The romantic fool is also passionately in love with and engaged to Rosen Kavalier : handsome Aryan warrior and wildly manly Luftwaffe Ace…. Now all he has to do is select the right one out of the hundreds of willing stallions and touchy, eager Arab owners, but as usual the soldiery have the own ideas on the perfect partner, all filtered through personal prejudices and ideological bigotry…. His secret out, Winzig is easily cajoled by Pfirsich into playing at the up-coming wedding, but other problems are surfacing.
Udo had been griping and trying to weasel his way out of his impending, unwanted but necessarily pragmatic wedding from the start. With the Peach incontinent and incommunicado the battle of nerves and dogma rapidly escalates to terrifying heights and when the recuperating Peach almost loses his life in one of the malicious pranks, Udo at last steps in to settle things with disastrous and disgusting consequences….
These gloriously baroque yarns were some of the very best comics of the s and still pack a shattering comedic kick, liberally leavened with situational jocularity, accent humour and lots of footnoted Deutsche cuss-words for the kids to learn. Moreover, with this volume the potential of the minor supporting characters is at last fully realised with The Peach often relegated to a minor or supervisory role. This captivating excursion is also capped off with many magical extras: hilarious marginal illustrations and more cut-out paper-dolls and extra outfits for you to admire and play with: this time featuring the wardrobe of Udo and the log-suffering Winzig.
The Desert Peach ran for 32 intermittent issues via a number of publishers and was subsequently collected as eight graphic novel collections All rights reserved. Since these stories come from a time of poor record-keeping, frantic scrabbling to fill pages and under the constant threat of losing staff and creators to the war-effort, the informative introduction discussing the lack of accurate creator detail and best-guess attributions from comics historian Dr. Michael J. Orphaned and vengeful, the young man thereafter dedicated his life to stopping criminals such as the thugs who had forced his ailing parent to hide and die in such a hellhole….
Horoscope and chart of Claude Monet
The uncredited Rockman story then saw the Underworld Agent stop murder and banditry in Alaska, after which the equally unattributed Corporal Dix debuted in the stirring tale of a soldier on leave who still found the time to clear up a gang of cheap hoods and set his own wastrel brother on the right and patriotic path….
This premier collection then ends on a riotous high note as The Whizzer by Howard James finally came up to full speed in a rocket-paced action romp with the Golden Rocket crushing a gang of thieves targeting a brilliant boy-inventor. With superheroes on the decline again in the early s, four of the six surviving newsstand comicbook companies Archie , Charlton , DC , Gold Key , Harvey and Marvel relied increasingly on horror and suspense anthologies to bolster their flagging sales. When a hysterical censorship scandal led to witch-hunting hearings attacking comicbooks and newspaper strips feel free to type Senate Subcommittee on Juvenile Delinquency, April-June into your search engine at any time the industry panicked, adopting a castrating straitjacket of stringent self-regulatory rules and admonitions.
Even though mystery titles produced under the aegis of the Comics Code Authority were sanitised and anodyne affairs in terms of Shock and Gore, the appetite for suspense was still high, and in National introduced the sister title House of Secrets which debuted with a November-December cover-date.
Supernatural thrillers and monster stories were dialled back into marvellously illustrated genteel, rationalistic, fantasy-adventure vehicles which nonetheless dominated the market until the s when the super-hero which had begun a renaissance after Julius Schwartz reintroduced the Flash in Showcase 4, finally overtook them. Green Lantern , Hawkman , the Atom and a host of other costumed cavorters generated a gaudy global bubble of masked myrmidons which even forced the dedicated anthology suspense titles to transform into super-character split-books with Martian Manhunter and Dial H for Hero in House of Mystery and Mark Merlin — later Prince Ra-Man — sharing space with anti-hero Eclipso in House of Secrets.
When the caped crusader craziness peaked and popped, Secrets was one of the first casualties and the title folded with the September-October issue. This real-world Crisis led to the surviving publishers of the field agreeing to loosen their self-imposed restraints against crime and horror comics. Thus with absolutely no fanfare at all House of Secrets rose again with issue 81, cover-dated August-September just as big sister House of Mystery had done a year earlier. This second enthralling and economical monochrome Showcase compendium collects the chilling contents of issues , spanning August — September , and also features a stellar selection of covers from artists Michael Kaluta, Bernie Wrightson, Nick Cardy, Jack Sparling and Luis Dominguez.
A huge boost to the battered American industry at his time was the mass hiring of a flight of top Filipino artists whose stylish realism, experience in many genres and incredible work ethic made them an invaluable and highly influential factor of the horror boom. This collection especially is positively brimming with their superb illustrative excellence.
Cruz, followed a tormented soul the entire world wanted dead…. All Rights Reserved. In , X-Men 1 introduced Cyclops , Iceman , Angel , Marvel Girl and the Beast : very special students of Professor Charles Xavier , a wheelchair-bound telepath dedicated to brokering peace and integration between the masses of humanity and the emergent off-shoot race of mutants dubbed Homo Superior.
In the aftermath, team leader Cyclops left and a naive teenaged girl named Kitty Pryde signed up just as Cockrum returned for another spectacular sequence of outrageous adventures. Once the confusion has been cleared up and a tenuous truce declared, the united champions realise that mystic avatar Snowbird is dying: a result of some strange force emanating from the Arctic Circle…. When the assembled teams reach the crash site they find not a tangle of wreckage and bodies but a pantheon of new gods dwelling in an earthly paradise, and amongst them Scott and Madelyne, also transformed into perfect beings.
