May 20, 2011

Sacred Art From Abruzzo at the Cloisters

Detail of Kneeling Virgin by Paolo Aquilano
While reading Lucia Arbace's very informative essay, Values and Symbols Dreamed in Clay, in the commemorative La Madonna di Pietranico compendium, I was curious to learn that the Metropolitan Museum of Art has a Renaissance statue from the Abruzzo in their collection. A frequent guest at the museum, I thought it was a bit strange that I was unfamiliar with the work. Thanks to the Internet, I soon discovered that the statue is housed in The Cloisters, a branch of the MET "devoted to the art and architecture of medieval Europe," located in beautiful Fort Tryon Park in Northern Manhattan.

As you can imagine, after seeing the recently restored Madonna di Pietranico at the Italian American Museum I was very excited with the prospect of viewing another devotional statue from the Abruzzo. So I packed my camera and headed to The Cloisters.

Detail of Kneeling Virgin by Paolo Aquilano

Located in the Late Gothic Hall, among an incredible array of European religious statuary from the Middle Ages, is the Kneeling Virgin (ca. 1475), attributed to Paolo Aquilano. The polychromed wood sculpture, carved in willow, stands almost 47 inches tall and, some believe, may have been part of a presepio (Nativity) ensemble. The elegant figure, with "Ave Maria" inscribed in gold along the neckline, represents the Virgin Mary adoring the (now lost) Christ Child. Her hands, probably clasped in prayer, are also missing.
Kneeling Virgin by Paolo Aquilano
The statue's striking resemblance to the enthroned Madonna and Child (Staatliche Museen, Berlin) and the fictile Levapene Madonna and Child from Civitaquana (Museo Nazionale Abruzzese, Aquila) has been remarked upon by scholars and is the primary reason for its attribution to Aquilano.

It has also been suggested that the Kneeling Virgin's crèche may have influenced the Fontecchio presepio (Museo Nazionale Abruzzese), loosely attributed to the prestigious painter-sculptor Saturnino Gatti (L'Aquila 1463–1518 L'Aquila). Gatti is generally considered to be one of the finest Renaissance sculptors from the Abruzzo. Also a painter, Gatti's wonderful painting, The Translation of the Holy House of Loreto (ca. 1510), can be seen at Metropolitan Museum of Art.
The Translation of the Holy House of Loreto by Saturnino Gatti
Making my way through the galleries, admiring the collection, I stumbled across a tall, heavily damaged statue of Saint Nicholas of Bari from the parish church of San Nicola di Bari in Monticchio, L'Aquila. Carved from poplar, the Blessing Bishop stands 73 1/2 inches tall and is a rare example of Gothic wood sculpture from Italy. Prominently displayed, the statue dominates the Early Gothic Hall. An employee explained to me that it was recently moved to its current location so patrons can get a better view of its hollow backside. Artist unknown, the statue dates from the late fourteenth Century and originates from the Abruzzo or nearby Umbria.
Blessing Bishop (Saint Nicholas of Bari)
Among the late twelfth- and thirteenth-century sculptures on display in the cloister from Saint-Guilhem-le-Déésert, is a wonderful limestone relief from the pulpit of the Church of San Michele Archangelo at San Vittorino, Abruzzo. Dedicated to Saint Luke, a winged ox (the saint's symbol), framed with an elaborately carved border, holds a book with an inscription from the Gospel. A second epigraph makes reference to the otherwise unknown sculptor, Master Stephanus and his atelier.
Relief from the Pulpit with the Symbol of Saint Luke
Another item in the Cloisters collection that may be of special interest to our readers is an exquisite ivory Liturgical Comb from Southern Italy. Dating from the late eleventh- to early twelfth-century, the double sided comb was used for ritual preparation by priests before Mass. Measuring 3 3/4 x 4 1/2 x 11/16 inches, the delicate carvings on the spine show two sparring warriors riding fantastic creatures from Greek mythology. For more on ivory carvings from Southern Italy, the MET has several magnificent examples on display, including an ornately carved casket and oliphants (hunting horns).
Liturgical Comb
In addition to the museum's renowned gardens and cloisters, other highlights include the Gothic Chapel, the incredible Unicorn Tapestries and, of course, the famous Annunciation Triptych (Merode Altarpiece) in the Campin Room. The institution's enviable collection boasts plenty of examples of sacred Medieval and Byzantine painting, sculpture, stained glass and much, much more.

If you haven't done so already, time is running out to see La Madonna di Pietranico at the Italian American Museum. The exhibit ends on June 2, 2011. Afterward the statue will be returned to the Chiesa di San Michele e Santa Giusta in Pietranico, Abruzzo.
La Madonna di Pietranico
Bibliography:

• Three Madonnas in Search of an Author by Carmen Gómez-Moreno, The Metropolitan Museum of Art Bulletin, June 1967 [I was amused at the title's allusion to Luigi Pirandello's Six Characters in Search of an Author.]

