Rembrandt

Rembrandt

John Bjarne Grover

On background of the theory explained in this article, I here discuss Rembrandt on basis of the assumption that he can be understood as a global function 7 artist, and I make some observations which can support this theory. The discovery of the particulars of function 7 was made by way of the selection of artworks in the series "I maestri del colore" #20 by Fratelli Fabbri Editori, Milano 1964.

1. Portrait of the son Tito (from this source) = TEQ #395 (= volume 2 page 468).

If we shall allow for base 13, such as this poem 395 suggests, then the number (base 10) '395' is written '245'. In base 13 there are 13 numeral symbols, 0,1,...9, A, B, C. For finding 245, divide 395 with 13*13 = 169 = 2,33 - hence there are 2 * 169 = 338 for digit 3 (or 1) which leaves 395-338 = 57 left for the second digit which means 57/13 = 4,38 - hence 4 * 13 = 52, which leaves 57-52 = 5 for the last digit, hence 2-4-5 = '245' = 2*169 + 4*13 + 5. For the other way, if 395 is a base 13 number, compute 3*169 + 9*13 + 5 = 629.

'245' can be observed in the artwork as '2' in the hands, '4' in the book and '5' as the mirror of '2', that is, the face of the reader/singer. The feminine aspect of the number 5 is perhaps retained in the portrait of the man. The difference between 395 and 245 - that is the difference in base - can be seen in the numeral '3' in the wood transferred to the '2' of the arm. Could be the hat is the 4/9 - if '4' is written with open top.

If 4/9 = 'hat', it is one of the standard Rembrandt elements (probably because people wore hats in those days) - and if 2/3 means 'opening the body', there are some of those as well (the 'anatomic studio' themes).

TEQ #245 (= volume 2 page 312) tells of just precisely this - the regulation of the foresting, the moon - plus the theme of the face and the book/hands. It is this which tells that base 13 is just the theme of this artwork, and, it seems, it is a recurring theme of Rembrandt's work generally.

It must be noticed that it is so in my "The Endmorgan Quartet" - by the enumeration of the summer 2012. I myself was quite impressed by this enumeration over 1719 poems - which also often allows for studies of the mirror poem (1719-x+1) to poem number x. For this TEQ #395 (= volume 2 page 468), that means mirror poem 1720-395 = TEQ #1325 (= volume 2 page 1445) which seems to be one stanza in #1725 per line in #395 - and maybe even appr. one word of #395 per line of #1325. It is also often possible to study the mirror poem in each half, which hence here means (860-395+1) = TEQ #466 (= volume 2 page 549) in the first half, and (860+395-1) = TEQ #1254 (= volume 2 page 1372) in the second half. A great structure it is, written through 11 years. If one studies all four 'mirrors' and all aspects of their parallel texts and base-conversion etc, there is a lot of things to study for one poem.

Hence if 395 is taken to be a number written in base 13, its base 10 form is 629, that is TEQ #629 (= volume 2 page 717). Could be this is the 'converse' of TEQ #245, such that 1-2-3 of 245 is 3-1-2 of 629, or something like that.

It could be that the secret of Rembrandt is the 'enumeration' - here with different base.

Rembrandt was born in 1606 which in base 13 is 967. TEQ #1606 (= volume 2 page 1739) tells of this movement of 1 among 3 (in its title), and the 20% diamond gets its explanation when 1606 minus 40% is close to TEQ #967 (= volume 2 page 1070) which could tell of a birth.

Book 7 is in the red metre of volume 1 "My mention e Anna": 'Caruso' = the singing man = TEQ #395 (= volume 2 page 468) which is the first poem in book 7. And what is the second poem? That seems to be another artwork of Rembrandt - which could be for the 'Labyrinth 101' - in the next:

2. The hebrew couple = TEQ #396 (= volume 2 page 469) - which is also listed after the Tito son in the Fratelli Fabbri Editori selection of Rembrandt's works.

If #396 is considered base 13, it means base 10 = 630 which means TEQ #630 (= volume 2 page 718). Notice also the 'stringhook' form of the posture of the man's arm in the artwork, related also to these matters (the x-y-y in his arm). It is the impossible requirement of equiprobability of the graphic symbols which creates semantic assignment under the requirement of equiprobability qua 'same meaning on every occurrence'.

If #396 is base 10, its base 13 form will be 246 which means TEQ #246 (= volume 2 page 313). 'Herbergen' - cp. 'the hebrew couple'.

3. Hendrickje Stoffels as Flora = TEQ #397 (= volume 2 page 470) makes sense for the prose "And hang under the Justcan keys" - her pearl under the balance organ of her ears. 'Some dung, just a little handful' - seems to be what she holds in her hand. See this file - the poem TEQ #397 - the story at the end of the file - about the bees that settled on Engelund's textiles hung out to dry - which here clearly could be for the base 13 = B. The red metre could move this 397 in between 395 and 396 - for the order of the three parts of "My mention e Anna".

