Dodal, linked reproduction
Cinq de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Spilled or never filled?
Loss looks different when cups have fallen over and when their supply has stopped.
Start with the pictures
Five of Cups
Pamela Colman Smith · 1922 printing, p. 217
Open the source scan page ↗Notice what changes
Dodal
Cinq de Coupes
Five upright cups form a balanced arrangement, with a central vessel between the surrounding pairs. Coloured plant ornaments fill the gaps.
Smith
Five of Cups
A cloaked figure faces three overturned cups. Two upright cups remain behind, with a river, bridge and building beyond.
Harris
Five of Cups · 5
Five blue cups sit beneath dark, drooping flowers. The vessels form a downward-pointing arrangement, and no bright streams connect the blossoms to them.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite joins loss with something still remaining. His other meanings include transmission or inheritance that fails to meet expectations; the remaining pair matters to the account.
Crowley’s explanation
Crowley describes Disappointment as anticipated pleasure frustrated. In his account of Mars in Scorpio and Geburah in Water, the lotuses are damaged and no water reaches the cups.
Are you seeing something lost, something withheld or an expectation that was never met?
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.