• Values and Symbols Dreamed in Clay by Lucia Arbace, La Madonna di Pietranico, Edizioni ZiP, 2011

Amended December 10, 2021

May 17, 2011

An Evening of Cantu With Michela Musolino

[I apologize for not posting this review sooner, but my busy schedule would not allow it.]

Michela Musolino

It's hard not being impressed by Michela Musolino. As I sat listening to her sing at Recoup Lounge last Thursday night (May 12, 2011), I couldn't help but be overcome by a feeling of serenity as her hauntingly melodic voice filled the small, but intimate venue. She is truly a gifted singer deserving of great praise, not just for keeping our folk traditions alive, but because she presents them in a positive and attractive manner that can only inspire others to do the same. More than one person in the audience commented they could not believe such a talented singer was not more famous.

Billed as a "Sicilian Roots Concert," the artist's oeuvre consisted of an impressive medley of traditional and contemporary folk music influenced by the island's long, complex history. Her repertoire includes songs about love, lamentation and emigration. It also included topics more specific to Sicily, like Bonagia, a heart-rending dirge about the abduction of loved ones by Saracen pirates.

Michela Musolino and Gabriel Hermida

Musolino, also an accomplished percussionist, was accompanied by the fantastic Argentine guitarist, Gabriel Hermida. Together they formed an impressive synergy, brilliantly complementing one another and breathing new life into the music. The musicians needed no gimmicks or stunts to captivate their audience, just one guitar, one tamburello, her incredible voice and lots of passion and soul.

The musical journey began with a masterful rendition of Vinutu Sugnu, a slow, morose prison song in the cantu di sdegnu (songs of scorn) style. In it a lovelorn prisoner proclaims that he would have been better off dead than having fallen in love. The regret and heartache were captured perfectly.

She then performed the beautiful lullaby, La Vò, in honor of her friends (Matt and Desiree) who are expecting a child.

Sicily's rich musical tradition also includes passionate work-songs evoking the hardships of peasant life, so naturally they were featured in the set as well. The heartfelt Tira Murrieddu (Pull Little Mule), a carter’s serenade about enticing his love, was a perfect example of the genre. All that was missing was the beating of a mule's hooves on the ancient cobblestone.

The duo also included the modern classic, La Mafia Nun Esiste (The mafia don't exist), a sardonic anti-Mafia tune, which mocks apologists who deny the existence of la Cosa Nostra even in the wake of bombings and assassinations.

In all, they played about ten songs, ending the show with one of my all-time-favorites, Mi Votu e Mi Rivotu, a stirring ballad about agonizing love:
"Mi votu e mi rivotu sosspirannu, passu li notti'nteri senza sonnu...Lu sai quannu ca jù t' av'a lassari, quannu la vita mia finisci e mori."

[I toss and I turn, sighing; I pass the whole night without sleep...You know I'll only leave you when I die.] *
It was a wonderful performance; one I am glad I did not miss.

Speaking to Ms. Musolino after the show, I learned she would be performing again on June 1st at 8 PM at the Shrine World Music Venue at 2271 Adam Clayton Powell Blvd., NYC. Joining her on stage for a couple of songs will be the very talented Laura Campisi from Palermo. Mark the date!

Photos by New York Scugnizzo

(*) Quoted from Michela Musolino's Songs of Trinacria featuring Wilson Montuori on guitar.

May 10, 2011

The Crocodile of Castelnuovo

Sewer Alligator by Tom Otterness
While on my way to Metrotech Center today I came across a quirky little statue of a crocodile dragging a man down a manhole. It appears to be a spoof of the popular urban legend about a predatory reptile stalking New York City's serpentine sewer system.

Peaking my interest, I discovered that the work is called Sewer Alligator. It was crafted by Tom Otterness as part of his Life Underground installation, a series of sculptures designed for public display in the NYC subway system. I'm not sure what the bag of money is in reference to, but I like to think it represents the fat cat globalists who sacrifice traditional cultures for the global economy.
Maschio Angioino or Angevin Keep
Anyway, the statue reminded me of my visit to the Maschio Angioino (also called Castel Nuovo, or New Castle) in Naples, where I first heard the ancient folk tale about the Coccodrillo di Castelnuovo.

Legend has it that a crocodile mysteriously made its way from the Nile delta to the bowels of the Castel Nuovo. Through a hidden hole in the castle's moat the ravenous reptile would prey on helpless captives, dragging their mangled corpses back to its lair. Concerned about the number of prisoners "escaping," the guards tried to figure out how they were getting away in order to better secure the dungeon, a former granary beneath the Palatine Chapel called the Mile Pit.