If '13' = 'B' is the theme, the egyptian hieroglyph for 'B' is 𓃀, the foot symbol. It can be observed in the form

𓃀𓆤𓏏𓏤 = bɩt = bee

which is interesting for the story of Engelund's textiles in #397.

If #397 is considered base 13, it means base 10 = 631 which means TEQ #631 (= volume 2 page 719) - again the same lifting of the 'earthweck' etc.

If #397 is base 10, its base 13 form will be 247 which means TEQ #247 (= volume 2 page 314)

TEQ #429 (= volume 2 page 510) seems to be an alternative poem for this artwork - it is not a Picasso-fish in her hat, but there is a "Hoya sen." from "Past hoizens". This poem #429 is 2/3 through the 52 poems in book 7.

I mention a few other examples:

4. Supper at Emmaus = TEQ #416 (= volume 2 page 496) seems to suggest that the revelation takes place in the moment when a third (serving the food) enters inbetween the space of the 2. That would be a characteristic of the red metre (here by book 7).

If #416 is considered base 13, it means base 10 = 695 which means TEQ #695 (= volume 2 page 792).

If #416 is base 10, its base 13 form will be 260 which means TEQ #260 (= volume 2 page 327)

5. Sei sindaci dei drappieri (from this source) = TEQ #424 (= volume 2 page 504) which tells of the number '277' which in base 13 = 436, but not 424. Would it do in a base less than 13, in base 12? In 12 it is 379 only. This is 45 less than 424 which again is 12 less than 436 - and 12 is 21% of 12+45 = 57. Which means that if you put these percentages together - so to speak sit the one over the other, or partly over the other - you can come quite close to the number. Ah, but this is just the artwork: They listen to me explaining this and that is what they understand. The 'base' (!) is 13 or 12 - that is the theme of Jesus and Judas, but here it is 6 or 5 people. One of them seems to be 'dipping' along with the other one.

It can be observed that the lower part of Bassano's artwork Santi Pietro e Paolo (adopted from this source) corresponds via the above hieroglyphs (on the 'bee') to the 'lapis philosophorum' which occurred at the end of my work with DDS part III in 2014 (notice that the egyptian 'foot' symbol 𓃀 is found both rightwards and leftwards):

This correlation explains the puzzling belly bump on the saint.

If this by Bassano is supposed to mean that the swallowing apostle Peter looks down at what he swallows, it can be noticed that what glides through his gullet is the 'B'. The short circuitry is near at hand when one sees how this has gone astray in nazi philosophy in the sense of excrements - which is what the extremity of the sitting man 'glides through' in Rembrandt's artwork. It is possible that this apparently standard nazi fallacy (the interest in and focus on excrements) has its origins in just this complex. The real issue is likely to be the walking legs that represent the two and only two items of the fundamental (!) theorem of linguistics (I thank the gull who explained this to me) - before they unite from the metaphysics into one and the same foot - that is how the two numeral symbols of '13' can be turned into the 'B' of Rembrandt.

Now if what the saint reads on the ground - on the foundation or 'fundamental' - has come from above before it was gliding through the gullet in christian communion - and indeed that is precisely where the historic conflict between protestantism and catholicism seems to be rooted - the alphabetic letters on the ground had their origins in the crucifixion above - including the INRI symbol. It is therefore noteworthy that if 'B' derives from a '13', then a '12' could compose to an 'R', which means that 'INRI' will have a counterpoint in an 'INBI'. Is there an INBI? I look up the two forms up in hieroglyphic egyptian (if the page will not open, take it down in size):

Erman/Grapow 1921:
inb = Tragstange, Mauer, Wand
inr = Stein

Erman/Grapow 1971:
inb = 'Pflanze mit Früchten', 'stumm sein'
inr = 'Wurm der Holz frisst', 'Kopftuch des Königs'

Budge:
inbu = kind of wine
inra = pot, vessel, wine-jar

If #424 is considered base 13, it means base 10 = 706 which means TEQ #706 (= volume 2 page 801) - which looks highly relevant to this theme.

If #424 is base 10, its base 13 form will be 268 which means TEQ #268 (= volume 2 page 335) - apparently less interesting.

6. Landscape with castle = TEQ #433 (= volume 2 page 513)

This artwork was made in probably 1640. It seems to be about the two bases - landscape and castle correspond to base 10 or 13 - symbolically transforms of each other. 'Winston' is the one, 'Churchill' the other.

If #433 is base 10, its base 13 form will be 274 which means TEQ #274 (= volume 2 page 341) - of four stanzas, and indeed it can be said that the landscape looks as if seen in the tone of opium's ochre - a 'camé vit ton'.

If #433 is considered base 13, it means base 10 = 718 which means TEQ #718 (= volume 2 page 813) - a 4-liner in which each line seems to find a corresponding stanza in #274. Is there a 'pun' in the lower righthand side of the artwork - some strange symbols?

The year '1640' written in base 13 is '992' - hence TEQ #992 (= volume 2 page 1094) I look this up in TEQ which suggests that the two systems correspond to normal vs 'articulatory' intention - an interesting idea.

