I should call it an eucharistic emblem after the manner of a ciborium, but this does not signify at the moment. The point is that Mr. Harold Bayley gives six analogous devices in his New Light On The Renaissance, being watermarks on paper of the seventeenth century, which he claims to be of Albigensian origin and to represent sacramental and Graal emblems. Had he only heard of the Tarot, had he known that these cards of divination, cards of fortune, cards of all vagrant arts, were perhaps current at the period in the South of France, I think that his enchanting but all too fantastic hypothesis might have dilated still more largely in the atmosphere of his dream. We should no doubt have had a vision of Christian Gnosticism, Manichæanism, and all that he understands by pure primitive Gospel, shining behind the pictures. I do not look through such glasses, and I can only commend the subject to his attention at a later period; it is mentioned here that I may introduce with an unheard-of wonder the marvels of arbitrary speculation as to the history of the cards. With reference to their form and number, it should scarcely be necessary to enumerate them, for they must be almost commonly familiar, but as it is precarious to assume anything, and as there are also other reasons, I will tabulate them briefly as follows:— CLASS I Section 2 TRUMPS MAJOR OTHERWISE, GREATER ARCANA 1. The Magus, Magician, or Juggler, the caster of the dice and mountebank, in the world of vulgar trickery. This is the colportage interpretation, and it has the same correspondence with the real symbolical meaning that the use of the Tarot in fortune-telling has with its mystic construction according to the secret science of symbolism. I should add that many independent students of the subject, following their own lights, have produced individual sequences of meaning in respect of the Trumps Major, and their lights are sometimes suggestive, but they are not the true lights. For example, Eliphas Lévi says that the Magus signifies that unity which is the mother of numbers; others say that it is the Divine Unity; and one of the latest French commentators considers that in its general sense it is the will. 2. The High Priestess, the Pope Joan, or Female Pontiff; early expositors have sought to term this card the Mother, or Pope's Wife, which is opposed to the symbolism. It is sometimes held to represent the Divine Law and the Gnosis, in which case the Priestess corresponds to the idea of the Shekinah. She is the Secret Tradition and the higher sense of the instituted Mysteries. 3. The Empress, who is sometimes represented with full face, while her correspondence, the Emperor, is in profile. As there has been some tendency to ascribe a symbolical significance to this distinction, it seems desirable to say that it carries no inner meaning. The Empress has been connected with the ideas of universal fecundity and in a general sense with activity.