Tag: esoteric

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A Book by it’s Cover – ‘New’ Insight on The Popess of Tarot de Marseille

Prudence/Wisdom, 17th c needlework book cover, British (Met Museum, NY)

Theory has it that the 4th Cardinal Virtue, Prudence, is ‘missing’ from Tarot de Marseille. Many have tried to figure out which, if any, of the other trumps could possibly be her (Star, Popess, Hanged Man, Hermit and World have been proposed). My own speculation is that, if she is indeed present and hiding, a conglomerate of Popess and Pope could share the role of Prudence, on account of the Janus face, as well as making sense numerically – each Virtue falls into the ‘2’ placement, as do the Pope and Popess. Prudence was said to be the ‘mother of all Virtues’, without which one could not master the others. However, the World card does suggest wisdom attained (the Stone), as opposed to wisdom being received or sought.

Janus-faced Prudence with serpent and book, ca 1480-1520

In a previous article, ‘Disrobing the Papal Couple – Tarot de Marseille’s Pope and Popess,‘ I used an image (sculpture) of a Janus-faced Prudence as the opener. But because I’m more attracted to exploring the cryptic, esoteric principals at work in TdM, and the Cardinal Virtue identities of Justice, Strength and Temperance are exoteric, I didn’t venture down that road. There’s enough existing literature on this. Instead, I explored the Popess as an initiator, oracle and portal to the mysteries, noting that her book was wide open because her ‘greater’ mystery was hidden inside. Also that the strap going across her chest went from the book’s spine to her heart, suggesting a pathway of ascent.

BUT there was one thing I had neglected to notice, another piece of the puzzle. It just amazes me how Tarot de Marseille keeps offering up new bits n pieces, like treasures washing up on the beach. Maybe I’m late to the game, but I’ve never encountered mention of it anywhere, so, for what it’s worth…

Philosophia aka ‘Allegory of Alchemy’, Notre Dame Cathedral (central portal) Paris

Above is a relief from the gothic Cathedral of Notre Dame in Paris. It’ is a  figure of Philosophia, a 19th century restoration by Eugène Viollet-de-Luc, honouring the medieval sciences. Believed to be based on Boethius‘ vision of Philosophia with the ladder of Liberal Arts (see below), it has nevertheless come to be widely known by its esoteric name, Allegory of Alchemy, as deduced  by the mysterious 20th century alchemist Fulcanelli in his Le Mystère des Cathédrales. The two aren’t mutually exclusive, to alchemists, since alchemy is ‘natural philosophy’ and at one time they did refer to themselves as philosophers (hence the ‘philosopher’s stone’, not the ‘alchemist’s stone’). The important detail for us is that the figure is holding two books; one is held open, symbolizing the exoteric or lesser mysteries, the other is hidden behind, closed, symbolizing the esoteric or greater mysteries (which is not universal in depictions of Philosophia).

Philosophia and the Ladder of Liberal Arts, ca 1230, Universitats Bibliothek Leipzig.

The 9-runged ladder – the scala philosophorum or scale of the wise – is an emblem of the mystical ascension “that raises man through the transformation towards the Divine and the understanding of art.” [Melinda Miceli, ‘Isis in Paris‘] In his definitive book, Fulcanelli describes it as “glyph of the patience the faithful must possess in the course of the nine successive operations of the hermetic labour.” [Wikipedia]

Besides Boethius and alchemy, this mystical, hierarchical set of steps to spiritualization has other symbolic variations, including Plato’s Ladder of Love, which ascends from erotic, physical love to appreciating beauty in the soul: ‘This hierarchy is conventionally referred to as Plato’s scala amoris or ‘ladder of love’, for the reason that the uppermost form of love cannot be reached without having initially stepped on the first rung of the ladder, which is the physical attraction to a beautiful body or individual.’
Philosophia means ‘lover of wisdom’.

However one wishes to interpret the scala philosophorum, the hidden book’s content is revealed only by way of its ascension. Wisdom is unfolded to us in a timely process, there’s no skipping steps to the second book.

