The Secrets of Resurrecting Margret, the Secret Co-artist

The Dürer Cipher, a symbolic language Dürer invented for ingeniously encoding his prints, was Dürer’s only weapon against his enemies.

Durer's Melencoli
The 1514 famous Melencolia, Dürer’s most famous print


In 2011, I discovered two more hidden codes (and the coding discovery continues to this day) and what one tells us is astounding.  One is in Dürer’s most famous print, known as Melencolia. I discovered that the belt on the figure known as Melencolia is also an ingeniously encoded message.  In that belt code, Dürer tells us that the two figures in the print are DEAD in Greek (the old Greek word for death, obaros), written as if it was Hebrew (right to left), and who those two people are: his mother Barbara and his sister Margret. Melencolia tells us that Barbara at some point functioned as Albrecht’s woodblock cutter and that Margret was also an engraver who aided him.

This means that all past allegorical interpretations of this print for the last 500+ years are absolutely wrong; Melencolia is not allegory to depression but is about specific people, many specific people. And this changes everything, especially as it pertains to interpreting Dürer’s art.


Dürer’s 1497 painting who is now thought to be one of his seven sisters, probably Margret


It is in the Dürer Diary of encoded prints (as described by the Dürer Cipher) that we find the few remnants of Margret’s life.  It appears from the encoding that she had a crippled foot (Sea Monster), which would explain why she was never married off or forced into a nunnery and thus lived at the home of her father and ultimately her brother, when Barbara and Margret became too poor to live on their own in the Albrecht Dürer the Elder home in 1502. This means she would have been trained as a goldsmith like her mother, and as the daughter left at home until death, spinning would have been her duty to perform. Her training as a goldsmith, like Albrecht’s training, would have easily allowed her to engrave along with Albrecht.


sex nuremberg chronicles durer renaissance Hieronymous Munzer Renaissance
The famous map of Europe from the Nuremberg Chronicles designed by Hieronymous (Jerome) Muünzer, Margret’s lover.

She apparently had a love affair with a Dr. Hieronymous (Jerome) Münzer, a married man of the top tier of the Patrician families, which apparently made Albrecht exceptionally angry, as he depicts Margret as a strident hag who deserves humiliation for cavorting with Münzer , in his 1500 print known as the Witch Riding a Goat Backwards, where he depicts her wearing Christian wedding rings on her fingers. Albrecht also included subliminal sex messages in this print also as an extra humiliation.

Witch Riding the Goat Backwards
The print known as the Witch Riding the Goat Backwards

Margret apparently had an illegitimate daughter by Münzer, which seems to be commemorated in the 1504 Nativity engraving. But as often happens, it appears that Münzer jilted her and her baby.

1504 Adam and Eva
The famous 1504 Adam and Eva. This print tells us about the love affairs and jilting of Albrecht Dürer with his secret lover and Margret Dürerin with Hieronymous Münzer


The famous 1504 Adam and Eva print tells us that Münzer jilted her in 1504 and we will go into much more detail about all the coding in this print at a later date for it has much more than just this information.  Research indicates that Münzer did have an illegitimate daughter, named Margret, who was placed with the Jews to be raised and he did pay for the upkeep of this bastard, as he was required to do by law.  Münzer died in 1508, and it appears that Margret may have taken another lover (possibly an apprentice in Dürer’s home, possibly Dürer) and may have once again become pregnant by 1511 because of the series of backward “d” monograms during that period and the themes they entail.  Dürer tells us in Melencolia that she was dead in 1514, and that she was his secret helper/engraver.  The first print after the death of Barbara and Margret in 1514 is a 1515 etching of a man tearing off his face, known as the Desperate Man, a potentially unsellable motif. It is also a heavily enciphered composition which tells us of Dürer’s despair at the death of Margret, and other members of the Dürer family.


The 1515 Desperate Man print
The 1515 Desperate Man print. Durer switched to etching after his mother and Margret died, probably to hide the fact that his secret co-artist, Margret, was gone


Margret was desperate to be heard and known and not forgotten and the only way she could leave her mark was to encode the prints along with Albrecht.  Throughout the Dürer Diary prints there are many instances of “5’s” and “9’s (either forward or backwards) embedded in the encoding.  The “5’s” are appeals by Margret to Hieronymous Münzer and the “9’s appear to refer to Margret, probably something to do with Münzer (she would have been 9 when she met him-his little neunchen). We overtly find the 9 in Adam and Eva and in Melencolia (backwards first and then quickly changed to forwards). They are found all over the Apocalypse prints, so more than likely Margret became Albrecht’s secret co-artist as early as 1496, when the Apocalypse prints were started. The backwards “d” in the four prints that have a backwards “d” probably indicate Margret, the Dürer, who’s foot was backwards.  This also explains why no questioned this backwards “d” in a Dürer print.  It was an original Dürer print, just done by more than one Dürer.

Wouldn’t you do the same if you knew  you would be erased from history?

More to come.


Best Wishes




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