Coccodrillo di Castelnuovo by unknown artist 
Courtesy of Comune di Napoli
One day, to their surprise, they discovered the creature feeding on one of its victims. Instead of getting rid of the crocodile, the jailers decided to put the animal to
good use. "From that day on," wrote Benedetto Croce in his Storie e leggende napoletane, "the crocodile...was used as a means and executor of justice; prisoners sentenced to death were sent down to the moats and were regularly swallowed by the crocodile." *

Other versions of the story include the notorious Queen Joan II of Naples (1371-1435), who, it's said, delighted in feeding her spent lovers alive to the beast. The insatiable Queen allegedly discarded her playthings, one after another, into the creature's gaping maw. Her reputation, it is said, was so bad that no infamy was beyond her, including (unfounded) rumors that she had sex with a horse. Such accusations were not unknown against female monarchs. I remember reading nearly identical calumny spewed by the enemies of Catherine the Great.

Eventually the crocodile was killed; a horse leg was used as bait. Its body was stuffed and mounted over the castle's gateway as a warning. The legend doesn't state which stallion the murderess used to snare her prey; one can only guess.

Construction of the Maschio Angioino began in 1279 under Charles I of Anjou. It was used as a royal residency when he moved the capital of the Regno from Palermo to Naples. Despite its age, the castle is still called "new" because the city's other imposing fortresses, Castel dell'Ovo and Castel Capuano, are much older. The Aragonese triumphal arch and cenotaph, added in the fifteenth century by Alfonso I, is considered one of the great architectural masterpieces of the Renaissance. In 1503 the kingdom was annexed to Spain and the castle was used to garrison its forces. Today the landmark houses the Museo Civico and is a popular tourist destination.

~ Giovanni di Napoli

(*) Quoted from Legends and ghost stories in Naples between two centuries: Matilde Serao, Roberto Bracco and Benedetto Croce by Armando Rotondi.

May 7, 2011

Announcing Campania In-Felix (Unhappy Country)


Film Synopsis

For nearly two decades, Campania, the southern region of Italy where Naples is located, has witnessed an ongoing practice of illegal toxic material dumping in rural and inhabited areas. The management of waste material in the region has been in the hands of the Camorra – a mafia organization with vast economic and political power. This practice has taken place mostly in the provinces of Naples and Caserta and in particular in an area nicknamed “The Triangle of Death.” This area includes the towns of Acerra, Nola and Marigliano, located about 20 miles northeast of Naples, Italy. The material that is illegally deposited in this region comes mostly from industries in Northern Italy. The waste material, including aluminum salts, ammonium salts, lead, acid sludge, contaminated oil, rubber from tires, and asbestos, is unlawfully incinerated. As a result, high levels of dioxin are released in the atmosphere. The types of cancer reported, ranging from stomach, breast, and colon to lung cancer, are connected to highly contaminated environments. In the region, a total of 5,200 illegal trash sites have been found.

The film documents the personal stories of Mario Cannavacciuolo and his son Alessandro, and Bruna Gambardella – all of them living in the Triangle of Death. Mario has experienced the loss of his sheep herd – 3,000 sheep that died due to exposure to toxic substances.

His son Alessandro, the youngest child in the family, has witnessed the collapse of the family business and the loss of a family member who suddenly died of lung cancer. Bruna had recently developed several health issues. In particular, she was diagnosed with endometriosis and Hashimoto’s Thyroiditis. Her body contains a high amount of polychlorinated biphenyls – the same toxic substances that were found in the soil near where she lives. The journey through this once fertile territory continues as Gennaro Esposito, a medical doctor and environmental activist, leads us to several areas that have suffered from the illegal activities of the Camorra. The scars to the environment become obvious at the sight of piles of trash left abandoned or sometimes burned in the countryside.

Campania In-Felix (Unhappy Country) is not just a story about environmental issues that relate to just a specific geographical area in Southern Italy. Through the personal stories of Mario, Alessandro and Bruna, this documentary reveals the broken emotional and cultural balance between the people from the Campania region and their land. The film holds a universal message about the way humans interact with their environment and why this connection is so important today as the social and cultural paradigms are shifting.

Repinted from unhappycountry.com

May 3, 2011

A Piece of Abruzzo in NYC

Italian American Museum showcases the Madonna di Pietranico
Recently, I had the great privilege of viewing La Madonna di Pietranico at the Italian American Museum (IAM) in New York City. The fictile statue, dating from the 15th century, had been seriously damaged in the 2009 earthquake in L'Aquila and has gone under extensive restoration following its recovery from the devastated Museo Nazionale d'Abruzzo. The reconstruction was made possible by the hard work and generosity of the IAM, which helped raise $110,000 for the victims. In gratitude for its munificence the people of the Abruzzo have loaned the beloved statue to the museum.

