Only two hand-painted Papessa cards survive from the 15th century -
The Papessa of the Pierpont-Morgan-Bergamo (or Visconti-Sforza) pack (left)
and that from one of two incomplete packs in the Fournier Playing-Card Museum
in Vittoria, Spain (right).
Although clearly related, the cards are by different artists, and most commentators believe that
the Fournier Papessa is a later production, one or more copies removed from Bembo's in the Visconti-Sforza deck.
The notable differences between them are the darker colour of the Fournier
Papessa's habit or cope, and the prominence of her triple tiara.
Because the artist has darkened the Papessa's cope, he has correspondingly
lightened the colour of her book.

One difference in detail seems not to have been noted before -
the tip of a slipper with a rosette is visible coming from
beneath the Fournier Papessa's cope.

The differences between the two Papesse can perhaps be attributed to a desire of the Fournier artist to heighten the dignity of his Papessa:
Fournier's garments are deeply tinged with colour, not plain; her papal triple-tiara and crozier stand out from the background,
and she has episcopal footwear appropriate to her office,
rather than what might be taken to be the rough leather shoe of Bembo's Papessa (if not clearly
a dark fold in the fabric of the cope).
The Fournier artist placed a prominent rosette on the slipper, in order to further draw attention to the detail.
These details suggest that the Fournier Papessa's artist saw the Papessa in a somewhat different way than Bembo understood her.

In line with the idea that some artists saw a connection between the
Papessa trump and the Papessa Giovanna (Pope Joan),
is the interpretation that the slipper is an allusion to Pope Joan's baby,
which can be seen in contemporary depictions such as those in
illustrations of Boccaccio's popular Famous Women,

where her baby, who is born during a procession, is seen coming out from under her robe.
In the legend, it is at this time that Papa Giovanni VIII is revealed to be really Giovanna, a Papessa not Papa.
She had hitherto kept the secret, but the truth, her real nature as femina, could not be hidden forever, and in a moment it slipped out.