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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 16 Oct 2011 5:00 pm 
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tingra wrote:
After his accession in 306 Constantine was looking for religious legitimisation as an emperor and a way to incorporate the new religious cult that was arising in his empire and his vision of the “cross” provided him with both as a God and policy he could adopt. Constantine didn’t need to adopt the Christian religion, but he needed the support of the Christian populace so rather than try to compel allegiance to a particular cult he conceded the freedom to choose, a brilliant political move. The use of the Chi Rho on his banner was another brilliant political move, the legends and myths about this object attest to that fact.

And now ... are you still asking yourself why Boudet's LVLC has 306 pages? :) A mere coincidence in the Abbés' wonderland?


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 Post subject: Re: Mongolia
PostPosted: 16 Oct 2011 9:38 pm 
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Renne wrote:

They say that Mongolia is flanked by huge Russia and China, so Mongolia creates
enormous statues as a statement.



Sort of a permanent Burning Man...

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 16 Oct 2011 9:41 pm 
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tingra wrote:
hotspur wrote:

But that's the point Rain, kingship is by divine right or so they would have us believe.


Its not about the divine right to rule, its about legitimacy and the legitimate right to rule. What gave Constantine the legitimate right? It wasn’t enough just to seize power, he had to legitimise his reign, Constantine might have been responsible for shaping medieval Europe more than any other person, his actions and deeds are still affecting people today and without him would Christianity have flourished?

After his accession in 306 Constantine was looking for religious legitimisation as an emperor and a way to incorporate the new religious cult that was arising in his empire and his vision of the “cross” provided him with both as a God and policy he could adopt. Constantine didn’t need to adopt the Christian religion, but he needed the support of the Christian populace so rather than try to compel allegiance to a particular cult he conceded the freedom to choose, a brilliant political move. The use of the Chi Rho on his banner was another brilliant political move, the legends and myths about this object attest to that fact.


The three laurel wreaths were also indicative of rule. Each wreath representing 20 years rule, Constantine therefore had the legitimacy of 60 years rule.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 16 Oct 2011 9:47 pm 
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tingra wrote:

Its not about the divine right to rule, its about legitimacy and the legitimate right to rule. What gave Constantine the legitimate right? It wasn’t enough just to seize power, he had to legitimise his reign, Constantine might have been responsible for shaping medieval Europe more than any other person, his actions and deeds are still affecting people today and without him would Christianity have flourished?

After his accession in 306 Constantine was looking for religious legitimisation as an emperor and a way to incorporate the new religious cult that was arising in his empire and his vision of the “cross” provided him with both as a God and policy he could adopt. Constantine didn’t need to adopt the Christian religion, but he needed the support of the Christian populace so rather than try to compel allegiance to a particular cult he conceded the freedom to choose, a brilliant political move. The use of the Chi Rho on his banner was another brilliant political move, the legends and myths about this object attest to that fact.

Its not about the divine right to rule

In the minds of those that seek to rule it is - so they fabricate some way of demonstrating this divine right. Would you not agree?


Constantine didn’t need to adopt the Christian religion, but he needed the support of the Christian populace so rather than try to compel allegiance to a particular cult he conceded the freedom to choose, a brilliant political move.

I agree. It was a means to consolidate his power and the power of the state.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 16 Oct 2011 10:04 pm 
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hotspur wrote:
In the minds of those that seek to rule it is - so they fabricate some way of demonstrating this divine right. Would you not agree?


It depends on what you mean by fabricate, tucked away in the periphery is the ability to carry out rule through traditionally divine measures.

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Last edited by rain on 17 Oct 2011 3:27 am, edited 1 time in total.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 16 Oct 2011 10:23 pm 
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rain wrote:
hotspur wrote:
In the minds of those that seek to rule it is - so they fabricate some way of demonstrating this divine right. Would you not agree?


It depends on what you mean by fabricate, tucked away in the perpheriphy is the ability to carry out rule through traditionally divine measures.



carry out rule through traditionally divine measures

What are they?

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 Post subject: Templar
PostPosted: 19 Oct 2011 1:32 am 
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Templar knight.

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 Post subject: Giorgione
PostPosted: 17 Nov 2011 1:36 am 
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Giorgione - "Sacred Conversation."

