GARLASCO, FROM BLOOD GROOVES TO AZOTH: TWO QUESTIONS THAT CHANGE EVERYTHING

This week, I thought I had already put my brain cells to the test enough.

Then Luigi Grimaldi published two in-depth analyses, and within forty-eight hours, I found myself first studying grooves inside a pool of blood and then trying to understand what the Azoth, three alchemical principles, and a USB drive attributed to Chiara Poggi had in common.

Essentially, Grimaldi publishes. I lose my peace of mind. And Quotidea gains two more articles.

The first analysis stems from the research of independent investigator Davide Pollak and concerns certain grooves visible in the first large pool of blood photographed inside the villa on Via Pascoli.

According to Pollak, the sharp shape of those marks could indicate that, at the moment they were made, the blood was no longer completely fluid. A film might have already formed on the surface, capable of preserving the grooves without allowing them to close back up.

By applying specific parameters to the pool and comparing them with scientific literature on blood drying, Pollak proposes a window of time between 30 and 70 minutes.

It is not a stopwatch, and it doesn't give us the exact time. The actual time would depend on volume, thickness, temperature, humidity, ventilation, and the surface itself.

But it raises a question that is hard to ignore.

For years, we have wondered how Alberto Stasi could have crossed the scene without leaving the expected footprints and without carrying obvious blood traces on his shoes.

What if the blood had already changed consistency?

A sole could have deformed the surface and left a groove while picking up much less blood than it would have in a pool that was still liquid.

This doesn't prove that the marks belong to Stasi's Lacoste shoes, nor is it enough to prove his innocence. It does, however, put a crack in a line of reasoning that seemed much simpler.

👉 The analysis of the blood grooves:
https://quotidea.it/quotidea-storie-misteri/garlasco-solchi-sangue-passaggio-alberto-stasi/

I could have stopped there.

I could have.

Instead, Grimaldi published a new contribution and dragged me into the Azoth, the Star Game, and the Order of Nine Angles.

According to the reconstruction published on Grimaldipress, eight deleted alchemical-esoteric plates were recovered via data carving from a USB drive described as probably belonging to Chiara Poggi.

The specialized analysis by KillyNoir recognizes symbols in those images linked to the Azoth and a possible resemblance to the Star Game: an initiatory system composed of seven boards and twenty-seven pieces for each player, constructed through combinations of Salt, Sulfur, and Mercury.

A kind of esoteric Risk where, instead of conquering territories, one represents the inner transformation of the adept.

The hypothesis is fascinating: someone might not have simply collected old engravings, but might have studied or attempted to build that system.

The question I asked myself, however, was immediate:

Why keep all those plates on a USB drive?

And above all: Who saved them?

Carving can recover deleted images, but it doesn't automatically identify the person who searched for them, kept them, or decided to delete them. Furthermore, speaking about the USB sticks attributed to him and his sister, Marco Poggi stated:

"But it's possible we swapped them."

This doesn't prove that a specific drive was actually swapped. It does mean, however, that those memories could pass from brother to sister and were not necessarily intended for exclusive use.

Can we then automatically transform those files into Chiara's personal interests?

She might have saved them. Marco might have saved them. Or someone else who had access to the drive or the computer it was plugged into might have done so.

The file has been recovered. The symbolic meaning can be studied. The name of the person who decided to keep it, however, is still missing.

👉 The analysis of the Azoth and the USB drive:
https://quotidea.it/quotidea-storie-misteri/garlasco-azoth-nella-chiavetta-chi-la-usava/

Two very different analyses, then, but united by the same problem.

On one hand, we have grooves present in the 2007 photographs that we perhaps haven't asked the right question. On the other, deleted images where we can interpret every symbol without knowing who actually saved them.

In Garlasco, details continue to emerge that allow for extremely precise interpretations. What is often still missing, however, is the certainty required to attribute them to a single story.

So here I am, in front of my usual coffee, with a partially dried pool on one side and an esoteric Risk on the other.

☕ Thanks, Grimaldi. Once again this week, my peace of mind can be considered officially compromised.

💡 La storia continua su Quotidea.it

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