Sola Busca Tarot

The Sola Busca tarot, one of the most enigmatic and influential tarot decks in the history of cartomancy and esotericism, holds a significant place in the evolution of tarot cards. This deck's origins and history intertwine with the cultural and historical context of the late 15th century.

Origin and Development

1. Creation: The Sola Busca tarot is believed to have originated in the late 15th century, around 1491.

1. Location: It is generally attributed to the Italian city-state of Venice, a hub of art, culture, and commerce during the Renaissance period. The deck was most likely created for a noble family or a court, although the specific details remain uncertain.

1. Artistic Style: The deck reflects the artistic styles prevalent in Northern Italy during the late 15th century, particularly the influence of the Venetian school.

Notable Cards and Their Description

1. Unique Features: Unlike the typical tarot decks, which feature the standard Major and Minor Arcanas, the Sola Busca deck is notable for its 78 fully illustrated cards, including the Minor Arcana. This was highly unusual for the time, as most decks only illustrated the Major Arcana.

1. Major Arcana: The Major Arcana in the Sola Busca deck is rich with allegorical and symbolic imagery, blending classical, biblical, and esoteric themes.

1. Minor Arcana: Each of the Minor Arcana cards is illustrated with intricate scenes, often depicting historical or mythological figures, making the deck stand out for its depth and complexity.

Social and Historical Context

1. Renaissance Italy: The deck emerged during the Renaissance, a period of significant cultural, artistic, and intellectual growth in Italy. This era was marked by a revival of interest in the classical world, which is reflected in the imagery of the deck.

1. Nobility and Courts: Tarot cards during this period were often commissioned by noble families and were considered luxury items. The Sola Busca deck, with its detailed artwork and complex symbolism, would have appealed to the educated elite, who had an interest in art, history, and the esoteric.

1. Esoteric and Mystical Traditions: The late 15th century saw a growing interest in mysticism, alchemy, and the occult. The Sola Busca tarot, with its deep symbolic imagery, aligns well with the esoteric traditions of the time.

Influence and Legacy

1. Impact on Later Tarot Decks: The Sola Busca deck significantly influenced the development of tarot in Europe. Its fully illustrated Minor Arcana set a precedent that was later adopted by the Rider-Waite-Smith deck, which became one of the most popular tarot decks in the 20th century.

1. Preservation and Exhibition: Original Sola Busca decks are extremely rare and valuable. The decks are preserved in museums and private collections, and occasionally exhibited to the public.

While the Sola Busca tarot deck is a remarkable artifact with a rich history, there remain uncertainties regarding its exact origins, the identity of its creators, and the full extent of its influence on later decks. However, its significance in the evolution of tarot art and symbolism is unquestionable, making it a subject of enduring fascination for historians, artists, and tarot enthusiasts alike.

The Marseilles revealed: The history of trump cards in Lombardy

Tarot cards are believed to have originated in Northern Italy in the 15th century as a type of playing cards used for gaming. The earliest known surviving Tarot cards are the Visconti-Sforza Tarot decks, which were created in the 1440s for the rulers of Milan.

Over time, the use of Tarot cards expanded beyond gaming to include divination and fortune-telling. In the late 18th and early 19th centuries, various esoteric societies, such as the Hermetic Order of the Golden Dawn, began to associate Tarot cards with mystical and occult knowledge.

The exact origins of the Tarot cards and their symbolism remain a subject of debate among scholars. Some argue that the Tarot cards are based on ancient Egyptian or Kabbalistic teachings, while others maintain that they are an original creation of Italian culture.

Despite these uncertainties, Tarot cards have become an important part of Western esotericism, and their use in divination continues to be popular today.

Tarocchi

The earliest known woodblock printed Tarot is the "Mantegna Tarocchi," which was created in the mid-15th century in northern Italy. The Mantegna Tarocchi consists of 50 cards that are divided into five suits, each featuring 10 cards. The suits are based on classical elements and include Swords (Air), Cups (Water), Coins (Earth), Clubs (Fire), and Staves (Spirit).

The Mantegna Tarocchi cards are notable for their intricate woodcut illustrations, which depict scenes from classical mythology and allegorical representations of virtues and vices. Each card features a caption in Latin, which further explains the symbolism of the image.

