Dodal, linked reproduction
Chevalier de Baston
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗The rider and the rush
Three mounted figures provide a useful visual pairing, while their authors give the movement different explanations.
Start with the pictures
Knight of Wands
Pamela Colman Smith · 1922 printing, p. 175
Open the source scan page ↗Notice what changes
Dodal
Chevalier de Baston
A rider sits on a horse shown side-on and holds a large baton. The horse and rider occupy most of the narrow card; the baton rises beside the upper body.
Smith
Knight of Wands
A rider holds a short leafy staff as the horse lifts its forelegs. Pointed hills stand behind the moving pair.
Harris
Knight of Wands · Knight
An armoured rider leans above a dark horse amid red-orange flames. A bright torch-like wand rises from the rider’s hand.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite treats the horse’s movement as a clue to the rider’s precipitancy. The account concerns departure and changes of residence, while explicitly saying that the journey is not a warlike errand.
Crowley’s explanation
Crowley describes an armoured rider on a leaping black horse, with a torch and flames around the figure. The force is sudden and difficult to redirect once spent.
What makes each horse appear to advance, rear or pause?
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.