18-05-2026, 07:48 PM
Heraldry is a language. It is a means of communication. Heraldry provides information.
The initial identification of the Fieschi popes is based on armorial heraldry. In the *non-radial* orientation, the stripes are diagonal, the paint is blue, the patterns are paired. The inner figure wears a red galero. While the combination is suggestive, it is also disguised by the natural tendency to use a radial perspective.
A closer examination of the White Aries illustration shows that there are a number of other factors relevant to the proposed identification. Those based on position are objective facts, not subjective opinions.
1) With the cardinal in the inner ring and the pope in the outer ring, this is the correct placement for hierarchical positioning in the celestial spheres. With two figures and two rings, there are four possible arrangements.
2) Both figures are located in the more favored heraldic upper right quadrant. With the two figures and four different quadrants, there are 16 possibilities.
The combination of these two factors makes the chosen White Aries structure just one option out of 64 - and the only one to satisfy both of the hierarchical and heraldic criteria.
White Aries is the most painted page in the VMs Zodiac sequence. The prolific painting of the White Aries zodiac page does two things.
3) Painting almost everything serves to disguise the two tubs with blue stripes. There is plenty of blue, green and red-brown paint used on this page as a distraction.
4) Painting almost everything else serves to emphasize the 'whiteness' of White Aries. Otherwise, when nothing is painted, color is not determined.
5) The choice of *White* Aries as the medallion figure for this heraldic identification follows because this *white* animal is the only zodiac animal suitable for celestial sacrifice. Pope and cardinal are in the celestial spheres. All celestial elements have been joined together. Popes don't hang out with Scorpio.
6) Does the number of stripes matter? No, the heraldic counting of parts comes much later. The combined representation of round tubs and flat shields creates an intentional ambiguity.
7) What about the ink markings on the unpainted stripes? Heraldry shows that painting and hatching are not used in combination. They cannot be interpreted together. The use of an invalid interpretation makes for an invalid objection. It's another artistic trick.
8) In the preceding Pisces and Dark Aries illustrations, corresponding in both quadrant and sphere to the blue-striped tubs of White Aries, are tubs with dark, scale-like patterns. This pattern is an obscure heraldic fur known as papelonny. The structural correspondence, and the French word "pape" for pope make this look like an extended version of heraldic canting. The VMs artist knew that there were two Genoese popes: Innocent IV and Adrian V.
All these factors support the historical identification of the Fieschi popes as being known to the VMs artist, yet they also show that this religious interpretation was intentionally disguised.
The initial identification of the Fieschi popes is based on armorial heraldry. In the *non-radial* orientation, the stripes are diagonal, the paint is blue, the patterns are paired. The inner figure wears a red galero. While the combination is suggestive, it is also disguised by the natural tendency to use a radial perspective.
A closer examination of the White Aries illustration shows that there are a number of other factors relevant to the proposed identification. Those based on position are objective facts, not subjective opinions.
1) With the cardinal in the inner ring and the pope in the outer ring, this is the correct placement for hierarchical positioning in the celestial spheres. With two figures and two rings, there are four possible arrangements.
2) Both figures are located in the more favored heraldic upper right quadrant. With the two figures and four different quadrants, there are 16 possibilities.
The combination of these two factors makes the chosen White Aries structure just one option out of 64 - and the only one to satisfy both of the hierarchical and heraldic criteria.
White Aries is the most painted page in the VMs Zodiac sequence. The prolific painting of the White Aries zodiac page does two things.
3) Painting almost everything serves to disguise the two tubs with blue stripes. There is plenty of blue, green and red-brown paint used on this page as a distraction.
4) Painting almost everything else serves to emphasize the 'whiteness' of White Aries. Otherwise, when nothing is painted, color is not determined.
5) The choice of *White* Aries as the medallion figure for this heraldic identification follows because this *white* animal is the only zodiac animal suitable for celestial sacrifice. Pope and cardinal are in the celestial spheres. All celestial elements have been joined together. Popes don't hang out with Scorpio.
6) Does the number of stripes matter? No, the heraldic counting of parts comes much later. The combined representation of round tubs and flat shields creates an intentional ambiguity.
7) What about the ink markings on the unpainted stripes? Heraldry shows that painting and hatching are not used in combination. They cannot be interpreted together. The use of an invalid interpretation makes for an invalid objection. It's another artistic trick.
8) In the preceding Pisces and Dark Aries illustrations, corresponding in both quadrant and sphere to the blue-striped tubs of White Aries, are tubs with dark, scale-like patterns. This pattern is an obscure heraldic fur known as papelonny. The structural correspondence, and the French word "pape" for pope make this look like an extended version of heraldic canting. The VMs artist knew that there were two Genoese popes: Innocent IV and Adrian V.
All these factors support the historical identification of the Fieschi popes as being known to the VMs artist, yet they also show that this religious interpretation was intentionally disguised.