Parmigianino

Parmigianino

John Bjarne Grover

The observation of 27 december 2023 tells that Parmigianino's 'Madonna di Santa Margherita' (better resolution) has a reflex in my 'The Endmorgan Quartet' = TEQ #198

TEQ #198
Luke 22:61 και στραφεις ο κυριος ενεβλεψε τω πετρω

We may coincide, then,
forever be lost, and we must assume
to the development of a real school -
the advice:

Mibedium / and Ondetje.
I never read fiction.
If I do,
okay, so a pianopee

yesterday afternoon was intended to.
There's the vanguard/hanger.
The keyhole I had

laughed so much indringende,
I've been giving you melk
for some Everson.

The Endmorgan Quartet

which has a signature which is just 'The Endmorgan Quartet'. Most specifically 'Mibedium and Ondetje' can be seen in the form of the two adult male characters flanking the group with Jesus - the clerical regrets perhaps a ('mibedium') story from his youth while the hermit regrets having had evil ('ondetje') thoughts - these are elements of human reality framing the divine presence in the mid. The angel shows the construction of this human reality wherein the quasi-mirror points normally are folded in (as in the fundamental theorem of linguistics where the two 'similars' or 'same'-nesses collapse to one). The hallmark of this artwork is the visionary's mystic ecstasy whereby she seems to glimpse into a higher reality - a divine presence who also wants her to understand the higher reality. It turns out that this aspect of Parigianino is eminently present in the global function of my TEQ - that is, as a structure spanning the 1719 poems in the work. I search for the mirror poem to #198 - which is (1720-198) = TEQ #1522:

TEQ #1522
2 למה לי יתר על טפח

Mister One, before we have to
pronounce the defining whale
hidden inside the defining whale,
[blyant] inside my memories,

they constitute a different in order to
constitute a trajectory - [the only soul].
They can't make it for the town.
Grow behind.

It's feeling sometimes consciously
past keys: I don't know how
that relates
an handwriting:
Joseph Haydn, blechmaster.

Searching for a relevant artwork of Parmigianino's to this quasi-mirror for 'Mibedium and Ondetje' I find San Rocco and donor for the idea of 'by medium and donation'. Clearly the donor has brought a gift and San Rocco thanks heaven and recommends this goodhearted citizen. 'Blyant' is norwegian for 'pencil' - see the mark on the thigh of San Rocco. The dog seems to look up into 'grow behind'.

The saint has notable footgear and a black mass curled around his shoulders. See this file under 'The black plastic strip' for an interesting account of what happened when I had just completed 'Rosens triangel'. The footwork I had to perform for getting the apparently ex nihilo self-adhesive tape off from under my shoe seems to be present in this excerpt from Rafael's 'School of Athens': The crossing of the legs, the lifted foot, the black substance with meaningful patternings. It is likely that this also is what Parmigianino's San Rocco has around his shoulders - like the two men on 'School of Athens' who are involved with blackboards on either side - both of these have people curling around their shoulders and the one to the right tells that it is about a 'global function'. The black strip was eventually split in two - like these two blackboards on either side of the artwork.

This would also be the reason for the 'Mr.One' and Joseph High-den, the Pech-master Now if these two mirror-symmetric poems constitute the two hand stigmas of christian mysticism, the foot stigmas can in this complex be recognized as the other two elements in a 'window' quarter of my TEQ: These other two are computed as the mirror poems within each half to #198 and #1522: In the first half the mirror to #198 is (1720/2 - 198) = #662 and hence the other half-mirror point is (1720/2 + 198) = #1058.

The artwork of Parmigianino which seems to match TEQ #662 is Parmigianino 'Madonna with the Long Neck' - here in better resolution: The 6 children (of 'foetus reality' kind) to the left can be recognized in the 6 stanzas of my poem #662. The 'bird' of stanza 3 is likely to be the 'burden' carried by the long leg, while the first stanza could be the upper lefthand child. The 6 stanzas/children of foetus reality could in total make up for 'the body of Christ'?

Now the foot stigmas are united on the cross and hence TEQ #1058 could find its reference in the man lifting the long scroll in the lower righthand corner of the same artwork.

The precision is a little impressive - and it confirms my ideas that the enumeration I made of TEQ in the summer 2012 is of real value.

This suggests that the complex of these four poems plus three artworks is rooted in the primary or 'title' poem which is TEQ #198 with the Madonna di Santa Margherita - her mystic rapture while staring aslant into a higher mystic reality. The Jesus child wants her to understand this - but she seems to be filled by expectations of 'something else'.

However, it is by the mystic marriage of typically Saint Catherine of Siena that she faces the mystic reality in full - not only by glimpsing past it. This is likely to be the theme of Parmigianino's 'mystic marriage of Saint Catherine - although the Catherine seems here to be not of Siena but of Alexandria. [See below]. The visionary is here included into the mystic reality - a reality which also pales off from the surrounding world. Which poem is this? It is to take one step further than the visionary of TEQ #198 (who remains half rooted in the historic reality) and hence I look up the next TEQ #199: Now the visionary is 'more educated' and even the lay-out - as by Parmigianino's cobweb-paled-off mystic world - is mentioned.

