 |
| Photos courtesy of 1° Reggimento Re |
May 10, 2026
Preparing for the Siege at Castello di Lettere
Prayer for the Beatification of Madame Élisabeth of France
 |
Servant of God Princess Élisabeth of France, sister of King Louis XVI by Élisabeth Louise Vigée le Brun (circa 1782) |
God our Father In your great mercy You called Élisabeth of France to the offering of her life for her loved ones in the heart of the tumults of the Revolution. Driven by an unwavering faith in eternal life she supported her family in their ordeals and brought hope to those who were going to die with her.
Unmarried, she helped the poor and the sick, supported by fervent prayer.
Through her intercession grant us, according to Your will, the graces that we implore.
In Your great kindness, make the Church recognize soon in her an authentic witness to the Gospel, a model of celibacy, diligent in prayer and attentive to the most fragile.
We ask You through Jesus Christ our Lord. Amen.
Prière pour la béatification d'Elisabeth de France
Dieu notre Père Dans Ta grande miséricorde Tu as appelé Elisabeth de France à l'offrande de sa vie pour les siens au coeur des tumultes de la Révolution. Animée d'une foi inébranlable en la vie éternelle elle a soutenu les siens dans l'épreuve et apporté l'espérance à ceux qui allaient mourir avec elle.
Célibataire, elle a secouru les pauvres et les malades, portée par une prière fervente.
Par son intercession accorde nous selon Ta volonté les grâces que nous implorons.
En Ta grande bonté, fais que l'Eglise reconnaisse bientôt en elle un authentique témoin de l'Evangile, modèle de célibataire, assidue la prière et attentive aux plus fragiles.
Nous Te le demandons par Jésus le Christ notre Seigneur. Amen
* Prayer courtesy of hozana.org
A Poem For Mother's Day
 |
| Photo courtesy of The Art Institute of Chicago |
November 2
When my mother died, I was too stunned
to grieve; at the foot of the bed,
I stared, unseeing, at the drab clad body;
blinding, blunting all living memories.
No, I did not cry, no wail, not a tear,
I imagined her asleep, a halo
of a mother about that worn grey face;
waiting for me to come home, she dozed.
A year now that she is deep in her grave,
in my dreams she appears, her love unslaked,
vanishing, she strands me in a desert.
Suddenly my heart overflows, cascades
with tears, laving these dear remembered walls,
I choke up, tears, tears, are drowning my poem.
2 de Nuvembre
I’ nun saccio pecché, quanno murettemàmmema bella e, comm’ a nu stunato,
sulo, a tenerla mente io rummanette,
appede de lu lietto addenucchiato;
tanno, io nun saccio pecché, nun chiagnette,
guardannola accussì, zitto, ncantato,
comm’ a na vota ch’ essa s’ addurmette,
mentr’ io vicino lle steva assettato…
Mo ca fa n’ anno ca ii’ aggio perduta,
mo, mo ca nzuonno me sta cumparenno,
mo la necessità nn’ aggio sentuta…
E mo mme vene a chiàgnere, e chiagnenno
sceto sti mmura ca ll’ hanno saputa,
nfonno sti ccarte addó stongo screvenno…
(*) Reprinted from The Naples of Salvatore Di Giacomo: Poems and a Play, translated by Frank J. Palescandolo, Forum Italicum, Inc., 2000, page 65
May 9, 2026
Grace in Victory, Pride in Defeat
The second was a younger guy I occasionally run into. Smug, dismissive, almost bored by winning—as if another Scudetto was beneath his notice because Inter are simply “used to it.” By the end of the conversation, I regretted congratulating him at all. I’ll never lose sleep or start a fight over football, but I’d be lying if I said his disrespect didn't stir a brief flash of anger in me.
Napoli may not have defended our title, but this squad endured injuries, chaos, and adversity all season and still stands on the verge of Champions League qualification and a second-place finish. No small feat. Not even close. Forza Napoli Sempre!
Feast of San Gregorio Nazianzeno
 |
| San Gregorio Nazianzeno, ora pro nobis |
Gregory played a decisive role in defending the doctrine of the Most Holy Trinity against Arianism. His renowned Theological Orations, delivered in Constantinople, proclaimed with clarity the divinity of Christ and of the Holy Spirit, earning him the title “Theologian” in the Eastern Church.
