By Matthew Bunson for CNA In addition to giving each new cardinal a scarlet zucchetto and biretta the Holy Father assigned to each new cardinal a church of Rome — either a presbyteral title or deaconry — as a sign of the pontiff’s pastoral solicitude over the city and in keeping with the very old custom that cardinals are considered titular or honorary members of the clergy of Rome Francis also continued a trend of establishing new titular churches — nine this time — from among the more than 900 churches in the Diocese of Rome At the time of their official entry into the College of Cardinals both cardinal priests and cardinal deacons are assigned a titular church in Rome although the cardinals have no rights of governance over their titular church and may not interfere in its proper administration Cardinals take formal possession of their church after they become cardinals in a consistory and even lead pilgrimages in coordination with the church or parish staff There are two types of titular churches (Italian “titoli cardinalizi”) for cardinals: titles and deaconries “titolo”) is typically assigned to cardinal priests and a deaconry (Latin and Italian “diaconia”) is assigned to cardinal deacons each cardinal is appointed to a rank within the college: cardinal bishop Each cardinal receives a titular church according to the rank he possesses Cardinal bishops are the most senior members of the college hold the most important offices in the Roman Curia cardinal bishops receive the title of one of the suburbicarian sees surrounding Rome The largest group of cardinals are those belonging to the second rank — cardinal priests They are mostly bishops and archbishops who head dioceses and archdioceses all over the world (such as New York or Madrid) or officials of long service in the Roman Curia who have chosen to be promoted from the ranks of cardinal deacons after 10 years Cardinal deacons are primarily officials of the Roman Curia and other priests and bishops who are honored for their service to the Church with elevation to the cardinalate a cardinal deacon moves from the ranks of the cardinal deacons to cardinal priests he will customarily receive a new title appropriate for a cardinal priest or possibly request that his deaconry be elevated to a title for the time he holds it Should a cardinal priest be elevated to the rank of cardinal bishop he will customarily receive a title to a suburbicarian see Pope Francis assigned each a new title or deaconry The list of new cardinals and their titular churches is as follows: new cardinals are appointed to titular churches that had fallen vacant either by the death or transfer of the previous holder there were 12 vacant titles and nine vacant deaconries Francis filled seven of the vacant titles and five of the vacant deaconries constituted on the very day of the consistory by Pope Francis marking the continuation of a trend of the last years that the pope does not have to assign cardinals to vacant presbyteral titles and deaconries; he is entirely free to institute new ones and that is what he chose to do again for this consistory the pope established seven new titles for cardinal priests: St Bernadette Soubiros to Cardinal Angel Sixto Rossi archbishop of Cordoba; Santi Cirillo e Metodio to Cardinal Grzegorz Rys archbishop of Lodz; Santa Gemma Galgani to Cardinal Stephen Ameyu Martin Mulla archbishop of Juba; Santa Maria in Montesanto to Cardinal Protase Rugambwa archbishop of Tabora; Santa Maria Causa Nostrae Letitiae to Cardinal Sebastan Francis bishop of Penang; San Giovanni Battista de La Salle to Cardinal Stephen Chow Sau-yan bishop of Hong Kong; and San Gaetano to Cardinal Diego Rafael Padron Sanchez the Holy Father instituted two new deaconries: Santa Monica in Ostia and Sant’Ambrogio della Massima assigning them to Cardinal Robert Francis Prevost prefect of the Dicastery for the Oriental Churches Maria delle Grazie a Casal Boccone to Cardinal Carlos Castillo Mattasoglio; S Maria Maddalena in Campo Marzio to Cardinal Vicente Bokalic Iglic; Sacra Famiglia di Nazareth a Centocelle to Cardinal Luis Gerardo Cabrera Herrera; S Mauro Abate to Cardinal Fernando Natalio Chomalí Garib; S Giovanni Leonardi to Cardinal Tarcisio Isao Kikuchi; S Maria Stella Maris to Cardinal Ladislav Nemet; Ss Mario e Compagni Martiri to Cardinal Ignace Bessi Dogbo; S Giovanni Antida Thouret to Cardinal Dominique Joseph Mathieu; and S Giuseppe a Primavalle to Cardinal Baldassare Reina Most of the new titular churches are situated in the suburban municipalities that ring the center of Rome while Santa Maria Stella Maris is all the way out in Ostia on the coast Francis clearly wants his new cardinals to have their churches in every corner of the sprawling Roman diocese is located in the historic center of the Eternal City and he deliberately left unfilled several very prominent but currently vacant titles including the truly historic Basilica of Santa Sabina on the Aventine Hill since the beginning of his pontificate and in 10 different consistories Pope Francis has instituted 41 new presbyteral titles and four new diaconal titles there are 184 existing presbyteral titles and 71 deaconries Using AI, the Vatican recently launched a digital “dashboard” of the College of Cardinals If you value the news and views Catholic World Report provides, please consider donating to support our efforts Your contribution will help us continue to make CWR available to all readers worldwide for free Click here for more information on donating to CWR. Click here to sign up for our newsletter Democrats threaten to halt defense bill in feud over transgender drugs for minors World’s youngest cardinal is just 44 years old Pope Francis offered a prayer for Italy on Sunday as Prime Minister Giorgia Meloni became the country’s first female leader let us pray for unity and peace in Italy,” the pope said at the end of his Angelus address on Oct Hours after the handover ceremony between Meloni and her predecessor Mario Draghi in Rome’s Chigi Palace the new prime minister thanked Pope Francis for his comments Meloni wrote on social media: “I thank His Holiness #PopeFrancis for his thoughts on Italy on this very important day for the government I have the honor to preside over.” Ringrazio Sua Santità #PapaFrancesco per il pensiero che ha voluto rivolgere all’Italia in questa giornata così importante per il Governo che ho l’onore di presiedere. @Pontifex_it the archbishop of Bologna and president of