Gaudenzio Ferrari

Gaudenzio Ferrari

John Bjarne Grover

Four artworks of Gaudenzio Ferrari in 'window' format relative to my 'The Endmorgan Quartet'.

Example #1

The example is Ferrari's 'Praying angels' (I found only this source on the web) which finds a correlate in my TEQ #632:

Here is shown how the artwork can be seen as relevant for the concept of 3,5. The first pass is less 'tragic' than the second, although they could be 'on a par' in the combined number.

Parallel text is Exodus 18:11. It is possible to read this in the form "perceive this moment because the loud/acoustic God of every divine being (= 'angel') excepts the referent that rebels inside". The artwork shows the 'rebellations' in the form of the curving-curling yellow textiles to the left - and if this looks like a numeral '3' on the back of the lefthand angel, it applies for the second angel to the '3' in the body form of the first. If the righthand angel shows the form of a numeral '4' (rather than '5'), it could also be about the number '34' that seems to have been fundamental for some ancient egyptian symbolism about the transcendent afterworld. The 'tragic' angel to the right seems to suffer from some 'not so easy matter' - which could be about matter with gravity. Or, say, this angel has just heard the bad news that Big Brother taps and controls your thoughts and entire consciousness - and what is left of your poem then? Is Big Brother a sort of God? The angel to the left, though, brings the good news that God excepts the referent that stays independent inside - which means that a truly divine revelation in your mind will always be left independent of the Big Brother control. Could be this is just the 'checkpoint' (with greek 3-looking epsilon) in question. Could be Big Brother (or Satan) has misunderstood the meaning of 'rebel inside'?

Example #2

The mirror image to this is 1720-632 = TEQ #1088:

The artwork of Ferrari which seems to meet this poem is the large fresco 'Concert of angels' (quote from this source) in the cupola of the Santuario dei Beata Vergine dei Miracoli in Saronno (outside Milano) - it is the concert for the birth in Bethlehem. It seems that my poem describes the main elements in the five main sectors of the circular cupola - here is the same quote turned somewhat around and annotated with 1-5 for the following 5 excerpts - from this source:

0. "On the big close in Bethlehem / complete musicians" - the cupola shows musicians all over

1. "Best / you did" could be this part - the circle of winds avoids repeats

2. "Not every woman / is racist" - notice the 'female breasts' down right

3. "The same kind of journalist / lover" - notice the 'journalistic' paper above and the one kissing it

4. "It appears that most people are very proof: / De-de-de..." - the 'geometric proof' constituted by the three flutes - each of them a 'de'

5. "Doc / to see why. Why noth?"- The 'medical condition' of the apparent instrument above, the inspection of another instrument under it.

It is seen that this poem finds 5 suitable references in the cupola of Ferrari in a manner similar to the 4 rotations of the ex nihilo image relative to the opening lines of the Duino elegies 1 and 4 of Rilke.

I did try to divide TEQ into 5 - that is 1720/5 = 344 - but did not find an obvious echo so far.

The Mesorah Artscroll edition translates this hebrew fragment from Talmud Erubin folio 14b-1: "Four hundred fifty are sufficient". Some surface forms by way of Jastrow's dictionary of talmudic hebrew:

בארבע - ב = prefix 'in, on' + ארבע = 'four' - cp. also באר = 'well, spring' + בע = 'to enter into, split, inquire, open wide'
מאה = 'one hundred', '100'
וחמשין - ו = COPULA + חמש = '5, 5th' plural '50' - cp. also 'divide into 5'
סגיא = 'multitude, greatness, spreading, numerous, large, great, 'it is impossible', fence'

See also the following sample.

