The Magician and The Fool Podcast

This is a link to a podcast of a recent interview with me.

The Magician and the Fool Podcast


72dpi Card Back Al 4th

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Music and the Tarot

72dpi Orpheus 450BC

Recently I was asked if I know of a connection between music and the Tarot. This immediately brought to mind my Tarot of the Sevenfold Mystery and how the sevenfold mystery of the title is connected to the seven notes in the Western musical scale. To explain this connection I will start with the section on Pythagoras in Chapter Four

from my new book, The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism.



The Greek Mysteries were a major influence on the Western practice of white magic and one of first groups of magicians to be influenced was the mystical school of philosophy founded by Pythagoras (born 580-572 BCE, died 500-490 BCE). We commonly think of Pythagoras as a great mathematician who is credited with the geometric theorem for determining the relationship of the areas of the squared sides of a right triangle. (The square of the hypotenuse of a right triangle is equal to the sum of the squares of the other two sides.) All of our information about Pythagoras, however, comes from authors that lived in the centuries after his death and we cannot be certain if all of the things attributed to him are true, including whether or not he developed the theorem that is named after him.


What was written about Pythagoras is that he was the first person to call himself a philosopher, which was a title more like sage or mystic at the time, and he was as interested in the symbolism of numbers as he was in their use in geometry. He also saw a connection between music and numerical order and this type of reasoning led to sacred geometry. In the ancient world, he was spoken of with reverence and awe. It was said that he had a golden thigh, that he could be in two places at one time, that he could charm animals, and that he could remember his past lives. Many believed he was a god or at least an enlightened master.


In the 3rd and 4th centuries CE, the earliest Neoplatonic authors, Porphyry and Iamblichus, wrote biographies of Pythagoras. Iamblichus (c.250 – 325CE) was heavily influenced by Pythagoras and attempted to write a ten-volume encyclopedia on the older philosopher, who preceded him by over 800 years. Because of this interest, Neoplatonists may also be though if as “Neopythagoreans.”


In his biography, Iamblichus tells the story of Pythagoras’s birth. Pythagoras’s father, Mnesarchus, was a merchant and an inhabitant of the Aegean Island of Samos, a rich Greek trading center that had trading ties with Egypt and the Levant. While on a business trip, Mnesarchus visited the Oracle of Delphi to ask advice about a trip to Syria. The oracle told him it would be a successful business trip, but then went on to predict that his wife, Parthenis, was pregnant, and that by the time he returned she would have given birth to “a son who would surpass all others who had ever lived in beauty and wisdom, and that would be of the greatest benefit to the human race in everything pertaining to human achievements.” (Guthrie, Kenneth Sylvan, The Pythagorean Sourcebook and Library: An Anthology of Ancient Writings Which Relate to Pythagoras and Pythagorean Philosophy, Grand Rapids: Phanes Press: 1987, p. 58)


When he returned from his successful trip to Syria, Mnesarchus found he did have a beautiful son. He named the boy Pythagoras in honor of the Pythian Apollo, who had spoken to him through the oracle. His wife also changed her name from Parthenis to Pythais to honor Apollo, and they erected a temple to the god.  Mnesarchus spared no expense in his son’s education and secured the wisest teachers. When Pythagoras was eighteen years old, the tyrant Polycrates took over the rulership of Samos, and Pythagoras left his home to continue his studies elsewhere. He went to Syros to study with the philosopher Pherecydes, and then to Miletus to study with Anaximander and Thales, whom Aristotle considered to be the first philosopher in the Greek tradition.


After teaching him all that he could, Thales urged Pythagoras to go to Egypt to study with the priests at Memphis and the priests of Zeus. Then Iamblichus tells us that Pythagoras returned home and prepared for a voyage to Egypt. On the way to Egypt he stopped in Syria, and Phoenicia. After having learned all he could of the Phoenician mysteries, he determined that they were based on the Egyptian rites and that he needed to complete his voyage. To accomplish this, Pythagoras sat in meditation on Mount Carmel, which was considered sacred (another example of the axis mundi) until a ship arrived that was bound for Egypt. The sailors on this ship agreed to take Pythagoras with them but secretly planned to sell him into slavery when they arrived.  However, Pythagoras sat in meditation and fasted for the entire trip, and the sailors believed that it was his influence that helped them to avoid the storms that were predicted. They suspected that he was a god, and when they arrived in Egypt they led him ashore and erected a temporary altar in his honor, complete with offerings of fruit.


