The Rider Waite Smith Tarot Deck A Study

The Rider-Waite-Smith Tarot Deck
A Study in Icon & Iconography & Iconology

According to Art History Theories and
Jungian Archetypes
Postdoctoral Research
By Orly Salinas Mizrahi
Submitted to the Senate of the Hebrew University of Jerusalem

December 2020
1
This research, was carried out under the supervision of Prof. Gal
Ventura
2
I gratefully acknowledge the unwavering support and assistance of my academic
advisor Prof. Gal Ventura, who stood by my side every single step of the way and whose trust
in me never wavered.
I am profoundly indebted to Prof. Dimitrios Karussis; Head of the Neuroimmunology

Unit, Hadassah Ein Karem Medical Center, Jerusalem Israel, whose relentlessly devoted
medical care and treatments made this project feasible against all odds.
I would like to thank my research assistant Roi Shlomo Roiter-Harmatz who studied
Art History as his major in the Jerusalemite Gymnasia Rehavia High School and was willing
to contribute time during his ongoing army service.
3
Table of Contents
Preface................................................................................................................................ 10
Introduction ......................................................................................................................... 12
Reflections of the Researcher on the Research .................................................................. 14
Chapter1 Some Milestones on Tarot History ....................................................................... 15
The Renesaince …. ................................................................................................. 16
The Italian Tarocchi Decks …. ................................................................................. 17
The Tarot de Marseilles Decks (TdM) …. ................................................................ 21
The Rider-Waite-Smith Tarot Deck …...................................................................... 22
Chapter 2 Subject of Research and Methodology ............................................................... 27
The Collective Unconscious…. ................................................................................ 29
Symbols and Achetypes - Carl Gustav Jung …. ...................................................... 29
Panofsky's Division to Three Strata of Analysis for a Work of Art …. ....................... 31
Chapter 3 Fundamental Symbols of the Tarot Deck …………………………….…….….…33
The Major Arcana …................................................................................................ 33
The Minor Arcana and the Court Cards…. ............................................................... 33
The Suit of Wands …............................................................................................... 34
The Suit of Cups …. .............................................................................................. ..35
The Suit of Swords ………………..…………………………..…………………………...35
The Suit of Pentacles ………..……………………………….………..……….….………36
The Rider-Waite-Smith Tarot deck ….. ................................................................. ...37
4
Chapter 4 Religion and or Magic ………………………......…………………………..……...…37
The Fool …………………………..……………………………….…………..………….. 38
The Magician ……………………………………..……………… …………..………….. 43
The High Priestess ………………………………………………….……………..…….. 50
The Hierophant ………………………………..…………………….……………..…….. 55
The Chariot …..……………..……………………………………………………..……… 60
The Wheel of Fortune ………………..…..………….………………………..…………. 65
Judgement ………………..………..…………………………………………..…………. 71
Chapter 5 The Human Life Cycle …………………..………………………………..…….……. 78
The Hanged Man ………………………………………………….……………………….79
The Lovers…..……………..……………………………………………………..……….. 81
The Hermit ………………..…..………….………………………..……………………… 85
Death………………..………..…………………………………………..………………… 90
Chapter 6 The Royal Court……………..……………………...………….…..……………….… 95
The Empress ............................................................................……………………... 96
The Queen of Wands...................................................................................…….... 104
The Queen of Cups....................................................................................……….. 106
The Queen of Swords ............. ............................................................................ 111
The Queen of Pentacles .................................................................................….... 116
The Emperor ……..………………...………………………………………..……….….. 121
The King of Wands ……..………………………………….…………..……….……….. 128
The King of Cups …..……………………..…………………………………..………..... 132
5
The King of Swords ………..…………………………………………………...........….. 134
The King of Pentacles...…………………………………………………………..……... 139
The Knight of Wands...................................................................................……...... 143
The Knight of Cups...........................................................................................…... 146
The Knight of Swords.......................................................................................…... 148
The Knight of Pentacles...................................................................................…... 149
The Page of Wands..........................................................................................…... 151
The Page of Cups.............................................................................................…... 152
The Page of Swords.........................................................................................…... 154
The Page of Pentacles.....................................................................................…... 155
Chapter 7 The Aces……………………………………………………………………………….158
The Ace of Wands............................................................................................…... 159
The Ace of Cups..............................................................................................…... 162
The Ace of Swords..........................................................................................…... 167
The Ace of Pentacles.......................................................................................…... 169
Chapter 8 Celestial Bodies and the World………………………..…………………………….172
The Star............................................................................................................…... 173
The Moon..........................................................................................................…... 177
The Sun............................................................................................................…... 183
The World..........................................................................................................…...186
Chapter 9 Vices and Virtues……………..…………...……………...…………………………..192
6
Justice .................................................................................................…………..... 193
Strength............................................................................................................…... 197
Temperance......................................................................................................…... 201
Two of Wands...................................................................................................…... 205
Three of Wands................................................................................................…... 207
Four of Wands ……..………………...…………………………………………..….….. 209
Six of Wands ………………...………………………………….…………..……….….. 211
Seven of Wands…..………...………………..…………………………………..….….. 213
Eight of Wands ………..………………..…………………………………………...….. 215
Nine of Wands ..……………….…………………………………………………….….. 216
Ten of Wands...................................................................................................…... 218
Two of Cups......................................................................................................…... 221
Three of Cups...................................................................................................…... 224
Six of Cups.......................................................................................................…... 227
Nine of Cups.....................................................................................................…... 229
Ten of Cups......................................................................................................…... 231
Three of Pentacles............................................................................................…... 234
Six of Pentacles…............................................................................................…... 237
Seven of Pentacles........................................................................................…..... 240
Eight of Pentacles.............................................................................................…... 243
Nine of Pentacles..............................................................................................…... 246
7
Ten of Pentacles................................................................................……………....250
The Devil ……..………………...……………………………..….…..………….……… 253
The Tower ……..………………………………….…………..……….…..……….....… 257
Five of Swords…..……………………..…………………………………..….………… 261
Five of Wands ………..…………………………………………………......……….….. 264
Seven of Swords ..………………………………………………………….…….....….. 267
Four of Pentacles ………..…………………………………………………...….....…... 270
Seven of Cups ..………………………………………………………….…………….... 272
Chapter 10 Daily Life Situations – Upheaval and Reversal of Fortune............................... 277
Two of Pentacles..................................................................................………….... 277
Four of Swords.................................................................................................…... 276
Four of Cups.....................................................................................................…... 279
Five of Cups......................................................................................................…... 281
Eight of Cups……..………………………………………….….…………..………..….. 283
Six of Swords…..……………………..…………………………………………..….….. 287
Two of Swords ………..…………………………………………………………......….. 290
Eight of Swords ..…………………………………………………………………….….. 295
Three of Swords …….......................................................................................…... 298
Nine of Swords........................................................................................................ 300
Ten of Swords ...................................................................................................….. 303
Five of Pentacles .............................................................................................…... 306
8
Chapter 11 Conclusion ...................................................................................................... 000
Bibliography ...................................................................................................................... 318
Web Sites without Specific Authors ...................................................................... 331
Dictionaries and Encyclopedias without Specific Authors....................................... 340
Illustrations - Galleries,, Museums, Databases, Online Libraries, Flickr, Wikimedia

Commons .............................................................................................................. 341
Appendices ....................................................................................................................... 352
Pictures of various Tarot Decks ............................................................................. 353
9
Preface
Divination and fortune telling are the first things that most people assume, when they see or hear
about Tarot cards. However, the Tarot cards have changed in form and function since their first
appearance during the early Renaissance. 1 For at least five centuries, the Tarot has tenaciously
survived the condemnation of church, the persecution of state and the ridicule of academia. 2
Whereas, most contemporary literature on Tarot, aims to interpret the occult significance of each card
placing exclusive emphasis on the divinatory meanings, this research does not follow the standard
pattern, for it is fundamentally ethnographic in its assumption.3 This dissertation aims to research the
form, symbolic artistic imagery (iconography), and related meanings (iconology), of the Rider-Waite-
Smith 4 deck of Tarot cards, which have remained relatively similar to previous decks with some
alterations throughout five-hundred years, until the late-twentieth century with the proliferation of New-
Age decks.
Art historians focus on the artistic significance of the cards within the context of the specific
period and cultural milieu they were created in, scholars of western esotericism focus on occult
significances and historians of games focus on the decks' multifaceted history.5 The goal of this study,
which is interdisciplinary in its essence, considering its association to Art History and Material Folk
Culture, is to decipher the underlying meaning of the symbols, iconography and iconology according
to Art History theories and the Jungian Psychological School of Thought utilized in Folklore. Therefore,
the focus of this research is on the cards from the Rider-Waite-Smith Tarot deck, considered one of
the last classic Tarot decks, by deciphering its artistic and symbolic meanings, all the while relating
to older classical Tarot decks, since they are founded on adaptations of and inspirations from, the
decks that came before.6
In the Confucian sense, Tarot provides the advantage of the thousand words each picture is
worth, being easily adaptable because it is inherently neutral and doctrinally foundationless. It carries
no particular allegiance to any system of belief, which postulates an exclusive claim on truth or reality.7
1 . S. Caldwell, The Occult Tarot and Mythology, pdf format, accessed January 2018,
https://soa.illinoisstate.edu/downloads/anthro_theses/caldwell_sara.pdf
2 . A. Rosengarten, Tarot and Psychology: Spectrums of Possibility, St. Paul Minnesota: Paragon House, 2000, Kindle
Edition, (Kindle Locations 93-94)
3 . P. M. Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, Scarlet Imprint, under the Bibliotheque Rouge
banner, 2017, p. XIV

4 . The Rider-Waite-Smith deck's name includes the name Rider because the Rider Company published it. Arthur Edward
Waite was its initial creator and artist Pamela Colman Smith was the artist employed to execute the artistic work.
5 . H. Farley, A Cultural History of Tarot – from Entertainment to Esotericism, London: I. B. Tauris & Co Ltd, 2009, pp. 3-4
6 . G. Alberti, "Symbolism within the Tarot and Comparative Visual Analysis: Proposed Methodology for the Study of the
Tarot as Applied to the Rider Waite Smith Deck", Academia.edu., accessed November 2018,
https://www.academia.edu/1102222/Symbolism_within_the_Tarot_and_Comparative_Visual_Analysis_A_Proposed_Methodology_fo
r_the_Study_of_the_Tarot_as_Applied_to_the_Rider_Waite_Smith_Deck, pp. 3-4
7 . Rosengarten, Tarot and Psychology: Spectrums of Possibility, Kindle Locations 1223-1224
10
The Tarot deck contains archetypal symbols that may very possibly relate to the analytical psychology
of the Swiss psychologist, Carl Gustav Jung.
Jung related to the Tarot images as "descended from the archetypes of transformation". 8
These archetypes include several of the primary archetypes that are encountered during Jung's
individuation process, a process of psychological maturation similar in nature to the aging of the
physical body that include the shadow, the anima and animus, and the wise old man.9 The Tarot also
contains symbols representing other important archetypes of transformative processes such as the
hero, the sacrifice, rebirth, the mother, and the self. In Jung's analytical psychology, these archetypes
comprise the major dynamical components of the unconscious, which affect the human psyche in
many different ways.10
As, the 1909 Rider-Waite-Smith Tarot deck was not designed and created within a vacuum, I
shall also utilize pictorial examples of cards from some previous diverse Tarot decks to enhance the
significance of the iconography that has been imbedded into this particular deck. To create a coherent
body of research it is also necessary to compare the iconography and iconology of the cards from the
Rider-Waite-Smith deck, which is the focus of this research to some of its predecessors.
Since, it is unrealistic to refer to all the older decks and cards within the scope of this study; I
have chosen only a few. Among these decks are: the first known deck named Visconti-Sforza
Tarocchi from Milan, and the Sola-Busca Tarocchi deck - the only deck of the period to have full
scenes on the pip cars as well - from Ferrara, as the engravings of this particular deck were on display
at the British Museum in London as a complete set of photos.11 As the result, of the transition of the
Italian Tarocchi decks to France, I shall also compare several of the cards from the Marseilles family
of Tarot decks (TdM), which are still very popular at present.
The main difficulty with attempting this type of research on such complex artworks is the
cultural distance that separates the researcher from the artist, his/her motivation, beliefs and sources
of inspiration. Based on the symbolism, narratives and imagery portrayed on the Tarot cards one
should take into account, as much as possible, the historical, cultural and artistic backgrounds in
which the decks were created and designed.12
8 . C. G. Jung, The Archetypes and the Collective Unconscious, The Collected Works of C.G. Jung 9 (Part 1), Trans. R. F. C.
Hull, Princeton, NJ: Princeton University Press, 1959, p. 38

9 . J. Jacobi, The Psychology of C.G. Jung: An introduction with illustrations, Trans. R. Manheim, New Haven, CN: Yale
University Pre , 1942

10 . G. Schueler, Chaos and the Psychological Symbolism of the Tarot, Ph.D. 1997, accessed July 2018,
https://mentalsundries.files.wordpress.com/2013/04/chaos-and-the-psychological-symbolism-of-the-tarot.pdf
11
. These were certainly available for the artist Pamela Colman-Smith of the Rider-Waite-Smith Tarot to study and acquire
inspiration beyond the instructions assigned by Arthur Edward Waite.
12 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, p. XV
11
Introduction
There are innumerable legends and unsubstantiated notions about the origins to the deck of Tarot
cards. Although, some have attempted to explain its mysteries with fanciful theories and speculative
history maintaining that they initially came from India, China, Persia or even ancient Egypt, no one
seems to be able to explain how they evolved from these exotic roots.13 According to most scholars
(Dummett, Huson, Wang, Farley, etc.), their first recorded use was during the early fifteenth century,
and the cards were painted by professional manuscript painters of the Italian royal courts.
Consequently, they were fashioned as elaborately designed playing cards known in Italian as
'Triumphi' for the nobility who could afford them. The Tarot deck consisted of four suits made of
numbered and court cards, much like other decks of the time.14 What made this new deck unique was
the addition of twenty-two pictorial Tarot trump cards decorated with richly symbolic imagery. The
standard Tarot deck consists of seventy-eight cards. Of these, twenty-two are trumps commonly
named the Major Arcana15 including the Fool card that has the number zero, and four suits of fourteen
pip cards each, named the Minor Arcana. The employment of divinatory purposes of Tarot cards
began during the late eighteenth century. Occultists claimed that the Tarot was actually a compilation
of wisdom that was Ancient Egyptian in origin. These practitioners interpreted Tarot cards using an
esoteric framework that included the Qabalah, Hermeticism, Alchemy, ancient Egyptian magic,
numerology, astrology, etc.
The twenty-two trump cards of the Major Arcana are the core of the deck with a name and
number. They are sequentially numbered from trump one named the Magician to twenty-one named
the World. The Fool card, which is not numbered (or in some decks numbered zero), has survived in
modern playing cards under the guise of the lowly and unappreciated Joker. Each of these cards
symbolizes some universal aspect of human experience. The cards of the Major Arcana are
predominantly attributed to, the element of spirit (ether), but include attributes of the other four basic
elements; fire, water, air and earth within their scenes too.
Their obvious correspondence in psychology is to the archetypes of Jung’s collective
unconscious.16 They represent the archetypes - consistent, directing patterns of influence that are an
inherent part of human nature. Some of names of the Major Arcana convey a cards' meaning directly,
while there are cards that represent religion and or magic, the royal court, human life cycle, forces
associated with cosmic bodies, sudden dramatic upheaval or reversal in fortune, cards related to
13 . P. Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, Rochester, Vermont: Destiny Books,
2004, p. 1
14.A. Matzner, "Tarot", glbtq, Encyclopedia Copyright © 2015, glbtq, Inc., accessed March, 2018, Reprinted from
http://www.glbtq.com
15 . The word arcana is a derivation from the mid-sixteenth century Latin word arcanus meaning hidden, secret, mystery
"Arcana", English Oxford Dictionaries, accessed November, 2017, https://en.oxforddictionaries.com/definition/arcana The Tarot deck
is divided into the Major Arcana and the Minor Arcana.
16 . Rosengarten, Tarot and Psychology: Spectrums of Possibility, Kindle Locations 320-321
12
virtues and vices and the Aces. The suits (pip) cards named the Minor Arcana, are divided into four
groups named Pentacles (coins), Wands (batons, clubs, staves), Cups (chalices, bowls, vessels) and
Swords (crystals) that correlate in their iconography to the basic elements of earth, fire, water and air
correspondingly.17 Each of those four groups includes fourteen cards numbered from one (Ace) to ten
in progression and four court cards named: Knave, Knight, Queen and King. Having four court cards
distinguishes the Tarot deck from the regular playing deck that has only three court cards Knave,
Queen and King. According to Arthur Rosengarten:
…the Knights of Tarot were inexplicably removed from playing

cards…likely due to their dangerous associations to the Knights
Templar, a controversial secret society of religious mercenaries, which
flourished during the Crusades, and to this day continues to stimulate
intriguing speculation over its true (hidden) agenda...18
The suit of diamonds in conventional playing card decks corresponds to the pentacles in Tarot,
the hearts to the suit of cups, the clubs to the suit of wands, and the spades to the suit of swords.
17 . These are the names of the suit groups in the English language.
18 . Rosengarten, Tarot and Psychology: Spectrums of Possibility, (Kindle Locations 308-311)
13
Reflections of the Researcher on the Research
I have been interested in Tarot decks since my late twenties, when a friend showed me the Rider-
Waite-Smith Tarot deck. Since then, I have collected books and various Tarot decks that include both
older classical versions and New-Age ones. As a graphic designer, I was considerably more
interested in the symbolism of their artistic imagery - iconography, and related meanings - iconology,
than the divinatory ones for a long period. Moreover, I personally always felt that analyzing the Tarot
cards according to the Jung's Psychological School of Thought made the most sense to me. In fact,
unfortunately occult authors frequently present their personal interpretations about the Tarot using
definite language, implying or stating that their conclusions are incontrovertibly true or correct. 19
Consequently, I found it very hard to relate to such definite and restrictive declarations.
Delving into this particular field, in order to write a comprehensive analysis, has brought me
face to face with an enormous amount of occult information, as opposed to academic research that
formulates the core of this work and removed some of my own historical misconceptions, for I too, am
a product of the New-Age. I am aware that mitigating between theories of Art History and the
Psychological School of Thought in Material Folk Culture is a fascinating task worth the endeavor.
19. G. Alberti, "Symbolism within the Tarot and Comparative Visual Analysis: Proposed Methodology for the Study of the
Tarot as Applied to the Rider Waite Smith Deck", Academia.edu., accessed November 2018,
https://www.academia.edu/1102222/Symbolism_within_the_Tarot_and_Comparative_Visual_Analysis_A_Proposed_Methodology_fo
r_the_Study_of_the_Tarot_as_Applied_to_the_Rider_Waite_Smith_Deck, p. 5
14
Chapter 1
Some Milestones on Tarot History
Since, the origins of the Tarot deck cannot be substantiated; it is very likely that like many folk material
items, the Tarot decks went through revisions and refinements until they became a permanently
structured deck. As to the name Tarot, there are as many theories to their etymology as there are to
their origin, thus, circumstances surrounding their creation and etymology remain ambiguous.20
There are theories that the Tarot cards were created in ancient Egypt by a mysterious
priesthood of the Egyptian God Toth, or Gypsies who were allegedly given the clues to the wisdom
of life from powerful beings in pictorial form, to transfer to the rest of humanity while traveling from
India to Europe. In India because the androgynous god Ardhanari was depicted holding a ring, a cup,
a sword and a scepter which some believe are very similar to the symbols of pentacles, cups, swords
and wands on the pip cards, or mainly in China because they had the technology of printing and
paper. Researchers were not able to verify any of these various theories, as no historical
documentation exists. In spite of French occultists like Antoine Count de Gebelin, Jean-Baptiste
Alliette (Etteilla), Eliphas Lévi and Paul Christian's hypotheses of ancient Egyptian provenance, this
too can be refuted since they did not have cardboard with which to construct Tarot cards, Ancient
Egyptian symbolism did not resemble that of the Tarot and some remains should have been
discovered. A closer examination of the cards from India show that although, the symbols on the pip
cards might look similar, they actually are not. As to the theory of Gypsy origin, historically Gypsies
arrived to Europe before the arrival of playing cards or any cards for that matter. Consequently, they
could not have been the ones who brought them, but found them there later, and added them to their
stock-in-trade. From a postmodernist perspective, however, we see that speculations such as these,
whether convincing or conflated, rest ultimately in the mental constructions of their authors, not
necessarily in the events they describe.21
Card playing traveled from China down the Silk Road to the Islamic world, and named Mamluk
cards after the dominant Islamic empire of the time. The game played with the Mamluk cards was
'Maluk Wanuwwab' meaning the Game of Kings and Deputies. 22 By process of elimination and
documentary evidence, it is rather obvious that the progenitor of the regular European deck was from
the Muslim world.23 Merchants and sailors brought playing cards to Spanish and Italian ports from
Islamic countries around the late seventies of the thirteenth century.
In Italy these Mamluk court cards which had suit symbols with a label identifying their rank as
20 . Farley, A Cultural History of Tarot – from Entertainment to Esotericism, p. 32

21 . Rosengarten, Tarot and Psychology: Spectrums of Possibility, (Kindle Locations 370-371)
22 . Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 3
23 . Farley, A Cultural History of Tarot – from Entertainment to Esotericism, p.13 There is a Mamluk deck, which consists of
forty-eight surviving cards out of a fifty-two card deck found in Topkapi Saray Museum in Istanbul.
15
a result of the Islamic prohibition of portraying human images, were redesigned to depict actual
people, King, Queen, Knight and Page. The Italian artist of the Renaissance modified the Islamic suit
symbols into the suits of swords, batons, cups, and coins. There are some resemblances between
the Mamluk and Italian playing cards as to the depiction of the swords that curve and the wands
(batons/polo sticks) that are straight. The polo sticks were transformed into batons, cudgels or
scepters because the Europeans we not very familiar with the game of polo, the slender Arabic cups
into stout and gilded chalices, as were the Arabic coins with flower emblems into heavily textured
coins of gold.24
Islamic playing cards were mentioned in three fifteenth century manuscripts known as the
Chronicles of Viterbo that states that in the year 1379 a game of cards named 'Nayb' in the Saracen
language was brought to Viterbo.25 The suit symbols that underwent a process of oicotypification in
Europe are still, being employed for the Tarot de Marseille (TdM) style decks and are the basis for
the suit symbols in Rider-Waite-Smith style decks.
The Renaissance
From the French word, meaning rebirth is the period in European civilization immediately following
the Middle Agesand conventionally held to have been characterized by a surge of interest in classical
scholarship and values. 26 The style of painting, sculpture and decorative arts identified with the
Renaissance emerged in Italy in the late fourteenth century; it reached its zenith in the late fifteenth
and early sixteenth centuries, in the work of Italian masters such as Leonardo da Vinci, Michelangelo
and Raphael. In addition to its expression of classical Greco-Roman traditions, Renaissance art
sought to capture the experience of the individual and the beauty and mystery of the natural world.27
The spirit of the Renaissance achieved its sharpest formulation in art. Art became a branch of
knowledge, valuable in its own right and capable of providing man with images of God and his
creations as well as with insights into man’s position in the universe.28 Since, this period was the final
development of the theory of proportions, the final victory of the subjective principle was prepared to
affirm the autonomous mobility of represented objects and visual experience of the artist as well as
the beholder.29 During the Renaissance, artists revolutionized their field, with the advent of new types
of paint and color. Although the significance of color ultimately boils down to the intent of the artist,
there were some undeniable commonalities about color symbolism during the Renaissance era and

26 . "Renaissance", Encyclopedia Britannica, accessed Sept. 2018, https://www.britannica.com/event/Renaissance
27 . "Renaissance Art", History.com., accessed Sept. 2018, https://www.history.com/topics/renaissance/renaissance-art
28 . "Renaissance", Encyclopedia Britannica, accessed Sept. 2018, https://www.britannica.com/event/Renaissance
29 . E. Panofsky, Meaning in the Visual Arts, pp. 105-6
16
context determined the meaning of color.30 Renaissance artists also employed alchemical symbols in
their work to reformulate the fundamental stages of the world's creation and harmony for the purpose
to communicate a shared body of important moral and intellectual values.31
While treated primarily as a fortune telling or occult deck at present, the Tarot was born out of
the intellectual and artistic developments of the Italian Renaissance. Links to the Tarot’s icons and
symbology can be found in the popular arts, and philosophy of this rich historic period, influenced by
Alchemy, Hermetic mysticism and the concept of Anima Mundi (the fifth element of life), the Tarot
became a conversation between mystics and artists that has lasted over five centuries.32
The Italian Tarocchi Decks

In the early fifteenth century, a fifth suit of illustrated cards serving as a permanent trump suit for a
game called Trionfi (Triumph) was invented in Milan. These cards purpose was for playing parlor
games and not divinatory ones, which came centuries later. The first decks named Tarocchi, in
Northern Italy were hand crafted for royalty and nobility to play the game Trionfi. According to
Battistini:
…Medieval thought, recognized the major symbolic codes of antiquity

into a new religious and theological conception of the world; imposing
a clear dichotomy between the principles of good and evil, according,
to which, the principal figures of the Christian pantheon were assigned
their proper place. Christ, the Virgin, the angels and the Saints on the
one hand, the devil and his emissaries on the other…33
The images found on the Tarocchi decks from the fifteenth and sixteenth century were
influenced by the Greco-Roman antiquity, Platonic philosophy, hermetic and esoteric traditions. 34
Before the game of could be popularized, certain conditions had to be in place: inexpensive paper,
cheap and easy block printing methods and the concept of playing games with squares of paper. 35
Europeans used professionally hand written, illuminated manuscripts on animal skin vellum, before
30 . D. Ketchum, "The Meaning of Colors during the Renaissance Era", Classroom, accessed Sept. 2018,
https://classroom.synonym.com/meaning-colors-during-renaissance-era-8734.html
31 . M. Battistini, Symbols and Allegories in Art, trans. Stephen Sartarelli, Los Angeles: The J. Paul Getty Museum
Publications, 2005, p. 6
32 . "The Fool's Journey : The History and Symbolism of the Tarot", Craft and Folk Art Museum, accessed October 2018,
http://m.cafam.org/FoolsJourney.html
33 . Battistini, Symbols and Allegories in Art, p. 6
34 . Battistini, Symbols and Allegories in Art, p.6
35 . "Before Tarot 1375-1420", Tarot Heritage, accessed March, 2018, https://tarot-heritage.com/history-4/before-tarot-1375-
1420/
17
learning how to make paper. The techniques for making paper from cotton or linen traveled from
China along the Silk Road to Central Asia and then circulated throughout the Islamic world. The first
Italian paper mills appeared in 1215 either because Crusaders brought papermaking techniques back
from the Middle East, or from Islamic Spain. 36 Once paper was available, printing and drawing
practices began to flourish in Europe. The invention of movable type, in 1437, was the most important
cultural development in Europe since the introduction of paper. With paper and this new and less
expensive printing technique, the printing industry expanded as never before, and all types of printing
were more in demand, including Tarocchi cards.37
The technique of wood printing was applied for religious scenes, but as soon as card playing
became popular, printers adapted their workshops to card production. The cardboard sheets of block
printed cards; were cut apart first and later colored by hand either using stencils for the commoners
or hand painted for the aristocracy. Unfortunately, no wood block painted Tarocchi cards survived the
ravages of time, but some unusable uncut sheets from the fifteenth century are in museums at
present.38
The earliest known cards in Europe still in existence date from 1392, and of these, only
seventeen cards drawn and illuminated on paper remain in the Bibliotheque Nationale in Paris.
Joseph Campbell maintains that they were Tarot cards painted for Charles VI of France by Jacquemin
Gringonneur, though for lack of substantial proof, modern researchers still argue if they were regular
playing cards or Tarocchi cards.39 For the next four-hundred, the Tarot cards utilized for parlor games,
circulated in European countries.
From Milan, the Tarocchi decks quickly spread to Bologna, Venice and Ferrara. Tarot's
formative years, during the fifteenth century, was a golden age of creativity as the result of wealthy
aristocrats' one-of-a kind decks, commissioned for expressing their personal interests. In 1442,
according to the account books of the Marchese of Ferrara, he purchased two packs of Carte da
Trionfi for his younger brothers from a merchant for a small amount of money, showing that a plain
Tarocchi deck was a mass-produced, easily purchased commodity.40 The wealth, ingenuity, relative
freedom, and desire for life’s pleasures that characterized the cities of the Italian North were the same
36 . Paper is thin and durable. It can easily be painted or printed on. It holds its edge and its integrity when cut into cards and
allows them to be easily shuffled for playing games.

37 . R. Place, The Tarot: History, Symbolism, and Divination, Penguin Publishing Group. Kindle Edition, p. 9
38 . Some of the uncut sheets can be found as collections in different museums. The Rosenwald Collection National Gallery
of Art, Washington, D.C., accessed November 2017, https://metmuseum.org/exhibitions/view?exhibitionId=%7B5a6028bc-bddb, The

fifteenth century sheet Milanese Cary Sheet Collection in the Beinecke Rare Book and Manuscript Library, Yale University, The
fifteenth century Florentine sheet Rosenwald Collection, National Gallery of Art, Washington DC, The fifteenth century Bolognese
Tarot sheet Rothschild Collection, Musée du Louvre, Paris, accessed November 2017,
http://www.tarotforum.net/showthread.php?t=52127
39 . J. Campbell, and R. Roberts, Tarot Revelations, San Anselmo California: Vernal Equinox Press, 1987, p. 9
40. "Tarot History Chronology", Tarot Heritage, accessed December 2017, https://tarot-heritage.com/history-4/tarot-
history-chronology/
18
ingredients that helped create the Renaissance, which was the fertile environment in which the Tarot
took root.41 According to Erwin Panofsky:
…the Renaissance proclaimed experience as the root of art;

subsequently each artist had to confront reality without perceptions and
to master it anew. The common foundation was the method of focused
perspective that was an innovation in itself. This enabled the viewer to
observe the work of art from a particular point of view and moment...42
The earliest Italian Tarocchi decks we know of are from the court of Milan in the early fifteenth
century. The assumption is that the first one is the Visconti de Mordone Tarocchi deck named for a
former owner. The second deck painted between the years 1442-1445 belonged to Duke Filippo
Maria Visconti has the name of its former owner, the Brambilla Tarocchi deck.43 The third deck named
the Visconti-Sforza Tarocchi deck was fashioned for Duke Filippo Maria Visconti and Duke Francesco
Sforza who subsequently ruled Milan and married Duke Visconti's daughter Bianca Maria Visconti.
All of these decks, were painted by hand and decorated in gold or silver foil, with a metal punch.
The Major Arcana cards and the court cards of the Minor Arcana featuring figures of Knave,
Knight, Queen and King in each of the four suits of swords, wands, cups and coins have images
intricately designed and painted. Most of the figures portrayed on the cards depict humans with blond
hair alluding to the Frankish heritage of the Visconti family.44 While the rest of the Minor Arcana cards
from ace to ten in all the four suits are rather Spartan with only the number of items from the particular
suit. The back of the cards are plain with no design whatsoever. Most of the imagery displayed on the
cards was common in Medieval and Early Modern literature, theatre and art; as such, it is very likely
that the cards related to mundane matters.45 Below a fresco of Tarocchi players by an unknown artist.
41. Place, The Tarot: History, Symbolism, and Divination, p. 15

42. A. E. Panofsky, Meaning in the Visual Arts, Garden City New York: Doubleday Books, 1955, p. 278
43. Most of the cards have been lost other the Emperor and Wheel of Fortune from the Major Arcana and some of the Minor
Arcana cards remain.
44 . D. Muir, A History of Milan Under the Visconti, London: Methuen & Co. Ltd., 1924, p. 5
45 . Muir, A History of Milan Under the Visconti, p. 49
19
Figure 1. Artist unknown - Commissioned by the Borromeo family, The Game of Tarot, c. 1430, Fresco, the Casa
Borromeo, in Milan46
The Sola-Busca Tarocchi deck is the only complete and oldest deck from the fifteenth century
that still exists. The deck produced in Ferrara for a Venetian patrician of the ancient ducal d'Este
family associated with the prominent Renaissance families, and probably completed by the year 1491
because it took a considerable time and funds to create design and decorate.47 Historically between
the years 1482 and 1484 Ferrara and Venice were involved in war, consequently, the figures are
mostly military and there are almost no female ones other than the four Minor Arcana cards depicting
queens and the Four of Pentacles. As one of the first decks produced using copperplate engraving
and fully painted including the background, it received its designation from the surnames of its last
private owners, Count Andrea Sola-Cabiati and his wife the Marquise Antoinette Busca.48
The deck in which every single card of the Minor Arcana has its own particular designs,
illustrations and symbolic imagery is idiosyncratic even within Ferrarese Tarocchi production of the
time and stands alone on the borders of mainstream awareness, especially the Major Arcana cards.49
Although there are no records about the artist, as someone who worked at court, he undoubtedly had
access to the extensive libraries found in the premises of influential Renaissance families. It seems
that more copies of the deck were printed, because there are a handful of unpainted cards scattered
46. J. T. Paoletti, and G. M. Radke, Art in Renaissance Italy, United Kingdom: Laurence King Publishing Ltd., 2005, p. 198
47 . Adams, The Game of Saturn – Decoding the Sola-Busca Tarocchi, pp. 6-7
48 . Ibid, p. 1
49. Ibid, p. XV, p. 8 On the surface, the figures depicted on the cards are from the Republican era of Roman history, the life
and times of Alexander the Great, but some of the figures do not exist in Roman history. Delving into their iconography, there are also
themes of Babylonian and Carthaginian ones, the cult of Ammon, and planetary powers necessary to empower a system of ritual magic
with hermetic emblems, alchemical processes and mythical beings relating to the Ferrarese cult of Saturn.
20
across Europe that belong to private collectors.
In twelfth and thirteenth century Italian and French art, one finds a great number of classical
motifs, with pagan themes transformed into Christian ones. Consequently, the figures of ancient
mythology became associated to the Christian faith and defined in a moralistic way.50 The Italian
illustrators of classical works of art could not help altering the stylistic character of the originals, but
they did not ignore it and saw the aesthetic qualities through their own eyes. 51 Hermeticism and
Gnosticism taught liberation of the soul through acquisition of secret knowledge of the world and its
creator and have astrological elements that resurfaced in medieval Europe, coded as Alchemy.52
Because of the pain of death at the hands of the zealous Christian church, these esoteric forms of
earlier wisdom systems were secret.53
The Tarot de Marseille Decks (TdM)

From Italy, the Tarot cards reached France. Before the Tarot de Marseille deck, there were a few
similar decks in France, based on the Italian Tarocchi's imagery with some changes. Robert Place
maintains that by 1507, Marseilles, France, and the surrounding area had become a center of Tarot
production outside of Italy. Eventually, the manufacturers of the Marseilles trumps numbered the
trumps with roman numerals, labeled them with French titles, and standardized their order.54 Christine
Payne-Towler states that the Marseilles family of Tarot cards appeared in the late fifteenth and early
sixteenth century, while Helen Farley maintains that only after Milan succumbed to French and Swiss
forces during the mid-sixteenth century that the Tarot became established in France.55
Tarot de Marseille decks were printed on cardboard, with woodblocks first and later colored
by hand using basic stencils. The main differences between the Tarot de Marseilles decks of that
period were the local details entered on the cards to identify the region and the production of the
maker of a specific version.56 The game spread from Italy to France, then to Switzerland, Belgium,
Germany, and beyond, becoming very popular in the sixteenth and seventeenth centuries. This
created an oicotypification process, in which although the cards incorporated the initial basic imagery,
many included icons, iconography and iconology comprehensible to the specific cultures for which
they were fashioned. It seems that, although, the core Tarot images can change or evolve over time,
50 . Panofsky, Meaning in the Visual Arts, p. 46

51 . Ibid, Meaning in the Visual Arts, p. 275
52
. J. Campbell, and R. Roberts, Tarot Revelations, San Anselmo California: Vernal Equinox Press, 1987, p. 45
53
. Ibid, Tarot Revelations, p. 45
54
. Place, The Tarot: History, Symbolism, and Divination, p. 3
55 . C. Payne-Towler, The Underground Stream: Esoteric Tarot Revealed, Oregon: Noreah Press, 1991, and excerpt from
"The Continental Tarot", Tarot com., accessed January 2018, https://www.tarot.com/tarot/christine-payne-towler/continental-tarots,
and Farley, A Cultural History of Tarot – from Entertainment to Esotericism, p. 93
56 . Ibid
21
they are generally quite consistent.57 There is some differentiation between the Milanese decks and
the Tarot de Marseilles decks. The Tarot de Marseilles decks had both a Devil card and a Tower card
(any connection to the Milanese della Torre family long forgotten), a male figure replaced the queen
on the Chariot card, the Fool carried his possessions in a sack tied to a stick he slung over his
shoulder, etc.
Similar to the Italian Tarocchi decks, until the middle of the eighteenth century, the Tarot de
Marseille cards too, were for playing parlor games and not for divinatory purposes. It would be only
later that Etteilla published his book on Tarot cartomancy named How to Entertain Oneself with a
Pack of Cards Called Tarot based on Antoine Court de Gébelin's nine-volume history of the world
named le Monde Primitif, which included some fifty pages on the Tarot cards that was highly
influential.58 However, Etteilla refuted the idea that he based his book on Antoine Court de Gébelin's
book.
As a result, of the expansion of esoteric interest in the Tarot, the cards began the process of
being associated with occult practices. In the nineteenth century, the famous French occultist Eliphas
Lévi further developed the connection between the Tarot and the Kabbalah, the Hebrew system of
mysticism, by promoting the belief that the cards contained the wisdom of the Tree of Life. This theory
would later serve as proof that the symbolism of the Tarot crossed all boundaries and from that point
onward, many spiritual and esoteric groups recognized the Tarot as a timeless body of knowledge
that had significance in every mystical path.59
The Rider-Waite-Smith Tarot Deck

By the mid-nineteenth century, the Tarot moved across the channel to Victorian England where
occultism and spiritualism were gaining a wide appeal becoming popular pastimes for upper class
families. Movements like the Rosicrucian Society and the Hermetic Order of the Golden Dawn
incorporated into their Tarot decks symbols of Egyptian magic, Kabbalah, Enochian magic, Christian
mysticism, Hermeticism, Freemasonry, Celtic Revival and Alchemy. During that period of time the
disciplines of anthropology, archeology, and Egyptology began to develop, transportation, printing
and communication techniques were improved; consequently, facilitating the wide distribution of
various Tarot decks for the use of cartomancy.
Cartomancy arose in England by the end of the nineteenth century because of the reaction
57 . G. Schueler, Chaos and the Psychological Symbolism of the Tarot, Ph.D., 1997
58 . H. Oatman-Stanford, "Tarot Mythology: The Surprising Origins of the World's Most Misunderstood Cards", Collectors
Weekly, June 18th, 2014, accessed December 2017, https://www.collectorsweekly.com/articles/the-surprising-origins-of-tarot-most-

misunderstood-cards/
59 . Ibid
22
against strict scientific rationalism. The Hermetic Order of the Golden Dawn was the crowning glory
of occult revival synthesizing a body of unrelated material. In early 1909, Aleister Crowley who was a
member of the Order of the Golden Dawn wrote a book named the Toth Tarot for divination purposes
that also included imagery of the Tarot cards designed by the British artist Frieda Harris.60
As soon as Crowley's publication appeared, another British member of the Order of the Golden
Dawn and author named Arthur Edward Waite with the cooperation of the American artist Pamela
Colman-Smith who was also a member of the order designed the Rider-Waite-Smith Tarot Deck.
Pamela-Colman-Smith was the first artist to use characters as representative images in the Minor
Arcana cards. Rather than just showing a group of cups, coins, wands or swords, she worked human
beings, flora and fauna into the mix and created a rich tapestry of occult symbolism that set the gold
standard for modern Tarot decks.61 The deck was produced by Rider and Son Company and released
as a rectified one providing scenes that evoke the divinatory meaning of the cards in December of
1909.62 Waite presumed that the Tarot as a mystical text; had been misinterpreted by occultist before
him and longed to give birth to a new Tarot deck that would rectify its symbolism and would stand as
a valued work of art.63 Prominent Christian elements of the old Tarot cards were changed; the Pope
became the High Priest and the Popess became the High Priestess.64 According to Waite:
…we meet with the Tarot cards at the outermost gates...and yet these
cards belong in themselves to another region, for they contain a very
high symbolism, interpreted according to the Laws of Grace rather than
by the pretexts and intuitions of that which passes for divination...65
Arthur Edward Waite supplemented the Rider-Waite-Smith Tarot deck with his book named
The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination.
60 . "Queens of the Tarot Frontier - Lady Frieda Harris, 1877-1962.", accessed August 2018,
http://www.lupec.org/events/2003/tarot/fharris.html Artist Lady Frieda Harris, designer of The Thoth Tarot (a.k.a. The Crowley Deck)
"Lady Frieda Harris, wife of British Parliament Member, Sir Percy Alfred Harris, was 60 years old when she was commissioned by
occultist Aleister Crowley to create designs for a deck of Tarot Cards. The Thoth Deck was to reflect Crowley's revisions of the
traditional names and numbering schemes of the Tarot as well as Thelema, Crowley's personal interpretations of ancient and
contemporary esoteric teachings. Harris was not only an accomplished artist, but also already a member of a theosophical society
known as the Co-Masonry. Soon after meeting Crowley in 1937, she became his disciple and started working on Tarot designs. The
Tarot project was supposed to take only three months but, expanded into a huge five-year undertaking. Frieda Harris shunned the
spotlight and kept her work on the Thoth Deck anonymous, making Crowley's claims of ownership that much more effective. While
Crowley acted as editor and supplied her with lists of symbols and colors, the ultimate honors go to Harris. Her color-drenched Art
Deco interpretations clarify and augment Crowley's intricate esoteric theories."
61 . "Pamela Colman Smith: The Artist Behind the Tarot", ThoughtCo., accessed August 2018,
https://www.thoughtco.com/pamela-colman-smith-4687636
62 . R. A. & W. Amberstone, The Secret Language of the Tarot, San Francisco: Weiser Books, 2008, p. XVI
63
64. M. Morris, "Tarot and Christian Iconography: The World and Magdalene", © 2013 Noah Adrien Lyons, Graduate
Theological Union, pp. 13-14
65. Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination, preface p. 1,
http://www.sacred-texts.com/tarot/pktintr.htm (1 of 3) [13/10/2002 14:24:26]
23
The imagery of the cards draw heavily on symbolism and ritual in Freemasonry that emerge from a
mix of Biblical, Greek and Egyptian philosophy and religion.66 The staffs, swords, coins, and cups
transformed into the tools of the magician named wands, swords, pentacles, and cups.67 Waite and
Smith devised full pictorial scenes with people, landscapes, animals and buildings for the Minor
Arcana pip cards; and numbered them from two to ten with Roman numerals. According to Waite,
these cards are the first modern but not in all times to be accompanied by pictures.68 The twenty-two
trumps of the Major Arcana as well as the Aces, Knaves, Knights, Queens and Kings of the four suits
have their names at the bottom of the card and depicted with intricate allegorical scenes. The goal of
the designs on these various scenes on the Rider-Waite-Smith Minor Arcana deck were meant to
accommodate their divinatory meanings as assigned by Waite, facilitating their final transformation
from the game for which they were initially created.69
Waite gave artist Pamela Colman-Smith freedom to express her visionary talent in the creation
of the fifty-six Minor Arcana cards too, in which she incorporated models from her previous unrelated
paintings. Colman-Smith drew the designs in thin lines with black ink and colored them with
watercolors in her usual manner. 70 Many observers have also stated that besides the Tarot of
Marseilles, many of Colman-Smith’s illustrations for the Major and Minor Arcana were modeled on
the fifteenth-century Sola Busca Tarot, the only Renaissance deck to have figures and complete
scenes on the pips.71
Jung, among his exceptional contributions during his long career, was first to provide a
compelling foundation for the significant study of esoteric traditions by establishing a rational position
from which to take the irrational seriously.72 Waite's approach to the symbolism of universal ideas of
the Tarot cards tends to correlate to Jung's theory of archetypes and the collective unconscious. Waite
advocates that:
…The Tarot embodies symbolical representations of universal ideas,

behind in which lie all the implicits of human mind and it is in this sense
that they contain secret doctrine, which is the realization by the few of
66 . Amberstone , The Secret Language of the Tarot, p. 21

67 . Place, The Tarot: History, Symbolism, and Divination, p. 3
. Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination, part 2, p. 4,
68
http://www.sacred-texts.com/tarot/pktar01.htm [13/10/2002 14:24:50]

70
71 . Place, The Tarot: History, Symbolism, and Divination, pp. 180-181 As previously mentioned, this might be because a
complete set of photos of the Sola Busca Tarocchi engravings had arrived at the British Museum two years before Colman-Smith’s
commission and was certainly available for her to study and incorporate in her designs for the Rider-Waite-Smith Tarot Deck.
72 . Rosengarten, Arthur. Tarot and Psychology: Spectrums of Possibility, Kindle Locations 1296-1298
24
truths imbedded in the consciousness of all, though they have not
passed into express recognition by ordinary men…73
Jung maintains that, while the personal unconscious, is essentially made of contents, which
have at one time been conscious but which have disappeared from the consciousness through having
been forgotten or repressed, the contents of the collective unconscious have never been in
consciousness. Therefore, they have never been individually acquired, but owe their existence
exclusively to heredity. Hence, part of the unconscious consists of a multitude of temporarily obscured
thoughts, impressions and images that, in spite of being lost; continue to influence our conscious
minds. 74 The collective unconscious is essentially made from archetypes also named motifs by
mythological research.75
If modern Jungian theorists are correct, then perhaps, the Tarot is purely archetypal. Its
universality, mystery and meaning are contained, and expressed entirely by its pictures.76 The Tarot
deck then, can be established as comprised of archetypal representations that intersect linguistic,
cultural, geographical, and temporal barriers. The deck contains archetypal symbols, related to the
analytical psychology of Jung, who maintained that the Tarot images were descended from the
archetypes of transformation. These include several of the primary archetypes encountered during
Jung's individuation process, a process of psychological maturation similar in nature to the aging of
the physical body. Jung explains:
…When the libido leaves the upper world of light, whether by individual
decision, or owing to the decline of vital energy, it sinks back into its
own depths… If the libido remains caught in the wonderland of the
inner world, the human being becomes a mere shadow in the upper
world, he is no better than a dead man or a very sick one…77
In later years, Waite decided that there was no correspondence between the Tarot and the
Hebrew Alphabet; instead, he found correspondences with the Grail of Hollows or the Talismans of
Celtic Myth.78 In his book The Holy Grail, Waite explains:
73 . Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination, part 2,
section 1, p. 1, http://www.sacred-texts.com/tarot/pkt0201.htm (1 of 4) [13/10/2002 14:24:45]

74 . C. G. Jung, Man and His Symbols, New York: Doubleday, 1964, p. 18
75 . C. G. Jung, “On the Concept of the Archetype”, The Collective Works of C. G. Jung, The Archetypes and the Collective
Unconscious, Vol. 9, Part 1, New York: Pantheon Books, 1957

76 . Amberstone , The Secret Language of the Tarot, p.1
77 . C. G. Jung, Psychological Reflections an Anthology of the Writings of C. G. Jung, (ed.) J. Jacobi, N. J.: Princeton
University Press, 1970, p. 283

25
…The canonical Hallows of the Grail Legend are of course the cup, the
lance, the dish and the sword. I am wondering how many critical works
have been written on the Holy Grail and yet it has occurred to no one
that its hallows may be somewhere else in the world than in old books
of romance. They are in the Tarot…79
For the next, more than fifty years, Tarot cards and divination techniques relatively faded from the
social sphere. The revival of the use of Tarot decks and cartomancy during the late sixties - early
seventies of the twentieth century, is the result of the New-Age and its holistic values of spirituality, a
considerable focus on healing particularly using forms of alternative medicine and mainly on the
pursue of uniting science and spirituality.
It is vital to mention that contrary to what one might think the divinatory meanings of cards
changes over time since, they are shaped by each era’s culture and the needs of individual users. At
present, there are decks based around myriad spiritual traditions, from Paganism, Druidry, Native
American Spirituality, Zen Buddhism, to Greek, Norse and Arthurian mythology. Lately some decks
based on children's fables and popular television series, have been designed too. While some retain
the basic iconography and iconology, most have drifted far away from the initial imagery found in the
older classical versions.80
Having described the historical timeline and basic structure of the deck, I shall continue with
the subject of research and methodology of this interdisciplinary analysis.
79 . A. E. Waite, The Holy Grail: History, Legend and Symbolism, New York: Dover Publications, 2006, p. vii
80 . (see: Appendix for Tarot cards from several modern and New-Age Tarot decks.)
26
Chapter 2
Subject of Research and Methodology
This interdisciplinary research is implemented according to Art History theories and Folkloristic
approach of Jungian methodologies of material folk culture on symbology and the collective
unconscious. The goal of this study is to focus and decipher the underlying meaning of the symbols,
iconography and iconology of the Rider-Waite-Smith deck of Tarot cards that has remained, based
on the similar Tarot deck visual themes throughout the centuries according to these methodologies.
While their compositions and sizes of the Tarot cards have changed; some Kabbalah, astrology,
Egyptian magic, Enochian magic, Christian mysticism, Freemasonry, Celtic Revival, Hermeticism and
Alchemy symbolism were incorporated into the design of the cards later, the main visual
representations of the cards and many of their symbols have remained true to their origins.
The Rider-Waite-Smith deck, which is the focus of this research, is on iconography and
iconology of the cards according to specific categorizations. To further deliberate on the subject, this
study sometimes includes comparisons between the Rider-Waite-Smith deck and some of the same
cards from different older classic Tarot decks to create a coherent correlation by taking each card and
symbol, and analyzing its multiple levels of meaning before offering an overriding synthesis. The cards
from specific decks compared in depth to the Rider-Waite-Smith ones are mainly from three decks
that precede it historically.
Although there is a myriad of decks, I could have selected; the reasons for choosing cards
from these specific ones differ, as they each contribute diverse aspects closely related to the Rider-
Waite-Smith deck. These are the Visconti-Sforza Tarocchi deck from the early fifteenth century Milan
as it is considered the principal basis and parent of the future decks. The Sola-Busca Tarocchi deck
from the late fifteenth century Ferrara, which is the first and only deck that has fully illustrated Minor
Arcana suit cards during that particular period, and assumed that Pamela Colman-Smith the artist of
the Rider-Waite-Smith deck, most probably saw the exhibition at the British Museum. As the result,
of the transition of the Italian Tarocchi decks to France, I shall also compare some of the cards from
the Marseilles family of Tarot decks from the sixteenth/seventeenth century France, as they are still
very popular to this day and were influential as the blueprint for the Rider-Waite-Smith Tarot deck.
To further deliberate and decode the pictorial scenes on the Rider-Waite-Smith deck, I have
divided them corresponding to the categorized subjects of their visual iconography and iconology
according to Erwin Panofsky method of investigation of art works and not their esoteric definitions and
explanations utilized as a divinatory tool.
The process of investigation begins with viewing a work of art and

decoding it by the interpreter who is observing in order to classify it into
27
a coherent system that makes sense according to materialized form,
idea and content.81
Panofsky further explains that there are three levels – strata to analyze the subject matter of a work
of art. These are the pre-iconographical description, the conventional subject matter named
iconography and iconology, which is the synthesis.
The Rider-Waite-Smith deck printed on white cardboard has rounded corners. All the cards
have a white four-millimeter frame around the illustration of the card in front and in the back. The
backs of the cards have the same similar design consisting of two different white flowers within a
rectangular repetitive cyan background and a larger flower in the middle. Below an example of the
back of the deck.
Figure 2. Back view of Rider-Waite-Smith Tarot Deck Cards82
The discussion on the cards are categorized as; magic and or religion, the human life cycle,
the royal court, celestial bodies and the world, the Aces, vices and virtues, and daily life situations
including upheaval and reversal of fortune. Within each category, the first card discussed is the Rider-
Waite-Smith one, followed by some mentions of the same card from different decks to create a
coherent artistic development from the fifteenth century until the beginning of the twentieth century.
For the purpose of, enabling the reader the capacity to compare between the cards from the older
decks and the Rider-Waite-Smith one, an appendix of the historical previous three decks is attached

82 . Personal scan of the back of the Rider-Waite-Smith card (they all have the same design regardless of the design on the
front of the card).
28
at the end of the research. Needless to say that all of these symbols carry a deeper meaning within
Jung's concept of the collective unconscious.
The Collective Unconscious

Jung viewed the psyche as divided into a personal unconscious, which consisted of all the forgotten
material from an individual's own past, and the collective unconscious, the inherited behavioral traces
of the human spirit, as symbolized by Gods that lead access to wisdom and universal human
experiences. Jung believed that people everywhere, were predisposed to form what he named
archetypal images – certain symbols found cross-culturally in mythology, fairy tales and religious
symbols in the collective unconscious.83 "Part of the unconscious consists of a multitude of temporarily
obscured thoughts, impressions and images that, in spite of being lost; continue to influence our
conscious minds."84 "The collective unconscious is essentially made up of archetypes, named motifs
by Mythological research."85 Jung also upholds the principle that, "There exists a second psychic
system of a collective, universal and impersonal nature which is identical in all individuals. This
collective unconscious does not develop individually but is inherited."86
Symbols and Archetypes – C. G. Jung

Almost all of human action works with symbols. Therefore, the essence of a certain symbol is based
on the principle of complementation, implying that; the object, picture, sign, word, or gesture require
the association of certain ideas and beliefs to fully express what is meant by them. A symbol is also
the embodiment of a concept, distilled, condensed and stripped from its inessentials. The most
powerful symbols are archetypes which are the elements of the collective unconscious, that are part
of the human psyche which is universal to all periods and cultures, and common to all individuals.
According to Jung:
…The archetypes do not represent anything external, non-psychic,

although they do of course owe the concreteness of their imagery to
impressions received from without. Rather, independently of, and
sometimes in direct contrast to, the outward forms they may take, they
83 . S. Greenwood, The Anthropology of Magic, New York: Berg, 2009, p. 83

84 . Jung, Man and His Symbols, p. 18
85 . C. G. Jung, “The Concept of the Collective Unconscious”, The Collective Works of C. G. Jung – The Archetypes and the
Collective Unconscious, Vol. 9, Part 1, New York: Pantheon Books, 1957, p. 42

29
represent the life and essence of a non-individual psyche...87
Archetypes do not disseminate only by tradition, language and migration, but can re-arise
spontaneously at any time, at any place and without any outside influence. "These are present in all
essentially psyche forms which are unconscious but nonetheless active – living dispositions, ideas
that perform and continually influence our thoughts and feelings and actions."88 There are as many
archetypes as there are typical situations in life.
…When a situation occurs which corresponds to a given archetype, that

archetype becomes activated and compulsiveness appears, which like
an intellectual drive, gains its way against all reason and will, or else
produces conflict of pathological dimensions, that is to say a
neurosis…89
"The anima is the female element in the male unconscious and the animus is the male element
in the female unconscious, which is often symbolized by a hermaphroditic figure."90 The animus is the
embodiment of the emotional and thinking functions of the personality, while anima represents the
human capacity for spiritual consciousness. "As well as dominant archetypes, there are also
organizing archetypes, which surround and contain the dominant archetypes and so they create a
space where their power can be safely contacted without overwhelming the psyche.91
The conscious and unconscious minds can be graphically clarified by the Chinese Yin-Yang
symbol. The shadow is the dark spot in the light of the conscious mind, the fatal flaw and the Achilles
heel. The light spot in the dark of the Yin-Yang symbol is the archetype of the wise old woman or wise
old man, which is the entrance to another tunnel, the tunnel to the self. The self is often symbolized
in fairy tales as a treasure or precious jewel hidden in a cave guarded by dragons or fearsome
monsters, which must be rescued by the hero who is on the particular quest. In these tales, the wise
old woman or wise old man will appear in order to assist the hero who is also an image of the self.
"The role of the self is to imbue our personalities with the collective wisdom of all the human
experience and also with the divine wisdom gleaned at this point of origin."92 "This awareness is a
87. C. G. Jung, "Psychology of the Transference" The Practice of Psychotherapy The Collected Works of C. G. Jung,
London, 1954, p.16
88 . Jung, Man and his Symbols, p. 79
89 . Ibid, p. 48
90
. Ibid, p. 16
91 . V. Crowley, Wicca – A Comprehensive Guide to the Old Religion in the Modern World, London: Harper Collins Publishers,
2003, p. 182
92 . C. G. Jung, “Psychology and Religion: West and East”, The Collective Works of C. G. Jung, Vol. 11, paragraph 448, 2 nd
ed., New Jersey: Princeton University Press, 1969
30
necessary step in the process of individuation which was seen by Jung as originally being the
prerogative of shamans."93 The permanent cessation of our inner division is implied by Jung’s term
individuation and this can only occur when the self and the ego are united and become centered in
the self.
Panofsky's Division to Three Strata of Analysis for a Work of Art

According to Panofsky: "Man's signs and structures are records because, or as so far as, they express
ideas separated from, yet realized by, the process of signaling and building."94 Panofsky theorizes
that in order to create an analysis for a work of art, it has to be divided into three strata.
The first strata is the pre-iconographical description of the work of art according to the primary
or natural subject matter, which are pure forms that include configurations of line, color or particularly
shaped lumps representing natural objects such as plants, animals, human beings, houses, etc. and
constitute a factual or expressional viewing the world of artistic motifs.95 Within a work of art, form,
content and the visual spectacle that is the distribution of lines and color, volumes and planes, light
and shade must be understood as a vehicle that carries more than the visual meaning.96
The second strata is the conventional subject matter, named iconography. Iconography is that
branch of the history of art, which concerns itself with the subject matter or meaning of works of art,
as opposed to their form, meaning a description and classification of images.97 Pictures make sense
and communicate that sense even without the knowledge that comes with study.98 The iconography
of the Rider-Waite-Smith deck includes Jung's symbology and archetypes that stem from the
collective unconscious. The meaning thus, discovered could be named, the intrinsic meaning or
content that is a unifying principle, which explains the visible event and its significance that even
determines the form in which the visible event takes place.99 Panofsky maintains that:
…the analysis of images that do not convey concrete or individual

persons or objects, but allegories or motifs of the abstract and general
concepts of symbols or personifications can also be explained as the
history of types meaning the manner in which, under varying historical
93 . C. G. Jung, “Psychology and Religion: West and East”, The Collective Works of C. G. Jung, Vol. 11, paragraph 448, 2nd
ed., p. 176
95 . Ibid, p. 28
96 . Ibid, p. 168
97 . Ibid, p. 26, p. 31
98 . Amberstone , The Secret Language of the Tarot, p.1
31
conditions, specific themes and ideas were expressed by objects and
events...100
The third strata is named iconology, meaning that the method of interpretation arises from
synthesis and not analysis, which is the intrinsic meaning or content, captured by ascertaining the
underlying principles that reveal the basic attitude of a class, a religious or philosophical persuasion,
a period and a nation.101 In order to accomplish iconological interpretation, one is in need of insight
into the manner in which objects and events were expressed according to the essential tendencies of
the human mind, meaning the forms in different historic conditions, the technical procedures and
literary sources as to how expressed these specific themes and concepts.102 Panofsky upholds that
to achieve correctness of a work of art, one should operate in these above explained three levels of
pre-iconographical description, iconographical analysis and iconological interpretation. 103 While
Rosengarten maintains that:
…Constructivists believe that people do not view the world ‘as it is’ but
only as a product of their cognitive operations, and that is the reason,
they attribute meaning to their perceptions rather than apprehend pure
impressions or sensations. Because they add meaning to their
perceptions, there is no knowledge free of presuppositions. Beliefs in
all cases are without foundation in themselves, but point instead to the
cognitive structures, which construct subjective meaning from
experience…104
Having elucidated Panofsky's and Jung's theories on the methodology that are used for the
research of the Rider-Waite-Smith Tarot cards, the next short chapter of this research's focus is on
the Tarot deck's structure.
100 . Panofsky, Meaning in the Visual Arts, p. 29, p. 41

101 . Ibid, pp. 30-32
102 . Ibid, p. 38
103 . Ibid, p. 33
104 . Rosengarten, Tarot and Psychology: Spectrums of Possibility, Kindle Edition, (Kindle Locations 387-391)
32
Chapter 3
The Tarot Deck's Structure
The Major Arcana
The twenty-two Tarot cards of the Major Arcana or trumps mainly relate to the realm of spirit. They
include within them all the depictions of the other four elements, since the assumption is that they all
emerge from spirit, considered as top-most point of the pentagram. Miles Batty states "…spirit as the
primal source of energy creates and fuels the elements…it is perceived as the ultimate source of life
and energy."105 Projective and receptive; this element is considered the psychic realm, the fluid state
and associated with the void, dream representation, imagination and divinatory abilities. It symbolizes
eternity, spirituality and the basic essence that pulls everything together adding higher reason and
the deeper self, for it recognizes the energy of the self in co-existence with the energy of everything
around us. The supposition is that these cards represent the higher parts of our consciousness, and
linked with the archetypes proposed by Jung, the twenty-two letters of the Hebrew alphabet, the paths
of the Tree of Life, the four Cardinal Virtues, the I Ching and the Runes among other things. The cards
of the Major Arcana are associated with the archetypes, which recur constantly in the myths and
religions of all peoples and are an inherent part of human nature. Though the archetypes exist in the
Minor Arcana too, their visual representation and subjects on cards of the Major Arcana are more
focused, concise, descriptive and universal.
The Minor Arcana and its Court Cards

While, the court cards represent people, mainly the aristocracy and aspects of personality, the rest of
the Minor Arcana cards are concerned with the everyday, mundane affairs such as people, behaviors,
traits, relationships, finances, action, energies, and forces. Campbell and Roberts claim that the pre-
Christian Mithraic rites and symbols were maintained by unbroken tradition through the secret
societies of the middle Ages, then by the Rosicrucians, down to the Freemasonry of our time.106 The
Minor Arcana as previously mentioned consists of four suits: Wands, Cups, Swords and Pentacles.
In various decks, these suits might have different names, but they are usually recognizable. Thus,
some of the more common alternate names are Wands – Staves, Cups – Chalices, Vessels or Bowls,
Swords – Crystals and Pentacles – Disks, Deniers or Coins. The suits are associated with the cardinal
Virtues; Wands with Fortitude, Cups with Temperance, Swords with Justice and Pentacles with
Prudence, relating the Major Arcana to the Minor Arcana. Unlike earlier Minor Arcana pip cards other
than in the Sola-Busca Tarocchi deck, the rest of the older decks commonly display only a repetition
of the suit symbol and possibly some decorative details on the pip cards.107
105 . M. Batty, Teaching Witchcraft – A Guide for Teacher and Students of the Old Religion, Texas: Longview, 2006, p. 188
106 . J. Campbell, and R. Roberts, Tarot Revelations, San Anselmo California: Vernal Equinox Press, 1987, pp. 217-218
33
Huson explains that in some of the French Tarot card decks, the names of the royals
portrayed, are derived from a medieval grouping of heroes known as the 'Nine Worthies', of whom
three are from the legendary world of Biblical Judaism, three from legendary Christendom and three
from classical paganism.108 Some of the kings named after the 'Nine Worthies' are: David, Cesar,
Alexander and Charlemagne, who were believed to represent the four great empires of Jews,
Romans, Greeks and Christians, while some of the queens bore the names of Rachel, Argine, Pallas
and Judith.109
The Suit of Wands

Waite and Smith transformed the Italian batons, into Wands. The symbols in the suit of Wands are
ideas because they primarily reside in the realm of intention, thought and growth or the very early
stages of implementation. Perceived as the realm of action; they are the plasma state of matter and
associated with the ability to change. In most decks of the suit of Wands, many of the cards show
some type of action in progress that might also be a rashness, violence or someone who appears to
be reviewing or enjoying the results obtained from a recently completed action. Attributed to the
element of fire, the suit represents the South, courage, creativity, harmony, vitality, strength, power,
volition, desire, activity, enthusiasm, confidence, willpower, the male gender, adulthood, light, noon,
summer, lions, dragons, serpents and the astrological signs of Aries, Leo, and Sagittarius.110
The Greek Goddess Hestia and the Irish and Celtic Goddess Brigit who symbolize the element
of fire and the hearth fires in particular are associated with the suit of Wands. In Celtic lore, the Wand
corresponds to the lance of the Irish sun god Lugh, believed to be a prototype for the miraculous
spear of Longinus that Sir Bali used to inflict the Dolorous Stroke on the Grail King in later Arthurian
romance.111 Moreover, many cosmologic deities were associates with trees: Osiris (cedar), Jupiter
(oak), Diana (hazel), and Athena (olive). 112 While Lévi stated that the Wand represented the
miraculously flowering rod of Aaron, Moses' brother or the one Moses carried.113 The Wands are the
symbol of the cardinal Virtue Fortitude. Waite and Smith created blooming wands for their Wand pip
cards as a living cosmos in the state of continuous growth.
109 . Ibid, p. 9
110 . N. Garen, Tarot Made Easy, New York: Simon & Schuster Inc., 1989, p. 21
111
. Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 224
113
34
The Suit of Cups
The cup, chalice or flask are symbols of the cardinal virtue Temperance and referred to the legendary
Holy Grail of the Arthurian Cycle, and sometimes to its presumed pagan Celtic forerunner, the
inexhaustible cauldron of the Dagda, which could even bring the dead back to life.114 The symbols in
the suit of cups indicate that conditions are primarily in the realm of emotions. They are the bridge
between the original idea and the next stage, which is action. Attributed to the element of water, it is
associated with the emotional realm, the liquid state, the womb, understanding, emotion, intuition,
purification, insight, secrets, friendship, subconscious, desire, inner experience, relationships
nourishment, fertility, psychic abilities and is associated with transformation and renewal. Water is not
constant and thus can be peaceful or stormy, deep or shallow, clear or cloudy, as the conditions
change. Consequently, the suit of Cups represents the West, the element of water, female gender,
autumn, sunset, fish, maturity, the formative lunar world and the astrological signs of Cancer, Scorpio
and Pisces.115
The Suit of Swords

The sword and the scales are the symbols of the Cardinal Virtue Justice. The suit of Swords
symbolizes action. As they, often times indicate struggle, these are the last stages of effort before the
result. The suit also symbolizes thought, communication, intelligence, arguments, decisions, logic,
division between feelings and thoughts, curiosity, cutting things to the bone, ending situations and/or
relationships, the ability to raise above circumstances and make logical decisions. In most decks, one
finds many of the more negative cards depicting nightmares, craftiness, misfortune, sorrow,
challenges, pain and restriction. Attributed to the element of air, the suit of swords represents the
East, the male gender, dawn, birth, spring, birds and the astrological signs of Gemini, Libra and
Aquarius.116 In Irish Celtic myth, it symbolizes the death-dealing sword of Nuada the Silver Hand, from
whose stroke none recovered, while it may also symbolize the Biblical sword of King David.117
114 . Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 179 The Dagda, or “good god,” was a
Celtic deity and the club-wielding chief of the Irish Tuatha dé Danann. Highly skilled and wise beyond measure, he was associated
with fertility, agriculture, life, and death. Dagda fathered many children, chief among them being Aengus, Brigid, and Midir. His
lovers were plentiful, but the most notable were his spouse, the fearful Morrigan, and the river goddess Boann. " Dagda", Mythopedia,
accessed January 2009, https://mythopedia.com/celtic-mythology/gods/dagda/
115 . Garen, Tarot Made Easy, p. 22
116 . Ibid, p. 22
117 . Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 200 Nuada of the Silver-Hand was the
first king of the Tuatha dé Danann. An honest and judicious ruler, he led his people to prehistoric Ireland and fought for control of it
against the monstrous Fomorians. He possessed one of the Four Treasures of the Tuatha dé Danann, a sword that, once drawn, no one
could escape. "Nuada", Mythopedia, accessed January 2009, https://mythopedia.com/celtic-mythology/gods/nuada/
35
The Suit of Pentacles
The pentacle, coin and mirror are symbols pertaining to the Cardinal Virtue Prudence and as a
pentacle; it represents the Pythagorean element of earth considered as feminine.118 The five-pointed
pentagram is originally a very ancient symbol used in Mesopotamia and India and later adopted as
an emblem signifying good health, therefore it was suitable for inscriptions on talismans and amulets
and later adopted by the early Christians to represent the five wounds of Christ. 119 The suit of
Pentacles symbolizes culmination, stability, practicality, responsibility, skill, productivity and fruition.
The suit is associated with work, money, crafts, the home, the physical body, and skill and business
prowess. The key words are manifestation, realization, proof and prosperity. Later Christian
Kabbalists used the pentagram to represent the fifth element named Spirit, believed by alchemists to
rule the other four elements of air, fire, water and earth.120 Moreover, it represents the North, which is
the element of Earth, the female gender, land, winter, stability, law, tolerance, understanding, night,
old age, beasts like a bull and a bear, the material world and the astrological signs of Aquarius, Gemini
and Leo.121
In conclusion, there are fourteen figures in four series of suits equated with the powers that
reign on earth with the controlling or higher professions. These are the government with clubs
(wands); the military career with spades (swords); the priesthood with goblets (cups) and intellectual
activity with gold (pentacles), because all forms of treasure are always symbolic of the riches of the
spirit and the mind.122 Unlike most earlier Tarot decks, which commonly display only a repetition of
the suit symbol and possibly some decorative details on the pip cards, the Rider Waite-Smith pips are
illustrated with complete scenes in which figures interact with the number of suit symbols on each
card.123 The next chapter of this research focuses on the iconography and iconology of each Rider-
Waite-Smith Tarot card, while comparing it to some of its previous equivalents in other decks. The
following chapters' division is according to the subject of the card's relevancy within the deck, such
as magic or religion, the life cycles of men, the royal court, heavenly bodies, etc.
118
119
. Ibid, pp. 155-156
120
. Ibid, p. 156
121 . Garen, Tarot Made Easy, p. 23
122
. Cirlot, Dictionary of Symbols, p. 328
36
Chapter 4
The Rider-Waite-Smith Tarot Deck – Religion and or Magic
Most cultures of the world have religious beliefs that supernatural powers can be compelled, or at
least influenced, to act in certain ways for good or evil purposes by employing specific ritual formulas,
which in a sense are, magic. Stark explains:
…Science is restricted to the empirical world, while religion is more

effective when it limits its concern to the non-empirical; hence, there is
no necessary incompatibility between the two. Although magic and
religion are both based on supernatural assumptions, magic concerns
the empirical world and thus is vulnerable to scientific falsification…124
Radcliffe-Brown postulated that the function of magic was to express the social importance of
the desired event, while Malinowski regarded magic as directly and essentially concerned with the
psychological needs of the individual.125
Since Christianity became the dominant religion first in Europe and some parts of the Middle
East and later around the globe, there has always been a partly hidden and fragmented presence of
magic in the Western societies as expressed in numerous folk beliefs and mythologies. 126 However,
magic always threatened religious authorities, during the process of amalgamation; magic was
seldom, if ever, acknowledged; the suitable ideas in magic were, silently incorporated into reformed
natural knowledge, while the uncontrollable ideas were used more vigorously, to denounce magic as
a sink of false and ludicrous beliefs.127
The religious establishment in Europe succeeded in incorporating into their Christianity a
substantial part, including complex visual representations of their pre-Christian religious heritage,
which was of immemorial antiquity. 128 Consequently, the first chapter within this research on the
Rider-Waite-Smith Tarot deck is Magic and or Religion and the first card discussed is the Fool, despite
the fact that Waite and Smith positioned the Fool card between the Last Judgement and the World
cards within their Tarot deck.
124 . R. Stark, "Re-conceptualizing Religion Science and Magic", Review of Religious Research, Vol. 43:2, pp. 101-120,
accessed June 2019, https://www.jstor.org/stable/3512057

125. "Magic – Supernatural Phenomenon", Encyclopedia Britannica, accessed June 2019,
https://www.britannica.com/topic/magic-supernatural-phenomenon/Sociological-theories#ref719083
126
. Greenwood., The Anthropology of Magic, p. 2
127
. J. Henry, Knowledge is Power: How Magic, the Government and an Apocalyptic Vision Inspired Francis Bacon to
Create Modern Science, Cambridge: Icon Books Ltd., 2002, p. 79
128. M. Eliade, The Sacred and the Profane – The Nature of Religion, (trans.) W. R. Trask, New York: Hardcourt, 1959, p.
164
37
The Rider-Waite-Smith Fool - 0
The Fool numbered zero, is the first card in the chapter I have named Magic
and or Religion. Whether the first card of the Major Arcana or the one before the last, the Fool belongs
neither to this world nor to the other because he is the wildcard, the Joker who is outside of the series.
This is the only card of the Major Arcana that has survived within modern playing decks. The card
has a black border and at the bottom of the card, the words the Fool appear in bold black capital
letters within a beige rectangle. The background of the card is mostly yellow with a bright sun shining
on the left corner behind the Fool, a blue mountain range covered with snow and a green and brown
precipice. The Fool is an almost androgynous youth about to set forth on his adventures prancing
around without a care surveying the distance before him instead of the precipice below, while his
small white dog nips at his heels to warn him of the impending danger. According to Waite:
…His act of eager walking is still indicated, though he is stationary at

the given moment; his dog is still bounding. The edge, which opens on
to the depth, has no terror; it is as if angels were waiting to uphold him,
if it came about that he leaped from the height. His countenance is full
of intelligence and expectant dream…129
The Fool holds a white rose in his left hand and has a long stick on his right shoulder, an
orange bundle decorated with grapes and the eye of Horus. In terms of iconography, the juxtaposition
of the rose, a female symbol and the stick with the bundle, a male symbol shows the ultimate unity
that combines and transcends male and female, active and passive, heaven and earth and all
opposites.130 Conversely, this can also symbolize the conjunction of the sun and the moon, the hieros
129 . Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination,

130 . R. Cavendish, The Tarot, London: Chancellor Pres, 1986, p. 64
38
gamos.131 In many ancient cultures, the belief was that gods and the first humans were bisexual,
symbolizing the primordial state of wholeness.132
His flat boots are yellow and his leggings are light green. Over his white shirt, he wears a
motley tunic with the design of branches, leaves, apples and sun disks symbolizing that he is a child
of nature that can transcend every boundary. His jagged edged sleeves have an orange lining
underneath. His belt tied around his waist has edgings haphazardly coming down. He wears a green
hat with a long red plume on his blond haired head. The feather in ancient Egyptian religion was the
symbol of divine order and truth.133 This depiction is very similar to the Visconti-Sforza Fool whose
feathers stuck in his hair that represent folly, his tattered clothes poverty, and his goiter sickness. The
same idea is assumed about the Sola-Busca Fool Mato (meaning mad) with his head covered with
foliage and his red robes loosely draped around his body, suggestive of the medieval tradition of wild
men.134 The Fool's shifting characteristics equate him with the moon that changes its shape every day
for the duration of four weeks. Thus, Renaissance art associated him to the moon. Below an example
of such an engraving named Children of the Moon.
Figure 3. Georg Pencz, Children of the Moon, c. 1533, engraving, in the Folge der Planeten, Renaissance Engravings of
the Influences of the Planets135
131 . J. Campbell and R. Roberts, Tarot Revelations, San Anselmo California: Vernal Equinox Press, 1987, p. 251
132
. Nichols, Jung and Tarot an Archetypal Journey, p. 35
133 . Cavendish, The Tarot, p. 64
134 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, p. 94
135 . Georg Pencz, Children of the Moon, c. 1533, engraving, in the Folge der Planeten, Renaissance Engravings of the
Influences of the Planets, JF Ptak Science Books, accessed September 2019,
39
As one of the most enigmatic and controversial figures of medieval and Renaissance
individuals, the Fool was a lunatic, homeless, placeless mentally ill person cast adrift outside of the
social order, sometimes left on the streets to beg for charity, unless he provided comedy and jokes in
a noble court.136 Since he was the lord's or the king's companion, he was a privileged persona at court
and could mingle with any group and spy for his master. Moreover, as the king ruled by divine right,
his counterpart the Fool had equally divine right to offer challenging suggestions and criticize him. 137
Nevertheless, his presence is a reminder that the urge to anarchy exists in human nature whether
one is a highborn or a commoner. Even before his appearance within the Tarot deck, the Fool was a
symbol for one of the seven vices named foolishness. Below a picture of a fresco from the early
fourteenth century, Italy.
Figure 4. Giotto, The Seven Vices – Foolishness, c. 1306, Fresco, 120 x 55 cm, Cappella degli Scrovegni Arena
Chapel, Padua, Italy138
Within the framework of iconology, Waite maintains that:
…He is a prince of the other world on his travels through this one-all
amidst the morning glory, in the keen air. The sun, which shines behind
https://longstreet.typepad.com/thesciencebookstore/2012/04/jf-ptak-the-life-of-the-children-of-the-sun-published-by-the-italian-
publisher-gabriele-giolito-de-ferrari-and-said-to-b.html
136 . Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, pp. 74-75
137 . Nichols, Jung and Tarot an Archetypal Journey, pp. 28-29
138 . Web Gallery of Art, accessed June 2019, https://www.wga.hu/html_m/g/giotto/padova/7vicevir/index.html
40
him, knows whence he came, whither he is going, and how he will
return by another path after many days. He is the spirit in search of
experience. Many symbols of the Instituted Mysteries are summarized
in this card, which reverses, under high warrants, all the confusions
that have preceded it…139
As an energetic and immortal character in perpetual motion, he is free to wander between the
worlds of space and time, combining wisdom, instinct and folly. Yet, as a symbol of Promethean fire
that has the potential for creation and destruction, he personifies the transforming power, which
created civilization and which can destroy it at the same time.140 Campbell explains:
…as symbolized in the imagery of the myth, it is at the summit of the

mountain, the zenith of the day, the solstice of the year, the top of the
Stairway to Planets, the apex of the World Tree, where the opposite
sides come together that the mystery of all this coming together of all
opposites is realized, recognized and solemnized in the symbolic
adventure of the sacrifice or its equivalent, a sacred marriage…141
In the creation myth of Heliopolis, the Fool corresponds to the Egyptian god Nu who was the
personification of primordial waters, the source of all things, while Crowley named him the Babe in
the Egg connecting the Fool with the infant Horus.142 Same as Parsifal from the Arthurian legends, he
is a naïve simpleton, whose connection with his instinctual side has the potential not only to save
himself, but all of humanity by asking the simple question needed to redeem the Waste Land. 143
Referring to his number, which is zero, he is the symbol for the primal void or chaos from which the
cosmos and all its creatures arose, because the circle also symbolizes the Garden of Eden, the state
of unconsciousness and innocence that mankind experienced before the fall into consciousness,
which Ouroboros symbolizes. As Jung explains:
…The ego stands to the self as the moved to the mover, as object to
subject. …The self, like the unconscious, is a prior existent out of which
the ego evolves. It is, so to speak, an unconscious prefiguration of the
139. Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination,
140 . Nichols, Jung and Tarot an Archetypal Journey, p. 30
141 . J. Campbell, The Mythic Image, Princeton: Princeton University Press, 1975, p. 251
41
ego. I is not I who create myself, rather, I happen to myself…144
In conclusion, Waite and Smith kept the initial iconography and iconology of the previous Tarot
Fool cards like the feathers, which they moved to the Fool's hat instead of the initial place they were
in; the Fool's wild hair in the Visconti-Sforza and Sola-Busca Tarocchi decks. They kept the walkabout
and carefree mentality of the Fool who is not of this world and included the dog biting his master's
legs from the Tarot de Marseilles deck. They added further symbols similar to the precipice, the white
rose, the far away mountains and the shining sun into the card. They aimed to enhance the powerful
meaning of the Fool who can wander between the worlds and the confinements of space and time,
since they described him as the spirit in search of experience, who is wandering in order to happen
to himself. They place the Fool card after the Last Judgement card and before the World card similar
to Lévi and Papus. While in the older decks, such the Visconti-Sforza, the Sola-Busca, the Tarot de
Marseilles and in Crowley's Golden Dawn influenced Tarot, the Fool is the first card of the deck.
Cavendish maintains that so did Waite, though in his Pictorial Key to the Tarot – Being Fragments of
a Secret Tradition under the Veil of Divination, he pretends otherwise.145 It does not really matter
where the Fool is situated; since being another worldly divine individual, he can fit everywhere and
anywhere within the deck and return full circle to his initial depiction of the man touched by madness.
This card portrays Jung's archetype of the divine child such as the infant Christ. The imagery also
suggests the archetypal eternal youth or Peter Pan calling the symbolism of the fool, the archetypal
wanderer.
The next card discussed in this chapter of Religion and or Magic is the Rider-Waite-Smith
Major Arcana Magician.
144 . Jung, "Psychology and Religion: West and East", par. 391 The Collective Works of C. G. Jung, Vol. 11, par. 391, New
Jersey: Princeton University Press, 1969

