TEQ, PEB and the Fatima revelation of 1917

John Bjarne Grover

The article discusses some aspects of my poetry on the background of the Fatima revelations of 1917, possibly also vice versa - which does not mean that one can impose onto me a role as Jesus and abuse my work for cheating the masses by way of cynical political power.

The story seems to be the year 1912 - when Robert Falcon Scott reached the south pole on 18 january 1912, probably the same day (or thereabout) as Rilke heard the angel's voice from over the sea at Duino castle in the end of the Adriatic sea (it is said that he used these words which he heard from the angel for the beginning of his first Duino elegy) - and Biagio Marin registered as student at the Faculty of Philosophy in Vienna. (I dont know the day when he registered but it was the same year 1912). The connection to Rilke is that Marin grew up on the island of Grado just a few hundred metres (or maybe a couple of kilometres) from the place of Rilke's angel voice. To the same story it is added that Roald Amundsen had reached the south pole some days before Scott.

'Robert Falcon Scott' ('Robert Vollkornbrot') could have gone for the expedition qua 'Vollkornbrot' - the bread of the holy communion - and then 'Roald Amundsen' counts as 'roy la i mundsen' = 'the king/Lord put it in the mouth' - for the issue of transubstantiation (which is what divides anglicans/protestants from catholics).

This coincidence - suggesting that the Lord or king (via the angel) puts the word of Rilke in his mouth via the formal registration of Marin by his name and other indexes in a unit of administration - seems to have baffled and thrilled the world of administration so much that it totally came to change the course of direction of history. Notably, it led to nazism in Germany on basis of the socalled 'Burgenland' power phenomenon - the administrative power straddling the Burgenland border between Austria and Hungary. It was believed that this power was invincible and on a 'higher level' - see my articles 'The fundamental theorem of linguistics' and 'The hungarian evidence'.

It seems that - since 1912 - administration has more and more become concerned with names and other indexes (which can be registered). Administration believes that it is the human faculty of reasoning or philosophy which can be properly controlled and administered by names and indexes, and even human moral and religious matters seem to have gone the same way.

This opening gap (between this new 'indexical' and former 'normal' world) probably started very soon after 1912 - and already in 1917 Heaven found that it was necessary to send Madonna herself to Fatima in Portugal to warn against the new historic development - which seemed to have brought administrative logic off its course. The visionary Lucia dos Santos later wrote down the three secrets which Madonna told to the three children on the first appearance 13 july 1917. She returned with monthly intervals (on the 13th of the month) for the rest of the year. It was a world wide sensation and at the end of the series huge crowds of people gathered in the area for witnessing the miracle (although it was probably only the children who saw her).

It seems that Heaven succeeded in terms of my work. The article The hungarian evidence shows that the socalled 'angelic' power in politics probably rests on an element of anglophonic 'mock' - contra the 'im-mac-ulate' heart of Madonna. This 'mock' is contained in the code word which in anglophony defines the language and culture in question - for hungarian theh code word seems to be 'hymen', as if hungarians should have been obsessed by this idea in every aspect of their language and culture. In my 'POLAKK English Bloggi' (PEB), it is the collection of first lines of the 365-366 poems which contains this. To see how the 'mock' is contained: Take a word, finds its year 'x' of first occurrence in an etymological dictionary (which means the year when it is first attested in an extant document), compute (2009-x)*0,366 = y rounded up to nearest integer (y+1 or y) - which gives the number of the poem in PEB. Take the first line in this poem, put the word of etymology in its beginning, level out with movement of phonological features and counterbalance with the same movement of features on reverse in the rest of the line - then one has a word in the language and its definition in english - and this definition will tend to contain an element of 'mock' against that national type.

Example: The hungarian word 'kolna' (it means 'Kelterhaus', 'Villa', 'Landhaus') was first registered in 1814. That gives (2009-1814) * 0.366 = 71,37 which rounds up to PEB #72 which has first line 'And show the child'. Put 'kolna' in the place of 'and show' = 'śnSeu', which requires the movement of certain phonological features (ś --> k, n --> o, S --> l, e --> n, u --> a), and countermove these features back again in the remaining 'the child' ('TitSaild') which then turns into 'its shift' or 'its fruit' - hence one gets the resulting definition of the word "kolna: its shift / its fruit". The mock word 'hymen' will then be just slightly present in the concept formation.

