• Water is central to both images. In Judgement, we see the people floating in "caskets" on a large body of water. In The Star, we see a pond with 5 smaller streams beside it.

• There are mountain peaks in the background of each image. Mountains symbolize initiation, overcoming obstacles and greater perspective.

• The number 7 shows up in both cards. In Judgement, we see 7 notes coming from the trumpet. In The Star, we see 7 small stars. 16 (The Star) also reduces to 7 if we add 1+6. The number 7 has many mystical links and may be associated with the 7 ancient planets or the 7 chakras.

• Nudity is a central feature in both cards. Nudity in tarot speaks to innocence, a lack of shame and also transparency. It could be said that these cards in combination speak to exposing what was once hidden so that the truth may be revealed.

• The people in Judgement and the figure in The Star all display open gestures or body postures. This reinforces the idea that nothing is hidden, all is welcome and in full view.

• Vibrations are present in each scene. In both cards, the bodies of water are vibratory. In Judgement, the music from the trumpet is another form of vibration.

• The Hebrew letter Shin (ש), associated with Judgement, is often linked to the "Ruach Elohim," also known as the "breath of God," due to their shared numerical value of 300. This points to an esoteric link between the element of Spirit — also associated with Shin — and the element of Air, of which Aquarius — ruler of The Star — is the fixed sign.

• The letter name of Shin (ש) translates to "tooth," while that of Tzaddi (צ) — the letter associated with The Star — translates to "fish hook," which is said to point to the act of meditation, in which the aspirant "fishes" for answers in the waters of the unconscious. If we put the two letter names together and interpret them as a story, we might say that something on the other side has "bitten" the hook, and is perhaps granting us the revelation we sought.

• Each card contains an overseeing body. In The Star, it’s the woman sifting through the water. In Judgement, it’s the angel hovering above. Could it be that when we are unconscious, that force looks more like The Star - a whisper or an elusive guide? In Judgement, the force is louder, something that can no longer be ignored. This could be why Judgement is sometimes interpreted as a reckoning. Truth can feel like punishment, but only if we choose to see it in a negative light. From another perspective, it's main purpose is to lift us up (from unconsciousness), call us in and unveil itself to us.

• Both cards have ties to Scorpio. The 7 of Cups is ruled by the 3rd decan of Scorpio and The Tower is associated with the planet Mars, which rules Scorpio.

• Numerically, the cards connect. The Tower is 16, which reduces to 7 when you add 1+6.

• There are tower-like structures in each image. We see a tower as a central feature in The Tower, while in the 7 of Cups we see a tower emerging from the cup on the bottom row, to the far left.

• There are clouds visible in each scene. Clouds may symbolize confusion, obscurity or a lack of clarity.

• There are stark black features in both images - the black background in The Tower, and the black silhouette of the character in the 7 of Cups.

• Symbols for materiality show up in each card. The tower represents a material structure. The colour black points to material matters. As well, the jewels and tower in the 7 of Cups allude to this.

• Illusion is a theme belonging to both cards. They suggest that looks can be deceiving. The 7 of Cups shows a handful of cups that appear to be full of potential. But, can they be trusted? Are they distractions or even temptations? The Tower, on the other hand, looks terrifying, but is it a necessary cleansing? Could its results lead to a better tomorrow? Both cards ask us how we can lift the veil of illusion so that we may see clearly. And furthermore, given the choice, would we choose to lift that veil to see the truth, even if it meant giving up a “better”, albeit superficial, perspective?

• Both cards are associated with Libra. Libra is assigned to Justice while the 2 of Swords corresponds to the 1st decan of Libra (Sept. 23-Oct 2.).

• Both images feature swords.

• Both cards are ruled by the element air.

• Both cards carry a 2 vibration. the 2 of Swords is obviously associated with the number 2, but even Justice reduces to 2 if we add 1+1.

• There are themes of balance represented in each card. In Justice, we have the scales and the idea of creating harmony through recalibration. In the 2 of Swords, we see an individual carefully balancing 2 raised swords. The number 2 is also associated with balance.

• The individuals in each card can both be seen sitting on a stone bench, both hands engaged and wearing a long gown.

• The blindfold in the 2 of Swords is an interesting feature linking itself to Justice via the idea that "justice is blind". We  would also note that Lady Justice is often depicted with a blindfold. She also holds scales and a sword. If you look at that statue, you will see an interesting blend of both Justice and the 2 of Swords.

• There is a sense of something being hidden in each image. In Justice, this is represented by the Veil. In the 2 of Swords, it is represented by the blindfold and vast body of water in the background. Perhaps something about the process of harmonization happens behind the scenes, in ways that we can't always perceive. And so justice requires we trust and have faith in the process. In other words, what may look like injustice on the surface, is always ultimately handled by nature and worked out in the long run via unseen forces. We must use all eyes (inner and outer) to know the whole truth.

• Both figures have blond hair and a similar style of dress (tunic, tights, belt).

• Crosses are evident in each scene. In the 10, we see a figure holding a stack of sticks that cross over one another. Their arms are also crossed in front of them holding the bundle. In The Hanged Man, we see a figure hanging from a T-shaped tree, arms crossed behind their back, and leg crossed as well.

• In terms of contrasts, the 10 of Wands depicts someone who is totally encumbered with their load - burdened and bearing the weight of things. In The Hanged Man, we see the total opposite. Someone at rest, suspended in time and unbothered.

• While The Hanged Man is a Major, there is definitely some wand-like activity happening in the card. Just look at the tree they are is hanging from - it has the little leaves and all!

• The 10 of Wands is attributed to the 3rd decan of Sagittarius, which is ruled by Saturn — which itself is linked to the symbol of the Tau cross, depicted on the Hanged Man. The elemental juxtaposition of fire (wands) and water (Hanged Man) can also be seen in the Temperance card, which is linked to Sagittarius as well. In addition, the number of Temperance, 14, can be linked to Osiris, an important deity of death and resurrection (i.e. Hanged Man) in our Western mystery traditions. In Egyptian mythology, Set cut Osiris into 14 separate pieces and scattered them in the waters of the Nile, wherefrom Isis collected them — minus his phallus, which was eaten by a fish — and resurrected him with the help of Nephthys and Thoth.

• There are some fascinating numerological links between these cards. For instance, if you add them together (10 + 12) you arrive at 22. 22 points to the 22 Majors in tarot, the 22 letters of the Hebrew alphabet and 22 paths on the tree of life. If you take the 2 cards separately, they also have significant numbers on their own. 10 being the number of spheres on the tree of life (more below) and 12 being the number of signs in the zodiac. If that were not enough, the number 12 does another interesting thing. If you add up all the numbers between 1 and 12 (1+2+3+4+5+6+7+8+9+10+11+12), you get a sum of 78 - the number of cards in a complete set of tarot. These cards together, and also on their own, seem to culminate in mystical sums where we get the entirety of something of importance; all the paths on the tree of life, the entire deck of tarot and the whole zodiacal wheel.

• More on the numbers connection - we could suggest that the 10 of Wands depicts the Sephirothic energies in a raw, unstable form — but if we work our way up the Tree, traversing the 22 paths represented by the Majors and undergoing the necessary initiatory experiences, we can thereby create a stable psycho-spiritual "structure" that can withstand the hardships of life. (The number 22 can further be reduced to 4, which is also linked to the symbol of the cross, and the 4 harmonized and equilibrated elements.)

• Ultimately, we see a very Christ-like narrative playing out here. If you look at the cards as a storyboard, then we have someone literally walking themselves to a cross, carrying the burden of that cross every step of the way. So, maybe that’s what we do here. We come to learn, experience and thus accumulate. But, maybe there comes a point where we’ve acquired so much that we can no longer bare it, and then we must begin the sometimes long and arduous journey toward releasing it all - toward surrender.

• In each card we see, amidst the starkness, a sunny horizon. This assures that endings and beginnings can be found within one another - simultaneously present - regardless of the surface of things.

• We can see mountains or peaks in the distance. This could imply that while an ending may be imminent, the process may take the seeker to a higher vantage point or even an initiation of sorts.

• The Hierophant makes an appearance in both scenes. In Death, we see a pope-like figure standing before Death. In the 10 of Swords, the fallen figure makes a hand gesture just like The Hierophant of key 5.

• Both images feature a fallen figure covered by a blanket - assumingly deceased.

• The number 13 can be reduced to a sum of 4 (1+3), which in turn can be expanded to 10 by adding all the preceding digits together (1+2+3+4).

• Water can be seen in the background of both landscapes. Water may symbolize our emotions and the subconscious. It is our impression that the bodies of water in these scenes have some depth to them (as opposed to other cards which feature streams or ponds). This could indicate that there was much below the surface leading to the outcomes in these cards. The Hebrew letter associated with Death is Nun (נ), which means “fish”. And of course, Scorpio, a water sign, oversees Death. Lots of water stuff beyond the imagery here.

• Furthermore, if we view water as a symbol of baptism and renewal, we can see Death as a cleansing, and thus the beginning of a new life. It's interesting to note that early Christians used the symbol of the fish — Nun (נ) — to identify each other. On the Tree of Life, the Path of Nun leads from Netzach, the sphere of Venus, to Tiphareth, the sphere of the Sun, which is also linked to Christ, Osiris, and other deities associated with death and resurrection.

• There are 10 swords and also 10 petals on the rose in Death. The number 10 signifies endings, but in a way that touches on the themes of Karma as well (a la The Wheel of Fortune). We can think of it like this: We spin around 9 times, and when we get to the 9th spin, we start the same wheel over UNLESS we have completed some karmic obligation that releases us from that cycle. In that case, we move to another wheel at a higher octave to continue the work. Both of these cards then may suggest that things aren’t just ending, but that an important cycle is closing. This lends it to feeling bigger, more revolutionary or downright transformational.

• The swords depicted on the 10 of Swords appear to follow the victim's spinal column — the pathway through which the serpent power, or kundalini, is directed via the seven energy centres, or chakras. In medical astrology, Scorpio, the ruler of Death, is often linked to the bowels and the reproductive organs, the former of which is the seat of the base chakra and the latter the sacral, which itself is ruled by Mars. This is especially interesting for our purposes, since the kundalini is said to arise from the sublimation and redirection of sexual energy. In the Sepher Yetzirah, the path attributed to Death is called the Imaginative Intelligence, and it is the imagination itself, along with the power of breath (swords/air element) that is used by practitioners to direct this current of energy. Some modern Hermeticists believe that personal immortality is not guaranteed, and that it is up to the practitioner to ensure his own immortality by learning to harness and direct these occult bodily forces to create what is called the Body of Light — an etheric double that serves as a vehicle through which the practitioner can pass between worlds and even survive physical death, according to some.

• The 10 of Swords is associated with the 3rd decan of Gemini, which is ruled by The Sun. In Death, the sun can be seen rising in the East. One could say that the impending darkness of the 10 of Swords represents the sun "setting" on physical life, while the sunrise in Death is a symbol of the rebirth which follows. Another nod to the idea that endings are in beginnings and beginnings are in endings and on and on and on.

• The 2 of Cups is linked to the second decan of Cancer, in which Jupiter, the ruling planet of Sagittarius (associated with Temperance), is exalted.

• We see 2 cups utilized in each image. In the 2 of Cups, two figures hold one cup each. In Temperance, the angel is holding both cups.

• There are mountains or peaks in the background of each scene.

• Themes of balance, moderation and harmony are prevalent in each card. The number 2 symbolizes partnership and balance, while Temperance is a clear nod to this, both in its namesake and its visual depiction.

• The figure on the left in the 2 of Cups wears a similar white gown to the angel in Temperance.

• The Two of Cups depicts a red lion with wings surmounting a staff entwined by twin serpents — a potent alchemical symbol if ever there was one. Among other things, the lion is a symbol of Leo, which is ruled by the Sun, whose sigil is emblazoned on the angel's forehead in Temperance.

• Visually, the wings of the lion and the wings of the angel bare a similar reddish hue.

• Alchemy or the great work is clearly being depicted in both images. Temperance balances the alchemical waters, fire and water. On the other hand, in the 2 of Cups, The Red Lion is an alchemical symbol representing instincts and the emotional life brought under the conscious control of the ego. More esoteric versions of the Tarot, such as the Thoth or B.O.T.A. decks, depict a lion and eagle, representative of the red and white stones of alchemy, themselves representative of the solar and lunar forces.

• As mentioned above, the winged red lion on the 2 of Cups is "supported" by a caduceus-like staff of twin-serpents. Samech (ס), the Hebrew letter linked to Temperance, means "prop," or "support," and is also considered a "serpent letter," along with Teth (ט) and Lamed (ל). Teth (ט) is said to represent the serpent power in its dormant state, coiled at the base of the spine, while Lamed (ל) is said to symbolize it once it has been aroused and brought under the conscious control of the ego. Samech (ס) is said to represent the ouroboros — the serpent power once it has been harnessed and used to bring about cosmic consciousness, or in alchemical terms, the Philosopher's Stone.

• Together, the man, the woman, and the lion in the 2 of Cups form a triangle with the apex facing upwards, much like the fire triangle depicted on the Temperance angel's breast. It is also important to note that Sagittarius, the zodiacal sign attributed to Temperance, is a fire sign. The Temperance card itself is sometimes seen to symbolize the balancing of the fire and water elements, which is interesting when we consider that Jupiter, the ruler of Sagittarius, is also a co-ruler of Pisces, a water sign.

• The couple depicted in the 2 of Cups, along with the twin serpents, represent the solar and lunar forces — self-consciousness and subconscious bodily intelligence, or the Ruach and Nephesh of the Qabalists. These are the same forces represented by the two cups held by the Temperance angel. The winged lion, as well as the angel itself, represent the superconscious influence of the Neshemah, the overarching triad of the Higher Self, consisting of the Neshemah (intuition), as well as the Chiah (higher will), and the Yechidah (individual essence).

• Overall, we see alchemical operations taking place on different planes. Temperance may represent a higher order or greater expression of this work while the 2 of Cups provides an opportunity to witness/participate with it in more practical ways. We know that relationships have the potential to be incredibly transformative, and through them, we are often given the chance to balance our own inner fire and water. In this way, relationships can heal, and they can also point out places where there is still work to be done.

• 13, the number of Death, can be reduced to 4, the number of The Emperor — and the numerical value of the Hebrew letters associated with each card can be reduced to the same digit as well. Nun (נ), the letter of Scorpio has a value of 50, while Heh (ה), the letter of The Emperor has a value of 5 — the number of Geburah, the sphere of Mars on the Tree of Life.

• Both figures wear armor.

• There is water visible in each image, granted it's just a sliver in The Emperor!

• We can actually see an Emperor-like figure in Death - fallen crown and all.

• Mars rules both cards, which represents power, passion, destruction, energy and drive.

• Both cards form a path on the Tree of Life that connects a sphere on the Pillar of Mercy to the central, harmonizing sphere of Tiphareth; The Emperor leads from Chokmah to Tiphareth, while Death leads from Tiphareth to Netzach.

• The Emperor is oftentimes linked to the faculties of reason and rational thought; its corresponding path on the Tree of Life is referred to in the Sepher Yetzirah as the "Stable Intelligence." This same text refers to the path of Death as the "Imaginative Intelligence." As we learn and develop in modern society, we're often taught to view reason and imagination as conflicting qualities, but it takes the balanced integration of both to truly unlock our potential as thinking beings. Perhaps we have come to use so-called rationality as a shield to protect us from that which lies beyond the physical senses and beyond our apparent control.

• Aries (The Emperor) is the sign that ushers in Spring (northern hemisphere) and as such may be viewed as a sign of birth and initiation. Scorpio (Death) is linked to Samhain — the final harvest festival of the year, making the last crop of the season and the annual "death" of  vegetation that precedes winter. When considered together, both cards point to the inescapable interconnection between birth, death, and regeneration.

