The Song of the Golden Dragon

For the holiday, a brilliant, impassioned performance by Estas Tonne. Born in the Soviet Ukraine - along with, quite possibly, a guitar in his arms - he is (as of this century) a traveler, a troubadour and a street-musician (as can be seen in his video above).

For further information regarding Estas Tonne: his website and YouTube page.

(A special thanks to John for the heads-up!)

(Note 1/10/23: the accompanying article - regarding the goddess Hygeia - which originally appeared here is being revised and given a new post URL).

Google Celebrates Judith Leyster

 

Today's Google Doodle celebrates Judith Leyster... a lovely surprise to find on a Monday morning. It's kind of like, Judith Leyster Saves the Day... again!

Chasing Ancient Pentagrams Part III: The Quintessence - The Fellowship of Pentalpha

A floor mosaic - featuring a stellated dodecahedron - in St Mark's Basilica, Venice by Paolo Uccello circa 1430.

Featured in the center of the image (above) and in center of the image inset left is the geometrical figure known as the small stellated dodechahedron.

I don't know that this polyhedron has any specific esoterica attached to it - apart from it's obvious relationship with the pentagram and the regular dodecahedron - and, yet, its presence in the mosaic  and the print seem to hold a special significance for both artists... in spite of the fact that more than 400 years and several countries separated them.

Maurits Cornelis (M.C.) Escher (1898-1972), was a Dutch graphic artist especially known for the mathematical figures and motifs in his work, while Italian painter, Paolo Uccello, was not. Uccello accomplished amazing feats of perspective in his paintings, but his online oeuvre contains only one other example of a geometric solid. And, yet, it's his polyhedron which is unquestionably the "star" of the mosaic at St. Mark's basilica... surrounded by what looks like a string of... well, sliced zucchini (but don't quote me). In any case, regardless of the vegetables, his dodecahedron is a powerful icon.

In M.C. Escher's still-life, however, the same stellated polyhedron has become an illuminated life form... or a small, extraterrestrial vehicle which has landed in a patch of earthly refuse... a broken egg, bottle, pipe, discarded tin can, etc. It seems as if the two images could not be less alike.

But, there is one continuum between Uccello's mosaic and Escher's drawing.  Both images glorify the stellated dodecahedron while, at the same time, revealing its fundamental source: the pentagram.

Inset left is a great shot of Escher inking in a most amazing spiral. The full image - Sphere Surface with Fish - is below the jump.

The Mad Minstrel in the Gallery

"In days of peace 

sweet smelling summer nights

of wine and song;

dusty pavements burning feet.

Why am I crying, I want to know.

How can I smile and make it right?

For sixty days and eighty nights

and not give in and lose the fight."

- Lyrics from With You There to Help Me, 1970, Ian Anderson.

I've been searching through my mental catalogue of music for the past week, trying to locate a particular set of sounds that somehow fit my present (precarious) situation... and the present place of this blog in time... but, regardless of my efforts, I just could not find the right tune.

That is, until this morning, when my present housemate greeted me with Ian Anderson and the musical moment presented above (alternate video). Yes, this tune is a vintage one - another one from over 50 years ago (!) - but it's a time-traveling tune, i.e., a pentagonal manifestation... and, by this, we know it's timeless.

And, by who better than the Mad Minstrel from a band named Jethro Tull? The man who transformed Bach so deliciously... and who can be recognized so effortlessly in the Tull poster (inset right).

Incidentally, Jethro Tull is touring now in the UK and will be elsewhere in Europe next year. (Timeless is forever.)

It just occurred to me that the winter solstice is almost upon us... and many moons ago, I chose Jethro Tull's album, Songs from the Wood as a seasonal favorite. Above is a great live version of the title track. (Note: Velvet Green, live.) Sadly, the  related video and links were broken in the solstice post... only to be (happily) resurrected here.

For lyrics (in English) to Songs from the Wood and Velvet Green see this Obsidian Magazine article written by Peg Aloi: Love from the Fields; The Imagery of Pagan Britain in the Songs of Ian Anderson.

Update (12/3/22): Epiphany: Ian Anderson as The Fool in a tarot deck. Traditionally, The Fool is the wild card... and numbered 0... a sort of alpha/omega in the circle of the Major Arcanum. Generally depicted as a youthful, carefree (and careless) vagabond, in one of the original decks he is also shown playing a pipe - specifically what appears to be the bag-pipes.

Various interpretations of The Fool include a madman or wild man, vagabond, jester, and wandering minstrel or bard... and eventually, the Joker, a trickster. In games it represented both the highest card and the lowest trump.

I particularly like the interpretation (found here), quoted below:

"The Fool represents the beginning of the journey of life, represented by the Major Arcana of the Tarot. They are the 0th card, meaning although they are at the beginning of the journey they can really enter the Major Arcana sequence at any point.

They represent both the beginning of the journey and the entire journey itself. They have an air of tranquility. They transcend the mundane reality of stress and work and encourage us to see the world with what the Zen masters call Beginner’s Mind."

Inset right is The Fool from the very early Sola Busca tarot deck, created in Italy during the late 15th century.

