I was having a lengthy discussion with @slutforghost about Ghost connections and Tarot cards of the Major Arcana, and she’s overwhelmingly amazed by my predictions. So I figured I might as well post what I have.
Papa I: “XV: The Devil”
Simply put, Papa I is in correlation with The Devil. As he is the First, he came before all others, the one who represented Satan himself (much like Baphomet). He is elegant, as the official card description represents “Being seduced by the material world and physical pleasures; lust for and an obsession with money and power. Also: Living in fear, domination and bondage; being caged by an overabundance of luxury; discretion should be used in personal and business matters.”
He wasn’t afraid to promote his ways, he was very forward with his love for Satan. Being a religious figure– and one of Satan at that– means he made a lot of money and in a sense lusted for it.
In the end, Papa I resigned from his papacy, possibly due to the phrase “Living in fear, domination, and bondage; being caged by an overabundance of luxury”
Papa II: “XII: The Hanged Man”
Papa II most similarly represented The Hanged Man. In the official description for the card, it states: “a shameful image of a traitor being punished in a manner common at the time for traitors in Italy.” Why is this important? Papa II himself spoke more often in Italian as opposed to English in interviews, He was by all accounts a full-blooded Italian.
The card also is related because of the fact of Papa II’s exile from the papacy; His failure to “overthrow governments and churches of the World” He is, in a sense, a Traitor to the Clergy.
Papa III: “XVI: The Tower”
Papa III represents all that The Tower stands for. As it is associated with “sudden, disruptive, and potentially destructive change.” The Tower also shows destruction, which I will follow up with in the end.
The most shocking (haha) part of this is the connection between the song “The Pinnacle to the Pit” and “The Tower”. The video shows the story centering around a tower, reaching up to the heavens. Later on, Lightning strikes the tower, causing the man to fall to the pit, where he rises up to rest upon the Tower as the ruler.
The parts in the video correlate with the card, The lightning strike, the falling people, You don’t see the ruin of the tower, but most certainly the rise of Papa III from a simple man brought about the end of those in the Tower.
That’s all I have for now. I don’t have any predictions for Papa IV at this point, but I may have in the future. And thank you to all who read my post in depth.
Who accidentally pushes a door instead of pulling/vice versa: They both do, then squabble about it. Their relationship is very petty.
Who doodles little hearts all over the desk with their initials inside them: Neither of them, in regards to each other.
Who starts the tickle fights: Frederick, once. Louis is very sensitive. Frederick’s nose got broken.
Who starts the pillow fights: Neither of them. It’s too cutesy for them.
Who falls asleep last, watching the other with a small affectionate smile: Frederick gets sappy, sometimes. Louis is small and soft and a little chubby and Freddy likes to hold him. They grumble at each other nonetheless.
Who mistakes salt for sugar: Kings don’t cook, they have people to do that for them.
Who lets the microwave play the loud beeping sound at 1am in the morning: Neither of them, the palaces both have plenty of servants to bring them food at any time they desire.
Who comes up with cheesy pick up lines: Neither of them. Too sappy.
Who rearranges the bookshelf in alphabetical order: They have people to do that for them.
Who licks the spoon when they’re baking brownies: They don’t make brownies together.
Who buys candles for dinners even though there’s no special occasion: Louis always has candles lit in his room. Always.
Who draws little tattoos on the other with a pen: Neither. Though, sometimes during important political conferences they’ll make mean faces at each other across the table.
Who comes home with a new souvenir magnet every time they go on vacation: Neither of them.
Who convinces the other to fill out those couple surveys in the back of magazines: Louis does it late at night and has a meltdown when the result isn’t exactly what he wanted.
These small gauntlets belong to an armor for foot tournament made for the seven-year-old heir to the Spanish throne, the future Philip III (1578–1621, king from 1598). The decoration is typically Milanese, with bands of chiseled and gold-damascened trophy and grotesque ornament outlined with silver dots. A figure of Mars, god of war, is seen at the top of each cuff.
A bit late to be on MAe, but these show really well all the layers that were included in gauntlets. You needed padding, protection and the outer layer.
[women in history] -> Septimanie d'Egmont Pignatelli
Famous for her beauty, charisma and intellect, Septimanie d'Egmont Pignatelli (1740-73) was educated in music, art, history, languages and literature at a Benedictine convent in Normandy. When she was 15, her father, the Duc de Richelieu – a wealthy rake and powerful confidant of King Louis XV – arranged her marriage to one of the richest young men at the court of Louis XV. She was welcomed into the diplomatic set at Versailles and the intellectual and artistic salons of Paris. She died childless at 33 of tuberculosis.
The famous “Pignatelli pearls” were a wedding gift from her husband, Casimir Pignatelli, Comte d'Egmont, an immensely wealthy aristocrat, army general and courtier. When he married Septimanie in 1755, he was 29 and a widower with a 5-year-old daughter. He outlived her by 28 years.
Her fashionable “Spanish costume” was so called because of its raised collar, pearl swags and slashed and beribboned sleeves. Her guitar reinforced the painting’s Spanish themes and honored her husband, a grandee of Spain who often entertained Spanish diplomats. Silver Spanish lace decorates the pillow under her arm.
It mimics that of her friend Madame de Pompadour – the king’s mistress – in two famous portraits by François Boucher, including this one on loan from the Victoria and Albert Museum in London.
It reflects the height of the neoclassical style, which was then replacing Rococo exuberance. The landscape signals her allegiance to the philosophy of her friend Jean-Jacques Rousseau, who championed the “natural” goodness inherent in people uncorrupted by society. It may also allude to her luxuriously rustic retreat in Picardy, the Château de Braisne.
Dogs are a traditional symbol of loyalty. Her spaniel’s failure to get Septimanie’s attention suggests her refinement and sensitivity to literature. Really.
Hand-carved and gilded, the frame was custom-designed for the portrait and is festooned with symbols of a happy marriage – floral garlands, Cupid’s bow and arrows, the torch and laurel wreath of Hymen.
Besides the portrait of Pompadour at left, the show includes paintings of:
• Jean-Jacques Rousseau, the free-thinking Swiss philosopher and novelist who read aloud his scandalous “Confessions” at her country home.
• Sweden’s young King Gustav III, with whom she exchanged witty letters about politics and society. Gustav was at the Paris Opera with Septimanie when he learned that his father had died and he was to be crowned king.
Alexander Roslin (1718 -1793), shown in a self-portrait that is part of the exhibit, was one of the most successful court painters of the 18th century. Born in Malmö, Sweden, he trained in Rome and worked for Catherine the Great of Russia, King Gustav III of Sweden and Stanislaus II of Poland as well as French royalty. An aristocrat to the core, he died quietly in his apartments in the Louvre palace six months after Louis XVI was beheaded in a nearby plaza.