Text copyright © Jun 16, 2013 Dr. Elizabeth A. Garner, All Rights Reserved
Most researchers have ignored the titles that Dürer gave to his prints which has really mucked things up in understanding what Dürer was telling us. A composition with a problematic title is the print Dürer called “Nemesin,” which is believed to be this print:
WHO WAS NEMESIS?
The Italian Renaissance iconographical system associates the symbol of a ball with the goddess of Fate/Fortune/Retribution called Nemesis and because we have record that Dürer titled a print “NEMESIN” believed to be this print. To read more about Nemesis, click here:
These two prints
have been called The Small Fortune and the Large Fortune respectively based on the size of the paper on which they are printed.
Dürer’s title is not the Greek/Latin name “Nemesis” nor does the world translate as Nemesis. This name is Germanized Greek, from the Greek word nemein, to allot, to manage, to distribute. The “In” at the end of the word is how the German language makes the word feminine. The translation of the word Nemesin to Nemesis was a scholastic error. The correct translation is that of a female “manager.” We have yet another Hungarian signifier, the symbols of the bridle and reins. Hungarians, known as cattle and horse breeders, supplied the horses and beef to Nuremberg. Dürer’s Hungarian ancestors were horse and cattle breeders.
Thus what we really have is a naked woman for marketing purposes, in profile, with the enormous eagle wings of the Dürer coat of arms you see on the left,
who “distributes or manages” horses (bridle and reins, the Hungarian symbol), which you see in the middle and is associated with ornate covered goblets (goldsmiths-the occupation of Dürer’s father and grandfather), which you see on the right, standing atop the Hungarian ball tribute symbol, lower left, with an elaborate landscape underneath.
The most important symbols in this composition were unseen for over 500 years until I found them, which you see on the enlargement on the right. And those symbols are the two rings on this woman’s index finger and thumb.
These are wedding rings. Medieval widows wore thumb rings, the wedding ring of their deceased husband. While Christians wore wedding rings on almost any finger, customarily their women wore their wedding ring on the third finger of the right hand (as Europeans still do today-Americans have changed this to be the left hand). Only one group consistently required the woman to wear her wedding band on her index finger (and still do today)-and that group was the Jews.
NEMESIN shows us a Jewish widowed horse manager from Hungary, associated with a gold or silversmith, a common occupation of medieval Jews, probably noble, to whom Dürer is paying tribute. This print is thought to have been published in 1502, the same year Dürer’s father died. Because of the hidden code I found in Melencolia, which I will shortly show you, I believe this composition is a coded message paying tribute to Dürer’s Hungarian grandmother, Elisabeth, and I believe Dürer tells us with this image that his family is descended from Hungarian noble Jews.
This interpretation of Nemesin and Coat of arms is a massive paradigm shift, for Dürer’s art has always only been interpreted according to Christian iconography. What I found was there were many symbols that Dürer used that had dual Christian and Jewish meanings. When I applied the Jewish meaning to the symbol, Dürer’s cipher began to reveal itself.
BUY THE BOOK! CRIMES IN THE ART: THE SECRET CIPHER OF ALBRECHT DÜRER