These recreated paragons are preparing to abolish illness, want and need throughout the world by raising all humanity to their level and most of the disbelieving heroes are delighted at the prospect of peace on Earth at last. Soon all that is left is anger, recrimination and savage, earth-shaking battle…. This expansive crossover epic proved that, although increasingly known for character driven tales, the X-Franchise could pull out all the stops and embrace its inner blockbuster when necessary, and this yarn opened up a whole sub-universe of action and adventure which fuelled more than a decade of expansion.
More than that, though, this is still one of the most entertaining mutant masterpieces of that distant decade. Although largely out of favour these days as all the myriad decades of Superman mythology are gradually re-assimilated into one overarching all-inclusive DC continuity, the stripped-down, gritty post- Crisis on Infinite Earths Man of Steel re-imagined by John Byrne and marvellously built upon by a stunning succession of gifted comics craftsman produced some genuine comics classics. This landmark collection features material which originally appeared in Superman: the Man of Steel , Superman , Adventures of Superman , Action Comics and Justice League America 69, spanning cover-dates November to January and opens with the fearsome first glimpses of a of a masked and manacled figure pounding its way free of an adamantine cell.
Whilst the Action Ace brokers a tenuous peace-treaty the horrific and kill-crazy escapee carves a purposeless swathe of destruction across the country…. In a catastrophic explosion the JLA succumb to their punishing injuries and Superman, determined to stop the beast, chases after it, utterly unaware that a family have been trapped in the burning remnants of their home…. Soon after however the Caped Kryptonian catches up with the howling horror in the idyllic hamlet of Griffith, but even with the frenzied aid of majestic alien superwoman Maxima is overcome in a shattering confrontation which razes the entire town to the ground.
Short on plot but bursting with tension, drama and breathtaking action, the epic encounter was but the first step in a bold and long-term plan to push the complacent readership off the edge of their collective seats and revitalise the Superman franchise, but the positively manic public interest beyond the world of comics took everyone by surprise and made the character as vital and vibrant a sensation as in the earliest days of his creation.
The indomitable lass subsequently trained as a Spatio-Temporal operative and began accompanying him on his missions. The Land Without Stars originally ran in Pilote October 8 th to March 11 th and followed the Spatio-Temporal agents as they went about a tedious pro forma inspection of a cluster of new Terran colonies in the Ukbar star-sytem at the very edge of inter-galactic space…. Despite being pickled, the lead agent lands with his long-suffering assistant on the runaway planet and discovers that the celestial maverick is hollow. Moreover, a thriving ancient culture or three dwell there, utterly unaware that they are not the only beings in all of creation….
Typically however of sentient beings everywhere, two of the civilisations are locked in a millennia old war, armed and supplied by the third…. After an accident wrecks their exploratory scout ship Valerian and Laureline deduce that the constant warfare originally caused the hollow world to tumble unchecked through space and will eventually cause its complete destruction, so in short order the professional meddlers split up to infiltrate the warring nations of Malka and Valsennar.
However they are in for a surprise since both city-states are divided on gender grounds, with Malka home to prodigious warrior women who subjugate their effete and feeble males whilst the aristocratically foppish but deadly dandies of Valsennar delight in beautiful, proficient and lethally lovely ladies — but only as compliant servants….
Happily, this mind-boggling forty-year old social and sexual satire is packed with astounding action, imaginative imagery and fantastic creatures to provide zest to a plot that has since become rather overused — sure proof of the quality of this delightful, so-often imitated original yarn — but as always the space-opera is fun-filled, witty, visually breathtaking and stunningly ingenious. Drenched in wickedly wide-eyed wonderment, science fiction sagas have never been better than this. By Joe R. We parochial comics fans tend to think of our greatest assets in purely graphic narrative terms, but characters such as Superman , Spider-Ma n and especially Batman have long-since grown beyond their origins and are now fully modern mythological creatures who inhabit a mass of medias and even age ranges.
Lansdale, whose credits range from novels to screenplays and cartoons to comicbooks in genres as broad as horror, comedy, westerns, crime-thrillers, fantasy science fiction and all points in between, and he is as adept at challenging adult audiences as he is beguiling — far harder to impress — young readerships….
One night as his parents play host to old friend — and Police Commissioner — Jim Gordon , Toby hears a cat in distress and climbs out of his bedroom window onto the roof of his building, only to find a flying galleon heaving-to and the infamous Joker capering about in the guise of a movie pirate. Published under license from DC Comics.
John Ryan was an artist and storyteller who straddled three distinct disciplines of graphic narrative, with equal qualitative if not financial success. The son of a diplomat, Ryan was born in Edinburgh on March 4th , served in Burma and India and, after attending the Regent Street Polytechnic , took up a post as assistant Art Master at Harrow School from to It was during this time that he began contributing strips to Fulton Press publications.
The Eagle was a tabloid-sized paper with full colour inserts alternating with text and a range of various other comic features. Pugwash, his harridan of a wife and the useless, lazy crew of the Black Pig ran until issue 19 when the feature disappeared. Tweed ran for three years as a full page until when it dropped to a half page strip and was repositioned as a purely comedic venture. Pugwash himself starred in 21 tomes; there were a dozen books based on the animated series Ark Stories , as well as Sir Prancelot and a number of other creations. Ryan worked whenever he wanted to in the comic world and eventually the books and the strips began to cross-fertilise.
When A Pirate Story was released in the BBC pounced on the property, commissioning Ryan to produce five-minute episodes 86 in all from to , which were reformatted in full colour and rebroadcast in In the budding s arena of animated television cartoons, Ryan developed a new system for producing cheap, high-quality animations to a tight deadline.
Naturally he began with Pugwash , keeping the adventure milieu, but replaced the shrewish wife with a tried-and-true boy assistant. Tom the Cabin Boy is the only capable member of a crew which included such visual archetypes as Willy , Pirate Baranabas and Master Mate fat, thin and tall — all dim instantly affirming to the rapt, young audience that grown-ups are fools and kids do, in fact, rule. There was even a thematic prequel in Admiral Fatso Fitzpugwash , in which it is revealed that the not-so-salty seadog had a medieval ancestor who became First Sea Lord, despite being terrified of water….