My view is that this movement of features in the beginning and corresponding movement of features at the end is the same as the rotating drill I saw in Szolnok in 2015 - a (probably) vision of a 20-30 meter high mechanic drill that lasted for several days - it swirled around on top, then rushed down to the ground and swirled correspondingly around down there before it was flung or rushed back up again, and so it continued for days. (There was no crew to this machine in the fenced-in area and I fancied that new extensions to a drill pipe were added by automatic mechanisms for each down-and-up turn, but clearly that looked not probable). One cycle took a few seconds - could be half a minute or less, and the high drill was held upright by six strong wires attached to the ground - like the 6 strokes of I Ching. (I was later told that there is thermal water in the area and there could have been such drilling going on - but probably not in that way).

The second secret of Fatima tells of the consecration of Russia (or is it russian) to the immaculate heart of the Madonna. I have guessed that code word or concept for hungarian is 'hymen' and for italian 'transubstantiation' (leading to 'mock' english definitions). My guess is that the code word for russian is just 'consecration' - and that the name of 'Old Church Slavonic' could be understood in 'mock' anglophony as 'consecration'. But Madonna probably told that in russian it can be without mock - could be russian is the solution to just that problem of defining 'mock' which can have an unfortunate effect on culture. Is the 'russian' even the rushing down and up of the drill - that is the 'conversion' mechanism? Madonna told that 'Russia must be converted'.

My study shows that the etymologies as basis for these first-line interpretations have an explanatory value only on the assumption of a formal cognition in historic collective consciousness which can be attested in terms of the fragments left after Heraclitus - which is my example. This presocratic philosopher is known for his ideas of primordial fire - that the world goes in and out of an 'ocean of fire'. This clearly could be the first secret of Fatima. I could not find any better example that Heraclitus for this theory. The fragments after Heraclitus - he probably wrote much but little is preserved - have been preserved by the historic consciousness in such a way that the resulting collection of fragments constitute one poetic form of a notable unity - shown in my organization and translation of them. It is fully possible that only Heraclitus - the presocratic philosopher of the ocean of fire - can be shown to have a value for proving this faculty of formal philosophy in the collective historic conscciousness. (It could have been the hook of this aspect which administrative logic bit in 1912).

Having come this far, that is, understanding how the first and second secrets of Fatima seem to be acutely relevant to my PEB (2008-2010), the third secret of Fatima seems to tell of my 16-volume 'The Endmorgan Quartet' (1997-2008) = TEQ which I wrote immediately before PEB - I wrote the title in 1998 and the third secret (which I certainly did not know then) was published by the Vatican in 2000. 'The Endmorgan Quartet' = TEQ can be seen to be a long climb of the mount of mystic-poetic enlightenment - it took me 11 years to reach the peak - a climb through 16 books of poetry which I identify as 16 'poetic functions'. Having reached the peak under the stars, the work I wrote immediately thereafter was just this 'POLAKK English Bloggi' = PEB of 365-366 poems which seem to encode TEQ function/book 1 in its first line, TEQ function/book 2 in its second line etc. (Hence the etymological phenomenon of PEB line 1 is contained in TEQ book 1 called 'Hammerfest'). Together these combine to a sort of paradigmatic and syntagmatic axes for poetic functions.

The Endmorgan Quartet contains 1719 enumerated poems. There is some reason in considering the end of Rilke's Duino elegies - the end of his elegy 10 - as being equivalent to my TEQ poem #60, the end poem of book 1 'Hammerfest', and indeed his Duino elegies since 1912 can be seen as equivalent to my book 1 'Hammerfest' in terms of the mystic climb. It would be this book or function which tells of just that 'line 1' for hungarian 'hymen', italian 'transubstantiation' etc.

To see this, compare my TEQ #60, the last poem in book 1 'Hammerfest', with the artwork of Giambattista Tiepolo in Gesuati on Zattere in Venice (see alternatively here). My poem #60 is the following:

TEQ #60
Luke 23:56 κατα την εντολην

Rieflin Tower and Upper Finch

We may as well say
        that it looked around,
did not respond to my letters
games are typically the chair of.

It's exactly how I planned the departure.

Double 'e'
with laborious and
pushing of trust:

The artwork of Tiepolo shows the three saints Saint Rosa of Lima, Saint Agnes of Montepulciano and Saint Catherine of Siena - with the Madonna on the top under what I correspondingly call the 'Rieflin tower' curtain next to the 'poet' under the bird, the finch or what it is. It can be observed that my poetic articulation of the same scene is very constrained - such as that crown of thorns (and two women) in the double 'e' etc.

