From joy springs all creation, by joy it is sustained,
towards joy it proceeds, and to joy it returns. – Mundaka Upanishad
Tarot de Marseille is a funny creature. Just when you think you’ve ‘figured it all out’, like a chimera it changes into something else. Fortunately I en-joy a mystery and seeking that which has no end. If I’ve learned one thing from TdM, it’s that the same pattern exists in whatever particular wisdom path you choose to follow. “All roads lead to Alexandria.” (wink)
The enigma is perhaps most apparent in the triad sequence, beginning with the Empress. To re-cap TdM’s inherent principal:
One becomes two, two becomes three and
out of three comes the one as the fourth.
Each 3 place card completes a triad from which the next cycle of three will be born, with 21 also completing the entire 3 x 7 cycle. Unlike the 1s with their solar crowns (monadic) and 2s with their lunar vessels (dyadic), there’s no obvious, recurring object in every 3 place card (triadic), other than a predominance of wateriness (and darkness, in the case of 9, 12, 15 and 18). The Mercurial spirit of creation requires a container – a body of some kind – for transformation to take place, AND it is also that container, like caterpillar and pupa. They are not separate, but form each other. The 3 place cards allude to this secret, inner and outer process. Magic is afoot, is all we really know.
[Please click on any images to enlarge]
3
Let’s look at the three cards in the 3 place with the numeric sum of 3. The first, The Empress (3) shows us what we need to know. Atop her sceptre is the globus cruciger or sovereign’s orb – nothing unusual about that….except maybe the size? In reality, a globus this big would be hand held, with a smaller one atop the accompanying sceptre. Masculine sceptre and feminine orb (and the 4 and 3 of the orb’s parts) are being combined, and we can see that the base of her sceptre points to precisely where it’s all going to happen.
In alchemy, one of the symbols for antimony, the ‘wild spirit of man’ (sometimes represented by a wolf) is the reversed Venus/copper symbol – a circle with cross on top. “Pliny the Elder (ca 77 AD) made a distinction between the “male” and “female” forms of antimony; the male form is probably the sulfide, while the female form, which is superior, heavier, and less friable, has been suspected to be native metallic antimony.” [Wikipedia]
But most (?) likely, it is the symbol for cinnabar, the ‘parent’ mineral from which Mercury is born. Note the orb which the philosopher’s child, hermaphroditic Mercury holds as he wades through the alchemical bathwater, below. Is it the cinnabar womb water, or the antimony purification bath, which eats away everything but gold? Or maybe both, considering the two parent luminaries lovingly at hand?
‘The watery matrix holdeth the fire captive.’ – Jacob Boehme
Like the eagle on her shield, the Empress has ‘wings.’ Beside her left hip is a scallop or scalloped bowl/baptismal fount, an old symbol of the Christian pilgrim. The scalloped basin was also a type of alchemical vessel and symbol of the Hermetic pilgrim, according to Fulcanelli. Either way, it has to do with the purification process.
According to 4th century gnosis mystic and alchemist, Zosimos of Panopolis:
‘The ancient and divine writings say that the angels became enamoured of women; and, descending, taught them all the works of nature. From them, therefore, is the first tradition, chema, concerning these arts; for they called this book chema and hence the science of chemistry takes its name.’
For Zosimos, the alchemical vessel was imagined as a baptismal font, and the tincturing vapours of mercury and sulphur were likened to the purifying waters of baptism, which perfected and redeemed the Gnostic initiate. Zosimos drew upon the Hermetic image of the krater or mixing bowl, a symbol of the divine mind in which the Hermetic initiate was “baptized” and purified in the course of a visionary ascent through the heavens and into the transcendent realms.
[Wikipedia]
In both type 1 and type 2 Empress cards (covered by a block of colour in Conver), there is what resembles a triple flag under the basin, likely representing the main 3 stages/colours of the work (black, white, red), as in this relief (detail) on Notre Dame Cathedral depicting all the stages of alchemy (please see this new article on the Popess for more on Notre Dame alchemical reference). It might also represent the three philosophical elements; salt/body, sulphur/soul and mercury/spirit.
All these raw, heavy materials, still in their ‘vulgar’ state almost appear to weigh her down. Mythically speaking, if the Emperor evokes Pluto (aka Dionysus, aka Osiris), his partner must also evoke Persephone, Queen of the Dead and personification of Spring regeneration. The ‘M’ shape of her blue skirt is the age-old symbol for water. Maya or Maia is mother ocean/womb, and Maria is literally ‘Maia with fire (R/Ur) in her belly’ (covered by red vest). The perennial fountain? Or an alembic? I like to think of her eagle shield as the ultrasound screen, and her sceptre as the transducer. But again, M might just stand for MERCURY, here in female form (remember, with 3s, the process, container and its contents are as one).
Another honourable Maria, namely Maria the Prophetess, was the first [non-mythical] alchemist of the western world. Written about by the great Zosimos of Panopolis, she lived sometime between the 1st and 3rd centuries in Alexandria, Egypt (of course). Maria also had a favourite axiom:
One becomes two, two becomes three and
out of three comes the one as the fourth.
