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I Fedeli dAmore/en

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The Fedeli d'Amore are an initiatic confraternity attested in Italy, Provence, and Belgium between the 13th and 14th centuries, disguised as a school of love poetry. The systematic reinterpretation of their poetic output as a ciphered initiatic corpus — not as "love poetry" in the ordinary sense — is one of the most important historiographical achievements of the Italian esoteric twentieth century. The thesis, formulated between 1925 and 1929 by Luigi Valli (an idealist philosopher close to Gentile, author of the cornerstone book Il linguaggio segreto di Dante e dei Fedeli d'Amore, 1928) and immediately taken up by Reghini and Evola in the Group of UR, holds that Dante and his companions belonged to an initiatic sodality that was Ghibelline, anti-Catholic, of Templar-Pythagorean matrix, and that the "Lady" of their verses (Beatrice, Pargoletta, Giovanna, Selvaggia) is a symbol of divine Wisdom — a figure corresponding to the Gnostic Pistis Sophia, the Isiac Black Madonna, the Kabbalistic Sophia.

I. The historical thesis: a disguised initiatic confraternity

[VERIFIED] The Quaderno XII del Gruppo di UR opens the exposition with the essential summary (Ida La Regina): "The term Fedeli d'Amore generally refers to the adherents of an initiatic confraternity, present in the 13th century in Italy, France (particularly in Provence), and Belgium. They venerated the One Lady (or Dame), a symbolic figure similar to the Gnostic Pistis Sophia, of which Dante's Beatrice is probably the most famous example. Symbolically akin to the Black and Isiac Virgin Mary, who adorns many European cathedrals (like the Black Madonna of Loreto or that of Czestochowa), she is described by Guido Cavalcanti as "a young woman from Toulouse", a city that inevitably suggests connections with Cathars and Albigensians".

Key points of the historical framework:

  • Transalpine diffusion — Italy (central Tuscany: Florence, Pisa, Bologna; extension to Veneto: Cino da Pistoia, Nicolò de' Rossi) + Provence (the later trobadours) + Belgium (Giacomo di Baisieux)
  • Cathar connection — Toulouse, the symbol-city of Catharism, explicitly cited by Cavalcanti
  • Templar connection — Dante an open defender of the Order of the Temple condemned by Philip the Fair (cf. Stretta Osservanza Templare) and the Church
  • Ciphered veil — the "love poetry" is a technical code for internal use of the confraternity: the "lady" is a symbol of Wisdom, "love" is the mystical-initiatic eros, the "numbers" (3, 9) are esoteric allusions
  • Ghibelline-anti-Catholic character — Dante defender of the Empire, antagonist of the Papacy; he places popes in Hell and the Averroist heretic Siger of Brabant in Paradise

II. Arturo Reghini: "The esoteric allegory in Dante"

[VERIFIED] Arturo Reghini (1878-1946 — see Evola e Reghini e la Tradizione Ermetica sec. I) is the main precursor of the initiatic rereading of Dante in Italy, with two essays prior to UR collected in Quaderno XII: L'allegoria esoterica in Dante and Il Veltro. He takes up and develops the "Dante heretic" thread already supported by Ugo Foscolo, Gabriele Rossetti (father of the painter Dante Gabriel Rossetti), and the Catholic priest Eugène Aroux (author of Dante hérétique, révolutionnaire et socialiste, 1854).

Reghini's thesis is clear: Dante is not an orthodox Catholic but a pagan-Pythagorean heretic:

"Political allegory reveals with complete certainty a Dante partisan of the empire and bitter enemy of the Church, open defender of that Order of the Templars condemned and ferociously persecuted for heresy by the Church, a Dante who exalts Caesar, the Roman Empire, classical civilization, and who elects as his guide, master, and lord Virgil the Pythagorean and imperialist [...]. The reasons that induced Dante to use allegory are therefore not political in nature [...] because in that case it would be natural to find the veil thicker in passages dealing with politics, whereas instead the veil becomes denser in passages dealing with matters of morality, philosophy, religion, metaphysics. [...] What then is the reason that drove Dante to use allegory, even at the cost of not being easily understood? [...] Could the doctrine so jealously hidden be heterodox, very heterodox? So that Dante would stink strongly of heresy and would be an enemy of the Church on religious grounds as well as on political ones?"

