These pairs are just based on which cards looked visually similar to me. (jmd mentioned other possible pairings, and I ran with that a couple of times before I jotted down some thoughts.)
Rose, your pairings read like fortune cookie fortunes! Very direct--I like that. I was inspired to try the alternate pairing strategy JMD mentioned--laying out I-X from right to left and then reversing direction for the row above, so X and XI are paired, IX and XII, etc. I also paired Le Fou with Le Monde. As JMD points out, our minds are equipped to find meanings in any combination. I used my Noblet.
Before going to the pairings themselves, I noticed directions of gazes. In the bottom row the gazes seemed to jump out at me. Le Fou is gazing away from everyone. L'imperetrice is surrounded by onlookers: La Papesse and Le Bateleur on one side and Lempereur and Le Pape on the other. Then Lamoreux have it in minature, as the two women gaze at the central male figure. Le Chariot looks at Justice, but she looks straight at us. Lermite looks at Roue de Fortune, and the small figure on top of the wheel looks slightly away (same direction as Lermite).
The top row is different. We have Le Pendu as the center of Force, LaMorte, and Lemperence's attention, but after that each card seems self-contained. The two small figures in Le Diable look at each other, the figures in La Maison Dieu aren't looking at anyone, Lestoille looks at her jugs, and in the next three cards the various figures are looking toward the center. Then in Le Monde, the figure looks out at us or slightly back toward the previous cards.
For the pairings:
Le Fou and Le Monde: Le Monde encircled, Le Fou without boundaries; both have animals nearby
Le Bateleur and Leiugement: It's as if Le Bateleur is visualizing the horn of the angel and the whole scene above (the horn blowing into his head) while he works a cheap trick in the market square.
La Papesse and La Lune: Still waters run deep. One feels how much is happening behind the utter stillness of La Papesse's facade.
Lemperetrise and Le Soleil: The sun shines down on the fertile earth. The spirits of her future children are near her.
Lempereur and Lestoille: A ruler needs a guiding light.
Le Pape and La Maison Dieu: When things fall apart, we need a strong spiritual presence. Le Pape is between the supplicants and the wrath of God, Dies Irae.
Lamoreux and Le Diable: The parallel composition is striking. The central figure and figures on either side turned toward him. The women clinging to the man rhymes with the ropes tying the figures to the devil. Both the devil and the angel are naked and have wings. Le Diable seems more aware than the angel though--the angel is blindfolded while the devil has multiple faces, multiple eyes.
LeChariot and Lemperence: Both look left. He is more encumbered, surrounded, while she is free, in the open. She has wings, he has horses. She looks like she could move at any time, he on the other hand looks like he has a bureaucracy to deal with. Yet he is the one who seems to want to move, while she is content to pour from one jug to another (or to connect two jugs with a current of water?).
Iustice and La Mort: Both are implacable. Both are representative of a higher law than any we make or bend. We face both. Reminds me of the Egyptian belief that after death the heart is weighed on scales against a feather and needs to be lighter than the feather to attain heaven.
Lermite and Le Pendu: Their heads are almost touching. I wonder what transmission of thought is taking place between them. Both are singular and definitely alone, in isolation.
Force and La Roue de Fortune: What is most striking is the contrast between the helplessness of the figures on the wheel and the very focused, directed force displayed by the woman in Force.