I. Overview of the Hermit’s Symbolism
The term “Hermit” conveys the idea of seclusion, distancing oneself from the mundane affairs of society, in pursuit of spiritual and soulful enlightenment. Throughout history, depictions of the Hermit card have remained largely consistent. Typically portrayed as an elder cloaked figure or a monk, often adorned with a beard and leaning on a staff, it readily evokes images of sorcery, akin to Merlin or Gandalf, and also echoes notions of sanctity and prophecy. Holding aloft a lantern or hourglass, in later iterations of the Tarot, the light within this lantern sometimes manifests as the symbol of the hexagram. Thus, the lantern symbolizes the light of truth, guiding the Hermit along his path of enlightenment and truth-seeking. The figure of the Hermit bears a striking resemblance to the image of the Greek philosopher Diogenes of Sinope, who famously wandered in broad daylight with a lantern in search of an honest man.
Tracing back to its origins, we discover that the symbolism of the Hermit card varied in early Tarot decks. Beyond the appellation of “Hermit,” it was also known as the “Hunchback,” the “Old Man,” and even “Time.” In our ongoing exploration of the Tarot series, let’s delve into the symbolism and origins of the Hermit card.
Observing the quintet of cards, we encounter a common motif: that of an elder figure adorned with a full beard. Four depict the figure leaning on a staff, while one holds aloft a lantern, symbolizing illumination, and two grasp hourglasses, emblematic of the passage of time. Two are cloaked figures, reminiscent of pilgrims or wanderers embarking on long journeys, while one dons armor, and another possesses wings, with a solitary pillar in the background.
II. Origins and Comparisons of the Hermit’s Symbolism
1. Religious Traditions
Among the depicted quintet, two figures don robes akin to those worn by pilgrims and ascetics of yore, evoking the archetypal image of the solitary traveler or seeker. A historical depiction of such a recluse can be observed in the woodcut from 1423, where a kneeling hermit holds aloft a lantern. During the medieval epoch, such solitary and itinerant saints were a familiar sight, withdrawing from worldly affairs to pursue lives of asceticism. Hence, the Hermit’s iconography in the Tarot likely draws inspiration from these individuals who embraced seclusion and spiritual contemplation, distancing themselves from the trappings of societal norms. In Petrarch’s triumphant verses, there lies a segment called “Victory of Time.” Since the poem embodies a highly abstract concept, not as tangible as imagery, it’s best understood through visual aids.
Upon the chariot representing victory, stands an elder, leaning on a staff, with wings adorning his back. This figure personifies Father Time. Depictions of Father Time from that era can be found in the following two illustrations, illustrating their resemblance to tarot imagery.
These depictions of Father Time refer to Saturn (Roman name) or Cronus (Greek name), typically portrayed as an elderly figure, wielding a staff or sometimes a scythe, with wings adorning their back. Another sculpture depicting Father Time can be observed below:
Additionally, there exists an artistic rendition of the Victory of Time from the 16th century Antwerp:
And another from the brush of the Netherlandish painter Pieter Brueghel (1525-1569), capturing the essence of time’s triumph. Here we once again encounter a plethora of symbols reminiscent of those found in tarot cards. In the illustration above, the prominent chariot, drawn by two horses, symbolizes the victorious chariot. Adorning the backs of the two horses are a moon and a sun respectively, correlating with the Chariot, the Sun, and the Moon cards in the tarot. Upon the chariot, we observe Saturn, the god of time, seated atop an hourglass, akin to the Hermit holding an hourglass in tarot. There is also a large spherical object on the chariot, representing the cosmic sphere in the ancient Western worldview, with the zodiac wheel encircling it. A crescent moon rests on the back of the black horse, while a sun adorns the back of the white horse. These symbolize the daily cycle of day and night, as well as the passage of time. Amidst the branches, a clock further symbolizes time. Saturn’s left hand holds a symbol of time, featuring an outer circle with a serpent biting its own tail, signifying both time and eternity. Following behind the chariot is Death, mounted on a horse. Lastly, there is an angel riding an elephant, adorned with wings and blowing a horn, with a flag attached to the horn, resembling the Judgment card in tarot. Although the theme is titled “Victory of Time,” it encompasses numerous symbols and figures from the medieval and Renaissance periods, many of which are also found in tarot imagery. In the image below lies the Italian rendition of the Triumph of Time, dated back to 1508. Here, we witness Saturn, the personification of Time, standing atop the chariot of Victory, wielding a scythe in one hand while dragging a tail-biting serpent with the other—a symbol synonymous with the passage of time. Notably, the chariot is not propelled by conventional steeds but by two majestic stags.
3. The Dance of Death Tradition
While hermits existed outside the societal hierarchy of their time, elements within the Dance of Death tradition depict figures being escorted by the Grim Reaper, some bearing resemblance to the hermit archetype. For instance, consider the following depiction crafted by the German artist Hans Holbein (1447-1543) in 1538, which captures aspects related to the hermit:
4. The Apocalypse Tradition
Neither hermits nor pilgrims occupy significant roles in the Book of Revelation. Yet, a resemblance to the hermit archetype, reminiscent of early tarot cards, can be discerned in the image below, portraying a group of saints eagerly anticipating the arrival of Judgment Day. Three. The Enigmatic Portrait Analysis
Though to contemporary minds the concept of the recluse may seem straightforward, it was anything but during the Middle Ages and the Renaissance. The complexity and breadth of this notion are evident from the portrayal of the recluse in the early tarot cards. Within the depiction of the recluse in tarot cards lies a depth and breadth of symbolism, as exemplified by the inclusion of the god of time, Saturn (known as Cronus in Greek mythology). Furthermore, as Saturn was also associated with agriculture, representations of the old man of time often depicted him with a sickle instead of a staff, as illustrated below.
