In Memoriam: Burro

 A chess set, brought back from Naples by my dear friend Burro. More than
a souvenir, it remains a cherished reminder of a friendship that helped
shape my life. Every game recalls a brother now greatly missed

Today I remember my dear friend, Burro, who was more like a brother than a friend. Though fifteen years have passed, I still find myself recalling the countless adventures, misadventures, and unforgettable moments we shared. We laughed often, explored widely, and accumulated enough stories for several lifetimes.

Above all, Burro was a devoted husband and loving father to a son and a daughter, whom he cherished beyond measure. That is the legacy that mattered most to him.

In many ways, this blog exists because of the conversations we had, the places we went, and the memories we made together. His friendship helped shape the person I became, and his absence has never truly left me.

Requiescat in pace, my brother. Every time I set those chess pieces upon the board, I think of you. You are remembered, deeply missed, and never forgotten.

~ By Giovanni di Napoli, July 20th, Feasts of Santa Margherita di Antiochia and Sant’Elia

New Music — Alessandro Scarlatti: Cantate Da Camera Vol. 2

New music that may be of interest to our readers.

• Alessandro Scarlatti: Cantate Da Camera Vol. 2, performed by Emmanuelle De Negri and Philippe Grisvard

Label: Audax
Release Date: June 2, 2026
Audio CD: $22.01
Number of Discs: 1

Available at Amazon.com

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Ninth Sunday After Pentecost at Our Lady of Sorrows Church in Jersey City, New Jersey

La Furia Roja: A Worthy Champion

Congratulations to Spain on a well-deserved 1-0 victory over Argentina in the World Cup Final.

As a Napoli club-over-country supporter, and with Italy shamefully absent from the tournament anyway, I came into this match as a genuine neutral. With a soft spot for both teams, I had no preference as to who lifted the trophy. More than anything, I simply hoped for a final befitting the occasion and decided by quality rather than controversy.

After a tournament in which officiating decisions and needless drama too often overshadowed the football itself, it was refreshing to see the world’s greatest prize settled on the pitch. Spain proved the stronger side on the day, defending with discipline and taking their chance when it mattered most. Argentina, for their part, fought until the final whistle and can leave the tournament with their heads held high after another remarkable campaign.

In the end, football was the real winner. Spain are worthy world champions.

Ascesis: The First Step Toward Contemplation and Theosis

The Ladder of Divine Ascent, a 12th-century
icon preserved at St. Catherine's Orthodox
Monastery, Sinai Peninsula, Egypt

“Tell me how you relate to pain and I will tell you who you are.” ~ Ernst Jünger, On Pain

In the Catholic tradition, ascesis is not simply self-denial, nor an end in itself. It is the intentional discipline of body and soul, strengthening the will and ordering the passions, so that one may conform more perfectly to the will of God. Through this, man, fallen yet redeemed by Christ, may be prepared for the heights of contemplation and the ineffable union with God known as theosis. [1]

The great spiritual writers of East and West viewed ascesis as the “purgative way,” the first of the three stages of the spiritual life. It involves the arduous clearing of the briars and the burning away of the thorns of sin and disordered passions, so that the garden of the soul may be ready for God’s planting. Without this foundation, the higher rungs of the ladder of divine ascent set forth by St. John Climacus remain out of reach.

For those seeking God, ascesis is not about rejecting creation, but about properly ordering it. Fasting, prayer, and work (ora et labora), custody of the senses, [2] and the conscious mortification of desires are not acts of disdain toward the material, but acts of liberation from its tyranny. This discipline restores man to the original hierarchy of his being: reason illuminated by faith guiding the will, the will directing the passions, and all oriented toward God as the Summum Bonum, the highest good.

In this context, ascesis prepares the soul for contemplation, not the empty idleness mistaken for prayer, but the deep stillness that comes when the interior battlefield has been brought into order. It is the silence of a heart no longer pulled by competing loves, but wholly devoted to the one eternal Love. Here begins the path to theosis, whereby man, by grace, shares in the divine life: Deus fit homo ut homo fiat Deus, God became man so that man might become God. [3]

In an age overwhelmed by noise, indulgence, and self-affirmation, the traditional practice of ascesis stands as a salvific call to return to the order of grace. It requires renunciation, so that the soul may rise, free and illuminated, to behold God in the uncreated light.