• The Emperor speaks to form, security and stability. Death speaks to liberation and the breakdown of structure. We can use both of these forces to create and then destroy, knowing that the act of destruction clears air for the new. Both ideas can be scary - getting boxed into form or having that form slip away. We believe it is helpful to evaluate our relationship to both concepts so we can know when they're helping or when they're holding us back.

• Both cards feature a single figure with similar style of dress and black hair.

• Each image contains a sort of uphill slope. In the 2 we see this as rolling waves in the background. In the 4, the figure sits on a hill under a tree.

• Both figures have their heads tilted slightly down, neither looking overly impressed.

• Astrologically speaking, each card represents opposite ends of the wheel with the 2 belonging to a Capricorn decan and the 4 belonging to a Cancer one.

• Each figure is interacting with their respective element in different ways. In the 2, the juggler is very much engaged and hands on while in the 4, the figure is hands off and appears disinterested.

• Both scenes, while otherwise fairly mundane, do feature divine elements. In the 2 we see that infinity symbol very intentionally weaved around the coins. In the 4, we see a "hand of God" similar to what is depicted in the Aces.

• There is a mix and match of elements visually in each. While the 2 is associated with Earth (Pentacles), those waves in the background are a very marked water symbol. And in the 4, the cups represent water, but the scene is very earthy with the figure planted firmly on the ground with a tree behind them.

• There seems to be an element of suffering evident in each card. The 4 looks like someone who has given up. But, what brought them to that point and is it possible that this state may actually be fertile ground for an awakening or breakthrough (like Buddha under the Bodhi tree)? Meanwhile, in the 4 we have someone trying to juggle everything and stay afloat, but unbeknownst to them, they're not actually the one driving things. That infinity may be helping them stay balanced. It's a bit of a lesson in learning to navigate the ever changing world of form, knowing there is something behind those inner workings, greater than ourselves, at play. What looks like an undesirable situation, may be a blessing in disguise.

• Both cards carry the energy of the number 7. The Chariot is the 7th major arcana and The Tower reduces to 7 because 1+6=7.

• There are crowns visible in each image. The Chariot wears a star shaped crown, and in The Tower we see a crown being blasted by the lightning strike.

• Material structures are shown in each scene. The Tower is the obvious structure of that card. In The Chariot we see a city scape in the background. As well, the chariot itself looks to be made of a similar material, with a similar grey colour, to that of the tower.

• The concept of balancing polarities is present in each card. In The Chariot, we see two sphinxes (black and white) representative of opposites or the two pillars. Likewise, in The Tower, we see two figures falling from either side of that structure.

• Cheth (ח), the Hebrew letter associated with The Chariot, has a value of 8, while Peh (פ), the letter linked to The Tower has a value of 80. This places them in the same square in the classical "Aiq Bkr" chart of Qabaistic magic. (Aiq Bkr is a 3-by-3 square grid of Hebrew letters whose numerical values begin with the same digit; Aleph, Yod, and Qoph (aiq), for instance, have values of 1, 10, and 100, while Beth, Kaph, and Resh (bkr) have values of 2, 20, and 200. Practical occultists use this chart to convert the letters of divine or angelic names into numbers, which are traced in sequence using the appropriate planetary square to form sigils.)

• In Tarot Fundamentals, Paul Foster Case links The Chariot with the faculty of speech, while the letter Peh (פ), assigned to The Tower, is often taken to mean "mouth" — the part of our body from which our spoken words issue forth. When we consider that Cheth (ח), the letter of The Chariot, means "fence," "field," or "enclosure," we might conclude that the combined letters allude to the practice of conscientious speech. Words are one of the magician's most powerful tools, and we must learn to use our words wisely if we wish to avoid the communication breakdown — both within us and without — symbolized by The Tower.

• Speaking of words, language is a theme underlying each card. The Chariot is associated with the faculty of speech (according to the Sepher Yetzirah) and The Tower is associated with the Hebrew letter Peh which means mouth. The Tower also has links to the biblical story of the tower built in Babel. It tells of one united human race that is scattered all around the world, all the while given different languages so they can no longer understand one another.

• Each scene contains snow. It's a fairly interesting feature as there are only a few cards in the deck that have snow.

• Each image features a prominent light source. In The Fool, there is the sun. In the 5 of Pentacles, there is the illuminated stained glass window.

• There are flowers in each card. The Fool carries a single white rose while in the 5 of Pentacles there are 2 red flowers in the window.

• All three figures are wearing flowy, loose fitting clothes.

• The 5 of Pentacles is linked to the first decan of Taurus, and the eagle depicted on The Fool’s pouch is the Kerubic emblem of Scorpio, which is its opposite sign.

• The Wheel on The Fool’s dress, and the Pentagram seen in the coins, both symbolize Spirit and its dominion over the elements.

• Sticks are used in each image as an aid in travel. The Fool carries his pouch on a stick while one of the travelers in the 5 uses crutches for support.

• Speaking of travel, both cards allude to journeys. The Fool appears to be at the beginning of their trek, full of hope and possibility, with no fear of what may be on the horizon. In the 5 of Pentacles, we see two weary travelers at a point of struggle in their voyage. Furthermore, both cards contain a set of companions - The Fool and the dog and the two people in the 5.

• In terms of contrast, the cards depict two very different states of being. But, at the same time, what appears on the surface might be a matter of perspective. Superficially, The Fool comes off as light hearted, excited and full of wonder. But, does this point to them being enlightened or ignorant? On the other hand, we assume the travelers in the 5 of Pentacles have most definitely steered off course. But, are they really nearing their demise, or have they completed the trials on the path to enlightenment and are in fact a stone's throw from salvation? It's difficult to see what's really happening in either of these cards. It's kind of like an illusion or optical trick. The wheel spins one way until we blink, and then suddenly it's going the other. All of these states (ignorance vs wisdom, impoverished vs. enlightened) may be difficult to discern by appearances or perceptions alone. We have to look deeper.

• The angel depicted in Temperance bears the planetary glyph of the Sun on its brow, producing a series of emanations reminiscent of the rays depicted around The Sun. The mountain in the background of Temperance also emits a similar radiation.

• The angel's hair is the same colour as that of the solar child, and bears a similar shape to his sunflower crown.

• The angel is wearing a white gown and its wings are a fiery red — the same colours of the horse and the cloth (or veil) from The Sun. The red feather in the solar child's crown could even be seen as a feather from the angel's wing.

• The angel bears the four letters of the Tetragrammaton, YHVH (יהוה), on its breast, which can be linked to the four large sunflowers that are visible in The Sun.

• If we look to the angel's feet, it has one planted on the land while the other is dipped into the water, much like the solar child, who has one leg displayed, while the other is hidden behind the horse.

• In both cards we see yellow flowers with green vegetation — irises in Temperance, and sunflowers in The Sun.

• Sagittarius, the zodiacal sign linked to Temperance, is part of the fire triplicity, along with Leo and Aries, the former of which is ruled by the Sun, and the latter which is its point of exaltation. The Temperance angel also bears a red fire triangle on its breast below the Tetragrammaton letters.

• Samech (ס), the Hebrew letter attributed to Temperance, means "prop" or "support," much like the white horse depicted in The Sun supports the divine child riding upon its back.

• Temperance is said by some to depict the Holy Guardian Angel — an oft-debated subject within occultism, which some say is simply our higher self, while others insist it is an entirely separate entity. The one thing both sides tend to agree upon, however, is that the H.G.A. is seated in Tiphareth, the sphere of the Sun, on the Tree of Life.

• The Hebrew letter associated with The Sun is Resh (ר), which is often taken to mean "face," or "countenance" — a prominent feature in both cards. If we look closely, the Sun's face seems to resemble that of the Temperance angel, with one minor difference — the former's eyes are open, while the latter's are closed. If we read this symbolically, it may be suggesting that the Holy Guardian Angel is the internal expression of solar energy, while the Sun itself is its outward expression.

• Temperance is linked to the 25th Path on the Tree of Life, which connects the sphere of Yesod (Moon) to that of Tiphareth (Sun). As such, it is said to be one of the paths that one must cross in order to attain solar consciousness — the object of many of our Western systems of initiation. This is especially interesting when we consider that the Temperance card depicts a literal path towards the summit of a mountain crowned by sun-like emanations.

• Since Temperance can be seen as the interaction between the Sun (Tiphareth) and the Moon (Yesod), it is also symbolic of the so-called alchemical marriage, which, once consummated, is said to lead to the second birth — that of the divine child within. At least one prominent initiatory system requires that the aspirant remain in a period of gestation for nine months before they are considered eligible to progress to this stage of development.

• Both cards are, in some way, suggestive of mankind's cooperation with the natural world, and thereby the cultivation — and elevation — of our own nature. We see this depicted as the path leading up towards the mountain in Temperance, and the brick wall, sunflower garden, and horse in The Sun. It is only through divine grace, combined with our own meticulous efforts, that we are able to transform ourselves, and thereby birth the solar child.

• Both cards are associated with the energy of the number 9. The Hermit is the 9th Major and The Moon reduces to 9 if you add 1+8.

• These cards are astrological opposites and belong to mutable signs. The Moon is ruled by Pisces and The Hermit is ruled by Virgo.

• Each image features a light source amidst a night scene. In The Hermit, we see a 6 pointed star in a lantern, while The Moon features a big, bright moon with 32 emanations.

• The face in The Moon resembles (minus the beard, of course) the profile we see on The Hermit. Could it be this force looking down on our animal/plant/mineral companions?

• Peaks are a prominent feature within each card. In The Hermit, we see a figure standing on a summit. In The Moon, we see a wavy path with jagged peaks in the distance. Mountains or peaks may point to attainment, initiation and the overcoming of obstacles.

• There is water in each image, though depicted in different ways. In The Hermit, it is frozen and takes the form of snow. In The Moon, is is liquid and vibratory.

• In The Moon we see Yod-shaped dew drops raining down upon the earth, and Yod (י) is the Hebrew letter associated with The Hermit.

• The Moon is associated with the 29th Path on the Tree of Life, which is referred to as the "Corporeal Intelligence" in the Sepher Yetzirah. In Tarot Fundamentals, Paul Foster Case suggests that this intelligence operates on us in our sleep, and regenerates our physical bodies by creating chemical changes in our blood. This process technically begins with The Hermit, which is associated with digestion, as the intestines are ruled by Virgo in medical astrology. It suggests that by consciously selecting nutritious food and drink, we supply our bodies with the necessary building blocks for the Corporeal Intelligence to do its work while we retreat into the realm of the unconscious.

• We can also think of the Corporeal Intelligence as the basic drive underlying our unconscious physical processes like digestion, which in Qabalistic terms, is the body in Malkuth interacting with the abstract, non-linear mind in Netzach.

• Both cards speak to altered states of consciousness. The Moon is associated with sleep, dreams and the subconscious. The Hermit is associated with meditation, reflection and our inner wise self.

• In many ways, we see The Hermit as a guardian to navigating The Moon's arduous path. It's impossible to know the way, and it's impossible to tell it. So, The Hermit, in silent wisdom, holds a lantern from "a distance", guiding us from within. The Moon is challenging because it asks, "how deep are you willing to go?" and "how high are you able to climb?" We believe this is the point in the Major journey where we must leave our familiar defenses behind. Nothing short of total surrender, honesty, integrity and facing who we truly are, will do. When we think we know, The Moon's wavy path can become a maze of confusion. It is a reminder that for much of this journey we call life, we have effectively pulled the wool over our own eyes, but The Hermit is the faculty that can help us lift that veil.

• Each image has a similar grey background.

• There is a tower in the distance of each scene. In Death, we see the double towers, and in the 5 of Cups, we see a single solid structure.

• The sun coming up on the Horizon in Death, arches in a similar way to the bridge we see in the 5 of Cups. It is even in a similar place (right side).

• The central figure of each card is clothed in black.

• If we observe the cups in the 5, they seem to occupy similar placements to the characters in Death. Some are upright, some are closer to the ground, one is presumably dead. Even the cups themselves seem to spill blood, which adds further resemblance to the scene we see playing out in Death.

• The Death card is linked to the zodiacal sign of Scorpio, which is co-ruled by Mars, and the 5 of Cups is attributed to the first decan of Scorpio, which is also ruled by Mars. The number 5 is linked to the planetary force of Mars in Qabalistic thought as well.

• The sign of Scorpio and the suit of Cups are both ruled by the Water element, and you can see water visible in the background of each image. The letter Nun, the Hebrew letter associated with the Death card, is often taken to mean "fish," which provides another interesting link to the Water element.

• The white rose depicted on Death's banner is based around the number 5; it has 5 leaves, as well as 5 inner and outer petals.  5 is also the number of the Hierophant, who makes an appearance in the scene depicted on the Death card. The Hierophant trump, if we recall, features red roses and white lilies, which represent the solar and lunar currents of esotericism. Could the white rose of Death perhaps suggest the combined action of these two forces? In addition, the value of Nun (נ), the Hebrew letter discussed above, is 50, which can be reduced to 5 via Theosophic reduction.

• The theme of death runs through each of these cards. The Death card demonstrates this in the title, its meaning and is emphasized further by the skeletons and fallen emperor. In the 5 of Cups, we see a figure in mourning, lamenting over spilled cups, 2 of which appear to contain actual blood. In this sense, both cards speak to our simultaneous need for and resistance to change, and the complexities and heaviness around death in all the ways it shows up in our lives.

• Each scene features water and mountain peaks in the background.

• The figure in the 2 of Swords is wearing a white gown, and the figure in the 10 appears to be wearing a white garment underneath their other clothing.

• In each image, the figures have their eyes concealed in different ways. In the 2, they are wearing a blindfold, and in the 10 their face is turned away entirely.

• Both cards are part of the Swords suit, thus linked to the element of air.

• In each image, we see the swords close to the body. However, in the 2 it is as if the figure is managing the element while in the 10, the figure is overcome by it.

• If we think of the two cards in terms of astrological decans, the 2 of Swords is assigned to the first decan of Libra, while the 10 of Swords is assigned to the third decan of Gemini — the first and final decans of the Air signs, lending an "alpha and omega"-like connotation to the pairing. It is also interesting to note the Sun is the planetary ruler of the former decan, while the Moon rules the latter, and in the 2 we see a crescent moon while in the 10, we see the sun peeking through the darkness.

• There is a striking contrast between the characters depicted in each card, and the body of water behind them. The individual in the 2 of Swords appears calm and poised, despite the rocky, turbulent waters behind them, while the individual in the 10 of Swords appears to have met their demise, though the waters remain still and calm. This provides an invaluable insight on the connection between mind and emotion. If we can learn to take a step back from the events in our lives, and calm our minds before reacting instinctively, we can maintain our composure in the face of difficult emotional circumstances. This, however, can be exceedingly difficult, as most of us tend to react to our thoughts and feelings about reality rather than reality itself, which often isn't quite as terrible as our minds convince us.

• The swords in the 10 of Swords appear to be lined up along the spine of the "victim," which is oftentimes associated with the kundalini, or serpent power, in both Eastern and Western traditions. This energy is thought to have three channels" — the sushumna, which is the central channel, or the Middle Pillar in our terms, and ida and pingala, two alternating side-currents that hold each other in balance, much like the pillars of Mercy & Severity, the Sun & the Moon — or perhaps the position of the swords in the 2 of Swords. With repeated practice and meditation, the aspirant can learn to direct this force using the powers of the mind — the realm of the suit in question. When this is done with a balanced mind (2 of Swords), this energy can spiritualize our consciousness, bringing us health and good fortune, but when it is used unwisely, it can bring about disturbances in the nervous system which may lead to our ruin (10 of Swords).

• Both The Devil and the figure in the 4 of Pentacles have a star on their crown. The Devil's is inverted, while in the 4 of Pentacles it is upright.

• Both The Devil and the figure in the 4 sit on a cubic structure. These structures represent materiality.

