After close examination of the contents of O.L.B. I discovered a story that has close parallels with elements in the Scandinavian lore. It shall be known that the two characters- Kalta and Minerva, (the latter, of course, already corresponded to Gefjon), are in fact well known players in the Teutonic epic. We found that Minerva-Gefjon in the service of Frya-Freyja earlier, we shall find the same with Kalta who, in her Nordic capacity is the maiden of the Jotun clan who betrayed Freyja and turned her over to her vile kinsmen. She goes by many names: Gullveig, Heid, Angerboda, Aurboda, Hyrrokin, etc. She is, next to Loki, the feminine personification of evil who is said in both O.L.B. and in the Scandinavian sources to spread her evil sorcery and use it to harm and corrupt the folk. Before we get into the full investigation of these parallels between Kalta and Gullveig, let’s continue our work with Gefjon and Minerva:
 
 There is a swedish or Danish tale which gives us some indication that Gefjon, and she alone among Freyja’s sisters/maidservants, visited Midgard. This is the saga of her plowing out a piece of land with four giant oxen, said to be her sons in this guide, to create both Zealand and either the Väner (Wener) or the Mälar Lake. This comes to us in the beginning of Gylfaginning. It may simply be coincidence, but it is interesting to note that there is a place in Holland known as Zeeland which lies precisely between the Scheldt and Rhine rivers. This group of islands is said in Oera Linda Book to have been the scene of Minerva-Gefjon’s activity (pg. 39). It could possibly be that the author attributed the connection of Zealand to Gerjon with Zeeland to Minerva, which would certainly explain a lot.
 
 in placing this story within the epic we would have to first recognize Gerjon’s carving out of Zealand, after convincing the Jötun Gylfi to give her a plowland (an area of land plowed within a day). This would have had to take place during the first Fimbulwinter, when the Jötuns were in control of Greater Svithjod, and it would have had to have been done for the purposes of securing a southern Scandinavian area of land for the emigrating Nordics. When she returns tshe has not come as a beggar woman, as seen in Gylfaginning, but as a stately maid in line for the rank of Folksmother for the sake of luring Kalta’s identity as Gullveig out into the open. In this manner the two tales form a line of succession that compliment one another and allow us to add both of these stories of the epic.

 We learn that Gefjon was sent by Odin to Sweden “across the water to investigate what country was situated there”, just as we learn that Minerva was sent by Wralda, “from over the sea, with a cloud, to give people good advice...” (see Teut. Myth. ch. 7 and O.L.B. pg. 24)

 What is also interesting is that when in both accounts these goddesses are somehow related among the pantheon in a subordinate, but honored fashion. Rosa-Muda beats out Minerva as successor to the rank of Folksmother, even though the latter is exalted to the rank of goddess after her death (O.L.B. pgs. 39 and 45). Gefjon comes to king Gylfi as a beggar-wman who fools the king into giving her a plowland. In both cases her identity as a goddess is revealed shortly after her arrival. We must conclude from all of this, however, that the account in O.L.B. must have taken place long after the Scandinavian tale, after Zealand’s civilization was fully established.

 The Romanization of a deity such as Nyhellenia-Gefjon certainly fits with the model of Europe for the time this account is supposed to be set in. All throughout the continent Romans were building their empire, conquering lands, which eventually led to the Romanizing of local deities. Of Gaul it is said:
 “The Roman conquerors, knowing of these various divinities, equated them with some of their own divinities. Hence Caesar could speak of the Gauls as worshiping Mercury, Apollo, Mars, Jupiter, Dis, and Minerva. As time went on, and as the Celts submitted to Roman civilization, they accepted these equations. They allowed or even encouraged the Romanizing of their religion as far as the deities and worship were concerned. Indeed, in their growing desire for oneness with Rome, the Gauls tried hard to find as many links as possible, however slight, between their deities and those of Rome. Doubtless some of these equations were vague, even haphazard. It could not be expected, e.g., to find complete likeness between a Gaulish deity and Apollo. Thus the Gaulish god Grannos, equated with Apollo, was a god of healing, and among his many functions, Apollo was a healer, so Grannos was called Apollo-Grannos, regardless of the fact that Apollo had other functions, unknown to Grannos. So with other identifications, the Romans themselves started these assimilations. The Gauls, in their progressive Romanization, now began to build temples, to raise altars, to fashion images of their deities, in the Roman manner, and to have votive inscriptions carved, in which the names of some Roman deities were prefixed or affixed to those of native gods and goddesses.” (The Celtic and Scandinavian Religions by J.A. MacCulloch, pg. 24)

