Dürer's magic table. Zodiac of Johann Kleberger
Albrecht Dürer's magic square. The 4x4 magic square depicted in Albrecht Dürer's engraving "Melancholia I" is considered the earliest in European art. The two middle numbers in the bottom row indicate the date of the painting (1514). The sum of numbers on any horizontal, vertical and diagonal is 34. This sum is also found in all corner squares 2×2, in the central square (10+11+6+7), in the square of corner cells (16+13+4+1 ), in the squares built by the "knight's move" (2+8+9+15 and 3+5+12+14), in the rectangles formed by pairs of middle cells on opposite sides (3+2+15+14 and 5+8 +9+12).
slide 13 from the presentation "Square in life". The size of the archive with the presentation is 388 KB.Geometry Grade 8
summary of other presentations"Definition of regular polygons" - Problem solving. Any regular polygon is convex. oral work. built figure. Parquets from regular polygons. Formula for calculating the angle of a regular n-gon. What is the sum of the exterior angles of a regular n-gon. What is each of the corners of a regular polygon. Creative task. Polygons of various types. Convex polygon. Lesson objectives. A plane without gaps can be covered with regular triangles.
"Types of rectangles" - Diagonal. Perpendiculars. Rectangle. The square is a parallelogram. Find all unknown corners of the square. Exercises. Exercises in planimetry on finished drawings. Planimetry exercises. Converse assertion. Sign. Parallelogram. Rhombus side. Rhombus sign. A special property of a rectangle. Parallelogram ABCD. The smaller side of the rectangle. Height. Rhombus property. Prove it. Find the perimeter of the square.
"Construction of a tangent to a circle" - A circle and a straight line have one common point. Common points. Chord. Tangent to a circle. Repetition. Circle and line. Diameter. Tangent segment theorem. Mutual arrangement of a straight line and a circle. Decision. Circle.
"Polygon Area Calculation" - A polygon is made up of several polygons. Test. The area of the polygon. Work in notebooks. ABCD parallelogram. Area properties. Oral problem solving. As you understand. What are the basic properties of areas? The area of a square is equal to the square of its side. The midpoints of the sides of the rhombus. In a rectangle, the diagonals are equal. Lesson goals. Area units. Work according to ready-made drawings.
"Tasks for signs of similarity of triangles" - Determining the height of an object in a puddle. Individual card. Solution of problems according to ready-made drawings. Measuring the height of large objects. Similar triangles. The shadow of the stick. Determining the height of an object using a mirror. Solution of practical problems. Thales method. Name similar triangles. Determining the height of the pyramid. Independent work. Determining the height of an object. Gymnastics for the eyes. Lesson motto.
"The concept of a vector" - The length of a vector. Vectors. Direction vectors. Vector equality. Collinear vectors. Mark on the drawing. Equosceles trapezoid. History reference. Two non-zero vectors. Task. Two non-zero vectors are collinear. Zero vector. Geometric vector concept. What is a vector. Postponing a vector from a given point. Parallelogram.
There is a certain engraving "Melancholia", owned by the German artist Albrecht Dürer, which is more known to mathematicians and occultists than to those interested in painting.
At least - you can check it out - very little has been written about it on the Internet. And it's actually really cool stuff. And the only more or less detailed source is Dan Brown's book The Lost Symbol.
I read this book and neither the plot nor the square was deposited in my head. And then it suddenly flared up from an unexpected side.
Engraving "Melancholy" - pay attention to the square in the upper right corner:
Here it is larger:
The essence of all "magic squares" is generally clear: the sum of the columns and diagonals is equal to some number. So here. This number is 34. But the fact is that this number appears in absolutely ANY scenario. The sum of the upper left square is 34, the same is true for the upper right, lower right and lower left small squares. And also the central square - 10+11+6+7=34. And also, if you add the corner numbers 16,13, 4 and 1, you also get 34.
And also, if you start laying a line from 1 to 16, you will get such an absolutely symmetrical (moreover, in a mirror ratio !!) figure:
And at the very bottom, the numbers 15 and 14 indicate the date the engraving was created - 1514. And the numbers in the lower corners - 4 and 1 - are the digital designations of the artist's initials: D A - Dürer Albrecht.
All this mathematical “chiromancy”, according to some, indicates that Dürer created his square not by poking or selecting, but using other measurements. In the sense - going beyond the 3 dimensions and .... somehow at the seven-dimensional(????) level?…. Perhaps with the help of the so-called. “Conchoids” or “shells”, as Dürer called it (in his mathematical monograph “Guide to measuring with a compass and ruler”, published in 1525) and the author of which he was, he created his “magic square”.
"Conchoid":
And pay attention to the stone on the engraving - a parallelepiped truncated from two corners, the side faces of which are 2 regular triangles and 6 pentagons:
Robert Langdon, the symbolist detective in Dan Brown's The Lost Symbol, overlays the 16-digit cipher from the base of the Masonic pyramid onto Dürer's square and gets the transcript:
that is, JEOVA SANCTUS UNUS - the One True God.
Durer most likely belonged to a certain Secret Society. And, perhaps, he possessed some secret sacred knowledge ...
Or maybe it's all a hoax?! ..
Let's draw 16 cells and put in them the numbers from 1 to 16 in order. Now just swap 1 and 16, 4 and 13 (these are the corners), 6 and 10 and 7 and 11 (the square in the middle). And also standing next to 2 and 3 and 14 and 15.
VOILA! Here it is the magic square of the coolest degree. Just? Just! But still guess what and how to change.. On the other hand, the absolute symmetry of the substitution of numbers cannot but suggest the simplicity and universality of the solution. Or is it easy for us to argue now, and Dürer needed to use his conchoid (see above) to understand how and what to swap?...
To the naked eye you can see the correction in the engraving, which Dürer INTENTIONALLY left so obvious:
When replacing the numbers in the square drawn to us from 1 to 16 in order, only the side 5 and 9 on the left and 8 and 12 on the right remain unchanged. Initially, Dürer wanted to swap them too, but this turned out to be unnecessary. Why did he leave his mistake for all to see? Show the work of your thought? Vanity? And the year 1514, which fits so well into the square, is also a merit, or did the artist just wait for the right date to heighten the effect, having thought through all the mathematics before?))
Maybe so. Even the areas of higher mathematics can be explained by the vanity of an artist who considered himself handsome and regularly painted his self-portraits so that everyone could admire him.
Returning to "Melancholia", magic squares and the occult. The engraving was written for Emperor Maximilian I (for those who know - the husband of Mary of Burgundy, son-in-law of Charles the Bold and grandfather of Emperor Charles V).
Here is his portrait, also by Dürer:
Maximilian considered himself a melancholic. In the Middle Ages (and even now) it was believed that melancholic people are under the influence of the planet Saturn. The magic square was supposed to be a kind of talisman that would drive away the gloomy influence of Saturn, while at the same time attracting the more positive energy of Jupiter.
In general, you can write a lot about this engraving. You can still consider all the attributes - but that's for another time. Mathematics seemed to me in this case more interesting than painting.
We remember whims of geniuses better,
That the secret of their creation is kept:
Mona Lisa's immortal smile
And a naked mahi waiting look ...
Dürer was a jeweler and a poet,
Learned the secrets of words and numbers.
He traveled a lot, and
Created great engravings.
Was a scientist. After all, this is the first time
Caught up in a wave of his ideas,
Created a science - anthropometry,
What studies the skulls of people.
