Frontpage of GOP-frettir
Dante In Iceland * Table of contents
Opna žessa sķšu * open this Site>> http://www.GOPfrettir.net/open/D_research

Kom inn! * Tracing Dante 

3. april 2013
Giancarlo Gianazza:

Research in Iceland 


Giancarlo Gianazza
Table of Contents * Efnisyfirlit



Giancarlo Gianazza and
Thorarinn Thorarinsson 2006

April 2002

The beginning
of my research


The searching team of July 2012
- at the stone-fish

- mouse on for a bigger picture!

Aprķl 2002

Upphaf
rannsóknarinnar

Žżšing uppfęrš 1. jślķ 2013, GÓP, Vigfśs Magnśsson og Žórarinn Žórarinsson

Back in 2002 I realised that a tercet of Dante Alighieri’s Divine Comedy might refer to an island close to the Arctic Circle; at the time, I had no idea that intuition would condition my life for over ten years.

What on Earth might Dante have to do with Iceland?

Įriš 2002 gerši ég mér grein fyrir aš eitt erindi, ž.e. ein žriggja lķna vķsa, ķ kvęšinu Divina Comedia (Glešileikurinn / Hinn gušdómlegi glešileikur) eftir Dante Alighieri (1265 - 1321) gęti vķsaš til eyjar nįlęgt heimskautsbaugi. Žį kom mér ekki til hugar aš žaš innsęi mitt myndi stjórna lķfi mķnu nęsta įratuginn - eša vel žaš.

En hvaš ķ ósköpunum gęti Dante haft meš Ķsland aš gera?

It looked like an absurd idea to be rejected without losing time on it. However, though it was hard to believe, I felt the meaning of those lines was exactly that one. I had to enquire. I felt it might be something extremely important, and the involvement of a personage such as Dante was a good guarantee.

In the following months I was able to recreate the plot of the subtext in between the lines of the poem, a really encoded message based on line numeration as well. Words and numbers together gave the text a new meaning, which no-one had ever explored before.

Hugmyndin virtist frįleit og ekki žess virši aš elta ólar viš. Engu aš sķšur - žótt śtrślegt vęri - fannst mér merking žessara lķna vera nįkvęmlega žessi vķsun. Žetta varš ég aš rannsaka betur. Mér fannst žetta gęti veriš eitthvaš mjög mikilvęgt og žaš stappaši ķ mig stįlinu aš svo merkur mašur sem sjįlfur Dante skyldi eiga hér hlut aš mįli.

Į nęstu mįnušum tókst mér aš lesa śr kvęšinu skilaboš sem fléttuš voru inn ķ textann og studdust mešal annars viš lķnutal og stašsetningu įhrifaorša ķ lķnu. Orš og tölur til samans gįfu žannig texta kvęšisins nżja merkingu sem enginn hafši įšur kannaš.

An island close to the Arctic Circle was pointed out. Its name, Thule, was indicated through a pun a few lines before. Thule is the mythical land in the far north mentioned also by Virgil in his Georgics.

"Tibi serviat ultima Thyle" (Virgil, Georgics, book I, 30) - furthest Thule serves you.
In this line, Virgil invokes the Ultima Thule; he wanted to wish Octavian to expand his empire up to the fabulous land in the far north.

Vķsaš var til eyjar nęrri heimskautsbaugi. Nafn hennar, Thule, kom fram ķ oršaleik fįum lķnum fyrr. Thule er dularfulla landiš fjęrst ķ noršri sem Virgilius hafši įšur minnst į ķ kvęši sķnu um landbśnaš, Georgics.

"Tibi serviat ultima Thyle" (Virgil, Georgics, book I, 30) - fjarlęgsta Thule myndi gagnast žér.
Ķ žessari lķnu bendir Virgilius į Ultima Thule, gošsagnakennda ęvintżralandiš nyrst į hjara heims, og hvetur Octavian aš fęra śt veldi sitt alla leiš žangaš.

