1. Early History
The early history of the Emperor card is much the same as that of the Empress,
as the iconography of the two is similar - until, that is, the occultists
of the late 18th century and after.
As in the case of the Empress, there are two main styles of depicting the
Emperor. One shows him with a hat or shield with a
single-headed eagle, just as in the case of the Empress. The first Emperor of
this type, at left below is in the same Visconti tarot deck, probably done in
the 1440s.[1]
There is a distinct resemblance between the man on the card
and Emperor Sigismund IV, who came to Italy twice, in 1431 and 1433, the first
time precisely to Milan, the traditional place for him to receive the iron
crown that made him the honorific King of Italy, the second time to Rome for
his coronation as Emperor. Wikipedia says that he is about 65 years of age in
the portrait. If so, that would be in 1433. The portrait in the middle is by
Pisanello, 1430s; the other portrait is by Durer, long after his death, so done
from surviving likenesses.[2]
One feature of this card is the crossed legs. This attribute is missing from the other surviving 15th century instances of this type (unless perhaps the Cary Sheet, 3rd from left below), but it reappears in the French “Tarot of Marseille,” of which I have put Chosson of 1672-1736 at the far right.
Erwin Panofsky, analyzing an engraving by Durer, says the pose has to
do with courts of justice: "This attitude, denoting a calm and superior
state of mind, was actually prescribed to judges in ancient German law books."
His comment is in reference to Durer's engraving of Christ as the "sun of
justice" holding the sword and scales of Justice; his lower legs crossed,
in a manner similar to that of the Visconti Emperor. It was how judges were
supposed to sit, to indicate their superior detachment in making a decision. [4]
The next Emperor card with the eagle, which is also attributed to the Visconti of
1440s Milan (far left above), also has an eagle on his hat; but the four small
figures are gone, he does not cross his legs, and he holds a globe divided into
three segments in one hand. As in the case of the Empress, the three segments represent the three continents of Asia, Africa, and Europe.[5]
The next surviving card with the eagle, of the 1450s (2nd from left above), is from the following ruler of Milan, Francesco Sforza, whose wife was the daughter of the previous Visconti duke. Called the Visconti-Sforza, it is similar to the preceding except for having an older-looking man with a white beard.
Then in the Cary Sheet (3rd from left), the eagle is on his shield, sitting on his lap. In the Tarot of Marseille (far right, the Chosson of somewhere between 1672, the date on the deck's 2 of Coins, and 1736 the date Chosson is verified as a card maker), it moves to the ground beside him.[6] The Emperor is now sitting outside, as though reviewing his domain.
It is possible that both these changes, which are on all the
Tarot of Marseille Emperor cards, are meant to differentiate him from the
Empress: unlike her focus on the family, his concern is the Empire. Also, his
relationship to his son and heir, assuming that is still what the eagle
represents, is less intimate, and more an attitude of "see what I do;
someday you will do likewise." It is as though he is passing on his skills
to his progeny, which in Renaissance and medieval times was the traditional
relationship of father, or father-substitute, to the next generation. I see nothing in particular to associate any of these cards with Egypt, although of
course if the Empress were seen as Isis, or there was some other reason to find an Egyptian theme in the deck, the Emperor would be Osiris,
and the bird on his shield or hat representing either him or his son Horus.
In the early orders, the relative positions of the four imperial/papal powers varied. In Ferrara, the 4th card was the Popess, and the Emperor was typically 3rd.[12] The intent seemed to be to assert the primacy of the Church as well as the Pope over the secular powers. In Florence and France, the Emperor was 4th and the Popess 2nd. That would give less power to the Church, or associate Pope Joan with the trickster Magician. In minchiate (first below) all the imperial/papal figures were simply called "papa", and they numbered only three, missing the Popess.[13] Card III in minchiate is the one that looks closest to the Emperor of tarot decks. Somehow the card corresponding to the Pope became clean-shaven, as can be seen in the Rosenwald deck (2nd below), which has all four dignitaries. The Bolognese deck, with 3 clean-shaven "papi," is similar to the Rosenwald in that respect, so that the bearded one, making four in all (see my post on the Empress for these cards) again seems to correspond to the Emperor.
2. The Occultists
For Court de Gebelin, 1781, the Emperor is simply a temporal leader of society, a king, husband of a queen. What his scepter is topped with is not only a cross but a "Tau, the symbol par excellence" (in Karlin, Rhapsodies of the Bizarre, p. 18, 269 of original). He does not explain the significance. His colleague de Mellet adds that the saw teeth on the bottom of his helmet indicate is insatiability - or else his vengeance, if he is Osiris angered (Ibid., p. 53, 299 of original).
