5 may 2024

5 may 2024

John Bjarne Grover

Apostoli, Fatima

In the church of Santi Apostoli in Venice there are two artworks of high relevance for each other - 'mutual' relevance it would normally be called.

In the righthand chapel (when coming in from the main entrance door) there is Giambattasta Tiepolo's "Communione di Santa Lucia" (source), and on the lefthand wall there is Gaspare Diziani's 'La vergine col Bambino, san Giuseppe, san Giovanni Battista e sant'Antonio da Padova' (source in this file).

As mentioned in this article of mine (search for "7. The third secret of Fatima"), with background in this observation, there are reasons to recognize the text of the third secret of Fatima written by Sister Lucia - here in english translation - in the work of Diziani.

Specifically, if one stands at this Diziani work and looks across the church into the chapel with the Tiepolo work, there could be a notable relevance of Diziani in Tiepolo or vice versa - the two artists were also contemporaries: However, it seems that when observed from about the mid point of the Diziani artwork one can see about a half of the Tiepolo, the rest of it being covered behind the doorpost and the large brazen electric light- or 'candlestand' next to it. There are in fact two such large lightstands - one on each side of the opening to the chapel - like the two 'aspersoriums' mentioned in Sister Lucia's account of the third secret. It is also interesting to oberve how the angel with the sword in the third secret has its interpretation in the man leaning over the slanting board with his right hand, as if reaching forth the eucharist to Lucia in Tiepolo's artwork. In Diziani, this element would correspond also to the apparent monk reaching forth towards the body of the Jesus child. It is possible that this means that the Jesus child of Diziani then would be that half of the artwork which corresponds to the half with Lucia in Tiepolo.

Of course it is interesting to observe how this phenomenon in Apostoli in Venice could have received a reflex in the vision of Lucia as a child in Fatiman in 1917.

I myself had a university teacher called 'Even Hovdhaugen' (professor of linguistics at the university of Oslo) who strongly reminds me of the priest who reaches the eucharist to Santa Lucia in Tiepolo's artwork. I do not know if this would have been entirely coincidentally - his name could mean the executioner standing in the mid of the canvas, in 90 degrees angle relative to the priest - like the 'angel' of Diziani (leaning over the table) relative to the monk at the Jesus child - or if there could have been an element of 'third (secret) Reich' in this association, or even if this could have been an association assigned to him by other interests. Interestingly, there is also a Wim van Dommelen professor of linguistics at the university in Trondheim in Norway - 'tommelen' is norwegian for 'the thumb' which could be seen as highly relevant to an alleged Salvator Mundi by Tizian in the evangelic-lutheran church in Venice - on the same square as the Apostolo church, at only some 30 metres distance or so. I amateur-photographed this alleged Tizian myself after permission - here is the detail of the thumb.

If this phenomenon is not only a puzzling coincidence, it is of course possible that the relevance of Diziani-Tiepolo for the third secret of Fatima is already a wellknown 'secret'. If it should have been a wellknown 'secret', would it even have been invoked for lending a mystic aura to Adolf Hitler's ideas about a 'dritte Reich'? This sort of religious mystery-association could also have been applied to intrigues of a kind which e.g. a 'Black Sea Loop' could have been about - and for moving the religious devotion of monks and nuns over onto members of brotherhoods of political intrigue - socalled radical groups of terror who could be associated with e.g. the executioner in Tiepolo's artwork.

In fact there is an interesting reflex of this 'candlestick' or 'light-stand' just at the 'doorpost' to the chapel with the Tiepolo in Apostoli church also in the 6th of the major earthquakes of Turkey-Syria which I discuss relative to the 7th poem of my 'SNEEFT COEIL': This 6th major earthquake is in the region east of Eskiköy and Nurhak (click on 6th quake, then on 'maps' and then 'interactive map' and zoom in to the local epicentre - hopefully these functions are in order again after some time of new design and some dysfunction of these links) - in fact the epicentre of the 6th quake is quite close also to 'Kapi Dere' which means 'Tür-Strom', 'door stream' (cp. the idea of electric lights in 1917) which would be for my line 'Danach steht sie bei dem Türpfosten versteckt' - which would be the third correlation of amazing precision in this 6th quake.

