Lyle has chosen to present this deck in Renaissance style as that was the time period in which the Tarot first appeared and would therefore lend itself to an exploration of the philosophies that lie therein. The book which accompanies the cards is very clearly set out and easy to follow, and includes four traditional spreads with very helpful sample readings.The artwork is more sculpture than painting and is very pleasing to the eye.
The Major cards are paired, starting with 1 and XX, working forwards/backwards with X/XX1 'bringing up the rear' so to speak. 'The Fool' has not been paired as this is his/her journey. Many of the images/symbols are similar to the Rider-Waite ones, yet the style and composition are vastly different and exquisitely executed. For each card there are four sections - the symbolism; an exposition of the archetype's universal development throughout history; upright meanings; and reversed meanings, along with astrological correspondences. This 'formula' is one which works well, as demonstrated in Lyle's 'The Lover's Tarot' (see review).
The Minor cards are not quite full illustrations yet not just pips. The images are powerfully simple, a great deal being conveyed through body language and other symbols, again beautifully executed. The Court cards have retained their original titles except for 'Page' which becomes 'Princess-Page'. Lyle has also included a table of correspondences for the Minor Arcana, summing up a great deal of information in a few words. For each suit the correspondences are - 'Element', 'Elemental Spirit', 'Season', 'Time', 'Psychological Function', 'Zodiac Signs', 'Keyword', and 'Highest Power'. Whilst it isn't necessary to use the table, nevertheless a more in-depth reading can probably be achieved by including some of the correspondences.
I love Jane Lyle's style, as she is direct, doesn't try to blind us with science, and knows how to pick the right artist!