the Italian bishops’ conference sent his “sincerest congratulations” to Meloni after the new government’s swearing-in ceremony at the Quirinal Palace “With you also opens a historic page for our country: the new government is the first led by a woman in the role of Prime Minister,” Zuppi said. The cardinal highlighted the many challenges that Italy is facing listing what he described as the Italian bishops’ main concerns: “poverty the ecological transition and the energy crisis employment and job opportunities for young people the streamlining of bureaucratic procedures and reforms of state democratic structures and electoral law.” Zuppi added: “Looming over all these is the tragedy of the ongoing war that requires the commitment of all in the inescapable and urgent search for a just path that can finally lead to peace.” The cardinal promised that the Catholic Church in Italy “will not fail to engage in a constructive dialogue inspired solely by the desire to contribute to the pursuit of the common good of the country and to the protection of the inviolable rights of the person and the community.” Meloni has described herself in speeches as a Christian and has publicly expressed her admiration for St John Paul II and her desire to meet Pope Francis in person “I am a woman, I am a mother, I am Italian, I am a Christian, and you can’t take that away from me,” she said in a speech in 2019 Meloni’s party won the general election on Sept 25 with a platform that supports traditional families The prime minister heads the Brothers of Italy party Before and amid her party’s electoral victory Meloni’s views have been described in the media as “far-right” and even as “fascist” — labels that she has rejected Meloni dismissed any suggestion that her party was nostalgic for the fascist era and distanced herself from comments she made in 1996 when she said Benito Mussolini “was a good politician.” Italy’s new government comprises a coalition that includes Matteo Salvini’s League party and Silvio Berlusconi’s Forza Italia Meloni delivered a strong rebuke to Berlusconi last week and said that the former prime minister risked losing influence in the new government after Berlusconi boasted of having recently exchanged gifts of vodka and sparkling Italian red wine with Russian President Vladimir Putin is part of Europe and the (NATO) Atlantic alliance,” Meloni said “Whoever doesn’t agree with this cornerstone cannot be part of the government […] Vatican City, Sep 13, 2017 / 09:00 am (CNA/EWTN News).- On Wendesday Pope Francis recalled his recent visit to Colombia saying the desire for peace in the country is proof that the violence of their past doesn’t have the last word is a country in which the Christian roots are strong,” the Pope said in his Sept “And if this fact makes the pain due to the tragedy of the war that has torn it apart even more acute at the same time it constitutes the guarantee of peace the solid foundation of it’s reconstruction the lifeblood of it’s invincible hope,” he said Francis said “it’s evident that the Evil One wanted to divide the people in order to destroy the work of God but it is equally evident that love of Christ and his infinite mercy is stronger than sin and death.” The Pope spoke to pilgrims present at his general audience which took place just two days after he returned from his Sept which marked Francis’ third tour of South America since his election in 2013 He described it as “a continuity strongly animated by the Spirit which guides the people of God on the streets of history.” “Let us take the first step,” he said it refers to the process of reconciliation Colombia is going through after more than 50 years of conflict between the government and guerrilla and paramilitary groups is trying “to go out of a half century of internal conflict causing many wounds that are difficult to heal.” he said that “with the help of God the path is now underway,” adding that during his visit he wanted to “bless the effort of that people which is a richness for my ministry and for the entire Church.” “This visit was intended to bring the blessing of Christ to the desire for life and peace which overflows from the heart of that nation,” he said Francis then recounted the different stages of his visit to Colombia recalling how in Bogotá he was able to see this desire in the eyes of the “thousands and thousands of children teenagers and young people” who came to meet him at the Apostolic Nunciature He also noted that he was able to meet the bishops of Colombia and all of Latin America and gave thanks “that I could embrace them and for having given them my pastoral encouragement for their mission in service to the sacramental Church of Christ.” and included a large gathering for national reconciliation and a Mass in which the Pope beatified the two modern martyrs Bishop Jesús Emilio Jaramillo Monsalve and Fr was a reminder “that peace is founded also and above all on the blood of the many witnesses of love justice and even the true and real martyrs killed for the faith Listening to their biographies “was moving to tears: tears of pain and joy together,” he said And in front of their relics and their faces “the holy people of God felt their own identity strongly for the mercy of God extending toward those who fear him.” the perspective for the day was that of “Christian life as discipleship: vocation and mission,” Francis said “When Christians commit themselves until the end in the journey following Jesus Christ and the fruits are seen abundantly,” he said explaining that one of these fruits was the children’s home he visited for youth who have lost their families due to violence or poverty the Pope drew attention to his visit to Cartagena who was referenced in many of Francis’ speeches during the trip was an “apostle of the slaves,” he said “gave their lives for the poor and marginalized and so revealed the path to true revolution; evangelical which truly frees people and society from the slavery of yesterday and “taking the first step” means above all “drawing near touching the flesh of the wounded and abandoned brother,” the Pope said Pope Francis closed his address by entrusting Colombia to the care and intercession of Our Lady of  Chiquinquirá whose statue he venerated in the cathedral of  Bogotá each Colombian can everyday take the first step toward their brother and sister Pope Francis greeted individuals and groups of pilgrims from different countries around the world including