~ By Giovanni di Napoli, July 19th, Feasts of San Vincenzo de’ Paoli, Sant’Arsenio il Grande, and Santi Giusta e Rufina

Notes:
[1] Theosis (or divinization) is the process by which man, redeemed and sanctified by grace, comes to participate in the divine life.
[2] Custody of the senses is the ascetical discipline of guarding the soul by regulating what one allows through sight, hearing, and other senses. It seeks to avoid occasions of sin, preserve interior recollection, and ensure that the senses serve the soul’s pursuit of God rather than lead it into distraction or temptation.
[3] That is, man, redeemed and sanctified by grace, is raised beyond the limits of his fallen nature to share eternally in the life and communion of God.

Photo of the Week: Statue of Silenus, Vatican Museums

Photo by New York Scugnizzo

Farewell to Neapolitan Poet Luciano Somma

Luciano Somma overlooking
his beloved Bay of Naples

Neapolitan poet Luciano Somma, a familiar presence at literary salons and cultural events, died in Naples on 9 July 2026. His funeral was held at the Parish of Nostra Signora del Sacro Cuore in the Vomero-Arenella neighborhood.

Born in the Quartieri Spagnoli on 18 March 1940, Somma began writing poetry in the Neapolitan language at the age of thirteen. While enjoying a successful career in commercial sales, he devoted his life to literature and to the promotion of the Neapolitan language and culture. He participated in numerous radio and television programs, mentored emerging recording artists, and wrote thousands of songs over the course of his lifetime.

His literary works are included in numerous anthologies and are studied at the University of Naples Federico II as examples of contemporary Neapolitan poetry. His poetry is also featured in the anthology Nati per la Vita, published by the Russian publisher Raduga, alongside such Italian literary figures as Salvatore Quasimodo, Pier Paolo Pasolini, Umberto Saba, and Eduardo De Filippo.

Somma received hundreds of literary awards and was twice honored with the Silver Medal of the President of the Italian Republic. He was also a prolific contributor to more than 150 newspapers, magazines, and literary periodicals, including Il Mattino di Napoli, La Nazione di Firenze, Men, Topolino, Intimità, Roma, Frate Indovino, La Disfida, Il Pungolo Verde, L’Eco del Popolo, Il Club degli Autori, Brontolo, Miscellanea, and Cronaca Filatelica. A member of the SIAE since 1967, more than 500 of his songs were published and recorded during his career.

Somma remained steadfastly proud of his native city, especially of his upbringing in the Quartieri Spagnoli. He embodied the napoletanità of the generation born during the Second World War—a generation that served as a bridge between the world of inherited traditions and the forces of modern globalization. Rather than merely preserving the past as folklore, he lived it and carried it into the twenty-first century.

His exploration of the challenges of urban life, Cristo Napulitano, was translated into English and presented in the United States at several academic events, including the Delirious Naples conference at Hofstra University in 2011. Several of his poems were published in the Journal of Italian Translation, Volume VI, Nos. 1–2 (Spring/Fall 2011).

Above all, however, Maestro Luciano Somma will be remembered by his family and friends for the deeply personal poems he composed for them throughout his life.

Among his principal published works are Ddoje voce ’e Napule (1968); La mia ricchezza (1971); Dimane (1977–1978); N’atu dimane (1982); ’E Ggranate (1990); Musica nova (1993); Momenti di versi (1997); Memorie d’Alba (1999); Brividi di ricordi (2000); Cristo Napulitano (2000); Il pianeta dei silenzi (2001); Ll’appuntamento (2001); and Immagini (2001).

~ By Cav. Charles Sant’Elia

Grand Opening of O' Sapore 67 in Tappan, New York

Anniversary of the National Uprising in Spain

July 18th marks the anniversary of the National Uprising in Spain, which began the Liberation Crusade 1936-1939. ¡Por Dios y por España!

Señor Dios, Creador y Redentor nuestro, que en los días aciagos de nuestra Patria quisiste levantar a tus hijos en defensa de la fe católica y las tradiciones de nuestra nación. Te pedimos por las almas de aquellos que dieron su vida por Dios y por España. Concede tu paz a los caídos y haz que su sacrificio florezca en la unidad, la justicia y la grandeza de nuestro pueblo. Protege a nuestra Patria de todo mal y guíanos por el camino de la verdad y el amor cristiano. Amén.

Lord God, our Creator and Redeemer, who in the dark days of our homeland chose to raise up Your children in defense of the Catholic faith and the traditions of our nation: we pray for the souls of those who gave their lives for God and for Spain. Grant Your peace to the fallen and let their sacrifice bear fruit in the unity, justice, and greatness of our people. Protect our homeland from all evil and guide us along the path of truth and Christian charity. Amen.

