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DISCOVERING THE DÜRER CIPHER HIDDEN SECRETS IN PLAIN SIGHT DISCOVERING THE DÜRER CIPHER HIDDEN SECRETS IN PLAIN SIGHT

OCTOBER 8 –NOVEMBER 23 2012 Director Notes

Discovering the Dürer Cipher explores the prints were made and seeks to strip away passions that ignite artists, collectors, and palimpsest titles in order to help us see scholars to pursue the hidden secrets of one clearly the images before us. of the great heroes of the Northern Renais- It is with great pleasure that the Rebecca sance, Albrecht Dürer. This exhibition Randall Bryan Art Gallery invites you to comprises more than forty prints gathered enjoy this catalog and exhibition of the together by collector Elizabeth Maxwell- brilliance of Albrecht Dürer. Our sincerest Garner. Inspired by her love of the artist, appreciation and thanks extend to Elizabeth she amassed this outstanding collection to Maxwell-Garner, whose passion and insights aid her research into why the artist produced have brought this collection together. his astonishingly unusual iconography and for whom these prints were made. Jim Arendt Her research has led her to a series of Director, Rebecca Randall Bryan Art Gallery startling conclusions not found in previous scholarly interpretations of Dürer prints. Of special note are her investigations into the interrelatedness of Dürer’s prints and his possible use of steganography, a form of concealed writing executed in such a manner that only the author and intended recipients are aware of its existence. Garner’s assertions draw attention to the inconsistency found in centuries of symbolic interpretation and reinterpretation of this popular artists work. Through detailed analysis of the city life of 15th and 16th century Nuremburg, Garner explores the social and economic climate in which these Foreward by Stephanie R. Miller, Ph.D.

The expression “Renaissance Man” often Albrecht Dürer treated his art as a business, inquisitive spirit, his entrepreneurial drive, transformations in print media, but also experienced the transition from one century calls to mind the Italian Renaissance master one that would become very successful. In and perhaps encouraged his prodigious the cradle of the Protestant Reformation, to the next, the beginning of the Protestant Leonardo da Vinci (1452-1519), but the a letter to a patron, Dürer commented on *)&#!&#"(.7&>7&1(9:)$)(')!&(&)*#%$3(*!(*( famously initiated by Martin Luther in 1517 Revolution, and the outbreak of the Peasants’ sentiment embodied in that phrase equally the lucrative business of , “no goldsmith with his father, and then with the JK7)$@,$)5(./'"#*++8(*3.>&$3(L7&0$)*%- War (1525). Although Dürer was a painter applies to the German master Albrecht one shall ever compel me to paint a picture painter and printmaker ism in 1525). The print medium was well throughout his life, this “Renaissance Man” Dürer (1471-1528). The interests of the two again with so much labor…henceforth I (1434/37-1519). Wolgemut was crucial to served by the Protestant Reformation and responded to the world—people and events Renaissance artists correspond in several shall stick to my , and had I done Dürer›s growth as an artist and particularly vice versa, and Dürer was one of several —most directly in the printed medium. The ways and both were considered artistic and so before I should today have been a richer as a printmaker; Wolgemut’s workshop was artists who exploited the versatility of prints; broad circulation of his prints during and !"#$%&#'"(&)*#+,+*-$)!(./(&0$#)($)*1(2.&0(*)&#!&!( @*%(,8(ABBB(C.)#%!1D(E0$(&)*%!/.)@*&#.%( responsible for several woodblock prints multiple prints of the same image could be since his lifetime has guaranteed Dürer’s were passionate about recording nature and of the woodblock print is certainly among included in the popular publication, the widely disseminated, and they were relatively enduring legacy. *34*%"#%5(!"#$%&#'"(#%67#)81(9:)$);!(3)*<#%5!=( Dürer’s accomplishments in printmaking. Chronicle (1493). It is likely Dürer inexpensive to produce and to purchase. such as his well-known Large Piece of Turf (1503, As elaborated in Elizabeth Garner’s essay, also contributed to the Chronicle which was Dürer sold series of religious prints to the Stephanie R. Miller, Ph.D. Albertina, Vienna), demonstrate meticulous woodblock prints prior to Dürer tended published in his home city. pious faithful, sold portraits of his contem- Assistant Professor of Art History care in the study and rendering of the natural to be basic with few tonal areas and Perhaps because he traveled so frequently, poraries or gave them as gifts to friends, and world, and this careful observation is the minimal details. After Dürer, woodblock Dürer signed many of his and tantalized collectors with iconographically foundation of his paintings and his many prints included substantial tonal gradations woodblock prints with “AD of Nuremberg” )#"0(>)#%&!(./&$%('++$3(<#&0(+*&$%&(.>#%#.%!( >)#%&!1(?33#&#.%*++8=(9:)$)(<).&$(!"#$%&#'"( with new and varied textures, livelier &.($@>0*!#-$(0#!(#3$%&#'"*&#.%(<#&0(&0$( about current events and beliefs, such as treatises on the study of perspective and details, and a sense of atmosphere. Such city of his birth. Among his travels, he was Knight, Death, and the Devil (1513) or Peasant geometry (Teaching of Measurements, 1525, and #%%.4*&#.%!(".%&)#,7&$3(&.(0#!(>).'&*,+$( perhaps most inspired by his two extended Monument (1525). Prints for Dürer were im- Four Books of Human Proportion, posthumously business in printmaking. visits to (1494-1495 and again from mediate responses to ideas, events, people, published in 1528). Like Leonardo, Dürer Albrecht Dürer was a citizen of Nuremberg, AFBFGAFBHI1(9:)$)(<*!(#%C7$%"$3(,8(&0$( and opinions; further, compared to paint- traveled widely, perhaps more extensively from his birth to his death, and classical antique and the Italian Renaissance; ing, prints were also more economical in than Leonardo, to advance his artistic skills, his ties to the city were strengthened by his however, he never mimicked the Italian &$)@!(./(0#!(&#@$(*%3(@.)$(>).'&*,+$1(M$( career, and knowledge. Furthermore, Dürer marriage to Agnes Frey, who was from a style, rather he adapted it and infused it with #%&$)*"&$3(<#&0(>).@#%$%&(0#!&.)#"*+('57)$!( was as artistically experimental as Leonardo, prominent Nuremberg family. The city itself his own Northern stylistic traditions, politics, from Erasmus of Rotterdam, to Frederick but Dürer’s experiments in printmaking was instrumental to the artist’s development. and religious background. Germany was the Wise (Elector of Saxony), to the Holy <$)$(7%#67$(*%3(.//$)$3('%*%"#*+(!7""$!!1 This progressive, humanist city fostered his home not only to some of the early Roman Emperor Maximilian I and Hidden Secrets in Plain Sight Discovering the Dürer Cipher by Elizabeth Maxwell-Garner

Albrecht Dürer (1471-1528) is Germany’s peoples of the , the prints were the cheapest to produce, because most important artist and one of Europe’s Balkans and the Kingdom of Hungary, of the relatively low cost of the wood, and most famous Renaissance stars. His complex Dürer shrewdly titled it The Secret Revelation of they were the most economical because and dramatic imagery has entranced St. John (in German, Die Heimlich Offenbarung the durability of the woodblocks allowed viewers and puzzled scholars for more than Johanis) ostensibly to increase market share. for extensive print runs that could produce '4$("$%&7)#$!1(M#!(@.!&(/*@.7!($%5)*4#%5( Who doesn’t love learning about secrets? many copies of the same print. Melencholia I, has spawned tens of thousands And yet no scholar to date has speculated on The other three printmaking techniques of speculative commentaries about the what these secrets might be. used by Dürer are known collectively as connotation of the complex imagery, and Both the German and the versions prints, which indicates that the image the secrets in many of his compositions have of this crucial work became European is incised into the printing surface, usually stymied art historians. sensations within a three-year period, and a metal plate, and when paper is pressed Until now. Dürer’s printed version of the against the inked plate, the image forms In the early part of his career, from 1495 remains the most famous artistic interpretation from the ink in the recesses on the plate. In until late 1500, Dürer was an artist of only of the Book of Revelations even today. intaglio prints, the artist typically both designs regional importance, whose market was Although his paintings are also impressive, the image and creates the printing plate. primarily the south-central Bavarian Dürer is best known for his graphic prints. Dürer usually used copper plates for his German cities of Nuremberg, his birthplace, He created four different types of printed intaglio prints, since it was readily available Regensberg, Augsburg, and Frankfurt. images: , engravings, and due to the local armor industry, but for his He gained widespread fame with his 1498 3)8>.#%&!=(<0#"0(!#5%#'"*%&+8(4*)8(#%(&0$#)( etchings he preferred iron. >7,+#"*&#.%(./ ('/&$$%(>)#%&!(,*!$3(.%(&0$( technique. Drypoint is a technique in which an New Testament book of Revelations, A is printed from a woodblock image is incised into the metal plate with released in two versions, with either Latin or on which an image in relief has been cut a hard-pointed “needle,” making a furrow German text printed on the reverse of the using knives, gouges, and chisels. The print that holds the ink. No metal is removed. >)#%&!1(E0#!(<*!(&0$(')!&(&#@$(#%(N7).>$(*%( is produced when paper is pressed against It is the easiest for the artist to create but artist himself had published his own works the inked block and the relief image is economically, it yields few good impressions. in the vernacular. thereby transferred. In Dürer’s time, artists In the engraving technique, an image is The Latin version was titled simply The of woodcuts typically designed the image made by using tools such as burins to remove Apocalypse with Illustrations (in Latin, Apocalypsis and then specially-trained woodblock metal from the plate by creating grooves Figuris) because the market for the Latin cutters cut the blocks from a plank-grained in its surface, which hold the ink when version was the Church, schools and Latin woodblock, usually pear wood. It is it’s applied to the plate. The third intaglio speaking locales outside of Germany, such speculated, however, that Dürer himself &$"0%#67$=($&"0#%5=(#%4.+4$!(')!&(".4$)#%5(&0$( as Italy. For the German text edition, where may have collaborated with the woodblock plate with a resistant varnish or resin then the customers were the German-speaking cutter for his Apocalypse prints. Woodblock scraping through that coating to form an THE YOUNG COUPLE THREATENED BY DEATH aka. The Promenade(detail),1498 MEDER 83 IE, STRAUSS 20 image on the plate. The plate is then soaked considered “product” more so than art. Dürer took a radical economic risk with this was the seemingly unsellable Desperate Man, interpretation, for the woman’s headdress V(!$&(.7&(&.('%3(*%!<$)!1( in acid and only the areas where the metal The skill and creativity that a print version before he was famous, an unusual an image of a man tearing off his own *+)$*38(3#!&#%"&+8(#3$%&#'$3(0$)(*!(*(<.@*%( I had to look at his oeuvre with fresh eyes has been exposed are etched by the acid, craftsman used to differentiate his product move for a young merchant who could not face. Who would spend money for such a of Nuremberg. Hiding the word NORICAS with no preconceived notions. The existence forming grooves that hold the ink. Of the was subordinated to marketing efforts. yet support a workshop with apprentices. grotesque print? would have been a duplicative effort. No, of the Promenade neckline code required a three intaglio techniques, engraving was the Renaissance print craftsmen did not have Another example is Dürer’s 1498 Sea R.(&0$(')!&(67$!&#.%!(,$"*@$(ST08(<.7+3( this was an actual hidden code! major paradigm shift in thought and analysis most economical. During his career, Dürer the luxury of creating images that would Monster image. This engraving features customers buy these strange pictures?” And And Dürer depicted a dress that could of Dürer’s art. I eventually discovered created a total of 220 woodcuts, and 114 not produce income. They either worked for an elaborate composition for which the why was the demand for these products have caused his arrest. The woman’s dress that Albrecht Dürer was often employing intaglio prints including 105 engravings, commissions (typically from the church, the iconography has yet to be satisfactorily !7/'"#$%&($%.750(&0*&(9:)$)(>)#%&$3(&0$!$( was illegal in Nuremberg according to steganography in his prints, a methodology 6 etchings and 3 drypoints. , or wealthy patrons) or they made works explained. It’s odd for its time, and strange images in quantity? Fame and German clothing laws (called sumptuary of creating hidden messages in a way that For a Renaissance artist to effectively market they knew their customers would buy. The even stranger as a product offered by a &*+$%&(<$)$(%.&(!7/'"#$%&(&.($U>+*#%(&0#!( laws). It became apparent that the illegal no casual purchaser suspected the existence a composition at the city fairs, the symbols cost of materials and labor to produce prints burgeoning artist who needed to sell in phenomenon in his society. I found no dress was a subtle way to draw attention to of the message, a form of security through used, known as iconography, needed to be was not inexpensive (wood for woodblocks 4.+7@$(#%(.)3$)(&.(,$(>).'&*,+$1(?+&0.750( scholarship that had broached this subject. the code he had hidden. obscurity. Albrecht Dürer was encoding his something that the customer recognized almost and the labor needed to create a block, printmakers in Dürer’s period frequently Beyond Dürer’s seeming inexplicable I was stunned. art with secrets hidden in plain sight. instantly, because there was much competition paper, copper plates, tools, ink created from copied each other in their attempts to cut disregard for the economics of his print Profound questions about Dürer’s art How did I make these startling among artists. As I pursued collecting and handmade pigments, etc.). Production cycles into each other’s market, no other artists market, the direct opposite of his known arose never before explored: discoveries? First, I rejected interpreting researching Dürer, I quickly became puzzled were long and needed to be synchronized attempted to duplicate this strange and craving for money, I discovered an (1) Why hide a coded message and what Dürer’s art according to Italian Renaissance with the scholarly interpretations of the with city fair schedules where the prints were seemingly unmarketable subject matter. extraordinary characteristic of the artist’s was its meaning? iconographical systems, the default scholastic iconography in Dürer’s art. I encountered mostly sold (fairs occurred a few times each One more example to consider is the 1515 practice. While inspecting the 1498 (2) Were there more hidden encoded standard, because this system had never frequent contradictions among academic year for three weeks in each city). Artists of the Desperate Man, created late in engraving known as The Young Couple messages in other prints or paintings? consistently or comprehensively explained opinions, research errors that had been didn’t stray much from proven income- Dürer’s career when he was exceptionally Threatened by Death (The Promenade), I found (3) Who were intended to receive and Dürer’s images. Then I chose not to be >$)>$&7*&$3=(@#!#3$%&#'"*&#.%!(./ (@*%8( producing motifs, except to add their special famous. The artist had been working at his a mysterious hidden encoded message understand the coded message(s)? constrained by scholastic dogma, myth or symbols, and no consistent agreement C*#)(&.(&0$(!7,O$"&1(P$&($*)+8(#%(0#!("*)$$)( own expense for the Holy Roman Emperor never discovered before. and who were not? Were the buyers precedent because I had found so many about titles or subject matter. Often, the Dürer risked creating so many strange Maximilian for three years, supervising Embedded in the neckline of the woman’s aware of these hidden messages blatant errors, speculations, assumptions conclusions Dürer scholars had drawn about images of such apparently low commercial the production of his , a dress is a coded message of semi-hidden when they purchased? and sweeping generalizations in Dürer the intent or meaning of compositions appeal, the economic impact of such actions monumental woodcut print measuring close letters that form the feminized Latin word (4) Was there a pattern to these coded scholarship. Instead, I began searching for seemed illogical with respect to the symbols demanded scrutiny. to ten feet high and nearly twelve feet wide, NORICAS, along with other cryptic symbols. messages? alternative symbol systems that might reveal that were actually in the image. Consider Dürer’s 1496 engraving of The printed from 192 separate wood blocks. Because Dürer had used the masculine (5) Did this explain why Dürer’s strange the secrets hidden in plain sight. Even more perplexing was that Dürer’s Prodigal Son, which depicts the man on his During this period, Dürer had almost no form of this word, NORICUS, as a type compositions were successful when Since Dürer was at least half Hungarian images seemed to be economically knees among swine, begging for forgiveness. time to create independent prints for sale on of signature in 1511 and had placed this they appeared economically unviable? through his father I began with Dürer’s astonishing for his customer base. Dürer This was not the common imagery that &0$(.>$%(@*)Q$&1(P$&(#&(<*!(*&(&0#!(@.@$%&( word as part of the inscription found on (6) With the scrutiny to which Dürer’s ancestry. Dürer’s father is believed to have was a merchant whose business was to make made money for artists. The proven motifs that Dürer switched to the untried (for him) the tablet in his 1504 Adam and Eva print, prints had been subjected for more moved to Nuremberg from the Hungarian money by manufacturing and selling painted that sold well were scenes of the man technique of etching, and of the six such scholars assume this word means “of than 500 years, why had no one village of Ajtós, near Bihar/Grosswardein, and printed images. Graphic prints were reveling or in compromising situations. works he made from 1515 to 1518, one Nuremberg.” But this discovery negated that found this before? an important medieval German trading