Versatile, like any genius!
The law sought harmony in everything.
Projects of fortresses and fortifications,
And the first star atlas, too!
Great artist's work, -
Some strange symbols are full, -
As if he wants to tell us something,
She wants to reveal the secret to us.
The whole world of art of 5 centuries wonders
Seeking to hear the true motive:
What a winged creature
Sitting sad from sad thoughts?
The history of art is silent,
Who is he.
And everyone sees his own there.
And there is little human in it,
And we do not recognize the angelic.
He was considered a "muse" once,
But where can you find such a "muse"?
After all, our winged one is clearly bearded.
Plus, it looks like Dürer.
And hair and long clothes
Used to be often worn by men.
What can we say about former fashions?
We are not experts in these mods.
There is little use in fortune-telling and disputes, -
For centuries, the abyss lay between us ...
I call him Master because
He had a planer, tongs and a saw with him.
Will they not be seen by the one who sees in the root?
What then, I do not understand, the dispute?
For the "virgin" and for the "muse" of the present
Need a cosmetic set!
Saw with a planer - Dürer is more convenient!
What have we been arguing about for centuries?
He is the best engraver,
And for engravings, a board was needed.
On the head - a semblance of a crown, -
From miraculous herbs, magical wreath...
An outsider will not be able to understand:
And what about the ball? A dog sleeping at your feet?
The winged "man" sits in sorrow.
What are you sad about? What does he remember?
Nothing around him notices -
The Master's gaze is fixed on space!
Around the set of things is rather strange,
Attracts our inquisitive eye:
Stepladder, next to a multi-faceted stone,
Hourglass, scales, square...
I'll talk about the square later -
It is associated with flesh, spirit and fire.
I will reveal the meaning of the secret numbers to you, too,
Imprinted on the square volume.
A look over the square will find the bell.
On the Day of Judgment, we will hear it ringing ...
An angry little angel writes something.
We see: He is very dissatisfied.
Illuminated by the radiance of the sun...
But I think simplicity behind the complex:
After all, people eagerly awaited
In that “terrible” year, the coming of Christ.
An unfamiliar comet is in the sky.
Everything became brighter, everything is more visible!
It seemed to people: “This is a terrible sign, -
There are not many days left for the earth to live!”
Prophecy everyone remembers John,
That there will be a bright Light before the end.
And panic seizes the countries
And everyone turned to God.
The artist was sad: “I did little,
And before GOD it is his fault!”
His soul was sad and suffering,
What is still full of sinful feelings!
In those years, the thought first sounded,
That people are the crown of the universe,
And, in the Kingdom of God, having taken its beginning,
Here, on earth, man himself is the creator!...
Perhaps the master regretted for the first time
About those creations, to which light gave,
Where in the Persons of Jesus and Mary
Almost nothing divine.
Suddenly I realized that I would not see Eternity,
The one who lives, earthly only loving.
That humanity will not rise in the souls,
Rejecting divinity.
It seemed to him that he did not do everything,
Worldly waves carried the wrong way ...
Among the "trash" of being, the soul sat,
Less and less off the ground.
The soul sought grace not in GOD,
And in satiety, in abundance and in warmth ...
Angry Angel summed up.
What the Master has done on earth.
A comet floated in the starry sky.
The magic square was telling trouble ...
Now you will understand why all this.
Sadness arose in Dürer's soul.
The illustration shows the famous mysterious engraving by Albrecht Dürer "Melancholia-1"
From the Internet:
“In 1514, Dürer followed a bright comet that appeared in the sky. A lot in the image of the engraving is connected with this comet and the symbolism of the planet Saturn, which is the patroness of melancholic people. It was believed that the god of Saturn is older than other gods, and only he has the highest intellect, and only melancholic people have access to the joy of discovery...
In the center of the composition we see a woman with wings and in a wreath, personifying Logic - this is Dürer's Muse. Sitting motionless on the porch, she is immersed in melancholy thoughtfulness and sadness: a woman, although she has wings, cannot penetrate the veil of the mystery of the Universe. Everything that happens around - passes without her participation. This depresses her and casts a melancholic mood. A gloomy boy with wings, sitting side by side on a millstone, writes something thoughtfully on a wax tablet. This is Putto, symbolizing the harbinger of the angelic spirit.
Measuring and construction tools are scattered around the heroes of the engraving. And at the feet, curled up in a ball, a greyhound dog sleeps, symbolizing a melancholic temperament. »
/end quote/
Those who are looking for the feminine in the winged creature, on Durer's engraving, stubbornly do not want to notice the beard and mustache on the face of the "muse" and the carpentry tools scattered around his feet. They see only long hair and a dress that looks, from our point of view, feminine.
But take a look at Dürer's 1498 self-portrait. Here you have the long, curled hair of the Master, here you have his dress, which reminds us of “female”.
So, on the engraving "Melancholia" Dürer portrayed himself. And this is not my discovery at all. This was first stated in the last century by a Soviet and Russian art historian and cultural historian. Honored Art Worker of the RSFSR, Paola Volkova.
And wings are God's gift to all creative people. This is known to everyone.
Now the tool that the master worked with, making his amazing woodcuts and the skinny stray dog that Albrecht sheltered, are quite appropriate - this is his everyday working environment.
Don't forget that Dürer was an excellent mathematician:
A ruler near his feet, a compass in his hand, a ball for calculating the parameters of curved lines were also often needed by him.
I think that everything is clear with the winged creature.
But, if this is still Albrecht Dürer, what is he so sad about in his own engraving?
Unlike Paola Volkova, I believe that the Master depicted not just himself, but his soul. And it is she who is in a state of melancholy.
The Master fell into this state of mind not by accident, but as a result of a combination of circumstances:
On April 11, 1490, Albrecht Dürer left his native Nuremberg for several years and set off on a trip to Europe. At the beginning of 1492 he arrived in Colmar / Now France /, where he hoped to meet with the famous engraver Martin Schongauer. By the time Albrecht arrived, Schongauer had already died, but the young man was warmly received by Martin's brothers. They even allowed Albrecht to work in his workshop.
When it was time to say goodbye, one of the brothers handed Albrecht a small square copper plate with numbers printed on it:
- Take it as a memento!
- What is it? - Durer was surprised.
- The formula of HARMONY, - followed the answer. - Martin ordered to give it to whoever wants
to surpass all painters known to the world.
Dürer, like many great ones, passionately dreamed about it.
If Albrecht were asked what his biggest passion is after painting, he would probably name mathematics.
Dürer had an irresistible desire to measure and capture everything he saw in the form of mathematical formulas. He invented his own devices for measuring curved lines and solved the most difficult measuring problems with an ordinary ruler and compass. He even wrote several manuals for working with measuring instruments.
From the Internet:
“Dürer earned wide fame as a mathematician, first of all, a geometer (at that time, German scientists almost did not solve geometric problems), who studied the theory of perspective, the construction of geometric figures and the development of fonts. The results obtained by him were highly appreciated in the works of subsequent centuries, and in the second half of the 19th century their scientific analysis was made. According to Johann Lambert, later works on perspective theory did not reach Dürer's heights. In the history of mathematics, Dürer is placed on a par with famous scientists of his time and is considered one of the founders of the theory of curves and descriptive geometry.
/end quote/
The plate intrigued him. In the chaos of figures scattered on it, he immediately saw HARMONY.
