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Kom inn! * Giancarlo Gianazza * Giancarlo Gianazza Interviewed By Massimo Bonasorte 


Giancarlo Gianazza

On Giancarlo Gianazza's
approach to the Comedy

Enrico Catapano:
Dante in Iceland,

Leonardo, Raffaello,
Botticelli and the Templars.


ISBN 88-200-4100-6
Sperling & Kupfer Editori

Isa Di Domizio translated
the Italian original into English

GÓP žżddi į ķslensku

Giancarlo Gianazza is a graduate in engineering and a lover of medieval art, philosophy and astronomy. He has spent the last eight years deciphering paintings by Leonardo, Botticelli and Raphael as well as Dante's Divine Comedy. He has carried out thorough research work and fieldwork in Iceland in an attempt to find evidence in support of the assumption that Dante's extra-terrestrial journey, as described in his poem is none but the description of an actual journey by the poet to and inside Iceland. Giancarlo Gianazza er menntašur į sviši verk- og tęknifręši og įhugamašur um mišalda listir, heimspeki og stjörnufręši. Sķšastlišin įtta įr hefur hann helgaš sig rannsóknum og lesiš śr gįtum ķ mįlverkum Leonardos, Botticellis og Rafaels og einnig ķ hinum Gušdómlega Gamanleik Dantesar. Hann hefur lagt mikla vinnu ķ aš finna žess merki į Ķslandi aš žangaš hafi Dante fariš og sé aš lżsa žeirri ferš sinni ķ kvęšinu - en ekki för til einhvers annars heims. 
The soundness of his intuitions, corroborated by accurate mathematical calculations and recurring geometrical schemes (applied to paintings by Botticelli, Leonardo and Raphael) has increasingly found credit with scholars from different schools and nationalities. Fjölmargir menntamenn ólķkra greina og af żmsu žjóšerni hafa snśist til hans skilnings viš aš kynna sér žęr stošir sem hann hefur skotiš undir įlyktanir sķnar og stutt nįkvęmum stęršfręšilegum śtreikningum og endurteknum flatarmįlskerfum ķ myndum sem žeir hafa mįlaš, Botticelli, Leonardo og Rafael.
To fully appreciate Gianazza's theories some explanation must be given about the relationship between Dante and the Templars, a knightly order created after the first crusades by some noble French knights with the aim of protecting the Christian pilgrims in the Holy Land from attacks by the Muslims. Til žess aš įtta sig į kenningum Gianazza žarf aš skżra tengingu Dantes og Musterisriddaranna en žeir voru riddararegla sem stofnuš var eftir fyrstu krossferširnar af nokkrum velviljušum frönskum riddurum ķ žvķ skyni aš vernda kristna pķlagrķma fyrir mśslimskum įrįsum į feršum žeirra til landsins helga.
These knights also had another purpose, a "secret purpose", i.e. to find immensely powerful relics which are thought to have been found among the ruins of the Temple of Jerusalem. At first they were called "The Poor Knights of Christ" and were a monastic and warrior Order. Within a few years of its foundation the Order managed to quickly achieve great power and wealth, which gained them suspicion and jealousy by the mighty of the time. Particularly, they attracted the hatred of King Philip of France, who with the help of Rome managed to eradicate the Templars Order in 1307. It was then believed that all affiliates had been done away whereas an undefined number of them survived either by taking refuge in other orders or fleeing to more peaceful lands. Riddararegla žessi įtti sér einnig annaš markmiš, leynimarkmiš. Žaš var aš leita afar mikilvęgra helgra dóma sem tališ er aš hafi fundist ķ rśstum Musteris Jerśsalems. Ķ fyrstu var reglan nefnd Hinir fįtęku riddarar Krists og var strķšsmunkaregla. Į fįum įrum tókst reglunni aš aš nį undir sig miklum völdum og auši og žaš aflaši žeim grunsemda og óvildar valdaafla samtķmans. Einkum leit Fillippus Frakkakóngur til žeirra hatursauga. Honum tókst aš fį pįfann ķ liš meš sér og žeir gjöreyddu Musterisreglunni įriš 1307. Žį var tališ aš allar deildir hennar hefšu veriš žurrkašar śt en ķ raun lifšu margir žeirra žetta af żmist meš žvķ aš leita skjóls ķ öšrum reglum eša meš žvķ aš forša sér til frišsamlegri svęša.
Most important to notice is that among them were the restricted number of knights in whose hands rested the "knowledge" of the Templars and that has been protected for centuries. But who were the members of such group and what could such knowledge amount to, to make it so dreaded and powerful? Mikilvęgt er aš gera sér grein fyrir žvķ aš mešal žeirra sem sluppu frį žessum ofsóknum var śtvalinn hópur sem gętti žekkingar Musterisriddaranna - og hennar hefur veriš gętt ķ aldir. En - hverjir voru ķ žessum hópi og hver getur veriš sś žekking sem sjįlfrar sķn vegna er svo ógnandi og svo mįttug?
Here is where Giancarlo Gianazza comes in and publishes with Gian Franco Freguglia the first results of his research in the book "I Custodi del Messaggio" Žaš er hér sem Gianazza kemur til sögunnar og gefur śt fyrstu nišurstöšur sķnar ķ bók sem Gian Franco Freguglia skrifar meš honum, I Custodi del Messaggio.
According to Gianazza the greatest names in the Medieval and Renaissance periods (Dante, Botticelli, Leonardo and Raphael) would be the trustees of the old Templar knowledge. This would have been handed down to posterity encoded in their masterpieces. Such knowledge would concern the Grail, which according to Gianazza "is not a concrete object as it was believed to be for a long time but rather a primitive nucleus of the message of Christ, an original doctrinal "body" handed down secretly throughout the centuries".
(v. I Custodi del Messaggio - p. 215)
Gianazza telur aš merkustu fulltrśar endurreisnar į mišöldum, žeir Dante, Botticelli, Leonardo og Rafael, hafi veriš  žeir sem gęttu hinnar fornu žekkingar Musterisriddaranna. Henni hafi sķšan veriš skilaš til komandi kynslóša meš duldum skilabošum ķ snilldarverkum žeirra. Žekkingin snerti Hinn heilaga kaleik, sem Gianazza segir vera ekki žann hlut eša grip sem svo lengi hefur veriš tališ heldur fremur frumstętt safn skilaboša frį Kristi. Upphaflega kenningaheild sem haldist hafi ķ leynum um aldir.
(Sjį I Custodi del Messaggio - s. 215).


