May 28, 2019

Solemnity of the Ascension of Our Lord Jesus Christ in East Harlem, New York

New Music — Pergolesi: A Neapolitan Stabat Mater

New music that may be of interest to our readers.

Pergolesi: A Neapolitan Stabat Mater by Le Concert de l'Hostel Dieu and Franck-Emmanuel Comte

Label: Icsm Records
Release Date: May 3, 2019
Audio CD: $13.97
Number of Discs: 1

Available at Amazon.com

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Announcing the 2019 Giglio Feast of San Paolino di Nola in Franklin Square, Long Island

www.sanpaolino.org

May 24, 2019

Celebrating the 2019 Feast of the Madonna del Sacro Monte in Clifton, New Jersey (Part 2)

Procession and Luncheon
Evviva Maria!
Photos by New York Scugnizzo
SUNDAY, May 19th — A look at the Feast of the Madonna del Sacro Monte at Holy Face Monastery in Clifton, New Jersey. (See part 1, Mass and Procession)
High Mass was sung by Fr. Anthony Mastroeni
at the Chapel of Our Lady of Tears
(Above & below) After Mass, the procession
circled the monastery three times
(L) With great pageantry, members of the Congregazione
Maria Ss. del Sacro Monte carry the statue of the
Madonna del Sacro Monte. (R) The Tony Neglia Band 
(Above & below) Pilgrims walk along the monastery path
 The Sacred Military Constantinian Order of St. George
and 
the Order of the Holy Sepulchre
After the procession, the celebration continued at the picnic grounds
Our friends from the Sandu Manghesi del Cliento Club 
The very popular zeppole stand 
Products from Cilento, Salerno were available
Revelers enjoyed a festive luncheon
Sausage and peppers
Cavatelli
Marinated sliced pork and peppers
Zeppole
The ladies enjoyed a very competitive game of “pass the provolone,”
a humorous take on “hot potato,” where the winner gets the cheese
This year the menfolk played "pass the prosciutto"
Also see:
Celebrating the 2019 Feast of the Madonna del Sacro Monte in Clifton, New Jersey (Part 1)
Celebrating the 2018 Feast of the Madonna del Sacro Monte in Clifton, New Jersey
Celebrating the 2017 Feast of the Madonna del Sacro Monte in Clifton, New Jersey
A Look at the 2015 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey
A Look at the 2014 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey
A Look at the 2013 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey

May 23, 2019

Celebrating the 2019 Feast of the Madonna del Sacro Monte in Clifton, New Jersey (Part 1)

Mass and Procession
Evviva Maria!
Photos by New York Scugnizzo
SUNDAY, May 19th — A look at the Feast of the Madonna del Sacro Monte at Holy Face Monastery in Clifton, New Jersey. (See part 2, Procession and Luncheon)
HE Cav. John M. Viola & the O'Boyle men affix the new crowns to the statue
A close-up of one of the new crowns acquired in Naples
A tin medallion of the Madonna and child from Naples
The confraternity's celestial blue mozzettas
Vesting prayers for La Congregazione Maria Ss. del Sacro Monte
di Novi Velia Salerno di Jersey City, New Jersey
HE Cav. John M. Viola (second from right) of the Sacred Military Constantinian Order of St. George with Cavalieri Carmine Berardi, Fr. Michael C. Barone, David D'Alessandro, Vincent Gangone, & Vito Totino of the Order of the Holy Sepulchre
(Above & below) Processing to the Chapel of Our Lady of Tears
(L) High Mass was celebrated at the chapel. (R) A group of adorable flower girls pose with the statue of the Madonna del Sacro Monte
A look inside the chapel and a close-up of the Weeping Madonna of Syracuse with map of Sicily and southern Italy
(Above & below) Cavalieri & Dame joined hundreds of pilgrims at the Mass
(Above & below) After Mass, the statue
was carried around the monastery three time
Our friends from Brooklyn Latin Mass taking part in the procession
Also see:
Celebrating the 2018 Feast of the Madonna del Sacro Monte in Clifton, New Jersey
Celebrating the 2017 Feast of the Madonna del Sacro Monte in Clifton, New Jersey
A Look at the 2015 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey
A Look at the 2014 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey
A Look at the 2013 Festa della Madonna del Sacro Monte at Holy Face Monastery, Clifton, New Jersey

