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    The Sola-Busca Tarocchi - XVIII Lentulo An Encoded Saturnian Theme by Peter Mark Adams

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    Peter Mark Adams
    Decoded, the dense imagery of the 15th century Ferrarese tarot known as the Sola-Busca tarot points towards a previously unsuspected underlying ideological Saturnianism.

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    The Sola-Busca Tarocchi - XVIII Lentulo An Encoded Saturnian Theme by Peter Mark Adams

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    Peter Mark Adams
    694 views7 pages
    Decoded, the dense imagery of the 15th century Ferrarese tarot known as the Sola-Busca tarot points towards a previously unsuspected underlying ideological Saturnianism.

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    The Sola-Busca Tarocchi - XVIII Lentulo an Encoded Saturnian Theme by Peter Mark Adams

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    Decoded, the dense imagery of the 15th century Ferrarese tarot known as the Sola-Busca tarot points towards a previously unsuspected underlying ideological Saturnianism.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    694 views7 pages

    The Sola-Busca Tarocchi - XVIII Lentulo An Encoded Saturnian Theme by Peter Mark Adams

    Uploaded by

    Peter Mark Adams
    Decoded, the dense imagery of the 15th century Ferrarese tarot known as the Sola-Busca tarot points towards a previously unsuspected underlying ideological Saturnianism.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
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    The passage provides historical context about the Roman festival of Saturnalia and discusses symbols associated with it that are depicted in the XVIII Lentulus card of the Sola-Busca tarot deck.

    The figure wears a synthesis robe and pilleus cap, items that were specifically worn during Saturnalia to signify the social reversals of the festival. A candle is also present, which was a customary gift. These details emphasize the card's theme of Saturnalia.

    The serpentine belt represents Rhea/Ananke/Adrastea and the Herculean knot. It alludes to myths involving Cronus/Saturn binding Rhea in serpent form with this knot, which had symbolic significance.

    The Sola-Busca Tarocchi

    An Encoded Saturnian Theme


    Peter Mark Adams

    XVIII Lentulus

    XVIII Lentulo appears to be placing a large, freestanding liturgical candle upon an altar. He is
    using his left hand, which affirms the chthonic nature of the deity being honoured. The figure is
    richly dressed in a long, single-piece gown whose opulence stands out amongst the austere

    military-style dress of the majority of trumps. The strange arrangement of the head covering is
    suggestive of an ancient cap known as a pilleus rather than hair. What does this attention
    grabbing display portend? In Book XIV of Martials Epigrams, On the Presents Made to Guests
    at Feasts, we learn,

    Now, while the knights and the lordly senators delight in the festive robe (Latin: synthesibus),
    and the cap of liberty (Latin: pillea) is assumed by our Jupiter; and while the slave, as he rattles
    the dice-box, has no fear of the Aedile what can I do better, Saturn, on these days of pleasure,
    which your son himself has consecrated to you.(1)

    Martial, in describing the typical social features of Saturnalia highlights the festive robe
    (synthesibus) an ornate, single piece garment worn solely at dinner parties and of such rich
    material as to be only affordable by the wealthy. It was based upon a Greek pattern, called a
    synthesis and its daytime use was frowned upon except during the festival of Saturnalia when, in
    line with the systematic reversal of order and status that characterised that festival, it was
    routinely worn during daytime. Likewise, the cap of liberty (pillea) was an ancient form of
    headwear known as a pilleus. Servants, who were not ordinarily permitted headwear, were
    allowed to wear a pilleus during Saturnalia so that it came to be specifically associated with the
    festival. In XVIII Lentulus the tendency of the cap and the beard to merge arises from the artists
    colouration, not from the texture of the cap and beard which are, in fact, quite distinct. In
    addition, during the festival candles of various kinds were exchanged as gifts and placed upon
    altars.(2)

    (above) detail depicting pilleus, synthesis, candle offering and serpent-like belt
    (below) Man wearing Pilleus circa 400 BCE

    XVIII Lentulo has been specifically designed to display the main social features of the weeklong festival of Saturnalia. Of particular interest is the figures knotted belt. The texture of the
    belt and the configuration of the knot have been rendered so as to be reminiscent of a large
    serpent. The artists intent is clearer when we examine the relevant portion of an unpainted card
    (below).