'Mr.Büüd' - what is that? A notable trait by some of Parmigianino's works is the heightened attention to female breast/nipple of the Madonna and the genitals of the Jesus child. This particular feature could be a part of the reason for the strange label of 'mannerist' attached to him - that could include the artwork which seems to match correseponding quasi-mirror poem - taking one step further from #1522 to #1523 like one step further from #198 to #199. The poem TEQ #1523 is this:

TEQ #1523
3 ליעביד פחות משלשה וחבל משהו

One that walk their punch
but of a purity language:

So much crisis and so many agents,
not romantic but discovers some Africa,

responds to facts, but it doesn't seems
every towel, every prayer.

This poem seems to tell the essentials of Parmigianino's 'Madonna con Bambino e Santi' (from this source). The women with the small (amphora-like?) container up left is 'walking the punch', while the earnest man down right is 'of a purity language', including his book. The 'crisis and agent' is the strangely formed isomorphy between the behind of the girl and the shoulder/arm of the Jesus boy, around which she is clutching like the hairs around her behind (or 'hat' and 'keys'?) - or like the towel and prayer in the surroundings to the girl - the rosy textile and the book in the hand of the Madonna - by her blue textile. (Red and blue metre?) What is special about this artwork is that on the surface it seems to expose some exaggerated sentimentality in the characters - the slightly oversweet childishness and things like that. However, this is likely to be precisely the counterpoint to the visionary of #198 after she has stepped across the border to the mystic reality in #199 - here in the mirror point seeing it as from the other hand stigma: It means that while the characters in the image are coloured by the visionary's own conceptualizations and expectations in the Santa Margherita artwork, in this 'Madonna con Bambino e Santi' it is seen from the other (divine) side and hence the characters are reproducing the mystic Jesus child's impression of what the human reality looks like - a little pity it is with these sentimentalities and slightly exaggerated expressions (such as that 'purity' look of the man) - and maybe also this 'human' attention to the gender organs which a divine perhaps finds a little puzzling - see his Vision of Saint Jerome (source) - which is interpreted also in my 'Stillhetens åndedrag #26 (with translation next page). Hence the beautiful embrace of the girl invokes perhaps some 'kiosk' (see in the upper right - with the slightly paradoxical architecture?) emotions in the Jesus boy - who is a little worried about it - but his shoulder in human format is akin to her behind and he understands the humans ('homo sapiens') as such. This is likely to have been a part of the reason why the label of 'mannerism' seems to be applied to Parmigianino - it seems otherwise a little off the point. He does not laugh at the humans.

The latter two examples from Parmigianino shows that not only the distributional precision but even the 'mystic logic' can be recognized in my TEQ - here by taking one step further into the universal mystic space. In general, that can be seen to be a formula for how the inner poetic articulations of TEQ were taking place - I believe that they were pronounced in the inner mind in the moment when the poet took one step from a subjective into a more universal knowledge-space - which means in the moment when this more universal knowledge-space opened foe yet another step forwards. This principle is here exemplified by TEQ 198-199 and TEQ 1522-1523.

I add that I had probably not seen any of Parmigianino's work before I wrote the poetry discussed here.

Added 2 january 2024:

There seem to be confusing information on the difference between the Siena and Alexandria versions of Saint Catherine: This is another 'mystic marriage of Saint Catherine' ascribed to Parmigianino - and it is certainly more in conformity with Caravaggio's version and so the above-mentioned Parmigianino is likely to be about Saint Catherine of Siena. Then what should the the 'Alexandria' version be about? It is certainly possible to see it as interpreted by my TEQ #200:

TEQ #200
Luke 22:61 οτι πριν αλεκτορα φωνησαι απαρνηση με τρις

My further travelling with Caro is, though,
made samarex valid for the history scheme.

Thus, to quote the sentence
from the beginning to the slutt:

Oh yes, Blackfriars,
I have been there also, too.

Translation Evidence

The history scheme would be the lower part with the wheel, the quote of the sentence would be the insertion of the ring onto the finger, the Blackfriars are seen in the background and the translation is the square window telling of the round ring - the evidence being more akin to the rubbing of the skin against the metallic ring like the history scheme seen in the lower part of the canvas - and so it feedbacks in another ring format between eternity and history - like that circular form in the upper part of the canvas. From beginning to 'slutt' (the word means 'end' in norwegian)? It is possible to see Catherine as (perhaps less modestly) reaching out her right hand to touch the Madonna's own breast/nipple - as if Jesus' outstretched arm were her own (by this marriage) - hence the heightened attention to her own breast as shown in the artwork.

The greek Luke 22:61 = "[that] before the rooster crows you will have denied me thrice" adds meaning to this morning light in the window of the background - with these three layers of people in contexts of 'sensual rubbing'. Could be the phonetic surface of this greek is suggestively rubbing about the ring insertion as well - 'hoti prin alektora fonesai aparnese me tris'.