145 , Cavendish, The Tarot, p. 59
42
The Rider-Waite-Smith Magician – I
Card number one, with a Roman numeral in black at the middle top of the
Rider-Waite-Smith deck of the Major Arcana is the Magician. The card has a black border and a beige
rectangle at the bottom of the card with the words The Magician appearing in bold black capital letters.
On a bright yellow backdrop, at its center is the Magician, portrayed as youthful figure robed in a red
mantle, a white shirt underneath, having the features of divine Apollo, with a smile of confidence and
shining eyes, represents the positive yang aspects.146 Positioned frontally to the viewer, his red mantle
corresponds to the red roses in the garden around him, and the white shirt to the white lilies. Tied
around his waist is a serpent belt appearing to devour its own tail, acknowledged as Ouroboros. Above
his head is the small black numerical figure eight hovering in a horizontal position identified as
lemniscate. In the Magician's right hand is a wand raised towards heaven, while the left hand is
pointing to the earth.147 According to Waite, "…it is also the unity of individual being on all planes,
thus this mystic number is termed Jerusalem above, the Land flowing with Milk and Honey, the Holy
Spirit and the Land of the Lord."148 On the wooden altar in front of him are his tools of magic: the
sword, the pentacle, the cup and the wand.
The right hand of the Magician holds a wand raised toward the sky (both the element of air
and the element of aether/spirit) while the left one that points to earth is the depiction of the alchemical
maxim of 'as above, so below' attributed to the Emerald Tablet, circa 3000 BCE and has acquired
multiple meanings throughout history. 149 Holding the wand with two white poles in his right hand
. Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of Divination,
146

147 . Ibid
148 . Ibid
149 . D. G. Carty ,The Emerald Tablet and the Alchemy of Spiritual Transformation, Personal Development Institute, 2007,
accessed January 2015, http://alchemystudy.info/library/Emerald_Tablet-Carty(plagiarized_from_Hauck's%20book).pdf The Emerald
Tablet – The Secret book begins with an eight-word excerpt attributed to the Emerald Tablet, circa 3000 BCE: "As above, so below as
within, so without." Hermetic philosophy centers on Hermes Trismegistus, whose legend traces back thousands of years to ancient
Egypt. Like many historical and religious figures from antiquity, man and myth have been, hopelessly entangled leaving us with
accounts that are subject to interpretation, exaggeration, errors in translation, and outright repudiation. Hermes Trismegistus appears to
be a syncretism of the Egyptian god Thoth and the Greek god Hermes. The title "Trismegistus" means "Thrice Great", and refers to the
43
indicates that his powers are under conscious control directing masculine energy.150 Among them the
ability to connect the gap between heaven and earth, divine immanence reserved to members of the
clergy, the secrecy associated to initiation and practice, etc. His vertical rigid stance indicates that he
has the ability to bring illumination to earth by an act of will according to established ritual. 151 Via his
association with the Gods Hermes and Toth, the Magician's hand is central to all magic, because of
man's ability to tame and shape nature consciously. Thus, he has multiple facets.
The four symbols for the suits of the Minor Arcana spread on the tidy table in front of the
Magician, correspond to the classic elements of air (the sword), fire (the baton – wand), water (the
cup) and earth (the pentacle) sowing that he dominates all things. There are three symbols carved on
the edge of the table. The first is a seascape and possibly represents water, the second is a
representation of the fire, and the third is the dove, a Christian symbol for the Holy Spirit—the divine
force that is beyond the physical elements, and, therefore, also the fifth element.152 The lemniscate
also known as the mathematical infinity symbol seen hovering over the Magician's head represents
the balance of forces and eternal life.
His belt symbolizes Ouroboros, depicted as a dragon, snake or serpent biting its own tail. This
ancient alchemical emblem defines the concept of time as a continuous cosmic circle and is often
associated with Gods. Ouroboros biting its own tail is symbolic of self-fecundation, or the idea of a
self-sufficient Nature, a Nature, that is, which, à la Nietzsche continually returns, within a cyclic
pattern, to its own beginning.153 Christianity supplemented the symbol with the concept of linear time,
the beginning as the creation of the world by God and the end as the Last Judgement.154 While, it can
also symbolize the chthonian principle as represented by the serpent and the celestial principle as
signified by the bird.155 The symbol gained importance in the Italian Renaissance, as promoted by the
Neoplatonist philosophers Pico Della Mirandola and Marsilio Ficino, as well as the nobility who put
the symbol of the Ouroboros on the reverse side of medals to symbolize their political, intellectual or
moral dispositions.156 Below the painting by Luca Giordano depicting Ouroboros, half-black and half-
white alluding to the union of the opposites within the primordial whole.
three ancient branches of the wisdom of the universe - alchemy, astrology, and theurgy - that Hermes Trismegistus possessed and
transmitted. Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 179.
151 . Ibid, p. 56
152 . Place, The Tarot: History, Symbolism, and Divination, pp. 186-187
153 . J. E. Cirlot, Dictionary of Symbols, (trans.) Routledge & Kegan Paul Ltd., the Taylor & Francis e-Library, 2001, p. 247
(see pp. 41, 43)
155 . Cirlot, Dictionary of Symbols, p. 246
44
Figure 5. Luca Giordano, Cave of Eternity, c. 1683 -1685, Group of 10 modelli, or elaborated oil studies, made in
preparation for the fresco projects that Giordano undertook in the Palazzo Medici Riccardi in Florence, National Gallery,
London157
The Hermetic Order of the Golden Dawn, a secret society, in the tradition of Freemasonry that
taught its members ritual magic and dealt in many occult practices since the end of the nineteenth
century, named this card the Magus of Power, connecting the Emanations Kether and Binah and
corresponding to the second letter Beth of the Hebrew alphabet.158 As a sign of the Magician's fruitful
and creative power, the flowers and plants are more numerous and luxuriant. Cavendish suggests
that:
…Adam was a gardener, and a fertile garden can be a symbol of the

unconscious mind and of woman: the Magician's path leads up from
the Sephira Binah, called the Mother and the Great Sea, linked with the
primeval waters and the depths of the mind...159
The red and white flowers, however, are also the alchemical opposites: red equated to
masculine and the fixed polarity and white to the feminine and volatile polarity.160 The red roses at the
top and bottom of the card can symbolize various meanings: the microcosm, the heat of passion and
involvement. While in Christianity, the red rose became the emblem of Christ, the blood of his of
sacrifice, meaning the token of his love and compassion for humanity.161 As seen in the painting below
157 . National Gallery, London, accessed March 2019, https://www.nationalgallery.org.uk/paintings/luca-giordano-the-cave-

of-eternity
158 . Cavendish, The Tarot, London: Chancellor Pres, 1986, p. 67
159 . Ibid, p. 69
160 . Place, The Tarot: History, Symbolism, and Divination, p.186
161 . Amberstone, The Secret Language of the Tarot, pp. 28-29
45
of Circe the Greek goddess of magic, is holding the cup in her left hand and the magician's wand in
her right while, there are red roses scattered on the floor beneath her throne.
Figure 6. John William Waterhouse, Circe Offering the Cup to Ulysses, c. 1891, oil on canvas, 148 x 92 cm, Art
Gallery Oldham United Kingdom162
The lilies are flowers with multiple symbology as well. Because of their pristine white color,
they are synonymous with virginity, purity and innocence. The lily is associated to goddesses like
Eostre the European goddess of spring and Hera (Juno) the Greek/Roman mother goddess whom
according to myth the lily sprang from her breast milk. While, it is a symbol of femininity because of
its cup like shape containing the essence of life, it is also a symbol of masculinity because of its phallic
pistils. Thus, it can be deducted; as one of the reasons why the kings of France embraced it as their
symbol - the fleur de lis. As a representation of purity and chastity, the lily became an attribute of the
archangel Gabriel during the middle Ages.163 Moreover, as the rose is the symbol of the microcosm,
the lily is the symbol of the macrocosm, Christ and the world above.164 This once more encapsulates
both the ancient pagan and Christian principles of 'as above, so below'. Below detail of a painting
depicting the archangel Gabriel with lilies, which enhances the meaning of the symbol.
162 . Wikipedia.org, accessed April 2019, https://en.wikipedia.org/wiki/Circe#/media/File

46
Figure 7. Simone Martini and Lippo Memmi, Annunciation with St. Margaret and St. Ansanus (detail), c. 1333,
Tempera and gold on panel, 305 × 265 cm, Uffizi Gallery Florence 165
In both the Visconti-Sforza (Il Bagatto) and Tarot de Marseilles (Le Bateleur) cards, the
Magician's profession was a huckster, conjurer, showman or trickster from the lowest social rank,
whose purpose was to entertain the crowd. Below, is an example displaying a conjurer from the
fifteenth century, wearing red vestments and standing in front of his worktable with the tools of his
trade, while most of the spectators share a stare of disbelief and contempt.
Figure 8. Hieronymus Bosch, The Conjurer Hocus-pocus, Inquisition and Demons, c. 1475, oil on canvas, 53 x
65 cm, Musee Municipal, Saint-Germain-en-Laye 166
In conclusion, according to Panofsky's method of investigation of art works and the three levels
strata, to analyze the subject matter of a work of art, the Rider-Waite-Smith Magician card has
165 . Uffizi Gallery Florence, accessed April 2019, http://www.travelingintuscany.com/art/simonemartini/annunciations.htm

166 . Hieronymus Bosch, The Conjurer Hocus-pocus, Inquisition and Demons, c. 1475, oil on canvas, 53 x 65 cm, Musee
Municipal, Saint-Germain-en-Laye, A World History of Art, accessed Feb. 2018, http://www.all-art.org/history230-11.html
47
incorporated much of its predecessors' iconography. Jung maintains that the Magician whom he
names as the trickster archetype is:
...the forerunner of the savior, and, like him, God, man, and animal at
once. He is both subhuman and superhuman, a bestial and divine
being, whose chief and most alarming characteristic is his
unconsciousness.167
In terms of iconology, the card encapsulates the ichnography and visual ques of the Magician
cards in previous decks, in spite of sometimes having different names. Moreover, some of the features
in the rest of the Magician cards include the systematic use of a red cape or costume, the wand, the
lemniscate, the divination tools on his tabletop and practicing his craft outdoors. 168 The Visconti-
Sforza Magician from the beginning of the fifteenth century in Milan was depicted as a lowly conjurer.
In early Christian Europe, the issue of how best to convert the Celtic and Teutonic masses
became a major hindrance for Pope Gregory the Great and his missionaries. Thus, old pagan beliefs
and practices, architecture, paintings, sculptures, poetry, music and plays were incorporated into
Christianity to capture people's imagination and stir them away from the belief in magic. 169 Religious
leaders attempted to remove all vestiges of magic and witchcraft by threatening that any continued
dabbling in the arts would cause one to immediately lose the sacraments of baptism, becoming at
once a pagan and shunned by popular society. 170 Consequently, it was more convenient and
acceptable to portray the Magician as a vagabond whose only ability was to revert to manipulation of
reality by the use of trickery, illusion and falsehood. Still, his pose with the dual sign of drawing power
from above and, through his will and creativity of his ability to bring things into manifestation on earth,
the Magician perceives life as a perpetual game of chance with some real control based upon his
capabilities.171
The Magician in the Waite-Rider-Smith deck became a powerful favorable Magician. Thus,
the Rider-Waite-Smith Magician card is the continuity, transformation and culmination of the visual
representations of the last classical Tarot deck and the influences of Britain's Order of the Golden
Dawn, The Rosicrucian Society and the cultural esoteric milieu of the early twentieth century's
ceremonial beneficial magician, eliminating his questionable dual aspects. Consequently, the overall
167 . C. G. Jung, "The Trickster", The Collected Works of C. G. Jung Archetypes and the Collective Unconscious, Vol. 9, Part
1, accessed Dec. 2018, http://jungcurrents.com/carl-jung-on-the-trickster

168 . Although the Sola-Busca deck does, have a Magician card, named Panfilio and it does not correlate in any way or form
to the deck discussed here, as do most of the Major Arcana cards in the deck.
170 . A. C. Kors and E. Peters, Witchcraft in Europe, 400-1700: A Documentary History, 2nd edition Philadelphia: University
of Pennsylvania Press, 2000, p. 47

171 . S. R. c, Tarot Classics, Stamford CT: U.S. Games Inc., 1972, p. 87
48
iconology of this card underwent an oicotypification process, to become esoteric and affirmative as
opposed to its ignoble past.
In spite of not being a written or oral narrative, but a visual one, one can elucidate the
transformation of the Rider-Waite-Smith Magician according to Levi Strauss' theory of binary
oppositions between the lowly conjurer of the older Magician cards and Waite's formidable beneficial
Magician. In this case, the conflict comes to a resolution with a reconciliation in which the
advantageous and powerful Magician wins. As the celestial alchemist, trickster and Mercurius
archetype, the Magician is the potential for all opposites and means for their reconciliation, embodying
both the anima and the animus. Encapsulating the father, brother, husband and son, his
characteristics reflect the traditional male role throughout history, including demand of respect and
the tendency to be argumentative. 172 It is quite a challenging hypothesis that Waite put forward;
considering that the Magician archetype, bearer of both ancient and new knowledge has such
immense power as a double-edged sword that can either create or destroy. From Merlin to Sauron,
literature, art, music, movies and orally transferred folk tales are full of examples of magicians who
have used their power for the benefit of all, while there are the same amount of those who have
abused their power and caused destruction.
Jung maintains that the Magician archetype is an initiate of hidden knowledge of all varieties
and as such, this very complex archetype does not necessarily have to appear as a single figure, but
might be a group such as a panel of judges. 173 The Tarot Magician in Jungian terms is the ego
consciousness that creates illusion and one's will on the one hand, while he is the self-awareness
that dispels it and divine intention on the other.174 Artist and illustrators of the Tarot cards have tried
to portray the Magician's mystery since the fifteenth century by presenting their personal approach on
the subject within the bounds of the period's iconography and iconology. Consequently, the fifteenth
century Visconti-Sforza Magician progressed in its iconology from the lowly trickster, to the positive
and powerful figure by the twentieth century Rider-Waite-Smith one.
The next card discussed in this chapter is the Rider-Waite-Smith Major Arcana High Priestess
who is a religious figure in monotheistic, ancient pagan and contemporary Neopagan religions.
172 . R. Wang, Tarot Psychology, Canada: Marcus Aurelius Press, 2007, pp. 8-9
173 . Wang, Tarot Psychology, p. 9
49
The Rider-Waite-Smith High Priestess – II
The Rider-Waite-Smith Major Arcana card number two, with a Roman

numeral in black at the middle top is the High Priestess who is a beautiful proud woman, sitting
frontally directed to the viewer. The card has a black border and at the bottom of the card, the words
the High Priestess appear in bold black capital letters within a grey rectangle. She sits on a white
cubic stone between the white and black pillars named Boaz and Joachim. These pillars, according
to scripture of the account in I Kings 7:15-22, are assumed to have stood to the north and the south
of the vestibule of Solomon’s Temple.175 On the black pillar is the letter B in white, while on the white
pillar is the letter J in black to display their specific names. Behind her, is the veil of the temple, which
covers the sanctuary, and embroidered with brightly colored date palm trees and half pomegranates
of yellow flesh with red seeds symbolizing fertility and abundance. In the Golden Dawn tradition, the
palms suggest the paths and the pomegranates the emanations and illustrates a magical exercise in
which a human forms the middle pillar of the Tree of Life.176
The High Priestess has a white horned diadem with a sphere in the middle, a large white cross
on her breast and a yellow lunar crescent at her feet. She is holding a white scroll with the name Tora
on it, signifying the Greater Law, the Secret Law and the second sense of the Word.177 Her flowing,
gauzy and shimmering sky blue mantle covers her head, body and feet, flow down to the yellow floor
and take on the shape of water, creating a reflective nature attributed to females. The background of
the card is sky blue, the same as the color of her garments. As the color of the sky and a reminder of
Ouranian - heavenly realms. Waite maintains that:

50
…clothed in the blue robe of the Lady of Nazareth, the High Priestess
is the spiritual bride and mother, the Church and represents the second
marriage of Jesus- the prince who is no longer of this world."178
As a priestess she belongs to no man thus, she is free to give herself to God and physically open to
the Holy Spirit.179 The cross on her chest is the symbol of crucifixion and a sign of the sacrifice of God
on the altar of the world.180 Similar to the Tree of Life; the cross stands for the world-axis and placed
in the mystic center of the cosmos, by which the soul may reach God. Jung comments that: in some
traditions, the cross is a symbol of fire and of the sufferings of existence. This may be due to the fact
that the two arms were associated with the kindling sticks which primitive man rubbed together to
produce fire and which he thought of as masculine and feminine, but the predominant meaning of the
cross is that of conjunction.181
In the universal terms of The Order of the Golden Dawn, The High Priestess is the great
feminine force controlling the source of life, while gathering the energizing forces and holding them
until the appropriate time to release them.182 She appears as ethereal as the goddesses Isis, Hathor,
Astarte, Ishtar and later Mary in Christianity; embodying an awareness of transcending the flesh and
the realm of deep inner experience. As such, she is the feminine aspect of the Godhead; the primary
yin, reigning over the women's mysteries rituals.
The two horns of the High Priestess' crown correlate to the number two of the card, to
symbolize duality and opposites, similar to the anima and animus, inherent in all humanity. Moreover,
it can also symbolize the Triple Goddess identified with the different phases of womanhood and the
three stages of the moon .The waxing crescent represents a maiden and symbolizes innocence, the
full moon symbolizes motherhood and the waning crescent signifies the crone of the feminine
principle. Her many characteristics, symbolize the maiden Diana, the mother Hera and the crone
Hecate who can all be supporting, friendly and loving, while they can also be cruel, arbitrary and
deceptive.183
The attributes of the shape of her crown is to either the goddess Hathor or the goddess Isis
from the Ancient Egyptian pantheon. Although, both the goddess Ishtar and the goddess Astarte do
have similar crowns with horns, there are no examples of a globe between the horns of the crowns.
181. Cirlot, Dictionary of Symbols, p. 70
51
Below examples of crowns visually similar to those worn by the goddesses Isis and Hathor in Ancient
Egyptian art.
Figure 9. Unknown Egyptian artist, Hathor (on the left), Mykerinos and the Goddess of the province of Diospolis,
c. Egyptian 4th Dynasty, Greywacke statue found in Mykerinos' Valley Temple at Giza, Egyptian Museum, Cairo184
Figure 10. Unknown Egyptian artist, Isis with Horus the Child, c. 680-640 BCE Late Royal Egyptian Period,
Bronze Statue with remains of silver inlay, 55 x 15 x 23.5 cm base and whole object 61 cm, The Walters Art Museum185
184. Hathor (on the left), Mykerinos and the Goddess of the province of Diospolis, c. Egyptian 4th Dynasty, Greywacke statue
found in Mykerinos' Valley Temple at Giza, Egyptian Museum Cairo, The Ancient Egypt Site, accessed Dec. 2018,
http://www.ancient-egypt.org/history/old-kingdom/4th-dynasty/mykerinos/mykerinos-statuary/triad-of-hathor-mykerinos.html
185 . Isis with Horus the Child,
c. 680-640 BCE Late Royal Egyptian Period, Bronze Statue with remains of silver inlay, 55
15 x 23.5 cm base and object 61 cm, Walters Art Museum, accessed Dec. 2018, https://art.thewalters.org/detail/27595
52
The crescent at her feet and the water symbolize the Great Goddess, whose symbol is also
the moon that influences the tides on Earth. The Great Goddess; the divine mother archetype,
perceived as divine energy and the supreme deity, was once universally worshipped as the creator
of life, responsible for the fertility and destructiveness of nature in ancient times. The goddess concept
presumed to have already existed within the religious foundation of pre-historical megalithic cults of
the Mothers usually appeared as triple Goddesses and expressed through both battle and
regenerative ecstasy.
She is the Earth Mother, the great female who, gives birth to humans and all other beings,
responsible for the cycles of nature and on whom humanity depends on for their life. She contains
within her, the qualities of light and dark, nurturer and destroyer and all the binary oppositions within
the universe and beyond. The goddess rules the place of magic transformation and rebirth, the
underworld and its inhabitants. Being creator of all things, it is said that she also created the male
deity whom she shares the responsibilities with, on equal footing. As G. Mishev explains:
…we see the Goddess as a unity of her comprehensiveness and all-

manifestation in the three dimensions of time and the three worlds
which according to ideological doctrine are respectively land, sky and
sea. …the Goddess self conceives and gives birth to her divine son,
who is symbolized by the Sun in the daytime and by fire at night…186
Having systematically been demoted, and even dismembered with time, first by the
importance put on male gods and their realms of responsibility in ancient Babylon her place as the
supreme deity was finally usurped by male oriented monotheistic religions. The Divine Mother is an
image that has long been blurred and even altogether buried by patriarchal conceptions of the ultimate
reality as Father Creator. This archetype has existed and still exists within the collective unconscious
of humanity.
The two pillars of the Temple of Solomon behind the High Priestess symbolize the balance of
the opposites and the two outer branches of the Tree of Life, connecting the Emanations Kether and
Tifereth signifying stability. The scholarly opinion, seems generally agreed that the latter J - Joachim
means establish, but B - Boaz is highly disputable, for It may mean strength, boldness, striker or
186
. G. Mishev, The Worship of the Goddess is Alive in the Ancient Lands of Threskeia, in S. d'Este, Hecate Her Sacred
Fires: Exploring the Mysteries of the Torchbearing Goddess of the Crossroads, p. 67, Kindle Edition
53
perhaps fleetness – or neither; it is an unknowable, some say.187 Another function of the pillars is to
separate one condition from another as pairs of pillars symbolize gateways and entrances.188
It is significant to mention that the Visconti-Sforza Papesse, relative of the Visconti-Sforza
family, holds the book of "Law" in her hand similar to the Rider-Waite-Smith High Priestess.189 So
does the Tarot de Marseilles Papesse attributed to the Virgin Mary, sitting behind the two columns of
Solomon's Temple.
In conclusion, the High Priestess/Papesse Tarot card's iconography and iconology has
evolved, since the Visconti-Sforza deck. At first, represented as Pope Joan or Sister Manfreda in the
Visconti-Sforza deck and later as the Papesse in the Tarot de Marseille deck symbolizing the Virgin
Mary. In spite of being similar in concept, in terms of iconography these cards are different. Dressed
as a priest, she embodies Jung's concepts of the anima and the animus combining both, to bring
intuitive knowledge and initiate wisdom, through her positive loving, supportive and friendly aspect.
The Rider-Waite-Smith High Priestess' attribution is to the element of water, and since, in most
creation myths around the world water represents the original form building, receptive and productive
power. Waite and Smith changed her name from Papesse to High Priestess, but tapped into similar
visual symbols of earlier decks, emphasized the element of water in greater prominence, giving the
High Priestess the highest and holiest iconological rank of the Greater Arcana card. Her truest and
highest name in symbolism is Shekinah, the co-habiting glory. According to Kabbalist, there is a
Shekinah both above and below, who mystically is the Spiritual Bride of the just man, and when he
reads the Law, she gives the Divine meaning.190
Regarding the iconology of the High Priestess in the Rider-Waite-Smith deck, a few factors
are worth bringing up. In Freemasonic tradition to which Waite belonged, either the two specific pillars
(Boaz and Joachim), stand at the entrance of some of the Masonic temples, or on either side of the
chair on which the Master of the lodge sits.191 Additionally, because of the wide European interest in
Egyptology, they might have a relation to the Ancient Egyptian concept of death, in which the soul
goes to the Hall of Truth for judgment and once it passes the relevant test, it undergoes resurrection
and enters the promised land of the Gods. She is the embodiment of the feminine principle; her magic
is veiled and hidden connecting her with deep inner experience, physical birth and rebirth into a new
187. T. Badillo, "The Secrets of Solomon's Temple", Copyright by Tony Badillo, 2007, accessed: March 2019,
http://www.templesecrets.info/pillars.html
189 . Cavendish, The Tarot, p. 71 There is a legend that tells about a mystical Pope Joan during the ninth century, who was a
female in disguise. According to this particular legend, she raised in rank and succeeded to go to Rome where she became a Pope.
Unfortunately, she got pregnant and died shamefully during childbirth on the steps of St. Peter's church in Rome. Since, this legend
was widely acknowledged in Italian social circles, it is no surprise the earliest Tarocchi from the fifteenth century Milanese artists
included her within the deck.

54
dimension of awareness transcending the flesh. As a virgin type who serves the spirit, she inspires
her knights to feats of daring and creative activity.192 It is the High Priestess in Jungian terms who
symbolizes womanliness and a spiritual developed self, and represents for a man a very high
development of his anima (knowing himself), the archetypal figure, which relates him to the collective
unconscious.193
The inscription at the base of a statue of Isis in Sais reads, "I am everything that was, that is,
that ever will be. Nor has any mortal man ever been able to discover what lies under my veil." 194
The next Rider-Waite-Smith Tarot card discussed within this chapter of Religion and or Magic
is the Major Arcana Hierophant as he too, is a religious persona.
The Rider-Waite-Smith Hierophant - V
The Rider-Waite-Smith Major Arcana number five card is the Hierophant. The
card has a black border and the Roman numeral five in black is at the upper center of the card on a
light grey background, and at the bottom of the card within a light grey rectangle with a thin black
border are the words the Hierophant in bold black capital letters. The word Hierophant means the
revealer of sacred things, which was the title of the chief priest of the Elysian mysteries.195 This card
named the Pope; renamed as the Hierophant, in the late eighteenth century by Antoine Court de
Gébelin, whom both the Golden Dawn and Rider-Waite-Smith followed. The Hierophant wears the
Triregnum196 with fifteen trefoils on each row and sits on an elaborate throne in between two large
192 . Nichols, Jung and Tarot an Archetypal Journey, p.92

196 . The Triregnum (the Papal Tiara formed by three crowns symbolizing the triple power of the Pope: father of kings,
governor of the world and Vicar of Christ) from the XVIII Century, with which the bronze statue of Saint Peter is crowned every 29th
of June, the feast day of the Saint. The Tiara is a headdress ending in an ogive and made of silver, and during the times of Boniface
VIII two crowns were added, and from 1314 three crowns (the reason it is called the triregnum), topped by a small globe with a golden
55
grey pillars behind, in a position frontally directed to the viewer. His long sleeved shirt underneath is
white; his cloak has a pallium - a white band around his shoulders and down the front, with three red
crosses in a vertical row down the center.197 This reflects the same pattern on his white shoes with a
cross on each one. In his left hand, he holds a scepter terminating in the triple cross. His raised right
hand with the thumb and the first two fingers extended upwards, symbolizes the ecclesiastical sign of
esotericism, distinguishing between the manifest and concealed part of doctrine.198 At the bottom of
the card, by the Hierophant's feet are the crossed keys and two priestly figures kneeling before him.
The two large pillars behind him attest to balance and the Church, while one on the left is the
pillar of severity and the one on the right the pillar of mercy.199 As the focal individual on the card is
between two towering pillars, it is a visual indication that the figurehead on the card has chosen the
middle ground. The pillars raise vertically from the horizontal plane of earth and as such symbolize
the masculine, gateways and entrances. Their functions are to support with the assistance of
endurance and purpose, to define by creating a space between mundane and consecrated spaces,
to identify a god or a hero and to separate one condition from another. 200 Moreover, they mean
obedience and disobedience, law and liberty and the choice that confronted Adam and Eve in the
Garden of Eden.201 To the Pillar of Severity, on the left, the Hierophant offers the sign of blessing and
to the Pillar of Mercy, on the right, the triple cross of martyrdom.
The Hierophant's red cloak represents power and strength of the head of the Church thus,
considered religious royalty. While his white garments symbolize his strength of character, morality
and his lack of susceptibility to the many temptations of mortal flesh. By the eleventh century, St.
Peter Damian described the cappa rubea (red cape) donned by the Pope at his election as a
distinctive attire unique to him, because it stood for the supremacy of the spiritual sphere over the
temporal and as a sign of imperial authority and martyrdom.202
The two raised fingers and thumb of his right hand raised for benediction symbolize moral
issues of good and evil that come up and have to be managed; either with spiritual assistance and
benediction or with ex-communication. The sign's shadow casts the symbol of Baphomet the devil,
cross. "Tiara", Holly See Press Office, accessed March 2019,

http://www.vatican.va/news_services/press/documentazione/documents/sp_ss_scv/insigne/triregno_en.html

199 . As opposed to the two pillars on the High Priestess Waite Tarot deck, these are by no means the pillars Boaz and
Joachim that stood at the entrance of the Temple in Jerusalem, but pillars of a church.
200
. Amberstone, The Secret Language of the Tarot, pp. 18-21
202. M. T. Horvat, "The Symbolism of the Papal Red & White", from Peter Damian, Epist., book 1, 20 (1073) in Carol M
Richardson, The Cardinal’s Red Hat, The Open University, UK, pp. 6-7, accessed April 2019,
https://www.traditioninaction.org/religious/i015_RedCope.htm
56
thus there are those who try to avoid standing where the shadow might fall. 203 This may also
symbolize the distinction between above and below, and God and men, since the three fingers are
the sign of the trinity above and the two figures symbolize the men and women below.
The triple cross the Hierophant holds in his left hand indicates that he rules from his heart,
becoming a bridge between men and God. With its three horizontal bars near the top in increasing
order of length from bottom to top, also named the papal cross or the Christian cross, serves as the
emblem for the office of the Pope, as it symbolizes his dominion over the three worlds of spirit, body
and soul.
The two golden keys on the red carpet at the bottom of the card by the Hierophant's feet
represent the keys to Heaven and Hell that stand for conscious and subconscious and the knowledge
of good and evil.204 Its attributes relate to several mythical characters including Hecate and Janus,
since it is symbolic to mystery or enigma, or a task to perform and the means of carrying it out.205
The card depicts the interaction between the Hierophant who grants an audience and the two
figures kneeing in front of him, who symbolize binary aspects of life such as impulses towards good
and evil, issues of personal conscience versus public power, etc. The Hierophant acknowledged, as
the twin of the Emperor is an externalized embodiment of men's attempt for connection with God.
Grand Orient, a Masonic organization, maintains that the Hierophant is the power of the keys, exoteric
orthodox doctrine, and the outer side of the life, which leads to the doctrine. 206 In medieval
Renaissance iconography, the image of the pope represents religious as opposed to secular
authority.207 It is important to stress that not all the Popes thorough history were men of impeccable
character, for over the centuries there were quite a few who abused their power as all men do
regardless of their status and duty.
Within the framework of iconology, as the successor of Simon Peter, the Pope, whose title
derives from the Greek word father, was the head of the Church since the early centuries of
Christianity. He was the vicar, the substitute for Jesus who held the symbolic keys that Jesus was
assumed to have granted to Simon Peter to bind and to loose men from the spiritual consequences
of their sins.208 As the bridge between experience and dogma, practical application and religious code,
the Hierophant interprets spiritual law. 209 Below, Boniface VIII depicted in red and white Papal
vestments in a fourteenth century manuscript.

57
Figure 11. Boniface VIII Depicted in Red and White, c. 14th century, manuscript, Vatican Library210
Within the Raider-Waite-Smith Hierophant card previously named the Pope, there are notable
elements from previous decks that Waite and Smith included within the visual aspect of their card.
The Visconti-Sforza Pope's white gloved right hand too is raised in the ecclesiastical sign of
benediction and in his left hand; he holds a scepter terminating in a Teutonic cross, although there is
a lack of two figures kneeling in front that emphasize the connection to his flock as in the Tarot de
Marseilles and Rider-Waite-Smith decks.211 The Sola-Busca Hierophant card is Catulo who was the
Roman general Gaius Lutatius Catullus, commander during the Carthaginian war and forced to
delegate his command due to his leg wound.212 The foliot213 he holds in his hand symbolizes time and
the attributes of Kronos-Saturn or Zeus-Jupiter that also include the representation of the material,
creative and formative worlds. Below a fresco named "Father Time" of Kronos- Saturn with his foliot
on the outer walls of Casa Rella in Trento, Italy.
210
. P. Damian, Epist., book 1, 20 (1073) in Carol M Richardson, Boniface VIII Depicted in Red and White, c. 14th century,
manuscript, Vatican Library, accessed March 2019, https://www.traditioninaction.org/religious/i015_RedCope.htm
211 . The Teutonic cross is the emblem of the Teutonic Knights. Formally, named House of the Hospitalers of Saint Mary of
the Teutons in Jerusalem, German Deutscher Orden, or Deutscher Ritter-Orden, or Haus der Ritter des Hospitals Sankt Marien der
Deutschen zu Jerusalem, Latin Domus Sanctae Mariae Theutonicorum in Jerusalem. "Teutonic Order", Encyclopedia Britannica,
accessed Feb. 2019, https://www.britannica.com/topic/Teutonic-Order
213. A foliot is the earliest form of mechanical-clock escapement consisting of a crossbar with adjustable weights for
regulating the rate of swaying of a vertical spindle. "Foliot", Merriam-Webster, accessed April 2019, https://www.merriam-
webster.com/dictionary/foliot
58
Figure 12. Artist unknown, Father Time (Saturn), fresco, Casa Della, Trento Italy 214
Ichonologically, the depiction of Kronos-Saturn is a Hellenistic representation of the worshiped

Mediterranean God Ba'al Ammon who had a variety of names according to the areas from around the
Middle East, North Africa, Anatolia and the Nile valley. He was the Egyptian sun god Ra, later named
Ammon-Ra and in turn assimilated to Zeus-Ammon within the Greek pantheon. It is rather difficult to
separate the different aspects and functions of these deities. Adams suggests that whereas Kronos-
Saturn represents the aspect of reality, as time consumes everything, Zeus-Jupiter is the generative
power that continuously creates anew.215
The Tarot de Marseilles Pope too echoes the material, creative and formative worlds. There
are two priestly handsomely dressed kneeling figures in front of him similar to the Rider-Waite-Smith
Hierophant, who in terms of iconology connects the codified experience of the Church, since; he is
the bridge between the code and its practical application.216
In conclusion, the Rider-Waite-Smith Hierophant card, changed from its elaborately designed
beginning with the Visconti-Sforza deck. Comparing the visual attributes of the Pope's ornate
vestments, the elderly figure, the scepter terminating in a Teutonic cross, the Triregnum, the
ecclesiastical sign of benediction present in the Visconti-Sforza and Tarot de Marseilles cards merged
into the Rider-Waite-Smith card. In terms of iconography, the main difference is that the Visconti-
214 . Father Time (Saturn), Casa Della Trento Italy, Sola-Busca Riddles - Tarot History Forum, accessed March 2019,
https://www.google.com/search?sxsrf=ACYBGNQ9nOiS1-CAXg_-
2vXbipaURXQxXw:1573639689261&q=viewtopic.php?f%3D11%26t%3D643%26p%3D9607%26hilit%3Dcatulo%23p9607&tbm=i
sch&source=univ&sa=X&ved=2ahUKEwjd57rV-
OblAhXDCewKHTHcD9EQsAR6BAgGEAE&biw=1280&bih=559#imgrc=NX2uMHHosqNZBM:&spf=1573639698082
215 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, p. 63 The Renaissance artist who worked for the
Italian nobility knew the myths and consequently were able to create cards, according to their iconography and iconology for the
viewers who purchased the deck.
59
Sforza Pope who is part of the Visconti-Sforza family does not have two figures prostrated in front of
him. As to the Sola-Busca Hierophant card named Catulo, the concept of connecting men below to
the Gods above, as the Hierophant does, remains whether it is Kronos-Saturn or Zeus-Jupiter whom
he represents depending on the situation.
In the aspect of iconology the Hierophant/Pope is rather the Summa Totius Theologiæ217, as
such, he is the channel of grace belonging to the world of institution as distinct from that of nature,
and he is the leader of salvation for the human race at large.218 In conclusion as the head administrator
for the large organization named the Church, he is a man who upholds the strict and formal rules,
laws, practices and authority of organized religion, which are often more arbitrary and culturally
determined than they are representative of universal truths.219 According to Jung, only the continuous
dialogue between ego and archetype can free man from his instincts consequently, only interaction
between the human and the transcendental can assist men to evolve and mature.220
The next card discussed in this chapter named Magic and or Religion is the Rider-Waite-Smith
Major Arcana Chariot Tarot card closely related to Judeo-Christian mysticism.
The Rider-Waite-Smith The Chariot – VII
The Rider-Waite-Smith Major Arcana number seven card is the Chariot. The
card has a black border and the Roman numeral seven in black is at the upper center of the card on
a yellow background, and at the bottom of the card within a light grey rectangle with a thin black
border are the words the Chariot in bold black capital letters. Taking over most of the card's design
217 . T. Aquinas, Summa Theologica or Summa Totius Theologiæ is as its title indicates, is a “theological summary.” It seeks
to describe the relationship between God and man and to explain how man’s reconciliation with the Divine is made possible at all
through Christ. "Summa Theologica: Structure, Scope, and Purpose", Spark Notes, accessed April 2019,
https://www.sparknotes.com/philosophy/aquinas/section1/
219 . Wang, Tarot Psychology, pp. 16-17
60
the charioteer, his chariot and the two sphinxes are frontally depicted.
The sky is yellow and at the bottom of the scene, there is green grass. At the left and right
sides of the card are various buildings with red roofs and a castle, creating the shape of an enclosed
or walled city in the background while under the buildings there is a flowing river that might symbolize
one of the four rivers from Eden.221
The charioteer seems to be a young king wearing a cuirass and a crown on his shoulder-
length blond hair. The cuirass of the charioteer represents his defense against the baser forces of life;
secured with five gold studs, denoting the four elements and the quintessence.222 The double crown
is made of laurel leaves under a golden crown with an eight-pointed star, which connects him with the
golden understanding of the sun and divine light, thus symbolizing the interceding function between
man and God. Moreover, the eight-pointed star symbolizes the state of spirit that has reached the
eight level of perfection, the level of the fixed and eternal stars of heaven. 223
The shoulder epaulets of his armor are the faces of Urim and Thummim224, the seekers of the
divine will of God through an oracular medium.225 He wears white armguards on top of a black and
blue tunic and has a white breastplate with a golden trim. There is a white square on the Charioteer’s
chest, interpreted as a four-sided figure and the superimposition by the fact that the three additive
primary colors produce white light or a Tattva, which is a Sanskrit word that means principle, reality
or truth; according to various Indian schools of philosophy, it is an element or aspect of reality.226 The
sword belt around the charioteer's waist has the symbols of the astrological sign of cancer and the
moon. He holds in his left hand a scepter surmounted by a triangle and a sphere.
The cubical chariot with its two bright yellow wheels has four posts holding a light blue canopy
with stars, assumed as Freemasonry symbols, since many Freemasonic lodges have the ceiling of
their meeting room painted to represent the sky. The four posts supporting the canopy symbolize the
four elements the world made is of, meaning the four conditions in which energy can exist: air, fire,
water and earth.227 These posts may also symbolize the four Jungian functions of sensation, intuition,
221 . R. V. O'Neill, "The Chariot", Sources of the Waite-Smith Tarot Symbols, accessed September 2019,,
http://www.tarotpassages.com/old_moonstruck/oneill/7.htm
223. Amberstone, The Secret Language of the Tarot, pp. 96-102
224 . C. Van Dam, "Urim and Thummim", Baker's Evangelical Dictionary of Biblical Theology, (ed.) W. A. Elwell, Baker
Books, a division of Baker Book House Company, Grand Rapids, Michigan USA., 1996, accessed September 2019,
https://www.biblestudytools.com/dictionary/urim-and-thummim/ "The terms "Urim" and "Thummim" have traditionally been
understood as "light(s)" and "perfection(s)" or as "perfect light." The Urim and Thummim were a means of revelation entrusted to the
high priest. No description of them is given. This oracular means apparently consisted of a material object or objects since it was
physically stored in the breast piece of the high priest (Exodus 28:30 ; Lev 8:8 ). Most scholars today think that the Urim and
Thummim were a lot oracle, but this is by no means certain."
225 . Kaplan, Tarot Classics, p. 98
226 . R. V. O'Neill, "The Chariot", Sources of the Waite-Smith Tarot Symbols, accessed September 2019,,
http://www.tarotpassages.com/old_moonstruck/oneill/7.htm
61
thinking and feeling, which are the four essential pillars of psychic being.228 In front of the chariot are
the symbol of the lingam and the yoni in red. These imply the joining of the sexes to represent duality
and unity, and surmounted by a blue winged golden globe.229 The golden globe is also an emblem of
the Egyptian winged globe, representing the sublimation of matter and its evolutive motion.
The presumption is that the image of the Chariot is the influence of Ezekiel's vison, the
Kabbalah and the old Roman custom of triumph awarded to a successful general.230 It is also relates
to the Merkavah mysticism in which Biblical mythical individuals like Enoch and Rabbi Akiva who
ascended to the seventh heavenly hall to stand in front of God and return to earth while still alive. 231
Moreover, the Chariot's number seven associates it with fate, destiny, transformation, the seven acts
of creation in Genesis, the seven stages of transformation in Alchemy under the influence of seven
metals and seven planets.232
The Chariot pulled by two sphinxes of which one is black with white eyes and the other one is
white with black eyes, yet the charioteer has no reins and the sphynxes are pulling in two different
directions while looking at the same direction have no yokes and seem to appear to grow out of the
Chariot. The black sphynx symbolizes vice and the white sphinx symbolizes virtue, meaning the one
conquered and the other vanquished; both having become the servants of the Magus.233 Since, this
is magical power in its fullness; the charioteer is not driving the vehicle but, pulled by the sphynxes
instead. According to Waite:
…it is to be understood for this reason that the question of the sphinx is
concerned with a Mystery of Nature and not of the world of Grace, to
which the charioteer could offer no answer… …that the planes of his
conquest are manifest or external and not within himself; that the
liberation which he effects may leave himself in the bondage of the
logical understanding…that the tests of initiation through which he has
passed in triumph are to be understood physically or rationally; and that
if he came to the pillars of that Temple between which the High Priestess
is seated, he could not open the scroll called Tora, nor if she questioned

231 . Rabbi M. Cordovero, "Four Who Entered Paradise", Kabbalah Online, accessed September 2019,
https://www.chabad.org/kabbalah/article_cdo/aid/380344/jewish/Four-Who-Entered-Paradise.htm The Talmud (Chagiga 14b, Zohar
I, 26b and Tikunei Zohar, Tikun 40) reports the following incident regarding four Mishnaic Sages: The Rabbis taught: Four [Sages]
entered the Pardes [literally "the orchard."]. Rashi explains that they ascended to heaven by utilizing the [Divine] Name [i.e., they
achieved a spiritual elevation through intense meditation on G-d's Name] (Tosafot, ad loc). They were Ben Azzai, Ben Zoma, Acher
[Elisha ben Avuya, called Acher— the other one — because of what happened to him after he entered the Pardes] and Rabbi Akiva.
62
him could he answer. He is not hereditary royalty and he is not
priesthood... 234
Delving into the iconography and iconology of the previous Chariot cards, in both the Visconti-
Sforza and the Tarot de Marseilles Chariot ones, the Chariot is pulled by horses and not sphynxes.
The charioteer in the Visconti-Sforza deck is a queen while the charioteer in the Tarot de Marseilles
is a king. Whereas, the Sola-Busca card is named Deo Tauro who was Deiotarus, Chief Tetrarch of
Galatia, Asia Minor, and loyal ally of the Roman Republic. In this case, although Deo Tauro (meaning
god bull) sits in a chariot but is not pulled by horses, and he serves as a reference to the constellation
Taurus that lies at the heart of the Mithraic mystery cult.235
In Jungian terms, there are three main explanations to the Chariot card. The first one is that
the sphinxes are a symbol of the terrible mother, who is the female archetype of destruction and
stands for the enigma, the mystery and the riddle the charioteer has to solve. 236 The second
explanation is that the charioteer represents the self in Jungian psychology; the chariot the human
body and thought in its transitory aspects relative to things terrestrial; the horses are the life force;
and the lack of reins denote intelligence and will power.237 The third explanation is that the Chariot
pictures a state of ego inflation, named hubris, which in Jungian psychological terms represents a
condition in which the ego/the center of individual consciousness identifies with an archetypal figure
transcending human limitations.238 In various myths, mortals who overreached their human bounds
and sometimes, even gods who were subject to hubris, were punished.
In conclusion, the Chariot Tarot card has changed since it originated in the Visconti-Sforza
deck. Waite and Smith preferred to continue the concept of a king on the Chariot similar to the Sola-
Busca and Tarot de Marseilles deck instead of a queen who rode the Chariot on the Visconti-Sforza
card. The reins and the horses with their wings on the Visconti-Sforza card disappeared by the time
the Chariot Card became Deo Tauro in the Sola-Busca deck. Waite and Smith changed the two red
front posts and the two blue back posts that hold the canopy in the Tarot de Marseilles Chariot to
uniform grey, and the sideways slanted thin wheels became straight thick wheels. They added the
background of an enclosed city behind the Chariot and a flowing river, a non-existing design found in
any of the Chariot cards. Essentially, Waite and Smith based most of the design of their Chariot card
237 . Cirlot, Dictionary of Symbols, pp. 43-44
63
on that of Eliphas Lévi, who named it a rectified Chariot card.239 When Lévi’s ideas migrated across
the English Channel, they were adopted with modifications by the Golden Dawn and became the
bedrock of esoteric tarot in the English-speaking world, having tremendous influence on the evolution
of Tarot Waite incorporated into his deck.240 Below a picture of the Eliphas Lévi Chariot Tarot card.
Figure 13. Eliphas Lévi, The Chariot Tarot Card, 1856, cardboard, 6.8 X 12 cm, in Transcendental Magic its Doctrine and
Ritual241
Similar to Éliphas Lévi's Chariot Tarot card Waite and Smith kept all the same symbols
explaining that: "…on this account I have accepted the variation of Éliphas Lévi."242 It seems that
Waite and Smith; were largely influenced by Eliphas Lévi's Chariot card. As opposed to many
occasions when they inserted additional symbols to the depiction of the card, in this case they
preferred to keep all of Lévi's illustrations for their own Chariot card, added a background and a few
more symbols like the lingam, yoni, and the Egyptian golden winged globe. They disregarded the
association of each Tarot trump with a letter of the Hebrew alphabet as Lévi did by placing all seventy-
eight cards on the Tree of Life, like the Hebrew letter Zain on the right side of the card. Moreover,
they essentially moderated the stiff illustration of the charioteer's face and especially in the case of
the severely gazing sphynxes, and colored the card.
The next card discussed within this chapter of Magic and or Religion is the Rider-Waite-Smith
Major Arcana Wheel of Fortune, saturated with spiritual iconology from various religions.
239
. I have not found a colored version of Eliphas Lévi's Chariot Tarot, in spite of extensive research, considering that the
book was printed in black on white paper.
240
. "French Occult Tarot", Tarot Heritage all about Tarot History and Historic Decks, accessed July 2019, https://tarot-
heritage.com/history-4/french-occult-tarot/
241 . E. Lévi, Transcendental Magic its Doctrine and Ritual, (trans.) A. E. Waite, New York: Samuel Weiser, 1970, p. 80
64
The Rider-Waite-Smith Wheel of Fortune - X
The Rider-Waite-Smith Major Arcana card number ten is the Wheel of

Fortune. The card has a black border and the Roman numeral ten in black is at the upper center of
the card on a partially light blue background, and at the bottom of the card within a light grey rectangle
with a thin black border are the words the Wheel of Fortune in bold black capital letters. In the middle
of the card is the orange Rota Wheel containing within, a hub (the smallest wheel) within a medium
sized wheel. On the periphery of the largest wheel, the words Taro/Rota in Latin letters and ‫ יהוה‬in
Hebrew letters appear in a bold black upper-case font. The transliteration of Taro as Rota in Latin
letters inscribed on the wheel counterchanged with the letters of the Divine Name, the
Tetragrammaton displayed in Hebrew letters to express that providence is by side.243 From the center
of the hub, the wheel there is a division into eight sectors by radii drawn from its outer perimeter to
the circumference of the inner circle. Four of them are straight spokes with a small perpendicular tip
positioned towards the letters of the Tetragrammaton. The other four are straight spokes too, but in
this case positioned towards the word TARO with the symbols of the four elements at their tips. The
symbol of earth in front of the letter T, the symbol of fire in front of the letter A, the symbol of water in
front of the letter R and the symbol of air in front of the letter O. These specific symbols additionally
correlate to alchemical and astrological icons, from the top Mercury, Sulphur Aquarius and Salt.
The theme of the dance of life is related closely to cosmogonic rituals that re-enact the stages
of the world's creation and recurs frequently in Western iconography from antiquity to present day. 244
The wheel expresses the spiritual ascent and descent, the equilibrium of the contrary forces of
contraction and expansion, meaning the principle of polarity or like Strauss explains it, binary
oppositions.
At the center of the card is the Wheel of Fortune itself, which represents both good and evil,
luck, chance, and the cycles of life. The blue sphinx with the sword in his hand/paw and white

65
headdress sits atop the wheel, representing the gods and kings, as well as the importance of the
equilibrium within. The motionless sphinx alludes to the mystery of all things and the intermingling of
the divergent. Typhoon, the son of the earth goddess Gaia and Tartarus the murderous bottomless
pit, in his serpent form hovers around the Wheel of Fortune as does Anubis the Ancient Egyptian god
of the underworld who led the souls after their death to the Hall of Truth to decide their fate in the
afterlife in the underworld.245
In antiquity, Fortune was a female deity named Tyche for the Greeks, Fortuna for the Romans
and the ancient Egyptian goddess Isis were originally deities of fertility and the life of a woman.246 As
an ambivalent symbol of the inconstancy and perpetual changeability of fate, Fortuna, is often
portrayed holding a cornucopia, precariously poised atop a sphere or accompanied by a sail or wings
that change direction depending on the wind.247 As a circle, the wheel represents wholeness, diversity
contained within a unity, the wheel of the zodiac, the wheel of the seasons, the tides that ebb and
flow, for every action there is a reaction, birth and death, growth and decay, day that follows night;
that there is nothing under the sun and all things return.248 Waite maintains that:
…In this symbol, I have again followed the reconstruction of Éliphas Lévi,
who has furnished several variants. It is legitimate, as I have intimated,
to use Egyptian symbolism when this serves our purpose, provided that
no theory of origin is implied therein. I have…presented Typhon in his
serpent form. The symbolism is, of course, not exclusively Egyptian, as
the four Living Creatures of Ezekiel occupy the angles of the card, and
the wheel itself follows other indications of Lévi in respect of Ezekiel's
vision, as illustrative of the particular Tarot Key…249
There is really nothing that can explain why Waite on the one hand, maintains that he chose
to depict Typhon in a serpent form, while on the other hand it looks nothing like Éliphas Lévi's hyle
245 . "Typhoon", Greek Gods and Goddesses, accessed September 2019, https://greekgodsandgoddesses.net/gods/typhon/,
Some myths say that Hera wanted to create a god more powerful than Zeus was, so she had these two gods give birth to Typhon who
was a giant that was so tall that his head touched the stars. His torso was that of a man, but his legs were coils of vipers that would hiss
and attack as he moved. His main head had on it one hundred snakeheads who would make different sounds of animals. His eyes were
glowing red and would terrify everyone who looked upon them, and he had what was called a savage jaw, which would breathe fire.
His body had hundreds of different wings on it and his hands were made up of one hundred snake coils like his legs. Typhon was
married to Echinda, who was considered to be the mother of all monsters and the two of them were the parents of the Sphinx, the
Nemean lion, Ladon, Cerberus, the Caucasian Eagle, and the Chimera to name a few.
66
figure. The reason might be that, he probably liked it better visually or because it conserved space.
Below a picture of the Wheel of Fortune from Éliphas Lévi's deck.
Figure 14. Éliphas Lévi, La Roue de Fortune, c. 1854-56, cardboard, 6.8 X12 cm, in Transcendental Magic its Doctrine
and Ritual 250
The four billowing grey clouds on each corner of the card echo divinity and manifestation.
These represent the division of the four cardinal points of the celestial vault into the constellations of
Taurus, Leo, Scorpio and Aquarius corresponding to the position of the sun at the solstices and
equinoxes calculated during the Babylonian era.251 Upon each one of these are the four-tetramorph
figures, established on the Hebrew Bible in the visions of Ezekiel (4:6-8). As the living creatures from
the vision of Ezekiel, named for the merkavah or chariot on which Ezekiel rode to the heavens they
relate to the four letters of the divine name as quoted in Ezekiel (1:1-28):
…As for the likeness of their faces, they had the face of a man; and they
four had the face of a lion on the right side; and they four had the face of
an ox on the left side; they four had also the face of an eagle. Thus were
their faces; and their wings were stretched upward; two wings of every
one were joined one to another, and two covered their bodies… …Now
as I beheld the living creatures, behold one wheel at the bottom hard by
the living creatures, at the four faces thereof…and their appearance and
their work was as it were a wheel within a wheel…252
250 . E. Lévi, Transcendental Magic its Doctrine and Ritual, (trans.) A. E. Waite, New York: Samuel Weiser, 1970
252 . The Book of Ezekiel, 1:1-28, The Bible
67
This passage was later included within the four Christian gospels. These are the winged angel
(Saint Matthew) on the top right, the eagle (Saint John) on the top left, the winged ox (Saint Luke) on
the bottom right and the winged lion (Saint Mark). Each of these figures are reading a book,
suggesting intelligence and self-understanding. In spiritual traditions depicted in art, these figures are
associated with the four cosmic elements, the four human temperaments and four qualities of wisdom;
intelligence and action, strength and movement, endurance and sacrifice, and intuition of the truth.253
Waite and Colman probably devised the idea of designing their Wheel of Fortune as a wheel within a
wheel from these particular Biblical verses and their association to esoteric traditions.
In Jungian terms, the mandala and by obvious reference the circle (wheel) is one of the most
important visual symbols meaning "…a priori type, an archetype which is inherent in the collective
unconscious and thus individual birth and death."254 Since it is enclosing and protecting, Jung upholds
that:
…insofar as the mandala encompasses, protects and defends the

psychic personality against outside influences and seeks to unite the
inner opposites, it is at the same time a distinctive individuation symbol
and was known as such even to medieval Alchemy…255
The concept of the Wheel of Fortune is an ancient one, even before its appearance on the
Tarot cards. Below an allegorical image from the thirteen century, Buranus codex (Carmina Burana)
and an illumination in the fifteenth century book by John Lydgate's Troy Book and Siege of Thebes.
253
. Battistini, Symbols and Allegories in Art, p.168
254 . C. G. Jung, "Psychology and Alchemy", The Collected Works of C. G. Jung Vol. 12, Princeton, New Jersey: Princeton
255 . C. G. Jung, "The Archetypes and the Collective Unconscious", The Collected Works of C.G. Jung Vol. 9 (Part 1),
Trans. R. F. C. Hull, Princeton, NJ: Princeton University Press, 1959, p. 138
68
Figure 15. Artist unknown, The Wheel of Fortune, c. 13th century, in Codex Buranus (Carmina Burana),
illuminated vellum manuscript, 46 X 60 cm, fol. 1r, Bavarian State Library, Munich256
Figure 16. John Lydgate, The Wheel of Fortune, c. 1460, in Troy Book and Siege of Thebes, 9 x 10 cm,
illuminated vellum manuscript, The British Library 257
In conclusion, one of the most beneficial methods to assess the Wheel of Fortune card's
intricate evolving iconography and iconology according to Panofsky's method of investigation is to
compare it to its previous versions. Within the Visconti-Sforza, the Wheel of Fortune Tarot card is,
256 . Codex Buranus (Carmina Burana), Bavarian State Library, Munich, accessed September 2019, http://daten.digitale-
sammlungen.de/bsb00085130/image_5
257 . The British Library Online Library, accessed, September 2019,
http://www.bl.uk/onlinegallery/onlineex/illmanus/roymanucoll/t/011roy000018d02u00030v00.html
69
also the closest to conventional, non-Tarot versions of the motif. 258 Similar to Carmina Burana it
portrays Fortuna as winged and blindfolded goddess at the center of the wheel, who has a dais and
throne at the top, and labels the four figures with the same Latin mottos: I reign, I have reigned, I have
no reign and I shall reign. As opposed to the figures on the Rider-Waite-Smith Wheel of Fortune card
that portrays the Sphynx, Typhoon and Anubis, there are four human figures in different
configurations.259
As the Tarot deck proceeded to the city of Marseilles, the fundamental iconography remained
with certain changes.260 In its earliest usage, the term Rota Fortunae referred to the zodiac, and with
the Tarot of Marseille, it resumed its nature as a literal zodiac meaning, the cycle of small animals.
The figures on the wheel were no longer human but became creatures traditionally identified as a
dog, a sphinx, and a monkey, though their clothes betray their origins as human-animal hybrids. The
influences of Albrecht Dürer and Hieronymus Bosch on the depiction of the Tarot de Marseilles Wheel
of Fortune are hard to deny.261 Although, the wheel is mounted on a stand, turned counterclockwise
by a crank, there are only three figures on it, and Fortuna is not depicted; it retains its original
iconography.
As an important aspect of Medieval and Renaissance iconography, the Wheel of Fortune
continues to represent the mercurial nature of fate, as does the Rider-Waite-Smith card. Waite and
Smith decided to change the essence of the motto I reign, I have reigned, I have no reign and I shall
reign and the nature of the figures on the Wheel from three young children, and old man and Fortuna
in the Visconti-Sforza deck. As they did with the figures of the dog, and the monkey on the Tarot de
Marseilles deck, they kept the sphynx at the top of the wheel. Moreover, similar to Éliphas Lévi's
Wheel of Fortune they included Typhoon and Anubis. Their main insertions were the inclusion of the
design of two smaller wheels within the largest wheel with the letters of the Tetragrammaton ‫יהיו‬, the
word Taro/Rota and the four-tetramorph figures, based on the Hebrew Bible in the visions of Ezekiel
instead of the three children and the old man. Although the symbolic design's outlook is the perpetual
motion of the fluidic human life and the universe, Waite maintains that:
…this is the Divine intention within and the similar intention without is
exemplified by the four Living Creatures...which defrauds the
258 . (see: Visconti-Sforza Wheel of Fortune in the Appendix p. 370)

259
. "The Wheel of Fortune: Visconti-Sforza and Tarot de Marseille, The Narrow Desert, accessed September 2019,
https://narrowdesert.blogspot.com/2019/04/the-wheel-of-fortune-visconti-sforza.html The three figures holding the wheel are children.
The one ascending has small ass's ears, the one at the top has a larger pair, the one descending has an ass's tail and under the wheel is
an old man with a long, white beard, dressed in white rags who is neither grasping the wheel, nor being crushed by it. Rather, he is on
his hands and knees, supporting the wheel on his back.259 It seems that while the other three children's figures rise and fall, he remains
supporting them all, since the dawn of time.
260 . (see: Tarot de Marseilles Wheel of Fortune in the Appendix p. 370)
261 . "The Wheel of Fortune: Visconti-Sforza and Tarot de Marseille, The Narrow Desert,
accessed September 2019,
https://narrowdesert.blogspot.com/2019/04/the-wheel-of-fortune-visconti-sforza.html
70
symbolism by stultifying the essential idea of stability amidst
movement."262
The next card discussed within the chapter of Magic and or Religion is the Rider-Waite-Smith
Major Arcana Judgement card, which comes after death since the subject of resurrection relates to
religious beliefs and not a biological process.
Raider-Waite-Smith Judgement XX
The Rider-Waite-Smith Major Arcana number twenty card is Judgement. The

card has a black border and the Roman numeral twenty in black is at the upper middle of the card on
a light blue background, and at the bottom of the card within a light grey rectangle with a thin black
border are the words Judgement in bold black capital letters. The background color is blue to
symbolize the sky/heaven with snow-covered mountains and trees jutting out of a blue wavy design.
The top half of the Judgement card depicts the upper body of a hovering fiery angel surrounded by
clouds with wavy blond hair with bursting rounds of fire. The Hebrew letter associated with the
Judgement card is Shin which the Sefer Yetsira connects with fire, a source of light, warmth and
destruction, thus, its symbolic connotations include wrath, punishment, ardor, passion, purification
and transformation.263 The angel wears an armor over his shirt. His large wings are red at the top
merging into purple and black, representing power, spirituality and sublimation. Although some
researchers like Kaplan maintain that the angel on the Judgement card is Gabriel,264 the angel with
the banner floating from his trumpet is Michael. 265 Cavendish too, agrees with this assumption
263
. Cavendish, The Tarot, pp. 136-138
264
. S. R. Kaplan, Tarot Classics, Stamford CT: U.S. Games Systems Inc., 1972, p. 124
71
because Michael was by tradition the angel of the last trump, the leader of the forces of light against
the forces of darkness and a symbol of victory over the lower nature of man.266
Medieval Christians believed that Michael, similar to the Greek god Hermes and the Roman
god Mercury would guide their souls after death. The angel is blowing his golden trumpet to which a
white banner depicting an equal armed red cross is emblazoned. This is the representation of the
Cross of Redemption in Christian iconography; as it is the archetype of the key to Eternal Life that
opens up the gates of death on to immortality.267 Moreover, it refers to the banner of the Knights
Templar and to Mars, whose first duty, similar to that of the Templars, was to guide the innermost and
holiest sanctum of a Greek temple, named adytum.268 The sound of the trumpets symbolizes the
indication of rapture in Christianity as found in Matthew 24:31, John 5:25 29, I Thessalonians 4:16,
Revelation 8:11, and I Corinthians 15:52.
Angels made their first appearance in the Old Testament as messengers who came thrice to
perform tasks given by God and were not clearly described, because of the Jewish prohibition against
drawing images. They dwell in the seven heavens that separate God and humanity and as the
executive bureaucrats of God, exist to carry out divine edicts, commands and wishes. 269 They
received specific names, increased in numbers and acquired various attributes associated with their
tasks much later in the Midrash, Talmud, Kabbalah, Christianity and Islam. The four archangels
Michael, Gabriel, Raphael and Uriel are the leaders of the armies of heaven against powers of evil,
bringers of divine messages to specific humans and lead human souls to spiritual realization.270
On the lower half of the Judgement card below the fiery angel are three open graves at the
forefront from which the dead are rising from their coffins. The coffins may symbolize the containers
of past wrongdoings now exposed for all to see and judge, while the rising figures the cleansing away
of the past.271 These are a man, a child and a woman with backs turned standing naked and raising
their arms in supplication. At the background behind them, are three smaller figures of a man, child
and woman facing the viewer mirroring the forefront. The reason the figures are naked is that humans
come into the world naked and leave it the same way in many instances. The Judgement card, often
called Resurrection, represents the great reunion that the ancients believed would happen once in
every age joining heaven and earth to form a new reality. Waite maintains that, "It should be noted
that all the figures are as one in the wonder, adoration and ecstasy expressed by their attitudes…"272
266 . Cavendish, The Tarot, pp. 136-138

268 . Amberstone, The Secret Language of the Tarot, p. 147
269 . Ibid, pp. 239-245
270
. Ibid, pp. 239-245
72
All the figures on the card are humans and in communication with one another by the blast of the
angel's trumpet. According to the Book of Genesis; at first there was void, and then God spoke to
perform creation, meaning that sound is much more direct, asserting and a basic form of
communication reaching in a more startling visceral means than visual imagery. 273
As an iconographic motif, in Byzantine art, angels commonly hold a banner and a golden
globe, all symbols of the power of God and surrounded by a golden or sky blue aura.274 According to
Battistini, the winged angel does not appear until the fourteenth century.275
Within the bounds of iconological analysis, the concept of resurrection, that life continues after
death and the judgement of man's behavior during his life is inevitable, is an ancient one. This
archetypal pattern of resurrection is closely bound to crops, agriculture, the seasons of the year and
the rise and setting of the sun.276 Answering the essential question about what happens after death
has been the fundamental role of religions; the earliest societies, the Babylonian, the Ancient
Egyptian, the Celts, the Jews, the Christian and the Muslim having established a framework upon
which describes later beliefs about heaven and hell were based.277 The resurrection of: the ancient
Egyptian god Osiris, the Greek Orpheus who went to the underworld and returned alive, the Celtic
horned god Cernunnos who reflects the seasons of the year in an annual cycle of life, death and
rebirth and Jesus have a similar theme. Although, there are differences between Judaism and
Christianity on the subject of resurrection, since in Judaism, the principle of resurrection is that of the
immortal soul and not the physical body that has no significance whatsoever; it was first found in the
Old Testament book of Amos (5:18) and later in the New Testament's Gospel of Matthew (13:40-43).
Below a painting by Michelangelo of the Last Judgment found on the inner roof of a chamber in the
Sistine Chapel in the Vatican City.
273 . Nichols, Jung and Tarot an Archetypal Journey p. 338

274
. Battistini, Symbols and Allegories in Art, p. 150
275 . Ibid, p. 150
276 . Wang, The Jungian Tarot and its Archetypal Imagery, Canada: Marcus Aurelius Press, 2001, p. 262
277 . Ibid, pp. 258-259
73
Figure 17. Michelangelo, The Last Judgement, c. 1533 – 1541, fresco, painted on the altar wall of the Sistine Chapel in
Vatican City278
In conclusion, the Judgement card from the earliest Italian Tarocchi to the Tarot de Marseilles
consistently depicts the scene described in the Book of Revelation in which trumpeting angels
summon the dead from their graves for judgement in their final reward or punishment, as heralding
the mystical victory.279 As the result of the Black Death/Plague that swept over Europe during the
fourteenth century and killed millions and the ongoing poverty, people needed hope for a better future
in the afterlife if they kept the doctrines of the Church. Thus, medieval artists created a great deal of
works of art about the archetypal Biblical account of the Last Judgement, when the just will be called
to heavenly life, whereas the wicked will be consigned to hell. Below two such paintings: one of falling
of the wicked into Hell and the other ascent of the blessed to Heaven.
278 . Flickr.com, accessed September 2019, https://www.flickr.com/photos/archer10/5388358235

279
. Place, The Tarot: History, Symbolism, and Divination, pp. 157-158
74
Figure 18. Hans Memling, The Last Judgment, c. 1466 – 1473, section of winged altarpiece, oil on panel, 223.5 x
72.5 cm, Muzeum Narodowe w Gdańsku280
h
Figure 19. Hieronymus Bosch, Ascent of the Blessed, c. 1500 – 1504, oil on panel, 86.5 x 39.5 cm, Galleria
dell'Accademia Venezia, Venice 281
280 . Wikimedia Commons, accessed September 2019,
https://commons.wikimedia.org/wiki/File:Das_J%C3%BCngste_Gericht_(Memling).jpg
281 . Wikimedia Commons, accessed September 2019, https://commons.wikimedia.org/wiki/File:Hieronymus_Bosch_013.jpg
75
Among these works of the archetypal Biblical account of the Last Judgement, were also the
first Tarocchi deck named the Visconti-Sforza deck depicting a paternal deity flanked by two angels
with trumpets over a grave with two women and a man symbolizing archetypes of death and
resurrection. This resonated with the Catholic beliefs in Italy during the early fifteenth century and
became the foundation for the future decks. The Sola-Busca Judgement card named Nenbroto or
Nimrod depicts the king who in his pride and arrogance tried to build a tower that would reach all the
way to heaven - the myth of the Tower of Babel, and is trying with all his might to stop the falling
tower. The card symbolizes that not only does pride go before the fall, but also pride is instrumental
to the fall, which is conceptually the same idea, though not visually in this case, since it depicts the
punishment.282 Waite and Smith kept the prototype of the Tarot de Marseilles Judgement card, with
one angel at the top of the card, who almost takes over half of it and added more people coming out
of their graves at the bottom of the card. According to Waite:
…It should be noted that all the figures are as one in the wonder,
adoration and ecstasy expressed by their attitudes. It is the card, which
registers the accomplishment of the great work of transformation in
answer to the summons of the Supernal, which summons is heard and
answered from within…283
By having the ability to respond to the trumpet's call the transformation can also be a
psychological one in which, people can redeem and liberate aspects rightfully belonging to
themselves, that have been held hostage in their unconscious.284 From a Jungian perspective, the
interpretation of the Judgement Tarot card is the absorption of all potential opposites into one.
According to Jung:
…when the libido leaves the upper world of light, whether by individual
decision, or owing to the decline of vital energy, it sinks back into its own
depths…if the libido remains caught in the wonderland of the inner world,
the human being becomes a mere shadow in the upper world; he is no
better than a dead man or a very sick one...285
282
. Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, pp. 86-87
283
76
Whether the archetypal Biblical account of the Last Judgement or personal psychological
transformation, the visual scene of the Judgement card symbolizes profound change and upheaval
in any human being's life or afterlife corresponding to the choices made. Striving for the appearance
of objectivity, Jung wished to avoid any specific statement about belief in reincarnation. 286 Jung
explains that:
…The birth of the deliverer is equivalent to a great catastrophe, since a

new and powerful life, issues forth just where no life, no force, or new
development was anticipated. From that part of the psyche, comes the
new tributary of energy, the revivification of life…287
Waite too, agrees with this view.
…Let the card continue to depict, for those who can see no further, the
Last judgment and the resurrection in the natural body; but let those
who have inward eyes look and discover therewith...288
The next cards discussed in the Riser-Waite-Smith deck, are cards from the chapter I have
named the Human Life Cycle.
286
. Wang, The Jungian Tarot and its Archetypal Imagery, p. 266
287
. C. G. Jung, Psychological Reflections an Anthology of the Writings of C. G. Jung, (ed.) J. Jacobi, N. J.: Princeton
University Press, p. 293
288
77
Chapter 5
The Raider-Waite-Smith Deck The Human Life Cycle
In this chapter, named the Human Life Cycle, I shall discuss the cards related to the biological life
cycle of people. Humanity comes to terms with the cyclic process of being born, growing up, ageing,
dying and rebirth (in certain religions) enabling them the conceptualization of the eternal life process.
Many cultures around the world have life cycle celebrations for its adherents from birth to death. These
rituals function to mark the transitions between different life stages of those who celebrate them.
These rites contain powerful symbols in which people understand the meaning of each part of life’s
journey and that each stage of the life cycle is but part of the Spiral Dance of life and death, of which
we and all nature are part of.289
The metaphors of birth, development, marriage, death and in many cases rebirth are an
essential part of the human worldview. They represent the changes of the natural world around them
and signify the stages of the individual. Renaissance painting witnessed the emergence of a theme
that would become very popular in intellectual circles of the period: the ages of human life represented
in allegorical scenes and these iconographic motifs, closely tied to the theme of seasons, elements
and medieval Christian mystics associated the ages of man with the ages of the world.290
In the predominant cultural opinion, everyone passes through four stages of human life:
infancy/childhood; adolescence/young adulthood; adulthood and retirement/senility. 291 The four
stages of modern life follow the oscillating arc, beginning with the helpless infant, the adolescent
with no social or economic duties, while in adulthood; the loss of freedom and independence
occurs upon entering the workplace, and once retired, a person regains freedom to do whatever
she/he wants while the final stage is death meaning complete annihilation. 292 Although the Rider-
Waite-Smith deck does not have a specific card for a child per se, all the Tarot cards include images
of young children in different configurations. The deck includes cards named the Hanged Man, who
is a youth in stasis, the Lovers symbolizing adulthood, the Hermit for the retired individual and finally
Death. Many of those who deal in Tarology include the Hermit Tarot card as one of the Four Cardinal
Virtues. Since the decks have, cards named Justice, Temperance and Strength/Fortitude, which are
only three of the Four Cardinal Virtues.
The next card discussed within the chapter named the Life Cycles of Humans is the Rider-
Waite-Smith Major Arcana the Hanged Man.
289. V. Crowley, Wicca – A Comprehensive Guide to the Old Religion in the Modern World, London: Harper Collins
Publishers, 2003, p. 42
290
291 . E. Erikson, Identity and the Life Cycle, New York: International Universities Press, 1959
292 . G. Stanciu, "The Four Stages of Human Life", The Imaginative Conservative, accessed October 2019,
https://theimaginativeconservative.org/2017/05/four-stages-human-life-george-stanciu.html
78
The Rider-Waite-Smith The Hanged Man – VII
The Rider-Waite-Smith Major Arcana card number eight is the Hanged Man.
The card has a black border and the Roman numeral eight in black at the upper center of the card on
a light beige background, and at the bottom of the card within a beige rectangle within a thin black
border are the words the Hanged Man in bold black capital letters. This rather stark card depicts a
young man who hangs upside down, tied by his left foot to a gibbet with his other leg twisted behind
him to form a cross. His hands are behind his back, creating a triangle with the upper part of his body.
His shoes are yellow, his legging red and his tunic light blue. The golden nimbus named glory
surrounds his head, which is an arc or circle of rays around a visual symbol, suggesting divine
inspiration or protection.293 Surprisingly, for someone hanging upside down his facial expression is
relaxed and serene as if he is accumulating orgone energy.294
The gibbet is in the shape of the letter T, from the horizontal branch a large number of leaves
are sprouting out; while from the vertical trunk only a small number of leaves are budding out. The
gallows from which he is suspended forms a Tau cross, while the figure, from the position of the legs,
forms a fylfot cross.295 The T shaped gibbet might represent a plethora of meanings, for example: the
union of the sexes, the connection to mother earth or Moses' magical pole.296
Historically, the overall visual symbolism of the Hanged Man card has changed over the years
since, its first design in the Visconti-Sforza Tarocchi deck. The custom for inverse hanging used from
the fourteenth century up to the seventeenth century was formally called baffling, which nowadays
means to confuse, thwart or frustrate. The designation of this type of capital punishment was for
traitors, those who stole a ship from the royal navy, Jews and common thieves. One of the Italian
names for this card was Il Traditore, the Traitor; since the punishment for traitors was to be hanged
293 . Amberstone, The Secret Language of the Tarot, pp.12-14

294
. Cavendish, The Tarot, p. 106 Orgone energy (in Wilhelm Reich's theory) is a vital, primal, nonmaterial element
believed to permeate the universe. Dictionary.com, accessed November 2019, https://www.dictionary.com/browse/orgone-energy

79
upside down and for cowardly or disloyal knights to be strung up by their heels and beaten.297 Thus,
some researchers have argued that the Hanged Man may be Judas Iscariot or Francesco Sforza's
father Muzio Attendolo, who after being ennobled by the Pope, was depicted as hanging upside down
and suspended by one foot – shame painting as it was named; however the Renaissance
interpretation may have had nothing to do with treachery, shame painting or Judas.298
Eliphas Lévi connected the card with Prometheus, the unique athanor, as result of the
influence of Alchemy in which the athanor is the alchemist's furnace, suggested and developed the
occult relationship between the Tarot, Kabbalah and Alchemy. In his book Transcendental Magic
(Dogme et Rituel de la Haute Magie) Lévi suggests the relationship of the Hanged Man, the Hebrew
letter taf (tau) and the alchemical Great Work.299 The Great Work, as Lévi remarks, "is before all
things, the creation of man by himself, that is to say, the full and entire conquest of his faculties and
his future."300
Both Frazer and Eliot maintained that the Hanged Man is a symbol of a dying and raising god
similar to Osiris and Jesus.301 Nineteenth century occultists were the first to suggest that the card
symbolizes rites of self-sacrifice leading to direct knowledge of life and death. By undergoing such an
ordeal, the young Hanged Man who can succeed the test will rejoin his community as an adult as in
all initiation rites. The undeveloped libido is tested on his metaphorical journey to the underworld tears
itself loose and returns to the surface with new possibilities of life. Jung expounds on the subject by
explaining that trial by endurance plays an important part in initiation rites, since the situation the
Hanged Man finds himself in is more of a challenge than a punishment.
…For the unconscious always tries to create an impossible situation in

order to force the individual to bring out his very best. Otherwise one
stops short of one's best, one is not complete, one does not realize
oneself…302
In conclusion, the Hanged Man card has not changed much in its pictorial form, but greatly
altered in its symbolism throughout the years. From the concept of a traitor in the Visconti-Forza
Tarocchi deck and its relation to Gothic Humanism in which it alludes to one of the Four Virtues, it

299 . T. Scott, "Remarks on the Hanged Man of the Tarot", academia.edu, September 2019,
https://www.academia.edu/22153184/Remarks_on_the_Hanged_Man_of_the_Tarot
300 . E. Lévi, Transcendental Magic (Dogme et Ritual de la Haute Magie), London: Bracken Books, 1995, p.141
302 . C. G. Jung, "The Interpretation of Visions", Spring 1962 A Magazine of Jungian Thought [Jung Memorial Issue], New
York: Analytical Psychology Club of New York, 1962, p.154
80
became a card of personal initiation to reach a deeper understanding of oneself in order to mature
and awaken psychologically. As opposed to the previous Hanged Man Tarot cards, Waite and Smith
chose to depict a less complicated composition to further their goal in visually explaining their
attitudes. They removed the twin poles of bleeding trees and the chasm under the Hanged Man's
head, thus severing his connection to the universal mother symbol. Waite’s depiction of the Hanged
Man brought a significant change to the iconography of the twelfth trump as he replaced the traditional
form of the gibbet with the image of a Greek tau. Waite’s preference for the Greek letter tau over the
Hebrew letter tau suggests a Christian coloring of the symbolism. As Waite explains:
…the tree of sacrifice is living wood, with leaves thereon; …the face
expresses deep entrancement, not suffering; …the figure, as a whole,
suggests life in suspension, but life and not death. …on my own part,
it expresses the relation, in one of its aspects, between the Divine and
the Universe. He who can understand that the story of his higher nature
is imbedded in this symbolism will receive intimations concerning a
great awakening that is possible, and will know that after the sacred
Mystery of Death there is a glorious Mystery of Resurrection.
As the young Hanged Man matures, he generally falls in love and marries; consequently, the
next card discussed in this chapter named the Life Cycle of Men is the Rider-Waite-Smith the Major
Arcana Lovers card.
The Rider-Waite-Smith The Lovers – VI
The Rider-Waite-Smith Major Arcana number six card is the Lovers. The
card has a black border and the Roman numeral six in black is at the upper center of the card on a
brightly shining sun, and at the bottom of the card within a beige rectangle with a thin black border
81
are the words the Lovers in bold black capital letters. The sun shimmers in the zenith and beneath
there is a great winged figure with extended arms. This angelic figure raising from the clouds, has
wings of red and black, a crown of yellow, orange and green leaves and wears a loose purple tunic.
The leaves of different colors might symbolize the changing of the seasons, as leaves change their
color according to seasons during the natural cycle of the year.
In the foreground of the Lovers card, there are two naked human figures, male and female,
similar to Adam and Eve in paradise. The two naked figures suggest youth, virginity, innocence and
love, before the fall. The visual concept of paradise continues on the rest of the card. Both naked
figures stand on lush and fertile land, while a large volcanic mountain looms in the background
between the angelic figure, the sun and the blue sky. The volcanic mountain in the background is
rather phallic and probably represents the eruption of passion that happens when man and woman
meet in full frontal nudity.303
Behind the man, there is a tree of flames bearing twelve fruits, which represent the Tree of
Life, passion, the primary concern of the man and the twelve flames suggest the twelve zodiac signs,
the symbol of time and eternity. The Tree of the Knowledge of Good and Evil is behind the woman,
with the serpent twining around it and has five fruits, symbolizing the five senses.304 The Tree of Life,
centrally planted in the Garden of Eden is a universal symbol, and represents different ideas across
various cultures and religions. The Celts believed that the roots represent the other world, the trunk
represents the mortal world and connects the roots and branches, and the branches represent the
world above, or the heavens, while in Buddhism, the Tree of Life is known as the Bhodi-tree and is
believed to be the Tree of Enlightenment.305 In Norse mythology, The Tree of Life Yggdrasill formed
a link between the gods, mankind, the giants, and the dead meaning that it was visualized as a kind
of ladder stretching up to heaven and downwards to the underworld. 306 In both Judaism and
Christianity the Tree of Life, mentioned in the book of Genesis is within the Garden of Eden and a
source to eternal life, supposed to have healing properties and its fruit grants immortality sustaining
and nourishing life.
The Tree of Knowledge of Good and Evil too, centrally planted in the Garden of Eden
symbolizes the ability to make judgements. In the myth of Genesis, God decided that Adam and Eve
were too young and immature to grasp the concept of making decisions on subjects they did not
actually understand and thus forbade them to eat the fruit from the tree. Whether he intended them
to gain enough wisdom to have moral maturity or wanted to keep them as sinless babes is not a
303 . "Lovers Tarot Card Meanings", Biddy Tarot, accessed November 2019, https://www.biddytarot.com/tarot-card-
meanings/major-arcana/lovers/
305 . "Meaning of the Tree of Life", One Tribe Apparel, accessed November 2019,
https://www.onetribeapparel.com/blogs/pai/meaning-of-tree-of-life
306
. K. Crossley-Holland, Book of Norse Myths: Gods of the Vikings, Penguin Books Kindle Edition
82
response that can be postulated in this research. Eventually, when the serpent tempted Eve, and she
in turn tempted Adam to eat from the fruit of the Tree of Knowledge of Good and Evil, with the promise
that their eyes would open and they would become like God. Having eaten from the fruit, they
committed the original sin that brought about the fall and punishment, loss of immortality and a great
deal more.
The serpent is the symbol of wisdom, immortality and sex and through eating; the fruit of the
forbidden tree the first woman and man discovered sex and were able to reproduce themselves and
create new life, while on a spiritual level they discovered the possibility of regaining the original
unity.307 The philosophical debate on whether Adam and Eve should or should not have eaten the
fruit from the Tree of Knowledge of Good and Evil was and still is an ongoing one, having created
innumerable works of art, literature and philosophy.
The number six of the Lover's card is the number of completion because in Genesis God
finished creating the world within six days. As a six-pointed star, it is composed of two triangles, one
pointing upwards and the second downwards. The upper triangle is the male fire triangle that points
to Eros, Fate, the figure in the heavens over which we have no control and the lower triangle is the
water triangle that points to earth and the realm of human choice and together they create the star of
human destiny, which includes and transcends both.308 Moreover it is the symbol of Solomon, where
microcosm and macrocosm intertwine, symbolize the Hermetic maxim of "as above so below", the
mystic marriage of Shiva and Shakti, and the Egyptian sign of regeneration.309
In the aspects of iconology, the Lovers Tarot card has changed throughout the years. The
Platonic belief that divine love is the motivating power of the cosmos was widely entertained by
Renaissance humanists, thus the earliest Tarots simply depicted a pair of lovers.310 Below a tapestry
from the fifteenth century Netherlands portraying a loving couple.