According to Lucia Arbace, the Superintendent for Artistic and Cultural Heritage in Abruzzo, what makes the Madonna so special is not who the sculptor was (the artist is unknown) or how precious the materials used to make her were (its made from simple terracotta), but rather her religious and historical significance. This devotional piece represents the collective identity and historical memories of the Abruzzese people, whose rich legacy of Medieval and Renaissance art remains unjustly understated.

"The Madonna di Pietranico," says Arbace "is also a testament to our capacity to communicate faith in Mary, our great Mother, who, deeply rooted in the territory of Abruzzo, assumed a new face mid-way through the fifteenth century to transmit an intensely spiritual message to the faithful." (1) She is depicted on a throne, in prayer, cradling the Christ Child on her lap.

In all, twenty-four fragments were recovered from the ruins. The nose and left hand were completely destroyed. A metal bar, some wire and plaster incorporated during an earlier restoration in the 1930's added to the difficulties. The Christ Child was lost prior to 1934.

Highly trained specialists were brought in for the complex restoration project. Using state of the art technology and techniques like computerized laser-scanning and digital 3D-modeling, the team, over the course of the year began to repair the damaged icon and return it to its former glory.

The back of the statue's head remains unfinished so viewers can see the restoration process and the extent of the damage for themselves. The repairs will be completed upon its return to the Abruzzo where it will be reinstalled, after an 80 year hiatus, to its rightful home, the Chiesa di San Michele e Santa Giusta in Pietranico.

The Madonna di Pietranico, along with a fifteen-minute documentary film about the restoration work, will be on view at the Italian American Museum until June 2, 2011.

Photos by New York Scugnizzo

(1) Quoted from La Madonna di Pietranico: The reconstruction, restoration and history of a work of art in terracotta, Edizioni ZIP, 2011, p. 22

May 1, 2011

Announcing "Close to Paradise"


Close to Paradise: The Gardens of Naples, Capri and the Amalfi Coast by Robert I.C. Fisher

Available September 13, 2011
Hardcover 208 pages
English

From the publisher:

About the book

Ravishingly photographed, romantic beyond reason, this book devoted to the most celebrated gardens of southern Italy captures the inexhaustible lure of one of the most beautiful places on earth: Campania, the sun-kissed region that is home to Naples, Capri and the Amalfi Coast.

Erstwhile pleasure dome to the Roman emperors, and still Italy's most glamorous seaside getaway, this province has been a top destination for garden appassionati for decades. Bewitched by the natural splendours of the region, author and photographer Robert I.C. Fisher has created a 200-page celebration of twenty-four of southern Italy's finest gardens.

In Ravello, the rampageous roses of Villa Cimbrone once warmed the famously chilly heart of Greta Garbo, while off the coast of Positano the private Li Galli islands were the last home of Rudolf Nureyev. In Sorrento, Lord Astor's garden is a monument to English exoticism and on Capri Graham Greene discovered his legendary retreat. Understanding that the potent allure of gardens is not only about plants and species, Fisher also tells the stories of some of the fascinating people who dedicated their lives to creating and nurturing these treasures.

The gardens' special magic is captured in lush, mouth-watering photographs, whether it be of turn-of-the-century Sorrento, picture-perfect Positano, medieval Amalfi or island-in-the-sky Ravello. Prepare for enchantment as, through these bougainvillea-bright pages, you visit the garden Shangri-La that is Campania.

Excerpt

THE FLOWER AND THE GLORY
Villa Rufolo, Ravello

Step on to the upper terrace of the Villa Rufolo and before you is a vista that defines the colour blue once and for all. A veil of celestial hue extends as far as the eye can see. Its pearly transparency clarifies and defines a panorama of the Bay of Salerno to a fare-thee-well, from the reach-out-and-touch cupolas of Santissima Annunziata to the distant shores of ancient Paestum. The vista almost upstages one of the most magnificent gardens in Italy: several garden terraces which, hanging upon a spur of Monte Cerreto as if meditating a plunge into the sea 1,400 feet/425 metres below, amphitheatrically encompass this breathtaking panorama where sky and sea seem to merge. With all paradise seemingly spread out before you - the infinitude of hues has often been called 'the bluest view in the world' - drifts of cloud seem to be your only link to the great cosmos. Even in a region where such moments are commonplace, this vision of beauty takes everyone's breath away.

It is little mystery, then, why Lorenzo Rufolo - whom Boccaccio used as the basis for a tale about one of Italy's richest men in his Decameron - chose this eagle's nest for his thirteenth-century Scheherazadian extravaganza. With its Arab-Norman tower, Moorish cloisters and gardens fit for a pope (His Eminence Pope Hadrian IV, to be precise, who, legend has it, planted some of the old rose gardens), the Villa Rufolo beguiles all who visit it.

