_121_121"></a>
<a href="#Footnote_121_121" class="fnanchor">[121]</a></p>

<p><span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span></p>
<p>As I have not been able to make anything of Murner's
logical card-play, either as regards the instruments or the
matter professed to be taught, I willingly avail myself of
what Mons. Leber has said on the subject in his 'Etudes
Historiques sur les Cartes à jouer.'&mdash;"These cards," says
Mons. Leber, "made much noise in their time; and this
might well be, for they were a novelty which it was easier
to admire than to comprehend. At first people fancied that
they saw in them the work of the devil; and it was even a
question whether the author should not be burnt, seeing
that he could be nothing more than a conjurer with the
logicians of that age. But the conjurer's pupils made such
extraordinary progress, that people cried out "wonderful!"
and Murner's book was pronounced divine. Although those
cards are fifty-two in number, they have nothing in common
with our pack. They differ from all other cards, whether
for gaming, or of fanciful device, in the multiplicity and
the division of the suits, which the inventor has applied to the
divisions of logic, after a method of his own. Of these suits
there are no less than sixteen, corresponding with the same
number of sections of the text, and having the following
names and colours:</p>

<table class="centertable" id="MURNERS_CARDS" summary="Murner's Cards">
  <tr>
    <td class="c1-2">I.</td>
    <td class="c1-1"><span class="smcap">Enunciatio</span></td>
    <td class="c2-1">Bells.</td>
  </tr>
  <tr>
    <td class="c1-2">II.</td>
	<td class="c1-1"><span class="smcap">Predicabile</span></td>
    <td class="c2-1">Crayfish.</td>
  </tr>
  <tr>
    <td class="c1-2">III.</td>
	<td class="c1-1"><span class="smcap">Predicamentum</span></td>
    <td class="c2-1">Fish.</td>
  </tr>
  <tr>
    <td class="c1-2">IV.</td>
    <td class="c1-1"><span class="smcap">Sillogismus</span></td>
    <td class="c2-1">Acorns.</td>
  </tr>
  <tr>
    <td class="c1-2">V.</td>
    <td class="c1-1"><span class="smcap">Locus Dialecticus</span></td>
    <td class="c2-1">Scorpions.</td>
  </tr>
  <tr>
    <td class="c1-2">VI.</td>
    <td class="c1-1"><span class="smcap">Fallacia</span>
	  <span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span></td>
    <td class="c2-1">Turbans.</td>
  </tr>
  <tr>
    <td class="c1-2">VII.</td>
    <td class="c1-1"><span class="smcap">Suppositio</span></td>
    <td class="c2-1">Hearts.</td>
  </tr>
  <tr>
    <td class="c1-2">VIII.</td>
    <td class="c1-1"><span class="smcap">Ampliatio</span></td>
    <td class="c2-1">Grasshoppers.</td>
  </tr>
  <tr>
    <td class="c1-2">IX.</td>
    <td class="c1-1"><span class="smcap">Restrictio</span></td>
    <td class="c2-1">Suns.</td>
  </tr>
  <tr>
    <td class="c1-2">X.</td>
    <td class="c1-1"><span class="smcap">Appellatio</span></td>
    <td class="c2-1">Stars.</td>
  </tr>
  <tr>
    <td class="c1-2">XI.</td>
    <td class="c1-1"><span class="smcap">Distributio</span></td>
    <td class="c2-1">Pigeons.</td>
  </tr>
  <tr>
    <td class="c1-2">XII.</td>
    <td class="c1-1"><span class="smcap">Expositio</span></td>
    <td class="c2-1">Crescents.</td>
  </tr>
  <tr>
    <td class="c1-2">XIII.</td>
    <td class="c1-1"><span class="smcap">Exclusio</span></td>
    <td class="c2-1">Cats, or Tigers.</td>
  </tr>
  <tr>
    <td class="c1-2">XIV.</td>
    <td class="c1-1"><span class="smcap">Exceptio</span></td>
    <td class="c2-1">Shields of Arms.</td>
  </tr>
  <tr>
    <td class="c1-2">XV.</td>
    <td class="c1-1"><span class="smcap">Reduplicatio</span></td>
    <td class="c2-1">Crowns.</td>
  </tr>
  <tr>
    <td class="c1-2">XVI.</td>
    <td class="c1-1"><span class="smcap">Descensus</span></td>
    <td class="c2-1">Serpents.</td>
  </tr>
</table>

<p>"Such is the whimsicality of those signs, and such the oddity
of their relation to the things signified, that the learned
Singer has been deterred from the attempt to make them
known; at any rate, he declares that he will not undertake
to explain that which even the most profound logicians of
the day might not be able to comprehend. This is easily
said, but we see no impossibility in explaining how the
author understood himself. One example will be sufficient
to give an idea of Murner's figured language, and of the
the parts which might be played by serpents, cats, acorns,
and crayfish in the chair of Aristotle when its occupant was
a friar of the sixteenth century.</p>

<p>"The figure of a man with a crown on his head, a patch
over one of his eyes, a book in one hand, and a trowel in
the other, relates to section, or "Tractatus," X, <span class="smcap">APPELLATIO</span>.
It displays three symbols, the object of which is intelligence
or definition: 1, the logical appellation; 2, relative terms or
ideas which have become connected in the mind; 3, privative
terms, expressive of privation or exclusion. The open book,
[which appears shut] is the symbol of the definition; the
trowel indicates connexion; and the patch over the eye
signifies privation. The star, which occupies the place of
the mark of the suit, and casts its light on all the other
three symbols, signifies that clearness is the first merit in
<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
every definition." The cut here given is a fac-simile of
that referred to.</p>

<div class="figcenter"><a name="i_124.jpg" id="i_124.jpg"></a>
  <img src="images/i_124.jpg"
      alt="Man with crown on his head" />
</div>

<p>Rogers, availing himself of the poetic license, though but
to a small extent, has represented the followers of Columbus
as playing at cards in his first voyage of discovery, to the
West Indies, in 1492.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"At daybreak might the caravels be seen,</div>
  <div class="verse indent-2_6">Chasing their shadows o'er the deep serene;</div>
  <div class="verse indent-2_6">Their burnish'd prows lash'd by the sparkling tide,</div>
  <div class="verse indent-2_6">Their green-cross standards waving far and wide.</div>
  <div class="verse indent-2_6">And now once more to better thoughts inclined,</div>
  <div class="verse indent-2_6">The seaman, mounting, clamour'd in the wind.</div>
  <div class="verse indent-2_6">
    <span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>
    The soldier told his tales of love and war;</div>
  <div class="verse indent-2_6">The courtier sung&mdash;sung to his gay guitar.</div>
  <div class="verse indent-2_6">Round, at Primero, sate a whiskered band;</div>
  <div class="verse indent-2_6">So Fortune smiled, careless of sea or land."
    <a name="FNanchor_122_122" id="FNanchor_122_122"></a>
    <a href="#Footnote_122_122" class="fnanchor">[122]</a></div>
  </div>
</div>

<p>Garcilasso de la Vega, to whom Mr. Rogers refers, says
nothing about Primero or the followers of Columbus playing
at the game; he only mentions, in his 'History of the Conquest
of Florida,' that the soldiers who were engaged in that
expedition, having burnt all their cards after the battle of
Mauvila, [about 1542], made themselves new ones of parchment,
which they painted admirably, as if they had followed
the business all their lives; but as they either could not, or
would not, make so many as were wanted, players had the
cards in their turn for a limited time.
<a name="FNanchor_123_123" id="FNanchor_123_123"></a>
<a href="#Footnote_123_123" class="fnanchor">[123]</a> Although we have no
positive evidence of the fact, it is yet not unlikely that there
were cards in the ships of Columbus; unless indeed they had
been especially prohibited to the crews on this occasion, as they
were to the soldiers and sailors of the Spanish Armada in
1588.<a name="FNanchor_124_124" id="FNanchor_124_124"></a>
<a href="#Footnote_124_124" class="fnanchor">[124]</a>
Herrera has recorded in his 'History of the Spanish
<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
Discoveries in America,' that Montezuma, emperor of Mexico,
who was made prisoner by Cortes in 1519, took great
pleasure in seeing the Spanish soldiers play at cards.</p>

<p>Barrington, in his 'Observations on the Antiquity of Card-playing
in England,' says, "During the reigns of Henry VIII
and Edward VI, this amusement seems not to have been
common in England, as scarcely any mention of it occurs
either in Rymer's Fœdera, or the statute book." Had
Mr. Barrington been as well read in old poems and plays
as he was in the more ancient statutes, it is likely that he
would have been of a different opinion. He says, "It is
not improbable, however, that Philip the Second, with his
suite, coming from the court of Charles V, made the use of
cards much more general than it had been, of which some
presumptive proofs are not wanting." The supposition is
plausible; but as the presumptive proofs which he alleges,
were as likely to be found in the reign of Edward IV, as in
the reign of Mary, they are of no weight in the determination
of the question. As Catherine, the wife of Henry VIII,
was a Spanish princess, and as it is recorded that, amongst
her other accomplishments, she could "play at tables, tick-tack,
or gleek, with cardes or dyce,"<a name="FNanchor_125_125" id="FNanchor_125_125"></a>
<a href="#Footnote_125_125" class="fnanchor">[125]</a> the persons forming her
suite were just as likely as those of the suite of Philip II,
to have brought into England Spanish cards with the marks
of swords and clubs proper&mdash;<i>Espadas</i> and <i>Bastos</i>: but
there can scarcely be a doubt that such cards were known
in England long before. Mr. Barrington's partiality to his
<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
theory about Spanish cards, and of the game becoming
much more general in England after the marriage of Philip
and Mary, has probably caused him either to entirely overlook,
or attach too little importance to a presumptive proof,
to be found in the statute-book, of cards being a common
amusement in England in the reign of Henry VIII. In a
statute relating to plays and games, passed in the thirty-third
year of that king's reign, 1541, we find the following
restrictions. "No Artificer, or his Journeyman, no Husbandman,
Apprentice, Labourer, Servant at Husbandry, Mariner,
Fisherman, Waterman, or Serving-man, shall play at Tables,
Tennis, Dice, <i>Cards</i>, Bowls, Closh, Coyting, Logating, or
any other unlawful game out of Christmas; or then, out of
their master's house or presence, in pain of 20<i>s.</i>; and none
shall play at Bowls in open places, out of his garden or
orchard, in pain of 6<i>s.</i> 8<i>d.</i>"<a name="FNanchor_126_126" id="FNanchor_126_126"></a>
<a href="#Footnote_126_126" class="fnanchor">[126]</a> In the morality of Hycke-Scorner,
reprinted in Hawkins's 'Origin of the English
Drama,' from a black letter copy in Garrick's collection, of
at least as early a date as the commencement of the reign of
Henry VIII, the following are enumerated as forming part
of the company of the ships that came over with Hycke-Scorner:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Braulers, lyers, getters, and chyders,</div>
  <div class="verse indent-2_6">Walkers by night, and great murderers,</div>
  <div class="verse indent-2_6">Overthwarte gyle, and joly carders."</div>
  </div>
</div>

<p>In the morality of Lusty Juventus, written by R. Wever,
in the reign of Edward VI, Hypocryse says to Juventus,
whom he invites to breakfast:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"I have a furny carde in a place,</div>
  <div class="verse indent-2_6">That will bear a turne besides the ace;</div>
  <div class="verse indent-2_6">She purvoyes now apace</div>
  <div class="verse indent0_7">For my commynge."</div>
  </div>
</div>

<p><span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>

<p>From a subsequent passage it appears that this "furny
carde"<a name="FNanchor_127_127" id="FNanchor_127_127"></a>
<a href="#Footnote_127_127" class="fnanchor">[127]</a>
is the naughty woman, "litle Besse," the personification
of "Abhominable Livyng."</p>

<p>In the comedy of 'Gammer Gurton's Needle,' said to
have been first printed in 1551, old dame Chat thus invites
two of her acquaintance to a game at cards:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"What, Diccon? Come nere, ye be no stranger:</div>
  <div class="verse indent-2_6">We be fast set at trump, man, hard by the fire;</div>
  <div class="verse indent-2_6">Thou shalt set on the king, if thou come a little nyer.</div>
  <div class="verse indent-2_6">Come hither, Dol; Dol, sit down and play this game,</div>
  <div class="verse indent-2_6">And as thou sawest me do, see thou do even the same;</div>
  <div class="verse indent-2_6">There is five trumps besides the queen, the hindmost
    thou shalt find her."</div>
  </div>
</div>

<p>In a Satire on Cardinal Wolsey and the Romish Clergy
by William Roy, without date, but most likely printed in
1527,<a name="FNanchor_128_128" id="FNanchor_128_128"></a>
<a href="#Footnote_128_128" class="fnanchor">[128]</a> some of the bishops are charged with gaming in
addition to their other vices:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"To play at the cardes and dyce,</div>
  <div class="verse indent-2_6">Some of theym are nothynge nyce,</div>
  <div class="verse indent0_7">Both at hasard and mom-chaunce."</div>
  </div>
</div>

<p>In the privy purse expenses, from 1536 to 1544, of the
Princess Mary, daughter of Henry VIII, afterwards Queen
Mary, there are numerous entries of money delivered to the
princess to play at cards. In a prefatory memoir, Sir
Frederick Madden remarks: "Cards she seems to have
indulged in freely; and there is a sum generally allotted as
pocket-money for the recreation every month."
<a name="FNanchor_129_129" id="FNanchor_129_129"></a>
<a href="#Footnote_129_129" class="fnanchor">[129]</a> As Mary
<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span>
is said to have been extremely devout, we may presume
that, adopting the decisions of the more indulgent casuists,
she availed herself of their permission to play at cards as a
recreation when her mind was fatigued with the exercise of
her strenuous piety. The records of the burning of men
and women in her reign for the sake of <i>religion</i>, form a
singular contrast with the entries in her privy purse expenses
of money delivered to her to play at cards.</p>

<p>From the preceding incidental notices of cards in poems
and plays, as well as from the direct evidence of the statute
book and the privy purse expenses of the Princess Mary, it
would appear that card-playing was common in England
during the reigns of Henry VIII and Edward VI, both in
the cottage and the palace; and there is reason to believe
that about the same period the game was equally common
in Scotland. William Dunbar, who wrote in the reigns of
James IV and James V, in his 'General Satire,' exposing
the depravity of all classes of people in the kingdom, thus
alludes to the prevalence of dicing and card-playing:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Sic knavis and crakkaris, to play at carts and dyce,</div>
  <div class="verse indent-2_6">Sic halland-scheckaris, qwhilk at Cowkilbyis gryce</div>
    <div class="verse indent0_7">Are haldin of pryce, when lymaris do convene;</div>
  <div class="verse indent-2_6">Sic store of vyce, sae mony wittis unwyse,</div>
  <div class="verse indent0_7">Within this land was nevir hard nor sene."</div>
  </div>
</div>
<p>In the poems of Sir David Lyndsay, there are several
allusions to card-playing; and in his 'Satire of the Three
Estaites,' which Chalmers says was first acted at Cupar,
<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
Fifeshire, in 1535, the Parson declares himself to be an
adept at the game:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Thoch I preich nocht, I can play at the caiche:</div>
  <div class="verse indent-2_6">Mair ferylie can play at the fute-ball;</div>
  <div class="verse indent-2_6">And for the cartis, the tabels, and the dyse,</div>
  <div class="verse indent-2_6">Above all parsouns I may beir the pryse."</div>
  </div>
</div>

<p>In Sir David's poem, entitled 'The Cardinal,' exposing
the personal vices and tyrannical conduct of Cardinal
Beaton, who was assassinated at St. Andrews in 1546, that
prelate is represented as a great gamester:
<a name="FNanchor_130_130" id="FNanchor_130_130"></a>
<a href="#Footnote_130_130" class="fnanchor">[130]</a></p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"In banketting, playing at cartis and dyce,</div>
  <div class="verse indent-2_6">Into sic wysedome I was haldin wyse;</div>
  <div class="verse indent-2_6">And spairit nocht to play with king nor knicht,</div>
  <div class="verse indent-2_6">Thre thousand crownes of golde upon ane night."</div>
  </div>
</div>

<p>In the examination of Thomas Forret, a dean of the Kirk,
and vicar of Dollar, on a charge of heresy brought against
him by John Lauder, a tool of Cardinal Beaton's, at Edinburgh,
1st March, 1539, Forret's answer to one of the
charges of his accuser, affords some idea of the manner in
<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
which many bachelor priests of the period were accustomed
to spend their tithes:</p>

<p>"<i>Accuser.</i> False Heretic, thou sayest it is not lawful to
Kirkmen to take their teinds (tythes) and offerings and
corps-presents, though we have been in use of them, constitute
by the Kirk and King, and also our holy father the
Pope hath confirmed the same?</p>

<p>"<i>Dean Forret.</i> Brother, I said not so; but I said it
was not lawful to Kirkmen to spend the patrimony of the
Kirk, as they do, on riotous feasting, and on fair women,
and at playing at cards and dice."
<a name="FNanchor_131_131" id="FNanchor_131_131"></a>
<a href="#Footnote_131_131" class="fnanchor">[131]</a></p>

<p>Pinkerton, in his 'History of Scotland,' says: "Stewart
the poet, in an address to James V, advises him to amuse
himself with hunting, hawking, and archery, justing, and
chess; and not to play at cards or dice, except with his
mother or the chief lords, as it was a disgrace for a prince
to win from men of inferior station, and his gains at any
time ought to be given to his attendants."</p>

<p>At a period somewhat later, it would appear that card-playing
was a common amusement on the borders of
Scotland, and that the sturdy rievers, whose grand game
was cattle lifting, were accustomed to while away their idle
hours at cards for placks and hardheads. The following
curious passage occurs in a letter dated Newcastle, 12th
January (1570), printed in the second volume of Sir Ralph
Sadler's 'State Papers.' The writer was a gentleman named
Robert Constable, who appears to have been sent into
Scotland to endeavour to persuade his kinsman, the Earl of
Westmoreland, to return to England and submit himself to
Elizabeth's mercy.<a name="FNanchor_132_132" id="FNanchor_132_132"></a>
<a href="#Footnote_132_132" class="fnanchor">[132]</a></p>

<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>

<p>"I left Ferniherst, and went to my ostes house,
<a name="FNanchor_133_133" id="FNanchor_133_133">
</a><a href="#Footnote_133_133" class="fnanchor">[133]</a> where I
found many guests of dyvers factions, some outlaws of
England, some of Scotland, some neighbours thereabout, at
cards; some for ale, some for placks and hardhedds [a small
coin]; and after I had diligently learned and enquired that
there was none of any surname that had me in deadly fude,
nor none that knew me, I sat down and plaid for hardhedds
among them, where I heard <i>vox populi</i> that the Lord Regent
would not, for his owne honour, nor for the honour of his
country, deliver the Earls, if he had them bothe, unless it
were to have their Quene delivered to him; and if he wold
agree to make that change, the borderers would start up in
his contrary, and reave both the Quene and the Lords from
him, for the like shame was never don in Scotland; and
that he durst better eate his own lugs than come agen to
seke Farneherst; if he did, he should be fought with ere he
came over Sowtray edge. Hector of Tharlows
<a name="FNanchor_134_134" id="FNanchor_134_134"></a>
<a href="#Footnote_134_134" class="fnanchor">[134]</a> hedd was
wished to have been eaten amongs us at supper."</p>

<p>In the old ballad entitled 'The Battle of the Reed Swire,'
giving an account of a fray at a Warden meeting, which
ended in a general fight, we find cards mentioned. This
meeting was held in 1576 near the head of the river Reed,
on the English side of the Carter fell; and appears to have
been attended, like a fair, by people from both sides of the
Border.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="stanza">
  <div class="verse">"Yet was our meeting meik enough,</div>
  <div class="verse indent0_7">  Began with mirriness and mows;</div>
  <div class="verse indent-2_6">And at the brae abune the heugh</div>
  <div class="verse indent0_7">The clerk sat down to call the rows;
    <span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span></div>
  <div class="verse indent0_7">And sum for kye, and sum for ewes,</div>
  <div class="verse">Callit in of <span class="smcap">Dandrie</span>, HOB, and JOCK:</div>
  <div class="verse indent0_7">I saw come marching owre the knows</div>
  <div class="verse">Fye hundred <span class="smcap">Fennicks</span> in a flock.</div>
  </div>
  <div class="stanza">
  <div class="verse">"With jack and speir, and bowis all bent,</div>
  <div class="verse indent0_7">And warlike weapons at their will;</div>
  <div class="verse indent-2_6">Howbeit they were not weil content,</div>
  <div class="verse indent0_7">Yet be me troth we feird na ill:</div>
  <div class="verse indent0_7">Some gaed to drink, and some stude still,</div>
  <div class="verse indent-2_6">And sum to cards and dyce them sped;</div>
  <div class="verse indent0_7">While on ane Farstein they fyld a bill,
    <a name="FNanchor_135_135" id="FNanchor_135_135"></a>
    <a href="#Footnote_135_135" class="fnanchor">[135]</a></div>
  <div class="verse indent-2_6">And he was fugitive that fled."</div>
  </div>
  </div>
</div>

<p>About the same period the game of cards was a common
amusement in the south of Ireland. Spenser, in his 'View
of the State of Ireland,' written about 1590, speaks of an
idle and dissolute class of people called "Carrows," who, he
says, "wander up and down to gentlemen's houses, living
only upon cards and dice; the which, though they have but
little or nothing of their own, yet will they play for much
money; which, if they win, they waste most lightly; and
if they lose, they pay as slenderly, but make recompense
with one stealth or another; whose only hurt is not that
they themselves are idle lossels, but that through gaming
they draw others to lewdness and idleness."<a name="FNanchor_136_136" id="FNanchor_136_136"></a>
<a href="#Footnote_136_136" class="fnanchor">[136]</a></p>

<p><span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
<p>The counterpart to this picture was to be found in Spain
about the same period; and as the intercourse between the
two countries was frequent, and the favorite game in both
was "One-and-Thirty," it is not unlikely that the Irish
obtained their knowledge of cards from the Spaniards. In
Cervantes' 'Comical History of Rinconete and Cortadillo,' a
young Spanish vagabond gives the following account of his
skill at cards: "I took along with me what I thought most
necessary, and amongst the rest this pack of cards, (and
now I called to mind the old saying, 'He carries his All
on his back,') for with these I have gained my living at all
the publick houses and inns between Madrid and this place,
playing at One-and-Thirty; and though they are dirty and
torn, they are of wonderful service to those who understand
them, for they shall never cut without leaving an ace at
bottom, which is one good point towards eleven, with which
advantage, thirty-one being the game, he sweeps all the
money into his pocket: besides this, I know some slight
tricks at Cards and Hazard; so that though you are very
dexterous and a thorough master of the art of cutting buskins,
I am every bit as expert in the science of cheating
people, and therefore I am in no fear of starving; for though
I come but to a small cottage, there are always some who
have a mind to pass away time by playing a little;
<a name="FNanchor_137_137" id="FNanchor_137_137"></a>
<a href="#Footnote_137_137" class="fnanchor">[137]</a> and of
this we may now try the experiment ourselves: Let us
spread the nets, and see if none of these birds, the carriers,
<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
will fall into them; which is as much as to say that you
and I will play together at One-and-Thirty, as if it was
in earnest; perhaps somebody may make the third, and
he shall be sure to be the first to leave his money behind
him."
</p>

<p>At what period cards were first used in Europe for
the purposes of divination or fortune-telling has not been
ascertained. In the 'Magasin Pittoresque' for 1842, page
324, there is a cut entitled "Philippe-le-Bon consultant
une tireuse de cartes," copied from a painting ascribed to
John Van Eyck. Though it has been denied that this
picture is really by Van Eyck, it is yet admitted that the
costume is that of the reign of Charles VIII, between
1483 and 1498.<a name="FNanchor_138_138" id="FNanchor_138_138"></a>
<a href="#Footnote_138_138" class="fnanchor">[138]</a>
Supposing then that the picture belongs
to the latter period, we have thus evidence of cards being
used for the purposes of fortune-telling before the close of
the fifteenth century. The gypsies, who are unquestionably
of Asiatic origin, appear to have long used them for this
purpose; and if they brought cards with them in their
earliest immigration into Europe, as Breitkopf supposes, they
are just as likely to have brought with them their occult
science of cards as to have acquired it subsequently from
<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
Europeans. The earliest work, expressly treating of the
subject appears to be 'Le Sorti,' written or compiled by
Francesco Marcolini, printed at Venice in 1540. In the
prologue, the author professes to explain the mode of applying
what he calls his pleasant invention&mdash;"piacevole
inventione;" but beyond the fact that certain cards are to
be used, I have not been able to make out his meaning.
The only cards to be employed were the King, Knight,
Knave, ten,<a name="FNanchor_139_139" id="FNanchor_139_139"></a>
<a href="#Footnote_139_139" class="fnanchor">[139]</a>
nine, eight, seven, deuce, and ace of the suit
Danari or Money. Besides the small cuts of cards, of which
the following are specimens, the work contains a number
of wood-engravings, some of which are designed in a spirited
manner. A work similar to Marcolini's, entitled 'Triompho
di Fortuna,' by Sigismond Fanti, professing to teach the
art of solving questions relating to future events, but without
using cards, was printed at Venice in 1527.</p>

<div class="figcenter"><a name="i_136.jpg" id="i_136.jpg"></a>
  <img src="images/i_136.jpg"
      alt="Suit Danari or Money" />
</div>

<p>Juggling and fortune-telling by means of cards, whenever
introduced, appear to have had many professors in the latter
<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span>
half of the sixteenth century. A trick performed with
cards by a juggler, appears to have excited the inquisitive
genius of Lord Bacon when a boy; and his biographer,
Basil Montagu, thinks that from this circumstance his
attention was first directed to an inquiry into the nature of
the imagination.<a name="FNanchor_140_140" id="FNanchor_140_140"></a>
<a href="#Footnote_140_140" class="fnanchor">[140]</a> Reginald Scott, in his Discovery of
Witchcraft, first published in 1584, has a chapter "Of
Cards, with good cautions how to avoid cousenage therein;
special rules to convey and handle the cards; and the
manner and order how to accomplish all difficult and strange
things wrought with cards."</p>

<p>"Having now," says he, "bestowed some waste money
among you, I will set you to cards; by which kind of witchcraft
a great number of people have juggled away not only
their money, but also their lands, their health, their time,
and their honesty. I dare not (as I could) show the lewd
juggling that cheaters practice, lest it minister some offence
to the well-disposed, to the simple hurt and losses, and to
the wicked occasion of evil doing. But I would wish all
gamesters to beware, not only with what cards and dice
they play, but especially with whom, and where they
exercise gaming. And to let dice pass, (as whereby a man
may be inevitably cousened,) one that is skilful to make and
use Bumcards may undo a hundred wealthy men, that are
not given to gaming; but if he have a confederate present,
either of the players or standers-by, the mischief cannot be
avoided. If you play among strangers, beware of him that
seems simple or drunken; for under their habit the most
special couseners are presented; and while you think by their
simplicity and imperfections to beguile them, (and thereof,
perchance, are persuaded by their confederates, your very
<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span>
friends as you think,) you yourself will be most of all over-taken.
Beware also of the betters by and lookers on, and
namely of them that bet on your side; for whilst they look
on your game without suspicion, they discover it by signs
to your adversaries, with whom they bet and yet are their
confederates."</p>

<p>Among the tricks with cards which he notices, are the
following: "How to deliver out four Aces and to convert
them into four Knaves. How to tell one what card he
seeth in the bottom, when the same card is shuffled into the
stock. To tell one, without confederacy, what card he
thinketh. How to tell what card any man thinketh, how
to convey the same into a nut-shell, cherry-stone, &amp;c., and
the same again into one's pocket. How to make one draw
the same, or any card you list, and all under one devise."
The two verses which he quotes in the margin should be
inscribed as a motto on the dial-plate of every gamester's
watch. "Of dice play, and the like unthrifty games, mark
these two old verses, and remember them:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">Ludens taxillis, bene respice quid sit in illis:</div>
  <div class="verse">Mors tua, sors tua, res tua, spes tua, pendet in illis."</div>
  </div>
</div>

<p>Rowland, in his 'Judicial Astrology Condemned,' relates
the following anecdote of Cuffe, the Secretary of the Earl of
Essex, "a man of exquisite wit and learning, but of a turbulent
disposition," who was hung at Tyburn, on the 13th
of March, 1602, for having counselled and abetted the Earl
in his treason. "Cuffe, an excellent Grecian,
<a name="FNanchor_141_141" id="FNanchor_141_141"></a>
<a href="#Footnote_141_141" class="fnanchor">[141]</a> and Secretary
to the Earl of Essex, was told twenty years before his death
that he should come to an untimely end, at which Cuffe
laughed, and in a scornful manner, intreated the astrologer to
show him in what manner he should come to his end; who
<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span>
condescended to him, and calling for cards, intreated Cuffe
to draw out of the pack three which pleased him. He did
so, and drew three Knaves and laid them on the table with
their faces downwards, by the wizard's direction, who then
told him, if he desired to see the sum of his bad fortunes,
to take up those cards. Cuffe, as he was prescribed, took
up the first card, and looking on it, he saw the portraiture
of himself, <i>cap-a-pie</i>, having men compassing him about
with bills and halberds; then he took up the second, and
there he saw the judge that sat upon him; and taking up
the last card, he saw Tyburn, the place of his execution, and
the hangman, at which he laughed heartily; but many years
after, being condemned for treason, he remembered and
declared this prediction."</p>

<p>Queen Elizabeth, as well as her sister, Mary, was a card
player; and even her grave Lord Treasurer, Lord Burleigh,
appears to have occasionally taken a hand at Primero.
<a name="FNanchor_142_142" id="FNanchor_142_142"></a>
<a href="#Footnote_142_142" class="fnanchor">[142]</a>
That she sometimes lost her temper, when the cards ran
against her, may be fairly inferred from the following
passage, which occurs in a letter, written in the latter part
of her reign, by Sir Robert Carey to his father, Lord
Hunsdon: her violent language must have been the result
of her holding a bad hand at the moment that the presence
of young Carey reminded her of his father's procrastination.
"May it please your L. t'understande that yesterday yn the
afternune I stood by hyr Ma<sup>tie</sup> as she was att Cards in the
presens chamber. She cawlde me to hyr, and askte me
<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span>
when you mente too go too Barwyke. I towlde hyr that
you determinde to begyn your jorney presently after
Whytsontyd. She grew yntoo a grete rage, begynnynge
with Gods wonds, that she wolde sett you by the feete, and
send another in your place yf you dalyed with hyr thus, for
she wolde not be thus dalyed withall.<a name="FNanchor_143_143" id="FNanchor_143_143"></a>
<a href="#Footnote_143_143" class="fnanchor">[143]</a></p>

<p>Though the laity of all ranks and conditions&mdash;except
apprentices<a name="FNanchor_144_144" id="FNanchor_144_144"></a>
<a href="#Footnote_144_144" class="fnanchor">[144]</a>
&mdash;appear to have played at cards and dice
without let or hinderance, notwithstanding any statute to
the contrary, yet the clergy seem to have been rather more
sharply looked after. In the 'Injunctions geven by the
Quenes Majestie, as well to the Clergye as the Laity,'
printed by Richard Jugge and John Cawood, 1559, the
clergy are thus admonished: "Also the sayde ecclesiastical
persons shall in no wyse, nor for any other cause then for
theyr honeste necessities, haunt or resort to anye Tavernes
or Alehouses. And after theyr meates, they shall not geve
themselves to any drynkyng or ryot, spendyng theyr tyme
idelly by day or by nyght, at dyse, cardes, or tables playing,
or anye other unlawfull game."<a name="FNanchor_145_145" id="FNanchor_145_145"></a>
<a href="#Footnote_145_145" class="fnanchor">[145]</a> In the 'Injunctions
exhibited by John, Bishop of Norwich, at his first visitation,
in the third year of our Soveraign Ladie Elizabeth,' printed
at London by John Daye, 1561, officials are enjoined to
inquire, "Whether any parson, vicare, or curate geve any
evell example of lyfe; whether they be incontinent parsones,
dronkardes, haunters of tavernes, alehouses, or suspect
<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span>
places; dycers, tablers, carders, swearers, or vehementlie
suspected thereof."</p>

<p>A notice of a dramatic representation of the game of cards
occurs in the accounts of Queen Elizabeth's 'Master of the
Revels,' 1582.<a name="FNanchor_146_146" id="FNanchor_146_146"></a>
<a href="#Footnote_146_146" class="fnanchor">[146]</a>
In that year he and his officers were commanded
"to show on St. Stephen's day at night, before her
Majesty at Wyndesore, a Comodie or Morral devised on a
game of the cardes," to be performed by the children of her
Majesty's Chapel. From the following observations of Sir
John Harrington on this "Comodie or Morral," it would
seem to have been a severe satire on those Knaves who
enrich themselves at the nation's expense: "Then for
comedies, to speake of a London comedie, how much good
matter, yea and matter of state, is there in that comedie
cald the play of the cards? in which it is showed how foure
Parasiticalle knaves robbe the foure principall vocations of
the Realme, <i>videlicet</i>, the vocations of Souldiers, Scollers,
Marchants, and Husbandmen. Of which comedie I cannot
forget the saying of a notable wise counseller who is now
dead (Sir Frauncis Walsinghame), who, when some (to sing
Placebo) advised that it should be forbidden, because it
was somewhat too plaine, and indeed, as the old saying is,
<i>Sooth boord is no boord</i>, yet he would have it allowed, adding
that it was fit that 'They which doe that they should not,
should heare that they would not.'"<a name="FNanchor_147_147" id="FNanchor_147_147"></a>
<a href="#Footnote_147_147" class="fnanchor">[147]</a></p>

<p><span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span></p>
<p>The mention of a comedy shown before the Queen at
Windsor by the children of her Majesty's Chapel, naturally
suggests the recollection of John Lyly's Court Comedies,
which were wont to be shown by the same children, as well
as by the "children of Poules;" and as in one of those
comedies,&mdash;Alexander and Campaspe,&mdash;Lyly has committed
an anachronism with respect to cards,<a name="FNanchor_148_148" id="FNanchor_148_148"></a>
<a href="#Footnote_148_148" class="fnanchor">[148]</a> an opportunity is
thus afforded of here introducing the pleasantly conceited
song that contains the error,&mdash;a song, which Elia would
have encored, and which even Mrs. Battle herself would
have allowed to be sung at the card table during the intermission
of the game at the end of a rubber, when cutting
in for new partners.<a name="FNanchor_149_149" id="FNanchor_149_149"></a>
<a href="#Footnote_149_149" class="fnanchor">[149]</a></p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Cupid and my Campaspe play'd</div>
  <div class="verse indent-2_6">At cards for kisses; Cupid paid:</div>
  <div class="verse indent-2_6">He stakes his quiver, bow and arrows,</div>
  <div class="verse indent-2_6">His mother's doves, and team of sparrows;</div>
  <div class="verse indent-2_6">Loses them too: then down he throws</div>
  <div class="verse indent-2_6">The coral of his lip, the rose</div>
  <div class="verse indent-2_6">Growing on's cheek (but none knows how);</div>
  <div class="verse indent-2_6">With these the chrystal on his brow,</div>
  <div class="verse indent-2_6">And then the dimple of his chin:</div>
  <div class="verse indent-2_6">All these did my Campaspe win.</div>
  <div class="verse indent-2_6">At last he set her both his eyes:</div>
  <div class="verse indent-2_6">She won, and Cupid blind doth rise.</div>
  <div class="verse indent0_7">O Love, has she done this to thee?</div>
  <div class="verse indent0_7">What shall, alas, become of me!"</div>
  </div>
</div>

<p>Before taking leave of the reign of Elizabeth, it seems
<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
proper to insert here what Philip Stubbes says about Cards,
Dice, Tables, Tennis, and other games, in his 'Anatomie of
Abuses.'<a name="FNanchor_150_150" id="FNanchor_150_150"></a>
<a href="#Footnote_150_150" class="fnanchor">[150]</a>
"As for Cardes, Dice, Tables, Boules, Tennisse,
and such like," says the moral dissector, speaking in the
person of Philoponus, "thei are <i>Furta officiosa</i>, a certaine
kind of smothe, deceiptfull, and sleightie thefte, whereby
many a one is spoiled of all that ever he hath, sometimes of
his life withall, yea, of bodie and soule for ever: and yet
(more is the pitie) these be the only exercises used in every
mans house, al the yere through. But especially in
Christmas time there is nothyng els used but Cardes, Dice,
Tables, Maskyng, Mummyng, Bowling, and such like
fooleries. And the reason is, thei think thei have a commission
and prerogative that tyme to doe what thei list, and
to followe what vanitie they will. But (alas) doe thei thinke
that thei are privileged at that time to doe evill? the holier
the time is (if one time were holier then another, as it is not)
the holier ought their exercises to bee."</p>

<p>He, however, thinks that at some games, under certain
circumstances, Christian men may play for the sake of
recreation; for, in answer to the question of Spudeus, "Is
it not lawfull for one Christian man to plaie with an other
at any kinde of game, or to winne his money, if he can?"
Philoponus thus replies: "To plaie at Tables, Cardes, Dice,
Bowles, or the like, (though a good Christian man will not
so idely and vainely spende his golden daies), one Christian
<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
with an other, for their private recreations, after some oppression
of studie, to drive awaie fantasies, and suche like,
I doubt not but thei may, using it moderately, with intermission,
and in the feare of God. But for to plaie for lucre
of gaine, and for desire onely of his brothers substance,
rather then for any other cause, it is at no hande lawfull, or
to be suffered. For as it is not lawfull to robbe, steale, and
purloine by deceite or sleight, so is it not lawfull to get thy
brothers goodes from hym by Cardyng, Dicyng, Tablyng,
Boulyng, or any other kind of theft, for these games are no
better, nay worser than open theft, for open theft every man
can beware of; but this beying a craftie polliticke theft, and
commonly doen under pretence of freendship, fewe, or none
at all, can beware of it. The commaundement saieth, Thou
shall not covet nor desire any thing that belongeth to thy
neighbour. Now, it is manifest, that those that plaie for
money, not onely covet their brothers money, but also use
craft, falshood, and deceite to winne the same."&mdash;There are
doubtless many card-players, who, conscious of their want
of craft, can safely deny the truth of Stubbes's sweeping
conclusion; but it is to be feared that most crafty players
will not lose if they can avoid it, either by hook or by
crook.</p>

<p>In the reign of James I, the game "went bonnily on."
His son, Henry, Prince of Wales, who died in 1612, aged
nineteen, used occasionally to amuse himself at cards,
but so nobly and like himself, as showed that he played
only for recreation, and not for the sake of gain.
<a name="FNanchor_151_151" id="FNanchor_151_151"></a>
<a href="#Footnote_151_151" class="fnanchor">[151]</a> James
himself was a card-player; and his favorite game was Maw,
which appears to have been the fashionable game in his
reign, as Primero was in the reign of Elizabeth. His
<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
Majesty appears to have played at cards just as he played
with affairs of State&mdash;in an indolent manner, requiring in
both cases some one to hold his cards, if not to prompt him
what to play. Weldon, speaking of the poisoning of Sir
Thomas Overbury, in his 'Court and Character of King
James,' says: "The next that came on the stage, was Sir
Thomas Monson; but the night before he was to come to
his tryal, the King being at the game of Maw, said,
'to-morrow comes Thomas Monson to his tryal.' 'Yea;'
said the King's card-holder, 'where if he do not play his
master's prize, your Majesty shall never trust me.' This so
ran in the King's mind, that at the next game he said he was
sleepy, and would play out that set next night." From the
following passage in a pamphlet, entitled 'Tom Tell-troath,'
supposed to have been printed about 1622,<a name="FNanchor_152_152" id="FNanchor_152_152"></a>
<a href="#Footnote_152_152" class="fnanchor">[152]</a> it would seem
that the writer was well acquainted both with his majesty's
mode of playing at cards, and with the manner in which he
was tricked in his dawdling with state affairs: "In your
Majestie's owne tavernes, for one healthe that is begun to
your-selfe, there are ten drunke to the Princes your forraygn
children. And, when the wine is in their heads, Lord have
mercie on their tonges! Ever, in the very gaming ordinaries,
where men have scarce leisure to say grace, yet they take a
time to censure your Majestie's actions, and that in their
oulde schoole terms. They say, you have lost the fairest
game at Maw that ever King had, for want of making the
best advantage of the five finger, and playing the other
helpes in time. That your owne card-holders play bootie,
and give the signe out of your owne hand. That hee you
played withall hath ever been knowne for the greatest
<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
cheater in Christendome.<a name="FNanchor_153_153" id="FNanchor_153_153"></a>
<a href="#Footnote_153_153" class="fnanchor">[153]</a> In fine, there is noe way to
recover your losses, and vindicate your honour, but with
fighting with him that hath cozened you. At which honest
downe righte play, you will be hard enough for him with all
his trickes."</p>

<p>The following verses, which might have been written by
Tom Tell-troath himself, form part of an inscription beneath
a caricature engraving of the same period, representing the
Kings of England, Denmark, and Sweden, with Bethlem
Gabor, engaged in playing at cards, dice, and tables with
the Pope and his Monks.<a name="FNanchor_154_154" id="FNanchor_154_154"></a>
<a href="#Footnote_154_154" class="fnanchor">[154]</a></p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Denmarke, not sitting farr, and seeing what hand</div>
  <div class="verse indent-2_6">Great Brittayne had, and how Rome's loss did stand,</div>
  <div class="verse indent-2_6">Hopes to win something too: Maw is the game</div>
  <div class="verse indent-2_6">At which he playes, and challengeth at the same</div>
  <div class="verse indent-2_6">A Muncke, who stakes a chalice. Denmarke sets gold,</div>
  <div class="verse indent-2_6">And shuffles; the Muncke cuts: Denmarke being bold,</div>
  <div class="verse indent-2_6">Deales freely round; and the first card he showes</div>
  <div class="verse indent-2_6">Is the five finger, which, being turn'd up, goes</div>
  <div class="verse indent-2_6">Cold to the Muncke's heart; the next Denmarke sees</div>
  <div class="verse indent-2_6">Is the ace of hearts: the Muncke cries out, I lees!</div>
  <div class="verse indent-2_6">Denmarke replyes, Sir Muncke, shew what you have;</div>
  <div class="verse indent-2_6">The Muncke could shew him nothing but the Knave."</div>
  </div>
</div>

<p>From the allusions to the five fingers and the ace of
hearts, in the preceding extracts, it would appear that the
game of Maw was the same as that which was subsequently
called Five-Cards, for, in both games, the five of trumps&mdash;called
the five fingers&mdash;was the best card, and next to that
was the ace of hearts.<a name="FNanchor_155_155" id="FNanchor_155_155"></a>
<a href="#Footnote_155_155" class="fnanchor">[155]</a></p>

<p><span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span></p>
<p>From the frequent mention of cards by writers of the
time of James I, it would appear that the game was as
common a diversion with his Majesty's peaceable subjects,
as it was with the fighting men who followed the banner of
Wallenstein or Tilly in the Thirty-Years' War. Inordinate
gaming in one country, according to certain authorities,
was the result of long-continued peace and too much ease;
according to others, it was the natural consequence of war;
in England, the devil, finding men idle, gave them employment
at cards and dice; and in Germany, where they were
busy in the work of destruction, he encouraged them to
play as a relaxation from their regular labours. Prodigals,
in each country, lighted their candle at both ends: English
gallants used to divert themselves with cards at the playhouse
before the performance began;<a name="FNanchor_156_156" id="FNanchor_156_156"></a>
<a href="#Footnote_156_156" class="fnanchor">[156]</a> and desperate
hazarders in the imperial camp staked, on a cast at dice,
their plunder, ere it had well come into their possession.</p>

<p>In the reign of James I, a controversy arose respecting
the nature of lots, in which the lawfulness&mdash;"<i>in foro theologorum</i>"&mdash;of
deciding matters by lot, and of playing at
games of chance, such as cards and dice, was amply discussed.
It was maintained by one party, that as lots were
of divine ordinance, for the purpose of determining important
matters,<a name="FNanchor_157_157" id="FNanchor_157_157"></a>
<a href="#Footnote_157_157" class="fnanchor">[157]</a>
and of so ascertaining, as it were, the divine
<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
will, their employment for the purpose of amusement, was
a sinful perversion of their institution, and a disparaging of
Divine Providence, which was thus made the arbiter of idle
and immoral games.<a name="FNanchor_158_158" id="FNanchor_158_158"></a>
<a href="#Footnote_158_158" class="fnanchor">[158]</a> In opposition to this opinion, the
learned Thomas Gataker published his treatise, historical
and theological, 'Of the Nature and Use of Lots,' in 1619.
In this work he treats of casual events in general, and of
the different kinds of lots, which he thus classes under three
heads: 1, Lots which are commonly employed in serious
affairs; 2, Lots which enter into games of chance; 3, Lots
extraordinary or divinatory. The first are generally admitted
to be innocent; but the third are absolutely condemned
by Gataker, except when they are expressly required
to be used by a revelation or a divine command.<a name="FNanchor_159_159" id="FNanchor_159_159"></a>
<a href="#Footnote_159_159" class="fnanchor">[159]</a> With
regard to lots of the second kind, he contends that they are
neither prohibited in the Scriptures nor evil of themselves;
though, like those of the first, they are liable to great abuse.
The abuse he earnestly condemns; but at the same time
shows that it is not a necessary consequence of the employment
of lots in games of amusement. He also refutes the
arguments of James Balmford, who, in a small tract which
appears to have been first published about 1593, had maintained
that all games of chance were absolutely unlawful.
An account of the controversy on this subject, between
Gataker on one side, and William Ames and Gisbert Voet
<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>
on the other, will be found in the preface to the second
edition of Barbeyrac's 'Traité du Jeu.'<a name="FNanchor_160_160" id="FNanchor_160_160"></a>
<a href="#Footnote_160_160" class="fnanchor">[160]</a></p>

<p>In the reign of James I, and in the early part of that of
his successor, ere the discussion of political grievances had
produced a decided effect on the public mind, the fashionable
vices of excess in apparel, gaming, drinking, and
smoking tobacco, were fertile themes of declamation with a
certain class of reformers, both lay and clerical. Their
denunciations of the vanity and wickedness of wearing fine
clothes are merely variations to Stubbes's 'Anatomy of
Abuses;' while their fulminations against tobacco are generally
pitched in the somewhat loud key of King James's
Counterblast. Their common-places against drunkenness
and gaming, are, in general, "very common indeed,"&mdash;as
Sir Francis Burdett said of a certain common lawyer, who,
since his elevation to the peerage, has been convicted of
a petty larceny on the literary property of Miss Agnes
Strickland, and who seems to be an adept at Cribbage,
though no card-player.</p>

<p>In a woodcut on the title-page of 'Woe to Drunkards,'
a sermon preached by Samuel Ward, of Ipswich, 1627, the
vices of that age are typically contrasted with the virtues of
a former one. In the upper compartment we are shown
what men were of old by the open Bible, the foot in the
stirrup, and the hand grasping the lance; while in the
lower, the degeneracy of their descendants is typified by
the leg and foot, decorated with a broad silk garter and a
large rosette; by cards and dice, and a hand holding at the
same time a lighted pipe and a drinking cup with a cockatrice
in it. Twenty years afterwards, these types would
<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
have been more strictly applicable, with the inscriptions
merely transposed.</p>

<div class="figcenter"><a name="i_150.jpg" id="i_150.jpg"></a>
  <img src="images/i_150.jpg"
      alt="Vices and Virtues of the Age" />
</div>

<p>At what time the manufacture of cards was established
in this country, has not been ascertained; though from
their being included in an Act of Parliament of 1463, prohibiting
the importation of sundry articles, as being injurious
to native manufacturers and tradesmen, it would seem that
there were card-makers in England even at that early
period.<a name="FNanchor_161_161" id="FNanchor_161_161"></a>
<a href="#Footnote_161_161" class="fnanchor">[161]</a>
Barrington, referring to a proclamation of Elizabeth,
<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
and another of James I, says, "It appears that we did not
then make many cards in England." In his paper in the
'Archæologia,' he gives a fac-simile of the cover of an old
pack of cards, as a decisive proof that cards were originally
made in Spain. On this cover was printed a wood engraving
of the arms of Castile and Leon, together with a Club, a
Sword, a Cup, and a piece of Money, the marks of the four
suits of Spanish cards. To an inscription purporting that
they were fine cards, made by <span class="smcap">Jehan Volay</span>&mdash;"Cartas
finnas faictes par Jehan Volay"&mdash;there was also added, in
letters of a different character, either by a stencil, or by
means of inserting a new piece of wood in the original
block, the name "<span class="smcap">Edward Warman</span>," probably that of the
English vendor of the cards. The maker's name, Barrington
reads, "<span class="smcap">Je</span> (for <span class="smcap">Jean</span>
or <span class="smcap">John</span>) <span class="smcap">Hauvola</span>,"
and the final <span class="smcap">Y</span>
he mistakes for the Spanish conjunction "and." The
whole of the inscription, he says, being rendered into
English, runs thus: "Superfine cards made by John
Hauvola, and (Edward Warman)," the last name being
substituted for that of a former partner of John Hauvola.
<a name="FNanchor_162_162" id="FNanchor_162_162"></a>
<a href="#Footnote_162_162" class="fnanchor">[162]</a>
Mr. Barrington's reading of the maker's name, <span class="smcap">Je. Hauvola</span>,
instead of <span class="smcap">Jehan Volay</span>, and his then introducing <i>Edward
Warman</i> into the firm, by means of the final <span class="smcap">Y</span>, construed
as a copulative conjunction, are fair specimens of the proofs
and illustrations which he adduces in favour of his theory
about Spanish cards.</p>

<p>Jean Volay, as I learn from Leber,<a name="FNanchor_163_163" id="FNanchor_163_163"></a>
<a href="#Footnote_163_163" class="fnanchor">[163]</a> was one of the most
celebrated French card-makers of the sixteenth century; at
what time "Edward Warman" lived, whose name also
appears on the cover, is not known; but Mr. Barrington
<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
says that a person of that name kept a stationer's shop
somewhere about Norton Folgate, about fifty years before
the date of his paper, that is about 1737. Any vogue that
Spanish cards might have had in the more northerly countries
of Europe, during the times of Elizabeth and James I, was
probably owing rather to the circumstance of so many
Spaniards being then resident in the Low Countries than to
any superiority of the cards manufactured in Spain. Until
a comparatively recent period, large quantities of cards used
to be sent from Antwerp to Spain.<a name="FNanchor_164_164" id="FNanchor_164_164"></a>
<a href="#Footnote_164_164" class="fnanchor">[164]</a></p>

<div class="figcenter"><a name="i_152.jpg" id="i_152.jpg"></a>
  <img src="images/i_152.jpg"
      alt="Knaves of Hearts and Clubs" />
</div>

<p>From the following verses, in "The Knave of Harts his
Supplication to the Card Makers," in Samuel Rowlands'
<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>
satire entitled 'The Knave of Harts,'<a name="FNanchor_165_165" id="FNanchor_165_165"></a>
<a href="#Footnote_165_165" class="fnanchor">[165]</a> 1612, it would appear
that cards were then commonly manufactured in England,
for it cannot be fairly supposed that the Knave's supplication
was addressed to foreign card-makers. The foregoing cut,
which is a fac-simile of that prefixed to the edition of 1613,
shows the Knaves of Hearts and Clubs in the costume
complained of.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"We are abused in a great degree,</div>
  <div class="verse indent-2_6">For there's no Knaves so wronged as are we</div>
  <div class="verse indent-2_6">By those that chiefly should be our part-takers:</div>
  <div class="verse indent-2_6">And thus it is, my maisters, you card-makers,</div>
  <div class="verse indent-2_6">All other Knaves are at their own free-will,</div>
  <div class="verse indent-2_6">To brave it out, and follow fashion still</div>
  <div class="verse indent-2_6">In any cut, according to the time,</div>
  <div class="verse indent-2_6">But we poore Knaves (I know not for what crime),</div>
  <div class="verse indent-2_6">Are kept in pie-bald suites, which we have worne</div>
  <div class="verse indent-2_6">Hundred of years; this hardly can be borne.</div>
  <div class="verse indent-2_6">The idle-headed Frenche devis'd us first,</div>
  <div class="verse indent-2_6">Who of all fashion-mongers is the worst;</div>
  <div class="verse indent-2_6">For he doth change farre oftner than the moone;</div>
  <div class="verse indent-2_6">Dislikes his morning suite in th' after-noone.</div>
  <div class="verse indent-2_6">The English is his imitating ape,</div>
  <div class="verse indent-2_6">In every toy the tailors-sheares can shape,</div>
  <div class="verse indent-2_6">Comes dropping after as the divell entices,</div>
  <div class="verse indent-2_6">And putteth on the French-man's cast devices;</div>
  <div class="verse indent-2_6">Ye wee (with whom thus long they both have plaid),</div>
  <div class="verse indent-2_6">Must weare the suites in which we first were made.</div>
  <div class="verse indent-2_6">•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•</div>
  <div class="verse indent-2_6">How can we choose but have the itching gift,</div>
  <div class="verse indent-2_6">Kept in one kinde of cloaths, and never shift?</div>
  <div class="verse indent-2_6">Or to be scurvy how can we forbeare,</div>
  <div class="verse indent-2_6">That never yet had shirt or band to weare?</div>
  <div class="verse indent-2_6">How bad I and my fellow Diamond goes,</div>
  <div class="verse indent-2_6">We never yet had garter to our hose,</div>
  <div class="verse indent-2_6">Nor any shooe to put upon our feete,</div>
  <div class="verse indent-2_6">With such base cloaths, 'tis e'en a shame to see't;</div>
  <div class="verse indent-2_6">My sleeves are like some morris-dauncing fellow,</div>
  <div class="verse indent-2_6">My stockings idiot-like, red, greene, and yellow:</div>
  <div class="verse indent-2_6"><span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
  My breeches like a paire of lute-pins be,</div>
  <div class="verse indent-2_6">Scarce buttock-roome, as every man may see.</div>
  <div class="verse indent-2_6">Like three-penie watchmen three of us doe stand,</div>
  <div class="verse indent-2_6">Each with a rustie browne-bill in his hand:</div>
  <div class="verse indent-2_6">And Clubs he holds an arrow, like a clowne,</div>
  <div class="verse indent-2_6">The head-end upward, and the feathers downe.</div>
  <div class="verse indent-2_6">Thus we are wrong'd, and thus we are agriev'd,</div>
  <div class="verse indent-2_6">And thus long time we have beene unreliev'd.</div>
  <div class="verse indent-2_6">But, card-makers, of you Harts reason craves,</div>
  <div class="verse indent-2_6">Why we should be restrained, above all Knaves,</div>
  <div class="verse indent-2_6">To weare such patched and disguis'd attire?</div>
  <div class="verse indent-2_6">Answer but this, of kindnesse, we require.</div>
  <div class="verse indent-2_6">•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    &nbsp;&nbsp;&nbsp;&nbsp;•</div>
  <div class="verse indent-2_6">Good card-makers (if there be goodness in you),</div>
  <div class="verse indent-2_6">Apparell us with more respected care,</div>
  <div class="verse indent-2_6">Put us in hats, our caps are worne thread-bare;</div>
  <div class="verse indent-2_6">Let us have standing collers, in the fashion,</div>
  <div class="verse indent-2_6">(All are become a stiff-necke generation);</div>
  <div class="verse indent-2_6">Rose hat-bands with the shagged-ragged ruffe,</div>
  <div class="verse indent-2_6">Great cabbage-shoostrings (pray you bigge enough),</div>
  <div class="verse indent-2_6">French dublet, and the Spanish hose to breech it,</div>
  <div class="verse indent-2_6">Short cloakes, old mandilions
    <a name="FNanchor_166_166" id="FNanchor_166_166"></a>
    <a href="#Footnote_166_166" class="fnanchor">[166]</a> (we beseech it);</div>
  <div class="verse indent-2_6">Exchange our swords, and take away our bils,</div>
  <div class="verse indent-2_6">Let us have rapiers, (Knaves love fight that kils);</div>
  <div class="verse indent-2_6">Put us in bootes, and make us leather legs:</div>
  <div class="verse indent-2_6">This Harts, most humbly, and his fellows begs."</div>
  </div>
</div>

<p>In Rowlands' 'More Knaves Yet? The Knaves of
Spades and Diamonds,' published after his 'Knave of
Harts,' the Knaves of Spades and Diamonds are represented
in a modernised costume, bestowed on them by the
printer, and the favour is thus acknowledged.</p>

<div class="figcenter bord"><a name="i_155.jpg" id="i_155.jpg"></a>
  <img src="images/i_155.jpg"
      alt="Knaves of Spades and Diamonds" />
</div>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Our fellow Hartes did late petition frame,</div>
  <div class="verse indent-2_6">To card-makers some better sutes to clayme,</div>
  <div class="verse indent-2_6">And for us all, did speake of all our wronges:</div>
  <div class="verse indent-2_6">Yet they, to whom redresse herein belongs</div>
  <div class="verse indent-2_6"><span class="pagenum">
    <a name="Page_136" id="Page_136">[Pg 136]</a></span>Amend it not, and little hope appeares.</div>
  <div class="verse indent-2_6">I thinke before the conquest many yeares,</div>
  <div class="verse indent-2_6">We wore the fashion which we still retaine:</div>
  <div class="verse indent-2_6">But seeing that our sute is spent in vaine,</div>
  <div class="verse indent-2_6">Weele mend our selves as meanes in time doth grow,</div>
  <div class="verse indent-2_6">Accepting what some other friends bestowe.</div>
  <div class="verse indent-2_6">As now the honest printer hath bin kinde,</div>
  <div class="verse indent-2_6">Bootes and stockins to our legs doth finde,</div>
  <div class="verse indent-2_6">Garters, polonia heeles and rose shooe-strings,</div>
  <div class="verse indent-2_6">Which, somewhat, us two knaves in fashion brings;</div>
  <div class="verse indent-2_6">From the knee downeward, legs are well amended,</div>
  <div class="verse indent-2_6">And we acknowledge that we are befrended,</div>
  <div class="verse indent-2_6">And will requite him for it as we can:</div>
  <div class="verse indent-2_6">A knave some time may serve an honest man.</div>
  <div class="verse indent-2_6">To do him pleasure such a chaunce may fall,</div>
  <div class="verse indent-2_6">Although indeed no trust in knaves at all.</div>
  <div class="verse indent-2_6">He that must use them, take this rule from mee,</div>
  <div class="verse indent-2_6">Still trust a knave no further than you see.</div>
  <div class="verse indent-2_6"><span class="pagenum">
    <a name="Page_137" id="Page_137">[Pg 137]</a></span>Well, other friends I hope wee
	 shall beseech</div>
  <div class="verse indent-2_6">For the great large abhominable breech,</div>
  <div class="verse indent-2_6">Like brewers hop-sackes; yet since new they be,</div>
  <div class="verse indent-2_6">Each knave will have them, and why should not wee?</div>
  <div class="verse indent-2_6">Some laundresse we also will intreate,</div>
  <div class="verse indent-2_6">For bandes and ruffes, which kindnes to be great</div>
  <div class="verse indent-2_6">We will confesse, yea and requite it too,</div>
  <div class="verse indent-2_6">In any service that poore knaves can doe:</div>
  <div class="verse indent-2_6">Scarffes we do want, to hange our weapons by,</div>
  <div class="verse indent-2_6">If any punck will deale so courteously</div>
  <div class="verse indent-2_6">As in the way of favour to bestow them,</div>
  <div class="verse indent-2_6">Rare cheating tricks we will protest to owe them.</div>
  <div class="verse indent-2_6">Or any pander with a ring in's eare,</div>
  <div class="verse indent-2_6">That is a gentleman (as he doth sweare),</div>
  <div class="verse indent-2_6">And will afford us hats of newest blocke,</div>
  <div class="verse indent-2_6">A payre of cardes shall be his trade and stocke,</div>
  <div class="verse indent-2_6">To get his lyving by, for lack of lands,</div>
  <div class="verse indent-2_6">Because he scornes to overworke his handes.</div>
  <div class="verse indent-2_6">And thus ere long we trust we shall be fitted,</div>
  <div class="verse indent-2_6">Those knaves that cannot shift are shallow witted."</div>
  </div>
</div>

<p>By a proclamation of Charles I, June, 1638, it was ordered
that after the Michaelmas next all foreign cards should
be sealed at London, and packed in new bindings, or covers.
A few years later, it would appear that the importation of
foreign cards was absolutely prohibited; for, in July, 1643,
upon the complaint of several poor card-makers, setting
forth that they were likely to perish by reason of divers
merchants bringing playing-cards into the kingdom, contrary
to the laws and statutes, order was given, by a committee
appointed by parliament for the navy and customs,
that the officers of the customs should seize all such cards,
and proceed against the parties offending.
<a name="FNanchor_167_167" id="FNanchor_167_167"></a>
<a href="#Footnote_167_167" class="fnanchor">[167]</a></p>
<p><span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span></p>
<p>When the civil war commenced, and the people became
interested in a sterner game, card-playing appears to have
declined. The card-playing gallant whose favorite haunts
had been the playhouse and the tavern, now became transformed
into a cavalier, and displayed his bravery in the
field at the head of a troop of horse; whilst his old opponent,
the puritanical minister, incited by a higher spirit of
indignation, instead of holding forth on sports and pastimes
and household vices, now thundered on the "drum ecclesiastic"
against national oppressors; urged his congregation
to stand up for their rights as men against the pretensions
of absolute monarchy and rampant prelacy, and to try the
crab-tree staff against the courtier's dancing rapier.</p>

<p>Among the numerous pamphlets which appeared during
the contest there are a few whose titles show that the game
of cards, though not so much in vogue as formerly, was
still not forgotten.<a name="FNanchor_168_168" id="FNanchor_168_168"></a>
<a href="#Footnote_168_168" class="fnanchor">[168]</a> The following are the titles of three
of such pamphlets, all quartos, the usual form of the literary
light infantry of the period. "Chartæ Scriptæ, or a New
Game at Cards, called Play by the Booke, 1645."&mdash;"Bloody
Game of Cards, played between the King of
Hearts and his Suite against the rest of the pack, shuffled
at London, cut at Westminster, dealt at York, and played
in the open field."&mdash;"Shuffling, cutting, and dealing, in a
game at pickquet, being acted from the year 1653 to 1655,
<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
by O. P. and others, 1659."<a name="FNanchor_169_169" id="FNanchor_169_169"></a>
<a href="#Footnote_169_169" class="fnanchor">[169]</a> In a 'Lenten Litany,' a backward
prayer for the Rump, written in the time of the Long
Parliament, the appointment of three keepers to the great
seal is thus commemorated:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"From Villany dressed in a doublet of Zeal,</div>
  <div class="verse indent-2_6">From three Kingdoms baked in one Commonweal,</div>
  <div class="verse indent-2_6">From a Gleek of Lord Keepers of one poor seal</div>
  <div class="verse indent8">Libera nos Domine."
    <a name="FNanchor_170_170" id="FNanchor_170_170"></a>
    <a href="#Footnote_170_170" class="fnanchor">[170]</a></div>
  </div>
</div>

<p>It was probably as much owing to the circumstance of
regular playing-cards being in small request, as to any
desire to promote learning, that we have the "Scientiall
Cards" mentioned in the following title of a work, in which
cards are made subservient to the purposes of instruction,
and which appears to have been one of the earliest of the kind
published in England.<a name="FNanchor_171_171" id="FNanchor_171_171"></a>
<a href="#Footnote_171_171" class="fnanchor">[171]</a> "The Scientiall cards; or a new
<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
and ingenious knowledge grammatically epitomised, both for
the pleasure and profit of schollers, and such as delight to
recollect (without any labour) the rudiments of so necessary
an art as grammer is, without hindering them from their
more necessary and graver studies, offering them as a
second course unto you. Which, in all points and suits,
do represent your vulgar or common cards; so that the
perfection of the grammer principles may hereby be easily
attained unto, both with much delight and profit. Together
with a key showing the ready use of them. Written
by a lover of ingenuity and learning. And are to be sold
by Baptist Pendleton at his house, near St. Dunstan's
Church in the east, or by John Holden, at the Anchor in
the New Exchange. 1651." Of those cards, or of the
key, showing how they are to be used, I know nothing
beyond what is contained in the title above given, which
is preserved amongst Bagford's collections, Harleian MSS.
No. 5947, in the British Museum. I, however, greatly
suspect that the "lover of learning and ingenuity" who
devised them, was specially employed for the purpose by
the maker, Mr. Baptist Pendleton, who, sensible of the
decline of his regular business, and noting the signs of the
times, might think it both for his interest and credit to
manufacture cards, which might serve indifferently for the
purposes of instruction, but equally as well for play as
"your vulgar or common cards," which were then in very
bad repute. The Scientiall cards would appear to have
been well adapted for the use of persons who wished to
save appearances with the Puritans, and yet had no objection
to play a quiet game with the profane.</p>

<p>In 1656 was published a little book intitled 'The Schollers
Practicall Cards,' by F. Jackson, M.A., containing
instructions by means of cards how to spell, write, cypher,
and cast accounts; together with many other excellent and
<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
necessary rules of calculation, without either almanack or
ephemeris. "I am persuaded," says the author in his
preface, "that the cards, now in common use, may be reduced
to such a way of use as may not only contribute to knowledge
and good learning, but may also remove the scandall
and abuse, which every tinker that can but tell his peeps
[pips] exposeth them unto. To that end I have framed, for
the recreation of sober and understanding people, that which
(although in form they represent common cards) in the
inside, as to the use that be made of them, affords profitable
learning and honest recreation: and herein there is much
difference; the common cards being meer fiction, like the
foolish romances, not applicable to any morall, or anything
to be learned by them that is laudable." His method, like
all others of the same kind, may be interesting, from its
complicated absurdity, to those who already understand
what he proposes to teach; but must have formed an almost
unsurmountable obstacle to the unlettered, unless they
were previously well grounded in Gleek, Ruff, Post and
Pair, Saunt,<a name="FNanchor_172_172" id="FNanchor_172_172"></a>
<a href="#Footnote_172_172" class="fnanchor">[172]</a> Lodam, and Noddy,&mdash;the games to which he
chiefly refers in his instructions.</p>

<p>William Sheppard, sergeant-at-law, a great stickler, during
the ascendency of the Rump, for the reformation of the law
and the correction of manners, thus sets forth certain
grievances, and, like a good Samaritan, propounds a remedy
for them in his work, entitled 'Englands Balme.'
<a name="FNanchor_173_173" id="FNanchor_173_173"></a>
<a href="#Footnote_173_173" class="fnanchor">[173]</a></p>

<p><span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>

<p>"It is objected,</p>

<p>"That there is no certain and clear law to punish prophane
jesting, fidling, ryming, piping, juggling, fortune-telling,
tumbling, dancing upon the rope, vaulting, ballad-singing,
sword-playing, or playing of prizes, ape-carrying,
puppet-playing, bear-baiting, bull-baiting, horse-racing,
cock-fighting, carding, dicing, or other gaming; especially
the spending of much time, and the adventuring of great sums of money herein.</p>

<p>"It is offered to consideration,</p>

<p>"That to the laws already made: 1. That it be in the
power of any two justices of the peace to binde to the goode
behaivour such as are offensive herein. 2. That they be,
so long as they use it, uncapable of bearing any office in
the commonwealth. 3. That all payments to the commonwealth
be doubled on such persons."</p>

<p>His saintly delicacy, if not his Christian charity, is displayed
in the following "grievance" and "remedy:"</p>

<p>"There are some other cases wherein the law also is said
to be somewhat defective: as</p>

<blockquote>

<p>"That there is no law against lascivious gestures, wanton
and filthy dalliance and familiarity, whorish
attire, strange fashions; such as are naked breasts,
bare shoulders, powdering, spotting, painting the
face, curling and shearing the hair; excess of apparel
in servants and mean people.</p></blockquote>

<p>"It is offered to consideration,</p>

<blockquote>

<p>"1. That the justices of the peace at their Quarter Sessions
>may binde any such to the good behaivour.</p>

<p>"2. That for a whorish attire, something of note be
written upon the door of her house to her disgrace,
there to continue till she wear sober attire."</p></blockquote>

<p>The character of this puritanical reformer's liberality may
be estimated by his proposed remedies for the abuses of the
<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
press. As his party were in power, there was no longer
any occasion for free discussion. Milton was opposed to
such canting reformers as Sheppard, and maintained the
liberty of unlicensed printing.</p>

<p>"It is objected,</p>

<blockquote>

<p>"That there are disorders in printing of books, for
which there is no remedy.</p></blockquote>

<p>"It is offered for this to consider of these things:</p>

<blockquote>

<p>"1. That printing-houses be reduced to a number.</p>

<p>"2. That no books be printed but be first perused.</p>

<p>"3. That no dangerous books be printed here, carried
beyond sea, and brought in hither.</p>

<p>"4. That the right of every mans copy be preserved.</p>

<p>"5. That every man shall licence his own book and be
answerable for it."</p></blockquote>

<p>On the accession of Charles II, a reaction took place; and
people who had felt themselves coerced in their amusements
by the puritanical party, seem now to have gloried in their
excesses, not so much from any positive pleasure that they
might feel in their vicious courses, but as evincing their
triumph over those who formerly kept them in restraint.
From the example of the king himself, a sensual, selfish
profligate, vice became fashionable at court, where gross
depravity of manners seems to have been admitted as <i>prima
facie</i> evidence of loyal principles. His majesty's personal
favorites, from the wealthy noble who had a seat at the
council-table, to the poor gentlemen who served as a private
in the horse-guards, seem all to have been eager to divert
the "merry monarch" by their shameless profligacy. The
man of <i>ton</i> of the period, was professionally a rake and a
gamester, and often a liar and cheat; boasting of an intrigue
with "my lady," while in truth he was <i>kept</i> by "my lord's"
mistress; and pretending that he had won a hundred pieces
of "the duke," at the groom-porter's at St. James's, when
<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span>
he had merely "rooked" a gay city 'prentice of five pounds
at a shilling ordinary in Shire Lane. The morals and
manners of the country, generally, at that period, are not,
however, to be estimated by those of the court and the so-called
"fashionable world." A numerous and influential
class remained uncontaminated by their example; and
laboured zealously to stem the torrent of vice which, issuing
from the court, threatened to deluge the whole country.
Though "the saints" no longer enjoyed the fatness of the
land, they still exercised great influence over the minds
of the middle classes, and fostered in them a deep religious
feeling, and a strict observance of decency, which
were in direct opposition to the principles and practice
of the sovereign and his court. At no period of our history,
do the profligacy of one class and the piety of
another appear in more striking contrast. On looking
closer, however, it would seem that this effect is, in a great
degree, produced by the approximation of the extremes of
each,&mdash;of sinners who painted themselves blacker than they
really were, and of saints who heightened their lights and
exalted their purity, while they were in truth but as "a
whitened wall." A slight glance at the literature of the
time of Charles II, will show that mankind do not become
worse as the world grows older: the depravity which existed
in his reign, is generally dwelt on by historians and
moralists, though but few take the trouble of informing
their readers that correctives for it, in the shape of good
books, were at no period more abundant. For a picture of
the manners of the time, we are referred to licentious plays
and obscene poems, as if they formed the staple literature
of the day,&mdash;as if all men frequented the playhouse and
read Rochester, but never went to church or conventicle,
nor read the numerous moral and religious works which then
issued from the press. In the time of Charles II, the
<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span>
representation of plays was almost exclusively confined to
London; and it may be questioned if even one of the licentious
comedies of the period was represented on a provincial
stage. The obscene books which were written in his reign
for the entertainment of the fashionable world have sunk
into disrepute, and are only to be found in the libraries of
collectors of what are termed "Facetiæ;" while those of
higher purpose are in constant demand, and are known to
millions. More copies of Bunyan's 'Pilgrim's Progress'
have been sold than of all the bad books that ever were written
through the encouragement of Charles II and his courtiers.</p>

<p>But to come from this digression to the game we have in
hand. Barrington, who is singularly unfortunate in his
speculations about cards, and who seems to have been prone
to draw general conclusions from special premises, says,
that "Ombre was probably introduced by Catherine of
Portugal, the queen of Charles II, as Waller hath a poem
'On a card torn at Ombre by the Queen.'" The game,
however, was introduced before the arrival of the queen;
for a work entitled the 'Royal game of Ombre' was published
at London in 1660,<a name="FNanchor_174_174" id="FNanchor_174_174"></a>
<a href="#Footnote_174_174" class="fnanchor">[174]</a> and Catherine did not arrive at
Portsmouth till 14th May, 1662. Charles, on hearing of
the queen's arrival, seems to have intrusted a right reverend
prelate with a delicate commission: his majesty, according to
Aurelian Cook, Gent., "having sent the Bishop of London
thither before him to consummate the sacred rights of
marriage, which was to be done in private."
<a name="FNanchor_175_175" id="FNanchor_175_175"></a>
<a href="#Footnote_175_175" class="fnanchor">[175]</a></p>

<p><span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span></p>

<p>From the following passage in Pepys's Diary, under the
date 17th Feb. 1667, it would appear that her majesty was
accustomed to play at cards on a Sunday,&mdash;a crime of the
greatest magnitude in the eyes of certain persons, who
insist that the Christian Sunday should be observed like a
Jewish Sabbath, and who yet have no objection to roast pig.
<a name="FNanchor_176_176" id="FNanchor_176_176"></a>
<a href="#Footnote_176_176" class="fnanchor">[176]</a>
"This evening," says Mr. Pepys, "going to the Queene's
side to see the ladies, I did finde the Queene, the Duchesse
of York, and another or two, at cards, with the room full
of ladies and great men; which I was amazed at to see on
a Sunday, having not believed it, but, contrarily, flatly
denied the same a little while since to my cosen Roger
Pepys." The Duchess of York here mentioned, was Anne
Hyde, first wife of James, Duke of York, afterwards James II.
Her daughter, Mary, afterwards Queen of England, used
also to play at cards on a Sunday, as we learn from the
following passage in the diary of her spiritual director,
Dr. Edward Lake, printed in the Camden Miscellany, vol. i,
1847: "Jan. 9. 1677-8. I was very sorry to understand
that the Princess of Orange, since her being in Holland,
did sometimes play at cards upon the Sundays, which would
doubtless give offence to that people. I remember that
about two years since being with her highness in her closett,
shee required my opinion of it. I told her I could not say
'twas a sin to do so, but 'twas not expedient; and, for fear
of giving offence, I advised her highness not to do it, nor
did shee play upon Sundays while shee continued here in
England." Card-playing on Sundays would appear to have
been equally common with the select circle who had the
honour of partaking of his majesty's amusements. Evelyn,
<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
in his Memoirs, writing on 6th Feb. 1685, the day when
James II was proclaimed, says, "I never can forget the
inexpressible luxury and profaneness, gaming and all dissoluteness,
and as it were total forgetfulness of God (it
being Sunday evening), which this day se'nnight I was
witness of, the king sitting and toying with his concubines,
Portsmouth, Cleaveland, and Mazarine, &amp;c., a French boy
singing love songs in that glorious gallery, whilst about
twenty of the great courtiers and other dissolute persons
were at Basset<a name="FNanchor_177_177" id="FNanchor_177_177"></a>
<a href="#Footnote_177_177" class="fnanchor">[177]</a> round a large table; a bank of at least £2000
in gold before them, upon which two gentlemen who were
with me made reflexions with astonishment. Six days after,
all was in the dust!"</p>