The history of the Mantegna Tarocchi is not well documented, but it is believed that the cards were created for the Gonzaga family of Mantua, who were known for their patronage of the arts. The cards were likely used for gaming and entertainment, rather than for divination.

Duke of Milan

Galeazzo Maria Sforza, Duke of Milan, was known for his extravagant lifestyle, which included a love of gambling. He was reputed to be an avid gambler and is said to have lost significant sums of money at the gaming tables.

According to some historical accounts, Duke Sforza was particularly fond of playing a card game called "triumph" (trionfi),  which was a forerunner of Tarot. Triumph was a popular game among the Italian aristocracy in the 15th century, and it involved bidding on trump cards that were more powerful than the other cards in the deck.

It is not clear whether Duke Sforza played Tarot specifically, as the earliest known Tarot decks were not produced until after his death in 1476. However, it is possible that he played an early form of Tarot or a similar game that used trump cards.

Duke Sforza's love of gambling was not without consequences. He was known for his cruelty and was eventually assassinated by a group of conspirators in 1476. The conspirators included some of his own courtiers who were reportedly angry at his extravagant spending and his use of torture to extract confessions from suspected criminals.

Despite his untimely end, Duke Sforza's love of gambling and his patronage of the arts helped to lay the groundwork for the development of Tarot and other card games that would become popular throughout Europe in the centuries to come.

Trionfi

The game of Triumph, also known as "Trionfi," was a popular card game in Italy during the 15th century and was likely a precursor to Tarot. Triumph and Tarot share some similarities, such as the use of trumps and the division of the deck into suits, but there are also some significant differences between the two games.

A difference between Triumph and Tarot is the imagery on the cards. While the Triumph deck featured some allegorical and mythological imagery, the images were not as elaborate or symbolic as those found in later Tarot decks. The earliest known Tarot decks, such as the Visconti-Sforza and the Sola-Busca Tarot, feature intricate allegorical painted images that have been interpreted in a variety of ways.

Triumph was a trick-taking game, similar to modern games like Bridge or Hearts. Players would bid on the strength of their hands and would try to win tricks by playing the highest card in the suit led or the highest trump card. 

Sola Busca

The Sola Busca tarot, a mysterious and influential tarot deck, emerged in the late 15th century, around 1491, most likely in Venice, Italy. This period, known as the Renaissance, was a time of immense cultural and artistic flourishing, which is reflected in the deck's intricate and symbolic imagery. Unlike typical tarot decks of the time, which primarily illustrated the Major Arcana, the Sola Busca deck was unique for its detailed artwork across all 78 cards, including the Minor Arcana. The deck's imagery blended classical, biblical, and esoteric themes, reflecting the era's revived interest in the classical world and its leanings towards mysticism and the occult.

The Sola Busca tarot was presumably created for the Venetian nobility or a court, as tarot decks were then luxury items and status symbols among the elite. This deck would have appealed particularly to the educated and culturally sophisticated, who were deeply engaged with art, history, and esoteric knowledge. The Renaissance was a time of intellectual exploration and revival of ancient wisdom, and the Sola Busca tarot, with its rich allegorical content, perfectly encapsulated this spirit of the age.

The legacy of the Sola Busca tarot extends far beyond its time, notably influencing the development of later tarot decks. Its fully illustrated Minor Arcana set a new standard, which was later adopted by influential decks like the Rider-Waite-Smith deck in the 20th century. Original Sola Busca decks are now rare and highly valued, preserved in museums and private collections, and their occasional public exhibitions continue to draw interest from historians, artists, and tarot enthusiasts. Despite its enigmatic origins and certain lingering uncertainties about its creation and initial use, the Sola Busca tarot's significance in the history of tarot art and symbolism remains undisputed.

Woodblock Tarot decks and the Tarot of Marseilles

The history of tarot cards, particularly the earliest woodblock Tarot decks, is deeply intertwined with the cultural and artistic developments of the late medieval and early Renaissance periods in Europe. The earliest tarot decks were crafted using woodblock printing, a technique that involved carving an image into a wooden block, applying ink to the block, and then pressing it onto paper. This method emerged in the mid-15th century, likely in Northern Italy, where the first recorded tarot decks were created. These early decks were luxurious items, hand-painted and used primarily by the nobility for games and possibly for divination. The imagery on these cards was symbolic, featuring themes and characters common in Christian and feudal society, along with allegorical and classical figures.

