Christophe Poncet on the Esoteric Tarot of Marseille


In this interview, Christophe Poncet, a scholar who has deeply studied the esoteric meanings of the Tarot of Marseille, shares his research on this influential Renaissance deck. He explores potential origins and rich symbolism within the cards, discussing the possibility that they were created in 1470s Florence and may have been influenced by the renowned philosopher Marsilio Ficino. Through analyses of artworks, philosophical texts, and the Tarot’s intricate imagery, Christophe examines how ideas from Neoplatonism, Hermeticism, and Renaissance thought could have been encoded into the visual symbolism of the cards’ figures. Offering perspectives on occult history, divination practices, and the transmission of ancient wisdom, Christophe’s findings provide an intriguing lens for understanding this iconic esoteric artifact. I have included links at the end of the interview to further explore his work.

Christophe Poncet


PART 1 – Tarot Reading Background

PAA: You mentioned that you initially got into studying the deeper meanings of Tarot because you were reading the cards yourself. Can you share a bit about how you first learned Tarot

Did you have any teachers or mentors who instructed you in Tarot divination methods when you were starting out?

What Tarot traditions or approaches did you draw from when you began reading professionally or for friends?

I started reading the cards when I was 15 or 16 years old. My best friend’s older sister had taught me how to tell the future with an ordinary 32-card deck. Then, for my 19th birthday, my girlfriend offered me a Tarot de Marseille deck. I was immediately fascinated by the trump cards and the richness of their images. The pack also contained a little book written by Tchalaï Unger. It was not the usual cards interpretation lexicon we find in many oracular decks. Instead, it developed a really interesting conception of card reading, inviting the cartomancer to investigate the cards by himself, to look for hidden details, and to associate the details observed in the spread to actually reconstruct the story they were telling. Then I
bought various books which all were dictionaries of meanings, associating cards and interpretations: the Moon card means this, the Sun means that, etc. I was not satisfied with this kind of stuff because I couldn’t see where the meanings came from. So I decided to investigate myself. At that time, I would have been happy to find a teacher or mentor to instruct me into the art of tarot reading. Now I realize how fortunate I was not to, as this forced me to do the work on my own and this became the Grail that drove my whole life.

Evolution of Interpretive Methods

PAA: How did your methods and approach to Tarot reading evolve as you dove deeper into researching the symbolism and origins of decks like the Tarot of Marseille?

Did uncovering the esoteric meanings and philosophical underpinnings cause you to rethink any of the traditional divinatory meanings?

What impacts did your academic research into art, Renaissance philosophy, etc. have on your Tarot hermeneutics?

My initial approach to the study of the Tarot de Marseille was the one suggested by Tchalaï Unger’s booklet: just investigate the design of the cards, as if it contained the whole of their meaning. The intellectual framework behind this method relied on the assumption that the Tarot de Marseille cards were faithful to an immemorial tradition which embraced an eternal truth, and that this truth had somehow been fully encrypted into the card. However, after I had spent a few years trying to decipher these images, scrutinizing every detail, comparing and measuring them, I felt that something was missing. I realized that some fundamental elements were not self-explicit. Take for example the figure of an anthropomorphic sun, as we have in the Sun card. Well, even if it can be described as a universal archetype, it would not have conveyed the same precise meaning for an Aztec priest, a Roman emperor, a Neoplatonist philosopher or a medieval Arabic astrologer. So correctly deciphering the images supposes that we know when and where they were created. They need to be contextualized. This became very clear for me at the beginning of the Millenium.

The difficulty was that the birthplace and date of the Tarot de Marseille were not (and still are not) a matter of consensus among historians. All early decks have disappeared, as they were dumped when worn out. I thus could not rely on material evidence. I then had the idea that the costumes worn by the characters could provide me with a good indication. Fashion changes all the time, and also varies geographically, so, identifying the clothing pieces by comparing them to works of art could lead me to a precise dating and localization of the deck’s origin.

