The answer is that the big publishing houses, wanting to be competitive on the global market, have to print large quantities of low price decks. To do this, they must print Tarot capable of being appreciated by a large audience.
This choice, of course, requires not to publish decks that may have great historical interest but that, almost certainly, would sell few copies to a limited number of Tarot lovers.
My editorial project is totally different. I start from the identification of decks absent from the market, without considering their possible commercial success. What interests me is to make known the extraordinary history of the Tarot in all its aspects.
I decided to reprint the cards faithfully to the original, to give the perception of having an original deck in hand.
Another aspect that I particularly care about is the rarity of my artworks. I know that a deck printed in limited edition increases its value over time; for this reason every deck has a warranty certificate that I sign myself, adding the serial number.
In addition, each deck published by RINASCIMENTO is accompanied by a booklet that tells, as possible, the story of that deck and of its printer in the context of the tradition to which they belong.
Another important detail of the RINASCIMENTO PROJECT is the packaging. I have commissioned the art designer Letizia Rivetti to design a particular box for each deck, in harmony with the time and place of the first production. Each box, then, is handmade by Italian artisans.
Obviously, all this raises production costs, but I know how great is the joy of having an authentic jewel is in hand. Thus, the letters of appreciation of hundreds of people from all over the world push me to continue on this path.
I have many Tarot decks of extraordinary beauty to let you know and many stories to tell.
I will let you know the news on this and other forums, as well as on the site rinascimentoitalianartenglish.wordpress.com
), because you will no doubt see things you've never seen before.