Copyright February 23, 2014 by Dr. Elizabeth Garner and Joe Kiernan
After the Haller Madonna with the painting of Lot and his Daughters Fleeing Sodom painted on the back, which have to be taken together for the whole messaging to be revealed, which you can find at these links:
http://wp.me/p2M3K7-dm The Secrets of National Treasure- Part I
http://wp.me/p2M3K7-dw The Secrets of National Treasurer-Part II
http://wp.me/p2M3K7-e7 The Secrets of National Treasure- Part III
http://wp.me/p2M3K7-eq The Secrets of national Treasurer- Part IV
The MOST important painting that Albrecht did was the 1521 St. Jerome in the Study, made for the Faktor of Portugal, Rodrigo (Rui) Fernandes de Almada, his patron and friend, and one of the most influential men in all of Antwerp, where Dürer had moved his headquarters for selling his works.
But before we get to the staggering secrets in this painting, we need to recap what Dürer has previously told us how he feels about St. Jerome, which is absolute hatred. You can find the proof of Dürer’s hatred in these previous articles I’ve written about Dürer’s St. Jerome images. Here are the links:
http://wp.me/p2M3K7-ao St Jerome-Part 1
http://wp.me/p2M3K7-9H St Jerome-Part II
HATING ST. JEROME
Why does Albrecht Dürer hate St. Jerome so much? Because as a crypto-Jew, it was St. Jerome that translated what became known as the Vulgate Bible (the bible for the people) that was used through most of the medieval period and the Renaissance. Jerome had started translating this bible in 390 CE from the HEBREW texts, instead of what he had been doing, which was translating from the GREEK texts, which ended up being called the Septiguant.
St. Augustine was up in arms about what Jerome was doing with many famous letters sent between them where Augustine kept chastising that what Jerome was doing was wrong and should be using the Greek, which itself was ridiculous, since the Hebrew was the most accurate source. The Jews of the times were even more incensed, because Jerome was mistranslating the Hebrew in many places, essentially changing Judaism into Christianity. If it wasn’t for what Jerome had done in these mistranslations the amount of anti-semitism in the world, which remains very active and virulent, and the anti-semitism that exsited in the Middles Ages and the Renaissance, which was just as virulent, would not have led to the devastating pogroms implemented against the Jews as early as the 900’s.
WHY PAINT ST. JEROME IN 1521?
And we also have to ask ourselves WHY would Dürer have picked this subject to paint for de Almada, the Portuguese? He was friends with him and dined with him often as is told to us in the Diary of the Netherlands Journey. It’s possible that de Almada specifically asked for this image, but unlikely, there was nothing special about St. Jerome and Portuguese reverence for St. Jerome that would cause a specific request for an image of St. Jerome, more likely that he would have let Dürer choose the theme for the painting. And Dürer hadn’t done a composition about St. Jerome since 1514. So WHY would Dürer choose this theme about St. Jerome specifically for a Portuguese that he knew would bring the painting home to Portugal for his private chapel?
WHAT WAS HAPPENING TO DÜRER BEFORE HE CHOSE THE ST. JEROME THEME?
Dürer had gone on the 1520-1521 Netherlands Journey to get his pension back, which he had lost when the The Holy Roman Emperor Maximillian had died in January of 1519. He was also interested in expanding his markets and Antwerp was booming. He also intended to attend the coronation of Maximilian’s successor, his grandson Charles V, which occurred in Aachen on October 23, 1520. He took time in the trip to travel back and forth to many cities to see many wonderous things. It was a very fruitful trip.
But, right before Christmas time Dürer decided to go whale watching off the coast of what we now call The Netherlands (Zeeland in Dürer’s time), and he got shipwrecked as the boat landed at shore, because it was rammed by another great ship as they were landing. Dürer remained on board with six other people while everyone else had made it to safety on land, and then a great gale wind rose up and the ship was blown back out to sea. One of the six aboard figured out how to erect a small sail, and they were finally able to get the crippled ship to shore.
But because of this shipwreck, or ostensibly because of this shipwreck, Dürer became very ill. Researchers have ridiculously attributed Dürer’s sickness to malaria from mosquitos in Zeeland, but since mosquitos aren’t usually flying around at Christmas time, this is really a silly argument.