Once among the Egyptians, Pythagoras visited all of their temples and studied with all of their priests and prophets. He spent twenty-two years studying astronomy and geometry, and was initiated in all of their mysteries.


At the end of this period he was captured by soldiers and taken as a prisoner to Babylon. But again fate turned in his favor and he was able to study with the Magi. At the age of fifty-six he returned to Samos, where he set up his first school and began to share his wisdom. While in Greece, he visited all of the oracles and mysteries and developed a reputation for learning. At home, on his Island, however, he was dissatisfied with the Samians lack of interest in learning and the demands that they made on him to participate in public affairs. Therefore, he moved to Croton in southern Italy, which, at the time was held by the Greeks, and set up a new school of philosophy, open to both men and women.


Initiates to the Pythagorean School were first vetted by examining their behavior and interests. Once admitted, there was a probationary period of three years, in which they studied and were observed but otherwise neglected. All of their property became the property of the commune. In the next stage of their probation, the initiates had to refrain from speaking for five years, maintain a vegetarian diet, abstain from wine, and shun wealth and greed. At the end of this period, they were either accepted as disciples or rejected and sent away with twice the amount of property as they had brought.


The disciples were given white robes to wear and were permitted to speak but maintained the other prohibitions. These disciples were called akousmatikoi(hearers) and were provided with daily lectures, physical exercise, and rituals. They also practiced silent contemplation and a type of meditation. Their meditation focused on memory. In the morning when they awoke, the akousmatikoi would systematically remember everything that was said and done on the previous day, and everything that was dreamed during the night. The innermost disciples were called mathematikoi. Their study focused on the numerical harmonies of the cosmos (a name that Pythagoras coined, meaning both order and beauty).


Pythagoras taught that on a deep level all reality is mathematical, which is the cornerstone of all Western scientific thought. Yet for him, the symbolism of numbers was of equal importance. He also believed that numbers and ratios could capture the beauty that we experience in music and architecture. Pythagoras believed in reincarnation and taught that humans are on an endless wheel of incarnations, each life doomed to end in suffering and death. To escape this dilemma and emerge into union with the divine, it was necessary to practice contemplation and to live a moral life. This was the purpose of philosophy. In this respect his teachings were similar to those of Gautama Buddha, who lived and taught in the same century in what is now Nepal and northern India. Instead of thinking of Pythagoras as an ancient mathematician or a philosopher, I feel that it would be more accurate to think of him as a Western Buddha. This would be closer to how the people of the ancient Greek and Roman worlds viewed him.


 The Soul Centers

In Iamblichus’s biography of Pythagoras, he tells the story of how the ancient philosopher coined the word “philosophy”, which means to love wisdom. In a lecture, Pythagoras described a public spectacle in which three different types of men come to attend.


One hastens to sell his wares for money and gain; another exhibits his bodily strength for renown; but the most liberal assemble to observe the landscape, the beautiful works of art, the specimens of valor, and the customary literary productions. So also in the present life men of manifold pursuits are assembled. Some are influenced by the desire for riches and luxury; others by the love of power and domination, or by insane ambition for glory. But the purest and most genuine character is that of the man who devotes himself to the contemplation of the most beautiful things, and he may properly be called a philosopher.

(Guthrie, p. 70)


In this story, Pythagoras was not only describing three different types of people. The actions of each are dominated by one of the three parts of the soul as described by the Egyptians, and that we discussed in the second chapter. The first man is dominated by the Ka and the needs and desires of the body; the second is concerned with the social desires of the Ba, such as fame, social standing, and power; and the last man is cultivating his Akh, which is his divine or Dionysiac soul.


72-Chariot-7fold with quote


Pythagoras is also credited with creating our Western Diatonic music scale with its seven notes. And again we come upon the number seven.


72 Cosmos


As we discussed in the last chapter, in the ancient view of the cosmos, it was believed that there were seven planets that circled Earth. Earth was not considered a planet and the sun and the moon were included in the seven. In the Pythagorean view each planet existed on a crystal sphere that circled Earth, each one higher than the next, like the layers of an onion. By the time that the Neoplatonists were writing, we find that the list of planets was organized by the speed that each planet seemed to circle Earth. Pythagoras believed that numerical relationships found in each planet’s orbit could be interpreted as sound and he believed that his scale captured these sounds that related to the planets. This is the meaning of the phrase, “the music of the spheres.”