A mysterious date
Looking carefully at the group of the Graces I wondered why the position of the fingers was so strange.
From that detail began my first attempt to interpret the painting with a code
that led me to identify a precise date: 14 March 1319

Dularfull dagsetning
Žegar ég skošaši gyšjužrenninguna nįnar žótti mér staša fingranna sérkennileg.
Śt frį žvķ atriši upphófst fyrsta tilraun mķn til aš rįša ķ merkingu mįlverksins
meš tįknmįli sem aš lokum leiddi mig aš dagsetningunni: 14. mars įriš 1319.

All of Gianazza's work began in May 2002 when, analyzing Botticelli's Primavera he realized that the artist had concealed a message within the painting using a "digital" code, a true finger language used to express numbers. Such code goes back to the gestures which were made by monks in medieval monasteries to avoid interfering with the meditation of their brethren. To hand down his secret, Botticelli also used an "astronomical" code based on the position of a planet in relation to each character in his painting. This secret proved to be a date, 14 March 1319, by which according to Gianazza, Botticelli surely wanted to communicate something which however could not be connected with any event in the life of the artist, who lived in the second half of the 15th century. Upphaf žessa umfangsmikla starfs Gianazza var ķ maķ 2002. Hann var aš skoša Vorkomu Botticellis og įttaši sig į žvķ aš listamašurinn hafši fléttaš skilaboš ķ myndina. Ķ myndinni voru sżnilega notuš talna-tįkn śr fingramįli sem mišalda munkar hagnżttu sér til aš mišla tölulegum upplżsingum sķn į milli įn žess aš trufla ķhuganir hvers annars. Til žess aš koma bošunum til skila notaši Botticelli einnig stjörnufręšileg tįkn og gat žannig stillt upp innbyršis afstöšu reikistjarnanna ķ mįlverkinu. Žaš sem hann var aš tślka reyndist vera dagsetningin 14. mars 1319. Gianazza įlyktaši aš Botticelli vęri aš koma skilabošum į framfęri sem žó var ekki lķklegt aš vęri tengt honum sjįlfum žvķ hann lifši į sķšari hluta fimmtįndu aldar. 
Further accurate studies brought Gianazza to find a connection between Botticelli's painting and Dante's Divine Comedy. Gianazza lagšist ķ frekari nįkvęmnisathuganir og rakti sig fram til tengsla milli mįlverks Botticellis og Gušdómlega gamanleiks Dantes.
A first analysis of the Comedy led to a disconcerting discovery: the date of the 14 March 1319 was also found in the form of an astronomical periphrasis in the first few verses of Dante's Paradise. Fyrstu athuganir Gianazza į Gamanleiknum vöktu honum enn frekari spurn. Žaš kom nefnilega ķ ljós aš hann fann dagsetninguna 14. mars 1319 ofna inn ķ fyrstu versin ķ Paradķs Dantes meš umoršušum tilvķsunum til stjarna. 
After further analyses and mathematical calculations Gianazza has come to maintain that Botticelli's Primavera is none but the representation of the Garden of Eden and of Dante who, after being immersed in the Eunoč River to purify himself is ready to ascend the kingdom of heaven. Eftir frekari rannsóknir og śtreikninga hefur Gianazza komist aš žeirri nišurstöšu aš Vorkoma Botticellis sé beinlķnis af žeim Edens-garši sem Dante er ķ žann veg aš stķga inn ķ eftir hreinsun sķna ķ įnni Eunoč og žannig reišubśinn aš stķga inn ķ himnarķkiš.
