Dodal, linked reproduction
Dix de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗A full arrangement, an unsettled ending
The tenth cup changes both the pattern and the kind of completion being pictured.
Start with the pictures
Ten of Cups
Pamela Colman Smith · 1922 printing, p. 207
Open the source scan page ↗Notice what changes
Dodal
Dix de Coupes
Nine small upright cups form three rows. A much larger cup lies sideways across the top, spanning the width above them.
Smith
Ten of Cups
Ten cups form an arc above two adults raising their arms. Two children move together nearby, with a house and trees in the distance.
Harris
Ten of Cups · 10
Ten cups form a branching arrangement over a red-orange field. Several vessels tilt as water passes between them beneath a large upper blossom.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite reads a fullness of affection, friendship and contentment. He distinguishes the adults’ response to the overhead appearance from the children’s ordinary happiness within the scene.
Crowley’s explanation
Crowley calls the card Satiety. He identifies the arrangement with the Tree of Life, but describes the tilted cups as unstable: Water’s work is complete and Mars in Pisces introduces disturbance.
What makes this completion feel settled or ready to change again?
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.