<p>In the sixteenth year of the reign of Charles II an act
was passed which might justly be entitled "An Act to
legalise Gaming; to prevent wealthy Pigeons being plucked
by artful Rooks, and to discourage Betting or Playing for
large Sums upon Tick." An act of the same kind, passed
in the reign of Queen Anne, was repealed in 1844, in
consequence of its penalties being likely to fall heavy on
some eminent sporting characters who had been so indiscreet
as to receive sundry large sums in payment of bets
lost to them upon credit. Its enactment and its repeal are
significant indications of the state of the sporting world at
the two respective periods. It seems to have been framed
<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
on a presumption that, in gaming, noble and wealthy
sportsmen would be most likely to lose; and to have been
repealed because certain noble and wealthy sportsmen had
won, and received their bets. The parties in whose favour
the act was repealed, were said to have been liable to penalties
to the amount of £500,000: the law did not anticipate
that lords and squires would be winners, nor intend that
needy prosecutors should be enriched at their expense. The
preamble and some of the provisions of the act of Charles II
are here given as "Curiosities of Gambling Legislation."</p>

<p>"Whereas all lawful Games and Exercises should not be
otherwise used than as innocent and moderate recreations,
and not as constant trades or callings, to gain a living, or
make unlawful advantage thereby; and whereas by the
immoderate use of them many mischiefs and inconveniences
do arise, and are dayly found to the maintaining and encouraging
of sundry idle, loose, and disorderly persons in
their dishonest, lewd, and dissolute course of life, and to
the circumventing, deceiving, cousening, and debauching
of many of the younger sort, both of the nobility and gentry,
and others, to the loss of their precious time, and the utter
ruin of their estates and fortunes, and withdrawing them
from noble and laudable employments and exercises.</p>

<p>"Be it therefore enacted, that if any person or persons,
of any degree or quality whatsoever, shall by any fraud,
cousenage, circumvention, deceit, &amp;c. in playing at Cards,
Dice, Tables, Tennis, Bowls, Kittles, Shovel-board, or in or
by Cock-fightings, Horse-races, Dog-matches, or Foot-races
&amp;c. or by betting on the sides or hands of such as play, win,
obtain, or acquire any sum or sums of money or any other
valuable thing; that then every person so offending shall
<i>ipso facto</i> forfeit treble the sum or value of money, or other
thing, so won, gained, or acquired.</p>

<p>"And for the better avoiding and preventing of all excessive
and immoderate playing and gaming for the time to
<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
come, be it further enacted, that if any person shall play at
any of the said games, or any other pastime whatsoever
(otherwise than with and for ready money), or shall bet on
the sides of such as play, and shall lose any sum of money
or other thing played for, exceeding the sum of one hundred
pounds, at one time or meeting, upon ticket or credit, or
otherwise, and shall not pay down the same at the time
when he shall so lose the same, the party who loseth the
said moneys, or other things so played for, above the said
sum of one hundred pounds, shall not, in that case, be bound
or compelled to pay or make good the same; and that all
Contracts, Judgments, Statutes, Recognizances, Mortgages,
&amp;c. made, given, acknowledged, or entered for security and
payment of the same shall be utterly void and of none effect.
And, lastly, it is enacted, that the person, or persons, so
winning the said moneys, or other things, shall forfeit and
lose treble the value of all such sum and sums of money, or
other thing which he shall so win (above the said sum of
one hundred pounds), the one moiety to the King, and the
other to the Prosecutor." The passion for gaming at that
period, and its consequences to wealthy flats, are thus
described by Dryden:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"What age so large a crop of vices bore,</div>
  <div class="verse indent-2_6">Or when was avarice extended more?</div>
  <div class="verse indent-2_6">When were the dice with more profusion thrown?</div>
  <div class="verse indent-2_6">The well-filled fob not emptied now alone,</div>
  <div class="verse indent-2_6">But gamesters for whole patrimonies play:</div>
  <div class="verse indent-2_6">The steward brings the deeds which must convey</div>
  <div class="verse indent-2_6">The lost estate. What more than madness reigns,</div>
  <div class="verse indent-2_6">When one short sitting many hundreds drains,</div>
  <div class="verse indent-2_6">And not enough is left him to supply</div>
  <div class="verse indent-2_6">Board wages, or a footman's livery?"</div>
  </div>
</div>

<p>During the reign of Charles II, the business of card-making
greatly increased in England: and the game appears
to have been so generally understood as to induce many
ingenious persons to employ cards not only as a means of
diffusing useful and entertaining knowledge, but also of
<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
advertising their wares. The same mode of instruction
was adopted about the same period in France; but in
England it appears to have embraced a wider range of
subjects; in France, scientific cards appear to have been
devised for the exclusive use of the nobility and gentry, and
to have been confined to their instruction in the conundrums
of heraldry and the elements of history and geography;
<a name="FNanchor_178_178" id="FNanchor_178_178"></a>
<a href="#Footnote_178_178" class="fnanchor">[178]</a>
while in England they were "adapted to the meanest
capacity;" and in addition to the uses for which they were
employed in France, were made subservient to the purposes
of communicating knowledge in grammar, history, politics,
morality, mathematics, and the art of carving.</p>

<p>A Mons. De Brainville invented at Lyons, about 1660, a
pack of Heraldic cards, in which the Aces and Knaves, "les
As et Valets," were represented by the arms of certain
princes and nobles. Now as this was evidently a breach
of etiquette and a derogation of heraldic nobility&mdash;Mons.
De Brainville, like Mr. Anstis, does not seem to have rightly
understood his own "foolish business"
<a name="FNanchor_179_179" id="FNanchor_179_179"></a>
<a href="#Footnote_179_179" class="fnanchor">[179]</a>&mdash;the plates were
seized by the magistrates. As it appeared, however, that
he had given offence through pure inadvertence, and not
with any satirical intention, the plates were restored to him
<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
on condition of his altering the odious names of "As" and
"Valets" into Princes and Chevaliers. In 1678 Antoine
Bulifon carried the same kind of cards to Naples, where
Don Annibal Aquaviva established a society to play at Blazon,
under the name of "Armeristi," with the map of Europe
for a device, and the motto, "Pulchra sub imagine Ludi."
<a name="FNanchor_180_180" id="FNanchor_180_180"></a>
<a href="#Footnote_180_180" class="fnanchor">[180]</a></p>

<p>About the same time that Heraldic cards were introduced
into Naples, a pack of the same kind as these of Mons. De
Brainville were engraved in England. In these cards,
specimens of which are given in the annexed plate, the
honours of the several suits are thus represented. Each of
the cards representing a Knave, is marked P, for Prince;
and a stamp appears on the Ace of Spades.</p>

<table id="HERALDIC_CARDS" summary="Heraldic Cards">
  <tr>
    <td class="c1-1"><span class="smcap">Clubs</span></td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">King</span>,</td>
	<td class="c1-4">by the arms of the</td>
	<td class="c1-4">Pope.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Queen</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">King of Naples.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Prince</span> (Knave)</td>
    <td class="c1-5">"</td>
    <td class="c1-4">Duke of Savoy.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Ace</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Republics of Venice, Genoa, and Lucca.</td>
  </tr>
  <tr>
    <td class="c1-1"><span class="smcap">Spades.</span></td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">King</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">King of France.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Queen</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Sons of France, the Dauphin, Duke of Anjou,
	  and Duke of Orleans.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Prince</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Princes of the Blood&mdash;Bourbon, Berry,
	  Vendome, and Alençon.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Ace</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Ecclesiastical Peers&mdash;Rheims, Langres, and Laon.</td>
  </tr>
  <tr>
    <td class="c1-1"><span class="smcap">Diamonds.</span></td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">King</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">King of Spain.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Queen</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">King of Portugal.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Prince</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Castile and Leon.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Ace</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Arragon.</td>
  </tr>
  <tr>
    <td class="c1-1"><span class="smcap">Hearts.</span></td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">King</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">King of England.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Queen</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Emperor of Germany.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Prince</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Bohemia and Hungary.</td>
  </tr>
  <tr>
    <td class="c1-3"><span class="smcap">Ace</span></td>
    <td class="c1-5">"</td>
    <td class="c1-4">Poland.</td>
  </tr>
</table>

<p>In the annexed specimens, which are of the same size as
the originals, the honours represented are the King of Clubs,
<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
the Queen of Hearts, the King of Diamonds, and the Ace
of Spades. The arms of the Pope, representing the King
of Clubs, are those of Clement IX, who was elected 20th
June, 1667, and died 9th December, 1669.</p>

<p>In another pack of Heraldic cards, relating entirely to
England, probably engraved about the same period, the
armorial ensigns of the King and the nobility were thus
distributed amongst the <i>Têtes</i> and <i>Pips</i>.
<a name="FNanchor_181_181" id="FNanchor_181_181"></a>
<a href="#Footnote_181_181" class="fnanchor">[181]</a> The King and
Queen of Hearts were respectively represented by the arms
of England and of the Duke of York; of Diamonds, by the
arms of Ireland, and of Prince Rupert; of Spades, by the
arms of France, and of the Archbishops of Canterbury and
York; and of Clubs, by the arms of Scotland, and of the
Dukes of Norfolk, Somerset, and Buckingham. In this
pack there were no Knaves. The arms of the Earls were
distributed amongst the sevens, eights, nines, and tens; the
Viscounts furnished the sixes; the Bishops were quartered
on the fives; and the Barons' coats armorial clothed the
nakedness of the lower orders, from the fours to the aces,&mdash;the
aces in the Heraldic game being low. From a kind
of title-page, or perhaps wrapper, preserved in Bagford's
collection, in the British Museum, it would appear that the
publication of those cards was licensed by the Duke of
Norfolk, as Earl Marshal of England, and as such entitled
to take cognizance of all matters relating to heraldry.</p>

<div class="figcenter bord"><a name="i_172.jpg" id="i_172.jpg"></a>
  <img src="images/i_172.jpg"
      alt="Heraldic Cards" />
  <div class="caption">The Pope, The Emperour<br />
     Castille &amp; Leon, Eclesiasticks Dukes and Peirs (Reims, Longres, Laon)</div>
</div>

<p>In playing the game armorial with Heraldic cards, the
players were required to properly describe the various
colours and charges of the different shields; but as this
could not be done without some previous knowledge of the
science of heraldry, a Mons. Gauthier was led to devise,
about 1686, a new pack of Heraldic cards, simply explaining
the terms of blazon, and thus serving as an introduction
<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
to the grand game.<a name="FNanchor_182_182" id="FNanchor_182_182"></a>
<a href="#Footnote_182_182" class="fnanchor">[182]</a>
The Heraldic game, however, never
was popular; and does not even appear to have been in
much esteem with the higher orders, for whose instruction
and entertainment it was specially devised. It would seem
to have declined in France with the glory of Louis XIV,
and not to have survived the Revolution in England.</p>

<p>About 1679, there was published a pack of cards, containing,
according to the advertisement, "An History of all
the Popish Plots that have been in England, beginning with
those in Queen Elizabeth's time, and ending with the last
damnable plot against his Majesty Charles II, with the
manner of Sir Edmundbury Godfrey's murder, &amp;c. All
excellently engraved on copper-plates, with very large
descriptions under each card. The like not extant. Sold
by Randal Taylor, near Stationers Hall, and by most booksellers,
price One Shilling each pack." In a "puff collusive,"
<a name="FNanchor_183_183" id="FNanchor_183_183"></a>
<a href="#Footnote_183_183" class="fnanchor">[183]</a>
forming a kind of postscript to this announcement,
approbation of these cards is thus indirectly made a test of
staunch Protestantism. "Some persons who care not what
they say, and to whom lying is as necessary as eating, have
endeavoured to asperse this pack by a malitious libel,
intimating that it did not answer what is proposed. The
contrary is evident. Aspersers of this pack plainly show
themselves popishly affected."
<a name="FNanchor_184_184" id="FNanchor_184_184"></a>
<a href="#Footnote_184_184" class="fnanchor">[184]</a></p>

<p>Such a pack of cards as that announced in the advertisement
referred to&mdash;"containing an history of all the popish
plots that have been in England, beginning with those in
<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span>
Queen Elizabeth's time"&mdash;I have never seen; and from the
objection which was made to it at the time, namely, that
"it did not answer what was proposed," I am inclined to
think that it was the same pack as that which relates
entirely to the pretended Popish plot of 1678, and the
murder of Sir Edmundbury Godfrey. A pack of the latter
now before me appears to have been published about 1680,
and certainly subsequent to the 18th of July, 1679; as on
the Four of Clubs is represented the trial of Sir George
Wakeman and three Benedictine monks, who on that day
were arraigned at the Old Bailey on an indictment of high
treason for conspiring to poison the king. The complete
pack consists of fifty-two cards; and each contains a subject,
neatly engraved, either relating to the plot or the
trial and punishment of the conspirators, with a brief explanation
at the foot. At the top are the marks of the
suit; and the value of the low cards, from one to ten,
is expressed in Roman numerals. The suits of Hearts,
Diamonds, and Clubs consist chiefly of illustrations of
the pretended plot, as detailed in the evidence of Titus
Oates and Captain Bedloe; while the suit of Clubs relates
entirely to the murder of Sir Edmundbury Godfrey. An
idea of the whole pack may be formed from the following
description of a few of the cards of each suit.
<span class="smcap">Hearts</span>:
King: the King and privy councillors seated at the council-table;
Titus Oates standing before them: inscription at the
foot, "<i>Dr. Oates discovereth y<sup>e</sup> Plot to
y<sup>e</sup> King and Councell</i>."
The Eight: "<i>Coleman writeing a declaration and
letters to la Chess</i>,"&mdash;Père la Chaise. The Ace: the Pope
with three cardinals and a bishop at a table, and the devil
underneath: "<i>The Plot first hatcht at Rome by the Pope
and Cardinalls, &amp;c.</i>"
<span class="smcap">Diamonds</span>: Knave: "<i>Pickerin attempts
to kill y<sup>e</sup> K. in S<sup>t</sup> James Park</i>." The Four:
"<i>Whitebread made Provintiall</i>." The Ace: "<i>The consult
at the white horse Taverne</i>."
<span class="smcap">Clubs</span>: King: "<i>Cap<sup>t</sup> Bedlow
<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span>
examind by y<sup>e</sup> secret Comitee of the House of Commons</i>."
The Nine: "<i>Father Connyers preaching against y<sup>e</sup> oathes
of alegiance &amp; supremacy</i>." The Six: "<i>Cap<sup>t</sup> Berry and
Alderman Brooks are offer'd</i> 500£ <i>to cast the plot on the
Protestants</i>." <span class="smcap">Spades</span>:
Queen: "<i>The Club at y<sup>e</sup> Plow
Ale house for the murther of S. E. B. Godfree</i>." The
Nine: "<i>S<sup>r</sup> E. B. Godfree strangled, Girald going to stab
him</i>." The Five: "<i>The body of S<sup>r</sup> E. B. G. carry'd to
Primrose hill on a horse</i>."</p>

<p>Another pack of historical cards, apparently published in
the same reign, but of inferior execution to the former,
appears to have related to the Rye-house plot. As these
cards are of even greater rarity than those relating to the
Popish plot, the following description of four of them&mdash;all
that I have ever seen&mdash;is here given as a stimulus to collectors.
Queen of Hearts: "<i>Thompson one of y<sup>e</sup> conspirators
taken at Hammersmith</i>." Knave of Diamonds:
"<i>Rumbold the malster</i>;" on a label proceeding from his
mouth is the inscription, "<i>They shall dye</i>." Ace of Clubs:
"<i>Keeling troubled in mind</i>:" on a label proceeding from
his mouth, "<i>King killing is damnable</i>." Ace of Spades:
"<i>Hone taken prisoner at Cambridge</i>." Shortly after the
Revolution of 1688, one or two packs of cards appeared
with subjects relating to the misgovernment of James II,
and the birth of his son the Prince of Wales. In the reign
of either Charles II or James II was published a pack of
mathematical cards, by Thomas Tuttell, "mathematical
instrument-maker to the King's most excellent Majesty."
Those cards were designed by Boitard, and engraved by
J. Savage; they represent various kinds of mathematical
instruments, together with the trades and professions in
which they are used. They were evidently "got up" as an
advertisement. A few years afterwards, Moxon, also a
mathematical instrument-maker, followed suit.</p>

<p>"It would be difficult," says Mons. Leber, "to name an
<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span>
elementary book of science or art, which had not a pack of
cards as an auxiliary. Grammar, Rhetoric, Fable, Geography,
History, Heraldry, the principles of Morals and Politics,&mdash;all
these things, and many others besides, were to be learnt
through the medium of play. The game of cards had
served for the amusement of a royal lunatic; and similar
games were comprehended in the plan for the education of
one of our greatest kings.<a name="FNanchor_185_185" id="FNanchor_185_185"></a>
<a href="#Footnote_185_185" class="fnanchor">[185]</a>
&mdash;Though France had a large
share in the dissemination of such treasures of knowledge,
England showed herself not less diligent in working the
same mine; if to us she owes the game of Piquet, it is
from her own proper resources that she has endowed the
culinary art with a game of a different kind, yet highly
interesting considered in its relation to the play of the jaws,
the most ancient and highly esteemed of all play. It was
in December, 1692, that the London papers first announced
to the world the invention of the game of Carving at Table.
This precious announcement is conceived in the following
terms: '<span class="smcap">The Genteel Housekeeper's Pastime</span>; or the
mode of Carving at the table, represented in a pack of
Playing Cards, with a book by which any ordinary capacity
may learn how to cut up, or carve in mode, all the most
<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>
usual dishes of flesh, fish, fowl, and baked meats, with the
several sawces and garnishes proper to each dish of meat.
Price 1<i>s.</i> 6<i>d.</i> Sold by J. Moxon, Warwick Lane.'"
<a name="FNanchor_186_186" id="FNanchor_186_186"></a>
<a href="#Footnote_186_186" class="fnanchor">[186]</a> In
those cards the suit of Hearts is occupied by flesh; Diamonds
by fowl; Clubs by fish; and Spades by baked
meats. The King of Hearts presides over a sirloin of beef;
of Diamonds over a turkey; of Clubs over a pickled herring;
and of Spades over a venison pasty. A red stamp on the
Ace of Spades belonging to a pack which I have had an
opportunity of examining, contains the words "Six pence."
If this was the duty on each pack, it was certainly great
for the period.</p>

<p>In the reign of Queen Anne and that of George I, several
packs of satirical and fanciful cards were published. A pack
of the latter description, now in the possession of Thomas
Heywood, Esq., of Pendleton, near Manchester, relates
entirely to the subject of love. Each card is neatly engraved
on copper; and, from the stamp on the Ace of Spades, it
appears evident that they were manufactured and sold for
the purposes of play. The subject of this card is a Cupid
plucking a rose, with the inscription "In love no pleasure
without pain," and the following verses at the foot:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"As when we reach to crop y<sup>e</sup> blooming rose</div>
  <div class="verse indent-2_6">From off its by'r, y<sup>e</sup> thorns will interpose;</div>
  <div class="verse indent-2_6">So when we strive the beauteous nymph to gain,</div>
  <div class="verse indent-2_6">Y<sup>e</sup> pleasures we pursue are mixed with pain."</div>
  </div>
</div>

<p><span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span></p>

<p>All the other cards have, in the same manner, explanatory
verses at the foot. The mark of the suit is placed at the
top, to the left, and above it is engraved the value of the
card, in Roman numerals. In the coat cards, the name of
each,&mdash;King, Queen, or Knave&mdash;is engraved above the
mark of the suit. This pack has been in the possession of
Mr. Heywood's family for upwards of a century.</p>

<p>A pack of satirical cards, belonging to W. H. Diamond,
Esq., Frith street, Soho square, appear to have been executed
about the same time. Each subject has an explanatory
couplet at the bottom, and the value of each in the game
is indicated by a small card engraved at the top, to the left.
As in the other pack, there is a red stamp on the Ace of
Spades. All the subjects are coarsely engraved, though
some of them display points of character very much in the
style of Hogarth. In the Three of Spades there is a
billiard-table, at which a gentleman is playing with a curved
cue. The inscription is:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Think not a losing gamester will be fair,</div>
  </div>
</div>

<p>In the Ten of Spades, a Moorfields quack is seen pointing
to his sign, with the inscription:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"To famed Moorfields I dayly do repair;</div>
  <div class="verse indent-2_6">Kill worms, cure itch, and make y<sup>e</sup> ladies fair."</div>
  </div>
</div>

<p>In the Ace of Diamonds, a lady is seen showing her palm
to a fortune-teller, with the inscription:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"How can you hope this Gipsey drabb should know</div>
  <div class="verse indent-2_6">The Fates decrees, and who was made for you."</div>
  </div>
</div>

<p>In the Four of Diamonds, a lady is seen exchanging some
of her clothes for china ware, with an itinerant dealer.
The inscription is:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Your pockets, madam, surely are wondrous bare,</div>
  <div class="verse indent-2_6">To sell your very clothes for china ware."</div>
  </div>
</div>

<p><span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>

<p>In the Ten of Diamonds, the interior of a shop is shown,
with articles of plate on the shelves. A woman is standing
behind the counter, on which are a box and dice, and in
front are a lady and gentleman who seem to have just thrown.
The inscription is:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"At Epsom oft these rafflings I have seen,</div>
  <div class="verse indent-2_6">But assignation's what they chiefly mean."</div>
  </div>
</div>

<p>In England, books containing instructions for playing at
cards appear to have been first published in the reign of
Charles II, to the great benefit, most assuredly, of all adepts
who had acquired their knowledge by practice; for in card-playing,
as well as in chemistry, the experienced manipulators
have a great advantage over the merely book-learned
when matters are brought to the test. The real science of
play is not to be acquired by the study of books, but by
frequent encounters across the table, with men, whose
keenness ensures attention to the rules of the game. But,
even with the knowledge thus acquired, the proficient will
gain but little, unless he also be skilled in the discrimination
of flats and sharps.</p>

<p>In 1670, an edition of a book entitled 'Wits Interpreter,'
was enlarged with directions for playing the "Courtly Games
of L'Hombre, Piquit, Gleek, and Cribbage;" and in 1674
appeared Cotton's "Compleat Gamester; or, Instructions
how to play at all manner of usual and most Gentile
games, either on Cards, Dice, Billiards, Trucks, Bowls, or
Chess." This book was several times reprinted; and in an
edition published in 1709, the following are enumerated as
the principal games at cards: Piquet; Gleek; l'Ombre, a
Spanish game; Cribbage; All-Fours; English Ruff and
Honours, alias Slam; Whist; French Ruff; Five Cards; a
game called Costly Colours; Bone-Ace; Put, and the High
Game; Wit and Reason, a game so called; a Pastime called
the Art of Memory; a game called Plain-Dealing; a game
<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span>
called Queen Nazareen; Lanterloo; a game called Penneech;
Bankafalet; Beast;<a name="FNanchor_187_187" id="FNanchor_187_187"></a>
<a href="#Footnote_187_187" class="fnanchor">[187]</a> and Basset.
<a name="FNanchor_188_188" id="FNanchor_188_188"></a>
<a href="#Footnote_188_188" class="fnanchor">[188]</a></p>

<p>The game of Whist, or Whisk, as it seems to have been
usually called, is unquestionably of English origin, and appears
to have been popular long before it became fashionable.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Let India vaunt her children's vast address,</div>
  <div class="verse indent-2_6">Who first contriv'd the warlike sport of Chess;</div>
  <div class="verse indent-2_6">Let nice Piquette the boast of France remain,</div>
  <div class="verse indent-2_6">And studious Ombre be the pride of Spain;</div>
  <div class="verse indent-2_6">Invention's praise shall England yield to none,</div>
  <div class="verse indent-2_6">While she can call delightful Whist her own.</div>
  <div class="verse indent-2_6">But to what name we this distinction owe,</div>
  <div class="verse indent-2_6">Is not so easy for us now to know:</div>
  <div class="verse indent-2_6">The British annals all are silent here,</div>
  <div class="verse indent-2_6">Nor deign one friendly hint our doubts to clear:</div>
  <div class="verse indent-2_6">Ev'n <span class="smcap">Hume</span> himself, whose philosophic mind</div>
  <div class="verse indent-2_6">Could not but love a pastime so refin'd:</div>
  <div class="verse indent-2_6">Ungrateful <span class="smcap">Hume</span>, who, till his dying day,</div>
  <div class="verse indent-2_6">Continued still his fav'rite game to play;
  <a name="FNanchor_189_189" id="FNanchor_189_189"></a>
    <a href="#Footnote_189_189" class="fnanchor">[189]</a></div>
  <div class="verse indent-2_6">Tho' many a curious fact his page supplies,</div>
  <div class="verse indent-2_6">To this important point a place denies."
    <a name="FNanchor_190_190" id="FNanchor_190_190"></a>
    <a href="#Footnote_190_190" class="fnanchor">[190]</a></div>
  </div>
</div>

<p>Barrington's observations on the introduction of the game
into respectable company, are as follows: "Quadrille (a
species of Ombre) obtained a vogue upon the disuse of the
latter, which it maintained till Whisk was introduced, which
now [1787] prevails not only in England, but in most of
<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span>
the civilized parts of Europe.
<a name="FNanchor_191_191" id="FNanchor_191_191"></a>
<a href="#Footnote_191_191" class="fnanchor">[191]</a> If it may not possibly be
supposed that the game of Trumps (which I have before
taken notice of, as alluded to in one of the old plays contained
in Dodsley's Collection) is Whisk, I rather conceive
that the first mention of that game is to be found in
Farquhar's 'Beaux Stratagem,' which was written in the
very beginning of the present century.
<a name="FNanchor_192_192" id="FNanchor_192_192"></a>
<a href="#Footnote_192_192" class="fnanchor">[192]</a> It was then played
with what were called <i>Swabbers</i>,
<a name="FNanchor_193_193" id="FNanchor_193_193"></a>
<a href="#Footnote_193_193" class="fnanchor">[193]</a> which were possibly so
termed, because they who had certain cards in their hand
were entitled to take up a share of the stake, independent
of the general event of the game. The fortunate, therefore,
clearing the board of this extraordinary stake, might be
compared by seamen to the <i>Swabbers</i> (or cleaners of the
deck), in which sense the term is still used. Be this as it
may, Whisk seems never to have been played on principles
till about fifty years ago, when it was much studied by a set
of gentlemen who frequented the Crown coffee-house in
Bedford row: before that time it was confined chiefly to
the servants' hall with All-Fours and Put."</p>

<p><span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span></p>

<p>From Mr. Barrington's own references it would appear
to have been a favorite game with country squires about
1707, the date of the Beaux Stratagem; and occasionally
indulged in by clergymen about 1728, the date of Swift's
Essay on the Fates of Clergymen. Their example, however,
seems to have been unable to retrieve it from the character
of vulgarity, until it was seriously taken up by "a set of
gentlemen," who appear to have commenced their studies
at the Crown coffee-house, in Bedford row, just about the
time that the Treatise on Whist, by "Edmond Hoyle, Gent.,"
was first published by Thomas Osborne, at Gray's Inn.
The studies of such gentlemen, and the celebrity of their
scientific instructor, are thus commemorated in the prologue
to the 'Humours of Whist,' a dramatic satire quoted in the
preceding page.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Who will believe that man could e'er exist</div>
  <div class="verse indent-2_6">Who spent near half an age in studying Whist;</div>
  <div class="verse indent-2_6">Grew grey with Calculation,&mdash;Labour hard!&mdash;</div>
  <div class="verse indent-2_6">As if Life's business centred in a card?</div>
  <div class="verse indent-2_6">That such there is, let me to those appeal,</div>
  <div class="verse indent-2_6">Who with such liberal hands reward his zeal.</div>
  <div class="verse indent-2_6">Lo! Whist he makes a science; and our Peers</div>
  <div class="verse indent-2_6">Deign to turn school-boys in their riper years;</div>
  <div class="verse indent-2_6">Kings too, and Viceroys, proud to play the game,</div>
  <div class="verse indent-2_6">Devour his learned page in quest of Fame:</div>
  <div class="verse indent-2_6">While lordly sharpers dupe away at <span class="smcap">White</span>'s,</div>
  <div class="verse indent-2_6">And scarce leave one poor cull for common bites."</div>
  </div>
</div>

<p>Though Mr. Barrington has not assigned any grounds
for supposing that Whist was the same game as that which
was formerly called Trumps, or Trump, it is not unlikely
that he was induced to suggest the possibility of their being
the same from his having read, in 'The Compleat Gamester,'
that Whist differed but little from the game called English
Ruff and Honours, and in consequence of his having learnt,
from Cotgrave's Dictionary, that Ruff and Trump were
<span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span>
the same.<a name="FNanchor_194_194" id="FNanchor_194_194"></a>
<a href="#Footnote_194_194" class="fnanchor">[194]</a>
He says, in a note, that "In 1664, a book was
published, entitled 'The Compleat Gamester,' which takes
no notice of Whisk." Though it be true that "Whisk"
is not named in the first edition of the book&mdash;printed in
1674, not 1664&mdash;yet the following passage, distinctly asserting
that Whist was then a common game in all parts of
England, appears in the second edition published in 1680.</p>

<p>"Ruff and Honours (by some called Slam), and Whist,
are games so common in England, in all parts thereof, that
every child almost, of eight years, hath a competent knowledge
in that recreation; and therefore I am more unwilling
to speak anything more of them than this, that there may
be a great deal of art used in dealing and playing at these
games, which differ very little one from the other." In the
'Memoirs of the most Famous Gamesters, from the reign of
Charles II, to that of Queen Anne,' 1714, a sharper named
Johnson, who was hanged in 1690, is mentioned as having
excelled in the art of securing honours for himself and
partner when dealing at Whist; and in the works of Taylor
the Water-poet, printed in 1630, Whisk is mentioned among
the games at which the prodigal squanders his money:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"The prodigalls estate like to a flux,</div>
  <div class="verse indent-2_6">The Mercer, Draper, and the Silkman sucks:</div>
  <div class="verse indent-2_6">The Taylor, Millainer, Dogs, Drabs, and Dice,</div>
  <div class="verse indent-2_6">Trey-trip, or Passage, or the Most-at-thrice.</div>
  <div class="verse indent-2_6">At Irish, Tick-tacke, Doublets, Draughts, or Chesse,</div>
  <div class="verse indent-2_6">He flings his money free with carelessnesse:</div>
  <div class="verse indent-2_6">At Novum, Mumchance, Mischance (chuse ye which),</div>
  <div class="verse indent-2_6">At One-and-thirty, or at Poor-and-rich,</div>
  <div class="verse indent-2_6">Ruffe, Slam, Trump, Noddy, Whisk, Hole, Sant, New-cut.</div>
  <div class="verse indent-2_6">Unto the keeping of four Knaves he'll put</div>
  <div class="verse indent-2_6">His whole estate; at Loadum or at Gleeke,</div>
  <div class="verse indent-2_6"><span class="pagenum">
    <a name="Page_164" id="Page_164">[Pg 164]</a></span>
    At Tickle-me quickly, he's a merry Greek;</div>
  <div class="verse indent-2_6">At Primifisto, Post-and payre, Primero,</div>
  <div class="verse indent-2_6">Maw, Whip-her-ginny, he's a lib'ral hero;</div>
  <div class="verse indent-2_6">At My-sow pigg'd: but (reader, never doubt ye)</div>
  <div class="verse indent-2_6">He's skill'd in all games, except Looke about ye.</div>
  <div class="verse indent-2_6">Bowles, Shove-groat, Tennis, no game comes amiss,</div>
  <div class="verse indent-2_6">His purse a nurse for anybody is;</div>
  <div class="verse indent-2_6">Caroches, Coaches, and Tobacconists,</div>
  <div class="verse indent-2_6">All sorts of people freely from his fists</div>
  <div class="verse indent-2_6">His vaine expenses daily sucke and soake,</div>
  <div class="verse indent-2_6">And he himself suckes only drinke and smoake.</div>
  <div class="verse indent-2_6">And thus the Prodigall, himselfe alone,</div>
  <div class="verse indent-2_6">Gives sucke to thousands, and himself sucks none."
    <a name="FNanchor_195_195" id="FNanchor_195_195"></a>
    <a href="#Footnote_195_195" class="fnanchor">[195]</a></div>
  </div>
</div>
<p>In an edition of 'The Compleat Gamester' of 1709, it is
said that the game of Whist is so called from the silence
that is to be observed in the play; and Dr. Johnson, from
the manner in which he explains the term, seems to have
favoured this opinion: "Whist, a game at cards, requiring
close attention and silence."
<a name="FNanchor_196_196" id="FNanchor_196_196"></a>
<a href="#Footnote_196_196" class="fnanchor">[196]</a>
The name, however, appears
more likely to have been a corruption of the older one of
Whisk. As the game of Whisk and Swabbers was nearly
the same as that of the still older one of Ruff and Honours,
it would seem that the two former terms were merely the
ludicrous synonyms of the latter,&mdash;introduced perhaps
about the time that Ruffs were going out of fashion, and
when the Honours represented by the coat cards were at a
discount. The fact that a game, so interesting in itself,
should be so slighted, as it was, by the higher orders, from
the reign of Charles II to that of George II, would seem to
<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span>
intimate that they were well aware of the ridicule intended
to be conveyed by its popular name of Whisk and Swabbers.
Looking at the conjunction of these terms, and considering
their primary meaning,<a name="FNanchor_197_197" id="FNanchor_197_197"></a>
<a href="#Footnote_197_197" class="fnanchor">[197]</a>
there can scarcely be a doubt that
the former was the original of Whist, the name under which
the game subsequently obtained an introduction to fashionable
society, the Swabbers having been deposed and the
Honours restored.</p>

<p>In playing the game, Swabbers seem to have signified
either the Honours, or the points gained through holding
them. At the older game of Ruff and Honours, Ruff
signified the Trump. It would appear that when the Ruff
was called a Whisk, in ridicule of the Ruff proper, the
Honours, or points gained through them were, "in concatenation
accordingly, designated Swabbers." In the present
day, a Parisian tailor calls, facetiously, the shirt-ruffle of a
shopmate a damping clout; and Philip Stubbes, in his
'Anatomie of Abuses,' 1583, thus speaks of the ruffs of the
gallants of his time: "Thei have great and monsterous
ruffes, made either of cambricke, holland, lawne, or els
of some other the finest cloth that can be got for money,
whereof some be a quarter of a yarde deepe, yea some more,
very few lesse: so that thei stande a full quarter of a yarde
(and more) from their necks, hanging over their shoulder
points instead of a vaile. But if Æolus with his blasts, or
Neptune with his stormes, chaunce to hit upon the crasie
barke of their bruised ruffes, then they goeth flip-flap in
the winde, like ragges that flew abroode, lying upon their
shoulders like the dishcloute of a slut."</p>

<p>In the reign of Queen Anne, card-playing seems to have
attained its full tide in every part of civilized Europe. In
England, in particular, it was at once fashionable and
<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span>
popular; Ombre was the favorite game of the ladies; and
Piquet of the gentlemen, <i>par excellence</i>; clergymen and
country squires rubbed on at Whist; and the lower orders
shuffled away at All-Fours, Put, Cribbage, and Lanterloo.
Subsequently some of the games may have been more
diligently studied, and the chances more nicely calculated
"on principles," but at no other time, either before or since,
was card-playing more prevalent amongst people of all
classes. The more pious indeed did their best to discourage
the general passion for play; but their dissuasions appear
to have produced but little effect; as indeed might be
expected at a period when one of the first statesmen of the
time piqued himself rather on his skill in gaming than on
his political reputation, and when kind landlords, of the
Sir Roger de Coverley school, used to send a string of hog's
puddings and a pack of cards as a Christmas gift to every
poor family in the parish.<a name="FNanchor_198_198" id="FNanchor_198_198"></a>
<a href="#Footnote_198_198" class="fnanchor">[198]</a>
The character of the statesman
alluded to&mdash;Lord Godolphin, who died 1712,
<a name="FNanchor_199_199" id="FNanchor_199_199"></a>
<a href="#Footnote_199_199" class="fnanchor">[199]</a>&mdash;is thus
sketched by Pope in his first Moral Epistle:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Who would not praise Patricio's high desert,</div>
  <div class="verse indent-2_6">His hand unstained, his uncorrupted heart,</div>
  <div class="verse indent-2_6">His comprehensive head! all interests weighed,</div>
  <div class="verse indent-2_6">All Europe saved, yet Britain not betrayed?</div>
  <div class="verse indent-2_6">He thanks you not; his pride is in piquette,</div>
  <div class="verse indent-2_6">Newmarket fame, and judgement in a bet."</div>
  </div>
</div>

<p>The following particulars relating to the manufacture of
cards in the reign of Queen Anne, are derived from a broadside
entitled "Considerations in relation to the Imposition
on Cards, humbly submitted to the Hon. House of
<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span>
Commons." It is without date, but was certainly printed
in the reign of Queen Anne, for the purpose of being circulated
among the members of the House of Commons on
the occasion of a proposal to lay a tax of sixpence per pack
on cards. "Nine parts in ten of the cards now made," it is
stated, "are sold from 6<i>s.</i> to 24<i>s.</i> per gross; and even these
at 6<i>s.</i> will by this duty be subjected to £3 12<i>s.</i> tax. This,
with submission, will destroy nine parts in ten of the
manufacture; for those cards which are now bought for 3<i>d.</i>
[per pack] can't then be afforded under 10<i>d.</i> or 1<i>s.</i> If any
of your honours hope by this tax to suppress expensive card-playing,
it is answered that the common sort who play for
innocent diversion will only be hindered; the sharp
gamesters who play for money will not be discouraged; for
those who play for many pounds a game will not be hindered
by 12<i>d.</i> a pack." There were then 40,000 reams of
Genoa white paper annually imported, chiefly for the purpose
of making cards. The business was in the hands of small
masters, mostly poor, of whom there were no less than a
hundred, in and about London. Their price to retailers,
one sort of cards with another, was three halfpence a pack,
and their profit not above a halfpenny. Though cards
were at that period much smaller than they are at present,
it is difficult to conceive how they could be manufactured at
so low a price.</p>

<p>As Pope's description of the game of Ombre in the Rape
of the Lock has been so frequently referred to by writers of
all kinds,&mdash;whether treating, like Richard Seymour, Esq.,
on Court Games, or, like Miss Mitford, on Country Contentments,
<a name="FNanchor_200_200" id="FNanchor_200_200"></a>
<a href="#Footnote_200_200" class="fnanchor">[200]</a>&mdash;the
omission of a reference to it here might be
<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span>
considered a gross oversight; but as it is impossible to go a
pitch beyond the encomiums which have been bestowed on
it, the following remarks by an old author may be introduced
as a variation: "Mr. Pope, too, most certainly has
his merit; yet the generality of polite men heed him little
more than a pack-horse upon the road; they hear the jingle
of his bells and pass on, without thinking of the treasure he
carries. I have frequently thought it odd, that in all the
good company I have kept, I never heard a line quoted from
any part of him, unless, now and then, an accidental one,
from his beautiful and accurate description of the game of
Ombre."<a name="FNanchor_201_201" id="FNanchor_201_201"></a>
<a href="#Footnote_201_201" class="fnanchor">[201]</a></p>

<p>During the greater portion of the "Georgian Era" it
would seem that cards were as much played at by all classes
as in the reign of Queen Anne. In the early part of George I,
Seymour published his 'Court Gamester,' written, as the
title-page states, for the use of the young Princesses.
<a name="FNanchor_202_202" id="FNanchor_202_202"></a>
<a href="#Footnote_202_202" class="fnanchor">[202]</a> The
only games of which Mr. Seymour treats are Ombre, Piquet,
and the Royal Game of Chess. His instructions for playing
at Ombre and Piquet are minute and precise, and have all
the appearance of having been adapted for royal capacities.
At cards with princesses, he may have been a master, in
both senses of the word, and have played, in any company,
a "decent hand;" but at Chess, it is evident, he was a
mere novice,&mdash;"aut caprimulgus, aut fossor." Though, in
the title-page, the work is said to have been written for the
use of the young princesses, yet, in the preface, the author
<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span>
candidly acknowledges that he had been induced to compile
it for the fashionable world at large, seeing that "gaming
had become so much the fashion among the beau-monde,
that he who in company should appear ignorant of the
games in vogue would be reckoned low-bred and hardly fit
for conversation." In his explanation of the Spanish terms
employed in the game of Ombre, he is laudably precise;
though when he renders the words, "<i>No se deve, por Dios</i>,"
by "<i>It is not lost, by G&mdash;d</i>," he seems wishful rather to
give the spirit of the exclamation than the simple meaning
of the phrase, and to be emphatic even at the risk of appearing
profane. It is to be hoped that the princesses
confined themselves to the original Spanish, and that they
were ignorant that it contained an oath, supposing the
objectionable English words to be merely added, <i>elegantiæ
causa</i>, by their polite teacher.</p>

<p>About the time that Seymour's 'Court Gamester' was
first published, a spirit of gambling seems to have pervaded
all classes. Skill in the games at cards most in vogue was
a test of gentility; stock-jobbing, or speculating for a rise
or a fall in the public funds, had become a regular trade;
and even pious ministers, of high dissenting principles, who
looked on card-playing as sinful, scrambled as eagerly as
the most profane for shares of South Sea stock, and were
blinded to the sense of Christian duty by the dazzling hope
of becoming suddenly rich. The South Sea bubble,
however, at length burst, and its promoters and their dupes
were appropriately caricatured in a pack of cards.
<a name="FNanchor_203_203" id="FNanchor_203_203"></a>
<a href="#Footnote_203_203" class="fnanchor">[203]</a> The
South Sea directors, instead of having thousands of pounds
presented to them by the shareholders, as a tribute to
their speculative genius, were summoned before a parliamentary
<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span>
committee to give an account of their estates.
Parliamentary committees have of late been employed for a
purpose widely different:</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="verse">"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
	•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
	•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    •&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
	•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    •&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;multi</div>
    <div class="verse indent-2_6">Committunt eadem diverso crimina fato:</div>
    <div class="verse indent-2_6">Ille crucem pretium sceleris tulit, hic <i>diadema</i>."</div>
  </div>
</div>

<p>About 1737, Hoyle's 'Treatise on Whist' was first published.
The work, which seems to have been admirably
adapted to the wants of society at the time, was most favorably
received; and in the course of the succeeding ten or twelve
years it ran through as many editions as Lindley Murray's
Grammar, in the same period, in modern times. It proved
a "lucky hit," both for the author and the publisher, who
took every precaution to secure their copyright: injunctions
were held up <i>in terrorem</i> against pirates; and purchasers
were informed that no copies of the work were genuine
unless they bore the signatures of</p>

<div class="figright"><a name="i_191.jpg" id="i_191.jpg"></a>
  <img src="images/i_191.jpg"
      alt="Signatures of Edmond Boyle and Thos. Osborne" />
</div>

<p>The race of "Wits," who had previously exercised no
small influence on the world of fashion, was then on the
decline; the beau-monde had acquired the ascendency over
Grub street; and gentlemen of rank and fashion formed
themselves into clubs, for the purposes of gaming and
social intercourse, from which thread-bare poets and hack
pamphleteers were excluded by the very terms of subscription,
to say nothing of the preliminary ordeal of the
ballot. Those were the golden days of Beau Nash; when
George the Second was king; and his son, the Duke of
<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span>
Cumberland, the patron of Broughton and Figg; when
Cibber was Poet-Laureate, and when Quin's brutality
passed for wit; when the Guards, the pride of the army,
were such heroes as we see them in Hogarth's March to
Finchley; and when such statesmen as Bubb Doddington
had the entrée, by the back stairs, both at Leicester House
and St. James's. Even those who professed to correct the
vices of the age seem in some degree to have been infected
with its spirit; Richardson, the novelist, writing with the
ostensible design of reforming "Rakes" and retaining
innocent young women in the paths of virtue, seems often
to indulge, more especially in Pamela and Clarissa Harlowe,
in describing scenes and suggesting circumstances which
only could have been conceived by a prurient imagination;
and even John Wesley appears to have encouraged his poor
converted sinners to exaggerate their petty vices, when speaking
their experience at a love-feast, and to dwell, with a
peculiar kind of complacency, on their former state of carnal
wickedness as compared with their present state of spiritual
grace,&mdash;just as William Huntington, S.S., when in the
fulness of sanctity, dwelt on the memory of his former
backslidings, and told all the world, with ill-dissembled
pride, that his first-born love-begotten son was an exact
copy of his father, both in humour and in person.</p>

<p>The reign of Beau Nash at Bath forms a "brilliant" era
in the annals of ostentatious frivolity. Under his auspices
the City of the Sick<a name="FNanchor_204_204" id="FNanchor_204_204"></a>
<a href="#Footnote_204_204" class="fnanchor">[204]</a>
became the favorite place of resort for
the fashionable and the gay; and in the pools where
formerly lepers alone washed to cleanse them of their sores,
smooth-skinned ladies dabbled for pleasure, to the sound
<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span>
of soft music, while gentlemen, enraptured, looked on.
<a name="FNanchor_205_205" id="FNanchor_205_205"></a>
<a href="#Footnote_205_205" class="fnanchor">[205]</a>
The Beau was admirably fitted, from his mercurial talents,
to discharge the peculiar duties of purveyor of pleasure to
the fashionable society of his age: he could administer
flattery to a duchess while he pretended to reprove her;
and could persuade the little madams, of the Would-be
family, that they were honoured by his patronising condescension,
at the very time that he was endeavouring to
make them appear ridiculous, for the amusement of <i>real</i>
ladies. He displayed great tact in bringing parties together
who wished to be better acquainted, and denounced
scandal as the bane of fashionable society. He promoted
play as a recreation for the polite of both sexes; and encouraged
dancing, not only as a healthy exercise <i>per se</i>,
but for the benefit of the rooms, and for the sake of aiding
the salutary operation of the waters. In his dress he was
"conspicuously queer," as was requisite in a Master of the
Ceremonies: he wore a large white hat,&mdash;cocked, be it
observed,&mdash;the buckle of his stock before instead of behind,
and, even in the coldest weather, his waistcoat unbuttoned,
displaying the bosom of his shirt. He drove six
greys in his carriage, and when he went in state to the
rooms he was always attended by a numerous escort and
a band of music, the principal instruments of which were
French horns,&mdash;"Sonorous metal, blowing martial sounds."
On his decease, which took place in 1761, the corporation
of Bath, grateful for the benefits conferred on their city
<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span>
through his means, erected a marble statue of the Grand
Master of the Ceremonies in the Pump-room, between the
busts of Newton and Pope; and his good-natured friend,
the Earl of Chesterfield, in an epigram, thus did justice to
his memory and the taste of the corporation:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"The Statue, placed these busts between,</div>
  <div class="verse indent1_4">  Gives Satire all its strength;</div>
  <div class="verse indent-2_6">Wisdom and Wit are little seen,</div>
  <div class="verse indent1_4">But Folly at full length."</div>
  </div>
</div>

<p>The Earl of Chesterfield was a frequent visitor at Bath,
where he found many admirers of his wit, and many opportunities
of exercising it. Bath, indeed, was the very place
for such a genius to shine in, for in no other city in the
kingdom were manners and morals, such as his lordship's,
more highly appreciated. His lordship was fond of play
too; and was partial to the company of Mr. Lookup, one
of the most noted professional gamesters of the day. Lookup,
as well as Colonel Charteris,&mdash;of notorious memory in the
annals of gaming and debauchery,&mdash;was from the north
of the Tweed. He was born in the neighbourhood of
Jedburgh, and was bred an apothecary. On the expiration
of his apprenticeship, he proceeded southward, and obtained
a situation in the shop of an apothecary at Bath. On the
death of his master, he wooed and won the widow; and
having thus obtained possession of about five hundred
pounds in ready money, he gave up the shop, and devoted
himself entirely to play, an itch for which he is said to have
brought with him from his native country. In Lookup's
youth, and, indeed, for many years afterwards, a fondness
for card-playing was more prevalent in Jedburgh than in any
other town on the Scottish border.</p>

<p>Lookup, having determined to make gaming his business,
devoted, like a sensible man, his whole attention to it: he
calculated the odds coolly, played steadily, and, consequently,
<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span>
won considerably from those fashionable amateurs whose
confidence was not according to knowledge. He was not
only a proficient in all the usual games at cards, but also
played well at billiards. Lord Chesterfield used sometimes
to amuse himself at billiards with Lookup; and on one
occasion had the laugh turned against him by a <i>ruse</i> of his
antagonist, who, after winning a game or two, asked his
lordship how many he would give if he were to put a patch
over one eye. His lordship agreed to give him five;
<a name="FNanchor_206_206" id="FNanchor_206_206"></a>
<a href="#Footnote_206_206" class="fnanchor">[206]</a> and
Lookup having won several games in succession, his lordship
threw down his mace, declaring that he thought
Lookup played as well with one eye as with two. "I
don't wonder at it, my lord," replied Lookup, "for I have
only seen out of one these ten years." The eye of which
Lookup had lost the use appeared as perfect as the other,
even to a near observer. With the money which he had
at various times won of Lord Chesterfield, chiefly at Piquet,
he built some houses at Bath, which he jocularly called
"Chesterfield Row."</p>

<p>Lookup's gambling career, though successful, was not
uniformly smooth; and on one occasion he got himself very
awkwardly entangled in the meshes of the law. A gentleman,
who had lost between three and four hundred pounds to
Lookup at Cribbage, being persuaded that there had been "a
<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span>
pull" upon him, brought an action against Lookup for double
damages, according to the statute made and provided for the
special protection of the Tom-Noddy class of gamesters,&mdash;pitiful,
whimpering, greedy fools, who call upon the world
to commiserate their losses, though occasioned solely by their
attempts on the purses of people more knowing, though not
a whit more knavish, than themselves. In the course of
some proceedings arising out of this action, Lookup, through
the blunder of his attorney, it is said, swore to the truth of
a circumstance which was subsequently proved to be false.
Lookup was hereupon prosecuted for perjury, and imprisoned;
and only escaped the pillory in consequence of a flaw in the
indictment: the blunder of his own attorney brings him
into peril, and the blunder of his opponent's sets him free;
John a-Nokes's broken arm is a set-off against Tom a-Styles's
broken leg; each party is left to pay his own costs, and thus
the Law at least is satisfied. The oyster is swallowed, and
the scales of justice are evenly balanced with a shell in
each.</p>

<p>Lookup, like his contemporary, Elwes the miser, who was
also a great card-player, frequently lost large sums by
projects which he was allured to engage in by the tempting
bait of a large return for his capital; a corrective occasionally
administered by fortune to her spoiled children when they
leave their old successful course of retail trickery, to embark
as merchant adventurers on the sea of speculation. But
though fortune frowned on him when he gave up gaming as
a regular profession, to become the principal partner in a
saltpetre manufactory at Chelsea, she yet looked favorably
on some of his other speculations which were more in
accordance with his old vocation: the shares which he held
in several privateers, in the French war from 1758 to 1763,
paid well; and he was highly successful as an adventurer in
the slave trade. He is said to have died "in harness,
<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span>
"&mdash;that is, with cards in his hand,&mdash;when engaged in playing
at his favorite game of Humbug, or two-handed Whist.
Foote&mdash;who is supposed to have represented him in the
character of Loader, in the farce of the Minor&mdash;is said to
have observed, on learning the circumstances of his death,
that "Lookup was humbugged out of the world at last."
He died in November, 1770, aged about seventy. His
biographer thus sums up his character: "Upon the whole,
Mr. Lookup was as extraordinary a person as we have met
with for several years in the metropolis. He possessed a
great share of good sense, cultivated by a long acquaintance
with the world; had a smattering of learning, and a pretty
retentive memory; was fluent in words, and of a ready
imagination. We cannot add, he was either generous,
grateful, or courageous. In his sentiments, his cunning,
and his fate, he nearly resembles the famous Colonel
Charteris; a Scotchman by birth, and a gamester by profession,
he narrowly escaped condign punishment for a crime
that was not amongst the foremost of those of which he
probably might be accused."<a name="FNanchor_207_207" id="FNanchor_207_207"></a>
<a href="#Footnote_207_207" class="fnanchor">[207]</a>
Had he lived in the railway
era, he would, most assuredly, have been either a king or a
stag royal:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"The craven rook and pert jackdaw,</div>
  <div class="verse indent1_4">Although no birds of moral kind,</div>
  <div class="verse indent-2_6">Yet serve, when dead, and stuffed with straw,</div>
  <div class="verse indent1_4">To show us which way points the wind."</div>
  </div>
</div>

<p>The reign of George II is a historical picture of
"great breadth," abounding in strongly marked characters,
strikingly contrasted; but chiefly undignified, and generally
low. The Carnal man is a ruffian rioting in Gin Lane;
whilst the Spiritual is typified by a sinister-looking personage,
with lank hair, cadaverous visage, and a cock-eye,
<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span>
preaching Free Grace from a tub to a miscellaneous company
at Mile-end Green,&mdash;the indifference of the unregenerate
being indicated by a prize fight in the background.
Here a poor rogue is going, drunk, to Tyburn,
for having robbed a thief-taker's journeyman of a silver
watch, a steel chain, and a tobacco-stopper,&mdash;worth altogether
forty shillings and threepence, the value required
by law to entitle the thief-taker to his price of blood; and
there a wealthy soap-boiler, who has made a fortune by
cheating the excise, is going in state to Guildhall as Lord
Mayor of London. Here a young rake is making violent
love to his mother's maid, who has been induced to encourage
his attentions from her reading Pamela; and there his
aunt, a maiden lady of fifty-two, but having in her own
right three thousand a year, is complacently listening to the
matrimonial proposals of a young New-light preacher.
Here is Colley Cibber sipping his wine at the table of "my
lord;" and there sits Samuel Johnson, behind the screen
in Cave's back shop, eagerly devouring the plate of meat
which the considerate bookseller has sent him from his own
table. Here are Johnny Cope and the dragoons riding a
race from Preston Pans; and there sits the young Chevalier,
unkempt and bare-legged, smoking a short pipe in a Highland
hut. Here hangs the sign of the Duke of Cumberland's
head; and there, grinning down on it from the elevation of
Temple Bar, are the heads of the decapitated rebels. Here
Ranelagh is seen shut up on account of the earthquake at
Lisbon;<a name="FNanchor_208_208" id="FNanchor_208_208"></a>
<a href="#Footnote_208_208" class="fnanchor">[208]</a>
and there a batch of gambling senators are hurrying
<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span>
down to the House from the club at <span class="smcap">White's</span>, to give their
votes in favour of a bill to repress gaming.</p>

<p>The several acts passed against gaming, in the reign of
George II, appear to have had but little effect in restraining
the practice, either at the time, or in any subsequent reign;
for though occasionally a solitary loose fish might become
entangled in their meshes, they never interrupted the onward
course of the great shoal.</p>

<p>The shameless inconsistency of many of the noble lords
and honorable gentlemen who were parties to the enactment
of those laws, is cleverly shown up in an ironical pamphlet
entitled, "A Letter to the Club at White's. In which are
set forth the great Expediency of repealing the Laws now in
force against Excessive Gaming, and the many Advantages
that would arise to this Nation from it. By Erasmus
Mumford, Esq.," 1750. The following passages appear
most worthy of transcription, both as showing the composition
of a celebrated club about a hundred years ago, and as
containing the pith of the writer's argument.</p>

<p>"The pertinency of my address to you, my Lords and
Gentlemen, on this occasion, must be evident to every one
that knows anything of your history; as that you are a Club
of about Five Hundred, much the greatest part of you Peers
and Members of Parliament, who meet every day at a
celebrated Chocolate House, near St. James's, with much
greater assiduity than you meet in the Court of Requests;
and there, all party quarrels being laid aside, all State
questions dropped, Whigs and Tories, Placemen and
Patriots, Courtiers and Country Gentlemen, you all agree
<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span>
for the good of the Public, in the salutary measures of
excessive gaming. But then as this is against laws of your
own making, though now become old-fashioned, musty
things, it would save appearances a little to the world
methinks, that they should be repealed in the same solemn
form in which they were enacted. And as you are, by yourselves
and your relations, a great majority of the Legislature,
and have no party bias whatsoever on this article, so it
would certainly be as easy for you, as it is, in my opinion,
incumbent on you, to accomplish such a repeal.... For,
whatever we mean in our hearts, the forms of government
should be carefully preserved; and though gaming is of
the highest advantage to this nation, as I shall presently
make appear, yet to practise it in defiance of all order, in the
very sight, as it were, of the Government, and against the
spirit and letter of the laws which you made yourselves, is
entirely inconsistent with the character of Patriots, Nobles,
Senators, Great Men, or whatever name of public honour
you would chuse to call yourselves by.</p>

<p>"Besides, we have some odd queer maxims in our heads,
that the Law is the same for the King and the Cobler, &amp;c.,
nor is there in any Act of Parliament that has come to my
knowledge, any exception of this same house called White's
and the good company who frequent it. If you have any
act against Gaming with any such exception in it, be so
good as to produce it; for I believe verily that, besides
yourselves, there is not a man in the kingdom who knows
any thing of it. I have read the last Act over and over,
and I protest that I can't see any such thing; and yet I
don't know how to persuade myself that so many noble
Lords and so many of the House of Commons, of all parties
and denominations, should every day meet together in open
contradiction to such an Act, without a saving clause to
shelter themselves under.&mdash;</p>

<p><span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span></p>

<p>"But though it does no other harm at present, yet still
it continues to be an act of the Lords and Commons of the
kingdom, (of which you, to your eternal praise, are a great
part,) and which has had the Royal assent. And whilst it
does so continue, it not only hinders the rest of the kingdom,
who are so silly as to mind Acts of Parliament, from Gaming,
but it prevents a scheme, which I have had in my head for
some time, from taking place; which is, that you should
use your utmost endeavours with his Majesty, that he would
be pleased, in consideration of the great good of his people,
to give neither place nor pension to any Peer, howsoever
deserving in all other respects, who is not of your body; and
that a Bill should be brought in to render every one incapable
of sitting as a member in either House of Parliament,
how sound soever his political principles may be, who is not
likewise a member of the Gaming Club at <span class="smcap">White</span>'s. This,
I apprehend, would be an effectual way of introducing this
wholesome innocent diversion into every house of Fashion
and Politeness in the kingdom, and make your illustrious
body more in vogue, if that can be, than it is at present.&mdash;</p>

<p>"But this scheme, which I apprehend to be of such
great utility, can never be executed whilst these Acts of
Parliament remain unrepealed.... There is one difficulty
indeed which I am aware of, which, as I don't know
how to get over very well myself, I must submit to your
greater wisdom; and that is, getting the king and his chief
ministers to consent. For as to the former, though he
allows of the practice in his palace once a year, from mere
antient custom,<a name="FNanchor_209_209" id="FNanchor_209_209"></a>
<a href="#Footnote_209_209" class="fnanchor">[209]</a>
yet it is well known that he discourages
it very much; and the moment he heard of a table at his
house at Kensington, sent immediate orders to forbid it.
<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span>
And as to the Secretaries of State, though they have this
diversion once a year or so at their houses, for the entertainment
of the Foreign Ministers, yet they never play themselves,
nor show any other countenance to it, directly nor
indirectly."<a name="FNanchor_210_210" id="FNanchor_210_210"></a>
<a href="#Footnote_210_210" class="fnanchor">[210]</a></p>

<p>In the political pamphlets which appeared in opposition
to the ministry in the latter part of the reign of George II,
the club at White's is frequently alluded to; and in 'A
Political and Satirical History of the years 1756, 1757,
1758, 1759, and 1760, in a series of one hundred and
four Humourous and Entertaining Prints,'
<a name="FNanchor_211_211" id="FNanchor_211_211"></a>
<a href="#Footnote_211_211" class="fnanchor">[211]</a> the gaming
propensities of Lord Anson, the circumnavigator, who was
at the same time a member of the club and of the government,
are keenly satirised. In Plate 7 he is represented
<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span>
as a Sea Lion, with the body of a man and the tail of a
fish; in one hand he holds a dice-box, and in the other
a card; and on the wall are two pictures, the one showing
an E.O. table, and the other a table covered with money,
with the inscription "<i>Blacks</i> and
<span class="smcap">Whites</span>." In another
print he figures as the Knave of Diamonds, with the inscription
at the top, "<i>Hic niger est</i>;" and at the bottom,
"<span class="smcap">Acapulca</span>." In the Key prefixed to the work the person
represented is thus denounced: "This caricatura's propensity
to gaming tells us at once how valuable he must
be to a shipwrecked state, and that he deserves (like a
drunken pilot in a storm) to be thrown overboard, to make
room for one of clearer brains and more integrity." The
three other Knaves are: <span class="smcap">Spades</span>, inscribed "Monsr. Dupe;"
and in the Key it is said that, by the flower-de-luces, seen
on the ground, is expressed, "how much this caricatura was
connected with our enemies, and was even a Dupe to them
against the interests of his country." <span class="smcap">Hearts</span>, with a
fox's head, and inscribed "Monsr. Surecard:" in the Key
it is said that this character "infers, by the sharpness of the
nose, that craft and subtilty which is natural to creatures
of a similar kind, known by the name of <span class="smcap">Foxes</span>, and is here
pointed out as a Knave." <span class="smcap">Clubs</span>, with a broken yoke in
his hand, and inscribed "Null Marriage:" the Key says,
"this caricatura was esteemed the most atrocious Knave in
the pack, and the worst of the black sort."</p>

<p>Another plate in the same series of caricatures displays
the gamester's coat of arms. The shield is charged with
cards, dice, and dice-boxes, and is surrounded by a chain,
from which hangs a label inscribed "<span class="smcap">Claret</span>." Supporters,
two Knaves. Crest, a hand holding a dice-box. Motto,
"<i>Cog it</i> <span class="smcap">Amor nummi</span>." In Plate 90, of which a copy is
here given, the principal performers figuring on the political
<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span>
stage in 1759 are represented as coat cards.
<a name="FNanchor_212_212" id="FNanchor_212_212"></a>
<a href="#Footnote_212_212" class="fnanchor">[212]</a> In the
suit of <span class="smcap">Hearts</span>, the King, Optimus, is George II; Queen,
Britannia; Knave, Pitt. <span class="smcap">Diamonds</span>, King, the King of
Prussia; Queen, the City of London; Knave, Prince Ferdinand.
<span class="smcap">Spades</span>, King, the King of Poland; Queen, the
Queen of Hungary; Knave, Holland. <span class="smcap">Clubs</span>, King, the
King of France; Queen, Gallia; Knave, Marshal Broglie.
In the Key it is said that "the labels and characters here
represented are sufficient to explain the meaning of the
print, with the least application."</p>

<div class="figcenter bord"><a name="i_205.jpg" id="i_205.jpg"></a>
  <img src="images/i_205.jpg"
      alt="Court Cards of 1759" />
  <div class="caption">The Court Cards of 1759 or Hearts is Trump &amp;
    has won the Game.</div>
</div>

<p>In a work relating to the authorship of Junius's Letters,
<a name="FNanchor_213_213" id="FNanchor_213_213"></a>
<a href="#Footnote_213_213" class="fnanchor">[213]</a>
the following account is given of the volume of caricatures
in question. It is not, however, correct in every point;
for though it may be true that the earlier plates were at
first privately distributed, it is certain that subsequently
they were publicly sold. The first collection of them,
published in a volume, consisted only of the caricatures for
1756-7; and appears to have been enlarged from time to
time, by the addition of such plates as had been published
separately in the preceding year. The edition of
the first volume which I have consulted, containing the
plates from 1756 to 1760, is the fifth,&mdash;a proof that latterly
those caricatures were not privately distributed, whatever
they might have been at the commencement. Though Lord
George Townshend might have supplied the publisher with
sketches or hints,<a name="FNanchor_214_214" id="FNanchor_214_214"></a>
<a href="#Footnote_214_214" class="fnanchor">[214]</a>
for some of the subjects, and even have
<span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span>
suggested the publication of the series, it would be absurd
to conclude that he was the designer of the whole. There
are only four subjects in the volume relating to Lord George
Sackville; and they are among the most worthless of the
series, both with respect to conception and design.</p>

<p>"Soon after the unfortunate misunderstanding at Minden,
Lord George Townshend (who had formerly been on friendly
terms with Lord George Sackville, particularly at the battle
of Dettingen) joined with the court party in publicly censuring
his conduct. He had an ingenious turn for drawing,
and he even went so far as to caricature Lord George
flying from Minden, which, with many others, he privately
circulated among his friends. This book of caricatures,
bearing date from 1756 to 1762, is extremely curious. As
they were privately distributed, they are, of course, seldom
to be met with. I never saw but one complete set, now in
the possession of W. Little, Esq., of Richmond, who has
obligingly allowed me to copy the one in question, which is
submitted to the reader's inspection. We have Lord
Orford's testimony to prove that this book was the production
of Lord George Townshend. Lord Orford has described
the first of the series, vol. ii, p. 68, 'A new species of this
manufacture now first appeared, invented by Lord George
Townshend; they were caricatures on cards. The original
one, which had amazing vent, was of Newcastle and Fox,
looking at each other, and crying with Peachum, in the
Beggar's Opera, '<i>Brother, brother, we are both in the wrong</i>.'
On the Royal Exchange a paper was affixed, advertising
'Three kingdoms to be let: inquire of Andrew Stone,
broker, in Lincoln's Inn Fields.'&mdash;The whole series forms a
curious collection. Those on Lord George Sackville were
very severe."</p>

<p>The example set by the club at White's appears to have
been much more influential in promoting gaming than the
<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span>
denunciation of an Act of Parliament to have been effective
in repressing it: the letter of the act was, indeed, killing,
but the spirit of the legislators, as displayed at White's,
kept the game alive. New clubs of the same kind,&mdash;on the
principle of mutual insurance against informers,&mdash;were
established in the metropolis; and even in the provinces,
country gentlemen and tradesmen, becoming aware of the
advantages of the social compact, formed themselves into
little clubs for the purpose of indulging in a quiet game at
cards or dice. Card-playing about the same time, or a little
later, was greatly promoted by the establishment of assembly-rooms
in country towns, where cock-fighting squires, after
attending the pit in the morning, might enjoy in the evening
the more refined amusements of dancing and cards.
<a name="FNanchor_215_215" id="FNanchor_215_215"></a>
<a href="#Footnote_215_215" class="fnanchor">[215]</a> The
example set by the higher classes was followed by the lower;
and at a "merry night" in a Cumberland village, some
fifty years since, cards were as indispensable as at an assize
ball in the county town: with the exception of the dress of
the company and the arrangement of the rooms, the one
assembly, at the commencement at least, seems to have
displayed all the essentials of the other.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Ay, lad, see a murry-neet we've had at Bleckell!</div>
  <div class="verse indent1_4">The sound o' the fiddle yet rings i' my ear;</div>
  <div class="verse indent-2_6">Aw reet clipt and heeled were the lads and the lasses,</div>
  <div class="verse indent1_4">And monnie a clever lish hussey was there:</div>
  <div class="verse indent-2_6">The bettermer sort sat snug i' the parlour;</div>
  <div class="verse indent1_4">I' th' pantry the sweethearters cuttered sae soft;</div>
  <div class="verse indent-2_6">The dancers they kicked up a stour i' the kitchen;</div>
  <div class="verse indent1_4">At lanter the caird-lakers sat i' the loft.
    "<a name="FNanchor_216_216" id="FNanchor_216_216"></a>
    <a href="#Footnote_216_216" class="fnanchor">[216]</a></div>
  </div>
</div>

<p><span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span></p>

<p>The passion for card-playing appears to have been extremely
prevalent in the earlier part of the reign of George
III.<a name="FNanchor_217_217" id="FNanchor_217_217"></a>
<a href="#Footnote_217_217" class="fnanchor">[217]</a>
In almost every town where there is an assembly-room,
traditional anecdotes are handed down of certain
keen players keeping up the game for twenty-four successive
hours, till they were up to their knees in cards; and there
is scarcely a county in England that has not a story to tell
of two or three of its old landed gentry being ruined at
cards by the Prince of Wales. Even villages have their
annals of gaming; of once substantial farmers turning
horse-coursers and riding headlong to ruin on a leather
plater; of others going more quietly off at cards, staking
their corn before it was housed; and of certain desperate
cock-fighters losing their whole substance at a single match,
and then straightway hanging themselves in their own barn.
The love of card-playing, to the great horror of the inordinately
pious, seems even to have infected ladies who were,
in other respects, irreproachable:&mdash;good wives, affectionate
mothers, teaching their children the Catechism, going regularly
to church on Sundays, and taking the sacrament
every month; yet, alas! dearly loving a snug private party
of four or five tables, and immensely fond of Quadrille; and
making but a poor atonement for their transgression by
never touching a card in Passion week, nor the night before
the Communion, nor even on the Wednesdays and Fridays
in Lent,&mdash;whenever they could avoid playing, "consistently
with good manners."<a name="FNanchor_218_218" id="FNanchor_218_218"></a>
<a href="#Footnote_218_218" class="fnanchor">[218]</a></p>

<p><span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span></p>

<p>A discourse against gaming, preached in 1793, by Dr.
Thomas Rennell, Master of the Temple, seems to have made
much noise about the time, but no converts. The most
original passage in the work is the following, wherein he
asserts that the habit of card-playing renders the mind
insensible of Gospel evidence: in the present day, it may
be observed in passing, that a similar effect has been
ascribed to the study of Oriel-college logic. "The mind
of one immersed in cards soon becomes vacant, frivolous,
and captious. The habits form a strange mixture of mock
gravity and pert flippancy. The understanding, by a perpetual
attention to a variety of unmeaning combinations,
acquires a kind of pride in this bastard employment of the
faculty of thought, which is so far from having any analogy
to the real exercise of reason, that we generally find a
miserable eminence in it attainable by the dullest, the most
ignorant, and most contemptible of mankind. The gamester,
however, frequently mistakes this skill for general
acuteness, and from that conceit either totally rejects the
Gospel evidence, or if political or professional considerations
render this indecent or inexpedient, he harbours all that contemptible
chicane, all that petty sophistry, all that creeping
evasion, with which a selfish heart, and a contracted understanding,
meets and embraces the prevailing heresy of the
times in which we live."<a name="FNanchor_219_219" id="FNanchor_219_219"></a>
<a href="#Footnote_219_219" class="fnanchor">[219]</a></p>

<p>The following appears to be levelled at an individual of
no small reputation in his day, and whose memory is likely
to outlast Dr. Rennell's. "What is it that converts those
designed by Providence to be the <span class="smcap">GUARDIANS</span>
and <span class="smcap">PROTECTORS</span>
into the <span class="smcap">BANE</span> and <span class="smcap">CURSE</span> of their country? I will
<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span>
answer, the <span class="smcap">GAMING TABLE</span>. The reverses here every moment
occurring unite beggared fortunes, mortified pride,
callous baseness, and inflamed appetites, directing their
joint operations to the destruction of that common mother
which gave them birth. And here I wish to be rightly
understood&mdash;that with a frugal, active, dignified poverty,
the discharge of public duty is perfectly compatible.
Such a poverty was highly reverenced in the best ages of
Pagan antiquity, as the nurse of every great and useful
exertion; but as distant as light from darkness is such a
poverty from that degraded, malevolent, abject <span class="smcap">MENDICITY</span>,
the offspring of vice, the organ of faction, and the parent
of universal prostitution and venality."</p>

<p>Dr. Parr, in his copy of this discourse, wrote the following
note, which may serve as a tail-piece to the present
chapter: "Dr. Rennell is said, with his own hand, to have
put a copy of this animated sermon under the knocker of
Mr. Fox's door in South street. I could wish the story
to be untrue. But the eloquent preacher did not employ
his great talents in a sermon against Sabbath-breaking,
though his illustrious patron, Mr. Pitt, had lately fought
a duel with Mr. Tierney on Wimbledon Common."</p>


<h3>FOOTNOTES:</h3>

<div class="footnotes">
<p class="footnote"><a name="Footnote_109_109" id="Footnote_109_109"></a>
<a href="#FNanchor_109_109"><span class="label">[109]</span></a>
Heller, Vom Ursprung der Spielkarten, in der Geschichte der Holzschneidekunst,
s. 307.</p>

<div class="footnote"><a name="Footnote_110_110" id="Footnote_110_110"></a>
<a href="#FNanchor_110_110"><span class="label">[110]</span></a>
<p>"Interim vero jocis et ludo, minime concito, vacandum, ne sensus cogitatione
occupati concoctionem impediant. Careat jocus (quem urbanum, facetum,
modestum volo) dicacitate, scurrilitate, mordacitate. Nolo mimos; non proterviam;
non dicteria; non convicia, unde ira et indignatio, et plerumque
magna rixa oritur. Ludus sit talis, tessera, saccho (ut nostra appellatione utur),
<i>carthis variis imaginibus pictis</i>. Absit inter ludendum omnis fraus et avaritia,
qua illiberalior et destestandus fit ludus, nec ullam affert ludenti voluptatem;
cum timor, ira, et immensa habendi cupiditas variis modis ludentes cruciet."
</p>
<p>
The first edition of Platina's treatise, De Honesta Voluptate, appeared at
Venice, 1475. The preceding extract is from the second edition, printed in
1480.&mdash;Platina was born in 1421, and died in 1481.</p>
</div>

<div class="footnote"><a name="Footnote_111_111" id="Footnote_111_111"></a>
<a href="#FNanchor_111_111"><span class="label">[111]</span></a>
<p>"Non mirum ergo ob hujus planctæ excellentem prærogativam si in taxillis
felicem jactum, non Jovem qui major fortuna putatur, sed Venerem nuncupavit
antiquitas. Unde Propertius,
</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">Me quoque per talos Venerem quærente secundos,</div>
  <div class="verse indent1_4">Semper damnosi subsiliere Canes.</div>
  </div>
</div>

<p>Canem vero et Caniculam damnosum jactum etiam siderum comparatione
appellaverunt. Sic Persius:</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="verse">•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
	•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    •&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
	•&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
    •&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Damnosa canicula quantum</div>
  <div class="verse">Raderet.</div>
  </div>
</div>

<p>
Canis vero et canicula qualia sint sidera superius patuit. Sed forsitan quidam
riderent hujuscemodi ludorum inventionem, doctis quoque viris tribui, nisi et
ludum quem chartarum nominant vulgò et à sapientibus fuisse excogitatum
ratio dictaret; nam, ut regum, reginarum, equitum peditumque potentiam præteream
(quilibet enim dignitatis militiæque differentiam novit), nonne cum
ensium, hastarum, scyphorum, paniumque agrestium vim consideramus, perspicacissimi
ingenii inventorem esse cognoscimus? Cum viribus ubi est opus, ut
in hastis ensibusque videtur, multitudo superat paucitatem: in esculentis vero
poculentisque, ut per panes vinumque figuratur, paucitas multitudinem vincit;
constat enim abstemios crapulosis edacibusque viris acrioris esse ingenii, et in
negotiis agendis fore superiores. Panes autem rusticos voco, propter formam
et colorem, croceo enim colore olim fuisse Plinius narrat, (nam cuppæ scyphi
sunt, ubi vinum,) et illi sunt panes, quos imperite nummos credunt. Hastas, sic
dixit vulgus, quoniam H aspiratio et V convertantur, ut Hesper, Vesper. B
autem et V sibi invicem sedem præbere Græcus Latinusque testantur; ut Bastoni
Hastoni vulgò appelleutur, ita ut aliquando hastarum plerumque bipennium
formam gerant; utrumque enim militiæ; instrumentum est."&mdash;Galeottus Martius,
De Doctrina Promiscua, cap. xxxvi, pp. 477-8. 16mo, Lyons, 1552.</p>
</div>

