Copyright June 8, 2014 Dr. Elizabeth Garner and Kathy Lawler
As previously reported in the first article about the mysterious ships that are encoded in Melencolia which you see again here, a Portuguese or Spanish medieval carrack
there are more ships that have been found on the right side of the composition, delineated by the putto, who represents the co-artist Margret. As the Duerer Cipher reveals, anything on the right side of a “two storied” composition indicates something from the past. Margret and Albrecht were both working on this print as a tribute to their mother, Barbara, who they knew had started to die in 1513. Then suddenly, Margret died closely after her mother, sometime between May 16, 1514 and August 24, 1514, according to the death registries published by the Nuremberg St. Lorenze church. As discovered by P. Weber in 1900, the ENTIRE theory that Der Reuter, the 1514 St. Jerome in the Study and Melencolia COULD NEVER HAVE BEEN PRODUCED AS PART OF A TRILOGY, the “Meisterstiches, ” as they still are called today, since the records of Anton Tucher’s cashbook, the Losunger, or President of the Nuremberg city government (the City Council) PROVE that Tucher purchased from Albrecht on October 13, 1515, three “St. Jerome’s” and FOUR Melencolia prints as presents for friends in Rome”, has been totally ignored. Otherwise, Albrecht GAVE these two paired prints, The St Jerome and Melencolia, without Der Reuter, to very highly placed courtiers to get his pension back when he went to Antwerp to regain the pension he had lost upon the death of Emperor Maximilian in 1519. Der Reuter was made in 1513, so it never made any sense that Melencolia might have been “numbered” as 1. These three prints were never interconnected and the perpetuation of this myth for another 114 years after a “recognized, at the time, Duerer expert” blew the theory apart, but is perpetuated in ALL art history classes today, is an ridiculous, proving that academia merely repeats over and over the inaccurate research about Albrecht Duerer. But of course, it’s always about the Italian Renaissance artists, so why should they care? THEY DON’T. But let’s get back to the second ship in Melencolia. Here is the image of the second ship in Melencolia, and without surprise, It is encoded in the folds of the drapery of the putto, Margret, on the right side of her dress:
What you see in this image are a number of symbols. The ship itself is within the bounds of the red oval with the yellow arrow pointing to the flag flying from it’s masthead. the flag appears encoded but we haven’t figured that out yet, please feel free to try to do so. The purple arrow points to the what appears to be the masthead, and it appears to be a bird of some sort, a very large bird. The object that is circled in the blue oval with the orange arrow pointing to it is a telescope, another telescope. Both the position of the ship and the directional clue of the telescope almost mirrors the direction that the first ship found is traveling towards, and that would be EAST, towards the past. How many more ships will we find?