Remembering S.M.C. Don Carlos VII, Rey de las Españas

Carlos VII, Don Carlos María de Borbón y Austria-Este,
Duque de Madrid (b. 30 March 1868 — d. 18 July 1909)

In memory of S.M.C. Don Carlos VII, Duke of Madrid, legitimate King of Spain, who died in exile in Varese, Italy, in 1909, we pray for the happy repose of his soul. ¡Viva el Rey!

Eternal rest grant unto His Majesty, O Lord and let perpetual light shine upon him. May his soul, and the souls of all the faithful departed, through the mercy of God, rest in peace. Amen

Feast of St. Christopher at Corpus Christi Church in South River, New Jersey

What Is It About Carousels?

The Michael Friedsam Memorial Carousel in Central Park 

A friend recently asked why I seem so fascinated by carousels. He noticed that whenever we visit places like Coney Island or Central Park, I always make time to stop and admire them.

Part of the answer is simply that they remind me of my parents. My father loved horses, and whenever he took us to an amusement park, we always rode the carousel together as a family. When there wasn't a real horse to ride, the painted stallions of the carousel were the next best thing.

The carved saddle of one of the most beloved horses on
the Central Park Carousel, adorned with a leaping lioness

But there is another reason.

I was fortunate enough to know not only both of my grandmothers but also my two maternal great-grandmothers. Like many Italian families, we had affectionate nicknames for everyone. One great-grandmother was “Grandma Bacio” because every visit began with pinched cheeks, cries of baciami!—“kiss me!”—and an endless shower of kisses.

The other was “Grandma Merry-Go-Round.”

She earned the nickname because, when my brother and I were very young, she somehow managed to buy us a two-horse merry-go-round, complete with a red and gold canopy, that seemed enormous in our tiny apartment. It became one of my earliest and happiest childhood memories. We rode it until we were too big, and from then on she was forever “Grandma Merry-Go-Round.”

Steeds from the Michael Friedsam Memorial Carousel
in Central Park and Deno's Carousel in Coney Island

Looking back, I have no idea how she could afford such a gift. A widow, she must have pinched every penny to buy it.

I do not know what became of it. I only know that I wish I still had it.

My memories alone would be reason enough to love carousels. Yet they are more than sentimental reminders of childhood. They are living works of art. Every carved horse possesses its own character, frozen forever at the height of its gallop. They preserve a craftsmanship that belongs to another age, when even objects of recreation were made to be beautiful.

Their history only deepens the fascination. Long before they became children’s attractions, carousels evolved from medieval equestrian exercises in which riders demonstrated their horsemanship and skill. Over the centuries, those martial displays became celebrations, and eventually the merry-go-rounds we know today. In a curious way, they have never entirely lost their equestrian soul.

~ By Giovanni di Napoli, July 16th, Feast Day of the Madonna del Carmine

Hand-carved prancing carousel horse (1885) by Charles I.D. Looff (1852-1918) on view at the New York Historical Society

Feast of St. Mary Magdalene at St. John Vianney Church in Colonia, New Jersey

Pygmalion and Galatea

Pygmalion and Galatea, ca. 1890, Jean-Léon Gérôme

Pygmalion, a sculptor of rare genius,
Devoted himself to the pursuit of perfect beauty.
From ivory he fashioned a maiden
So flawless that he came to love the work of his own hands.
Day after day he adorned the silent figure,
Speaking to her as though life already stirred beneath her pale surface.
Moved by such devotion, foam-born Aphrodite heard his prayer,
And beneath his touch the statue awakened,
Cold ivory yielding at last to living flesh.

Il Portastendardo di Civitella del Tronto (n. 61 - Luglio 2026)

Eighth Sunday after Pentecost at Our Lady of Sorrows Church in Jersey City, New Jersey

Old Masters, New Amsterdam: Before There Was New York

A Dutch Flagship Coming to Anchor, ca. 1672, oil on canvas,
Willem van de Velde the Younger (1633-1707)

I have often written about my affection for the disappearing Italian neighborhoods of old New York, with their parish feasts, familiar accents, and distinct ethnic enclaves that once gave the city so much of its character. Visiting the New-York Historical’s current exhibition, Old Masters, New Amsterdam, was a reminder that the vanished Italian American communities I so often mourn were not the first to pass into history. Long before Little Italy, Bensonhurst, and countless other historic neighborhoods, there was New Amsterdam—a Dutch settlement that survives today more in memory than in brick and stone.