These comparisons led me to Italy in the 1470’s. Then my comparisons became more and more precise, until I was even able to identify the very images (etchings, paintings, frescoes, even sculptures) that had directly inspired the tarot cards. It was not just the fashion; I could see how the graphic design had been borrowed and only slightly modified to fit the format of a card (good examples are the Pope, Popess, Empress, Emperor and Justice cards, all directly transposed from a series of etchings by the Florentine engraver Baccio Baldini, around 1475). While I was conducting this investigation, for some providential concomitance, I was reading Plato’s complete works. Somehow, I had put my hands on his Symposium, and I had fallen in love with his writing. So, I had decided to read all his works, starting with the short and
aporetic early dialogues, to finish with the monumental Laws, and his Letters. As I went along, very often, I kept falling on literary images that resounded with the Tarot de Marseille’s figures. So, I started marking these pages. At the end my volumes of Plato’s complete works were cluttered with hundreds of bookmarks. This could not be the result of casual coincidences. How come images designed in Italy in the 1470’s could be so evocative of Platonic myths and philosophy? What was the connection? Asking these questions directly led me to Marsilio Ficino, a Florentine savant at the Medici court, who was the first to
accomplish the translation of Plato’s complete works from Greek to Latin, precisely in the 1460’s and 1470’s, publishing it a few years after it was achieved, in 1484.

At that point, I formed the conjecture that, reusing the structure of the tarot, an already popular game of cards, Ficino designed a new version of it, known today as the Tarot de Marseille, as an instrument to playfully teach the mysteries of the philosophy of Plato to a group of disciples that gravitated around him, which he called his Academy. The reasons for doing this secretly were multiple, the most important being that some of the teachings would have been severely condemned by the Church. On the other hand, enigmas are a very powerful method of teaching, as the knowledge is gained only as a result of an active process from the part of those wishing to be initiated. This hypothesis being formed, I focused on Ficino’s works, mostly translations and commentaries, but also heavy treatises and letters. I then realized that his dedication to Plato was not sufficient to define him. Even before finishing the translation of Plato, he had translated the Corpus Hermeticum, that collection of texts attributed to Hermes Trismegistus. He had also translated Plotinus and other important Platonists. He also had been ordained a priest and practiced astrology. Now the complexity of the tarot images began to make sense.

Influence on the Tarot Community

PAA: Your writings and theories have clearly influenced many in the modern Tarot community.
Were you actively involved with any Tarot organizations or communities of readers early on?

How did your interpretations and insights differ from the prevailing views in the Tarot world when you first started publishing?

What has the response and reception been like from established Tarot readers and scholars as your work has gained recognition?

I do not quite agree that my publications have influenced the modern Tarot community. For the moment, I mostly published articles in scholarly journals, which do not enjoy massive audiences. I have not been affiliated to any Tarot organization or community, as every time I approached them, I had the feeling that my ideas had not reached the maturity point needed to merit being seriously considered and discussed by them. The major difficulty is that my research embraces a vast amount of specialized knowledge and cannot be summed up easily.

Therefore, whenever I begin to expound it, I am challenged on this or that point of detail, and I cannot give an isolated proof of it, independently of the overall demonstration. At that point, my ideas are usually dismissed as unprovable, and the discussion plainly ends. As John Dewey has shown in Logic: The Theory of Inquiry, human knowledge results from an ongoing process of inquiry aiming at the coherence of a whole. My research can be discussed on every single point, but it resists because of its consistency. If, for example, Ficino’s writings could provide a deep explanation to only one of the Tarot de Marseille’s cards, or to only a few, the probability of his authorship would be weak. Well, his thought underlies all twenty-two trumps, and I am now working on the 56 other cards with similar results.

Nevertheless, my research recently reached a greater audience with the publication by Scarlet Imprint of Two Esoteric Tarots, a book that is the transcription of a conversation held, at the initiative of César Pedreros, between Peter Mark Adams and myself. In it, Peter and I compare our respective findings on two different tarot decks, his being the Sola Busca, while mine is the Tarot de Marseille. The interesting point is that in two different Italian cities, almost at the same time, at the end of the fifteenth century, these two decks were created to expose, in an esoteric manner, two opposite philosophies. This book gives a good introduction to my work on the Tarot de Marseille.

I am now preparing with the same publisher Scarlet Imprint the release of The Tarot of Marsilio, a three-volume book that tells everything about my research on the major arcana of the Tarot de Marseille. Volume 1 will come out this summer. It will finally provide Tarot lovers with a complete view on my investigations. After that I would like to write a book on the minor arcana, and one on the art of reading the cards.

Advice for Tarot Students

PAA: What advice would you give to those wanting to study the Tarot more deeply, particularly the esoteric/occult dimensions you have elucidated?

