When I disclosed for the first time the photographs of the original letter of Padre Pio to Conchita González, the main seer of the apparitions of Our Lady at Garabandal, I asked for some help to continue with the investigation of the connection between this letter received in Garabandal by the girl dated March 3, 1962, and Padre Pio, since the letter from the Capuchin convent of San Giovanni Rotondo had no signature. As I commented it was pretty logical that Padre Pio did not sign the letter. First, the apparitions were in course and the Church had not issued any statement on them. And second, Padre Pio in March 1962 had still numerous restrictions from the Holy See and his superiors, and it was not convenient for his reputation to write such a letter. These restrictions were finally raised by Pope Paul VI in the year 1963, a year later.
In this continuation of the previous article I would like to update the state of my research. I am still waiting for comments about the letter and the Fatima Rosary (included in the envelope) from some people in San Giovanni Rotondo. In the mean time, I would like to publish a letter from Des Grant, an Irish Newspaper Editor, which is of great help. Thanks to him I have retaken my intention of having Padre Pio’s letter analyzed by a forensic calligrapher in order to add new certainties to the authorship of the letter by Padre Pio. I know that the most we can get will be to certify that the letter came from the convent and was written with a convent’s machine and may be by the same person who wrote the letters signed by Padre Pio. Therefore, this task is only for a scientific purpose or pursuit, as you can see, since there is not any logical doubt that the letter did not come from Padre Pio. Who else used to see and talk to Our Lady in San Giovanni in 1962?
Here is Des Grant letter:
“I am a newspaper editor by profession and I have only recently become acquainted with the apparitions of Garabandal, and I am even more intrigued as to how they are not considered more well known.
My research into the letters are not a work of authoritative investigative science. However, it is clear to even an novice like me that typeface on the keys of both the typewriters are the same.
I will attach both the letters, a genuine Padre Pio letter signed by him, and the Garabandal letter, and then I’ll attach close up photos of individual letters from each letter that clearly show the ‘font’ letter shapes are quite distinct and unique. It shows that they are from the same ‘type’ of machine, and possibly therefore, the same actual typewriter.
There is a specialist science for this called ‘Forensic document examination’ and it warrants a closer look by an expert. This can determine the make and even the model of the typewriter and help connect the two letters authoritatively. For now we can only say they look very similar to the point it could be argued it is the same make of typewriter, and thus possibly the very same machine.
Each typewriter due to slight alterations in the alignment of the heads, has its own ‘signature’ or ‘fingerprint’ so to say. As such each document can be traced back to the typewriter it was written on.
I hope this has been of some benefit to you.
I have inclosed a list of manufacturers that extends to close to 200 makers, however, I am proposing that perhaps a dozen or so makers dominated the market, but that is a guess based on the size of the companies involved.
Taken in the context of ‘additional evidence’ to be added to what is already there, it strengthens the case of identifying Padre Pio as the author as the letter appears to have been written on ‘AN’ identical type/model of typewriter Padre Pio used.”
Des Grant has provided a typed letter signed by Padre Pio in 1965 to compare it with the letter to the girls from Garabandal. He has amplified some individual letters of both letters to compare. Anyone can do it as well and will see that the typewriter in both letters is of the same make as has the same typeface. The typewriter is most surely an Olivetti machine, and the font is Olivetti type 2 as it matches perfectly with that font which can be found over the Internet. Photographs of all this is included here.
As a curiosity we can observe a finding in the two letters that suggests that the used machine is the same and probably the person who writes them. As you can see in both letters it is used to put the number “1” the uppercase letter “i” when the logic is to use the “1” of the keyboard. Either the machine had the “1” key broken or the person who wrote had the tendency to use the letter “i” as a number. Both situations would connect the two documents more closely according to the laws of probabilities.
I want to thank again Des Grant for his help and encourage others to provide new information if they find any.