by Marcus Katz
121. Golden Dawn Tarot, 35–36.
122. Tarot History, Symbolism, and Divination, 184.
123.PKT, 168.
124. Ibid.
125. Ibid.
126. See our free 12-page guide “Why You Can’t Read the Court Cards (And How To)” at http://www.tarotassociation.net/free-materials/. (Last accessed February 2, 2014.)
127. When we first made public some of our findings, at the TarotCon Tarot conventions in the U. S., we were approached afterwards by a woman who took us to one side. She said to us, “Did you know that Pamela was present in the room while you were talking?” We looked a little bemused, we’re sure, and said that we hoped Pamela was pleased that we were trying to consider her work with authenticity. “Oh yes,” said the woman, “I think she is very pleased. And she had something important to tell you. It’s about the shoes. Look for the shoes, it’s very important.” This conversation happened before we followed up on the Shakespearian elements of the deck or had any inkling we’d be looking at the mismatched shoes on this card. It was these mismatched shoes that really clinched the Shakespearian symbol ties—and perhaps we now have Pamela’s word on it.
128. A. E. Waite, The Hidden Church of the Holy Graal, 668–669. See also Richard Barber, The Holy Grail: Imagination and Belief (London: Penguin Books, 2004), 295–297.
129. A. E. Waite, “Portal Initiation,” in Complete Rosicrucian Initiations of the Fellowship of the Rosy Cross (Burnaby, UK: Ishtar, 2007), 177.
130. Emma Jung and Marie-Louis von Franz, The Grail Legend (Princeton, NJ: Princeton University Press, 1998), 187–190.
131. A. E. Waite, “Pictorial Symbols of Alchemy,” in Occult Review vol. 8, no. 5, November 1908.
132. Dennis William Hauck, The Emerald Tablet (New York: Penguin/Arkana, 1999), 153–169.
133. Kathleen Pyne, Modernism and the Feminine Voice: O’Keefe and the Women of the Stieglitz Circle (Berkeley, CA: University of California Press, 2007), 53.
134. http://fencingclassics.wordpress.com/2011/09/20/swords-of-shakespeare-hurt-him-in-eleven-places. (Last accessed January, 29, 2014.)
135. A. E. Waite, The Brotherhood of the Rosy Cross (London: William Rider & Son, n.d.), 430.
136. R. Wang, An Introduction to the Golden Dawn Tarot (New York: Samuel Weiser, 1978), 69.
137. Éliphas Lévi, The Magical Ritual of the Sanctum Regnum (Berwick, ME: Ibis Press, 2004), 33. Lévi in turn was referencing Agrippa’s Three Books of Occult Philosophy, published in 1533.
138. PKT, 169.
139. A. E. Waite, The Holy Kabbalah, 422.
140. Ibid., 214.
141. Aleister Crowley, The Book of Thoth (Newburyport, MA: Weiser, 1981), 182.
142.Holy Kabbalah, 200.
143. Marie-Louise von Franz, On Divination and Synchronicity (Toronto: Inner City Books, 1980), 91–92.
144. Y. David Shulman, The Sefirot (Northvale, NJ: Jason Aronson Inc., 1996), 1.
145. Plato, Timaeus (London: Dent, 1965), 301.
146. Marcus Katz, The Magister (Chiang Mai: Salamander & Sons, 2014).
147. This method is explored in more detail in the forthcoming Tarosophy Squared (Marcuz Katz, 2014).
148. Joan Coldwell, “Pamela Colman Smith and the Yeats Family,” in The Canadian Journal of Irish Studies, vol. 3, no. 2 (Nov. 1977), 32.
149. http://www.gutenberg.org/cache/epub/5321/pg5321.html. (Last accessed February 1, 2014.)
150. Compare this to the description of “a vast bell-shaped erection, fully nine hundred feet in height, and but little less in diameter at the bottom, floating in the air above the church out of which it has arisen” that arose from Wagner’s music when clairvoyantly seen by Annie Besant and C. W. Leadbeater. They described a number of astral images created by music in Thought Forms (London: Theosophical Publishing House, 1901), 75–82.
151. A free video series on the Opening of the Key method by Marcus Katz can be found at http://www.youtube.com/watch?v=hlAAy1xtOgc. (Last accessed April 12, 2014.)