Chasing Ancient Pentagrams Part II: The Quintessence - The Egyptian Duat

An Egyptian limestone panel, 400-200 BC / Metropolitan Museum, New York

"The Star which guided them is that same Blazing Star, the image whereof we find in all initiations. To the Alchemists it is the sign of the Quintessence; to the Magists, the Grand Arcanum; to the Kabalists, the Sacred Pentagram."

- A reposting of a quote (see Halloween post) via Albert Pike, a 19th century American Freemason.

While Pike doesn't specifically mention the ancient Egyptians in the quote above, and, while the Egyptian's 5-fold star wasn't technically a pentagram, the five-fold star inscribed within a circle (essentially a pentacle) was a crucial symbol in their world. It symbolized the Afterlife or Underworld; that is, the Duat, the medium in which a departed soul was judged, and a dimension in which there was no day or night. The Duat was the home of some of its most important gods: Osiris, Anubis, Thoth, Horus, Hathor, and Maat. The sun-god, Ra, also passed through its regions every night in his solar barge.

In the large image (carved in relief) above, two baboons are worshiping the Duat, which hovers above the scarab - a sun symbol often used as a talisman for protection and placed inside a mummy's shroud - which, in turn, is set above the sun, placed here beneath the Duat.

(Note: Compare this design with the Kabbalistic tree-of-life inset right. Although not an actual match, there is a certain likeness in the way the elements are placed.)

This relief has a number of Underworld motifs... the most prominent being the pair of baboons facing each other. Baboons were said to be sacred animals in the Egyptian pantheon, and when depicted singly represented the great ibis-headed god, Thoth, a lunar god, who, in a sense, was Ra's (or Re's) counterpart.

In some tales, Thoth (inset left) was self-created at the beginning of time and, as an ibis, lay the cosmic egg that holds all of creation.  In others, he was thought to have created the art of writing and the calendar. He was also the god of both mathematics and magic and served as a scribe in the Duat.  Moreover, he had the ability to control space and time!

Above is a beautiful artifact which also features a set of baboons facing each other across a large scarab. Each wears the lunar crown of Thoth, however, so, we might assume that symmetrical pairs of baboons also portray Thoth. Note the small star (Seba) symbols embellished on the bar above them; it is likely they represent the night sky.

Returning to the larger image, there are what appear to be (Greek) Omega symbols over the primates' heads, but, these are likely to be shen rings - associated with Horus and his mother, Isis - which symbolized power, protection and, (eventually) eternity. This shen ring (at the Metropolitan museum in New York) inset right was found as a talisman alongside the mummy of a prosperous Egyptian, circa 1800 BC.

Note also the two Wedjats encircled by the baboons' arms. These are the twin (lunar) Eye(s) of Horus - one of which often accompanies images of Thoth - and used singly or dually represent healing and regeneration. They were also frequently used as talismans of protection for both the living and the dead.

Oddly enough, the Wedjat (also later referred to as the solar Eye of Ra) is also the name of the ancient goddess of Lower Egypt, the cobra goddess, Wadjet (or Wedjat)...

If the future was yesterday, then, when is tomorrow?

"Standby. You're on the air. Buenos noches Senores y Senoras. Bienvenidos. La primera pregunta es: Que es mas macho, pineapple o knife? Well, let's see. My guess is that a pineapple is more macho than a knife. Si! Correcto! Pineapple es mas macho que knife. La segunda pregunta es: Que es mas macho, lightbulb o schoolbus? Uh, lightbulb? No! Lo siento, Schoolbus es mas macho que lightbulb. Gracias. And we'll be back in un momento.

Well I had a dream and in it I went to a little town And all the girls in town were named Betty. And they were singing: Doo doo doo doo doo... Ah desire! It's cold as ice And then it's hot as fire. Ah desire! First it's red And then it's blue. And everytime I see an iceberg It reminds me of you. Doo doo doo doo doo... Que es mas macho iceberg or volcano? Get the blanket from the bedroom We can go walking once again. Down in the bayou Where our sweet love first began. I'm thinking back to when I was a child - Way back to when I was a tot. When I was an embryo - A tiny speck. Just a dot. When I was a Hershey bar - In my father's back pocket. Hey look! Over there! It's Frank Sinatra Sitting in a chair. And he's blowing Perfect smoke rings Up into the air..."

- Lyrics from Smoke Rings by Laurie Anderson, from her 1986 soundtrack album Home of the Brave. Inset right is a photo found here.

(New, 11/8.)  In the video Anderson utilizes two instruments she actually invented: a tape-bow violin (which she uses at the end of the performance)*, and a "talking stick," which is the second microphone she occasionally sings into at certain moments during the piece which distorts her voice so eerily.

Note one other eerie thing: the set of numbers that suddenly appears on the screen in the background at the end of the performance. 911. When I first saw those numbers (appearing after a large "SOS"), I figured that maybe it was a reference to 9/11/01... but, no, the video was allegedly shot in 1987. Prescience? Or, am I just missing something? 

