## Tarot de Marseille Type II: The Ouroboros Project

### Tarot de Marseille Type II: The Ouroboros Project

#1

I decided to establish a thread based on the scribd file that brought me here in 2014:

TRUE TAROT by „C“
https://www.scribd.com/document/68581697/TRUE-TAROT

So what you will read and see here is meant as an explanation of what you could read and see there – but you didn't.

This OP is about the preliminaries that are essential to understand what you will witness here.
The reading conditions on scribd have changed for the worse for readers who are not signed in so I made first a Dropbox upload with the scribd PDF that I had converted into 270 JPGs – page by page:

TRUE TAROT by „C“
https://www.dropbox.com/sh/y0gkeha4q2a8 ... 1rTDa?dl=0

The image quality did suffer though through the conversion process and through the scribd link the original is available for reading for anyone and for download for members there.

The first stage of our investigation here is based on the pages 6 to 14 of the scribd PDF:

The OUROBOROS Project - 1 (excerpt of 9 from the above complete 270 pages)
https://www.dropbox.com/sh/cjptbzzsw6f0 ... J_M9a?dl=0

Of course this topic here is connected to my other threads and comments here and on Aeclectic.
Foremost naturally the main topic is The SECRET and how to get a grip on it:

Here:

Tarotée - The Back-Door To The Secret
viewtopic.php?f=12&t=1044

The RED MAN of The Visconti-Sforza Tarot (PMB)
viewtopic.php?f=23&t=1101

The Visconti-Sforza Tarot in 3-D
viewtopic.php?f=11&t=1084

Comments in existing topics:

Cologne exhibition: 3 Magi
starting here:
viewtopic.php?f=11&t=1047&start=20#p16795

Daphne riddle
starting here:
viewtopic.php?f=12&t=1108#p17159

Le Tarot arithmologique - la séquence 1+4+7+10 = 22
starting here:
viewtopic.php?f=11&t=1102#p16917

Aeclectic:

The Visconti-Sforza Tarot in 3-D
(different version – and please don't get irritated by Alta )

Comments in existing topics:

Scans of Tourcaty, Lequart, Conver Bicentennial and Chosson
starting here:
http://www.tarotforum.net/showpost.php? ... stcount=15

Le Mat
(by jmd – again - please : don't pay to much attention to Alta and do not let get yourself distracted by kwaw )
starting here:
http://www.tarotforum.net/showpost.php? ... stcount=78

I see the necessity for explaining C's report on scribd because I am aware of the discrepancy between clicks here on the Tarotée thread which did gain nearly 28.000 views in 2 years which makes it the 6th most viewed topic in the Unicorn section here of all time so far (and as of yet) – and the clicks on the scribd PDF by „C“ - what were only about 500 – not to mention my own thread PDF for the Tarotée thread here which got only about 200 - in the same timespan.

Just a few weeks ago I came across an Aeclectic topic that brought the dire need to spread this knowledge further to my attention again:

The Pictorial Key and the Fool's Location

There (among other things) the several successions of the Great Secrets are mentioned and discussed without any genuine knowledge of „the how“ and „the why“ - but speculations and assumptions are abundant (and hearsay of course because there is nothing else … )

NO historical Tarot de Marseille pack ever came with a manual the Maître cartier did author as you may very well know and so all is lost for good one (and me too some time ago … ) should assume and explanation is left only for the „experts“ in the field.

Of special interest are the posts by Richard there - and especially this quote from him:
Putting the PKT description of The Fool between Judgment and The World is according to Levi's ordering, which apparently was more or less standard among occultists until it was revised by the GD. …
- what describes the facts quite well.

But what IF the pack in itself contains the manual?

„C“ claims – and proves – that this is the case.

I started to add some information to this – but wasn't quite well understood so it seems.
So I'll give it a new shot!