309 . Ibid, p. 137
83
Figure 20. Artist unknown, The Marriage of Blanchefleur from the Story of Garin and Bégon, c. 1460-1480, tapestry of
wool and silk wefts on an undyed wool warp, Southern Netherlands311
The Visconti-Sforza Lovers card depicts a couple holding hands, while blindfolded Cupid throws a
javelin at them. In the Tarot de Marseilles, a fourth figure who seems to be a priest, performing the
marriage of the Lovers was included alongside the man and woman symbolizing the union of love.312
In a further development of the Tarot de Marseilles, the scene changed into a seeing Cupid sending
his arrow to a young man between an older woman and a younger one. There have been many
explanations to this scene. Some like Cavendish maintain that the young man, stands between the
two women, one old and the other young who seem to be trying to lure him in different directions with
Cupid hovering above.313 Nichols provides yet, another view explaining that at a symbolic level for the
Lover to become his own man, he must pull himself free from the womb that seeks to contain him and
step forth into manhood.314 The Golden Dawn redesigned the Lovers card to show Perseus rescuing
Andromeda from the monster.315
In conclusion, despite the multiple remodeling, Waite and Smith restyled the card once more.
They disposed of the priest, Cupid and older women figure replacing them with an angelic figure and
depicted the lovers as a naked man and woman living innocently in the Garden of Eden before the
fall to express human love. Waite explains:
…In a very high sense, the card is a mystery of the Covenant and
Sabbath. The suggestion in respect of the woman is that she signifies
311 . "Intricate Tapestries Set to Reach Six-Figure Sales", The Telegraph, accessed June 2019,
https://www.telegraph.co.uk/luxury/art/intricate-tapestries-set-reach-six-figure-sales/ (Sam Fogg, photographer),

https://www.samfogg.com/exhibitions/15/)
84
that attraction towards the sensitive life, which carries within it the idea
of the Fall of Man, but she is rather the working of a Secret Law of
Providence than a willing and conscious temptress. It is through her
imputed lapse that man shall arise ultimately, and only by her, can he
complete himself. The card is therefore in its way another intimation
concerning the great mystery of womanhood…316
Jung explained that the problem of opposites is the dissociation of personality brought about
by the conflict of incompatible tendencies, the result as a rule from an inharmonious disposition. It is
what is behind the mysterious royal marriage, of which, the alchemists spoke in riddles, the union of
the king and queen or the sun and the moon.317
Although some modern occultists maintain that the Hermit card belongs to the Four Cardinal
Virtues explaining that it symbolizes wisdom, I prefer to include it within the framework of the cycles
of man, as maturity brings wisdom to most people. Thus, the next card within the chapter of Life
Cycles of Men discussed is the Rider-Waite-Smith Major Arcana the Hermit card.
The Rider-Waite-Smith The Hermit - IX
The Rider-Waite-Smith Major Arcana card number nine is the Hermit. The
card has a black border and the Roman numeral nine in black is at the upper center of the card on a
blue-grey background resembling evening, and at the bottom of the card within a light grey rectangle
with a thin black border are the words the Hermit in bold black capital letters. The Hermit stands alone
at the top of a snow-capped mountain range. He is an old man with white hair and a long white beard

317 . C. G. Jung, Mysterium Coniunctionis Collected Works of C.G. Jung Vol.14 2nd (ed., and trans.) G. Adler and R. F. C.
Hull, Princeton University Press, 1977, p. xv
85
wearing grey shoes and a grey overcoat with a hood that covers his head. Depicted from his left
profile, with a long yellow staff he holds a lantern in which the six pointed star, the seal of Solomon
that represents wisdom shines at eye level. Despite the strength and brightness of the light within the
lamp, it does not spill over to larger distances and illuminates only his next few steps; since it
represents the Hermit's inner light sufficient for his goal. Thus, he symbolizes introspection and
meditation.
The number nine of the Hermit's card represents the height of power attainable by a single
digit, the ability to return mathematically to itself forming a new configuration initiating a new cycle of
expanded dimensions. It symbolizes the number of days for initiation to the Eleusinian mysteries, the
period of gestation for humans, the evidence that the Romans celebrated a feast of purification for all
male infants on the ninth day, same as they buried their dead on the ninth day and had a feast every
ninth year in honor and memory of the dead. 318 Thus, as being card number nine, the Hermit is
complete in himself, self-possessed and self-sufficient, corresponding to the sign of Virgo.319 Below
an illustration by Cesare Ripa named Loyalty. Although, the figure in this case is female, the attributes
of the desolate land and the lantern that emits a rather scant amount of light is enough for the
individual to find her way .
Figure 21. Cesare Ripa, Loyalty, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia (Moral Emblems)320

320 . C. Ripa, Iconologia or Moral Emblems, London: Benz Motte, 1709, p. 49, Figure 194
86
The lamp and the light within it symbolize wisdom, inner light of truth and conscience illumined
by the intuition.321 His long overcoat signifies protection and his spermatozoon tipped wand, is similar
to the serpent wand Moses had. The wand has phallic connotations and the Hebrew letter yud, with
which, many a cartomancer including Waite connected the Hermit card.322 Moreover, it represents
power and authority. The grey color of his shoes and overcoat characterizes neutralization and inertia,
meanings derived from the color of ashes.323 The Hermit embodies opposite poles of being with his
lamp and beard suggesting the fiery yang and his flowing robe indicating the dark watery yin.324 The
symbolic gesture of holding the light at eye level is a gesture derived from descriptions of the famous
pre-Christian Greek ascetic Diogenes who as a Cynic, was said to go about the city in daylight holding
a lantern high before him as a symbol of his quest for a virtuous man.325 In the Kabbalah, the Hermit
is the symbol of the creative occult principle of Ein-Soph, while in the modern study of symbols; he is
the personification of the age-old wisdom of humanity, or of the collective unconscious.326 The Hermit
is the ancient one who holds the lamp of esoteric language that unfortunately, though complete, is
often impractical except in intellectual circles.327 Waite refutes this concept and explains that:
…The variation from the conventional models in this card is only that
the lamp is not enveloped partially in the mantle of its bearer, who
blends the idea of the Ancient of Days with the Light of the World. It is
a star, which shines in the lantern. I have said that this is a card of
attainment, and to extend this conception the figure is seen holding up
his beacon on an eminence. Therefore, the Hermit is not, as Court de
Gebelin explained, a wise man in search of truth and justice; nor is he,
as a later explanation proposes, a special example of experience. His
beacon suggests, where I am, you also may be...328
From the point of view of iconology, since the time when it appeared in the first Tarot deck,
the Hermit card has been described as the Old Man, the Hunchback, the Capuchin, and Saturn the
321 . G. Schueler, "Chaos and the Psychological Symbolism of the Tarot", 1997, accessed July 2018,
325 . Place, The Tarot: History, Symbolism, and Divination, p. 138 Cynic is a branch of philosophy that believed true value
was only found through the rejection of the comforts and conventions of civilization. References to Diogenes were common in the
Renaissance.
87
god of time in different configurations of the Tarot decks, until his depiction in the Rider-Waite-Smith
deck. Some have connected him with Hermes Trismegistus, King Solomon and Rosenkreuz, the
mythical founder of Rosicrucians.329 On the one hand, similar to the Fool, he is a wanderer, who no
longer needs to consider what lies behind, since he has assimilated the experiences of the past. 330
Neither does he need to scan distant horizons for potential, as he seems content with the present.
Waite on the other hand maintains that:
…It is further a card, which is understood quite incorrectly, when it is

connected with the idea of occult isolation… This is one of the
renderings, which we owe to Éliphas Lévi. It has been adopted by the
French Order of Martinism, and the Silent and Unknown Philosophy
enveloped by his mantle from the knowledge of the profane. In true
Martinism, the significance of the term Philosophe inconnu was of
another order. 331 Like the card itself to the truth that the Divine
Mysteries secure their own protection from those who are
unprepared…332
The figure of time associated with the Hermit, derives from the image of the classical god
Saturn, who was the god of time and depicted as a hunched old man. In the middle Ages, he gradualy
became identified with wisdom and the alchemist tradition making Saturn the highest manifestation
of thought, representing him as a bearded or winged old man holding, a sickle, an hourglass and a
billhook or as an old man leaning on a crutch.333 Below a French tapestry of Saturn.

330 . Nichols, Jung and Tarot an Archetypal Journey, p. 165 For more information and depiction of Saturn as the god of
time see: pp. 51-52

331
. "What Martinists Study", The Traditional Martinist Order, accessed September 2019,
https://www.martinists.org/martinism, Martinists study the natural relationships that exist between the Divine, the Universe, and
Humanity. The universe and humanity form a whole; two progressions linked one to the other and evolving together.

88
Figure 22. Castillo de Chaumont, Allegory of Time, c. 1512- 1515, tapestry made of silk and wool in the city of Lyons
France, Cleveland Museum of Art334
In early Renaissance, the perception of Saturn and time were a negative destructive force but
toward the end of the fifteenth century, due to the influence of Ficino and his Neoplatonic academy,
Saturn came to be seen by some, in a positive light as a god of contemplation and artistic genius.335
By changing this trump from an embodiment of old age and deformity to an introspective Hermit, the
Tarot reflects the Renaissance Neoplatonic view. This characterizes the Visconti-Sforza Hermit in
which the lantern was represented as the hourglass. Named Falco in the Sola-Busca deck, the Hermit
is a grey haired and bearded royal figure with a crown on his head, a wand in his right hand, praying
to the Gods of Olympus, prostrated on his knees with his face turned up, the specific gestures from
ancient pagan rituals related to the god Saturn.336
In terms of iconology, it seems Waite and Smith chose to depict the Hermit in such a manner
intentionally, since Waite suggests that Divine Mysteries secure their own protection from those who
are unprepared.337 Such rationale harmonizes neither with the iconography of previous older decks,
nor with Jung's concept of individuation for achieving inner unity and the symbol of the ‘mana’
personality. In men's life cycle, death occurs after old age.
According to Jung, the Old Man, particularly when invested with special powers or prestige, is
the symbol of the ‘mana’ personality, specifically the spirituality of the personality, which emerges
when consciousness is overburdened with clarified, apprehended and assimilated matter welling up
334 . Castillo de Chaumont, Allegory of Time, Cleveland Museum of Art, accessed September 2019, http://clevelandart.org/
336. Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, p. 160 While reciting the prayer on their knees, the
people worship the gods of Olympus, they touch the ground with their right hand and simultaneously lift one knee. Then they
pronounce the invocation again, they kneel once more and touch the ground with their left hand repeating the same invocation.
89
from the unconscious.338 Similar to the Hermit when a person undergoes the process of individuation,
it is an extremely difficult task; an intensely personal experience and mostly a lonely one, enabling
the individual attain inner unity, and less fear while being exposed to chaotic mundane events.
…Even more of a Hermit…" says Jung, "…is mankind itself, for the
human race, by virtue of its unique capacity for consciousness, stands
alone on this planet, cut off from all living creatures by its psychic
differences from them…339
In conclusion; whether the Hermit's portrayal in previous Tarot decks as the Old Hunchback
in the Visconti-Sforza Tarocchi deck, the Capuchin in the Tarot de Marseilles deck, Falco praying to
the Gods of Olympus in the Sola-Busca Tarocchi deck, the Renaissance concept of Saturn the god
of time in art; Waite defines him as a symbol of mundane attainment. Waite suggests that Divine
Mysteries secure their own protection.340 Such rationale harmonizes neither with the iconography of
previous older decks, nor with Jung's concept of individuation for achieving inner unity and the symbol
of the ‘mana’ personality. In men's life cycle, death occurs after old age.
As the old man depicted as the Hermit dies of old age, the next card discussed in this chapter
is the Raider-Waite-Smith Major Arcana Death card.
The Rider-Waite-Smith Death XIII
The Rider-Waite-Smith Major Arcana card number thirteen is Death. The

card has a black border and the Roman numeral thirteen in black is at the upper center of the card
338
. Cirlot, Dictionary of Symbols, p. 243
339. C. G. Jung, "Civilization in Transition", The Collected Works of C.G. Jung, Volume 10, (eds.) G. Adler & R. F.C. Hull,
New Jersey: Princeton University Press, 1970, pars. 525-526
90
on the flag that Death - the grim reaper carries, and at the bottom of the card within a light grey
rectangle with a thin black border are the words Death in bold black capital letters. Seen from his right
profile the skeleton named Death, his face hidden within the fold of a red plumed helmet, clad in black
armor rides his pale horse trampling under his hooves everyone: male, female, paupers, kings,
children and young people on his way while a bishop with clasped hands awaits his end.
The energy of the rider who might also symbolize one of the Four Horseman of the Apocalypse
serves as a breaking force to loosen the chains, which bind and hold back change.341 The skeleton is
the archetypal Homo sapiens, the scaffolding of flesh and muscles, the jointed framework upon which
everything else hangs together, moves and functions as a unit.342
In his left hand, Death holds a black flag emblazoned with a white rose, which signifies life and
the Virgin Mary. The wide river that runs at the background probably symbolizes the river Styx in
Hades' underworld from which Charon rowed his ferry with the dead or with the river Jordan, which
according to Christian hymns crossed at death to reach heaven. At the left of the card are two towers
where the sun of immortality blazes in between. As rivers move with gravity, towers struggle against
it raising from below to above against the pull of gravity thus, they are phallic symbols of
transformation, pride, power, ambition and collective ability, as they demand huge resources of skill,
time and wealth to construct.343
Within the framework of iconology, the number thirteen of the Death card was purposely
chosen since, it was considered an unlucky number especially in Christianity as the result of the
thirteen men who sat at the last supper that ended with the betrayal of Jesus. Moreover, there is no
room on our calendar and no spot on our clock for the number thirteen.344 In ancient Tarot decks, the
card was unnamed for the fear that to name the grim reaper was to summon him.345 Men have always
been involved in trying to solve and deal with the mystery of death since time immemorial. In ancient
societies, each year the old king was symbolically killed, dismembered and ritually eaten to ensure
the fertility of the new crops and the revitalization of the kingdom. 346 In Egyptian mythology, the
skeletal figure of Death corresponds to Seth, brother to Osiris, who committed fratricide. This act
enabled Osiris's resurrection, just as spiritual death enables transformation. For Christians death is a
fundamental mental dynamic principle, without which eternal life and resurrection would not be
possible.347
The image of death as a skeleton developed in the mid-thirteenth century in France and

91
became popular because of The Dance of Death, an allegorical dance or work of art in which Death
triumphs over individuals of every age and class.348 It was an allegorical concept that combined the
essential ideas of the inevitability and the impartiality of death expressed in the drama, poetry, music
and visual arts of Western Europe because of the Black Death and the Hundred Years War.349 Below
an illustration from Ripa's book Iconologia depicting the skeletal figure of death, who wears a rich
mantle and who holds his mask away from his face, enabling the viewer a glance of his true face.
Figure 23. Cesare Ripa, Death, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia (Moral Emblems)350
The Visconti-Sforza Tarocchi Death card depicts a standing skeleton with bow and arrow in
hand, the Sola-Busca Death Tarocchi named Catone seems to be a high-ranking general standing
amidst rank vegetation, living arms and heads protruding from the ground with his lance stuck on a
severed head. In the Tarot of Marseilles, the grim reaper is depicted harvesting the heads and arms
of men and women both nobles and commoners with his scythe to prepare the way for rebirth and
regeneration.351 Below a copper engraving by Albrecht Durer from the sixteenth century depicting
Death in a similar visual manner to the representation of Waite and Smith's Death Tarot card, though
in Waite's case the card does not include the devil.

349 . "Dance of Death", Encyclopaedia Britannica, accessed November 2019, https://www.britannica.com/art/dance-of-death-
art-motif
350 . C. Ripa, Death, Iconologia (Moral Emblems), p. 53, Figure 211
92
Figure 24. Albrecht Durer, The Knight, Death and the Devil, c. 1513-1514, copper engraving, 25 x 19.6 cm, The Met
352
New York
Waite and Smith redesigned the card completely because of the vision in the Book of
Revelation depicting Death on a pale horse and in Anglo-Saxon and Germanic folklore, the pale horse
is the steed of death.353 According to Waite, "…life is perpetuated in change thus; it is fitter to be
represented by an apocalyptic vision than a crude reaping skeleton..."354 It seems that Waite and
Smith preferred to embellish their Death Tarot card by two means. First, as their habit, they added a
multitude of symbols on the card and second they decided to sophisticate the depiction of Death. The
foundation of this visual representation was probably William Blake's drawing of Death on a Pale
Horse, a fashionable concept during the early twentieth century as seen below.
Figure 25. William Blake, Death on a Pale Horse, c. 1800, pen, Indian ink, grey wash and watercolour on paper, 39.5 x
31.1 cm, Fitzwilliam Museum Cambridge, United Kingdom355
352 . The Met New York, accessed October 2019, https://www.wikiart.org/en/albrecht-durer/the-knight-death-and-the-

devil-1513, http://www.metmuseum.org/toah/works-of-art/43.106.2
353
355 . Wikimedia. org,
accessed November 2019, https://commons.wikimedia.org/wiki/File:William_Blake_-
_Death_on_a_Pale_Horse_-_Butlin_517.jpg
93
In conclusion, the Rider-Waite-Smith Death Tarot card is an acculturated visual accumulation
of the previous Death Tarot cards. The solitary skeletal figure of the Visconti-Sforza Death Tarocchi
from the fifteenth century and the skeletal figure in the Tarot de Marseilles deck were transformed
into Death on a Pale Horse in the twentieth century on the Rider-Waite-Smith Death Tarot card. The
concept of Death as a skeleton existed from the beginning of the mid-thirteenth century in France and
developed with time into a skeletal figure wearing a mask, a hood and riding on a horse. Since
according to cartomancy the Death Tarot card is a symbol of renewed life, after and through death, it
is a symbol for the cycle of life or a symbol of change and transformation in this life.
As Jung explains: "…to accept that you perish in time, is sort of a victory over time…not
wanting to live is synonymous with not wanting to die for becoming and passing away are the same
curve."356 While Waite explains that, the card symbolizes rebirth, creation, destination, renewal, and
the rest.357 Actual physical death of the body and rebirth of the soul or psychological rebirth and
regeneration of the psyche is a complicated question to answer despite the changing depictions of
the Death Tarot card throughout five hundred years. It would be important to remember that literature,
poetry and art have never had any qualms to deal with the subject. Since death is inevitable to all
living organisms and the earliest Tarocchi loathed to utter the word, we can only deduce that with time
cartomancy preferred to interpret the outcome as renewal and transformation.
The next cards discussed are from the chapter I have named The Rider-Waite-Smith Tarot
Deck – The Royal Court.
356 . C. G. Jung, "The Interpretation of Visions", Spring 1960 1961 1962 The annuals of Archetypal Psychology and Jungian
Thought (Spring), Spring Publications; omnibus edition, 1973, p. 156

94
Chapter 6
The Rider-Waite-Smith Tarot Deck The Royal Court
The royal court, the center of the kingdom is the residence and administrative headquarters of
monarchies large and small, since time immemorial. Other than the residing monarch and his family,
the household consist of large numbers of employees from nobles, to all the usual servants such as
builders, cooks, secretaries, dressmakers, house cleaners, footmen and include military forces
providing security like soldiers, knights and pages. Specialists such as artists, musicians, fools, clock-
makers and poets too, have a place within the court of the monarch. Consequently, the next chapter
of the Rider-Waite-Smith Tarot cards named the Royal Court contains the Empress and Emperor,
Queens, Kings, Knights and Pages will be discussed in the following pages. Since the Empress
appears before the Emperor within the Major Arcana in the Rider-Waite-Smith deck, the rest of the
court cards follow the same pattern in this research, first with the Empress followed by the Minor
Arcana Queens and then the Emperor, and the Minor Arcana Kings, Knights and Pages.358 However,
it is important to express that within the Minor Arcana court cards the King precedes the Queen. The
first card discussed in this chapter is the Major Arcana Empress.
358 . The formula of Empress Tarot card that precedes the Emperor card, within the Major Arcana exists since the first deck
named the Visconti-Sforza Tarot deck.
95
The Rider-Waite-Smith Empress - III
The Rider-Waite-Smith's Major Arcana card the Empress, has the Roman
numeral three in black at the upper center of the card. The card has a black border and at the bottom
of the card, there is a grey rectangle with the words the Empress in black capital letters. She is a
stately seated figure, with rich embroidered vestments and the royal aspect of a daughter of heaven
and earth.359 Her white flowing robe consists of embroidered stylized pomegranates sliced open to
reveal their red seeds and green stalks. She sits full-face glancing straight at the viewer, though her
body slightly turns to the right. She is in the middle of a lush garden, an open and natural setting,
sitting on a red velvet embroidered couch with a tasseled bordered pillow. On top of her blond
longhaired head is a diadem of twelve stars, gathered in a cluster. On the heart-shaped bouche shield
that stands next to her throne is the symbol of the planet and the Goddess Venus.360 While, a field of
corn echoing the color of her hair is ripening in front of her dais, a flowing stream waters the lush
garden around her. An orb surmounts the scepter, which she bears in her right hand.
The astrological symbol of Venus on her shield portrays a woman, touched by the Goddess
Venus and associated with the Goddess Ceres of vegetation and inspiration; her court is a center for
creative arts and has a genius for bringing people and ideas together in a dynamic way.361 Bellow an
illustration by Ripa named plenty, a beautiful woman crowned with a garland, a cornucopia and
sheaves of barley; a concept that the Empress symbolizes.
360 . "Bouche Shield" Discover Middle Ages, accessed Jan. 2019, http://www.discovermiddleages.co.uk/medieval-shields/
The bouche shield was used with a lance, normally while jousting. There is a ridge in the middle of the shield, which deflects weapons
away. The shield also has a groove on the top of the front plate where the knight can rest his lance.
96
Figure 26. Cesare Ripa, Plenty, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia (Moral Emblems)362
Venus, who was also a Goddess of gardens, owned a garden, which was not a haven of
virginal seclusion, but a place of sensual pleasure and the earthly paradise of love.363 Both her flowery
dress and the garden, where she sits in, represent fecundity and signify ephemeral beauty and the
dualism of life and death. The garden symbolizes bliss, innocence, order, safety and peace and is
possibly one of the greatest mystical, philosophic and religious symbols. Since the dawn of history,
there have been gardens wherever there was a civilization. From the hanging gardens of Babylonia,
those of ancient Egypt and to Zen ones, gardens symbolize rest and relief from the heat of the sun
with shade, water, flowers, animals and fruit trees.
The ear of corn is consider to be an attribute to the Virgin Mary and the Goddess Demeter,
whose mysteries at Eleusis, were believed to hold the eternal key to immortality, while water falling
into a pool is a symbol of the union between male and female, bringing life to parched soil.364 Since,
the Empress' attribute is the element of water; the river that runs on the card has form, function and
a process that enables etiological myths and symbols to arise because as all rivers, they have a
source, tributaries and flow downward to their end into a body of water. Their downward movement
from beginning to end symbolizes freshness, flow, time, movement, change, transformation and the
endless circle of life and death.365
In 1855, Eliphas Lévi exchanged her imperial crown to a stellar one, naming her: the woman
clothed with the sun and crowned with twelve stars, from the Biblical book of Revelations named
Venus-Urania, and later altered to Isis-Urania by the Christians.366 The twelve stars on her crown
362 . C. Ripa, Iconologia (Moral Emblems), p. 1, Figure 1

364 . Ibid, p. 79
97
symbolize the twelve signs of the zodiac and point to, a deeply rooted solar or zodiacal symbolism.367
A crown is a symbol associated with royalty, since royalty is bestowed by divine recognition in almost
all cultures; it is a symbol of ultimate achievement, the sign of victory and pre-eminence in any field
of endeavor.368 Being set on the top of the head makes it a sign of overriding significance, because
its circular shape is a representation of perfection that combines what is above to what is below.
Symbolically, the meaning of the crown derives from that of the head, linked in a strictly emblematic
manner. Consequently, one can conclude that a crown does not merely surmount the top of the body,
but rises above it and therefore symbolizes, in the broadest and deepest sense, the very idea of pre-
eminence.369 The Empress signifies the door or gate to obtain an entrance into this life, as into the
Garden of Venus; and then the way, which leads out therefrom, into that which is beyond, is the secret
known to the High Priestess.370
Within the aspect of iconology, the cult of the Cosmic Mother appeared at a time in history
when humans were not aware of the biological role of men in the creation of the next generation and
thought that children were implanted into women by nature's magic. As Eliade expresses the idea:
"…what we would call the 'divinities of earth' were really 'divinities of the place' in a sense of cosmic
surroundings."371 When the true origin of children became clear, then motherhood became attached
to earth and to the chthonic realms.372 Women were represented in the material culture of the ancient
world but, there were authoritative parameters controlling how they could be depicted and in which
contexts. These unofficial socially defined norms and values varied greatly across time, geographic
region and in accordance with the status of the woman honored, thus the portraits of imperial women
transcended many of these parameters, could be set up in public, were commemorated in Greek and
Roman society and the rhetoric of feminine virtue in these eras.373
The Empress, supreme archetype of femininity and fertility to whom the High Priestess
channels down to earth for the rest of humanity was often pictured as a pre-Christian Goddess. At
her highest and brightest, the earthly Empress illuminates the heavens and synthesizes their powers.
With her free flowing hair, she is a liberated woman from certain constraints of church but not of
society. As the card that expresses best the pure feminine principles, the Empress is the symbol of
the eternal mother, considered responsible for the education of her children, while she expresses love


371 . M. Eliade, Patterns in Comparative Religion, New York, 1956, p. 243
372 . Wang, The Jungian Tarot and its Archetypal Imagery, p. 60
373 . "Art and Women in the Ancient World", Art of the Ancient World, accessed May 2020,
https://warwick.ac.uk/fac/arts/classics/intranets/postgrads/modules/art/week_seven_art__women.pdf
98
and authority at the same time.374 In reality, the Empress was often a frustrated young woman from a
high-noble background, who was generally married to a strange old man because of political
motivations between royal families, and that was something that the common people could not
understand.375
The Rider-Waite-Smith Empress card associates the early twentieth century British viewer
with a new dimension of awareness through her intuitive understanding. As expected by all British
royals, she is sitting in a space governed by restrictive and ordering principles such as culture, art and
divine commandment, protected from dangerous snares and untamed nature. Despite modernization,
the psychoanalysis of Freud and Jung, scientific progressions and the Suffragette Movement, Waite
maintained that she is "…the inferior Garden of Eden, the Earthly Paradise all that is symbolized by
the visible house of man."376, demoting her once more in his and the British society's patriarchal
attitude of the early twentieth century era.
It is notable to mention that The Visconti-Sforza and the Tarot de Marseilles Empress cards
are similar in their depiction, other than some details that were probably the result of the visual
expectations of the card players during the specific historical eras of design. The Visconti-Sforza
Empress wears a golden woven and/or embroidered gown covered with blossoms, often used by
Filippo Maria Visconti to indicate his own daughter, Bianca Maria Visconti.377 The texture of the dress
includes the three interlocking diamond rings symbol of the Sforza family, and a crown named Piumai
with a green feather, which is transpierced by a palm and olive branch, symbol of the Visconti family.
Below a painting of Empress Bianca Maria Sforza. This painting enables the viewer to see how the
Empresses, was actually represented by the artists of the fifteenth century.
374
. It is crucial to state that, most twenty-first century Western women neither accept, nor agree with these attributes
bestowed upon them since the dawn of monotheism.
375
. "Imperatrix – Empress", The Tarot Wheel, accessed Jan. 2019,
http://tarotwheel.net/history/the%20individual%20trump%20cards/imperatrix.html

377 . "The Empress", Tarot.com, accessed Jan. 2019, https://www.tarot.com/tarot/cards/the-empress/visconti
99
Figure 27. Giovanni Ambrogio Predis, Portrait of Bianca Maria Sforza, oil on panel, c. 1493, 51 x 32.5 cm,
National Gallery of Art Washington D.C. 378
While, the Tarot de Marseilles Empress wears the colors the Virgin Mary. This specific
Empress card; might have originally been influenced, by medieval paintings of the coronation of Mary
as queen of heaven, dressed in royal robes, crowned and throned like a Byzantine empress.379 Below
a detail from a mosaic in St. Peter’s basilica, San Marco, Florence depicting Mary, queen of heaven
dressed in her full glory in spite of never having been a historical Empress but received her elevated
status from the Christian religious authorities.
Figure 28. Unknown artist, Maria Regina - Mary Queen of Heaven, c. 705-707, detail of mosaic from the oratory
of John VII that used to be in the funerary chapel of Pope John VII in Old St Peter's Constantinian Basilica in Rome and
after its destruction, was moved to St. Peter’s basilica, San Marco, Florence380
378 . National Gallery, Washington DC., accessed Jan. 2019, https://www.nga.gov/collection/art-object-page.1192.html

380 . DOCPLAYER, The-earliest-images-of-maria-regina-in-rome-and-the-byzantine-imperial-iconography accessed Dec.
2018, https://docplayer.net/61169859
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Waite and Smith changed the Empress's shield from the Visconti-Sforza Empress' and the
Tarot de Marseilles Empress' bouche 381 shields, with a crest of an imperial black/gold eagle
emblazoned on.382 Since the female eagle is larger than the male one, it is often a feminine symbol
and in the case of Alchemy where the eagle is interchangeable with the phoenix and a bird that
signifies the spiritualization of instinct.383 Waite who was interested in giving his Empress a softer,
more feminine and loving touch replaced the fearsome eagle with a bouche shield into the heart
shaped shield with the symbol of the planet and the Goddess Venus.
Moreover, Waite and Smith transformed the golden crowns studded with jewels of the other
Empresses to Eliphas Lévi's stellar diadem of twelve stars and the rather plain thrones into a red
velvet embroidered couch with a pillow and a tasseled border. Waite and Smith were not interested
in deleting but adding or keeping the well-recognized visual symbols.
As a symbol of female perfection, she was usually, portrayed on the Tarot cards as a young,
beautiful and distant figure. In medieval Europe, The Empress card represented whatever queen
currently ruled the land, probably to satisfy the Inquisitors.384 In Renaissance Art, the Empress was
the irreproachable Lady of high family, married to one of the most powerful man in Europe, mother of
his heir and head of the Imperial family when receiving guests or when conducting parties.385 As the
horizon of expectation metamorphoses through time, different aspects of the work in front of it will
come into view for different historical audiences.386
In conclusion, in terms of iconography the Empress Tarot card has mostly kept its visual
continuity with symbolic additions since, she was first portrayed in the Visconti-Sforza Tarocchi deck.
She is the supreme archetype of female secular authority and political power on and behind the
throne.387 She is the link between the Magician's fiery yang energy and the High Priestess's watery
381
. "Bouche Shield" Discover Middle Ages, accessed Jan. 2019, http://www.discovermiddleages.co.uk/medieval-shields/ A
bouche shield is a shield, used with a lance, normally while jousting. There is a ridge in the middle of the shield, which deflects
weapons away. The shield also has a groove on the top of the front plate where the knight can rest his lance.
382 . J. E. Cody, Birthing Eternity: A Different Perspective on the Four Horsemen of Revelation, Bloomington, IN: West Bow
Press – A Division of Thomas Nelson, 2013, p. 116 The eagle is the king of birds and the symbol of royalty especially in Europe. The
eagle symbolizes courage, action and protection. Historically the eagle has always been a symbol of royalty, since the times of the God
Horus in Ancient Egypt, of the God Jupiter in Rome and later both the Roman and Byzantine empires.
384 . "The Empress", Tarot.com, accessed Jan. 2019, https://www.tarot.com/tarot/cards/the-empress/visconti
385 . "Imperatrix – Empress", The Tarot Wheel, accessed Jan. 2019,
386 . M. A. Holly, "Reciprocity and Reception Theory", A Companion to Art Theory, (eds.), P. Smith and C. Wilde, Oxford
U.K: Blackwell Publishers Ltd, 2002, p. 451. The links with Gombrich’s concept of ‘the beholder’s share, ‘making and matching’
and the falsification hypothesis in Art and Illusion: A Study in the Psychology of Reciprocity and Reception Theory Pictorial
Representation, 2nd rev. (ed.) (Princeton University Press, 1961) are explicit, most likely because both Jauss and Iser trace their
intellectual ancestry, in part, through the philosopher of science, Karl Popper. ‘For progress in science’, Jauss says, ‘as for that in the
experience of life, the most important moment is the “disappointment of expectations”: It resembles the experience of a blind person,
who runs into an obstacle and thereby experiences its existence. Through the falsification of our assumptions we actually make contact
with “reality” ’ (Toward an Aesthetic of Reception 1982) pp. 40–1, citing Popper’s ‘Natural laws and theoretical systems’, Theorie und
Realitat, H. Albert, (ed.), Tubingen, 1964, pp. 87–102.
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yin energy, giving them a body in the word of sensory experience. Her card's number three stands for
the reconciliation of opposites that produces a new unity, the union of male and female, which creates
the child and heir.388 According to Nichols, the High Priestess and the Empress are similar in their
iconology, but differ in a few aspects.
…the High Priestess is linked with Isis and gestation, the Empress is
associated with Ceres and vegetation. The High Priestess is a virgin,
while the Empress is a royal queen. The High Priestess serves the
spirit with patience and passive waiting; the Empress fulfills the spirit
and symbolizes action and completion. While the High Priestess is
ruled by love and guards something old, the Empress rules by love and
reveals something new...389
As the ultimate mother archetype, she is a horn of plenty, which implies her body's inherent
capacity to bear and nurture.390 Jung maintains that the place of magic transformation and rebirth,
together with the underworld and its inhabitants, are presided over by the mother. In her destructive
aspect, the mother archetype may connote anything secret, hidden, and dark; the abyss, the world of
the dead, anything that devours, seduces, and poisons that is terrifying and inescapable like faith. 391
As the cosmic mother she is personified either by the Phoenician Goddess Asherat of the Sea, known
as Mother of the Gods or Creator of the Gods, or the Egyptian Goddess Isis. Egyptologist Wallis
Budge explained:
Isis was the great and beneficial Goddess and mother whose influence
and love prevailed all Heaven and Earth, and the abode of the dead,
and she was the personification of the great female, creative power,
which conceived, and brought forth every living creature and thing,
from the Gods in Heaven, to men on earth.392
The mother archetype is essential to the process of self-realization, especially for a man,
because she is the extension of the qualities of the anima. Consequently, the insights into the

390
. I. Saelid Gilhus, "The Gnostic Myth and the Goddess Myth: Two contemporary responses to Questions about Human
Identity", New Age Religion and Globalization, (ed.) M. Rothestein, Aarhus Denmark: Aarhus University Press, 2001p. 121
391 . C. G. Jung, “The Mother Archetype”, The Collective Works of C. G. Jung – The Archetypes and the Collective
Unconscious, Vol.1, Part 1, New York: Pantheon Books, 1957, p. 82

392 . E. A. Wallis Budge, The Gods of the Egyptians, vol. 2, New York: Dover Publications Inc., 1969, p.203
102
mysteries of the mother archetype hide historically in the most cryptic language of both iconography
and iconology. As the representation of the anima, she is symbolically associated to both the element
of earth and water, portrayed timeless and wise. According to Jung, her knowledge is an ancient,
enigmatic and intuitive wisdom, whose true function in the mind is creativity.393
Is the Empress behind her serene and regal portrayal in the various Tarot decks a witch or a
goddess, a devouring mother or a Madonna, a noble young woman married off against her wishes or
a wise woman who pulls the strings behind the throne, a femme fatale or a femme inspiratrice?394
There is no simple answer to this query. The Empress card probably encapsulates all of these
iconographic and iconological attributes. Artistically - according to how the illustrators wanted to
portray her within the boundaries of their art, symbolically - the particular attributes by which means
to represent certain figures during a specific time in history and in terms of iconology - the point of
view and expectations of the spectators, for whom they designed the cards.
In the Major Arcana, the Empress card always precedes the Emperor card, this arrangement
continues while discussing the various Minor Arcana Queens too, in spite of the fact that within the
Minor Arcana, kings precede the queens. There might be two reasons for the priority of the Empress
as opposed to the queens. The first one is that historically and politically the kings of different lands,
city-states and small kingdoms were under their regime of an emperor or empress. While the other
one might be that the Empress in the Tarot is often associated with various goddesses, like Venus or
Isis and the Emperor is an earth-bound mortal. The representation of queens in Renaissance art was
nursing an infant, immersed in nature or surrounded by attributes that allude to fertility.
The next card discussed is the Rider-Waite-Smith Queen of Wands.

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The Rider-Waite-Smith Queen of Wands
The Rider-Waite-Smith Minor Arcana Queen of Wands sits on her elaborate

stone throne with her body facing the viewer and her face turned slightly to the left. The card has a
black border, a light blue rectangle at the bottom with the words Queen of Wands in black bold capital
letters and no number. Most of the background of the card is light blue – the color of the sky, while
the throne with its stone platform is situated in an arid landscape reminiscent of sand dunes. The high
back of her orange throne has decorations of red heraldic lions with crowns and statues of a lion on
either side as armrests. She holds a blossoming wand in her right hand, a sunflower scepter in her
left hand and her black feline companion is the domestic representative of the lion. She wears a long
white cape held by a red broche over her flowing yellow robes. Her crown shaped like tongues of
flames, symbolizes the element of fire attributed to this particular suit.
In terms of iconography, I shall concentrate on the sunflower scepter, heraldic lions and black
cat who belongs to the felidae carnivorous family. The sunflower symbolizes loyalty, optimism, long
life, endurance and strength to persevere through hardest moments. Since, the name of sunflower,
originated from the Greek words Helios - Sun and Anthos - flower, the ancient Greeks devoted the
sunflower to the god of the Sun, Helios.395
The Ancient Egyptians domesticated cats around 2000 - 2500 BCE. They had a great
reverence for cats and associated them with the Goddesses Bast (Bastet) and Sekhmet, as did the
Celts with the Goddess Brigid. Cats of any colour are strongly associated with magic, thus, Druidic
priests would use cat magic to cross between the spiritual and physical worlds because they are
symbolic of rebirth and resurrection, per their nine lives.396 The lion, with the repute of its noble nature,
395 . "Sunflower – Meaning, Symbolism and Colors", Flower Meanings, accessed June 2019,
https://flowermeanings.org/sunflower-meaning/ In Greek mythology, the sunflower is a symbol of the sea nymph Kiltie, who turned
into a sunflower after mourning the loss of her love, the god of the Sun of Apollo. When the sea nymph escaped into the desert, where
she was without food and water, because God Apollo began a relationship with her sister, she watched the sun all day, and after death,
she became a sunflower Nymph Kiltie who always turned to the Sun and in the expectation that Apollo’s carriages would return.
396 . P. Wigington, "Black Cats" Learn Religions, May 25 2019, accessed June 2019, learnreligions.com/symbol-black-cats-
2562705, and http://www.pure-spirit.com/more-animal-symbolism/226-pure-spirit-minneapolis-st-paul-dog-training-and-international-

all-species-animal-communication-cat
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position and title of king of beasts, is one of the most common heraldic symbols on the continent of
Europe. It has been favoured by many royal houses, as it symbolizes bravery, ferocity, strength,
movement and valour. Moreover, akin to the sunflower, it is also associated with the sun and the
element of fire similar to the suit of wands.
From the aspect of iconology, the Queen of Wands is analogous to the rest of the Minor Arcana
queens of the deck, but less elaborate than the Empress card in their depiction as; their crowns,
scepters and vestments change according to the symbol of their suit. The symbolism of the black cat
has undergone several upheavals according to historical timeframe and geography. On the one hand
fifteenth-century Italians believed that if a black cat jumped on the bed of an ill person, the person
would soon die, while on the other hand in England's border countries and southern Scotland, a
strange black cat on the front porch brings good fortune.397 Consequently, Waite and Smith who were
involved in esoteric practices placed the black cat perched on the platform of the throne. According
to Jung, the animal stands for the non-human psyche, for the world of subhuman instincts, and for
the unconscious areas of the psyche.398
Assessing the various historically previous designs of the Tarot Queen of Wands in
specifications of iconology, they are, either related to historical or mythical figures. The Sola-Busca
Queen of Wands' name is Palas, referred to as the goddess Pallas Athena one of three virgin
goddesses who was the guardian of the city of Athens.399 As to the Tarot de Marseilles Queen of
Wands, according to Huson in very early times her favorite name was Penthesilea who was a queen
of the Amazons in Greek mythology, and respected for her bravery, skill in weapons, and wisdom.
Rachel, wife of Jacob from the Old Testament, later eclipsed Penthesilea's popularity and became
the persona to whom the card was referred to.400
In conclusion, while comparing the Queen of Wands Rider-Waite-Smith card visually to the
rest of the same previous Queen of Wands cards, it is evident that there is a definite continuity in the
depiction of the subject matter. Waite and Smith embellished their card with additional symbols related
to the element of fire. A blossoming wand, which Waite described as: "…the Wands throughout this
suit are always in leaf, as it is a suit of life and animation."401 Additional symbols found in the Rider-
Waite-Smith Queen of Wands card are the sunflower scepter, a black cat sitting in front of the dais,
the two sitting lions on the sides of the throne constituting as armrests and the heraldic lions design
397 . Wigington, "Black Cats", Learn Religions, May 25 2019, accessed June 2019, https://www.learnreligions.com/symbol-
black-cats-2562705
399 . The Greek Goddess Athena/ Roman Minerva is the Goddess of wisdom, war, civilization, the arts, law and justice.
Since, she sprang from Zeus’s head, full-grown and clothed in armor, according to Homer’s Iliad, she was a fierce and ruthless
warrior. Consequently, the illustrator of the deck was aware of her powerful, attributes; preferred to endow her with this specific name
to enhance the fiery energy of the symbolism of the suit of Wands.
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on the back of the throne.
The next card discussed within this chapter is the Rider-Waite-Smith Minor Arcana Queen of
Cups.
The Rider-Waite-Smith Queen of Cups
The Rider-Waite-Smith Minor Arcana Queen of Cups sits on her large stone
throne by the calm ocean's edge on a bright sunny day, her gaze concentrating on the cup. The card
has a black border and at the bottom of the card, the words Queen of Cups appear in bold black
capital letters within a grey rectangle. Behind her are rolling yellow hills and a knoll covered with grass.
Depicted by her left profile, she holds the cup, which is the symbol of her suit with both her hands
rather than holding it between the stem and the bowl, like all the cups are held within the suit, save
for the Ace. The cup she holds is unique and elaborate within the suit of cups whilst no other cup in
the suit variates on the design so strongly, as it is lidded with two claw like black handles, a cross at
the top and actually looks more like an urn than a cup.402
Her flowing dress is white and the cape she wears over the dress, similar to the Rider-Waite-
Smith Queen of Wands is made of a flowing material, although it is a combination of a white
background with a light blue, wavelike like print. A red jewel clasp at the neck holds the cape on her
shoulders. She rests her blue shoe on the edge of the water where there are colorful pebbles and
seashells. Two mer-children (undine) who are the elemental spirits of water support the scallop carved
top of her throne on which they are perched, while the third one on the left side of the throne with a
fish in his hand is probably trying to climb up too. Her crown is in the shape of a cube that raises
upwards in an angular slant and decorated on all sides with precious gems and metal circles on each
corner.
In terms of iconography, the ocean as opposed to the concept of the drop of water is a symbol
402 . P. Down, "Queen of Cups: thoughts?", Tarot Forum, June 2003, accessed May 2019,
http://www.tarotforum.net/archive/index.php/t-14919.html
106
of universal life since it is, traditionally and scientifically regarded as the source of the generation of
all life.403 The sea shells, is one of the eight emblems of good luck in Chinese Buddhism, found in
allegories about royalty, and also a sign for a prosperous journey, since it is associated with water,
the source of fertility. According to Eliade, shells relate to the moon and to woman, since they closely
connect to the concept of the goddess in pre-monotheistic eras.404
In terms of iconology, the Queen of Cups rules the emotional realm and the element of water
is typically symbolic of the unconscious and feeling. Her lonely position at the shore indicates that she
lies in a liminal space between land and sea, the expanse where feeling and thought exist enabling
to feel and think serenely.405 The cup that is a symbol of the goddess's cauldron in many myths and
legends including those about King Arthur, thus the Queen of Cups might represent the Grail Queen
as well as the goddess of family. The waters, the moon and the woman are all associated to each
other, because the waters, although deep and chaotic, give rise to life, as do women and ruled by the
cycles of the moon.406 Thus, the ocean is equated with the collective unconscious, out of which arises
the sun of the spirit the stormy sea, as a poetic image or a dream, is a sign of an analogous state in
the lower depths of the affective unconscious, while a translucent calm, on the other hand, denotes a
state of contemplative serenity.407 According to Jung:
…water is the commonest symbol for the unconscious. The lake in the
valley is the unconscious, which lies, as it were, underneath
consciousness, so that it is often referred to as the “subconscious,”
usually with the pejorative connotation of an inferior consciousness.
Water is the “valley spirit,” the water dragon of Tao, whose nature
resembles water- a yang in the yin…408
Waite describes her as:

404 . M. Eliade, The Sacred and the Profane: Nature Religion, accessed May 2019,
https://www.goodreads.com/quotes/167288-it-was-lunar-symbolism-that-enabled-man-to-relate-and
405. "Queen of Cups", Labyrinthos, accessed May 2019, https://labyrinthos.co/blogs/tarot-card-meanings-list/queen-of-cups-
meaning-tarot-card-meanings
406
. E. Mouw, "Mircea Eliade’s Images and Symbols: An introduction to the Themes", May 10th 2018, accessed May 2019,
https://www.furorteutonicus.eu/wp-content/uploads/2018/05/Mircea-Eliade-Images-and-Symbols.pdf
408 . C. G. Jung, “Archetypes of the Collective Unconscious”, The Collective Works of C. G. Jung – The Archetypes and the
Collective Unconscious, Vol. 9, Part 1, New York: Pantheon Books, 1957, paragraph 40
107
…Beautiful, fair, dreamy as one who sees visions in a cup. This is,
however, only one of her aspects; she sees, but she also acts, and her
activity feeds her dream.409
As the well-known myth of the birth of the Goddess Aphrodite, Waite and Smith included the
motif of the shell to enhance the mystical properties of prosperity and the rising of the next generation
from the preceding one out of the primordial waters. According to Cirlot:
… its favorable meaning is, as in the case of the well and the bottle a
consequence of the thirsty traveler or pilgrim linking the shell in his mind
with the presence of water; this would explain its significance in
mediaeval allegories…410
Smith who received her inspiration from the depiction of the Visconti-Sforza Queen of Cups'
cup and changed it slightly to suit her needs. Within the aspect of iconology, the Sola-Busca Queen
of Cups' name is Polisena 411 and according to Adams Polyxena is Queen Olympias' (mother of
Alexander the Great) original name. 412 In some accounts of the myth, Alexander is the child of
Polisena and the dragon-serpent Ammon, God of all Libya in disguise. Polisena's dolphin throne
concept changed to the throne by the sea in the Rider-Waite-Smith deck Queen of Cups card keeping
with the representation related to the element of water. Below an example of a contorniate depicting
Polisena sitting on a serpent and dolphin themed, couch.
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411 . The rest of the female figures are the Queen of Cups, the Queen of Swords, the Queen of Pentacles and the Four of
Pentacles.
412 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, pp. 74-76 According to the Alexander Romance
literature, Polisena was closely associated with ecstatic mystery cults involving serpents and was the daughter of the king of Epirus
until her wedding with Philip II of Macedon. She later claimed the land on which the oracle of Dodona stood and made it her own,
since she was a princess of Epirus.
108
Figure 29. Italian mint, Veiled Olympias, Mother of Alexander the Great, Reclining on Sofa with
Dolphin-Shaped Armrest and Caressing a Rearing Crested Serpent, 375-425 AD, Bronze Coin,
Museum of Fine Arts Boston413
Despite, Adam's association of the Sola-Busca Queen of Cups Tarocchi card with the
Alexandrian theme, he maintains that if one accepts the polysemy implicit throughout the deck, the
same card may have more than one referent, thus Polisena can also be identified with the Trojan
Polyxena.414 Below an attic black figure Tyrrhenian amphora depiction the sacrifice of Polyxena by
the triumphant Greeks.
Figure 30. Unknown Artist, The Sacrifice of Polyxena by the Triumphant Greeks, Attic black-figure Tyrrhenian
amphora c. 570-550 BC, The British Museum 415
413 . Museum of Fine Arts Boston, accessed May 2019, https://www.serpentarium.org/3_coins/5_heroes/olympias/3_5_oly_003.html

414 . Adams, The Game of Saturn Decoding the Sola-Busca Deck, pp. 79-80 Further research, reveals a Greek legend
associated with the name Polyxena in which she is a daughter of Priam, king of Troy and his wife Hecuba. ("Polyxena", Greek
Mythology, accessed May 2019, (https://www.britannica.com/topic/Polyxena). According to legend, the Greek warrior Achilles fell in
love with Polyxena and was offered her hand in marriage if he agreed to end the Trojan War. At her request, Achilles went to make a
sacrifice at the temple of Apollo before the wedding, but Paris, Polyxena’s brother, ambushed him as he knelt at the altar. Paris shot a
fatal arrow into Achilles’ heel, which was his only vulnerable spot and killed him. Before he died, Achilles asked his followers to
sacrifice treacherous Polyxena to him and Neoptolemus stabbed Polyxena to death at his tomb as his share of the spoils after the fall of
Troy, though the story of Polyxena was not included in the Homeric version of the Iliad. ("The Sacrifice of Polyxena, Giovanni
Battista Pittoni", The J. Paul Getty Museum, accessed May 2019,
https://www.getty.edu/education/teachers/classroom_resources/curricula/performing_arts/downloads/polyxena.pdf
415 The British Museum, accessed May 2019, https://www.awesomestories.com/asset/view/Polyxena-Achilles-Orders-Her-
Death-0
109
In the case of the of the Tarot de Marseilles Queen of Cups the recurring phenomena of some
of the queens' cups being closed instead of open is worth mentioning, since cups closed with a lid
represents the unknown. In France, the Queen of Cups' most popular version was the Old Testament
Apocrypha heroine Judith, who seduced and then beheaded, Nebuchadnezzar's general Holofernes
while he was asleep, thus causing the besieging Assyrian army to flee the city of Bethulia. 416 As
Arthurian Romance was renowned during the Middle Agesand later on in France, the Queen of Cups
also represents the Grail Queen. Moreover, Jung maintains that the cup relates in some way to both
the Eucharistic Chalice and the vessel used in divination. As a symbol of vigor and strength, it has a
masculine character and through its shape a feminine one. Thus, the cup becomes a uniting symbol,
expressing the bipolarity of the archetype.417
In conclusion, while comparing the Queen of Cups Rider-Waite-Smith card to her
representation in older decks, there is a visual connection in the depiction of the subject matter and
the use of similar symbols. Waite and Smith preserved the previous tradition alluded to mythical
figures. Despite some moderate differences in clothing, varied according to the fashion of the specific
period, the shapes of the crowns and the natural backgrounds; there are some artistic
transformations. These are; the different style of cups that complement their visual representation
within each deck other than in the Sola-Busca one, the portrayal of the queens as sitting figures, but
only the Rider-Waite-Smith Queen of Cups is situated sitting on a throne by the sea. As an ancient
vessel used for scrying and divination, the cup is reminiscent of the cauldron used for producing many
magical potions. The design of the Tarot Cup evolved from the mythical cauldron of the Goddess
found in Avalon, where Morgan le Fay resided, to the legendary Grail and finally to the Tarot cup with
its multifaceted meanings.
This as folklorists would explain, is a process of oicotypification in which a folktale, a symbol
or the motif of a design evolve to suit the needs of a new environment and absorbed within it. C. W.
von Sydow, who formulated his theory of oicotypes, maintained that process of oicotypification
"…consists of a certain unification of the variants within one and the same linguistic or cultural area
on account of isolation from other areas."418
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Queen of
Swords.
417 . Abstracts of the Collected Works of C. G. Jung, (ed.) C. D. Rothgeb, Karnac Books: London, 1992, p. 86
418. E. Bradunas, "If You Kill a Snake the Sun Will Cry - Folktale Type 425-M A Study in Oicotypes and Folk Belief",
LITUANUS - Lithuanian Quarterly Journal of Arts and Sciences, Volume 21, No.1 - Spring 1975, p. 238, in: "Folktale Studies and
Philology: Some points of View" von Sydow 1948, and in: The Study of Folklore, (ed.) A. Dundes, Prentice Hall, N. J. 1965 accessed
July, 2009, http://www.lituanus.org/1975/75_1_01.htm
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The Rider-Waite-Smith Queen of Swords
The Rider-Waite-Smith Minor Arcana Queen of Swords card has a black

border and a grey rectangle at the bottom of the card with the words Queen of Swords written in bold
black capital letters. She sits on her elaborate stone throne decorated with a cherub with foliage
around his head, and a butterfly while her whole body faces the left. The upper part of the background
of the card is light blue, the color of the sky including a bird flying overhead. From her waist downwards
is an accumulation of many pristine white clouds that gradually turn into stormy grey ones only at the
bottom left of the card. The bottom right section of the card portrays pastures, a flowing brook and
trees blowing in the strong wind.
The straight back of her stone throne's top edges end in an ionic style. She wears a stern look
while sitting on her throne and looking off into the distance. Her left hand extended upwards as if to
offer, while her right hand is on the armrest of her throne, holding the sword the symbol of her suit,
vertically pointed towards the sky. Waite explains: "… the arm raised her countenance is severe but
chastened; it suggests familiarity with sorrow."419 She has a long white drees with bulging sleeves
that become close fitting from the elbow to the wrist. Her white cloak has a light blue design and
orange lining. Her hair is red, while her heavy golden crown has decorations of red butterflies.
As symbols of the element of air, clouds serve as symbolic and literal veils that separate what
is above from what is below. Different types of clouds bring rain, hail and snow to fertilize the land
and water condensed in clouds, returns to earth in the form of life-giving rain, invested with twofold
virtues: it is water, and it comes from heaven.420 However, because of their dual symbolism clouds
can also be harbingers of doom, disaster, glom, obscurity and dysfunction.421 The darker clouds at
the left bottom of the card might reflect upon her sorrows, while the whiter clouds symbolize the clarity
of her mind and thoughts. The accumulation of the clouds and the strong wind that passes through
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the trees, symbolize the ongoing nature of change. The Cherub, in Jewish, Christian, and Islamic
literature, is a celestial winged being with human, animal, or birdlike characteristics who functions as
a throne bearer of the Deity. Derived from ancient Middle Eastern mythology and iconography, these
celestial beings serve important liturgical and intercessory functions in the hierarchy of angels.422 The
cherubim, which stood at the entrance to Assyrian temples and palaces, were according to Marques-
Rivière, nothing less than gigantic pentacles placed there by the priests as keepers of the threshold,
a function fulfilled in China by griffins and dragons.423 While, the Egyptian cherub, emblem of the night
sky, vigilance and religion was a figure with many wings, and covered with eyes.
Butterflies have been, mostly considered as an emblem of the soul and of unconscious
attraction towards the light. The butterfly is an archetype of metamorphosis, the profoundest sort of
physical change and the inescapable symbol of resurrection. The worm-like caterpillar transforms in
its inactive cocoon stage, emerges as a gossamer creature of the air and this is the main reason
butterflies within the framework of psychoanalysis is regarded as a symbol of rebirth.424
Birds too, may symbolize human souls; one finds some of the earliest examples in in the art
of ancient Egypt. Similar to angels, they are symbols of thought, imagination and the swiftness of
spiritual processes and relationships. Other than their overall symbology, Cirlot states that:
…general symbolism has sometimes been narrowed down excessively

to the particular, as often happens in traditional symbolism…some
birds, are guileless, such as the dove; others, cunning like the partridge;
some come to the hand, like the hawk, others flee from it, like the hen;
some enjoy the company of men, like the swallow; others prefer
solitude and the desert, like the turtledove...low flying birds symbolize
an earth-bound attitude; high-flying birds, spiritual longing…425
Sometimes, birds have human heads, as in Hellenic iconography. Below a detail from a fifth
century Greek drinking cup portraying birds with human heads.
422 . "Cherub", Encyclopedia Britannica, accessed May 2019, https://www.britannica.com/topic/cherub

423 . J. Marques Rivière, Amulets Talismans et Pentacles, Paris, 1950 in Cirlot, Dictionary of Symbols, p. 35
424 . C. Joslyn, "Butterfly and Mythology", Interconnectivity: Animals Mourning Together in Modern Stories and Mythology,
accessed May 2019, http://scalar.usc.edu/works/chid490animalmourning/index

112
Figure 31. Unknown artist, Detail of Terracotta Kylix (Drinking Cup), c. early 5th century B.C. Greek (Boeotian), Classical
426
Terracotta black-figure, 8 x 30.5 x 23.7 cm, The Metropolitan Museum of Art, New York
The sword, representation of the suit is a multifaceted symbol. The sword pip cards represent
the element of air and thus the freedom and clarity of the mind that puts thoughts into action. Its
primary symbolic meaning, however, is of the power to wound, and therefore of liberty and strength.
In Alchemy, the sword is a symbol for purifying fire and the transcendent toughness of the all-
conquering spirit. Given the cosmic sense of sacrifice meaning, the inversion of the implied realities
of the terrestrial and the celestial orders, the sword is then a symbol of physical extermination and
psychic decision, as well as of the spirit and the word of God, the latter being a particularly common
symbol during the middle Ages.427 The sword itself is a weapon that represents determination of spirit
and physical destruction as the result of such resolve during conflicts and wars in the past.428
In terms of iconology Waite and Smith combined ancient and contemporary symbols, themes,
myths, legends of prophets, cherubs, butterflies, birds and swords that belong to the element of air.
Visually and from a standpoint of iconology, they complement each other because of the close links
in depicting nature and religious scenes. It is significant to stress that according to Waite, the Queen
of Swords is "…her sword notwithstanding, she is scarcely a symbol of power."429
For the purpose of comparison, evolvement and iconology of the Raider-Waite-Smith Queen
of Swords Tarot card, all the queens of Swords of the older decks hold their swords that reach their
crowns in their right hand. The Sola-Busca Queen of Swords named Olinpia430 sits on her green hydra
shaped throne with nine green heads and the extra protruding white one. Symbolically the hydra also
426 . The Metropolitan Museum New York, accessed May 2019, https://www.metmuseum.org/blogs/now-at-the-
met/2018/dangerous-beauty-interview-with-kiki-karoglou
428 . As the weapon of the warrior who defends the helpless against the forces of darkness and destruction, the sword is still,
employed during modern magical rituals to fight off dark powers that might interfere with the goal of the proceedings.
429
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430 . Adams maintains that the names Polyxena, and Olympias are both probably the name of Alexander the Great's mother's
name. It seems probable that it is the depiction of the same queen since, she was married off to Philip of Macedonia who won a horse
race in the Olympic Games the following year, and it was at this point that she began to be referred to, as Olympias.
113
named the Lernean Hydra, in Greek legend according to Hesiod's Theogony was the offspring of
Typhon, a grisly monster with a hundred dragons’ heads and Echidna who was half woman and half
serpent.431 This particular portrayal on the card's design was probably because of some of the myths
told about Olympia.432 Huson maintains that the Tarot de Marseilles Queen of Swords' name was
Pallas as early as the beginning of the sixteenth century, if not earlier.433 In both Greek and Roman,
mythology Athena/Minerva who came out of Zeus' / Jupiter's head dressed in full armor was a virgin
goddess of many characteristics including wisdom and war.434 Below picture of a detail from a black-
figured amphora.
Figure 32. Unknown artist, Divine Birth: Athena, Born from her Father’s Head, detail of an Attic black-figured amphora,
550 - 525 BCE, Louvre Museum 435
It seems that since Pallas/Athena was a maiden, poets referred to her as la Pucelle – the
maiden, a name later given to Joan of Arc whom the Queen of Swords is sometimes said to
431 . "Hydra", Greek Mythology, Encyclopedia Britannica, accessed May 2019, https://www.britannica.com/topic/Hydra-
Greek-mythology/media/1/278114/183011 The Hydra was an enormous water snake like monster with nine heads one of which was
immortal, since anytime one of his heads was cut off, two more would emerge. Heracles eventually killed him. Olinpia's symbolic
association with the hydra, via the design of her throne in the shape of a hydra is the result of her magical and oracular dealings with
serpents.
432 . Adams, The Game of Saturn Decoding the Sola-Busca Deck, p. 76 According to legend; these were situations in which,
her husband King Philip walked on her when Pharaoh Nectanebo of Egypt was resting his head on her lap and once discovered,
promptly disappeared into thin air, or when King Philip walked into his wife's chamber and found her sleeping with a dragon next to
her. Dragon, hydra or plain snakes Olympias, was known to be a devout member of the cult, of Dionysus, and might have introduced
the practice of snake handling, thus this is the main reason Adams includes the Queen of Swords within the Alexandrian theme of the
Sola-Busca deck.
434 . Ibid, pp. 230-231 During the Trojan War, she fought for the side of the Greeks and against her brother Ares/Mars who
aided the Trojans. Homer in his Iliad described how both deities battled it out on the plain in front of Troy, Pallas triumphing over
Ares, illustrating the power of the intellect triumphing over brute force.
435 . Hektoen International – A Journal of Medical Humanities, accessed May 2019, https://hekint.org/2017/01/27/divine-
birth-athena-born-from-her-fathers-head/
114
represent.436 Below a miniature of Joan of Arc wearing armor and similar to the pose of holding the
sword in the right hand while leaning it on her shoulder.
Figure 33. Unknown Artist, Joan of Arc Portrait, miniature, oil on parchment, c. 1485, Centre Historique des Archives
Nationales, Paris437
In conclusion, visually comparing the Rider-Waite-Smith Queen of Swords card to the rest of
the same cards in older decks, there is a definite continuity in the representation of the subject matter
and the use of similar symbols. The reason the Queens of Swords of the Tarocchi/Tarot in all their
configurations hold such sizable swords in their hands is a challenging question to answer. While it is
logical that most queens represented in the decks were not expected to actually fight in wars that
plagued the different city-states in Italy and France during the fifteenth and sixteenth century, they
were still portrayed with the symbols of sovereignty.
However, Waite and Smith added additional symbols as with most of their cards in their deck.
Other than the sword, they included more representations corresponding to the element of air to which
the suit belongs. These are the clouds, the bird, the cherub, the stars on the queen's crown and the
butterflies. While Waite maintains that, the Queen of Swords is not a warrior and neither the Visconti-
Sforza seems to be, while Olympia/Athena, and Joan of Arc are warrior queens, each in her on
particular field.
The next card discussed in this chapter is the Raider-Waite-Smith Minor Arcana Queen of
Pentacles.
437 . Centre Historique des Archives Nationales, Paris, ThoughtCo., accessed May 2019, https://www.thoughtco.com/joan-of-
arc-picture-gallery-4122932
115
The Rider-Waite-Smith Queen of Pentacles
The Rider-Waite-Smith Minor Arcana Queen of Pentacles card depicts a

woman with a bowed head, sitting on a decorated stone throne holding a large golden coin with the
sign of the pentagram on her lap with both hands. The card has a black outline and the words Queen
of Pentacles appear in bold black capital letters within a grey rectangle at the bottom of the card. The
Queen of Pentacles, facing left or west, and her bowed head is looking at the pentacle in her lap and
the earth below her feet. Surrounding her are snow-topped mountains, flowing rivers, a rabbit,
blossoming trees, an arbor of lush roses and green floral gardens with tulips and grass, which are
quite similar to the Raider-Waite-Smith Empress card.
The decorations of her stone throne include motifs of fruits, a variety of beasts of the earth,
bones, a goat's head, acknowledging the sign of Capricorn and a bull's head implying her bountiful
nature, since the Pentacles, the symbol of her suit is associated with the element of earth. She wears
a crown similar to a sun hat, with an attached long green veil that reaches the ground. Under her
sleeveless red dress, she has a white long sleeved bodice embroidered with yellow piping at the edge
of the sleeves and collar. Waite maintains that:
…Her face suggests that of a dark woman, whose qualities might be

summed up in the idea of greatness of soul; she has also the serious
cast of intelligence; she contemplates her symbol and may see worlds
therein...438
As previously explained the roses symbolize the microcosm, the heat of passion, rebirth and
immortality, involvement and consummate achievement.439 The red rose is the emblem of Rosalina
of Villeneuve, Saint Acisclus, Our Lady of Sorrows and Saint Hermenegild, while the tulip symbolizes
http://www.sacred-texts.com/tarot/pktpequ.htm [13/10/2002 14:29:33]

116
wealth, prosperity, commerce, trade.440 The Tulip is a symbol for charity by the Victorians, while for
the Turkish it is a symbol of paradise on earth and eternal life, and the Dutch that popularized the
flower consider it a reminder of how brief life can be.441 According to A. Graham-Dixon:
…in the secular paintings of the Renaissance that the most interesting
collisions between Christian and older forms of pagan flower symbolism
occur. The Christian notion of the flower as a symbol of chastity is
challenged by the Greco-Roman (and doubtless older) conception of
flowers as emblems of spring, new life, regeneration and the impulse
to procreation - the idea of flowers as fertility symbols, embodied in
classical mythology by the close association of the goddesses of
flowers and love, Flora and Venus...442
The various skeletal beasts on her throne symbolize her connection to earth in all the fertility
of flora, fauna and fecund growth. The goat head at the upper part of her throne's back, symbolizes
the sign of Capricorn. The bull's heads on the tip of the armrests of her throne, which are a highly
complex symbol, have various meanings in different cultures. As a result, there is a dilemma between
two opposing symbolic principles associated with the bull. Depending on the culture, on the one hand
he is associated with the lunar principle, the earth, and the mother goddess while on the other hand,
as a solar deity that is related heaven and father. Mithraic ritual seems to have viewed the bull as a
male solar and fire deity expressive of the penetration of the humid feminine principle by the
masculine to create fecundity on earth. It seems that the lunar bull becomes a solar bull when the
solar cult supplants the more ancient cult of the moon. Although, there is a possibility that the bull is
first and foremost a lunar symbol because it is equated with the moon morphologically by virtue of
the resemblance of the horns of the crescent moon, while it must take second place to the solar
symbol of the lion.443 Since, the bull is the most common tame animal in the Near East, this ancient
paradox relates to the fact that bulls symbolize lunar as well as solar attributes. Sin was a
Mesopotamian lunar god and he often took the form of a bull, while Osiris was a lunar god represented
by the bull Apis, the Vedic god Sûrya was a solar bull, and according to the Assyrians the bull was
440 . "The Rose – Obscure Symbolic Meaning of Flowers in Western Art History", The History of Art and the Curious Lives
of Famous Painters, accessed June 2019, http://www.historyofpainters.com/flowers.htm

441. "The Tulip Flower, Its Meanings and Symbolism", Flower Meaning, accessed June 2019,
https://www.flowermeaning.com/tulip-flower-meaning/
442 . A. Graham-Dixon, "Art / Say it with Flowers: Andrew Graham-Dixon views Flora Photographica' and Reflects on the
Continuing Fertility of the Floral Image", Independent, accessed June 2019, https://www.independent.co.uk/arts-entertainment/art-say-
it-with-flowers-andrew-graham-dixon-views-flora-photographica-and-reflects-on-the-continuing-1548648.html
117
born from the sun.444
The rabbit at the bottom right of the card represents the mother goddess, the Greek goddess
Hera or the European goddess Eostre from which the word Easter is derived, the German goddess
Erda and the Mesopotamian goddess Ishtar.445 The rabbit is timid and feral at the same time. It is a
symbol of fecundity since it proliferates swiftly in large amounts and symbolizes the desire of the flesh
and sensuality, cleverness as it keeps a low profile and fear because it does not have defensive
means.446 The rabbit too is associated with myths from different cultures. In the Native American
tradition, the rabbit is a trickster that shows up in various legends similar to the one of Manabozho,
the Great Hare that created the world and humanity.447 According to the Chinese, the rabbits are
among the most artistic, delicate, calm, kind and hard to ignore, because of their connection to the
moon and are a symbol of good luck, the Africans have a similar legendary rabbit figure, by the name
of Kalulu, while the Aztecs have rabbit gods associated with drunkenness and fertility.448 Below a
tapestry depicting a couple enjoying nature surrounded by a multitude of rabbits from the early
fifteenth century by an unknown artist either from the town of Arras in Flanders or a Parisian
workshop.
Figure 34. Artist unknown, The Gift of the Heart, Tapestry of wool and silk, c. 1400-1410, 2.47 x 2.09 m, Department of
Decorative Arts: Middle Ages, Louvre 449

445
. "The Rider-Waite-Smith Tarot-Queen of Pentacles", The Tarot of Eli, accessed June 2019,
http://www.elitarotstrickingly.com/blog/the-tarot-of-eli-the-rider-waite-smith-tarot-queen-of-pentacles-the-thoth
447
. "10 Rabbit Symbolism Facts & Meaning: A Totem, Spirit & Power Animal", HEP6 Informative Resource on Shaman
and Shamanism, accessed June 2019, https://www.hep6.com/rabbit-symbolism-facts-meaning-totem-spirit-power-animal/
448 . Ibid
449 . Department of Decorative Arts: Middle Ages, Louvre, accessed June, 2019, https://www.louvre.fr/en/oeuvre-
notices/gift-heart
118
In attributes of iconology, the Rider-Waite Queen of Pentacles is a culmination of the visual
and symbolic meanings of the element of earth accumulated throughout the millennia. Everything
vegetal, and especially the frequently used symbol of the tree, reveals the image of the seed and of
subliminal life in its blossoming and cyclical mystery; is visibly linked to dynamic, elemental
exchanges, and to the mysterious anamorphoses of nature.450 The summit of symbolic perfection lies
in the Renaissance art of the garden 451 revealing the most subtle relationships between overall
arrangement, geometric form, and symbolic detail (floral or animal).452
In the philosophy of the Kabbalah, her authority originates in Binah, the Third Sephira, on the
Tree of Life, in the upper part called the Supernal Triangle, which is the will to form and a force
imposed on the pure fiery energy of Chokhmah; meaning understanding, since once an idea is
grasped, it can then be modeled into manifestation.453 Waite and Smith who dealt in the Kabbalah
within the framework of the Order of the Golden Dawn purposefully chose to endow the Queen of
Pentacles with these specific attributes connecting her directly to her element, the bountiful earth and
the financial abilities.
Comparing the Rider-Waite-Smith Queen of Pentacles to the Empress of the same deck; is a
challenging situation for the viewer to understand, which one of the queens is wealthier or in a better
situation, because both of them are richly dressed, sitting in bountiful gardens with plenty of sun and
water with no wind to disturb their domain.454 Since the Queen of Pentacles, faces left or west looks
pensive as someone who has only achieved material success; from an observer's point of view, it is
not clear if the card's intention is to convey a moral theme that communicates the triviality of riches.
For the purpose of iconological comparison and evolvement of the Raider-Waite-Smith Queen
of Pentacles Tarot card, from earlier versions, it is significant to mention that the designs of the
pentacles differ. While the Rider-Waite-Smith queen has a pentacle, the Visconti-Sforza queen a
ducal coin with her family's crest, the Sola-Busca queen a blue disk within a golden one, and the Tarot
de Marseilles denier's structure is the most intricate.
From a historical point of view, the Visconti-Sforza Queen of Coins is part of the royal Visconti-
Sforza family and was traditionally, illustrated as the Sibyl or Oracle 455. The Sola-Busca Queen of
450. A. Stegman, J. P. Coursodon and E. Miller, "Richness and Ambivalence of the Symbol in the Renaissance", Yale French
Studies, No. 47, Image and Symbol in the Renaissance, Yale University Press, 1972, Jstor, Stable URL:
http://www.jstor.org/stable/2929397
451 . Pamela Colman Smith, the artist of the deck attended the Pratt Institute, an art school in New York City enabling her to
create cards using the Renaissance art of the garden, performed so effortlessly in this particular card too.
452
. Stegman, Coursodon and Miller, "Richness and Ambivalence of the Symbol in the Renaissance", Yale French Studies,
No. 47, 1972, pp. 5-18
453
. "The Rider-Waite-Smith Tarot-Queen of Pentacles", The Tarot of Eli, accessed June 2019,
http://www.elitarotstrickingly.com/blog/the-tarot-of-eli-the-rider-waite-smith-tarot-queen-of-pentacles-the-thoth
454 . "Queen of Pentacles" Tarot Card Meaning & Interpretations", Phuture Me Ltd 2010-2019, accessed June 2019,
https://phuture.me/queen-of-pentacles
455 . "Queen of Coins", Tarot.com, accessed June 2019, https://www.tarot.com/tarot/cards/queen-of-coins
119
Disks Elena is a reference to the legendary Helen of Troy wife of King Menelaus, whose elopement
with/kidnapping by Paris, son of the Trojan King Priam, lead to the Trojan War and the symbols of her
fateful future.456 On the one hand, the Tarot de Marseilles Queen of Deniers was associated with a
number of real historical queens, similar to Mary of Anjou the wife of the French King Charles VII,
Marie de Medici wife of King Henry IV and Argia daughter of Adrastus an ancient king of Argos in
Greece.457 While on the other hand, she concurrently was linked with literary and legendary queens
among them; Argia Queen of the Fays, and Agrante Queen of Avalon who seems to be an alter ego
of Morgan le Fay and the Grail Queen.458 The Rider-Waite-Smith Queen of Pentacles, who is also
associated with the legendary Grail Queen, includes most of these iconographical analysis and
iconological interpretation, according to Erwin Panofsky method of investigation of art works.
In conclusion, the artistic and symbolic progression of the Raider-Waite-Smith Queen of
Pentacles, from the Visconti-Sforza deck to Raider-Waite-Smith deck, is fascinating especially from
a historical and literary point of view. The definition of the symbol and name of the cards have changed
too. The depiction of how they hold the pentacle (coin/disk/denier) is different from queen to queen.
These different angles of looking at the Pentacle might cause the viewer to have different reactions,
both to the queens and to the symbol of their suit. Since, it is impossible to know the reason why each
artist decided to depict her in such a fashion, the answers are no more than speculation.
The Raider-Waite-Smith Queen of Pentacles, with all the symbols depicted on her card
evolves full circle to include all the elements of the previous Queens of Coins/Disks/Deniers and
includes most of these iconographical interpretations and iconological analysis. Although, the rest of
the queens do symbolize stability, fecundity and the element of earth; the Raider-Waite-Smith Queen
of Pentacles includes all of these attributes in a most convincing visual composition. Depicting a
background of bountiful earth and the Pentacle, she lovingly holds on her lap with both her hands,
she is the ultimate representation of the Queen of Pentacles among the classic Tarot decks.
456 . Adams, The Game of Saturn Decoding the Sola-Busca Deck, p. 80 On the right side of the Sola-Busca Queen of Disks
card, there is a rope decorated like a vine or a tendril that descends to her neck. The number thirteen on the card too raises some
speculations, since it is still deemed an unlucky number in Christianity, because of the thirteen followers of Christ during the Last
Supper. The rope decorated like a vine has further symbolic implications as to clarify her murder. After the war, she returned to live
with her husband Menelaus, but once he died, the two natural sons of her husband drove her from her home. Elena had to flee to
Rhodes to seek protection and live with Queen Polyxo who was a former friend. Unfortunately, she was not aware that her former
friend hated her deeply, since Queen Polyxo's husband Tlepolemus died fighting during the first days of the Trojan War. In retribution,
while Helen was bathing one day, Polyxo ordered her servants to seize her and hang her by a tree. Thus, the number thirteen and the
vine that decorates the right side of the card are not decorations at all, but the fateful symbols of the murder of Helen of Troy by her
friend the vengeful Queen Polyxo of Rhodes. Elena is also named Helena Dendritis, the Goddess of the tree in Rhodes, and the
Rhodians built a sanctuary to her afterwards. (Smith W., "Dendritis", Dictionary of Greek and Roman Biography and Mythology,
London: Taylor, Walton, and Maberly, 1870, quoted in Encyclopedia Mythica, accessed June 2019,
https://pantheon.org/articles/d/dendritis.html)
458
. Ibid, p. 174 She was the sister to the enchantress Filidea and protector of the hero Floridante written by the Ferrarese
poet Torquato Tasso. He probably drew his inspiration from a fourteenth century Spanish and Portuguese popular chivalric romance
Amadis of Gaul. It is not clear why the French designer of the card decided to illustrate the oldest looking queen in the deck, either as
the historical queen Mary of Anjou or Marie de Medici. If that was not the case and he was more interested in illustrating older
looking legendary queens, then the quandary has a simpler explanation, since they were not human; they had immense life experience
and could change their appearance at a moment's notice.
120
The next card discussed is the Raider-Waite-Smith Major Arcana Emperor. The Rider-Waite-
Smith Emperor, the kings and knights wear shining armor that first appears in the fourteenth century
before this, only the angel Michael was in Byzantine military dress, which alludes to man's
blacksmithing skills and to the power of fire to forge metals.459
The Rider-Waite-Smith Emperor IV
The Rider-Waite-Smith Emperor is the fourth Major Arcana card in the Tarot
deck, with the black Roman numeral four at the upper center of the card. The card has a black border
and at the bottom of the card, the words the Emperor appear in bold black capital letters within a grey
rectangle. The Emperor sits straightforward on a grey stone throne adorned with four ram heads, one
each at the right and left sides of the head of the throne and one each at the tip of right and left
armrests of the throne and his gaze directed at the viewer. He is dressed in full silver armor with a
rich red cape over his suit. The first tire of his gold crown is comprised of consecutive fitted squares
that are straight at the bottom and rhombus shaped at the top covered with gems and the one on the
center above the Emperor's nose-bridge has a cross. The second tire is comprised of triangles that
connect to each other creating a round shape at the top to form a sealed crown with the sign of Aries
the ram at the apex. The Emperor holds an ankh (crux ansata) in his right hand, the Egyptian symbol
of life, and in his left one, an orb representing the world over which he rules. The background of the
card depicts a range of barren orange and yellow mountains and a desert while at the bottom of the
image there is a small trickle of a stream running behind his throne. His long hair and beard are white.
Red, the color of Aries the fire sign, the first sign of the zodiac and the God Ares/Mars
symbolizes material and financial power, energy, strength, blood, passion, the life-giving principle and
Sulphur for alchemical use related to fire and purification.460 The long red cape the Emperor wears
459
. Battistini, Symbols and Allegories in Art, p. 152 & p. 208
121
indicates his status, energy and power in the material world as the ruler of the land. Orange too,
represents fire, flames, heat, pride and ambition. The orange mountains and desert sprinkled with
some yellow gives this card a harsh and barren atmosphere, shows his determination, ambition for
greater heights and leadership capability as he rules with grit, strength, authority, regulation,
organization and fatherliness. 461 The tall, impenetrable mountain range signifies the scope of his
dominion within which, he is an authority figure backed by a solid foundation. As the masculine
potency of Osiris, resurrected by Isis, the barren mountain in the background might also symbolize
the earlier condition of Osiris lying dead. His long white beard is symbolic of his experience and age-
old wisdom that has learned much about what it takes to rule, to establish power, authority and
complete order for the benefit of his people, while the position he sits in, creates the sign of Sulphur
believed by alchemists to be the active and fiery male force in nature.462
While the armor, can be a symbol of what is noble and excellent about a soldier, fighting for
justice and for their principles and traditions who is willing to put his life in danger for the good of his
country, clan or liege.463 Since armor has been around for a long time both practical and ornamental,
in most cases where there is armor, there are weapons of war because they are a form of defense.
Within the realm of psychology, either armor is a form of defense, physically or psychologically of the
personal, unconscious and self-protective reflex, that guards humans against mostly imaginary
dangers.464 The depiction of armor in works of art also alludes to men's blacksmithing skills and to the
element and power of fire to forge metals.465
The material of the crown dedicates the wearer with the form of divinity associated with that
specific material and the crown has a few artistic depictions on the Tarot deck.466 The corona is a
circle of radiance surrounding a source of illumination, the diadem a circlet around the head is a
symbol of divinely supported secular authority and the glory is an arc or circle of rays around a visual
symbol, suggesting divine inspiration or protection.467 Books on Alchemy stress the affirmative and
sublimating sense of the crown. This is the reason Jung concludes that the radiant crown is the symbol
par excellence of reaching the highest goal in evolution, for he who conquers himself wins the crown
461
. "The Emperor Meaning - Major Arcana Tarot Card Meanings", Labyrinthos, accessed Nov. 2018,
https://labyrinthos.co/blogs/tarot-card-meanings-list/the-emperor-meaning-major-arcana-tarot-card-meanings
462. Cavendish, The Tarot, p. 80
463. A. Goldstone, "Colors and Symbols in the Emperor Card in the Rider Waite Smith Deck of Tarot Cards", accessed
January, 2019, http://ezinearticles.com/?COLOURS-and-SYMBOLS-in-the-EMPEROR-Card-in-the-Rider-Waite-Smith-Deck-of-

