A tarot reader in 1989 pulls a card from a new deck. Instead of the Emperor in his throne, she sees a horned figure wreathed in leaves. The card is labeled “The Green Man,” and the accompanying book explains that this is the Celtic equivalent of the Emperor, but not a replacement: it is a different way of understanding authority, rooted in the land rather than in law. That deck was The Celtic Tarot, co-created by Caitlín Matthews, a British author and practitioner who, since the 1980s, has woven Celtic mythology, shamanic journeying, and folk traditions into tarot, creating decks and methods that challenge the standard Rider-Waite-Smith narrative. Her work bridges the gap between historical tarot and living Celtic spirituality, and it has reshaped how many practitioners approach the cards.
Caitlín Matthews is a scholar-practitioner who reimagines tarot through the lens of Celtic myth, folklore, and shamanic practice. She does not simply add Celtic imagery to existing structures; she reinterprets the archetypes themselves, drawing on sources like the Mabinogion, the Irish myth cycles, and the seasonal festivals of the Celtic year. Her decks and books have introduced thousands of readers to a tarot that is less about fortune-telling and more about spiritual journeying, ancestral connection, and the rhythms of the land.
Where Did Caitlín Matthews’s Approach to Tarot Begin?
Matthews began her work in the 1980s alongside her husband, John Matthews, a well-known author on Arthurian and Celtic subjects. Their first collaborative tarot project, The Celtic Tarot, was published in 1989 with illustrations by Miranda Gray. It was not the first Celtic-themed tarot deck, but it was the first to systematically replace the standard RWS archetypes with figures from Celtic mythology and folklore. The Fool became the Green Man, the High Priestess became the Sovereignty Goddess, the World became the Cauldron of Ceridwen. The suits were renamed Cups, Spears, Swords, and Shields, reflecting the four treasures of the Tuatha Dé Danann.
Matthews did not stop there. In 1995 she released The Arthurian Tarot (with John Matthews, illustrated by Miranda Gray), which used the Arthurian legends as a narrative framework for the Major Arcana. In 2011 came The Wildwood Tarot (with Mark Ryan, illustrated by Will Worthington), set in a prehistoric forest and drawing on British folk magic and shamanism. She also wrote The Tarot: A Complete Guide (2015), which synthesizes her decades of study, and The Complete Lenormand Oracle Handbook (2014), extending her method to the Lenormand tradition.
Her training was not purely academic. Matthews studied Celtic spirituality under the guidance of figures like the late Celtic scholar John Carey, and she practiced shamanic journeying under the tutelage of Michael Harner. This blend of scholarship and direct experience gives her work a grounded, practical quality that many purely theoretical tarot books lack.
How Does She Reinterpret Tarot Symbolism?
Matthews does not treat the traditional tarot symbols as fixed. She sees them as templates that can be filled with the imagery of any living tradition. In her hands, the Emperor becomes the Green Man, representing sovereignty rooted in nature rather than in human institutions. The High Priestess becomes the Goddess of Sovereignty, who embodies the land’s authority and the sacred marriage. The World becomes the Cauldron of Ceridwen, a symbol of transformation and rebirth.
She also introduces symbols that have no direct equivalent in the RWS system. In The Wildwood Tarot, the Major Arcana includes cards like “The Journey” (a shamanic path), “The Guardian” (a protective spirit), and “The Wheel” (the cycle of the year). The suits are Arrows, Bows, Stones, and Vessels, each tied to a season and an element. The Minor Arcana cards often depict scenes from British folk tales or seasonal rituals, such as the “Three of Arrows” showing a hunter’s offering to the forest spirits.
Matthews’s symbolism is not decorative. Every image is chosen for its resonance with Celtic myth and its practical use in divination. For example, the “Five of Stones” in The Wildwood Tarot shows a broken stone circle, representing a disruption in community or tradition. The accompanying text explains how to work with that disruption, not just interpret it.
What Practices Does She Bring to Tarot?