<p class="footnote"><a name="Footnote_112_112" id="Footnote_112_112"></a>
<a href="#FNanchor_112_112"><span class="label">[112]</span></a>
Anderson's History of Commerce, vol. i, p. 483.&mdash;The passage relating to
cards, in the act referred to, was pointed out to the Hon. D. Barrington by
Mr. John Nichols. Gough, in his 'Observations on the Invention of Cards,' in
the Eighth Volume of Archæologia, says, that Mr. Le Neve produced before
the Society of Antiquaries a minute to show that cards were manufactured in
England before the 1st of Edward IV; for then a person had his name from
his ancestor having been a card-maker. Mr. Gough observes that the ancestor
of this person&mdash;Hugh Cardmaker, prior of St. John the Baptist, at Bridgenorth&mdash;was
probably a maker of cards for dressing flax or wool. A <i>Karter</i>&mdash;a wool-comber&mdash;occurs
in the town-books of Nuremberg, in 1397.</p>

<p class="footnote"><a name="Footnote_113_113" id="Footnote_113_113"></a>
<a href="#FNanchor_113_113"><span class="label">[113]</span></a>
Fenn's Paston Letters, vol. ii, p. 333, edit. 1778.</p>

<p class="footnote"><a name="Footnote_114_114" id="Footnote_114_114"></a>
<a href="#FNanchor_114_114"><span class="label">[114]</span></a>
"The kynge came privily to the said castell [of Newbattle], and entred
within the chammer with a small company, where he founde the quene playing
at the <span class="smcap">CARDES</span>."&mdash;Leland's Collectanea,
vol. iii, Appendix, p. 284. Cited by
Warton, in his History of English Poetry, who also observes that cards are
mentioned in a statute of Henry VII, in the year 1496.</p>

<p class="footnote"><a name="Footnote_115_115" id="Footnote_115_115"></a>
<a href="#FNanchor_115_115"><span class="label">[115]</span></a>
Private Life of James IV of Scotland, in Chambers's Edinburgh Journal,
Nos. 9 and 10, 1832.</p>

<p class="footnote"><a name="Footnote_116_116" id="Footnote_116_116"></a>
<a href="#FNanchor_116_116"><span class="label">[116]</span></a>
"Les cartes, comme tout ce qui tient aux arts, out une origine Italienne:
c'est à Venise ou à Florence que les Grecs réfugiés de Constantinople les ont
d'abord fait connaître."&mdash;Annuaire Historique pour I'année 1837, p. 188.</p>

<p class="footnote"><a name="Footnote_117_117" id="Footnote_117_117"></a>
<a href="#FNanchor_117_117"><span class="label">[117]</span></a>
Ducange, Glossarium ad Scriptores mediæ; et infimæ Græcitatis. Folio, 1688.
Under the words Αζαρια and Χαρτια. Ταυλια is merely a different mode of
spelling ταβλια&mdash;<i>tabulæ</i>, tables, a kind of backgammon board with its appendages.</p>

<p class="footnote"><a name="Footnote_118_118" id="Footnote_118_118"></a>
<a href="#FNanchor_118_118"><span class="label">[118]</span></a>
The following is Mons. Brunet's prefatory note to his brochure, which was
published at Paris, in 1842. "Les curieux, les amateurs de livres recherchent
avec empressement tout ce qui a rapport aux cartes; c'est ce qui m'a porté à consacrer
un instant de loisir à la traduction de ce que je venais de lire, à cet égard,
dans un ouvrage allemand, vaste répertoire de I'érudition bibliographique la plus
étendue (Lehrbuch einer Literargeschichte der berühmtesten Volker des Mittelalters,
von J.G.T. Grasse, Dresden und Leipsig, Arnoldische Buchhandlung,
1842, Band II, s. 879-85); j'ajoute quelques indications nouvelles à cet aperçu,
que je n'imprime d'ailleurs qu'à quelques exemplaires."</p>

<p class="footnote"><a name="Footnote_119_119" id="Footnote_119_119"></a>
<a href="#FNanchor_119_119"><span class="label">[119]</span></a>
Geiler's second bell&mdash;his peal consists of seven&mdash;rings to this tune. "Secunda
nola est: ludcre alea dissimilibus. Tangit hæc nola feminas nobiles et
sacerdotes: feminas, inquam, quæ immiscent se turbis virorum et cum eis
ludunt, contra c. ii de judiciis, lib. vi; sacerdotes et prelatos ludentes cum
laicis,&mdash;laici sunt clericis oppido infesti, unde scandalizantur; nobiles qui ludunt
cum nebulonibus et lenonibus, ut in speculo nostro vulgari habes."&mdash;Speculum
Fatuorum, auctore Joanne Geiler de Keisersberg, concionatore Argentorense,
sect. <span class="smcap">LXXVII.</span> Lusorum turba (<i>Spiel Narre</i>). Edit. Strasburg, 1511. It may
here be observed that Geiler's bells are intended by himself for the caps of
"<i>Spiel Narre</i>"&mdash;gambling fools.</p>

<p class="footnote"><a name="Footnote_120_120" id="Footnote_120_120"></a>
<a href="#FNanchor_120_120"><span class="label">[120]</span></a>
"Logica Memorativa: Chartiludium logice, sive dialectice memoria; et novus
Petri Hyspani textus emendatus. Cum jucundo pictasmatis exercitio: eruditi
viri F. Thomæ Murner, ordinis minorum, theologie doctoris eximii." 4to,
Strasburg, 1509 Leber says that the book was first printed at Cracow in
1507; and that an edition of it, in octavo, was printed at Paris in 1629.
Murner was one of Luther's early opponents; and one of the pamphlets which
was published during their controversy bears the following title: "Antwort dem
Murner, uff scine frag, ob der Künig von Engellant ein lügner sey, oder der
götliche doctor Mart. Luther, 1523." "An answer to Mumer on his question,
'Whether the King of England, or the reverend Doctor Martin Luther, is
a liar?'"</p>

<p class="footnote"><a name="Footnote_121_121" id="Footnote_121_121"></a>
<a href="#FNanchor_121_121"><span class="label">[121]</span></a>
"Chartiludium Institute summarie, doctore Thoma Murner memorante et
ludente." 4to, Strasburg, 1518. A copy of this book was sold at Dr. Kloss's
sale in 1835; and in the Catalogue, No. 2579, we are informed that "this very
rare and curious volume contains very many wood-engravings, illustrative of four
distinct games played by the ancients with paper." Such games, we may presume,
as are played at with the Statutes at large. If Murner understood any
game, he must have learnt it subsequent to the publication of his Logical Card-play;
and if he were able to make it subservient to the explanation of anything
else, he must have improved himself greatly between 1508 and 1518.</p>

<p class="footnote"><a name="Footnote_122_122" id="Footnote_122_122"></a>
<a href="#FNanchor_122_122"><span class="label">[122]</span></a>
The Voyage of Columbus, in Poems by Samuel Rogers. Mr. Rogers's note
on the passage above quoted is: "Among those who went with Columbus were
many adventurers and gentlemen of the court. Primero was then the game in
fashion. See Vega, p. 2, lib. iii, c. 9."</p>

<p class="footnote"><a name="Footnote_123_123" id="Footnote_123_123"></a>
<a href="#FNanchor_123_123"><span class="label">[123]</span></a>
"Y porque decimos, que estos Españoles jugavan, y no hemos dicho con
què; es de saber, que despues que en la sangrienta battalla de Manvila los
quemaron los naypes, que llevavan con todo lo demàs que alli perdieron, hacian
naypes de pergamino, y los pintavan à las mil maravillas; porque en qualquiera
necessidad que se los ofrescia, se animavan à hacer lo que avian menester. Y
salian con ello, como si toda su vida huvieran sido Maestros de aquel oficio; y
porque no podian, ò no querian hacer tantos, quantos eran menester, hicieron los
que bastavan, sirviendo por horas limitadas, andando por rueda entre los jugadores;
de donde (ò de otro paso semejante) podriamos decir, que huviese nascido
el refràn, que entre los Tahures se usa decir jugando: Demonos priesa señores,
que vienen por los naypes; y como los que hacian los nuestros eran de cuero,
duravan por peñas."&mdash;La Florida del Inca [Garcilasso de la Vega], Parte Primera
del Libro Quinto, capitulo i, p. 198. Folio, Madrid, 1723.</p>

<p class="footnote"><a name="Footnote_124_124" id="Footnote_124_124"></a>
<a href="#FNanchor_124_124"><span class="label">[124]</span></a>
"Also I order and command that there be a care that all soldiers have their
room clean, and unpestered of chests, and other things, without consenting in
any case to have cards; and, if there be any, to be taken away presently: neither
permit them to the mariners; and if the soldiers have any, let me be advertised."&mdash;Orders
set down by the Duke of Medina to be observed in the Voyage
towards England, 1588; reprinted in the Harleian Miscellany.</p>

<p class="footnote"><a name="Footnote_125_125" id="Footnote_125_125"></a>
<a href="#FNanchor_125_125"><span class="label">[125]</span></a>
Strutt, who quotes this passage in his Sports and Pastimes, refers to Sir
William Forrest, and Warton's History of English Poetry, vol. iii, sect. iii,
p. 311. Sir William Forrest's work, entitled 'The Poesye of Princelye Practise,'
was written towards the conclusion of the reign of Henry VIII, and presented
to Edward VI. The author allows that a king, after dinner, may for a while
"repose" himself at tables, chess, or cards; but denies the latter to labouring
people. Strutt says that the work is in manuscript, in the Royal Library.</p>

<p class="footnote"><a name="Footnote_126_126" id="Footnote_126_126"></a>
<a href="#FNanchor_126_126"><span class="label">[126]</span></a>
Sir Robert Baker, in his Chronicle, states that in the eighteenth year of
Henry VIII a proclamation was made against all unlawful games, so that in all
places, tables, dice, cards, and bowls were taken and burnt; but that this order
continued not long, for young men, being thus restrained, "fell to drinking,
<i>stealing conies</i>, and other worse misdemeanours."</p>

<p class="footnote"><a name="Footnote_127_127" id="Footnote_127_127"></a>
<a href="#FNanchor_127_127"><span class="label">[127]</span></a>
Furny&mdash;French, <i>fourni</i>&mdash;prepared, sorted, furnished, in complete fashion, in
full equipage. The card was a <i>coat</i> card, in a certain sense, though certainly
not an honour.</p>

<p class="footnote"><a name="Footnote_128_128" id="Footnote_128_128"></a>
<a href="#FNanchor_128_128"><span class="label">[128]</span></a>
For some account of the author of this satire, the reader is referred to
Annals of the English Bible, by Christopher Anderson, vol. i, pp. 63, 116, 136,
137. 8vo, 1845.</p>

<div class="footnote"><a name="Footnote_129_129" id="Footnote_129_129"></a>
<a href="#FNanchor_129_129"><span class="label">[129]</span></a>
<p>Privy Purse Expenses of the Princess Mary, daughter of King Henry VIII,
afterwards Queen Mary. With a Memoir of the Princess, and Notes, by Fred.
Madden, Esq., F.S.A. 1831. From the following references in the index, the
reader may judge of Mary's partiality to the game.
</p>
<p>
"Cards, money delivered to the Princess to play at, p. 3, 10, 11, 14, 19, 24,
25, 26, 27, 28, 29, 31, 32, 35, 49, 50, 55, 57, 59, 67, 69, 73, 76, 81, <i>sæpe</i>, 101."
</p>
<p>
"Cards, money lent, to play at, 4, 13, 29, 30."
</p>
<p>
The sums delivered are mostly from 20<i>s.</i> to 40<i>s.</i> One entry is for so small a
sum as 2<i>s.</i> 2<i>d.</i>, and another for 12<i>s.</i> 6<i>d.</i></p>
</div>
<p class="footnote"><a name="Footnote_130_130" id="Footnote_130_130"></a>
<a href="#FNanchor_130_130"><span class="label">[130]</span></a>
The charge of gaming is frequently alleged against the more wealthy members
of the Roman Catholic clergy by writers who were in favour of the Reformation.
"Item les grosses sommes de deniers qu'ils jouent ordinairement,
soit à la Prime, à la Chance, à la Paulme, n'ont pas esté mises en compte. Qui
est le bon Papiste qui pourroit se contenter de voir son Prelat jouër et perdre
pour une après disnee, quatre, cinq, et six mil escus: pour une reste de Prime,
avoir couché cinq cens escus; pour un Aflac en perdre mille; que la pluspart
des episcopaux, jusques aux moindres chanoines, tiennent berland ouvert à jouër
à tous jeux prohibez et defendus, non seulement par le droit canon, mais par les
ordonnances du roi? L'exces y est bien tel, qu'on monstrera qu'au simple
chanoine, en achapt de cartes et de dez, a employé durant une année cent, et six
vingts escus, compris la chandelle et le vin de ceux qui la mouchoyent."&mdash;Le
Cabinet du Roy de France, dans lequel il y a trois Perles precieuses d'inestimable
valeur, p. 65. 12mo, 1581. This virulent attack on the French clergy
is ascribed by Mons. Le Duchat to Nicolas Froumenteau; and by L'Isle de
Sales to Nicolas Barnaud.</p>

<p class="footnote"><a name="Footnote_131_131" id="Footnote_131_131"></a>
<a href="#FNanchor_131_131"><span class="label">[131]</span></a>
Anderson's Annals of the English Bible, vol. ii, p. 500.</p>

<p class="footnote"><a name="Footnote_132_132" id="Footnote_132_132"></a>
<a href="#FNanchor_132_132"><span class="label">[132]</span></a>
The Earls of Westmoreland and Northumberland were the principal leaders
of the Rebellion, or "Rising in the North," in 1569.</p>

<p class="footnote"><a name="Footnote_133_133" id="Footnote_133_133"></a>
<a href="#FNanchor_133_133"><span class="label">[133]</span></a>
His host was George Pyle, of Millheugh, on Ousenam water, about four
miles south-eastward from Jedburgh. The Earl of Westmoreland was then
staying with Kerr of Fairniherst.</p>

<p class="footnote"><a name="Footnote_134_134" id="Footnote_134_134"></a>
<a href="#FNanchor_134_134"><span class="label">[134]</span></a>
Hector, or Eckie of Harlaw, as he is called in the Border Minstrelsy, delivered
up the Earl of Northumberland, who had sought refuge with him, to the
Regent Murray.</p>

<p class="footnote"><a name="Footnote_135_135" id="Footnote_135_135"></a>
<a href="#FNanchor_135_135"><span class="label">[135]</span></a>
The name of the person against whom the bill was filed was Henry Robson,
probably of Falstone. His non-appearance seems to have caused the dispute
between the wardens, Sir J. Foster and Sir J. Carmichael, which ended in a
general combat between their followers.</p>

<div class="footnote"><a name="Footnote_136_136" id="Footnote_136_136"></a>
<a href="#FNanchor_136_136"><span class="label">[136]</span></a>
<p>The above passage is quoted by Mr. T. Crofton Croker in a note on the following
lines in "A Kerry Pastoral," a poem published in Concanen's Miscellanies,
1724, and reprinted by the Percy Society:
</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Dingle and Derry sooner shall unite,</div>
  <div class="verse indent-2_6">Shannon and Cashan both be drain'd outright;</div>
  <div class="verse indent-2_6">And Kerry men forsake their cards and dice,</div>
  <div class="verse indent-2_6">Dogs be pursued by Hares, and Cats by Mice,</div>
  <div class="verse indent-2_6">Water begin to burn, and fire to wet,</div>
  <div class="verse indent-2_6">Before I shall my college friends forget."</div>
  </div>
</div>

<p>
The favorite game of the Kerry men is said to have been "One-and-thirty."</p>
</div>

<div class="footnote"><a name="Footnote_137_137" id="Footnote_137_137"></a>
<a href="#FNanchor_137_137"><span class="label">[137]</span></a>
<p>Pascasius Justus, in his work entitled Alea, first published in 1560, relates
that though he frequently felt difficulty in obtaining a supply of provisions
when travelling in Spain, he never came to a village, however poor, in which
cards were not to be found. The prevalence of card-playing in Spain about the
middle of the sixteenth century is further shown in a work entitled 'Satyra invectiva
contra los Tahures: en que se declaran los daños que al euerpo, y al alma y
la hazienda se siguen del juego de los naypes. Impressa en Sevilla, en casa de
Martin de Montesdoca, Año de <span class="smcap">M.D.LVII.</span>' This work is erroneously ascribed
by Antonio, in his Bibliotheca Hispana Nova, to Dominic Valtanas, or Baltanas,
a Dominican friar, at whose instance the edition referred to was printed. The
author was Diego del Castillo, who also wrote another work on the same subject,
entitled 'Reprobacion de los Juegos,' printed at Valladolid in 1528.&mdash;The
author derives the word <i>Tahur</i>, a gamester, from <i>Hurto</i>, theft, robbery, by
transposing the syllables, and changing <i>o</i> into <i>a</i>:
</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Tahur y ladron,</div>
  <div class="verse indent-2_6">Una cosa son."</div>
  </div>
</div>
</div>

<p class="footnote"><a name="Footnote_138_138" id="Footnote_138_138"></a>
<a href="#FNanchor_138_138"><span class="label">[138]</span></a>
"Il existe en Belgique plusieurs tableaux attribués à Jean Van Eyck, qu'il
est inutile de désigner, et qui par les costumes des personnages dénotent une
postériorité d'un grand nombre d'années. Nantes en possède un, également
attribué à ce maître, dont les costumes sont ceux du règne de Charles VIII.
Le sujet, sous le titre de <i>Philippe-le-Bon consultant une tireuse de cartes</i>, en a été
donné dans le Magasin Pittoresque, année 1842, p. 324."&mdash;Quelques Mots sur
la Gravure au Millésime de 1418, p. 13. Philippe-le-Bon, Duke of Burgundy,
died in 1467; John Van Eyck in 1445.</p>

<p class="footnote"><a name="Footnote_139_139" id="Footnote_139_139"></a>
<a href="#FNanchor_139_139"><span class="label">[139]</span></a> Though the ten is one of the cards employed in Marcolini's System of Fortune-telling,
it appears to have been generally omitted in the packs of cards
used by the Italian jugglers of the sixteenth century. Leber, who says that he
had examined "un grand nombre de tours de cartes" described in the pamphlets
of the most famous Italian jugglers of the sixteenth century, yet refers only to
two works on the subject printed before 1600; one of them entitled 'Opera
nuova non più vista, nella quale potrai facilmente imparare molti giochi di
mano. Composta da Francesco di Milano, nominato in tutto il mondo il
<span class="smcap">Bagatello</span>.' 8vo, circa 1550. The other, 'Giochi di carte bellissimi e di
memoria, per Horatio Galasso.' Venetia, 1593. The author of the following
work, also referred to by Leber, appears to have been the original "Pimperlimpimp,"
whose fame as a mountebank physician appears to have been still
fresh in the memory of the wits of the reign of Queen Anne: 'Li rari et
mirabili Giuochi di Carte, da Alberto Francese, detto <span class="smcap">Perlimpimpim</span>.' 8vo,
Bologna, 1622.</p>

<p class="footnote"><a name="Footnote_140_140" id="Footnote_140_140"></a>
<a href="#FNanchor_140_140"><span class="label">[140]</span></a>
Life of Lord Bacon, p. 5. Lord Bacon relates the circumstances, and a
certain curious man's explanation of them, in his Sylva, Century xth, p. 245.
Edit. 1631.</p>

<p class="footnote"><a name="Footnote_141_141" id="Footnote_141_141"></a>
<a href="#FNanchor_141_141"><span class="label">[141]</span></a>
Cuffe assisted Colombani in the "editio princeps" of the Greek text of the
romance of Daphnis and Chloe, printed at Florence, 4to, 1598.</p>

<p class="footnote"><a name="Footnote_142_142" id="Footnote_142_142"></a>
<a href="#FNanchor_142_142"><span class="label">[142]</span></a>
"Observations on a picture by Zuccaro, from Lord Falkland's collection, supposed
to represent the game of Primero. By the Hon. Daines Barrington." In
the Archæologia, vol. viii. Mr. Barrington says, "According to tradition in the
family, it was painted by Zuccaro, and represented Lord Burleigh playing at
cards with three other persons, who from their dress appear to be of distinction,
each of them having two rings on the same fingers of both their hands. The
cards are marked as at present, and differ from those of more modern times only
by being narrower and longer."</p>

<p class="footnote"><a name="Footnote_143_143" id="Footnote_143_143"></a>
<a href="#FNanchor_143_143"><span class="label">[143]</span></a>
Original Letters Illustrative of English History, with Notes by Sir Henry
Ellis. Second Series, vol. iii, p. 102.</p>

<p class="footnote"><a name="Footnote_144_144" id="Footnote_144_144"></a>
<a href="#FNanchor_144_144"><span class="label">[144]</span></a>
When the prohibition to play at cards or dice was first introduced into
apprentices' indentures I have not been able to learn. It occurs, however, in
the form of an indenture for an apprentice in 'A Book of Presidents,' printed
about 1565, and said to have been compiled by Thos. Phaer, the translator of
the seven first books of the Æneid. In the title-page of his translation, 1558,
Phaer describes himself as "Solicitour to the King and Queenes Majesties."</p>

<p class="footnote"><a name="Footnote_145_145" id="Footnote_145_145"></a>
<a href="#FNanchor_145_145"><span class="label">[145]</span></a>
Those injunctions with respect to tavern-haunting and gaming are embodied
in the seventy-fifth canon of the Constitutions and Canons Ecclesiastical, 1603.</p>

<div class="footnote"><a name="Footnote_146_146" id="Footnote_146_146"></a>
<a href="#FNanchor_146_146"><span class="label">[146]</span></a>
<p>Extracts from the Accounts of the Revels at Court in the Reigns of
Elizabeth and James I. Edited by Peter Cunningham, p. 176. Published by
the Shakspere Society.
</p>

<p>A comedy intended to display the evil consequences of dicing and card-playing
was performed before the Emperor Maximilian II at Vienna, on New
Year's Day, 1570.&mdash;See the Collectanea of Johannes a Munster, appended to
the Alea of Pascasius Justus, edit. 1617.</p>
</div>

<p class="footnote"><a name="Footnote_147_147" id="Footnote_147_147"></a>
<a href="#FNanchor_147_147"><span class="label">[147]</span></a>
A Briefe Apologie of Poetrie, 1591. Quoted by Mr. P. Cunningham, in
his notes to Extracts from Accounts of the Revels, p. 223. In dramatic representations
of the game of cards we seem to have preceded the French. In
1676, a comedy by Thomas Corneille, called 'Le Triomphe des Dames,' was
acted at Paris, in the theatre of the Hôtel de Guegenaud, and the ballet of the
Game of Piquet was one of the interludes. "The four Knaves first made their
appearance with their halberts, in order to clear the way. The Kings came in
succession, giving their hands to the Queens, whose trains were borne up by
four Slaves, the first of whom represented Tennis, the second Billiards, the third
Dice, and the fourth Backgammon."&mdash;Historical Essays upon Paris. Translated
from the French of Mons. de Saintfoix, vol. i, p. 229. Edit. 1766.</p>

<p class="footnote"><a name="Footnote_148_148" id="Footnote_148_148"></a>
<a href="#FNanchor_148_148"><span class="label">[148]</span></a>
In an engraving of St. Peter denying Christ, after a painting by Teniers,
two soldiers are seen playing at cards in the hall of the high priest; and, from
the chalks on the table, the game appears to be <i>Put</i>.</p>

<p class="footnote"><a name="Footnote_149_149" id="Footnote_149_149"></a>
<a href="#FNanchor_149_149"><span class="label">[149]</span></a>
See Mr. Battle's Opinions on Whist, in Essays by Elia (Charles Lamb).</p>

<p class="footnote"><a name="Footnote_150_150" id="Footnote_150_150"></a>
<a href="#FNanchor_150_150"><span class="label">[150]</span></a>
"The Anatomie of Abuses, containing A Discoverie, or breife summarie of
such notable vices and corruptions as now raigne in many Christian countreyes
of the world; but especially in the countrey of <span class="smcap">Ailgna</span>: [Anglia, England.]
Together with the most fearefull examples of God's judgements executed upon
the wicked for the same, as well in <span class="smcap">Ailgna</span> of late, as in other places elsewhere.
Made Dialogue-wise by Philip Stubs," p. 112. Edit. printed by Richard
Jones, 1583.&mdash;The Jew's supposition that a thunder-storm was evidence of the
divine displeasure at his being about to indulge in a rasher of bacon, is nothing
compared with Master Stubbes's announcement of the wrath of heaven against
those who indulge in starched collars, fine linen shirts, and velvet breeches.</p>

<p class="footnote"><a name="Footnote_151_151" id="Footnote_151_151"></a>
<a href="#FNanchor_151_151"><span class="label">[151]</span></a>
A Discourse of the most illustrious Prince, Henry, late Prince of Wales.
Written in 1626 by Sir Charles Cornwallis. Reprinted in the Harleian Miscellany.</p>

<p class="footnote"><a name="Footnote_152_152" id="Footnote_152_152"></a>
<a href="#FNanchor_152_152"><span class="label">[152]</span></a>
'<span class="smcap">Tom Tell-troath</span>: or a free Discourse touching the manners of the
time.' Reprinted in the Harleian Miscellany. The king's "forraygn children"
mentioned in this pamphlet are his daughter Elizabeth and her family.
Elizabeth was married to Frederick, Elector Palatine of the Rhine, the competitor
of the Emperor Ferdinand II for the crown of Bohemia.</p>

<p class="footnote"><a name="Footnote_153_153" id="Footnote_153_153"></a>
<a href="#FNanchor_153_153"><span class="label">[153]</span></a>
"The King of Spain, or Gondemar, his ambassador."</p>

<p class="footnote"><a name="Footnote_154_154" id="Footnote_154_154"></a>
<a href="#FNanchor_154_154"><span class="label">[154]</span></a>
This engraving is preserved in a collection of Proclamations, Ballads, &amp;c.,
formed by the late Joseph Ames, and now in the library of the Royal Society of
Antiquaries. For the part played by Bethlem Gabor in the affairs of Europe,
between 1618 and 1628, the reader is referred to Schiller's History of the
Thirty-Years' War.</p>

<p class="footnote"><a name="Footnote_155_155" id="Footnote_155_155"></a>
<a href="#FNanchor_155_155"><span class="label">[155]</span></a>
"Five-Cards is an Irish game, and is as much played in that kingdom, and that
for considerable sums of money, as All-Fours is played in Kent, but there is
little analogy between them. There are but two can play at it; and there are dealt
five cards a piece.... The five-fingers (<i>alias</i> five of trumps) is the best
card in the pack; the ace of hearts is next to that, and the next is the ace of
trumps."&mdash;The Compleat Gamester, p. 90. Edit. 1709. First printed in 1674.</p>

<p class="footnote"><a name="Footnote_156_156" id="Footnote_156_156"></a>
<a href="#FNanchor_156_156"><span class="label">[156]</span></a>
Malone's Supplemental Observations on Shakspeare, cited by Barrington.
Dr. Moore, in his Views of Society and Manners in Italy, mentions the card-playing
at the opera at Florence. "I was never more surprised," says he, "than
when it was proposed to me to make one of a whist party, in a box which
seemed to have been made for the purpose, with a little table in the middle. I
hinted that it would be full as convenient to have the party somewhere else;
but I was told, good music added greatly to the pleasure of a whist party; that
it increased the joy of good fortune, and soothed the affliction of bad."</p>

<p class="footnote"><a name="Footnote_157_157" id="Footnote_157_157"></a>
<a href="#FNanchor_157_157"><span class="label">[157]</span></a>
Numbers, xxvi, 55, 56; Proverbs, xvi, 33; Acts, i, 24-26.</p>

<p class="footnote"><a name="Footnote_158_158" id="Footnote_158_158"></a>
<a href="#FNanchor_158_158"><span class="label">[158]</span></a>
This appears to have been one of the chief grounds of objection against cards
and dice-play in Scotland, about a century later. Adam Petrie, "the Scottish
Chesterfield," adopts Balmford's conclusion: "Lott is an ordinance whereby
God often made known his mind, and therefore ought not to be turned into a
play; but Cards and Dice are Lott; therefore they ought not to be turned
into a play."&mdash;Rules of Good Deportment, or of Good Breeding, printed at
Edinburgh, 1710; reprinted 1835.</p>

<p class="footnote"><a name="Footnote_159_159" id="Footnote_159_159"></a>
<a href="#FNanchor_159_159"><span class="label">[159]</span></a>
John Wesley, who sometimes "sought an answer" by lots of this kind, was
charged by the Rev. Augustus Toplady with "tossing up for his creed, as
porters or chairmen toss up for a halfpenny."&mdash;Letter to the Rev. John Wesley,
p. 7. Edit. 1770.</p>

<p class="footnote"><a name="Footnote_160_160" id="Footnote_160_160"></a>
<a href="#FNanchor_160_160"><span class="label">[160]</span></a>
Traité du Jeu, où l'on examine les principales questions de Droit naturel et
de Morale qui ont du rapport à cette matière. Par Jean Barbeyrac, Professeur
en Droit à Groningue. Seconde édition, revue et augmentée. En trois tomes,
12mo. Amsterdam, 1737.</p>

<p class="footnote"><a name="Footnote_161_161" id="Footnote_161_161"></a>
<a href="#FNanchor_161_161"><span class="label">[161]</span></a>
Towards the close of Elizabeth's reign, Edward Darcy obtained a patent for
the manufacture of cards; and in the reign of James I the importation of cards
was prohibited, after 20th July, 1615, as the art of making them was then
brought to perfection in this country. As a duty or tax of five shillings for
every twelve dozen packs was levied about that time by the authority of the
Lord Treasurer, the statement that such a tax was first levied in 1631, in the
reign of Charles I, is erroneous. This tax was one of the impositions complained
of by the Commons, in the reign of Charles I, "as arbitrary and illegal,
being levied without consent of Parliament." I am informed that the first act
of parliament imposing a tax on cards was passed in 1711, in the reign of
Queen Anne. The company of card-makers was first incorporated by letters
patent of Charles I in 1629.&mdash;See Singer's Researches, pp. 223, 224, 226, 365.</p>

<p class="footnote"><a name="Footnote_162_162" id="Footnote_162_162"></a>
<a href="#FNanchor_162_162"><span class="label">[162]</span></a>
Observations on the Antiquity of Card-playing, Archæologia, vol. viii.</p>

<p class="footnote"><a name="Footnote_163_163" id="Footnote_163_163"></a>
<a href="#FNanchor_163_163"><span class="label">[163]</span></a>
Etudes Historiques sur les Cartes à jouer, p. 30. Mons. Leber had in his
collection some cards of Jean Volay's manufacture, which were discovered in
the boards of a book. Those cards are described in the Catalogue of his books,
tom. i, p. 241, Article xvii. There are also cards manufactured by Jean Volay
preserved in the Bibliothèque du Roi, at Paris.</p>

<p class="footnote"><a name="Footnote_164_164" id="Footnote_164_164"></a>
<a href="#FNanchor_164_164"><span class="label">[164]</span></a>
The Netherlands seem to have been famed at an early period for the manufacture
of cards. Albert Durer, in the journal which he kept during his visit
to those parts in 1521, notes that he bought half a dozen packs for seven stivers:
"Item hab umb ein halb dutzet Niederländischer Karten geben 7 Stüber."&mdash;Albrecht
Dürers Reisejournal, in Von Murr's Journal zur Kunstgeschichte, 7ter Theil,
s. 96. From a passage in Ascham's Toxophilos, 1545, quoted by
Singer, it would appear that the price of cards was then about twopence a pack:
"He sayd a payre of cards cost not past ii.d."</p>

<p class="footnote"><a name="Footnote_165_165" id="Footnote_165_165"></a>
<a href="#FNanchor_165_165"><span class="label">[165]</span></a>
The Four Knaves: a series of Satirical Tracts by Samuel Rowlands. Edited,
with an Introduction and Notes, by E. F. Rimbault, Esq. Reprinted for the
Percy Society, 1843. For the loan of the cuts of the Four Knaves the publisher
is indebted to the Percy Society.</p>

<p class="footnote"><a name="Footnote_166_166" id="Footnote_166_166"></a>
<a href="#FNanchor_166_166"><span class="label">[166]</span></a>
On the word mandilions, Mr. Rimbault has the following note: "Mandiglione,
a jacket, a Mandilion?&mdash;Florio's <i>New World of Words</i>, ed. 1611. Stubbes
(<i>apud</i> Strutt, <i>dress and habits</i>, vol. ii, p. 267) says that it covered the whole
body down to the thighs; and Randle Holme describes it as 'a loose hanging
garment, much like to our jacket or jumps, but without sleeves, only having
holes to put the arms through; yet some were made with sleeves, but for no
other use than to hang on the back.'"</p>

<div class="footnote"><a name="Footnote_167_167" id="Footnote_167_167"></a>
<a href="#FNanchor_167_167"><span class="label">[167]</span></a>
<p>In 1641, a pamphlet, in verse, against monopolizers and patentees, appeared
with the following title: 'A Pack of Patentees, opened, shuffled, cut, dealt,
and played.' The articles monopolized, or for which patents had been obtained,
were coals, soap, starch, leather, salt, hops, gold wire, and horns.
</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"We'll shuffle up the pack; those that before</div>
  <div class="verse indent-2_6">Did play at post and pair, must play no more."</div>
  </div>
</div>
</div>
<div class="footnote"><a name="Footnote_168_168" id="Footnote_168_168"></a>
<a href="#FNanchor_168_168"><span class="label">[168]</span></a>
<p>About the same period the game of cards seems to have furnished titles to
political pamphlets in other countries as well as in England. The following is
the title of a Dutch pamphlet, without date, but apparently published about the
time that the treaty of Westphalia was concluded, 1648: 'Het herstelde Verkeer-bert
verbetert in een Lanterluy-spel.' From a passage in this pamphlet
it appears that the game of Lanterloo was the same as that called <i>Labate</i>&mdash;the
French <i>La Bête</i>, called "Beast," in Cotton's Compleat Gamester.
</p>
<p>
"<i>Vlaming.</i> Was spel is dat, Vader Jems? ick weet niet dat ick dat oyt
ghelesen heb, maer al die ghy genoemt hebt weet ick van.
</p>
<p>
"<i>Vader Jems.</i> O Bredder! het is dat spel dat veeltijts genoemt werdt <i>Labate</i>,
ofte om beter te seggen, <i>Lanterluy</i>."</p>
</div>

<p class="footnote"><a name="Footnote_169_169" id="Footnote_169_169"></a>
<a href="#FNanchor_169_169"><span class="label">[169]</span></a>
The two following are of later date but in the same strain. 'A Murnival of
Knaves: or Whiggism plainly display'd, and if not grown shameless, burlesqu'd
out of countenance, a Poem. 1683.' 'Win at first, lose at last; or the Game
of Cards which were shuffled by President Bradshaw, cut by Col. Hewson the
Cobler, and played by Oliver Cromwell and Ireton till the Restoration of
Charles II. 1707'&mdash;A Murnival, at the game of Gleek, was all the four aces,
kings, queens, or knaves.</p>

<p class="footnote"><a name="Footnote_170_170" id="Footnote_170_170"></a>
<a href="#FNanchor_170_170"><span class="label">[170]</span></a>
Poems on State Affairs, vol. iii, p. 25. Edit. 1704. "Tricon is, at cards,
that which we now call a gleek of Kings, Queens, Knaves, &amp;c., viz. three of
them in one hand together."&mdash;Howell's Edition of Cotgrave's French and
English Dictionary, 1673. The term <i>Gleek</i> is probably derived from the German
<i>Gleich</i>, signifying <i>like</i>; thus the <i>Gleek</i> was
a certain number of cards of a <i>like</i>
kind. See further illustrations of the word Gleek in Halliwell's Dictionary of
Archaic Words.</p>

<p class="footnote"><a name="Footnote_171_171" id="Footnote_171_171"></a>
<a href="#FNanchor_171_171"><span class="label">[171]</span></a>
William Maxwell, in a catalogue of his works prefixed to his 'Admirable
Prophecies concerning the Church of Rome,' 4to, 1615, inserts the following as
one already published: "Jamesanna, or a Pythagorical play at cards, representing
the excellency and utility of Union and Concord, with the incommodities
of Division and Discorde, dedicated to the most hopefull Prince Charles." He
also mentions another work of his, of the same kind, unpublished, written in
imitation of More's Utopia. The author informs us, that his grandfather,
William Maxwell, son of the Laird of Kirkconnel, was man-at-arms to the Most
Christian King, and had the honour to serve the mother of Mary Queen of
Scots, and also Mary herself. The Maxwells are still "Lairds of Kirkconnel,"
in Dumfries-shire. "Fair Kirkconnel Lea," mentioned in the old ballad, "I
wish I were where Helen lies," is one of the most beautiful spots in Britain.</p>

<p class="footnote"><a name="Footnote_172_172" id="Footnote_172_172"></a>
<a href="#FNanchor_172_172"><span class="label">[172]</span></a>
<i>Saunt</i> he properly explains by <i>centum</i>, a hundred. <i>Cientos</i> was a Spanish
game, resembling Piquet.</p>

<p class="footnote"><a name="Footnote_173_173" id="Footnote_173_173"></a>
<a href="#FNanchor_173_173"><span class="label">[173]</span></a>
Englands Balme: or, Proposals by way of Grievance and Remedy, humbly
presented to his Highness and the Parliament; towards the Regulation of the
Law and better Administration of Justice. Tending to the great Ease and
Benefit of the good People of the Nation. By William Sheppard, Esq. 12mo,
1657. The disregard of such <i>good</i> men as Mr. Sergeant Sheppard for the feelings
and opinions of those whom they were pleased to consider <i>bad</i>, and who
formed a great majority of the nation, paved the way for the restoration of
Charles II.</p>

<p class="footnote"><a name="Footnote_174_174" id="Footnote_174_174"></a>
<a href="#FNanchor_174_174"><span class="label">[174]</span></a>
Though this pamphlet does not treat of the game, but is wholly political, it
cannot be doubted that Ombre was well known in England at the time of its
publication.</p>

<p class="footnote"><a name="Footnote_175_175" id="Footnote_175_175"></a>
<a href="#FNanchor_175_175"><span class="label">[175]</span></a>
Titus Britannicus: An Essay of History Royal, in the Life and Reign of his
late Sacred Majesty, Charles II, of ever blessed and immortal memory. By
Aurelian Cook, Gent. p. 296. Edit. 1685. Aurelian is loud in his praises of
his Titus for his <i>piety</i> and <i>religion</i>. According to his account, it would seem
that in these respects the "Martyr Charles" was nothing to "Old Rowley."</p>

<p class="footnote"><a name="Footnote_176_176" id="Footnote_176_176"></a>
<a href="#FNanchor_176_176"><span class="label">[176]</span></a>
In Heath's Chronicles, a right loyal publication, it is said that Dr. Dorislaus,&mdash;the
Parliamentary envoy, who was assassinated at the Hague in May, 1649,&mdash;was
accustomed to play at cards on Sundays at Sir Henry Mildmay's, in Essex.&mdash;The
Democracy, or pretended free State, being the 2d part of the Brief Chronicle
of the late intestine War, p. 435. Edit. 1662.</p>

<p class="footnote"><a name="Footnote_177_177" id="Footnote_177_177"></a>
<a href="#FNanchor_177_177"><span class="label">[177]</span></a>
Basset would seem to have been a common game at the court of France
about the same period. "The King (Louis XIV) now seldom or never plays,
but contents himself sometimes with looking on; but formerly he hath been
engaged, and has lost great sums. Mons. S. rookt him of near a million of
livres at Basset by putting false cards upon him, but was imprisoned and
banished for it some years."&mdash;Dr. Martin Lister, Journey to Paris in the year
1698. In 1691, Louis XIV issued an ordonnance prohibiting Faro, Basset,
and other similar games. Whoever should be convicted of playing at any of
those games was to be fined a thousand livres; and the person who allowed
them to be played in his house incurred a penalty of six thousand livres. Basset
and Flush&mdash;il Frusso&mdash;appear to have been known in Italy in the fifteenth century.
They are mentioned by Lorenzo de Medici in his Canti Carnascialeschi,
quoted by Singer, Researches, p. 26.</p>

<p class="footnote"><a name="Footnote_178_178" id="Footnote_178_178"></a>
<a href="#FNanchor_178_178"><span class="label">[178]</span></a>
The following is the title of a pack of geographical cards, now lying before
me, which appear to have been engraved in the reign of Charles II. "The
52 Counties of England and Wales, geographically described in a pack of Cards,
whereunto is added the length, breadth, and circuit of each county, the latitude,
situation, and distance from London of the principal Cities, Towns, and Rivers,
with other Remarks; as plaine and ready for the playing of all our English
Games as any of the common Cards." The heads of the Kings are shown at
the top of the maps of Hereford, Monmouth, Middlesex, and Yorkshire; of
the Queens at the top of the maps of Durham, Huntingdon, Radnor, and
Worcestershire; and of the Knaves at the top of the maps of Anglesey, Gloucester,
Leicester, and Rutland. If the deviser had any particular meaning in
his assignment of the coat cards, it is not easy to be discovered; though it
may be "shrewdly guessed at" as respects Monmouth and York.</p>

<p class="footnote"><a name="Footnote_179_179" id="Footnote_179_179"></a>
<a href="#FNanchor_179_179"><span class="label">[179]</span></a>
Lord Chesterfield is reported to have said to Anstis on one occasion, when
the latter was talking to him about heraldry, "You silly man, you do not understand
your own foolish business."</p>

<p class="footnote"><a name="Footnote_180_180" id="Footnote_180_180"></a>
<a href="#FNanchor_180_180"><span class="label">[180]</span></a>
Menestrier, Bibliothèque curieuse et instructive, tom. ii, p. 180.</p>

<p class="footnote"><a name="Footnote_181_181" id="Footnote_181_181"></a>
<a href="#FNanchor_181_181"><span class="label">[181]</span></a>
By card-makers the coat cards&mdash;King, Queen, and Knave&mdash;are technically
termed <i>têtes</i>, and the others <i>pips</i>.</p>

<p class="footnote"><a name="Footnote_182_182" id="Footnote_182_182"></a>
<a href="#FNanchor_182_182"><span class="label">[182]</span></a>
"Jeu d'Armoires, où tous les termes du Blazon sont expliqués et rangés par
ordre. Dedié à Monseigneur le Duc de Bourgogne. Se vend à Paris, chez
Vallet, dessinateur et graveur du Roy." The privilege to the author, Sieur
Gauthier, is dated 15th December, 1686.</p>

<p class="footnote"><a name="Footnote_183_183" id="Footnote_183_183"></a>
<a href="#FNanchor_183_183"><span class="label">[183]</span></a>
"The <span class="smcap">PUFF COLLUSIVE</span> is the newest of any; for it acts in the disguise of
determined hostility. It is much used by bold booksellers and enterprising
poets."&mdash;The Critic, act i. The "puff collusive" was not an invention of
Sheridan's time, but merely the revival of an old trick.</p>

<p class="footnote"><a name="Footnote_184_184" id="Footnote_184_184"></a>
<a href="#FNanchor_184_184"><span class="label">[184]</span></a>
The advertisement of those cards is preserved amongst Bagford's collections,
Harleian MSS. No. 5947.</p>

<div class="footnote"><a name="Footnote_185_185" id="Footnote_185_185"></a>
<a href="#FNanchor_185_185"><span class="label">[185]</span></a>
<p>"Principally games of geography, history, and metamorphoses, engraved by
Della Bella, from plans furnished by the poet Desmarets, to facilitate the studies
of Louis XIV when a child. The idea is said to have been suggested by Cardinal
Mazarine."&mdash;A pack of military cards, with instructions for playing the
game, devised by the Sieur Des Martins, and dedicated to "Son Altesse le Duc
de Maine, Colonel-général des Suisses," appeared in 1676. His Highness the
Colonel-general, who was the son of Louis XIV and Madame Montespan, was
then six years old.
</p>
<p>
By the favour of F. R. Atkinson, Esq., of Manchester, an assiduous and
intelligent collector of curious books, I have had an opportunity of examining
two sets of French Historic Cards, without date, but probably published about
1690. One of them is entitled "Cartes des Rois de France. A Paris, chez
F. Le Comte, rue St. Jaques, au Chifre du Roi." The title of the other is,
"Jeu des Reynes Renommées. A Paris, chez Henri le Gras, Librairie, au 3<sup>e</sup>
pilier de la grande Salle du Palais." Both sets appeared to have been designed
exclusively for the purpose of instruction, and not for play.</p>
</div>

<p class="footnote"><a name="Footnote_186_186" id="Footnote_186_186"></a>
<a href="#FNanchor_186_186"><span class="label">[186]</span></a>
About the same period Moxon, "glancing from heaven to earth, from earth
to heaven," published a pack of Astronomical Cards. In the life of Beau
Hewitt, in Lucas's Memoirs of the Lives, Intrigues, and Comical Adventures
of the most Famous Gamesters and Celebrated Sharpers in the reigns of
Charles II, James II, William III, and Queen Anne, 1714, the Beau is represented
as having "most assiduously studied the use of the geometrical playing-cards,
set forth by Monsieur Des Cartes, the famous French philosopher and
mathematician; but that finding the demonstrations of that great man to be
founded on no certainty, he resolved to try his luck at dice." It is said that
Pascal's attention was first directed to the calculation of chances in consequence
of some questions proposed to him by the Chevalier de Meré, a great gamester.</p>

<p class="footnote"><a name="Footnote_187_187" id="Footnote_187_187"></a>
<a href="#FNanchor_187_187"><span class="label">[187]</span></a>
In the text, Beast is said to be called by the French "<i>La Bett</i>" [<i>La Bête</i>].</p>

<p class="footnote"><a name="Footnote_188_188" id="Footnote_188_188"></a>
<a href="#FNanchor_188_188"><span class="label">[188]</span></a>
The following appear to have been the principal games at cards played in
England before the reign of Charles II: the game of Trumps, in the time of
Edward VI; Primero, Maw, Lodam, Noddy, La Volta, and Bankerout, mentioned
by Sir John Harrington; and Gleek, Crimp, Mount-Saint, Knave out of
Doors, Post and Pair, and Ruff, mentioned in Dodsley's Collection of Old
Plays.&mdash;See Barrington and Bowle on Card-playing, in the Archæologia, vol. viii.</p>

<p class="footnote"><a name="Footnote_189_189" id="Footnote_189_189"></a>
<a href="#FNanchor_189_189"><span class="label">[189]</span></a>
"Upon his return to Edinburgh, though he found himself weaker, yet his
cheerfulness never abated; and he continued to divert himself, as usual, with
correcting his own works for a new edition, with reading books of amusement,
with the conversation of his friends; and sometimes, in the evening, with a party
at his favorite game of whist."&mdash;Dr. Adam Smith, Letter to Wm. Strahan.</p>

<p class="footnote"><a name="Footnote_190_190" id="Footnote_190_190"></a>
<a href="#FNanchor_190_190"><span class="label">[190]</span></a>
Whist, a poem in twelve Cantos. By Alexander Thomson, Esq., p. 21.
Second Edition, 1792.</p>

<p class="footnote"><a name="Footnote_191_191" id="Footnote_191_191"></a>
<a href="#FNanchor_191_191"><span class="label">[191]</span></a>
Mr. Barrington seems to have obtained his information respecting the
succession of Whist to Quadrille from an authority whom he did not like to
acknowledge, namely, Sir Calculation Puzzle, in the Humours of Whist.
"Egad, you remind me, Sir John, of an observation I have made too; which
is, that as long as Quadrille and Ombre were the games in vogue, we certainly
were under French influence. Whereas since Whist has come in fashion, you
see our politics are improved upon us."&mdash;The Humours of Whist. A Dramatic
Satire, as acted every day at <span class="smcap">White</span>'s, and other Coffee-houses and
Assemblies. 8vo, 1743.</p>

<div class="footnote"><a name="Footnote_192_192" id="Footnote_192_192"></a>
<a href="#FNanchor_192_192"><span class="label">[192]</span></a>
<p>From the following passage in the 'Beaux Stratagem,' act ii, scene 1,
Whisk is mentioned by Mrs. Sullen in a disparaging manner, as if it were fit
only for rustics:
</p>
<p>
"<i>Dorinda.</i> You share in all the pleasures that the country affords.
</p>
<p>
<i>Mrs. Sullen.</i> Country pleasures! racks and torments! Dost think, child,
that my limbs are made for leaping of ditches, and clambering over styles? or
that my parents, wisely foreseeing my future happiness in country pleasures, had
early instructed me in the rural accomplishments of drinking fat ale, playing at
whisk, and smoking tobacco with my husband?"</p>
</div>

<p class="footnote"><a name="Footnote_193_193" id="Footnote_193_193"></a>
<a href="#FNanchor_193_193"><span class="label">[193]</span></a>
"'The clergymen used to play at <i>Whisk</i> and <i>Swabbers</i>.'&mdash;Swift."</p>

<p class="footnote"><a name="Footnote_194_194" id="Footnote_194_194"></a>
<a href="#FNanchor_194_194"><span class="label">[194]</span></a>
"Whist is a game not much differing from this" [English Ruff and Honours].&mdash;Compleat
Gamester, p. 86. Edit. 1709. "Triomphe, the card-game
called Ruffe, or Trump."&mdash;Cotgrave's French and English Dictionary. Edit.
1611.</p>

<p class="footnote"><a name="Footnote_195_195" id="Footnote_195_195"></a>
<a href="#FNanchor_195_195"><span class="label">[195]</span></a>
Taylor's Motto: Et habeo, et careo, et curo.</p>

<p class="footnote"><a name="Footnote_196_196" id="Footnote_196_196"></a>
<a href="#FNanchor_196_196"><span class="label">[196]</span></a>
The writer of an article on Whist, in the Foreign Quarterly Review, No.
48, discussing the etymology of the name, says: "The Irish injunction, Whisht&mdash;'be
quiet,' may be thought to require consideration. It is the exact form of
the word, barring only the pure s; but this is not the Sibboleth, or touchstone,
here. At the utmost, the difficulty is but a dialectical variety, <i>elegantiæ causa</i>,
for the sake of elegance; just as shoup, for soup."&mdash;Nares, in his Glossary,
under the word Whist, an exclamation enjoining silence, says of the game,
"That the name of Whist is derived from this, is known, I presume, to all who
play, or do not play."</p>

<p class="footnote"><a name="Footnote_197_197" id="Footnote_197_197"></a>
<a href="#FNanchor_197_197"><span class="label">[197]</span></a>
A Whisk, a small kind of besom: a swab or swabber, a kind of mop.</p>

<p class="footnote"><a name="Footnote_198_198" id="Footnote_198_198"></a>
<a href="#FNanchor_198_198"><span class="label">[198]</span></a>
"Whist; by an Amateur: its History and Practice," p. 28, 1843.&mdash;A
beautiful little book, with appropriate illustrations, designed by Kenny Meadows,
and engraved on wood by Orrin Smith and W. J. Linton.</p>

<p class="footnote"><a name="Footnote_199_199" id="Footnote_199_199"></a>
<a href="#FNanchor_199_199"><span class="label">[199]</span></a>
"Oldsworth upbraided the late Earl of Godolphin with having a race-horse,
and the Earl of Sunderland with having a library, very honestly insinuating that
the former made an ill use of the one, and the latter no use at all of the other."&mdash;The
Censor censured; or Cato turned Cataline, a pamphlet, published in 1722.</p>

<p class="footnote"><a name="Footnote_200_200" id="Footnote_200_200"></a>
<a href="#FNanchor_200_200"><span class="label">[200]</span></a>
"Mr. Pope's beautiful description of the manner of playing this game."&mdash;Seymour's
Court Gamester, 1722.&mdash;"It is Belinda's game in the Rape of the
Lock, where every incident in the whole deal is so described, that when Ombre
is forgotten (and it is almost so already) it may be revived with posterity from
that admirable poem."&mdash;Barrington on the Antiquity of Card-playing. Pope's
Grotto, and Hampton Court, excite in the mind of Miss Mitford "vivid images
of the fair Belinda and of the inimitable game at Ombre."&mdash;Our Village, fourth
series.</p>

<p class="footnote"><a name="Footnote_201_201" id="Footnote_201_201"></a>
<a href="#FNanchor_201_201"><span class="label">[201]</span></a>
Serious Reflections on the dangerous tendency of the common practice of
Card-playing; especially the game of All-Fours, as it hath been publickly
played at Oxford in this present year of our Lord, 1754.</p>

<p class="footnote"><a name="Footnote_202_202" id="Footnote_202_202"></a>
<a href="#FNanchor_202_202"><span class="label">[202]</span></a>
The Princesses were the daughters of George Prince of Wales, afterwards
George II. One of them, Amelia, in her old maidenhood, was a regular visitor
at Bath, seeking health at the pump, and amusement at the card-table.</p>

<p class="footnote"><a name="Footnote_203_203" id="Footnote_203_203"></a>
<a href="#FNanchor_203_203"><span class="label">[203]</span></a>
About 1721, a pack of cards was published, ridiculing the principal bubble
schemes of the day, but more especially the South Sea project. About the same
time, a set of caricature cards, ridiculing the Mississippi scheme, was published
in Holland.</p>

<p class="footnote"><a name="Footnote_204_204" id="Footnote_204_204"></a>
<a href="#FNanchor_204_204"><span class="label">[204]</span></a>
"The Saxons called it Akeman-ceaster, which has been interpreted the City
of Valetudinarians."&mdash;Bath Guide. It is worthy of remark that most watering-places
much visited by wealthy invalids, abroad as well as at home, are also the
haunts of gamesters. "Where the carrion is, there are the vultures."</p>

<p class="footnote"><a name="Footnote_205_205" id="Footnote_205_205"></a>
<a href="#FNanchor_205_205"><span class="label">[205]</span></a>
"At this period it was the fashion for the ladies to adorn their heads, before
they entered the bath, with all the lures of dress. By these means their charms
were set off to such advantage, that the husband of a lady, who, with Nash and
other spectators, was admiring the female dabblers, told his wife 'she looked
like an angel, and he wished to be with her.' Nash seized the favorable occasion
to establish his reputation as a man of gallantry and spirit, and therefore
suddenly taking the gentleman by the collar and the waistband of his breeches,
soused him over the parapet into the bath."&mdash;Life of Beau Nash.</p>

<p class="footnote"><a name="Footnote_206_206" id="Footnote_206_206"></a>
<a href="#FNanchor_206_206"><span class="label">[206]</span></a>
An analogous case, at cards, of <i>begging</i> for a point in order to inspire the
adversary with an erroneous opinion of the <i>beggar</i> being weak, is thus related
by Paschasius Justus of Pope Leo X. His holiness once, when playing at a
game similar to Primero, held such cards as made it impossible for him to lose,
except from the circumstance of his being the last player; but as his adversary,
whose turn it was to declare first, proposed a heavy stake, he concluded that he
held as good cards as himself. Being reluctant to yield the game, "give me a
point," he cried, "and I will see you." The other, not suspecting that the
Pope held such capital cards, readily assented, and consequently lost.&mdash;The
narrator says that he could applaud the trick, if his holiness had returned the
loser his stake.&mdash;Pasc. Justi Aleæ, lib. i, p. 50. Edit. Neapoli Nemetum
[Neustadt, in the diocese of Spires], 1617.</p>

<p class="footnote"><a name="Footnote_207_207" id="Footnote_207_207"></a>
<a href="#FNanchor_207_207"><span class="label">[207]</span></a>
The Literary Register, or Weekly Miscellany, p. 296, Newcastle on Tyne, 1771.</p>

<p class="footnote"><a name="Footnote_208_208" id="Footnote_208_208"></a>
<a href="#FNanchor_208_208"><span class="label">[208]</span></a>
"Uninflammable as the times were, they carried a great mixture of superstition.
Masquerades had been abolished, because there had been an earthquake
at Lisbon; and when the last jubilee-masquerade was exhibited at Ranelagh,
the alehouses and roads to Chelsea were crowded with drunken people, who
assembled to denounce the judgments of God on persons of fashion, whose
greatest sin was dressing themselves ridiculously. A more inconvenient reformation,
and not a more sensible one, was set on foot by societies of tradesmen,
who denounced to the magistrate all bakers that baked or sold bread on Sundays.
Alum, and the variety of spurious ingredients with which bread, and, indeed,
all wares, were adulterated all the week round, gave not half so much offence as
the vent of the chief necessary of life on a Sunday."&mdash;Earl of Orford's Memoirs,
vol. ii, p. 283.</p>

<p class="footnote"><a name="Footnote_209_209" id="Footnote_209_209"></a>
<a href="#FNanchor_209_209"><span class="label">[209]</span></a>
The king not only allowed of gaming at the groom porter's at the Christmas
holidays, but used to pay a formal visit there himself at the commencement of
the "season."</p>

<p class="footnote"><a name="Footnote_210_210" id="Footnote_210_210"></a>
<a href="#FNanchor_210_210"><span class="label">[210]</span></a>
From an advertisement in the public papers, subsequently referred to by
the author, it would appear that this compliment to the secretaries of state was
ironical. It is there stated that a set of gentlemen of character and fortune
had determined to enforce the acts of parliament respecting unlawful games of
play, whether with cards or otherwise; and that they were firmly resolved that
neither the sanctuary at <span class="smcap">White</span>'s, nor the more sacred mansion of a secretary
of state, should prevent their putting their design in execution. It is not
surprising that cards should be a favorite game with diplomatists, seeing that
their regular vocation consists in cutting and shuffling, and that their grand
game is usually won by a trick. Talleyrand was a capital player both at cards
and protocols. Espartero, when Regent of Spain, is said to have played at
cards with the ministers as he lay in bed. Cabral, the Portuguese minister, is
also a great card-player.</p>

<p class="footnote"><a name="Footnote_211_211" id="Footnote_211_211"></a>
<a href="#FNanchor_211_211"><span class="label">[211]</span></a>
This collection of caricatures is contained in a small volume of a square
form, like that of a pocket dictionary. In the title, the work is said to have
been "digested and published by M. Darly, at the Acorn in Ryder's Court,
Cranbourn Alley, Leicester Fields." Subsequently, Darly published another
volume, of the same size, entitled 'A Political and Satirical History, displaying
the unhappy Influence of Scotch Prevalency in the years 1761, 1762, and 1763;
being a regular series of ninety-six humourous, transparent, and entertaining
prints. With an explanatory Key to every print.' These two volumes contain
the most numerous and interesting series of political caricatures that had
hitherto appeared in England. The caricatures which appeared in the Political
Register from 1767 to 1772 may be considered as a continuation of the series
published by Darly.</p>

<p class="footnote"><a name="Footnote_212_212" id="Footnote_212_212"></a>
<a href="#FNanchor_212_212"><span class="label">[212]</span></a>
In the same volume there is another plate of the same kind, showing the
coat cards for 1756.</p>

<p class="footnote"><a name="Footnote_213_213" id="Footnote_213_213"></a>
<a href="#FNanchor_213_213"><span class="label">[213]</span></a>
A Critical Enquiry regarding the real Author of the Letters of Junius, proving
them to have been written by Lord Viscount Sackville. By George Coventry,
p. 34, 1825. Copies of <i>two</i> of the caricatures on Lord George Sackville are
given in this work.</p>

<p class="footnote"><a name="Footnote_214_214" id="Footnote_214_214"></a>
<a href="#FNanchor_214_214"><span class="label">[214]</span></a>
At the foot of the title-page of the second volume, for the years 1761-2-3,
there is a notice, that "sketches or hints, sent post-paid [to the publisher],
will have due honour shewn them."</p>

<div class="footnote"><a name="Footnote_215_215" id="Footnote_215_215"></a>
<a href="#FNanchor_215_215"><span class="label">[215]</span></a>

<div class="poetry-container">
  <div class="verse">"Et decus ob patrium, et studiosæ pubis in usus,</div>
  <div class="verse indent-2_6">Construxere sacros chartis fidibusque penates."</div>
</div>

<div class="right"><span class="smcap">C. Anstey</span>, ad <span class="smcap">C. W. Bampfylde</span>,
Epistola, 1777.</div>
</div>

<p class="footnote"><a name="Footnote_216_216" id="Footnote_216_216"></a>
<a href="#FNanchor_216_216"><span class="label">[216]</span></a>
Ballads in the Cumberland Dialect, by R. Anderson. An explanation of a
few terms in the above verses will render them more intelligible to the reader
who has the misfortune to be unacquainted with the Cumberland dialect. <i>Clipt
and heeled</i>, prepared for the sport, like cocks for fighting. <i>Lish</i>, sprightly,
active. <i>Cuttered</i>, cooed, like billing doves. <i>Stour</i>, dust. <i>Lanter</i>, three-card
loo. <i>Caird-lakers</i>, card-players. Lanter, or lant, so common in Cumberland
and Northumberland, appears to have been unknown to a deservedly high
authority on all sports and games: "The editor does not know the game of
<i>Lant</i>."&mdash;Bell's Life in London, 4th March, 1838.</p>

<p class="footnote"><a name="Footnote_217_217" id="Footnote_217_217"></a>
<a href="#FNanchor_217_217"><span class="label">[217]</span></a>
Some curious particulars&mdash;somewhat exaggerated&mdash;respecting certain great
card-players of this period will be found in 'The Adventures of a Guinea.'</p>

<p class="footnote"><a name="Footnote_218_218" id="Footnote_218_218"></a>
<a href="#FNanchor_218_218"><span class="label">[218]</span></a>
An Address to Persons of Fashion relating to Balls: with a few occasional
Hints concerning Play-houses, Card-tables, &amp;c. By the Author of Pietas
Oxoniensis. Sixth edition, 1771.</p>

<p class="footnote"><a name="Footnote_219_219" id="Footnote_219_219"></a>
<a href="#FNanchor_219_219"><span class="label">[219]</span></a>
"The causes of infidelity are various. Before the improved sagacity of
Dr. Rennell had discovered that it owed its origin to Popery, his wisdom had
detected its source, artfully lurking in the 'unmeaning combinations' of a pack
of cards."&mdash;Reflections on the Spirit of Religious Controversy, by the Rev.
Joseph Fletcher, of Hexham, England, p. 192. 12mo, New York, 1808.</p>
</div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>

<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV.<br />

<small>OF THE DIFFERENT KINDS OF CARDS AND THE
MARKS OF THE SUITS.</small></h2>


<p>Having in the preceding chapters endeavoured to trace
the origin of Playing Cards, and to show their progress
from the time of their first introduction into Europe, I
shall now proceed to give collectively some account of the
different kinds of cards, of the various marks that have been
employed to distinguish the suits, and of the changes that
they have undergone at different periods.</p>

<p>Most authors who have expressly written on the subject,
agree in distinguishing two kinds of cards, namely, those
which they call Tarocchi, or Tarots; and those, consisting
of four suits, which are in common use throughout Europe.
It is a subject of dispute, among the learned in these
matters, which of those two kinds are of the greatest antiquity;
Court de Gebelin considers that Tarocchi cards were known
to the ancient Egyptians;
<a name="FNanchor_220_220" id="FNanchor_220_220"></a>
<a href="#Footnote_220_220" class="fnanchor">[220]</a>
and Mons. Duchesne is pleased
to assume that certain so-called Tarocchi Cards, preserved
in the Bibliothèque du Roi, belonged to one of the three
packs painted for Charles VI, by Jacquemin Gringonneur,
in 1393. Mons. Duchesne is also of opinion that these
cards were the same as those which were formerly called
<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span>
Naibi in Italy; and in support of it, he alleges several
authorities, which seem to him to be decisive of the fact,
but which really prove nothing more than that Chartæ
and Naibi were synonymous.
<a name="FNanchor_221_221" id="FNanchor_221_221"></a>
<a href="#Footnote_221_221" class="fnanchor">[221]</a>
He produces no evidence
to show that the series of painted and engraved figures,
now usually called Tarocchi, were originally known either
by that name, or by that of cards; while from a passage
cited by Mons. Leber, from Raphael Volaterranus, it would
appear that Tarocchi Cards, properly so called, were not
invented till towards the close of the fifteenth century; and
from the same author we learn that a pack of such cards
consisted of the four suits of common cards, together with
twenty-two symbolical figures, similar to those which are
assumed by Mons. Duchesne to have been the original
Tarocchi. Tarocchi cards&mdash;called Tarots by the French&mdash;are
still used in several parts of France, Germany, and
Italy; and an account of the manner of playing the game
is to be found in the edition of the 'Académie des Jeux,'
published by Corbet, Paris, 1814.</p>

<p>Mons. Duchesne calls this game Tarocchino, and distinguishes
it from that played with the old series of figures,
which he supposes to have been the original Tarocchi; but
so far from there being any evidence to show that these
figures were at their first introduction known either by the
name of Tarocchi or of Cards, there seems greater reason to
conclude that they have only obtained this name in comparatively
recent times, in consequence of some of them being
<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span>
used in combination with common cards, at a game called
Tarocchi, which was also the name given to the cards with
which it was played. The earliest writers who mention
Tarocchi as a kind of cards, always speak of them as consisting
of four suits,&mdash;Swords, Cups, Batons, and Money,&mdash;together
with a certain number of other cards, representing
various characters and emblematical figures.</p>

<p>A pack of Tarots,<a name="FNanchor_222_222" id="FNanchor_222_222"></a>
<a href="#Footnote_222_222" class="fnanchor">[222]</a>
as at present used in France, corresponds
in every particular with those called Tarocchi by
writers of the sixteenth century. It consists of seventy-eight
cards; that is, of four suits of numeral cards, and twenty-two
emblematic cards, called Atous.
<a name="FNanchor_223_223" id="FNanchor_223_223"></a>
<a href="#Footnote_223_223" class="fnanchor">[223]</a> The marks of the
suits are usually Swords, Cups, Batons, and Money; and
each suit consists of fourteen cards, ten of which are "pips"
or low cards, and the other four are coat cards,&mdash;namely,
King, Queen, Chevalier, and Valet. Of the Atous, twenty-one
are numbered consecutively from 1 to 21; that which
is not numbered is called the Fou,&mdash;the Clown or Buffoon,&mdash;and
in playing the game is usually designated "Mat."
The Fou has of itself no positive value, but augments that
of any of the other Atous to which it may be joined. The
other Atous are numbered and named as follows:</p>

<p>1. The Bateleur, or Juggler; called also Pagad. 2. Juno.
<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span>
3. The Empress.<a name="FNanchor_224_224" id="FNanchor_224_224"></a>
<a href="#Footnote_224_224" class="fnanchor">[224]</a>
4. The Emperor. 5. Jupiter. 6. L'Amoureux.
7. The Chariot. 8. Justice. 9. The Capuchin, called also
the Hermit. 10. The Wheel of Fortune. 11. Fortitude.
12. Le Pendu&mdash;a man suspended, head downwards, by
one leg. 13. Death. 14. Temperance. 15. The Devil.
16. The Maison-Dieu, or Hospital&mdash;a tower struck by
lightning. 17. The Stars. 18. The Moon. 19. The Sun.
20. The Last Judgment. 21. The End of the World.&mdash;Of
these the first five are called <i>petits atous</i>, and the last five
<i>grands atous</i>. Seven cards are also especially distinguished
as Tarots, or Atous-tarots; these are the End of the World,
the Buffoon, the Bateleur, and the four Kings.
<a name="FNanchor_225_225" id="FNanchor_225_225"></a>
<a href="#Footnote_225_225" class="fnanchor">[225]</a></p>

<p>According to Cicognara,
<a name="FNanchor_226_226" id="FNanchor_226_226"></a>
<a href="#Footnote_226_226" class="fnanchor">[226]</a>
the inventor of the game of
Tarocchino,&mdash;or Tarots, as above described,&mdash;was an Italian,
who resided at Bologna, prior to the year 1419; and the
account which he gives is to the following effect: "There
is preserved in the Fibbia family, one of the most ancient
and illustrious of that city, a portrait of Francis Fibbia,
Prince of Pisa,&mdash;who sought refuge at Bologna, about the
commencement of the fifteenth century,&mdash;in which he is
represented holding in his right hand a parcel of cards,
<span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span>
while others appear lying on the ground; among the latter
are seen the Queen of Batons, and the Queen of Money,
the one being ornamented with the arms of the Bentivoglio
family, and the other with the arms of the Fibbia. An
inscription at the bottom of the picture informs us that
Francis Fibbia, who died in 1419, had obtained, as the
inventor of Tarocchino, from the <i>Reformers</i> of the city, the
privilege of placing his own shield of arms on the Queen of
Batons, and that of his wife, who was of the Bentivoglio
family, on the Queen of Money; "a distinction," observes
Mons. Duchesne, "which nevertheless does not exclude the
supposition that Francis Fibbia, Commander-in-chief of the
Bolognese forces, had rendered more important services to
his countrymen than teaching them to play at Tarocchino."</p>

<p>Supposing Cicognara's account to be correct, it yet proves
nothing with respect to the comparative antiquity of the
two kinds of cards which compose the pack for the game of
Tarocchino, or Tarots. Mons. Duchesne, however, having
assumed that the old series of emblematic figures called
Tarocchi cards were the oldest, sees no difficulty in the
matter, but unhesitatingly concurs with Cicognara in
ascribing the invention of Tarocchino to Francis Fibbia,
without inquiring whether Fibbia had merely combined
into one pack two kinds of cards already well known, or
whether he was the first deviser of the four suits which constitute
the most important portion of the pack, and which
give to the game all its spirit. Seeing that Fibbia was
honoured for his invention by the <i>Reforming</i> magistracy
of Bologna,&mdash;where both card-playing and the manufacture
of cards appear to have been pretty extensively carried on
about 1423,&mdash;the most probable conclusion would be, that
he had deserved well in their opinion, not from having
converted by new combinations a previously innocent and
amusing game into a hazardous and exciting one, but in
consequence of his having shuffled a few moral Tarocchi
<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span>
into the old pack of numeral cards of four suits, whether
of Swords, Cups, Batons, and Money, or of Bells, Hearts,
Leaves, and Acorns. In support of this conclusion, it may
further be observed, that though the manufacture of cards
was extensively carried on both in Italy and Germany,
before the year 1450, no so-called Tarocchi cards of that
period have been discovered which can fairly be supposed
to have been intended, either from their size or execution,
for the common purposes of play; while, on the contrary,
there are in existence several specimens of numeral cards
of four suits, either stencilled or engraved on wood, and
evidently of a cheap manufacture, for common use, of a date
not later than 1450.</p>

<p>The kind of game for which the emblematic figures
usually called Tarocchi cards were used, remains to be discovered.
Mons. Duchesne has, indeed, hazarded a conjecture
on the subject, which is equally incapable of refutation or
of proof. "The number of players," he says, "necessary to
form a party, would scarcely be limited to two, and probably
might vary from three to twelve, or rather from three to
eight; and the manner of playing might simply consist in
the appropriate laying down of such of the figures as, according
to an order agreed upon, might belong to the suit
of the card first played. The holder of certain privileged
cards would have doubtless some additional advantage;
and we may further suppose that each player being obliged,
in turn, to lay down a card drawn at random, striking contrasts
resulting from unexpected combinations would afford
a subject of amusement. This supposition would seem to
agree with the subject of a book entitled 'Les Cartes Parlantes,'
<a name="FNanchor_227_227" id="FNanchor_227_227"></a>
<a href="#Footnote_227_227" class="fnanchor">[227]</a>
printed at Venice, in 1545; each card there has
<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span>
conferred on it an interpretation or allusion, more or less
ingenious, applicable to the figure which it represents: thus
the Pope represents fidelity in the game and sincerity in
the player; the Emperor, the laws of the game; the Valets,
the service attached to the game; the Swords, the death
of despairing gamesters; the Batons, the punishment of
those who cheat; Money, the sustenance of play; and the
Cups, the drink over which the players settle their disputes."
Mons. Duchesne's conjecture can scarcely be said to be supported
by the conceits of Aretine; who, moreover, in the
whole course of his book, speaks of cards as a hazardous,
exciting game, at which both money and credit might be
lost; while Mons. Duchesne asserts that the game played
with Tarocchi was merely one of amusement, originally
devised to instruct children under the semblance of play.</p>

<p>The earliest known specimens of what are called Tarocchi
cards are those preserved in the Bibliothèque du Roi, at
Paris, and which are supposed by Mons. Duchesne to have
formed a portion of one of the three packs painted for the
amusement of Charles VI, in 1393.
<a name="FNanchor_228_228" id="FNanchor_228_228"></a>
<a href="#Footnote_228_228" class="fnanchor">[228]</a>
They formerly belonged
to Mons. de Gaignières, who had been governor to the grandchildren
of Louis XIV, and who bequeathed them, together
with his entire collection of prints and drawings, to the
king, in 1711. Those cards appear to have been seen in the
possession of Mons. de Gaignières by the Abbé de Longuerue;
<a name="FNanchor_229_229" id="FNanchor_229_229"></a>
<a href="#Footnote_229_229" class="fnanchor">[229]</a>
<span class="pagenum"><a name="Page_196" id="Page_196">[Pg 196]</a></span>
and also by Dr. Martin Lister, who thus mentions them in his
account of his journey to Paris, in 1698: "I waited upon
the Abbot Droine to visit Mons. Guanieres [de Gaignières]
at his lodgings in the Hostel de Guise. One toy I took
notice of, which was a collection of playing cards for 300
years. The oldest were three times bigger than what are
now used, extremely well limned and illuminated with gilt
borders, and the pasteboard thick and firm; but there was
not a complete set of them."</p>

<p>The following particulars respecting those cards are
chiefly derived from Mons. Duchesne's description of them
in his 'Observations sur les Cartes à jouer,' published in the
'Annuaire Historique' for the year 1837. There are seventeen
of them, and there can scarcely be a doubt of their having
formed part of a set of what are called Tarocchi cards,
which, when complete, consisted of fifty. They are painted
on paper, in the manner of illuminations in old manuscripts,
on a gold ground, which is in other parts marked with
ornamental lines, formed by means of points slightly pricked
into the composition upon which the gilding is laid. They
are surrounded by a border of silver gilding, in which there
is also seen an ornament, formed in the same manner, by
means of points, representing a kind of scroll or twisted
riband. Some parts of the embroidery on the vestments of
the different figures are heightened with gold, while the
weapons and armour are covered with silver, which, like
that on the borders, has for the most part become oxydized
through time. There is no inscription, letter, nor number,
to indicate the manner in which they were to be arranged.
Mons. Leber agrees with Mons. Duchesne in ascribing them
<span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span>
to a French artist of the time of Charles VI, and even seems
inclined to conclude that they might have been intended
for the amusement of that lunatic king. Looking at those
cards, however, as they appear in the fac-similes published
by the Society of Bibliophiles Français, I should rather take
them to be the work of an Italian artist, and be inclined
to conclude, as well from the general style of the drawing
as from the costume, that they were not of an earlier date
than 1425.</p>

<p>The following is Mons. Duchesne's enumeration of the
seventeen cards which he supposes to have been executed
by Gringonneur: the names in capitals are those which
occur in a series of so-called Italian Tarocchi cards, with
which he considers them to correspond.</p>

<p>1. <i>Le Fou</i>&mdash;the Buffoon. This figure is found in the
Tarots of the present day, and is perhaps the same character
as that which in the series of old Italian engraving&mdash;called
Tarocchi cards&mdash;is inscribed <span class="smcap">Misero I</span>.</p>

<p>2. <i>L'Ecuyer</i>&mdash;the Squire. <span class="smcap">Chevalier VI</span>.</p>

<p>3. <i>L'Empereur</i>&mdash;the Emperor. <span class="smcap">Imperator VIIII</span>.</p>