former British Prime Minister Tony Blair who became Catholic in 2007 and has established several foundations and non-profit organizations based on faith and global advancement […] All comments posted at Catholic World Report are moderated While vigorous debate is welcome and encouraged please note that in the interest of maintaining a civilized and helpful level of discussion comments containing obscene language or personal attacks—or those that are deemed by the editors to be needlessly combative or inflammatory—will not be published Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" In an article published by The Press Democrat of Santa Rosa, Bishop Robert Vasa shared his thoughts on the much discussed America interview with Pope Francis, saying that while he is “geared more toward a canonical mindset and I recognize the […] You can see how this popup was set up in our step-by-step guide: https://wppopupmaker.com/guides/auto-opening-announcement-popups/ Sign up to receive a weekly email with news (function($) {window.fnames = new Array(); window.ftypes = new Array();fnames[0]='EMAIL';ftypes[0]='email';fnames[3]='MMERGE3';ftypes[3]='text';fnames[1]='FNAME';ftypes[1]='text';fnames[2]='LNAME';ftypes[2]='text';fnames[4]='MMERGE4';ftypes[4]='text';fnames[5]='MMERGE5';ftypes[5]='text';fnames[6]='MMERGE6';ftypes[6]='number';fnames[7]='MMERGE7';ftypes[7]='radio';}(jQuery));var $mcj = jQuery.noConflict(true); + Catherine d’Pazzi was born in Florence. At the age of 16 she became a nun in the Carmel in Florence, receiving the religious name “Mary Magdalene.” + In 1584, she developed a seemingly fatal illness and experienced a number of visions and ecstasies, during which she received the stigmata and was united to the Passion of Christ. + Although the visions lasted for more than a year, when that time ended, she was left with a great sense of spiritual dryness and desolation. Her feelings of despair were so strong, she contemplated suicide. + Despite her sufferings, she remained faithful to her spiritual director and the prioress of her community. Inspired by the mystery of the Incarnation and the work of the Holy Spirit within the soul, she constantly encouraged her sisters to abandon their self-will and entrust themselves to the will of God. + Having served her community as novice mistress and subprioress, she died on May 25, 1607. Saint Mary Magdalene de Pazzi was canonized in 1669 and she is honored as a patron of the sick. “Prayer ought to be humble, fervent, resigned, persevering, and accompanied with great reverence”—Saint Mary Magdalene de Pazzi Would you like to read more like this?Get Aleteia delivered to your inbox https://www.teatro.it/spettacoli/luca-ward-il-talento-di-essere-tutti-e-nessuno The unmistakable voice of Luca Ward takes us on an intimate and enthralling journey, where the man, the artist and the legend meet. 16 March 2025 | Auditorium Comunale Massimo Troisi, Morano Calabro (CS)17 March 2025 | Cinema Teatro Vittoria, Diamante (CS) Auditorium Comunale Massimo Troisi, Morano Calabro Street viewInterestedTheatricalNotre Dame De Paris7 - 9 May Place of worshipMorano Calabro Archaeological AreaDiamante Point of interestDiamante Last update: Mar 17, 2025 6:01 AMContent owned by the Calabria Region | Tourism and Commerce Department issued under CC-BY License Download OFFICIAL TOURIST INFORMATION SITE © 2022 Calabria Region Tourism and Commerce Department In a passage from his Lives, and specifically in the one dedicated to Titian, Giorgio Vasari lists some works admired in the wardrobe of Duke Guidobaldo II della Rovere at the time the great historiographer visited Urbino Vasari mentions a “head from the middle upwards of a Saint Mary with scattered hair which is a rare thing.” It has long been widely believed that the author of the Lives was referring to the Magdalene now in the Pitti Palace seductive work reproduced by Titian himself and his workshop in numerous variants to satisfy a high-ranking clientele among whom it was a resounding success A beloved work especially in the nineteenth century so much so that it was known to have been copied countless times and has been in Florence with certainty since the late seventeenth century Many conjectures have been made about the origin of the panel: the one that would seem to be the most acceptable would have it painted sometime between 1533 and 1535 for Duke Francesco Maria della Rovere father and predecessor of the aforementioned Guidobaldo II and according to this hypothesis thework may have arrived in Tuscany in 1631 following the marriage agreement of Vittoria della Rovere and Ferdinando II de’ Medici and the subsequent arrival in Florence of part of the Rovere collections which formed part of the dowry of the noblewoman to the relative who finds himself in the presence of this carnal little will be of interest in historical notations: Titian’s formidable invention His Magdalene is portrayed in a half-length soft hair that looks as if it has just been washed as if the woman had found the time and the way to find a hairdresser in the grotto and described with the mastery of a virtuoso intent on evoking immediate textural sensations who penned a lyric For an image of Magdalene by Titian’s hand coined the image of the “drooping locks” that act as a “golden jewel” to the alabaster-colored skin of the saint Her hands barely hold back her coppery hair which opens on her chest to grant the viewer’s mischievous observer a generous bosom and two rosy and behind it a mountain landscape at night with the ultramarine blue sky in flashes brightened by a moon trying to find Titian paints his Magdalene with mellow brushstrokes that enhance her imposing opulent tones that accentuate her vividness and sensuality already denounced “the imminent crisis of the artist,” that is that Mannerist impulse that would cause him to close that period of his activity fully participant in the “Aristotelian ferment that had fertilized Venetian culture between the fifteenth and sixteenth centuries,” and in which Titian had considered man and nature “with ’olympic’ naturalness in a sense that was still classical and Renaissance,” although he did not lack the opportunity to show how much his compositions were capable of opening up to drama who experiences the open contradiction of her eroticism and her total dedication to divinity thus represents a kind of caesura between two distinct seasons of Titian art Critics have long wondered about the possible