May 16, 2026

A Day in the Windy City

Italy's Gifts on Harlem Avenue
Work brought us to Chicago this week and, once finished, we couldn’t pass up the chance to visit the small but vibrant Harlem Avenue Little Italy.

Warmly welcomed like family, we were given a tour of the new National Italian American Sports Hall of Fame by President Ron Onesti. Though still under construction, the facility is already shaping up to be a worthy tribute to some of our community’s greatest sports legends. It’s going to be amazing, and I can’t wait to see it open.

From there, we crossed the street to Piazza Italia and visited Pasta Fresh, a specialty market serving both local businesses and residents. Tony and Gino Bartucci warmly shared the history of the store and neighborhood while treating us to focaccia and espresso. Afterwards, Gino brought us to his shop, Italy’s Gifts, filled with Italian imports, novelties, and bomboniere. While often compared to New York’s legendary E. Rossi & Company, both shops offer distinct atmospheres and celebrations of Italian American culture.

The surprises continued when Gino showed us a private chapel he helped build behind an accountant’s office, complete with televised masses and a small collectibles shop attached. Naturally, I couldn’t resist leaving with a Creature from the Black Lagoon figure.

NIAF board member Robert Allegrini then brought us to the Leaning Tower of Niles, the half-scale replica of Pisa’s famous tower. Built in 1934 as part of a recreational park, the tower originally concealed a large water tank and has since become one of the Chicago area’s quirkiest and most beloved landmarks.

For lunch, instead of a formal Italian restaurant, we insisted on trying Johnnie’s Beef, one of Chicago’s iconic Italian beef spots. The delicious sandwich—thinly sliced roast beef soaked in gravy on a crusty roll and topped with hot giardiniera—was similar to the versions we grew up with in Brooklyn. Unfortunately, I was too full afterward to finally try one of Chicago’s famous hot dogs. Another reason to come back.

Before long, it was time to head to the airport and return to New York. The trip was far too short, but we left grateful for the warmth and hospitality everyone showed us in Chicago.

~ By Giovanni di Napoli, May 15th, Feast Day of San Liberatore
(L) Gino Bartucci Sr. (R) Hand-painted amphora
Galliano and Sicilian Gold guard decanters
Various religious artifacts
Various busts and statuettes on display
Various statuettes and figural lamps on display
Harlem Avenue Little Italy street signs
Pasta Fresh in Piazza Italia
Tony Bartucci and family at Pasta Fresh
One of several large Sicilian carts at Pasta Fresh
We stopped by the Joint Civic Committee of Italian Americans
Mural outside the forthcoming National Italian American Sports Hall of Fame
The Three Graces at Galleria D'Arte
Caritas and an abstract, gracile female figure at Galleria D'Arte
The Triumph of Venus at Galleria D'Arte
Backroom chapel
Images of the Blessed Virgin in the chapel
(L) My gag souvenir. (R) A classic espresso machine at a forthcoming café
The Leaning Tower of Niles
A pair of sleeping lion monuments rest by the entrance
Tympanum with Blessed Mother
Historical markers
The Leaning Tower of Niles
The Leaning Tower of Niles
A miniature tower stands beside the Leaning Tower of Niles
(L) Historical marker. (R) Ground-level display bell cast in 1735 by the Pedretti foundry in Modena, originally hung in St. Giles Catholic Church in Cavezzo, Italy
Historical marker
Johnnie's Beef
Johnnie's "wet" Italian beef sandwich, dipped in au jus
O'Hare International Airport

50th Anniversary of the Ordination of Rev, Fr. John A. Perricone at St. Patrick's Church in Jersey City, NJ

May 15, 2026

Ponderable Quote: Federal (Regionalist) — The Ancient Kingdoms by Juan Vásquez de Mella

Juan Vásquez de Mella y Fanjul
(8 June 1861—26 February 1928)
The national spirit is not opposed to the regional spirit, for it is nothing more than the synthesis of regional spirits. Woe to the one who, in seeking to favor the spirit of a nation and of a historical race, attempts to diminish the attributes and characteristics of the regional spirits which, in communicating and uniting, have engendered it!

