The Hanged Man: Concerning the Iconography of the Twelfth Trump Card of the "Tarot de Marseille" Patterns

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Introduction

The International Playing-Card Society currently differentiate between two Tarot de Marseille patterns, namely, pattern sheet 1 and pattern sheet 2.

 

For the purposes of the present article, I consider the following versions of pattern sheet 1: a version by Jean Noblet (circa 1659 ^[1]), a version by Jean-Pierre Payen (1713 ^[2]), and a version by Jean Dodal (circa 1701 to 1715 ^[3]).

 

Concerning pattern sheet 2, I consider the following versions, which may be sufficiently representative of the general iconography of the said pattern sheet: a version by Pierre Madenié (1709 ^[4]), a version by François-Henri (1718 ^[5]), a version by François Chosson (1736 ^[6]), a version by Jean-Baptiste Madenié (1739 ^[7]), a version by François Tourcaty (1745 ^[8]), a version by Rochus Schär (1750 ^[9]), a version by Claude Burdel (1751 ^[10]), a version by Nicolas Conver (1760 ^[11]), a version by Jacques Rochias (1782 ^[12]), a version by Arnoux & Amphoux (1793 ^[13]), and a version by Bernardin Suzanne (circa 1816 to 1868 ^[14]).

 

In describing the general iconography of the twelfth trump cards of the aforesaid pattern sheets, I reference the current earliest known version of pattern sheet 1, which is the version by Jean Noblet (1659), and the current earliest known version of pattern sheet 2, which is the version by Pierre Madenié (1709).

 

[Note: images of the twenty-one trump cards of each of the versions of pattern sheet 2 that I list above are currently available for online viewing at http://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html .]

 

Part 1: Descriptions

1.1. Pattern Sheet 1: Jean Noblet

In figure 1, a male figure, who is suspended by his left foot, sticks out his tongue as he hangs from gallows that comprise a horizontal tree trunk that is held in place by two vertical tree trunks.

 

The arms of the male figure, which are crossed behind his back, are folded in such a manner that the digits of each of his hands are visible behind his shoulders: the five digits of his left hand are visible behind his right shoulder and the five digits of his right hand are visible behind his left shoulder.

 

It would appear that penis of the subject is exposed.

 

1.1.1. Some Iconographic Differences Between Versions of Pattern Sheet 1

1.1.1.1. In the Version by Jean-Pierre Payen (1713) and by Jean Dodal (circa 1701 to 1715):

1.1.1.1.1. Only four of the digits of each hand are depicted.

1.1.1.1.2. The representation of the penis of the male figure, which is distinguishable from negative space owing to the depiction of horizontal lines, is so rudimentally rendered as to be obscure.

 

[Note: the rudimentary depiction of the penis of the male figure may be the result of uncertainty. Alternatively, and since the genitals of a human figure are nowhere else portrayed in the versions of pattern sheet 1 by Payen and by Dodal, the rudimentary depiction of the penis of the male figure may be the result of the conservative inclinations of the artist or artists, the conservative inclinations of the relevant markets, or both.]

 

1.2. Pattern Sheet 2: Pierre Madenié

In figure 1, a male figure, who is suspended by his left foot, sticks out his tongue as he hangs from gallows that comprise a horizontal tree trunk that is held in place by two vertical tree trunks.

 

The arms of the male figure are folded behind his back and he wears a shoe on only his right foot.

 

It would appear that the penis of the subject, which is rudimentally rendered, is exposed.

 

1.2.1. Some Iconographic Differences Between Versions of Pattern Sheet 2

1.2.1.1. In the Versions by François-Henri (1718) and by François Chosson (1736):

1.2.1.1.1. One could argue that the tongue of the male figure is not extended.

1.2.1.1.2. It would appear that the male figure wears a shoe on each foot.

 

1.2.1.2. In the Version by Nicolas Conver (1760):

1.2.1.2.1. The penis of the male figure is not exposed.

 

1.2.1.3. In the Version by Jacques Rochias (1782):

1.2.1.3.1. The male figure wears a shoe on each foot.

1.2.1.3.2. The penis of the male figure is rendered to resemble a triangle.

 

1.2.1.4. In the Versions by Arnoux & Amphoux (1793) and by Bernadine Suzanne (circa 1816 to 1868):

1.2.1.4.1. One could argue that the male figure wears a shoe on each foot.

 

Part 2: Interpretations

2.1 Pitture Infamanti (Defamatory Paintings)

The general iconography of the twelfth trump cards of pattern sheets 1 and 2 resembles the iconography of Italian pitture infamanti, in which a subject may be depicted as hanging by one foot ^{[15] [16]}.

In her book, Tarot Cards painted by Bonifacio Bembo for the Visconti Sforza Family, Gertrude Moakley describes the events that led to the relevant Pope ordering that the father of Francesco Sforza, one Muzio Attendolo, be depicted on the bridges and on the gates of Rome as hanging by his right foot ^[17]. In doing so, Moakley may have become the first English-speaking researcher to explain in the context of Italian pitture infamanti the iconography of the corresponding trump card of the pattern sheet that is attributed to Bembo.

 

Italian defamatory paintings, which were generally displayed in public ^{[18][19][20][21]}, depicted such persons as include defaulters ^[22], bankrupts, and traitors ^[23][24].

 

Notes:

2.1.1. The depiction of an extended tongue could be explained as a reference to the contempt that may demonstrated by means of one or more acts of betrayal or to the lack of remorse that may thereafter be demonstrated.