Created to commemorate the 400th anniversary of the founding of New Amsterdam, the exhibition brings together remarkable works by Rembrandt, Frans Hals, Jan Steen, and other masters of the Dutch Golden Age. These paintings illuminate the culture, society, and daily life of the seventeenth-century Netherlands. At the same time, an immersive reconstruction of New Amsterdam allows visitors to step into the settlement that once occupied the southern tip of Manhattan.

For anyone interested in early New York, Dutch history, or the artistic achievements of the seventeenth century, the exhibition is well worth seeing. It serves as a reminder that beneath the modern skyline lies a city whose earliest chapter was written by Dutch merchants, settlers, and craftsmen four centuries ago—a world that, like so many others in New York’s long history, survives today chiefly through memory, art, and the historical record.

~ By Giovanni di Napoli, July 14th, Feast of San Marciano di Frigento

(L) Self-Portrait with Shaded Eyes, 1634, oil on panel, Rembrandt van
Rijn (1606-1669). (R) Portrait of a Man in a Tall Hat, ca. 1663,
oil on canvas, Rembrandt van Rijn (1606-1669)

(L) Self-Portrait, ca. 1629-30, oil on panel, Jan Lievens (1607-1674).
(R) Head of a Girl, ca. 1645, oil on panel, Rembrandt van Rijn (1606-1669)

Still Life with Meat and Basket of Cheese, ca. 1627,
oil on panel, Peter Claesz (1597-1661)

(L) Alchemist, 1684, oil on copper, Jacob Toorenvliet (1640-1719).
(R) Portrait of the Pharmacist Dr. Ysbrand Ysbrandsz. (1634/35-1705)
in an Interior, 1667, oil on canvas, Cornelis de Man (1621-1706)

(L) Bearded Man in a Fur Hat, ca. 1656, oil on panel, School of
Rembrandt van Rijn. (R) Smoker Seated at a Table, ca.
1654-57, oil on copper, Gabriel Metsu (1629-1667)

View from the Dunes Out to Sea, ca. 1655, oil on panel,
Adriaen van de Velde (1636-1672)

(L) Boy Playing a Flute, ca. 1635, oil on canvas, Attributed to Dirck van
Santvoort (1610-1680). (R) Old Woman at a Window with a Candle,
1671, oil on panel, Gerrit Dou (1613-1675)

(L) Scene at an Inn, ca. 1648-50, oil on panel, Gerard ter Borch (1617-1681). (R) Encouragement to Drink, ca. 1648-50, oil on panel, Gerard ter Borch

The Departure of the Pilgrim Fathers from Delftshaven,
1620, oil on panel, Adam Willaerts (1577-1664)

(L) Woman Selling Game from a Stall, 1653-54, oil on canvas,
Gabriel Metsu (1629-1667). (R) Herring Seller and Boy,
1664, oil on panel, Gerrit Dou (1613-1675)

(L) Bookkeeper at His Desk, ca. 1627, oil on panel, Jan Lievens
(1607-1674). (R) Scholar at His Desk, ca. 1632,
oil on panel, Jacob Backer (1608/9-1651)

A Winter Landscape with Skaters and Kolf Players, ca. 1610-1620,
oil on copper, Adam van Breen (1585-1640)

(L) Petrus (Peter) Stuyvesant, ca. 1660-1669, oil on wood panel,
unidentified artist. (R) Portrait of Antonie Coopal, 1635,
oil on Brazilian chestnut, Rembrandt van Rijn (1606-1669)

(L) Young Woman Seated in an Interior, Reading a Letter, ca. 1658-1661, oil on panel, Gabriel Metsu (I629-1667). (R) Portrait of a Lady, Seated with a Music Book on Her Lap, ca. 1640-44, oil on canvas, Gerrit Dou (1613-1675)

New Book — Naples: In the Shadow of the Volcanoes

A forthcoming title that may be of interest to our readers. Available at Amazon.com

• Naples: In the Shadow of the Volcanoes by HRH Beatrice of Bourbon Two-Sicilies

Publisher: Flammarion
Pub. Date: October 13, 2026
Hardcover: $100.00
Language: English
Pages: 352

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Rally to Save Most Holy Redeemer in New York City

A Farewell to Peppino di Capri

An old cassette tape that
belonged to my parents

Iconic Neapolitan singer, songwriter, and pianist Peppino di Capri died on July 11 at his home on his beloved native island of Capri. Born Giuseppe Faiella on July 27, 1939, into a family of musicians, he rose to fame in the 1950s by blending the emerging sounds of American rock ‘n’ roll and the twist with the rich melodic traditions of Neapolitan song. As Naples, the Amalfi Coast, and the islands of the Bay of Naples regained their international glamour from the 1960s onward, Peppino di Capri and his music became fixtures of both the international jet set and local social life.