We possess a peculiar life of our own, which each region preserves to a greater or lesser degree, and each region shares common features with all the others. There is a common collective history and another that is proper and particular. Both must be affirmed in their entirety. I affirm the regional spirit in all its purity, but I also say that if even a single regional history were torn away, the common history of Spain would be mutilated and rendered incomprehensible.

Without the history of Catalonia, for example—and even considering only external politics—we would have to eliminate not only one of the armies of the Reconquest, the one that emerged from the Hispanic March, but also the conquest of the Balearic Islands, the domination of the Mediterranean; the expeditions to Oran, Tunis, and Algiers and Spain’s influence in Africa would be left without their principal foundation; the conquests of Italy would have to be subtracted, and therefore the rivalries they provoked with France, which led us to Pavia and San Quintín and so decisively shaped all subsequent history; we would even have to dispense with the sacred oath of Girona and the feats of the Bruch—and the general history of Spain would be truncated and incomprehensible.

When people here attempt to set Catalonia and Spain in opposition—what an absurdity!—it seems they ignore the history of Spain and refuse to acknowledge the greatness of Catalonia, which may stand as the firstborn among those that extend along the shores of the Mediterranean.

For tell me, gentlemen: without the Catalan tradition, without what it contributed to the Aragonese monarchy, would Gonzalo de Córdoba have gone to Naples if Alfonso V and Peter III had not first gone to Catania and Palermo? Would we have fought the Angevins and extended our dominion over Milan? Would we have fought and triumphed in Paris? Would we have had that duel to the death—which was not between two kings or two dynasties, but between two peoples representing different interests in the sixteenth century—between Charles V and Francis I? No; we would have to tear out a part of our national history of the sixteenth century; we would have to remove the domination of the Mediterranean, which was owed to the cooperation of Catalan history with our general history; without the contribution of that illustrious people, we would have to erase the blazing memory of Girona and the heroic tenacity of the soldiers of the Bruch, and we could not even understand the War of Independence at the beginning of the last century.

The history of Catalonia, like that of all the regions of Spain, has two parts: a primitive, particular one, corresponding to the character that marks each region while sealing its traditional identity—a sacred history that we must respect and love, not only with regard to the region in which we were born, but also all the other peninsular regions which, through coexistence over several centuries and through analogous needs and ethnic composition, maintain the strongest bonds; but there is another part common to all, to which these regions contribute through their lives, and that part in which they cooperate—the general history—is what properly and in the highest sense constitutes Spain.
Translation of the speech delivered at the Teatro Nacional de Barcelona on April 24, 1903; published in Juan Vásquez de Mella, Textos de Doctrina Política, Preliminary Study, Selections and Notes by Rafael Gambra (Madrid, 1953), p.45.

New Music: Prime Donne

New music that may be of interest to our readers.


Prime Donne performed by Marina Viotti, Andres Gabetta, and the Orchestre de l'Opera Royal

Label: Chateau Versailles
Release Date: October 29, 2025
Audio CD: $24.22
Number of Discs: 1

Available at Amazon.com

Read description

Photo of the Week: Hall of Roman Statues and Busts, Vatican Museum

Photo by New York Scugnizzo

May 14, 2026

Simple Pleasures — A Small Find in Little Italy

While wandering through historic Little Italy, I stopped into the Italian American Emporium and came across a pair of stylish ceramic coasters featuring Pulcinella. With their distinctive masks and playful character, they struck just the right balance between tradition and charm. I purchased both—small, practical pieces that nonetheless carry a touch of Neapolitan theatrical heritage into the everyday.

52nd Anniversary Feast of the Madonna della Fontana and Arcangelo San Michele at Our Lady of Mt. Carmel Church in Newark, New Jersey

May 13, 2026

Little Kyoto by the Canal

Mucky the Dolphin
Ever since our church discontinued the early Sunday Mass (8:00 AM) a few months ago, we have at times found ourselves waiting outside for the doors to open before entering to prepare quietly for the 9:30 Latin Mass. That interval had once been a time of stillness and recollection; without it, we improvised. At first, we passed the time walking around the parish—talking, catching up, and occasionally drifting into reminiscence about earlier, better days.

