Appended below is the text of a document that I found this week on the Web, along with its URL. It is a discussion of the origin of the Tarot Cards. Note that the "most recent" Tarot Cards were introduced in the 15th Century in Italy. Coincidentally, that corresponded in time -- more or less -- to the republication of the Philostratus Biography of Apollonius of Tyana in Venice in 1505 CE. It also corresponded to the Renaissance, Leonardo da Vinci, the discovery of America by Christopher Columbus, the reigns of King Henry VIII and Queen Elizabeth I in England, the writings of William Shakespeare (including HAMLET, which mentions the "cosmic millstone") and the acceptance of the pagan "Paradise Christmas Tree" by the Vatican.
Last week I sent out to several of you a message titled HYPERBOREA POSTSCRIPTS, in which I mentioned those shadowy cosmic figures known to us as ARCHONS OF DESTINY. I postulated that the 50 Anunnaki (who "have no personalities, poor fellows; they just sit like poodles and smile at Anu" -- RKG Temple in "The Sirius Mystery") combined with the 22 remaining "gods" of the earlier 24 Nefilim Aristocracy add up to a total of 72 Archons, also known as the 72 Titans, the 72 Lemegeton, the 72 Names Of God, and the 72 Branches Of The Celestial Tree.
After sending that message, I woke up the next morning, thinking about the Tarot Cards. I have the Modiano Cagliostro Deck from Italy, which reverses the positions of Major Arcana Cards 8 and 11, Justice and Strength, respectively, when contrasted with the popular Rider-Waite Deck, one of the earliest Tarot Decks. Why the Modiano Company in Italy changed these two cards in their newer Cagliostro Deck, I have been unable to determine.
There are a total of 78 cards in a Tarot Deck, of which 22 are known as the Major Arcana (or "trump cards", so to speak) with each relating to some esoteric concept, deity and/or planet. The remaining 56 cards are divided into 4 suits of 14 cards each : Swords (Spades), Sceptres/Wands (Clubs), Cups (Hearts) and Coins (Diamonds). Our ordinary playing card decks are based upon these minor, even personality-devoid, Tarot Cards, except that we use only 13 cards per suit, omitting the Valet Minor Arcana that the Tarot includes along with the King, Queen and Knight/Jack Minor Arcana of each suit. And our modern playing cards also include a Joker or two, which are not in the Tarot.
The ultimate origin of the Tarot Cards is lost in the mists of time. One can only speculate upon how we still have them today and what they really mean. The Internet is filled with information about the Tarot, such as the excellent article that I discovered and am appending below.
Upon awakening that morning, one thing struck me immediately : the comparison of the 22 Major Nefilim Hierarchy and the 22 Major Tarot Arcana -- to wit, 22 Major Archons! But there are 78, not 72, Tarot Cards in a deck. Is there any way to reconcile the number 56 with the number 50 to determine a Nibiruan Origin for the Tarot, I was wondering. So I checked out HotBot's Search Engine. Notice that in the appended HERMETIC article, which I found there, it is stated that even though our more modern playing card decks have 52 cards, ORIGINALLY both they and the Tarot were taken from a set of 50 etchings known as the Tarocchi of Mantegna.
So there we have it : 50 + 22 = 72 Major Archons.
The peripheral facts indeed do fall into place like clockwork.
For the record, I am now going to list all the members of the Nibiruan Council Of Twelve, plus a group of 10 of their most important "consorts" with a purely hypothetical matching up of these "deities" with the Tarot Major Arcana. You can simply take this information for what it may be worth, coming to your own conclusions. For clarity, I'll also include the Greek designation of the Nibiruan name and the Cagliostro deck-number of the card itself. NOTA BENE that the first 12 numbered Major Arcana can be easily correlated with the Council of Twelve, and the remaining ten correlated with the attendant "consorts".
