I come now to chapter 19 of Il Mondo e L'Angelo
, on the occultists of the late 18th throuugh early 20th century. (I am skipping his chapter 18, which is about tarot decks with French suits, shortened decks, and non-traditional trumps (animals, industry, etc), which proliferated during the second half of the 18th century and after.) What is of interest to me, in relation to the previous chapters, is to what extent the "occult" interpretations of the cards might have been rooted in previous practice. I think I have already discussed Etteilla enough. For the rest, Dummett gives us not much to work with. He says very little about their actual systems.The only thing I can find of a systematic nature is periodically a discussion of how one and another theorist related the cards to the Hebrew alphabet and what significance they attached to it.
That the added cards of the tarot deck are the same number as the letters of the Hebrew alphabet would have been obvious to anyone in the Renaissance, without any knowledge of Kabbalah or anything esoteric. The first written record of a correlation between the two, however, is in de Gebelin, expanded upon by de Mellet. De Mellett correlates the cards and the letters in reverse order, starting with the World as 21 and Alelph, and ending with the Fool as 0 and Tau. This is different from how the ancient Hebrews actually correlated letters with numbers, which was the same as the Greeks: aleph/alpha was 1 and so on until 10; then, for 11-19, they combined the letter for 10 with the letter for the first digit; then they assigned the 11th letter to 20, and so on. In addition, de Mellet associated each Hebrew letter with the particular thing that the Hebrew word signified and interpreted that object symbolically.He writes (http://www.tarotpedia.com/wiki/Recherch ... les_Tarots
; their translation except for a few obvious corrections):
Le Soleil répondant au Gimel, veut dire, dans ce sens, rétribution, bonheur.
La Fortune ou le Lamed signifie Régle, Loi, Science.
Le Fol n'exprime rien par lui-même, il répond au Tau, c'est simplement un signe, une marque.
Le Typhon ou le Zaïn annonce l'inconstance, l'erreur, la foi violée, le crime.
La Mort ou le Thet indique l'action de balayer: en effet, la Mort est une terrible balayeuse.
Teleuté en Grec qui veut dire la fin, pourroit être, en ce sens, un dérivé de Thet.
(The Sun answering to Gimel, means, in this sense, remuneration, happiness. Fortune or Lamed means Rule, Law, Science. The Fool does not express anything by itself, it corresponds to the Tau, and it is simply a sign, a mark. Typhon or Zain announces inconstancy, error, violated faith, and crime. Death or Teth indicates the action to reap: indeed, Death is a terrible reaper. In Greek Teleute, which means the end, appears to be, in this sense, a derivative of Teth.)
There is more on Tau, corresponding to the Fool, suggesting that for the Egyptians it might have meant, superimposed on Samech, a thief.
Surprisingly to me, the Golden Dawn also used symbolic interpretations of the objects denoted by the Hebrew letters, according to http://newsletter.tarotstudies.org/2005 ... ributions/
. Their assignment of letters to cards was different.
The next to assign letters to triumphs was Levi. Here is Dummett's summary of that theorist:
Egli [Levi] non pubblicò un’opera a sé stante sul Tarocco, ma ne trattò ripetutamente in tutti i suoi scritti, poiché secondo lui era una delle fonti primarie della dottrina magica.[end of 467] dipendente di teoria magica; piuttosto, egli lo rese parte di una struttura complessa. Lo integrò nel suo miscuglio di dot-trine occultistiche principalmente grazie all’associazione del Tarocco con il simbolismo cabalistico. Secondo lui, i quattro semi corrispondono alle quattro lettere del Tetragrammaton (il Nome Divino), le quattro figure di ciascun seme agli stadi della vita umana e le carte numerali ai dieci sefìroth (emanazioni divine)19. La parte di gran lunga più consistente dello studio di Lévi sul Tarocco ebbe come oggetto i trionfi, che costituivano le «ventidue Chiavi del Tarocco». Come Mellet, egli associava queste carte alle ventidue lettere dell’alfabeto ebraico; grazie a questa associazione, poteva applicare al Tarocco tutto il significato mistico che i cabalisti attribuiscono a quell’alfabeto, secondo cui ciascuna lettera rappresenta una delle ventidue vie fra i sefìroth. Dato l’ordine alfabetico delle lettere ebraiche, Mellet aveva disposto i trionfi in ordine discendente (secondo la numerazione del Tarocco di Marsiglia) per ottenere la correlazione fra lettere e carte. Lévi, al contrario, li dispose in sequenza numerica ascendente, facendo così corrispondere il I ad Alef, il II a Beth e così via. Riguardo al posto del Matto, Lévi propose una soluzione eccentrica: lo mise fra il XX e il XXI (il Mondo), facendo corrispondere il XX a Rese, il Matto a Shin e il Mondo a Tau. L’associazione dei trionfi con le lettere ebraiche era destinata ad avere un ruolo fondamentale nelle interpretazioni del Tarocco da parte degli occultisti successivi.