More recently, however, we altered our routine. By chance, we discovered a small, Zen-like garden tucked between two steel-and-glass buildings along the canal. We half-jokingly christened it “Little Kyoto,” a modest attempt to imagine ourselves, if only briefly, somewhere removed from the bleakness of the surrounding area—a landscape caught between neglect and uneasy redevelopment, where new high-rises rise amid lingering disorder.

The garden itself is sparse but deliberate: gravel, stones, a few carefully placed plants, with small bridges and benches arranged in quiet proportion. It offers, unexpectedly, a pocket of calm. There we sit, watching young people pass by with their dogs, trying—however imperfectly—to recover a contemplative frame of mind before the Liturgy.

Yet the setting resists complete escape. The garden overlooks the Gowanus Canal, long known as one of the most polluted waterways in the United States. In the near distance stands “Mucky the Dolphin,” a life-sized golden dolphin wearing a gas mask—a grimly ironic monument to the animal that wandered into these waters and died there in 2013.


And so the moment remains suspended between two realities: the effort to cultivate stillness and reverence, and the stubborn presence of decay just beyond it.

~ By Giovanni di Napoli, May 12th, Feast of San Filippo d’Agira

Feast of Our Lady of the Audience at Holy Rosary Church in Kansas City, Missouri

May 12, 2026

Drawing Worlds: Viollet-le-Duc at Bard Graduate Center

The Temple of Neptune, Paestum, 1836, graphite, ink, and
wash on paper, Eugène-Emmanuel Viollet-le-Duc
My recent visit to Viollet-le-Duc Drawing Worlds at the Bard Graduate Center Gallery was both inspiring and deeply absorbing. On view only through May 24th, the exhibition offers a rare opportunity to encounter the extraordinary imagination and precision of Eugène-Emmanuel Viollet-le-Duc (1814–1879), whose drawings, restorations, and theories reshaped the understanding of Gothic architecture in the modern era. With nearly 200 works on view, many rarely seen in the United States, the exhibition illustrates how drawing became for him not merely a technical exercise, but a way of thinking through history, nature, and design.

