April 29, 2026

Novena to Blessed Luigi Rabatà

Beato Luigi Rabatà, ora pro nobis
Recite this novena for nine consecutive days, from April 29th to May 7th, in preparation for the Feast of Blessed Luigi Rabatà on May 8th. Evviva Beato Luigi Rabatà!
Blessed Luigi Rabatà, beloved patron, you served God with humility and trust on earth and now behold Him in the glory of heaven. You persevered faithfully until death and received the crown of eternal life.

Remember the dangers, confusion, and trials that surround me, and intercede for me in my needs and troubles, especially…

(mention your intention here)

Amen.

Blessed Luigi Rabatà, pray for us.

Our Father…
Hail Mary…
Glory Be…
*The accompanying photo of Blessed Luigi Rabatà comes courtesy of the Santuario Maria SS. Annunziata di Trapani

Spring in the Hudson Highlands

Now that the weather has gotten warmer, I’m looking forward to spending more time outdoors again—especially hiking and mushroom foraging. Once regular pastimes of mine, I sometimes wonder how many of the more challenging trails I still have in me.

Pictured here, the Hudson Highlands offer some of the most expansive views in the region. Wending through Bear Mountain and Harriman State Parks, the 1777 and Timp-Torne Trails trace the route taken by British troops on October 6, 1777, during their attack on Forts Clinton and Montgomery.

~ By Giovanni di Napoli, April 28th, Feast of San Vitale

Echoes of Venice – Musical Treasures from the Graz Court

The imperial Mausoleum attached to the former court chapel at Graz, which has since been elevated to the status of a cathedral

Saturday, May 2, 2026 at 7.30 P. M.

The Parish Church of St. Andrew
311 North Raymond Avenue
Pasadena, CA 91103

Free parking in the lot diagonally across from St. Andrew’s.

Graz was the capital of Inner Austria, which was governed by a cadet branch of the Habsburg family. When the famously incompetent Emperor Matthias died in 1619, he was succeeded by his cousin, Archduke Ferdinand of Styria, who moved his personal retinue to Vienna upon his election as the next Holy Roman Emperor, Ferdinand II.

Emperor Ferdinand II.’s father, Archduke Charles II. of Styria, had made Graz a center for Italian art & culture in his zealous efforts to implement the Counterreformation north of the Alps. The Graz court was, therefore, the entry point which brought the baroque to Austria, and, from there, throughout rest of Europe.

In 2026, Musica Transalpina commemorates four centuries since the death of Giovanni Priuli, who was Emperor Ferdinand II.’s cherished chapel master. Priuli was one of the most prominent composers to first import baroque musical influences from Venice while working at the Graz court. We are presenting impressive passages from the Graz chorbuch written for four choirs which have never been heard in modern times, and several enormous motets in up to twelve parts from Priuli’s nearly impossible to access Sacrorum Concentuum … pars altera, which was published in 1619: the same year that Emperor Ferdinand moved his court to Vienna –– a process which lasted the Graz court musicians well into 1620.

For more information, visit: https://musicatransalpina.org/

April 28, 2026

Feast of San Vitale

Martyrdom of St. Vitalis, ca. 1581,
Federico Barocci (1535-1612)
April 28th marks the Feast of St. Vitalis, an early Christian martyr celebrated for his bravery during the persecutions of the Roman Empire. He is recognized as a citizen of Milan, the husband of St. Valeria, and the father of Saints Gervasius and Protasius.

According to ancient accounts, Vitalis was a soldier who supported persecuted Christians and encouraged others to stay strong in the face of death. When his faith was discovered, he refused to sacrifice to pagan gods and openly professed Christ.

He was sentenced to death and is said to have been buried alive. His martyrdom stands as a testament to quiet courage and unwavering loyalty during times of trial.

Evviva San Vitale!

In honor of his feast, we offer this prayer:

Prayer to St. Vitalis

Loving God, we thank you for the witness of your martyr, St. Vitalis, who did not back down in the face of personal danger and persecution. Through his brave example, may we carry the message of Jesus Christ to those around us. O St. Vitalis, crowned as a glorious martyr of our faith, pray for us. Amen.

