The Three Marys…Orion belt “Las Tres Marias”…Rider-Waite-Smith…Tarot and Christian Iconography: The World and Magdalene....Pamela Colman Smith: The Mother of Tarot.. Birth Card World/Justice/High Priestess…perfection, end of Cosmos, secret.

The theme for a 11/2 lifetime is bringing life into a sense of balance through the analyzing and synthesizing of ideas. Learning to trust in yourself, your intuition, and your psychic abilities.
Justice and the High Priestess (Papess) represent form the gateway into an 11/2 lifetime. Justice (ruled by the planet Libra) places focus on harmony, understanding others, and finding a sense of balance in life. Libra is by nature active and social, with the need to balance between nurturing self and helping others. The High Priestess (Papess) is ruled by the Moon, which places focus on our inner selves, our inner needs, intuition, unconscious, and psychic abilities. Here we are looking at reacting, rather than taking action. The nature here is a passive one. Personal empowerment is the ability to focus our personal and spiritual energy in a manner that enhances how we experience our life. As we define our true power, we actualize out potential and begin to live life from a core of inner confidence.

theworldoftarot.wordpress.com/2014/03/15/birth-card-pairs...

The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.
Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.
However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.

culture.org/the-unseen-mothers-of-the-occult-pamela-colma...

"Gospel according to "Myriam" and this Mary is generally identified, without certainty, as being Mary of Magdala....In Christian tradition, the Three Marys also refers to three daughters – all three called Mary – whom Anne, the maternal grandmother of Jesus would have had with three successive husbands. According to Fernando Lanzi and Gioia Lanzi, this tradition would have been condemned by the Council of Trent (16th century), but it is still very much alive, particularly in German-speaking countries16 and in the Netherlands. then retired to the cave of Sainte-Baume where she lived for 30 years as a hermitage, with her only clothing, the fleece of her hair, and as her only food, the song of the angels who daily raised her to the heavens, seven times a day, it is said. She left Sainte Baume to die with Saint Maximin, one of the 72 disciples, in the small town where he had built his oratory and which today bears his name. He buried the saint in an alabaster sarcophagus.The name Magdala comes from Magdal in Aramaic or Migdal in Hebrew and designates a construction in the shape of a tower, representing faith, very similar to the House of God (The Tower) in Marseille's Tarot !

The Tarot de Marseille would then be a testimony to the teaching of Mary Magdalene. In Spanish-speaking countries, the Orion Belt Asterism is called “Las Tres Marias” (The Three Marys). In other Western countries, it is sometimes called "The Three Kings", a reference to the "Magi who came from the East" of the childhood narrative added to the Gospel according to Matthew and to the tradition of the three Magi, bearers of gifts for the child Jesus, whose oldest witnesses are found in Tertullian and Origen (early 3rd century). My "Mary Magdalene theory" is fortunately supported by thousands of codes that all come interconnected. "You will progress on a healthier basis with someone you know. Be authentic. Make sure you reserve moments of relaxation and do not pull too much on the rope, you tend to exceed your physical limits. Mary (mother of Jesus) Mary Magdalene Mary of Clopas. These three women are very often represented in art, as for example in this picture. The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus. Mary was the most common name for Jewish women of the period. Mary speaks of strange encounters with Creator Beings. Read about her experiences with them, and how their decree changed her life with Jesus. In this final volume of the trilogy, Magdalene appears to the author by the river in Rennes les Bains, France. There she reveals an ancient healing technique called The True Baptism. Mary illustrates how to organize the life force from the matrix of The All and allow it to trigger our genetic code. Mary then answers more of your questions, this time about the hidden properties of gold, the evolution of her bloodline with Jesus, free will, inner earth, the star knowledge, and much more. The Tarot, in both its origin as a card game and in its transformation into an occult divinatory tool, functions as an iconographic mirror of a particular culture's time and place. By the examining the evolution of the World card, from the 14th century Italian decks to contemporary ones, we will see a shift from male Christ imagery to female anima mundi imagery. Parallel to this iconographic shift is the figure of Mary Magdalene, who in Renaissance painting began to be portrayed less as a sinner and more of a penitent saint. The assumption of Mary Magdalene in art correlates with the finalized form of the World card. The alterations of Christian iconography and symbolism in Tarot cards are the result of occultists’ reappropiation of the Tarot in the late 1700s. The fear/distrust/disbelief of God and Christianity that began at this time funneled into an interest in the occult; in the Tarot, we see a preservation of the luminous but a problematic relationality with Christianity. The World card, as it has been handed down to us today, is a synthesis of the assumption of Mary Magdalene, the Christus Victor, and the anima mundi. A sacred priestess of the ancient Womb Rites, Mary Magdalene was at the center of a great and enduring Mystery tradition. Unveiling the lost left-hand path of the Magdalene, the authors offer rituals and practices to initiate you into the Womb magic of the ancient priestesses and access deeper dimensions of sexuality and feminine power.