To create an appropriate setting for you I acquired the best scans on the net of a very early edition of the genuine „Ancien Tarot de Marseille“ by Paul Marteau for Grimaud from the early 1930ies - because "C" did advise this deck to be the KEY (as you shall see ... ).
Sumada (Sumada Monsarrat) from Aeclectic produced and made them available from his own collection and I'm entirely grateful for this and his permission to put them to use here because you will see that the colors are very superior to the modern editions!
On top of that I hired The MONK for this investigation and he agreed to the documentation of his exquisite thought processes on this matter.
You may know him from your TV experience – but if not - here is a link so that you can get accustomed to his sometimes unusual but always outstanding ways of putting the facts in a new and revealing perspective to solve a mystery …

http://www.imdb.com/title/tt0312172/?ref_=nv_sr_3

http://the-watch-series.to/serie/monk

After Mr. Monk did quit his service on the force he continued to work as a private investigator and because he is all about rules and order and correct angles he was quite interested in my project to reveal the common and still disorderly view of The WORLD for all to see HER clearly now from here onward – and he VOLUNTEERED to do it for FREE!

Can you believe THAT?

So let's see …
Here is ... WHAT HAPPENS:

(Like I said above: this is only the opening post and much more will follow – but I thought to give you time to get acquainted with Mr. Monk and me and the source material first – and please be aware that this is not a topic meant for discussion – though you can ask questions of course )

I hope to see you around

### Tarot de Marseille Type II: The Ouroboros Project

#2
At first I should add that during this stage of the project nearly any classical and/or historical Tarot de Marseille could be used because most of them contain the details referred to in the topic.
Some DON'T though – and that should get you thinking …

„C“ uses the „Ancien Tarot de Marseille“ by Paul Marteau for Grimaud because it holds some very special details that all other historical decks do NOT bear in totality.
Where those details are touched he refers to them and their meaning and purpose quite extensively!

Paul Marteau himself dedicates his „Ancien Tarot de Marseille“ to a deck from 1748 on his 2 of coins:
… which IS the  SAID « ARNOULT 1748 »  that you can compare here:

http://tarot-de-marseille-millennium.co ... llery.html
(the last - down at the bottom of the page)

The site owner Wilfried Houdouin has done some extensive studies to prove that.

When you compare the Popess for example from this and Paul Marteau's deck you will see that this special depiction of that item which „grows“ above the black frame is a most unique feature that is only found in these 2 decks.

In the ADDENDUM (page 223 in TRUE TAROT) and from there onward „C“ shows what this feature is about and what can be done with it so that you can understand a MASTER-PLAN is behind the composition of the Tarot de Marseille in the whole that was never transmitted by the authors – but can still be found in and replicated from the correct cards ...

Furthermore „C“ uses 2 different versions of the „Ancien Tarot de Marseille“ by Paul Marteau for Grimaud for different purposes.

He uses most of the time a bi-lingual version (German/Spanish) for his illustrations on a dark background to which he refers to as the real life situation „on the table“ - as he calls it.

The 2nd version is the original French version that holds the untouched graphics of the cards which were altered in different and special ways for the bi-lingual decks Grimaud made from the original French version.

In the Taroteé topic I made a bunch of JPGs to show you these differences in several cards as examples of that Grimaud technique.

„C“ states that those illustrations that hold the French version and come on a light background portray what goes on in the mind of the „player“.

At first I didn't understand why he would use a compromised deck (the bi-lingual Grimaud edition) for illustrations at all – but with time I got so used to the cards in this context that I could have done the layouts only with 22 pieces of cardboard with 21 numerals on them and 1 blanc for Le MAT …

… and I figured that he tried to communicate that a person with the knowledge he passes along doesn't NEED the CORRECT deck to do the layout(s) because the cards in the whole are only blancs that get filled with the content from your/my mind … was that understandable?

Now to the task at hand here:

TRUE TAROT page 6:
1 - This SECRET “mimics” “The Bigger Picture" in a similar manner as A MAP stages the real landscape and this kind of “mimicry" is a construction principle to most of these cards and the actual purpose for their appearance.

Now ONE must search for details that may help further on ...

Every SECRET must be examined very closely and most meticulously to catch - finally – a hint …

Mr. Monk's explanation:
„C“ is obviously talking about The WORLD with her numeral XXI here and he advises to look at her as if she is a map because in the 18th century when most of the Tarot de Marseille decks came into existence with their strikingly similar pictures of the 22 Great Secrets cartography had become quite common and people had begun to enter a more abstract view of the real world that surrounded them.