<p>4. <i>Le Pape</i>&mdash;the Pope. <span class="smcap">Papa X</span>.</p>

<p>5. <i>Les Amoureux</i>&mdash;the Lovers. Young men and women
courting, while two winged Cupids are discharging arrows
at them. Mons. Duchesne gravely queries whether this
subject does not represent Apollo and Diana killing the
children of Niobe, and whether it ought not to be considered
as corresponding with <span class="smcap">Apollo XX</span>. It has, however, as
little relation to the story of Niobe as it has to Apollo, as
figured in the engraving referred to.</p>

<p>6. <i>La Fortune</i>&mdash;Fortune. This figure, standing on a
circle which represents the world, holds a globe in one
hand, and in the other a sceptre. Mons. Duchesne considers
that it corresponds with that named <span class="smcap">Astrologia</span>, in
the series of Italian engravings, and there erroneously
<span class="pagenum"><a name="Page_198" id="Page_198">[Pg 198]</a></span>
numbered <span class="smcap">XXXVIIII</span>, instead of
<span class="smcap">XXVIIII</span>.&mdash;Bartsch, it seems
had not observed this error.</p>

<p>7. <i>La Tempérance</i>&mdash;Temperance. <span class="smcap">Temperancia XXXIIII</span>.</p>

<p>8. <i>La Force</i>&mdash;Fortitude. <span class="smcap">Fortezza XXXVI</span>.</p>

<p>9. <i>La Justice</i>&mdash;Justice. <span class="smcap">Justicia XXXVII</span>.</p>

<p>10. <i>La Lune</i>&mdash;the Moon. <span class="smcap">Luna XXXXI</span>.</p>

<p>11. <i>Le Soleil</i>&mdash;the Sun. <span class="smcap">Sol XXXXIIII</span>.</p>

<p>12. <i>Le Char</i>&mdash;the Chariot. The subject here is a figure
in armour, standing on a kind of triumphal car, and having
in his right hand a battle-axe. Mons. Duchesne says that
this subject certainly corresponds with <span class="smcap">Marte XXXXV</span>.</p>

<p>13. <i>L'Ermite</i>&mdash;the Hermit. This figure is supposed to
correspond with that named <span class="smcap">Saturno XXXXVII</span>.</p>

<p>The four following subjects have no corresponding figures
in the series of old Italian engravings, supposed by Mons.
Duchesne and others to be Tarocchi cards: they are, however,
to be found among the "Atous" of the modern game
of Tarots.</p>

<p>14. <i>Le Pendu</i>&mdash;A man hanging from one leg, head
downwards. Court de Gebelin, speaking of this figure as
it is seen in a modern pack of Tarots, conjectures, with his
usual absurdity, that the card-maker had erroneously represented
it upside down. On turning it the contrary way,
he sees in it an emblem of Prudence,&mdash;to wit, a man standing
upon one foot, and sagely deliberating where he has to
place the other.&mdash;The figure of Le Pendu, even when thus
viewed, is much more like a capering opera-dancer, than a
prudent philosopher cautiously picking his steps; and bears
not the slightest resemblance to the figure of Prudence, in
the series of old engravings, called Tarocchi cards.</p>

<p>15. <i>La Mort</i>&mdash;Death.</p>

<p>16. <i>La Maison-Dieu</i>&mdash;The Hospital. A tower struck
by lightning.</p>

<p>17. <i>Le Jugement dernier</i>&mdash;The last Judgment.</p>

<p><span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>

<div class="figcenter"><a name="i_222.jpg" id="i_222.jpg"></a>
  <img src="images/i_222.jpg"
      alt="Old Painted Cards: La Justice" />
  <div class="caption">Old Painted Cards ascribed to Gringonneur.
    &mdash;'La Justice.' (p. 198)</div>
</div>

<div class="figcenter"><a name="i_224.jpg" id="i_224.jpg"></a>
  <img src="images/i_224.jpg"
      alt="Painted Cards: La Lune" />
  <div class="caption">Old Painted Cards ascribed to Gringonneur.
    &mdash;'La Lune.' (p. 198.)</div>
</div>

<p>These seventeen subjects, engraved in lithography, and
carefully coloured by hand after the original drawings, are
given in the 'Jeux de Cartes Tarots et de Cartes Numérales,'
published by the Society of Bibliophiles Français, 1844.
The two annexed cuts will afford some idea of the style of
the drawing, and of the manner in which the ornaments are
pricked into the gold ground. They are of the same size as
the originals; the one is that named Justice, No. 9, and the
other that named La Lune, No. 10, in the preceding enumeration.
It may be here observed that the latter is totally
different from that named <span class="smcap">Luna XXXXI</span>,
in the series of old
Italian engravings, with which it is supposed by Mons.
Duchesne to correspond: the only figure common to both
is that of a crescent moon. The drawing indeed seems to
be an emblem of Astrology, which, in the Italian engravings,
is represented by a winged female figure, having on her
head a crown of stars, and holding in her left hand a book,
and in her right a divining rod.</p>

<p>The complete series of old Italian engravings, known to
collectors of prints by the name of Tarocchi cards, consists
of fifty pieces, divided into five classes distinguished by the
first five letters of the alphabet, A, B, C, D, E, but numbered
consecutively from 1 to 50, commencing with the class
marked E. At the foot of each subject is engraved its
name; together with the letter of its class, and its number,
which is given both in Roman and Arabic numerals,&mdash;the
Roman being placed immediately after the name, and the
Arabic on the extreme right. The distinctive letter of the
class is on the left. Zani<a name="FNanchor_230_230" id="FNanchor_230_230"></a>
<a href="#Footnote_230_230" class="fnanchor">[230]</a>
has conjectured that the letters
might have been intended for abbreviations of Atutto,
Battoni, Coppe, Denari, and Espadone,&mdash;Atous, Batons,
<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span>
Cups, Money, and Swords. <i>Spadone</i>, however, and not
<i>Espadone</i>, is the proper Italian name for swords; but as
the names are in the Venetian dialect, Mons. Duchesne
appears inclined to allow that the form <i>Espadone</i> might
have been admitted into it at that period. That the letters,
however, had no such meaning, and that they were merely
used to mark the order of each class, seems to be proved
by the fact that in another set of the same subjects, executed
about the same period, the numeral 5 is substituted
for the letter <span class="smcap">E</span>. Even if Zani's supposition were correct,
it would only strengthen the conclusion that those so-called
Tarocchi cards originated in an attempt to recombine,
under new emblems, the principles of an old game
which had acquired a disreputable character. Whatever
the game might have been, it has long become obsolete;
and the only reason for supposing it to have been cognate
with that of cards, is grounded on the fact that a certain
number of the characters of those so-called Tarocchi cards
occur as Atous in the pack of Tarocchi or Tarots, previously
described.</p>

<p>Of those old Italian engravings there are two series
known to amateurs, agreeing in the subjects, but differing in
their style of execution; though it is evident that the one
has been copied from the other.
<a name="FNanchor_231_231" id="FNanchor_231_231"></a>
<a href="#Footnote_231_231" class="fnanchor">[231]</a>
In one of them, which is
considered by Bartsch to be the earliest, the date 1485 is
inscribed on a tablet in the hands of the figure named
Arithmeticha <span class="smcap">XXV</span>.
<a name="FNanchor_232_232" id="FNanchor_232_232"></a>
<a href="#Footnote_232_232" class="fnanchor">[232]</a>
In the other series, which is by much
the best engraved, and is certainly the earliest, there is no
date; and the figure which there represents Arithmetic,
appears to be counting money. This series Mons. Duchesne
<span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span>
thinks was executed about 1470; and some writers have
supposed that the subjects were engraved by Tomaso
Finiguerra. Zani, however, is inclined to believe that they
were engraved at Padua; while Otley ascribes them to a
Florentine artist. Seeing, however, that the names are in
the Venetian dialect, and that authorities on the subject of
old Italian engraving disagree with respect to them, I am
inclined to suppose, without any regard to their style of
execution, that they were either engraved by a Venetian
artist, or for the Venetian market. It has also been supposed,
but erroneously, that they were designed by Andrea
Mantegna, to whom a number of other things of a similar
kind have, with equal probability, been ascribed; and
amongst the dealers in old engravings, at Paris, they are
commonly known as Cartes de Baldini. Both the originals
and the copies are of great rarity; and though several single
subjects are to be found in the possession of amateurs, it is
questionable if there be more than four collections in Europe,
whether private or national, that have either the one series
or the other complete. In the British Museum there is a
complete series of the originals, and also forty-five of the
copies; the five pieces wanting in the latter are: <span class="smcap">Misero I</span>,
<span class="smcap">Fameio II</span>,
<span class="smcap">Imperador VIIII</span>,
<span class="smcap">Primo Mobile XXXXVIIII</span>,
and <span class="smcap">Prima Causa XXXXX</span>.
There is also a complete series
of the originals, in the 'Bibliothèque du Roi;' and copies
of them are given in the 'Jeux de Cartes Tarots et de Cartes
Numérales,' published by the Society of Bibliophiles
Français. Fac-similes of two,&mdash;<span class="smcap">Papa X</span>
and <span class="smcap">Rhetorica
XXIII</span>,&mdash;are also given by Singer in his 'Researches into the
History of Playing Cards.' From their size&mdash;about nine
inches and three quarters high, by about four inches wide,&mdash;as
well as from other circumstances, Mr. Singer considers
that they were not intended for any game analogous to that
of cards, properly so called. Mons. Leber considers them
to have been merely "Cartes de Fantaisie," and observes
<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span>
that subjects so delicately engraved on copper, when the
invention of the art was still recent, could scarcely have
been intended to receive the colouring required for the completion
of a pack of cards.<a name="FNanchor_233_233" id="FNanchor_233_233"></a>
<a href="#Footnote_233_233" class="fnanchor">[233]</a>
It, however, may be observed
that colour is not essential to a pack of playing cards; and
that several packs of cards of four suits, evidently intended
for play, without being coloured, were delicately engraved
on copper, before the end of the fifteenth century.</p>

<p>Even Mons. Duchesne, while contending that those fifty
old engravings were really Tarocchi cards, admits that they
bear no relation to any games played with numeral cards,
which, according to the number of players, and the regulations
of each game, always consist of a number which is
divisible by four; for instance, 20 for Bouillotte; 28 for
Brelan; 32 for Piquet, and several other games; 36 for
Trappola; 40 for Ombre; 48 for Reversis; 52 for Lansquenet,
and several other games; 96 for Comet; 104 for
Lottery; 312 for Trente-et-un; and 78 for Tarots. "The
ancient Tarocchi cards," he says, "have not then been
intended for games of calculation [jeux mathématiques], but
solely for an instructive game. In this game, consisting of
five classes, we find the seven planets, representing the
celestial system; the seven virtues which constitute the
basis of all morality; the sciences, which man alone is
capable of acquiring, and the knowledge of which raises
him above all other animals; the Muses, whose cultivation
yields so many charms to life; finally, several of the conditions
of life in which man may be placed, from misery,
the most painful of all, to that of the most elevated, the
<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span>
Sovereign Pontificate."<a name="FNanchor_234_234" id="FNanchor_234_234"></a>
<a href="#Footnote_234_234" class="fnanchor">[234]</a>
A complete series of those old
engravings consists of fifty pieces, as has been previously
observed, named and numbered as follows:</p>


<p class="center">[<span class="smcap">Class E.</span>&mdash;<i>The Conditions of Life.</i>]</p>

<table class="centertable" id="TAROCHI_CARDS_CLASS_E" summary="Tarochi Cards
  Class E">
  <col width="5%" />
  <col width="30%" />
  <col width="2%" />
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Misero I</span></td>
	<td class="c1">1</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Fameio II</span></td>
	<td class="c1">2</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Artixan III</span></td>
	<td class="c1">3</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Merchadante IIII</span></td>
	<td class="c1">4</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Zintilomo V</span></td>
	<td class="c1">5</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Chavalier VI</span></td>
	<td class="c1">6</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Doxe VII</span></td>
	<td class="c1">7</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Re VIII</span></td>
	<td class="c1">8</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Imperator VIIII</span></td>
	<td class="c1">9</td>
  </tr>
  <tr>
    <td>E</td>
    <td class="c1"><span class="smcap">Papa X</span></td>
	<td class="c1">10</td>
  </tr>
</table>


<p class="center">[<span class="smcap">Class D.</span>&mdash;<i>The Muses.</i>]</p>

<table class="centertable" id="TAROCHI_CARDS_CLASS_D" summary="Tarochi Cards
  Class D">
  <col width="5%" />
  <col width="30%" />
  <col width="2%" />
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Caliope XI</span></td>
	<td class="c1">11</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Urania XII</span></td>
	<td class="c1">12</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Terpsicore XIII</span></td>
	<td class="c1">13</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Erato XIIII</span></td>
	<td class="c1">14</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Polimnia XV</span></td>
	<td class="c1">15</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Talia XVI</span></td>
	<td class="c1">16</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Melpomene XVII</span></td>
	<td class="c1">17</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Euterpe XVIII</span></td>
	<td class="c1">18</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Clio XVIIII</span></td>
	<td class="c1">19</td>
  </tr>
  <tr>
    <td>D</td>
    <td class="c1"><span class="smcap">Apollo XX</span></td>
	<td class="c1">20</td>
  </tr>
</table>

<p class="center">[<span class="smcap">Class C.</span>&mdash;<i>The Sciences.</i>]</p>

<table class="centertable" id="TAROCHI_CARDS_CLASS_C" summary="Tarochi Cards
  Class C">
  <col width="5%" />
  <col width="30%" />
  <col width="2%" />
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Grammatica XXI</span></td>
	<td class="c1">21</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Loica XXII</span></td>
	<td class="c1">22</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Rhetorica XXIII</span></td>
	<td class="c1">23</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Geometria XXIIII</span></td>
	<td class="c1">24</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Arithmeticha XXV</span></td>
	<td class="c1">25</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Musicha XXVI</span></td>
	<td class="c1">26</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Poesia XXVII</span></td>
	<td class="c1">27</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Philosofia XXVIII</span></td>
	<td class="c1">28</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Astrologia XXXVIIII</span>
	<a name="FNanchor_235_235" id="FNanchor_235_235"></a>
      <a href="#Footnote_235_235" class="fnanchor">[235]</a></td>
	<td class="c1">39</td>
  </tr>
  <tr>
    <td>C</td>
    <td class="c1"><span class="smcap">Theologia XXX</span></td>
	<td class="c1">30</td>
  </tr>
</table>

<p><span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span></p>

<p class="center">[Class B.&mdash;<i>The Virtues.</i>]</p>

<table class="centertable" id="TAROCHI_CARDS_CLASS_B" summary="Tarochi Cards
  Class B">
  <col width="5%" />
  <col width="30%" />
  <col width="2%" />
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Iliaco XXXI</span></td>
	<td class="c1">31</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Chronico XXXII</span></td>
	<td class="c1">32</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Cosmico XXXIII</span></td>
	<td class="c1">33</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Temperancia XXXIIII</span></td>
	<td class="c1">34</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Prvdencia XXXV</span></td>
	<td class="c1">35</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Forteza XXXVI</span></td>
	<td class="c1">36</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Justicia XXXVII</span></td>
	<td class="c1">37</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Charita XXXVIII</span></td>
	<td class="c1">38</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Speranza XXXVIIII</span></td>
	<td class="c1">39</td>
  </tr>
  <tr>
    <td>B</td>
    <td class="c1"><span class="smcap">Fede XXXX</span></td>
	<td class="c1">40</td>
  </tr>
</table>

<p class="center">[Class A.&mdash;<i>The Celestial System.</i>]</p>

<table class="centertable" id="TAROCHI_CARDS_CLASS_A" summary="Tarochi Cards
  Class A">
  <col width="5%" />
  <col width="30%" />
  <col width="2%" />
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Luna XXXXI</span></td>
	<td class="c1">41</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Mercurio XXXXII</span></td>
	<td class="c1">42</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Venus XXXXIII</span></td>
	<td class="c1">43</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Sol XXXXIIII</span></td>
	<td class="c1">44</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Marte XXXXV</span></td>
	<td class="c1">45</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Jupiter XXXXVI</span></td>
	<td class="c1">46</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Saturno XXXXVII</span></td>
	<td class="c1">47</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Octava Spera XXXXVIII</span></td>
	<td class="c1">48</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Primo Mobile XXXXVIIII</span></td>
	<td class="c1">49</td>
  </tr>
  <tr>
    <td>A</td>
    <td class="c1"><span class="smcap">Prima Causa XXXXX</span></td>
	<td class="c1">50</td>
  </tr>
</table>

<p>Having now given such an account of the so-called
Tarocchi cards, as may enable the reader to determine for
himself, both with respect to their original use, and their
relation to playing cards proper, I shall now proceed to
notice some of the principal varieties of numeral cards;
that is, of cards consisting of four suits, and each suit containing
a certain number of coat cards, together with eight
or ten lower cards, having their numeral value designated
by the marks of the suit to which they belong.</p>

<p>The oldest specimens of undoubted playing cards are
either stencilled, or engraved on wood; and of a date which,
looking at the style of their execution, the drawing, and the
<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span>
costume of the figures, cannot fairly be supposed to be later
than 1440. Amongst the earliest are the stencilled cards
preserved in the print-room of the British Museum, and
previously described at page 89. In these the coat cards
appear to have been a King, a Chevalier, and a Fante,
Footman, or Knave; without any Queen. The marks of
three of the suits are Hearts, Bells, and Acorns; the mark
of the fourth suit does not occur,&mdash;as the specimens
preserved are far short of a complete pack,&mdash;but it is highly
probable that it was Leaves, called Grün by the Germans,
as in the old pack formerly belonging to Dr. Stukeley, and
described by Mr. Gough, in the eighth volume of the
'Archæologia.'</p>

<p>The cards formerly belonging to Dr. Stukeley were given
to him by Thomas Rawlinson, Esq.
<a name="FNanchor_236_236" id="FNanchor_236_236"></a>
<a href="#Footnote_236_236" class="fnanchor">[236]</a> They were found in
the cover of an old book,&mdash;supposed to be an edition of
Claudian, printed before the year 1500,&mdash;and one or two
leaves of an edition of the Adagia of Erasmus were interspersed
between the layers of the cards, thus forming a
kind of pasteboard. The marks of the suits are Hearts,
Bells, Leaves, and Acorns; and the coat cards are the King,
Chevalier, and Knave. The numeral value of the lower
cards, from the Deuce to the Ten, is indicated by a repetition
of the marks of the suits, as in modern cards. As
there is no Ace, this pack, supposing it to be complete,
would consist of forty-eight cards. These cards are rudely
coloured, and of smaller size than those in the British
Museum. On the Deuce of every suit is a shield, displaying
what is supposed to be the card-maker's arms, namely, a
kind of pick-axe, with one of the ends blunt like a hammer,
<span class="pagenum"><a name="Page_206" id="Page_206">[Pg 206]</a></span>
and a mallet, in saltire. Fac-similes of Dr. Stukeley's
cards are given in Singer's Researches.</p>

<p>As the distinctive marks of the suits on the oldest cards
in existence are Hearts, Bells, Leaves, and Acorns, it may
reasonably be supposed that these marks were used at as
early a period as any of the others which occur on cards of
a later date, but yet executed before the close of the
fifteenth century. Next to these in point of antiquity,
and perhaps of as early a date, are Swords, Cups, Batons,
and Money, which would appear to have been the most
common marks on early Italian cards, and to have been
almost exclusively adopted in Spain. For the sake of
distinction, in future, cards with these marks will be
referred to as Spanish cards, as in Spain the suits are still
distinguished by Swords, Cups, Batons, and Money; while
cards having Hearts, Bells, Leaves, and Acorns, will be
referred to as German cards, as such appear to have been
the kind most generally used in Germany. Of the marks
on what were more particularly called "French cards,"
in the sixteenth century,&mdash;Cœur, Trèfle, Pique, and Carreau,
or as we call them, Hearts, Clubs, Spades, and Diamonds,&mdash;two
of them at least, the Cœur and the Pique, are evidently
derived from the Heart and the Leaf of the earlier
pack, while there is good reason to believe that the form of
the Trèfle was copied from that of the Acorn.
<a name="FNanchor_237_237" id="FNanchor_237_237"></a>
<a href="#Footnote_237_237" class="fnanchor">[237]</a></p>

<p>The mark now called the <i>Trèfle</i>, in France, was formerly
<span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span>
known as the Fleur. Peignot, referring to a poem entitled
"La Magdaleine au Désert de la Sainte-Baume en Provence,"
printed at Lyons, in 1668, says: "We learn from this
poem that, in 1668, the word <i>Trèfle</i> was not yet in use,
as the designation of one of the suits of cards; that suit
was then called <i>Fleurs</i>. The Valets were also then termed
<i>Fous</i>."</p>

<p>The type of the Carreau, or Diamond, is not to be found
in any of the marks of the other two packs above noticed.
In the time of Pietro Aretine, the suits of French cards
appear to have been known in Italy by the names of Cori,
Quadri, Fiori, and Cappari,
<a name="FNanchor_238_238" id="FNanchor_238_238"></a>
<a href="#Footnote_238_238" class="fnanchor">[238]</a>
as we learn from his 'Carte
Parlanti,' first printed in 1545, in which a Paduan card-maker
holds a long dialogue, moral and entertaining, with
his cards:</p>

<p>"<i>Paduan.</i> As French cards are used in Italy, tell me, I
pray, what, amongst that people, may be the signification
of Capers? [Cappari.]</p>

<p><i>Cards.</i> Their piquancy whets the appetite of tavern-haunters.</p>

<p><i>Paduan.</i> And the Diamonds? [Quadri.]</p>

<p><i>Cards.</i> The firmness of the player.</p>

<p><i>Paduan.</i> And the Hearts? [Cori.]</p>

<p><i>Cards.</i> Inclination to cheat in play.</p>

<p><i>Paduan.</i> And the Flowers? [Fiori.]</p>

<p><i>Cards.</i> The pleasure of saying a good thing."
<a name="FNanchor_239_239" id="FNanchor_239_239"></a>
<a href="#Footnote_239_239" class="fnanchor">[239]</a></p>

<p>The invention of cards with these marks, and having a
Queen for the second coat card, instead of a male figure, as
in the Spanish and German cards, has been claimed by the
<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span>
French; and this substitution has been considered by some
French writers as peculiarly characteristic of the gallantry
of their nation. The French also appear to have been the
first who gave to their coat cards the names of historical
personages. From those names, and the marks of the suits,
Père Daniel has been enabled to discover the origin and
meaning of the game of Piquet, which he supposes to have
been devised about 1430, in the reign of Charles VII;
admitting, however, that Playing Cards of another kind
were of a much earlier date, but yet considering even these
to have been of French invention.</p>

<p>In the time of Père Daniel, the coat cards were named as
follows:</p>

<table class="centertable2" id="COAT_CARDS" summary="Coat Cards">
  <tr>
    <th class="c1">SUIT.</th>
    <th class="c1">KINGS.</th>
	<th class="c1">QUEENS.</th>
	<th class="c1">VALETS.</th>
  </tr>
  <tr>
    <td class="c1">CŒUR.</td>
    <td class="c1"><i>CHARLEMAGNE.</i></td>
	<td class="c1"><i>JUDITH.</i></td>
	<td class="c1"><i>LA HIRE.</i></td>
  </tr>
  <tr>
    <td class="c1">CARREAU.</td>
    <td class="c1"><i>CÆSAR.</i></td>
	<td class="c1"><i>RACHEL.</i></td>
	<td class="c1"><i>HECTOR.</i></td>
  </tr>
  <tr>
    <td class="c1">TREFLE.</td>
    <td class="c1"><i>ALEXANDER.</i></td>
	<td class="c1"><i>ARGINE.</i></td>
	<td class="c1"><i>LANCELOT.</i><a name="FNanchor_240_240" id="FNanchor_240_240"></a>
	  <a href="#Footnote_240_240" class="fnanchor">[240]</a></td>
  </tr>
  <tr>
    <td class="c1">PIQUE.</td>
    <td class="c1"><i>DAVID.</i></td>
	<td class="c1"><i>PALLAS.</i></td>
	<td class="c1"><i>HOGIER.</i></td>
  </tr>
</table>

<p>These names, which appear to have been given to the
French coat cards, at an early period, were not uniformly
retained; in the time of Henry IV, the Kings were
Solomon, Augustus, Clovis, and Constantine; and the
Queens, Elizabeth, Dido, Clotilde, and "Pantalisea;" while
the Valets had no proper names, but were merely designated
from their office, and all the characters appeared in the
costume of the period. In the reign of Louis XIV, however,
<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span>
the former names and an antique costume were
restored.</p>

<p>According to Père Daniel's reading of the cards, which
is of the same ingenious character as that of the soldier who
is said to have used his pack as a Manual of Devotions,
<a name="FNanchor_241_241" id="FNanchor_241_241"></a>
<a href="#Footnote_241_241" class="fnanchor">[241]</a>
the Ace is the Latin As, a piece of money, which also signifies
wealth; and as money is the sinews of war, the Ace
has for this reason the precedence at Piquet. The Trèfle,
or clover plant, which abounds in the meadows of France,
denotes that a general ought always to encamp his army in
a place where he may obtain forage for his cavalry. Piques
and Carreaux signify magazines of arms, which ought always
to be well stored. The Carreaux were a kind of heavy
arrows which were shot from a crossbow, and which were
so called from their heads being squared [carré]. Cœurs,&mdash;Hearts,&mdash;signified
the courage of the commanders and the
soldiers.</p>

<p>David, Alexander, Cæsar, and Charlemagne are at the
head of the four suits at Piquet, because troops, however
brave and numerous, yet require prudent and experienced
leaders. The Queens are, Argine, for Trèfle; Rachel, for
Carreau; Pallas, for Pique; and Judith, for Cœur. In Argine,
Père Daniel finds the anagram of Regina, and having made
this capital discovery, he is enabled to determine that this
Queen was Mary of Anjou, wife of Charles VII. Rachel
represents the fair Agnes Sorel, mistress of Charles VII;
and the chaste and warlike Pallas is but an emblem of Joan
of Arc. Judith is not the Jewish heroine who cut off the
head of Holofernes, but the Empress Judith, wife of Louis
le Debonnaire; but even this Judith is merely a representative
of Isabel of Bavaria, wife of Charles VI. In David
<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span>
he sees a typification of Charles VII, in consequence of a
conformity in their destinies: David, after having been long
persecuted by Saul, his father-in-law, at length obtained the
crown; but, in the midst of his prosperity, was troubled
with the revolt of his son Absalom: and Charles VII, after
having been disinherited and proscribed by his father
Charles VI,&mdash;or rather by Isabel of Bavaria,&mdash;gloriously
reconquered his kingdom; but the latter years of his life
were rendered unhappy by the restless spirit and wicked
character of his son, Louis XI.</p>

<p>In his account of the Valets, Père Daniel is not so imaginative
as in the explication of the double and triple
characters which he sees represented by the Kings and
Queens. La Hire is the famous Stephen de Vignoles,
surnamed La Hire, a devoted adherent of Charles VII;
while Hector is supposed to be intended for Hector de
Galard, another famous captain of the same period. Hogier
and Lancelot are allowed to pass simply in their own proper
characters, as heroes of romance.
<a name="FNanchor_242_242" id="FNanchor_242_242"></a>
<a href="#Footnote_242_242" class="fnanchor">[242]</a></p>

<p>It would appear to be the opinion of Mons. Duchesne,
that the oldest French Piquet cards that have been discovered,
are those formerly belonging to a Mons. Henin,
who found them in the cover of an old book. Mons. Henin
having disposed of them to Messrs. Colnaghi, the well-known
printsellers, of London, they were purchased of the
latter for the Bibliothèque du Roi. They are engraved on
wood, and coloured; and in the table of contents prefixed
<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span>
to the 'Jeux de Tarots et de Cartes Numérales,' it is asserted
they were executed about 1425.
<a name="FNanchor_243_243" id="FNanchor_243_243"></a>
<a href="#Footnote_243_243" class="fnanchor">[243]</a> But whatever may
be their date, they are not, in my opinion, of so early a
period as either the old uncoloured cards, preserved in the
British Museum, previously described at page 88; or as
those formerly belonging to Dr. Stukeley. I indeed question
much if they be really older than the coloured French
cards, the four Valets, now in the British Museum, and
of which some account will be found in a subsequent page.</p>

<p>The old French cards in question have the outlines
printed in pale ink, and the colours appear to have been
applied by means of a stencil. There are ten of them, all
impressed on one piece of paper; and they are placed in
two rows, of five each, in the following order:</p>

<blockquote>
<p><span class="smcap">Valet</span>, <span class="smcap">King</span> and
    <span class="smcap">Queen</span> of <i>Trèfle</i>.<br />
<span class="smcap">Valet</span>, <span class="smcap">Queen</span> and
    <span class="smcap">King</span> of <i>Pique</i>.<br />
<span class="smcap">King</span> and <span class="smcap">Queen</span>
    of <i>Carreau</i>.<br />
<span class="smcap">Queen</span> and <span class="smcap">King</span>
    of <i>Cœur</i>.</p>
</blockquote>

<p>On each of those cards, except the King of Cœur, there
is an inscription in Gothic letters. On the Valet of Trèfle
is the name <span class="smcap">Rolan</span>, while the King is named
<span class="smcap">Faut-sou</span>,&mdash;Penniless;
and the Queen, <span class="smcap">Tromperie</span>,&mdash;Deceit. The King
of Carreau bears the name <span class="smcap">Coursube</span>, which in old romances
is the name given to a Saracen King; and on the Queen of
Carreau is the inscription <i>En toi te fie</i>,&mdash;Trust to thyself;
"that is," says Mons. Duchesne, "ne te fie qu'en toi,&mdash;trust
to thyself only. The Valet of Pique bears an inscription
which Mons. Duchesne reads <i>ctarde</i>, and of which he says
he can make nothing. On the Queen of Pique is an
inscription which appears to Mons. Duchesne to be <i>te aut
dict</i>, but the meaning of which he cannot divine. Mons.
Leber, however, reads it <i>Léauté due</i>,&mdash;leal homage; and
so gives it, in unmistakable characters, in the copy of this
card, in his 'Etudes Historiques.' The King of Pique bears
<span class="pagenum"><a name="Page_212" id="Page_212">[Pg 212]</a></span>
the name of <span class="smcap">Apollin</span>, which is the name given to a Saracen
idol in old romances. The inscription on the Queen of
Cœur is <i>la foy et pdu</i>&mdash;la foi est perdue,&mdash;faith is lost.</p>

<p>It is supposed that there was also an inscription on the
King of Cœur, but that it has been cut off, as this card is
deficient in its due proportions.
<a name="FNanchor_244_244" id="FNanchor_244_244"></a>
<a href="#Footnote_244_244" class="fnanchor">[244]</a> The annexed four cards,
executed in their proper colours, are copied from those
given by Mons. Leber in his 'Etudes Historiques.' The
whole ten are given in the 'Jeux de Tarots et de Jeux
Numérales,' published by the Society of Bibliophiles
Français.</p>

<p>Mons. Leber considers that the names Coursube and
Apollin, which occur on these cards, corroborate his opinion
that cards were of Eastern origin, and introduced into
Europe by the Saracens, or Arabs.
<a name="FNanchor_245_245" id="FNanchor_245_245"></a>
<a href="#Footnote_245_245" class="fnanchor">[245]</a> Though agreeing with
<span class="pagenum"><a name="Page_213" id="Page_213">[Pg 213]</a></span>
Mons. Leber, in the opinion that cards are of Eastern origin,
I cannot yet see how this opinion is confirmed by two
names, which, as designating a Moorish king, and a Mahometan
idol, appear to have been merely the invention of a
French romance writer, and to have been capriciously
bestowed upon a King of Diamonds and a King of Hearts
by an old French card-maker. The supposition, indeed,
that figures with these names were to be found on old
Arabic cards is most preposterous; there is not a shadow
of evidence to show that any characters, whether real or
imaginary, were ever popularly known by these names,
amongst people of Arabic origin; and even if there were,
the painting them upon cards would have been considered
as a violation of the law of Mahomet, by whom all such
representations were strictly prohibited. With equal probability,
Mons. Leber might assert that cards were a Jewish
invention, because the names of David, Rachel, and Judith
are to be found on them; or that Piquet was invented in
the time of Charlemagne, in consequence of one of the
Kings bearing his name, and two of the Valets being named
after two of his Paladins,&mdash;Hogier and Roland. The long
note in the 'Précis Historique sur les Cartes à jouer,' pp.
13-17, on the subject of Coursube and Apollin, and Mons.
Leber's more lengthy comment on it, have much of the
character of that kind of discussion which was compared by
Demonax to one man milking a he-goat, and another holding
a sieve to catch the milk.</p>

<div class="figcenter"><a name="i_240.jpg" id="i_240.jpg"></a>
  <img src="images/i_240.jpg"
      alt="Coursube" />
</div>

<div class="figcenter"><a name="i_242.jpg" id="i_242.jpg"></a>
  <img src="images/i_242.jpg"
      alt="Quuen of Spade" />
</div>

<div class="figcenter"><a name="i_244.jpg" id="i_244.jpg"></a>
  <img src="images/i_244.jpg"
      alt="Apollin" />
</div>

<div class="figcenter"><a name="i_246.jpg" id="i_246.jpg"></a>
  <img src="images/i_246.jpg"
      alt="King of Cœur" />
</div>

<p>The originals of the annexed four cards, representing the
Valets, or Knaves, of the four suits known in England as
Hearts, Diamonds, Clubs, and Spades, are, in my opinion, of,
at least, as early a date as the cards containing the names
Coursube and Apollin. Mons. Duchesne and Mons. Leber,
judging from the costume of the last-named cards, agree in
supposing, or, rather, confidently asserting, that they were
<span class="pagenum"><a name="Page_214" id="Page_214">[Pg 214]</a></span>
executed about 1425, in the reign of Charles VII. Conclusions,
however, drawn from the costume displayed on
cards are not of much weight in the determination of a
date, seeing that persons supposed to be well acquainted
with the subject of costume have not been able to determine,
from that alone, the date of any old drawing, even
within fifty years. To whatever period the costume of the
"Coursube" cards may belong, that of the four Knaves
may be fairly presumed to be of as early a period; but yet,
looking at the costume of the latter, and the style of their
execution, I should not take them to be of an earlier date
than 1480. Supposing them to be of that date, I think
it will be generally admitted, by all acquainted with the
subject, that, in point of drawing, as expressive of action
and character, they may fairly rank with the best specimens
of wood-engraving executed previously to that
period.</p>

<p>Those four Knaves, which are now in the print-room of
the British Museum, were discovered by the writer, in the
covers of an old book, which he bought of Mr. Robert
Crozier, bookseller, 27, Bow Street, about the latter end
of December, 1841. The book, which is a small quarto,
had formerly belonged to the Cathedral Library of Peterborough,
<a name="FNanchor_246_246" id="FNanchor_246_246"></a>
<a href="#Footnote_246_246" class="fnanchor">[246]</a>
and its subject is the Sermons of St. Vincent de
Ferrer, a Spanish friar, of great repute in his day, who died
in 1419: it wanted both the title-page and the last leaf,
and, consequently, had no date; but, looking at the character
of the type,&mdash;old Gothic&mdash;and the rude execution of
the initial letters, I should conclude that it was printed in
France, within the last ten years of the fifteenth century.
<span class="pagenum"><a name="Page_215" id="Page_215">[Pg 215]</a></span>
The other leaves forming, with the cards, the "boards" of
the cover, were portions of the gloss, or commentary, of
Nicholas de Lyra, on the Old Testament; which leaves,
apparently, are of a date somewhat older than the volume.
Seeing that old cards have so often been found in the
covers of old books, it might be conjectured that certain
pious persons had made it a point of conscience to thus
employ them, for useful purposes; this supposition is, however,
rendered untenable by the fact of those cards being
intermixed with the pious lucubrations of Nicholas de Lyra.
Besides the two squares of paper containing the four Knaves,
there were also two other squares, consisting of "pips"
of Diamonds and Hearts, which were so arranged that each
square of paper might be cut into four cards: the low cards
on one square were, the Nine, Four, Five, and Seven of
Diamonds; and those on the other, the Ten, Four, Five,
and Eight of Hearts. The "pips" on those low cards were
evidently impressed by means of a stencil.</p>

<div class="figcenter"><a name="i_250.jpg" id="i_250.jpg"></a>
  <img src="images/i_250.jpg"
      alt="Hogier" />
</div>

<div class="figcenter"><a name="i_252.jpg" id="i_252.jpg"></a>
  <img src="images/i_252.jpg"
      alt="Rolant" />
</div>

<div class="figcenter"><a name="i_254.jpg" id="i_254.jpg"></a>
  <img src="images/i_254.jpg"
      alt="Valery" />
</div>

<p>On one square of paper were the Valets of Clubs and
Spades,&mdash;Lancelot and Hogier; and on another, the
Valets of Diamonds and Hearts,&mdash;that of Diamonds
being named Rolant, and that of Hearts containing the
inscription, "Valery: f." Though each piece of paper
contained <i>four</i> cards, it yet displayed only two different
characters,&mdash;the Valet of each suit occurring on it being
repeated in the alternate compartments. The outlines of
the figures and the names have evidently been engraved on
wood, and are printed in a brownish colour,&mdash;something
like Indian ink mixed with bistre; and the colours have
been laid on by means of stencils. The names of these
Valets,&mdash;Rolant, "Valery: f," Lancelot, and Hogier,&mdash;compared
with those occurring on other French cards of an
early date, seem to prove that, originally, the French coat
cards received their names merely at the caprice of the
<span class="pagenum"><a name="Page_216" id="Page_216">[Pg 216]</a></span>
card-maker. Any argument, therefore, respecting the
origin of cards, or the invention of Piquet, as founded on
the names of the coat cards, must be utterly without
foundation.</p>

<p>With respect to the names of those Valets, it seems to
be generally agreed that Roland, spelled Rolant on the
cards, was the nephew of Charlemagne, so famed in
romance, and that Hogier, or Ogier, was the renowned
Hogier of Denmark. According to a modern author, this
hero was a grandson of Pepin of Heristal, the great-grandfather
of Charlemagne; and the appellation, "of
Denmark," was conferred on him, not from his being of
that kingdom, but from his being a native of Dane-marche,
that is, of the district now called Ardennes. The same
author also informs us, that Hogier was a descendant of
St. Hubert of Ardennes; and, for a confirmation of the
fact, refers to the dog seen in an old Valet of Spades,
of which he gives a copy in his work: in the irregular
line of the more distant ground, in the same card, he sees
an indication of the uneven surface of the district of
Ardennes.<a name="FNanchor_247_247" id="FNanchor_247_247"></a>
<a href="#Footnote_247_247" class="fnanchor">[247]</a>
An inspection of the four Valets in question
will enable any person to decide on the value of his speculations:
three of those Valets,&mdash;Rolant, Hogier, and Lancelot,&mdash;are
accompanied by dogs; and the line of the more
distant ground in two of the subjects is nearly level; while
the slight eminence in the third&mdash;Rolant&mdash;evidently indicates
a rabbit-burrow. If such stuff as Mons. Barrois
<span class="pagenum"><a name="Page_217" id="Page_217">[Pg 217]</a></span>
drivels forth on the subject of cards pass for antiquarian
knowledge in France, it would seem that an ass-load of
useless book-learning constituted the grand qualification
of a French antiquary.</p>

<p>With respect to Lancelot, the reader is left to determine
whether the name were intended for one of the Paladins of
the court of Charlemagne, or Lancelot du Lac, one of the
Knights of King Arthur's Round Table. The appearance
of this name on the Valet of Clubs proves that Daniel was
right in his conjecture, as has been previously observed;
though Mons. Leber seems to argue that he either was, or
ought to have been, wrong.<a name="FNanchor_248_248" id="FNanchor_248_248"></a>
<a href="#Footnote_248_248" class="fnanchor">[248]</a></p>

<p>The name <span class="smcap">Valery</span>, which occurs on the Knave of Hearts,
has not been found on any one of the other old cards
hitherto discovered; and from the circumstance of its having
the letter <i>f</i> after it, which might be intended to signify
"<i>fecit</i>" it might be supposed that it was the card-maker's
name. It is, however, to be observed that the word "<i>fecit</i>"
is of very rare occurrence, as signifying the work of the
artist whose name precedes it, on engravings, for whatever
purpose executed, of the fifteenth century. It may even be
asserted, with small hazard of contradiction, that <i>f</i> as an
abbreviation of "<i>fecit</i>," in its artistic application, is not
<span class="pagenum"><a name="Page_218" id="Page_218">[Pg 218]</a></span>
to be found on a single engraving, whether on wood or
copper, executed previous to the year 1500.</p>

<p>For whatever person the name of Valery may have been
intended, it seems certain that it is not to be found as that
of a distinguished character in any of the old French
romances. Mons. Paulin Paris, having been consulted on
this subject, thus gives his opinion, in a letter addressed to
his friend, Thomas Wright, Esq., so well known for his
numerous publications on Middle-Age Literature: "The
name of the Valet of Hearts seems to me extremely curious,
for it ought necessarily to bring to mind the name of
<i>Erart de Valeri</i>, the famous companion of Charles of Anjou,
King of Sicily, to whom his contemporaries chiefly ascribed
the gain of the battle of Tagliacozza, in which Manfred
[the opponent of Charles] was killed.
<a name="FNanchor_249_249" id="FNanchor_249_249"></a>
<a href="#Footnote_249_249" class="fnanchor">[249]</a> It might, therefore,
be supposed that the pack [to which the four Valets in
question belonged] was either of Sicilian or Italian fabrication;
for the names Lancelot, Roland, Ogier, and Valeri
were equally familiar to the Sicilians of the fourteenth
century. I have said a few words about this Erard de
Valery in the article on Charles of Anjou, in my Romancero
François."<a name="FNanchor_250_250" id="FNanchor_250_250"></a>
<a href="#Footnote_250_250" class="fnanchor">[250]</a></p>

<p>Though by no means agreeing with Mons. Paulin Paris,
that these cards were either of Italian devising, or manufacture,
I am yet inclined to think that his conjecture about
the name of Valery is correct, and that a corroboration of it
<span class="pagenum"><a name="Page_219" id="Page_219">[Pg 219]</a></span>
is to be found in the inscription on the Valet de Pique, in
the "Coursube" cards, previously noticed at page 211. This
inscription is read <i>ctarde</i>, by Mons. Duchesne; but, to my
eye, the letters, as they appear in the fac-simile given in the
specimens of cards published by the Society of Bibliophiles
François, appear much more like the name <i>erarde</i>; and if,
on a careful examination of the original, it should be
ascertained that this was the word intended, I should then
unhesitatingly conclude that the person represented by this
was Erard de Valery. The objection that one of
those cards is the Valet of Hearts, and the other the Valet
of Spades, is of no weight, for the old French card-makers
were by no means consistent in the practice of always giving
the same name to the same card. From the red rose which
appears on the shield held by Valery, an Englishman might
be justified in supposing that those cards, if not of English
manufacture, were more especially, if not exclusively, fabricated
for the English market, at a period shortly after the
accession of Henry VII,<a name="FNanchor_251_251" id="FNanchor_251_251"></a>
<a href="#Footnote_251_251" class="fnanchor">[251]</a>
when the Red Rose of Lancaster
had obtained the ascendency. By assuming, indeed, a small
portion of French license on this subject, it might even be
asserted that those cards were of English manufacture;
seeing that they were discovered in the covers of a book
which had formerly belonged to an English monastery, and
that the features, expression, and bodily proportions of the
Valets are rather characteristic of Englishmen than Frenchmen.
In support of this speculation, it may further be
observed that, in former times, monks were accustomed to
act as their own bookbinders, and that there is reason to
<span class="pagenum"><a name="Page_220" id="Page_220">[Pg 220]</a></span>
believe that playing cards were manufactured in England as
early as 1463.<a name="FNanchor_252_252" id="FNanchor_252_252"></a>
<a href="#Footnote_252_252" class="fnanchor">[252]</a></p>

<p>In the latter quarter of the fifteenth century, several packs,
or sets, of cards were engraved on copper, having the suits
distinguished by figures evidently introduced according to
the fancy of the artist, and bearing no resemblance to those
which occur on cards of an earlier date. As the art of
engraving on copper was then of recent invention, and its
productions comparatively scarce and high priced, it may be
concluded that those cards were chiefly intended for the
amusement of the wealthier classes. Though Mons. Leber
is of opinion that such cards were not intended for the
purpose of play, it is yet certain that they might be so
employed; seeing that they consist of the same number of
suits as the common cards of the period, and have also in
each suit, like the latter, a certain number of coat cards, and a
certain number of others which have their value determined
by the number of marks impressed on them. One of Mons.
Leber's reasons for concluding that such cards were not
intended for the purposes of play, is, that being delicately
engraved on copper, it cannot be supposed that they were
meant to receive the colouring which, in his opinion, was
essential to a pack of cards.
<a name="FNanchor_253_253" id="FNanchor_253_253"></a>
<a href="#Footnote_253_253" class="fnanchor">[253]</a>
It may, however, be observed
that people may play very well with uncoloured cards,
more especially when the suits are so strikingly distinguished
as in the cards alluded to.</p>

<p><span class="pagenum"><a name="Page_221" id="Page_221">[Pg 221]</a></span></p>

<p>Perhaps the earliest specimens of the cards in question
are those which have Hares, Parroquets, Pinks, and Columbines
as the marks of the suits, and of which a complete
pack, or set, of fifty-two pieces, is now in the Bibliothèque
du Roi.<a name="FNanchor_254_254" id="FNanchor_254_254"></a>
<a href="#Footnote_254_254" class="fnanchor">[254]</a>
They are not cut up, but appear just as they
came from the hands of the printer, and each separate piece of
paper contains either four or six cards. The four Aces form
one plate; the numeral cards from Four to Nine are contained
on four plates; and the Twos and Threes appear promiscuously
mixed with the coat cards on five plates more.</p>

<div class="figcenter bord"><a name="i_264.jpg" id="i_264.jpg"></a>
  <img src="images/i_264.jpg"
      alt="Circular Cards 1" />
  <div class="caption">Circular Cards. XVth Century. (p. 222)<br />1</div>
</div>

<div class="figcenter bord"><a name="i_266.jpg" id="i_266.jpg"></a>
  <img src="images/i_266.jpg"
      alt="Circular Cards 2" />
  <div class="caption">Circular Cards. XVth Century. (p. 222.)<br />2</div>
</div>

<div class="figcenter bord"><a name="i_268.jpg" id="i_268.jpg"></a>
  <img src="images/i_268.jpg"
      alt="Circular Cards 3" />
  <div class="caption">Circular Cards. XVth Century. (p. 222.)<br />3</div>
</div>

<div class="figcenter bord"><a name="i_270.jpg" id="i_270.jpg"></a>
  <img src="images/i_270.jpg"
      alt="Circular Cards 4" />
  <div class="caption">Circular Cards. XVth Century. (p. 222.)<br />4</div>
</div>

<p>The form of these cards is circular, and in each suit there
are four coat cards, namely, a King, a Queen, a Squire, and
a Knave.<a name="FNanchor_255_255" id="FNanchor_255_255"></a>
<a href="#Footnote_255_255" class="fnanchor">[255]</a>
The distinction between the two latter is not
indeed very clearly expressed in the costume; though there
cannot be a doubt that the lowest character is that which in
<span class="pagenum"><a name="Page_222" id="Page_222">[Pg 222]</a></span>
each suit is represented as running, and thus plainly corresponding
with the Italian Fante. The highest of the
numeral cards is the Nine, there being no Ten in this pack.
The respective number of each is marked at the top in
Arabic cyphers, and at the bottom in Roman numerals.
At the bottom also, within the outer circle of the border, are
the letters T. W., probably intended for the initials of the
engraver.<a name="FNanchor_256_256" id="FNanchor_256_256"></a>
<a href="#Footnote_256_256" class="fnanchor">[256]</a>
Whoever he might be, his name is unknown;
and only one other subject of his engraving is noticed by
Bartsch. In the annexed specimens are shown the King,
Queen, and Ace of Hares; the Squire of Columbines; the
Deuce and Squire of Pinks; and the Knave and Nine of
Parroquets. On each of the Aces there is an inscription
on a scroll, as on the Ace of Hares; on the latter, the
language is low German&mdash;"Platt Duitsch"&mdash;and the words
form a rhyming couplet:</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="verse indent-2_6"><span class="smcap">Av&#862;e
	  mi drint me&#772; vin</span>,</div>
    <div class="verse indent-2_6"><span class="smcap">Daerom mot ic en lepus sin.</span></div>
  </div>
</div>

<p>The precise meaning of this it is not easy to make out;
but taking the contracted word <span class="smcap">Av&#862;e</span> to have been intended
for <i>Auwe</i>, a meadow, the couplet may be thus "done into
English:"</p>

<div class="poetry-container">
  <div class="poetry">
    <div class="verse indent-2_6">Me o'er fields men keen pursue,</div>
    <div class="verse indent-2_6">Therefore I'm the Hare you view.</div>
  </div>
</div>

<p>But supposing the word <span class="smcap">Av&#862;e</span> to
have been meant for <i>Augen</i>,
the eyes, and giving a slight turn to one or two other
words, the meaning would be that the hare was called
<span class="smcap">Lepus</span>&mdash;quasi
<i>Lippus</i>&mdash;on account of its blear eyes.</p>

<p>Mons. Duchesne says that, on the plate containing the
Aces, there is a date written in an old hand, but he omits to
<span class="pagenum"><a name="Page_223" id="Page_223">[Pg 223]</a></span>
mention what it is. In the 'Jeux de Cartes Tarots et de
Cartes Numérales,' where all the fifty-two pieces are given,
they are said to have been engraved about 1477. These
cards, though of the same form, and having the same marks
of the suits as those described by Bartsch, and noticed by
Singer, are yet the work of a different engraver.</p>

<p>In the circular cards described by Bartsch and Singer,
the inscription on the Ace of Hares is in Latin, and the
initials of the engraver, T. W., are wanting. From a
wrapper, of which a fac-simile is given by Singer, it would
appear that those cards were engraved at Cologne; and it
has been supposed that they are of as early a date as 1470.
They are unquestionably the work of either a German or
a Flemish artist; and some amateurs of engraving have
erroneously ascribed them to Martin Schön, or Schöngauer.
Bartsch, in his description of them, includes a fifth suit,
namely, that of Roses; and says that each suit consisted of
thirteen cards, which would thus give sixty-five pieces for
the complete pack. Mr. Singer, also, in his account of
such of those cards as were formerly in the collection of
Mr. Douce, gives it as his opinion, that the complete pack
ought to consist of five suits of fourteen cards each,&mdash;in all,
seventy pieces.<a name="FNanchor_257_257" id="FNanchor_257_257"></a>
<a href="#Footnote_257_257" class="fnanchor">[257]</a>
Mons. Duchesne, however, thinks that
those authors are wrong, and that the complete pack consisted
of only four suits of thirteen cards each, as displayed
by those preserved in the Bibliothèque du Roi. But as he
entirely overlooks the difficulty of accounting for a suit of
Roses, engraved in the same style, he does not seem to be
justified in pronouncing so decisively that Bartsch and
Singer are wrong in supposing that a complete pack consisted
of five suits; for it is by no means unlikely that a
fifth suit might have been introduced by the artist, with a
<span class="pagenum"><a name="Page_224" id="Page_224">[Pg 224]</a></span>
view of giving variety to the game, but which might have
been subsequently discarded, as inconsistent with the old
established principles of the game, and as only making it
more interesting.</p>

<p>There is another pack, or set, of cards, also engraved on
copper, and of the same period as those last described,
which seems to require some notice here, not only on
account of the marks employed to distinguish the suits, but
also on account of the means by which those marks were
repeated on the different cards. The complete pack appears
to have consisted of fifty-two pieces; each of the four suits
containing four coat and nine numeral cards&mdash;the place of
the Ten, as in the other two packs, being supplied by a fourth
coat card. The marks of the suits are: 1, Human figures;
2, Bears and Lions; 3, Deer; and 4, Birds. These cards
are of large size, being about five inches and seven eighths
high, by about three and a half wide. The name of the
engraver is unknown; but they are believed to be the work
of the German artist usually known to amateurs as "The
Master of 1466." In the coat cards the mark of the suit
is impressed from a different plate; and as it sometimes
occurs surrounded by the work of the coat card, it has
been ascertained that in such instances a blank space had
been left for its subsequent impression. The marks on the
numeral cards were also printed in the same manner, by
means of impressions from separate plates.</p>

<p>In the collection of Thomas Wilson, Esq., there were
twenty-nine of those cards, together with fourteen drawings
of other cards of the same pack, and eleven animals on separate
plates, forming the marks of the suits.
<a name="FNanchor_258_258" id="FNanchor_258_258"></a>
<a href="#Footnote_258_258" class="fnanchor">[258]</a> Those cards were
purchased of Mr. Wilson by Mr. Tiffin, printseller, West
<span class="pagenum"><a name="Page_225" id="Page_225">[Pg 225]</a></span>
Strand, who again sold them to the Bibliothèque du Roi,
where others of the same pack are also preserved. Fac-similes
of thirty-seven are given in the 'Jeux de Cartes
Tarots et de Cartes Numérales,' published by the Society
of Bibliophiles François. In the Table des Matières prefixed
to that work, it is indeed said that there are forty; but,
on looking at their plate, No. 91, it will be perceived that the
three coat cards there given do not properly belong to the
pack in question; for the mark on two of them is a kind of
flower something like a sweet-pea, and on the other it is a
rose.<a name="FNanchor_259_259" id="FNanchor_259_259"></a>
<a href="#Footnote_259_259" class="fnanchor">[259]</a>
Mons. Duchesne, who appears to have supplied the
Précis Historique prefixed to the work above named, should
have distinctly mentioned that the three coat cards in
question were not of the same pack or set, which has Human
figures, Bears and Lions, Deer, and Birds, as the marks of
the suits. If they really did belong to the same pack, it
must then have consisted of at least six suits.</p>

<div class="figcenter bord"><a name="i_275.jpg" id="i_275.jpg"></a>
  <img src="images/i_275.jpg"
      alt="Coat card 1" />
</div>

<div class="figcenter bord"><a name="i_277.jpg" id="i_277.jpg"></a>
  <img src="images/i_277.jpg"
      alt="Coat card 2" />
</div>

<div class="figcenter bord"><a name="i_279.jpg" id="i_279.jpg"></a>
  <img src="images/i_279.jpg"
      alt="Coat Card 3" />
</div>

<div class="figcenter bord"><a name="i_281.jpg" id="i_281.jpg"></a>
  <img src="images/i_281.jpg"
      alt="Coat Card 4" />
</div>

<p>The annexed four cards, engraved on copper, are copied
from specimens given by Breitkopf, in his 'Enquiry into the
Origin of Playing Cards;' who there describes them as
"German Piquet cards of the fifteenth century with Trappola
characters."<a name="FNanchor_260_260" id="FNanchor_260_260"></a>
<a href="#Footnote_260_260" class="fnanchor">[260]</a>
The complete pack appears to have consisted
<span class="pagenum"><a name="Page_226" id="Page_226">[Pg 226]</a></span>
of fifty-two cards; each of the four suits containing a King,
Queen, and Valet, or Knave, as we term the character;
together with ten numeral cards. The marks of the suits
were Swords; Clubs (proper, not Trèfles); Cups; and
Pomegranates. The latter mark is substituted for that of
Money; and was perhaps intended by the artist to commemorate
the marriage of Philip the Fair, son of the
Emperor Maximilian, with Joanna, daughter of Ferdinand
and Isabella, King and Queen of Spain; who, on their subjugation
of the kingdom of Grenada, in 1497, appear to
have adopted the <i>Granada</i>, or Pomegranate, as one of their
badges.<a name="FNanchor_261_261" id="FNanchor_261_261"></a>
<a href="#Footnote_261_261" class="fnanchor">[261]</a>
The cards unquestionably belong to that period;
and in support of the speculation, it may be further observed
that they are generally ascribed to Israel van Mecken;
who, as a native of Bocholt, was a subject of Philip, who
inherited the Netherlands, in right of his mother, Mary of
Burgundy.</p>

<p>Von Murr, in the second volume of his Journal, gives a
description of a nearly complete pack of those cards, which
were then in the possession of a gentleman named Silberrad,
residing at Nuremberg, but which are now in the British
Museum.<a name="FNanchor_262_262" id="FNanchor_262_262"></a>
<a href="#Footnote_262_262" class="fnanchor">[262]</a> He calls them old Trappola cards, and says that
they are certainly of an earlier date than the time of Israel
van Mecken the younger; or rather, that they were
engraved by Israel the elder. "The suits," he says,
"are distinguished, after the Italian manner, by <span class="smcap">Spade</span>;
<span class="smcap">Coppe</span>; <span class="smcap">Danari</span>
(represented by Pomegranates); and
<span class="pagenum"><a name="Page_227" id="Page_227">[Pg 227]</a></span>
<span class="smcap">Bastoni</span>."
<a name="FNanchor_263_263" id="FNanchor_263_263"></a>
<a href="#Footnote_263_263" class="fnanchor">[263]</a>
The cards displayed in the preceding specimens
are: the Deuce of Swords; the Valet of Cups; the Ten of
Pomegranates; and the Ten of Clubs. In the latter, the Club
seen on the banner is rough and knotty, and not an artificially-formed
Baton, as is sometimes seen on old Italian
cards: it has previously been observed that the Bastoni
were sometimes called Colonne, from their being something
like slender pillars.</p>

<div class="figcenter"><a name="i_285.jpg" id="i_285.jpg"></a>
  <img src="images/i_285.jpg"
      alt="Swords" />
  <div class="caption">Swords. (p. 227.)</div>
</div>

<div class="figcenter"><a name="i_287.jpg" id="i_287.jpg"></a>
  <img src="images/i_287.jpg"
      alt="Cups" />
  <div class="caption">Cups. (p. 227.)</div>
</div>

<div class="figcenter"><a name="i_289.jpg" id="i_289.jpg"></a>
  <img src="images/i_289.jpg"
      alt="Batons" />
  <div class="caption">Batons. (p. 227.)</div>
</div>

<div class="figcenter"><a name="i_291.jpg" id="i_291.jpg"></a>
  <img src="images/i_291.jpg"
      alt="Money" />
  <div class="caption">Money. (p. 227.)</div>
</div>

<p>It would appear, from the testimony of contemporary
authors, that the cards most commonly used in Italy in the
latter part of the fifteenth century, were those which had
<span class="smcap">Spade</span>, <span class="smcap">Coppe</span>,
<span class="smcap">Bastoni</span>, and
<span class="smcap">Danari</span>&mdash;Swords, Cups,
Batons, and Money,&mdash;as the marks of the suits. These
continued to be the common marks on Italian cards in the
sixteenth century, and even to a much later period; and
such also would appear to have been the marks of the cards
used in Spain, from the period of their first introduction
into that country, to the present day. The annexed woodcuts,
copied from a plate in Breitkopf,
<a name="FNanchor_264_264" id="FNanchor_264_264"></a>
<a href="#Footnote_264_264" class="fnanchor">[264]</a> are the Sevens of each
of the four suits in a pack of Tarots. The marks are precisely
the same as in modern Tarots; and there is reason to believe
that they are nearly the same, with respect to form, as
those of the earliest Italian Tarocchi cards, properly so called.</p>

<p>The relation which the marks of the suits bear to each
other in the three varieties of cards most generally known
in Europe, will perhaps be best understood from the following
summary, which shows, at one view, the names given to
the suits of each variety in the country where such cards were
chiefly used.</p>

<p><span class="pagenum"><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>

<p class="center p1">GERMAN CARDS.</p>

<p><i>German Names of the Suits.</i></p>

<p class="ml1"><span class="smcap">Herzen</span>, oder
  <span class="smcap">Roth</span>.
  (<span class="smcap">Hearts</span>, or <span class="smcap">Red</span>).</p>
<p class="ml1"><span class="smcap">Grün.</span>
  (<span class="smcap">Green</span> (<span class="smcap">Leaves</span>).)</p>
<p class="ml1"><span class="smcap">Eicheln.</span>
  (<span class="smcap">Acorns.</span>)</p>
<p class="ml1"><span class="smcap">Schellen.</span>
  (<span class="smcap">Bells.</span>)</p>

<p class="center p2">SPANISH AND ITALIAN CARDS.</p>

<p><i>Spanish Names.</i></p>
<p class="ml1"><span class="smcap">Copas.</span><span class="smcap">Espadas.
</span><span class="smcap">Bastos.</span> <span class="smcap">Oros.</span></p>

<p><i>Italian Names.</i></p>
<p class="ml1"><span class="smcap">Coppe.</span>
  (<span class="smcap">Cups.</span>)</p>
<p class="ml1"><span class="smcap">Espadas.</span>
  (<span class="smcap">Swords.</span>)</p>
<p class="ml1"><span class="smcap">Bastoni.</span>
  (<span class="smcap">Clubs</span>, or <span class="smcap">Batons</span>.)</p>
<p class="ml1"><span class="smcap">Danari.</span>
  (<span class="smcap">Money.</span>)</p>

<p class="center p2">FRENCH CARDS.</p>

<p><i>French Names.</i></p>
<p class="ml1"><span class="smcap">Cœur.</span>
  (<span class="smcap">Hearts.</span>)</p>
<p class="ml1"><span class="smcap">Pique</span>
  (<span class="smcap">Spades.</span>)</p>
<p class="ml1"><span class="smcap">Trèfle.</span>
  (<span class="smcap">Clubs.</span>)</p>
<p class="ml1"><span class="smcap">Carreau.</span>
  (<span class="smcap">Diamonds.</span>)</p>

<p>In the oldest cards of the German and Spanish type
there appears to have been no Queen. In the German
pack, the second coat card was a kind of superior officer,
distinguished as <span class="smcap">Ober</span>,&mdash;Upper, Superior;
while the third,
corresponding with our Knave, was named
<span class="smcap">Unter</span>,&mdash;Inferior.
<a name="FNanchor_265_265" id="FNanchor_265_265"></a>
<a href="#Footnote_265_265" class="fnanchor">[265]</a>
The Spaniards called the second coat card
<span class="smcap">Caballo</span>,&mdash;the
Horseman or Knight;&mdash;and the Knave they called
<span class="smcap">Sota</span>,
a word which, in the Dictionary of the Spanish Academy,
<span class="pagenum"><a name="Page_229" id="Page_229">[Pg 229]</a></span>
is said to be derived from the Italian <i>soto</i>, signifying 'under.'
<a name="FNanchor_266_266" id="FNanchor_266_266"></a>
<a href="#Footnote_266_266" class="fnanchor">[266]</a>
The Italians called their second coat card
<span class="smcap">Cavallo</span>, and the
third <span class="smcap">Fante</span>; in each of the
four suits the principal coat
card was the King. It would, however, appear that at an
early period, the Italians occasionally substituted a Queen
for the Cavallo; and if the cards formerly belonging to the
Marquis Girolamo be really of so early a date as is assigned
to them by Millin,<a name="FNanchor_267_267" id="FNanchor_267_267"></a>
<a href="#Footnote_267_267" class="fnanchor">[267]</a>
it would seem that the French have no
just title to the "honour" of being the first to introduce a
Queen as the second coat card, and that in having made
"Place aux Dames," in the pack, they had only followed
the example set them by the Italians.</p>

<p>Millin's notice of those cards is to the following effect:
"In the collection of the Marquis Girolamo, at Venice,
there are some cards of very early date,&mdash;about the beginning
of the fifteenth century. They are larger than the
ordinary cards of the present day; they are also very thick;
and the material of which they are formed resembles the
cotton paper of ancient manuscripts. The figures, which
are impressed&mdash;'imprimées'&mdash;on a gold ground, consist of
three Kings, two Queens, and two Valets, one of the last
being on horseback. Each figure has a Baton, a Sword, or
a piece of Money [as the mark of the suit]. The design is
very like that of Jacobello del Fiore; but the work has the
appearance of impression, and the colours seem to have
<span class="pagenum"><a name="Page_230" id="Page_230">[Pg 230]</a></span>
been applied by means of a stencil. They are the most
ancient specimens of their kind."
<a name="FNanchor_268_268" id="FNanchor_268_268"></a>
<a href="#Footnote_268_268" class="fnanchor">[268]</a></p>

<p>As the names, Clubs and Spades, given to two of the
suits in this country, by no means correspond with the
marks by which they are distinguished,&mdash;to wit, the French
<i>Trèfle</i> and <i>Pique</i>&mdash;I am inclined to consider them as the
old names for the suits of Bastoni and Spade; Clubs being
merely a translation of Bastoni, and Spades probably a
corruption of Spade, or Espadas,&mdash;Swords.
<a name="FNanchor_269_269" id="FNanchor_269_269"></a>
<a href="#Footnote_269_269" class="fnanchor">[269]</a> From these
names, indeed, it may be fairly supposed that the cards
first known in England were those having Swords, Clubs,
Cups, and Money, as the marks of the suits; and that two
of those suits retained their names when the old cards of
Spanish or Italian type were superseded by those of more
<span class="pagenum"><a name="Page_231" id="Page_231">[Pg 231]</a></span>
recent French design. There are also other circumstances
which strengthen the conclusion, that cards, on their first
introduction into England, as a popular game, were brought
either from Spain or Italy; the character of the third coat
card, the Knave, or Jack, is more in accordance with the
Spanish Sota, or the Italian Fante, than with the French
Valet, which, in the earliest French cards, always bears the
name of some person of note, either in romance or history.
The term Valet, at the time when it was first bestowed on
the third coat card by the French, did not signify a
"Gentleman's Gentleman" or a menial servant; but was
more especially applied to young noblemen&mdash;the "Dilecti
Regis"&mdash;holding appointments at court. The term Knave
was never applied, like Valet, to signify a courtier, or person
of distinction; it was used to signify a serving-man of
low condition. It seems to be derived from the same
root as the German <i>Knabe</i>, the primary meaning of which
is a Boy, but which was also used, in the same way as the
Latin <i>Puer</i>, to signify a servant. Subsequently the term
Knave became obsolete in the sense of servant, and was
exclusively applied to designate a dishonest person. The
term Jack, another name for the Knave of cards, was in
former times very frequently applied to a "serving-man of
low degree," without any regard to the name which might
have been given to him by his godfathers and godmothers.</p>

<p>Though Dr. Johnson, and most other English lexicographers,
derive the term Jackanapes from Jack and Ape,
and though this derivation seems to be supported by the
meaning attached to the term by one of the earliest writers
who makes use of it, yet "Jack-a-Naipes," that is, Jack of
Cards, is at least as probable an etymology; and much more
so than that of "Jack Cnapa," suggested by Sharon Turner,
in his 'History of England,' from which the following passage
is extracted.</p>

<p><span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span></p>

<p>"In the British Museum, Vesp. B, 16, is a ballad written
at this time on the catastrophes of the Duke of Suffolk and
his friends. (Temp. Henr. VI, May, 1450.) It treats these
horrors with an exulting levity, which shows the barbarous
unfeelingness of political rancour; but it is curious for
giving the names of those friends of the government who
were most hated by the people. They are the clerical
statesmen who were employed either in the offices of government
or on its embassies, and it shows how much the
dominant church had, by these employments, become identified
with the crown. It designates the Duke of Suffolk
by the cant term of 'Jac Napes,' and is perhaps the earliest
instance we have of the abusive application of the word
Jackanapes. Our lexicographers derive this word from
Jack and Ape; but the ballad shows, that Napes was a term
of derision signifying a Knave; and must therefore be the
Saxon Cnapa, which bore also this meaning. This will explain
the reason why our third figured card is called Jack, and
also Knave. The word Jackanapes therefore seems to be
Jack Cnapa, and to mean Jack the Knave. In this sense
it is applied to Suffolk; and as the Knave is next in power
at cards to the King and Queen, the nickname may be
used in the ballad with an allusion to Suffolk's being the
prime minister of Henry and Margaret."
<a name="FNanchor_270_270" id="FNanchor_270_270"></a>
<a href="#Footnote_270_270" class="fnanchor">[270]</a></p>

<p>The following are two of the stanzas of the ballad in
which the term occurs:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="stanza">
  <div class="verse">"In the moneth of May, when grass grows grene,</div>
  <div class="verse indent0_5">Fragrant in her flowres with swete savour,</div>
  <div class="verse indent-2_6">Jac Napes wold on the see, a maryner to ben,</div>
  <div class="verse indent0_5">With his clogi and his cheyn to seke more tresour.</div>
  </div>
  <div class="stanza">
  <div class="verse">"Swych a payn prikked him, he asked a confessour;</div>
  <div class="verse indent0_5">Nicholas said, I am redi the confessour to be;</div>
  <div class="verse indent-2_6">He was holden so, that he ne passed that hour:</div>
  <div class="verse indent0_5">For Jac Napes saule, 'placebo et dirige.'"</div>
  </div>
  </div>
</div>

<p><span class="pagenum"><a name="Page_233" id="Page_233">[Pg 233]</a></span></p>

<p>Mr. Turner's remark, that "the ballad shows that Napes
was a term of derision, signifying a Knave, and must
therefore be the Saxon Cnapa," does not appear to be
well founded; for if it were derived from Cnapa, and
merely signified a Knave, or Cheat, it is difficult to conceive
why it should be written Napes, and not Knave, or Knape,
as required, according to Mr. Turner's etymology; besides,
it is evident from the context, that, in the mind of the
writer, the idea of a Jac Napes was associated with that of
a monkey, or an ape, with his clog and his chain. That
this was not the primary signification of the term, may
be confidently asserted; and no writer who has derived
it from Jack and Ape, has produced any authority to
show that it originally meant a man who travelled about
with apes or monkeys. In the following passage, from a
tract printed about 1540,<a name="FNanchor_271_271" id="FNanchor_271_271"></a>
<a href="#Footnote_271_271" class="fnanchor">[271]</a>
the term "<i>Yack an napes</i>"
evidently refers to a mummer or buffoon in a particoloured
dress, like that of a knave of cards. The writer, after
having noticed the assembling of the poor on holidays, at
the "personis barne,"<a name="FNanchor_272_272" id="FNanchor_272_272"></a>
<a href="#Footnote_272_272" class="fnanchor">[272]</a>
and there committing "ydolatre in
mayntenynge his ambision, pride, and bestly lyvinge,"
thus proceeds: "Nobyl statis were better to hunte the
bull, here, hert, or ony othere thynge lyke to suckure the
powre with the mette, then to here Sir Jhon Singyl Sowle
stombel a payer of mattens in laten, slynge holy water,
curse holy brede, and to play a caste lyke <i>yack an napes</i>
in a foles cotte." When John Bale, in his work entitled,
'Yet a Course at the Romish Foxe,' speaks of Jack-a-Naipes
<span class="pagenum"><a name="Page_234" id="Page_234">[Pg 234]</a></span>
"swearing by his ten bones," it would seem that he in
some manner or other associated the term with the Jack-a-Naipes,
or Jack of Cards; for his ten bones can only be
supposed to relate to the numerical value of the Jack of
Naipes, as a coat card. In Bale's time a "card of ten"
would appear to have been a general expression for a coat
card, as well as for a card distinguished by that number of
pips.</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">Fyrste pycke a quarell, and fall out with hym then,</div>
  <div class="verse">And soo outface hym with a carde of ten.</div>
  </div>
</div>
<div class="right"><i>Skelton's Bowghe of Court.</i></div>


<p>From the following passage in Pulci's 'Morgante Maggiore,'
it would seem that, in Italy, in the fifteenth century, the
King of cards was occasionally referred to as the type of a
presumptuous person:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"E com' e' giunse, gridava il gigante;</div>
  <div class="verse indent-2_6">Tu se' quì, Re di Naibi, o di Scacchi,</div>
  <div class="verse indent-2_6">Col mio bataglio convien ch'io t'ammachi."</div>
  </div>
</div>

<div class="poetry-container p1">
  <div class="poetry">
  <div class="verse">"And when the two together came, the giant shouted out,</div>
  <div class="verse indent-2_6">And here you are, my King of Cards, or e'en of Chess, pardie!</div>
  <div class="verse indent-2_6">My club then with your shoulders must without delay make free."</div>
  </div>
</div>

<p>In Scotland, about 1508, the Knave of cards was the
representative of a forward impertinent person,&mdash;a very
Jack-a-Naipes,&mdash;as is evident from the "Flyting of Dunbar
and Kennedy," where the latter, among other bad names,
calls the former "Valet of cards":</p>

<p class="center">"Waik walidrag, and verlot of the cairtis."
<a name="FNanchor_273_273" id="FNanchor_273_273"></a>
<a href="#Footnote_273_273" class="fnanchor">[273]</a></p>

<p>Even in modern times the Knave of Hearts has been
referred to as the ideal of a presumptuous, thickset little
<span class="pagenum"><a name="Page_235" id="Page_235">[Pg 235]</a></span>
man, as appears from the following passage which occurs in
the second edition of Brockett's Glossary, 1829, under the
word Purdy.</p>

<p>"<span class="smcap">Purdy</span>, a little thickset fellow.&mdash;I owe this word," says
Mr. Brockett, "to the communication of a clerical friend
in the county of Durham, who first heard it at Barnard
Castle. On ascertaining the meaning, the following dialogue
took place.</p>

<p><i>Q.</i> What does <i>Purdy</i> mean?</p>

<p><i>A.</i> A little <i>throstan-up</i> thing like a <i>Jack at Warts</i>.
[Jack o' 'Arts,&mdash;Jack of Hearts.]</p>

<p><i>Q.</i> What's that?</p>

<p><i>A.</i> Something like a <i>lime-burner</i>.</p>

<p><i>Q.</i> What is a lime-burner?</p>

<p><i>A.</i> Oh, nobbut a <i>Kendal stockener</i>.</p>

<p><i>Q.</i> What is that?</p>

<p><i>A.</i> A little thickset fellow."</p>

<p>If cards were actually known in Italy and Spain in the
latter part of the fourteenth century, it is not unlikely that
the game, as a common amusement, was introduced into
this country by some of the English soldiers who had served
under the banners of Hawkwood, and other Free Captains,
in the wars of Italy and Spain, about the period in question.
But, however this may be, it seems at least certain that the
earliest cards commonly used in this country, were of the
same kind, with respect to the marks of the suits, as those
used in Italy and Spain.</p>

<p>The German cards of the fifteenth century, and even of
a much later period, display more of fanciful embellishment
than the cards of other countries; more especially in the
numeral, or low cards; which, in addition to the "pips,"
or marks of the suits, frequently contain figures of men
and women, quadrupeds, birds, foliage, and such like,
introduced by way of ornament, at the caprice of the
<span class="pagenum"><a name="Page_236" id="Page_236">[Pg 236]</a></span>
designer. These ornamental appendages are frequently of
a grotesque character, and sometimes indecent. The two
annexed figures are the second coat cards of the suits of Grün
and Eicheln,&mdash;Leaves, and Acorns,&mdash;in a pack of German
cards engraved on wood, of the date 1511. The figures are
drawn with great freedom, and are much in the style of
Lucas Cranach. On the Two of Acorns are the letters F.C.Z.;
the F and the C being probably the initials of the designer,
and the Z signifying that he made the drawings,&mdash;<i>zeichnet</i>.
On the Two of Leaves are two shields suspended from a tree;
the one displays two strait swords, in saltire; and the other
the arms of the house of Saxony, the same as are frequently
seen in wood engravings designed by Lucas Cranach. In
a third shield at the bottom of the same card, are a
<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span>
pic-kaxe and mallet, in saltire, the same as in Dr. Stukeley's
cards, and probably the mark of the card maker. Thirty-six
cards of this pack, which appears to have originally
consisted of fifty-two, are preserved in the Bibliothèque
du Roi; and fac-similes of them are given in the 'Jeux
de Cartes Tarots et de Cartes Numérales,' published by the
Society of Bibliophiles Français, planches 92-95.</p>