The Tarot of Marseilles, which came into prominence in the 17th century, is a standard pattern for tarot cards used for divination. However, its roots can be traced back to the early woodblock decks. The Tarot of Marseilles preserved much of the iconography and symbolism of these earlier decks. It featured the same basic structure of 22 Major Arcana cards and 56 Minor Arcana cards, with the Major Arcana including iconic images like The Fool, The Lovers, and Death. The Minor Arcana of the Marseilles decks were divided into four suits - swords, batons (wands), cups, and coins (pentacles) - each with ten numbered cards and four court cards. The imagery of these cards, while stylistically evolving over time, retained the essence of the medieval iconography.

The transition from the earliest woodblock tarot decks to the Tarot of Marseilles reflects both technological advancements and shifts in cultural and artistic sensibilities. As the woodblock printing technique evolved, it became easier and more cost-effective to produce cards, leading to wider availability and popularity. The Tarot of Marseilles, printed first in the cities of Lyon and Marseille, France, became a standardized template due to its widespread circulation. The design of the Tarot of Marseilles was particularly influential, serving as a foundation for many later tarot decks. It standardized certain symbolic elements and the arrangement of figures, which became canonical in the tarot tradition.

The relationship between the earliest woodblock tarot decks and the Tarot of Marseilles is thus one of continuity and evolution. The Tarot of Marseilles inherited a rich symbolic language from its predecessors, which it further refined and standardized. This continuity is not just in the imagery and structure of the decks but also in their uses, which ranged from gaming to contemplation, and eventually to divination. The Tarot of Marseilles and its predecessors encapsulate a fascinating blend of medieval and Renaissance art, mysticism, and the human psyche, making them not just tools for divination but also a reflection of the cultural and historical milieu in which they were created.

Five Tarot Myths

These are going to be well known to any reader with more than a passing interest in the Tarot, but they probably bear repeating being as these falsities have been so repeated over the course the past three hundred years.  You'll still find them being forwarded for the newer generations in your New Age and Alt Reality genres.

I think I can just knock these out in what I believe is my very first listicle.

Myth One: Playing cards, and by extension, Tarot cards, were brought to Europe by "The Gypsies."

The idea that Tarot cards were brought to Europe by "Gypsies" is a myth that has been perpetuated for a long time. While it's true that the Tarot deck has a long and fascinating history, its origins are not tied to any specific culture or group of people.

The Tarot deck, as we know it today, originated in Italy during the 15th century as a card game. The earliest known Tarot decks were created for wealthy Italian families to play a popular game called "Tarocchi." It wasn't until later that people began to use the Tarot cards for divination and other spiritual purposes.

There is no evidence to support the idea that "Gypsies" brought the Tarot to Europe. In fact, the Romani people, who are commonly referred to as "Gypsies," appeared in Europe after the first trump decks with a special trump suit as found in the Tarot had already been developed locally in northern Italy, and the arrival of ethnically Romani people was something like fifty years after the first mention of playing cards.

The myth about the Tarot being brought to Europe by "Gypsies" likely stems from the fact that Tarot cards have been associated with fortune-telling and divination for a long time, and the Romani people have been historically marginalized and associated with mystical practices.  The idea that Tarot cards were brought to Europe by "Gypsies" is a myth that lacks historical evidence. The Tarot deck has a complex history and we will discuss in more detail later how the trump suit was developed locally in Italy.

Myth Two: Tarot cards come down to us from ancient Egypt

The myth that Tarot cards come from ancient Egypt is not supported by historical evidence. While it is true that some have associated Tarot with ancient Egyptian symbolism and mythology, there is no evidence to suggest that the Tarot was directly influenced by ancient Egyptian culture.

The earliest known Tarot decks date back to the 15th century in Italy, where they were used primarily for playing games. It wasn't until the 18th century that the Tarot began to be used for divination, and it was during this time that many Tarot decks began to incorporate esoteric and mystical symbolism, including references to ancient Egypt.