www.innertraditions.com/books/magdalene-mysteries

Tarot historians are in agreement that the appropriation of the cards by occultists occurred in the late 18th century. The first known interpretation of the Tarot through an esoteric lens was penned by the French occultist Court de Gebelin. He believed the deck was the lost Egyptian Book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began syncretizing the Tarot with the systems of Kabbalah, Hermeticism, and alchemy. I believe we can locate the apex of this appropriation in the Waite-Smith deck from 1909 – the most familiar and popular deck to the contemporary reader. Later we will consider the effect this had on the Tarot symbolism and its relationship to the shifts in religious understanding in France and other European countries.Although there is a clear historical distinction between Tarot as “playing cards” and as occult divination tools, this is not to say that the imagery of the early decks are absent of symbolism or meaning. Rather than esoteric, the early cards are exoteric in their imagery; the symbols are clear referents to religion, culture, and mythology. While they seem esoteric today, as much of Christian iconography is to the contemporary viewer, these cards were probably not hard to decipher by their audiences. While much is admittedly conjecture, (as is a lot of Tarot historical studies), there is still much we can tease out of the visual evolution of the cards over time. It is surprising that there has been so little work done on the correlations and similarities between Tarot and Christian symbolism and iconography. My research hit a lot of dead-end roads in terms of proof, but I believe it is important to reveal my initial observations to show that, while perhaps not conscious, there is a great deal of Christian symbolism in Tarot, even in decks from the post-occult turn of the 18 and 19 centuries and from today as well.In the Waite-Smith deck, the most obvious Christian card is the 20 Major Arcana, Judgment, in which an angel blows a trumpet and the souls of dead bodies rise from coffins. Another obvious example is the Tower card, clearly a depiction of the fall of the Tower of Babel. Less obvious, perhaps, is the Fool card. It depicts a young man walking up to a cliff precipice, as though he does not see it; he carries a bag of money and is followed by a dog. Does this not recall the story of blind Tobias, who also carries money and is followed by a dog? Although in painting he is normally portrayed being guided by the angel Raphael, the similarities are astounding. How did this come to be?

The Hanged Man card is surprisingly consistent from the early Italian decks to the contemporary post-occult decks, and is one of the most mysterious within esoteric interpretation. In the Waite-Smith deck, it depicts a man hanging from a Tau cross by one leg; his other leg is crossed underneath the other to form another cross, and a nimbus glows around the head. Most occult interpretations of this card go along the lines that it is a symbol of self-sacrifice for spiritual gain. Robert Place argues that this can be understood as Christ, in that Christ was executed as a traitor by the state.3 Furthermore, a numerical reading of the card offers insight – being card 12, it might refer also to the self-sacrifice and martyrdom of the twelve disciples. By employing basic gematria, we can add the digits one and two to reach three, which could be the Trinity.

www.academia.edu/8851376/Tarot_and_Christian_Iconography_...

The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another..look at this picture from the Waite-Rider-Smth tarot:from left to right 1 Mary Magdalene 2 Mary of Jacob (mother of James the Less) 3 Mary, mother of Jesus (Matthew 27:56; Mark 15:40; Luke 24:10) Mary of Clopas (John 19:25), sometimes identified with Mary of Jacob. Mary of Bethany (Luke 10:38–42, John 12:1–3), not mentioned in any Crucifixion or Resurrection narratives but identified with Mary Magdalene in some traditions. Another woman who appears in the Crucifixion and Resurrection narratives is Salome, who, in some traditions, is referred to as Mary Salome and identified as being one of the Marys. Other women mentioned in the narratives are Joanna and the mother of the sons of Zebedee.Marie-Madeleine, Marie Salomé and Marie de Clopas are the 3 Maries of Saintes-Maries-de-la-Mer, a French town, capital of the Camargue, in the department of Bouches-du-Rhône. The designation "of-the-sea" derives from the fact that after the death of Jesus, the three Marys crossed the sea by boat to there and then lived there, thus helping to bring Christianity to France and Europe. These 3 Marys were present during the execution of Jesus and, they were the first witnesses of the empty tomb at the resurrection of Jesus... After the death of Jesus, around 42 J.C. the Christians were persecuted, and the three Marys were arrested and expelled from Palestine. They therefore embarked, with many other Christians, on a ship named "The Ship of Peter" devoid of oars and sails which, led by Providence, managed to reach the shores of Provence, in the south of France in a place which now bears their names.This is where the three Marys were welcomed by Sara, according to some texts, according to others, Sara, herself would be the Holy Grail, the direct descent of Mary Magdalene and Jesus. Only Marie Salomé, Marie Jacobé and Sarah will remain; Marie Madeleine, will retire to a hermitage in a cave...This is a historically attested fact, because Christianity began to spread in Europe precisely from Gaul, which thus became the gateway to the new religion in Europe. Mary Magdalene occupies a privileged place for Christ, at the head of a group of women who accompany him. She will be the first witness to the Resurrection of Christ, the first to whom the Lord appears on Easter morning, a sign, whether we believe in it or not, of an exceptional position. She is Jewish like Christ, like him from the North of Palestine (Israel), from Galilee, probably from Magdala, near Nazareth and Cana. It is believed that she was an aristocrat born in the year 3 AD, who after attending the court of the king of the Jews Herod, was converted by Christ, changed her life and decided to follow him and put her fortune at the disposal of the group. Arrived in the Camargue, with the two other Maries, she evangelized the Marseillais, then withdrew to the cave of Sainte-Baume where she lived 30 years in hermitage, with as only clothing, the fleece of her hair, and as only food, the song of the angels who raised her daily in the heavens, seven times a day, it is said.

www.calistabellini.com/post/les-saintes-maries-de-la-mer-...

Different sets of three women have been referred to as the Three Marys: Three Marys present at the crucifixion of Jesus;
Three Marys at the tomb of Jesus on Easter Sunday; Three daughters of Saint Anne, all named Mary. The three Marys at the