(He [Levi] did not publish an independent work on the Tarot, but treated of it repeatedly in his writings, because he thought it was one of the primary sources of magical doctrine [end of 467] dependent on magical theory; instead, he made it part of a complex structure. He integrated it into his mixture of occult doctrines mainly thanks to the association of the Tarot with Kabbalistic symbolism. According to him, the four suits correspond to the four letters of the Tetragrammaton (the Divine Names), the four courts in each suit to the stages of human life, and the numeral cards to the ten Sephiroth (divine emanations) 19. By far the largest study of Levi had as its object the Tarot trumps, which were the "twenty-two keys of the Tarot." Like Mellet, he associated these cards to the twenty-two letters of the Hebrew alphabet; Thanks to this partnership, all the mystical meaning that the kabbalists attribute to that alphabet could be applied to the Tarot, according to which each letter represents one of the twenty-two paths between Sephiroth. Given the alphabetical order of the Hebrew letters, Mellet had arranged the triumphs in descending order (according to the numbering of the Tarot of Marseilles) to obtain the correlation between letters and cards. Levi, on the contrary, arranged them in ascending numerical sequence, thus I corresponded to Alef, II to Beth, and so on. Regarding the place of the Fool, Levi proposed an eccentric solution: he put it between the twentieth and twenty-first (World), matching XX to Resh, the Fool to Shin and the World to Tau. The association of triumphs with the Hebrew letters was destined to play a key role in the interpretation of the Tarot by later occultists.
19. Le Dogrne de la haute magie, ch. X.
At least Levi had Aleph as 1! The only idiosyncratic thing for him was putting the Fool between the Angel and the World and assigning it the letter "shin". Why he did that has been a subject for debate. There is of course no historical precedent for putting the Fool second to last. There is precedent for putting the Fool last in the sequence, and also for the practice of exchanging the last with the next to the last; but it is unlikely that Levi knew about the second of these or cared about either.
When I look at Dummett's reference, Chapter X of Levi's book, I find very little to hang any interpretation on. All Levi says is that Shin applies to "20 or 21" and Tau to "21 or 22", with a verse attached (http://hermetic.com/crowley/aa/Rituel%2 ... Part_I.pdf
Resh, 20: When dust to dust returns, His breath can call
Shin, 20 or 21: Life from the tomb which is the fate of all.
Tau, 21 or 22: His crown illuminates the mercy seat
And glorifies the cherubs at His feet.
From that, I can't even tell that the Fool is meant as between Resh and Tau. It looks more that the Fool, if it is indeed associated with Shin, is either at 20 or 21. That would suggest, perhaps, that the Fool--and we are all fools--can enter Heaven if God is merciful.
On ATF, there was a long discussion of why and where Levi made Shin the Fool. Support for the above interpretation can be found at http://www.tarotforum.net/showthread.ph ... hin&page=6
, post 59, by Kwaw (SteveM). Everyone goes to heaven, even the Devil. However other documentation is on p. 3 of that thread, post 23, by Teheuti (Mary Greer), citing Levi's Clefs Majeures et Clavicules
(http://www.tarot.org.il/Library/Levi/Cl ... alomon.pdf
, p. 60). (Added later: Levi says, for the 21st letter:
La lettre schin. Point de nombre:
La fatalité. L'aveuglement. Le fou. La matière abandonnée à elle-même.
(The letter shin. Item number:
Fatality. Blindness. The fool [or madman]. Matter abandoned to itself.)
Put between "the great arcanum of eternal life" and "the resumé of all universal knowledge", the interpretation would seem to be that madness is what you get if you take in the celestial light without the necessary humble attitude and proper preparation.
Teheuti also cites The Key of the Mysteries
. From what I see on http://www.naderlibrary.com/lit.keymyst ... levi.3.htm
, find "thirty-first"); this is about the 31st path. But is the 31st path the same as the Fool? I am not sure about this.
