Basic heraldic patterns include a number of examples composed of alternating stripes, in varying numbers, in the four directions [vertical, horizontal, and diagonal x 2]. Starting at the top of VMs Pisces is a pair of tubs with alternating vertical stripes. To either side are tubs with spotted patters, and clockwise there is another. But the one before 3:00 is a pattern of alternating diagonal stripes, oriented as a bend sinister. At 3:00 the alternating stripes of a chevron pattern. Then one after that has horizontal stripes.
The following tub pattern is overlaid with a bunch of circular, ring-like elements. In heraldry, rings are annulets and a semy of annulets is a valid possibility - granted it is poorly draw. As is the next tub whose pattern is indecipherable. But it is followed, just before 6:00 by a tub with a nice design of circles - a good semy of roundels.
At 9:00 more vertical stripes, then horizontal stripes, then a pattern of scales - the obscure fur called papelonny.
VMs Dark Aries has a couple blank tubs, a few repeats, and an interesting pattern of concentric circles in the outer ring at 9:00. It's a variation of the whirlpool pattern known as 'gorges'. And that's another story.
So, two pages leading up to VMs White Aries, with numerous examples of potential heraldic interpretation - like chevrons.
Why did the artist stop drawing tubs? Because the job was finished. Why drag out further irrelevant examples, when the disguise had already been played? The job was to connect the pairing of the initial Zodiac medallions and the heraldry of the tubs to 'subtly include', via heraldic interpretation, the historical grounding of the Genoese popes
The represented patterns tend to be plain, but not all that simple. Annulety is not simple. Gouges is not simple. Papelonny is not simple. At the same time the dualistic structure of White Aries shows clear, intentional disguise. Lions and towers might attract more attention. It's not the armorial heraldry on its own. It's the combined evidence of the red galero that reveals the specific historical connections, but only to those capable of such recognition. And, ostensibly, that was then, when the knowledge for such recognition may have been more immediate for certain groups and persons; and this is now.
The following tub pattern is overlaid with a bunch of circular, ring-like elements. In heraldry, rings are annulets and a semy of annulets is a valid possibility - granted it is poorly draw. As is the next tub whose pattern is indecipherable. But it is followed, just before 6:00 by a tub with a nice design of circles - a good semy of roundels.
At 9:00 more vertical stripes, then horizontal stripes, then a pattern of scales - the obscure fur called papelonny.
VMs Dark Aries has a couple blank tubs, a few repeats, and an interesting pattern of concentric circles in the outer ring at 9:00. It's a variation of the whirlpool pattern known as 'gorges'. And that's another story.
So, two pages leading up to VMs White Aries, with numerous examples of potential heraldic interpretation - like chevrons.
Why did the artist stop drawing tubs? Because the job was finished. Why drag out further irrelevant examples, when the disguise had already been played? The job was to connect the pairing of the initial Zodiac medallions and the heraldry of the tubs to 'subtly include', via heraldic interpretation, the historical grounding of the Genoese popes
The represented patterns tend to be plain, but not all that simple. Annulety is not simple. Gouges is not simple. Papelonny is not simple. At the same time the dualistic structure of White Aries shows clear, intentional disguise. Lions and towers might attract more attention. It's not the armorial heraldry on its own. It's the combined evidence of the red galero that reveals the specific historical connections, but only to those capable of such recognition. And, ostensibly, that was then, when the knowledge for such recognition may have been more immediate for certain groups and persons; and this is now.