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 Post subject: Prado
PostPosted: 19 Nov 2011 11:20 pm 
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"San Miguel de Zafra" - Prado Museum. There is a "P" and an "S" in the banner. What is the mystery?
That angel is not a male.

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"Annunciation" from the Prado Museum in Madrid. Can you see the P and the S in the banner?

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 Post subject: PS
PostPosted: 19 Nov 2011 11:31 pm 
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The Centurion stone found by Ben at RLC - an alchemical "4", a "P" and an "S".

Giorgioni - a "P" and an "S" on a staff with a crossbar. Compare this design to the banners above.

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Last edited by Renne on 03 Feb 2012 12:27 am, edited 1 time in total.

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 Post subject: Salvator Mundi
PostPosted: 24 Nov 2011 12:27 am 
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"...but as their scholarship deepened, they were able to narrow down their suspicions until they were sure they were dealing with a real Leonardo.

It was at this point that the safety of the painting became a priority.

"I had to finish what I was doing very quickly because once it was (revealed to be) a Leonardo, it couldn't stay here (in the studio), it wasn't insured to stay here," Modestini said.

So, they sent it to New York's Metropolitan Museum of Art for safekeeping.

Simon and Modestini then called in da Vinci experts from all over the world to further verify the painting.

For Simon, the nearly seven-year process has been the pinnacle of an already distinguished career.

"This is not a little ripple in a pond, this is like a boulder," he said.

"I'll be pushing on but I have no expectations of making (another) discovery of this level. This is the art history equivalent of a gold medal," he continued.

"Salvator Mundi" is going on public display in London in November, as part of the exhibition Leonardo da Vinci: Painter at the Court of Milan at The National Gallery."

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 Post subject: London
PostPosted: 03 Dec 2011 1:14 am 
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For size, now on display in London.

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 Post subject: Da Vinci
PostPosted: 03 Dec 2011 1:16 am 
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For detail. Is that a Merovingian crystal ball?

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 Post subject: Artist?
PostPosted: 03 Dec 2011 1:26 am 
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Who did this copy of the new Da Vinci Christ portrait? Is it a Raphael?

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 03 Dec 2011 2:44 am 
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Quote:
For detail. Is that a Merovingian crystal ball?



It is the Clach na Bratach

http://www.scotclans.com/bletherskite/?p=2861

The Clach na Bratach is considered to be the most precious relic of the Clan Robertson. It is a rock crystal charm stone and was unearthed when the chief’s standard pole was pulled from the ground while on the march to Bannockburn. Since then the stone has been carried into battle by every Robertson chief.
The Clach na Bratach is said to have been a mystical, power stone which could do many magical things such as heal humans and animals, and it could also predict the future.
It is said that the Robertsons used to carry the Clach na Bratach into battle, and it was originally done by hand until they caged it on top of their standard pole. When it wasn’t being carried to battle the stone was kept in a silken purse made by the Countess of Breadalbane.
They say that the stones primary function was to heal, and if the Clach na Bratach came into contact with water, the water automatically gained curative properties for all. 
Legend tells that the stone could also predict the death of a Robertson clan chief. If the stone turned cloudy, then people would know that the chief’s death would be imminent.
In 1715 Alexander Robertson of Strowan, also known as the Poet Chief, consulted the Clach before he headed off to fight in the first Jacobie Rising, and perhaps unsurprisingly it filled his heart with dread when it saw that the orb had developed a large crack. Perhaps it told the truth. If Struan had not joined the rebellion, his own fortunes and that of his successors might have been very different.


The book of Matthew is about the Bloodline of Christ...

Matthew 1:1
The book of the generation of Jesus Christ, the son of David, the son of Abraham.


Matthew 10:16

Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves.

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 Post subject: Pennant
PostPosted: 08 Dec 2011 1:46 am 
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Can you see the "P" & the Gothic "S" in this pennant?

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 08 Dec 2011 8:34 am 
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Crystal balls as vexilla..... a palladium, being borne into battle to secure victory.


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 Post subject: Poussin
PostPosted: 21 Dec 2011 12:56 am 
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Poussin`s "Ideal Landscape" contains a horse with 2 riders - circled in red. Posted

by Brian Kannard.

Thank you Sheila for the crystal ball info. Your farm`s land has quite a history! Arizona is 100 years old
this year so it`s a very different situation here.