In the Golden Handshake the Querulous Captain finds a genuine treasure map at an auction but a bidding war with nefarious nemesis Cut-Throat Jake turns into a full-blown riot in which the coveted chart is torn in half. Luckily the brilliant cabin boy had anticipated the move and has already copied their portion of the priceless document. I am not sure what "numerique" interpretations of hieroglyphs include.
And remember, hieroglyphs were not considered exclusively Egyptian then; they were any mysterious-looking image or set of images explained by a bit of wisdom. Is D'Odoucet talking about Pythagorean symbolism? In spot-checking Etteilla's books on-line, I did see what looked like Pythagorean examples, e. My main interest in Etteilla, let it be known, is in possible connections to 15th century Italy, where Pythagoreanism was rampant.
But it was in France, too, by the 16th century, as e. The cards are not identified with particular signs, either in the text or on the cards, although there are astrological signs within the illustrations, notably 4, 5, and 6. The text does not, as far as I can see, discuss this illustration.
I do find the same symbolism on card 4 that we find in , but it is not on card 5. Unfortunately, Decker et al do not give us any Coins. In Cups, I think there is a reference to the first triangular number, 3, as well as to the second, By this time, as we see at the end of the row, the Fool has been made card Nor do I find any Pythagorean concepts discussed in the text. I am not sure when astrology got associated with tarot again, after I see nothing in Decker et al before Paul Christian, And I know nothing about the consciousness of Pythagoreanism after Etteilla, except that "Lismon" and "Julia Orsini" seem not to have any.
He goes on the link the rest of the zodiac with the next 11 cards. Again, thanks for saving me some work. Since I do not have a modern Grimaud Grand Etteilla and don't know what "LWB" stands for, I assume you mean that the zodiacal correspondences are the same as in Mary's time-line. But he doesn't in yet have the planetary correspondences in the suit of Coins. Is that right? I am also confused by his description of No.
I see no head of a man on that card, unless it is the shape formed by the contrast between light and darkness. What does Etteilla mean? Is he speaking of the visual shape on the card, or of what it symbolizes. And is that "head of a man" what connects the card to the Pope of the Tarot of Marseille or to "Etteilla" and "Questionnant," the keywords on the card? The Lismon and Grimaud have number one as the male consultant or masculine enquirer card. I hope that makes sense. Hope this helps: kenji. The LWB enclosed with the modern Grimaud Grand Etteilla deck only links the first 12 cards of the deck with the zodiacal signs; this accords with what can be found described in Etteilla's "Fourth Cahier".
The Grimaud LWB also states that in actuality these astrological correspondences play no part in the "jeu", for they aren't relevant to cartomancy but to astrology, and they shouldn't play a part in our interpretations, but are only given for the sake of documentation!
Thanks, all. I wasn't familiar with the 2nd thread that Bernice located, the one where Cerulean posts the "Julia Orsini" translations. I will study them and compare them to my "Julia Orsini. Thanks for the reference to book 3 of the "cahiers" and its connection to the Editions Dusserre booklet. Wow, all these people with the "cahiers" in front of them, a book virtually absent from libraries, or at least per WorldCat! As for your later discussion, Kenji, how do you know which version of card 35 comes from which source? According to Revak, Papus gave his reference as the "Dictionnaire," and Papus had "Naissance" as upright and "Chute" asreversed.
Or did he misquote the "Dictionnaire" so as to correct its error? And how do you know what D'Odoucet wrote? Do you have his book, too? If not, could the change to "Chute" upright and "Naissance" reversed have started with "Orsini" in the page book of c. Ptah: thanks very much. That's exactly what I wanted to know. The 3rd's photocopy I have is what I ordered from British Library.
And the 4th is contained in Jacques Halbronn's book , as you may know. So this is my guess. In this chapter VI Papus says as follows: "Pour aider les travaux des veritable chercheurs nous avons resume en ce chapitre VI les travaux les plus ardus d'Etteilla et de son disciple d'Odoucet. But meanwhile, I can't find the words "Dictionnaire synonimique" anywhere in this book. I may have missed it. Can anyone? Here, "Etteilla" should mean the 3rd "cahier" in Papus' private collection, which is introduced here and there in this book.
Not "Dictionnaire". They are not completely identical. It only shows some minor divergences, e. It says he "chose" three sources as "Origine des textes". And see the pages 39 - And in addition, the synonym for the uprighted 35th feuillet is "Chute". And accordingly, in terms of the 35th card problem, Julia Orsini may have followed the tradition of "Dictionnaire synonimique" she put the "folie" card as the 78th, though. Yes, I see your reasoning. Very good. So Papus uses "consultant" rather than than "questionnant", and has the 35th card with "naissance" upright.
Cheking the c. The translator's footnote says that [quote] The material from the works of Paul Christian appears on the left hand page, followed by the interpretations of Etteilla and d'Odoucet. Thank you. The actual cards of in Decker et al use "questionnant" and have "naissance" upright! So both the "Dictionnaire" and D'Odoucet seem to have departed from Etteilla, while also each keeping a different bit of him. I am now reading Cerulean's translations from the Editions Dusserre booklet alongside the c. Cerulean's is an abridged version of one section of the c. The abridgement is clearly made by an editor with not much sense and a lot of red ink.
For one thing, he or she removes all reference to the method of doing spreads that precedes this section of the book, a very particular method that I have not seen before. He also appears to change the wording often, from what is fairly clear to what is fairly obscure. And he omits a lot. However not to prejudge this editor, I have ordered a copy of the "Grand jeu de dames" deck myself, in hopes that the booklet in question, c.