Then the Kjölur route was pointed out, as well as the right latitude along that ancient road connecting the South with the North of the island to this day. Žį var vķsaš til hinnar fornu leišar um Kjöl milli sušur- og noršurhluta eyjarinnar og tiltekin breiddargrįša sem hana sker. 
Dante goes up a river by walking along its bank, describing the place. From that description it is possible to recognise the stretch of the Jökulfall, the river going from the Kjölur route to the Gżgjarfoss Waterfall, the confluence with Blįkvķsl. Dante gengur upp meš vatnsfalli og lżsir stašhįttum. Lżsingin kemur heim og saman viš umhverfi Jökulfallsins frį Kjalvegi aš Gżgjarfossi žar sem Blįkvķsl rennur ķ žaš.  
The poem closes with the description of the amphitheatre of the snow-white rose of the blessed where Beatrice is enthroned. Kvęšinu lżkur meš lżsingu į hringsviši hinnar snę-hvķtu rósar hinna blessušu žar sem Beatrice er leidd til hįsętis.
Therefore, was there a natural amphitheatre along that river stretch, or maybe exactly at the end of Dante’s route, at the waterfall?
Was that the message? Moreover, if that natural amphitheatre really existed, why was it pointed out in an encoded way?
Merkti žetta aš einhversstašar viš žessa į vęri aš finna klettavegg sem myndaši hringsviš - jafnvel nįkvęmlega žar sem lżsingu Dantes į leišinni aš fossinum lauk? Var žetta bošskapurinn? Og ennfremur - ef žetta nįttśrulega hringsviš var ķ rauninni til - hvers vegna aš dulkóša lżsingu žess ķ staš žess aš segja hana berum oršum?
At that stage of research, I was grappling with questions and doubts. It looked like I could not get anything else from studying the Comedy. Many times I got to a stalemate, and I didn’t know how to go on. In one of those times, I thought I could examine works by Renaissance painters again. After all, I had decided to read the Divine Comedy again while watching Botticelli’s Primavera, which someone regarded as the possible Dante’s Garden of Eden. Botticelli also undertook to illustrate the one hundred Cantos of the Divine Comedy. Perhaps his drawings might give me some clues for interpreting the lines properly. Botticelli was an apprentice at the workshop of Verrocchio together with Leonardo da Vinci, and thus they were likely to have shared the same expertise. Therefore, I decided to examine Leonardo’s paintings carefully, too. Žegar hér var komiš rannsókn minni glķmdi ég viš margar spurningar og efašist um margt. Ég virtist kominn ķ strand meš rannsókn mķna į Glešileiknum. Oftsinnis var ég kominn ķ pattstöšu og sį enga leiš fram į viš. Einhverju sinni žegar žannig stóš į kom mér ķ hug aš skoša aftur verk mįlara endurreisnartķmabilsins. Ég hafši einmitt byrjaš žessar nżju rannsóknir į Glešileiknum eftir aš hafa skošaš mįlverkiš Primavera (Voriš) eftir Botticelli sem einhver hafši taiš hugsanlega geta įtt aš tįkna Paradķs Dantes ķ Glešileiknum. Botticelli hafši einnig tekiš aš sér aš myndskreyta hina eitt hundraš kafla kvęšisins. Hugsanlega gętu teikningar hans komiš mér į sporiš aš rįša ķ textann. Botticelli og Leonardo da Vinci voru samtķmis nemendur į vinnustofu Verrocchios og hefšu vęntanlega deilt sömu žekkingu. Ég įkvaš aš grandskoša lķka verk Leonardos.
When I realised that by following the traits of the profiles of the central figures in The Last Supper by Leonardo I could see the stretch of the Jökulfall River up to its confluence with the Blįkvķsl, at first I thought it was just fantasy. However, I found myself watching the quote of the most famous line in the Comedy (Madonna and Child with Six Saints) in the Madonna and Child with Six Saints by Botticelli, and I saw Archangel Michael holding a sort of globe with Iceland only, pointing out just the river stretch I had learnt to recognize by that time. Then, I had no doubts.
It could not be a chance.
Ķ fyrstu hugši ég žaš ķmyndun žegar ég sį aš meš žvķ aš fylgja śtlķnum žeirra sem sįtu fyrir mišju boršsins ķ Sķšustu kvöldmįltķšinni eftir Leonardo var žar kominn farvegur Jökulfallsins frį Kjalvegi aš vatnamótum viš Blįkvķsl. Og mér kom ķ hug lķnan fręga śr Glešileiknum: O virgin mother, daughter of thy Son, Pa XXXIII, 1, žegar ég skošaši mįlverkiš Madonna and Child with Six Saints eftir Botticelli og sį Mikael erkiengil halda į nokkurs konar hnetti žar sem ašeins mįtti sjį Ķsland og fingur hans vķsa einmitt į žann hluta įrfarvegarins sem ég hafši žį nįš aš įtta mig į. Žį rann efinn af mér.
Žetta gat ekki veriš tilviljun.
The figure of Leonardo acting as Plato is the core of the School of Athens by Rafael in the Stanza della Segnatura. In this room there are also another two frescoes where Dante appears: the Disputation of the Holy Sacrament and the Parnassus. The latest is a clear reference to a clear-cut moment described in the Divine Comedy: the entrance in the Divine Forest, when Dante is still accompanied by his guide, Virgil, and the poet Statius. Myndin af Leonardo ķ hlutverki Platos er kjarninn ķ mynd Rafaels Aženuskólinn ķ stofunni Stanza della Segnatura sem er herbergi ķ höll pįfa ķ Vatikaninu ķ Róm žar sem undirrituš voru opinber skjöl Pįfagaršs. Žar eru lķka tvęr ašrar freskur žar sem Dante sést: La disputa (rökręšan um hiš heilaga sakramenti) og Parnassus, sem er skżr vitnun til Glešileiksins: Inngangurinn ķ hinn gušdómlega skóg žegar Dante er enn ķ fylgd leišsögumanns sķns, Virgilķusi, og skįldinu Statķusi.
I decided to go on studying the Comedy as well as paintings by Botticelli, Leonardo and Rafael. If the encoded message was the same, comparative analysis might be the right way to understand it.
The task was not easy in the least. It was a matter of exploring a new land. Fortunately, Francesco Velardi was ready to follow me and help me in this journey. Thanks to his knowledge of the Comedy, Florentine literature, medieval history, geography and astronomy, he was the right person for debate, and to exchange ideas.
Ég įkvaš aš halda įfram aš rannsaka Glešileikinn og jafnframt verk žeirra Botticellis, Leonardos og Rafaels. Ef dulkóšuš skilaboš žeirra allra vęru į sömu lund gęti samanburšur žeirra veriš rétta ašferšin til skilnings. Žetta var ekkert įhlaupaverk. Hér žurfti aš kanna alveg nżjar slóšir. Sem betur fór var Francesco Velardi reišubśinn aš fylgjast meš mér og ašstoša mig į žessari vegferš. Meš žekkingu sinni į Glešileiknum, flórentķskum bókmenntum, mišaldasögu, landafręši og stjörnufręši var hann einmitt rétti mašurinn til aš rökręša og skiptast į hugmyndum viš.

