“Hinc, mortales, ediscite quod vana mundi gaudia, inanes labores, fugaces honores, mendaces favores: omnia vanitas et umbra sunt. Sceptra, coronae, purpurae, pompae, triumphi, laureae, decora, ornatus, gloriae, et lusus, et deliciae, et fastus, et divitiae: omnia vanitas et umbra sunt. Ubi sunt praeclari reges qui dederunt orbi leges, ubi gentium ductores, civitatum conditores? Pulvis sunt  et cineres. Ubi septem sapientes, et scientias adolentes, ubi retores  discordes, ubi artifices experti? Pulvis sunt et cineres. Ubi fortes sunt gigantes, tanto robore praestantes, ubi invicti bellatores, barbarorum  domitores? Pulvis sunt et cineres. Ubi heroum inclita proles, ubi vastae urbium moles, ubi Athenae, ubi Carthago, veterisque Thebae imago? Solum nomen superest. Ubi dictatorum gloriae, ubi consulum victoriae, ubi laureae triumphales, ubi decus immortale Romanorum honorium? Solum nomen superest. Heu, heu, nos miseros. Sicut aquae dilabimur, et sicut folium quod vento rapitur, deficimus, eripimur. Votis decipimur, tempore fallimur, morte deludimur; quae nos anxii quaerimus, quae solliciti  petimus, omnia vanitas et umbra sunt. Vanitas vanitatum et omnia vanitas” (Hence, o mortals, learn ye that the joys of the world are empty, its labours vain, its honours fleeting, its favours false, that all is vanity and but a shadow. Sceptres, crowns, the purple of pomp, triumphs, laurels, honours, decorations, glories, even games, and delights, and feasts and riches: all is vanity and but a shadow. Where are the famous kings that gave the world its laws, where the leaders of peoples, the founders of states? They are dust and ashes. Where are the seven wise men, and those who increase knowledge, where the disputing rulers, where the skilful craftsmen? They are dust and ashes. Where are the mighty giants, excelling in great strength, where the invincible warriors, conquerors of the barbarians? They are dust and ashes. Where are the celebrated sons of heroes, where the vast constructions of cities, where is Athens, where Carthage, and the like of ancient Thebes? Only their name surviveth. Where are the glories of dictators, where the victories of consuls, where the triumphal laurels, where the immortal glory of Roman honours? Only their name surviveth. Alas, alas, for we are wretched. Like the waters shall we run out, and as the leaf that is seized by the wind are we weakened and borne away. We are deceived by promises, cheated by time, mocked by death; all that we seek in our anxiety, that we search for in our restlessness, is vanity and but a shadow. Vanity of vanities, all is vanity” (from Vanitas vanitatis II, verses translates in music by Giacomo Carissimi, sec. XVII)
The triumph that follows the Chariot in the first known list of tarots, that is the Sermones de Ludo, is the Christian Fortitude, to specify that the desire of power, of glory and of fame must be mitigated by appealing to this virtue. Actually the Chariot, that assumes in tarots the values attributed by Petrarca to Fame in his famous Triumphs, is defined by the monk author of the Sermones as a “mundus parvus”, which is to say an ephemeral success, a small triumph, in relation to the fact that Fame, who give to time the deeds of great men, will have to succumb to Time itself and above all to the only and true unchangeable reality, that is the Divinity that Petrarca expressed in the Triumph of Eternity.  
For St. Thomas  Fortitude is the virtue that “subdues” the appetite to reason in everything in life and death, “appetituvum motum subdit rationi in his quae to mortem et vitam pertinent” (I-II, q.66, a.4). A reason that, according to the concept of scholasticism, made the truth of faith comprehensible suggesting a Christian and correct behaviour for men.
Fortitude occupies first place among the moral virtues which target the  passions which, in relation to Fame, are expressed in the desire of glory and imperishable fame.
Certainly if the actions taken to satisfy these passions are committed with nobility of mind, the intent is more exemplary, but despite this it is necessary to take into account that the achieved Fame won't be eternal and, above all, that every action must be conceived as a duty that every good Christian has towards a Divinity which has honoured him with particular gifts. In simple words, any human greatness comes from God, because of his will and for purposes unknown to men who have to understand all this by appealing to reason.   
Ripa writes about the "Good Fame": “Donna con una tromba nella mano destra, & nella sinistra con un ramo d’Oliva, haverà al collo una collana d’oro, alla quale sia per pendente un cuore, & haverà l’ali bianche à gli omeri. La tromba significa il grido universale sparso per gl’orecchie de gl’ huomini. Il ramo d’Oliva mostra la bontà della fama e la sincerità dell’Huomo famoso per opere illustri, pigliandosi sempre, & l’Olivo, & il frutto suo in buona parte; però nella Sacra Scrittura si dice dell’olio, parlando di Christo N. Signore in figura, Oleum effusum nomen tuum. Et  dell’Oliva dice il Salmo, Oliva fructifera in domo Domini. Et per questa cagione solevano gli Antichi coronar Giove d’Oliva, fingendolo sommamente buono, & sommamente perfetto. Il cuore pendente al collo, significa, come narra Oro Apolline ne suoi Geroglifici, la fama d’un huomo da bene. L’ali di color bianco notano la candidezza, & la velocità della Fama buona”. (A Woman with a trumpet in her right hand, & an olive branch in the left, will have a gold necklace, from which hangs a heart, & will have white wings on her shoulders. The trumpet means the universal cry shed for the ears of humanity. The olive branch shows the goodness of fame and the sincerity of Man famous for his illustrious works, & the Olive, & its fruit in good part; however in the Sacred Writing it is said that the olive, speaking of Christ Our Lord as a figure, Oleum effusum nomen tuum. And with regards to the olive the Psalm says, Olive flowers in the House of God. And for this reason the Ancient peoples used to adorn Jupiter with olive, making him extremely good, & extremely perfect. The heart hanging from his neck, means, as Oro Apolline narrates in his Hieroglyphs, the fame of a good man. The white wings are evidence of the purity, & the speed of the good Fame (Iconology, 1669 edition, pag.192).