[Appui] SUPPORT—Aid,
Prop, Flying Buttress, Column, Base, Footing, Foundation.—Principle,
Reason, Cause, Subject, Stability.—Assurance, Persuasion, Conviction, Surety,
Security, Confidence, Certainty.—Help, Assuagement, Assistance, Protection.—Relief,
Consolation.
Reversed: [Protection.] PROTECTION. Defense, Assistance, Aid, Help,
Influence, Benevolence, Kindness, Charity, Humaneness, Goodness, Commiseration,
Pity, Compassion, Credit.—Authorization.
Most of these would apply to how dukes, kings, and emperors would have wanted themselves to be seen - and heads of household as well.
Then came Eliphas Levi in 1856-1861, for whom, as in the Tarot of Marseille, "the Emperor, or ruler" (dominateur) was card 4. He writes:[15]
The gate of Government for the Orientals. Initiation, i.e. power, the tetragramaton, the quaternary, the cubic stone or its base.
The tetragramaton is of course the name of God,
Yah-Heh-Vah-Heh. By "quaternary" he means natural groups of four: 4
elements, seasons, gospels, primary directions, etc.[16]
The cube is the most stable of the five regular solids, and also the one whose
faces are squares, the two-dimensional figure with four points and four sides.
This image was realized by Falconnier and Wegener in 1896. The eagle-hawk
remains as a design on his chest. (The cat pictured on the cube seems to be
Falconnier-Wegener's idiosyncrasy.)[17]
Levi has more:[18]
Hieroglyph: The Emperor: a sovereign whose body represents a right triangle, and the limbs a cross, image of the Athanor of the philosophers.
An athanor is a kind of alchemist's furnace. However, he probably has in mind the sign for sulphur.
Levi's student Paul Christian gave the card the title "Realization,"
following that of the Empress, "Action." His reasoning comes out in
his explanation of the card's meaning on the three planes:[19]
D-4 expresses in the divine world, the perpetual and hierarchical realisation of the virtues contained in the absolute Being; in the intellectual world, the realisation of the ideas of the contingent Being by the quadruple effort of the spirit: Affirmation, Negation, Discussion, Solution; in the physical world, the realisation of the actions directed by the knowledge of Truth, the love of Justice, the strength of the Will, and the work of the Organs.
In short, it completes the work of the three previous cards,
in different ways. It is the result of the Action initiated by the Empress, on
the basis of the knowledge provided by the High Priestess and the will provided
by the magician. It is also the dialectical process of
Thesis-Antithesis-Synthesis, but the last term separates into two: the
interchange between Thesis and Antithesis
(Empress) and the resolution of the conflict (Emperor). The cross formed
by the legs symbolizes "the four elements and the expansion of human power
in every direction."[20]
In delineating the card's meaning in the three worlds, Papus simplified
Christian's formulation into “realization in all the worlds,” [21]
which nonetheless had the same three expressions. It was the first card of the
second threesome, expressing in an active way what was passively expressed in
the third card. So instead of Nature, the Emperor was the Creator of that
Nature. The body, which seems to form a triangle, on top of the cross of the
legs, symbolizes the domination of matter by spirit.[22]
_2011.139.93det.jpg)
Papus also identified the card with the fourth sefirah on the Tree of Life, Chesed, which meant Love or Mercy.[27] He does not expand on this point, but perhaps it is that the benevolent emperor loves his subjects; it is also his prerogative to pardon those convicted of crimes by the courts, i.e. grant them mercy. This prerogative is even in the Constitution of the United States; it is the privilege by which President Ford pardoned former President Nixon after Watergate.[28]
His cube-shaped throne is the only one [of the five regular solids] which cannot be overturned. Its stability resulting from its geometric shape, attributed by the Alchemists to the Philosophers’ Stone.
In relation to that stone, it also symbolizes “the perfection of which individuals are capable”: the realization of their talents in service to the great ideals, a fixity of purpose, “over every disorganized substance whose state remains vague, wavering (lunar).” He assigns the card to the constellation of Hercules, as part of a set of astronomical correspondences independent of astrology or Kabbalah.
