FORWARD BY CIRO MARCHETTI

Seventy-eight images, a collective ensemble. They enter the stage in

varying configurations and numbers; a list of cast members that would
do justice to the most imaginative theatrical production. Between
them, this combination of heroes and villains, sinners and saints,
perform and interact. Their costumes are unchanged, but with each
performance they take a random variety of positions, rearranging both
lead and supporting roles. They have no set lines to learn or recite, yet
their dialogue flows freely, albeit with occasional pause for thought.
They engage us, as members of the audience, with their interaction,
offering an infinite number of plots, each performance unique and
personalized. Tales of sadness and joy, failures and success, reviews of
what has been and indications of what might become. They offer us a
lens through which we provide both focus and perspective, and a
mirror with which to ponder and reflect. So let’s shuffle the pack, deal
the cards and let the show begin.

A somewhat romantic theatrical analogy of a tarot reading, but one

that nev ertheless summarizes how I envisage the process and how I
approached the production of my various decks over the last 15 years.
I acknowledge that most certainly a reading can be effective even in
the most mundane of locations and manner of presentation, using
cards of the plainest visual simplicity. However, I prefer to envisage a
more idealized scenario, a reading where both reader and querent are
participating in a mutual shared experience; to use the theatrical
analogy again, a performance of sorts where the cards serve much as
a set design enhancing the overall performance of the cast with mood
and atmosphere.

Nevertheless a tarot deck cannot rely on decoration alone. To even be

correctly defined as a tarot deck, as opposed to an unrestricted
themed oracle or other divination system, a tarot deck needs to
adhere to any number of possible criteria; factors such as numerical
order, subdivisions of arcanas, and characters; elemental, astrological,
and kabbalistic associations; and pre-established symbolism and
meaning. To comply, if only in part, with such an array of preconditions
would be challenging enough from a designer’s perspective even if
there were at least a commonality of precedence to follow; but the
real challenge and inherent pitfall is of course the absence of any
source deck and accompanying documentation. There is no de facto
original or Rosetta Stone equivalent to provide us with a definitive
translation. Instead we have an array of assumptions and deviations
that have evolved over the centuries.

Despite the charm of earlier historical works of this genre, the reality
is that in terms of draftsmanship and detail they are often unclear, and
their intended meaning obscure. From earlier woodcuts to turn-of-
the-19th-century pen and ink, poses, facial expressions, and gestures
are often vague. While arguably this can be utilized positively, as it
allows for more flexibility of interpretation by the reader, I am of the
opinion that it also allowed for much guesswork in the past, guesswork
that once again became accepted as fact over time.

Conjecture, even when based on dedicated academic study, can still

be tainted by the personal but possibly incorrect conclusions proposed
by influential figures throughout tarot history. Such conjecture,
reinforced by both reputation and with sufficient retelling, evolved
into variations of accepted fact. We are subsequently left with an
essentially faith-based entity that embraces a wide number of
variables to ponder or disagree with. This lack of consensus creates a
dilemma—or opportunity—in deciding how they should best be re-
portrayed in any new project.

In many cards of this deck I have incorporated the use of closeups of

faces. I consider that this encourages a relationship of sorts with the
characters, to get to know them better, inviting us to question who
they are and what they are feeling or expressing. As with previous
projects, when I do this, I tend to depict them with neutral expressions,
the objective being that they can better adapt to whatever tone is
appropriate for any given reading.

In the cards where I have indulged in adventurous artistic license and

deviation from more traditional depictions, I consider there remains
sufficient conceptual association that you will still find yourselves in
familiar territory.

Ciro Marchetti 2018

 ABOUT THE AUTHOR

Lee Bursten is the author of Tarot of Dreams Guidebook for U.S. Games
Systems, and The Marseille Tarot Companion, Zodiac Tarot and Gay
Tarot for Lo Scarabeo. He contributed to Ciro Marchetti’s Gilded Tarot
Royale and Gilded Reverie Lenormand: Expanded Edition. He has
contributed articles to Llewellyn’s Tarot Readers and was technical
editor of Absolute Beginner’s Guide to Tarot for Que Publishing. He
served for several years as a forum moderator for the Aeclectic Tarot
Forum.

PREFACE

In late 2019, I was asked if I would be interested in writing the

accompanying book for the mass market edition of the Marchetti
Tarot, which Ciro Marchetti had already published in a limited edition.
I hadn’t written a full book for Ciro since 2005, when I wrote the Tarot
of Dreams Guidebook. We had stayed in contact during the
intervening years and I contributed some suggestions for his
subsequent projects here and there, and wrote some text for Ciro’s
Gilded Tarot Royale and Gilded Reverie Lenormand: Expanded Edition
decks.

Ciro sent me a copy of the limited edition Marchetti Tarot, and I was
impressed with Ciro’s continued ability to travel farther and deeper
with each successive deck. I don’t mean to diminish his earlier decks
at all; in fact, I still have a fond affection for the original version of
Ciro’s first deck, the Gilded Tarot, although his knowledge and un-
derstanding of tarot has grown since then.

For the Tarot of Dreams, after much discussion, Ciro decided to place
on the cards indications of the astrological and kabbalistic
correspondences, created by the Hermetic Order of the Golden Dawn
(a late-19th-century British secret society), and in the book I delved
into these attributions. For the Marchetti Tarot, Ciro had worked
astrological glyphs into many of the images, but for the mass market
edition Ciro decided to remove many of them, a decision I
wholeheartedly agreed with. I found the images so suggestive, so
insightful, and in some cases so profound that I felt the astrological
glyphs could only get in the way.

For me, the most striking feature of the deck, besides the lushly
beautiful artwork, is the focus on faces. Many of the people in the deck
are shown in closeup, and this adds a new way for a tarot deck to
communicate with us, through the features and expressions of the
closeup faces.

In this book we’ll discuss the structure of a tarot deck, explore the
Marchetti cards one by one, and finally, discuss methods of reading.
Throughout, the focus will be on allowing the artwork on the cards
help us access our thoughts, our feelings, our relationships, our en-
vironment, our past, and our future. Less emphasis will be placed on
traditional esoteric references. Likewise, the chapter on reading with
the deck will favor intuitive approaches rather than logical systems and
correspondences.

Of course, a tarot deck can be interpreted and used any way the user
likes. The ideas and suggestions in this book are meant to serve as
guideposts and examples, and I hope they will prove fruitful for
beginners and experienced readers alike. Ultimately, the cards
themselves are your best guides.

Lee Bursten 2019

STRUCTURE OF THE TAROT DECK

The Marchetti Tarot conforms to traditional tarot structure. It is

comprised of two sections, the Major Arcana and the Minor Arcana
(“arcana” means secrets). The Minor Arcana are basically a playing-
card deck, with the following differences:

1) Instead of Clubs, Hearts, Spades, and Diamonds, the suits are

Wands, Cups, Swords, and Coins.

2) Instead of three Court Cards (Jack, Queen, and King), there are four
(Page, Knight, Queen, and King), and thus the tarot’s Minor Arcana has
56 cards, while a playing-card deck has 52.

3) In most modern tarot decks, including this one, the numbered cards
Ace through Ten contain scenes rather than simply the requisite
number of suit symbols.

The Major Arcana is a set of 22 cards which belong to no suit (or we

may think of them as comprising a fifth suit). They show allegorical
scenes, archetypal characters, and celestial bodies; for example,
respectively, the Wheel, the Hermit, and the Moon.
ABOUT ROMAN NUMERALS

For the benefit of beginners who may not be familiar with Roman
numerals, you only really need to know three things:

X = 10

V=5

I=1

The letters are additive: I means one, and II means two. Each letter can
be used successively up to three times: III means three. When a letter
would need to be used four times, the next higher letter is used
instead, with the lower letter in front of it to indicate “less”: we use IV
to mean four (one less than five), rather than IIII. XVIII means 18 (X is
ten, V is five, and III is three; ten plus five plus three equals 18). XIX
means 19 (X is ten, and IX is one-less-than-ten, i.e. nine).

Here are the 21 Roman numerals used in the Major Arcana:

I (1) - Magician

II (2) - High Priestess

III (3) - Empress

IV (4) - Emperor

V (5) - Hierophant

VI (6) - Lovers

VII (7) - Chariot

VIII (8) - Strength

IX (9) - Hermit

X (10) - Wheel

XI (11) - Justice

XII (12) - Hanging Man

XIII (13) - Death

XIV (14) - Temperance

XV (15) - Devil

XVI (16) - Tower

XVII (17) - Star

XVIII (18) - Moon

XIX (19) - Sun

XX (20) - Judgement

XXI (21) - World

The numbers II through X (2 through 10) are also used for the
numbered Minor Arcana cards. The first in the sequence of numbered
Minor cards is called Ace instead of I.

The only non-Roman numeral used in the deck is for the Fool,
numbered zero. The earliest known references to the concept of zero
and the use of a circle to represent it are from India.

If you’re not already familiar with the Roman numerals, it’s worth your
time to take a few minutes and run through them and test yourself
with them until you can easily read them. For the remainder of this
book, we’ll be using the Roman numerals, which will make it easier for
you to navigate through the book and the deck, since the cards
themselves show Roman numerals.
 HOW TO READ THE TAROT

Introductory remarks

How do we read the tarot? Simply put: ask a question, shuffle the deck,
lay out a series of cards, and use the cards to determine the answer to
the question.

We can ask any question we want to. We can ask about a

consequential life decision or whether we should take a walk. That
said, many readers will agree that there are some methods that are
more effective for certain kinds of questions. For example, if your
question involves two possible options or paths, you are more likely to
get a coherent answer if you lay out two groups of cards, one for
option A and one for option B, and then compare your reaction to
them, rather than laying out only one grouping.

Fortune-telling or divination?

Many people are interested in tarot reading because they want to be

able to predict the future. Some readers refer to themselves as
fortune-tellers, focusing on predicting events. Others feel they are
performing divination, with an emphasis on psychological motivations.
In reality, it’s not an either/or thing. If we imagine a scale, labeled at
one end “Completely Psychological” and at the other end “Completely
Predictive,” the great majority of readers fall somewhere in between
those two extremes.

Even a very psychological reading will have some elements of

prediction in it, as long as the question deals in any way with the
future. And, because of the broad and vast inner landscapes illustrated
on the cards, it’s virtually impossible to answer a very mundane
question without at least alluding to deeper concerns.

Experienced readers know that a tarot deck is a rich tapestry of

mythology, history, and art, and thus is often better suited for
questions that have some psychological depth to them. If you ask a
very mundane question, you may get a good answer or you may not.
For example, if you ask, “Should I go to the store now or later,” and
you draw one card and get the Hanging Man, then you have a clear
answer that you should wait. The Chariot or the VIII of Wands, on the
other hand, would tell you to go now. But other cards would have a
more ambiguous response. In the context of that question, what
would the Hierophant mean? How about the III of Swords? I for one
would be hard-pressed to come up with an answer from those cards.

So, although you can certainly ask any question you want, my advice
would be to avoid very simplistic questions that need a “yes” or a “no”.
For that kind of question, you would probably be better off flipping a
coin.

Most of us who read the tarot have experienced uncanny readings

where the cards seem too on-the-nose to be the result of coincidence.
Does this mean the source of the information we get from the cards is
supernatural? Not necessarily. Many readers do in fact believe the
source to be supernatural. Others believe that the process is strictly a
psychological one; we get the information from intuition, from
educated guesses, and from the subconscious.

Personally, I believe that the supernatural versus psychological distinc-

tion is really just a semantic one. Some of the information seems to
come from a source unknown to us. Whether that source is outside of
us or within our own brains is ultimately unknowable.

How it works, and best uses

I believe the best way to use tarot is as a mechanism to shake our

thinking out of its well-worn ruts, to help us consider a situation in
ways that we ordinarily wouldn’t have. And why should a deck of cards
from the 15th century (and with the Minor Arcana’s tradition of
meanings from 1910) be able to help us in this way? Because the imag-
es form patterns of psychological resonance, especially when
combined randomly, that are particularly helpful in gently shaking a
mind out of its usual way of thinking.

It all hinges on the talent we humans have of stringing together

meaning and telling stories from random patterns. Divination with
cards or lots is one example; seeing constellations in a grouping of
stars is another. The creative act of telling a story using randomly-cho-
sen cards somehow bypasses our usual filters, and the result is a vivid,
numinous story, like a dream, which gives us an answer or presents a
possibility that wouldn’t have otherwise occurred to us, allowing us to
gain insight by thinking outside the box. Again, the question of
whether the new insights have been transmitted to us by supernatural
means, or dredged up from our own subconscious, is interesting but
ultimately irrelevant.

A note on ethics

Another factor in the equation, especially when reading for others, is

ethics. Many readers have written a statement of ethics which governs
their reading practice. These can vary according to the individual
reader. I think we would all agree that finding a curse or an evil spirit
in the cards and offering to fix it for a fee would be unethical (to say
the least, not to mention criminal). Giving melodramatic, doom-laden
predictions in order to terrify the querent and boost the ego of the
reader would be another universally-agreed-upon no-no.

From a practical perspective, despite the long history of some tarot

readers and astrologers giving medical or financial advice, it seems
prudent to refer such questions to certified professionals; among
other reasons, it will protect you from liability for practicing without a
license.
Other ethical considerations are more subjective. Is it unethical to read
for someone who isn’t physically present, for example by phone or
email? Is it wrong to read for a third party without their knowledge?
The answers to these questions will be governed by your beliefs about
how tarot reading works and what you want to accomplish with your
readings.

The most important thing to understand about reading for others is

that the querent, no matter how skeptical they may appear, is to some
degree placing their trust in you. Often, people will put you on a
pedestal and receive your words as if they were handed down on stone
tablets. That means you have to be careful about what you say and
how you say it. People are suggestible, and if you predict a bad thing,
it may start a psychological domino effect in the querent’s mind that
results in the bad thing actually happening. There is no need to start
prophesying doom when you see gloomy-looking cards. The “bad”
cards in the deck might easily be referring to mental states and
anxieties, or may be serving as warnings, not predictions.

That’s why we should never predict death or physical harm. Planting

that seed in the querent’s mind could result in a self-fulfilling
prophecy. And as we’ll discuss in the text for the Death card, that card
does not refer to physical death; in fact, the tarot doesn’t seem to be
concerned with physical death at all.

When I read for others, I try to maintain a positive and helpful attitude.
If I see something negative in the cards, I say so, in a gentle and tactful
way, but I also look to other cards in the spread that offer counsel on
how to ameliorate the negative effect, so that the querent leaves the
reading empowered rather than depressed. I also emphasize to the
querent that our future is determined by ourselves, not dictated by
the cards.

The most important part of a reading is what we learn from it. For that
reason, my last step in any reading is to ask myself questions like,
“What did I learn?” “What choices or options were shown to me that
I hadn’t been aware of before?” “What’s the next step?” This ensures
that the reading ends on a positive and practical note.

Down to business

Now we can get down to business. How exactly does one read tarot?
Tarot divination a very individualistic art. Every reader reads in their
own way, usually developed over years of reading the cards and
reading books about reading the cards. Finding your own way of
reading is a sometimes frustrating but ultimately rewarding process.
Along the way you’ll learn a lot about human nature and about
yourself.

Many people who are new to tarot come to it with the idea that it’s
like a language; all you have to do is learn what the cards mean, and
then you can read a string of cards like words in a sentence. Tarot is
like a language, but it’s not comparable to what we normally think of
as language. The images on the cards are symbols, not signs. A sign has
only one meaning, for example the road sign with wavy lines on it,
meaning a curving road ahead. A symbol has a constellation of
meanings, but the ultimate meaning is what it means to an observer
in the particular time, place, and context in which the observer is
viewing the symbol.