It's worth noting that during the 18th and 19th centuries, there was a great deal of interest in ancient Egypt among scholars and the general public, and many mystical and spiritual traditions incorporated Egyptian symbolism and mythology into their practices. It is possible that this interest in ancient Egypt may have influenced the development of Tarot decks that incorporated Egyptian imagery.

However, there is no evidence to suggest that the Tarot was directly descended from or influenced by ancient Egyptian divination practices. The Tarot has a complex and fascinating history that has been shaped by many different cultures and traditions, but its origins are firmly rooted in 15th century Italy.

Myth Three: Tarot cards have their origin in the Kabbalah

The idea that Tarot cards have their origin in the Kabbalah is a myth that has been popularized by some modern esoteric and occult traditions. However, there is no historical evidence to support this claim.

The Kabbalah is a Jewish mystical tradition that emerged in medieval Europe, and it is known for its complex system of cosmology and symbolism. While there are certainly some similarities between the Tarot and the Kabbalah, such as their use of symbols and correspondences, there is no evidence to suggest that the Tarot was directly inspired by the Kabbalah.

Again, the earliest known Tarot decks, which date back to 15th century Italy, were primarily used for playing games and did not have any overt mystical or spiritual significance. It wasn't until the 18th and 19th centuries that the Tarot began to be associated with mysticism and esotericism, and it was during this time that many Tarot decks began to incorporate Kabbalistic symbolism.

It's worth noting that during the 18th and 19th centuries, there was a great deal of interest in esoteric and mystical traditions, including the Kabbalah, among intellectuals and spiritual seekers. It is possible that this interest in the Kabbalah may have influenced the development of Tarot decks that incorporated Kabbalistic symbolism.

Again, we see that a mystical tradition has been added to the Tarot in later centuries and was not originally in evidence in the first two to three hundred years of Tarot cards.

Myth Four: The original Tarot cards contained secrets of Hermetic magic

The idea that the original Tarot cards contained secrets of Hermetic magic is a myth that has been perpetuated in some occult circles. While it is true that the Tarot has been associated with mystical and esoteric practices throughout its history, there is no evidence to suggest that the original Tarot cards were specifically designed as a tool for Hermetic magic.  Occult and mystical traditions were not in evidence with early Tarot decks but were superimposed in the 18th and 19th centuries.

Myth Five: Tarot cards were invented for divination

At least we can say, there is no evidence for this.  We do know that Tarot cards were used for gaming and gambling as with any playing cards.  Any direct historical mentions of Tarot as tools of cartomancy occur well after the invention of the Tarot.

I have elsewhere discussed where tools of gambling and tools of divination overlap and sometimes the divination tool has been ported over to the world of gambling.  The Tarot have gone the other direction, starting as a tool for gaming and later became way of seeing beyond the veil, so to speak.

The Marseilles deep dive after 29 Years of Procrastination

I am a master-class procrastinator. I have not posted here in 10.5 years [update: it's been 3 years since I wrote the first three paragraphs of this post, it has now been 13 years], and there is a series of posts I have been meaning to write since long before I started this blog. Of course, at the time, I had never heard of a blog, and I was thinking more of a book with a spine, covers, and paper leaves. Just imagine.

So here's the thing: twenty-nine years ago, I found something hidden in plain sight--plain to be seen in the images of the Tarot of Marseilles. No one had ever mentioned this to me before, and I had never read about it. I still have not come across any accounting of it anywhere. That is why I feel like I ought to lay it out for someone else to see as well, before I die.

It was the Fall of 1994, Eugene. I had been working in a bakery between stints in graduate school. A friend of mine, also named David, would occasionally meet over coffee to talk about Tarot. Sometimes we might do readings for each other. More often, we would share our Tarot journals and discuss the meaning and symbolism of the cards.

Up until then, my knowledge of the Tarot had been limited to the books I could find and afford from the local New Age bookstore, Paralandra (long closed now). I can still smell the patchouli. I would pore over the decks on display and the section of related books. They had open display versions of each deck I looked through covetously. I thumbed through the books, but inevitably, I was too poor to buy them.

