The SIN of SEX and LUST-Duerers’ Adam and Eva-This is NO Garden of Paradise-Part 4

Margret's 9 as represented in the 1504 Adam and Eva print on the tablet
Margret’s 9 as represented in the 1504 Adam and Eva print on the tablet


We left off questioning what was really on the tablet in Adam and Eva.

What it really says is

“Albert “9”


N (but this is actually two “I’s” connected with a faint diagonal line to make it look like an “N”; the word Noricus, with the strange N at the beginning

Faciebat (the Latin for “made this”)

Duerer monogram, an indechiperable symbol, a supposed date of 1504 with a flourish at the end which is really the numeral 1, the numeral 5 which was originally backwards in it’s first state, of which one example exists in the world, the numeral 0, a “4” with a very long tail and a symbol at the end.

The second clue that this is a coded inscription is the fact that if the name Albertus Dürer Noricus was just a Latinized version of Dürer’s name, the Latin is not correct.

The “N” of Noricus.

This “N” is drawn in a very special way: It actually is two “II’s” connected by a faint diagonal bar to make it optically appear as an N to the eye of the viewer. The two “II’s” are the astrological sign of Gemini-twins or counterparts. By representing the “N” this way” Dürer indicates to us that Dürer/Adam is related to Eva -brother and sister-so we then know that “9” is a sister of Albrect Dürer.


But which sister is “9”? According to the  fake Family Chronicle autobiogrpahy, there were 7 Dürer sisters: Child #1 Barbara, Child # 7 Agnes the twin of Margaret, Child #8 Margaret, the twin of #7 Agnes, Child #9 Urusla, Child #11 Agnes (which indicates that the twin #7 Agnes had died, and had died in childhood), Child # 13 Catherine, and Child # 16 Christina. The easiest conclusion would be that 9 (not backwards) refers to Ursula, although the iconographic symbol for Ursula is a bear (as in Ursa major or minor constellations-the Bear hunter). However, there is no bear symbol in the print at all. Neither is there a symbol for Agnes I, Catherine, or Christina.


So this leaves us only Margaret, child #8. As we have seen in other prints, the backwards “9“ or any backwards symbol has always referred to Margaret. Secondly we already know that the “backwardness” of the Margret symbol seems to be associated with a physical handicap-apparently a problem with her foot-which would make her  unmarriagable and remain a virgin. In Adam and Eva the “9” is forward, nor does Eve’s stance indicate a deformity but we are really left with no other choice. All other pictures are about Margret.   We can never actually know why “9” is her symbol until we look deeply into her lover’s life. Hieronymous Muenzer.


Next, the word “Noricus” has always been translated as Nuremberg. There have been some other speculations that it is a Latinized version of an area called Norix, supposedly associated with Hercules, and it has also been speculated that Noricus stands for the Roman version of Nuremberg’s name. Actually nothing is known of Nuremburg’s ancient history that is provable. To the humanists, classical or at least tribal Germanic foundation was axiomatic: a roman fort built on the rock by Tiberius Claudius Nero, hence Norenberg; a settlement established by one Norik or Noricus, an alleged son of Hercules; an asylum built by the Mariscia or Noriker, a Celtic tribe uprooted by Huns. The root word Noric has been variously identified as Slavic, Celtic, and Germanic. The most likely explanations of the name Nuremberg derive from Germanic Nurung, cleared land, thus Nereberg, cleared mountain or from Nuoringberg, a sacred mountain, a place consecrated to Odin in Germanic times.[1]

The Duerers used it to mean “of Hungary.”


What if we actually read what’s on the tablet? The first line says “Albert” and then a “9,” and below it is the word Noricus-of Hungary. The first line represents TWO PERSONS-Albert, who is the “Adam” and the “9” represents the second person, his sister Margret -the Eva in this print, and what this inscription actually says is “Albert and Margret Dürer of Hungary made this print in 1504, indicating that Hieronmous Munzer, as the backwards 5 is somehow now connected with the Durer family.”

durer albrecht sex tablet renaissance adam and eve michelangelo da vinci munzer snake garden of eden
NUREMBERG Merchant mark’s, the red arrows point to the Merchant Marks containing the mystical sign of the “4”

We see the numeral 4 in a multitude of house marks from all over Northern Europe. It is often called the staff of Mercury. The 4-like sign should mean the same as the symbolic staff of Mercury with two serpents around a winged staff (the caduceus )-so once again we have a reference to Münzer connected to a backward “5” indicating Hieronymous Münzer, and a merchant mark of a physician.


This composition declares that Albrecht and Margret Dürer made this print, that they are unjustly jilted lovers, and they immortalized their revenge upon these lovers, Stephan Paumgartner and Hieronymous Münzer, by depicting Münzer as the epitome of evil and Paumgartner eating grapes of wrath for eternity.




durer albrecht sex adam and eve renaissance art genesis
Adam/Albrecht giving the world “the finger” the universal sign of contempt

And what explains Adam’s elongated arm that is not in proper perspective and is empty is actually giving the universal symbol of contempt, and yes, it was common in medieval and Renaissance times. Albrecht is giving the world the finger.


So the Dürers use all symbols of sexual transgression: They place the Münzer snake coiled around the Tree of Knowledge of Good and Evil. Münzer is a physician, a married physician, who would certainly be a person who KNEW the difference between Good and Evil-especially when it came to sex. Münzer would especially know that fornication outside of marriage was particularly dangerous when the “new” sex disease of virulent venereal syphilis had struck Nuremberg with a vengeance. The Tree/physician’s Rod prominently centered in the picture is as the sexually connotated Fig tree with the sexually connotated apples growing on it. Dürer connects all of the sexual stories with this Fig tree with apples via the Münzer crest, connecting the sexual story of Albrecht/Adam, the bisexual, and Eva, the virginal woman who apparently has fornicated with Münzer, as represented by Eva feeding the apple to the Münzer snake.


Eva is even more sexually compromised by the snake/Münzer, who has seduced her. She’s a virgin. The Fig branch covering her genitals is a broken branch-it is not connected to any tree, indicating that the result of her/their behavior results in a dead end in ‘family tree descendants.” And she holds another apple in her left palm or it could possibly be a small tribute ball, this is a sister of Dürer who was compromised by Münzer. Since Münzer is married, Eva can’t marry Münzer and there is no way to legitimize the sexual union or results of the sexual union between them. Eva is doomed.

Münzer having defiled a virgin sister of Albrecht Dürer would completely explain why Dürer would enshrine his hatred of Münzer in such a composition and use this composition to depict aspects of Lust. Adam is Albrecht, who perceives himself as enduring the labors of Hercules, bisexual, really in love with Stephan Paumgarnter, but as talented in the arts as Apollo (the mouse), grabbing the Tree of Life, proclaiming that he has had progeny, albeit illegitimate and that his sister has been destroyed by the lust of Münzer.


[1]            Strauss, Gerald, Nuremberg in the sixteenth Century, New Dimensions in History, Historical Cities, John Wiley & Sons, New York, 1966, pg. 39


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