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104 Logical Playing Cards, or Logic Realized and Made Comprehensible through Pleasant Exercises with Pictures. The cards were filled with mysterious symbols intended as keys to the entire art of reasoning. The difficult science was adapted to the meanest capacity, by puerile methods which subsequently provoked the contempt of Erasmus. Each card had some pedantic name like Proposition, Predicate or Syllogism. Could there be a more unattractive game?

Eminent German artists—among them Martin Schongauer and the Master of 1466—undertook to supplant the stiff and barbarous figures that had been used on playing cards, with designs of merit. They drew and engraved new face figures of most extraordinary character, in which satirical and poetic fancies were strangely blended. The amorousness of the monks and the coquetry of the ladies, the quarrels of termagants among the peasantry, the revenge of hares who are roasting their enemy man and his friend the dog, are the subjects of some cards. On other German cards of this period are represented, in startling contrast, the sweet and saintly faces of pure women, heroic men riding in triumph, and filthy sows with their litters.

Jost Amman designed, and perhaps engraved, a full pack of cards which was published in book form with explanatory verses in Latin and German. Rejecting the established forms of hearts, clubs, spades and diamonds for the designation of the suites, he substituted books, printers' inking balls, wine pots and drinking cups. The moral that he endeavored to inculcate was the advantages of industry and learning over idleness and drunkenness. But the intended moral is not as clear as it should be. Some of the figures are exceedingly gross, although they are drawn with admirable skill and spirit.

These innovations had but a transient popularity. The people played cards, not for instruction in art, science or