Additionally, there exists a 17th-century sculpture depicting Saturn, wielding both an hourglass and a sickle, engaged in a game with the goddess of fate. However, it’s noteworthy that this sculpture dates merely two centuries after the inception of tarot cards.
Moreover, within the Mantegna Tarot cards from around the 15th century, both Saturn, the god of time, and Saturn, the god of agriculture, are present.
As the development of tarot cards progressed, there was a metamorphosis in the objects held by the recluse. The hourglass, symbolizing time in the recluse’s hand, eventually transformed into a lantern. During that era, time was sometimes regarded as a form of revelation, encapsulated by the adage, “Time knows all and will reveal all.” Perhaps this is why the hourglass of time has transformed into the lantern of revelation.
However, the image of the hermit holding a lantern also has its own historical significance. As early as the 4th century BC, the philosopher Diogenes searched for virtuous and morally upright individuals while carrying a lantern. It’s highly probable that the depiction of the hermit holding a lantern in tarot cards was inspired by him, as shown in the illustration below.
The illustration below depicts a poem titled “Saturn and His Children.”
The following image presents a photograph of an Italian fraternity member. Fraternities at that time specifically referred to organizations established by the Roman Catholic Church or some orthodox churches to promote the spirit of Christian charity and piety among the general public and laypeople. The figure in the image, with his robe and lantern, closely resembles the hermit card in tarot.
We are interested in the above images because among the numerous theories about the origin of tarot, one suggests that the tarot cards were commissioned by these fraternities to artists, as they had previously commissioned artists to depict the Dance of Death. Four. The Esoteric Symbolism of the Hermit
Upon perusing the analysis regarding the origins of the tarot hermit card, we come to realize that not only the hermit card, but indeed all cards within the tarot belong to various categories of origin, rather than just one. Moreover, during the genesis of tarot cards in the 15th century, the designers imbued their symbols with a wide array of meanings. Taking the hermit as an example, firstly, the symbolism of the hermit may be linked to Father Time or the deity of time. Positioned as card number (11) in the arrangement system of Major Arcana Type B, following the Wheel of Fortune (10), it signifies the maturity and wisdom attained after experiencing the capricious, even at times cruel, fluctuations of fate. However, as previously mentioned within the Wheel of Fortune, where an elderly figure is depicted beneath the wheel, symbolizing the decline of human prowess, there lies the notion of “the hero grows old, nearing the end of his days,” thus, the elderly figure within the hermit card may also allude to this circumstance. Additionally, the elderly figure depicted within this hermit card could also be associated with the subsequent card, the Death card (13), symbolizing the twilight years preceding death.
The second association of this card could possibly represent individuals who seek spiritual enlightenment, those who distance themselves from worldly affairs, such as hermits or wanderers of the world. Here, the pursuit of spiritual success contrasts with the pursuit of material success symbolized by the Chariot, thus creating a dichotomy between spiritual and material aspirations. In the 15th century, whether recluses or wandering travelers, they were both ubiquitous figures, and tarot designers naturally encountered the preaching and evangelism of mendicant friars. Hence, it is conceivable that the hermit card’s image might also represent those mendicant friars who relied on alms for their livelihood.
The identification of the hermit’s figure as a saint is particularly intriguing, as it may encompass a plethora of contemporary connotations. If the hermit is a monk or pilgrim, then the meaning of this card aligns entirely with orthodox Christian beliefs. However, if the hermit merely symbolizes a recluse or wandering seeker, then its orthodoxy becomes questionable. During the medieval period, such individuals frequently emerged and posed a significant challenge to the Church. They were often spontaneous and well-intentioned mystics, frequently expounding on apocalyptic doctrines and urging repentance before the Day of Judgment. However, many of them lacked proper theological education, resulting in their teachings being riddled with fallacies and errors, much to the consternation of the contemporary Church.
Moreover, at times, some itinerant evangelists harbored ill intentions, disseminating radical anti-church rhetoric, a phenomenon prevalent during that era. Hence, the hermit card may also signify a profoundly cryptic symbol understood only by those within that particular circle. If the tarot card designers of that time were educated, it is natural to assume that when designing the Hermit card, they would also have been influenced by the connection with Saturn, the agricultural deity of Sadun. Thus, the Hermit card is imbued with a layer of astrological interpretation, linking it to Saturn. Considering the prevalence of astrology at the time, likening the Hermit card to “the child of Sadun” would have been a relatively orthodox concept. However, this association also falls within the realm of occultism and planetary imagery magic, known only to a select few for divination.
Analyzing the tarot Hermit card in conjunction with the brotherhoods of the time requires a degree of reflection. Yet, this notion is not mere speculation. In the 15th century, many individuals belonged to brotherhoods in the major city-states of Italy. Therefore, it is plausible that some tarot card designers themselves were members, making it quite normal to incorporate certain brotherhood principles into their designs.
