Wie Klaviatur in die Saiten dringt

Wie Klaviatur in die Saiten dringt

John Bjarne Grover

The question could be this: Is Caravaggio the only artist who exhibits a systematic cuneiform? In this article I showed that the cuneiform of Caravaggio really is a secondary function of a deeper 'cultural narrative' which my poetic work 'Der Dornenstrauch' = DDS is about: This work of poetry can be used to prove the existence of two cycles in Caravaggio's work for the conclusion that it is this substratum of poetic structure which gives rise to the idea that Caravaggio encodes cuneiform. In the present article I give an example in terms of one line from a poem in DDS relative to this structural substratum as evidence that Caravaggio is not special from this viewpoint except perhaps in the sense of having refined the surface graphical imprint of this poetic substrate in culture.

The line I study in this article is from DDS II:5 line 6 (out of 14): "...wie Klaviatur in die Saiten dringt". It is this which is the secret of Caravaggio's "St.Catherine of Alexandria" wherein the tip of the axlebar extends exactly 6/14 horizontally into the artwork. That is measured in DDS II poem 5, while the diagonal and vertical axes (of corresponding wedges of cuneiform) ae measured in poems 6 and 7. These 1-step poems, as I call them, account for the graphical surface of the artworks, while the artwork's thematic 'story' (on a personal subjective level) is told in the 5-step poem - which for "St.Catherine of Alexandria" is DDS II:59, as tells the scheme of the article.

Rafael

In the article, I discuss also one 'exemplus docet' telling that Caravaggio is not the only artist that finds his poetic substructure in my DDS: That is the 'autoritratto' of Rafael - his 'Double portrait' in its affinities with the 'Madonna dei Palafrenieri' of Caravaggio in such a way that the 1-step poems assigned to the latter can be applied also to the study of the former. It is the 'turning' of the theme of the hidden matter which is the theme: In the two-dimensional artwork, it is assumed that the hand that rests on the shoulder is attached to the arm of the lefthand person behind the shoulder of the righthand person, and this assumption is associated with the transcendent Christ - such as I show in the last example discussed in this article. But the mystery of subjective unity (on 5-step level) in spite of graphical surface dividedness (1-step level) is turned around compared with the Caravaggio work - and when turning the 5-step cycle around about the same number of degrees, one finds the poem #37 (for Rafael) instead of #4 (for Caravaggio) and this completely convinces relative to the subjective personal level of Rafael's work. Which proves the hypothesis.

Rafael's "The carrying to the grave" could probably be disputed as to whether it is completely authentic. Buck / Hohenstatt gives on p.37 a reproduction of the draft to the carrying which shows the gender (by beard) of two persons (the centermost carrier and the man next to the woman who holds Christ's hand) interchanged. Why has the beard (and thereby the gender) been moved from the centermost to the lefthand person? The theory possibly exists that the work has been subjected to sabotage - and evidence for this theory be sought in the preparatory sketch. However, with my DDS one can point to a certain logic therein: Following the suggestion from Caravaggio's related 'Burial of Christ', the 1-step mappings would be be #21,22,23 and the 5-step #7. For the horizontal dimension, poem 21 line 5-6 = "Wir sieht es auf der Fläche / die Ober ist genannt". The point 6/14 through horizontally takes it to precisely the point where the central carrier pulls the cloth under the body of Christ - it is where the burden is (or the 'genannt' is?). The beard that is seen on the central carrier in the preparatory sketch associates with the tip of the nose which is exactly 9/14 horizontally: Line 9 = 'Wir warten auf Erlösen': The sketch-beard seems to have detached from this chin and was re-attached on the man to the left - for whom line 4 = 'und fragen nach dem Vlies' - which then applies to the cloth under the body, could be as an aspect of the beard. The answer to the mystery why the beard was moved is found towards the end of this article (in the concept of the trinity).