• Material matters are a major theme running through both cards. In The Devil, it is visually represented by the double cube altar, the black background and the grapes. In the 4, it is represented by the cityscape in the background, the stone bench and the hoarding of pentacles.

• Elementally, both cards are associated with Earth. Astrologically, both cards are associated with Capricorn. The Devil is ruled by Capricorn and the 4 of Pentacles occupies the 3rd decan of Capricorn.

• Both images demonstrate a bondage of sorts. in The Devil, we see the man and woman chained. In the 4, we see a person clinging to their pentacles, in a sense bound to their influence.

• When we multiply 4 times 5 — the number of pentacles depicted on the 4 of Pentacles and the number of points on each — we arrive at a product of 20. The Hebrew letter associated with The Devil, Ayin (ע), has a value of 70; if we subtract 20 from 70, we're left with a difference of 50, which is the value of Nun (נ) — the letter linked to the Death key. This provides us with an interesting insight into this pairing, for what leads us to cling to our material securities more than the fear of change, or even death itself?

• As discussed earlier, the 4 of Pentacles is linked to the third decan of Capricorn, which is ruled by the Sun. In Renaissance magic, the planetary square of the Sun has 36 squares in total, and if we add each digit in sequence from 1 to 36, we arrive at a sum of 666 — a number that is often associated with Satan in the Western psyche.

• The 4 of Pentacles is also known as “The Lord of Power”. In a way, that is what can take over when we don't keep our devils in check. In The Devil, we’re dealing with a force that’s obscured, but in the 4, we can see the culmination of that force in broad daylight: An energy (when misused) that clings to the material, fears change, hoards over their resources and puts profit over people.

• There are illuminations present in each scene. We see this in the rainbow, the angel’s halo and the glowing crown in the background of Temperance.

• There is water visible in each image.

• Cups are visible in each scene.

• Both images feature hills in the background and a pathway on the left side. In Temperance, it is a solid path and in the 10 of Cups it is watery one.

• We see balanced forces in each image. In Temperance, we see the angel balancing the alchemical mixture, while in the 10 of Cups, we see the man and woman, wearing opposing colours (red and blue).

• Fire and water play a big role in each image, symbolically and visually. Temperance is ruled by Sagittarius, a fire sign. The 10 belongs to the Cups suit which is ruled by water. The 10 of Cups is in the third decan of Pisces, which is also a water sign. In Temperance, the angel is said to be mixing the alchemical fire and water.

• Temperance is often associated with the Hebrew word Qesheth (קשת), or "bow," due to its association with the zodiacal sign of Sagittarius and its placement on the Tree of Life. The 25th Path of Samech (ס) falls on the Middle Pillar, connecting the spheres of Yesod and Malkuth; this is said by Qabalists to be an arrow shot by a bow that is formed by the preceding paths of Qoph (ק - The Moon), Shin (ש - Judgment), and Tav (ת - The World), which connect Malkuth with Yesod, Hod, and Netzach, and form the letters of the word "qesheth" itself. Qabalists also connect this concept with the Rainbow of PrThere are illuminations present in each scene. We see this in the rainbow, the angel’s halo and the glowing crown in the background of Temperance.

• If you look closely, the angel depicted on the Temperance key has the Tetragrammaton, or four-lettered divine name, YHVH (יהוה), written on its chest; in Qabalah, the letters of this name are often personified as the members of a family — the Father (Yod, י), the Mother (Heh, ה), the Son (Vav, ו), and the Bride, or Daughter (Heh, ה) — much like the family unit depicted on the 10 of Cups.

• There is water visible in the background of each card.

• The Moon plays an important role in each card both visually and symbolically. The Chariot is associated with Cancer which is ruled by The Moon, and The High Priestess is also ruled by The Moon. In The High Priestess, we see a triple goddess (moon shaped) crown as well as a crescent moon at her feet. In The Chariot, we see crescent moons on the charioteer’s shoulders.

• Both figures occupy the central space in the card, look straight on, wearing celestial crowns.

• There is a cubic stone structure in each image, which both figures occupy.

• Both figures have an important shape adorned on their chest. In The High Priestess we see a cross and in The Chariot we see a square. Also important to note is that each of these shapes is symbolic of the number 4.

• Black and white imagery, symbolic of duality/polarity, is visible in each image. In The High Priestess it takes the form of the two pillars and in The Chariot, we see it with the two sphinxes.

• Both cards are attributed to vertical paths on the Tree of Life, which make up one of the three pillars; the High Priestess connects the spheres of Kether (crown) and Tiphareth (beauty) on the Middle Pillar, while the Chariot connects Binah (understanding) with Geburah (strength) on the Pillar of Severity.

• The Hebrew letter assigned to the High Priestess is Gimel (ג), which is often taken to mean "camel" — a beast of burden that can be used to tow a cart or chariot. The letter assigned to the Chariot is Cheth (ח), which means "fence" or "field" — an enclosed space which may contain such an animal. If we view this relationship symbolically, the camel may be seen as the spirit of the aspirant, contained within the "field" of our body, and perhaps even our consciousness.

• The path of Gimel crosses the Abyss, or "desert" — the gulf that separates the supernal realm from the heights of human perception. If we view the Chariot as a figurative vehicle that allows our consciousness to travel beyond its ordinary limitations, and the High Priestess as the guiding force that calls us home, we can harness their combined power to lead us along the Path of Return to a state of spiritual unity, transcending the duality represented by the pillars and sphinxes.

• There are angelic figures present in each image, both with red wings.

• Solar imagery can be seen in each scene. The sun in The Lovers, as well as the emanations in Temperance (coming off the angel’s crown, as well as in the distance near the mountain).

• There are mountains in the background of each scene. Mountains may represent attainment, illumination, initiation or trials.

• Temperance is ruled by fire in its association with Sagittarius, and in The Lovers we can see 12 flames coming off the tree on the right.

• The Hebrew letter associated with Temperance is Samekh, which is considered 1 of the 3 serpent letters in the alphabet. In The Lovers, we see a serpent climbing up the tree on the left.

• The Holy Trinity is represented in each card in different ways. Also note the triangle on Temperance’s gown as another nod to this.

• Both cards take place in a garden-like setting.

• Thematically, we would say each card speaks to super-consciousness, beauty, harmony, the blending of elements, union and connection.

• Astrologically, The Lovers and Temperance connect as they are associated with opposite signs (Gemini and Sagittarius). As such, during Gemini season we always see a full moon in Sagittarius and vice versa.

• One pretty visible difference between these cards is the nudity depicted in The Lovers vs the fully clothed angel visible in Temperance. While that appears as a contrast, we would also argue that the virtue is the same. The naked lovers are a sign of purity, transparency and authenticity much in the same way the color white (gown worn by Temperance) stands to symbolize.

• Water plays a huge role in both cards. The zodiacal sign attributed to Death is Scorpio, a water sign, while the element of water itself is assigned to The Hanged Man. In addition, the Hebrew letter associated with Death is נ (Nun), which means "fish," while the letter assigned to the Hanged Man, מ (Mem), means "water." Furthermore, we can see water in the background of The Death card.

• If we add the numerical values of the letters Mem (40) and Nun (50), we arrive at a sum of 90, the value of Tzaddi, the letter of The Star, which is symbolic of the illumination depicted on Death and The Hanged Man. Interestingly enough, the letter name for Tzaddi is "fishhook," which adds a deeper element to the "fish" and "water" meanings of the other letters.

• The illuminated crown on the Hanged Man is symbolically linked to the rising sun depicted in Death. It may suggested that the dawning of the sun (or solar consciousness) is what we see happening in The Hanged Man.

• In Qabalistic numerology, 13, the number of Death, corresponds with the word אחד (achad), which implies oneness or unity, while the Hanged Man implies the suspension of individual consciousness, which is said to make way for the dawning of unity consciousness.

• Another numerical connection is that these cards follow each other chronologically in the deck, 12 and 13.

• The same grey background can be observed in both cards.

• Crosses can be seen depicted in both landscapes. In The Hanged Man, the figure hangs from a T-crossed tree while also crossing their legs. In Death, we see crosses on the horse’s harness and a cross on the pope’s glove.

• Each card speaks to themes of death and surrender. In The Hanged Man, we see a figure in a compromised position, sacrificing their ordinary perspective and way of being. In Death, we see figures surrendering to the impending death or transformation of their current state of consciousness. Both cards can be misleading in that on the surface, it looks like something scary is taking place. However, underneath this we find a voluntary transition that promises something greater.

• Both characters are holding a staff in one hand, and another object in the other.

• Both characters are standing on a mount and facing to the left.

• While different in colour, both characters are wearing loose fitting, draping garments.

• There are snow capped peaks visible in each scene, which is an interesting feature since snow only shows up a few times throughout the deck.

• The Hermit is associated with Virgo which is ruled by Mercury. The Fool is associated with Air, which connects it to Mercury as Mercury often symbolizes fluidity, especially of the mental sphere.

• Virgo is also known as "the virgin" which also links it to The Fool as The Fool is a symbol of innocence, purity and pure potential.

• There are light sources visible in each scene, though depicted in different ways. In The Fool, we see the sun in the right hand corner. In The Hermit, we see a single star lighting the lantern.

• There are 9 visible wheels on The Fool's garment, and the number 9 is designated to The Hermit.

• In The Fool, we see our animal nature symbolized by the dog, shown as a companion to The Fool. In The Hermit, the animal nature is depicted in the card's connection to kundalini energy, or the serpent, via The Hermit's staff.

• One of the most noticeable aspects, despite many similarities, is actually a stark difference between the characters. The Fool is expressed as youthful and innocent, while The Hermit is shown as more mature and experienced. As such, the scene in The Fool shows midday, while The Hermit is shown at night. The Fool, in contrast to The Hermit, represents a blank slate where anything is possible and the path undetermined. Whereas, The Hermit is more like an amalgamation of experience and knowledge that can now be used to guide others on their path.

Each scene features towers of very similar style and stature.

• There are falling yods in each image.

• Both images feature night time scenes.

• If we subtract the number of Yods on The Moon from the number depicted on the Tower (22 minus 15) the difference is 7, the number of The Chariot, which is assigned to Cancer, who is ruled by the Moon. In the B.O.T.A. system of Tarot, the faculty assigned to The Chariot is that of speech, which relates it back to The Tower via the letter Peh (mouth). (The number of The Tower, 16, can also be reduced to 7.)

• We can connect the Tree of Life to each card in different ways. In The Moon, there are 32 points on the moon as there are 32 paths (including the sephiroth) on the Tree of Life. In The Tower we see 22 falling yods and 22 represents the total number of letters in the Hebrew alphabet along with the 22 paths (minus the sephiroth). The crown and lightening strike are also symbolic of The Tree of Life.

• Speaking of the TOL, both cards are attributed to paths that lead to Netzach, the sphere of Venus, which is exalted in Pisces, the sign attributed to The Moon. Venus is also seen as the complement of Mars, the planet of The Tower. (The path of Peh leads from Hod to Netzach, while the path of Qoph leads from Malkuth to Netzach.)

• Peh (פ), the letter of The Tower, means "mouth," the organ of speech, while Qoph (ק), the letter of The Moon, means "the back of the head," or the subconscious. This speaks to the effect our words have on our subconscious mind. The manner in which we use words sends a signal to our subconscious, which operates through the power of deductive reasoning to create our conscious impression of reality. For example, if we use the phrase "I am depressed," we identify ourselves with the depression, which thereby affects us on a deeper level. If, however, we choose instead to say "I feel depressed," our use of the verb feel creates a distance between us and the depression, thus allowing us to observe it as a phenomenon that is simply happening in our field of awareness. (Also, the letter Qoph (ק) looks somewhat like the letter P, which is the transliteration of Peh in English and other languages that use the Roman alphabet.)

• There are jagged rocks and peaks in each image.

• There are three windows in The Tower, and 3 is the value of the Hebrew letter Gimel (ג), which is attributed to the High Priestess, who is ruled by the Moon.

• We see light depicted in each image, though in different, yet interesting ways. For instance, there is no sun to be found in either The Tower or The Moon, though intimations of it exist. In The Moon, we see the moon as the primary source of light, which alludes to the presence of sun through the mechanism of reflection or shadow. In The Tower, the light takes on an electrical nature, showing up as a lightening strike and fire blasts.

• Both cards represent instinctual forces; Mars, the planet of The Tower, can be taken to represent our desires and impulses, while The Moon can be seen as a depiction of the Nephesh, which is considered the "animal" soul in Qabalah. As such, they each speak to a journey through subconscious or unconscious aspects of ourselves (personally and as a whole). In The Tower we witness that outward manifestation of errors made due to unconscious impulses, and in The Moon, we witness it through an internal lens.

• The four Kerubim, or Holy Living Creatures, depicted in the corners of The Wheel are attributed to the four fixed signs of the Zodiac; the human male in the top left corner, Adam, represents Aquarius - the sign attributed to The Star.

• Both scenes feature winged creatures - the 4 Kerubim and then the ibis in The Star.

• There is a sense of motion in each image. The Wheel spins circularly, while the waters in The Star give off a vibratory feel, making circular movements of their own. As well, the 7 smaller stars are representative of the 7 interior stars (or chakras) which are said to spin or whirl.

• The background in each image is the same blue colour.

• There are 7 small stars surrounding the large star. Similarly, there are 7 creatures surrounding the wheel in The Wheel of Fortune.

• The Hebrew letter associated with the Star, Tzaddi (צ), is the first letter in the Hebrew name of Jupiter (Tzedek/צדק), the planet assigned to The Wheel. (Remember - Hebrew is written backwards!)

• The 8-spoked circle in the centre of the ROTA wheel symbolizes the fifth element, Spirit, in the Western Mystery Tradition. The Star, which itself is often seen to indicate beneficent spiritual forces at work, also prominently features the number 8 - there are 8 individual stars, each with 8 points, and the ibis in the tree is a symbol of Mercury, whose number is 8 in the Qabalah.

• According to the work of Dr. Paul Foster Case, there are 7 stages to spiritual unfoldment, each stage being represented by 3 of Major Arcana. The third stage is called “Revelation” and it contains The Empress, The Wheel and The Star.

• The four classical Latin letters on The Wheel, T, A, R, and O can be rearranged to form the following sentence - "ROTA TARO ORAT TORA ATOR," or "the Wheel of Tarot speaks to the Laws of Nature." In this case, "Nature" is derived from "ATOR," or Hathor, an Egyptian goddess of the sky, women, and fertility. Hathor is closely associated with the goddess Isis, who is shown "unveiling" herself to the initiate on The Star.

• The sign of Aquarius is known as "the water bearer," and in Greek mythology, a beautiful mortal boy named Ganymede was handpicked by Zeus (Jupiter) to ascend to Olympus, where he served as his personal cup bearer. In some versions of the myth, he is disguised as an eagle - another of the Kerubic figures depicted on The Wheel. (It is also interesting to note that astronomers eventually named Jupiter's largest moon after Ganymede.)

• Among the symbols for the three principles of alchemy - Salt, Suplhur, and Mercury - depicted at the centre of The Wheel, we also see the glyph of Aquarius, which in this case, is used to represent the alchemical process of dissolution.

• The Star and The Moon are chronological in 2 ways. Numerically, The Star is 17 and The Moon is 18. Astrologically, Pisces (The Moon) follows Aquarius (The Star) on the zodiacal wheel.

• The Hebrew letter word for The Star is Tzaddi which is “fishhook”. For The Moon, it is Qoph which is “back of head”. If you combine the two, we could come to some conclusion around their joint activity: Through meditation, a property of The Star, one may fish the recesses of their minds (the subconscious aspects) to uncover material which can be reformed and brought to consciousness.

• Furthermore, the combined value of the Hebrew letters associated with each card, Tzaddi (צ) and Qoph (ק), is 190 and the combined value of the 15 Yods (י) depicted in The Moon is 150. If we subtract the latter from the former, we arrive at 40, which is the value of the letter Mem (מ), meaning "water" - a defining feature of both cards.