Here is where Giancarlo Gianazza appreciated the kind of approach he was to use with the Comedy in order to unveil the other various mysteries and messages cleverly concealed by the Poet. Žęr višmišanir og ašferšir sem Giancarlo Gianazza notaši hér ķ upphafi rannsókna sinna į kvęšinu žróaši hann įfram og hagnżtti viš yfirferš žess alls og nįši žannig aš leiša ķ ljós margvķsleg fleiri dulin boš sem skįldiš hafši fólgiš af mikilli list.
In his letter to Cangrande della Scala, it is Dante himself who suggests the correct approach, by mentioning that his work has "manifold meanings", i.e. the Comedy is to be read bearing in mind that in it there are more meanings present at the same time in the same verses; and since its allegorical and moral meanings had been amply dealt with in previous studies, Gianazza experienced "a new systematic approach to the Comedy in order to detect in the text any passages whose meaning would allow it to be read as the story of a journey by the poet that had actually taken place from the dark forest to the White Rose of the Blessed". Ķ bréfi sem Dante skrifar Cangrande della Scala gefur hann vķsbendingar um hvernig lesa skuli kvęšiš til skilnings į bošskap žess. Hann segir žar aš verk sitt hafi fjölžęttan bošskap. Gamanleikinn beri sem sagt aš lesa meš žaš ķ huga aš bošskapur hans sé margžęttur - samtķmis - į sama staš og ķ hverju stefi. Žar sem tįknręnn og sišręnn bošskapur ljóšsins hefur notiš naušhugullar athygli frį upphafi prófaši Gianazza aš lesa Gamanleikinn į nżjan hįtt til aš greina setningar og ljóšlķnur sem lesa mętti sem sögu af ferš sem skįldiš hefši ķ raun sjįlft fariš. Feršina frį Myrku skógum til Hvķtu rósar hinna Blessušu.
In short, Giancarlo Gianazza completely changed the traditional approach to the interpretation of the Divine Comedy, neglecting any allegorical meaning and keeping to the literal meaning of the words. Ķ stuttu mįli, Giancarlo Gianazza breytti gjörsamlega um ašferš frį žvķ sem fram til žessa hefur veriš notuš viš aš lesa og skilja kvęšiš. Hin hefšbundna ašferš skilur kvęšiš eftir oršanna hljóšan og er blind fyrir öšrum bošskap. 
This is where a "new" analysis of the Divine Comedy began. On the basis of complex calculations obtained from certain clues within the verses (from their numbers to the position of certain syllables within them) Gianazza managed to decipher some data concerning latitude and longitude of the various stages along Dante's journey. Žar meš hófst greining į hinum Gušdómlega gamanleik Dantes. Meš nokkuš flóknum śtreikningum śt frį vķsbendingum śr stefjunum, stašsetningu žeirra ķ kvęšabįlkinum og stašsetningu tiltekinna atkvęša innan žeirra, tókst Gianazza aš leiša ķ ljós upplżsingar um hnattręna lengd og breidd margra žeirra staša sem Dante fór um į feršalagi sķnu. 