The diagonal dimension is, by this logic, in DDS II:22: Computing 7/14 though takes it to the mid point - including the meeting of the two hands and the tip of the red textile. Line 7 is "mit Teddybär in Karmosin". Line 6 = "auf schnellem Rad vorbei" and applies to the hand-holding woman's hair as it curls around her chest, just to the point where it meets the grey-black.

Assuming that the two genders (by beard) have been swapped relative to a more fundamental level, one can try the +33 for 'the other side', that is not the 5-step DDS II:7 of the Caravaggio correlate but here DDS II:7+33 = DDS II:40 for the 5-step = personal subject level. It is the last couplet (lines 13-14) which tells that this poem #40 is of acute relevance to this artwork: "Die Sonne tritt über die breite Erde / wie Fische drehen ihre silberne Gebärde" - assigning a sense of 'sun' to the body of Christ. This poem #40 contains the telling lines 3-6:

Man sucht nach einem geöffneten Ess-Restaurante
wo man sich ruhen kann in Herz und Sohl'.

Es ist in den Gesichtern von den Weibern
die durch das schmale Nadelöhr passiern

The socalled 'Ess-Restaurante' ('S'-Restaurante) will then be telling of Christ as just that transcendent matter which extends from the 'Nadelöhr' stigmas (reproduced from Buck/Hohenstatt):

By this, Christ is that carried ('beared') material bridge between the two people whose 'beard' had been swapped - or even from the 'Herz' of the woman holding his hand and the 'Sohl[e]' of the carrying woman. Or the beard has moved along the S from the man to the foot of the woman.

The conclusion to this is that the poem of +33 applies with extraordinary relevance.

Another telling example is found in Rafael's "St.Cecilia with saints" - which convincingly invokes just that DDS II:7. If this should count as a +33, that means added to 5-step #40 hence 1-steps should be 54,55,56. I refer to the horizontal dimension for lines 5-8 of #54:

Das Jahr bewegt sich dunkelschwer -
hofft sich selbst zu kennen.
Musik spielt in dem Abend, sehr
schön vergnügt zu nennen

Line 5 applies to the black bird sculpture, from its claw to the tip of its beak, line 6 to the upper end of the slit in her coat, line 7 to her hand holding the instrument and line 8 to the organ instrument itself. It is quite convincing - the conclusion that Rafael is a +33 relative to Caravaggio on the 5-step level.

There is an interesting application of this +33 in terms of the zifferblatt (see this file) as far as the distance 1823 is concerned - consider 1823 a variant of the '17/35-23' in the lower half. Rafael's "Triumph of Galatea" exhibits some affinities to Caravaggio's "7 works of mercy" - and indeed the "Triumph of Galatea" can be seen as interpreted in one half of it in DDS II:17 (its central parts) and the other half (the peripherals - plus the initial salty thigh) in DDS II:35. This 17/35 can be seen as related in a more complex style via the 5-step DDS II:54 which is assigned to Caravaggio's "7 works of mercy": 54-17 = 37, next the 35 itself, next the 33 and finally the 54-23 = 31 - hence a series 37-35-33-31. This series could perhaps be seen to interlock with DDS III:32-34-36 and find its rationale there - in the relation between DDS II and DDS III. It suggests that '1823' could derive from the relation of 17 to 54 and hence 55 and 18 - plus the contralateral 23.

However that be, it could be the +33 relative to Caravaggio which defines this phenomenon here.

Bernardo Strozzi

has a 'St.Catherine of Alexandria' (reproduced from Matteucci 1966) - see also this page or this - comparable to Caravaggio's - including sword, golden greens, fragment of wheel. The 'Klaviatur in die Saiten dringt' - which is line 6 out of 14 in poem DDS II:5 and corresponds to precisely the end of the axlebar iron at 6/14 horizontally in Caravaggio - is perhaps even more acutely present here since it applies to the chain of apparent 'ivory' pieces in a line crossing over her shoulder and down onto the 'Seiten' behind. This is apparently the only 6/14 point in the picture of interest.