He briefly served as Archbishop of Constantinople, but, amid ongoing ecclesiastical disputes and challenges to his authority, he voluntarily resigned his office, choosing peace and unity over contention and preferring a life of prayer and contemplation. He spent his final years in retirement, devoted to writing sacred poetry and theological works. He is venerated as a saint and Doctor of the Church.
Evviva San Gregorio Nazianzeno!
In celebration of his feast, we offer this prayer:
Prayer to St. Gregory of Nazianzus*Pictured: San Gregorio Nazianzeno by Domenichino (1609-12), Cappella dei Santi Fondatori, Abbazia di Santa Maria, Grottaferrata, Italy
O glorious St. Gregory, zealous defender of the true faith, lover of the sacred liturgy, and faithful shepherd of souls, obtain for us, we beseech thee, a share in thy virtues. Intercede for us, that we may grow in faith, hope, and charity, and bring Christ into the hearts of our families and of all whom we encounter.
Look with favor upon our parish, our priests, and our deacons, and obtain for them strength and holiness in their sacred duties.
Deign also to intercede for me before the throne of God, that I may receive the graces I seek, persevere in faithful service, and at last attain the eternal joys of heaven.
St. Gregory of Nazianzus, pray for us.
May 8, 2026
Rudolph Valentino: The Latin Lover of Silent Film
.jpg) |
| Valentino and Nita Naldi in Blood and Sand (1922) |
I have everything—and I have nothing. It's all too terribly fast for me. ~ Rudolph Valentino
Rudolph Valentino was born Rodolfo Pietro Filiberto Raffaello Guglielmi on May 6, 1895, in Castellaneta, Puglia, Italy. After his father’s death, he struggled to find direction and, in 1913, emigrated to the United States with little more than ambition, seeking opportunity and a new beginning.
His early years in America were unsettled. Valentino worked a variety of jobs, including as a gardener and taxi dancer in New York City, before eventually making his way to Hollywood. There, he began with small film roles, often cast as a villain or exotic supporting figure, before gradually attracting wider attention.
His breakthrough came with The Four Horsemen of the Apocalypse (1921), where his performance—and especially a memorable tango sequence—made him an international star almost overnight. He soon became known as the “Latin Lover” and the “Great Lover,” a screen persona defined by romance, elegance, and intensity. Films such as The Sheik (1921), Blood and Sand (1922), The Eagle (1925), and The Son of the Sheik (1926), his final film, confirmed his popularity and established him as one of the most recognizable actors of the silent-film era.
Valentino’s personal life was often in the public eye. He married actress Jean Acker in 1919, though the marriage was brief and troubled. In 1922, he married costume designer and artistic collaborator Natacha Rambova, whose strong influence over his career contributed to tensions with film studios and the press. Their marriage ended in divorce in 1925. Beyond these marriages, he was linked to several romantic relationships, reinforcing the image that made him famous.
During World War I, Valentino tried to join the United States military but was reportedly rejected because of poor eyesight. Although his direct connection to the war remained limited, the effort to enlist reflected his desire to establish himself fully in his adopted country.
At the height of his fame, Valentino became one of cinema’s first great male idols, attracting enormous audiences and inspiring an intensely devoted fan following around the world. His influence extended beyond film, helping define modern ideas of masculine glamour, celebrity, and romantic stardom.
Rudolph Valentino died on August 23, 1926, at the age of 31, following complications from surgery for a perforated ulcer. His death led to widespread public mourning, with thousands gathering to pay their respects in scenes of near hysteria. He is remembered today as one of early Hollywood’s defining figures—the original “Latin Lover,” whose image and screen presence helped shape the enduring mythology of romantic stardom in cinema.
~ By Antonio Isernia
His early years in America were unsettled. Valentino worked a variety of jobs, including as a gardener and taxi dancer in New York City, before eventually making his way to Hollywood. There, he began with small film roles, often cast as a villain or exotic supporting figure, before gradually attracting wider attention.
