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+--- Thread: The Genoese Gambit (/thread-5570.html)
The Genoese Gambit - R. Sale - 11-04-2026
Everything depends on interpretation. Useful interpretation depends on knowledge derived from relevant information, not from opinion. Relevant information comes from historical facts. In the VMs there are a few places where the artist makes use of historical facts.
One example is the use of historical heraldry on VMs White Aries (f71r). The structural duality based on radial versus non-radial interpretations of the orientation of the two blue-striped tub patterns is a clear indication that this is intentional duplicity.
Does the reader know the armorial insignia of the Roman Catholic pope who instituted the tradition of the cardinal's red galero?
RE: The Genoese Gambit - JustAnotherTheory - 12-04-2026
Can you be more specific? Which pattern? I fail to see what you are talking about.
RE: The Genoese Gambit - R. Sale - 12-04-2026
On VMs White Aries, between 9:00 and 12:00, there are two examples of tubs patterned with blue stripes. One tub in each ring.
Given the tub patterns from VMs Pisces, what are the options for heraldic interpretation of any of these patterns? Some basic heraldic patterns are composed of alternating vertical, horizontal and diagonal stripes. And chevrons.
What is the status of the White Aries examples? The natural tendency is to view the image so that the "occupant" of the tub is upright. That determines the orientation of the striped tub patterns: one vertical, one bend sinister. Various historical connections for heraldic interpretation may exist here, but nothing special so far.
Now, turn off the radial cloaking device and see the two blue-striped patterns in isolation on the page. Now the orientation of the stripes is diagonal from the dexter side for both of them. The pairing stands out, like the zodiac medallions. The historical record of the Fieschi popes based on their heraldic identification is blazoned as 'Bendy, argent et azure'.
The historical interpretation is further demonstrated in the fact that the relevant occupant in the inner ring is wearing a wide brimmed, reddish hat. This reflects certain historical events. The tradition of the cardinal's red galero is part of ecclesiastical heraldry. It is the first of various, strong confirmations, and there is other trickery as well.
The circular construction of White Aries is a clear duality. Duality by default. There are two interpretations built into the structural representation. And, given the historical insignificance of the primary, radial interpretation, in comparison with the historical importance of the secondary, 'somewhat' disguised, non-radial, religious interpretation, it seems again (cosmos) that there is intentional artistic deception at play. However, the greater obstacle by far has been the loss of historical detail. Interpretation depends on the details that the reader knows.
RE: The Genoese Gambit - R. Sale - 14-04-2026
*Does the reader know the armorial insignia of the pope who initiated the tradition of the cardinal's red galero?* That is the question posed by the VMs artist in the White Aries illustration. Does the reader know the necessary details of heraldry and history that are relevant to this potential identification? So far, the reader is mum. Chasing pareidolia.
The construction of the blue-striped tubs on VMs White Aries is a clear example of dualistic interpretation between radial and non-radial perspectives. The heraldic connection to the insignia of the Fieschi popes is supported by three factors: pattern (dexter diagonal stripes from the non-radial perspective), color (blue), and the tubs are paired.
In the era of the VMs, popes only had coats-of-arms if they were actually 'armorial'. The Fieschi were descendants of the Counts of Lavagna. Several centuries later, the church gave all popes coats-of-arms to fill in retroactively.
The first three factors come from armorial heraldry; the fourth factor comes from ecclesiastical heraldry. That is the red galero - or more generally the use of colored hats to designate rank [red for cardinals] and order [white for Premonstratensians] within the church. Premonstratensians were big for a while, included women, but mostly faded in Western Europe before VMs C-14.
It was Sinibaldo Fieschi as Pope Innocent IV, who started the tradition of the red galero. In 1251 he also made his nephew Ottobuono Fieschi a cardinal. Ottobuono was later elected as Pope Adrian V. but died before being installed.
Heraldry also needs to be seen in detail. The Fieschi blazon is, Bendy, argent et azure. Diagonal blue and white stripes. But how many? And which stripe is blue or white? The bendy pattern has certain complications which result in different representations. The standard design, called a bendy of six parts, (three white lines and three blue lines) is a modern designation well after VMS C-14. So, there was no specified number of stripes, and with tubs being three dimensional, the stripes would alternate all the way around.