Tarot images and titles are fluid; the Wheel card, traditionally titled
the Wheel of Fortune, might mean good luck in one reading, bad luck
in another reading, gambling in a third reading, cycles in a fourth
reading, and a car tire in a fifth reading, all depending on what makes
sense to you, the reader, in that reading’s moment and context.

When interpreting a specific card in a reading, you’ll need to fit it, like
a jigsaw puzzle piece, into the larger tapestry of meaning you’re
creating. When interpreting a card, sometimes you’ll use one of the
meanings given in this book; sometimes you’ll use a different meaning
from another book; sometimes you’ll make an intuitive leap based on
the card’s title or something you see on the card.

If you’re an experienced reader, you’ll probably read through all or

parts of the card descriptions in this book and decide which can add to
your present knowledge and experience, and which you can safely
ignore. If you’re brand new to tarot, by all means read through the
card descriptions, but don’t feel as if you have to memorize them. A
more productive activity would be to start immediately reading small
layouts. See what you can glean from the cards without looking them
up; then look them up and see if any of the meanings or suggestions
you find in this book adds to your conclusions. If you look at a card and
are completely stumped, that’s perfectly all right, just go ahead and
read the card description and then continue on to the next card in the
reading.

First let’s look at two cards: High Priestess and III of Wands. Search for
them in your deck, and lay them out side by side, with the High
Priestess on the left and the III of Wands on the right. I’ll give you a
question to get you started, but after reading the following, feel free
to ask these two cards your own question and see what you can come
up with.

So let’s ask the cards: “Tell me something about my job that I don’t
know.” For the purposes of this exercise, we’ll regard the two cards as
succeeding one another in time; so, first the High Priestess happens,
and then the III of Wands happens.

Now let’s explore two different methods of interpreting the cards. The
conclusions I reach in the following examples are my own, no better
or worse than what you could come up with. In fact, after reading
through these examples, try using these methods on the High Priestess
and the III of Wands and see what different but valid interpretations
you can come up with.
By the book

First we’ll look to the card texts in this book. Of course, each card has
several meanings listed, so we’ll try to find meanings that seem
relevant to the question.

High Priestess: “Hidden or modest charity, anonymous philanthropy.”

III of Wands: “You’ve made a good start toward implementing your

plans, now you need to make sure that you don’t have unrealistic
expectations. If your imagination outruns reality, you may end up
stuck in the sand like the three wands in the picture.”

Now we can simply put them together to tell a story that relates to the
question (which was, “Tell me something about my job that I don’t
know”). How about this: “You’ve made a good start on a particular
project at work, but you’re in danger of being tripped up by your
unrealistic expectations. However, although you’re not aware of it,
one of your colleagues or superiors is keeping their eye on you and will
step in to help if they see there’s a problem.”

So, I’ve taken the book meanings and kind of shoehorned them
together so that they make sense in the context of the question. The
layout positions establish that the High Priestess happens first,
followed by the III of Wands; however, in my phrasing of my
interpretation I actually started with the second card because it
seemed to flow better that way. I could just as easily (if less
mellifluously) have said that one of your colleagues or superiors is
keeping an eye on you, which you’re not aware of, in case you’re
tripped up by your unrealistic expectations on a particular project at
work.

Find the symbols

If you’re more visually oriented, you might like the second card-
reading method we’ll discuss, which is to find, compare, and contrast
individual symbols or image elements on the cards.

First let’s look at the yin-yang symbolism of these cards. In Chinese

symbology, yin energy is thought to be receptive and contemplative,
while yang energy is active and outgoing. I picked the High Priestess
and III of Wands cards at random, but they happen to contain several
examples of yin and yang, with the High Priestess representing yin and
the III of Wands representing yang.

As noted earlier, the gender of the figures on the cards bears no

relevance to the gender of the querent or the people in the querent’s
life. Nevertheless, in the tarot, gender itself is used as a symbol of yin
and yang energies, with yang energy shown as masculine and yin
energy shown as feminine.

Other yin-yang symbolism on these cards are the moon of the High
Priestess (specifically seen hovering over the scroll towards the
bottom of the card) and the rising or setting sun on the III of Wands.
The High Priestess takes place at night, while the III of Wands is a
daytime scene (albeit early morning or early evening). Stillness reigns
on the High Priestess card (the candle flames are steady, the water is
still), while the III of Wands shows blustery action (the waves are
splashing, the ship is sailing, the flags and sails are catching the wind).
Colors are muted on the High Priestess but vivid on the III of Wands.

So, what’s the significance of all this yin-yang stuff? There are clearly
two opposing energies present, one passive and receptive, one active
and initiating. In terms of the question posed, we might easily imagine
that the yang energy on the III of Wands represents the querent, who
is fully engaged in their job and is eager to make a good impression,
and that the yin energy on the High Priestess stands for an ally, a calm
and wise mentor who offers advice or is simply present and available
for help if needed.

How do we know that the High Priestess person wants to help? If we

go back to the card text, we learn that the crown of candles represents
St. Lucy, a symbol of charity. Or we can simply rely on the card image
which shows the Priestess offering gifts.

The III of Wands is a good card for someone trying to do well at their
job. The three wands stuck in the sand makes me think of an
adventurer staking their claim to land by planting a flag. The person’s
hopes, plans, and dreams for the future are symbolized by the fanciful
ship growing out of the man’s head. Meanwhile, an actual ship,
representing commerce, navigates the ocean. Together, the two cards
represent someone well-positioned to take action in the job
environment, based on the calm and secure wisdom and counsel of a
colleague or superior.

This is how tarot reading happens. In a richly-illustrated deck like the

Marchetti Tarot, there are a large number of individual symbols and
image elements that can be interpreted, and each symbol or element
has a nearly infinite number of possible interpretations. A beginner
might well ask, how do we choose between them? The answer is, we
engage in a creative and intuitive process which begins by seeing what
symbol or aspect jumps out at us, and assigning an interpretation
based on what makes sense given the context of the question.

By making that first interpretation, we’ve begun a narrowing process.

When we come to the second card, the range of possible
interpretations is narrowed by our interpretation of the first card. Thus
you build a chain of associations which, as you read your way through
the card spread, takes on a life and momentum of its own.

We can also look to the individual elements on the cards and compare
them. If two elements are vaguely similar, then we can look to see how
they are similar and how they differ. We can also do this with two
elements that may not be similar but which occupy the same spots on
the two cards. If we want to add a time element, we can look at the
two symbols and imagine how the element on the first card has
changed or morphed or grown into the element on the second card.

For example, in our two cards, the High Priestess and the III of Wands,
the two largest and most obvious non-human symbols are the crown
of candles on the Priestess and the ship-crown on the III of Wands. We
might say that the animating feature of the Priestess’ crown is a
solitary, gentle illumination, while the animating feature of the III of
Wands is the wind which fills the exuberant sails of the ship-crown.
Relating this to the querent’s question, we might say that the wise and
gentle counsel of your mentor will transform into the energy and
confidence needed to fill your sails as you act on your ideas.

The Priestess holds a pomegranate in her hands, and if you look

carefully, you can see some pomegranate seeds falling into the water
below. In roughly the same position as the pomegranate, on the III of
Wands there is a ship seen in the water. The seeds scattered by the
Priestess have resulted in the physical action shown by the sailing ship.

Intuition versus book meanings

Some tarot readers are very literal. They go by the meanings of the
cards as set forth in a book (or, more likely, assembled by the reader
from several books and from experience), linking each card concept
together to tell a story. For these readers, for example, the Lovers card
always relates in some way to the concepts of love, romance, and
relationship.

Other readers are completely intuitive. They eschew book meanings

altogether and simply begin from scratch for each new reading,
creating meanings on the go from what they see on the cards. For
these readers, the Lovers card simply shows two people dancing.

The best way to read is to use a combination of the two. And if you
weave the tapestry of interpretation as I’ve described, you’ll find that
both intuitive insights and book meanings are useful to use as threads
in that weaving.

Combining cards

The most common way of reading is to use a spread where each

spread position has its own meaning. Then you lay each card in a
spread position, and interpret the card in light of the card’s position in
the spread, then move on to the next spread position and the card
occupying it. In this method, each card is considered separately from
the other cards. For example, the King of Wands in a spread position
labeled The Past would mean that sometime in the past, you were
placed in a position of authority in a specific project or endeavor.

But cards can also be read in combination. This is more akin to how
playing cards or oracles such as Lenormand decks are read. Here we
read cards as subparts of a sequence, or like words in a sentence, and
spread position meanings, if present at all, are deemphasized. In this
style of reading, you might lay out a line of five cards and interpret the
story they tell sequentially, as if each card were a panel in a comic strip.

In this kind of reading, groups of two or three cards are often

combined to form one concept. Adjacent cards are often used as
adjectives or adverbs to describe a person, thing, or action.

For example, pull from the deck the X of Cups and the Page of Swords.
As before, set them side by side. Instead of considering them as
separate points in time, we’re going to combine them. The easiest way
to do that is to consider either the X of Cups as describing the Page of
Swords, or the Page of Swords as describing the X of Cups.

X of Cups = joy

Page of Swords = curiosity

In this case, it doesn’t much matter which card is the noun and which
the adjective; in either case, we end up with something like a joyful
curiosity or a love of learning.

Let’s try another duo, this time the Moon and the Queen of Wands.
This time, the meaning is different depending on which card is the
noun and which the adjective.

Moon = hidden

Queen of Wands = passion

If the Queen of Wands is the noun, then the combination means a

hidden passion. If the Moon is the noun, the combination means a
passion for hidden things.

Let’s try three cards: Judgement, VII of Coins, and VII of Swords.
Suppose you’re having a disagreement with someone because they’re
not honoring a commitment they made to you. These three cards
together can mean: “You have a plan to wait for the right moment to
remind them of their promise.” Can you work out how I arrived at that
interpretation?

Judgement = unearthing memories

VII of Coins = patience

VII of Swords = diplomacy, strategies

You have a plan (VII of Swords = strategies) to wait for the right
moment (VII of Coins = patience, VII of Swords = diplomacy) to remind
them of their promise (Judgement = unearthing memories).

Don’t worry if it seems like my interpretation is something you would

have never come up with on your own. The point isn’t to read the cards
as I would read them, but rather to learn to read them as you would
read them. Think of it as if you were a sculptor. The ideal is to feel as
if you’re chipping away at the marble to free the shape which you
sense within the stone, rather than imposing a design on it from the
outside.
The combination method can be used in any spread by simply laying
out two or three cards for every card position in the spread. It would
probably be more practical to use this technique on shorter spreads. If
you used a 15-card spread and laid out three cards for each position,
that would be 45 cards, which might make for an unwieldy reading. If
you want to incorporate combinations into your reading, I would
suggest using spreads of three to five positions, and laying out two to
three cards per position.

Reversals

A reversed card is one that is upside-down. To use reversed cards

when reading, you would shuffle the deck in such a way that some
cards are randomly turned around. Ideally, when you lay out the cards,
some cards will be upright and some reversed.

A reversed card will modify the meaning in some way. There are dif-
ferent schemes and methods for determining the reversed meaning of
a card. The easiest method is to simply say that a reversed card’s
meaning is the exact opposite of the card’s upright meaning. For
example, if the Star means calm, the reversed Star would mean the
opposite of calm, or disruption. If a negative card like the III of Swords
is reversed, the reversed meaning would be positive. In this method,
the reversal is used as a way to modify the upright meaning. It’s an
easy method to use as it doesn’t require learning a whole new set of
meanings.

On the other hand, some tarot authors create entirely new meanings
for reversed cards, which must be learned.

Whole books have been written about using reversed cards. These
authors suggest a whole series of different ways that reversals might
modify the upright meaning, and recommend the reader use several
of them at once, modifying each reversed card in the way that seems
best for that card in that context. Personally, I feel that this makes the
reading process very complicated. For people who are new to tarot or
are still in the early stages of their tarot explorations, I recommend
using either no reversals, or using reversals with a simple modification
scheme, such as the one outlined above where reversed cards mean
the opposite of the upright card. Another simple scheme casts the up-
right cards as conscious and action-oriented, while reversed cards
would relate to inner thoughts and feelings.

I would avoid considering reversed cards as negative. Some of the card

meanings are already somewhat negative, so using the reversed-
means-negative scheme would result in a deck in which over half the
cards are negative.

That means your readings would lean toward the negative, which
seems to me to be a pessimistic and unpleasant way to read.

The standard advice in tarot books is to try reading with reversals and
see how you like it, and I think that’s good advice. Many readers read
with reversals, and many read with no reversals. Some readers will
read either way, simply deciding beforehand whether a particular
reading will include reversals and shuffling accordingly.

To read with reversals, simply make sure when you shuffle that some
cards are turned around. If you riffle shuffle, for example, when you
cut the deck into two portions, turn one portion around before riffling
the two portions back together. If you want to read without reversals,
try not to get the cards turned around while shuffling. If a card does
turn up in a layout upside-down, simply turn it upright.

MAJOR ARCANA

The 22 Major cards (Fool, numbered 0, through World, numbered XXI)

are the most well-known cards in the deck, due to the mythological,
allegorical, and religious references depicted.

The modern tradition is to treat the Majors as major psychological or

spiritual forces acting on a situation, in contrast to the Minors which
are supposed to represent the less momentous but more immediate
events, thoughts, feelings, concerns, and relationships which make up
our daily lives. In readings, you may find that this rule isn’t always
applicable.

Over the years, tarot authors have postulated various scenarios and
patterns in which to arrange the Majors. It can sometimes be helpful
to see the Majors through the lens of a predetermined pattern, but
since our focus is on intuitive reading rather than logical systems, in
this book we’ll consider the Majors as individual forces rather than as
parts of a set. We will, however, often compare cards with each other
to clarify the differences between them.

You will notice that meanings frequently overlap between cards, or

that different aspects of a single concept are spread between several
cards. No matter how we try to measure and divide the cards into a
perfectly rational system, at its roots the tarot is a wild and untamable
thing.

0 Fool

In most tarot decks, the Fool is a carefree figure, smiling or laughing,

or simply expressing a cheerful mood as he sets off to find his future,
with a dog either pouncing on his backside or barking a warning as his
master steps off a cliff.

Traditionally, the Fool has meant foolishness or folly, impetuousness,

a mistake. More positively, he can stand for having the courage to step
into the unknown. More simply, the card can mean a beginning.

The Fool in this deck is different in several respects. He holds a

masquerade or carnival mask, suggesting the merriment he provides
king and courtiers as a court jester. But he’s lowering the mask, and,
despite his clown makeup, he wears a serious expression as he gazes
at a Fool card of his own.
The Fool card he holds belongs to an older version of tarot called Tarot
de Marseille, a pattern produced since the 17th century and still avail-
able today. The Marseille Fool features a somewhat harsher and
starker character, who combines the archetypes of the court jester
and the vagabond. The older card leans more towards the negative
characteristics of folly, madness, and homelessness.

Our Fool invites us to consider the range of meanings from positive to

negative, and the tension between them. Perhaps he wants us to
consider the older Fool as a warning against foolish behavior. Or
maybe our Fool is showing us the older, starker Fool to remind us of
the superficiality of conventional standards of security and re-
spectability.

The Fool’s canine companion is likewise seriously considering his coun-

terpart on the older card, perhaps pondering the damage said
counterpart is inflicting to the older Fool’s pants.

Modern tarot authors often see the dog as the Fool’s animal nature
which assists him on his journey, but the older deck suggests a more
destructive force that can annoy or injure the Fool if he doesn’t pay
attention. Here again, we have a contrast and a tension between
positive and negative extremes.

