The Origins of Tarot Cards in Renaissance Italy
The earliest known mention of a tarot-type deck is in a diary entry from September 1440, in which a legal official named Giusto Giusti noted that he’d gifted a special set, handmade in Florence, to Sigismondo Pandolfo Malatesta, the powerful lord (signore) of the city-state of Rimini. Giusti recorded that he’d spent four and a half ducats—several weeks’ wages for a skilled worker—to have artisans create the cards, which were adorned with the Malatesta coat of arms. He called them naibi a trionfi—that is, playing cards with triumphs. The name trionfi—triumphs, or trumps—seems to have been commonly used at this time for such decks and the games played with them. The Italian name tarocchi was only used later and became tarot in French.
Playing cards were introduced to Italy in the mid-14th century, probably from the Islamic world. The original four suits were Cups, Swords, Batons (or Wands) and Coins (later Pentacles), which are preserved in most modern tarot decks. The familiar suits of Hearts, Clubs, Spades and Diamonds were a later French innovation.
The tarocchi deck combined the 56 cards of the four suits with 21 trumps and “The Fool,” which stood outside the trump sequence and played a unique role in the game. Tarocchi was a trick-taking game, somewhat like modern bridge, in which trumps could be played when a player was unable to follow suit.
What Did the Original Tarot Cards Mean?
The trumps seem to have inspired the idea that the deck embodied arcane wisdom, although their imagery would not have been obscure to their original audience. Experts say the trumps drew on familiar symbols that would have been well-known to 15th-century Italians, such as “Fortune” and “Death.” But it’s not known exactly why those particular symbols were chosen or why the trumps were ranked in a hierarchy. The ranking varied between regions, but a later French tradition ranked “The Magician” the lowest and “The World” the highest.
French playing-card historian Thierry Depaulis, co-author of the 2018 book Con gli occhi et con l’intelletto, says the scholarly consensus is that the trumps were strongly influenced by Christian allegories. They represented a progression from earthly concerns—“The Magician” for example, and “The Emperor”—to celestial imagery like “The Moon” and “The Sun,” and finally to Christian concepts represented by the highest trumps, often “Judgement” and “The World.”
But Depaulis says the original meaning of the sequence remains uncertain. “To this day,” he writes, “no one has found the keys that would allow a convincing interpretation of it.”