A Very Old Tarot Spread

I am an active member of the Aeclectic Tarot forum, where I take part in a number of remote reading exchanges on a regular basis, where we do readings for other members of the forum whom we haven't met and often whose "real" names we don't even know. And they work, and provide pertinent, relevant information, quite specific to people's individual situations. There are a few circles that I enjoy taking part in regularly, and just in recent weeks  have started taking part in a Tarot de Marseilles exchange circle.

In this exchange we use Tarot de Marseilles style decks: decks with older-style artwork reminiscent of woodcuts, with unillustrated Minor Arcana cards. And it was suggested this week that we use a very old spread.

To quote the attribution of the documentation concerning this spread, I go to a member of the forum that I know as Le Charior, who says: This spread comes from an essay called "Du Jeu des Tarots", published in 1871 in the eighth volume of "Monde Primitif, analysé et comparé avec le monde moderne (The Primitive World, analyzed and compared with the modern world)" by Court de Gébelin. The author is the given as M. the C. of M., and has been identified as Louis Raphaël Lucrèce de Fayolle, the Comte de Mellet.

The actual document being quoted reads:

"... VI
Way in which one proceeds to consult the Fates.

Now let us suppose that two men who want to consult the Fates, have, one the twenty-two letter cards, the other the four suits, and that after having shuffled the cards, and each having cut the cards of the other, they start to count together up to the number fourteen, holding the trumps and the lesser cards in their hands face down so that only their backs are visible; then if a suit card turns up in its natural place, that is, which bears the number named, it must be put aside with the number of the accompanying letter card at the same time, which will be placed above: the one who holds the trumps places this same letter there, so that the book of Destiny is always in its entirety, and there is, in no case, an incomplete sentence; then the cards are mixed again and again receive a cut. Finally the cards are run through to the end a third time with the same attentions; and when this operation is completed, it is a question of reading the numbers which express the accompanying letters. Whatever happiness or misfortune is predicted by each one of them, must be combined with what the card announces that corresponds to them, in the same way that their greater or lesser power is determined by the number of this same card, multiplied by that which characterizes the letter. And for this reason the Fool which does not produce anything, is without number; it is, as we have said, the zero of this calculation. ..."

I used this spread for the first time, not having tried it out first, in an exchange. My exchange-partner had requested a general overview of what they might expect in the upcoming year. As I was using a very old spread, arguably the oldest recorded, it tickled me to use the newest Tarot de Marseilles in my collection (I have several of that style of deck), one designed by Major Tom Schick, that I reviewed once here. It seemed to me that there was an ironic symmetry in doing that, combining an old spread with a new deck

I separated the Trumps, or Major Arcana cards from the Minor Arcana or pip cards, and placed both piles face-down on the table in front of me, the Majors near my left hand, the Minors near my right hand. And I selected my pairs this way: counting one-to-ten for the numbered cards, then eleven to fourteen for the Court Cards (practically, one to fourteen), I turned over the cards one by one with my right hand so that I could see if they matched the numbers I was counting aloud. At the same time, with my left hand I'd move one Major Arcana card at a time from the pile on the left into a new pile.

Four times through the deck, I found that the Minor Arcana that I turned was the same number as the number I was calling, so I would put it aside as a part of the reading I was about to do, along with the Major Arcana card taken at the same time from the other pile.

Four pairs, eight cards, each, comprised my reading for this person. I don't propose to tell you what I said to them in any detail because all of my readings are between the client and myself only, but I'm happy to discuss how I came by what I said to them. I was laying them out with the Major of each pair to the left, the Minor to the right, the first pair on the top, then below it the second, etc, until the fourth pair was the one on the table closest to me.

The first pair was Strength and the Nine Cups. I was struck by how tranquil the Nine Cups looked, and how both the lion's and woman's bodies were pointed towards it, but how the woman's eyes seemed to be looking elsewhere, and how I felt about her glance on that particular occasion. I made some quite specific statements about how I felt that these impressions related to the life of hte person I was reading about.

The next pair of cards was the Devil and the Knight of Wands. I was immediately struck by how the Knight, whom I felt symbolised my client, and his horse, were moving towards the Devil, but how the heads of both the horse and the Knight were turned away, as if suddenly considering other options. And how smug and self-satisfied the two minor minions harnessed to the Devil were, as if some unpleasant, dangerous entity actually made its victims feel as if they were being protected by it. From this I drew inferences about forces in the client's life that might have tempted them into feeling safe when they were anything but safe, and how if they looked at other options they might find a path forward that was a much better option for them. I also felt that I should relate this to a particular area of their life.

The third pair was Temperance and the Two Swords. Immediately, the Two Swords looked like an enticing option again, with bright colours and interesting curves, but very hot and fiery and with sharp blades, whilst Temperance, involving pouring water, bare feet and muddy earth, looked like childhood games involving mud and water. Here, I related my impressions to the client again, with advice to consider whether the dangers of more glamorous alternatives (the Two Swords) were worth it, compared to the safety and child-like simplicity that Temperance seemed to offer in their situations.