THE NIBIRUAN COUNCIL OF TWELVE (IN HIERARCHICAL ORDER)
ANU (Kronos) = THE EMPEROR 4
ANTU (Rhea) = THE EMPRESS 3
ENLIL (Zeus) = THE HIEROPHANT 5
NINLIL (Maya) = JUSTICE 8
ENKI (Poseidon) = THE HANGED MAN 12
NINKI (Libya) = STRENGTH 11
NANNAR (Hermes) = THE MAGICIAN 1
NINGAL (Leto) = THE WHEEL OF FORTUNE 10
UTU (Apollo) = THE CHARIOT 7
INANNA (Aphrodite) = THE LOVERS 6
ISHKUR (Ares) = THE HERMIT 9
NINKHURSAG (Hera) = THE HIGH PRIESTESS 2
THE REMAINING NEFILIM ARISTOCRACY
NERGAL (Hades) = THE DEVIL 15
ERESHKIGAL (Persephone) = DEATH 13
DUMUZI (Adonis) = THE MOON 18
AYA (Artemis) = TEMPERANCE 14
NINURTA (Hephaestus) = THE JUDGEMENT 20
BAU (Athena) = THE SUN 19
NABU (Dionysus) = THE STARS 17
SHALA (Hecate) = THE WORLD 21
MARDUK (Belus) = THE MADMAN/FOOL 0/22
SARPANIT (Anchinoe) = THE TOWER 16
THE MODERN JOKERS
ALALU (Uranus) = BANISHED FORMER EMPEROR
LILITU (Gaea) = BANISHED FORMER EMPRESS
For additional information concerning the related names of these "gods" in other cultures, go to :
http://www.apollonius.net/names-of-gods.html
http://www.levity.com/alchemy/mantegna.html
An Hermetic Origin Of The Tarot Cards?
A Consideration Of The Tarocchi Of Mantegna
By Adam McLean
First Published In The Hermetic Journal in 1983.
*
It has become almost universally accepted as the received wisdom of the Western esoteric tradition that the tarot card images embody a system derived from the Jewish Kabbalah. This view seems to derive from the mid-nineteenth century French Occult revival, and particularly was promulgated by Eliphas Levi and later incorporated through Westcott, Mathers and Waite in the teachings of the Hermetic Order of the Golden Dawn from which our twentieth century tradition of occultism has been derived. Other esotericists have even tried to link the tarot images back further into Egyptian iconography and suggest that the Jews may have received this esoteric system during the time of their stay in Egypt. In part this association of the tarot with Jewish esotericism lies in the fact that there are 22 major arcana cards in the modern tarot pack and this parallels the number of letters in the Hebrew alphabet, which lies at the heart of the Kabbalistic system.
I would, however, like us to pause and consider for a moment, before we return to the established view, the implications of the regrettably neglected early tarot pack, the Tarocchi of Mantegna. This is one of the earliest known tarot or Tarocchi packs, being dated to c.1465, contemporary with the Visconti-Sforza deck of the mid-fifteenth century which is recognized as the earliest tarot. (Some authorities suggest that the Tarocchi of Mantegna may be earlier than the Visconti-Sforza.)
Little is known of the Tarocchi of Mantegna and what we do know entirely contradicts it name. Most scholars are of the opinion that this Tarocchi has been wrongly attributed to Andreas Mantegna (1431-1506), the painter and printmaker of the School of Padua, and rather are to be seen as emanating from the School of Ferrara. They are not a 'Tarocchi' pack in the true sense of that technical term, and they are not cards but a set of prints. Kenneth Clark, the well known art historian of the Renaissance, attributes them to a Parrasio Michele, Master of the School of Ferrara. They consist of a set of 50 finely executed engravings divided into five decades, which could be characterized as :
1 The Archetypal Social Stations of Humanity;
2 The Nine Muses and Apollo;
3 The Liberal Arts;
4 The Cardinal Virtues;
5 The Heavenly Spheres.
The symbolism of these cards, or perhaps we should say 'emblematic figures', would seem to derive from the Hermetic tradition which is now recognized as underlying the Italian Renaissance of the mid-fifteenth century. It was during this period that the Platonic Academies of the Medici's were set up and Ficino and other scholars began translating texts such as the Corpus Hermeticum and the works of Plato, some of which were brought to the Court of Florence from Constantinople by Gemistus Plethon (c.1355-1450), a Greek scholar who was probably an initiate of a 'Platonic' Mystery School in the East. This reconstruction of hermetic and neoplatonic esotericism is reflected in such ideas as the Muses, the Liberal Arts, the Cardinal Virtues, and the Heavenly Spheres, and it is my view that the Tarocchi of Mantegna should be seen as an 'emblem book' of this hermetic current. The fact that its designs show parallels with the later tarot decks should therefore be of the greatest interest both to students of tarot and of Hermeticism.
[Image]
The first decade shows us a sequence reflecting the state or condition of humankind, from the lowly beggar to the Pope. These are :
1 Beggar 6 Knight 2 Servant 7 Duke 3 Artisan or Craftsman 8 King 4 Merchant 9 Emperor 5 Gentleman or Squire 10 Pope
There is in this sequence both a reflection of the social conditions of humankind and also the stages of an inner development, from the lowly 'beggar' state of soul, to the fully spiritualized 'Pope' facet of the soul. Interestingly, these fit well onto the tree of life diagram corresponding to the sephiroth quite tightly, but can also equally well be tied symbolically to the Pythagorean 'Tetractys' or pyramid.