Now, please look tres carefully at these ‘type 2’ versions of the TdM Popess, below. Do you see it?

Three Conver versions, ca 1760

…How about in these ones?

Burdell 1751, Madenié 1709, Héri 1718.

That’s right…TWO BOOKS. One open on top, the other closed, hidden behind/under it.

The serpent held by Prudence is said to represent Wisdom (‘be ye wise as serpents’), but when she also holds a book, the serpent might represent esoteric wisdom in particular, ie, mysteries. “Look like th’ innocent flower but be the serpent under’t” ? The Popess, by nature of her number is the first expression of duality. Thus, she is the gateway to and source of two wisdom paths; outer and inner, solar and lunar. On one level, she represents the orthodox or dogmatic teachings of the faith (church) and/or (if you like) the Cardinal Virtue Prudence, aka classical Wisdom. Simultaneously, on another level, Gnostic Wisdom and/or secret spiritual self-knowledge, aka ‘for initiates’.

The Juggler laid out the tools and the Popess provides the instruction manuals, two ways of understanding the Tarot de Marseille. But maybe it’s first necessary to start with the book that is (somewhat suggestively) held wide open, before following the strap from its spine, toward the greater mysteries of her heart.  ~rb

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– Full text of Fulcanelli’s Mystery of the Cathedrals ( English translation).
– Audio of same, for those who like to be read to.
– Great image of the  alchemical ladder in this scholarly paper on alchemy in Shakespeare’s Julius Caesar’.
– Another site detailing the alchemical symbolism at Notre Dame.

Here’s another example from Notre Dame, which, according to Fulcanelli, represent the different stages of the work.

Alchemical reliefs on Notre Dame Cathedral, Paris

 

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Horapollo and the Hieroglyphic Mysteries of Tarot de Marseille


It is a tradition in esoteric history that whenever a new culture is embryonic in the womb of an older one, or when an esoteric school recognizes that a culture has served it’s purposes and is coming to an end, then a major work of art is created in dedication, as an outer sign for future ages. The work of art may be a remarkable piece of music, a poem, a garden or a building — but whatever its external artistic form, it encapsulates, in entirely esoteric principals, a summary of what has gone before, and what is to come. All great esoteric artists from Dante to Shakespeare, from Milton to Blake, have recognized this primal function of their art. The interesting thing is that all too often it is the exoteric aspects of their products which attract attention of those who follow, and the esoteric contents remain hidden, save perhaps for the seeing few, who are themselves alive to the esoteric background to human history.

– Fred Gettings, The Secret Zodiac

Marcus Zuerius Boxhorn, Emblemata, 1635

At the height of Renaissance in the 15th century, a fresh, Humanistic view of the world was flourishing. Scholarly and creative minds, it seems, had been opened through a revised symbolic and syncretic way of thinking. Revised, because a pre-existing, Medieval tradition of visuals serving as a window to higher concepts was already well-established, as were heraldic devices and emblems, but a big part of the collective re-awakening came by way of a new, parabolic language in the arts, born or copied from an older one shrouded in mystery. Renaissance literally means rebirth. But who and what was being reborn? A civilization, perhaps, that had planned for just such an everlasting afterlife?

[please click images to enlarge and read]

In Italy, especially in Florence, there was great interest in learning from the distant past. Greco-Roman revivalism in poetry and philosophy, art and architecture thrived, as the nobles competed for legacy and church fathers, for a time, actively encouraged and commissioned works. Pagan gods and goddesses frequently appeared alongside Christian ones, albeit not as subjects of worship (except for Isis, under guise as the Virgin). Ex-pats had returned from exile with personal libraries including medical, alchemical and astronomical manuscripts from the Middle East. Arthurian legends of courtly love from England and France were extremely popular. The printing press now meant more people could have access to literature – although nobles considered printed works to be gauche and still preferred to commission hand-crafted books. Among these, of course,  was the first, Latin translation of The Corpus Hermeticum. The ‘alchemization’ of Europe had begun.


(More here. Pre-Conver Emperors do not show the Basilisk throne).

