Cipyright Dr. Elizabeth Garner All Rights Reserved
Text copyright © Jan 23, 2013 Dr. Elizabeth A. Garner, All Rights Reserved
Let’s get real and talk about Dürer’s penis for it is a very important penis indeed. Notice his penis above, the scrotum and the penis and testicles seem to be tied off in some unusual way. If anyone knows the meaning of this activity, please contact me.
So now let’s look at the incredible pornographic print Dürer published in 1498:
In his Dairy of the Netherlands Journey, Dürer made only one entry about a print he called Herculum: Aug 20, 1520 at Antwerp “ I also gave the Factor of Portugal a “Herculum.” Scholars have assumed this composition is the Herculum referenced in the Diary because of its complexity, refusing to consider that the artist more likely referred to his intricate 1495 woodcut which he had actually titled Ercules (Hercules) in the woodblock. The imagery in this image has no logical association with the myth of the classical hero.
The satyr in the lower left of the composition is a mythological creature that is half man and half goat. The satyr grips a jawbone of an ass, lower left, a symbol for the biblical figure of Samson. Old Testament scholars consider the jawbone of the ass to represent the most powerful weapon of the Bible, as wielded by Samson [Judges 15:16 “with the jawbone of an ass (or donkey) I have smitten 1000 men”]. Dürer seems to indicate, therefore, that the most powerful figure in this composition is the satyr. We will see this jawbone again in the Sea Monster, where it again appears to signify the person with power.
My extraordinary discovery of a circumsized encoded penis on the satyr indicates that Dürer meant to give some sort of Jewish message in this print, since circumcision was only practiced among Jews. This satyr must therefore be interpreted as “Jewish” in some way. The code on the penis is “OllO,” which has yet to be deciphered, and has similarities to symbols found in the encoded belt in Melencolia (See Melencolia I below).
The body of the naked woman next to the satyr on the left is not an original Dürer concept. It is traced from a print titled the Battle of the Sea Gods, by Italian fifteenth-century artist Andrea Mantegna. During his stay in Venice in 1494-1495, Dürer traced almost all of the famous Mantegna’s works available to him, using another image from the Battle of the Sea Gods in the woodcut print he titled Hercules. The veil held by the woman can be read as a symbol of St. Agnes.
The headdress on the standing, central woman is also found in Dürer’s 1497 engraving titled by scholars as the Four Naked Women or Four Witches. I believe that this headdress signifies Dürer’s mother, Barbara.
The rooster helmet worn by the naked man is also found in Dürer’s woodcut called The Beast with Two Horns, part of The Apocalypse. A rooster was used in the arms of the Nuremberg Patrician Rummel family. Dürer’s wife, Agnes Frey, was descended from a Rummel family member, and Dürer’s own family had already been intermarried with the Rummels before his marriage to Agnes.
Until the encoded Jewish penis is deciphered we will never know what this composition is really depicting. The Jewish “Azazel” was a goat that bore the sins of all the Jews on the Jewish Day of Atonement, Yom Kippur. The goat was pushed off a cliff during ancient times and is the source of the concept of “scapegoat.” It is my opinion that Dürer, as a hidden Jew, was identifying himself with the satyr, indicating that he was scapegoat, albeit a powerful one, and that the print references a family feud between the Dürers and his in-laws, the Frey/Rummels.
The satyr in the lower left of the composition is a mythological creature that is half man and half goat. The satyr grips a jawbone of an ass, lower left, a symbol for the biblical figure of Samson. Old Testament scholars consider the jawbone of the ass to represent the most powerful weapon of the Bible, as wielded by Samson [Judges 15:16 “with the jawbone of an ass (or donkey) I have smitten 1000 men”]. Dürer seems to indicate, therefore, that the most powerful figure in this composition is the satyr. We will see this jawbone again in the Sea Monster, where it again appears to signify the person with power.
My extraordinary discovery of a circumsized encoded penis on the satyr indicates that Dürer meant to give some sort of Jewish message in this print, since circumcision was only practiced among Jews. This satyr must therefore be interpreted as “Jewish” in some way. The code on the penis is “OllO,” which has yet to be deciphered, and has similarities to symbols found in the encoded belt in Melencolia (See Melencolia I below).
The body of the naked woman next to the satyr on the left is not an original Dürer concept. It is traced from a print titled the Battle of the Sea Gods, by Italian fifteenth-century artist Andrea Mantegna. During his stay in Venice in 1494-1495, Dürer traced almost all of the famous Mantegna’s works available to him, using another image from the Battle of the Sea Gods in the woodcut print he titled Hercules. The veil held by the woman can be read as a symbol of St. Agnes.
The headdress on the standing, central woman is also found in Dürer’s 1497 engraving titled by scholars as the Four Naked Women or Four Witches. I believe that this headdress signifies Dürer’s mother, Barbara.
The rooster helmet worn by the naked man is also found in Dürer’s woodcut called The Beast with Two Horns, part of The Apocalypse. A rooster was used in the arms of the Nuremberg Patrician Rummel family. Dürer’s wife, Agnes Frey, was descended from a Rummel family member, and Dürer’s own family had already been intermarried with the Rummels before his marriage to Agnes.
Until the encoded Jewish penis is deciphered we will never know what this composition is really depicting. The Jewish “Azazel” was a goat that bore the sins of all the Jews on the Jewish Day of Atonement, Yom Kippur. The goat was pushed off a cliff during ancient times and is the source of the concept of “scapegoat.” It is my opinion that Dürer, as a hidden Jew, was identifying himself with the satyr, indicating that he was scapegoat, albeit a powerful one, and that the print references a family feud between the Dürers and his in-laws, the Frey/Rummels.
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