<div class="figcenter"><a name="i_301.jpg" id="i_301.jpg"></a>
  <img src="images/i_301.jpg"
      alt="Acorns" />
</div>

<div class="figcenter"><a name="i_302.jpg" id="i_302.jpg"></a>
  <img src="images/i_302.jpg"
      alt="Leaves" />
</div>

<p>Specimens of a pack of cards designed by Erhard Schön,
and engraved on wood, are given by Singer in his Researches.
In this pack, the marks of the suits are Flowers, Pomegranates,
Leaves, and Roses.<a name="FNanchor_274_274" id="FNanchor_274_274"></a>
<a href="#Footnote_274_274" class="fnanchor">[274]</a>
These cards are very inferior,
<span class="pagenum"><a name="Page_238" id="Page_238">[Pg 238]</a></span>
both in design and execution, to those just described, of the
date 1511. Erhard Schön flourished about 1530. About
1550, Virgil Solis engraved a pack of cards on copper,
with Lions, Apes, Peacocks, and Parrots as the marks of
the suits: they are noticed by Bartsch, in his 'Peintre-Graveur';
and six of the pack were recently in the possession
of Messrs. Smith, of Lisle street.</p>

<p>The best of all the fanciful cards that appeared in
Germany during the sixteenth century, are those engraved
on wood from the designs of Jost Amman. They were
published at Nuremberg in 1588, in a quarto volume, with
illustrative verses, in Latin and German, composed by
J. H. Schroter, the imperial poet-laureate.
<a name="FNanchor_275_275" id="FNanchor_275_275"></a>
<a href="#Footnote_275_275" class="fnanchor">[275]</a> From the following
verses,&mdash;'Liber de Seipso,'&mdash;it would seem that
those cards were not designed for the purposes of play:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"<span class="smcap">Charta</span> mihi titulum tribuit <span class="smcap">Lusoria</span>; lusus</div>
  <div class="verse indent0_5">Et chartæ in pretio munera vulgus habet.</div>
  <div class="verse indent-2_6">Sed nec ego laudes moror aut convicia vulgi;</div>
  <div class="verse indent0_5">Sit mihi sat claris posse placere viris.</div>
  <div class="verse indent-2_6">"Hos rogo, ut a rerum quondam graviore vacantes</div>
  <div class="verse indent0_5">Cura, si chartis ludere forte velint,</div>
  <div class="verse indent-2_6">Colludent nostris: sine rixis, vulnere, morte,</div>
  <div class="verse indent0_5">Ludenti quoniam lucra benigna dabunt."</div>
  </div>
</div>

<p>In this set of cards, the marks of the suits are Books;
Printers' inking balls; Wine-cups, of metal "formed by the
skill of the goldsmith;" and Goblets, with bosses of glass
or earthenware. Correct and beautifully executed specimens
of those cards are given in Singer's 'Researches,'
pp. 180-96.</p>

<div class="figcenter"><a name="i_305a.jpg" id="i_305a.jpg"></a>
  <img src="images/i_305a.jpg"
      alt="Bells" />
  <div class="caption">Bells. (p. 239.)</div>
</div>

<div class="figcenter"><a name="i_305b.jpg" id="i_305b.jpg"></a>
  <img src="images/i_305b.jpg"
      alt="Hearts" />
  <div class="caption">Hearts. (p. 239.)</div>
</div>

<div class="figcenter"><a name="i_307a.jpg" id="i_307a.jpg"></a>
  <img src="images/i_307a.jpg"
      alt="Leaves" />
  <div class="caption">Leaves. (p. 239.)</div>
</div>

<div class="figcenter"><a name="i_307b.jpg" id="i_307b.jpg"></a>
  <img src="images/i_307b.jpg"
      alt="Acorns" />
  <div class="caption">Acorns. (p. 239.)</div>
</div>

<p>The four annexed German cards, are the Sevens of the
<span class="pagenum"><a name="Page_239" id="Page_239">[Pg 239]</a></span>
four suits: <i>Schellen</i>; <i>Herzen, oder Roth</i>; <i>Grün</i>; <i>Eicheln</i>,&mdash;Bells;
Hearts, or Red; Green, or Leaves; and Acorns.
They are copied from Breitkopf, and are of the seventeenth
century. The four small ones given below are of the same
period, and were probably intended for the amusement
of children,&mdash;like the "pretty little cards for pretty little
fingers," manufactured at the present day. The subjects
are, the second Coat card and the Three of Leaves; the Four
of Acorns; and the Six of Hearts.</p>

<div class="figcenter"><a name="i_308.jpg" id="i_308.jpg"></a>
  <img src="images/i_308.jpg"
      alt="Pretty Little Cards" />
</div>

<p>As small bells were worn as ornaments by the emperors
of Germany and the higher classes in the 12th and 13th
centuries, Breitkopf is inclined to think that bells might
have been introduced on cards as a distinctive mark of the
<span class="pagenum"><a name="Page_240" id="Page_240">[Pg 240]</a></span>
class of kings and nobles; and that cards might even
have been known in Germany at the period referred to. In
corroboration of his opinion, he gives a plate, entitled
"<i>Alte Deutsche Furst Schellen-tracht</i>,"&mdash;that is to say,
Ancient German Princely Bell-costume,&mdash;containing four
figures, all adorned with small bells. The first figure is
that of the Princess Wulphilde, who was living in 1138;
the second and third represent the Emperor Henry VI, who
died in 1197; and the fourth is that of the Emperor
Otho IV, who died in 1218.<a name="FNanchor_276_276" id="FNanchor_276_276"></a>
<a href="#Footnote_276_276" class="fnanchor">[276]</a>
&mdash;Breitkopf's conjecture
is undeserving of remark: had he asserted that his old
German emperors and princes were adorned with bells to
indicate their rank and precedence, in the manner of leading
packhorses, he would perhaps have been as near the truth.</p>

<p>The tinkle of the bell rouses the questing spirit of Mons.
Leber, who pursues the inquiry with singular ardour and
perseverance, though not with success. His researches,
however, on the subject of bells, though throwing not a
glimmer of light on the history of cards, are yet so
amusing, that they are here given entire, notes and all.
They also furnish an additional proof of the wide field
afforded for speculation by the history of cards.</p>

<p>"After the <i>Fou</i> of European Tarots, the Bells on Indian
cards are another proof of the Oriental origin of the game.
The use of bells in India, whether as a mark of distinction
and greatness, or as a means of diversion, is of remote
antiquity; while everything shows that they were not
known to the ancient nations of Europe. The Baladins
and female dancers of India have their legs decked with
small bells, which they shake when dancing; and certain
idols are decorated with the same ornament; girdles formed
of bells are also worn by infants, without any other clothing;
<span class="pagenum"><a name="Page_241" id="Page_241">[Pg 241]</a></span>
and sometimes a single bell supplies the place of the girdle.
Herbert relates that 'as this bell contains a viper's tongue,
it might be supposed to be annoying and disgraceful. It
is, however, neither the one nor the other, for it is made an
ornament, and it is esteemed one of their most superb,
when given by the king to a person whom he wishes to
honour.'<a name="FNanchor_277_277" id="FNanchor_277_277"></a>
<a href="#Footnote_277_277" class="fnanchor">[277]</a>
&mdash;We have already said that the use of bells for
various purposes is of great antiquity; and a proof of this
is furnished by the Pentateuch.
<a name="FNanchor_278_278" id="FNanchor_278_278"></a>
<a href="#Footnote_278_278" class="fnanchor">[278]</a> Bells appear to have
passed from the Hebrews to the Arabs, and to have been
with these two nations the same as we see them to have
been in India, a sign of distinction and power, when not
prostituted to the use of the Baladins. An English author,
who has not been unmindful of the remarks of Calmet,
<a name="FNanchor_279_279" id="FNanchor_279_279"></a>
<a href="#Footnote_279_279" class="fnanchor">[279]</a>
mentions, in the following terms, a kind of devotion paid
to the bell among the Arabians: 'The Arabian courtesans,
like the Indian women, have little <i>golden bells</i> fastened
round their legs, neck, and elbows, to the sound of which
they dance before the king.&mdash;The Arabian princesses wear
golden rings on their fingers, to which <i>little bells</i> are suspended,
as in the flowing tresses of their hair, that their
superior rank may be known, and they themselves receive
in passing the homage due to them.'
<a name="FNanchor_280_280" id="FNanchor_280_280"></a>
<a href="#Footnote_280_280" class="fnanchor">[280]</a>&mdash;Such are bells in
the East: let us now see what they have been in Europe at
different periods.</p>

<p>"The Emperor Henry IV, who died in 1197, and
Wulphilde, the wife of Count Rodolph, living in 1138, are
represented in ancient monuments in habits ornamented
<span class="pagenum"><a name="Page_242" id="Page_242">[Pg 242]</a></span>
with bells similar to those which are seen on Tarots. It
would seem that this singular ornament, which subsequently
became the attribute of the buffoon, or professional jester,
was then a mark of dignity in the West as well as in the
East, and that it held a conspicuous place amongst the distinctive
ornaments of the princes and nobles of Germany,
from the eleventh to the thirteenth century.
<a name="FNanchor_281_281" id="FNanchor_281_281"></a>
<a href="#Footnote_281_281" class="fnanchor">[281]</a> Some English
critics, however, have supposed that the bell indicated
falconry,<a name="FNanchor_282_282" id="FNanchor_282_282"></a>
<a href="#Footnote_282_282" class="fnanchor">[282]</a>
a sport which the high nobility only had the
privilege of indulging in; and it is certain that small bells
were attached to the feet of trained falcons.
<a name="FNanchor_283_283" id="FNanchor_283_283"></a>
<a href="#Footnote_283_283" class="fnanchor">[283]</a> But the
question is, did the bells stand for the falcon, and was the
falcon, indeed, a mark of high nobility?</p>

<p>"What renders this conjecture probable is, that we find
the use of the small bell [grelot] established in the West
before the introduction of heraldic signs, and that we have
no evidence of its having been known to the ancient Greeks
and Romans.<a name="FNanchor_284_284" id="FNanchor_284_284"></a>
<a href="#Footnote_284_284" class="fnanchor">[284]</a>
As the bell was used in falconry by princes
and nobles of the first class, it might thus become the
emblem of the falcon, and, subsequently, that of the nobility
<span class="pagenum"><a name="Page_243" id="Page_243">[Pg 243]</a></span>
to whom it was confined. The falcon, and things pertaining
to falconry, were certainly among the marks of
grandeur with which the sovereigns and barons of the
middle ages loved to surround themselves in their formal
displays, and which alone were sufficient, in the same manner
as armorial bearings, to indicate the rank of the persons to
whom they belonged. In the tapestry ascribed to Queen
Matilda, Harold is seen travelling with his falcon on his
fist; and the Count Guy de Ponthieu, who conducts him
prisoner to Beaurain, carries also his bird in the same
manner, although he, doubtless, had no thought of the
chase.<a name="FNanchor_285_285" id="FNanchor_285_285"></a>
<a href="#Footnote_285_285" class="fnanchor">[285]</a>
Besides, sceptres are surmounted with three-branched
<i>fleurons</i>, like those which form the ornament on
the top of a falcon's hood.<a name="FNanchor_286_286" id="FNanchor_286_286"></a>
<a href="#Footnote_286_286" class="fnanchor">[286]</a>
We also see hawks and falcons
on ancient tombs; and it is not unlikely that they were
there placed as indications of rank before the introduction
of armorial bearings. The same conventional distinctions
were still in existence in much more recent times; for Anne
de Montmorency made his entry into London as ambassador
of Francis I, preceded by twenty-six gentlemen of
the best houses of France, each bearing a falcon on his fist;
<a name="FNanchor_287_287" id="FNanchor_287_287"></a>
<a href="#Footnote_287_287" class="fnanchor">[287]</a>
and even our kings themselves, on occasions of grand display,
were preceded by their falconers fully equipped. Falconry
was not known to the ancients; but it is certain that it was
in use among the nations of the North before the conquest
of the Gauls by the Franks. Sidonius Apollinaris commemorates
the skill of a person named Vectius in the art of
training dogs, horses, and birds of prey: "In equis, canibus,
<span class="pagenum"><a name="Page_244" id="Page_244">[Pg 244]</a></span>
<i>accipitribus</i> instituendis, spectandis, circumferendis, nulli
secundus."<a name="FNanchor_288_288" id="FNanchor_288_288"></a>
<a href="#Footnote_288_288" class="fnanchor">[288]</a></p>

<p>"The question, however, would still be, 'if bells were used
in falconry at so early a period?' and it may be presumed
that they were not so used until long afterwards.
German princes, as referred to by Breitkopf, are decorated
with them as marks of high birth, on monuments from the
eleventh to the thirteenth century. Now, it was just towards
the close of the eleventh century, that the intercourse
between Europeans and Orientals became more extended
by means of the crusades; and the invention of heraldry is
of the same period. Armorial bearings, which originated
in over-sea expeditions and in tournaments, are not of
higher antiquity than the eleventh century; their use became
more frequent in the twelfth; and, in the thirteenth,
we find them generally established.
<a name="FNanchor_289_289" id="FNanchor_289_289"></a>
<a href="#Footnote_289_289" class="fnanchor">[289]</a> From the concurrence
of these circumstances, it may be concluded that bells of
this kind were brought into Europe from the East, towards
the end of the eleventh century; and, that on their first
introduction, the German nobility adopted them as marks
of distinction, either from the idea of grandeur attached to
them by the people from whom they had them, or on
account of the noble bird to whose use they had dedicated
them; and that this mark of nobility fell into disuse when
heraldry could supply its place by signs better adapted to
gratify the pride of the great, on account of their indicating,
at the same time, both rank and personal distinction. The
<span class="pagenum"><a name="Page_245" id="Page_245">[Pg 245]</a></span>
Bayeux tapestry, already referred to as the work of Queen
Matilda, seems to confirm this opinion. The conquest of
England by William Duke of Normandy was achieved in
1066; and the tapestry representing it is supposed to be
of the same century: and of this there could be no doubt,
if it were true that the work was executed by the wife of
William, and her attendants.
<a name="FNanchor_290_290" id="FNanchor_290_290">
</a><a href="#Footnote_290_290" class="fnanchor">[290]</a>
It may thus have been
worked about twenty or thirty years before the first crusade,
which was determined on at the council of Clermont, held
by Urban II, in 1095. Now, the birds of chase which
some of the persons in this tapestry carry on their fist, have
no bells at their feet. We perceive there only the <i>jesses</i>,
or leathern strings with tassels at the ends, which serve to
retain the bird.<a name="FNanchor_291_291" id="FNanchor_291_291"></a>
<a href="#Footnote_291_291" class="fnanchor">[291]</a>
These jesses, without any appearance of
bells, are easily to be distinguished in the compartment
which contains the inscription, <span class="smcap">Dux Willelm</span>:
<span class="smcap">Cum
Haraldo</span>: <span class="smcap">Venit</span>:
<span class="smcap">Ad Palatin</span>. If this be not evidence
that bells of this kind were not then common in Europe, it
is at least a proof that they were not then used in falconry,
although this sport had been practised for several
centuries."<a name="FNanchor_292_292" id="FNanchor_292_292"></a>
<a href="#Footnote_292_292" class="fnanchor">[292]</a></p>

<p>Mons. Leber calls both Spanish and German cards
Tarots, even though they may contain no Atous; which yet
appear to have been the very pieces which were more
especially distinguished as Tarocchi or Tarots; and from
the use of which, in combination with other cards, a particular
kind of game was called Tarocchino, or Tarocchio. Thus,
in consequence of his not sufficiently distinguishing between
Spanish and German cards, he speaks of the marks which
<span class="pagenum"><a name="Page_246" id="Page_246">[Pg 246]</a></span>
occur on them indiscriminately; and explains <span class="smcap">Swords</span> and
<span class="smcap">Money</span> as if they belonged to the
same pack which has one
of its suits distinguished by Bells. His account of the
marks on the French cards is to the following effect. "The
<i>Cœur</i> explains itself; it is a symbol of the most noble and
generous sentiments, and more especially indicates courage,
valour, and intrepidity, qualities the most brilliant in princes.
The <i>Trèfle</i> has its name from its resemblance to the plant
so-called; though properly it is a Flower, or rather a <i>Fleuron</i>
with three branches, symbolical of the mysterious number
Three, which, in ancient times, was regarded with religious
veneration. This number being the first which contained
in itself the principal characteristics of numbers,&mdash;namely,
Unity and Plurality, Odd and Even,&mdash;became the symbol
of a union of the most excellent virtues, such as Power,
Wisdom, Love; and, by analogy, Sovereignty, Wisdom,
Justice. It is this three-branched Fleuron which appears
on the monuments of the French kings of the first and
second race; but, in consequence of its being badly designed
and worse understood, it became confounded with the
heraldic Fleur-de-Lis, and is in fact now displaced by it.
The <i>Carreau</i> seems to have been better understood by the
French than their neighbours, with whom this figure is a
jewel, a precious stone, an ornamental article. The English
<span class="pagenum"><a name="Page_247" id="Page_247">[Pg 247]</a></span>
take it for a diamond, and the Spaniards, for a jewel worn
by ladies, or for the decoration of the toilet. Their
error has doubtless arisen from the comparison which they
made between the <i>Carreaux</i> of cards and the figures of
precious stones which they had before their eyes.
<a name="FNanchor_293_293" id="FNanchor_293_293"></a>
<a href="#Footnote_293_293" class="fnanchor">[293]</a> The
diamonds and precious stones forming the ornaments of
royal vestments, and of dresses of court ladies, have
usually the form of carreaux, and are painted in vermilion,
or in carmine in the manuscripts of the middle age; and
this conventional form, having been adopted by heralds,
was introduced into armorial bearings as the <i>macle</i> and
<i>lozenge</i>. The Carreaux of cards, however, have no connexion
with diamonds and precious stones, any more than
they have with the <i>quarrells</i> or square-headed arrows of a
crossbow. The Carreau, as well as each of the other marks
of the suits, is a symbol, and not a rebus. All iconographers
represent Fortune as standing, upon one foot, on
a wheel or a ball, to signify her instability. The contrary
idea was necessarily attached to the figure of a square or
a cube, considered as a firm and immoveable base. It was
for this reason that the ancients placed the figure of Wisdom
and Firmness on a cube; and Aristotle speaks in the same
sense when he informs us that a true philosopher ought to
be square,&mdash;carré&mdash;that is to say, immoveable in courage
and virtue. Heraldry has also admitted the square, placed
lozenge-wise, as an emblem of Constancy and Firmness;
and the Squares of cards, called Carreaux, can only be supposed
to have the same signification. As to the <i>Pique</i>,
there can be no doubt with respect to its meaning. It
represents the head of a lance, and is thus an emblem of
military force. The Germans, however, seem to have misconceived
the character of this figure, which they converted
into a Leaf,&mdash;<i>Grün</i>;
<a name="FNanchor_294_294" id="FNanchor_294_294"></a>
<a href="#Footnote_294_294" class="fnanchor">[294]</a>
&mdash;but this mistake, or rather this
<span class="pagenum"><a name="Page_248" id="Page_248">[Pg 248]</a></span>
difference, may be ascribed to the imperfection of the painting
in ancient cards; and more especially to the coarseness
of the first essays of wood-engraving, in which it was almost
impossible to distinguish the figure of a leaf from that of a
pike-head. On comparing the earliest German cards with
shields of arms, of the same period, and with old wood-engravings
which contain trees, it will be immediately seen
how easy it was to confound the two forms. There is no
difference between the Piques of cards and the leaves of
the tree on the right of the woodcut of St. Christopher of
the date 1423; and the <i>Crequier</i>
<a name="FNanchor_295_295" id="FNanchor_295_295"></a>
<a href="#Footnote_295_295" class="fnanchor">[295]</a> of heraldry is precisely
the same as the seven of Pique
<a name="FNanchor_296_296" id="FNanchor_296_296"></a>
<a href="#Footnote_296_296" class="fnanchor">[296]</a> in German cards of the
fifteenth century. But whatever may have been the cause
of this anomaly, it is generally admitted that the Pique in
French cards is the figure of a weapon; and it can scarcely
be doubted that it was the equivalent of the Sword in the
Tarots. In this respect the Spanish and Italian nomenclature
is in perfect accordance with our own. In the
southern parts of Europe the French <i>Pique</i> is <i>La Picca</i> or
<i>La Spada</i>."</p>

<p>Thus, according to Mons. Leber, the four suits of French
cards have the following signification:
<span class="smcap">Cœur</span>, valour, greatness
of soul; <span class="smcap">Trèfle</span>, wisdom and justice united with
power; <span class="smcap">Carreau</span>, firmness, stability,
constancy; <span class="smcap">Pique</span>,
physical force, or the power of the military. The suits,
again, may be considered as representing four monarchies,
or political societies; namely, <span class="smcap">Cœurs</span>, governed by a generous
and courageous prince; <span class="smcap">Trèfles</span>, by a sovereign just, wise,
<span class="pagenum"><a name="Page_249" id="Page_249">[Pg 249]</a></span>
and powerful; <span class="smcap">Carreaux</span>, by a king consistent in principle,
and decided in action; and <span class="smcap">Piques</span>, by a warlike prince,
who owes his power to his arms.</p>

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

<p>The variations which occur on cards from the commencement
of the sixteenth century, either as regards the
marks of the suits or the names of the coat cards, throw
no light on their origin; as such variations have evidently
been introduced merely at the caprice of the card-maker in
accordance with the prevalent taste of the period. In a
pack of French cards, engraved by Vincent Goyraud, in
the time of Henry IV, all the coat cards appear in the
costume of the period; though the Kings and Valets still
display in their dress that variety of colour which is to be
seen on cards of an earlier period, but which, at that time,
appears to have been out of fashion. Such cards would
appear to have been in common use in England in the
early part of the reign of James I. In Rowland's 'Knave
of Hearts,' first printed in 1612, the Knave, in his supplication
<span class="pagenum"><a name="Page_250" id="Page_250">[Pg 250]</a></span>
to the card-makers, complains of the pie-bald suits
which he and his fellows are compelled to wear.
<a name="FNanchor_297_297" id="FNanchor_297_297"></a>
<a href="#Footnote_297_297" class="fnanchor">[297]</a> In the
pack referred to the names and designations of the Coat
cards are as follows:</p>

<table class="centertable2" id="COAT_CARDS2" summary="Coat Cards">
  <tr>
    <td class="c1">SUIT.</td>
    <td class="c1"><span class="smcap">Cœur.</span></td>
	<td class="c1"><span class="smcap">Carreau.</span></td>
	<td class="c1"><span class="smcap">Trèfle.</span></td>
	<td class="c1"><span class="smcap">Pique.</span></td>
  </tr>
  <tr>
    <td class="c1">Kings.</td>
    <td class="c1"><i>Salomon.</i></td>
	<td class="c1"><i>Auguste.</i></td>
	<td class="c1"><i>Clovis.</i></td>
	<td class="c1"><i>Constantine.</i></td>
  </tr>
  <tr>
    <td class="c1">Queens.</td>
    <td class="c1"><i>Elizabeth.</i></td>
	<td class="c1"><i>Dido.</i></td>
	<td class="c1"><i>Clotilde.</i></td>
	<td class="c1"><i>Pantalisee.</i></td>
  </tr>
  <tr>
    <td class="c1">Valets.</td>
    <td class="c1"><i>Valet de Court.</i></td>
	<td class="c1"><i>Valet de Chasse.</i></td>
	<td class="c1"><i>Valet d'Eté.</i></td>
	<td class="c1"><i>Valet de Noblesse.</i></td>
  </tr>
</table>

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

<div class="figcenter"><a name="i_320a.jpg" id="i_320a.jpg"></a>
  <img src="images/i_320a.jpg"
      alt="Valet de Cour" />
  <div class="caption">Valet de Cour. (p. 250.)</div>
</div>

<div class="figcenter"><a name="i_320b.jpg" id="i_320b.jpg"></a>
  <img src="images/i_320b.jpg"
      alt="Valet de Chasse" />
  <div class="caption">Valet de Chasse. (p. 250.)</div>

</div><div class="figcenter"><a name="i_322a.jpg" id="i_322a.jpg"></a>
  <img src="images/i_322a.jpg"
      alt="Valet d'Été." />
  <div class="caption">Valet de Été. (p. 250.)</div>

</div><div class="figcenter"><a name="i_322b.jpg" id="i_322b.jpg"></a>
  <img src="images/i_322b.jpg"
      alt="Valet de Noblesse." />
  <div class="caption">Valet de Noblesse. (p. 250.)</div>
</div>

<p>In the same work are given fac-similes of coat cards
executed in the reign of Louis XIII, and displaying the
costume of that period. The names given to the Kings,
Queens and Valets on those cards are: <i>Cœur</i>, Alexandre,
Pentasilee [Penthesilea], Roland. <i>Carreau</i>, Cirus Major,
Roxane, Renault. <i>Trèfle</i>, Ninus, Semiramis; the name of
the Valet wanting.<a name="FNanchor_298_298" id="FNanchor_298_298"></a>
<a href="#Footnote_298_298" class="fnanchor">[298]</a>
<i>Pique</i>, Jule Cæsar, Pompeia, Roger.
Each of the Aces is surrounded with an ornamental bordering;
and at the foot is an inscription, which, when read
consecutively, through all the four, is as follows: "<i>Vive le
Roy</i> | <i>Vive la Reyne</i> | <i>J'ayme l'Amour</i> | <i>Et la Court</i>."</p>

<p><span class="pagenum"><a name="Page_251" id="Page_251">[Pg 251]</a></span></p>
<p>Some of the specimens of Portuguese cards given in the
'Jeux de Cartes Tarots et de Cartes Numérales' have very
much the appearance of having been originally suggested
by, if not copied from, an Oriental type; more especially
in the suits of Danari and Bastoni,&mdash;Money and Clubs.
In those cards the circular figure, generally understood as
representing Danari, or Money, is certainly much more
like the <i>Chakra</i>, or quoit of Vichnou, as seen in Hindostanee
drawings, than a piece of coin; while on the top of
the Club there is a diamond proper, which is another of
the attributes of the same deity. The dragon seen on each
of the Aces is perfectly Oriental in character; and the
shields which appear on the Kings and Queens are very
much like those which are to be seen in Hindostanee
drawings. The coat cards in this pack are King, Queen,
and Horseman; and the suits are Coppe, Danari, Bastoni,
and Spade&mdash;Cups, Money, Clubs proper, and Swords. The
Queen, which here appears as the second coat card, is of
unusual occurrence in cards of this kind, and more especially
in such as are of Spanish or Portuguese manufacture.
<a name="FNanchor_299_299" id="FNanchor_299_299"></a>
<a href="#Footnote_299_299" class="fnanchor">[299]</a> In
two of the suits,&mdash;Clubs and Swords,&mdash;the Queen appears
in the act of encountering a dragon. The coat cards and
aces have letters both at top and bottom, indicating the
suit, and the rank or name of the card. Specimens of
those cards, which appear to have been executed in 1693,
are preserved in the Bibliothèque du Roi. The four annexed
cuts show the outlines of the four Valets. The letters
<span class="pagenum"><a name="Page_252" id="Page_252">[Pg 252]</a></span>
CC, CD, CB, CS, signify respectively the Caballo, or Chevalier
of Coppe, Danari, Bastoni, and Spade.</p>

<p><span class="pagenum"><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>

<div class="figcenter"><a name="i_325.jpg" id="i_325.jpg"></a>
  <img src="images/i_325.jpg"
      alt="Four Valets" />
</div>

<p>The most remarkable changes that cards have undergone,
with respect to the characters displayed on them, are to be
found in certain packs manufactured at Paris in the time
of the Revolution. Specimens of the coat cards of two of
those packs engraved by Chossonnerie and Gayant, in
1793-4, are given in the 'Jeux de Cartes Tarots et de
Cartes Numérales.' In one of them the places of the Kings
are occupied by four Philosophers, namely, Molière, La
Fontaine, Voltaire, and J. J. Rousseau; the Queens are
substituted by the four Virtues, Prudence, Justice, Temperance,
and Fortitude; while the Valets are superseded by
four Republicans, one of whom is a grim-looking ruffian, with
a red cap on, and his shirt-sleeves turned up, brandishing
a pike; the second is a soldier armed with a musket; the
third an artilleryman; and the fourth a young man, in
fancy costume, armed with a musket. In the other pack,
four Sages, Solon, M. P. Cato, J. J. Rousseau, and J. J.
Brutus, serve instead of Kings; four Virtues, as in the
other pack, represent the Queens; though with this difference,
that Temperance is displaced by Union; while
four "Braves,"&mdash;Annibal, Horatius, P. Decius Mus, and
M. Scævola, supply the place of Valets.</p>

<p>Another pack of Republican cards of the same period is
thus described by Peignot, in his 'Analyse de Recherches
sur les Cartes à jouer.'</p>

<p>"For Kings we have <i>Genii</i>; for Queens, <i>Liberties</i>;
and for Valets, <i>Equalities</i>. In place of the King
of Hearts there is the Genius of War,&mdash;'<span class="smcap">Génie de la
Guerre</span>.' This Genius, which is winged, is seated on
the breech of a cannon; he holds in the right hand a
sword and a wreath of laurel, and in the left, a
shield, round which is the inscription, '<i>Pour la République
Française</i>.' On the right, read vertically from the top,
is the word '<i>Force</i>.' At the feet of the Genius are a
<span class="pagenum"><a name="Page_254" id="Page_254">[Pg 254]</a></span>
bomb, a lighted match, and a heap of bullets. At the
bottom of the card is the inscription, '<i>Par brevet d'invention.
Naume et Dugouec, au Génie de la Rép. franç.</i>'</p>

<p>"For the Queen of Hearts: '<span class="smcap">Liberté
des Cultes</span>,'&mdash;Religious
Liberty. This is a female seated, very badly
draped, and with her legs bare. She holds a pike surmounted
with a red cap; and on a bannerol attached to
the pike are the words '<i>Dieu seul</i>.' Towards her feet are
seen three volumes, inscribed '<i>Thalmud</i>,' '<i>Coran</i>,' and
'<i>Evangile</i>.' The vertical inscription is, '<i>Fraternité</i>.'</p>

<p>"Knave of Hearts: '<span class="smcap">Égalité des Devoirs</span>,'&mdash;Equality
of Duties. This is a soldier seated on a drum, with his
musket between his knees. In his left hand he holds
a paper containing the words, '<i>Pour la patrie</i>.' The
vertical inscription is '<i>Sécurité</i>.'</p>

<p>"King of Spades: '<span class="smcap">Génie des Arts</span>,'&mdash;the Genius of
Arts. The figure of Apollo with a red cap on his head; in
one hand he holds the Belvedere statue of himself, and in
the other a lyre. The vertical inscription: '<i>Goût</i>.' At
the bottom, emblems of painting, sculpture, and such like.</p>

<p>"Queen of Spades: '<span class="smcap">Liberté de la Presse</span>,'&mdash;Liberty
of the Press. A female figure with a pen in one hand, and
with the other sustaining a desk, on which lies a roll of
paper partly unfolded, and displaying the words '<i>Morale</i>,
<i>Religion</i>, <i>Philosophie</i>, <i>Physique</i>, <i>Politique</i>, <i>Histoire</i>.' At
the bottom, masks, rolls of manuscript, and such like.</p>

<p>"Knave of Spades: '<span class="smcap">Egalité de Rangs</span>,'&mdash;Equality of
Ranks. The figure of a man whose costume accords rather
with that of a '<i>Septembriseur</i>' than with that of a mere
'<i>Sans-culotte</i>' of the period. He wears sabots, and has a red
cap on his head. He has no coat on, and his shirt-sleeves
are tucked up to the elbows. His small-clothes are loose
at the knees, and his legs are bare. He is seated on a large
stone, on which is inscribed: '<i>Démolition de la Bastille</i>.
<span class="pagenum"><a name="Page_255" id="Page_255">[Pg 255]</a></span>
<i>10 Août, 1792</i>.' Under his feet is a scroll inscribed
'<i>Noblesse</i>,' and displaying shields of arms. The vertical
inscription is '<i>Puissance</i>.'</p>

<p>"King of Clubs: '<span class="smcap">Génie de la Paix</span>,'&mdash;Genius of
Peace. In his right hand he holds the '<i>Fasces</i>' and an
olive branch, and in the left a scroll containing the word
'<i>Lois</i>.' The vertical inscription is '<i>Prospérité</i>.'</p>

<p>"Queen of Clubs: '<span class="smcap">Liberté du Mariage</span>,'&mdash;Liberty of
Marriage. The figure of a female holding a pike surmounted
with the red cap; and on a scroll attached to the
pike is the word '<i>Divorce</i>.' The vertical inscription is
'<i>Pudeur</i>.' On a pedestal is a statue of the crouching Venus
entirely naked,&mdash;without doubt intended for the emblem of
Modesty.</p>

<p>"Knave of Clubs: '<span class="smcap">Egalité de Droits</span>,'&mdash;Equality of
Rights. A judge in tricolor costume, holding in one hand
a pair of scales, and in the other a scroll containing the
inscription '<i>La loi pour tous</i>.' He is trampling on a
serpent or dragon, the tortuous folds of which represent
legal chicanery. The vertical inscription is '<i>Justice</i>.'</p>

<p>"King of Diamonds: '<span class="smcap">Génie du Commerce</span>,'&mdash;the
Genius of Commerce. He is seated on a large bale, which
contains the inscription '<i>P. B. d'inv. J. D. à Paris</i>.'
In one hand he holds a purse, and in the other a caduceus
and an olive-branch. The vertical inscription is '<i>Richesse</i>.'
At the bottom are an anchor, the prow of a ship, a portfolio,
and such like.</p>

<p>"Queen of Diamonds: '<span class="smcap">Liberté des Professions</span>,'&mdash;Liberty
of Professions and Trades. A female figure who,
in the same manner as the other three Liberties, holds a
pike surmounted with the red cap. With the other hand
she holds a cornucopiæ and a scroll containing the word
'<i>Patentes</i>.' The vertical inscription is '<i>Industrie</i>.'</p>

<p>"Knave of Diamonds: '<span class="smcap">Egalité de
Couleurs</span>,'&mdash;Equality
<span class="pagenum"><a name="Page_256" id="Page_256">[Pg 256]</a></span>
of Colours. The figure of a Negro, seated, and leaning upon
a musket. Below is the word '<i>Café</i>.' Near to him are
a sugar-loaf, a broken yoke, fetters, iron collars for the neck,
and such like. The vertical inscription is '<i>Courage</i>.'</p>

<p>"Such are the coat cards of this Republican pack. The
numeral cards are the same as the old ones, with the
exception of the Aces, which are surrounded by four fasces
placed lozenge-wise, with these words: '<i>La Loi. Rép.
Franç.</i>;' the whole coloured blue. It is scarcely necessary
to say that those ridiculous cards had not even a momentary
vogue."<a name="FNanchor_300_300" id="FNanchor_300_300"></a>
<a href="#Footnote_300_300" class="fnanchor">[300]</a></p>

<p>The coat cards of a Republican pack, of recent American
manufacture, have been forwarded to me by a friend,
resident at New York. From the name of the maker,&mdash;<span class="smcap">R.
Sauzade</span>,&mdash;which occurs on the Ace of Spades, I am
inclined to think that their invention is to be ascribed
rather to a Frenchman than to an American. For the
Kings we have: <i>Hearts</i>, <span class="smcap">Washington</span>;
<i>Diamonds</i>, <span class="smcap">John
Adams</span>, the second President of the United States; <i>Clubs</i>,
<span class="smcap">Franklin</span>; <i>Spades</i>,
<span class="smcap">La Fayette</span>. For the Queens: <i>Hearts</i>,
<span class="smcap">Venus</span>,&mdash;modestly concealing her
charms with a mantle, in
<span class="pagenum"><a name="Page_257" id="Page_257">[Pg 257]</a></span>
accordance with American notions of delicacy. <i>Diamonds</i>,
<span class="smcap">Fortune</span>; <i>Clubs</i>,
<span class="smcap">Ceres</span>; <i>Spades</i>,
<span class="smcap">Minerva</span>. The Knaves
are represented by Four Indian chiefs. The figures appear
to be engraved on copper, and are coloured. The marks
of the suits are the same as those on the cards in common
use in England. Those cards, I am informed, are held in
no estimation by the card-players of America, who continue
to prefer those of the old pattern.&mdash;The chief town in
America for the manufacture of cards is Boston; whose
discreet, meeting-going people seem to have no objection to
make a profit by supplying the profane with the instruments
of perdition.</p>

<p>No cards of an "instructive" character have ever obtained
popularity amongst regular card-players; for when people
sit down to play at cards they do not like to have their
attention withdrawn from the game by the historical or
biographical reminiscences suggested by Coat cards, either
containing portraits of distinguished characters, or commemorating
remarkable events; and least of all can they bear
that the heads of a sermon or moral lecture should be presented
to them in the shape of the four cardinal virtues;
which are just as appropriate in a pack of cards as they
would be on the proscenium of her Majesty's Theatre.</p>

<p>The best of the costume cards that I have seen are those
designed by Armand Houbigant, a French artist, who
named them "Cartes Royales," and obtained from Louis
XVIII, a license to manufacture them for general use, in
1818. They did not, however, acquire any vogue, and are
now seldom to be met with, except in the collections of
amateurs of prints. The coat cards, which are etched, and
delicately coloured by hand, display the costume of the
French Court at four different periods. The characters
represented are as follows.</p>

<p><i>Spades.</i> King, <span class="smcap">Charlemagne</span>, "Carolus Magnus;"
<span class="pagenum"><a name="Page_258" id="Page_258">[Pg 258]</a></span>
crowned, and seated on a throne, with a globe in the right
hand, and a long sceptre in the left.&mdash;Queen, <span class="smcap">Hildegarde</span>,
second wife of Charlemagne; erect, crowned, and holding
a book in her hands.&mdash;Knave, <span class="smcap">Roland</span>, described in
romances as the nephew of Charlemagne; and said to have
been killed at the battle of Roncevalles in 778; holding
a spear and shield, and clothed in armour, which appears
rather to belong to the sixteenth century than to the time
of Charlemagne.</p>

<p><i>Diamonds.</i> King, Louis IX, "Sainct Loys;" crowned,
seated on a throne, wearing a blue robe powdered with
fleurs-de-lis, and having a sceptre in his left hand.&mdash;Queen,
<span class="smcap">Blanche de Castille</span>, wife of Louis VIII, and mother of
St. Louis; erect, crowned, and holding a rosary in her
right hand.&mdash;Knave, <span class="smcap">Sire de Joinville</span>, the biographer of
Louis IX, and one of the nobles of his court; clothed in
chain-mail, over which is a surcoat of arms.</p>

<p><i>Clubs.</i> King, <span class="smcap">Francis I</span>; seated, wearing the broad
bonnet in which he is usually represented, and holding a
sceptre.&mdash;Queen, <span class="smcap">Marguerite de Valois</span>, Queen of
Navarre, sister of Francis I; erect, holding a rose in her
right hand.&mdash;Knave, <span class="smcap">Bayard</span>; in plate-armour, leaning on
a kind of pedestal on which is inscribed "<i>Sans peur, sans
reproche</i>."</p>

<p><i>Hearts.</i> King, <span class="smcap">Henry IV</span>; seated, holding a sceptre,
and wearing the characteristic hat and feather which, in
modern times, are designated by his name.&mdash;Queen, <span class="smcap">Jeanne
d'Albret</span>, mother of Henry IV; erect, holding a fan in her
right hand.&mdash;Knave, <span class="smcap">Sully</span>; bald and bearded, as he is
usually represented in engravings, holding in his right hand
a paper inscribed "<i>Economie Roy</i>.
<a name="FNanchor_301_301" id="FNanchor_301_301"></a>
<a href="#Footnote_301_301" class="fnanchor">[301]</a> ..."</p>

<p><span class="pagenum"><a name="Page_259" id="Page_259">[Pg 259]</a></span></p>

<p>A set of Picture Cards, published by Cotta, the bookseller
of Tubingen, in one of his Card Almanacs&mdash;'Karten
Almanach'&mdash;is noticed by Mons. Peignot. The
designer has chosen for the coat cards the principal characters
in Schiller's Joan of Arc, and has clothed them, as well
as he could, in the costume of the period. The King of
Hearts is <span class="smcap">Charles VII</span>;
the Queen, <span class="smcap">Isabella of Bavaria</span>;
the Knave, <span class="smcap">La Hire</span>.&mdash;The King of
Clubs is the English
commander, <span class="smcap">Talbot</span>, dying; the Queen,
<span class="smcap">Joan of Arc</span>;
the Knave, <span class="smcap">Lionel</span>, taking away the
sword of <span class="smcap">Joan of Arc</span>.&mdash;The
King of Diamonds is <span class="smcap">Philip, Duke of Burgundy</span>;
the Queen, <span class="smcap">Agnes Sorel</span>; the Knave,
<span class="smcap">Raimond</span>, a villager.&mdash;The
King of Clubs is <span class="smcap">Réné of Anjou</span>, with the crown
of Sicily at his feet; the Queen, <span class="smcap">Louise</span>, sister of Joan of
Arc; and the Knave, <span class="smcap">Montgomery</span>, on his knees, and
weeping. The low cards from 1 to 10 also contain fanciful
designs; but with the subjects so arranged that the numbers
and marks of the suits can be readily distinguished. The
subject of the Four of Clubs is an illustration of Burger's
ballad of Leonore&mdash;Death armed, and mounted on horseback,
appears to be threatening with his dart a young
woman who rides behind him; the scene is laid in a churchyard,
and a skeleton appears crawling towards an open
grave. The mark of the suit is seen on four crosses in the
churchyard. Cotta's Card Almanack first appeared in
1806, and was continued for several years. It was published
as a small pocket volume of a square form; and the
illustrations consisted entirely of fanciful cards,&mdash;the mark
of the suit being always introduced into each subject,
<span class="pagenum"><a name="Page_260" id="Page_260">[Pg 260]</a></span>
either by hook or by crook. The designs for the cards in
the first four volumes, from 1806 to 1809 inclusive, are
said to have been made by a lady.&mdash;Numerous packs of
fancy cards have appeared in Germany since the commencement
of the present century; some displaying costume,
ancient and modern; some representing eminent characters,
and others devoted to the illustration of trades and professions.
In one of them, published at Frankfort-on-the-Maine,
in 1815, in memory of the principal military events
of 1813-14, the Duke of Wellington figures as the Knave
of Diamonds, and Marshal Blucher as the Knave of
Clubs.</p>

<p>In 1811 two different packs of caricature cards, imitated,
or rather adapted, from the picture-cards in Cotta's Almanack,
appeared in England. The one was published by S. and J.
Fuller, Rathbone place, London; and the other, by Jones,
at the Repository of Arts, Market hill, Cambridge. Neither
of those packs was intended for the purposes of play.
They have very much the appearance of having been designed
by the same artist. On the wrapper of both packs
the inscription is the same: "<span class="smcap">Metastasis</span>. Transformation
of Playing-cards."&mdash;A set of costume cards was published
by Ackermann, in the 'Repository of Arts,' in 1806: a
particular description of them would be just as interesting
as a description of the plates in 'La Belle Assemblée' of the
same period.</p>

<p>A pack of cards published by Baker and Co., in 1813,
requires more particular notice. On the wrapper they are
entitled "Eclectic Cards;" and in a pamphlet giving an
account of them, they are announced as "Complete, Grand,
Historical, Eclectic Cards, for England, Ireland, Scotland,
and Wales; being a Selection or an Eclectic Company of
Twelve of the most eminent Personages, that ever distinguished
themselves in those respective Countries, for Heroic
<span class="pagenum"><a name="Page_261" id="Page_261">[Pg 261]</a></span>
deeds, Wisdom, &amp;c. And the other Forty Cards descriptive
of the Local and National Emblems of the Four
Nations.</p>

<div class="poetry-container">
  <div class="poetry">
      <div class="verse">"Historian, Poet, Painter, all combine,</div>
      <div class="verse indent-2_6">To charm the eye, the taste and mind refine;</div>
      <div class="verse indent-2_6">Fancy and sentiment their aid impart,</div>
      <div class="verse indent-2_6">To raise the genius, and to mend the heart."</div>
  </div>
</div>

<div class="figcenter bord"><a name="i_334.jpg" id="i_334.jpg"></a>
  <img src="images/i_334.jpg"
      alt="Real Spata" />
</div>

<p>These cards, which are considerably larger than those in
common use, display considerable skill and fancy in the
designs, and are beautifully coloured. Hearts and Diamonds
are retained as marks of two of the suits; but Acorns are
substituted for Clubs; and instead of Spades there is a
"true representation of the real Spata, which is not a coal-heaver's
spade, but a two-edged heavy sword, without a
point, as used by the ancient Britons to fight with; cut,
hew, and slash down, either enemy or tree. So says our
ancient history." A fac-simile of this formidable
weapon is here subjoined, in order that the
reader may judge for himself of its peculiar
fitness for cutting, hewing, or slashing down.
It has very much the appearance of a heavy
cast-metal article, new from the Carron foundry,
and of modern Gothic design. In the descriptive
pamphlet, the coat cards are thus
explained:</p>

<p class="center">"FOR ENGLAND.</p>

<p><i>King of Clubs.</i>&mdash;Arthur, the Great and Victorious Hero,
King of Britain.</p>

<p><i>Queen of Clubs.</i>&mdash;Elizabeth, the Wise and Virtuous Queen
of England.</p>

<p><span class="pagenum"><a name="Page_262" id="Page_262">[Pg 262]</a></span></p>

<p><i>Knight of Clubs.</i>&mdash;Sir John Falstaff, the Facetious Knight,
and companion of Henry V, Knight of England.</p>


<p class="center p1">FOR IRELAND.</p>

<p><i>King of Hearts.</i>&mdash;Gathelus, the Grecian Prince, King of
Ireland.</p>

<p><i>Queen of Hearts.</i>&mdash;Scotia, his Wife, the Egyptian Princess,
Queen of Ireland.</p>

<p><i>Knight of Hearts.</i>&mdash;Ossian, the Warrior and Poet, Son
of Fingal, Knight of Ireland.</p>


<p class="center p1">FOR SCOTLAND.</p>

<p><i>King of Diamonds.</i>&mdash;Achaius, the fortunate Contemporary,
and in alliance with Charlemagne, King of Scots.</p>

<p><i>Queen of Diamonds.</i>&mdash;Mary Stuart, the unfortunate
Dowager Queen of France, and Queen of Scots.</p>

<p><i>Knight of Diamonds.</i>&mdash;Merlin, the Magic Prophet,
Cabinet Counsellor to Vortigern, Aurelius Ambrosius, Uter
Pendragon, the Father of King Arthur, and to King Arthur,
who was his Pupil, Knight of Scotland.</p>


<p class="center p1">FOR WALES.</p>

<p><i>King of Spata.</i>&mdash;Camber, the third Son of Brute, King
of Cambria.</p>

<p><i>Queen of Spata.</i>&mdash;Elfrida, the beautiful Queen of Mona,
and of the Mountains.</p>

<p><i>Knight of Spata.</i>&mdash;Thaliessin, the Welch Bard and Poet,
dressed like a Herald or King at Arms of the Divine and
Ancient Druids, as he sang to King Henry II of the great
deeds of Arthur, the justly termed hero of the British Isle,
Knight of Cambria."</p>

<p>"In the selection which we have made," say the proprietors,
"to form our set of court cards, we have chosen
them from among those characters who have rendered
themselves most conspicuous in the history of the United
Kingdom. In this particular, we have had recourse not
only to historical truth, which we have rigidly observed,
but we have taken care to fix upon personages, who lived
at different periods, and which are calculated in colour,
<span class="pagenum"><a name="Page_263" id="Page_263">[Pg 263]</a></span>
variety of dress, and characteristic features, to form an
agreeable and elegant contrast, and to avoid that unpleasant
monotony which must have taken place if they had all been
selected from the same period of time; and it will be a
peculiar gratification to us, in our attempts to form a set
of cards, should we contribute in the smallest degree, to
augment the elegant and rational amusements of taste and
fashion.</p>

<p>"Nor have we been inattentive to minor objects in our
anxiety to complete the plan. We believe it has never been
attempted to be explained why the coarse and vulgar appellation
of knave, was originally given to the card next in
degree to the queen. Perhaps the following demonstration
is the most plausible way in which it can be accounted for.
It was usual with kings in ancient times to choose some
ludicrous person, with whose ridiculous and comical tricks
they might be diverted in their hours of relaxation, from the
cares and formalities of royalty. This person was generally
chosen from among men of low condition, but not wholly
destitute of talent, particularly in that species of low cunning
and humour calculated to excite mirth and laughter, and the
tricks of knavery (in which he was allowed free indulgence
in the presence of the king), gave him the appellation of the
king's fool, or knave.</p>

<p>"Whether this explanation be really the origin from whence
the knave in the old cards is derived, may still remain undetermined,
but it appears to us the most rational way of
accounting for it. Nor is it indeed essential to our present
purpose; the name of knave in our opinion is vulgar, unmeaning,
and inconsistent, and being moreover absolutely
incompatible with the dignity of our characters, and the
uniformity of our plan, we have entirely rejected it, and substituted
a knight in its stead. This being a title of honour,
not only in immediate succession to that of king and queen,
<span class="pagenum"><a name="Page_264" id="Page_264">[Pg 264]</a></span>
but is ever considered as an honorable appendage to royalty
itself."</p>

<p>About 1819, a set of cleverly drawn satirical cards, with
the marks of the suits introduced in the same manner as
in Cotta's cards, appeared at Paris. Their satire is
directed against the political party then in the ascendant;
and in the Nine of Hearts, portraits of Chateaubriand and
other persons, both lay and clerical, are introduced as
advocates of the old order of things; in the background
are the ruins of the Bastille, and at the foot is the inscription,
"<i>Les Immobiles</i>." The coat cards of the suit of
<span class="smcap">Hearts</span> consist of figures representing three popular
journals: King, "<span class="smcap">Constitutionnel</span>,"&mdash;a figure in Roman
costume, with sword and shield, defending a column inscribed:
"<i>Charte constitutionnel. Liberté de la Presse.
Liberté Individuelle. Loi des Elections. Tolérance.</i>" Queen,
"<span class="smcap">Minerve</span>,"&mdash;Minerva putting to flight certain evil spirits
of the "Partie Prêtre."&mdash;Knave, "<span class="smcap">Figaro</span>,"&mdash;the character
in proper costume. The coat cards of <span class="smcap">Spades</span> are:
King, "<span class="smcap">Conservateur</span>,"&mdash;a Jesuit with a sword in one
hand, and a torch in the other. Queen, "<span class="smcap">Quotidienne</span>,"&mdash;an
old woman holding in her left hand a book inscribed,
"<i>Pensée Chrétienne quotidienne</i>;" and in her right an
extinguisher, which she is about to clap upon a figure of
Truth seen emerging from a well. Knave, "<span class="smcap">Bazile</span>,"&mdash;figure
of Chateaubriand, in clerical costume, but concealing
a Jesuit's cap under his robe; beside him is a braying ass,
on its knees. <span class="smcap">Clubs</span>: King, "<span class="smcap">Débats</span>,"&mdash;the Editor
endeavouring to carry two large bags, the one inscribed,
"<i>Débats</i>" and the other "<i>Empire</i>:" in the distance, two
asses mutually caressing each other. Queen, "<span class="smcap">Gazette</span>,"&mdash;a
hard-featured old lady, with a pen in her hand, at a writing
table: near to her a magpie in a cage. Knave, "<span class="smcap">Clopineau</span>,"&mdash;the
figure of Talleyrand; towards the top are the signs
<span class="pagenum"><a name="Page_265" id="Page_265">[Pg 265]</a></span>
of the political zodiac which he had already passed through.
In the only pack which I have had an opportunity of examining,
the Queen of <span class="smcap">Diamonds</span> is wanting. The representative
of the King is the "<span class="smcap">Moniteur</span>,"&mdash;a brazen head
on a kind of pedestal, round which are stuck flags of various
colours, indicative of the different parties whose cause the
paper had advocated. Knave, "<span class="smcap">Don Quichotte</span>,"&mdash;the
Don, with shield and lance, attacking a windmill: the person
intended by this figure I have not been able to discover.
<a name="FNanchor_302_302" id="FNanchor_302_302"></a>
<a href="#Footnote_302_302" class="fnanchor">[302]</a></p>

<p>With respect to the common names of the first three
numeral cards,&mdash;Ace, Deuce, and Tray,&mdash;it may be observed
that the term Ace or As is common in almost every country
in Europe as the designation of the One at cards;
<a name="FNanchor_303_303" id="FNanchor_303_303"></a>
<a href="#Footnote_303_303" class="fnanchor">[303]</a> and that
the terms Deuce and Tray, signifying Two and Three, may
have been derived either from the Spanish <i>Dos</i> and <i>Tres</i>,
<span class="pagenum"><a name="Page_266" id="Page_266">[Pg 266]</a></span>
or from the French <i>Deux</i> and <i>Trois</i>. The Deuce of cards,
it may be observed, has no connexion with the term Deuce
as used in the familiar expression "to play the Deuce;" in
which it is synonymous with the Devil, or an evil spirit, and
is of Northern origin. In some parts of the country, the
Deuce, though lower in value, is considered to be a more
fortunate card than the Tray; and "There's luck in the
Deuce, but none in the Tray," is a frequent expression
amongst old card-players, who like to enliven the game
with an occasional remark as they lay down a card. In
Northumberland, the Four of Hearts at Whist is sometimes
called "Hob Collingwood,"
<a name="FNanchor_304_304" id="FNanchor_304_304"></a>
<a href="#Footnote_304_304" class="fnanchor">[304]</a>
and is considered by old ladies
an unlucky card. As far as memory can trace, according
to Captain Chamier, in his novel entitled the 'Arethusa,'
the Four of Clubs has been called by sailors the "devil's
bedpost." In Northamptonshire, according to a writer in
the 'Gentleman's Magazine,' 1791 (p. 141), the Queen of
Clubs is called "Queen Bess," and the Four of Spades,
"Ned Stokes."<a name="FNanchor_305_305" id="FNanchor_305_305"></a>
<a href="#Footnote_305_305" class="fnanchor">[305]</a></p>

<p>In various parts of Ireland, but more particularly in the
county of Kilkenny, the Six of Hearts is known by the
name of "Grace's card;" and it is said to have acquired
that name from the following circumstance. A gentleman
of the name of Grace, being solicited, with promises of
royal favour, to espouse the cause of William III, gave the
following answer, written on the back of the Six of Hearts,
to an emissary of Marshal Schomberg's, who had been
commissioned to make the proposal to him:&mdash;"Tell your
master I despise his offer; and that honour and conscience
are dearer to a gentleman than all the wealth and titles a
prince can bestow."</p>

<p>The Nine of Diamonds is frequently called the "Curse
<span class="pagenum"><a name="Page_267" id="Page_267">[Pg 267]</a></span>
of Scotland;" and the common tradition is that it obtained
this name in consequence of the Duke of Cumberland
having written his sanguinary orders for military execution,
after the battle of Culloden, on the back of a Nine of
Diamonds. This card, however, appears to have been
known in the North as the "Curse of Scotland" many
years before the battle of Culloden; for Dr. Houstoun,
speaking of the state of parties in Scotland shortly after
the rebellion of 1715, says that the Lord Justice-Clerk
Ormistone, who had been very zealous in suppressing the
rebellion, and oppressing the rebels, "became universally
hated in Scotland, where they called him the Curse of
Scotland; and when the ladies were at cards playing the
Nine of Diamonds, (commonly called the Curse of Scotland)
they called it the Justice Clerk."
<a name="FNanchor_306_306" id="FNanchor_306_306"></a>
<a href="#Footnote_306_306" class="fnanchor">[306]</a></p>

<p>In the 'Gentleman's Magazine' for 1786, a correspondent
offers the following heraldic conjecture on the subject.
"There is a common expression made use of at cards, which
I have never heard any explanation of. I mean the Nine
of Diamonds being called the Curse of Scotland. Looking
lately over a book of heraldry, I found nine diamonds, or
lozenges, conjoined,&mdash;or, in the heraldic language, Gules, a
cross of lozenges,&mdash;to be the arms of Packer. Colonel
Packer appears to have been one of the persons who was
on the scaffold when Charles the First was beheaded, and
afterwards commanded in Scotland, and is recorded to have
acted in his command with considerable severity. It is
possible that his arms might, by a very easy metonymy, be
called the Curse of Scotland; and the Nine of Diamonds, at
cards, being very similar, in figure, to them, might have
ever since retained the appellation." Another correspondent
says that he has always understood that the application of
<span class="pagenum"><a name="Page_268" id="Page_268">[Pg 268]</a></span>
the expression, "the Curse of Scotland," to the nine of
diamonds was not earlier than the year 1707; and that he
thinks it more probable that the nine lozenges in the arms
of the Earl of Stair, who made the Union, should have given
rise to the phrase, than the arms of Packer. In the same
Magazine, for 1788, we have "One more conjecture concerning
the Nine of Diamonds." It is syllogistic in form,
and appears to have been intended as a clinch to the
controversy.<a name="FNanchor_307_307" id="FNanchor_307_307"></a>
<a href="#Footnote_307_307" class="fnanchor">[307]</a>
"The Curse of Scotland must be something
which that nation hate and detest; but the Scots hold in
the utmost detestation the Pope; at the game of Pope Joan,
the Nine of Diamonds is Pope; therefore the Nine of
Diamonds is the Curse of Scotland. <span class="smcap">Q. E. D.</span>"</p>

<p>In the 'Oracle, or Resolver of Questions,' a duodecimo
volume, printed about 1770, the following solution is given,
which is perhaps as near the truth as any of the preceding
conjectures. "<i>Q.</i> Pray why is the Nine of Diamonds called
the Curse of Scotland? <i>A.</i> Because the crown of Scotland
had but nine diamonds in it, and they were never able to
get a tenth."</p>

<p>The word Trump, signifying a card of the suit which has
the superiority at certain games, such superiority being
determined by hazard, is derived either from the French
<i>Triomphe</i>, or the Spanish <i>Triunfo</i>: at cards, these words
have precisely the same meaning as the English Trump.
<a name="FNanchor_308_308" id="FNanchor_308_308"></a>
<a href="#Footnote_308_308" class="fnanchor">[308]</a>
With the French, <i>Triomphe</i> is also the name of a game at
cards; and in England the old game of Ruff seems also to
<span class="pagenum"><a name="Page_269" id="Page_269">[Pg 269]</a></span>
have been called Trump or Triumph.
<a name="FNanchor_309_309" id="FNanchor_309_309"></a>
<a href="#Footnote_309_309" class="fnanchor">[309]</a> At Gleek, the Ace
was called <i>Tib</i>; the Knave, <i>Tom</i>; and the Four, <i>Tiddy</i>.
The Five and Six appear to have been respectively called
<i>Towser</i> and <i>Tumbler</i>, and to have counted double when
turned up. At All-Fours, the Knave appears in his proper
character of <span class="smcap">Jack</span>,&mdash;a serving-man, not a cheat, or rogue.</p>

<p>At certain games the Knave of Clubs is called <span class="smcap">Pam</span>.
A few years ago the name was applied to the celebrated
public character whom Byron is supposed to have designated
as "a moral chimney-sweep," in one of the cantos of
Don Juan.<a name="FNanchor_310_310" id="FNanchor_310_310"></a>
<a href="#Footnote_310_310" class="fnanchor">[310]</a>
Most of the terms in the game of Ombre
are Spanish.</p>

<p>Formerly a pack of cards was usually called a "Pair of
cards;" and it appears deserving of remark, that the Italians
use the word <i>Pajo</i>, which properly signifies a pair, in precisely
the same sense when applied to a pack of cards,&mdash;<i>Pajo
di carte</i>. In the time of Queen Elizabeth a pack of
cards appears to have been sometimes called a bunch. In
the time of Charles II the term "Pair of Cards" fell into
disuse; and perhaps one of the latest instances of its employment,
is to be found in Poor Robin's Almanac for 1684,
under the month December, where the writer, in his introductory
verses, laments the decline of good housekeeping in
the houses of the rich:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"The kitchen that a-cold may be,</div>
  <div class="verse indent-2_6">For little fire you in it may see.</div>
  <div class="verse indent-2_6">Perhaps a pair of cards is going,</div>
  <div class="verse indent-2_6">And that's the chiefest matter doing."</div>
  </div>
</div>

<p>The French call a pack of cards "<i>Un Jeu de cartes</i>,"&mdash;a
<span class="pagenum"><a name="Page_270" id="Page_270">[Pg 270]</a></span>
game, or play of cards; and the German name, "<i>Ein Spiel
Karten</i>" has the same literal meaning as the French.</p>

<p>As the object of this work is not to teach people how to
play at cards, those who wish for information, with respect
to the different games, are referred to Cotton's 'Complete
Gamester,' Seymour, Hoyle, and the Académie des Jeux,&mdash;taking
with them this piece of advice:</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"He who hopes at Cards to win,</div>
  <div class="verse indent-2_6">Must never think that cheating's sin;</div>
  <div class="verse indent-2_6">To make a trick whene'er he can,</div>
  <div class="verse indent-2_6">No matter <i>how</i>, should be his plan.</div>
  <div class="verse indent-2_6">No case of conscience must he make,</div>
  <div class="verse indent-2_6">Except how he may save his stake;</div>
  <div class="verse indent-2_6">The only object of his prayers,&mdash;</div>
  <div class="verse indent-2_6">Not to be caught, and kicked down stairs."<a name="FNanchor_311_311" id="FNanchor_311_311"></a><a href="#Footnote_311_311" class="fnanchor">[311]</a></div>
  </div>
</div>

<p>With respect to the manufacture of cards, it would appear
to have been a regular business, both in Germany and Italy,
about 1420; but, though it has generally been asserted that
the earliest cards for common use were engraved on wood,
there is yet reason to believe that they were at first executed
by means of a stencil; and that the method of engraving the
outlines on wood was of subsequent introduction. However
this may be, it is certain that the art of wood-engraving was
at an early period applied to the manufacture of cards, and
that in Germany, in the latter quarter of the fifteenth century,
the term <i>Briefdrucker</i>, or <i>Briefmaler</i>,&mdash;card-printer,
or card-painter&mdash;was commonly used to signify a wood-engraver.
From the importation of playing cards into
England being prohibited by an act of parliament in 1463,
as injurious to the interests of native tradesmen and manufacturers,
it might be concluded that at that time the
<span class="pagenum"><a name="Page_271" id="Page_271">[Pg 271]</a></span>
manufacture of cards was established in this country. No
cards, however, of undoubted English manufacture of so early
a date have yet been discovered. In the sixteenth century,
there is reason to believe that most of the cards used in
England were imported either from France, or the Netherlands.
In the reign of Elizabeth the importation of cards
was a monopoly;<a name="FNanchor_312_312" id="FNanchor_312_312"></a>
<a href="#Footnote_312_312" class="fnanchor">[312]</a>
but from the time of her successor James I,
it would appear that most of the cards used in this country
were of home manufacture. From the reign of Charles II
to the present time, cards have, either directly or indirectly,
been subject to a duty.</p>

<p>In France, by an ordonnance dated 21st February,
1581, a tax of "<i>un ecu sou</i>" was ordered to be paid
upon each bale of cards of two hundred pounds weight
intended for exportation; and, by an ordonnance of the
22d May, 1583, a tax of "<i>un sou parisis</i>" was laid upon
each pack of cards intended for home use. By an ordonnance
of the 14th January, 1605, the exportation of cards
was prohibited; but, as a compensation to the manufacturers,
the duty on cards for home consumption was reduced.
As the collection of the duties was rendered difficult in consequence
of the manufacturers residing in so many different
places, it was, at the same time, determined that the only
places where the manufacture of cards might be carried on,
should be Paris, Rouen, Lyons, Toulouse, Troyes, Limoges,
and Thiers in Auvergne. Shortly afterwards, the same
privilege was accorded to Orleans, Angers, Romans, and
Marseilles; and, by way of recompense to other places, it
was determined that the tax should be expended in the
encouragement of manufactures. Louis XV, having established
<span class="pagenum"><a name="Page_272" id="Page_272">[Pg 272]</a></span>
the Ecole Militaire, in 1751, ordered that the money
raised by the tax on cards, should be applied to its support.
The company, or guild, of card-makers of Paris was suppressed
in 1776, but re-established a few months afterwards.
The period of their first establishment appears to
be unknown. In their statutes of the year 1594, they call
themselves <i>Tarotiers</i>.
<a name="FNanchor_313_313" id="FNanchor_313_313">
</a><a href="#Footnote_313_313" class="fnanchor">[313]</a>
In Russia, at the present day, the
manufacture of cards is a royal monopoly. A few months
ago a paragraph appeared in the Literary Gazette, stating
that though 14,400 packs were manufactured daily, yet the
supply was unequal to the demand, and that a petition had
been presented to the emperor praying for a more liberal
issue. In Mexico a considerable revenue was derived from
a tax on cards; and it would appear to be still productive,
notwithstanding the unsettled state of the country, as it is
one of those which have been appropriated, <i>ad interim</i>, by
the American commander-in-chief.</p>

<p>Most of the cards engraved on copper are merely "cartes
de fantaisie," designed rather for the entertainment of the
more wealthy classes, than for the ordinary purposes of play.
Until a comparatively recent period the coat cards, after
having been printed in outline from wood blocks, were
coloured by means of stencils; but at present, in this
country, the colours are all applied by means of the press.
The following account of the manner of making cards at the
manufactory of Messrs. De La Rue and Company, of
London, is extracted from Bradshaw's Journal, No. 24,
16th April, 1842.</p>

<p>"The first object that engages our attention, is the preparation
of the paper intended to be formed into cards.
It is found that ordinary paper, when submitted to pressure,
<span class="pagenum"><a name="Page_273" id="Page_273">[Pg 273]</a></span>
acquires a certain degree of polish, but not sufficient for
playing-cards of the finest quality. In order therefore that
it may admit of the high finish which is afterwards imparted,
the paper is prepared by a white enamel colour, consisting
of animal size and other compounds. This substance, which
renders the paper impermeable to the atmosphere, is laid on by
a large brush, and left to dry by exposure to the atmosphere.</p>

<p>"The paper being ready for use, we proceed to explain
the printing of the fronts of the cards, which are technically
distinguished as <i>pips</i> and <i>têtes</i>.</p>

<p>"To commence with the simpler, the <i>pips</i> (i.e. the hearts,
diamonds, spades, and clubs:)&mdash;sets of blocks are produced,
each containing forty engravings of one card; and as the
ordinary method of letterpress printing is employed, forty
impressions of one card are obtained at the same moment.
As the pips bear but one colour, black or red, they are
worked together at the hand-press, or at one of Cowper's
steam printing machines.</p>

<p>"For the têtes, however (i.e. the court cards), which, with
the outline, contain five colours&mdash;dark blue, light blue,
black, red, and yellow,&mdash;a somewhat different contrivance
is employed. The colours are printed separately, and are
made to fit into each other with great nicety, in the same
manner as in printing silks or paper-hangings. For this
purpose a series of blocks are provided, which, if united,
would form the figure intended to be produced. By printing
successively from these blocks, the different colours fall into
their proper places, until the whole process is completed.
Great care is of course necessary in causing each coloured
impression to fit in its proper place, so that it may neither
overlap another, nor leave any part imprinted upon; but as
the hand-press is employed, the workman is enabled to keep
each colour in <i>register</i> by means of points in the tympan of
the press or on the engraving.</p>

<p><span class="pagenum"><a name="Page_274" id="Page_274">[Pg 274]</a></span></p>
<p>"The whole operation of printing at the press being completed,
the sheets are next carried to drying-rooms, heated
to about 80° Fahrenheit, and are allowed to remain there
three or four days, in order to fix the colours.</p>

<p>"The successful printing of playing-cards greatly depends
upon the quality of the inks which are employed. The
common printing ink, even after the lapse of years, is liable
to slur or smutch. In the manufacture of playing-cards,
such inks only must be used as will bear the friction to
which the cards are subjected in the process of polishing, as
well as in passing between the fingers of the players. The
colours employed by the Messrs. De La Rue are prepared
from the best French lamp-black, or Chinese vermilion,
ground in oil;&mdash;this is effected by a machine, consisting of
cylinders revolving at regulated speeds, by which any defects
from the inattention of the workman, in grinding by hand,
are avoided. These colours are now brought to such perfection,
that the card itself is not more durable than the
impression on its surface.</p>

<p>"The paper intended for the <i>backs</i>, being previously prepared
with the colour desired, in the same manner as the
<i>fronts</i>, is printed in various devices at the hand-press or
steam-machine. The <i>plaid</i> or <i>tartan</i> backs are produced
from a block engraved with straight lines, and printed in
one colour, which is afterwards crossed with the same or
any other colour, by again laying the sheet on the block, so
that the first lines cross the second printing at any required
angle. A variety of other devices are obtained from
appropriate blocks; and some, like the court cards, and by
the same process, are printed in a number of colours.</p>

<p>"In printing <i>gold backs</i>, size is substituted for ink; the
face of the card is then powdered over with bronze dust,
and rubbed over with a soft cotton or woollen dabber, by
which the bronze is made to adhere to those parts only
<span class="pagenum"><a name="Page_275" id="Page_275">[Pg 275]</a></span>
which have received the size. The printing of gold backs
is usually executed after the card is pasted, but we have
described the process here for the sake of convenience.</p>

<p>"As connected with the printing of backs, we may mention
that the Messrs. De La Rue have lately taken out a patent
for printing from woven wire, from which some highly
beautiful patterns are obtained, bearing, of course, a perfect
resemblance to the woven fabric. The wire when prepared
for printing, is merely fastened at the ends by two pieces of
wood, and stretched over a cast-iron block, on which it is
fixed by means of screws passing through the wood into the
iron. The variety of these patterns is very great; the
printing is effected in the ordinary manner.</p>

<p>"Hitherto we have been referring to printed <i>sheets of
paper</i>, which are either the size of double or single foolscap;
the next object, therefore, is the conversion of these sheets
into card-boards of the usual thickness. In France the card
generally consists of two sheets of paper; but in England a
more substantial article is demanded; it is generally four
sheets thick, that is, the foreside and the back, and two
inside leaves of an inferior description.</p>

<p>"In order to make a firm and smooth card, it is first
necessary to obtain a paste of an equable well-mixed substance.
A paste of this quality is produced from flour and
water, mixed together, and heated to the boiling point, in
a forty-gallon copper, by steam; which is made to pass into
the interstices between the copper and an external casing
of cast-iron, of the same shape as the boiler. By employing
steam, instead of fire, the paste is not liable to burn, or
adhere to the sides of the copper, and thus become deteriorated
in its colour and quality.</p>

<p>"Previous to the commencement of pasting, it is necessary
that the sheets be arranged in the order in which they
are to be pasted. This operation is termed <i>mingling</i>. The
<span class="pagenum"><a name="Page_276" id="Page_276">[Pg 276]</a></span>
<i>insides</i>, which are merely two sheets of paper pasted together,
are placed between the foresides and backs, so that
the paste may take them up without the possibility of error.
A heap of paper so pasted will therefore uniformly consist
of the foreside and back, between which, the inside, pasted
on each side, is placed.</p>

<p>"The paste is laid on by means of a large brush, resembling
the head of a hair-broom, with which the workman,
by a series of systematic circular movements, distributes a
thin coat. And by way of illustration of the long practice
and manual dexterity which are necessary for perfection in
even the simplest departments of art or labour, it may be
worthy of notice that card-pasting is in itself a branch of
labour, and that three or four years' practice is necessary to
render the operator complete master of his business.</p>

<p>"These newly-pasted cards are then, in quantities of
four or five reams at a time, subjected to the gradual but
powerful pressure of a hydraulic press of one hundred tons,
worked by a steam-engine. By this means the water in
the paste exudes, and the air between the leaves is expelled,
which would otherwise remain, and give the card a blistered
appearance.</p>

<p>"After remaining a short time in the press, they are
hung up on lines to dry; and to prevent, as much as
possible, their warping while in this limpid state, small
pins or wires are passed through the corners, and are then
dexterously bent over the lines in the drying-room.</p>

<p>"The card-boards, after thus drying, are subjected to
the pressure and friction of a brush-cylinder,&mdash;the face of
which is covered with short thickset bristles, which not
merely polish the surface, but even penetrate into the interstices.
At this stage of the manufacture, cards of a superior
description are waterproofed on the back with a varnish
prepared for the purpose, so that they may not be marked
<span class="pagenum"><a name="Page_277" id="Page_277">[Pg 277]</a></span>
by the fingers in dealing. When so prepared, they will
keep perfectly clean, and may even be washed, without
injuring the impression or softening the card.</p>

<p>"In continuation of the process of polishing, the card-boards
are passed between revolving rollers of moderate
warmth, one being of iron, the other of paper cut edge-ways;
they are next subjected to two bright iron-faced
rollers; and finally, to the number of ten or fifteen at a
time, they are interleaved with thin sheets of copper, and
effectually milled by being passed about a dozen times
between two large and powerful cylinders. After being
thus thoroughly polished, for the purpose of being flattened
they are subjected to the pressure of a hydrostatic press of
eight hundred tons, worked by steam.</p>

<p>"It may appear surprising that so much labour and
machinery, and such circuitous means&mdash;requiring the operation
of four distinct cylindrical machines, as well as a
hydraulic press, all worked by steam,&mdash;should be required
for effecting an object apparently so simple as that of
polishing and flattening a card-board. It is, however,
found that this end cannot be attained in a more expeditious
manner, but that the means adopted must be gradual,
though increasingly powerful in their different stages.</p>

<p>"The boards being printed and pasted, polished and
flattened, are next cut up into single cards. The apparatus
by which this is effected, and by which perfect exactness
in the size of the cards is preserved, may be briefly described
as a pair of scissors from two to three feet long, one blade
of which is permanently fixed on the table. The card-board,
being placed upon the bench, is slipped between the
blades of the scissors, and pushed up to a screw-gauge
adjusted to the requisite width; the moveable blade, by
being then closed, cuts the card-board into eight narrow
slips, called <i>traverses</i>, each containing five cards. These
<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span>
<i>traverses</i> then undergo a similar operation at a smaller pair
of gauge-scissors, where they are cut up into single cards,
to the amount of thirty thousand daily.</p>

<p>"All that now remains is the making-up into packs.
After assorting the cards, the workman begins by laying
out on a long table a given number (say two hundred) at
one time; he then covers these with another suit, and so on
consecutively until he has laid out all the cards that constitute
a pack; so that by this operation two hundred packs
are completed almost simultaneously. The best cards are
called Moguls, the others Harrys, and Highlanders,&mdash;the
inferior cards consist of those which have any imperfection
in the impression, or any marks or specks on the surface.</p>

<p>"It may be necessary to remark that the Aces of Spades
are printed at the Stamp Office, whether the cards be for
exportation or for the home market,&mdash;the paper for printing
being sent to the Stamp Office by the maker; and an
account of the number of aces furnished by the Stamp
Office is kept by the authorities. Before cards are delivered
by the manufacturer an officer is sent to seal them, and a
duty of a shilling per pack is paid monthly for those that
are sold for home consumption. But as they are not liable
to duty when intended for exportation, the card-maker
enters into a bond that they shall be duly shipped, and an
officer is sent to see them put into the case, and to seal
it up."</p>