16- 3- 2- 13
5- 10- 11- 8
9- 6- 7- 12
4 - 15- 14- 1
HARMONY - in philosophy, the coordination of heterogeneous elements, in aesthetics, the coherence of the whole, born from the unity of entities of different quality.
The master even remembered the lines of some ancient poet dedicated to harmony:
"And the summer heat, and the winter coolness,
And the return of birds to their native land ...
Everything on time and as much as needed -
Life on Earth cannot be otherwise!
In HARMONY everything sacred will be born,
Full of spiritual greatness
Gaze, attracting wondrous beauty,
She turns us to the Lord! ... "
The master began with the simplest arithmetic operation - adding numbers and was amazed at the result achieved:
The addition of 4 digits in each line horizontally, vertically, diagonally, in the corners and even in sectors gave the same amount - 34!
Now Dürer had no more doubts that he was dealing with Numerology.
From the Internet:
The main provisions of the current version of Western numerology were developed in the VI century BC. e. the ancient Greek philosopher and mathematician Pythagoras, who combined the mathematical systems of the Arabs, Druids, Phoenicians and Egyptians with the sciences of human nature [Numerology received particular importance in Kabbalah, where its variety is known as gematria. The Kabbalists extended the Pythagorean concept by using numbers in magic squares for various purposes. With the discovery in the 19th century by scientists of the nature of light, electricity and magnetism, the ancient occult meanings attributed to numbers began to be attributed to the vibrations of energy. Modern numerology[ prefers a simplified numerical and alphabetic code based on the theories of Pythagoras.
Albrecht Dürer was now dealing with one of these magic squares.
But how can this square help him in his labors?
And then it dawned on him:
34 is 3 + 4 = 7, that is, the formula for transforming the firmament of the earth / 4 / through consciousness / 3 / into the firmament of heaven / 7 /.
This was and remains the main task of any creativity, the main activity of any person endowed by GOD with talent.
For the task of any Master is to SPIRITUAL THE AROUND WORLD BY THE POWER OF HIS TALENT. DO NOT LET HIM BECOME SOULLESS!
But there was the Renaissance, with its humanism and the reformation of the Church. Humanism looked at the task of the painter differently: To make a person in art the main character. Give everything divine features of the human. Man must not regain the lost likeness of GOD, but GOD must descend to human existence, become understandable to man. Practically, Everything should be aimed at finding happiness for a person on earth.
Sadly, it was the humanism of the Renaissance that became fertile ground for liberalism, which called on people to abandon all restrictions, including moral ones. During its existence, the liberalism of the spiritual Renaissance of Europe turned first into the liberalism of the revolutionary restructuring of the world, and then into the modern liberalism of permissiveness.
To Dürer, the ideas of humanism and reformation were much clearer and closer than the vague messages from Eternity.
Albrecht could not but be interested in the numbers at the base of the square:
1514
Something was supposed to happen in 22 years? Maybe the end of the world, which in the Middle Ages, as in our time, did not stop talking? Durer both believed and did not believe in the imminent coming of the Lord.
The year 1514 has come. The expectation of trouble did not leave the Master all this time.
In 1514, a bright comet appeared in the sky of Europe. In May, Albrecht's beloved mother died. Durer was in a state of melancholy for a long time. For hours he sat among his working tool, scattered on the floor, looked at one point and waited for the End of the World.
The wings of a sad creature are a clear indication that we have before us the sad soul of the Master, but the soul is not aspiring to GOD, but is tied to everyday earthly concerns. In a word, HUMANISM.
The end of the world has not come.
The painter finally managed to gather his courage and depicted the state of his yearning soul in the engraving "Melancholia 1"
Why "1"?
We must again turn to numerology:
From the Internet:
Great things start from one. There are no barriers for the number one, because success accompanies it. Research makes us open new horizons in any field, which then become a standard for everyone.
End quote/
So it is worth assuming that Dürer decided to start some new stage in his work, to make a jump to the very sky-high peaks that he dreamed of.
Nothing significant happened in 1514:
Albrecht went on a creative business trip to Portugal. There he created for his emperor Maximilian the First an engraving of a strange animal brought there from India - a rhinoceros! Maximilian, at the sight of the rhinoceros, was indescribably delighted and appointed the artist a life annuity from the pocket of the Nuremberg townsfolk.
The bright comet from the European sky soon disappeared, and Dürer continued to depict the Mother of God and the Lord as similar to ordinary German burghers, following the path of reformation and liberalism.
However, he still entered the pantheon of the great, although he did not manage to surpass those in whose works there is more divine than earthly.
Can at least one Madonna of Durer, in which there is so little heavenly and so much earthly, be comparable with Raphael's Madonna?
And you need to pray before the Face of the Lord, but not before the magic square.
…...........................................................
The magic square, reproduced by the German artist Albrecht Dürer on the engraving “Melancholia”, is known to all researchers of magic squares.
Square in its usual form (Fig. 6.1):
Figure 6.1
Interestingly, the two middle numbers in the last row of the square (they are highlighted) make up the year of the engraving - 1514.
It is believed that this square, which so fascinated Albrecht Dürer, came to Western Europe from India at the beginning of the 16th century. In India, this square was known in the 1st century AD.
It is believed that magic squares were invented by the Chinese, since the earliest mention of them is found in a Chinese manuscript written between 4000-5000 BC. That's how old the magic squares are!
Consider now all the properties of this amazing square. But we will do this on another square, the group of which includes the Durer square.
This means that the Dürer square is obtained from the square that we will now consider by one of the seven basic transformations of magic squares, namely a rotation of 180 degrees. All 8 squares that form this group have the properties that will be listed now, only in property 8 for some squares the word “row” will be replaced by the word “column” and vice versa.
The main square of this group can be seen in Fig. 6.2.
Figure 6.2
Properties of this square:.
Property 1. This square is associative, that is, any pair of numbers symmetrically located relative to the center of the square gives in the sum 17=1+n2.
Property 2. The sum of the numbers located in the corner cells of the square is equal to the magic constant of the square - 34 .
Property 3. The sum of the numbers in each corner 2x2 square, as well as in the central 2x2 square, is equal to the magic constant of the square.
Property 4. The magic constant of a square is the sum of the numbers on opposite sides of the two central 2x4 rectangles, namely: 14+15+2+3=34, 12+8+9+5=34.
Property 5. The magic constant of the square is equal to the sum of the numbers in the cells marked by the move of the chess knight, namely: 1+6+16+11=34, 14+9+3+8, 15+5+2+12=34 and 4+10+13 +7=34.
Property 6. The magic constant of a square is equal to the sum of the numbers in the corresponding diagonals of the 2x2 corner squares adjacent to the opposite vertices of the square.
For example, in the corner squares 2x2, which are highlighted in Fig. 4, the sum of the numbers in the first pair of corresponding diagonals: 1+7+10+16=34 (this is understandable, since these numbers are located on the main diagonal of the square itself). The sum of numbers in another pair of corresponding diagonals: 14+12+5+3=34.
Property 7. The magic constant of the square is the sum of the numbers in the cells marked with a move similar to the move of a chess horse, but with an elongated letter G. I show these numbers: 1+9+8+16=34, 4+12+5+13=34, 1+2 +15+16=34, 4+3+14+13=34.
