[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.
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.
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.
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.
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.
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.
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.
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…’
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