Copyright Dr. Elizabeth Garner, Oct 4, 2014 All Rights Reserved
ERWIN PANOFSKY, THE SUPPOSED EXPERT WHO WAS WRONG
Erwin Panofsky, the supposed “expert” on Duerer in the 20th century in his book, ” The Life and Art of Albrecht Duerer” went absolutely bonkers extolling the virtues of this print and he was totally WRONG about it’s meaning. I have this book, I’ve read it cover to cover 4 times, and every time I read it, it makes me angrier and angrier how one person in the art world could have lead the entire world astray. Perhaps Panofsky did better with other artists; I’ve been suckered into more than one Linkedin discussion extolling Panofsky’s genius, to which I totally disagree. In fact, I believe the man did more harm to helping anyone understand what the Duerers were doing for a century. And I can prove it now.
WHAT HAPPENED IN 1498?
In 1498, perhaps at the same time that the Apocalypse was published but at least during the same year, the Duerers published 5 engravings which you will see here in the order past researchers THINK these engravings were published:
But as I have shown before in the article published here, “The Sex Slut of Nuremberg, ” this was the first heavily encoded print of 1498 in which I found the first true embedded coding shown here:
If you’d like to find out the truth about this print and the encoding, please find the article in the archives.
THE EVIL MADONNA
The second engraving of 1498 was the Evil Madonna, formerly labeled as the Madonna with the Monkey:
We will shortly explore that this is one of the second heaviest encoded prints of 1498 and what this encoding means. Notice that the supposed Christ child is trying to kill that bird, has been encoded similarly to the Haller Madonna (see archives ), and the only way that the Duerers could get their messages across was to put a halo around the woman’s head to make everyone think this was a Madonna. But she’s not a Madonna, far from it.
THE THIRD ENGRAVING OF 1498
The third engraving of 1498 is this print, improperly known as the Temptation of the Idler or the Dream of the Doctor is displayed here. Here’s an image of what the real important encoded clues are in this print:
Please check out the explanation of this print in the archives, the second installment of Discovering the Duerer Cipher (October or November 2012)
THE FOURTH ENCODE ENGRAVING OF 1498
This was the 4th heavily encode print of 1498, so heavily encoded that no other artist tried to copy this composition. Plagarism was rampant during the Renaissance4, but those who recognized the clues in this print wouldn’t go near copying it. Please look in the archives for the Oct 2012 article “The Secrets of Emperors and Sea Monsters.”
THE FINAL ENGRAVING OF 1498
And this is the final encoded engraving from 1498, which should be known as the Great Satyr and was until 1778, whereupon researchers trying to make their reputations renamed it Jealousy. But of course, the great Erwin Panofsky, trying to make his reputation as a great art scholar, renamed this print “Hercules at the Crossroads” despite the fact that there is absolutely NO symbol in this print that has anything to do with Hercules or any of his trials. That’s how art history works-make it up unless you can prove it.
Again, this is one of the Duerers’ most heavily encoded prints with the encoded circumcised penis on the satyr no one could find in > 500 years. Please see the October 12, 2013 article in the archives titled “The Secrets of Sex and the Great Satyr”
WHAT DOES ALL THIS MEAN?
First and foremost it show that the Duerers were absolutely desperate to get messages out to everyone in 1498 if every engraving they created for sale was heavily encoded, no one would copy them, and they have been the most inscrutable prints for former researchers to unravel, because they had no idea of the Duerer Cipher and what the Duerers were really doing. Secondly, it indicates that something of great importance, requiring these messages was happening in 1498/
THE EVIL MADONNA
And because they had no hint about the Duerer Cipher, former researchers made up stories to fit Italian symbolism. But the question that always was vexing was would the Duerers compromise any religious pictures to get their messages out or to make money?
The answer is YES, both. We will explore more about what evil coding has been put into this Evil Madonna print in the next article, but see if you can make out the three books that are clearly depicted in this composition, the coding in the plant on the left, and the coding at the monkey’s left eye, to begin with at least.
More to come!
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