Tarot-Cards&id=5530763
467 . Ibid, pp.12-14
122
of eternal life. Secondary or more particular meanings sometimes arise from the shape or the material
of the crown on occasion differing considerably from the basic meaning outlined above.468
The ankh constructed by a male vertical line, rising through the female horizontal is
transformed into the immortal rising sun, indicates the Sun God Horus. In Egyptian hieroglyphics, it
stands for life or living (Nem Ankh) and forms part of such words as health and happiness.469 Enel
analyses this hieroglyph as follows:
…Judged from the macrocosmic point of view that is of its analogy with
the world, the Ankh-cross may represent the sun, the sky and the earth
(by reference to the circle, the upright and the horizontal lines). As a
microcosmic sign that is by analogy with man, the circle would
represent the human head or reason (or the ‘sun’, which gives him life),
the horizontal arm his arms, and the upright his body. In sum, the most
general significance of the cross is that of the conjunction of opposites:
the positive (or the vertical) with the negative (or horizontal), the
superior with the inferior, life with death…470
The four ram's heads mark the beginning of an organized structure and the division of time
into finite periods.471 Since, these are the cornerstones of civilization; the Emperor is the embodiment
of the logos, practicality, stability, and perspective, which are many of the aspects of the father
archetype. The card's number four is symbolic of wholeness representing men's orientation to reality.
As the number, four plays a decisive role as an ordering factor, both on the heavenly and earthly
planes it would be beneficial to include some of the important fours. Some of these include:
…four directions of the compass, four basic geometric figures (square,

circle, triangle and line), four seasons, four winds of heaven, four rivers
of Eden, four elements (air, fire, water and earth), four qualities of the
ancients (warm, dry, moist and cold), four beasts of the Apocalypse,
four humors (sanguine, phlegmatic, choleric and melancholic), four
Evangelists (Mathew, Luke, Mark and John), four prophets (Isaiah,
Jeremiah, Ezekiel, and Hosea), four angels (Michael, Raphael, Gabriel
and Uriel), four basic operations of arithmetic (addition, subtraction,

469 . Ibid, p. 70
470 . Enel, La langue Sacrée, Paris, 1932, p. 19, in Cirlot, Dictionary of Symbols, pp. 70-71
123
multiplication and division), and the four cardinal virtues (justice,
prudence, fortitude and temperance)…472
The number four represented by the four ram's heads, on the Emperor's throne, and
elucidated according to Jung's theories who identified four fundamental psychological functions:
thinking, feeling, sensation, and intuition, while each function can be experienced in an introverted or
an extroverted fashion. Jung maintained that generally, one of the functions is more conscious,
developed, and dominant. "Sensation tells that something exists, thinking tells what it is, feeling tells
whether it is agreeable or not and intuition tells whence it comes and where it is going."473 For the
individual, a combination of all four functions results in a well-rounded approach to the world. Jung
claims:
…in order to orient ourselves, we must have a function which

ascertains that something is there (sensation); a second function which
establishes what is (thinking); a third function which states whether it
suits us or not, whether we wish to accept it or not (feeling); and a
fourth function which indicates where it came from and where it is going
(intuition)…474
Jung divided these four functions into two groups, which he named: perception and judgment.
Perception expresses what is transpiring, being the process by which humans receive information
while judgmental functions are thinking and feeling, thus taking decisions about what to do with the
information gleaned by perception. Sensation operates through the physical senses, the eyes, ears,
etc., and is the means by which one discovers the facts, while Intuition shows meanings and
relationships that are beyond the reach of the senses. Sensation is the function of the factual memory;
referring to a focus on direct sense experience, perception of details, and concrete facts,
communicating to one how things are and how they used to be. Based in the present, Sensation
relates to what is going to happen now, while intuition expresses how situations are likely to develop
in the future. Intuition and sensation are two sides of the same coin. Intuition is the function of
imagination; a way of comprehending perceptions in terms of possibilities, past experience, future
goals, and unconscious processes, telling one how things might turn out. The same principle applies
to thinking and feeling. Thinking expresses whether something is logical and rational, being concerned
with objective truth, judgment, and impersonal analysis. As opposed to decision making according to

474 . Frager and Fadiman, excerpt from: Personality and Personal Growth
124
the criteria of logic or efficiency and similar to thinking; feeling focuses on value; conveying what it
valuable, including judgments of good vs. bad and right vs. wrong. The everyday world, which
humans see with their senses, is what Jung calls the sensation function. In order to be able to achieve
full potential as human beings one must learn to move into other realms.
The concept of the All-Father, the supremacy of the male seems to be a later development,
since, in most of the earliest creation stories, pieced together, involve a mother goddess from which
the father somehow emerges.475 While, in the Sumerian creation story, it was the mother who ruled
supreme she was overthrown as the Babylonian civilization exchanged her with a father god, thus
setting the stage for the Judeo-Christian religions. The Emperor is the key father archetype, thus
according to Jung:
…determines the relations to man, to law, to the state, to reason, the

spirit and dynamism of nature…he is that what moves in the world like
the wind; the guide and creator of invisible thoughts and airy images."476
Below an example of a painting of Emperor Charles II, by artist John Michael dressed in
Parliament robes over the Order of the Garter costume, wearing the Crown of State, the Sword of
State, and holding the new Orb and Scepter made for his coronation, which is similar to the attributes
seen on the Emperor card.
Figure 35. John Michael Wright, Charles II, oil on canvas, c. 1670, 281.9 x 39.2cm, Throne Room,
Palace of Holyroodhouse 477
475 . Wang, The Jungian Tarot and its Archetypal Imagery, pp. 66-67
476. C. G. Jung, "Civilization in Transition",
Collected Works of C.G. Jung, Volume 10, (eds.) G. Adler & R. F.C. Hull, New
Jersey: Princeton University Press, 1978, p. 65
477 . Royal Collection House, accessed May 2019, https://www.rct.uk/collection/404951/charles-ii-1630-1685
125
From the aspect of iconology, the Rider-Waite-Smith Emperor card is the visual culmination
of its predecessors, and influenced by the portrayal of the United Kingdom's paintings of previous
monarchs. The background of the card stresses the vastness of the empire on which the sun never
sets, a motto that was true until the early 1900s, since the British Empire ruled vast lands in most
continents. While the Emperor sitting face forward on his throne enables the viewer to realize his
infinite power.478
For the purpose of iconological comparison, development and evolvement of the Raider-
Waite-Smith Emperor Tarot card, the various older Emperor cards are visually different despite
including some similar elements Waite and Smith built on. Corresponding to the Rider-Waite-Smith
Emperor, both the Visconti-Sforza card, and the Tarot de Marseilles portray older men, while the Sola-
Busca is much younger. The Visconti-Sforza Emperor's vestments include the blossoms, and the
three interlocking rings, symbols of the Sforza family. Opposed to the ram's heads that symbolize the
Rider-Waite-Smith Emperor's connection to mark the beginning of an organized structure, the Tarot
de Marseilles and the Visconti-Sforza Emperors have an eagle emblazoned that symbolizes the same
concept.
While discussing the gradual transformation of the Emperor cards, it is important to refer to
historical events. In the year eight-hundred A.D., in an effort to unite the Church and secular power,
the Pope crowned the Frankish King Charlemagne as the Holy Emperor.479 The Sola-Busca Emperor
card named Mario refers to the Roman General Gaius Marius, who historically was a blood thirsty,
aggressive, ruthless and unbridled general.480 Dressed in full military uniform, a scepter typical of
those born under the sign of Saturn481, a winged metal galea helmet found in mythology as well as in
history and weapons, he rides a tree stump like a hobbyhorse .482 The object at the top left corner of
the card that consists of seven concentric rings enclosed in an eighth area, within where there are six
stars, which is a depiction of the classic era emanative model of celestial spheres described in
478
. It would be worthwhile to mention that there are many more such paintings of various British monarchs similar to this
style.
479 . Wang, The Jungian Tarot and its Archetypal Imagery, pp. 65-66 The goal was to create the ideal Christian empire as
heir to the ancient Roman Empire and a ruler who would become the secular counterpart of the Church. In the mid-fourteenth century,
the Holy Emperor was Frederic the III, who was a cousin by marriage to the Sforza family. Thus, in terms of iconology the Emperor
card of the Visconti-Sforza was probably designed to enhance the prestige of the family that ruled Milan, especially because in
medieval and Renaissance iconography, the Emperor was a reflection of contemporary society in which the formalities of chivalry and
knighthood were in their last flowering.
480
. There is a myth, that he sacrificed his own daughter to please the Gods in exchange for winning wars as Agamemnon
did.
482 . "Did Ancient Warriors Really Go to Battle Wearing Winged Helmets?" Ancient Origins, accessed June 2018,
https://www.ancient-origins.net/myths-legends-europe/did-ancient-warriors-really-go-battle-wearing-winged-helmets-009895 In
mythology, these specific helmets were associated with the Greek God Hermes/ Mercury as well as the Norse gods. Historically,
although the winged helmet is often associated with the Celts and Vikings while, many variations of the winged helmet were also used
by different peoples during various periods of history.
126
Timaeus.483 As opposed to the Rider-Waite-Smith Emperor who sits face forward with a stern look,
the Tarot de Marseilles Emperor's relaxed pose expresses that he is an authoritative figure who is not
in danger from either within or outside of his realm, since he symbolizes the logos.
Within the feature of iconology, in most decks the Emperor represents the ruling father figure
who guides his people with the assistance of logos. He remains an older male figure who has the
ability, knowledge and experience to lead his people in war and in peace whether they are a small
nation or a vast empire. Words are the result of logos and the basis for organized thought and as
such have the power of creation, preservation and integration. Words, as in the Bible, were the means
God utilized the logos principle to create the universe. The Emperor too, although is not expected to
create a universe, but to create and inspire a stable, lawful and practical realm.
In conclusion, the Rider-Waite-Smith Emperor Tarot card number four is, from a Jungian point
of view the animus; the male counterpart of the female anima. Although his portrayal has changed
gradually from the Visconti-Sforza to the Rider-Waite–Smith card, the vestments of the Emperor
include the color red symbolizing his close connection to the God Ares/Mars, material and financial
power, strength, blood, and the life-giving principle. He carries a scepter and wears a crown in
different configurations, but does not always carry a sword or wear armor.
In spite of the elimination of the divine mother by the logos of the father, the traditional
sequence of the Emperor card following the Empress similar to the High Priestess following the
Hierophant, cards is significant in its conceptual similarity of ancient myths of a mother goddess. This
may suggest an archetypal relationship, which transcends culture.484 In the configuration of the Tarot
deck since it was first produced, as in Sumerian mythology, the father plays a role that is secondary
to that of the mother, unlike the divine patriarchy established with the destruction of the mother
goddess Tiamat by the god Marduk, in the Babylonian epic of creation the Enûma Eliš.485
The next card discussed in this chapter is the Rider-Waite-Smith minor Arcana King of Wands.
483 . Adams, The Game of Saturn Decoding the Sola-Busca Deck, p. 56 According to Roman belief these symbolize the then
known seven planets encased in the outer circle that represented outer space including stars that represented the home of the souls.
This specific model; was essentially built on Neoplatonic metaphysics in which during reincarnation the soul passes from the eight
sphere down to each of the seven spheres, inheriting specific qualities, but loosing memories of past lives, while in death the process is
reversed. It is no wonder that the designers of this deck chose such a blood thirsty general to portray the Emperor card since; they were
created in Ferrara, during the 1482-1484 Ferrara against Venice war, probably because the ruler of Ferrara was interested in proving
his might both in military endeavors, and within social and cultural circles.
485 . A. Heidel, The Babylonian Genesis, Chicago, 1967, accessed May 2019, oi uchicago.edu,
https://oi.uchicago.edu/sites/oi.uchicago.edu/files/uploads/shared/docs/misc_genesis.pdf, p. 40
127
The Rider-Waite-Smith King of Wands
The Rider-Waite-Smith Minor Arcana King of Wands sits on his throne seen
from his left profile. The card has a black outline and most of the background of the card is yellow, as
is the rectangle at the bottom of the card with the words King of Wands in Black capital letters. The
high back of his bright yellow throne has decorations of salamanders and lions in black. Actually,
there is also a small salamander near the foot of the King making his way to the throne. The King of
Wands uplifts a blossoming wand in his right hand and his left hand rest on his knee. His robe is bright
orange resembling a flame and the lapel of his vestments is the yellow echoed by the color of the
shoes, cuffs and wide collar on which there is an intricate necklet, probably made of gold and precious
gems. His cape partially under the lapel of his vestments is yellow with black designs. He sits on a
yellow platform on orange ground that symbolizes the earth of his domain. He wears, a cap of
maintenance like the three corresponding kings in the remaining suits, beneath his crown. 486 His
crown is in the shape of tongues of fire, symbolizing the element of this particular suit. Below a picture
of the crown of King Christian IV of Denmark resembling the King of Wands crown.
Figure 36. Dirich Fyring, Odense, The Crown of King Christian IV of Denmark, c. 1595-1596, Rosenborg Castle,
Copenhagen 487
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487 . Wikimedia Commons, accessed May 2019, https://commons.wikimedia.org/w/index.php?curid=370600, (Ikiwaner –
photographer)
128
The cap of maintenance is a ceremonial cap of crimson velvet, lined with ermine, worn or
carried by certain persons as a sign of nobility or special honor and one of the insignia of the British
sovereign.488 The blooming wand according to Waite is "The Wands throughout this suit are always
in leaf, as it is a suit of life and animation, emotionally and otherwise."489 A blooming wand might
symbolize the power and capacities of the King of Wands, as he has the ability to breathe life into his
wand and resurrect it.
Paracelsus who was a Swiss physician, alchemist, and astrologer of the German Renaissance
attributed the salamander to the element of fire, probably by the sixteenth century. The salamander
is a mythological fire-spirit, a kind of lizard, believed to inhabit the element of fire and in graphic
symbolism, and in Alchemy, signifies fire, which in fact constitutes its general significance.490 Most of
the popular myths seem to originate from the European species, the fire salamander (Salamandra),
which hibernates in hollow, decaying logs of wood during the winter months and since, when woken
abruptly from hibernation, their natural reaction would be to make a quick escape giving the mistaken
appearance that they were born, or generated from fire and flame. 491 Consequently, they were
endowed with the mythical ability to raise from fire and make them immortal.492
The King of Wands associates with the symbol of the lion emblazoned on the back of his
throne. As previously explained, the lion is a symbol of fire and strength as well.493 It is one of the
most preferred symbols of leadership and emperors, and used for many centuries, as a sign for all
that is considered as majestic because of its noble character, alertness, courage, strength, and
power.494
The King of Wands often associated with the astrological sign of Sagittarius, whom Greek
mythology correlates with the centaur Chiron, Achilles' mentor, one of the Greek heroes of the Trojan
War and was the eldest and wisest of the Centaurs, a Thessalian tribe of half-horse men, an immortal
son of the Titan Cronus and a half-brother of Zeus.495 As part of the Fire Trigon, the King of Wands
488 . "Cap of Maintenance - Crimson Ceremonial Cap", Hat Guide, accessed May 2019, http://hatguide.co.uk/cap-of-
maintenance/ Usually, the Leader of the House of Lords carries it directly before the monarch at the State Opening of Parliament. For
their coronation, Kings, up to and including George VI, have usually worn the Cap of Maintenance for the journey to Westminster
Abbey immediately prior to the service.
http://www.sacred-texts.com/tarot/pktwaqu.htm [13/10/2002 14:26:39]
491
. "Mythical Beasts: The Salamander", Under the Influence! Myths, Legends, Folklore and Tales from around the World,
accessed May 2019, https://ztevetevans.wordpress.com/2014/04/02/mythical-beasts-the-salamander/
492 . The iconographic motif of the salamander biting its own tail - Ouroboros was explained in the Raider-Waite-Smith
Magician. (see: pp. 29, 30, 41, 43, 44)

493
. See Queen of Wands p. 104-105
494 . "What Does a Winged Lion Symbolize? Know the Mythological Backing", Mysticurious.com, accessed Dec. 2018,
https://mysticurious.com/what-does-winged-lion-symbolize
495 .
A. J. Atsma, "Chiron (Kheiron)", Theoi Project © Copyright 2000 – 2017, accessed May 2019,
https://www.theoi.com/Georgikos/KentaurosKheiron.html
129
depicts a natural born leader of his people, capable of great force and independence who insists on
being in charge. According to Waite: "… he is an ardent, lithe, animated, impassioned and noble…"496
Consequently, it is plausible that both Waite and Smith who were versed in mythology, history and
Alchemy created the King of Wands card with these specific attributes and symbology.
For the purpose of comparison and evolvement of the Raider-Waite-Smith King of Wands
Tarot card, the Visconti-Sforza King of Wands' elaborate reddish crown has jewels in a design similar
to tongues of fire, as do the Rider-Waite-Smith, the Sola-Busca and Tarot de Marseilles ones whose
crown is on top of a wide red blue and white hat. As opposed to the rest of the Kings of Wands, only
the Visconti-Sforza king holds a scepter. The black eagle on his doublet is both a symbol of royalty
and the motto of the Visconti-Sforza family signs, sigils and colors, representing the attire of the kings
and rulers of the Renaissance.497 His scepter with the orb on top is a depiction of one of the oldest
forms of scepters found in Italy. Although, most of these scepters have been lost or destroyed, it is
very plausible that during the fifteenth century; they could still be found in certain areas, or seen in
ancient drawings.498 Below the picture of the scepter, believed to have been held by the Roman
Emperor Maxentius, as it was uncovered in a dig in Rome.
Figure 37. Artist unknown, Emperor Maxentius' Scepter, c. 306-312 AD, two to three foot ivory rod topped with a
blue globe, National Museum of Rome499
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497. (see: the Visconti-Sforza Empress card in the Appendix p. 361)
498 . M. Moore, "Scepter from Roman Emperor Exhibited", The Telegraph, accessed April 2019,
https://www.telegraph.co.uk/news/worldnews/1544019/Sceptre-from-Roman-emperor-exhibited.html According to Malcolm Moore,

Augustus as a symbol of Rome's power introduced scepters that were often two to three foot ivory rods topped with a globe or an
eagle. Roman Emperors while riding in chariots to celebrate military victories carried them. The only Roman emperor's scepter to have
been found has gone on public display in Rome for the first time. The scepter is topped by a blue orb that represents the earth, was
discovered at the end of 2018, and believed to have been held by Emperor Maxentius, who ruled for six years until 312AD. The
scepter was found at the base of the Palatine hill, carefully wrapped in silk and linen and placed in a wooden box.
499 . Ibid
130
The Sola-Busca King of Wands' name is Levio who was the Italian name for a first century
BCE slightly obscure Latin poet, whose name was Laevius and often confused with a third century
BCE playwright Livius Andronicus who was taken hostage by the Carthaginians during the second
Punic War.500 Therefore, the presence of these two figures in the development of drama was an
important aspect of secular theatre in Ferrara.501
From the beginning of the sixteenth century the name of the Tarot de Marseilles King of Wands
was Caesar after the Roman emperor Julius Caesar; one of the Nine Worthies and the incarnation of
courage, determination, a builder and bringer of civilization.502 Below a painting of King Louis XIV
dressed almost like the depiction of the Tarot de Marseilles card.
Figure 38. Artist unknown, Portrait of Louis XIV, c. 1670, oil on canvas, 196.5 x 159 cm, Palace of Versailles503
In conclusion, in terms of iconography, the King of Wands from the various decks have not
changed much, until the Rider-Waite-Smith deck. The main differences are the shapes of the wands
each king holds in his hand, as each wand is similar within the depiction of the suit, the different
crowns and the background of the cards that mainly portray the outdoors as a backdrop. While some
of the Kings of Wands wear a suit of armor, some do not.
From the point of view of iconology, whether the King of Wands has been associated with real
or literary kings he remains a man of great force who rules his vast land.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana King of Cups.
500 . Adams, The Game of Saturn Decoding the Sola-Busca Deck, p. 81

501 . Ibid, p. 83 To boost the city-state's morale after the loss to Venice in the fifteenth century, the rulers of Ferrara used the
citadels and squares of the city as backdrops for diverse theatrical performances. The card's composite references to Ferrara's interest
in drama is an overwhelming role accorded to the Greek Goddess of fate and destiny Heimarmene in the deck's worldview.
503 . "About the Fashion", Fashion History Timeline, accessed May 2019, https://fashionhistory.fitnyc.edu/1701-hyacinthe-
rigaud-louis-xiv/
131
The Rider-Waite-Smith King of Cups
The Rider-Waite-Smith Minor Arcana King of Cups card has a black border
and the upper part of the background is light grey. At the bottom of the card, the words King of Cups
appear in black bold capital letters within a light grey rectangle. The king sits on a throne set upon the
wavy sea on which there is a ship with red sails on the left side and a leaping dolphin on the right
side. He holds a short Egyptian lotus shaped scepter that ends in the shape of a cup in his left hand
and a yellow golden cup in his right one, the sign of the cups naturally refers to water, which appears
in all the court cards.504 He wears a fish pendant and a blue cap of maintenance beneath his heavy
golden crown encrusted with red gems. His throne, including the stone platform, the wide round back
and the elaborate Egyptian lotus shaped handles are stone grey. Although, he sits facing the viewer
with his body, his face is slightly turned to the left. His long yellow cape covers his neck and has wide
pipping that widens into a scarf reaching the seat of the throne. Under his cape, he wears a light blue
garment. The yellow shoed right foot faces forward, while the left one faces the left side.
The card contains diverse iconography, including the cup, the dolphin and by extension fish,
the sea and the ship. The cup that the King of Cups holds in his hand is the symbol of the suit of cups,
a feminine symbol that represents nature and the cauldron of the mother known as the great goddess.
As previously explained, the cups are associated with powerful topics pertaining to emotions, the
heart and the psyche.
The dolphin is an allegory of salvation, inspired in the ancient legends, which show it as men's
friend, associated with pagan, erotic deities and other symbols. The ancients also held that the dolphin
was the swiftest of marine animals, since it signified arrested speed and prudence.505 In classical art,
as the special messengers of the Greek god of the sea Poseidon, dolphins are often depicted giving
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rides to both mortals and gods.506 For those who made a living by the sea dolphins became a symbol
of Jesus Christ, a friend and deliverer to the safer shores of heaven.507 Fish signify the watery realms
of profound emotion, dreams and intuition, which is the main meaning of the suit of cups, since they
are living examples in nature illustrating how to acquire intuitive knowledge of an environment through
methods outside common sensory perception.
The ship is a multifaceted symbol. Ploughing through the seas, the ship is emblematic of joy
and happiness. It is also a mystic idea analogous to the mystery of the fall of the soul into the material
plane of existence, by the process of involution and to the necessity of its returning to the starting-
point; a mystery, which has been expounded by Platonic idealism and by Plotinus in particular.508
Moreover, the ship symbol relates to the holy island of Avalon, as far as both have the differentiation
from the formless and hostile sea. Another meaning for the ship derives from the notion of sailing,
which is the symbolism of the Ship of Death. As the implication is the desire to transcend existence
and to travel through space to the other worlds, since the mast in the center of the vessel gives the
expression to the idea of the Cosmic Tree incorporated within the symbolism of the Ship of Death or
Ship of Transcendence.509
In terms of iconology, the King of Cups card refers to both Christian and pagan concepts. As
a Christian one, it refers to the miraculous catch of two fish to feed the five thousand hungry Christian
followers at the beginning of Jesus’ ministry, and the other after his resurrection. As a pagan concept;
it refers to the gods of the sea, fertility and was sacred to the Greco-Roman mythology, where it held
a symbolic meaning of change and transformation. Both Waite and Smith who were familiar with the
pagan and Christian imagery of various symbols like the sea, the fish, the dolphin, the ship and the
cup incorporated them into in to the card. As we shall see later, these are included in most of the
cards of the suit of Cups.
Similar to the Rider-Waite-Smith Tarot King of Cups, all the Kings of Cups in the diverse decks
have elaborate cups/chalices as symbols of their suit. The Visconti-Sforza King of Cups holds a cup
made from six tires.510 The Sola-Busca King of Cups has a colossal golden cup next to the right panel
of his throne, similar to the shape of two cauldrons (chalices) with an elegant leaf pattern resting on
each other's rim.511 While the Tarot de Marseilles King of Cups holds a golden cup in his right hand.
506 . As dolphins had distinguished meaning in the pagan world, the symbol was adopted by the early centuries of
Christianity.
507 . "Here’s why there are Dolphins in the Christian Catacombs", Aletelia.org, accessed June 2019,
https://aleteia.org/2017/06/20/heres-why-there-are-dolphins-in-the-christian-catacombs/
509
. Ibid, p. 295
510 . For a more detailed shape of the cup see the Visconti-Sforza Ace of Cups in the Appendix
511 . This pattern was probably created by using the repoussage and the embossing techniques. While the repoussage
technique refers to shaping metal by hammering from the reverse side, the embossing technique refers to shaping metal by hammering
on the front side. Generally, the two techniques were used in conjunction.
133
In conclusion, while comparing the King of Cups from the different decks to the Rider-Waite-
Smith one, each specific card has its own iconology. As opposed to the Rider-Waite-Smith King of
Cups, the rest of the kings are associated with historic individuals; the Visconti-Sforza with one of the
family's rulers, the Sola-Busca depicts the Roman general Lucius Caecilius Metellus who defeated
the Carthaginian forces during the Second Punic War and later became consul, Pontifex Maximus
and eventually dictator.512 According to the theory of the Nine Worthies, the King of Cups in the Tarot
de Marseilles is Charlemagne, the first Holy Roman Emperor of the West, protector of the Roman
Catholic Church, embodying the peace and stability his rule brought to Europe.513 Waite and Smith
utilized and merged some of the symbols from the previous King of Cups cards, but also added a
variety of features correlating to the element of water. Although the cups themselves are visually
different, they all relate to the depiction of the cups within their decks. The composition of the Rider-
Waite-Smith King of Cups' throne on the wavy sea with a ship and a dolphin enriches the visual and
symbolic meanings of the card, inexistent details on their counterparts.
The next card discussed in this chapter named the Royal Court is the Raider-Waite-Smith
Minor Arcana King of Swords.
The Raider-Waite-Smith King of Swords
The Rider-Waite-Smith Minor Arcana King of Sword sits on his sumptuous

stone throne facing the viewer. The card has a black border and the words; King of Swords appears
in black bold capital letters within a grey rectangle at the bottom of the card. The high back of stone
throne has decorations of butterflies, waning and waxing moon crescents and an angel whispering in
the king's ear symbolizing guidance. Most of the background of the card is light blue, the color of the
sky with a few grey storm clouds and two birds. As the king is sitting outdoors, there are trees blowing

134
in the wind on both sides of the throne, positioned on fertile green and brown land. He holds his large
unsheathed sword in his right hand and his left hand rest on his left leg. His vestment is light blue, a
shade darker than the sky behind him, while the long sleeves are red, the same color of his cap of
maintenance similar to the three kings in the remaining suits. His purple cape has an orange lining.
His helmet similar to a crown with three tiers is comprised of a thin circlet of gold, followed by a much
thicker one, encrusted with precious gems and the third one is in the shape of an inverted bowl.
Since most of the symbols on the card were already explained, the focus is on the two birds
and the crescents of waning and waxing moons. According to Norse mythology, these are Odin's
ravens named Huginn (thought) and Muninn (memory). Odin the principal god in Scandinavia during
the pre-Christian era was a god of war, wisdom, protector of heroes and a powerful magician. From
the high seat of Hlidskjalf, in his hall Valaskjalf, he could survey all that happened in the nine worlds.514
These two ravens sit on Odin's shoulder and whisper all they have seen or heard during the daily tour
on which Odin sends them every morning. The main source for this myth is an evocative stanza in
the Eddic poem Grímnismál, in which Odin says: "Huginn and Muninn fly every day over the entire
world; I worry for Huginn that he might not return, but I worry more for Muninn."515 As symbols of air,
to which the suit of Swords relates to, birds soaring heavenwards or swooping down to earth, denote
sublimation and condensation, in turn correspond to evolution and involution, or spiritual progress and
regression.516
Figure 39. Artist unknown, Huginn and Muninn Sit on Odin's shoulders, c. eighteenth century, Icelandic manuscript,
Iceland517
514
. K. Crossley-Holland, The Book of Norse Myths: Gods of the Vikings, Penguin Books Ltd. Kindle Edition
515. D. McCoy, "Huginn and Muninn", The Poetic Edda, Grímnismál, stanza 20, Norse Mythology for Smart People,
accessed June 2019, https://norse-mythology.org/gods-and-creatures/others/hugin-and-munin/
517 . "Huginn and Muninn", Wikipedia. org, accessed June 2020, https://en.wikipedia.org/wiki/Huginn_and_Muninn
135
The different phases of the moon have always fascinated humans who in diverse ancient
pagan religions have identified it with either a goddess or a god depending on their specific myths
and cosmology. While the time of the waxing moon crescent is associated with plans, dreams, ideas
and focus for growth and commitment, the waxing moon crescent relates to a time to prepare for the
start of a new beginning. The King of Swords as the leader and master of the suit of swords
symbolizes action, movement, acceleration, thought, communication, keenness and logic. Wang
maintains that he is a strong-willed person, who may seem aggressive and volatile, but usually
appears calm and reasonable.518 According to Waite:
…He sits in judgment, holding the unsheathed sign of his suit, recalling
the conventional symbol of Justice in the Trumps Major, and he may
represent this virtue, but he is rather the power of life and death, in
virtue of his office…519
Despite wearing crowns, suits of armor and brandishing their swords all the Kings of Sword
cards are visually dissimilar, since they represent different historical kings. The Visconti-Sforza King
of Swords traditionally represents the archetype that might be Solomon, the ancient lawgiver and
philosopher of the Old Testament.520 The King of Swords in the Tarot de Marseilles deck was alluded
to King David of the Old Testament. A poet, harpist, conqueror of Goliath and the Philistines and one
of the Nine Worthies, as he was considered by his elevation from shepherd boy to king, to embody
the workings of divine justice in its recognition of true nobility.521 The Hebrew Bible portrays Israel’s
kings, David and Solomon, as those who have an extra dose of the knowledge of good and evil,
described as wisdom and a power of discernment (2 Samuel 14:17, 20; 1 Kings 3:9-12, 28; 4:29-
31).522
The Sola-Busca King of Swords' name alludes to Alexander the Great.523 His golden chariot
throne positioned over two harnessed griffins 524 in front and two more behind symbolize military
courage, strength, boldness and leadership. This particular depiction is based on the myth of

519
http://www.sacred-texts.com/tarot/pktswki.htm [13/10/2002 14:28:31]

520 . "The King of Swords", Tarot.com, accessed June 2019, https://www.tarot.com/tarot/cards/king-of-swords/visconti
522. A. George, "Jung in the Garden of Eden: A Myth of the Transformation of Consciousness", Depth Insights, accessed
June 2019, https://www.depthinsights.com/Depth-Insights-scholarly-ezine/jung-in-the-garden-of-eden-a-myth-of-the-transformation-
of-consciousness-arthur-george-j-d/
524 . Griffins are mythical creatures with the head and wings of an eagle and the body of a lion, with pointed ears and the
eagle's legs instead of the forelegs.
136
Alexander the Great’s flight towards Heaven referred in the Alexander Romance myths wherein he
manages to harness the mythical creatures to a chariot, and ascend into the heavens to survey the
earth from a great height.525 The legend of a hero who embarked on the back of some monstrous
bird, contrived a cage or basket in which, borne up by winged creatures, might voyage through the
air, and after a survey of the heavenly regions was obliged to descend to earth, is of very ancient
origin. Actually, the legend was fashionable in the West, and related to in a similar manner by Oriental
writers of heroes.526 According to Adams, many of the Sola-Busca cards have an Alexandrian theme
and thus:
…Alexander the Great's centrality to the symbolic structure of the Sola-
Busca is underlined by the appearance of people closely connected with
him amongst the court cards: his mother, Olympias Queen of Swords and
father, Philip of Macedon King of Disks...the god Zeus Ammon Knight of
Swords…Alexander’s other ‘true’ father, the last Pharaoh of Egypt,
Nectanebo Knight of Cups. Serapis - Serafino Knight of Disks. Apollo
appears amongst the court cards as Knight of Batons...Pallas Athena
Queen of Batons. In conclusion, we have at least seven of the sixteen
court cards directly related to the mythical Alexander. We can therefore
infer that this constitutes a second level of interpretation of the Sola-
Busca deck, especially within the context of the royal court...527
Below a two carved scenes of Alexander the Great flying with his griffons, the first is a
tympanum and the second a marble relief.
525 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, pp. 70-71
526 . J. L. Montagrier, "Representations of the Fantastical Adventures of Alexander the Great in Romanesque and pre-
Romanesque Art", accessed June 2019, http://www.green-man-of-cercles.org/articles/alexander.pdf The Arabian storyteller Al Tabari
and the Persian poet Firdusi, who both wrote during the tenth century, attribute to one of the mythical Persian kings, Kai Ka'fs, a
celestial journey with the assistance of four eagles attached to his throne.
527 . P. M. Adams, "The Alchemical Symbolism of a Renaissance Masterwork", pdf format, accessed June 2019,
https://www.academia.edu/7572027/The_Sola_Busca_tarot_The_Alchemical_Symbolism_of_a_Renaissance_masterwork
137
Figure 40. Artist unknown, The Legendary Celestial Journey of Alexander the Great Carried to Heaven by Two Griffins, c.
1300, Romanesque Tympanum carving Norman Architecture, 63 x 124 x 16 cm, St Peter's Parish Church Charney
Bassett, Charney Bassett, Oxfordshire (formerly Berkshire) Gloucestershire528
Figure 41. Artist unknown, The Aerial Flight of Alexander the Great in a Chariot with two Griffin, c. 11th century, Relief on
the wall of San Marco, in Venice. Previously Relief from Constantinople 529
In aspects of iconology, Alexander the Great, King David and King Solomon are regarded as
actual historical kings, but Alexander's flight on a mythological griffin chariot and King Solomon's use
of Ashmedai the Prince of the demons' ring, to cut the stones to build the Temple, are myths. The
theme of flight with the assistance of mythological birds exist in the Waite and Smith card too, since
they symbolize Hugin and Munin from Norse mythology. Waite and Smith were not satisfied with the
depiction of their King of Swords as individuals of different historical figures linked to myths. They
added a large number of symbols pertaining to the element of air, for example: the two mythic Norse
birds, the butterflies, the waning and waxing moon crescents and the angel. Consequently, the Rider-
528
. J. L. Montagrier, "Representations of the Fantastical Adventures of Alexander the Great in Romanesque and pre-
Romanesque Art", (Photograph by Martin Beek), accessed June 2019, http://www.green-man-of-cercles.org/articles/alexander.pdf
529 . "The Aerial Flight of Alexander the Great in a Chariot with two Griffi"n, c. 11th century, Relief at the wall of San
Marco, in Venice. Previously Relief from Constantinople, (Photograph by Martin Beek), accessed June 2019, http://www.green-man-
of-cercles.org/articles/alexander.pdf
138
Waite-Smith King of Swords retained its main iconology, with the accumulation of additional
representations associated with the element of air.
In conclusion, Waite and Smith, incorporated within the depiction of their King of Swords
Minor Arcana Tarot card, all the visual symbols and elements inclusive to the previous designs of the
King of Swords cards, and the characteristics expected from an intellectual and powerful king. In spite
of conveying the same basic visual iconographic significance of a king, holding a sword in his right
hand and brandishing it in the air as if ready to attack, there are differences as to the visual attributes
of the cards. The unique one is Alexandro the Sola-Busca King of Swords, who holds his weapon
downwards with its tip, which might explain why his sword is not touching earth but pointing towards
it, if he is in flight with the four griffins. The Raider-Waite-Smith is a mature man while the Sola-Busca,
Tarot de Marseilles and Visconti-Sforza Kings of Swords, seem rather young with their clean-shaven
faces. Consequently, the Rider-Waite-Smith King of Swords retained its main iconology, with the
addition of additional representations associated with the element of air.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Knight of
Pentacles card.
The Raider-Waite-Smith King of Pentacles
The Rider-Waite-Smith Minor Arcana King of Pentacles has a black border

and the upper part of the background is yellow. At the bottom of the card, the words King of Pentacles
appear in bold black capital letters within a grey rectangle. The king sits on his opulent throne facing
the viewer. His head held high in confidence and power, he is outside, surrounded by fecund nature,
mountains, a waterfall and a mighty castle. The decorations on the high back of his throne are bull’s
heads on both sides, as are the edges of the armrests. The illustration is extremely dense, full of
details and symbols associated with nature and the element of earth. Dressed in robes of greenery,
his cloak has the designs of grapes, vines, and flowers. Hinting at his active battle status, underneath
his robes, he shows an armored leg that rests on either a boar’s head or a tortoise, however, he is in
139
repose and not in battle, as he has no sword.530 He holds a golden scepter in the shape of the sun in
his right hand and a coin with an engraved pentacle on his left one, which he leans on his lap. His
two-tiered golden and green laurel crown decorated with the five petalled rose of the Western goddess
rests on his red cap of maintenance. In medieval Europe, the rose was a symbol of union with the
divine and particularly associated with the numinous beauty of the goddess probably have been
influenced by Arabian and Persian teachings from the time when Spain was an Islamic country. 531
The bull's heads that are also present on the Rider-Waite-Smith Queen of Pentacles, as explained
beforehand are a medieval symbol of fertility too.532
The representation of sign of his suit is engraved or emblazoned with the pentagram, typifying
the correspondence of the four elements in human nature and that by which they may be governed,
and in many old Tarot decks, this suit stood for current coin, money, or deniers.533
The laurel leaf segment of his golden crown symbolizes victory, fame, success, eternal glory,
special achievement, triumph, peace, prosperity and immortality since they are the leaves of an
evergreen tree. The use of laurel leaves were to fashion wreaths that were crowns for those with the
highest status in ancient Greece and Rome.534 The large castle behind the Rider-Waite-Smith King
of Pentacles depicts his prosperity. Castles were from the Middle Agesup until modern times the home
of nobility and their families, fortresses to the lord's garrison of soldiers, the center of law and order,
peace and safety in the midst of a violent and lawless landscape. The castles depicted on the Tarot
cards are generally either white or gray, though there are some exceptions, while in the Kabbalah the
attribution of white castles are to Kether - the Crown and the grey ones are to Chokhmah - Wisdom,
which is the veil that separates spirit from form.535 In terms of
iconology he is the epitome of materialistic success and a provider and a protector, for under his care
is a flourishing and abundant kingdom where its citizens are prosperous and encouraged to grow.536
As the paragon of the element of earth, he has full mastery over the concept of stability, growth, and
material affluence, the King of Pentacles represents power and prosperity.537 Despite the
530
. "King of Pentacles", The Tarot of Eli: The Rider-Waite-Smith Tarot-King of Pentacles & The Thoth Tarot-Knight of
Disks, accessed July 2019, http://www.elitarotstrickingly.com/blog/the-tarot-of-eli-the-rider-waite-smith-tarot-king-of-pentacles-the-
thoth
531 . "Windows on the Western Mystery Tradition – The Mystic Rose", Chalice Centre – Western Esoteric Wisdom, accessed
July 2019, https://www.chalicecentre.net/mystic-rose.html Hecate, goddess of the crossroads and the underworld was sometimes
depicted wearing on her head a garland of five-petalled roses.
532 . (see: Queen of Pentacles, pp. 116-119)
533
http://www.sacred-texts.com/tarot/pktpeki.htm [13/10/2002 14:29:28]

535
536
. "King of Pentacles Tarot Card Meaning", A Tarot Cards, accessed July 2019, https://atarotcards.com/meanings/66-
kingofpentacles/
537 . "King of Pentacles", Ask Astrology, accessed July 2019, https://askastrology.com/tarot-reading/minor-arcana/king-of-
pentacles/
140
depiction in a variety of different configurations, the Kings of Pentacles/Coins/Disks/Deniers in the
older decks are portrayed in naturalistic poses seated on their thrones that are outside with the
coin/disk/denier, the symbol of their suit. The depiction of the Visconti-Sforza king of Coins with his
haughty demeanor was the result of being so good at deal making that he had the power to make or
break people financially. Therefore, in previous centuries this card referred to the myth of Midas, who
loved gold so much that he was cursed subsequently everything he touched turned to gold.538 The
Sola-Busca King of Disks is Filippo the second, husband of queen Olympia. Among these cards, he
is the only one who holds a helmet on his lap with his right hand and a shield with his left one. In this
case, his golden disk connects to his banner with the Latin word pax, meaning peace or truce. Similar
to the Rider-Waite-Smith King of Pentacles, his leg, is resting on something similar to a turtle, and his
scepter is erect. The Tarot de Marseilles King of Deniers is an older man without a crown or a scepter
who sits haphazardly on his throne since he is sure of his reign and holds the denier on his lap with
his right hand.539 The most popular name of this card in France was Alexander the Great who was
one of the Nine Worthies and endowed with this reasoning since as the King of Deniers who
symbolizes riches, he was famous as a ruler for his generosity with the spoils of his wars.540
In conclusion, all the Kings of Pentacles depicted in the various Minor Arcana decks have
different iconography, but they related to historical kings. Waite and Smith included all the above
iconological characteristics into their card and embellished it even more by adding symbols of earthly
fecundity and a mighty castle. All the Kings of Pentacles and the Emperor, are the most important of
the five mature masculine archetypes, just as a good king in mythological stories is often something
of a Renaissance man, a good warrior, a magician, and a lover, he incorporates masculine archetypes
in perfect harmony.541
As a Jungian archetype he is centered, decisive, protects his realm, provides law and order,
leaves a legacy, creates, and inspires creativity in others. Because of the king's position at the center
of events, he can survey everything that is going on, soak it all in, and then take a broad view, thus,
this overarching perspective allows him to remain steadfast in the face of the passing and
538 . "King of Coins", Meliorem, accessed July 2019, https://meliorem.info/cards/visconti/king-of-coins

539 . The Tarot de Marseilles denier is comprised of a small black dot in the middle, within a larger yellow circle with a black
outline, continued by an eight petalled yellow shape within a wide black circle, repeating the pattern with a fourteen petalled yellow
shape within a wide black circle, a yellow outline and finally a black outline. This very complex design is one more example of the
various coins found in the Tarot de Marseilles deck (see: Tarot de Marseilles in Appendix p. 436)). The design of the coin with its
specific black center symbolizes a navel of the earth, the point at which creation began. According to Eliade in M. Eliade, Images and
Symbols: An introduction to the Themes, Images and Symbols, translated by Philip Mairet, Princeton University Press, 1991: "In the
middle of each village, city or culture there was a center that was the antithesis of chaos. A center of order, where the gods were honored,
and where culture was centered. Each such a center would be a “center of the world...they did not represent a geometric center but a
pillar of order and sacredness, a contact point with divinity…"
541 . "The Four Archetypes of the Mature Masculine: The King", A Man's Life, On Manhood, accessed June 2019,
https://www.artofmanliness.com/articles/the-four-archetypes-of-the-mature-masculine-the-king/
141
superficial.542
Continuing with the subject of the royal court in the Rider-Waite-Smith Tarot deck, the next
cards discussed are the Rider-Waite-Smith Knights. They are possible to group together to a certain
degree, as their armor is practical rather than ceremonial and they all wear helmets, breastplates, as
well as shoulder, arm and leg protection, while each has a spur on his shoe and a plume on his
helmet.543The colors of the knight's horses' nigredo (black), albedo (white), and rubedo (sorrel) as
Waite and Smith painted them have a direct association to the steps in Alchemical process.544
Below a detail of the fresco Allegory of Good Government, that depicts knights at the court of
the ruler.
Figure 42. Ambrogio Lorenzetti, Allegory of Good Government (detail), c. 1338-40,

Fresco, Palazzo Pubblico, Siena545
The next card discussed within this chapter named the Royal Court is the Knight of Wands.
542 . "The Four Archetypes of the Mature Masculine: The King", A Man's Life, On Manhood, accessed June 2019,
https://www.artofmanliness.com/articles/the-four-archetypes-of-the-mature-masculine-the-king/
543
544 . J. Campbell and R. Roberts, Tarot Revelations, San Anselmo California: Vernal Equinox Press, 1987, p. 225
545 . Web Gallery of Art, accessed October 2019, https://www.wga.hu/frames-
e.html?/html/l/lorenzet/ambrogio/governme/index.html
142
The Rider-Waite-Smith Knight of Wands
The Rider-Waite-Smith Minor Arcana Knight of Wands card has a black

border and most of the background of the card is light blue depicting the sky, while a small portion of
the bottom portrays hot, dry and barren yellow and orange sand mounds or pyramids. At the bottom
of the card, the words Knight of Wands appear in black bold capital letters within a beige rectangle.
Both the knight and the horse are from their left profile. The knight wears a full suit of armor under his
sleeveless yellow cloak with black salamander designs, similar to the King of the suit of Wands. The
shining metal suits of armor worn by knights appear in the fourteenth century art.546 The fiery red
plumes of his helmet, the decorative tassels hanging from his arms, his gloves and his horse's mane
are similar in color. The sorrel horse with its fiery mane controlled by the Knight of Wands has his
hind legs fully planted on the ground and his forelegs are in the air at full gallop. The knight holds the
short blossoming wand in his right hand and the reins of his horse with his left one. The reins of the
horse are yellow with the design of salamanders on it. His demeanor seems one of bravery,
confidence, being adventurous, free spirited and one who has undergone every possible trial and
sacrifice.547 The helmet of the Knight of Wands is the most complete and defensive of all knights
because he is a fiery vessel containing a fiery force in a fiery world, and his helmet protects him from
his fiery nature.548 According to Waite:
…He is shewn as if upon a journey, armed with a short wand, and

although mailed is not on a warlike errand. He is passing mounds or

547 . Campbell, and Roberts, Tarot Revelations, p. 226
548 . Amberstone, The Secret Language of the Tarot, p. 163
143
pyramids. The motion of the horse is a key to the character of its rider,
and suggests the precipitate mood, or things connected therewith...549
Since the suit of Wands relates to the element of fire, it becomes a dominant factor in the
card's symbolism. Similar to the rest of the court cards in the suit of Wands and includes symbols like
salamanders, an arid backdrop reminiscent of heat and fire, this card too is characteristic to its suit.
Reins take part into the symbolism of the chariot and of horses, because the chariot is symbolic
of the body and horses signify the forces of life; the reins signify the relationship between the soul and
the body, the nerves and willpower.
The symbolism of the horse is extremely complex. It represents speed, power, nobility, beauty,
a sense of distance and most of all freedom. As part of myth and legend in many civilizations, the
horse became a god, a goddess or one of their children, thus from being autonomous free, and wild
creatures, they became the servants of the gods and humans.550 The horse is a common figure in
medieval art, especially in the context of military representations, among which one often finds the
figure of the knight riding his noble steed. The red horse of the Knight of Wands is a solar horse,
whose quality is fire and imbues his rider with virtues of certainty, fearlessness and invulnerability.551
Horses pulled the chariot of the sun across the sky, carried divine and human warriors to battle,
transported goods to distances, and carried royalty and nobility in processions. The horse stands for
intense desires and instincts, in accordance with the general symbolism of the steed-and the vehicle,
dedicated to the God of war Mars, and the sudden appearance of a horse thought to be an omen of
war.552 Moreover, horses were the most valuable sacrifice to the gods when needed.553
Jung maintains that the horse might be a symbol for the mother. He does not hesitate to assert
that it expresses the magic side of men, ‘the mother within us’, meaning, intuitive understanding, while
on the other hand, he recognizes that the horse is a symbol pertaining to Man’s baser forces, and
also to water, which explains why the horse is associated with Pluto and Neptune.554 Below a drawing
in King René’s Book of Tournaments.
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551 . Ibid, p. 128
144
Figure 43. Barthélémy d’Eyck, The Duke of Brittany and his Knights Entering the Town, Preceded by the Destriers’
Parade, c. 1460-1465, Illustration in King René’s Book of Tournaments, Bibliothèque Nationale de France 555
All the knights of the previous decks ride their steeds, wear armor and vestments according
to the fashion of their era. The Sola-Busca Knight of Wands named Apolino represents the god Apollo
and wears a helmet and vestments similar to those worn during the Roman period to harmonize with
the Roman theme found in some of the cards in the deck.
Within the framework of iconology, there is a myth about the Sagittarius constellation to which
the Knight of Wands is closely connected. Saturn and Philyra daughter of Oceanus and Tethys, who
was already married, were in love, decided that to cover their tracks by changing themselves into
horses. 556 Within cartomancy circles, it is believed that the Knight of Wands' connection to the
Sagittarius constellation makes him feel different from others, similar to Chiron (son of Philyra and
Saturn), and maybe the reason for the Knight’s restlessness, who is always on the move and radiates
a need to feel free to be at peace with himself.
In conclusion, knights have been those who carry out the task of battle on the front lines, since
they are the right arm of the law for the kingdom. From jousting during peacetime, to battling during
wars, they were the commanders of the groups of soldiers who became the heroes. Waite and Smith
gave their Knight of Wands additional symbols like the fiery red plumes, tassels, gloves and a sorrel
horse to enhance the symbolism of fire to which the wands are related. The horse in full gallop is
similar to the Visconti-Sforza one, proving once more that Waite and Smith remained true to the initial
concept, despite changing the color of the horse from white to sorrel. The next card discussed in this
chapter is the Rider-Waite-Smith Minor Arcana Knight of Cups.
555 . Bibliothèque Nationale de France, Medieval Animal Data-Network, accessed July 2019, https://mad.hypotheses.org/375
556 . Later, Philyra became pregnant and delivered a child named Chiron who was born a Centaur, half horse and half man.
Philyra was so ashamed that she abandoned her child and Chiron grew up alone in isolation because he was different. The planet of
Jupiter, which represents good fortune, rules Sagittarius and health for Jupiter, gives a sense of well-being, agelessness and
immortality.
145
The Rider-Waite-Smith Knight of Cups
The Rider-Waite-Smith Minor Arcana Knight of Cups card has a black border
and most of the background of the card is light blue depicting the sky, while the bottom portrays a
backdrop with trees, a mountain and a flowing river, which the knight is about to cross. At the bottom
of the card, the words Knight of Cups appear in black bold capital letters within a beige rectangle.
Both the knight and the horse are from their right profile. The knight wears a full suit of armor with a
cloak covered with images of red fish and holds the golden cup in his right hand and the horse's reins
in his left one. He seems to be riding his white horse at a leisurely pace holding the reins with bare
hands, while the white horse holds a forepaw in the air and bows his head submissively.
The Knight of Cups has wings on his helmet and on his shoes. The winged helmet and winged
shoes/sandals are significant in mythology and associated with the Greek god Hermes (the Roman
god Mercury), as well as some Norse gods. Historically, variations of the winged helmet were used
by different nations during diverse periods.557
In some cultures, white horses stand for the balance of wisdom and power typically connected
to a solar Deity or heroes, while in others, like Christianity, the white horse is a symbol of
death.558 According to Herodotus, white horses had a special place in ancient history and were sacred
animals in The Persian Achaemenid dynasty's court who were the ruling dynasty of Cyrus the Great
and his family over the Persian Empire, (five-hundred to three-hundred BC). White horses are also
associated with the Pegasus myth. Waite explains that "Graceful, but not warlike; riding quietly,
referring to those higher graces of the imagination which sometimes characterize this card."559 As a
557 . "Did Ancient Warriors Really Go to Battle Wearing Winged Helmets?" Ancient Origins Reconstructing the Story of
Humanity's Past, accessed August 2019, https://www.ancient-origins.net/myths-legends-europe/did-ancient-warriors-really-go-battle-

wearing-winged-helmets-009895
558. "Horse Symbolism", Pure Spirit - Animal Communications & Behavioral Solutions, accessed August 2019,
http://www.pure-spirit.com/more-animal-symbolism/232-pure-spirit-minneapolis-st-paul-dog-training-and-international-all-species-
animal-communication-horse-symbolism
http://www.sacred-texts.com/tarot/pktcukn.htm [13/10/2002 14:27:41]
146
lunar horse who travels on the mythic journey, the Knight of Cups symbolizes an adventurer, who has
brought his horse to the river that separates ordinarily reality from the perilous and sacred landscape
of the heart.560
All of the previous Tarot deck knights, mentioned above, hold their cup in their right hand other
than the Sola-Busca Knight of Cups whose large closed cup is on the ground by his horse's feet. The
Rider-Waite-Smith Knight of Cups has a winged helmet and shoes with wings attached and his horse's
gait is exactly similar to the horse's gait in the Sola-Busca Tarocchi card. Correspondingly, Natanbo
who is the Sola-Busca Knight of Cups and symbolizes Nectanebo, King of Egypt, has wings attached
to his back instead of his helmet and is dressed according to Roman military fashion.561
Within the framework of iconology, according to legend, having ingratiated himself with Philip
of Macedonia's court Nectanebo impregnated Olympias by pretending to be the God Ammon. 562
Despite the legend, it seems that the only reason the artist depicted the Sola-Busca Knight of Cups
as the God Amon/ Nectanebo, King of Egypt with wings instead of horns of a bull, might be that he
wanted to ensure the Knight of Cups' status as a god, since the portrayal of some Egyptian emperors
included wings.
In conclusion, Waite and Smith preferred to borrow many elements from the Sola-Busca
Knight of Cups, incorporating them into their iconography, and embellishing their card with an
additional waterbody as a river to boost its connection to the element of water and a myriad of florae.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Knight of
Swords.
560
. Amberstone, The Secret Language of the Tarot, p. 127
562 . Ibid, pp. 73-74
147
The Rider-Waite-Smith Knight of Swords
The Rider-Waite-Smith Minor Arcana Knight of Swords card has a black

border and most of the background of the card is light blue depicting the sky in which storm clouds
are forming, while the bottom portrays a hilly backdrop with trees bending in the strong wind. At the
bottom of the card, the words Knight of Swords appear in black bold capital letters within a beige
rectangle. Both the young knight and the white horse are from their left profile. The knight wears a full
suit of armor with leather decorations, a red cape decorated with birds and a helmet with long red
plumes on his head. There are birds and butterflies on the Knight’s cape, on the horse’s reins and
breastplate representing sylph the elemental spirits of air.563 The visor on the helmet of the Knight of
Swords is raised above his head and his face is the clearest, most visible and least protected of all
the knights despite his headlong charge into the battle.564
The Knight of Swords holds the sword up high in his right bare hand and the white horse's
reins in his left one. He seems to be riding his white horse furiously and at full gallop charging ahead
in a windblown landscape. According to Waite:
…He is riding in full course, as if scattering his enemies. In the design,

he is really a prototypical hero of romantic chivalry. He might almost
be Galahad, whose sword is swift and sure because he is clean of
heart...565
In attributes of iconology, the Visconti-Sforza, the Sola-Busca and the Tarot de Marseilles
knights are all depicted wearing suits of armor and riding their horses. As opposed to the Rider-Waite-
564
http://www.sacred-texts.com/tarot/pktswkn.htm [13/10/2002 14:28:40]
148
Smith Knight of Swords who holds his sword high in the air with his right hand, the Sola-Busca Knight
named Amone who is probably the depiction of Ammon, the ancient Egyptian god of the sun and air,
holds his sword in both his hands as if he is ready to attack any second. The colors of the horses are
different too.
In conclusion, the card encompasses all the symbols ascribed to the element of air including
some like the trees moving in the harsh wind, the bird, the storm clouds and butterflies found in some
of the Rider-Waite-Smith royal court cards discussed so far. It seems that Waite and Smith preferred
to include into their card attributes of the arid ground seen both in the Sola-Busca and Tarot de
Marseilles Knight of Swords cards. Moreover, they included symbols to emphasize the card's
association to the element of air, a detail not found in the rest of the Knights of Swords cards.
The next card discussed in this chapter is the Rider-Waite Minor Arcana Knight of Pentacles.
The Rider Waite Knight of Pentacles
The Rider-Waite-Smith Minor Arcana Knight of Pentacles card has a black

border and most of the background of the card is yellow, while the bottom portrays a fertile and green
hill and large neatly plowed fields. At the bottom of the card, the words Knight of Pentacles appear in
black capital letters within a beige rectangle. Both the young knight and the black and heavy horse
are from their right profile. The knight wears a full suit of armor with a sleeveless red tunic on top, and
a helmet with green oak leaves on its crest, similar to those on the his horse's mane. Both the reins
and harness of the horse are red. Sitting leisurely on his horse with gloved hands, observing the fruits
of his labor and the bountiful earth, Waite maintains, "He rides a slow, enduring, heavy horse, to which
his own aspect corresponds. He exhibits his symbol, but does not look therein."566
The Knight of Pentacles' black horse is the symbolic color of earth from which he arose and
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is standing still because it has arrived at its destination.567 The focus of the visual representation is on
the symbology of the oak. Considered a cosmic storehouse of wisdom, the oak tree is associated with
powerful gods like Zeus in Greek mythology and had a special status among the Celts, dealing with
symbolic themes of durability, purity and constancy. Honored for its endurance, and noble presence
it is a tree with multiple uses: the boiled bark has therapeutic properties. Its fruit (acorn) is used to
feed livestock and in times of shortage for human consumption.568 In fact, wearing oak leaves was a
sign of special status among the Celts as well as ancient Greeks and Romans.569
In the rest of the older iconographic versions of the knights of the Tarot cards, they all ride
their horses in natural backdrops, but the correspondences end there. The Sola-Busca Knight of Disks
named Serafino pertaining to the Greco-Egyptian deity Serapis rides his galloping white horse
wearing full military gear with his shied on his back, while the disk is on the ground by his left foot. In
the Tarot de Marseilles Knight of Deniers, the knight does not hold it, but the Denier in the air in front
of his face.
Observing the differences of the iconography of these specific Knights of
Pentacles/Coins/Disks/Deniers, it is extremely difficult to find any correspondences other than they
are all riding their steeds in nature. It seems that Waite and Smith adopted the basic visual content of
the cards and acclimated it to their own understanding while associating it with the fecundity of the
element of earth.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Page of
Wands.
567
568 . "Oak Tree: Symbolism, Information and Planting Instructions", Bios, accessed August 2019, https://urnabios.com/oak-
tree-symbolism-planting-instructions-bios-urn/
569 . "Celtic Meaning Oak Tree and the Ogham", Celtic Meaning Oak Tree, accessed August 2019, https://www.whats-your-
sign.com/celtic-meaning-oak-tree.html
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The Rider-Waite-Smith Page of Wands
The Rider-Waite-Smith Minor Arcana Page of Wands card has a black border
and most of the background of the card is light blue, while the bottom portrays a desert in the
background behind him indicative of his element, which is fire, and represents that he is living in a
world that has not born fruit yet. The sand mounds behind him are similar to those in the Knight of
Wands and the three large mounds behind him might symbolize the group of the three Giza pyramids
in Egypt or the three stars of the belt of Orion.570 At the bottom of the card, the words Page of Wands
appear in bold black capital letters within a beige rectangle. The Page represents the prince, the
youngest, of the Royal Court, in the Tarot. He stands tall, holding his long staff high, in his right hand
with strength and self-assurance as if in the act of proclamation, while gazing hopefully at the green
leaves sprouting from it. Similar to the Rider-Waite-Smith King of Wands and Knight of Wands cards,
his yellow tunic has the design of salamanders, symbol of fire and transformation571 His cape and
boots are yellow while his leggings are orange, which are both colors that symbolize fire and the life
giving power of the sun. He wears a gray hat with a red plume on top of his blond curls. Waite
describes him as a youth that has the chief qualities of his suit.572 The Page of Wands is associated
to Aries, one of the fire signs in the Zodiac.
The older versions of pages/valets/knaves Tarot cards too, hold their wand in their right hand
and are dressed in mostly yellow, red and orange vestments that correlate to the element of fire. The
wands portrayed are akin to those of their individual decks. The Visconti-Sforza Page is the most
similar in its design to the Rider-Waite-Smith one. The Tarot de Marseilles Page of Wands' popular
names were Roland, the legendary nephew of Charlemagne or the Trojan hero Hector.573
570 . "Page of Wands", Building Beautiful Souls, accessed Sept. 2019, https://www.buildingbeautifulsouls.com/tarot-card-
meanings/minor-arcana/suit-wands/the-page-of-wands-tarot/
571 . For the symbolism of the salamander (see: pp. 128, 129, 143, 144, 151, 158) and Ouroboros (see: pp. 41,43, 44)
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In conclusion, whether associated with historic or mythic figures, the depiction of the Rider-
Waite-Smith Page of Wands is most similar in its design to the oldest Tarot deck, which is the Visconti-
Sforza. Moreover, the Sola-Busca Knave of Staffs or Batons' arid backdrop influenced the image and
colors of the Rider-Waite-Smith Page of Wands card's background.574 The symbols of the card remain
parallel to those of the Wands court cards with their enriched symbols of the element of fire. Waite
and Smith’s Page of Wands is a richly clothed man walking into a desert landscape clutching his living
wand as if transferring its power to a new uncultivated area to create new life.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Page of Cups.
The Rider-Waite-Smith Page of Cups
The Rider-Waite-Smith Minor Arcana Page of Cups card has a black border
and most of the background of the card is beige, while the bottom portrays a yellow sandy seashore
divided by a couple of straight black lines as if it were a stage, and behind them a wavy sea indicative
of the Page's element, which is water. At the bottom of the card, the words Page of Cups appear in
black bold capital letters within a beige rectangle.
This page is a dark haired youth who wears a blue tunic with a green stemmed red and white
floral pattern, similar to tulips, characteristic of Alchemy; the white and red tulip, symbolize the union
of water with fire.575 This creates an alchemical combination according the union of the Page of Cups'
element of water coalesced with the passion of his emotions and the fire of his youth. The tulips on
the shirt symbolize his connection to the land, despite being a figure related to water. The red sleeves
of his tunic are wide and flowy all the way to his elbows and become tight fitting with buttons on their
sides. His leggings are orange and the flat boots are ochre. The blue beret he wears on top of his
head has blue feathers and a long shawl thrown haphazardly over his right shoulder symbolizes the
element of water.

152
He holds a golden cup in his right hand from which a rising fish is looking straight at him. The
fish appears on all the cups court cards because as previously explained its symbolic meanings deal
with emotion, intuition, dreams, creativity, and ideas from the subconscious and the spirit. As the
youngest member of the Tarot royal court, he is identified with the zodiac water signs of Cancer,
Scorpio and Pisces. Waite describes him as:
…fair, pleasing, somewhat effeminate page, of studious and intent

aspect, contemplates a fish rising from a cup to look at him. It is the
pictures of the mind taking form...576
From a standpoint of iconology, the Pages in the previous older Tarot decks are all youths
looking directly at their cups, situated in nature and wearing at least one piece of red clothing whether
it is a stocking, a boot, a pair of shoes or a tunic similar to the Rider-Waite-Smith Page of Cups. Their
iconography is similar, enabling the viewer to perceive the overall continuity until the Rider-Waite-
Smith design. The Tarot de Marseilles Page of Cups' name was Paris (of Troy), the sly knave or La
Hire who was a soldier and close friend of Joan of Arc.577
Consequently, Waite and Smith incorporated only the general iconography of the previous
Page of Cups cards, related to him as La Hire, and added the visual elements of the fish in the cup
and the sea as the background. Out of all of Waite and Smith’s Pages, the Page of Cups most
exemplifies the Golden Dawn’s theme for the Pages of, reception and transmission.578
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Page of
Swords.
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The Rider-Waite-Smith Page of Swords
The Rider-Waite-Smith Minor Arcana Page of Swords card has a black border
and most of the background of the card is light blue depicting the sky in which billowy white and grey
storm clouds that are full of moisture, seem to be brewing, and a group of birds is flying overhead.
The bottom of the card portrays a green and fecund rippling backdrop with trees bending in the strong
wind. At the bottom of the card, the words Page of Swords appear in black bold capital letters within
a beige rectangle.
Similar to the Rider-Waite-Smith Knight of Swords card the Page of Swords too stands at the
top of the knoll, holds the sword up high, but in his case, he does so with both hands. In spite of his
body facing the viewer, his head turns to the right, as if expecting some type of conflict from his right
side with an expression of determination and defiance; he is ready to pounce at any sight of
unexpected clash. The young Page with his tossed red haired ponytail fluttering in the strong wind,
wears a purple tunic over a yellow shirt, yellow leggings and red flat boots. As an astrological sign,
he can represent an air sign such as Libra, Aquarius or Gemini. According to Waite:
…He is a lithe, active figure holds a sword upright in both hands, while
in the act of swift walking. He is passing over rugged land, and about
his way, the clouds are collocated wildly. He is alert and lithe, looking
this way and that, as if an expected enemy might appear at any
moment...579
Within the framework of the card's iconography, it incorporates all the symbols ascribed to the
element of air including some like the pristine white clouds that turn into grey storm ones, the trees
moving in the harsh wind and the birds found in the Rider-Waite-Smith royal court sword cards
discussed so far.
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Since the Page of Swords is the interpretation of an archetype of momentum and spying, he
thrives on nervous energy and communication is his strongest characteristic. His timing is usually
undetermined, because this archetype wrestles with unresolved issues in his mind, but when the
timing is on course and he identifies a threat, he intends to destroy it with sudden rapidity.
Comparing the Raider-Waite-Smith Page of Cups Tarot card with the same cards from
previous decks, all of the young Knave/Page/ Valets of Swords, have very little in common other than
their swords depicted according to the configuration of their particular suits and situated in a natural
backdrop. In the aspect of iconology, the Tarot de Marseilles Valet is the only one said to represent
either Ogier (Hogier) a son of Geoffrey of Denmark or one of the Worthies of medieval romance,
Renaut (Renault).580
In conclusion, Waite and Smith designed their Page of Swords according to the esoteric
meaning of an active, vigilant youth given the authority to identify unseen threats, oversee events,
examine situations and be a spy in the secret service of his royal masters.581 Waite and Smith kept
the iconography of the entire royal Sword court cards within the context of the background, and
superimposed the different figures.
The next card discussed within this chapter is the Rider-Waite-Smith Page of Pentacles.
The Rider-Waite-Smith Page of Pentacles
The Rider-Waite-Smith Minor Arcana Page of Pentacles card has a black

border and at the bottom of the card, the words Page of Pentacles written in black bold capital letters
within a grey rectangle. Beneath a bright yellow sky with green grass, newly furrowed fields, flowers,
a stretch of trees and a mountain in the horizon; the Rider-Waite-Smith young Page of Pentacles,
stands upright and reverently holds the golden pentacle with the tips of both of his hand's fingers
581 . Ibid, p. 218
155
elevating it to his face in order to examine it closer.
Waite maintains that he is "a youthful figure, looking intently at the pentacle, which hovers
over his raised hands. He moves slowly, insensible of that which is about him."582 As opposed to
Waite, both Place and Venefica maintain that the pentacle does not hover over the Page's hands but
he holds it in both his hands or lightly in the fingertips of both his hands.583 Although the colors of his
vestments are different, his attire is similar to the Rider-Waite-Smith Page of Swords card. The red
hat he wears on top of his black curly hair has a long red scarf thrown haphazardly over his right
shoulder, flowing down almost to his belt. His tunic is the same green shade of the fields, the shirt
underneath, the belt, his leggings and flat boots are all ochre.
Mountains on the horizon symbolize landmarks, barriers, retreats, boundaries, challenges,
fortresses and habitable landscapes, consequently considered as the home to divinities and mythical
beings like ogres, trolls, dragons and gnomes in diverse cultures, while within the context of humans,
they can be the residing place for monks, sages, prophets, outlaws, revolutionaries, adventurers and
plain folk who live there.584
Similar to the Rider-Waite-Smith Knight of Pentacles, the Rider-Waite-Smith Page of
Pentacles too, is among large neatly plowed fields, proof that the harvest will be abundant. As a child
of the element of earth, in a fertile landscape he symbolizes a person who is grounded, loyal and
diligent.
Comparing the devolvement of the Raider-Waite-Smith Page of Pentacles Tarot card, all of
the previous young Knave, Page and Valets of Pentacles/Coins/Disks/Deniers cards, have very little
in common other than depicted according to the configuration of their particular suits, located in nature
and holding or pointing to the symbol of their suit. From an iconology point of view, since the sixteenth
century, the Tarot de Marseilles identified the Valet of Deniers with the knight Lancelot from the
Arthurian romance.585 According to Adams in the depiction of the valets from the court cards, the Sola-
Busca Tarocchi deck displays distinct Renaissance courtly concern of attending to one's posture to
demonstrate the correct balance of grace, refinement, naturalness and culture.586
In conclusion, Waite and Smith designed their Page of Pentacles in Renaissance style clothing
and similar to the Tarot de Marseilles Page of Deniers who also holds his denier up to eye level
examining it. However, in his case he holds it only with his right hand and not both hands. Waite and
Smith put further emphasis to the meaning of a hard working youth, with his head in the clouds, while
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583. A. Venefica, "Page of Pentacles Tarot Card Meaning", Tarot Teachings Com., accessed August 2019,
http://www.tarotteachings.com/page-of-pentacles.html and Place, The Tarot: History, Symbolism, and Divination, p.262
586 . Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, pp. xiv-xviii
156
the tall trees and the towering mountains lie far beneath where his dreams take him.
The next chapter of this research is on the four Aces of the Minor Arcana pip cards.
157
Chapter 7
The Rider-Waite-Smith Minor Arcana Aces
The word ace comes from the Old French word "as" (from Latin "as") meaning a unit, from the name
of a small Roman coin and originally meant the side of a die with only one pip, before it was a term
for a playing card.587 In modern card decks, the names of the Aces are Ace of hearts, of spades, of
clubs and of diamonds. The Aces of the Tarocchi/Tarot decks in Europe had diverse names in
different areas and historical periods. Consequently, the Aces' names are the Ace of Wands (batons,
staves), the Ace of Cups (chalices, vessels or bowls), the Ace of Swords (crystals, spades) and the
Ace of Pentacles (disks, deniers or coins).
Although, the Islamic cards influenced the first European deck incorporated into the Tarot, the
Europeans were unlikely to view the suit symbols in the same way. Consequently, they transformed
the deck to reflect their views and equated the four card suits to the four classes of medieval and
Renaissance society.588 Modern Tarot historian R. Decker points out that when one understands that
it was common in the seventeenth and eighteenth century in France to equate the French suit symbols
to the Italian ones (hearts to cups; spades to swords; clubs to coins; and diamonds to staffs). 589
Accordingly, established on the older Italian decks, the French artistic contexts were the associations
between the suit symbol and the class: cups to joy and clergy; swords to sorrow and nobles; coins to
money and merchants; and staffs to country and peasants. 590 Moreover, Renaissance thought
created lists of correspondences between the four classes of society, the four elements, the four
temperaments, the four virtues, and the four elemental creatures (undines, sylphs, gnomes, and
salamanders) and the four humors.
Overall, the Tarot Aces are the root force, the spark or seed of the suit and herald new
beginnings. They are the essence and active energy of the suit and can indicate the elements,
compass directions, seasons, the Jungian functions and a variety of additional meanings related to
the suits as previously explained.591 The position of the Aces in all Tarot decks are at the beginning
of each suit, and have complex designs symbolizing their essential and core meaning. They set the
mood, tone, and symbolism for the entire suit. The Aces in almost all of the decks, from the Visconti
Tarocchi up to the Rider-Waite-Smith Tarot, have complex representations of their suits. The Rider-
Waite-Smith deck too has such representations, despite having various scenes on the rest of the pips.
587 . D. S. Parlett, The Oxford Guide to Card Games, Oxford: Oxford University Press, 1990, p. 32
589 . R. Decker "From Alliette to Etteilla", footnote of an unpublished paper in Place, The Tarot: History, Symbolism, and
Divination
591 . "Aces Tarot Card Meaning", Aeclectic Tarot, accessed May 2020,
http://www.aeclectic.net/tarot/learn/meanings/aces.shtml (see: pp. 31-33 for a more detailed symbolism of each suit)
158
All of them include a hand hovering from within the clouds and holding the symbol of their suit within
a glory, which is an arc or circle of rays around a visual symbol, suggesting divine inspiration or
protection. According to Jung
…Clouds are expected to bring fertilizing rain that relaxes tension and
makes the earth fertile. In mythology, rain was often thought to be a
"love-union" between heaven and earth. In the Eleusinian mysteries,
for instance, after everything had been purified by water, the call went
up to heaven: "Let it rain" and down to earth: "Be fruitful!" This was
understood as a sacred marriage of the gods. In this way, clouds and
rain can be said to represent a solution in the literal sense of the
word…592
This chapter discusses the symbols, iconology and iconography of the Rider-Waite-Smith
Minor Arcana Aces; consequently, the first card discussed in this chapter is the Rider-Waite-Smith
Ace of Wands.
The Rider-Waite-Smith Ace of Wands
The Rider-Waite-Smith Minor Arcana Ace of Wands card has a black border
and at the bottom of the card, the words Ace of Wands appear in black bold capital letters within a
grey rectangle. Most of the background of the card is grey and the bottom section has mountains with
a white castle and green fields in the distance and trees, fields and a winding river up close. Most of
the card depicts a floating right hand surrounded by a halo of light hovering from within clouds and
holding a live wand from which some leaves are falling down.
In this case, the distant white castle represents virility and potency of intent and as the most
592 . C. G. Jung, Man and his Symbols, pp. 277-278
159
important architectural legacy of the middle Ages. The clouds symbolize mystery, ambiguity, and
condensed water that returns to earth in the form of life giving precipitation. Clouds have power as
metaphors because they are shape-shifters; transient, uncontrollable and can stand in for many varied
cultural figurative senses. While clouds are water from above, rivers are waters from below. The
mountains are unbending, inflexible and a symbolic allegory, as they represent challenges,
acquisition, accomplishment and aspirations.
Named Ace of Wands, Rods, Cudgels, Staffs, Pillars and Scepters they relate to the element
of fire, the masculine principle, the phallus, vigorous creative energy and in general has to do with
work, business, enterprise and initiative.593 Since, the iconology aspect of the Ace of Wands is
associated with the element of fire; the traditional staff has become the magician’s wand. According
to Waite "… A hand issuing from a cloud grasps a stout wand or club, in a sense the virility that, is
behind them…"594 Below a drawing similar to the Ace of Wands
Figure 44. Paradin, Claude: Devises Heroïques, c.1557, sketch, in manuscript Heroiques Pour un Autre Non, French
Emblems at Glasgow595
While the Golden Dawn upholds that, the Ace of Wands is the root of the powers of fire, force,
strength, and it governs according to its nature.596 Colman-Smith symbolized the fire element in the
suit of Wands by depicting the wand as a living branch with green leaves, attesting to the life force

http://www.sacred-texts.com/tarot/pktwaac.htm [13/10/2002 14:27:29]
595 . French Emblems at Glasgow, accessed May 2020, http://www.emblems.arts.gla.ac.uk/french/picturae.php?id=FPAb059
160
within.597 The Ace of Wands is a symbol of the cardinal virtue Fortitude, and in Celtic lore, corresponds
to the lance of the sun god Lugh, the prototype of the spear of Longinus used by Sir Balin in later
Arthurian romance.598 A well-known fact is that fire is an ambivalent force, since it can either destroy
or enable warmth and human maintenance. Below two examples: one of destruction and the other of
warmth.
Figure 45. Artist unknown, City Fire, c. 19th century, oil on cardboard, 32 x 35 cm, Galleria Antiquaria Portus Italy599
Figure 46. Cornelis de Man, Interior with a Family and Two Nurses before a Fire, c. 1670, oil on panel, 52 x 45 cm, private
collection600

599 . Proantic, accessed May 2020, https://www.proantic.com/en/display.php?mode=obj&id=614518
600 . Wikipedia Commons, accessed May 2020, https://commons.wikimedia.org/wiki/File:Cornelis_de_Man_-
_Interior_with_a_Family_and_Two_Nurses_before_a_Fire_-_WGA13905.jpg
161
Jung maintains that the Ace of Wands pertains to the function of feeling and many of the pips
in this suit depict people involved in new ventures or competitive activity as the cards relates to energy,
feeling, passion, and work.601 The function of feeling according to Jung, though considered a rational
form of assessment, refers to subjective estimations and making of decisions about value. 602
In conclusion, Waite and Smith incorporated into their Ace of Wands card all the attributes
present in the previous decks. The Visconti-Sforza Ace of Wands has the family motto on the ribbon
that surrounds the wand; the Sola-Busca has two putti holding the wand lodged within a stone
pedestal. Moreover, the Rider-Waite-Smith Ace of Wands card is similar to the Tarot de Marseilles
card designed on a white background instead of a pastoral one including a castle.603
The next card discussed within the chapter I named Aces is the Minor Arcana Ace of Cups.
The Rider-Waite-Smith Ace of Cups
The Rider-Waite-Smith Minor Arcana Ace of Cups (Chalices/Vessels/Bowls)

card has a black border and at the bottom of the card, the words Ace of Cups written in black bold
capital letters within a grey rectangle. Most of the background of the card is light grey and the bottom
section has a body of water; probably a lake, filled with red and white water lilies and their large round
green leaves. On the far right side of the lake, is a patch of green grass near the horizon. The card
has a floating left hand surrounded by a halo of light hovering from within clouds and holding an
elaborate chalice from which five thin water streams are flowing and droplets of water are falling down
into the lake. The golden chalice has a wide hexagonal bottom, a thin stem and a large round top that
probably represents the Holy Grail.
The cup, chalice, and flask are symbols of the cardinal virtue Temperance and considered a

602 . S. Schwefel, "Jungian Psychology: The Eight Attitudinal Functions, Discover Yourself", Discover Yourself, accessed
May 2020, https://discoveryourself.com/jungian-psychology-the-eight-attitudinal-functions/

603 .(see: Appendix for Tarot de Marseilles Ace of Cups)
162
feminine suit. The Ace of Cups is the representation of the water element within the suit of Cups.
Water, symbolizes motion, purity, cleansing rebirth, transformation, the intuitive function, the
subconscious and the alchemical feminine. The left hand holding the cup conveys the close relation
between water and feelings. The cup refers to the legendary Holy Grail of the Arthurian cycle, and
sometimes presumed as it's Celtic forerunner, the inexhaustible cauldron of Dagda, that could even
bring the dead back to life.604
The shape of the cup is similar to a fountain and implies the presence of spring, symbol of the
perpetual renewal of nature through the flow of fresh water.605 Water has been a significant theme in
many paintings throughout history, because of its cleansing and renewal function. The fountain of
youth in medieval art was a favorite subject since it symbolized courtly love, the banishment of fear
from old age and the loss of virility. 606 The representations of the attributes of water are conveyed
literally, metaphorically, symbolically, or allegorically in mythology, religion, and folklore.607
In terms of iconology, some ancient cultures, believed the earth materialized from the watery
womb of a goddess according to their particular pantheon. Since ancient times, art has served cults
of water, contributing images that personify both the physical and metaphysical aspects of water and
the numerous water divinities and conveyed in visual terms the belief in the sacredness of water. 608
In early Greek mythology, the Titan god Oceanus, who exercised control over the world’s first oceans
and waterways, was the guardian of the flow of time and eternal change, which grids the universe,
presiding over life and death of all things.609 Below a statue of Oceanus at the Trevi Fountain in
Rome.
606 . Ibid, p. 258
607 . C. Witcombe, "Water in Art", H2O - The Mystery, Art, and Science of Water, accessed May 2020,
http://witcombe.sbc.edu/water/art.html
608 . Ibid
609. Battistini, Symbols and Allegories in Art, p. 14
163
Figure 47. Leon Battista Alberti, The Trevi Fountain, c. 1453, travertine stone sculpture, (redesigned by Pietro Bracci,
Filippo Della Valle, Giovanni Grossi, Andrea Bergondi and Giuseppe Panini), c. 1732, 36 x 49 meters, Rome Italy 610
The wafer with the upside down capital letter M held by the dove identifies it with Mary, to
show that it is receiving the Host delivered by the dove and is the body and blood of Christ.611 The
dove is a common spiritual icon with meanings indicating hope, purity, aspiration, and ascension. In
Greco-Roman mythology, the dove is a sacred creature to Aphrodite/Venus, and therefore is a
powerful symbol of love.612 The symbol of the dove relates to a plethora of religious meanings, and
consequently once it has the design of a cross on the round object in his beak, it might represent the
wafer used during Christian rituals.
Lilies have been associated with gods and spirituality in Ancient Egypt, India (Hindu and
Buddhist traditions) and other civilizations. Images of water lilies from around the fifteenth century
B.C., were discovered in a villa in Crete. The Ancient Greeks revered lilies because they believed the
flowers were the sprout from the milk of Hera queen of Olympus. Lilies symbolize chastity, virtue,
innocence, purity, hope, rebirth, wellness and the Virgin Mary's purity as queen of the angels.613
Below a painting by Claude Monet, named Water Lilies.
610 . "All You Need to Know About the Trevi Fountain", Arte & Lusso, accessed May 2020,
https://arte8lusso.net/culture/the-trevi-fountain/
611
. Place, The Tarot: History, Symbolism, and Divination, p 224
612 . "Ace of Cups Tarot Card Meaning", Tarot Teachings.com, accessed May 2020, http://www.tarotteachings.com/ace-of-
cups-tarot-card-meaning.html
613 . "Meaning and Symbolism of Lilies", Teleflora, accessed May 2020, https://www.teleflora.com/meaning-of-
flowers/lily?promotion=JUNEWELCOME5
164
Figure 48. Claude Monet, Water Lilies, c. 1917, oil on canvas, 40 x 50 cm, The Legion of Honor Fine Arts Museums of
San Francisco CA 614
According to Waite's explanation:
…The waters are beneath, and thereon are water-lilies; the hand
issues from the cloud, holding in its palm the cup, from which four
streams are pouring; a dove, bearing in its bill a cross-marked Host,
descends to place the Wafer in the Cup; the dew of water is falling on
all sides…615
There seems to be a conundrum as to the number of the water streams flowing from the
golden cup in the Ace of Cups. Visually, the viewer sees five, which Place upholds represent the five
wounds that Jesus bled to bring eternal life to the world.616 Probably, the reason Waite decided that
there are only four, might be because he wanted to associate them with the image of Paradise, from
which four rivers emerge from the center, meaning, from the foot of the Tree of Life itself, to branch
out in the four directions of the cardinal points.617 Jung explains that: "…Psychologically, therefore,
water means spirit that has become unconscious…"618
614 . Flickr, accessed May 2020, https://www.flickr.com/photos/mbell1975/8504567605/

http://www.sacred-texts.com/tarot/pktcuac.htm [13/10/2002 14:28:27]
618 . C. G. Jung, "Archetypes and the Collective Unconscious", Collected Works of C. G. Jung, Vol. 9, part 1, par. 40
165
In conclusion, within the framework of iconology and iconography of the panorama of the sky
above and the water below are the cosmic parents of creation myths. In the iconography of late
antiquity, fountains were decorated with human and zoomorphic beings whose organs pour forth fresh
water and according to Orphic tradition, there were two fountains to the entrance of the Underworld;
the fountain of memory, which granted immortality and eternal bliss and the fountain of forgetting. 619
According to the Golden Dawn, the Ace of Cups symbolizes productiveness, pleasure, happiness and
fertility, to which Waite agrees.
From an iconographic point of view, the card has barely changed other than its slightly different
but similar depictions with or without a background. The Visconti-Forza Ace of Cups depicts a
hexagonal fountain with two water streams flowing on a floral background; the Sola-Busca Ace of
Cups has a sumptuous fountain standing in nature in the shape of a cup with three putti standing on
top and some doves. The putti and doves with their Christian religious overtones of purity remained
the same in the visual aspect of the card for five-hundred years. The Ace of Cups in the Tarot de
Marseilles has an elaborate hexagonal chalice with turrets like a castle on a white background.
From the perspective of iconology, it seems that the Ace of Cups has remained the perfect
symbol for depicting all the attributes of the element of water. The Ace of Cups encompasses many
attributes. It is a chalice that receives the logos, the legendary grail that caught the blood of Christ
symbolized by the priest's cup of wine during Christian rituals, the blood of the Mithraic bull turned to
grain, the Celtic Cerwiden's magical cauldron, the Holy Grail of Arthurian romance and the mythical
cauldron of Dagda.620 Waite and Smith kept all the symbols and added a few of their own to enhance
the spiritual meaning of the card as they mostly did because they created the deck for spiritual
purposes.
The next card discussed within this chapter is the Minor Arcana Ace of Swords.

