Well, that's the trick, isn't it? Not to be fooled by VMs deception. And that means the investigative discovery of certain cultural, religious, mythical or other types of icons that might be seen in certain VMs illustrations. It's an attempt to identify the various historical icons that would be relevant to the time of the C-14 dates.
The identification of the Golden Fleece goes back in VMs investigation so far that the sources of this hypothesis are unclear. This interpretation is within the last years of the C-14 determination. It was a cultural icon historically, but the VMs representation, (f80v) is not that convincing.
The investigation of the VMs cosmos, in comparison with historical images from BNF Fr. 565 and Harley 334, shows an uncommon structural version of the cosmos. Both examples came from Paris and fit the C-14 dates. A small part of this cosmic iconology concerns the recovery of proper heraldic terminology for the nebuly line.
A nebuly line is by definition a cloud-band, and a cloud-band is one version of a cosmic boundary. The VMs artist demonstrates that knowledge, the use of a cultural icon, in the VMs cosmos, and that knowledge carries over to the previous example of the VMs critter. What critter deserves a cosmic boundary? Only the Agnus Dei. And the VMs example follows the same three-part structure: Sheep / cosmic boundary / droplets - as an old Apocalypse text that belonged to the Dukes of Burgundy.
Melusine is an icon. So is New Jerusalem, the hidden 'rho-chi', the nymph(s) with the mystical cross and ring, or the Fieschi popes, etc. There's a growing web of potential connections for things that have come from many sources, that all could fit the mid- to late 1430s. Even the potential of something unseen, something hexagonal in the central Rosette, the Well of Moses is the perfect, invisible cloud-bunny. It is hexagonal. It was in place by 1405. And not only does it tie in with the Golden Fleece of Burgundy, it is the second specific identification specifically tied to Dijon. [La Sainte Hostie de Dijon[
I sometimes see the VMs as having an outer façade. And these cultural icons have been "hidden" away. But is the nebuly line really hidden or was it just unknown. It has been my experience that something unknown is almost completely hidden. Nevertheless, when it comes to the use of combined images and the presence of dual interpretation, it should be clear that intentional manipulation has taken place. Trickery is afoot. Appearance is ambiguous, but pairing, position, tradition and structure provide the confirmations that validate the potential identifications.
If disguised illustrations are probable, then secret motives are possible. Too many of the best pages are missing to understand the purpose, but if there is a visual connection to specific segments of VMs text, then VMs White Aries is probably going to be significant.
The identification of the Golden Fleece goes back in VMs investigation so far that the sources of this hypothesis are unclear. This interpretation is within the last years of the C-14 determination. It was a cultural icon historically, but the VMs representation, (f80v) is not that convincing.
The investigation of the VMs cosmos, in comparison with historical images from BNF Fr. 565 and Harley 334, shows an uncommon structural version of the cosmos. Both examples came from Paris and fit the C-14 dates. A small part of this cosmic iconology concerns the recovery of proper heraldic terminology for the nebuly line.
A nebuly line is by definition a cloud-band, and a cloud-band is one version of a cosmic boundary. The VMs artist demonstrates that knowledge, the use of a cultural icon, in the VMs cosmos, and that knowledge carries over to the previous example of the VMs critter. What critter deserves a cosmic boundary? Only the Agnus Dei. And the VMs example follows the same three-part structure: Sheep / cosmic boundary / droplets - as an old Apocalypse text that belonged to the Dukes of Burgundy.
Melusine is an icon. So is New Jerusalem, the hidden 'rho-chi', the nymph(s) with the mystical cross and ring, or the Fieschi popes, etc. There's a growing web of potential connections for things that have come from many sources, that all could fit the mid- to late 1430s. Even the potential of something unseen, something hexagonal in the central Rosette, the Well of Moses is the perfect, invisible cloud-bunny. It is hexagonal. It was in place by 1405. And not only does it tie in with the Golden Fleece of Burgundy, it is the second specific identification specifically tied to Dijon. [La Sainte Hostie de Dijon[
I sometimes see the VMs as having an outer façade. And these cultural icons have been "hidden" away. But is the nebuly line really hidden or was it just unknown. It has been my experience that something unknown is almost completely hidden. Nevertheless, when it comes to the use of combined images and the presence of dual interpretation, it should be clear that intentional manipulation has taken place. Trickery is afoot. Appearance is ambiguous, but pairing, position, tradition and structure provide the confirmations that validate the potential identifications.
If disguised illustrations are probable, then secret motives are possible. Too many of the best pages are missing to understand the purpose, but if there is a visual connection to specific segments of VMs text, then VMs White Aries is probably going to be significant.