May 20, 2019

Photo of the Week: The Neapolitan Fisher Boy by Vincenzo Gemito

Il Pescatore by Vincenzo Gemito at the Museo Civico
in the Maschio Angioino, Napoli. Photo by New York Scugnizzo

St. Anthony's First Class Relic Comes to Mahwah, New Jersey

May 19, 2019

Traditional Latin Mass for the Queenship of the Blessed Virgin Mary in Windsor Terrace, Brooklyn

Getty Villa Presents Buried by Vesuvius: Treasures from the Villa dei Papiri

Exhibition Features Rare Original Artifacts from the Museo Archeologico Nazionale di Napoli, Parco Archeologico di Ercolano, and Biblioteca Nazionale “Vittorio Emanuele” di Napoli 
Drunken Satyr, 1st century BC – 1st century AD, Roman. Bronze, H: 137 cm. Museo Archeologico Nazionale di Napoli, inv. 5628. Reproduced by agreement with the Ministry of Cultural Assets and Activities and Tourism. National Archaeological Museum of Naples - Restoration Office 
June 26 to October 28, 2019
The Getty Villa
17985 Pacific Coast Highway, Pacific Palisades, California 
LOS ANGELES – The Getty Villa is modeled on the Villa dei Papiri at Herculaneum, an ancient Roman villa buried by the eruption of Mount Vesuvius in AD 79. Rediscovered in the 1750s and explored further in the 1990s and early 2000s, the Villa dei Papiri has yielded spectacular colored marble and mosaic floors, frescoed walls, a large collection of bronze and marble statuary, and a unique library of more than a thousand papyrus scrolls (from which it gets its name). On view June 26 to October 28, 2019, Buried by Vesuvius: Treasures from the Villa dei Papiri presents many of the most significant artifacts discovered in the 1750s, along with recent finds from the still active archeological site, and explores ongoing efforts to open and read the badly damaged papyri. 
“The Villa dei Papiri is one of the most luxurious private residences of the ancient classical world ever discovered and one which had an important role in the early history of archeology. Especially important are its unique collection of ancient bronze statuary and antiquity’s only surviving library of papyrus scrolls, which provide an unprecedented insight into the philosophical interests of its aristocratic Roman occupant – none other than the father-in-law of Julius Caesar,” says Timothy Potts, director of the J. Paul Getty Museum. “Among the most impressive of these finds is a rare bronze sculpture of a drunken satyr, which, as part of a collaborative conservation project with the Museo Archeologico Nazionale di Napoli (MANN), is undergoing analysis and conservation treatment in our conservation studios before going on display in the exhibition.” 
Potts adds, “For several decades, we have worked closely with Italian colleagues and institutions in conserving, protecting, researching and celebrating Italy’s extraordinary cultural heritage. We are delighted now to be collaborating with MANN, the Parco Archeologico di Ercolano (PA-Erco), and the Biblioteca Nazionale “Vittorio Emanuele” di Napoli (BNN) in organizing this exhibition. We have had several successful collaborative conservation projects with MANN over the past few years including, most recently, their monumental funerary vessel (krater) from Altamura in 2018, and three of their splendid bronzes: the Ephebe (Youth) in 2009, the Apollo Saettante in 2011, and the over-life-size sculpture of Tiberius in 2013.” 
The Villa dei Papiri was a sumptuous private residence on the Bay of Naples, just outside the Roman town of Herculaneum. Deeply buried by the eruption of Mount Vesuvius in AD 79, it was rediscovered in 1750 when well-diggers struck a spectacular circular multi-colored marble floor that belonged to the luxurious Roman villa (a full-scale replica of this floor decorates the Getty Villa’s Temple of Hercules gallery). Under the sponsorship of King Charles VII, Karl Weber, a Swiss military engineer in the royal guard, was entrusted with excavating the site. Weber directed a crew of conscripts and convicts to dig a series of shafts and tunnels to seek and remove the most impressive finds to augment the collections of the recently established Royal Herculanean Museum. Although his superiors were chiefly interested in recovering artifacts to enhance the royal collections, Weber carefully recorded their findspots and architectural contexts. 