Property 8. In each row of the square there are a pair of adjacent numbers, the sum of which is 15, and another pair of adjacent numbers, which are also adjacent, the sum of which is 19. In each column of the square there is a pair of adjacent numbers, the sum of which is 13, and another pair of adjacent numbers , whose sum is 21. brain cell square sudoku
Property 9. The sums of the squares of the numbers in the two extreme rows are equal to each other. The same can be said about the sums of the squares of the numbers in the two middle rows. See:
12 + 142 + 152 + 42 = 132 + 22 + 32 + 162 = 438
122 + 72 + 62 + 92 = 82 + 112 + 102 + 52 = 310
The numbers in the columns of the square have a similar property.
Property 10. If a square with vertices in the midpoints of the sides is inscribed in the square under consideration (Fig. 6.3), then:
- the sum of the numbers along one pair of opposite sides of an inscribed square is equal to the sum of the numbers along the other pair of opposite sides, and each of these sums is equal to the magic constant of the square;
- The sums of squares and the sums of cubes of the indicated numbers are equal to each other:
- 122 + 142 + 32 + 52 = 152 + 92 + 82 + 22 = 374
- 123 + 143 + 33 + 53 = 153 + 93 + 83 + 23 = 4624
Figure 6.3
These are the properties of the magic square in Fig. 5.2
It should be noted that in the associative square, which is the square under consideration, one can also perform such transformations as permutation of symmetrical rows and/or columns. For example, in fig. 5.4 shows a square obtained from the square in fig. 4 by interchanging the two middle columns.
Figure 6.4
In the new associative squares obtained by such transformations, not all of the properties listed above are satisfied, but many properties are present. Readers are invited to check the performance of the properties in the square with fig. 6.4.
A.V. Lantratov
ContentRice. 16. The position of the planets in the morning (two hours after sunrise)
September 1st Art. (September 11 NS) 1624 AD Place of observation - Nuremberg.
Based on the StarCalc screen
Thus, we have three options relating the “zodiac” date recorded in the picture, depending on the possible calendar representations of its customer, to the end of the eighth month of January 1624, the end of the first decade of the first month, or exactly to the beginning of September 1625.
A natural question arises: which of these options best matches the image on ? As we will now see, the latter, since a number of other details of the picture under consideration are in perfect agreement with it.
4. "Year of Saturn" and the symbolic meaning of the "lion" horoscope
First of all, let's take a look at the two figures depicted in the lower left and right corners of the portrait, fig. 17, and try to understand what they mean.
Rice. 17. Figures in the lower part of the portrait of Johann Kleberger.
Enlarged fragments of Fig. 3
With the left of them - a clover shamrock growing on top of a mountain - there are no questions. This is an ordinary armorial shield with the symbolism of the owner. Exactly the same symbol can be seen on another surviving image of Johann Kleberger (from clover, by the way, his surname itself comes), fig. eighteen.
Rice. 18. Johann Kleberger on the medal of an unknown Nuremberg master,
related, like the portrait of Dürer, to 1526. Seen on the reverse side
helmet, over which is depicted a mountain with a trefoil growing on its top
But what exactly does right mean? Of course, it is quite possible to say that this is “just a beautiful picture paired with a shield,” and be satisfied with that. However, taking into account the above, in this picture it is easy to recognize an astronomical plot slightly veiled under the heraldic style. Indeed, we see here a long-bearded old man holding two shamrocks in his hands. The background of this composition suggests itself: six identical leaves (as well as six identical stars in the opposite corner of the same portrait, ) most likely represent six planets, fig. 19-21, and the elder - some kind of seventh planet.
Rice. 19. Planet tree. Title page of the alchemical treatise:
Rice. 20. Planets (they are also alchemical elements),
depicted as leaves on the branches of a tree.
Rice. 21. Sun, Moon and planets on the branches of the alchemical tree.
Illustration from the treatise: Johann Mylius, Philosophia Reformata, Frankfurt, 1622
The question is, what exactly? Obviously, this is either Jupiter or Saturn, since it is these two planets that are most often (and the latter almost always) depicted in this form, fig. 22.
Rice. 22. Jupiter (left) and Saturn (right) in engravings by Hans Burgkmair.
Allegedly the end of the XV - the beginning of the XVI century
Strictly speaking, more or less similar images are sometimes found for Mars, Mercury and the Sun, however, they always have signatures or characteristic attributes (the sword of Mars, the winged rod of Mercury, etc.) that make it possible to understand which planet is meant , . In the absence of such attributes, it is Jupiter and Saturn that remain, since the only sign for identification, in this case, is the actual age, and the latter are the elders among the “planetary” gods.
So, let's consider the first option. In this case, it turns out that the six planets are divided into two triplets, depicted as shamrocks in the hands of the elder Jupiter. From an astronomical point of view, this means that three planets should be on one side of Jupiter, and three on the other. But this is exactly what happened in the “New Year's” decision of 1624/25 obtained above: to the left of Jupiter, on the side of Virgo, were Mercury, the Sun and Venus, to the right - Mars, the Moon and Saturn,. That is, when the elder is identified with Jupiter, the whole composition acquires the meaning of an additional astronomical indication to the main horoscope.
In the second case, such a transparent correspondence, of course, is no longer observed, however, as it turns out, it does not in the least contradict the “New Year” version of the dating obtained above. And even more than that, it not only additionally confirms it, but also allows a deeper understanding of the logic and way of thinking that guided the author and / or customer of the portrait in question.
Namely, let us ask ourselves the question: what else, besides the division of the planets into two groups, can the fact that they are all depicted the same, small and, moreover, in the hands of an old man personifying (this time) Saturn mean? It is obvious that the latter holds them all in some kind of subordination (literally, "in the hands"). The question is, what kind of "subordination" can we talk about? The answer is given again. The fact is that an observer who looked at the starry sky on New Year's Eve of September 1625 saw Saturn rise about two hours before dawn, half an hour later the Moon (in the form of a barely noticeable or even completely indistinguishable sickle), and an hour later - all other planets. That is, figuratively speaking, in these pre-dawn hours Saturn "reigned" in the sky, thus announcing that the coming months would pass under his "rule" (as with all the rest, equally "subordinate" to him, the planets, the fate of which, in the near future , was "in his hands", and, of course, earthly affairs).
And, as is well known, this kind of correlation of the year with the planet “ruling” it was indeed a common practice in the era of Kleberger-Dürer, fig. 23-24.
Rice. 23. Saturn is the ruler of the annual circle. Illustration from
medieval astrological almanac. Allegedly 1491
Rice. 24. Saturn. On the reverse side - a vestal at the altar and the inscription
"Good luck in the new year" (SPENDE NEUES GLUCK IM WECHSEL DES JAHRES).
Medal issued in Nuremberg around 1810
This tradition has been preserved to this day, fig. 25-29.
Rice. 25. "Saturn is the ruler of the year" (JAHRES REGENT SATURN).
Medal from the "calendar" series produced in Austria
1933 to present
Rice. 26. Obverse sides of two more Austrian calendar medals
(for 1937 and 1972), dedicated to Saturn
Rice. 27. Jupiter and Mars on Austrian calendar medals
Rice. 28. Venus and Mercury on Austrian calendar medals
Rice. 29. Sun and Moon on Austrian calendar medals
Thus, the identification of the elder on with Saturn also perfectly corresponds to the solution found above. Unless the reading of the composition turns out to be a little more intricate, and the resulting meaning shifts from a purely astronomical to an allegorical plane.
