Fig. 12
Radiesthesic measuring instruments
Radiesthesia may be described as a psychic capacity to perceive various sorts of subtle energy emissions. It is based on the principle that bodies, be they mineral, vegetable, or animal, give off waves. Every body possesses its own radiation, and every person as well transmits it, being able at the same time to sense that of other bodies.
Radiesthesia. then, allows the acquisition of information in areas which transcend the sphere of the ordinary senses, based on the capacity of the radiesthesist to place himself in resonance, to tune himself as it were, with the vibrational level of the object of his research. Apart from other, more detailed considerations, which we delegate to specialized texts, it is possible to describe radiesthesia as a millenary science whose most ancient form of expression is rhabdomancy, the discipline utilized mostly in order to find appropriate sites for constructing houses and/or temples and to find underground water. We owe its modern definition, derived from the union of the roots radius (ray) and aistesis (sensitivity-perception), to Abbot Bouly at the end of the 1800’s, while its systemization in scientific terms is the work of Abbot Mermet at the beginning of the 1900’s. Today this practice is often applied in a distorted and uncontrolled manner as there are many who use the so-called “mental radiesthesia” in which the question is not asked of the object of evaluation but of the instrument utilized (for example the pendulum or another sort of tester) which actually has no autonomous capacity of answering and is merely a material extension of the operator. This is the reason for which the only correct modality is that of “physical radiesthesia” which, in contrast to the mental, depends on an “energetic witness” present in the same space as the radiesthesist who, in order to obtain the maximum precision and reliability then uses the object to be measured (the witness) and also a subject for comparison. Specifically, for the individuation and restoration of the Tarot’s original colours, we had the extraordinary and irreplaceable aid of one of the maximum Italian experts of this discipline.
Restoration is that process by which things are returned to a satisfactory state, in this case the Work that the Tarot represents. Naturally, this presupposes that the whole and genuine original element must be at the disposition of the restorer, so that he may work on it in its entirety. This does not require creation ex novo. To borrow a well-known scientific term, we might describe this recomposition as a restitutio ad integrum: in this case, the ancient Conver deck, respecting the authentic Tradition, has simply been restored to its original condition. In order to achieve this result, it was necessary to use many variations of different editions, which together allowed a clearer observation of certain details, plus more precise evidence for rhabdomantic measurements of the colours. The result of this comparative analysis is the deck used in the present volume, the restored Nicolas Conver Tarot of 1760 which, faithfully restored to its original features, colours, and brilliance?, has been reprinted by one of the world’s oldest and most important producers of cards, the editor Dal Negro of Treviso, (to whom go our personal thanks).
In this manner, with no subjective contribution if not for that concerning the faces, deliberately redrawn following personal esthetical criteria, these images now wholly again respect their Canon. Among other things, concerning this, it may be interesting to clarify another aspect. In the study of the Coded Structure, we must distinguish between Graphic Code and Text Code (that is, the enigmas regarding the cartouches).
In carrying out this task, there was no need to retouch any of these writings, as in spite of the passage of centuries, in the Conver Tarot are present all the amazing letter codes with neither subtractions nor loss, neither symbolic nor linguistic.