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 21 Dec 2011 1:19 am 
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Sheila wrote:
Crystal balls as vexilla..... a palladium, being borne into battle to secure victory.


Renne wrote:
Thank you Sheila for the crystal ball info. Your farm`s land has quite a history! Arizona is 100 years old
this year so it`s a very different situation here.


It's very interesting about the crystal ball.

http://www.electricscotland.com/history ... harms1.htm
from the various other Scottish charms and amulets.
http://www.electricscotland.com/history ... charms.htm



Quote:
Scottish Charms and Amulets
Balls of Rock-Crystal used as Charms






--------------------------------------------------------------------------------







According to the Rev. C. W. King crystal was extensively used among the Romans for the manufacture of drinking-cups and similar vessels, and for personal ornaments. Mr King also quotes two passages from Propertius as evidence that balls of rock-crystal were carried by Roman ladies to keep the hands cool during the summer heat, a fashion, he adds, which is "kept up by the Japanese to the present day." In neither instance, however, can the passage quoted be understood to bear out his statement.

Orpheus appears to be the only writer of antiquity who ascribes any medicinal virtue to crystal, and he only recommends it as a cure for kidney disease by external application of the stone, and as a burning lens for sacrificial purposes. Pliny recommends a ball of rock-crystal as a cautery for the human body if held up in the rays of the sun. Marbodus recommends crystal powdered in honey for mothers nursing, to increase their supply of milk:—

"Hunc etiam quidam tritum cam melle propinant
Matribus infantes quibus assignantur alendi,
Quo potu credunt replerier ubera lacte."

In various parts of Europe, and especially in England, balls of rock-crystal have been found, mostly in connection with interments of the Iron Age. Many of these balls when found were enclosed within narrow bands of metal, chiefly of silver, but sometimes of gold or bronze. Formerly these balls were considered by archaeologists to have been used for magical purposes, but the general opinion now is that they were worn on the person as ornaments. At a much later period, however, the use of crystal balls for magical purposes appears to have been common in England. In Scotland rock-crystal has been used in the ornamentation of a number of objects of early date, but, with the exception of the superstitious practices associated with the balls described below, I have not been able to find any references to the use of crystal for magical purposes. Lhwyd mentions the use of the crystal balls among the Highlanders, and says they were held "in great esteem for curing of Cattle; and some on May Day put them into a Tub of Water, and besprinkle all their Cattle with the Water to prevent being Elf-struck, bewitch’d, &c."

Dr Anderson has suggested to me that previous to their use as curing-stones, the crystal balls, found in Scotland may have been used as vexilla, and, like the Baul Muluy of St Molio described below, have been borne into battle for the purpose of securing victory. This seems a not unlikely theory, and I think it is supported by the traditional account of the Clach-na-Bratach, and by the name given to the Glenlyon ball of rock-crystal. The account of the former was probably reduced to writing long after the actual facts had become confused by tradition, and perhaps it is not going too far to read in it a record of the discovery of the ball in a grave, and its subsequent use as a vexillum or standard carried by the clan to battle for the purpose of securing victory. According to Pennant, the Glenlyon ball was known as the "Clach Bhuai, or the Powerful Stone," but it is just as probable that the name was Clach Buaidh, or "Victory Stone." There is probably an allusion to the use of victory stones by the Highlanders in a letter to Wodrow the historian from the Rev. John Fraser, Episcopalian minister in the Highlands. The letter is dated 1702, and in it he says: "Ther was a great many fine and pretious stons amongst the Highlanders, many of which they hung about their necks of old, and keepd in their standards, and attributed more vertue to them [than] Albertus Magnus did, and that was too much."

A common name in the Highlands for these rock-crystal balls, which are apparently not common in Scotland, was Leug or Leigheagan.

The Clach-Dearg, or Stone of Ardvoirlich, is a ball of rock-crystal, smaller than the Clach-na-bratach, mounted in a setting of four silver bands, with a ring at the top for suspension (fig. 1).It is supposed to have been brought from the East, and the workmanship of the silver mounting is also said to be Eastern. It was formerly held in great repute, particularly in diseases of cattle, parties coming from a distance of forty miles to obtain some of the water in which it had been dipped. The belief in the virtue of this charm continued till within thirty years ago. Various ceremonies had to be observed by those who wished to benefit by its healing powers. "The person who came for it to Ardvoirlich was obliged to draw the water himself, and bring it into the house in some vessel, into which this stone was to be dipped. A bottle was filled and carried away; and in its conveyance home, if carried into any house by the way, the virtue was supposed to leave the water; it was therefore necessary, if a visit had to be paid, that the bottle should be left outside."



