BEGINNING TO UNRAVEL THE MARGRET NECKLINE CODE
As we have learned from the Dürer Cipher, whenever a Dürer is encoding a message about someone in the family, the coding reads right to left, as in Hebrew, since the Dürers were crytpo-Jews. The Margret neckline code does the same, it starts right to left.
So let’s look at what is actually in the neckline and see how fiendishly whichever Dürer encoded this painting, fooling everyone.
One the very right there are three symbols, starting with a “9”, a “W” and what looks like a “T.” Hebrew is made up of words that have root words made up of triplet letters, so the first three symbols go together.
We already have seen that the “9” is Marget’s symbol, so we are immediately told this woman is Margret.
W next have a “W” which is an “M” upside down. We know from other artworks that whenever Margret is involved something has to be upside down or backwards representing her backwards foot. What the “W is made out of is rulers used by goldsmiths to measure, which we also see in Melencolia.
The third letter of this triplet looks like a “t” but in fact is a goldsmith tool. You can see this tool in the print of St Eligius of around 1450 of a goldsmith shop.
Pay particular attention to the “T” type tool in the hand of the woman on the far right, proving that woman were always working as goldsmiths along with their spouses or as apprentices. It is this “T” tool that is part of the Margret neckline code and makes up the first triple encoding.
And what it says is “Margret Dürerin was a goldsmith.”
THE GREEK E
Next we have a Greek E in lower script form as we see Albrecht used in the 1492 St. Jerome, the first known encoded print.
Greek initially took over all of the 22 letters of Phoenician. Five of them were reassigned to denote vowel sounds: the glide consonants /j/ (yodh) and /w/ (waw) were used for [i] (Ι, iota) and [u] (Υ, upsilon) respectively; the glottal stop consonant /ʔ/ (‘aleph) was used for [a] (Α, alpha); the pharyngeal /ʕ/ (ʿayin) was turned into [o] (Ο, omicron); and the letter for /h/ (he) was turned into [e] (Ε, epsilon). The “h” also became Eta in pronounciation.
Thus, the “E” in this coding is representing the letter “H” for Hieronymus, the Latin for Jerome. As we have learned before, Margret was in love with Hieronymous Munzer, a married man 30 years her senior who was not Jewish. By the use of the “E” to represent Hieronymous, Margret is giving a love message to Münzer. Which is another argument to support that this could be a Margret self-portrait as opposed to an Albrecht portrait. After all, Albrecht tells us over and over in the artwork how much he hates St. Jerome, the real saint and translator of the Latin Vulgate bible in 393 from the Hebrew and especially Hieronymous Münzer. Would it make sense that Albrecht would include this symbol in the coding? Only to appease Marget if he’s the actual painter.
THE NEXT TRIPLET
What follows the E is a “T” D” “T.” There is also a dot over the “D.” These THREE symbols go together to give us the next message.
If we look back at the tools used in a goldsmith’s shop, the goldsmith’s having become the engravers tools in the publishing business, we see three of these tools in the St Eligius picture again. The “T” on the right, called an epoghee is another goldsmith tool that was used in engraving.
The “D” that is depicted in this neckline code is a micrometer depicted sideways. As you can see in this picture:
You can see also a picture of a micrometer being used where the “dot’ over the symbol would appear here:
The third “T” is once again another engraving tool which is depicted in the St. Eligius print.
THE MESSAGE OF THE SECOND TRIPLET
So what is the message of the second triplet? Margret was an engraver. Albrecht’s engraver, which he tells us also in Melencolia. So far we have Margret Dürerin was a goldsmith, in love with Hieronymous Munzer, and also an engraver.
THE NEXT TRIPLET
As in any of the Dürer family coded messages, we are told that they are crypto- Jewish, and then there’s always the monogram. The next three symbols represent those messages to everyone.
First there is what looks like a Backwards “R”. Then what again looks like a “T” to the naked eye, but when enlarged is actually the Hebrew letter Tav, a “t” the last letter of the Hebrew alphabet and has a very special meaning, and then Albrecht’s monogram made out of goldsmith and engraving calipers.
What the backwards R really is, is Hebrew lettering. It’s one of the names of God in the Hebrew bible. This same name of God is hidden in plain sight in the book being held open by the man on the left in Dürer’s painting, Christ Among the Doctors, which is also a wrong name for that painting.
It states in the Talmud16 that the letter tav represents the word אמת, emes, meaning truth. The reason emes is represented by its last letter (tav) and not its first (alef) is that the essence of truth is determined at the end of a journey or passage, not at the beginning. Often when we begin something, the truth of the matter does not seem attractive. Only upon seeing the outcome do we appreciate that the path of emes was the only way to travel.
The fact that the monogram is an “A” lends more credence to the painting having been done by Albrecht, but at the same time, no one would have recognized this was a Dürer painting without the A monogram, so the idea that Margret could have been the painter still remains.
So this part of the message says “God is protecting the truth and Margret Dürerin.
THE FINAL SYMBOLS IN THE NECKLINE CODE
There remain two more symbols at the end of the neckline code and these identify Margret’s marital status and membership in the Dürer Family.
The first is a heraldic symbol of a lozenge, a diamond, which is what Germanic heraldy used to indicate either an unmarried woman or a widow. In the Melencolia belt code we have the lozenge depicting both an unmarried woman and a widow. Here we only have the depiction of an unmarried woman, Margret.
The final symbol is a stylized Dürer coat of arms. So this final part of the message says that Margret was an unmarried member of the Hungarian Dürer family.
WHAT’S ON THE WALL POST?
The reason that it’s suspicious that there was ever a statue in the corner of the wall is what is buried in the wall post, very difficult to see even with enlargement, due to restorations.
What is depicted there is a bat, the same bat that appears in Melencolia. The bat in Melencolia signifies the state of being crypto-jews, hidden Jews, as it says in the Hebrew bible “this well-known winged mammal (in Hebrew , Lev. xi. 19; Deut. xiv. 18; Isa. ii. 20) was considered by the Hebrews as belonging to the class of birds. The ancients in general considered it as a creature belonging both to the birds and to the mammalia, and partaking of the nature of both classes (Bochart, “Hierozoicon,” s.v.).”
But the bat is also a heraldric symbol for the Dürers’ target audience of the hidden messages and so its inclusion would be a readily recognized symbol by these target audiences indicating there’s more secret messages in the artwork.
The last symbol is over the bat and is a dragon, the symbol of the Hungrian Order of the Dragon, to which the Dürer family belonged as told to us in the coat of arms on the back of the painting of Dürer’s father in 1490. Thus whichever one of the Dürer’s is the artist, tells us once again they are noble and Hungarian.