Alchemical Tarot

See card images of the Alchemical Tarot

By Rosemary Guiley & Robert M. Place
Tarot Deck - 78 Cards - Published by Thorsons 1995Self Published 2008

Review by Lynn

After reading for nearly 30 years with various Rider-Waite Smith decks, and experimenting with several others, I wanted something new, stimulating, but not completely untraditional. As an intuitive reader, I have a great deal invested in the imprinting I've done on the Rider-Waite-Smith cards over the years, but was looking for imagery that would challenge and refresh my perceptions.

I spent many hours scanning decks and reading reviews, but did not feel that "ah ha!" pull until I happened across Place's website. I felt an immediate connection to both his artistic style and his philosophy. The book he co-wrote with Rosemary Guiley offers a wonderfully accessible introduction to the history of alchemy, its influence on philosophy, metaphysics, and scientific method from ancient times to the present, and then draws reasonable, non-dogmatic parallels between the structure of the Tarot and the stages of alchemical process. This leads to some dramatic re-interpretations of the imagery, strange to the eye at first, yet deeply meaningful after even a brief perusal of the companion text.

Like many recent artists, Place plays with the suits a bit. Cups become archaic looking jars and alembics, Pentacles become historic coins, and his Staffs burn rather than sprout leaves, which reinforces their elemental value, though it does take some getting used to. Swords remain swords.

There are significant changes to some of the Major cards, as well. Place's Hanged Man is a struggling figure, rather than the more common beatific figure. Death is depicted as a skeleton holding an arrow and standing on a blackened vessel. It is a harsher image than the RWS Death, and closer to the old Italian and French decks, but carries the same modern significance. The Star is perhaps the most potentially startling: it shows a double tailed mermaid expressing milk and blood (alchemical metaphors for mercury and sulphur, which in turn are metaphors themselves) into the waves.

There is a great deal of nudity in this deck, yet there is nothing prurient about it. Nudity represents revealed truth. Some figures are completely revealed, others partially, while others, like the High Priestess or Fool, are bundled right up to the chin, guarding their knowledge. Place's classical style makes these figures of art, not sexuality. There is a healthy amount of sensuality in certain cards, such as the Empress or the Star, but it is in keeping with the flow of energy and to my mind, both appropriate and beneficial.

There is also a nice balance of genders. Pages become Ladies, and while women are perhaps a bit scarce and traditionally placed in the Minors, they are well represented. Place has chosen to make the Kings animals, however, something I have not seen elsewhere. Cups becomes a whale; Swords an Eagle; Staffs a Dragon; Coins a Lion. This is the the only element of the deck which I found to be a significant distraction.

A plus is the level of detail and activity in the Minor cards. Like the RWS deck, every picture suggests a story containing the various elements of its meanings. While some find this iconography to be limiting, I consider them windows onto a wide subconscious landscape. Unlike a themed deck, in which something like a cat is jammed into every card, Place's minor give pertient scenes, incorporating only elements which further the depth of meaning.

In the Major Arcana, Place develops a loose linear story, in which the Emperor and Empress play their roles in following cards--standing together as the Lovers, joined in a double headed hermaphrodite on the Devil card (one of the more innovative changes, again derived from alchemical philosophy), ascending on Judgement Day, etc. He has also toned down the more overt Christian symbology. You can still see some if you look for them, but it is perhaps less off putting for those who not drawn to these elements.

Another plus is the interpretations offered in the companion book. Many recent authors have smoothed the rougher edges of Waite's attributes. Some of the newer, feel good interpretations are downright bland. While Place and Guiley have brought a modern, more psychologically based tone, there is still a good healthy contrast of light and shadow here.

I would recommend this deck to any serious reader, but especially to those who echew New Age pseudo mysticism, forced themes, or kitsch-for-its-own-sake artsiness.

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Review by Bonnie Cehovet

The first edition of the “Alchemical Tarot” appeared in 1994. It has been out of print for some time now, except for the “oh so elegant” art print edition – which is (and rightfully so!) oh so costly! The buzz on the “Alchemical Tarot: Renewed” began as soon as the idea for the project got out, and has been building since then. The reason for this is evidenced in the theme itself: it is a Tarot based on alchemical symbolism and imagery. From the “Alchemical Tarot” site:

“The power of the “Alchemical Tarot” lies in its ability to act as a tool for communication with our inner wisdom.”