620 . Campbell, and Roberts, Tarot Revelations, p. 223
166
Rider-Waite-Smith Ace of Swords
The Rider-Waite-Smith Minor Arcana Ace of Swords (Spades, Crystals) card

has a black border and at the bottom of the card, the words Ace of Swords written in black bold capital
letters within a grey rectangle. Most of the background of the card is light grey and the bottom section
has a range of blue and purple mountains. On the right side of the card, is a floating right hand
surrounded by a halo of light hovering from within clouds and holding a sword with a crown, branches
of laurel leaves and evergreens with buds high up in the air.
The suit of swords deals with the element of air, the mental aspect of life, logic, clarity, focus,
communication, courage, authority, thought processes, the part of us that connects us to the world
through our human intelligence.621 The sword on the card signifies the power of justice and the two-
edged sword of equilibrium. As the forerunner and seed of the suit, the Ace of Swords encompasses
all of these attributes, though the suit itself has some dark and fearsome scenes throughout.
In megalithic culture, the sword was the counterpart of the distaff, the feminine symbol of the
continuity of life and together they symbolized, respectively, death and fertility thus, the sword was
the symbol of physical extermination, psychic decision, the spirit and the word of God.622 There are
Egyptian pylon reliefs of the Rameses period of the fourteenth to eleventh century B.C. showing a
pharaoh in a ritual pose, raising a hand to seize a sword that a god is holding out to him. While in
ancient Chinese depictions there are magicians with swords to drive off demons and in Japan, the
proper use of the sword was the art of the samurai.623 The development of the sword out of the dagger
was gradual; the first weapons, classified as swords without any ambiguity are those found in Minoan
621
. "Minor Arcana: The Aces ", Magickal Connections - Witchcraft and Tarot, accessed May 2020,
https://wytchymystique.com/tarot-tutorial/minor-arcana-the-aces/
623 . C. Eisenbraun, "The Symbols", Symbols: The Alphabet of a Universal Language, accessed May 2020,
https://www.chris-eisenbraun.com/fine_art/symbol_dictionary/sword.html
167
Crete, dated to about 1700 BC.624 During the middle Ages, sword technology improved, becoming a
very advanced personal, prestigious, and versatile weapon for close combat, but it came to decline
in military use as technology, such as the crossbow and firearms changed warfare. However, it
maintained a key role in civilian self-defense.625 Civilian use of swords became increasingly common
during the late Renaissance, as duels were a preferred way to settle disputes honorably. Below a
sculptre of three bronze swords that commemorates the Battle of Hafrsfjord in 872 and reunited the
whole of Norway under the crown of King Harald.
Figure 49. Artist unknown, Sverd i Fjell (Swords in the Rock), bronze, c. 9th century, 10 meters, Madlaleiren Norway626
The six golden drops falling from the crown is reminiscent of the moon drops in the Major
Arcana Moon card. These drops might symbolize the descent of logic, courage, force and clarity, but
According to Place, these drops are the Hebrew letter Yud descend from the crown, the seeds of new
words, ideas and decorated with evergreen branches, it symbolizes prosperity and lasting
achievement.627 Waite does not comment a single word on the subject because other than mentioning
the upright and reverse occult meanings of the card. His only explanation is its description; "…a hand
issues from a cloud, grasping a sword, the point of which is encircled by a crown..."628
624 . M. Frangipane, "The Collapse of the 4 th Millennium Centralized System at Arslantepe and the far-reaching Changes in
3rd Millennium Societies", Origini Vol. XXXIV, Pune :Vice Chancellor, Deccan College Post-Graduate and Research Institute
(Deemed University), 2012, pp. 237–260
625 . "Sword", The Encyclopedia Britannica, accessed May 2020, https://www.britannica.com/technology/sword
626
. "The Swords of Stavanger", Life in Norway, accessed May 2020, https://www.lifeinnorway.net/the-swords-of-
stavanger/
http://www.sacred-texts.com/tarot/pktswac.htm [13/10/2002 14:29:23]
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From the perspective of iconology, the Ace is the phallic symbolism of the card and thus
referred to as the suit of leaders and warriors.629 In terms of iconography, works of art has a plethora
of meanings throughout history. The same phenomenon exist in the various decks. The Visconti-
Sforza Ace of Swords has a long-sword with a ribbon superimposed on a flowery background and the
Sola-Busca Ace of Swords depicts two male figures, one partially behind the other, each holding
different parts of the sword's hilt.630
In conclusion, the Golden Dawn named the card Lord of Peace Restored, a contradictory
characteristic in the nature of strength through suffering and regarded it as a card symbolizing great
power for either good or evil, suggesting a tendency of extremes with formidable forces at work.631 It
seems that except for the landscape, the details of the Rider-Waite-Smith Ace of Swords card derive
from the Marseilles Ace of Swords.632
The next card discussed within the chapter of the Aces is the Rider-Waite-Smith Minor Arcana
Ace of Pentacles.
The Rider-Waite-Smith Ace of Pentacles
The Rider-Waite-Smith Minor Arcana Ace of Pentacles (Coins, Disks, and

Deniers) card has a black border and at the bottom of the card, the words Ace of Pentacles written in
black bold capital letters within a grey rectangle. On the right side of the card in the foreground, is a
floating right hand surrounded by a halo of light hovering from within clouds and holding a pentacle
high up in the air. A quarter of the bottom of the card depicts a large green field with white flowers
divided by a yellow path leading to a hedge with tall trees and an adjacent archway overflowing with

169
flowers and vegetation. Through the archway, far away in the distance, there are high peaked light-
blue colored mountains, probably covered by snow.
The iconography of the suit of pentacles, deals with the element of earth, and more specifically
money, material goods, property, acquisitions, status, growth, security, reward and expansion. The
hand in this suit, holding the golden pentacle, represents generosity and the ability to give as well as
to receive. The overflowing flora symbolizes security, beauty and the financial ability to create and
live in such a sumptuous area. While the mountains and trees in the background signify huge potential
for more opportunities, which the element of earth presents the gift of the garden of earthly delights.633
In aspects of iconology, artistic depictions are common and the use of coins in both the East
and the West. Coinage preceded more primitive currencies; nonmonetary or semi-monetary, which
survived into the historic age of true coins, and may have derived originally from the barter of cattle,
implements and the like.634
This is the suit of earth and the sensation function as identified by Jung, which determines
how physical systems work.635 According to Jung:
…Sensation, or sensing, is that psychological function which transmits

a physical stimulus to perception. It is, therefore, identical with
perception. …Sensation is related not only to the outer stimuli, but also
to the inner, i.e. to changes in the internal organs. Primarily, therefore,
sensation is sense-perception, i.e. perception transmitted via the sense
organs and 'bodily senses'. On the one hand, it is an element of
presentation, since it transmits to the presenting function the perceived
image of the outer object; on the other hand, it is an element of feeling,
because through the perception of bodily changes it lends the character
of affect to feeling...636
In conclusion, Waite describes the Ace of Pentacles as "…A hand issuing, as usual, from a
cloud holds up a pentacle…" 637 The Visconti-Forza Ace of Pentacles depicts a large coin
superimposed on a floral background. The Sola-Busca Ace of Wands portrays one putti, holding a
633
634 . "Origins of Coins", Encyclopedia Britannica, accessed May 2020, https://www.britannica.com/topic/coin/Origins-of-
coins
636 . C. G. Jung, Psychological Types or the Psychology of Individuation, (trans.) H. Godwin Baynes and B.C. Cantab, Great
Britain: T. and A. Constable LTD, 1923, pp. 585-586
http://www.sacred-texts.com/tarot/pktpeac.htm [13/10/2002 14:30:23]
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disk high above his head, while two other putties sit beside him on top of a mountain. In this particular
case, the Tarot de Marseilles Ace of Pentacles is similar to the Visconti-Forza Ace of Pentacles. Waite
and Smith did take into consideration the previous designs, but preferred to add symbols of the
element of earth, such as the abundant fields, flowers, trees, an archway covered with vegetation and
the spiritual meaning of the card that relates to abundance.
The next chapter is on celestial bodies and the World cards of the Rider-Waite-Smith deck.
171
Chapter 8
The Rider-Waite-Smith Celestial Bodies and the World Cards
This chapter of the research is on Celestial bodies – Star, Moon and Sun Tarot cards, though in this
case I have decided to include the World Tarot card too. Granted; for people who live on Earth, the
World Tarot card, seen from outside of our own mesosphere; it is still a celestial body. The term
celestial body is as expansive as the entire universe, both known and unknown. By definition, a
celestial body is any natural body outside of the Earth’s atmosphere such as the moon, sun, the other
planets of our solar system, dwarfs and black holes.638 Man has been interested in the movement and
changes of celestial bodies in the cosmos since the dawn of time observing and recording them.
Every culture around the globe throughout history has myths and religious beliefs that involve the
earth, stars, planets, moon, and the sun. Their personification is archetypal in its universality, and
having the form of men or women who disappeared every morning or evening into the western ocean
and reappeared in the east after having swum across the ocean all night long. 639 Ancient pagan
religions performed rituals according to celestial events and asked for diverse blessings according to
the goddess or god these to whom they related. The earliest written records were astronomical
observations supplied by the Babylonians and continued by Hellenistic natural philosophers.
Since the beginning of Christianity, the Roman Catholic Church absorbed Aristotle's scientific
methods and Ptolemy's model into its own doctrine, which were not subjected to scientific research
for hundreds of years, until the Renaissance, when Copernicus reinvented the heliocentric theory and
challenged Church doctrine.640 Below a picture of Planetary Spheres from 1524.
Figure 50. Peter Apian, Planetary Spheres, c. 1524, woodcut, 37.3 x 38.4 cm, in Cosmographia, manuscript641
638 . "Space and Astronomy News", Universe Today, accessed September 2019,
https://www.universetoday.com/48671/celestial-body/
639 . Wang, The Jungian Tarot and its Archetypal Imagery, p. 227, from Larousse Encyclopedia of Mythology, New York,
1968, p. 436
640 . "History of Astronomy", accessed September 2019, c
641. P. Apian, Planetary Spheres, c. 1524, woodcut, 37.3 x 38.4 cm., Cosmographia, manuscript, accessed December 2019,
https://www.alamy.com/peter-apian-cosmographia-antwerp-1524-schema-huius-prmi-diuiionis-sphrarum-coelvm-empirevm-
172
I tend to agree with Huson's reasoning that the World Tarot card was originally supposed to be placed
not at the end of the Major Arcana cards, but as a penultimate card in the sequence because in that
position it would have represented one more celestial body, thereby rounding out the cosmos being
depicted and representing planet Earth itself.642
The Rider-Waite-Smith Tarot cards discussed within the chapter I named Celestial Bodies are
the Star, the Moon, the Sun and the World because in Renaissance painting artists commonly used
images of the pagan gods to represent the elements of the cosmos.643
Among these cards discussed in this chapter, the first one is the Rider-Waite-Smith Major
Arcana the Star Tarot card.
The Rider-Waite-Smith the Star – XVII
The Rider-Waite-Smith Major Arcana the Star card has a black border, on
the middle top of the card is the number seventeen in Roman numerals and at the bottom within a
beige rectangle are the words the Star in black bold capital letters. On the upper section of the card
on a light blue sky are a large eight-pointed ablaze yellow star named Star of the Magi (l'étoile
flamboyante) surrounded by seven smaller eight-pointed white stars, which radiate upon earth.644
An entirely naked female figure in the foreground with the facial expression of hope and
satisfaction has her left knee on the land and her right foot upon the water, while pouring water of life
from two large red ewers, irrigating both sea and land. Being naked, her contact with nature is direct;
her posture suggests humility and the rhythm of her pouring attuned to the cosmic dance of the stars
above her. The water poured on the land nourishes the dormant seeds and the water poured on the
habitacvlvm-dei-et-omnivm-electorvm-0-decimm-clm-prim-mobile-9-non-clm-critallinm-8-octaum-firmament-7-coel-satvrni-6-iovis-
5-martis-4-solis-3-veneris-z-mercvrii-lv-image185553508.html
173
body of water flows back into the common stream to revivify and replenish it.645
Behind her, there is a mountain on the right side of the green fertile land and a tree with a bird
perched on the left side of the card. Kaplan maintains that the bird is the sacred ibis of immortality;
Huson states that it is a swallow, symbol of resurrection in Renaissance painting, while Cavendish
claims it symbolizes the soul's ability to raise to higher levels of consciousness, the dove of the spirit
or the owl of wisdom.646 The tree that is rooted deep in the earth and towers to the sky connects the
two worlds of above and below.
Symbolically speaking, stars are innumerable, unreachable and unapproachable. The
significance of the star as a symbol depends on the amount of points it has. In the Hermetic tradition,
the seven-pointed star is the symbol of the great work of human evolution with its seven metals as
the essential quality of all material things and its seven planets as the totality of the heavens. 647 The
eight-pointed star symbolizes the state of spirit that has reached the eight level of perfection. 648
According to Waite:
…the star is l'étoile flamboyante, which appears in Masonic

symbolism, but has been confused therein. That which the figure
communicates to the living scene is the substance of the heavens and
the elements. It has been said truly, that the mottoes of this card are
"Waters of Life freely" and "Gifts of the Spirit...649
The naked female figure is a personification of water, a representation of the feminine principle
and/or the mother goddess, ritually pouring waters of life in springtime to revive the world from winter's
dormancy expressing eternal youth and beauty. As she moves beyond time, subject only to nature's
rhythm, she represents the anima. The position of her limbs suggests the swastika, an ancient form
of the cross, named the Hammer of Creation, symbolizing the continuous motion of the cosmos,
connecting the circular pouring with the circulation of the planets.650 Below a painting by Titian named
Pastoral Concert.

646 . Kaplan, Tarot Classics, p. 119, and Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 136,
and Cavendish, The Tarot, p. 125

648 . Ibid, pp. 96-102

174
Figure 51. Titian, Pastoral Concert (Le Concert Champêtre), c. 1509, oil on canvas, 105 × 137 cm, The Louvre
Museum Paris651
The card represents an ordered harmonious world in which all of the four elements of creation:
earth, water, fire and air, meaning that in Jungian terms these could symbolize the four functions of
the human psyche.652 Consequently, where the waters and earth meet, so do the personal and the
universal by offering hope.
Within a standpoint of iconology, stars have been symbols of hope and inspiration, charted
since the beginning of civilization. The stars remained a reference to astrology and to heavenly forces
behind human lives.653 The ancient Egyptians associated the stars with the goddess of truth Maat and
the star named Sirius rose just before the sun each year immediately prior to the annual flooding of the
Nile River, enabling the fertility of the land. For the Babylonians the star symbolized the goddess of
love and fertility Ishtar and for the Greeks the seven mythological maidens named the Pleiades,
transferred into the heavens after death. 654 In Christian symbolism, the Star has a plethora of
significances. It can be associated to the Virgin Mary - Stella Maris, the Star of Bethlehem and Christ,
which are all symbols of hope. The blazing star of Masonic temples represents the sun, surrounded
by the seven planets known in the ancient world, were connected with other groups of seven like the
seven ages of men, the seven principal chakras of Hindu occultism, and the seven constituents of
human nature.655 The giant star is reminiscent of alchemical texts that represent the seven stages of
651 . Wikipedia, accessed September 2019, https://en.wikipedia.org/wiki/Pastoral_Concert

655 . Ibid, p. 127
175
the Great Work to create gold and free the spirit from the matter that imprisoned it. Below an illustration
by Cesare Ripa.
Figure 52. Cesare Ripa, Crepuscolo della Matina, c. 1709, illustration, Iconologia (Moral Emblems)656
This particular illustration might have been the original concept of the Tarot de Marseilles
design for the Star card. This specific Star Tarot card is similar to that of the Rider-Waite-Smith one,
though the large star in the middle is an amalgamation of two stars one red and one yellow
superimposed on one another, and the rest of the stars are colored red, blue and yellow. Moreover,
the background of the card is white and there are two trees. Waite and Smith retained the concept of
the Tarot de Marseilles card, added the light blue background and a mountain, and deleted the second
tree and the colors of the seven stars keeping them white, softened the depiction of the star maiden's
body creating a gentler and more spiritual scene. According to Waite:
…it is a card of hope. On other planes, it has been certified as immortality

and interior light. … the figure will appear as the type of Truth unveiled,
glorious in undying beauty, pouring on the waters of the soul some part
and measure of her priceless possession. …she is in reality the Great
Mother in the Kabalistic Sephira Binah, which is supernal Understanding,
who communicates to the Sephiroth that are below in the measure that
they can receive her influx…657
In the dark night sky other than the stars we see other celestial bodies too, thus next card
discussed in this chapter named Celestial Bodies is the Raider-Waite-Smith Major Arcana the Moon
card.
656 . C. Ripa, Iconologia – Moral Emblems, London: Benz Motte, 1709

176
The Rider-Waite-Smith the Moon – XVIII
The Rider-Waite-Smith Major Arcana the Moon card has a black border and
on the middle top of the card is the number eighteen in Roman numerals and at the bottom within a
beige rectangle are the words the Moon in black bold capital letters. The upper background of the
card is light blue on which there is a large moon rising between two towers fertilizing the earth with
moon drops. The moon has thirty-two rays - the Kabalistic number of the ten Sephiroth combined with
the twenty-two paths of the Tree of Life of them sixteen chief and sixteen secondary ones.658 Although
the depiction of the moon is a whole circle, it includes within its representation a waxing crescent and
the profile of a female, acknowledged as the artistic means of representing the moon during the
Renaissance period. In front of the blue colored mountains, seen in the horizon are two grey towers,
one on the left and the other right side of the card with a black window each. At the bottom of the card
is the sea from which a crawfish is trying to climb up onto the green shore that has small plants and
colorful pebbles. There is a winding narrow golden path running from the shore all the way to the top
of the mountain. An orange dog and a yellow wolf who are the two waring opposites resolved to form
the alchemical medicine, seem to be baying at the moon and are probably protecting the land from
the crawfish.659
Symbolically the Moon has a multitude of aspects. Primarily she always keeps one face turned
away from earth. Her endless but steady and predictable changes are subject of poetry and science,
religion and magic, love and madness. The moon tethers the earth keeping it on its axis that enable
the changing of the seasons. Since the Moon wanes and waxes changing her shape everyday
through the course of a full cycle, she is associated with the mistress of night and the waning and
waxing cycles of life, the anima, the menstrual cycle, the tides of the sea, witchcraft, imagination,
fantasy, illusion and maddens (lunacy).660 Nichols, in her book Jung and Tarot an Archetypal Journey

659 . Ibid
177
named the title of the chapter on the Moon Tarot card as maiden or menace since, similar to Luna the
Moon can drive a man to lunacy, as Circe change humans into swine, as Medusa her hypnotic glace
can paralyze at will and as Hecate, tear a man apart emotionally.661 Because of its cyclic attributes,
Renaissance magicians considered the Moon as an archetype responsible for the phenomenon of
flux and reflux.662 The moon not only measures and determines terrestrial phases but also merges
them through its activity: it unifies, that is, the waters and rain, the fecundity of women and of animals,
and the fertility of vegetation.663
According to legend found in Orphic Hymns, Night, the primordial mother and the universal
womb who is also the mother of Sky, Earth, Sleep and Death joined with Wind and laid a silvery egg,
which is the Moon. As the daughter of Night, Moon, is associated to the element of water and the
earth underground where seeds germinate.664 Seen by her pale, cold and inconsistent light cause
solid realities to lose their substance, like watching through a mirror in which no reflection is certain. 665
The Moon relates to the archetypes of illusion, fear and the deadly mother. Because she changes her
shape, she is equivalent in Greek mythology to Artemis the maiden during the waxing moon, Selene
the mother during the full moon and Hecate the crone, mother of the underworld and the witch during
the waxing moon. Below a picture of Hecate on an Apulian red figure ware.
Figure 53. Artist unknown, The Return of Persephone from the Underworld (Hecate on the left carries a pair of
torches and gazes backwards over her shoulder at the goddess, Hermes and Demeter on the right), c. 440 B.C., Apulian
red figure amphora Krater Bell, Metropolitan Museum of Art, New York 666
661 . Nichols, Jung and Tarot an Archetypal Journey, pp. 314

666 . Theoi Project, accessed November 2019, https://www.theoi.com/Gallery/T16.2.html
178
The golden moon drops on the Rider-Waite-Smith card seen falling from the Moon named
lacrimae lunae – tears of the moon or dew, are according to legend, the forgotten dreams and
discarded memories dispelled by the Moon to earth as the dawn rises. Place maintains that:
"Alchemists sometimes gathered dew as the prime material for the Philosopher’s Stone."667, while
Cirlot upholds the view that:
…in Alchemy it is the process called solution, an attempt to reduce the

material in the alchemist's vessel to a watery state which, was regarded
as an essential early step in the making of the stone…668
In Kabbalah, the moon is associated with the number nine, the first step upwards in human evolution.
Perceived as the foremost celestial source of magic, in Freemasonry and Alchemy, the moon is an
essential partner in the division of life into necessary polarities and in the process of healing, spiritual,
and magical union, recognized as the goal of the human spirit.669
The motif of the two towers divides the seashore from the mountains that lie behind symbolize
the gateway to a foreign and unexplored country, the forest as it appears in legends and folklore,
which is full of ghosts and the entry of the soul into the physical body. The baying dogs have two
opposite concepts. On the one hand, as men best friend, the dog symbolizes the instinctual wisdom
sympathetic to men, while on the other hand they also belonged to various gods similar to Hecate
and assisted her to guard the gates of the underworld and the realm of the god Yama in the Verdict
underworld. Waite and Smith transformed the depiction of the two dogs in the Tarot de Marseilles
card into a dog and a wolf probably because of on an illustration that appears in The Book of
Lambspring670 depicting a dog and a wolf as the two warring opposites that are resolved to form the
alchemical medicine. The fifth emblem, which completes this part of the sequence, shows the wild
wolf and the tamed dog who both belong to the canine species (Canis lupis) fighting for supremacy.

670 . A. McLean, "A Threefold Alchemical Journey through the Book of Lambspring", accessed November 2019,
https://www.alchemywebsite.com/lambjrny.html The Book of Lambspring is well known as one of the gems from the Musaeum
Hermeticum published in 1625 by Lucas Jennis in Frankfurt, especially for its series of fifteen emblematic plates. It seems that this
little book was first published, under the title De Lapide Philosophico Triga Chemicum (Prague 1599) compiled by the Frenchman
Nicolas Barnaud prominent in the alchemical circles around Rudolf II. However, this tract and its emblematic drawings circulated in
manuscript during the last two decades of the 16th century, as is attested by a number of copies dated to this period, which still survive
in libraries and special collections today. [Of these, we might mention Ms 16752 in the National Museum in Nurnberg, and the
manuscript copy in the University of Leiden.] The Book of Lambspring is a short work with an introductory section in verse and an
emblem showing a threefold furnace. Following the tradition of emblem books of the period, its series of fifteen emblems each bears a
motto or title with a verse on the facing page. The Book of Lambspring is a work of spiritual alchemy, has few references to physical
alchemical processes, and it seems unlikely that it could ever have provided any clues that might help someone engaged upon physical
experimentation. Instead, it is a clear, powerful and extremely useful statement of the inner work of the spiritual alchemist. Its verses
point to the soul and spirit involved in the alchemical transformation and its fifteen emblems are evocative symbols of these inner
processes.
179
One comes to understand that man’s best friend and the big bad wolf are, in fact, the same. However,
one symbolizes the fearsome, running wild and unbridled in the dark places of the wilderness and in
our imaginations, while the other remains, leashed and kenneled.671 This links polarities in the verse
with the directions West (Dog) and East (Wolf) as seen below.
Figure 54. Nicolas Barnaud, The Fifth Emblem, c. 1599, emblematic plate, De Lapide Philosophico Triga
Chemicum (A Threefold Alchemical Journey through the Book of Lambspring )672
The crawfish that rises out of the water is a complex symbol too. Since it can walk backwards
and forwards, it is traditionally associated with inconsistency.673 While it stands for the zodiac sign of
Cancer ruled by the moon, it is also the symbol of evolution of men from amphibious creatures to
animals who walked on land and finally humanoids who also evolved with time to become today's
homo-sapiens. The crawfish protects its tender flesh with an armor so strong, that his form has
remained from prehistoric times thus, symbolizes immortality and worshiped as gods similar to the
ancient Egyptian scarab. 674 The crawfish is associated with the ancient Egyptian dung beetle of
Khepera a scarab-faced god in ancient Egyptian religion who represents the rising or morning sun
after making the perilous passage by night through the dark waters of the underworld represents
creation and the renewal of life. The scarab, has the function of devouring what is transitory, the
volatile element in Alchemy and of contributing to moral and physical regeneration.675 These cold-
blooded creatures were often related to gods and used as amulets as the golden lobster amulet from
Costa Rica seen below.
671
. S. d'Este, Hekate her Sacred Fires: Exploring the Mysteries of the Torchbearing Goddess of the Crossroads, p. 106,
Kindle Edition.
672 . A. McLean, "A Threefold Alchemical Journey through the Book of Lambspring", accessed November 2019,
https://www.alchemywebsite.com/lambjrny.html
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Figure 55. Artist unknown, Lobster-Shaped Pendant, c. 1800 to 300 BC (pre-Colombian period), golden pendant,
23 x 33.8 cm, Pre-Columbian Gold Museum San Jose, Costa Rica676
In relation to the Moon and her symbology, Jung explains,
…It is bitter indeed, to discover behind one's lofty idea and narrow
fanatical convictions, all the more cherished for that, and behind one's
heroic pretension nothing but crude egotism, infantile greed and
complacency…677
In conclusion, The Star, the Moon and the Sun were once all part of a single iconographic
scheme of the heavens, but soon after the introduction of the Tarot, the supporting human cast
disappeared or at least became secondary, just as the crone Hecate came to be associated with
ghosts, crossroads, sorcery and the underworld.678
In attributes of iconology, Tarocchi decks linked the ancient gods and offerings into their visual
description. The Visconti-Sforza Tarocchi Moon card depicts a young maiden who is probably Artemis
with the crescent moon in her right hand; the Sola-Busca Tarocchi Moon card depicts Lentulio, placing
a large freestanding liturgical candle upon an altar.679 The Tarot de Marseilles Moon card is very
similar in its design to the Rider-Waite-Smith one with a few exceptions. It has two dogs instead of a
dog and a wolf, the moon drops are red, yellow, blue and light blue, the background is white and the
moon has small red rays on which large yellow ones are superimposed. The depiction of the moon is
676 . D. Logunov, "Costa Rica field course 2014 – Pre-Columbian Gold Museum", Entomology Manchester, Lobster-Shaped
pendant, pre-Colombian period, Pre-Columbian Gold Museum San Jose, Costa Rica accessed November 2019,
https://entomologymanchester.wordpress.com/2014/06/14/costa-rica-fieldcourse-2014-pre-columbian-gold-museum/
677 . C. G. Jung, Mysterium Coniunctionis Collected Works of C.G. Jung Vol.14 2nd (Ed. and tran.) G. Adler and R. F. C.
Hull, Princeton University Press, 1977, p. 256
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more complex, as a full moon, in which there are one large red crescent, two smaller yellow crescents
and the profile of a female within, forms it. The two towers too, have lost their colors, embellishments
and windows. It seems that Waite and Smith, who generally preferred to create elaborated and
complicated scenes for their cards, implemented the exact opposite with their Moon Tarot card, as
they purged it from the details of the Tarot de Marseilles Moon card. Waite's explanation to the
iconography and iconology of the card is thus:
…The distinction between this card and some of the conventional

types is that the moon is increasing on what is called the side of
mercy…the card represents life of the imagination apart from life of the
spirit. The path between the towers is the issue into the unknown. The
dog and wolf are the fears of the natural mind in the presence of that
place of exit, when there is only reflected light to guide it. It illuminates
our animal nature, types of which are represented below: the dog, the
wolf and that which comes up out of the deeps, the nameless and
hideous tendency which is lower than the savage beast. It strives to
attain manifestation, symbolized by crawling from the abyss of water
to the land, but as a rule, it sinks back whence it came. The face of the
mind directs a calm gaze upon the unrest below; the dew of thought
falls; the message is peace, be still; and it may be that there shall come
a calm upon the animal nature, while the abyss beneath shall cease
from giving up a form... 680
The moon is also part of the mythical hieros gamos; the union of two celestial bodies; that of
the male sun and the female moon, and that requires additional attention to Nichols' choice in naming
her the chapter about the Moon Tarot card as "The Moon Maiden or Menace?" in her book Jung and
Tarot an Archetypal Journey. The question as to the symbolism, iconography and iconology of the
moon itself as a celestial body that rules the tides, wanes and waxes and the Rider-Waite-Smith Moon
card remain as always. Perceived as the foremost celestial source of magic, in Freemasonry and
Alchemy, the moon is an essential partner in the division of life into necessary polarities and in the
process of healing, spiritual, and magical union, recognized as the goal of the human spirit.681

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As the moonsets, the sunrises; and as the moon is about the darkness of the night, the sun is
the opposite aspect of the light of day. Consequently, the next card discussed in this chapter of
Celestial Bodies is the Rider-Waite-Smith Major Arcana the Sun card.
The Rider-Waite-Smith the Sun – XIX
The Rider-Waite-Smith Major Arcana the Sun Tarot card has a black border,
and on the middle top of the card is the number nineteen in Roman numerals and at the bottom within
a beige rectangle are the words the Sun in black bold capital letters. The upper background of the
card depicts a prominent anthropomorphized blazing sun that appears in all its glory with twenty rays
and a benevolent human face on a light blue sky. The alternating straight and wavy rays of the Sun
symbolize the embodiment of all opposites, as the Sun can cause growth on the one hand and
devastation on the other.682 On the background below, growing on the edge of a grey-stone walled
garden are four large sunflowers facing the sun representing the four suits of the Minor Arcana and
the four elements. On the foreground of the card, a young blond haired naked child with a crown of
sunflowers on his head, mounted on a white horse displays a sizeable red banner, which he holds
with his left hand.
As the center of our physical solar system, the Sun is the giver of light and heat, responsible
for the maturation of crops, sustainer of life on earth, giver of feelings of contentment, satisfaction,
and symbolizes fire, which is the masculine element, the principle of activity and consciousness.683 In
the Theogony, the Sun represents the moment in the succession of celestial dynasties, when the
heroic principle shines at its brightest, thus, Helios Apollo comes after Uranus, Saturn and Jupiter. As
the sun rises in the eastern sky, and spreads out his rays, similar to the spokes of a wheel, he
becomes a huge mandala, symbolizing the radial order existing in the unconscious and in all nature.
Cirlot explains:

183
…In Alchemy, the correspondences of the sun are chiefly gold, among
the metals, and, of the colors, yellow, regarding it as gold prepared for
the work or philosophical Sulphur. Alchemists took up the image of the
black sun to symbolize prime matter, or the unconscious in its base,
meaning; the sun is then at the nadir, in the depths out of which it must,
slowly and painfully, ascend towards its zenith. Hence, symbolized by
the transmutation of prime matter into gold, passing through the white
and red stages, like the sun itself in its orbit...684
The wall behind the child embodies the efforts and past events that have taken place in a
physical and spiritual manner, enabling the attainment of security, the circle of the zodiac, the
importance of human self-control and environmental control.685
The child represents the joy of the connection with his inner spirit, and his nakedness is a sign
he has nothing to hide and has all the innocence, sincerity and purity of childhood, closeness to
nature, being vital and whole, and enabling renewal. While at the same time, he might symbolize
egotism, inexperience and greed. Jung assumed that in dreams and in art, children were the symbol
of the collective unconscious with its origins at the dawn of time. He further explained that:
…we must therefore realize that despite its undeniable success, the
rational attitude of present day consciousness is in many respects
crying out for rediscovery…686
As previously explained in this research: the white horse687 is a sign of purity, strength, nobility
and stands for the ideals of balance, wisdom and power. In classical Greek mythology, the Sun's
chariot is drawn by two white horses ridden by the great equestrians Castor and Pollux, named the
riders on the white steeds.
As one of the oldest objects made, the purpose of the banner is to make a symbolic statement
for everyone to see; especially the large soaring red banner held effortlessly by the child on the Sun
Tarot card symbolizes vigorous action. As previously explained in this research, the color red is
associated to Aries the fire sign, the god Ares/Mars and Sulphur for alchemical use. Almost every
human community past and present with a public presence and a sense of importance has a banner

686 . C. G. Jung, Mysterium Coniunctionis Collected Works of C.G. Jung Vol.14 2nd (ed. and trans.) G. Adler and R. F. C.
Hull, Princeton University Press, 1977, p. 64

687 . For symbolism of the white horse (see: pp. 146,148, 150)
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or a flag, during which its presence on a battlefield, a parade or on display in and outside buildings
is the symbol of a living and vital presence.688
In terms of iconology, the Sun is associated with solar deities or heroes in many ancient
cultures notably the Egyptians, Greeks, Romans, Aztecs and the American Indians. According to
Nichols, matriarchal cultures regarded the sun as feminine, symbolic of the nurturing mother and in
patriarchal cultures as masculine.689 Rome, as one of the most powerful political forces of antiquity,
upheld solar hierophany, which dominated all other cults in the form of Mithraic ritual. From the late
antique period, the sun was associated to Christ, thus the child as the rising Sun of the Tarot is a
powerful archetype linking paganism and early Christianity symbolizing immortality and resurrection.
In art, the portrayal of the Sun is usually an astral deity in the form of Helios or Apollo or as a solar
disk with a man's face inscribed on it, and appearing at the heart of the world at the center of the
zodiac wheel.690
In conclusion, Smith and Waite changed the illustrations on their Tarot Sun card from the
previous ones, which also evolved throughout the ages according to the artistic styling of their specific
periods. The Visconti-Sforza Sun Tarocchi depicts a winged naked child, probably a sun god hovering
above ground and holding the Sun with both hands above his head. The Sola-Busca Sun Tarocchi
card named Sabino portrays a figure in kneeling posture and upturned face, moving in ritual sequence
by shifting the emphasis towards the left, which is the traditional direction for the worship of chthonic
gods.691 Both these Tarocchi cards express the importance given to the Sun and its worship. The
Tarot de Marseilles Sun Tarot card is slightly similar to the Rider-Waite-Smith one, tough it portrays
two children with tails playing under the majestically shining red and yellow Sun and has no horse or
flowers. Waite and Smith were probably influenced by Eliphas Lévi's Sun Tarot card and a verse from
a work named The Chaldean Oracles of Julianus attributed to Julian the Theurgist a Neoplatonist
from the second century C.E.692 This work was popular among Golden Dawn initiates, the Order to
which both Waite and Smith belonged. In their Sun Tarot card, they mounted their sun child on a white
stallion, gave him a large fluttering banner and added sunflowers on top of the wall and as a crown
on his head.
The Child-Sun motif is pivotal to Jungian psychology, because it is a connecting point between
the individual and the collective unconscious, symbolizing self-recognition. Self-consciousness is the
result of the unification of opposites, consequently the archetypal child emerges from the protective

185
father and the nurturing mother, whose chief task is to overcome the darkness through the inner
sunlight as the Sun does.693 Waite explains his similar concept of the Tarot Sun card as such:
…The sun is that of consciousness in the spirit - the direct as the

antithesis of the reflected light. The characteristic type of humanity has
become a little child therein, a child in the sense of simplicity and
innocence in the sense of wisdom. In that simplicity, he bears the seal
of Nature and of Art; in that innocence, he signifies the restored world.
When the self-knowing spirit has dawned in the consciousness above
the natural mind, that mind in its renewal leads forth the animal nature
in a state of perfect conformity…694
The next card discussed within this chapter is the Rider-Waite-Smith Major Arcana the World
Tarot card, which is the last card of the Major Arcana according to all the Tarot decks but in this case,
Waite and Smith gave their Tarot Fool card the position immediately before the World Tarot card in
the Major Arcana. It seems that Waite was influenced by an Italian motto, "…to be like the Tarot Fool
- all over the place, at home everywhere and nowhere."695
Rider-Waite-Smith the World – XXI
The Rider-Waite-Smith Major Arcana the World Tarot card has a black border
and on the middle top of the card is the number twenty-one in Roman numerals and at the bottom

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within a beige rectangle are the words the World in black bold capital letters. On the four corners of
the card are figures similar to the Wheel of Fortune Rider-Waite-Smith card seen within billowing grey-
white clouds. On the upper corners are two winged beings one who is probably the personification of
an angel or a cherub on the top right, and an eagle on the top left, At the lower corners are the two
beasts of the earth, the ox on the bottom right and the lion on the bottom left.
As previously explained in the Wheel of Fortune Rider-Waite-Smith card; in esoteric traditions
depicted in art, these figures are associated with a number of symbols, though as opposed to the
Wheel of Fortune card, in this case the four figures on each corner are not reading books.696 Among
these are the correlations to: Scorpio, Leo, Aquarius and Taurus, the four human temperaments, the
four evangelicals, the four corners of the universe, the four elements, the four suits of the Tarot, the
four compass points, the four seasons, and the four corners of the Universe.697 Those who deal in
cartomancy, the occult and Kabbalistic theory believe that together, these four symbols represent the
four letters of the name of the Divine that made the World as a manifestation of itself.698 As the fifth
element, the element of spirit the naked woman connects air, fire, water and earth completing the
animus aspect of creating the Tarot Magician's task, the eternal circle.699
The central image on the card is a naked woman draped in purple shawl, dancing inside a
large elliptical mandorla laurel wreath tied by two red ribbons at the top and at the bottom. These
ribbons are reminiscent of infinity. Nichols claims that the two branches, connected by the red ribbons,
symbolize a branch of the Tree of Life and a branch of the Tree of Knowledge, securely interwoven
to create a unified and unbreakable pattern.700 The elliptical wreath may represent the cosmic egg
inside which chaos has been brought to order; meaning the still hub, the timeless unity, the lost
paradise and Jerusalem as the city of heaven or a symbol of time, and of Saturn moving slowly
through the zodiac.701 Her purple shawl symbolizes royalty, wealth, dignity, independence, wisdom
and magic.
The dancing female figure on the card has one leg crossed over the other forming a cross,
though one of her feet is firmly on the ground securing her position, consequently remaining grounded
and indestructible, blending the concept of stability and spontaneity. As a dancing figure, she is a
powerful archetype symbolizing the wave action of spirit activating matter.702 She holds a wand in
either hand as opposed to the Magician Tarot card who only holds one wand. The Magician who holds
696 . For the Tarot de Marseilles Wheel of Fortune card (see: p. 68 and Appendix)
697. "The World", Biddy Tarot, accessed December 2019, https://www.biddytarot.com/tarot-card-meanings/major-
arcana/world/
187
the wand with two white poles in his right hand indicates that his powers are under conscious control
directing masculine energy. In the case of the dancing figure in the World card, the wands are
masculine and feminine energy, indicating conscious and unconscious. Together, these wands
symbolize the harmony between all of their energies, the rotational motion of all things in the entire
cosmos as they are like the twin pillars of duality, now equalized and reduced, having become tools
for the creative expression of the soul. 703 The woman, though some maintain that she is an
androgynous figure, she is mostly identified with the great goddess, nature, Eve, Anima Mundi and
according to Kabbalah the Shekinah, who is the feminine aspect of God whose supreme purpose is
to reunite with God.704
In terms of iconography, there are many similarities between the Rider-Waite-Smith the World
Tarot card and the Rider-Waite-Smith Wheel of Fortune Tarot card. They both have light blue
backgrounds positioning the four symbols in each corner, with the main items in circular and/or
elliptical form represented centrally in the middle of the card. The laurel wreath and the two wands in
her hands are reminiscent of the Magician Tarot card, though in his depiction, the wreath is substituted
with Ouroboros, and he has only one wand. As the last card of the Major Arcana, she comes full circle
to the beginning representing unity, which is dynamic and eternal. Waite explains:
…perhaps a story of the past, referring to that day when all was
declared to be good, when the morning stars sang together and all the
Sons of God shouted for joy… …The World card represents the
perfection and end of the Cosmos, the secret, which is within it, the
rapture of the universe when it understands itself in God. It is further
the state of the soul in the consciousness of Divine Vision, reflected
from the self-knowing spirit 705
Huson upholds that:
…We are dealing here with the divine world of mystics, of the beatific
vision, of Dante's final glimpse of heaven, which he wrote in his Divine
Comedy, 'nothing shall be to come, and nothing past, but eternal now
shall ever last…706
703

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In iconology, the cosmos is the result of God's organization of the primordial forces, while in
ancient creation myths; the accomplishment of the world order was through conflict between divinities.
In Christian cosmology, the creation of the world was according to the model of unus mundus,
meaning perfect and everlasting, thus the Renaissance founded its philosophy on this
correspondence.707 The world is the realm in which a state of existence is unfolded comprising many
component parts adhering together the infernal, the terrestrial and the celestial. 708 One should not
always equate the inferior with the subterranean, because, in megalithic cultures, the latter was
usually located high up, or in the hollow interior of mountains, conceived as the dwelling place of the
dead.709
The elliptical mandorla, the egg and the oval convey the same archetype. The archetype of
the oval appears throughout human history weaving a web of correspondences between civilizations
and cultures, as most cosmological myths conceive of the universe as egg shaped or having
originated from an egg, used by art, philosophy and religion to symbolize the mystery of life and its
diverse manifestations.710 Below a picture of a third century Mithraic relief, that includes the cosmic
egg as the nucleus of the world, the wheel of the zodiac and the scepter of government.
Figure 56. Artist unknown, Phanes Inside the Zodiac, Second quarter of second century AD, marble relief, 74 x 48.7cm,
Palazzo dei Musei Galleria Estense Modena Italy711
707
709 . Ibid, p. 377
710
711. Palazzo dei Musei, Galleria Estense, fourth floor, Modena Italy, accessed December 2019, https://www.gallerie-
estensi.beniculturali.it/en/works-of-art/relief-with-aionphanes-inside-the-zodiac/
189
In conclusion, the World Tarot card has undergone extensive changes from the earliest
Tarocchi Italian deck, the Visconti-Sforza deck depicting two putti holding a sphere in the center of
which is a castle floating in between sky and water. Probably, the city within the sphere represents
the lands over which the Sforza ruled, though this might be a speculation because long before that,
the concept of the Heavenly Kingdom of Jerusalem supposed to descend from the heavens to earth
already existed in Revelations and within artistic circles. Below such a depiction of the Heavenly
Kingdom of Jerusalem.
Figure 57. Artist unknown, Medieval Description of Heavenly Jerusalem, c. 1502, engraving on print, in Bernard von
Breydenbach’s Itinerarium Terrae Sanctae (Itinerary of the Holy Land), Image copyright the Dean and Chapter of
Worcester Cathedral (UK), Worcester Cathedral Library712
The artist of the Sola-Busca created the World Tarocchi card named Nabuchodenasor
performing a death ritual intended to influence the post-mortem life of the soul to bind it for the benefit
or continuity of an ancestral line, community or esoteric order.713 Renaissance artists were experts in
including scenes entwined between Christianity and Neo-Platonic views within their work.
Consequently, either both of these World Tarocchi cards have a religious representation. The Sola-
Busca World is religious in its attitude, while the Visconti-Sforza is secular in its essence. The Tarot
de Marseilles World Tarot card abandoned the concept of Heavenly Jerusalem held by two putti, and
exchanged it with a woman dancing within a mandorla flanked by four symbolic creatures in each
corner as a veiled protest against the domination of the church.714
Waite and Smith applied to their design the main symbols, found in the Tarot de Marseilles
the World Tarot card; though they changed the colors, added a light blue background and gave their
712
. Bernard von Breydenbach, Itinerarium Terrae Sanctae (Itinerary of the Holy Land), 1502, The Worcester Cathedral
Library and Archive Blog, Image copyright the Dean and Chapter of Worcester Cathedral (UK), accessed December 2019,
https://worcestercathedrallibrary.wordpress.com/2016/09/15/the-centre-of-the-world-jerusalem-in-early-modern-thought/
190
female figure a wand in each hand instead of a wand and a bell. Since they were both occultists, they
interpreted the card in a different fashion refuting previous analyses of the card. Waite explains:
…One of the worst explanations concerning it is that the figure

symbolizes the Magus when he has reached the highest degree of
initiation; another account says that it represents the absolute, which
is ridiculous. The figure has been said to stand for Truth, which is,
however, more properly allocated to the seventeenth card. Lastly, it
has been called the Crown of the Magi...715
If one is to interpret the meaning of this card as the culmination of a person's archetypal
journey then, the figure on the World Tarot card is the culmination of profound self-realization bringing
permanent conscious change, as if recreated as a whole new being, which Jung describes as such:
…experiencing the self means that you are always conscious of your
identity…that you can never be anything than yourself, that you can
never lose yourself and never be alienated from yourself…716
It seems that similar to the alchemists' lifelong task to liberate the Anima Mundi from her
imprisonment, a new realization of the self in the unique individual will spark its influence in the
collective environment.717 To borrow the language of the alchemists the dancing figure of the World
card is concerned with translating the base metals of her everyday existence into golden experience
of value.718 It is unclear if this was the goal of artist of the Visconti-Sforza card to whom the Heavenly
Jerusalem was part of the unification with God or if he was motivated by his employer to depict the
Milanese kingdom. Consequently, the card underwent an oicotypification process in its artistic
description during the past five hundred years.
The following chapter of this research focuses on the virtues and vices portrayed in the Major
and Minor Arcana Tarot cards of the Rider-Waite-Smith deck.

716. C. G. Jung, "Two Essays in Analytical Psychology", The Collective Works of C. G. Jung, Vol.7, 2nd (ed. and trans.) G.
Adler and R. F. C. Hull, New Jersey: Princeton University Press, 1970, par. 5
718 . Ibid, p. 354
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Chapter 9
The Rider-Waite-Smith Vices and Virtues Cards
A virtue is a trait deemed morally good, and valued as promoting collective and individual prominence
within an associated society. A vice is a practice, behavior, or tendency, generally considered sinful,
criminal, immoral, depraved, degrading and taboo in an amalgamated society. Although some vices
and virtues are universal, their specific inclusion and importance depends on the society itself and its
predominant values. Despite that, many of these traits identify as having a surprising amount of
similarity across cultures strongly indicating a historical and cross-cultural convergence.719
In the West, virtue ethics’ founding fathers are Plato and Aristotle, and in the East, they are
Mencius and Confucius.720 In Ancient Egyptian religion, Maat the daughter of the sun god Re who
was associated with the god of wisdom Thoth was the personification of justice, truth, law, morality
and the cosmic order. Greek monastic theologian Evagrius of Pontus first drew up a list of eight
offenses and wicked human passions in order of increasing seriousness: gluttony, lust, avarice,
sadness, anger, acedia, vainglory, and pride. In the late sixth century, Pope Gregory the Great
reduced the list to seven items, based on the degree from which they offended against love. It was,
from most serious to least: pride, envy, anger, sadness, avarice, gluttony, and lust, though subsequent
theologians, including St. Thomas Aquinas, would later contradict this notion.721
During the middle Ages, Church hierarchy emphasized teaching all lay people the Deadly Sins
and Heavenly Virtues and each one of the sins was associated with a specific punishment in Hell.
The Seven Heavenly Virtues were chastity, temperance, charity, diligence, patience, kindness, and
humility and they oppose the Seven Deadly Sins of wrath (anger), greed, sloth, pride, lust, envy, and
gluttony.
The concept of opposing forces of good and evil expressed in a broad range of moral qualities,
virtues and vices is one of the most dominant themes in the history of Christian art, in which the
complex interrelationship of these moral traits received considerable study in the medieval period,
resulting in a vast and elaborate system of imagery. 722 Renaissance culture revived the ancient
mythological personifications of the virtues giving special emphasis to ethic and civic qualities.723 Until
the modern era, the depiction of virtues was female, but Waite and Smith maintain that they depicted
their Temperance figure as androgynous. This specific chapter does not only relate to the cardinal
vices and virtues, but also includes behaviors associated with them represented in the numerous
719 . C. Peterson and M. E .P. Seligman, Character Strengths and Virtues: A Handbook and Classification, New York:
Oxford University Press, 2004, pp. 36-39

720 . R. Husthouse and G. Pettigrove, "Virtue Ethics", Stanford Encyclopedia of Philosophy, accessed December 2019,
https://plato.stanford.edu/entries/ethics-virtue/
721 . "History", Seven Deadly Sins, accessed December 2019, http://www.deadlysins.com/history
722 . Virtue and Vice: the Personifications in the Index of Christian Art, (ed.) C. Hourihane, accessed December 2019,
https://press.princeton.edu/books/paperback/9780691050379/virtue-and-vice
192
illustration of scenes within the Rider-Waite-Smith Tarot Major Arcana and Minor Arcana cards as
perseverance, self-reliance, charity, knowledge, betrayal, dishonor, etc. The first card discussed in
this chapter is the Rider-Waite-Smith Justice card.
Rider-Waite-Smith Justice XI
The Rider-Waite-Smith Major Arcana Justice Tarot card has a black border,
on the middle top of the card is the number eleven in Roman numerals and at the bottom within a
grey rectangle are the words Justice in black bold capital letters. The background of the card is bright
yellow. Similar to the High Priestess, Lady Justice sits on her backless stone throne flanked by two
tall stone pillars. There is a purple cloth similar to velvet or silk hanging in between the large pillars
behind Justice. She wears a green mantle clasped at the chest with a white clip that has a red design
in its middle. Her long red dress has wide sleeves that end with the same green material at her wrists
as her mantle. The dress also has the same green decorations in front that reach all the way to her
knees. She shows the tip of a white shoe, while the second one is within the folds of her dress. In her
left hand, she holds the golden scales of justice suggesting equitableness and fairness. In her right
hand, she displays a huge double-edged sword with a golden handle and a straight silver blade that
can successfully penetrate difficult situations. She holds her sword, which symbolizes the sacrifice of
illusions and pretences in a position of neither defence, nor attack but upright as one might hold a
sceptre or other symbols of dominion. Her facial aspects are resolute, severe and firm in conviction.724
On top of her blond hair, she wears a golden crown that has three turrets with a white square in the
middle above her brow that symbolizes the clarity of thought required to dispense justice.
193
The pillars behind Justice may seem similar to those of the High Priestess Tarot card.
However, Waite explains that: "the pillars of Justice open into one world and the pillars of the High
Priestess into another."725 While, Kaplan maintains that:
…the two pillars behind her symbolize moral strength, integrity, positive and
negative forces while, the double-edged sword, which is a one of the four suits
of the Minor Arcana, endows her the ability to differentiate right from wrong...726
Her green mantle symbolizes Venus and the red dress symbolizes Mars, the opposing
principles of love and war. She sits as a mediator, as her scales are two saucers connected by a
horizontal rod emphasizing the horizontal axis symbol of feminine receptivity and duality in contrast
with the upright masculine sword. The two sides of Justice's scales, conscious and unconscious carry
on a continued dialogue suggesting numerous ways in which the opposites work together.727 Waite
explains:
…the figure is seated between pillars, like the High Priestess, and on
this account, it seems desirable to indicate that the moral principle
which deals unto every man according to his works while, of course, it
is in strict analogy with higher things; differs in its essence from the
spiritual justice which is involved in the idea of election…728
In features of iconology, the concept of Justice has long, been linked with many ancient beliefs
in different religions around the world. Some of these are judgement after death according to ancient
Egyptian faith weighing the soul against the feather of Maat, the law of karma in India, Themis or
Astraea in ancient Greece and Rome, Roman Catholic doctrine of purgatory and in the Golden Dawn
system to the path of Tifereth the central sephira on the tree.729
Establishing the mode of portraying justice as well as other virtues was in the ninth century
where the main development was in manuscript painting, progressed during the twelfth century
classical revival, the rediscovery of Roman law and was a familiar figure by the fourteenth and fifteenth


194
centuries.730 The reason for the depiction of Justice in Tarot cards is probably the result of morality
plays during the epoch and the creative inventions of late medieval manuscript artists. The portrayal
of Justice is always as female in Tarot decks other than the Sola-Busca deck, which is quite often
idiosyncratic.
Since the Middle Agesin Europe, as opposed to the Last Judgement card, Justice is an earthly
virtue and an expected form the behaviour of those who are alive. Justice on the various decks never
had a blindfold from the earliest Tarocchi and in the following decks because it people believed that
she considered all factors. Moreover, in the fourteenth and fifteenth centuries, the blindfold would
have signified that she was unfair or ignorant in her decisions, and considered inappropriate, thus this
clear-sighted version of her icon manifests in the Tarot.731 Below a detail of a fresco of Justice by
Raphael displayed in a medallion on the ceiling of the Stanza della Segnatura.
Figure 58. Raphael, Lady Justice, c. 1508, fresco, detail on the ceiling of the Stanza della Segnatura, Italy732
As the iconography of Justice evolved over the course of history, it provided 'the blindfold
dispute' that began to develop during Renaissance. While at first, the blindfold was perceived as
unjust, precisely because it denied Justice the ability to see everything, it transformed a few years
later into a positive symbol of the equality of all individuals before the law. 733
732 . Wikimedia.org, accessed December 2019, https://commons.wikimedia.org/wiki/File:Raffael_053.jpg
733. J. M. G. Garcia, The Eyes of Justice. Blindfolds and Farsightedness, Vision and Blindness in the Aesthetics of the Law,
Frankfurt am Main, 2017, excerpt, accessed December 2019,
https://www.researchgate.net/publication/312497328_The_Eyes_of_Justice_Blindfolds_and_Farsightedness_Vision_and_Blindness_i
n_the_Aesthetics_of_the_Law
195
At the beginning of the twentieth century, Tarot deck went through a revolutionary change in
its sequence when Waite and Smith exchanged the positions of two of the Major Arcana cards,
traditionally in which Strength was card number eleven and Justice was card number eight. Since
then the majority of modern Tarot decks have continued with this modification despite of the reason
Waite gave, in his description of Strength, which was "for reasons that satisfy myself", that
unfortunately doesn't give much elucidation as to why it was so important to him or to Smith.734
According to the symbolism present in the cards, Justice corresponds with the astrological
sign of Libra mainly because of the scales present, and Strength corresponds astrologically with Leo,
the lion depicted on the Strength Tarot card. Such a placement by Waite and Smith's repositioning of
the cards disrupted the accepted order of the astrological signs in the Major Arcana However, from a
numerological point of view, this placement made more sense to them because eight is the number
of balance and thus, Justice's number eight is suitable in this situation.735 It seems that Waite and
Smith's placement of the cards is more in keeping with the numerological system than the astrological
system.
In conclusion, Justice is not concerned with moralizing or questions of crime and punishment;
but rather dedicated to the restoration of universal laws of harmony and creative balance.736 Jung
reminds us that:
…It should never be forgotten…that morality was not brought down on

tables of stone from Sinai and imposed on people, but it is a function
of the human soul and as old as humanity itself…737
Despite the placement changes Waite and Smith performed, both the iconography and
iconology of the Justice Tarot card did not radically change other than the Sola-Busca Tarocchi named
Tulio who might be an angel with no crown, but looking up with a torch, symbol of light and ardor.
The Visconti-Sforza version of the Justice card is similar, other than a knight above Justice who seems
to be protecting her. The Tarot de Marseilles card is very similar to the Rider-Waite-Smith Tarot card
with a few small differences like the color of her vestments, the shape of her crown and the lack of
the two stone pillars that substituted with the back poles of her chair.
As they have done with most of the cards in the deck, Waite and Smith kept the initial
configuration of the design, adding details of their own, similar to the yellow background, the square
734 . "Justice Tarot Card Meaning & Interpretations", Phuture Me, accessed December 2019, https://phuture.me/justice
735 . Ibid
737 . C. G. Jung, "Two Essays in Analytical Psychology", The Collective Works of C. G. Jung, Vol.7, 2nd (ed. and trans.) G.
Adler and R. F. C. Hull, New Jersey: Princeton University Press, 1970, par. 30
196
on Justice's crown, the tall pillars and the colors of red and green symbolizing Venus and Mars.
The next card discussed in this chapter is the Rider-Waite-Smith Major Arcana Strength card.
The Rider-Waite-Smith Strength (Fortitude) – VIII
The Rider-Waite-Smith Major Arcana Strength Tarot card has a black border,
on the middle top of the card is the number eight in Roman numerals and at the bottom within a beige
rectangle are the words Strength in black bold capital letters. The upper background of the card is
bright yellow and the bottom of the card displays green grass, a knoll, trees and a blue mountain at a
distance. At the foreground of the card, a calm, collected and gentle young woman is slowly closing
the jaws of a large red lion whose tongue is still protruding, proving her dominion over him. Gently,
gracefully, tenderly and lovingly subduing the lion, she leads him by a chain of flowers, which is a
symbol of love and not of slavery. Waite explains that:
…The chain of flowers, which signifies, among many other things, the
sweet yoke and the light burden of Divine Law, when it has been taken
into the heart of hearts…738
The young woman has a crown of leaves and flowers on her curly blond hair and a lemniscate
hovers above her head similar to that of the Magician. She is slightly turned to her
left, though all her features are distinguishable. She focuses her gaze at the lion and not at the viewer
as opposed to many of the Tarot cards. She wears a white flowy dress with puff sleeves tapered from
the elbow to the wrist and a garland of flowers on her waist. She seems similar to the ancient virtuous
and innocent Vestal Virgins who protected the sacred fire, bringing under control what the fiery red
197
lion represents.739
Her crown and belt of flowers represent nature, completion and the circular infinity and as
such a symbol of victory. The lemniscate, previously explained in the Magician card, symbolizes
infinite potential and wisdom, while her white dress signifies purity of spirit. She is the anima
symbolizing the hero's unconscious feminine side and will become the mediator between the hero's
ego and the more primitive parts of his psyche as is told in countless fairy tales like Una and the Lion,
Beauty and the Beast and The Frog Prince among many others.740
Since the symbolism of the fiery red lion has been previously explained; the focus is on the
lion's tucked in tail which is a gesture of submission showing that he is already tame and all that the
young woman is doing is adjusting his pose like an artist.741 Moreover, the identification of the lion is
with the Jungian concept of the shadow, the dark, instructive, dangerous and primitive element of all
human beings repressed and feared.742
In aspects of iconology, Strength Tarot card has a complex history because in the Visconti-
Sforza deck Strength was the image of a man battling a lion with a club, which might probably be an
allegorical representation of either Hercules slaying the Nemean lion or Samson slaying the lion with
his bare hands. As Strength is the heroic virtue, the symbols chosen in medieval and Renaissance
art to illustrate this virtue, were founded on the stories of these two famous ancient heroes who were
also noted for their physical strength.743 The Sola-Busca Strength Tarocchi Nerone seems to have
no connection to the profounder meaning of the Strength card, other than depicting Nerone with wild
disturbed hair, indicative of a possessed or frenzied state performing the human sacrifice of a small
child in connection with Mithraism.744
Throughout the consecutive years, the personification of the female virtue Strength replaced
Hercules/Samson. However, the theme of the woman and the lion took time to become the archetypal
standard in the deck, as there are sixteen-century depictions of the Strength Tarot Card in which
Strength stands beside a column, simplistically meaning 'Pillar of Strength', a reference to the Biblical
hero Samson, who destroyed the temple of the Philistines by breaking its columns.745 Below a detail
from the painting by Andrea Mantegna named Pallas Expelling the Vices from the Garden of Virtue
or The Triumph of Virtue in which Fortitude (Strength) is recognizable by the lion skin, the club of
Hercules, and the column she is holding.
741. "The Strength Tarot Card Meaning", Building Beautiful Souls, accessed December 2019,
https://www.buildingbeautifulsouls.com/tarot-card-meanings/major-arcana/the-strength-tarot/
198
Figure 59. Andrea Mantegna, detail from Pallas Expelling the Vices from the Garden of Virtue or The Triumph of
Virtue, c. 1499 - 1502, oil on panel, 160 x 192 cm, Department of Paintings of the Louvre Museum, Room 710746
Historically, the name of the card was Fortitude, one of the four cardinal virtues of prudence,
fortitude, justice and temperance, which the medieval world of ideas inherited from Plato, Cicero and
other classical writers.747 The prime source for the inspiration for depicting the virtues and vices came
from an allegorical work by a fourth century C.E. poet Aurelius Clemens Prudentius named
Psychomachia – The Battle of the Soul; later abandoned as vices and virtues began to appear in a
new configuration, in which all the virtues were female.748 Since the design of the Tarot de Marseilles
deck, Strength became a female character whose power was in her hands, standing tall and fearlessly
grasping the lion's jaws; indicating that her magic is more human, personal and direct than her male
counterpart.749
Strength's path on the Kabbalistic tree joins Hesed and Gevurah linking the opposition of
mercy and cruelty, constructive and destructive forces, love and hate and corresponds to the
Alchemical process of fermentation in which the alchemist worked himself into a frenzy in order to
create gold.750 Thus, the lion's red colour became traditional in Tarot decks because of the sixteen-
century Alchemical reference to thee 'Red Lion', in the process of turning lead into gold.751
In conclusion, the Strength Tarot card with its complicated history, has profoundly changed in
its visual iconography since the Visconti-Sforza deck, but has remained steadfast in its overall
746 . Wikimedia Commons, accessed December 2019, https://commons.wikimedia.org/wiki/File:Mantegna-minerva-garden-

virtue.jpg
199
symbology. Waite and Smith made a radical alteration by interchanging Strength with Justice in their
deck and added their own artistic and occult iconology and iconography to the card as the crown, the
garland, the natural backdrop, Strength's white dress and the lemniscate. Waite explains:
…Fortitude, in one of its most exalted aspects, is connected with the

Divine Mystery of Union; the virtue, of course, operates in all planes,
and hence draws on all in its symbolism. It connects also with
innocentia inviolata, and with the strength, which resides in
contemplation…There is one aspect in which the lion signifies the
passions, and she who is called Strength is the higher nature in its
liberation. It has walked upon the asp and the basilisk and has trodden
down the lion and the dragon...752
Does the card's name Strength, refer to the woman or the lion, or perhaps to both, for each is
a powerful figure. Actually, their strength seems to come from their mutual involvement, even though
the woman appears to dominate the lion, she also partakes of his essence because her way of relating
to the lion is very different from the masculine approach.753 As opposed to the woman in the Strength
Tarot card who approaches the lion calmly from the lion's unconscious side, Samson opposes the
lion directly in aggressive masculine way as can be seen in the painting below by Nicolas of Verdun.
Figure 60. Nicolas of Verdun, Samson and the Lion, c. 1181, Detail of the Verduner altarpiece in Klosterneuburg,
Austria754
752
754 . Wikimedia Commons, accessed December 2019,
https://commons.wikimedia.org/wiki/File:Samson_and_the_Lion_detail_Verdun_altar.jpg
200
Jung explains that it is the fear of our unconscious psyche, which not only impedes self-
knowledge but also, is the gravest obstacle to a wider understanding.755 The woman in the Strength
Tarot card is fearless and therefore has a wider understanding in her role as Strength.
The next card discussed in this chapter of vices and virtues is the Rider-Waite-Smith Major
Arcana Temperance card.
The Rider-Waite-Smith Temperance – XIV
The Rider-Waite-Smith Major Arcana Temperance Tarot card has a black

border, on the middle top of the card is the number sixteen in Roman numerals and at the bottom
within a beige rectangle are the words Temperance in black bold capital letters. The background of
the card is beige at the top, while the bottom depicts a body of water that might be a flowing river or
the banks of a lake. There is green grass on the edge of the water, brown and white pebbles, blooming
yellow irises on the left, while on the right a long and winding path on a green knoll reaching blue
coloured mountains. On the verge of the horizon, and in between the mountains, there is a great light,
with a crown.756
At the forefront of the card is Temperance who looks like an angel with colossal red and black
wings with a hint of white, dressed in a white flowing gown, with the square and triangle of the
septenary on her chest. Similar to the Hanged Man, the circle of rays around Temperance's head
suggests divine inspiration or protection.757 Although, Waite maintains that the figure is neither male
nor female, as part of the virtues I shall relate to the figure as female. She has the symbol of the sun
on the crown of her short curly blond hair and there are rays around her head. Similar to the Rider-
755
. C. G. Jung, "Civilization in Transition", Collected Works of C.G. Jung, Volume 10, (eds.) G. Adler & R. F.C. Hull, New
Jersey: Princeton University Press, 1970, par. 530

201
Waite-Smith Star Tarot card, she is pouring water from one chalice to the other, as she stands
barefoot, one foot on the ground and one foot in the water binding the gap between the conscious
and the unconscious and the realms of spirit and flesh, the spheres of the sun and the moon.758 The
pattern of the liquid's trajectory that flows between the two vessels symbolize the flowing of the past
through the present into the future, while the pouring of the liquid from the chalice in her higher left
hand, to the caliche in her lower right hand without spilling any of the contents symbolize discipline,
moderation and frugality.759 The water flowing between the two vessels can be seen as a lemniscate
opened out so that the opposites are now separated and clearly defined as two, with precious liquid
being transferred from the higher to the lower container evenly, generating a new form of energy.760
Her two chalices, similar the Holy Grail or the communion ware have magical powers to contain,
gather, preserve and heal.761
The hills and shrubbery behind Temperance on the Rider-Waite-Smith card indicate the
unlimited opportunity to combine past and present events successfully. The irises symbolize Iris the
Greek goddess of the rainbow, and the promise God gave humanity after the flood in Genesis by
showing them a large rainbow in the sky as a guarantee that the deluge was over and life on earth
would continue from generation to generation.762 Temperance's feet are symbolic of a pilgrimage into
the inner recesses of the psyche; the right foot dipped into the water represents consciousness while
the left foot settled on the land signifies unconsciousness, creating balance.763
Within the configuration of Arabic and Western Alchemy there are essential phases; the
blackening, the whitening, the yellowing and finally the reddening through which matter must pass to
create the Philosopher's stone that is the incorruptible gold and thus, it is Temperance that brings the
union of the opposites. 764 Waite and Smith have represented this particular process with the
assistance of the colors of Temperance's black, white and red wings and the yellow sun shining on
the background behind the mountains.
Within characteristics of iconology, Temperance in the earliest decks was unwinged similar to
the other virtues, and this was a common image in the Middle Agesand the Renaissance while she
was conquering Wrath.765 Temperance, the personification, the virtue, the idiom, and the discourse
transformed itself relative to its classical form in an interestingly ideological way, thus, whereas

759 . Kaplan, Tarot Classics, pp. 112-113
761 . Ibid, p. 254
763. "Temperance Tarot Card Meanings", Tarot Teachings com, accessed December 2019,
http://www.tarotteachings.com/temperance-tarot-card-meanings.html
202
Temperance had in the ancient and medieval worlds, been a cardinal virtue, signifying restraint or the
Aristotelian meaning between passionate extremes, the classical virtue of moderation, reasoned
control and self-restraint developed into an angelic being. 766 Biblical accounts, regard angels as
messengers who traditionally appeared in order to make a revelation of transcendental importance
that concerned not only the individual, but the collective group as well. 767 Below a painting of
Temperance without wings pouring liquid from one container into another by Piero del Pollaiolo during
the Renaissance.
Figure 61. Piero del Pollaiolo, Temperance, c. 1470, tempera on wood, 168 x 90.5 cm, Uffizi 2nd floor room 09768
In conclusion, Temperance stands solidly in reality, partaking in a ritual involving heavenly and
earthly realms and connecting the two, which is the main reason she is portrayed pouring liquid from
one container to another in the Visconti-Sforza Tarocchi deck. Despite the Sola-Busca Temperance
766 . J. Gillies, University of Essex, Book Review for K. Evans, Colonial Virtue: The Mobility of Temperance in Renaissance
England, Toronto: University of Toronto Press, 2012, accessed December 2019,

https://www.journals.uchicago.edu/doi/full/10.1086/675921
767. Nichols, Jung and Tarot an Archetypal Journey, p. 250 "The Book of Enoch written sometime between 200 B.C. and
200 A.D. enabled the budding Christian faith to incorporate the angels giving them personalities, designated tasks, and descriptions.
As the Book of Enoch is mentioned in both the Zohar and the Qabalah; it became the source of ritual, knowledge in Freemasonry and
is perceived as the root of Western ceremonial magic. The angelic hierarchy is divided into nine choirs: seraphim, cherubim, thrones,
dominions, virtues, powers, principalities, archangel and angels. Their attributes and specific capacities depend on the system of belief.
Michael is the warrior who imprisoned Satan in the Book of the Revelations of St. John and the one who guides willing souls to divine
illumination. Gabriel is the archangel of prophecy, revelation and resurrection consequently; he guides the souls from the world of
spirit to embodiment in the womb. Raphael is the healer, the reconciler and the one who repairs the wounded, sick, dysfunctional and
broken. Uriel is the messenger of both punishment and salvation while guarding the gates of heaven with his fiery sword."
Amberstone, The Secret Language of the Tarot, pp. 239- 245
768 . Wikimedia Commons, accessed December 2019, https://commons.wikimedia.org/wiki/File:Piero_del_Pollaiolo_-
_Temperance_-_Uffizi.jpeg
203
card named Bocho who does not look anything like the traditional Temperance, he was a Ferrarese
agent of influence, even maybe a spy during the war between Ferrara and Venice and was probably
instrumental as an arbiter in bringing about dialogue between the warring parties.769 His name and
his occupation are perhaps the main reason for associating him with the virtue of Temperance. By
the time Temperance appeared in the Tarot de Marseilles in the sixteenth century, she was already
a winged being.
Waite and Smith kept the initial iconography and iconology of the Tarot de Marseilles
Temperance card while adding several images like the mountain, the grass knoll, the sun behind the
figure and the colors of her wings to enhance her Alchemical symbolism. Contrasting to the Tarot de
Marseilles Temperance card, they removed all the colors from her vestments, designing a white dress
to symbolize her purity. As opposed to the changing of styles in the realm of art, and iconography in
the last four-hundred years, Temperance kept hers other than the later addition of wings. Her
iconology has remained the same too, as she is the founding principle of moderation and
transformation in order to create a balanced existence.
Jung explains that an angel personifies the coming into consciousness of something new
arising from the deep unconscious being personified transmitters of unconscious contents, which
announce that they want to speak.770 Waite too agrees with this principle explaining:
…the figure is called Temperance fantastically, because, when the rule

of it obtains in our consciousness, it tempers, combines and
harmonizes the psychic and material natures…771
As previously explained at the beginning of this chapter, the discussion also relates to Minor
Arcana Tarot cards from the Rider-Waite-Smith deck that include behaviors and values associated
with the vices and virtues represented in the illustration of scenes in the cards.
The next card discussed within this chapter of virtues and vices is the Rider-Waite-Smith
Minor Arcana Two of Wands.
770. C. G. Jung, quoted by A. I. Allenby, "Angels as Archetype and Symbol", Contributions to Jungian Thought, New York:
The Analytical Psychology Club of New York, Spring 1963, p. 48
204
The Rider-Waite-Smith Two of Wands
The Rider-Waite-Smith Minor Arcana Two of Wands Tarot card has a black
border and on the middle top of the card is the number two in Roman numerals. The background of
the card is beige at the top. On the horizon, there are blue and purple mountains close to the sea.
Below the right side of the mountains, is a vast terrain comprised of a forest gradually changing to
fertile land and green grass, reaching the sea. A few buildings with red roofs dot the landscape. At
the forefront of the card is a man standing on the rampart of a castle holding upright a tall blossoming
wand in his left hand and a small globe in his right hand, with the second blossoming wand strapped
to the parapet of the castle. The man, seen partly from his left profile and partly from his back, is
probably a shipping magnet; the lord of the castle and the surrounding areas is wearing an orange
tunic, leggings, and boots, a red cloak and hat, which are all similar to Renaissance clothing. He is
probably a lord overlooking his dominion and alternately musing on a globe to contemplate significant
future opportunities.772
The design of his banner painted on the inner side of the parapet is the Alchemical opposites
depicting a red rose and a white lily joined in a cross. The white lily is a symbol of purity and the red
rose one of redeeming blood, thus in Christian iconography together with the green of their leaves,
they symbolize three of the cardinal virtues: faith, hope and love.773 The small globe in his hand
represents the potential for possible expansion of his reach, to wide-ranging life experiences. The
globe can also be the heraldic symbol of the Medici family that represents the globe of the world,
governed by the seven stats that make up the constellation of Capricorn.774 The use of the color red
is deliberate to associate the wands with the masculine element of fire. While the fortified castle is an
emblem of femininity, thus combining both feminine and masculine symbols.
The imagery on this card is all about progression, moving forward, planning, possible
http://www.sacred-texts.com/tarot/pktwa02.htm [13/10/2002 14:27:25]
773 . C. Hourihane (ed.), The Routledge Companion to Medieval Iconography, New York: Routledge, 2017, p. 459
774
205
expansion of reach to broader life experiences. On the one hand, the Golden Dawn describes the
symbolism of the card as the Lord of Dominion, strength, harmony of rule, courage, generosity and
justice. On the other hand, Waite claims that:
…The design gives one suggestion; here is a lord overlooking his

dominion and alternately contemplating a globe; it looks like the
malady, the mortification, the sadness of Alexander amidst the
grandeur of this world's wealth…775
In facets of iconology and iconography, the Two of Wands is mostly depicted as two wands
crisscrossing each other either on a white or textured background in the older Tarot decks other than
the Sola-Busca deck that depicts a naked man holding two wands. There is some similarity between
the Sola-Busca and the Rider-Waite-Smit Two of Wands cards. Although, the man in the Sola-Busca
deck is from his right profile, naked other than wearing red boots and a red hat, walking in an arid
landscape, and he too is looking to the distant horizon, reminiscent of the Two of Wands in the Rider-
Waite-Smith card.
In conclusion, despite changing the figure from a naked peasant to a fully dressed lord, the
background from arid to fertile, adding symbols of the white lilies and red roses with leaves and
keeping the color of the hat both man wear as red, Waite and Smith did not perform drastic changes
to the card. While, the Minor Arcana cards did not include scenes with people, fauna or flora
previously, Pamela Colman-Smith preferred to find her inspiration for the card in the Sola-Busca deck,
as she did throughout many of the cards in the Rider-Waite-Smith deck.
Since, the Two of Wands symbolizes strength, harmony of rule, courage, generosity and
justice; it is fitting to be included within the chapter of vices and virtues.
The next card discussed is the Rider-Waite-Smith Minor Arcana Three of Wands.
206
The Rider-Waite-Smith Three of Wands
The Rider-Waite-Smith Minor Arcana Three of Wands Tarot card has a black
border and on the middle top of the card is the number three in Roman numerals. Most of the
background of the card is yellow. At the bottom of the card, there is a vast open fertile cliff and ships
on the sea. At the forefront of the card, a nobleman stands with his back turned to the viewer watching
over the scenery and holding one of the three blossoming wands planted in the ground with his right
armor-clad arm. A thin golden band that might be a crown or tiara is on top his white streaked black
haired head, designating his status of a merchant prince or a highborn lord. He wears a long red cape
with a green stole wrapped around his left shoulder and a black and green bag over his right shoulder.
In terms of iconography, the utilization of the color red for some of the clothing pieces has a
double meaning in this case. Primarily, it is the symbol of fire to which, the suit of wands is associated
with, and the second symbolism is that of royalty. During the fifteenth and sixteenth century royals,
nobles and high-ranking clergymen wore the color red to differentiate themselves from the rest of the
court and the population. Men seen from behind represent old age and maturity.776 Waite defines him
as "…He symbolizes established strength, enterprise, effort, trade, commerce, discovery; those are
his ships, bearing his merchandise, which are sailing over the sea."777
Within the framework of iconology, since the beginning of the era when ships transferred
goods from one destination to another, owners were watchful of their cargo and the return of their
vessels. Ships in art represent hope, the infinite potential for realization that life has to offer.778 Thus,
despite not being in the prime of his life the nobleman still has prospects. Ships have lit up and
awakened men's spirits even as they inspired their deepest poetry within their souls, rising over the
tide, stirring up dreams of transcendent voyages.779 As one of the oldest Christian symbols, boats and

779 . H. Valborg, Symbols of the Eternal Doctrine from Shamballa to Paradise, Washington: Theosophy Trust, 2007, p. 162
207
ships represent voyages, carrying souls of the dead to heaven or hell, an emblem of St. Ursula who
helped sinners into her boat to save them from drowning in the seas depravity and the central seating
area of a large church is termed the nave, which is Latin for ship.780
From the vantage point over the cliff, the man watches the three ships probably bearing his
merchandise that are either sailing away over the sea to distant lands or coming back after a
successful entrepreneurship, trade or cooperation in commerce. Below a painting by Caspar David
Friedrich, named The Ages of Men depicting nobleman watching their ships sail away and return with
goods.
Figure 62. Caspar David Friedrich, The Ages of Men, c. 1835, oil on canvas, 72.5 × 94 cm, Leipzig Museum der
Bildenden Künste781
In conclusion, since the Visconti-Sforza and Tarot de Marseilles, Three of Wands cards depict
only three crisscrossed wands, and the Sola-Busca card has nothing in its iconography to remind the
viewer of the scene. Waite and Smith probably created the card according to their own occult
practices, beliefs and specific purposes of divination. The nobleman from the Two of Wands card has
implemented the plans he was making while watching the sea. As the man on the Three of Wands
card represents the values of strength, enterprise and effort, which are virtues, this card too belongs
to the chapter of vices and virtues.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Four of Wands
and continues the series of the successful endeavors of the nobleman and his family seen in Two and
Three of Wands.
780 . "Boats and Ships The Symbolic Meaning of Boats and Ships in Gothic, Byzantine, Northern Renaissance and Italian
Renaissance Painting", The History of Art And The Curious Lives of Famous Painters, accessed January 2020,
http://www.historyofpainters.com/boat_symbolism.htm
781 . Wikipedia org., accessed June 2020, https://en.wikipedia.org/wiki/The_Stages_of_Life
208
The Rider-Waite-Smith Four of Wands
The Rider-Waite-Smith Minor Arcana Four of Wands Tarot card has a black
border and on the middle top of the card is the number four in Roman numerals. Most of the
background of the card is a yellow flat surface with parallel straight horizontal black and grey lines.
On the foreground of the card are four great wands planted in the ground with a great garland
abounding with blossoms and grapes suspended, two female figures uplift nosegays and at their side
is a bridge over a moat, leading to a castle.782 The castle is dotted with red roofed turrets displaying
the buildings behind its walls and a group of people standing outside watching the celebration.
The projects previously initiated in the Two and Three of Wands cards is now established and
given fruit. Symbolically the visual scene on Four of Wands is of celebration, joy, harmony, relaxation,
accomplishment, homecoming, family and home. The castle is now in the distance and the bridge on
the right signifies that the crossings over the water were fruitful to erect a structure in the new territory
and therefore they symbolically represent available resources. The flat surface, similar to a stage and
a straight horizontal line that separates it, seems as if the scene were a stage backdrop and this were
a performance, because as Smith was also a theater prop designer, it is not surprising that she would
make use of this convention.783
The two dancing figures with the bouquets in their hands welcome the visitors to the
celebration symbolize friendship, happiness and abundance. Beneath the welcome wreath, tied
between the crystal-tipped four wands, the awning of flowers resembles a canopy (Hupah) that
is particularly characteristic of the traditional Jewish wedding ceremony.784 The canopy is comprised
of red roses, blossoming flowers and grapes symbolizing joy, involvement, consummate achievement
of a goal and maybe a wedding. The group of people, who are perhaps a family and friends stand in
782
784 . "The Four of Wands Tarot Card Description", Labyrinthos, accessed January 2020, https://labyrinthos.co/blogs/tarot-
card-meanings-list/four-of-wands-meaning-tarot-card-meanings
209
front of the large castle, represent the safety, a happy social life and comfort of the home. The castle,
its surrounding walls, many red turrets, and the protected city within indicate prosperity and stability.
Below a painting of a Jewish wedding in ancient Jerusalem depicting a similar scene.
Figure 63. Dennis Bacchus, Wedding in Ancient Jerusalem, c. 2012, oil on canvas, Ner Art Gallery785
Within characteristics of iconology, the only thing that comes to mind is a scene from a
traditional Jewish wedding, a well-known celebration in which the bride and the groom stand beneath
the canopy named Hupah. The Sola-Busca Four of Wands card belongs to the section named the
Ancient Roman and the Carthaginian theme within the deck; consequently, it depicts a Roman soldier
with two wands stuck to each side of his red hat and has no correlation to the Rider-Waite-Smith Four
of Wands in this case.
In conclusion, Waite and Smith created a series of three wand Minor Arcana pip cards to
epitomize the success of endeavors, hard work, and execution of plans, courage and a joyful wedding
as a culmination, to suit the divinatory purposes of the deck. As Waite explains:
…They are for once almost on the surface country life, haven of refuge,
a species of domestic harvest home, repose, concord, harmony,
prosperity, peace, and the perfected work of these...786
The Visconti-Sforza and Tarot de Marseilles have their formulaic design of the suit according
to the number on the card, while the Sola-Busca Four of Wands portrays a Roman soldier who has
two wands on each side of his red war helmet. All of these designs have nothing common whatsoever
with the Raider-Waite-Smith Four of Wands. In relation to the deeper, iconographic symbolism of the
785
. Ner Art Gallery, accessed January 2020, nerartgallery.wordpress.com
210
probable wedding depicted on the card, Jung, explains the main psychological significance postulated
is thus:
…Regarded as a psychological relationship, marriage is a highly

complex structure made up of a whole series of subjective and objective
factors, mostly of a very heterogeneous nature. Whenever we speak of
a psychological relationship we presuppose one that is conscious, for
there is no such thing as a psychological relationship between two
people who are in a state of unconsciousness, and the psychological
relationship is limited in the degree to which that unconsciousness
exists…787
As these values symbolize virtues, this card too, is included in the chapter of vices and virtues.
The next card discussed within this chapter is the Rider-Waite-Smith Minor Arcana Six of
Wands.
The Rider-Waite-Smith Six of Wands
The Rider-Waite-Smith Minor Arcana Six of Wands Tarot card has a black
border and on the middle top of the card is the number six in Roman numerals. Two thirds of the
background of the card is a light blue cloudless sky. On the forefront of the card is a man, probably a
noble lord riding a pure white horse with a victory laurel wreath on his head seen from his right profile.
Dressed in Renaissance style clothing, he wears a red cape, a yellow tunic with orange boots and
leggings. The laurel crown implies that the present person ponders and reflects before acting.788 The
787 . C. G. Jung, " Marriage as a Psychological Relationship", The Development of Personality The Collected Works of C.G.
Jung, Volume 17, New Jersey: Princeton University Press, 1954