Are there any particular skills, knowledge bases or practices you’d recommend to fully grasp the multi-layered symbolism?

In your view, what are the most important considerations for someone interpreting and reading the Tarot through an esoteric lens?

I have been researching about 40 years to shed a little light on the esoteric dimension of the Tarot de Marseille. There’s still much more to be discovered, and I strongly encourage all students and practitioners of the tarot to participate in this quest. I must say the commitment is worthwhile and I was rewarded all the time with wonderful findings that illuminated my life.
My personal advice to tarot students would be that they follow their intuitions, but always to confront them with the outer world, be it to rework them or to reshape it. The feeling of reality results from connecting our inner visions with those of the others. In my experience this reality check is what took me the longest time and greater efforts. By comparison the initial intuition is a spark.

PART 2 – Origins and dating of the Tarot of Marseille

PAA: Can you summarize the key evidence that led you to conclude the Tarot of Marseille originated in Florence around 1470?

How did your analysis of costume history and comparisons to Renaissance artworks help pinpoint the timeframe for the Tarot’s creation?

What role do you think the printing press and early book publishing played in the dissemination of the Tarot of Marseille design?

See PART 1, 2.

Marsilio Ficino’s influence on the Tarot of Marseille

PAA: What specific texts or writings by Ficino did you analyze to uncover his potential connections to the Tarot imagery?

How do you reconcile the Neoplatonic, Hermetic, and Christian elements within the Tarot, given Ficino’s diverse influences?

Why do you think Ficino may have chosen the Tarot deck as a means to convey his philosophical ideas, rather than a more conventional text?

To verify the hypothesis that Marsilio Ficino was the inventor of the Tarot de Marseille, I explored his complete works exhaustively. Some of them had modern translations, mainly in English, French and Italian, while I had to browse through others in their Latin original versions. In any case, when a text interests my research, I always check the Latin to make sure the translation is faithful and I correct it whenever needed. I resorted to almost all of Ficino works to establish the connection between his thought and the cards. His treatise On Love, for instance, helped me understand the Lovers card, while the commentary on book 7 of the Republic provided me with the keys to the Devil. His Letters abound with allusions to tarot cards: I can think of the Pope, the Tower, or Strength.

One of my most striking findings is a passage Ficino inserted in his commentary on the Timaeus that exposed, in veiled terms, the hidden structure of the 22 trump cards. Deciphering it allowed me to reconstruct the grid he had in mind, composed of three levels (celestial, terrestrial and intermediary) and seven columns (one for each planet of the Ptolemaic system), in which each trump has its place. The first column, for example, that of Jupiter, has the World at the top, the Chariot at the bottom and Temperance in the middle. Interestingly, these three cards all bear numbers that are multiples of seven (Chariot VII = 1×7, Temperance XIV = 2×7, World XXI = 3X7).

For Ficino there is a global coherence of the human thought. He thought that we inherit a “prisca theologia”, or “ancient theology” from the earliest ages of humanity and that this antique wisdom was conveyed by a chain of sages throughout the centuries, which includes biblical as well as pagan inspired thinkers, such as Moses, Zoroaster, Hermes Trismegistus, Orpheus, Pythagoras, Plato, of course, and culminates in the advent of Christ. It is precisely this his syncretic way of thinking, in which all human religions concord, that allows us to understand the cards. For example, the card of the Devil clearly seems to illustrate Plato’s story of the cave. But the presence of Lucifer inside it is nowhere to be found in Plato, but in Ficino’s commentaries on this myth, where he likens the cave’s world of illusions to Christian hell. Likewise, the Tower card embodies at the same time the biblical story of Babel and the Greek myth of the Giants who had defied Zeus and were punished by him; and this is typical of Ficino’s associations of pagan with biblical and Christian writings.

Why Ficino chose the tarot deck to convey his ideas can only be conjectured. In his introduction to his translation of Plato, he evokes educational games practiced within his circle of friends and disciples, which he called his Academy. Following Plato, he thought that the best way to learn was to do it ludically, gaming for serious purposes. We know for certain that the game of tarot was popular in Florence from the early Quattrocento onwards. So, Ficino would have known this interesting combinatorial structure. He also mentions in his writings the existence of the Egyptian hieroglyphs (which at that time had not been deciphered, as it will be the case only in the 19th century by Champollion) as a visual language capable of conveying instantly ideas that would need pages of texts to be transmitted. I gather that doing this as tarot cards initially was his project; but I also imagine that afterwards the uses of the deck evolved and that it might have served not only for initiatory purposes, but maybe also for divination, very early on, and possibly for talismanry.