152. Available in the Stieglitz-O’Keefe Archive at the Beinecke Library at http://beinecke.library.yale.edu/collections/highlights/alfred-stieglitzgeorgia-okeeffe-archive. (Last accessed April 14, 2014.)
153. W. B. Yeats, A Vision (London: Macmillan, 1981), 59–64.
154. It has been suggested that Yeats was the one who helped Waite and Smith in their tarot project, and indeed he is referred to as “one who is deeply versed in the subject” in Waite’s mention in Occult Review, “The Tarot: A Wheel of Fortune.”
155. http://stardate.org/nightsky/moon. (Last accessed January 31, 2014.)
156. Cockin, Katherine, Dramatic Lives: Edith Craig (1869–1947) (London: Cassel, 1998), 76.
157. Charles Williams, The Greater Trumps (London: Sphere Books, 1975), 27–28.
158. There are just over 1.2 quintillion combinations of the seventy-eight cards in a ten-card Celtic Cross reading. That means that the ten cards you lay out on your table for a Celtic Cross have never been seen in that combination ever, nor are likely to be ever seen again by anyone. Not only is this a truly sacred and unique moment, the miracle—and to our mind, the real miracle and magic of tarot—is any of us, with just a little bit of knowledge and practice, can read any of those almost infinite combinations.
159. If you are interested in scripting, we recommend J. Michael Straczynski’s The Complete Book of Scriptwriting (Cincinnati: Writers Digest Books, 1996).
160. This is one of the games played at Tarot Houses worldwide. If you would like to join or create a Tarot House, which serve as tarot dojos with a set syllabus, freestyle tarot, games, and practice, download details at http://www.tarotassociation.net.
161. Minetta, What The Cards Tell (London: Downey & Co., 1896), 34–35.
162. Grand Orient (A. E. Waite), The Complete Manual of Occult Divination Vol. 1, (New Hyde Park: University Books, Inc., 1972), 117.
163. Marcus Katz, Tarosophy (Chiang Mai: Salamander & Sons, 2011), plates I–V, 204–205.
164. Grand Orient (A. E. Waite), A Manual of Cartomancy, Vol. I. (New York: University Books, 1971), 129, 130–131.
165. The original reading can be seen in Manual of Cartomancy. We have here only very slightly reordered Waite’s writing for flow.
[contents]
Art Credit List
1. “Once, in a dream, I saw a great church …” Pamela Colman Smith, 1903. (The Green Sheaf, issue 2, illustration courtesy of Koretaka Eguchi, private collection.) page xv
2. Shakespeare’s Heroines Calendar, Pamela Colman Smith, 1899. Courtesy of Mark Samuels Lasner Collection. page 4
3. Rose Cross Lamen. (Illustration courtesy of James Clark.) page 16
4. Waite’s Rose Cross Spread. (Illustration courtesy of James Clark.) page 17
5. A Letter to Stieglitz from Pamela, 1909. (Scan courtesy of authors, private collection.) page 22
6. Pamela Colman Smith in the Critic, 1899. (Photograph courtesy of Koretaka Eguchi, private collection.) page 24
7. Pamela Colman Smith in The Craftsman, 1912. (Illustration courtesy of authors, private collection.) page 25
8. Sir Pellias, the Gentle Knight by Howard Pyle, 1903. (Illustration courtesy of authors, private collection.) page 26
9. Our Adventures, Pamela Colman Smith, 1902. (Illustration courtesy of authors, private collection.) page 30
10. Our Adventures, Pamela Colman Smith 1902. (Illustration courtesy of authors, private collection.) page 31
11. Portrait of a Young Girl, Pamela Colman Smith, (Illustration courtesy of authors, original painting in private collection.) page 34
12. W. B. Yeats by Pamela Colman Smith, 1901. (Illustration courtesy of authors, private collection.) page 35
13. Broad Sheet by Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 37
14. False Mercury by Edward Burne-Jones. (Courtesy of the Trustees of the British Museum, used under license.) page 38
15. Comes He Not by Edward Burne-Jones. (Courtesy of the Trustees of the British Museum, used under license.) page 39
16. Pamela Colman Smith by Alphaeus Cole, courtesy of Stuart Kaplan. page 41
17. 9 of Cups. Reproduced by permission of U.S. Games Systems. page 44
18. Pamela Colman Smith in The Lamp, 1903. (Illustration courtesy of authors, private collection.) page 46
19. A Letter from Pamela to Stieglitz, 1907. (Illustration courtesy of authors, private collection.) page 49