 So we can see exactly how Oera Linda Book came to have many associations with Roman characters for native, Germanic, deities. (Of course, we have the Cherusci and their leader Arminius (Hermann) at the battle of Teutoberg Wald to thank for our Teutonic heritage not becoming as saturated with Roman corruptions as the Celtic lore.) We can also see why an altar to Nyhellenia (shown in the appendix to Mr. Pierce’s translation), raised on the Scheldt River island of Walchern (Walhallagara), was created in the Roman style.

 Now let’s look at the parallels between Kalta and Gullveig:
 In the Scandinavian tales Gullveig is taught evil runes by her father, the Jotun Vidolf, and she herself invents the evil Seidr. in O.L.B. she is taught evil sorcery by the Magyar (who shall be proven as O.L.B.’s euhemerized Jotuns later on) and makes her own name with it. After she was taught magic by the Magyars and “when she had her enough thereof, she threw herself into the arms of the Gauls” (pg. 39). That no other woman in O.L.B. and no other woman in the Scandinavian lore had such a profound relation to the evil sorcery is a significant connection.

 Both Kalta and Gullveig are said to be beautiful, which is odd, for most ancient lore connects evil to ugliness and vice versa.
 The name Kalta has two possible links to Gullveig. As we see in the text she was given this name because “the advice which she gave was ever in obscure words”, (pg. 39) meaning that its root is “kel” meaning “to conceal”, and it is related to the words “occult” and “Hel”. Gullveig is the founder of the evil “occult” practices of Seidr and is the mother of Hel with Loki, so it certainly suits her.

 Kalta’s birth name is Syrhed, a name which can also apply to Gullveig, who is also known as Heid. The name can be translated as “pig witch” or “the witch of the sow” if it is in fact an Old Norse name, which is very likely (the author of O.L.B. uses names from all over the world). However, I think that we will find the true origin of this word if we do not translate it at all. The second part of the name, “-hed”, is a variant of the name “Heid”, which since the most ancient times has signified “witch” in the same sense of an evil sorceress. But this isn’t just any witch, this is the witch, Syr’s witch, Syr’s Heid. In other words this is the Heid who was once in Syr’s, or Freyja’s, service, but who later betrayed her. That we find her here in O.L.B., posing as one of “Frya’s maids” is not surprising.

 Kalta’s symbol of the cock may not only relate to her personality (“the cock has friendship for no one and through his wantonness and pride is he oft the murderer of his next kin.” pg. 39) but may have some connection to Surt as well, whom she will aid in Ragnarok and whos son, Suttung, will come to her and Eggther in the guide of a cock to fetch Gambanteinn, the sword of victory, for his father. When Aurt wields the sword, because of a magical element placed within it by Volund, its creator, all of the Jotuns shall be slain at once and Jotunheim will be laid in ruins. (see Fädernas Gudasaga ch. 40).

 It is very possible that when Ragnarok comes, as it is stated in the Odinic prophecies, Gullveig will be alongside Loki when they travel to Nastronds to free the damned, humans punished by their gods for breaking divine law, so that they can take them in the ship Naglfari to the final battlefield. Here is the O.L.B. parallel (from pg. 42):
 “Kalta, when, according to saying, might walk as blithely upon water as upon land, went to the steadfast bank and forth off to Missellia. Then came to Gauls with their ships out of the Mediterranean, to sail to Cadiz and all our southern lands, forth they fell up and over Britain though they might get no foothold there, for that the stewards were in charge and the exiles were yet Frisian. But now came Kalta and quoth, “thou are freeborn and for small offences has one made thee into outcasts nor to better thee but to win tin by thy hand (criminals were sent to to work in tin mines in Britain). Wilt thou again be free and live under my advice and protection, get out then, weapons shall be given thee and I shall watch over thee.” It is stated before this, on the same page, that the exile of the criminals was “misdone, for now came the beginning of the end.”

