Copyright Dr. Elizabeth Garner and Gary Hind July 29, 2014 All Rights Reserved
The Duerer’s were not finished hiding ships in the folds of the Melencolia’s and the Putto’s clothing on the right side of the print when encoding the composition, which is only the size of 7 x 9 inches. That usually amazes people to learn how small this print really is. It demonstrates the incredible micro-engraving and encoding skill that these two artists had.
We know turn to the tiny landscape on the left side of the print, the coastline, and the cityscape under the rainbow and behind the rungs of the ladder
WHAT IS HERE?
The Duerer’s have pulled an amazing trick on us with what they encoded in this landscape, one that I have only seen once before.
What you see in this image are the two significant symbols which are annotated by the blue and red boxes. The next ship found is captured in the blue box and what helps to define what it truly is is captured in the red box.
The arrows that point to the the significant things in the blue box indicate all the identifiers that indicate once, again, this is a Portuguese carrack ship behind this cityscape.
THE AMAZING NEW ENCODING IN THIS CITYSCAPE
But what has never been seen before in any of the Duerer’s artworks to this extent, is this type of encoding, for the Duerers totally switched the perspective of what is shown between the front part of the cityscape and the back part of the cityscape! If you look at the carrack in the blue box straight on, it looks like this is sinking ship in the middle of the cityscape, which is weird. In fact, the perspective in the back of the cityscape is from the perspective of the Duerer’s looking down from a hillside.
The last time anything like this was done by Albrecht was when he was an apprentice for Michael Wolgemut from 1486-1490, when he was working on the Nuremberg Chronicles.
More to come!
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