In the section on Ferrara, I mentioned that there was a fresco sequence illustrating the tale of Cupid and Psyche done in the 1480s under the supervision of Ercole Roberti, and that while this series is no longer extant, the tale was a subject for numerous marriage chests and also a later series of frescoes, c. 1527, in Mantua under the supervison of Giulio Romano. It seems to me that this tale, and its imagery, is another example of the mind set that would have also applied itself to the tarot sequence.
The imagery I am concerned with (all of it from artwork reproduced in Sonia Cavicchioli's Tale of Cupid & Psyche, an Illustrated History) is not directly taken from the tarot. It is the elements of the story that resemble the tarot sequence. Only one scene in the Palazzo Te actually resembles tarot imagery, and that is on the side of the banquet scene at the end, in a detail not even mentioned in the tale. There is a naiad, or river nymph, holding two jars out of which water pours. There is a spring above her and a stream below and in front, as though formed from the water coming out of the jugs. There is also a water god in the scene behind her, holding two more jars out of which more water pours, this time into a lake. They could be the River Lethe and the Lake of Mnemosyne. There are other details suggestive of Dionysus, such as the boy on a goat and the scantily clad people holding a boy and a winnowing basket. There is also a Cupid and a young lady dressed in green like Psyche. These details also have other meanings relating to Mantua and its duke, for whom the Palazzo Te was built: the Cupid is himself, the girl his mistress, the lake is the lake at Mantua, the river the river at Mantua, etc. But I want to bring out is a comparison with the Star card: the resemblance between the naiad and the figure on the Cary Sheet Star card, and even more the figure on the Marseille cards later.
So now I want to go through the cards one more time as adjuncts to the tale, as told by Apuleius in The Golden Ass
and illustrated on wedding chests, Romano's frescoes, and two other fresco series of the same time
period, namely, Raphael's version in Rome a little earlier than his
pupil Romano's in Mantua, and that of Perin del Vega, another pupil of
Raphael, in Genoa.
Psyche is Greek for "soul". That makes it even
easier to see it as an allegory of the soul's journey.
In a 5th or 6th century version of the story, when Christianity was
already the religion of the Roman Empire, Psyche was depicted as the
daughter of the sun-god Apollo. Since Christ was seen as the new Apollo
(his day of worship, after all is Sun-day), Psyche thereby acquires a
kind of divinity, like Christ and the various divine children of pagan
Rome. On a 1490’s wedding chest from Florence, perhaps following this
tradition, the sun shines behind the father at psyche’s conception.
As a marriageable young girl, Psyche was of course renowned as a great beauty; however none clamor to marry her. Here I would compare the d'Este Matto, whose sexual apparatus was being admired by young boys, with Psyche and her admirers as painted by by Perin del Vaga for Pope Paul II.
But Cupid pricks himself on his own arrow and falls in love with her himself. Therefore he cannot make her fall in love with anyone else, or allow anyone else to fall in love with her (below, from a wedding chest). The god of love's passion for Psyche, also a metaphor for Christ's love for humanity, is one possibility for the Love card.
Psyche's parents are distraught. These are my candidates for the Empress and Empress, just as Dionysus's parents were candidates for the same cards. They go to the oracle of Apollo and is told that she will meet her husband, a horrible monster, if she is taken to the top of a certain mountain and abandoned. Apollo, her spiritual father, corresponds to the Pope card.
Psyche eventually asks Venus to let her see him. After much scolding, Venus gives Psyche a series of tasks. The first three, I think, correspond to the tarot virtue cards. The first task is to sort out, in one night, four immense piles of seeds that Venus has mixed together. Psyche despairs, but the ants come and do the sorting. It seems to me that this corresponds to Justice, where every act has its due reward or punishment. In administering justice, one needs to sort out the facts in relation to principles.
Just past the guard-dog Cerberus and out of Tartarus, Psyche cannot resist temptation and does take some of the beauty cream. She instantly falls into a coma and is near death. That is the Death card, but also the darkness of the Moon card, in which the precious jewel of divinity is waiting to be picked up, just where it would be madness and the height of folly to do so. Her act and subsequent coma corresponds to the divine madness described by Erasmus, of the one who simulates dying (through fasting and other mortification) and gets the experience of divinity. By using Venus'e beauty cream, she has in fact stolen, and even earned, her right to live among the immortals.
But there is Hope that Psyche's Faith will be rewarded Charitably (I invoke the names of the three Theological Virtues, which were present in the Cary-Yale deck of the Visconti. In minchiate, they are still there, with the numbers given in tarot to the Star, Moon, and Sun.) In Psyche's case, her hope is that Cupid will rouse himself from his sickbed, as we see he does. He is her star in the East, so to speak, come to save her from her dark night. But he cannot do anything by himself. The beneficence of the Sun is represented by Jupiter, for Cupid decides to ask Jupiter to allow him to marry her (shown here by Raphael).
For that, she will have to be immortalized. So she is brought up to Olympus on the wings of Mercury (again shown by Raphael), a scene comparable to the Angelo (Angel of Judgment) card.
In due time a child is born, who in the tale of Apuleius is named Voluptas, Pleasure. In her honor, the gods have a banquet, a feast of the gods as in Bellini's painting for Alfonso in 1514. only with Cupid and Psyche instead of Liber and Libera, and Voluptas instead of the infant Bacchus. Here they are as Romano painted them.
Inspiration on fertile soil results in pleasure of many kinds.
This sequence also corresponds in essence not only to the myth of Dionysus but to that of the "mystical staircase" of Christianity; all would have been seen as part of the ancient theology, piscina theologia, that suffused the ancient world.
For another interpretation of the tale, this time in terms of alchemy and supplemented by more recent artworks (19th century and later) see my blog post at http://cupidpsychealchemyart.blogspot.com/