Matthews emphasizes that tarot is not primarily about predicting the future. It is a tool for spiritual journeying, self-knowledge, and connection with the Otherworld. She teaches a method she calls “The Celtic Cross” but with her own variations: she often adds a central card to represent the querent’s soul, and she reads the positions as stages in a journey rather than static aspects of a situation.
She also incorporates shamanic techniques. Before a reading, she may suggest drumming or visualization to enter a trance state. She encourages readers to “walk” into the card, to speak with the figures, and to bring back messages from the Otherworld. This is not a passive interpretation; it is an active dialogue with the symbols.
In her workshops and books, Matthews often ties tarot to the Celtic seasonal festivals. She recommends reading the cards at Samhain (the Celtic new year) for guidance on the coming year, or at Beltane for questions about fertility and creativity. She also uses the Ogham alphabet as a supplemental divination system, assigning each tree to a card or a position in a spread.
How Does She Compare to Other Tarot Innovators?
Matthews stands apart from the major figures of tarot history. A.E. Waite and Pamela Colman Smith drew on Hermetic Qabalah, Christian mysticism, and medieval allegory. Aleister Crowley and Lady Frieda Harris used Thelemic philosophy and Egyptian symbolism. Mary K. Greer focused on historical reconstruction and the Golden Dawn system. Matthews, by contrast, draws on pre-Christian Celtic mythology and shamanic practice, with little interest in Qabalah or ceremonial magic.
She also differs from other Celtic tarot creators. Courtney Davis, who illustrated The Celtic Tarot (with Helena Paterson), used a more Christianized Celtic art style, blending Celtic crosses and monastic imagery. The DruidCraft Tarot by Philip and Stephanie Carr-Gomm blends Wicca and Druidry, with a heavy emphasis on the Wheel of the Year as celebrated in modern Paganism. Matthews stays closer to the pre-Christian sources, avoiding Wiccan overlay. She identifies as a Celtic Christian, not a Wiccan, and her decks reflect that: they honor the land and the ancestors without invoking the Horned God or the Triple Goddess in the Wiccan sense.
Common Misconceptions About Her Work
That her decks are historical reconstructions. They are not. Matthews is clear that these are modern interpretations, inspired by ancient sources but designed for contemporary use. The Wildwood Tarot is set in a prehistoric forest, but it is not an attempt to recreate a Bronze Age divination system.
That she is a Wiccan. She has stated in interviews that she practices the “Celtic Way,” a form of Celtic Christianity that honors the land and the ancestors. She does not use Wiccan ritual structures.
That her tarot is only for people of Celtic heritage. Matthews writes for anyone who feels a connection to the land, the seasons, and the stories. She often says that the Celtic tradition is a “way of seeing” that can be adopted by anyone.
That her decks are difficult to read without knowing Celtic mythology. While some knowledge helps, her companion books explain each card’s meaning in plain language, and the imagery is intuitive enough for beginners.
FAQ
Is Caitlín Matthews a Wiccan?
No. She identifies as a Celtic Christian and practices a tradition she calls the “Celtic Way,” which blends Christian spirituality with Celtic folklore and shamanic practice.
What is the difference between The Celtic Tarot and The Wildwood Tarot?
The Celtic Tarot uses the traditional 78-card structure with Celtic mythological figures. The Wildwood Tarot is set in a prehistoric forest, uses different suits (Arrows, Bows, Stones, Vessels), and includes shamanic themes.
Does she use the traditional Rider-Waite-Smith system?
She adapts it. The Major Arcana follows the same sequence but with Celtic equivalents. The Minor Arcana uses the same number of cards but with different suit names and imagery.
Can I use her decks without knowing Celtic mythology?
Yes. The companion books explain each card, and the imagery is designed to be accessible. Mythology adds depth but is not required.
Where to Go Next
Caitlín Matthews’s work invites us to see tarot as a living tradition, not a fixed system. Her decks and methods are one path among many, but they offer a particularly rich way to connect with the land and the stories that shaped it. For a deeper look at how tarot interacts with mythology, explore our guide to tarot and folklore. If you want to practice a spread she popularized, see our breakdown of the Celtic Cross spread. And for the symbols that appear in her decks, visit our glossary of Celtic mythology.