    Detail of XVIII Lentulo

    The congruence of this detail with the decks larger Saturnian themes only becomes apparent
    when we examine the earliest Orphic theogonies. We find the relevant portion cited by the
    second century CE Church Father, Athenagoras of Athens,

    how Zeus mother, Rhea, sought to avoid his advances by changing into a dragon; but Zeus,

    also changing into a dragon, bound her with what is called the Herculean knot of which the rod
    of Hermes is a symbol(3)

    The fifth to sixth century CE Neoplatonist and last scholarch, or head, of the Platonic Academy
    of Athens, Damascius, highlighted the metaphysical significance of this myth,

    Ananke was united with the Dragon-Serpent Cronos, being of the same nature, or Adrastea(4)

    In identifying Rhea in her serpentine form as Ananke or Adrastea, Damascius reveals her
    metaphysical significance as a representation of the cosmic force of Necessity, whose daughters
    are the three Moirae or Fates. This grouping is familiar from Platos Myth of Er in which Ananke
    or Necessity appears as the spindle of necessity, a force penetrating and affecting every level of
    reality; and whose daughters spin, measure and cut the life thread of every living being.(5)
    Athenagoras identified the serpentine or Herculean knot as the symbolic basis for the rod of
    Hermes or Caduceus. We find this identification expanded upon by in the fifth century CE by
    Macrobius,

    It is apparent that the Sun is worshipped in the guise of Mercury from his Caduceus; the
    Egyptians designed it in the form of two intertwined serpents, one male and one female. They are
    bound together in the middle by the so-called knot of Hercules, their heads join in a kiss whilst
    their tails end in wings.(6)

    We are left to ponder the significance of this compact imagery within the context of the decks
    overarching worldview. Whilst Saturnalia is usually described as a week of role reversal, joy and
    fun for all classes, its underlying significance belies this upbeat assessment.
    In the third century BCE, under extreme pressure from the Carthaginian general Hannibal who
    had fought his way from Spain to the heel of Italy, and under the threat of an attack on Rome
    itself, the rites of Saturn had been expanded as an evocatio of the Carthaginian god with whom
    Saturn was identified. Livy describes how, in fear of what might befall Rome, new rites were
    instituted,(7)

    Finally the month was now December victims were slain at the temple of Saturn in Rome,
    a feast was laid out for the gods, another for the public, and for a day and a night throughout the
    City the people cried out Saturnalia; the day was declared a holiday in perpetuity.(8)

    In the midst of the despair occasioned by the destruction of the Roman army at the battle of
    Cannae, and after consulting the Sibylline books to determine the most appropriate course of
    action, two couples, one Greek and one Gallic, each consisting of a man and a woman,
    were buried alive in a stone lined chamber. In parallel, a Vestal virgin, accused of unchastity was
    also buried alive.(9)
    The gladiatorial contests that used to be held in the Forum as an integral part of the traditional
    funeral rites of distinguished leaders were transformed out of all recognition by being transferred
    to the arena as a regular feature of the week-long celebration of Saturnalia. The fourth century
    CE poet, Ausonius, commented,

    it is well known that gladiators once fought in the forum during funerals; now, towards the end
    of December, the arena claims its prey from those who appease the one who bears the sickle with
    their blood.(10)

    NOTES

    Martial. Epigrams. 14.1.

    Macrobius. Saturnalia. Book I:7.32.

    Athenagoras of Athens, Apology, 20.

    Damascius. On the First Principles, 123.

    Plato. Republic. 10.616b-617d.

    Macrobius. Saturnalia. 1.19.16-17.

    Palmer, REA. (1997). Rome and Carthage at Peace. p.57.

    Livy. The History of Rome. Book 22. Chapter 1.19-20.

    Livy Book 22.55-57.

    10

    Ausonius. Ecolgues. On the Roman Festivals. XXIII.

    Copyright Peter Mark Adams 2016


    Excerpted from

    The Game of Saturn: Decoding the Sola-Busca Tarot by Peter Mark Adams
    forthcoming from Scarlet Imprint, Winter 2016

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