Dodal, linked reproduction
Dix de Deniers
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Accumulation and what comes next
The fullest arrangement raises a question about what wealth can do beyond remaining in place.
Start with the pictures
Ten of Pentacles
Pamela Colman Smith · 1922 printing, p. 263
Open the source scan page ↗Notice what changes
Dodal
Dix de Deniers
Ten coins fill the card in repeated pairs and central positions. Short plant forms and coloured connecting ornaments occupy the narrow spaces between them.
Smith
Ten of Pentacles
Ten pentacles overlay a scene with an older seated figure, two dogs and several people near an archway and buildings.
Harris
Ten of Disks · 10
Ten bright yellow disks form a branching arrangement against purple. Most carry small marks, and the lowest disk is noticeably larger than those above it.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite joins material gain with family, ancestry, records and the household. The scene’s several generations support a wider field of attention than one isolated purchase or sum of money.
Crowley’s explanation
Crowley calls this Wealth and describes material energy reaching solidification. He argues that accumulated wealth must be put to further use, linking the enlarged final coin and Mercury in Virgo with the possibility of renewal.
What could this accumulated value support, circulate into or make possible next?
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.