I would wish to believe that all who read about the real truth on this website All Things Albrecht Dürer understand that I am so serious in presenting fully researched information, that I would never claim that the real conspiracy that resulted in being the tipping point that led to the Holocaust began with Dürer unless all scholastic information I have used to find and crack the Dürer Cipher was from peer-reviewed information published by previous researchers and accepted within the entire world record and what the artwork tells are the messages of Dürer Cipher.
Unfortunately, I discovered that much of this information, especially the information in the footnotes of this documentation, was inaccurate and incorrect, causing me to have retrace the errors and find the accurate information. Most of the information was published under the auspices of the City of Nuremberg. But much was also far afield in historical information of most of the Holy Roman Empire lands both Eastern and Western and especially Hungary, German medieval legal law, medieval printing manufacturing techniques, death registries, newly published information regarding the Nuremberg Patricians, esoteric and not popularly utilized obscure information that only pertained to medieval Nuremberg and medieval Venice, and who sat in which governmental positions of the Nuremberg City Council, to name a few of these sources.
The fact that these academicians got much of the information wrong was a factor of nationalistic impulses, some sloppiness in proofreading, not fact checking footnotes cited, and the lack of technology that has only been available in the last 15 years, either on the internet or with technological advancements in machinery that allowed me to be able to unravel this story.
The truth could have been found as early as 1971 but by that time there was such a monolith of moneymaking operations in place run by museums, academicians, and art dealers that in no way want their lives or money streams disturbed with truth. And since it is provable that this conspiracy existed by the mere existence of the fake Family Chronicle, the alleged autobiography of Dürer written supposedly by him in 1524 but not surfacing until 100 years after his death and not in his own handwriting, comprised mostly of public information, it could have been written by anyone, and it was. It was the erasure of Margret Dürerin in this document that was the key clue, as her existence is proved by the Nuremberg death registries. But I have written in great length about this subject in other articles and in my book, The Secret Cipher of Albrecht Dürer, I point you there to find more of the details rather than repeat them here.
If there is anyone who has an anathema towards conspiracy theories of any sort, always looking for scientific or rational explanations first, and very doubtful about what most people claim, it is I. One has to realize that “history” as we know it (as opposed to “herstory” or any variations thereof) are written by the victors, those in power, and those with egos so large that they have commissioned PR spin throughout the ages. Boils down to greed and avarice and jealously and legacies wanted even though untrue, but that is human nature.
It was with growing horror for me as I researched this entire epic story to begin realizing that the data was revealing a planned conspiracy of the Nuremberg Patricians to take over the entire control of Europe starting at least in 1470 and possibly as early as the 1390’s, which becomes irrefutable except to those who choose to refute mostly anything in the name of discourse or academic purity, sounds like Hitler and ethnic purity, doesn’t it? There is the old saying that those who CAN, DO, and those who can’t, teach and many become critics, certainly not a vocation I would chose. Critique what? Against what standards? Who makes the standards? But the Patricians were VERY patient and ready to strike when the opportunities presented themselves, which started when Anton Koberger changed from goldsmith to publisher in 1470. Dürer was born in 1471; Koberger was his godfather.
But let’s get to Dürer. And here’s where I’m going to get castigated, because the evidence of his artistic capability in printmaking is deplorable before much of 1496, although he was able to paint in oil well, but those were mostly portraiture paintings up until his publication of the Apocalypse. Those who are classically trained in painting know that portraiture is actually the easiest subject to master.
And we see a sudden, unexplainable jump in artistic capability in what was composed in the Apocalypse, but we know from the Dürer Cipher and the messages in those prints, that his sister Margret was helping him with those compositions and those that came after, until her death in 1514.
Albrecht Dürer was a Nuremberg “brand” created by his godfather, Anton Koberger, the biggest publisher in Germany. Koberger needed illustrators, and the father was paid off for allowing Dürer to be reapprenticed as illustrator in 1486, the exact time that the Nuremberg Chronicles were begun, Koberger’s most audacious publishing activity, which had 1800 woodblock illustrations made for it. It explains why Dürer was allowed to get away with so many illegal compositions. He was a very protected asset in medieval Nuremberg.
We see much poorly created illustrations from Dürer until the Apocalypse, even as he is farmed out to Koberger’s colleagues during his Wanderjarhen journeymanship years of1490-1494. Most of what he created during this period was very cartoonish and he probably would have been a great comic book illustrator. We must remember that Dürer’s passion was mathematics, and optics, and microencoding, and astrology, and what passed for science during those times. He was not interested in being remembered as a great artist, and his art served as a methodology of making money, for which he also had a great passion.
How does this get to Gurlitt? Albrecht and Margret were very successful in getting their messages to their target audiences, which ultimately foiled the Nurembergers from achieving their world domination control plans indirectly. Despite the fact that the Nurembergers did ultimately get control of the banking system in their area of Bavaria, and Munich is the largest city of Bavaria, the Dürers helped those in other countries to learn what the Nurembergers’ plans were with the messages in their prints. These gave key clues to significant politically powerful people in those countries in how to counteract the plans of the Nurembergers, especially in the New World, despite the destruction wreaked on the native America inhabitants by the Western Europeans looking for El Dorado, etc.
It took 400 years for the world politics to play out as they have, and who would have imagined that twice in the 20th century, the Germans would attempt world domination and that both world wars would have decimated so many and leave such nationalistic hatred still alive today. I will leave the details of all this war history to the military experts, as I definitely do not have the expertise in this. But it’s more than ironic that Hitler’s icon and supposed representative of Aryan supremacy was Albrecht Dürer, a Hungarian noble crypto-Jew, and that the Germans still cling to this idea so ferociously, when the Dürer Cipher and messages prove otherwise. The Universe has a strange way of having karma play out.
So why does the Dürer Cipher and messages involve Gurlitt, one of Goering’s henchmen for the systemic looting of all art in all of Europe during WWII? Art has SUCH power over people, it has always been used as propaganda. And a storehouse of wealth. It was the printing press that democratized what could be printed and what could be printed as art. As we now know that the CIA used art as a weapon against the Iron Curtain countries during the Cold War (see my article on that), art has always been a weapon used for good or evil. IMAGE IS EVERYTHING, aka a picture is worth a thousand words, as we see billions of photos taken around the world today daily and sent to everyone and anyone.
The absolutely pathetic life of Cornelius Gurlitt, who admits he never felt love for another human being but only for his stolen artworks, regardless of the legal chicanery of German law, and also blames his whole problem on his mother now, with German complicity in hiding this extraordinary find for almost two years, shows us not only how strong art can be as a weapon, but also how art can defile the human spirit so often.
Dürer, caught as a pawn in the clutches of his Nuremberg handlers, was genius enough to outsmart them all and get his steganographic messages (secrecy through obscurity) to the right people who could stop the madness. Gurlitt also made it that close but for all the wrong reasons.