Feast of St. Catherine of Siena at Holy Rosary Church in Portland, Oregon

April 27, 2026

New Music — Piccinni: Son regina e sono amante

New music that may be of interest to our readers.


Piccinni: Son regina e sono amante performed Rosa Feola and the Cappella Neapolitana

Label: Pentatone
Release Date: February 18, 2025
Audio CD: $17.57
Number of Discs: 1

Available at Amazon.com

Read description

Photo of the Week: Laocoön and His Sons, Vatican Museum

Photo by New York Scugnizzo

April 26, 2026

Simple Pleasures: Remembered Across Two Cities

(L-R) Floor plan of the Prado; postcard of The Mona Lisa by the
workshop of Leonardo da Vinci (c.1503-1516); and La Giaconda
(Mona Lisa) by Leonardo da Vinci (c. 1503-1517)
Some gestures speak quietly but stay with you. This is one of them.

I want to thank a dear friend for thinking of me while she was away—moving between Paris and Madrid—and for bringing me back postcards of the Mona Lisa from the Louvre and her counterpart from the Prado. It meant more than you probably realized—not just the images themselves, but the fact that, in the midst of your travels, I was somewhere in your thoughts.

That is a rare kind of generosity, and I am grateful for it.

An Evening of Sicilian Culture at Italian Charities of America in Queens, New York

April 24, 2026

Frank Frazetta Immortalized in Gold

Dark Kingdom
Three of Frank Frazetta’s most iconic paintings—Dark Kingdom, Dawn Attack, and Green Death—have been newly minted as real 24-karat gold bills through MetaMark’s official Aurum® series, issued in a strictly limited quantity.

As someone who has long admired Frazetta’s work—the raw power, movement, and mythic intensity he brought to fantasy art—I have to admit this is a striking concept. Seeing these pieces translated into gold gives them a certain permanence and novelty that collectors will no doubt appreciate.

That said, while I find the idea undeniably appealing, the price point places it just out of reach for me. Still, for those who are interested in owning a unique and tangible tribute to one of the greats, it may be worth a look.

mtlmrk.com/frazetta
Dawn Attack
Green Death

Rumors and Revivals

"When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up.” ~ C.S. Lewis
I recently learned that a remake of Barbarella (1968) is in the works, starring Sydney Sweeney as the eponymous space vixen. After being mocked by younger critics for “showing my age” in last year’s False Dichotomy article, I’ve at least caught up enough to know who she is.

As a childhood fan of the original starring Jane Fonda, I can’t help but worry that Hollywood will once again mishandle an iconic cult character. To be clear, the film was never meant for children, given its overt sexual themes. My parents didn’t realize this when they let me buy a copy on RCA's CED format; they assumed it was just another campy space romp in the vein of Flash Gordon (1980) or Buck Rogers in the 25th Century (1979).

Based on clips of Ms. Sweeney circulating online, this new adaptation will likely follow the same adult tone, which is unsurprising given her willingness to appear in the buff.
Another project that may finally be coming to fruition is King Conan, the long-awaited sequel to Conan the Barbarian (1982), starring Arnold Schwarzenegger. It’s a film I’ve been waiting decades to see.

I say “sequel,” and not the third in a trilogy, because Conan the Destroyer (1984) felt more like a departure in spirit rather than a true continuation. That judgment is no doubt sharpened by the fact that I grew up reading Robert E. Howard, whose stories first shaped my sense of the character.

While I still feel that way, I recently rewatched Conan the Destroyer and found it less bad than I remembered, perhaps because the bar is now so low that it compares favorably to much of what is produced today.

Another rumor making the rounds suggests that a new installment in the Planet of the Apes series—said to be a direct sequel to Kingdom of the Planet of the Apes (2024)—is already in production. If true, it would mark the fifth entry in the current cycle of films.

I admit a soft spot here. I’ve been a fan of these films (and television series) since childhood, even if they stray considerably from Pierre Boulle's 1962 novel. The original cycle still holds a particular place for me, especially Planet of the Apes (1968) starring Charlton Heston and its darker successor Beneath the Planet of the Apes (1970). Few lines are as enduring as “Take your stinking paws off me, you damn dirty ape,” and fewer endings are as memorable as that final, devastating reveal.