The Golden Dawn did assign astrological entities to the
cards, and in terms of their version of the Sefer Yetzirah. differing in the case
of the planets from the four standard versions, and applied to the cards in a
different way than Levi and Papus. For them, the Emperor was the fifth card,
with the Fool, card 0, as the first. The Sefer Yetzirah said that the
fifth letter of the alphabet, Heh, got the first zodiacal sign, Aries.[30]
So the Emperor gets Aries.[31]
In the Waite-Smith card (at right), he sits sternly on a
chair with arms that ended in ram-heads, legs not crossed. Waite says, “He is
executive and realization, the power of this world, here clothed with the highest
of its natural attributes.” At the same time, both he and the Empress “signify
also--and the male figure especially--the higher kingship, occupying the
intellectual throne. Hereof is the lordship of thought rather than of the
animal world. . . but theirs is not consciously the wisdom which draws from a
higher world.”[32]
The Emperor designed by Paul Foster Case has the ram on the side of the cubic
stone, where Wirth put his eagle. Case gives the figure the crossed-legs and profiled-head favored by Wirth as well (Wirth's cards were originally sold with Papus's book in 1889). Of the triangle formed by his head, arms, and
torso plus the cross of his legs, he observes:[33]
This is the alchemical symbol for
the fiery alchemical principle, Sulphur, closely akin to the Rajas or Agni Tattva of
yoga philosophy, and therefore related to the element of fire, predominant in
the sign Aries.
One of his followers, Wade Coleman, inserts into his edition of Case’s Tarot Fundamentals (without telling us that it is not in the 1936 original!) that “Sulfur is the flame (Fire) of our self-consciousness (Air). It is hot and penetrating.”[34] Case himself observes in the original work that the Emperor represents “a higher vision of reality – a higher view based on accurate observation of the actual situation on the physical plane,” in which reason is the primary tool (lesson 11-6):
The Emperor, then, represents the Sovereign Reason. Every law in nature reflects reason. Reason is the source of all the operations of the Life-power in the world of manifestation.
On the basis of this insight, the combination of creative imagination and reason brings the personal factor into consideration, and “new trains of events are set in motion.”
As for the ram on his seat (11-5):
As the first sign [of the zodiac], it [Aries] symbolizes the outgoing, ordered, cyclic motion, emanating from the Primal Will— the beginning of cosmic manifestation. According to astrological tradition Aries rules the head and face, especially the eyes, and dominates the higher functions of the brain.
Aries is ruled by Mars, which is "the protector of fields against the attacks of enemies. ... Through this Martial force, man deals with the world of his environment, and sets that world in order" (Ibid). The suit of armor reflects that rulership.
In the Book of Tokens, Case associates the letter Heh, which he assigned to the Emperor, with “CHESED, the Path of Beneficence.” He adds, as he imagines the letter saying:[35]
For I am merciful
Because mine understanding compasseth
The secret nature of all things,
And my loving-kindness is the fruit
Of my discrimination.
In relation to each other, the occultist and pre-occultist meanings tend to
support one another. The occultists are merely taking the traditional powers of
rulers to a metaphysical level.
3. Jungian perspectives
Sallie Nichols in Jung and Tarot defines the Emperor card in terms of
the Father archetype and Logos, paralleling her characterization of the Empress
in terms of the Mother archetype and Eros. She announces the contrast as
follows:[36]
He may be seen as the active, masculine principle come to bring order to the Empress's garden which, if left to grow by itself, can become a jungle. He will carve out room for man to stand erect, will create paths for intercommunication, will oversee the building of homes, villages, and cities. He will protect his empire from the inroads of both hostile nature and barbarians. In short, he will create, inspire, and defend civilization. . . . Here begins the patriarchal world of the creative word, which initiates the masculine rule of spirit over nature. This ruler is an embodiment of the Logos, or rational principle, which is an aspect of the Father archetype.
That is quite a contrast! Expressed in another way, it is
the emergence of consciousness, and the "I" or ego as a separate
consciousness, as against the "participation mystique" of the young
human's unconscious attachment to Mother.[37]
It is a struggle "of almost superhuman strength" against Mother
Nature, to overcome the dragon of matriarchy and win the princess.[38]
Hence the military helmet on the Emperor's head.
I myself wonder whether Nature is so disorderly as she portrays it, or
civilization so rationally governed.
It is Mother from the standpoint of the immature ego struggling for
consciousness and independence. However, it seems to me that the Emperor, with
his beard, has long since past this stage. He is in a position to appreciate
feminine consciousness, to the extent that a gender distinction can be made, and the order that
Nature has built up over the millenia.
