The connection between Hechtel's Game of Hope and the cartomancy deck that would carry Marie Anne Lenormand's name is a matter of images and layout passing from a toy into a divinatory practice, not a system Hechtel built himself. The Petit Lenormand deck that emerged in the decades after his death kept his thirty-six numbered images, the Ship, the Clover, the House, the Coffin, the Bouquet and the rest of the sequence this atlas catalogues card by card, and kept the piquet-card insets underneath them, but detached both from the dice-and-track game they were designed for.
The clearest trace of that inheritance is the shape of the tradition's largest spread. The full Grand Tableau lays all thirty-six cards out in rows, most commonly nine across and four down, and that layout is not a divinatory convention arrived at independently: it is the shape of Hechtel's own game board, a race track reorganized into a picture grid because the cards were designed to sit in exactly that arrangement before anyone read them for fortune-telling at all.
Reading the deck's history this way changes what the origin claims about the practice. Where some cartomancy traditions reach for an invented ancient pedigree, Lenormand's descent from a dated, named, commercially printed parlour game is unusually well documented, and that documentation runs through Hechtel rather than around him: a real Nuremberg publisher, a real date, and a game whose furniture the fortune-telling deck never fully discarded.