_Eliphas Lévi: Le Livre des Splendeurs._ Demy 8vo, Paris, 1894.
A section on the _Elements of the Kabalah_ affirms (_a_) That the Tarot contains in the several cards of the four suits a fourfold explanation of the numbers 1 to 10; (_b_) that the symbols which we now have only in the form of cards were at first medals and then afterwards became talismans; (_c_) that the Tarot is the hieroglyphical book of the Thirty-two Paths of Kabalistic theosophy, and that its summary explanation is in the _Sepher Yetzirah_; (_d_) that it is the inspiration of all religious theories and symbols; (_e_) that its emblems are found on the ancient monuments of Egypt. With the historical value of these pretensions I have dealt in the text.
_Clefs Magiques et Clavicules de Salomon._ Par Eliphas Lévi. Sq. 12mo, Paris, 1895.
The Keys in question are said to have been restored in 1860, in their primitive purity, by means of hieroglyphical signs and numbers, without any admixture of Samaritan or Egyptian images. There are rude designs of the Hebrew letters attributed to the Trumps Major, with meanings--most of which are to be found in other works by the same writer. There are also combinations of the letters which enter into the Divine Name; these combinations are attributed to the court cards of the Lesser Arcana. Certain talismans of spirits are in fine furnished with Tarot attributions; the Ace of Clubs corresponds to the _Deus Absconditus_, the First Principle. The little book was issued at a high price and as something that should be reserved to adepts, or those on the path of adeptship, but it is really without value--symbolical or otherwise.
_Les xxii Lames Hermétiques du Tarot Divinatoire._ Par R. Falconnier. Demy 8vo, Paris, 1896.
The word Tarot comes from the Sanskrit and means "fixed star," which in its turn signifies immutable tradition, theosophical synthesis, symbolism of primitive dogma, etc. Graven on golden plates, the designs were used by Hermes Trismegistus and their mysteries were only revealed to the highest grades of the priesthood of Isis. It is unnecessary therefore to say that the Tarot is of Egyptian origin and the work of M. Falconnier has been to reconstruct its primitive form, which he does by reference to the monuments--that is to say, after the fashion of Eliphas Lévi, he draws the designs of the Trumps Major in imitation of Egyptian art. This production has been hailed by French occultists as presenting the Tarot in its perfection, but the same has been said of the designs of Oswald Wirth, which are quite unlike and not Egyptian at all. To be frank, these kinds of foolery may be as much as can be expected from the Sanctuary of the Comédie-Française, to which the author belongs, and it should be reserved thereto.