10 11 HERCULES AT THE CROSSROADS ( Jealousy) (detail) 1498, MEDER 63 iia(of iii f) city in the Kingdom of Hungary, now Family Chronicle, which though purportedly events of everyone one who touched his elements of Renaissance art had hidden Testament symbols and symbols associated there was no reason to ever hypothesize Oradea, Romania. I investigated medieval written in 1524, did not surface until one life, and the concurrent social, political, meanings. But when an artist had a message with saints are often used to identify that Dürer may have been giving a Jewish Hungarian symbols and found they were hundred years after Dürer’s death, and of governmental, legal, and technological that was unacceptable or prohibited or they particular people. When a tree appears in message in some of his prints, and so there used repeatedly in the Dürer’s self-portraits <0#"0(%.%$(./ (&0$('4$($U#!&#%5(".>#$!(#!(#%( $4$%&!(&0*&(@*8(0*4$(#%C7$%"$3(0#@1(E0*&( resented the proscription against signing the middle of a composition, it indicates that was no need to consider the duality of the and prints. I then looked to heraldry, the artist’s own handwriting. effort revealed the following patterns: (1) their work, codes, hidden allusions, symbols Dürer tells two stories in one composition. symbolism. But adhering to a strict Christian the Renaissance language of personal The Family Chronicle is the most problematic contrary to the myth alleged in the Family and veiled references were often embedded Boats appear to indicate the location of interpretation of symbols had always #3$%&#'"*&#.%1(V(3#!".4$)$3(0$)*+3#"(!8@,.+!( and suspicious information source, yet scholars Chronicle and the legends about Dürer that in the art. the action. Nudity appears to be used for resulted in incomplete interpretations. It was from the Dürer family arms and the arms have relied heavily on it. As I reviewed and have been repeated over the centuries, the Common Renaissance artistic marketing purposes only, nudity having the only when I applied the Jewish connotation of contemporary Nurembergers repetitively retranslated the document, I made some Dürer family was very wealthy, probably steganographic methods included embedded same promotional appeal then as now. of a symbol that confusion began to fade used in the prints. I found symbols that startling discoveries. In 1971, the City of from Hungarian nobility, and extremely coded protests and insults aimed towards Dürer also used clever optical effects in his and consistent and coherent interpretations correlated to esoteric information about the Nuremberg published the death registries well connected socially and politically in commissioning patrons or political art, including scotoma, a technique where began to emerge. This was an even greater history and customs of medieval Nuremberg from the two major parish churches for the Nuremberg; (2) the publication of some opponents, concealing forbidden knowledge &0$(,)*#%(./ (&0$(4#$<$)('++!(#%(@#!!#%5(.>&#"*+( paradigm shift. Why would Dürer be giving and medieval idioms and puns. 8$*)!(AWXYGAFAH(/.)(&0$(')!&(&#@$1(?"".)3#%5( of Dürer’s famous compositions correlated gained through prohibited practices such as or contextual information, seeing what it Jewish messages? How would he have known I then analyzed what was independently to the Family Chronicle, Dürer’s sister Margret, with contemporary political events (3) the autopsies, utilizing esoteric knowledge aimed expects to see and not necessarily what is about these Jewish things? provable about Dürer’s life and family, a twin, died at birth in 1476. But the publication of some of Dürer’s compositions only at initiates (such as Masonic and hidden actually depicted. It became apparent that The improbable became the incredible, which has only been analyzed from the Nuremberg death registries indicated the correlated with events in his life and those Jewish Kabbalistic symbolism), utilization illusionary artistic techniques were used and the questions became: could the German perspective. The historical record burial of Margret Dürer in 1514, at age 38, of his family (4) there appeared to be an of Renaissance deaf sign language (hand &.(3$C$"&(&0$(4#$<$);!(*&&$%&#.%(/).@(&0$( Dürer family have been hidden Jews? Had in Dürer’s own handwriting is scant and a few weeks after the death of their mother interrelationship of some images to each gestures, facial expressions, body positions) disguised stories or to entice the viewer to !.@$&0#%5(!#5%#'"*%&(0*>>$%$3(&.(&0$( most of the artist’s history is derived from Barbara. Also, other names of Dürer’s other, an idea never considered before. previously unrecognized by scholars, and peer closer. The viewers who were supposed Nuremberg Jews that could be the source the writings of others who had a vested siblings as listed in the death registries didn’t I had to consider the improbable: amazing special effects achieved by trompe to receive the real message would recognize motivation for Dürer’s deceptions? Was this interest in Dürer’s fame. Scholars have relied match the names listed in the Family Chronicle. was there a Dürer code? a cipher? was l’oeuil (painting to deceive the eye) and the encoding, while income could be the reason someone else had created the fake on three major documents to reconstruct It is known independently of the Family Dürer secretly giving messages to as yet anamorphosis, the technique of making an generated from those from whom the real Family Chronicle? And was this the reason information about Dürer’s life. These Chronicle that Dürer’s birthday was May 7%#3$%&#'$3(>.>7+*&#.%!Z(E0$(*%!<$)(<*!( image “morph” into something else when message should be disguised. disguised codes were hidden in his prints? include a group of ten authentic letters, 21, 1471 (since Dürer’s horoscope was cast yes. Was the use of steganography, hiding viewed from a different visual angle. What But the most important consideration was These questions now required intensive sent to Willibald Pirkheimer of Nuremberg in 1507 by canon Lorenz Beheim), yet the embedding messages in art a rarity in was extraordinary was that no scholar had that numerous symbols had dual Christian research into the history of the Jews of during Dürer’s 1506-1507 trip to , Family Chronicle records his birthday as April Renaissance art? The answer was no. considered that Albrecht Dürer could have and Jewish connotations, something scholars Nuremberg to determine if there was a which were found hidden in the walls of 6, 1471. April 6, 1528, is the date of Dürer’s In the paradigm-shifting book, The Sistine been using steganographic techniques. had no reason to consider before. It is ".))$+*&#.%(./ (!#5%#'"*%&(K7)$@,$)5([$<#!0( Pirkheimer’s house during renovations; a death, an error that an autobiographer Secrets, Michaelangelo’s Forbidden Messages The next task was to determine how the accepted dogma that Dürer was a Christian, events to Dürer’s encoded art. diary Dürer wrote during his 1520-1521 wouldn’t make. in the Heart of Vatican, Benjamin Blech Dürer cipher worked. I found that Dürer creating Christian art, because 2/3 of his And there was. The Jews of the Holy trip to the Netherlands, made to reinstate At the suggestion of an art librarian, and Roy Doliner reveal that Renaissance often put his key clues in the center of the oeuvre is overtly Christian themed, and Roman Empire, who functioned as a pension he lost when the Holy Roman I made a timeline, matching the date artists always incorporated multiple levels composition, where the brain of the viewer because Nuremberg was politically directly the banking system and controlled the Emperor Maximilian died in early1519; and and apparent subject matter of suspect of meaning in their work. Since art was will usually not focus attention. I found that involved in the Reformation. Before my important cattle trade in Nuremberg, were a supposed autobiography, known as the compositions to Dürer’s life events, the life the main source of visual stimulation, all heraldic symbols, botanical symbols, Old discovery of a true hidden code in a print, legally “owned” and protected by the Holy