 When Nyhellenia on pg. 22-23 states that her owl “helps me remember that there is a sort of person dwelling in the world who, even as he, makes their homes in churches are caves, who root about in the gloom, though not as he, to help us from mice and other plagues but to plan ruses, to rob other people of their wits until they the better might grab them so as to make slaves of them and to such their blood even as vampires do” she is undoubtedly talking about Jotuns, but most especially Loki and Gullveig, the latter of whom she is speaking in riddle form to expose her evil to the folk. The Seidr Gullveig uses is known specifically to raise the dead or control people’s minds (as we see happens to Frey in his love for Gerd, Gullveig’s daughter).

 Probably the most significant connection of Kalta to Gullveig is the fact that both characters were engulfed in flames, but somehow survived. In the Scandinavian lore Gullveig is burned three times, but each time is reborn. Here is how the story in O.L.B. is related:
 “...when Jon (Odin, see below) came here and saw how Kalta had fordone our famous burgh, then was he so violent without measure, that he went off to Flyburgh with all his people and there to pay back, stuck on the red rooster (burned it down). But through his rear-admiral and some of his people were the foddik and maids saved. Though Syrhed and Kalta mightn’t (sic) they not comprehend, she climbed upon the outermost pinnacle, everyone thought that she might die in the flames, then what happened? While all her people stood stiff with fright, came she more beautiful than heretofore, calling “To Kalta Minhis!” ”
 When Kalta had risen from the flames and shouted her name her followers banded together. When the seamen of Jon saw this they shouted “we are for Minerva”. O.L.B. then tells ut that “A war is come out of that, wherein thousands are fallen.” (all of this from pg. 41)
 So we have here two characters who were punished by fire for committing evil acts and both miraculously survived. That Jon’s “read-admiral” helped the maids of Flyburgh escape may have something to do with Njord’s (whom we have already seen related to the sea and to this title) reservations with Gullveig’s punishment which led to the breach between the Aesir and the Vanir. Thus a war results from the activities of both Kalta and Gullveig.

 When we find Gefjon-Minerva in a role of opposition against Gullveig-Kalta it is very likely that it relates to a story, now lost in the Scandinavian and Anglo-Saxon records, of the dissension between the two and how Gefjon sought to have Gullveig punished for her crimes. This is certainly in accordance with what we know already of these two characters for certainly Gefjon would have been angry over the way Gullveig treated her sister Freyja. Not only did she try to persuade her into practicing the evil Seidr, but she also betrayed her and gave her up to the Jötuns when the first Fimbulwinter was taking place.

 Before we continue I feel that it is important to go over the parallels between Jon and Odin:
-In the folk etymology of O.L.B. Jon (Jhon, Jan) is said to mean “to give” (cp. this with the etymology of John- “The Gracious”). Odin has the name Oski-”Fulfiller of Wishes” and possibly also Wunsch- “God of Wishes”. In Hyndluljod 2-3 it says that “he gives and grants gold to his followers. To Hermod gave he helm and byrnie, to King Sigmund, the Sword of Victory. He gives riches to some, to come, victory, word skill to wights, wisdom to others, breezes to sailors, song-craft to skalds, gives manfulness to many a warrior.”

-It is Jon who leads the band of warriors who punishes Kalta’s misdeeds with fire, just as it is Odin who does the same with the Aesir who punish Gullveig with fire.

-A result of the war between the Aesir and Vanir is that Asgard is taken and the Aesir are banished. It is Helprik in O.L.B. (pg. 41) who has “Jon with his people” banished after the war.