What I could glean from thumbing through books I would never buy was that the Tarot was brought to Europe by "Gypsies" and had originated in ancient Egypt. The symbolism of the Major Arcana was all grounded in the secrets of Kabbalah, astrology, and numerology.

Then, around this time, 29 years ago, when I was frequenting coffee shops with the other David, with a pack of Tarot in one hand and a composition book in the other, I discovered two important things (but not my big singular discovery yet; I will tell you about that further on): (1) A Wicked Pack of Cards: The Origins of the Occult Tarot by Michael Dummett, et al., and (2) The Tarot of Marseilles. The takeaway from discovery number one was that all those things I had learned about the history and origin of the Tarot were dead wrong. And that led to discovery number two: the existence of the Tarot before occult symbolism was added, still readily available to us today in the form of the Tarot of Marseilles.

Following upon these discoveries, we feverishly discussed what the "real" symbolism of the Tarot must be when you've removed all the occult systems that had been forced onto it over the years, like washing away a painting on top of a painting to discover the treasure underneath.  What discovery were we going to make as we carefully cleaned away the layers of occultist kitsch to find what lay beneath?  One thing I remember the elder David had said to me, "Don't impose anything from the outside, just look at the images as they are presented--what was the artist showing us?"

There was a point in time, where I found myself in my tiny campus quad, by myself, with my pack of Marseille Tarot.  I had surely drank too much coffee that day and I had probably passed through environmental cannabinoid vapors at some point that day, ubiquitous in the Eugenian atmosphere.  So there I was on my carpeted floor--a moss green if I recall--I had the 22 trump cards (because "Major Arcana" was something made up by the occultists) all spread out before me in an ordered circle.  Then I saw it.  The pattern.  There was a pattern after all, not dependent on numerology, or Kabalah, or ancient Egyptian cosmology.  It was a pattern self evident in the images themselves.

What had I seen?  Well, I'll get to that, but I'll need to go over context first.  Insofar as I was engaging in some sort of archaeology of pure symbols and representation, we need to understand the context--the strata in which the symbols were found.  An artifact is never removed from a site without first analyzing the context.  So too with our symbols.  More on this.  I will try not to wait 13 years before my next post.  We'll see . . .

For God's Will or Money: The Long History of the Lowly Pip

In recent years it has become quite widely accepted that tarot cards were not invented for divination, but were in fact added to the standard deck of cards for the purpose of playing a game.  The game of Trionfo (or similar) was most certainly played for money when it first appeared in the 14th Century Italy as were card games in general.  The use of tarot for fortune telling did not come about until several centuries later.

However, a study of the history of gambling and divination reveals that the two pursuits are intertwined and inexorably linked through time and space.  The transformation of the tarot from a tool of gaming to a tool of foretelling is not the first time a practice has shifted from vice to divine or the reverse.  The tools of divination and gambling share certain traits and features.  This allows one to easily become the other.  It seems the two practices also share a certain space in the human mind.  When faced with the uncertain, we respond with an immiscible swirl of hope, fear and fascination.  The tension and distress of this mental state lead people to seek out the fortune teller.  The gambler, on the other hand, seeks the thrill of this internal state and induces it with the game.

The relentless human pursuit of gambling has preserved an amazing persistence in its forms and artifacts through not just centuries, but millennia.  When new features were added to the technology of gambling, the innovations gradually migrated across the Eurasian land mass, following the trade routes.  Thus, we can trace a linear and unbroken history of gambling from the present back to the very beginnings of written history.

If we delve into the deep history of the cards, before cards were in fact cards, we find their origin lies not in gambling, but an ancient form of divination that sought to determine the will of God.  What ties playing cards and tarot cards to this ancient form of divination is the pip.  All decks of cards include ten pip cards (or numbered cards) for each of the four suits.  Although pip cards are marked with the symbol of the suit, the pip originated as a simple dot as they are still found on dice and dominoes.

Before there were pips on dice, before there were dice, there was the casting of lots.  This may be familiar from the bible.  Casting lots was a tradition in the fertile crescent probably well before the ethnic identity of the Hebrews coalesced. Casting lots, or cleromancy, was the practice of throwing items and interpreting the resulting patterns to determine the will of a god.  Although just about any item could be used, the use of small bones became standard, in particular, the use of the hucklebones (or knucklebones) of sheep or goats.  These are also called astragali.