[Image]
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The second decade consists of images of the nine muses and Apollo. These muses preside over certain arts and instruments of these arts.
Calliope 'Beautiful voiced' epic poetry Trumpet and eloquence stylus
Urania 'Heavenly' astrology compass and celestial globe
Terpsichore 'she who loves lyric poetry lyre or cithera dancing' and dance
Erato 'arouser of desire' erotic or tambourine love poetry
Polihymnia 'many hymns' heroic hymns lyre or mimic art portative organ
Thelia 'the festive' comedy and violin pastoral poetry mask of comedy
Melpomene 'the singer' tragedy horn mask of tragedy
Euterpe 'giver of joy' music and double flute lyric poetry
Clio 'giver of fame' history scroll
Apollo
This group represents the archetypal sources of creative inspiration for the soul, and these muses work in the realm of the imagination. The soul can draw upon these ten different inner spiritual resources for its inspiration and transmutation.
[Image]
The third group consist of the Seven Liberal Arts with the addition of Poetry, Philosophy and Theology to bring the number up to ten. The Liberal Arts lay at the basis of scholasticism and consist of the Trivium of Grammar, Rhetoric and Dialectic, which trained the mind in the use of language, and the Quadrivium of Geometry, Arithmetic, Music and Astronomy, which four constituted the domain of medieval science. Each of these bear a symbol.
Grammar File and Vase Logic Veiled Dragon Rhetoric Sword Geometry Circle, Square, Triangle Arithmetic Coins or Counters Music Flute Poetry Flute and a Vase Philosophy Arrow and Shield (Athena figure) Astrology Sphere of Stars and Pointer (Angelic figure) Theology Sphere of Heaven and Earth (Androgyne figure)
This group are the archetypes that work behind human thinking.
[Image]
The fourth decade consist of the seven Cardinal Virtues appearing as female figures together with three Spirits (or Genius') of Life (or the Sun), Time and the Cosmos, these being shown as male Angels, each carrying a symbol. The seven Cardinal Virtues also have animal figures beside them.
Iliaco Sun Disc Chronico Ouroboros Dragon Cosmico Heavenly Globe Temperance Two Vases Dog, Cat, Weasel, or Stoat/Ermine Prudence Mirror Dragon Strength Sceptre Lion Justice Sword and Scales Crane Charity Wallet, Offering Charity Pelican Hope In Attitude of Prayer Phoenix Faith Chalice and Host Dog
These represent that which works in the higher soul of humanity as the virtues dwelling in the conscience. As the aspiring soul develops towards inward perfection, rising to an awareness of the spiritual genius behind the life force (the Sun), Time and Space, then there will inwardly develop from the seed of conscience rooted in the soul, the Virtues, which will unfold and grow from within to express themselves in one's outer actions.
[Image]
The final decanate is that of the heavenly spheres - the seven planets and the three higher spheres each having a symbol.
Luna Moon Disc Mercury Flute Caduceus with Two Intertwined Dragons Cock Venus Seashell Ducks Sun Sun Disc Scorpion Crabs Mars Sword Dogs (Hunting) Jupiter Arrow (Thunderbolt) Eagle Saturn Scythe Ouroboros Eighth Sphere Starry Disc Prime Mover Empty Sphere First Cause Cosmos
This represents the highest spiritual principles working as the planetary forces behind all the aspects of the world.
To summarize :
The First Decade Stations of Archetypal powers in the outer Humanity world of humanity externalized in social forms The Second Decade Muses Archetypal powers in the imagination of humanity, expressing themselves in artistic creation The Third Decade Liberal Arts Archetypal powers in human thinking expressing themselves in the patterns of human thought The Fourth Decade Cardinal Virtues Archetypal patterns in the conscience of humanity expressing themselves in the inner development and spiritual refinement of the soul The Fifth Decade Cosmic Spheres Archetypal patterns in the Cosmic order expressing themselves in all facets of the Universe
So we have here the cosmic spheres of the fifth decade representing the Macrocosm and the first decade being a kind of reflection of this in the Microcosm, while between these two polarities are found the Muses, Liberal Arts and Cardinal Virtues, the channels through which the soul experiences the archetypal powers lying behind its feeling, thinking and willing, and can thereby develop its imaginative, intellectual and spiritual gifts. This reflects the Renaissance ideal propounded in the Neoplatonic academies which inspired artists, writers and musicians, and brought great works of the creative human spirit into being which transformed the outer restrictive social forms of the medieval period and gave a new impulse of freedom to the spiritual seeking of humanity.