(Later note: Actually, I'm not missing something as much as forgetting something! I believe 911 is the emergency phone # in New York, the rest of the USA, and many countries!  Well, duh.)

***

Well, "the times, they are a changing" and quite literally. It's DST here in the states and we've just gained an hour... just in time for an interlude post hosted by that enigmatic woman in the video above, Laurie Anderson, a time-traveler (to be sure), whose amazing performance took place almost 40 years ago... and the world has, yet, to catch up with her.

Case in point, from 1981, O Superman. Ditto. While we're almost there, she's one step ahead of us... which is just as well, as the prognosis is not all that fluffy. On the other hand, when it comes to War - the Great Destroyer - time seems to stand still, or, maybe civilization just gets stuck in the same trench-like groove...

But, never the artist! The video above is from 2018, Anderson's collaboration with the Kronos Quartet.

________________________________________________

* “I used this instrument to play lots of sounds... initially car crashes, saxophones, and barking dogs. Later I began to work with audio

palindromes, words that produce different words when reversed. Audio palindromes are not predictable like spelling inversions. ‘God’ is always ‘dog’ backwards. With a lot of experimentation, I produced songs for this instrument that could be played forwards and backwards."

- Laurie Anderson via this .pdf page. More information can be found on this German site, and in the BBC article: Oksana Linde and the Forgotten Pioneers of Electronic Music.

Samhain, 2022; Leonora Carrington and the Philosophic Egg

The Chair, Daghda Tuatha de Danaan, 1955, Leonora Carrington.
Incidentally, the Internet Archive link presented here is a great source for
Carrington images, starting with this page.

"The “Ovum Philosophicum,” which can be translated as the Philosophical or Alchemical Egg, is the principal vessel used in alchemical operations. During the alchemical process, the material, Hermetically sealed in the Egg, is put through a symbolic death and rebirth. When the Egg is cracked, a new mystical substance emerges capable of improving any substance with which it comes in contact."

- An explanation of the Philosophic Egg found here.

"Rather than trying to use this painting to psychoanalyze the artist, it is more productive to see how many symbolic elements are combined within. There are alchemical elements including the large egg on the table, which represents the “Philosophic Egg,” or alchemical vessel. While this term is often used in alchemical texts, visual representations in alchemical texts of a large egg are less frequent. One exception is an engraving that first appeared in Michael Maier’s Atalanta fugiens of a soldier, representing the planet Mars, standing by a furnace about to attack a large egg on a square table with his sword. This illustration was reprinted in Seligmann’s History of Magic, as were two images of the alchemical rose, which in Carrington’s painting floats above, dripping milky white drops to the table below.  Throughout the painting Carrington incorporated the colors of black, white and red, which relate to the three major stages of the alchemical work. Grillot de Givry had included a color plate representing these three colors on hybrid creatures - black eagle/serpents and white eagle/lions or griffins - placed in a landscape below a small hill that contains a tree with red fruit."

"Many of these symbols lent their traditional esoteric meanings to her paintings, but the freedom with which she transformed and blended these symbols in her paintings reveal her very personal adaptations and combinations of found imagery. In her complex combinations of esoteric symbolism, her paintings reflect the structure of esoteric publications during the mid-twentieth century, which likewise presented a multitude of esoteric traditions, while pointing to deeper spiritual powers that could be unlocked through their contemplation. Her use of these symbols stemmed from her own ritual practices and reveal the power she infused into her work to activate the unconscious."

"Many things contributed to the changes in her work from the late 1940s and into the 1960s... Many new publications on esoteric subjects became available in those years. Earlier in Paris, she would have known E. A. Grillot de Givry’s Le Musée des sorciers, mages & alchimistes, a text that inspired many surrealists and was one of the first publications to reproduce images drawn from a myriad of occult paths, including scenes of monstrous devils, demons, witchcraft, alchemy, astrology, physiognomy, tarot, chiromancy or palmistry, divining rods and diagrams of talismans and magic circles."

- Three separate quotes from M. E. Warlick's excellent article: Leonora Carrington’s Esoteric Symbols and their Sources. the first quote cites Carrington's painting with the golden egg, Ab Eo Quod (1956) - inset right - but, thematically, the observations can also apply to The Chair... with the silver egg. Both feature a large egg on a table, a symbolic rose and a color palette of predominately white, black and red.

Inset left above is the enigmatic set of symbols - Carrington's E=MC2, 1969, found on this page. Directly below is Carrington's take on standard alchemical imagery; found at the afore-mentioned Internet Archive.

Black sun/ Sol Niger, 1975, Leonora Carrington.

"Sol niger (black sun) can refer to the first stage of the alchemical magnum opus, the nigredo (blackening). In a text ascribed to Marsilio Ficino three suns are described: black, white, and red, corresponding to the three most used alchemical color stages. Of the sol niger he writes:

The body must be dissolved in the subtlest middle air: The body is also dissolved by its own heat and humidity; where the soul, the middle nature holds the principality in the colour of blackness all in the glass: which blackness of Nature the ancient Philosophers called the crows head, or the black sun."