[VERIFIED] Reghini observes that Dante follows Virgil, not Thomas Aquinas: "in the eschatological doctrine (Purg. XXV 88-102), to adopt a theory of the shadows of the dead that is in perfect agreement with the pagan conception. [...] In its broad lines the Comedy is a development of the VI canto of the Aeneid, and Dante repeats what Virgil has Aeneas do. Aeneas descends living into Hades, finds in the forest the myrtle branch of the initiates, and learns de visu the truth of the Orphic-Pythagorean mysteries concerning man and conditional immortality. And Dante, still corruptible [descends into Hell]".

Consequences:

  • The Divine Comedy is an Orphic-Pythagorean initiation of the Virgilian type (Aeneid VI), not a narrative of Christian Thomist theology
  • The numerous professions of Christian faith that Dante makes serve to cover the heresy (a necessary precaution in the era of the Inquisition and pyres: Reghini recalls Cecco d'Ascoli, a contemporary of Dante, burned in 1327 for heresy)
  • The Catholic commentators who see Dante as a Thomist "cannot clarify the meaning, or else each of them ends up understanding it differently from the others" — a sign that the orthodox Christian interpretation is inadequate

Reghini concludes that Dante "had friends who were seeking how God might not exist" and that he was indeed "accused of heresy according to ancient documents, and as his first commentators narrate".

III. Reghini: "Il Veltro" — the Ghibelline prophecy

[VERIFIED] Reghini's second essay addresses the famous Dantean prophecy of Inf. I, 100-111 concerning "he who will drive her [the she-wolf] away [...] / of that humble Italy shall be the salvation / [...] this one shall not feed on land or pelf, / but wisdom, love, and virtue, / and his nation shall be between felt and felt". The Veltro (greyhound) is a messianic figure of a future redemption of Italy.

Reghini interprets the Veltro as a Ghibelline political-initiatic figure: not Cangrande della Scala (the consoling school interpretation), not a future angelic pope (the Catholic interpretation), but the imperial restorer awaited by the Ghibellines, who will return Italy to the Roman-Pythagorean order. The formula "wisdom, love, and virtue" is a triadic initiatic formula corresponding to the three divine names of the Fedeli (Wisdom = Nous, Love = Eros, Virtue = Aretè).

The prophecy of the Veltro directly enters Il Mistero del Graal by Evola (1937) — ch. 12 "Dante: The Greyhound and the Dux".

IV. Ercole Quadrelli: the "veil of the strange verses"

[VERIFIED] Ercole Quadrelli (UR pseudonym: Iagla), a Florentine mathematician, contributed to Quaderno XII with a systematic reading of the ciphered code of the Fedeli. The famous verse of Inf. IX, 61-63 — "O you who have sound intellects, / look at the doctrine that hides / beneath the veil of the strange verses" — is the key of access that Dante himself provides: beneath the poetic surface lies a doctrine (esoteric), accessible only to those with "sound intellects" (i.e., to initiated companions).

Quadrelli identifies the code-terms of the school:

  • Donna (Lady) — divine Wisdom (corresponding to Sophia/Pistis Sophia/Black Madonna)
  • Amore (Love) — initiatic eros (Greek Eros, equivalent to A-mors = without-death)
  • Saluto / Salute (Greeting / Salvation) — initiatic transmission
  • Donde, sospiri (Whence, sighs) — states of asceticism
  • Spirti (Spirits) — subtle entities of the operator
  • Cor / Cuore (Heart) — the inner center
  • Pargoletta, Giovanna, Selvaggia, Beatrice — various figurations of the same One Lady, according to the Rosicrucian practice of hiding with many names

V. Luigi Valli and the cornerstone book of 1928

Luigi Valli (Rome 1878 — 1931) — idealist philosopher, close to Giovanni Gentile, author of numerous studies on Dante — published in 1928 with the Optima publishing house the book Il linguaggio segreto di Dante e dei Fedeli d'Amore which immediately becomes the cornerstone text of the initiatic rereading. Valli argues:

  • The Fedeli d'Amore are a sect in the technical sense — an organized confraternity with statutes, signs of recognition, internal hierarchy
  • Their language is a code verifiable by fixed recurrences: certain terms always have the same symbolic meaning, across different authors and different works
  • The "Lady" is never a biographical woman (Beatrice Portinari of historical realism): she is always the same personified divine Wisdom
  • Dante, Cavalcanti, Cino da Pistoia, Cecco d'Ascoli, Lapo Gianni, Dino Frescobaldi, Nicolò de' Rossi all belong to the same sect — the apparent "school of the Dolce Stil Novo" is the public mask of the confraternity

Valli's work is immediately received by the Group of UR (Pietro Negri-Reghini will publish in UR 1928 the essay Il linguaggio segreto dei Fedeli d'Amore — see Il Gruppo di UR-KRUR sec. V) and by Evola who will take it up in Mistero del Graal (1937, ch. 25-26).