April 2004

The first contact

Aprķl 2004

Fyrsta tengingin

The confirmation provided by Leonardo’s and Botticelli’s paintings was the first fact making me think that something important should be in Iceland; I was quite sure about that.
The final destination had to be the Gżgjarfoss Waterfall, but it should be part of a natural amphitheatre, which Dante represented in the allegory of the snow-white rose. The fountain described in the last Canto of the Purgatory, where Dante is immersed in the river before going up to the celestial spheres of Heaven, seemed to be the final point of Dante’s journey, and of my research.
At this stage I had no choice. It was a matter of checking the information obtained personally. In short, I had to go exactly there, to the place where even Dante himself had gone, maybe: Iceland.
I had the right opportunity thanks to an accidental series of events, as often happened to me during my years of research; anyway, I reached my destination.
At the reception for the opening of a Scandinavian design exhibition at the Triennale di Milano, I met Mr Thorgeir Ólafsson, an officer from the Icelandic Ministry of Culture in the retinue of the President’s wife, the sponsor of the event. I told him about the result of my research, focusing on Iceland.
Žaš sem ég las śt śr verkum Leonardos og Botticellis var žaš fyrsta sem varš til žess aš mér datt ķ hug aš eitthvaš markvert ętti vęri į Ķslandi. Ég var nokkuš viss um žaš. 
Lokatakmarkiš hlaut aš vera Gżgjarfoss og hann ętti aš vera hluti af einhverju sem lķktist nįttśrulegu hringsviši sem Dante lżsti ķ gošsögninni um hina snę-hvķtu rós. Lindin sem lżst er ķ lokakafla Hreinsunareldsins, žar sem Dante er dżft ķ įna įšur en hann stķgur upp til ęšstu himna, virtist vera lokapunktur feršar hans og um leiš rannsóknar minnar.
Žegar hér var komiš hafši ég ekki lengur um neitt aš velja. Ég varš aš kanna sjįlfur sannleiksgildi žeirrar nišurstöšu sem ég hafši komist aš. Sem sagt: Ég varš aš fara nįkvęmlega žangaš sem Dante sjįlfur hafši hugsanlega fariš, til Ķslands. Ég fékk tękifęri til žess meš tilviljanakenndum ašdraganda - eins og oft hefur oršiš į žessum rannsóknarįrum mķnum. 
Ķ móttöku viš opnun sżningar į norręnni hönnun į Mķlanó-žrķęringnum hitti ég Žorgeir Ólafsson, fulltrśa ķ ķslenska menntamįlarįšuneytinu ķ föruneyti ķslensku forsetafrśarinnar sem var stušningsašili višburšarins. Ég sagši honum frį žeim nišurstöšum rannsókna minna sem bentu til Ķslands.
After about one month from our meeting in Milan, Mr Thorgeir Ólafsson sent me an email telling me that Mr Thorarinn Thorarinsson might be interested in my theory about Iceland hiding a mystery. At that time, Mr Thorarinn Thorarinsson was a Reykjavik City Planning project manager and architect, as well as the President of the Icelandic Architects Association. He has also been a great lover of Iceland old history for years.
I got immediately in touch with him, and we immediately agreed. He realised the importance of the research at once, and said he would do what he could to help me, telling me also about the opportunity to consult other experts in the field.
Um žaš bil mįnuši sķšar sendi Žorgeir mér netpóst og tjįši mér aš Žórarinn Žórarinsson arkitekt gęti haft įhuga į hugmyndum mķnum um aš leynda dóma kynni aš vera aš finna į Ķslandi. Žórarinn vann hjį Skipulagi Reykjavķkur sem verkefnisstjóri og var jafnframt formašur Arkitektafélags Ķslands. Hann hafši lķka um langt įrabil veriš mikill įhugamašur fornķslenskar sagnir.
Ég hafši strax samband viš hann og viš uršum fljótt sammįla. Hann gerši sér strax grein fyrir mikilvęgi rannsóknarinnar og kvašst mundu gera allt sem hann gęti mér til ašstošar og leita rįša hjį öšrum sérfręšingum į žessu sviši.
In the following months, my Icelandic friend supplied me with a very interesting series of data and news. Mr Thorarinsson was not just an effective correspondent on site, but a person who had been following old traces of the mysterious history of his land for twenty years, events that might as well be linked with the core of my discoveries. Į nęstu mįnušum sendi žessi ķslenski vinur mér mikiš af įhugaveršum upplżsingum og gögnum. Žórarinn var ekki ašeins afkastamikill bréfritari į réttum staš. Hann hafši um tveggja įratuga skeiš lagt sig eftir aš fylgja fornum vķsbendingum gegnum flókiš sögusviš lands sķns - og aflaš sér upplżsinga sem vel gętu tengst mķnum uppgötvunum.
From him I came to know that a scholar, Einar Pįlsson, had been supporting a theory for years, according to which the old Icelandic sagas hid a coded message in between the lines, referring to facts concerning mythology, old geometry and numerology. In particular, Pįlsson thought that this kind of geometry and relevant holy numerology had been used to provide measurement as well as a sort of cartographic representation of large areas of Iceland; and to do that, experience in the measurement of earth was definitely necessary. I had no doubts: it was the very geometry in which both Dante and Leonardo had proved to be great experts. Hann sagši mér af fręšimanninum Einari Pįlssyni. Einar hafši ķ mörg įr unniš viš aš stašfesta tilgįtu um aš milli lķna żmissa Ķslendingasagna mętti lesa stašreyndir um dulfręši, fornar landmęlingar og talnafręši. Einar hafši sérstaklega įlitiš aš žessi tegund landmęlinga og višeigandi helg talnaspeki hefši veriš notuš til męlinga og kortagerša stórra svęša Ķslands og til žess hefši į žeim tķma vissulega oršiš aš vera fyrir hendi kunnįtta ķ landmęlingum. Ég velktist ekki ķ neinum vafa um aš hér hlaut aš vera um aš ręša einmitt žį tegund rśmfręši sem bęši Dante og Leonardo höfšu sżnt sig aš vera sérfręšingar ķ.
The studies of Pįlsson, who had died a few years earlier, were ignored by his colleagues, and his books were forgotten.

E. PALSSON, The Roots of Icelandic Culture, 7 vols., Reykjavik, Mimir, 1969-85. Grandiose work translated and synthesized in English in three short monographs:
- The Dome of Heaven: The Marking of Sacred Sites in Pagan Iceland and Medieval Florence, Reykjavik, Mimir, 1981.
- Hypothesis as a Tool in Mythology, Mimir, 1984.
- Celtic Christianity in Pagan Iceland, Mimir, 1985.

Einar hafši dįiš fįum įrum įšur. Ašrir fręšimenn létu verk hans sig litlu varša og bękur hans gleymdust aš mestu.

E. PALSSON, The Roots of Icelandic Culture, 7 vols., Reykjavik, Mimir, 1969-85. Grandiose work translated and synthesized in English in three short monographs:
- The Dome of Heaven: The Marking of Sacred Sites in Pagan Iceland and Medieval Florence, Reykjavik, Mimir, 1981.
- Hypothesis as a Tool in Mythology, Mimir, 1984.
- Celtic Christianity in Pagan Iceland, Mimir, 1985.

However, as I could see from the photos and documents attached to his mails, Thorarinn had found important clues proving the theory of Pįlsson about the measurement of Iceland during the first settlements, approximately in the 9th century.
Iceland was politically independent and with great cultural fervour for a long time, until the Norwegian invasion of the 13th century. The memory of that time was preserved and handed down through several sagas, the most famous of which was definitely Edda by Snorri Sturlusson. Pįlsson worked exactly on those texts, trying to decode confirmations of events occurred in the remote past of Iceland.
Samt sem įšur gat ég merkt af ljósmyndum og efni sem fylgdi netpóstum Žórarins aš hann hafši fundiš mikilvęgar vķsbendingar til stušnings tilgįtu Einars um landmęlingar į Ķslandi į fyrstu tķmum byggšar į nķundu öld.
Ķsland var sjįlfstętt rķki ķ meira en žrjįr aldir uns Noregskonungur nįši landinu undir sig į 13. öld. Ķ landinu var rķk sagnahefš og minni žeirra tķma varšveittist og skilaši sér til eftirkomandi kynslóša meš fjölmörgum sögnum. Fręgust ritašra bóka er tvķmęlalaust Edda Snorra Sturlusonar.
Snorri quickly became known as a poet, but was also a successful lawyer and politician. In 1215, he was elected lawspeaker at the Icelandic parliament, the Althing: the only public office of the Icelandic Commonwealth, a position of high respect.

Sturlunga Saga tells us that in summer 1216, Snorri was accompanied to the Althing session by a stranger called Herburt, an expert in weapons. In the following year, Snorri attended a summer session of the Parliament with a military escort of 80 foreigners called Austmenn, that is, men from the east, east of the ocean (the Continent). Those men with shields and armour were all dressed in the same way.