Another thing about the Fool is Levi's astrological assignment to the Fool: fire, which is the entity assigned by the Sefer Yetzira to shin. While there is hellfire, and Levi's identification of shin with the fire between the Devil's horns (http://www.naderlibrary.com/lit.keymyst ... levi.2.htm
, find "horns"), in the passage above, clearly about the Fool, he is thinking of celestial fire. That would correspond to Jesus, who came "to bring fire and the sword". There was a tradition identifying shin with Jesus, which I find first in Pico and Reuchlin, but which Levi also cites (Kwaw at p. 17, post 169. of the ATF thread). When received by "brute man", the result is madness, even if from a divine source. Shin as next to last is a complex concept.
(Added later: For Pico, see Part 2, section 11 of his Conclusiones
, in Farmer's translation (Syncretism in the West
p. 527; I omit the letter written in Hebrew):
11>14. By the letter...shin, which mediates in the name Jesus, it is indicated to us Cabalistically that the world then rested perfectly, as though in perfection, when Yod was conjoined with Vav--which happened in Christ, who was the true Son of God, and man.
Since God is Yod he vav he
(as Pico says in 11>15), what he means is that Shin is in the middle between the two parts of God's name, completing Yahweh as Yeshua. The four letter name of God becomes the five letter name of God. See also Farmer's explanation of the 11>14 at http://books.google.com/books?id=HZLWAA ... me&q=Jesus
. Reuchlin alludes to the same doctrine on p. 73 of On the Kabbalah
when he says there will come "a hero whose name will in pity contain these four letters--YHVH" (http://books.google.com/books?id=YSBz8t ... 22&f=false
). Here he implies "not only these four letters". He spells it out later, but I don't currently have access to that part of the book. A snippet of what I think is the right quote can be seen at http://books.google.com/books?ei=JKblU5 ... &q=+Yeshua
In any case, Levi's repositioning of the Fool did not catch on, except with Papus and his followers, whom Dummett ignores. Nor did his astrological assignments (not discussed by Dummett, but you can see them in Appendix I at http://www.jwmt.org/v2n17/gurney.html
). The Golden Dawn made different associations. Here is Dummett (p. 472f):
La componente principale della dottrina esoterica dell’Ordine, per quanto riguarda il Tarocco, era «l’attribuzione segreta» dei trionfi. Nell’Alba Aurea la parola «attribuzione» veniva usata per indicare il metodo di assegnazione delle lettere dell’alfabeto ebraico alle singole carte e, in questa accezione, è diventata termine standard dell’occultismo. Come abbiamo visto, tale attribuzione è di vitale importanza nella teoria occultistica del Tarocco, poiché essa determina in che modo la teoria debba intrecciarsi alle dottrine cabalistiche. «L’attribuzione segreta», rivelata nel manoscritto cifrato, era in accordo con Lévi nel disporre a questo scopo i trionfi in ordine numerico ascendente; la sua semplice idea originaria era di rimuovere il Matto dal suo posto fra il XX e il XXI e collocarlo all’inizio, scombinando così l’assegnazione di lettere ebraiche di Lévi per ciascun trionfo tranne il XXI. C’era anche un altro dettaglio:[end of 471] VIII (la Giustizia) doveva essere scambiato con l’XI (la Forza). Nei mazzi di tarocchi preparati dai membri dell’Ordine per l’uso occultistico, questi due trionfi erano rinumerati conformemente. Poiché l’Ordine insegnava che Lévi aveva visto il manoscritto cifrato, si doveva supporre che nei suoi libri avesse deliberatamente mentito per ingannare i lettori.
(The main component of the esoteric doctrine of the Order, with respect to the Tarot, was the "secret assignment" of triumphs. In the Golden Dawn the word “assignment" was used to indicate the method of allocating the individual letters of the Hebrew alphabet to cards and, in this sense, has become a standard term of occultism. As we have seen, this allocation is of vital importance in the theory of the occult Tarot, because it determines how the theory should be intertwined with cabalistic doctrines. "The secret assignment," revealed in the cipher manuscript, was in agreement with Levi in placing for this purpose the triumphs in ascending numerical order; its only original idea was to remove the Fool from his place between the twentieth and twenty-first and place it at the beginning, thus messing up the assignment of Hebrew letters for each of Levi's triumphs except XXI. There was also another detail: VIII (Justice) was to be exchanged with XI (Strength). When tarot decks were prepared by members of the Order for occult use, these two triumphs were renumbered accordingly.