12 13 MELANCOLIA 1 (detail) 1514

Roman Emperor, Maximilian, who derived The Dürer Diary, which consists of at isolated technique: (1) A clearly encoded This also means that subconsciously, pieces of paper printed in proprietary is a guide to indicate print condition that is much income from their taxation. But by +$*!&('/&8G!#U(>)#%&!(J>.!!#,+8(!#U&8I=(.%$(!#U&0( circumsized (Jewish) phallus on part of the allure of Dürer prints today, ink that is more than 500 years old. often used by auction houses, print dealers, 1496, the year after Dürer commenced of Dürer’s graphic oeuvre, has six major the satyr in the print erroneously called previously unrecognized, stems from the Renaissance prints had to survive owner and collectors. commercial production, the ruling families themes and interrelationships: (1) Ensuring Hercules at the Crossroads (2) The belt of conscious manipulation of the viewer’s storage conditions, wars, political upheaval, A lifetime print is one that was printed of Nuremberg, known as the Patricians, the immortality of Dürer family members, the woman in Melencolia is heavily encoded, mind by these subliminal sexual messages ')$=(<*&$)=(#%!$"&!=(%*&7)*+(*%3(@*%G@*3$( by the artist in his workshop, or by others '%*++8(".%4#%"$3(&0$(N@>$).)(&.($U>$+( (2)(V%C#"&#%5()$4$%5$(7>.%(9:)$);!($%$@#$!( with a Greek word, heraldric symbology, embedded in the prints. We can’t help to disasters, population shifts, sales over the during the artist’s lifetime. For Dürer, this the Jews of Nuremberg from the city, by secretly depicting their public scandals, and what appears to be Jewish burial be fascinated with a Dürer print because centuries, and other phenomena that would would mean any work printed between something they had been trying to achieve (3)(9$>#"&#%5(!#5%#'"*%&($4$%&!(#%(9:)$);!( ritual iconography. of this technique. In a strange way, Dürer tend toward their destruction. For a print to AW^X=(&0$(3*&$(./ (0#!(')!&(Q%.<%(3)*<#%5=( for decades. The Apocalypse, which would life, (4) Secretly criticizing those Patricians This belt code appears to answer in the <*!(>7,+#!0#%5(&0$(')!&(S]+*8,.8D(@*5*-#%$( survive in any decent condition is virtually and 1528, the year of his death. Such a catapult Dürer to fame, was commissioned who had built their mansions on desecrated */')@*$(&0*&(&0$(9:)$)!(<$)$(0#33$%( images. In other words, sex sells! even when a miracle. Historians believe that the inks designation is determined either by the simultaneously, probably as propaganda to Jewish land (5) Criticism of Saint , practicing Jews. And that is astonishing we are not aware of it, as it does today. Dürer used, which have never been exactly watermark, paper, or by the condition, since support this expulsion. Dürer’s father-in- who according to the Jewish rabbis of his for two reasons: (1) It is evidence that the Despite Dürer’s exceptional artistic reproduced, are a factor in the survival of the better the condition, the more likely the law, Hans Frey, and his purported friend, time (458 A. D.), improperly translated the composition requires a Jewish interpretation, renditions of Christian themes, it appears exceptional Dürer images. print is dates from the artist’s lifetime. Non- Willibald Pirkheimer, were participants in Hebrew when Jerome created the Christian and (2) It is clear evidence that this that his intent was to pass Jewish messages In 1932, German scholar Joseph Meder lifetime prints are any that were printed from this governmental vote. Dürer published Latin Vulgate bible, and thus could be ".@>.!#&#.%(#!(*,.7&(!>$"#'"(>$.>+$(J9:)$)( through the centuries, immortalize his $!&*,+#!0$3(*("+*!!#'"*&#.%(>$)&*#%#%5(&.( Dürer’s known woodblocks or plates but his rendition of the Prodigal Son in hidden considered an enemy of the Jewish people family members) and is not an allegorical family, and exact revenge upon those he a chronological sequence of events that that were printed by some other publisher protest (see explanation below). (6) References to an illicit love affair between composition. considered enemies. The question as to affected Dürer’s plates or woodblocks, after his death. Collectors generally strongly Maximilian did not sign the writ of Dürer’s spinster sister Margret (the sibling Secondly, Dürer embedded subliminal who would buy “these strange pictures” was *+.%5(<#&0(*("+*!!#'"#*&#.%(./ (S!&*&$D(J&0*&( prefer lifetime prints. expulsion until 1498, at the same time the erased at birth in the Family Chronicle) and sexual imagery as a marketing methodology, answered-everyone who wanted to know the is, known changes to the image between There are only three prints in the Apocalypse was published, as was four other Dr. Hieronymous Münzer, a married man. heretofore unrecognized. He achieved this secrets embedded in Dürer’s art. different printings), also identifying the type MAGJEKL collection that are not lifetime. encoded prints, including The Promenade. There is also evidence for an even more by utilizing micro-engraving techniques that I would now like to address the major ./ (>*>$)(9:)$)(7!$3(/.)(!>$"#'"(#@*5$!=( One is the chiaroscuro woodcut portrait If Dürer was a hidden Jew, this act of intriguing message: a possibility that were known to be the specialty of Jewish 3$'"#$%"8(./ (&0#!($U0#,#&#.%1(V(0*4$(%.&( based on the particular watermark. Meder’s of Ulrich Varnbüler. Chiaroscuro printing expulsion put the Dürer family in extreme Margret functioned sometimes as a co-artist, engravers. The majority of the embedded yet been able to acquire some of the very designations of states “a” through “k” is a woodblock print variation in which jeopardy, and would have triggered two and that Dürer’s mother, Barbara, may have sexual images consists of female genitalia, important encoded prints (e.g the 1497 Four describe these substrate degradations (in colored images are created by printing with critical Jewish religious requirements for functioned as his woodblock cutter early in and, so far, has been found in images that Naked Women, the 1502 Apollo and , which the plate or woodblock loses some a different block for each different color of 9:)$)\(&0$()$67#)$@$%&(&.(!7)4#4$(J'50&( his career. include a nude female in the composition. the 1502 Nemesin, the 1504 , of its clarity because of continuous use in ink. Dutch Printmakers Hendrick Hondius back any way he could) and the requirement R#%"$(&0$(')!&(>7,+#"($U0#,#&#.%(./ (&0#! If we assume that these naked female images etc.) and thus, I can not demonstrate the printing). The numbering system Meder and Willem Janssen apparently had access to to “remember” his family members. The collection, where attendees found additional were targeted towards male buyers, the Dürer Diary in its entirety in the exhibition; 3$4#!$3()$C$"&!(0#!(.>#%#.%(./ (&0$(.)3$)(#%( Dürer’s block and used it in 1620, along with evidence in his strange prints points to the steganographic techniques, some extra subliminal sexual imagery, of which that remains a future goal. I address the which Dürer’s print were produced, with added tone or color blocks, to create the conclusion that he used his art to do both. extraordinary new discoveries have been the male buyer would be unaware, would evidence from these missing prints in my separate numbering for woodcuts and posthumous print in the exhibition. The result is the Dürer Cipher and Dürer made. Two more indisputable hidden codes be irresistible, guaranteeing sales and public presentation. for the intaglio prints. While it would be V/ (*(>*)&#"7+*)(#@*5$(,8(9:)$)(#!(3#/'"7+&( Diary, ingeniously encoded prints enshrining were found which proves that the embedded spreading his messages. Dürer went “viral” V(<*%&(&.(3#!"7!!(,)#$C8(&0$(67*+#&8(./ (&0$( incorrect to infer the condition of a print &.('%3=(V(<#++(".%!#3$)(*"67#)#%5(*(%.%G the crimes in the art. Promenade neckline code was not an with this technique. >)#%&!(#%(&0$($U0#,#&#.%1(P.7(*)$(4#$<#%5( solely on the Meder designation, his system lifetime print if it can be proven, through

14 15 Exhibition Highlights

analysis of watermark, to have been printed for the Nuremberg Chronicle are assumed All of Dürer’s artworks are splendid, and can be enjoyed for the sheer up to but not later than 1564, the year the designed by Dürer when he was apprenticed artist’s plates and blocks left the control of to Michael Wolgemut 1486-1490. This map and amazing beauty of the artistry, but I would like to highlight the his immediate family. When Dürer died is thought to perhaps represent a very early in 1528, he was one of the one hundred example of his work. following prints for these reasons: (1) the print is rare or famous or the wealthiest men of Nuremberg, an attestation I am pleased to share my collection and to his phenomenal business acumen. His my discoveries in this exhibition. Please quality is exceptional or (2) I discuss the discovery of new symbols and valuable workshop and stock of prints, $%O.8(&0$(@*5%#'"$%"$(./ (9:)$);!(*)&=(&0$( the steganography in the image. woodblocks and plates became the property stunning revelation of his secrets, and my of his wife, Agnes. She, however, was forced passion for both. Regarding titles of Dürer’s prints: We only know for sure the titles by law to sell the workshop and remaining stock to Dürer’s brother, Endres, in order of thirteen of his 334 prints, and even these have not been respected to settle the estate. Agnes died in 1539, and Endres continued printing Dürer’s works until by historians. In most cases, scholars have assigned the titles by which his death in 1560. At that point, the workshop materials became the property of his widow, these prints are commonly known; the probability that these titles are Ursula Hirnhofer, who also continued to print Dürer images. When she died in 1564, inaccurate is high. I indicate whether the print was titled by Dürer the Dürer workshop and contents were and the implications of the names others have assigned. sold to her uncle-in-law, Heinrich Alnpeck, unrelated to the Dürer family. In addition to the woodcuts and intaglio prints by Dürer, the MAGJEKL collection also includes artworks tangential to his life. These include examples of prints made by the Master’s apprentices Hans Baldung Grien (c. 1484-1545), Georg Pencz (c. 1500-1550) and Hans Springinklee (c.1490/1495-c.1540). Also included is the Map of Nuremberg made for the famous Nuremberg Chronicle, a “history ./ (&0$(<.)+3D(&0*&(')!&(*>>$*)$3(#%(AWYX1( Sixty-seven of the 326 woodblocks created

16 THE MAN OF SORROWS (B ) Man of Sorrows by the Column (C ) Man of Sorrows (D ) Man of Sorrows with the Roman Soldier (E ) Man of Sorrows with Hands Bound (F ) Man of Sorrows This is the only image that Dürer created in engraving, 1509, frontispiece to the woodcut, 1511, frontispiece to the woodcut, 1511, frontispiece to the Large drypoint, 1512; Meder a. etching, 1515; Meder b. Engraved Passion series; Meder 3 b. Small Passion series; Meder b. Passion series. every media, and by inference we can assume An extremely rare print. Drypoint plates E0#!(<*!(>).,*,+8(9:)$);!(')!&(.)( it had great importance to Dürer.Rarely T he only engraving of the year 1509 T he Small Passion consists of were so delicate that historians estimate second experimental etching. are these six versions displayed together, and the only engraving made until 1511. thirty-seven prints. The woodblocks Dürer probably could print only around and the drypoint image is very uncommon. /.)(&0#)&8G'4$(./(&0$!$(0*4$(!7)4#4$3( '/&8($U*@>+$!(,$/.)$(&0$(>+*&$(<.7+3( These are not steganographic images but and are owned by the , have deteriorated to an unacceptable they are examples of beautiful religious art. London; the woodblock for this level of quality. Drypoints were thus frontispiece is unlocated and presumed not very commercially viable destroyed. This print is rarely found as (A ) Man of Sorrows with Hands Raised a separate print outside of the bound engraving, 1500 (possibly 1497); Meder a/b, book versions of the Small Passion. ex-collection Hermann Weber (L. 1383). The earliest depiction of this subject by the artist.

18 19 THE SMALL FORTUNE of Slovenia, an area from which Dürer’s THE PENANCE OF ST. JOHN Nurembergers were clean shaven, whereas CHRYSOSTOM Engraving, circa 1495-1496; Meder 71a. mother’s family may have originated. The Dürer was often chided by his contemporaries woman also appears to be pregnant. 1496, engraving; Meder 9e. for proudly sporting a beard in the style of Scholars have called this image The Small The drapery forms the letter “C.” his Hungarian male ancestors. The boat Fortune because the woman stands on a It appears that this image is a tribute to There is nothing in this engraved composition, depicted is a gondola, suggestive of Venice, ball. Dürers c. 1502 engraving of Nemesin Dürer’s Hungarian sister Catherine, and which shows a woman nursing a baby, to to which Dürer travelled in 1494-1495 to (not in the exhibition) also stands on a ball that Dürer is indicating that she died as suggest any connection with the legend of study among the Italian Masters. While we and is known by the variant title of The an unmarried woman or child bride, from the late fourth-century church father St. John have no record whatsoever of Dürer’s Large Fortune. Italian Renaissance complications of a pregnancy or in child Chrysostom, Archbishop of Constantinople, extended stay in Venice during this period, iconography linked a ball symbol to the birth. She would have been age 13 or 14 in famous for his eloquent preaching and thus other than a series of watercolors he made, Greek goddesses of Fortune and Fate, Tyche 1495- 1496, which was the age of adulthood called “Chrysostom,” which translates as it appears that this composition is and Nemesis, and the ball in connection for females. “golden mouth.” Until 1808, this print was autobiographical and proudly refers to an with these two goddesses represented the called St. Genevieve, even though Genevieve illegitimate child he fathered there, despite unsteadiness of fortune. In Hungarian had no children. Three hundred years after his marriage to Agnes Frey. iconographical tradition, the ball typically Dürer’s death, one scholar connected this functions as a symbol of tribute. image with an obscure local Nuremberg The Penance of St. John Chrysostom The thistle shown in the composition legend that had been published by Dürer’s 1496 0*!(,$$%(@#!#3$%&#'$3(,8(0#!&.)#*%!( godfather, , even though as Eryngium martimum, or sea holly, nothing matches the details of that story. considered an aphrodisiac. Thus, this The ambiguity of this image has resulted image has been interpreted as represent- in a pattern of commentators imposing ing the unstable interplay between love interpretations that ignore what is actually and luck (fortune). The thistle depicted, The Small Fortune shown in the engraving. however, is actually Eryngium serbicum, c. 1495-1496 Scholars have puzzled over Dürer’s a plant indigenous to Hungary and the combination of a naked man with a Balkans. Dürer used this particular thistle prominent beard, crawling in the background, *!(*(SM7%5*)#*%(!#5%#'$)D(&.(#%3#"*&$(*( and a beautiful naked woman nursing a woman of Hungarian ethnicity. This is the child among rocks that appears to represent ')!&($U*@>+$(./(*(!&$5*%.5)*>0#"(!8@,.+1 a sepulcher. Even more astounding is the The staff that the woman uses to compositional elements of these rocks: balance is one Dürer depicted in other another large naked female torso drawn prints. It is a double-knobbed pilgrimage sideways and what appears to be a male staff, the kind carried by pilgrims to holy phallus, a rare subliminal Dürer technique sites and used, along with pilgrim badges, probably utilized to attract buyers. We can *!(#3$%&#'"*&#.%(/.)(!*/$(>*!!*5$1(9:)$)( infer that the true subject matter of this print uses this pilgrim staff symbol to suggest was of great importance to Dürer because &0$('%*+(>#+5)#@*5$=(&0*&(#!=(3$*&01( of the abundance of overt and subliminal In Nuremberg Renaissance iconography, nudity used to attract attention. In the married women are always depicted in upper right hand corner there appears headdresses, with no visible head hair (even to be a gravestone with distinct markings on in bed). Except for the Virgin Mary, visible it, possibly a coat of arms, which probably head hair indicated unmarried females. Here #3$%&#'$!(&0$(!7)%*@$(./(&0$(<.@*%=(8$&(&. we have an anomaly, a head covering be deciphered. and visible, loose hair. The headdress A naked, crawling man often indicates is from the Windisch Mark area, part shame. The beard is suggestive, since