The gardens found immortality in the spring of 1880, with the unexpected arrival of Richard Wagner, the music world's wundermeister. 'Klingsor's magical garden is found once again!' he crowed at the sight of voluptuous wisteria vines. He stayed the evening at the villa, banging out the second act of Parsifal on an untuned piano, accompanied only by his giant ego and a fierce thunderstorm. After he had played the piano all night long, the music fittingly accented with the lightning bolts of a tempesta, the townspeople crowded in and proclaimed the great composer pazzo. They do not call him crazy any longer, though. For the past eighty years, the Villa Rufolo has been the setting for one of Italy's most successful music fêtes, the annual Festivale Musicale di Ravello. Today, the villa's Hall of the Knights often echoes to the sound of Bach, while the Wagner Terrace regularly hosts grand orchestral homages to the composer.

(Reprinted from Frances Lincoln Publishers)

April 27, 2011

The Heretical Radical: Antonio Gramsci of Sardinia

Antonio Gramsci
By Niccolò Graffio
“I’m a pessimist because of intelligence, but an optimist because of will.” – Antonio Gramsci: Letter from Prison (December 19th, 1929)

Prior to the epiphany that launched me on my journey down the road of ethnic consciousness, I, like so many others, had been inculcated by the American public and private school systems (as well as the mass media) into believing that almost everything great that had ever been done under the sun was done by people with light hair, eyes and skin. Beginning in kindergarten, a long procession of these people from Christopher Columbus to Neil Armstrong and from George Washington to George S. Patton, Jr, was paraded before me. Great minds from the likes of Isaac Newton to Carl Friedrich Gauss and from Thomas Jefferson to Woodrow Wilson were, as well.


Even back then I wondered what, if anything, people from my area of the world, the Mediterranean, had done to compare with the accomplishments of these people. Though Columbus was originally from Genoa my educators were quick to point out his ancestors had come from farther north in Europe. In fact, the people who wrote my textbooks in school (and directed the movies I watched) would have had me believing all the greats of the ancient Mediterranean world bore a striking resemblance to Northern Europeans. Who reading this, for example, hasn’t seen a Hollywood epic showing ancient Greeks and Romans with British looks and accents (at least among the upper classes, anyway)?

To this day the mighty Alexander the Great of Macedon is portrayed with blond hair and blue eyes, in spite of the fact the earliest painting of him still extant shows a man with decidedly different features. For centuries painters have portrayed the great Jesus Christ as a man with unmistakably Nordic features, though most modern historical scholars would have a serious problem with that one.
Detail of the mosaic discovered at Pompeii showing 
Alexander the Great at the Battle of Issus
Perhaps the height of ludicrousness occurs in the realm of physical anthropology. Throughout the 20th century physical anthropologists like Giuseppe Sergi and Carleton S. Coon taxonomically categorized most of those who lived around the shores of the Mediterranean Sea as members of the Mediterranean race (or sub-race, in the case of Coon). Beginning in the later part of the 20th century, however, a movement began (“Race is a social construct!”) to do away with such typologies, in spite of the growing genetic evidence to the contrary.

Thus, while in the minds of many if not most we are not “White”, we also do not merit a classification of our own, even though critics of the concept of a Mediterranean sub-race continue to admit to the existence of distinctive features of Mediterranean populations. In a sick sort of way, we do not exist!

Armed with the knowledge I have accrued in my lifetime, it has become apparent to me why this is so. Once I began my saunter down the long road which led to the awakening of ethnic awareness within me, I soon began to realize just how worthless those textbooks and movies really were in terms of their historical value.

A good part of that journey was in discovering and documenting the existence of members of our ethnos who could rightfully be considered great. One question, though, I must answer before I continue: how do you define “great” or “greatness”? This is important because these words can mean many things to many people.

Before I offer my opinion (and it will be only that, my opinion) it must be noted you will probably never find a person universally regarded as great. One man’s saint is another man’s demon. One man’s intellectual giant will be another man’s talented provincial, or worse. The best, therefore, one can hope for is a consensus of opinion.

For purposes of this discussion, a good definition I have found comes from the American Heritage Dictionary. It goes as follows:

“important; highly significant or consequential.”

When reading this article it behooves me to urge you, dear reader, to keep this definition fresh in your mind. This is because the subject matter is a man who in life was a highly controversial individual, and who remains so to this day. When I was first asked to write about him I must confess I had misgivings due to my own antipathy towards Marxism and its adherents. With apologies to no one, I make no secret of my disdain towards totalitarian philosophies, of either the Left or Right, as nowhere are the pages of history so soaked in blood than in those written by the followers of these movements.

Giovanni Gentile
After careful thought, however, I realized I must set aside my own personal feelings in the interests of historical veracity. For just as Giovanni Gentile, “the philosopher of Fascism” deserves a page in the history books of our people, so does Antonio Gramsci.