The latter, however, can be objected to by the fact that Saturn, according to medieval ideas, was considered an ominous, extremely unfavorable planet associated with death and all sorts of bad influences. The [Saplin] edition summarizes these views as follows: “Saturn is the fifth planet in astronomical terms ... In individual astrology, the following concepts are subordinate to Saturn: partings, obstacles, difficulties, losses, confrontations, endurance, patience, perseverance, thoroughness, alienation, loneliness, coldness , age, difficulty, cruelty, steadfastness, constancy, envy and greed. In world astrology ... Saturn is responsible for national disasters, epidemics, famine, etc. ... ". And also: “Great misfortune (lat. Infortuna major) is an epithet of the planet Saturn, which is considered the most unfavorable planet, often used in medieval astrology.”
In general, at first glance, it is difficult to imagine a reason that could prompt someone to commission their portrait against such a background. And in most cases, this would be quite enough to reject the option of identifying the elder with Saturn (thus leaving Jupiter as the only candidate for him). However, in this particular case, such a neighborhood can be very easily explained. The fact is that the picture described above of how the "sinister" Saturn was the first to rise on New Year's Eve of September 1625 was not entirely complete. To be completely accurate, then, as again clearly seen on, “the very first” - according to the calculated data, three minutes earlier than Saturn - one of the brightest stars in the sky, Regulus, appeared on the horizon. And already after Regulus, the turn of the “reigning” Saturn came (by the way, the name of this star is also associated with royal power and means, translated from Latin, “little king”).
Regarding Regulus, the publication [Saplin] says this: "Regulus (Regulus), the Heart of the Lion ... is the star α Leo, ... indicates happiness." That is, from the point of view of the same medieval ideas, by the time of the rising of the “Great Misfortune” = Saturn, his evil incarnation was neutralized by the “happy” Regulus, and, consequently, positive traits came to the fore - “endurance, patience, perseverance, thoroughness, ... steadfastness, constancy. Reinforced in addition to the "royal" essence of Regulus. Who would refuse such a set?
By the way, it immediately becomes clear why Saturn could be depicted in the form of a good-natured old man, without his usual attributes in the form of a scythe and a devouring baby,. In this case, they obviously were no longer needed. On the other hand, the author’s train of thought could have been more sophisticated and consisted in the fact that, having depicted the named elder without any characteristic attributes that would unambiguously indicate Saturn or Jupiter, he thereby provided the viewer, who was quite experienced in this kind of subtleties, with the opportunity correlate it with each of them, and in both cases revealing an important part of the general meaning embedded in the picture.
By the way, Saturn has another aspect, which could also be considered as one of the fragments of the multifaceted symbolism of the picture. Namely, Saturn-Kronos was also associated with the ageless Chronos, that is, Time. And, therefore, the placement of his figure in the portrait, when looking at it from such an angle, could promise a long life for the depicted, fig. 30-31.
Rice. 30. Saturn-Chronos wishing good luck in the new year
(VERTENTE ANNO - literally: "throughout the year").
Medal issued in Augsburg and dated 1635
Rice. 31. Leopold Habsburg with his son Joseph at the altar of Eternity, opposite them
- Chronos-Saturn with a broken scythe and an hourglass thrown to the ground
and Fortuna with a cornucopia. On the reverse side is depicted sitting in the clouds
Chronos holding in his hand a serpent coiled around the number XVII, biting itself
by the tail (a symbol of cyclicality, rebirth, etc.). Augsburg medal,
issued in 1700, in commemoration of the coming onset of the new age
Thus, we see that even the standard interpretation of the symbol on as denoting the constellation Leo, leads us to a very interesting and symbolically rich result. However, as mentioned above, there is another reading option, according to which this symbol indicates a specific star in the sky - Regulus. Let us now consider this possibility.
5. The second version of the horoscope is “with Regulus”.
When was Johann Kleberger born?
In this case, we get that the next horoscope is presented - all the planets in the vicinity of Regulus. At first glance, it may seem that there is no difference with the version already analyzed - all the planets in Leo - because, as mentioned a little higher, one of the names used by medieval astronomers Regulus was “Heart of the Lion” (Cor Leonis), and the phrases “ in the Lion" and "in the vicinity of the Lion's heart" give the impression of being, on the whole, synonymous. However, from a purely astronomical point of view, there is a significant difference between them, caused by the fact that the exact position of the star Regulus does not coincide with the geometric center of the figure of the constellation Leo (and its projection onto the ecliptic). In fact, Regulus is noticeably closer to Cancer than to Virgo. Therefore, in order to correctly take into account this nuance, the area allowed for the planets must be somewhat expanded by adding to Leo the half of Cancer bordering on it.
Thus, the expanded "according to Regulus" horoscope takes the following form - all the planets from the middle of Cancer to Virgo.
It is quite obvious that among its astronomically possible solutions, the "New Year's" days found above, August 31 - September 1, 1624, will still remain (as well as the year 1007, which obviously disappears). This means that everything that has been said before will remain fully valid. The question, in this case, is only whether there will be new solutions, and if so, which ones? Perhaps among them there will be one that would correspond to the Scaligerian dating of the painting in question?
- 1) August 30 - September 1, 1445 AD;
2) October 10-11, 1564 AD;
3) August 3-6, old style, 1624 AD
The first of these decisions - 1445 AD - however, immediately disappears, as it turns out to be forty years earlier than the Scaligerian date of birth of Johann Kleberger - 1485/86. The second one, 1564 AD, also disappears, since the latter, according to the same Scaligerian chronology, died twenty years before this date, in 1546. In the same way, both of these solutions do not correspond to the Scaligerian dating of the life of Albrecht Dürer, supposedly 1471-1528, with whose monogram the painting in question is signed, . That is, as we can see, its dating proposed by the Scaligerian historians - as if 1526 - is not confirmed in this case either.
As a result, only one solution remains for further analysis - August 3-6, old style (August 13-16, new style), 1624 AD. Let's take care of them.
It immediately attracts attention that this decision turns out to be “paired” with the previously found “New Year's” decision of late August - early September of the same 1624, separated from the latter by only three weeks. This obviously can mean one of two things. Either the newly found solution is a side effect, which is nothing more than a consequence of an excessive expansion of the ecliptic area allowed for the location of the planets, or there is some separate plot behind it, revealing an additional important fragment of the general idea embedded in the symbolism of the picture. And then you need to understand which one.
Let's try to find out. Above, we have already considered the details of the picture, placed in all four of its corners. Only the central part remained untouched, with the actual image of Johann Kleberger and a Latin inscription running along the rim of the portrait circle. We will now turn to her.
So, this inscription is E IOA[N]NI KLEBERGERS NORICI AN AETA SVAE XXXX. Translated into Russian: "portrait of Johann Kleberger from Norik (Nuremberg - BUT.) [pictured] at the age of 40.” Here attention is drawn to the "round" - exactly forty years old - the age of the person portrayed. This is on the one hand. On the other hand, as reported in, his birthday was August 15 (which source contains this number is not said, but since, unlike the year, the day is much less subject to chronological distortions, both accidental and, in features, intentional - then, most likely, this instruction can be trusted).
This means that Kleberger's fortieth birthday fell on August 15, 1624 (and he was born, therefore, on August 15, 1584). But it is precisely on this date (or, more strictly, on the interval from August 13 to 16, with the smallest deviation from the “best points” on August 15) that the “extended” solution indicates!
