by Estéban Trujillo de Gutiérrez
“I have already referred to the fact, first pointed out by the late Mr Alfred Nutt, 1 that the four treasures of the Tuatha de Danann correspond generally with the group of symbols found in the Grail romances; this correspondence becomes the more interesting in view of the fact that these mysterious Beings are now recognized as alike Demons of Fertility and Lords of Life.
As Mr Nutt subsequently pointed out, the ‘Treasures’ may well be, Sword and Cauldron certainly are, ‘Life’ symbols.
Of direct connection between these Celtic objects and the Grail story there is no trace; as remarked above, we have no Irish Folk or Hero tale at all corresponding to the Legend; the relation must, therefore, go back beyond the date of formation of these tales, i.e., it must be considered as one of origin rather than of dependence.
But we have further evidence that these four objects do, in fact, form a special group entirely independent of any appearance in Folk-lore or Romance. They exist to-day as the four suits of the Tarot.
Students of the Grail texts, whose attention is mainly occupied with Medieval Literature, may not be familiar with the word Tarot, or aware of its meaning. It is the name given to a pack of cards, seventy-eight in number, of which twenty-two are designated as the ‘Keys.’
These cards are divided into four suits, which correspond with those of the ordinary cards; they are:
Cup (Chalice, or Goblet)–Hearts.
Lance (Wand, or Sceptre)–Diamonds.
Dish (Circles, or Pentangles, the form varies)–Clubs.
To-day the Tarot has fallen somewhat into disrepute, being principally used for purposes of divination, but its origin, and precise relation to our present playing-cards, are questions of considerable antiquarian interest.
Were these cards the direct parents of our modern pack, or are they entirely distinct therefrom? 1
Some writers are disposed to assign a very high antiquity to the Tarot. Traditionally, it is said to have been brought from Egypt; there is no doubt that parallel designs and combinations are to be found in the surviving decorations of Egyptian temples, notably in the astronomic designs on the ceiling of one of the halls of the palace of Medinet Abou, which is supported on twenty-two columns (a number corresponding to the ‘keys’ of the Tarot), and also repeated in a calendar sculptured on the southern façade of the same building, under a sovereign of the XXIII dynasty.
This calendar is supposed to have been connected with the periodic rise and fall of the waters of the Nile.” 2
Jessie L. Weston, From Ritual to Romance, 1920. Pp. 73-4.