27-04-2020, 01:43 AM
The evidence for any particular topic is going to depend on the specific topic that is chosen. Once the topic is chosen, the relevant evidence can be presented, and examined in detail.
The topic to which I refer is the use of the nebuly line in the VMs starting with the example in the VMs cosmos. If, by means of the recovery of traditional terminology, and the examples of traditional use, we have established the relationship that a cosmic boundary can be represented by a nebuly line, then it should become easier to recognize the ideological equivalency between the fancy, scallop-shell patterned cloud-bands of the BNF Fr. 565 fol. 23 image with the plain ink line seen in the VMs. There is no way that these two elements are comparatively similar in appearance. The similarity is ideological in that they are both cloud-based relative to other possibilities, and the similarity is structural in that both circuits exhibit 43 undulations.
Look at the central earth. The Oresme illustration is pictorial. The VMs makes no attempt at being pictorial. The VMs is linguistic. The VMs is not a copy of the Oresme image. The VMs creator has (apparently) chosen to transmit infoormation through a totally different methodology. This is called a code shift. There is no way that the two representations are going to look the same. Yet both exemplify an inverted T-O structure. Now, inverted T-O structures exist in a number of different sources, but having one inside a cosmic diagram decidedly limits the number of current examples. The prominent representation of this time is a cosmos comprised of multiple concentric circles/spheres. The structures of comparative examples is entirely different. This is based on the original comparison offered in 2014 by E. Velinska.
I am an avid supporter of this comparison. It shows that while the majority of depictions of the cosmos followed what was then the current format of multiple planetary spheres, there was this small group of cosmic depictions based on a distinctive alternate structure. That group consists of Oresme's BNF Fr. 565, made in Paris c. 1410; the de Metz' text Harley 334, made in Paris 1430-1440; and the VMs.
[Here history intervenes to tell us that Paris was occupied from 1420 to 1435 by the Anglo-Burgundian alliance.]
Is it possible that the common factor of Paris creation accounts for the strong visual and structural similarity between the 'Oresme' and 'de Metz' versions of the cosmos. Further comparison with the one other 'Oresme' cosmos (BNF Fr. 1082) and multiple other versions of cosmic diagrams in various replications of 'de Metz' suggest that it is not the content of the material, but the choice and 'artistic freedom' of the artist that determine the appearance of these cosmic diagrams.
It's true that there is more to the VMs cosmic representation than just the structural equivalent of the Oresme image. There is an outer circle or 'wheel' connected to the interior by eight curved spokes. This can be seen in several ways. If the nebuly line is the cosmic boundary, then what lies beyond it? How is that to be determined and represented? The circle and the spokes consist of bands of linguistic text. What is the traditional interpretation of text band in medieval illustrations? <They are ephemeral.>
The creator of the VMs cosmic illustration has subjected the image to a lot of apparent manipulation / alteration. It might be considered whether this was intentional. And whether it goes further. The best and simplest inhibitor to the clear identification of a single image is the use of a combined representation, a sort of 'oak and ivy', if you will. 'A + B' cannot be show as equivalent to 'A' because it contains 'B'. Likewise it is not equivalent to 'B' because it contains 'A'. Neither can it be shown to be the combination that it is, if either 'A' or 'B' (and particularly when both 'A' and "B') are unfamiliar to the investigator. (Newbold called this a drawing of Andromeda.)
What image provides the structure of a wheel with eight curved spokes. To my knowledge the example here seems to be the Shirakatsi diagram of the Eight Phases of the Moon. Just flip it over and drop the cosmos in the open center. But how do these two disparate items possibly come together? This is where things get interesting.
The topic to which I refer is the use of the nebuly line in the VMs starting with the example in the VMs cosmos. If, by means of the recovery of traditional terminology, and the examples of traditional use, we have established the relationship that a cosmic boundary can be represented by a nebuly line, then it should become easier to recognize the ideological equivalency between the fancy, scallop-shell patterned cloud-bands of the BNF Fr. 565 fol. 23 image with the plain ink line seen in the VMs. There is no way that these two elements are comparatively similar in appearance. The similarity is ideological in that they are both cloud-based relative to other possibilities, and the similarity is structural in that both circuits exhibit 43 undulations.
Look at the central earth. The Oresme illustration is pictorial. The VMs makes no attempt at being pictorial. The VMs is linguistic. The VMs is not a copy of the Oresme image. The VMs creator has (apparently) chosen to transmit infoormation through a totally different methodology. This is called a code shift. There is no way that the two representations are going to look the same. Yet both exemplify an inverted T-O structure. Now, inverted T-O structures exist in a number of different sources, but having one inside a cosmic diagram decidedly limits the number of current examples. The prominent representation of this time is a cosmos comprised of multiple concentric circles/spheres. The structures of comparative examples is entirely different. This is based on the original comparison offered in 2014 by E. Velinska.
I am an avid supporter of this comparison. It shows that while the majority of depictions of the cosmos followed what was then the current format of multiple planetary spheres, there was this small group of cosmic depictions based on a distinctive alternate structure. That group consists of Oresme's BNF Fr. 565, made in Paris c. 1410; the de Metz' text Harley 334, made in Paris 1430-1440; and the VMs.
[Here history intervenes to tell us that Paris was occupied from 1420 to 1435 by the Anglo-Burgundian alliance.]
Is it possible that the common factor of Paris creation accounts for the strong visual and structural similarity between the 'Oresme' and 'de Metz' versions of the cosmos. Further comparison with the one other 'Oresme' cosmos (BNF Fr. 1082) and multiple other versions of cosmic diagrams in various replications of 'de Metz' suggest that it is not the content of the material, but the choice and 'artistic freedom' of the artist that determine the appearance of these cosmic diagrams.
It's true that there is more to the VMs cosmic representation than just the structural equivalent of the Oresme image. There is an outer circle or 'wheel' connected to the interior by eight curved spokes. This can be seen in several ways. If the nebuly line is the cosmic boundary, then what lies beyond it? How is that to be determined and represented? The circle and the spokes consist of bands of linguistic text. What is the traditional interpretation of text band in medieval illustrations? <They are ephemeral.>
The creator of the VMs cosmic illustration has subjected the image to a lot of apparent manipulation / alteration. It might be considered whether this was intentional. And whether it goes further. The best and simplest inhibitor to the clear identification of a single image is the use of a combined representation, a sort of 'oak and ivy', if you will. 'A + B' cannot be show as equivalent to 'A' because it contains 'B'. Likewise it is not equivalent to 'B' because it contains 'A'. Neither can it be shown to be the combination that it is, if either 'A' or 'B' (and particularly when both 'A' and "B') are unfamiliar to the investigator. (Newbold called this a drawing of Andromeda.)
What image provides the structure of a wheel with eight curved spokes. To my knowledge the example here seems to be the Shirakatsi diagram of the Eight Phases of the Moon. Just flip it over and drop the cosmos in the open center. But how do these two disparate items possibly come together? This is where things get interesting.