Weber’s excavation plan of the Villa dei Papiri, on display in the exhibition, provides detailed evidence for the layout and decoration of the building, including discovery dates and locations of sculptures, frescos, papyri, columns, pools, fountains, gutters, hinges, and other architectural features. In the early 1970s, when J. Paul Getty decided to replicate the Villa dei Papiri for his museum in Malibu, his architects relied on Karl Weber’s eighteenth-century plan, since the original building remained inaccessible underground. They also employed elements from other ancient structures discovered around the Bay of Naples. 
“It is only fitting that the first major exhibition on the Villa dei Papiri takes place at the Getty Villa, which is a recreation of the famous villa in Herculaneum,” says Kenneth Lapatin, curator of antiquities at the J. Paul Getty Museum. “Recreating the Villa dei Papiri appealed to Mr. Getty because of its association with Julius Caesar through his father-in-law, Lucius Calpurnius Piso Caesoninus, the villa’s supposed owner. Getty often compared himself to ancient Roman rulers and particularly admired Julius Caesar and the emperor Hadrian, a fellow art collector and villa owner. Although Getty, unlike Hadrian, did not live in his villa, his reconstruction was a key component in his attempts to refashion himself from a Midwestern businessman into a European aristocrat.” 
One of the most significant finds recovered in the 1750s was a first-century bronze statue of a Drunken Satyr in dynamic motion. The middle-aged figure was praised by the eighteenth-century German scholar J. J. Winckelmann as one of the most beautiful bronze statues to survive from antiquity. The satyr, a mythical follower of the wine god Bacchus, wears a pine wreath with flower clusters and has pointed ears, small horns, wild hair, and wattles. He snaps his right thumb and middle finger in a gesture associated by ancient authors with Bacchic abandon. A replica of the satyr can be found in the Getty Villa’s Outer Peristyle pool. 
The ancient Drunken Satyr, which is usually on view in Naples, arrived to the Getty early in October 2018 for conservation treatment and analysis as part of a collaborative project with MANN. The project aims to identify past interventions—what was done to the statue in both ancient and early modern times to repair it, stabilize it, or change its appearance. There will also be an investigation of any potential instabilities, including metal corrosion and the connection between the statue’s various parts, as well as their connections to its early modern stone base. In collaboration with their colleagues at MANN, Getty conservators will also evaluate possible aesthetic issues, considering how to best display the sculpture to enhance viewers’ appreciation of its artistry. How the statue was originally manufactured will also be explored through techniques such as X-radiography, endoscopy, technical imaging, and non-invasive analytical methods. 
Another important discovery was the cache of approximately 1,100 papyrus scrolls recovered from the ancient villa in 1752-54, which constitute the only surviving library from the classical world. Camillo Paderni (about 1715–1781), the first director of the royal museum in Portici, was the first to attempt to open the carbonized scrolls by slicing the scrolls lengthwise, cutting through their charred outer “bark” to expose the writing. The texts were copied for study and eventual publication, and then the papyri were scraped to reveal additional layers. In 1753, Father Antonio Piaggio, a curator of manuscripts at the Vatican, devised a more successful system, inventing and refining a series of unrolling machines, one of which is on view in the exhibition. 