The Clach-na-Bratach, or Stone of the Standard, is an unmounted ball of rock-crystal 1 7/8 inches in diameter, and is stated to have been in the possession of the Clan Donnachaidh since the year 1315. It has already been twice described in the Proeedings, and is shown the full size in fig. 2.

The commonly accepted account of this ball is as follows:—The chief of that time (1315), on his way with his clan to join Bruce’s army before the battle of Bannockburn, observed, on his standard being pulled up one morning, the ball glittering in a clod of earth hanging to the flagstaff. The chief showed the ball to his followers, and told them he felt sure its brilliant lights were a good omen, and foretold their victory in the forthcoming battle. Ever after the stone accompanied the clan whenever it was "out," and was always consulted as to the fate of the battle. Its last outing was at Sheriffmuir in 1715, when a large internal flaw was first observed. In a manuscript account of the ball, written between 1749 and 1780, and communicated to the Society by Sir Noel Paton, a slightly different account is given as follows:-

"There is a kind of stone in the family of Strowan which has been carry’d in their pockets by all their representatives time out of mind. Tradition says that this stone was found by Duncan Ard of Atholl, the founder of that family in Perthshire, in the following manner: as Duncan was in pursuit of M’Dougal of Lorn, who had made his escape from him out of the island of Lochranoch, night came upon him towards the end of Locherichk, and he and his men laid them down to rest, the Standard Bearer fixing the Staff of his Standard in the ground; next morning, when the man took hold of his Standard (as it happen’d to be in loose Spouty Ground near a fountain), the Staff, which probably was not very small or well polished in those Days, brought up a good deal of Gravel and Small Stones, and amongst the rest came up this Stone, which, being of a brightness almost equal to Crystal, Duncan thought fit to keep it. They ascribe to this Stone the Virtue of curing Diseases in Men and Beasts, especially Diseases whose causes and symptoms are not easily discover’d and many of the present Generation in Perthshire would think it very strange to hear the thing disputed."

In another manuscript, written about 1777, it is further stated of the Clach-na-Bratach that "it is still looked upon" in the Highlands "as very Precious on account of the Virtues they ascribe to it, for the cure of diseases in Men and Beasts, particularly for stoping the progress of an unaccountable mortality amongst cattle. Duncan (i.e., Donacha Reamhar) and all the representatives of the Family from Generation to Generation have carried this atone about their persons; and while it remained in Scotland, People came frequently from places at a great distance to get water in which it had been dipt for various purposes."

The last occasion on which this ball was used appears to have been somewhere between 1822 and 1830, when it was dipped with much gravity, by the chief, in a great china bowl filled with water from a "fairy" spring, after which the water was "distributed to a number of people who had come great distances to obtain it for medicinal purposes."

Clach Bhuai, or the Powerful Stone.—Pennant mentions having seen a ball of rock-crystal, or a "crystal gem" as he prefers to call it, mounted in silver, in the possession of Captain Archibald Campbell of Glenlyon, which he says was known as the Clach Bhuai, or the "Powerful Stone," and that good fortune was supposed to attend the owner of it. It appears to have been efficacious in diseases of mankind as well as animal, and Pennant adds that for the use of it "people came above 100 miles, and brought the water it was to be dipt in with them; for without that, in human cases, it was believed to have no effect." The ball is about 4 inch in diameter; and, according to the late Sir James Simpson, "to make the water in which it was dipped sufficiently medicinal and effective, the stone, during the process, required to be held in the hand of the Laird."

In the Fingask Collection, at present exhibited in the Museum of Science and Art, there is another of these balls of rock-crystal, about 1 1/4 inch in diameter, mounted in silver bands, the workmanship of which is probably of the end of the last or beginning of the present century. Unfortunately it has no history.