Rilke's tenth Duino elegy can be recognized in the same artwork: It is easy to find the convincing correlations - start reading from "Aber dort, wo sie wohnen, im Tal..." to the end of the elegy - nearly all elements of the artwork of Tiepolo are present. 'Die Klage' is the woman (Madonna - such as in Fatima?) on top - with the 'complaining' look.

siehe: den Reiter, den Stab, und das vollere Sternbild
nennen sie: Fruchtkranz. Dann, weiter, dem Pol zu:
Wiege; Weg; Das Brennende Buch; Puppe; Fenster

The poet and the crossrod on top is the Reiter and Stab, the 'Rieflin' tower curtain could be in the 'Fruchtkranz'. The 'Wiege' could be St.Catherine of Siena (or is it St.Agnes) seated with a sort of 'cats cradle' in her hands, the 'Weg' is the 3 * 5 = 15 strokes on the bottom (the number 15 is said to be magic for this church, by Villa & Villa: 'Tiepolo', Silvana Editoriale 2013), 'Das Brennende Buch' is the book that has fallen down, and so forth.

The bird is present in Rilke's elegy, even if it may be more relevant to the poet in elegies 7 and 8.

The end of the elegy is the ambiguity of the rose in the hand of the child and the touch of the hands. 'Das brennende Buch' (here like fallen under the Jesus child) compares also to ideas of historic archives/libraries and heraclitean fire.

(This conception of the Tiepolo artwork could also have been badly abused by 'political logic' of post-1912 in a 'third man' conception related to aspects of this artwork - such as the upper wings and 'logo' on the wall).

This being the end of Rilke's elegies and the last poem of my 'Hammerfest', one can observe how the beginning of Rilke's elegies in the sense of the famous angel of 1912 correlates with the beginning of the unedited poems in 'Hammerfest' (and TEQ generally). The first ten poems in my book are strongly edited in the sense of order of lines after initial writing (I then wrote the lines first and scrambled their order thereafter), but poems 11-1719 are totally without editing of the order of lines - they are written in succession from beginning to end - except for a couple of poems. Now my poem #11 'All the shadows are good' can be seen to contain the definition or criteria of a 'lapis philosophorum' in the first part, the first 6 lines (are these the necessary and sufficient criteria?), next in the second part, the next 6 lines, the formation of the double-lapis for a 'Vollkornbrot' where two lapises face each other like Rilke and Marin for a formation of a 'Vollkornbrot' when Robert Falcon Scott put his foot on the south pole - and with a Roald Amundsen as the corresponding 'other part'. It must have been this 'formation of the Vollkornbrot' by the name of the south pole traveller (like the name registered at the faculty of philosophy in Vienna - which was the name 'Marin' pointing to the area where Rilke heard the angel close to the place where Marin had been born and grew up) which triggered the administrative euphoria which has not calmed down yet - whereby administration could have come to believe that it was they who made (or were in control of) the words in Rilke's mouth by the expeditions sent to the south pole. The basis for this euphoria is contained in the third part of my poem - in the 'itemslist'. But all this, tells my poem, is contained in the poetic complex - which perhaps has been torn apart by post-1912 administative logic claiming responsibility for at least some of it - and it is likely that this poem of mine corresponds to Rilke's first elegy or aspects of it (the beginning of his elegies).

The hypothesis is therefore that my 'Hammerfest' (TEQ book 1) poems 11-60 (fifty poems) correspond to Rilke's Duino elegies 1-10 - which are perhaps considered the peak of his poetic performance. He wrote the ten elegies in the course of 1912-1922 - which means that Fatima 1917 was in the mid point. (Marin, in comparison, published one book of poetry in 1912 and the next appeared in 1922). Indeed my 'Hammerfest' seems to be the poetic function which provides a solution to the post-1912 problems which could have made Heaven send Madonna to Fatima to tell of the nature of the problem.

There is also a trivial phonological link to the the 'vava' story from my childhood in Odda - around 1960-62:

Co-va da Iria
Dies Irae

I recall that my 'vava' was a little 'efficient'.

(I think it was in the second half of the 1960's that a namesake 'Ragna Eidsvig' of my official mother took goodbye with her friends in Fjellgata in Aalesund for travelling to Bern in Switzerland. When the 'ťdesanya' system was introduced in Hungary, I dont know - could be it was conceived as a 'da svidanja' of russian).

