HYPOTHETICAL ROSE

As an illustration of how a talismanic painting operated magically, it is worth looking closely at one of the greatest of them, Botticelli’s famous Primavera, executed for a cousin of Lorenzo de’ Medici and disciple of Ficino. Before doing so, however, one must recognize that Botticelli subscribed the concept of a ‘Cosmic Spirit’ enunciated by Ficino an; promulgated by Pico. This ‘Cosmic Spirit’ can be conceivec as analogous to light, which, when filtered through a prism. produces colour. When filtered through the effluence, or force field, of a particular planet, the ‘Cosmic Spirit’ was believed to conduct and convey the planet’s energies.

In the Primaverd. Botticelli endeavours to invoke the vernal energies of Venus, in order to disseminate them through the terrestrial world and foster an atmosphere of perpetual spring – an atmosphere ot” rebirth and renewal, of awakening sexuality and of love.

At the geometric centre of the painting stands the patroness of the process, Venus herself, embowered in vernal greenery and fertile vegetative growth. To her right, in the foreground, are her earthly avatars, the Three Graces, Beauty, Chastity and Passion. According to Pico, ‘the unity of Venus is unfolded in the trinity of the Graces’, and it is through them that her influence will be transmitted to the domain of humanity.

The ‘Cosmic Spirit’ is conjured into the painting at the extreme right. It is exhaled into the scene by the wind god Zephyr, whose breeze is also the Hermetic pneuma, denoting both breath and spirit. Zephyr’s exhalation of pneuma is to be conceived as actively circulating through the painting, moving dynamically from right to left, like a Kabbalistic text in Hebrew. It first touches the flimsily clad earth nymph Chloris, who reflects the denuded world of winter. At Zephyr’s touch, Chloris makes way for — or perhaps metamorphoses into — Flora, nymph of spring, whose luxurious apparel reflects the springtide earth, sumptuously clad in vestments of lush vegetation. Continuing on its path, as if through a carefully constructed pipeline, the pneuma will then animate the dance of the Three Graces; and one of them, Chastity, her hair still modestly braided and bound up rather than loosely flowing, will be initiated into love by the prick of Cupid’s arrow, aimed at her from above. Her love, like her gaze, will be directed at Mercury, or Hermes, who stands calmly at the painting’s extreme left, in symmetrical balance and counterpoint to Zephyr. And he, with his upraised hand and eyes, will redirect it back into the cosmos again.

The painting thus depicts, and simultaneously seeks to induce, a dynamic process. By means of this process, the ‘Cosmic Spirit’ is conjured down to earth in specifically ‘Venusian’ form. It is channelled through the terrestrial world according to a precise itinerary or trajectory. Having produced its effects, it is then guided back into the firmament again. Through its circulation, below is linked with above, earth with heaven, microcosm with macrocosm. And the process will repeat itself eternally, in an ever-recurring cycle. The ‘Cosmic Spirit’ will eternally enter the world through Zephyr’s impetuous vernal breath. Having renewed and revitalized dormant nature, it will then return to the sublime serenity of the numinous, whence it will reappear again with the spring of
the following year.”

Hermeticism posited the interrelationship, the intercon-nectedness, the correspondences between all things. It is therefore obvious that the principle of harmonious proportion, which linked magic, mathematics and music, should also be applied to painting and sculpture. The Hermetic painters of the Renaissance were all accomplished mathematicians, and some of them were musicians as well.

The parallel between harmonic proportion in music and harmonic proportion in spatial measurement was one of the established premises of Renaissance Hermetic art. According to the architect Palladio, ‘the proportions of the voices are harmonies for the ears; those of the measurement are harmonies for the eyes’.

For men like Palladio, ‘both music and painting convey harmonies; music does it by chords and painting by its proportions’.30 Hermetic painters of the Renaissance employed the principle of harmonic proportion in a variety of ways. One such was the depiction of perspective – ‘objects of equal size placed so as to recede at regular intervals, diminish in “harmonic” progression’.”

Poussin – Dance to the Music of Time

“Harmonic proportion in Hermetic paintings of the Renaissance is particularly apparent in the frequent use of the so-called ‘Golden Proportion’, or ‘Golden Mean’, or ‘Golden Section’.

A number with an infinite sequence of decimal places, the Golden Section is usually denoted by the Greek letter phi (ch). It denotes a specific and constant ratio derived from a precise geometric relationship. One must visualize a regular pentagon, a figure of five equal sides. One must then visualize a pentagram, a five-pointed star, inscribed inside it. The length of each line in the internal pentagram will always have a constant relationship to the length of each side of the external pentagon. This ratio is the Golden Section, or cb. It represents a unique harmonious proportion. It constitutes a means of dividing a given line so that each division has a specific fixed relationship to every other division and to the whole.