sources that might have inspired Titian about the sources from which the Cadore artist might have drawn valuable inspiration for his penitent saint starting with Wilhelm Suida already in the 1930s have been keen to point out possible relationships with some similar images by Giampietrino whose attitude does not differ from that of Titian’s saint: Giampietrino’s is also portrayed half-length and covers her nudity with curly brown hair succeeds better in the operation than Titian’s penitent so that the floridity of her flesh is mostly concealed from the view of the beholder The result is that Giampietrino’s saint turns out to be more chastened even if it were to be framed in a dependent relationship with Giovan Pietro Rizzoli’s Magdalene would nevertheless be stronger because of the modernity of its paganising intonation the novelty of the impetuosity of its material and its colors And a possible descent from an ancient model would not be sufficient to account for the scope of the image that Titian conceived for his patron and are to be sought in the letters the motives that led Titian to imagine his Magdalene It is well known that Titian was a great friend of Pietro Aretino: the two of them and Sansovino constituted that “triumvirate” whose aim was to launch their respective careers with the powerful of the time scholar Élise Boillet suggested a relationship worth exploring juxtaposing Titian’s painting with one of Aretino’s religious works Magdalene’s conversion is narrated with imaginative accents that call to mind the painter’s panel: “Great is the disturbance that moves among the bystanders as she leaves the room: Ella ne lo uscir di camera parceva Citerea che uscse del suo cielo facendo abbassare le viste che a un tratto ferì con il lume de gli occhi di che splendende superississimamente: ma rialzatesi le ciglia tenzionavasi se il vermiglio de le gote de la Aurora aveva dipinto le guancie di Maddalena o se quello de le gote di Maddalena aveva colorite le guancie de la Aurora Others bewildered in the beauty of her hair asserted that those had given the gloss to the gold Some were in doubt whether the sun took the light from his eyes or whether his eyes lent it to the sun.” TheHumanity of Christ is a work from 1535 and it is not known whether in comparison with the Palatine Gallery image it has primogeniture but it matters little: what is of interest is to note how Aretino’s text and Titian’s painting share the same mixture of sacred and profane elements the same contaminations between images of the Christian divine apparatus and mythological reminiscences: the result is an almost perfect overlap between Magdalene and Venus would come to an end: thealogous work now in the Capodimonte Museum at least a fortnight later than the one in the Palazzo Pitti A necessary concession allimperative postridentine culture But this contradiction between erotic and sacred dimensions was perhaps not intended only for the legitimate amusement of its recipient its accomplished resolution in the theme of penitence and repentance who for Marino was as much first of the mad wandering world / as much afterwards of Christ the beloved lover Ben sets his sights on new frontiers of the navel — and sometimes beyond presented on a project I found fascinating and disturbing He was trying to use 3D room-scanning technology to “digitize” Renaissance-era buildings in Florence and in the process restore the original art that would have hung there — Botticelli’s famous “Annunciation,” for example would be scanned at the Uffizi and set back above the altar it was commissioned for at the church of Santa Maria Maddalena dei Pazzi masterpieces of the Florentine Renaissance now scattered across the global network of museums could be restored to the churches and palazzos where they originally hung visit Florence’s landmarks more completely from your bedroom than by actually going though the professor resisted this conclusion It may be true that all Italy’s old cities are virtually museums anyway the city has finally broken down to admit that it is a place of the past But to present virtual reality with any pretense of “completion” offends us because we like to imagine that art and space have some aura of memory related to their materials The old idea that things are sacred because of what we know has happened to them femurs and whole dead nuns that are beneficial just to stand near they will try to tell you that the severed head of St continues to prove her miracle by persisting in looking as beautiful as it did when she died in 1380 but regardless she has come to look over the centuries pretty over the whole thing I had a good habit of going alone to the Piazza Santo Spirito after class a quieter spot downhill from grand Palazzo Pitti separated from it by a block of bad osterias then down a narrow street with antique stores into the quieter square.  it also happened that a friend of mine was texting me in a panic -That’s what the Symbolic Systems major is they’re trying to prove the brain is just a machine something u can totally recreate with a computer He was trying to get me as spun up as he was I looked around at the crowds while I was typing back U have to believe in a spark of consciousness that comes from somewhere And people cheer on this shit — someone told them it’s going somewhere good Someone showed me a “new” Da Vinci painted by an algorithm like it was a good thing I said to that thank God we don’t have to worry about making art anymore His question — Is it special to be alive and conscious probably the one we had originally connected over — Can I try to be an artist Santo Spirito was where the American college students and Ph.D.s were likelier to be We were the ones visiting long enough that we could afford to sit in front of an ugly church with no facade It is a narrow oval that crowds six or seven bars and cafes on top of one another I sat down at Osteria Santo Spirito just before it started to form a line having achieved in recent months some degree of online fame for a malicious gnocchi dish with a pound of cheese and a slick of truffle oil I liked to get a big bowl of ribollita so the main expenditure could be a “quarto” of wine I was already into my soup when I noticed the table next to me but both already seemed defeated by a day of travel She couldn’t understand why he was so down on his life of trying to be a poet in New York City He was explaining that it was harder than she realized and also that his friends from high school weren’t actually as happy as she thought She went to comfort him with a couple Midwestern truisms “Tripe — now what is that again?” “That’s one of those mild whitefish.” is a flavor that’s taken me a long time to try to acquire But when a mild whitefish sounded just right to her and I kept eavesdropping while I worked at my carafe He tried to convince her that two friends of his She was not willing to entertain this idea anyway … Somebody out there must be making it work He listed off several bad dates he had recently been on but he seemed to have anticipated this turn was coming And that they all treated him like an unserious oddity.  “Well you never know … I’m not here trying to tell you how things are there God knows it’s different from back home.” She was getting quiet and looking around the square I met this guy who was selling five dollar poems in Central Park a few months ago I was nice to him — he said he had just started writing and loved it in case somehow he was going to tell me the thing that was going to change my work.” identifying had led me into deep private dislike I was getting excited for the stomach to be served Finally the waitress brought everything out on big yellow plates and of course it was unmistakable — pure white tripe for separating large objects from small toward the beginning of a cow’s lengthy digestion I think it’s one of those fish where you understand why we don’t eat it in America.” I decided it was time to say something.  “Pretty brave of you to go for the tripe,” I said but a lot of people would find that difficult.”  “I think the idea of eating a stomach can be a bit odd.” She smacked her lips and started telling him off and he blamed her equally for not noticing.  but I’m more so trying to study art while I’m here.” Downhill from there.” We all laughed while I signaled for the check The Pazzi Chapel was another one of my favorite spots It’s one of those rare places where it’s possible to visualize a pivot in history as the event of an instant under the gangly tower and marching roofs of the Cathedral of Santa Croce there would have suddenly appeared what looked like a little pagan temple In history the chapel is enormous and catastrophic The interior is done in Brunelleschi’s typical palette of blue-gray sandstone columns and cornice His famous sandstone is called “pietra serena” — serene stone — sourced from Fiesole in the hills It’s a peaceful building — hard to have a harsh thought inside With bare walls and only structural elements for decoration I felt once that I was actually inside the gridded mind of the architect a place where gray corinthian columns hold up the white ceiling of Limbo Up marble stairs and across the Epistle-side porch the vast interior of Santa Croce Cathedral is chaos by comparison — it contains frescos of every style since the 13th century Giotto’s “Life of Saint Frances” under restoration behind scaffolding monumental tombs lining the walls and more humble ones set into the marble of the floor Donatello’s archangel flashes gold sleeves I was there again sometime later that week following an angsty and pensive string of walks all massive stone monuments reaching a quarter way up the cathedral walls I spent a while in front of Michelangelo’s designed by Vasari as an elaborate marble altar to his mastery Thousands of people pay their respects every day Even if you skip “Night” and “Day” at the Medici tombs or never make it into the Accademia to see “David,” one has to lay eyes on the tomb of the master Its centerpiece is a slightly ugly purple marble sarcophagus three marble women holding various tools represent his three crafts: architecture in which men and women alike are all afforded muscular souls with which to strain against non-existence these beautiful craftswomen lack that famous “terribilità” — imposing terror — of a real Michelangelo marble But you have to be in the room to feel that possibility — that after all these years the statues might finally get up and crush us University Academics Campus Life Graduate Students Business & Technology Equity Project Fall Sports Winter Sports Spring Sports Screen Culture Music Reads Columnists Editorials Letters from the Editor Letters to the Editor Op-Eds Video Podcasts Cartoons Graphics Tech © 2025 THE STANFORD DAILY PUBLISHING CORPORATION Privacy Policy         Accessibility         Advertise Donate and support The Daily when you shop on Amazon Please enable JS and disable any ad blocker The Elm City is welcoming another Italian eatery and Wooster Square will soon be known for more than just its pizza Ventured by Naples native and former head chef at Anthony’s Ocean View Giulio Laurentino hopes to provide city residents with fresh The restaurant — called Pasta EATaliana — opened last Wednesday on 121 Wooster St. just down the block from New Haven staples Sally’s and Pepe’s that’s the food I am bringing here,” Laurentino said “I cook the same way that my mother and my entire family does I hope to bring that here through fresh pasta which once belonged to two earlier Italian restaurants Tony and Lucille’s and Anastasio’s is part of a larger building at the corner with Chestnut Street owned by Societa Santa Maria Maddalena in Little Italy Laurentino had offers from various locations to start his business but stumbled upon the building randomly and “couldn’t believe it was vacant.” After communicating with the owner and undergoing a series of renovations done by him and his wife Laurentino told the News that he had found a perfect space to bring part of his history to New Haven Pasta EATaliana reflects more than just authentic Italian food in a city with a strong Italian American heritage Laurentino came to America 11 years ago with no expectation to stay He came here to meet a friend but immediately met his wife and began working in a banquet facility After Laurentino was promoted to head chef he and his wife settled on the East Shore with their two children He attributed his departure from his post at Anthony’s Ocean View largely to a hope to return to the “artistry” and “care” of preparing his native cuisine it was always the same menu,” said Laurentino there’s always a different way to decorate it Laurentino told the News that opening a new Italian restaurant would be no easy task as well as the authenticity and quality of his food will set his restaurant apart from neighboring competitors believes the difference between Pasta EATaliana and