See also TEQ #593 for a relevant comment on this artwork: The chain of links around her righthand shoulder seems to be associated with 'C' in this poem which can be seen to list all items that are not textiles on 'Sedocia's body - including the line "manshield produces manshield on tyre" for the fragment of the wheel - and then possibly including this chain of ivory pieces as a 'C' for 'copyright'. The poem starts:

That is the turf. Hvem is the hvem?
Das Hetwerk der Behierbare.

The turf (here the 'golden greensward') is visible in full, but the sword that crosses behind it looks like one 'hvem' ('ferrum' = 'iron') on the lower side and one 'hvem' on the upper - with the human theory that these are the same. The phenomenon is called 'Das Hetwerk der Behierbare'. See also this file as a comment to its greek parallel text from Matthew 2:7 - will 'Das Hetwerk der Behierbare' be the mystery plant? See also DDS III:30 ("Es kann die beide zwei nicht sein").

Tiepolo

Even Tiepolo has an artwork that could be compared with St.Catherine from this 6/14 point of view although it is very unrelated in its theme - it is 'The education of the virgin' which points everything at her fingertip. But this fingertip not at 6/14 - it is precisely 7,5/14 in the horizontal direction - that is exactly half through line 8. If one nevertheless takes it that it is the same 1-step poems #5,6,7 as for Caravaggio this means the line #8 = "verkörpern moralisch Ding" - which again means that the second half of this line is 'oralisch Ding'. What is this word? asks the virgin, and her teacher points as well: The teacher's fingertip is exactly half way through the canvas horizontally - at 7/14. In Caravaggio's St.Catherine there is a turn of the wheel which puts the tip of the axlebar slightly eccentrically from the turning point: Here the turning leads to the teacher being turned into the man standing on the right and the book is turned to the one on top. The teacher (the man to the right) here has his hands at 8/14. As I have observed many times before:

7½ + 8 = 3

which could mean the three persons (angelics) on top or the three puttis to the right. The equation would mean that the sum of two 1-steps is a phenomenon in the 5-step level. The moralisch Ding is the trinity?

What is the precise 6/14 through? It is the corner of the mouth of the virgin - where the white teeth like 'Klaviatur in die Seite dringt'. Oralisch Ding.

But shouldnt it be 'moralisch bedingt'? That so to speak tells itself out of the paper? I agree but somehow the Ding seemed right - could be the explanation is in this artwork.

It is interesting to compare with the 1-step versions of another two related Caravaggios: The 'Burial of Christ' could perhaps be seen as 'the exact opposite' (the opposite to the conception in Mary, that would mean) except for the element of 'fulfillment of the scriptures'. The 1-step horizontal to this is #21 which has lines 7-8 "das Heilige, die Schwäche, / das Erdge angewandt" - which means that the woman (teacher) to the left would be 'die Schwäche', the virgin herself 'das Erdge' and the man looking up would be 'angewandt'. Another comparable example could be the 'Palafrenieri' whereby the two bystanders are comparable and the snake would curl from the top three angels to the bottom three puttis, and she herself stands on a footstool. Lines 7-8 for the horizontal 1-step of this 'Palafrenieri' are in #59 "in glücklicher Vereinigung mit der Wahl / die treibt die Menschen zu den hohen Kulten" - by which the virgin would point to the human 'drives' and the man to the right be turned 'zu den hohen Kulten'. As a third example from Caravaggio, the 'conception of Mary' (1610) has fallen out of the scheme but one could put it in on the place of Carracci's 'Ascension of Mary' - in which case the horizontal of poem DDS II:12 could be read as a diagonal DDS II:13 which could present quite interesting material for interpreting this artwork, such as line 6 "die Luft is nass von reiner Weihnachts-Wonne" and line 12 "Wie unter überwachten und ganz überfüllten Augen" which could explain the puzzling phenomenon of the hidden face of the angel. Horizontal 6/14 is just under the armpit of the angel, 'on the other side' of the shoulder-chain of apparent ivory or even white bone of Strozzi's 'St.Catherine'.