So the Golden Dawn, like de Mellet, puts the Fool first, but unlike him associates that card with 0 and Aleph, the Magician with 2 and Beth, and so on. This association of letters with numbers is of course not the ancient Hebrew way any more than de Mellet's was. Dummett does not discuss why VIII and XI were switched, as it is not something that was part of the published works of Golden Dawn members. It is something that comes out in his 2002 book with Decker.The Golden Dawn made the novel sugestion that the letters be associated with astrological entities by means of the ancient Kabbalist or Jewish mystical book the Sefer Yetzirah. In that text the astrological entity corresponding to the 9th letter (and hence the trumph with the number VIII) is Leo, and naturally the triumph with a lion is Strength. Likewise the entity corresponding to the 12th letter is Libra; that naturally corresponds to the card of Justice. So the cards have to exchange places. There is no historical precedent for such assignment, to be sure. All the same, the old cards were in error in this one particular, even though in all other respects the correspondences work perfectly.
Sometimes people point out that there is a precedent for assigning 8th place to Fortitude, namely, in some of the A and B orders Fortitude is indeed the 8th triumph. However in these cases Justice is not 11 and in fact much of the card order is different from the Golden Dawn's, which is otherwise that of the Tarot de Marseille.
Could the Sefer Yetzirah have been one basis for the tarot? Historically, the Sefer Yetzirah was known by Christians in Italy in the 15th century, but they hardly mentioned anything about it. It is theoretically possible that it could have been used for astrological interpretations of the triumphs, but if so either it was in a more forced way, or else they put in a false order as a "blind" to mislead the uninitiated. Here I need to say that there is nothing to suggest that assuming "blinds" was a method of interpretation in the Renaissance . Although interpretations could indeed be imaginative, they had to fit what was believed that the author actually wrote, Petrarch had told them, not something else that interpreters were expected to correct. Renaissance writers on interpretation such as Alberti believed that while the wisdom in ancient texts and pictures might be obscure, and in that way inaccessible to the ignorant, they did not not present what their authors believed to be false. This equally applied to the interpretation of their own works, if we can assume the tarot to have been such. All they could assume was that knowledge of ancient classics generally accessible in their time, such as the Sefer Yetzirah, would continue to be accessible.
Even granting this switch of VIII and XI, however, there is a problem with the Golden Dawn's attribution of letters to astrological entities via the Sefer Yetzirah, one that Dummett and Decker do not seem to notice: the Golden Dawn's particular attributions of letters to planets occur in no known historical version of the Sefer Yetzirah. The Golden Dawn's order is Mercury (for the Magician), Moon (for the High Priestess), Jupiter (for the Wheel), Mars (for the Tower), Sun (for the Sun), and Saturn (for the Universe) (see e.g. http://newsletter.tarotstudies.org/2005 ... ributions/
, or Decker and Dummett 2002, p. 97f) with http://www.psyche.com/psyche/yetsira/sy ... tions.html
, which conveniently gives the Golden Dawn's attributions in the last row. It doesn't don't fit those of any of the Sefer Yetzirahs.
Another problem is their correlation of paths on the Kabbalist "tree" and letters. There is no suggestion in the tradition known to Christian Kabbalists before the 17th century that there were 22 paths. In fact, the only commonly available picture of the "tree", that on the "Gates of Light" in 1515, has 15 paths (http://3.bp.blogspot.com/-F4KTM3y-4O4/T ... is1515.jpg
). That text does talk about paths between sefiroth, but not in any way whereby one could end up with 22. It is also very specific that there is only one path between Malkuth and any other sefira;the Golden Dawn, however, has three. The first place I see 22 paths is in Moses Cordovero, whose work was first published in the West, in Hebrew, in Venice of 1597. He, too, says that there is only one path from Malkuth upwards; but it is possible that some other Jewish Kabbalists then had a different version of the "tree", from which Kircher in the 17th century got his.
