05-11-2016, 10:39 PM
So, after a bit of thought, to anyone interested, here's a simple challenge. I have provided a list of several names for standard heraldic patterns. Anyone can take that name to a reference on heraldry and find an example and definition of that specific pattern. They can take that pattern and definition to the VMs tub patterns and look for a visually similar example. Then, if we were to compare the choices each participant has made, do you think there will be much variation and discrepancy between individual selections, or will it be that we have all chosen pretty much the same. Paired paly patterns sit at the top of VMs Pisces. And how can you lose a chevrony?
List of names: paly, bendy (both diagonals), barry, chevrony and papelonny
If the VMs author was an educated person in Europe, at or subsequent to the VMs parchment dates, is it not reasonable that s/he would know these patterns and definitions in their heraldic context? Whether or not the individual, modern reader makes this set of connections is another matter altogether. The VMs illustrations provide a set of heraldic examples. It is the strength of the set, that one example leads to another, which establishes heraldry as a method of interpretation. It says to continue looking for other examples. And eventually, if the investigator works around Pisces outer ring, an obscure heraldic fur is found and its name is 'papelonny'. And this is an element that play a big role later on, if the investigation survives to have a later on.
And if the VMs author had been educated under Catholic church auspices, which would have been the primary option at the time, I believe, isn't it reasonable that s/he might know the origins of an approximately 200 year old religious tradition in the ecclesiastical hierarchy of said institution?
And if the author's intent is to disguise a more recognizable image, then the shift to radial orientation is perfectly brilliant. But the fact is that there are two possible interpretations of orientation. An intentional optical illusion has been made. This is a prime example of intentional ambiguity. The White Aries illustration has *two* interpretations. The valid interpretation exists on the page. It's just harder to see. And it is the hidden, secondary, page-based orientation of the blue-striped patterns that connects to the history and tradition of the red galero (also represented), which is then repeatedly confirmed by the objective placement of the illustrated elements through their proper hierarchical location and other traditional descriptions of positioning within the construction, and more.
If there is intent to disguise, it worked.
List of names: paly, bendy (both diagonals), barry, chevrony and papelonny
If the VMs author was an educated person in Europe, at or subsequent to the VMs parchment dates, is it not reasonable that s/he would know these patterns and definitions in their heraldic context? Whether or not the individual, modern reader makes this set of connections is another matter altogether. The VMs illustrations provide a set of heraldic examples. It is the strength of the set, that one example leads to another, which establishes heraldry as a method of interpretation. It says to continue looking for other examples. And eventually, if the investigator works around Pisces outer ring, an obscure heraldic fur is found and its name is 'papelonny'. And this is an element that play a big role later on, if the investigation survives to have a later on.
And if the VMs author had been educated under Catholic church auspices, which would have been the primary option at the time, I believe, isn't it reasonable that s/he might know the origins of an approximately 200 year old religious tradition in the ecclesiastical hierarchy of said institution?
And if the author's intent is to disguise a more recognizable image, then the shift to radial orientation is perfectly brilliant. But the fact is that there are two possible interpretations of orientation. An intentional optical illusion has been made. This is a prime example of intentional ambiguity. The White Aries illustration has *two* interpretations. The valid interpretation exists on the page. It's just harder to see. And it is the hidden, secondary, page-based orientation of the blue-striped patterns that connects to the history and tradition of the red galero (also represented), which is then repeatedly confirmed by the objective placement of the illustrated elements through their proper hierarchical location and other traditional descriptions of positioning within the construction, and more.
If there is intent to disguise, it worked.