Albrecht Dürer, The Death of Orpheus, pen and ink drawing, 1494 (Kunsthalle, Hamburg). In this Albrecht Dürer’s (1471-1528, Nuremburg,) 1494 drawing, the banner hung in the tree reads: Orfeus der erst puseran (“Orpheus, the first sodomite”). The word puseran(t) derives from the Italian buggerone, which in its turn derives from Latin bulgarus from which come also the terms bugger in English and bougre in French. Though the drawing could be taken as a Northern European reaction to sodomy, it is actually based on an original, now lost, by the Italian master Andrea Mantegna. Albrecht Dürer, Der Tod des Orpheus, Federzeichnung, 1494 (Kunsthalle, (museum) Hamburg). (Italian description: Il cartiglio al di sopra della testa porta scritto: Orfeus der erst puseran (“Orfeo, il primo buggerone”). Buggerone è un termine medievale per “sodomita attivo”: le baccanti stanno infatti punendo Orfeo per aver giurato di non amare più le donne dopo avere perso la sua amata Euridice, dandosi in alternativa ai ragazzi. Benché il disegno possa essere preso come un esempio di reazione nordeuropea alla sodomia, di fatto si basa su un originale, oggi perduto, dell’artista italiano Andrea Mantegna. (French) Français : Copié depuis en:Image:DurerDeathOrpheus1494.jpg, Author/User Bibi Saint-Pol. This is a faithful photographic reproduction of a two-dimensional, public domain work of art, in the PD because Durer had passed in 1528.
(Orpheus subject, I’ll fill it in later.)
Here’s a little pdf from 2015, just before the car-hit, that describes some of this “Iliad” business and I’m increasingly feeling that the “Jomon” have just been engineering “art” lies and doo-doo, that I’d also found a Project Gutenberg copy of the Iliad but notice the illustrations all have the “Babar” faces and I think those’re just “created” by the Frankenstein-Jomon horror bums, primitives, that undertook to rob the planet of everything they could get their eyes on and play this “both-ways” game all the time of being both sides of a faked war in order to catch the normal people in the middle and force them out of their homes to flee from all the insane “madness” and danger-weapons, etc., so that the bums can inherit the houses and everything in them and they just go around the world like that and they’ve been doing that with me too, like a travelling circus. Nevertheless there were real Trojan victims underneath the system’s stranglehold of this account of that “war” invasion by themselves.
I don’t like to have to say this but the system “convolutedly” lies so much that I can seldom figure what to believe, through the mind-games and reverse psychology or what, that you could think that the head of the decapitated statue on the mural’s right side belonged to Rockefeller Jr., making him, and the “Gorgon” big sympathy figures, but too that might-could be a type of the system’s propaganda. I’d long-figured that the “Gorgon” is one of the early Autists, and these Jomon artsy people behind all the global-system thinking and championing the underdog-seeming when they feel like it Autists, the sneaky-brained Autists, (sounds like Homer’s “fleet-footed Achilles rote description,) it just seems unlikely that Rockefeller Jr. was anything except an Autist, after all these years of trying to figure over these things, but it’s quite likely that, coming from that first psychologist Wundt, they’d have thought of sympathy as a tactic and thence to making the mural-depiction’s depicted victim-type seem to have a resemblance to Junior, the regular name he’d gone by, everyone called him, Rockefeller, Jr., Junior Rockefeller. Somewhere a long time ago it seems I’d seen a face in some old artifact that looked like that head they’re sitting on, maybe from Egypt or thereabouts.