Although the Greeks borrowed their alphabet from the Phoenicians, the Phoenician alphabet, like Hebrew, which it also influenced, only contains consonants; the Greeks added seven vowels. The vowels are the musical notes of the alphabet. The vowels did correspond to the actual notes and were used for musical notation. Pythagoras is credited with inventing the vowel upsilon, which looks like a Roman Y, to assure that there would be seven vowels. There is a story that Pythagoras used the shape of upsilon to illustrate an allegory.


He said that the place where the shaft splits into two directions represents a choice that must be made in life.  One path is smooth and easy but leads to death and suffering; the other is coarse and difficult, but it leads up through the hierarchy of the parts of the soul and to the immortality of the soul.

72dpi Upsilon


In the Pythagorean view, the planets were considered the soul centers of the cosmos, and seven corresponding soul centers ascended the human spine, from the sacrum to the crown of the head. This is similar to the modern New Age concept of the seven Chakras. As the notes of the scale were related to the planets, they also affected the soul centers in the human body, and Pythagoras would use his seven stringed lyre, called a kithara, to bring the centers in his human patients into harmony with the “music of spheres.” This healing process is described by Iamblichus in the following quote.


Moreover, he devised medicines calculated to repress and cure the diseases of both bodies and souls…divinely contriving mingling of certain diatonic, chromatic, and enharmonic melodies, through which he easily switched and circulated the passions of the soul in a contrary direction, whenever they had had accumulated recently, irrationally, or clandestinely—such as sorrow, rage, pity, over-emulation, fear, manifold desires, angers, appetites, pride, collapse, or spasms. Each of these he corrected by the rule of virtue, attempering them through appropriate melodies, as through some salutary medicine.

(Guthrie, p.72)



When we look at the structure of the Tarot’s trump suit, we can see that the numbers three and seven are also important in the Tarot. Here is another excerpt, this time from Chapter Eleven in my book.



The Threefold Allegory of the Trumps

Allowing that the Fool is not a trump, there are twenty-one trumps in the Tarot. If we divide them into three groups of seven, the characters in each group have a distinctive quality (as the Comte de Mellet observed) that relates them to one of the three soul levels. In the Marseilles order, the first seven, from the Magician to the Chariot, relate to the Soul of Appetite (Ka/the body), with the first six figures dominated by Cupid, representing lust, who is then trumped by the hero on the Chariot, representing virtue and moving us into the Soul of Will (Ba/the mind). The next seven trumps characterized by time, death, and suffering, but also three of the cardinal virtues, is the realm of the Soul of Willm(Akh/the spirit). The last seven trumps move us from the unreasonable Devil through greater and greater celestial light to the defeat of Death represented by Judgement and the enlightenment represented by the World. This is the realm of the Soul of Reason.


The seven cards in each division, like the seven battles in the Psychomachia, or the seven metals in the alchemical transmutation, relate in quantity to the ladder of seven planets, which are also a means to ascend to a higher spiritual plane. The allegory is composed, therefore, of three parts each featuring the seven steps (or musical notes) needed to purify that soul level. If we examine the two other early orders for the trumps that we listed in chapter nine, order A and order B, we see that these orders can also be divided in this way with only minor differences. The Chariot and the Devil, which are transitional figures, may switch their allegiance with little consequence. The biggest change is in the placement of the three cardinal virtues found in order B, The order from Ferrara, but this only strengthens that premise. In order B, which may be the original order for twenty-one trumps, we find that the three virtues are divided with one in each group. If we allow for the reversal of Justice and Prudence (represented by the World), the one that is found in each section is precisely the one Plato would have recommended for balancing that soul level.



As we learned above in Chapter Four, Pythagoras is credited with creating our Western music scale. He filled it with seven notes that captured sounds based on ratios determined by the movements of the seven ancient planets that he believed encircled the Earth (the “Music of the Spheres”). He also believed that these planets corresponded to seven centers ascending the spine in the human body, which are similar to the modern concept of the chakras. Further, in a healing ritual, Pythagoras would use his seven stringed lyre, to bring the seven soul centers in his human patients into harmony with the celestial spheres.