In Gramsci’s case there is a double controversy due to his Sardinian/Albanian background. Many if not most in the Nuova Patria Meridionale movement do not regard Sardinians as true Southerners. Many Sardinians, I’m sure, share this feeling. I do not share it. If we ever manage to reclaim our independence from the pseudo-state monstrosity known as Italy and the Sardinians wish to join us, as far as I’m concerned they should be more than welcomed to do so. Again, though, that is only my opinion.

As for his Albanian background? Anyone who has done a study of the history of Southern Italy already knows that communities of ethnic Albanians (dubbed Arbëreshë) have dotted the landscape for centuries, especially in places like Calabria. Though these people have maintained a distinct ethnic identity down to modern times, no doubt many of them assimilated into the general population.

Antonio Gramsci was born January 22nd, 1891 in the small town of Ales on the island of Sardinia. He was the fourth of seven children born to Francesco and Giuseppina (née Marcias) Gramsci. His father, born in Gaeta in 1860, was the son of a colonel in the Bourbon gendarmerie of the Kingdom of the Two Sicilies. Some of his paternal ancestors had emigrated there from Albania in 1821. Giuseppina Marcias, a native Sardinian, was born in the town of Ghilarza in 1861.

From birth some of the many health problems that would plague Antonio his entire life were already evident. A frail child, at the age of four a servant dropped him. His family would later claim his physical deformities (among other things, a hunchback) resulted from this. His childhood was marred by poverty and hardship. Upon reaching adulthood he stood less than 5’ tall.

In 1898 Francesco Gramsci was arrested and convicted of embezzlement, then shipped off to prison. This reduced the already impoverished family to destitution. Giuseppina was forced to move the family back to Ghilarza and Antonio (affectionately called “Nino” by his mother) had to abandon his schooling to help out the family until his father was released from prison in 1904. This fact in no small measure affected his attitude towards his parents. People who knew him well commented on how he never felt particularly close to his father. He regarded his mother, however, with a deep affection and credited her humor and wisdom with getting him through the rougher parts of his childhood.

Antonio’s first exposure to Socialism was through his older brother Gennaro, with whom he lodged while completing his studies at secondary school in Cagliari, a city in Sardinia. Gennaro had previously served in the Italian military and his time on the mainland transformed him into a militant socialist. At this time, though, Antonio was less interested in Socialism than in trying to improve the lot of impoverished Sardinian miners and peasants.

In 1911, Gramsci won a scholarship to study at the University of Turin. It was here he would meet his future friend and Marxist cohort Palmiro Togliatti. While at Turin he developed an interest in linguistics. At this time the city of Turin was undergoing rapid industrialization, with many workers pouring into the factories from poorer regions of Italy, including Gramsci’s native Sardinia. With the establishment of trade unions, Turin became a hotbed of radicalism. In 1913 Antonio Gramsci joined the Italian Socialist Party (PSI).

Financial constraints coupled with poor health and an increasing commitment to politics caused Gramsci to abandon his studies in early 1915. By this time, though, he had amassed an impressive knowledge of history and philosophy. His talents and keen intellect did not go unnoticed. In 1916 he became co-editor of the Piedmont edition of Avanti!, the official organ of the PSI. Ironically, previously the editor of the paper’s main edition in Milan was the man who would later become Antonio Gramsci’s political archenemy - Benito Mussolini. By late 1917, Gramsci was a member of the party’s Provisional Committee and the editor of Il Grido del Popolo (It: “The Outcry of the People”), a socialist newspaper.

In April, 1919, Gramsci, together with his friend Palmiro Togliatti, Angelo Tasca and Umberto Terracini set up a weekly newspaper called L’Ordine Nuovo (It: “New World Order”). Later that same year the PSI voted by a large majority to join the Third International, a global association of Communist groups. It was around this time that Gramsci and his cohorts came to the attention of Vladimir Ilyich Lenin, Communist usurper of Russia, who viewed their faction as being closest to the Bolshevik spirit. By giving them his approval, the status of Gramsci and his circle greatly increased in the eyes of Italian radicals.

Gramsci’s main rival at this time in the PSI was a man named Amadeo Bordiga. Bordiga, unlike Gramsci, was a strict anti-parliamentarian who favored overthrowing the Italian government by force and using force to establish “a dictatorship of the proletariat”. Though the two men were often at odds, Gramsci joined Bordiga in establishing the Communist Party of Italy (PCI) on January 21st, 1921. This was done mainly because the two felt the PSI was becoming too centrist in its outlook.