Wait, haven’t we heard that before? Did she get it from Pythagoras (who lived several centuries prior) or is it just a case of universal truth? Both geniuses stood faithfully by these words. Pythagoras was not an alchemist, but nevertheless, he understood this fundamental equation to be the basis of all creative cycles.
‘Maria the Jewess,’ as she’s also known, “incorporated life-like attributes into her descriptions of metal such as bodies, souls, and spirits. She believed that metals had two different genders, and by joining the two genders together a new entity could be made.” [Wikipedia]
She is accredited with many firsts, particularly her invention of the balneum Mariae (bain-Marie), progenator of the modern-day double-boiler. Of her written works surviving in Arabic we find two most curious titles; The Book of Maria and the Wise Men and The Epistle of the Crown and the Creation of the Newborn Baby.
Maria excelled in both mystical and scientific approaches and it’s thought she may have originated the idea of 4 colour stages in alchemy. Indeed she herself was an alembic, which is the whole point of this exercise, the teachings of the 3s. Hermes Trismegistus (‘thrice great’) was another such person, albeit more mythical. In Pythagorean numerology, 3 is the number of creativity, joy, artistic expression. In astrology, the trine is considered the most harmonious aspect, connecting planets or points of the same element. (However, it is fiery and energy can flow with lightening speed for better or worse).
So, the Empress, similar to the Juggler, has all four elements (or stages) about her, in physical form; earth (ground below + snake/globus + barely visible horns), fire (crown + hair), air (wings + human features) and water (blue robe/shell). The eagle represents the work as well as the water element, and, if we look closely, we can see one of its wings is shaped like a wave, the other more like feathers/flames. This can be interpreted as inherent polarities, or perhaps the ‘moist’ and ‘dry’ paths of the work.
The difference between Juggler and Empress is that 1 alone can’t yet do anything with all the separate, single parts, other than superficially (ie, practical magic), like performing tricks or perhaps trading with Jack for his cow.
The Empress and Emperor will complete each other (he too has orbed sceptre and eagle, and faces toward her), but they have not yet come together, they are still 3 and 4, neither added nor multiplied.
In this older version (below), that she has attributes of the four ‘elemental beasts’ of the World card are more obvious; longer ‘horns’ (in crown and necklace), wings/human, eagle/phoenix and even a lion’s paw/mane.
12
I’ve already written on some of the 3 place cards – the Hanged Man, the Hermit, the Devil and the Moon – so will just touch on the Hanged Man (12) here, as he’s part of this 3 x 3 sequence.
His flaming hair and his number might suggest solar connotations, although he’s still situated in-between the Sun and Moon ‘parents’. The Sun represents the gold, and thus the process of purifying the ‘inner’ (philosophical) gold is in progress. But it is not the literal Sun, physical fire or material gold. Rather, it is a different fire altogether.
In the middle example, the number is placed so that he is flipped, indicating that as his body descends, his spirit ascends (note the lunar and solar ‘mounds’ on each side of his head, the solar one containing all the heavenly spheres), with emphasis on the spiritual. Not an accident, but likely an Orphic reference. In the third card, the descent of the ‘Sun’ (his head) into matter is emphasized. High noon and midnight, apex and nadir, bipolar. It really is like the separation that goes on inside the alchemist’s glass egg. The main thing is that we can’t observe his inner process. Typically, the Hanged Man’s expression is placid, as if he’s either in acceptance or ‘somewhere else.’ His gibbet is like a (golden) doorway or threshold. All of this suggests he is experiencing what’s known in alchemy as the secret fire:
Search, therefore, this fire with all strength of your mind, and you shall reach the goal you have set yourself; for it is this that brings to completion all the stages of the Work, and is the key of all the Philosophers, which they have never revealed in their books. If you think well and deep upon this above-mentioned fire, you will know it. Not otherwise.
– Potanus, The Secret Fire
To me, the Visconti-Sforza version looks very alchemical, its colours alluding strongly to the (philosophical) Green Lion devouring the Sun. I love how well the following description of the symbolism relates to the card, albeit it seems to be more from a Jungian perspective than traditional alchemy (and granted, the solar ‘ego’ looks anything but terrified):
The image corresponds to the releasing of primordial essence. That is why the lion is green, which is a primordial, unripe color. It also connotates fecundity. Eating the sun symbolizes the dominance of the Ego by instinctual forces. It is the beginning of a return to a more natural psychological state in which human beings flourish.
The ego perceives the encounter as terrifying because all transformational processes appear to be a kind of death to the ego. However, this process is the catalyst for an encounter with the Self. The instincts are amoral relative to human society and culture. Social conditioning aims to keep the instincts in check until the Higher Self is adequately present. Once present, our attitudes and feelings will be conditioned and directed by the Self. Otherwise, we experience a regression to the animalistic nature.