The presence of a group of female disciples of Jesus at the crucifixion of Jesus is found in all four Gospels of the New Testament. Differences in the parallel accounts have led to different interpretations of how many and which women were present. In some traditions, as exemplified in the Irish song Caoineadh na dTrí Muire, the Three Marys are the three whom the Gospel of John mentions as present at the crucifixion of Jesus: However, Jesus was not crucified upside-down. Looking at the Visconti-Sforza deck, we have an almost identical depiction of the Hanged Man. Helen Farley points out that in Renaissance society, there was an art form called pittura infamante – ‘shame painting’ – “in which a person was depicted as a traitor, particularly when beyond the reach of legitimate legal. recourse.”4 By depicting someone hanging upside-down, this could alternately mean the person had turned away from God. It also was used for the execution of Jews, witches, and Christians who had committed perfidy. I immediately thought of Peter, who is said to have asked to be crucified upside-down because he was unworthy to die as Christ died. In Christian iconography, he is the only individual portrayed in this manner. Peter could be said to be a traitor, in that he denied Christ three times, but the negative associations of shame paintings don’t seem to correlate with Peter’s sainthood. Judas is also said to have hung himself, and is traitor par excellance, but I remained convinced that this card was based upon Peter. While the usual understanding of Peter’s request for an upside-down crucifixion is his humility in relation to Christ’s death, there is a different explanation in apocryphal accounts. In the Acts of Peter, Peter speaks from the cross, saying that, “when the first man [Adam] came into the world, he came headfirst. That means that Adam’s perspective, as the one who brought sin into the world, was entirely reversed and upside down. That is why people seem to think that what is true is false and what is false true....All of this is because humans have reverse vision, due to the actions of Adam.”6 Thus, hanging upside-down is a model for Christians to live by, to see the world correctly. This is nearly identical to how Tarot esotericists interpret the Hanged Man; it is both Christ in its self-sacrifice, and also an inversion of corporeal ‘reality’ and perspective through which one gets a better understanding of how to reach God. While one cannot veritably locate a thread between the Acts of Peter and the Hanged Man, this connection exemplifies the latent Christian symbolism that flows through the Tarot, from 14th century Italy to now.

Mary Magdalene, Mary of Clopas and Mary (mother of Jesus). These three women are very often represented in art, as for example in these Flickr's picture.

Women at the tarot like a passkey to heaven; The Three Marys as passkey. What may be the earliest known representation of three women visiting the tomb of Jesus is a fairly large fresco in the Dura-Europos church in the ancient city of Dura Europos on the Euphrates. The fresco was painted before the city's conquest and abandonment in AD 256, but it is from the 5th century that representations of either two or three women approaching a tomb guarded by an angel appear with regularity, and become the standard depiction of the Resurrection. They have continued in use even after 1100, when images of the Resurrection of Jesus in Christian art began to show the risen Christ himself. Examples are the Melisende Psalter and Peter von Cornelius's The Three Marys at the tarot. Eastern icons continue to show either the Myrrhbearers or the Harrowing of Hell. The fifteenth-century Easter hymn "O filii et filiae" refers to three women going to the tomb on Easter morning to anoint the body of Jesus. The original Latin version of the hymn identifies the women as Mary Magdalene (Maria Magdalene), Mary of Joseph (et Iacobi), and Salome (et Salome).

en.wikipedia.org/wiki/The_Three_Marys

The World (XXI) is the 21st trump or Major Arcana card in the tarot deck. It can be incorporated as the final card of the Major Arcana or tarot trump sequence (the first or last optioned as being "The Fool" (0). It is associated with the 21st letter of the Hebrew alphabet, 'Shin' also spelled 'Sin'. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records).

Description

Christ in Majesty is surrounded by the animal emblems representing the four evangelists in a German manuscript.
In the traditional Tarot of Marseilles, as well as the later Rider–Waite tarot deck, a naked woman hovers or dances above the Earth holding a staff in each hand, surrounded by a wreath, being watched by the four living creatures (or hayyoth) of Jewish mythology: a man, a lion, an ox, and an eagle. This depiction parallels the tetramorph used in Christian art, where the four creatures are used as symbols of the four Evangelists. Some astrological sources explain these observers as representatives of the natural world or the kingdom of beasts. According to astrological tradition the Lion is Leo—a fire sign, the Bull or calf is Taurus—an earth sign, the Man is Aquarius—an air sign, and the Eagle is Scorpio—a water sign. These signs are the four fixed signs and represent the classical four elements. In some decks the wreath is an ouroboros biting its own tail. In the Thoth Tarot designed by Aleister Crowley, this card is called "The Universe." The World card, the highest ranked Major Arcana card, exists in the early Visconti-Sforza, Marseilles, and contemporary decks. It will serve as our loci in considering the relationship between Tarot and Christian iconography, the evolution of Mary Magdalene in Christian depiction/understanding, and the rise of the female anima mundi in occult and esoteric movements. To recall, the Visconti-Sforza is one of our earliest known decks. Helen Farley notes that the deck’s symbolism reflects concerns and themes of the Italian Renaissance: The proximity of death, the fickle hand of fortune, the desirability of living a life
of virtue, the importance of spirituality but also the contempt with which corporeal concerns were held, namely the corruption of the Church...[it] portrayed the lives and history of the Viscontis...as a game: a potent allegory of Visconti life. These themselves more as we follow the orbit of the World card around the sun of time.reveal themes, particularly the tension between spirituality and Catholicism, will. In the Visconti-Sforza deck, the world is shown as a globe, within which is surrounded by turbulent waters (fig. I). The globe is held aloft by two putti. The blue wings indicate they are Seraphim, the highest rank of angels. In other versions from this time, there is usually a figure of a woman or angel upon the globe and city usually represents Jerusalem, the city of God; “the microcosm of the city symbolically linked the earthly (human) body with the heavenly (cosmic) ‘body’”, observes Farley. This derives, of course, from St. Augustine’s The City of God, wherein the Christian empire is located around the Church of Rome, which links humankind with God. The earthly city reflects the heavenly city, and this card connects the actual city of Milan with the celestial city of heaven. Duke Sforza’s domination of Milan is enforced and made holy through its pictorial self-portrayal as the Augustinian city. This pride in the city-state enforces the power, wealth, and status of Milan; interestingly, as the World card follows the Resurrection/Judgment card, Milan is portrayed as the city Augustine believes will contain the saved souls. One also may observe that the city is separated from the rest of the ‘world’ by the edge of the globe; it is strongly fortified and separated by waters, illuminated by the stars of heaven.