They were now able to identify their own place (city – land – location) when they did look at a piece of paper that depicted the world in a Mercator projection.

“C” now takes it a step further and uses that mindset in an allegorical sense.
The WORLD XXI is looked at and taken for a map in the sense of a game plan so that he advises to examine the other 21 Tarot cards whether anyone holds a clue to what location on this game plan it might be connected ...

TRUE TAROT page 7:
2 - “Le BATELEUR" of The FIRST SECRET holds in his left hand a similar/the same SCEPTER as The Dancing Goddess is depicted with

- also in her left hand
- but No I is The BEARER
- he HOLDS the key.

Mr. Monk's explanation:
The card with the numeral I is called Le BATELEUR and the person depicted on it holds a short stave with a round knob at each end in his left raised hand what resembles closely the short stave with a round knob at each end in the left hand of the monochrome nak*d dancing women on The WORLD XXI card (in contrast to some other editions of the Tarot de Marseille where this woman holds 2 of those staves – one in each hand).

This is a similarity not found again between the remaining 20 cards here.

„C“ calls this short stave a „SCEPTER“ and a „key“ and refers to the BATELEUR as „The BEARER“ what makes HIM the ACTUAL owner/holder as if he was presented with this item of reign by HER – the nak*d women on The WORLD XXI card – in some past event.

This again puts The WORLD XXI in a different „time frame“ as if she presented (and presents still) an account of a context that should be taken as „lore“ - as if she holds information for the current actual situation where someone (you – me – Mr. Monk) wants to know what to do … (with the cards … )

TRUE TAROT page 8:
3 - So place No I
where HER “BATON" is

- because The FIRST GOD is born from her EGG.

Mr. Monk's explanation:
Here „C“ adds a new expression for the short stave to the mix – BATON - what has several connotations in different layers of our world: conductor's baton – a nightstick – a staff of command – a rod (with his s*xual meaning too – so remember the Jean Noblet version of this card) - a relay baton in sports (that passes from one runner to the next).
The staff of command alias fits quite nicely with the scepter he mentioned before and whoever has the autority which comes with those items should hold the KEY to important doors etc.

Then „C“ mentions „The FIRST GOD [who] is born from her EGG“.
THAT holds a very unique significance that is found in antiquity.
When all the other hints that were given all along (and further on … ) are summed up only one lore passes the test with flying colors: Eurynome

Eurynome who is (like you said) sadly alive today only in Robert von Ranke-Graves recreation of it ...
In the beginning, Eurynome, the Goddess of All Things, rose naked from Chaos, but found nothing substantial for her feet to rest upon, and therefore divided the sea from the sky, dancing lonely upon its waves. She danced towards the south, and the wind set in motion behind her seemed something new and apart with which to begin a work of creation. Wheeling about, she caught hold of this north wind, rubbed it between her hands, and behold! the great serpent Ophion. Eurynome danced to warm herself, wildly and more wildly, until Ophion, grown lustful, coiled about those divine limbs and was moved to couple with her. Now, the North Wind, who is also called Boreas, fertilizes; which is why mares often turn their hind-quarters to the wind and breed foals without aid of a stallion. So Eurynome was likewise got with child.

Next, she assumed the form of a dove, brooding on the waves and, in due process of time, laid the Universal Egg. At her bidding, Ophion coiled seven times about this egg, until it hatched and split in two. out tumbled all things that exist, her children: sun, moon, planets, stars, the earth with its mountains and rivers, its trees, herbs, and living creatures.

Eurynome and Ophion made their home upon Mount Olympus, where he vexed her by claiming to be the author of the Universe. Forthwith she bruised his head with her heel, kicked out his teeth, and banished him to the dark caves below the earth.

Next, the goddess created the seven planetary powers, setting a Titaness and a Titan over each. Theia and Hyperion for the Sun; Phoebe and Atlas for the Moon; Dione and Crius for the planet Mars; Metis and Coeus for the planet Mercury; Themis and Eurynmedon for the planet Jupiter; Tethys and Oceanus for Venus; Rhea and Cronus for the planet Saturn. But the first man was Pelasgus, ancestor of the Pelasgians; he sprang from the soil of Arcadia, followed by certain others, whom he taught to make huts and feed upon acorns and sew pig-skin tunics such as poor folk still wear in Euboea and Phocis.