Thus, the following completely natural picture opens before us. On August 15, 1624, Johann Kleberger turned forty years old (which, at that time, was a very respectable age). And literally three weeks later, the new September 1625 year came, promising, according to the ideas of the era, to be very favorable (and should pass, in particular, under the sign of solidity and steadfastness - qualities that are undoubtedly very important for a banker). All this, taken together, was reflected in the wonderful portrait performed by Albrecht Dürer.
Which of these two dates simultaneously recorded in the picture was considered as the “main” one, it is impossible to say unambiguously. In the case of the first, a fixation of the age and status already achieved by the depicted was obtained, in the case of the second, a focus on further growth and prosperity in the future. But, most likely, the general symbolic message of the portrait was formed - in the perception of the author, the customer and their contemporaries - as a balance of both. Or, to put it more simply, the portrait in question was “read” by them approximately in the same way as modern anniversary postcards (from this, by the way, it follows that it could have been ordered not by the “hero of the occasion” himself, as is believed, but by one of his relatives or friends as a gift).
This is the result following from the purely historical background of the "anniversary" date of August 15 (new style), 1624. Let us now look at its astronomical aspect. Namely, how much the picture of the sky observed on that date corresponded to what we see on .
So, the table below shows the calculated positions of the planets on the specified date, and in fig. 32 gives a visual "picture" of the starry sky, obtained using the StarCalc planetarium program.
JULIAN DAY (JD) = 2314441 |
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MERCURY |
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Rice. 32. The position of the planets on the morning of August 15 n. Art. 1624 AD Comparison of these data with again reveals complete agreement. In fact, of the seven planets, five (Sun, Moon, Saturn, Jupiter and Mars) were strictly in Leo, the sixth (Venus) was on the border of Leo with Cancer, and only Mercury was directly in Cancer. At the same time, Regulus was located right in the middle of the planetary “ruler”, which ideally corresponds to the identification of the central symbol on with him. Moreover, in the same place - in the center - there was also the Sun, which, again, is in perfect agreement with the image of the latter on not in the form of one of the faceless and in no way differing from each other stars, but in the form of a radiance equally embracing each from the last. This is what follows from the formal arrangement of the planets on the date in question. From the observational point of view, the picture of the early morning Nuremberg sky was as follows. A little more than an hour and a half before dawn, Mercury rose, and Venus appeared forty minutes after it. Then, almost simultaneously - literally within seven minutes - Saturn, the Sun and Mars rose (and a few minutes later - Regulus). Jupiter and the Moon closed this procession, appearing only an hour and a half after dawn. Consequently, of all the planets in the night sky, only Mercury and Venus could be observed on the anniversary date for Johann Kleberger. It is possible that this circumstance was reflected in the fact that all the stars on it are divided into two groups in relation to Regulus (and the two lower planetary stars, in a sense, are opposed to the four upper ones). If this is true, then the whole composition could be read as follows (in the direction from bottom to top): first, two planets appeared in the sky (represented by two stars in the lower part), and then Regulus (symbol in the center), the Sun (radiance) and all the rest of the planets. And one more observation that well complements the overall picture. The fact that on the date found above, Mercury was the first to appear in the night sky - and, therefore, the day of Kleberger's anniversary was the "day of Mercury" - was probably also considered by the people of that era in a symbolic way and perceived by them as a good omen, since Mercury was considered ( and is considered) the patron of trade and wealth, often depicted with a money bag, fig. 33-35, and Kleberger, as already mentioned, was a banker and merchant.  Rice. 33. "Children of Mercury". Engraving by Hans Sebald Beham depicting a rider
Rice. 34. Mercury with a money bag on the relief of Artus Quellinus
Rice. 35. Year of Mercury (JAHR DES MERKUR). Last of twelve released 6. The "Sign of Regulus" and the "magical" nature of Kleberger's portraitThus, we see that on both dates we found - "anniversary" and "New Year's" - the "royal" Regulus played a decisive role both in the immediate astronomical picture, and, especially, in its symbolic interpretation. That is, figuratively speaking, it is quite possible to say that the portrait of Johann Kleberger is dedicated to the events that happened "under the sign of Regulus." And it is remarkable that it is precisely this premise that turns out to be expressed in a completely transparent way in the last remaining detail that has not yet been considered. Namely, at the very end of the inscription running along the rim of the portrait circle (the text of which was given in full above), a bizarre symbol is placed, which is the so-called “sign of the spirit” of Regulus, fig. 36.  Rice. 36. Fragment of an inscription on a portrait of Johann Kleberger Such signs, designed to accumulate influences exerted by one or another astral (angelic, demonic, etc.) entity, date back (in most cases) to the well-known work of Cornelius Agrippa "Occult Philosophy" (first published, it is believed, in 1531) , rice. 37, and are found on many objects of a “magic” nature created in the era under consideration, fig. 38-39.  Rice. 37. Page from "Occult Philosophy" with images of signs
Rice. 38. "Astronomical Seal of Leo" (ASTRONOMICVM SIGILLVM LEONIS).
Rice. 39. "Magic sign" Regula. Enlarged fragment of Fig. 5 It is clear that the presence of this sign on the portrait of Kleberger should, on the one hand, “attract” to its owner the beneficial influence exerted by Regulus, and on the other, emphasize that the picture itself was written “under a lucky star”. The latter, by the way, should be understood almost literally, since Regulus, as mentioned above, according to the then ideas, "pointed to happiness." Thus, in general, it turns out that the portrait of Johann Kleberger painted by Dürer is a kind of talisman that, according to the author or customer, should bring happiness depicted on it, sent down by the “royal” Regulus. And also, apparently, "endurance, patience, perseverance, thoroughness, ... steadfastness, constancy" [Saplin] bestowed by "neutral-positive" Saturn. By the way, the same “happy” meaning could partly (along with the above heraldic and astronomical components) be carried by the image of clover, since it is a well-known symbol of good luck. 7. "The Sun in the Heart of a Lion" and the birthday of Johann KlebergerSo, we made sure that the portrait of Johann Kleberger is literally permeated with the symbolism of Regulus. Both in the abstract-allegorical, and - most importantly - in the concrete-astronomical sense. Moreover, the first is only an appendage to the second, allowing you to more fully reveal the multi-layered content of the picture. And now it would be useful to see what the Scaligerian historians say about this. The fact that the symbolism of Regulus was noticed by them, we already know. But how exactly is it interpreted by them? The answer to this question is in the description of the medal given in: "Agrippa's seals and characters frequently occur, with many other signs, on post-mediaeval medallions and seem usually to be taken from his works. ... The medallion of the Sun shows the Sun in his astrological house, the Lion, as on the coat of arms of Persia. On the reverse there appear the character of the Intelligence of the Sun (Nachiel), the zodiacal sign of Leo, and the sign of the "heart of the lion" (Cor leonis), i.e., the bright fixed star Regulus. This sign appears also in Agrippa's book, and moreover, Durer depicted it in the portrait of Kleeberger in Vienna; for Kleeberger was born in this significant conjunction of the Sun and Regulus (Sol in Corde leonis)." Translated: “Seals and characters (“conventional icons for frequently used concepts found on astrological medals and talismans, magical symbols”, [Saplin] - BUT.) Agrippa is often found, along with many other signs, on post-medieval medallions and is usually taken from his work. … The medallion of the Sun shows the Sun in its astrological house, Leo, as on the coat of arms