What does 3 stars in the sky mean? many meanings...Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have?
The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak. Where are the three Marias?
To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.
What are the stars we see in the sky? Stars are large spheres formed by plasma heated to thousands of degrees. Its shape is due to its gravity, which points towards the core of the star. Stars are large spheres of plasma that are powered by nuclear fusion. Stars are large spheres of plasma, held together by their own gravity. > Constellation of ORION: Why are the three Marias called Três Marias? Origin and meanings of Três Marias.Each culture gives the Três Marias a different meaning. In Christian tradition, the stars are associated with the three women who visited the tomb of Jesus at the resurrection. They also represent the Three Wise Men -Gaspar, Melchior and Baltasar-, who would be on their way to Bethlehem at the birth of the messiah. What are the three Marias? Mark 16:1 indicates that "Mary Magdalene", "Mary the mother of James" and "Salome" went to the tomb to anoint Jesus....How many stars do the 3 Marias have? The Belt or Belt of Orion, popularly known as the Three Marys or Three Kings, is an asterism of three stars that form the belt of the constellation of Orion, the hunter. The stars, easily identifiable in the sky by their brightness and alignment, are known as Mintaka, Alnilam, and Alnitak.Where are the three Marias? To identify it we must locate 3 stars close to each other, of the same brightness, and aligned. They are called Tres Marías and they form the belt of the constellation of Orion, the hunter. Their names are Mintaka, Alnilan and Alnitaka, from the Arabic Al-Mintakah, the belt, An-Nidham, the pearl, and An-Nitak, the rope.The most curious thing of all is that, in reality, their names are Mintaka, Alnilan and Alnitak, Arabic names that mean, respectively, the "Belt", the "Pearl/Precious Stone" and the "Rope". Another is knowing that they are actually very close together in the sky, approximately 1,500 light-years from Earth.There are three enormous stars visible in the winter sky and in the center of the constellation Orion, the celestial cathedral. These three stars form a nearly perfect tilted alignment, separated by seemingly nearly equidistant distances. They are known as the three Marys, the three wise men or the belt of Orion -a giant hunter from mythology-, but these names are not enough to understand the mysteries that such colossal stars contain. We must look towards the south, at half height; between the horizon and the zenith. It has no loss, it is a brilliant stellar alignment, which is unique in the firmament. Three blue stars, three giants: Mintaka, Altinak and Alnilam.

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

An engineer born in Alexandria in 1948, Robert Bauval, with a background in astronomy and an interest in Egyptology, discovered that the three Marys are positioned exactly like the three great pyramids of Giza in Egypt. The star Mintaka, in the upper part of the alignment of the three Marys, is somewhat deviated with respect to the previous two, the same imperfect alignment has the three great pyramids. But also, the pyramid deviated from the straight line that joins the other two, is the smallest of the three (Micerino), like Mintaka, which is the star that shines the least of the three Marias. Also, the pyramid that is highest on the plateau of the three and that stands out the most (Kefren) is the central one, as is the central star of Las tres Marías, which is the brightest. Did the Egyptians also know that these stars are visible from all over the world? And more specifically Mintaka, which is right on the celestial equator. Everything can be the product of chance, but many coincidences bear the truth. Curiously, the Egyptians believed that after their death, the gates of heaven opened in the place occupied by Orion's belt, but they never understood the greatness of those three spectacular stars. The three Marys were the place where the soul of Osiris, the Egyptian god of resurrection, rested and presides over the court of the judgment of the deceased, among other powers.Alnitak, an Arabic name meaning "belt", is the lowest of the three stars. A new star 6 million years old, while the Sun is about 5,000 million. This blue giant, 16 times the diameter of the Sun, with a visual magnitude of 1.79, located 700 light years from the Sun, of spectral type O9, shines with an intensity 100,000 times greater than that of our Sun, which next to it is a tiny star with a mass 20 times less than Alnitak. It ranks 35th among the most luminous stars we know of, including stars from other galaxies. Alnitak is a peculiar star, whose surface temperature reaches 29,000 degrees. The Sun only reaches 6,500. But it is also a very intense source of X-rays, due to the strong stellar winds that are projected from the surface in the form of particles, essentially hydrogen and helium, sweeping the surrounding space at speeds of 2,000 km/s. These types of giant stars have their days numbered. The bigger the stars are, the less time they live, so that Alnitak, in a short time will become a red supergiant, it will explode in the form of a supernova, which can be seen even during the day from Earth, to end up as a tiny star about 10 km in diameter, called a neutron star, a star so dense that a teaspoon of its surface would weigh as much as a mountain. Also Alnitak is a triple star. Alnilam. Located in the center of the stellar trio that make up Las tres Marías, it is a true celestial spectacle. It shines with a magnitude of 1.70, being the fourth brightest star in Orion and the brightest of the three Marys, in addition to being the furthest at 1,340 light years, but that is nothing compared to the luminosity of the star, equal to 380,000 times greater than the Sun, ranking 27th of all known stars. It is a blue supergiant star, 31 times the diameter of the Sun and 40 solar masses. Extraordinarily young, only 4 million years old, somewhat colder than the previous one, with about 25,000ºC on the surface. It also has a powerful stellar wind with speeds of 2,000 km/s, 20 million times more than the solar wind. The temperature and radiation are so high in this star that it lights up a nebula of gas and dust called NGC 1990 by reflection. Alnilam is so young that it is not yet a stable star, but variable in its brightness (pulsating variable), due to its continuous expansion and contraction. The Sun is a stable star, it does not pulse, expand, or contract. The force of gravity pulling in on the Sun has been offset by the expansive force of thermonuclear reactions by converting hydrogen to helium, but in Alnilam, both forces continue without agreeing. If it is possible to have planets, life there as we know it would be impossible, due to the instability of the star. Alnilam will end its days as Alnitak, becoming a premature red supergiant, exposing its superdense core; a neutron star. Meanwhile, it is moving away from us at a speed of 26 km/s. Mintaka: Arabic word meaning "for belt." Another blue giant star, although the faintest in brightness of the three Marias reaching 2.5 magnitude. It contains 20 solar masses and a luminosity 90,000 times greater than that of the Sun. Located at a distance of 915 light years, it is surprising that it shines with such intensity, not in vain its surface temperature is 31,000ºC. Mintaka is one of the most complex multiple systems known. The main star, that is to say Mintaka, has a companion of magnitude 6.8 at a real distance of more than 2.3 trillion km, or what is the same, ¼ of a light year. But in turn, this star that appears to be 1' of arc distant from Mintaka, is a spectroscopic binary, that is, it has another companion so close to it that it is impossible to take it off with telescopes, but it can be done using spectroscopy; the only thing we can detect is the spectrum of the companion, but we can't see it. Between the spectroscopic binary and Mintaka, there is a faint 14th magnitude star that may belong to the system. But in addition, Mintaka has an extraordinarily close companion to her, which is why she is a spectroscopic binary. Curiously, the companion star has almost the same characteristics as Mintaka, the same mass, temperature and luminosity and must be the same size. A complex 5-star star system. Almost all stars are double or multiple, the rarity is our Sun, which is a solitary star. However, many researchers look for dwarf stars that may be trapped by the Sun's gravity.