Now what is the nature of the revelation of Fatima considered relative to my works TEQ and PEB?

My poetry is not the same style as Rilke's but can have the same poetic foundations. My TEQ is quite 'boiled down' to the essentials of structural sense - it says 'double e' where Rilke could use many lines for circumscribing the same object - but has its hidden range of variation in a series of parallel readings - one structural sense, one semiotic, one mystic etc. (I recall Jan Dietrichson in 1982 lecturing on the four medieval levels of meaning of text - could be he added an 'allegoric' to these three). My view is that my TEQ is a revelation of some kind - religious, mystic, poetic, whatever - that takes place in the void between these parallel readings or levels of text - a revelation that is formed from the nothingness in the void beyond the grasp of reason in the poet's limited subjective mind. That revelation is what the climb of the mountain of mystic enlightenment is about. The poet's task when writing TEQ was to wait with writing the next line untill it articulated itself in the poet's inner mind - that would mean not writing the ideas coming from own knowledge and experience but waiting till it had a quality of 'otherness' which as such would be 'revelational'. This could mean writing not the structural, not the allegoric, not the semiotic - that is, in the words of the third secret of Fatima, 'penance, penance, penance' - but accepting the mystic revelation found beyond the grasp of own reason.

I studied TEQ #61 - the first in the second book - to see what was the nature of the post-elegiac Rilke, so to speak, and it seems to be about the first crack in the philosopher's or rather angel's or bird's spherical egg (the motto to 'Hammerfest' is Parmenides fragment 1 - often translated 'the unshaken heart of wellrounded truth') - the philosopher's egg or lapis (showing, as is the theory, the form of the human psyche or reality) is not so spherical but biased - like humans think. It was in Venice while I pondered this #61 that a bird - a gull in fact - showed me the entrance to the door of the church of Santa Maria Assunta (vulgo Gesuiti) and there - voila! - on the wall hung an artwork of Antonio Balestra (1666-1740) which seemed to be just that poem #61 of mine - even a counterpoint to Tiepolo in #60 by the Virgin and - like Tiepolo on Zattere - three saints ('La Vergine e i santi Stanislao Kostka, Luigi Gonzaga e Francesco Borgia', ca. 1730?). It is quite interesting to discover that Balestra's work (which I was not acquainted with before this) in general seems to be concerned with just my TEQ function 2. It suffices with the title to the book "The slades with the only turn" in his artwork Theseus discovering his Father's Sword. The sword in question resembles the ex nihilo archaic nail which I found in my shoe in 2016. Lucia was a carmelite nun - probably discalced. I notice also the relevant associations to the angel with the flaming sword of the third secret of Fatima in this artwork of Balestra.

Clearly this means that the mystic ideas in my TEQ are not all new beyond #60 - beyond Rilke's elegies, one could say - although it may be new that the long climb of 1719 poems are contained in one long series which is the TEQ. As to the question whether my TEQ is a poetic revelation going to 1719 where Rilke reached 60, I have not found other systematic correlations to my TEQ beyond book/function 1 than the work of this Balestra (1666-1740) so far - and notice with some interest the relevance of this pointing angel with the flaming sword of the third secret of Fatima with the artwork Theseus discovering his Father's Sword of Antonio Balestra.

The question is anyhow what it means if these 1719 poems constitute one long revelation - of poetic, mystic or even religious kind. Then it can be a quite fundamental articulation of the culture in the language in total (without mock, by the way). What happens if this work be submitted to 'peer review' at a publisher - and is rejected? It may be that it means a rejection of the relevant culture and language in total - and if the revelation is sufficiently essential, then it could even lead to war. I did send my 'Hammerfest' to some publishers in London in 1997-98 but it was unfortunately not published (my PhD dissertation was also rejected in the summer 1998) - and since the summer 1998 I have written something like ten thousand pages of 'polemic' articles on the internet - I hope the war is now over without having left marks after too much klingklang of metallic weaponry. Brexit was perhaps not necessary? It should not be necessary to reject the entire english language only because of 'mock' interpretations of other languages.

Paavo Haavikkoo was a great finnish poet who spent much or most of his worktime with running his own publishing house 'Otawa' which published also his own works. I dont know if he had tried his first work at some publisher who was unwise and rejected it. It is not permitted for such a poet to submit it once again - such terrible gamble can throw the country into war and lead to much suffering. Could be that was the reason why Haavikkoo worked as own publisher for the rest of his career. But then some other publisher should have offered him publication nevertheless. Is that still how it is - that he is only published by 'Ottawa'?

