01-05-2024, 07:23 PM
Rich,
You just wrote, ". the issue to me, which I use for comparsion, are the great many other unknowns, which do surpass virtually all genuine items... and even for that matter... most forgeries."
Here you are correct. The great number of 'unknowns' that derive from inconsistencies and 'indiscretions' in the VMs artistry are excessive. They are excessive because they were intentionally created to be that way. There are a few examples where this can be shown fairly clearly, and one of those is the VMs cosmic comparison. The VMs artist has taken an unusual cosmic structure, similar to "Oresme's" cosmos, radically altered the visual appearance and placed it inside a version of Shirakatsi's wheel.
This is how even the more significant parts of the VMs have eluded interpretation for so long. Because they require the elucidation of both parts, known to the artist, but historically obscure to many earlier VMs investigations. Additionally, the artist has made visual modifications within this uncommon, cosmic structural framework. Not to mention the absurd and "inexplicable" combination itself. There is a level or degree of trickery here far beyond expectation. At the same time, there is a familiarity with information relevant to the first part of the 15th century, that would be more likely to be acquired by a privileged individual who lived through that era.
You just wrote, ". the issue to me, which I use for comparsion, are the great many other unknowns, which do surpass virtually all genuine items... and even for that matter... most forgeries."
Here you are correct. The great number of 'unknowns' that derive from inconsistencies and 'indiscretions' in the VMs artistry are excessive. They are excessive because they were intentionally created to be that way. There are a few examples where this can be shown fairly clearly, and one of those is the VMs cosmic comparison. The VMs artist has taken an unusual cosmic structure, similar to "Oresme's" cosmos, radically altered the visual appearance and placed it inside a version of Shirakatsi's wheel.
This is how even the more significant parts of the VMs have eluded interpretation for so long. Because they require the elucidation of both parts, known to the artist, but historically obscure to many earlier VMs investigations. Additionally, the artist has made visual modifications within this uncommon, cosmic structural framework. Not to mention the absurd and "inexplicable" combination itself. There is a level or degree of trickery here far beyond expectation. At the same time, there is a familiarity with information relevant to the first part of the 15th century, that would be more likely to be acquired by a privileged individual who lived through that era.


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