His breakthrough came with The Four Horsemen of the Apocalypse (1921), where his performance—and especially a memorable tango sequence—made him an international star almost overnight. He soon became known as the “Latin Lover” and the “Great Lover,” a screen persona defined by romance, elegance, and intensity. Films such as The Sheik (1921), Blood and Sand (1922), The Eagle (1925), and The Son of the Sheik (1926), his final film, confirmed his popularity and established him as one of the most recognizable actors of the silent-film era.
Valentino’s personal life was often in the public eye. He married actress Jean Acker in 1919, though the marriage was brief and troubled. In 1922, he married costume designer and artistic collaborator Natacha Rambova, whose strong influence over his career contributed to tensions with film studios and the press. Their marriage ended in divorce in 1925. Beyond these marriages, he was linked to several romantic relationships, reinforcing the image that made him famous.
During World War I, Valentino tried to join the United States military but was reportedly rejected because of poor eyesight. Although his direct connection to the war remained limited, the effort to enlist reflected his desire to establish himself fully in his adopted country.
At the height of his fame, Valentino became one of cinema’s first great male idols, attracting enormous audiences and inspiring an intensely devoted fan following around the world. His influence extended beyond film, helping define modern ideas of masculine glamour, celebrity, and romantic stardom.
Rudolph Valentino died on August 23, 1926, at the age of 31, following complications from surgery for a perforated ulcer. His death led to widespread public mourning, with thousands gathering to pay their respects in scenes of near hysteria. He is remembered today as one of early Hollywood’s defining figures—the original “Latin Lover,” whose image and screen presence helped shape the enduring mythology of romantic stardom in cinema.
~ By Antonio Isernia
May 7, 2026
Final Impressions of Raphael: Sublime Poetry
 |
| Study of a Marble Horse on the Quirinal Hill ("OPUS PRAXITELIS"), ca. 1515-16, red chalk over leadpoint and stylus underdrawing, with annotations by another hand in pen and brown ink, on paper, Raphael |
In this final group of images from Raphael: Sublime Poetry, I return to a simple impression: the enduring power of Raphael’s work.
As noted in the previous pieces, there is something distinct about encountering these works in person. They retain their clarity, their calm, their sense of proportion—qualities that feel increasingly rare. Even after leaving the galleries, that impression remains.
 |
| (L) Head of a Horse (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro), ca. 1512, charcoal, black chalk, outlines pricked for transfer of the design, on six glued sheets of paper; the cropping of the right border at top and bottom possibly conforms to the shape of a giornata; with restoration, varnished, and losses made up, Raphael. (R) The Virgin and Child (Cartoon for the Mackintosh Madonna), ca. 1509-11, black chalk, charcoal, highlighted with touches of white chalk, with incised compass arcs and a vertical axis line; outlines incised and pricked for transfer of the design, and rubbed with pouncing dust; on two sheets glued with overlapping seams (original paper support); retouching and integrations by early restorers, Raphael |
 |
| (L) Study of a Putto with the Impresa of Pope Leo X de Medici, ca. 1513-14, black chalk, highlighted with white chalk, with later framing lines in black chalk, on paper, Raphael. (R) Standing Putto Bearing a Garland on a Curved Plaster Surface, ca. 1512, detached fresco fragment with a layer of surface plaster, adhered to cork and anchored to a cadorite slab with aluminum brackets |
 |
| (L) Head of an Apostle ("Auxiliary Cartoon" for the Transfiguration), ca. 1519-20, black chalk, drawn freehand over pounce marks (spolvero underdrawing), on paper, Raphael. (R) Head of an Apostle ("Auxiliary Cartoon" for the Transfiguration), ca. 1519-20, black chalk drawn freehand over pounce marks (spolvero underdrawing) and stylus underdrawing, unrelated design in pounce marks (spolvero), on paper, Raphael |