of Persia. The reverse side depicts the nature of the spirit of the Sun (Nahiel), the zodiac sign of Leo and the sign of the "heart of the lion" (Cor leonis), that is, the bright fixed star Regulus. This sign is also present in the book of Agrippa and, moreover, Dürer depicted it in the portrait of Kleberger from Vienna, because Kleberger was born at a significant conjunction of the Sun with Regulus (Sol in Corde leonis). Without going into the subtleties of interpreting each of the listed symbols, it is proposed here to assume that the reason that prompted Dürer to place Regulus signs on Kleberger's portrait was simply that at the time of his birth the Sun was in conjunction ("conjunction") with the latter. Or, literally translated, it was "in the Heart of the Lion" ("Sol in Corde leonis"). That's it, simple and uncomplicated. Such a simple indication of the birth of Kleberger "under the sign of Regulus", according to the author, the astronomical content of the portrait is exhausted. In principle, one could hardly expect otherwise, since in the vast majority of cases, when meeting with one or another ancient zodiac, Scaligerian historians do their best to get away from the potentially dangerous topic of its astronomical dating as soon as possible (since it is rarely possible to obtain acceptable dates) into a convenient plane of safe reasoning "about something else." For example, about the occult (however, in fairness it should be said that the work is devoted to a rather narrow issue of building "magic seals", and in this regard there can be no complaints about it). However, the author of the description quoted above quite correctly notes that on Johannes Kleberger's birthday the Sun was "in the heart of a Lion". Indeed, this is exactly what happened on the date of the fortieth anniversary of the latter found above. The sun that day was in the closest (about two degrees of arc) approach to Regulus. That is, indeed, "in the Heart of a Lion", . And it is clear that the same picture was observed forty years before this date - on the day Kleberger was born. From this point of view, the latter was indeed born "under the sign of Regulus." After these words, it may seem that the same is true of the Scaligerian date of birth of Johann Kleberger. However, it is not. After all, the “jubilee” August 15, 1624 is the fifteenth of August in the new style. That is, according to our usual Gregorian calendar. Counting from him forty years ago, we find ourselves on the day Johann Kleberger was born - August 15, 1584. Again of a new style, since the Gregorian Reform was carried out two years earlier than this date. But if, as Scaligerian historians claim, Kleberger was born in 1485/86 and died in 1546, then August 15 was Julian throughout his life. And if we now run any planetarium computer program and open a “picture” for August 15, 1485 in it, it turns out that the Sun on that day was, although quite close, at about 11 degrees of arc, but, nevertheless, not in the Heart of the Lion. And besides, in such a - about ten degrees, that is, a third of the average length of the constellation - the magnitude of the approach is, in general, nothing particularly outstanding, and no matter what arbitrarily chosen position of the Sun is taken, there will surely be a fairly bright star located on a comparable , and even noticeably smaller distance from the latter. This means that even the explanation given above and offered by the Scaligerian historians to the extreme, “truncated” explanation much better corresponds to the independent astronomical dating of the Kleberger horoscope that we obtained, rather than the Scaligerian dating of the era of his life. By the way, speaking about the location of the Sun “in the heart of Leo”, one cannot help but pay attention to the fact that on the anniversary date for Kleberger, August 15, 1624, by a happy coincidence, an even brighter event fell - the combination of four “stars” at once: Regula , the Sun, Saturn and Mars, all at the same time appearing in a tiny area of the sky, . And although such a “doubled” connection, for obvious reasons, could not be directly observed, it is clear that, from the point of view of various kinds of mystical ideas of that era, such an event should have been regarded as important (and, by virtue of the above logic, very favorable). ) sign. So, it could well become one of the immediate reasons for writing the picture in question. 8. Is the stellar or symbolic zodiac depicted in Kleberger's portrait?Before summing up the final result, we will deal with a few expected objections. First of all, surely one of the defenders of the Scaligerian chronology, who does not want to part with the dating of the portrait in question proposed by it in 1526, will object in the spirit that the stars do not, in fact, symbolize planets at all, but “just stars” of the constellation Leo ( and, accordingly, there is no horoscope on the portrait of Kleberger, - he will add with a sigh of relief, - no). This can be answered as follows. Firstly, the very configuration of these stars does not even remotely resemble the drawing of the constellation Leo,. Secondly, there are more than six stars that have their own names - assuming that they are depicted on the map - in Leo. Thirdly, if the artist wanted to designate the birth of Kleberger “under the sign of Regulus” and nothing more, then only his “magic” sign would be enough, completing the inscription with his name and age, . But the main thing, and this is fourth, is still something else. Namely, the very fact that the identification of stars on planets and not with some nameless stars leads immediately to two dates that are in perfect agreement with each other, with the astronomical situation and all the details of the picture, directly indicates that such an identification is correct, since it is quite obvious that such an impressive result could hardly have been obtained by pure chance. Another potential opportunity to “tie up ends meet,” that is, to get the “correct” date for the horoscope in the portrait of Johann Kleberger, from the Scaligerian point of view, opens if we assume that this horoscope is not observational-stellar, but settlement-sign, that is, the positions of the planets in it are tied not to the constellation, but to the sign of Leo of the same name (but by no means coinciding with it). It is clear that such an interpretation, in this case, is extremely doubtful, but, nevertheless, for completeness, it was also taken into account. The verification calculation performed in the ZET 9 program showed that in the interval from 1400 to 1800 the sign horoscope "all the planets in Leo" has no solutions. If, however, we weaken the required accuracy, and conduct a second search in the most “sparing” version, allowing the “climbing” of the planets by as much as 10 degrees into the signs of Cancer and Virgo adjacent to Leo, then two solutions appear - September 2-6, 1622 AD. and August 12-16, 1624 AD. (both in the new style). What do we see here? Firstly, the fact that none of these solutions still fell into the 16th century required to confirm the Scaligerian dating of the painting. And secondly, among them was again the date of August 15, 1624! That is the date of the fortieth anniversary of Kleberger. According to the calculation, all the planets that day were in the sign of Leo, and only Jupiter was at 7 degrees Virgo. True, such a significant deviation practically excludes the possibility of making this decision, since Jupiter is not a fast-moving Mercury, and it takes about 12 days to pass only 1 degree along the ecliptic, and 7 degrees give almost three whole months! But if we close our eyes to this circumstance (assuming that the calculation was carried out according to a theory that gave out of hand bad accuracy, and the unfortunate astrologer who performed it never looked at the real sky in his life), it turns out that even with a “sign” interpretation of the horoscope depicted in the portrait of Kleberger, the decision of the latter - 1624 - remains unchanged. 