Dante“s trip to Iceland - 1319 - Feršaleiš Dantes til Ķslands

This new discovery led Gianazza to think that other famous artists might have shared the knowledge of Dante's code. In fact, in Leonardo's Last Supper the same code methods can be traced as used by Botticelli; and it is precisely in Leonardo's Last Supper that the co-ordinates can be found of the locations, where in the course of centuries was concealed what was later found in Jerusalem, i.e. the Isle of Citera in Greece, Mount Cardou in France and finally an unidentified location in central Iceland. Žessar nżju uppgötvanir leiddu til žess aš Gianazza fór aš leita ķ verkum annarra fręgra listamanna eftir vķsbendingum um aš žar vęri einhvers stašar aš finna merki um sama skilning į verki og dulmįli Dantes. Hann fann ķ Sķšustu kvöldmįltķš Leonardos sömu ašferš notaša og ķ verki Botticellis. Žar fann hann hnattstöšu staša sem um aldir hafa fólgiš žaš sem fundist hafši ķ Jerśsalem. Ž.e. grķsku eyjuna Citera, Mount Cardou ķ Frakklandi og ótilgreindan staš ķ mišju Ķslands.


Leonardo da Vinci: The Last Supper - Sķšasta kvöldmįltķšin.

The calculations made on the Last Supper open the way to the deciphering of the whole route followed by Dante in Iceland, and even more disconcerting is the fact that the shape of such route, when drawn in outline on a map of that territory, is exactly the same as the outline of Jesus and the person sitting on his right. Reikningar Gianazza śt frį Sķšustu kvöldmįltķšinni gera mögulegt aš fylgja nįkvęmlega žeirri leiš sem Dante fór į Ķslandi. Enn athyglisveršara er aš žegar dregin er leiš hans į kort af landsvęšinu er hśn nįkvęmlega eins og śtlķna Jesś og žess sem situr honum į  hęgri hönd į mįlverkinu.
According to Gianazza's calculations, Dante began his journey from a definite point along the River Jokulfall (in the Comedy it is none other than the starting point of his way through the Holy Forest in the Garden of Eden), which runs parallel to the oldest Icelandic road, the Kjolur Route to finally reach the place where he would meet Beatrice in the White Rose of the Blessed. Eftir śtreikningi Gianazza hefst ferš Dantes į tilteknum staš žar sem hann er kominn yfir Jökulfalliš. Ķ Gamanleiknum er žaš sjįlft upphaf feršar hans gegnum hinn heilaga skóg ķ garšinum Eden. Jökulfalliš rennur samsķša Kjalvegi sem er elsti fjallvegur Ķslands. Leiš hans liggur sķšan til žess stašar žar sem hann aš lokum finnur Beatrice ķ hinni Hvķtu rós hinna Blessušu.
Walking along the river and with the help of the geographical clues concealed in the masterpieces of these Artists, Gianazza came to a natural amphitheatre in the middle of which, slightly to the left of the perfect centre, was a rectangular stone in the shape of a throne. Gianazza fór til Ķslands og gekk fram meš žessari į. Meš ašstoš flatar- og fjarlęgšavķsa sem faldir eru ķ snilldarverkum žessara listamanna, gekk hann beint aš nįttśrulegu vatnasviši žar sem örlķtiš vinstra megin viš mišju var rétthyrndur steinn eins og hįsęti ķ laginu.
This place could only be the final destination of Dante's journey, the White Rose with the rectangular stone in the middle, Beatrice's "seat". This is therefore the place which hides what Dante and the Templars have guarded for such a long time. Lokamark feršar Dantes hlaut aš vera hér. Hvķta rósin meš rétthyrnda steininn fyrir mišju, sęti Beatrice. Žess vegna er žetta stašurinn sem geymir žaš sem Dante og Musterisriddararmir hafa gętt svo lengi.
