[Redbook9:204][19910428:0955v]{The Sea-Eagle [continued (4)]}[28th April 1991]
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For Fish-Eagle,* read Sea-Eagle.
*[In last three previous ts journal entries, [Redbook9:203-204][19910428:0955s]{The Sea-Eagle}[28th April 1991]ff]
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[Redbook9:204][19910428:0955u]{The Sea-Eagle [continued (3)]}[28th April 1991]
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There was, long ago* I seem to remember, a possibility** perhaps like this:
– but this raises all sorts of problems (eg, as wet v dry, hot v cold ought to be opposite – are we going to have dry air and cold earth? Maybe).
It can get pretty silly....
*[]
**[See last two previous ts journal entries, [Redbook9:203-204][19910428:0955s]{The Sea-Eagle}[28th April 1991]]
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[Redbook9:203][19910428:0955t]{The Sea-Eagle [continued]}[28th April 1991]
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The flexible solution* may be found in the shift from the original positioning in [0]**:
– and the connection of a~ with r~ and s~ (as of c with j~ and u~), which provides alternative shift-lines for the Man to r~ or s~.***
(I think the movement of the 4 diagonal archetypes across the Straits of Wrath in [2]**** was according to their elements, not their creatures.)
There is still, of course, the quirk that the Eagle is not with Air, but as the Eagle is a Fish Eagle# I guess the Man must be an Angel....
*[See last previous ts journal entry]
**[As revised]
***cf III: [[Redbook3:217-222][19870502:1025b](EVOLUTION OF PATTERNS OF SYMBOLS)([&] DIAGONAL PERSONALITIES [continued]) [2nd May 1987],] 218-220
[which appears to represent the lasting solution. Ambiguity between diagonals across the upper horizontal may be accounted for by contra-rotation, and horizontal resonance.]
****[As originally written]
#See [next ts journal entry but one, [Redbook9:204][19910428:0955v]{The Sea-Eagle [continued (4)]}[28th April 1991],] 204
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[Redbook9:203-204][19910428:0955s]{The Sea-Eagle}[28th April 1991]
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The order of creatures:
One reason for adopting the Church’s (apparent) convention* arises out of the identification of Aquarius, the Water-Carrier, female or male, with Ganymede, the beautiful boy snatched away to Heaven by an Eagle.** Mind you[,] I had known of this previously, and reconciled it by reference to the Eagle carrying the Man elsewhere; but then again, the Eagle is the symbol of the Spirit. It must be a Fish-Eagle***....
*[As to the placing of the four symbols, eg on the front of, or around, altars, see earlier speculations on this, in earlier Volumes of this Journal []]
**(cf the Persian legend of the boy raised by an Eagle)
[Actually a Phoenix – the Simorgh – who found, and raised as her own, the white-haired infant Zal abandoned by his father King Sam on account of his strange appearance. From the Shahnameh, by Abolqasem Ferdowsi (940-1020CE)]
***See [next ts journal entry but two, [Redbook9:204][19910428:0955v]{The Sea-Eagle [continued (4)]}[28th April 1991],] 204
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[Redbook9:202][19910428:0955r]{Italian High Renaissance –}{Tintoretto}[28th April 1991]
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‘Jacobo Robusti, called Tintoretto, was most interested in Titian’s use of dramatic light and heightened emotion.... Perhaps the best summary of his career can be found in ‘The Last Supper’ of 1594 painted for the Church of S. Giorgio Maggiore, Venice (Plate 11).* In this painting Tintoretto has made use of all the rapidly receding diagonals and dramatic foreshortenings of the Mannerist vocabulary, but he has brought to the painting the Venetian’s love of light to define the forms and to heighten the drama. The head of Christ is bathed in light that is repeated in the smoky lamps so that the source of the light cannot be known. Light is used, as in the work of Titian, to pick out certain forms, to throw others into darkness, and to create a sense of movement within the composition. The comparison of this painting with Leonardo’s “Last Supper”** of 100 years earlier reveals the differences between the [early] High Renaissance and the trends of painting in the 16th century.
***
*[Source text illustration not reproduced in ms or ts]
**cf [[Redbook9:195-197][19910428:0955c]{Italian High Renaissance – Leonardo, Raphael, Michelangelo}[28th April 1991],] 195
***– ibid [Encyclopaedia Britannica 25: 348-349]
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[Redbook9:202][19910428:0955r]{Italian High Renaissance –}{Titian [continued (4)]}[28th April 1991]
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‘Titian’s genius and his long and productive career deeply influenced Venetian painting. The two most outstanding painters of the end of the 16th century, Veronese and Tintoretto, each took a different aspect of Titian’s style and developed it. Paolo Caliari, called Veronese, is best known for the rich colour and interweaving compositions he learned from Titian.’
*
*– ibid [Encyclopaedia Britannica 25: 348-349]
{… Her position to Titian
Suggested coition,
So he dashed up the ladder and had her.’}
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[Redbook9:201][19910428:0955q]{Italian High Renaissance –}{Titian [continued (3)]}[28th April 1991]
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‘Although Titian was clearly influenced by the presence in Venice[,] at different periods of his long life[,] of the artists Rosso, Salviati, and Vasari, he could not wholly subscribe to Roman-Florentine Mannerism nor accept the Mannerism of Giulo Romano, which he knew from visits to Mantua, or of Parmigianino, whom he met in Bologna. The ceiling paintings for S. Spiritus in Isola (1542-44[ce]),* now in the sacristy of Sta. Maria della Salute, Venice, are the most fully Mannerist works of his career, yet Mannerism was only another stimulus to his genius. From that style he learned how to increase the dramatic content of his painting, how to intensify the emotional impact, and he acquired a certain sense of irony.**
***
*2048G~1536[ce]
**NB!
*** – ibid [Encyclopaedia Britannica 25:] 348-349
[Paragraph immediately following extract in last previous ts journal entry in source text]
{‘As Titian was grinding rose madder
His model was perched on a ladder...}
/...
