I believe that there is relevant, historical information that can be found in a few of the VMs illustrations. Of those, some also have a chronological provenance within the VMs parchment C-14 dating, such as the structure of the inverted T-O cosmos (BNF Fr. 565, Paris, c. 1410), the fashion of clothing focused on sleeves (c. 1420-1430), and that crazy, old potential identification of the Golden Fleece (1430).
All of these interpretations (none of them mine) have come from various investigations. If, for fun, we accept them as provisionally valid, how is it that the VMs artist possessed and represented the information that promotes these interpretations?
Options: 1) the artist lived during the first half of the 15th C. so, this information was lived experience; 2) the artist lived after the C-14 dates but did good research; 3) the artist lived afterwards, cobbled together a few random images and didn't really care; 4) other.
A person born c. 1400 could have lived into the 1460s or1470s. The final phase of VMs creation could have been a couple decades after the combined C-14 data. My preference is the first option, the artist possessed this knowledge through lived experience.
If the paired, dexter diagonal, blue-striped tub patterns and the combined red galero on VMs White Aries can be interpreted as heraldic references to the historical Fieschi popes of the 13th C., it is interesting to note from the biography of Ottobuono Fieschi, [made a cardinal by his uncle, Pope Innocent IV, in 1251, then was the papal legate to England and later elected Pope Adrian V], that he was actually acquainted with Roger Bacon, so they say.
So, if WMV is the forger, the "evidence" of a "BACON" connection is in the VMs illustrations, but *nobody *used it!? That seems odd.
The duality of White Aries has been hidden. Somebody hid it. That would be the VMs artist's intentionally disguised creation.
All of these interpretations (none of them mine) have come from various investigations. If, for fun, we accept them as provisionally valid, how is it that the VMs artist possessed and represented the information that promotes these interpretations?
Options: 1) the artist lived during the first half of the 15th C. so, this information was lived experience; 2) the artist lived after the C-14 dates but did good research; 3) the artist lived afterwards, cobbled together a few random images and didn't really care; 4) other.
A person born c. 1400 could have lived into the 1460s or1470s. The final phase of VMs creation could have been a couple decades after the combined C-14 data. My preference is the first option, the artist possessed this knowledge through lived experience.
If the paired, dexter diagonal, blue-striped tub patterns and the combined red galero on VMs White Aries can be interpreted as heraldic references to the historical Fieschi popes of the 13th C., it is interesting to note from the biography of Ottobuono Fieschi, [made a cardinal by his uncle, Pope Innocent IV, in 1251, then was the papal legate to England and later elected Pope Adrian V], that he was actually acquainted with Roger Bacon, so they say.
So, if WMV is the forger, the "evidence" of a "BACON" connection is in the VMs illustrations, but *nobody *used it!? That seems odd.
The duality of White Aries has been hidden. Somebody hid it. That would be the VMs artist's intentionally disguised creation.