V-bis. Pietro Negri-Reghini: "The Secret Language of the Fedeli d'Amore" (UR 1928)

[VERIFIED] Immediately after the publication of Valli's book, Arturo Reghini — under the pseudonym "Pietro Negri" — published in May 1928 in the journal UR (year II, no. 2, pp. 71-79) the essay "Il Linguaggio Segreto dei Fedeli d'Amore", which takes up and expands the thesis with new materials of specifically Hermetic-Masonic provenance. It is the first explicit connection between the medieval confraternity of the Fedeli d'Amore and the eighteenth-century Hermetic-Rosicrucian tradition, and constitutes one of the most important contributions of the Group of UR to the initiatic rereading of Dante.

The four doctrinal nuclei of Reghini's essay:

  1. The rose of the Fedeli d'Amore = the rose of the Rosicrucians. Reghini points out that the Roman de la Rose (and specifically its Italian version Il Fiore attributed to a "Durante fiorentino almost certainly Dante") deals explicitly with alchemy and is cataloged in alchemical literature. The "candida rosa" of Dante (Paradiso XXX-XXXIII), the rose sung by Ciullo d'Alcamo, by Cino, by Cavalcanti, is akin if not identical to the Hermetic rose of the Rosicrucians — emblem of divine Wisdom, of Gnostic Sophia, of the Cosmic Mother. The rose of the Fedeli d'Amore is therefore not a generic poetic symbol but a precise initiatic symbol of the same tradition that, four centuries later, will animate the Aurea Rosacroce German and its rituals
  2. The fourth Templar degree of the Princes of Mercy (Princes de Mercy). Reghini connects the Fedeli d'Amore to the fourth degree of the so-called "Templar degrees" that arose in France and Germany in the mid-18th century: the Principes de Mercy or Knights of the Sacred Delta (now merged into the Ancient and Accepted Scottish Rite and the Égyptien Rite as the 25th degree or equivalent). Their ritual task, according to the 18th-century texts cited by Reghini, is "to faithfully guard the treasure of traditional wisdom, always veiling it from those who do not know how to penetrate the third heaven". The third heaven (Olympus in the Orphic-Pythagorean triad of Philolaus: Uranus, Cosmos, Olympus; the heaven of Venus in astrological tradition; the earthly paradise in Christian tradition) is the name of their temple and was already the level to which Saint Paul said he was raptured (2 Cor 12:2). The "Intelligence" of Dino Compagni — according to Valli's analysis cited by Reghini — stands in a palace "where the different rooms probably represent degrees of initiation, and in that palace the third place is the salutatory": it is the same structure as the Temple of the Princes of Mercy
  3. The three Hermetic colors green-white-red. The Princes de Mercy have as their main symbol "the statue of Truth (émeth), naked and covered with a tricolor veil" — green, white, and red — the three Hermetic colors of the great alchemical work (cf. Alchimia e Magnetismo sec. III on the phases and sec. IV on the principles; cf. Morfologia Occulta on the three bodily systems and the three colors). They are the same three colors with which Dante adorns his Beatrice at her first appearance in the Earthly Paradise: "Sovra candido vel cinta d'uliva / donna m'apparve, sotto verde manto / vestita di color di fiamma viva" (Purgatorio XXX, 31-33). The triple chromatic girdle of Beatrice is therefore an explicit initiatic signal: Dante is telling, to those who can read, that Beatrice is the same figure of Truth revealed to the Knights of the Sacred Delta
  4. The numerical symbolism of nine and 81. The Hebrew word emeth (אמת, "truth"), consisting of the first, middle, and last letters of the alphabet, has a numerical value of 441 = 4+4+1 = 9. On the throne of the Princes of Mercy stand nine lights; in the temple nine columns; on each column a nine-light candelabrum: 9 × 9 = 81 total lights. The ritual age of the degree is 81 years. And Dante in the Convivio (IV, XXIV) writes with surprising precision: "Plato, of whom it can be most aptly said that he was naturally disposed... lived eighty-one years... And I believe that if Christ had not been crucified, and had lived the span that his life could naturally surpass, he would have been at eighty-one years transmuted from mortal body to eternal". Eighty-one years — the ritual age of the Knights of the Sacred Delta. It is the textual confirmation that Dante knew the numerical symbolism that centuries later would be codified in the 18th-century rituals: the same initiatic tradition flows through. Beatrice dies on the ninth day of the month of June 1281 (a symbolic date, not biographical), and Dante specifies that in Syria the month of June is the ninth — therefore the 9th day of the 9th month — when "the perfect number" (9) was fulfilled. The Vita Nuova is saturated with nine and its multiples; Jacopo da Lentini proposes that "the mercies be kept... nor called by lovers until nine years are complete"

