Veneto’s cosmic image by Petur Halldorsson

PĂŠtur HalldĂłrsson

The Measure of the Cosmos of the Po estuary The imagery of Italian symbolism deciphered according to the myth of Icelandic allegory

San Vendemiale

Mt. Grappa

6 Morgano

3 Noale

9 7 8 Salsano

Trivignano

Burano Venice

Padua

Arqua Petrarca

10 km

216000 feet

36000 feet (around 11 km) 216000 feet (around 66.6 km)

, In antiquity, basic unity was established between the size of Earth, its distance from the Sun, and one day s journey for man: The geographic measure,

proportion that combined the distance a

mean 216 solar diameters. Lining up Cosmic Images to form a continuous chain around the Earth, their number would total 600.

The Measure of the Cosmos of the Po estuary

A Proposal Research into the conceptual background of the Sagas told in 13th century Icelandic Icelandic Cosmic Image for the Venice Biennal 2017 manuscripts reveales a prehistoric cosmology marked in the land by Iceland’s 9th century settlers with exquisite geometric and mathematical precision. Pétur Halldórsson A proposal articulating a Cosmic Imagetold as ain sun watch Research into the conceptual background of the Sagas 13th century Icelandic – an orientation device used by settlers of manuscripts has revealed a prehistoric cosmology marked in the land by Iceland’s and Iceland 9th century settlers withnorthern exquisiteItaly geometric and mathematical precision. Halldórsson’s research shows the orientation and counting of time in Veneto, northern Italy and Iceland was realized with identical sun watches.

Grímur geitskor on the island of Burano, Venice

Burano, Venice, wearing a boat as mask.

Summary The diameter of the sun watch (cosmology) in Veneto gave essential unity to the size of Earth and of man, it was measured inunderwent Venice through Morgano to Mt. Grappa. The Priorthat to habitation the lush prairiefrom of theBurano Po delta a sermon of hallowing land, which shaman of therite cosmology/sun watch was called geitskor in Iceland. Grímur, was a pagan of pacing a Cosmic Image’ sunGrímur watch on the land that wasThe to noun; be settled. The is one of commenced Oðinn pseudonym. Thethrough word gait, means pace, and the word skor means sermon in Padua, Morgano, to San Vendemiano, and then shoe. from Grímur Burano gaitskor paced a virgin land 216000 fromSuch sundown at winter solstice to sunup solin Venice, through Morgano, to Mt. feet Grappa. a Cosmic Image was 216000 feetsummer in diameter stice. Sundown summer heralded a new turn of time, a new new har(around 66 km)atwhich tooksolstice the shaman, Grímur gatescore, twelve hourssummer to pace and eachaof its axis. vest. Sunset day signaled coming of aofnew summerand on the sun watch. Such a Cosmic At the centeronofthat the measure was the a sacred place orientation a burial ground, Morgano and Image was aThe settlers rendering of an was “ideal Universe” made toofmake peace betweenmade the mind and Steinkross. geometric measure a settlers rendering an “ideal Universe” to make apeace strange place. the When virgin was settled between mind and land a strange place. the Cosmic Image was paced 216000 feet making the aroundis66one km.ofAtÓðin’s its center was a sacred place means of orientation a burial ground. Themeasure word Grímur pseudonym. Grímur, a Maskand to hide one’s face, a pseudonym that fits like a hand in glove for the historic mask-making of Burano in Venice, the The word Gríma allso a mask to hide one’s face fits from nowhere better than on theisisland home of Óðin and themeans shaman Grímur gatescore. Theand layline there to Mt. Grappa a maof through historyofwas famous making masks. jorBurano layline which of the all initial habitation Veneto. It isfor a geometric measure that symbolizes Earth’s The from Veneto’s Burano, sunup at winter solstice, to Mt. Grappa, sundown at summer hornlayline of plenty. solstice, is a major layline of the initial habitation of Veneto’s, a layline that symbolizes Earth’s horn of plenty. Inmeasure late June, under the crooked belltower of and Burano’s church, multitude sundown The geometrical of sitting the Icelandic/Venetian Cosmic Image the attached behind Mt. Grappa is an sight, a phenomena theItaly erection of great reliof symbols articulates notextraordinary only the foundation the societiesenticing of Veneto, and Rangárvellir, gious structures, such as the great light tower in Alexandria in world. Egypt, a structure so vast that it Iceland, but it is the symbolic background of most cities of the was considered one of the seven wonders of the world. In Christianity it was the location of the first cathedral outside Rome in Sutri and the church of St Peter in Iceland, an episcopal seat now called Skálholt. A modern Grímur geitskor, the giver of Veneto’s Cosmic Image, resides at Burano wearing a boat as mask.