9. About the September and January yearsAnother possible objection that should be considered arises from a direct comparison with each other of the dates obtained above for August-September 1624. Namely, some doubt may be caused by the fact that one of these dates - the "anniversary" - turned out to be written in a new style, and the second - in the old one, and besides, with the beginning of the year in September. But by that time, four decades had already passed since the introduction of the Gregorian calendar, not to mention the fact that the new year in Western Europe in that era began, as it is believed, in March. The question is, how can all this be combined? More precisely, could the second of these dates really be perceived - by Kleberger and at least by some of his contemporaries - as the date of the beginning of the new 1625 (September) year? And did they really live simultaneously on two calendars at once, switching between them every now and then? As a matter of fact, as far as the last question is concerned, it could well be so. But, in this case, the mixing of dates from different calendars can be explained in a more elegant way. In fact, as we have already seen, the picture in question is not so much an ordinary portrait as a talisman, which is directly indicated by the “magic” sign of Regulus depicted on it. So, it is through this prism, first of all, that one should look at the dates recorded on this portrait-talisman. And then everything is explained very simply. Indeed, it is obvious that the "magic" date (that is, the date in which a certain "magic" meaning is embedded) - namely, this is the "New Year's" decision on September 1 (old style) 1624 - does not have to be written down at all " as everybody". On the contrary, the more unusual and, at first glance, incomprehensible, the better. This is on the one hand. On the other hand, it is well known that it was fashionable to consider “Ancient” Egypt as the birthplace of the “magic” practices “reviving” in the epoch of the 16th-17th centuries (“The Renaissance magician thought that he was returning to Egyptian wisdom”, and also: “... the content of the Hermetic texts nourished in the Renaissance magician the illusion that before him is a mysterious, precious story about ancient Egyptian wisdom, philosophy, magic," [Yates]). Therefore, attention to what this or that “usual” date indicates, if you look at it from the “ancient” Egyptian point of view (and, of course, according to the old style), is quite understandable. By the way, it is worth noting here that the presence of the “magic” sign of Regulus in the portrait under consideration could carry, along with the above, one more aspect. Namely, this sign, borrowed from the well-known in certain circles "Occult Philosophy" - a book devoted to "secret" knowledge, hidden from the uninitiated, could not only accumulate the beneficial influence of Regulus, directing it to the depicted (that is, to fulfill its direct " magical" function), but also, in itself, signal to a sufficiently knowledgeable viewer that the portrait contains some kind of secret message hidden from the ordinary eye. That is, to point to dates recorded in an unobvious, to an inexperienced look, in an astronomical way, revealing, when interpreted in a mystical spirit, the meaning inherent in the picture to a much greater extent than a simple signature with numbers. A small nuance. Strictly speaking, when comparing the January year with the September one, two recalculation options are acceptable. In the first, the September year is ahead of the January one by four months (and on September 1, 1624, the September year 1625 begins), in the second, it is eight months behind (and then the beginning of the September 1624 year falls on the same date). From a formal point of view, both of these options are equivalent, but from the “magic” point of view, the first one is undeniably preferable, since the recalculation of the date “ahead of time” exactly corresponds to the aspiration to the future, that is, for which any talisman is created. Therefore, the above correlation of the date of September 1, 1624 with the beginning of exactly the 1625th, and not the 1624th September year, in the case of the portrait of Kleberger is fully justified. And the last. In the light of all the above, it is possible that the “digital” date “1526” placed on the portrait, meaning, as we now understand, 1625, could actually refer not to January, but to the same September year. And, therefore, this portrait itself could have been painted by Dürer already in September 1624 (January, familiar to us), that is, literally “in hot pursuit” of the events that have just passed. 10. Conclusion. When did Albrecht Dürer live?So, let us briefly list the three main astronomical plots that follow from the dating of the zodiac depicted in the portrait of Johann Kleberger: 1) on the first of the two dates recorded on the portrait - the date of the fortieth anniversary of Kleberger - Mercury, the patron of money affairs and wealth, “reigned” in the night sky; 2) on the same date the "royal" Sun was in conjunction with the "lucky" Regulus; 3) finally, the same "happy" Regulus, together with Saturn (also identified with the "eternal" Chronos), "ruled" in the sky on the second - "New Year's" - date. It turns out a whole bunch of events, each of which, according to medieval views, was interpreted as a favorable sign sent down by the heavens themselves and promising wealth, happiness and good luck to Kleberger who was honored with them. In the same vein, as a symbol of good luck, the heraldic attribute of Kleberger depicted in the picture, a clover leaf, could also be “read”. Finally, in the most obvious way, the intention of the customer of the picture is revealed by the "magic sign" of Regulus placed on it. All this, taken together, clearly indicates that the portrait of Johann Kleberger is not just an ordinary work of painting, intended to decorate the interior and delight the eyes of the audience, but, first of all, a talisman, at the heart of the creation (and correct understanding) which lay the ancient language of astronomical symbolism, fig. 40.  Fig, 40. Love talisman of Catherine de Medici. On both sides In conclusion, the following can be said. We see that an unbiased astronomical dating of the zodiac depicted in the portrait of Johann Kleberger allows not only to determine the true time of his life, as it turns out, a century closer to us, but also to obtain another important proof that the numbers 5 and 6 were once really had a meaning opposite to the modern one. Today's number 6 was originally perceived as a five, and vice versa, today's number 5 at first denoted a six. As for Albrecht Dürer, whose trademark this remarkable “magical” portrait is signed, the result obtained once again confirms the statement formulated and substantiated in detail in [KhRON5] that either he (like Kleberger himself) lived later than this it is generally accepted that he “left” into the past as a result of a century-long chronological shift, or a certain artist with that name really existed in the 15th-16th centuries and was very famous, but practically nothing remained of his original works. And, looking today at the works attributed to Dürer, we see, in fact, the creations of a whole galaxy of remarkable masters, created mainly in the 17th century and retroactively declared works of the 15th-16th centuries. 11. Conclusions1. On the portrait of Johann Kleberger painted by Albrecht Dürer (whoever was hiding, in this case, behind this famous name), the artist depicted not one, as it seems at a glance, but three related dates at once. 2. The first - August 15 (new style), 1624 - indicated exactly the fortieth birthday of the depicted. 3. Second. - September 1 (old style) 1624 - marked the moment of the onset of the new year 1625 according to the "ancient" Egyptian account. 4. The third one, the date “1526”, presented in an explicit form and reporting the time of the painting, did not in fact mean the end of the first quarter of the 16th century, as it is perceived today, but, taking into account the old meaning of the numbers 5 and 6, the same the very year 1625 (according to the January or September account). 5. In general, the portrait of Johann Kleberger is a highly artistic talisman created on the occasion of the customer’s anniversary, which should contribute to a long life full of earthly joys, in which at least “explicit” (portrait), “secret” (hidden from inexperienced eyes) stand out astronomical), and, in fact, the “magic-functional” (following from the previous one and additionally underlined by the “regulus sign”) components. Literature[CHRON1] Fomenko A.T. "Foundations of History". — Moscow, Rimis, 2005.[CHRON2] Fomenko A.T. "Methods". — Moscow, Rimis, 2005. [CHRON4] Nosovsky G.V., Fomenko A.T. "New Chronology of Russia". — Moscow, Rimis, 2004. [CHRON5] Nosovsky G.V., Fomenko A.T. "Empire". — Moscow, Rimis, 2004. Nowotny K.A. "The Construction of Certain Seals and Characters in the Work of Agrippa of Nettesheim". — Journal of the Warburg and Courtauld Institutes, Vol. 12, 1949, pp. 46-57. Roos A.M. "Magic Coins" and "Magic Squares": The Discovery of Astrological Sigils in the Oldenburg Letters". — Notes and Records of the Royal Society of London, Vol. 62, No. 3, 2008, pp. 271-288. [Yates] Yates F. "Giordano Bruno and the Hermetic Tradition." - Moscow, New Literary Review, 2000. [Saplin] Saplin A.Yu. “Astrology for everyone. Encyclopedia". - Moscow, Geleos, 2007. | ||||||
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