Before long a convention developed regarding the meaning of which side landed up.  Priests or gamers eventually began to file the sides of the astragali to make them roll more randomly and also started marking insignia on the sides to indicate the meaning.  The first pips appeared as patterns of holes drilled into the sides of astragali.  Hucklebones with drilled holes, very similar to these ancient onces, are still used in India to divine illness or the wishes of spirits.  By 3000 B.C.E. we see the appearance of the first cubical dice with pips on all six sides.  Once dice were invented they could be made from other material than bone.

When astragali and dice changed from tools of divination to tools of gambling is not completely clear because there are few if any Mesopotamian records regarding gambling.  There was undoubtedly an overlap.  We do know that dice became increasingly common over time suggesting that they were no longer limited to use by priests.

As a tool of gambling, dice spread both west and east.  In Europe they were popular throughout the Roman Empire and continued to be popular in the Middle Ages despite repeated attempts by the church to repress gambling.  In Asia, dice followed the trade routes and reached China by the 7th Century.  By 900 C.E., the Chinese had transformed dice into bone tablets with pips known as kwat pai or dominoes.  From dominoes, the Chinese invented Mah Jong and eventually transferred the system of pips and other symbols from tablets to cardboard.  Playing cards were said to have been invented in the year 1120 C.E.

The pips were transformed into four suits.  The original suits were (1) coins, (2) strings of coins, (3) myriads of coins, and (4) tens of myriads of coins.  It is easy to see how the round pips became seen as "coins" especially with the association with gambling.  Then playing cards traveled west to the Middle East where the suits became (1) polo sticks, (2) coins, (3) swords, and (4) cups.  Playing cards arrived in Italy by the late 14th Century where these suits were preserved except for the suit of polo sticks which was changed to "batons."  These are the same suits still used in Tarot decks.  The now familiar suits on common playing cards of diamonds, clubs, hearts and spades were later devised in France.

So, there you have it, the pip through 5000 years of Eurasian history, from the casting of lots in Mesopotamia to the suited pips on the everyday deck of playing cards.

For a detailed history of dice and cards, see:

Roll the Bones: The History of Gambling

Cuddly Tarot?

Hanson-Roberts Tarot Deck | Illustrated by Mary Hanson-Roberts.  Published by US Games, 1985.

Ratings

Historical Significance:  Nil

Artistic Appeal:  High

Symbolic Resonance:  Moderate

Evocative Potential:  High

I have a fondness for this deck because it was the first deck I ever bought and used.  Without any knowledge of Tarot, in 1986, I wandered into Perelandra Bookstore (now defunct) in Eugene, and was immediately drawn to the collection of Tarot.  I don't remember now why I chose this particular deck at the time, but for some reason I selected it--or the other way around.  In any case, I enjoyed learning about the Tarot with this deck, and the readings were meaningful enough to keep me interested.  Before writing this, I did the usual Web survey, and I find it interesting how many other people, in their reviews, also describe this as the first deck they ever had.  I don't think that is a coincidence.  The Hanson-Roberts deck, besides being one of the most popular after Rider-Waite and Marseilles, is very user friendly.  If feels safe and non-threatening.  It is a very good deck for beginners.

The artwork is pleasing.  Ms. Hanson-Roberts used the medium of colored pencil with black ink outlines.  This resulted in images that feel very soft with complex color gradations.  The fact that it was printed with continuous color tone makes it distinct from most older decks printed with solid color using half-tone printing processes.

Hanson-Roberts is a skilled artist.  Her compositions are balanced and appealing.  Compared to older decks, the images feel fresh and contemporary.  There are some Art Nouveau elements, but for the most part, the artwork draws directly from the familiar Rider-Waite images, although the style is quite different.  The compositions are zoomed-in compared to R-W, with more detail, giving the feel of being close to the subjects.  The symbology is very much paired down in this deck.

The style of the art can best be described as cartoonish.  The subjects are uniformly warm and friendly, some so much so they are downright cutesy.  There is nothing overtly scary or disturbing in this deck.  The images and the readings from this deck feel very gentle, sometimes whimsical, and always affirming.