"The Pelasgian Creation Myth," from Robert Graves' The Greek Myths, v.I, p. 27: Penguin Books, England, 1955.

http://www.eurynome.com
viewtopic.php?f=12&t=1108&start=10#p17167
Now it should be mentioned that other sources like the several Gnostic reports should be taken into account here too because the EURYNOME myth is a RECREATION by R. v. R. Graves and the sources for it are very scarce: so the story that is possibly depicted here on the Tarot de Marseille cards might be conceived as such:

After The GODDESS had passed her power and the symbol of it (the short stave) to Ophion (who is HER creation and another name for The OUROBOROS AND the 1st GOD) he forgot that he was HER child and posed as the CREATOR ( > Gnostic accounts) - he took human-like form and was conceived and worshiped by the peoples of the world afterwards in history.

Some time (aeons perhaps ... ) later the GODDESS returns from her vacation and becomes aware that Ophion has betrayed her trust because she only meant Ophion to be her representative while she was away - so he must be punished and exiled (what could destroy him ... )

All other things were born from her EGG that he sheltered for some time on HER command and that is in principle the story The WORLD XXI holds in store at THIS instant – as we will see below.

Mr. Monk's explanation:
The heavily enlarged WORLD XXI in the background that is depicted with 10% opacity only serves in 2 ways:
a reminder that She is existing in another realm (not on the table! - you can imagine holding that card in the palm of your hand though) and you could place Le BATELEUR anywhere you like - because everywhere on the table he would meet the same conditions.

Second: if you imagine Her enlarged in this way ON the table - THIS is the ONLY correct size that is taken from later illustrations in "C"'s PDF where he shows the Master-Plan that includes ALL 22 Great Secrets.
Also the size of the tiny Le BATELEUR here is not accidental - there is a defined ratio that binds both measurements together in exactly this way.
If you would read further on your own through TRUE TAROT you would see that.

So it is also not by chance that HER HUGE BATON comes to rest in the right hand of the tiny Le BATELEUR with only 25% opacity here. It is the first tiny baby step to make readers familiar with the Master-Plan without further ado ...

Mr.Monk's explanation:
The first card with the numeral I Le BATELEUR has found it's location following the hints "C" gave - and all other 21 Great Secrets will too I'm convinced - but it should be interesting how exactly this happens ...
Thank you for this eloquent discourse Mr. Monk!

Now let's have a look at the historical competitors. How would THEY have done in advising the 1st card (I) the correct location? Were The WORLDs treated differently? And IF - HOW and WHY perhaps? Could there be something gleaned from possible "mistakes"?

These beauties are all sheltered here:
http://tarot-de-marseille-millennium.co ... llery.html

You see that I've "reddened" some XXIs - because the women holds 2 batons what would be hazardous for the I: He couldn't start.
And that there IS something up with the baton in her LEFT hand shows the faulty card from J.-B. Madenié 1739 because he DECORATED only this left baton with 2 red dots - so in this case only a 1/2 mistake and so: not sooo red.

Another interesting thing is the SCARF that "flatters" her naked body which ALL authors paint RED.
Keep that in mind because we will get to the SCARF soon!
And Paul Marteau dismissed any color in her apparition - so that you COULD note the DIFFERENCE.

AND you can see here in comparison what I mentioned already in the Taroteé thread: NO author cared to paint the garland green - what would be the normal thing to do - right?
I mean: AEW DID it because he thought he had to CORRECT something.
Didn't HE know about the cause of this item? Obviously he didn't.

The historical authors instead KNEW that the garland wasn't about greenery - it was about WISDOM - and so they tried to make it look OUTSTANDING!
Like I mentioned and presented before in the Taroteé thread.

I hope that you dear readers did enjoy this ride as much as me?
Anyway: if there should questions remain – just ask.
See you next time with more ...