211
horse has a green mantle with orange trimming over his body, and wide green reins embellished with
small orange rectangles. The man holds upright a tall blossoming wand with a large laurel wreath tied
to the top. The men around him who seem to be footmen and soldiers returning from a victory or a
crowd of cheering people salute him with five more blooming wands, so that the number of wands
depicted on the card are six.
The horse too, is from his right profile, but the slight turn of his head enables the viewer most
of his facial features. As previously explained in this research, the white horse is a sign of purity,
strength, nobility and the successful outcome of an undertaking.789 The crowd symbolizes the public’s
recognition for the achievements of the man riding the horse. The wand with the laurel wreath tied to
it, is in an attempt to emphasize his success.
The way the man bears himself; head held up high and back straight attest to his awareness
of pride from his accomplishments. Thus, from a standpoint of iconology this card has a scene that
depicts the successful commander returning home after a triumphant battle received with cheers from
his people. Historically many city-states and countries performed such parades for their victorious
armies and generals. Similar scenes have been depicted since ancient times; one the most well-
known is the Roman Triumph, a spectacular victory celebration parade and a procession that was the
highest honor bestowed upon a victorious army leader. Below a French manuscript illumination of a
royal couple entering the gates of the city of Paris with their, courtiers, army and the people milling
around them by the castle.
Figure 64. Jean Fouquet, Entry of John II of France and Joan I of Auvergne into Paris after their coronation at Reims in
1350, c. 1455, manuscript illumination, BnF, Department of French Manuscripts 6465, fol. 378 v. Livre de Jean II le Bon790
789
. For symbolism of the white horse (see: pp. 146, 148, 150)
790 . Wikipedia.org, accessed February 2020,
https://en.wikipedia.org/wiki/Royal_entry#/media/File:Entrée_de_Jean_II_le_Bon.jpg
212
In conclusion, the Visconti-Sforza and Tarot de Marseilles decks have kept their formulaic
design of the suit symbol according to the number on the card, and the Sola-Busca card depicts a
half-naked man barely carrying six wands on his shoulders and a lamp in his right hand. The imagery
on the Six of Wands card embodies victory, strength, triumph, achievement, stability and confidence.
Waite explains:
…the card has been so designed that it can cover several significations;
on the surface, it is a victor triumphing, but it is also great news, such
as might be carried in state by the King's courier; it is expectation
crowned with its own desire, the crown of hope, and so forth…791
Consequently, this card is included within the vices and virtues chapter of this research as a virtue.
The next card discussed in this chapter is, the Rider-Waite-Smith Minor Arcana Seven of
Wands.
The Rider-Waite-Smith Seven of Wands
The Rider-Waite-Smith Minor Arcana Seven of Wands Tarot card has a black
border and on the middle top of the card is the number seven in Roman numerals. Most of the
background of the card is a light blue cloudless sky. At the bottom of the background, there is a thin
stream and a stone hill covered with grass. On top of the high uneven hill, the young man armed with
a wand held with both hands brandishes his wand to fights off six more wands challenging him by the
opponents drawn up from below. He seems to defend his vantage position courageously and attack
in successful retaliation. He is the victor in the position of having to defend himself from those who
213
desire what he has gained.792
The young black haired man dressed in Renaissance style clothing is wearing a short-sleeved
green tunic, a yellow shirt with long sleeves underneath the tunic and orange leggings. He has a shoe
on his right foot and a boot on his left one, symbolizing that he had to rush to put his shoes on, to
avert the attack. His mismatched footwear, symbolizes his ability to adapt to the circumstances on
uneven ground. The high ground he stands on symbolizes being in the advantage of a defensive
position and taking a stand. Mediaeval tales and legends often refer to a green, white or red knight,
and the Green Knight is the pre-knight, the squire, the apprentice sworn to knighthood; consequently,
his green tunic symbolizes ambition.793
In an iconological context, the figure of the Rider-Waite-Smith Seven of Wands represents
standing up for what one believes in, taking the high road, maintaining control and being strong willed
since the person is protective, assertive, relentless, determined and territorial.794 The individual, who
is probably a knight in the making, is an admired and feared warrior who has vanquished his
adversaries against all odds. The Golden Dawn named this card the Lord of Valor because of the
courage exercised to face obstacles and difficulties.795 Waite explains:
…It is a card of valor, for, on the surface, six are attacking one, who
has, however, the vantage position. On the intellectual plane, it
signifies discussion, wordy strife; in business negotiations, war of
trade, barter, competition. It is further a card of success, for the
combatant is on the top and his enemies may be unable to reach
him…796
While the Visconti-Sforza and Tarot de Marseilles have the consistent visual configuration of
the suit symbols according to their numbers on the card, in the case of the Sola-Busca Seven of
Wands, the card depicts a stooped man who is carrying the Seven Wands on his back despite the
difficulties he encounters. This attests to the visual significance of the card that has not changed, but
Waite and Smith took the card's meaning to a different direction, which is esoteric and not mundane.
In conclusion, Waite and Smith created a card that might be somewhat visually similar to the
Sola-Busca one as it was the deck Pamela Colman-Smith took most of her inspiration from, but other
than that, there are no correspondences with other older Tarot decks, which depict the symbol of their

794 . "Seven of Wands", The Tarot Guide, accessed March 2020, https://www.thetarotguide.com/seven-of-wands
214
suit according to the number of wands.
The next card discussed within this chapter of vices and virtues is the Rider-Waite-Smith Minor
Arcana Eight of Wands.
The Rider-Waite-Smith Eight of Wands
The Rider-Waite-Smith Minor Arcana Eight of Wands Tarot card has a black
border and on the middle top of the card is the number eight in Roman numerals. Most of the upper
part of the background of the card is a light blue cloudless sky. At the bottom is a wide majestic country
landscape with green rolling hills, trees, a house in the distance and a broad flowing river close to the
bottom of the scene. Eight blossoming diagonal wands are soaring suspended through the air at high
speed similar to arrows let loose by mighty bows. The wands appear in two formations of two wands
each and one formation of four wands. There are no humans or animals on the card.
The clear sky symbolizes there are little or no real obstacles or threats and the card represents
the translation of unconscious materials into the linear and sequential perceptions of the conscious
mind, as if pre-existing ideas are brought down to reality.797
In terms of iconography, the Rider-Waite-Smith Eight of Wands card that depicts only eight
wands is not very different from the same cards in the Visconti-Sforza and Tarot de Marseilles decks,
since, there are eight crisscrossing wands depicted in each of these decks. The Sola-Busca card too,
only depicts eight wands, but in this case, they are all contained within a complexly designed two-
tiered double-handed basket. Waite and Smith created a card similar to the previous Tarot decks
without any additions, because their purpose was divinatory, and according to Waite:
… The card represents motion through the immovable-a flight of

wands through an open country; but they draw to the term of their
215
course. That which they signify is at hand; it may be even on the
threshold…Activity in undertakings, the path of such activity, swiftness,
as that of an express messenger; great haste, great hope, speed
towards an end which promises assured felicity; generally, that which
is on the move; also the arrows of love…798
In conclusion, despite Waite's explanation, it is visually almost impossible to grasp the actual
trajectory of the wands, since they are all up in the air. The Golden Dawn named this card the Lord
of Swiftness denoting the characteristics of rapidity, courage, boldness, confidence and freedom.799
In this case, it seems that either the beholder who knows nothing about the card will define the
trajectory according to his/her understanding or the connoisseur of the Tarot cards will agree with
Waite's and the Golden Dawn's explanations. The Rider-Waite-Smith Eight of Wands too, can be
included within the vices and virtues chapter as it symbolizes a plethora of encouraging meanings
including hope and courage.
The next card discussed in this chapter of vices and virtues is the Rider-Waite-Smith Minor
Arcana Nine of Wands.
The Rider-Waite-Smith Nine of Wands
The Rider-Waite-Smith Minor Arcana Nine of Wands Tarot card has a black
border and on the middle top of the card is the number nine in Roman numerals. Two adjacent thin
black lines divide and differentiate the beige ground on which the tired and injured man holds his
wand and the panorama further on the back. Thus, Smith makes use of a stage like background

216
separated like a painted backdrop.800 The upper part of the panorama is comprised of a cloudless
blue sky, verdant green hills, fields and a few mountains. In front of the black dividing lines, the injured
man who is probably a warrior or soldier looks sideways. The figure leans upon his staff and has an
expectant look, as if awaiting an enemy. Behind are eight other erect wands, in orderly fashion, similar
to a palisade, standing straight and creating a border between the man and the rest of the scenery.
The facial expression of this warrior with a bandage on his head is one of being battered,
bruised, weary, worn and on the edge of exhaustion, while leaning on his wand. He is still brave,
resilient, persistent, and ready to do what it takes to get to the finish line as he glances over his
shoulder as if awaiting an unexpected attack. He has a look of hope and determination about him that
should help him go through one last battle. He wears an orange tunic with a long sleeved undershirt
bunched at the elbows, yellow leggings and green flat boots in Renaissance style clothing.
The iconography of the Nine of Wands as a card is that this warrior, despite of the harsh
circumstances befallen on him, is a strong opponent who has learned from his experiences, but they
have also left him scarred both physically and emotionally. 801 While the eight the erect wands
symbolize the battles he has already won; the Nine of Wands signifies that even in the face of
adversity, the soldier stands tall and strong, though he may be on the edge of exhaustion.802
The iconology of the card is all about the lone soldier/warrior who finds a quiet corner for a
pause without surrender in a battle, to recuperate and get back to the fighting. Soldiers have fought
wars as long as armies have existed and despite of finding themselves in dire situations continue to
fight for country, kith and kin. Bravery has occupied a significant place in the mythology and folklore
of many cultures, as well as holding a predominant interest in Western philosophy, at least since the
early Greek philosophers and even longer in Eastern religious philosophies. Plato provided one of the
earliest works on the subject of bravery, taking care to differentiate between valor and rashness. In
his Dialogues written during, a time when warfare was the ultimate proving ground for bravery, and a
soldier who did not hesitate to face the dangers of battle was deemed brave.803 According to Waite:
…The figure leans upon his staff and has an expectant look, as if
awaiting an enemy. Behind are eight other staves--erect, in orderly
disposition, like a palisade. … The card signifies strength in opposition.

801
. Ibid
802
. "Nine of Wands Tarot Card Meanings", Biddy Tarot, accessed June 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-wands/nine-of-wands/
803 . C. Peterson and M. E. P. Seligman, Character Strength and Virtues: A Handbook of Classification, New York: Oxford
217
If attacked, the person will meet an onslaught boldly; and his build
shews, that he may prove a formidable antagonist.804
In conclusion, The Visconti-Forza Nine of Wands has nine wands on a floral background; the
Sola-Busca Nine of Wands depicts an overburdened man struggling to holding nine wands with both
his arms and seems to be either running to or running away through a small stream. The Tarot de
Marseilles Nine of Wands depict their formulaic design of wands on a white background. There is no
visual correlation between the Rider-Waite-Smith Nine of Wands and any of the other parallel
Tarocchi/Tarot. Similar to the Golden Dawn who named the card Lord of Great Strength and
Tremendous steady force, Waite and Smith equated the card with the same principle of strength in
opposition.805
The next card discussed in this chapter of vices and virtues is the Minor Arcana Ten of Wands.
Rider-Waite-Smith Ten of Wands
The Rider-Waite-Smith Minor Arcana Ten of Wands Tarot card has a black
border and on the middle top of the card is the number ten in Roman numerals. The upper background
of the card has a cloudless blue sky. In this card too, there is a dividing black line between the ground
on which the man stands and the rest of the lower background that depicts a small town, a castle,
buildings and many trees as if it were a theatre stage.
The blond haired man, seen from his back walks away from the viewer toward a small town in
the distance. He bends his back as he struggles to hold ten large wands with both arms, which are
towering above him in a fanned out and orderly manner. His head buried in the middle of this

218
alignment, and his arms holding everything in place, as he appears to slowly march onward.806 It
seems that he has taken on more than he can handle because the circumstances may be requiring a
heroic effort exactly as demanded by the man from the Rider-Waite-Smith Nine of Wands. Although,
Place maintains that both men are dressed the same, it is not exactly true.807 The man from the Nine
of Wands has dark hair and wears an orange jerkin tied by a belt, a white shirt, ochre leggings and
green boots, while the man from the Ten of Wands is blond, wears an orange jerkin tied by a belt, a
white shirt, ochre leggings and brown shoes. In both cases, these are clothes worn by peasants,
menial workers and men from the lower class drafted during times of conflict. According to Place: "…it
may be that the man on the Ten of Wands is removing the barrier or fortification that was depicted in
the previous pip..."808
As all the iconographic details of the Ten of Wands were discussed throughout the research,
it would be worthwhile mentioning that the manner in which the man carries the load is quite unusual.
As opposed to most, who generally carry loads on their backs or heads, this man carries them in front
of him, probably because of his exhaustion as he moves them forward pushing himself to the limit,
and leans on them every step of the way to reach his destination. The Ten Wands card represents
an all-out effort and an obsessive commitment to a task, which demands everything an individual has,
consequently the person, is in no position to rest until he makes it inside the stout walls of the well-
defended castle in the distance, because if he fails, he will become prey for unwarranted dangers
after dark.809 Below a painting of an old man carrying a heavy load of long sticks on his back.
Figure 65. Corbin Runnels, Old Man with Sticks, c. 2013, Acrylic on Canvas, 41 x 51 cm, private collector810
806 . "The Ten of Wands Tarot Card" Keen, accessed August 2020, https://www.keen.com/articles/tarot/10-of-wands-tarot-
card
808 . Ibid
809 . "Ten of Wands ", Tarot.com, accessed August 2020, https://www.tarot.com/tarot/cards/ten-of-wands/universal-waite
810 . Fine Art America, accessed August 2020, https://fineartamerica.com/featured/old-man-with-sticks-corbin-runnels.html
219
Within the framework of iconology, the card is self-descriptive because it depicts the age-old
means of transporting goods and the endless hardships men encountered without the assistance of
beasts of burden or carts. The Golden Dawn definition of the symbology of the Ten of Wands is
somewhat contradictory, since on the one hand they name the card Lord of Oppression and on the
other hand they add the definition of generosity and self-sacrifice. According to Waite:
…A man oppressed by the weight of the ten staves, which he is

carrying…A card of many significances and some of the readings
cannot be harmonized. I set aside that which connects it with honor
and good faith. The chief meaning is oppression simply, but it is also
fortune, gain, any kind of success, and then it is the oppression of
these things. …The place, which the figure is approaching, may suffer
from the rods that he carries.811
In conclusion, once again, Waite wrote an unclear explanation to the card and Colman-Smith
decided to take her iconography and iconology inspiration from the Nine of Wands Sola-Busca Tarot
or the Sola-Busca Ten of Swords produced the exact image of Rider-Waite-Smith Ten of Wands.812
The Visconti-Forza and Tarot de Marseilles have the typical design of Ten Wands with some
embellishments. From an observer's point of view, the card represents the grit and courage of a
person who intends to finish his mission despite all the difficulties, thus it is definitely part of the vices
and virtues chapter.
The next card discussed is the Rider-Waite-Smith Minor Arcana Two of Cups.

812 . (see: Appendix for the Sola-Busca Nine of Wands p. 390)
220
The Rider-Waite-Smith Two of Cups
The Rider-Waite-Smith Minor Arcana Two of Cups Tarot card has a black
border and on the middle top of the card is the number two in Roman numerals. Most of the
background of the card is a light blue surface depicting a cloudless sky with green rolling hills, trees
and a white house with a red roof. At the bottom of the card is a yellow surface that might represent
sand or soil divided by straight horizontal black and grey lines making the whole background seem
like a theatre stage. The pastoral background scene enhances the symbolic meaning of the card,
which is mainly about love between a man and a woman.
On the foreground of the card standing on the yellow surface are a youth and maiden pledging
one another holding large golden cups. The cups in the Rider-Waite-Smith deck are comprised of
three sections. The stem with a wide square base becomes narrower on which is a connecting circle
made of small round spheres that connect the upper part, that looks like an upside down funnel.
Despite the Cup being square at the bottom and round at the top, the proportions of the length from
the bottom to the spheres and from the spheres to the upper part are exactly the same height, as are
the dimensions of the bottom of the stem and the rim of the cup.
Both of the individuals depicted on the card are dresses in Renaissance fashion. The
maiden is from her right profile and has a green laurel crown on her black haired chignon. She wears
a white flowing dress with long sleeves, a black belt, and a light blue sleeveless smock over the dress
and red shoes. The youth, seen from his left profile has a red crown of roses atop his black hair. He
wears ochre boots, yellow leggings, a long sleeved white shirt and a sleeveless yellow tunic with black
and red designs on it. The youth is touching the maiden's left hand with his right hand. The maiden
with her light blue smock represents the watery sign of Scorpio and the youth dressed in, partially red
represents the fiery sign of Leo.
The caduceus of Hermes connects their two Cups and above it, while in between there is a
large red and black winged lion's head. The winged lion is like an anthropomorphized Egyptian solar
disk and together with the caduceus; have ties to the lion-headed god of the Mithraic mysteries, a
winged human figure with the head of a lion and a snake spiraling around its body representing divine
221
power.813 In reality, what defines the essence of the caduceus is the nature and meaning not so much
of its individual elements as of the composite whole, consequently the precisely symmetrical and
bilateral arrangement, is always expressive of the same idea of active equilibrium, of opposing forces
balancing one another in such a way as to create a higher, static form.814 This is a depiction of the
Great Work because the Alchemical homunculus or descending soul that hovers over each instance
of sexual intercourse in hopes of having a vehicle to enter this world. 815 In this situation, it is the
Alchemical Mercury, which unites the fiery heat of Sulfur with the cooling crystals of Salt.816
In terms of iconography, the caduceus in the Two of Cups Rider-Waite-Smith card symbolizes
justice, order, negotiations, cosmic energy, protection, proper conduct, and duality.817 In Christian
symbolism, the wings are simply the light of the sun of justice, mobility and these meanings combine
with that of the explanation to express the possibility of progress in enlightenment or spiritual
evolution.818 In Alchemy, this is a marriage or a pledging as Waite describes it.819
In iconological terms, the card represents the flow of unconditional love between two people,
compassion, deep connections and partnerships based on shared values. The exchange of cups
suggest that each party's emotions intertwined with each other, and their feelings have profound
effects on the other.820 The act of toasting drinks originates in the practice of immersing browned or
charred spiced bread in a drink, and after wishes of goodwill, health and other complimentary words
are said about a person or persons in honor or celebration, the cups of wine, ale, etc., are clinked
together in recognition or acknowledgment and are then subsequently sipped.821 Below a painting of
three couples toasting each other by August Herman Knoop.

815 . D. A. Hulse, Book II An Encyclopedic Guide to the Sacred Languages and Magical Systems of the World: the Key of it
All, St. Paul, MN., Llewellyn Publications, 2000, accessed February 2020, https://www.tarotforum.net/showthread.php?t=164668
816 . D. A. Hulse, Book II An Encyclopedic Guide to the Sacred Languages and Magical Systems of the World: the Key of it
All, St. Paul, MN., Llewellyn Publications, 2000, accessed February 2020, https://www.tarotforum.net/showthread.php?t=164668
817 . "Two of Cups Meaning - Tarot Card Meanings", Labyrinthos, accessed February 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/two-of-cups-meaning-tarot-card-meanings
http://www.sacred-texts.com/tarot/pktcu02.htm [13/10/2002 14:28:23]
820 . "Two of Cups Meaning - Tarot Card Meanings", Labyrinthos, accessed February 2020,
821 . "A Few Words on 'Toast'", Word History – Merriam Webster, accessed February 2020, https://www.merriam-
webster.com/words-at-play/word-history-of-toast-drinks-cheers
222
Figure 66. August Herman Knoop, The Toast, c.1893, oil on canvas, 27.3 x 33 cm, auctioned to private buyer822
Unfortunately, as the Rider-Waite-Smith deck was the only one with scenes on the Minor
Arcana cards at the time other than the Sola-Busca deck, and the design on the Sola-Busca card has
no correlation to the Two of Cups whatsoever, it is extremely hard to understand why Waite decided
that the added emblematic meanings are of no consequence. Waite explains:
…The Caduceus of Hermes, between the great wings of which there

appears a lion's head is a variant of a sign found in a few old examples
of this card… …Some curious emblematical meanings are attached to
it, but they do not concern us in this place...823
As Jung has observed, this much-used image is an adumbration of homoeopathy meaning a

cure effected by what caused the ailment, therefore the serpent becomes the source of the healing
of the wound caused by the serpent and this is why it could serve as a symbol of St. John the
Evangelist and appear in association with a chalice.824
Since the card is all about the highest virtues of love, partnership and balance, I have included
it within the vices and virtues chapter of this research.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Three of Cups.
822 . Artnet, accessed February 2020, http://www.artnet.com/artists/august-hermann-knoop/


824 , Cirlot, Dictionary of Symbols, p. 289
223
The Rider-Waite-Smith Three of Cups
The Rider-Waite-Smith Minor Arcana Three of Cups Tarot card has a black
border and on the middle top of the card is the number three in Roman numerals. Most of the upper
background of the card depicts a light blue cloudless sky. At the bottom of the card is a yellow surface
that represents a vegetable garden on which there is a plethora of vegetables including tomatoes,
squash, peppers and herbs on the left, while on the right, there are foliage and bushes of fruits.
At the forefront of the card, three young women are dancing with each other in a tight circle
while raising their cups high in the air, celebrating and toasting in an unknown festivity. All the maidens
have long curly hair with wreaths on their heads. The smiling maiden on the right wears a flowing
white dress and her facial features are clear despite that her body is turned slightly to the right. The
maiden in the center has her back to the viewer; her face obscured and wears a flowing red cape and
dress with yellow shoes. The maiden on the left dressed with a long yellow shirt above a flowy white
skirt and blue shoes smiles too and in her right hand, she holds a bunch of grapes behind her back.
The three maidens can also represent the three Graces of music, dance and love. 825 The scene
portrays the ecstasy and joy of friends dancing together in a center of a garden, which is cornucopia
like, in its abundance of fruits and vegetables. 826 The ground layered with flowers, fruit and
vegetables, symbolizes the celebration of an abundant harvest and the delight in being part of the
festivities. Wreaths are often associated with success and victory, though in this case they also
represent friendship and community. The dance expresses the circular conception of cosmic time,
marked by the perpetual cycle of the seasons.827
Within features of iconology the use of the colors red, white and gold of the dresses and the
maidens' black hair are symbolic of the Alchemical process. Alchemists during the Middle Agesand
the Renaissance tended to focus their efforts on brightly coloured substances, because they believed
that to make the Philosopher's Stone one had to transform the starting materials through a particular

224
sequence of colour changes from: black to white, to yellow, and finally to purple or red.828 Waite
maintains that:
…Maidens in a garden-ground with cups uplifted, as if pledging one

another. The conclusion of any matter in plenty, perfection and
merriment; happy issue, victory, fulfilment, solace, healing, it signifies
also the side of excess in physical enjoyment, and the pleasures of the
senses...829
The young women represent the social glue that binds everyone together at the end of a
successful enterprise or harvest, because the Rider-Waite-Smith Three of Cups stands for
exuberance, friendship, and community; ergo part of the virtues. Below a water feature of three
dancing maidens by Walter Schott named Three Dancing Maidens. Because of the looting by the
Nazi Party of the unique version, the water feature was recast several times, not according to the
exact original size.
Figure 67. Walter Schott, Three Dancing Maidens, c. 1806-1824, Bronze nymph fountain, several castings, Untermeyer
Fountain in Central Park New York, the fountain in Den Brandt Park, Antwerp, the fountain at the Burg Schlitz 830
Jung connected the theory of dancing with the concept of creation and the topic of opposites
with historical and anthropological parallels, explaining that:
…Dancing is always connected with creation. Shiva dances the origin

and the destruction of the world. The birth of the dancing star out of
828
. P. Ball, "Alchemy in the Colours of the Renaissance", Alchemy and Colour, accessed February 2020,
https://www.philipball.co.uk/articles/colour/58-alchemy-and-colour

830 . Wikipedia, accessed February 2020, https://en.wikipedia.org/wiki/Three_Dancing_Maidens
225
chaos is a symbol of creation…The idea of an effect, or something
produced, is always connected with the idea of dancing. Therefore, it
was originally a magic ritual by which something was produced; it was
the original idea of work even...831
In conclusion, the Three of Cups' version by Waite and Smith was their own brand of depiction
for the visual and spiritual meaning of the card. Waite's explanation correlates to Jung's theory about
the symbolism of dancing. Moreover, the scene of dancing maidens is a rather old one found since
Greek and Roman times, consequently illustrating the card to demonstrate joy, friendship and
abundance. Moreover, the image of the dance alludes to the theme of concord, an indisputable virtue
for living together in peace.832 Needless to explain that this joyous scene belongs to the vices and
virtues chapter. The addition of the plants and flowers may be the influence of the floral designs in
the Visconti-Sforza, Sola-Busca and the Tarot de Marseilles decks. Below a painting of Luca Giordano
depicting the gaiety of spring.
Figure 68. Luca Giordano, Triumph of Flora or Primavera, c. 1675 - 1677 oil on canvas, 207 X 310 cm, Castello
Sforzesco, Civic Museum of Ancient Art, Lombardy, Milan 833
The next card discussed within this chapter is the Rider-Waite-Smith Minor Arcana Six of
Cups.
831. C. G. Jung, Nietzsche’s Zarathustra. Notes of the Seminar Given in 1934-1939. Princeton: Bollingen Series, Princeton
University Press, in R. Màdera, "Dance as a Metaphor of a Body-Mind Integrated Education. Nietzsche, Jung and Nijinsky",
International Journal of Psychoanalysis and Education, Vol. VIII, No. 2, p. 27, 2016
833 . Age Footstock, accessed February 2020, https://www.agefotostock.com/age/en/Stock-Images/Rights-Managed/MDO-
1856025
226
The Rider-Waite-Smith Six of Cups
The Rider-Waite-Smith Minor Arcana Six of Cups Tarot card has a black
border and on the upper middle top of the card is the number six in Roman numerals. One third of the
upper background of the card depicts a light blue cloudless sky followed by a tower with a yellow
castle on the right and a yellow manor house on the left. The tower has a yellow parapet, three small
windows and a larger double window. The manor house comprised of a first floor and an attic has
windows on both floors, a white chimney and white gutter. Both buildings have white shingles on their
roofs. Next to a decorated large stone pedestal is a grey stone path on which a soldier or guard with
his back turned to the viewer walks towards the castle holding a long staff in his right hand. On top of
the stone pedestal, is a golden cup with foliage and a prominent white flower in full bloom growing
similar to the four golden cups on the warm earth. Four additional cups with foliage and a white flower
are at the bottom of the card.
At the forefront of the card, that also happens to be the center are two young children seen
from their profile holding an additional cup filled with foliage and a white flower. The boy, who seems
older than the girl does, wears a black belted light blue tunic, orange boots, a pair of red leggings, a
red hood and scarf. The blond girl wears, white mittens, an orange scarf that reaches her shoulders,
a long yellow dress with black dots over a light blue skirt and red shoes. The boy leans down to assist
the girl to hold the cup with him, which he has just passed to her in order to enjoy the smell of the
flower.
Within the bounds of iconography, the courtyard in which the children are situated symbolizes
the comforts, security and safety of home. The children probably live in the castle or the manor house
right next to it. The white flowers in full bloom planted within the cups symbolize the purity and
innocence of the children. This gentle act coupled with the love and harmony between them may
signify happy reunions and the joys of childhood.
According to Place, "It is the achievement of the pure mind of the beginner, unfettered by
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preconception."834 While Waite states that it is a card of "…the past and of memories, looking back,
as for example on childhood; happiness, enjoyment, but coming rather from the past; things that have
vanished."835
Capturing the form of objects, animals or persons the five senses represent the human
sensory method within a complex moralizing framework consequently; representations of the five
senses began to appear in the Middle Agesestablishing the iconographical characteristics of a very
distinctive theme that would proliferate during the sixteenth and seventeenth centuries. In the
medieval bestiaries, each sense was associated with an animal, as were the Olympian gods.836
The representation of children in art has radically changed over the centuries. Before the
fifteenth century, the depiction of most children were either as Cupid or as individuals from Biblical
stories. During that period, children from wealthy families did not experience childhood and had to
behave and dress as miniature adults, whereas the depiction of children from poorer backgrounds
was rare.837 Consequently, most paintings of the period that portray children within family paintings
were dressed similar to their parents, unless they were babies. Below a family portrait by Bernardino
Licinio which the children are dressed like adults.
Figure 69. Bernardino Licinio, Portrait of Arrigo Licinio and His Family, c. first half of the sixteenth century, oil on canvas,
118 x165 cm, Galleria Borghese, Rome838
By the seventeenth century, images of children began to emerge, showing a level of realism,
while during the industrial revolution images of children's emotional development appeared, at the

835

836
837 . "Children in Art", National Galleries Scotland, accessed February 2020, https://www.nationalgalleries.org/art-and-
artists/features/children-art
838 . Wikimedia Commons, accessed February 2020, https://commons.wikimedia.org/wiki/File:Bernardino_Licinio_-
_Portrait_of_Arrigo_Licinio_and_His_Family_-_WGA12984.jpg
228
same time there were images of children as young as nine years old playing their part in the modern
industrial society.839 The invention and use of photography in the mid-eighteenth century changed the
rules and enabled the representation of children in a different manner. However, in the beginning it
was especially complicated because it was quite difficult to ask children to pose for photographs for
a long period. As cameras developed, so were the children's natural poses captured.
In conclusion, the Visconti-Forza and Tarot de Marseilles depict their formulaic design of Six
Cups. Waite and Smith who wished to create a card that symbolizes purity and joy; the inclusion of
two children as their main characters was the best means to intensify their goal. Since photographs,
illustrations and paintings of children became very popular with a heartwarming effect from the
vantage point of the viewer, many artists began to create such art to depict children in natural poses
within their environment. Moreover, as Pamela Colman-Smith had already seen the Sola-Busca deck
in which six of the Cup pip cards included six putti, it is quite understandable that she chose to depict
children in the Six of Cups card. Six of cups symbolizes the purity of mind, love and innocence; and
as such belongs to the vices and virtues chapter.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Nine of Cups.
The Rider-Waite-Smith Nine of Cups
The Rider-Waite-Smith Minor Arcana Nine of Cups Tarot card has a black
border and on the middle top of the card is the number nine in Roman numerals. The flat yellow
background of the card's division to an upper and lower section creates the visual representation of
an unadorned golden hued room with a golden floor and walls. In between is a large curved structure,
covered in flowing light blue materiel that reaches the floor on which, nine golden cups are arranged
in an orderly arch. At the forefront of the card, there is a wooden bench, on which a portly man is
839 . "Children in Art", National Galleries Scotland, accessed February 2020, https://www.nationalgalleries.org/art-and-
artists/features/children-art
229
sitting with his arms crossed. His face has a wide smile expressing satisfaction, fulfilment and
success. He wears Renaissance style white garments with a black thin lined pattern, ochre shoe, red
socks similar to his red wide hat with a large red matching feather.
Symbolically, the man's plumed red hat represents his passion, sentiment and the life-giving
principle attributed to Mars. His white garments represent his purity of heart. The manner his arms
are crossed are reminiscent of the lemniscate, the infinity symbol. In fact, the viewer can find
correlations between lemniscate and the white garments of the man in the Nine of Cups and the
depiction of the maiden in the Major Arcana Strength card.840 They both wear flowing white garments
and have the lemniscate sign. In the case of the man, the lemniscate is in the manner he crosses his
arms, while in the Strength card it hovers over the maiden's head. The flowing light blue material on
the table is associated with water and the suit of Cups. Moreover, the material resonates with the
Major Arcana High Priestess' vestments. As the High Priestess holds the key to spiritual bliss; the
Nine of Cups contains the key to earthly happiness and as such, the Golden Dawn named it the Lord
of Material Happiness.841
From a viewpoint of iconology, the Nine of Cups known as the wish card aligned with Jupiter
in Pisces, and represents pleasure, happiness and physical and emotional wellbeing. As Waite
explains:
…A goodly personage has feasted to his heart's content, and abundant

refreshment of wine is on the arched counter behind him, seeming to
indicate that the future is also assured...842
In conclusion, the Nine of Cups in the Visconti-Forza and the Tarot de Marseilles cards depict
nine adorned cups, while the Sola-Busca card portrays a hybrid between the upper section of a
smiling man and the lower section of what seems to be an aquatic creature's tail balancing nine cups
tied by a ribbon. Despite the Nine of Cups card depicting the material aspect of the man, it is also
about his personal feelings of success, advantage and satisfaction. These particular aspects of the
card enable the Nine of Cups to be included within the vices and virtues chapter.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Ten of Cups.
840
. see pp. 197-198
841. B. King, "The Nine of Cups Tarot Card Meanings", Building Beautiful Souls, accessed February 2020,
https://www.buildingbeautifulsouls.com/tarot-card-meanings/minor-arcana/suit-cups/nine-of-cups-tarot/
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The ;;Rider-Waite-Smith Ten of Cups
The Rider-Waite-Smith Minor Arcana Ten of Cups Tarot card has a black
border and on the middle top of the card is the number ten in Roman numerals. Most of the
background of the card is a light blue surface depicting a cloudless sky with a large arched rainbow
on which the superimposed Ten Cups are hovering above. At the bottom of the card is a yellow
surface that represents soil divided by a straight horizontal black line that makes the whole
background seem like the flat layout of a theatre stage. In between the blue sky and the yellow
surface, green rolling hills, lush fields and trees on both the left and the right side of the card are
present. The home scene with the red roof toped house is on the left and a flowing stream below the
house on the right side of the card. The house appears to be similar to the card portrayed in the
background of the Two of Cups only, is now closer to the viewer.843
A man and woman, their back turned away from the spectator look far away into the distance
and welcome the future with wonder and ecstasy. They hold each other in a loving and romantic
embrace as his right arm is around her waist. The man raises his left arm and the woman her right
arm towards the rainbow in the sky. The man wears an orange overcoat, light blue leggings and yellow
boots topped with fur. The woman wears a long light blue jacket over a long red skirt.
Their two children, symbol of innocence clasp their hands and dance to the right of their
mother, wearing clothes similar to their parents', though the girl does not wear a long red skirt under
her light blue dress and the boy's leggings are yellow instead of light blue. The dancing children
symbolize the continuation of the joyous family to the next generation, playfulness, innocence and
creativity. According to Waite: "…the two children dancing near them, have not observed the prodigy,
but are happy after their own manner..."844
The rainbow is a multifaceted symbol. It represents blessings from heaven, for the Israelites it
was the sign of the Covenant between the Creator and his people and in China, the sign denoting the
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union of heaven and earth, while for the Greeks it was Iris, a messenger of the gods.845 The house
embodies security for the family, while the green fields, trees and hills indicate prosperity. The river
in this particular card suggests the continuous flow of love within the family. In early Greek mythology,
Oceanus, the guardian of the flow of time and eternal change is the cosmic river, which grids the
universe, presiding over life and death of all things. 846 In the Epic of Gilgamesh, the Babylonian
goddess Ishtar gave the world a do-over by creating a rainbow to restore the earth and prohibited the
god Enlil from ever wreaking more floods or havoc upon the earth because it blocked him from feeding
on the offerings placed on earth’s altars.847
In conclusion, the scene that appears in the Ten of Cups is the happy resolution to a situation.
No card in the Tarot deck quite looks like an illustration for the phrase, “and they lived happily ever
after,” as does the Ten of Cups and perhaps the man and woman are the same two who toasted each
other on the Two of Cups card.848 This card represents family life, joy, contentment, and faithfulness,
while the pastoral background scene enhances the esoteric meaning of the card, which is mainly
about love between a man, a woman and their offspring. The Ten of Cups card depicts ‘having it all’
and represents an idyllic state of comfort, harmony, peace and love, which is the indication of
harmonious family. 849 Below a painting by George Romney, depicting the Gower Family children
dancing.
Figure 70. George Romney, The Gower Family: The Children of Granville, 2nd Earl Grower, c. 1776-1777, oil on canvas,
203 x 235 cm, Abbot Hall Art Gallery Kendal United Kingdom850

847. A. Venefica, "Do-Over’s and the Meaning of Rainbows", Symbolic-Meanings.com, accessed February 2020,
https://www.symbolic-meanings.com/2013/06/04/do-overs-and-the-meaning-of-rainbows/
848
. "Cups Notes from Keen.com", Tarot Decks, accessed February 2020, http://varioustarotdeckss.blogspot.com/
849
. "Ten of Cups Meaning - Tarot Card Meanings", Labyrinthos, accessed February 2020, https://labyrinthos.co/blogs/tarot-
card-meanings-list/ten-of-cups-meaning-tarot-card-meanings
850 . Wikimedia Commons, accessed February 2020, https://commons.wikimedia.org/wiki/File:Granville_Leveson-
Gower%C2%B4s_children.jpg
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If the viewer of the Rider-Waite-Smith Ten of Cups were to relate to the unbound love and
harmony depicted especially by the dancing children, than Jung explains that there are children:
…who are still unconsciously carried along by the dynamism of

inherited and instinctive archetypal patterns. These young people are
not concerned about the deeper meaning of life, because their
experiences with love, nature, sport, and work contain an immediate
and satisfying meaning for them. They are not necessarily more
superficial; usually they are carried by the stream of life with less
friction and disturbance than their more introspective fellows are…851
The suit of Cups symbolizes a wide range of feelings and emotions, consequently Waite and
Smith chose this specific harmonious and tranquil scene of a family to portray the spiritual meaning
of the card, which Waite describes as: "… Contentment, repose of the entire heart; the perfection of
that state; also perfection of human love and friendship…"852 The Ten of Cups is named by many a
cartomancer, the Family Card as it depicts a family that enjoys being together, creating happy
memories and reinforcing the bonds of love between them. Consequently, the Ten of Cups too is
included in the vices and virtues chapter.
The next card discussed in this chapter of vices and virtues is the Rider-Waite-Smith Minor
Arcana Three of Pentacles.
851 . C. G. Jung, Man and his Symbols, p. 163

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The Rider-Waite-Smith Three of Pentacles
The Rider-Waite-Smith Minor Arcana Three of Pentacles Tarot card has a

black border and on the middle top of the card is the number three in Roman numerals. Most of the
background of the card is an entrance to a cathedral. The inside of the cathedral is black to probably
create a three-dimensional effect and intensify the grandeur and soaring ceilings of the space. The
floor, the outside upper stonewall and the arch at the entrance are grey. The rather wide arch
supported by an intricately detailed decorated stone pillar, which in itself comprises of an additional
three arches below the main one. The upper arch directly attached to the main arch is comprised of
a stone lattice with three circles in which there are pentacles, connected at the middle by a smaller
circle. An additional stone triangular lattice depicting a flower with leaves links the two arches below
the main arch. Below an example of a stone lattice window of the Sacred Heart Cathedral in China.
Figure 71. Two French architects and Chinese stonemasons, The Sacred Heart Cathedral, c. 1863 – 1888, Catholic
granite church, the Diocese of Guangzhou, China853
The card displays a young stonemason standing on a wooden bench and working in a
cathedral. Seen from his right profile he has short reddish blond hair and holds a mallet in his right
853 . Trip.com, accessed May 2020, https://www.trip.com/travel-guide/guangzhou/sacred-heart-cathedral-76956/
234
hand. He is dressed in light blue leggings, a white shirt, grey tunic and boots and a yellow apron
around his waist. In front of him are two others; a priest and an elegantly dressed figure who is
probably the architect or the master mason holding plans for the cathedral on a large white parchment.
The priest wears a long grey cape with a high neck and a cap on his head. The master stonemason
wears a long cape with a design of red roses on a yellow background with a long hood that covers
his head and reaches the hem of his cape. All of the vestments of the figures on the card correlate to
Renaissance style clothing.
The young stonemason appears to be discussing his progress so far with the architect and
the priest, who value his opinion and specialist knowledge. Their body language insinuates that this
young man is an essential contributor to the cathedral’s completion and the architect and priest want
to ensure that the work is going according to plan. The young stonemason raises his head while
discussing his progress, while the two others are keenly listening to him. Despite the apprentice
having less experience, the two others are attentive because they know his ideas and his experience
are fundamental in the successful completion of the whole building.854 Davidson in his article "The
Medieval Stonemason" asserts that they were not monks but highly skilled artisans who combined
the roles of architect, builder, stonemason, designer, and engineer.855 Many, if not all stonemasons
of the Middle Ageslearnt their craft through an informal apprentice system and would generally be
members of a guild comprised of different artistic styles and varying skill levels. 856
The red roses on the master stonemason's cape can symbolize either the God Mars/Ares or
Binah, the third sephira-understanding in the material world and/or the physical, that Kabbalists name
Asiah, meaning doing. Capricorn is an Earth sign and the effect of Mars on Capricorn is to bring
discipline and control in material things, such as, employment, business, and building construction.857
The whole scene of the Rider-Waite-Smith Three of Pentacles represents the long, hard and
dangerous work the team of craftsmen and the master stonemason dedicated themselves to create
despite the obvious hardships of building large cathedrals and churches we see today.
In 313 AD, after almost three centuries of precarious existence and tradition of art limited to
rings, seals, and some paintings in the catacombs, Christianity was finally permitted to exist when the
Roman Emperor Constantine issued the Edict of Milan that accepted Christianity and ten years later,
it became the official religion of the Roman Empire. During the fifth century, the Roman Empire split
854 . "Three of Pentacles", Labyrinthos, accessed May 2020, https://labyrinthos.co/blogs/tarot-card-meanings-list/three-of-
pentacles-meaning-tarot-card-meanings
855 . C. C. Davidson, The Medieval Stonemason, accessed May 2020
http://www.bbc.co.uk/history/british/middle_ages/architecture_medmason_01.shtml
856
. D. Akande, " Medieval Masons and Gothic Cathedrals", Society of Architectural Historians, accessed May 2020,
https://www.sah.org/publications-and-research/sah-blog/sah-blog/2017/07/18/medieval-masons-and-gothic-cathedrals#2
857 . "The Rider-Waite-Smith-Tarot: Three of Pentacles & The Thoth Tarot- 3 of Disks-Works. Qabalistic Tarot Card
Comparisons", The Tarot of Eli, accessed May 2020, http://www.elitarotstrickingly.com/blog/the-tarot-of-eli-the-rider-waite-smith-

tarot-three-of-pentacles-the-thoth
235
into two halves: the eastern half centered on Constantinople, famous for its icon painting and mosaics
and the western half in Rome, with its huge building campaign of Romanesque and Gothic
cathedrals.858 After the fall of the Roman Empire, there was a decline in the use of stone in Western
Europe as timber became more favored, however masonry returned to the fore from around the tenth
century and by the eleventh/twelfth centuries, the re-emergence of stone as a key building material
had reached a new peak with religious buildings.859 Later, in the beginning of the sixteenth century, a
religious revolution brought about the raise of Protestantism. Christian art encompasses both Roman
Catholicism and Protestantism, as well as the earlier offshoot, the Eastern Orthodox Church860.
In conclusion, the Rider-Waite-Smith Three of Pentacles symbolizes that each person has an
important role to play, and when they come together as a team, they can create something much
more significant than if they were to undertake a large project on their own, similar to building a
cathedral and create substantial results. Despite their obvious different backgrounds and expertise,
they converge to share their insight in a way that creates synergy and improves the finished product.
The card therefore represents the coming together of different kinds of knowledge in order to build
something together. 861 Moreover, it is an unconscious message to the early twentieth century
beholder that despite modernity and technical ability to build and create complex structures, planning
and cooperation are essential.
It is worthwhile to mention that the Three of Pentacles in the Visconti-Sforza and the Tarot de
Marseilles decks comprise of an intricate flowery background with coins/deniers as the pips from two
to ten retain their initial formulaic design of their suit and add one more pentacle according to the
number of the card. The Sola-Busca Three of Pentacles presents a putti carrying a large red vase
shaped backpack from which two large flowers and three disks embellished with rhombus shaped
flowers.
Waite explains: "The apprentice or amateur therein has received his reward and is now at
work in earnest." and adds divinatory meanings only. Among those who deal in cartomancy and more
specifically the Golden Dawn, the card concentrates on the meaning of working and constructive
force, erection, creation, erection, realization, employment, business, teamwork, competence and
cooperation.862 Thus, this card too can be included within the chapter of vices and virtues, as these
values are all considered virtues especially when it relates to building a cathedral.
858 . "Christian Art; History, Characteristics of Catholic and Protestant Visual Arts", Encyclopedia of Art © visual-arts-
cork.com., accessed May 2020, http://www.visual-arts-cork.com/christian-art.htm

859 . D. Akande, "Medieval Masons and Gothic Cathedrals", Society of Architectural Historians, accessed May 2020,
https://www.sah.org/publications-and-research/sah-blog/sah-blog/2017/07/18/medieval-masons-and-gothic-cathedrals#2
860. "Christian Art; History, Characteristics of Catholic and Protestant Visual Arts", Encyclopedia of Art © visual-arts-
cork.com., accessed May 2020, http://www.visual-arts-cork.com/christian-art.htm
861 . "Three of Pentacles Description", Biddy Tarot, accessed May 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-pentacles/three-of-pentacles/
862
236
The next card discussed within this chapter of vices and virtues is the Rider-Waite-Smith Minor
Arcana Six of Pentacles.
The Rider-Waite-Smith Six of Pentacles
The Rider-Waite-Smith Minor Arcana Six of Pentacles Tarot card has a black
border and on the middle top of the card is the number six in Roman numerals. Most of the background
of the card is beige with six hovering pentacles: one at the top, two on the left and three on the right.
Here too, there is a dividing black line between the ground and the sky as if it were a theatre stage.
Over the black line on the horizon, there are a forest, a city and a white castle. There are three
individuals on the card: a successful nobleman/rich merchant and two beggars. On the ground in front
of the nobleman are two destitute figures on their knees with outstretched hands, receiving alms. The
one on the right dressed with a patched yellow cloak and the one on the left with a blue one raise
their heads to express gratitude for the alms they have just received.
The nobleman/rich merchant is dressed in Renaissance style luxuriantly matching clothes.
The elaborate head wrap, the cloak with the long shawl, the belt and the leggings are scarlet;
an expansive cloth derived from costly dyes, since it is a color associated with nobility. His
knee length boots are green, associated with vegetation, immediately perceptible growing things,
and represents Jung's function of sensation.863 Beneath his cloak, he wears a striped blue, white
and black tunic. In his right hand, he holds the coins he is giving the beggar on the right in
front of him, while in his left hand he holds a pair of exactly balanced golden scales
representing equality and impartiality. The coins are a symbol of generosity and represent that
the active man likes to expend himself in action to promote assistance to the needy. 864
The focus is on the imagery and iconology of alms giving. Alms giving is any type of
material favor done to assist the needy, and prompted by charity. This act exists in all monotheistic
863 . M. Ferber, Dictionary of Literary Symbols, Cambridge, UK: Cambridge University Press, 1999, p. 177
237
religions, Eastern religions and ancient pagan ones as well. According to the creed of Christianity,
almsgiving implies a material service rendered to the poor for Christ's sake.865 The diversity of actual
conditions defining the needy, specify the character of indigence; where the necessaries of life are
wanting, or where imminent peril threatens vital interests and poverty is extreme. Consequently,
nearly all theologians accept the view that the obligation of almsgiving according to Scripture does
not discriminate between the poor, the needy, and the indigent without restricting the obligation of
almsgiving to any particular types of destitution.866
Within the framework of iconography, the depiction of the poor grew with increasing frequency
and prominence in Venetian art of the sixteenth century. This new level of visualization within the
fictive space of representation indirectly reflects contemporary attempts to exclude poveri and other
undesirables from the actual space of the city.867 The increased state involvement in relief stimulated
a new iconography of secular charity featuring almsgiving but it was in religious paintings for the city's
churches and monasteries that the visual imagery of poverty was most dramatically improved; thus
the poveri increasingly appeared as idealized human archetypes whose suffering and humility
associated them directly with Christ.868
The card indicates a binary conflict between the state of destitution as opposed to financial
security and generosity, suggesting that personal wealth and abundance for the benefit of others, but
it also reflects to receiving generosity and the feeling of relief that accompanies much-needed
assistance.869 Below a painting by Jacques-Louis David depicting the elderly man Belisarius and his
grandchild begging for alms dressed in an old cloak and sitting by the stairs of a church, which is
rather similar in its concept to the six of Pentacles Rider-Waite-Smith Tarot card.
865 . "Alms and Almsgiving", New Advent – Catholic Encyclopedia, accessed May 2020,
https://www.newadvent.org/cathen/01328f.htm
866 . Ibid
867
. T. Nichols, "Secular Charity, Sacred Poverty: Picturing the Poor in Renaissance Venice", Art History – Wiley Online
Library, accessed May 20202, https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1467-8365.2007.00536.x
868 . Ibid
869 . "Six of Pentacles Tarot Card Meanings", Biddy Tarot, accessed May 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-pentacles/six-of-pentacles/
238
Figure 72. Jacques-Louis David, Belisarius Begging for Alms, c. 1781, oil on canvas, 288 × 312 cm, Palais des
Beaux-Arts de Lille France870
Waite explains:
…A person in the guise of a merchant weighs money in a pair of scales

and distributes it to the needy and distressed. It is a testimony to his
own success in life, as well as to his goodness of heart…871
Place too maintains that:

…Unlike the miser, the wealthy man chooses to create balance by
giving money where it is needed, as such; the card can represent
giving and receiving...872
Jung on the other hand clarifies the concept of almsgiving in a completely different
perspective, relating it to one's own path of individualization.
…The acceptance of oneself is the essence of the whole moral

problem and the epitome of a whole outlook on life. I feed the hungry
that I forgive an insult that I love my enemy in the name of Christ, all
these are undoubtedly great virtues. What I do unto the least of my
870 . Wikipedia, accessed May 2020, https://en.wikipedia.org/wiki/Belisarius_Begging_for_Alms

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brethren that I do unto Christ. But what if I should discover that the
least among them all, the poorest of all the beggars, the most impudent
of all the offenders, the very enemy himself that these are within me,
and that I myself stand in need of the alms of my own kindness that I
myself am the enemy who must be loved what then? As a rule, the
Christian's attitude is then reversed; there is no longer any question of
love or long-suffering; we say to the brother within us "Raca
(Senseless; vain; empty-headed)" and condemn and rage against
ourselves. We hide it from the world; we refuse to admit ever having
met this least among the lowly in ourselves...873
Relating to the overall view of the Six of Pentacles, both the Visconti-Sforza and the Tarot de
Marseilles depict their formulaic design, while the Sola-Busca portrays a diligent metalworker with six
disks above a wide portal. This scene depicted on the card is similar to the Rider-Waite-Smith Eight
of Pentacles.874 As explained above almsgiving is a virtue in most religions and societies since the
dawn of time consequently, this card is appropriate to be included within the vices and virtues chapter.
The next card discusses is the rider-Waite-Smith Minor Arcana Seven of Pentacles.
The Rider-Waite-Smith Seven of Pentacles
The Rider-Waite-Smith Minor Arcana Seven of Pentacles Tarot card has a

black border and on the middle top of the card is the number seven in Roman numerals. Most of the
upper background of the card is beige. The left side of the card depicts a young farmer leaning on his
on his hoe, gazing down at his abundant crop, the fruits of his labor seen on the right side. The bottom
873 . C. G. Jung, Memories, Dreams, Reflections, (ed.) A. Jaffe, (trans.) C. and R. Winston, Vintage International Books -
Penguin Random House, 1989

874 . For the Rider-Waite-Smith Eight of Pentacles see: pp. 243-244
240
lower portion of the card portrays a portion of the field, some blue shrubbery and purple mountains in
the horizon. Six pentacles hang from his lush vegetation and the seventh pentacle is on the ground
attached to a stem of his crop.
The young farmer seems to be taking a break from his hard labor to admire the blossoming
garden. The expression on his face and the way he is laying his head over hands seems to suggest
he is fatigued, since he has worked hard to ensure that the year's crop is an advantageous one. 875
His bent head is the principal attitude of melancholy, as it indicates either spiritual suffering or as
contemplative attitude876. He is dressed in a short-sleeved orange tunic that reaches the top of his
legs with a thin belt over light blue shirt and leggings. His boots do not match, as one is orange and
the other brown. One might suggest that because he was so keen to see his harvest, he was not
aware of wearing mismatched boots.
The produce of the earth are associated with the senses of taste and smell, and keeping with
an iconographic tradition that became widespread in the sixteenth and seventeenth centuries.877 The
image of the farmer is someone who works within the framework of agriculture, producing a variety of
food products for human and animal consumption and raise animals symbolizes a rustic form of
getting back to the basics.
In Medieval and Renaissance iconography, the representation of the seasons was by the
agricultural labors associated with each season sowing, mowing, harvesting and hunting or as men
and women of varying age, in the guise of Olympian gods or as four sacred animals corresponding
to the solstices and equinoxes.878 Below a detail from Gothic architectural sculptures of one of the
reliefs on the main portal of St Mark's Cathedral in Venice of a peasant threshing his wheat, a task
traditionally performed during the month of July.
875 . "Seven of Pentacles Meaning - Tarot Card Meanings", Labyrinthos, accessed May 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/seven-of-pentacles-meaning-tarot-card-meanings
876
877
. Ibid, p. 203
878 . Ibid, p. 32
241
Figure 73. Artist unknown, Allegories of the Months: July, c. mid-13th century, stone relief detail, St Mark's Cathedral's
main portal in Venice879
From an outlook of iconology, there is a plethora of attitudes to the symbolism of the Seven of
Pentacles Tarot card. Waite maintains that the card portrays a young man, leaning on his staff, who
looks intently at seven pentacles attached to a clump of greenery on his right; one would say that
these were his treasures and that his heart was there.880 While Place argues that Waite mistakenly
calls the man’s hoe a staff, and therefore, interprets him as looking at the pentacles with desire
consequently, the addition of the hoe suggests that the man is actually a farmer who has worked to
cultivate the pentacles, and he is now ready to enjoy the fruits of his labor.881 The Golden Dawn has
a contradictory explanation to the Seven of Pentacles Tarot card and named it, Lord of Success
Unfulfilled as it relates to the pensive facial expression of the farmer.
In conclusion, despite the argument between those who deal in cartomancy, the Rider-Waite-
Smith Seven of Pentacles depicts the hard work performed by a farmer who probably reserves the
single pentacle on the ground for himself to use it to plant the next crop. His facial expression can be
related to either his deep fatigue or to his unfulfilled success to grow more produce.
Relating to the overall view of the Seven of Pentacles, both the Visconti-Sforza and the Tarot
de Marseilles depict their formulaic design, while the Sola-Busca portrays a diligent worker. Sofia Di
Vincenzo in her booklet Sola-Busca Tarot makes some observations about this card that connect its
sanguinity to the theme of the seven metals, which could correspond to the seven ages of man,
explaining that the rod on which the falcon is perched controls ventilation into a circular store that
879 . Web Gallery of Art, accessed May 2020, https://www.wga.hu/frames-e.html?/html/zgothic/gothic/3a/index.html


242
heats the coins that are above it.882 While Adams explains that the scene depicts one of the archetypal
myths, Zeus' abduction of Ganymede (a beautiful Trojan youth) in the guise of an eagle in order to
have him serve him as a cupbearer.883 What the young man is doing is purifying the metals of their
defects, corresponding to the passions, the instinctive elements of the personality, the base thoughts
generated by the struggle to assert one's external ego.884 That explains the red wings around them,
as they represent the uplifting heat, serving as wings to make them take flight for the purification
process. Therefore, he is also purifying himself as he goes through the seven ages in his own life, a
task about which he must feel some trepidation. 885 It seems that Waite and Smith, utilized the
representation of the Sola-Busca Seven of Pentacles card, by portraying a hard working youth who
is busy receiving the desired fruits of his labor. Since hard work and diligence are virtues, this card
too is included within the chapter of vices and virtues.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Eight of
Pentacles Tarot card.
The Rider-Waite-Smith Eight of Pentacles
The Rider-Waite-Smith Minor Arcana Eight of Pentacles Tarot card has a

black border and on the upper middle of the card is the number eight in Roman numerals. Most of the
upper background of the card is beige and the sky is cloudless. The bottom of the card is yellow and
on the horizon is greenery in front of a town comprised of red roof houses, a yellow pathway, a white
castle and a tower with a black roofed turret. The stage design style of Pamela Colman-Smith is
882 . S. Di Vincenzo, Sola-Busca Tarot, CT. USA: U.S. Games, 2000, p. 76

883
. Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, p. 194 In the context of the fifteenth century a
reference to Ganymede was something of a double-entendre, a Ganymede denoting a boy used for sexual purposes.
884 . S.
Wintle, "Sola-Busca Tarocchi", The World of Playing Cards – Tarot History Forum, accessed May 2020,
http://forum.tarothistory.com/viewtopic.php?f=23&t=523#p7295
885 . S. Di Vincenzo, Sola-Busca Tarot, CT. USA: U.S. Games, 2000, p. 73
243
obvious, as she has added two thin black lines, mostly hidden behind the bench to divide the nature
area in which the artist works and the town behind him.
There is a long wooden workbench with an additional small piece of rectangular wood, on
which the artisan leans the pentacle he is working on with a chisel and a mallet. He is probably
creating ornaments for the dwellers who live in the urban center seen at the horizon. During the
Renaissance, artisans' workshops represented the productive activities on which the city's economy
based itself. However, in the case of the Rider-Waite-Smith Eight of Pentacles the young man is in
nature and not within a workshop. This purposeful division between nature and culture can be
identified with, Levi Strauss' binary conflicts theory. The left side of the card depicts a tree on which
six golden pentacles mounted for display in an orderly manner. The seventh pentacle is on the bench,
while the artisan carefully etches a pentacle shape on to it and the eighth pentacle rests on the ground
beside the workbench at the artist's feet, for future perfection.
On the lower middle of the card is a toiling young man who is not concerned with his looks,
and appears to be a homeless vagrant. The core point of illustrating him with threads stretched and
snapped in his black work vest is to emphasize that this is about focusing one’s effort on the task.886
His blue tunic, red leggings and brown boots are in fine condition, proving that he is not a destitute
person. He has isolated himself from the distractions of home life so that he can fully dedicate himself
to the task and he is concentrating very hard, as he is eager to do a skillful job and avoid any
mistakes.887 His facial expression signifies focusing on accomplishing what he wants to achieve and
determined to get it. As he creates each pentacle with dedication, hard work, focus and patience, his
skills improve and he becomes a master at his craft. Although the weather is pleasant, it does not a
factor on how he works, as he is absorbed in his own world, diligently tackling the problem with a
solution he will master.888
The tree represents the axis and mystical center of the cosmos and the conjunction between
the world underground (roots), the earth (trunk) and the celestial dimension (leaves and branches).889
Similar to the tree that connects between above and below, so does the tower at the top of the castle
in the distance, which is a vehicle for connecting spirit and mater, providing a staircase whereby gods
could descend and men ascend.890 The towers used, especially those high above spread light and
sound are clock towers, watchtowers, fortresses, prisons, chimneys and storehouses.891
886
. "The Eight of Pentacles Tarot Card Meanings", Keen, accessed May 2020, https://www.keen.com/articles/tarot/8-of-
pentacles-tarot-card
887
. "Eight of Pentacles Tarot Card Meanings", Biddy Tarot, accessed May 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-pentacles/eight-of-pentacles/
888.
"The Eight of Pentacles Tarot Card Meanings", Keen, accessed May 2020, https://www.keen.com/articles/tarot/8-of-
pentacles-tarot-card
244
Within requirements of iconology, in the early years of Christianity the town became a
metaphor for evil, countered by the spirituality of the monastic life, but in medieval iconography,
following the rebirth of urbanization, Paradise, began to assume the features of an urban center and
in the age of humanism, the town became once more a symbol of harmony.892
Waite maintains that, the card depicts "An artist in stone at his work, which he exhibits in the
form of trophies".893 The Golden Dawn named the Eight of Pentacles the Lord of Prudence and Place
argues that:
…the pentacles are too thin for stone, his bench is too light, the
pentacles are hung by a cord or a wire that would be difficult to attach
to stone and too weak to hold its weight. Waite wanted him to be the
apprentice to the artist on the Three of Pentacles. The man, however,
is doing production work in contrast to the highly creative work of the
artist on the Three of Pentacles. This card represents production and
routine. He is literally making money...894
Within the context of labor, Jung speaks about two traditional themes: social justice and
economic competence that correspond to his two psychological functions named thinking and feeling.
The feeling of function is founded on beliefs. It thinks about people and their future, and building
strong communities to share power and respond to people’s concerns, having just one purpose, which
is to work for people.895 The thinking function is more concerned with being on the right track, making
difficult decisions about money, economy, control of finances, and sees everyone as having to make
sacrifices and play their part, as it follows a long-term plan to put its house in order.896
In conclusion, both the Visconti-Sforza and the Tarot de Marseilles depict their formulaic
design of pentacles, while the Sola-Busca portrays a completely different image in which the
pentacles are in a large derelict basket tied to a dying dry tree and the eighth pentacle is on the ground
next to a skeletal head settled over three broken bones. Moreover, the depiction of the artisan working
on a pentacle with a chisel and a mallet is represented in the Sola-Busca Six of Disks Tarocchi card.
It seems once more that Pamela Colman-Smith incorporated a scene from a card of the Sola-Busca
deck into a different card of the Rider-Waite-Smith deck. An interesting aspect is that the Rider-


895 . S. Myers, "Why
Labor Lost – A Jungian Perspective", Practical Insights of Analytical Psychology, accessed May 2020,
https://steve.myers.co/why-labour-lost-a-jungian-perspective/
896 . Ibid
245
Waite-Smith Seven of Pentacles deals with reward and the number eight with hard work,
consequently in some sense; it would seem that these two should be switched around. 897 The
main message to the viewer is that mediocrity kills and dedication, even after the reward received
is not only beneficial, but it is required. 898 Despite the different symbolic interpretations given to
the card, the Eight of Pentacles represents mastery and accomplishment, thus it is included within
the vices and virtues chapter.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Nine of
Pentacles.
The Rider-Waite-Smith Nine of Pentacles
The Rider-Waite-Smith Minor Arcana Nine of Pentacles Tarot card has a

black border and on the middle top of the card is the number nine in Roman numerals. The upper and
lower background of the card are yellow and the sky is cloudless. Yellow is the focus color for this
card. A wealthy woman stands in the middle of a lush garden. Her dress adorned with
sunflowers has a wide red collar and lining, the sky, her home, and the pentacles stacked just
below her right hand are all sun-shaded. 899 Her beret is red as well. She stands in the middle of
a luxurious and plentiful garden of her estate with two trees; one on her right and the other on her left.
The garden is full of vegetation and a multitude of purple grapes growing on vine. Her lifted left
yellow-gloved hand has a hooded falcon who rests on top. Her right hand rests on a small
tower of six pentacles and the three other pentacles are on the left side of the card. Beyond
her, is a landscape of beauty and abundance, a row of houses and a castle that is probably her
897
. J. N. Willemi, "Eight of Pentacles Tarot Card Meaning: Love, Health, Money & More", A Little Spark of Joy, accessed
May 2020, https://www.alittlesparkofjoy.com/eight-of-pentacles-tarot-card-meanings/
898 . Ibid
899 . "Nine of Pentacles Tarot Card Meaning: Love, Health, Money & More", A Little Spark of Joy, accessed June 2020,
https://www.alittlesparkofjoy.com/the-nine-of-pentacles-tarot-card-meanings/
246
personal residence. A snail is visible on the ground in front of her.
The vines heavy with grapes and golden coins represent the fruitful accomplishment of all her
desires, symbolizing that she has been very successful in her ventures that are yielding a great and
plentiful harvest and her healthy relationship with money enables her to enjoy the fruits of her labors.
The products of the earth are associated with the sense of taste and smell, in keeping with
iconographic traditions that became widespread in the sixteenth and seventeenth centuries.900
The snail is a lunar and fertility symbol, one of rebirth and resurrection, suggested by its helical
sphere. Pauahtun an ancient Mayan god emerges from a spiral shell that takes the form either of land
snails or of other marine types of snails.901 Medieval painters included snails in paintings of the Virgin
Mary, due to the belief that their shells meant the protection of their modesty and reproduced without
sex. Dutch flower paintings often include snails in their works, because the message behind those
works was, that as beautiful as the flowers are, they would soon be consumed, like human flesh, by
worms, insects and snails.902 Moreover, several medieval manuscripts have many images of snails
to emphasize this concept.
The hooded falcon sitting calmly on the woman's left hand, symbolizes freedom, victory,
boldness, ambition, courage, liberty, generosity, penetrating vision, a noble spirit, and connotes
salvation to those who are in bondage whether moral, emotional, or spiritual. The falcon suggests
that she has resources for further gains. 903
Within the framework of iconology, falcons have had different symbolism in art according to
the culture in which they were painted. The Egyptian hieroglyphs used the falcon glyph in words and
phrases such as god, pharaoh, greatness and was associated with the sky deities of kingship and of
the sun.904 The depiction of the Egyptian god Horus was a falcon or a man with a falcon's head. During
Ancient Egyptian Pharaohs funerals a falcon was released to take the soul of the departed to the
heavens, so did the ancient Romans release an eagle during the funerals of their emperors. Falcons,
like other birds of prey were supposed to be the intermediaries between eternal life in heaven and
mortal life on earth. In Christian symbolism, the wild falcon represents the unconverted, materialistic
soul and its sinful thoughts and deeds, while the tame falcon symbolizes the Christian convert
pursuing his lofty thoughts, hopes, and aspirations with courage.905 Falcons with their keen vision,
power and boldness were associated with nobility in Europe, Japan, and China.

901 . H. B. Werness, The Continuum Encyclopedia of Animal Symbolism in Art, London: The Continuum Publishing group
Inc., 2006, p. 376

902. S. Jones, "Snails in Art and the Art of Snails", London: Gresham College, 2014, accessed June 2020,
https://www.gresham.ac.uk/lectures-and-events/snails-in-art-and-the-art-of-snails
904 . "Falcon", Fandom, accessed June 2020, https://symbolism.fandom.com/wiki/Falcon
905 . Ibid
247
Paintings of women in lush gardens have been popular for millennia and famous artists
painted many royal and high society women enjoying nature either in the company of others or on
their own. It seems that the juxtaposition of women in gardens is a favorite subject for painters
because women are equated with nature quite often.906 "The summit of symbolic perfection lies in the
Renaissance art of the garden, where the most subtle relationships between overall arrangement,
geometric form and symbolic detail (floral of animal) are revealed."907 Renaissance artists loved to
represent Paradise realistically as a luxurious garden in which, one could cultivate various earthly
pleasures: music, conversation and dance.908 During the Renaissance fruit picking was a recurrent
theme in descriptions of Paradise in which the trees of life and knowledge bestow the gifts of
immortality and wisdom. Below a painting by Upper Rhenish Master named the Garden of Paradise.
Figure 74. Upper Rhenish Master, The Little Garden of Paradise, c. 1410, mixed technique on oak wood, 26.3 x 33.4 cm,
the Städel Museum909
Until the eighteenth century, there was a common recognition that the garden necessarily
used artifice in order to represent nature; that with the rise of natural gardening in Europe at least, the
well understood distinction between objects and representation easily collapses into an apparently
undifferentiated nature.910 Below a painting by Paul Signac, of The Woman on the Terrace gazing at
the garden around her.
906 . S. Bending, Women Gardens and Eighteenth Century Culture, U.K.: Cambridge University Press, 2003, p. 12
907
. A. Stegman, J. P. Coursodon, E. Miller, "Richness and Ambivalence of the Symbol in the Renaissance", p. 12, accessed
December 2017, Jstor, Stable URL: http://www.jstor.org/stable/2929397
908
909
. Wikipedia org, accessed June 2020,
https://en.wikipedia.org/wiki/Upper_Rhenish_Master#/media/File:Meister_des_Frankfurter_Paradiesgärtleins_001.jpg
910 . Bending, Women Gardens and Eighteenth Century Culture, p. 12
248
Figure 75. Paul Signac, The Woman on the Terrace, 1898, oil on Canvas, 73 cm × 92 cm, National Gallery of
Ireland, Dublin911
In conclusion, similar to the Rider-Waite-Smith Empress Major Arcana Tarot card and the
Minor Arcana Queen of Pentacles Tarot card, the Nine of Pentacles portrays an affluent woman
dressed in finery who is within a luxuriant garden protected from within. Waite defines the card as:
…A woman, with a bird upon her wrist, stands amidst a great

abundance of grapevines in the garden of a manorial house. It is a
wide domain, suggesting plenty in all things. Possibly, it is her own
possession and testifies to material well-being…912
The Visconti-Forza Nine of Coins has nine coins on a floral background; the Sola-Busca Nine
of Disks depicts the process of the theurgist in his own transformative fire and the Tarot de Marseilles
Nine Deniers depict their formulaic design of deniers on a white background. There is no visual
correlation between the Rider-Waite-Smith Nine of Pentacles and any of the other Nine of Pentacles
cards. Similar to the Golden Dawn who named the card Lord of Material Gain, Waite and Smith
equated the Nine of Pentacles with safety, accomplishment, wealth because of hard work, affluence
and success. As with the rest of the deck in this card too, they added visual signs and symbols of the
element of earth that symbolizes achievement, success and productivity considering that the suit of
Pentacles is mostly about financial gains and losses. There is no doubt that as a card that deals in
such matters of hard work, it belongs to the chapter of vices and virtues.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Ten of
Pentacles.
911 . Archive.com, accessed June 2020, https://arthive.com/paulsignac/works/390971~The_woman_on_the_terrace

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The Rider-Waite-Smith Ten of Pentacles
The Rider-Waite-Smith Minor Arcana Ten of Pentacles Tarot card has a black
border and on the middle top of the card is the number ten in Roman numerals. In this card, the viewer
perhaps gleans a closer look of the affluent woman's abode depicted in the Rider-Wait-Smith Nine of
Pentacles. The vista is much closer than the previous card and includes the inner gate of castle with
its inhabitants and dogs. From behind the archway of the gate, the manor house, trees, a blue sky
and a multitude of purple grapes growing on vine complete the background. The right side of the
gate's archway wall has the family coat of arms hanging from within, a symbol of their history and
ancestry.
A white haired and bearded older man, perhaps the elderly patriarch of the family sits by the
entrance of the courtyard in the castle and pets his white dog, while the child pets the second dog.
He wears a richly embroidered cape with moon crescents and grapevines. The three human figures
in front of the elderly man may well be his offspring. The man and woman standing by the gate seem
to be in deep conversation, while the child is more interested in the dogs. The man seen from behind
wears a blue cape thrown over the shoulder of his orange shirt and holds a lance in his left hand as
if keeping guard. The woman on his left wears a crown of flowers on her hair and a long red dress,
while the child is dressed in a blue smock and white shoes. The golden ten pentacles are
superimposed on the whole scene of the card.
The golden pentacles, the moon crescents and grapes on the elderly patriarch's robe
symbolize sensuality and abundance and the heraldic emblems on the archway of the gate represent
balance and security.913 The whole scene on the Rider-Waite-Smith Ten of Pentacles symbolism is
rooted in both financial success, stability and affluence. Waite is very literal in his explanation of the
card other than giving its occult meaning as he always does. Moreover, Waite disregards the
possibility that it is a family scene and uses the word "accost" at the appearance of the dogs whom
both the patriarch and the young boy are petting.
250
…A man and woman beneath an archway which gives entrance to a
house and domain. They are accompanied by a child, who looks
curiously at two dogs accosting an ancient personage seated in the
foreground. The child's hand is on one of them…914
Within the aspect of iconology, the Ten of Pentacles is rooted in wealth that goes way beyond
material comfort, since the man and his family have a deeply rooted connection to their legacy,
lineage, home and community.915 Below a painting by Velasquez of a royal family and their dog.
Figure 76. Diego Velázquez, Las Meninas, c. 1656 – 1657, oil on canvas, 318 cm x 276 cm, Museo del Pardo,
Madrid916
In conclusion, The Visconti-Forza Ten of Coins has ten coins on a floral background; the Sola-
Busca Ten of Disks depicts a long wooden chest with nine disks, a putto adding the tenth one and a
dog guarding the treasure. The Tarot de Marseilles Ten Deniers depict their formulaic design of
deniers on a white background. There is no visual correlation between the Rider-Waite-Smith Ten of
Pentacles and any of the other parallel Tarocchi/Tarot. Similar to the Golden Dawn who named the
card Lord of Wealth, Waite and Smith equated the Ten of Pentacles with gain, richness, family matters
914
915 . "Ten of Pentacles Meaning - Tarot Card Meanings", Labyrinthos, accessed June 2020, https://labyrinthos.co/blogs/tarot-
card-meanings-list/ten-of-pentacles-meaning-tarot-card-meanings
916 . Wikipedia org, accessed June 2020, https://en.wikipedia.org/wiki/List_of_works_by_Diego_Vel%C3%A1zquez
251
and abode.917 As with the rest of the deck in this card too, Waite and Smith added visual signs and
symbols of achievement correlating to the representation of the suit of Pentacles, similar to the castle,
the coats of arms, the moon crescents and grapes on the old man's robe and most of all, the ten
superimposed golden pentacles. As a card that that deals in matters of affluence and the connection
to legacy, lineage, home and community, it belongs to the chapter of vices and virtues.
Since, I discussed the Rider-Waite-Smith Tarot cards pertaining to the virtues above, the next
subdivision is on the vices. The first and most prominent card in this segment is the Rider-Waite-
Smith Major Arcana Devil card as it is the epitome of evil within the vices in many religions and belief
systems.
The Rider-Waite-Smith The Devil – XV
The Rider-Waite-Smith Major Arcana number fifteen card is the Devil. The
card has a black border and the Roman numeral fifteen in white is at the top center of the card, and
at the bottom of the card within a beige rectangle with a thin black border are the words the Devil in
bold black capital letters. The card's background is black other than the Devil's large grey bat like
wings. The large horned Devil reminiscent of a satyr in the form of the demon Baphomet, has the
head of a goat upon a humanoid body. His triangular face has pointed hairy ears, a mustache and a
pointed beard. In between his long curved horns is his sigil, the inverted pentagram; the downward
bottom point touching his forehead, which is the symbol of black magic. His hairless torso and
accentuated breasts are reminiscent of a woman's body, while he has hairy legs of a man and talons
of a bird.
As opposed to the Hierophant, his right hand is raised and showing all the fingers. This sign
is the reverse of the benediction the Hierophant gives.918 In his left hand instead of a cross, there is a
917
918
. (see: p. 56)
252
great flaming torch, inverted downwards while burning the male humanoid figure's tail that stands
below him.919 He is perched on a black pedestal to which two naked humanoid figures, one of a
woman and the other of a man chained by their throats and attached by a ringbolt to the Devil's
pedestal. These chains represent the fatality of material life. Both the figures below him have crowns
of red flowers, horns; the male has a flame on his tail, and the woman a cluster of grapes. The black
background of the card is traditionally the Devil's color and black soil suggests night-soil excrement,
which belongs to Satan as lord of matter.920
As the obvious power of evil, the Devil represents his influence over animal urges, materialism,
brute force, ignorance, hubris, hatred, cruelty and lust found in men.921 The humanoid figures are
reminiscent of Adam and Eve before the fall, though in this case they indicate their misery,
vulnerability, shame and surrender to the Devil and his mastership over them as they are chained to
his dais and have horns and tails. The destructive fiery torch that lights the man's tail is symbolic of
simulating the sexual drive and the cluster of grapes attached to the woman's tail symbolize her desire
for security and longing for a life of indulgence.
In terms of iconography, the visualizations of the devil underwent considerable
transformations. Portrayed in early Christianity, as the snake, in the early middle Ages, he took the
form of a two-headed terrifying monster and from the tenth century, as he was presented with broken
wings, a legacy of his fall from heaven and horns on his head, symbols of a defeated paganism. 922
During the middle Ages, European artists and theologians shaped a new terrifying vision of Satan
and the punishments awaiting sinners in his realm combining characteristics of many different
personalities, holding a key position as the opponent of Christ for the soul of everyman. 923 In the
New Testament Satan became a force of evil who tried to tempt Jesus to abandon his mission, saying
“All these I will give you, if you will fall down and worship me” (Matthew 4:9), and is described as a
hunter of souls. 924 Moreover, visual depictions of the Devil and Hell became especially popular
immediately after and during the plague. The iconography of Satan stabilized between the thirteenth
and fourteenth centuries through the works of diverse artists who drew the images from a body of
apocalyptic literature, the Apocrypha, and Dante's Divine Comedy.925
From an iconology point of view, the multitude of symbols in the Raider-Waite-Smith card

920
. Cavendish, The Tarot, p. 120
921 . Ibid, p. 118
922
924 . M. Montesano, "The Hellish History of the Devil: Satan in the Middle Ages", National Geographic History Magazine,
accessed November 2019, https://www.nationalgeographic.com/history/magazine/2018/09-10/history-devil-medieval-art-middle-ages/

253
encapsulate the previous images of the earlier Devil Tarot cards. The Devil is an archetypal figure
that has roots in antiquity. He is the Egyptian god of evil Seth, the Babylonian goddess of chaos
Tiamat, the wicked Sumerian demon Lilitu (Lilith), the ancient Mesopotamian demon Pazazu, the
Indian Mara tempter of Buddha and the Persian god of evil and darkness Ahriman. The Devil who
used to be the angel Lucifer the bringer of light, was cast away from Heaven because of arrogance
and pride, losing his status as a beloved son of God, planned his revenge on God's new favorite son
Adam by tempting Adam and Eve to eat from the fruit of the Tree of Knowledge of Good and Evil.
Since then, he has been in constant war against humanity by tempting them to the worst acts
imaginable. As an ambivalent character, the Devil is part of creation, subservient to God and can only
act within the boundaries allowed by God, which raise many theological questions this research is not
able to answer.
The Devil is the symbol of chaos that represents the cosmic, psychological and artistic stage
that precedes every creative process from a state of utterly devoid of organization, function and/or
purpose, which must be reconstituted by an ordering principle such as a Demiurge, God, Eros, Sophia
capable of making it confirm to a higher plan.926 Christian artists saw chaos as the devil's realm and
populated it with monstrous beings derived from pre-Christian gods and beliefs. 927 Below an
illumination fragment from: Genèse à Isaïe, XXII.
Figure 77. Pol de Limbourg, Genèse à Isaïe, XXII, 16, c. 1387?-1416 "n.d.", fragment of illumination on
parchment in Bible Moralisée, 41 x 28.5 cm, Bibliothèque Nationale de France928

927 . Ibid, p. 176
928 . Pinterest, accessed November 2019, https://www.pinterest.se/pin/454089574927375926/
254
The Devil in the Tarot is the horned demon who is the Christian personification of evil and
common in medieval and Renaissance art.929 As the demon Baphomet, he was the supposed idol the
Roman Catholic Church inquisition accused the Knights Templar of worshiping during the fourteenth
century though they were blameless. To the horror of the church that tried to eradicate all pagan
beliefs, the Greek goat god Pan too, stood for wild nature and untamed sexuality, the force of animal
desire that pulses through all creation.930 During the witch trials in Europe, the Devil was the supreme
leader of the band of demons and witches whose goal was to harm the innocent. The image of the
Devil was humanized in the course of centuries, and with the assistance of psychiatry can symbolize
humanity's shadow, which are personality's negative traits and distasteful qualities that people want
to deny, something that we can sometimes learn to conquer without being paralyzed by fear. 931
According to Jung
…The classic picture of the Devil as half man and half beast, exactly
describes the grotesque and sinister side of the unconscious, for we
have never come to grips with it and consequently it has remained in
the original savage state…932…What lies behind the ego is another
part of us that is strongly related to the ego that is called the
shadow… 933 …The shadow personifies everything that the subject
refuses to acknowledge about himself and yet is always thrusting itself
upon him directly or indirectly – for instance, inferior traits of character
and other incompatible tendencies...934
The shadow, which is an integral part of human nature, is most dangerous when unrecognized
because it is inferior in our personality and that which we have neglected and never developed in
ourselves. The main danger of the shadow is that the individual tends to project his/her unwanted
qualities onto others or to become dominated by the shadow without realizing it. "Images of evil, the
devil and the concept of original sin are all aspects of the shadow archetype."935


933 . C. G. Jung, “Psychology and Religion: West and East”, The Collective Works of C. G. Jung, Vol. 11, paragraph 448, 2nd
ed., p. 172
934 . C. G. Jung, “Archetypes and the Collective Unconscious”, The Collective Works of C. G. Jung, Vol. 9, Part 1, pp. 284-5,
paragraph 513
935 . R. Frager and J. Fadiman, excerpt from: Personality and Personal Growth, 6th ed., New York: Prentice Hall, 2005,
accessed July, 2012, http://www.sofia.edu/content/transpersonal-pioneers-carl-jung
255
In the Rider-Waite-Smith Tarot deck, the design of the goat's head is reminiscent of Eliphas
Lévi's card from the Egyptian goat-headed deity Banebdjedet, who represented the soul of Osiris, or
Pan, another goat-headed god equated with primal worship and social taboos of the time.936 Visually
most of the Devil Tarot cards have remained similar with some differentiations. The Visconti-Sforza
Tarocchi deck depicts a similar scene while the horned Devil is mostly red, the color of blood and sin.
The Sola-Busca Devil card's name is Metelo. Wearing a dragon themed cap and a wand, he is
engaged in a theurgical ritual addressed to the serpent-dragon deity and its draconian energy.937 In
the Tarot de Marseilles too, the Devil stands on a pedestal, has bat's wings, a blazing torch, and
eagle's claws and wears a helmet with stag's horns spurting from either side. The stag's horns are
reminiscent of the Celtic pagan god Cernunnos. At the bottom of the card, tied by chains are his two
demons wearing the same helmet.
In conclusion, there is little doubt that Waite and Smith significantly incorporated visual ques
from both the Tarot de Marseilles and Eliphas Lévi's Devil Tarot card using it as their foundation. Lévi
identified the Devil card with Pan, Baphomet and the satanic god of the witches' Sabbath and
described it, to the great annoyance of Waite as a symbol of occult science.938 Waite on the other
hand interprets the card as the punishment meted to those who try to lay their hands on it unworthily,
…in the Divine world, it signifies predestination, but there is no

correspondence in that world with the things, which below are of the
brute. What it does signify is the Dweller on the Threshold without the
Mystical Garden when those are driven forth therefrom who have
eaten the forbidden fruit…939
The next card discussed within this chapter of vices and virtues is the Rider-Waite-Smith Major
Arcana the Tower.
936 . D. Appel, "The Shocking True History of Baphomet, the Sabbatic Goat", Ultra Culture, accessed November 2019,
https://ultraculture.org/blog/2016/02/08/baphomet-sabbatic-goat/
256
The Rider-Waite-Smith the Tower - XVI
The Rider-Waite-Smith Major Arcana card number sixteen is the Tower.

