Text copyright © Nov 7, 2012 Dr. Elizabeth A. Garner, All Rights Reserved
PART THREE: REVELATIONS
BUY THE BOOK! CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER
Names and titles given to artworks are crucial clues in understanding the intent of any artist. We only know thirteen of Dürer’s original print titles (of 335 graphic images). In most cases, these original titles were ignored, embellished and changed through the centuries. I realized it is imperative to rigorously adhere to Dürer’s titles.
For example, the image currently called Knight, Death and the Devil was titled by Dürer as Der Reuter, The Rider, and should have not been changed. By sticking to the thesis that the real meaning of this print must be about a singular rider, who I needed to identify, I discovered that the key clue in this print is the hourglass and what that hourglass represents.
For the print Dürer titled Adam and Eva, intentionly and consistently called The Fall of Man by others, I discovered that it must be interpreted about an “Adam,” the “first” man of Genesis, and an “Eva,” the “second” woman of Genesis, (Lilith having been the first woman). The composition is heavily encoded with messages.
Utilizing this concept, I discovered that the inscription on the tablet hanging off the branch by Adam, translated as “Albrecht Dürer of Nuremberg made this print,” says something totally different. Until my discovery of the Noricas neckline code and the relationship between the hidden word “Noricas” and the word “Noricus” on the tablet, the true meaning of this inscription could not have been unraveled.
The same challenge existed for this image.
Once I realized that Dürer’s original title for this print was not NemesIS (Latin/Greek), but NemesIN (German), a crucial oversight, and thus is not an allegorical message about Fortune or Fate, I began searching for overlooked clues. I discovered that the winged woman was wearing rings on her fingers, the key clue to the meaning of this print, as you see here:
Finally I will show you an example of encoding hidden in plain sight in the Apocalypse, which hurtled Dürer to fame.
This image is called the Seven Trumpets of the Apocalypse (the Book of Revelations of the New Testament). I reveal two examples of encoding although there are many more in this print. The story line of this chapter of the Book of Revelations calls for an eagle to be swooping upwards in the sky crying Woe, Woe, Woe. Dürer ’s bird swoops down. And it is not an eagle. The bird depicted has a forked tail; no eagle has a forked tail. This bird is in fact a kite, also known as a goshawk, and the goshawk was the Turul of Hungarian mythology. Dürer is giving a Hungarian message to us once again and hiding it in plain sight. And in the hair of the deity in the upper middle of the print, on the viewer’s left, are the symbols of “I5” or “IS” or “J5” or “JS.”
In my next articles I will explore that one must understand Dürer as a businessman in order to understand his art. And the discovery that some prints are interrelated, which meant that later compositions could only be understood when the earlier ones were decoded. To be continued!