Tarot hiéroglyphique égyptien
The design of the cards draws inspiration from various religious and philosophical traditions merged into a sort of holistic tarot deck.
Mme Dulora de la Haye resided at 10 rue de Richelieu, Paris around the turn of the 20th century and published several books on popular mystical and occult topics of the day, as well as this set of cartomantic tarot cards. She drew inspiration from both the Etteilla deck and the Tarot de Marseille, and the inclusion of astrological symbols, Hebrew letters and other esoteric imagery, plus the title itself and reference to hieroglyphs, suggesting a derivation from ancient Egyptian symbolism, reflects her quest to integrate all this into a holistic tarot deck. Not easy for beginners, in spite of what is claimed in the accompanying leaflet
Dulora de la Haye's "Tarot hiéroglyphique égyptien" is an example of how personal vision can result in a distinctive and avant-garde tarot deck, which possibly enhanced her reputation as a visionary clairvoyant, However, it may be seen as superficial and confusing. In due course A.E Waite, Aleister Crowley and others would bring their own perspectives and understanding into new innovative decks in the 20th century, as the quest continued to create the ultimate tarot deck.
Above: Tarot hiéroglyphique égyptien designed by Mme Dulora de La Haye and published by Hayard et Cie, 1897. 22 cards + 12-page booklet in box. Mme Dulora's address is printed in red ink on the case : "10 rue de Richelieu (Entresol), Paris", as well as in a blue stamp on the booklet. Source gallica.bnf.fr / Bibliothèque nationale de France.
References & Links
Museo del Tarot: facsimile edition published in 2016 by Éditions Dusserre►
Bibliothèque nationale de France: Tarot hiéroglyphique égyptien►
By Simon Wintle
Spain • Member since February 01, 1996
I am the founder of The World of Playing Cards (est. 1996), a website dedicated to the history, artistry and cultural significance of playing cards and tarot. Over the years I have researched various areas of the subject, acquired and traded collections and contributed as a committee member of the IPCS and graphics editor of The Playing-Card journal. Having lived in Chile, England, Wales, and now Spain, these experiences have shaped my work and passion for playing cards. Amongst my achievements is producing a limited-edition replica of a 17th-century English pack using woodblocks and stencils—a labour of love. Today, the World of Playing Cards is a global collaborative project, with my son Adam serving as the technical driving force behind its development. His innovative efforts have helped shape the site into the thriving hub it is today. You are warmly invited to become a contributor and share your enthusiasm.
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