The historical significance of Reghini's essay is enormous: with documented textual evidence, it establishes a direct continuity between:

  • The Dantean confraternity of the Fedeli d'Amore (13th-14th cent.)
  • The late-medieval chivalric orders (Templars, Calatrava, Alcantara)
  • The German Rosicrucians of the 17th century (cf. Confraternita dellAurea Rosacroce)
  • The 18th-century Italian-French Masonic degrees (Princes of Mercy, Knights of the Sacred Delta, Rose-Croix of various Rites)
  • The 19th-century magnetic tradition (Mesmer, Puységur, Du Potet)
  • The 20th-century Italian Hermeticism of the Group of UR itself

For Reghini-Pietro Negri, a single tradition traverses eight centuries of European history, with different external languages and organizations but with the same internal science. This is what the page Alchimia e Magnetismo argues for the alchemy-magnetism convergence; what the pages Saggezza Serpentina — Dvija Caduceo Kundalini and Sub Specie Interioritatis argue for the convergence between Eastern and Western traditions; what the page I Figli di Ermete [if created] argues for the very category of authentic initiates of every time and place.

VI. Julius Evola: "On the initiatic experiences of the Fedeli d'Amore"

[VERIFIED] Evola contributed to Quaderno XII with a dedicated essay that expands the reading of Valli and Reghini. The essay identifies the technical elements of the initiatic experience documented in the texts:

The androgyne as Hermetic Rebis

"After the last couple, which bears the caption "From this death will follow life", there are no longer a separate man and woman but a single androgynous figure, above which Love, himself stretching out roses, takes flight on a white horse. The androgynous figure has a caption with the words: "Love, you have made us from two one thing, with supernal virtue through marriage". The key meanings could not be given more clearly: after the crisis, which even in the first degrees wounds, fells, kills, the union with the woman and the supreme virtue through marriage lead to the androgynous (which in the illustration is depicted exactly as the Hermetic Rebis), a state beyond which Love will develop upward, in a flight or rapture, in a transcendent direction, the experience".

Key point: the androgynous figure of the Fedeli is the Hermetic Rebis — the coincidence of opposites of the alchemical completion. Direct connection to Evola e Reghini e la Tradizione Ermetica sec. VI "The androgyne and the closure". The Lady of the Fedeli is not other/different from the initiate: she is his own luminous part awaiting reunion.

Love as "a-mors" (without death)

[VERIFIED] Evola takes up the datum — already known to medieval initiates — of the symbolic etymology: "a Provençal exponent of the same current, Giacomo di Baisieux, identifies love with the without-death, with the destruction of death, so that he speaks of lovers as "those who do not die and who will live in another age of joy and glory"".

The eros of the Fedeli is therefore work on mortality — union with the Lady confers initiatic immortality. It is exactly the doctrine of The Four Ways of the Immortal Body by Giudicelli (1988), in a different language but with the same substance. It is the same doctrine of the Arcana Arcanorum of the Rite of Misraïm.

Ecstasy and "excessus mentis"

[VERIFIED] "Nicolò de' Rossi, treating of the degrees and virtue of true love, considers as their culmination ecstasy which is "dicitur excessus mentis" (it is added: sicut fuit raptus Paulus), which is to say the opening of the spirit to superindividual and superrational states of being". The ecstasy of the Fedeli — qualified with the scholastic technical formula excessus mentis (exit from the ordinary mind) — is explicitly equated to the "rapture" of Saint Paul (2 Cor 12,2-4: "I know a man who was caught up to the third heaven").