20 21 THE PRODIGAL SON Scholars have posited two theories as to of the image seems to be Dürer’s derisive THE YOUNG COUPLE THREATENED origin attached to one ancestral “line” of 1496, engraving; Meder 28e; Large City Gate whom the kneeling man represents. He is commentary on this political event. BY DEATH (THE PROMENADE) the Patrician Stromeyer families (of which with pointed roof watermark (M. 260), dating this considered to be either a self portrait of The landscape is a depiction of a particular 1498, engraving; Meder e (of k). there were three). posthumous example to 1550-1560 Dürer or to be an “Italian” because of the Nuremberg farm called Himpfelshof, located One of the most famous Nuremberg This motif about illicit love was popular moustache and the shape of the nose. If it’s west of the city walls. We will never know scandals of this time was the cuckolding of the This penitent motif of the Prodigal Son was in the Renaissance and often depicted by a self-portrait, the question is raised as to exactly why Dürer chose to depict this farm, Patrician Johannes Pirkheimer by Sigismund new for the Renaissance. artists. why Dürer would have considered himself but the area west of the Nuremberg city Stromeyerzur goldenen Rose, with Barbara While this image is explicitly depicting a The headdress worn by the woman someone who needed to beg forgiveness for walls was populated by Jews. Löffelholz, of Hungarian descent, Pirkheimer’s scene about the Prodigal Son among the !#5%#'$!(&0*&(!0$(#!(@*))#$3=(*%3(&0$(@*%;!( being among these “swine” and depicted A turnip is depicted in the lower center of betrothed. While Johannes was out of the Swine, it appears that the composition has clothing, (the cap with ostrich plume, the himself as such (possibly for having made the image. This root vegetable was a common country, studying law in Italy, Barbara a disguised alternative meaning about one tights, the cape, and the man’s shoes) was the Apocalypse as propaganda usable against Hungarian emblem, suggesting an association broke her betrothal to him, and married history- changing vote made by the typical of unmarried men. Thus we have the Jews). If this is an “Italian”, this could yet to be understood. It was also a common Sigismund Stromeyer zur goldenen Rose. Nuremberg City Council in 1496 (the local a depiction of a married woman trysting be a veiled reference to a member of the symbol of contempt, possibly indicating a Johannes, hearing of this disgrace, hurried government, controlled by 46 Nuremberg with a bachelor. City Council, whose surname meant personal comment. back to Nuremberg, sued in the diocesan families known as the Patricians). The The woman’s headdress has been “The Italian”, Jacob Welser. In medieval court presided over by the Bishop of Nuremberg Jews, legal property of the #3$%&#'$3(*!(*(K7)$@,$)5(0$*33)$!!=( German, “wels” was the word for “Italian” Bamberg for custody of Barbara, and won Holy Roman Emperor Maximilian, who indicating the woman is from Nuremberg. so Welser meant “The Italian”. The Welsers his case. He married Barbara on April 19, was their protector, were not completely The top part of the woman’s dress is were an extremely wealthy and powerful 1466, where he immediately bore her away subject to the City Council’s authority. The Italian in fashion, while the bottom is Augsburg German dynasty, who sent Jacob to Eichstatt, sixty miles away from Patricians had been lobbying with Maximilian from Nuremberg. The City of Nuremberg Welser to establish their businesses in Nuremberg and her family, as punishment. /.)(8$*)!(&.($U>$+(&0$([$#5!(*)$(3$>#"&$31(E0$(.)5*%#-*&#.%( form the word NORICAS, which is the composition are insignia from the arms of, daughters all became nuns in Nuremberg. of the City Council was very convoluted, Latin feminine form of Noricum, meaning respectively, the Nuremberg families of Since the vacant Pirkheimer house, prime ,7&(&0$(&.>('4$(>.!#&#.%!(./(&0$(_#&8(_.7%"#+( “From Hungary.” Noricum was the ancient Volkamer, Rummel, and Münzer. Paulus real estate near the City Marketplace, was a <$)$(!$+$"&$3(,8('4$(SN+$"&.)!D=(*+!.(_.7%"#+( Roman name given to the area from which Volkamer was the President (the Losunger good place for a goldsmith to operate, Dürer’s @$@,$)!=(.%"$(*(8$*)1(V&(*>>$*)!(&0$('4$( Dürer’s father emigrated and possibly also in German), of the City Council in 1496. father rented it sometime between 1466-1467. small pigs represent the Electors of the City his mother’s family. It thus appears that Hieronymous Münzer (whose insignia shows Dürer was born in the Pirkheimer House and _.7%"#+(*%3(&0$('4$(+*)5$(>#5!()$>)$!$%&( Dürer was indicating a Hungarian woman 7>(#%(.&0$)(9:)$)(>)#%&!I(<*!(')!&($+$"&$3( lived there until age six, when his father was those they elected to the top positions. In caught in illicit love. to the City Council in 1493. Hans Frey, a '%*++8(*,+$(&.(>7)"0*!$(*(0.@$!&$*3(/.)(&0$( 1496, the ten men responsible for the ex- The key to the code is the rosette on the Rummel relative and Dürer’s father-in-law, family in one of the most prestigious >7+!#.%(./(&0$(K7)$@,$)5([$

22 23 24 25 THE TEMPTATION OF THE IDLER (the Hungarian version of the name Lawrence) HERCULES AT THE CROSSROADS the penis is “OllO,” which has yet to be (THE DREAM OF THE DOCTOR) Dürer, a saddler who used bellows in his ( JEALOUSY) deciphered, and has similarities to symbols 1498, Meder c. craft. Ladislas’ wife was named Catherine. 1498, engraving. Meder 63ii a (of iii f). Library of Congress found in the encoded belt in . Their son, Niclas, Dürer’s favorite cousin, duplicate, formerly in the collection of George The body of the naked woman next to the Scholars have been very confused by this grew up in the Dürer household because Perkins Marsh. High Crown watermark (M. 20). satyr on the left is not an original Dürer image and have proffered no reasonable Niclas was apprenticed to Dürer’s father to George Perkins Marsh’s collection was the backbone concept. It is traced from a print titled the of the print collection of the Library of Congress. interpretation of the imagery. In 1827, it study gold smithing. It appears that this 2*&&+$(./(&0$(R$*(b.3!=(,8(V&*+#*%('/&$$%&0 was claimed that this print demonstrated image may have been Dürer’s response to In his Dairy of the Netherlands Journey, -century artist Andrea Mantegna. During how dreams were produced sleeping next to the death of his uncle Ladislas, and that this Dürer made only one entry about a print he his stay in Venice in 1494-1495, Dürer traced a heated stove. By 1871, it was proposed that had occurred sometime before or during 1498, called Herculum: Aug 20, 1520 at Antwerp almost all of the famous Mantegna’s works this was some sort of satire about Dürer’s the year the print was made. “ I also gave the Factor of Portugal a available to him, using another image from the friend Willibald Pirkheimer. By 1898, it was “Herculum.” Scholars have assumed this Battle of the Sea Gods in the woodcut print hypothesized this was Mars and . By composition is the Herculum referenced in he titled Hercules. The veil held by the woman 1928 it was postulated that this image was the Diary because of its complexity, refusing can be read as a symbol of St. Agnes. somehow related to a print depicting a to consider that the artist more likely referred The headdress on the standing, central R*")#'"$(&.(])#*>7!(@*3$(,8([*".>.(3$;( to his intricate 1495 woodcut, which he had woman is also found in Dürer’s 1497 Barbari, an Italian painter and printmaker actually titled Ercules (Hercules) in the engraving titled by scholars as the Four who had contact with Dürer. woodblock. The imagery in this print has no Naked Women or Four Witches. It appears The animal in the upper middle of the logical association with the myth of the &0*&(&0#!(0$*33)$!!(!#5%#'$!(9:)$);! composition, in the act of putting a bellows classical hero and the title by which it is mother, Barbara. into the sleeping man’s ear has been called known is inaccurate. The rooster helmet worn by the naked a devil, but since it lacks horns, it can be The satyr in the lower left of the composition man is also found in Dürer’s woodcut called instead be interpreted as a dragon. In 1490, The Temptation Of The Idler is a mythological creature that is half man The Beast with Two Horns, part of The Dürer painted portraits of his mother and (The Dream Of The Doctor) 1498 and half goat. The satyr grips a jawbone of Apocalypse. A rooster was used in the arms father. On the back of the father’s portrait an ass, lower left, a symbol for the biblical of the Nuremberg Patrician Rummel family. Jd/'-#(b*++$)8=(e+.)$%"$I=(9:)$)(>*#%&$3(0#!( '57)$(./(R*@!.%1(a+3(E$!&*@$%&(!"0.+*)!( Dürer’s wife, Agnes Frey, was descended father and mother’s arms and he included consider the jawbone of the ass to represent from a Rummel family member, and a large dragon in the painting, possibly the most powerful weapon of the Bible, as Dürer’s own family had already been referencing a connection of the family with wielded by Samson [ Judges 15:16 “with the intermarried with the Rummels before the Hungarian noble Order of the Dragon. jawbone of an ass (or donkey) I have smitten his marriage to Agnes. The stove and wooden chest in the print are 1000 men”]. Dürer seems to indicate, there- Until the encoded Jewish penis is deciphered Hungarian in design. /.)$=(&0*&(&0$(@.!&(>.<$)/7+('57)$(#%(&0#!( we will never know what this composition is Behind the legs of the sleeping man can be composition is the satyr. We will see this really depicting. The Jewish “Azazel” was seen a grate, which is a Christian symbol for jawbone also in the Sea Monster, where it a goat that bore the sins of all the Jews on St. Lawrence (who was martyred by being again appears to signify the person with power. &0$([$<#!0(9*8(./(?&.%$@$%&=(P.@(c#>>7)1( roasted alive on a grill or grate). The woman The extraordinary discovery of a circumsized The goat was pushed off a cliff during in the print has a ring prominently displayed encoded penis on the satyr indicates that ancient times and is the source of the concept .%(0$)(+#&&+$('%5$)=(*(!8@,.+(./(R&1(_*&0$)#%$1( Dürer meant to give some sort of Jewish of “scapegoat.” It appears that Dürer, as a The little winged boy plays with stilts, a message in this print, since circumcision was hidden Jew, was identifying himself with the symbol associated with St. Nicholas. The only practiced among Jews. This satyr must satyr, indicating that he was scapegoat of ball is Hungarian iconography for giving therefore be interpreted as “Jewish” in some some sort, albeit a powerful one, and that &)#,7&$=(*+!.(3$>#"&$3(,8(9:)$)(#%('4$(.&0$) way, crowned with a wreath of oak leaves, a the print references a family feud between the images. This print appears to be a tribute to German symbol of victory. The code on Dürers and his in-laws, the Frey/Rummels. a branch of Dürer’s family who remained in Hungary. His paternal uncle was Ladislas Hercules At The Crossroads (Jealousy) 1498