~ Tony Laguia, ‘The Green Lion Devouring the Sun‘ [Medium]
21
The World (21) card, signifies the completion of the opus, the central figure representing ‘quintessence.’ Like an awakened eye, it is the revelation of that which embodies the essence of all past forms and potential for that shall be. In other words, what has been purified through many transformations becomes a catalyst for transformation; the Holy Grail or Philosopher’s Stone. Perhaps you’ve met someone who is a human tuning fork, or experienced a work of art, poetry, music, etc. that in its perfection had the effect of putting you ‘right side up’ again. Perhaps Tarot itself. ‘A light cannot help shedding its light. A flower cannot help giving off its fragrance.’ [Upanishads, ibid] When the young man in arcanum 6 was being initiated into the school of Venus/Eros, it was with the ultimate purpose of becoming just such a universal lover. ‘Everybody loves a lover.’
Ascend above any height, descend further than any depth; receive all sensory impressions of the created: water, fire, dryness and wetness. Think that you are present everywhere: in the sea, on earth and in heaven; think that you were never born and that you are still in the embryonic state: young and old, dead and in the hereafter. Understand everything at the same time: time, place, things: quality and quantity.
~ Corpus Hermeticum, 1460
The four creatures in the corners are assumed to be the four evangelists, the fixed signs of the zodiac, the seasons and/or the 4 elements. However…the bull is also lunar (2), the lion solar (1), and as we can see, they are now conjoined (3). The eagle previously represented the alchemical work, so then who might the winged human be when they’re at home? What of the Empress’ wings? Hmm.
Incidentally, Egyptian initiates were called ‘scarabs’ because they ‘pushed along the egg of their regeneration’ – the container and the work?
Below, left, is the oldest of all known TdM type World cards (found in the Sforza castle cistern). Though it is badly damaged, some curious details remain. The androgyne or hermaphroditic Christ/Dionysus figure appears to have one breast only, on their right side, which is our left (mirroring). Their other, male side has the thicker leg. On their breasted/female side, the partially-obscured bull (or cow) has perfect, lunar crescent horns and on their male side, the lion has distinct, solar rays in its mane. Unique to this card, the angel in the top left (Aquarius/Matthew/air) has a ‘flame of inspiration’ in his forehead – ‘fire in the belly’ raised to crown level?
The Vieville version, right, mixes things up a bit – bull and lion are switched around and have no wings. Since this card depicts a sexless figure facing straight forward, I ventured to see what one might look like as two. (Admittedly, it felt taboo, but…for science).
The male twin has a red cloak, denoting fire and his life force energy is directing upwards, expressed poignantly by what’s left of the sceptre. His body, arms open, creates an M for Mars. The female twin has a dark blue cloak, denoting water and her large V for Venus directs life force energy downward to her vulva, which she covers with her hands. Two opposite triangles, converging as one. Recall the Empress’ eagle shield. Also, that her eagle’s wings point upward, his downward, similar to the yin-yang idea of ‘opposite but interconnecting, mutually perpetuating forces.’ [wiki]
In medieval alchemy, ‘philosophical Mercury’ is what remains when earth, air, fire and water are removed from a substance. It is associated with ‘prima materia’ (‘first matter’), from which all other matter is composed.
When you make the two one, and when you make the inside like the outside and the outside like the inside and the above like the below, and when you make the male and the female one and the same, so that the male not be male nor the female female, and when you fashion eyes in the place of an eye, and a hand in the place of a hand and a foot in the place of a foot, and a likeness in the place of a likeness: then will you enter [the kingdom].
~ From the Gospel of Didymos Judas Thomas (‘the Twin’), Nag Hammadi Library
Whatever wisdom path you choose to follow, the same patterns are found, and this is because patterns are ultimately geometrical/mathematical. But wisdom is not just an intellectual exercise. It must be applied, to thrive.
In Sanskrit, ‘anahata’ means ‘unstruck.’ (Funny, considering arcanum 6). The anahata or heart chakra, illustrated by two, interlocking triangles, is associated with unconditional love, compassion, and joy. This rose window of our personal cathedral serves to balance the upper (spiritual) and lower (material) chakras, so that we may experience pure love for both self and others, without attachment and expectation.
On March 21 (3/3), Venus (Ptolemaic 3rd sphere) will conjunct Saturn in Pisces. Saturn is the cold karma lord and task master of our consciousness, who has a way of shackling the heart with guilt, pain and sorrow. In Pisces, Saturn can feel like the weight of the whole, wretched world (as we collectively witness the shadow expression of yet another ancient symbol). Venus, on the other hand, exalts in Pisces, bringing potential for a moment of healing, amnesty and grace to weary hearts. Like the Empress conducting Venus into her belly, if we channel the energy of this transit, perhaps whatever beauty we create from it will serve as a tuning fork for someone, somewhere, sometime down the road. ~ rb
Thanks for reading!
All written content except quotations is copyright© Roxanna Bikadoroff and may not be reused or reprinted. Please share via LINK ONLY (accompanied by pull quote/paragraph with credit/link is fine).
