Dodal, linked reproduction
Chevalier de Denier
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗A horse that waits
Compare the riders’ relation to their held or nearby disks and to the ground beneath them.
Start with the pictures
Knight of Pentacles
Pamela Colman Smith · 1922 printing, p. 259
Open the source scan page ↗Notice what changes
Dodal
Chevalier de Denier
A mounted figure holds a long staff, with a large coin beside the upper body. The horse is shown side-on above lettering at the base.
Smith
Knight of Pentacles
An armoured rider holds a pentacle while seated on a heavy, stationary-looking horse. Parallel field lines run behind them.
Harris
Knight of Disks · Knight
An armoured figure sits on a dark horse in a yellow-brown landscape. A large round disk hangs beside the rider, with a flail-like implement held upright.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite describes endurance, utility and responsibility. His reversed account includes stagnation and inertia, making the quality of steadiness something to examine rather than praise automatically.
Crowley’s explanation
Crowley describes a heavily armoured rider with a flail and a solid disk, on a horse planted on all four feet. Cultivated land gives this Knight a slower, agricultural setting.
What gives this rider a sense of pace: the horse’s posture, the ground or the way the object is carried?
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.