In the late 1900s and early 2000s, advanced imaging technologies enhanced the legibility of the previously opened papyri. Today, they offer the prospect of digital unrolling and decipherment of the hundreds that remain closed. An in-gallery video addressing recent attempts to virtually open and read the scrolls will also be part of the exhibition. In addition, a group of papyrus scrolls on loan from Bibiloteca Nazionale “Vittorio Emanuele” in Naples, which will be on display for the first time in the US, will undergo a major research project at UCLA of imaging and virtual unscrolling prior to being placed in the exhibition. The results of the project will be available later in the summer after the exhibition opens. 
Most of the texts opened to date are Greek philosophical treatises, particularly by Philodemus of Gadara (about 110–30 BC), a follower of Epicurus. The Athenian philosopher Epicurus (341–270 BC) founded a popular school called the Garden, which recognized pleasure as the greatest good. Images of Greek intellectuals, including busts of Epicurus, and other artifacts, such as a bronze piglet and a portable sundial, recovered from the Villa dei Papiri, further reflects the owner’s interest in Epicurean philosophy and rhetoric. 
The rooms and gardens of the Villa dei Papiri were enlivened by approximately 90 sculptures in bronze and marble depicting mythological figures, athletes, rulers, statesmen, poets, and philosophers. Portraits of eminent figures of the Hellenistic period (323–31 BC) predominate, which reflects the particular interests of the villa’s owners in Hellenistic philosophy and politics. The arrangement of the sculptures also appears to have been programmatic, presenting particular groupings that invited viewers to compare the accomplishments and failings of the subjects as well as the artistic styles of the works. 
For wealthy Romans, otium, or leisure, presented a chance to forget the concerns of urban life, abandon worry about politics or business (negotium). A seaside estate such as the Villa dei Papiri was the perfect place for an escape. Its owners could host elaborate banquets where guests were surrounded by art, sating both their gastronomic and aesthetic appetites. Gardens, baths, and athletic spaces, as well as long walkways for undistracted contemplation, invited visitors to pause and discuss the representations of mythological figures, men of letters, and famous statesmen. The exhibition will include many of these ancient bronze and marble representations, not far from their replicas on display throughout the Getty Villa’s gardens, including two famous figures of bronze runners. 
Exploration of the Villa dei Papiri was abandoned in 1764 and remained entirely buried for more than two centuries until new excavations were undertaken in the 1990s and 2000s. Renewed interested brought to light a portion of the building’s atrium as well as lower levels that were unknown in the eighteenth century. 
Among the new discoveries were rooms with colorful mosaic floors and spectacular frescoed walls and stuccoed ceilings. Finds also included a seaside pavilion and swimming pool, where archaeologists recovered two marble sculptures and luxurious wood and ivory furniture components, on 5 view here for the first time. These recent excavations helped clarify the chronology of the villa, which is now thought to have been built around 40 BC, with the seaside pavilion added around AD 20. Ongoing research continues to advance our understanding of the initial finds from the site. 
Buried by Vesuvius: Treasures from the Villa dei Papiri is curated by Kenneth Lapatin, curator of antiquities at the J. Paul Getty Museum. The exhibition was organized in collaboration with the Museo Archeologico Nazionale di Napoli, Parco Archeologico di Ercolano, and Biblioteca Nazionale di Napoli “Vittorio Emanuele III”, and with the generous participation of the Bodleian Libraries of the University of Oxford, the Metropolitan Museum of Art New York. The exhibition is made possible with major support from Elizabeth and Bruce Dunlevie. It is generously supported by The Spogli Family Foundation. Additional support is provided by the J. Paul Getty Museum’s Villa Council and the Italian Cultural Institute. 