Of the modern films, I was especially taken with Rise of the Planet of the Apes (2011)—still my favorite of the newer series—featuring James Franco. Whatever liberties these films take, they’ve managed, at their best, to capture something of the original’s spirit: a blend of spectacle, moral unease, and tragic inevitability.

Still, experience tempers enthusiasm. Hollywood’s track record with revivals—especially the misfires of Conan the Barbarian (2011), Red Sonja (2025), and Robin Hood (2025)—offers little reassurance.


Nor do the upcoming The Death of Robin Hood (2026) or The Odyssey (2026) inspire much confidence; from what has been shown so far, both appear poised to continue the same pattern of hollow spectacle and misplaced ambition—more revision than revival.

That said, not all is cause for pessimism. I find myself genuinely looking forward to the next season of A Knight of the Seven Kingdoms (2027), Godzilla Minus Zero (2026), and, to a lesser extent, Dune: Part Three (2026), even if I don’t hold this cycle in quite the same regard as Dune (1984). These, at least, reflect rare modern efforts to understand both source and audience. If any deserve a measure of anticipation, these do.

~ By Giovanni di Napoli, April 23rd, Feast of San Giorgio Martire

April 23, 2026

Simple Pleasures: A Thoughtful Gift from a Friend

Royal portraits of King Ferdinando II of the Two Sicilies, King Francesco II of the Two Sicilies, Queen Maria Theresa of Austria, and Queen Maria Isabella of Spain
A friend, aware of my interest in philately and my fondness for Catholic monarchies, recently gave me a small but meaningful collection. It included eleven postcards themed around the Two Sicilies, each featuring Cinderella stamps, along with a stack of envelopes bearing stamps from Italy and France.

He also included reproduction portraits of King Ferdinando II of the Two Sicilies, King Francesco II of the Two Sicilies, Queen Maria Isabella of Spain, and Queen Maria Theresa of Austria.

It was a simple but thoughtful gesture—perfectly suited to my interests and much appreciated.
The "face" or "view" side of the postcards
The address and message side of the postcards
Queen Maria Sofia postmark
Due Sicilie themed postmarks

The Girl in the Sun

Frontispiece from my copy of
Shakespeare on Love
This piece was originally part of Absinthe Dreams: Elegy for a Past Life, but was later cut and reworked into a standalone story.

She loved me for the dangers
     I had passed,
And I loved her that she did
     pity them.
This only is the witchcraft I
     have used.

~ Othello

     Meeting Chiara altered the course of my life.

     I was sitting against a wall on the high school campus, arms folded over my knees, head lowered, trying to get some rest. A gentle tap on my shoulder startled me. I looked up into the sun, its glare turning her into a silhouette. 

     “Hello,” she said softly. 

     I raised a hand to shield my eyes as she repeated it, almost amused. Then I stood.

     She wore a long grey herringbone tweed balmacaan and black Dr. Martens. She smiled and asked my name.

     “What do you want?” I said.

     “I’m Chiara.”

     I waited, expecting more. When nothing came, I said, “I’m Giovanni—my friends call me Nibs.”

     As my eyes cleared, I saw she had long, curly brown hair, dark eyes, and a stack of schoolbooks pressed to her chest. She told me she was having a party and asked if I wanted to come. Without waiting for my answer, she wrote her address on a scrap of paper, handed it to me, and walked toward the entrance, breaking into laughter with a couple of friends who were waiting for her.

     That night I arrived late with a six-pack, unaware it was her birthday party—and that her entire family was there. She took me inside and introduced me to relatives gathered in the living room and around the dining table. Her mother and two older sisters were clearing plates to make room for coffee and cake. Her father watched me closely, a hint of suspicion in his eyes, as I shook his hand; he promptly confiscated the beer.

     Grinning from ear to ear as she took my bomber jacket, she said, “I can’t believe you came.”

     “I never would have if I knew it was a birthday party.”

     “I know,” she laughed. “That’s why I didn’t tell you.”

     After she blew out the candles, we sat around the table and had cake. Her parents asked me a lot of questions. They treated me with polite respect, but they were clearly more troubled by the fact that I was an artist than by my shabby clothes or the beer. It turned out Chiara’s maternal uncle had been an artist—and a deadbeat—and her parents seemed to associate the two.