Though subordinate to Bordiga in the PCI, Gramsci almost immediately began locking horns with him. In spite of being an anti-parliamentarian, interestingly, Bordiga opposed the militant anti-fascist Arditi del Popolo (It: “People’s Squads”) while Gramsci and Lenin favored them. Gramsci felt the groups were needed to protect socialists from the terroristic depredations of Mussolini’s Blackshirts, as well as to oppose the rise of Fascism in general in Italy. Bordiga, on the other hand, opposed the Arditi due to the presence of non-communists in its ranks. In the end, Gramsci and his comrades in the L’Ordine Nuovo group would follow the non-violent, legalist strategy of the PCI.

In 1922 Antonio Gramsci ventured to Moscow as a representative of the PCI. While there he met Julia Schucht, a young violinist. They would later marry and have two sons: Delio and Giuliano.

While Gramsci was in the Soviet Union, dark clouds quickly gathered over Italy. Powerful industrial interests in Northern Italy, fearful of growing Marxist influence in the country, threw their weight behind the National Fascist Party of Benito Mussolini, which caused a surge in its ranks. From October 22-29, 1922, Mussolini staged his “March on Rome”, at the invitation of King Victor Emmanuel III, who appointed him Prime Minister.

Now de facto ruler of Italy, “Il Duce” moved quickly to consolidate his power. Throughout 1923 he passed repressive measures against opposition political parties, throwing many of their members in jail, including Amadeo Bordiga. By 1924 Bordiga was expelled from the PCI and Antonio Gramsci was recognized as its head. Forces beyond his control, however, worked to make his command a short-lived one.

In that same year he was elected to the Chamber of Deputies for the Veneto region. In his one and only speech to the Chamber, Gramsci delivered a memorable oratory condemning Fascism. His fate was sealed.

I’ve always believed the truest measure of the worth of a man can be found, not in the opinions of his friends, but of his enemies. In November, 1929 Mussolini and the Fascists completed their eradication of Italian democracy and then paid Antonio Gramsci a supreme compliment – they openly violated his parliamentary immunity by having him arrested! At his ‘trial’ the prosecutor (a Fascist official) told the court, “For 20 years we must stop this brain from functioning.” He was immediately given a sentence of five years which the following year was increased to the 20 promised. He was thereafter dropped off in a dungeon in the town of Turi, near Bari.

Apologists for the Fascists will point out (correctly) that Mussolini merely had Gramsci imprisoned, whereas someone like Hitler or Stalin would most likely have had him executed. My retort is that caging someone in a rat hole like an animal for the ‘crime’ of espousing unpopular political opinions is a slim improvement over having them shot!

In 1932 an attempt by the Fascist government of Italy to swap political prisoners (Gramsci included) with the Soviet Union went nowhere. His health, which was never good in the first place, declined rapidly in prison. In 1934 he was granted a conditional freedom. On April 27th, 1937 he passed away at the age of 46 at the “Quisisana” Hospital in Rome. He was buried in the Protestant Cemetery.

Throughout his adult life Antonio Gramsci was an avowed atheist. Yet some years after his death, Archbishop Luigi de Magistris, the former head of the Apostolic Penitentiary of the Holy See, which deals with confessions, indulgences and the forgiveness of sins, claims that on his deathbed Gramsci “returned to the faith of his infancy.” He further alleged Gramsci took the Sacraments of the Roman Catholic Church and even kissed an icon of Jesus Christ. Others, however, point out Italian state documents show no religious official was sent for or received by Gramsci while he was in the hospital. The reader is left to wonder what is the truth.

Benedetto Croce
It is worth noting the three most influential Italian philosophers of the 1930s (Antonio Gramsci, Benedetto Croce and Giovanni Gentile) were all Southerners. Each however, chose a vastly different place on the political spectrum. Gramsci became the consummate Marxist, Croce the aristocratic liberal, while Gentile embraced the Fascism of Benito Mussolini.

Of the three, Croce was the only one who would die in his bed of a ripe old age. Though lionized after the war for his resistance to Mussolini and Fascism, he would live long enough to see both himself and his brand of liberalism become increasingly irrelevant. In a free society the unfettered flow of ideas constantly challenges pre-existing ones, and the post-war era saw Croce’s theories attacked by a new generation of philosophers led by men such as Umberto Eco.

Giovanni Gentile lived long enough to see his philosophy of Actual Idealism go down in flames with the Fascist Italy he had helped to create. His own life ended with an assassin’s bullet. Benito Mussolini, Gentile’s disciple (and lord and master) met a similar, ignoble end. Though Gentile and his philosophy have been largely forgotten, despotism appears to be a natural part of the human condition. It is not difficult to imagine that at some future date, another would-be autocrat will dust off Gentile’s writings to use as a blueprint and justification for his own tyrannical regime. Stranger things have happened.

In spite of the circumstances surrounding Gramsci’s end, his legacy clearly outshines that of Croce’s and Gentile’s. Of the three, his name is best known outside of Italy. He is chiefly remembered as being one of the most original thinkers in the Marxist tradition since Marx himself, and his central influence in shaping Western Marxism is undeniable. I have read a number of his works, and though I admit an antipathy towards Marxist thought in general, I cannot help but perceive the keen intellect of the author in the pages of his works.