The Cosmic Image of Veneto, Italy

San Vendemiale

Mt. Grappa

Morgano

3 Spring equinox

Noale

9 7 8

Autumn equinox

Trivignano

Salsano

2 Padua

5 Burano, Venice

Arqua Petrarca 10 km 216000 feet

3 9 7 2

1 A Cosmic Image geometric measure stemmed from a sermon of hallowing virgin land. A settler paced the land that was to be cultivated from 1 to 9, subsequently it became an orientation device and a strange place.

The Cosmic Image of Rangárvellir, Iceland

Skálholt

4 Stöng

Steinkross

3 Spring equinox

Hof

Autumn equinox

9 7 8 Þríhyrningur Helgafell

2 Bergþórshvoll Þrídrangur

5 Goðasteinn

1 10 km 216000 feet

The Cosmic Images of Iceland and Veneto are identical. This proposal consists of a statue of Grímur gatescore, Photographs their conceptual relation.

Along the middle of the prairie of north Italy on the exact half distance from the Equator to the Pole runns a mighty stream with the shortest possible name, Po. Quietly she flowes from the Alpine mountain range to the shores of the Adriatic Sea in the east. On the Po delta, the larder of north Italy just north of latitute 45°, is located the Cosmic Image of the area’s first settlers, a Cosmic Image exactly like the one Icelandic settlers made on the Rangá delta in south Iceland many centuries later. From Sumer and Egypt through Crete and Greece came gods with migrating tribes and took up various posts on the Po delta. Po became a famous diety of water, Neleus was the god of New Society. Nial as a concept seems to have come this way spearheading navigators who traveled this route to bring back tin, chalk and raf minerals from England, and in light of the prologue of Edda where Snorri traces the linage of the gods to Troy, it seems as Odin, in both sexes, came this route north. According to the Stoic Seneca, Roman Law developed in Veneto, it was founded on Pythagorean thought, mathematics and sacred geometry. Its philosophy was that an active relationship was to be made between Cosmic determinism and the “Will”, in accord with nature, its foundation could not be separated from right proportions and numbers. The Enoch calendar of the Roman church divided the year into four quarters, much like how the sacred geometry of a Cosmic Image divided the horizon, and how Aristotle subsequently described Athens’ form of government. A calendar is put in place by a ruler and all afairs are appointed according to it. The Vatican headed by the pope ruled the Christian calendar, the Tripple rock, Eugena (1) ruled the Cosmic Image of Veneto. The more rigid habits of the new religion which developed in the Vatikan spread to Europe. In Ireland it hybernated in the seclusion of its discordant with the pope and in due course celebate monks who wanted to be alone in the presence of their almighty, sailed over the Atlantic on their skin boats and brought their brand of Christianity to Iceland where it survived in church attics in isolation of the remotenes of the island, in the old norse language, –Icelandic, hidden from the world, until discovered in the allegory of Njálssaga.

Recent research indicates there are at least two Cosmic Images in Italy, one in Veneto and one around Rome.

Tripple Rock Eugena– the fore sight 1. The Eugena, Arqua Petrarca The same concept as Þrídrangur in the Icelandic Cosmic Image

The attributes of Po delta’s Tripple rock reside in its rocky outcrops, its hot wells and a little village in its foothils called, Arqua Petrarca, named after its famous son, the poet, Francesco Petrarca (1304-1374), a major force in the development of the Renaissance and a founder of its humanism. On the Tripple rock of Veneto he passed his years in religious exercises. Some of Petrarch’s work was under the influence of the cosmologie of Tarot venerating his references to classical Pagan culture and numerology.

Shakespear of Time and the symbols of Padua’s great Cathedral 2. The Padua The same concept as Bergþórshvoll in the Icelandic Cosmic Image