A child prodigy, he began playing the piano at the age of four. During the Second World War, he performed for Allied soldiers while continuing his musical studies in Naples. By the age of fourteen, he was already singing and playing piano professionally in Capri and Ischia. In 1958, he formed the group Peppino di Capri e i Suoi Rockers, adopting the affectionate stage name that proudly proclaimed his Caprese origins. His early Neapolitan-language recordings, including Nun è Peccato and Malattia, quickly became popular successes.

Over the course of a remarkable career spanning more than six decades, he recorded beloved classics from the Neapolitan repertoire alongside numerous original compositions. Among his most enduring songs are Roberta, Champagne, Forever, and Saint Tropez Twist. His willingness to evolve musically allowed him to move seamlessly from the twist era into contemporary Italian popular music while remaining unmistakably Neapolitan in style.

In 1965, he opened for the Beatles during their Italian tour. He won the Sanremo Music Festival in 1973 with Un grande amore e niente più and again in 1976 with Non lo faccio più. In 1970, he founded his own record label, Splash, and in 1991 represented Italy at the Eurovision Song Contest with the Neapolitan song Comme è ddoce ’o mare.

His signature song, Champagne, released in 1973, became one of the defining love songs of modern Italian music. Reflecting the complexities of romance, marriage, and heartbreak, it established him as one of Italy’s great romantic interpreters and endeared him to successive generations of listeners.

In recognition of his extraordinary career, he received the Lifetime Achievement Award at the Sanremo Music Festival in 2023. He continued performing well into his later years and, in 2025, became the subject of the successful Rai 1 biographical film Champagne – Peppino di Capri.

After a long illness, Peppino di Capri passed away on the island that had shaped both his life and his artistic identity. He lay in state in Capri, and the day of his funeral was marked by official mourning, with businesses and shops across the island closing in his honor.

By embracing the Neapolitan language and musical tradition while continually renewing its appeal for modern audiences, Peppino di Capri helped pave the way for generations of twentieth- and twenty-first-century Neapolitan recording artists. He demonstrated that Neapolitan music could remain rooted in its own traditions while speaking to audiences around the world. His legacy endures not only in his unforgettable songs but also in the renewed prestige he brought to Neapolitan music on the international stage.

Peppino di Capri is survived by his son, Igor Faiella, from his first marriage to Roberta Stoppa, and by his sons, Edoardo and Dario Faiella, from his second marriage to Giuliana Gagliardi.

~ By Cav. Charles Sant'Elia

Simple Pleasures: A Thoughtful Gift from the Byzantine Tradition

My sincere thanks to a friend who recently returned from Our Lady of Wisdom Byzantine Catholic Church in Las Vegas, Nevada, with two beautiful prayer cards: one honoring the Ascension of Our Lord Jesus Christ and the other commemorating the Protection of the Mother of God. The gift was especially thoughtful, coming after he learned of my growing appreciation for the Byzantine Divine Liturgy and my recent discovery of my Arbëreshë ancestry in San Costantino Albanese, Potenza, Lucania. Such small acts of friendship often carry significance far beyond their size, serving as quiet reminders of the spiritual and ancestral ties that continue to enrich one’s journey.

~ By Giovanni di Napoli, July 13th, Feast of Santa Trofimena 

Remembering Jacques Cathelineau, the “Saint de l’Anjou”

b. 5 January 1759 — d. 14 July 1793

In memory of the “Saint de l’Anjou” Jacques Cathelineau, Vendée royalist and premier généralissime de l'Armée catholique et royale, we pray for the happy repose of his soul.

