Uncover the Renaissance Roots and Enigmatic Evolution of Tarot Cards

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An exhibition at London’s Warburg Institute traces tarot decks’ evolution from the 1450s through the present

Eli Wizevich – History Correspondent

April 7, 2025 1:59 p.m.

In Italo Calvino’s 1973 novel The Castle of Crossed Destinies, a group of travelers finds themselves in a forest where each must communicate their stories through tarot cards, as their ability to speak has been stripped away by their journey. Calvino reflects on the potential of tarot, viewing it as a tool for narrative construction, suggesting a wealth of stories encapsulated within a single deck.

Fast-forwarding nearly six centuries since the advent of tarot, society continues to interpret and intertwine narratives through these iconic cards. This transformation from a card game to a popular instrument for divination is the primary theme of the exhibition titled “Tarot: Origins and Afterlives”, held at the Warburg Institute in London.

Bill Sherman, the director of the Warburg Institute, acknowledges the current ubiquity of tarot, noting that while its presence is widely recognized, its extended historical context—spanning over five centuries—is less understood. The exhibition invites visitors to explore the origins of tarot in 15th-century Italy, where the cards were influenced by classical art and pagan themes, primarily viewed as games or luxury artworks for the elite, as noted by co-curator Martina Mazzotta.

As the sixteenth century progressed, tarot spread throughout Europe, gaining popularity in tandem with the aftermath of the Italian Wars as returning French soldiers introduced the game. The establishment of printing in Marseille led to the creation of the standard format known as the “Tarot de Marseille,” which features 78 cards organized into four suits, including the major arcana and the Fool card.

It wasn’t until the late 1700s that tarot took on a more mystical association. Antoine Court de Gébelin, a French pastor and occultist, discovered tarot cards and postulated that they represented a hidden Egyptian religious text, the Book of Thoth. Following his lead, Jean-Baptiste Alliette, also known as Etteilla, designed the first tarot decks specifically intended for fortune-telling.

Moving into the 20th century, tarot maintained a presence in the practices of various secret societies, such as the Hermetic Order of the Golden Dawn, where notable figures like W.B. Yeats and Aleister Crowley explored its mystical properties. Simultaneously, tarot integrated into mainstream culture, as Aby Warburg, the institute’s namesake, began collecting diverse tarot artworks in 1909, reflecting his interest in the reception of ancient imagery in contemporary art.

Noteworthy artistic tarot decks include the renowned Rider-Waite-Smith deck, crafted by Pamela Colman Smith, and the Thoth Tarot, designed by Lady Frieda Harris, both integral to the exhibition. A particularly rare tarot set created by Austin Osman Spare in 1906 features distinctive, sparse images, recently discovered in the archives of the Magic Circle, a London-based magicians’ organization.

In recent times, tarot has found its place in political discourse, with works like John Walter’s Lockdown Tarot, which utilizes recognizable public figures to comment on contemporary issues. Similarly, Suzanne Treister’s Hexen 2.0 deck delves into discussions around surveillance and technology through its card designs.

These modern interpretations of tarot align with its historical roots as a medium for reflection and dialogue. Co-curator Jonathan Allen asserts that these contemporary twists are not departures but rather a return to tarot’s foundational purpose as a means through which individuals can navigate the complexities of their environments. An example of this is the Barrow Tarot, created by Katie Anderson to facilitate community involvement in envisioning future urban planning in Barrow, England.

The durability and evolving nature of tarot over nearly 600 years serve as a testament to its cultural significance and the rich narratives it generates. Sherman encapsulates this accessibility, remarking on the format and symbolism of tarot which allows it to be widely created and used, distinguishing it from many forms of contemporary art.

“Tarot: Origins and Afterlives” is on display at the Warburg Institute in London until April 30, 2025.

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