Example #3

Computing in my 'The Endmorgan Quartet' the third angle in a rectangular 'window', it is found by 860-632 = TEQ #228 - and an artwork of Ferrari which seems to concern this poem is his 'adoration of the shepherds':

Higher resolutions available here

'Ved' = 'by', 'ham' = 'him'. The 'strings' are the angelic string instruments just behind the infant. "...in order to keep a swallows / off to its print" seems like the row above the scene - the angel to the left as the 'swallow' who is just outside, and the 'print' of the two faces to the right echoing the book on the bookstand to the left. The 'Gruppe' (of people and angels) down right has a reflex in Mary's coat - for the 'in and out simultaneously' - as well as in the nun to the right. A 'reparation' after circumcision is not easy.

Parallel text Luke 21:7 The word σημεῖον means partly 'sign, token', partly 'tomb', and hence could refer to the upper row right. It is also likely that there are some etymological connections between (ἐπ)ερωτάω = 'inquire' and the modern word 'erotic' - cp. the upper scene to the left.

Example #4

The fourth corner in the rectangular 'window' will be 1720-228 = TEQ #1492 for which a relevant artwork of Ferrari could be 'the adoration of the magi':

Higher resolutions available here

Clearly the first two lines apply to the lower third of the artwork, the mid two lines to the mid (the Jesus of the last supper and the gifts he had got on the present occasion), while the two last lines would then apply to the upper third - the cow to the right resembles the monkey to the left, the two ears of the donkey resemble the two horse-heads - and then there is the Noah's dove for the method 'on earth'. It is the signature 'Seven' which makes sense here:

This completes the 'window frame' by the two angels (value 3,5) in example 1 here summing up to 7 in example 4. It could be this phenomenon which is the theme of the 'proof' in example 2-4. It closes the circle or 'window'.

The Mesorah Artscroll edition translates this hebrew fragment (to TEQ #1492) in Talmud Erubin folio 16b-1: "[This] is a refutation of Rav Pappa; [it is indeed a] refutation". Some surface forms by way of Jastrow's dictionary:

תיובתא = vomit, return, answer, reply, refutation, argument
דרב - 'ד' = 'of/that + 'רב' = 'the senior/teacher/rabbi' etc - cp. דרבן = 'goad, iron point on staff'
פפא = 'papa' - or פפי = 'to mouth, talk in proud manner'?
תיובתא = vomit, return, answer, reply, refutation, argument

which could be relevant to the idea in example 1 - of the paradoxical question of 'inner revolt' against the temptations of Satan. This could be compared again with the apparent three registers or 'rows' in example 4 compared with the graphic layers contained in the 3,5 of example 1 - the upper horizontal line of the digit '5' would mark the division between the first and second row or register, just like it does in the present '7'.

Conclusion

What this means is that Ferrari's work seems to meet the structure in my 'The Endmorgan Quartet' in a manner comparable to how my ex nihilo graphics for the front page to 'Der Dornenstrauch' in four rotations meet the beginning lines of two of Rilke's 'Duino Elegies' - as told in this article: It would be the same principle as for the fresco in the cupola of the Santuario della Beata Vergine dei Miracoli with its 'Concert of angels'. The 'inner revolt' against the temptations of Satan in example 4 could in fact find a 'rotary' interpretation in example 2 = TEQ #1088 - each rotation being a 'big close' of the circle wherein one does 'the best' and avoids racism and 'journalistic' (= 'intelligence'?) temptations etc. This could perhaps even be taken to mean that the structure of my 'The Endmorgan Quartet' can be understood in the framework of a universal 'faculty of faith'. Could be the temptations of 'intelligence' include the automatic presence of an alternative whenever there is anything understood at all - and hence the idea of a 'paradise' could for the intelligence be what creates the idea of a post-world damnation. It is this aspect of 'faculty of faith' - which tries to avoid the temptations of human intelligence - which could be contained in my fundamental theorem of logic - as it balances on the border between history and eternity.

(Evening: Sirens sounded when I completed this article this morning - see also 'like in an electric outlet' - as for my french fries cooker? What would Chomsky think about this theory of mine - would he 'smell Curry'? I did some mumble about these theoretic things a day or two ago - but I was not involved in the explosions in Ukraine).