20. Pamela Colman Smith Picture in Gillette Castle. (Courtesy of Gillette Castle State Park, used with permission.) page 51
21. Golden Dawn Membership Roll. (Courtesy of the Library and Museum of Freemasonry, London, used under license.) page 52
22. Golden Dawn Membership Roll Close-Up with Pamela’s Name. (Courtesy of the Library and Museum of Freemasonry, London, used under license.) page 53
23. 9 of Pentacles, Gypsy Palace Tarot, Nora Huszka. (2013, Self-Published.) page 59
24. The Magician, Gypsy Palace Tarot, Nora Huszka. (2013, Self-Published.) page 59
25. Pamela Colman Smith in The Craftsman, 1912. (Photograph courtesy of authors, private collection.) page 60
26. The Hill of Heart’s Desire, by Pamela Colman Smith, 1903. (Illustration courtesy of Koretaka Eguchi, private collection.) page 96
27. Lucilla, by Pamela Colman Smith, 1903. (Illustration courtesy of Koretaka Eguchi, private collection.) page 98
28. Smallhythe Place, photograph by authors. page 99
29. Pamela and Ellen Terry. (Courtesy of the National Trust, Used under License.) page 100
30. Pamela and Friends, at Smallhythe Place. (Courtesy of the National Trust, Used under License.) page 101
31. The Idealized England, from A Book of Friendly Giants, Illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of the authors, private collection.) page 102
32. If You Will Look, from A Book of Friendly Giants, Illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of authors, private collection.) page 103
33. A Sketch Looking Towards Tower Cottage, Pamela Colman Smith. (Courtesy of the National Trust, used under license.) page 104
34. View towards Tower Cottage, photograph by authors. page 105
35. Tower Cottage, photograph by authors. page 105
36. Winchelsea Castle, photograph by authors. page 106
37. Water Tower at Winchelsea, photograph by authors. page 107
38. Cinque Ports Flag, photograph by authors. page 108
39. The Tarot Cards Came to Life Around Us, photograph by authors. page 109
40. The 5 of Pentacles. Card used reprinted with permission of U.S. Games Systems. page 109
41. The Traveller, from A Book of Friendly Giants, Illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of the authors, private collection.) page 117
42. Leaping the Rainbow, from A Book of Friendly Giants, Illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of the authors, private collection.) page 118
43. The High Priestess, Waite-Trinick Tarot, J. B. Trinick. (c. 1917–1923, courtesy of authors, private collection, reproduced in Abiding in the Sanctuary, 2013.) page 124
44. Stained Glass Window at Winchelsea Church, photograph by authors (Ace of Cups, Temperance, Strength, Justice, Judgement, Rainbow [left to right, top to bottom]). page 125
45. Stained-Glass Window at Winchelsea Church, photograph by authors (High Priestess). page 126
46. Carving at Tomb in Winchelsea, photograph by authors. page 146
47. Strength Card Showing Pamela’s Real World Models (Additional art from photograph by authors and private collection). Card reproduced by permission of U.S. Games Systems. page 147
48. Drusilla the Dancing Girl. (Photograph courtesy of authors, private collection.) page 153
49. Henry Irving as Shylock (Courtesy of the National Trust, used under license.) page 153
50. Ellen Terry as Lady Macbeth (Courtesy of authors, private collection). page 154
51. The Hanged Man, J. B. Trinick. (c. 1917–1923, courtesy of authors, private collection, reproduced in Abiding in the Sanctuary, 2013.) page 164
52. The Blasted Tower, J. B. Trinick. (c. 1917–1923, courtesy of authors, private collection.) page 181
53. Beethoven’s Symphony No. 5 in C Minor, Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 189
54. Untitled, Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 191
55. A Figure of Beauty, Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 196
56. Peter Pan, Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 198
57. Sola Busca King of Discs. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 207
58. The Queen in King Richard II (Mrs. F. R. Benson) from Shakespeare, Complete Works, intro. H. G. Bell (1899). (Courtesy of authors, private collection.) page 209
59. Stained-Glass Flag of Winchelsea, photograph by authors. page 213
