07-07-2021, 11:14 PM
The hoax is that the objects of scientific, historical, and traditional contact have been disguised and made ambiguous in the illustrations of the VMs. The problem is that these disguised objects of scientific (etc.) contact have a hard time functioning after all the intervening centuries have bought about the modern world. Who would know the actual structure of the BNF Fr. 565 version of the 'Oresme cosmos'?
The Oresme dates are correct; de Metz was a century before him, but Harley 334 is c. 1430 or later. There is one other Oresme cosmos in BNF Fr. 1082, with some similarities, but it has no stars. It is not a three-part cosmos when it has no stars. De Metz has a lot of 'attributed' illustrations. None of them are anything like the inverted T-O illustration in Harley 334. The similarity is between the two Paris-sourced illustrations and the comparison is with the structure of the VMs cosmos. All three share a structure of the same three parts, with certain subtle, and certain glaring differences in visual representation. It is clearly not the standard, poly-concentric, all seven planetes, and all, that was current in the 'scientific', cosmic diagrams at the C-14 dates.
The de Metz illustration is further involved in the situation because of its 'mermaid' illustration. The connection between the two source texts shows that the connection is to Paris
What this indicates is that these VMs illustrations were created by a person familiar with the details of this uncommon cosmic structure, then able to present an alternative construct with minimal visual similarity, yet one that does not contradict the three-part structure. There is ambiguity in the VMs illustrations, there is trickery. There is also the substitution of a stumbling nebuly line for the elegant scallop-shell pattern of BNF Fr. 565. The investigator who does not recognize this equivalency will stand at a disadvantage.
A similar situation can be demonstrated for several other VMs illustrations. The illustrations have a superficial purpose as a distraction. And they also contain the objects of scientific, historical and traditional contact subtly placed within the façade, if those old contacts can be re-activated. Having the appearance of a normal text from an exotic cultural source is the hoax that the VMs presents. Finding actual history hidden by intentional artifice is the puzzle pathway to a potential VMs solution. Heraldry is a part of that solution.
Perhaps you were looking for glaring anachronisms?
The Oresme dates are correct; de Metz was a century before him, but Harley 334 is c. 1430 or later. There is one other Oresme cosmos in BNF Fr. 1082, with some similarities, but it has no stars. It is not a three-part cosmos when it has no stars. De Metz has a lot of 'attributed' illustrations. None of them are anything like the inverted T-O illustration in Harley 334. The similarity is between the two Paris-sourced illustrations and the comparison is with the structure of the VMs cosmos. All three share a structure of the same three parts, with certain subtle, and certain glaring differences in visual representation. It is clearly not the standard, poly-concentric, all seven planetes, and all, that was current in the 'scientific', cosmic diagrams at the C-14 dates.
The de Metz illustration is further involved in the situation because of its 'mermaid' illustration. The connection between the two source texts shows that the connection is to Paris
What this indicates is that these VMs illustrations were created by a person familiar with the details of this uncommon cosmic structure, then able to present an alternative construct with minimal visual similarity, yet one that does not contradict the three-part structure. There is ambiguity in the VMs illustrations, there is trickery. There is also the substitution of a stumbling nebuly line for the elegant scallop-shell pattern of BNF Fr. 565. The investigator who does not recognize this equivalency will stand at a disadvantage.
A similar situation can be demonstrated for several other VMs illustrations. The illustrations have a superficial purpose as a distraction. And they also contain the objects of scientific, historical and traditional contact subtly placed within the façade, if those old contacts can be re-activated. Having the appearance of a normal text from an exotic cultural source is the hoax that the VMs presents. Finding actual history hidden by intentional artifice is the puzzle pathway to a potential VMs solution. Heraldry is a part of that solution.
Perhaps you were looking for glaring anachronisms?