On page 10 of his book, Public Painting and Visual Culture in Early Republican Florence, George Bent describes a defamatory painting of one Ridolfo Varana in which Varana, who is charged with having switched sides during the War of the Eight Saints, is depicted as "giving the finger" to the Church and to the commune.

2.1.2. Given the public nature of Italian pitture infamanti, the depiction of the penis of a male subject could be explained as a potential means of causing additional shame.

 

2.2. A Form of Torture to the Death

In addition to being comparable to the iconography of Italian defamatory paintings, the iconography of the twelfth trump cards of pattern sheets 1 and 2 is reminiscent of a form of torture.

 

On tarothistory.com, Ross G R Caldwell provides a translation of an excerpt from pages 27 to 29 of the third volume of Storie dei Municipi Italiani (Stories of Italian Municipalities) ^[25].

 

In the aforesaid excerpt, the author describes a form of torture in which one who is convicted of crimes against the state is dragged behind a horse to a place of execution and hanged by one foot.

 

While suspended, the convicted party is provided with food and with drink for as long as he remains alive.

 

References:

1. Jeu de tarot à enseignes italiennes dit "tarot Noblet". URL: https://gallica.bnf.fr/ark:/12148/btv1b105109641.item. Retrieved 4 March 2020.

2. Tarot From [sic.] Jean-Pierre Payen. URL: https://www.tarot-de-marseille-heritage.com/english/catalogue_payen1713.html. Retrieved 4 March 2020.

3. Jeu de tarot de Marseille destiné à l'exportation. URL: https://gallica.bnf.fr/ark:/12148/btv1b10537343h.item. Retrieved 4 March 2020.

4. Tarot From [sic.] Pierre Madenié. URL: https://www.tarot-de-marseille-heritage.com/english/catalogue_madenie1709.html. Retrieved 4 March 2020.

5. Tarot From [sic.] François Henri. URL: https://www.tarot-de-marseille-heritage.com/english/catalogue_heri1718.html. Retrieved 4 March 2020.

6. Tarot From [sic.] François Chosson. URL: https://www.tarot-de-marseille-heritage.com/english/catalogue_chosson1736.html. Retrieved 4 March 2020.

7. Tarot From [sic.] Jean-Baptiste Madenié. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

8. Tarot From [sic.] François Tourcaty. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

9. Tarot From [sic.] Rochus Schär. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

10. Tarot From [sic.] Claude Burdel. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

11. Tarot From [sic.] Nicolas Conver. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

12. Tarot From [sic.] Jacques Rochias. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

13. Tarot From [sic.] Arnoux & Amphoux. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

14. Jeu de tarot à enseignes italiennes, dit "de Marseille". URL: https://gallica.bnf.fr/ark:/12148/btv1b10539486k.item. Retrieved 4 March 2020.

15. Dean, Trevor (Translator and Annotator) (2000). The Towns of Italy in the Later Middle Ages. Manchester University Press. Page 45. ISBN 7190 5205 5 (Hardback). ISBN 7190 5204 4 (Paperback).

16. Bent, George R (2016). Public Painting and Visual Culture in Early Republican Florence. Cambridge University Press. Page 107. ISBN 978-1-107-13976-3.

17. Moakley, Gertrude (1966). The Tarot Cards Painted by Bonifacio Bembo for the Visconti-Sforza Family: an Iconographic and Historical Study by Gertrude Moakley. The New York Public Library. Page 95.

18. Dean, Trevor (Translator and Annotator) (2000). The Towns of Italy in the Later Middle Ages. Manchester University Press. Page 7. ISBN 7190 5205 5 (Hardback). ISBN 7190 5204 4 (Paperback).

19. Edgerton, Samuel Y (1985). Pictures and Punishment: Art and Criminal Prosecution During the Florentine Renaissance. Cornell University Press. Page 103. ISBN 0801417058. ISBN 9780801417054.

20. Trexler, Richard C (1980). Public Life in Renaissance Florence. Cornell University Press. ISBN 0-8014-9979-8. Page 123. ISBN 0-8014-9979-8.

21. Bent, George R (2016). Public Painting and Visual Culture in Early Republican Florence. Cambridge University Press. Page 107. ISBN 978-1-107-13976-3.

22. Edgerton, Samuel Y (1985). Pictures and Punishment: Art and Criminal Prosecution During the Florentine Renaissance. Cornell University Press. Page 103. ISBN 0801417058. ISBN 9780801417054.

23. Dean, Trevor (Translator and Annotator) (2000). The Towns of Italy in the Later Middle Ages. Manchester University Press. Pages 7 and 45. ISBN 7190 5205 5 (Hardback). ISBN 7190 5204 4 (Paperback).

24. Trexler, Richard C (1980). Public Life in Renaissance Florence. Cornell University Press. Page 122. ISBN 0-8014-9979-8.

25. The Hanged Man. URL: http://forum.tarothistory.com/viewtopic.php?t=395&start=70. Retrieved 4 March 2020.

 

Images:

1. Figure 1: Jeu de tarot à enseignes italiennes dit "tarot Noblet". BNF Gallica. URL: https://gallica.bnf.fr/ark:/12148/btv1b105109641.item. Retrieved 4 March 2020.

2. Figure 2: Tarot cards by Pierre Madenié. Tarot de Marseille Heritage. URL: https://www.tarot-de-marseille-heritage.com/english/historic_tarots_gallery.html. Retrieved 4 March 2020.

 

Copyright © Kevin J W Mellors.

Edited June 9, 2020 by Guest