Because it was inherent in the immutable principles of mathematics — in the immutable laws governing number, angle and form — the Golden Section was deemed a particularly felicitous manifestation, and confirmation, of the harmonious relationship between microcosm and macrocosm. Its significance was deemed all the greater by virtue of the fact that it could be found, like a divine signature, in nature — in the structure of the conch or nautilus shell, for example, whose spiral expands geometrically in accordance with the Golden Section. And it also bore the stamp of authority conferred by antiquity. It had consistently been used by architects and sculptors of the classical world.

The Parthenon, for instance, was built according to the ratio of the Golden Section. In ancient Egypt and Greece, moreover, the Golden Section was thought to be present in the dimensions of the human body, divided by the navel into the ratio of phi. A building constructed according to the same ratio was therefore held to be more harmoniously suited to those living or working within it.

“Hermetic painters of the Renaissance regularly composed their works on the basis of an underlying geometry embodying harmonious proportions. The Golden Section often constituted the governing principle of such geometry. It was oftenused, for example, by Leonardo. It is apparent in The Baptism of Christ by Piero della Francesca, who, in his lifetime, was actually better known as a mathematician than as a painter. An underlying pentagonal geometry based on the Golden Section is also apparent in Diirer’s famous Melancholia. A century and a half later, the same geometry was still being employed by Poussin.

Along with other mathematical and geometric formulae, the Golden Section was held to incorporate an inherent metaphysical dimension. Being based on number, it existed ‘eternally’ and pervaded all things. It could thus be perceived as a manifestation, even as an attribute, of divinity. God the Creator could be seen demonstrably to work through the immutable laws of number and proportion. And it was therefore natural to seek these laws in the microcosm of the human body.

The classical Roman architect Vitruvius – whose teachings were revived by Renaissance Hermeticists – had advocated the construction of temples in accordance with proportions derived from the human body. These proportions included not only the Golden Section, but also an extrapolation of circles and squares originating from an upright human figure standing with arms and legs extended.

A famous drawing of this figure – often referred to as ‘Man the Microcosm’ – appears in Leonardo’s notebooks. It was subsequently adapted by Agrippa and Fludd, who depicted it in a cosmic context – in a circle corresponding to the zodiac, with astrological signs inscribed in their appropriate places. The eternal harmonious proportions of all creation were thus revealed as inherent in the miracle of the human body, which incarnated in the microcosm the divine perfection of the macrocosm.”

Secret Number 50 is this: that when you have learned to draw and paint without mistakes, when you know how to distinguish the sympathies and the antipathies of natural things with your own eyes, when you have become a master in the art of washing and when by your own resources you are able to draw an ant with the reflections corresponding to each one of its minute legs, when you know how to practice habitually your slumber with a key and the so hypnotic one of the three sea peach eyes, when you have become a master in the resurrection of lost images of your adolescence, thanks to the natural magic of the retrospective use of your araneariums, when you have possessed the mastery and the most hidden virtues belonging to each of the colors and their relations to one another, when you have become a master in blending, when your science of drawing and of perspective has attained the plenitude of that of the masters of the Renaissance, when your pictures are painted with the golden wasp media which were then as yet unknown, when you know how to handle your golden section and your mathematical aspirations with the very lightness of your thought, and when you possess the most complete collection of the most unique curves, thanks to the Dalinian method of their instantaneous molding in dazzlingly white and perfect pentagons of plaster, etc. etc. etc., nothing of all this will yet be of much avail! For the last secret of this book is that before all else it is absolutely necessary that at the moment when you sit down before your easel to paint your picture, your “painter’s hand” be guided by an angel.

Salvador Dali, 50 Secrets of Magic Craftsmanship, Dover Publications, Inc., New York”

http://www.grahamhancock.com/phorum/read.php?f=1&i=143001&t=143001&v=f

http://www.philipcoppens.com/ficino_mag.html

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13 Responses to “HYPOTHETICAL ROSE”

  1. ZID ZAK ZIM Says:

    ꑀ ꑅ,

    ꑥ ꐐ ꐠ ꏠ ꏬ ꏍ ꐀ ꐸ ꑟ ꑒ ꑠ ꑆ ꑏ ꀏ ꀶ ꁅ
    ꁆ ꁎ ꁩ ꉿ ꉲ ꈶ ꈾ ꈻ ꉟ ꈢ ꈧ ꈧ ꈲ ꊬ ꊵ ꊡ
    ꋟ ꋗ ꋘ ꋕ ꋔ ꋔ ꌇ ꍮ ꍪ ꎢ ꑒ ꋩ ꋧ ꋷ ꋷ ꋭ
    ꋢ ꋡ ꋰ ꍇ ꍨ ꍟ ꍛ ꍤ ꍡ ꍨ ꍆ ꍎ Ѩ ѱ ڱ
    ☈ ☉ ☟ ☝ ☬ ♉.
    -V.⚀⚁⚂⚃⚄

    • Building_#7 ⏏ÅΩ✈✈✈✈☠ Says:

      ♒❾❸♕☠♆✍✉☞☏☞✈✈ꈧꈧ☢♨☠ꑨꑩ☁☀
      ꑮ…ꑫ…ꑬ…ꑯ…

    • SIGIL ALERT Says:

      ꑵ ꑔ ꑞ ꑑ ꑸ ꐸ

      ꑓ ꑙ ꑻ ꒋꒋ ꑹ

      ꒂ ꑡ ꀞꀞ ꑧ

      ꀦꀨꀤ ꀫꀬꄳ

      ꄹ ꄼꄓ ꄕꅀ ꄺ ꄒ

      ꆤ ꇇꇎ ꈸꈹꈻꈺꈡ

      ꒂ ꐘ ꎛ ꍰ

  2. ZID ZAK ZIM Says:

    ꐸ ꐤ ꐟꐔꐕ ꐠ ꉀꉄꈢ ꍐꏠꏣ ꎱꎛ

    sincerely,

    Hmmmmmm……

  3. SIGIL ALERT Says:

    The Crow? The Joker?

    If your mind & soul have been colonized
    by hypersigils, how can you tell the difference? Kinda hard to keep track, really…

    Ledger? Lee?
    Their surnames both start with “Le”.

    What else do they have in common?

    Some occultists contend that a sigil
    launching is rendered much more
    efficacious by offering a “sacrifice”
    of some sort. But we know better.

    Don’t we?

    –the Log Lady

  4. H. Bustos Domecq Says:

    Anyway, this is the last I plan on posting about this topic on this forum unless I find a greater connection between the two. I don’t want to hijack the discussion at all and really, the DE stuff is like my own personal rabbit hole at the moment. I’ve got reasons for sticking with it (which don’t make a lot of sense to anyone but me, but such is life, I suppose), but I won’t let that cloud my objectivity. But I need feel the need to explain my involvement with that, because of the previously mentioned tinfoil. I’m really not nuts and I’m actually pretty damn logical, which is makes all of this so difficult. But being a person who’s trying to get people to understand the existence of chemtrails, I hope you can understand that.

    EDIT: On review, this post doesn’t have a lot of substance in it, so I wanted to quickly summarize as best I can why I think the DE’s investigation is relevant to astroturfing and whatnot. And it has to do somewhat with the whole Mayan calendar bullshit and the overall New Age crap that’s appearing all over the net, sidetracking real conversation. This line of thinking shows up on tons of forums and I think what DE is uncovering is the “next level” (pardon the pun) of this thinking. It’s an attempt to replace the old religions with a New Age, due to the thought that people need SOMETHING to believe in. And in the current investigation, there seems to be two different “factions”, the old and the new, warring against each other. And both “factions” seem to be being manipulated into playing this game as a means of distraction. Now, it’s taken me awhile to even come up with that hypothesis, but there is evidence suggesting real manipulation into such things.
    –BANTA 9/12/07

    http://allaircraftarenotinvolved.freeforums.org/the-wrh-messageboard-t19-60.html#p718

    ~Banta/Terry Grimes (because I’m done hiding behind an online alterego as well)

    Joined: 08 Jul 2007
    Posts: 81
    http://breakfornews.com/forum/viewtopic.php?t=3141

    http://www.google.com/search?q=%22terry+grimes%22&btnG=Search&newwindow=1&safe=off&hl=en&gbv=1

    • Charlie Chan Says:

      Most prescient of “Banta” to join “breakfornews” forum on 7/8/07, mere two days before most Sad Event on 7/10/07, and on 8/5/07 use same forum as platform to announce martyrdom of “Dreamsend” as REAL victim of sad tragedy. Banta feel so strong about said assertions that he reveal real name to waiting world: “Terry Grimes”, who must be fictional character or nonexistent.

      Like final scene in movie where all characters show up in same room before turn light out, both Socrates/Prepostericity & Elfis in attendence at forum.

      Most happy coincidence: Elfis agree with Banta!

      Game on!

      爂爅 爚爚爏 牆牠牠
      ㋕㋟㋒㋛㌓㌚㐤㐯
      ꋕꋺꇕꅥ ꈹ ꆗ

  5. AlphabetofBrookeShields Says:

  6. AlphabetofBrookeShields Says:


  7. It’s a nice tepid 114 here all this week! 🙂 Wheeeeee The cacti are thriving

  8. Yes, we shall trip the lightbody fantasmic, dance on the eaves of dreambuildings, soar through mists of timetravel into sunsets of flower gardenvisions, walk on the beaches of the eyelashes of goddesses, drape our tresses through her waterline whilst combing lion’s manes with seashells serenaded by eerie sirens peering over candy rock jettys and ride on supernova ferriswheels around the universe while casting astral nets of photon fluff to capture the stars and eat plasma taffy in a negative ion carnival with clown-grandmothers and kitten-jewels. And then… ~~~

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