60. Ada Rehan as Rosalind. (Courtesy of authors, private collection.) page 215
61. The Snail on the 9 of Pentacles. Reproduced by permission of U.S. Games Systems. page 216
62. Sola Busca 6 of Discs. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 218
63. Henry Irving in Robespierre, by Pamela Colman Smith. (Courtesy of the National Trust, used under license.) page 224
64. Edy and Snuffles. (Courtesy of the National Trust, used under license.) page 231
65. Snuffles the Cat. (Courtesy of the National Trust, used under license.) page 232
66. Stool at Smallhythe Place, photograph by authors. page 232
67. Sola Busca Queen of Clubs. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 233
68. Mowbray, Duke of Norfolk, in King Richard II (Mr. Oscar Asche) from Shakespeare, Complete Works, intro. H. G. Bell (1899). (Courtesy of authors, private collection.) page 235
69. Sola Busca 10 of Swords. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 238
70. Jack and the King from In Chimney Corners (1899), illustrated by Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 240
71. Oscar Asche as Petruchio. (Photograph courtesy of authors, private collection.) page 243
72. The Silent Knight by Pamela Colman Smith, 1903. (Illustration courtesy of Koretaka Eguchi, private collection.) page 247
73. Ellen Terry’s Cottage, c. 1909. (Courtesy of the Victoria and Albert Museum, London, used under license.) page 250
74. The Merchant of Venice, illustrated by Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 252
75. An Alternate King of Cups from A Book of Friendly Giants, illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of authors, private collection.) page 258
76. Polisena in the Sola Busca Deck. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 260
77. Pamela Colman Smith at Smallhythe Place, c. 1909. (Courtesy of the National Trust, used under license.) page 265
78. Falstaff, the 9 of Cups. (Photograph courtesy of authors, private collection.) page 267
79. Pamela and Edy at Smallhythe Place. (Courtesy of the National Trust, used under license.) page 274
80. The Courtyard at Smallhythe Palace, photograph by authors. page 275
81. Maidstone Bridge. (Photograph courtesy of the authors, private collection.) page 278
82. Sola Busca 2 of Amphorae. (Wolfgang Mayer edition, issued by Giordano Berti, 1998) page 282
83.
Then Jack went into the Castle from A Book of Friendly Giants, illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of authors, private collection.) page 283
84. A Cup from A Book of Friendly Giants, illustrated by Pamela Colman Smith, 1914. (Courtesy of authors, private collection.) page 285
85. The Letter M. (Illustration courtesy of the authors, private collection.) page 286
86. The Miraculous Medal, photograph by authors. page 286
87. The Worship of Mary at Smallhythe Place. (Also note the flowers that appear in the 6 of Cups.) (Courtesy of the National Trust, used under license.) page 287
88. Ellen Terry as Hjördis. (Illustration courtesy of authors, private collection.) page 290
89. Ellen Terry as Hiordis in Ibsen’s The Vikings of Helgeland (1903) by Pamela Colman Smith (1878–1951). (Courtesy of the National Trust, used under license.) page 291
90. Sola Busca Queen of Swords. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 292
91. Henry Irving as Becket. (Illustration courtesy of authors, private collection.) page 296
92. Lyke Wake by Pamela Colman Smith. (Illustration courtesy of authors, private collection.) page 299
93. Sola Busca 7 of Swords. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 304
94. Ellen Terry’s Cottage, c. 1909. (Courtesy of the Victoria and Albert Museum, London, used under license.) page 306
95. Dare-and-Do, Catch-and-Kill, and Fear-and-Fly from A Book of Friendly Giants illustrated by Pamela Colman Smith, 1914. (Illustration courtesy of authors, private collection.) page 308
96. The Tomb at Winchelsea Church, photograph by authors. page 310
97. Sola Busca 3 of Swords. (Wolfgang Mayer edition, issued by Giordano Berti, 1998.) page 312
98. Ellen Terry as Cordelia in King Lear, from Shakespeare’s Complete Works, intro. H. G. Bell (1899). (Photograph courtesy of authors, private collection.) page 314
