Fournier - Nº 275 · Gemela
INTRODUCTION & IDENTIFICATION DETAILS
In 1968, Heraclio Fournier issued this distinctive pack to commemorate its centenary (although we now know that the anniversary was incorrectly dated, but that is a story for another occasion). Based on the firm's classic Castilian pattern, the pack is distinguished by its reversible card designs.
Aptly named No. 275 – Gemela (Twin), the model bears this designation on the 4 of Coins, while the 5 of Swords is marked No. 275 – G. The first edition carried the latter inscription on both cards and included a title card identifying the pack as Gemela and claiming it to be the first Spanish-suited deck of its kind. This assertion, is not entirely accurate either, as earlier examples are known to exist, albeit exceptionally rare ones. Nevertheless, Gemela appears to have been the first to achieve a measure of commercial success.
This pack remains in production to the present day, and our copy was manufactured no earlier than 2020, as indicated by the date on the back of its title card.
ICONOGRAPHY & DESIGN
Given that these illustrations have become virtually the definitive reference for Spanish playing cards, the interest here lies primarily in their adaptation. The double-ended court cards are skilfully executed, producing a harmonious, well-balanced composition, that at times recalls Central European patterns such as the Dondorf Rhineland.
The pip cards remain largely unchanged, their designs being generally unaffected by card orientation. Minor adjustments are nevertheless apparent, particularly in Coins and Cups, where the busts and chalices have been arranged more or less symmetrically along the vertical axis. The elements on the Threes of both suits have also been slightly repositioned. Swords and Batons, meanwhile, retain their original layouts and could easily be swapped for their counterparts in a standard deck without anyone noticing the difference.
Turning now to the Aces, these retain their original designs, much like the pip cards, with the exception of the Ace of Coins, which features minor modifications to its ornamentation. Specifically, the decorative ribbons appear at both ends of the card, rather than occupying their customary position at the top.
The original 1968 edition, however, was rather different, with the reversible design extended to the Aces as well. The images below illustrate this early version, offering readers an opportunity to judge for themselves why the original designs may ultimately have been restored. The Ace of Coins appears to be the only one to have retained its alterations.
The Ace of Cups showed only the upper section of the chalice, duplicated and mirrored along the horizontal axis, creating a somewhat kaleidoscopic composition that was hardly representative of the suit. The Ace of Swords, meanwhile, featured a scabbard terminating in hilts at both ends, resulting in an equally puzzling image that verged on the surreal.
I have been unable to find any images of the Ace of Batons, but as far as I'm aware, it retained its original design. Perhaps because it was already reversible in the first place (something that could also be said of the Ace of Swords), or simply because the designers had already realised that there are limits to how far traditional card designs can be reimagined to suit a new format.
Lastly, the Jokers are not reversible either. Our copy features the familiar harlequin of modern Fournier editions, absent from the original 1968 printing. This is hardly unique to Gemela, however, as Jokers are not usually bound by the same conventions of reversibility as the rest of the pack.
FINAL THOUGHTS
Fournier's approach strikes me as particularly well suited to a commemorative edition. Since reversibility is a feature found in most playing-card patterns, it is interesting to explore the what if…? of applying it to a design as firmly established as the Castilian pattern. In fact, this is one of my favourite decks among those issued by Fournier to mark anniversaries and other celebrations, and its continued production to this day suggests that I am probably not alone in appreciating the outcome.
The unusual Aces of the original edition, meanwhile, invite some reflection on the limits of reversibility. Even the Anglo-American pattern, with its highly standardised and distinctly functional design, dispenses with it in the Ace of Spades, precisely one of the cards that gives each model much of its distinctive character. It seems, then, that not every card needs to be strictly symmetrical.
It is also worth remembering that Spanish playing cards have long had their own form of reversibility in the pintas (border breaks), which allow cards to be identified regardless of their orientation. This takes nothing away from Fournier's experiment, of course, but serves as a reminder that reversibility is about more than aesthetics, and does not necessarily require every element of a design to be duplicated.
Coins
Cups
Swords
Batons
Card Back, Jokers & Title Card
It is also interesting how thoroughly Spanish-suited designs have resisted becoming reversible— unless I am overlooking something it seems that the Italian Piacentine pattern is the only one to have been supplanted by a double-headed version.
ReplyDeleteYes, exactly. That's the main reason this experiment is so fascinating to me. I also think the resistance to adopting double-ended cards in Spanish patterns goes way beyond the pintas. Most people I know don't even know what pintas are, and it has never limited their playability, not to mention Italian patterns, which don't have them. I myself am quite biased towards full-length figures, probably just because it's what we grew up with. It really is curious!
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