• Each landscape is incredibly similar. They both have a blue background, grassy hills, a vibratory body of water and peaks in the background.

• Animals are visible in each image. In The Star we see the ibis, an Egyptian bird connected with Hermes, Thoth and Mercury. In The Moon, we see a crayfish, dog and wolf.

• Each image depicts a large celestial light force in a central position.

• Further to this point, if you look at the face in the moon, it looks very similar to the profiled face of the figure in The Star.

• Both cards are attributed to paths that lead to Netzach, the sphere of Venus, on the Tree of Life; The Moon leads from Malkuth to Netzach, while The Star leads from Yesod to Netzach.

• On The Star we see a total of eight stars, each of which emits eight rays; if we multiply 8 times 8, we arrive at a total of 64 - the number of squares in the planetary square of Mercury. The moon depicted on The Moon emits a total of 32 rays, which is exactly half of 64. The number 32 can also be associated with lav (לב), the Hebrew word for "heart," whereas Mercury (64) is often associated with the mind. Together, these two numbers may imply the need for balance between heart and mind - a point that is also suggested by the figure in The Star pouring one jug of water into the pool and the other onto the ground, where is trickles off into five streams, which signify the five senses. It is interesting to note that the latter stream (the senses) is being observed from afar by the ibis in the tree - another symbol of Mercury.

• Both scenes depict a figure that is partly in the water and partly on land i.e. the figure’s feet in The Star and the crayfish in The Moon.

• There may be some connection to the goddess Ishtar evident in each card. In some symbolism, Ishtar is represented by an 8-pointed star (seen in The Star). As well, in The Moon, we see 15 falling yods and the number 15 connects to Ishtar again as she had 15 priests and the city had 15 gates. Ishtar was a goddess of fertility who descended into the underworld, which further points to her connection with The Moon.

• Both images feature the same grey coloured background.

• There are crowns visible in each scene. In Temperance we see an illuminated halo on the angel and a crown shaped light source in the distance. In the Ace of Swords we see a crown on top of the sword.

• To the point above, if you consider that there are also peaks in each image, you could speculate that the light source in the distance in Temperance is coming from the crown atop the sword in the Ace.

• Temperance is ruled by Sagittarius, the archer, who uses a bow and arrow. Similarly, the Ace of Swords also features a tool/weapon of precision.

• In each scene we see a divine figure (the angel and the hand of god) holding an item symbolic of one of the 4 elements. The angel holds a cup and the Ace holds a sword. Both of these figures also feature emanations, further alluding to their divine state (see angel's head and the hand in the Ace).

• The Herbew letter associated with Temperance is Samech, which means to prop or support; in the Ace of Swords, the sword itself is the prop that holds the crown, the palm frond, and olive branch.

• In addition, Samech has a value of 60, much like the six Yods depicted on the Ace of Swords (6×10=60).

• Both cards emphasize the esoteric importance of the number 3, as the point of synthesis between two opposing forces. In Temperance, it is represented by the Sun glyph on the angel's forehead and the two cups in its hands, as well as by the triangle on its breast, whereas in the Ace of Swords, it is symbolized by the crown, the palm frond, and the olive branch.

• The aforementioned point of synthesis also implies the Middle Pillar on the Tree of Life, which moderates the contending forces of Mercy and Severity. Not only does the path of Temperance fall on the Middle Pillar, leading from Yesod to Tiphareth, but it is believed to be its anchor. As the sign of Sagittarius is assigned to Temperance, it is often associated with the bow and arrow; while its path is thought to be the arrow, the three paths below it are said to form the bow, since their assigned letters, Qoph, Shin, and Tav, combine to form qesheth (קשת), the Hebrew word for bow. (This is also linked to the Rainbow of Promise after the Flood in Genesis.)

• As mentioned above, the path of Temperance leads to the sphere of Tiphareth, which Qabalists link to the letter Vau (ו), which represents the Son and the element of Air in the divine name YHVH (יהוה).

• With its left foot planted on solid ground, or everyday consciousness, the angel of Temperance dips its right toes into the water, or subconsciousness. This may depict a meditative practice meant to access superconsciousness, which is represented by the hand emerging from the clouds in the Ace of Swords.

• There are some obvious visual similarities between the three figures. In each scene we see a nude man, a nude woman and a winged figure above and between them.

• The man and woman share another feature other than their nudity, which is the fire and the fruit. In The Lovers, those aspects are a part of the natural landscape, shown on the trees behind them. However, in The Devil, they have become a part of their being (grapes on the woman's tail and fire on the man's). These features represent lust, desire and materiality. Before “the fall” those attributes were part and parcel of the landscape - the whole. After “the fall”, they became linked to their (our) identity.

• Both cards connect to the number 6. The Lovers is the 6th Major Arcana and The Devil is number 15, which reduces to 6 when you add 1+5.

• There is a something in-between the man and the woman in each card. In The Lovers we see a mountain (a natural element, symbolic of growth and attainment). In The Devil we see a cube altar (a manmade object, symbolic of materiality).

• Each card is attributed to a path on the Tree of Life that connects from a sphere on the Pillar of Severity (Binah and Hod) to Tiphareth on the Middle Pillar, which itself is attributed to the number 6.

• The Devil is associated with the Hebrew letter Ayin, which means "eye," while The Lovers is associated with Zayin, which means "sword." Apart from rhyming, both words also relate to the concept of truth. In The Devil, the eye allows us to see the truth within the illusion, while the sword of The Lovers helps us to cut through the same illusion using the faculty of discernment.

• The Devil figure is perched upon the double-cubed altar, the top of which is attributed to Yesod, which can be taken to represent the lower astral plane, while the angel in the Lovers is emerging from a cloud, which can be said to represent the higher. When we take this a step further, we could even suggest that the Devil may be a symbol of the lower self and the angel the higher. Beyond the veil of human perception, however, both figures ultimately represent the same force.

• Both images speak to similar ideas at opposite ends of the spectrum. In each scene there is a sense of polarity, separation and unity. Through the similarities and differences in each image, we can infer meaning along the lines of this: Our experience of this shared reality is subjective in nature and therefore, open to interpretation and change. A thing can be freeing or it can be binding. It can be a source of joy or a source of pain. We can look at the same thing and see something different depending on a number of factors, the primary one being our own personal perspective. As we refine our view, our impressions also evolve and this is, among other things, a very tangible way to experience much sought liberation. The Devil would have you believe there is no choice; that the suffering you perceive is literal, objective and static. The Lovers on the other hand is all about right choice through discernment, and part of that choice is in how you choose to see things - how you choose to experience your reality.

• Both images feature a bright yellow background.

• Fruits are featured in each image. It’s difficult to see if there are specifically grapes in the 4 of Wands, though it does look like they could be in the garland, similar to the way we see grapes represented in the shrubs behind the figure in the 9 of Pentacles.

• There is similar architecture featured in each image. In the 4 of Wands it is very apparent, while in the 9 of Pentacles it’s a bit more obscured, though definitely visible in the distance.

• A wood structure is featured in each image. In the 4 of Wands, we see the wands making up an entrance of sorts. In the 9, we see a wood fence with similar ties, holding the fruit and greenery in place.

• Natural pillars are evident in each scene. In the 4, we see 2 wands on either side with two figures in the center. In the 9, we see 2 trees on either side, again with a figure in the centre.

• Astrologically, each card’s decan is ruled by Venus.

• There is a sense of abundance and pleasure associated with each card and its imagery. There is also emphasis placed on natural and man made elements, pointing to the enjoyment one can take from either form. In this way, both cards offer a very inviting energy. Whether you’re being waved in by figures eager to greet you, or enjoying the bounty of your very own harvest, the 4 and 9 each offer their own unique brand of earthy comforts.

• Each scene prominently feature stars. In The Star, we see 8 in the sky above the figure. In The Hermit, we see a single star in The Hermit’s lantern.

• Each figure looks downward and faces to the left.

• There is water in each image, though represented in different ways. In The Star, we see a body of water and 5 smaller streams, while and in The Hermit, we see snow, which is frozen water.

• Both figures are holding something in each of their hands.

• We see peaks in each image. The Hermit stands on a mountain peak and in The Star, we see mountains in the distance.

• Kundalini energy is symbolized in each image in different ways. The Hermit holds a staff which may represent the spinal column to which kundalini energy flows and to which the chakras align. In The Star, the 7 smaller stars are representative of the 7 chakras or interior lights.

• The ibis in the tree on The Star is linked to Mercury, which rules Virgo, the sign of The Hermit. In addition, The Star is attributed to Aquarius, wherein Mercury is exhalted. Each of the stars depicted in The Star also have 8 points, and 8 is the Qabalistic number of Mercury.

• Both cards are assigned to parallel paths on the Tree of Life, each leading from a sphere on the Pillar of Mercy to another on the Middle Pillar; The Hermit connects Chesed to Tiphareth, while The Star connects Netzach to Yesod.

• The combined value of the Hebrew letters associated with each card - Tzaddi (צ) and Yod (י) - is 100 - the value of the letter Qoph (ק), which means "the back of the head," and is associated with The Moon. This is interesting, since through the act of introspective meditation, we are "fishing" (Tzaddi means "fishhook") in the waters of the subconscious to retrieve insights via superconsciousness (Yod means "hand" - specifically the hand of God.) Furthermore, The Hermit is often associated with introspective works such as meditation and reflection, while The Star, according to the Sepher Yetzirah, is assigned specifically to the activity of “meditation”.

• Both cards speak to guidance in some sense and may indicate a sort of solo journey at that. The Hermit, by name, implies this on many levels, as does the single light held up in an effort to illuminate the path. In the same sense, The Star is often regarded as a beacon - something we seek, follow and a force that can carry us forward.

• The two primary figures in each scene are wearing similar colours; contrasting red and blue.

• Weather in both cards is depicted in very specific ways, though on opposite ends of the spectrum. In The Tower we see dark skies, clouds and lightening. In the 10 of Cups, we see clear skies and a large rainbow. It could be said that the scene in the 10 is what the figures in The Tower may have to look forward to once the rubble and storms have cleared.

• Similar to the point above, we see contrasts in the environment. In The Tower, we have a cold and material structure with two figures falling through the air. In the 10 of Cups, we see a lush, natural landscape with all figures on solid ground.

• Speaking of materiality, The Tower often speaks to structures of a physical form, especially those that are no longer sustainable. The 10 of Cups may also be attributed to the material world, as the number 10 is designated to the sphere of Malkuth on the Tree of Life, which is symbolic of Earth, the world of the material and form.

• There are 10 yods on the right side of the tower. Yod also holds a value of 10. Similarly, we observe 10 cups in the 10 of Cups.

• The Tower is ruled by Mars and the 10 of Cups occupies the last decan of Pisces, which is also ruled by Mars.

• The lightning flash depicted in the Tower is symbolic of the "flash" of energy that works its way downward from Kether to Malkuth to establish the Tree of Life. This depiction represents the initial "failed" attempt to create the Tree, which is referred to in Lurianic Qabalah as the "shattering of the vessels," which leads to the creation of the Qlippoth - the foils of the Sepihroth - and the inverse Tree, or the Tree of Death. The 10 of Cups, however, depicts the successful completion of the Tree of Life, or at least the Tree of Briah - the Qabalistic world attributed to the Cup suit.

• 4 posts are visible in each scene, though displayed in different ways. In The Chariot, we see the 4 posts built into the structure of the chariot, holding up the starry drapery. In the 4 of Wands, we see 4 posts acting as an entranceway, propping up greenery or garland.

• Dual figures are represented in each image. In The Chariot, they take the form of 2 sphinxes, one black and one white. In the 4 of Wands, we see 2 figures on the other side of the entrance, one wearing red and one wearing blue.

• Further to those dual figures, each could be said to represent the same force as the pillars which we see in other cards, albeit in more concrete, defined terms. When viewed from the front, the sphinxes represent the pillars of Mercy and Severity, while the two figures in the 4 of Wands represent the pillars of the observer, which are reversed.

• Each card features the same bright yellow background.

• There is very similar architecture in the background of each scene.

• The Chariot is associated with the astrological sign Cancer, which is symbolic (among other things) of domestication, home and family matters. Along this vein, the 4 of Wands is often referred to as a card of "home coming" or celebrations on the home front.

• Visually, the above point is emphasized if you look at The Chariot as a vehicle approaching the scene of the 4 of Wands. It is as if those 2 figures are ushering in our driver, the driver on the other hand, fixed and focused on that end destination, anticipating a celebration of their victories.

• The number 4 is attributed to Chesed - the sphere of Mercy and beneficence on the Tree of Life; Chesed is ruled by the planet Jupiter, which is exalted in Cancer (The Chariot).

• The Hebrew letter-word associated with The Chariot is Chet, which means “fence”. In this way, The Chariot holds connotations around an enclosure or encasing, which may be another way to express the indwelling temple of the divine (our soul encased in flesh). The 4 of Wands can also be see as an entrance to a temple of sorts, whether that temple is one we find within or one that takes physical form, allowing us to also convene and collaborate with others.

• Death and Temperance feature two chronological elements. Death is associated with Scorpio and Temperance Sagittarius, which follow each other on the zodiac. As well, Death is the 13th Major Arcana and Temperance is the 14th.

• Both cards feature the same grey background.

• We see rising illuminations in the background of each card.

• In the backgrounds as well, there appears to be a destination in the distance, with a path and peaks.

• There are headpieces visible in each image. In Temperance we see the angel wearing a solar crown. In Death, the pope figure is wearing a crown and there is another crown on the ground by the man (king/emperor we presume).

• Each card features a supernatural entity (Death and the angel).

• There is water visible in each scene.

• We see white features prominently. The angel in Temperance wears a white gown, as does the woman by the pope in Death. In Death, we also see the white horse. White is a symbol of purification and divinity.

• The colour of the angel’s wings in Temperance resembles that of the feather on Death’s helmet.

• There are flowers in each image. In Death, we see one on the flag and in Temperance, in the marsh.

• Each card is associated with a path that leads to the sphere of beauty, or Tiphareth, on the Tree of Life; the path of Death leads to Netzach, the sphere of Victory, while the path of Temperance leads to Yesod, the sphere of Foundation.

• If we add the numbers of each sphere (6+7+9), we arrive at a sum of 22 - the number of cards in the Major Arcana and letters in the Hebrew alphabet. When you combine the Hebrew letters associated with each card - Nun (נ) for Death and Samech (ס) for Temperance - they form the Hebrew word for miracle - נס, or nes. In Biblical Hebrew, however, it is often taken to mean a flag or banner that is held aloft as a sign of victory, which holds an interesting connotation for this pair of cards.

• Both images feature characters wearing red and blue in their outfits. The Magician’s blue is a bit more subtle, but shows up in their waistband shaped like a snake. Red is symbolic of desire or self-consciousness. Blue is symbolic of subconsciousness.

• Speaking of the waist, The Hanged Man also features a tie around their waist. We’re not sure what this means, perhaps something to do with separation of parts or to place emphasis on the region where the kundalini energy may be stored.

• Both The Magician and The Hanged Man are crowned, though in different ways. The Magician wears a white band and has a figure 8 above their head while The Hanged Man’s is fully illuminated.

• We see garland placed in similar positions in each card. The Magician’s also features red roses, while in The Hanged Man we just see leaves,

• There are wood elements visible in each image. In The Magician is takes the form of The Magician’s table and in The Hanged Man, we see it in the tree they’re hanging from. While neither side is ruled by Earth, the wood elements may speak to an importance around grounding, stability or the natural world.