To explain more clearly the work done, we will compare some illustrations of an Arcanum, in particular the Fool, belonging to several editions:
Fig. 13
Conver Fool, Heron edition
Fig. 14
Conver Fool, Scarabeo edition
Fig. 15
Conver Fool, Dal Negro Restored edition
It would not escape even the most superficial observer that, however much it might amaze, the result of the restoration of the 1760 Conver edition, is surprisingly similar to a deck well known to the general public. In fact, this correspondence exists, and is obvious. On the contrary, it would be more correct to speak of a notable iconographic similarity, as this Tarot is almost identical. Where then, is the difference? Why was the need felt to carry out this painstaking task? This restored deck, as must now be evident, is none other than the reclamation of an antique work. As the restorer of a marvellous painting does not claim its paternity, although he has worked hard to reconstruct it, the same was done in this case; the images renovated and presented here, are and will always be free from any and all presumed copyright. The Tarot is an instrument created for man in ancient times, in order to educate him (in the etymological sense of ex-ducere,) to help him to externalize that which he carries already inside himself, to guide him along the way, to lead him towards the comprehension of a superior and spiritual sense of existence, counselling him at the same time in even the most ordinary and practical choices of his daily life. We might say that the Arcana are an Abode of that Wisdom, of that Sophia, which helps us to realize the fullness of our inner Temple. This Abode must then be accessible to all of us, because it is “neither a grotto for the perfect, nor a castle for the privileged.124” As the Gospels remind us, “No one lights a lamp and then puts it under a basket. Instead, a lamp is placed on a stand, where it gives light to everyone in the house.125” With words again borrowed from a true master if wisdom such as Raimon Panikkar, we repeat that as humans in the difficult attempt to be of support, one for the other, “we must not hide this wisdom, neither must we protect or defend it. Thus as a free man goes weaponless about his affairs, an honest house in an authentically human culture has no need of defence systems, electronic or otherwise. True Wisdom needs no bodyguard, nor a copyright.126”
He who writes has spent and spends his life investigationg the Tarot, studying it and collaborating with many researchers in the sector. As Tradition teaches, each of us is born with a gift which, once found and placed at the service of others, reveals itself to be a source of the greatest joy. At the same time, for those who search with sincerity, the Tarot becomes an illuminated Master, pure, true, and faithful. This beacon of knowledge teaches that we must not claim any intellectual property of Knowledge, unless one wishes to commit the iniquity of plagiarism or the wicked deed of egotistic appropriation of a creation which, as a Sacred Work, belongs to all humanity. These are the motives for the choice to carry out this restoration which allows anyone who so desires to utilize freely the ancient and perfect deck of the Tarot of Conver. It is none other than the work of a simple disciple aware of the urgencies of his times, difficult and in many aspects, uncertain and reckless. From everywhere is invoked the necessity of more sensitivity and deeper awareness and with this work we wish to offer our own small contribution.
The Tarot can be a powerful aid and, when widespread and understood, can invest those whom it touches with an illuminating and conscious energy, be they tarologists or consultants. Its Wisdom is immense and its desire is to bring Light to the hearts of all human beings, becoming inspiration for some, helping also to expose those who strive to limit them to exclusively personal and private use. With maximum respect for the aspirations, even strictly commercial, of anyone, we hope that they who sincerely wish to investigate in depth the meaning of these images will do so. And that, once learned in a serious and disciplined manner, they can and will propagate, as a wave in the sea, through writings or direct transmission, without limits or cost, the enormous Knowledge of the Tarot.
The task, sufficiently arduous in itself, does not require egotistical goals of the single individual, but the dedication and altruistic collaboration of the group:
“As great as the u
niverse, is the space in the heart. There are the heavens and the earth, the fire and the wind, the sun and the moon, the lightening and the stars, that which is and that which is not, all is contained therein.127”
Footnotes - Appendix
121 The Tarot of Vieville, of which remain all of its 78 cards, is attributed to the Parigian Iacques Vievil. Although the production date has been cancelled, analysis of the cardboard and the printing technique allows them to be dated around 1650. The Tarot of Jean Noblet, instead, is incomplete: 73 out of 78.. It is, however, securely datable to between 1643 and 1664, as the name of its printer, that same Noblet, appears in the Parigian archives of that epoch.
122Cf. Storia dei Tarocchi, Giordano Berti, edizione Mondadori 2007.
123 The French editor Heron published the version used as the principal model of referral.
124 Raimon Panikkar, La Dimora della Saggezza, p. 33, edizione Mondadori 2005.
125 The Gospel of Matthew, 5-15: Mark, 4-21; Luke, 8-16 and 11-33.
126 Raimon Panikkar, La Dimora della Saggezza, p. 33, edizione Mondadori 2005.
127 Chāndogya-upanişad VIII 1, 3.
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