Sacred and Profane Love

Sacred and Profane Love

Friday, 2 January 2015

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~Welcome~ 

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The intent of this blog is to reveal
the allegorical meaning of the 
Sacred and Profane Love.
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Direct links to this sites
 most popular posts 
are listed below:

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Discusses the classical and archetypal identities of the three figures at the sarcophagus/fountain, as well as the fountain itself - the original, visual source, the geometric confirmation and philosophical raison d'etre.
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Editing 21/22/23.01.2019.
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Perhaps still the most important post on this site: The Zodiacal Metaphors reveal anti-clockwise sequential references to specific zodiacal houses hidden within the painting and which form an allegorical language designed to deliberately coincide with the paintings geometric arrangements.

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Venice, Tenochtitlan and the Quest for the New World: The importance of the Twin Venuses in Maritime Cartography. 
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Is the Sacred and Profane Love an encoded celestial map capable of the maritime navigation of the Southern hemisphere? What exactly was at stake here that the plan which underlies the Sacred and Profane Love should be concealed and encoded in this form? Columbus had returned to acclaim and adulation and the gateway to the possibility of new Southern lands as yet undiscovered had been breached....

Unravelling the Geometry & Locating the Heptagram (link)

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The heptagram was employed by the Italians Cimabue (1240/50-1302?) Duccio (1255-1318), Giotto (1266/67-1337) Fra Angelico (1400-1455) and importantly marks the Sacred and Profane Love as a religious work belonging to an elite fraternity. A heptagram invested into the work by the artist evidences the involvement of  a geometric mysticism. 

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(A digression)

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 The intention of this post was  to connect the child at the Fountain/Sarcophagus of the Sacred and Profane Love to the child with the 'wand' supposedly 'tapping apples' (J. Anderson Giorgione - the Painter of 'Poetic Brevity'. New York : Flammarion, c.1997) that was painted on the walls of the German trade headquarters in Venice by Giorgione. This post argues that in both cases the child is Mercury and both cases this child Mercury was presented as a winged babe. As both instances conceive Mercury in this unique manner, it shall be argued that these portrayals can be traced to the oeuvre of Giorgione. However this connection can only be realised by deciphering the general meaning of the Fondaco murals and then transposing that earlier mindset (of the winged Fondaco child) onto the child of the Sacred and Profane Love.

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