-After the settlement of the Teutonic theomachy it was decided that the warriors of Midgard who had fought and died on this side of Hadding, and their descendants who were worthy (for this war was fought among the Teutonic clans as well) would go to Odin in Valhalla. The warriors who had fought and died on Svipdag’s side, and their descendants who were worthy, would go to Freyja’s Folkvang (Fädernas Gudasaga ch. 37). Such a division of warriors is found between Minerva and Jon, which is not a contradiction to the Scandinavian model, for Gefjon-Minerva lives with Freyja. When we see in Fjolsvinsmal the idea that “Sad maidens and suffering women find solace if they walk up to her” (str. 36) we can compare this to Gefjon’s caretaking of unmarried women, as mentioned in Gylfaginning. Of course, this division of warriors we are discussing is mentioned in O.L.B. in an “historical” context (pg. 43):
 “...went Jon to the far Greeces, at last they came to a land which looked very bleak, but they found there a harbor mouth. Here, said Minerva, shall apparently no fear of princes nor priests be needed, for they always like fat pasture, though when they ran into the harbor, they found not yet room to hold all the ships, however, most all were too fearful to go on. So went Jon who would go further, with his spear (cp. Odin’s Gungnir) and flag, calling to the young folk, whoever willingly would rally by him. Minerva who would remain did likewise. The greatest deal went to Minerva, but the youngest seamen went to Jon.”

 This “land which looked very bleak” can be none other than the land of the dead where Freyja and Odin go to judge humans for the acts they committed in their first life. It is the Helthing or Urdabrunnr, the Thing of the Dead near Urdr’s well, in the land also known as Hel. Originally, in the heathen lore, Hel was the realm of bliss, the Teutonic Elysian fields; however, by the time O.L.B. was written it had already been transformed into a dark and dismal region, its queen Urdr-Hel demonized and made synonymous with Loki’s daughter Leikin, all of which formed the foundations for the Christian use of the word “Hell” to describe the Hebrew Gehenna (cf. Teutonic Mythology ch. 57).

 Now that the place of the characters in the story line has been establishes the position of the story itself can now be examined. This tale is very significant because it embodies the largest addition O.L.B. has to offer the heathen Teutonic epic as it is reconstructed. In the original lore we have a parallel story of Loki, who by all means is Gullveig’s counterpart throughout the Teutonic epic, and who after his expulsion from Asgard infiltrated Vanaheim and then those Teutonic tribes of Midgard who had close relations to the Vanir, namely the tribes of Svipdag. All sorts of adventures take place there which eventually leads to a revealing of his true nature to all humans and gods and capture and well deserved punishment. Of Gullveig we have only known that she was, after her third death by burning that is, captured and banished to the Ironwood. That she was banished after her third regeneration and not killed again was due to the treaty made between the divine clans after the first great war of the worlds. The gods had decided at their holy Thing that she would be slain again but that the punishment for her crimes, which was certainly due, would be this banishment. (Fädernas Gudasaga ch. 37)

 Nothing in the other records tells us how she was captured and, since we know that she is a powerful sorceress, it is most likely that the search for her would have been a difficult one. We know from O.L.B. pg. 24 that “the all-highest god (had sent) his wise daughter, Minerva, surnamed Nyhellenia, among the people, from over the sea, with a cloud...”, so it can be said that Gefjon was sent by Odin to seek out Gullveig so that she could be captured and made to face her punishment. Remember that Gefjon is Freyja’s sister, so Frigga would be her mother and Odin her step-father. Thus, as with Frya, it can be said that Odin is her father (and, indeed, he is the All-father), even though Njord is her real father. In order to capture her she had to be drawn out, which explains Gefjon-Minerva’s taunting acts in O.L.B. towards Kalta. It is not until Kalta had exposed her true identity as Gullveig that she could have been captured, just as Bekki and Blind Bölvise were to be exposed as Loki. It is the nature of the story, its location, and the connection of these characters that leads us to conclude that the so-called “War of the Burghmaids” was originally the search for Gullveig so that she could be banished to the Ironwood.