However serious our Fool appears, he retains his subversive nature—

notice how he’s actually a disembodied head and pair of hands. He
exists more as an idea or a feeling than as an actual personality. He
reminds us to constantly question the conforming effects of society
and whether we’re being supported or stifled by our surroundings.

In a reading:

Throwing caution to the winds. The impulse to embark on a new

endeavor regardless of risks. Undermining or subverting an oppressive
situation. Carefully considering the continuum between recklessness
at one extreme and too much conformity at the other. Negatively,
doing something you’ll regret; a mistake.
Some Foolish Thoughts

by Ciro Marchetti:

If we use the analogy of the “Fool’s Journey” to describe and provide

a rationale for the characters and scenes of a tarot deck, then clearly
this figure is the main participant. He represents us, the reader or
querent. Through his “travels” we can relate and draw comparisons to
our own. Between the Marseille and Waite-Smith decks, we have
somewhat contrasting depictions. Pamela Colman Smith’s rendition,
so we are told, suggests the Fool is stepping off of a cliff, accompanied
by his (or her) companion dog, the two either blindly or innocently
unaware of the inherent dangers that their act might represent. This I
find too fanciful a concept, and on a personal level I consider the Mar-
seille Fool to be the more appropriate analogy. I consider the “Fool’s
Journey” not as some innocent first journey, but rather a wary start to
yet one more of the many that has preceded it. In this manner the
numerous journeys provide a more relevant comparison with multiple
readings.

Unlike Pamela’s theatrically attired figure, the older Marseille clothing

seems worse for wear. In historical terms the fool or court jester can
be viewed in several ways. Certainly in the more fortunate cases, he
may have enjoyed a steady employment of sorts, even one of relative
privilege, such as in the case of King Lear, where he may have even had
some sway and position in court via his access to the king. However,
for the majority, it must surely have been a tenuous position. It seems
highly unlikely that even the funniest or most talented of fools would
have had a sufficient repertoire of tales and performances to have kept
their royal employers amused on a constant basis. Although I have no
specific historical reference to support my views, I consider it more
probable that fools would have been hired for specific occasions,
celebrations, birthdays, and so on, and somewhat like our
contemporary stand-up comedians, may have travelled from “gig” to
“gig”. If so, then one can extrapolate that while they may have been
welcomed upon their final arrivals, between venues they may have
encountered unpredictable receptions along the way.

In many cases this foolish profession was not one of choice but rather
lack of alternatives. Often due to either physical or mental
abnormalities, the humor may well have been fundamentally of a
derogatory nature rather than comic, but presumably at least a source
of income, even if a minimal one. The Marseille dog is clearly no pet;
it’s shown aggressively tearing at the Fool’s legging, a symbol that for
me suggests the lack of welcome he may have encountered on many
occasions upon arrival, unannounced, at each village or town along his
way. Each of his journeys represents (as with a tarot reading) its own
experience and outcome. This foolish contradiction is portrayed in this
deck, where we have a Fool and his dog looking at their historical
precedents. One might imagine them comparing and contemplating
both the similarities and differences between them, before they set
off like us on another journey, another reading.
I Magician

Like the Fool, this Magician differs from traditional depictions. Usually
he’s a street magician, standing at a table with the tools of his trade.,
or a ceremonial magician performing a ritual with a wand, a cup, a
sword, and a coin, representing the four suits of the tarot. In both
cases, he appears as a young man.

In the Marchetti Tarot, we see an elderly man gazing at us with an

amused and knowing expression. He shows us his open hand upon
which appear magical symbols. Around his head we see a halo
containing more magical symbols.

The symbols we see on his hand and in his halo perform the same
function as the traditional ceremonial magician’s or street magician’s
tools. They show us that the Magician accomplishes anything he
wishes by first arranging and organizing the relevant thoughts and
concepts. This is the Magician’s power, and it’s a power available to all
of us in our lives, to make things happen by formulating plans
(represented by the symbols) and then taking action to implement
those plans (represented by the hand).

The Magician’s expression is important. He seems to be gently

challenging us—“If I can do it, you can too!”

One of the most striking features of the Marchetti Tarot is the relative
maturity of several of the Major characters. Fool, Magician, High
Priestess, Hierophant, Chariot, Strength, Death, Devil, and Tower all
show people who are older than the young adults we usually see in
tarot decks. This is a welcome innovation. While prior decks use youth
to symbolize naiveté or inexperience, age can be used as well to
represent emotional maturity, wisdom, and capability.

In a reading:

Capability; the power to make things happen. Making a difference by

inspiring others to learn and to make use of their learning. On a more
mundane level, writing and languages. Negatively, someone who uses
charisma to bend others to his or her will.

II High Priestess

The High Priestess offers us gifts while wearing a crown of candles. If

we wish, we might identify her as St. Lucy, a Roman martyr who was
put to death in the year 304, and who is celebrated on St. Lucy’s Day
(December 13th). A legend states that she offered bread to persecuted
Christians hiding in the Catacombs of Rome, wearing a crown of
candles so that she could keep her hands free to distribute the food.

As sustenance, she offers a pomegranate and a book. Before her, a

scroll is spread open, revealing text. Hovering over the text is the triple
moon symbol.
Let’s consider the symbols one by one. The crown of candles can
represent illumination, inspiration, or philanthropy. The pomegranate
can have many meanings, including life, eternal life, rebirth, fertility,
and abundance. The closed book indicates knowledge, hidden
knowledge, secrets, and privacy. The open scroll suggests an older
form of knowledge, one which is available to everyone. The triple
moon symbol floating over the scroll tells us more about the kind of
knowledge it contains; that pertaining to cycles of time, indicated by
the waxing, full, and waning moon, and specifically relating to the
three phases of womanhood (traditionally considered as maiden,
mother, and crone).

Two owls grace the card with their presence; since ancient times, owls
have served as a symbol for wisdom. Because owls are most often
active at night, they are also connected to the moon and feminine
mystery.

Behind the High Priestess we see sunlight shining on dark waters, sug-
gesting sunrise or sunset. Water in the tarot always signifies emotions,
deep feeling, and the subconscious. We may also relate it to Jung’s
concept of the collective unconscious, a vast sea of instincts and
archetypes that is shared by all humans.

In a reading:

Instinctive knowledge, ancient wisdom. Illumination, a light in the

darkness. A deep understanding that explains the cycles of life while
also standing outside them. Hidden or modest charity, anonymous
philanthropy.

III Empress

A young woman cups a floating Earth in her hands. An exuberant

ecosystem of flora and fauna blossoms around her. She is the
quintessential Mother Nature, an earth goddess who personifies the
entire planet.

How can we bring such a vast and awesome spiritual concept down to
earth, so to speak, so we may interpret it in readings? Well, we all have
mothers. And we are all mothers ourselves, whether literally or
figuratively. We all have nurtured projects and brought them to
fruition, given care and comfort to a loved one or friend, and nurtured
ourselves. The variety of species seen on the card can symbolize the
myriad ways we can relate to it.

To understand this card fully, it’s necessary to contrast it with the fol-
lowing card, the Emperor. They are like opposite sides of the same
coin, seemingly at odds but each completely dependent on the other.
The Empress draws up no legislation and executes no battle plans.
Instead she gazes lovingly, raptly, at the Earth, establishing her
dominion solely through the force of her love.
The Empress does more than simply rule the Earth. She actually
creates it, as we can see from the abundant life which emanates from
her head. The Emperor takes the life energy created by the Empress
and molds it according to his vision. Without the Emperor’s structures,
the Empress’ world would soon be overrun by excessive and com-
peting growth. But without her raw materials, the Emperor would
have nothing at all to work with.

In a reading:

Nurturing, caring for, healing. Nurturing oneself. Bringing something

into existence in an organic fashion, whether it be an endeavor, an
idea, an emotion, or a child. An emotional approach. Negatively, the
Mother can be overwhelming, ultimately stifling and handicapping
that which she has brought into existence. An overemotional reaction.

IV Emperor

A young man, wreathed in triumphant laurel, looks out at us from a

vaguely Greco-Roman setting showing columns, a circular hall, and
statuary. He holds a globe showing the ancient Roman Empire.
Beneath the Emperor’s face we see a ram’s head, symbolizing Aries,
the traditional astrological correspondence for this card. Aries sym-
bolizes independence, aggression, and a pioneering spirit.

As with the preceding card, the best way to understand the Emperor
is by comparison to his consort, the Empress. Her card is awash in
stunning color; his is only half in color, the other half in black and
white. The Emperor’s reality, the colorful upper half of the image, is
based on a foundation of rational thoughts, plans, and laws,
represented by the black-and-white lower half. The Empress holds the
actual, physical, living Earth, while the Emperor holds a manufactured
representation of the Earth, a globe depicting the Roman Empire. Her
Earth floats, supported from underneath by her cupped hands; he
grasps his globe from above. His hands touch the globe; literally, he is
more hands-on than she. His grasping from above establishes his
dominion; her supporting from below protects and encourages
growth.

The fact that the lower half of the card is in black and white suggests
that the Emperor’s achievements and glory are ultimately temporary,
because they were achieved by force of will and military domination.
Ciro says, “On a grander scale of time, the power and the glory is
destined to fade, whereas the Empress as Gaia perseveres. Well, I
would like to think so, at least.”

Like several of the characters in the Major Arcana, both Emperor and
Empress are disembodied. Her head seems to coalesce organically out
of the mists of space, while his head sits atop and emanates from a
column.
The Empress nurtures, protects, and loves us, but she doesn’t
intellectually engage with us. In contrast, the Emperor, like the
Magician, gazes at us, challenging us to discover and emulate his
qualities. “Here,” he says, “is my Empire. How would you rule it?”

In a reading:

Command. An authority figure. Building something—for example,

your life—from nothing. Setting rules and boundaries, or obeying
someone else’s. Negatively, the Emperor can be tyrannical, or perhaps
the querent has a problem with authority.

V Hierophant

In older versions of the tarot, this card is called simply the Pope (Il Papa
in Italian decks, Le Pape in French decks, meaning “the father”). The
Marchetti Tarot shows a traditional Pope, wearing atop his head a
gilded and bejeweled mitre (specifically, a pretiosa, meaning
“precious”).

With one hand he gives the traditional papal blessing. The other hand
holds a rosary, consisting of beads, cross, and medal. The medal on
this card is unusually elaborate and includes symbolism commonly
seen on Hierophant cards: the three-tiered papal tiara and two crossed
keys. The keys symbolize St. Peter’s keys to heaven.

The name “Hierophant” was first used for this card by Antoine Court
de Gebelin, an 18th century author and encyclopedist who was the
first to see the tarot deck as a repository of ancient esoteric and occult
wisdom. A hierophant was a priest in the Eleusinian Mysteries, a
ritualistic cult in ancient Greece.

There are several cards in the deck which, along with this one,
represent spirituality. The Hierophant stands for a very specific way of
interacting with the divine; that is, a rational, intellectualized
approach, focusing on rules and dogma. Such a focus can have a
positive or negative effect, depending on the context of the reading.
For many people, dogma can help them attain the highest spirituality.
The Hierophant might be thought of as similar to the Emperor, but in
the spiritual rather than the earthly sphere.

The Hierophant is pictured as a Christian leader, but the concept can

relate to any religion. All religions have rational, dogmatic aspects as
well as esoteric, emotional ones. The Hierophant rules the rational and
dogmatic aspects.

For the purposes of divination, the Hierophant doesn’t necessarily

refer to religion. The card may refer simply to societal, social, and
cultural norms (as opposed to actual laws, which fall under the
jurisdiction of the Emperor, and the adjudication of those laws and
resolution of disputes, represented by Justice). More simply, the
Hierophant can refer to faith, whether spiritual faith or faith in a
person or an idea or an institution.
In a reading:

Spirituality or religion, specifically their rational and dogmatic aspects.

Faith in a spiritual principle or in any person, idea, or institution.
Conforming with societal or cultural norms. A trusted advisor or
counselor. Negatively, a repressive and dogmatic spirituality may
inflict suffering on those who disobey; likewise with restrictive cultural
norms. The tendency of organizations and institutions to gather power
to themselves, shown by the Hierophant’s rich clothes.

VI Lovers

Who doesn’t love a good love story? Two people meet, having been
seemingly brought together by fate. After various adventures and
complications, they declare their love and commitment to each other
and proceed to live happily ever after. The End.

Of course, this story is an imperfect, sometimes an extremely

imperfect, depiction of real life, however satisfying it may be on page,
stage, or screen. While romantic scenarios can inspire us, we can find
ourselves in trouble if we try to use them as a road map for real life.

Lovers cards in tarot decks generally fall into one of three categories:
a man and woman celebrating their love, sometimes with Eros or
Cupid above (for example, the Visconti-Sforza deck, the oldest known
deck in existence); a young man standing in between two people with
Cupid above, typically interpreted as a man choosing between two
women or between Vice and Virtue (for example, the Tarot de
Marseille); and a Biblical scene showing Adam and Eve, the Tree of Life,
the Tree of Knowledge of Good and Evil, and the Snake (as in the Rider-
Waite-Smith Tarot).

The Marchetti Tarot image returns us to the earliest version of the

Lovers, and shows romantic love in all its theatrical glory. The passion
they display is extravagant and superficial; after all, they are only
dancers portraying lovers, not the lovers themselves. And yet, para-
doxically, their love is, in a sense, more real than mundane reality.
Does Cupid actually exist, or is he only a deus ex machina lowered from
the rafters by stagehands?

In a reading:

Romantic love; an affair; a relationship. Any relationship between you

and another person or thing. It could be a cause, a career, or a hobby,
but there must be passion involved. A commitment, whether a
marriage or a business contract. Stagecraft, artificiality, the theatre,
dance, the performing arts. Negatively, you may be more concerned
with creating an impression than with expressing true feelings. You
may be in a relationship where one or both parties expects the other
to conform to their expectations (in other words, put on a show).
VII Chariot

Here is a battle-hardened warrior, his determination and drive for

survival and victory symbolized by a chariot drawn by two horses, one
black and one white. The image here is more abstract that literal, and
relates more to the charioteer’s state of mind than an actual
charioteer driving an actual chariot.

In the Marchetti Tarot, we can get a lot of information by looking to

hats, headdresses, or anything floating over or emanating out of
someone’s head. Such objects tell us what that person is concerned
with, and reveals their inner landscape. In this case, materializing
above the charioteer’s head is a fanciful rendition of a gilded and
bejeweled chariot. On the chariot’s roof sits a large winged jewel.
Wings can symbolize protection and also the desire to attain a more
spiritual outlook, both of which can be motivations to take up arms in
war. The winged jewel also brings to mind the winged sun symbol of
Egypt which denotes divinity and royalty.

The chariot also bears banners emblazoned with double eagles and
crabs. Double eagles are a heraldic symbol used by emperors, and
crabs indicate the astrological sign Cancer. Among other things, Cancer
symbolizes the home, which the charioteer goes to war to protect.

The most important symbols on the card are the black and white
horses at the top. These horses lack harnesses and reins. They
represent two different desires of the charioteer. Sometimes the
desires can pull together, but sometimes they are in conflict and
threaten to pull the chariot apart. Which exact desires are depicted
will depend on the context of the reading. They could be two selfish
desires in conflict (for example, the desire to dominate and the desire
to be loved). They could be a selfish desire in conflict with a virtuous
desire. They could represent the competing personalities seen in the
previous cards (the action-oriented Magician versus the private High
Priestess, or the Emperor versus the Empress).

There are times when even the mildest of us must learn to stand up
for ourselves to avoid being taken advantage of. Without the Chariot’s
aggression, we would all be like sheep, waiting for the sheepdog to tell
us what to do. At the same time, overagression is the chief tragedy of
the human condition.