The shadow side to this ego-development, she says, is that the eagle of spirit
and Logos, the creative Word, is also "a bird of prey...an apt symbol for
the power-mad rulership which often seizes kings and others in positions of
authority when the golden ideal of "divine right" tarnished and
corroded, turns into 'ego might.'"[39]
The number 4 is relevant to the occultists as representing the four elements on
a metaphysical level. It also is the defining number of the Pythagorean Tetractys,
the first four numbers summed as ten, and so a symbol of completeness. Jung, in
turn, had his four functions--sensation, feeling, thinking, and intuition--that
together express all the various forms of consciousness.[40]
"The number four is symbolic of wholeness," Nichols says,[41]
thus supporting the occultists' examples of "Yod-He-Vau-He" and the
rest as comprehensive ways of dividing various dimensions of life: directions,
winds, qualities, temperaments, Evangelists, beasts of the Apocalypse, phases
of the moon, cardinal virtues, and so on.[42]
Some are rather artificial: e.g. "four angels (given that there are more
than that, even of archangels), four prophets, four alchemical substances. Yet
there is something to it. Jung himself argued from the "completeness"
of four to the "incompleteness” of the Trinity; the three needed to be
complemented by a fourth, the Devil, the dark counterpart of the Son.[43]
Another Jungian-oriented tarot theorist is Robert Place, in The Alchemical
Tarot. Seeing each of the imperial/papal figures as representing a
different element and Jungian function, he assigns the Emperor to air and
thinking:[44]
Whereas the Empress is the expression of feminine energy grounded in the physical, the Emperor is the expression of the masculine physical, which correlates to the element of air. This, in turn, symbolizes thinking of intellect, which may soar like the eagle. Thus the Empress is the body and the Emperor the mind.
It may be worth observing that Wirth took an exactly opposite view, writing:[45]
Following the Empress fair and full of light, who could rise to no greater heights in the Tarot, comes the gloomy sovereign of hell, for the Emperor is a Pluto imprisoned in the core of things. He personifies life-giving Fire which burns at the expense of the Alchemists' Sulphur, whose sign is a triangle placed on the cross. . . . The Emperor is in fact the Worldly Prince; he reigns over the concrete and corporal things; hence the contrast between his lower empire - hence infernal, in the etymological sense of the word - and the heavenly power of the Empress.
By “hell,” let us be clear, he means this world of ours. The
Emperor is lord over bodies, the Empress over souls. Well, you pays your money
and you takes your choice, as they say.
Jung's disciple Marie-Louise von Franz developed four stages of development of
the animus (a woman's inner masculine), corresponding to Jung's four stages of
the anima:[46]
He first appears as the personification of mere physical power, for instance as an athletic champion or "masculine man." In the next stage he possesses initiative and the capacity for planned action. In the third phase, the animus becomes the "word," often appearing as a professor or clergyman. Finally, in his fourth manifestation, the animus is the incarnation of meaning. On this highest level he becomes (like the anima) a mediator of the religious experience whereby life acquires a new meaning. He gives the woman spiritual firmness, an invisible inner support that compensates for her outer softness. The animus in his most developed form sometimes connects the woman's mind with the spiritual evolution of her age, and can thereby make her even more receptive than a man to new creative ideas.
She illustrates these stages with examples: Tarzan for the first, Shelley as "romantic man" and Hemingway as "man of action" for the second, Lloyd George, the great political orator, for the third, and Gandhi the fourth. We might recall here the corresponding anima stages: Eve, Helen of Troy, the Virgin Mary (the "bearer of the Word" in another sense), and Sophia. The Emperor, if Logos is his defining feature, would be on the third and fourth levels.
Another set of stages that could be applied to the Emperor, I think, is what Jung wrote about the Trinity, a three-stage process. First is the archetype of the Father:[47]
Generally speaking, the father denotes the earlier state of consciousness when one was still a child, still dependent on a definite, ready-made pattern of existence which is habitual and has the character of law. It is a passive, unreflecting condition, a mere awareness of what is given, without intellectual or moral judgment. This is true both individually and collectively.
Then comes "detachment from the father", which is not, as Freud would have it, a symbolic murder of the father so as to take his place, but rather:[48]
Legitimate detachment consists in conscious differentiation from the father and from the habitus represented by him. This requires a certain amount of knowledge of one's own individuality, which cannot be acquired without moral discrimination. Habit can only be replaced by a mode of life consciously chosen and acquired. and cannot be held onto unless one has understood its meaning.
