We did mention that there may be some rough going with the appointment of Rex Tillerson in his writeup, and it seems that after just a year at his point, he has been fired and replaced with Mike Pompeo because of his own hidden agenda that was totally contrary to the President’s.
We have rectified Mr. Pompeo’s chart to a 13 Taurus ascendant giving him a strong earth based chart that encourages his literal and conservative philosophy particularly as it opposite Neptune in the Scorpian seventh house of opportunities and a point focus in another fixed sign of Saturn at Aquarius. Pompeo is “what you see is what you get” personality though the Jupiter in the twelfth house tells us what we do not see his outsized generosity or sense of humour — as that is hidden away.
He has a lot of planets / asteroids in the seventh house including political Pallas and Juno, suggesting that his rise on Tillerson’s fall is not surprising, but often how he has advanced — through the jockeying of maneuvering, the stalwart Pompeo (in Italian Pompeo means processional honour) is often the “safe” pick. His progressed chart, below, shows this bias even clearer.
The bi-wheel between Trump and Pompeo show that this working relationship should go a lot smoother as they offset including in the eighth (legacies) and tenth (career and authority) houses.
Mr. Tillerson will be leaving at the end of March, after his 65th birthday, on March 31st, so Pompeo will be starting his new gig on April Fool’s.
The Vitruvian Man was created by Leonardo da Vinci around t1487. It accompanies his by notes on rchitect, Vitruvius Pollio. The drawing, which is in pen and ink on paper, depicts a male figure in two superimposed positions with his arms and legs apart and simultaneously inscribed in a circle and square. The drawing and text are sometimes called the Canon of Proportions or, less often, Proportions of Man. It is stored in the Gallerie dell’Accademia in Venice, Italy, and, displayed occasionally otherwise it will disintegrate.
The relationship of the parts reflects the whole and reflects the medieval view that what is above should be below, as in the human body, as created by God, as what His image creates in His stead. So the human form is used as an idyllic metaphor for the production of a good building.
By the late 1480s, this theme of the artistic microcosm emerged as one the great unifying principles of his thought. This idea of microcosm and macrocosm has permeated esoteric thought, at least out-rightly, ever since.