33:
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560:"The explanation is that the Tarot is not only a simplification of Petrarch's scheme but also a spoof, a ribald take-off on the solemnity of the original story in the spirit of the Carnival parade. This explanation is not acceptable simply because it allows too much freedom. Any lack of correspondence can be passed off as part of the joke. Therefore, if the cards match it is taken as positive evidence for the theory, while any discrepancy is dismissed offhand. This is too simplistic."
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been modeled on the same pattern, probably from a workshop in
Cremona. The design of the Visconti-Sforza is characteristic of the large majority of all later Tarot decks. Moakley's book included B&W reproductions of all 74 cards, and identified the subject matter of all surviving trump cards, using period-appropriate names from 15th-century sources. She also correctly identified the suit signs as typical of early Italian decks, being Cups, Coins, Swords, and Staves.
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539:, confirmed and documented in great detail the correctness of those conclusions. Likewise, the art-historical approach to understanding the subject matter on the cards has proven more productive than occult impositions. This approach included focusing on a specific, very early deck of identifiable provenance, which enabled the identification of numerous specific Visconti and Sforza emblems on the cards.
428:, concerning the value of such things as the Tarot. Moakley suggested that art, psychology, and mystic meditation can be valuable adjuncts to rational modern life. She wrote that Waite's Tarot may help "tease the imagination out of its old ruts". "By such a use of the Tarot the poisons of our cultural conditioning might be turned into healing balms, and a barrier into a gateway."
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because I associate him with the hooded figure in the passage of the disciples to Emmaus in Part V. The
Phoenician Sailor and the Merchant appear later; also the 'crowds of people', and Death by Water is executed in Part IV. The Man with Three Staves (an authentic member of the Tarot pack) I associate, quite arbitrarily, with the Fisher King himself."
274:
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Eliot: "Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston's book on the Grail legend: From Ritual to
Romance (Macmillan). Indeed, so deeply am I indebted, Miss Weston's book will elucidate the difficulties of the poem much
213:
After graduation, Moakley began working as a librarian for the New York Public
Library (NYPL). She lectured on catalog arrangement at New York University, published articles in the NYPL Bulletin and the Journal of Cataloging and Classification. She served as chair of a special committee which revised
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and eschatological events. The vast majority of 20th-century interpretations explicitly appeal to would-be mystics, fortune-tellers, and enthusiasts whose primary interest in Tarot history and iconography is validation of New Age folklore and esoteric practices. The fact that
Moakley's writings were
486:
In addition to being a richly painted and gilded artifact, the
Visconti-Sforza deck is one of the earliest surviving Tarot decks, probably made within a decade of the game's invention, and one of the most complete decks from the first half-century of Tarot. Numerous other luxury decks appear to have
322:
Madame
Sosostris, famous clairvoyante, Has a bad cold, nevertheless Is known to be the wisest woman in Europe, With a wicked pack of cards. Here, said she, Is your card, the drowned Phoenician Sailor. (Those are pearls that were his eyes. Look!) Here is Belladonna, the Lady of the Rocks, The lady of
604:
In the 18th and 19th centuries, the occult Tarot was invented. Writers with little knowledge of or interest in the historical facts of the Tarot simply made up stories. In the 20th century, countless fortune-tellers, occultists, and New Age writers have offered variations on the themes of 18th- and
542:
A significant part of
Moakley's interpretation involved the suit signs being related to the allegory of the trumps. This has generally been ignored. The Latin suit-signs as emblems of the virtues echoes a 16th-century Bolognese allegorization of the suits by Innocentio Ringhieri, and is one of many
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little more than a decade before Eliot's poem. This modern deck incorporated many substantial differences from earlier decks. Moakley argued that "the man with three staves", which Eliot insisted was "an authentic member of the Tarot pack", confirms the identity of his deck as Waite-Smith, the only
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in Milan, Italy. The painting shows wealthy card players, the kind who enjoyed the gilded Tarot cards of the
Visconti-Sforza style, playing the game. This, along with a description of the rules, constitutes a powerful reminder that the modern Tarot of Eliot and Waite is a very different thing from
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is simply false: The suit cards were standard for many decades prior to the invention of Tarot's trump cards and were directly adopted from 14th-century Arabic playing cards. Her interpretation of the trump cards, however, has been influential. Even popular Tarot books routinely mention something
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Eliot: "I am not familiar with the exact constitution of the Tarot pack of cards, from which I have obviously departed to suit my own convenience. The Hanged Man, a member of the traditional pack, fits my purpose in two ways: because he is associated in my mind with the Hanged God of Frazer, and
534:
Some aspects of
Moakley's understanding of the Tarot have proven perfectly sound. Unlike most writers before and since she approached the Tarot as a card game from 15th-century Italy rather than an esoteric manifesto of mysterious origin and transmission. In 1980, Michael Dummett's comprehensive
421:. Several pages of biographical information on Smith were included, indicating the importance of the illustrator to the final product. Moakley's writing reveals a fondness for and understanding of all her subjects, whether occultists like Encausse, scholars like Waite, or artists like Smith.
