17-05-2017, 06:47 PM
So, it's heraldry - again. And if one is familiar with the basic patterns of heraldry, the ordinaries and sub-ordinaries, and then looks at the tub patterns on the Pisces and Aries pages of the VMs, one may see certain similarities. A pattern of alternating vertical stripes is like a paly; horizontal stripes are like a barry, diagonal stripes are like a bendy or bendy sinister. Of course, nobody has a monopoly on striped patterns, so the similarities are just general. But Pisces also has a pattern with chevrons, a pattern with little circles like a semy of roundels, and a pattern with scales like papelonny - although papelonny is a fur, one of the heraldic tinctures, and not an ordinary or sub-ordinary like the others. This second set of patterns seems to be even more exclusive to heraldry than the striped patterns listed first.
After examining the three pages of tub patterns, one might ask whether these really are valid heraldic patterns and whether it is possible to establish any historical connection. Heraldic armorial insignia are a combination of pattern and color (tincture). And changing either one results in a change of identification. The requirement for color and pattern pretty much limits the investigation to VMs White Aries (f71r). An all blue shield can be attributed to Berrington of Chester, but are the VMs examples attributions or just blue tubs?
Two tub patterns on White Aries have been painted to indicate a pattern of alternating blue stripes. In the attempt to define these patterns, it is natural to see them in relation to their radial orientation, as with all the others. This in turn determines the direction of the stripes and defines the patterns. The search for historical matches is not rewarding. However, if all radial influences are removed and the two striped patterns are viewed in relation to the horizontal and vertical directions of the page itself, then something else appears. The orientation of the stripes is changed. Both patterns now approximate the diagonal pattern of a bendy. This is where the reader's knowledge of historical heraldry either kicks in - or -much more likely - it does not. Notice that the associated character in the inner ring is wearing a certain type of hat. Does the reader know know the heraldic armorial insignia of the pope who originated the Roman Catholic tradition of the cardinal''s red galero? That pope was Innocent IV. Innocent IV was Sinibaldo Fieschi. The Fieschi insignia is bendy, argent et azur. Additionally in 1251 CE, Pope Innocent IV made his nephew, Ottobuono Fieschi a cardinal. This is what the White Aries illustration shows. Ottobuono was later elected pope as Adrian V, but died before taking his office.
The Fieschi coat-of-arms is historically genuine, not one of those that were back-filled when all popes were given armorial insignia in the 1700s.
As soon as we have the tentative identification of pope and cardinal situated in a sort of cosmic diagram, it is clear that they have been placed in their proper hierarchical positions, with the pope in a higher celestial sphere than the cardinal. Location is an objective fact that helps to confirm the subjective interpretation of appearance. Placement in the favored location of the heraldic upper right of the illustration is an objective confirmation. The association with White Aries, the only animal in a zodiac medallion suitable for celestial sacrifice, is another objective confirmation. Then there is the papelonny placement and confirmation through heraldic canting and it is a pairing.
Going back to the original matter of orientation - radial versus page-based, it is clear that both interpretations exist together as a sort of optical illusion, where the radial interpretation with no historical connections tends to visually dominate the page-based interpretation with its strong historical representation. This is a clear indicator of intentional obfuscation, disguise and deception. The images are not drawn to make the identification as clear as possible, yet they still maintain the essential elements of pattern and tincture. The two tub patterns show both ink patterns and paint coloration. However heraldry does not allow for the combined use of different methods of tincture designation. It's one or the other. One that is essentially meaningless or one with a connection to the origins of ecclesiastical, heraldic tradition. It is the reader's option to make - or to fail to make - this significant, traditional interpretation.
After examining the three pages of tub patterns, one might ask whether these really are valid heraldic patterns and whether it is possible to establish any historical connection. Heraldic armorial insignia are a combination of pattern and color (tincture). And changing either one results in a change of identification. The requirement for color and pattern pretty much limits the investigation to VMs White Aries (f71r). An all blue shield can be attributed to Berrington of Chester, but are the VMs examples attributions or just blue tubs?
Two tub patterns on White Aries have been painted to indicate a pattern of alternating blue stripes. In the attempt to define these patterns, it is natural to see them in relation to their radial orientation, as with all the others. This in turn determines the direction of the stripes and defines the patterns. The search for historical matches is not rewarding. However, if all radial influences are removed and the two striped patterns are viewed in relation to the horizontal and vertical directions of the page itself, then something else appears. The orientation of the stripes is changed. Both patterns now approximate the diagonal pattern of a bendy. This is where the reader's knowledge of historical heraldry either kicks in - or -much more likely - it does not. Notice that the associated character in the inner ring is wearing a certain type of hat. Does the reader know know the heraldic armorial insignia of the pope who originated the Roman Catholic tradition of the cardinal''s red galero? That pope was Innocent IV. Innocent IV was Sinibaldo Fieschi. The Fieschi insignia is bendy, argent et azur. Additionally in 1251 CE, Pope Innocent IV made his nephew, Ottobuono Fieschi a cardinal. This is what the White Aries illustration shows. Ottobuono was later elected pope as Adrian V, but died before taking his office.
The Fieschi coat-of-arms is historically genuine, not one of those that were back-filled when all popes were given armorial insignia in the 1700s.
As soon as we have the tentative identification of pope and cardinal situated in a sort of cosmic diagram, it is clear that they have been placed in their proper hierarchical positions, with the pope in a higher celestial sphere than the cardinal. Location is an objective fact that helps to confirm the subjective interpretation of appearance. Placement in the favored location of the heraldic upper right of the illustration is an objective confirmation. The association with White Aries, the only animal in a zodiac medallion suitable for celestial sacrifice, is another objective confirmation. Then there is the papelonny placement and confirmation through heraldic canting and it is a pairing.
Going back to the original matter of orientation - radial versus page-based, it is clear that both interpretations exist together as a sort of optical illusion, where the radial interpretation with no historical connections tends to visually dominate the page-based interpretation with its strong historical representation. This is a clear indicator of intentional obfuscation, disguise and deception. The images are not drawn to make the identification as clear as possible, yet they still maintain the essential elements of pattern and tincture. The two tub patterns show both ink patterns and paint coloration. However heraldry does not allow for the combined use of different methods of tincture designation. It's one or the other. One that is essentially meaningless or one with a connection to the origins of ecclesiastical, heraldic tradition. It is the reader's option to make - or to fail to make - this significant, traditional interpretation.