Place is an internationally known mystical artist (“The Buddha Tarot”, “The Tarot of the Saints”, the soon to be released “Vampire Tarot”, and “The Tarot: History, Symbolism and Divination”). For him, the deck began with this flash of insight: (a) symbolic images from alchemical texts were interchangeable with the standard Tarot trumps, and (b) the Tarot outlined the same process of mystical transformation as alchemy. The result of eight years of study and work was the “Alchemical Tarot” – the ultimate melding of traditional Tarot imagery and symbolism with that of traditional alchemy. The alchemical symbols magnify the symbolic purpose of the Tarot. From the “Alchemical Tarot” site:

“Each card in The Alchemical Tarot was carefully drawn to capture real alchemical symbols in a way that is clear and concise and in harmony with the aesthetic balance of the composition. They are the natural vehicle of the unconscious and they can be used by any Tarot reader at any level, from beginner to master, in the same way as other decks.”

The renewed edition is a 79 card deck with accompanying LWB (Little White Book). The box the deck comes in shows the High Priestess on the front, and the Emperor on the back. The box opens from the top.

The LWB begins with an introduction by Place, where he talks about his initial flash of insight into this project during the Harmonic Convergence in August of 1987, while he was studying an alchemical image that symbolized the Philosophers Stone. He also states that in this new edition the illustrations have been improved, and the columns that flanked the cards on the original publication removed, so that the imagery is larger, and fills more of the card. This edition also contains two versions of the Lovers card (hence a 79 card deck) – the original version (that was more sexually explicit than traditional versions), and the toned down version that actually made publication.

The Major Arcana relates to alchemical materials and processes, with the Philosopher’s Stone itself (also known as he Red Stone) represented by the World. The four suits relate to the four elements (Earth, Air, Fire, and Water) and the four Jungian functions of consciousness ( sensation, thinking, feeling, and intuition).

The Major Arcana is presented with a short discussion of the energy of each card, with a black and white scan of the Fool at the beginning, and a black and white scan of the World at the end. The Pips (numbered cards) and Court Cards are presented with short descriptions of their energy, and keywords. A black and white scan of the Ace begins the section for each suit.

The traditional titles are retained for the Major Arcana. The suits are Coins, Vessels, Swords, and Staffs. The Court Cards are Lady, Knight, Queen and King.

The non-reversible card backs show a red rose against a green and white pattern, surrounded by a red border, which itself is surrounded by a black border, The card faces show a white border. The title for the Major Arcana appears at the bottom of the card, in black lettering against a beige background. The Major Arcana cards (with the exception of the Fool) are numbered in small Roman numerals at the top of the card. The Pips show small black Roman numerals at the top of the card, but do not show the suit. The Court Cards show the title and suit at the bottom of the card, in black lettering against a background color representative of the suit.

The cards themselves are 4.75 by 2.75 inches, of sturdy, glossy cardstock. The colors are intense and clear, with great attention to detail. There are animals throughout the deck: the rabbit that accompanies the Fool, the bird-like figure on the Emperor’s left shoulder, the dragon on the Devil, the rabbit on the Ace of Coins, the Lion as the King of Coins, the fish on the Ace of Vessels, the elephant in the Four of Vessels, the Deer-like creature in the Nine of Vessels, the fish n the Knight of Vessels, the Mermaid as he Queen of Vessels, the fish as the King of Vessels, the bird and snake on the Ace of Swords, the owl on the Two of Swords, the coyote-like animal on the Seven of Swords, the mythical animal on the Eight of Swords, the dragon-like animal on the Knight of Swords, the bird as the King of Swords, the salamander on the Ace of Staffs, the two fighting creatures on the Seven of Staffs, the mythical creature on the Nine of Staffs, the Phoenix on the Ten of Staffs, and the mythical creature as the King of Staffs.

There is a myriad of unique imagery in this card: the Fool is blindfolded, with a rabbit at his feet; the High Priestess is literally standing on water; the Empress has a child at her feet; to the left of the Hierophant we see a male statue, to the right of the Hierophant we see a female statue, behind the Hierophant, to his left, we see a red candle against a full Sun, behind he Hierophant, to his right, we see a white candle against a night sky and the Moon; the Chariot appears to be floating in the air, and is shown from the back; a red and yellow Ouroboros is shown in the sky to the left of he Hermit; the Hanged Man is tied with a snake would around his ankle (while coins very realistically fall from his pockets!); Death stands with a Raven on his shoulder;

While the presentation of the “Alchemical Tarot Renewed” has a very different feel from the original deck (due to the pillars on he sides of the cards in the original publication), it is stunning, and quite easy to work with. There is a fair amount of nudity, but it is placed in context of alchemical imagery. The reissuing of this deck is a great gift, as this is a deck that can be used by all levels of Tarot students.

Copyright © March 2008

Bonnie Cehovet is a professional Tarot reader with over ten years experience, holds a Bachelor's Degree in Psychology and is certified as a Tarot Educator with the American Board For Tarot Certification. Bonnie has served in various capacities with the American Tarot Association, is co-founder of the World Tarot Network, and Vice President (as well as Director of Certification) for the American Board For Tarot Certification. She has had articles appear in the 2004 and 2005 Llewellyn Tarot Reader.

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