Snorri varš snemma žekktur sem skįld en auk žess var hann lögfróšur og hafši afskipti af stjórnmįlum. Įriš 1215 var hann kjörinn lögsögumašur Alžingis, sem var eina opinbera embętti ķslensku stjórnskipunarinnar og mikil viršingarstaša.

Ķ Sturlungu segir frį žvķ aš sumariš 1216 var ķ föruneyti Snorra til Alžingis ókunnur mašur sem nefndur var Herburt og sagšur afar vopnfęr. Įri sķšar kom Snorri til žings meš sveit 80 śtlendra manna sem kallašir voru Austmenn, sem merkir aš žeir komu śr austri, ž.e. frį landinu austan hafsins (meginlandi Evrópu). Žessir menn voru allir klęddir brynjum og bįru skildi, voru "alskjaldašir". 

Sturlunga Saga

by J. JOHANNESON, M. FINNBOGASON AND K. ELDJARN, published by Sturlungaśtgįfan, 1946, vol. I, pages 267-269; and in Islendinga Saga – The Saga of Icelanders, text by Sturla Thordarson (1241-1284), published by the Cultural Fund and the National Culture Fellowship, Reykjavik, 1974, pages 41-43. It is a book with illustrations, mostly based on the complete edition of all sagas about Icelandic events occurring in the 12th and 13th centuries.

Sturlunga saga

ritstjórar J. JÓHANNESON, M. FINNBOGASON og K. ELDJĮRN, śtgefandi Sturlungaśtgįfan, 1946, bindi I, sķšur 267-269; og ķ Ķslendinga sögu Sturlu Žóršarsonar (1241-1284), śtgefandi Menningarsjóšur og Žjóšvinafélagiš, Reykjavik, 1974, sķšur 41-43. Frįsagnabók ašallega byggš į heildarśtgįfu allra Ķslendingasagna frį 12. og 13. öld.

Sjį hér frįsögnina oršrétta śr Sturlungu

There was no news as strange as that in the whole Icelandic history: it was an absolute anomaly, because the first military troops with regular army uniforms appeared in Iceland just in the 17th century, following an expedition of the King of Denmark. As Thorarinn told me, that fact has always tickled historians’ fancy. However, they have never been able to explain it. Ekkert ķ Ķslendingabók Sturlu Žóršarsonar er eins furšulegt og žessi frįsögn. Hśn stingur ķ stśf viš allt. Žórarinn sagši aš žessi frįsögn hefši alltaf valdiš sagnfręšingum heilabrotum en žeir hafi aldrei fundiš neina skżringu. Hermenn ķ einkennisbśningum birtust annars fyrst į Ķslandi į 17. öld sem sendisveit danska konungsins.
Though I knew I could not produce a reliable historical documentation, at that point I was really hooked. How couldn’t I presume the mysterious itinerary leading to Iceland, obtained by deciphering the Comedy, was somewhat connected with those 80 armed men appearing at Snorri’s diet? Žótt ég vissi aš ég gęti ekki meš órękum hętti tengt žetta viš rannsókn mķna varš ég alveg gagntekinn af žessum upplżsingum. Ég sį aušvitaš fyrir mér aš žaš sem ég las śr Glešileiknum gęti hęglega tengst žessum 80 hermönnum sem žarna höfšu birst į žingi meš Snorra.