Symbolic meanings and structure of the Tarot of Marseille

PAA: Can you elaborate on the tripartite structure you described, with the cards divided into three sets of seven representing different levels?

What is the significance of the astrological associations you’ve identified, with each suit corresponding to a particular planet?

How does understanding the multi-layered symbolism of cards like The Lovers enhance one’s ability to interpret Tarot readings?

To understand the structure of the Tarot de Marseille, one needs to be aware of Ficino’s conception of astrology. He sometimes speak of the “inner planets” within the human souls. That is to say that he is not so much interested in the physical objects that circumnavigate in the sky but rather in the powers that their represent and that infuse every part of this world.

So, there is a planet named Venus in the sky, but there is also Venus within our souls. And Venus has its proper characteristics that can be opposed, for instance, to those of Mars. In this way, astrology is a language qualified to express the qualities of the observable phenomena, and particularly well those relating to the human soul. Also, Ficino’s astrology is not predictive but rather descriptive. He considers that the movements of the Planets signify rather than exert an influence. As there is unity in the universe, every part of it speaks about the whole. However, humans are endowed with free will, and therefore they always have the capacity to take the upper hand on the destinies signified by the stars.

This being laid out, we can now better understand the structure of the Tarot de Marseille’s trump cards. There are three levels: the higher for the heavens, were the ideal principles reign; the lower for the physical realities with which humanity must cope; the intermediary one providing connections, bridges and gates between these two worlds. The seven columns correspond to the seven planets, not as physical objects, but as ideal types. Jupiter refers to the powers of the soul; Mars to conflicts, violence and destiny; Venus to love as the principle of life; etc. This grid serves as a structure only for the trumps (or major arcana), the other cards (or minor arcana) being referred to a completely different, numerologic rationale.
Once you have this general structure in mind, reading the cards enters a new dimension. Now you can associate the cards to their level (superior, inferior and intermediate) and to their planet. So, in a spread, if you see cards related to the same planet but to a different level, you gain access to totally new keys to associate them. If, for example, you have the Star facing the Popess, you will realize that they are both Venusian cards, but the first is heavenly, while the second belongs to the lower intermediary level. Certainly, this should enhance your reading. In a similar way, it is also telling to notice when two cards belong to the same level.

Artistic contributions to the Tarot of Marseille

PAA: Can you provide more details on the specific artworks or artists, like Botticelli and Felice
Feliciano, that you believe directly influenced the Tarot imagery?

What evidence convinced you that these artists were part of a collaborative effort,
potentially overseen by Ficino, to create the Tarot deck?

How does recognizing the artistic influences on the Tarot impact our understanding of the
deck’s visual language and symbolism?

My investigations led me to observe that two artists appear to have deeply influenced the design of the Tarot de Marseille. Both are contemporary to Marsilio Ficino and had links with the city of Florence. One is probably the most famous artist of the Italian Renaissance: Sandro Botticelli. Several of his works present strong correspondences with tarot cards: some of his drawings for Dante’s Divine Comedy are very similar to the Devil and the Tower. His Primavera exposes a situation similar to that represented in the Lovers. Frescoes discovered in Hungary and recently attributed to him, depicting the Cardinal Virtues, are almost identical to the figures of Justice and Temperance. Botticelli belonged to the Medici circle, just like Ficino, and we can therefore imagine that the deck project, conceived by Ficino, had received the official support of the Medici, who may have invited Botticelli to participate in it and also have financed its costs.

The second artist  Felice Feliciano is now largely unknown. Even in his own times, he was a minor artist compared with the famous Botticelli. He was a professional copyist, an artisan of the book who mastered bookbinding and illumination; he also practiced alchemy and worked for several patrons in various Italian cities. Some of his designs appear to have inspired several tarot cards: the Lovers, the Cavalier of Spades, the Sun, the Devil, the Hanged Man and possibly the Wheel of Fortune. It is striking here to observe that some cards, like the Lovers and the Devil received the influence of both artists, which supports the view that the Tarot de Marseille was the fruit of a collaborative effort. It is even more important to note that almost all of Feliciano’s designs were made for his personal use and kept privately by him, and the same is true for the drawings made by Botticelli to illustrate the Divine Comedy (which remained unachieved). Interestingly, the cards were not inspired only by the graphism of the drawings, but by the ideas that underlie them.