When I first read about his practice, I realized that I wanted to use the Tarot like this, and I developed what became my main Tarot reading practice, the soul centers reading.  For this reading, I lay out cards describing the patterns I find in each soul center, and then I work creatively with the Tarot to remove energy blocks and help to restore the health and wellbeing of my clients. You can read more about the soul centers reading in the last chapter of by book, The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism.   


72dpi The Tarot MAHN Cover front

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The Queen of Cups

This article is an excerpt from my new book, The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism, which can be preordered now. It will be here at the end of December and I will be mailing out the preorders on the last week of December and the first weeks of January, 2018.

The book is an updated and expanded version of my book, Alchemy and the Tarot, and my book, The Tarot, History, Symbolism, and Divination, which the American Library Association said may be the best book ever written on the Tarot. (The new book will be covering more than twice as much information as both books). It will contain numerous chapters on ancient magic and mysticism, updated information on alchemy and the history of the Tarot, and it will cover The Alchemical Tarot cards, but also The Tarot of the Sevenfold Mystery, the Waite Smith Tarot, and The Tarot of the Marseilles. And it will have basic information on the Lenormand deck.

To preorder the book go to this page:

New Book! The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism


Queen of Cups

The Queen of Cups

The Marseilles Queen of Cups sits on her throne under a canopy, with her
crown and scepter. She holds a large cup on her knee, and it is the only one
in the suit, other than the Ace, that has a lid. Although she is gazing intently,
she cannot see what is inside. It seems that she is contemplating a mystery.
Etteilla’s Queen of Cups is a similar figure with a sealed cup, but she is leaning
forward and more intensely staring at her cup. Etteilla calls her “a woman
above reproach.” Book T says that she is “imaginative” and “poetic.” Waite
agrees with Etteilla and calls Smith’s Queen a “good fair woman.” But he
also refers to her “as one who sees visions in a cup” (Waite, p. 200).

Smith’s Queen of Cups is influenced by the Sola Busca Queen of Cups,
who sits on her dolphin-armed throne, but also by the Marseilles Queen, with
her lidded cup. Smith’s cup is an elaborate gold vessel, with extensions holding
angels on each side and a lid surmounted by a cross. It looks like a Catholic
ciborium, the covered vessel that holds the hosts during the mass. As Waite
said, she is contemplating the contents of her cup and experiencing visions.
This Queen is clearly connected with Water and the Unconscious. Her
throne is facing the edge of the sea, and there is a fish lying on the ground by
the side. Her cape is decorated with waves and has a shell for a clasp. The
throne has a scallop shell carved at the top with fishtailed children supporting
it, and another carved on the side. They are Undines, the Water elementals.

On The Alchemical Tarot’s Queen of Vessels, a crowned mermaid, bearing
a sealed vessel, skims the surface of the Water. She is at home in her element.
Unlike the Lady of Vessels, she does not need to stand. She can swim and
she can travel below the surface. She is a relative of both the Knight of Vessels
and his fish. She carries her sealed vessel to its destination but has no need
to open it. She knows the vessel will open when the time is right. The hook
on the lid may be thought of as a question mark, denoting a mystery.

The Queen of Cups in The Tarot of the Sevenfold Mystery is intently
contemplating her cup resting on the table. The cup’s lid displays a seven-
pointed star, the symbol of the mystery. Instead of a subtle hint, there is an
actual question mark on the side of the cup. The Queen is pondering a mystery
but she is also comfortable with not knowing. A true mystery is not a riddle
but something that defies logic and explanation. The Queen knows that the
truth will be revealed in time or that it is not something that can be revealed.



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The Two of Cups

This article is an excerpt from my new book, The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism, which I am working on right now and hopefully will have available by the end of year.  The book is an updated and expanded version of my book, Alchemy and the Tarot (covering more than twice as much information). The new book will contain updated information on alchemy and the history of the Tarot, and it will cover The Alchemical Tarot cards, but it will also cover The Tarot of the Sevenfold Mystery, the Waite Smith Tarot, and The Tarot of the Marseilles. And It will have several chapters on ancient magic and mysticism

New Book! The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism


Two of Cups

The Two of Cups

The Two of Cups in the Tarot of Marseilles is a unique card Depicting
a stylized two-headed staff between two cups, resting on a rectangle that in
most decks contains the name of the publisher (sometimes it is blank or
contains a decorative design). The staff has a flame-like flowering top and
the serpent-like creatures that emerge from each side have dragon heads
turning to face the top. (In the Nicolas Conver Tarot they look like dolphin
heads, and on the bottom, there is a heraldic design with angels flanking a
phoenix or an eagle in the rectangle.)