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[Redbook9:200-201][19910428:0955p]{Italian High Renaissance –}{Titian [continued]}[28th April 1991]
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‘Upon the completion of the “Assumption of the Virgin” Titian undertook to execute a series of paintings on mythological themes for the duke of Ferrara. “The Bacchanal” (1518-19[ce]; Prado, Madrid) was soon joined by the “Worship of Venus” (1518-19[ce]; Prado, Madrid) and “Bacchus and Ariadne” (1520-23[ce; National Gallery, London). In “The Bacchanal” Titan reveals his mastery in treating mythological subjects (Plate 10).* The bacchants are disposed about the miraculous stream of wine that flowed on their island, dancing, singing, and drinking. The movement of the figures, the juxtaposition of nude and clothed, of male and female, creates a revel in which even the landscape seems to participate – only a Venetian could have created such a pagan, earthy, and hedonistic glorification of life.
**
*[Source text illustration not reproduced in ms or ts]
** – ibid [Encyclopaedia Britannica 25:] 348-349
[Paragraph immediately following extract in last previous ts journal entry in source text]
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[Redbook9:200-202][19910428:0955o]{Italian High Renaissance –}{Titian}[28th April 1991]
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‘Titian’s great masterpiece, the “Assumption” (1516-18[ce]); Sta. Maria dei Frari, Venice), established his reputation as Bellini’s successor. In the painting, he exhibits the Venetians’ love of colour and texture, but he succeeds in a balanced and moving composition that can only be compared to Raphael’s “School of Athens” in its grandeur. The environment is both earth and heaven, yet it is created and defined by light and atmosphere in a typically Venetian way, rather than by architecture as would have been more common in Florence. This painting, together with the “Sacred and Profane Love”,* the Ferrara series,** “Entombment” (Louvre), and the “Pesaro Madonna” (1519-26[ce]; Sta. Maria dei Frari, Venice), reveals Titian’s contribution to the High Renaissance.
***
*(“so-called”)
**(See next para[graph])
[in next ts journal entry]
***– ibid [Encyclopaedia Britannica 25:] 348-349
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[Redbook9:199-200][19910428:0955n]{Utopian Landscapes [continued (3)]}*[28th April 1991]
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Similar comments apply to early Utopias as to early Landscapes:* we can’t be certain that there weren’t more of them, but we can be reasonably certain of knowing about any after c[irca]500CE at the latest. (I don’t think [St.] Augustine’s ‘City of God’ is in the category, utopia).** Between literary utopias the correlation seems fairly close, and is presumably a part of the revolutionary temper of the times; the correlation of landscapes with early landscape murals is not so close, but still remarkable; and the restriction of all these expressions to within or just outside the [2048]G~ quarter-circle stands out very clearly.***
****
*[See last previous ts journal but one, [Redbook9:198][19910428:0955l]{Utopian Landscapes}*[28th April 1991]]
**{cf [[Redbook9:187][19910424:0902d]{The Renaissance}[24th April 1991],] 187 ([&]m[n])}
***{cf [[Redbook9:295][19910507:0915#]{Portraiture, Landscape and ‘Marines’ in Protestant England}[28th April 1991],] 295;
X:[] 50-51;
XII: [] 284}
****{Is there a link between these manifestations and the emigratory impulse itself? Mass migration and settlement happens on the M~ semicircle also (or at least the S~ quarter-circle), but is perhaps more spontaneous and peaceful(??), more inclined towards settlement and improvement, on the G~ half-circle (/R~ quarter-circle); more planned and aggressive, more inclined towards conquest, rule, and exploitation, on the M~ half[-circle] / S~ quarter[-circle]. R~, of course, leads on to S~....}
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[Redbook9:199][19910428:0955m]{Utopian Landscapes [continued]}*[28th April 1991]
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The following utopias are given in E[ncyclopaedia] B[ritannica]:*
Plato’s Republic 375BCE
Euhemerus’ Sacred History c[irca]300BCE
Plutarch’s Life of Lycurgus (lived 46-120[ce]
More’s ‘Utopia’, 1515-16
Antonio Francesco Doni’s ‘I Mondi’, 1552
Francesco Patrizi’s ‘La Citta Felice’, 1553
Tomaso Camparella’s La Citta del Sole’, c[irca]1602
Francis Bacon’s ‘New Atlantis’, pub[lished] 1627
‘I.D.M.’’s ‘Antangil’, 1616
Johann Valentin Andreae’s ‘Christianopolis’, 1619....
– No, I give up, there are too many,
but the dates** alone are (including above):
1515-16, 1552, 1553,
1602, 1627, 1616, 1619, 1648, 1652, 1656, 1676, 1699,
1710, 1726,***
1820, 1840, 1871, 1890, 1888, 1890 & 1894, 1872,***
1905, 1907, 1924, 1925, 1932, 1949,
– ‘including ***satires on utopias; and dystopias (all the 20th**** century ones except 1905# )
This is not an exhaustive list.
Between 1663[ce] (the first) 1858[ce], 138 settlements were begun in North America; foundation of communities etc. has continued into the present day.
*ref E[ncyclopaedia] B[ritannica] 12:220-221
**[All dates in this ts journal entry are ce unless otherwise stated]
***[Satires on utopias]
****[Corrected from 19th century, presumably a mistake for 20th century]
#{are dystopias}
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