### Tarot de Marseille Type II: The Ouroboros Project

#3
Now that Le BATELEUR found his correct location – how to proceed further?
Well - „C“ explains by using The WORLD XXI as a map – like he advised before:

TRUE TAROT page 9:
4 - Now follow the flow of her VEIL and keep the flow of
The NUMERALS in ACCORDANCE...

Place No II straight under No I
and No III right under No II...

And - as The VEIL bends...

Mr. Monk's explanation:
Here „C“ obviously talks about the scarf of the nak*d woman when he mentions The VEIL and EURYNOME kicks in:
She danced towards the south, and the wind set in motion behind her seemed something new and apart with which to begin a work of creation. ...
When the card is taken as a map NORTH is on top (since the 16th century this orientation had become common ground) – but how would an artist depict WIND?
Well – he would use something as a signifier: a flag perhaps – or like in this case: a SCARF.

The „wind set in motion behind her“ and it „seemed something new and apart with which to begin a work of creation.“ [sic!]

Again Mr. Monk has done a great job. Wow! I'm very impressed.

http://tarot-de-marseille-millennium.co ... llery.html

Now we both will leave you here with something to ponder.
Can YOU find a hint on how to proceed further?

### Tarot de Marseille Type II: The Ouroboros Project

#4
TRUE TAROT page 10:
(TRUE TAROT page 9:
...
And - as The VEIL bends... )
5 - ...The SCEPTER of The EMPRESS does too

- following the curve of The VEIL
- No IIII - V -VI - VII and No VIII go - like The VEIL
- to the left...

(This is why The EMPEROR is facing the west... )

http://tarot-de-marseille-millennium.co ... llery.html

See? That wasn't sooo hard ...

Mr. Monk's explanation (1):
The SCARF of the nak*d woman on The WORLD XXI at the map-like projection in the background (OR the original card in the palm of your hand that serves a similar mapping duty ... ) - revered as The VEIL by "C" - has clearly a close connection to the scepter held by the womanly person on the 3rd (III) card. The angle of the bent scarf and the angle in which the scepter is depicted ARE quite similar.

The person on the 4th card (curiously marked "IIII") holds a similar scepter straight up and and presents us with his left profile and his right knee bend at 90°what makes it an "arrowhead" - a directional marker - advising the direction to proceed further ...

When the 8th card (VIII) is placed you should have a look a The SWORD - which is a sharp thing that can CUT - and The VEIL of the nak*d woman on The WORLD XXI at the map-like projection in the background (OR the original card in the palm of your hand that serves a similar mapping duty ...)

Mr. Monk's explanation (2):
... and so the first 8 cards mimic The VEIL as perfectly as it could be done by rectangular entities with a purpose!
Thank YOU Mr. Monk!
I couldn't have found better words for these segments of the truth!

Next time we will find out what the 8th card (VIII) demands - so stay tuned ...

### Tarot de Marseille Type II: The Ouroboros Project

#5
TRUE TAROT page 11:
6 - The VEIL ends – and The SWORD of JUSTICE points
straight upward AND she rests on a chair with TWO columns
on The BACKREST.

No I and No II represent the right column – then there is
emptiness – likewise behind her chair...

...so No VIIII - X - XI and No XII head upwards to form
the SECOND column - AND like her SWORD demands!

Mr. Monk's explanation:
Actually this seems quite clear from the JPGs you made Adrian – do you really think I should explain these events in MORE depth?

I mean … no offense – but your project is meant for intelligent and educated people – correct?
Of course - you are right Mr. Monk!
Anyway - everyone could ask when something stayed unaccounted for ...
You are right - I shouldn't really worry that much ...

### Tarot de Marseille Type II: The Ouroboros Project

#6
TRUE TAROT page 12:
7 - The REVERSED MAN seems to be constrained between
TWO stakes and bound to a HORIZONTAL device – so –
obviously the UPPER end of the pattern is reached and...

...No XIII (!) - XIIII - XV - XVI - XVII and No XVIII
go to the right.

Mr. Monk's explanation:
Here Adrian did change the card in the background for the 12th card (XII) to provide you - the reader - with a real life impression (just like before with the 8th card (VIII) ) what is to be imagined and how well this imagination is matched by the card's ratios.

