Dodal, linked reproduction
Trois de Coupes
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗Shared plenty
Look at whether abundance is arranged, flowing or celebrated.
Start with the pictures
Three of Cups
Pamela Colman Smith · 1922 printing, p. 221
Open the source scan page ↗Notice what changes
Dodal
Trois de Coupes
One cup stands above a pair, surrounded by curling plant forms. The three vessels remain distinct within an open, roughly triangular arrangement.
Smith
Three of Cups
Three figures raise cups together amid fruit and plants, their bodies forming a close group.
Harris
Three of Cups · 3
Three red, fruit-shaped vessels receive pale streams from blossoms above them. The cups and water stand out against a blue field.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite associates the scene with a happy conclusion, abundance and consolation. He also leaves room for the excessive side of enjoyment in the reversed account.
Crowley’s explanation
Crowley identifies the vessels as pomegranates and relates Abundance to Binah and Mercury in Cancer. His Persephone comparison complicates the pleasure: the fruit also carries an association with attachment to the underworld.
What makes abundance feel shared here, and what might make it binding?
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.