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In the 16th century, there were two Italian authors who wrote essays on the meaning of Tarot. Both presented the trump cycle as a moral allegory rather than an esoteric manifesto, secret codebook, rituals of initiation, fortune-telling device, representation of some precursor work of art or
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of Tarot to the so-called Grail Hallows, and thereby to Celtic lore. (Waite and Eliot both borrowed from Weston). Moakley repeatedly mentioned this common theme of 20th-century Tarot enthusiasts, including writers like Eliot as well as occultists and folklorists. This connection was later
370:'s followers. Moakley argued that understanding the Tarot required knowledge of both the literal facts of Tarot history and the mythic musings of artists and occultists. This dual focus is characteristic of the more thoughtful New Age writers who promote Tarot today.
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literature, or one of the various other genres to which the trumps have been assigned by occultists and 20th-century writers. In the 19th century there were some writers who suggested that the meaning of the Tarot trump cards was most closely related to the
301:
The contemporary fascination with Tarot developed in the 1970s, but two decades earlier Moakley was writing and speaking about the subject. She published articles, wrote introductions for two of the most influential books on the subject, and was invited by
348:(Papus), was republished with an introduction by Moakley. As background, in the hope that even non-cultist readers might appreciate the book, she summarized some of the notable appropriations of the Tarot of the previous fifty years. These included Eliot,
644:. John Shephard attempted to explain the trumps and their sequence by reference to a medieval astrological concept known as Children of the Planets. Timothy Betts attempted to explain the trumps as a representation of medieval Christian legends about the
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situations. Here is the man with three staves, and here the Wheel, And here is the one-eyed merchant, and this card, Which is blank, is something that he carries on his back, Which I am forbidden to see. I do not find The Hanged Man. Fear death by water.
472:. This was not conventional wisdom either then, in the 1950s, nor now. Understanding whether the artifact at hand is a deck of cards to play a card game, like many others, or an occult manifesto-like, or a fortune-telling device like an Ouija board,
483:, and his relationship with the Visconti-Sforza family. Six replacement cards were painted by a different hand, decades after the deck was originally created. These have been attributed to various artists, including Bembo's brother Benedetto.)
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A number of later copies are known. In addition, Bianca Maria Visconti sent a letter dated 1452, approximately the time of the Visconti-Sforza deck, to her husband Francesco Sforza, relaying a request from Sigismondo Malatesta, Lord of
479:. Moakley's book correctly identified the provenance of the Visconti-Sforza deck, the family for which it was created, and reported on them in some detail. In addition, she investigated the life and work of the Cremonese painter,
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because they formed an allegorical hierarchy of triumphs, has received support, her explanation of the specifics of the Tarot trump cycle is less well received. Robert V. O'Neill summarized the problem most directly.
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19th-century occultists. In addition, a number of new themes were suggested in Alfred Douglas' 1972 book, speculations which continue to inspire esotericists today. One theme that is worth mentioning is the
221:. She was also chairman of a committee that revised the ALA Rules for Filing Catalog Cards. She appears in directories of librarians from 1933 through 1970, and she published several books on filing codes.
2000:
844:
Some details remain uncertain, even with regard to this famous and well-studied deck, but its authorship and provenance are better established than most decks or standard patterns of playing cards.
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works of pre-modern art. This is closely related to the moral allegories suggested by the two Renaissance writers. Both approaches to the trumps are similar to Moakley's, given that Petrarch's
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provided some personal insight into Waite's character, his humor, mysticism, and scholarship. Moakley also foreshadowed the emphasis of later writers on the artist of the Waite-Smith deck,
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enthusiasts around the world. Although Moakley wrote and spoke on these latter subjects (in Moakley, 1954; Papus, 1958; Waite, 1959), she is remembered for having written one of the few
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late-night radio program In 1954, Moakley published an article, "The Waite-Smith Tarot: A Footnote to The Waste Land" about T.S. Eliot's use of Tarot motifs in his 1922 work
124:(February 18, 1905 – March 28, 1998) was an American librarian and a Tarot scholar. Moakley is notable for having written the earliest and most significant account of the
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Moakley also contributed a section on the rules for playing the game of Tarot. This brief, 6-page summary of the game begins by describing a 15th-century fresco in the
32:
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better than my notes can do, and I recommend it (apart from the great interest of the book itself) to any who think such elucidation of the poem worth the trouble."
