Analysis: Dürer’s “Emperor Charlemagne…”

PluribusOne™ Consulting, LLC has analyzed a fourth artwork by Renaissance artist, Albrecht Dürer (1471-1528), titled “Emperor Charlemagne and Emperor Sigismund.”  Unlike the first three analyses, this is not a woodcut or engraving but a dual portrait (diptych) in oil and tempera paint on wood (see Image File #20). Whereas the engravings and woodcuts were mass produced, to serve as secret society teaching tools apparently, this work was commissioned by the City of Nuremberg to replace a similar but deteriorating work to which Dürer must have had access. The City Counsel controlled relics: Charlemagne’s crown, garments, and other items. We assume Dürer had access to those as well. The point is that the painting was accurate rather than speculative with respect to Charlemagne’s stature, heraldic symbols, and physical instruments signifying purpose and power—including his crown, sword, and an orb topped with a cross.

The two joined panels were separated at some point so that they could be hung at the sides of the shrine at Nuremberg where the treasured relics were housed between periodic displays. Presented together, the diptych shows Charlemagne standing to the right of Sigismund who ruled some six-hundred years after him. Charlemagne has his sword in his right hand and orb topped with cross in his left. Sigismund bears a scepter in his right hand and holds a somewhat similar orb with cross in his left. Heraldic symbols pertaining to each figure are positioned about their heads. The paintings themselves are a treasure house of information about matters that go far beyond the matter of political conquests and rulers over lands, to the point that it is difficult to consider where we should begin.

First, the figures each represent what kabbalists call the “three column energy,” which indicates that Charlemagne and Sigismund were knowledgeable regarding esoteric oral teachings that originated with Moses and were handed down through the priesthood. The tripartite energy is often compared to circuitry of a light-bulb: the right (male/father) side is positive and the left (female/mother) side is negative while the central (son/sun) “column”—the filament that resists the flow—produces light. In the painting, Charlemagne is light-source for the people, their beacon; the sword (father/phallic symbol) sword is held upright in his right hand while the orb (mother/womb) with cross, a feminine symbol, contains the vision of his progeny’s rule over the world. But did anyone in those days know “Mother Earth” was round? Yes; it is revealed in the Old Testament, and ancient maps also indicate knowledge of Earth as a globe. In fact, the orb held by Sigismund appears to have the global land masses depicted upon it (and Columbus sailed two generations after Sigismund’s death).

In support of the above, we see Charlemagne’s two heraldic symbols: the eagle on one and a field of lilies on the other. The eagle is associated with visions and visionaries because eagles have “long-range vision”—a futuristic orientation—and prepare their claws in advance to grasp intended “opportunities.” The lilies are symbols reaching back to Egypt and the roots of Christendom; Moses and the early Israelites lived on the land controlled by the Egyptians and a primary symbol associated with Hathor, for example, was the lily. In ancient Egypt the opening of a water lily revealed a symbol of the Sun God emerging from darkness; the discovery of baby Moses floating on the water is a similar symbol of the harkening of the Creator’s central light to serve against forces of darkness.

Further evidence of Charlemagne’s vision, mission, and apparent genetic origin is found in the design of the crown. At the front and center of his crown is a pattern of twelve stones—four horizontal rows and three vertical columns within those rows—much like the breastplate for the Urim and Thummin constructed by Moses as he was said to have been instructed by God in Exodus 39. Therefore, Charlemagne’s garments were not only kingly but also priestly. Much more remains to be revealed.

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2 Responses to “Analysis: Dürer’s “Emperor Charlemagne…””

  1. Sandi Says:

    Your research into this painting clearly connects with other posts and not just Durer’s woodcuts. I see connections here to the post about the Urim and Thummin and the one about the Knights Templar. Did you find any further evidence in this painting that tells you Charlemagne had knowledge handed down through a priesthood rooted in Egypt and carried down through Moses and the Israelites? Was there anything you found that supports your cosmological theory of multidimensionality? I know you’re working on a book but hopefully you will share more as you sometimes have with other posts.

  2. PluribusOne™ Says:

    Here’s something more, and it is something major that we would ordinarily want to withhold until publication in a book where we can elaborate thoroughly:

    The orb with the cross is actually a symbol containing ten orbs/spheres (circles, when viewed in two dimensions). Those ten spheres and their arrangement are, altogether, an excellent symbol for our Noetitek™-based theory of multidimensionality, which involves three sets of three dimensions that work together continuously to construct a physical Omniverse that all nine penetrate and permeate. Evidence beyond the obvious that Charlemagne knew something about that object he was holding—he would not be holding something the meaning of which was unknown to him—was found in a separate examination of his last will and testament, but first we will briefly discuss the ten orbs.

    All of the orbs are located at the four terminal points of the cross. In kabbalism there are ten sephirot (spheres) that compose the Tree of Life. The orb at the bottom of the object, the part that rests in the palm of his hand (also symbolic) relates to the sphere kabbalists call Malchut, the sphere of the physical realm, the Earthly kingdom, also called the “bride”—which has unique meaning for Christians who believe in the Rapture. At each of the other three terminal points there are three orbs/circles, and in the kabbalistic Tree of Life (as well as in the NoetiTaoist™ Golden Tree of Life) there are three sets of three sephirot/spheres. Each set of three on Charlemagne’s sacred object takes the form of a trefoil, which is also reflected in the fleur-de-lis pattern on one of his two heraldic shields (a pattern carried down to the Capetian dynasty of France). In Charlemagne’s day, the kabbalistic secrets had yet to be written down—they were part of oral teaching given only to select members of the Mosaic priesthood.

    In his last will and testament, among Charlemagne’s most cherished possessions we found listed a table made of silver. It was described as heavy and beautiful and “made in three circles, showing the plan of the whole universe.” The table was not square or round (other tables bore such description) but had the design of three discrete circles.

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