Velazquez

The 'Klaviatur in die Saiten dringt' finds an interesting variant in his 'Las Meninas' where the girl down right pushes with a foot on the back of a dog - the chain of vertebras in the spine - 'wie Seite in die Klaviatur dringt'. The work does not follow the 6/14 but rather the double, a 12/14 - the horizontal poem 5 has line 12 'in Wahrheit von Hand und Mund'. In the diagonal from top left to bottom right the pushing point on the spine of the dog can be seen to be at 12,3456.../14. With 66 poems in DDS II, adding 66 / (12,3456/6) to #59 takes it (subtract 1 for introductory 'Vorrede') to #24,0778. Poem 25 starts:

Hier defilieren Menschen,
sie gehn einfach vorbei,

The same 12,3456 / 14 on DDS IV:7 takes it to the last stanza:

Velazquez' Midas
spricht Rücken bar,
ist 'Las Meninas':
Licht offen war.

The conclusion is that there seems to be some sense in recognizing an 'other-side' version of this 'Klaviatur in die Saiten dringt' in this work of Velazquez.

Rafael

his last work - the 'Transfiguration' - see also e.g. this reproduction - exhibits a quite advanced form of 'Klaviatur'. The first thing one notices is the obvious parallel to Caravaggio's 'Martyrdom of St.Matthew' - such as by the man on the lefthand side. This Caravaggio I have analyzed in this study relative to my own TEQ 584-585-586 - three poems which apply even here to Rafael's 'Transfiguration'.

One notices also the references to his 'Self-Portrait with a Friend' divided in two - the midmost pair seems to be composed of his pointing friend plus an older person, while the leftmost pair on the mid line could be more about himself (or a variant) plus another person. This division in two of the 'Self-Portrait with a Friend' seems to be about the cross of horizontal and vertical mid way. This phenomenon could also be the reason why one speculates that the turning face in Caravaggio's 'Martyrdom of St.Matthew' is an autoritratto.

There are three basic parts - the top revelational, the mid group of sleepers and the lower group. The reference to TEQ 584 "SNORT/SGORT" with its parallel in Caravaggio is mainly in the lower part. Who escapes farming? That is the reader with the 'cleft wooden foot', so to speak. The interesting question is the recognition of the two poems 585 and 586 signed 'Just Bård Underetagen' (the mid person on the plateau) and 'Rob Ales Signs', plus the last line 'the Asiast nil of dolfer' and signature 'Wan Ata(n)' in 584 ("SNORT/SGORT"), in the three persons on the plateau. I take the line 'That is the ink - may have sent exactly one fourth' as the gesture in the outstretched hand of the rightmost of these - it shows the tree growing in the background - that is exactly one fourth from the righthand edge of the canvas. It has a correlate in the tree behind and up from the first of these three, the body that lies with face towards the ground. Is this the correlate to the dog of Velazquez? What the hand of the rightmost character seems to tell is that the ink is in the tree. I find the 'Harz' in DDS II:21 which seems to be the right 5-step poem: The lower group in stanza 1, the mid group of three 'sleepers' in stanza 2, the 'Intrak & Formco' flanking persons in the upper part and Christ in the last couplet:

Verwandelt in Mysterium
man fühlt sich wie Gerundium.

The Mysterium is the transform of the lower, mid and upper parts into harmonic unity. Conrad's 'Lexikon sprachwissenschaftlicher Termini' defines 'Gerundium' by "infinite Verbalform z.B. im Lateinischen [...] ist es ein unpersönlich gebrauchtes Participium Futuri Passivi mit seinen Deklinationsformen". The flanking and inclining persons could be the 'Deklinationsformen' while the Participium Futuri Passivi could be the apparently only relevant interpretation of the exact horizontal ratio 6/14 in the artwork: The hands of the woman next to the 'five' man, her foot and the 'fleece' on the ground. These correspond to the lines "five, / she is prepared to fly / adessed, she shows" in TEQ 584 ("SNORT/SGORT").