neighboring competitors comes down to the specialty of Laurentino’s food which is meat that is prepared for five to six hours can’t be found in other Italian restaurants While being located in the middle of Little Italy sets the bar high Pasta EATaliana is also working to live up to Wooster Street’s legacy Within a week of opening and minimal advertising Pasta EATaliana has already had two fully booked nights — a success that Laurentino says he is surprised by told the News that he enjoyed the food tremendously another Elm City native and frequent restaurant-goer When asked about what it means to have a restaurant on Wooster Street “It’s a historic street full of Italian stories I wouldn’t choose to have a restaurant anywhere else.” Pasta EATaliana is open Tuesday to Saturday from 11:30 a.m Interested in getting more news about New Haven? Join our newsletter! Rita of CasciaPatron Saint of the ImpossibleMichał Ziółkowski | Aleteia + Rita was born into a peasant family in Roccaporena her parents arranged a marriage for her with a man who proved to be violent and adulterous her husband was murdered and her two sons died soon after Rita was then free to fulfill her dream of a religious vocation and she entered the Augustinian monastery of Santa Maria Maddalena in Cascia + Rita was graced to share in the Passion of Jesus—which was often the theme of her meditation and prayer—when she received a wound in her forehead which seemed to have been made by a crown of thorns Rita was known for her spirit of obedience and her love of penance as well as for her care of the sick nuns and the concern she showed for visitors to the monastery Saint Rita is honored as the patron of impossible cases and her incorrupt remains are enshrined in a basilica dedicated in her honor in Cascia + According to ancient tradition, roses are often blessed on the feast of Saint Rita, recalling a legend that she asked for roses and figs as she was dying. Both were found by the nuns even though it was not the right season for either. To learn more about this tradition, click here. “Brothers and sisters, whatever is true, whatever is honorable, whatever is just, whatever is pure, whatever is lovely, whatever is gracious, if there is any excellence and if there is anything worthy of praise, think about these things.”—Philippians 4:7-8 On May 22 we also remember Blessed Matthias of Omura. A lay catechist who worked alongside Jesuit missionaries in Japan, he was arrested and tortured by imperial officials who hoped to gain information about the work of the missionaries. Matthias remained silent, even in the face of torture, and died from his wounds in May 1620. He was beatified with other Japanese martyrs in 1867. Saint profiles prepared by Brother Silas Henderson, S.D.S. When she first reveals herself to the visitor to Palazzo Barberini Piero di Cosimo’s Magdalene appears as an image so startling so modern that she does not even look like a work of the 15th century And she is so real and alive that we can think of anything but a saint so much so that critics have often described her as a gentlewoman in the guise of St thinking of some lady of the Florence of the time who had Piero portray her in the guise of the penitent saint which would seem almost a pendant of the Magdalene and which has led to the idea of a cycle of evangelical characters all painted in the same format: half-length images silhouetted against a somber background framed by a mock frame.What is certain is that the Magdalene was intended for private devotion And the cultural context that inspired this image in Piero di Cosimo is also certain: this extravagant painter this “spirito molto vario et astratto” as Vasari had called him was well aware of Flemish-style devotional images which involved the use of saints dressed in contemporary garb and described with vivid realism His Magdalene has been likened to that which appears in Rogier van der Weyden’s Braque triptych also clad in fifteenth-century costumes (although the attitude of Piero’s Magdalene appears more similar to that of the Magdalene reading today in the National Gallery in London and for the pose one could also call into question Martin Schongauer’s Madonna and Child and a Parrot ) and to the many Magdalenes that appear in Jan Gossaert’s production on a dark background like Piero di Cosimo’s above all the chalice that appears on the verso of the Bembo diptych and which in all likelihood Piero must have been familiar with The extraordinariness of Piero di Cosimo’s image lies precisely in the wisdom with which the artist was able to filter his models and reinterpret them according to his own taste according to his culture as a whimsical and elegant Florentine artist who had trained with Cosimo Rosselli when in the city there were figures like Botticelli all artists of the generation preceding his own however: his natural curiosity had led him to grasp a case not so frequent among Tuscan painters evident here not only in theassimilation of sources but also in the very fine and meticulous execution and also to be among the first to approach the innovations of Leonardo da Vinci light chiaroscuro and diffuse light: think of La Belle Ferronière These are the suggestions that Piero di Cosimo elaborates to arrive at this Magdalene of seductive beauty which ranks among the pinnacles of his production His Magdalene fascinates precisely because she does not look like a saint: she is a late fifteenth-century Florentine woman her eyebrows shaved as was the fashion of the time gathered in braids behind the nape of her neck and falling back in messy locks on her chest because in any case it was necessary to define her as a saint Mary Magdalene and loose hair was a necessary iconographic attribute So are the book the young woman is reading and the small balsam bowl resting on the parapet just as completely foreign to canonical depictions of the saint is the colorful fashionable dress (those robes with “a vast guilloche of red green and the yellow of a dry autumn leaf” mentioned by Aldo de Rinaldis in the 1930s National Gallery of Ancient Art catalog) even softened by a pink bow above the left sleeve It is an image full of life: we look at Piero di Cosimo’s Magdalene and we see the mundane image of a woman reading in a house we imagine tidy and elegant we c’we wonder about the contents of the card resting on the windowsill and then without finding an answer we return to linger on the austere grace of her face on