• There are a couple of numerical links worthy of discussion. The Magician’s table may be symbolic of the number 4 and its implied associations around security, foundation, The Emperor and form (to name a few). In The Hanged Man, we see a depiction of a cross, which is also associated with the number 4 and the attributes mentioned above. As well, The Hanged Man is the 12th Major, and it can be said that the 1 and 2, which make up that number, also feed into its energy. 1+2=3, so here we have, by Tarot Math, The Magician + The High Priestess = The Empress or said another way, a nod to the holy trinity.

• Water, associated with The Hanged Man, and Mercury, associated with The Magician, may both be seen as symbols of a fluid and magical agent which, if understood and worked with, can effect great change in ourselves and our environments.

• While each character’s posturing is different, a sense of stillness can be sensed in each.

• Further to their posturing, both characters feature a very deliberate and symbolic pose, each lending further meaning to the nature of the card. In The Magician, we see The Magician pointing both upwards and downwards, a symbol for the above and below. In The Hanged Man, we see depictions of a cross as well as the alchemical symbol for sulphur (looks kind of like a 4, further to the numerical points above).

• It may be said that both of these cards feature characters who, their personal will aside, behave as channels for the divine. The Magician, in concert with this force, acts as the mediator between the above and below. In The Hanged Man, we see a complete suspension of the ego and a reversal of what would be ordinary consciousness. When we embody these “postures” we connect ourselves with something greater and act in accordance with this force as opposed to that of our individual personality.

• There are many water-related connections between these two cards. For example, each are ruled by a water sign (Scorpio-Death, Pisces-Moon). Each image also features bodies of water. In addition, we see a crayfish emerging from the water in The Moon (similar to a scorpion a la Scorpio). Death is also associated with the Hebrew letter-word Nun which means fish and Pisces, as we know, is the sign of the fish.

• Each image features two parallel towers, with visible peaks and a large celestial light body between them.

• There are animals present in both scenes. In Death we see the white horse. In The Moon we see the dog, wolf and crayfish.

• Each card speaks to things below the surface. Death is ruled by Scorpio which governs secrets. The Moon rules the function of sleep and the subconscious, which deals with aspects of the human personality below the level of perception. These often play out in dreams, personal patterns, dramas and other unconscious behaviors.

• Both cards also speak to bodily transformations or regeneration. Death is a process of dissolution - forms, literally or figuratively transforming or giving way. Sleep (a function ruled by The Moon) is a process that also makes adjustments to the body and psyche while we sleep. This is a period where regeneration and reorganization on many levels takes place.

• It is interesting to see so many forms of life and consciousness represented between these two cards. Rocks, plants, animals, humans at all stages (children, adults) and death itself. When you combine this with the sun and the moon, represented in each card, we see a full cycle or spectrum of existence emerging, adapting and then dying to begin again. Some say we have to die while living in order to be reborn, and if that’s the case, then Death in tarot may be the beginning of such a transition, while The Moon may be a destination further off in the distance similar to what we see depicted in Death. At both stages, our fears and demons have a chance to be met and challenged and if we can meet the call, the keys following each of these cards (Temperance & The Sun) offer much in the way of relief.

• Both cards feature a wooden workbench or table.

• Both cards place an emphasis on tools. In The Magician, we see the elemental tools on The Magician's table and in the 8, we see the figure working with a hammer and chisel.

• Both cards feature Pentacles. The Magician has one on their table and there are 8 Pentacles in the 8.

• The number 8, speaking of, is relevant to each card. This is obvious with the 8 of Pentacles, but even in The Magician, we see a sideways 8 above their head (infinity symbol).

• The 8 of Pentacles falls in the first decan of Virgo and Virgo is ruled by Mercury, which is attributed to The Magician. As well, Hod, the 8th sphere on the Tree of Life, is associated with Mercury as well.

• The colour red, a symbol of desire, is visible in each scene. The Magician wears a red cloak and is surrounded by roses, while the worker in the 8 wears red tights and shoes.

• Both figures demonstrate a degree of focus or absorpti0on on their work. Whether that work is in aligning their will and commanding the elements or producing pentacles in the material world.

• The combination of these two cards may point to the idea of force seen through two different vantage points. In The Magician, we see the archetypal use of force to direct power whereas, in the 8 of Pentacles, we see a very practical application of force in creating goods for the material world.

• Both cards feature bodies of water where the central figure stands on top, one foot in and one out.

• In the background of each scene, we see forms of peaks. In The Star, mountains are visible and in the 8 of Swords, we see a castle or village scape.

• The number 8 is significant to each card. In the 8 of Swords, we obviously have 8 swords present. In The Star, we see 8 stars, each with 8 points. As well, if you add the digits 1+7, for The Star. you arrive at the single digit of 8.

• The number 8 is linked to the sphere of Hod, which is attributed to Mercury, which, in turn, is exalted in Aquarius. The ibis in the tree in The Star is another symbol of Mercury, via the Egyptian deity Thoth/Tahuti.

• In the 8 of Swords, the swords are divided - 3 to her left and 5 to her right: in The Star, the vessel she pours onto the ground divides into 5 streams, symbolizing the 5 senses, while that which she pours into the pond contains three streams if we look closely. The numbers 3, 5, and 8 all fall on the left pillar of Severity on the Tree of Life.

• In terms of contrasts, we see some pretty stark differences. The 8 of Swords exhibits a very bound gesture, unable to see and fully clothed. On the other hand, The Star is very open, uninhibited, and fully nude. The figure in the 8 as black hair, whereas the figure in The Star has blonde. The bodies of water also look quite different, one jagged and broken up and the other appearing fuller and deeper.

• According to its decanate, the 8 of Swords is ruled by Gemini which is an Air sign, similar to The Star which is ruled by Aquarius. The suit of Swords is also associated with Air, further cementing this connection.

• The 8 of Swords illustrates a form of bondage and an implied in-escape. This is stifled movement, either physically, mentally, or otherwise. The Star, on the other hand, denotes a form of divine guidance. Its Hebrew letter association is Tzaddi, which means fish-hook. When we are in a fixed state similar to the 8 of Swords, we are susceptible to all forms of fishing. If we are unable to see clearly, we may fall victim to a malevolent force (even our own harmful inner voices). On the other hand, if we can see through the obstruction, we would be better equipped to find The Star and allow it to guide the way.

• Each image features an angel in a similar placement, with red wings.

• There are peaks in the background, as well as bodies of water, visible in both cards.

• The element fire is associated with each card, though in different ways. The Judgement card is ruled by the fire element, and its Hebrew letter association is Shin which has ties to fire in its relationship with tarot. Temperance on the other hand is ruled by Sagittarius, a fire sign. The angel also wears an upward-pointing triangle on their chest, a classic symbol for the fire element. Further to this, Temperance is said to be a card of alchemy, mixing, and blending, specifically where water and fire are concerned. The word "temperance" carries connotations linking it to aspects of heat within the personality i.e. temper and temperament.

• Shin, associated with Judgement, also correlates to the fifth element, being "spirit". This would link it to Temperance as the angel bears the 4 letter name of God on their chest (YHVH). Each letter there is attributed to one of the 4 elements, and the 5th, depicted in Judgement, would provide the final point.

• The gold cups in Temperance resemble the gold trumpet in Judgement.

• Emanations are present in each image. In Judgement, we see 7 coming from the trumpet, symbolic of the 7 musical notes. In Temperance, we see them coming from the angel's head as well as the sun/crown rising in the background.

• Those emanations coming from Judgement may also be regarded as vibration (sound) which further links to Temperance as we see the angel balancing water streams with a vibratory nature.

• The cross seen in Judgement, among other things, may suggest equilibrium and the attributes found within the number 4. This would connect to the harmonious aspects of Temperance as well as the square that also sits on the angel's chest.

• What we may see depicted in Judgement then is the result of properly blending the 4 standard elements (via Temperance) so that they are perfected and ready to be crowned by Spirit.

• Both cards speak to themes of equilibrium and harmony. Justice demonstrates this with the balancing of scales and presence of Pillars. The Lovers shows this through the male/female polarity and association with beauty and symmetry.

• The Hebrew letter-word associated with The Lovers is Zayin which means sword, and in Justice we see a sword.

• The Hebrew letter-word associated with Justice is Lamed which means ox-goad. In this sense, both Justice and The Lovers have letter associations with tools which can be wielded (sword & ox goad).

• An ox goad (associated with Justice) is something which influences or prods, and the same may be said for the angelic figure which oversees the 2 figures in The Lovers.*

• Lamed (associated with Justice) is known as one of the 3 serpent letters in some qabalistic circles ( ל), and in The Lovers, we see the serpent wound around the tree.

• The Tree of Knowledge of Good and Evil (polarity) is present in The Lovers. This connects to Justice as the concept of justice wouldn't exist without the knowledge of opposites.

• The Pillars in Justice bare resemblance to the 2 figures and 2 trees in The Lovers. In this sense, the angel and the figure of Justice may be seen as similar forces.

• The colour of the Justice veil is similar to the mountain peak in The Lovers. Mountains represent achievement, attainment or initiation. Perhaps what may be obtained in The Lovers is not just knowledge of natural law, but the ability to overcome what feels like injustice when that natural law isn't understood.

• The yellow background in Justice is like the yellow sun in The Lovers.

• Both cards are ruled by the Air element (Gemini & Libra).

• If you take the lesson of these two cards in tandem, it could be said that discernment (a faculty of The Lovers) can help us work in tandem with natural law (represented by Justice), which oversees all things.

• One of the most striking connections is the fact that there is a pope or hierophant figure visible in Death, greeting the rider.

• There are crosses in each scene depicted in multiple ways. In Death, we see crossed bones on the horse's harness as well as crosses on the pope's gloves. In The Hierophant, there are crosses down the centre of The Hierophant, on the shoes, on the red floor below, and in the crossed keys.

• Hearing is the sense attribution applied to The Hierophant and in Death, we see a trumpet by the child.

• Flowers are depicted in both scenes. In The Hierophant, we see roses and lilies on the two kneelers while in Death, we see a white rose on the black flag.

• Pillars are visible in each scene. The Hierophant sits between two pillars while the sun rises between two towers in Death.

• There are crowns in both scenes. The Hierophant is wearing one, as is the pope and as well, there is a fallen crown by the horse's foot in Death.

• Both Death and The Hierophant are holding something symbolic. The Hierophant holds their triple staff while Death holds the flag.

• In both scenes we see 2 secondary figures kneeling or bowing before the main figure.

• Both cards are attributed to fixed signs of the zodiac which are opposite one another; Taurus and Scorpio.

• A black and white pattern is shown in each image. In The Hierophant, we see a checkerboard by their feet. In Death, we see black and white elements i.e. horse and rider & flag, and rose.

• The Hierophant's literal appearance in Death implies a connection between these two cards. We also don't think it is a coincidence that the pope was placed right below the rising sun. Perhaps our relationship with Death (literally or figuratively) can be improved by seeking the counsel of our inner voice and teacher, and having faith in ourselves as well as universal or natural processes.

• There are mountain peaks visible in the background of each card.

• Clouds are visible in each scene.

• There are emanations visible in each image. In The Lovers, we see them coming off the sun and in the ace, more subtly off the hand.

• The angel’s hair and the sun in the background represent a divine and solar force, as does the Crown on top of the sword in The Ace.

• Each card points to a trinity. In The Lovers, we see this dynamic between the angel and two human figures. In the ace, The Crown, symbolic of Kether (meaning crown), occupies the upper spot on the tree of life, forming a trinity between itself, Binah and Chokmah.

• Both cards are governed by the element Air. The Lovers is ruled by Gemini (air sign) and the Ace of Swords belongs to the air suit.

• There are 6 falling yods in the Ace of Swords and The Lovers is the 6th arcana.

• In Tarot, the letter Yod is connected to Fire. This would link the falling yods in the ace to the flaming tree behind the male figure.

• The Hebrew letter for The Lovers is Zayin which means sword, drawing a clear link to it and the ace.

• The theme of discrimination is evident in each card. The Lovers is associated with the sense of inner smell - to be able to sniff out what is “right”. In comparison, The Ace of Swords is about cutting through to the truth, using discernment, and acting accordingly.

• It is also interesting to observe the contrast in hand gesturing between both cards. In The Lovers, all figures have open palms as if ready to receive divine guidance whereas, in the ace, we see a clutched hand, as if ready to take action on that instruction.

• Each card features a central figure who occupies the centre space of the card.

• Both figures are posturing their legs in similar ways (crossed, one up/one down).

• Speaking of "crossing", the Hebrew letter-word associated with The World is Tau which means "cross". In The Hanged Man, we see crossing not just in the leg posture but also in the tree which forms a T shape.

• further to the similarity in leg posture, neither figure has their feet planted on any kind of solid ground. They're both floating in a sense; suspended - raised.

• Numerically, we see an interesting connection. The World is 21 and The Hanged Man is 12. 12 is 21 in reverse and as we know, The Hanged man speaks to reversals; turning things around or flipping something on its head.

• More simply, 12 and 21 both reduce to 3 which tie them both to The Empress as well.

• Another numbers connection. Both cards could be said to speak to completion as they contain “the entire universe” numerologically: If you add up every individual digit of the number 12 (1+2+3+4+5+6+7+8+9+10+11+12), you arrive at a sum of 78 - the total number of cards in a standard tarot deck. The letter Tau (associated with The World) has a value of 400, which is the total number of spheres on the Tree of Life, if one considers that there are 10 Sephiroth, each containing its own Tree with 10 Sephiroth, and 4 Qabalistic worlds (10×10×4).

• There is greenery visible in each scene. In The Hanged Man, it hangs from the branch, and in The World, it creates the wreath that surrounds the dancer.

• Ties are visible in each image. In The Hanged Man, we see the figure's foot suspended by a tie. In The World, the wreath is held together with red ties.

• If you flip The Hanged Man around and put it side by side with The World, the similarities are more evident. Notice the face, legs, and hair. Could it be those batons from The World are implied in The Hanged Man, hidden behind the figure's back? Perhaps in waiting until the proper reversal of consciousness has been achieved? To arrive at The World, we know something has to change within oneself. Could the secret to that change be found in The Hanged Man?

• Each card features a central figure managing 2 vessels of water.

• Both of those figures have one foot on land and one in a body of water. This may be a signal to the balancing of elements/states of consciousness.

• There are peaks in the background of each scene. In addition, while there is no visible path in The Star, it appears to lead to a similar destination as seen in Temperance. In fact, the illuminated crown in the distance occupies the same space as one of the smaller stars in The Star.

• Speaking of that path though, while there is no footpath in The Star, those small streams being poured from the vessel on the right take the shape of paths in a different way.

• The Star is ruled by Aquarius and the water being poured in Temperance looks a lot like the symbol for Aquarius.

• Emenations are visble in each card. In Temperance, it is a solar illumination in the distance and on the angel's crown whereas, in The Star, it takes the form of 8 stars in the sky.

• We see wings in each image; those belonging to the angel in Temperance and those belonging to the ibis in The Star.

• Each scene may very well be a depiction of the Garden of Eden.

• When read together intuitively, the symbolic Hebrew "letter names" produce an interesting mental image; the letter of Temperance, Samech, (ס), means "anchor" or "prop" - something that holds us up or supports us, while the letter of The Star, Tzaddi, (צ), means "fishhook." When taken together, we could say that the practice of Temperance - or control over one's thoughts, feelings, and impulses, perhaps through meditation - creates an anchor, (ס), upon which we can be hooked (צ) by inspiration (The Star), rather than intrusive thoughts, worries, or emotions.

• Ultimately, temperance is something we learn to do; it is the art of mixing, blending, and balancing so we may be our best possible selves. Whereas The Star is what seeks us out as we do this work to refine and perfect through all manner of alchemy, personal and spiritual development.

• The number 8 bares a huge significance to each card. Strength is the 8th major arcana and is seen with a figure 8 above their head. The Star, on the other hand, is the 17th Arcana, but even this reduces to 8 if you add 1+7. In addition, we see 8 stars in The Star, each with 8 points!