- Marsilius Ficinus, Liber de Arte Chemica

"Surrealist artist Leonora Carrington painted narrative scenes inhabited by mysterious people and spirits participating in curious rituals. Samhain Skin references the ancient Celtic festival of Samhain, held on October 31 to celebrate summer’s end. Painting on an actual animal skin, Carrington presents animals, human hybrids, and reverse-handwritten references to tribes and deities from Gaelic history. The imagery also alludes to the Sidhe, fairy people from whom Carrington’s grandmother claimed their family had descended."

- Leonora Carrington created several Samhain paintings. The one cited - Samhain Skin (inset right)- can be found in the NMWA collection.

You'll note the central motif of a mermaid figure in the painting... the mermaid (or siren) appearing often in Carrington's work. An excellent example is this stunning triptych found here, which I have never seen before. Speaking of Carrington objects not-seen-before, here's an another outstanding collection.

***

Yes, the witching hours are almost upon us and who better to accompany us to the Land of the Dead then a true expert in the field, surrealist artist, Leonora Carrington, whom I have called on before... on just such a day as this.

This Halloween, however, a tricky time to be sure, we're closing in on one of the most life-affirming shapes there are in this world: the egg. Ah, yes... but, then - and, wouldn't you know it - Leonora Carrington was there before us.

Well, sort of... let us explore...

Raga For a Sunday Afternoon (Update: 2/14/23)

It's been an emotionally devastating week and I desperately needed something to transport me back to my comfort zone... that is, I had to touch base with myself again. Sometimes, in order to accomplish this, one has to travel even farther away from the tried & true to find that magical, alchemical ingredient which can allow ones spirit to heal and thrive once again in a world which is often antagonistic to truth, beauty, and all things eternal and incorporeal.

Some time ago, when I was able to embed small videos on the sidebar of this blog, I posted a small series of Indian artists: Anoushka Shankar, and the amazing classical vocalizations of the artist below, Nina Burmi.

The mesmerizing voices of Burmi and Kaushiki Chakraborty (the first artist) worked for me then and they work for me now. Maybe, every once in awhile, we need a little (sacred) breathing space.

Just found (2/14/23): Kaushiki Chakraborty, a master singer (and a force of nature) offers up another awesome classical performance: Raag Bhairavi.

Chasing Ancient Pentagrams Part I: the Roman Dodecahedra

A "Roman Dodecahedron" found in the UK by Brian Campbell in 1987.

 

The Gallo-Roman Dodecahedra

_________________________________________________________

 

 

(This post was originally intended to be the first of the pentagonal phi series, and much of it was written early last year. It has been revised, however, and will contain new material. It may also run into two parts.)

 

"One August day in 1987, Brian Campbell was refilling the hole left by a tree stump in his yard in Romford, East London, when his shovel struck something metal. He leaned down and pulled the object from the soil, wondering at its strange shape. The object was small—smaller than a tennis ball—and caked with heavy clay. 'My first impressions,' Campbell tells Mental Floss, 'were it was beautifully and skillfully made … probably by a blacksmith as a measuring tool of sorts.'

Campbell placed the artifact on his kitchen windowsill, where it sat for the next 10 or so years. Then, he visited the Roman fort and archaeological park in Saalburg, Germany—and there, in a glass display case, was an almost identical object. He realized that his garden surprise was a Roman dodecahedron: a 12-sided metal mystery that has baffled archaeologists for centuries. Although dozens, and perhaps hundreds, of explanations have been offered to account for the dodecahedrons, no one is certain just what they were used for."

- Via an excellent article on Mental Floss found here. Inset right (above) is a Roman Dodecahedron exhibited in the Württembergisches Landesmuseum, Stuggart, Germany, and found in this article.


"A Roman dodecahedron or Gallo-Roman Dodecahedron is a small hollow object made of copper alloy which has been cast into a dodecahedral shape: twelve flat pentagonal faces, each face having a circular hole of varying diameter in the middle, the holes connecting to the hollow center. Roman dodecahedra date from the 2nd to 4th centuries AD.

Since the first dodecahedron was found in 1739, at least 116 similar objects have been found[1] from Wales to Hungary and Spain and to the east of Italy, with most found in Germany and France. Ranging from 4 to 11 centimetres (1.6 to 4.3 in) in size. A Roman icosahedron has also come to light after having long been misclassified as a dodecahedron. This icosahedron was excavated near Arloff in Germany and is currently on display in the Rheinisches Landesmuseum in Bonn.

No mention of them has been found in contemporary accounts or pictures of the time. Speculated uses include as a candlestick holder (wax was found inside two examples); dice; survey instruments for estimating distances to (or sizes of) distant objects; devices for determining the optimal sowing date for winter grain; gauges to calibrate water pipes, army standard bases, a coin measuring device for counterfeit detection. Use as a measuring instrument of any kind seems improbable since the dodecahedra were not standardized and come in many sizes and arrangements of their openings. It has also been suggested that they may have been religious artifacts, or even fortune-telling devices. This latter speculation is based on the fact that most of the examples have been found in Gallo-Roman sites. Several dodecahedra were found in coin hoards, providing evidence that their owners considered them valuable objects. Other suggestions include a knitting frame for creating gloves, supported by the fact that many are found in the northern range of the empire.