One might wonder whether the Sefer Yetzirah, in its actual set of planetary correspondences, fits some historical order of the tarot sequence. One problem is whether to use the Golden Dawn's method of assigning letters to triumphs or one in which the Fool is toward the end of the sequence. In the Golden Dawn's version, which has the Fool as the first triumph, what is required is something to fit tarots I, II, III, X, XVI, XIX, and XXI. Otherwise it is necessary to increase the numbers by one, i.e. II, III, IV, XI, etc. Then there is the issue of which version of the Sefer Yetzirah to use. The most common Sefer Yetzirah sequence is the Ptolemaic one of Saturn, Jupiter, Mars, Sun, Venus, Mercury, Moon (http://www.psyche.com/psyche/yetsira/sy ... tions.html
). That clearly won't work symbolically. The Gra version is Moon, Mars, Sun, Venus, Mercury, Saturn, Jupiter. That doesn't work either. Nor does the Zohar one of Moon, Mars, Sun, Saturn, Jupiter, Venus, Mercury. However it strikes me that the reversal of the most common Sefer Yetzirah order, i.e. starting with the Moon and ending with Saturn, does have a chance of fitting the C order: the Bagato was represented as a "child of the Moon"; the Popess would have gotten her authority from Jesus, equated with Mercury, or as Isis, from Thoth/Mercury; the Empress remains with Venus; the Sun goes up and down like the Wheel; destructive Mars fits the Tower; Jupiter was the father of Castor and Pollux (although I don't know how old that tarot depiction is), and Saturn, the highest planet, represented both Wisdom and Evil, hence the World to come after the Last Judgment. Moreover, this is the traditional medieval order of the planets, which nomally went from the earth outward; thus such a reversal would have been perfectly natural.
These assignments work fairly well for the A order, if we continue going by ordinal rather than cardinal numbering, with the Fool first, and assuming that the "four papi" were not original in that order. Since the cardinal numbers in A start after the Bagatto, the A cardinal numbers are one less than the C (http://4.bp.blogspot.com/-YlU6F53x-_E/U ... .35+PM.png
). The Angel is now identified with Saturn, which is the final triumph in the A order. Also, the Sun is correlated with Fortitude or the Chariot; if the Golden Dawn can correlate Strength with Leo, surely the Sun will do as well. The A cards do not have the two people on the Sun card; I do not know how the lady with the distaff could associate with Jupiter; but perhaps Jupiter = Christian God = Sun.
The assignments work less well for the B order, for which there are three problems: II is the Empress, III the Emperor, and XVI the Star (http://1.bp.blogspot.com/-1EdTAS9Qo6E/U ... .56+PM.png
). I have no idea how to resolve these issues.
The question remains whether the other Golden Dawn assignments (zodiac and elements), which do accurately reflect the Sefer Yetzirah, relate symbolically to what is depicted on the card in a way that would have made sense in the fifteenth or sixteenth century. Before trying to answer that question, I would want to know how the Golden Dawn and others explained these assignments. Dummett does not present any justifications in any of his books. On the Internet, the one by Joseph Gurney, http://www.jwmt.org/v2n17/gurney.html
, looks competent.
Two hard ones are the Moon, associated with Pisces, and the Chariot, associated with Cancer.. Of the first he says:
the divinatory meaning of “The Moon” - glamour, deceit, treachery – corresponds to the twelfth astrological house (enemies in secret), which itself is associated with the twelfth sign of the Zodiac, i.e. Pisces.
Looking at the Renaissance astrologer William Lilly (http://www.skyscript.co.uk/lilly_houses.html
), I do see an approximation of "enemies in secret" as one meaning of the 12th house. I guess that would explain the giant crustacean lurking in the pond's murky darkness.
For Cancer and the Chariot Gurney says:
In a similar manner, the association of “The Chariot” with Cancer is difficult to explain until one remembers that in Horary astrology, one of the meanings of the fourth astrological house is “the end of the matter.” Thus it is appropriate to link “The Chariot” (which means triumph – i.e. bringing things to a successful conclusion) with the fourth astrological house – which happens to be itself associated with the fourth sign of the Zodiac, i.e. Cancer.
Looking casually on the Internet, I see "the end of the matter" given for the fourth house in modern astrology, but added at the end, unrelated to anything else. So I wonder if it was part of Renaissance astrology. I don't see it in Lilly, http://www.renaissanceastrology.com/houses.html#N
. One medieval Arabic account says that the fourth house pertains to what happens to the dead (http://www.renaissanceastrology.com/housesalbiruni.html
). That is a kind of "end of the matter", but not the sort that the Chariot would signify, given its place in the sequence.