Only the fourth is missing - for 'eine weiße Göttin vom Osten'.

The near placename 'Biçakci' means 'Messerschmied', 'knife-smith', but 'bıçakli' = 'erstochen', past participle of 'erstechen'. 'Tatlar' = 'flavours'.

'Hatira Ormani' = 'Memorial Forest': There is in fact yet another element of significance in this story - a memory of mine from Oslo in probably the first half of the 1990's (if not the late 1980's) - I sometimes visited a ceramist who had her workshop at Sogn student town - once she showed me some candlesticks she had made on order from a firm who planned to give them as christmas present for their employees. She used a wooden beam or 'plank' which she lay across the undry clay forms and hit it onto the clay candlesticks at two places, which made a depression in the clay in the upper and the lower part. When I moved to Zinckgasse in Vienna 15-20 years later, and I still have my residence there, my daily walk to the post office and the PO Box there makes me pass a sculpture which looks surprisingly similar to these candlesticks of the swedish ceramist (the stone sculpture to the right) - only greatly magnified. Could be I could have called it a 'memorial' - it is the ceramist mentioned in my diary novel e.g. on page 184 and on page 195 - the latter in the context of the name of the turkish region 'Kappadokia', in which several thousand of buildings were destroyed in the quakes of 6 february 2023. See also the mention on page 511. This candlestick 'memorial' sculpture is positioned in front of Wien Stadthalle. Norwegian for 'most in front of' = 'forrest'. 'Memorial Forest' = 'Hatıra Ormanı' - hence 'the white goddess from the east hidden behind the doorpost'. I once read Robert Graves' book 'The white goddess'.

Conclusion is that since both the Tiepolo and the Diziani artworks are fixed into immovable altar frameworks on the wall of the church, they and the doorposts would likely have been in the same position during the Fatima revelations in 1917. The two brazen or golden lightstands are electric and one could of course speculate that they could have come up around those times. Although it is possible that these large 'candlesticks' could have been added then or later, the structure I have described here could in principle have been a part of the historic background for these revelations of Fatima that took place on the 13th every month for half a year. The numeral '13' could suggest associations to 'doorpost' in several languages - in particular if the converse '31' is seen to have a reflex in the lightstand along the other doorpost to the chapel.

[6/5-24: See also the similarity of the Madonna with crown (source) and the light-stand at the doorpost].

The revelations took place with the Madonna allegedly standing on a 'cork-oak' = portuguese 'sobreiro' (which also seems to be the exact mid word in Sister Lucia's portuguese text) in 'Cova da Iria' = 'grave', cp. 'Robert Graves'?

You mean, if it has anything to do with me? Ah, yes, then I could suggest that the famous 'miracle of the sun' could be the same as my 'fundamental theorem of logic' - a 'non-euclidean' logic without negation wherein Truth is found where eternity shines into history - and whereby the need for a post-life alternative to paradise is not so important, or, say, explicit. Even the ancient chinese seem to have seen my future book 'The Endmorgan Quartet' in their crystal bowls. It could even be about the same theme as Diziani's artwork in the Apostoli church (reverse order) - whereby my frontpage would be Diziani's man and young angel at the slanting table.

6/5-24: TEQ book 7 could be about the theme - Sister Lucia and Syria and how the apparition goes beyond ho[r]izons - even on the trains of two. Notice towards the end of this TEQ #397 the slanting table of Diziani and the yuletide angel that has grown to be a fairly long 'sab' - or 'flaming sword', as it tells in the third secret. See also my suggestion that Rembrandt could be a 'function 7' artist (from this page) - see e.g. his son Tito 'out reading for my Look' or 'Hendrickje Stoffels as Flora' with a handful of dung. My theory even suggests a role for 'base 13' in Rembrandt's art - cp. the Fatima revelations on the 13th every month.

It is not so difficult. The new logic will not apply to normal causalities and the new computers will probably not have to run through the tedious binary searches but can go straight to the goal - which of course is much quicker.