Getting these booklets is proving rather expensive. I guess I also need an LWB, even though I have no particular interest in the deck that goes with it, whatever it is. I assume it is the same as the one pictured on tarot. And their putting a sun on card 1 strikes me as absurd, if the initial cards have to do with the days of creation. The sun wasn't created until the fourth day. Since publishers list decks rather than booklets, which decks by which publishers have the LWB?
That way I can shop around and get the cheapest. If the cheapest way is to buy the booklet separately, I am happy to do that. Before commenting on the c. I want to ask something about the little writing in script that appears at the top of some of the cards. Some of this writing also appears on the tarot. I assume that means that the card is meant to correspond to the Devil card in conventional tarot decks. These would mean that the card correlates to card 13 of the Marseille, as is fairly obvious.
Here are pp. The diagrams here for cards 1 through 9 are self-explanatory.
The A. I find this way of seeing the initial trumps as significant, in that I have for some time seen the seven days of creation already in the Marseille cards, as hidden meanings of the first seven cards, Bateleur to Chariot, existing as such since Italy of about the end of the 15th century, as well as in the first seven cards of each of the four suits. But I won't do it now. I am not alone in seeing Neopythagoreanism in the Marseille trumps.
Horoscope and chart of Jean-Claude Hartemann
The question now is, when did that tradition originate? I hypothesize that Etteilla, in identifying the early cards with the days of creation, is merely making explicit what was already an esoteric understanding of the first seven cards of the trumps and each suit, going back to the end of the 15th century, not only in the Sola-Busca but probably also the Cary Sheet and Giulia Orsini.
She might be named as author in the same way in which philosophical writing indebted to Aristotle was attributed to Aristotle, and alchemical writing influenced by Raymond Lull--who was no alchemist--was attributed to Raymond Lull. In this way the notations on the top of the cards referring to the Days of Creation might reflect a pre-existing tradition which Etteilla made explicit, although in a garbled way, one going back not to Egypt, or even the beginning of the tarot, but to the time of Giulia Orsini.
So my question now is, where does Etteilla himself, or his immediate disciples, write about the seven days of creation? I want to know more about his rationale for putting them in the tarot. Looking at that text Barnstone trans. I see Biblical-sounding wording in Roman Alexandria, such language is no surprise about the creation of "winged creatures and water fish, and "four footed things and creeping things," and finally the Father bringing forth "a being like himself.
But I see no seven days of creation. No mention of plants or stars either, but that is a small point. Etteilla is perhaps making an imaginative leap; but in what terms? Most of the ingredients are there, except for the seven days. Is there more? Where is Etteilla's discussion? I am sure none of them will lend it to me. Are any of these holdings available on-line? I tried the Bibliotheque Nationale without success. Is it discussed elsewhere? Its revelations are mostly not surprising, as these titles have been repeated in various booklets since.
The alchemists traditionally derided themselves for their folly, spending so much for so little in return as do we all! It is probably said with some irony, since they also claim to have received thereby the favors of Lady Wisdom. I still want to focus on Etteilla I. So all the cards have such numbers.
But what does that mean? My theory is that these numbers represent the corresponding Marseille cards.
Le Maurice Nightclub ouvrira en mai
If the Marseille Temperance represents the Eucharist, as some say, it is a sign of death and rebirth. As for the Marseille Star, that could be the "bright and morning" star of the Apocalypse, too--and again, perhaps, the Eucharist. The others are self-explanatory. Part in brackets added later in same day I forgot to put in this part : [Not only are these cards "signs of death," but each has a particular association with the picture and keywords on the corresponding Etteilla card, I think. Temperance, 14, is associated with marriage, Etteilla's 13, in that marriage should be founded on that virtue, moderation in all things.
It also requires the Eucharist in the ceremony depicted on the card, as marriage is a sacrament. The association of "major force" and the devilish personages on Ettteilla card 14 to the Marseille Devil card is obvious. It depicts what happens to those who do not receive God's grace after death. It is the major force opposing God. The Etteilla card also has other meanings, relating to energy in general. The list of synonyms in the c.
But in relation to death, it is its relation to the Devil that most matters. The association between "maladie" and the Magician depicted on Etteilla's card 15 to the Marseille Maison-Dieu is not so obvious. Here we have to remember that "Maison-Dieu" meant, among other things, a hospital or hospice. There are numerous Internet references to Norman structures in England by that name. A "Maison-Dieu" is a place where one confronts death. As such, on the Noblet and Dodal Maison-Dieu cards, smoke reaches up to the Sun as well as coming down.
It is the human being seeking God in his moment of peril, and God's offer of grace. In Vieville's version of the Maison-Dieu, balls of fire rain down from the sky, and a man looks up fearfully. That is probably a reference to the Apocalypse. A similar reference probably occurred in the Cary Sheet card, of which we have only a part.
See below. The Etteilla I deck which I will discuss next , I think supplies the link. The word "Aaron" is written on card 15 Kaplan vol. The Magician is the Priest who is a conduit for God's grace and punishment. For Etteilla's 16, Judgment, the association to the Marseille 17, Star, might be that both have to do, in one interpretation of the cards, to the Apocalypse, as I have already discussed.
That is when the Last Judgment happens, and it is announced by the "bright and morning star," Christ, offering his body and blood one more time. Etteilla's 17 is Death. Its relationship to the 13th Marseille card is obvious. Indeed, he does seem to be following de Mellet, who reverses the Marseille order and has the cards from World to Devil come first, describing events in Genesis 1 and 2. Etteilla does seem to be using some of these ideas.