     After coffee, she took me down to the basement. I was a little surprised her parents didn’t object. In my house, we were raised differently—young couples weren’t allowed to be alone, especially not behind closed doors, and I never would have been allowed to bring a girl into my room. It was one of the reasons I moved out and got my own place.

     Alone, she admitted she’d had a crush on me for some time, and that she only made her move after learning my girlfriend, Gaviota, had moved back to Spain. It was hard for me to be upset—especially about showing up with beer instead of a proper gift—when she leaned in, and what followed went well beyond a simple kiss.

     Despite her parents’ disapproval, they never treated me poorly and always welcomed me into their home. I often had dinner with them, and Chiara brought me to family gatherings. Only later did I learn that, behind closed doors, they urged her to break things off.

     One of the more memorable occasions came when I was invited upstate to meet her sister Cinzia’s fiancé, Stefano, and his parents—wealthy, affable Northern Italian Freemasons who, at one point, even tried to recruit me. As the son of a bartender and a would-be starving artist myself, this did little to improve my standing with Chiara’s parents.

     During that trip, Chiara and I took a long walk through the woods, the leaves turning around us. It was there that she first admitted that her parents were firmly against her seeing me. I had already sensed as much.

     Back at the house, Stefano’s parents kept an expansive library in their study. While browsing the shelves, I came across a hardcover copy of The Decline of the West, which introduced me to Oswald Spengler and sent me down a rabbit hole I wouldn’t soon leave. I made it a point to find a copy of both volumes for myself.

     Early in our relationship, she wanted me to meet her friends at the Atomic Club, a small, smoke-filled dive with little more than a bar, a DJ booth, and a dance floor. It would become our regular spot. The place was packed, and we pushed our way to the middle, where her friends Annalisa and Giancarlo were dancing. We joined them for a few songs before heading to the bar. There I met the rest of her circle—Luna and Aurora. After the introductions, Chiara and Giancarlo went back to the dance floor, leaving me with her three friends. I bought us a round, and the interrogation began.

     They weren’t too tough, and we quickly hit it off. They were especially amused that I called her “Chester” on account of her chest—she didn't exactly hide them. Once I was welcomed in, we all grew close. We spent most of our time together at each other’s houses, on stoops or in basements, dancing, traveling, going to shows, and museums. We were almost inseparable.

     Chiara was always trying to upgrade my wardrobe, though she liked wearing my old, ratty band T-shirts and polos. She said she could smell me on them. I didn’t always appreciate the fuss, but I humored her now and then, enough that my old friends started calling me a “preppy.” It didn’t help that she had me rent a tux and a limo for our school dance—a first for me.

     Being an ardent drama student, she was often on stage, and I would go to see her perform; she stood out as Puck in A Midsummer Night’s Dream. Aside from a few old photo booth pictures, I still keep the inscribed hardback copy of Shakespeare on Love she gave me.

     Despite her parents’ objections, things were going well—or so I thought. It was only after she had a bad dream about me that problems began. She was deeply into oneiromancy and couldn’t shake it. Though I never learned the details of the dream, she eventually broke up with me over it. We remained friends and continued to see each other with the group, sometimes backsliding, when neither of us was involved with anyone else, and we’d been drinking. In time, we drifted apart. She grew serious with someone else and eventually married him.

     With her, I was exposed to a different way of life. I came from a loving home, but one that was poorer, stricter, and more disciplined. With her, I softened. There was an ease to her world, a lightness I hadn’t known. And yet, for all their comfort, her family left me wary of materialism.

     Looking back, I can still trace the line of my life to that moment against the wall and the girl in the sun.


~ By Giovanni di Napoli, April 22nd, Feast of Saints Soter and Caius, Popes and Martyrs

April 22, 2026

Sonic Reduced

Friday night's here, what's to see?
Nothing to do, you know what I mean?
Nothing on the telly,
There is no late-night show,
No shows in town, there is no place to go.
Here we are, nowhere, nowhere left to go.

~ Stiff Little Fingers, “Here We Are Nowhere” (1979)
Recently, I went to a show with some friends to see three unknown bands. It was a small venue. I still go from time to time in a vain attempt to hear some good music and relive something of my youth.