In a reading:

Aggression, both positively and negatively. The energy and

determination needed to reach a destination or accomplish a goal.
Protection of oneself or others. Sticking up for oneself. Triumph.
Negatively, a domineering or controlling personality; overagression.
Having conflicting desires.
VIII Strength

In the Marchetti Tarot, several cards focus on interactions between

humans and nonhuman animals. On the Moon, the moon maiden
appears with a dog and a wolf. On the World, the world dancer is
joined by her traditional companions: humanoid angel, bull, lion, and
eagle. The Knights all commune with their mounts. In the IX of Swords,
a hooded hunting bird is held by a woman in a bird mask.

In Strength, we see the ultimate human/animal interaction. The

woman seems to be either riding the lion or is actually a part of him.
The woman wears a wolf head hood, carries an animal-skull-topped
scepter, and animal teeth dangle from her necklace. She appears to be
part of an indigenous culture which kills and uses animals but which
also honors and respects them.

Strength is about coexisting with your animal nature, honoring it, and
respecting it. It’s instructive to compare this card with the Chariot and
the Devil. In the Chariot, the horses are conflicting desires, and the
emphasis is on controlling them and using their energy. In the Devil,
one’s animal nature dominates. Strength is the middle ground
between the two. The lion isn’t controlling, nor is it controlled. The
woman and the lion coexist, each supporting the other.

The qualities most often mentioned in regard to this card are patience
and fortitude. The woman teaches the lion patience to temper his
tendency to overreact or act impetuously. The lion teaches the woman
fortitude, the strength to persevere in the face of adversity.

In a reading:

Patience. Inner strength. Persevering in adversity. A healthy balance

between caution and desire. A reciprocal relationship.

IX Hermit

In contrast to the Marchetti Tarot’s emphasis on faces, the Hermit card

focuses instead on the Hermit’s lamp, indicating that the card is
representing a concept, a feeling, or a tone, rather than suggesting a
personality trait.

The Hermit himself actually does appear, as a small figure traversing a

floating road. This reminds us of those Japanese paintings in which
humans are but a small element in a landscape. The floating road leads
directly to the large lamp.

We might see the large lamp as an abstractly multiplied and magnified

view of the lamp held by the Hermit, thus showing us that the Hermit
provides his own guidance (I use “his” because the traditional image is
of a man, but in this deck the gender isn’t shown and it could just as
easily be “her”). Like the Greek philosopher Diogenes, he is searching
for knowledge and virtue, and the emphasis is on relying on our own
efforts to find enlightenment.
Or, more literally, we might see it as a giant hand emerging from the
sky to provide both a light and a destination to the traveller. In this
interpretation, the Hermit sets out to search and a higher power meets
him halfway, to help him in his search. Here, the emphasis is on faith
and trust that if we ask the universe, the universe will answer.

The Hermit as a source of illumination can be contrasted with the High

Priestess’ crown of candles. The Priestess’ light is an instinctual power
which radiates love, care, and an inner, subconscious, non-rational
knowledge. The Hermit’s lamp, on the other hand, lights the way for a
conscious, rational search for answers.

We can then look to the Hierophant, which also concerns a rational

approach to life’s mysteries. The Hierophant has a system of rules and
dogmas and structures to serve as a foundation for knowledge, while
the Hermit’s approach, although rational like the Hierophant’s, is more
solitary and more flexible, relying more on experiential knowledge
than the Hierophant’s accepted wisdom.

In a reading:

A search for knowledge. Relying on oneself to find the answers rather

than relying on input from others. Faith that the Divine will provide the
answer. Solitude. Providing illumination for others (by teaching,
counseling, or giving advice, for example). Negatively, loneliness;
taking oneself too seriously.

X Wheel

In many decks this card is called the Wheel of Fortune. Its basic
meaning is that life consists of a series of cycles. It shows cycles within
cycles and wheels within wheels. It presents us with a view of the
universe as a set of interlocking gears, all bound together by
implacable spiritual forces.

The degree to which we are bound by these forces is a matter of

contention. Older philosophies claim that everything that happens is
preordained and there is nothing we can do to change it. Nowadays
we tend to see ourselves as having much more agency, although most
would agree that there are some things in life that we can do little or
nothing about. We may row our little boats in whatever directions we
like, but larger forces—waves, winds, tides—determine the ultimate
direction we travel.

This may seem like a stark view of life, but approaching the cycles with
thoughtfulness and vision will allow us to dance on, between, and
through the interlocking rings to arrive at a more fulfilling life, rather
than simply floating with the tide. The vision of the Wheel is ultimately
freeing, because it allows us to live more consciously.

Astrology is the study of cycles. On the card, we see several celestial

belts or bands; the wheel of the signs, the wheel of the houses, and
the orbits of the planets. The entire design suggests an orrery, a
mechanical device that simulates the movements of the sun, moon,
and planets. The three animals show the effects the spiritual forces
have on those living on Earth. At any given moment, some of us will be
on their way up, some will be king of the jungle, and some will be on
their way down. The good news for those on their way down is that in
short order they’ll be on the upswing again. There is also the sug-
gestion that while animals have less individual choice and are thus
bound to the Wheel, humankind has the capacity to transcend it.

In a reading:

The cycles of life. Being aware of larger forces so that you can
maneuver through life more effectively. Change.

XI Justice

The figure of Justice embodies one of the most important aspirations

of humans—the desire for and belief in a uniform standard of fairness
and equitable treatment for all.

On the card, the woman’s eyes are closed (because justice is blind, i.e.
impartial). Before her floats a set of scales, in which she weighs the
evidence before her. She holds a dagger, symbolic of her authority to
decree punishment. She holds it by the blade rather than the hilt,
suggesting that impartiality and fairness always comes at a cost (for
example, punishing the criminal necessarily inflicts punishment on the
criminal’s family as well, who are innocent). The dagger’s winged hilt
recalls the card’s traditional elemental association with Air.

Surrounding the woman are the austere and beautiful lines of classical
architecture, including columns, lintels, and pediments. Architecture is
a fitting analogy for Justice’s foundation, which is rationality. In the
precise lines and serene harmony of classical architecture we may find
a reminder of the supreme heights of intellectual clarity which enable
us to faithfully and equitably render justice.

The card can refer to an actual legal proceeding, but more often stands
for the concept of fairness. It can mean receiving fair treatment or
treating others fairly. Because Justice weighs evidence and judges
those who come before her, the card can mean the querent being
judgmental of others or being the recipient of judging, whether fairly
or unfairly.

In a reading:

A legal proceeding. Being judged, or judging others. Giving or receiving

fair treatment. Avoiding making value judgments based on biases.
Negatively, judging unfairly or being too judgmental.
XII Hanging Man

In this striking image, a dancer in fool’s motley is suspended by one

foot from ribbons tied to the branches of a leafless tree. The dancer is
experiencing a reversal, and so is the tree, whose large humanoid head
is also upside-down. The tree’s branches might just as well be roots,
adding to the dreamy absurdity of the card.

The dancer’s predicament seems to be a voluntary one, as if he is

performing a dance or an acrobatic feat. Perhaps he has agreed to
undergo a ritual designed to disorient him, a symbolic “death” that
awakens him to an awareness of realities beyond our everyday
concerns. By turning himself topsy-turvy and entrusting himself to the
branches—or roots—of a great tree, he is abandoning the rat race, at
least temporarily, and is content to wait patiently and simply be one
with his environment. His hands are bound with ribbon behind him,
suggesting that for now he is being, not doing.

In a reading:

Patience. Inaction. Accepting with good grace a pause or delay

dictated by circumstances. Willingly sacrificing something for a larger
goal. Negatively, a martyr complex.

XIII Death

There is a wonderful duality in this image. On the one hand, it’s

frightening. It seems we are hardwired to experience a few shivers
when we see a human skull. This skull is particularly creepy because
we see it peeking out from beneath a perfectly healthy human face.
Generally in Western society we don’t like to be reminded of our our
mortality, and we recoil in horror at the perfectly true statement that
a skull and skeleton are intrinsic parts of each one of us, hiding in plain
sight.

On the other hand, the image is ultimately a positive one. It tells us

that we must maintain an awareness of the reality of death before we
can be fully human. When we fail to acknowledge death as a part of
life, we can get ourselves in all sorts of trouble. In Charles Dickens’
Great Expectations, Miss Havisham lives like a ghost in her mouldering
mansion. Having been left at the altar by her fiancé, who also stole her
fortune, she has lived ever since in her wedding dress, with the clocks
stopped and the wedding cake laid out on the table. Her fiancé didn’t
literally die, but it was a death to her, and her inability to process it
emotionally leaves her in a kind of self-imposed death-in-life.

On the card, the woman explores with one hand the contours of the
skull she has discovered beneath her beautiful features. With the
other hand she holds a white rose, symbolizing purity and life. Her
hands are literally on the pulse of existence—life and death, two
necessary sides of a single coin. She wears a purple shroud. The color
purple suggests sacredness, due to the fact that this color rarely occurs
in nature.

At the lower left we see a scorpion, suggestive of the astrological sign

Scorpio which is traditionally assigned to this card. The scorpion means
unexpected death, but can also mean rebirth. Perched on her shoulder
is a winged angel, symbolizing spirit. Behind the woman, church spires
and a celtic cross are seen against the sky, suggesting rebirth and the
transcending of earthly distinctions of life and death. The wrought iron
gate toward the bottom of the image tells us that the wisdom of the
card remains hidden from our everyday concerns. It takes some
contemplation to penetrate its mystery. It also suggests a transition
from one realm of experience to another.

For the purposes of divination, we take the concept of death

metaphorically, as we do with all the cards. Sometimes people leave
us abruptly, as in the case of Miss Havisham. Sometimes we lose a job,
or a relationship ends, or a child leaves for college. Each of these is a
kind of death and each must be processed and mourned in order to
move on with life. The best way to approach this card is to see it not
as an overly negative card (oh no, something is dying!), nor as an overly
positive one (oh good, transformation!), but rather as a balance
between the two. Allow for the inevitable sadness that such a “death”
brings, but also allow for the new life, new situation, or new
opportunity that will inevitably take its place.

Needless to say, because we are vulnerable to suggestibility, it’s very

unwise to predict physical death for one self or for a querent. The
Death card is one of 78 cards. Statistically, this card will appear in a
reading far more often than someone known to you dying, so it would
be quite silly to assume that it means someone will die.

If one actually wanted to predict death, the tarot would be a poor tool
for that. I believe the tarot—if I may be forgiven for
anthropomorphizing a deck of cards—isn’t interested in physical death
and probably regards it as simply a transition from one mode of being
to the next, and not a very significant transition at that.

In a reading:

Something is ending, causing sadness or melancholy. An old situation

or environment comes to a natural end, to be replaced by an exciting
possibility or opportunity. Transformation. Deliberately cutting
something from your life because it no longer works for you. Being
comfortable with change. Negatively, being too eager to jump to a new
situation.
XIV Temperance

For centuries, angels—supernatural entities superior to humans but

subordinate to God—have been illustrated in art or referred to in
sacred texts as humanoid figures bearing avian wings. The Torah, the
Christian Bible, and the Quran all contain references to winged angels.
The ancient Greek goddess Nike is shown in sacred art with wings.

A human with an animal body part is a zoomorphic hybrid. Another

example is the Egyptian god Anubis, shown as a man with the head of
a dog, wolf, or jackal. An animal body part suggests divinity in two
ways—first, it inspires awe due to the otherwordly strangeness of the
image, and second, the animal part itself is symbolically significant.

In the case of angels, the wings refer most directly to flight. All of us
have experienced freedom and joy when imagining or dreaming of
flying through the air under our own power. Wings also stand for
spirituality, due to the age-old association of height with divinity (the
Sky God, “Nearer, My God, to Thee,” and so on). Angels use their wings
to transcend humanity and approach divinity.

Temperance, meaning moderation and self-restraint, is one of the

cardinal virtues. On the card, the angel holds red energy in one hand
and blue energy in the other. The red and blue could represent
opposing desires or fears. The energies arc upwards and meet over the
angel’s head, suggesting that the precise balance of the two energies
confers spiritual benefit.

We are all locked inside the prisons of our own minds. The angel stands
before a window, suggesting that restraint and the proper balance of
energies are the best ways to transcend the brick walls of our prisons
and view the vistas beyond our individual perspectives.

The image also speaks to the combination of energies. If leading a

group, for example, it might be wise to solicit and combine several
approaches.

In a reading:

Differing or opposing energies held in balance. Avoiding extremism.

The ability to perceive the value in another’s viewpoint. A spiritual
practice involving quieting or tempering desires and fears. Combining
energies. Negatively, being too wishy-washy or noncommittal, too
eager to see the other’s side; being so openminded that one’s brains
fall out.

XV Devil

There are a few tarot decks where the Devil is shown in a positive
mien, signifying fun and letting one’s hair down. In most decks, he’s a
scary monster, suggesting materialism, obsession, addiction, and all
manner of unpleasant things.
The Marchetti Tarot’s Devil travels a different path. Neither terrifying
nor mischievous, he gazes at us with a neutral expression. His large
pointed ears and his elaborately bejeweled horns make him seem
otherworldly. While not immediately alarming, he does seem a bit
sinister. Perhaps it’s the unhealthy red glow under his eyes, or the
creepy pointed fingernails. Or maybe it’s just his resemblance to actor
Christopher Lee.

The Devil is very obligingly offering us a key. Now, anyone who’s seen
a vampire movie knows that it’s a very bad idea to accept a vampire’s
hospitality. We can look at this image in one of two ways. Either he’s
enticing us with ersatz spiritual knowledge and freedom, only to
entrap us in the chains dangling from his hand, or he’s genuinely
offering wisdom.

We can navigate between both interpretations if we recognize that the

Devil, like Jung’s Shadow archetype, represents those parts of
ourselves that are so repugnant to us that we refuse to acknowledge
them and instead project them onto other people. Thus, we can use
the key the Devil offers as a key to wisdom, to help us understand the
negative parts of ourselves that the Devil represents. In this way we
can stop repressing those parts, thus depriving them of the psychic
energy that gives them strength over us. The card tells us that
accepting knowledge of our Shadow can give us strength and
backbone, just as the Devil’s horns are reminiscent of spinal columns.

We still have to be wary, though. It only takes an instant for the Devil
to pull us back into self-destructive patterns, without us even realizing
it. We must always remember the chains spilling out of his hand.

As with Death, it’s worth remembering that the cards are interpreted
metaphorically. Some religions regard the Devil as an actual external
force, but for the purposes of divination with a tarot deck, the Devil
refers to parts of our own psyche, not malign influences external to
ourselves.

In a reading:

We start with the usual associations given for this card; materialism,
obsession, hatred, addiction, overindulgence. On a deeper level,
awareness of our tendency to project onto others that which we
dislike in ourselves. Gaining strength through awareness of the parts
of ourselves that we reject, and using that awareness to free ourselves
of the Devil’s tyranny.

XVI Tower

Here is the traditional image of a lightning-struck tower, but superim-

posed on the tower is a man’s face. To me, the man has a regal,
haughty expression, making me think of Lear, Shakespeare’s elderly
king who, in his arrogance, gives away his kingdom to his most
flattering children, to his later regret.
The Tower represents our own view of ourselves as wise, experienced,
and capable. Of course, just as we’ve settled into this fatuous
complacency, the lightning strikes and we find ourselves once again
hurtling to the ground. The card can stand for any situation in which
we suddenly experience unwelcome disruption. On a more
philosophical level, what seems like a calamity may ultimately prove
to be for the best. The lightning flash may be seen as a flash of
revelation or inspiration, blasting away the ruts in our thinking and
providing fresh new perspectives, or as the proverbial kick in the rear
to propel us out of a stagnant situation.