The function described for the 'autoritratto' above - telling of the 'Hetwerk der Behierbare' as one of the two ex nihilo stigma pieces in the arm/hand behind the shoulder - has here in the 'Transfiguration' a reflex in what could be the other ex nihilo stigma piece in terms of the woman kneeling in the front, pointing over her shoulder and thereby in this 'turn' hiding the other 'stigma' behind her neck. The 5-step DDS II:21 corresponds in the scheme to Caravaggio's "David and Goliath" (1598-99) - the kneeling woman's 'stigma' corresponds then approximately to Goliath's forehead 'stigma'. The corresponding DDS III:38 "Wie kann man sich verteidigen" applies also to the LO group of Rafael - around the man who defends himself with the animalistic interpretation of his 'five': Stanza 1 is then the boy with 'ecstatic' eyes, stanza 2 = the reader to the left, the third stanza is the kneeling woman and the fourth is the wife next to the 'five' man:

Wir lieben es nur wirklich,
es spricht vom eigenen Wille,
wenn es ist auch bezirklich,
wie sprichts von innerer Stille. = his wife
= hands on chest / fleece
= her foot-uri
= fleece / hands on chest

The lower fleece 'escapes farming' - a Futuri adding to the Passivi of her foot and the Participium (or is it heart/Harz-i-keep-ium) of her hands-on-chest. This corresponds to the theme of Caravaggio's 'Martyrdom of St.Matthew'.

The black plastic strip

I had just completed the last poem (#64) of 'Rosens triangel' in Venice when I went for a walk out in the corridor and up a stairway and then down again - when I re-entered the room I suddenly became aware of a solid black plastic adhesive that attached to one of my shoes - it was glued partwise under it while perhaps some 7-10 cm of it extended out on the righthand side from the righthand shoe along the floor. It would then have constituted a quite interesting version of the black item in the lowermost part of Rafael's 'Transfiguration', just to the right of his right foot. I then stood just before a wooden cupboard door - cp. the book and log in Rafael's artwork - swith the door to the room on my righthand side. I tried to detach the self-adhesive material from the shoe with a hand but it was surprisingly well attached - very strongly indeed it was attached - and I crossed the legs and put the lefthand shoe over the strip on the righthand side and stepped upon it while lifting the other shoe in an attempt to get it off that way but it failed over and over again - even if I stood with my body weight on it. How could self-adhesive glue be so strong? I repeated the attempt over and over again untill the very strong strip eventually snapped in two - rather than detaching from the shoe. (I thereafter could take the shoe off and detach it manually). Here are the two snapped-apart pieces and the same two along a ruler:

It is only today that I can recognize this scene from the last poem in 'Rosen' - the poem I had completed just before I went for the short walk down the corridor, up a stairway and down again, and thereafter discovered the black plastic strip. The last lines of this poem go in english translation:

There the voice interrupts itself.
"Off-breaks" [= 'A-bryter']. Green like the grass
is the water, as in a river,

in the water mirror's tranquil surface.
A stepladder (as from some garage)
like a springboard thereover with rusty iron plate
slantingly on the outermost tip: Budapest massage.

It is the woman with the hands on chest who embodies the 'Budapest massage' - while the interrupted A-shape is seen along the pointing man in red (see his correlate in Caravaggio's 'Martyrdom of St.Matthew'), the interruption along the chest-holder and then the righthand side of the 'A-shape' down towards the ecstatic boy along the point man. This black adhesive tape clearly is the lower part of the artwork - and the lower-most 6/14 point horizontally - the dark strip of something in the lower edge under the foot of the reader. The foot of the woman then corresponsd with the plateau with the three 'sleepers' while the hands-on-chest is the top part with Christ and the two 'hands' flanking him. Therefore 'she is prepared to fly', tells my TEQ 584 ("SNORT/SGORT"). ('Ad-hesiv-ed' - 'adhaesum' = 'be stuck onto'). Christ is the heart of the story of this 'transfiguration'. Here reproduced from Buck/Hohenstatt:

(The black tape - its 'plastic ambiguity', RT #28 - could perhaps be compared with the black keys of the klaviatura). The opening between the two parts of it is what is hidden of the arm/hand behind the kneeling woman - or behind the neck/shoulder of Rafael's friend in the double portrait. It means that it is Christ who is the mystic substance of the world, the mystic nexus between the 1-step and the 5-step cycles. The 'transfiguration' compares with the 'carrying to the grave' in the sense of the 'S' - going up from the woman's foot and turning left in the 'S' of Christ's body, the gap between the kneeling woman and the 'chest-holder' is that hidden mystery matter which in the transfiguration is the ecstatic boy in whom it goes right up like an 'I' instead of curling around like an 'S'. The pointing fingers of the bystanders tell that. Instead of following the curve of the 'S' going up from her feet, it 'swerves out' which in norwegian is 'skjene ut' vs. the boy whose eyes do 'skjele ut' = 'squint outwards' when he turns the 'S' into the 'I'. In the mention of the distance 1823 in this article, it corresponds to Essen vs. Frankfurt - and to the distance 182,3 (or rather 182,5) for the +33 = halfway through the circle. The '55' of the zifferblatt - cp. the '17/35-23' for the '1823'. (This could suggest that the volcano is natural and not provoked). Hence the puzzling form 'Ess-Restaurante' and hence the 'beard' of the 'bend' in the relation between Rafael's draft and completed work of the grave-carrying.

The group to the right is apparently the same in both works - turning, holding etc - but the transfiguration is not eschatological in the same way as Caravaggio's 'Martyrdom of St.Matthew' is. The 'transfiguration' is about the missing matter in the 5-step sense in the middle of the lower group - comparable to the 'missing matter' in a 1-step sense of the arm and hand of the kneeling woman as it hides behind her neck and shoulder: Is it the same 'sword' on both sides of the golden greensward of Strozzi's 'St.Catherine'? It probably is - but the transfiguration tells that this is far from self-evident. If the humans have no creed to rely on, or no faith in general, the link between 1- and 5-step realities could come to be alarmingly weak.

The black plastic tape is a sort of counterpoint to the eschatological aspects of Caravaggio - Rafael's transfiguration is not the end but the symbolism is transcendent nevertheless.

The grave-carrier has eyes that could resemble the 'fish' of the black plastic tape - in which case the beard-less chin exposes the gill around 8-10 cm.

The black strip tells that trinity arises when 'The rose's triangle' counterpoints the harmony of 'The breathing of silence'.

Wie Klaviatur in die Saiten dringt.

Rafael in his 'School of Athens' down left shows apparently Pythagoras writing with two people watching over his shoulders and a woman in front holding up a tablet with (here tilted) a mystic pattern - with the mystic form ΕΠ''ΟΓΛΟΩΝ - which looks like a greek riddle a little hard to crack: I search in vain for a word 'ογλοω' but find in Liddel & Scott the form 'ογκοω' which means 'to raise up' (like she does with the tablet itself), 'to rear', or 'to bring to honour and dignity' - but it is among the 'verba contracta' and a little uncertain in the derivation - the form would normally be a genitive plural (after the proposition 'epi') of a participle but could perhaps also be an accusative of a contracted neuter form - cp. also the definition of 'gerundium' above - these interlocked alternatives are probably the two inspectors behind his back. The graphic form it exhibits resembles in fact the 'fish' in one half of the black plastic strip leading to a trinity form in its eyes (first photo reproduced from Buck/Hohenstatt):

This could tell how 'Das Hetwerk der Behierbare' could be 'Das Getwerk der Begierbare etc - and hence why 'ep''ogkoOn' is written 'ep''ogloOn' by Rafael. 'Ad-H-ess-IV-ed, she shows'. If this mystery is about 'typologization', I notice the interesting parallel to the corner of the fish eye in the story of the Madonna of Guadalupe.