Decker et al observe that Etteilla is similar to de Mellet in other ways, too: in his correspondences between the ordinary French card suits diamonds, hearts, spades, clubs and the tarot suits batons, cups, swords, and coins, respectively , and in his general characterizations of the suits. And this is just for the pips; the court cards, I would add, reflect similar themes, with the King and Queen of Batons as man and woman of the country, Cups as man and woman of rank or high office i. It is not necessarily that Etteilla followed de Mellet: these same general characterizations also apply to Atteilla's earlier suit asignments to the Piquet deck in , as Decker et al point out.
However seeing de Mellet's essay, published , would surely have served to strengthen his convictions. Another similarity is that he takes the same view as de Gebelin and de Mellet of seeing the Hanged Man as turned the other way and as Prudence. The fire was quick and violent, and the air, being light, followed the Breath [pneuma] as it rose from earth and water to the fire, so that the Breath seemed suspended from the fire. But the earth and water remained intermingled and the earth could not be seen apart from the water. Before going on, I need to point out that I made an addition to my previous post around Pacific Daylight Time on March I hope ayone who read my post before that will go back and look at it.
Now I would like to move on to examine other versions of Etteilla I. In Kaplan vol. The first, my Etteilla Ia, is that identified by Kaplan as German and midth century. It is actually from , accompanying a book published in that year Decker et al p. Decker et al disagree, and I concur.
They are engraved and hand-painted, Decker et al say p. This deck is very similar to the And as Decker et al point out, on the first eight cards the lettering on the bottom is right-side-up, when it is usually upside-down. This German deck, as Kaplan shows it, has all the double-numbering of cards that Decker et al point out for the The 16 on card 15 is quite clear; 16 has 17; and 17 has Here are the cards of interest, from Kaplan p. Or it comes from the Marseille card associated with it, the Emperor, whose benevolent rule leads to increased prosperity. In Etteilla, it is simply "Judgment" twice.
It is clearer in the c. All are in the synonym lists. Even then he did not follow it precisely. Hi everyone, this is a fascinating thread! I adore all Etteilla decks. Mike H, You have certainly spent a very long time in research and thought to compose all your detailed posts, a very big thank you from me. It certainly made me pull out all my Etteilla decks and Kaplan's encyclopedia. This business with the "extra" numbers on cards 13 to 17 is a puzzle though.
In Kaplan they only seem to appear on a deck he refers to as a "German Etteilla Tarot, mid-nineteenth centuary" p. It also has the meanings at the bottom of the first 12 cards except 7 printed upright, just as in Kaplan's German example. But then, both my copies of what I believe to be Grimaud Grand Etteillas tax stamped , have that additional 16 on card 15, but no additional numbers on cards 13, 14, 16, or, My 's Grimaud Grand Etteilla has no aditional numbers at all.
Are these additional numbers in fact "esoteric" at all, or just an abberation of an erratic printer? Remember that in those days the image, titling and any ruled lines were all separate pieces, hand assembled in a chase and tied with string! Many typos were made; for example I have heard of some Etteilla decks out there with "Eteilla" spelt with only one T.
THE COMPATIBILITIES IN ZODIACS | Yin And Yang | Extraversion And Introversion
When subsequent editions were printed the whole card had to be reassembled again, letter by letter for the tiles etc. Are these possibly the cards mentioned in Kaplan vol. The cards actually clearly show many other differences from both supposed Etteilla I and subsequent Lismon decks, and it is this fact alone that rivets my attention, let alone what anybody ever wrote about the interpretation or "meaning" of the blessed cards!
As someone stated earlier in this thread, there are "hack" writers, and I now believe there are also "hack" printers. What about my blue-bordered stamped Lismon Temperance, which has actually been printed with the title "Temperature"! I'm having trouble attaching images damn it! Is there a size restriction? Not to distract, but version Jeu des Princesse version, majors. The book does have the majors of a line drawing Jeu des Princesse version of "Etteilla" patterns Again, this is only noted here to show a variant of a 'Grand Etteilla', not a true "Etteilla" deck.
There are six cards in sample if the variant adds to the discussion. I do not have further samples to show on this, and somewhat limited resources as you are all discussing more detail and I lack any version of the Etteilla original text. But as a deck sample, this might be of interest. Thanks, Huck. I was trying to pull up those images myself off of trionfi. The first deck you linked to is an Etteilla II, also known as a "Lismon," no earlier than c. There are many. The second group of decks are apparently Etteilla I, yet considerably modified from the original of The second one on that link is the modern Etteilla, identical to that posted on tarot.
It may be the one in Kaplan vol. I am happy to see it in color. There are several versions of Etteilla I; so far, I have found four in addition to the original of , plus one that reproduces the third but with English as well as French keywords perhaps it should be called Etteilla Ice, e for English. Probably there are more. That is why I need to study the link and others. About the extra numbers on the cards, Sumada, besides the German deck c.
The lack of them in the Grimaud I mean the deck on tarot. If it was a printer's error, it seems odd that one of Etteilla's close disciples would take care to reproduce it in his German edition of the deck. The numbers are even clearer there than in the original cards. Meanwhile, since there are many Etteilla decks, I think I will go on and describe three more, all Etteilla I. I am trying to go in chronological order. I will designate the next one Etteilla Ib; it is in Kaplan vol. I posted some examples from it earlier.
It differs from the cards in the following respects. First, outside of the picture frame there are no astrological signs, identifications of elements or days of creation, or other numbers other than the card number. Kaplan deciphers them, and I think they are useful for what they say about how both the Etteilla and its Marseille equivalents were viewed at the time, in some circles. They are as follows, in his order I have added the corresponding Marseille card, for ease of identification by the reader and also for what I want to say next : 4.