Mr. Monk's explanation:
Now every detail mentioned by „C“ gets an extra illustration to make sure that both: the 12th card (XII) and the bigger picture of the 12th card (XII) are understood to the max.

http://tarot-de-marseille-millennium.co ... llery.html

(It should be obvious why M. Rochias' XIII got marked red - yes?)

Mr. Monk's explanation:
Just like we have observed with the 4th card (IIII) that the person depicted there gave directional advice by posture WHERE to proceed further with the layout of The 22 GREAT SECRETS – we now see that the 13th card (XIII) provides similar advice where to GO.

That should be the cause for the (!) „C“ wrote after No XIII:
...No XIII (!)
As Tarot enthusiasts wondered a lot about the „walking directions“ on special Tarot cards in special decks … here is some cause for that.

Thanks Mr. Monk.
It was a pleasure – as always!
See you next time …

### Tarot de Marseille Type II: The Ouroboros Project

#7
TRUE TAROT page 13 (1):
8 - On No XVIII TWO towers are depicted - mirroring No XII
in this respect ...
...

Mr. Monk's explanation:
There is actually sooo much in this (complete) comment from „C“ that we have to break it down here into several „compartments“.

The „mirroring“ of No XII by the 18th card (XVIII) should be quite obvious with this illustration Adrian made available for inspection.

That the „pattern“ is „closed“ now on the right (The MOON's) side of said pattern is emphasized by the very unusual HOOD the right tower has been decorated with – in this same configuration there is NO match in the REAL world for this item I believe – and as Adrian emphasized several times before THIS instance:
ALWAYS look out for the UN-usual – the DELIBERATE „mistake“ - it might TELL you something precious!
I remembered that advice because it is so very close to my own reasoning and maybe I'm wrong - but – of course – I'm not.

It's a gift you know – and a curse ...

Oh - Mr. Monk … that is so very nice of you to say …

Next time we will dig deeper and take a dive maybe …

### Tarot de Marseille Type II: The Ouroboros Project

#8
Mr. Monk's explanation:
So … let's have a look at where we are at now …

Mr. Monk's explanation:
To improve our visual conditions we would need a better view …

TRUE TAROT page 13 (2):
(8 - On No XVIII TWO towers are depicted - mirroring No XII
- in this respect - and so...)
...No XVIIII - XX - “Le MAT” and No XXI are placed right
under No XVIII in a down - or backward motion (depending
on the POV) - representing the right tower -
AND the SWIMMING crayfish.

A CRAYFISH swims BACKWARDS - when in danger –
THAT is the reason why it is here AND in the water!
...

TRUE TAROT page 13 (3):
(8 - On No XVIII TWO towers are depicted - mirroring No XII
in this respect - and so...

...No XVIIII - XX - “Le MAT” and No XXI are placed right
under No XVIII in a down - or backward motion (depending
on the POV) - representing the right tower -
AND the SWIMMING crayfish.

A CRAYFISH swims BACKWARDS - when in danger –
THAT is the reason why it is here AND in the water!
… )
Apart from that – it has ONLY VI feet...

http://tarot-de-marseille-millennium.co ... llery.html

Mr. Monk's explanation:
This is indeed a very peculiar observation!

Generations of master card makers in France - who knew this Francophile (and at that time solely) crayfish which could be found throughout the many riverscapes ...
>> A. pallipes is an olive-brown colour, with pale-coloured undersides to the claws (whence the specific epithet pallipes, meaning "pale-footed"). It may grow to 12 cm (5 inches) long, although sizes below 10 cm are more common. It typically lives in rivers and streams about 1 metre deep, where it hides among rocks and submerged logs, emerging to forage for food, and also in lakes. <<

https://en.wikipedia.org/wiki/Austropotamobius_pallipes
... quite well and most possibly up close & personal ...
... face to face ... ... so to say ...

... would not care to count the walking legs on their endeared creatures which they did portrait so well in the appropriate habitat ((inland - taken from the card's perspective with (always) rocks in the foreground)) while they took the liberty to change other details when they saw fit?

WHY would they DO that?
To confuse other French spectators with a fantastic species for a magical brew?