July  2004

The first journey

Jślķ 2004

Fyrsta könnunarferšin

In my first journey to Iceland, July 2004, I had plenty of certainties, suggestions and, of course, hopes. Thorarinn set up my stay in Reykjavik as well as my journey to the lost place along the Kjölur route.
As soon as we reached our destination, the area was completely different with respect to the divine forest of birches described by Dante. The old plants were destroyed during the period of the Little Ice Age from 1300 to 1800. In old times birch woods covered 40% of Iceland. Icelandic farmers, too, caused deforestation: they used birch wood for heating and for making iron utensils.
Ķ fyrstu ferš minni til Ķslands ķ jślķ 2004 kom ég hlašinn fullvissu, tilgįtum - og aušvitaš vonum. Žórarinn annašist um mig ķ Reykjavķk og sį um feršina upp į žetta huldusvęši viš Kjalveg.
Strax og žangaš kom var ljóst aš įsżnd svęšisins var gjörbreytt frį žeim gušdómlega birkiskógi sem Dante hafši lżst. Gróšurinn hafši eyšst į litlu ķsöldinni sem varši frį 13. til 18. aldar en įšur höfšu birkiskógar žakiš 40% landsins. Landsmenn höfšu einnig gengiš nęrri skóginum žvķ žeir nżttu hann til hśshitunar og jįrnvinnslu.
With his SUV, Thorarinn was taking me to the Gżgjarfoss Waterfall, at the confluence of Jökulfall and Blįkvķsl. The dirt road leading to Mount Kellingarfjöll went exactly through there. As soon as I saw it I was disappointed. I thought I would find the waterfall in a rocky landscape recalling the shape of an amphitheatre. However, though I watched the waterfall from several angles, I could hardly see any snow-white rose amphitheatre of the blessed. Žórarinn ók okkur į jepplingi sķnum aš Gżgjarfossi sem er į mótum Jökulfalls og Blįkvķslar. Hér liggur fjallaslóšin til Kerlingarfjalla. Žegar ég sį fossinn varš ég strax fyrir vonbrigšum. Ég hafši bśist viš aš finna fossinn ķ klettalandslag sem minnti į hringsviš en žótt ég skošaši fossinn og umhverfi hans frį öllum sjónarhornum sį ég hvergi neitt sem gęti svipaš til žeirrar ķmyndar sem ég hafši um hringsviš hinnar snę-hvķtu rósar hinna blessušu.
Then Thorarinn told me that, on the day of his first inspections of the places I told him about, he had noticed a natural amphitheatre along the river, just fifteen minutes’ walk from the waterfall.
He drove me backward and showed me the place he thought to be the place I was looking for. Undoubtedly, the place was a natural amphitheatre dug by the river flowing down there. And its size was remarkable.
Žórarinn hafši fariš hingaš skömmu eftir aš ég hafši sagt honum hvar leitarsvęšiš vęri. Hann sagšist žį rekist į staš viš įna žar sem vissulega vęri eins og hringsviš og žangaš vęri ašeins stundarfjóršungs gangur frį fossinum. Hann ók okkur til baka dįlķtinn spöl og sżndi mér stašinn. Žaš var engum blöšum um žaš aš fletta. Hér hafši įin mótaš hringsviš - og stęrš žess var umtalsverš.
From the opposite bank, in front of the amphitheatre, we tried to approach the place as much as possible to observe the rocky shape of the place. We immediately paid attention to a rectangular stone slightly less than two metres high, located at the centre of the hollow, but slightly on the left. Į gilbrśninni austan megin, gegnt klettaveggnum, fórum viš svo nęrri sem viš framast gįtum til aš grandskoša klettana handan įrinnar. Strax komum viš auga į ferkantašan stein nešst ķ klettabeltinu. Hann var tęplega tveggja metra hįr, ašeins vinstramegin ķ svišinu.
Thorarinn told me what he instinctively thought about: not only had I found the amphitheatre, but that strange rectangular stone might have been placed in that spot to point out something.
Watching the place carefully, I thought I had come from Italy with the geographic coordinates of a lost area at the centre of Iceland, looking for a natural amphitheatre along the river; in just fifteen minutes’ search on the spot I found myself before a perfect natural amphitheatre with remarkable size, maybe the only one of this kind in the whole island; and the stone was so original that it might be the throne of Beatrice in the the amphitheater of the snow-white rose of the blessed. The whole series of coincidences was highly unlikely.
Žórarinn sagši aš honum žętti sem ekki ašeins hefši ég fundiš hringsvišiš heldur ķ ofanįlag žennan undarlega kantaša stein sem ef til vill hefši veriš settur žarna nišur til aš gefa einhverskonar vķsbendingu.
Ég horfši yfir įna og grandskošaši svęšiš eins ķtarlega og unnt var. Hingaš hafši ég komiš frį Ķtalķu meš jaršhnit huldusvęšis ķ mišju Ķslands, leitaš žar mešfram vatnsfalli aš nįttśrulegu hringsviši og eftir fimmtįn mķnśtna leit į svęšinu stóš ég hér og horfši yfir einmitt žannig hringsviš, verulega vķšįttumikiš og steinninn var svo sérstakur aš hann gęti vel veriš hįsęti Beatrice, hinnar snę-hvķtu rósar hinna blessušu. Žaš var afar ólķklegt aš allt žetta vęri tilviljun.
In particular, I relied on one thing: both Dante and Leonardo led me to the Gżgjarfoss Waterfall, at the confluence of two rivers, as though they wanted to point out an intermediate stage, a geographic reference from which I was supposed to understand and follow the direction to the real destination.
If that point along the river was exactly the natural amphitheatre, and if the tiles of the puzzle I had been building for months by following the indications of the Poet and the Painter were not just my cogitations, I should have found evidence of that in the Comedy and in the Last Supper by Leonardo immediately.
My theory was confirmed by some lines in the Divine Comedy, which I found in a few months’ studies. Dante pointed out that site, and thus, something should be brought back to light, probably.
Sérlega reiddi ég mig į tvennt: Bęši Dante og Leonardo höfšu leitt mig aš Gżgjarfossi žar sem tvęr įr koma saman, rétt eins og žeir vęru aš setja inn leišarmerki sem ętti aš feta sig frį til hins raunverulega įfangastašar.
Ef sį stašur vęri einmitt nįttśrulega hringsvišiš viš įna og ef kubbarnir ķ myndinni sem ég hafši veriš aš raša upp mįnušum saman, meš žvķ aš fylgja vķsbendingum skįldsins og mįlarans, vęru ekki bara hugarburšur minn, žį ętti ég aš geta nokkuš aušveldlega fundiš merki žess ķ Glešileiknum og ķ Sķšustu kvöldmįltķšinni hjį Leonardo.
Žessi įlyktun mķn stašfestist ķ fįeinum lķnum sem ég fann nokkrum mįnušum seinna ķ Glešileiknum. Dante benti į žennan staš og į žann hįtt aš žar ętti ef til vill aš draga eitthvaš fram ķ dagsljósiš.
But the right point of excavation was still an unsolved problem. In the Comedy, it had been certainly pointed out, but I didn’t know how. The most likely point seemed to be behind the only point of reference we had found: the vertical stone possibly representing the seat of Beatrice. It was just a hypothesis, but it was worth following that path. Perhaps geophysical instruments might help me to find a hollow hidden in the ground. En nįkvęmlega hvar ętti aš grafa var ennžį óleyst gįta. Žvķ hlaut aš vera lżst ķ Glešileiknum en ég vissi ekki hvernig. Lķklegasti stašurinn virtist vera bak viš eina višmišunarpunktinn sem viš höfšum fundiš, steininn sem ef til vill tįknaši sęti Beatrice. Žetta var ašeins tilgįta en hśn var žess virši aš kanna hana. Ef til vill gętu tęki til jaršrannsókna oršiš mér til hjįlpar viš aš finna holrśm sem vęri fališ einhvers stašar nešanjaršar.