 |
| (L) Portable Icon with the Virgin Eleousa, Byzantine, probably Constantinople, early 1300s. miniature mosaic set in wax on wood with gold, multicolored stones, and gilded copper. (R) The Virgin and Child in a Niche, ca. 1460, glazed terracotta with gilt and painted details, Lucca della Robbia |
 |
| (L) Heads and Hands of Two Apostles ("Auxiliary Cartoon" for the Transfiguration), ca. 1519-20, black chalk drawn freehand over pounce marks (spolvero underdrawing), traces of white gouache highlights, on paper, Raphael. (R) Study for a Kneeling Woman in the Foreground of the Transfiguration; Unrelated Designs of a Cornice in Profile, ca. 1519-20, black chalk, charcoal, highlighted in white gouache, stylus incisions to correct contours, over partial pounce marks (spolvero underdrawing); pen and grayish brown ink with ruling (cornice); on paper washed light grayish brown, Raphael |
 |
| (L) The Death of Lucretia, ca. 1510-12, engraving, Marcantonio Raimondi, ca. 1480-before 1534, after Raphael. (R) A Woman Standing before Rocks (The Muse Clio), ca. 1490-94, pen and brown ink, brush and gray wash, highlighted with white gouache over stylus underdrawing on off green prepared paper, Giovanni Santi (Giovanni di Sante di Peruzzolo); ca. 1439-1494 |
 |
| (L) Head of the Muse Polyhymnia (Auxiliary Cartoon" for the Parnassus, Stanza della Segnatura), ca. 1511-12, black chalk drawn freehand over pounce marks (spolvero underdrawing), traces of stylus underdrawing, and partly unrelated design in pounce marks (spolvero), on paper, Raphael. (R) Portrait of Pope Leo X de Medici (Cartoon Fragment for the Figure of Pope Clement I in the Sala di Costantino), ca. 1520, black chalk with stumping, highlighted extensively in white chalk, outlines stylus-incised for transfer of the design; irregular shape of the original paper support conforming partly to a giornata, Giulio Romano (Giulio Pippi); 14997-1546 |
 |
| Two Roundels with the Mater Dolorosa and Saint Peter, ca. 1501-3, pen and brown ink over leadpoint underdrawing; incised compass construction for the drawn circular framing outlines; outlines finely pricked for transfer of the design; recto and verso rubbed with black-chalk pouncing dust, on paper, Raphael |
Remembering the Bava Beccaris Massacre in Milan
 |
| Illustration of the Bava Beccaris Massacre for Le Petit Journal, 22 May 1898 |
Pane!
Don Giovanni Gentile, alias Chiacchiara
Mentre l’uomini povari e dijuni
Vaû ppe’ le vie gridannu: «Pane! Pane!…»
Lu Guvernu ce manna battagliuni
E li tratta cchijù pieju de ‘nu cane.
Sparanu sti surdati a li truppuni
E faû ‘na chianca de le carne umane,
Ammazzanu le mamme e li guagliuni:
Ma “Pane!” torna si grida dumane.
Cari Ministri latri e sprigugnati,
Dintra la crozza cchi cosa ci aviti?
Ccu paddre nun si saziû l’affamati…
Vui stati franchi, mangiati e viviti?
Ma si pue ni vidimu disperati,
Vi facimu la peddra a quantu siti.
Bread!
Translated by Cav. Charles Sant’Elia
While poor and starving men
Go through the streets shouting: «Bread! Bread!…»
The Government sends them battalions
And treats them worse than dogs.
These soldiers shoot at the crowds
And make a butchery of human flesh,
They kill mothers and children:
But “Bread!” they continue to shout tomorrow.
Dear shameless thieving Ministers,
What have you got in your noggins?
You don’t satisfy the hungry with bullets…
You’re all set, you eat and drink?
But if then we find ourselves desperate,
We’ll get you all as many as you are.
May 6, 2026
A Second Look at Raphael: Sublime Poetry
 |
| Head of an Angel in Profile View (Cartoon Fragment for the Expulsion of Heliodorus from the Temple, Stanza di Eliodoro), ca. 1512, charcoal, black chalk, traces of white gouache highlights, outlines pricked for transfer of the design, on two glued sheets of paper; with restoration |
Following my earlier reflections on Raphael: Sublime Poetry at the Metropolitan Museum of Art, this second set of images offers a return to the work of the Urbinese master.