• That 8 pointed star, speaking of, is a prominent symbol for Ishtar. Another symbol for Ishtar is the lion, linking both cards.

• Strength and The Star are astrological opposites. Strength represents Leo and The Star represents Aquarius.

• Both cards feature a figure with blonde hair, demonstrating a similar posture. Each facing to the left, kind of hunched over, both hands engaged.

• In each card we see an animal. In The Star, it's the ibis bird and in Strength, it's the lion.

• Each card features mountain-like peaks in the background and green grass in the foreground.

• Ultimately, together these cards speak to a reconciliation of forces, as represented by the two figures apparently taming their respective objects of attention. In Strength, we see the lion (animal, base instincts) being tempered, and in The Star, we see the water (consciousness) managed in much the same way. Said another way, it is a force from above meeting with a force from below, achieving a degree of temperance (another card we could easily link to both).

• Each card features a white animal. We see this as the horse in Death and the dove in the Ace. White is a symbol of purity.

• Speaking of colour, we also see gold elements in each scene and a similar coloured background. The gold aspects are most visible in the chalice, the sun and the hierophant's garb. Gold is a symbol of divinity.

• There are many aspects of each card linking them both to water. For starters, we see water literally in each scene. Furthermore, both cards are governed by the water element (cups = water, death = Scorpio). In addition, the Hebrew letter associated with Death is Nun, which means fish.

• If we combine elements, we can find a nod to the Rosecross which is an important occult symbol. The rose of course is on death's flag and the cross is on the wafer in the Ace. The cross is also visible on the hierophant's hand. It is alsointeresting to note that the rose and the wafer occupy similar space on their respective cards.

• There may be a connection to sound present in each card, though I am still not certain if that brassy looking thing near the child in Death is a trumpet. If it is, then it shares a similarity to the Ace as there are tiny bells hanging off the cup.

• Together, both cards suggest a kind of offering. In Death, the horseman ushers forward transformation through death while in the Ace of Cups, the hand of god offers rejuvenation through rebirth. The hierophant’s hands also suggest a form of offering, extended in prayer toward incoming death.

• Each image depicts prominent sources of light though in different ways. In the 5 of Pentacles, there is light coming through the stained glass window. In The Hermit, we see it in the lantern.

• Along with their singular sources of light, both images also depict darkness.

• Both cards are governed by the element Earth. The Pentacles are represented by Earth and The Hermit is associated with Virgo. As well, the 5 of Pentacles is the 3rd decanate of Taurus which is ruled by Mercury, and Mercury also rules Virgo.

• There is snow visible in each image, which is an interesting feature since snow is only depicted a handful of times throughout the deck.

• There is some similarity in dress and body posture present across all figures. In the 5, we see two figures cloaked, heads down, and covered. In The Hermit, we also see a cloaked figure, head bowed and also covered.

• The Hebrew letter assigned to The Hermit is Yod, and Heh is the fifth letter of the Hebrew alphabet (5 of Pentacles); together, they form Yah, which is the divine name of the sphere of Chokmah on the Tree of Life, which is in itself an archetypal masculine force. This can be seen much like the yang of Taoism, or, perhaps even the Hermit, who could be perceived as a mythological "wise old man" figure.

• Walking aids are depicted in each scene. In the 5, we have one of the figures using crutches and in The Hermit, we see a walking stick being utilized.

• Stars are present in each scene. In the 5, they show up as pentacles and in The Hermit, we see a single star in the lantern. In addition, the stars in each scene are a part of the light sources.

• The Hermit and the 5 of Pentacles may demonstrate the contrast between the internal and the external, or the difference between what is exoteric vs what is esoteric. The figures in the 5 are illuminated by the light of an external structure, while The Hermit is illuminated by the light of their own being, as represented by the star in their lantern. Said another way, it is the difference between being guided by a source within vs. being guided by a source without.

• If you place the 5 on the left side and The Hermit on the right, it may be seen as The Hermit ushering the two figures forward, through externally harsh conditions, toward the truth of their own inner knowing.

• Both cards are of the Pentacles suit.

• These two cards demonstrate the idea of elemental division that we wrote about recently. In the 8, there are 5 Pentacles adhered to a wood structure while 3 others are below. In this way, we may connect the 8 of Pentacles to the 5 and 3 by way of this approach.

• Both cards fall on the side of severity on the Tree of Life.

• All 3 figures across both cards are wearing tattered clothing.

• There is some variety of tool evident in each scene. In the 8, the figure has a hammer and nail, while in the 5, one of the figures is is using aids to walk.

• The wood paneling is an interesting similarity. In the 8, we see it on the right side of the card with 5 pentacles adhered to it. In the 5, it frames the window which also houses 5 pentacles. Could it be that the worker in the 8 is crafting the feature we see in the 5?

• Depictions of city structures are visible in each card. In the 8 it is in the background and in the 5, it is in the stained glass design.

• All 3 figures are facing right, kind of hunched over and looking down, though for different reasons. The figure in the 8 is lost in their work and its process, while the figures in the 5 are lost in other ways. While each predicament lends itself to being consumed by circumstance, in the 8 there is much more contentment implied. In other words, "The busy bee has no time for sorrow" -William Blake

• Both cards are of the swords (air) suit.

• The backgrounds are a similar greyish colour.

• There is water in each image, though represented in different ways. In the 3, we see it as rain. In the 8 it appears as puddles. Could those puddles be the remnants of a storm now passed a la the 3 of Swords?

• While there are a total of 8 swords in the 8 of Swords, it is interesting to note that they are divided in such a way that 3 are on one side and 5 on the other. Could this be a nod to the energy of the 3 of Swords, and also the 5 of Swords respectively?

• The colour red stands out in each scene. In the 3, it is the heart and in the 8, the figure's gown.

• Both cards fall on the side of severity on the Tree of Life.

• The figure in the 8 isn't pierced by swords, but they are bound around the torso, keeping them stuck or in place. In the 3 of Swords, we see the heart as the object being pierced, stuck, or kept in place (just in a different way).

• Obstruction of view also seems to be evident in each card. In the 3, it is stormy and there is no figure with which to assume perspective. In the 8, the figure that is present is blindfolded.

• Each card seems to capture a certain mental state of arrest or a suspended state of suffering. Perhaps there is nothing to be done but wait for the storm to pass, or maybe action is warranted but the possibilities have been completely clouded. Either way, each card offers little in the way of solutions, but rather seems to draw out attention to the fact that we are, in fact, stuck in some sense. Whether that stuckness is literal or "simply" a mental perspective is something to consider.

• Each figure sits in the centre of the image, on a stone cube, looking straight on.

• Each figure has black hair.

• There are similarities in dress in the way the fabric drapes over each figure.

• The posturing is similar as each figure’s body language appears closed. The one difference though is the High Priestess is quite erect while the figure in the 4 appears more slumped i.e. you can't see their neck.

• Each figure has important elements in 4 central and similar locations. For the High Priestess, we see a crescent by her foot, the Tora in her hands, a cross at her chest, and the triple goddess on her head. In the 4, we see 2 pentacles under each foot, another near the chest and another on the crown.

• Speaking of crowns, both figures wear a crown with 3 points and a circle, represented in different ways.

• Each figure is can be seen almost submerged in or adorned with their particular element. For The High Priestess, Water can be seen in the background, as a part of her gown and symbolized in the moons. In the 4 of Pentacles, the Earth element surrounds our figure in the form of pentacles, while a city (consisting of man-made structures) occupies the background.

• In a sense it is as if the 4 is a very pure expression of the Earth element and the High Priestess a very pure representation of Water. In this way, perhaps we could even look at each figure as a guardian of sorts. The High Priestess, a guardian of the subconscious realm, and the 4 of Pentacles, a guardian of the material realm. Said another way, the High Priestess keeps our record of memories in check and the 4 keeps our bank records balanced (or insert other practical activity here)!

• Furthermore, each card speaks to the risks and benefits of working within these realms. Our subconscious can be a beautiful tool to aid us in navigating our inner world, helping us get closer to ourselves and Spirit. On the other hand, we can be completely submerged by that same force when we don't understand its influence. In the same way, our material resources can be a tool to help us navigate the external world, but too much dependence in this way can also leave us disconnected and ultimately dissatisfied.

• There is a striking similarity in clothing. The Hanged Man wears red tights and a blue long-sleeved tunic with a belt of sorts around their waist. In the 6 of Cups, the kid on the left is wearing red tights and a long-sleeved blue tunic with what also appears to be something cinching the waist.

• The heads of both figures are also emphasized. In The Hanged Man, we see an illuminated crown and in the 6 of Cups, we see an elaborate head covering.

• While we can't see one of the kid's hair, the one on the right has blonde hair which is also similar to that of The Hanged Man.

• In each scene, we see forms of greenery.

• The symbol of the cross is evident in each card. In the 6 of Cups, we see a cross etched in the stone. In The Hanged Man, we see a figure hanging, crossing their legs and their arms behind them. The symbolism of the cross is also somewhat implied as we have a depiction of sacrifice.

• Water is an important element to each card. In the 6 of Cups, we know that cups are associated with the water element so that is fairly obvious. In The Hanged Man, we have Neptune as its ruler, also associated with the water element. In addition, the Hebrew letter associated with The Hanged Man is Mem, which means water.

• In the 6 of Cups, we see the use of a 5 pointed flower which may be a nod to the symbol of the Pentagram which represents the completion of man i.e. all 4 elements + Spirit. The Hanged Man also represents this concept as their body positioning mimics these 5 points and also speaks to a rising in consciousness leading to connection with spirit and thus, completion.

• The Hanged Man symbolizes, among other things, sacrifice, which speaks to the concept of the dying god i.e. Odin who sacrificed his eye for greater sight. Interestingly, Tiphereth is the 6th sphere on the tree of life (connecting it to the 6 of Cups) and is associated with that concept of the dying god. It is also associated with a golden color which we can see in the crown of The Hanged Man, the cups, and in the foreground of the 6.

• In both cards, there is a sense of an offering being made. I think it's important to note the motivation behind each offering to understand the implication that can be applied back to each card. In the 6, we have children sharing with one another, a representation of sincerity and giving without attachment or agenda. In The Hanged Man, we see a figure who sacrifices themselves (ego) for something greater. This is very counter to how many people give and take in this world. The Hanged Man of course wants us to reverse our common view, and this may be one of the components to that.

• We see a triangular formation in each scene. In The Moon, it exists between the dog, wolf, and moon while in The Devil, it exists between the devil and two human figures.

• Nudity is central in each scene. This is a nod to the animal nature that is also represented across all figures. Clearly, The Moon contains 3 animals, but even The Devil is a beast, and the man and the woman have horns and a tail.

• In The Devil, the man and woman are standing on a ground that appears to have ripples. We can't say for certain, but it may be water, similar to what we see in The Moon.

• The Hebrew letter word for The Moon is Koph (back of head), and for The Devil it is Aiyn (eye). If you combine them, it could be saying to “look to the back of the head”. The back of the head contains the cerebellum which is responsible for automatic processes, emotional regulation and fear responses (feel free to research this one more).

• In each scene, we see stone pillars of some kind. In The Moon, they frame the crayfish's path and in The Devil, there is one being used to prop the devil and chain the figures.

• There are a couple of numerical connections we were able to find. In The Moon, we see 15 falling yods and 15 is assigned to The Devil. As well, 6x6x6 is 18. 666 is associated with "the beast" while 18 is assigned to The Moon.

• Going back to the animal connection, in each card we see links to this side of our nature. In both scenes, we observe animals bound to their masters. The dog and wolf howl at the moon while the humans are slaves to their Devil.

• We know that the moon (a symbol for subconsciousness) is a powerful force. It controls the tides and we see it in werewolf mythology. The water can't fight back, and the human can't help but turn when the moon goes full. Similarly, our impulses are often beyond our control. When we are unaware of our subconscious or animal nature, we can become slaves to it, leaving it open to manipulation by those who seek to control us or keep us stuck. The Moon and The Devil show us where we are trapped so that we may become free.

• Both cards provide a sense of darkness and lack of clarity. In The Devil, we cannot see for the dark and the two figures may have no idea the chains are even there. And in The Moon, it is uncertain where the windy path leads.

• However, to the point above, with the confusion comes a hint. The crayfish (perhaps a nod to Death [scorpio] and The Chariot [cancer]) shows us that the middle path (a moderate approach) is best. Through determination (The Chariot) and ego-transformation (Death), we can see our way through The Moon without being pulled off course by The Devil (manipulation through our senses via materiality and desire).

• Each image features a supernatural figure. In Death, there is death on horseback and in Judgment, the archangel.

• There is a musical instrument visible in each image. In Judgement, we see the angel blowing a trumpet and in Death, it appears there is a horn nearby the child (we think it's a horn anyway...).

• Each image features a man, woman and child. The woman figure in Judgment seems to be mimicking the gesture of the pope in Death.

• In each scene, there is a sense that something is being ushered in. The degree of receptivity varies between figures, though whatever the reaction, the force is causing some to fall and others to rise up.

• There are flags in each image. Judgement's flag features the red cross while Death has the white rose. Together, they may connect as the rose-cross, an important occult symbol originating with the Rosicrucians.

• There are water and trees visible in each scene.

• The theme of death penetrates each card. In Death, that theme is quite apparent, but even in Judgement, we see bodies rising from coffins.

• The rays from the sun in Death are similar to the rays we see emanating from the trumpet in Judgement. Both of these rays may symbolize forms of vibratory energy.

• There are crosses visible in each image. In Judgement, we see one on the flag and in Death, on the pope's hand.

• The feather on Death's helmet is similar in colour to the wings of the archangel in Judgement.

• There are golden elements visible in each image. Gold is associated with illumination and the crown chakra. In Death, we see it in the sun and pope's garbs. In Judgement, we see it in the angel's hair and the trumpet.

• In each image we see figures responding to the coming of something - be it death, evolution, transformation or something else. In Death, the figures remain clothed and appear taken aback and resistant to the force. This may have something to do with our perception of death as being a terrifying entity, out of our control. On the other hand, in Judgement we see figures responding with open arms to an angelic figure, ecstatically receiving that messenger. It should also be noted that they are nude, a symbol of purity, vulnerability and transparency.

• The two cards add up to 33 (13+20) which is a symbolic number representing the number of degrees in Scottish Rite freemasonry, the number of vertebrae in the spinal column, and the age of Christ at the time of his death. This is interesting when we consider that Christ "offered" himself as a sacrifice for humanity's sins, much like the figures in Judgement offer themselves to the angel.

• The Hebrew letter attributed to Judgement, Shin, also lies directly in the centre of Jesus's name in Hebrew - YHShVH, or Yeheshua. Western occultists, who link the four letters of the divine name YHVH to the four elements, see the letter Shin as a symbol of the fifth element - spirit. When it is added to the middle of the divine name, it not only "crowns" the four primary elements with spirit, but it forms the uppermost point of the pentagram - a symbol of perfected man.

• Each card features a figure in the centre of the card, holding a circular sceptre, with similar body language. There is also a resemblance to their dress. Each figure wears a long gown adorned with fruit (grapes & pomegranates), wears a crown with a wreath and sits with one foot exposed.

• Both cards feature a bright yellow background.

• The scenery in each card depicts a certain lushness and abundance with all the vegetation and greenery.

• The element of Earth connects to each card. The Empress is ruled by Venus (which rules Taurus) and visually demonstrates a connection to the natural world. The King of Pentacles is also ruled by Earth, visually demonstrates a connection to the natural world, and has the bull (for Taurus) carved into their seat. The Empress, by contrast, has the symbol for Venus carved onto their stone.

• There is a sense of the natural meets man-made in each scene, and with that, it is clear that both have a place and add to the overall beauty of the landscape.

• Stars are visible in each image. In The Empress, we see it on the crown and in The King of Pentacles, in the coin.