It is difficult to tell that in a few words, but I am now convinced that the Tarot of Marseille could not have been produced by a sole individual but needed a wide range of competences and skills. The mastermind who knew the literary and philosophical sources must have been Marsilio Ficino, probably helped by some familiars, amongst which his faithful friend Cristoforo Landino; Botticelli and Feliciano were certainly members of the graphic team but were also associated in the conception of the designs; Lorenzo de’ Medici was necessarily informed of the project and might have facilitated it with his influence and financed it. Other artisans were probably implicated, such as engravers and printers.

The most surprising of all is that, once we notice the likeness between a famous work of art and a tarot card, sometimes it is not only the understanding of the card that is transformed, but also that of the artwork. The art of the Renaissance, not only in Italy but also in other European countries, has been deeply influenced by the thought of Ficino, and probably also by his Tarot de Marseille cards. A few years ago, I wrote a book about Botticelli’s Primavera in which I propose a totally new interpretation of this enigmatic painting that relies on the observation of the Lovers card (Christophe Poncet, La Scelta di Lorenzo. La Primavera di Botticelli tra Poesia e Filosofia. Pisa, Fabrizio Serra, 2012).

PART 3 – Esoteric Focused Questions

Relationship to Ancient Mystery Traditions

PAA: Have you explored any potential links between the esoteric meanings in the Tarot and ancient mystery traditions like the Eleusinian or Mithraic Mysteries?

What symbolic connections, if any, do you see between the Tarot trumps and icons/myths from Egyptian, Greek or other ancient mythologies?

Could the Tarot represent an attempt to syncretize or revive aspects of these older esoteric traditions in a Renaissance context?

An important point in Ficino’s thought is the idea of a “Prisca Theologia”, or “ancient theology”, which I already mentioned. With pagan sages of antiquity – Zoroaster from Persia, Hermes Trismegistus from Egypt and Orpheus from Greece – being important and respected links in this chain of wisdom, of course the cults they inspired – Zoroastrianism, Orphism, Hermeticism – ranked among Ficino’s intellectual references and their poetic visions reemerge here and there in the Tarot de Marseille cards. However, Ficino does not seem much interested in reenacting the practices of the past. What engages him is rather to identify the common spirit between these otherwise largely heteromorphic cults. In this way, what we
observe in the cards is not this or that ancient tradition represented in its pure and pristine expression.

Rather we need to disentangle heterogeneous elements pertaining to various traditions. A good example is the Strength card. The figure holding the jaws of an animal alludes to both the Greek mythological character Hercules and to the Hebrew biblical Samson; however, if we study the animal, we realize he can also be seen as a dog, and a wolf, and we realize there is even a monster hidden as an anamorphosis in the beast’s entangled fur.

From that point we are led to Plato’s description of the soul as a multi-part chimera in book 9 of the Republic, then to the later reinterpretation of this image by the Neoplatonist Latin philosopher Macrobius and, from there, to the Egyptian solar god Serapis, whose basket shaped hat can be identified in the card as the woman’s headdress, and whose traditional cross-shaped pectoral reappears on her chest. Also notable are hints to the Christian figure of Saint George and the dragon.

Given the complex intermingling of these influences, I can’t find a way to directly relate the cards to this or that cult of the Antiquity. In the Renaissance context, what seems more relevant is the possibility of a performative use of these images, not as part of a revived traditional cult, but in original magic practices based on the power of images. I am currently writing an article about this dimension of the cards.

Hermetic and Magical Influences

PAA: What specific Hermetic and magical concepts from texts like the Corpus Hermeticum do you see reflected in the symbolism of the Tarot of Marseille?

How might the Tarot have been used as a practical tool for magical workings or occult practices in Ficino’s circles?

Do you believe Ficino encoded any specific magical teachings, rituals or operations into the structure and imagery of the Tarot?

Among the antique sources notoriously studied by Ficino, the Corpus Hermeticum does not seem to have so much impressed its mark on the Tarot de Marseille, with the exception however of one card: the World. In it, the central figure appears to be an androgynous, bearing sexual characteristics of both sexes, a feature of the initial spirit-god of the hermetic theology.