Smaller dodecahedra with the same features (holes and knobs) and made from gold have been found in South-East Asia along the Maritime Silk Road. They have been used for decorative purposes and the earliest items appear to be from the Roman epoch."

- Via the Wiki entry for Roman or Gallo-Roman dodecahedron. Inset left is a museum photograph of 2 Roman dodecahedrons and the icosahedron mentioned in the quote. In my eyes, the icosahedron, although a polyhedron and similar in size to the dodecahedrons, does not seem to be in the same family of objects as the former.

***

Did you know there is a geometry in running water... or that small objects of equal mass - specifically small and lightweight - tend to fall into groups of three? Regarding the latter, at one point this year, I noticed this so often during my waking hours that I began to document these geometrical events, snapping photos with my cell phone whenever they occurred. Is this madness? Precisely. But it's a sort of "magical" madness involving a particular phenomenon which very likely spawned numerous oracles in the past; everything from casting knuckle bones, dice, sticks, coins, tea leaves, etc. for the purposes of divining or interpreting the resulting patterns as a narrative of the future.

In reality, small objects very often fall into rudimentary geometric patterns or figures - a little understood phenomena Jungian psychologist, Marie-Louise von Franz, 1915–1998, once described as a form of synchronicity or "meaningful chance" especially in regards to divination and the role of natural numbers.

Inset right is one example I shot with my cell-phone September 8, 2020; an interesting triangle formed by the random distribution of red pepper seeds scattered during the course of making a salad! I didn't see the figure at first; the pattern had formed on the far side of the table on which I was working. It was during clean-up that I came across it, and I swear I felt like some mystified farmer who discovers a crop circle in his field one day; it was eerie.

The X-file factor of this event was that the triangle bore a strong resemblance to the triangle I'd been working with over a year (and you've been encountering on this blog for months): the pentagonal golden triangle. Had it fallen out of my head and imprinted itself on the table? Who can say? But, I saw it as an affirmation of an artist's journey well taken. And, for an artist who faithfully follows the muse down one rabbit hole after another, affirmation is a much coveted thing... because, what is a "rabbit hole" other than some strange anomaly stumbled across during an intellectual excursion which might potentially lead one to the greatest of epiphanies or the most confounding of delusions?

But, while it may have ended that way, my journey down this particular rabbit hole did not begin with a random distribution of pepper seeds. It began with an online article regarding that unusual metal object currently staring at you from the top of this post... its empty cyclopean eye revealing just about everything we know regarding its existence...which is pretty much nada.

Now, the general opinion among experts (and one must always use this term loosely) is that a lot is known - and verified - about the past. Even the long past. But, don't be fooled. The past is as elusive (and illusive) as the future. New discoveries keep popping up each day with the potential to completely overturn all previous determinations. There are, after all, numerous newsworthy items. And, no, I 'm not referring to those well-documented abominations of the world's daily affairs. I'm talking about those little, weird tangible things - the products of human ingenuity - which emerged in the days before "artificial intelligence" was even a bad dream in somebody's head. This is not so say that the days of which I speak - and, no, none of us witnessed those days in any memorable way - were benign or utopian, but, intriguingly enough, ancient humans were admirably capable of flummoxing the oh-so-sophisticated humans of the future (us),  producing artifacts that we - with all of our modern expertise... and some highly sophisticated calculators - are unable to identify.

Which brings us back to that cyclopean object resting above - the subject of this section - the Roman dodecahedron inset left. No one seems to have a precise explanation for its presence on the earth - although the general drift is towards some practical, utilitarian instrument (such as a candle holder or knitting device) or complicated measuring device (such as a military range-finder) - and, yet, at least a few ancient folk across a number of countries - and all living in the earlier centuries AD - created these objects for reasons of which we can only speculate. Over a hundred of them have been dug up in parts of Europe and one imagines more may be found. I find this oddly exhilarating; there are still things the experts, admittedly, can't explain. In any case, I'm sure that all intuitive readers have realized by now that this mysterious little artifact is quintessential rabbit-hole material... and, yes, it most surely was!

In any case, "Cyclops" is actually believed to have been created around 200 AD... somewhere within the vast Roman Empire. Which is how it got its name: The Roman dodecahedron. The thing is,  despite archaeologists finding more than a hundred of them, no written reference to them has ever been discovered. And this might be a our most important clue: perhaps the objects had no practical use whatsoever and were never intended for the general public.

What's more, the object is an early example of a polyhedron - and the dodecahedron is the most complex of the Platonic solids - artifacts which we rarely see in the ancient world (despite the contributions of Pythagoras and Plato). As it so happens, this blogger loves polyhedra - even documenting a set of my very own (inset right, above: the dodecahedron, the icosahedron, and the pentakis dodecahedron). Not very long ago, I posted about some unusual Scottish sundials (example below the jump)...

The Gentileschi Spirals... and a series Afterword

Young Woman Playing a Violin, 1612, Orazio Gentileschi. Geometry: 2022, DS.