www.abc.es/ciencia/20140122/abci-tres-marias-estrellas-co...

The two putti slowly disappeared in other decks, to be replaced by either a male or female figure. In this example from the Museo Civico, we see a woman holding a wand and a globe as she stands upon the globe (fig. II). Another early example of a female World card is the Cary-Yale Visconti deck (fig. III), depicting a royally-clothed woman wielding a scepter and a crown. It was not uncommon to portray the earth as a feminine figure, but these early examples seem to be stressing not so much a personification of the earth but rather the domination of earth by something/someone. Consider figure IV and figure V. Here we have a male figure, one clothed and the other nude, ruling over the world. Consider also the nude male in the Jacques Vieville deck and the Bologna deck (fig. VI). In Christian art, when Jesus is portrayed as the Christus Victor, he looms over the world holding a globe with a cross fixed to it. He is often surrounded by the four evangelists as he stands upon God’s throne. When he is surrounded by the four evangelists, Christ is enclosed within a mandorla, and the four evangelists are often in the four corners. Should we understand these male figures as Christ? The examples we’ve looked at that have a clothed male figure can clearly be an iconographic Christus Victor; the World card, being the last Major Arcana, is Christ victorious over the entire world after the Resurrection. But what of the nude figures? The only instance of Christ nude in Christian art, that I know of, is Michelangelo’s altar wall in the Sistine Chapel; there, Christ is nude and beardless, as with these particular cards. But there is a shift from the Christ standing upon the world to the Christ on God’s throne. As we see with the Jacques Vieville card (fig. VI), the nude Christ holds his standard iconographic scepter with attached globe, is enclosed by a mandorla (a laurel wreath), and surrounded by the four evangelists. Again, following the tradition of Christian art, Matthew is a human with wings, Mark is a lion, Luke is an ox, and John is an eagle. There is no essential difference between this Tarot card and an atypical Christus Victor. It should be noted that this visual structure was also used in alchemy through the 16 to the 18 century. The four
evangelists are correlated with the four elements of the world, the four seasons, and the four directions. Consider figure VII; note the chalice with the serpent, the attribute of John the Evangelist, unusually associated with the anima mundi. But something happened. Recall that the Marseilles deck, circa blueprint structure and pattern for most subsequent decks created in France, Italy, and Belgium, and also for the decks created by occultists in the 19th century deck is unusual considering its forerunners. We have the same iconography of the four evangelists and the mandorla, but instead of the Christus Victor or royally-clothed woman, there is a nude woman (figure VIII). There are many versions of this, of course, but we can say that she is often portrayed with long hair, with a loose banner rippling around her nude body. She sometimes holds a bottle and a scepter; more often, two equal wands (that is, wands with a knob on both ends). She is always enclosed within a laurel wreath, and the four evangelists remain in the four corners of the card. Suddenly, a nude woman is dancing, or floating, on God’s throne instead of Christ; perhaps, she is being assumed up into heaven. This card serves as the bridge between the City of God and the Christus Victor depictions to most of the subsequent World cards: the rather curious and baffling conflagration of Christian iconography and feminine/Goddess imagery. What does this shift mean, and how can we situate it within Christian art? Let us turn our attention, now, to the portrayal of Mary Magdalene in Christian art. Mary Magdalene underwent quite a transformation through Renaissance art. The sinner Magdalene ultimately becomes the penitent, holy reformer to which many upheld as an exemplary and relatable model. Mrs. Jameson locates the rising popularity of Magdalene as penitent in the 16th and 17th into heaven. Magdalene became “still more endeared to the popular imagination by more affecting and attractive associations, and even more eminently picturesque...We have Magdalenes who look as if they never could have sinned, and others who look as if they never could have repented.”11 Magdalene became more sexualized just as she became more penitent. Rachel Geschwind observes that in the 16th century, paintings like Rossiglio’s Conversion of the Magdalene began to give Venus-like characteristics to Magdalene; she is both divine and corporeal. and art, and sometimes one might even mistake a Venus for a Magdalene. Courtesans at this time would write of divine love and the desire to enter the ‘paradise of Venus’, which was a metaphor where she is praying for forgiveness or being reconciled and/or assumed up for the city. (Recall the City of God from the Visconti deck). Magdalene seemed to serve as a perfect model for passion and romance that was acceptable religiously, and as a locus for the world of divine love. The dichotomy between the corporeal and the divine is also inherent in Correggio’s Noli Me Tangere; Margaret A. Morse writes that “Correggio evoked a natural style, while maintain a beauty and sanctity for which his subjects called, whereby the beholder...would be able to recognize the divine in the physical.”14 She is a bridge between the viewer and Christ, between the body and the spirit. Given that Neo-Platonism was on the rise during the Renaissance, it makes sense that this balance between two kinds of love, “sacred and profane, formulated by Plato in the Symposium”15, found Mary Magdalene as the perfect template and model. In addition to Venus-like characteristics, Magdalene was also beginning to assume the role as a “new Eve” from the Virgin.The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists
2 began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium. If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance era around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille. When I started to propose the theory of a Marseille origin of the Tarot de Marseille, Tarot historians and Tarot experts thought that I was an eccentric or that I wanted to make a publicity stunt. In 1999, I explained publicly that in my opinion the Tarot had been transmitted to Europe around 415 by the monk Jean Cassien who was entirely dedicated to Marie-Madeleine and who founded the order of the Abbey of Saint-Victor in Marseille. My Tarot theory is based on thousands of secret codes that can be found in the new Tarot de Marseille Camoin that I drew in the 90s. The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state. The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card. Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi".
But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory, which is unique in the history of the Tarot, states that it is Mary Magdalene who is represented in the map of the World and that the Tarot de Marseille is therefore dedicated to this saint.

