Two week ago, Philip Ulanowsky initiated a new project which I have endorsed and which he identified as a VISUAL ARTS AND ARCHITECTURE PROJECT. The intention of such a project is to form a working group focused on Lyndon LaRouche’s principle of creativity in classical artistic composition. Lyn identified the principle of beauty behind the necessity of such an intention during the NEC Meeting of Saturday, November 26, 2011, when he said:

“And that’s beauty!  That’s the meaning of beauty!  Not something that makes you feel good.  But the fact you are elevated, your motivation is elevated, and the elevated emotion itself inspires you!  It’s the source of the creative potential. It’s your best defense, psychological defense, against many kinds of ills.

“But the idea of the “art appreciation” approach, I hate “art appreciation”!  I despise it!  Because it’s a fake!  It’s a fraud!  It’s not the experience of creativity.”

The present report is aimed at bringing a contribution to this project by illustrating how to look for anomalies and singularities inside of a classical painting; but is such a way that it may cause an axiomatic change in the mind of the observer and improve his sense of beauty by way of telling the truth publically; that is to say, by way of an axiom busting process which puts his reputation on the line.

RAPHAEL’S ‘DISPUTE OF THE HOLY SACRAMENT’ AND THE ANOMALY OF POPE INNOCENT III