Similar to the previous number fifteen card the Devil, the Tower card has a black background and
border. The Roman numeral sixteen in black is at the upper center of the card on a light grey cloud.
At the bottom of the card within a light grey rectangle with a thin black border are the words the Tower
in bold black capital letters. The card depicts a bolt of lightning hitting the peak of a tall tower perched
on the top of a rocky mountain and setting it ablaze. The destruction caused is terrible, severing and
toppling the elaborate royal crown roof structure thrown high above the tower reaching the furthest
cloud at the top of the card. Flames burst from the three windows and the summit of the crumbling
tower, while people jump out of the windows in an act of desperation.
The smoke in the shape of four clouds and twenty-two golden sparks fill the black background.
These sparks represent; the twelve signs of the zodiac and the ten paths of the Tree of Life, to suggest
that even in times of disaster, there is always divine intervention. 940 Two of figures ejected from the
tower are already in freefall; head down, arms outstretched and more are waiving their hands through
the three narrow black windows erupting in fire asking for assistance. The figure on the left wearing a
blue dress and a crown is a female. The one on the right wearing a red cape, a blue tunic, white
leggings and boots is a male. In the previous Rider-Waite-Smith Devil card, the two humanoid figures
were naked exposing their primitive nature as slaves to their devilish instinct, whereas in the Tower
they covered their factual identity with the uniform of civilization, as they became prisoners of their
own devilish intellect.941
The bolt of lightning is an active force of celestial fire, a symbol of the supreme, creative power
and divine energy from heaven while at the same time, the flash of lightning relates to dawn and
illumination; and because of these parallels, lightning connects to the first sign of the Zodiac, the initial
940 . "Tower Tarot Card Meanings", Biddy Tarot, accessed November 2019, https://www.biddytarot.com/tarot-card-
meanings/major-arcana/tower/
257
stage of every cycle of sovereignty.942 Depicted as the arrow, the astronomical symbol of the god
Mars, lightning is a sudden bolt of energy and illumination that reveals and destroys over-confidence,
pride, egotism and mistaken values.943 The Kabbalistic Tree of Life depicts lightning as the divine
force that connects the sephirot and in Christian art the Holy Ghost is sometimes shown as the a
flame from heaven, thus to be struck by lightning symbolically is to be touched by the hand of God.944
A tower is a manufactured structure, rigid, tall, ensuring and impervious to elements. Used as
a lighthouse, a lookout for defense and protection during conflict, a prison, and a platform to call the
faithful to worship, towers' original distinction was a vehicle to connect spirit and matter.945 In the
Tarot, the image of the destruction of the tower by fire is from the Book of Enoch, while the figures
thrown from atop refer to the vision of Hermas from the book The Shepard of Hermas.946 During the
middle Ages, towers and belfries held the significance of watch-towers, but also, by the simple
application of the symbolism of level whereby material height implies spiritual elevation, they
expressed the same symbolism as the ladder, linking earth and heaven emblematic of the Virgin
Mary, as can be seen in a great many allegorical designs and litanies.947 Since the idea of elevation
or ascent, implicit in the tower, connotes transformation and evolution, the athanor (the Alchemists’
furnace able to maintain steady heat for a long period) had the shape of a tower to signify inversely
that the metamorphosis of matter implied a process of ascension. The Tower is a symbol for the
ambition constructed on faulty premises consequently; its destruction must happen in order to clear
out the old ways and welcome something new. With its peak destroyed, the tower is open to superior
illumination from above and liberation from severe psychical or spiritual constrictions, a violent change
of fortune or a cataclysmic event.948
The summit of the tower is symbolically equivalent to the head. There is the analogy between
the tower and man: just as the tree is closer to the human figure than are the horizontal forms of
animals, the tower is the only structural form distinguished by vertical: windows at the topmost level
correspond to the eyes and the mind of man.949 The three narrow windows with the tongues of fire,
from which more figures are trying to jump indicate the narrowness of materialism and rationalism,
but may also hint to the possibility of higher attainment; while the two large falling individuals
symbolize unreconciled opposites.950

945 . Ibid, pp. 284-286
258
The whole scene of the Rider-Waite-Smith Tower Tarot card represents chaos, the cosmic,
psychological and artistic state that precedes creative process utterly devoid of internal organization,
function or purpose, which must be reconstituted by an ordering principle.951
Within the features of iconology, while some speculate that, the falling tower is the tower of
Babel, the temple in Jerusalem, Sodom and Gomorrah; the destruction of all these towers were by
men and not by divine powers. The Romans destroyed the Temple in Jerusalem, fire and brimstone
destroyed Sodom and Gomorrah, and lastly the destruction of the Tower of Babel was by the
proliferation of foreign languages.952 According to Huson, medieval drama seems to provide the most
compelling answer to the puzzle; as it is probably, the dramatized medieval mystery drama named
The Harrowing of Hell in which the powers of light defeat the powers of darkness.953
It seems that the main concept behind the Tower Tarot card, even during the early fifteen-
century Visconti-Sforza deck was to explain that in order to prevent destruction of the universe, the
values of pride and egotism had to undergo destruction and portray Satan's defeat. Thus, it depicts a
bolt of lightning, toppling the apex of the tower shaped as an elaborate three-tiered crown and two
people are free falling to the ground. The same scene repeats itself in the Tarot de Marseilles deck,
though in this case the two people have already fallen to the ground. The Sola-Busca Tower card
named Olivo is according to Adams, Alexander the Great and one of his griffon thus has no
correspondence. Below a painting of the destruction of the Tower of Babel including individuals falling
down.
Figure 78. Pieter Bruegel the Elder, The Tower of Babel, c. 1563, oil on canvas 155 cm x 114 cm,
Kunsthistorisches Museum, Vienna954
951
953 . Ibid, p. 130
954
. Wikipedia org, accessed June 2020, https://en.wikipedia.org/wiki/The_Tower_of_Babel_(Bruegel)
259
Historically the Tower trump had various names as The Lightning Struck Tower, The House
of God, The Hospital, Fire of Heaven or the Tower of Babel.955 Some commentators explain that the
French title for this card La Maison Dieu (The House of God) came about accidentally through a faulty
transcription of the card's original name La Maison de Feu (The House of Fire).956 Pamela Colman-
Smith founded her version on the Marseilles image, with small tongues of fire in the shape of Hebrew
letters yud replacing the balls.957
Psychologically speaking, many live up in the air, imprisoned by ideological towers of their
own making; for the tower can symbolize any mental construct be it political, philosophical,
theological, or psychological, which human beings build and are useful as long as there is room for
some remodeling.958 Otherwise, the experience of these changes are acts of violence as seen in the
Rider-Waite-Smith Tower Tarot card. Consequently, Jung maintains that lightning and the destruction
that comes afterwards is "…a sudden, unexpected and overpowering change of psychic
condition…"959 Waite's explanation for the Tower Tarot card is:
…Occult explanations attached to this card are meagre and mostly

disconcerting. …I agree rather with Grand Orient that it is the ruin of the
House of We (life), when evil has prevailed therein and above all that it
is the rending of a House of Doctrine…It illustrates also in the most
comprehensive way the old truth that "except the Lord build the house,
they labor in vain that build it." There is a sense in which the catastrophe
is a reflection from the previous card, but not on the side of the
symbolism, which I have tried to indicate therein. It is more correctly a
question of analogy; one is concerned with the fall into the material and
animal state, while the other signifies destruction on the intellectual side.
The Tower has been spoken of as the chastisement of pride and the
intellect overwhelmed in the attempt to penetrate the Mystery of God;
but in neither case do these explanations account for the two persons
who are the living sufferers. The one is the literal word made void and
the other its false interpretation. In yet a deeper sense, it may signify

959 . Jung C. G., The Collective Works of C. G. Jung, The Archetypes and the Collective Unconscious, Vol. 9, Part 1, par. 533
260
also, the end of a dispensation, but there is no possibility here for the
consideration of this involved question…960
In conclusion, there is no doubt that Waite and Smith incorporated visual ques from both the
Visconti-Sforza and the Tarot de Marseilles the Tower Tarot card using it as their foundation with very
few changes like the black background, the two falling figures in midair and the colorful sparks that
changed to golden yud shaped sparks. As Waite explains, this is a card of the ruin of the House of
We (life), when evil has prevailed therein 961 and consequently belongs in the vices and virtues
chapter.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Five of Swords.
The Rider-Waite-Smith Five of Swords
The Rider-Waite-Smith Minor Arcana Five of Swords Tarot card has a black
border and on the upper center of the card is the number five in Roman numerals. The upper
background of the card has a blue sky with patches of jagged dark gray tumultuous clouds and the
bottom is a grey flat surface with two thin black parallel lines dividing the card as if the people standing
there are on a stage. Beyond the black lines is a choppy seashore and at the distance some
mountains are visible.
Two man with their back to the viewer, walk away their shoulders slouched and their heads
bent, conveying a sense of sadness and loss because the failures of a battle, which has been fought
and lost. Beyond the retreating men, there are no boats to help them escape. Having lost the battle,
they threw away their swords to the ground and left the battlefield. At the foreground of the card is the
960 . Waite, The Pictorial Key to the Tarot – Being Fragments of a Secret Tradition under the Veil of
Divination, http://www.sacred-texts.com/tarot/pktar16.htm [13/10/2002 14:25:56]
961 . Ibid
261
victor depicted as a sly-looking young man with a look of contempt on his face, who picks up three
swords from the ground holding them with their pommels down, while looking at the two men and
their two swords strewn on the ground. He now possesses five swords, which he has taken from the
other combatants on the card. His short red hair blows in the wind, mimicking the sharp grey clouds
blowing over a blue sky above him.962
The turbulent clouds and the choppy sea symbolize the unrest, hostility, tension, challenge,
serious conflict, stress and lack of communication seen on the Five of Swords Rider-Waite-Smith card
as do the men who have left the battlefield, between them and the contemptuous victor despite the
fact that the battle is already over. Their loss is his gain, but he victor seems not to understand the
deeper meaning of the term Pyrrhic victory in which the number of lives lost in the process make the
victory meaningless.963
In terms of iconography, the card represents negative ambition that without actual regard to
the consequences or the people one affects is rarely a positive trait, moreover contempt and sly
behavior is a vice. In the case of iconology, war is the most destructive activity known to humanity,
because its purpose is to use violence to compel opponents to submit and surrender consequently
artists have, throughout history, blended colors, textures and patterns to depict wartime ideologies,
practices, values and symbols. 964 From excitable patriotism to down-to-earth curiosity war has led
thousands of artists as official appointees, sent by their governments to create a record of what
was happening or to offer visual slogans and to aid morale, while even the most message -
orientated artist found that they had little control over the way their images were used.965 The theme
and mood of war art has undergone major changes over the past two centuries, since prior to the
twentieth century, war artists were more likely to depict heroic tales abounding in religious imagery.
Below a painting named Oath of the Horatii, by the French artist Jacques-Louis David. Although the
myth derives from Roman Legend, as outlined about by the Roman historian Titus Levy, it is a
historical painting, which portrays a scene set in six-hundred sixty-nine BCE about a dispute between
two rival cities, Rome and Alba Longa.966
962 . "The Five of Swords Tarot Card", Keen, accessed June 2020, https://www.keen.com/articles/tarot/5-of-swords-tarot-card
963 .
"Pyrrhic victory": Winning the Battle, Losing the War", fs, accessed June 2020, https://fs.blog/2018/02/winning-battle-
losing-war/ The term “Pyrrhic victory” is labelled after the Greek king Pyrrhus of Epirus. Between two-hundred eighty and two-
hundred eighty BC, Pyrrhus’s army managed to defeat the Romans in two major battles. Striding into Italy with twenty-five thousand
men and twenty elephants (a new sight for the Romans) Pyrrhus was confident that he could extend his empire. However, the number
of lives lost in the process made the victory meaningless.
964 . J. Bourke, "Paintings,
Protest and Propaganda: A Visual History of Warfare", CNN Style, accessed June 2020,
https://edition.cnn.com/style/article/depicting-war-through-art/index.html
965 . Ibid
966 . Encyclopedia of Art Education Visual-Arts-Cork.com., accessed June 2020, http://www.visual-arts-cork.com/famous-
paintings/oath-of-the-horatii.htm The rulers of each city decided that, instead of ordering their respective armies to fight each other,
they will each select three individuals to do the fighting for them. In Rome, three brothers from the Horatii family agree to fight on
behalf of the city, against three brothers from the Curiatii family from Alba Longa. The painting depicts the three Horatii brothers
saluting their father who holds aloft their swords. In addition to the three Horatii brothers, the painting also shows the women of the
family who are all heartbroken at the situation, because of ties of marriage and betrothal between the families (see above). Despite
262
Figure 79. Jacques-Louis David, The Oath of the Horatii, c. 1785, oil on canvas, 3.26 x 4.2 m,
Louvre Museum Paris967
In conclusion, the Rider-Waite-Smith Five of Swords is unlike any other card in the series
among the other Tarocchi and older Tarot decks. Both the Visconti-Forza and the Tarot de Marseilles
deck depict their formulaic design of swords on a background and the Sola-Busca Five of Swords
portrays a large cauldron in which there are five swords with their pommels up tied by a golden ribbon
perched on an elaborate golden stool. This card is one more example of Colman-Smith's design,
which has no relevance to previous Five of Swords cards. The Golden Dawn named the card Lord of
Defeat and Failure and Waite who agrees claims:
…A disdainful man looks after two retreating and dejected figures.

Their swords lie upon the ground. He carries two others on his left
shoulder, and a third sword is in his right hand, point to earth. He is the
master in possession of the field…Degradation, destruction,
revocation, infamy, dishonor, loss, with the variants and analogues of
these, burial and obsequies…968
The five of Swords too, belongs to the vices and virtues chapter, since contempt is a vice.
The next card discussed is the Ride-Waite-Smith Minor Arcana Five of Wands.
these ties between the two families, and despite the lamentations of the women, the three Horatii obey their father's call to save their
beloved republic.
967 . Wikipedia org, https://en.wikipedia.org/wiki/Oath_of_the_Horatii
Divination, http://www.sacred-texts.com/tarot/pktsw05.htm [13/10/2002 14:29:09]
263
The Rider-Waite-Smith Five of Wands
The Rider-Waite-Smith Minor Arcana Five of Wands Tarot card has a black
border and on the middle top of the card is the number five in Roman numerals. The upper background
of the card has a cloudless blue sky and the bottom is a green and brown field with a few mountains
far away in the horizon. The scene on the Five of Wands is a chaotic one and depicts five young men
who are all brandishing wands with their right hands, either in strife or in mock combat in martial arts
for practice. Their raised wands are stopping them from moving forward as they clash with one
another. However, the raised wands are not injuring anyone. Although they are all dressed in similar
Renaissance style clothing: tunics, undershirts, leggings and flat boots, the warm toned colors of their
garments are completely different. The different colors of the vestments probably symbolize their
diverse backgrounds and belief systems, and suggests that, because of their differences, they cannot
find harmony and common ground with one another.969
These five young men may signify problems in a group of people who are not patient enough
to listen to what anyone else is saying, as they only want to be heard, and since none of the others
will listen, they all argue at once.970 The scene is one of discord among the young men and an allegory
to the goddess Eris (Discordia) who is the Goddess of strife, contention, rivalry and often portrayed,
more specifically, as the daimona of the strife of war, haunting the battlefield and delighting in human
bloodshed.971 Below a painting by Sebastiano Ricci named Discord Enflaming the Spirits of the Two
Warriors.
969
. "The Five of Wands", Biddy Tarot, accessed June 2020, https://www.biddytarot.com/tarot-card-meanings/minor-
arcana/suit-of-wands/five-of-wands/
970 . "Five of Wands Meaning - Tarot Card Meanings", Labyrinthos, accessed June 2020, https://labyrinthos.co/blogs/tarot-
card-meanings-list/five-of-wands-meaning-tarot-card-meanings
971 . "Eris", Theoi.com, accessed June 2020, https://www.theoi.com/Daimon/Eris.html
264
Figure 80. Sebastiano Ricci, Discord Inflaming the Spirits of the Two Warriors, c. seventeenth – eighteenth centuries
"n.d.", oil on canvas, Piacenza Museo Civico Italy972
In terms of iconology, Renaissance martial arts teachings represent a coherent systematic

content employing recognized fighting principles and concepts applicable to all combat situations.
Their codified methodological approach is self-evident and undeniable from the sophistication and
depth of their writings and illustrations.973 Studying in a Renaissance school of defense or under a
master of arms was a commitment to work with teachers and fellows within the program and to uphold
the integrity of their community's values as a fraternity of arms. The very essence of both chivalric
knighthood and being a courtier of distinction was to stand out as an individual of accomplishment,
renown, and valor.974 During Renaissance festivals and tournaments, these martial arts teachings
were practiced in front of crowds. Below a woodcut by Lucas Cranach the Elder of such a tournament.
972 . In Battistini, Symbols and Allegories in Art, p. 289

973 . J. Clements, "Musings Upon the Spirit of Renaissance Martial Culture", ARMA - The Association for Renaissance
Martial Arts, accessed June 2020, http://www.thearma.org/essays/mare-culture.html#.XxKv69N7lZU

974 . Ibid
265
Figure 81. Lucas Cranach the Elder, A tournament (Melee - Mêlées), c. 1509, woodcut, 29 x 41.3 cm, Stockholm,
National Museum975
Waite explains the meaning of the card as:
…A posse of youths, who are brandishing staves, as if in sport or strife.

It is mimic warfare, and imitation, as, for example, sham fight, but also
the strenuous competition and struggle of the search after riches and
fortune. In this sense, it connects with the battle of life. Hence, some
attributions say that it is a card of gold, gain, opulence...976
In conclusion, Waite and Smith did not have a visual example of the Five of Wands as both
the Visconti-Forza and the Tarot de Marseilles deck depict their formulaic design of wands on a
background and the Sola-Busca Five of Wands portrays a man carrying Five Wands on his back and
a water canteen in his left hand. Thus, they created a card that would fit their personal approach to
the spiritual meaning of the card, which symbolizes lack of cooperation, rows, arguments, conflict,
fighting, disagreements, struggle, opposition, battles, aggression, temper, clashing personalities or
egos, pent up energy and aggression, irritation, pettiness, frustration, strife, defensive or territorial
behavior and can signify competition and sports.977 The Golden Dawn named this card the Lord of
Strife and in the Rider-Waite-Smith Tarot, the fives typically represent conflict and change, moreover,
the Five of Wands that represents the fire signs in astrology is no exception.
975
. In M. Belozerskaya, Luxury Arts of the Renaissance, The J. Paul Getty Museum Los Angeles, Los Angeles: Getty
Publications, 2005, p. 151
Divination, http://www.sacred-texts.com/tarot/pktwa05.htm [13/10/2002 14:27:13]

266
As a card that characterizes a plethora of unwarranted values and sinful behaviors unless it is
for practicing the art of war, this card too can be included in the vices and virtues chapter. The next
card discussed is the Rider-Waite-Smith Seven of Swords Minor Arcana card.
The Rider-Waite-Smith Seven of Swords
The Rider-Waite-Smith Minor Arcana Seven of Swords Tarot card has a black
border and on the middle top of the card is the number seven in Roman numerals. The upper and
lower background of the card is bright yellow and once more, there are two thin parallel black lines
dividing the card as if the individual depicted is on a stage. Beyond the black lines, on the left side is
a view of an armed camp with bright colored tents, flags billowing in the wind, trees and fields. The
men of the camp are far in the back sitting in a circle around a campfire. While on the right side of the
card above the black parallel lines, there are fields, trees and what seems to be the outer walls of a
settlement.
On the foreground, under a cloudless golden sky, a man sneakily tiptoes away from the military
camp carrying five swords he has stolen with a look of satisfaction on his face. Although, he does look
over his shoulder at the two swords stuck on the ground with their pommels up that he has left behind
closest to the entrance of the tent. The man is stealing the swords belonging to whoever is in the tent
and he is making a quick getaway. The yellow background of the card symbolizes
consciousness, confirming that the man is aware that he is committing robbery in broad
daylight without any fear. He wears a long mustard tunic with small geometric patterns, light
blue leggings and the red color of his fur topped boots and fez like hat, provides the viewer
with the impression this is a man who is willing to act on his ego to get what he wants.
The man's expression is one of confidence, satisfaction, pride and smugness as he
escapes with the weapons he stole. He is a thief but the interpretation of his action depends on the
nature of his motivation and the motivation of the army.978 The image most often associated with this
267
card is that of a canny warrior who has infiltrated into the enemy camp on the eve of a fateful battle,
checking out their preparations and stealing their swords. The intention of his actions is deliberate
and done without thought of how it will affect other people. 979 On the one hand, he might be a
plain thief, while on the other hand he might be a shrewd spy particularly because his
vestments are similar to Ottoman clothing of the period. The Ottoman Empire was at war with
many European counties as it wanted to enlarge its borders and managed to do so for many
centuries until it fell apart because of internal and external conflicts. Thus, the figure on the
Seven of Swords intends to demoralize the enemy and undermine their performance in the
upcoming confrontation.980
The tents of the camp have multicolored billowing banners. Banners are essentially flags
made of two parts, the vertical and the horizontal, in which the vertical part is a strong and rigid pole
that supports the horizontal one that raises above eye level and generally billows in the wind with
intensity and power.981 These numerous banners symbolize that there is a large army comprised
of several militarized companies under the main ruler who is getting ready for the battle.
Moreover, the flags on the tents are an announcement for change, a bright, bold obvious sign that
a new day is dawning as something has shifted and a flag makes the world aware of this
transformation. 982 This is not about subtle shifts as the flag is about a transformative event to
announce to all who will hear.
Within the framework of iconology, spying is a useful and often dangerous way for
governments to gather secret information from their enemies as the successes and failures of spies
have shaped foreign policy, altered the course of wars and left a deep (though usually hidden)
impression on world history.983
Similar to the design of the pip cards in the Visconti-Forza and Tarot de Marseilles,
Seven of Swords depicts seven swords on a background. The naked man in the Sola-Busca
Seven of Swords carries a sword in his right hand, three swords in his left one and three more
in the sack strapped to his back. The origin of this image may derive from the sequel to a
popular medieval chanson de geste by Renault de Montaubon; the story of a sorcerer named
Maugis d'Aigremont whose popularity gave birth to the sequel written during the early
thirteenth century. 984 The image of the Rider-Waite-Smith Seven of Swords seems to be
979 . "Seven of Swords", The Tarot Guide, accessed June 2020, https://www.thetarotguide.com/seven-of-swords
980
. "The Seven of Swords Tarot Card", Keen, accessed June 2020, https://www.keen.com/articles/tarot/seven-of-
swords-tarot-card
982
. A. Venefica, "Seven of Swords Meaning", Tarot Teachings, accessed June 2020, https://www.tarotteachings.com/seven-
of-swords.html
983 . E. Grabianowski, "How Spies Work", How Stuff Works, accessed September 2020,
https://people.howstuffworks.com/spy.htm
268
influenced by the Sola-Busca Seven of Swords, considering Colman-Smith either sketched
these images at the museum or later from memory. 985 While the Golden Dawn named the
card Lord of Unstable Efforts, Place maintains that may be a card of dishonesty or of heroism
and Waite explains:
A man in the act of carrying away five swords rapidly, the two others
of the card remain stuck in the ground. A camp is close at
hand…design, attempt, wish, hope, confidence; also quarrelling, a
plan that may fail, annoyance…The design is uncertain in its import,
because the significations are widely at variance with each other...986
In conclusion, Waite and Smith created a card similar to the Sola-Busca one and just added
some background designs to embellish the card. Whether is it thievery, dishonesty or spy work; it
remains within the context of vices and virtues. Even if the man on the card is working for his country
to thwart the enemy, the viewer has absolutely no idea who the warring sides are, unless they have
information that is more specific or come up with conjectures.
The next card discussed within this section of vices and virtues is the Rider-Waite-Smith Four
of Pentacles Minor Arcana card.
985 . "Sola Busca vs. Waite-Smith", House of White Tarot Museum and Research Library, accessed September 2020,
https://waitesmith.org/index.php/decks/sola-busca-vs-waite-smith/
http://www.sacred-texts.com/tarot/pktsw07.htm [13/10/2002 14:29:00]
269
The Rider-Waite-Smith Four of Pentacles
The Rider-Waite-Smith Minor Arcana Four of Pentacles Tarot card has a

black border and on the middle top of the card is the number four in Roman numerals. The upper
background of the card has a beige sky and the bottom is a same colored flat surface. The two black
lines dividing the card are recurrent as if the person standing there is on a stage. Behind the black
lines is the view of a modern city with red roofed houses, castle turrets, high-rise buildings and some
greenery, a scene not very different from today's contemporary metropolis. The viewer may assume
that the scene on the Four of Pentacles takes place in the beginning of the twentieth century London.
The affluent man in the foreground of the card sits on an armless stone bench with a foot on
each pentacle securely under his feet, beyond the boundaries of the city. He hugs the third close to
his chest in a defensive posture with his two hands and has a fourth pentacle over the golden crown
on top of his head. He wears a heavy fur lined cloak over a maroon toga with light blue piping and
orange laced shoes. Despite the suit of pentacles' profounder symbolism of financial comforts, the
Rider-Waite-Smith Four of Pentacles embodies possessiveness, control, and miserliness. Below a
painting by Rembrandt Harmenszoon van Rijn, named The Parable of the Hidden Treasure.
Figure 82. Rembrandt Harmenszoon van Rijn, The Parable of the Hidden Treasure, c. 1630, oil on panel, 70.5 X
90 cm, Collection Esterházy, Museum of Fine Arts, Budapest987
987 . Wikimedia Commons, accessed June 2020,
https://commons.wikimedia.org/wiki/File:Parable_of_the_hidden_treasure_Rembrandt_-_Gerard_Dou.jpg
270
Within aspects of iconology, the viewer receives the visual message that the man is clearly
not interested to share his riches with anyone and thus he appears as a lonely man in a big city: out
of time and out of place. Similar to Harpagon in Molière's play The Miser, he is probably a
sexagenarian bourgeois whose love for his cash box exceeds that of his children. He builds his wealth
by lending at usurious rate while pinching every penny at home, refusing to replace the worn-out
clothes of the servants he abuses.988 This particular approach to life and possessions made him an
outcast from the city, at least in a social predicament. He is ensuring that there is absolutely no one
touching his coins, while at the same time, he is unable to move because he is holding the coins so
tightly; meaning that he is restrained from acting because he is holding too tight to his possessions.989
He is either a miser or, as the Renaissance Book of Trades (a sixteenth-century illustrated text listing
common occupations) would call him, a money fool and the opposite sentiment from the Rider-Waite-
Smith Six of Cups.990 Waite explains:
…A crowned figure, having a pentacle over his crown, clasps another

with hands and arms; two pentacles are under his feet. He holds to
that which he has…The surety of possessions, cleaving to that which
one has, gift, legacy, inheritance…991
Both the Visconti-Forza and the Tarot de Marseilles deck depict their formulaic design of
pentacles on a background. The Sola-Busca Four of Pentacles portrays the Titan Hecate, goddess
of the witches with heavy thighs, hips, a well-rounded stomach, large sagging breasts and a tiara
shaped like a segment of a waning moon indicative of diminishing powers, ill health and lost
opportunities.992
Moreover, there is discrepancy between the man's clothes that are similar to the Renaissance
nobility's style and the actual time-period he is in according to the background, which is similar to the
beginning of the twentieth century modern Western city. This is a legitimate question because the
Rider-Waite-Smith Four of Pentacles is the only card in the deck, which has the design of a modern
city on its background. The quandary that comes to mind might be Colman-Smith's criticism of the
twentieth century values in which the population is greedier and expect an improved life because of
the overall indulgence in technology.
988 . "The Miser", Wikipedia, accessed June 2020, https://en.wikipedia.org/wiki/The_Miser

989 . "Four of Pentacles Meaning - Tarot Card Meanings", Labyrinthos, accessed June 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/four-of-pentacles-meaning-tarot-card-meanings
990
992
. Adams, The Game of Saturn Decoding the Sola-Busca Tarocchi, pp. 57-59
271
The next card discussed within this chapter of vices and virtues is the Ride-Waite-Smith Minor
Arcana Seven of Cups.
The Rider-Waite-Smith Seven of Cups
The Rider-Waite-Smith Minor Arcana Seven of Cups Tarot card has a black
border and on the middle top of the card is the number seven in Roman numerals. The background
of the card is light blue both at the top and at the bottom. The middle section has a large grey cloud
comprised of smaller clouds. Superimposed on the clouds, are seven floating large golden cups in
two rows in which, there are various treasures that are mostly illusions.
At the bottom right side of the card, there is a silhouetted figure of man seen from behind, his
hand extended in distress, contemplating over which option to choose between the seven cups filled
with treasure. Each cup is full with a different illusion. The bottom row has a blue castle, stacks of
precious gems, a victor’s laurel wreath crown and a blue dragon. On the upper row are; a blue faced
woman whom some who deal in cartomancy maintain is Medusa, a body surrounded by red glow
rising as if from the dead and a green snake. The contents of each cup tempts the man with a different
fate such as love, property, wealth, or revenge.993 These gifts might be very tempting, although, one
cup holds the wreath of victory but the skull of death appears on it as an embossed ornament. All of
the choices of the cups' contents except for the veiled one are tainted by egotism and selfishness.994
In the center of the upper row of the Rider-Waite-Smith Seven of Cups, there is one cup with
a veiled figure emerging, its arms spread in welcome and a red glow coming from its outline. According
to Place, the unseen figure is the Higher Self, the guardian angel, the best choice, the one that invites
one live up to their destiny and make choices outside of egotism.995
Next to the cup with the red figure stands the cup with the slithering snake. Snakes are cold-
993
. "The Seven of Cups Tarot Card", Keen, accessed August 2020, https://www.keen.com/articles/tarot/7-of-cups-tarot-card
995 . Ibid, p. 230
272
blooded creatures, which means they depend on their environment for their body temperature, while
their symbology deals with renewal, rebirth, and development primarily because they shed their skin
during each cycle in growth.996 Although most snakes are dangerous, there are those who are not. In
most situations, the depiction of a snake coming out of a cup predicts danger.
The background light blue color and the clouds symbolize ideas, dreams, thoughts, illusions,
transitions and mystery. Castles are physical representations of the need to build upon a strong
foundation in order to obtain goals, shelters, desires or their limitation.
From ancient civilizations to the modern world, there has been an eternal place for jewellery
in the culture and traditions of global societies. The Ancient Egyptian culture showed signs of avid
interest for the art of crafting precious stones and rich metals, Ancient Greeks improved and mastered
the art of producing exquisite, coloured jewellery, Romans brought the early concept of jewellery
design and in modern times, jewellery grew as an art with ornaments, trinkets, and rare minerals. 997
As previously explained the victor’s laurel wreath crowns are a foliage headband made from
interlocked leaves and branches highly renowned in Ancient Greece and awarded to the winners of
athletic competitions in the Olympics, and used as a status symbol by the rich and influential people
of the time.998
Dragons exist almost in every cultural myth and legend, are the embodiment of primordial
power and the ultimate ruler of all the elements: Fire, Water, Earth, and Air. Ancient Chinese Dragons
are supreme symbols of cosmic Chi energy and the most potent symbol of good fortune in the Chinese
pantheon of symbols.999 Despite all their powers, they are considered dangerous in most European
legends and myths. The most famous dragon slayer in Christianity is Saint George. The myth of St.
George slaying a dragon originally appeared in legends told by the mediaeval Eastern Orthodox
Church, and brought back to Europe by the Crusaders in the tenth and eleventh centuries. According
to legend, while St. George was in Libya he offered to slay the dragon that plagued a small country if
its population converted to Christianity, consequently, they all did and the king later built a church
where the dragon died. 1000 Therefore, dragons in the Western Tarot cards symbolized peril and
equated with the devil during the Renaissance. Below, a painting by Raphael of Saint John slaying
the dragon.
996 . "Seven of Cups Meaning", Tarot Teachings, accessed August 2020, https://www.tarotteachings.com/seven-of-cups.html
997 . "The Symbolic Meaning of Jewels in Different Cultures and Civilizations", Jewelrycult, accessed August 2020,
https://www.jewelrycult.com/jewelry/the-symbolic-meaning-of-jewels-in-different-cultures-and-civilizations
998 . "Laurel Wreath/Crown Symbol, Its Meaning and History", Mythologian.net, accessed August 2020,
https://mythologian.net/laurel-wreath-crown-symbol-meaning-history/
999 . "Seven of Cups Meaning", Tarot Teachings, accessed August 2020, https://www.tarotteachings.com/seven-of-cups.html
. J. Stone, "St George’s Day: Who was the Dragon-Slayer and why is he England’s Patron Saint?", Independent,
1000
accessed August 2020, https://www.independent.co.uk/life-style/st-georges-day-google-doodle-england-patron-saint-soldier-

dragon-a9479816.html
273
Figure 83. Raphael, St. George and the Dragon, c. 1504-1506, oil on wood, 28.5 × 21.5 cm, National Gallery of
Art, Washington, D.C.1001
The blue faced woman is the beautiful Medusa who turned those who gazed upon her to
stone. Medusa was one of the three Gorgons daughters of Ceto and Phorcys. As a beautiful mortal,
she was the exception in the family, until she incurred the wrath of Athena who transformed her into
a vicious monster with snakes for hair, and eventually died by Perseus' hands.1002
In terms of iconography and iconology, all the contents within the cups are mostly illusions
and unrealistic ideals, which are representative of temptations, but also of gifts that are not gifts
at all. The precious objects, which allude to the brilliant color of the flame, is similar to that of
gold. 1003 The card represents more of a beware attitude to the beholder who is too busy
contemplating which choices to make, while some of the contents are deadly to humans and
others may be a sign of shiny object syndrome, where one keeps finding the next big thing but fails
to see any of those new opportunities through to the end.1004 Below, a photograph of the Treasure
Room in Padmanabhaswamy Temple India, which is reminiscent of the room the individual from
the Seven of Cups Rider-Waite-Smith card entered.
1001 . Wikipedia org., accessed August 2020, https://en.wikipedia.org/wiki/Saint_George_and_the_Dragon_(Raphael)

1002
. "Medusa: the Real Story of the Snake-Haired Gorgon", Greek Mythology com., accessed August 2020,
https://www.greekmythology.com/Myths/Creatures/Medusa/medusa.html
1004 . "Seven of Cups Tarot Card Meanings", Biddy Tarot, accessed August 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-cups/seven-of-cups/
274
Figure 84. Treasure Room, Padmanabhaswamy Temple India1005
Waite describes the card as:
…Strange chalices of vision, but the images are more especially those
of the fantastic spirit…Fairy favors, images of reflection, sentiment,
imagination, things seen in the glass of contemplation; some
attainment in these degrees, but nothing permanent or
substantial...1006
In conclusion, it seems that both Waite and the Golden Dawn agree in this case, as The
Golden Dawn named the card the Lord of Illusionary Success.1007 The Visconti-Forza Seven of Cups
and the Tarot de Marseilles Seven of Cups have their formulaic design of cups on a background and
the Sola-Busca Seven of Cups portrays a man standing on a large crown with a cup as a lid, and two
cups on the ground and another four cups connected to the crown in different configurations. Since
Waite and Smith did not have a visual example to acquire ideas from, they designed a tableau that
would fit their personal approach to the spiritual meaning of the card by creating a visual and emotional
trap for the beholder. Eventually, although the riches on the card may seem to be very tempting and
projecting into the future what one would like to create, rather than taking action here in the present
to make it happen.
Jung associates the concept of fantasy with that of wishful thinking. He maintains that:
1005
. Treasure Room, Padmanabhaswamy Temple India, (Bejoy Mohan Photography), accessed August 2020,
https://www.storypick.com/padmanabhaswamy-temple/

275
…This autonomous activity of the psyche, which can be explained
neither as a reflex action to sensory stimuli nor as the executive organ
of eternal ideas is, like every vital process, a continually creative
act…The psyche creates reality every day…The only expression I can
use for this activity is fantasy. Fantasy is just as much feeling as thinking;
as much intuition as sensation…There is no psychic function that,
through fantasy, is not inextricably bound up with the other psychic
functions. Sometimes it appears in primordial form, sometimes it is the
ultimate and boldest product of all our faculties combined…Fantasy,
therefore, seems to me the clearest expression of the specific activity of
the psyche. It is, pre-eminently, the creative activity from which the
answers to all answerable questions come; it is the mother of all
possibilities, where, like all psychological opposites, the inner and outer
worlds are joined together in living union…Fantasy it was and ever is
which fashions the bridge between the irreconcilable claims of subject
and object, introversion and extraversion. In fantasy alone, both
mechanisms are united…1008
If one agrees with Jung, Waite and the Golden Dawn, than this card belongs to the vices
section within the vices and virtues chapter.
The next chapter of this research is what I have named daily life situations that include
upheaval and reversal of fortune.
1008 . C. G. Jung, The Collective Works of C. G. Jung, (ed. and trans. Gerhard Adler) Vol. 6, New Jersey: Princeton
University Press, par. 78
276
Chapter 10
Rider-Waite-Smith Daily Life Situations - Upheaval and Reversal of Fortune Cards
All humans have had to deal with a plethora of day-to-day situations from worst to best during their
lifetime since their creation. These have either encouraged and strengthened them or caused them
depression, anger and unspeakable acts of violence. How difficult a certain situation is for someone
is a subjective experience, which is why many different kinds of issues may feel challenging and
individuals have their own, specific ways of dealing with complicated situations in their life.1009
A moment’s reflection on our day’s activities makes it obvious that situations influence our
behavior and their characteristics are psychologically meaningful interpretations of circumstances
formed from single or multiple cues once they have been implicitly or explicitly processed.
Consequently, situations can be described by cues, characteristics, or classes, as real (at least in
their consequences) impacting our behavior all the time, and people generally agree about what a
given state is like, but individual differences in situation perception do exist and they are related to
personality.1010
This chapter will discuss the specific Rider-Waite-Smith Tarot cards associated with these
diverse circumstances. Thus, the next card discussed is the Minor Arcana Two of Pentacles.
The Rider-Waite-Smith Two of Pentacles
The Rider-Waite-Smith Minor Arcana Two of Pentacles Tarot card has a

black border and on the middle top of the card is the number two in Roman numerals. Most of the
background has a cloudless blue sky that culminates with a view of a turbulent sea on which two ships
are traveling. Colman-Smith designed two parallel straight black lines between the sea and the beige
1009 . "Difficult Situations in Life", Mieli, accessed August 2020, https://mieli.fi/en/home/mental-health/difficult-situations-

life
1010 . R. A. Sherman, "What Are Situations?", Psychology Today, accessed August 2020,
https://www.psychologytoday.com/us/blog/the-situation-lab/201507/what-are-situations
277
shoreline as she has often done on other cards as well.
The ships as previously explained deal with travel and journeys.1011 However, a commonly
overlooked factor is the medium upon which they sail is water that deals with the deeper levels of the
psyche. In the background, two ships that sail the high seas, bobbing up and down on the huge waves
are a sign that the difficulties of life are manageable with focus and attention similar to juggling two
pentacles.
At forefront of the card, there is a young man who dances while juggling two pentacles in his
hands linked by the infinity symbol, which is like the number eight reversed. Tilted to the side, one
of the pentacles appears heavy, yet the young man juggles them with grace. As mentioned
beforehand, the infinity symbol originates from the Latin word infinitas, which means
“unboundedness”, the concept of endlessness or limitlessness and the most widely tackled in the
fields of mathematics and physics.1012 Ancient cultures had various ideas about the nature of infinity,
but they explained it as a philosophical concept. The very first person known to have written about
the concept of infinity was Archimedes, more than 2300 years ago and up until the discovery of his
work, it was widely accepted that Galileo was the first scientist to do so.1013 Moreover, the Ouroboros
visual symbol, which is that of a snake twisted into a horizontal figure eight and biting its own tail is a
plausible basis for the infinity symbol because it is a fitting depiction of endlessness.1014 In Christianity,
the symbol first appeared in the ornaments wrapped around the Latin cross of Saint Boniface, who
promoted Christianity in the Frankish Empire in the eight century.1015
1011 . (see: pp. 207-208)

1012 . (see: p. 44)
1013
. "The Infinity Symbol", Ancient Symbols com., accessed September 2020, https://www.ancient-symbols.com/symbols-
directory/infinity.html
1014 . Ibid
1015 . S. Goyal, "Five Facts that you don’t know about the Infinity Symbol", accessed September 2020, Jargan Josh com,
https://www.jagranjosh.com/general-knowledge/5-facts-that-you-dont-know-about-the-infinity-symbol-1491993223-1
278
Figure 85. Pieter Claesz Soutman, Saint Boniface, c. 1630, Oil on Panel, 62.4 x 45 cm,
Het Utrechts Archief1016
The visual juxtaposition of the ships dipping up and down on the huge waves echo the up-
and-down position of the two pentacles confined within the lemniscate and the juggler’s dancing
feet.1017 The infinity symbol adopted by Christianity adorned many Renaissance manuscript pages in
different shapes, forms and colors, becoming an acceptable artistic symbol. Below such an example
of the symbol.
Figure 86. Artist unknown, Folio 36v - De Pica; the Magpie, "n.d.", illuminated manuscript, The Aberdeen Bestiary - MS 24
University of Aberdeen, Special Collections, Library, Special Collections and Museums, University of Aberdeen1018
1016 . Artnet, accessed September 2020, http://www.artnet.com/artists/pieter-claesz-soutman/saint-boniface-
i4NV0cbfku4JsbWU08iXnw2 and Wikipedia, accessed September 2020,

https://en.wikipedia.org/wiki/Saint_Boniface#/media/File:Saint_Boniface_by_Cornelis_Bloemaert.jpg www.integratedcatholiclife.org
1017. Place, The Tarot: History, Symbolism, and Divination, p. 253
1018. University of Aberdeen, Special Collections, Library, Special Collections and Museums, accessed September 2020,
https://www.pinterest.de/pin/46584177376921590/
279
The young man is dressed in Renaissance style clothing with a red hat, long sleeved shirt,
belt and leggings, his jerkin is orange and his shoes are green the exact hue of the infinity symbol
ribbon. His short black hair blows in the wind and his facial features depict absolute concentration
while striving for equilibrium, though he is probably aware that nothing ever stays in perfect harmony
as the visual tilt of the ribbon shows.
Within the characteristics of iconology, Tarot card artists devised a standardized system for
recognizing the workshop that designed and or printed and painted the cards. They included their
name or logo over the ribbon in small letters for identification purposes of the production of the region
and the maker in which a specific version, that also assist the modern researcher to discover more
information on the social, artistic and historic periods the cards were devised. 1019 While some
researchers like Payne-Towler maintain that, this process began in France, the Tarot de Marseilles
Two of Coins has a lemniscate-like banner with the maker’s name written on it wrapped around the
two coins.1020 The Sola-Busca Two of Pentacles depicts two medallions connected to each other on
which there are two different portraits. This looks to be more influence than direct causality for
Coleman-Smith as it is the only image to have a portrait in the Sola-Busca Tarocchi deck and the only
pentacle (shield) card of its kind.1021
In conclusion, the overall visual representation of the Two of Pentacles Rider-Waite-Smith
card is one of balance and flowing harmony. Although, Colman-Smith was probably influenced by
the Sola-Busca Two of Pentacles, it seems she preferred to blend two basic visual concepts; that of
the Sola-Busca and the traditional lemniscate shape already found in the Tarot de Marseilles to
enhance the visual significance of the balancing act the young man is busy performing with his two
pentacles. The Golden Dawn named the card Lord of Harmonious Change and Waite too seems to
agree:
…A young man, in the act of dancing, has a pentacle in either hand,

and they are joined by that endless cord which is like the number eight
reversed… On the one hand it is represented as a card of gaiety,
recreation and its connections, which is the subject of the design; but
it is read also as news and messages in writing, as obstacles, agitation,
1019
. Payne-Towler, The Underground Stream: Esoteric Tarot Revealed, and excerpt "The Continental Tarot", Tarot com,
accessed January 2018, https://www.tarot.com/tarot/christine-payne-towler/continental-tarots.
1021 . "Sola Busca vs. Waite-Smith", House of White Tarot Museum and Research Library, accessed September 2020,
280
trouble, embroilment…enforced gaiety, simulated enjoyment, literal
sense, handwriting, composition, letters of exchange…1022
The lemniscate is also reminiscent of the mandala archetype and Jung claimed that the mandala, or
circular art form, had a calming and centering effect upon its maker or viewer. Jung explained:
…The pictures differ widely, according to the stage of the therapeutic

process; but certain important stages correspond to definite motifs. I
would only like to say that a rearranging of the personality is involved.
A kind of new centering. That is why mandalas most appear in
connection with chaotic, psychic states of disorientation or panic. Then
they have the purpose of reducing the confusion to order, though this
is never the conscious intention of the patients. At all events, they
express order, balance, and wholeness. Patients themselves often
emphasize the beneficial or soothing effect of such pictures...1023
Continuing the cards on the subject matter of day-to-day situations that include upheaval and
reversal of fortune the next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Four
of Swords.
1023 . M. Hagood Slegelis, The Arts in Psychotherapy, Vol. 14, USA: E Pergamon Journals Ltd., 1987, pp. 301-311, Quoted
from C. G. Jung, ScienceDirect, accessed September 2020,

https://www.sciencedirect.com/science/article/abs/pii/0197455687900189#!
281
The Rider-Waite-Smith Four of Swords
The Rider-Waite-Smith Minor Arcana Four of Swords Tarot card has a black
border and on the middle top of the card is the number four in Roman numerals. The visual scene on
the card takes place within a well-lit basilica, church or mausoleum. The upper background of the
card is a grey wall on which three swords are hanging with their pommels upwards pointing
downwards to the head and torso of the replica of the person buried and a colored stain glass window.
All the characteristics of the card are reminiscent of scenes from the middle Ages.
The main visual focus of the Four of Swords is a casket with a knight lying horizontally on a
tomb who remains in his full armor, and his hands are in the position of prayer as a sign of rest while
the fourth sword lies beneath him. 1024 The symbolic meanings of armor deal with protection,
preparation, and strength and most Tarot deck versions depict the Emperor, most of the kings and all
the knights in full armor because they typically represent action and strength. The position of the
fourth sword seems to be a signal that the fight has ended and the knight has lost his life, a grim
reminder of a lost life. The yellow color of the sarcophagus and the statue of the knight visually
resemble limestone, sandstone, marble or granite used to build sarcophagi. This is a tomb of a fallen
warrior memorialized on top of the casket with a life size marble replica laying in repose.
The intricately colored stained-glass window above him shows a colorful domestic scene of a
woman and child together. This gives the tableau a sense of warmth and welcoming found in many
holy buildings regardless of the religion. The term stained glass has come to refer primarily to the
glass employed in making ornamental or pictorial windows. Stained glass is symbolic of perception
and how vision change according to observation and belief. The art of staining glass reaches back to
ancient Alchemy when certain compounds mixed with glass brought about transformational effects
upon the viewer.1025 The great stained-glass windows of the twelfth and early thirteenth centuries,
1024 . "Four of Swords Tarot Card Meanings", Biddy Tarot, accessed September 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-swords/four-of-swords/
1025 . A. Venefica, "Four of Swords Meaning", Tarot Teachings, accessed September 2020,
https://www.tarotteachings.com/four-of-swords.html
282
predate significant technical advances in the glassmaker’s craft and undoubtedly contributed to the
delicacy and refinement of the stained glass of the later middle Ages.1026
Sarcophagus is an above ground stone container for a coffin or dead body and often decorated
with art, inscriptions, and carvings differing in detail from one culture to another. They display the
creative talents and ideas of the historical period as well as providing significant information regarding
the lives and times of the deceased whose remains they contain.1027 Some were freestanding above
ground, as a part of an elaborate tomb or tombs, while others were for burial, or placed in crypts.
Historically, in addition to ancient Egypt, ancient Rome and ancient Greece used sarcophagi. 1028
Below two pictures of sarcophagi: one with traditional design and the other with a king resting on top
exactly similar to the sarcophagus depicted in the Rider-Waite Four of Swords.
Figure 87. Artist unknown, Sarcophagus of Christian King (Tombeau de la Chrétienne), c. Middle Ages, 4075 x
34.5 x 22 cm., Cartage Tunisia1029
1026 . R. W. Sowers, "Stained Glass", Britannica.com, accessed September 2020, https://www.britannica.com/art/stained-

glass
1027. "Sarcophagi", National Geographic Resource Library, accessed September 2020,
https://www.nationalgeographic.org/encyclopedia/sarcophagi/
1028 . "Sarcophagus", New Modern Encyclopedia, accessed September 2020,
https://www.newworldencyclopedia.org/entry/Sarcophagus
1029 . Alamy Stock Photo, accessed September 2020, https://www.alamy.com/stock-photo-the-traditional-tomb-of-the-
christian-king-in-archaeological-site-125446534.html
283
Figure 88. Artist unknown, The Saint Andrews Sarcophagus, "n.d.", sandstone, 177 x 90 cm x 70 cm, Cathedral
museum in St. Andrews 1030
In aspects of iconology, Colman-Smith preferred to use a design style similar to the middle
Ages when sarcophagi and glass-paned Windows were very popular. The stained-glass window and
the yellow/golden knight buried in his sarcophagus with is sculptured body emanates light and peace
as expected from an important personage's tomb.
In conclusion, the overall visual representation of the Four of Swords Rider-Waite-Smith card
is one of death and repose after death. The Visconti-Sforza and Tarot de Marseilles Four of Swords
maintain their original design of pips from two to ten. The Sola-Busca Four of Swords depicts four
crisscrossed swords with their pommels upwards within a crown of leaves, from which an animal's
skeletal head is tied by a long black ribbon; a concept of death, similar to the one on the Rider-Waite-
Smith card. The Golden Dawn named the card Lord of Rest from Strife and Waite too seems to agree:
…The effigy of a knight in the attitude of prayer, at full length upon his
tomb…Vigilance, retreat, solitude, hermit's repose, exile, tomb and
coffin. It is these last that have suggested the design…1031
The next card discussed within this section is the Rider-Waite-Smith Four of Cups.
1030 . Wikipedia org., accessed September 2020,

https://en.wikipedia.org/wiki/St_Andrews_Sarcophagus#/media/File:Standrewssarcophagus.jpg The sarcophagus was recovered
beginning in 1833 during excavations by St. Andrew's Cathedral, but it was not until 1922 that the surviving components were
reunited. Historians differ on who was likely to have been interred in the sarcophagus. Although it is generally presumed that it was
commissioned by the Pictish King Óengus, or Onuist, a Christian who died in 761, whether it was actually used for his corpse.
(MacLean, Douglas. "The Northumbrian Perspective" in Simon Taylor (ed.), Kings, Clerics and Chronicles in Scotland, 500–1297:
Essays in Honor of Marjorie Ogilvie Anderson on the Occasion of her Ninetieth Birthday, Dublin: Four Courts Press, 2000, pp. 200–
201) for his predecessor, Nechtan mac Der Ilei (G. & I. Henderson, George & Isabel Henderson, The Art of the Picts, London: Thames
and Hudson, 2004, pp. 155–156, or for a later personage (T. O. Clancy, Caustantín son of Fergus (Uurgust) in The Oxford Companion
to Scottish History, Oxford & New York: Oxford UP, 2002) is unclear.
284
The Rider-Waite-Smith Four of Cups
The Rider-Waite-Smith Minor Arcana Four of Cups Tarot card has a black
border and on the middle top of the card is the number four in Roman numerals. The upper
background of the card has a cloudless blue sky, a hand coming out of the clouds and holding a cup
similar to the Ace of Cups in the deck and a tall tree full of green leaves. In the distance, there is a
gray mountain and some more trees. The bottom of the card displays a green hill covered with shoots
of new grass on which three more cups are in a row, resting upright on solid ground.
A young man sits beneath a tree on a hillside cross-legged with his arms folded. He wears the
traditional Renaissance vestments of a skilled worker: pair of light blue leggings, brown shoes, and a
wide sleeved red shirt under his green sleeveless jerkin. His black haired head is slightly bowed and
his eyes appear half closed, as he is in either deep contemplation, or trying to figure out how to cope
with his current situation. He seems to be unaware of the outstretched hand with the offered precious
gift of the cup hovering beside him at his eye level. It seems he is turned inward because of his
disappointment, regret, dissatisfaction and lack of consolation. Although, self-reflection is a
constructive action in times of stress, when one goes within oneself to reflect and restore emotional
balance, it could also be a sign of apathy regardless of what happens.
Since all of the symbols in this particular card were explained throughout the research, the
main clarification of this type of illustration can be gained by Waite's elucidation and psychological
interpretation. According to Waite:
…A young man…his expression notwithstanding is one of weariness,

disgust, aversion, imaginary vexations and discontent with his
environment.1032
Below an engraving by Albrecht Dürer of a disappointed man:
285
Figure 89. Albrecht Dürer, Melencolia I, c. 1514, engraving, 24.5 x 19.2 cm, National Gallery of Art,
Washington, D.C.1033
Jung felt holding the tension of opposites critical to the individuation process. The first step of
this process is the descent, which is, the dread and resistance, which every natural human being
experiences when it comes to delving too deeply into himself is, at bottom, the fear of the journey to
Hades.1034
Within the framework of iconology, the card represents being discouraged and unmotivated
because there is no solution or way forward as life has become stagnant, while nothing seems to
make the young man happy or passionate regardless of what happens.1035
In conclusion Waite and Smith who had no visual examples other than the Four of Cups in the
Sola-Busca deck (in which a naked man and putti emptying out the contents of the cups into a derelict
sack), created a card according to their spiritual beliefs giving it their own interpretation of discontent
despite the overall encouraging background iconology.
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Five of Cups,
which is similar to a certain degree in its symbolism to the Four of Cups.
1033
. National Gallery of Art, Washington, D.C., accessed August 2020, https://www.nga.gov/collection/art-object-
page.35101.html
1034 . C. G. Jung, Psychology and Alchemy (2nd ed.), Princeton, New Jersey: Princeton University Press, 1977, p. 336
1035 . "The Four of Cups Meaning – Tarot Card Meanings", Labyrinthos, accessed August 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/four-of-cups-meaning-tarot-card-meanings
286
The Rider-Waite-Smith Five of Cups
The Rider-Waite-Smith Minor Arcana Five of Cups Tarot card has a black
border and on the middle top of the card is the number five in Roman numerals. The upper background
of the card has a grey sky. In the distance on the right side of the card, there is a castle on a foothill
and some trees. On the left side is a green hill from which a white bridge crosses a large flowing river
and leads to the security of the castle on the opposite side of the riverbank indicating that a torrent of
emotions have separated the man from home, where he can feel safe and at rest. The bridge is
a message to build a new connection, leave the past behind and make the best of what
remains. Moreover, the river is a symbol of all things moving on and the bridge and town signify that
there will be other times and places for life to go on, far away from the current misery.1036
The bottom foreground of the card displays a green hill on which three knocked over cups;
their contents spilled on the ground and behind the man stand two more full cups. The water spilled
from the cups, symbolic of disappointments and failures implies that the man might have missed an
opportunity and indicates that the problem is mostly emotional and not material or financial. 1037
Moreover, he seems not to notice that there are two standing cups representing new opportunities
and potential, as is too busy mourning his loss.
The man looking slightly sideways with just a minimal part of the side of the face exposed;
wears a long black cloak that obscures everything and yellow shoes. Seen from behind with his gray
haired head bent as if in deep despair as he looks down at three overturned cups at his feet. The
black color of his cape intensifies the viewer's gaze to the man's inability to move on, inducing feelings
of self-pity, regret and unwillingness to learn from his mistakes. Instead of rectifying the situation with
the assistance of the two full cups, he remains motionless as if he is dwelling in the past, frozen in
1036 . "The Five of Cups Tarot Card", Keen, accessed August 2020, https://www.keen.com/articles/tarot/five-of-cups-tarot-
card
1037. "Five of Cups Meaning – Tarot Card Meanings", Labyrinthos, accessed August 2020, https://labyrinthos.co/blogs/tarot-
card-meanings-list/five-of-cups-meaning-tarot-card-meanings
287
sorrow; he refuses to move towards a better perspective and is unable to take a new path because
of focusing too strongly on loss or negativity and not seeing what he has. According to Waite:
A dark, cloaked figure, looking sideways at three prone cups two

others stand upright behind him; a bridge is in the background, leading
to a small keep or holding…It is a card of loss, but something remains
over; three have been taken, but two are left…1038
In terms of iconology, throughout the ages, melancholy has inspired magnificent works of art.
In ancient times, doctors believed that human beings functioned according to four 'humors' or
essential fluids. These were associated to four main temperaments that explained human behavior:
blood was concurrent to a sanguine temper, yellow bile to cholera, phlegm to apathy, and black bile
to melancholy.1039 This medical system prevailed for more than two thousand years and dominated
many fields of human life, while it is true that melancholy derives from a depressive state, it actually
has positive implications, because this universal human emotion, nuanced by sadness, consists of a
longing for the past, a process of nostalgic introspection that awakens humanity's deepest creative
instincts.1040 The Golden Dawn named this card Lord in Loss of Pleasure because of loss, anxieties
and troubles from unexpected sources.1041
In conclusion, Waite and Smith had no visual examples for the pips, as both the Visconti-Forza
and Tarot de Marseilles only have five cups on a background. The Sola-Busca deck Five of Cups
depicts a man wearing derelict clothes, carrying five cups tied to each other by a chain, a branch of a
palm tree on his shoulder and a small white dog nipping at his torn trousers; reminiscent of the Rider-
Waite-Smith Major Arcana Fool. In the case of the Sola-Busca card as well, although the man is from
his right profile, his facial expression is one of sadness, defeat and despair. There is an interesting
visual similarity in the Rider-Waite-Smith Five of Cups, to the Sola-Busca Five of Pentacles.1042 Since,
Pamela Colman-Smith saw the deck before designing the Five of Cups in the Rider-Waite-Smith deck
and keeping with the main pictorial theme and her own reaction; she created her own version of the
scene according to the visual representation found in the Sola-Busca Five of Pentacles.

1039 . M. I. Carrasco, "10 Works of Art that Pay Homage to your Melancholy", Cultura Collectiva, accessed August 2020,
https://culturacolectiva.com/art/melancholy-paintings
1040 . Ibid
1042 . "Sola Busca vs. Waite-Smith", House of White Tarot Museum & Research Library, accessed September 2020,
288
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Eight of Cups,
which is similar in its impression to the previous Five of Cups card.
The Rider-Waite-Smith Eight of Cups
The Rider-Waite-Smith Minor Arcana Eight of Cups Tarot card has a black
border and on the middle top of the card is the number eight in Roman numerals. The upper
background of the card has a gloomy night sky and a crescent moon with a sad faced disc upon it,
assumed as the dark part of the crescent moon and illuminating the barren path ahead. The sad facial
features of the moon add to the overall weariness the card illustrates. The moon as previously
explained; symbolizes cycles, time, psychic power, reflection, and emerging from one phase into
another.1043
In the distance are two looming and large mountains symbolizing climbing higher in spiritual
and emotional states in life, despite hardships one might encounter. Mountains symbolize triumph,
challenge, attainment, realization, timelessness and an endurance that is infinite.1044 The landscape
is rocky and appears to be an inlet to some vast sea or ocean off beyond the mountainous rocks
ahead.1045 This particular geographic depiction is important since it represents the concept of
new obstacles. The water, symbol of feelings and emotions in the suit of Cups is becoming
increasingly shallow, even drying up when meeting the eight standing cups at the forefront of the
scene. According to Jung: "Apart from its lunar wetness and its terrestrial nature, the most outstanding
properties of salt are bitterness and wisdom."1046
1043
. (see: pp. 177-180, 182)
1044
. A. Venefica, "Eight of Cups Meaning in Tarot", Tarot Teachings, accessed August 2020,
https://www.tarotteachings.com/eight-of-cups.html
1045 . "The Eight of Cups Tarot Card", Keen, accessed August 2020, https://www.keen.com/articles/tarot/8-of-cups-tarot-card
1046 . C. G. Jung, "The Alchemical Salt as a Feeling, Eros and Wisdom", Mysterium Coniunctionis Collected Works of C.G.
Jung Vol.14 2nd (ed., and trans.) G. Adler and R. F. C. Hull, Princeton University Press, 1977
289
Symbolically speaking a river has multifaceted meanings because in its positive aspect, the
river is the inexhaustible source of life, while in its negative aspect it is the inescapable destiny of
death. In India, they believe that the Ganges River is the essence of holiness and purifies all it touches
because the waters of goddess Ganga's descent were touched by India's trinity of Brahma, Vishnu
and Shiva.1047 There are five rivers in Hades' underworld: Acheron, Cocytus, Phlegethon, Lethe and
Styx of which during later classical times, they joined the Acheron and the Styx on which Charon
rowed his ferry with the dead.1048 The river in Eden that arose from the roots of the Tree of Life flowed
into four cardinal directions and named the river of fire, the river of water, the river of air and the river
of earth. Symbolically the suit of wands correlates to the river of fire, the cups to the river of water, the
swords to the river of air and the pentacles/coins to the river of earth.1049
In the foreground are eight cups; a bottom row of five and on top of them a row of three more.
There is a separation between the upper two cups by a gap from the third stacked in such a way that
it looks like one is missing. The lack of the fourth cup on the upper row enables the beholder a view
of the man o the card.1050 A red-robed and red-booted lonely traveler holding a walking stick with
his back turned to the viewer is quietly departing into the dead of night hoping to go unnoticed.
The walking stick indicates that it will be a long journey ahead. The man is taking off to a barren land
and leaving behind his eight golden cups with a sense of loss and disappointment that represent his
past accomplishments and emotional complexes stored in the psyche.1051 Below an engraving by
Albrecht Durer named Garcon dressed as a Pilgrim.
1047 . Amberstone, The Secret Language of the Tarot, pp. 221-230 Her descent in three torrents and division into four rivers
correlates to the myth of the Seven Ganges that Hindus today identify with the seven rivers of India.
1048 . Ibid
1049 . Ibid
1051 . Ibid
290
Figure 90. Albrecht Durer, Gerson Dressed as a Pilgrim (detail), c. 1494, engraving, front piece of the Quarta pars operum
of Johannes Gerson, Strasburg1052
The Golden Dawn named the card Lord of Abandoned Success because of the figure on the
card who is leaving to an unknown destination has thrown aside gains as soon as attained.1053 The
overall tableau is one of harshness, isolation, withdrawal, contemplation and surrender causing the
probability of the man to go on a pilgrimage for his own evolution. Waite describes the Eight of Cups
as:
…Strange chalices of vision, but the images are more especially those
of the fantastic spirit… Fairy favors, images of reflection, sentiment,
imagination, things seen in the glass of contemplation; some
attainment in these degrees, but nothing permanent or substantial is
suggested…1054
Within the facet of iconology The Rider-Waite-Smith Eight of Cups, it is similar to Vincent Van
Gogh's The Starry Night painting that represents his mental health and how he learned to let go and
not let it tie him down anymore, even though he was in an asylum when he painted it, as this scene
was his escape.1055 The Starry Night is a painting of acceptance and hope where Van Gogh could
1052 . In Battistini, Symbols and Allegories in Art, p. 224

1053
1055 . R. Dowding-Green, "An evaluation of the Interpretations of Vincent Van Gogh’s Starry Night", accessed August 2020,
https://medium.com/@raphaeladowdinggreen/an-evaluation-of-the-interpretations-of-vincent-van-goghs-starry-night-cf1352edd589
291
finally accept his life. Below a floor-to-ceiling display of a detail for The Starry Night photo of Vincent
Van Gogh painting exhibited in Paris in which a lonely figure is walking into the night.
Figure 91. Vincent Van Gogh, The Starry Night, c. 1889, oil on canvas, 73.7 × 92.1 cm, Museum of Modern Art, New York
City (exhibit of floor-to-ceiling display of detail for "The Starry Night" in L'Atelier des Lumières, Paris).1056
Jung maintains:
…There is no room for any prestige-diminishing weakness, so the Sol

Niger is never seen. Only in solitary hours is its presence feared…
Tears, sorrow, and disappointment are bitter, but wisdom is the
comforter in all psychic suffering…1057
In conclusion, in the case of the Eight of Cups too, Waite and Smith created their own design
on the card to fit their spiritual concept of dreams and visions that might or might not come to fruition.
The Visconti-Sforza and Tarot de Marseilles have their usual configuration of cups according to the
number of the card. While the scene on the Sola-Busca Eight of Cups depicts two putti, one holding
two cups and the other pulling up three more cups on top of a purple stone platform with the assistance
of a red rope tied to them and at the bottom, another three remain. Despite being visually different,
the configuration is very similar. Five cups are in the process of being pulled up, equivalent to the five
standing cups in the Rider-Waite-Smith card and the rest three are still on the ground instead of
standing on them. If one is to imagine the continuation of the scene, then the putti will succeed in
pulling the rest of the cups up to the stone platform. This may very well be what gave Colman-Smith
1056 . L'Atelier des Lumières, Paris, accessed August 2020, https://www.insider.com/van-gogh-art-exhibit-paris-photos-2019-

4
1057
. C. G. Jung, "The Alchemical Salt as a Feeling, Eros and Wisdom", Mysterium Coniunctionis Collected Works of C.G.
Jung Vol.14 2nd (ed., and trans.) G. Adler and R. F. C. Hull, Princeton University Press, 1977, par. 330, p. 246
292
the visual concept for the card.
The next card discussed is the Rider-Waite-Smith Minor Arcana Six of Swords, which is very
similar to the idea of the Eight of Cups and is part of a series of cards from the suit of Swords with
difficult issues.
The Rider-Waite-Smith Six of Swords
The Rider-Waite-Smith Minor Arcana Six of Swords Tarot card has a black
border and on the middle top of the card is the number six in Roman numerals. The upper background
of the card is a gloomy grey with a light blue vista of a nearby land and trees reminiscent of a few
moments before dawn in which the actual colors of the natural scenery will become clearer. On the
foreground of the card is a ferryman with a large black oar rowing a woman and a young child across
the sea, which is turbulent by the shore, though looks tranquil further away. The choppy water
illustrated on the starboard side of the boat implies moving away from troubled waters to calmer seas
that symbolically indicate rash action may have been taken to soothe the raging seas of the travelers'
our lives.1058
Other than the ferryman there are two passengers on the wooden boat; a woman seen from
her back covered by a large orange cloak over her head, sits hunched over and her child dressed in
grey nestles in close to her body, looking for safety and comfort. Children as previously explained
represent promise, hope, new beginnings, and a fresh way of looking at the world. The ferrymen is
dressed in Renaissance clothing with brown boots, green leggings, a light blue undershirt and an
orange jerkin.
The posture of the two family figures and the boatload of the six negative swords struck at the
boat pointing down with the pommels upwards display distress. There is no leak on the boat, which
suggest that although the passengers are fraught by sorrow, they are fleeing to a better place, but
1058 . A. Venefica, "Six of Swords Meaning", Tarot Teachings, accessed September 2020,
https://www.tarotteachings.com/six-of-swords.html
293
their thoughts are too much in the past and on their troubles.1059 A sign they are still carrying a heavy
burden from their past as they move forward to a better future under the concealment of semidarkness
and in almost complete silence. The symbolism within the Six of Swords is that of loss or change and
denote the strong power of the rational mind, compared to intuition and the heart.
The boat on the Six of Swords Tarot card's relation is to the holy island, as both are
differentiated from the amorphous and hostile sea; because if the waters of the oceans are symbolic
of the unconscious, then they also can allude to the dull roar of the outside world; hence, in Christian
symbolism, the ship represents the Church.1060
In iconography, the interpretation of the journey derives from ancient initiation rites associated
with cults of solar deities, where one celebrated the victory over death and the embodiment of the
search for happiness, truth and immortality, while physical displacement implies the concept of new
territory.1061 Below a painting by Alexander Litovchenko named A Nineteenth-century Interpretation
of Charon's Crossing. Although, the Rider-Waite-Smith Six of Swords Tarot card does not depict the
individuals carried into the realm of Hades, it is similar in its essence to a scene of sad departure from
the familiar society and way of life.
Figure 92. Alexander Dmitrievich Litovchenko, Charon Conveying the Souls of the Dead across the Styx, c. 1860, oil on
canvas, dimensions unknown, Russian Museum, Saint Petersburg, Russia1062
Moreover, they are a sign there are some pressing thoughts rumbling within the subconscious,
especially because water on which boats and ships sail deal with the deeper levels of the psyche,
representing a return to one's origins. Waite explains:

1062 . Wikigallery.org, accessed September 2020, https://www.wikigallery.org/wiki/painting_232301/Konstantin-Petrovich-
Pomerantsev/Charon-Conveying-the-Souls-of-the-Dead-across-the-Styx%2C-1860
294
…A ferryman carrying passengers in his punt to the further shore. The
course is smooth, and seeing that the freight is light, it may be noted
that the work is not beyond his strength…journey by water, route, way,
envoy, expedient, declaration, confession…1063
In conclusion, in the case of the Six of Swords too, Waite and Smith created their own design
on the card to fit their concept of sorrow and the results such harsh grief might bring. In terms of
iconology, the card is sometimes perceived as depicting The Slough of Despond from the book The
Pilgrim's Process. This was a well-known allegorical literary option by John Bunyan about the
protagonist Christian that sinks under the weight of his sins and sense of guilt from them, that might
have sparkled Coleman-Smith's idea to the depiction of the Rider-Waite-Smith Six of Swords. This is
described in the text as:
…this miry Slough is such a place as cannot be mended; it is the

descent whither the scum and filth that attends conviction for sin doth
continually run, and therefore is it called the Slough of Despond: for
still as the sinner is awakened about his lost condition, there ariseth in
his soul many fears, and doubts, and discouraging apprehensions,
which all of them get together, and settle in this place; and this is the
reason of the badness of this ground…1064
The Visconti-Sforza and Tarot de Marseilles have their usual configuration of swords
according to the number of the card. The Sola-Busca Tarocchi depicts a half-naked man weighed
down by the six swords he is carrying in his backpack and arms that could have added an additional
element of suffering to the overall visual concept of the card designed by Coleman-Smith. The Golden
Dawn named the card the Lord of Unstable Effort and Partial Success.1065 Kaplan too, seems to agree
with the definition and maintains that the visual representation of the card is the attempt through
difficulties.1066
The next card discussed in this particular visual series of the combination of suffering whether
real or imagined by the figure on the card and the suit of swords is the Rider-Waite-Smith Two of
Swords.
1064 . J. Bunyan, The Pilgrim's Progress, J. H. Thomas (ed.), Harmondsworth: Penguin Books, 1965, p. 46
295
The Rider-Waite-Smith Minor Arcana Two of Swords
The Rider-Waite-Smith Minor Arcana Two of Swords Tarot card has a black
border and on the middle top of the card is the number two in Roman numerals. Despite being a
lighter shade of blue, the upper background of the card depicts a waxing crescent moon that is out
because night is a time of rest and contemplation. In this case, the moon signifies the role of illusions
and deception about the difficulties the woman has in making choices.
A blindfolded woman sits on a stone bench at the edge of the sea with her back to it, similar
to several Smith’s pips; she appears to be sitting on a stage in front of a backdrop as if she were a
character in a play.1067 The stone bench she sits on is symbolic of taking a moment to examine the
details and take some time to examine the situation.
Her blindfold is the most important symbol in this card. It is white similar to the color of her
long sleeved robe and indicates that there is a choice in the wearing it, as it signifies purity. The
blindfold over her eyes suggests that she is confused about her plight and that she can see neither
the problem nor the solution clearly, because she may also be missing relevant information that would
make her decision much clearer if she were to obtain it. Her feet point outward hint to the openness
in her nature and are securely planted on a solid foundation.1068 Her yellow shoes peeping under the
white toga like dress are the same hue as the crescent moon.
The sea surrounded by crags and rocks, serve as obstacles for vessels and ships, stalling
progress and action and suggest that her decision is not as clear-cut as it seems and illustrates best
the concept that nothing can happen. In the distance, is a brown and green patch of land that might
be either the opposite shoreline or a large island. Since, water represents emotions and the suit of
swords traditionally associates with the mind and intellect, both their presence indicate that the woman
must consider the situation as a whole and utilize both her head and her heart to weigh her options.1069

1068. A. Venefica, "Two of Swords Meaning in Tarot", Tarot Teachings com., accessed August 2020,
https://www.tarotteachings.com/two-of-swords.html
1069 . "Two of Swords Tarot Card Meanings", Biddy Tarot, accessed August 2020, "https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-swords/two-of-swords/
296
As opposed to the Rider-Waite-Smith Major Arcana Justice card in which Justice holds her
balanced scales, the concept of justice in the Two of Swords is not one of retribution, but balanced,
harmonious and moral decisions. Contrasting to the hoodwinked, trapped and restricted woman held
captive on the Eight of Swords, the Two of Swords depicts a woman that has probably placed the
blindfold on herself, to encourage reliance on her other senses.
The blind folded woman, whose arms are crossed, calmly holds two enormous metal swords,
one in each hand in perfect balance, while the swords angle upward and off the sides of the card’s
illustration. 1070 This poise, suggests that she is contemplating and addressing both sides of the
situation to find the best outcome. This is reminiscent of dead pharos sculptures found in Ancient
Egypt in which the two crisscrossed scepters on the chest are interchangeable with the swords on
the card. Below a sculpture of King Khufu.
Figure 93. Artist unknown, Statue of the King Khufu (Cheops in Greek form), The Fourth Dynasty, Old Kingdom,
Egypt, ivory, 3 inches, found in a temple ruin of a later period at Abydos in 1903, The Cairo Museum Egypt1071
Children blindfold each other to play games and those who find the presence of light difficult
to sleep in also use blindfolds, while hostages are blindfolded to cause disorientation, fear and
ignorance of their captors and surroundings, as are those who are about to be executed to spare
them the moment of their death.1072 Blindfolds imply the confusion one faces when one has to make
difficult choices. Some interpreters treat the blindfold and the swords as a message of stalemate,
1070 . "The Two of Swords Tarot Card", Keen, accessed August 2020, https://www.keen.com/articles/tarot/2-of-swords-tarot-
card
1071 . Egyptopia.com, accessed August 2020, http://egyptopia.com/en/articles/Egypt/history-of-egypt/The-Fourth-
Dynasty%2C-Old-Kingdom%2C-Egypt.s.29.13154/
297
complication, confusion, or frustration in making communicative or intellectual decisions.1073
In the spirit of duality and balance suggested by the number two, the Rider-Waite-Smith Two
of Swords interpretations commonly focus on split decisions or opposing choices because swords
symbolize the realm of thought and communication, and the card illustrates a situation of being of two
minds about a certain subject, thought or goal.1074 Place maintains:
…her position is awkward and she will not be able to hold them
long…like Justice without her scales and faced with two courses of
action. Without the information from her scales, the woman will have
to base her decision on intuition instead of logic. She is not comfortable
with this method…1075
While Waite's explanation of the card is different, especially concerning the position she holds
the two swords and her ability to make a choice.
…A hoodwinked female figure balances two swords upon her

shoulders…Conformity and the equipoise, which suggests, courage,
friendship, concord in a state of arms; another reading gives
tenderness, affection, intimacy. The suggestion of harmony and other
favorable readings must be considered in a qualified manner, as
Swords generally are not symbolical of beneficent forces in human
affairs...1076
This is a card of meditation, not of action. The crossed swords point to different possible
directions, but for the moment the woman is looking inward rather than outward and in the possession
of a remarkable power that suggests intuition, perception and the ability to gather information, which
protect her until she finds the direction to apply it.1077 However, unless she moves past this stalemate,
there can be no more progress.
Within attributes of iconology, the hoodwinked woman in the Rider-Waite-Smith Two of
Swords is very similar to the antiquated depictions of Justice (Fortune). All over the globe, nations
1073 . A. Venefica, "Two of Swords Meaning in Tarot", Tarot Teachings com., accessed August 2020,
1074 . Ibid
1075
Divination, http://www.sacred-texts.com/tarot/pktsw02.htm [13/10/2002 14:29:20]
1077 . A. Venefica, "Two of Swords Meaning in Tarot", Tarot Teachings com., accessed August 2020,
298
rely on a statue of a large hulking woman (sometimes-named Justice, Justicia, Themis, and usually
holding scales, a sword and sometimes a blindfold) to symbolize that their justice systems have
aspirations of fairness, impartiality and to lay a claim to power.1078 Blind Justice is the theory that law
should be viewed objectively with the determination of innocence or guilt made without bias or
prejudice.1079 Of all the issues involved in the representation of Lady Justice, that of her blindfold is
undoubtedly the most disputed one and its nature is ambivalent. At the end of the fifteenth century,
Lady Justice’s blindfold was a negative attribute and later removed from works of art, considering
there are many ways of reading this sign, dependent on its viewers, contexts, and intentions.1080
Below a painting named Allegory of Justice by the artist Balthazar Nebot.
Figure 94. Balthazar Nebot, Allegory of Justice, c. 1730, oil on canvas, 71.9 x 89.2 cm, Yale Center for British
Art1081
The woman with the blindfold is looking inward to come to her own decisions. Jung maintains:
…when you observe the world, you see people, you see houses, you
see the sky, and you see tangible objects. However, when you observe
1078 . J. Resnik and D. E. Curtis, "Representing Justice: From Renaissance Iconography to Twenty-First Century
Courthouses" (abstract), Proceedings of the American Philosophical Society, Vol. 151(2), ResearchGate, accessed August 2020,
https://www.researchgate.net/publication/228177271_Representing_Justice_From_Renaissance_Iconography_to_Twenty-
First_Century_Courthouses
1079
. "Justice Goddess Themis, Dike, Astraia, or the Roman Goddess Justitia", Lady Justice around the World, accessed
September 2020, https://medium.com/@thexbhpguy/blind-justice-around-the-world-814d4350130b
1080 . V. Hayaert, "The Paradoxes of Lady Justice’s Blindfold: Artistic Representations and Iconography of Law and Justice
in Context, from the Middle Agesto the First World War"(abstract), The Art of Law, 2018, pp. 201-221, ResearchGate, accessed
August 2020, https://www.researchgate.net/publication/327923560,
The_Paradoxes_of_Lady_Justice%27s_Blindfold_Artistic_Representations_and_Iconography_of_Law_and_Justice_in_Context_from
_the_Middle_Ages_to_the_First_World_War
1081 . Wikimedia Commons, accessed August 2020, https://commons.wikimedia.org/wiki/File:Balthazar_Nebot_-
_Allegory_of_Fortune_-_Google_Art_Project.jpg
299
yourself within, you see moving images, a world of images, generally
known as fantasies. Yet these fantasies are facts…1082
In conclusion, the Golden Dawn named the card Lord of Peace Restored and Contradictory
Characteristics1083. It seems that Waite, Place and the Golden Dawn agree about the contradictory
visual meanings of the Two of Swords, though each one of them has a theory of his own. The Visconti-
Sforza Two of Swords has two crisscrossed swords on a flowery background and the Tarot de
Marseilles depicts the same concept on a white background adding flowers in red, blue, white and
yellow. The Sola-Busca Two of Swords depicts two almost naked male figures, one older and the
other relatively young close together and gazing into each other's eyes and in the context of the card's
imagery, the opportunity can be a sexual encounter initiated by the younger man who is a clandestine
source during the Ferrarese Venetian war.1084 Consequently, the sword becomes double-edged, as it
is both a weapon of war and one of deceit.
Waite and Smith created the Two of Swords card, in a neo-classic style, probably based on
the visual representation of the conflict in the Sola-Busca card. They wanted to demonstrate the
internal conflict of the hoodwinked woman who cannot see her choices, to the internal conflict of the
older Kairos and the younger figure who are having a homosexual affair they had to hide since it was
about the expulsion of the young spy who was his lover. Despite the similarity of the concept in both
cards, visually they are completely different because Colman-Smith preferred to use the iconography
of the blindfolded woman.
The next card discussed in this chapter is the Minor Arcana Eight of Swords that is similar in
its visual illustration and concept.
. C. G. Jung, C. G. Jung Speaking Interviews and Encounters – Quotations (eds. W. McGuire and R. F. C. Hull),
1082
Princeton New Jersey: Princeton University Press, 1993. p. 302