Shakespeare’s stage of choice, appart from the prairie on the Thames delta, was the Po delta. One third of Shakespeares 33 plays, happen there or have main caracters coming from there. In the setting of his, Taming of the Screw, the screw was finally tamed on the Primeval hill, there Petruchio seems to be in control of her, – was he perhaps a pseudonym for Petrarca, the Veneto Tripple rock? A gasp of wonder spreads from the audience in the salon, as if some strange power is imprisoned in the souls of the newly weds Kate and Petrurchio. For a brief moment their eyes meet across the stage after Kate proclaims; “And dart not scornful glances from those eyes to wound thy lord, thy king, thy governor! It blots thy beauty as frosts do bite the meads, confounds thy fame as whirlwinds shake their buds. ...Thy husband is thy lord, thy life, thy keeper, thy head, thy sovereign; one that cares for thee. And for you maintenance, commits his body to painful labour, both by sea and land”. The author busies himself with whether Kate can behave and adjust to society. The spectator on the other hand knows that she can change into a screw at any moment. In this scene we glimpse a 16th century struggle between the sexes. The screw is like a shaking spear in the Cosmic Image of Veneto. The stage setting is Padua, the primeval mound of St Anthony, the peace maker of the Po delta. The Spear was aimed from Petrarca and measured from Padua, –the point of departure of Time itself. In the time period of shifting imperial powers from Rome to England, this may have been the kind of truth, and food for thought, sages like Shakespeare sought. On the day of highest elevation of the sun Longinus’ aim is to the center of the Sun, but its luminosity blinds him. As his spear hits, blood spilled on him and restored his eyesight again. He kills it at its reap age so it may rise again. In the scriptures Longinus was the tall, blind Roman guard who stood his post under the cross on Golgatha hill. His spear, the Stöng, aimed from the hot cliff of Eugena aligned; Padua, Morgano and San Vendemiano as an in-

strumental alignment in Veneto’s solar cycle. When it struck on the hour of highest elevation of the Sun it initialised its decent and a new solar cycle could commence. The land was ripe for a new year, The God of Creation looses his eyesight but gains it again by the rise of a new day when the screw has been tamed.

3. Morgano, Morgano the sacred ground of the Center The same concept as Steinkross in the Icelandic Cosmic Image

Tourist brochures say Morgano the capital of invocatory schrines, standing for the concept of a burial ground. From the town square, every marker of the Cosmic Image of Veneto is 108000 feet away; Padua, San Vendemiano, Venice and Mt Grappa. Their axes cross over Morgano, with the Pole star and Sirius asserting an excellent orientation. At this location in the center of the world, is where the four cornered world mutates into a perfect cube, or a hexagon, similar to those found in the center of every Cosmic Image of the world. The grand rhythm of the Cosmos, the archaic consciousness dwells in myths about the World’s annihilation and rebirth in Ragnarök. Whether in European societies or Hindu, where the flow of time divides a Kalpa World Age into one day in the life of Brahma. Ragnarök, is referred to from this spot. Pictures in the stars, places on earth, and locations within the sectors of a Cosmic Image, once again were logically related, bringing into being an image of creation in the form of a living cosmos. It was of great urgency to tame a virgin land in this way. We trace barely discernible tracks back in time to the advent of darkness and coldness, the conception of summer and brightness, when the Po delta was colonised and sanctified to the gods who first measured the land. The outcome of their struggle was manifested at Morgano, the sacred Center. In the deep pools of the river flowing past the invocatory schrines the screw is mirrored in the stream as Mary the mother of God, the mild goddess of the river Sile like Hera in the Nile.

4. The SanHerm Vendemiano of San Vendemiale The same concept as Stöng in the Icelandic Cosmic Image

San Vendemiano stands by the old trade route to Cornwall, England. Fields in the outskirts of town still bear the

scorched tracks where oxe charts rumbled to the Alps on their way to northern Europe. Many campaign memorials stand along the trail. Untill Napoleon crushed the Austrians at San Vendemiano in 1796 invading armies from the north advanced on the Po delta through this country side. In San Vendemiano the symbol of Longinus’ spear, presents itself as a needle of a sundial of which there are plenty in and around San Vendemiano. Perhaps here on latitute 45° N. their function has its origin. “Stöng”, projects up from them and extends its shadow over and touches its notches. With majestic symplicity the needles’ shadow tells the cosmic time of the universe. At summer solstice we travel to the sun, Torna il sole, non il tempo! At the speed of sound we make it to Morgano and back in three secconds.