Eternal rest grant unto him, O Lord and let perpetual light shine upon him. May his soul, and the souls of all the faithful departed, through the mercy of God, rest in peace. Amen

Photo of the Week: Apollo with the Cithara, Vatican Museums

Apollo Citharoedus ("Apollo the cithara-player"), also known as Apollo Musagetes ("Apollo, Leader of the Muses"), marble, 2nd century A.D., Vatican Museums. Photo by New York Scugnizzo

Thomas Cole's The Course of Empire

A visitor pauses before all five paintings

It had been ages since my last visit to the New York Historical Society, and returning to see Thomas Cole’s magnificent series, The Course of Empire, was well worth the wait. Displayed together, the five paintings trace the rise and fall of a civilization, from its earliest beginnings to its height of power, its violent destruction, and, finally, its abandonment to time and nature.

The Course of Empire: Consumption of Empire, ca. 1836

Each painting is remarkable in its own right, and seeing the complete cycle together never fails to impress. Unfortunately, my photographs of the first two works—The Savage State and The Arcadian State—did not turn out well, so I am sharing only The Consummation of Empire, Destruction, and Desolation. Together, the latter three paintings capture the grandeur, catastrophe, and haunting aftermath of Cole’s vision.

The Course of Empire: Destruction, 1836

More than a sequence of landscapes, The Course of Empire is a meditation on the recurring pattern of human civilization: its birth, ascent, triumph, decline, and eventual disappearance. Standing before these canvases, one cannot help but think of the cyclical view of history found in the writings of Giambattista Vico, Oswald Spengler, and others who believed that civilizations pass through recognizable stages of growth and decline. Cole’s masterpiece captures the enduring truth that no earthly empire, however magnificent, escapes the passage of time.

~ By Giovanni di Napoli, July 12th, Feast of Santa Veronica

The Course of Empire: Desolation, 1836

Bonded by Blood, Across the Ocean

Germana Valentini

On Thursday evening, I had the pleasure of attending Bonded by Blood. New World. at the Italian American Museum in Little Italy, a thoughtful and inspiring program celebrating the enduring ties between Italy and the Italian American community.

The evening centered on In Sanguine Foedus. Nuovo Mondo (“Bonded by Blood. New World”), the monumental mural installed on the historic Molo San Vincenzo at the Port of Naples. Painted on the very pier where millions of Italians departed for America, the artwork stands as a powerful tribute to one of the greatest migrations in modern history. It reminds us that the story of Italian America begins not at Ellis Island, but on the docks of Naples, where countless families took their final steps on Italian soil before embarking for the New World.

Following welcoming remarks by Dr. Joseph V. Scelsa, author and cultural researcher Germana Valentini presented the remarkable story behind the project. Her research and passion for preserving the history of Italian migration were evident throughout, demonstrating how public art can serve not only as a memorial to the past but also as a bridge between Italy and its diaspora.

Among the most exciting moments of the evening was the announcement of several initiatives that will further strengthen that bridge. Plans are underway to create a companion mural on the façade of Grotta Azzurra in New York’s Little Italy, creating a visual dialogue between Naples and New York. Also announced were plans for the City of Naples to present the Basilica of St. Patrick’s Old Cathedral with a replica of the statue of San Gennaro that stands at the Port of Naples.

Don Luigi and Dr. Scelsa

The Italian American Museum is also exploring a collaboration with the Museo del Tesoro di San Gennaro in Naples to bring an exhibition on the Treasures of San Gennaro to New York following this year’s Feast of San Gennaro. If realized, the exhibition would offer visitors a rare opportunity to experience one of Naples’ most revered religious and artistic collections in the heart of Little Italy.

Taken together, these initiatives demonstrated that In Sanguine Foedus has grown beyond a single mural into a broader cultural initiative that uses art, history, and faith to strengthen the enduring ties between Naples and New York.

Rev. Luigi Portarulo also shared that the city of Naples intends to present the Basilica with a first-class relic of San Gennaro—a relic containing an actual bone of the saint. According to him, this would mark the first time Naples has bestowed such a gift. For generations, the faithful in New York have venerated second- and third-class relics associated with the saint, making the prospect of receiving a first-class relic a remarkable spiritual and historical milestone for the Italian American community.

The Italian American Museum provided the perfect setting for the evening. Nestled in the heart of Little Italy, where so much of this history unfolded, the museum continues to serve as an important center for preserving and celebrating the Italian American experience.

The program concluded on a particularly moving note when Dominic Chianese sang Santa Lucia Luntana a cappella. The beloved Neapolitan song, with its themes of departure, longing, and love for one’s homeland, served as a poignant and fitting finale to an evening devoted to the story of Italian emigration and the enduring bond between Naples and New York.

~ By Giovanni di Napoli, July 12th, Feast of Santa Veronica