OF COURSE NOT!
They wanted to draw YOUR attention to this "mistake" so that you would pay ATTENTION and - maybe - start to THINK!

In those historical decks (of course you would have to click the LINK for that) you'll see that some of them even marked the TAIL with RED decoration to point (wink wink) at the BACKWARDs ability of that crayfish ...
Now „C“ has explained all along that:
...No XVIIII - XX - “Le MAT” and No XXI are placed right
under No XVIII in a down - or backward motion (depending
on the POV) - representing the right tower -
AND the SWIMMING crayfish.
So let's DO THAT.

Mr. Monk's explanation:
This is not the only instance the 6 legs of the crayfish come in handy - very much later they emerge again to set things straight. This will take a while though - and I couldn't BELIEVE it when Adrian showed me ...
But I'm getting ahead of myself ...

It is so EXITING!
Thank you Mr. Monk.
You are very kind.

(And let me tell YOU here with the seal of the utmost discretion: all occult attributions and assumed connotations for that crayfish - like "subconsciousness" or "danger" or "lurking in the deep" and all that other nonsense romantics like AEW (who CORRECTED the 6 legs to 8! What was indeed a: >> ... hideous tendency which is lower than the savage beast << from his comment on his own M N card ) and/or AC (who found that the crayfish should be changed for a scarab) mumbled together is utterly null & V ID )

### Tarot de Marseille Type II: The Ouroboros Project

#9
Now let's have some cartographic context ...

In the Tarot de Marseille type II layout The WORLD XXI serves as The HEAD or The PUSS ( ) or The GAPING JAWs of The GREAT SERPENT OUROBOROS ...

... who was portrayed already in other decks on other cards ...

... in the same posture ...

... but different context ...

The really important thing about The OUROBOROS is though that it MOVES while it EATS it's OWN BODY and so CREATES the whole UNIVERSE/(WORLD) anew from these bites - bit by bit ...

The TIMAEUS has it:

http://plato.stanford.edu/entries/plato-timaeus/

https://archive.org/details/timaeusofplato00platiala

... and this book had quite an impact on western Europe from the middle ages onward - through Renaissance - and into the 18th century where the Tarot de Marseille sprang to life.

http://www.library.illinois.edu/rbx/exh ... tions.html

The Alchemists worked on and with The GREAT SERPENT too of course.
For quite a long time:

http://www.alchemylab.com/history_of_alchemy.htm

http://www.spirasolaris.ca/sbb4f.html

### Tarot de Marseille Type II: The Ouroboros Project

#10
Since I'm all for symmetry and accuracy and planning I'll do this part on architecture and planning and masonry on my own.

This batch of pics is supposed to set the mood for the next batch of JPGs about the Tarot de Marseille Tarot cards impersonating the MOVING serpent OUROBOROS – like Adrian told me.

The last JPG is the original plan for the Cologne Cathedral and all JPGs above were made from that original file.

https://en.wikipedia.org/wiki/Cologne_Cathedral

Unfortunately the English version doesn't hold the original plan – so you would have to visit the German version:

https://de.wikipedia.org/wiki/K%C3%B6lner_Dom

... and there it is called: “Fassadenplan F”

The photography of the cathedral depicts the same part of the building:

https://de.wikipedia.org/wiki/K%C3%B6ln ... e-1091.jpg

Both were used in an overlay (the 6th JPG) to show how the plan came into being stone.
It is no plan like modern plans for modern buildings.
It is more like a vision.

The plan was drawn in the 13th century on parchment and more than 4 yards in height.
Exactly 405 cm.
The cathedral was an ongoing project for 632 years – 1248 to 1880.

The correct Tarot de Marseille cards work in a similar manner and are totally underestimated regarding that ability.
No. That ability is not even recognized one bit.
In the following some of these hidden plans in the correct Tarot de Marseille cards will be demonstrated in every detail to enable a new and more complete view of the Tarot de Marseille Tarot cards – and the master-plan behind them.

Like Adrian said before: it would be good to be familiar with Fulcanelli: Le Mystère des Cathédrales to understand all the better.

http://erwan-bucklefeet.e-monsite.com/m ... edrale.pdf