{"id":3223,"date":"2015-12-30T16:21:07","date_gmt":"2015-12-30T22:21:07","guid":{"rendered":"http:\/\/jessemoynihan.com\/?p=3223"},"modified":"2015-12-30T16:21:07","modified_gmt":"2015-12-30T22:21:07","slug":"the-lover-part-3","status":"publish","type":"post","link":"http:\/\/jessemoynihan.com\/?p=3223","title":{"rendered":"The Lover Part 3"},"content":{"rendered":"

I spent the latter part of the day re-staging the figures. It’s really easy to bunch everything up to the front because of the shape of the card. Moving figures further back in space requires a bit of compositional willpower. <\/p>\n

\"composition_adjust\"<\/a><\/p>\n

Okay also let’s talk about the idiosyncratic design element in the Marseille deck of the lines that sit on either side of the card title. <\/p>\n

\"IMG_2199\"<\/a><\/p>\n

This is the first card they appear in, but from here on they make appearances occasionally, in different arrangements and numbers of lines. In the Lover card there are 5 lines on the left and 6 lines on the right. Why? <\/p>\n

Here’s a quote from Yoav Ben-Dov from his website<\/a>:<\/p>\n

\nSome examples of these anomalies: inconsistency in the use of U and V. Sometimes an apostrophe appears where it should not be (L\u2019A ROVE DE FORTVNE), sometime the opposite (LETOILLE) Irregularity in breaking up or joining of words, unclear use of points or periods between words and groups of small vertical lines. Three court cards are spelled BATON, one (the Queen) BASTON. Three suits have number cards with numerals written on them, but not the coins. 15 court cards have captions below, and one (Valet de Deniers) on the side. And, of course, LE MAT without a number but with a blank band, XIII without name and without blank band. What is the function of these anomalies? Perhaps one function is to give the cards an archaic feeling (Compared to the time of printing 1760). But perhaps there is a d deeper reason: the balance between order and chaos, which is also expressed in other card features like broken symmetries in many card details. In my view this is something very important. Any well-trained artist knows to balance between regularity and irregularity. Also in modern terms of complexity theory, \u201cedge of chaos\u201d is the permanent state of living and evolving systems. So, these irregularities are an important feature which makes the cards come alive.”<\/em><\/font size><\/p>\n

Jodorowsky comments on it briefly in his book, but only to say that the vertical lines are there and possibly mean something, but what exactly? No suggestions. So it’s not really even worth quoting. I will be including these vertical lines because they are mysterious and could possibly be used by advanced readers. <\/p>\n

Also there is the issue of certain strange word spacings and replacements of letters that can only be replicated by maintaining the French language. For example The Lover card in its French card version is spelled, “LAMOVREVX” which replaces the “u” with a “v” and eliminates the apostrophe between L and A. So it should be “L’AMOUREUX”. For what reason? We don’t know. <\/p>\n

I’m choosing to translate these to English, so this is an element that will be lost unfortunately. <\/p>\n","protected":false},"excerpt":{"rendered":"

I spent the latter part of the day re-staging the figures. It’s really easy to bunch everything up to the front because of the shape of the card. Moving figures further back in space requires a bit of compositional willpower. Okay also let’s talk about the idiosyncratic design element in the Marseille deck of the […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[14],"tags":[],"_links":{"self":[{"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/posts\/3223"}],"collection":[{"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3223"}],"version-history":[{"count":2,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/posts\/3223\/revisions"}],"predecessor-version":[{"id":3228,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=\/wp\/v2\/posts\/3223\/revisions\/3228"}],"wp:attachment":[{"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3223"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3223"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/jessemoynihan.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3223"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}