The last of a long line of memorable shows was years ago—back-to-back nights in 2006 at Irving Plaza to see Stiff Little Fingers and Buzzcocks. I still keep the double-sided flyer.

While I can’t slam, pogo, or stage dive anymore, I couldn’t even if I wanted to—the crowds and energy are lifeless now, even when the bands cover punk classics.

That night at the show, the first band ripped into “Sonic Reducer” by the Dead Boys. The second did too. The third followed, as if they’d shared set lists in a group chat.

No risk. No rupture. No originality.

The room never felt alive. Each band arrived with its own small orbit of loyalists who clapped, filmed, and vanished into the night as soon as their guys left the stage. By the end, the place felt like a morgue.

At the empty bar, as we discussed what we had just witnessed, a friend showed me a clip of Billy Corgan lamenting the decline of rock and roll and suggesting that the CIA may be behind it. At this point, I wouldn’t put anything past our government.

The change in the music scene didn’t feel organic. It felt like a switch flipped. A culture of rebelliousness, masculinity, and individuality was replaced by conformity—something safer, less dangerous, effete.

We once built our weekends around shows. One night it was punk, the next something else entirely. Now the young people I know have little interest in music at all.

With no one to fight over the jukebox, we chose what we wanted to listen to.

The bar was empty.

The songs weren’t.

~ By Giovanni di Napoli, April 21st, Feast of Sant’Anselmo d’Aosta

A Small Object, A Lasting Impression

Amid the vastness of the Metropolitan Museum of Art, where monumental works compete for attention, it is often the smaller, quieter objects that linger most in the mind. This hand mirror by François-Rupert Carabin, created in 1906–7, is one such piece.

At first glance, it might seem merely decorative—a finely worked object of bronze and glass. But a closer look reveals a world contained within it. On its reverse, figures of bathers emerge in gentle relief, their forms caught in a moment both intimate and timeless. The surface shimmers with a subdued life, as though the scene exists just beneath the threshold of reflection.

There is something quietly arresting in this transformation of the ordinary. A mirror, meant for fleeting glances, becomes an object of contemplation instead. Carabin elevates the utilitarian into the poetic, reminding us that beauty need not announce itself loudly to be felt deeply.

In a museum filled with grandeur, it is this modest, almost easily overlooked piece that endures—less as spectacle than as impression, carried with you long after you have moved on.

April 21, 2026

Photo of the Week: An Imperial Presence, Quietly Enduring

Amid the abundance of masterpieces at the Metropolitan Museum of Art, this portrait of Empress Eugénie offers a quieter, more intimate kind of splendor. Painted by Marie-Pauline Laurent in 1855, after the style of Franz Xaver Winterhalter, it captures not merely the likeness but the atmosphere of the Second Empire at its height.

Eugénie herself—wife of Napoleon III, who seized power in 1851—is rendered with a softness that borders on the ethereal. The delicate textures, the luminous fabric, and the composed elegance all work together to elevate her beyond mere court portraiture. There is a serenity here, but also a subtle distance, as though she belongs as much to an ideal as to history.

Among so many grand and imposing works, this painting invites a slower gaze. It does not overwhelm; it draws you in. One admires it not only for its refinement, but for the quiet pleasure it offers—an image that lingers, less as spectacle than as presence.

Natale di Roma

The Palatine Hill (Photo by New York Scugnizzo)
April 21st is the anniversary of the legendary founding of the Eternal City on the Palatine Hill by Romulus in 753 B.C. Auguri Roma!

April 20, 2026

1° Reggimento Re at the Royal Site of Carditello in Caserta

Photos courtesy of 1° Reggimento Re
On Sunday afternoon, the 1° Reggimento Re (1° Reggimento Re. Associazione culturale e di rievocazione storica) took the field at the Cavalier and Cavalieri event held at the Reggia di Carditello in Caserta. Under clear skies and with excellent conditions, the unit turned out in force, executing a disciplined and visually striking presence. The parade ground was alive with ceremony—crisp formations, immaculate period uniforms, and the thunder of magnificent horses on display. With strong attendance and high esprit de corps throughout, the engagement was a resounding success, marked by both martial precision and regal pageantry.