In the Grand Etteilla this card is used to correlate the Cups suit with the
element Water (figure 216). Two cups are depicted floating in the air against
the sea in the background. Etteilla has turned the Marseilles staff into a long
necked vessel containing the red elixir, with flames emerging from the top.
The two creatures have become the intertwined serpents of a caduceus. Etteilla
was an alchemist, and he would have known that the caduceus and the red
liquid were alchemical symbols for the elixir, a magical substance that was
created by combining opposites, like fire and water. This combining of the
opposites also illustrates the card’s meaning, which is “love.” The Golden
Dawn agrees with Etteilla that the meaning of the card is “love,” and they
visualize the card as depicting a flowering lotus with two dolphins crossing
in front of its stem.

For the Two of Cups, Smith borrowed Etteilla’s caduceus placed between
two cups, but she depicts a man and a woman holding the cups and facing
each other, as if they are pledging their love. Authors Katz and Goodwin tell
us that these figures represent Romeo and Juliet, and in support of this theory,
we can see that this is another one of Smith’s cards that seems to be set on
a stage with a backdrop. A caduceus is often depicted topped with wings, but
Smith’s has a winged lion’s head. I think that the lion was her interpretation
of the Marseilles flames, but it is also influenced by the Mithraic lion-headed
figure, with wings and a spiraling snake that scholars agree symbolizes Time
(figure 222). The Mithraic meaning does not seem to add to the basic meaning
of the card, and it is probably an example of the intuitive free associations
that Smith was known for.

On the Alchemical Two of Vessels, the man and woman, now nude, stand
holding hands in a glass vessels. A second vessel has been placed on top,
mouth to mouth. In the upper vessel, the caduceus has been replaced with
an Old World Rose, which arises like a vapor from the union of the couple.
This rose is a symbol of perfection. It is the vegetable counterpart of gold.
This image in influenced by an engraving found in Mylius’s Basilica Phil-
osophica (Philosophical Pavilion), 1618, where the upper vessel contains
the god Mercury, who is the alchemical essence and the equivalent of the
rose. This card represents sexual attraction or attraction of other kinds. The
pair in the vessel are lovers but this may be a metaphor for other partnerships.
Attraction is wonderful but it only a beginning.

For The Tarot of the Sevenfold Mystery I wanted to create a design that
was closer to the Marseilles Two of Cups. I placed a winged caduceus between
two cups in the same way as they appear on the Marseilles model. The
serpents, however, transform into a man and a woman as they ascend the
shaft. The man is offering a cup to the woman, as a symbol of his love. As
on the Etteilla card, the sea is in the background.


Figure 222. A rendering of a Mithraic statue of Agathodaimon,
a lion-headed figure reprsenting Time, c.190CE



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All Decks are in Stock

All Tarot and oracle decks are in stock

All orders will be shipped by priority mail, and arrive anywhere in the US in three days



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The Queen of Swords

This article is an excerpt from my new book, The Tarot, Magic, Alchemy, Hermeticism, and Neoplatonism, which I am working on right now and hopefully will have available by the end of year.  The book is an updated and expanded version of my book, Alchemy and the Tarot (covering more than twice as much information). The new book will contain updated information on alchemy and the history of the Tarot, and it will cover The Alchemical Tarot cards, but it will also cover The Tarot of the Sevenfold Mystery, the Waite Smith Tarot, and The Tarot of the Marseilles. And It will have several chapters on ancient magic and mysticism


The Queen of Swords


The Queen of Swords from the Tarot of Marseilles,

The Waite Smith Tarot, The Alchemical Tarot, and

The Tarot of the Sevenfold Mystery.


In the Tarot of Marseilles, the Queen of Swords sits erect on her throne holding her sword upright in her right hand. She looks out in the direction of her sword and gestures with her left hand as if she is about to say something. Perhaps her sword is a symbol of her proclamation. Etteilla’s Queen is slightly more in profile. She leans forward on her throne, leans her sword against her shoulder, and places her left hand on her knee. She is also wearing an armored breastplate. This Queen is not about to say anything, but she has an intent look on her face. Etteilla calls her widowhood. Perhaps he imagined that she killed her husband. This idea gains strength from her reverse meaning, a malicious woman.



