25-07-2019, 11:51 PM
JKP,
If you hadn't posted the lamb/cloud-band illustrations, I would probably have never seen that image from the "Apocalypse f S Jean". And if Ger Hungerink hadn't asked about the existence of cloud-bands with something that appears to be falling from them, I might never have gone looking in the first place.
The "Apocalypse" image clearly sets the pattern, but does it have predecessors or contemporaries or other copies? The VMs artist then gets the three-part structure from the "Apocalypse" of some other <unknown> illustration with a similar structure. Then it would have been a matter of filling in the parts with something which apparently needs to be partly suggestive and ambiguous, without being completely contradictory. That's the question that has been continually asked about the VMS illustrations and the skill of the VMs artist; are the problems of identification due entirely to a lack of artistic skill or to something else?
It's easy to see the f86v3 critter as poorly drawn, and without the traditional interpretation of the nebuly line there various speculative possibilities. The VMs artist could have used a better cloud-band like the examples from the Central Rosette. It may be easier to see the art work as actual attempts to present an element that turns out to be poorly drawn, rather than see that element as rendered with intentional ambiguity. But eventually the ambiguous examples start to stack up. Look at the cosmic comparison of You are not allowed to view links. Register or Login to view. with BNF Fr 565 fol 23. In both the earth is an inverted T-O. But the BNF is pictorial, while the VMs is linguistic. Same structure, but totally different in appearance - intentionally. And the other parts of the cosmos show a similar comparison. They maintain structural similarity, while maximizing visual differences. It fools those investigators who insist that things have to look the same in order to be the same. So when comparisons do not look the same, these investigators are derailed, and the structural similarity and basic identity remain undiscovered.
As far as subtle Christian imagery, there is the little sketch of the double rainbow. And there is also (on White Aries) the pairing of blue striped tub patterns, hidden heraldic insignia, which combine with the origins of the cardinal's red galero and the Fieschi popes, also intentionally disguised - lots of ambiguous trickery.
If you hadn't posted the lamb/cloud-band illustrations, I would probably have never seen that image from the "Apocalypse f S Jean". And if Ger Hungerink hadn't asked about the existence of cloud-bands with something that appears to be falling from them, I might never have gone looking in the first place.
The "Apocalypse" image clearly sets the pattern, but does it have predecessors or contemporaries or other copies? The VMs artist then gets the three-part structure from the "Apocalypse" of some other <unknown> illustration with a similar structure. Then it would have been a matter of filling in the parts with something which apparently needs to be partly suggestive and ambiguous, without being completely contradictory. That's the question that has been continually asked about the VMS illustrations and the skill of the VMs artist; are the problems of identification due entirely to a lack of artistic skill or to something else?
It's easy to see the f86v3 critter as poorly drawn, and without the traditional interpretation of the nebuly line there various speculative possibilities. The VMs artist could have used a better cloud-band like the examples from the Central Rosette. It may be easier to see the art work as actual attempts to present an element that turns out to be poorly drawn, rather than see that element as rendered with intentional ambiguity. But eventually the ambiguous examples start to stack up. Look at the cosmic comparison of You are not allowed to view links. Register or Login to view. with BNF Fr 565 fol 23. In both the earth is an inverted T-O. But the BNF is pictorial, while the VMs is linguistic. Same structure, but totally different in appearance - intentionally. And the other parts of the cosmos show a similar comparison. They maintain structural similarity, while maximizing visual differences. It fools those investigators who insist that things have to look the same in order to be the same. So when comparisons do not look the same, these investigators are derailed, and the structural similarity and basic identity remain undiscovered.
As far as subtle Christian imagery, there is the little sketch of the double rainbow. And there is also (on White Aries) the pairing of blue striped tub patterns, hidden heraldic insignia, which combine with the origins of the cardinal's red galero and the Fieschi popes, also intentionally disguised - lots of ambiguous trickery.