Egyptian artifacts, housed in Italy since Roman times, were a major part of this resurgence in all things ancient, esoteric and therefor exemplary. (To give you an idea, Pope Alexander VI aka Rodrigo Borgia even had his genealogy ‘traced’ back to Osiris thus establishing a link between the Egyptian gods and the church). Renaissance Humanists, fascinated by hieroglyphs, began a race to unlock them that would continue for the next 3 centuries. One main source of reference was a manuscript called ‘The Hieroglyphics of Horapollo Nilous.’ Horapollo (Horus Apollo) was a 5th century Egyptian scribe and one of the last remaining priests of Isis, who had also made a partially successful effort at decipherment (hieroglyphs were already thousands of years old, by his time). A translation of his work had turned up in Florence, in 1422 and was first printed in 1505. Another, slightly later reference source was the ‘Mensa Isiaca‘ or Table of Isis, which Athanasius Kircher in particular took as a model.

Egyptian winged Uraeus and Hieroglyphica by Valeriani, 1556

‘Hieroglyphica’, as it became known, inspired a tidal wave of emblematic art (‘emblemata’), as neo-Platonists and others sought to emulate these cryptic little pictures, resulting in an imaginative, western European hybrid. Hermetic and alchemical artists would employ this method of concealed meaning ‘for initiates only’ (namely, other hermeticists/alchemists).

This genre of the symbolic rereading of the hieroglyphs – “enigmatic hieroglyphs” as Rigoni and Zanco (1996) call them – was very popular in the late Hellenistic period. It should not surprise us, then, that so many Renaissance Humanists – for whom this was all quite familiar through Lucan, Apuleius, Plutarch, Clement of Alexandria and, especially, Ennead V by Plotinus – should see in the Hieroglyphica a genuine connection with the highest sphere of wisdom.

– Studiolum 

Other antiquities being scoured for emblematic images were things like Roman coins, medallions and gem charms, which the ruling class loved to collect. Roman carved gems in particular were highly sought after, and became family heirlooms, often set in jewelry [see ‘Death and the Moon’ post].

It was out of this tradition that Tarot de Marseille emerged, presumably in Italy, during the mid 16th century. [No known prior examples of the classic TdM format exist and the oldest known example of a triumph is a single, World card – the oldest complete decks known are 17th century.] Its images are not just allegorical, but ‘hieroglyphic’ in nature – though obviously not actual Egyptian hieroglyphs. The apparent (I would even say obvious) application of Horapollo’s descriptions alone leaves little doubt, though, that they were purposefully designed with visual clues that provided a context for imbedded messages. What that purpose was and why playing cards, we can’t know for certain, but as Counter-Reformation loomed on the horizon, maybe it was time to encapsulate esoteric principals for future ages?

I will dive more deeply into some of the ‘glyphs in the other cards (not included herein), in upcoming blogposts, but wanted to provide this overview, first.

Stay tuned! ~rb

Wee sphinx from Minchiate Tarot, 18th c

All written content herein except quotations is COPYRIGHT ©ROXANNA BIKADOROFF and may not be reused in full anywhere without permission. Please share via LINK only (with short, credited pull-quote, if needed).

QUOTATIONS:
~ Fred Gettings opener from ‘The Secret Zodiac – The Hidden Art in Mediaeval Astrology’ [Routeledge & Kegan Paul, 1987]
~ ‘Enigmatic hieroglyphics’ quote from studiolum.com
~ Horapollo text translations (Alexander T. Cory, 1840) from sacred texts.com

REFS/OTHER LINKS:
~ The Egyptian Renaissance – The Afterlife of Ancient Egypt in Early Modern Italy, Brian Curran, Penn State University (pdf)
~ Hieroglyphs and Meaning, Lucia Morra, Carla Bazzanella (pdf)
~ Pinturicchio’s Frescoes in the Sala dei Santi in the Vatican Palace, Roger Gill, Birmingham City University (pdf)
~ The Art of Small Things by John Mack [Harvard University Press]
~ Horapollo Hieroglyphica via Jason Colavito
~ Giovanni Pierio VALERIANO BOLZANI Hieroglyphica, Google Books

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The Hermit – Shedding a Little Light on the Situation

[Originally posted April 17, 2023, now re-posted with some Mercury retrograde addendums and edits. Enjoy!]