In short, it could be that this 'ΕΠ''ΟΓΛΟΩΝ' tells how 'die Klaviatur in die Saiten dringt'.

Conclusion

This article showed that there is a connection between Caravaggio's work and the cuneiform script - which probably is a well known phenomenon, this recognition in the graphic pattern of the painting of certain cuneiform signs and sign groups with a meaning corresponding to the theme of the artwork - for example, the cuneiform sign 271 called ARHUSh can be seen as a form in Caravaggio's '7 works of mercy', in particular if one adds sign 563 which is called NIG which means 'work' and the sign 598 which means '7' - but what it adds is that this is a secondary phenomenon deriving from a deeper poetic structure. What is special about Caravaggio is that his total oeuvre constitutes a full circle which fills in most of the forms and thereby makes it possible to discover the double cyclicity therein. Could be it is just this phenomenon which makes the cuneiform script come so close to the surface in his work. The present paper suggests that Caravaggio is special in that sense of it, otherwise not - since it seems that he shares the deeper poetic structure with fellow artists in what could be the 'zifferblatt' (the logo to my TEQ book 12 - I saw this 'mystic formula' in an inner vision) and which I have guessed is a deep code of the human linguistic faculty which is hard to reduce further - that which preserves its referential function. Of course it is natural to see a connection therein between Christ as a mystic substance and the socalled double articulation of language. This makes sense also historically in light of the fading role (at the time of Christ) of the elemental theory in antique philosophy.

It was mentioned above that the volcano of La Palma on 19 september 2021 seemed improbable on background of a few data such as the geographic distances. I notice MLR july 2021 wherein title 2 could be suggestive of associations such as 'La Palma' and my 'The Endmorgan Quartet', however loosely associated. In Rafael's 'School of Athens' they do euclidean geometry on the other side - cp. the 3281 km from La Palma to Essen and Frankfurt. The association looks admittedly a little farfetched - and what would have been the basis for such a similar analysis? - but clearly if 'intelligence services' trample around in my poetic rosebeds interpreting the poetry in the form of terror, it is of course extremely unwelcome with me. It would look like a dangerous sect and death cult.

I would have used the word 'stepping around in my poetic rosebeds' but then it could have looked as if I participate, which I do not.

The 'zifferblatt' and other aspects of the above discussion could be important progress and it is my work and intellectual property and it has nothing to do with any 'intelligence projects' whatsoever. Please credit my work (with my name) if you make use of the above - even if some 'intelligences' falsely should claim that these are 'intelligence projects' under secrecy classification or similar. I have absolutely no affiliation with that sort of world.

But, once again, I dont know if a volcanic eruption can be provoked artificially.

Sources:

Buck, S. & Hohenstatt, P.: Raffael. h.f.ullmann 2007.

Conrad, R.: Lexikon sprachwissenschaftlicher Termini. Verlag: VEB Bibliographisches Institut Leipzig., 1985.

Ellermeier, F.: Sumerisches Glossar, Band 1, Teil 1. Sumerische Lautwerte, Lieferung 2. Theologische und orientalische Arbeiten aus Göttingen 4. Selbstverlag Dr.Friedrich Ellermeier. Nörten-Hardenberg bei Göttingen 1980.

Matteucci, A.M.: Bernardo Strozzi. I maestri del colore 134. Fratelli Fabbri Editori, Milano 1966.

Hübner, B. & Reizammer, A.: Inim Kiengi. Sumerisch-Deutsches Glossar. Selbstverlag Dipl.-Ing.Univ. Albert Reizammer, Wichernstr. 3, 8590 Marktredwitz 1985.

König, E.: "Michelangelo Merisi da Caravaggio 1571-1610". h.f.ullmann 2007