Dodal, linked reproduction
Sept de Deniers
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Waiting beside what has grown
A pause in cultivation is not automatically the same thing as a failed harvest.
Start with the pictures
Seven of Pentacles
Pamela Colman Smith · 1922 printing, p. 269
Open the source scan page ↗Notice what changes
Dodal
Sept de Deniers
Seven coins sit in a symmetrical pattern, with a single central coin between paired groups. Coloured leaves and stems fill the intervening spaces.
Smith
Seven of Pentacles
A figure leans on a long-handled tool and studies pentacles among thick leaves. One pentacle sits close to a foot.
Harris
Seven of Disks · 7
Seven dark disks lie among dense blue-black leaf and root-like forms. The low contrast makes the disks seem embedded in the surrounding growth.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite warns that this card’s inherited meanings are especially contradictory. Business and exchange appear beside quite different readings, so the familiar image of waiting is not his entire account.
Crowley’s explanation
Crowley calls this Failure and links Saturn in Taurus with blight. He identifies the arrangement with the geomantic figure Rubeus and describes the disks as leaden, rather than as a successful crop.
Which details support a judgment of failure, and which only show that someone has stopped to look?
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.