It is of course not impossible that my TEQ-PEB 1997-2010 were the Fatima revelations of 1917 - after the euphoria of 1912 had broken out and led to nazism and much tragic history. Look at that Heraclitus, said Madonna - isnt that something? At least it is possible to see it that way - perhaps on the assumption that TEQ is a revelation. Indeed if the contents of PEB line 1 is that the collective historic consciousness is endowed with the faculty of formal logical philosophy - then it means also that this faculty is trans-historic and hence can leave its imprint of some work both in the future and in the past - and the contents of the Fatima revelations of 1917 can also be seen to be that it contains the knowledge that it is about the revelational poetry (TEQ-PEB) appearing a century later - that could be precisely what is contained in the idea of a collective historic consciousness endowed with the faculty of formal logical philosophy - which should not mean that administration of that collective historic consciousness, when it fancies that it is in control with the inner articulations of the poet by way of the name of some sporty traveller, also is in control with the copyright and intellectual property of the poetic work. It should be understood that this story of the name of 1912 probably is a 'game' (cp. my TEQ poem #60) organized from Heaven - and that the value of names from that point of view probably at best must count as a coincidence only.

Post-1912 'political logic' seems to have invested nearly all its reasoning into the name - which is an absurd value - on basis of the intersection of Amundsen-Scott with Marin-Rilke - and has possibly developed a certain cynicism on basis of that absurdity of values (how can names give a basis for moral values?) which could lead to the conclusion that the Fatima revelations told that the book was not published. Not published at all? Well, if one takes it that the Fatima revelations mean that my TEQ-PEB were not published at all, that would also mean that they take the church's gospel of love and compassion as a sign that there shall not be any love and compassion. But that is not right! It is rather the voice of Satan or human weakness who tells that this sort of logic has any value. Of course the Fatima revelation rather tells - in this interpretation - that the book must be accepted for publication. It can contribute to mending the cultural damages from the warfare of the 20th century. The power that can be achieved from rejecting the book of revelational poetry probably does not serve the human society.

The phenomenon which I have called 'international secret intelligence services' has probably developed as phenomenon since 1912. It is possible that the whole story with the intersection of Amundsen-Scott with Marin-Rilke is not much more than the structural similarity of the Vollkornbrot on basis of two lapises. But then it is all and only the story of the problems that have developed from a secrecy stamp on the 'lapis philosophorum'. Downgrade the stone! It should be available to all students of public schools and academic institutions - not the least for preventing such massive propaganda misleading of the public, but also because it can have philosophical value qua ex nihilo matter.

Finally there is the question of the socalled 'overnatural light' mentioned by Lucia. There is a trivial connection to my work which can be mentioned. One could think of the 'lapis philosophorum' as the materialization par excellence of the form of the human psyche - the electromagnetic state of which is controlled by God (in christian conception) such as the collective historic consciousness with its faculty of formal philosophy controls the subjective consciousness - in that conceptual framework wherein political or administrative logic could find its more or less vain field of aspirations for power. I refer to the overview of my literary work - the table

Strong nuclear force        
Weak nuclear force
= the white metre ('Stillhetens Śndedrag')
= the yellow metre ('Der Dornenstrauch')
= the red metre ('My mention e Anna')
= the blue metre ('POLAKK English Bloggi')

which seems to suggest that the socalled yellow metre of 'Der Dornenstrauch' (2009-2015) corresponds to the electromagnetic status of the human brain which is immediately 'over' the natural gullet wherein the catholic transubstantiation is believed to take place - the transubstantiation of the Vollkornbrot with its striations of symbolic light - such as one could fancy that the indian/sanskrit devanagari letter 'A' in the form of a right angle with a rising sun inside (not the '3'-similar form) could be about as well. The materialized psyche falls (by gravity) down from the electromagnetic state of the human psyche. However, if one thinks of the electromagnetic state of the human psyche is controlled by God, it is easy to leap to the conclusion that the bread 'falling' down the gullet (from the brain above, so to speak) is Jesus Christ qua materialized consciousness. But then it is important to understand the philosophical depths in Jakob BŲhme's stance that the lapis philosophorum is 'the same' as Jesus Christ - in the sense, I would say, of my fundamental theorem of linguistics. That linguistics vibrates in the glottis. However, like Madonna said not 'the consecration of russian' but 'the consecration of Russia', this fundamental theorem of mine is a fundamental theorem of linguistics, which is but a part of the entire human reality - and indeed only a theory on that part.