"Orazio Lomi Gentileschi (1563–1639) was an Italian painter. Born in Tuscany, he began his career in Rome, painting in a Mannerist style, much of his work consisting of painting the figures within the decorative schemes of other artists. After 1600, he came under the influence of the more naturalistic style of Caravaggio. He received important commissions in Fabriano and Genoa before moving to Paris to the court of Marie de Medici. He spent the last part of his life at the court of Charles I of England. He was the father of the painter Artemisia Gentileschi."

- Introduction to the Wiki entry for Orazio Gentileschi, generally referred to as a Mannerist.

 

"Michelangelo once gave this advice to his pupil Marco da Siena, that one should always make the figure pyramidal, serpentine, and multiplied by one, two or three. And in this precept, it seems to me, is contained the secret of painting, for a figure has its highest grace and eloquence when it is seen in movement—what the painters call the Furia della figura. And to represent it thus there is no better form than that of a flame, because it is the most mobile of all forms and is conical. If a figure has this form it will be very beautiful...The painter should combine this pyramidal form with the Serpentinata, like the twisting of a live snake in motion, which is also the form of a waving flame... The figure should resemble the letter S... And this applies not only to the whole figure, but also to its parts...The figure will not appear graceful unless it has this serpentine form, as Michelangelo called it."

- Via this link (posted previously) regarding the Mannerist's S-curve or Figura serpentinata. The engraving inset right is the given example of this figure found at the beginning of the Wiki entry. The golden embellishment is my own. I first mentioned the Serpentinata in a footnote in Part III of the Bentvueghel series. I was confused about it then and am confused about it now. Was it or did it become a code word for the golden spiral?

(Note: I think the figura serpentinata directly above has another spiral going in the opposite direction. Sadly, I am not able to test this; my main computer is currently sitting in the trunk of my car which is currently sitting in the place it was towed yesterday morning after the accident. Physically I'm okay but the car isn't and this is seriously bad, as you might imagine. I will persevere with this post but it may take me longer than usual. Shit happens. Sorry, but I'm in need of a miracle.)

***

(Update 10/3/22: In my first note - above - I had just had a freak car accident - while blinded by the sun, I hit an aluminum streetlight in the center of the highway - and totaled my "mobile home."

But, that wasn't the end of the nightmare.

While at the towing facility - a facility I was assured was safe - someone broke into the trunk of my car and stole my relic of an Imac In other words, they stole all my original graphic files from the past 10 years or so... up to and including those of the present day, that is, my pentagonal spiral work.

As you might imagine, there have been many reasons that blogging has become next to impossible. Nonetheless, I have written a little of the text for this post. See below.)

***

It probably goes without saying that this blogger (moi) seemingly became addicted to the pentagonal golden spiral in some strange way over the past 6 months.  Well, it would have to be strange, wouldn't it? As a geometrical figure, the golden spiral is merely the combination of a series of triangles and a series of circles in a specific proportion to one another, aligned in a specific way; what's to get addicted to? A mathematical proportion? Can one get really get addicted to a mathematical proportion?

Apparently.

I find I keep coming back to the blog to reassess the spirals I detected in the numerous examples of Renaissance and Baroque paintings I posted- well, that's my excuse anyway - but, using a different set of brain cells, I realized I possessed an ulterior motive. The addict's motive: pleasure... although (presumably) on a non-physical, abstract level.

So, we're back to the word "strange." How strange?  Strange enough to compel this addict to draw spirals through 69 paintings while said addict's actual, physical life was on the fast track to Hell. (See introductory paragraphs).

But - despite present,  perpetual, real-time preoccupations - I still have to wonder about the 33 European artists in whose paintings the spiral was found. It seems they lived during a period of (roughly) 200 years - predominantly during the Baroque period which, in turn, lay on the cusp of the Age Enlightenment (1680–1820)... that is, when scientific inquiry was in its infancy in the western world.

Now, this specific period in history might be a factor in our inquiry... then again it may not; it depends upon how we classify these artists and their spiral paintings. It shouldn't be difficult; there are actually only 2 ways to go in this analysis: the artists in question either deliberately designed some paintings with the spiral in mind or they didn't.

Keep in mind that the spiral was also present in Baroque ornamentation (inset left) and possibly somewhere in Baroque music, too.  So, were the artists, artisans, and musicians completely aware of its proportions and using it as a measure of perfection and beauty? Or, was the proliferation of golden spirals (at that time) an almost paranormal thing... a variety of subliminal meme... an unconsciously recognized icon which was possibly a presentiment on the part of an artistic community who were, without noticing it, heralding an evolutionary phase of a whole society?

And, this brings us to the Gentileschi spirals. Specifically, Orazio's, although we'll look at Artemisia's, too. But, Orazio's Young Woman Playing a Violin is similar - and as spectacular - as Judith Leyster's Jolly Toper especially because the spiral is so in-your-face; you can't possibly miss it. More to the point (literally) is that although the spiral I located is somewhat smaller than it could be, where it and the triangle falls on the bow is simply too remarkable to be, shall we say, a natural occurrence and this convinces me that Orazio, like Judith, must have been consciously aware of what he was doing. The spiral is too tight to be a happy accident. Moreover, Orazio has given us another example (below the jump) but, as I have no graphics program on this laptop, you're going to have to work this spiral out for yourself...