The exhibition continues to reward attention. What may seem immediately clear at first glance deepens on a second look—there is a quiet order and balance that becomes more apparent the longer one lingers. These works do not overwhelm; they draw the viewer in steadily, almost imperceptibly.
 |
| (L) Heads of Two Apostles ("Auxiliary Cartoon" for the Oddi Altarpiece), ca. 1503-4, black chalk drawn freehand over pounce marks (spolvero underdrawing), with unrelated designs in pounce marks (spolvero, on paper, Raphael. (R) Head of an Apostle (Saint James; "Auxiliary Cartoon" for the Oddi Altarpiece), ca. 1503-4, black chalk drawn freehand over pounce marks (spolvero underdrawing), on paper, Raphael |
 |
| (L) Studies for the Battle of Anghiari Cartoon and the Proportions of the Head, ca. 1490-95; 1503-5, pen and two hues of brown ink (lighter color later reworked with black-brown ink), over traces of preliminary stylus work, soft black chalk, and red chalk, on paper, Leonardo da Vinci (1452-1519). (R) Composition Sketches for the Virgin Adoring the Christ Child, with and without the Infant Saint John the Baptist; Diagram of a Perspectival Projection, ca. 1482-85, silverpoint, partly reworked by the artist with pen and brown ink on paper prepared pink; lines ruled with metalpoint, Leonardo da Vinci (1452-1519) |
 |
| (L) The Virgin and Child with the Infant Saint John the Baptist (Studies for the Madonna of the Meadow), ca. 1506, brush and brown wash, highlighted with white gouache (partly oxidized), over preliminary stylus underdrawing; red chalk (sketch at upper left; over a faint grid marked with compass or caliper points, on paper, Raphael. (R) The Virgin and Child with the Infant Saint John the Baptist (Study for the Madonna of the Meadow); Fragmentary Studies of Drapery, ca. 1506, red chalk over preliminary stylus underdrawing, on paper, Raphael |
 |
| (L) Psyche Presenting the Phial of Water to Venus (Study for a Pendentive in the Loggia di Psiche, Villa Farnesina), ca. 1517-18, slightly purplish red chalk over extensive stylus underdrawing, on paper, Raphael. (R) The Phrygian Sibyl (Early Idea for the Chigi Chapel, Santa Maria della Pace), ca. 1511-13, red chalk over preliminary stylus underdrawing, some black chalk, on paper, Raphael |
 |
| (L) Mother and Child (Study for the Madonna della Seggiola), ca. 1512-15, metalpoint, highlighted in white gouache, on paper prepared gray; outlines stylus-incised by a later hand, Raphael. (R) Bust of a Seated Young Woman in Profile, ca. 1503, black chalk over preliminary stylus underdrawing, slight retouching by another hand in pen and brown ink, with traces of white gouache highlights, on paper, Raphael |
 |
| (L) Young Woman in Half-Length, ca. 1503-5, black chalk on paper, Raphael. (R) Study of a Female Saint in Half-Length (Saint Catherine?), ca. 1504, black chalk over preliminary stylus underdrawing, on paper, Raphael |
 |
| (L) The Heads of the Virgin and Child (Sheet from the "Pink Sketchbook"), ca. 1507-9, probably two types of metalpoint on paper prepared pink, Raphael. (R) Head of a Young Woman in Three-Quarter View, Looking Down (Study for the Figure of Charity, Sala di Costantino), ca. 1519-20, charcoal, soft grayish black chalk, and denser black chalk, slight accenting of deep shadows with wetted black chalk, with traces of white gouache highlights (now sunken) and fine stylus-incised outlines, on beige paper, Raphael |
 |
| (L) The Seated Virgin and Child, ca. 1501-3, pen and brown ink over abundant, soft grayish black-chalk underdrawing, on paper, Raphael. (R) Composition Study for the Holy Family with Saints and a Pomegranate, ca. 1507-8, pen and brown ink over leadpoint underdrawing, squared in red chalk, on paper; upper portion of the sheet outlined like an arch, with the field colored in blue gouache, Raphael |
May 5, 2026
In the Presence of Raphael: A Visit to “Sublime Poetry”
 |
| Processional Banner of the Confraternity of the Santissima Trinità, Città di Castello: The Holy Trinity with Saints Sebastian and Roch (obverse); The Creation of Eve (reverse), ca. 1497-99, oil on canvas (obverse and reverse now framed side by side), Raphael |
After attending the Traditional Latin Mass on Sunday, we made our way into Manhattan to finally see Raphael: Sublime Poetry, the exhibition currently on view at the Metropolitan Museum of Art through June 28th.