Another artist involved in Gianazza's research work was Raphael who, in the 12 frescos of the "Stanza della Segnatura" concealed connections with the Divine Comedy, representing in two of them also Dante himself; the figures of Apollo and Marsia are mentioned in the invocation to the god of poetry in the first verses of Paradise; on mount Parnassus Raphael shows Virgil who, together with Stazio shows Dante the way through the Holy Forest to the Garden of Eden. Mįlarinn Rafael mįlaši nokkur af žeim mįlverkum sem Gianazza kannaši ķ žessu skyni. Frescurnar 12 af Stanza della Segnatura bera meš sér vķsanir til Gamanleiksins. Ķ tveimur žeirra sést Dante sjįlfur. Myndir Apollo og Mars eru nefndar ķ įkalli til skįldagušsins ķ fyrstu stefjum Paradķsar-hlutans. Į Parnassus-fjalli sżnir Rafael Virgil, žar sem hann og Stazio vķsa Dante til vegar gegnum hinn heilaga skóg - til Eden.
In the "Disputa del Sacramento" Raphael goes even further suggesting the existence of a secret temple in Iceland; in fact on the left some workers can be discerned who are building a temple while on the right Dante stands in front of a white building in the shape of a cube, which can only be the room that must be under Icelandic territory. Dante is therefore the guardian of the temple. Moreover, Raphael, in the same "Disputa del Sacramento" depicts Bramante examining Dante's Comedy. Ķ mįlverkinu Disputa del Sacramento gengur Rafael enn lengra og gefur ķ skyn aš į Ķslandi sé aš finna leynilegt musteri. Raunar mį žar vinstra megin sjį nokkra verkamenn vera aš byggja musteri - en hęgra megin stendur Dante framan viš teningslaga hvķta byggingu sem ekki getur veriš annaš en žaš herbergi sem hlżtur aš vera ķ ķslenskri jörš. Ķ sömu mynd mįlar Rafael ennfremur Bramante aš gaumgęfa Gamanleik Dantes.
All these data have been made available by Giancarlo Gianazza who, thanks to Icelandic architect Thorarinn Thorarinsson and geologist Thorgeir Helgason as well as geophysicist Gianfranco Morelli has and is still verifying them. His research is now centered on this temple, inside which the Templars have concealed their "secret" entrusting its custody to Dante. Allar žessar upplżsingar hefur Giancarlo Gianazza fundiš fram og hefur - meš ašstoš ķslenska arkitektsins Žórarins Žórarinssonar og jaršfręšingsins Žorgeirs Helgasonar og jaršešlisfręšingsins Gianfranco Morelli - leitaš aš enn frekari stašfestingum. Leitin beinist nśna aš musterinu žar sem Musterisriddararnir hafi fólgiš leyndardóm sinn og fališ varšveislu hans ķ hendur Dante.
At this stage, Gianazza is confident to have identified, with a certain amount of accuracy, the location as well as the size of the temple. He says: Nś er žessum mįlum svo komiš aš Gianazza telur sig meš nokkurri vissu vita hversu stórt musteriš sé og hvar žaš sé aš finna. Hann segir:

 "Now I know what tools I need to probe the ground and bring to light an archeological finding which may be of immense historical value to humanity. This research is now reaching its final stage and the solution of this enigma is barely a step away. I have come this far under the guidance of Dante and Leonardo; now it is up to the last "guardian" of the message to give up the secret it has kept hidden. It will be the frozen land to answer a centuries-old question."

Nś veit ég hvaša tęki ég žarf til aš skyggnast ķ jöršina eftir fornminjum sem haft geta afar mikiš sagnfręšilegt gildi. Žessar rannsóknir eru nś aš komast į lokastig og lausn gįtunnar viršist innan seilingar. Leišbeiningar frį Dante og Leonardo hafa skilaš mér hingaš. Senn veršur žaš komiš undir sķšasta vörslumanni skilabošanna aš ljśka upp leyndardómi žeirra. Žį mun želi jaršar loksins skila svari viš aldagamalli spurn.

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