Mars  2005

The first expedition

Mars 2005

Fyrsta rannsóknarferšin

In the meantime, and having followed my research by collaborating with me in studying paintings, Thorarinn took on the task of setting up our first expedition to the site with everything we needed to start surveying the place. Eftir könnunarferš okkar Žórarins fylgdist hann meš rannsóknum mķnum og tók žįtt ķ mįlverkarannsóknum auk žess sem hann tók aš sér aš undirbśa fyrstu rannsóknarferš okkar į stašinn - meš öllu sem til žurfti.
His friend, geologist Thorgeir Helgason, would be keen to take care of the technical aspect of the research. He knew the Icelandic firm which might lend us a georadar with a 100 MHZ antenna. Through that equipment, it was possible to probe the ground until six or seven metres depth to find any hollows in the rocks. Vinur hans, Žorgeir Helgason jaršfręšingur, mundi vera vera fśs til aš koma meš og taka aš sér tęknilegu hlišina. Hann žekkti ķslenskt fyrirtęki sem gęti lįnaš okkur jaršsjį meš 100 MHZ loftneti. Meš žvķ tęki vęri unnt aš skyggnast allt aš 6 til 7 metra nišur ķ jöršina eftir holrżmum.
Another friend of Thorarinn, Vigfśs Magnśsson, would take us to the site through a special SUV, suitable for the snow, even out of tracks. As travelling inner Iceland with just one vehicle would have been imprudent, he involved some friends in the expedition, people keen on this kind of excursions. With his experience, Gķsli Ólafur Pétursson, the guide, would grant us a safe journey. Annar vinur Žórarins, Vigfśs Magnśsson, mundi aka okkur upp į svęšiš į sérśtbśnum fjallabķl sem unnt vęri aš aka yfir snęvi žaktar vegleysur. Žar sem órįšlegt er aš feršast einbķla um hįlendi Ķslands fviš žęr ašstęšur fékk hann nokkra vini sķna til aš slįst ķ förina, félaga sem gjarnan tóku žįtt ķ slķkum ęvintżrum. Reynsla leišsögumannsins, Gķsla Ólafs Péturssonar, mundi tryggja öryggi feršarinnar.
In the morning of the scheduled day, Saturday, 19 March 2005, we finally reached our destination after a six-hour journey. We only had three hours to carry out our work; then we should go back.
When Thorarinn and the other Icelandic friends asked me where they should plant the stakes to delimit the area, I was not so sure about the instructions I was giving them. The general haste, but above all, the lack of the precise reference made up of the stone totally submerged by the snow made me feel I was not doing a good job. After mounting the georadar, Thorgeir carried out his work just before dark. After six hours, we were in Reykjavik again. It was almost midnight.
Į tilsettum degi, laugardaginn 19. mars 2005, tók žaš okkur sex klukkustundir aš komast uppeftir. Žar höfšum viš ašeins žrjį tķma til aš ljśka verkefni okkar įšur en haldiš vęri til baka.
Žegar Žórarinn og vinir hans spuršu mig hvar setja skyldi nišur hęla til aš afmarka leitarsvęšiš var ég alls ekki viss. Tķmapressan og kannski žó enn frekar skorturinn į nįkvęmri stašsetningu steinsins, sem nś var alveg į kafi ķ snjó, varš til žess aš mér fannst mér ekki farast verkiš hönduglega. Eftir aš Žorgeir hafši sett upp jaršskannann lauk hann yfirferšinni rétt fyrir myrkur. Sex tķmum sķšar komum viš aftur til Reykjavķkur. Žį var komiš fram undir mišnętti.
To know the results of that first experience, I had to wait for Thorgeir to examine the tracing of the georadar in the following days. However, I already felt the result of the analysis would not be positive. Working on the field was something rather different than patiently thinking before a computer monitor with the satellite photo of the area, and with everything you need to conduct all necessary tests. Til žessa aš fį nišurstöšurnar žurfti ég aš bķša nokkra daga eftir śr lestri Žorgeirs śr gögnum jaršsjįrinnar. Fyrirfram var ég nokkuš viss um aš žau myndu ekki skila jįkvęšri nišurstöšu. Vettvangsrannsókn er mjög ólķk žvķ aš sitja žolinmóšur yfir gervitunglamynd af sama svęši į tölvuskjį meš allt innan seilingar til hvers konar ašgerša og śtreikninga.
It was a mistake to rely to such a great extent on the potentiality of the georadar, which should have been regarded as a test instrument only. This meant that it was necessary to define the position of the excavation point with absolute precision, by studying at home. There were no loopholes. Žaš voru mistök aš reiša sig svo mjög į möguleika jaršsjįrinnar. Hana hefši ašeins įtt aš nota til žess aš prófa nįnar tiltekna stašsetningu. Žaš žżddi aš naušsynlegt var aš skilgreina rannsóknarstašinn, sjįlft grafsvęšiš, af fullkominni nįkvęmni meš nįnari rannsóknum į heimavelli. Hjį žvķ varš ekki komist.
By that time, I was sure that all the information I was looking for should necessarily be in the place where I had already found the data for reaching the site, that is, in the Divine Comedy, the paintings of Leonardo, Botticelli and Rafael. After my first experience on the field, now I had the right impulse to study and understand the message in detail.
What I didn’t know was the number of years I would need to achieve that result.
Žegar hér var komiš žóttist ég viss um aš allar žęr upplżsingar sem ég žyrfti hlytu aš vera fólgnar žar sem ég žegar hafši fundiš žęr upplżsingar sem leiddu mig į svęšiš viš Gżgjarfoss, - ž.e. ķ Glešileiknum og verkum žeirra Leonardos, Botticellis og Rafaels. Eftir žessa fyrstu reynslu mķna į stašnum ętti ég betri möguleika į aš rannsaka og skilja bošskapinn til fulls.
Žaš sem ég žį ekki vissi var aš žaš mundi taka mig mörg įr.

April  2013

The situation today

Aprķl 2013

Stašan ķ dag

After this first experience of research in the field, I made some more attempts in the course of time. Every year, in July, with our base at the refuge of Kerlingarfjöll, we carried on research with the same group of Icelandic friends: Thorarinn Thorarinsson, Vigfśs Magnśsson, Gķsli Ólafur Pétursson, and Geir Magnśsson. Among the friends accompanying me from Italy, apart from Pio Romano Grasso and Domenico Frontera, there has always been an expert in geophysics with his radar, and/or a geologist. In the course of time, Gianfranco Morelli, Roberto Mandler and Mario Ferguglia took part in the expeditions. Eftir žessa fyrstu reynslu af vettvangsrannsókn į svęšinu gerši ég nokkrar fleiri tilraunir. Ķ jślķmįnuši nęrri hvert įr höfum viš haft ašsetur ķ Kerlingarfjöllum og unniš aš rannsóknum meš sömu ķslensku félögunum: Žórarni Žórarinssyni, Vigfśsi Magnśssyni, Gķsla Ólafi Péturssyni og Geir Magnśssyni - sem kemur frį Bandarķkjunum įr hvert til aš vera meš okkur. Auk vina sem hafa fylgt mér frį Ķtalķu, žeirra Pio Romano Grasso og Domenico Frontera, var ętķš meš ķ för sérfręšingur ķ jaršvķsindum meš jaršsjį og/eša jaršfręšingur. Ķ žeim hlutverkum hafa žeir veriš: Gianfranco Morelli, Roberto Mandler og Mario Ferguglia. 
Every year, it was the same old story: we hoped to find something at the beginning of the journey, but in the end we were disappointed. In fact, every year we reached a result.
I could exclude some hypotheses at the excavation point, but I also acquired new data about the positions of the stones in the place, which were fundamental to understand the lines of the Divine Comedy. Now I can say that it was fundamental to know the site well, until complete mapping, which could be carried out thanks to an expert: Roberto Mandler.
Įr hvert var žaš sama gamla sagan. Ķ upphafi feršar vorum viš bjartsżnir um aš finna eitthvaš en uršum aš lokum vonsviknir frį aš hverfa. Samt mjakaši hvert įr okkur nokkur skref fram į viš.
Ég gat śtilokaš nokkrar tilgįtur um grafsvęši en jafnframt fundum viš fleiri sérkennilegar klettamyndanir į svęšinu og innbyršis stašsetningar žeirra reyndust sķšan mikilvęgar til aš rįša ķ texta Glešileiksins. Žegar litiš er um öxl er ljóst aš naušsynlegt var aš žekkja svęšiš til hlķtar svo unnt vęri aš kortleggja žaš ķ smįatrišum, en žaš gerši sérfręšingurinn Roberto Mandler.
Under this point of view, the work we made in 2008 was important, when I realised for the first time that the seat of Beatrice was not the only point of reference in the natural amphitheatre. In the canyon“s rocky eastern wall opposite to the seat, though visible just from the southern side of the amphitheatre, one might recognise the profile of a face similar to the Holy Shroud, over ten metres high. But that was not all. From the southern side, it was also possible to see a stone structure shaped as a warrior with helm, and over it one might distinguish, in the distance, a rock with a lion face. Moreover, last July 2012, another piece was added the list: from the northern side, it is possible to see what in the Comedy is the eagle hovering for descent on the southern side; it is the eagle diving to grasp its prey. Frį žessu sjónarmiši var žaš sem viš geršum įriš 2008 mikilvęgt. Žį fyrst gerši ég mér grein fyrir žvķ aš sęti Beatrice var ekki eina višmišun hringsvišsins. Gegnt sętisbrekkunni hinum megin įrinnar mįtti frį sušurbrśninni sjį aš žaš var engu lķkara en aš į 10 metra hįum klettaveggnum vęri andlitiš į lķkklęšinu ķ Turin (Andlitiš). Og fleira kom til.  Frį sušurbarmi svišsins mįtti sömu megin įrinnar sjį klettamynd sem minnti į strķšsmann meš hjįlm (Strķšsmašurinn meš hjįlminn) og yfir hann mįtti ķ fjarlęgš og handan įrinnar sjį klett meš ljónsandlit (Ljóniš). Og - aš sķšastu bęttist ķ jślķ 2012 enn ein myndin viš. Frį noršurbrśninni mį sjį ķ sušurbarminum žaš sem ķ Glešileiknum er lżst sem erni ķ žann veginn aš steypa sér. Žar steypir sér klettaörninn į brįšina (Örninn).
One may as well understand that these are not subjective visual impressions: in the Comedy, I could find the lines pointing out those figures, emphasizing their positions with respect to local points of reference, and in some cases, mutual distances, too. Žaš er eins gott aš gera sér grein fyrir žvķ aš žetta er ekki hugarburšur. Ķ Glešileiknum fann ég hendingar sem lżsa žessum myndum. Žar er vķsaš į žęr og stašsetning žeirra rękilega tiltekin mišaš viš tiltekna punkta į svęšinu og milli sumra žeirra eru einnig gefnar fjarlęgšir. 
For instance, the seat of Beatrice was mathematically confirmed when I found out that its position matched with the data originating from the text of the Comedy:
  • Western side of the amphitheatre
  • 46'' N from the meeting point with Matelda
  • 3'' N from the fish tail
  • 100 Roman cubits from the eagle eye
  • 4,389 Roman cubits from the stone dividing the two rivers at the waterfall
  • 36'' N and 142.81'' W from the stone dividing the two rivers at the waterfall

