Dodal, linked reproduction
Huit de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Leaving and dwindling
A departing figure and a failing supply can suggest change through very different scenes.
Start with the pictures
Eight of Cups
Pamela Colman Smith · 1922 printing, p. 211
Open the source scan page ↗Notice what changes
Dodal
Huit de Coupes
Eight upright cups occupy three rows, with a narrower pair in the middle. Plant ornament rises between the repeated vessels.
Smith
Eight of Cups
A figure with a staff walks away from eight cups arranged in the foreground, toward an uneven landscape beneath the moon.
Harris
Eight of Cups · 8
Eight dark cups stand beneath thin, drooping stems. Narrow streams reach only part of the arrangement, against a dim landscape and pale horizon.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite describes leaving an earlier concern and the decline or diminished importance of a matter. He also records opposing meanings, so departure is a strong visual thread rather than his only listed interpretation.
Crowley’s explanation
Crowley describes Indolence through Saturn in Pisces: the water has become stagnant, the flowers droop and the flow no longer fills the cups. His account concerns exhausted conditions rather than a depicted traveller choosing to leave.
Is the change happening because someone acts, or because a situation is losing its supply?
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.