It is an especial dilemma for me because I love rabbit holes, but I love them when they lead me into unsuspected areas of discovery; I do not want to be (pardon the mixed metaphors) like my cat who catches sight of his tail, begins chasing after it, spinning like a dervish, and banging into furniture. The book La Papesse holds on her lap, at least in the Jodorowsky text, shows seventeen lines. This is significant as it establishes a connection with the 17th arcanum, “for the accumulation of The High Priestess is the action of [ L’Étoile ].” La Papesse is passive; she is not engaged in any activity: she reads her script, meditates upon it, allowing it to fill her in accordance with a traditional monastic practice called Lectio Divina or “Divine Reading.” In the Lectio Divina , scripture is the living word, the Logos, which became incarnate in Jesus Christ; hence, the presence of the egg, a symbol of new life, which in its most positive aspect represents an elevated future self. (In Jean Dodal’s deck, this second arcanum is named La Pances , which means “belly” and might signify the womb or Church.) This takes us to L’Étoile , which features a human woman, naked and pregnant; guest post casino in the Jodorowsky-Camoin illustration, “she [bears a sign] on her rounded belly at the level of the navel evok[ing] a seed of life. She spreads fertility. What is received from on high, The Star, channel of universal generosity, pours toward the Earth to fertilize it.” Left: Le Toille from the Camoin/Jodorowsky TdM; Center: Le Toille from the Jean Dodal (1701) TdM currently preserved in the Bibliothèque Nationale à Paris; Right: L’Estoille Jean Pierre Payen (1713) restitution deck by Yves Reynaud It is an odd mark Jodorowsky refers to (it has always reminded me of a set of lips), but it has precedent in the Dodal and Payen decks. In most of the other historical decks, the mark has been diminished and appears to be an ordinary belly button, or it is not present at all. In the Dodal and Payen, and well as the Noblet, the naked woman is flesh-colored, except for her face, which is strikingly white, like the Popess’s. Guest Cinsiyet Erkek.
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H. Arnoux and A. E. Amphoux (1801) did retain the gold color for the outer edges of the flesh-colored pages. From left to Right: La Papesse from the 1930 Marteau TdM digitally preserved in the Yale Library; Rochus Schär (1750) currently preserved in the Blumenstein Museum in Solothurn, Switzerland; Nicolas Conver 1760 TdM currently preserved in the Bibliothèque Nationale à Paris; 1801 guest post casino Arnoux & Amphoux restitution deck by Yves Reynaud. Unlike the number of lines, which I believe is more likely to be random than a revelation, this seems to be a significant detail, but it leaves us with questions that have yet to be satisfactorily addressed. Going all the way back to Noblet, why would the book be so full of vitality when the reader of the book appears lifeless (all the blood drained from her face and hands)? How do we interpret this? If the book is full of life, then would not her close contact with it also reinvigorate La Papesse? Perhaps this is what Claude Rochias intended to convey when his Popess’s hands were made flesh-colored. It may be the vitality is moving up through her body and will eventually reach her face. Kuş savar.
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