I mention also that the apparently aburd name-obsession of politics since Marin-Rilke 1912 could be the reason for the strange phenomena of line 4 in the blue metre. Book 4 in TEQ is called 'Cardiff/Harding'.

The conclusion to this article is that one can see my poetry on the background of the Fatima revelations, possibly also vice versa, which does not mean that one can impose onto me a role as Jesus and abuse my work for cheating the masses by way of cynical power.

It is not impossible that the untimely death of Indira Gandhi in 1984 could have been organized on background of political ideas related to not only the pointing 'Balestra' angel-with-sword of the third secret of Fatima but possibly also this 'overnatural light' - and then one can add that it is not impossible that the phenomenon of the drill which I saw in Szolnok - as a version of Fatima 1917 - could have been understood by Hitler in his Sobibor death camp - but there turned into the most tragic rejection of it in terms of terror - an apparent cynicism which perhaps can be understood in light of the role of names in politics since 1912.

As a puzzling counterpoint to the sworded angel of Balestra for the poem #60+1, I notice for my article 'History is now changed' that it is written in 2017, one hundred years after 1917. It is possible to see my PEB as the poem #1720 - after the 1719 poems of TEQ. The enumeration of the 1719 poems of TEQ was done in the summer 2012 - and after the work was completed I myself was a little impressed by the precision in the resulting symmetries - how poem #x could be seen as relevant to or sharing referential framework with poem #1719-x.

Finally, I do not know whether the reason for the rejection (or postponement?) of my TEQ book 1 in 1997-98 was done on background of political plans with my person. If so, it is of course possible that the publisher could have consulted political authorities, whether in England or Norway.

Added 9 august 2018:

The text of the third secret of Fatima contains the word 'aspersorium' towards the end. My 11 years of walk up to the top of the mount of mystic enlightenment (1997-2008) when writing TEQ was with a steady step, always writing down just what the inner revelation told - if there were a word in a line which I did not hear clearly enough I would write it as [...], or if it were ambiguous in my inner ear or understanding I would write both alternatives. However, just before I reached the peak in poem 1719, my foot slipped on the line "as I went home from work this day" which I, being a little concerned with not being conceived as a well of 'as' constructions, wrote "when I went home from work this day". The error is quite visible. Could be that means that the 'aspersorium' comes out as a 'whimper-sorium': 'This is the way the world ends - not with a bang but a whimper' is that famous line of Eliot.

I started writing 'Stillhetens Śndedrag' on 11 january 2016 and already a week or even less later there was a burglary in my house in Szolnok wherein two items with a value of appr 9134 forints were stolen - and the insurance fee at Allianz was drawn from my bank account around the same time - but, surprise, they had drawn 9134 forints less than they should according to the agreement. Whether the sum is exactly the value of the two items I dont know, but quite near it probably is (the double hotplate cost 8999 forints and the humble bakelit or plastic handle for the gas convector lid cannot have cost many forints - 135 forints is perhaps a good guess). Then on 19 february 2016 Umberto Eco died and I notice the combination, on background of 'Assicurazioni Generali' where Biagio Marin worked:


There is also the story of the two mountaneers Fredrik Ericsson and Gerlinde Kaltenbrunner who climbed K2 in 2010 - but Eriksson's foot slipped on the last metres just before they reached the top and he fell to his death.


The poor country of Afghanistan has been quite war-ravaged in the 20th century. After the last time they demolished the big Buddha stones. Have the wars since 1912 been only because of those two lapises - for combining to a Vollkornbrot?

The world could be quite damaged after the years since 1912. It may be that many of the greatest artworks have been damaged by restoration - removing the presence of the artist from the historic surface.

It is probably the secrecy which is the problem.


Added on 31 august 2018: The church Santa Maria Assunta in Venice contains a sacristy in which one could believe that elements of the possible names of the 'octogon' could be traced in the paintings of J.Palma di Giovane (1548-1628). There are another two paintings of Antonio Balestra (1666-1740) also in Chiesa di San Stae - one showing the holy 'Osvaldo', another showing John the evangelist in a kettle - for the latter see the second of these poems of mine, also from TEQ book 2.

© John Bjarne Grover
On the web 8 august 2018
Last updated 31 august 2018