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In the Dodal and Payen, and well as the Noblet, the naked woman is flesh-colored, except for her face, which is strikingly white, like the Popess’s. In 1709, Madenié made her face flesh-colored like the rest of her body, and so it is in every historical TdM type-II, as well as Jodorowsky’s deck, contributing to the distinct impression that in his recreation of an authentic Tarot de Marseille, he and Phillipe Camoin cherry-picked (or outright contrived) details to further the narrative they had decided upon. So are the seventeen lines displayed in the Popess’s book a discovery of another harmonic resonance in the Major Suit or artifice introduced, consciously or otherwise, into Jodorowsky’s commentary? It is always a slippery slope, and even if we can find no antecedent, that does not in itself invalidate the image. Authentic symbols cannot result from focused, linear, rational thought. “They,” as Joseph Campbell writes, “are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source.” When people try to devise symbols, they end up with signs, which stand for something completely known, and of course they are known, for they come from that part of us that quantifies and qualifies, labels and categorizes. Jodorowsky makes an intriguing case for the connection between the Popess and the star woman, but he does not follow through. Further, he does not cite any historical precedent, and when we look at other cards, we see in the Noblet, the book has six lines, linking La Papesse to Le Chariot . This is not an obvious connection, but it is not impossible to make either: Jodorowsky writes, “The Chariot enters the world like a conqueror, a traveler, or an inseminating prince.” In the Pierre Madenié, the Popess’s book has sixteen lines, referring us to La Maison Dieu , which might be interpreted as representing the traumatic experience of birth. We could apply the same line of associative thinking if one of the TdMs featured a book with twelve lines: Le Pendu , hangs upside down, like a fetus preparing to be born. If a book had twenty one lines, we would no doubt see the world dancer in his/her vulvic wreath; and if it had twenty lines, that might signal a birth into an eternal life, from the womb of the tomb into an incorruptible spiritual existence. We are able to devise an endless number of permutations, for our capacity for cleverness is boundless. In Francois Tourcaty’s 1745 TdM, the book has fifteen lines, a number that corresponds to the 15th arcanum, Le Diable . Left: La Papesse from the 1650 Jean Noblet deck currently preserved in the Bibliothèque Nationale à Paris; Center: La Papesse from the Pierre Madenié 1709 restitution deck by Yves Reynaud; Right: 1745 Francois Tourcaty currently preserved in the Bibliothèque Nationale à Paris “The open book is flesh-colored to show that it represents the evolution of life on the physical plain, not only in all its modalities, but also as heredity and as a continuance of the species.” This comes from Paul Marteau’s commentary, which has only recently become available in the English language thanks to the efforts of Kitos Digiovanni in his blog https://smallcabin.org. “The book she holds,” Jodorowsky declares, “destines her to study and knowledge. 21, 23, 24, 25, 26 royal ve 27.