<div class="footnotes"><h3>FOOTNOTES:</h3>

<p class="footnote"><a name="Footnote_220_220" id="Footnote_220_220">
</a><a href="#FNanchor_220_220"><span class="label">[220]</span></a>
He says that the name is pure Egyptian, and that it is composed of the
word <span class="smcap">Tar</span>, signifying road, way; and the
word <span class="smcap">Ro</span>, <span class="smcap">Ros</span>,
<span class="smcap">Rog</span>, which means
royal: thus we have Tarog&mdash;Tarocchi&mdash;the Royal Road. By such a road as
this Mons. Court de Gebelin seems to have arrived at much of his "recondite
knowledge of things unknown."&mdash;See his Monde Primitif, huitième livraison,
Dissertations mêlées: "Du jeu de tarots, où l'on traite de son origine, où l'on
explique ses allégories, et où l'on fait voir qu'il est la source de nos cartes
modernes à jouer."&mdash;Tome i, pp. 365-94. 4to, Paris, 1781.</p>

<p class="footnote"><a name="Footnote_221_221" id="Footnote_221_221">
</a><a href="#FNanchor_221_221"><span class="label">[221]</span></a>
"Une dernière citation achevra de démontrer que les cartes et les naibi
sont bien la même chose; le Traité de Théologie de Saint Antoine, évêque de
Florence en 1457, porte: <i>Et idem videtur de chartis vel naibis</i>; et encore dans
un autre endroit du même ouvrage: <i>De factoribus et venditoribus alearum et
taxillarum et chartarum et naiborum</i>."&mdash;Précis Historique et Explicatif sur les
Cartes à jouer, prefixed to the specimens of cards published under the title of
'Jeux de Cartes Tarots et de Cartes Numérales,
du <span class="smcap">XIV</span><sup>me</sup>
au <span class="smcap">XVIII</span><sup>me</sup> Siècle,'
by the Society of Bibliophiles Français. Imperial 4to, Paris, 1844.</p>

<p class="footnote"><a name="Footnote_222_222" id="Footnote_222_222"></a>
<a href="#FNanchor_222_222"><span class="label">[222]</span></a>
The word Tarot has been supposed to be a corruption of Tarocchi. Cards
marked on the back with lines crossing lozenge-wise, and with little spots, are
called Cartes Tarotées; and in France card-makers appear to have been formerly
called Tarcotiers. Menestrier conceives that it was from these "lignes frettées
en forme de rezeuil" cards were named <i>Tarcuits</i>, and <i>Cartes Tarautées</i>. He
says that Tare,&mdash;<i>defaut</i>, <i>déchet</i>,
<i>tache</i>,&mdash;signifies properly a hole, <i>un trou</i>; and
he derives it from the Greek τερειν, to bore. From <i>Tare</i> he also derives <i>Tariff</i>,
a <i>ruled</i> book for entering the duties on goods. Mons. Duchesne says that
Tarot "vient en effet de l'Italien <i>tarrochio</i>, dont à la vérité nous ignorons encore
la signification."</p>

<p class="footnote"><a name="Footnote_223_223" id="Footnote_223_223"></a>
<a href="#FNanchor_223_223"><span class="label">[223]</span></a>
Mons. Duchesne thus accounts for those cards being called Atous: "Ces
cartes sont dites <i>a tutti</i>, à tous, c'est-à-dire supérieures à toute autre, et n'appartenant
à aucune couleur." In other games at cards, the French <i>Atout</i> has
the same meaning as the English <i>Trump</i>.</p>

<p class="footnote"><a name="Footnote_224_224" id="Footnote_224_224"></a>
<a href="#FNanchor_224_224"><span class="label">[224]</span></a>
The Empress is supposed to have been substituted for the Pope, who
occurs in the old series of figures assumed by M. Duchesne to have been the
original Tarocchi. In a similar manner, L'Amoureux is supposed to have been
substituted for Apollo; the Chariot for Mars; the Capuchin or Hermit for Saturn;
the Wheel of Fortune for Astrology; and Le Pendu for Prudence.</p>

<p class="footnote"><a name="Footnote_225_225" id="Footnote_225_225"></a>
<a href="#FNanchor_225_225"><span class="label">[225]</span></a>
The figures of two or three of the Atous are sometimes differently represented.
In a pack now before me, inscribed "Cartes des Suisses," manufactured
at Brussels, in No. 2, instead of Juno, there is a figure inscribed "Le 'Spagnol,
Capitano Eracasse;" in No. 5, Bacchus supplies the place of Jupiter; and
No. 16, which is inscribed "La Foudre," shows a tree struck by lightning, instead
of a tower. In this set, the Fou is numbered 22. Tarots are generally
about a fourth longer, and a little wider than English cards, and are usually
coarsely coloured.</p>

<p class="footnote"><a name="Footnote_226_226" id="Footnote_226_226"></a>
<a href="#FNanchor_226_226"><span class="label">[226]</span></a>
Memorie spettanti alla storià della Calcografia, dal conte Leopold Cicognara.
8vo, Prata, 1831.&mdash;Cited in Duchesne's Précis Historique sur les Cartes à
jouer, prefixed to the specimens of playing cards published by the Société des
Bibliophiles Français.</p>

<p class="footnote"><a name="Footnote_227_227" id="Footnote_227_227">
</a><a href="#FNanchor_227_227"><span class="label">[227]</span></a>
This book was written by the notorious Pietro Aretine. A second edition
was published in 1589, and a third in 1651. The title of the last is 'Le Carte
Parlanti; Dialogo di <span class="smcap">Partenio Etiro</span>; [the anagram of <span class="smcap">Pietro Aretine</span>] nel
quale si tratta del Giuoco con moralità piacevole.'</p>

<p class="footnote"><a name="Footnote_228_228" id="Footnote_228_228"></a>
<a href="#FNanchor_228_228"><span class="label">[228]</span></a>
Though Mons. Duchesne generally speaks of those cards as if it had been
positively ascertained that they were painted by Jacquemin Gringonneur, we
yet find the following salvo, in the Précis Historique: "Mais le fait de leur
haute destination à l'usage d'un roi, ne repose que sur des conjectures incertaines;
espérons qu'un jour quelque antiquaire favorisé par un heureux hasard aura peut-être
le bonheur de changer nos doutes en certitude."</p>

<p class="footnote"><a name="Footnote_229_229" id="Footnote_229_229"></a>
<a href="#FNanchor_229_229"><span class="label">[229]</span></a>
The Abbé's notice of those cards is by no means precise; and when he
speaks of the four monarchies contending with each other, it is evident that he
had either an imperfect recollection of them, or that he supposed some old
numeral cards, of four suits, to have belonged to the same series.&mdash;"J'ai vu
chez M. de Ganières un jeu de cartes (je ne sais s'il étoit complet) telles qu'elles
étoient dans leur origine. Il y avoit un pape, des empereurs, les quatre monarchies,
qui combattoient les uns contre les autres: ce qui a donné naissance
à nos quatre couleurs. Elles étoient longues de 7 à 8 pouces. C'est en Italie
que cette belle invention a pris naissance dans le XIV<sup>e</sup> siècle."&mdash;Longueruana,
tom, i, page 107.</p>

<p class="footnote"><a name="Footnote_230_230" id="Footnote_230_230"></a>
<a href="#FNanchor_230_230"><span class="label">[230]</span></a>
Materiali per servire alla storià dell' origine e de' progressi dell' incisione in
rame e in legno, col. da Pietro Zani. 8vo, Parma, 1802. The author's observations
relating to cards are to be found at pp. 78-84, and pp. 149-93.</p>

<p class="footnote"><a name="Footnote_231_231" id="Footnote_231_231"></a>
<a href="#FNanchor_231_231"><span class="label">[231]</span></a>
There was also a series of the same subjects engraved in the sixteenth
century.</p>

<p class="footnote"><a name="Footnote_232_232" id="Footnote_232_232"></a>
<a href="#FNanchor_232_232"><span class="label">[232]</span></a>
Bartsch, Peintre-Graveur, 8vo, Vienna, 1812.&mdash;His notices of old cards
are to be found in vol. x, pp. 70-120; and vol. xiii, pp. 120-38.</p>

<p class="footnote"><a name="Footnote_233_233" id="Footnote_233_233"></a>
<a href="#FNanchor_233_233"><span class="label">[233]</span></a>
"Singer fait remarquer, avec raison, qu'on n'a pas d'exemple de cartes à jouer
d'aussi grandes dimensions, qu'il n'y a ici des figures sans pièces numérales, et
que, d'ailleurs, les sujets ne sont pas ceux des tarots ordinaires. Il aurait pu
ajouter que des gravures exécutées avec tant de soins, que les chefs-d'œuvre
d'un art nouveau dont le premier mérite s'appréciait par la beauté de l'empreinte,
n'ont pu être destinés à recevoir l'enluminure qui entre essentiellement dans la
confection du jeu de cartes."&mdash;Etudes Historiques sur les Cartes à jouer, p. 18.</p>

<p class="footnote"><a name="Footnote_234_234" id="Footnote_234_234"></a>
<a href="#FNanchor_234_234"><span class="label">[234]</span></a>
Observations sur les Cartes à jouer.</p>

<p class="footnote"><a name="Footnote_235_235" id="Footnote_235_235"></a>
<a href="#FNanchor_235_235"><span class="label">[235]</span></a>
This subject is erroneously numbered, both in the Roman characters and in
the cyphers, as has been previously observed.</p>

<p class="footnote"><a name="Footnote_236_236" id="Footnote_236_236"></a>
<a href="#FNanchor_236_236"><span class="label">[236]</span></a>
These cards were exhibited to the Antiquarian Society by Dr. Stukeley, in
1763. They were purchased in 1776, by Mr. Tutet, and on his decease, they
were bought by Mr. Gough. In 1816 they were in the possession of Mr.
Triphook, the bookseller.</p>

<p class="footnote"><a name="Footnote_237_237" id="Footnote_237_237"></a>
<a href="#FNanchor_237_237"><span class="label">[237]</span></a>
Mons. Duchesne expresses himself on this subject, as follows: "Les enseignes
employées pour les couleurs out éprouvé beaucoup de variations: cœur, carreau,
trèfle et pique sont les plus répandues; mais, en Italie et en Espagne, elles
sont encore désignées par <i>coupes</i>, <i>deniers</i>, <i>bâtons</i>,
<i>épées</i>. En Allemagne on dit
<i>rouge</i>, <i>grelots</i>, <i>glands</i> et <i>cert.</i>[**"cert"?]
Quelquefois, en conservant les cœurs, les deniers ont été remplacés par
des grelots; puis des glands tiennent lieu des trèfles, et des
feuilles de lierre remplacent les piques, dont elles ont la forme."&mdash;Observations
sur les Cartes à jouer.</p>

<p class="footnote"><a name="Footnote_238_238" id="Footnote_238_238"></a>
<a href="#FNanchor_238_238"><span class="label">[238]</span></a>
Mons. Duchesne says that the mark which the French call Pique was called
<i>Capprel</i> in Italy, from its resemblance to the fruit of the Caper.&mdash;Précis Historique,
prefixed to Jeux de Cartes Tarots et Numérales, p. 11.</p>

<p class="footnote"><a name="Footnote_239_239" id="Footnote_239_239"></a>
<a href="#FNanchor_239_239"><span class="label">[239]</span></a>
Carte Parlanti, p. 57, edit. 1651.</p>

<p class="footnote"><a name="Footnote_240_240" id="Footnote_240_240"></a>
<a href="#FNanchor_240_240"><span class="label">[240]</span></a>
The name of Lancelot did not really appear on the Valet of Trèfle, in the
time of Père Daniel; but from a passage in Daneau's 'Liber de Alea, ou Breve
remontrance sur les jeux de Cartes et de Dez,' printed in 1579, he concluded,&mdash;and,
in this instance, correctly,&mdash;that Lancelot was the old name. By a
royal ordinance of 1619, the card-makers of France were required to put their
names and devices upon the Valet of Trèfle; and, from this circumstance, he
considers that the name of Lancelot was omitted.</p>

<p class="footnote"><a name="Footnote_241_241" id="Footnote_241_241"></a>
<a href="#FNanchor_241_241"><span class="label">[241]</span></a>
'The Perpetual Almanac, or a Gentleman Soldier's Prayer-book, shewing
how one Richard Middleton was taken before the Mayor of the city he was in
for using cards in church, during Divine Service.'</p>

<p class="footnote"><a name="Footnote_242_242" id="Footnote_242_242"></a>
<a href="#FNanchor_242_242"><span class="label">[242]</span></a>
Daniel, 'Mémoire sur l'Origine du jeu de Piquet, trouvé dans l'histoire de
France, sous le règne de Charles VII,' printed in the Journal de Trévoux, for
May, 1720. A summary of this memoir is given by Peignot, who questions
the correctness of Daniel's explanations, but yet does not venture to say what
they really are&mdash;mere gratuitous conceits. It would seem that the French
consider the invention of Piquet as a point of national honour, and that the
native author who should call it in question, would render himself liable to a
"suspicion of incivism."</p>

<p class="footnote"><a name="Footnote_243_243" id="Footnote_243_243"></a>
<a href="#FNanchor_243_243"><span class="label">[243]</span></a>
"Ces cartes rarissimes faisaient partie d'un jeu de cartes numérales gravées
sur bois sous notre roi Charles VII, vers 1425."</p>

<p class="footnote"><a name="Footnote_244_244" id="Footnote_244_244"></a>
<a href="#FNanchor_244_244"><span class="label">[244]</span></a>
Duchesne, 'Observations sur les Cartes à jouer,' in the Annuaire Historique,
pp. 204-7, 1837; and Leber, 'Etudes Historiques sur les Cartes à jouer,' pp. 6-8,
and p. 72, 1842.</p>

<div class="footnote"><a name="Footnote_245_245" id="Footnote_245_245"></a>
<a href="#FNanchor_245_245"><span class="label">[245]</span></a>
<p>Mons. Leber insists that these names confirm the testimony of Covelluzzo&mdash;previously
quoted at page 23&mdash;that the game of cards was brought into
Viterbo, in 1379, and that it came from the country of the Saracens. Mons.
Leber even calls the figures "Gallo-Sarrazines," evidently wishing it to be
supposed that they had been copied from a Saracen or Arabic type.&mdash;The
following is a summary of his notions of the changes made in the characters,
when cards were first introduced amongst Christian nations: "Le <i>roi de Carreau</i>
de notre jeu de Charles VII porte le nom de
<span class="smcap">Coursube</span>, prétendu héros sarrazin
dont parlent les vieux romanciers; et le nom d'Apollin, inscrit à côté du <i>roi de
Pique</i>, est celui d'une idole imaginaire également attribuée aux Sarrazins.
</p>
<p>
"... On a dû d'abord, à quelques exceptions près, remplacer les idoles
par des figures compatibles avec les dogmes et la morale du christianisme. Le
<i>pape</i>, chef de l'Eglise chrétienne, a pu être substitué à Vichnou; <i>l'ermite</i> à un
dervis; la <i>maison Dieu</i> à une pagode; et, quant aux symboles généraux, tels que le
<i>soleil</i>, la <i>mort</i>, le <i>jugement</i>, auxquels sont associés le <i>bâteleur</i> et le <i>bouffon</i> ou
<i>fou</i>, il a suffi d'y attacher un nouveau sens mystique sans rien changer aux images.
Les mêmes substitutions s'opèrent dans les portraits des princes et des héros,
figures d'un autre ordre qui sont passées exclusivement, avec leur suite, dans
l'économie du jeu Français."&mdash;Etudes Historiques sur les Cartes à jouer, p. 72.&mdash;Mons.
Leber appears here to narrate a dream which he had after rocking
himself asleep on his Arabian hobby-horse.</p>
</div>

<p class="footnote"><a name="Footnote_246_246" id="Footnote_246_246"></a>
<a href="#FNanchor_246_246"><span class="label">[246]</span></a>
This book was sold, together with others from the Cathedral Library of
Peterborough, by Mr. Hodgson, 192 Fleet street, Dec. 13-18, 1841. In
his catalogue, No. 1492, it is thus described: "Sermones M. Vincentii (wants
end)."</p>

<p class="footnote"><a name="Footnote_247_247" id="Footnote_247_247"></a>
<a href="#FNanchor_247_247"><span class="label">[247]</span></a>
"L'image du valet de pique porte avec elle une preuve de la nationalité
ardennoise; Ogier, comme tous les descendants de Saint Hubert d'Ardennes, avait
le privilège de guérir l'hydrophobie et d'en préserver.... L'action
est réciproque: le chien ne suit pas, il s'élance pour implorer protection et
assistance, et le neveu de Saint Hubert accorde son intervention....
Il est à remarquer que le corps du chien est en partie caché par l'escarpement
du terrain, caractéristique du pays des Ardennes."&mdash;Eléméns Carlovingiens
linguistiques et littéraires (par J. Barrois), p. 265, 4to, Paris, 1846.</p>

<p class="footnote"><a name="Footnote_248_248" id="Footnote_248_248"></a>
<a href="#FNanchor_248_248"><span class="label">[248]</span></a>
"Le P. Daniel pose en fait que 'le nom du quatrième valet (le valet de
trèfle) est inconnu, parce qu'il n'y a pas longtemps que les faiseurs de jeux de
cartes <i>l'ont aboli</i>, en mettant leur nom à la place de celui de ce valet.' Il croit
pourtant l'avoir trouvé dans le traité de Daneau, d'où il résultérait, selon lui,
que c'était <span class="smcap">Lancelot</span>. Si Daniel avait pu consulter les pièces du XVI<sup>e</sup> siècle,
il n'aurait pas hasardé ce jugement conjectural; il aurait craint que sa conjecture
ne fût pas exacte, parce que les noms des cartes ayant beaucoup varié,
<span class="smcap">Lancelot</span> pouvait n'être point celui du valet de trèfle du temps de l'auteur
dont il s'appuie. Il n'aurait pas dit que les faiseurs de cartes ont <i>aboli ce
valet</i> pour mettre leur nom à la place du sien, parce qu'il aurait appris que
cette substitution de nom leur fût imposée par une ordonnance de Louis XIII,
à laquelle ils ont dû se soumettre."&mdash;Etudes Historiques sur les Cartes à
jouer, p. 32.</p>

<p class="footnote"><a name="Footnote_249_249" id="Footnote_249_249"></a>
<a href="#FNanchor_249_249"><span class="label">[249]</span></a>
Charles of Anjou, brother of St. Louis, received the investiture of the kingdom
of Naples and Sicily, in 1265.</p>

<p class="footnote"><a name="Footnote_250_250" id="Footnote_250_250"></a>
<a href="#FNanchor_250_250"><span class="label">[250]</span></a>
"Le nom du valet de cœur me paroit extrèmement curieux; car il doit
nécessairement rappeler le nom d'Erart de Valeri, le fameux compagnon de
Charles d'Anjou, roi de Sicile, celui auquel les contemporains attribuoient en
grande partie le gain de la bataille de Tagliacozza, dans laquelle périt Manfred.
Nous pouvons donc croire que le jeu aura été fait en Sicile ou en Italie; car
les quatre noms Lancelot, Roland, Ogier, et Valeri étoient également familiers
aux souvenirs des Siciliens du XIV<sup>e</sup> siècle. J'ai dit un mot de cet Erard de
Valery à l'article de Charles d'Anjou, dans mon Romancero François."</p>

<p class="footnote"><a name="Footnote_251_251" id="Footnote_251_251"></a>
<a href="#FNanchor_251_251"><span class="label">[251]</span></a>
Henry VII ascended the throne in 1485.&mdash;Mons. Duchesne observes that,
of all the old cards preserved in the Bibliothèque du Roi, only one displays a
rose,&mdash;namely, a king. There is an old coat card, engraved on copper, in the
print-room of the British Museum, which, like that alluded to by Mons.
Duchesne, has a rose as the mark of the suit.</p>

<p class="footnote"><a name="Footnote_252_252" id="Footnote_252_252"></a>
<a href="#FNanchor_252_252"><span class="label">[252]</span></a>
See the prohibition against the importation of playing cards, in 1463;
enacted by Parliament, in consequence of the complaints of the manufacturers
and tradesmen of London and other parts of England, against the importation
of foreign manufactured wares, which greatly obstructed their own employment,
previously referred to at page 96.</p>

<p class="footnote"><a name="Footnote_253_253" id="Footnote_253_253"></a>
<a href="#FNanchor_253_253"><span class="label">[253]</span></a>
Mons. Leber, after having noticed Singer's objection to the so-called
Tarocchi cards, from their size and want of numeral cards, thus proceeds: "Il
aurait pu ajouter que des gravures exécutées avec tant de soins, que les chefs-d'œuvre
d'un art nouveau, dont le premier mérite s'appréciait par la beauté de
l'empreinte, n'ont pu être destinés à recevoir l'enluminure qui entre essentiellement
dans la confection du jeu de cartes; et cette observation s'applique à
plusieurs suites d'estampes du même genre et du même siècle, dont quelques-unes
sont conservées au cabinet royal. Là, comme dans les collections de Londres
et d'Allemagne, elles sont toutes en feuilles et en noir. Non-seulement l'étrangeté
des signes distinctifs des couleurs, mais la forme même de ces gravures, repousserait
l'idée d'une destination semblable à celle du jeu de cartes européen. Les
unes arrondies en médaillons, rappellent le champ circulaire des cartes indiennes:
d'autres couvrent un carré d'in-4<sup>o</sup>; les plus communes sont des carrés longs;
mais au lieu des couleurs propres aux cartes à jouer, on n'y voit que des images
d'oiseaux, de quadrupèdes, de fleurs, de fruits; ce sont des perroquets et des
paons, des lièvres et des ours, des singes et des lions, des grenades, des roses, et
tous autres objets dont le choix devait être purement arbitraire, quand il n'était
pas l'expression d'un jeu nouveau."&mdash;Etudes Historiques sur les Cartes à jouer,
p. 18.</p>

<p class="footnote"><a name="Footnote_254_254" id="Footnote_254_254"></a>
<a href="#FNanchor_254_254"><span class="label">[254]</span></a>
Those cards formerly belonged to a Mons. Volpato, and were purchased of
him, for the Bibliothèque du Roi, in 1833. He received in exchange some
cards of the same pack; and the set, completed with fac-simile drawings of such
as were wanting, were recently in the possession of Messrs. Smith, of Lisle-street,
Leicester-square, to whom they were sent by Mons. Volpato for sale.</p>

<p class="footnote"><a name="Footnote_255_255" id="Footnote_255_255"></a>
<a href="#FNanchor_255_255"><span class="label">[255]</span></a>
The third character in those coat cards cannot properly be called a Cavalier,
and has indeed very little pretensions to the designation of Squire. The Knaves
are evidently common foot-soldiers, such as were known in Italy by the name
of Fanti.</p>

<p class="footnote"><a name="Footnote_256_256" id="Footnote_256_256"></a>
<a href="#FNanchor_256_256"><span class="label">[256]</span></a>
From the difficulty of giving in a wood-engraving those small letters with
sufficient clearness, they are omitted in the annexed specimens. The numerals
are also omitted, except in the Two of Pinks.</p>

<p class="footnote"><a name="Footnote_257_257" id="Footnote_257_257"></a>
<a href="#FNanchor_257_257"><span class="label">[257]</span></a>
Bartsch, Peintre-graveur, tom. x, pp. 70-6.&mdash;Singer, Researches into the
History of Playing Cards, p. 45-6, also pp. 205-8.</p>

<p class="footnote"><a name="Footnote_258_258" id="Footnote_258_258"></a>
<a href="#FNanchor_258_258"><span class="label">[258]</span></a>
In the 'Catalogue Raisonné of the select Collection of Engravings of an
Amateur' [Mr. Wilson] a full description is given of those cards, pp. 87-91.
4to, 1828.</p>

<p class="footnote"><a name="Footnote_259_259" id="Footnote_259_259"></a>
<a href="#FNanchor_259_259"><span class="label">[259]</span></a>
One of these cards, a Queen, is evidently copied from the Queen of Deer,
but having a kind of flower as the mark of the suit, instead of a Deer. Those
two Queens, so precisely the same in form, attitude, and costume, most certainly
did not belong to the same pack.</p>

<p class="footnote"><a name="Footnote_260_260" id="Footnote_260_260"></a>
<a href="#FNanchor_260_260"><span class="label">[260]</span></a>
'Deutsche Piquet-Karten aus den XV Iahrhunderte mit Trappola Blattern.'
The use of the word Trappola by writers on the history of playing cards, without
clearly explaining the sense in which they employ it, leads to much confusion.
It properly signifies a game; which may be played with any kind of numeral
cards consisting of four suits, whatever the marks may be. Breitkopf seems
here to apply the term "Trappola Blattern" to cards which have Swords,
Batons, Cups, and Money as the marks of the suits; in the same manner as the
cards now in common use in this country are called by writers on the subject,
French Piquet cards. It is never, however, supposed that the game depends in
the least on the marks of the suits.</p>

<p class="footnote"><a name="Footnote_261_261" id="Footnote_261_261"></a>
<a href="#FNanchor_261_261"><span class="label">[261]</span></a>
From the time of the marriage of Joanna's sister, Catherine of Arragon,
with Arthur, Prince of Wales, till about the time of her separation from his
brother, Henry VIII, the pomegranate was frequently introduced as an ornament
in the royal decorations and furniture of the English court.</p>

<p class="footnote"><a name="Footnote_262_262" id="Footnote_262_262"></a>
<a href="#FNanchor_262_262"><span class="label">[262]</span></a>
Those cards were purchased of Messrs. Smith, of Lisle street, who also
supplied the Museum with the two sets of old Italian engravings, usually
called Tarocchi cards.</p>

<p class="footnote"><a name="Footnote_263_263" id="Footnote_263_263"></a>
<a href="#FNanchor_263_263"><span class="label">[263]</span></a>
"Die Karte ist nach Wälscher Art in <span class="smcap">Spade</span>,
<span class="smcap">Coppe</span>, <span class="smcap">Danari</span>,
(die aber hier
als Granatäpfel vorgestellt sind,) und
<span class="smcap">Bastoni</span> getheilet."&mdash;Von Murr, Journal
zur Kunstgeschicht, ii<sup>er.</sup> Theil, s. 200.</p>

<p class="footnote"><a name="Footnote_264_264" id="Footnote_264_264"></a>
<a href="#FNanchor_264_264"><span class="label">[264]</span></a>
Breitkopf improperly calls those cards "<i>Trappolier-Karte</i>,"&mdash;Trappola
cards. Aretine, in his 'Carte Parlanti,' makes a distinction between the game
of Trappola, and that played with Tarocchi cards.</p>

<p class="footnote"><a name="Footnote_265_265" id="Footnote_265_265"></a>
<a href="#FNanchor_265_265"><span class="label">[265]</span></a>
"Il y a dans chaque couleur un roi, un officier supérieur ou capitaine nommé
<i>Ober</i>, et un bas-officier, appelé <i>Unter</i>. On appelle encore de nos jours dans
l'empire, où les mots français ne sont pas si en vogue, les officiers supérieurs
<i>oberleute</i>, et les bas-officiers <i>unterleute</i>. Les Français ont substitué à la place de
l'officier une <i>dame</i>, et à la place des bas-officiers des <i>valets</i>, ou des braves, comme
Bullet les nomme. Le bas-officier des glands est nommé en Allemagne, <i>der
grosze mentzel</i>, et celui de vert, <i>der kleine mentzel</i>; enfin, l'as porte le nom de
<i>daus</i>."&mdash;Heineken, Idée générale d'une Collection complète d'Estampes, p. 239.</p>

<p class="footnote"><a name="Footnote_266_266" id="Footnote_266_266"></a>
<a href="#FNanchor_266_266"><span class="label">[266]</span></a>
"<span class="smcap">Sota.</span> La tercera figura, que tiènen los naipes, la qual representa el
infante, ò soldado. Dixose de la voz Italiana <i>soto</i>, que vale debaxo, porque vá
despues de las figuras de Rey, y Caballo, que le son superiores."&mdash;In a superficial
paper on old playing-cards, by the baron de Reiffenberg, printed in the 'Bulletins
de l'Académie Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique,'
No. 10, 1847, the Sota is transformed into a female: "Dans les jeux de cartes
espagnols, la dame et le valet étaient remplacés par le <i>cavallo</i> et la <i>sota</i>, le
cavalier et <i>la fille</i>."</p>

<p class="footnote"><a name="Footnote_267_267" id="Footnote_267_267"></a>
<a href="#FNanchor_267_267"><span class="label">[267]</span></a>
Mons. Duchesne, is of opinion that the Marquis Girolamo's cards belonged
to the same pack or set as the so-called Gringonneur cards preserved in the
Bibliothèque du Roi. If Millin's description, however, be correct, Mons.
Duchesne is unquestionably wrong.</p>

<p class="footnote"><a name="Footnote_268_268" id="Footnote_268_268"></a>
<a href="#FNanchor_268_268"><span class="label">[268]</span></a>
Millin, Dictionnaire des Beaux Arts, tom. i, p. 201. Paris, 1806. Quoted
by Peignot.&mdash;Jacobello del Fiore flourished about 1420.&mdash;A set of cards, "containing
figures of the gods, with their emblematic animals, and figures of birds
also," were painted for Philip Visconti, Duke of Milan, who died in 1447.
Decembrio, in his life of this prince, in the 20th volume of the 'Rerum Italicarum
Scriptores,' says that they cost fifteen hundred pieces of gold, and were
chiefly executed by the prince's secretary, Martianus Terdonensis. From the
context, it appears that they were not mere pictures, but were intended for
some kind of game.&mdash;Aretine, in his 'Carte Parlanti,' speaks with admiration of
a pack of cards painted by Jacopo del Giallo, a Florentine artist who flourished
about 1540.</p>

<p class="footnote"><a name="Footnote_269_269" id="Footnote_269_269"></a>
<a href="#FNanchor_269_269"><span class="label">[269]</span></a>
It is but fair to observe here that the Dutch name for the suit which we
call Spades, is <i>Scop</i>, a Shovel, or Spade; and that as this name has been evidently
given to the suit from the mark bearing some resemblance to a spade, the same
suit might have been called Spades by the English for the same reason. This
objection, however, does not affect the conjecture with respect to Clubs. In
the Nugæ Venales, printed in Holland, 1648, we meet with the following:
"Query. Why are the Four Kings of cards, Diamonds, Trefoil, Hearts, and
Spades&mdash;Rhombuli, Trifolii, Cordis, et Ligonis&mdash;always poor?&mdash;Answer. Because
they are always at play; and play, according to the proverb, is man's
perdition. Their state is also in other respects most miserable; for when through
them much money is lost, they are condemned to the flames, and burnt like
wizards." The modern Dutch names for the suits of French cards are <i>Hart</i>,&mdash;Heart;
<i>Ruyt</i>, a lozenge-shaped figure, a diamond-shaped pane of glass,&mdash;Diamonds;
<i>Klaver</i>, Clover, Trefoil,&mdash;Clubs; <i>Scop</i>, a Spade, Shovel, or Scoop,&mdash;Spades.</p>

<p class="footnote"><a name="Footnote_270_270" id="Footnote_270_270"></a>
<a href="#FNanchor_270_270"><span class="label">[270]</span></a>
Sharon Turner's History of England, vol. iii, p. 80.</p>

<p class="footnote"><a name="Footnote_271_271" id="Footnote_271_271">
</a><a href="#FNanchor_271_271"><span class="label">[271]</span></a>
"Here begynneth a traetys callyde the Lordis flayle handlyde by the
Bushoppes powre theresshere Thomas Solme."&mdash;Without date. At the end:
"Prynted at Basyl by me Theophyll Emlos, undere the sygne of Sente Peters
Kay."&mdash;16mo. In one passage Henry VIII is appealed to as then living.</p>

<p class="footnote"><a name="Footnote_272_272" id="Footnote_272_272"></a>
<a href="#FNanchor_272_272"><span class="label">[272]</span></a>
To the barn or grange of monasteries a chapel was frequently attached,
which used to be attended on holidays by country people who lived at a distance
from the parish church.</p>

<p class="footnote"><a name="Footnote_273_273" id="Footnote_273_273"></a>
<a href="#FNanchor_273_273"><span class="label">[273]</span></a>
'The Poems of William Dunbar, now first collected, with notes and a
memoir of his life, by David Laing,' vol. ii, p. 67, 1834.&mdash;In the notes to this
edition, there are several references to the card-playing of James IV of Scotland.
His majesty, it would seem, was accustomed to play with the "French Leich,"
John Damian, whom he afterwards promoted to the abbacy of Tungland.
Damian, who broke his thigh in an attempt to fly from the top of Stirling castle,
is the person ridiculed by Dunbar as the "Fenyet Friar of Tungland."</p>

<p class="footnote"><a name="Footnote_274_274" id="Footnote_274_274"></a>
<a href="#FNanchor_274_274"><span class="label">[274]</span></a>
A few single cards, apparently belonging to this pack, preserved in the
British Museum, are ascribed to Hans Sebald Behaim.</p>

<p class="footnote"><a name="Footnote_275_275" id="Footnote_275_275"></a
><a href="#FNanchor_275_275"><span class="label">[275]</span></a>
Those cards are the rarest of all Jost Amman's numerous works. The first
title of the volume is "Jodoci Ammanni, civis Noribergensis Charta Lusoria,
Tetrastichis illustrata per Janum Heinrichum Scroterum de Gustrou." Then
follows a long explanatory title in German, and the imprint, "Gedruct zu Nüurnberg,
durch Leonhardt Heussler, Anno, 1588." There is a copy of the work
in the British Museum.</p>

<p class="footnote"><a name="Footnote_276_276" id="Footnote_276_276"></a>
<a href="#FNanchor_276_276"><span class="label">[276]</span></a>
Breitkopf, Ursprung der Spielkarten, s. 33.</p>

<p class="footnote"><a name="Footnote_277_277" id="Footnote_277_277"></a>
<a href="#FNanchor_277_277"><span class="label">[277]</span></a>
"Voy. les Voyages de Samuel Purchas; ceux de Thomas Herbert en Perse
et dans plusieurs parties de l'Orient; le Suppl. t. ii, des Cérémonies relig., avec
les figures de B. Picart, et la Pl. de la fête de Huly, t. i, 2<sup>e</sup> part. des mêmes
Cérémonies, p. 138."</p>

<p class="footnote"><a name="Footnote_278_278" id="Footnote_278_278"></a>
<a href="#FNanchor_278_278"><span class="label">[278]</span></a>
"Notamment <span class="smcap">Exode</span>, c. xxxix, v. 25."</p>

<p class="footnote"><a name="Footnote_279_279" id="Footnote_279_279"></a>
<a href="#FNanchor_279_279"><span class="label">[279]</span></a>
"Voy. D. Calmet, Dictionn. de la Bible, au mot <span class="smcap">Clochette</span>."</p>

<p class="footnote"><a name="Footnote_280_280" id="Footnote_280_280"></a>
<a href="#FNanchor_280_280"><span class="label">[280]</span></a>
"Lalla Rookh, an oriental romance, by T. Moore."</p>

<p class="footnote"><a name="Footnote_281_281" id="Footnote_281_281"></a>
<a href="#FNanchor_281_281"><span class="label">[281]</span></a>
"Voy. Breitkopf, Ursprung der Spielkarten, p. 33, et la Pl. de Henri VI
et de Wulphilde (d'après l'Archéologie, sauf erreur). Les mêmes figures,
copiées par Jansen, se retrouvent t. i, de son Essai sur l'Origine de la Gravure
en Bois et en Taille-douce. Paris, 1808, 2 vol. in-8. Le costume en a été
évidemment rajeuni, mais il est hors de toute vraisemblance qu'on y ait supposé
une parure de grelots étrangère au monument original."&mdash;Mons. Leber, in citing
Breitkopf, spells his name with uniform inaccuracy.</p>

<p class="footnote"><a name="Footnote_282_282" id="Footnote_282_282"></a>
<a href="#FNanchor_282_282"><span class="label">[282]</span></a>
"Gough, d'après Stukeley, Archæologia, t. viii, p. 152; et Singer, p. 73."</p>

<p class="footnote"><a name="Footnote_283_283" id="Footnote_283_283"></a>
<a href="#FNanchor_283_283"><span class="label">[283]</span></a>
"La Fauconnerie de Guillaume Tardif, ch. x, p. 61; et les Oiseaux de
Proie, par G. B., p. 122 du recueil de J. du Fouilloux, édit. de Paris, 1614,
in-4, fig."</p>

<p class="footnote"><a name="Footnote_284_284" id="Footnote_284_284"></a>
<a href="#FNanchor_284_284"><span class="label">[284]</span></a>
"Quoiqu'on ait souvent traduit les mots <i>crotalum</i> et <i>crusma</i>,&mdash;κροταλον,
κρωσμα,&mdash;par <i>grelot</i>, et réciproquement, on croit que les instruments ainsi
nommés par les Grecs et les Romains n'étaient pas ce que nous appelons des
grelots; et, en effet, la figure du grelot ne se retrouve dans aucun monument
d'une antiquité bien établie. Voy. F. A. Lampe, De Cymbalis veterum, lib. i,
cap. 4, 7, 8, et fig., pp. 26 et 44, Holl., pet. in-12."</p>

<p class="footnote"><a name="Footnote_285_285" id="Footnote_285_285"></a>
<a href="#FNanchor_285_285"><span class="label">[285]</span></a>
"Voy. les comp. 2 et 8 de la pl. 56 des Monuments de la Monarchie française,
par Montfaucon."</p>

<p class="footnote"><a name="Footnote_286_286" id="Footnote_286_286"></a>
<a href="#FNanchor_286_286"><span class="label">[286]</span></a>
"Ibid. pl. 55, d'après une miniature d'un manusc. angl. du X<sup>e</sup> siècle.&quot;</p>

<p class="footnote"><a name="Footnote_287_287" id="Footnote_287_287"></a>
<a href="#FNanchor_287_287"><span class="label">[287]</span></a>
"Hist. de la Maison de Montmorency.&mdash;Le Grand, Vie privée des Franç.
tom. ii."</p>

<p class="footnote"><a name="Footnote_288_288" id="Footnote_288_288"></a>
<a href="#FNanchor_288_288"><span class="label">[288]</span></a>
"Sidonius Apollinaris, Epist. 9, p. 245 de l'édit. in-4 de Savaron. Ce commentateur
allègue un passage de Prosper, lib. iii, cap. 17, de Vita contemplativa,
où il est aussi question d'oiseaux et de chiens de chasse: 'Utuntur accipitribus
ac saginatis canibus ad venatum.'"</p>

<p class="footnote"><a name="Footnote_289_289" id="Footnote_289_289"></a>
<a href="#FNanchor_289_289"><span class="label">[289]</span></a>
"Suivant l'opinion la plus généralement adoptée, et que partagèrent Velser,
Duchesne, Fauchet, Du Tillet, Blondel, les frères de Sainte-Marthe, Spelman,
le P. Menestrier et autres. Voy. le Traité de <i>l'Origine des Armoiries</i>, de ce
dernier. Paris, 1679, in-12, pp. 53 et suiv."</p>

<p class="footnote"><a name="Footnote_290_290" id="Footnote_290_290"></a>
<a href="#FNanchor_290_290"><span class="label">[290]</span></a>
"Sentiment adopté par le président Hénault: 'Mathilde ... broda en
laine un monument qu'on voit dans l'église de Bayeux, de l'expédition de son
mari en Angleterre; la mort ne lui permit pas de l'achever.' (Hist. de Fr.
sous les ann. 1067-74.)"</p>

<p class="footnote"><a name="Footnote_291_291" id="Footnote_291_291"></a>
<a href="#FNanchor_291_291"><span class="label">[291]</span></a>
"Voy. Fauconnerie de G. Tardif."</p>

<p class="footnote"><a name="Footnote_292_292" id="Footnote_292_292"></a>
<a href="#FNanchor_292_292"><span class="label">[292]</span></a>
Leber, Etudes Historiques sur les Cartes à jouer, pp. 80-4.</p>

<p class="footnote"><a name="Footnote_293_293" id="Footnote_293_293"></a>
<a href="#FNanchor_293_293"><span class="label">[293]</span></a>
There is every reason to believe that the suit of cards which we call Diamonds
was not so named in consequence of the mark being mistaken for the symbol
of a precious stone, but merely on account of its form. The Dutch call the same
suit <i>Ruyt</i>, in consequence of its form being like a lozenge-shaped pane of glass.
The Diamonds on cards are, in Northumberland, more especially amongst the
colliers, frequently termed <i>Picks</i>, in consequence of the acute angular points
being something like the Picks used in hewing coals. The Spanish name <i>Oros</i>
appears to have been originally applied to the suit called by the Italians <i>Denari</i>
or <i>Danari</i>, without the least reference to the
French <i>Carreaux</i>.&mdash;The mistakes
on this subject appear to be exclusively Mons. Leber's own.</p>

<p class="footnote"><a name="Footnote_294_294" id="Footnote_294_294"></a>
<a href="#FNanchor_294_294"><span class="label">[294]</span></a>
The probability is on the other side, namely, that the German <i>Grün</i>, or
Leaf, was the original of the French <i>Pique</i>. No French cards hitherto discovered
are of so early a date as those which have Bells, Hearts, Leaves, and
Acorns as the marks of the suits.</p>

<p class="footnote"><a name="Footnote_295_295" id="Footnote_295_295"></a>
<a href="#FNanchor_295_295"><span class="label">[295]</span></a>
The Crequier is a kind of wild plum-tree, and its leaves are borne as the
family arms of the house of Crequi. Armorial bearings of this kind are called
"<i>armoiries parlantes</i>" by French heralds.</p>

<p class="footnote"><a name="Footnote_296_296" id="Footnote_296_296"></a>
<a href="#FNanchor_296_296"><span class="label">[296]</span></a>
Mons. Leber should have said "Sept de Grün;" but then this would have
destroyed the anomaly which he was desirous of illustrating; for there is nothing
anomalous in the Leaves on German cards having a resemblance to the leaves of
a particular tree.</p>

<p class="footnote"><a name="Footnote_297_297" id="Footnote_297_297"></a>
<a href="#FNanchor_297_297"><span class="label">[297]</span></a>
See the passage at length, p. 135.</p>

<p class="footnote"><a name="Footnote_298_298" id="Footnote_298_298"></a>
<a href="#FNanchor_298_298"><span class="label">[298]</span></a>
On this card the name of the manufacturer appears&mdash;P. De Lestre&mdash;together
with his mark.</p>

<p class="footnote"><a name="Footnote_299_299" id="Footnote_299_299"></a>
<a href="#FNanchor_299_299"><span class="label">[299]</span></a>
In a pack of modern Portuguese cards now before me there is no Queen;
and the suits are Hearts, Bells, Leaves, and Acorns. The figures of the coat
cards are half-lengths and double&mdash;"de duas Cabeças;" so that a head is
always uppermost whichever way the card may be held. In a pack of modern
Spanish cards,&mdash;"Naypes Refinos"&mdash;also without a Queen, the figures are also
double; but the suits are Copas, Oros, Spadas, and Bastos,&mdash;Cups, Money,
Swords, and Clubs proper.&mdash;On modern German cards the figures are frequently
represented double in the same manner.</p>

<p class="footnote"><a name="Footnote_300_300" id="Footnote_300_300"></a>
<a href="#FNanchor_300_300"><span class="label">[300]</span></a>
Peignot, Analyse de Recherches sur les Cartes à jouer, pp. 288-90. Paris,
1826. The following passage relative to the change of manners which succeeded
the Revolution is quoted by Mons. Peignot from a periodical entitled
'Le Corsaire:'&mdash;"Les cartes en vogue jusqu'à la révolution furent totalement
abandonnées pendant les terribles années de notre bouleversement politique.
Le boston, le grave wisth, le sémillant reversis, n'étoient plus conservés que
chez quelques bons bourgeois, dont ils n'avoient jamais sans doute enflammé les
passions, ou dans quelques vieilles maisons du Marais et du faubourg Saint-Germain.
La bouillotte n'étoit guère connue que de quelques marchands; et
même l'opinion publique flétrissait ceux dont une ignoble avidité compromettoit
la fortune. La mode avoit mis en faveur la conversation, les soirées musicales,
les soirées dansantes. L'écarté a paru, et ce jeu niais et insipide a fait revivre
parmi nous toutes les fureurs du gothique lansquenet. Plus de conversation,
plus de danses; la sonate ou la romance du jour sont interrompues par le cri
des joueurs; le bal est désert, ou n'est plus peuplé que de vieux amateurs;
tandis que la jeunesse s'empresse autour des tables d'écarté."</p>

<p class="footnote"><a name="Footnote_301_301" id="Footnote_301_301"></a>
<a href="#FNanchor_301_301"><span class="label">[301]</span></a>
A description of the same cards by Mons. Amanton, member of the Academy
of Dijon, is given in Peignot's Analyse, p. 291: "Dans ce jeu," says
Mons. Amanton, "les portraits des rois sont très ressemblans, les costumes du
temps bien observés; et même les noms des personnages sont écrits en caractères
de l'écriture en usage dans le siècle où ils ont vécu. Malgré la perfection
du travail, ces jolis dessins n'ont pu l'emporter sur les anciennes images informes,
qui rappellent l'enfance de l'art; tant la force de l'habitude est tyrannique."</p>

<p class="footnote"><a name="Footnote_302_302" id="Footnote_302_302"></a>
<a href="#FNanchor_302_302"><span class="label">[302]</span></a>
Mons. Peignot, in his 'Analyse de Recherches sur les Cartes à Jouer,'
1826, after noticing Cotta's cards, thus speaks of the satirical cards above described:
"C'est sans doute ce recueil qui a donné lieu à un jeu de cartes très-malin,
publié à Paris il y a sept à huit ans, sous le titre de Cartes à rire; ce
doit être, autant que je puis me le rappeler, sous le ministère de M.D.C....
On attribue ce jeu à M.A. ... C.A.D.C.D.D.O. Toutes les cartes, soit
à personnages, soit numériques, présentent des dessins charmans, des figures
ingénieusement groupées, des attitudes très-plaisantes. Mais l'esprit satyrique
y est poussé à l'excès; et ce n'est point avec de pareilles caricatures qu'on
parviendra à rétablir l'union parmi les Français." p.297.</p>

<p class="footnote"><a name="Footnote_303_303" id="Footnote_303_303"></a>
<a href="#FNanchor_303_303"><span class="label">[303]</span></a>
According to Père Daniel, the Ace or As is the Latin As,&mdash;a piece of
money, coin, riches; while Bullet derives it from the Celtic, and says that it
means origin, source, beginning, the first. A French writer of the sixteenth
century, supposed to be Charles Stephens, in a work entitled 'Paradoxes,'
printed at Paris in 1553, says that the Ace, or "<i>Az</i> ought to be called <i>Nars</i>, a
word which, in German, signifies a fool." The German word which he alludes
to is <i>Narr</i>, which is just as likely to have been the origin of Deuce as of Ace.
It has also been supposed that the term Ace has been derived from the Greek
word ὁνος, which, according to Julius Pollux, signified <i>One</i> in the Ionic dialect;
but as the word ὁνος also signified an Ass, it has been conjectured that the Ace
of cards and dice was so called, not as a designation of unity, but as signifying
an Ass or a Fool. Those who entertained the latter opinion are said by Hyde
to be Asses themselves: "Qui unitatem asinum dicunt errant, et ipsi sunt
asini." (<i>De Ludis Orient.</i> lib. ii.)&mdash;Leber, Etudes Historiques, pp. 39, 86.</p>

<p class="footnote"><a name="Footnote_304_304" id="Footnote_304_304"></a>
<a href="#FNanchor_304_304"><span class="label">[304]</span></a>
Brockett's Glossary of North Country Words.</p>

<p class="footnote"><a name="Footnote_305_305" id="Footnote_305_305"></a>
<a href="#FNanchor_305_305"><span class="label">[305]</span></a>
Singer's Researches, p. 271.</p>

<p class="footnote"><a name="Footnote_306_306" id="Footnote_306_306"></a>
<a href="#FNanchor_306_306"><span class="label">[306]</span></a>
Dr. Houstoun's Memoirs of his own Lifetime, p. 92. Edit. 1747.</p>

<p class="footnote"><a name="Footnote_307_307" id="Footnote_307_307"></a>
<a href="#FNanchor_307_307"><span class="label">[307]</span></a>
A writer of the age of Queen Elizabeth would appear to have foreseen the
great "Card Controversy," which within the last 150 years has occupied so
many "learned pens:" "It shall be lawful for coney-catchers to fall together by
the ears, about the four Knaves of Cards, which of them may claim superiority;
and whether false dice or true be of the most antiquity."&mdash;The Pennyless Parliament
of Thread-bare Poets.</p>

<p class="footnote"><a name="Footnote_308_308" id="Footnote_308_308"></a>
<a href="#FNanchor_308_308"><span class="label">[308]</span></a>
The French also call the Trump <i>Atou</i>,&mdash;"Coupez: Cœur est Atou." Cut:
Hearts are Trumps.</p>

<p class="footnote"><a name="Footnote_309_309" id="Footnote_309_309"></a><a href="#FNanchor_309_309"><span class="label">[309]</span></a> "Triomphe: the card-game called Ruff, or Trump; also, the Ruff, or Trump
at it."&mdash;Cotgrave's French and English Dictionary.</p>

<p class="footnote"><a name="Footnote_310_310" id="Footnote_310_310"></a><a href="#FNanchor_310_310"><span class="label">[310]</span></a> In 'The Toast,' a satirical poem written about 1730, by Dr. William King,
Principal of St. Mary's Hall, Oxford, Dr. Hort, Archbishop of Tuam, is called
Lord Pam. He is also called Pam by Swift.</p>

<p class="footnote"><a name="Footnote_311_311" id="Footnote_311_311"></a>
<a href="#FNanchor_311_311"><span class="label">[311]</span></a></p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">"Discincta tunica fugiendum est;</div>
  <div class="verse indent-2_6">Ne nummi pereant.</div>
  <div class="verse indent-2_6">Deprendi miserum est."&mdash;<span class="smcap">Horat.</span></div>
  </div>
</div>

<p class="footnote"><a name="Footnote_312_312" id="Footnote_312_312"></a>
<a href="#FNanchor_312_312"><span class="label">[312]</span></a>
Pascasius Justus mentions in his Alca, first published in 1560, that a certain
merchant, having obtained from Charles V a monopoly for ten years of the sale
of cards in Spain, became extremely rich in consequence of the great demand
for them.</p>

<p class="footnote"><a name="Footnote_313_313" id="Footnote_313_313"></a>
<a href="#FNanchor_313_313"><span class="label">[313]</span></a>
Encyclopédie Méthodique, mot, Cartier. An account of the subsequent
legislation in France, with respect to cards, is to be found in the 'Manuel du
Cartonnier, et du Fabricant de Cartonnages,' pp. 224-37. Paris, 1830.</p></div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_279" id="Page_279">[Pg 279]</a></span></p>

<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V.<br />

<small>THE MORALITY OF CARD-PLAYING.</small></h2>


<p>All writers who have investigated the principles of
morality agree in the condemnation of Gaming,&mdash;that is,
playing at any game of hazard for the sake of gain. With
respect to the lawfulness, however, of playing at such
games at leisure hours, for the sake of recreation, and without
any sordid desire of gain, there is, amongst such
authorities, a difference of opinion: some holding that, in
the moral code, such games are, at all times, and under all
circumstances, unlawful; while others affirm that, under
the conditions mentioned, they are innocent. The former
opinion has been espoused by many theologians, who, not
content with condemning games of hazard as immoral, have
also, with more zeal than knowledge, denounced them as
sinful, and forbidden by the word of God. The arguments,
however, of such teachers have been ably refuted by the
learned Thomas Gataker, in his work 'On the Nature and
Use of Lots,' the first edition of which appeared in 1619.
He has clearly shown that the texts alleged by the opposite
party do not bear the construction which had been put upon
them; and that, consequently, the so-called word of God
was nothing more than the dogma of fallible men.</p>

<p>The controversy respecting the sinfulness of games of
hazard, on scriptural grounds, seems to have commenced in
England about the latter end of the sixteenth century, with
a small tract written by a Puritanical clergyman of the
name of Balmford, who appears, at the time of its first
publication, to have exercised his ministerial functions at
<span class="pagenum"><a name="Page_280" id="Page_280">[Pg 280]</a></span>
Newcastle-on-Tyne.<a name="FNanchor_314_314" id="FNanchor_314_314"></a>
<a href="#Footnote_314_314" class="fnanchor">[314]</a>
The title of Balmford's tract is 'A
Short and Plain Dialogue concerning the Unlawfulness of
playing at Cards or Tables, or any other Game consisting
in chance.' The only copy that I have seen occurs in a
collection of tracts by the same author, with the general
title, 'Carpenters Chippes: or Simple Tokens of unfeined
good will, to the Christian friends of James Balmford, the
unworthy Servant of Jesus Christ, a poor Carpenters sonne.'
16mo. Printed at London, for Richard Boyle, 1607. The
following dedication of the tract on gaming is dated 1st of
January, 1593: "To the right worshipfull Master Lionel
Maddison, Maior, the Aldermen his brethern, and the godly
Burgesses of Newcastle-upon-Tine, James Balmford wisheth
the kingdom of God and his righteousnesse, that other
things may be ministered unto them.&mdash;That which heretofore
I have propounded to you (right worshipfull and
beloved) in teaching, I doe now publish to all men by
printing, to wit mine opinion of the unlawfulness of games
consisting in chance."</p>

<p>Balmford's tract is a very short one, consisting of only
eight leaves, inclusive of the dedication and title. The
speakers in the dialogue are Professor and Preacher. The
Professor had read, in the Common-places of Peter Martyr,
the declaration that dice-play is unlawful, because depending
on chance; but not being satisfied with what is there said
about table-playing, he craves the Preacher's opinion concerning
<span class="pagenum"><a name="Page_281" id="Page_281">[Pg 281]</a></span>
playing at tables and cards. The Preacher, after
propounding several objections to the games on moral
grounds, thus syllogistically determines that games of chance
are unlawful: "Lots are not to be used in sport; but
games consisting in chance, as Dice, Cards, Tables, are
Lots: therefore not to be used in sport." In support of
this conclusion, he refers to Joshua, xviii, 10; I. Samuel,
xiv, 41; Jonah, i, 7; Malachi, i, 6-7; and Hebrews,
vi, 16. Lots, he says, were sanctified to a peculiar use,
namely, to end controversies. On those grounds he absolutely
condemns all games depending on chance. The plea
in favour of play merely for amusement he rejects; being
of opinion that, if such games were even lawful, the desire
of gain would soon creep in; for, according to the common
saying, "Sine lucro friget ludus,&mdash;No gaining, cold
gaming."</p>

<p>Several continental divines, of the reformed party, had
previously expressed similar opinions,
<a name="FNanchor_315_315" id="FNanchor_315_315"></a>
<a href="#Footnote_315_315" class="fnanchor">[315]</a> but without exciting
much remark; and the question seems to have been
regarded as one of mere scholastic theology, until the
differences between the Puritans and the High-church party,
in the reign of James I, caused it to be treated as a question
of practical religion. The question appears to have occasioned
great heats in the University of Cambridge; for
Mr. William Ames, being then Fellow of Christ's College,
having preached at St. Mary's, in 1610, against playing at
cards and dice, as being forbidden by Scripture, his discourse
gave so much offence to persons in authority that he
withdrew from the University in order to avoid expulsion.
Ames subsequently was appointed Professor of Theology at
<span class="pagenum"><a name="Page_282" id="Page_282">[Pg 282]</a></span>
the University of Franeker, in Friesland; and was one of
the principal opponents of Gataker in the controversy on
Lots.</p>

<p>The question respecting the lawfulness of games of chance
has been thoroughly investigated, both morally and theologically,
by Barbeyrac, in his 'Traité du Jeu;'
<a name="FNanchor_316_316" id="FNanchor_316_316"></a>
<a href="#Footnote_316_316" class="fnanchor">[316]</a> and his
determination is, that such games are not in themselves
immoral, whether the stakes be small or great; and that
they are not forbidden, either directly or indirectly, by the
Scriptures. In the Preface he thus speaks of the probable
effect of the absolute condemnation of all games of hazard,
on the assumed ground of their being both immoral in
themselves, and forbidden by the Scriptures.</p>

<p>"I am not surprised that Gataker should have found so
much opposition on the points which he maintained, considering
the times in which he wrote. It, however, appears
strange to me that, in an age when so many prejudices,
both philosophical and theological, have been shook off,
there should still be found people, who, looking only at the
abuses which may arise in the use of things indifferent in
themselves, condemn such things as absolutely evil, on
grounds either frivolous or extremely doubtful. Such condemnation,
so far from correcting those who are addicted
to such abuses, is more likely to confirm them in their
<span class="pagenum"><a name="Page_283" id="Page_283">[Pg 283]</a></span>
course. Nothing but the evidence of truth can enlighten
the mind, and thus make an impression on the heart.
False lights and subtleties, however specious, will never
dissipate the illusions produced by favorite passions. Such
passions, indeed, acquire new force as soon as a plausible
pretext for their indulgence is discovered in the weakness
of the arguments with which they are assailed; while, by
attacking them in a proper manner, he who has been deluded
by them may be induced to open his eyes to the truth, and
to perceive his errors. If, by such means, a reformation is
not effected, it is in consequence of the same obstacles
which render unavailing whatever may be alleged against
things which are, from their very nature, unquestionably
evil. I doubt much if a gamester were ever deterred from
play by the reasons brought forward to persuade him that
the practice was a profanation of Divine Providence. If
the sermons and writings asserting such principles have produced
any good effect, it is in consequence of their containing
also solid reasons derived from the abuse of the thing
confounded with its mere usage. The former have produced
little or no impression; and it is to the latter alone that the
victory is to be ascribed."</p>

<p>As Barbeyrac's work is not common, and has never
been translated into English, it is presumed that the
following extracts from it will not be uninteresting to the
reader. "It is certain that Man was not sent into the
world to pass his time in eating, drinking, and merry-making.
On the contrary, everything shows that he is
destined by his Creator to be employed in matters of utility
and serious consideration. The natural use of all our
faculties has this manifest tendency. We have Mind only
that we may think: we have Hands and Feet only that we
may move and act. Who could suppose that this industry,
this address, this penetration,&mdash;all these wonderful talents,
<span class="pagenum"><a name="Page_284" id="Page_284">[Pg 284]</a></span>
capable of producing the Sciences and Arts,&mdash;were given
to us only to be concealed, or to be shamefully wasted,
either in sluggish idleness, or in a perpetual round of dissipation
and amusement? The necessity of providing for
our wants,&mdash;an obligation common to all in a state of
nature,&mdash;requires that most men should apply themselves
to work of some kind or other; and even those who have
the means of living without labour are yet not exempt from
the duty of applying themselves to some creditable employment,
which may not only secure them against the temptations
of idleness, but may also render them useful members
of society.</p>

<p>"But though the All-wise Creator has made Man for
labour, he has not made him for incessant labour, without
relaxation. The same constitution of our nature which
displays the necessity of action, also shows that we ought
occasionally to rest. Our bodies are not of iron, nor our
spirits of unwearied activity; and the human machine soon
gets out of order when unremittingly worked.... We
are not long in perceiving that too intent an application to
any work weakens the strength of the body, and lessens
the activity of the mind. The way to become disgusted
with anything, is to be unremittingly employed about it.
Thus, the very obligation to work requires that our labour
should be sometimes intermitted, in order that we may not
sink under it, but be enabled to resume it with vigour.
'To take recreation, in order to make progress with our
work,' was the judicious maxim of an ancient sage.
<a name="FNanchor_317_317" id="FNanchor_317_317"></a>
<a href="#Footnote_317_317" class="fnanchor">[317]</a> Rest
is the seasoning of labour;
<a name="FNanchor_318_318" id="FNanchor_318_318"></a>
<a href="#Footnote_318_318" class="fnanchor">[318]</a>
and we ought to combine them
so that a just medium may be preserved. Consult nature,
and she will tell you that she has made the day and the
<span class="pagenum"><a name="Page_285" id="Page_285">[Pg 285]</a></span>
night to mark the hours of labour and of repose,
<a name="FNanchor_319_319" id="FNanchor_319_319"></a>
<a href="#Footnote_319_319" class="fnanchor">[319]</a> and to
teach us that each is equally indispensable to life. A life
undiversified with a festival is like a long journey without
an inn.<a name="FNanchor_320_320" id="FNanchor_320_320"></a>
<a href="#Footnote_320_320" class="fnanchor">[320]</a>
Such is the language of pagan philosophers, and
such are the ideas which pure reason suggests.</p>

<p>"Revelation teaches us the same. The Night was made
for the repose of all living things; and the Sabbath was
partly instituted for the recreation of slaves and servants,
who otherwise might have had masters so harsh as to pay
no regard to the weakness of human nature. This festival
[Fête], as well as all the others appointed by the law,
were times both of rest and enjoyment for the whole of the
people of God. Thus, so far from morality or religion
forbidding every kind of recreation, it may be asserted that
they require us to take such as may be becoming and convenient,
whenever it may be requisite to thus re-invigorate
our powers when exhausted by labour. It would at least
be ungrateful to haughtily reject the innocent pleasures
which the kindness of the Deity allows to man; and it
would be unjust to arbitrarily condemn those who discreetly
avail themselves of such enjoyments.</p>

<p>"There are, however, people who unreasonably suppose
that abuse and use cannot be separated, and who, forming
to themselves I know not what mystical notions of virtue
and piety, would persuade us that every kind of diversion is
unworthy of a reasonable being,&mdash;'a low amusement,' 'a
deceitful pleasure,' 'a consequence of man's fallen nature.'
Such persons may be allowed to aspire to a state of perfection
which perhaps may be beyond the reach of human
nature, and which is certainly unattainable by the great
<span class="pagenum"><a name="Page_286" id="Page_286">[Pg 286]</a></span>
mass of mankind; they ought, however, to allow those who
are doubtful of their own powers of arriving at such perfection,
to humbly follow the path which Nature and Providence
have pointed out, and to possess their souls in peace, and
their conscience without scruple.</p>

<hr class="sect" />

<p>"We maintain, then, as an irrefragable principle, that,
for the sake of relaxation, we may indulge in such amusements
as are in themselves free from vice. This being
admitted, if a person finds pleasure in playing at Billiards,
at Tennis, at Chess, at Cards, at Backgammon, and even
at Dice, why may he not amuse himself with them, as well
as in Promenading, with Music, in the Chase, in Fishing,
in Drawing, and in a thousand other things of a similar
kind? The question then is, whether the game be for
nothing or for a stake of some value. In the first case, it is
a mere recreation, and bears not the slightest semblance of
criminality; and with regard to the second, I do not see
why there should be any evil in it, looking at the matter
simply, without regard to circumstances.</p>

<p>"For if I am at liberty to promise and give my property,
absolutely and unconditionally, to whomever I please, why
may I not promise and give a certain sum, in the event of
a person proving more fortunate, or more skillful than I
with respect to the result of certain movements and combinations,
upon which we had previously agreed? And why
may not this person fairly avail himself of the result either
of his skill or of a favorable concurrence of fortuitous circumstances,
on the issue of which I had voluntarily contracted
an obligation? Even though but one of the parties
obtains an advantage, yet there would be nothing contrary
to equity in the transaction, providing that the terms had
been previously agreed on by both. Every person is at
liberty to determine the conditions on which he will cede
<span class="pagenum"><a name="Page_287" id="Page_287">[Pg 287]</a></span>
a right to another, and may even make it dependent on the
most fortuitous circumstances. <i>A fortiori</i>, a person may
fairly avail himself of his winning, when he has risked
on the event as much as he was likely to gain. In fact,
play [le jeu] is a kind of contract; and in every contract
the mutual consent of the parties is the supreme law: this
is an incontestable maxim of natural equity.
<a name="FNanchor_321_321" id="FNanchor_321_321"></a>
<a href="#Footnote_321_321" class="fnanchor">[321]</a></p>

<p>"In the Scriptures we do not find games of hazard
forbid. The ancient Jews appear to have been entirely
ignorant of this kind of recreation, and even the name for
it is not to be found in the Old Testament. On the dispersion
of the Jews, however, after the Babylonian captivity,
they learnt to play from the Greeks and Romans, as may
be inferred from the cases of conscience on this subject
discussed by the Rabbis. Notwithstanding this, games of
hazard are nowhere forbidden in the New Testament,
though no tolerance is there shown to any kind of vice.
There is, indeed, only one passage that contains the least
allusion to play; and even in this, the term&mdash;which is
metaphorically derived from a game of hazard,&mdash;when taken
<span class="pagenum"><a name="Page_288" id="Page_288">[Pg 288]</a></span>
in the worst sense, would only amount to a condemnation
of the abuse of play.<a name="FNanchor_322_322" id="FNanchor_322_322"></a>
<a href="#Footnote_322_322" class="fnanchor">[322]</a>
If in some versions a word,&mdash;ραιζειν&mdash;used
by St. Paul, in his First Epistle to the Corinthians,
chap. x, v. 7, has been translated '<i>jouer</i>,' it is
merely in consequence of the equivocal signification of this
word, or perhaps from the original term not being fully
understood, which in this place signifies 'to dance,' as is
apparent from the passage in the Old Testament to which it
alludes, <i>Exodus</i>, xxii, 6. From the profound silence of the
sacred writers, and from other reasons already advanced, it
may, in my judgment, be safely concluded that play considered
in itself, and apart from its abuse, is a matter of
perfect indifference.<a name="FNanchor_323_323" id="FNanchor_323_323"></a>
<a href="#Footnote_323_323" class="fnanchor">[323]</a>
&mdash;"Carried about with every wind
of doctrine by the sleight of men."&mdash;Ephesians, iv, 14.&mdash;Dr. Rennell, quoting
the passage in the notes to his sermon against Gaming, observes, that "The connexion
between the artifices of gamesters, and the shifting depravity of heretical
subterfuge, is strongly marked by the Apostle."]</p>

<p>"Few persons are so rigid as to condemn absolutely
games of every kind; an exception being usually made in
favour of those which are determined by skill alone. Most
theologians and casuists, however, have pronounced strongly
against all games into which hazard enters, as if such were
at all times unlawful. The Rabbis, who are of the same
opinion, and who even consider them as means of fraud
between Jew and Jew, assert that 'a man, during the whole
course of his life, should do nothing but devote himself to
the study of the law and of wisdom, to the practice of
charity, or to some employment or business which may be
serviceable to the community.'
<a name="FNanchor_324_324" id="FNanchor_324_324"></a>
<a href="#Footnote_324_324" class="fnanchor">[324]</a>
If this decision be taken
literally, it is manifestly absurd, and requires no further
notice. Even in putting a reasonable interpretation upon
<span class="pagenum"><a name="Page_289" id="Page_289">[Pg 289]</a></span>
these words, and considering them as condemnatory of such
persons as employ themselves in play alone, they still do not
apply to play, considered in itself, but merely restrain it to
its legitimate use. The Jewish doctors themselves acknowledge
that the prohibitions of play in force amongst them,
are founded on the regulations of their ancestors; that is,
that they are not derived either from the law of Nature, or
the positive ordinances of God; but that they depend
entirely on the civil law established by those who had the
power of making new regulations whenever such might
appear to be necessary for the welfare of the state. This
is so true, that they in a manner permitted Jews to play at
games of hazard with Gentiles: at any rate, their prohibition
was extremely feeble, since they declared that, in such a
case, a Jew was only culpable of having spent his time about
a frivolous thing.</p>

<p>"Among the works of St. Cyprian we find a treatise, or
kind of homily, on gaming,&mdash;De Aleatoribus,&mdash;which though
of high antiquity, and evidently written by a Bishop, is
probably not the composition of the saint to whom it has
usually been ascribed. The author, whoever he may have
been, calls games of hazard the nets of the devil; and
affirms that they were invented by a certain learned man
at the prompting of the evil spirit, and that he placed his
portrait and name on the instruments of the game in order
that he might be worshipped by those who used them.
<a name="FNanchor_325_325" id="FNanchor_325_325"></a>
<a href="#Footnote_325_325" class="fnanchor">[325]</a> He,
consequently, maintains that whoever plays at such games
offers sacrifice to their author, and thus commits an act of
<span class="pagenum"><a name="Page_290" id="Page_290">[Pg 290]</a></span>
idolatry. Such chimerical arguments, when divested of all
figure, only show that games of hazard are frequently the
cause of disorder. A Flemish clergyman, in a historical
treatise on this subject, published about the middle of the
seventeenth century, gravely maintains that all games of
hazard are contrary to every one of the ten commandments.
<a name="FNanchor_326_326" id="FNanchor_326_326"></a>
<a href="#Footnote_326_326" class="fnanchor">[326]</a>
It may be easily imagined that he is obliged
to employ many devices in order to give a colour of plausibility
to this paradox; and that whenever he advances
anything really pertinent, it applies only to the abuses,
which, more or less, may insinuate themselves into every
kind of game. A prelate of distinguished merit, Sidonius
Apollinaris, Bishop of Clermont, in Auvergne, who flourished
in the fifth century, was of a different way of thinking;
for he was accustomed to amuse himself at Trictrac, as he
relates in his letters without testifying any compunction,
and without even saying that he had abandoned the
amusement on his being advanced to the office of Bishop,
though he mentions that he had then given up poetry.</p>

<p>"Others have imagined that they have discovered in the
very nature of games of hazard something which renders
them essentially sinful; supporting their views by an argument
which, though extremely specious, is yet easily
refuted. For instance, they say that God presides over
what we call chance, and directs it in a special manner;
and that, as chance enters into all games of hazard, such
games are manifestly sinful as requiring the intervention of
Divine Providence in affairs which are not only trivial, but
also subject to many incommodities.</p>

<p>"This conclusion would be demonstrative if the principle
from which it is drawn were true; but how is it known
that the results of chance are always determined by the
special will of the Deity? Is his intervention directly
<span class="pagenum"><a name="Page_291" id="Page_291">[Pg 291]</a></span>
perceptible, or can it be known by any apparent indication?
From the knowledge that we have of his goodness and
wisdom, can it reasonably be supposed that he does so
intervene? On the contrary, is it not derogatory to the
Supreme Being to suppose that he should immediately
interfere in affairs of such small consequence as most of
those are which are determined amongst men by means of
lots or chance? The very supposition contains within
itself the best reasons for concluding it to be untenable.</p>

<p>"If the Deity indeed were to act by a special will in all
matters which are determined by lot or chance, and more
especially in games of hazard, it would hence follow:
1. That men have the power to compel, and in a manner,
force the Deity to exercise an especial Providence whenever
they may think good; for it is certain that they can
determine some matters by lot whenever they please.
2. It will also follow that the Deity 'performs miracles
every day in favour of persons who are most assuredly undeserving
of them, and in places where no one could suspect
that his presence would be displayed in a manner so
extraordinary.'<a name="FNanchor_327_327" id="FNanchor_327_327"></a>
<a href="#Footnote_327_327" class="fnanchor">[327]</a>
Besides, what likelihood is there that, when
a couple of lacqueys or porters sit down to play at dice or
lansquenet, Providence should more especially interfere in
their game than in events which affect the destiny of
nations, such as battles, revolutions, and other important
actions of a similar kind? There is even something ridiculous
in supposing that when two men are playing at draughts,
or billiards, their game is only the object of common and
ordinary Providence, but that when they sit down to play
at dice or cards, a special Providence then intervenes, and
determines the chances of the game
<a name="FNanchor_328_328" id="FNanchor_328_328"></a
><a href="#Footnote_328_328" class="fnanchor">[328]</a>....</p>

<p><span class="pagenum"><a name="Page_292" id="Page_292">[Pg 292]</a></span></p>

<p>"I am, however, willing to allow that even at play there
may sometimes be an extraordinary manifestation of Providence,
either directly, or by means of some invisible intelligence
determining the lot or chance. I can conceive that
the Deity should dispose of events in such a manner that a
worthy man, for instance, who might be in danger of giving
himself entirely up to play, should be cured of his passion
by a great and sudden loss. But, even admitting this,
there is no reason to conclude that the Deity interferes on
all occasions, and in favour of all sorts of people; and, after
all, without a direct revelation, it never can be positively
known that he really does interfere in such matters. I
could just as readily believe what the eloquent Jesuit Maffei
relates of Ignatius Loyola, in his life of that saint; namely,
that, playing one day at billiards with a gentleman, who
had urged him to try the game, he, by a miracle, proved the
winner, as he was utterly unacquainted with the game."
<a name="FNanchor_329_329" id="FNanchor_329_329"></a>
<a href="#Footnote_329_329" class="fnanchor">[329]</a></p>

<p>In concluding the first book, Barbeyrac observes: "To
refute in detail all the objections of rigid moralists would
require an entire volume. What I have already said, however,
appears to me sufficient to remove any vain scruples
which may have been excited on the subject. I am,
indeed, rather apprehensive that those who are too fond
of play will think that I might have spared myself the
trouble of proving that which they had no doubts about;
and that it was quite unnecessary to explain to them at so
great length that play, considered in itself, contains nothing
contrary to the law of Nature or the precepts of the Gospel.
The plan of the work, however, required that I should
<span class="pagenum"><a name="Page_293" id="Page_293">[Pg 293]</a></span>
commence with this; and the opportunity being thus
afforded of showing the fallacy of the austere portrait which
some writers have drawn of Christian morality, I have
availed myself of it. On this subject I also feel myself
justified in referring to the schools of Pagan philosophy,
where we are taught that 'we should do nothing without
being able to give a reason for it; in small matters as well
as in great.'<a name="FNanchor_330_330" id="FNanchor_330_330"></a>
<a href="#Footnote_330_330" class="fnanchor">[330]</a>
Now, assuming that out of a hundred persons
who are accustomed to play daily, there is scarcely one
who has ever asked himself how, or in what manner, it may
be lawful, it is not surprising that so many people should
convert a thing in itself perfectly harmless into a subject of
disorder, employing it as a means of gratifying their inordinate
love of pleasure, their idleness, or their avarice."</p>

<p>In the second book, wherein he discusses the essentials
of play&mdash;le Jeu&mdash;he distinguishes three kinds of games:
1, Games of pure skill; 2, Games of pure chance; and, 3,
Games which depend partly on skill and partly on chance.
Games of skill are those which depend on manual dexterity,
bodily agility, or mental acuteness: Billiards, Racket,
Quoits, Cricket, Draughts, and Chess are of this kind.
Games of pure chance are those in which the event, though
brought about by the instrumentality of the players, is yet
absolutely beyond their direction or control: of this kind
are Dice, and certain games at cards, such as Basset, Brelan,
Lansquenet, Rouge-et-Noir, and Faro. In the third kind,
such as Backgammon and most of the usual games at cards,
<a name="FNanchor_331_331" id="FNanchor_331_331"></a>
<a href="#Footnote_331_331" class="fnanchor">[331]</a>
<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span>
the effects of chance may in some degree be counteracted
by a skilful application of principles derived from a knowledge
of the various combinations which result from the
conventional rules of the game. In all games for any
considerable stake, that is, with regard to the means of the
parties, it is necessary that the players should be as nearly
as possible equal in point of skill; for, in this case, the
game becomes a kind of traffic, and is subject to all the
conditions of an equitable contract.</p>

<p>Most persons who play for high stakes, either at games of
pure chance or of chance and skill combined, make more or
less a traffic of their amusement; and risk their own money
from a desire of winning that of another. In all such
cases, gaming is a positive evil to society, and is utterly inexcusable,
much less justifiable, on any grounds whatever; and
all who thus venture large sums may be justly required to
show by what right they possess them. When a fool or a
knave is thus stripped of a large property, his loss is a
matter of small import to society; the true evil is, that so
large a portion of national wealth, created by the industry
of others, should be at the disposal of such a character, and
should be allowed to pass, on such a contract, to another
even more worthless than himself. This objection has not
been urged in any of the numerous sermons and essays that
have been published against gaming; the authors of which,
generally, instead of showing that society has both the
power and the right to correct such abuses by depriving
the offending parties of the means of continuing them,
have contented themselves with declamations on the
wickedness of the pursuit, and with vain appeals to the
conscience of inveterate gamesters: while they whistle
to the deaf adder, they never seem to suspect that it
may be easily dispatched with a stick.&mdash;But such abuses
in society are never remedied till the <span class="smcap">Heraclidæ</span> acquire
<span class="pagenum"><a name="Page_295" id="Page_295">[Pg 295]</a></span>
a knowledge of their rights, as well as a consciousness of
their power.</p>