A lion is at her feet. The card shows a magician holding his wand over a table to his right. Pierre the Sword of St. Kaplan comments that the designer is trying to identify the suit of cups with Diamonds and the suit of Coins with Hearts.
Making the King and Queen of Cups into the Pope and the Popess follows a tradition articulated early in the 18th century in which Cups was identified with the clergy. Some titles suggest what might have already been interpretations of the Marseille cards: Justice with Solomon, famous for his wise judicial decisions; Temperance with the Apocalypse, for which one needs the Eucharist; the Magician with Aaron. See a previous post of mine, two back.
Here are the two cards, for your examination. Below are all three versions; left to right, they are , , and presumably a restored Here is the google link to the Ernest Kurtzahn book with Etteilla images. While the Jeu de Princesse samples I posted earlier was another variant, you could see the mixing of the Grand Etteilla and the Jeu de Princesse in the pattern in this link to Mr. Kurtzahn's images--only reproduced in the book, as far it is known. Best wishes on your excellent weaving of diverse threads.
Here is a fuller account of the third post version of Etteilla I that I've found, in Kaplan's vol. It corresponds closely to images that Huck linked to, a Grimaud version, the first deck presented in this link. It wouldn't be the first time Kaplan was wrong in his dating.
Or Huck's is simply a reissue of an earlier publication. The version on trionfi. That is characteristic of every Etteilla I that I have surveyed. Cerulean has suggested if I understand correctly that some Grimaud Etteilla Is go one way 19th century, "Naissance" down , some the other 20th century, "Naissance" up.
I will not be convinced of the existence of a "Naissance down" Etteilla I until I see one. Unfortunately Kaplan doesn't include the Ace of Batons in his "nineteenth century" samples. So I can't say whether the Etteilla I on trionfi. I wrote what follows yesterday but wasn't ready to post it until I had fixed the one before it. It might be the predecessor of the modern Grimaud. It differs from the in that card 1 adds a radiant sun in the middle of what was just blank space in ; it puts clothes on the small figures of card 14, the Force Majeur; and it has the script specifying element numbers and day of creation numbers on both top and bottom whereas the has them only at the top.
It also does not include the extra numbers on cards of the Like the , however, it reproduces faithfully the astrological signs on cards and the top writing in script indicating the element number and the day of creation, with the same abbreviations. In all these regards--where it is the same and where it is different from the it is the same as the modern Grimaud on tarot.
Simon, France. Its keywords only the French, of course look faithful to the deck, and the pictures have the same discrepancies as the other deck just mentioned. Mike H wrote: Cerulean has suggested if I understand correctly that some Grimaud Etteilla Is go one way 19th century, "Naissance" down , some the other 20th century, "Naissance" up.
I really would like to correct that posting, because I believe that you have a mistaken impression. Or perhaps your impression comes from how I am referring to my decks? I'll explain below. Your terminology and mine could be different because I am distinguishing the decks by their publisher and date--Lismon Etteilla , for instance and Grimaud Grand Etteilla to I have posted in other times about what the card dealer Wolfgang Kunze said of my Lismon Etteillas that the card designs on the Lismon might be even earlier than as Grimaud supposedly bought the warehoused Lismon decks and the date stamp of was required for decks in that time period.
I tried to be very clear in all my posts recently of referencing my Lismon Etteillas differently than my Grimaud Grand Etteillas. That is why I suggested specifically to others to buy the Jeu des Dames bilingual edition of the Editions Dusserre deck where Chute is upright in the instructions--because it matches the earlier Lismon Etteillas.
I am not certain, but I think you bought the Jeu des Dames bilingual edition of the Editions Dusserre that I tried to recommend to people previously-- although you didn't describe it to me that way in your pm, so I was uncertain of what you bought --because of what I said about the Chute as upright, which matches the Lismon Etteillas of My discussion for the Lismon Etteilla posts span more than a few years in this forum-- but the upright Chute for the Lismon Etteilla was clear in my mind.
If I am unclear in my references to my Lismon Etteillas, please let me correct the impression. My copies of my Lismon Etteillas have Chute as upright. Because there are many early posts--some 7. I am hopeful that what I posted seems clear. Regards, Cerulean. We agree. I wasn't sure what you meant--that's why I said " if I understand correctly. I wasn't sure. Thanks for the quick clarification. I'm relieved. It would be a mess otherwise.
So now I will conclude my survey of Etteilla I versions. After tomorrow morning I'm not going to have much time for posting for a few days. In one respect, however, it is a huge departure from earlier decks: the keywords are in very many cases not the same as in or any early decks that I can find. Other decks departed in a few cases; but this one really goes overboard. So let us see if that is so. Here are the first 36, interrupted occasionally with my comments. First comes the Grimaud keywords, then whether they are in the word-lists, and finally what the original keywords were in , as far as I can determine.
God is there, too, which perhaps explains the sun on the card. Both are in both lists.. Upright: Discours is close, as is Propos. Both there. Neither there. What we have so far: the designer does not find the words for the four elements useful any longer. Nor the 7 days of creation. Nor male and female querent.
Instead, he will go to the word-lists and get primarily words describing personal and especially psychological characteristics of typical modern human beings. When he does not find what he wants, he apparently makes up his own keywords unless someone knows of a source. And in general, he picks positive words rather than negative ones.
Upr: there. Both are in the lists. Both there, although not typical; synonyms stress good judgment vs. Upr: ok. Rev: closest is paralyse, but psychologically. Both there, although rev. Both there, although words more various. Both ok. Upr: not there. Rev: there, among a variety of other meanings.
Now I will go through the suit of Batons, which goes through the four courts, King through Valet, and then 10 through Ace. Both there, but lists have more variety. Man of the Country, Good and Severe Man. Both there, among others. Both there, but reversed. Upr: In Papus but not Orsini. Both there, but Rev. In general, our designer tends to avoid associations to the countryside and uses both Papus no.