26 27 THE SEA MONSTER (MEHRWUNDER) It appears this engraving is a cleverly composition as a steganographic “scandal” pointing to something on the fold of the 1498, engraving. Meder a/b. disguised steganographic image relating to sheet about Emperor Maximilian’s cuckolding, 3)*>$)8(7%3$)(0$)('%5$)1(V&;!(*%.&0$) a scandal about the Holy Roman Emperor as revenge against Maximilian for agreeing cleverly hidden vagina, which would Scholars have ignored Dürer’s name for this Maximilian, who was cuckolded twice by to expel the Nuremberg Jews. This interpre- unconsciously attract male buyers even print, calling the engraving such things as his arch-enemy, Charles VIII, the Dauphin tation explains why no other artist would more so than just the nude woman. The Abduction of Amymone, Glaucus and of France (represented by the sea monster). copy this print. Scylla, The Abduction of Syme by Glaucus, The bearded man with power I interpret as T$(*+!.('%3(&0$($@,$33$3(!7,+#@#%*+( Nessus and Dejanira, The Rape of Theolinda, SOL JUSTITIAE (THE SUN JUDGE) the Emperor Maximilian, while the woman sexual technique again in this print (See The Rescue of Perimele by Achelous, or a is his daughter, Margaret of Austria. Penance of St. John Chrysostom above 1499, engraving; Meder 73a. Procession of Poseidon, in the latter case Maximilian had betrothed his daughter *!(&0$(')!&($U*@>+$I1(K.&#"$(&0$(<.@*%(#!( This image has been called, variously, relating the image to an Italian folktale Margaret to Charles VIII in 1482, and he sent Nemesis on a Lion, The Sun of Righteousness, about the monster Triton, who abducted Margaret abroad to be raised in the French and Justice. Justice was typically depicted young girls from the beach until being court. However, in 1488, when eleven-year *!(*(,+#%3/.+3$3(/$@*+$('57)$(0.+3#%5(!"*+$! killed by a washerwoman. -old Anne of Brittany became Duchess of and a sword, as with the Roman Goddess In Medieval and Renaissance times, sea that important region, she became the most [7!&#"#*1(V%(&0#!($%5)*4#%5=(&0$(@*#%('57)$ monsters were generically depicted as sought after heiress in Europe. A marriage is male and is not blindfolded, but sees dolphins, though they were depicted as having by proxy was arranged between her and through the sun-like mask that covers scales (dolphins were smooth skinned). In Emperor Maximilian, but the French his face. heraldry, the dolphin was closely associated required her to repudiate the marriage in Scholars have missed that the imagery in with the Prince or Dauphin of France, and the 1491 and she was forced to marry the this print can be interpreted as Jewish sym- dolphin was an emblem associated with his Dauphin, Charles VIII, who had renounced bolism. A Sol/sun mask is a Jewish symbol arms. The Dauphin title was used for the heir his marriage to Maximilian’s daughter, found in ancient synagogues. The lion is apparent to the throne of France from 1350 Margaret. Charles thus not only had taken the symbol for the Tribe of Judah. Scales to 1791, a well-known fact in Dürer’s time. Maximilian’s bride but also had set aside are the symbol for Rosh Hashanah, the Day Dürer is employing an optical trick in this his daughter, a double insult. Margaret was of Judgement, and a sword is a symbol of #@*5$1(E0$)$(*>>$*)!(&.(,$(&0)$$('57)$!( held captive by Charles until 1493, despite power from the Old Testament. The image in this scene rather than the two that are her pleas to her helpless father. When was published in the year the Jews were immediately apparent: (1) the bearded male Maximilian married Bianca Maria Sforza expulsed from Nuremberg. It probably '57)$(<#&0(0.)%!(.%(0#!(0$*3(J<0#"0("*%(,$( of Milan (thus the Milanese headdress on immortalizes one of the male Dürer siblings, read as the horns of a cuckold), holding the the woman) in 1494, this allowed him to who may have died that year. jawbone of an ass (the same power symbol he assert his right to be overlord of Milan. used in Hercules at the Crossroads of the Charles, spurred on by Pope Innocent III, same year) behind the tortoise shield, which invaded Italy in 1494, initiating the Italian #%3#"*&$!(&0#!('57)$(#!(&0$(.%$(#%(".%&).+f( Wars (as indicated by the Italian caravelle). (2) the naked woman, who wears a Milanese Maximilian allianced with the Holy League headdress; and (3) a scaley sea monster, against Charles, who ultimately withdrew only partially visible where the woman’s from Italy. thighs and legs rest upon its body. It was against this backdrop of political The ship in the background can be identi- intrigue that Dürer had left Nuremberg for '$3(*!(*%(V&*+#*%(<*)!0#>("*++$3(*("*)*4$++$=( Venice, in August or September 1494, indicating that the action in the composition returning to Nuremberg in late spring is taking place in Italy, possibly during war 1495. Dürer was physically caught up in all (while the land in the background is associated this drama. It appears Dürer created this with Nuremberg because of the depiction of the Nuremberg castle). The Sea Monster Sol Justitiae (Mehrwunder) 1498 (The Sun Judge) 1500

28 29 THE WITCH RIDING THE GOAT are reaching for the same pilgrimage staff the symbolism. And to increase it’s saleabil- BACKWARDS would indicate that these two children were ity, Dürer embeds subliminal sexual content 1500, engraving; Meder b. contiguous in birth order; therefore the so that non-Jews would be attracted also. male putto would be the sixth child, born Finally, the female putto stretching her This is one of only a few prints in which just before Agnes, named Anthoni. The hand to the exact middle of the print holds Dürer displays the “D” in his monogram other two male putti could be interpreted as something yet to be decoded between backwards. There are only six Dürer siblings of the same name since the topi- 0$)('%5$)!1 compositions in which a Hungarian ball ary held on the shoulder by the left putto of tribute is found; here, it has a hole in the represents a double “family tree.” Of the top indicating that there is some sort of THE THREE PUTTI WITH SHIELD eighteen children, two were named Sebald, “broken or backwards” tribute being given AND HELMET and three were named Hanns, which means &.(.%$(./(&0$('57)$!1(E0$)$(#!(*+!.(!7,+#@#%*+( 1500, engraving; Meder II/a, formerly in the two of the Hanns had died young. Hanns sexual imagery embedded in this print. collection of Dr. Benjamin Petrold (L. 2025). III, also an artist, lived into adulthood Scholars, who have not offered any A rare early impression. and became court painter to the King of reasonable interpretation, have overwhelm- Scholars, who have not offered any reasonable Poland. Thus, the two other male putti ingly ignored the pictorial elements in this interpretation, have overwhelmingly could be either the Sebalds or the Hanns. composition. This woman is not a witch. ignored the pictorial elements in this If we look closely we see that the male putto She holds a distaff and spindle, used with a composition. It’s been suggested that this who bends over has his arm outstretched, wheel for spinning yarn, symbolizing that print was offered as a souvenir image that >.#%&#%5(<#&0(*(4$)8(+.%5('%5$)%*#+(&.( she is a spinster, an unmarried woman. its purchaser could personalize by writing his something on the horizon. At the third I discovered she wears two rings on her or her name on the blank shield in the 0.)#-.%&*+(+#%$(./(&0$(+*%3!"*>#%5(<$('%3( #%3$U(*%3(&0#)3('%5$)=(<0#"0(%.)@*++8( lower center of the image. an embedded vagina, almost directly in the !#5%#'$3(,$&).&0*+(.)(@*))#*5$1(( The helmet depicted is a barred helmet. center of the print, where Dürer puts his She rides upon the medieval astrological Open-visored or barred helmets were key clues. Subliminally, this would cause symbol for Capricorn, the sea-goat that had reserved for the highest ranks of nobility buyers to be attracted to what appears to be *('!08(&*#+(.%(&0$(,.38(./(*(5.*&1(E0$)$(*)$( in heraldic usage, while untitled nobility a very unattractive and un-saleable print. three partially buried pilgrimage staffs. and burghers assumed closed helmets. The real question becomes, why would E0$)$(*)$(/.7)(+#&&+$('57)$!(.)(>7&&#(*!(&0$8( Non-nobles should not have purchased this anyone buy this such a grotesque image? are frequently called (singular: putto). Three print as a souvenir plaque, but if a family T$('%3(&0$(*%!<$)(#%(@$3#$4*+([$<#!0( of these putti appear to be male while the <*%&$3(&.(#%C*&$(#&!(*%"$!&)8(/.)(>.!&$)#&8=( magic customs. The medieval Jews were as more demurely dressed one in the lower they could achieve such a deception with a superstitious as every other part of society, right corner may be assumed to be female. print of this sort. and had developed “magical” customs to V&(*>>$*)!(&0*&(&0#!(#@*5$=(')!&(./(*++=(#!(*( Trumpets herald death in the Apocalypse, ward off demons. Jewish magic required &)#,7&$(&.('4$(./(&0$($#50&$$%(9:)$)(!#,+#%5!( and it appears that the putti in this print are doing things “backwards:” reciting words and that Dürer is indicating that four of these three more dead young brothers of Dürer, backwards and depicting images backwards. siblings had died as young children. The sev- either the two Sebalds or the two Hanns Here we have many backwards symbols: enth and eighth siblings, Agnes and Margret, (depending upon which pair is represented the spinster Margret riding backwards, de- were twins born in 1476 under the sign of in the Witch Riding the Goat Backwards) picted “backwards’ as an old hag instead of a Capricorn (the only Capricorn siblings). and Peter (the twelfth child of the family, beautiful woman, a backwards monogram, a Agnes died as a little girl, while Margret listed in the Nuremberg death registries backwards putto. The most logical explana- was 24 when this print was made (her death as “Pez,” the Hungarian form of Peter). tion for the manufacture of this print is that registry entry indicates she died unmarried, a It appears that Dürer is indicating that his it was made to be sold to Jews as a talisman !>#%!&$)I1((V&(*>>$*)!(&0*&(&0$('57)$(#3$%&#'$3( family is of Hungarian noble ancestry. against demons, Jews who would recognize as a “witch” is actually the spinster Margret. The fact that the dead Agnes and a male The Witch Riding The Goat Backwards The Three Putti With Shield And Helmet 1500 1500