So it should be obvious that these cards and their symbolism arise out of a Neoplatonic and hermetic current, but they should not be seen as entirely limited symbolically to this period or set of ideas. For this very early Tarocchi of Mantegna designs, through reflecting this hermetic system of ideas also may have provided the archetypal forms for some of the later and more familiar tarot packs. We note certain obvious parallels.
Mantegna Modern tarot Mantegna Modern tarot
1 BEGGAR FOOL 36 FORTEZA STRENGTH 3 ARTISAN MAGUS 37 IUSTICIA JUSTICE 8 KING HIEROPHANT 43 VENUS THE LOVERS 9 EMPEROR EMPEROR 44 THE SUN THE SUN 10 POPE PRIESTESS 45 MARTE THE CHARIOT (N.B.The Pope here 46 JUPITER THE WORLD appears female) 47 SATURNO DEATH 27 POESIO THE STAR 34 TEMPERANCE TEMPERANCE
So could it not be that our present day tarot cards should perhaps be seen as arising out of the hermetic ideas at the foundation of the Renaissance, rather then from the Jewish Kabbalah? I believe this view requires, indeed demands, some attention, even though it might upset the established and ingrained ideas of twentieth century occultism.
End
*****
As for the supposition that the 22 Major Tarot Arcana evolved out of the 22 letters in the Hebrew Alphabet (which themselves would have had to come from somewhere, right?), that is beside the point. BOTH the Hebrew Alphabet AND the 22 Major Tarot Arcana derived from the 22 Nefilim "Gods". Furthermore, as noted above, the Major Arcana symbolize "concepts" or "traits" of Sapiens and Nature herself, such as "strength" or "temperance" or "the stars". Coincidentally, so also do the 72 Archons Of Destiny micro-manage the details of our lives. Archon Biune, for example, is the one in charge of earthquakes and linguistics.
Recall "Ephesians" : "Ye walked according to the Aeon of this world, according to the Archon that has the domination of the Air. We wrestle not against flesh and blood, but against the dominations, the powers, the lords of darkness, the mischievousness of spirits in the Upper Regions."
According to other Tarot Card source-material, although the ultimate origin of the Tarot cannot be determined in Time, at some point they appeared in Egyptian circles in Alexandria. From there they were incorporated into certain Gnostic rituals and eventually found their way via the Levant and Ionia (Modern Turkish Anatolia) into southeastern Europe, to such "Gypsy" havens as Bulgaria and Rumania. These "Gnostic Gypsies" thereby gained their reputation for card-reading and fortune-telling. From there, as did Gnosticism, the Tarot travelled westwards with the Cathari to Albi, France, future site of the Albigensian Massacre ordered by Pope Innocent III to commence in 1204 CE. If this information be true, and it is disputed, then Apollonius of Tyana can be directly connected with the Tarot's evolution and distribution. And thus, one might suppose that Apollonius had some "secret knowledge" of a "Cosmic Tree" or a "Heaven" in bygone ages.
Above, Adam McLean writes, "Interestingly, these [Mantegna Etchings] fit well onto the tree of life diagram corresponding to the sephiroth quite tightly, but can also equally well be tied symbolically to the Pythagorean 'Tetractys' or pyramid". The Kabalistic "Sephiroth Tree Of Life" is nothing more than another ancient reference to The Cosmic Tree, in the process linking the Kabalistic Tree Of Life to the 72 Archons Of Destiny.
Incidentally, the I CHING is the Chinese equivalent of the Western Tarot and would itself have also evolved from Oriental traditions of the "72 Gods" atop The Immortal Peach Tree.
Curiously, the evolution of the Tarot into our modern decks of 13 cards per suit, brings up the question once again of why the number 13 is considered to be unlucky. Many people assume that it arose from the number of men at the Last Supper, Christ and the 12 Apostles, from which idea sprang the lingering misfortunate custom of not having "13 at table". But Dr. Velikovsky in WORLDS IN COLLISION suggests otherwise. Could it be that the malevolent nature of the number 13 ultimately derives from the fact that at the end of 13 Mayan Cycles, the world comes to an end and is then reborn? And in this current go-around, 13.0.0.0.0, the scientifically, archaeologically and mathematically proven Mayan End-Time Date, falls on 21 December 2012.
Rob Solàrion, 21 December 2000, Dallas, Texas