He often picks atypical words; the word-lists go in more directions. In general he sticks closer to the originals than he did in the trumps. In tarot. Their astrological symbols appear inside the coins in the upper part of the card. Surprisingly to me, the Etteilla meanings do relate to attributions that I know for the planets, primarily in the Reverseds. Obstruction is there, but very secondary. Some of the secondary Uprights relate more to the Moon: lunar medicine, white stone. Venus is not especially known as a mother, but from the Renaissance on, she was often portrayed with her child Cupid.
She also associates to the upright, Fame, to be sure. Mercury was the key transformative agent in alchemy. So there is much correlation between the planets as arranged by Etteilla and the keywords in the suit of Coins, mainly in the Reverseds, most of it retained by the Grimaud. Then there is the issue of Masonic symbolism, etc. I feel better about the modern Grimaud now than before I checked out the keywords against the old "Orsini" and Papus word-lists. The deck both modernizes the keywords and retains what was already there, in the word-lists of his disciples.
Etteilla's own keywords were of his time, and from cartomantic traditions before his time. However the question of how important they thought it was to use the whole lists is in doing Etteilla deck readings, as opposed to using only keywords, has yet to be discussed. That's where comparing the "Julia Orsini" books and booklets I think will shed some light. I feel ready to move onto to the Etteilla II decks, unless someone has something to discuss about Etteilla I. Before comparing the "Julia Orsini" texts, I want to make sure we are clear on what characterizes these decks, for which the books and booklets were written.
Cerulean's note: I know what booklet you are talking about, but actually let me be more specific. I have typed the Ace of Wands text from B. Grimaud booklet that accompanies the Grimaud Grand Etteilla and referred to this as "C". I have also typed the Ace of Wands text from the J. Simon booklet that came with the Grimaud Grand Etteilla reproduction and referred to it as "D.
Simon booklet that came with the Grimaud Grand Etteilla reproduction deck and referred to it as "E. MikeH says: 4 A booklet, possibly attributed to Julia Orsini I was not sure from your post, nor of how many pages , that came with the Jeu des Dames Etteilla III deck, originally put out by Editions Dessures and now available as a bilingual booklet that comes with the Jeu des Dames deck sold at Bear's Lair.
Cerulean's note: she refers to this as "A" and has presented it first, as this is an English text that seems closest to the Lismon Etteilla booklet. MikeH says: If this list is correct, I will look forward to samples from your 2 , that I can compare with my 1. Here is a sample for Card 35 - Mike H. Undated circa Editions Dusserre unnamed translator P. Lismon Etteilla P. Chute - Naissance As de Baton ou de Carreau. Une deroute complee, le feu, ou une maladie serieuse vous sont predis par ce tarot; mais vous echapperez certainement a tout ce qui vous meace.
Cote a cote avec le n. Reversee, cette carte est un signe de naissance; elle annouce a vous et au votres une longue posterite si elle se rencontre avec le n. Aupres du n. In my mind, I believe that I indicated that the wording of the text by B. Grimaud is distinctly different than the Lismon Etteilla, but didn't give specifics to 'how different' from the Grimaud ? I find the Grimaud Grand Etteilla ? The two decks may share the pattern name of Etteilla II, but close examination seems to bring out their distinctive differences to me.
Grimaud Grand Etteilla B. Grimaud P. Mais si la carte est renversee, l'enfant que vous aurez espere ne naitra point. Aupre du n. Defiez-vous de medcin qui vous ordonne les sansues; il faut vous purifier le sang, mais no vous l'oter. On vous ordonnera e l'opium, n'en prenez pas inconsiderement. Grimaud Grand Etteilla English booklet copyright by J. Simon P. Next n. The only remedy will be to purify your blood. Beware of the doctor that suggests another kind of cure. Next to n. You will be treated with drugs. Don't take too many so that the taking of drugs will not become a habit. This card is never good regarding birth or business deals.
You may get a child. But will it live? A good piece of advise. Sell out before you go broke. With Do not let yourself be seduced. Near A disease of the blood. You are threatened with serious trouble I do not think I can answer any more booklet questions in such detail. Others who have historic Lismon or Grimaud decks as they can also look through all your notes and will do what they can. My card backs are my repeating motif of either a tiny floral or blue 'swirling suns' on back on both my copies --the unboxed, without booklet copy and the one that arrived with the booklet and Grimaud Grand Etteilla o box.
These are not reproductions, they are the original old decks. I do have in addition to the original two old Grimaud Grand Etteillas a reproduction That box cover has colored images. My old original Grimaid boxed deck is in a burgundy box cover and has a black and white label. The Grimaud Grand Etteilla has a black and white version of the same image that the Editions Dusserre reproduction box has in color. I did not check the French text of the deck beyond noticing it lists Naissance as upright. Note: sorry, correction, found the cards as Naissance listed upright, but text chosen by Jean Marie L'hote in booklet does not agree with the booklet of Grimaud that came with my deck.
More detail in later post I only speak of my decks. Please understand there is no Lismon Etteilla reproduction that I am aware of as of Again I can only speak of what I have seen so far. I am certain if others have different information they will give good detail and sources for people to update. Pictures to reference or dates and authors help. My English J. Simon translation D of the Grimaud Grand Etteilla seems to follow the - text fairly closely. Some of the linked thread images have very clear scans of the box, booklet title page and other deck images--these are what I have as well.
I had to re-process and downsize my Android mobile images and they still weren't as clear and good as the deck card images shown in this linked thread. I am going to post some of the images that replicate my Lismon Etteilla box, booklet and cards--they are actually from other people's decks in the linked thread, as they show what I have much better than I can do now. I hope this link and these images of the Lismon Etteilla are enough help for the comparisons right now. Lismon Etteilla Keyword listing from and some sample images.