<p>The appeal to the vanity of men of "rank and education"
<a name="FNanchor_332_332" id="FNanchor_332_332"></a>
<a href="#Footnote_332_332" class="fnanchor">[332]</a>
in order to shame them out of their love of play is as futile
in its effects as it is wrong in principle; for it tends only
to nourish in them feelings of self-conceit, and to induce
them to think rather of the deficiencies of the low-born men,
whose money they are eager to win, than to consider their own
dereliction of duty, in playing for large sums, with any one.
At the gaming-table, a community of feeling levels all the
artificial distinctions of rank; and the rude plebeian who
covers the high-born noble's stake is just as good, for all
intents and purposes of play, as that noble himself. The
condescension of the noble to play with a costermonger for
the sake of winning his money, is fully compensated by the
other's willingness to afford him a chance. The annals of
gaming sufficiently show that rank is no guarantee of a
gamester's honesty; and in the case of Lord De Ros <i>versus</i>
Cumming, tried before Lord Denman, 10th of February,
1837, it would appear that the rank of the fraudulent
gamester screened him for several years, with one party at
least, from being denounced. Sir William Ingilby, in his
examination, stated that he had seen Lord De Ros perform
the trick of reversing the cut, and thus secure himself an
ace or a king for the turn-up card, at least fifty times; and
that he first observed his lordship do it "about four, five,
or six years ago." When asked why he did not denounce
Lord De Ros after he had become aware of his fraudulent
<span class="pagenum"><a name="Page_296" id="Page_296">[Pg 296]</a></span>
tricks, he gives the following answer: "I did not mention
the matter publicly for this reason:&mdash;I considered that if
an obscure and humble individual like myself, not possessed
of his rank, were to attempt to go up to a peer of the realm,
who held a high station in society, and who at the same
time was regarded by all his associates, and by the world
in general, as a man of unimpeachable character, and say,
'My lord, you are cheating;' if, I say, I, that humble
individual, had addressed Lord De Ros in these terms,&mdash;if
I had denounced a peer of the realm, and a man of such
general popularity, I should instantly have gathered around
me a host of persons; and I take it, as a matter of course, I
should have had no choice between the door and the window."
Notwithstanding that the honorable baronet was aware of
the fraudulent practice of the right honorable peer, it seems
that he still continued to play with him; but it does not
appear that he was particularly attentive to his lordship's
trick of reversing the cut,&mdash;<i>sauter la coupe</i>,&mdash;when he had
him for a partner.<a name="FNanchor_333_333" id="FNanchor_333_333"></a>
<a href="#Footnote_333_333" class="fnanchor">[333]</a>
If Sir William Ingilby's fears were
well founded, it seems reasonable to conclude that those who
would have "pitched him out of the window," for exposing
the fraudulent tricks of a peer, must have been persons of
similar character to the party denounced; and that their
conduct in such a case would not have been influenced by
a regard for the honour of a peer of the realm, but would
rather have been the result of the vexation which they felt
at the public exposure of one of their own stamp. On this
trial, one of the witnesses admitted that he had won £35,000
at cards in the course of fifteen years. This is certainly a
large sum, but nothing to be compared to the winnings of
some men by their gambling in railway shares within the
last ten years. Lord De Ros failed in his action; the fact
<span class="pagenum"><a name="Page_297" id="Page_297">[Pg 297]</a></span>
of cheating which had been alleged against him having
been clearly proved. He did not long survive the disgraceful
exposure; and Theodore Hook is said to have embalmed
his memory in the following epitaph: "<span class="smcap">Here lies
England's Premier Baron patiently awaiting the
last</span> <i>TRUMP</i>."<a name="FNanchor_334_334" id="FNanchor_334_334"></a>
<a href="#Footnote_334_334" class="fnanchor">[334]</a></p>

<p>On the question of the lawfulness of playing at cards for
the sake of amusement, and not from the mere desire of
gain, many persons of eminent piety have held the affirmative
in their writings; and a far greater number of the
same class have testified, by their practice, their concurrence
in the same opinion. "Many fierce declamations," says
Jeremy Taylor, "from ancient sanctity have been uttered
against cards and dice, by reason of the craft used in the
game, and the consequent evils, as invented by the Devil.
And, indeed, this is almost the whole state of the question;
for there are so many evils in the use of these sports, they
are made trades of fraud and livelihood, they are accompanied
so with drinking and swearing, they are so scandalous
by blasphemies and quarrels, so infamous by misspending
precious time, and the ruin of many families, they so often
make wise men fools and slaves of passion, that we may say
of those who use them inordinately, they are in an ocean of
mischief, and can hardly swim to shore without perishing....
He can never be suspected in any criminal sense
to tempt the Divine Providence, who by contingent things
recreates his labour, and having acquired his refreshment
hath no other end to serve, and no desires to engage the
Divine Providence to any other purpose.... A man
may innocently, and to good purposes go to a tavern, but
they who frequent them have no excuse, unless their
innocent business does frequently engage, and their severe
<span class="pagenum"><a name="Page_298" id="Page_298">[Pg 298]</a></span>
religion bring them off safely. And so it is in these sports;
there is only one cause of using them, and that comes but
seldom, the refreshment, I mean, of myself or my friend, to
which I minister in justice or in charity; but when our
sports come to that excess, that we long and seek for
opportunities; when we tempt others, are weary of our
business, and not weary of our game; when we sit up till
midnight, and spend half days, and that often too; then
we have spoiled the sport,&mdash;it is not a recreation, but a sin....
He that means to make his games lawful, must not
play for money, but for refreshment. This, though few
may believe, yet is the most considerable thing to be
amended in the games of civil and sober persons. For the
gaining of money can have no influence in the game to
make it the more recreative, unless covetousness holds the
box.... But when money is at stake, either the sum
is trifling, or it is considerable. If trifling, it can be of no
purpose unless to serve the ends of some little hospitable
entertainment or love-feast, and then there is nothing amiss;
but if considerable, a wide door is opened to temptation,
and a man cannot be indifferent to win or lose a great sum
of money, though he can easily pretend it. If a man be
willing or indifferent to lose his own money, and not at all
desirous to get another's, to what purpose is it that he plays
for it? If he be not indifferent, then he is covetous or he
is a fool: he covets what is not his own, or unreasonably
ventures that which is. If without the money, he cannot
mind his game, then the game is no divertisement, no
recreation, but the money is all the sport, and therefore
covetousness is all the design; but if he can be recreated
by the game alone, the money does but change it from
lawful to unlawful, and the man from being weary to
become covetous; and from the trouble of labour or study,
remove him to the worse trouble of fear, or anger, or
<span class="pagenum"><a name="Page_299" id="Page_299">[Pg 299]</a></span>
impatient desires. Here begins the mischief, here men
begin for the money to use vile arts; here cards and dice
begin to be diabolical, when players are witty to defraud and
undo one another; when estates are ventured, and families
are made sad and poor by a luckless chance. And what
sport is it to me to lose my money, if it be at all valuable?
and if it be not, what is it to my game? But sure the
pleasure is in winning the money; that certainly is it. But
they who make pastime of a neighbour's ruin, are the worst
of men, said the comedy. But concerning the loss of our
money, let a man pretend what he will, that he plays for
no more than he is willing to lose, it is certain that we
ought not to believe him; for if that sum is so indifferent
to him, why is not he easy to be tempted to give such a
sum to the poor? Whenever this is the case, he sins, that
games for money beyond an inconsiderable sum. Let the
stake be nothing, or almost nothing, and the cards or dice
are innocent, and the game as innocent as push-pin....
In plays and games, as in other entertainments, we must
neither do evil, nor seem to do evil; we must not converse
with evil persons, nor use our liberty to a brother's prejudice
or grief. We must not do anything, which he, with
probability, or with innocent weakness, thinks to be amiss,
until he be rightly instructed; but where nothing of these
things intervene, and nothing of the former evils is appendant,
we may use our liberty with reason and sobriety: and
then, if this liberty can be so used, and such recreations can
be innocent, as they assuredly may, there is no further
question, but those trades, which minister to these divertisements,
are innocent and lawful."<a name="FNanchor_335_335" id="FNanchor_335_335"></a>
<a href="#Footnote_335_335" class="fnanchor">[335]</a></p>

<p><span class="pagenum"><a name="Page_300" id="Page_300">[Pg 300]</a></span></p>

<p>Nelson, the pious author of the 'Fasts and Festivals of the
Church of England,' and of the 'Practice of True Devotion,'
had no objection to cards. "Sober persons," says he, in
the last-mentioned work, "do not make a business of what
they should only use as a diversion." The Rev. Augustus
Toplady, so well known for his high Calvinistic principles,
used to occasionally amuse himself with a game at cards;
and in a letter dated "Broad Hembury, Nov. 19th, 1773,"
he thus expresses himself on the subject of recreations in
which clergymen may innocently indulge.
<a name="FNanchor_336_336" id="FNanchor_336_336"></a>
<a href="#Footnote_336_336" class="fnanchor">[336]</a></p>

<p>"I do not think that honest Martin Luther committed
sin by playing at Backgammon for an hour or two after
dinner in order, by unbending his mind, to promote
digestion.</p>

<p>"I cannot blame the holy martyr Bishop Ridley for
frequently playing at Tennis before he became a prelate,
nor for playing at the more serious game of Chess twice a
day after he was made a bishop.</p>

<p>"As little do I find fault with another of our most exemplary
martyrs, the learned and devout Mr. Archdeacon
Philpot; who has left it on record as a brand on Pelagians
of that age, that 'they looked on honeste pastyme as a
sinne;' and had the impudence to call him an Antinomian
and a loose moralist, because he now and then relaxed
his bow with 'huntinge, shootynge, bowlynge, and such
like.'</p>

<p>"Nor can I set down pious Bishop Latimer for such an
enemy to holiness of life on account of his saying that
hunting is a good exercise for men of rank, and that
shooting is as lawful an amusement for persons of inferior
class.</p>

<p>"I have not a whit the worse opinion of the eminent and
<span class="pagenum"><a name="Page_301" id="Page_301">[Pg 301]</a></span>
profound Mr. Thomas Gataker for the treatise which he
professedly wrote to prove the lawfulness of card-playing,
under due restrictions and limitations.</p>

<hr class="sect" />

<p>"I cannot condemn the Vicar of Broad Hembury [Mr.
Toplady himself] for relaxing himself now and then among
a few select friends with a rubber of sixpenny Whist, a pool
of penny Quadrille, or a few rounds of twopenny Pope Joan.
To my certain knowledge, the said vicar has been cured of
headache by one or other of those games, after spending
eight, ten, or twelve, and sometimes sixteen hours in his
study. Nor will he ask any man's leave for so unbending
himself&mdash;because another person's conscience is no rule to
his, any more than another person's stature or complexion."</p>

<p>John Wesley, when a young man at college, and before his
thorough conversion, appears to have been fond of a game at
cards. Tate Wilkinson, writing in 1790, says: "Mr. Wesley,
about four years ago, in the fields at Leeds, for want of
room for his congregation in his tabernacle, gave an account
of himself, by informing us, that when he was at college,
he was particularly fond of the devil's pops (or cards); and
said, that every Saturday he was one of a constant party at
Whist, not only for the afternoon, but also for the evening;
he then mentioned the names of several respectable gentlemen
who were with him at college.&mdash;'But,' continued he,
'the latter part of my time there I became acquainted with
the Lord; I used to hold communication with him. On
my first acquaintance, 'I used to talk with the Lord once a
week, then every day, from that to twice a day, till at last
the intimacy so increased, that He appointed a meeting
once in every four hours.... He recollected, he said,
the last Saturday he ever played at cards, that the rubber
at Whist was longer than he expected; and on observing
the tediousness of the game, he pulled out his watch, when,
<span class="pagenum"><a name="Page_302" id="Page_302">[Pg 302]</a></span>
to his shame, he found it was some minutes past eight,
which was beyond the time he had appointed to meet the
Lord.&mdash;He thought the devil had certainly tempted him
to stay beyond his hour; he therefore suddenly gave
his cards to a gentleman near him to finish the game, and
went to the place appointed, beseeching forgiveness for his
crime, and resolved never to play with the devil's pops
again. That resolution he had never broken; and what
was more extraordinary, that his brother and sister, though
distant from Cambridge, experienced signs of grace on that
same day, on that same hour, in the month of October."
<a name="FNanchor_337_337" id="FNanchor_337_337"></a>
<a href="#Footnote_337_337" class="fnanchor">[337]</a></p>

<p>On the subject of card-playing, even for the sake of
amusement, two distinguished laymen, John Locke and Dr.
Johnson, appear to have entertained different opinions. The
former, in his Treatise on Education, says, "As to cards
and dice, I think the safest and best way is never to learn
any play upon them, and so to be incapacitated for those
dangerous temptations and incroaching wasters of useful
time." Dr. Johnson, on the contrary, regretted that he had
not learnt to play at cards, giving, at the same time, as his
reason: "It is very useful in life; it generates kindness,
and consolidates society."<a name="FNanchor_338_338" id="FNanchor_338_338"></a>
<a href="#Footnote_338_338" class="fnanchor">[338]</a> The opinion of a living
<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span>
Professor of Moral Philosophy, on the subject of card-playing,
may be gathered from the following dialogue
between Christopher North and the Ettrick Shepherd.
<a name="FNanchor_339_339" id="FNanchor_339_339"></a>
<a href="#Footnote_339_339" class="fnanchor">[339]</a></p>

<p class="center">"NORTH.</p>

<p>Gaming is not a vice, then, in the country, James?</p>

<p class="center p1">SHEPHERD.</p>

<p>There's little or nae sic thing as gamblin' in the kintra,
sir. You'll fin' a pack o' cairds in mony o' the houses&mdash;but
no in them a'&mdash;for some gude fathers o' families think
them the deevil's buiks, and sure aneuch when ower muckle
read they begin to smell o' sulphur and Satan.</p>

<p class="center p1">NORTH.</p>

<p>Why, James, how can old people, a little dim-eyed or so,
while an occasional evening away better than at an innocent
and cheerful game at cards?</p>

<p class="center p1">SHEPHERD.</p>

<p>Haud your haun' a wee, Mr. North. I'm no saying
onything to the reverse. But I was sayin' that there are
heads o' families that abhor cairds, and would half-kill their
sons and daughters were they to bring a pack into the
house. Neither you nor me wull blame them for sic savin'
prejudice. The austere Calvinistic spirit canna thole to
think that the knave o' spades should be lying within twa
three inches o' the Bible. The auld stern man wud as soon
forgie the introduction into the house o' base ballads o'
sinfu' love&mdash;and wishes that the precincts be pure o' his
ain fire-side. Though I take a ggem o' whust now and
then mysel, yet I boo to the principle, and I venerate the
adherence till't in the high-souled patriarchs of the
Covenant.</p>

<p><span class="pagenum"><a name="Page_304" id="Page_304">[Pg 304]</a></span></p>

<p class="center p1">NORTH.</p>

<p>Perhaps such strict morality is scarcely practicable in our
present condition.</p>

<p class="center p1">SHEPHERD.</p>

<p>What, do you mainteen that cairds are absolutely necessary
in a puir man's house? Tuts! As for auld dim-eyed
people, few o' them, except they be blin' a'thegither, that
canna read big prent wi' powerfu' specs, and they can aye
get, at the warst, some bit wee idle Oe to read out aloud
to its grannies, without expense o' oil or cawnel, by the
heartsome ingle-light. You'll generally fin' that auld folk
that plays cairds, have been raither freevolous, and no
muckle addicked to thocht&mdash;unless they're greedy, and play
for the pool, which is fearsome in auld age; for what need
they care for twa three brass penny-pieces, for ony ither
purpose than to buy nails for their coffin?</p>

<p class="center p1">NORTH.</p>

<p>You push the argument rather far, James.</p>

<p class="center p1">SHEPHERD.</p>

<p>Na, sir. Avarice is a failing o' auld age sure aneuch&mdash;and
shouldna be fed by the Lang Ten. I'm aye somewhat
sad when I see folk o' eighty haudin' up the trumps to their
rheumy een, and shaking their heads, whether they wull or
no, ower a gude and a bad haun alike. Then, safe on us!
only think o' them cheatin'&mdash;revokin'&mdash;and marking mair
than they ought wi the counters!</p>

<p class="center p1">NORTH.</p>

<p>The picture is strongly coloured; but could you not
paint another less revolting, nay, absolutely pleasant, nor
violate the truth of nature?</p>

<p class="center p1">SHEPHERD.</p>

<p>I'm no quite sure. Perhaps I micht. In anither condition
o' life&mdash;in towns, and among folk o' a higher rank,
I dinna deny that I hae seen auld leddies playing cards very
<span class="pagenum"><a name="Page_305" id="Page_305">[Pg 305]</a></span>
composedly, and without appearin' to be doin' onything
that's wrang. Before you judge richtly o' ony ae thing in
domestic life, you maun understan' the hail constitution o'
the economy. Noo, auld leddies in towns dress somewhat
richly and superbly, wi' ribbons, and laces, and jewels even,
and caps munted wi' flowers and feathers; and I'm no
blamin' them&mdash;and then they dine out, and gang to routes,
and gie dinners and routes in return, back to hunders o'
their friends and acquaintance, Noo, wi' sic a style and
fashion o' life as that, caird-playing seems to be somewhat
accordant, if taken in moderation, and as a quiet pastime,
and no made a trade o', or profession, for sake o' filthy
lucre. I grant it harmless; and gin it maks the auld
leddies happy, what richt hae I to mint ony objections?
God bless them, man; far be it frae me to curtail the
resources o' auld age. Let them play on, and all I wish is,
they may never lose either their temper, their money, nor
their natural rest.</p>

<p class="center p1">NORTH.</p>

<p>And I say God bless you, James, for your sentiments do
honour to humanity.</p>

<p class="center p1">SHEPHERD.</p>

<p>As for young folks&mdash;lads and lasses, like&mdash;when the
gudeman and his wife are gaen to bed, what's the harm in
a ggem at cairds? It's a chearfu', noisy, sicht o' comfort
and confusion. Sic luckin' into ane anither's haun's! Sic
fause shufflin'! Sic unfair dealin'! Sic winkin' to tell your
pairtner that ye hae the king or the ace! And when that
wunna do, sic kickin' o' shins and treadin' on taes aneath
the table&mdash;aften the wrang anes! Then down wi' your
haun' o' cairds in a clash on the board, because you've ane
ower few, and the coof maun lose his deal! Then what
gigglin' amang the lasses! What amicable, nay, love-quarrels,
between pairtners! Jokin', and jeestin' and
<span class="pagenum"><a name="Page_306" id="Page_306">[Pg 306]</a></span>
tauntin', and toozlin'&mdash;the cawnel blawn out, and the soun
o' a thousan' kisses! That's caird-playing in the kintra,
Mr. North; and where's the man amang ye that wull daur
to say that its no a pleasant pastime o' a winter's nicht,
when the snaw is cumin' doon the lum, or the speat's roarin
amang the mirk mountains?</p>

<p class="center p1">NORTH.</p>

<p>Wilkie himself, James, is no more than your equal.</p>

<p class="center p1">SHEPHERD.</p>

<p>O man, Mr. North, sir, my heart is wae&mdash;my soul's sick&mdash;and
my spirit's wrathfu' to think o' thae places in great
cities which they ca'&mdash;Hells!</p>

<p class="center p1">NORTH.</p>

<p>Thank Heaven, my dear James, that I never was a
gambler&mdash;nor, except once, to see the thing, ever in a Hell.
But it was a stupid and passionless night&mdash;a place of mean
misery&mdash;altogether unworthy of its name.</p>

<p class="center p1">SHEPHERD.</p>

<p>I'm glad you never went back, and that the deevil was
in the dumps; for they say that some nichts in thae Hells,
when Satan and Sin sit thegither on ae chair, he wi' his
arm roun' the neck o' that Destruction his Daughter, a
horrible temptation invades men's hearts and souls, drivin'
and draggin' them on to the doom o' everlasting death.</p>

<p class="center p1">NORTH.</p>

<p>Strong language, James&mdash;many good and great men have
shook the elbow.</p>

<p class="center p1">SHEPHERD.</p>

<p>Come, come now, Mr. North, and dinna allow paradox
to darken or obscure the bright licht o' your great natural
and acquired understandin'. 'Good and great' are lofty
epithets to bestow on ony man that is born o' a woman&mdash;and
if ony such there have been who delivered themselves
up to sin, and shame, and sorrow, at the ggeming-table;
<span class="pagenum"><a name="Page_307" id="Page_307">[Pg 307]</a></span>
let their biographers justify them&mdash;it will gie me pleasure
to see them do't&mdash;but such examples shall never confound
my judgment o' right or wrang. 'Shake the elbow
indeed!' What mair does a parricide do but 'shake his
elbow,' when he cuts his father's throat? The gamester
shakes his elbow, and down go the glorious oak trees planted
two hundred years ago, by some ancestor who loved the
fresh smell o' the woods&mdash;away go&mdash;if entail does no forbid&mdash;thousands
o' bonny braid acres, ance a' ae princely estate,
but now shivered down into beggarly parshels, while the
Auld House seems broken-hearted, and hangs down its head,
when the infatuated laird dies or shoots himself. Oh, man!
is nae it a sad thocht to think that my leddy, aye sae
gracious to the puir, should hae to lay down her carriage in
her auld age, and disappear frae the Ha' into some far-aff
town or village, perhaps no in Scotland ava'; while he, that
should hae been the heir, is apprenticed to a writer to the
signet, and becomes a money-scrivener i' his soul, and
aiblins a Whig routin' at a public meetin' about Queens,
and Slavery, and Borough Reform, and Cautholic Emancipation."</p>

<p>St. Francis Xavier, though disapproving of all games of
chance, yet did not absolutely condemn them as forbidden
by the word of God; but endeavoured to reclaim, by gentle
means, those who were addicted to play. "That he might
banish Games of Chance," says his biographer, "which
almost always occasion quarrels and swearing, he proposed
some little innocent diversions, capable of entertaining the
mind, without stirring up the passions. But seeing that in
spight of his endeavours they were bent on Cards and Dice,
he thought it not convenient to absent himself, but became
a looker-on, that he might somewhat awe them by his presence;
and when they were breaking out into any extravagance,
he reclaimed them by gentle and soft reproofs.
<span class="pagenum"><a name="Page_308" id="Page_308">[Pg 308]</a></span>
He showed concernment in their gains, or in their losses,
and offered sometimes to hold their cards.</p>

<p>"While the ship that carried Xavier was crossing the
Gulph of Ceylon, [in 1545] an occasion of charity was
offered to the Saint, which he would not suffer to escape.
The mariners and souldiers pass'd their time, according to
their custome, in playing at cards. Two souldiers set
themselves to it more out of avarice than pleasure, and
one of them plaid with such ill fortune, that he lost not
only all his own money, but the stock which others had put
into his hands to traffick for them. Having nothing more
to lose, he withdrew, cursing his luck, and blaspheming
God. His despair prevail'd so far over him, that he had
thrown himself into the Sea, or run upon the point of his
sword, if he had not been prevented. Xavier had notice
of these his mad intentions, and execrable behaviour, and
immediately came to his relief. He embrac'd him tenderly,
and said all he cou'd to comfort him: But the souldier in
the transports of his fury, thrust him away, and forbore not
even ill language to him. Xavier stood recollected for
some time, imploring God's assistance and counsel; then
went and borrow'd fifty Royals of a passenger, brought
them to the souldier, and advis'd him once more to try his
fortune. At this the souldier took heart, and play'd so
luckily, that he recover'd all his losses with great advantage.
The Saint, who look'd on, took out of the overplus of the
winnings, what he had borrow'd for him; and seeing the
gamester, now return'd to a calm temper, he who before
refus'd to hear him, was now overpower'd by his discourse,
never after handled cards, and became exemplary in his
life.</p>

<p>"He was particularly free in his converse with souldiers
who are greater libertines, and more debauch'd in the
Indies, than elsewhere. For, that they might the less
<span class="pagenum"><a name="Page_309" id="Page_309">[Pg 309]</a></span>
suspect him, he kept them company; and because sometimes
when they saw him coming, they had hid their cards
and dice, he told them, They were not of the clergy,
neither cou'd they continue praying all the day; that
cheating, quarrelling and swearing, were forbid to gamesters,
but that play was not forbid to a souldier. Sometimes
he play'd at chess himself out of complyance, when
they whom he study'd to withdraw from vice, were lovers
of that game: And a Portuguese gentleman, whose name
was Don Diego Norogna, had once a very ill opinion of
him for it. This cavalier, who had heard a report of
Xavier, that he was a saint-like man, and desir'd much
to have a sight of him, happen'd to be aboard of the same
galley. Not knowing his person, he enquir'd which was
he; but was much surprised to find him playing at chess
with a private souldier. For he had form'd in his imagination,
the idea of one who was recollected and austere, and
who never appear'd in publick but to discourse of eternity,
or to work miracles."<a name="FNanchor_340_340" id="FNanchor_340_340"></a>
<a href="#Footnote_340_340" class="fnanchor">[340]</a></p>

<p>St. Francis de Sales was, in his younger days, a card-player,
though subsequently he condemned all games at cards
as being in themselves unlawful.
<a name="FNanchor_341_341" id="FNanchor_341_341"></a>
<a href="#Footnote_341_341" class="fnanchor">[341]</a> According to the Duchess
of Orleans, the old Marshal Villeroi, who had known him in
his youth, could never bring himself to call him Saint. As
often as the name of St. Francis de Sales was mentioned in
his presence, he would observe, "I was delighted to learn
that Mons. de Sales was a Saint. He was fond of saying
smutty things, and used to cheat at cards; in other respects
<span class="pagenum"><a name="Page_310" id="Page_310">[Pg 310]</a></span>
he was a perfect gentleman, though a ninny."
<a name="FNanchor_342_342" id="FNanchor_342_342"></a>
<a href="#Footnote_342_342" class="fnanchor">[342]</a> The excuse
that he made for his cheating was, that whatever he won
was for the poor. Cardinal Mazarine, another dignitary of
the church of Rome, was much given to cheating at play as
well as in politics; and it is related by an eye-witness, that
when he was on his death-bed, he still continued to play
at cards, one of the company holding his "hand;" and
that he was thus employed when he received the Pope's
plenary indulgence, together with the viaticum, as a prince
of the church, from the Papal nuncio.
<a name="FNanchor_343_343" id="FNanchor_343_343"></a>
<a href="#Footnote_343_343" class="fnanchor">[343]</a></p>

<p>In the sixteenth and seventeenth centuries, many of the
clergy of all degrees in France, Spain, and Italy appear to
have been much addicted not only to card-playing but to
gaming in general, notwithstanding the determinations of
casuists and the prohibitions of councils. Masses and
prayers were sometimes staked by the priest against the
hard money of the layman; and even devout people,
following the example set them by their pastors, used to
play with each other for Aves and Pater-nosters. On the
subject of the clergy staking masses at play, Barbeyrac, a
Protestant, observes, "These are in truth frivolous matters,
and of no effect, to say no worse; nevertheless, as those
who traffic in them believe, or, at least, pretend to believe
<span class="pagenum"><a name="Page_311" id="Page_311">[Pg 311]</a></span>
that a kind of sanctity and supernatural virtue are attached
to their use, all play for such stakes is unlawful; and he
who thus profanely ventures them is evidently guilty both
of sacrilege and simony." With respect to playing for
prayers, Thiers says that the practice is not condemned by
Dr. Navarre, and that Père Raynaud bears witness of its
being admitted among the devout; for his own part, however,
he disapproves of it as "a heteroclite refinement of
devotion;" and is of opinion that there is some degree of
irreverence in playing for Psalms, Pater-nosters, and Aves.
<a name="FNanchor_344_344" id="FNanchor_344_344"></a>
<a href="#Footnote_344_344" class="fnanchor">[344]</a>
The Spanish phrase, "<i>Jugar los Kiries</i>" shows that such a
practice was not unusual among the clergy of that country:
though the explanation of the phrase in some dictionaries
is, that it relates to a clergyman who plays away the alms
that are given him for praying, it yet properly relates to a
clergyman who plays away prayers,&mdash;not the money given
for them.</p>

<p>Among the vices generated by gaming, that of swearing
is especially noted by most authors who have written on the
subject.<a name="FNanchor_345_345" id="FNanchor_345_345"></a>
<a href="#Footnote_345_345" class="fnanchor">[345]</a>
The French appear to have minced and frittered
their oaths, swearing "like a comfit-maker's wife;" the
English and Germans to have sworn grossly; and the
Spaniards and Italians to have blasphemed in a spirit of
refined impiety. Pascasius Justus, in this respect, calls
<span class="pagenum"><a name="Page_312" id="Page_312">[Pg 312]</a></span>
the gaming-table the devil's farm, and says that it always
yields him a most abundant crop. In his time, gamesters
do not appear to have merely sworn from vexation, but
even to have delighted in pouring forth a volley of oaths.
He relates that, when he once told a gambler that he himself
could never utter an oath, the other replied, "Then
you are ignorant of a great pleasure." A French writer,
speaking of the oaths of the Spaniards, gives the following
anecdote, as an instance of their impiety. On one occasion,
when an order had been issued to the Spanish army against
swearing, a soldier having lost all his money at cards,
and not daring to violate the letter of the order, gave vent
to his feelings by exclaiming, "Beso las manos, Señor
Pilato," "I thank you, Mr. Pontius Pilate."&mdash;"Il devoit
être brûlé," is the judgment of the relater. A similar instance
of blasphemy, on the part of an Italian who had lost
his money at cards, is recorded by Henry Stephens, in the
introduction to his 'Traité de la Conformité des Merveilles
anciennes avec les modernes.'
<a name="FNanchor_346_346" id="FNanchor_346_346"></a>
<a href="#Footnote_346_346" class="fnanchor">[346]</a></p>

<p>With respect to the passions excited by gaming, the
learned and pious Jeremy Collier expresses his opinion
in the following manner, in his 'Essay on Gaming,' in a
Dialogue: "I can't help observing that playing deep sets
the spirits on float, strikes the mind strongly into the
<span class="pagenum"><a name="Page_313" id="Page_313">[Pg 313]</a></span>
face, and discovers a man's weakness very remarkably.
Cards and dice, &amp;c. command the humour no less than
the moon does the tide; you may see the passions come
up with the dice, and ebb and flow with the fortune of the
game; what alternate returns of hope and fear, of pleasure
and regret, are frequently visible upon such occasions?</p>

<div class="poetry-container">
  <div class="poetry">
  <div class="verse">Ενθα δ' ἁμ' οιμωγη τε και ευχωλη πελεν ανδρων,</div>
  <div class="verse">Ολλυντων τε, και ολλυμενων.</div>
  </div>
</div>

<p>"As you say gaming is an image of war, the sudden
turns of success are easily discernible; the advances of
victory or ill luck, make a strange revolution in the blood.
The countenance takes its tincture from the chance, and
appears in the colours of the prospect. With what anxiousness
is the issue expected. You would think a jury of life
and death was gone out upon them. The sentence for
execution is not receiv'd with more concern, than the
unlucky appearance of a cast or a card. Thus some people
are miserably ruffled, and thrown off the hinges; they seem
distress'd to an agony; you'd pity them for the meanness
of their behaviour; others are no less foolishly pleas'd;
break out with childish satisfaction, and bring the covetousness
of their humour too much into view.</p>

<p>"Now since play is thus arbitrary over the passions,
who would resign the repose of his mind, and the credit of
his temper, to the mercy of chance? Who would stake his
discretion upon such unnecessary hazards? And throw the
dice, whether he should be in his wits or not?"</p>

<p>On <span class="smcap">Dolomedes</span>, the other speaker in the dialogue, observing,
that this does not always follow; that some people
play without the least offensiveness or ruffle, and lose great
sums with all the decency and indifference imaginable, the
author, in the character of <span class="smcap">Callimachus</span>, thus proceeds:</p>

<p>"Alas! this is often but a copy of the countenance:
<span class="pagenum"><a name="Page_314" id="Page_314">[Pg 314]</a></span>
things are not so smooth within, as they seem without.
Some people when they bleed inwardly have the art to
conceal the anguish; and this is generally the most of the
matter; but if they are really unconcern'd; if so heavy a
blow brings no smart along with it, the case is still worse:
these men have no sense of the value of money, they won't
do the least penance for their folly, they have not so much
as the guard of a remorse. This stoicism is the speediest
dispatch to beggary; nothing can be more dangerous than
such a stupid tranquillity. To be thus becalm'd presages
<i>Short allowance</i>. This sedateness makes the man foolhardy,
renew the combat, and venture a brush for the
remainder; for he that can be beaten at his ease, and feels
no pain upon a wound, will fight, most likely, as long as
his legs will bear him.</p>

<p>"But this insensibleness is rarely met with: very few
are proof against a shrewd chance to this degree. When
misfortune strikes home, 'tis seldom decently receiv'd;
their temper goes off with their money. For, according to
the proverb, <i>Qui perd le sien, perd le sens</i>. And here one
loss usually makes people desperate, and leads to another:
and now the gentlemen of your function are extremely
vigilant to improve the opportunity, and observe the current
of the passions. You know very well when a man's head
grows misty with ill luck, when the spleen comes over his
understanding, and he has fretted himself off his guard, he
is much the easier conquest: thus, when your bubbles are
going down the hill, you manage accordingly, lend them a
push, tho' their bones are broken at the bottom. But I
forget myself; there's neither mercy nor justice in some
people's business.</p>

<p>"To return: you know I may take it for granted, that
your gaming sparks are horribly ruffled when things with a
promising face sicken, and sink on the sudden, when they
<span class="pagenum"><a name="Page_315" id="Page_315">[Pg 315]</a></span>
are surprizingly crossbitten, and success is snatch'd from
their grasp; when this happens, which is not unfrequent,
the spirits are up immediately, and they are a storm at the
first blast: the train takes fire, and they kindle and flash
at the touch like gunpowder. And when the passions are
thus rampant, nothing is more common than oaths, and
execrable language: when instead of blaming their own
rashness, and disciplining their folly, they are cursing their
stars, and raging against their fate.
<a name="FNanchor_347_347" id="FNanchor_347_347"></a>
<a href="#Footnote_347_347" class="fnanchor">[347]</a></p>

<p>"These paroxysms of madness run sometimes so high,
that you would think the Devil had seiz'd the organs of
speech, and that they were possess'd in every syllable: and
to finish farther, these hideous sallies are sometimes carry'd
on to quarrelling and murther. The dice, it may be, are
snatch'd too quick, the cast is disputed, the loading and
legerdemain is discover'd.</p>

<p class="center">"Jamque faces et saxa volant:&mdash;</p>

<p>Upon this, they run to arms, and after some artillery discharg'd
in swearing, come to a close encounter. And thus
one of them is run through the lungs, and left agonizing
upon the place: or, as it happen'd not long since, the
gamester is knocked down with a pint-pot, and his skull
broken: he is forced to be trepan'd, and then relapsing
into play and drinking, dies of a frenzy.</p>

<p><span class="pagenum"><a name="Page_316" id="Page_316">[Pg 316]</a></span></p>

<p>"As to the hazards, they are frightful, and sufficient to
overset the temper of better principled people than gamesters
commonly are. Have we not heard of ladies losing
hundreds of guineas at a sitting? And others more slenderly
stock'd, disfurnish their husbands' studies, and play off the
books which, it may be, help'd to feed them. And when
the women are thus courageous, the men conclude their
own sex calls for a bolder liberty: that they ought to go
farther in danger, and appear more brave in the methods of
ruin: thus a manor has been lost in an afternoon; the suit
and service follow the cast, and the right is transfer'd
sooner than the lawyer can draw the conveyance. A box
and dice are terrible artillery, a battery of cannon scarcely
plays with more execution. They make a breach in a
castle, and command a surrender in a little time.
"<a name="FNanchor_348_348" id="FNanchor_348_348"></a>
<a href="#Footnote_348_348" class="fnanchor">[348]</a></p>

<p>A curious Rabbinical tract on the subject of Gaming,
entitled, סור מרע,&mdash;<span class="smcap">Sûr Mera</span>,&mdash;that is, "Depart from
Evil,"<a name="FNanchor_349_349" id="FNanchor_349_349"></a>
<a href="#Footnote_349_349" class="fnanchor">[349]</a>
seems to require some notice here. It was first
printed at Venice, about 1615; was reprinted at Leyden
about 1660; and a third edition, accompanied with a
German translation, was published at Leipsic in 1683.
None of the editors mention either the name of the author,
or the time when he lived. The work is in the form of a
dialogue between two young Jews, one of whom, named
<span class="smcap">Medad</span>, maintains the lawfulness of Gaming, and is opposed
by the other, named <span class="smcap">Eldad</span>. The work is divided into six
chapters. The first is merely introductory, giving a brief
account of the speakers in the dialogue;&mdash;Medad, a
merchant's son, addicted to play; and Eldad, his friend,
who endeavours to reclaim him. The second chapter
<span class="pagenum"><a name="Page_317" id="Page_317">[Pg 317]</a></span>
contains the argument which they had on the subject of
gaming and commerce; Medad endeavouring to show that
play is commendable and similar to commerce; while
Eldad maintains the contrary. In the third chapter,
Eldad undertakes to prove from the Scriptures that a
gamester breaks all the Ten Commandments, and Medad
ingeniously answers him. In the fourth chapter, Eldad,
on the authority of the Talmud and other Rabbinical
works, maintains that a gamester can neither be a judge
nor a witness; and Medad answers him, citing opposite
passages from the same authorities. In the fifth chapter,
Eldad recites a piece of poetry descriptive of the miserable
state of a gamester; and Medad, in return, recites another,
wherein the pleasures of a gamester's life are highly extolled.
In the sixth and last chapter, Eldad seriously exhorts his
friend to assent to truth; Medad yields, and acknowledges
that the cause which he had maintained was bad.</p>

<p>The following are a few of the more remarkable passages
in the argument of Medad, the advocate of gaming:
"Play is commendable, the same as all other human inventions.
It is like a bright mirror in which many excellent
things are to be discovered, exciting to a sluggish man, and
causing him to forget the cares incident to daily life.
Though it be undeniable that he whose whole pleasure
consists in keeping the commands of the Lord, and
who is neither vain nor ambitious, is a better man
than he who plays; yet of the various pursuits in
which men engage in order to obtain wealth or power, Play
is one which may be allowed to those who, without pretending
to be absolutely righteous, yet endeavour to be as
righteous as they can. Through much trafficking man
becomes knowing; and wares are in Hebrew called סחורה&mdash;<i>Sechorah</i>&mdash;a
word which means 'circulation,' or 'that
which circulates,' on account of their passing from one
<span class="pagenum"><a name="Page_318" id="Page_318">[Pg 318]</a></span>
person to another by way of barter or sale. Why should
Play not be estimated the same as any other business, at
which money is sometimes lost and sometimes gained?
<a name="FNanchor_350_350" id="FNanchor_350_350"></a>
<a href="#Footnote_350_350" class="fnanchor">[350]</a>
The determining of matters by lot or chance is even of
Divine institution: the high priest's sin-offering was to be
determined by lot; the land was to be divided amongst
the Twelve Tribes by lot; David, in the sixteenth Psalm,
says that the Lord maintains his lot; and in Proverbs,
chap. xviii, we are told that 'the lot causeth contentions
to cease, and parteth between the mighty.'&mdash;It is answered,
that traffic or commerce is productive of mutual benefit.
But hearken: in anticipation of a dearth you purchase a
hundred quarters of corn of your neighbour, and lock it up
in your granaries, in the hope of gaining double. You
raise your face to Heaven, but it is to look out for the signs
of bad weather; and you are content that there should be
a famine in the land, provided that you thrive by it. When
your wine-vats are full to overflowing, you enjoy the storm
of thunder and hail that destroys the vintage of the year;
for you will thus be enriched. But is this just? is there
any mutual benefit in this? Can you make your profit
without the rest of the world being injured? And yet you
are held to be an honourable fair-dealing man.
<a name="FNanchor_351_351" id="FNanchor_351_351"></a>
<a href="#Footnote_351_351" class="fnanchor">[351]</a>&mdash;In the
third chapter of the tract <i>Sanhedrin</i>, gamesters and usurers
are indeed classed together; but it is known that in the
Scriptures usury is strongly condemned, while play is not
<span class="pagenum"><a name="Page_319" id="Page_319">[Pg 319]</a></span>
even forbidden. But now, those who live by usury are
honoured; and so far from being deprived of the right of
acting as judges or of giving testimony as witnesses, they
are magistrates and rulers: a word of theirs is worth a
hundred witnesses. Gamesters, on the contrary, are unjustly
vilified; and he who does not speak evil of play runs
the risk of being excommunicated.&mdash;Even the losing
gamester may derive great advantage from his play: he
is thus taught to bear losses with patience; and when
in other matters he has been unlucky and has lost much
money, he consoles himself with the thought that it is only
what has often happened to him at play. He perceives
that nothing is stable or perpetual in human affairs, and
takes the good and the bad with even temper. From his
games he also acquires the elements of science; he learns
arithmetic without a master; and also becomes a proficient
in logic and rhetoric, from his exercise of those arts on his
opponents. From the cards he may acquire a knowledge
of painting, and from the dice, which are exactly squared,
he may learn mathematics. In short, he who plays at cards
and dice, has a hand in all arts. The Hebrew
word בכל--<i>Bekol</i>--which signifies 'in all,'
is, in its numerical value, equal to 52:
that is, ‏ב‎ = 2; ‏כ‎ = 20; and ‏ל‎ = 30:
in all 52,--the number of cards in a French pack.
The Hebrew word ויד--<i>Va-yod</i>--which signifies 'a Hand,'
is, in the same manner, reckoning the word itself as 1,
equal to 21: that is, ‏ו‎ = 6; ‏י‎ = 10; ‏ד‎ = 4;
the word itself = 1: in all
21,&mdash;the number of the spots on a die. Thus, from his play,
may a man learn righteousness, and how to conduct himself
with moderation."</p>

<p>Though the game of cards has not been so elaborately
moralised as the game of Chess, yet the Pack has not
wanted spiritual expounders, who have ingeniously shown
that it might serve, not only as a perpetual almanack, but
<span class="pagenum"><a name="Page_320" id="Page_320">[Pg 320]</a></span>
also as a moral monitor, and a help to devotion. The
most popular and best known of such expositions, or rather
applications, is that entitled 'The Perpetual Almanack,
or Gentleman-Soldier's Prayer Book;' which has been
long circulated in this country as a penny chap-book.
Mons. Leber says that it is an imitation of a French tract
on the same subject, entitled 'Explication morale du
Jeu de Cartes, anecdote curieuse et intéressante, sous le
nom de Louis Bras-de-fer, engagé au service du roi,'
which seems to have been first published at Brussels, in
1778. The history of Bras-de-fer is referred to by Breitkopf;
and Mons. Renouard, speaking of Singer's 'Researches into
the History of Playing Cards,' in the Catalogue of his
Library, observes, "Cet auteur, qui a tout recherché, n'a
probablement pas tout rencontré, car s'il l'eut seulement
entrevue, auroit-il laissé échapper l'explication morale du
jeu de cartes par le soldat Bras-de-fer, l'une des pièces le
plus notables de la bibliothèque à deux sols?" In order
that a similar objection may not be brought against the
writer of this work, the whole of the Perpetual Almanack
is here given, <i>verbatim</i>, from a broadside, "printed by
J. Catnach, 2, Monmouth Court, Seven Dials."</p>

<p>"The Perpetual Almanack; or Gentleman-soldier's
Prayer Book: shewing how one Richard Middleton was
taken before the Mayor of the city he was in for using
cards in church during Divine Service: being a droll, merry,
and humorous account of an odd affair that happened to a
private soldier in the 60th Regiment of Foot.</p>

<p>"The serjeant commanded his party to the church, and
when the parson had ended his prayer, he took his text,
and all of them that had a Bible, pulled it out to find the
text; but this soldier had neither Bible, Almanack, nor
Common-Prayer Book, but he put his hand in his pocket
and pulled out a pack of cards, and spread them before him
<span class="pagenum"><a name="Page_321" id="Page_321">[Pg 321]</a></span>
as he sat; and while the parson was preaching, he first kept
looking at one card and then at another.
<a name="FNanchor_352_352" id="FNanchor_352_352"></a>
<a href="#Footnote_352_352" class="fnanchor">[352]</a> The serjeant of
the company saw him, and said, 'Richard, put up your cards,
for this is no place for them.'&mdash;'Never mind that,' said the
soldier, 'you have no business with me here.'</p>

<p>"Now the parson had ended his sermon, and all was
over: the soldiers repaired to the churchyard and the commanding
officer gave the word of command to fall in, which
they did. The serjeant of the city came, and took the man
prisoner.&mdash;'Man, you are my prisoner,' said he.&mdash;'Sir,'
said the soldier, 'what have I done that I am your prisoner?'&mdash;'You
have played a game at cards in the church.'&mdash;' No,'
said the soldier, 'I have not play'd a game, for I only
looked at a pack.'&mdash;'No matter for that, you are my prisoner.'&mdash;'Where
must we go?' said the soldier.&mdash;'You must go
before the Mayor,' said the serjeant. So he took him before
the Mayor; and when they came to the Mayor's house, he
was at dinner. When he had dined he came down to them,
and said, 'Well, serjeant, what do you want with me?'&mdash;'I
have brought a soldier before you for playing at cards in the
<span class="pagenum"><a name="Page_322" id="Page_322">[Pg 322]</a></span>
church.'&mdash;'What! that soldier?'&mdash;'Yes.'&mdash;'Well, soldier,
what have you to say for yourself?'&mdash;'Much, sir, I hope.'&mdash;'Well
and good; but if you have not, you shall be punished
the worst that ever man was.'&mdash;'Sir,' said the soldier, 'I
have been five weeks upon the march, and have but little
to subsist on; and am without either Bible, Almanack, or
Common-Prayer Book, or anything but a pack of cards:
I hope to satisfy your honour of the purity of my intentions.'</p>

<p>"Then the soldier pulled out of his pocket the pack of
cards, which he spread before the Mayor; he then began
with the Ace. 'When I see the Ace,' said he, 'it puts me
in mind that there is one God only; when I see the Deuce,
it puts me in mind of the Father and the Son; when I see
the Tray, it puts me in mind of the Father, Son, and Holy
Ghost; when I see the Four, it puts me in mind of the four
Evangelists, that penned the Gospel, viz. Matthew, Mark,
Luke, and John; when I see the Five, it puts me in mind
of the five wise virgins who trimmed their lamps; there were
ten, but five were foolish, who were shut out. When I see
the Six, it puts me in mind that in six days the Lord made
Heaven and Earth; when I see the Seven, it puts me in
mind that on the seventh day God rested from all the works
which he had created and made, wherefore the Lord blessed
the seventh day, and hallowed it. When I see the Eight,
it puts me in mind of the eight righteous persons that were
saved when God drowned the world, viz. Noah, his wife,
three sons, and their wives; when I see the Nine, it puts
me in mind of nine lepers that were cleansed by our Saviour;
there were ten, but nine never returned God thanks; when
I see the Ten, it puts me in mind of the Ten Commandments
that God gave Moses on Mount Sinai on the two tables
of stone.' He took the Knave, and laid it aside.&mdash;'When I
see the Queen, it puts me in mind of the Queen of Sheba,
who came from the furthermost parts of the world to hear
<span class="pagenum"><a name="Page_323" id="Page_323">[Pg 323]</a></span>
the wisdom of King Solomon, for she was as wise a woman
as he was a man; for she brought fifty boys and fifty girls,
all clothed in boy's apparel, to show before King Solomon,
for him to tell which were boys, and which were girls; but
he could not, until he called for water for them to wash
themselves; the girls washed up to their elbows, and the
boys only up to their wrists; so King Solomon told by that.
And when I see the King, it puts me in mind of the great
King of Heaven and Earth, which is God Almighty, and
likewise his Majesty King George, to pray for him.'</p>

<p>"'Well,' said the Mayor, 'you have a very good description
of all the cards, except one, which is lacking.'&mdash;'Which
is that?' said the soldier.'&mdash;'The Knave,' said the Mayor.&mdash;'Oh,
I can give your honour a very good description of that,
if your honour won't be angry.'&mdash;'No, I will not,' said the
Mayor, 'if you will not term me to be the Knave.'&mdash;'Well,'
said the soldier, 'the greatest that I know is the serjeant
of the city, that brought me here.'&mdash;'I don't know,' said
the Mayor, 'that he is the greatest knave, but I am sure
that he is the greatest fool.'&mdash;'When I count how many
spots there are in a pack of cards, I find there are three
hundred and sixty-five; there are so many days in a year.
When I count how many cards there are in a pack, I find
there are fifty-two; there are so many weeks in a year.
When I count how many tricks in a pack, I find there are
thirteen; there are so many months in a year. You see,
sir, that this pack of cards is a Bible, Almanack, Common-Prayer
Book, and pack of cards to me.'</p>

<p>"Then the Mayor called for a loaf of bread, a piece of
good cheese, and a pot of good beer, and gave the soldier a
piece of money, bidding him to go about his business,
saying he was the cleverest man he had ever seen."</p>

<p>Another chap-book, entitled 'A New Game at Cards,
between a Nobleman in London and one of his Servants,'
is merely a variation of the 'Perpetual Almanack:' a servant
<span class="pagenum"><a name="Page_324" id="Page_324">[Pg 324]</a></span>
being denounced to his master as a gambler, denies the
fact; and on a pack of cards being found in his pocket, he
asserts that he is unacquainted with their use as mere cards,
and that he uses them as an almanack, and sometimes converts
them into a prayer-book. The four suits answer to
the four quarters of the year; there are thirteen cards in
each suit, and thirteen weeks in each quarter; the twelve
coat cards correspond with the twelve months in a year;
and there are just as many weeks in the year as cards in a
pack. The King and Queen remind him of his allegiance;
the Ten reminds him of the Ten Commandments; the
Nine, of the nine Muses; the Eight, of the eight altitudes,
and the eight persons who were saved in the ark; the
Seven, of the seven wonders of the world, and the seven
planets that rule the days of the week; the Six, of the six
petitions contained in the Lord's Prayer, and of the six
working days in a week; the Five, of the five senses; the Four,
of the four seasons; the Three, of the three Graces, and
of the three days and nights that Jonah was in the whale's
belly; the Two, of the two Testaments, Old and New, and
of the two contrary principles, Virtue and Vice; and the
Ace, of the worship of one God. With respect to the
Knave, which, like the soldier, he had laid aside, and had
omitted to notice in its proper place, he says, on being
asked its meaning by his master, that it will always remind
him of the person who informed against him.</p>

<p>A variation of the history of Bras-de-fer was published at
Paris in 1809, with notes by a Mons. Hadin, under the
following title: 'Histoire du Jeu de Cartes du Grenadier
Richard, ou Explication du Jeu de cinquante-deux cartes
en forme de Livres de Prière.'
<a name="FNanchor_353_353" id="FNanchor_353_353"></a>
<a href="#Footnote_353_353" class="fnanchor">[353]</a>
Mons. G. Brunet, in his
<span class="pagenum"><a name="Page_325" id="Page_325">[Pg 325]</a></span>
'Notice Bibliographique sur les Cartes à jouer,' says that
this <i>livret</i> is not devoid of originality, and that it is not
easily met with. From the passages which he quotes, it
would appear that the "Grenadier Richard" was equally
well read in sacred and profane history, and that he had
thumbed both his Concordance and his Classical Dictionary
to some purpose. The Ace reminds him, amongst
various other things, of the unity of the Deity; that Noah
left the ark one year after the deluge; and that there is
only one Catholic Church. When he sees the Nine, he
thinks of the nine orders of angels; and is reminded that
Christ died at the ninth hour of the day. A Queen reminds
him of Eve, Judith, Dalilah, the Queen of Sheba, and the
Virgin Mary; a Knave, of the centurion in the Gospel;
and a King, of Adam, Solomon, or any king mentioned in
Holy Writ. The twelve coat cards remind him of the twelve
fountains of Elim, the twelve precious stones in the breastplate
of the high priest, the twelve loaves of shew-bread,
the twelve stones with which Eli built an altar, the twelve
patriarchs, the twelve oxen that sustained the brazen sea in
Solomon's temple, the twelve apostles, the twelve articles of
the creed, and the twelve feasts which are more particularly
celebrated by the Church of Rome in honour of Christ.
Diamonds&mdash;le Carreau,&mdash;make him think of the place
where the cross was fixed; Spades&mdash;le Pique,&mdash;of the
lance which pierced the side of Christ; and Clubs,&mdash;le
Trèfle,&mdash;with their triple leaves, of the love of the three
women who went early in the morning with perfumes to
the holy sepulchre.</p>

<p>On subjects of heathen mythology, cards are equally
suggestive to his well-stored memory. The Three reminds
<span class="pagenum"><a name="Page_326" id="Page_326">[Pg 326]</a></span>
him of the three sons of Saturn,&mdash;Jupiter, Neptune, and
Pluto; of the three Furies, the three Graces, the three
Hesperides, the three daughters of Mineus, and the three
horses of the chariot of Pluto. The Four reminds him of
the four ages, the four horses of the chariot of the sun, and
the four labyrinths, namely, of Egypt, Crete, Italy, and
Lemnos; and whenever he sees the Nine, he is vividly reminded
of the nine Muses, and the nine acres of land
covered by the body of the giant Tithius. The twelve coat
cards are suggestive of the twelve gods and goddesses, the
twelve labours of Hercules, and sundry other twelves
besides.<a name="FNanchor_354_354" id="FNanchor_354_354"></a>
<a href="#Footnote_354_354" class="fnanchor">[354]</a></p>

<p>The following historical anecdote, <i>apropos</i>, of a pack of
cards, is extracted from a little book in duodecimo, entitled
'The Social and Instructive Companion,' printed for
T. Field in Paternoster Row, 1765. The same story is also
inserted in the 'Whitehall Evening Post,' of the 27th
September, 1767; and the editor says that it is related
in the manuscript memoirs of Richard, Earl of Cork,
and of Henry Usher, primate of Armagh. He further
adds that its truth was ascertained by James Usher, Archbishop
of Armagh, nephew of the aforesaid Henry. Whether
true or false, a great many more improbable things have
passed current as authentic history upon no better evidence.</p>

<p>"Queen Mary having dealt severely with the Protestants
in England, signed a commission about the latter end of
her reign, for taking the same course with them in Ireland;
and to execute the same with greater force, she nominated
Dr. Cole, who had recommended himself by wholesome
severities in England, to be one of the commissioners,
sending the commission by the doctor himself.</p>

<p>"In the way, Dr. Cole lodged one night at Chester,
where, being visited as the queen's messenger, and a
churchman of distinction by the mayor of that city, he informed
<span class="pagenum"><a name="Page_327" id="Page_327">[Pg 327]</a></span>
this magistrate of the contents of his message; and
taking a box out of his cloak-bag, said, 'Here is a commission
that shall lash the heretics' (meaning the Protestants
of Ireland).</p>

<p>"The good woman of the house being well affected to
the Protestant religion, and having also a brother named
John Edmonds, then a citizen in Dublin, and a Protestant,
was greatly disturbed at the doctor's words; but waiting a
convenient time whilst the mayor took his leave, and the
doctor complimented him down stairs, she ventured to open
the box, and taking the commission out, she in its place
put a sheet of paper, and a pack of cards, with the Knave
of Clubs faced uppermost, wrapped up. The doctor, at his
return to his chamber, suspecting nothing of what had been
done, put up the box again into his cloak-bag; and next
day the wind setting fair, he sailed for Ireland, and landed
at Dublin, the 7th of October, 1558.</p>

<p>"The doctor having notified his arrival at the Castle, the
lord deputy Fitz-Walters sent for him to come before his
excellency and the privy council; to whom the doctor made
a long speech relating to the subject of his commission, and
then presented the leather box with its contents to the
lord deputy. But when the deputy opened it for the secretary
to read the commission, lo! to the great surprise of all
present, and the doctor's confusion, there was nothing found
but a pack of cards with the Knave of Clubs faced uppermost.
The doctor assured the deputy and council that he
had a commission, but knew not how it was gone, 'Then,'
said the lord deputy, 'let us have another commission, and
we will shuffle the cards in the meanwhile.'</p>

<p>"The doctor withdrew in great trouble of mind; and
hasting back to England, obtained a fresh commission: but
being detained some time at the water side for a fair wind,
he was prevented from putting it into execution by the
news of the queen's death.</p>

<p><span class="pagenum"><a name="Page_328" id="Page_328">[Pg 328]</a></span></p>

<p>"This account of the providential deliverance of the
Protestants in Ireland from the Marian persecution is
attested in the memorials of Richard, Earl of Cork, by the
Lord Primate Usher; and in Sir James Ware's MSS.; who
also writes that Queen Elizabeth, being informed of the
truth thereof by the lord deputy Fitz-Walters, her Majesty
was so delighted, that she sent for the good woman, named
Elizabeth Edmonds, but by her husband (whom she afterwards
married) named Mathershead, and gave her a
pension of forty pounds during life, for having saved her
Protestant subjects of Ireland."</p>

<hr class="sect" />

<p>Having now laid before the reader a store of facts and
speculations on the origin and history of cards, a sketch of
the progress of card-playing in different countries in Europe,
and a collection of the opinions of several eminent men on
the lawfulness of the game theologically and morally considered,
together with sundry other matters either naturally,
or artificially, associated with cards,&mdash;I shall conclude the
work by a brief recapitulation of a few of the leading facts
and circumstances relating to the origin of cards and the
time of their first introduction into Europe.</p>

<p>In Hindostan, the tradition is, that cards were known in
that country at a remote period,&mdash;upwards of a thousand
years ago; but I have not been able to learn that they
are mentioned in any Hindostanee work of an early
date, and I am informed, on the authority of the Sanscrit
professor at Oxford, that there is no Sanscrit word
for playing cards. This last fact is, however, of but little
weight as negative evidence of cards being unknown in
Hindostan a thousand years ago; for long before that time
Sanscrit had become obsolete as a vernacular language.
In China, if any credit can be attached to the two dictionaries,
or rather cyclopædias, of the greatest authority in that
country, "Dotted Cards" were invented in 1120, in the
<span class="pagenum"><a name="Page_329" id="Page_329">[Pg 329]</a></span>
reign of Seun-ho, and began to be common in the reign of
Kaou-tsung, who ascended the throne in 1131. Cards&mdash;<i>Carte</i>&mdash;are
mentioned in an Italian work, said to have been
composed by Sandro di Pipozzo in 1299; but as the MS.
is not of an earlier date than 1400, there is good reason for
concluding the word to be an interpolation, seeing that in
several works of the earlier part of the fourteenth century,
which had been cited to prove that cards were then known
in Europe, it has been discovered that the term cards was
an interpolation introduced at a later period by a transcriber.
The author of the 'Güldin Spil,' a work written about the
middle of the fifteenth century, and printed at Augsburg, in
1472, says that he had read that the game of cards was
first brought into Germany in 1300. No fact, however,
confirmatory of the correctness of this account has been
discovered; and the omission of all notice of cards by
European authors of the earlier half of the fourteenth century,
even when expressly treating of the games in vogue at the
period, may be received as good negative evidence of their
not being then known as a popular game in Europe: "<i>De
non apparentibus et non existentibus eadem est ratio</i>." Admitting
cards to be of Eastern invention&mdash;a fact which appears
to be sufficiently established by the evidence adduced in the
first chapter,&mdash;it would seem that they first became known
in Europe as a popular game between 1360 and 1390.
Covelluzzo, an Italian chronicler of the fifteenth century,
says, that the game was first brought into Viterbo in 1379;
in 1393, three packs of cards were painted by Jacquemin
Gringonneur for the amusement of Charles VI of France;
<a name="FNanchor_355_355" id="FNanchor_355_355"></a>
<a href="#Footnote_355_355" class="fnanchor">[355]</a>
<span class="pagenum"><a name="Page_330" id="Page_330">[Pg 330]</a></span>
in 1397, the working people of Paris were forbid to play
at cards on working days; and in the same year card-playing
was prohibited by the magistrates of Ulm. Such
are the principal facts relative to the introduction of cards
into Europe. The game appears to have rapidly spread
amongst all classes of people. The manufacture of cards
was a regular business in Germany and Italy prior to 1425;
the importation of foreign cards into England was prohibited
by act of parliament in 1463; and about 1484, cards, as
at present, was a common Christmas game. It is unnecessary
to recapitulate the more prominent incidents which
mark the progress of card-playing; it may be sufficient to
observe, that no other game was ever so generally played,
with people of both sexes,&mdash;young and old, rich and poor.
Even the "red man" of America, the "Stoic of the Woods,"
has acquired a knowledge of cards, from his neighbours of
European descent, and ceases to be apathetic when engaged
in the game. It is, perhaps, as extensively diffused as the
use of tobacco; and is certainly indulged in by a greater
variety of persons.</p>

<div class="figcenter bord"><a name="i_403.jpg" id="i_403.jpg"></a>
  <img src="images/i_403.jpg"
      alt="Tail-piece, Cheating Time with Cards" />
</div>

<div class="footnotes"><h3>FOOTNOTES:</h3>

<p class="footnote"><a name="Footnote_314_314" id="Footnote_314_314"></a>
<a href="#FNanchor_314_314"><span class="label">[314]</span></a>
The author does not seem to have been successful in his ministry at Newcastle.
Colonel Fenwick says that the town was famous for mocking and misusing
Christ's ministers; and after naming Knox and Udal, he thus reproaches
the town for its treatment of Balmford: "Witness reverend Balmford, whom
in a like manner thou expulsed; though thou couldst not touch his life, thou
pricked his sides (as well as Christ's) in his hearers, with the reproach of
Balmfordian faction and schism."&mdash;Christ in the midst of his Enemies, by
Lieut.-Col. John Fenwick, 1643. Reprinted by M. A. Richardson, Newcastle,
1846.</p>

<p class="footnote"><a name="Footnote_315_315" id="Footnote_315_315"></a>
<a href="#FNanchor_315_315"><span class="label">[315]</span></a>
The opinions of Luther, Calvin, Peter Martyr, Lambert Daneau, and others
upon this question are to be found in the 'Collectanea variorum authorum de
Sortibus et Ludo Aleæ,' appended to the Alea of Pascasius Justus, by Joannes
a Munster, 4to, 1617.</p>

<p class="footnote"><a name="Footnote_316_316" id="Footnote_316_316"></a>
<a href="#FNanchor_316_316"><span class="label">[316]</span></a>
"Traité du jeu, ou l'on examine les principales Questions de Droit naturel
et de morale qui ont du rapport à cette Matière. Par Jean Barbeyrac, Professeur
en Droit à Groningue. Seconde Edition, revue et augmentée. A laquelle
on a joint un Discours sur la nature du Sort, et quelques autres Ecrits de l'Auteur
qui servent principalement à défendre ce qu'il avoit dit de l'innocence du jeu
consideré en lui-même."&mdash;This Edition, in three volumes, 16mo, was published
at Amsterdam, 1738, and is dedicated to Anne, Princess of Orange, eldest
daughter of George II. The first edition appeared in 1710. It is said that the
idea of writing such a book was first suggested to Barbeyrac in consequence of
his being so frequently appealed to on questions relating to the game of cards by
ladies who came to play with his mother-in-law, with whom he resided, and in
whose apartment he used frequently to sit.</p>

<p class="footnote"><a name="Footnote_317_317" id="Footnote_317_317"></a>
<a href="#FNanchor_317_317"><span class="label">[317]</span></a>
"Anacharsis, apud Aristot. Παιζειν, δ' ὁπως σπουδαζῃ, κατ' Ἀναχαρσιν, ὀρθως ἐχειν δοκει.
&mdash;Ethic. Nicom. lib. x, cap. 6."</p>

<p class="footnote"><a name="Footnote_318_318" id="Footnote_318_318"></a>
<a href="#FNanchor_318_318"><span class="label">[318]</span></a>
Ἡ ἀναπαυσις, των πονων ἀρτυμα ἐστι.&mdash;Plutarch. de Puerorum institut."</p>

<p class="footnote"><a name="Footnote_319_319" id="Footnote_319_319"></a>
<a href="#FNanchor_319_319"><span class="label">[319]</span></a>
"Inter se ista miscenda sunt: et quiescenti agendum, et agenti quiescendum
est. Cum rerum natura delibera: illa dicet tibi, se et Diem fecisse et Noctem.&mdash;Seneca,
Epist. iii."</p>

<p class="footnote"><a name="Footnote_320_320" id="Footnote_320_320"></a>
<a href="#FNanchor_320_320"><span class="label">[320]</span></a>
"Βιος ανεορταστος, μακρη ὁδος απανδοκευτος.&mdash;Democrit. apud Stobæum."</p>

<p class="footnote"><a name="Footnote_321_321" id="Footnote_321_321"></a>
<a href="#FNanchor_321_321"><span class="label">[321]</span></a>
It may be observed, that such cases of "Natural Equity," as are here
hypothetically put by Barbeyrac, do not properly admit of a third party as a judge,
in the event of a dispute. Parties entering into such contracts, irrespective of
the usages of society, or the positive laws of the country where they reside, ought
to be left to enforce their natural equity by natural means. One wealthy fool loses
to another the whole of his property, the contract between them being, that
he was to be the winner who should draw the longest straw out of a stack.
In natural equity, between the two parties, the loser is obliged to pay; but,
should he recover his senses, he will refuse, and leave the winner to his remedy;
for the circumstance of his risking so much in the first instance, was a greater
offence against society than his subsequent refusal to pay. What one gambler
may lose to another is of small moment to society, compared with the primary
evil through which such persons are enabled to play deeply with the fruits of
others' labours. Luther, speaking of the lawfulness of retaining money won by
gaming, concludes that it might be lawfully retained; but adds, that he could
wish both parties to lose, if it were possible. The impossibility has been
removed since regular gaming houses and gaming banks were established.</p>

<p class="footnote"><a name="Footnote_322_322" id="Footnote_322_322"></a>
<a href="#FNanchor_322_322"><span class="label">[322]</span></a>
The following is the passage referred to: περιφερομενοι παντι ανεμω της διδασκαλιας εν τη ΚΥΒΕΙΑ των ανθρωπων.</p>

<p class="footnote"><a name="Footnote_323_323" id="Footnote_323_323"></a>
<a href="#FNanchor_323_323"><span class="label">[323]</span></a>
Barbeyrac, Traité du Jeu, liv. i, chap. 1. "Que le Jeu en lui-même, et
l'abus mis à part, est une chose tout-à-fait indifferente."</p>

<p class="footnote"><a name="Footnote_324_324" id="Footnote_324_324"></a>
<a href="#FNanchor_324_324"><span class="label">[324]</span></a>
"Selden, de Jure Naturæ et Gentium, lib. iv, cap. v."</p>

<p class="footnote"><a name="Footnote_325_325" id="Footnote_325_325"></a>
<a href="#FNanchor_325_325"><span class="label">[325]</span></a>
From this account of instruments of play containing pictures and devises,
it has been conjectured that cards were then known, and that the game was
included in the general term "Alea." On this point, Barbeyrac observes,
in a note: "All this pleasant conceit [about pictures and idolatry] is founded
on two things: first that the board on which they played at Trictrac and Dice,
was adorned with paintings; and second, that the invention of those games was
attributed to Theut, or Thout, the Egyptian Mercury, who, after his death, was
numbered amongst the gods."</p>

<p class="footnote"><a name="Footnote_326_326" id="Footnote_326_326"></a>
<a href="#FNanchor_326_326"><span class="label">[326]</span></a>
"Daniel Souter, Palamed. lib. ii, c. 6."</p>

<p class="footnote"><a name="Footnote_327_327" id="Footnote_327_327"></a>
<a href="#FNanchor_327_327"><span class="label">[327]</span></a>
Réflexions sur ce que l'on appelle Bonheur et Malheur en matière de Loteries,
par M. le Clerc, ch. viii, p. 97.</p>

<p class="footnote"><a name="Footnote_328_328" id="Footnote_328_328"></a>
<a href="#FNanchor_328_328"><span class="label">[328]</span></a>
La Placette, Des Jeux de Hasard, ch. ii, p. 202.</p>

<p class="footnote"><a name="Footnote_329_329" id="Footnote_329_329"></a>
<a href="#FNanchor_329_329"><span class="label">[329]</span></a>
J. B. Thiers, in his Traité des Jeux et des Divertissemens, p. 5, thus refers
to the same anecdote: "Saint Ignace de Loiola joüa un jour au billard avec un
gentil-homme qui l'avoit invité d'y jouer, et s'il en faut croire l'éloquent Jésuite
Maphée, il le gagna miraculeusement, quoiqu'il ne sçût pas le jeu. <i>Cum nihil
minus calleret Ignatius, divinitus factum est ut in singulos omnino trajectus victor
eraderet.</i>"</p>

<p class="footnote"><a name="Footnote_330_330" id="Footnote_330_330"></a>
<a href="#FNanchor_330_330"><span class="label">[330]</span></a>
"Omnis autem Actio vacare debet temeritate et negligentia: nee vero agere
quidquam, cujus non possit causam probabilem reddere."&mdash;Cicero de Offic. lib. i.
See also Marc. Antonin. lib. viii, cap. 2, and lib. x, cap. 37, together with
Gataker's observations.&mdash;On this point the remark of Seneca deserves quotation:
"Hac [Ratione] duce, per totam vitam eundum est. Minima Maximaque ex
hujus consilio gerenda sunt."&mdash;De Benefic. lib. ii, cap. 18.</p>

<p class="footnote"><a name="Footnote_331_331" id="Footnote_331_331"></a>
<a href="#FNanchor_331_331"><span class="label">[331]</span></a>
Thiers, in his Traité des Jeux et des Divertissemens, distinguishes games
in the same manner; but Barbeyrac observes that he is wrong in classing all
games of cards with games of pure chance.</p>

<p class="footnote"><a name="Footnote_332_332" id="Footnote_332_332"></a><a href="#FNanchor_332_332"><span class="label">[332]</span></a> "The low and profligate company which a gentleman of rank and education
will frequently submit to keep, rather than lose his beloved Hazard, is such that,
if he had been required to admit them simply on the ground of companions, he
would certainly have looked upon it as an insufferable degradation."&mdash;A Dissertation
on the pernicious effects of Gaming, published, by appointment, as having
gained a Prize (June 1783) in the University of Cambridge. By Richard Hey,
LL.D., Cambridge, 1784, p. 31.</p>

<p class="footnote"><a name="Footnote_333_333" id="Footnote_333_333">
</a><a href="#FNanchor_333_333"><span class="label">[333]</span></a>
"I know a man who cheats," said a young gentleman to Sheridan; "I do
not like to expose him; what shall I do?" "Back him," was the reply.</p>

<p class="footnote"><a name="Footnote_334_334" id="Footnote_334_334"></a>
<a href="#FNanchor_334_334"><span class="label">[334]</span></a>
"Hook's clever epitaph on a fashionable gambler then recently deceased."&mdash;The
Dowagers; or, the New School for Scandal, by Mrs. Gore. 1843.</p>

<p class="footnote"><a name="Footnote_335_335" id="Footnote_335_335"></a>
<a href="#FNanchor_335_335"><span class="label">[335]</span></a>
"Question on Gaming, Whether or no the making and providing such instruments,
which usually minister to it, is by interpretation such an aid to the
sin, as to involve us in the guilt?" This treatise is printed in a small work
entitled 'The Life of Bishop Taylor, and the Purest Spirit of his Writings extracted
and exhibited by John Whealdon, A.M.' 8vo, 1789.</p>

<p class="footnote"><a name="Footnote_336_336" id="Footnote_336_336"></a>
<a href="#FNanchor_336_336"><span class="label">[336]</span></a>
This letter is given in the Rev. R. Polwhele's Reminiscences, vol. ii, p. 42.
Edit. 1836.</p>

<p class="footnote"><a name="Footnote_337_337" id="Footnote_337_337"></a>
<a href="#FNanchor_337_337"><span class="label">[337]</span></a>
Memoirs of Tate Wilkinson, vol. iii, p. 9-11. York, 1790.</p>

<p class="footnote"><a name="Footnote_338_338" id="Footnote_338_338"></a>
<a href="#FNanchor_338_338"><span class="label">[338]</span></a>
Boswell's Journal of a Tour to the Hebrides. The following anecdote
respecting Locke is related by Le Clerc. Three or four men of rank met him
by appointment at the house of Lord Ashley, afterwards Earl of Shaftesbury,
rather for the sake of mutual entertainment than for business. After mutual
compliments had passed, and before there had been any time for conversation,
cards were introduced, and the visitors sat down to play. Mr. Locke, after
looking on a while, drew out his tablets and sat down to write. One of the
company at length observing how he was employed, asked him what he was
writing. "My lord," replied he, "I am endeavouring to profit as much as I
can from your company; for having impatiently longed to be present at a
meeting of the most sensible and most witty men of the day, and having at
last that good fortune, I thought that I could not do better than write down
your conversation; I have indeed here put down the substance of what has
been said for the last hour or two." The satire was immediately felt; the
players quitted the game, and after amusing themselves for a while in
retouching and enlarging what Mr. Locke had set down, spent the remainder of
the day in more worthy conversation.&mdash;Eloge de Mr. Locke dans la Bibliothèque
Choisie, tom. vi, p. 357.</p>

<p class="footnote"><a name="Footnote_339_339" id="Footnote_339_339"></a>
<a href="#FNanchor_339_339"><span class="label">[339]</span></a>
Noctes Ambrosianæ, No. 25, in Blackwood's Magazine for April, 1826.</p>

<p class="footnote"><a name="Footnote_340_340" id="Footnote_340_340"></a>
<a href="#FNanchor_340_340"><span class="label">[340]</span></a>
The Life of St. Francis Xavier, by Father Bouhours. Translated into English
by John Dryden, pp. 71, 203, 697.</p>

<p class="footnote"><a name="Footnote_341_341" id="Footnote_341_341"></a>
<a href="#FNanchor_341_341"><span class="label">[341]</span></a>
"Les jeux des dez, des cartes, et semblables, esquels le gain dépend principalement
du hasard, ne sont pas seulement des récréations dangereuses,
comme les danses, mais elles sont simplement et naturellement mauvaises et
blâmables."&mdash;St. François de Sales, Introd. à la Vie dévote, quoted by Thiers
in his Traité des Jeux, p. 168.</p>

<p class="footnote"><a name="Footnote_342_342" id="Footnote_342_342"></a>
<a href="#FNanchor_342_342"><span class="label">[342]</span></a>
Mémoires sur la Cour de Louis XIV et de la Régence. Extraits de la
Correspondance Allemande de Madame Elisabeth-Charlotte, Duchesse d'Orléans,
mère du Régent, p. 339. 8vo, Paris, 1823. In corroboration of the anecdote
related by the Duchess, the Editor gives the following from the 'Loisirs d'un
Homme d'Etat,' and the 'Dictionnaire Historique:' "M. de Cosnac, archevêque
d'Aix, était très vieux, quand il apprit que l'on vient de canoniser Saint François
de Sales. 'Quoi!' s'écria-t-il, 'M. de Genéve, mon ancien ami? Je suis
charmé de la fortune qu'il vient de faire: c'était un galant homme, un aimable
homme, et même un honnête homme, quoiqu'il trichât au piquet, où nous avons
souvent joué ensemble.' 'Mais, monseigneur,' lui dit-on, 'est-il possible qu'un
saint friponne au jeu?' 'Ho!' repliqua l'archevêque, 'il disait, pour ses raisons,
que ce qu'il gagnait était pour les pauvres.'"</p>

