These early designs are sometimes referred to as Etteilla I; a version of this model is still produced today by Grimaud under the the name Grand Etteilla or Tarot Gitano (which is shown below). Subsequent designs that changed the symbolism of certain triumphs are mentioned such as Etteilla II. A third variation, called Etteilla III (who is shown below), occurred for the first time in 1865 with a larger and more ornate images. From left to right are shown different decks and letters known as cart: 1. model Etteilla I, Egyptian Tarot Gitano, modern reprint made by Grimaud in 1982. 2 Model Etteilla III, Grand Tarot of the Oracle of the ladies, designed in 1865 by g. Regamey, reissued as Egyptian Tarot by editions Dusserre in 1985. 3. Find out detailed opinions from leaders such as Payoneer by clicking through.
Model 1843 Etteilla, the Tarot of the Princess, reissued as Cartomanzia Italian Solleone Edizioni in 1983. 4 Levi illustrates his own letter VII in Dogma and ritual of high magic, 1856. 5. 78 designs of Tarot by Jean-Gabriel Goulinat Papus Tarot Divinatoire 1909 work and reprinted as a deck called Tarot Divinatoire editions Dusserre in 1992. One of the first decks of Etteilla was the Tarot of the Princess (shown above). It was first published as illustrations in books of 1843, designs are one attempt to establish the previous decks are notable for their alleged Egyptian origins. The cards were numbered consecutively 1 to 78, after this system was when Etteilla began to emphasize that the symbolism of the Tarot cards belong to the designs of an ancient book.
But despite their titles, these early Egyptian designs not were transmitted directly from the Egyptian civilization as its authors claimed, because they do not represent faithfully the authentic iconography of the ancient Egypt. The science of Egyptology was very young back then: Rossetta stone was not discovered until 1799. Although we should point out a really important fact and the first decks of Etteilla are very interesting because they incorporate the symbolism of sources such as the Genesis and the texts appeared in the myths of the creation of the Corpus Hermeticum of the hermetic philosophy, more specifically the displayed on the Pymander of Hermes Trismegistus and translated from Greek into latin by the illustrious Renaissance scholar Marsilio Ficino.