30 31 THE EUSTACHIUM is the national symbol of Hungary and the COAT OF ARMS WITH A SKULL The woman in the print wears a bridal 1501, engraving; Meder 60k; single-headed cross on the stag’s head does not have the 1503, engraving; Meder IIa; formerly in the collection crown and this masked skull is connected eaglewatermark (M. 234), dating this posthumous letters “INRI” in it, an element that is of the Fogg Art Museum, Harvard University, with the identity of the bride. The mask is example to after 1600. typical in depictions of St. Eustace. The duplicate (Lugt 196), Gray Collection, Harvard like a “Schembartläufen” mask worn in College (Lugt 139) Dürer named this print Eustachium. stone bridge at the left can be related to the Nuremberg during the festival of Historians believe that Eustachium is the single stone bridge in the city of Nuremberg. This is the second print Dürer ever dated Schembartläufen, the Nuremberg version Latin reference for St. Eustace and the It appears that the right hand side of the (1503 can be seen as if engraved into the of Mardi Gras. kneeling man in the composition is St. composition records the ancestry of Dürer’s rough slab of stone at the bottom center of It appears that this image relates to another Eustace, although in 1778 this print was Hungarian family. The stag represents &0$(#@*5$I=(<0#"0(#!(#%3#"*$(./(*(!>$"#'" scandal from Dürer’s life. His father-in-law titled St. Hubertus (whose iconographical Dürer’s grandfather, Anthoni Atjós/Dürer >$)!.%*+($4$%&(*%3(!#5%#'"*%&(/.)(#&!(@$*%#%5 was Hans Frey, who was co-chair of this story was often entangled with that of (the family’s name, Atjós, became Dürer J&0$(')!&(>)#%&(&0$(*)&#!&(3*&$3(#!(&0$(AWYH festival in 1486-1487. Thus the mask tells us Eustace). It appears this composition is after they relocated to Germany; both names Four Witches, another print with personal that a Frey is in this image, in this case the autobiographical. “Eu-stace” in Latin mean “door”). Anthoni was a goldsmith and !#5%#'"*%"$(/.)(9:)$)I1 bride, Katherine Frey, Hans’ second daughter, means “good fortune,” which Dürer was horse herder. The stag appears to touch the Scholars hold that this image was Dürer’s Dürer’s sister-in-law. To have published experiencing in 1501. The Duke of Saxony, horse, which represents Dürer’s father, *++7!#.%(&.(&0$(C$$&#%5(%*&7)$(./(+#/$=(*% such a scandal image about his in-laws Elector Frederick the Wise, later the protector Albrecht the Elder. There were four children allegory of the eternal polarity of love and would infer that Dürer had little respect for of Martin Luther, had placed his bastard son of Anthoni Atjos/Dürer: Albrecht and his death. It has been called Wild Man with Hans Frey. with Dürer as an apprentice and he had siblings Johannes, Ladislas, and Catherine. a Skull on a Coat of Arms, Coat of Arms Katherine Frey, a teenager, was betrothed given Dürer many commissions. The artist’s It appears the three vizsla hounds represent of Death, The Dying Bride, and Love in 1503 to a 40-year man named Martin Apocalypse of a few years earlier (1498) had these three, Dürer’s aunt and uncles. and Death. Zinner, immediately after the death of brought him fame throughout the Holy Dürer tells us the family were formerly This composition is one of Dürer’s greatest g#%%$);!(')!&(<#/$=(h*)5*)$&(#%(AFBX(J&07!=( Roman Empire, and now he had a powerful Hungarian nobles. steganographic visual tricks, for the image the reason this print is dated). Zinner was noble patron. Dürer had become wealthy, On the left hand side, the kneeling man on the shield is a “masked” skull. Real known to be a promiscuous syphilitic. and he was able to hire three apprentices. would be Dürer, giving thanks to his skulls, of course, don’t have ears, which this Katherine’s marriage to Zinner would The most common complaint of historians Hungarian past and ancestors and represent- skull has (presumably to help secure the condemn her to a miserable death if she about this composition is that the stirrup on ing himself as a rich noble in Nuremberg, mask over the “face” of the skull). On the consummated the marriage. Margaret quite the horse is too short for the length of the legs even though the family had to now hide right side of the masked skull is a distinctive probably died from infection from Zinner. It of the kneeling man. It appears that this this ancestry in Nuremberg. The two crack, long ignored by scholars. The crack appears the head “buried” underneath the “mistake” was done on purpose because there Hungarian agar hounds, now of non-noble is a “caries sicca,” a destructive bone lesion mask represents the dead Margaret Zinner. are two steganographic “stories” in this print. social status, would be Dürer’s two living ./(&0$(!Q7++=(3$'%#$+8(*!!."#*&$3(<#&0( E0$(0*#)8('57)$(<0.(*>>$*)!(&.(<..(&0$ Dürer has used the tree near the middle of brothers, Endres and Hanns III, with the victims of syphilis. The European plague ,)#3$(#!(*(ST#+3@*%=D(*(b$)@*%(/.+Q('57)$ the composition as the steganographic trick action in this half of the print taking place ./(!8>0#+#!=(<0#"0(')!&($)7>&$3(#%(V&*+8(#%( known for its large sexual appetite, here to delineate the two stories. In this in Nuremberg, indicated by the stone bridge. 1494 and spread through Europe after the representing Zinner and his syphilitic interpretation, the kneeling man does not Dauphin Charles VIII invaded Italy and lifestyle. Katherine Frey and Martin Zinner “go” with the horse. then returned to France, swept through married in 1504 or 1505, but Katherine The other steganographic clues are the Europe faster than any other plague. remained childless, like her sister Agnes, dogs, the stag, and the stone bridge. The two Syphilis broke out in Nuremberg in 1496, Dürer’s wife. Zinner died in 1526. Katherine 3.5!(.%(&0$(+$/&("*%(,$(#3$%&#'$3(*!(M7%5*)#*% subsiding in 1498. Although it claimed many died in 1547, extinguishing the lineage of agar hounds, which could be owned by lives, the majority of the victims survived, Hans Frey. Hungarian nobility or non-nobility. The who continued to infect others, so syphilis three dogs on the right, with larger and more remained an on-going scourge. C.>>8($*)!=("*%(,$(#3$%&#'$3(*!(M7%5*)#*%( vizslas, a pure bloodline preserved for centuries by the Hungarian land-owning The Eustachium Coat Of Arms With A Skull aristocracy, the Hungarian nobles. The stag 1501 1503

32 33 THE SATYR FAMILY both the death of Dürer’s father in 1502 and 1505, engraving; Meder b. Formerly in the collection the death of his mother twelve years later in of Heinrich Anton Cornill-D’Orville (L. 529). 1514. The weirdest event is that this page Cornill-D’Orville (1790-1875), director of the Städel survived at all when all other pages perished. h7!$7@(#%(e)*%Q/7)&=(#!(".%!#3$)$3(.%$(./(&0$('4$( I suspect that this page may have survived most important Dürer collectors in European history. because it was given to this illegitimate This Print has been called Pan and Syrinx, child as a record of the child’s grandparents Birth of Adonis, The Centaur Family, and, (Dürer’s mother and father), and their lineage, '%*++8=(E0$(R*&8)(e*@#+81(E0$(#@*5$(#%"+73$!( something a bastard would have protected *(@*+$('57)$=(*(!*&8)=(>+*8#%5(*(>+*&$)!>#$+=( at all costs. a medieval type of bagpipe. On the ground next to him is a baby, on whose head is SALOME WITH THE HEAD OF JOHN what appears to be the budding horns of a THE BAPTIST satyr, presumably indicating the satyr is its father. The baby rests in the lap of a woman 1511, woodcut; Meder 232 c who is likely the mother, and she appears It appears to be one of a series of two images to be expecting another baby,indicating .%(&0#!(!7,O$"&(@*&&$)=(&0$(')!&(3*&$3(AFAB1 further expansion of the family group. The neckline of the dress of the woman in It appears that this is an autobiographical &0$("$%&$)(J&)*3#&#.%*++8(#3$%&#'$3(*!(M$).3#*!= print with the satyr to be understood as Dürer, who takes the head of John the Baptist from and that it heralds the coming of a second her daughter Salome) appears to have a illegitimate child fathered by the married disguised message in it, similar to the one Dürer. The action takes place in the most found in the Promenade, which is yet to be dense and dark setting to be found in any of deciphered. It appears that this print was Dürer’s compositions, a likely indication actually made in 1510 along with the other that its subject matter is hidden or encoded image mentioned above, and that it refer- in the image. ences another scandal involving Willibald In the large tree with several branches Pirkheimer (the prominent Nuremberg there is what appears to be an uppercase lawyer and humanist long thought to have letter “G,” and in the branch above the been a close friend and lover of the artist. hanging tablet with the artist’s monogram, Apparently Dürer consider him an enemy). is a lowercase “d” positioned sideways. I E0$('!0(.%(&0$(>+*&$(#%(&0$("$%&$)(#!(!#5%#'"*%&= hypothesize the “d” indicates this is about probably a Venetian colloquial “pun, ” since an illegitimate Dürer and the “G” is a refer- Dürer wrote often that the Venetian artists $%"$(J>$)0*>!(&0$(')!&(#%#&#*+(./(0$)(%*@$I were jealous of him. In Venice giving to the pregnant woman, his lover, or to the !.@$.%$(*(S3#!0(./('!0D(@$*%&($U*"&#%5 name selected for the unborn child. Strangely, revenge upon someone. the sole surviving page of Dürer’s private diary [Berlin, Kupferstichkabinetts], which is in his handwriting, is not numbered but instead is lettered at top with a lowercase letter “g.” Even stranger, the page records

The Satyr Family Salome With The Head Of John The Baptist 1501 1511

34 35 MELENCOLIA I woman with wings, the two steganographic spelling is not merely an error but is deliber- 1514, engraving; Meder II, b (Small Jug watermark messages prove that this is not an allegorical *&$=(>7)>.!$/7+(*%3(!#5%#'"*%&1(Sh$+$D(#%( (M. 158), dating the printing of this example to 1525). composition. Greek means “honey, sweetness;” “col,” This engraving is Dürer’s greatest masterpiece. The secrets of MELENCOLIA tell us which would have been written in Greek It is the most debated image in the history of that Dürer created this composition as a with the letter chi (the letter X, pronounced art, and tens of thousands of scholarly articles tribute to the two recently deceased women “hool”), means “suffering.” To pronounce have been written about its supposed meaning, who had helped him all his life, Barbara and these two words together would have none of which are correct to date. Margret, and as a memorial to the members required adding a meaningless “N” in Scholars assume that the word of his immediate family, including one bastard between these two Greek words. The “IA” MELENCOLIA is a title because Dürer has child, who had predeceased them. Even more at the end of the word pluralizes and #%!")#,$3(&0*&(<.)3(<#&0#%(&0$(#@*5$1(P$&( astonishing, he tells us that his family were Latinizes this Greek, referencing females. titling prints within the composition was a Hungarian noble practicing crypto-Jews Adjacent to the word MELENCOLIA practice Dürer had abandoned nineteen years who were now living as non-nobles in #!(*(SC.7)#!0=D(*%3(&0$%(&0$(+$&&$)(SV1D(( before; only one other print from 1495, when Nuremberg. As a practicing hidden Jew, Researchers ignored this symbol, assuming 9:)$)(')!&(,$"*@$(*(h*!&$)=(<*!(&#&+$3(#% Dürer had the religious obligation to it was an unimportant artistic embellishment. the woodblock [Ercules]. We do know that provide a Jewish type burial for his family 27&(&0#!(C.7)#!0(0*!(*(0.)#-.%&*+(!+*!0( he referred to this print by the name of members, something he could not physically through it, a symbol with a meaning of “Melancholj,” spelled with an “a,” and not perform in public. MELENCOLIA was the S)$&7)%#%51D(E0$(SVD(*/&$)(&0$(C.7)#!0(#! with the “e” that is used in the word, because technique by which Dürer provided a made differently from the “I” in the word. of the references in his Diary of the symbolic Jewish burial for all the deceased E0#!(#!(!#5%#'"*%&(,$"*7!$(9:)$)(<*!(*% Netherlands Journey. Thus, the composition Dürer relatives. expert on lettering, and published a book has been interpreted as an allegory to Let’s look at the symbolism. The inscription about the subject. depression (known as melancholy in the is made up of every symbol within the In Latin and Greek, there is no letter Renaissance), even though what is known of "*)&.7"0$=(#%"+73#%5(&0$(C.7)#!0(#%G,$&<$$% for “J.” Instead, the letter “I’ was used to Dürer would indicate that he was the opposite &0$(<.)3(*%3(&0$(SVD(*&(&0$($%31(E0$(')!&( represent the letter “J,” and so the “I” at of a melancholic. clue is that the word “MELENCOLIA” is the end of this inscription stands for the E0$)$(<$)$(&<.(!#5%#'"*%&($4$%&!(#%(AFAW spelled wrong, the second “E” should be an letter “J,”-the symbol for the ‘the Lord” that occurred in Dürer’s life, which could “A.” Dürer had the skill to correct engraving G[$!7!(.)(P*0<$0(J[$0.4*0I1( have caused him despair. After a year of plate errors, which he did in other areas of this plate and onother plates. Thus, his Melencolia I sickness, Dürer’s 63 year-old mother, Barbara, (detail) 1514 died at his home on May 16, 1514. His 38 year-old unmarried sister Margret, the eighth child of eighteen born to Barbara, who would have also been living in Dürer’s household, died within three months of Barbara’s death. This composition is Dürer’s greatest example of steganography, hiding messages in plain sight. The complete set of symbols within the cartouche, held by the bat, is not a title; it is the most ingeniously disguised inscription in the history of art, a Latinized Greek inscription, hidden in plain view. Combined with the astounding discovery of an embedded code in the belt of the