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The Visconti-Sforza deck is also known as the Pierpont Morgan-Bergamo deck. The surviving cards are divided between the Pierpont Morgan Library in New York, the
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2015:
2005:
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One of the most significant insights Moakley contributed was her recognition that Tarot was primarily a card game, and that the game was called
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allegorical readings of suit-signs over the centuries. However, the idea that the suit cards represented allegorical companies in a pageant
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is itself a moral allegory centered around the triumph of Death, and that other variations on Petrarch's were popular artistic themes in
191:
Moakley was born in Pittsburgh, Pennsylvania, on February 18, 1905, to parents Arthur Irving Moakley and Josephine Henry (née Barrett).
613:, and has become a cornerstone of modern, esoteric Tarot interpretations. Perhaps the most notable advocate of this interpretation was
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397:. It alluded to a relation between Tarot and the Holy Grail, and "certain secret records now existing in Europe...." It connects the
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Moakley is poorly regarded or ignored by most fortune-tellers, mystics, New Age writers, and other pop-culture Tarot enthusiasts.
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In his notes to the poem, Eliot refers to the "traditional" Tarot deck. Moakley argued that he was actually alluding to the
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was republished with an introduction by Moakley. The reprint was prefaced with a quote from one of Waite's last books,
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deck at that time to have such a card. Her article has been cited repeatedly in the literature on Eliot's poem.
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1959:
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The Tarot Cards Painted by Bonifacio Bembo for the Visconti-Sforza Family: An Iconographic and Historical Study
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intended to reach a broader audience, and to address more objective historical questions, distinguishes them.
366:. She also mentioned W.B. Yeats's interest in the Tarot and the occult, and the relevance of Tarot to some of
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Moakley, Gertrude (1956). "The Tarot Trumps and Petrarch's Trionfi: Some Suggestions on their Relationship".
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Nebel's show was on WOR 710 in New York until 1964, and the program with Gray and Moakley was in May 1959.
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968:. Council of National Library Associations, Columbia University. H.W. Wilson Company. 1943. p. 381.
332:. Traditional Tarot decks date back to the Fifteenth Century, while the Waite-Smith deck was created by
210:
School of Library Science in 1928. While attending Barnard in 1926, she was awarded the Tatlock Prize.
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suggested a different approach; they both asserted that the Tarot trump cards had some connection with
1703:
The Tarot Trumps: Cosmos in Miniature, the Structure and Symbolism of the Twenty-two Tarot Trump Cards
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Basic Filing Rules for Medium-sized Libraries: a Compend Filing Code for Catalogs of 120 to 2000 Trays
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The Pictorial Key to the Tarot: Being Fragments of a Secret Tradition under the Veil of Divination
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Petrarchian allegory showing triumphs of Fame and Death, Bentivoglio Chapel, Bologna, late 1480s.
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Prince Castracani Fibbia (1360-1419) with Tarot cards. The Queen of Batons bears the Fibbia arms.
1954:
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Lord Morley's 'Tryumphes of Fraunces Petrarcke': The First English Translation of the 'Trionfi'
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831:, for a deck of Tarot cards of the kind made in Cremona. Pizzagalli, 1988, translated at
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gloss rather than an explanatory analysis, is given a broader application by Dummett.
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168:
1979:
1893:
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Explaining the Tarot: Two Italian Renaissance Essays on the Meaning of the Tarot Pack
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Explaining the Tarot: Two Italian Renaissance Essays on the Meaning of the Tarot Pack
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trump cards. Her 1956 article on the subject and her 1966 book were both praised by
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Moakley, Gertrude (1954). "The Waite-Smith Tarot: A Footnote to The Waste Land".
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1965:
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48:
1970:
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735:; Moakley, Gertrude (1959). "Introduction, and Note on the Tarot as a Game".
1883:
1856:
1686:
1284:"The Celtic Tarot and the Secret Tradition: A Study in Modern Legend Making"
610:
367:
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1924:. Translated by Morley, Henry Parker. Cambridge: Harvard University Press.
