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+--- Thread: 70r1 Outer ring (/thread-507.html)
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RE: 70r1 Outer ring - R. Sale - 03-04-2016
Thanks for your responses, but let me say that I see things from a slightly different perspective. I would ask of those who would attempt to discover and interpret the general use of heraldry in the VMs to first take a look at their own familiarity with this topic prior to my investigations. (Including the recent introduction of the topic on the use of nebuly lines in several locations.)
My investigations began with the Genoese Gambit on White Aries, but in the VMs representation of the zodiac, the sequence begins with Pisces. Aries and Taurus have been divided in two, then Gemini and Cancer as a pair of crayfish and so on. On the surface this pattern is unusual. Why is Pisces first? How are split months explained? But under the surface there is the simplest of patterns: the pair. Pairing of each of the first five houses of the VMs Zodiac, and more pairings within those pairs - to establish the pairing paradigm - based on the lines from Deuteronomy. The requirement of pairing imposes strict limitations on what is relevant, but, at the same time it serves as a built-in guide.
And if you are actually examining the VMs Zodiac pages and looking for pairings, then eventually you may find yourself at the top of VMs Pisces, looking at the outer ring of characters and notice that there are some paired patterns on the tubs, possibly heraldic, and some other pairings going on. The pairing paradigm shifts from astrological medallions to heraldic insignia. Further heraldic pairings of examples on Pisces are found on the following page, Dark Aries: the semy of roundels and the papelonny. Then it's on to White Aries and the Fieschi popes who are also historically paired by their armorial pattern. So the reason this is heraldry is because heraldry names and explains what is contained in the illustrations. Heraldry names the papelonny patterns and the gurges, even if / when the investigator doesn't yet see it.
The pair of papelonny patterns exists in the VMs text. What is the investigator's interpretation of this fact? Are these patterns just generic designs randomly placed? And therefore meaningless!!
Or do they objectively reflect, in quadrant and in sphere, the positions of the blue-striped patterns on White Aries? And when the traditional heraldic name of this pattern in known, as I proposed c. June 2014, then perhaps a little linguistic pun, which is, in fact, a clever bit of heraldic canting has taken place. Papelonny patterns have been used to label papes, which is French for popes. Bendy, argent et azur, is the Fieschi insignia.
The proper armorial orientations would stand paired on an otherwise empty page. Their confirmations are clear. But the radial influences are a clear indication that some methods have been used to create ambiguity and a bit of deception.
Nearly every tub pattern in the outer ring of VMs Pisces can be described in terms from traditional heraldry. Heraldry is a valid premise for investigation because it not only explains the patterns individually; it is also is a dominant theme for the entire set of examples. Isn't that what relevance requires? Anyone can compare the VMs to historical information, it is only necessary to know the particular armorial heraldic details of the actual historical origins of the ecclesiastical heraldic tradition of the red galero, the cardinal's hat, the Genoese bonnet. That is the Genoese Gambit. The author is asking the reader, Do you see it? Do you know who is behind the disguise? There are confirmations: proper hierarchical placement, favored heraldic positioning, etc. The objective placement of the papelonny pun shows that heraldic identification is conclusive. But for the reader with no heraldic basis of understanding, it exists undiscovered, unrecognized and meaningless, like a joke that is said to be 'over one's head'.
Drawings are always going to be drawings, and their comparison may be superficial and speculative. It is the way in which potential heraldic elements are used and how they are objectively positioned in the illustrations that are significantly informative as to what the drawings were intended to represent.