The two cards form a new symbol. Mary of Magdala is the Saint who sees the Resurrection of Christ (in blue. Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.”18 The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting. The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is almost dwarfed by the sublime immensity of the landscape. The fact that the very earth is prominent in these paintings underscores Magdalene’s dualistic characteristics of corporeality and divinity; the world gapes below her as she rises above it into the sky. Although she is always borne by putti in her assumption, she seems to float and dance in ecstasy as she rises. We observed the replacement of the Christus Victor with a female nude in the Marseilles World card. That card is remarkably similar to the Lanfranco, Durer’s Assumption of the Magdalene, and others. One gets the same sense of elevation and completion (recall Christ’s words in the Pistis Sophia) in the rise of Magdalene as one gets in the World card. I argue for a parallel between Magdalene’s evolution and the World card’s evolution; just as painting was infusing Magdalene with traits of divine love and worldliness, Tarot decks began to see the post- Resurrection world not in light of Christ but in a neo-Platonic Venus, a Magdalene/New Eve that encompasses the new World. We saw that some World cards have the woman holding a bottle of some sort, which is an attribute of Magdalene. Also, the instances of the two equal wands supports the dualism of divinity and corporeality, dark and light, sinner and penitent, in the portrayals of Magdalene. Robert Place agrees, writing that “She takes her position in the sacred center, which identifies her as the Anima Mundi and the Quinta Essentia...she has mastered or transcended duality...the World Soul is depicted as both Christ, or Sophia his female counterpart....divine wisdom.”20 She is the completion, the alchemical Great Work, the culmination of all earthly phases into the elevation of the world into heaven. This is, of course, an esoteric alchemical interpretation, which as we noted did not apply to Tarot until the late 1700s. I hold that Magdalene’s iconographic transition in the Renaissance parallels the exoteric symbolism of the World; but what to make of the occultists’ appropriation of this image in the late 1700s? Farley argues that, “With tarot removed from its original environment, its symbolism lost its previous relevance and context, rendering its imagery mysterious.”21 Institutionalized religion was being questioned at this time; indeed, the first publications by occultists on the Tarot coincide with the French Revolution. While we cannot delve deeply into the Revolution here, suffice it to say that it was characterized by a rejection of Christianity but a preservation of Christian structure. “It had its creeds, liturgies and sacred texts, its own vocabulary of virtues and vices...and the ambition of regenerating mankind itself, even if it denied divine intervention or the afterlife. The result was a series of deified abstractions worshipped through the denatured language and liturgy of Christianity.”22 Much of the Revolution’s tactics was the replacing of old symbols with new ones, but maintaining the same essential religious structure. Similarly, I argue that the occult appropriation of the Tarot was also an appropriation of Christian iconography, in a general sense; esoteric interpretations and the revisions of Tarot symbolism was an attempt to escape Christian doctrine through fabricated ancient lore (Egyptian roots, e.g.) and synthesized connections between the Tarot and old esoteric traditions such as Kabbalah.

Interpretation
According to A.E. Waite's 1910 book The Pictorial Key to the Tarot, the World card carries several divinatory associations:

Mary Magdalene (Mary of Magdala), the woman with jars in Christian symbolism, could very well in this case be represented in the star map. But their assumptions stopped there. No one had ever imagined that the Tarot itself represents in its entirety the teaching and life of Marie-Madeleine on the one hand and even less that the Tarot was created by Marie-Madeleine herself in the 1st century. This is the entirely new Tarot theory that I have been expounding since the beginning of the second millennium.
If my theory of the Tarot turns out to be correct, it completely changes the vision and the understanding that one could have of the Tarot. It changes the dating of the Tarot which goes from the 14th century to the 1st century AD with Mary Magdalene, the Tarot de Marseille thus becoming the ancestor of all Western tarots, that is to say "the Tarot". Historians and experts said that the Tarot originated in Italy during the Renaissance period around the end of the 14th century the beginning of the 15th century. On the other hand, no one thought that the Tarot de Marseille itself originated from Marseille.

21.THE WORLD—Assured success, recompense, voyage, route, emigration, flight, change of place. Reversed: Inertia, fixity, stagnation, permanence.
The World represents an ending to a cycle of life, a pause in life before the next big cycle beginning with the fool.[3] The figure is male and female, above and below, suspended between the heavens and the earth. It is completeness. It is also said to represent cosmic consciousness; the potential of perfect union with the One Power of the universe.[4] It tells us full happiness is to also give back to the world: sharing what we have learned or gained. As described in the book The New Mythic Tarot by Juliet Sharman-Burke and Liz Greene (p. 82), the image of the woman (Hermaphroditus in Greek Mythology) is to show wholeness unrelated to sexual identification but rather of combined male and female energy on an inner level, which integrates opposites traits that arise in the personality charged by both energies. Opposite qualities between male and female that create turmoil in our life are joined in this card, and the image of becoming whole is an ideal goal, not something that can be possessed rather than achieved.