<p class="footnote"><a name="Footnote_343_343" id="Footnote_343_343"></a>
<a href="#FNanchor_343_343"><span class="label">[343]</span></a>
Mémoires inédits de Louis Henri de Lomenie, Comte de Brienne.</p>

<p class="footnote"><a name="Footnote_344_344" id="Footnote_344_344"></a>
<a href="#FNanchor_344_344"><span class="label">[344]</span></a>
"Une treizième circonstance, qui, à mon sens, est capable de gâter le jeu,
c'est quand on joüe des prières, je veux dire quand on joüe à condition que
celui qui perdra fera certaines prières ou pour les fidèles trépassés, ou pour
celui qui aura gagné, ou pour quelqu'autre qui lui fera indiqué. Le Docteur
Navarre ne condamne pas cet pratique. Le P. Théophile Raynaud témoigne
qu'elle est reçue parmi les devots. Mais pour moi, je la regarde comme un
raffinement de dévotion hétéroclite ou irrégulière, et j'estime qu'il y a de l'irrévérence
à jouër, par exemple, des Pseaumes à reciter, ou des <i>Pater noster</i>, ou
des <i>Ave Maria</i> à dire."&mdash;Thiers, Traité des Jeux, p. 425.</p>

<p class="footnote"><a name="Footnote_345_345" id="Footnote_345_345"></a>
<a href="#FNanchor_345_345"><span class="label">[345]</span></a>
On this point the reader is more particularly referred to Thiers, Traité des
Jeux et des Divertissemens, p. 422; and to Barbeyrac, Traité du Jeu, tom. ii,
p. 356, second edit. 1737.</p>

<p class="footnote"><a name="Footnote_346_346" id="Footnote_346_346"></a>
<a href="#FNanchor_346_346"><span class="label">[346]</span></a>
"Toutefois sans venir à telles sortes de blasphèmes, nous en trouvons de
forts sauvages au langage Italien: dont aucuns semblent plutost sortir de la
bouche de diables que d'hommes. Du nombre desquels est un que j'ouy
proférer à Rome par un prestre, lequel sera recité en son lieu. Mais on luy peut
bien donner pour compagnon un qui fût proféré à Venise par un Italien, non
prestre, mais seculier, en jouant aux cartes en la maison d'un ambassadeur du
Roy. Ce blasphème est tel: 'Venga 'l cancaro ad lupo.' Quel si grand mal
y-a-t-il ici? dira quelqu'un. Le grand mal est en ce que ceci se disoit par une
figure, qui s'appelle aposiopese ou retinenca, en lieu de (comme depuis on
cogneut) 'Venga 'l cancaro, ad lupo che non manjiò christo quando era
agnello.' Or l'appelloit il agnello, ayant esgard à ce qui est dict en S. Jean,
'Ecce agnus Dei qui tollit peccata mundi.'"</p>

<p class="footnote"><a name="Footnote_347_347" id="Footnote_347_347"></a>
<a href="#FNanchor_347_347"><span class="label">[347]</span></a>
The author of 'A Short Essay on the Folly of Gaming,' reprinted from
the Dublin Intelligencer, in 1734, speaking of the loss of temper at cards and
dice, says: "If any one doubts the truth of this position, I refer him to the
Groom-Porter's, and other public tables, where the virtuosos of the gaming
science are daily and nightly to be seen. If blasphemy, cursing, swearing, duelling,
running of heads against the wall, throwing hats and wigs in the fire, distortions
of the countenance, biting of nails, burning of cards, breaking of dice-boxes,
can be called a loss of temper, they are to be found there in the highest degree."&mdash;He
concludes his essay with the following warning: "I shall close these
cursory reflections with a useful remark of Plato's, viz. that the Dæmon Theuth
was the inventor of Dice; and the vulgar have it by tradition that cards are the
Devil's books; therefore I cannot but say that after this information given,
if gamesters will not desist, they are undoubtedly at the Devil's devotion."</p>

<p class="footnote"><a name="Footnote_348_348" id="Footnote_348_348"></a>
<a href="#FNanchor_348_348"><span class="label">[348]</span></a>
An Essay upon Gaming, in a Dialogue between Callimachus and Dolomedes.
By Jeremy Collier, M.A. 1713.</p>

<p class="footnote"><a name="Footnote_349_349" id="Footnote_349_349"></a>
<a href="#FNanchor_349_349"><span class="label">[349]</span></a>
This title is taken from the 14th verse of the xxxivth Psalm: "Depart
from evil, and do good." The names of the speakers, Eldad and Medad, are
from Numbers, xi, 26.</p>

<p class="footnote"><a name="Footnote_350_350" id="Footnote_350_350"></a>
<a href="#FNanchor_350_350"><span class="label">[350]</span></a>
Eldad, in replying to this portion of Medad's argument, observes that Play
is not to be compared with commerce or trade, which supplies men with things
necessary or useful, and that in fair trade both the buyer and the seller are
benefited.</p>

<p class="footnote"><a name="Footnote_351_351" id="Footnote_351_351"></a>
<a href="#FNanchor_351_351"><span class="label">[351]</span></a>
Eldad, in answer to this tirade, observes that no blessing can attend the
gains of such an unfeeling character, and that his money will go as it has come.
Out of a thousand, he says, there is not one who succeeds in such speculations,
and that we daily see many reduced to poverty by them. Trade and commerce
supplying us with useful articles are to be distinguished from speculations which
partake of the nature of gaming.</p>

<div class="footnote"><a name="Footnote_352_352" id="Footnote_352_352"></a>
<a href="#FNanchor_352_352"><span class="label">[352]</span></a>
<p>The following anecdote of a card-playing parson who inopportunely let
some cards drop from his sleeve when in church, occurs in 'The Women's Advocate,
or the Fifteen real Comforts of Matrimony.'&mdash;2d edit. 1683.
</p>
<p>
"The Parson that loved gaming better than his eyes, made a good use of it
when he put up his cards in his gown-sleeve in haste, when the clerk came and
told him the last stave was a-singing. 'Tis true, that in the height of his
reproving the Parish for their neglect of holy duties, upon the throwing out of
his zealous arm, the cards dropt out of his sleeve, and flew about the church.
What then? He bid one boy take up a card and asked him what it was,&mdash;the
boy answers the King of Clubs. Then he bid another boy take up another card.
'What was that?' 'The Knave of Spades.' 'Well,' quo' he, 'now tell me,
who made ye?' The boy could not well tell. Quo' he to the next, 'Who redeemed
ye?'&mdash;that was a harder question. 'Look ye,' quoth the Parson, 'you think
this was an accident, and laugh at it; but I did it on purpose to shew you that
had you taught your children their catechism, as well as to know their cards,
they would have been better provided to answer material questions when they
come to church.'"</p>
</div>

<p class="footnote"><a name="Footnote_353_353" id="Footnote_353_353"></a>
<a href="#FNanchor_353_353"><span class="label">[353]</span></a>
Mons. Peignot says that Mlle. Le Normand, the celebrated fortune-teller,
published in her 'Souvenirs Prophétiques,' Paris, 1814, the same history, but
with the name of the hero changed to Richard Middleton. Mlle. Le Normand
died at Paris in 1843, aged 72, leaving a fortune, it is said, of 500,000 francs.
She had followed the trade of fortune-telling for upwards of forty years; and
is said to have been frequently consulted by the Empress Josephine, who was
extremely superstitious. A great number of her customers were gamblers, of
both sexes. She is said to have been visited both by Napoleon, and by
Alexander, Emperor of Russia.</p>

<p class="footnote"><a name="Footnote_354_354" id="Footnote_354_354"></a>
<a href="#FNanchor_354_354"><span class="label">[354]</span></a>
Notice Bibliographique sur les Cartes à jouer, p. 9. Paris, 1842.</p>

<p class="footnote"><a name="Footnote_355_355" id="Footnote_355_355"></a>
<a href="#FNanchor_355_355"><span class="label">[355]</span></a>
Since this sheet was in type I have learned that cards are mentioned in a
work entitled 'Le Ménagier de Paris,' written about 1393, by "un bourgeois
Parisien," and recently published by the Society of Bibliophiles Français. In
the notice of it in the 'Journal des Savants' for February last, it said: "On y
rencontre des indications historiques que nul autre ouvrage ne nous fournit;
tel est, par example, la mention des Cartes à jouer."</p></div>

<hr class="chap" />

<p><span class="pagenum"><a name="Page_331" id="Page_331">[Pg 331]</a></span></p>

<h2><a name="APPENDIX" id="APPENDIX"></a>APPENDIX.</h2>

<div class="blockquot">

<p class="center p1">No. 1.</p>

<p class="chapsum"><i>List of the Specimens of Cards given in the 'Jeux de Cartes Tarots et de Cartes
Numérales, du Quatorzième au Dix-huitième Siècle;' published by the
Society of Bibliophiles Français, Paris, 1844.</i></p>

<p>1. Seventeen cards, ascribed to Gringonneur, from the originals in the
Bibliothèque du Roi.</p>

<p>2. Ten cards, from the originals engraved on wood and coloured, in the
Bibliothèque du Roi. Supposed date, 1425.</p>

<p>3. Cards, from the originals engraved on wood, in the possession of Mons.
Hémuville. Supposed date, 1440.</p>

<p>4. Copies of the set of fifty old Italian engravings, usually called Tarocchi.
Supposed date, 1470.</p>

<p>5. Ten plates, containing a set of fifty-two circular cards, with the mark
T. W., and having Hares, Parroquets, Pinks, and Columbines as the marks of
the suits. Supposed date, 1477.</p>

<p>6. Four cards of a pack engraved on copper at Venice in 1491.</p>

<p>7. Ten plates, containing forty cards, with Human Figures, Bears and
Lions, Deer, and Birds as the marks of the suits. From the originals,
ascribed to the "Master of 1466," formerly in the possession of Mr. T. Wilson,
but now in the Bibliothèque du Roi.</p>

<p>8. Four plates, containing thirty-six cards of a German pack of fifty-two,
engraved on wood, of the date 1511.</p>

<p>9. A plate, containing sixteen Portuguese cards, of the date 1693.</p>

<p>10. A plate, containing twelve French cards, engraved by Vincent Goyraud,
of the time of Henry IV.</p>

<p>11. A plate, containing sixteen French cards, of the time of Louis XIII.</p>

<p>12. A plate, containing twelve cards of a Republican pack, engraved in
France about 1793.</p>

<p>13. A plate, containing twelve cards of another Republican pack, engraved
in France about the same period as the preceding.</p>

<p>The originals of all the specimens, with the exception of those mentioned
under No. 3, are preserved in the Bibliothèque du Roi.</p>

<p><span class="pagenum"><a name="Page_332" id="Page_332">[Pg 332]</a></span></p>

<p class="center p1">No. 2.</p>

<p class="chapsum"><i>A List of the principal Works either directly relating to Cards, or incidentally
treating of the Game. From the 'Jeux de Cartes Tarots et de Cartes
Numérales,' with many additions.</i></p>

<p>Le Ménagier de Paris: traité de morale et d'économie domestique, composé,
vers 1393, par un Bourgeois Parisien. Publié pour la première fois par la
Société des Bibliophiles Français. 8vo, Paris, 1848.</p>

<p>Ingold, Das Güldin Spil. Folio, Augsburg, 1472.</p>

<p>Baptista Platina, de Honesta Voluptate. 4to, Venice, 1475.</p>

<p>Galeottus Martius, de Doctrina promiscua. About 1490.</p>

<p>R. Maphei Volaterrani Commentaria Urbana. 1506.</p>

<p>Logica Memorativa: Chartiludium logice, auctore Thoma Murner. 4to,
Cracoviæ, 1507. Strasburg, 1509. Reprinted at Paris. 8vo, 1629.</p>

<p>Philesii Vosgesigenæ Grammatica figurata. 4to, 1509.</p>

<p>Speculum Fatuorum, auctore Joanne Geiler de Kiesersberg, concionatore
Argentorense. Sect. lxxvii, Lusorum turba. 4to, Strasburg, 1511.</p>

<p>Chartiludium institute summarie, vel institutiones Justiniani; doctore
Thoma Murner, memorante et ludente. 4to, Argentinæ, 1518.</p>

<p>Dialogi omnes Hadriani Barlandi. 8vo, Paris, 1542.</p>

<p>Ludus Chartarum, Dialogus, auctore Ludovico Vives. 1545.</p>

<p>Raggionamiento del divino Pietro Aretino, nel quale si parla del giuoco, con
moralità piacevole. 8vo, about 1545. Reprinted in 1589 and 1651.</p>

<p>Le Mépris et le Contemnement de tous les Jeux de Sort, par Ol. Gouyn.
8vo, Paris, 1550.</p>

<p>Cento Giuochi liberali e d'ingegno, da Innocentio Ringhieri ritrovati. 4to,
Bologna, 1551.</p>

<p>Satyra invectiva contra los Tahures: en que se declaran los daños? que al
cuerpo, y al alma, y la hazienda se siguen del juego de los naypes. (Por Diego
del Castillo.) 12mo, Sevilla, 1557.</p>

<p>Pascasius Justus, de Alea. About 1560. Reprinted in 4to, with a large
Appendix on the subject of gaming, selected from various authors, by Joannes
a Munster, at Neustadt, in the diocese of Spires, 1617.</p>

<p>Hieronymi Cardani Lib. de ludo Aleæ. About 1560.</p>

<p>John Northbrooke's Treatise against Dicing, Dancing, Plays, and other Idle
Pastimes, 1577. Reprinted by the Shakspeare Society, 1843.</p>

<p>Liber de Alea, ou breve Remontrance sur les Jeux de Cartes et de Dés, par
Lambert Daneau. Small 8vo, Paris, 1579.</p>

<p>Philip Stubbes's Anatomy of Abuses. 12mo, 1583.</p>

<p>Reginald Scott's Discovery of Witchcraft. 4to, 1584.</p>

<p>Le Triomphe du Berlan, par J. Perrache. 8vo, Paris, 1585.</p>

<p>Del Giuoco; Discorso del R. Padre M. Tommaso Buoninsegni. 4to, Florence,
1585.</p>

<p>A Short and Plain Dialogue concerning the Unlawfulness of Playing at
Cards or Tables. By James Balmford. First edition, 1593. Reprinted in 1607.</p>

<p><span class="pagenum"><a name="Page_333" id="Page_333">[Pg 333]</a></span></p>

<p>Les Tromperies et Piperies du Jeu, ou la Mort aux Pipeurs. 12mo, Paris,
1608.</p>

<p>The Four Knaves, a series of Satirical Tracts. By Samuel Rowlands, 1611-13.
Reprinted by the Percy Society, 1843.</p>

<p>Commentarius contra Ludum Alearum, Chartarum scilicet ac Taxillorum;
a Fratre Angelo Roccha, episcopo Tagastensi. 4to, Rome, 1616.</p>

<p>On the Nature and Use of Lots. By Thomas Gataker, B.D. 4to, London,
1619. Second edition, 1627.</p>

<p>Académie des Jeux. 12mo, Paris, 1659. Numerous enlarged editions of
this work have been published.</p>

<p>And. Senftlebius, de Alea veterum, p. 137-8. 8vo, Leipsic, 1667.</p>

<p>The Compleat Gamester. By Charles Cotton. 12mo, London, 1674.</p>

<p>Der Gelehrte und Bekehrte Spieler: das ist ein annehmliches Tractätlein,
darinnen zwey Jüdische Studenten scharffsinnig disputiren, Was vom Spiel
zu halten sey? Ins Deutsche übersetzet von P. A. Christian. 12mo, Leipzig,
1683. The first edition of the original Hebrew appears to have been printed at
Venice about 1615. A second edition was printed at Leyden about 1660.</p>

<p>Traité des Jeux et des Divertissemens, par M. Jean Baptiste Thiers, Docteur
en Théologie. 12mo, Paris, 1686.</p>

<p>Parallèle entre la Jurisprudence espagnole et celle de France, relativement
aux Jeux de Cartes, par Lucio Marinero Siculo, 1686.</p>

<p>Elenchus quorumdam eorum qui de ludis scripserunt, et de ludis orientalibus;
auctore Thoma Hyde. 12mo, Oxford, 1694.</p>

<p>Réflexions sur ce que l'on appelle Bonheur et Malheur en matière de Loteries
(Par J. Le Clerc.) 12mo, Amsterdam, 1696.</p>

<p>Bibliothèque instructive et curieuse, par le Père Menestrier. 12mo, Trévoux,
1704.</p>

<p>Essai d'Analyse sur les Jeux de Hasard (cartes, dés, tric-trac). Fig. de Seb.
Leclerc. 4to, Paris, 1708.</p>

<p>Traité du Jeu, où l'on examine les principales Questions de Droit naturel et
de Morale qui ont rapport à cette matière, par Jean Barbeyrac. 16mo,
Amsterdam, 1710. Seconde edition, revue et augmentée, 1738.</p>

<p>An Essay upon Gaming, in a Dialogue between Callimachus and Dolomedes.
By Jeremy Collier. A.M. 8vo, London, 1713.</p>

<p>Memoirs of the Lives, Intrigues, and Comical Adventures of the most Famous
Gamesters and Celebrated Sharpers in the reigns of Charles II, James II,
William III, and Queen Anne. By Theophilus Lucas, Esq. 12mo, 1714.</p>

<p>The Court Gamester: or full and easy instructions for playing the Games now
in vogue. By Richard Seymour, Esq. 12mo, second edition, London, 1720.</p>

<p>Dissertation sur l'Origine du Jeu de Piquet, par le Père Daniel, extraite du
Journal de Trévoux, Mai, 1720.</p>

<p>A View of the Antique Laws against Immorality and Profaneness. By the
Rev. John Disney, A.M. Folio, London, 1729.</p>

<p>A Short Treatise on the Game of Whist. By Edmond Hoyle, Gent. 12mo,
first published about 1737.</p>

<p>Istoria della Citta di Viterbo, da Feliciano Bussi. Folio, Rome, 1740. This
<span class="pagenum"><a name="Page_334" id="Page_334">[Pg 334]</a></span>
work contains the extract from Covelluzzo, relating to the introduction of cards
into Viterbo, in 1379, first pointed out by M. C. Leber.</p>

<p>The Humours of Whist; a Dramatic Satire: as acted every day at <span class="smcap">White's</span>,
and other Coffee-houses and Assemblies. 8vo, London, 1743.</p>

<p>A Letter to a Lady on Card-playing on the Lord's Day. 8vo, London, 1748.</p>

<p>Longuerana. Tom. i, p. 408. 12mo, Berlin, 1754.</p>

<p>Recherches sur les Cartes à jouer, par Bullet. 12mo, Lyon, 1757.</p>

<p>H. J. Clodii Bibliotheca Lusoria, sive Notitia Scriptorum de Ludis. 8vo, 1761.</p>

<p>Meerman, Origines Typographicæ. Vol. I. 4to, 1765.</p>

<p>Traité historique et pratique de la Gravure en Bois, par J. M. Papillon.
Tom. i, p. 80. 8vo, Paris, 1766.</p>

<p>Burgh on the Dignity of Human Nature. Vol. II, p. 164-6. 8vo, 1767.</p>

<p>Coutumes d'Italie, par Baretti. Vol. II. London, 1768.</p>

<p>Encyclopédie des Arts et Métiers (Art du Cartier), par Duhamel du Monceau.
4to, 1771-76.</p>

<p>Idée générale d'une Collection d'Estampes, par le Baron de Heineken. 8vo,
Leipsic, 1771.</p>

<p>Recueil des Actes sur la Régie du Droit des Cartes. 4to, Paris, 1771.</p>

<p>Il Giuoco del Carte, da Saverio Bettinelli. 8vo, Cremona, 1775.</p>

<p>C. G. Von Murr, Journal zur Kunstgeschichte, 2ter Theil, s. 89-92; 98; 200.
12mo, Nuremberg, 1776.</p>

<p>Explication du Jeu des Cartes, anecdote curieuse sous le nom de Louis Bras-de-fer.
12mo, 1778. The original of the story of the soldier who used a pack
of cards for his prayer-book.</p>

<p>Sur la Passion du Jeu, par Dusaulx. 8vo, Paris, 1779. Mons. Peignot
says that this work seems to have produced but little effect; for in the following
year a counsellor of parliament, M. Bergeret de Frouville, lost at one sitting
27,000 louis.</p>

<p>Eclaircissements sur l'Invention des Cartes à jouer, par l'Abbé Rive. 12mo,
Paris, 1780.</p>

<p>Le Monde primitif, par Court de Gebelin, tom. viii, pp. 365-418. 4to, Paris,
1781.</p>

<p>Versuch den Ursprung der Spielkarten zu erforschen. Von J. G. I.
Breitkopf. 4to, Leipsic, 1784.</p>

<p>A Dissertation on the pernicious effects of Gaming. By Richard Hey, LL.D.
8vo, Cambridge, 1784.</p>

<p>Archæologia, vol. viii. Dissertations on the History of Playing Cards, by
Barrington, Bowle, and Gough. 4to, London, 1787. In Vol. XV of the same
work there is an Account of the Italian game of Minchiate.</p>

<p>Whist: a Poem, in twelve cantos. By Alex. Thomson, Esq. 12mo, second
edition, London, 1792.</p>

<p>Leçons sur l'Histoire universelle, depuis le commencement du XVI<sup>e</sup> Siècle
par M. Fant, Professeur à l'Université d'Upsal, 1780-93. In this work
the author speaks of the engraving of cards as having led to the invention of
printing.</p>

<p>Decret de la Convention, dite Nationale de France, du 22 Octobre, 1793, qui
<span class="pagenum"><a name="Page_335" id="Page_335">[Pg 335]</a></span>
enjoint aux municipalités Françaises de purger les cartes à jouer de tous les
emblèmes de la royauté et de la féodalité.</p>

<p>Materiali per servire all' Storie dell' Origine e de' Progressi dell' Incisioue in
Rame e in Legno, col. da Pietro Zani, pp. 78-81, et 149-93. 8vo, Parma, 1802.</p>

<p>The Monthly Repository of Theology and General Literature. Vol. I, pp. 534,
644-50. On the Propriety of Dissenting Ministers playing at Cards. 8vo, 1806.</p>

<p>Essai sur l'Origine de la Gravure en Bois et en Taille-douce, par Henri
Jansen. 8vo, Paris, 1808.</p>

<p>Le Peintre-Graveur, par Adam Bartsch, tom. x, pp. 70-120, et tom. xiii,
pp. 120-38. 8vo, Vienna, 1812.</p>

<p>Aperçu du Jeu des Tarots, ou Jeu de la Vie, &amp;c., par Durand. 12mo, Metz, 1813.</p>

<p>Hindostanee Cards. In the Calcutta Magazine, vol. ii. 8vo, Calcutta, 1815.</p>

<p>Researches into the History of Playing Cards; with Illustrations of the
Origin of Printing and Engraving on Wood. By Samuel Weller Singer. 4to,
London, 1816.</p>

<p>Mélanges d'Origines étymologiques et de Questions grammaticales, par Eloi
Johanneau. P. 35, Sur l'Origine étymologique du Nom Espagnol et Italien
des Cartes à jouer. 8vo, Paris, 1818.</p>

<p>The Gaming Calendar, to which are added the Annals of Gaming. By
Seymour Harcourt, Esq. 12mo, third edition, London, 1820.</p>

<p>Geschichte der Holzschneidekunst; nebst zwei Beilagen enthaltend den Ursprung
der Spielkarten und ein Verzeichness der samt xylographischen Werke,
von Joseph Heller. 8vo, Bamberg, 1823.</p>

<p>Analyse critique et raisonnée de toutes les Recherches publiées jusqu'à ce
jour sur l'Origine des Cartes à jouer, par G. Peignot (à la suite de ses Recherches
sur les Danses de Mort.) 8vo, Dijon, 1826.</p>

<p>Catalogue raisonné of the select collection of engravings of an Amateur,
(Mr. T. Wilson) pp. 87-91. 4to, London, 1828.</p>

<p>Manuel du Cartonnier, du Cartier, et du Fabricant de Cartonnages. Par
M. Lebrun, pp. 189-237. 16mo, Paris, 1830.</p>

<p>Memorie spettanti alla storià délia Calcografia, dal conte Leopold Cicognara.
8vo, Prata, 1831.</p>

<p>Origine Française de la Boussole et des Cartesà jouer, par Rey. 8vo, Paris, 1836.</p>

<p>Observations sur les Cartes à jouer, par M. Duchesne ainé, extraites de
l'Annuaire Historique pour 1837. 12mo, Paris, 1836.</p>

<p>Gaming, and the Gaming Houses of London and Paris, or Les Maisons des
Jeux dévoilées. By Scrutator. 8vo, London, 1836.</p>

<p>A Treatise on Wood Engraving. (By Wm. A. Chatto.) P. 52-9. Royal 8vo.
Published by Charles Knight and Co., London, 1839.&mdash;Copies of this work
without the <i>Third</i> Preface are incomplete.</p>

<p>Catalogue des livres, dessins, cartes, etc., de M. C. Leber. 8vo, Paris, 1839.
The list of works on cards, and of old cards collected by Mons. Leber, is in
tom. i, p. 240 et seq.</p>

<p>Etudes historiques sur les Cartes à jouer, principalement sur les Cartes
Françaises. Par M. C. Leber. Extrait du tome xvi des Mémoires de la Société
Royale des Antiquaires de France. 8vo, Paris, 1842.</p>

<p><span class="pagenum"><a name="Page_336" id="Page_336">[Pg 336]</a></span></p>

<p>Notice Bibliographique sur les Cartes à jouer. 8vo, Paris, 1842.&mdash;A Translation
from the 'Lehrbuch einer Literargeschichte der berühmtesten Volker
des Mittelalters.' Von J. G. T. Grasse, Dresden, 1842, with additions, by
Brunet, the younger.</p>

<p>Dictionnaire historique des Mœurs des Français, par La Chesnaye des Bois.
Tom. i, p. 374.</p>

<p>Whist. By B. E. Pote. In the Foreign Quarterly Review, No. 48.</p>

<p>On the Costume of Coat Cards. By John Adey Repton. In the 'Gentleman's
Magazine' for November, 1843.</p>

<p>Sur d'anciennes Cartes à jouer, par M. le Baron de Reiffenberg. Dans le
Bulletin de l'Académie Royale des Sciences et des Beaux-arts de Bruxelles.
No. 10, 1847.</p>

<p>Bibliotheca Antiquaria Fabricii.</p>

<p>Vindiciæ typographicæ, auctore Schœpflin.</p>

<p>Dissertation sur l'Origine et le Progrès de la Gravure en Bois, par Fournier.</p>

<p>Mémoire sur l'Origine de l'Imprimerie, par De Vigny.</p>

<p>Essais sur Paris, par Saint-Foix.</p>

<p>Traité de la Police, par De la Marre.</p>
</div>


<div class="figcenter"><a name="i_409.jpg" id="i_409.jpg"></a>
  <img src="images/i_409.jpg"
      alt="Four of Cups" />
</div>


<hr class="chap" />

<p><span class="pagenum"><a name="Page_337" id="Page_337">[Pg 337]</a></span></p>

<h2><a name="INDEX" id="INDEX">INDEX.</a></h2>

<ul class="ndx-ul">
  <li class="ndx-li">Act of Parliament, of 1463, prohibiting the importation of cards,
  <a href="#Page_96">96</a>.&mdash;Acts to protect gamesters who play on credit,
  <a href="#Page_147">147</a>; the reason of their partial repeal,
  <a href="#Page_148">148</a>.</li>

  <li class="ndx-li">Advice to professional card-players,
  <a href="#Page_270">270</a>.</li>

  <li class="ndx-li">Alea, a general term for play; supposed to include cards,
  <a href="#Page_61">61</a>.</li>

  <li class="ndx-li">Almanac, Cotta's card, <a href="#Page_259">259</a>;
  the Perpetual, or Gentleman-Soldier's Prayer Book,
  <a href="#Page_321">321</a>.</li>

  <li class="ndx-li">Amadeus VIII, Duke of Savoy, forbids gaming in 1430,
  <a href="#Page_80">80</a>.</li>

  <li class="ndx-li">Ames, William, <a href="#Page_129">129</a>;
  preaches against cards and dice at Cambridge
  in 1610, <a href="#Page_281">281</a>.</li>

  <li class="ndx-li">Amman, Jost, his designs in a book of trades,
  <a href="#Page_84">84</a>; cards of his designing,
  <a href="#Page_238">238</a>.</li>

  <li class="ndx-li">Anderson's History of Commerce,
  <a href="#Page_96">96</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Christopher, Annals of the English Bible,
  <a href="#Page_109">109</a>, <a href="#Page_112">112</a>.</li>

  <li class="ndx-li">&mdash;&mdash; R., Ballads in the Cumberland dialect,
  <a href="#Page_185">185</a>.</li>

  <li class="ndx-li">Anson, Lord, the circumnavigator, caricatured as a gamester,
  <a href="#Page_181">181</a>.</li>

  <li class="ndx-li">Anstis's History of the Garter,
  <a href="#Page_18">18</a>.</li>

  <li class="ndx-li">Arabian Nights, cards not mentioned in,
  <a href="#Page_46">46</a>.</li>

  <li class="ndx-li">Aretine, Pietro, his Carte Parlanti,
  <a href="#Page_194">194</a>, <a href="#Page_207">207</a>.</li>

  <li class="ndx-li">Assembly-rooms devoted to dancing and cards,
  <a href="#Page_185">185</a>.</li>

  <li class="ndx-li">Astragali, <a href="#Page_11">11</a>.</li>

  <li class="ndx-li">Avatars of Vichnou, <a href="#Page_38">38</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Bacon, Lord, his inquisitive spirit excited when
  a boy by a juggling trick with cards, <a href="#Page_118">118</a>.</li>

  <li class="ndx-li">Baker's chronicle, <a href="#Page_108">108</a>.</li>

  <li class="ndx-li">Baker and Co.'s eclectic cards,
  <a href="#Page_261">261</a>.</li>

  <li class="ndx-li">Bale, John, uses the word Jack-a-Naipes,
  <a href="#Page_233">233</a>.</li>

  <li class="ndx-li">Balmford's, James, tract concerning the unlawfulness
  of games of hazard, <a href="#Page_129">129</a>,
  <a href="#Page_279">279</a>.</li>

  <li class="ndx-li">Barbeyrac's Traité du Jeu, extracts from,
  <a href="#Page_282">282-94</a>, <a href="#Page_310">310</a>.</li>

  <li class="ndx-li">Barrington's, the Hon. D., Observations on the
  Antiquity of Card-playing in England, <a href="#Page_18">18</a>,
  <a href="#Page_46">46</a>, <a href="#Page_65">65</a>,
  <a href="#Page_107">107</a>, <a href="#Page_132">132</a>,
  <a href="#Page_145">145</a>, <a href="#Page_160">160</a>.</li>

  <li class="ndx-li">Barrois, J., on the proper meaning of the name
  Gringonneur, <a href="#Page_76">76</a>.</li>

  <li class="ndx-li">Bartsch's Peintre-Graveur, <a href="#Page_200">200</a>,
  <a href="#Page_223">223</a>.</li>

  <li class="ndx-li">Basset, prohibited by Louis XIV,
  <a href="#Page_147">147</a>.</li>

  <li class="ndx-li">Battle of the Reed Swire, <a href="#Page_113">113</a>.</li>

  <li class="ndx-li">Bells, an ornament of dress,
  <a href="#Page_240">240</a>.&mdash;Leber's researches on the subject,
  <a href="#Page_240">240-5</a>.</li>

  <li class="ndx-li">Bernardin, St., his address to the citizens of Bologna,
  <a href="#Page_90">90</a>.</li>

  <li class="ndx-li">Bibliophiles Français, specimens of cards published by,
  <a href="#Page_190">190</a>, <a href="#Page_201">201</a>,
  <a href="#Page_236">236</a>, <a href="#Page_250">250-3</a>.</li>

  <li class="ndx-li">Blacksmith's coat of arms, <a href="#Page_6">6</a>.</li>

  <li class="ndx-li">Bonds, voluntary, to abstain from gaming,
  <a href="#Page_79">79</a>.</li>

  <li class="ndx-li">Bras-de-fer, his moral exposition of a pack of cards,
  <a href="#Page_320">320</a>, <a href="#Page_324">324</a>.</li>

  <li class="ndx-li">Brietkopf's Inquiry into the Origin of Playing Cards,
  <a href="#Page_7">7</a>, <a href="#Page_26">26</a>,
  <a href="#Page_225">225</a>, <a href="#Page_227">227</a>,
  <a href="#Page_239">239</a>.</li>

  <li class="ndx-li">Briefe, the German name for cards,
  <a href="#Page_26">26</a>.</li>

  <li class="ndx-li">Briefmaler, <a href="#Page_84">84</a>.</li>

  <li class="ndx-li">Brunet, the younger, his note prefixed to a 'Notice
  Bibliographique sur les Cartes à jouer,' <a href="#Page_100">100</a>,
  <a href="#Page_326">326</a>.</li>

  <li class="ndx-li">Bullet's Recherches Historiques sur les Cartes à jouer,
  <a href="#Page_27">27-8</a>.</li>

  <li class="ndx-li">Buoninsegni's, Father Thomas, Discorso del Giuoco,
  <a href="#Page_90">90</a>.</li>

  <li class="ndx-li">Bussi's History of Viterbo, <a href="#Page_23">23</a>,
  <a href="#Page_73">73</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Cabinet du Roi de France, cited,
  <a href="#Page_111">111</a>.</li>

  <li class="ndx-li">Capability of cards as a subject of disquisition,
  <a href="#Page_2">2</a>.</li>

  <li class="ndx-li">Capistran, John, his discourse against gaming at
  Nuremberg in 1452, <a href="#Page_91">91</a>.</li>

  <li class="ndx-li">Card-playing at Bologna in 1423,
  <a href="#Page_90">90</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in Germany in the fifteenth century,
  <a href="#Page_92">92</a>.</li>

  <li class="ndx-li">Card-playing common in England as a Christmas
  game about 1484, <a href="#Page_97">97</a>.
  <span class="pagenum"><a name="Page_338" id="Page_338">[Pg 338]</a></span></li>

  <li class="ndx-li">&mdash;&mdash; in Scotland,
  <a href="#Page_98">98</a>, <a href="#Page_110">110</a>,
  <a href="#Page_113">113</a>.</li>

  <li class="ndx-li">&mdash;&mdash; at Rhodes in 1498,
  <a href="#Page_99">99-100</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in Ireland and Spain, about 1590,
  <a href="#Page_114">114-15</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in the reign of James I,
  <a href="#Page_125">125</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in the reign of Charles II,
  <a href="#Page_146">146-9</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in the reign of Queen Anne,
  <a href="#Page_165">165</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in the reign of George II,
  <a href="#Page_170">170-80</a>.</li>

  <li class="ndx-li">&mdash;&mdash; in the reign of George III,
  <a href="#Page_186">186</a>.</li>

  <li class="ndx-li">Cards.&mdash;Hindostanee,
  <a href="#Page_32">32-50</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Chinese, <a href="#Page_55">55-9</a>.</li>

  <li class="ndx-li">&mdash;&mdash; old stencilled, in the British Museum,
  <a href="#Page_88">88</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Heraldic, <a href="#Page_150">150</a>.
  Historical, <a href="#Page_153">153</a>.
  Mathematical, <a href="#Page_155">155</a>.
  For carving, <a href="#Page_156">156</a>.
  Satirical, <a href="#Page_157">157-9</a>.</li>

  <li class="ndx-li">&mdash;&mdash; old painted, ascribed to Gringonneur,
  <a href="#Page_195">195-8</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Dr. Stukeley's,
  <a href="#Page_205">205</a>.</li>

  <li class="ndx-li">&mdash;&mdash; old French,
  <a href="#Page_211">211</a>, <a href="#Page_214">214</a>.</li>

  <li class="ndx-li">&mdash;&mdash; old German, engraved on copper,
  <a href="#Page_220">220-6</a>.</li>

  <li class="ndx-li">&mdash;&mdash; engraved on copper, ascribed to
  Israel van Mecken, <a href="#Page_226">226</a>.</li>

  <li class="ndx-li">&mdash;&mdash; German, engraved on wood, 1511,
  <a href="#Page_236">236</a>.</li>

  <li class="ndx-li">&mdash;&mdash; French, of the time of Henry IV,
  <a href="#Page_250">250</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Portuguese, of the date 1693,
  <a href="#Page_251">251</a>.</li>

  <li class="ndx-li">&mdash;&mdash; French Republican,
  <a href="#Page_253">253-6</a>.</li>

  <li class="ndx-li">&mdash;&mdash; American, <a href="#Page_256">256</a>.</li>

  <li class="ndx-li">Caricatures in the reign of George II,
  <a href="#Page_181">181</a>.</li>

  <li class="ndx-li">Cartas (Epistolæ) from Carthage,
  <a href="#Page_26">26</a>.</li>

  <li class="ndx-li">Cartes, chartæ, cards, probable etymology of,
  <a href="#Page_20">20</a>, <a href="#Page_22">22</a>.</li>

  <li class="ndx-li">Carving, cards teaching the art,
  <a href="#Page_156">156</a>.</li>

  <li class="ndx-li">Castillo's, Diego del, Satyra contra los Tahures,
  <a href="#Page_115">115</a>.</li>

  <li class="ndx-li">Catharine of Arragon, wife of Henry VIII,
  a card-player, <a href="#Page_107">107</a>.</li>

  <li class="ndx-li">Cervantes' Comical History of Rinconete and Cortadillo,
  <a href="#Page_115">115</a>.</li>

  <li class="ndx-li">Charta, paper, probable etymology of,
  <a href="#Page_24">24</a>.</li>

  <li class="ndx-li">Chaturanga, the Hindostanee name for chess,
  <a href="#Page_16">16</a>.</li>

  <li class="ndx-li">Cheating at cards, trial on the subject,
  <a href="#Page_296">296</a>.</li>

  <li class="ndx-li">Chess, said to have been invented by an Indian,
  <a href="#Page_13">13</a>.</li>

  <li class="ndx-li">Chesterfield, <i>the</i> Earl of, a card-player,
  <a href="#Page_173">173</a>.</li>

  <li class="ndx-li">Chinese cards, <a href="#Page_55">55-9</a>.</li>

  <li class="ndx-li">Christie, James, his inquiry into an ancient Greek game,
  <a href="#Page_13">13</a>.</li>

  <li class="ndx-li">Clubs for gaming, <a href="#Page_170">170</a>.</li>

  <li class="ndx-li">Cole's, Dr. loss of his commission,
  <a href="#Page_327">327</a>.</li>

  <li class="ndx-li">Collier, Jeremy, on gaming, <a href="#Page_312">312</a>.</li>

  <li class="ndx-li">Colours of the ground of the Hindostanee cards,
  <a href="#Page_17">17</a>, <a href="#Page_35">35</a>,
  <a href="#Page_36">36</a>, <a href="#Page_37">37</a>.</li>

  <li class="ndx-li">Comedy devised on the game of cards,
  <a href="#Page_122">122</a>.</li>

  <li class="ndx-li">Controversy on the lawfulness of playing at cards and
  other games of chance, <a href="#Page_128">128</a>,
  <a href="#Page_279">279</a>.</li>

  <li class="ndx-li">Cook's, Aurelian, Titus Britannicus,
  <a href="#Page_145">145</a>.</li>

  <li class="ndx-li">Cotta's Card Almanacs,
  <a href="#Page_259">259</a>.</li>

  <li class="ndx-li">Cotton's Complete Gamester,
  <a href="#Page_159">159</a>.</li>

  <li class="ndx-li">Counting and guessing, <a href="#Page_11">11</a>.</li>

  <li class="ndx-li">Covelluzzo's account of the introduction of cards
  into Viterbo, <a href="#Page_23">23</a>, <a href="#Page_73">73</a>.</li>

  <li class="ndx-li">Cuffe, secretary to the Earl of Essex, his fortunes
  told by cards, <a href="#Page_119">119</a>.</li>

  <li class="ndx-li">Curse of Scotland, <a href="#Page_266">266-8</a>.</li>

  <li class="ndx-li">Cyprian, St., his treatise, de Aleatoribus,
  <a href="#Page_61">61</a>, <a href="#Page_290">290</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Daniel's, Père, Origine du Jeu de Piquet,
  <a href="#Page_4">4</a>, <a href="#Page_209">209</a>, <a href="#Page_265">265</a>.</li>

  <li class="ndx-li">Dictionary of the Spanish Academy; its sanction of a
  conundrum as an etymology of Naipes, <a href="#Page_23">23</a>.</li>

  <li class="ndx-li">Dominotiers, an old name for engravers and colourers
  of woodcuts, <a href="#Page_87">87</a>.</li>

  <li class="ndx-li">Ducange's glossaries, <a href="#Page_63">63</a>,
  <a href="#Page_99">99</a>.</li>

  <li class="ndx-li">Duchesne's, Observations sur les Cartes à jouer,
  and Précis Historique, <a href="#Page_65">65</a>,
  <a href="#Page_99">99</a>, <a href="#Page_189">189</a>,
  <a href="#Page_204">204</a>, <a href="#Page_206">206</a>,
  <a href="#Page_210">210</a>, <a href="#Page_225">225</a>.</li>

  <li class="ndx-li">Dunbar's, Wm., poems, <a href="#Page_110">110</a>;
  Valet of cards, <a href="#Page_234">234</a>.</li>

  <li class="ndx-li">Dutch names of the suits of cards,
  <a href="#Page_230">230</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Elizabeth, Queen, a card-player,
  <a href="#Page_120">120</a>.</li>

  <li class="ndx-li">Engravings, a series of, improperly called Tarocchi cards,
  <a href="#Page_199">199-204</a>.</li>

  <li class="ndx-li">Epitaph on Beau Nash, <a href="#Page_173">173</a>;
  on a noble gambler, <a href="#Page_297">297</a>.</li>

  <li class="ndx-li">Equity, natural, how to be enforced in games of hazard,
  <a href="#Page_287">287</a>.</li>

  <li class="ndx-li">Evelyn's Memoirs, <a href="#Page_146">146</a>.</li>

  <li class="ndx-li">Exchequer, derivation of the word,
  <a href="#Page_16">16</a>, <a href="#Page_21">21</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Fante, the Italian name for the Knave of cards,
  <a href="#Page_229">229</a>.
  <span class="pagenum"><a name="Page_339" id="Page_339">[Pg 339]</a></span></li>

  <li class="ndx-li">Fierge, the Pherz of Persian chess,
  <a href="#Page_14">14</a>.</li>

  <li class="ndx-li">Fleur-de-lis, on coat cards, and in the compass,
  <a href="#Page_7">7</a>.</li>

  <li class="ndx-li">Foreign Quarterly Review, article on Whist,
  <a href="#Page_36">36</a>.</li>

  <li class="ndx-li">Formschneider, a wood-engraver, as distinguished from
  a card-painter, <a href="#Page_83">83</a>.</li>

  <li class="ndx-li">Forret, Thomas, his objections to the manner in which many
  of the Scottish clergy, about 1539, spent their tithes,
  <a href="#Page_111">111-12</a>.</li>

  <li class="ndx-li">Fortune, the gambler's goddess,
  <a href="#Page_11">11</a>.</li>

  <li class="ndx-li">Fortune-telling by cards, <a href="#Page_116">116-19</a>.</li>

  <li class="ndx-li">Four Kings, a name given to cards,
  <a href="#Page_19">19</a>.</li>

  <li class="ndx-li">Franklin, Dr., his definition of man,
  <a href="#Page_1">1</a>.</li>

  <li class="ndx-li">Freret on the origin of chess, <a href="#Page_14">14</a>.</li>

  <li class="ndx-li">Furny card, explained, <a href="#Page_109">109</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Game, the first played at, <a href="#Page_9">9</a>.</li>

  <li class="ndx-li">Games at cards in 1709,
  <a href="#Page_159">159</a>. Before the time of Charles II,
  <a href="#Page_160">160</a>.</li>

  <li class="ndx-li">Games, various, enumerated by Taylor, the water-poet,
  <a href="#Page_163">163</a>.</li>

  <li class="ndx-li">Games, three different species of,
  <a href="#Page_294">294</a>.</li>

  <li class="ndx-li">Gaming, excessive, of the French clergy, about 1580,
  <a href="#Page_111">111</a>.</li>

  <li class="ndx-li">Gammer Gurton's Needle, cards mentioned in,
  <a href="#Page_109">109</a>.</li>

  <li class="ndx-li">Gataker, Thos. B. D., on Lots, <a href="#Page_129">129</a>,
  <a href="#Page_279">279</a>.</li>

  <li class="ndx-li">Gebelin, Court de, finds in cards an abstract of Egyptian
  learning, <a href="#Page_5">5</a>; his explanation of the word Tarocchi,
  <a href="#Page_189">189</a>.</li>

  <li class="ndx-li">Geiler, John, his remarks on card-playing about 1508,
  <a href="#Page_100">100</a>.</li>

  <li class="ndx-li">Geographical cards, <a href="#Page_150">150</a>.</li>

  <li class="ndx-li">German cards, names of the suits,
  <a href="#Page_228">228</a>.</li>

  <li class="ndx-li">Gittern, guitar, derivation of the word,
  <a href="#Page_25">25</a>.</li>

  <li class="ndx-li">Goethe's Götz von Berlichingen, <a href="#Page_61">61</a>.</li>

  <li class="ndx-li">Gough's Observations on the Invention of Cards,
  <a href="#Page_22">22</a>.</li>

  <li class="ndx-li">Goyraud, Vincent, a French card-manufacturer,
  of the time of Henry IV, <a href="#Page_249">249</a>.</li>

  <li class="ndx-li">Grace's card, <a href="#Page_266">266</a>.</li>

  <li class="ndx-li">Gregory, Dr., reply of, respecting cards,
  <a href="#Page_77">77</a>.</li>

  <li class="ndx-li">Gringonneur, Jac., paints cards in 1393,
  <a href="#Page_76">76</a>.</li>

  <li class="ndx-li">Guevara's epistles translated into French by Gutery,
  <a href="#Page_66">66</a>.</li>

  <li class="ndx-li">Guilleville's, William de, Pelerinaige de l'Homme,
  <a href="#Page_69">69</a>.</li>

  <li class="ndx-li">Güldin Spil, <a href="#Page_74">74</a>.</li>

  <li class="ndx-li">Gungefu, the name for cards among the Moslems,
  in Hindostan, <a href="#Page_41">41</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Heineken's Idée générale d'une Collection d'Estampes,
  <a href="#Page_15">15</a>, <a href="#Page_27">27</a>,
  <a href="#Page_82">82</a>, <a href="#Page_228">228</a>.</li>

  <li class="ndx-li">Helgen, a name given to woodcuts in Suabia,
  <a href="#Page_87">87</a>.</li>

  <li class="ndx-li">Heller's History of Wood-engraving cited,
  <a href="#Page_91">91</a>, <a href="#Page_93">93</a>.</li>

  <li class="ndx-li">Henry VII, a card-player, <a href="#Page_98">98</a>.</li>

  <li class="ndx-li">Henry VIII, Act of Parliament against card-playing,
  <a href="#Page_108">108</a>.</li>

  <li class="ndx-li">Henry, Prince of Wales, son of James I, a card-player,
  <a href="#Page_125">125</a>.</li>

  <li class="ndx-li">Heraldic cards, <a href="#Page_150">150-2</a>.</li>

  <li class="ndx-li">Herrera relates that Montezuma took pleasure in seeing
  the Spanish soldiers play at cards, <a href="#Page_106">106</a>.</li>

  <li class="ndx-li">Hieroglyphics, <a href="#Page_6">6</a>.</li>

  <li class="ndx-li">Hindostanee cards, <a href="#Page_33">33-52</a>.</li>

  <li class="ndx-li">Historical cards, relating to the Popish plot, and the
  death of Sir E. Godfrey, <a href="#Page_153">153-5</a>.</li>

  <li class="ndx-li">Homer, his notice of the games of Petteia and Astragali,
  <a href="#Page_12">12</a>.</li>

  <li class="ndx-li">Houbigant's Cartes Royales,
  <a href="#Page_257">257</a>.</li>

  <li class="ndx-li">Hoyle, Edmond, his treatise on Whist,
  <a href="#Page_162">162</a>, <a href="#Page_170">170</a>.</li>

  <li class="ndx-li">Hume, David, apostrophised as a whist-player,
  <a href="#Page_160">160</a>.</li>

  <li class="ndx-li">Hycke-Scorner, cards mentioned in,
  <a href="#Page_108">108</a>.</li>

  <li class="ndx-li">Hyde, Dr. T., De ludis orientalibus,
  <a href="#Page_16">16</a>, <a href="#Page_265">265</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Ingilby, Sir Wm., his examination on the trial, Lord De
  Ros <i>versus</i> Cumming, <a href="#Page_295">295</a>.</li>

  <li class="ndx-li">Ingold, a Dominican friar, author of the Güldin Spil,
  <a href="#Page_74">74</a>.</li>

  <li class="ndx-li">Injunctions to the clergy, 1559, against card-playing,
  <a href="#Page_121">121</a>.</li>

  <li class="ndx-li">Interpolations of the word Cartes, in old MSS.,
  <a href="#Page_67">67-71</a>.</li>

  <li class="ndx-li">Isis, the horned, the original of the Virgin with the
  crescent on her head, <a href="#Page_5">5</a>.</li>

  <li class="ndx-li">Italian names of the suits of French cards,
  <a href="#Page_207">207</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Jackanapes, the probable etymology of the word,
  <a href="#Page_231">231-5</a>.</li>

  <li class="ndx-li">Jack at Warts&mdash;Jack o'Hearts,
  <a href="#Page_235">235</a>.
  <span class="pagenum"><a name="Page_340" id="Page_340">[Pg 340]</a></span></li>

  <li class="ndx-li">James IV of Scotland a card-player,
  <a href="#Page_98">98</a>.</li>

  <li class="ndx-li">James I of England a card-player,
  <a href="#Page_126">126</a>.</li>

  <li class="ndx-li">Jansen's Essai sur l'Origine de la Gravure,
  <a href="#Page_67">67</a>.</li>

  <li class="ndx-li">Jeux de Cartes, Barrington's opinion of the signification
  of the term, <a href="#Page_78">78</a>.</li>

  <li class="ndx-li">Johanneau, Eloi, on the etymology of Naipes, and the
  invention of cards, <a href="#Page_27">27-30</a>.</li>

  <li class="ndx-li">Johnson, Dr. Samuel, his opinion of card-playing,
  <a href="#Page_302">302</a>.</li>

  <li class="ndx-li">Jones, Sir Wm., on Chess, <a href="#Page_15">15-17</a>.</li>

  <li class="ndx-li">Jonson, Ben, his device for Abel Drugger's sign,
  <a href="#Page_6">6</a>.</li>

  <li class="ndx-li">Juggling tricks with cards, <a href="#Page_118">118</a>.</li>

  <li class="ndx-li">Junius, F., his explanation of the word Quartes,
  <a href="#Page_22">22</a>.</li>

  <li class="ndx-li">Justus, Pascasius, his work on gaming,
  <a href="#Page_115">115</a>, <a href="#Page_174">174</a>, <a href="#Page_271">271</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Kartenmacher at Augsburg in 1418,
  <a href="#Page_81">81</a>; at Ulm, <a href="#Page_82">82</a>.</li>

  <li class="ndx-li">Knave, the original meaning of the word,
  <a href="#Page_231">231</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Lassale, Antoine de, author of the Chronicle of Jehan de
  Saintré, <a href="#Page_68">68</a>.</li>

  <li class="ndx-li">Latrunculi, <a href="#Page_12">12</a>.</li>

  <li class="ndx-li">Leber's, M. C., Etudes Historiques sur les Cartes à Jouer,
  <a href="#Page_8">8</a>, <a href="#Page_23">23</a>, <a href="#Page_73">73</a>,
  <a href="#Page_85">85</a>, <a href="#Page_103">103</a>,
  <a href="#Page_132">132</a>, <a href="#Page_155">155</a>,
  <a href="#Page_211">211-13</a>, <a href="#Page_217">217</a>,
  <a href="#Page_220">220</a>, <a href="#Page_240">240-9</a>.</li>

  <li class="ndx-li">Le Normand, Mlle., the Parisian fortune-teller,
  <a href="#Page_324">324</a>.</li>

  <li class="ndx-li">Leo X, a trick of his at cards,
  <a href="#Page_174">174</a>.</li>

  <li class="ndx-li">List of specimens of cards published by the Society of
  Bibliophiles Français, Appendix, No. 1, <a href="#Page_331">331</a>.</li>

  <li class="ndx-li">List of works relating to cards, Appendix, No. 2,
  <a href="#Page_334">334</a>.</li>

  <li class="ndx-li">Locke, John, his opinion of card-playing,
  <a href="#Page_302">302</a>.</li>

  <li class="ndx-li">Lookup, the gamester, <a href="#Page_173">173-6</a>.</li>

  <li class="ndx-li">Loyola, St. Ignatius, wins, miraculously, at billiards,
  <a href="#Page_292">292</a>.</li>

  <li class="ndx-li">Lusty Juventus, cards mentioned in,
  <a href="#Page_108">108</a>.</li>

  <li class="ndx-li">Lyly, John, represents Cupid and Campaspe playing at
   cards, <a href="#Page_123">123</a>.</li>

  <li class="ndx-li">Lyndsay, Sir David, satirises the card-playing of the
  clergy in Scotland, about 1535, <a href="#Page_110">110</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Machiavelli on Fortune, <a href="#Page_10">10</a>.</li>

  <li class="ndx-li">Madden's, Sir F., Privy-purse Expenses of the Princess
  Mary, daughter of Henry VIII, <a href="#Page_109">109</a>.</li>

  <li class="ndx-li">Magasin Pittoresque, article on cards in,
  <a href="#Page_71">71</a>.</li>

  <li class="ndx-li">Manners in the time of Charles II,
  <a href="#Page_143">143</a>; George II, <a href="#Page_176">176</a>.</li>

  <li class="ndx-li">Manufacture of cards, extensive in Germany about 1450,
  <a href="#Page_82">82</a>; at Venice, 1441,<a href="#Page_194">194</a>;
  in England, <a href="#Page_131">131</a>, <a href="#Page_166">166</a>,
  <a href="#Page_272">272</a>.</li>

  <li class="ndx-li">Mappa, its ancient meaning, <a href="#Page_29">29</a>.</li>

  <li class="ndx-li">Margaret, daughter of Henry VII, found playing at cards by
  her affianced husband, James IV of Scotland, <a href="#Page_98">98</a>.</li>

  <li class="ndx-li">Marks of the suits of cards, <a href="#Page_206">206</a>.</li>

  <li class="ndx-li">Martius, Galeottus, speculates on the meaning of the marks
  of the suits, <a href="#Page_93">93</a>.</li>

  <li class="ndx-li">Mary, the Princess, daughter of Henry VIII, afterwards
  queen, a card-player, <a href="#Page_109">109</a>.</li>

  <li class="ndx-li">Mary, daughter of James II, afterwards queen,
  a card-player, <a href="#Page_146">146</a>.</li>

  <li class="ndx-li">Mazarine, Cardinal, played at cards when dying,
  <a href="#Page_310">310</a>.</li>

  <li class="ndx-li">Mecken, Israel van, cards supposed to be engraved by,
  <a href="#Page_226">226</a>.</li>

  <li class="ndx-li">Meerman's reference to the chronicle of Petit-Jehan de
  Saintré, <a href="#Page_68">68</a>.</li>

  <li class="ndx-li">Menestrier's, Père, Bibliothèque curieuse et instructive,
  <a href="#Page_3">3</a>, <a href="#Page_76">76</a>, <a href="#Page_80">80</a>,
  <a href="#Page_151">151</a>, <a href="#Page_191">191</a>.</li>

  <li class="ndx-li">Meré, the Chevalier de, submits certain questions to
  Pascal respecting chances at play, <a href="#Page_157">157</a>. [See the
  treatise on Probability, by Lubbock and Drinkwater, published by the Society
  for the Diffusion of Useful Knowledge, p. 12;
  <a href="#Page_41">41-50</a>.]</li>

  <li class="ndx-li">Merrels, the game of, <a href="#Page_13">13</a>.</li>

  <li class="ndx-li">Meursius, de Ludis Græcorum, <a href="#Page_5">5</a>.</li>

  <li class="ndx-li">Millin's description of the Marquis Girolamo's cards,
  <a href="#Page_229">229</a>.</li>

  <li class="ndx-li">Morelli's chronicle, <a href="#Page_73">73</a>.</li>

  <li class="ndx-li">Moxon's cards for carving, <a href="#Page_156">156</a>;
  astronomical cards, <a href="#Page_157">157</a>.</li>

  <li class="ndx-li">Murner's Chartiludium, or logical card-play,
  <a href="#Page_101">101-5</a>.</li>

  <li class="ndx-li">Murr's, C. G. von, Journal, <a href="#Page_75">75</a>,
  <a href="#Page_81">81</a>, <a href="#Page_85">85</a>,
  <a href="#Page_133">133</a>, <a href="#Page_226">226</a>.</li>

  <li class="ndx-li">"Murry neet," in Cumberland, <a href="#Page_185">185</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Nabob, the meaning of the word, <a href="#Page_22">22</a>.
  <span class="pagenum"><a name="Page_341" id="Page_341">[Pg 341]</a></span></li>

  <li class="ndx-li">Naibi, and Naipes, speculations on the name as applied
  to cards, <a href="#Page_22">22-9</a>.</li>

  <li class="ndx-li">Names of the suits of Hindostanee cards,
  <a href="#Page_41">41-2</a>; of German, Spanish, Italian, and French cards,
  <a href="#Page_228">228</a>.</li>

  <li class="ndx-li">&mdash;&mdash; given to coat cards,
  <a href="#Page_208">208</a>, <a href="#Page_211">211</a>, <a href="#Page_215">215</a>.</li>

  <li class="ndx-li">&mdash;&mdash; of particular cards,
  <a href="#Page_265">265-9</a>.</li>

  <li class="ndx-li">Nash, Beau, his reign at Bath,
  <a href="#Page_171">171</a>.</li>

  <li class="ndx-li">Nine of Diamonds,&mdash;the Curse of Scotland,
  <a href="#Page_266">266-8</a>.</li>

  <li class="ndx-li">Noctes Ambrosianæ., extract from, relative to
  card-playing, <a href="#Page_303">303</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Ombre, Barrington's conjecture as to the time of its
  introduction into England, <a href="#Page_145">145</a>.</li>

  <li class="ndx-li">&mdash;&mdash; Pope's description of, frequently praised,
  <a href="#Page_167">167</a>.</li>

  <li class="ndx-li">One-and-thirty, a popular game at cards in Ireland and
  Spain, <a href="#Page_115">115</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Pair of Cards, the old name for a pack,
  <a href="#Page_269">269</a>.</li>

  <li class="ndx-li">Pam, the Knave of Clubs, <a href="#Page_269">269</a>.</li>

  <li class="ndx-li">Pamphlets with titles borrowed from the game of cards,
  <a href="#Page_138">138</a>.</li>

  <li class="ndx-li">Paris, Mons. Paulin, his collation of MSS. of Wm. de
  Guilleville's poem of the Pilgrimage of Man, <a href="#Page_70">70</a>;
  his conjectures respecting the name Valery on a Knave of cards,
  <a href="#Page_218">218</a>.</li>

  <li class="ndx-li">Parson, the, that loved gaming better than his eyes,
  <a href="#Page_321">321</a>.</li>

  <li class="ndx-li">Paston, Margery, mentions cards as a Christmas game,
  about 1484, <a href="#Page_97">97</a>.</li>

  <li class="ndx-li">Peignot's Analyse de Recherches sur les Cartes à jouer,
  <a href="#Page_20">20</a>, <a href="#Page_69">69</a>, <a href="#Page_81">81</a>,
  <a href="#Page_253">253-6</a>, <a href="#Page_259">259</a>,
  <a href="#Page_265">265</a>.</li>

  <li class="ndx-li">Pepin, Nicolas, said to be the inventor of cards,
  <a href="#Page_23">23</a>.</li>

  <li class="ndx-li">Pepys's Diary, <a href="#Page_146">146</a>.</li>

  <li class="ndx-li">Perlimpimpim, the by-name of an Italian juggler in 1622,
  <a href="#Page_117">117</a>.</li>

  <li class="ndx-li">Phaer's Book of Precedents, <a href="#Page_121">121</a>.</li>

  <li class="ndx-li">Picture cards in Cotta's Card Almanac,
  <a href="#Page_259">259</a>.</li>

  <li class="ndx-li">Piozzi, Mrs., refers to the game of the Four Kings,
  <a href="#Page_20">20</a>.</li>

  <li class="ndx-li">Piquet, the meaning of the game explained by Père Daniel,
  <a href="#Page_209">209</a>.</li>

  <li class="ndx-li">Platina, B., cards mentioned by, <a href="#Page_93">93</a>.</li>

  <li class="ndx-li">Pollux, Julius, his account of the game of Petteia,
  <a href="#Page_13">13</a>.</li>

  <li class="ndx-li">Pomegranate, a mark on cards, <a href="#Page_226">226</a>.</li>

  <li class="ndx-li">Poupart, C., pays Gringonneur for cards in 1393,
  <a href="#Page_74">74</a>.</li>

  <li class="ndx-li">Prayer-book, the soldier's, in a pack of cards,
  <a href="#Page_321">321</a>.</li>

  <li class="ndx-li">Prayers, playing for, <a href="#Page_311">311</a>.</li>

  <li class="ndx-li">Price of a pack of cards in the time of Roger Ascham,
  <a href="#Page_133">133</a>; in the reign of Queen Anne,
  <a href="#Page_167">167</a>.</li>

  <li class="ndx-li">Process of card-making at De La Rue and Co.'s,
  <a href="#Page_272">272</a>.</li>

  <li class="ndx-li">Prodigal, picture of a, <a href="#Page_163">163</a>.</li>

  <li class="ndx-li">Protestants of Ireland, in the reign of Queen Mary, how
  saved from persecution, <a href="#Page_327">327</a>.</li>

  <li class="ndx-li">Pulci's Morgante Maggiore&mdash;Re di Naibi,
  <a href="#Page_234">234</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Quartes, <a href="#Page_22">22</a>.</li>

  <li class="ndx-li">Quatuor Reges, a game so called, mentioned in the wardrobe
  accounts of Edward I, <a href="#Page_18">18</a>,
  <a href="#Page_64">64</a>.</li>

  <li class="ndx-li">Queen, none in the earliest European cards,
  <a href="#Page_15">15</a>.</li>

  <li class="ndx-li">Quire, derivation of the word, <a href="#Page_25">25</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Rabelais, translated by Urquhart, <a href="#Page_19">19</a>.</li>

  <li class="ndx-li">Rabbinical treatise against gaming,
  <a href="#Page_316">316-20</a>.</li>

  <li class="ndx-li">Reiffenberg, the Baron de, his account of a woodcut
  discovered at Malines, with the supposed date 1418,
  <a href="#Page_86">86</a>; mistakes the Spanish <i>sota</i> for a female,
  <a href="#Page_229">229</a>.</li>

  <li class="ndx-li">Rennell, Dr. Thomas, his sermon against gaining,
  <a href="#Page_187">187</a>.</li>

  <li class="ndx-li">Republican cards, <a href="#Page_253">253-6</a>.</li>

  <li class="ndx-li">Rey, M., on cards, <a href="#Page_7">7</a>.</li>

  <li class="ndx-li">Ringhieri's Cento Giuochi liberali,
  <a href="#Page_53">53</a>.</li>

  <li class="ndx-li">Rive's, the Abbé, Eclaircissements Historiques sur les
  Cartes à jouer, <a href="#Page_20">20</a>, <a href="#Page_66">66</a>.</li>

  <li class="ndx-li">Roccha, Angelus, Commentarius contra Ludum Alearum,
  <a href="#Page_61">61</a>.</li>

  <li class="ndx-li">Rogers represents the followers of Columbus playing at
  cards, <a href="#Page_105">105</a>.</li>

  <li class="ndx-li">Rowlands, Sam., his Knave of Hearts, and More Knaves yet,
  <a href="#Page_134">134-7</a>.</li>

  <li class="ndx-li">Roy's, William, satire on Cardinal Wolsey,
  <a href="#Page_109">109</a>.</li>

  <li class="ndx-li">Russia, great consumption of cards in,
  <a href="#Page_272">272</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Sadler's, Sir Ralph, State Papers,
  <a href="#Page_112">112</a>.
  <span class="pagenum"><a name="Page_342" id="Page_342">[Pg 342]</a></span></li>

  <li class="ndx-li">Saint Foix's historical essays on Paris,
  <a href="#Page_123">123</a>.</li>

  <li class="ndx-li">Saintré, Petit-Jehan de, <a href="#Page_68">68</a>.</li>

  <li class="ndx-li">Sales, St. Francis de, a card-player when young,
  <a href="#Page_309">309</a>.</li>

  <li class="ndx-li">Sandro di Pipozzi, cards mentioned in a MS. work of his,
  <a href="#Page_65">65</a>.</li>

  <li class="ndx-li">Sarisberiensis, Joannes, <a href="#Page_62">62</a>.</li>

  <li class="ndx-li">Satirical cards, French, about 1819,
  <a href="#Page_264">264</a>.</li>

  <li class="ndx-li">Schön, Erhard, cards of his designing,
  <a href="#Page_238">238</a>.</li>

  <li class="ndx-li">Sciential and grammatical cards,
  <a href="#Page_139">139-41</a>.</li>

  <li class="ndx-li">Sex of the East India Company, <a href="#Page_32">32</a>.</li>

  <li class="ndx-li">Seymour's Court Gamester, <a href="#Page_168">168</a>.</li>

  <li class="ndx-li">Sheppard, W., his England's Balm,
  <a href="#Page_141">141</a>.</li>

  <li class="ndx-li">Sheridan's character of the East India Company,
  <a href="#Page_32">32</a>.</li>

  <li class="ndx-li">Shufflers, diplomatic, <a href="#Page_181">181</a>.</li>

  <li class="ndx-li">Singer's Researches into the History of Playing Cards,
  <a href="#Page_7">7</a>,  <a href="#Page_201">201</a>,
  <a href="#Page_223">223</a>, <a href="#Page_238">238</a>.</li>

  <li class="ndx-li">Skelton's Bowghe of Court,&mdash;Card of Ten,
  <a href="#Page_234">234</a>.</li>

  <li class="ndx-li">Solis, Virgil, cards of his designing,
  <a href="#Page_238">238</a>.</li>

  <li class="ndx-li">Solme, Thomas, 'the Bushoppes poure thresshere,' uses the
  term <i>Yack an napes</i>, <a href="#Page_233">233</a>.</li>

  <li class="ndx-li">Sota, the Spanish name for the Knave of cards,
  <a href="#Page_229">229</a>.</li>

  <li class="ndx-li">South-sea bubble, cards ridiculing the speculators,
  <a href="#Page_169">169</a>.</li>

  <li class="ndx-li">Spata, a weapon figured in Baker and Co.'s eclectic cards,
  <a href="#Page_261">261</a>.</li>

  <li class="ndx-li">St. Christopher, woodcut of, with the date 1423,
  in Earl Spencer's collection, <a href="#Page_86">86</a>.</li>

  <li class="ndx-li">Stencilling, early cards executed by means of,
  <a href="#Page_83">83</a>.</li>

  <li class="ndx-li">Stephens, Henry, relates an anecdote of a losing gamester's
  swearing, <a href="#Page_312">312</a>.</li>

  <li class="ndx-li">Strutt's Sports and Pastimes, <a href="#Page_107">107</a>.</li>

  <li class="ndx-li">Stubbes, Philip, his opinion of playing at cards and other
  games, <a href="#Page_124">124</a>; on ruffs, <a href="#Page_165">165</a>.</li>

  <li class="ndx-li">Stukeley, Dr., old cards formerly belonging to,
  <a href="#Page_205">205</a>.</li>

  <li class="ndx-li">Suits of cards, names of, <a href="#Page_228">228</a>,
  <a href="#Page_230">230</a>.</li>

  <li class="ndx-li">Sunday, card-playing on, <a href="#Page_146">146</a>.</li>

  <li class="ndx-li">Sûr Mera, the title of a Rabbinical treatise against
  gaming, <a href="#Page_317">317</a>.</li>

  <li class="ndx-li">Swabbers, <a href="#Page_161">161</a>.</li>

  <li class="ndx-li">Swearing, a vice to which gamesters are prone,
  <a href="#Page_311">311</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Tahures, a Spanish name for gamesters, etymology of the
  word, according to Diego del Castillo, <a href="#Page_115">115</a>,
  <a href="#Page_116">116</a>.</li>

  <li class="ndx-li">Taj, or Tas, a name for cards in Hindostan,
  <a href="#Page_41">41</a>.</li>

  <li class="ndx-li">Tali, <a href="#Page_11">11</a>.</li>

  <li class="ndx-li">Tarocchi, or Tarots, <a href="#Page_190">190-5</a>.</li>

  <li class="ndx-li">Tarotiers, French card-makers called by this name in 1594,
  <a href="#Page_272">272</a>.</li>

  <li class="ndx-li">Tax on cards, when first levied in England,
  <a href="#Page_131">131</a>.</li>

  <li class="ndx-li">Taylor, the water-poet, his picture of a prodigal,
  <a href="#Page_163">163</a>.</li>

  <li class="ndx-li">Taylor, Dr. Jeremy, on card-playing,
  <a href="#Page_297">297-300</a>.</li>

  <li class="ndx-li">Teniers, in a picture represents two soldiers playing at
  cards in the hall of the high priest, <a href="#Page_123">123</a>.</li>

  <li class="ndx-li">Terms used at the game of cards in Hindostan,
  <a href="#Page_43">43</a>.</li>

  <li class="ndx-li">Thiers, Dr. J. B., his Traité des Jeux,
  <a href="#Page_80">80</a>, <a href="#Page_293">293</a>, <a href="#Page_309">309</a>, <a href="#Page_311">311</a>.</li>

  <li class="ndx-li">Thimble-rig superseded by railway speculation,
  <a href="#Page_101">101</a>.</li>

  <li class="ndx-li">Toplady, the Rev. Augustus, on card-playing,
  <a href="#Page_300">300</a>.</li>

  <li class="ndx-li">Townshend, Lord George, caricatures ascribed to,
  <a href="#Page_184">184</a>.</li>

  <li class="ndx-li">Transformation of cards, <a href="#Page_260">260</a>.</li>

  <li class="ndx-li">Turner, Sharon, his derivation of the word jackanapes,
  <a href="#Page_231">231</a>.</li>

  <li class="ndx-li">T. W., the initials of the engraver of a pack of cards of
  the 15th century, <a href="#Page_222">222</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Urquhart, Sir Thomas, his translation of Rabelais,
  <a href="#Page_19">19</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Valery, a name on an old Knave of Hearts,
  <a href="#Page_217">217</a>.</li>

  <li class="ndx-li">Valet, the original meaning of the word,
  <a href="#Page_231">231</a>.</li>

  <li class="ndx-li">Vega, Garcilasso de la, his account of the Spanish
  soldiers manufacturing cards, <a href="#Page_106">106</a>.</li>

  <li class="ndx-li">Vichnou, incarnations of, in a pack of Hindostanee cards,
  <a href="#Page_36">36-40</a>.</li>

  <li class="ndx-li">Vierge, Fierge, Pherz, the queen at Chess,
  <a href="#Page_15">15-21</a>.</li>

  <li class="ndx-li">Visconti, Philip, Duke of Milan, cards painted for him,
   <a href="#Page_230">230</a>.</li>

  <li class="ndx-li">Volay, Jean, a French card manufacturer,
  <a href="#Page_132">132</a>.</li>

  <li class="ndx-li">Volpato, Mons., cards formerly belonging to,
  <a href="#Page_221">221</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Ward, Samuel, preacher, of Ipswich, his Woe to Drunkards,
  <a href="#Page_130">130</a>.
  <span class="pagenum"><a name="Page_343" id="Page_343">[Pg 343]</a></span></li>

  <li class="ndx-li">Wesley, John, sometimes sought an answer by lot,
  <a href="#Page_129">129</a>: fond of whist when a young man,
  <a href="#Page_301">301</a>.</li>

  <li class="ndx-li">Whist, its relation to chess, <a href="#Page_17">17</a>.</li>

  <li class="ndx-li">&mdash;&mdash;, a game of English origin,
  <a href="#Page_160">160-5</a>.</li>

  <li class="ndx-li">White's coffee-house, <a href="#Page_161">161-2</a>;
  club at, <a href="#Page_178">178</a>.</li>

  <li class="ndx-li">Wilson, Mr. T., old cards engraved on copper, formerly
  belonging to, <a href="#Page_224">224</a>.</li>

  <li class="ndx-li">Wilson, Professor, on card-playing, in the 'Noctes
  Ambrosianæ,' <a href="#Page_303">303-7</a>.</li>

  <li class="ndx-li">Wood-engraving, the earliest with an authentic date,
  <a href="#Page_85">85</a>.</li>

  <li class="ndx-li">Worcester, council of, prohibitions in its canons,
  <a href="#Page_62">62</a>.</li>

  <li class="ndx-li">Wuruq, a leaf, the name for a card with the Moslems
  in Hindostan, <a href="#Page_25">25</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Xavier, St. Francis, card-playing in the East in his time,
  <a href="#Page_53">53</a>; his lenity towards gamesters,
  <a href="#Page_307">307</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Yack an napes, Jackanapes, Jack-a-Naipes, the Knave of
  cards, <a href="#Page_233">233</a>.</li>
</ul>

<ul class="ndx-ul">
  <li class="ndx-li">Zani, P. on the Pipozzi MS., <a href="#Page_65">65</a>.</li>
</ul>

<div class="figcenter"><a name="i_416.jpg" id="i_416.jpg"></a>
  <img src="images/i_416.jpg"
      alt="End Image" />
</div>

<hr class="chap" />

<p class="center">C. AND J. ADLARD, PRINTERS, BARTHOLOMEW CLOSE.</p>

<hr class="chap" />

<div class="transnote p2">
<h3>Transcriber's Note:</h3>
<ul>
  <li>Minor typographical errors have been corrected without note where the author's
    original intent was clear.</li>

  <li>Punctuation and spelling were made consistent when a predominant
    form was found in this book; otherwise they were not changed. </li>

  <li>Ambiguous hyphens at the ends of lines were retained.</li>

  <li>Mid-paragraph illustrations have been moved between paragraphs
    and some illustrations have been moved closer to the text that
    references them. The List of Illustrations paginations and those
    in image captions were not corrected.</li>

  <li>Footnotes were moved to the ends of the chapters in which they
    belonged and numbered in one continuous sequence. The pagination
    of index entries which referred to these footnotes was not
    changed to match their new locations so they refer to the pages
    in the main text where the footnotes are referenced.</li>

  <li>The index entry for "Manufacture of Cards, extensive ... at
    Venice, 1441;...." lacked a page reference.  That text was found
    to be on page 194 and was added to the index entry.</li>
</ul>
</div>

<div>*** END OF THE PROJECT GUTENBERG EBOOK 45584 ***</div>
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