Petrarca’s version is partly removed from this image, maintaining the trumpet announcer, while in tarots the elephants that drag the chariot of Fame described by Petrarca, (figure 1 - The Triumph of  Fame, woodcutting from Petrarca, 1563), are generally replaced by horses.
The elephant is an animal that, as  Plinio writes in his Naturalis Historia (VIII,10), can live up to three hundred years: a notable period of time that, in a general sense, is what Fame contemplates. Able to impose itself thanks to its  physical characteristics, the magnitude first of all that allegorically connects to the greatness of Fame, such an animal was universally respected for its precious dowries and its wise way of behaving. It rightly embodied the need of moral exemplariness that Christian knowledge considered a germ desiring to burst out:  wisdom, chastity, family virtues, enmity with the dragon (that is the Devil) that made the character of the animal an example to be imitated by all men who desired to excel.
The iconological version of the tarot Chariot introduces triumph characteristic in the attributes of the globe and the sceptre, elements that remind us of the Roman triumphs.
In the Chariot of an Ancient Italian Tarot (figure 2 - Anonymous, Italy of the North, XVI century, Leber 1351, XIV. Town Library, Rouen), that represents a commander on a wagon pulled by horses, the writing “Victoriae Premium” set in the bottom part of the card clearly explains that it deals with a triumphal event offered as a prize to the generals on the occasion of their victories.  
If in the card of Visconti Sforza Tarots (figure 3) the female figure captures the image present in the Petrarca Triumphs, it is assimilated in the numerous versions of Glory that we find represented in the World card in the Charles VI Tarots (figure 4) and in that of Alexander Sforza (figure 5) where a female figure, holding the same attributes in her hands, overhangs the image of the world contained in a circle, and is an  expression of  the Divine Glory that governs everything.
In the ancient Parisian Tarot of the beginning of the XVII century this triumph is represented by Apollo’s coach which myth says is pulled by swans, melodious birds sacred to the God (figure 6). An Homeric hymn (XXI, To Apollo) begins in this way: “Oh Apollo, the swan sings about you softly, beating its wings, / lowering to the shore along the Peneo, whirling river.” Elian in the work De nature animalium (IX,1) writes that when the priests of Apollo, children of Boreas and Chione, celebrated the sacrifices, the swans gathered together there, going down in a great group from the Rifei mountains (mountains of Scythia), surrounding the temple and singing hymns in honour of the God.
The griffons that drive the wagon in the Visconti Sforza Tarots are connected to the classical images in which a component of elevation-sublimation is expressed, such as  we find in the Alexander The Great wagon transported in the sky by two griffons, represented in a relief of the Cathedral of Fidenza (figura 7), or in the wagon of Neptune, of which there is a beautiful mosaic from the II century A.C. in the Archaeological Collection of Fano Malatestian Museum (figure 8), characterised by the same solar component in terms of victory that characterize the Alexander’s wagon.
In the Charles VI Tarots (figure 9) the female character is replaced by a warrior as in the Rotschild ones (figure 10) and in the Rosenwalds (figure 11), while in the Alexander Sforza Tarots (figure 12) a character dressed in noble cloths holds the same golden globe that we also find in the hands of the commander of the Rosenwald Tarots (Bologna, XVI century), according to an iconography also in the tarocchini of the following centuries (figura 13 - Tarocchino Al Leone, 1770)    
These images, defined by the front of the wagon and by a warrior with a sword or spite and armour, directly connect to the figure of Mars in the Mantegna Tarots (figure 14), an iconographical version that stabilizes in subsequent representation of this card (figure 15 - Lombard Tarot Al Soldato, XVIII century).
In the Wirth tarots the Chariot of the triumph is pulled by two sphinxes of contrasting colours (figure 16): “The white Sphinx symbolizes the good constructive wishes which aspire to the  general good attained peacefully without disturbance. The black Sphinx quivers with impatience, and pulls to the left with great vehemence:  its efforts threatens to drag the wagon in the ditch, but in fact they manage  to stimulate the white Sphinx, which is forced to haul more strongly from its side. In this way the vehicle advances more quickly, according to the mechanics of the parallelogram of strengths” (Oswald Wirth, Le Tarot des Imagiers du Moyen Age, 1927, page. 135).
A dualism of strengths to be harmonized, according to the alchemic concept, that saw the figure of the Wagon in evident relation with the triumphal wagon of the antimony, the Currus triumphalis Antimonii by Basilio Valentino, a symbolic German figure of the XVI century, whose work inspired various esoteric speculations about tarots.