Modiano - Piacentine Nº 81 / 25

7/30/2026

Modiano - Piacentine Nº 81 / 25

I’ve wanted to explore the world of Italian playing cards for quite some time, but honestly, the sheer volume of regional patterns is a bit daunting. Unlike Spanish playing cards, which follow a pretty standardized formula, Italy is a wild patchwork of regional styles. They aren't tied together by a cohesive design thread, but rather classified by geographical distribution. Still, despite the information overload, I decided to stop overthinking it and finally jump down this fascinating rabbit hole.

To break into this new territory, I decided to reach blindly into the drawer and let chance decide. The lucky draw turned out to be Modiano's Piacentine Nº 81 / 25. No particular reason for picking it—they all look amazingly beautiful and interesting, and I had to start somewhere.

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Upon examination, the first thing that stands out is the presence of traditional Spanish suits rather than French ones or local Italian variants. It’s a striking detail considering Piacenza is in the north of the country, where French suits are more common. Yet this apparent geographic anomaly may have a historical background: much like the territories in the south, this region fell under the rule of the Spanish Crown during the 18th century (namely the Duchy of Parma and Piacenza). This geopolitical link could explain how Spanish suits took root and managed to persist long after that sovereignty ended.

Another detail that immediately catches the eye is the presence of double-headed court cards. It may be tempting to assume this was an influence coming from Central Europe, but this is not the case. Reversible courts were actually adopted quite recently in the Piacentine pattern—in fact, they weren't printed this way until well into the 20th century. It was simply a functional upgrade to make gameplay easier that eventually became the dominant style, reaffirming that double-headed courts aren't actually a defining trait of the pattern.

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This is actually the second Italian regional style featured on the blog. We previously examined the Sarde pattern, which is essentially indistinguishable from any traditional Spanish-suited pack. In fact, its designs can be traced back to Clemente Roxas and his Baraja Neoclásica (Neoclassical Deck), which was popular in 19th-century Spain. The Piacentine pattern, on the other hand, still shows clear Iberian roots, but strays from traditional Spanish conventions to embrace a character of its own.

The core layout of the Spanish suits remains intact: coins, cups, swords, and batons across a 40-card pack running from Ace to 7, plus three courts (Knave, Knight and King). That said, key differences quickly stand out—most notably the lack of indices and traditional border breaks (pintas), along with the physical proportion of the cards. Narrower than standard Spanish playing cards, they take on an elongated look, giving them an elegant appearance. These features are shared with many of their regional cousins, the Sarde pattern being a notable exception.

When analyzing its design, the aces stand out—most notably the Ace of Coins, featuring an imposing crowned golden eagle. In older versions of this pattern, the bird’s chest bore a blank circle intended for the tax stamp, which in our deck has been replaced by a large coin. The Ace of Batons, unlike the rugged wooden cudgel typical of Spanish packs, is depicted as a tree trunk with severed branch stubs and a rose growing at its base. The Ace of Swords features a scimitar draped in a floral ribbon and held by a cherub. Finally, the Ace of Cups displays an elaborate chalice that maintains the overall elegance and cohesion of the set.

Without dwelling on this section for too long, I'll just say that the remaining cards keep the same understated quality as the aces, making for an aesthetically powerful set. Personally, I think this is one of the deck's greatest appeals—a trait that remains consistent across other patterns in this family, which we'll delve into down the line.

Lastly, a quick word on our specific deck. As with the Sarde and other Modiano decks, the materials and finish are excellent. In this case, we have a very smooth satin finish leaning toward matte, printed on thick, sturdy cardstock. The result is a solid, durable feel; while it might be slightly stiffer than my personal sweet spot, it's still a real pleasure to handle.