Dodal, linked reproduction
Trois de Bâtons
Jean Dodal’s Marseille pack · Lyon, 1701–1715.
Read the BnF catalogue record ↗What makes energy take form?
A third wand can reinforce a pattern, support a watcher or become a flowering structure.
Start with the pictures
Three of Wands
Pamela Colman Smith · 1922 printing, p. 193
Open the source scan page ↗Notice what changes
Dodal
Trois de Bâtons
An upright baton passes through two diagonal ones. Coloured bindings mark the centre, with small floral forms in the surrounding spaces.
Smith
Three of Wands
A cloaked figure stands with their back to the viewer beside three staffs, looking over water and small ships.
Harris
Three of Wands · 3
Three long gold wands meet in an ordered arrangement. Their upper ends open into pale blossoms against a warm red-orange field.
Open Harris’s painting and reference page ↗Now read the authors
Waite’s explanation
Waite identifies the ships as the figure’s merchandise and reads established enterprise, commerce and useful cooperation. Ownership of the ships is his explanation, not something their small silhouettes can establish alone.
Crowley’s explanation
Crowley calls this Virtue and describes the establishment of an initial energy through Binah. The flowering wands belong to his account of the Sun in Aries and the beginning of spring.
What is already established in each picture, and what still seems to be developing?
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.