I went through the 62 or so pages of postings several times and believe this concludes what I could provide now. Hopefully the lists,detail, links and pictures were helpful. Thank you, Cerulean, for the samples from the booklets, the pictures of various cards in different decks, and the links.
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Now I have a couple of posts' worth of responses! The French wording is the same in the two, except that your B omits some sentences. Would you agree? If so, I would want to focus on comparing these four: The French in A, i. The English in A, i. Your English translations as posted, which I take it are from your B, the abridged version of the French in A. It seems to me that what we have, over time, is: Originally, my c. Then, the French text in A, which is an abridgement of the c.
Next, the French text of B, which is an abridgement of A. At some point, the English translation of A. And finally, your English translations of sections of B. To which will be added as needed: my English translations from the c. For now let us ignore the others, which are from a different textual tradition.
Including them would be too hard at this point. I would suggest using the French and English texts of A as a point of departure, since both of us have that, and probably other readers of this Forum as well. I will illustrate what I mean by looking at pp. Then there is an interesting characterization of the trumps. The French of c. All you do is draw a rectangle in the middle, put the title of the card in the middle of the rectangle, where the picture would go, and the keywords on top and bottom, as well as the card-number. The book then includes the 78 patterns to follow.
In other words, the pictures themselves are inessential. Naturally the booklet omits this paragraph and the patterns, since the publisher is in the business of selling decks. This part is the same in French and English, as far as I can determine, and corresponds to what I have in the c. However I inadvertently failed to copy two pages, a page of which was the beginning of these instructions, having to do with the initial shuffling.
But the instructions look the same where I have them. Then comes how to do the reading. You start with the first line and go from right to left. In that case, you take card 8, the Questionnante, and place it to the right of the first card, outside the line. You apparently fish it out of the undealt cards, or out of the cards already laid down, although the procedure is not specified. So far nothing is different among the English, the French on the other side, or my c. Then comes the reading.
The English gives each of the seven cards by number and the corresponding keyword. In one case, the French is different. But that is not so. The French wording is an attempt to simplify something that is in my c. The relevant page of c. Here is my scan. I include p.
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The point is to make a sensible prediction out of the cards dealt. The other cards predict a marriage to a brown-haired man who is rich, from which there will be children. You have to pick and choose. Then the instructions say that if card 8 happens to be in the first line, and you are reading for a woman, you take it out of the line, put it to the right on the side as alerady said and put another card from the unused pack in its place which was not said.
The same is true if you are reading for a man and card 1 is in the line. This instruction is the same in English and French, and also the same as in the c. Here the English and the French are again different. The English has, [quote]If the meaning of the first line is unclear, translate the other lines in succession, and then come back to the first line. In the c. In that case, you go to the next line of cards. But still, how is one to understand this instruction?
Is the total reading a combination of all the rows, including the first as the English suggests , or is it just the reading for the line at which you first got a reading that makes good sense, using all the cards of that row? So it seems to me that the c. I think this procedure with the six rows is important. Even using the whole of the word-lists, the meanings are so specific that it may be impossible to come up with a reading that makes sense on the first try.
So you go to the next line, and so on, as the French texts say. As to whether you are merely clarifying the first line, or abandoning it and trying something different, perhaps others have an opinion. Next the booklet, in both French and English, describes how to do a reading with the remaining 35 cards, if one chooses. Unfortunately I failed to copy the first part of this description, including part of the list of interpretations of pairs, triples, etc.
Two pages stuck together. What I have for c. Then on p. This section is not in the c. Now we are ready for the more detailed interpretations of each card, starting with 1 p. To be continued in another post at some point, not today. The left uses the tarot names, and the right uses the French names. Sumada also observes that the left side is in always in italics but the right side not. But on the Cavaliers, "Baton" etc. Ross points out that this exception is probably because there are no Cavaliers in French suits post The third type I have found only in the reproductions in my c.
It is like the first type in having the suit names in both tarot i. Italian and French versions. It differs from both of the other types in not having the day of the week number in parentheses under the upright keyword or the number of the element in parentheses under the reversed keyword, for those cards to which these descriptors apply. Here are illustrations of these differences.
First I show the difference between those with and without the parentheses: left to right, these images are from my c. Here I must use two cards for comparison, as Kaplan and trionfi. In the top pair, the one on the left is Kaplan, and the one on the right from trionfi. In the bottom pair, the one on the left is c. It would be interesting to see if there are any other cads in such a deck where the same thing happens, and also whether there is any other writing in script, as we see in the So there is no fifth type.
As with some of the Etteilla Is, in all three Etteilla IIs, all the zodiacal designations outside the frame on the first 12 cards have been removed. The main difference between Etteilla I and Etteilla II that affects all the cards is that titles have been added to all of them, repeated on both sides of the picture outside the frame. The titles for are: 1. Le Chaos. La Lumiere. Les Plantes. Le Ciel. Les Astres. Les Oiseaux et les Poissons. La Justice. La Temperance. La Force. La Prudence.
Le Grand Pretre. In the trumps, differences are mostly in the pictures on four of the cards, as Decker et al have noted. Temperance has an elephant instead of the two jugs; Prudence holds her staff up proudly, carrying a book in the other hand, instead of looking fearfully at the snake in her path. There are probably other minor differences like that. There are also a few differences in the trump keywords between I and II. These designs tend to be oblong in shape, and some have playing cards in them.
Cups have circular designs, of the sort seen in emblems. In Swords, various male heads are given, looking like warriors. In Coins, what we see are various female figures engaged in ladylike activities such as playing a musical instrument, smelling a flower, writing a letter, or playing with a small dog.