I have said it before, but it bears repeating: there is nothing like seeing great works in person. No reproduction—whether in print or digital—can fully capture their presence. I appreciated Raphael before, but I did not truly understand his genius, his divine gift, until I stood before these works myself.
The portraits alone are extraordinary: La Fornarina, Baldassarre Castiglione, and Bindo Altoviti reveal a depth and humanity that is difficult to describe. His Madonnas and Child, angels, and saints possess a serenity and grace that seem to transcend the material. The small Madonna of the Pinks, in particular, is utterly enchanting.
Beyond the paintings, the exhibition includes an astonishing range of works: drawings in charcoal and pen and ink, tapestries, ceramics, engravings, marble and terracotta reliefs, books, and bronze medallions. In total, over 170 masterpieces and rarely seen pieces—many from private collections and seldom displayed together—fill the galleries.
As the first comprehensive exhibition of Raphael’s work in the United States, it naturally draws large crowds—so be prepared. More than usual, it was encouraging to see so many families, especially those with young children, taking the time to introduce them to these works. I was especially struck by the strong presence of East Asian families, whose children seemed genuinely attentive and engaged.
It is difficult not to feel some sadness that many Westerners do not show the same level of reverence for their own artistic and cultural inheritance. Standing in those rooms, surrounded by such beauty, one is reminded of what has been achieved—and what is at risk of being forgotten.
~ By Giovanni di Napoli, May 4th, Feasts of St. Monica and St. Florian
 |
| (L) Portrait of Bindo Altoviti, ca. 1515-16, oil on wood, Raphael. (R) Portrait of Baldassarre Castiglione, 1514-16, oil on canvas, Raphael |
 |
| (L) Angel in Bust-Length (Fragment from the Baronci Altarpiece), ca. 1500-1501, oil with gold highlights on canvas, transferred from wood, Raphael. (R) Saint Sebastian in Half-Length, ca. 1502-3, oil and tempera grassa with gold highlights on wood, Raphael |
 |
| (L) Copy after Leonardo's Standing Leda and the Swan, 1515-30, oil and tempera grassa on poplar wood, Sixteenth-century Lombard artists near Cesare da Sesto (1477-1523). (R) Portrait of the Nude Fornarina (La Fornarina), ca. 1518-20, oil on wood, Raphael and Giulio Romano (Giulio Pippi, 1499? -1546) |
 |
| (L) The Virgin and Child in a Landscape (The Small Cowper Madonna), ca. 1505, oil on wood, Raphael. (R) The Virgin and Child (The Niccolini-Cowper Madonna; or, The Large Cowper Madonna), 1508, oil on wood (probably poplar), Raphael |
 |
| (L) The Virgin and Child in an Interior (The Madonna of the Pinks), ca. 1506-7, oil on wood (yew), Raphael. (R) The Virgin and Child with the Infant Saint John the Baptist and Saints Elizabeth and Joseph (The Madonna del Divino Amore), ca. 1516-18, oil on wood, Raphael and Giulio Romano (Giulio Pippi, 1499?-1546) [Everything is related to Naples: Museo e Real Bosco di Capodimonte, Naples] |
 |
| (L) The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Esterhazy Madonna), ca. 1508, oil and tempera grassa on poplar wood, Raphael. (R) The Virgin and Child with the Infant Saint John the Baptist in a Landscape (The Alba Madonna), ca. 1509-11, oil on canvas, transferred from wood, Raphael |
 |
| (L) The Ecstasy of Saint Cecilia with Saints Paul, John the Evangelist, Augustine, and Mary Magdalen, ca. 1515-16, oil on canvas, transferred from wood, Raphael. (R) The Holy Family with the Infant Saint John the Baptist (The Madonna of the Rose, or Madonna della Rosa), ca. 1517-18, oil on canvas, Raphael |
 |
| (L) Deësis (Christ in Glory with the Virgin Mary and Saints John the Baptist, Catherine, and Paul), ca. 1519-20, oil and tempera grassa on wood, Giulio Romano Giulio Pippi; 14992-1546. (R) The Vision of Ezekiel, ca. 1515-16, oil on wood, Raphael |
Subscribe to:
Posts (Atom)