According to Robert M. Place in his book The Tarot, the four beasts on the World card represent the fourfold structure of the physical world—which frames the sacred center of the world, a place where the divine can manifest. Sophia, meaning Prudence or Wisdom (the dancing woman in the center), is spirit or the sacred center, the fifth element. Prudence is the fourth of the Cardinal virtues in the tarot. The lady in the center is a symbol of the goal of mystical seekers. In some older decks, this central figure is Christ, whereas in others it is Hermes. Whenever it comes up, this card represents what is truly desired.

In other media
In the manga JoJo's Bizarre Adventure: Stardust Crusaders, tarot cards are used to name the character's powers, named 'Stands'. The overarching antagonist of Stardust Crusaders, DIO, has a Stand named The World, named after The World card. This stand has the power to stop time whenever DIO commands it to, and he can move during frozen time. In Steel Ball Run, an alternate version of DIO, Diego Brando, later gains this Stand after being summoned by Funny Valentine.

In the film Cryptozoo, a tarot reading is done with the Waite-Smith Deck that reveals The World card as part of the protagonist's journey.

en.wikipedia.org/wiki/The_World_(tarot_card)

The relationship between the images of the Tarot de Marseille and the medieval heresy of the Holy Grail. The followers of this heresy claimed that Jesus of Nazareth had married Mary Magdalene. In this work are presented all the symbols of the Tarot in relation to this heresy and, for the first time, it is revealed that these images constitute the secret heritage of Mary Magdalene. that the game was the lost Egyptian book of Thoth, containing the secret mysteries of Egyptian wisdom and magic; following Gebelin, occultists began to syncretize the Tarot with the systems of Kabbalah, Hermeticism and Alchemy. We believe we can place the pinnacle of this appropriation in the Waite-Smith game of 1909 - the most familiar and popular game for the contemporary reader. Later we will look at the effect this has had on Tarot symbolism and its relationship to changes in religious understanding in France and other European countries.The Mandorla that surrounds the naked woman indicates that it is a saint who has reached the beatific state.
The most significant secret Tarot code in "The Mary Magdalene Theory" that I have discovered resides in the last two cards of the Tarot Major Arcana, Judgment and the World. Indeed, by their number, these two cards are naturally placed next to each other. I revealed that the two cards put together give the key to the mystery of the Tarot character that is found in the World card.
Because the identity of this character had remained a mystery for centuries. Almost all Tarot researchers claimed that it was the androgynous Christ, so much so that it had become a real dogma in the Tarot world. Historians could not imagine that it was a woman because of the presence of the four living beings who are attributed to Christ in Christian sacred art. Some had interpreted this mysterious young woman as being the soul of the World, "Anima Mundi". But the Tarot is coded in another way. Tarot codes are embedded in other Tarot codes and so on. Also, if we disregard the four living beings in the World map, we obtain a naked woman surrounded by an almond-shaped oval. This oval called mandorla symbolizes the state of beatific vision. We find the mandorla around some saints. This means that in the Tarot de Marseille, the woman on the World Map is a saint. My "Mary Magdalene theory" continues like this. In the pantheon of Western saints, there is only one saint who is depicted naked, and that is Saint Mary Magdalene. However, Marie de Magdala lived in the vicinity of Marseilles for 30 years. My theory which is unique in the history of the Tarot stipulates that it is Mary Magdalene who is represented in the map of the World and that the Tarot of Marseilles is therefore dedicated to this saint.

fr.camoin.com/tarot/Tarot-Marie-Madeleine-Magdala.html

What is the name of the brightest star?
Sirius, also called Sirius, α Canis Majoris is the brightest star in the night sky visible to the naked eye, with an apparent magnitude of −1.46. In Greek mythology, Orion's hunting dogs are said to have ascended to heaven at the hands of Zeus, taking the form of the star Sirius.,What are the stars called?
they are called bright stars. How the stars are classified? Astronomers classify stars by size and surface temperature. Based on their size, stars can be called supergiants, bright giants, giants, subgiants, dwarfs or normals, and subdwarfs.

Источник: planetariodevitoria.org/estrelas/qual-e-o-nome-das-estrel...