The Queen of Swords from The Grande Etteilla


Waite repeats Etteilla’s widowhood meaning for this card but adds qualities like, sadness and mourning. But Smith’s illustration has more in common with the Marseilles Queen than with Etteilla’s. Her Queen erect sits in total profile, she holds her sword upright, and holds her left hand out as if she is making a proclamation. There are clouds and one bird in the sky, which dominates the background, and we can see by the tassel on the Queen’s sleeve that the wind from the Knight’s card has now died down. The Queen’s cape also displays clouds and is clasped with a golden brooch in the shape of a bird. Her crown and the sides of her throne have sylph butterflies, and under the arm, there is a winged head, which represents a cherub in Christian art. She is the Queen of Air and of words.

The Alchemical Queen of Swords is not making a proclamation; she is helping us make a decision. The Queen is a winged angel with an armored crown, who holds one sword upright sheltered by her red wing. On the other side, under her green wing, she supports a down-ward-thrusting sword. She stands on a cloud demonstrating that her element is Air and that she represents our thoughts. The figure is winged like an angel but with her helmet and her swords, she also resembles the goddess Athena or Minerva, the goddess of wisdom, war, and justice.

In alchemy, green symbolizes what is unripe and red what is ripe. The Queen presents us with a choice between what is negative or immature and what is positive, mature, or ripe. She also represents a progression from the immature to the mature. If she is flanked by two cards, the card to our left will reflect the mature side and the card to our right the immature side.

In The Tarot of the Sevenfold Mystery, the Queen of Swords sits facing us on the other side of a table. Like the Alchemical Queen, she has two swords. The downward negative one is stuck into the table, and she holds the positive one in her right hand. Under her cape, the Queen wears chainmail and armor. Two feathers are falling from above. They represent the element Air, but they also represent truth, like the feathers of Maat, the Egyptian goddess of justice. The feathers of truth fall on both swords. The Queen recognizes that some things are negative and some are positive. She accepts the fact that not all things are positive, but she chooses to hold the positive sword. She is like the goddess of Justice but her two swords are her scale.

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The Ace of Cups

This is the second of four articles on the four aces in The Alchemical Tarot and The Tarot of the Sevenfold Mystery and their elemental associations. In this article, we will discuss the ace of cups.

New Al7 Cups Ace

As we said in the last article, the minor suits in The Alchemical Tarot and The Tarot of the Sevenfold Mystery are assigned to the four elements: coins to earth, vessels to water, swords to air, and staffs to fire. Historically this is the most accepted list of elemental associations. However, there are variations in historic decks. For example, in The Grand Etteilla, Etteilla clearly equates the four minor suits to the elements by depicting a landscape dominated by an element as the background for each deuce. He equates coins to fire, vessels to water, swords to air, and staffs to earth. We can see on the Etteilla two of cups that the cups seem to be floating on the surface of the sea. Etteilla agrees here with the standard association, but not for coins and staffs. For more information on historic association see the last article on the ace of coins.

Etteilla and Marseilles Two

The Etteilla card also includes a flaming alchemical vessel with snakes entwining it, turning it into an alchemical caduceus. Etteilla was an alchemist, and he would have known that the caduceus was an alchemical symbol for the elixir, a magical substance that was created by combining opposites, like fire and water or masculine and feminine. The combining of the opposites also illustrated the card’s meaning, which is love, or desire if reversed. His caduceus seems to have been his interpretation of the stylized two headed staff found on The Tarot of Marseilles two of cups. In turn, Etteilla inspired Pamela Coleman Smith’s two of cups, with a lionheaded caduceus and a man and a woman representing the opposites coming together in passion. I think that the lion was her interpretation of the flames, but it is also influenced by the Mithraic lionheaded figure, with wings and a spiraling snake that most scholars agree symbolizes time. The Mithraic meaning does not seem to add to the basic meaning of the card, and it is probably an example of the intuitive free associations that Smith was known for. For The Tarot of the Sevenfold Mystery I combined the man and woman with the caduceus to arrive at the same meaning, and my composition is closer to the Marseilles model.