The last pair was the Fool and the Five Swords. The Fool was walking towards the Five Swords, on a journey, whilst the configuration of the card made me think of a gateway or passageway towards the future, guarded or possibly blocked from conventional approach. All the unconventionality of the Fool card, I suggested, would be needed for the client to be able to move freely to their future direction.

A lot of people I know, some whose reading abilities I respect very greatly, don't seem to be able to read easily with unillustrated pip cards. I can. I found them hard initially, but these days I find them as easy or even easier than reading illustrated cards with all sorts of visual cues on them. Why?

Largely because they don't have a lot in the way of visual cues. They have colour and basic emblems, which can set mood and tone, but they leave your mind free to follow an intuitive path instead of being nailed down to the mindset of the artist who designed and illustrated the deck. I find if I have a lot of mental activity going on, such as may be triggered by strictly "memorised" rigid meanings for cards or by images that presuppose one major quality for each card such as family happiness, dishonesty etc, these ideas forced on my mind can overrise the intuitive urge to find individual meaning in a card as it falls in that one reading that one time.

So I have learnt to trust my impulses and follow that tiny inner voice, which is much easier with decks that have little or no visual imagery and symbolism to work with. And I believe that I do highly individualised readings specific to each and every client's situation, looking not only for the pitfalls in their situations but the actions they can take to avoid them, and looking not only for the potential in their situations, but for the affirmative actions they can take to make the most of them.

I believe every reader should do that for every client, to the very best of their ability. And this very ancient spread worked so well when I was so inexperienced at it, that I will be using it a lot and mastering this new technique of having no positional meanings for cards at all, but relating a Major Arcana card to a Minor Arcana card in locked pairs, as many or as few locked pairs as the "random" system of counting produces after a good shuffle.

I have done many fulfilling readings recently, where I have seen face-to-face clients sit down with anxiety in their faces and leave with relief and gratitude in their faces, but this one reading, using so unusual a way or laying out cards, was the most personally fulfilling and exciting reading I have done for a long time.

Review: The 7th World Tarot Deck

Title: The 7th World Tarot Deck
Illustrations by Terry Whidborne
Booklet written by Debra-Mary MacInnes
Website: http://www.the7thworld.com/

After the episode of "The Collectors" featuring my Tarot collection was aired on ABC-1 a short while ago, I was contacted by the creator of this deck, who was happy to give me a copy to keep in my collection. Self-published in a print-run of just 100 copies, it has not found distribution outlets or a mainstream publisher yet, and I think it richly deserves to find an outlet, plus mass-publication.

The deck as it is in this first print-run, is presented in a simple white box with no artwork, sealed with stickers on which the title of the deck, contact details and a simple logo of a bug with outstretched wings are printed very simply and plainly.

 On opening the deck, I was pleasantly surprised to find that the Minor Arcana are the first cards you see, with the Major Arcana at the rear of the deck. For some reason which I haven't really analysed yet, this pleased me greatly; it's as if the deck doesn't need to show off its more glamorous side to attract one in the first place.

And overall, it is an attractive deck. The cardstock is sturdy and gently laminated, and its new-deck-smell is different to the variety of chemical smells that most laminated decks gas-off, instead smelling refreshing and somewhat citrusy. The backs are a simple design in red-ochre, yellow-ochre and black featuring that same bug, in the manner of a woven mat, and are warm and appealing.

Throughout the deck, Majors and Minors all have a broad, elaborate border in ochres, yellows and browns, with a scorched and slightly fantastical edging, placing the image at one remove from the observer and set deep within their own world.

The Minor Arcana cards are unillustrated but subtlely decorated, allowing one's intuition more free rein than illustrated pictures do in my opinion, as the observer is not locked into the artist's idea of what the card is about. Wands feature freehand-drawn rods with a burst of ripening grain at the end, simple and more appealing than if the artist had used a ruler to make them perfectly straight. Swords feature a simple, double-sided blade with a basic hilt and a spiral handle forged from the same piece of metal, again drawn freehand. But attractive as these suits are, Pentacles and Cups are where the Minors come into their own. Cups feature cafe-style coffee-cups. I don't know why that surprised and pleased me so much, but it really did. It's as if this deck is more down to earth than decks with showier goblets. And Pentacles are a brown circle, infilled with yellow-ochre, centred with a four-petalled purple flower with a red centre. The floral nature of these Pentacles again veers away from the showy, ceremonious nature of many other Pentacles, towards an earth-based, fertility-based idea, bedded deep in the colours of the country the deck was designed in.

The Court Cards are reversible, busts of individuals usually seen in profile around the symbol of their suit, rather like the court cards in playing decks. Unlike playing cards, though, there is plenty to go on in the expressions and postures of these people to give you divinatory clues. What I like is the cohesiveness of the Court Card characters: cards like the Queen Pentacles and the Knave Pentacles (this deck has Knaves instead of Pages) could be members of almost any race on earth, cards like the King Wands could be anything from Asian to Native American, while the King Pentacles is unashamedly Aboriginal - yet all of the faces, different though they are, seem to come from the same reality the same culture, even the same race - Human.