A fourth ball, also mounted in silver, for use as a charm, was exhibited to the Society on the 14th December 1891, by Mrs Gibson, Bankhead House, Forfar. It measures about 1 1/2 inch in diameter. Unfortunately nothing is known of its history beyond the fact that it has been in the possession of the family of the present owner since the middle of last century at least. The ball may have been found in England, as the first member of the family in whose possession it is known to have been was a schoolmaster in Great Yarmouth.
The National Museum possesses a ball of rock-crystal, 1 3/8 inch in diameter, said to have been found somewhere in Fife many years ago. It is unmounted, and may have been found in a grave, like the balls mentioned in Appendix II.

In addition to the balls already described, there are also a number of other charms of rock-crystal, formerly held in high repute for the cure of various diseases.

Keppoch Charm-Stone.—This charm has already been described in the Proceedings by the Rev. Dr Stewart, of Nether Lochaber. He makes no mention, however, of what disease or diseases the stone was intended to cure, nor how the water in which it was dipped was administered to the patient. The charm is "an oval of rock-crystal, about the size of a small egg, fixed in a bird’s claw of silver, and with a silver chain attached, by which it was suspended when about to be dipped." The charm was in the possession of the late Angus MacDonell of Insh, a cadet of the MacDonells of Keppoch and the Braes, who emigrated to Australia shortly after 1854, and is believed to have taken the charm with him. The following form of words was repeated as the charm was being dipped in the water :—





Gaelic
Bogam thu ‘sa bhũrn,
A lèug bhuidhe, bhoidheach, bhuadhar.
Ann am bũrn an fhior-uisg;
Nach d’ leig Bride a thruailleadh,

An ainm nan Abstol naomh,
S Muire Oigh nam beùsan,

‘N ainm na Trianaid ard,
‘S nan aingeal dealrach uile;
Beannachd air an lèug;
‘S beannachd air an uisge,
Leigheas tinneas cléibh do gach creutair cuirte.


Translation
Let me dip thee in the water,
Thou yellow, beautiful gem of Power!
In water of purest wave,
Which (Saint) Bridget didn’t permit to be contaminated.
In the name of the Apostles twelve,
In the name of Mary, Virgin of virtues,

And in the name of the High Trinity
And all the shining angels,
A blessing on the gem,
A blessing on the water, and
A healing of bodily ailments to each suffering creature.



"To understand the reference to St Bridget in the incantation, it is necessary to mention that there is a well near Keppoch, called Tobar-Bhride (Bridget’s Well), from which a small streamlet issues. It was from this stream that the water was taken into which the charm-stone was to be dipped."

The Marquess of Breadalbane possesses a charm of rock-crystal set in silver, which was exhibited in the Glasgow Exhibition, and has been figured. The setting is an octagonal disc of silver, with the crystal secured to one face, and with eight pearls set round it at regular intervals. The crystal is probably the one referred to in the "Inventar of geir left by Sir Coline not to be disponit upon," as follows:—"Ane stone of the quantitie of half a hen’s eg sett in silver, being flatt at the ane end and round at the other end lyke a peir, quhilk Sir Coline Campbell, first Laird of Glenvrquhy, woir quhen he faught in battell at the Rhodes agaynst the Turks, he being one of the knychtis of the Rhodes." In noticing this entry Cosmo Innes says:—"The jewel so particularly described as the amulet worn in battle by the Knight of the Cross, would seem to have been used as a charm for more homely purposes afterwards." He does not tell us, however, what these "homely purposes" were.

Among the objects in the Sim Collection, presented to the Museum in 1882, is an oblong piece of rock-crystal, 1 5/8 inch in length, 7/8 inch in breadth, and 3/4 inch in height, in a setting of brass, with a loop at one end for suspension. "A memorandum accompanying it, in Mr Sirn’s hand, states that it was purchased at Oban on 6th June 1851, from Duncan White, jeweller there, and that it was believed to be an amulet or charm-stone. The memorandum also states that it had been twenty years in Mr White’s possession, and during that time he had met with nothing similar, except a very fine one, set in silver and encased with other red stones, for which he wanted a large sum."

An oval polished crystal of a yellowish colour, 7/8 inch in length by 1 1/6 inch in diameter, exhibited by Dr R. de Brus Trotter, of Perth, is said to have been found at Leac-a-Geelie, Carrochtrie, and to have been used like the clear stone of the diviners in Yucatan, mentioned in the Appendix (p. 526), "for seeing things in."

