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Tarot cards

The 22 trumps of the tarot’s Major Arcana: a fifteenth-century Italian card game that became a tool of divination.

The tarot is a pack of 78 cards. Fifty-six of them are four suits much like ordinary playing cards, with a knight added to each suit's king, queen and knave. The other 22 are picture cards, the trumps, which occultists came to call the Greater or Major Arcana; the suits became the Lesser or Minor Arcana. Both halves are on these pages. For its first centuries the tarot was a game, and only from the late eighteenth century a tool of divination.

Major Arcana

Wands

Cups

Swords

Pentacles

A game from Italy

Nineteenth-century historians of playing cards traced the tarot to Italy, where tarocchi was the name of both a game and the cards it was played with. They disagreed on its date. The British Museum's catalogue of 1876 records Venetian tarots of the fifteenth century and the account, from Cicognara, that Francesco Fibbia, who died at Bologna in 1419, invented the Bolognese version of the game. William Chatto, writing in 1848, cited Raphael Volaterranus for the view that tarocchi cards were not invented until towards the close of the fifteenth century. Seventeen hand-painted cards in Paris, once said to have been made for Charles VI of France in 1393, include many of the trumps; A. E. Waite reported that they were held to be Italian, and some certainly Venetian.

The Egyptian theory

In 1781 Court de Gébelin published a dissertation on the tarot in his Monde primitif, claiming that the old Italian cards preserved the learning of the ancient Egyptians. Chatto called such speculations "amusingly absurd", and the British Museum's catalogue judged the theories of Court de Gébelin, Alliette and Éliphas Lévi "too recondite and shadowy" to argue with.

Etteilla, Lévi and the fortune-tellers

Among Court de Gébelin's readers was a Paris wigmaker named Alliette, who reversed the letters of his name to become Etteilla; the French writer Boiteau d'Ambly called him the pontifex maximus of cartomancy, fortune-telling with cards. Waite called him "the illiterate but zealous adventurer, Alliette". In the nineteenth century Éliphas Lévi called the tarot "the most perfect instrument of divination", and his designs reshaped several cards: the Devil, Waite wrote, had changed face "since 1856" under Lévi's influence.

The four suits

The suits of the earliest cards, the British Museum's catalogue records, were Italian: coppe, danari, bastoni and spade, "cups, money, clubs, and swords". They became the cups, pentacles, wands and swords of Waite's deck, and Papus's Sceptres, Cups, Swords and Pentacles, which he read as enterprise, love, hatred and money. Waite thought the difference between the suits and ordinary playing cards "essentially slight". In his deck every numbered card but the Aces was "furnished with figures or pictures to illustrate" its meanings, and beside the meanings he printed a second list of "additional meanings", which, he conceded, "are very often in disagreement with those previously given".

Waite and Smith's deck

The deck drawn on these pages came with A. E. Waite's Key to the Tarot, its cards "drawn and coloured by Miss Pamela Colman Smith". Waite said they differed "in many important respects from the conventional archaisms of the past"; among other changes, he swapped Strength and Justice so that Strength became number 8. Waite, who gave lists of upright and reversed meanings for every card, also wrote that what divination draws from the trumps is "at once artificial and arbitrary". The meanings on these pages are his and his predecessors', given as theirs.

Sources

  1. A Descriptive Catalogue of Playing and Other Cards in the British Museum, by W. H. Willshire, Trustees of the British Museum, London, 1876 (scan on the Internet Archive), Italian tarots; General history; French cards of divination
  2. Facts and Speculations on the Origin and History of Playing Cards, by William Andrew Chatto, John Russell Smith, London, 1848 (Project Gutenberg text, on the Internet Archive), Introduction; Tarocchi
  3. The Pictorial Key to the Tarot, by A. E. Waite, William Rider & Son, London, 1910 (the sacred-texts.com transcription, on the Internet Archive), The Four Suits; The Tarot in History; The Trumps Major
  4. The Tarot of the Bohemians, by Papus, Chapman & Hall, London, 1896, translated by A. P. Morton (scan on the Internet Archive), The Divining Tarot, second lesson

Last reviewed September 28, 2026 by Rory Hansen. How we research