• Each figure represents a male/female or mother/father balance. There is also a sense of harmony in regards to physical and etheric integration or - the natural vs. intervened-on world. In this sense, both characters depict a form of dominion over their representative kingdoms whether they be naturally occurring, cosmic in origin or completely man-made. Earth, though, is the connecting fibre.

• There is an emphasis on celestial elements visible in each image. In The Chariot, we see stars adorning the canopy, a crown made of stars, and a zodiacal belt. In The Star, we can observe 7 small stars and 1 large star. The blue background in The Star is similar to that of the Chariot's canopy and in each image, we see that the stars are above each central figure. It is also interesting to note the similarities in the colours of the stars - white and yellow. It is almost as if The Star draped itself over the Chariot, covering the canopy and Chariot’s crown, which symbolically tells quite a story.

• The Chariot is the 7th Major Arcana and in The Star, we can see 7 small stars surrounding a larger one which is symbolic of the chakras.

• On the charioteer's shoulders, we see a side profile of a face and in The Star, we can observe that figure with a side profile.

• Both central figures have blonde hair. The marked difference between them though is that one figure is fully clothed, armored, and closed-in while the other is completely nude and out in the open.

• There are Egyptian elements visible in each scene. In The Chariot, we see the two sphinxes and in The Star, there is an Ibis on the tree in the background.

• Water, trees, grass, and wings (winged disk & Ibis) are visible in each scene.

• While each figure is engaged in different activities, we can see that the activity involves the manipulation of two other forces - the Sphinxes and the vases.

• Speaking of the vases, there appears to be a shared theme around vessels playing out in each scene. In The Star, we see two vessels pouring and collecting water. In The Chariot, the chariot is the vessel to the charioteer, which also speaks to the way in which spirit inhabits matter (another form of vessel). The Chariot is also ruled by cancer, which is symbolic of the crab who also carries a vessel, being the shell.

• Another way to look at the idea of the vessel is to think of it as an enclosure, and this idea connects to the Hebrew letter associated with The Chariot which is Chet, meaning Fence. A fence, like a chariot, like the shell of a crab, like the body that contains the spirit, all speak to forming borders, boundaries, or containers. In complementary opposition to this is The Star, which is depicted in an open field. The Hebrew letter associated with The Star is Tzaddi which means fishhook. So here we have the combined idea of a defined and formed thing, both seeking and being sought by a greater force. In this way, The Chariot may be the physical manifestation of us treading a divinely led path, while The Star may be the internal impulse pushing us forward and guiding us along.

• We observe similar posturing in the two figures. Even though one is sitting and the other standing, their heads are held in a downward position and both face slightly left.

• Both figures are wearing a headpiece and white garments.

• There is vegetation visible in each image including an identical rose garland. In The Queen of Pentacles, it is above, acting as a frame. In Strength, we can see it wrapped around the figure's waist. Roses represent desire.

• There is a blue coloured mountain in the background of each image, placed in the same spot on both cards.

• Both cards feature a bright yellow background.

• There are animals of a similar colour in each scene. In Strength, we see the lion and in The Queen of Pentacles, a hare.

• There are similarities in the way each figure holds their respective element. It is interesting to also observe in this dynamic a Mars and Venus connection. The Lion and the Pentacle could both be Martial forces, while Strength and the Queen would represent a Venusian influence. Even the Rabbit is a symbol for Venus. In this way, we see two feminine figures exerting command (though in a gentler or way) over their kingdom. Strength being in command of our lower instincts and the Queen being in command over aspects of the material world. This may also be a message around the various ways that control may express itself i.e. with force or with ease and poise.

• In both images, there are 3 central points of focus. In the 5, we see 2 figures with a stained glass window above them. In The Devil, we see 2 human figures with The Devil above them.

• There are some similarities in the human figures visible in each image. In both scenes, they are depicted as barefoot. In addition, there are things around their necks. In the 5, we see a bell around one figure's neck and in The Devil, we see the chains.

• Light sources are visible in each image. In the 5, it takes the form of a stained glass window and in The Devil, fire.

• Each card carries themes around materiality, visually represented in various ways. For starters, each card is ruled by the Earth element (Capricorn + Pentacles). In addition, both cards have a black background, black being symbolic of the material world.

• There are rectangular structures in each image. In The Devil, we see it in the form of a double-cube altar (another sign of materiality) and in the 5, we see it as a frame to the window.

• The number 5 is represented in each card. Obviously, there are the 5 Pentacles as one example, but in The Devil we also see it holding up an open hand (5 fingers). Not to mention, a pentacle (or pentagram) has 5 points.

• Speaking of Pentacles, we see the star as the pinnacle in each image. In the 5, there is one Pentacle at the top-centre of the card, and in The Devil, there is an inverted Pentagram on top of The Devil's head (also featured top-centre).

• The Devil is associated with the Hebrew letter Ayin which means eye (to see) while Heh is the 5th letter of the Hebrew alphabet, meaning window (clearly connected to the 5 of Pentacles which features a window). Read in tandem, this could be interpreted as a message to "look through the window".

• The Devil is meant to be a depiction of Baphomet, who is an androgynous figure. Similarly, the 5 of Pentacles is in the first decan of Taurus which is ruled by Mercury (another sign of androgyny).

• Temperature extremes are depicted in each scene. In The Devil, we get a sense of intense heat with fire burning and the figures being naked. In the 5 of Pentacles, it is clearly freezing with the snow falling and figures bundled up. This could be an indication of severe and harsh conditions.

• In both images, we get a sense of dis-ease, being trapped or possessed by aspects of the material world. In The 5 of Pentacles, our figures may be ruled by lack and in The Devil, ruled by their attachments. In both cases, while those in the scene cannot see their way out, as an objective observer it becomes more clear. The 5 has a safe haven above it if only they would look up, and in The Devil, the chains are loose and could technically, quite easily, be removed. Each of these cards then speaks to the power of irritation. We can only stand the heat or the cold for so long before we’re forced to confront the discomfort and be inspired to examine where we are and determine how we’ll make a change.

• There are visual similarities between both central figures. They each wear a crown, hold something sacred, and are seated looking straight on.

• Pillars are visible in each image.

• Each figure wears a long robe. While The Hierophant's is predominantly red, we do see white and blue underneath, which mimics the colours in The High Priestess.

• Early tarot decks labeled these cards as Popess and Pope, alluding to another connection.

• Black and white elements are visible in each image. The High Priestess sits between a black and white pillar while The Hierophant has the black and white checkerboard pattern at their feet.

• We see crosses in each image. In The High Priestess, there is a cross in the middle of her chest. In The Hierophant, there are crosses down his chest and also on his feet and on the floor.

• While The Moon has clear links to The High Priestess, it also shows up in The Hierophant. The silver key is symbolic of the moon, as is the figure who kneels on the right-hand side (their respective counterparts symbolize The Sun). The Moon is also exalted in Taurus and Taurus rules The Hierophant.

• Each central figure has a symbol of some sort at their feet. In The High Priestess, we see a crescent moon, in The Hierophant, we have two keys - silver and gold.

• There is plant life visible in each image, but unlike many cards where it is growing in the scene, here it is more an adornment on fabric i.e. the veil in The High Priestess and the kneelers in The Hierophant.

• Triplicity is represented in both of the cards. The High Priestess' crown is a triple moon, the Hierophant's crown has 3 tiers, and the gold staff that the Hierophant holds contains 3 bars. 3 is a generative number indicating synthesis, creation, and the 3 states of consciousness - sub, super, and self.

• Both central figures are depicted wearing a headpiece, with a long garment over top of other clothing.

• While there are no pillars in the 2 of Wands, the figure stands between 2 wands, thus making them the middle point, similar to how The Hierophant is depicted.

• Both figures hold something in their hands. The Hierophant holds their staff while the figure in the 2 of Wands holds a wand and a globe.

• In the 2 of Wands, we see a rose and lily in the form of a cross in the bottom left-hand corner. This symbolism is replicated in The Hierophant as the 2 kneelers are shown wearing shirts with roses and lilies on them. The keys at The Hierophant's feet are also crossed in a similar way to the emblem in the 2 of Wands. The roses and lilies represent the sun and the moon - masculine & feminine.

• Each image depicts a sense of dominion. The Hierophant demonstrates dominion over their inner faculties, wisdom and knowledge. The 2 of Wands demonstrates a sense of dominion over their physical landscape.

• The Hebrew letter associated with The Hierophant is Vau which means nail - to fasten, hook or secure. Visually, we can see some association with this in the 2 of Wands as the second wand is fastened to the balcony wall. This stands out as it's the only card which depicts a wand secured in such a way.

• There is a sense of elevation evident in each image. The Hierophant is elevated above the kneelers and the figure in the 2 of Wands is on a structure that overlooks a village. This may indicate the higher perspective that each card assumes in their unique quest for greatness.

• In both landscapes we see a figure with their back turned, holding a staff. This is interesting because neither of these cards belongs to the wands suit, but the staff is prominent and an important element.

• There is a sense of effort involved in the movement conveyed in each card. In the 6 we see a figure whose leg posture indicates a forward motion as they wade their paddle through the turbulent waters. In the 8, we see a figure navigating rocky terrain with the aid of their walking stick. We'd describe each scene as "pushing forward".

• There are 9 objects of focus in each scene if you include the elements along with the figures. 8 Cups + 1 figure and 6 swords + 3 figures.

• There is water visible in each landscape as well as land in the distance.

• The suits are separated in such a way that there are figures who seem to occupy the empty space between them. In the 8, the figure is in a gap between the cups, and in the 6, there are 2 figures who sit amidst a gap in the swords.

• Themes of travel, journey, and movement are evident in each scene. One difference is that in the 6, the swords come forward and in the 8, the cups get left behind.

• The other contrast is that in the 6 it looks like the figures are moving from turbulent to calmer water. In the 8, it looks as if the figure is opting to give up steady ground for a rougher one. In the 6, the swords come with them which may indicate that the air element is an important factor in moving to a better place. In the 8, the cups are left behind which may indicate that false comforts are holding our figure back, and even if it's difficult or uncertain, it would be worthwhile to pursue a new path.

• Both figures wear a blindfold (are hoodwinked) which is striking since these are the only 2 cards that feature a blindfold in the Waite-Smith deck. Blindfolds obscure vision, but the term hoodwink implies an initiation. Perhaps both of these things, in different ways, are playing out in the two scenes.

• With the blindfold comes a perceived lack of sight. But, taking away the faculties of the physical eyes may at times be a detriment while on other occasions, serve as a means of inner illumination.

• Both figures have black hair and wear a long robe with both feet exposed. In the 2, the robe is white, a symbol of purity. In the 8, it is red, a symbol of desire.

• Both cards are of the swords suit and are even-numbered.

• We see an inversion in the colour palette of each card. In the 2, we see blue occupying about 75% of the card, beginning at the top, and then switching to the grey at the bottom. In the 8, we see about 75% of the card occupied by the grey colour and then at the bottom, it switches to water.

• We see water in each landscape. In the 2, the large body of water sits behind the figure. In the 8, we see puddles or a stream beneath the figure's feet.

• Stone is visible in each landscape. In the 2, we have the stone seat and jagged rock coming out of the water. In the 8, there is a castle structure and also jagged rocks in the background.

• Both figures display a sort of closed-off body language, however, in the 2 there is a sense of command over the elements as opposed to the 8 where we see the figure bound and restricted.

• With this particular combination, we feel that much of the interpretation can be found in the contrasts. The colour of their robe, the way in which they posture, the placement of water etc. Even though both figures are blindfolded, I could tell you which I'd rather lead me through a forest. The 2 depicts balance, control, and poise. They sit in front of the water which indicates they are not submerged but rather, at the helm. Whereas, the 8 is entangled in many ways with their swords, the water at their feet, and the rope that binds them. This indicates confusion, restriction, and a more difficult perspective.

• Simplifying that, the 2 of Swords is associated with Chokmah on the tree of life, which is equivalent to wisdom, while the 8 of Swords is associated with Hod which equates to intellect. What we see playing out between these cards may be the difference between these two points. While intellect can tell us things, wisdom can help us to understand.

• There are some similarities between The Emperor and the figure in the 4 of Swords, for example, they are both wearing armour and have long hair.

• There is a clear connection to the number 4 in both cards. The Emperor is the 4th Major Arcana and the sword card is the 4th of its suit. The number 4 denotes themes around stability, foundations, form, materiality, and structure.

• Both figures are on top of a stone structure though their positions differ. The 4 of Swords figure may even be a stone structure as they are undifferentiated from the casket in colour.

• The colouring stuck out to us in this combo, as the stained glass window seems to contain many of the hues found in The Emperor.

• The Hebrew letter associated with The Emperor is Heh which means window. In the 4 of Swords, we can see a stained glass window in the top left corner.

• There is an interesting link astrologically. The decanate for the 4 of Swords is the third in Libra, which is ruled by Jupiter. Though there isn't an obvious Jupiter connection in The Emperor, Jupiter is known as being a kind and benevolent leader, and that leader quality can be found in The Emperor. Jupiter is also linked to Chesed on the Tree of Life, which is the 4th sephiroth (another 4 connection).

• Reason is a faculty of The Emperor and is also related to the swords suit as it is very much a part of the intellectual (air) realm. This could indicate that reflection (4 of Swords) before action, and rest following action, could be an indicator of responsible leadership.

• Both cards demonstrate themes around travel, movement, and a journey. The Charioteer commands their chariot and the Knight of Cups commands their horse.

• Speaking of command, in comparison to some of the other cards in the deck (Knight of Swords/Wands) these two seem to be working in harmony with their vehicle, moving at a comfortable and steady pace.

• Each landscape contains trees in the background.

• There are a handful of visual similarities between the riders. Both are holding onto something with one of their hands. Both can be seen wearing armor and a helmet. Each rider has what we would describe as a satisfied look on their faces.

• There are wings featured in both scenes. In The Chariot, we can see the winged disk on the front of the chariot. Those same wings can be seen on the helmet and boots belonging to the Knight of Cups.

• Water is another theme that touches on each card in numerous ways. For starters, we can see water in each landscape. Each card is also ruled by water as The Chariot is associated with Cancer and the Knight of Cups is a part of the cups suit which is ruled by water. The crab (cancer) is a creature that can be found in water. Similarly, the Knight of Cups wears a vest with fish on it, another created that can be found in the sea.

• The Knight of Cups is riding a horse that appears white, however, if you look at it in contrast to the sphinx on the right in The Chariot, the horse becomes greyer in appearance. Grey is a combination of white and black, and while the rider is turned to the right, the colour grey may indicate a middle path or moderate approach (also represented symbolically in The Chariot.

• The idea of a vessel is interestingly replicated in each scene, which may lend to its combined interpretation. In The Chariot, we have the charioteer within The Chariot. In this case, the chariot is the vessel that holds the spirit; the thing that is driving the energy forward. In the Knight of Cups, the knight holds out a cup which is a vessel for water. Just as The Chariot is motivated by some inner force, so is our knight guided by their desires, inspiration, and instincts.

• In each scene, we have a figure (or figures) looking as if they are paying reverence to something above. In the 7, it's the cups filled with various things, and in Judgement, it's the angel blowing the trumpet. The figure in the 7 also has their back turned, as does the child in Judgement.

• In the 7 of Cups, we see a face coming out of one of the cups (top left) which looks similar to the angel's face in Judgment. Now, it actually looks more like the angel in Temperance, but, we're still going with it.

• There are clouds and a blue background visible in each image.

• The cup in the middle on the top row has a figure covered in a cloak with red lines emanating from it. We felt this shared a resemblance to the flag with the cross on the angel's trumpet. It also looks like the gesture is similar to the child figure emerging from the coffin.

• The trumpet bears resemblance to the cups.

• The number 7 connects to each card. In the 7 of Cups, we have 7 cups. In Judgment, we have a trumpet with 7 lines coming out of it which represent the 7 musical notes. There are also 7 figures in total visible in Judgement.

