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I know a lot of Medjugorje followers look for ‘signs’ of Our Lady in photos and just lately I have engaged myself in something similar, studying religious iconography in 15th century paintings. It keeps my brain active, something akin to word-searches and crosswords, I suppose.

I’ve more or less finished my latest study on two images attributed to the Italian artist Giovanni Bellini, and associated with a manuscript known as the Albi Strabo.

Posted my finding at this link: http://www.arnolfinimystery.com/parallel-lives

High-res images of the two Bellini ‘miniatures’ are available at:
http://archivesnumeriques.mediatheques. ... /index.htm

See if you can spot Our Lady –– she’s there!

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See if you can spot Our Lady –– she’s there!

Great article! Enjoyed it.

And now that I am alone on a Friday night in a hotel
room in Spain, I join the conversation.

Interesting the geometrics part you were talking about.
So let me add something that might interest you.
While this is like a riddle, and I like riddles.
The two circles form indeed a strange arc, that seems
to make no sense, unless you think about the windows
of certain synagogues. The theory is that they are wider
on the outside then on the inside, because the light
comes from within the synagogue to illuminate the
world, and not the world to illuminate the synagogue.

Note:
The roof has three parallel lines. Parallel lines normally
vanish in one horizon point, but now they do not.
What they do is they form three focal points that
intersect precisely on the circle. This can't be
coincidental that they focus on the circles.
Together with the dolphinback mantle contour, to me it
seems the intersection points that lay on the circles form
the fibonacci spiral, where the point on the circle with
most intersections from the parallel lines, is the golden
section, or divine section. Located on the elbow by the way.

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Now the second painting is more difficult to understand.
All the parallel lines of the rooftops in the painting form
one horizon point.
The horizon drawn in black, intersects with the heads
of the people present. Symbolizing the thoughts.

All the windows parallel lines (green) intersect on another
horizon that once drawn connects all the mouths of the
men. Symbolizing the words of those men.

And now interesting, there is one roofline of the building
in the center that connects the thoughts with the words.
Symbolizing they have the mind connected to what they
say. So these men are scientists.

When we look at the arcs, then we see that one arc
precisely touches another arc, just above the head of
Marcello, while the inner concentric arc is also nearly
on the same horizon as the roundel.

The most impossible geometric figure is the scene of
stars. I applied a two point hyperbole to its lining (purple)
and found that it points to the lens symbol on the book.
Thus connecting God with Christ, and as such reveals
the divinity of Jesus.
Incredibly weird enough, the asymptotes of the
hyperbole, cross (intersect) exactly in the most right
of the three birds in the sky.

And the Blessed Virgin Mary?
Yes she is there.

Thanks for the article.
Hope you enjoyed my share.

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Ok, after some weird related dreams here is
one last explanation.
There are more intersections of lines in the
drawing. Even more than I draw, however
most of them intersect with other circles
from the arch. So there is the small purple
circle, going through the eye of Guarino and
through the book. Call that C_0
This smallest circle touches the green, most
outer complete arc - circle from the arch.
That is also the exact point where most lines
come together.
The C_0 diameter, relates to all the other big
circles and provides us with ratios.
For example: Call the smallest most inner
big circle through the arch C_1, then dividing
diameters:
C_1/C_0 = 1.41 is the square root of 2.
This circle goes through the mouth of
another student, probably who loves
the square root of 2
Call the next circle C_2 and so on.
C_2/C_0 = 1.5. That is (1+square root 4)/2
C_3/C_0 = 1.62 That is (1+square root 5)/2 = the golden ratio.
This circle goes through the mouth of both
Batista and Marcello symbolizing that this
is what they talk about constantly.
C_4/C_0 =1.73 That is (1+square root 6)/2
Then we have the blue circle, C_5. That is
exactly the circle where the roof parallel
extreme lines intersect.
C_5/C_0 = 1.82 That is (1+square root 7)/2.
Roofs symbolize shelter.
Divine number 7 interpretation.

C_6 is the green circle where most lines
intersect and also C_0 intersects in one
single focal point
C_6/C_0 = 1.91, if you know what it is
then tell me.
C_7/C_0 = 2 = (1+square root 9)/2
C_8 I drew, because it has the intersection
of two roof lines. C_8/C_0 = 2.05 Maybe = (1+square root 10)/2

All the circles of the arch, enclose the book
and the heads of Marcello and Battista,
symbolizing that that is what is going on
in their heads.

