Dodal, linked reproduction
Reine de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗A vessel and its reflection
Look at what can be seen directly and what becomes difficult to distinguish in water.
Start with the pictures
Queen of Cups
Pamela Colman Smith · 1922 printing, p. 201
Open the source scan page ↗Notice what changes
Dodal
Reine de Coupes
A crowned seated figure holds a tall covered cup before the upper body. Its pointed lid rises close to the face.
Smith
Queen of Cups
A seated queen studies an elaborate covered cup beside the water. Small sculpted figures decorate the throne.
Harris
Queen of Cups · Queen
A pale seated figure is partly obscured by blue-green curves and mirrored forms. A large cup and a long flower stem emerge from the watery surroundings.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite insists that her visionary quality includes action: her activity sustains her dream. He connects the card with devoted intelligence and service, while acknowledging divergent reversed accounts.
Crowley’s explanation
Crowley describes a throne above still water, a shell-shaped cup with a crayfish and a lotus. Reflection is central: the surrounding water returns the figure’s image.
What remains distinct when the figure, vessel and surroundings begin to reflect one another?
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.