Does Parmigianino have a counterpoint to the corresponding TEQ #1524? He seems possibly to have one in the portrait of Pier Maria Rossi di San Secondo. 'One as I saw up' can be seen as a surface-phonetic reflex of 'fonesai [aparnese]' as well as the look of Jesus in Parmigianino's alexandrian Catherine. In fact most of the greek fragment can be recognized in this beginning of the poem #1524. The idea of an erection or 'matrimonial phallus' could have an interpretation in the righthand margin (a 'feature'? - see this interpretation of Caravaggio's 'Emmaus' in this study) of the artwork - commented upon in the poem - down to the 'container under a summer event' with the two marbles at the bottom - from which it glides over to the main image surrounded by wallpaper in the background - which in type and colour resembles the line drawings on the dress of the Madonna of Guadalupe.

This means that the two mirror points 198-1522 are extended or 'stretched' to the parallels #198-199-200 and #1522-1523-1524. I notice the interesting interpretation of the righthand margin slice of this portrait contained in 'Stillhetens åndedrag' #44 ('Hvor linjen trekkes') (translation on the following page). ('UB' = 'Universitets-Bibliotek').

6 january 2024 - quoted in full here:

In mid december 2018 I fell ill and was kindly admitted to the hospital in Venice where I was treated very well. I did not eat but I think I drank a little water in the first days and was on intravenous support for many weeks. On chirstmas eve they repaired the inside of my stomach which meant that I was without water and food for another 4-5 days. When I eventually could eat a little closer to new year, the food tasted very bad - like chewing cardboard or something like that. (The hospital food was certainly fine, though). I understood that this is how food really tastes to the human body - and understood anorectics very well - but that humans are in the miserable position of having to eat nevertheless. Then the old slogan 'if you can't beat them, join them' solves the problem - and people agree to the conditions of History and enjoy the food.

Christianity solves this problem of eating - since it is the miserable situation of having to comply with the conditions of History - and the very 'Tentor' - which is the human dependency. When the christian holy communion defines 'food' as lifting the conditions defined by 'joining them' from history to heaven, it is the solution to this problem and people can eat without getting hostile - without joining the conditions of History.

But there are other aspects in human life and existence than only eating which is such a problem of dependency. Good poetry could offer such alternative solutions. I would say this is what my TEQ tries to do. TEQ #126:

TEQ #126
Luke 24:50 εξηγαγε δε αυτους εξω εως εις βηθανιαν, και επαρας τας χειρας αυτου ευλογησεν αυτους.

Good morning.
A winter is always the same,
was a self-decisive game. 19.02.98

MAN: So you still recover swattery moans
so tyfrary polted in this gaefray frail
in the revised edition of 'The Horizon'?
WOMAN: Yeah!

The example:
A paperback in the Longstreet
burn.

They would constitute a -
the argued debitrary which tr-
as a sharing of gold on a higher level. 20.02.98

The mirror poem to this is TEQ #1594:

TEQ #1594
74 אמר רב אשי

Timberleave

Came to make the deadfall of the great nazi.
Oh definitely - they've seen him and came to jerk off the Leff. 16.07.06
These allow for the security test.
I would have liked the person 17,18-19.07.06

but I've also said something
that's over 60 year.
Some people stand and be usening on their soul.
The røver ronked the line before she missed. 20.07.06

Parmigianino 'Sante Lucia e Apollonia' (source)
Parmigianino 'Pala di Bardi' (source - english article)

7/1-2024: Notice the similarity of the line drawings on Saint Catherine's dress in Parmigianino's 'Pala di Bardi', dated to 1521, and the Madonna of Guadalupe, dated to 1531 and considered a revelation of divine character.

The italian article tells of a 'restoration' that should have been made in 2016-2018 and which seems to have removed the timber board on the righthand side from the artwork - and indeed even the line drawings on the dress seem to be largely rubbed off, if it is not only a poor reproduction. Why did the timber leave the artwork? Is it that my poetic work has been so badly abused (business, media etc) since TEQ was completed in 2008 - or even since DDS was completed in 2015 (I have, for example, speculated if 'The Dynasty' 2017 TV series could have been based on aspects of this DDS of mine) that the understanding of the relevant revelational aspects have taken it into 'viking' readings being assigned priority? The 'dirt' had to be removed from Parmigianino's work? But then it is better to stop possible plagiarisms of my work than to remove the 'dirt' from renaissance artworks. (I do not believe that the restoration of the artwork knew about my book, but the ideas could have been circulating in uncredited form in the culture).

Did the eagle lose (or 'miss') a feather (correlate to the 'timber board') down on the 'clock' so that the 60 years were reduced by the 10 years 1521-1531? Or even that the 60 years arise from the 10 years subtracted from the 70 years of natural and automatic copyright?

Parmigianino's artwork is tempera on timber board. See TEQ #1676 with the mirror poem TEQ #44.

There are also some interesting observations in this file.

Even more interesting are the observations in this article on Giotto and my TEQ.

Sources:

Hahn (post Lachmannum et Tischendorfium): Novum Testamentum Graece, Lipsiae 1861.

Parmigianino: "I maestri del colore" #24, Fratelli Fabbri Editori, Milano 1963

Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48.