01-08-2024, 08:22 PM
Further examination of the White Aries illustration reveals a different level of activity, the intentional creation of structural duality.
Armorial heraldry depends on pattern and tincture in combination. Orientation is significant in the patterns of paired lines: paley, bendy, and barry.
What is the pattern used in the VMs illustration (White Aries)? WELL, that all depends. If one tends to turn the illustration so the nymph is upright in the tub, then you will see the orientations of the two blue-striped patterns in a certain way. In one the stripes are vertical, and in the other they are diagonal - bendy sinister.
However, if everything else on the page is ignored, then both striped VMs patterns as a pair best conform to the standard bendy pattern from the dexter side. This is the blazon of the Fieschi popes - Bendy, argent et azure. And with the red galero, history is further confirmed in that Sinibaldo Fieschi, as Pope Innocent IV, made several of his relatives into cardinals. Most relevant was Ottobuono Fieschi in 1251, who was later, very briefly, Pope Adrian V.
There is a clear structural relationship in quadrant and in sphere from the two prior VMs pages between "Pape" and "papellony". Yet no one will discover it, if they cannot name the obscure fur. Many 'so-called' "references" have even lost track of it. I know from my own experience that the challenge is to overcome the investigative ignorance of medieval history.
At the same time, the investigator must face up to the fact that this is artistic duality. This is intentional duplicity. There are two ways of interpretation built into the structure of the illustration by the artist. This may or may not seem surprising, depending on how one sees the other parts of the VMs.
If one sees the VMs cosmos as Oresme plus Shirakatsi, if one sees the VMs mermaid as Melusine imposed on Lauber's sea monsters, then perhaps this is not so strange. Perhaps this is another example of VMs artistic trickery. A method that combines diverse images into a set of unique VMs representations. It is surely the pairing of these diverse images that has thwarted and delayed the interpretation of these illustrations. It is clear that intentional obfuscation must be expected. Still, a path is designated by pairing and by Stolfi's markers.
Armorial heraldry depends on pattern and tincture in combination. Orientation is significant in the patterns of paired lines: paley, bendy, and barry.
What is the pattern used in the VMs illustration (White Aries)? WELL, that all depends. If one tends to turn the illustration so the nymph is upright in the tub, then you will see the orientations of the two blue-striped patterns in a certain way. In one the stripes are vertical, and in the other they are diagonal - bendy sinister.
However, if everything else on the page is ignored, then both striped VMs patterns as a pair best conform to the standard bendy pattern from the dexter side. This is the blazon of the Fieschi popes - Bendy, argent et azure. And with the red galero, history is further confirmed in that Sinibaldo Fieschi, as Pope Innocent IV, made several of his relatives into cardinals. Most relevant was Ottobuono Fieschi in 1251, who was later, very briefly, Pope Adrian V.
There is a clear structural relationship in quadrant and in sphere from the two prior VMs pages between "Pape" and "papellony". Yet no one will discover it, if they cannot name the obscure fur. Many 'so-called' "references" have even lost track of it. I know from my own experience that the challenge is to overcome the investigative ignorance of medieval history.
At the same time, the investigator must face up to the fact that this is artistic duality. This is intentional duplicity. There are two ways of interpretation built into the structure of the illustration by the artist. This may or may not seem surprising, depending on how one sees the other parts of the VMs.
If one sees the VMs cosmos as Oresme plus Shirakatsi, if one sees the VMs mermaid as Melusine imposed on Lauber's sea monsters, then perhaps this is not so strange. Perhaps this is another example of VMs artistic trickery. A method that combines diverse images into a set of unique VMs representations. It is surely the pairing of these diverse images that has thwarted and delayed the interpretation of these illustrations. It is clear that intentional obfuscation must be expected. Still, a path is designated by pairing and by Stolfi's markers.