Additional information is available at www.getty.edu.

May 15, 2019

Feast of San Liberatore

Viva San Liberatore!
May 15th is the Feast Day of San Liberatore, Bishop and Martyr. Widely venerated across southern Italy, he is the principal patron of Ariano Irpino (AV), Torrecuso (BN) and Civitacampomarano (CB), among others. In commemoration, I’m posting a prayer in his honor. The accompanying photo was taken at St. Anthony of Padua Church in Belleville, New Jersey.
Prayer to San Liberatore
God our Father, enable us who honor the memory of San Liberatore, martyr and protector of Ariano Irpino, to share with him in the joy of eternal life, through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, forever and ever. Amen

May 12, 2019

A Poem For Mother's Day

Photo courtesy of The Art Institute of Chicago
In loving memory of my mother I'm posting November 2, a moving poem by the great Neapolitan poet Salvatore Di Giacomo.* The accompanying photo of Charity by Francesco de Mura (1696-1782) was part of a series of Allegories of the Virtues commissioned by Charles Emmanuel III of Savoy. Charity, representing maternal love, is depicted as a nursing mother caring for three children. In the foreground is a pelican feeding her young with her own blood.

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 murette
màmmema 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 11, 2019

Meridiunalata XII: A Bilingual Offering of Duosiciliano Poetry

Inspired by Cav. Charles Sant'Elia's Meridiunalata/Southernade,* an evocative bilingual (Neapolitan/English) collection of poetry written between 1989 and 2010, we offer the reader an accessible introduction to vernacular (Neapolitan, Sicilian, et al.) verse with the aim of awakening enthusiasm for contemporary and historical poesia Duosiciliano.

In this installment we're featuring the Neapolitan poetry of Libero Bovio and Charles Sant’Elia.

‘E ffronne
di Libero Bovio

Cu ‘e primme fridde ‘e vierno
fredda si’ addeventata,
sta mana toja gelata
te tremma 'mmano a me...
Ma tu niente me dice
e i’ niente t’addimanno,
pecchè sti core ‘o ssanno
chello ca hann’’a sapè...
Tu si’ comm’a n’auciello,
cante nu juorne, ..dduje..
po, arape ‘e scelle e fuje
e, addio, nun tuorne cchiù..
Si’ ‘o sole ‘e marzo…’o sole
ca luce ..e po scumpare
e, tale e quale ô mare,
fedele nun si’ ttu!!
Addio!.. Cadeno ‘e ffronne…
cadeno e ‘o viento ‘e sperde..
Erano accussì vverde
quanno cantave tu!!
Addio! ..Comme te chiamme,
bella ca te ne vaje??
Tu stessa nun ‘o ssaje :
te chiamme... giuventù!!

The Leaves
By Libero Bovio

With the first cold of winter
you’ve become cold,
This hand of yours frozen
trembles in my hand...
But you say nothing to me
and I nothing ask you,
because these hearts know
what they have to know...
You’re like a bird,
you sing a day, ..two..
then, you open your wings and flee
and, farewell, you don’t return..
You’re the March sun…the sun
that shines ..and then disappears
and, exactly like the sea,
you are not faithful!!
Farewell!.. The leaves are falling…
they fall and the wind scatters them..
They were so green
when you were singing!!
Farewell! ..What is your name,
beautiful one that goes away??
You yourself don’t know :
you’re name is... youth!!

Translated by Cav. Charles Sant’Elia

‘O Mese ‘E Maggio
Da Charles Sant’Elia

C’addore ‘o’ mese ‘e maggio 

Dint’’a casa ‘e notte,
Ca s’arapésseno tutt’’e feneste 

Pe m’’o purtà,
Ca tu l’astipasse
Int’’e capille
St’addore ‘o’ mese ‘e maggio.

The Month of May
By Charles Sant’Elia

What a scent in the month of May
In the house at night,
I wish they would open all the windows 

To bring it to me,
That you would store it up
In your hair,
This scent in the month of May.

* Self-published in 2010, Meridiunalata/Southernade is a treasury of poems gleaned from Cav. Sant'Elia's previous collections (Nchiuso dint''o presente, 'A cuntrora, and 'O pino e l'éllera), which were circulated among friends in New York City and Naples. Special thanks to Cav. Sant'Elia for allowing us to reprint his poetry and translations.

May 9, 2019

New Book — The Heroine of Gaeta: Queen Maria Sophia of the Two Sicilies

New title that may be of interest to our readers. Available at Amazon

The Heroine of Gaeta: Queen Maria Sophia of the Two Sicilies by John Van der Kiste

Publisher: Independently published
Publication Date: March 7, 2019
Paperback: $10.85
Language: English
Pages: 186

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