We see wildfires raging in the hills behind the tower. While wildfires
can be highly destructive, they can also under certain conditions have
ultimately positive effects on an ecosystem.

In a reading:

Calamity. Unwelcome disruption. A flash of inspiration or revelation. A

suddenly-revealed truth which destroys a previous misconception. A
blasting away of an unhealthy complacency, clearing the way for a
healthy new start.

XVII Star

I have said that we would consider the Major Arcana as individual enti-
ties and not as part of a sequence, but I’ll make an exception here. I
think it’s safe to assume that the peace of the Star follows directly from
the destruction of the Tower. Rising up from the waters are a series of
towers similar to those seen in the previous card, now half blasted
away by that card’s lightning. Often in the aftermath of some calamity,
we experience a moment of peace, when the hurricane of fate has
moved on and we now have a moment to catch our breath and adapt
to the new reality.

A woman comes into being from the mists of space, holding two
scepters or columns, reminiscent of those seen on the Wheel, the Sun,
and the World. Starlight pours from the scepters onto the scene
below. This shows the grace of nature or divinity, bestowing upon us a
moment of calm after the storm. The woman might be Astraea, a
Greek goddess of justice, purity, and innocence. She was the last of the
deities to live among humans, finally fleeing in dismay at our
wickedness to inhabit the sky as the constellation Virgo.

The woman might also be appropriately identified as Asteria, another

Greek goddess, this one identified with falling stars, dreams, and
astrology.

In a reading:

The calm after the storm. Our innate optimism which allows us to
begin rebuilding after all seems lost. Hopes and dreams for the future.
XVIII Moon

This card contains all the standard imagery found in Moon cards of
traditional decks. We have a crustacean climbing out of water; two
canines (a dog and a wolf); two towers; a moon; and a face.

The face is presented in an unusual way, a detailed, realistic portrayal

of a woman’s face floating in the sky. The towers are also unusual, in
that we see two sets of parapets or arched walkways rather than entire
towers.

The crustacean, here shown as a crab, represents our base or

primordial impulses, struggling to emerge from the vast sea of instinct
that we first discovered in the High Priestess. The High Priestess
showed us messages flashing and flickering at us from the dream-
world. In the light of the Moon we gain greater awareness of the
bottomless sea of the collective unconscious. We sense it floating just
under the surface, but it still remains mysterious. The crab shows us
the precise instant when unconscious material, in an inhuman and
disturbing form, begins to become conscious.

The two canines represent a stage between the crab and the fully-
conscious human. They are at a higher stage of evolution than the
crab, but can still be aware of and excited by the pull of the Moon’s
mystery. The crab seems totally alien to us, but the canines are more
easily identified as parts of our minds (appropriately, they seem to
emerge from the woman’s head). The combined fear and anticipation
that we receive from the Moon is a reaction felt both in ancient times
and right now, as evidenced by the wolf (for the ancient reaction) and
the dog (for the modern one).

The two towers suggested by the parapets could signify the complex
structures of the mind, which can either clarify or obscure the Moon’s
mysteries.

On this Moon card we also see a Madonna and Child. There is a

longstanding association between the Virgin Mary and the moon in
Christian iconography. This association has been interpreted in
different ways. Like some other Christian symbols, it may be a remnant
of pre-Christian religions, in this case referring to virginity, fertility,
changing seasons, and moon goddesses such as Artemis. In Christian
art, a common motif is Mary, now symbolizing the Church, standing on
a crescent moon, which represents the Old Testament, showing that
the Church stands on the foundation of the Old Testament but is (from
the Church’s perspective) superior to it. Accordingly, both the New
Testament and Christ would be identified with the sun.

For purposes of divination, we might see the Madonna and Child as

symbolizing yearnings and ties that transcend rational analysis, such
as religious faith, or simply the bonds between family members.
In a reading:

Something unseen and mysterious, lurking just under the surface but
not yet revealed. Something you are struggling to understand. Wilder
or more primordial desires that transcend rationality.

XIX Sun

Appropriately for this card, the symbolism is proudly front and center:
Louis XIV of France, known as the Sun King (le Roi Soleil). Louis
consolidated power and ruled as an absolute monarch. His reign lasted
72 years, longer than any other monarch in European history. Besides
declaring five wars, he also found time to perform in ballets (playing
such parts as Apollo and the Sun).

Louis holds two scepters, topped with the symbols for Fire and the
Sun. In astrology, the Sun represents the ego, the rational decider, and
the most basic perception of ourselves as individuals. Just as the Sun
is the center of the solar system, and just as Louis made himself the
center of European politics, art, and philosophy, so our egos are at the
center of our experience. Each of us lives our life as the star of his or
her own movie. A healthy ego is important to a healthy life, but the
ego can get carried away. When elevated to Louis-like proportions, we
may be seen by others as egotistical and arrogant, and ultimately
inspire contempt rather than awe.

The elaborate frame behind Louis may be a window, but I prefer to see
it as the mirror in which he admires himself.

Above the figure of Louis floats the actual Sun, suggesting that no
matter how godlike our egos seem, there may be another plane of
existence in which our egos are but pale reflections of larger realities.

In a reading:

Knowledge; rationality. Something is revealed which was previously

hidden. Something which is plainly obvious and “in your face.”
Warmth, illumination, heat, energy. Negatively, arrogance and
selfishness. Something is too hot to handle.

XX Judgement

An angel blows a triumphant horn asThroughout the Marchetti Tarot’s

Major Arcana we’ve seen several instances of Christian symbology, but
for the Judgement card, the traditional Christian image of an angel
blowing a trumpet, drawing the dead from their graves, is abandoned
in favor of a more direct metaphor—a hand reaches upward from
below, grasped by another hand that reaches down from above.
Below, a dancer is impelled upward by an unseen force.

The significance of the moment is underscored by the whirlpool of

clouds out of which the upper hand emerges. Something outside of
our everyday concerns reaches down to pull us into a new awareness,
a new goal, or a new opportunity. The wrought iron gate, in a return
engagement following its debut on the Death card, shows that we are
transitioning to a new phase of existence. In the more mundane
context of a reading, perhaps we have spent years thinking of
ourselves a certain way, but a new interest or new goal makes us
realize that our lives can change.

The dancer’s pose contains an important clue to our reaction to this

card. He gives himself up wholly to the new idea or new reality, and
allows himself to be borne up by the invisible wave.

In a reading:

Reevaluation of our current situation in light of a new goal or opportu-

nity, and an openness to a new paradigm. Unearthing memories of
choices and events that have led you to where you are today.
Experiencing a calling, a summons from outside yourself that urges
you to act. Reaching down to help someone who can use the help;
likewise, reaching up to accept help from others.

XXI World

The World Dancer is here shown in close-up. Her hair is done in braids,
forming an almond shape. She holds two scepters or wands, and above
her head are the four creatures who are standard for this card. Behind
them all floats the Earth. All of these symbols are seen on traditional
versions of this card, with the exception of the Earth.

Taking our cue from the golden cross at the top of the card, let’s delve
into the Christian symbology. There is a centuries-long tradition in
Christian art of depicting Jesus surrounded by an almond-shaped
border called a mandorla (“almond” in Italian) or vesica piscis (literally
“fish bladder,” which it resembles) with four creatures occupying the
corners: angel, bull, lion, and eagle. This image is called “Christ in
Majesty”.

The symbolism of the Christ in Majesty has different levels of

interpretation, but it all points to the primacy and supremacy (from a
Christian perspective) of Jesus or God. The four creatures are primarily
Biblical references to the Four Evangelists—Matthew (angel or man),
Luke (ox), Mark (lion), and John (eagle)—referred to collectively as the
tetramorph. They also represent the four facets of Christ. The four
creatures are symbolic in their own right, as rulers of their various
domains—man as king of earth, ox as king of domesticated animals,
lion as king of wild animals, and eagle as king of the birds.

The symbology of the creatures goes back earlier than Christianity,

however; they were mentioned by the Jewish prophet Ezekiel in 6th
century BC. And even before that, they were Babylonian symbols used
to represent the fixed signs of the zodiac: Aquarius (angel), Taurus (ox),
Leo (lion), and Scorpio (eagle). By extension, they also represent the
elements associated with these signs: Air (angel), Earth (ox), Fire (lion),
and Water (eagle).

The mandorla as a Christian symbol indicates the holiness of that

which it surrounds, as a kind of halo. If you lay the mandorla on its side
and add a tail, it becomes the fish symbol of early Christianity.

How did the Christ figure in the Christ in Majesty become the female
dancer of the tarot? Some early decks, such as the Jacques Vieville
deck from the mid-17th century, actually do show Jesus, a clearly male
figure with a halo. We might speculate that the rough woodcuts used
to produce early tarot decks created enough ambiguity that the
identity and even the gender of the central figure became obscure
over time, resulting in the gradual evolution of the figure into a
woman. Another theory is that she represents Sophia, a feminine
personification of wisdom as it illuminates the material world, which
is represented by the four creatures.

The World Dancer’s scepters can be seen as the culmination of the

duality symbols we’ve seen throughout the Major Arcana (columns,
wheels, horses, the pans of Justice’s scales, gates, wands). The World
card shows them in their smallest versions, because she represents a
stage of existence where dualities are transcended. To her they are
tools or playthings, used to manifest her will.

How do we bring all these lofty ideas into the realm of readings? The
basic thrust of the classical imagery is to show two concepts: rulership
and expansiveness. In essence, the world is at your feet and you are
king of the hill, at least in the context of the specific question or
situation.

On her brow the World Dancer wears the symbol of Saturn, which
shows her maturity. Hers is not a pie-in-the-sky fulfillment; rather, it’s
a realistic, down-to-earth one, accompanied by an understanding and
acceptance of limitations. She succeeds in spite of limitations, perhaps
even because of them.

In a reading:

Completion of a project or endeavor. Attainment of a goal. A large

number (if you’re asking if it will be a little or a lot, the World indicates
it will be a lot). High hopes, great expectations. Negatively, too much;
an overwhelming amount, more than you can handle. Unrealistic
expectations.
MINOR ARCANA

This is the part of the deck that evolved from playing cards. You could
actually use the Minor Arcana to play card games—just remove the
Knights, and you have a standard playing card deck (Wands=Clubs,
Cups=Hearts, Swords=Spades, and Coins=Diamonds).

The four suits have symbolic significance, derived from elemental

associations.

Wands are associated with Fire. Their symbol on the Marchetti Tarot
is a rod, topped with a glowing crystal. Wands cards tell stories of
adventure, desire (including sexual desire), projects, and endeavors.
Wands are about wanting and doing.

Cups are associated with Water. Their symbol is a crystal goblet. Cups
cards tell stories of emotion, relationships, happy times, pleasures,
and memories. Cups are about feeling.

Swords are associated with Air. Their symbol is a sword. Swords cards
tell stories of planning, strategizing, evaluating, judging, projecting,
and justifying. Swords are about thinking

Coins are associated with Earth. Their symbol is a coin or disk. Coins
cards tell stories of manifesting, materializing, creating, saving,
investing, and growing. Coins are about having and making.

When discussing the Major Arcana, I mentioned that cards can overlap
in their range of meanings, and sometimes different aspects of a single
concept can be seen as encompassing several cards. Likewise, the
Minor Arcana cards will frequently cross boundaries between suits,
rather than always staying in their own lanes. Thus, for instance, a
Coins card can exhibit some aspects of the suit of Swords in addition
to its own inherent Coin-ness.

The Court Cards (Page, Knight, Queen, and King) have caused heart-
burn for many tarot readers. How should we interpret them? Do they
represent other people? If so, do Kings and Knights represent men, and
Queens women? What about the pages? Or should we ignore gender?
Or should we interpret them as symbolizing inner aspects of the
querent rather than other people? Some readers overthink it to such
a degree that they get completely flummoxed.

I recommend a simple scheme. Court Cards always represent aspects

of the querent (or yourself if you’re reading for yourself). Pages are
curiosity and learning. Knights are searching and taking action. Queens
influence others by indirect methods such as encouragement
(positively) or manipulation (negatively). Kings, for better or worse,
are leaders who take charge and tell others what to do. The gender on
the cards doesn’t have any relevance to anyone’s gender, nor is the
age of the figures on the cards relevant to the querent’s age. At various
times and in various ways, all of us are sometimes men and sometimes
women; all of us are at different stages of development, or “ages,” de-
pending on the circumstances at hand. All of us are experiencing the
energies of all four suits throughout the day.

We might consider the Court Cards of each suit as literally members of

a court—specifically, a court devoted to the theme of that suit, with
each member of the court representing a facet or component of that
theme. For example, the theme of the suit of Wands is an inspiring,
arousing, or combative energy. The Page shows that energy in its
youthful, curious phase. The Knight is the hard-charging, get-it-done
component. The Queen keeps the home fires burning, a slow and
steady ember that reminds us of our goals and lights the way home.
The King uses dearly-won experience to guide and focus the energy
efficiently.

A Court Card in a reading can represent either that card’s qualities, or

a personality that describes us in a particular situation. For example,
the Knight of Cups may represent your desire to explore a relationship,
or it can mean that in a particular situation you’re embodying a Knight-
of-Cups-like personality.

Ace of Wands

A dragon lizard investigates an elaborately-carved and jeweled wand

while mountains glow in a sunrise or sunset.

Aces always signify beginnings. In the suit of Wands, this would mean
the start of an endeavor, a desire, or an action. The lizard is
reminiscent of a salamander, one of four mythical beings associated
with the elements. Salamanders are associated with the element of
Fire.

The Ace of Wands represents that stage of a cycle when you feel a
surge of energy or interest. Some examples might be a sudden interest
in a change of career or a new hobby, or a desire for a material object.

II of Wands

A young man reaches for two floating wands, one topped with the sun,
the other with the moon.

After the surge of interest or desire shown in the Ace, you haven’t yet
decided what approach to take toward attaining your goal. It might be
a choice between a direct, obvious, aggressive approach (the sun) and
an indirect, subtle, circumspect route (the moon). You should consider
carefully what route or mode of action to employ.

III of Wands

A man with a voyage on his mind watches a ship arriving or departing.

Meanwhile, the surf is breaking on three wands stuck into the sand.
You have begun putting your plans (the whimsical ship above the
man’s head) into action (the realistic ship in the waves). Whether
things go according to plan remains to be seen. You’ve made a good
start toward implementing your plans, now you need to make sure
that you don’t have unrealistic expectations. If your imagination out-
runs reality, you may end up stuck in the sand like the three wands in
the picture.

IV of Wands

The inspiration and planning of the previous cards now has a physical
result. Two robins watch over a nest containing two eggs. The birds
have built the nest between four wands. Vines growing on and
between the wands and nest suggest domesticity and growth, but
everything—wands, birds, nest, egg—is floating untethered in the sky,
suggesting that any permanence we achieve is only relative.

This is a good time to settle down and enjoy a period of domesticity.

Be aware, though, that eventually fate will intrude in one way or
another, even if only by the natural processes of growth. For example,
at some point those eggs will hatch!

V of Wands

Throughout the Wands suit, the wands are shown as wooden rods
which are forked at the top, with the separated sections bound
together with cord to contain a crystal or jewel. On the V of Wands,
the upper left wand’s cord seems to have come undone, and the
energy of the crystal is flaming outward or escaping. Likewise, the
crackling energy in the card is volatile. We see five men’s faces. They
are very expressive, although what they are expressing is ambiguous.
They might be athletes, totally involved in their efforts to win the
game; or they might be involved in an argument or debate.