that concentrated expression that Piero di Cosimo investigates with vivid acuity on that impenetrable countenance that makes her an image even more bewitching than Raphael’s Fornarina She inspires us with thoughts that are anything but mystical and spiritual has written that here we see “a representation of the subject that is not infected by the sexuallyphobic atmosphere that had been breathed in Florence under the influence of Savonarola,” an image that does not show “reflections of other such tensions which would shortly lead to the Protestant Reformation,” and which on the contrary “is configured as a model of mature Humanism not yet challenged by those epochal passages.” This aspect seeing in the face of Piero di Cosimo’s Magdalene a woman reminiscent of Filippino Lippi’s types in the early sixteenth century: Mina Bacci noted how the “slight flow of light on the face” recalled the kneeling saints of the Incarnation of Jesus preserved in the Uffizi similar to the Magdalene of Palazzo Barberini also in their physiognomies to bring evidence in support of her hypothesis asked for a comparison of Magdalene with the so-called Simonetta Vespucci of the Chantilly Museum and for consideration of the “profound gap” between the sharp profile of that surely 15th-century image and the modern cut of the saint in the National Gallery of Ancient Art Just as difficult will it be to trace the circumstances under which Magdalene was painted We can for now content ourselves with knowing how the work entered the Roman museum: it is a story within a story The Magdalene had appeared in the early 1870s at the Monte di Pietà in Rome where it had been eyeballed by Giovanni Morelli the distinguished art historian who had developed one of the first attribution methods based on the recognition of recurring details in an author’s paintings the so-called “Morellian figures.” Morelli had recommended the purchase of the work to a friend and colleague of his in Parliament since he immediately took Morelli’s suggestion and secured the work for the modest sum of one thousand liras (that would be a little more than four thousand euros today) who had recognized the hand of Piero di Cosimo in a work that had previously been assigned to Mantegna and his attribution has not been disputed since Barracco donated the Magdalene to the state But it was one of the works he cherished most: in a letter sent to Morelli himself he wrote that the saint “lives and sleeps in my room and at length we look at each other with love...with those braids and that face she resembles a beautiful niece of mine who is only eighteen years old.” Further demonstrating the intensity of this masterpiece and some of the cleanest and clearest water But it is only recently that these islands have begun to discover tourism where all but five per cent of the archipelago's 10,000 inhabitants live - was insulated from the need to make much of a living out of visitors by the presence of a huge NATO naval base This provided jobs for hundreds of maddalenini both directly on the base and indirectly in the form of dollar-rich US officers and seamen looking for places to eat and drink - until it closed in 2008 The archipelago has been well-known to the Costa Smeralda yacht set for a while who sail out to the heavenly turquoise lagoons like the Porto della Madonna and the islands' deserted beaches only accessible by boat and occasionally stop for lunch at one of the islands' waterside trattorias; and there are a few small hotels pensionis and modest resorts catering to a mainly Italian clientele So visitors to La Maddalena will find a certain friendliness and eagerness to please among restaurateurs along with a command of English unusual in Italy bred by decades of coexistence with the US navy What first strikes you about the town of La Maddalena is the feeling it shares with certain other historically significant Mediterranean ports its character formed as much by the contacts it has made over the centuries as by the country it happens to be attached to But this limbo status is common to the whole archipelago The Maddalena islands are only 20 minutes by ferry from the Sardinian port of Palau and geologically connected to the pink granite rockscapes of Gallura in the north-east of Sardinia But maddalenini have always seen themselves as a race apart from Sardinian 'mainlanders' just as the latter feel culturally distinct from the rest of Italy The first inhabitants of the islands in modern times were Corsican shepherds who crossed the dangerous Strait of Bonifacio with their herds in search of pasture that was not subject to taxation or competition from cropping farmers When the 1720 Treaty of The Hague assigned Sardinia to the House of Savoy the Maddalena archipelago was simply forgotten and the islands' uncertain territorial status made them a smugglers' paradise Cala Soraya in the La Maddalena archipelagoPaolo Giocoso/SIME/4CornersPristine beaches backed by fragrant shrubs of lentisk and pistachio have fewer footprints than Crusoe's island The port of La MaddalenaOliviero OlivieriNapoleon later besieged the port Nelson visited the waters off Maddalena three times in the build-up to Trafalgar though he did present a silver crucifix to the parish priest Today this is proudly displayed in the little Museo Diocesano together with the admiral's briskly polite accompanying letter signed - according to the style he had adopted after being given a Sicilian dukedom by Ferdinando I - 'Nelson & Bronté' But it is another astute military commander who is most closely associated with these islands which is connected to the main island by a bridge and a causeway was the Risorgimento hero's home for the last 27 years of his life Garibaldi was exiled to the islands in 1849 He liked his prison enough to return in 1855 and buy land on Caprera challenging island of grey-pink granite rocks umbrella-pine forests and some of the best beaches in Sardinia Garibaldi's former house is preserved as the centrepiece of the Museo Garibaldino hands-off Italian museums that remains affecting despite (or could it be because of?) the bored guides and troops of schoolchildren on dutiful pilgrimage On display are the general's three-wheeler bath chairs some faded locks of hair and furniture made by Brown Bros Perhaps most moving is the narrow bed on which the old soldier ended his days raised on a plinth so he could contemplate sailing and long walks are the default activities At the end of a long