The Duerers Temptation of the Idler

Secret Codes in the Temptation of the Idler

Temptation of the Idler, full print on the left

Copyright Dr. Elizabeth Garner, May 1, 2015

The name of the full image, shown on the left, has often changed over the centuries. It has been called “a man sleeping in a bath, with Venus inspiring his dreams,” “Mars and Venus,” “The Temptation of the Idler,” the “Dream of the Doctor,” and what I think is the weirdest of all, the famous 20th century Dürer scholar, Erwin Panofsky, related this print to a Roman legend about boccia.


Let’s look at the symbols in the composition. This is one of the easiest examples to start demonstrating how the Dürer Cipher works.

The stove on the left is a Hungarian stove, as is the wooden chest behind the woman. These are Hungarian signifiers, significant clues that tell us Dürer is indicating something Hungarian and his Hungarian ancestry (by his father). Look closely at the enlargement of the grate beneath the man’s feet in the middle of the collage, it is the symbol of St. Lawrence (he was martyred on a grate), signifying this man’s name is Lawrence.


The naked woman (it appears Dürer used nudity for marketing purposes only) wears a ring on her left hand pinky, lower right of the collage, a symbol of St. Catherine, signifying her name is Catherine. The little boy, middle bottom of the collage, has eagle wings reminiscent of the eagle wings of the Dürer coat of arms, and the boy plays with stilts, a symbol associated with St. Nicholas, signifying his name is Niklas. The boy plays next to another Hungarian signifier, the Hungarian tribute ball (not the Italian Renaissance symbol interpreted as a symbol representing Fortune or Fate), indicating that Dürer was giving tribute to these people. In the upper portion of the collage.


There is a dragon (it doesn’t have horns-deveils were depicted with horns during the period this print was made-1498), not a devil, putting the end of a bellows into the man’s ear, the same type of dragon we find in Dürer ’s father’s coat of arms, who was known as Albrecht the Elder, a goldsmith.

Who were Lawrence, Catherine, and Nicholas? Dürer’s relatives.

This composition is a tribute to a branch of the Dürer family that remained in Hungary after Dürer’s father emigrated to Nuremberg. Ladislas Dürer (Ladislas is Hungarian for Lawrence), Dürer’s uncle, was a saddler who used bellows in his work (the dragon holds a bellows), his wife was named Catherine, and Niklas was their son, apprenticed as a goldsmith to Dürer’s father. Niklas grew up with Dürer in his father’s household and was his favorite cousin. After a railroading criminal charge against Niklas as an adult, Niklas resettled in Cologne, Germany as a goldsmith. It is probable that Dürer made this tribute composition because Uncle Larry had died, and he disguised this homage to make the print more commercially salable, especially by putting in his aunt as a naked woman.


To date, I have found encoding 80% of the Dürer’s graphic prints and unraveled their messages. However, new continuing discoveries suggest the probability that more coded messages exist in additional images and artworks that have already been published need updating in their revelations. And even more astonishing was discovering that he exploited subliminal sexual imagery in prints to cause people to notice hidden messages.

Therefore we are going to start circling back to those artworks that need updating because of new clues found.

Best wishes,


Buy the book!  on Amazon B00FNWKYMO

durer albrecht margret sex ranisaance women artists art nuremberg go
Share the postShare on Google+Tweet about this on TwitterShare on TumblrPin on PinterestShare on LinkedInShare on Facebook