Waite Smith Two and Mithraic Liion


The Waite Smith ace of cups breaks from the Marseilles pattern by depicting the cup held in a hand, like the Marseilles ace of swords and staffs. Here again Smith seems to be influenced by Etteilla, who also broke with the Marseilles pattern and introduced a hand on all of his aces. On his ace of coins, however, the hand is holding the god Apollo and the coin is below. This is a reversal of the other pips in this suit, which depict the coins in the upper space and a god in the lower space. Perhaps Etteilla was saying that happiness, represented by Apollo, is above money, represented by the coin.

Etteilla and Smith Ace Cups

Etteilla Ace Coins

Smith’s ace of cups is an allegory depicting the cup as the Holy Grail containing the life-giving blood of Christ. This is suggested in the Marseilles ace by the hexagonal shape of the cup. The hexagon symbolized the squaring of the circle, which is the joining of the spiritual and physical worlds. This is how the Grail was depicted in Medieval and Renaissance art. Smith’s ace has an upside-down letter M on it, which I believe symbolizes Mary, the mother of Christ. The dove represents the Holy Spirit, and he is placing the host, a circle of bread with the cross on it, in the cup. In the Christian mass, the host symbolizes the body of Christ. There are five streams flowing from the cup symbolizing the five wounds of Christ. Waite says that this card represents the “house of the true heart of joy.”

In The Tarot of the Sevenfold Mystery, the ace of cups in also modeled on the ace in The Tarot of Marseilles. In the traditional Tarot of Marseilles, the ace of cups depicts a chalice with an elaborate lid in the shape of a castle. This card was modeled on earlier Italian cards, like the ace from the Tarot printed in Ferrara in the 15th century. In some examples, there is a bird standing on the foot of the cup. Like Etteilla did with the two, I elaborated on the suggestions I found in the Marseilles image. I transformed the lid into a miniature castle with a door that is the right size for the bird. The bird is an ancient symbol for the, soul and as the castle is an elaborate birdhouse, it symbolizes the natural home for the soul. The meaning that I derive is that this card represents being in harmony with the soul’s purpose.

Ferrara Cups-Ace

The Alchemical ace of cups or vessels, as the suit is called in this deck, contains more allegory. Each ace in The Alchemical Tarot depicts the suit symbol immersed in its element and accompanied by an animal that represents the beginning essence of the element. Also each Tarot suit symbol is linked to one of the modern French suit signs that are used on common playing cards and this symbol is worked into the Tarot symbol as well, sometimes providing a surprisingly meaningful addition.

On the Alchemical ace of vessels, there is a fish floating on the water in an inlet of the sea. On his back, there is a large glass vessel, like an alchemical retort. The retort is half filled with blood and in the retort, floating on the blood, there is a heart that also opens like a vessel. There is a grapevine growing out of the heart and up through the opening of the retort.

The fish, which lives in the sea, is an appropriate animal to represent the element. Likewise, the vessel, made to hold liquids, is also a fitting symbol for water. Water is a feminine element, and it is a natural symbol for the unconscious, which presents its surface to our conscious mind but keeps the majority of its substance hidden below. The sea depicted on this card symbolizes the collective unconscious. The fish is its messenger and appropriately presents himself on the surface. The retort represents the psyche of an individual and the blood, which is chemically related to seawater, represents the individual unconscious. In the center of the psyche, the heart, a vessel within this vessel, symbolizes the depth of the individual soul.

Seeds have been planted in this inner vessel by the Anima Mundi. These are our most precious desires—our true destiny that surfaces when we look deep into our psyches and are honest with ourselves. To find fulfillment in life, we must nurture these seeds and let them grow. It is not selfish to fulfill these desires; they are planted in us by the Anima Mundi and the world needs the fruit. Like the Sevenfold ace, this ace is about the uncovering of your true destiny, and as with the Sevenfold ace, being in harmony with the soul’s purpose.

New Al7 Cups King

On the Alchemical king of cups we see that the fish has become a crowned whale, the king of the sea, and a common alchemical symbol for the mastery of water. Because he is a sperm whale he can spout water from his blowhole and fill his own cup. He is the master of hos psyche and he find hos own fulfillment. The Sevenfold king of cups shares the same meaning, but here the sperm whale is his coat of arm, and the heart floating over his cup symbolizes his fulfillment.






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