Andrea del Sarto

John Bjarne Grover

Seems like Andrea del Sarto could be a function 12 artist - possibly abused for nazi misconceptions by lack of a marian cult in protestantism. I refer to a few works from the theory that del Sarto applies to only the first fourth of book 12, the chapter called 'I wonder' (TEQ pages 950-1003). Could be this is not enough for all del Sarto's works - but an interesting theory it is. Some examples:

1. Pieta (Lament of Christ) (from this page) = TEQ #870 = volume 2 page 975

The mouth of Christ is 1/7 from the left side, same as the corner of the mouth of the angel on the other side - the one who detaches the textile from Christ's leg and holds the ancient hearing aid ('høreapparat') - with the angel with 'Guck' on the left.

2. Madonna col Bambino e san Giovannino = TEQ #871 = volume 2 page 976

This artwork could have been an inspiration for the idea of a nazi Madonna being rebuilt to trans for raping the child in puberty times - the principle of 'dritte Reich'. However, the 'faggot' (really a bundle of dry stickss) which even could be the dish which plans to be discharged from her bowels, symbolized in the background, is held in the metaphysics between her two hands, like the two male children etc. The photograph is (as for Lanfranco's 'ogre') the 'outyard' behind the 'film' of the one boy, vs the holograph (or holy-graph) of the other boy. The artwork interprets the role of 'beauty', the esthetic logic, in mystic inquiry. (Nazism with 'dritte Reich' could be a protestant problem if it consists in rejecting the Madonna cult in this 3-dimensional sense of it). The XX in the background could be the role of '20' = 10+10 in this function 12. Considering the mirror poem of #871 around mid point #860 takes it to #849 which interprets the complex qua 'shutter', relevant also to the theme of photography. Subtracting 20 from this takes it to TEQ #829 - wherein one could spot the theme of the 'faggot' in the physical colon.

3. Journey of the Magi (from this source)

Upside-down and mirrored it exhibits strong similarities with Lanfranco's "Seneca's death" the authenticity of which was questioned in these comments (see 'brief comments for february 2023'). If the 'Seneca death' ascribed to Lanfranco should be swindle on basis of del Sarto, one could see in it a motivation in the Madonna col Bambino e san Giovannino if that were the basis for Hitler's theories of 'dritte Reich'. Then it would have been planted into the national museum in Stockholm could be because of 'stå column'. Here are the two items - the upside-down and mirrored del Sarto's 'Journey of the magi' (the relevant excerpt - the curving part on top is ignored) to the left and the alleged Lanfranco's 'Seneca's death' to the right:

4. Virgin and Child with the Infant Baptist (from this source) = TEQ #867 = volume 2 page 972

The ratio 0,7184 of length and height of the canvas gives a point on the child's thigh which is about the same on the Madonna's thigh - and is reflected in the body of the angel above - only then the height is 0,07184 from the top. Could be a little 'stretch' is needed, though.

5. Madonna with child, angel and saint (from this source) = TEQ #858 = volume 2 page 962

6. Morte di san Filippo Benizi e resurrezione di un fanciullo (detail from this source) = TEQ #863 = volume 2 page 968

7. Madonna delle Arpie (from this source) = TEQ #885 = volume 2 page 990

8. Sacrifice of Isaac (from this source) = TEQ #887 = volume 2 page 992

Notice the reference in the poem to 'the good, the speil and the mirror' which could be for that upside-down and mirroring under 3 above for the 'Journey of the magi' relative to the potentially fraudulent 'Seneca's death' of Lanfranco. (The mirror poem 833-20 = TEQ #813)

9. The assumption (from this source) = TEQ #894 = volume 2 page 1001

10. Portrait of a sculptor (from this source) = TEQ #878 = volume 2 page 983

Notice the 'XX' on the wall: The mirror poem minus 20 is 860-(878-860)-20 = TEQ #822 = volume 2 page 923. See the 'folds'. Is this poem telling of the O.D.P.E... of #878?

© John Bjarne Grover
On the web 24 february 2023