The World is the end of the sequence in the French pattern, and it is the trump whose image varies most between the surviving fifteenth-century decks and the printed ones.
In the Visconti-Sforza material the last card shows a walled city floating beneath a globe, held or displayed by small figures, an image of the world as a place, more or less literally. The French pattern shows something quite different: a figure inside an oval wreath, with the four evangelist creatures of man, eagle, lion and bull in the corners. That arrangement is borrowed wholesale from Christian art, where it is the standard depiction of Christ in majesty, and its migration to a card game is unexplained but not mysterious; it was the most familiar composition in Europe.
The occult reading identifies the four creatures with the four fixed signs of the zodiac and with the four elements, which they can indeed be made to correspond to, and treats the card as the completed work. The Golden Dawn assigned it the letter Tav, the planet Saturn with an older attribution to the element Earth, and the thirty-second path from Yesod to Malkuth, the last path and the entry to the material world.
Whether this card or Judgement ends the sequence depended on the city, as noted in the accounts of the twentieth trump. Any interpretation of the Major Arcana as a journey terminating in the World is using one regional order among several, standardised by French printers, and should say so rather than presenting the arrangement as inherent to the cards.
The Visconti city is the detail most often left out of accounts of this card, and it deserves better. The oldest surviving version of the final trump does not show a dancer, a wreath or four beasts. It shows a town.