Dodal, linked reproduction
Sept de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗What changes the quality of plenty?
Count the vessels, then look at what fills them and how the picture asks you to regard it.
Start with the pictures
Seven of Cups
Pamela Colman Smith · 1922 printing, p. 213
Open the source scan page ↗Notice what changes
Dodal
Sept de Coupes
Seven cups form a symmetrical group around a central vessel, with three above and three below. Decorative foliage links the spaces between them.
Smith
Seven of Cups
A silhouetted figure faces seven cups in clouds. They contain different apparitions, including a head, a veiled form, a serpent, a building and a wreath.
Harris
Seven of Cups · 7
Green liquid pours into and over iridescent cups. Large drooping blossoms and dark green forms crowd the surrounding field.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite locates these appearances in imagination and contemplation. Some attainment may be suggested, but he does not give the visions a stable or substantial outcome.
Crowley’s explanation
Crowley calls the card Debauch and interprets Venus in Scorpio as an unbalanced development of Water. He describes the liquid as slime and treats the design as the Six’s pleasure becoming corrupted.
Which visible change makes plenty seem tempting, confusing or excessive?
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.