Though I have alluded to it several times, let me say that <IMHO> the VMs artist is a tricky (person) who is not beyond using visual deception, and your reply only confirms his/her skill.
The patterns of the blue-striped tubs are oriented exactly as you've said *IF* you look at them from a 'radial' perspective. That is, you turn the orientation so that the nymph is upright. It's a natural thing to do. But it is not the only possibility.
Take another look at the White Aries page and mentally erase everything except the patterns on the blue-striped tubs. What do you see? A pair of insignia that are correctly oriented in the same diagonal as the armorial insignia of the historical counts of Lavagna. Bendy, argent et azure. This interpretation may be less apparent, but it leads to some serious historical connections when combined with the red galero. Yes, the depiction is rough, but it's not the quality of the depiction that counts - it's the interpretation. The structural confirmations are all built into the ink-drawn images, and the color is just the icing on the cake.
The fact that there are two competing sets of interpretations is duality - or deception, or trickery or whatever you want to call it. It's not an accident. The artist has created a façade and behind it there is something else - an alternate interpretation, a historical connection for those who know the relevant historical tradition.
The patterns of the blue-striped tubs are oriented exactly as you've said *IF* you look at them from a 'radial' perspective. That is, you turn the orientation so that the nymph is upright. It's a natural thing to do. But it is not the only possibility.
Take another look at the White Aries page and mentally erase everything except the patterns on the blue-striped tubs. What do you see? A pair of insignia that are correctly oriented in the same diagonal as the armorial insignia of the historical counts of Lavagna. Bendy, argent et azure. This interpretation may be less apparent, but it leads to some serious historical connections when combined with the red galero. Yes, the depiction is rough, but it's not the quality of the depiction that counts - it's the interpretation. The structural confirmations are all built into the ink-drawn images, and the color is just the icing on the cake.
The fact that there are two competing sets of interpretations is duality - or deception, or trickery or whatever you want to call it. It's not an accident. The artist has created a façade and behind it there is something else - an alternate interpretation, a historical connection for those who know the relevant historical tradition.