Axis of Winter and Summer; Venice / Mt. Grappa 5. Venice The same concept as Goðasteinn in the Icelandic Cosmic Image

Early history suggests that the city of Venice was built from fear; fear of an enemy, or perhaps the fear in a religious sense, symbolizing the fear of the World’s descend into darkness as written in holy books, – the mental fear for the comming winter, the coldest, darkest period of a year, caused by the descending path of the sun in this sector of a Cosmic Image. The vast lagoon of Venice directly east from the Padua mound is a sea much like in the Holy Land where the Dead Sea symbolized this same sector of the Cosmic Image. In the Venetian lagoon is a cluster of islands with villas, monasteries or settlements of the Venetian Republic, the longest running Republic in the history of the world. Venice was involved in the Crusades from their beginning. The Venetians had extensive trading privileges in north Africa long before the Byzantine Empire. Venice was Europe’s gateway to trade with the Arabic continent and the East, its ships were frequent visitors to the Holy Land. Renaissance obsession with classical purity and the determination that knowledge, math, art and philosophy, were projected in the harbor taverns of Venice. And there, in the advent of the Renaissance, the archaic numerology of a Cosmic Image was revived. In the context, Arabic numerals and Tarocchi cards that had a special political importance in Egypt, were perhaps the finest booty that arrived with the returning Crusaders from the Arabic continent. In the northern most reaches of the Venetian lagoon is the island of Burano, its very location stood for winter solstice sunrise. Seen from Morgano, the sacred center of the Venetian sun watch, the vision of sunset behind Mt Grappa along the axis; Burano - Morgano - Mt Grappa, meant it was summer solstice. Turning once gaze in the opposide direction, sunrise over the colorfully painted fishermen’s cottages of Burano, meant it was winter solstice. If I am reading the symbols of Veneto right, Venice was the Italian “haunt of Óðin” with the symbolic coldness of this sector of Veneto’s sun watch emphasized by the fact that the whole area is submerged in the sea. In a sophisticated tapestry of symbols the name “Burano” arises from the words “Porta Boreana”, meaning; the “Northern Door”. All through history this tiny island has been known for the utmost importance to hide the “truth” in the form of the art of mask-making. The word, Mask, in the Icelandic language is Gríma. Gríma was a pseudonym for Óðin in Saxon England when same language was spoken in both lands. According to the principle of a Cosmic Image, new learning emanated from Óðins haunt.

6. Mt. Grappa The same concept as Skálholt in the Icelandic Cosmic Image

Monte Grappa is a 1,775 metres (5,823 ft) tall mountain in the north west region of Veneto. Mt. Grappa which includes a number of neighbouring peaks is a part of the Alpine foothills. The massif dates back 10 million years resulting from the continuing collision between the African and European tectonic plates. Grappa is also the name of a fragrant of a grape-based Italian pomace brandy with a rich alcohol content, as if to sorce away the hundreds of thousands of souls that perished on its shoulders in the campaigns of past centuries. Its peaks confronted the setting sun during summer solstice as did the lighthouse of Alexandria (6) to Egyptians. Symbolic Grappa stood for the herald of summer.

Salzano, Marble Arch, and Helgafell 7. Salzano The same concept as Helgafell in the Icelandic Cosmic Image

Salzano was already inhabited in Roman times. Early in history its residents were known in Europe for their law making, the foundation of their correctional facilities dated from ancient times. The towns’ square and a tiny grotto nestle under a bell tower of a church which once was the highest in the Veneto region. In the late 19th century Pope Pius X was archpriest of the town serving both Salzano and Trivignano which was a conceptually connected place in the ideological web of ideas of a Cosmic Image, see below. From the outskirts of Salzano is a road that leads out of town, straight north. The road is called Leonardo Da Vinci. In the cradle of the Renaissance period, such a road is evocative of Leonardo’s Vitruvian Man who stands eternally locked in a cycle and a square, as if to bisect the sacred geometry of a Cosmic Image of the Po basin in a symbolic Pagan ritual of death played out in its center, and sending the soul from the Salzano tower to the symbolic invocatory schrines of the cemetery of Morgano, a distance of 36000 feet, later carefully measured down to a corn of barley as the holy verge of the king of England. The bell tower of Salzano’s church hosts a tiny museum dedicated to Pope Pius X who rejected modernist interpretations of Catholic doctrine, promoting instead traditional devotional practices and orthodox theology. Salzano’s location as the 7th marker of a Cosmic Image was consistent with what seems to have been a principle of Pagan funerary rites connecting the two worlds as specified in Icelandic myth.