1509:
Jacob, Paul L.; Lacroix, Paul (1858). "Recherches sur les Cartes à Jouer".
1939:
1912:
468:. Moakley had identified the original name of the Tarot as Trionfi, as in
832:
475:
Moakley studied a particular historical Tarot deck, usually known as the
195:
1262:"Secret Traditions in the Modern Tarot: Folklore and the Occult Revival"
1866:
A History of the Games Played with the Tarot Pack: The Game of Triumphs
1315:
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Fool's Cycle/Full Cycle: Reflections on the Great Trumps of the Tarot
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Fool's Cycle/Full Cycle: Reflections on the Great Trumps of the Tarot
1681:. Elmer Davis (introduction). New York City, NY: Private publisher.
1235:
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1135:
995:
Biographical Directory of Librarians in the United States and Canada
494:
The Visconti-Sforza Empress card, showing the Borromean Rings motif.
424:
Her introduction closes with an expansion on the theme presented in
319:
Eliot referred to Tarot cards in the poem, in this famous passage:
1519:] (in French). Paris, France: A. Delahays. pp. 34–36, 60.
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372:
129:
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Tarot and the Millennium: The Story of Who's on the Cards and Why
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Mystical Origins of the Tarot: From Ancient Roots to Modern Usage
551:
While Moakley's general thesis, that the trump cards were called
1904:
609:. This was established and promoted in the 1960s and 1970s by
1837:
Decker, Ronald; Depaulis, Thierry; Dummett, Michael (1996).
1329:
Dummett, Michael; Decker, Ronald; Depaulis, Thierry (1996).
627:, presents a fairly standard example of the interpretation.
1706:. Renaissance Studies. Wellingborough, UK: Aquarian Press.
721:
The Tarot of the Bohemians: Absolute Key to Occult Science
530:, a 17th C. board game of the Biribissi type, from Padua.
1895:
Meaning in the Visual: Papers In and On Art History Arts
1814:(in English and Italian). Oxford: Maproom Publications.
1810:
Caldwell, Ross; Depaulis, Thierry; Ponzi, Marco (2010).
1467:
Caldwell, Ross; Depaulis, Thierry; Ponzi, Marco (2010).
1092:
Art and Arcana: Commentary on The Medieval Scapini Tarot
163:
books about the history of Tarot and the meaning of the
1839:
A Wicked Pack of Cards: The Origins of the Occult Tarot
1654:. Broadside Editions Series. Robert Briggs Associates.
214:
the Filing Code of the NYPL Circulation Department.
1575:
The Tarot: The Origin, Meaning, and Uses of the Cards
1053:
1051:
1049:
1047:
2001:
Columbia University School of Library Service alumni
1920:
Petrarch, Francesco (1971). Carnicelli, D.D. (ed.).
564:
That criticism, that Moakley's interpretation is an
1756:
The Esoteric Scene, Cultic Milieu, and Occult Tarot
1332:
A Wicked Pack of Cards: Origins of the Occult Tarot
1021:"Many Columbia Prizes Awarded to Brooklyn Students"
998:. American Library Association. 1970. p. 765.
696:. Rudolf Flesch (forward). William-Frederick Press.
106:
91:
76:
68:
55:
42:
23:
1892:
1733:. Rancho Palos Verdes, CA: New Perspective Media.
1058:
1019:
938:"Erwin Panofsky papers, 1904-1990, bulk 1920-1968"
224:She had moved to Florida in 1984. Moakley died in
1419:The Game of Tarot: From Ferrara to Salt Lake City
1113:
1111:
942:Archives of American Art, Smithsonian Institution
913:The Game of Tarot: From Ferrara to Salt Lake City
456:Tapestry at Metropolitan Museum; Flemish, 16th C.
1396:. Stamford, CT: U.S. Games Systems. p. 30.
317:
1230:(4). Johns Hopkins University Press: 722–733.
1130:(4). Johns Hopkins University Press: 908–928.
905:
903:
901:
899:
897:
217:Moakley had served as the chairperson for the
1625:The Tarot: History, Symbolism, and Divination
1446:. Lima, Ohio: Fairway Press. pp. 79–80.
1155:
1153:
461:
8:
1255:
1253:
440:the historical Tarot of 15th-century Milan.
1627:. New York City: Penguin Publishing Group.
727:. Translated by Waite, A.E. Arcanum Books.