Along with the reversible, mirror-image Courts, there is something else marrying this deck to commonplace playing cards - the two Jokers. Yes, we have an eighty-card deck here, with no title cards but instead two Jokers. They are identical - I am not even going to begin to describe this card to you - it looks different every time I see it. Needless to say, in my copy and my use of it I'm treating it as a twenty-third Major Arcana card, and leaving both of them in the deck. I've often thought that the Fool card as we experience it in most other decks should really be two separate cards: one indicating the beginning of human consciousness, ignorance, the start of the learning process, and another indicating a state of being experienced but being untouched and uncorrupted by the world. In my own deck which I haven't found an artist for yet, I call the former "The Barbarian" and the latter "The Jester". In this deck, they are The Fool and the Joker, and the cards work well on that level.

In the Major Arcana the range of humans we see in the Court Cards gives way to the non-human, undeniably removing us from the day-to-day and dumping us slap-bang in the middle of the archetypal. Throughout, the "human" roles in the Major Arcana are filled by skinny, long-limbed, floppy-eared, cherry-nosed Tolkienesque earthern-folk who are really very appealing.

Cards I am particularly drawn to? Justice is naked and evidently male, blindfolded and balancing a Sword on his forehead, pieces of a broken yin-yang symbol spinning on strings from its hilt. The Hanged Man is a marionette, hung from strings attached to his elbows, knees and pointy hat. Death is a fantastical crysalis with teeth (and an overbite), with a fat, juicy, delicious moth hovering in the background. The Tower is an unstable stone structure balanced on a wagon and a fork, tipping and crumbling. The Star is an Edward Lear-like bird on a bicycle with a Star on a stick. The Hierophant is old and eccentric, standing on a book and wearing a Papal mitre. The Lovers are Zaphod-Beeblebrox-like: one body, two heads. The Fool is prancing and playing his stick like a flute with his long fingers. The Hermit reverts back to the original concept of Father Time for this card, standing on a clockface and carrying a scythe from which, yes, a lantern dangles, but a double-ended two-candled lantern recalling the shape of hourglasses.

Cards I dislike? It would be hard to name one. Perhaps I am not so fond of the fairly conventional, cutsie dinosaur used in The Chariot, but even that card is attractive in its own way. This is a deck that has a great deal of charm.

I have only had my copy a very short time so far, but I am finding that each of the images gets deeper and more meaningful every time I look at it, which is what you want from a divinatory tool. This is a worthy deck, and I am proud of the fact that it was developed in my country, Australia, and while not labouring its Australianness, has a feel of red earth throughout.

I hope that in the very near future, Terry is able to find a conventional publisher for this deck, as it is a deck that will appeal to many, many people from all over the world and deserves very wide distribution.

Too New to Read Tarot?

Recently I was asked by someone who was just starting to learn to read Tarot if they were too inexperienced to read for themselves. I didn't think so. That's the best way to learn - reading for others when you haven't built up your skills base yet is a recipe for disaster if they take your reading with the same seriousness as a reading from a more experienced person who isn't just feeling their way into it.

But be a bit careful - don't read on the same subject too often, especially if you've already had a reading from someone else on it. Do the work that issue requires in your life first, before you do more readings. A reading simply shows you the next step to take in any area of your life, the things you need to do or stop doing. Until you've done that, another reading will be pointless and perhaps harmful (your even asking the question implies that the difference in cards pulled has already harmed your confidence in your cards and your ability to read them).

After all, what happens when you keep pestering people about something? They get annoyed and less responsive. I believe so do Tarot decks, too, with over-use on the one subject. Think of other things to read about, even if it's the old standard: "what do you want to tell me now?"

In the particular instance where the person has recounted first drawing the Ten Cups iin a reading, then later drawn the Ten Swords and was puzzled by the difference, I'd pull back a bit, and ask what meaning the number ten might have for you personally. Have you lived in a house numbered 10? Do you work on a team of ten people? Is it numerologically "your" number? Is it a significant number or a number surrounding someone you know?

While you're still learning and unsure, why not pull a card every morning? Look at it, think about it, write it down. Then at bedtime that night, look at it again, and see if it relates to anything (or anyone) in your day that day. This will help you get familiar with how you personally read the cards (everyone is different).

You might also want to play Tarot Solitaire as well. It is played like windows solitaire, but with Tarot cards. Lay out an extra two columns, instead of alternating "reds" and "blacks" keep each suit to itself, and run the Majors starting only with Card Zero and Card Eleven (the way the suits start with Kings), in strict numerical order.

This game takes time. Like regular solitaire, it will sometimes work out and sometimes not. It's interesting to speculate on which suits you can't get to work out, and how they are currently important in your life. But mostly, it keeps in the images of your deck in front of your eyes, and you learn by absorbtion and familiarity.

Good luck, and enjoy your Tarot deck.

My collection

A little bit of local press coverage can be found here. And some pics can be found here as well. Have fun, people.

It's funny how things change: you talk to a journalist, the years you've been reading get changed (I would have said around thirty) and there's just a slight twist in tone. Still, c'est la vie, c'est la guerre, c'est la pommes de terre.