This stage involves conscious moral choice.
The third stage, corresponding to the Holy Ghost (or Spirit), is a connection to the unconscious:[49]
Accordingly, the advance to the third stage means something like a recognition of the unconscious, if not actual subordination to it. Spiritual transformation does not mean that one should remain a child, but that the adult should summon up enough honest self-criticism admixed with humility to see where, and in relation to what, he must behave as a child -- irrationally, and with unreflecting receptivity. Just as the transition from the first stage to the second demands the sacrifice of childish dependence, so, at the transition to the third stage, an exclusive independence has to be relinquished.
In this case, the first stage is the Emperor from the perspective of the child. Then comes the development of a conscious “inner Emperor,” which then suffers mightily in trying to make sense of the world and maintain one's integrity in it. And finally a relinquishing of that figure to something more inclusive – submitting that “inner Emperor” to a more inclusive perspective of allowing for experiences beyond the rational, typically of a "numinous" quality, identified historically with an impersonal, genderless "Holy Ghost," which, in its unfathomableness, is also a kind of comforter, "Paraclete" in Greek:[50]
The Holy Ghost is a comforter like the Father, a mute, eternal, unfathomable One in whom God's love and God's terribleness come together in wordless union.
[1] Beinecke Library, Yale University, New Haven, CT. Online at https://brbl-dl.library.yale.edu/vufind/Search/Results?lookfor=Visconti%20Tarot&type=tag
[2] https://en.wikipedia.org/wiki/Sigismund,_Holy_Roman_Emperor, for information and portraits.
[3] Eugenio Garin, Renaissance Characters, trans. Lydia Cochrane (Chicago, University of Chicago Press, 1997), pp. 7-8. Originally Uomo del Rinascimento, Rome 1988. Online in Google Books.
[4] Erwin Panofsky: Life and Art of Albrecht Durer, p. 78. The image is his figure 101.
[5] Sandrina Bandera and Marco Tanzi, Quelle carte de triumphi che se fanno a Cremona : i tarocchi dei Bembo : dal cuore del Ducato di Milano alle corti della valle del Po (Milan: Skira, 2013), p.
[6] Chosson dating: https://tarot-de-marseille-heritage.com/english/catalogue_chosson1736.html, https://tarotmeditations.wordpress.com/decks/chosson/. Another argument is the "G.S." on the Chariot card, suggesting that the deck was originally not Chosson's but by someone with those initials, and the 2 of Coins altered accordingly. This may have been standard practice, as buying out a firm did not change the date of a deck, only the cartier. There are Grimaud decks, for instance, that have a date earlier than Grimaud's buying out of an earlier cartier. In that case 1736 would be correct for the print-run for the surviving deck, while 1672 would be when the plates were cut.
[7] Emilia Maggio, "New Insights into the So-Called Alessandro Sforza Deck," The Playing Card, Vol. 44 No. 4 (April-June 2016), pp. 256-259, on p. 259; http://www.academia.edu/25238482/New_Insights_into_the_So-called_Alessandro_Sforza_Deck.
[8] Lily: For a picture, see https://www..cointoflorencem/history-giglio-florence/.
[9] Giovanni dal Ponte: Protagonista dell'umanesimo tardogotico fiorentino, ed. Lorenzo Sbaraglio, Lorenzo and Angelo Tartuferi (Florence, Giunti, 1016), p. 128..
[12] Thierry Depaulis, Le Tarot révélé: une histoire tarot d’après les documents (La Tour-de-Peilz: Musée Suisse du Jeu, 2013), p. 25.
[13] Wikipedia article of note 11.
[14] The words in bold are only in "Julia Orsini" (Simon Blocquel), L'Art de Tirer les Cartes (Paris and Lille: Blocquel-Castiaux, 1838); my source is the copy in the University of Nevada at Las Vegas. The words in italics are only in Papus, trans. Beryl Stockman, The Divinatory Tarot (London, Aeon Books, 2008), p. 16. Originally Le Tarot Divinatoire, Paris, 1909.
[15] Eliphas Levi: Transcendental Magic, its Doctrine and Ritual, Waite trans., p. 320 and p. 364. Dogme et Rituele de la Haute Magie, tome 2 (Paris: Germer-Bailliere, 1861), p. 266 and p. 347. Both online in archive.org. « La porte ou le gouvernement chez les Orientaux, l'initiation, ie pouvoir, le tétragramme, le quaternaire, la pierre cubique ou sa base.»