The action of Love on the vital spirit

[VERIFIED] "Dante also attributes to the action of Love a binding and subjugation of the vital spirit, that is, of the naturalistic part, or yin part, of the being, which makes it exclaim "Ecce Deus fortior me, qui veniens dominabitur mihi" [behold a God stronger than me, who coming will dominate me]. It is as if for the awakening of a superior principle [...] a new hierarchy is established among the various powers of the human being".

Evola's technical reading: Love is not a feeling — it is an operative entity that bursts into the life of the Fedele and reorganizes his internal hierarchy (yin/yang part, according to the category Evola uses for clarity). The luminous principle (Shiva in Tantrism, nous in the Greeks, possible-intellect-become-act in Aristotle-Dante) assumes command of the complex. It is the same operation that the work on the four bodies (Boyer) and the three cinnabar fields describe in different languages.

Cecco d'Ascoli: identity Lady-Initiate

[VERIFIED] Evola cites a striking passage from Cecco d'Ascoli (the astrologer burned in 1327 for heresy): "I am in the third heaven transformed into this Lady, so that I do not know who I was. Therefore I feel ever more blessed. Her form my intellect, showing me salvation in her eyes, — gazing at virtue in her sight. Therefore I am She: and if from me she departs then I will feel the shadow of death".

The final verse is capital: "Therefore I am She". The initiate and the Lady are the same thing (realized mystical identity). And "if from me she departs then I will feel the shadow of death" — when the Lady detaches, the shadow of death reappears. Union with the Lady is the conquest of immortality.

Numerical symbolism: the nine

[VERIFIED] Evola emphasizes the centrality of the number nine (3² = square of the Three of the Hermetic Trinity) in Dante's Vita Nova: "nine years of the first vision of Beatrice (impossible as a realistic biographical age — "should already exclude the realistic interpretation of Beatrice as a little girl of that age"), the ninth hour of the greeting and of one of the visions, the name of the woman who "does not suffer to be in any other number but nine", the duration of a certain painful illness of Dante.

Nine is the number of the Lady-Wisdom in the Fedeli — connection with Reghini's Pythagoreanism (nine as the square of three, manifested perfection, number of the crystalline heaven which is the ninth in Dante's cosmology).

VII. Placement within the cluster

In relation to Evola e Reghini e la Tradizione Ermetica

The Fedeli d'Amore are the medieval Italian Hermetic tradition documented in its poetic-initiatic form. The "Don Giovanni d'amore" of the Fedeli is what the Hermetic Tradition (1931) will describe as the alchemical androgyne, the love-without-death as the conquest of immortality in the Work. The thread is unbroken: Reghini, discovering the Dantean initiation, recognizes in the 14th-century texts the same principles he practices in the 20th.

In relation to Il Mistero del Graal

Evola in 1937 will return to the subject in the book Il Mistero del Graal where he dedicates four specific chapters to the link Fedeli d'Amore — Grail — Templars — Cathars — Ghibellinism (ch. 12, 23, 24, 25, 26). The Fedeli are the Italian branch of the same initiatic current that in the Germanic area produces Parsifal and Titurel (Wolfram von Eschenbach), in the French area the Conte du Graal (Chrétien de Troyes), in the Provençal area the later trobadours and courtly love.

In relation to Stretta Osservanza Templare and the Templars

The Fedeli d'Amore are contemporaries of the suppression of the Order of the Temple (1307-1314). Dante's passionate defense of the Templars (Purg. XX, 91-93: "the cupidity that steals people away, / which among us shows from its root / that so turns care behind itself" = condemnation of Philip the Fair) places them in the same initiatic climate that after 1314 will seek refuge in Masonic lodges (cf. the Essenes-Canons-Templars-lodges chain reconstructed in Stretta Osservanza Templare sec. III).

In relation to Aurea Rosacroce

The Fedeli d'Amore are — according to many historiographers — the middle link between:

  • the Gnostic-Cathar tradition of the ladies and troubadours of Provence (12th century)
  • the 17th-century confraternity of the Aurea Rosacroce (Italian, libertine Catholic, cf. Confraternita dellAurea Rosacroce)

Same structure: confraternity with reserved statutes, ciphered symbolism, women admitted or present, double external/internal structure, Hermetic-Marian doctrine.

