III. L’IMPERATRICE (The Empress)

This card betokens Venus Urania according to the Roman mythology, or Maut according to that of Egypt. The vulture is its emblem, one of Maut’s attributes signifying maternity. The mouse also represents her, and it typifies fecundity. The card has many significances, such as speech, action, initiative, friendliness, protection, progress, production, and helpfulness. The figure is that of a seated woman holding a shield and a sceptre. In old cards she is crowned with a diadem that has twelve stars on its points. This card also symbolizes generation and productive forces. Its letter is Gimel, the meaning of which is the throat, or the hand of a man half closed; hence, it signifies that which encloses, that which is hollow, a canal, an inclosure. The card also represents a woman friend, but not always one that is desirable. The Egyptian goddess, Maut, wears a cap and crown, and she bears a sceptre. Her flowing robes are confined below the breasts with a girdle, the typical zone that has such occult meanings. Among the Persians and tribes of North Africa, the girdle is always removed from a bride, as part of the wedding ceremony, and neither is she nor the bridegroom allowed to wear one for seven days after the marriage. Maut is called “Lady of Heaven,” and “Giver of Life,” and has been identified by some as the Ishtar of the Babylonians.

IV. L’IMPERATORE (The Emperor)

The fourth Atout shows in profile a male figure seated on a throne. He represents Jupiter or Amun, the Ammon of the Egyptians, the Marduk of the Babylonians, and the Merodach of the Bible. This letter is Daleth, suggesting growth, nourishment, generation, divine will, long life, strong character or personal ability and ambition. This card and number three have similar representations on the Persian cards, which pack alone of those adopted by different countries retains the figure-pictures, to the entire exclusion of the pip cards. This seems to point to the fact that, while the Egyptians or Assyrians overran Persia and imposed some of their customs and religious beliefs on the people, the great gods were adopted reluctantly, and the key to their wishes was not bestowed on the conquered people, as would have been the case had their use, in combination with the prophetic arrows or rods, been taught at the same time. The great temple of Ammon was at Thebes, the southern Egyptian capital. The name Ammon means concealment, to veil, to hide. “His most common title,” says Mr. Rawlinson, in “Ancient Egypt” (page 322), “was Suten-Netern, king of the gods, also called Hek or Hyk, the Ruler, the Emperor, Lord of Heaven, strong bull.” His image, like that of the fourth Atout, is represented as seated on a throne. He is crowned, and wears a collar and bracelets. He bears the sceptre, the symbol of power and plenty. One of the invocations to Ammon begins “Hail to thee, Lord of Truth, whose shrine is hidden.”

V. IL PAPA (The Pope)

The pronunciation of the name of this card alone proves its connection with the Egyptian god, Phthah, but, besides this, it has many strange significances assigned to it, all of them pointing to the same conclusion. The figure denotes the religious superior, as it wears the triple crown, combined with the two pillars of the temple. The African god was greatly revered and feared, while many temples were dedicated to his worship. Four figures kneel before Il Papa, whom he blesses with uplifted palm, sacred to religious ceremonies, and inherited from the “hand of the Cohen” of the Jews. In the old cemetery at Prague there are hundreds of tombstones, on which the uplifted hands are carved to represent ideographically the descendants of Aaron, who alone can bestow benediction in this way. The hand plays an important part in heraldic emblems. “The Ulster, or bloody hand,” is a mark of rank, not only in English heraldry, but is venerated by Orientals as well. A bloody hand is frequently found stamped beside the lintel of the door among North Africans, and small silver or brass facsimiles of the right hand are also fastened to the door or worn on the person, to ward off the evil eye, when it is called the “hand of Fatima.” Arabs frequently wear this hand, that is then covered with engraved quotations from the Koran. Their name for it is Kam or five fingers. The number five—Khamsa—is considered so powerful and mystic that it is believed to bring bad luck if it is mentioned, so the word is not pronounced, but the Arabs say “two-three” instead. The Neapolitans generally wear a hand with one finger outstretched as a charm, one of the many links connecting them with Egypt. The fifth Atout in its position and consequence represents aspiration, health, intelligence, union, strength of will, religion and faith. The accompanying letter is He, the meaning of which is aspiration. The triple-barred sceptre is an especial emblem of Phthah, who was known as “the revealer,” the one who made hidden duties manifest.

The first four figures of the Atouts are connected with family life. The inquirer in number one, the parents in two and four, and the influence of State and Church in three and five, forming a significant group when studying the cards and their meanings.

VI. GLI AMANTI (The Lovers)

The sixth card has not yet been connected with any of the occult gods of Egypt or Babylonia. The figures seem to belong solely to Cupid. The card shows a young man between two females, symbolizing virtue and vice. Cupid hovers overhead, blindfolded, and with bent bow, ready to “shoot an arrow into the air.” When used for prophesying, this card is typical of a young man starting in life, whose future depends upon the choice before him, since good and evil both seem to claim him. The card also denotes affection, love, friendship, charity, union and sight, the latter being indicated by the letter, which is Vau, the hieroglyphic sign for eyes, light or brilliancy. The import of this figure is personal magnetism. This card also indicates marriage, and is emblematic of the legal tie, as well as of luck and good fortune.