Dante’s unit of measurement, the Roman cubit, is 44.46 cm and the length of the longitude second at that latitude: 1'' = 13.25 m.

Sem dęmi um žetta er stašsetning Sętis Beatrice. Stašsetning steinsins sem viš höfšum strax į fyrsta degi įlyktaš aš vęri sętiš reyndist koma heim og saman viš žaš sem Glešileikurinn tiltekur žannig:
  • hann er į vesturhliš hringsvišsins
  • 46 sek noršan viš stašinn žar sem Dante mętti Mateldu.
    (1 lengdarsekśnda, ž.e. 1/60 af 1/60 śr lengdargrįšu į žessari breiddargrįšu jaršar, er 13,25 m.)
  • 3 sek noršan viš sporš fisksins (sjį nešar)
  • 100 rómverskar įlnir frį auga arnarins.
    (1 rómversk alin (cubitum = olnbogi) er 44,46 sm.)
  • 36 sek noršar og 142,81 sek vestar en hornsteinninn į fossbrśn Gżgjarfoss žar sem įrnar renna sķn hvorum megin ķ fossinn.
The amphitheatre is thus as follows:
  • Seat of Beatrice on the west
  • Face similar to the Holy Shroud on the east
  • Warrior (helm) and Lion on the north
  • Eagle on the south

On the other hand, just over the amphitheatre, on the same latitude as the eagle but about 87 meters to the west, there is the fish stone. In all these cases, they are natural stones modelled with just a few masterly touches by some skilful stonecutters.

Hringsvišiš er žvķ svona:
  • Sęti Beatrice į vesturhliš
  • Andlitiš, sem svipar til lķkklęšisins ķ Turin, ķ austurvegg gilsins
  • Strķšsmašurinn meš hjįlm sinn ķ noršurvegg og Ljóniš ķ noršri
  • Örninn ķ sušurhliš.

Į hinn bóginn er svo Fiskurinn, steinn meš fisklögun, skammt ofan viš hringsvišiš. Hann er į sömu breiddargrįšu og örninn en um žaš bil 87 metrum vestar. Allt eru žetta nįttśrulegar klettamyndanir sem hugsanlega fengu netta mešhöndlun snjalls steinsmišs til aš falla enn betur ķ myndina. 