617:, a prominent social critic and author of
31:
20:
16:American scholar and librarian (1905–1998)
1779:Decker, Ronald; Dummett, Michael (2002).
1678:The Tarot Cards and Dante's Divine Comedy
1782:A History of the Occult Tarot: 1870-1970
1421:. London, UK: Duckworth. pp. 36ff.
1269:3rd Stone: Archeology, Folklore and Myth
1181:"What's the Matter with One-Eyed Riley?"
719:Moakley, Gertrude (1958). Introduction.
519:of Petrarch; Florentine woodcut, 15th C.
489:
1864:Dummett, Michael; McLeod, John (2004).
1094:. U.S. Games Systems Inc. p. 296.
866:
777:
679:Bulletin of the New York Public Library
666:Bulletin of the New York Public Library
230:
1517:Curiosities of the History of the Arts
971:
833:http://www.trionfi.com/0/e/r71/08.html
132:, a card game which originated in the
1602:. Rochester, Vermont: Destiny Books.
1550:The Tarot: History, Mystery, and Lore
1498:(in French). Paris, France: Techener.
1120:"The Tarot Fortune in The Waste Land"
817:in Bergamo, and a private collection.
545:intended to accompany the trump cards
7:
1552:. New York City, NY: Paragon House.
1118:Creekmore, Betsey B. (Winter 1982).
877:The Tarot: History, Mystery and Lore
171:, the foremost art historian of the
2031:People from St. Petersburg, Florida
1394:The Encyclopedia of Tarot, Volume 1
528:Il Nuovo et Piacevole Giuoco Romano
147:, and an object of fascination for
880:. Simon and Schuster. p. 16.
14:
1675:Seabury, William Marston (1951).
1512:Curiosités de l'histoire des Arts
2016:People associated with the tarot
1955:Erwin Panofsky Papers, 1904–1990
1841:. New York: St. Martin's Press.
1471:. Oxford: Maproom Publications.
340:In 1958, Waite's translation of
284:
272:
260:
248:
236:
1368:The Visconti-Sforza Tarot Cards
874:Giles, Cynthia (October 1994).
620:The Making of a Counter Culture
2006:New York Public Library people
1537:. New York City: Francis Hart.
1371:. New York: George Braziller.
1271:. No. 39. pp. 26–31.
1218:Currie, Robert (Winter 1979).
1179:Knust, Herbert (Autumn 1965).
916:. London, England: Duckworth.
194:She received a B.A. degree in
1:
1300:10.1080/0015587X.1998.9715957
1060:"Moakley, Gertrude Charlotte"
402:incorporated into works like
202:in 1926 and a B.S. degree in
1971:Petrarch's Trionfi and Tarot
1754:Jorgensen, Danny L. (1992).
1495:L'Origine des Cartes à Jouer
1071:. April 1, 1998. p. 154
965:Who's Who in Library Service
630:William Marston Seabury and
548:about Moakley and Petrarch.
219:American Library Association
179:, the preeminent scholar of
37:1925 Yearbook Photo (age 20)
1442:O'Neill, Robert V. (1986).
572:Alternative interpretations
111:The Tarot Cards Painted by
2047:
1962:, Smithsonian Institution.
1758:. New York City: Garland.
1727:Betts, Timothy A. (1998).
1392:Kaplan, Stuart R. (1978).
1032:. June 6, 1926. p. 21
707:. New York Public Library.
701:Moakley, Gertrude (1966).
690:Moakley, Gertrude (1957).
623:(1969). His 1988 booklet,
413:Moakley's introduction to
390:Pictorial Key to the Tarot
122:Gertrude Charlotte Moakley
25:Gertrude Charlotte Moakley
1785:. London, UK: Duckworth.
1648:Roszak, Theodore (1988).
1623:Place, Robert M. (2005).
1535:The Invention of Printing
1417:Dummett, Michael (1980).
1365:Dummett, Michael (1986).
910:Dummett, Michael (1980).
30:
1960:Archives of American Art
1891:Panofsky, Erwin (1955).
1868:. London: Edwin Mellon.
1573:Douglas, Alfred (1972).
1355:Dummett, Michael (2007).
944:. Box 8, Folder 31. 1956
535:study of Tarot history,
382:Palazzo Borromeo (Milan)
297:Moakley and modern tarot
136:. She had worked at the
1899:. New York: Doubleday.
1548:Giles, Cynthia (1992).
1335:. Bloomsbury Academic.
1282:Wood, Juliette (1998).