One of my favorite works by him is his essay The Southern Question, an analysis and critique of the deplorable conditions of Southern Italy from the founding of the Kingdom of Italy up until his time. His assessment of the problems facing Southern Italy and their causes were spot on! Where I disagree with him was in his proposed solution, for he believed (perhaps naively) that only an alliance of Northern Italian workers with Southern Italian peasants had any hope of uplifting the deplorable conditions our people faced (and still face).

In this he shared the pan-Italian illusion of Benedetto Croce and Giovanni Gentile. The grim but undeniable reality is that Northerners (bourgeoisie and workers) are the source of many if not most of our problems in the first place! The pseudo-state of Italy was created for their benefit at our expense, and it is administered towards that end to this day! In spite of their outward call for ‘secession’, in actuality the anti-southern prattling of Umberto Bossi and the Lega Nord serves as the propaganda machine for this parasitic monstrosity.* Only a free and independent Repubblica delle Due Sicilie, ruled by us and for us, has any hope of alleviating the poverty and corruption afflicting our people.

Still, Gramsci’s essay The Southern Question should be read by every Southern Italian nationalist, and if you haven’t done so already, I strongly recommend that you do.

If he had only chosen a different path, what a wonderful Southern Italian nationalist Antonio Gramsci would have made!

Gramsci’s legacy remains controversial even in Marxist circles. Palmiro Togliatti, Gramsci’s friend and comrade in the PCI who ran the party after WW2, claimed the gradualist approach of the party was in line with Gramscian thought. Others, though, claim Gramsci was a Left Communist who would have been expelled from the ranks of the PCI if he had not been arrested and imprisoned.

His greatest contribution to Western thought, unquestionably, was in formulating his theory of cultural hegemony. In it, Gramsci proposed that a culturally diverse society (such as Italy) can be ruled or dominated by one of its social classes. As time goes by, the ideas of the ruling social class come to be perceived as the norm by society at large. They are believed to be universal and to benefit everyone, whereas in fact they only benefit the ruling social class.

Ironically, whether Gramsci ever truly realized it, the Risorgimento (which he believed in) was one of those ideas.

Marx believed the recessions and economic contractions inherent in Capitalist societies would ultimately provoke the workers to overthrow the rulers of such societies and restructure existing institutions along Socialist lines, eventually transforming the society into a Communist one. To Marx, a society’s dialectically-changing economy determined and shaped its social and economic classes.

To Lenin, culture was subordinate to political objectives. Gramsci broke with both in stating that cultural hegemony by the proletariat was necessary before state power could be achieved. This hegemony could only be attained by making alliances and compromises with a variety of forces he termed a ‘historic bloc’. Failure to create this union of social forces, Gramsci argued, went a long way in explaining why, by his time, Capitalism was more firmly entrenched than ever before, in spite of Marx’s predictions.

Giambattista Vico
Gramsci’s Theory of Cultural Hegemony profoundly influenced the future of Marxism in Italy, and ultimately the West. Gramscian thought, to a much greater extent than that of Benedetto Croce (who Gramsci studied and critiqued), has permeated the Western political spectrum. Like the venerable Giambattista Vico of Naples (who by the way, influenced Gramsci’s forerunner, Karl Marx), in many cases the people influenced by him probably have no clue as to the source. Example: in the U.S. in the 1990s, right-wing Christian groups sought to win election onto school boards to influence the curricula in public schools. This is cultural hegemony in action!

Another example: at the Republican National Convention in 1992, rightist politician and syndicated columnist Patrick Buchanan spoke of a Culture War in describing the clash in ideologies between U.S. liberals and conservatives. Culture War is a Gramscian term. I wonder if Mr. Buchanan was aware of this fact at the time.

Even more incredibly, there is a movement afoot from people on the far-right side of the political spectrum to make Gramscian thought their own (“Gramcism of the Right”). Antonio Gramsci, the devoted Marxist, would no doubt have a serious problem with that if he was alive today.

Still, one could forcefully argue such intellectual influence is the truest measure of the greatness of a man.

(*) – “In these less than disastrous conditions, we witness day after day the imbalanced conflict between an Italy that aspires to become European with its head held high, creating a modern nation, democratic and civil, and the forces that orbit around the public machinery and are fed by it, the forces whose objectives are to become part of the African peninsula.” – Umberto Bossi

Further reading:
• Santucci, Antonio et alii: Antonio Gramsci, Monthly Review Press, 2010.
• Gramsci, Antonio: The Southern Question; Transl. and Intro. by Pasquale Verdicchio, Bordighera, Inc. 1995.