Hebrew Letter: Tave
In this article The World Symbols, I refer to The World card from the Rider Waite Tarot deck, also known as the Waite-Smith, or Rider-Waite-Smith, or Rider tarot deck. The symbolism found on this trump card is primarily drawn from mythology, Christianity, alchemy, astrology. Contents
The World: Key Symbol. Compare The World Tarot Card Symbols with Historical Decks
What Does The Dancer Symbolize in The World Tarot Card? Dancer Purple Sash Red Hairband
Two Wands Crossed Legs Symbolism What is The Meaning of The Laurel Wreath in The World Card?Laurel Wreath Two Red Ribbons Who Are The Four Figures in The World Card and What do They Symbolize? Man Lion Eagle Bull What is The Meaning of The Blue Background? The Rider Waite World card borrows heavily from the Marseille Tarot. Waite himself says, “this final message of the Major Trumps is unchanged – and indeed unchangeable – in respect of its design”. In both instances the naked World dancer moves encased within a victory wreath. The four corners of the card contain tetramorphs, mystical creatures of antiquity and mythology depicting a bull, lion, bird and human face.
The dancer holds dual magical wands, as opposed to The Magician who only holds one. What Does The Dancer Symbolize in The World Tarot Card? Dancer. The dancer symbolizes the fetus waiting to be born again, as the Fool prepares to start over through the procession of the Major Arcana. However, this is no babe starting from scratch, we are presented with a woman at her height of beauty and youth. She signifies the next stage of evolution. Some occultists claim that the figure is a hermaphrodite, because her sexual gender is hidden by the scarf. They say she is the union of male and female, and that sexual identity is no longer relevant or defining. The dancer perfectly integrates aspects of the male and female. Wouldn’t this card be a suitable iconographic image for gender fluidity in todays times! The dancer is both the bride and bridegroom. Purple Sash. The purple sash is the color of divinity and wisdom. It evokes the images of a Catholic priest who puts on a purple stole when offering the sacrament during mass. The sash curves in the figure of eight, suggestive of the cosmic lemniscate or infinity sign.
Red Hairband. The dancer wears a red hairband, which draws fire energy to her head area. It symbolizes that her mind and conscious is active. This is not someone who exists only in the spiritual realm.
Two Wands. The dancer holds two double-sided wands, which represent the polarity powers of involution and evolution. Involution is the decent of God into the soul or consciousness, and evolution is the assent of the soul back to God or the creator. ⭐Wands also appear here: The Magician Symbols
Crossed Legs Symbolism. The dancer crosses her legs in a similar manner to the Hanged Man. However, the triangle he represents is under the cross of the tree, symbolizing he is still bound by earthly things. The dancer is reversed, she forms a triangle pointing upwards, from the tip of her head to her two outstretched hands. Thus the triangle of Spirit now overturns the cross of the material earthly plane. What is The Meaning of The Laurel Wreath in The World Card? Laurel Wreath. The woman is surrounded by a large laurel wreath, traditionally a symbol of success and victory. The implication here, on the Fools Journey, is that there is cause for celebration. This is the end of the road before a new era begins. The wreath forms the shape of a zero, which is the number of The Fool card. The wreath also symbolizes the womb, signaling that the woman is like an embryo waiting to be reborn. The oval shape of the wreath is also used by the Golden Dawn in their Tattva cards. These colorful cards were designed to aid the development of clairvoyance through visual meditation, and one of the symbols in the cards is an oval. The oval corresponds to the Akasha, ether or spiritual realm (see Akashic Records). See Shamanism for more information on Tattva cards. ⭐A laurel wreath also appears here: The Chariot Symbols, Ace of Swords Symbols, Seven of Cups Symbols, Six of Wands Symbols Two Red Ribbons. The red ribbon bindings at the top and bottom of the wreath indicate completion, the circle has been made complete.
It also reminds one of the ancient quote, “as above, so below”. Who Are The Four Figures in The World Card and What do They Symbolize? The four beasts represent the four living figures or hayyot, which are a class of heavenly beings in Jewish mythology. According to both Jewish and Christian tradition, the creatures vary by description. In this card we see the four tetramorph, a lion, man, eagle and bull.
These creatures represent the four seasons, as well as the four elements of Fire, Air, Water and Earth. Their presence implies that they are the cornerstones of a balanced life. Man. The blond-haired man represents the astrological sign of Aquarius, winter season and the element Air. Lion. The Lion represents Leo, summer and fire. Eagle. The Eagle represents Scorpio, autumn and water.
Bull. The Bull represents Taurus, spring and earth. What is The Meaning of The Blue Background?
The blue background is the cosmic mind or ‘Universe’ as it has come to be known in the New Age. The dancer is able to manipulate this realm easily with her two wands.

karinastarot.com/world-symbols/

Furthermore, we can locate similar attributes to Magdalene from apocryphal sources as well as the writings of Origen. In the apocryphal Pistis Sophia, Magdalene is the sole recipient of Christ’s gnosis, rather than Peter and the other disciples. Christ says, “Well done, Mary. You are more blessed than all women on earth, because you will be the fullness of fullnesses and the completion of completions.”17Although this apocryphal account could not have been known to people during the Renaissance, it reveals that even within the early Christian communities there was a holiness attributed to Magdalene that transcended all others. Yet the Gnostic contempt for materiality seems to clash with the embrace of dualism during the Renaissance. This dualism can be found in Origen’s writings, however. In his commentary on the Song of Songs, he allegorically reads the bride as the Christian church. The bride anoints her lover with an ointment; Origen connects this with the scriptural account of Mary Magdalene anointing Christ. He interprets the line spoken by the bride, “I am dark but comely, O daughters of Jerusalem” (Song 1:5), as follows: “She has repented of her sins...beauty is the gift conversion has bestowed; that is the reason she is hymned as beautiful. She is called black, however, because she has not yet purged of every stain of sin, she has not yet been washed unto salvation, nevertheless she does not stay dark-hued, she is becoming white.” The dualism of black/evil and white/good is unfortunate, but the connection between the Bride of the Song of Songs and Magdalene reinforces her movement away from sin into penitence, and her positive association with the Church and Christ. The sexual language employed in the Song of Songs has always been difficult for commentators; however we see that when Magdalene is associated with the Bride, the sexuality is compounded with Magdalene’s penitence, in the same way we’ve seen in Renaissance painting.
The portrayals of Magdalene’s assumption into heaven connect us back to the Tarot. Mrs. Jameson observes, dryly, that Italian paintings of Magdalene’s assumption began “to recall the idea of a Venus Meretrix.”19 Let us consider Giovanni Lanfranco’s La maddalenan portata in cielo, (fig. IX) and Sandro Botticelli’s Birth of Venus (fig. X). Jameson is quite correct in her observation, despite her negativity towards this shift. In the Lanfranco, Magdalene’s hair barely covers her nude body as she is borne aloft by three putti. She holds out her hands at an angle, and below her is the world’s expanse of mountains, lakes, and forests. It is sexual and chaste, physical and divine. Her figure is very much the Platonic divine love, the ideal Venus. In some of the Assumptions, she is al

Taken on: November 17, 2023

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