The only Renaissance correlation of astrology with the tarot I know is the Schoen Horoscope (see Marco's psot at viewtopic.php?f=14&t=942#p13795
for pictures), which does seem, in my view, to correlate 12 of the cards with astrological houses (see my post just below Marco's). For the 4th house, which is mainly about fathers, he has a father and son operating a plow, which I have taken to be his version of the Chariot. That is a nice coincidence. But none of Schoen's other house-card correspondences fit the Golden Dawn's attributions of the corresponding zodiac signs that I can tell.
For the 12th house Shoen has someone in the stocks, which I have taken to be his version of the Hanged Man (punishment), who has a special relationship to the number 12 (12th disciple, 12 triumph). The Golden Dawn's assignment is different. Admittedly there is no reason why the astrological associations had to come out the same for everybody. But for the Sefer Yetzirah to have applied in the Renaissance, a way must be found to correlate the VIIIth triumph with Leo and the XIth with Libra. Leo is associated with the 5th House, that of Pleasure (and pain for the disobedient, Lilly says). Yes, perhaps justice is a pleasure for the righteous. But I do not know how Libra, associated with the 7th house, marriage and other contracts, would fit any historical version of triumph XI.
It is possible to make astrological assignments to cards without reference to any classical text or how the cards are otherwise interpreted. That is what Etteilla did: in the Fourth Cahier (pp. 22-27, reprinted in Holbronn, Etteilla, L'Astrologie du Livre de Thot): he affirmed the necessary astrological correspondences (naturally, those of the "ancient Egyptians") simply by assigning the zodiac, in order, to the first 12 of his cards, independently of what was usually depicted on them. Then the 7 planets and 3 other astrological entities were assigned to his cards 68-77. i.e. the 10 number cards of Coins. The designs he put on the coins, different for each card but showing the plantary god or other symbol, then served as their talismans. There is no symbolic correspondence whatever with what was on any previous versions of these cards; there is just what Etteilla himself put on the first 12 cards and the number cards of Coins. He also has the 4 elements (not 3 as in the Sefer Yetzirah), written on his cards 2-5. There is no relationship between any of this and the keywords on the cards. It is merely a way of generating a horoscope using cards, for which the keywords are not used.
However I cannot see how the Renaissance could have used such an arbitrary method, unless they actually put the necessary clues on the cards. It goes against their idea of interpretation.
Oddly, Etteilla's order of the planets is not the usual Ptolemaic one going from Saturn down to the Moon, but rather: Saturn, Jupiter, Mars, Moon, Venus, Mercury, Sun (4th Cahier, pp.22-25). I have no idea why he interchanged the Sun and the Moon.
The Golden Dawn's interpretation of the suit cards in terms of the Kabbalist four worlds seems to me to have roots in 17th and 18th century Christian Kabbalah; which in turn was derived from earlier Jewish Kabbalah. I have seen no indication that the "four worlds" were known in Italy during the Renaissance. However new information about Kabbalah in Italy is being published all the time. The interpretation of card 2-9 of the suits in terms of the 36 decans has some historical justification in that decans were a part of Renaissance astrology and were in fact used in the "Hall of the Months" at the Schifanoia in Ferrara. However I see no evidence of their use as shown in the meanings of the cards given by Etteilla (or any other source before Paul Christian); the lack of their fit to Etteilla and sometimes even to the Golden Dawn's own card-meanings is demonstrated by Huson in The Mystical Tarot, http://books.google.com/books?id=dVne-R ... ns&f=false). The same is true of Levi's application of sefiroth to the number cards (despite what Decker says, for which see my post at viewtopic.php?f=12&t=971&p=14920&hilit=Etteilla#p14920), except very remotely in that the sefiroth have a basis in Pythagorean number theory.
Dummett has much else to say about the occultists in his 1993 book, mostly accounts of individual personalities and their activities, most of which as far as I can tell, is repeated in his 1996 book in English with Depaulis and Decker. That book and the one with Decker in 2002 have more information, necessarily of a summary nature, concerning what the occultists actually said about the tarot and the decks they devised.
Chapter 20 of Le Monde e L'Angelo is about the game of tarot today and a summary. I hadn't known that the game died out in France but had a revival after World War II. The chapter will mostly be of interest to people interested in the game as currently played.
Note: A few hours later, I added more about Levi and shin.