Vale, Elizabeth!

Truly, the end of an era has arrived... a turning point in the world's affairs. Elizabeth II wasn't merely the Queen of England, she was Empress of the Globe... a goddess... a woman who, for many of us, was a prominent personality all throughout our lives.

What will we do without her?

In the Shadows of a Golden Age: the Bentvueghels - Part III

A 'sotto bosco' with mushrooms, butterflies, a dragonfly, a snake and a lizard, 17th century,
Otto Marseus van Schrieck

"Maria Sibylla Merian is celebrated for her caterpillars and butterflies; Van Schrieck, an equally distinguished butterfly painter, preferred toads, lizards and snakes. In fact, this voracious reptile hunter earned the sobriquet “Snuffelaer” (snuffler) because of the time he spent sniffing around in the undergrowth looking for his beloved models, allegedly even subjecting them to his kisses. And they loved him back: the denizens of his personal menagerie at his modest country house outside Amsterdam’s St Anthony Gate – he called “the land of snakes” – would even hold a pose, patiently wrapped around his maulstick (resulting in the coiling figura serpentinata in his paintings)...

The catalogue’s four essays and 36 mini-essays contextualize Van Schrieck within the artistic and scientific communities of his day, capturing the intersection of art, science and the occult when the boundary between them was still porous, and rehabilitating him as a man of science rather than a mere “curiosity”. Their task is not difficult because their subject was prescient in his passion for accuracy and empiricism (he used a microscope, rare at the time), and he collaborated with scientists in one of Europe’s leading intellectual centres. However, his scholarly side did not keep him from painting fantastical landscapes with improbable plants..."

- From the article: Otto Marseus van Schrieck: introducing the inventor of the 'forest-floor' still-life, written in regards to an exhibit (and accompanying catalogue) of Schrieck's work at the Staatliches Museum Schwerin and Rijksmuseum.

Snuffelaer, or "ferreter" was actually Schrieck's "Bent" code-name. What I found particularly intriguing in the article, however, was mention of a figura serpentinata, an art term I'd never heard before.*

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The Flower Painters

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(As it happened) when I first spied Otto van Shrieck's strange little mushroom composition (above), I intuitively knew it would be the initial spiral image for this post. Not that its spiral was immediately  (visually) evident - it wasn't - but it's as if could almost hear it... a little fugue of musical notes and correspondences... and, sure enough, there was not merely a spiral winding its way though the shadows on the forest floor but an extraordinary spiral and the first example of its kind... a virtual orchestration! The actual serpent in the painting may as well be an afterthought.

But, then Otto van Schrieck was a fairly extraordinary man. Nicolaes Lachtropius was one of his followers, as well as Willem van Aelst (the second Bentvueghel presented here). And, it is with Van Aelst (1627-1683) that we will find our greatest number of golden spirals... almost always accompanied by that small creature that originally inspired this present inquiry: the snail!

A selection is below the jump.

Judith Leyster Saves the Day (An Addendum of Sorts)

The Cheerful Drinker (or Jolly Toper), 1629, Judith Leyster. Geometry: 2022, DS.

"One perk is that I keep finding golden spirals in paintings... specifically from the Netherlands (in recent weeks)... and all of them from the 1600s (amongst some real Plague Years). Judith Leyster was a painter from an earlier part of that century, however, and one I didn't expect to find as it's unlikely that she and the other artists (who may be theoretically involved) ever crossed paths. While they were just blooming, Judith Leyster had already been cut down and claimed by matrimony, children, and, at the age of 50, death.

(Update 4/11/22) Note: Due to new information regarding the Italian painter, Caravaggio (1571-1610), Judith Leyster's involvement with pentagonal geometry becomes increasingly feasible.)"

- Quoting myself from the post: Judith Leyster and a Double Golden Spiral. (Added: 8/27/22) Inset right: Another spiral position for the Jolly Toper (above).  Also, Leyster is known for her puns using graphic symbols. Question: does the line-up of objects in the foreground (lying diagonally across the table) represent a word?

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It's an odd thing, but whenever I find myself deeply involved in a specific subject, very often certain books will synchronistically fall into my hands which, upon opening, just happen to address the things I had recently been researching. The latest book - which appeared one day this week in the library's "Free Books" bin - was this gem: The Age of Rembrandt and Vermeer by J.M. Nash, 1972... that is, a book about the Dutch Golden Age!

But, there's another book, too, a novel - The Last Painting of Sara De Vos by Dominic Smith - which also fell into my hands in the same way. "Sara Vos" is a fictional character based on an actual artist from the Dutch Golden Age, Sara van Baalbergen, who, according to Wiki, was the first female member of the Haarlem Guild of St. Luke (Judith Leyster came a little later). As for her artwork, tragically: "No known works survive."