7. The storm (from this source) = TEQ #235 (= volume 2 page 301)

Line 1 of the poem 235 is the undulating rope vs the undulating sea in line 2, with sail matters inbetween as the crossbeam on the cross in lines 1-5, the diagonal from the sun up left to the two white foams on the below in lines 6-7, next stanza the nerves, last the boat itself - the strange bone-like structure in the back of the boat, the symmetric (sinon-ymic) relations (Jesus with synonym behind the mast and corresponding context, plus the two observers (narrative fells) looking at one synonym each, plus a 'detebunt' over the gunwhale.

If #235 is considered base 13, it means base 10 = 382 which means TEQ #382 (= volume 2 page 452) - a poem of high relevance for this artwork.

If #235 is base 10, its base 13 form will be 151 which means TEQ #151 (= volume 2 page 208) - with fabrics, kubernetes and other things.

For the examples considered so far, it is for all of them the case that the 10-13 base conversion leaves the normal digits 0-9 in all forms and hence they are easy to look up in 'The Endmorgan Quartet'. But what if a number transform occurs in base 13 that contains an A, B or C? I discuss two remarkable examples - from well outside the local function 7:

8. The nightwatch (from this source) = TEQ #484 (= volume 2 page 570)

This artwork is considered one of the main works of Rembrandt. As the source tells, the work was suffering vandalism when the big canvas was squeezed into some too small premises in the 18th century and they simply cut away a part of it. The original form has been restored by way of a copy that was made before this happened and it is this original form that lends large explanatory value to the present theory. The first observation to be made is that the poem TEQ #484 seems to read the artwork in slices from left to right - I recalled the line 'paddle towards the puddle' when I observed the work. For a better resolution, see this link - to the reduced form, though.

Now the number transform will contain an odd form:

484 in base 13 is 2B3
484 resembles 4B4 graphically

The graphic similarity seems to be a part of the artwork - the two front mid men resemble an '8' as well as a 'B' while the righthand structure could be a square '3' or a retangular structure. It seems that the graphic similarity of these two codes is precisely the secret of this artwork, which could be an interpretation of the mystery WINE 2* - the title to the fourth quartet of TEQ - the books 13-16.

As this annotation shows, compared with this illustration (adopted from this source), the artwork is also a variant of Bassano's 'Martyrdom of St Catherine of Alexandria' (adopted from this source) in being a modelling of the bones of the inner ear. This second form of reading of the artwork applies to the idea that the title which is written WINE 2* is pronounced "Boston 2 Wine" (see the title page to the fourth quartet (= volume 2 page 1143) which then seems to be the right-left reading back again starting with the 'Boston' = the drummer in the righthand side. The WINE will be the street, the number symbolism is the essence of the artwork.

It is observed that the socalled 'zidalweidun' mystery associated with austrian or austrian-rooted politics probably fishes more or less obscure powers from this complex - as a '2* WIDun' or something like that.

This artwork tells of the 'generalized number' theory (see also here) - here with recognition of the graphics of '8' qua 'B' in the mid group of 2 front figures - which also easily are recognized as an '8'. The series is assumed to read with first digit (2 or 4) in the lefthand third of the artwork, the 8 or B in the mid third, and the 3 or 4 in the righthand third:

1B3
2B3
4B3
8B3

= 2*-B-3

The lefthand third shows 1 man with a sort of spear-dagger-axe, then 2 men to his left (in the reconstructed form), then 4 to his right (the poem 4B3 = TEQ #822 (= volume 2 page 923) tells why it is four even if it looks like 3), then 8 = 2 in the power of 3 below. Could be the man with the paddle-gun is the general 2* symbol - told in the 8B3 = TEQ #1498 (= volume 2 page 1630). The next third tells the 8/B of the base 13 or base B.

2B3 = TEQ #484 (= volume 2 page 570) - the artwork described from left to right
1B3 = TEQ #315 (= volume 2 page 386)

Why 'Stille Flømann' as signature to TEQ #484? I have guessed that it be about the graphic relation between 4 and 1 in the man with the spear-dagger-axe - the difference being how far up the lefthand hook of the symbol floats: If the flow is high it goes up to a 4 (in the arm and helmet of the man) before it ebbs down on a 1 (his arm) again.

9. La famiglia di Tito = TEQ #441 (= volume 2 page 521)

I could add this as another example of a potential interpretation of the A, B, C notation. It is possible to read TEQ #441 as one stanza for each family member, father first stanza and mother last. The mother explains the situation by "75, 77" whereby base 13 notation of 75 = 5A and 77 = 5C. One notices that the hand/arm of the mother goes the other way compared with the hand/arm of the husband in "2. The hebrew couple" above and hence one can read 5A + 5C for the latter backwards - for this combined solution - if not simply this. Likewise, base 13 notation for 441 is 27C, while 441 in base 13 = 729 (annotations to this source). These graphic-numerical annotations are simple and flexible, but can perhaps be seen as a part of the work in some non-trivial sense of it.