  Our paper offers an analysis of how Dante describes the tre giri ("three
rings") of the Holy Trinity in Paradiso 33 of the Divine Comedy. We point to
the myriad possibilities Dante may have been envisioning when he describes his
vision of God at this final stage in his journey. Saiber focuses on the
features of shape, motion, size, color, and orientation that Dante details in
describing the Trinity. Mbirika uses mathematical tools from topology
(specifically, knot theory) and combinatorics to analyze all the possible
configurations that have a specific layout of three intertwining circles which
we find particularly compelling given Dante's description of the Trinity: the
round figures arranged in a triangular format with rotational and reflective
symmetry. Of the many possible link patterns, we isolate two particularly
suggestive arrangements for the giri: the Brunnian link and the (3,3)-torus
link. These two patterns lend themselves readily to a Trinitarian model.