In 15th century Renaissance Tarot decks, this allegorical figure was called ‘Time’ and his device was an hour glass. Later, with a few exceptions, it was replaced by a lamp, changing the meaning somewhat. Instead of being a Saturnine symbol of old age reminding us of the passing of our mortal existence, he became more of a monk-sage, holding up a guiding light for seekers. But as we shall see, the two are not so different.

Visconti-Sforza Time

In this well-known Visconti-Sforza card, Father Time holds the hourglass and wears the deep blue of Lapis, i.e, wisdom/the philosopher’s stone (Lapis simply means ‘stone’). This he will wear into future Tarot decks, it is his trademark. On his head, a dome-shaped turban with rings. Until the 18th century, Saturn was known as the outermost planet, whose orbit encircled those of all the other planets’. It was the last stop. The average person was fortunate to experience one or even two Saturn returns in a lifetime. (The super-power of survival, however,  is a common gift to those born  under his rulership).

His colours are probably indicative of ‘the work’. Inside its holder, the hourglass is black and white (I inquired – it is not tarnished silver, but black paint). Likely this means the white inside it is salt. The tria prima of philosophical alchemy are as follows:
– SALT representing the body, which is material (in hourglass, also his white gloves, socks, hair)
– SULPHUR representing the soul, which is fiery (hat colours, also his lining or undergarment, boots)
– MERCURY representing the spirit, which is watery (blue cloak)
The green grass is symbolic of renewal/rebirth, nature, and is perhaps also an alchemical reference, which the Hanged Man card of this deck picks up on.
The planets are the ‘above’ to alchemy’s ‘below’, the metals, but spiritual (or philosophical) alchemy is about the transmutation of the soul.

Saturn, from Lazzarelli’s De Gentilium Deorum Imaginibus, ca 1470

The ‘So-Called Mantegna’ prints, an Italian Renaissance relation, though not actual cards, were a little more esoteric. Above is a page from a book by Ludovico Lazzarelli, which beautifully replicates the prints, in colour, with fancy borders. While still nothing typically Hermit-like about him, other than his shabby cloak, Saturn is doing the most allegorical thing possible to show the passing of time – eating his offspring, in order that he might reign eternal and avoid succession. (This was actually what kept patriarchs awake at night,  in olden days). The serpent or dragon biting its tail is one of the oldest alchemical symbols, representing mercury and the work itself; ‘my end is my beginning’.

Seated in a line, as if to complete a (second) scythe shape, are four of his children, a fifth one is about to be devoured. The sixth, Zeus-Jupiter has been hidden away by his mother, Rhea, and will later return to  succeed his Titan Father, beginning a new era of Olympian rule and providing an endless supply of mythology for generations to come. That cherub on the right holding a golden  ‘O’ (mirror or empty picture frame) for ‘Olympus’ might be him, preparing his new place in the line. The babe at its father’s lips must be Vesta, who was born/eaten first (and coughed up last). In fact, at one time, first-borns were given to the Gods, in sacrifice, that was their honour.  Again, the theme of age, elders, death. Note the mysterious (funerary?) urns which match the four, seated babes – Juno, Pluto, Neptune and Ceres. Missing is Vesta’s urn…are we to presume that Saturn himself is the container for her? Attached to the two brothers’ urns is a wreath, signifying completion, while new growth emerges from the sisters’ taller urns.

Rare Vesta in human form, from the lararium of a bakery in Pompeii, 1st c. (Vesta was patron Goddess of bakers). Note she also appears to be holding a coiled serpent. The ass was sacred to her.
Vesta or Vestal, lifting her lamp

In Ancient Rome, Vesta (Greek Hestia) was Goddess of the hearth, eternal flame of the city. Vestal Virgins enjoyed much privilege…as long as they kept their vow of chastity and never let the eternal flame go out.  Punishment for either was severe, usually being sealed up or buried alive. Extreme Saturn. The fate of Rome itself depended, it was believed, on that fire being kept alive. Similarly, and prior to this, in each Roman home, women had to ensure their home hearths didn’t go out, lest the ancestors and living family should suffer calamity.