In the worst case scenario, their faces can be seen as twisted in hatred.

You find yourself fully engaged in something which arouses your pas-
sions. To discern whether it’s healthy competition or unhealthy vitriol,
you’ll need to examine the surrounding cards and the context of the
question.

VI of Wands

Here we see the Colosseum, an architectural marvel from ancient

Rome that still survives today. It was built as an amphitheater in the
first century AD and was used for, among other things, gladiator
matches.

Continuing the theme of testosterone-fueled competition from the

previous card, the VI of Wands is about victory. This isn’t the
completion and fulfillment of the XXI World card. Rather, this is a
triumph that is very much of the moment. We might imagine a glad-
iator who wins his battle but will have to fight a similar fight the next
day.

While your victories may seem temporary and fleeting, it’s worthwhile
to remember that they may have a more profound and lasting effect.
After all, the Colosseum itself has lasted, more or less intact, despite
the ravages of time, earthquakes, and scavengers, for almost 2,000
years.

VII of Wands

In what could be a scene from a larger story, a band of warriors in

search of treasure stands at the entrance of a cave. The treasure’s
guardian is seen above, grasping a wand in its talons and hoarding the
treasure, which, not coincidentally, consists of cups, swords, and coins.

The VII of Wands is about courage in adversity and about success

against the odds. The band of intrepid adventurers—heroes from their
own perspective, thieves from the dragon’s viewpoint—may end up
fabulously wealthy, or incinerated, but the important thing is their
willingness to confront the dragon, to take the bull by the horns, to
seize the day.

It happens at least a few times in everyone’s life that an opportunity

comes to seize the moment and take the risk, with potentially life-
changing repercussions. This card says “go for it”.

VIII of Wands

Hang on to your hat, the VIII of Wands is about to take you into the
stratosphere. This card signals that the pace is about to speed up
dramatically. The proposal is accepted, or you get the job, or the
project takes off like a rocket with a life of its own, and you’ll soon find
yourself in the middle of a whirlwind. If XII The Hanging Man
represents a pause requiring patience, then the VIII of Wands shows a
sudden end to the phase of inactivity.

IX of Wands

We might easily see this scene, of a man leaning on his wand in a cave,
as being a continuation of the VII of Wands. Perhaps he’s one of the
band of treasure-seekers who have invaded the dragon’s lair. We can
see from his expression that things are not going well. He seems to be
resting and drawing strength from his wand, while eight other wands
form the stalactites and stalagmites of the cave. They block his way
both behind him and before him, suggesting that he can’t see how to
continue but has come too far to turn back. The sign of Sagittarius is
tattooed on his face, indicating his commitment to his goals.

This card represents the stage of an endeavor where you are almost at
the end but the outcome is in doubt. After all the time and effort
you’ve invested, turning back is unthinkable, so the only option is to
forge ahead.

X of Wands

The Ten of each suit shows the essence or energy of the Ace, taken to
its logical conclusion. In the X of Wands, the fire that inspired us in the
Ace has by now burned itself out. You have changed, or the
circumstances have changed, or both, and the project has now
become a burden. This card suggests that interests, passions, and
endeavors have a natural life span and cannot be expected to remain
at the same level forever.

The man on the card is brought to his knees by the weight of his
obligations and commitments. He’s flanked by two columns, whose
capitals or tops resolve into the heads of dragon lizards. The lizards are
gazing at each other rather than outward, perhaps indicating the later
stages of an organization, when its members have become more
interested in power struggles with each other rather than their shared
goal. Even the wands’ crystal tops seem depleted and are leaking
energy.

Your interest or project has reached the end of its natural lifespan.
Perhaps you’re losing interest, or conditions aren’t favorable. It may
be time to substantially change it, or let it go and focus on something
new.

Page of Wands

The Pages are all young women, shown with an animal indicative of its
suit. The Page of Wands is draped in a garment whose golden scales
echo the golden lizard she supports on the back of her hand. As the
curious and studious phase of her suit’s energy, she represents the
desire to investigate and learn more about the new interest that
exploded onto the scene in the Ace of Wands. She is childishly
adventurous and impetuous. Negatively, she can be churlish, selfish,
and insensitive.

Knight of Wands

Knights are shown with their mounts; in this case, an equine sort of
dragon. Here we see the Knight of Wands fascinated by, or perhaps
taking his orders from, the crystal atop his wand. Having investigated
and studied the object of his attention, he’s now ready to go out and
get the job done. His dragon mount suggests that he may not always
be delicate or diplomatic as he carries out his mission. Negatively, he
might run roughshod over others. Romantically, he could be a love-
‘em-and-leave-‘em type.

Queen of Wands

This Queen stands on a high parapet, looking out over her domain. Her
Wands energy has manifested as an elemental being, a small dragon
wrapped around her wand’s crystal. She reminds us of what is
important about our cause so that we don’t burn out prematurely in
our enthusiasm. Negatively, she can be pushy and too eager to tell
others what to do.

King of Wands

He sits in a huge hall as six Fire elementals pay their respects. He wears
an elaborate crown of petrified wood. His vast experience allows him
to direct and focus the energies of the Knight, like a laser beam. He is
the quintessential leader and may be thought of as the Emperor
expressed at a lower order of magnitude. For example, if the Emperor
is the CEO of a company, the King of Wands might be an employee of
the company who is put in charge of a specific project. Negatively, he
can be overly judgmental or even biased.

Ace of Cups

Salmon leap from a stormy sea, while a crystal goblet decorated with
seahorses rises from the waves. Water in the tarot always represents
the emotions and the subconscious, and the Ace of Cups symbolizes
our first awareness of an emotional attachment or an important
insight arising from the depths. The image is full of vitality and drama,
as are the emotional aspects of life. When you see this card, think of
new people in your life, or new emotional reactions to people you al-
ready know. There could also be important insights or realizations
which have incubated in your psyche before emerging into
consciousness.resistance to a new relationship, or not currently being
in a relationship. Perhaps we are unable to show affection, or our
emotional overtures are rebuffed.

II of Cups

In the Major Arcana, the Lovers card tells the story of a full-fledged
relationship with all its passion and depth. The II of Cups has passion
as well, represented by the wave, but this is a more casual situation, a
first date rather than a wedding. And it needn’t be a romantic rela-
tionship; the two glasses coming together in a toast might suggest a
business relationship or an agreement. The two hands might be
clasped in love or in fellowship. If you look carefully at the two eyes
“wearing” the glasses, they could belong to two different people,
suggesting that two people or entities who interact together can make
a stronger whole. If you are one of the entities involved, the other may
not even be human, but rather a job or a subject or interest.

You are experiencing common cause and an amiable relationship with

another person or thing. It’s relaxed and casual at present, but there
is great potential for future development.

III of Cups

A mermaid dances, leaping from the waves. Two extravagantly-

colored fish dance with her. It’s easy to look at this image and feel a
surge of exuberant celebration and love. This card stands for parties,
milestones, anniversaries, and good times in general. It might simply
be a get-together of friends, or meeting co-workers for a drink or
dinner after work. It could also mean friendship itself, particularly a
group of friends. It could be a private feeling of accomplishment and
celebration. It might suggest that you shouldn’t keep your light under
a bushel. Negatively, there could be overindulgence or addiction.

IV of Cups

A man sits under a tree, drinking from cups. He has drunk the contents
of three glasses and doesn’t seem inclined to bestir himself to reach
for the fourth cup, which stands some distance away.

Here things have reached an uneasy equilibrium. You have what you
thought you wanted, but there will always be a cup untasted, a road
not taken. You don’t want to miss out on new opportunities, but on
the other hand you don’t want to be the person who is always leaving
your current situation for something that might or might not be better.
The scene pulses with possibility. Will you stick with what you have or
will you reach for something new? The situation will be resolved by
other cards in the spread.

V of Cups

We all have bad days. Things don’t go as planned, an unpleasant

surprise pops up, or there is no reason, we’re just in a funk. The woman
is clearly dissatisfied with the cup in her hand. Another cup lies broken
before her. Two intricate towers loom behind her. Emanating from her
head is a third tower, which shows us that her gloom is a function of
her mental state more than anything else. Also rising from her head
are three more glasses, unseen by the woman. This suggests that while
her problems originate from her state of mind, the potential solutions
are to be found there also.
If you’re experiencing disappointment or sadness, consider how it may
simply be a function of the natural cycle of your emotions. Soon the
wheel may roll on and the feelings will fade. The solutions to your
problems may be right in front of you, or right above your head. The
tarot is a great tool for digging ourselves out of our ruts and opening
us up to new possibilities. Of course, we may need to reach out to
others for assistance if the sadness runs too deep.

VI of Cups

In this wonderful evocation of imagination in childhood, a young

person and a cat are reading from a picture book. A vivid wonderland
surrounds them—stuffed animals, a unicorn, a gingerbread house,
colored blocks, a snow globe, a flying carpet with two passengers, and
a candy-colored castle.

This card can have several meanings. The situation may call for some
creative thinking. You may be nostalgic for memories from the past.
Perhaps you’ve been concentrating too hard and it’s time for some
purposeless daydreaming to recharge your batteries. Negatively, you
may be acting childishly (and not in a good way), or you’re living in the
past.

VII of Cups

Too many choices! How many times do we find ourselves with multiple
options and not enough information to choose between them? The
images in the goblets are compelling but also disturbing—they have a
feverish sharpness to them. They seem to be trying to tell us
something, but we can’t quite make it out.

The contents of the seven goblets could be different goals, or they

could be different approaches to reaching a single goal. The card might
be telling you that you’re daydreaming too much, without taking any
action. Perhaps the goblets and their contents are illusory, and you will
regret following them. The correct response to all of these possibilities
is to clear your head and decide where you want to go and how you
will get there.

VIII of Cups

In this underwater scene, a merman swims away from eight glasses

and slowly approaches what appears to be a giant mechanical jellyfish.
The metal framework surrounding the jellyfish is shaped like the sign
for Pisces, indicating intuitive knowledge.

The fact that we are beneath the waves indicates that we’re witnessing
a psychological process taking place under the surface, deep within.
You have slowly, carefully, and diligently collected your glasses, but
now, for mysterious reasons, you find yourself drawn to a new
interest. It could be that the glasses represent something that has run
its course and now it’s time for something new, even if you don’t con-
sciously realize it yet. Or, negatively, perhaps there’s still remaining
value to be gained from the glasses, but you’ve allowed yourself to be
distracted by the proverbial shiny object.

IX of Cups

A perfect illustration of contentment and physical wellbeing, the IX of

Cups shows a dog who couldn’t possibly be more satisfied. He’s full
(his food bowl is empty), he’s tired (his red ball is evidence of his
activities), and he’s loved.

This card calls you to remember the simple pleasures of life, and to
remember as well the importance of down time and “me” time.
Traditionally, IX of Cups is the Wish Card. Depending on the context of
the question, it could stand for what you wish for, or it could mean you
will get your wish.

X of Cups

This card shows the apex of joy. The apex is literal—the dolphins are
at the uppermost point of their leap. The rising or setting sun lends
brilliant color to the sky. Below, the tide pulls the waves across a sandy
beach.

Like many cards in the Marchetti Tarot, the best way to understand
this card is to simply look at it and allow yourself to feel the plain
message of the image. Note that the joy isn’t permanent—in no time
at all, the dolphins will have begun their descent. But even if it soon
ends, the moment of joy will repeat itself. Negatively, the card can
indicate unrealistically high expectations of yourself or of others. 146

Page of Cups

Jellyfish abound on this card, a perfect metaphor for the mysterious

feelings and dreams that arise from the Page of Cups’ subconscious.
She represents the very moment when we become aware of these
creatures from the depths, and our first reaction to them; intrigued,
we want to know more. Around her neck she wears the elemental
symbol of water, the eternal medium in which our deepest desires
hide.

These denizens of the deep can be disturbing if we lack the experience

and maturity to know how to engage with them. In such a case, it may
be wise to wait for further guidance or information before plunging
headlong into the deep end.with the powerful intention that can
eventually be realized in the rest of the tarot cups court. There is a
gentle energy to the pink and blue of the sea anemones that speaks to
the possibility of a birth; to determine whether that of a child or a
relationship look the surrounding cards. A reversal of this card may
denote inability to open up emotionally to a new situation.

Knight of Cups

The curious but tentative Page has grown into the brave and adventur-
ous Knight, and is now ready to brave the deeper waters of emotion
and relationship. With his seahorse mount, he’s ready to embark on
his mission to plumb the depths to explore his psyche or to explore a
relationship—perhaps at the same time. With his newfound bravery
comes confidence and perhaps overconfidence. He wants to be the
proverbial knight in shining armor, and he can place unreasonable
expectations on himself or others if he takes that role too seriously.

Queen of Cups

This Queen majestically gazes at us as the waves crash around her. She
represents the part of us that is most skilled at establishing bonds with
others. She is fluent in the language of love, whether for lovers, family,
friends, or simply compassion for humanity. Her ability to strike these
deep emotional tones can make any situation a more profound
experience for all involved. Negatively, the same ability can be used
for emotional manipulation.

King of Cups

The King has tentacles for hair, reminiscent of an octopus. Octopuses

are very interesting animals. They are very intelligent, and their brains
contain organs that enable them to orient themselves in the water.
Their tentacles provide them with an unusually sophisticated sense of
touch.

Like the octopus, the King is a highly sensitive, intelligent creature. His
emotional wisdom and maturity allow him to navigate relationship
issues, and his skill at sensing what is going on within another person,
and himself, allows him to orient himself in the situation so as to
maximize the benefit for both parties. A born diplomat, his adapt-
ability may be just what one is looking for in a lover or a confidant, but
he can be frustrating in his reluctance to state plainly his own wishes
and desires.

Ace of Swords

All the objects on this card—sword, dragonfly, clouds, and dandelion

seedheads—are symbols for the mind’s activity. The sword represents
the mind’s keenness and ability to cut to the heart of a matter, but also
the mind’s potential to harm itself and others. The dragonfly can
propel itself in six different directions and change direction instantly,
symbolizing the mind’s quickness but also its distractibility, while the
dragonfly’s shimmering wings can show the beauty of the mind’s
creations. The dandelion propagates itself by setting loose its seeds,
which are equipped with sails to catch and ride the wind. Likewise, we
spread our ideas to others, often without even realizing it, and thus
change the course of the world. Clouds are a familiar symbol in tarot
decks; like thoughts, they quickly come and go and are constantly
changing. Clouds can act to block clear thinking, or they can suggest
rain which will clear the sky of smog.

The Ace of Swords tells you that some action or reaction of the mind
is an important factor; the most common possibilities are ideas and
words. A new thought or idea may significantly change the situation,
or words spoken by you or to you may inspire change.

II of Swords

The woman’s eyes are both closed and blindfolded, and she holds two
swords crossed before her. There are two popular interpretations of
this card. In one, she is choosing between two different ideas,
symbolized by the swords. She weighs them in her hands to gauge
them, while covering her eyes so as to remain unbiased by appear-
ances, like the figure on XI Justice.

In the other interpretation, she’s in denial. She closes her eyes and
covers them with a blindfold so that she doesn’t have to see what’s in
front of her, and uses her defensive posture and weapons to ward off
the truth.

III of Swords

Here we see the personification of betrayal, told in a story of a

shattered relationship. Under dark clouds, a man has driven away his
lover. We don’t know his reasons but he clearly isn’t happy about his
actions, which for some reason he felt were necessary.