In relation to Le Catene Magnetiche di Loggia

The poetry of the Fedeli functions as a written magnetic chain — texts that are read, shared, cited among companions of the confraternity, and produce by resonance specific states of consciousness. They are not literature in the modern sense (individual aesthetic expression): they are ritual devices for common work. See also La Voie des Sons sec. III on the operative efficacy of the poetic word.

VIII. Living practice in the School

Declared section: living practice of the Paret School (ISI-CNV).

In the School, the Fedeli d'Amore are a doctrinal and operative reference on at least five levels:

  • The principle of the mask — initiatic practice may require a public cover that hides it from unprepared eyes. In the School this is the principle of the "double level" (open public study / reserved private work).
  • The hermeneutics of the "veil" — the texts of the Fedeli are read in an operative key, not a "literary" one: every student of the School is trained to read Dante, Cavalcanti, Cino as testimonies of concrete operations, not as allegorical literature.
  • The Lady as symbol — the One Lady of the Fedeli (Wisdom/Sophia/Pistis Sophia/Black Madonna) is the same symbol as Kremmerz's Myriam (Fraternity of Myriam) and Isis in the Egyptian rites (cf. Cagliostro e il Rito Egizio). The School recognizes the three figures as three masks of the same operative entity.
  • Initiatic eros as a-mors — union with the Lady is a technical operation that produces inner immortality. It is not romanticism, not sublimation: it is an exact operation that requires preparation (cf. La Doctrine du Corps Immortel sec. III "proof of the metal").
  • Numerical symbolism — three, nine, four are studied as an operative lexicon starting from the Fedeli and Reghini's Pythagoreanism.
  • Attention to the code — the student learns to recognize, in their own reading of any initiatic text, the double level (what is said, what is meant), as a methodology of systematic study.

Documentation status

Statement Status Source
Fedeli d'Amore initiatic confraternity 13th-14th cent. in Italy, Provence, Belgium ✅ VERIFIED Quaderno XII Gruppo di UR — Drive
One Lady = Gnostic Pistis Sophia = Isiac Black Madonna ✅ VERIFIED Quaderno XII intro Ida La Regina — Drive
Cavalcanti: "A young woman from Toulouse" = explicit connection with Cathars (Toulouse) ✅ VERIFIED Cavalcanti, Rime XXIX, cited in Quaderno XII — Drive
Dante heretic anti-church partisan of the Templars (Reghini thesis) ✅ VERIFIED Reghini L'allegoria esoterica in Dante — Drive
Comedy as initiatic development of Aeneid VI; Virgilian Orphic-Pythagorean mysteries ✅ VERIFIED Reghini, cited — Drive
Foscolo-Rossetti-Aroux thesis of "Dante heretic" cited and extended by Reghini ✅ VERIFIED Reghini, cited — Drive
Veltro as Ghibelline messianic imperial restorer figure, not Cangrande nor angelic pope ✅ VERIFIED Reghini Il Veltro — Drive; taken up by Evola Mistero del Graal ch. 12
Luigi Valli, Il linguaggio segreto di Dante e dei Fedeli d'Amore (1928), Optima Rome ✅ VERIFIED stabilized bibliographic reference; text cited by Group of UR — Drive
Code-terms: Lady/Love/Greeting/Spirits/Heart + figures: Pargoletta/Giovanna/Selvaggia/Beatrice as masks of the same One Lady ✅ VERIFIED Quadrelli and Valli — Drive
Cecco d'Ascoli, burned in 1327 for heresy, contemporary of Fedeli; verse "Therefore I am She" ✅ VERIFIED cited by Evola in Quaderno XII — Drive
Nicolò de' Rossi and excessus mentis sicut fuit raptus Paulus ✅ VERIFIED cited by Evola in Quaderno XII — Drive
Giacomo di Baisieux Provençal exponent: love = without-death ✅ VERIFIED cited by Evola in Quaderno XII — Drive
Androgynous figure as Hermetic Rebis in illustrated FdA manuscripts ✅ VERIFIED Evola, cited — Drive (with reference to iconography)
Numerical symbolism 9 in Vita Nova (nine years, ninth hour, name, illness) ✅ VERIFIED Vita Nova by Dante; Evola, cited — Drive
Reghini in UR 1928 Il linguaggio segreto di Dante e dei Fedeli d'Amore (essay for the journal) ✅ VERIFIED UR 1928 index — Drive

Sources

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