Another problem occurs because the structure of modern representations of the bendy pattern often has three stripes descending from the top line. This creates a conflict with how the colors are placed. The top of the dexter corner should be the primary color. There are representations colored both ways. A modified version to split the difference has three and a half stripes on the top line. However, the real solution, as seen on the tomb of Pope Adrian V, is to divide the top line by four, with somewhat steeper diagonals.
These are some of the details supporting the Genoese Gambit.
RE: The Genoese Gambit - R. Sale - 28-04-2026
The purpose of the Genoese Gambit on VMs White Aries:
Recognize the intentional duality of the structure with the blue-striped tub patterns. The radial cloaking device is 'ON' in its standard position. There is an alternative interpretation with cloaking turned 'OFF'.
Recognize the historical connection based on paired tub patterns in combination with the red galero. This combination of heraldic elements exists in only three (or so) historical events of which the more significant one is the relevant example (Ottobuono Fieschi).
Recognize the historical relevance to events in the era of the VMs parchment C-14 dating. Pope Innocent IV authorized the Poor Clares in mid 13th C. Between 1410 and 1440 there were efforts to reform the Poor Clares by Colette of Corbie. To see evidence of her in the VMs illustrations, read about her dreams - the ring and the cross.
The purpose of the Genoese Gambit is to establish historical grounding, and by the use of church connections, to suggest an authenticity that can be carried over into the White Aries text investigation.
RE: The Genoese Gambit - R. Sale - 18-05-2026
Heraldry is a language. It is a means of communication. Heraldry provides information.
The initial identification of the Fieschi popes is based on armorial heraldry. In the *non-radial* orientation, the stripes are diagonal, the paint is blue, the patterns are paired. The inner figure wears a red galero. While the combination is suggestive, it is also disguised by the natural tendency to use a radial perspective.
A closer examination of the White Aries illustration shows that there are a number of other factors relevant to the proposed identification. Those based on position are objective facts, not subjective opinions.
1) With the cardinal in the inner ring and the pope in the outer ring, this is the correct placement for hierarchical positioning in the celestial spheres. With two figures and two rings, there are four possible arrangements.
2) Both figures are located in the more favored heraldic upper right quadrant. With the two figures and four different quadrants, there are 16 possibilities.
The combination of these two factors makes the chosen White Aries structure just one option out of 64 - and the only one to satisfy both of the hierarchical and heraldic criteria.
White Aries is the most painted page in the VMs Zodiac sequence. The prolific painting of the White Aries zodiac page does two things.
3) Painting almost everything serves to disguise the two tubs with blue stripes. There is plenty of blue, green and red-brown paint used on this page as a distraction.
4) Painting almost everything else serves to emphasize the 'whiteness' of White Aries. Otherwise, when nothing is painted, color is not determined.
5) The choice of *White* Aries as the medallion figure for this heraldic identification follows because this *white* animal is the only zodiac animal suitable for celestial sacrifice. Pope and cardinal are in the celestial spheres. All celestial elements have been joined together. Popes don't hang out with Scorpio.
6) Does the number of stripes matter? No, the heraldic counting of parts comes much later. The combined representation of round tubs and flat shields creates an intentional ambiguity.
7) What about the ink markings on the unpainted stripes? Heraldry shows that painting and hatching are not used in combination. They cannot be interpreted together. The use of an invalid interpretation makes for an invalid objection. It's another artistic trick.
8) In the preceding Pisces and Dark Aries illustrations, corresponding in both quadrant and sphere to the blue-striped tubs of White Aries, are tubs with dark, scale-like patterns. This pattern is an obscure heraldic fur known as papelonny. The structural correspondence, and the French word "pape" for pope make this look like an extended version of heraldic canting. The VMs artist knew that there were two Genoese popes: Innocent IV and Adrian V.
All these factors support the historical identification of the Fieschi popes as being known to the VMs artist, yet they also show that this religious interpretation was intentionally disguised.