Anyway, so, while researching Sara I found an amazing spiral by Leyster - in this article - which has been posted above. And, really, finding this perfect spiral made my day. It immediately struck me as a confirmation: yes, Judith Leyster did know of the GTS... and (via the J.M. Nash book) I may have picked up a clue as to her source of knowledge...

 

In the Shadows of a Golden Age: the Bentvueghels - Part II

Boy Blowing Soap Bubbles, 1663, Karel Dujardin. Geometry: 2022, DS.

"Drawn to the eternal city for its reputation as the birthplace of the Baroque movement, the ragtag group quickly earned a reputation for their drinking and brawling, as much as for their art. A print in the British Museum depicts one of their raucous initiation ceremonies: the newcomer with a candle up his backside. The names of the group’s members can still be seen hacked into the walls of the fourth-century Church of Santa Costanza in Rome, which used to be known as the Temple of Bacchus.

Despite their wine-sodden reputation, many of the Bentvueghels became successful artists in Rome. Fusing Dutch Golden Age influence with the revolutionary, realist style of painting that Caravaggio had championed in Italy at the beginning of the century won them many important patrons and commissions, often from the ecclesiastical elite.

Similarly, when they returned to their homelands in northern Europe, they exploited the Italian influences they had acquired with great success."

- From the Christies' page: Who were the Bentvueghels?  The painting (inset left) documents an alleged Bentvueghel initiation and has been reposted (see Part I).

“'There was a tavern nearby and the artists would come in the early hours after a night of drinking and pray to what they believed was Bacchus’ tomb. They often carved out the name of a new arrival in Rome, as a form of homage.”

Adrift in the big city, the young arrivals formed communities or fraternities, rather like medieval brotherhoods. Only while their predecessors went to church in procession to escape hell or avoid purgatory, these young men dedicated themselves to Bacchus, revelling in their vices and spending their time in brothels and taverns rather than churches. The Dutch artist Pieter van Laer, nicknamed Il Bamboccio, combined business with pleasure by running a tavern. With other Flemish artists, he was a member of the Bentvueghels or birds of a feather.

After being “baptised” – with wine rather than holy water – the new entrant received a nickname, usually a descriptive one. Cornelius Van Poelenburgh became the Satyr, and Dirck van Baburen was Beer Fly. Sometimes imagination failed and poor Gerard van der Kuijl was simply dubbed Arse. Van Laer founded a rival brotherhood named Bamboccianti after his own nickname, meaning puppet or clumsy in reference to his disability.

The artists, despite their love of drink and debauchery, were educated. They would have read Terence and knew that, Sine Cerere et Bacco Venus friget (without food or wine, love cannot flourish). When they were arrested for being drunk and disorderly, they would explain that their excesses were part of their education. “I only wanted to improve my Italian,” pleaded the French painter Jean Ducamps when accused of practicing forbidden sports with native Romans..."

- From the Guardian article: The Baroque Underworld: Vice and Destitution in Rome review – high art and low life in the Eternal City. Note: according to Wiki, Jean Ducamps was Flemish, not French, as is stated in the quote.

Inset right is another spiral position in the Manfredi painting shown previously, Bacchus and a Drinker.  Again, see Part I. Strangely enough, in this spiral placement, the spiral terminates into the mouth of Bacchus as opposed to the mouth of the drinker, as one might expect; possibly implying that, in the act of imbibing, the drinker inadvertently satiates the god, Bacchus, also referred to as Dionysus.

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Karel Dujardin (1626 - 1678)

Karel Dujardin  - code name: "Barba di Becco" (goat-beard) - was born in Amsterdam. At some point between his first trip to Venice and his second trip (when and where he "unexpectedly" died), he married an older woman in France to help pay debts he accrued there. Needless to say, she was abandoned when he returned to Italy. His self-portrait is inset right.

I think Boy Blowing Soap Bubbles is possibly one of the most charming spiral designs I've used in this post and I've featured two other spiral placements below.

Beneath the Boy... is another Dujardin painting: Tobias and the Angel. I have two spirals for this image as well, but, as I think the one shown is the better one (and this post is fat with images), I'll place it aside.

Incidentally, in the large painting (seen inset above) - the Bentvueghel initiation - there are not one but two men, one on each side of the painting, who seem to resemble Dujardin's self-portrait... to which I have no explanation!

The two spirals (above) really need no explanation, but note the triangle in the one on the left; it connects the positions of the boy's hands with the top of his swirling mantle. It is a golden measurement.

Tobias and the Angel, 17th century, Karel Dujardin. Geometry: 2022, DS.

                         

Above are two spiral placements in Dujardin's Hagar and Ishmael in the Wilderness, circa 1662. Take your pick! While I realize that some of you may feel that several spirals in one painting weakens my argument, the reality is that multiple spirals - while it is unlikely the artist planned them - are really artifacts of one spiral... proving that the "gold" in a painting really is distributed evenly throughout the image... as the pentagram is, in a sense, always a fractal of an entire golden field of pentagrams.

Below the jump: a few of Nicolas Régnier's amazing spiral paintings.