The meanings and symbols are firmly and predictably in the occultist Tarot tradition, most famously realized in Rider-Waite.  There are no surprises or new symbolic schemes.  The meaning associated with each card is much that same as with R-W and derivatives.  As always, this deck comes with its own pamphlet, but if you're familiar with the R-W meanings, you will hardly need it.

It should come as a surprise to no one that Mary Hanson-Roberts, a long-time Florida resident, is an illustrator of comics featuring felines and all things cute and furry.  Her best know comic, called Here Comes a Candle, was first serialized in the comic periodical, Furrlough, and, in 2000, was published as a graphic novel.  She is an active member of the "Furry Art" community and is known to attend, sometimes in a place of honor, furry art conventions such as ConFurence and FurFest.

In any case, the Hanson-Roberts Tarot deck is a little too cute for my taste, but it still holds sentimental value for me, as it apparently does for many others also.  It is a good starter deck due to ease of use and its kind personality.  It is especially recommended for youth and anyone who experiences fearfulness at using a traditional deck.

There is also a companion guide available specific to this deck:  The Hanson-Roberts Tarot Companion

If you like this deck, you might also have a look at her other deck, The Whimsical Tarot: A Deck for Children and the Young at Heart. . . it features, as you might guess, bipedal cats.

Campy Gloom

The Bohemian Gothic Tarot। Designed by Karen Mahony and Alex Ukolov. Published by Magic Realist Press, 2008.

Ratings
Historical Significance: Nil
Artistic Appeal: Most High
Symbolic Resonance: High
Evocative Potential: Most High

This is my all time favorite Tarot deck to use. It's evocative, mesmerizing, and moody. It gives (or allows for) nuanced readings. Its images are meaningful as well as beautiful. The images draw the eye in and entrance the mind.

Although the images are darkly Gothic, the readings feel gentle, if sharply insightful. This contrasts with those old woodblock decks from the 17th and 18th Centuries, whose readings can feel heavy, dualistic, and bluntly ruthless. The images and symbols in those old decks have an actual medieval feel and outlook. The images and symbols in the Bohemian Gothic Tarot are only superficially Gothic (there are a lot of bones and skulls) but the details (and the images are quite detailed) are sudtle and complex. While there is use of symbol, meaning is coveyed more by the mood of each image. I have never worked with a deck in which so much can be gleaned from the delicately elusive facial expressions of the figures.

I admire the artist/designers. They clearly spent a lot of time on the artwork. Overall, images evoke the feeling of a gothic romance or a campy but mysterious old horror movie. Some of the images appear to be directly influenced by old movies. The images are never gory or repulsive, they all seem to draw the viewer in and leave you daydreaming about the story behind it. Each card seems to have its own story. Every time I look at one of these cards, I have the feeling I am looking through a window, seeing just one small part of something much larger and mysterious.


The symbols and meanings of the cards are only nominally of the Rider-Waite tradition. Some cards present a visual allusion to that tradition. With other cards, the images are wholly unique without apparent reference to previous decks. In most cases, the meanings, as defined in the accompanying book, appear to derive, at least in part, to the occult tradition that spawned the ubiquitous Rider-Waite, but also make clear reference to the image on the card. I can't say that I fully appreciate the subtle symbolism in every image, but it seems clear to me that much thought and care went into every design.


Karen Mahony and Alex Ukulov both live in Prague, but neither of them are natives. Mahony is from Dublin originally, then lived in London after the age of 17. Ukulov is an ethnic Russian from Yalta in the Crimea. They both came to Prague on what appeared to be parallel spiritual journeys. They met in Prague where they fell in love with the city and with each other. Their first Tarot deck they collaborated on was the Tarot of Prague.


Mahony's background is web design. Alex is a photographer and an acolyte of photoshop. They are both artists. Their method is to take original photographs and combine parts of various images into a seamless and naturalistic scene. They are methodical and very thoughtful in this work. Mahony works mostly on composition while Ukulov works on the details of bringing the image components together. You can read their interview on Aecletic Tarot: Interview with Karen Mahony and Alex Ukulov.


Overall, I enjoy using this deck very much. I ended up buying this deck twice (new) because my first deck was left out in the rain.