Europa, Ripa 1603 and TdM style Hermite, 18th c (?)
Lamp-lifting Hermits: Old one from Lyon, Dodal Tarot de Marseille mid-17th c, Grumppenberg ca 1807-1816 (note the copulating snakes suggesting Tiresias).

Am likely not alone in seeing the Hermit’s lamp as being temple-shaped. It was indeed Vesta’s temples that were circular and domed, to replicate the dome of the sky over the earth. Just as Vesta’s flame represented eternal life, the little light in the Hermit’s temple-shaped lantern must also be symbolic of the eternal existence of spirit. 9 is indicative of (human) gestation…a most mysterious alchemical process. Interestingly, Vesta, with Janus, was also connected to liminality, in particular the marriage threshold. Typically the Hermit is looking back to illuminate the past, the dweller on the threshold of transformation.

Roman coin, silver, 55 BC

Returning to the Visconti-Sforza card, we find that the leap from being an allegory of Time to the christianized (?), hermetic Hermit of TdM is really just a small step. His hourglass is encased in a tri-sectioned (Hermes-Mercury), lantern/temple-shaped holder, and the black outline of the hourglass is shaped very much like two, entwined snakes. The TdM card simplifies it into a tri-sectioned lantern and calls him l’Ermite or l’Hermite, as an added clue (both old and new French were used, depending on when/where the cards were printed, meaning doesn’t change). Time is not simply about counting hours, but is essential to the great work that is our development of spiritual wisdom over the course of a lifetime. This ultimately (hopefully) prepares us for our transition from bodily form to spirit. The blue cloak takes up most of the V-S figure, while the white areas of salt and body are comparatively small.

V-S card detail

By now I hope you can see the connection between Saturn, representative of constricted time, lead and bodily age, and Vesta, embodiment of the vital, ever transformative life force energy – that which is eternal, whether you interpret it as Earth-fire, the Sun (by which her sacred fire was lit for the Olympic Games) or Holy Spirit. The Hermit holds up this little, temple light not as literal Vesta, but to evoke what her temple and fire signifies. Number 9 will in fact re-emerge or be reborn, in the Sun card, number 19, after a process of being ‘tortured’ (alchemically speaking) through the next 9 cards. In astrology, too,  the 9th sign, following the trials of Scorpio, is Sagittarius (aka the Sage) – mutable, transforming flame of the fire triplicity. Keep this light burning within you at all times, never let it be snuffed out. If it is, well, fortunately Vesta is also the sacred, phallic fire stick (brother Jupiter to the rescue!), with which she rekindles herself. This was inserted into a hollow piece of wood and “rotated in a phallic manner” to light her flame, ahem.

Time/Hermit, Bologna Leonne 1776 and Horologion (time keeping) Tower, Athens

Segue and full circle… I had mentioned device exceptions. This Time/Hermit figure above has both a (phallic?) column – probably a sundial, ironically – and wings on his back. It is usually interpreted as the fleeting of time but another way to see it is buoyant spirit (wings) readying to leave the heaviness of this mortal coil or simply not being affected by it. Perhaps the same sort of idea as the Tower card, a release from bondage or prison. Sometimes the elderly do begin to look angelic. Or maybe it’s just the signature of our old friend, Hermes-Mercury, the winged wonder. [Addendum: I intend to do a whole separate post about this.]

The Sanskrit word for temple (I recently learned), mandir, is a combination of mana, meaning ‘inner self’ and dir, meaning ‘a place’, ie, a ‘place where the inner self lives’. I can think of no better description for The Hermit.
Tarot images are cryptic, it’s not ‘this = that’, but rather, ‘this resembles that, I wonder if there might be a reason…’

Saturn and Vesta sitting in a forest, The Allegro & Il Penseroso of Milton, 1848 [BM]


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