The shape of the eagle played a decisive role in confirming the validity of the research. Until July 2012, the eagle on the south had not been spotted, yet. I knew it should be there, since it was the most important symbolic figure in the Comedy. When I saw it in a photograph of the southern side thanks to a tip by Domenico, I was not sure I had found it in the least. It was not as clear as the other rock shapes already recorded. Fortunately, I had a way to check it. In accordance with Paradise XX, the eye of the eagle was 100 cubits from the seat of Beatrice. Last July, our first operation was measuring – with a tape measure – the distance between the centre of Beatrice’s seat and the right eye of the basalt-stone eagle, standing out about 30 cm from the hyaloclastite wall.
The exact measure was 44.46 m = 100 roman cubits.
Lögun arnarins gegndi lykilhlutverki til aš stašfesta gildi žessara athugana. Žar til ķ jślķ 2012 höfšum viš ekki komiš auga į Örninn. Ég vissi aš hann ętti aš vera žarna vegna žess aš hann var mikilvęgasta tįknmynd Glešileiksins. Žegar Domenico benti mér į lögun hans į ljósmynd af svęšinu var ég alls ekki viss um aš hann vęri fundinn. Hann var ekki eins glöggt mótašur og žęr myndanir sem žegar voru fundnar. Sem betur fer gat ég gengiš śr skugga um žaš. Samkvęmt Paradķs XX ķ Glešileiknum er auga arnarins sagt 100 rómverskar įlnir (cubita) frį sęti Beatrice. Ķ jślķ 2012 var žaš eitt okkar fyrsta verk aš męla - meš mįlbandi - fjarlęgšina milli mišju sętis Beatrice og hęgra auga basalt-steinsins, Arnarins, sem skagar um 30 sm śt śr gilveggnum.
Fjarlęgšin reyndist nįkvęmlega 44,46 metrar -
ž.e.: 100 rómverskar įlnir.
At this stage I can thus affirm that the natural amphitheatre along the Jökulfall corresponds to the one in the Divine Comedy, and is the amphitheatre of the snow-white rose of the blessed. Į žessu stigi get ég fullyrt aš hringsvišiš viš Jökulfalliš samsvarar žvķ sem lżst er ķ Glešileiknum og er hringsviš hinnar snę-hvķtu rósar hinna blessušu.
Other elements added to this result.
  • Leonardo’s paintings were a fundamental evidence of Leonardo’s involvement. Moreover, they proved to be connected with the Divine Comedy.
  • Mona Lisa includes lots of references to the Comedy and its hidden meanings. The message "sotto 'l velame de li versi strani" (beneath the veil of verses so obscure) is encoded in the painting of Leonardo, too. The clearest evidence is the profile of Dante hidden in the landscape on the left of the face of the portrayed woman. Slightly above, in the background, the island painted represents Iceland.
  • By overlapping one image of the Last Supper and a second image of it rotated 180°, you will see the image of a Knight Templar originating from the superimposition of the figure of Bartholomew over the figure of Simon the Zealot.
  • In several points, the very Divine Comedy reveals Dante’s liking for Knights Templar, as R. John pointed out in his book Dante Templar. This makes us think that the 80 knights present in Iceland in 1217, dressed and armed alike, were Templars, because, in those years, they were the only ones wearing the same armour, a uniform; moreover, Templars were the only ones with the financial means and fleet allowing them to reach Iceland.
Fleira styšur žessa nišurstöšu:
  • Verk Leonardos voru órękur vitnisburšur um ašild hans og žaš sem meira er žį reyndust žau tengjast Hinum Gušdómlega Glešileik.
  • Mona Lķsa geymir fjölmargar vķsanir til Glešileiksins og duldra vķsbendinga hans. Leonardo hefur og sett ķ verk sitt skilabošin śr Glešileiknum: "sotto 'l velame de li versi strani" (undir hjśpi svo torrįšinna orša). Greinilegasta tengingin er vangamynd af Dante sem falin er ķ landslaginu vinstra megin viš andlit Monu Lķsu. Ašeins ofar ķ bakgrunni myndarinnar er eyja sem tįknar Ķsland.
  • Taktu tvęr slidesmyndir af sķšustu kvöldmįltķšinni. Hafšu tvęr sżningarvélar. Lįttu ašra vélina varpa myndinni réttri į tjaldiš. Ķ hinni lęturšu hana snśa öfugri hliš fram - snżrš henni 180 grįšur lįrétt. Stilltu myndirnar žannig aš žęr falli saman. Ķ ljós kemur musterisriddari žar sem myndin af Bartholomew leggst ofan ķ myndina af Sķmoni vandlętara.
  • Žaš er vķša sem hinn mjög svo gušdómlegi Glešileikur opinberar góšan hug Dantes til musterisriddara - eins og R. John hefur bent į ķ bók sinni Templarinn Dante. Žį kemur okkur ķ hug frįsögnin um 80 alskjaldaša austmenn į Alžingi įriš 1217 aš žeir hafi veriš musterisriddarar. Į žeim įrum voru musterisriddarar einir um aš klęšast samskonar herklęšum, einkennisklęšnaši, - auk žess sem musterisriddarar höfšu bęši fjįrrįš og skip sem til žurfti aš komast til Ķslands. 

Conclusion

Nišurstaša

In the light of those remarks, I can express just one hypothesis on the meaning of the message encoded in the Divine Comedy and in Renaissance paintings.

Something extremely important was likely to have been hidden in that natural amphitheatre along the Jökulfall; something which has to be brought back to light.
Probably that something was hidden by the Knights Templar in 1217.

Ķ ljósi žess sem aš framan segir set ég fram ašeins eina tilgįtu um merkingu skilabošanna sem fléttuš eru ķ Glešileikinn og mįlverkin:

Eitthvaš sérlega mikilvęgt er fólgiš ķ hringsvišinu viš Jökulfall, - eitthvaš sem veršur aš draga fram ķ dagsljósiš. Ef til vill eitthvaš sem musterisriddarar földu įriš 1217.

Perhaps, in their excavations in Jerusalem, they actually found old texts and documents which should be protected and handed down to future generations.
Almost one century later, Dante was given the task of encoding a message in his poem, a message leading to the site.
Ef til vill hafa fornleifarannsóknir žeirra ķ Jerśsalem skilaš žeim fornum textum og skjölum sem žeim fannst žurfa aš varšveita og tryggja aš kęmust til sķšari kynslóša.
Um žaš bil einni öld sķšar hefur svo Dante fengiš žaš verkefni aš vefa ķ kvęši sitt vķsbendingar sem bentu į felustašinn.
Then Botticelli, Leonardo and Rafael were entrusted with the same task. The same message encoded in the Comedy, and leading to Iceland, is hidden in their paintings. The masterpieces of those literary and pictorial artists would have crossed centuries, reaching future generations. The message would be understood, and the TRUTH would be brought back to light. Botticelli, Leonardo og Rafael hefur veriš fališ sama verkefni. Žau skilaboš sem Glešileikur Dantes geymir og benda til Ķslands eru einnig ofin ķ verk žeirra. Snilldarverk žessara meistara bók- og myndmennta myndu lifa um aldir og žannig nį til kynslóša framtķšarinnar. Bošin myndu skiljast og SANNLEIKURINN vera leiddur fram ķ dagsljósiš į nż.
Finally, as for the right spot of excavation inside the natural amphitheatre, I think I can rely on a good theory, which I will test next July. Aš lokum - hvaš višvķkur rétta stašnum til aš leita į ķ hringsvišinu - tel ég aš ég geti reitt mig į góša tilgįtu sem ég mun lįta reyna į ķ jślķ nęstkomandi.
It is just a theory and I might be wrong again. One metre on the left or on the right, and I might miss the point. But I am sure not to be wrong when I say to my Icelandic friends that the secret held in that spot of Iceland is hidden behind the most enigmatic smile in the history of art, the smile of Mona Lisa that is also the smile of Beatrice. En žetta er aušvitaš ašeins tilgįta og ég gęti enn haft rangt fyrir mér. Jafnvel einn metri til eša frį gęti gert gęfumuninn um hvort ég hitti į rétta stašinn. Ég er hins vegar alveg viss žegar ég segi vinum mķnum į Ķslandi aš leyndarmįliš sem žar leynist er fólgiš bak viš dularfyllsta bros listasögunnar, bros Monu Lķsu sem einnig er bros Beatrice.

3 April 2013
Giancarlo Gianazza

3. aprķl 2013
Giancarlo Gianazza

Dante In Iceland * Table of contents * Top of Page * Frontpage of GOP-frettir