1260:Wood, Juliette (2000).
1090:Ronald, Decker (2004).
267:Queen of Pentacles card
226:St. Petersburg, Florida
143:Today, Tarot is both a
138:New York Public Library
62:St. Petersburg, Florida
2026:People from Pittsburgh
2021:Libertarian historians
1996:Barnard College alumni
1700:Shepard, John (1985).
1577:. London, UK: Arkana.
1492:Lacroix, Paul (1835).
1185:Comparative Literature
978:: CS1 maint: others (
581:
562:
531:
520:
508:
495:
462:
457:
426:Tarot of the Bohemians
404:Holy Blood, Holy Grail
384:
355:From Ritual to Romance
342:Tarot of the Bohemians
330:Waite-Smith Tarot deck
325:
1531:DeVinne, Theodore Low
1220:"Eliot and the Tarot"
1160:Eliot, T. S. (1922).
579:
558:
526:
514:
506:
493:
451:
444:Visconti-Sforza Tarot
378:The Tarocchi Players,
376:
243:Death (by water) card
228:, on March 28, 1998.
2011:Independent scholars
1598:Huson, Paul (2004).
1166:Boni & Liveright
1030:The Brooklyn Citizen
733:Waite, Arthur Edward
477:Visconti-Sforza deck
51:, Pennsylvania, U.S.
739:. University Books.
419:Pamela Colman Smith
334:Arthur Edward Waite
255:Three of Wands card
208:Columbia University
183:and Tarot history.
134:Italian Renaissance
86:Columbia University
1966:Petrarch's Trionfi
1318:– via JSTOR.
1246:– via JSTOR.
1207:– via JSTOR.
1146:– via JSTOR.
761:Tarot card reading
658:Books and articles
582:
532:
521:
509:
496:
458:
433:The Pictorial Key,
385:
364:The Greater Trumps
291:Two of swords card
98:; the history and
1164:. New York City:
1005:978-0-8389-0084-0
887:978-0-671-89101-5
815:Accademia Carrara
537:The Game of Tarot
415:The Pictorial Key
408:The Da Vinci Code
387:In 1959, Waite's
306:to appear on the
232:Waite-Smith Tarot
119:
118:
46:February 18, 1905
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638:'s masterpiece,
470:carte da trionfi
467:
437:Palazzo Borromeo
360:Charles Williams
288:
279:Ace of Cups card
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175:, as well as by
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751:Fortune telling
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636:Dante Alighieri
632:Joseph Campbell
615:Theodore Roszak
574:
553:carte da trioni
501:
481:Bonifacio Bembo
454:Triumph of Fame
446:
346:Gérard Encausse
326:
308:Long John Nebel
299:
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244:
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204:library science
200:Barnard College
189:
177:Michael Dummett
153:fortune-tellers
113:Bonifacio Bembo
96:Library Science
84:
81:Barnard College
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1986:1905 births
1075:October 20,
1036:October 20,
599:birth trays
165:allegorical
126:iconography
100:iconography
1980:Categories
1931:0674539168
1875:0773464476
1848:0312162944
861:References
672:: 471–475.
399:suit-signs
149:occultists
69:Occupation
49:Pittsburgh
1830:667610196
1308:0015-587X
974:cite book
772:Footnotes
756:Occultism
611:Eden Gray
499:Reception
380:c.1440s,
368:Carl Jung
304:Eden Gray
206:from the
187:Biography
161:scholarly
77:Education
72:Librarian
1905:55009754
1884:54844090
1857:34919726
1687:27360565
1533:(1876).
1288:Folklore
745:See also
685:: 55–69.
517:Triumphs
515:The six
196:classics
1316:1260566
1244:2872487
1205:1770088
1144:2872904
595:cassoni
591:Trionfi
464:trionfi
157:New Age
92:Subject
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64:, U.S.
1515:[
1312:JSTOR
1265:(PDF)
1240:JSTOR
1201:JSTOR
1140:JSTOR
725:Papus
723:. By
344:, by
198:from
130:Tarot
1936:OCLC
1926:ISBN
1909:OCLC
1901:LCCN
1880:OCLC
1870:ISBN
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1843:ISBN
1826:OCLC
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1683:OCLC
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1304:ISSN
1096:ISBN
1077:2021
1038:2021
1000:ISBN
980:link
950:2021
918:ISBN
882:ISBN
597:and
406:and
56:Died
43:Born
1296:doi
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1232:doi
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431:In
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