36 37 The inscription should be understood to Barbara Dürer. The hourglass records the to a goldsmith’s brazier, a symbol for Dürer’s Because there are “backwards” (monograms, woman’s hand, the keys on her belt, and the The millstone upon which the putto sits is read “In sweetness and in sorrow, these two exact time of Barbara’s death on May 16, goldsmith father. body parts) symbols and “9’s” in other book in her lap. a symbol of a medieval Jewish burial custom woman are returning to the Lord.” 1514, which we know from the handwritten In the upper right hand corner is what is prints, it appears the backwards “9” referred Scales are the symbol for Rosh Hashanah, from the medieval Kingdom of Hungary The other compositional elements in this annotation Dürer had added to a written the known as a “magic square,” for each column, to Margret. The “6” hidden under the 5 the Day of Judgement, and these two women J!>$"#'"*++8(])*57$I=(<0.!$(!#5%#'"*%"$(0*3 image creates a steganographic rebus, mes- charcoal drawing he had made of Barbara in row, and diagonal mathematically add up to refers to Dürer’s “hidden” illegitimate child would be facing Judgement at death. The been lost to scholars until 1998. In 1998, sages conveyed with symbols, which starts 1513. (Berlin, Staatliche Museen Preussischer the same number, 34. The meaning of this already enshrined in his 1496 print ladder has two meanings. It represents Jacob’s during renovation construction of an insur- at the bottom left corner, reads across the Kulturbesitz, Kupferstichkabinett). The putto symbol has fascinated scholars for centuries (erroneously called the Penance of St. ladder and the covenant of the Jewish people ance building, an unknown intact Jewish bottom, then up the middle and right side, perched on the millstone is female and is but there’s a simple consistent interpretation. Chrysostom), who apparently was dead by <#&0(P*0<$0(&.(0*4$(&0$(+*%3(./(_*%**%= cemetery, dating to 1478 was discovered. and then across the top to the left, ending at engraving on a tablet. The code in the belt This object was a common one in the 1514. Dürer must have thought the original and that the Dürer family was part of this Millstones and millstone parts were found the inscription. #3$%&#'$!(&0#!(/$@*+$(>7&&.(*!(0#!(!#!&$)(h*)5)$& Renaissance, for magic squares were sold as backwards “9” was too obvious a clue, and covenant. In Jewish burial ritual, the bier for encasing one quarter of the Jewish graves, What is the rebus about? Secrets of the as does the “9” in the “magic square” in the amulets at medieval fairs. Dürer deviated corrected it early on in the print runs. carrying the corpse to the grave was shaped as were upright monoliths. As Dürer places Dürer family, which is why this composition upper right hand corner. from depicting the standard numerical What are the Jewish symbols? The scales, like a ladder. The bat is a reference to Isa. the putto Margret on a millstone, it appears is so misleading. The code in the belt on the The tools in front of the woman (Barbara) representation of this type of magic square the ladder, the bat carrying the inscription 2:20, in which the bat symbolizes those who that the millstone has some deep Jewish winged woman (which is not visible to the belong to her. They are tools that are used (known as a 4 x 4 square). This magic square in the cartouche, the millstone, the fabric on hide in dark and deserted places-in this case, ,7)#*+(!#5%#'"*%"$1(E0$("+.&0(.%(&0$(@#++!&.%$ naked eye) plus the millstone in the middle !>$"#'"*++8(&.(")$*&$(*%3('%#!0(<..3,+."Q!1( gives us the names of all the dead Dürer the millstone, the compass in the winged the Dürer family with their hidden religion. represents the cloth used to cover up the of the composition are the key steganographic The mysterious tube sticking out from the siblings, with the number indicating the name symbols that unlock the true meaning of the end of her dress, formerly interpreted as either ,8(,#)&0(.)3$)=(*!(&0$#)(3$*&0!(*)$(!#5%#'$3( other symbols. a musical instrument or a clyster (an enema by the polyhedron. It is read from right to How does this rebus work? We start with &7,$I=(#!(&0$(5)#>(./(*%(#%37!&)#*+(@*5%#'$)( left starting at the lower right hand corner, the two Hungarian symbols that have used in woodblock cutting. Dürer tells us the same way that Hebrew is read. There appeared before in Dürer’s prints: the that Barbara, at some point, cut some of his are a number of “mistakes” in this magic Hungarian agar hound (found in Dürer’s woodblocks (probably for The Apocalypse, square, which are deliberate. Eustachium), a dog that could be owned by all of which have been lost), and that Margret, Originally the “9” in the second row was Hungarian nobles and non-nobles, and the who holds an engraving stylus and a tablet, created “backwards”, we know this because Hungarian tribute ball symbol (found in the at some point, assisted him with some of there is one existing image with the backwards Small Fortune, Large Fortune, Temptation of his engravings. “9” in the British Museum. In the third row, the Idler, Witch Riding the Goat Backwards, (E0$(>.+80$3).%(,$0#%3(&0$(3.5(0*!(,*/C$3( Dürer originally created the number 6, which and the Four Witches). So we know that scholars, but there’s a simple explanation for he corrected to a 5, but left the 6 visible. Dürer is telling us that he is giving tribute this symbol. The polyhedron consists of 4 to people who were Hungarian nobles and faces that are shaded differently. The darkest Melencolia I (detail) 1514 are now living as merchant non-nobles. face has 5 edges, the next lightest face has 5 Next, the object in the lower left corner had edges, the lightest grey one has %$4$)(,$$%(>).>$)+8(#3$%&#'$3=(,7&(#&(#!(*( 5 edges, and the white one at the top has courier tube. Courier tubes, similar to tubes 3 edges, for a total of 18 edges. There were used today for mailing posters, were used in 18 Dürer siblings. The shading is indicative Dürer’s lifetime to transport important of the age of siblings at death: infancy (the documents and secret correspondence. The darkest shading), childhood (medium shad- object next to the courier tube had been ing), or adulthood (lightest shading), and the @#!#3$%&#'$3(*!(*%(#%Q>.&=(,7&(#&(#!(*(>$)/7@$ edges indicate how many of the siblings died burner. Thus, Dürer tells us there are “sweet” #%($*"0(*5$(5).7>1(E07!=(,8(AFAW=('/&$$%( secrets in this composition. of the Dürer siblings were dead. The white The woman with eagle wings, the eagle triangle at the top of the polyhedron with wings being part of the Dürer coat of arms, three edges represents the three remaining sits in front of a tower, a symbol for St. living Dürers in 1514: Albrecht, Endres, and Barbara, identifying the winged woman as Hanns III. The polyhedron is located next

38 39 grave marker until the “unveiling” of the grave been encoded like a Hebrew word (reading this person was closed. Keys and writing 1514, two hours before nightfall (hourglass). marker, a ritual that occurs eleven months right to left), these people are Jewish. Thus &*,+$&!(<$)$(>+*"$3(#%(.)(07%5(#%(&0$("./'%= The child (putto) is my sister Margret (eagle */&$)(*([$<(#!(,7)#$3(*%3(<0#"0(!#5%#'$!( this composition could never be allegory, but especially in the case of one who died childless. wings of the Dürer coat of arms and the &0$(./'"#*+($%3(&.(&0$(@.7)%#%5(>$)#.31 ".%"$)%!(!>$"#'"(>$.>+$1(9:)$)(0*!(&.(&$++(7!( Barbara has the keys, Margret has the tablet. original backwards “9” in the magic square), Which brings us to the code in the belt of that these people are dead for the rest of the The compass was used to draw a circle, which an unmarried woman (heraldric lozenge in the winged woman, Barbara, and tells us more symbolism to make sense. This also supports in Judaism symbolized the 12 Tribes of Israel. belt code), who is also dead (belt code word Jewish information, which you see below. the symbolism of the cartouche; the inscription The rebus thus tells us the following: “obaros.”); she died soon after my mother. What is encoded in the belt, from right to would be for these dead relatives. “There are sweet (perfume burner) secrets E0$8(!0*++(,$(O735$3(,8(P*0<$0(J!"*+$!I1( left, as in Hebrew, is the following: The 9 millstones correspond to the eight (courier tube) in this composition. I, Albrecht The bells have been rung for both of them (1) Nine millstones predeceased Dürer male siblings and the one Dürer (rainbow as coat of arms), am paying (bell above magic square). My mother cut (2) Eight double upright (monolith) dead male bastard son. tribute (tribute ball) to my Jewish (ladder woodblocks (woodblock making tools in front symbol sets The eight double sets of uprights corre- and compass) Hungarian noble (dog) family of woman), my sister engraved (stylus and (3) A heraldric “lozenge” with two spond to the dead female Dürers, the seven that must live as non-nobles. My father was plate in putto’s lap). identical symbols representing female siblings and Barbara, the mother. a goldsmith (brazier), who had eighteen We are Jews (ladder), who have had to the door lintel from Albrecht The heraldric lozenge was used for women children (polyhedron). Five of my siblings practice in secret (bat). As a Jew, it is my the Elder’s coat of arms. who were either widowed or unmarried. In died in infancy (dark shade face of polyhe- obligation to provide a proper Jewish burial (4) R eading right to left, the Greek word heraldry, some part of the arms of the dead 3).%I=('4$(#%("0#+30..3(J@$3#7@(!0*3$3( for my family. We use millstones (the big “obaros,” which means “dead.” husband or the father would be incorporated /*"$(./(>.+80$3).%I=('4$(#%(*37+&0..3(J+#50&( millstone and millstones in the belt code) (5) Two disks that are not millstones, with the diamond lozenge. In this case, we shade face of polyhedron). Three of us, and upright monoliths (double set of upright whose meaning is yet to be deciphered 0*4$(,.&0(/$@*+$!(#3$%&#'$3=(&0$(<#3.<$3( Albrecht, Endres, Hanns III, are still living symbols in belt code) in the graves. There (6) Two symbols which look like a Barbara, and the unmarried daughter, (white triangle face on polyhedron). The are 9 millstones for each of the dead males backwards “C” and a “T” in the Margret because two “lintels” from the Dürer %*@$!(./(&0$(3$*3(*)$(!#5%#'$3(#%(&0$(@*5#"( in my family ( nine millstones in the belt middle of the belt code next to the two arms are included. It remains to decipher the !67*)$=(*!(#!(@8(')!&(,*!&*)3(!.%(J&0$(4#!#,+$( code) and there are 8 sets of uprights for the disks that are not millstones, whose other symbols in this coded belt; however, “6” under the “5” in the magic square). dead females in my family (eight sets of meaning is yet to be deciphered. Jewish burial ritual requires the recitation The seated woman is my mother (eagle double uprights in the belt code). I am T0*&(#!(&0$(!#5%#'"*%"$(./(&0#!(,$+&(".3$Z( of the deceased’s Jewish name which may be wings of Dürer coat of arms), Barbara (tower), obligated to provide the following inscription First, Dürer tells us with the Greek word what these symbols represent. a widow (heraldric lozenge in belt code), who for all my dead: “In sweetness and in “obaros” that the people to which this belt The book in Barbara’s lap is closed, is dead (belt code word “obaros” and the !.)).<=()$&7)%#%5(&.(&0$(L.)3=(P*0<$0D( code refers are dead and with the word having indicating that the Jewish Book of Life for closed book in her lap). She died on May 16, (MELENCOLIA symbol “I (J))” in the cartouche. (e#%*++8=(&0$)$(#!(*(").<%$3('57)$(<#&0( eyes and a shoulder hidden in the wide part of the fold of the woman’s dress (below the straight edge of the compass in the woman’s hand) that no scholar has noticed before, which stares out at the viewer. It appears this '57)$()$>)$!$%&!(9:)$)=(*%3(0$(>7&(&0#!('57)$ in the composition as a dare-would anyone $4$)('57)$(&0#!(.7&Z

Melencolia I 1514

40 41 THE DESPERATE MAN THE ABDUCTION OF PROSERPINE ON “gourd,” instead of “ivy.” Thus, in the 1514 1515, etching; Meder 95 II a/b; watermark: Crest of A UNICORN St. Jerome in the Study, Dürer depicts Schrobenhausen (M. 195), dating this posthumous 1516, etching; Meder 67 b. St. Jerome’s falsehoods. example from 1557-1571. Spengler was intimately connected with the Dürer did not assign this title. The print has Dürer did not assign this title. This image is defense of Martin Luther. He met Luther in been called Pluto Abducts Proserpine, Dürer’s second most puzzling composition, Nuremberg on October 5, 1518, while Luther Dejanira Abducted by Nessus, The Rape 0#!(')!&(.)(!$".%3(#).%($&"0#%5(J./(!#UI1(V&(0*! was on his way to Augsburg to be released ./(*(P.7%5(T.@*%=(E0$(i*>$(./(&0$( been named The Dismayed Husband, The from his monastic vows. Luther’s foremost Unicorn, and The Abduction of Proserpine Bath, The Man in Despair, Michelangelo opponent, Johann Eck, considered a tract on a Unicorn. Amidst His Figures, and, since 1943, The Spengler wrote in defense of Luther to Behind the man’s head on the left is a Desperate Man. be a personal attack upon himself. When strange conglomeration of objects yet to be Because Dürer had been working for the another satire about Eck was published #3$%&#'$31(E0$8(*>>$*)(&.(,$(*(!&*"Q(./(<..3 Emperor Maximilian for three years without (believed to have been written by Willibald planks and a hanging tool of some sort. It getting paid, he had little time to produce any Pirkheimer), Eck went to to press appears that this print refers in some negative new product for sale. Suddenly, he abandoned charges against Luther, demanding Luther’s way to Lazarus Spengler, the City Council copper engraving after the death of his mother recantation. As part of this campaign, he was Barbara and sister Margret in 1514, switching First Secretary (a very powerful political granted the privilege to accuse six others he to this new technique of etching on iron plates, position). Dürer and Spengler lived on the considered heretics, including Spengler and >).37"#%5('4$(>)#%&!(,$&<$$%(AFAFGAFA`1(M$ same street, the Zisselgasse, where Spengler Pirkheimer. In this print, Dürer is most likely >).37"$3(%.(#%&*5+#.!(#%(AFAH=(*%3(0#!('%*+= lived in a house known as the Unicorn House depicting Spengler’s (and Jerome’s and possibly sixth etching, from 1518, depicted a Landscape (“zum Einhorn”), explaining the use of the Martin Luther’s) abduction of the truth. with a Cannon and Turks, probably a souvenir iconography of a unicorn. Spengler had commentary on the growing threat of a translated into German a book about the life The Abduction Of Proserpine On A Unicorn Turkish invasion of Europe. of St. Jerome by his disciple, Bishop Eusebius, 1516 It appears this composition is autobio- publishing this book on February 13, 1514. graphical, indicating his despair after the St. Jerome was celebrated for having translated death of his mother and sister, and that Dürer the Hebrew Torah into Latin as part of the #!(&.(,$(7%3$)!&..3(*!(&0$('57)$(&$*)#%5(.// creation of the Vulgate Bible (the Bible for his face. In the upper left hand corner hidden the people) in the 4th century B.C.E. However, under the heavily inked tree and rocks is a Jerome’s contemporaries, St. Augustine and Hungarian boar’s head with tusks, plus a head with horns resting upon a pair of boots the Jews, publicly attacked St. Jerome’s cut off at the knees. It appears that the woman translation as a purposeful mistranslation in the lower right corner of the print is dead, of the Hebrew, in effect, labeling the Latin laying on a pillow in front of a sepulcher, and Vulgate as inauthentic. To Dürer, as a hidden that she is being honored with a toast by the Jew, St. Jerome’s translation and Spengler’s '57)$(0.+3#%5(*(3)#%Q#%5(4$!!$+1(E0$)$(#!(* publication would have been heresy. The squared piece of stone on top of the sepulcher majority of Dürer’s St. Jerome compositions in the print’s upper right corner that may indicate Dürer’s contempt for St. Jerome. )$>)$!$%&(*(5)*4$!&.%$1(E0$(&0)$$('57)$! For example, in his 1514 St. Jerome in the besides the woman and the central male most Study, a large gourd hangs in the foreground probably are dead Dürer family members and a fox (the symbol for cunning and who are somehow related to the woman. distortion) lies next to the lion. One of the most famous accusations by St. Augustine concerned Jerome’s mistranslation of The Desperate Man the Hebrew word “ciceion” in Jonah as 1515