Our egos can sometimes lead us down dark paths. Our chattering mon-
key mind wants above all to control us, and would happily ruin a
relationship with lies to avoid ceding control to such an unpredictable
emotion as love. Any time there is unhappiness and strife between two
people, you will undoubtedly find that projection, defensiveness, and
fear—on the part of one or both parties—is at the heart of the
problem.
IV of Swords

Even the chattering monkey mind must rest sometimes. Whether a

formal period of meditation or simply taking a break to daydream or
think of nothing, everyone needs to take some time periodically to
recharge their mental batteries.

The scene—a knight lying down in a church—suggests a memorial ser-

vice or a tomb effigy (a sarcophagus lid carved with the reclining image
of the deceased). The monkey mind, of course, regards any ceasing of
mental activity as a kind of death and reacts with horror, continually
pulling our resting mind back into its normal everyday frenzied
thinking. Patiently, like leading a dog on a leash, we gently bring the
mind back to some chosen focal point, such as the breath.

For readings, we may take this card to mean the necessity to take a
break from mental activity, or simply the need for rest in general. On
a deeper level, the sleeping knight could symbolize the common
mythological theme of a leader, such as King Arthur, who dies or
otherwise vanishes from the scene but will one day return.

The knight grasps his sword by the blade instead of the hilt. Perhaps
he seeks to ground himself in reality by maintaining contact with the
sharp blade, so as not to lose himself in his mental travels.

V of Swords

The bald eagle is a fearsome bird of prey. Eagles are apex predators,
considered at the top of the food chain; eagles eat their prey but no
one eats eagles. An eagle is included with the other royal animals on
the XXI World card as king of its domain.

This eagle is shown with talons which are simultaneously dagger

blades, reaching for a sword embedded in the landscape, under a
stormy sky. This is a situation where someone is predator and
someone is prey. If you are the predator, you may want to think about
whether this is really the kind of interaction you want to be having with
others. If you are the prey, then discretion may be the better part of
valor. It may be time to withdraw from the field so that you live to fight
another day.

VI of Swords

On this moody and atmospheric card, a woman sets off on a solitary

journey across a lake, beneath the moon. She lights her way with a
pole set with candles. She sits alone in the boat, which is too small to
carry anyone else. She must steer around and through the swords
which emerge from the water. Her gaze is downcast; she appears mel-
ancholy. Her boat is decorated with the sign for Aquarius, denoting
unorthodox approaches. She has had to leave behind the status quo,
and she isn’t entirely sure of what she will find at her destination.
The VI of Swords betokens a sad but necessary separation from
something; she is leaving a bad situation. The drama is over and the
stormy clouds have dissipated, and a more positive environment
awaits her, but for now she is quietly maneuvering through the tran-
sition period, on her way to a happier shore.

VII of Swords

Crows are members of the Corvid family, which also includes magpies,
ravens, and jays, all of which have a reputation for stealing shiny
objects and other bird’s eggs. This crow (or raven—they look very
similar) is, rather boldly, stealing someone’s sword (it was probably
stuck in the ground with the other two swords seen at a distance).

Simply, this card represents any situation where someone is utilizing

theft or deception to attain their goals. It could be something as benign
as a white lie, or the protocols of diplomacy. It could also be something
more sinister like an outright lie or theft. Because we’re in the suit of
Swords, we’re probably dealing with deceptions, strategies, and theft
of intellectual property rather than physical objects. Even if there is an
ultimate good involved, one must ask whether the end justifies the
means.

VIII of Swords

This scene seems to be a later development of what we saw in the II

of Swords. There, a woman kept reality at bay by choosing to close her
eyes and wall herself off from it. Here, a woman is also guarded by
swords, but there is a sense that she isn’t entirely responsible for her
predicament. Either some outside person or agency imprisons her, or
perhaps she started out as the woman on the II of Swords, fending off
reality, only to find that through force of habit, she’s now truly
imprisoned. The chains that weave through the image show us that
the imprisonment is no longer voluntary. Beneath the woman, we can
see a flash of lightning in the night sky and reflected in the water
below. Perhaps, like the lightning in XVI The Tower, this shows a flash
of revelation that will burst asunder the chains and swords that entrap
her.

In a reading, this card means you or your querent is imprisoned by

something, most likely by an attitude or a justification that has outlived
its usefulness. The first step to winning freedom is to become aware
of your shackles.
IX of Swords

The IX of Swords is the anxiety card, plain and simple. It’s that time of
night when you should be sleeping, but you can’t because your mind
keeps racing around like a hamster on a wheel, going over all your
problems and probably making them sound worse and worse with
each retelling. It’s obvious that the person on the card isn’t seeing
things clearly—they’re only looking with one eye, and not even really
looking, but rather peeking around a pillow. The swords resemble
prison bars.

We may be genuinely experiencing a serious problem, but sleepless

nights won’t help. Surely, by the light of the sun, our difficulties will
seem more manageable, or at least we will be better able to come up
with potential solutions. In a reading, this card doesn’t necessarily
mean you’ll be overcome by anxiety. It might be a simple caution to
not worry too much.

X of Swords

If the IX of Swords is anxiety, the X is despair. My gut reaction to this

card is laughter. No matter how down in the dumps I may be, the
imagery on this card in most decks is so extreme that it makes me
laugh at myself. I see it as the deck’s way of making me feel better.

Such an approach to this card works well for self-reading, but when
reading for others, it may not be appropriate. The querent may not
appreciate you making light of a genuinely difficult situation. You may
want to express sympathy, and then to gently point out that behind
the figure on the card is a beautiful sunrise.

Page of Swords

Traditionally, this card can denote gossip and spying. Certainly there is
a curiosity and a newfound facility with words, suggested by the
various birds that have alighted on the Page. The casually-held sword
suggests that she has not yet learned from experience how hurtful
words can be if wielded unwisely. The card might simply mean begin-
ning to explore a new idea, or beginning a course of learning simply for
the pleasure of engaging the mind in something new.

Knight of Swords

When we combine the Knight’s orientation toward action with the

Swords’ focus on words and ideas, we have a person who uses words
as a weapon in service to a cause. The end result can range from the
most admirable (for example, the social justice warrior) to the most
destructive (for example, the Internet troll). The courageous energy of
the Knight can give us the wherewithal to fight against the odds for
others’ benefit. But that same energy, combined with the sharpness of
his sword and the dangerous-looking beak of his bird helmet, can lead
to a domineering, bullying attitude.

When reading, we can bring the Knight of Swords energy into mun-
dane tasks like writing a letter to the editor in support of a cause, or
sticking up for someone else at work or school.

Queen of Swords

This Queen is a perfectionist. Above all else she worships the truth,
and expects others to follow her lead. She uses her sword not as a
weapon but as a mental focus, which helps her in her never-ending
quest to improve her mind. Others may find her standards exacting
but are usually grateful for the presence of someone so dedicated to
excellence. The Queen would never expect of others what she isn’t
prepared to do herself.

The cherry blossoms behind the Queen symbolize the fleeting nature
of life. The Queen is determined to make the most of her time on this
earth by setting an example for others. The Libra sign on her shoulder
symbolizes balanced and harmonious thought.

The Queen of Swords invites us to explore where we can set higher

standards for ourselves and gently encourage excellence in others.
Negatively, she can expect too much or come across too strongly.

King of Swords

Here we have the ultimate strategist. The intricacy of his helmet points
to his high degree of mental activity. We see columns made of sky on
either side of him, echoing the hilts of his two swords. The double-
edged swords of his mind support his world. He is the long-range
planner. When others are playing checkers, he is playing chess. Some
may feel that he uses people like game pieces, but from his
perspective, he’s using the power of his mind in the most effective way
possible to accomplish his goals.

Ace of Coins

The suit of Coins refers to material organic and inorganic objects—in

other words, the world around us that we can perceive with our
senses, and concepts related to it. Here we find the things, plants, and
animals that make up our surroundings, along with concepts such as
security, acquisitiveness, and manifestation. Coins play a part in
creativity as well. All the suits are involved in creativity: Wands stand
for the creative urge and the determination and energy to see the
project through; Cups provide emotional and psychological depth;
Swords lend rationale, strategy, and structure; and finally, Coins
represent the finished artistic creation as a physical object, as well as
the tools it took to make it.

On the card we see a huge golden coin, disk, or platter, in a woodland

setting, surrounded by various animals. Nature is a rich symbol of cre-
ation. When you see this card, be ready for manifestation. Coins also
symbolize themselves, that is, money. The Ace may mean the
beginning of financial activity, whether a raise at work, a bank account
or investment, or seed money to start a business. Incised in the disk is
the elemental symbol for Earth, the ground of our being.

II of Coins

A stack of stones, or cairn, is surrounded by water. The stones

themselves are precariously balanced, and a small tree is even more
precariously balanced on the stones, clinging to them with a few roots
and with a ballet-shoe-clad foot. Despite its seemingly unstable exis-
tence, the tree is thriving.

Often we long for stability; yet who can deny that the most creative
and fruitful endeavors thrive on instability? Insecurity and risk
motivate us to do that which we thought was beyond our capability.
We can look to the example of large companies that succeed through
innovation and adaptability, only to fossilize and collapse when their
quest for stability makes them incapable of the out-of-the-box
thinking that made them successful in the first place. This card can
serve as a warning that you have become too complacent. Perhaps you
need to welcome some instability and change into your life.

III of Coins

An artisan wields a hammer and chisel in a sumptuously-appointed

hall. The disks laid out on the floor are presumably his or her
handiwork.

This card celebrates excellence in any endeavor, a job well done, and
pride in accomplishment. It’s also a celebration of the decorative arts.
It’s human nature to want to beautify our surroundings, and this card
can signify building interiors, artwork, renovation, or any kind of
decoration or beautification. In more general terms, it speaks to the
desire to work hard to improve something, whether by crafting one’s
words carefully, or behaving graciously, or acting diplomatically.

IV of Coins

Here is a man who sees himself in terms of financial success. He

appears on the card as a two-dimensional portrait to show that this is
the image he has of himself. His hands reach through the canvas to
touch his coins.
This image challenges us to ask ourselves how we may be over-
identifying ourselves with a particular role, such as breadwinner,
caregiver, or artist. A more balanced self-image is preferable to putting
all our eggs of self-esteem into one basket. That way, if we experience
a setback in our chosen role, we don’t have to see it as a failure of our
entire being.

Alternatively, the traditional interpretation of this card as showing a

miser can still be used. Or perhaps a deceased ancestor, as shown in
the portrait, is figuratively controlling the pursestrings from beyond
the grave. In a reading, that might mean that when being offered an
opportunity, you should first investigate and consider the offer’s
history and whether unstated commitments might be hidden behind
the offer.

V of Coins

On this sad card, a woman stands in falling snow, gazing through a

shop window at the fruit and bread inside. We can interpret this image
in different ways. Perhaps she is poor and hungry, and can’t afford
what the shop sells. Or maybe the card illustrates a spiritual poverty,
where she could walk through the shop’s door any time, but instead
stands outside, not believing she has the ability or the right to enter.
More generally, it may represent someone who holds themselves back
because of a lack of confidence.

When this card appears, there is some kind of perceived poverty.

Whether the poverty is real or self-inflicted will depend on the context
of the other cards and the question. Remember that the distinction
between actual poverty and self-inflicted poverty can be ambiguous.

VI of Coins

Five coins are attached to cables which hang down from an automaton
emblazoned with a bull’s head. A sixth coin is held by a robotic hand
which has presumably plucked it from one of the cables.

This image raises the question of what really goes on in our minds and
hearts when we give or receive. If I give you something, is it out of the
goodness of my heart? Or is it because I expect something in return?
Giving isn’t an isolated act; it’s part of a whole machinery of cause and
effect.

Generally this card means something positive; simply, the querent is

giving or receiving. If you feel the reading calls for a more subtle
interpretation, you might consider whether there are ulterior motives
or if by accepting the gift, the receiver will now become part of a larger
scenario that may not be in their ultimate best interests.

The bull refers to the card’s traditional astrological decan, Taurus,

suggesting someone who can be generous yet at times possessive.
VII of Coins

A gardener tends his garden. The coins are sunflowers, and bees and
a butterfly hover industriously nearby.

In the Swords cards, the world of thought, things happen as quickly as

we can think of them. In the world of Coins, nothing happens
instantaneously. It’s all about process and evolution. The suit of Coins
is where we experience the dimension of time most completely. The
VII of Coins is the process card. Of what value would flowers be if we
could instantly will them into existence? Beauty would lose at least
some of its value if it came at no cost of time or effort.

The bees and butterfly are helping out by spreading pollen; the sun
envelopes all with its golden glow. They tell us that if you do your part
with diligence and commitment, the universe will respond by meeting
you more than halfway.

The words sette bello on the leftmost sunflower refer to a card game,
Scopa, that Ciro played with his mother. He says, “The seven of deniers
was special and trumped every other card. This card is referred to as
the settebello or beautiful seven, a term that is part of Italian culture.
Numerous restaurants, even an express train were named after it.”

When you see this card, time and process are an important factor. Pa-
tience is required, but your steady efforts will be rewarded.
Alternatively, the card could be a suggestion that you should enjoy the
work for its own sake. Negatively, you might be moving too slowly and
deliberately when a more aggressive strategy is called for.

VIII of Coins

In some ways the VIII is similar to the preceding VII. Like that card, this
one concerns time, effort, and process. But the mood is very different.
In the VII, the work was enjoyable and you felt part of the rhythm of
life and nature. The VIII, in contrast, shows the coins as gears in a vast
machine. Our friend the Fool is young and vigorous here, but he seems
trapped in a soul-deadening mechanism. His efforts are productive
(hence his musculature) but uninteresting. His jester’s cap is pulled
down over his eyes, symbolizing lack of vision. In this particular task,
vision isn’t required—just brute strength and repetition.

It’s difficult to write about this card without making it sound awful, but
the truth is that any worthwhile endeavor will have uninspiring,
repetitious components. Attaining any creative skill requires laborious
practice of one kind or another, one example being the scales and
other exercises that a musician must master. In fact, much of the
success one attains in life is dependent on having the self-discipline to
faithfully perform such tasks. As Thomas Edison said, “Genius is one
percent inspiration and ninety-nine percent perspiration.” Put another
way, in 1911 the writer Mary Heaton Vorse gave the following advice
to Sinclair Lewis: “The art of writing is the art of applying the seat of
the pants to the seat of the chair.”

In a reading, the context of the other cards and of the question will
determine whether the card refers to necessary discipline in service to
a goal on the one hand, or soul-deadening tedium on the other.

IX of Coins

On this card we see three birds—a hooded bird of prey, a woman in a

bird mask, and a more abstract bird with rainbow colors and coins for
feathers. Here the birds are a symbol for the talent and creativity
needed to make anything happen in the physical world. Thought is
involved as well, and birds also inhabit the suit of Swords as a symbol
for mental activity.

The woman has successfully combined self-discipline (symbolized by

the bird’s hood) with inspirational creativity (shown by the bird mask)
to bring something new into the world (the rainbow bird), a perfect
illustration of the balanced relationship between discipline, creativity,
and creation.

When this card appears, it can mean that you’re on the right track in
your efforts to manifest something, or it can be a suggestion of what
you should be aiming for.

X of Coins

As on the VII of Swords, here we see another Corvid, this time a

magpie. All Corvids have a reputation for stealing shiny objects. The VII
of Swords was a dark card, occurring at night, with the implication of
deception and sneaky strategies. On the X of Coins we see a sunlit
scene in a verdant forest, and rather than the ominous tone of the
Swords card, the mood here is more serene. Perhaps we can see the
magpie as collecting found objects rather than stealing others’
belongings.