From cathedral studies and Alpine landscapes to visionary restorations and fantastical architectural forms, the works feel remarkably alive and contemporary. It was a great pleasure to spend time with these drawings and ideas, and to experience the enduring power of an artist who believed that the past could still illuminate the present.
(L) Messina Cathedral, detail of the painted timber rafters, June 22, 1836, graphite, ink, watercolor, gold, and gouache on paper, Eugène-Emmanuel Violet-le-Duc. (R) Palatine Chapel, Palermo, interior, April 23, 1836, watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
Arch of Trajan, Benevento, 1825, pen and watercolor
on paper, Henri Labrouste (French, 1801-1875)
Temple of Juno Lacinia, Agrigento, May 24, 1837, graphite
on paper, Eugène-Emmanuel Viollet-le-Duc
Pompeii, a section of one of the Championnet houses in its current state,
1828, ink, wash, graphite, and watercolor on paper, mounted
on board, Léon Vaudoyer (French, 1803-1872)
Palermo Cathedral, April-May 1836, graphite and
watercolor on paper, Eugène-Emmanuel Violet-le-Duc
Upper crater of Mount Etna, June 11, 1856, graphite, watercolor,
and gouache on paper, Eugène-Emmanuel Viollet-le-Duc
View of the Azun Valley from the Pourgue Mountain, Hautes-Pyrénées, July 11, 1833, watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
View of Puy de Dôme from the Puy Pariou, July 25, 1831,
graphite on paper, Eugène-Emmanuel Viollet-le-Duc
Model of the spire of Notre-Dame de Paris, ca. 1858, wood and
paint, Auguste Bellu (French, 1796-1862; carpenter), after
a design by Eugène-Emmanuel Viollet-le-Duc
"Sculpture" section of Dictionnaire raisonné de l'architecture française du XI au XVI siècle (Systematic dictionary of French architecture from the eleventh to the sixteenth century), vol. 8, 118-19, Paris: A. Morel et Cie, 1866, printed book, Eugène-Emmanuel Viollet-le-Duc. The placard reads: "In this entry of his Dictionnaire raisonné de l'architecture, Viollet-le-Duc offers a racialized reading of medieval sculpture. Comparing two sculpted heads from church portals—one identified as Gallic or Celtic (on the left), the other as Merovingian or Frankish (on the right)—he interprets their features as evidence of distinct racial identities. The Gallic figure, he writes, appears more refined and noble; the Merovingian, though heavier, shows a self-assured dominance. For Viollet-le-Duc, these sculpted faces revealed not just style but deeper historical meaning. Such contrasts between Gallic and Frankish 'races' became particularly topical after the Prussian army defeated French forces in the war of 1870."
(Left and below) Physiognomic studies from a scrapbook of preparatory sketches and first run woodcuts for Histoire de l'habitation humaine depuis les temps préhistoriques jusqu'à nos jours (The Habitations of Man in All Ages; Paris: J. Hetzel, 1875), undated paper and tracing paper, Eugène-Emmanuel Viollet-le-Duc. (R) Histoire de l'habitation humaine depuis les temps préhistoriques jusqu'à nos jours (The Habitations of Man in All Ages) Paris: 1. Hetzel, 1875, printed book, Eugène-Emmanuel Viollet-le-Duc
The placard reads: "These physiognomic studies-some of them preparatory sketches for woodcut illustrations in Histoire de l'habitation humaine (The Habitations of Man in All Ages, 1875)-reflect Viollet-le-Duc's complicity with the visual language of nineteenth-century racist anthropology. His caricature-like studies morphing human heads into primate profiles explore visual links between the features of what were then considered 'lower' human types and those of primates— a notion rooted in deeply problematic theories of racial hierarchy that circulated widely in the period. While these drawings reflect the intellectual climate of their time, they also offer an opportunity to reflect critically on how racialized ways of seeing were constructed, naturalized, and reproduced through art and illustration."
Le refuge de montagne (The mountain refuge), July 1871,
watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
Fictional rendition of the mountain refuge at Nant Borrant, July 1874,
graphite and gouache on paper, Eugène-Emmanuel Viollet-le-Duc
(L) Viollet-le-Duc in his study, ca. 1850, plaster, Adolphe Victor Geoffroy-Dechaume (French, 1816-1892). (R) Desk from the office of Eugène-Emmanuel Viollet-le-Duc on rue Condorcet, Paris, after 1862, oak
(L) Monstrance, ca. 1900, silver gilt, Maurice Poussielgue-Rusand (French, 1861-1933), from a design by Eugène-Emmanuel Viollet-le-Duc. (R) Unlabeled statuette of Eugène-Emmanuel Viollet-le-Duc
Château de Pierrefonds, bird's-eye view of the castle, partially restored,
1858, ink and watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
(L) Pyrenees, pine forest in the Marcadan Valley, 1833, ink and wash on paper, Eugène-Emmanuel Viollet-le-Duc. (R) Preparatory drawing for "Le Beffroi" (The belfry) in Histoire d'une forteresse (History of a fortress; Paris: J. Hetzel, 1874), fig. 47, watercolor with gouache on paper 
Château de Pierrefonds, exterior elevation of the south façade,
1858, ink and watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
(L) Château de Pierrefonds, painted decor for the chimney overmantel in the empress's bedroom, 1866, ink, watercolor, and gouache on paper, Maurice Ouradou (French, 1822-1884), from a design by Eugène-Emmanuel Viollet-le-Duc. (R) "Tournoyeur, Milieu du XVe siècle" (Mid-fifteenth-century tourney participant) in Dictionnaire raisonné du mobilier français de l'époque carlovingienne à la Renaissance (Systematic dictionary of French furniture from the Carolingian era to the Renaissance), vol. 2 (Paris: A. Morel, 1871), plate 53, 1871, lithograph, Eugène-Emmanuel Viollet-le-Duc
La Grande Scheidegg, 1879, graphite and gouache on paper,
Eugène-Emmanuel Viollet-le-Duc
Pyrenees, view of the Marboré Peak, above Gèvre, July 1833,
watercolor on paper, Eugène-Emmanuel Viollet-le-Duc
Solar eclipse, undated, wash and gouache on paper