I am, at the very least, impressed with your use of smilies!
Really though RAH, I think there is much to commend in your layout. I have a strong attraction to balancing the Devil with the Angel, and I like how you've taken that throughout the sequence.
The Tarot will lose all its vitality for one who allows himself to be side-tracked by its pedantry. - Aleister Crowley
The reason it works so well is that it respects Dummett's analysis of the overall design into three registers or types of subject matter. Understanding the division into a ranks of man, representing Everyman, an allegorical narrative from Love/Triumph through Betrayal/Death (along with the Moral Virtues), and an eschatological section from the Devil to Christ Triumphant (Tarot de Marseille), New Jerusalem or the Angel of Resurrection, (depending on the deck and sequence) is fundamental. When that overall design is kept in mind then the design of each section can be seen, (like Devil-Angel or, in Tarot de Marseille, from the Prince of Darkness to the Light of the World), and those structures convey additional information to shape the proper reading of the individual subjects.robert wrote:Really though RAH, I think there is much to commend in your layout. I have a strong attraction to balancing the Devil with the Angel, and I like how you've taken that throughout the sequence.
We are either dwarfs standing on the shoulders of giants, or we are just dwarfs.
The symmetry is lovely isn't it. She's not only beautiful, but alluring! There is a whole range of speculative possibilities to explore within Dummett's 'Triple Layer Cake', both for the historian , and for the 'hyper-imaginative'!
When a clock is hungry, it goes back four seconds.
Mercury in the Bolognese World card finds a parallel in this engraving from a 1580 Bolognese edition of Ringhieri's "Cento Giuochi".