Dodal, linked reproduction
As de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗What can a vessel receive?
The single cup changes from an architectural object to a source of flowing water.
Start with the pictures
Ace of Cups
Pamela Colman Smith · 1922 printing, p. 225
Open the source scan page ↗Notice what changes
Dodal
As de Coupes
A large covered vessel fills the card. Its elaborate upper structure has towers, points and coloured panels; no hand or flowing stream accompanies it.
Smith
Ace of Cups
A hand supports an overflowing cup above water-lilies. A dove lowers a cross-marked wafer toward it, and five streams descend from the vessel.
Harris
Ace of Cups · 1
A blue cup sits above layered lotus forms. Pale light descends toward its centre while blue-white water and curved bands spread around the vessel.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite connects the cup with nourishment, abundance, joy and the Holy Table. The printed text says four streams, while the plate shows five; the two witnesses are retained without silently correcting either one.
Crowley’s explanation
Crowley presents the Ace as Water in its original form and identifies it with the Grail. Lotus, descending dove and lunar base belong to his explanation of reception and conception.
Does the vessel seem to contain something, receive something or give something away?
Write one thing you can point to in the image, one interpretation from a named author, and one inference of your own. Keeping the three separate gives you something useful to revisit.
Sources and image credits
The Dodal cards are one early-eighteenth-century Marseille witness. The black-and-white Smith plates come from the 1922 Rider reprint, whose title verso lists first publication in 1910. Colours in later editions can differ.
Foolmade supplies the linked Dodal reproductions. Its surrounding commentary is not the basis for our historical claims. These images are linked externally; the Smith illustration reuses the public-domain source scan with its full page context.
Harris’s paintings are linked on their host’s reference pages. Crowley’s text is the separately identified Thelemagick transcription of The Book of Thoth. Neither a modern reproduction nor a transcription replaces examination of the original artwork or edition.