Dürer became very ill after this shipwreck and was given many gifts of “French wood) Lignum Guaiacum, one of the known “cures” for syphilis. Based upon what Dürer had told us in previous prints, his lifestyle was bi-sexual, so infection with syphilis from these activities that started in 1494 in Venice would absolutely track to the beginning of stage 3 syphilis occurring around this time of his life. See my article Morality is a Venereal disease
Thus, if Dürer recognized the fact that he was in stage three syphilis, he would have believed that death could be coming soon, but not knowing when. Choosing to do what was his last composition about St. Jerome would make perfect sense: he had to get his extremely important messages encoded into this painting, so that it would be brought back to Portugal and seen by those who were his target audiences for his embedded coding. We have revealed some of his secrets already embedded in this painting in the article in this article, the three most important people to him in his life:
http://wp.me/p2M3K7-z2 THE SECRET OF THE MOST IMPORTANT SYMOL IN MELENCOLIA
And now we have to get to the historical forces that were in play at the time. The Reformation had begun and all of Germany and parts of Eastern Europe were embroiled in this major schism with the Catholic Church. All of Dürer’s current apprentices and journeymen had been arrested for involvement with the Reformation and Willibald Pirkheimer, his secret arch enemy, was also on the Pope’s target list to be arrested. These people eventually got out of the attacks on them because of the protection of the Elector, Duke Friedrich the Wise of Saxony. If it wasn’t also for Duke Friedrich, Luther wouldn’t have survived the turmoil.
But it was what was happening in Portugal with the Inquisition that was of utmost importance to understand why Dürer had to dangerously encode this painting. John III was King of Portugal, who showed much favor to the Jesuits, and the persecution of the Inquisition under these Jesuits was at it’s height in 1521 against the Jews and Jews who had “converted” to Catholicism on the outside and practiced Catholicism openly, the Marranos, the Conversos, and the crypto-Jews, but who secretely continued to practice Judaism in secret.
It was to these people that Albrecht Dürer was targeting his embedded coding, for hope. Those secret Jews who were still very publicly in power would have been invited into de Almada’s chapel to marvel at Dürer’s work and would instantly recognize the encoding was for them.
EVERYTHING IS WRONG IN THIS PAINTING.
So let’s look at what is in this painting that gives us clues that there are more desperate messages Dürer needed to get to Jews in Portugal during this incredibly intense time of persecution in Portugal.
St. Jerome is either depicted in his “cell” or in the wilderness, we don’t get anything else for Jerome. Somewhere along the line he ended up with a cardinal’s hat as a symbol, even though he wasn’t a cardinal because cardinals didn’t exist in his time. It obviously was a symbol of brainwashing to make him associated with a cardinal hat. We don’t even have that hat here.
Dürer left us notes on his preparatory sketches that the model for this Jerome was a 93 year old man he had found in Antwerp. The guy is in great shape for such age. And Dürer once again paints him with “forked” beard, the cipher coding for something fake.
But it’s the book that’s in front of Jerome, even in this half portrait, which had become the rage, half portrait representations, that is the major clue. Like always Dürer puts the major clue in the middle of the composition.
Jerome is supposed to be represented with a BIBLE, for it is he who is the translator of the bible into the Vulgate. Other than in the 1492 ST. Jerome in the Cell frontispiece,
where he represents the bible in Hebrew, Greek, and Latin, encoding in the Hebrew book, the frontispiece to the second published Epistiolari der Hieronymi, published by Kessler in 1492 in the second printing of this book, that we see the first place that we can definitively determine Albrecht had started encoding. Someone found out what Dürer was encoding, because this print was not duplicated in any further reprintings. In fact Dürer’s frontispiece was replaced by some unknown artist’s work and as the reprints were published, the Hebrew book was totally bastardized into something unrecognizable.
But HERE in this painting, while Jerome has a bible in front of him, there is a MATH page prominently displayed with the symbol PHI in the upper left corner of the open bibl, which doesn’t exist in any bible. And the circle with a dot in it that represents “the Sun” as the beginning symbol on the right hand page of what Jerome is looking at.
WHAT IS JEROME DOING WITH A MATH PAGE IN FRONT OF HIM? Other than Dürer wanted to be remembered as a famous mathematician, NOT a painter? That is one of his secrets, he wanted everyone to look upon this painting and KNOW that he was an expert in math and giving his clues in math code.
The explanation is found in Part II.