Dodal, linked reproduction
Chevalier de Coupe
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Carrying a cup through a landscape
The horse and raised vessel give the three riders a shared starting point.
Start with the pictures
Knight of Cups
Pamela Colman Smith · 1922 printing, p. 203
Open the source scan page ↗Notice what changes
Dodal
Chevalier de Coupe
A mounted figure carries a cup in an extended hand. The horse is shown side-on beneath the rider’s decorated clothing.
Smith
Knight of Cups
A rider wearing a winged helmet holds a cup before him. The horse walks with a lowered head near a winding stream.
Harris
Knight of Cups · Knight
A winged rider rises above a pale horse and holds a cup aloft. Blue-green curves and a broad, patterned bird-like fan surround the lower scene.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite contrasts this quiet rider with a warrior and connects the image with imagination. His divinatory thread concerns approach, invitation or a proposal rather than the forceful charge seen elsewhere.
Crowley’s explanation
Crowley describes a winged rider on a leaping white horse, a crab emerging from the cup and a peacock as the card’s emblem. He compares its fiery water to rain, springs and dissolution.
Does the cup seem to be offered, transported or displayed?
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.