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Thanks, AR, for your observations.

I think the painter, supposedly Giovanni Bellini, is making a very simple but very hidden point.

While the focus is on the ‘ancient world’ and the Italian Renaissance rediscovering the learning and important contribution from this pagan era, the artist is saying that the most important gift is God sending his only Son to redeem the world; hence the reference to the Baptism of Jesus in the first miniature and the significance of the Trinity.

In the second illustration we are reminded that Jesus said he will not leave us orphans and the Father would send the Holy Spirit in the name of Jesus to teach us everything. So the focus on ancient wisdom and philosophy will never replace the wisdom and knowledge that comes from the Holy Spirit.

The hands on shoulder motifs are Confirmation symbols.

So in one miniature the Sacrament of Baptism is pointed out and in the other, the Sacrament of Confirmation.

As to the circles, perhaps they can be considered as water ripples (the Holy Spirit) extending out into the world? Also, the inner circle of sky and surrounding wall could be seen as a water in a well reflecting the sky above, perhaps even a baptismal font with a ‘Baptist’ standing either side –– John the Baptist and Battista (Baptist).

I’m hoping to post on another painting later this week: Samson and Delilah by Andrea Mantegna. Just need to write it up.

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Thanks, AR, for your observations.
So the focus on ancient wisdom and philosophy will never replace the wisdom and knowledge that comes from the Holy Spirit.

Sometimes I wonder if
there is any wisdom that
came from another
place than from the
Holy Spirit. Including
ancient wisdom.

I looked at other work
from Bellini. Do you
think the paintings
above came from the
hand of Bellini? You
are now a heavy weigh
on the subject of these
paintings.
For now I don;t think
they were any more.
These paintings
were painted with a
different mindset from
the mindset of Bellini..
My opinion.

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Sometimes I wonder if
there is any wisdom that
came from another
place than from the
Holy Spirit. Including
ancient wisdom.

We share our wisdom, but the source of all wisdom is the Holy Spirit.

Then he breathed into his nostrils a breath of life, and thus man became a living being. Genesis 2 : 7

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Yes, there IS more than one mind expressed in the miniatures. Certainly Marcello and the actual artist, and perhaps their hearts and minds prompted by the Holy Spirit.

I’m not an art historian, nor have I studied any paintings until quite recently.

I read that the work was originally attributed to Mantegna before historians started to favour the hand of Bellini who, apparently, was very influenced by Mantenga’s style.

But as I worked my way through the study I began to suspect that the miniatures may have been done by Mantegna after all as there are references to some of his paintings. But then there are to a couple of Bellini’s paintings as well.

It’s said Bellini was very religious, but I don’t know if Mantegna was to the same degree. I have noticed that Mantegna always seems to include some kind of ‘pillar’ of focus in his work – hence the palm tree and the triumphal arch.

Certainly, whoever painted the miniatures had a deep understanding of God’s presence in the world to be able to ‘disguise’ him in such an invisible way in the two illustrations, as if repeating the question asked by the pagans: “Where is your God?” (Psalm 115)

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As an aside, my interest in the visual, was born or confirmed in Medjugorje. I had made several trips but could never seem to be able to pray there in a way I did when I was at home. Too many distractions, and all I wanted to do was take photos (although I would pray the rosary while I was out walking).

I raised the matter with one of he Franciscans, who was aware that I used the photos for a Medjugorje newsletter I distributed back home. He told me not to worry, and that the photos were my actual prayer. From that moment I saw everything differently and afterwards began to link my photos to the messages and scripture readings. I also found that when viewing and meditating at the Rosary Stations on Apparition Hill and the Stations of the Cross on Mt Krizevac I was able to get a deeper understanding of the events recorded, and understand God is present in all situations.

And that’s the way it has been since!

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Added the conclusion to my analysis of the Albi Strabo manuscript, pointing out the seven seals that refer to those in the Book of Revelation (Apocalypse).
http://www.arnolfinimystery.com/albi-strabo

scroll down to the section ‘the scroll and its seven seals’, or just click the update link at the top of the page.