One of first tarot decks that I possessed was the Marseilles Tarot deck, although I opted for other more modern and artistic versions of the tarot soon after I started down the road of being a reader and teller of fortunes. I was introduced to the tarot by borrowing and using someone else’s deck, which was the Swiss Tarot deck, and then immediately I was able to read them without much study. For some reason the symbology spoke to me, and I was able to give others and myself accurate readings. Soon after, I was given my own deck to use, and that started a long term relationship that has had no interruptions. You see, I was sixteen when I got my first tarot deck and I was just beginning to become acquainted with Witchcraft and ritual magic. At the time, I had felt that I was discovering an important part of my own internal mystery, and that a deeper study over time only made the tarot even more powerful for me.
I used several tarot decks, particularly the Morgan Greer Tarot, but I wasn’t in awe of the designs or the artwork because it seemed abbreviated and omitted important symbology. It wasn’t until I saw my first copy of the Crowley-Harris Tarot deck that I was quite inspired and used that deck, after finally purchasing a copy, exclusively for many years. Then a close friend introduced me to the Voyager Tarot deck back in the late 1980's, which I presently use today, although it is now out of print. I still work with the Crowley-Harris Tarot, and I also have a fondness for the Waite-Smith-Rider Tarot deck, especially the pip cards, which have vignettes depicting meaningful, visual attributes of the cards. However, I have never forgotten the Marseilles Tarot deck because I felt that it was the very first tarot that had occultic undertones. I had seen earlier hand painted tarot decks, or tarocchi decks, as they were Italian, and obviously based on the more basic playing cards that had become vogue during the early 15th century, when paper card stock and printing became available in the West.
While I did not have much in the way of any historical reference, I just intuited that the Marseille Tarot deck was the earliest version that was obviously based on occultism, since the symbology had subtlety but remarkably changed from all earlier versions of the Tarocchi decks. While the typical version of the Marseille Tarot deck displayed a kind of primitive or crude artwork, an earlier version of that tarot deck (Vachier Tarot de Marseille, 1639 CE) was graphically and artistically superior. For some reason, the later popular version of that tarot deck used the crude artwork, possibly to disguise the importance of the symbology, or to make it appear more harmless than it was. I suspected that the Marseille Tarot deck had its origins in the port city of Marseilles, probably in the early 17th century, and the artwork was produced by some unknown artist. I didn’t believe that the occult tarot was a creation of French occultists in the late 18th century, as modern academics such as Dummett and others had hypothesized. I didn’t have any proof as to when and where the Marseille Tarot had its origin, but I believed that it was older than the late 18th century. Little did I imagine that the actual history of the Marseille Tarot was being tracked down by a singular scholar, and that the true history would be even more interesting than what I had assumed.
Then I came across the book “Two Esoteric Tarots” where Caesar Pedreros interviews the authors and amateur historians Peter Mark Adams and Christophé Poncet, who discuss what they discovered when researching the sources and symbolism of the Sola Busca Tarocchi and the Marseille Tarot, respectively. These decks are artistically similar, and also unlike the other tarocchi decks of the time. Their painstaking research pushed the origin of these two decks back to the 1490's, where the Marseille tarot was the precursor to the Sola Busca tarocchi, and that the Sola Busca was likely modeled on the Marseille tarot. The style of the artwork and the themes employed in the trump cards appeared to localize them to Italy, which was at the forefront of art, literature, the rediscovery of Plato and the Hermetic Corpus in Europe, and the study of esotericism, natural magic and the occult. Perhaps the most illuminated thinker of that time is the one person who had translated both the Hermetic Corpus and Plato from the Greek to Latin, and that was Marsilo Ficino, who was employed as a scholar by the Medici family. While the typical artistically rendered tarocchi playing cards contained tropes and motifs that would later be used in the more occult versions, the imagery and content can be safely placed firmly in the mid 15th century. It was in that time that the advent of an occult version of the tarot had its birth.