The geometric measure and markers of the center of a Cosmic Image in many places of the World: 36000 feet or 6 minutes (6´) of earth’s circumference north of Salzano is located the sacred Center of the Cosmic Image of the Po basin – the symbolic cemetery of Morgano. Helgafell opened up to north, 6´north from it, or 36000 feet is the ancient cemetery Steinkross, the sacred Center of the Icelandic Cosmic Image. 6 minutes or 36000 feet, north of Lysholt, Denmark, under a northern illumination is the ancient royal burial ground Jelling, the sacred Center of the Danish Cosmic Image. 6 minutes, 36000 feet, north of Heavens Gate’s grand view is the ancient cemetery, The Devils Bed and Bolster, the sacred Center of the Cosmic Image in Somerset, England. Marble Arch, London opened up north. 6 minutes north of it, or 36000 feet is the ancient cemetery St Pancras, Islington, under Coppets Wood, the sacred Center of the London Cosmic Image. The Observatoire of Paris faced north, 6 minutes north of it or 36000 feet is the ancient royal burial ground St Denis, the sacred Center of the French Cosmic Image. San Lorenzo fiuri la Mura on Monte Sacra faced north, 6 minutes north of it, 36000 feet is the ancient Etruscan royal burial ground, Settebagni, the sacred Center of the Cosmic Image of Rome on the Tiber delta. The stairway into the crypt inside St Peters, Rome, faces west, 36 feet, west of it is the grave of St Peter the sacred Center of the Cosmic Image in St Peters Cathedral, Rome in scale 1:1000. Memphis, the royal burial ground of Egypt and the sacred Center of the Egyptian Cosmic Image, faced north, 6000 Royal Cubits north of it is Egypts birth place Heliopolis. Nekretofeio, Athens, the sacred Center of the Greek Cosmic Image on the Kalithea hill, from where was good visibility in all directions. 6 minutes, 36000 feet north from it is Agioi Anargyroi-Kamatero, alleged to be the northern edge of the sacred Center within the Greek Cosmic Image. 6 minutes, or 36000 feet, north from the Church of the Nativity, Betlehem, is Har HaMenuchot cemetery, the largest cemetery in Jerusalem, the sacred Center of the Cosmic Image in the Holy Land.

8. Trivignano The same concept as Þríhyrningur (Mt. Triangle) in the Icelandic Cosmic Image

Trivignano is a place called Mt. Triangle or Tetrat in the Icelandic Cosmic Image. Three is the first prime number, sometimes refered to as the first “actual number”, perceived as a basic number for geometric measure on a spherical

Earth. In Trivignano in the province of Treviso, the notion of “3” appeares in its name as it does in Iceland. Though the vast fields of the Po delta hide the relics of the symbolic eighth marker, the Platonic solids and the stoic/Pythagoras’ Lambda formula, seems to have been an integral part of the Cosmic Image in connection with Veneto’s settlement.

9. Noale – The nineth marker of Veneto’s Cosmic Image The same concept as Hof in the Icelandic Cosmic Image and St Peters of Rome

The clan with the greatest influence in this region of Veneto was the Carbonara family of which the Storm clan became a noble Venetian dynasty with a leading role in its history. Storm administering the church property, which was an office that not only gave advantages to the bishop, but expanded their powers and prestige and made the Storm clan larger than life, their residence was the fortress of Noale, evangelized by St. Prosdocimo, first bishop of Padua, in the first century. The sacred geometry of the Veneto Cosmic Image was seald by Noale as its 9th marker, as was Hof (Temple) in Iceland. In the old Friulian dialect of north Italy, Noale means, fallow, a land that is potentially good, pried from the wild but lies dormant. The Friulian dialect is of Celtic origin, spoken before the arrival of the Romans when the inhabitants of the area belonged to the Carni, or the Celtic population. Sacred markers of the Cosmic Image of Veneto have fallen victim to a succsession of conflicts between wealthy families and invading armies. Borders changed on the war-torned prairies as countless clans came and went. Fields changed ownership, pontiffs were dissolved and the area was inflicted with much destruction. Civilization was already present in the territory long before Roman times. Archeology testifies to Noale’s important past showing a layout of roads and ditches that devided the land in an orderly fashion reminicent of the layout of Pireas (marker 9) in Athens. The medieval fortress Noale reminds us of medieval times of lords, duels and parades, and archaic pagan rituals, revised every June in the annual Whitsunday festivity, with the famous Noale Palio race, originally intended to commemorate Noale’s annexation into Treviso’s possession. In the court of Veneto’s 9th marker, possessions have long been weighted against the Devine where souls are summoned to the presence of the almighty.

The 216000 feet (around 66.6 km) geometrical measure of the Icelandic/Venetian Cosmic Image and the attached multitude of symbols articulates not only the foundation the societies of Veneto, Italy and Rangárvellir, Iceland, but it is the symbolic background of most cities of the world.