Ficino indeed highlighted this point in his commentary on Plotinus and assimilates this god of
the origins to the orphic “male and female” god. Magic, for Ficino, is precisely this spiritual power that reunites the opposites, and he equates it with the universal power of love. So, magic for Ficino is essentially a spiritual or natural process. In his book On life, he leaves open the possibility for humans to magically act on the world through the use of talismans. However, he does not provide any precise indications on how to actually practice such magical rituals or operations.

At this point of my investigation, I have not been able to identify any indication in the imagery of the cards that they might have been designed for the purpose of ritual practices or occult operations. This being said, there remains the possibility that, at some point in history, some people used the deck for such practices. I must admit I have not investigated much in that direction.

Here again, it seems to me that, if the cards probably were designed as an initiatory instrument, they may subsequently have been used for their performative power, however independently from any precise ancient tradition whatsoever.

Esoteric Tarot Transmission

PAA: Do you have any insights into how the esoteric knowledge embedded in the Tarot may have
been transmitted or preserved over the centuries?

Are there any existing esoteric orders, secret societies or lineages you believe may have direct connections to the original Ficinian meanings?

What role could cryptography, ciphers or steganography have played in concealing layers of occult meaning in the Tarot?

I am not aware of any secret tradition having transmitted the esoteric knowledge embedded in the Tarot de Marseille throughout time. As a matter of fact, the popularity of this very deck among occultists began in the 18th century, when some savants were struck by the affinity of some figures with ancient images and symbols. But they did not identify the Renaissance mastermind that had served as a relay between the ancient sources of wisdom and the card’s figures. So, they imagined that the cards originated directly from the earlier traditions. Court de Gébelin, for example, one of the first to affirm having discovered the origin of the deck, ascribed it to the Ancient Egyptians.

Interestingly, many of those who believed in the antique origin of the Tarot de Marseille thought that its images had subsequently been altered – to account for their more “modern” aspect – and tried to restore them to their primeval appearance. Inevitably these attempts, based on erroneous assumptions, and an incomplete understanding of the card’s hidden aspects, resulted in impoverished, sometimes outright biased, versions of the deck.

Divination and Cartomancy

PAA: Based on your research, how do you think the Tarot was originally intended to be used for
divinatory or cartomantic purposes?

Do the esoteric dimensions you’ve uncovered enhance or alter the traditional divinatory
meanings and methods used in Tarot reading?

In his commentary on Plotinus, Ficino explains that every event occurring in this world is accompanied by signs, and that observing such signs can allow skilled persons to tell the future, as though in an act of reading.

“Other men foresee future things not through hidden causes but through signs which openly accompany causes, in the same way that a man is often made more certain of what his friend will do in the future through his letters. For indeed, […], the skillful can divine the future as though in the act of reading.”

These signs, Ficino explains in another text, can be the shape of clouds or the flight of birds.

To which we may also perhaps add the images on the tarot cards. Nevertheless, I think that initially the Tarot de Marseille was designed as an initiatory instrument, and that it was only subsequently used as an oracle, as its combinatory structure was well-adapted to this particular use. Ficino often evokes oracles, without explaining what their material nature was.

I imagine he could have discovered this way of using the Tarot himself, while working on the cards with his friends and disciples. Since Antiquity, various other games had been used to practice divination. So employing tarot cards for this purpose would have seemed natural.

The esoteric dimension of the deck is certainly an important dimension to acknowledge when reading the cards. If we compare taromancy to the act of reading a text written in words, it’s as if your lexicon had gained a wealth of new deeper significations. Instead of interpreting with the help of the pocket version of a mutilated abridged dictionary, you will be relying on the multi-volume extended edition with permanent access to a whole library full of encyclopedias and specialized books. More importantly still, you will realize that within the figures some details have direct connections with other details from other cards, and from there you will discover that the cards are only windows open onto a much wider world of myth and philosophy. Then reading escapes the framed world of the cards themselves to enter the boundless universe of narrative beyond its literal expression.

PAA: Thank you for taking part and generously answering our questions.

Additional Information

Scarlett Imprint – Christophe Poncet
Two Esoteric Tarots
Academia Page
“The Mysteries of the Tarot de Marseille” on YouTube
Titans of Tarot, Christophe Poncet

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