• Furthermore, 7 is the number of Netzach which is considered to be the Sephirah of fire in some occult systems, and Shin, associated with Judgement, is related to fire.

• Okay, maybe I'm just seeing things with this one, but the cup with the wreath in it looks like it has a little skull in it. Are my eyes playing tricks on me? If that's the case, the skull would connect to Judgement as the people in the waters are emerging from coffins. Furthermore, the wreath may be a nod to The World. In this case, it is incomplete so may indicate another step required before attainment is reached - the step before being Judgement.

• This reads very much like the difference between what we think will elevate us vs. what truly will. We are sold many ideas in this life that look like "the answer", but that true calling is the one we must answer for ourselves - the one that sounds from within.

• The posturing or body language of each figure is quite similar i.e. open gesture with the profile of their face being visible.

• In each card, we get a sense of travel, adventure, and a journey (either about to begin or completed).

• In both cards, each of the figures has their hands occupied. In The World, the dancer holds two batons while The Fool holds a white rose and their sack.

• There is a sense of height evident in each image. The Fool stands on a cliff with mountain tops in the background. In The World, elevation is present as the dancer is up in the sky.

• The number 0 is clearly linked to The Fool, but in The World, we also see that 0 (or egg) shape present in the wreath.

• There is an eagle in each scene. In The World, we see it in the top right corner of the card. In The Fool, there is one on the fool's sack.

• If you look at The Fool's hat, it shares quite a resemblance to the wreath in The World. It is green and woven, and the red feather is similar to the red ties on the wreath.

• All elements are visible in both of the cards. In The World, the 4 fixed signs of the zodiac are present in the 4 corners of the card (also representative of earth, air, fire and water). In The Fool, we have an assignment of Air, but Earth is also evident in the hilltop, water in the snow on the mountains, and fire by the use of the sun beaming down.

• The Fool is assigned the first letter of the Hebrew alphabet, while The World is assigned the last. If you combine these letters, they form the word "eth" which is the esoteric word for the element of Spirit.

• The Fool is sometimes described as a void - a place where all things coalesce into nothingness and therefore, all things are possible (hence its optimism). The World, on the other hand, speaks to "the all" - the cosmic consciousness - interconnectivity - everything. While these aspects may seem at either end, they are very much the same. They also speak to the rhythmic and cyclical nature of tarot and our lives. All things emerge from The Fool and return to The World and back again.

• Both cards have a similar-looking, vibratory body of water.

• There are grassy hills in both landscapes.

• In each card, there is a central figure holding two cups (or vases) which they are using to manage water.

• Each figure has blonde hair and is featured with one foot in water and one on land.

• Celestial images are visible and implied in each card. With Temperance, the angel is solar in nature and we can see a sun in the background. In the Star, we have a large star surrounded by smaller stars. Also, a star is a sun to inhabitable planets so, they mayT be considered the same thing.

• The Star is ruled by Aquarius and the water being poured in Temperance bears a resemblance to the symbol for Aquarius.

• While not visual, The Hebrew letters associated with these two cards connect in interesting ways, adding another possible layer of interpretation. Temperance is Samekh which means to prop, uphold or sustain. It keeps something firm and in place. The Star is Tzaddi which is a fishhook. By balancing ourselves and maintaining inner harmony, we can stand firm in our position, making us more likely to be drawn to the right hook rather than fished for by the wrong one.

• In both landscapes, there are water and hills. The stream in the 8 of Wands also looks similar to the path in the background of Temperance, in the way it winds.

• There is a sense of growth present in each image. In the 8 of Wands, we see (as we do with all Wands) the sprigs of leaves growing off the wands. In Temperance, there are iris' (a Spring flower) blooming amidst the swamp grass.

• Elementally and astrologically there is an implied connection. Temperance is governed by Sagittarius, and the 8 of Wands occupies the first decan of Sagittarius. Each card is also ruled by the fire element.

• There is a sense of motion both visually and implied. In Temperance, we see the archangel blending and mixing the water, moving it gently from one cup to the other. In the 8 of Wands, we see 8 wands mid-flight. The way the water is being poured is diagonal, much like the way the 8 wands appear. Movement, travel and divine momentum are all words we would attribute to these cards. We also see a path in the background of Temperance, adding further evidence that travel is a shared theme.

• While we can’t see rainbows in either image, they are implied in each. In many other versions of Temperance, a rainbow is seen and speaks to the healing nature of colour through the medium of which it is expressed. As well, in the Thoth version of the 8 of Wands, there is a rainbow depicted at the top of the card.

• Each card carries connotations around proper aim. Temperance is ruled by Sagittarius who is an archer, while the 8 of Wands suggests a degree of swiftness and precision.

• Both cards are a number 8.

• Each figure is wearing red.

• There are bodies of water that look similar in each scene.

• Both landscapes feature jagged-looking rocks in the background.

• Each figure has their eyes concealed (though in different ways).

• In each card there is a sense of not being able to see clearly. In the 8 of Swords, we have a figure bound and blindfolded. In the 8 of Cups, it is dark and the path is uncertain.

• The unbalanced division of elements is very similar in both cards. In the 8 of cups, there are 3 cups on top and 5 cards on the bottom. In the 8 of Swords, we have 3 swords on the left, and 5 swords on the right.

• Visually, the figure in each card occupies the empty space between the elements, almost making them appear as if they are representing a 9th Cup or 9th Sword. Perhaps this indicates that each of these scenes lead directly to the next in their suit i.e. The 9 of Cups and the 9 of Swords.

• Each card features something which strikes. In The Tower, it's the lightning and in the Ace, it's the sword. The Sword is also made of metal which is a conductor of electricity.

• Both cards feature an erect structure; the tower and the sword.

• Each card contains falling yods. There are 22 in The Tower and 6 in the Ace of Swords. The Ace equals the number 1. If you combine 1 with 6 (yods from the Ace) you have 16 which is the number of The Tower.

• Each image features jagged rock. It is evident in the forefront of The Tower and in the background of the Ace of Swords.

• Clouds are visible in each card.

• There are crowns in each image.

• In The Tower we see two figures falling from either side of the structure. In the Ace of Swords, we see two pieces of greenery falling from either side of the crown.

• If we explore the landscape through the lens of the Tree of Life, then the crown in each would represent Kether (translates to crown - located at top of tree). The sword and the tower could each represent the middle pillar, while the figures (or greenery) falling from either side may represent mercy and severity.

• The Hebrew letter associated with The Tower is Peh, which is associated with the mouth and speech. The suit of swords is representative of intellect and communication. The story of the Tower of Bebel speaks to the confusion that takes place when we can no longer understand each other. The Tower in this case may demonstrate destruction from the misuse of language vs the right (or precise) use of language symbolized by the Ace of Swords.

• Given all the points so far shared, these themes seem to speak to the breakthrough or breakdown that can occur by use of speech, communication, and mental processes.

• The 2 central human figures are very similar, minus their dress.

• The angel in The Lovers lines up with the winged lion/caduceus. The hair of the angel and the mane of the lion are visually similar, as are the wings, even in colour.

• The serpent coiled around the tree behind the woman in The Lovers is akin to the caduceus we see in the 2 of Cups.

• In each scene, we see a peak (mountain or hill) between the two central figures.

• In the 2 of Cups, each figure wears a headpiece. The woman’s mimics the natural greens found in the tree in The Lovers, while the mans mimics the fire we see on the right side of The Lovers.

• There is an upright triangular formation present in each scene, outlining the interplay between the 3 central points of both cards. In The Lovers, we see a relationship between the woman, man, and angel representative of consciousness, subconsciousness, and super-consciousness. In the 2 of Cups, a similar triangular connection is formed between the man, woman and winged lion.

• This may be more implied rather than explicit, but reciprocation is a shared theme. Visually, we see the symbolic coming together of opposites, on even ground, to mix and exchange that which each part possesses.

• The figures in both cards posture in a similar way i.e. arms extended or raised up.

• Aspects of ritual are present in each scene though the applications differs. In Judgment, the human figures hold their arms in specific and symbolic ways. In the 3 of Cups, the figures are engaged in dance which is an important feature of many ritualistic traditions.

• The trumpet bears resemblance to the Cup and both of these items demonstrate components of giving/receiving.

• Speaking of sound, there are musical elements evident in both images. The trumpet is an instrument of music, the 7 lines emanating from it representing the 7 notes. The figures in the 3 of Cups are dancing, which may imply music/sound is present.

• While not necessarily visible, Judgment commences an end to separation and a rising up to connected consciousness. In the 3 of Cups, we see a more mundane representation of this idea playing out in the coming together of social groups.

• If you place the 3 of Cups overtop Judgement so that just the angel is present, you have a perfectly blended scene in front of you. This may speak to the ever-present call of Spirit, regardless of the activity (blatantly spiritual or day-to-day.

• In each image we see a central celestial form; a moon and a star.

• In The Moon, we see an image of a face that shares a considerable resemblance to the figure in The Star, even in the way it glances downward with eyes closed.

• There are animals in each image. In The Moon, a dog, wolf, and crayfish are present. In The Star, we see a bird. While there is also a human figure in The Star, they are depicted nude which may be a nod to a more natural expression.

• In each card, we see bodies of water that appear to be vibratory (in motion).

• There are hills or peaks present in each landscape, along with a blue coloured sky (though we sense both cards depict a night scene).

• The 3 animals in The Moon occupy a similar visual space to the figure in The Star. We speculate The Moon is a bit like an inverted triangle, while The Star is an upright triangle i.e. receptivity vs. activity,

• In The Star, we see 8 stars each with 8 points making 64 points in total. This is an important number as it relates also to the I Ching and DNA codons. In The Moon, there are 32 points in the moon. This is connected to the 32 paths on the Tree of Life but also, is exactly half of 64.

• While not technically visible, each card speaks to states of consciousness. The Star equates to meditation while The Moon equates to sleep. Could the face in The Moon be representative of The Star’s conscious influence in arousing growth through subconscious means (sleep, dreams, meditation etc.)?

• Both cards have a bright yellow background.

• Each figure wears a crown of stars. The Empress' contains 12 stars representing the zodiac, while The Chariot has just one star. The Chariot also wears a belt with zodiacal signs.

• There are trees and a stream in the background of each landscape.

• Each figure has yellow, wavy, shoulder-length hair.

• Each figure holds an item in their right hand.

• There is a shield visible in each card. Venus can be seen in The Empress, and the winged disk is visible in The Chariot.

• The number 7 is important to each card. The Chariot is #7 in the Major Arcana while Venus (connected to The Empress) is associated with the 7th path on the Tree of Life, Netzach. In addition, there are 7 pearls in her necklace, linked to the 7 ancient planets.

• This is not so much a visual connection, but what strikes us is the way in which each card speaks to our unbreakable link with the all. The Empress connects us to our origin (the seed) while The Chariot connects us to our future vision - our higher selves.

• Light is an important aspect of each card. The Empress demonstrates the material light (The Sun, emerging from the womb etc.), while The Chariot demonstrates the spiritual or astral light; the light we see upon leaving this world or, for those looking now, the invisible light all around/within.

• We inadvertently did this connection twice. See connection #34 above. We will be replacing this spot with another connection soon.

• Both cards are designated to the number 2.

• Each card features a blue background with a large body of water. The water lines also match up perfectly.

• Each card features a figure who sits on a stone pillar, in the middle of the card, facing head-on.

• Each figure wears a white gown and has black hair.

• There is a crescent moon featured in both of the cards. In the 2 of Swords we see it in the sky, and in The High Priestess, it sits by her feet.

• Each card speaks to themes around balance. Some examples include the number 2, the fact that the figures occupy the middle space of the card, the two pillars representing polarity, and the crossed swords.

• The cross is another visual similarity linking these cards. In the 2 of Swords, the figure sits with their arms/swords crossed. In The High Priestess, we see she wears a cross in the centre of her chest. Both cards have obvious links to the moon which means we could also associate them with the moon goddess, Hekate, who presides over crossroads.

• Each figure wears white which may be a symbol of (among other things) purity, innocence and a connection to divinity.

• There is a figure 8 above each figure's head. The figure 8 represents infinity, rhythm, and limitless life power.

• Roses, symbolic of desire, are visible in both scenes.

• Each card has a bright yellow background, perhaps indicating a solar influence over both.

• Each figure wears a belt with connections to the other card. The Magician’s belt features a serpent which relates to Strength, as the Hebrew letter assigned to Strength is Teth (serpent) and Strength has implications around the proper use of Kundalini energy. The figure in Strength wears a garland of roses which is similar to the garden we see in The Magician.

• If you arrange the cards, sequentially in 3 rows of 7 (omitting The Fool), The Magician and Strength land in the same column (along with The Devil). Take from that what you will.

• There are similar themes relating to influence, command, attention and suggestion. We see this in the way The Magician directs elements, while Strength exerts influence over the lion (tail between legs is a sign of submission). This may indicate lessons around personal power, use of will and directing one’s vital force.

• Both cards feature a similar dark sky.

• A moon is present in each image, each containing a face where a crescent can also be seen within the larger circle. Lunar energy clearly has strong links to both cards.

• There is a rough, rocky, and windy terrain in each scene.

• Journeying appears to be a theme in both cards. In the 8, our figure has their back turned and is moving forward with the aid of a walking stick. In The Moon, we see a path that extends through the center of the image, pointing to the idea of travel and reaching some far off destination.

• Water is visible in both images. Water is also implied as Cups are associated with the water element and The Moon is ruled by Pisces, which is a water sign.

• Speaking of Pisces, both cards are associated with this sign. The Moon is ruled by Pisces and the 8 of Cups occupies the first decan of Pisces. As well, Pisces rules the feet and each card depicts a path that could be walked.

• While this is more interpretation, there is a sense of the unknown. It's dark, we don't see where the path leads and the terrain appears as if it could be challenging.

• The number 8 is connected to Mercury via the sphere of Hod on the Tree of Life; in astrology, the planet Mercury is said to be in detriment in the sign of Pisces.

• Another sort of non-visual, but possibly implied connection is the Hebrew letter associated with The Moon which is Qoph. Qabalists attribute this to the “back of the head” due to its shape. This could tie into the 8 of Cups as all we see there is the back of the figure’s head.

• White horses are depicted in both cards, perhaps a symbol of purity and the employment of right will.

• Both of the horses have a similar posture with one leg up and the other down. They are the only two horses in the deck which hold themselves in this way.

• Clear similarities between each of the riders are present i.e. their armor, posture, one hand on the saddle the other holding onto something else, the helmet, the feather (or adornment).

• Water is an important feature in each card. Some of this is visual and some implied. Both The Knight and Death feature bodies of water. The Knight holds a cup. Each card is governed by the element of water i.e. cups are associated with the Water element and Death is ruled by Scorpio, which is a water sign. Death is also associated with the Hebrew letter Nun which can mean “fish”. We also see fish on the Knight’s clothing.

• Both riders appear to be on a mission of some kind.

• The interplay of these two cards, especially placing The Knight to the left, looks very alchemical; very transforming. In any quest, we are inviting change. This could be scary in normal circumstances, but if propelled by love, even the unknown may become desired.

• Grapes are present in both landscapes, as seen on the King's robe and in the 9’s garden. To us, it looks like the garden could be the robe and vise versa (they are just draped in different ways). Grapes represent abundance, pleasure, luxury, materiality and it is these themes that find themselves present in both cards.

• While one figure is sitting and the other standing, their posturing is similar i.e. the way they tilt their head and the way each of their hands is occupied.

• There is a clear delineation in both landscapes. The King has a wall behind them and the 9 has a fence.

• There is a castle in the background of both cards, though it's clear the King is closer to it.

• Both cards appear very lush, with a bright yellow sky.

• The combination of these cards feels like mutual thriving between community and leadership. It's as if the 9 supplies the King and the King pays well for the supply, and in that way, both cards flourish.