"It is interesting to note that the dead body of Pletho was later exhumed by Sigismond Pandolfe Malatesta and taken to Rimini (near Venice in the Northeast of Italy). Today his body is in a sarcophagus which was interred in a wall of the Tempio Malatestiano. Malatesta was a friend of and under the direct protection of Pope Pius II. Hopefully it is clear why this repatriation was an important symbol for the Ogdoadic Tradition. In order to set the sarcophagus into the stone, Malatesta had to make sweeping renovations in this ancient Gothic church. The task required the construction of an entrance, including a triangular pediment in the antique style, as well as two symbolic vertical columns on either side. Inside, you find eight Chapels, which is a significant number for the Ogdoadic Tradition!
This building was to have given the court a triumphal setting as a “pantheon of heroes” according the expression of Rudolf Wittkower in his Architectural Principles in the Age of Humanism. In an article of American Literature (Vol.55, No 3), Michael North wrote that “Sigismundo’s rebuilding of the church of San Francesco could be thought of as a restoration because his changes essentially obliterated the Christian character of the building and gave it a pagan and somewhat neo-Platonic one.” In fact, this was distinctly evident to such initiates as Pope Pius II, who wrote that Sigismundo “had built a temple filled with pagan symbols” (Canto 9:41).
As Michael North explains, “Roberto Valturio, Sigismundo's engineer, ascribes the decorations to Sigismundo's “research” and seems to subtly advertise their Hermetic nature by saying that they will appeal more to the learned than to the rabble. […] Their full meaning was known only to one man, and they were entirely personal to him. Therefore, it is impossible to pretend that the Tempio was constructed by a people or even a culture. Sigismundo took possession of that church and reconstructed it into a building of his own design, replacing its cross with his own initials, the decorations with his own devices…” [...]
"The Tarot of Mantegna, as well as the representations of the Chapel of the planets of “Tempio Malatestiano” in Rimini gives symbolic representations of the planetary Divinities which can be found in the Theurgic Tarot explained in this book (See few representations below). For now I will just say that the divination system of the Ogdoadic Tradition also utilizes the classical representations of the Divinities. The choice of a particular Arcanum as a talisman or tool for invocation and magic is identified according to the logical rules that constitute the basics of our system: in other words, the choice is based on the nature of the God or Goddess himself/herself. The link to that God or Goddess, and the resulting power that you achieve as a result of your Theurgic practice will be all the more powerful, because of the strength of these connections."
Excerpts from the book: The Divine Arcana of the Aurum Solis, Llewellyn Publications.