42 43 THE PEASANT FAMILY AT MARKET Notice the hat held by the young man. PORTRAIT OF ULRICH 1519, engraving; Meder c; formerly in the collection of In 1518, Dürer did a series of 4 drawings VARNBUHLRER G. Navona (not in Lugt), of Ferraioli (not in Lugt), and of men on horseback, dressed for a parade, Original woodblock dated 1522, this chiaroscuro color of a collection indicated by the initials HR in a circle holding up clothing from different countries, block example printed by Jansen, 1620; Meder 256; (not in Lugt). topped by identifying helmets or hats. Dürer light or dark green or light yellow with black on Dürer titled this image “The Peasants,” not himself labeled these drawings “troffea”- brownish contours. the Peasant Family at Market (Marktbauern), (Trophy). The hat depicted here is the same This is Dürer’s largest woodcut. German by which it is commonly called. This print as the hat in the drawing he labeled “dy Renaissance book printers invented this type must have been a very important print to ungrisch troffea”, the Hungarian Trophy of color printing, called chiaroscuro, in the 9:)$)=(/.)(0$(!>$"#'"*++8()$".)3$3(#%(0#! (Vienna, Albertina. From the Imperial 16th century, and printed the image using a diary of his 1520-1521 Journey to the collection), This hat is again depicted in the separate block for each different color of ink. Netherlands that he gave a copy of it to two 1519 Antonium (not in the exhibition). Dürer’s contemporaries published these kinds very powerful men, Erasmus Strengberger There is a basket of eggs, a common symbol of colored prints but Dürer did not. Dutch and Jacob Panisio (Bonisius). Bonisius had of fertility, in the lower left corner of the image. printmakers Hendrick Hondius and Willem been Secretary to the now deceased Emperor The form of Dürer’s monogram, seen beneath Janssen, a famous 17th century Dutch printer, Maximilian, and Strengberger was Bonisius’ the young man in the lower center of the obtained control of Dürer’s original woodblock Secretary. Emperor Maximilian had granted print, is notable. It appears as if engraved and added the tone blocks. Dürer a pension of 100 gulden/year, which onto an arrow-shaped rock pointing to the Ulrich Varnbülher became a close friend ceased in 1519 when Maximilian died. man, and is the only instance where Dürer of Dürer in 1515. A native of St. Gall(en), The purpose of Dürer’s trip was to regain put his initials AD on such a form. Switzerland, and probably of Hungarian his pension. Strengberger wrote Dürer’s Most likely this print depicts the peasant ancestry, he served in many important petition to the new Emperor, Charles V, woman who was Dürer’s pregnant lover in Imperial positions, including Imperial which was granted. 1505 (as postulated in the commentary for Councilor and Chancellor for Emperor Scholars have assumed that the action is the 1505 engraving of The Satyr Family), Ferdinand I. The dedicatory inscription on &*Q#%5(>+*"$(*&(&0$(@*)Q$&(*%3(&0*&(&0$('57)$! now an old peasant woman, and his second this print reads “Albrecht Dürer of Noricus represent a husband and wife, even though illegitmate son, Dürer’s “Hungarian Trophy”, (of Hungary) wishes to make known to &0$(@*+$('57)$(#!(@7"0(8.7%5$)(&0*%(&0$ *!(#3$%&#'$3(,8(&0$(*)).<(@.%.5)*@1 posterity and to honor by this likeness his /$@*+$('57)$1(E0$!$('57)$!(*)$(*"&7*++8 It should be noted that Bonisius and dearest friend Ulrich, surnamed Varnbülher, mother and son who apparently are related Strengberger also received from the artist ".%'3$%&#*+(*%3(>)#%"#>*+(!$")$&*)8(./(&0$( to Dürer. The woman holds two roosters, religious pictures and Eustachium, Melencholia Imperial Roman Government.” A vertical the coat of arms of the Patrican Rummel I, and the Antonium (which appears to be a blank strip obliterates a number of letters of family, to which Dürer was related by 3$*&0(&)#,7&$(&.(9:)$);!(')!&(#++$5#&#@*&$(!.% this dedication. Rearranged, these missing family intermarriages. J')!&()$>)$!$%&$3(#%(&0$(AWY`(]$%*%"$(./(R&1 letters spell the Latinized version of John Chrysostom). As such, the two men may Varnbülher’s name “Varenuulere.” have received a history of the Dürer family members that the artist considered most dear.

The Peasant Family At Market Portrait Of Ulrich Varnbuhlrer 1519 1522

44 45 Conclusion Other Prints

I have not yet been able to acquire all of the Dürer prints that contain - The Ravisher - Adam and Eva (Dürer’s name), aka. The Fall of Man 1495 1504 encoded or secret messages, what I call the “Dürer Diary.” Following - Hercules - St. Jerome by the Pollard Willow is a list of the other encoded prints I hope to acquire (listed by the titles 1495-1496; woodcut 1512; drypoint by which they are most commonly known even though I may suggest - The Four Witches (Four Naked Ladies) - Der Reuter (Dürer’s name), aka. The Knight, Death, an alternative title). Except where noted, all are engravings. Please enjoy 1497 and the Devil 1513 &0#!($U0#,#&#.%(*%3(&0$(@*5%#'"$%"$(./(9:)$);!(*)&j - Coat of Arms with Lion and Rooster 1500 - S t. Jerome in His Study 1514 - Apollo and Diana 1502 - Anthonium (Dürer’s name), aka. St. Anthony 1519 - Nemesin (Dürer’s name), aka. Nemesis or The Large Fortune 1502 - !""#$%&''(#)%#&*'#!+),-".+/'#01-2'/#+34"0/*'5#0(#6789:#-(5# excluding the frontispiece of 1511 republication - Weihnachten (Dürer’s name), aka. The Nativity 1504

46 47 1] Melencholia I 16] The Desperate Man Intaglio Print; 11" x 7.4" Intaglio Print; 7 1/4" x 5 1/4" 1514 1515 2] H ercules at the Crossroads 17] The Monstrous Pig of Landser ;(&-2"0)#<=0(&>#6E#?@9A#B#9#D@7A Intaglio Print; 4 3/4" x 5" 1498 1496 3] The Satyr Family 18] The Witch Riding the Goat Backwards Intaglio Print; 4" x 2 3/4" Intaglio Print; 4 1/2" x 2 3/4" 1505 1500 ] 4] Coat of Arms with a Skull 19 The Sea Monster (Mehrwunder) ;(&-2"0)#<=0( #?@9A#B#F#6@9A ;(&-2"0)#<=0(&>#8#?@9A#B#C#6@7A 1503 1498 1 2 3 4 5 16 17 18 19 20 20] Peasant Couple 5] The Young Couple Threatened by Intaglio Print; 4 1/2" x 2 3/4" Death (The Promenade) 1519 ;(&-2"0)#<=0(&>#C#6@EA#B#7#?@9A 21] The Temptation of the Idler 1498 ;(&-2"0)#<=0(&>#C#D@9A#B#7#?@9A 6] The Penance of St John Chrysostom 1498 ;(&-2"0)#<=0(&>#C#6@EA#B#7#?@9A 22] The Abduction of Proserpine on a 1496 Unicorn 7] The Three Putti with Shield and Helmet ;(&-2"0)>#6EA#B#9#D@9A Intaglio Print; 4 1/2" x 2 3/4" 1516 1500 23] The Apocalypse, St. John Devouring 8] The Eustachium the Book ;(&-2"0)#<=0(&>#6D#C@9A#B#6G#6@9A Woodcut; 15 1/2" x 11" 1501 1497-1498 ] 24] The Apocalypse, The Seven Trumpets 9 S ol Justitiae (The Sun Judge) 6 7 8 10 23 24 Intaglio Print; 4 1/4" x 3" 9 21 22 25 Woodcut; 15 1/2" x 11" 1499 1496-1497 10] The Small Fortune 25] The Apocalypse, The Adoration of ;(&-2"0)#<=0(&>#7#?@9A#B#E#?@9A the Lamb 1495 Woodcut; 15 1/2" x 11" ] The Prodigal Son Amid the Swine 1496-1497 11 ] ;(&-2"0)#<=0(&>#8#D@7A#B#C#D@9A 26 The Apocalypse, St. John Before 1496 the Elders Woodcut; 15 1/2" x 11" ] Man of Sorrows by the Column 12 1496 ;(&-2"0)#<=0(&>#7#6@7A#B#E#C@9A ] 1509 27 The Beast with Two Horns like a Lamb Woodcut; 15 1/2" x 11" 13] The Man of Sorrow with Hands Bound 1496-1497 ;(&-2"0)#<=0(&>#7#6@EA#B#E#C@9A 28] The Apocalyptic Woman 1512 11 12 13 14 15 26 27 28 29 30 Woodcut; 15 1/2" x 11" 14] Man of Sorrows with Hands Raised 1496-1497 Intaglio Print; 4 1/2" x 2 3/4" 29] The Whore of Babylon 1500 Woodcut; 15 1/2" x 11" 15] The Man of Sorrows 1497-1498 ;(&-2"0)#<=0(&>#7#D@9A#B#E#6@EA 30] The Apocalypse, The Four Angels 1515 Staying the Winds Woodcut; 15 1/2" x 11" 1496-1497

48 49 31] The Apocalypse, The Martyrdom of St John the Evangelist Woodcut; 15 1/2" x 11" 1497-1498 32] The Apocalypse, Frontpiece, The Virgin Appearing to Saint John Woodcut; 15 1/2" x 11" 1511 33] The Large Passion, Frontpiece, Man of Sorrows with the Roman Soldier H))5,3&>#C#C@9A#B#C#D@7A 1511 34] The Life of the Virgin, Frontpiece, 31 32 33 34 35 The Virgin on the Crescent H))5,3&>#9A#B#66A 1511 35] The Small Passion, Frontpiece H))5,3&>#D#D@9A#B#DA 1511 36] The Large Passion, The Betrayal of Christ Woodcut; 15 1/2" x 11" 1510 37] The Holy Trinity (The See of Grace) H))5,3&>#6?#D@9A#B#66#6@9A 1511 38] The Small Passion, The Bearing of the Cross 36 37 38 39 40 Woodcut; 5" x 3 3/4" 1509 39] The 1511 Salome Bearing the Head of St. John the Baptist H))5,3&>#C#?@9A#B#?#6@9A 1511 40] The Life of the Virgin, Christ Among the Doctors H))5,3&>#66#D@7A#B#9#6@7A 1503 41] The Large Passion, The Resurrection Woodcut; 15 1/2" x 11 3/4" 1511 42] The Three Parcae 41 42 43 44 45 H))5,3&>#9#?@9A#B#F#6@9A 1513 43] Portrait of Ulruch Varnbueler Woodcut; 17" x 12 3/4" 1522 44] Susanna and the Elders !++='(&0,'#<=0(&>#6#C@9A#B#DA 1531 45] St. Michael Slaying the Dragon Apprentice Print 1518

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