Christophé’s historical search and journey led him to Italy, based on the supposition that an enterprise such as creating an occult tarot would have required designers, artists, engravers and printers, and it would have been a costly endeavor that would have taken a few years to have produced results. It is likely that Ficino oversaw the design of the tarot, along with Cristoforo Landino, and the artistic inspirations can be traced to Sandro Botticelli, whose known artwork like the House of God and the Devil as illustrated in the Landino version of the Dante’s Divine Comedy resembles the tarot trumps of the same name. Other possible contributors were the Veronese artisan and artist Felice Feliciano, and the engravers, printers, and the family that bankrolled this endeavor, the Medici, probably with other allied wealthy backers. This endeavor was kept strictly secret and discrete, since such a publicized endeavor would have come to the notice of the Inquisition. Once the playing cards were fully developed, we can imagine Ficino’s Academe would have developed methods for using them, playing “Platonic games”, as obliquely described in one of Ficino’s works.
While this is all supposition because no records of this endeavor exist, there are too many points in common to the artists and the scholars involved to dismiss it. Since the Sola Bosca Tarocchi was developed soon after the Marseille Tarot, and it appeared to borrow a number of formulations from that tarot deck, and its noted place of origin, Ferrara, is nearby to Florence, even though it was produced for the exclusive purview of a wealthy and eccentric Venetian nobleman named Marin Sanudo, it was an early part of the family of occult tarot decks. The Marseille deck was an illuminating, upbeat, and an optimistic work, while the Sola Busca was darker, grotesque, and distinctly antinomian.
What we have, then, is the place of origin and a time for the first occult Tarot to be conceived and produced, although its origin was in Italy instead of Marseilles. Still, the greatest esoteric and occult minds of the Florentine intelligentsia helped to create this Tarot deck, and it found its way into the public, and likely entered France via the Mediterranean port of Marseilles. The whole purpose behind allowing the occult tarot to spread into common usage was to seed the populous with the occult and Hermetic/Platonic imagery so as to communicate them with any who was insightful or educated enough to recognize and interpret these symbolic forms. It was a book of imagery that would spread the impressions and teachings of Renaissance enlightenment through the medium of the ancient symbolized wisdom of Hermeticism and Neoplatonism.
This form of communication allowed for its developers to express very heretical beliefs and ideals without the possibility of being identified and severely punished by the church, which would have been their fate if they had published these ideas in books. However, over time, the actual occultic meaning of the cards became obscure and then lost, and the use of these kind of cards was centralized to only a few locations, most notably, France.
The French have always seemed to have been enamored with the Marseille deck since it first came out, and savants of the late 18th century recognized the arcane nature of the Tarot and heavily speculated on the meaning and the source of the cards. It was Court de Gebelin in 1781 who famously pointed out that the Tarot seemed to have its origin in ancient Egypt and embodied a secret teaching, and whose numerous writings ultimately made the Marseille Tarot famous and popular once again. Other and later occultists, such as Eliphas Levi and Papus lionized the Tarot and sought to link it with the recently popularized Qabalah.
When the secret order of the Golden Dawn took the Marseille Tarot and redeveloped it, with an honored place along with their writings and teachings on the Qabalah, it bloomed anew, and when that literature was finally published and made public, it produced an explosion of interest in the Tarot, and therein began the process of designing and artistically rendering new and more modern versions. Crowley had already published his own versions of this Golden Dawn literature on the Tarot, and even designed his own version and commissioned Frieda Harris to paint it, although it was never published as a deck of cards until thirty years after his death. A Golden Dawn version of the Tarot had been designed by Waite and artistically executed by Pamela Cole Smith. Later versions of the Golden Dawn Tarot appeared, although long after the original order had passed away. In the 1960's and 70's several new versions of the Tarot appeared, and every decade since has seen many more published.
Still, it is important that occultists reintroduce the symbolic context that was originally incorporated into the symbology of the Marseille Tarot. Christophé Poncet and Peter Mark Adams are working to that very end. Christophé will be publishing a singular work identifying and describing the symbology of the Marseille Tarot, and Peter Mark Adams has written a book titled “The Game of Saturn” where he sought to unravel the symbology of the Sola Bosca Tarocchi. Both authors admit that their work is in its initial stages and that some of the symbology hidden in the tarot may never be fully understood.
What I have found fascinating is that much of the original intent of the Hermetic and Occult Tarot has been preserved in the basic symbology that seems almost universal, inspiring our modern imaginations, and the continual use that this divinatory tool has undergone for centuries makes it a living spiritual being. We may never know all of the original symbology and the knowledge employed behind it, but we will invent and derive what we do not know, so long as the Tarot is being used to peer into the unknown that veils our souls and our greater destiny. Its spirit is there to teach and guide us, if we can only learn to listen and apprehend its subtlety.
Frater Barrabbas