The coins in this card can stand for material comforts that come with
success, or they can represent earned wisdom on how to get along in
this material world. Notice the thin chains attached to the coins.
Whichever interpretation we use, comforts or wisdom, we need to be
aware of the chains that come with them. When you complete an
endeavor, you don’t just drop it and float to the next one. Instead,
you’re still attached to it by a thin cord of affinity and responsibility.
You’ve created something, but, in a mysterious way, it now helps
create you. You’re different now than you were, and that difference
will remain for the rest of your life.

In a reading, this card can simply mean success and the rewards of suc-
cess. On a deeper level, it asks you to contemplate how you have been
changed by that which you’ve created.
Page of Coins

At first glance this young girl appears to have flowers in her hair, but
the explosion of greenery and her mantle of leaves make it clear she is
in fact a younger or newer version of the same energy we saw
personified in the Empress card. She represents all growing things in
their early stages. With an intent look, she holds out to us a young
rabbit, encouraging us to engage with the processes of nature and
growth.

Traditionally this card symbolizes someone who is learning about the

physical world around them, or, more generally, a student of any
subject, manifesting the same energy as a child excitedly exploring a
new environment. Negatively, there might be too much studying and
not enough playing. We sometimes forget that we can learn as much,
if not more, from play as from work.

Knight of Coins

This Knight carries out his mission with diligence and commitment.
Loyal to a fault, he will do as ordered, until given new orders. His scar
attests to his bravery and dependability in battle. He is the ultimate
symbol for those who work to their utmost to provide a comfortable
environment for themselves and their loved ones.

This is one of the easiest cards in which to see both positives and neg-
atives. We obviously welcome the Knight of Coins into our lives, either
as a person who helps us, or as a character to emulate ourselves, in
situations that require faithful diligence. And we’ve all seen examples
where loyalty and dutifulness have led to someone’s downfall.

Queen of Coins

The Queen of Coins is the embodiment of the archetype of

motherhood. By the way she lives, she sets an example for how to
interact with one’s environment to create a safe and comfortable
space for living. She celebrates the joy of everyday tasks which nurture
those she loves or herself. Those tasks do at times seem like drudgery,
but the Queen reminds us to remember why we do them.

Of course, this card may come up for someone who isn’t literally a
mother. Like all the cards, gender and age are irrelevant. Negatively, it
may refer to someone who escapes into everyday tasks as a way to
avoid larger issues in life. Another possibility is someone who places
too high a priority on comforts and finery.201

King of Coins

This King is a master of the material world and money. Traditionally he

represents businesspeople and financiers. The card can stand either
for financial and business knowledge and experience, or for the
rewards that come with success.

In a reading, the King of Coins can be used as someone to emulate. For

example, if you’re wondering whether to ask for a raise, you might ask
yourself, “What would the King of Coins do?” More simply, he can
mean success, and the knowledge and experience that brought it
about. Negatively, he might overemphasize financial success while
diminishing the importance of other values.
 SPREADS AND SAMPLE READINGS

The Prediction Spread

This is a simple spread you can use to tell you what will happen.
Because the spread is short, feel free to use one, two, or three cards
per position.

Position meanings:

1. What will happen.

2. A harmonious aspect of what will happen.

3. A challenging aspect of what will happen.

Please note that position 2 is not necessarily positive and position 3 is

not necessarily negative. Depending on the circumstances of the
question, you might actually prefer a challenging aspect, which
inspires you to take action, rather than a harmonious aspect which
leaves you lazy and passive.

Sample Reading 1 for the Prediction Spread

For this reading I’ll use one card per position. For each of the sample
readings, I recommend pulling the cards out of the deck and laying
them in their positions so you can follow along as I interpret them.

The question: How will my literary project turn out?

1. IV of Wands

2. VI of Swords

3. Strength

At first glance, I’m glad to see the IV of Wands. The preparation

involved in the project has paid off and there will be a successful
outcome—my birds have laid their eggs. The harmonious aspect of the
project is the VI of Swords, seemingly a melancholy card for this
position. But the quiet, solitary, and reflective setting is actually the
perfect environment for writing, allowing me to easily navigate the ob-
stacles (i.e. the swords) which I encounter along the way.

The challenging aspect is Strength. It has been a while since my last

creative project, and so I must accustom myself once again to the
challenges of channeling creativity and the realities of the publishing
industry. Doing so will take patience and inner strength.

What specific symbols on the cards can I look at? Let’s start with the
boat on the VI of Swords, which “becomes” the nest on the IV of
Wands. (Since the IV of Wands is the “what will happen” card, the
timeline in this spread goes from right to left, so the VI of Swords and
the Strength card can be considered the present trends, culminating
in the IV of Wands which shows us the future.) This suggests that my
solitary efforts have carried me forward toward the success of the
project and new opportunities. The six upright swords on the VI of
Swords become the four upright wands on the IV of Wands, which tells
me that the very things which I considered obstacles during the writing
process will provide security and protection for the project in the
future.

Each card has its own version of wands or rods. The wands on the IV
of Wands are elaborate and complex. The pole held by the woman on
the VI of Swords is elegant and much simpler in design. The scepter
held by the woman on Strength, topped with an animal skull, is more
primitive in design and decoration. Thus, we might say that any
sophisticated creative endeavor (IV of Wands) needs a combination
and balance of pure animal spirit (Strength) on the one hand, and a
civilizing influence (VI of Swords) on the other. Perhaps the elegance
of the woman’s light pole suggests the craftsmanship of a writer’s
inner editor, who polishes the raw output shown in Strength.

Finally, I can’t help but imagine that the birds on the IV of Wands would
be quite alarmed by the canine and feline energies of Strength!
However, the protective environment shown on the IV of Wands is
only made possible by the raw energies of Strength, as shaped by the
civilizing influence of the VI of Swords. Perhaps the two eggs shown on
the Wands card contain a lion and a wolf, so that the creative cycle can
begin again.

Sample Reading 2 for the Prediction Spread

For this reading I’ll lay out two cards for each spread position, as
mentioned in the discussion on combinations in the “How to Read the
Tarot” section earlier in this book.

The question: I’m going to spend Thanksgiving with my significant

other and his family. How will it turn out?

1. Lovers and Hanging Man

2. Star and VI of Wands

3. Page of Wands and III of Cups

Thanksgiving dinner with someone else’s family could certainly be

compared to a dance, one in which the choreography of etiquette and
interaction is important. The Lovers suggests you’ll be quite successful
at navigating this dance. The Hanging Man, however, tells us that you’ll
feel somewhat constrained much of the time, and it will require some
patience and forbearance on your part. You may even find yourself at
times having to sacrifice your integrity or dignity, at those times when
someone expresses personal, political, or religious views with which
you disagree. For the sake of your significant other, you’ll feel the need
to not react.
For position 2, the Star and the VI of Wands say that it will take some
initiative on your part (VI of Wands), but you’ll succeed (VI of Wands)
at establishing a peaceful and harmonious (position 2) connection
(Star) with your partner’s relatives, and also at projecting a calm (Star)
demeanor.

Now, while you do want to appear calm and laid back, you also don’t
want to overdo it and come off as completely bland and colorless. The
cards in position 3, the Page of Wands and the III of Cups, speak to the
challenge of maintaining a balance between calm and politeness on
the one hand and being a lively and interested (Page of Wands)
conversationalist on the other. You still want to show off your per-
sonality to its best advantage (III of Cups). Thanksgiving is, after all, a
celebration (III of Cups).

As I take a deeper dive into the card symbols, the first thing I notice is
that the Cupid on the Lovers is holding a heart suspended from a cord
or cable. This looks very much like a smaller or younger version of the
suspended dancer on the adjacent Hanged Man card. Perhaps one
indication of the love you feel for your partner is your willingness to
subsume your identity to a certain degree, at least for one evening, in
an effort to please your partner and his family. (Of course, the evening
isn’t entirely about self-sacrifice; you’ll still have a good time, as
indicated later by the III of Cups card.)

We can also contrast the carefully-carved proscenium arch on the

Lovers with the gnarly tree branches/roots on the Hanging Man. The
arch represents the show we put on for other people, while the tree
branches/roots stand for a more interior, private experience. In other
words, outwardly you’ll be gracefully “dancing” but inwardly you’ll
need to suspend your own desires, at least to some extent.

In the Star and the VI of Wands, we see rod shapes used in different
ways. The VI of Wands is definitely a yang card, with the wand held
aloft victoriously. But like the Hanging Man, that’s an inner experience;
paradoxically, the thing you’re victorious at (i.e. being yang) is being
low-key (i.e. being yin, the Star). The Star maiden uses her rods to
sprinkle starlight on the scene below. In the context of a family meal,
the starlight-filled rods make me think of salt and pepper shakers!

In this reading, with positions 1 and 2, we’ve established a pattern of

the first card of each pair being an outer experience while the second
card is an inner experience. For position 3, we can keep that pattern
going. In polite conversation, you want to appear curious and lively
(Page of Wands). Probably the best way to do this is to have an inner
awareness which celebrates your own confidence in the value of your
inner self (III of Cups), while of course not broadcasting it too plainly
to your conversation partner. If you’re able to do this successfully, you
may even manage to make a few new friends (III of Cups). And we can
in fact see this play out in the small, homely golden lizard which the
Page offers, which in our inner experience shows itself to be the
extravagant beauty of your inner self.
The Stair Spread

This spread is designed to explore a goal. An interesting feature of this

spread is that the number of cards used is optional; you could use
fewer cards than seven, or more, as desired. Any of the odd-numbered
positions can be the final card.

1. An action I can take to reach my goal.

2. How that action helps or hinders reaching my goal

3. A new action I can take in response to position 2.

4. How position 3’s action helps or hinders reaching my goal.

5. A new action I can take in response to position 4.

6. How position 5’s action helps or hinders reaching my goal.

7. A new perspective on my goal based on the previous cards.

To shorten or lengthen the spread, simply give the final card the
meaning I’ve given for position 7.
Sample Reading for the Stair Spread

The question: My goal is to pass a certification exam which will allow me to get a better job.

1. III of Coins

2. X of Coins

3. IX of Cups

4. Hermit

5. VIII of Cups

6. King of Cups

7. V of Swords212

1. The first action I can take is the III of Coins, which suggests that I work hard to improve my skills in the areas of
knowledge covered by the certification test. The III of Coins speaks of excellence, so I must keep my standards
high as I apply discipline and commitment. The hammer blows on the chisel make me think of the necessity of
rote repetition in learning and internalizing the basics.

2. How does the card in position 1 help or hinder? The X of Coins stands for earned rewards, so it appears that
the effort I put forth in the III of Coins is now paying dividends. The chains attached to the coins suggest that the
rote learning has formed a secure foundation of knowledge that won’t easily come undone.

3. In response the the X of Coins, we have the IX of Cups. Here I have an emotional reaction—a surge of confidence
inspired by my successful study efforts shown in the previous cards. Like the puppy, I can rest assured that I’ve
brought myself to a safe and secure environment. The position description speaks of an action, so in this case the
action is to allow myself to feel the confidence of someone who has studied hard and has a good grasp of the
necessary foundations.

4. What are the positive and/or negative effects of that confidence as I move toward my goal? The Hermit says
that my knowledge and my confidence in my knowledge are an excellent foundation but are still not enough. I
must go off the beaten path to search for deeper and more sophisticated aspects of the knowledge and skills
involved. What these are will depend on the particular field. Are there larger philosophical, moral, or ethical
considerations to be studied? Or perhaps I need to read case studies of difficult examples faced by more
experienced practitioners in the field.

5. The new action in response to the Hermit seems to follow very much in the same vein. Perhaps in opening
myself up to the deeper factors suggested by the Hermit, I’ll find myself fascinated and intrigued, inspiring me to
delve yet deeper into these subjects.

6. The King of Cups serves to remind me not to follow the Hermit/VIII of Cups subjects too far. The merman on
the VIII of Cups abandons his cups to follow the object of his fascination, but the King advises that I stay oriented
in my overall goal and, while researching deeper subjects, remain cognizant of the foundational skills and
knowledge that brought me to this level in the first place. In practical terms, if the foundational skills required
daily practice, then I should still maintain my daily practice even while exploring the more advanced subjects.

7. What new perspective have I gained from all this? The previous cards’ focus on commitment, discipline,
practice, and balance are an indication that in endeavors such as this, a certain amount of ruthlessness is
necessary. I have to go beyond my comfort zone and think of myself, to use a cliche, as a warrior. At times I will
need to cut away or reduce other obligations, commitments, comforts, and distractions (such as social time with
friends or family) that could prevent me from reaching my goal.

The symbols that stand out to me in this reading are the close-ups of hands— human hands on the III of Coins and
the Hermit, and the avian claws on the V of Swords. To me they stand for the major themes of the reading—the
disciplined repetition needed to gain foundational knowledge and skills; the contemplation and study needed to
gain deeper knowledge; and the ruthlessness needed, at least temporarily, to cut away distractions to allow me
to reach my goal.

The Interaction Spread

This spread describes the interaction between two people. The cards on the left side of the spread describe person
A. The cards on the right side describe person B. Cards 11 and 12 describe the nature of the interaction.

There are two options for reading this spread. The first option is to use the de scription in the last paragraph to
read the cards, without precise position meanings, other than the left-side cards being person A, the right-side
cards being person B, and cards 11 and 12 describing the interaction.

The second option entails using precise meanings for the positions, as follows:

1 and 2: How person A thinks.

3: What person A does (an

action they take).

4 and 5: How person A feels.

6 and 7: How person B thinks.

8: What person B does

(an action they take).

9 and 10: How person B feels.

11 and 12: The nature of the

interaction.

As you can see, cards 1, 2, 6, and 7 relate to thoughts. Cards 3 and 8 describe actions. Cards 4, 5, 9, and 10 describe
feelings.

When interpreting the spread, first interpret all the cards for person A, then the cards for person B. Then you can
start comparing the cards in each horizontal category for both people. For example, you can compare the thoughts
of A and B in cards 1, 2, 6, and 7. You can compare their actions in cards 3 and 8. You can compare their feelings
in cards 4, 5, 9, and 10. For positions 1 and 2, 4 and 5, 6 and 7, and 9 and 10, you can read the cards as combinations
if you wish.

Sample Reading for the Interaction Spread

The Question: Miriam wants to explore her interactions with her boss, Ann.

1. Judgement

2. Wheel

3. Page of Swords

4. King of Coins

5. King of Swords

6. Strength

7. II of Cups

8. Queen of Swords

9. King of Wands
10. Page of Wands

11. III of Wands

12. World

Miriam, the querent, is person A (cards 1 through 5, left side of spread). Ann, the boss, is person B (cards 6 through
10, right side of spread).

For the rest of the reading, I’m going to give my basic interpretations without listing which cards they relate to.
As an exercise, see if you can figure out which cards I derived each element of my interpretation from. And
remember that my interpretation is only one of many possible interpretations. While following my
interpretations, also think about how your interpretations might differ.

Miriam is thinking that she’s been feeling stagnant at her job lately. She feels she has changed since she was hired,
and would like a different or more challenging position, or one with more status or higher pay. She has begun
inquiring about and investigating other positions both within the company and with other companies. Miriam
feels like she may want to explore leadership positions in either finance on the one hand, or research or strategy
on the other.

Ann, as a boss, approaches one-on-one relationships with her employees with a gentle authority and patience.
She encourages Miriam to set high standards for herself and her work. She feels that Miriam is ready to explore
leadership positions, and in fact feels that Miriam will make a good boss herself one day.

While Ann is caught up in her newly-found broader perspectives and experiences of change, Ann offers quiet
support. Miriam can count on Ann to mentor her through this period of change. Both women agree that the sky
is the limit for Miriam’s potential. The future looks bright for Ann.