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 21 Dec 2011 1:38 am 
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Yes spot on. The main point is that they were a tool for psychics.

It was a medium through which something happened.

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 Post subject: Re: Poussin
PostPosted: 21 Dec 2011 1:40 am 
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Renne wrote:
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Poussin`s "Ideal Landscape" contains a horse with 2 riders - circled in red. Posted

by Brian Kannard.

Thank you Sheila for the crystal ball info. Your farm`s land has quite a history! Arizona is 100 years old
this year so it`s a very different situation here.



Very well spotted Renne.

In fact the whole landscape seems to be a study in two's.
Look at the trees and the mountains. There are even two arches, one of which does not seem to be doing anything.
The main character though is on his own and the only one brightly painted. He is pointing out the only other person on his own, the man on the fine horse, to the pair identically drably painted next to him.

I would guess Poussin is pointing out that the perfected (ideal) man is not 'divided', that he has balanced the opposing forces within himself and has become complete. (The Templar two men on one horse illustrates the base state.)

Not convinced there is something going on? Take a look at the reflection of the those two riders in the lake. How many do you see?

Poussin certainly knew what was needed to create a perfect landscape. :wink:

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 Post subject: Re: RLC - A New Michelangelo at the MET?
PostPosted: 21 Dec 2011 4:19 am 
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I never have seen that Poussin before
interesting the horse with two riders

the tree
seems some branches were cut off and yet one survived

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 Post subject: The Star
PostPosted: 24 Dec 2011 12:11 am 
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High King
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Image

The Wise Men following the star of Bethlehem.

Concerning the double riders in the Poussin, I think that the original observation

(and enlargement) was by Marcuzio Isauro.

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Last edited by Renne on 25 Jan 2012 12:31 am, edited 1 time in total.

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 Post subject: Re: Poussin
PostPosted: 29 Dec 2011 2:36 am 
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RenaissanceMan wrote:

Very well spotted Renne.

In fact the whole landscape seems to be a study in two's.
Look at the trees and the mountains. There are even two arches, one of which does not seem to be doing anything.
The main character though is on his own and the only one brightly painted. He is pointing out the only other person on his own, the man on the fine horse, to the pair identically drably painted next to him.

I would guess Poussin is pointing out that the perfected (ideal) man is not 'divided', that he has balanced the opposing forces within himself and has become complete. (The Templar two men on one horse illustrates the base state.)
Not convinced there is something going on? Take a look at the reflection of the those two riders in the lake. How many do you see?

Poussin certainly knew what was needed to create a perfect landscape. :wink:



War horses were NOT used for transportation or for gay outings about the pond. As the painting clearly shows, the ass or donkey was used for everyday use. The 2 people on horse-back are either fighting someone or training to fight someone. One person controls the horse and the other uses weapons. In order to be truly effective, all 3 must work in-sync; horse and both riders must become one. Therefore, your assumption about man being divided is maybe needing a little further thought.

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 Post subject: Re: Poussin
PostPosted: 29 Dec 2011 11:27 am 
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Serendipity wrote:
RenaissanceMan wrote:

Very well spotted Renne.

In fact the whole landscape seems to be a study in two's.
Look at the trees and the mountains. There are even two arches, one of which does not seem to be doing anything.
The main character though is on his own and the only one brightly painted. He is pointing out the only other person on his own, the man on the fine horse, to the pair identically drably painted next to him.

I would guess Poussin is pointing out that the perfected (ideal) man is not 'divided', that he has balanced the opposing forces within himself and has become complete. (The Templar two men on one horse illustrates the base state.)
Not convinced there is something going on? Take a look at the reflection of the those two riders in the lake. How many do you see?

Poussin certainly knew what was needed to create a perfect landscape. :wink:



War horses were NOT used for transportation or for gay outings about the pond. As the painting clearly shows, the ass or donkey was used for everyday use. The 2 people on horse-back are either fighting someone or training to fight someone. One person controls the horse and the other uses weapons. In order to be truly effective, all 3 must work in-sync; horse and both riders must become one. Therefore, your assumption about man being divided is maybe needing a little further thought.


Great Point Serendipity
and I think the tree represents that unity
the two branches united ...one branch goes upward where the other has roots and produces a small branch below
The tree really seems like a uniting of male and female

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