[16] Not only that, but four were deemed a complete set, as Irenaeus had famously declared, in his Against all Heresies, 3.11.8. See https://classicalchristianity.com/2011/11/12/st-irenaeus-on-the-four-gospels/.
[17] R. Falconnier, Les XXII Lames Hermétiques du Tarot Divinatoire ..., dessins de Mce. Otto Wegener (Paris: Librarie de l'Art Independant, 1896).
[18] Levi, op. cit. (note 14), 346: « Hiéroglyphe,
l'empereur: un souverain dont le corps représente un triangle droit, et les
jambes une croix, image de l'Athanor des philosophes. »
[19] Paul Christian (Jean-Baptiste Pitois), trans. James Kirkup and Julian Shaw, ed. and rev. Ross Nichols, History of and Practice of Magic, vol. 1 (New York: Citadel Press, 1969), p. 96. Originally Histoire de la Magie, Paris, 1870.
[20] Ibid.
[21] Papus, Tarot of the Bohemians, trans. A.D. Morton, 1892, rev. A. E. Waite (Hollywood CA: Wilshire, no date), p. 121. (Originally Tarot des Bohemiens, Paris, 1889.)
[22] Ibid.
[23] Ibid.
[24] Papus, The Qabalah: Secret Tradition of the West, trans. not identified (York Beach, ME: Weiser, 2000), p. 220. Originally Le Cabbale: Tradition Secete de l'Occident, 2nd ed., 1903, 192. Both online.
[25] Eliphas Levi, Clef des Grands Mysteres (Paris, 1861), p. 200, online in Gallica.
[26] Detail of Statue of Jupiter at Olympus, 1572 engraving, National Gallery, Washington, D.C., online at https://www.nga.gov/collection/art-object-page.156114.html
[27] Papus, Tarot of the Bohemians (see here note 21), pp. 118, 121.
[29] Oswald Wirth, The Tarot of the Magicians (York Beach ME: Weiser, 1980), p. 76. Originally published as Le Tarot des Imagiers du Moyen-Age, Paris, 1927.
[30] Aryeh Kaplan, Sefer Yetzirah: The Book of Creation (York Beach, Maine: RedWheel/Weiser, 1997), pp. 209, 266, 277, 291 (four different versions).
[31] Llewellyn Encyclopedia, term Emperor http://www.llewellyn.com/encyclopedia/term/emperor.
[32] A. E. Waite, Pictorial Key to the Tarot (London: R. Rider, 1911), at https://www.sacred-texts.com/tarot/pkt/pktar04.htm.
[33] Paul Foster Case, The Tarot: A Key to the Wisdom of the Ages, revised ed. (Los Angeles: Builders of the Adytum, 1947), p. 69, online in archive.org. Originally published 1947.
[34] Paul Foster Case and Wade Coleman, Tarot Fundamentals, ed. Wade Coleman, 2019 (no publisher or place given). Originally published in 1936, a series of mimeographed lessons online in archive.org.
[35] Paul Foster Case, The Book of Tokens, revised ed. (Los Angeles: Builders of the Adytum, 1960) p. 52. Original ed. published 1934.
[36] Sallie Nichols, Jung and Tarot (York Beach ME: Weiser, 1980) p. 103
[37] Ibid, p. 112.
[38] Ibid, p. 104.
[39] Ibid, p. 105.
[40] Ibid, p. 108.
[41] Ibid, p. 106.
[42] Ibid, p. 107.
[43] C. G. Jung, "A Psychological Approach to the Trinity," Psychology and Religion, East and West, Collected Works, vol. 11 (Princeton NJ: Princeton University Press, 1969), para. 259 and diagram, p. 175
[44] Robert Place, The Alchemical Tarot (Saugerties NY: Hermes Press, 2008), p. 160.
[45] Wirth (of note 29), p. 75.
[46] M.-L. von Franz, "The Process of Individuation" in Carl Jung and M. L. von Franz, ed., Man and his Symbols (New York: Anchor Books, 1964), pp. 194-195.
[47] Jung of note 43, para. 270, p. 181.
[48] Ibid., para. 271.
[49] Ibid., par. 273, p. 183.
[50] Ibid., par. 260, p. 179.
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