300
The Rider-Waite-Smith Minor Arcana Eight of Swords
The Rider-Waite-Smith Minor Arcana Eight of Swords Tarot card has a black
border and on the middle top of the card is the number eight in Roman numerals. The upper
background of the card's grey dreary sky can signify despair and on the left side of the card, there is
a castle and some houses with red rooftops on the peak of a tall far away mountain. The desolate
landscape continues all the way to the putrid, unclear and murky puddles of water found at the bottom
of the card.
In the foreground there is a black haired, bound at the torso and blindfolded woman
surrounded by eight swords; three on her right side and five on her left side stuck on the ground with
their pommels upwards. The blindfold first seen in the Two of Swords has moved to incapacitate all
hope of mobility and the situation has evolved into full-on fear and a sense of being trapped.1085
Despite, being bound and blindfolded; she is standing, and is not tied to anything. She wears a long
loose red dress with some black embroidery and tan colored shoes dipping her left foot in a puddle
of tepid water. The red dress embroidered with black is an attribute of wrath, which brings grief and
tragedy.1086
The eight swords placed strategically around her in a way that restricts her movement as
though she is in some kind of trap. However, it seems as though whoever built the trap left some open
space where she could escape but the blindfold prevents the woman from seeing, thus she has no
way of finding her way out of this trap.1087 While If only she could take the blindfold off, she would see
that she could simply just walk out of this situation because there is enough space in front of her
to escape from the confines of the marshy wasteland outside of a city.
The water pooled at her feet suggests that her intuition might see what her eyes cannot
1085
. A. Venefica, "Eight of Swords Meaning", Tarot Teachings, accessed August 2020,
https://www.tarotteachings.com/eight-of-swords.html
1087 . "Eight of Swords Meaning - Tarot Card Meanings", Labyrinthos, accessed August 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/eight-of-swords-meaning-tarot-card-meanings
301
because of her association with confusion and a victim mentality. Water in all its shapes and forms
relates to the feminine aspect. Similar to the moon, pools too, are enclosed bodies of water considered
purely feminine symbols, which contain no light, heat and air of their own, are dark, reflective, cold
and sometimes deep, consequently, they might be fresh or stagnant, old or newly formed, pure or
murky, but the chances are they contain and nurture life.1088
Another obvious symbol of the woman's situation in the Rider-Waite-Smith Eight of Swords,
are the ropes that infer binding, confinement, or restriction. As opposed to the woman who can untie
her ropes once, she takes off her blindfold, in the case of the Hanged Man card the rope is a utility,
for it serves as a necessity in order to pull away from his internal knots to force him into a state of
non-action.1089
As previously explained the cards in the suit of Swords often times indicate struggle, since
they are the last stages of effort before the result. In most decks, one finds many of the more negative
cards depicting nightmares, craftiness, misfortune, sorrow, challenges, pain and restriction. The
viewer of the card faces a conundrum because of the conflicting visual images and the symbolism of
the surrounding swords, which are thoughts manifesting as both captors and rescuers because the
blades can effortlessly slice the bindings and set her free. Thus, Waite defines the Eight of Swords
as:
…A woman, bound and hoodwinked, with the swords of the card about
her. Yet it is rather a card of temporary durance than of irretrievable
bondage…Bad news, violent chagrin, crisis, censure, power in
trammels, conflict, calumny, also sickness disquiet, difficulty,
opposition, accident, treachery; what is unforeseen; fatality...1090
In terms of iconology, it seems that the Rider-Waite-Smith Eight of Swords is reminiscent of

the depiction of Synagogue, personifying the Jewish faith portrayed by a female figure. In medieval
art and architecture, Synagoga, representing Judaism, was portrayed downcast and forlorn in her
defeat, bearing broken tablets and blindfolded, illustrating her blindness to the truth of the New
Testament. Although there are no broken tablets on the card and one cannot be sure that Colman-
Smith meant any offence to Judaism, the visual representation of the bound and hoodwinked woman
raises some questions. Below a sculpture of Synagogue from the Strasbourg Cathedral.
1088. Amberstone, The Secret Language of the Tarot, p. 105

1089
. A. Venefica, "Eight of Swords Meaning", Tarot Teachings, accessed August 2020,
302
Figure 95. Artist unknown, Synagoga (Synagogue), c. 1230, column figure from stone,
6' 5"(six feet and five inches), South Transept Portal, Strasbourg Cathedral1091
In conclusion, the Golden Dawn named the card Lord of Shortened Force.1092 It seems that
Waite, and the Golden Dawn agree about visual symbolism of the Eight of Swords, while the Visconti-
Sforza Eight of Swords has eight crisscrossed swords on a flowery background and the Tarot de
Marseilles depicts the same concept on a white background adding flowers in red, blue, white and
yellow. The Sola-Busca Eight of Swords portrays a large cauldron in which there are eight swords
held tightly by a half-naked figure, a scene that is unrelated to the rider-Waite-Smith card.
If one relates to the general context of the psychological aspects of fear, restrictions and
internal conflict seen on the card, then the message to the viewer is clear; one should take back their
power and personal accountability and open their eyes to the options in front of them. Moreover, there
is a definite visual continuation of significances between the Rider-Waite-Smith Two of Swords and
Eight of Swords because of opaque vision.
The next card discussed in this chapter is the Rider-Waite-Smith Three of Swords, another
card that continues the theme of misfortune, sorrow and crisis.
1091 . Web Gallery of Art, accessed September 2020, https://www.wga.hu/frames-
e.html?/html/zgothic/gothic/1/16g_1232.html
303
The Rider-Waite-Smith Three of Swords
The Rider-Waite-Smith Minor Arcana Three of Swords Tarot card has a black
border and on the middle top of the card is the number three in Roman numerals. The whole
background of the card is grey, though the upper section is a softer grey, as it depicts three heavy
clouds. There is also a heavy downpour with torrents of rain falling and the lower section, which is a
darker hue of gray. At the forefront of the card is a large floating red heart pierced by three swords
with their pommels upwards. The two on either side of the heart make the shape of the letter X as the
blades go in at the top and penetrate through the bottom, and one stabs from the top straight through
the center and exits out the bottom. The background and the pierced heart signify despair. The focus
will be on the pierced heart symbol.
In iconography, the meaning of the heart is synonymous with the concept of love. Historically,
the first known example of the heart shape dates to before the last ice age (10,000–8,000 B.C.), and
does not reappear until the middle Ages. Until then various cultures, ranging from the ancient
Egyptians, Greeks, Romans, and early Americans recognized the human heart as a vital organ that
was required to sustain life, and as a home for the soul or spirit.1093 Around the year 1000 A.D., the
heart symbol as we know it, appeared in Christian works of art as a symbol of the love for Jesus,
while by the middle Ages, the heart was a prominent symbol in medieval heraldry, signifying sincerity
and clarity replacing previous, more literal representations of the Holy Grail. 1094 The pierced heart of
the Rider-Waite-Smith Three of Swords' emotional visual effect is immediate, since the three swords
indicate the power to harm, cause pain, and create suffering; consequently, this is an image of grief,
loss, literal heartbreak, negative thoughts and cutting words.
One might argue that the symbolism of Cupid with his bow and arrow are similar to the concept
of the Three of Swords card because of his ability to make individuals both divine and mortal fall in
love or flee from his enchanted arrows, which mainly caused mayhem, grief and suffering. The belief
1093 . M. Pearce, "A Very Brief History of the Origins of a Romantic Symbol", The Heart in Art, accessed September 2020,
https://www.metstoreblog.org/the-heart-in-art/
1094 . Ibid
304
of heartbreak because of rejection has long been the subject of myths, literature and art throughout
human existence, as has the mischief caused by the young Cupid son of Aphrodite whose figures are
often included in artistic depictions of the god, and produced by artists for millennia.1095
Despite being an ancient icon, in terms of the specific iconology of the Tarot card motifs, the
image of three swords piercing a heart originated from the Sola-Busca Three of Swords Tarocchi
card, which is most probably, where Colman-Smith got her pierced heart idea and added the clouds
and rain.1096 The Golden Dawn named this card the Lord of Sorrow, Disruption and Separation. Waite
too, seems to agree with this explanation and maintains:
…Three swords piercing a heart; cloud and rain behind…removal, absence, delay,
division, rupture, dispersion, and all that the design signifies naturally, being too
simple and obvious to call for specific enumeration…1097
In conclusion, similar to the rest of the numbered pips, the Visconti-Sforza Three of Swords
has three crisscrossed swords on a flowery background and the Tarot de Marseilles depicts the same
visual model on a white background adding flowers in red, blue, white and yellow. The overall pictorial
tableau of the heart in its symbolic shape and not representational of the human heart muscle is
important in this case, to convey the awareness that words can pierce and hurt, because the altering
of the symbolic heart is a rejection of someone’s view of love in the world. 1098
The next card discussed within this chapter is the Rider-Waite-Smith Nine of Swords, another
card that continues the theme of misfortune, sorrow and crisis.
1095 . K. Richman-Abdou, "The History of Cupid in Art: How the God of Love Has Inspired Artists for Centuries", My
Modern Met, accessed September 2020, https://mymodernmet.com/art-history-of-cupid/

1096
. "Sola Busca vs. Waite-Smith", House of White Tarot Museum & Research Library, accessed September 2020,

1098 . "The Three of Swords Tarot Card", Keen, accessed September 2020, https://www.keen.com/articles/tarot/3-of-swords-
tarot-card
305
The Rider-Waite-Smith Nine of Swords
The Rider-Waite-Smith Minor Arcana Nine of Swords Tarot card has a black
border and on the middle top of the card is the number nine in white Roman numerals over the black
background that covers three quarters of the card. The whole scene takes place in a bedroom at
night. The upper section of the bedroom back wall depicts nine silvery blue stacked swords floating,
their handles line up above the pillow of the bed and they all extend beyond the frame of the card.
Consequently, none of the sword points are visible. The floating swords above her consciousness
and the fact that they do not have their points illustrated in the picture indicates that the trouble this
person is in has not yet been resolved.1099
Seen from her right profile, the card portrays an anxious and fearful woman who appears as
though she has just awakened from a nightmare is sitting on her bed while she holds her head in her
hands. Her black hair has streaks of white and her nightgown is made of a white flowing cloth. The
pillow is orange; the sheets are various shades of white and pink while her duvet is comprised of
quilted patchwork squares. The checkboard pattern includes two main arrangements. On the yellow
squares, there are red poppies with a fourfold structure that are the symbol of dreams and
remembrance and on the alternating blue squares, there are astrological pictograms.1100 Symbolically,
the checkerboard pattern of the quilt implies that the person has been using some type of diversion,
covering herself in a strategy that has obviously failed.1101
Her wooden bed has a carving on its side in which, a man thrusts at another as if to stab him
with a sword symbolizing defeat. Such a type of carving is not a common design on a bed and Colman-
Smith probably designed it deliberately to augment the visual message of sorrow and nightmares.
One might maintain that the woman on the Rider-Waite-Smith Nine of Swords is the same woman in
1099
. "The Nine of Swords Tarot Card", Keen, accessed September 2020, https://www.keen.com/articles/tarot/9-of-swords-
tarot-card
1101 . "The Nine of Swords Tarot Card", Keen, accessed September 2020, https://www.keen.com/articles/tarot/9-of-swords-
tarot-card
306
the Eight of Swords who finally released herself, but haunted by the nightmares of the suffering and
trauma she endured while she was deserted.1102 Despite the indication that the suit of swords is
concerned with the mind, logic, intelligence, and communication; somehow the Nine of Swords traps
the devastating facet of the mind, the one that turns inward on itself, multiplies and festers. Waite
explains:
…She is as one who knows no sorrow, which is like unto hers. It is a

card of utter desolation...death, failure, miscarriage, delay, deception,
disappointment, despair…imprisonment, suspicion, doubt, reasonable
fear, shame…1103
From a point of view of iconology, the Rider-Waite-Smith Nine of Swords has a special
resonance with the middle Ages, because it figures the plight of a woman who is alone in the world,
when women had no personal rights, no ability to inherit property or use the law in their own
defense.1104 She is probably sitting up in bed weeping, grieving and in fear of abandonment because
of her vulnerability, wondering what will happen to her now that her protector is gone through some
cruel conflict, the outcome of which has left her behind as the spoils of war.1105 Moreover, the doctrine
of four temperaments is the basis for representing the passions and characters in Renaissance art
and the melancholic temperament is astrologically associated with the god Saturn.1106 Consequently,
the astrological signs on the blue squares on her quilted duvet might enhance the symbolism of her
state of mind. On the subject of fear, Jung explains that:
…the spirit of evil is fear, negation, the adversary who opposes life in
its struggles for eternal duration and thwarts every great deed, who
infuses into the body the poison of weakness and age through the
treacherous bite of the serpent; he is the spirit of regression, who
threatens us with bondage to the mother and with dissolution and
extinction in the unconscious. For the hero, fear is a challenge and a
task because only boldness can deliver from fear. And if the risk is not
taken, the meaning of life is somewhat violated, and the whole future
1102 . "Nine of Swords Meaning - Tarot Card Meanings", Labyrinthos, accessed September 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/nine-of-swords-meaning-tarot-card-meanings

1104 . "Nine of Swords Tarot Card Meanings", Tarot.com, accessed September 2020, https://www.tarot.com/tarot/cards/nine-
of-swords
1105 . Ibid
1106
307
is condemned to hopeless staleness, to a dab grey lit by will-o’-the-
wisps…1107
Figure 96. John Butler Yeats, The Sick Bed, c. 1950, monochrome watercolor heightened with white,
20 x 26 cm, collection of the Yeats family from the estate of the late senator Michael Yeats 1108
The painting above does not portray disappointment or suspicion but John Butler Yeats does
more than convey desolation, fear and maybe even death. There is a near-death eeriness about the
painting but also something earthier as Yeats reflected Irish life and the dignity of poverty within it. 1109
In conclusion, while the Visconti-Forza and Tarot de Marseilles depict the familiar pattern of
nine swords on a background, the Sola-Busca portrays a naked man and putti who are arranging the
nine swords with their pommels up within a large metal embellished container. It seems once more
that there is no relevance between the Rider-Waite-Smith Nine of Swords card and its equivalents in
other decks. Waite and Smith's goal was to emphasize the dire situation the woman on the card is
going through and at the same time enable the viewer understanding the difficulties. The Golden
Dawn named the card Lord of Despair and both Cavendish and Waite agree with the description
about the grimness of the Nine of Swords that represents misery, despair and the possibility of
death.1110 Consequently, the Nine of Swords belongs to the Situations in Life chapter.
The next card discussed in this specific chapter is the Rider-Waite-Smith Minor Arcana Ten of
Swords.
1107 . C. G. Jung, "Symbols of Transformation", Collected Works of C. G. Jung Vol. 5, New Jersey: Princeton University
Press, 1956, para 551

1108
. Artnet.com, accessed September 2020, http://www.artnet.com/artists/john-butler-yeats/the-sick-bed-
rZhEbeXLfHvWYoxTTArbQ2, and Mutualart, accessed September 2020, https://www.mutualart.com/Artwork/The-Sick-
Bed/E9D6E1DA49D5A6DF
1109 . "Treasures: With Yeats, There is Always Hope", Independent, accessed September 2020,
https://www.independent.ie/entertainment/theatre-arts/treasures-with-yeats-there-is-always-hope-39058251.html
308
The Rider-Waite-Smith Ten of Swords
The Rider-Waite-Smith Minor Arcana Ten of Swords Tarot card has a black
border and on the middle top of the card is the number ten in white Roman numerals over the black
sky covering one third of the card. The whole scene takes place outside just before dawn when it gets
darkest. The sky is cloudy, but the sun is rising on the horizon and the sea is calm bringing a sense
of solace and hope. There are hills on the horizon bathed in light blue as the sun rises. The key to
this card is the golden dawn rising above the eastern hills because despite death, there is always
renewal.1111
At the forefront of this card, literally at the bottom of the illustration there is a man lying flat on
the ground, apparently dead, his blood running all around with his face facing the dirt, covered with
a red cape from the chest down to his legs as a sign of dignity as he leaves this world. With his right
hand, the slain man is making the sign of benediction, a gesture that allows him to identify with Christ
and Christ-like forgiveness.1112
Ten long swords are stuck into him from the back of his neck to his thighs, their pommels
upwards, having been plunged deep into his body and standing erect.1113 There is a sense of betrayal
indicated here, for the character is stabbed in the back during combat, consequently, he may not have
seen this end coming.1114
Ichnographically, the card predominately depicts death but also the dawning of a new day. In
the Tarot, death is as a gateway to another plane, a metaphor for change. Within the framework of
iconology, the tale of the suit of swords is a powerful metaphor, and yet the culmination of the suit is
1111 . "The Ten of Swords Tarot Card", Keen, accessed September 2020, https://www.keen.com/articles/tarot/10-of-swords-
tarot-card
1112
1113 . "The Ten of Swords Tarot Card", Keen, accessed September 2020, https://www.keen.com/articles/tarot/10-of-swords-
tarot-card
1114 . "Ten of Swords Meaning - Tarot Card Meanings", Labyrinthos, accessed September 2020,
https://labyrinthos.co/blogs/tarot-card-meanings-list/ten-of-swords-meaning-tarot-card-meanings
309
a complete and total defeat of the spirit.1115 Swords are weapons that can have immense potential for
destruction or for noble causes as protection of kith and kin. Thus, the story that unfolds from the Two
of Swords to the Ten of Swords tells how untrained individuals use them for flawed reasons, making
many mistakes, and afterwards spending an entire lifetime attempting to run away from the misused
power.
Ten of Swords Rider-Waite-Smith card marks bottoming out, the final ordeal, is the lowest
point in one's life and inevitable ending. 1116 The Ten of this suit represents finality, the end of
something, since visually is easy to understand the hopelessness for revival because a line has been
crossed and there is no turning back. 1117 This is the worst card in the pack and even more
threatening than the Nine of Swords since, because of its connection with death, ruin and
disaster, desolation, grief and the failure of all hopes and plans. 1118
War is the most destructive and pitiless of all human activities and yet the experience of war
has a profound and compelling effect on those who fight as combat kills, maims, and terrifies, but it
can also reveal the power of unity and a selfless sense of purpose that changes soldiers, and those
changes last a lifetime.1119 Below a painting of Joseph Wright of Derby, named the Dead Soldier.
Figure 97. Joseph Wright of Derby, The Dead Soldier, c. 1789, oil on canvas, 101.6 x 127 cm, Fine Arts Museums of San
Francisco1120
1115 . "Ten of Swords Meaning - Tarot Card Meanings", Labyrinthos, accessed September 2020,
1116 . "Ten of Swords Tarot Card Meanings", Biddy Tarot, accessed September 2020, https://www.biddytarot.com/tarot-card-
meanings/minor-arcana/suit-of-swords/ten-of-swords/
1117 . "Ten of Swords", Tarot Card Meanings, accessed September 2020, https://www.tarot.com/tarot/cards/ten -of-
swords
1119 . "Combat: the Emotions of War", Going to War, accessed September 2020, https://www.pbs.org/tpt/going-to-
war/themes/combat-experience/
1120 . Flickr, accessed September 2020, https://www.flickr.com/photos/artexplorer/5560050617
310
Waite explains:
…A prostrate figure, pierced by all the swords belonging to the

card...Whatsoever is intimated by the design; also pain, affliction,
tears, sadness, desolation…It is not especially a card of violent
death...1121
In conclusion, the Visconti-Sforza and Tarot de Marseilles have their familiar swords
design and the Sola-Busca depicts a soldier from his back, his head bent trying to keep
together or move a large leather bag filled with ten swords. Waite and Smith may have decided
on this particular representation of the Ten of Swords card to visually enhance the meaning
of futility on the one hand and hope on the other as Victor Hugo wrote in his book Les
Misérables "Even the darkest night will end and the sun will rise.”1122 The Golden Dawn named the
card the Lord of Ruin and both Place and Waite seem to agree with the definition. 1123
The next card discussed in this chapter is the Rider-Waite-Smith Minor Arcana Five of
Pentacles.
The Rider-Waite-Smith Five of Pentacles
The Rider-Waite-Smith Minor Arcana Five of Pentacles Tarot card has a

black border and on the middle top of the card is the number five in white Roman numerals,
1121
1122 . "Victor Hugo Quotes, Les Misérables", Goodreads, accessed September 2020,
https://www.goodreads.com/quotes/10095-even-the-darkest-night-will-end-and-the-sun-will
311
superimposed on the stained window suggesting a church of some kind. Five pentacles form a tree
design in a stained-glass window and the light coming through the window suggests the glow of
warmth within the establishment.1124 The church is a symbol of hope, faith and spiritual support. The
whole scene takes place outside at night during a severe snowstorm. On the upper section of the
card, is a black wall featuring the thick relentless white snow in the form of ice crystals. The bottom
of the card depicts a thick pile of snow covering the ground in a white blanket.
The focus of the card is on the two people walking through the icy wind and snow; both are
destitute and living in poverty. A crippled, poor, hungry, tired and injured beggar on crutches with a
bell around his neck is trudging through the snow wearing a shoe on his left foot and a sandal on his
right foot. His multi-colored hat, grey pants, bright green shirt and the light blue sleeveless tunic are
all in tatters. A destitute, barefoot woman clutching a tattered orange shawl around her neck
accompanies him. Her torn skirt is green and the tunic is light blue similar to her companion. They
both lack the necessities of life and since they focus on their plight; they fail to see that help is available
to them and continue in their desperate journey.1125 Unfortunately, because they are so preoccupied
in their own misfortune, misery and hardship they are not even aware of the lit church windows, where
they can get out of the cold and receive food, warmth and relief. Churches were and still are places
where the poor, the sick, the desolate and the spiritually lost are accepted, generally without too many
questions asked because they provide a safe heaven. Below a painting by Andrea di Bartolo, named
Joachim and Anna Giving Food to the Poor and Offerings to the Temple that includes a man on
crutches on its right corner, enhancing the church's mission to assist everyone including those struck
by misfortune.

1125 . "Five of Pentacles Tarot Card Meanings", Biddy Tarot, accessed September 2020, https://www.biddytarot.com/tarot-
card-meanings/minor-arcana/suit-of-pentacles/five-of-pentacles/
312
Figure 98. Andrea di Bartolo, Joachim and Anna Giving Food to the Poor and Offerings to the Temple, c.
1400/1405, tempera on poplar panel, painted surface 44.1 x 32.5 cm (overall: 45.7 x 34 x 0.6 cm), National Gallery of Art
Washington D.C., (Samuel H. Kress Collection)1126
Just like the fives of the other suits in the Tarot, the Five of Pentacles symbolizes adversity, thus the
Five of Pentacles is a card of bruised egos, financial loss, exclusion and poverty. According to Waite:
…Two mendicants in a snowstorm pass a lighted casement…The card

foretells material trouble above all, whether in the form illustrated that
is, destitution or otherwise…it is a card of love and lovers-wife,
husband, friend, mistress; also concordance, affinities. These
alternatives cannot be harmonized…disorder, chaos, ruin, discord,
profligacy…1127
While Place maintains that it is the natural consequence of the actions taken by the noble on
the Four of Pentacles.1128 Cavendish describes the card as failure, a chaotic situation, and the Golden
Dawn as the Lord of Material Trouble.1129 As opposed to the painting above depicting the love, light
and warmth of those who are welcome into the church to receive assistance; below a painting by
Pablo Picasso named the Family of the Blind Man depicting a scene very similar to the Rider-Waite-
Smith Five of Pentacles card.
1126 . National Gallery of Art Washington D.C., accessed September 2020, https://www.nga.gov/collection/art-object-
page.184.html
1129 . Cavendish, The Tarot, p. 168 and Huson, Mystical Origins of the Tarot from Ancient Roots to Modern Usage, p. 163
313
Figure 99. Pablo Picasso, La Famille de l'homme Aveugle (The Family of the Blind Man), c. 1903, oil on canvas,
37.5 X 27 cm, stolen from Whitworth Art Gallery, Manchester1130
In terms of iconology, the portrayal in art history of the late middle Ages and the Renaissance
was generally a narrative of the elites, their artistic interests and commissions.1131 However, there are
countless modest images, decorated objects and buildings across Europe that contradict this notion,
from lead and tin pilgrims’ badges, and frescoed churches commissioned by village communities
during the Venetian period on Crete as these works of art were made for most of the population who
were economically less privileged.1132
In conclusion, Waite and Smith created a card that visually seems one of the worst other the
Ten of Swords card that portrays death. The Visconti-Sforza and the Tarot de Marseilles keep their
familiar design with Five Pentacles on a flowery or white background. The Sola-Busca Five of
Pentacles depicts a destitute naked man perched on a bench, his head bent over, covered by some
type of huge bird and surrounded by five pentacles. The Sola-Busca Five of Pentacles card is visually
similar to the Rider-Waite-Smith Five of Cups when one compares the bent head and hunched
shoulders.1133 While one is hiding under a black cape, the other is hiding beneath the wings of an
enormous bird.
1130 . Wiki Art Visual Art Encyclopedia, accessed September 2020, https://www.wikiart.org/en/pablo-picasso/the-family-of-
blind-man-1903
1131 . "The Art of the Poor in the Late Middle Ages and Renaissance", The Warburg Institute, London, accessed September
2020, https://warburg.sas.ac.uk/art-poor-late-middle-ages-and-renaissance
1132 . Ibid
1133
. "Sola Busca vs. Waite-Smith", House of White Tarot Museum & Research Library, accessed September 2020,
314
Since I discussed the symbolism, iconography and iconology of the Rider-Waite-Smith Tarot
cards in the deck, I shall summarize the conclusions of the research in the final chapter.
315
Chapter 11
Conclusion
While primarily acknowledged since the last epoch of the eighteenth century to the present as a
fortune telling or occult deck, the Tarot was born out of the intellectual and artistic developments of
the Italian Renaissance. The influences of myth and religion on these artistic creations are particularly
obvious when the contents of the early works of art are analyzed, as these are often full of magic,
mythical and religious meanings. The sacralisation of the artistically elaborated contents was
determined by the fact that through its form it was possible to create a new order, a new rhythm, a
new artistic drama characterized by one’s own personality. 1134 The form was the symbol of the
representation and modification of natural and supernatural reality, and it enabled its presentation in
a particular way, that was adapted to human cognitive capabilities of that time, while the images of
gods and divinities were most often anthropomorphic, which had two main functions. They were the
expressions of the mortals’ identification with the highest and the mightiest creatures and their
representation facilitated their understanding.1135
During the period of the mid-fifteenth century, all of the Italian Tarocchi decks were hand
painted and decorated in gold or silver foil, with a metal punch and utilized for playing parlor games
until the late eighteenth century. The images of the Major Arcana Tarocchi cards and the court cards
of the Minor Arcana featuring figures of Knave (Page), Knight, Queen, King and Aces in each of the
four suits of swords, wands, cups and coins were elaborately designed and painted. While the pips
from two to ten have designs of their suit symbol, and similar to contemporary playing cards adding
an appropriate additional suit symbol according to its number. The only atypical deck during that
specific period in Italy was the Ferrarese Sola-Busca Tarocchi deck, which has elaborate scenes on
all the cards.
The deck migrated to France; its name changed to Tarot, standardized, given a number for
the pips, printed with woodblocks on cardboard and colored by hand using basic stencils. Later, the
Tarot decks reached countries like Belgium, Germany, Switzerland and beyond, where they were
mass-produced becoming very popular in the sixteenth and seventeenth centuries. The transition of
the Tarot decks to other European countries created an oicotypification process, in which although
the cards incorporated the initial basic imagery, most of the iconography and iconology visually
represented was more comprehensible to the specific cultures for which they were fashioned.
Associations to the Tarot’s icons and symbology can be found in the popular arts, and
philosophy of this rich historic period, as it was influenced by Alchemy, Hermetic mysticism, Kabbalah,
Neoplatonic philosophies and the concept of Anima Mundi, consequently the Tarot became a
1134 . A. N. Kovačev, "The Message of Art: Cognitive Value of the Fine Arts", Slovene, Ljubljana: Faculty of Arts, 1991
1135. A. N. Kovačev, "Return to the Origins – Wagner, Jung, and Symbolic Forms", Health Faculty, University of Ljubljana,
2009, accessed September 2020, https://www.researchgate.net/publication/276032161_Return_to_the_Origins_-
_Wagner_Jung_and_Symbolic_Forms
316
conversation between mystics and artists that has lasted over five centuries.1136
This research elucidated the pre-iconographical description, iconography and iconology found
in the Rider-Waite-Smith Tarot deck created by the occultists Arthur Edward Waite, illustrated by the
artist Pamela Colman-Smith and printed by the Rider Company at the beginning of the twentieth
century (1909-1910) in England. The in-depth analysis performed was according to Erwin Panofsky's
three strata theory in Art History and Carl Gustav Jung's Folkloristic Psychological School theory.
Panofsky's theory claims that the first strata is the pre-iconographical description of the work
of art, the second one is iconography, a branch of the history of art, which concerns itself with the
meaning of works of art, and the third strata is iconology a method of interpretation that arises from
synthesis and not analysis. As previously, mentioned Panofsky upholds that to achieve 'correctness'
of a work of art, one should operate in these above explained three levels of pre-iconographical
description, iconographical analysis and iconological interpretation.1137
Waite was an occultist, but his interest in the occult was spiritual, because he believed that,
the true goal of occult ritual was the spiritual transformation of its participants and that the true purpose
of symbolism was to elevate one’s consciousness and claimed that the Tarot contained a series of
symbolic images expressing the archetypal mystical journey that he valued. 1138 This attitude
resonates with Nichols' research in Jung and Tarot an Archetypal Journey who maintains that: "The
trumps are best studied in sequence of their numerical order because they create a pattern throughout
the deck and within ourselves."1139 Since this research is not about psychology, cartomancy or the
occult, I disregarded the psychological personal journey and spiritual transformation throughout the
deck, which Nichols and Waite advise their students.
Artistic meanings are multiple meanings and cannot be decoded gradually thus, according to
Gombrich art is a condensation of simultaneous schemes, implies many unconventional or even
illogical meanings, are rarely understood completely, because this enriches the comprehension of the
works of art, for their interpretation is always determined by the interaction of its numerous meaning,
implications and the subject’s unconscious.1140 This is the reason, Gombrich names the unconscious
the fourth dimension of semantic space, but still, artistic sign systems are highly articulated and their
interpretations are determined socially and culturally. If one is to agree with Gombrich then, Waite's
1136 . "The Fool's Journey : The History and Symbolism of the Tarot", Craft and Folk Art Museum, accessed March 2020,
http://m.cafam.org/FoolsJourney.html
1138 . Place, The Tarot: History, Symbolism, and Divination, p. 175 There are many modern psychologists and psychiatrist that
use the Tarot deck for the personal growth and transformation
1139
. Nichols, Jung and Tarot an Archetypal Journey, p. 20
1140
. E. Gombrich, 1967 "The Use of Art for the Study of Symbols", Psychology and the Visual Arts, J. Hogg (ed.), J. Hogg
(ed., Harmondsworth, Middlesex: Penguin Books Ltd), 1983
317
and Nichols' concept of the path to individuation and spiritual transformation resonates with the goal
of the deck.
The analysis on the iconography of the Rider-Waite-Smith deck also includes Jung's
symbology and archetypes that stem from the collective unconscious. According to Jung:
…in addition to our immediate consciousness, which is of a thoroughly

personal nature, and which we believe to be of empirical psyche even
when we track on the personal unconscious as an appendix, there
exists a second psychic system of collective, universal and impersonal
nature which is identical in all individuals. This collective unconscious
does not develop individually, but is inherited. We can access this
collective psyche through dreams and its contents that are also
represented in myths. Within the collective unconscious are the
archetypes, which are the figures, which recur constantly in the myths
and religions of all peoples…1141
Throughout five hundred years the Italian Tarocchi cards used for parlor games during the
early fifteenth century, evolved into esoteric decks by the late eighteenth century (1781) when Count
de Gebelin gave them the first occult interpretation. The early versions of the Tarocchi decks and the
Tarot de Marseilles deck are the foundation of all modern Tarot decks, including the influential early
twentieth-century Rider-Waite-Smith deck.1142 Despite having fashioned an occult Tarot deck in the
beginning of the twentieth century, Waite and Smith did not solely use the attributes of a Renaissance
design per-se. They included some of the visual representations of the early twentieth century period
and influences of the Egyptomania, romantic and rustic style of the era too. The approach to the
design of the deck is an amalgamation of various styles and techniques similar to the Neoclassical,
seventeenth century and the Renaissance periods based on early Greek and Roman art.
Waite and Smith kept the attributes of the basic imagery, motifs and symbols of the various
initial Tarocchi and older versions of Tarot cards by adding their own brand of interpretation and
creative design, which is spiritual and more modern in its essence by combining the visual illustrations
of the Italian Tarocchi and the relatively more modern decks. Visually, the cards may seem as if they
have changed, but a closer look enables the viewer that most of the significant iconology and
iconography remains, despite some modifications and several symbolic additions implemented by
Waite and Smith.
1141. C. G. Jung, “Archetypes and the Collective Unconscious”, The Collective Works of C. G. Jung, Vol. 9, Part 1, p.43,
paragraph 90
1142
318
The decision to relate some of the Rider-Waite-Smith Tarot, to three older Tarocchi/Tarot
decks was born out of the specific milestones of the iconology and iconography of the decks. The
mid-fifteenth century Milanese Visconti-Sforza Tarocchi, the first deck ever created, the end of the
fifteenth century Ferrarese Sola-Busca deck, with scenes for both the Major and Minor Arcana, and
the French sixteenth/seventeenth century (depending on the view of the scholar), Tarot de Marseilles
deck. Consequently, I have added an appendix in which each page includes pictures of the Raider-
Waite-Smith, the Visconti-Sforza, the Sola-Busca, and the Tarot de Marseilles of a particular card
within the deck. By then, some of the scenes on the cards changed, but the initial iconology and
iconography remained in a slightly different visual form, displaying the same concept in the deck, but
with a few alterations. Waite sums up his opinion in the introduction to his book The Pictorial Key to
the Tarot:
…The true Tarot is symbolism; it speaks no other language and offers

no other signs. Given the inward meaning of its emblems, they do
become a kind of alphabet, which is capable of indefinite combinations
and makes true sense in all. On the highest plane, it offers a key to the
Mysteries, in a manner, which is not arbitrary and has not been read in.
The wrong symbolical stories have been told concerning it, and the
wrong history has been given in every published work, which so far has
dealt with the subject...1143
Waite and Smith had a plethora of Tarot decks enabling them to visually, create their own
deck. They included additional images they thought relevant to the scenes on the cards, since
throughout the years, further symbols and meanings developed according to art, literature, theater
and psychology, while they also deleted a few icons, as they did not coincide with their specific
spiritual goals. According to Waite, occultist Pamela Colman-Smith, an illustrator, artist and stage
designer gave the Tarot deck her personalized visual appearance under some guidance from Waite.
Place refutes this premise, explaining that she never got any guidance and created the designs on
the Tarot cards according to her vision, spiritual opinions and previous decks; amongst them the Sola-
Busca deck which she saw in an exhibition.
…It seems that when Waite saw the finished art for the cards, he wrote
his impressions and added these before the lists of meanings in his
book. The fact that these descriptions were only written after the art
Divination, http://www.sacred-texts.com/tarot/pktintr.htm (1 of 3) [13/10/2002 14:24:26]
319
was complete is evident in the nature of the text. It reads like a
description of a first-time observer, one who at times misunderstands
what he is looking at…1144
Although, Colman-Smith did try to keep some semblance to the Renaissance style, the scenes
are more contemporary and starker. She designed the frames and all the pictorial elements on the
cards with a thin black outline and painted them with watercolors, and only then, they underwent the
required printing techniques of the early twentieth century. The background colors of the cards are
mostly beige, light grey, yellow, and various shades of blue thought only a few are black mostly on
the upper section with some details and an additional scenery to embed the individual/s who are the
main focus of the card. On some of the cards, she added a straight, thin, horizontal black line or two
parallel ones that make the whole background seem like the flat layout of a theatre stage, since she
was also a sage designer. In general, most of the designs are a combination of old and new
Tarocchi/Tarot cards though there are also elements of additional styles similar to Neoclassicism and
ancient Greek and Roman.
There are some visual style contradictions throughout the deck, as on the one hand, her work
is technically complex with thin black outlines around every single object on the card, repetitive
intricate shapes, flora, Renaissance towns and a modern city. On the other hand, the drawings seem
to be naive and uncomplicated if one is to compare them to the original Italian Tarocchi decks.
Moreover, Colman-Smith utilized some late seventeenth century fashion too. The vestments
of the individuals on the cards differ, as they emulate the Italian Renaissance either of the aristocracy
or peasants, the late seventeenth century British fashion or A-lined high-waisted gowns with large
dalmation sleeves. There are also individuals wearing a mantua hung from the shoulders to the floor,
in which the overall fashion trend was toward softness and comfort to allow for easier movement,
waistlines on doublets and women's bodices rose higher, and replaced with softer and more
comfortable standing bands.1145 Most of the men's clothing is similar to the Renaissance and late
seventeenth century British fashion, though the kings, knights and sometimes queens are in armor.
Simpler peasant and laborer clothing appear among the cards of the deck as well, especially if
associated to manual tasks or the crisis they are in because they come from the lowest social status.
Other than the Sola-Busca Tarocchi deck, up to that specific point in history no one had
designed scenes on the pips from Two to Ten. Therefore, one can argue that her work was
revolutionary in the visual field of Tarot cards more than four hundred years later. Despite, the
evidently somehow new visual appearance of the depictions on the cards, Pamela Colman-Smith

1145. "Seventeenth-Century Clothing ", Encyclopedia of Fashion, accessed August 2020,
http://www.fashionencyclopedia.com/fashion_costume_culture/European-Culture-17th-Century/Seventeenth-Century-
Clothing.html#ixzz6OyeMMdhT
320
kept almost all of the symbols from the older decks and added a few from Kabbalah, Hermeticism,
Freemasonry, astrology, Alchemy and Christian mysticism.
The main alteration performed by Waite was the sequence of some of the Major Arcana cards.
He interchanged the Major Arcana Temperance and Strength cards and moved the Fool card
numbered zero in between the Last Judgement and World cards. As opposed to previous Tarot decks,
Pamela Colman-Smith signed each one of the cards in the Rider-Waite-Smith deck other than the
Major Arcana Fool Tarot card. It is said that Colman-Smith protested Waite’s placement of the Fool
because she preferred the Fool be located in the initial position in the Major Arcana, and as a sign of
protest to Waite’s placement, she refused to sign this particular illustration.1146
Folk Art is the traditional decorative or utilitarian art of the people that is often an expression
of community life, devoid of a specific creator and is distinguished from academic, self-conscious or
cosmopolitan expression.1147 Although, the visual scenes on the decks were never considered as high
art despite the detailed attention given, mainly for the Italian Tarocchi decks, they can definitely be
included within the bounds of the popular material culture of Europe. This particular act of signing the
cards at the bottom left corner, might as well remove the Rider-Waite-Smith deck from the
specification of folk art, defined as having no designer. Though this premise is debatable in the case
of the Rider-Waite-Smith deck, one should remember that the Tarocchi decks existed for almost five-
hundred years before Pamela Colman-Smith redesigned them based on previous decks, despite
having been fashioned for occult purposes. Moreover, Place explains that:
…in the Renaissance and in the ancient world, there was not a clear
distinction between high art and popular art. …the popular festivals
attracted the talents of great artists and the theme of the triumph was
used in poetry and the visual arts from an early date. Because the
triumph is a natural way to organize characters in a progression of
ascent from the lowest to the highest, it became a device used by
authors and artists to present a moral allegory and a way of depicting
a mystical ladder of emanation. It seems that the illustrations are
informed by the popular symbolism of the day, possibly from the
depiction of these characters in actual parades...1148
1146
. R. E. Guiley, The Mystical Tarot, Signet: New York, 1991, p. 38 and in Place, The Tarot: History, Symbolism, and
Divination, p. 295
1147 . "Definition of Folk Art", Merriam Webster, accessed May 2020, https://www.merriam-
webster.com/dictionary/folk%20art
321
I have performed this research mainly according to E. Panofsky and C. G. Jung who do not
discuss the main differences between high art and popular art, but maintain that art is a humanistic
discipline and thus:
…Man’s signs and structures are records because, or rather in so far

as, they express ideas separated from, yet realized by, the processes
of signaling and building. These records have therefore the quality of
emerging from the streams of time, and it is precisely in this respect
that they are studied…1149
Most of the Major Arcana cards in the Rider-Waite-Smith deck resemble to a certain degree
the three older Tarot/Tarocchi decks previously mentioned in this research, though they sometimes
include a few elements from Eliphas Lévi's occult Tarot deck too.1150 Consequently, it was imperative
to utilize these previous decks in order to create a cohesive research, since the Rider-Waite-Smith
Tarot deck was not designed within an innovative vacuum, and the cards were mostly based on
previous decks for conventional card games as in the past.
A challenging issue that neither I, nor other researchers have been able to answer is why
Waite, who wrote The Pictorial Key to the Tarot, purposefully, decided to omit explanations to some
of the symbols on the cards. As previously mentioned in the Two of Cups Tarot card, Waite maintained
that: "…Some curious emblematical meanings are attached to it, but they do not concern us in this
place."1151 Such an utterance in this case, causes the researcher to play detective, rely on Jung's
symbology, and search for as many visual clues as possible, to understand the iconology and
iconography of the card. Moreover, in relation to the Minor Arcana, the text Waite wrote was a short
description of the cards, followed by its divinatory meanings if the cards were either upright or reversed
during a reading.
Waite's aim was to create a divinatory continuity, which is completely insignificant within the
boundaries of this research, and not included in the facet of the iconography and iconology of the
Rider-Waite-Smith deck of Tarot cards. The objective of this research was to interpret the symbolic,
iconography and iconology aspects of the deck, which was and still is a segment of popular culture.
It is worthwhile to mention that the Rider-Waite-Smith deck is regarded as one of the last
classical decks of the period, and probably the final one. The public of the early-mid twentieth century
was less interested in the occult because of the age of science and technology and thus, the Tarot,

1150 . (see : p. 64 for Eliphas Lévi's the Chariot Tarot card and p. 63 for Eliphas Lévi's the Wheel of Fortune Tarot card
322
used as a divinatory tool mainly by cartomancers slowly faded into the background. The Tarot had a
massive revival during the late sixties - early seventies of the twentieth century with the beginning of
the New Age spirituality. Since then, an abundance of new decks were created based on a variety of
themes including popular television series and movies. Amongst them: the Disney Tarot deck, the
King Arthur deck, the Mystic Faerie deck, the Twin Peaks deck, the Astral deck, the Dragon Age deck,
etc.1152 It seems that, the Tarot deck has returned with full force as a divinatory tool, despite the era
of science and technology. Only time will tell what the future will bring for the Tarot deck, as it can
cease being fashionable and retreat once more into the dark shadows of anonymity or continue its
popular resurgence and become even more widespread than it is at present, the end of the second
decade of the twenty-first century.
1152
. (see: the last two pages in Appendix have examples of modern decks)
323
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9 x 10 cm, illuminated vellum manuscript, The British Library, The British Library Online Library,
accessed, September 2019,
http://www.bl.uk/onlinegallery/onlineex/illmanus/roymanucoll/t/011roy000018d02u00030v00.html
Figure 17. Michelangelo, The Last Judgement, c. 1533 – 1541, fresco, painted on the altar
wall of the Sistine Chapel in Vatican City, Flickr.com, accessed September 2019,
https://www.flickr.com/photos/archer10/5388358235
Figure 18. Hans Memling, The Last Judgment, c. 1466 – 1473, section of winged altarpiece,
oil on panel, length: 223.5 x 72.5 cm, Muzeum Narodowe w Gdańsku, Wikimedia Commons,
348
accessed September 2019,
https://commons.wikimedia.org/wiki/File:Das_J%C3%BCngste_Gericht_(Memling).jpg
Figure 19. Hieronymus Bosch, Ascent of the Blessed, c. 1500 – 1504, oil on panel, 86.5 x
39.5 cm, Galleria dell'Accademia Venezia, Venice, Wikimedia Commons, accessed September
2019, https://commons.wikimedia.org/wiki/File:Hieronymus_Bosch_013.jpg
Figure 20. Artist unknown, The Marriage of Blanchefleur from the Story of Garin and Bégon,
c. 1460-1480, tapestry of wool and silk wefts on an undyed wool warp, Southern Netherlands,
"Intricate Tapestries Set to Reach Six-Figure Sales", The Telegraph, accessed June 2019,
https://www.telegraph.co.uk/luxury/art/intricate-tapestries-set-reach-six-figure-sales/ (Sam Fogg,
photographer), https://www.samfogg.com/exhibitions/15/)
Figure 21. Cesare Ripa C., Loyalty, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia - Moral
Emblems, London: Benz Motte, 1709, p. 49, Figure 194
Figure 22. Castillo de Chaumont, Allegory of Time, c. 1512- 1515, tapestry made of silk and
wool in the city of Lyons France, Cleveland Museum of Art, accessed September 2019,
http://clevelandart.org/
Figure 23. Cesare Ripa, Death, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia (Moral
Emblems), London: Benz Motte, 1709, p. 53, Figure 211
Figure 24. Albrecht Durer, The Knight, Death and the Devil, c. 1513-1514, copper
engraving, 25 x 19.6 cm, The Met New York, accessed October 2019,
https://www.wikiart.org/en/albrecht-durer/the-knight-death-and-the-devil-1513,
http://www.metmuseum.org/toah/works-of-art/43.106.2
Figure 25. William Blake, Death on a Pale Horse, c. 1800, pen, Indian ink, grey wash and
watercolour on paper, 39.5 x 31.1 cm, Fitzwilliam Museum Cambridge, United Kingdom, accessed
November 2019, https://commons.wikimedia.org/wiki/File:William_Blake_-
_Death_on_a_Pale_Horse_-_Butlin_517.jpg
Figure 26. Cesare Ripa, Plenty, c. 1603, illustration, 6.8 x 8.4 cm, in Iconologia - Moral
Emblems, London: Benz Motte, 1709, p. 1, Figure 1
Figure 27. Giovanni Ambrogio Predis, Portrait of Bianca Maria Sforza, oil on panel, c. 1493.
51 x 32.5 cm, National Gallery of Art Washington D.C., accessed Jan. 2019,
https://www.nga.gov/collection/art-object-page.1192.html
Figure 28. Artist unknown, Maria Regina - Mary Queen of Heaven, c. 705-707, detail of
mosaic from the oratory of John VII that used to be in the funerary chapel of Pope John VII in Old St
Peter's Constantinian Basilica in Rome and after its destruction, was moved to St. Peter’s basilica,
349
San Marco, Florence, DOCPLAYER, The-earliest-images-of-maria-regina-in-rome-and-the-
byzantine-imperial-iconography accessed Dec. 2018, https://docplayer.net/61169859
Figure 29. Italian mint, Veiled Olympias, Mother of Alexander the Great, Reclining on Sofa with
Dolphin-Shaped Armrest and Caressing a Rearing Crested Serpent, 375-425 AD, Bronze Coin,
Museum of Fine Arts Boston, accessed May 2019,

https://www.serpentarium.org/3_coins/5_heroes/olympias/3_5_oly_003.html
Figure 30. Artist unknown, The Sacrifice of Polyxena by the Triumphant Greeks, Attic black-
figure Tyrrhenian amphora c. 570-550 BC, The British Museum, accessed May 2019,
https://www.awesomestories.com/asset/view/Polyxena-Achilles-Orders-Her-Death-0
Figure 31. Artist unknown, Detail of Terracotta Kylix (Drinking Cup), c. early 5th century B.C.
Greek (Boeotian), Classical Terracotta black-figure, 8 x 30.5 x 23.7 cm, The Metropolitan Museum
of Art, New York, accessed May 2019, https://www.metmuseum.org/blogs/now-at-the-
Figure 32. Artist unknown, Divine Birth: Athena, Born from her Father’s Head, detail of an
Attic black-figured amphora, 550 - 525 BCE, Louvre Museum, in Hektoen International – A Journal
of Medical Humanities, accessed May 2019, https://hekint.org/2017/01/27/divine-birth-athena-born-
from-her-fathers-head/
Figure 33. Artist unknown, Joan of Arc Portrait, miniature, oil on parchment, c. 1485, Centre
Historique des Archives Nationales, Paris, ThoughtCo., accessed May 2019,
https://www.thoughtco.com/joan-of-arc-picture-gallery-4122932
Figure 34. Artist unknown, The Gift of the Heart, Tapestry of wool and silk, c. 1400-1410,
2.47 x 2.09 m, Department of Decorative Arts: Middle Ages, Louvre, accessed June 2019,
https://www.louvre.fr/en/oeuvre-notices/gift-heart
Figure 35. John Michael Wright, Charles II, oil on canvas, c. 1670, 281.9 x 39.2 cm, Throne
Room, Palace of Holyroodhouse, Royal Collection House, accessed May 2019,
https://www.rct.uk/collection/404951/charles-ii-1630-1685
Figure 36. Dirich Fyring, Odense, The Crown of King Christian IV of Denmark, c. 1595-
1596, Rosenborg Castle, Copenhagen, Wikimedia Commons, accessed May 2019,
https://commons.wikimedia.org/w/index.php?curid=370600, (Ikiwaner – photographer)
Figure 37. Artist unknown, Emperor Maxentius' Scepter, c. 306-312 AD, two to three foot
ivory rod topped with a blue globe, National Museum of Rome, accessed April 2019,
https://www.telegraph.co.uk/news/worldnews/1544019/Sceptre-from-Roman-emperor-exhibited.html
350
Figure 38. Artist unknown, Portrait of Louis XIV, c. 1670, oil on canvas; 196.5 x 159 cm,
Palace of Versailles, in "About the Fashion", Fashion History Timeline Palace of Versailles,
accessed May 2019, https://fashionhistory.fitnyc.edu/1701-hyacinthe-rigaud-louis-xiv/
Figure 39. Artist unknown, Huginn and Muninn Sit on Odin's shoulders, c. eighteenth
century, Icelandic manuscript, Iceland, Wikipedia. org., accessed June 2020,
https://en.wikipedia.org/wiki/Huginn_and_Muninn
Figure 40. Artist unknown, The Legendary Celestial Journey of Alexander the Great Carried
to Heaven by Two Griffins, c. 1300, Romanesque Tympanum carving Norman Architecture, 63 x
124 x 16 cm, St Peter's Parish Church Charney Bassett, Charney Bassett, Oxfordshire (formerly
Berkshire) Gloucestershire, in Montagrier J. L., "Representations of the Fantastical Adventures of
Alexander the Great in Romanesque and pre-Romanesque Art", (Photograph by Martin Beek),
accessed June 2019, http://www.green-man-of-cercles.org/articles/alexander.pdf
Figure 41. Artist unknown, The Aerial Flight of Alexander the Great in a Chariot with two
Griffin, c. 11th century, Relief on the wall of San Marco, in Venice. Previously Relief from
Constantinople, in Montagrier J. L., "Representations of the Fantastical Adventures of Alexander the
Great in Romanesque and pre-Romanesque Art", (Photograph by Martin Beek), accessed June
2019, http://www.green-man-of-cercles.org/articles/alexander.pdf
Figure 42. Ambrogio Lorenzetti, Allegory of Good Government (detail), c. 1338-40, Fresco,
Palazzo Pubblico, Siena, Web Gallery of Art, accessed October 2019, https://www.wga.hu/frames-
e.html?/html/l/lorenzet/ambrogio/governme/index.html
Figure 43. Barthélémy d’Eyck, The Duke of Brittany and his Knights Entering the Town,
Preceded by the Destriers’ Parade, c. 1460-1465, illustration in King René’s Book of Tournaments,
Bibliothèque Nationale de France, Medieval Animal Data-Network, accessed July 2019,
https://mad.hypotheses.org/375
Figure 44. Paradin, Claude: Devises Heroïques, c.1557, sketch, in manuscript Heroiques
Pour un Autre Non, French Emblems at Glasgow, accessed May 2020,
http://www.emblems.arts.gla.ac.uk/french/picturae.php?id=FPAb059
Figure 45. Artist unknown, City Fire, c. 19th century, oil on cardboard, 32 x 35 cm, Galleria
Antiquaria Portus Italy, Proantic, accessed May 2020,
https://www.proantic.com/en/display.php?mode=obj&id=614518
Figure 46. Cornelis de Man, Interior with a Family and Two Nurses before a Fire, c. 1670, oil
on panel, 52 x 45 cm, private collection, Wikipedia Commons, accessed May 2020,
https://commons.wikimedia.org/wiki/File:Cornelis_de_Man_-
_Interior_with_a_Family_and_Two_Nurses_before_a_Fire_-_WGA13905.jpg
351
Figure 47. Leon Battista Alberti, The Trevi Fountain, c. 1453, travertine stone sculpture, (it
was redesigned by Pietro Bracci, Filippo Della Valle, Giovanni Grossi, Andrea Bergondi and
Giuseppe Panini), c. 1732, 36 x 49 meters, Rome Italy, "All You Need to Know About the Trevi
Fountain", Arte & Lusso, accessed May 2020, https://arte8lusso.net/culture/the-trevi-fountain/
Figure 48. Claude Monet, Water Lilies, c. 1917, oil on canvas, 40 x 50 cm, The Legion of
Honor Fine Arts Museums of San Francisco CA, Flickr, accessed May 2020,
https://www.flickr.com/photos/mbell1975/8504567605/
Figure 49. Artist unknown, Sverd i Fjell (Swords in the Rock), bronze, c. 9th century, 10
meters, Madlaleiren Norway, The Swords of Stavanger", Life in Norway, accessed May 2020,
https://www.lifeinnorway.net/the-swords-of-stavanger/
Figure 50. Peter Apian, Planetary Spheres, c. 1524, woodcut, 37.3 x 38.4 cm, in
Cosmographia, manuscript, accessed December 2019, https://www.alamy.com/peter-apian-
cosmographia-antwerp-1524-schema-huius-prmi-diuiionis-sphrarum-coelvm-empirevm-habitacvlvm-
dei-et-omnivm-electorvm-0-decimm-clm-prim-mobile-9-non-clm-critallinm-8-octaum-firmament-7-
coel-satvrni-6-iovis-5-martis-4-solis-3-veneris-z-mercvrii-lv-image185553508.html
Figure 51. Titian, Pastoral Concert (Le Concert Champêtre), c. 1509, oil on canvas,
105 × 137 cm, The Louvre Museum Paris, Wikipedia, accessed September 2019,
https://en.wikipedia.org/wiki/Pastoral_Concert
Figure 52. Cesare Ripa, Crepuscolo della Matina, c. 1709, illustration, Iconologia - Moral
Emblems, London: Benz Motte, 1709
Figure 53. Artist unknown, The Return of Persephone from the Underworld (Hecate on the
left carries a pair of torches and gazes backwards over her shoulder at the goddess, Hermes and
Demeter on the right), c. 440 B.C., Apulian red figure amphora Krater Bell, Metropolitan Museum of
Art, New York, Theoi Project, accessed November 2019, https://www.theoi.com/Gallery/T16.2.html
Figure 54. Nicolas Barnaud, The Fifth Emblem, c. 1599, emblematic plate, in McLean A., De
Lapide Philosophico Triga Chemicum (A Threefold Alchemical Journey through the Book of
Lambspring), accessed November 2019, https://www.Alchemywebsite.com/lambjrny.html
Figure 55. Artist unknown, Lobster-Shaped Pendant, c. 1800 to 300 BC (pre-Colombian

period), golden pendant, 23 x 33.8 cm, Pre-Columbian Gold Museum San Jose, Costa Rica, in
Logunov D., "Costa Rica field course 2014 – Pre-Columbian Gold Museum", Entomology
Manchester, Lobster-Shaped pendant, pre-Colombian period, Pre-Columbian Gold Museum San
Jose, Costa Rica accessed November 2019,
https://entomologymanchester.wordpress.com/2014/06/14/costa-rica-fieldcourse-2014-pre-
columbian-gold-museum/
352
Figure 56. Artist unknown, Phanes Inside the Zodiac, Second quarter of second century AD,
marble relief, 74 x 48.7cm, Galleria Estense Modena Italy Figure 56. Artist unknown, Phanes Inside
the Zodiac, Second quarter of second century AD, marble relief, 74 x 48.7cm, Palazzo die Musei
Galleria Estense Modena Italy, fourth floor, Modena Italy, accessed December 2019,
https://www.gallerie-estensi.beniculturali.it/en/works-of-art/relief-with-aionphanes-inside-the-zodiac/
Figure 57. Artist unknown, Medieval Description of Heavenly Jerusalem, c. 1502, engraving
on print, in Bernard von Breydenbach’s Itinerarium Terrae Sanctae (Itinerary of the Holy Land),
Image copyright the Dean and Chapter of Worcester Cathedral (UK), Worcester Cathedral Library,
The Worcester Cathedral Library and Archive Blog, accessed December 2019,
https://worcestercathedrallibrary.wordpress.com/2016/09/15/the-centre-of-the-world-jerusalem-in-
early-modern-thought/
Figure 58. Raphael, Lady Justice, c. 1508, fresco, detail on the ceiling of the Stanza della
Segnatura, Italy, Wikimedia.org, accessed December 2019,
https://commons.wikimedia.org/wiki/File:Raffael_053.jpg
Figure 59. Andrea Mantegna, detail from Pallas Expelling the Vices from the Garden of
Virtue or The Triumph of Virtue, c. 1499 - 1502, oil on panel, 160 x 192 cm, Department of Paintings
of the Louvre Museum, Room 710, Wikimedia Commons, accessed December 2019,
https://commons.wikimedia.org/wiki/File:Mantegna-minerva-garden-virtue.jpg
Figure 60. Nicolas of Verdun, Samson and the Lion, c. 1181, Detail of the Verduner
altarpiece in Klosterneuburg, Austria, Wikimedia Commons, accessed December 2019,
https://commons.wikimedia.org/wiki/File:Samson_and_the_Lion_detail_Verdun_altar.jpg
Figure 61. Piero del Pollaiolo, Temperance, c. 1470, tempera on wood, 168 x 90.5 cm, Uffizi
2nd floor room 09, Wikimedia Commons, accessed December 2019,
https://commons.wikimedia.org/wiki/File:Piero_del_Pollaiolo_-_Temperance_-_Uffizi.jpeg
Figure 62. Caspar David Friedrich, The Ages of Men, c. 1835, oil on canvas, 72.5 × 94 cm,
Leipzig Museum der Bildenden Künste, Wikipedia org., accessed June 2020,
https://en.wikipedia.org/wiki/The_Stages_of_Life
Figure 63. Dennis Bacchus, Wedding in Ancient Jerusalem, c. 2012, oil on canvas, Ner Art
Gallery, accessed January 2020, nerartgallery.wordpress.com
Figure 64. Jean Fouquet, Entry of John II of France and Joan I of Auvergne into Paris after
their coronation at Reims in 1350, c. 1455, manuscript illumination, BnF, Department of French
Manuscripts 6465, fol. 378 v. Livre de Jean II le Bon, Wikipedia.org, accessed February 2020,
https://en.wikipedia.org/wiki/Royal_entry#/media/File:Entrée_de_Jean_II_le_Bon.jpg
353
Figure 65. Corbin Runnels, Old Man with Sticks, c. 2013, Acrylic on Canvas, 41 x 51 cm,
private collector, Fine Art America, accessed August 2020, https://fineartamerica.com/featured/old-
man-with-sticks-corbin-runnels.html
Figure 66. August Herman Knoop, The Toast, c.1893, oil on canvas, 27.3 x 33 cm,
auctioned to private buyer, Artnet, accessed February 2020, http://www.artnet.com/artists/august-
hermann-knoop/
Figure 67. Walter Schott, Three Dancing Maidens, c. 1806-1824, Bronze nymph fountain,
several castings, Untermeyer Fountain in Central Park New York, the fountain in Den Brandt Park,
Antwerp, the fountain at the Burg Schlitz, Wikipedia, accessed February 2020,
https://en.wikipedia.org/wiki/Three_Dancing_Maidens
Figure 68. Luca Giordano, Triumph of Flora or Primavera, c. 1675 - 1677 oil on canvas, 207
X 310 cm, Castello Sforzesco, Civic Museum of Ancient Art, Lombardy, Milan, Age Footstock,
accessed February 2020, https://www.agefotostock.com/age/en/Stock-Images/Rights-
Managed/MDO-1856025
Figure 69. Bernardino Licinio, Portrait of Arrigo Licinio and His Family, c. first half of the
sixteenth century, oil on canvas, 118 x165 cm, Galleria Borghese, Rome, Wikimedia Commons,
accessed February 2020, https://commons.wikimedia.org/wiki/File:Bernardino_Licinio_-
_Portrait_of_Arrigo_Licinio_and_His_Family_-_WGA12984.jpg
Figure 70. George Romney, The Gower Family: The Children of Granville, 2nd Earl Grower,
c. 1776-1777, oil on canvas, 203 x 235 cm, Abbot Hall Art Gallery Kendal United Kingdom,
Wikimedia Commons, accessed February 2020,
https://commons.wikimedia.org/wiki/File:Granville_Leveson-Gower%C2%B4s_children.jpg
Figure 71. Two French architects and Chinese stonemasons, The Sacred Heart Cathedral,
c. 1863 – 1888, Catholic granite church, the Diocese of Guangzhou, China, Trip.com, accessed
May 2020, https://www.trip.com/travel-guide/guangzhou/sacred-heart-cathedral-76956/
Figure 72. Jacques-Louis David, Belisarius Begging for Alms, c. 1781, oil on canvas,
288 × 312 cm, Palais des Beaux-Arts de Lille France, Wikipedia, accessed May 2020,
https://en.wikipedia.org/wiki/Belisarius_Begging_for_Alms
Figure 73. Artist unknown, Allegories of the Months: July, c. mid-13th century, stone relief
detail, St Mark's Cathedral's main portal in Venice, Web Gallery of Art, accessed May 2020,
https://www.wga.hu/frames-e.html?/html/zgothic/gothic/3a/index.html
Figure 74. Upper Rhenish Master, The Little Garden of Paradise, c. 1410, mixed technique
on oak wood, 26.3 x 33.4 cm, the Städel Museum, Wikipedia org, accessed June 2020,
354
https://en.wikipedia.org/wiki/Upper_Rhenish_Master#/media/File:Meister_des_Frankfurter_Paradies
gärtleins_001.jpg
Figure 75. Paul Signac, The Woman on the Terrace, 1898, oil on Canvas, 73 cm × 92 cm,
National Gallery of Ireland, Dublin, Archive.com, accessed June 2020,
https://arthive.com/paulsignac/works/390971~The_woman_on_the_terrace
Figure 76. Diego Velázquez, Las Meninas, c. 1656 – 1657, oil on canvas, 318 cm x 276 cm,
Museo del Pardo, Madrid, Wikipedia org, accessed June 2020,
https://en.wikipedia.org/wiki/List_of_works_by_Diego_Vel%C3%A1zquez
Figure 77. Pol de Limbourg, Genèse à Isaïe, XXII, 16, c. 1387?-1416 "n.d.", fragment of
illumination on parchment in Bible Moralisée, 41 x 28.5 cm, Bibliothèque Nationale de France,
Pinterest, accessed November 2019, https://www.pinterest.se/pin/454089574927375926/
Figure 78. Pieter Bruegel the Elder, The Tower of Babel, c. 1563, oil on canvas 155 cm x
114 cm, Kunsthistorisches Museum, Vienna, Wikipedia org, accessed June 2020,
https://en.wikipedia.org/wiki/The_Tower_of_Babel_(Bruegel)
Figure 79. Jacques-Louis David, The Oath of the Horatii, c. 1785, oil on canvas, 3.26 x
4.2 m, Louvre Museum Paris, Wikipedia org, https://en.wikipedia.org/wiki/Oath_of_the_Horatii
Figure 80. Sebastiano Ricci, Discord Inflaming the Spirits of the Two Warriors, c.
seventeenth – eighteenth centuries "n.d.", oil on canvas, Piacenza Museo Civico Italy, In Battistini,
Symbols and Allegories in Art, p. 289
Figure 81. Lucas Cranach the Elder, A tournament (Melee - Mêlées), c. 1509, woodcut, 29 x
41.3 cm, Stockholm, National Museum, In M. Belozerskaya, Luxury Arts of the Renaissance, The J.
Paul Getty Museum Los Angeles, Los Angeles: Getty Publications, 2005, p. 151
Figure 82. Rembrandt Harmenszoon van Rijn, The Parable of the Hidden Treasure, c. 1630,
oil on panel, 70.5 X 90 cm, Collection Esterházy, Museum of Fine Arts, Budapest, Wikimedia
Commons, accessed June 2020,
https://commons.wikimedia.org/wiki/File:Parable_of_the_hidden_treasure_Rembrandt_-
_Gerard_Dou.jpg
Figure 83. Raphael, St. George and the Dragon, c. 1504-1506, oil on wood, 28.5 × 21.5 cm,
National Gallery of Art, Washington, D.C., Wikipedia org., accessed August 2020,
https://en.wikipedia.org/wiki/Saint_George_and_the_Dragon_(Raphael)
Figure 84. Treasure Room, Padmanabhaswamy Temple India, Treasure Room,
Padmanabhaswamy Temple India, (Bejoy Mohan Photography), accessed August 2020,
https://www.storypick.com/padmanabhaswamy-temple/
355
Figure 85. Pieter Claesz Soutman, Saint Boniface, c. 1630, oil on Panel, 62.4 x 45 cm, Het
Utrechts Archief, Artnet, accessed September 2020, http://www.artnet.com/artists/pieter-claesz-
soutman/saint-boniface-i4NV0cbfku4JsbWU08iXnw2 and Wikipedia, accessed September 2020,
https://en.wikipedia.org/wiki/Saint_Boniface#/media/File:Saint_Boniface_by_Cornelis_Bloemaert.jpg
www.integratedcatholiclife.org
Figure 86. Artist unknown, Folio 36v - De Pica; the Magpie, "n.d.", illuminated manuscript,
The Aberdeen Bestiary - MS 24 University of Aberdeen, Special Collections, Library, Special
Collections and Museums, accessed September 2020,
https://www.pinterest.de/pin/46584177376921590/
Figure 87. Artist unknown, Sarcophagus of Christian King (Tombeau de la Chrétienne), c.

Middle Ages, 4075 x 34.5 x 22 cm., Cartage Tunisia, Alamy Stock Photo, accessed September
2020, https://www.alamy.com/stock-photo-the-traditional-tomb-of-the-christian-king-in-
archaeological-site-125446534.html
Figure 88. Artist unknown, Saint Andrew's Sarcophagus, c. Early Medieval period "n.d.",
177 X 90 cm X 70 cm, local sandstone, St. Andrew's Cathedral, Wikipedia .org., accessed
September 2020,
https://en.wikipedia.org/wiki/St_Andrews_Sarcophagus#/media/File:Standrewssarcophagus.jpg
Figure 89. Albrecht Dürer, Melencolia I, c. 1514, engraving, 24.5 x 19.2 cm, National Gallery
of Art, Washington D.C., accessed August 2020, https://www.nga.gov/collection/art-object-
page.35101.html
Figure 90. Albrecht Durer, Gerson Dressed as a Pilgrim, c. 1494, engraving, detail of front
piece of the Quarta pars operum of Johannes Gerson, Strasburg, In Battistini, Symbols and
Allegories in Art, p. 224
Figure 91. Vincent Van Gogh, The Starry Night, c. 1889, oil on canvas, 73.7 × 92.1 cm,
Museum of Modern Art, New York City (exhibit of floor-to-ceiling display of detail for "The Starry
Night", L'Atelier des Lumières, Paris, accessed August 2020, https://www.insider.com/van-gogh-art-
exhibit-paris-photos-2019-4
Figure 92. Alexander Dmitrievich Litovchenko, Charon Conveying the Souls of the Dead
across the Styx, c. 1860, oil on canvas, dimensions unknown, Russian Museum, Saint Petersburg,
Russia, Wikigallery.org, accessed September 2020,
https://www.wikigallery.org/wiki/painting_232301/Konstantin-Petrovich-Pomerantsev/Charon-
Conveying-the-Souls-of-the-Dead-across-the-Styx%2C-1860
Figure 93. Artist unknown, Statue of the King Khufu (Cheops in Greek form), The Fourth
Dynasty, Old Kingdom, Egypt, ivory, 3 inches, found in a temple ruin of a later period at Abydos in
356
1903, The Cairo Museum Egypt, Egyptopia.com, accessed August 2020,
http://egyptopia.com/en/articles/Egypt/history-of-egypt/The-Fourth-Dynasty%2C-Old-Kingdom%2C-
Egypt.s.29.13154/
Figure 94. Balthazar Nebot, Allegory of Justice, c. 1730, oil on canvas, 71.9 x 89.2 cm, Yale
Center for British Art, Wikimedia Commons, accessed August 2020,
https://commons.wikimedia.org/wiki/File:Balthazar_Nebot_-_Allegory_of_Fortune_-
_Google_Art_Project.jpg
Figure 95. Artist unknown, Synagoga (Synagogue), c. 1230, column figure from stone,
6' 5"(six feet and five inches), South Transept Portal, Strasbourg Cathedral, Web Gallery of Art,
accessed September 2020, https://www.wga.hu/frames-.html?/html/zgothic/gothic/1/16g_1232.html
Figure 96. John Butler Yeats, The Sick Bed, c. 1950, monochrome watercolor heightened
with white, 20 x 26 cm, collection of the Yeats family from the estate of the late senator Michael
Yeats, Artnet.com, accessed September 2020, http://www.artnet.com/artists/john-butler-yeats/the-
sick-bed-rZhEbeXLfHvWYoxTTArbQ2, and Mutualart, accessed September 2020,
https://www.mutualart.com/Artwork/The-Sick-Bed/E9D6E1DA49D5A6DF
Figure 97. Joseph Wright of Derby, The Dead Soldier, c. 1789, oil on canvas, 101.6 x 127
cm, Fine Arts Museums of San Francisco, Flickr, accessed September 2020,
https://www.flickr.com/photos/artexplorer/5560050617
Figure 98. Andrea di Bartolo, Joachim and Anna Giving Food to the Poor and Offerings to
the Temple, c. 1400/1405, tempera on poplar panel, painted surface 44.1 x 32.5 cm (overall: 45.7 x
34 x 0.6 cm), National Gallery of Art Washington D.C., (Samuel H. Kress Collection), National
Gallery of Art Washington D.C., accessed September 2020, https://www.nga.gov/collection/art-
object-page.184.html
Figure 99. Pablo Picasso, La Famille de l'homme Aveugle (The Family of the Blind Man), c.
1903, oil on canvas, 37.5 X 27 cm, stolen from Whitworth Art Gallery, Manchester, Wiki Art Visual
Art Encyclopedia, accessed September 2020, https://www.wikiart.org/en/pablo-picasso/the-family-
of-blind-man-1903
357
APPENDIX1153
1153
. Below pictures of the entire Tarot and Tarocchi, decks discussed and mentioned in this research, according to the
names of the cards and their sequential positions within the decks. The upper right card is from the Raider-Waite-Smith deck, the
upper center card is from the Visconti-Sforza Tarocchi deck, the top left card is from the Sola-Busca Tarocchi deck and the bottom
card is from the Tarot de Marseilles deck. I have either scanned the cards on my own or downloaded them from various web sites.
Waite and Smith changed the sequence of the Major Arcana switching between the Strength and the Justice cards and inserting the
Fool card before the World card. Moreover, the last two pages (see: pp. 437-438)) constitute pictures of modern decks from the last
decades of the twentieth century.
358
The Tarot Cards for the Postdoc in Visual form
The Magician
Rider-Waite-Smith Visconti-Sforza Sola-Busca
Tarot de Marseilles
359
The High Priestess
Tarot de Marseilles
360
The Empress
Tarot de Marseilles
361
The Emperor
Tarot de Marseilles
362
The Hierophant
Tarot de Marseilles
363
The Lovers
Tarot de Marseilles
364
The Chariot
Tarot de Marseilles
365
Strength
Tarot de Marseilles
366
The Hermit
Tarot de Marseilles
367
Justice
Tarot de Marseilles
368
The Hanged Man – (Prudence)
Tarot de Marseilles
369
Wheel of Fortune
Tarot de Marseilles
370
Death
Tarot de Marseilles
371
Temperance
Tarot de Marseilles
372
The Devil
Tarot de Marseilles
373
The Tower
Tarot de Marseilles
374
The Star – Revelation
Tarot de Marseilles
375
The Moon
Tarot de Marseilles
376
The Sun
Tarot de Marseilles
377
Judgement
Tarot de Marseilles
378
The Fool
Tarot de Marseilles
379
The World
Tarot de Marseilles
380
Ace of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
381
Two of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
382
Three of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
383
Four of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
384
Five of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
385
Six of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
386
Seven of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
387
Eight of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
388
Nine of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
389
Ten of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
390
Page (Valet/Knave) of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
391
Knight of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
392
Queen of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
393
King of Wands (Staves/Batons/Cubs)
Tarot de Marseilles
394
Ace of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
395
Two of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
396
Three of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
397
Four of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
398
Five of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
399
Six of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
400
Seven of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
401
Eight of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
402
Nine of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
403
Ten of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
404
Page (Valet/Knave) of Cups (Chalices)
Tarot de Marseilles
405
Knight of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
406
Queen of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
407
King of Cups (Chalices/Vessels/Bowls)
Tarot de Marseilles
408
Ace of Swords (Crystals)
Tarot de Marseilles
409
Two of Swords (Crystals)
Tarot de Marseilles
410
Three of Swords (Crystals)
Tarot de Marseilles
411
Four of Swords (Crystals)
Tarot de Marseilles
412
Five of Swords (Crystals)
Tarot de Marseilles
413
Six of Swords (Crystals)
Tarot de Marseilles
414
Seven of Swords (Crystals)
Tarot de Marseilles
415
Eight of Swords (Crystals)
Tarot de Marseilles
416
Nine of Swords (Crystals)
Tarot de Marseilles
417
Ten of Swords (Crystals)
Tarot de Marseilles
418
Page (Valet/Knave) of Swords (Crystals)
Tarot de Marseilles
419
Knight of Swords (Crystals)
Tarot de Marseilles
420
Queen of Swords (Crystals)
Tarot de Marseilles
421
King of Swords (Crystals)
Tarot de Marseilles
422
Ace of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
423
Two of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
424
Three of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
425
Four of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
426
Five of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
427
Six of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
428
Seven of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
429
Eight of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
430
Nine of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
431
Ten of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
432
Page (Valet/Knave) of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
433
Knight of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
434
Queen of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
435
King of Pentacles (Coins/Disks/Deniers)
Tarot de Marseilles
436
Some Examples of Contemporary Decks since the New Age:
Some examples of Judgement Tarot card related to Paganism, Druidry, Native American
Spirituality, Zen Buddhism, Greek, Norse, Egyptian, T. V. Series, Disney and Arthurian mythology
Tarot decks.
Aeon Deck Batman Deck Dragon Deck
Fairytale Deck Steampunk Deck Japardize Deck
437
Marvel Deck King Arthur Deck Disney Deck
Twin Peaks Deck Psychobilly Deck Phantom-Wise Deck
438

The Rider Waite Smith Tarot Deck A Study

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The Rider Waite Smith Tarot Deck A Study

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The Rider-Waite-Smith Tarot Deck

A Study in Icon & Iconography & Iconology

By Orly Salinas Mizrahi

Submitted to the Senate of the Hebrew University of Jerusalem

I am profoundly indebted to Prof. Dimitrios Karussis; Head of the Neuroimmunology

Reflections of the Researcher on the Research .................................................................. 14

Chapter1 Some Milestones on Tarot History ....................................................................... 15

The Renesaince …. ................................................................................................. 16

The Italian Tarocchi Decks …. ................................................................................. 17

The Tarot de Marseilles Decks (TdM) …. ................................................................ 21

The Rider-Waite-Smith Tarot Deck …...................................................................... 22

Chapter 2 Subject of Research and Methodology ............................................................... 27

The Collective Unconscious…. ................................................................................ 29

Symbols and Achetypes - Carl Gustav Jung …. ...................................................... 29

Panofsky's Division to Three Strata of Analysis for a Work of Art …. ....................... 31

Chapter 3 Fundamental Symbols of the Tarot Deck …………………………….…….….…33

The Major Arcana …................................................................................................ 33

The Minor Arcana and the Court Cards…. ............................................................... 33

The Suit of Wands …............................................................................................... 34

The Suit of Cups …. .............................................................................................. ..35

The Suit of Swords ………………..…………………………..…………………………...35

The Suit of Pentacles ………..……………………………….………..……….….………36

The Rider-Waite-Smith Tarot deck ….. ................................................................. ...37

The Fool …………………………..……………………………….…………..………….. 38

The Magician ……………………………………..……………… …………..………….. 43

The High Priestess ………………………………………………….……………..…….. 50

The Hierophant ………………………………..…………………….……………..…….. 55

The Chariot …..……………..……………………………………………………..……… 60

The Wheel of Fortune ………………..…..………….………………………..…………. 65

Chapter 5 The Human Life Cycle …………………..………………………………..…….……. 78

The Hanged Man ………………………………………………….……………………….79

The Hermit ………………..…..………….………………………..……………………… 85

Chapter 6 The Royal Court……………..……………………...………….…..……………….… 95

The Empress ............................................................................……………………... 96

The Queen of Wands...................................................................................…….... 104

The Queen of Cups....................................................................................……….. 106

The Queen of Swords ............. ............................................................................ 111

The Queen of Pentacles .................................................................................….... 116

The Emperor ……..………………...………………………………………..……….….. 121

The King of Wands ……..………………………………….…………..……….……….. 128

The King of Cups …..……………………..…………………………………..………..... 132

The King of Pentacles...…………………………………………………………..……... 139

The Knight of Wands...................................................................................……...... 143

The Knight of Cups...........................................................................................…... 146

The Knight of Swords.......................................................................................…... 148

The Knight of Pentacles...................................................................................…... 149

The Page of Wands..........................................................................................…... 151

The Page of Cups.............................................................................................…... 152

The Page of Swords.........................................................................................…... 154

The Page of Pentacles.....................................................................................…... 155

Chapter 7 The Aces……………………………………………………………………………….158

The Ace of Wands............................................................................................…... 159

The Ace of Cups..............................................................................................…... 162

The Ace of Swords..........................................................................................…... 167

The Ace of Pentacles.......................................................................................…... 169

Chapter 8 Celestial Bodies and the World………………………..…………………………….172

The Star............................................................................................................…... 173

The Moon..........................................................................................................…... 177

The Sun............................................................................................................…... 183

Chapter 9 Vices and Virtues……………..…………...……………...…………………………..192

Two of Wands...................................................................................................…... 205

Three of Wands................................................................................................…... 207

Four of Wands ……..………………...…………………………………………..….….. 209