day's communing with nature Because all the development has been concentrated in the town the island itself has some quiet corners which are well worth exploring 19th-century granite quarry that looks like it was abandoned overnight Rusting trolleys still sit on twisted iron tracks huge three-legged winches loom like Richard Serra sculptures still bearing the quarrymen's chisel marks dune-backed beaches such as Bassa Trinità offer tropical sea and sand (though seaweed can be a problem on this coast) on SpargiAlamyYou'll need to take a boat to reach the archipelago's most spectacular land- and seascapes backed by fragrant shrubs of lentisk and pistachio have fewer footprints than Crusoe's island Across the first (often choppy) stretch of the Bocche di Bonifacio Razzoli and Santa Maria are for true castaways Santa Maria has a bar-restaurant and a few simple houses that change hands (when they do One belongs to actor-director Roberto Benigni the latest Italian film personality to be associated with these islands when the last lighthouse keeper was transferred) the archipelago's granite rocks reach their apotheosis piling and twisting into muscular shapes which make them look like eroded Budelli is a tamer and more verdant island with what must be the most famous beach in all Italy: the Spiaggia Rosa which featured in Antonioni's film Il Deserto Rosso and is so-called because of the blushing pink colour of the sand caused by a microorganism that lives on seagrass After years of depredations by tourists filling bottles with the sand to take away as souvenirs Since 1993 (better late than never) this has been a protected area and the beach is now cordoned off (you're allowed to walk around the footpath that borders it It's still a seductively beautiful spot Seamen at the port of La MaddalenaOliviero OlivieriBudelli also has a real-life Robinson Crusoe: Mauro 71-year-old guardian who lives in a jerry-built shack just back from the Spiaggia Rosa he moved here in 1989 when the job came up and spends 10 months of each year on the island using a small generator to produce enough electricity to power a few lights and warming up his shower water with solar panels He makes his own furniture out of juniper wood some of which he sells via a Milan gallery boat captains bring curious visitors and 'it's all fairly non-stop' when strong winds make the crossing too dangerous to attempt in a small boat 'Once I was stuck here for 40 days,' he tells me proudly This feature was published in Condé Nast Traveller July 2011 Here are the best places to visit in the Aegadian Islands, Italy: this day is announced by fireworks at eight in the morning made up of members and supporters of the band roams through the town to the rhythm of the pasodoble "El Magdaleno," performed by the music band the procession of the Saint begins towards the Basilica passing through the so-called "Barrio de la Magdalena" (Magdalena neighborhood) in addition to the genuine Pericote llanisco the Dance of San Joaquín (a variety of Danza Prima) is performed performing classical pieces along with exclusive compositions from the band when the Dance of San Joaquín resumes until the chapel a grand open-air dance concludes the festivities 2023 © Sociedad Pública de Gestión y Promoción Turística y Cultural del Principado de Asturias S.A.U The joint effort of an artist and a scientist have yielded images of a face that might have belonged to Mary Magdalene The 3D facial reconstruction was performed on a skull that many believe is the true skull of the early saint housed in the Basilica of Mary Magdalene in Saint-Maximin-La-Sainte-Baume The resting place of the relics is tied to one of the traditional tales of what happened to Mary Magdalene after Jesus' Resurrection she traveled to the south of France by boat to preach the Gospel of Jesus sustained only by Holy Communion brought to her by angels Later pilgrims built a church over her resting place a biological anthropologist from the University of Versailles were able to create a digital model of the skull based on 500 photos of the relic They said the skull was in such good condition that they had no trouble determining the position of the nose Sarah Gibbens from National Geographic reports that from their examination they found that the skull belonged to a woman around the age of 50 They were able to fill in the facial features based on these indicators as well as the natural contours of the skull The color of her hair was based hair strands that still remain with the relic and the skin color was chosen from a list of tones most common to the Mediterranean region were left up to Charlier and Froesch's discretion To those who believe that the skull is genuine the image produced by the two researchers offers valuable insight into the biblical narratives Charlier notes that the skull may not be the Magdalene's “We are absolutely not sure that this is the true skull of Mary Magdalene,” Charlier said “But it was very important to get it out of anonymity.” The history of the remains housed in the Saint-Maximin-La-Sainte-Baume Basilica can be traced back to the 13th century when rumors of the relic's authenticity were in circulation it should be noted that there are at least five other sets of remains that are purported to belong to Mary Magdalene Charlier expressed a desire to work with the skull outside of its reliquary so that he might carbon date the remains and run a DNA analysis on them; however such testing involves the removal of pieces of the relic and has historically been opposed by the Catholic Church Regardless of whether the Church decides to allow them greater access to the skull the pair has stated that they would like to continue their reconstructive work on the rest of the remains in order to give a full-body representation of what Mary Magdalene may have looked like Articles like these are sponsored free for every Catholic through the support of generous readers just like you Please make a tax-deductible donation today Help us continue to bring the Gospel to people everywhere through uplifting Catholic news less-crowded towns to choose — from Termoli with its medieval castle to the tiny island of Levanzo This article was produced by National Geographic Traveller (UK).Destinations like Cinque Terre and the southern Amalfi Coast tend to hog all the attention and for good reason: their colourful houses precipitous cliffs and turquoise waters are what many associate with the Mediterranean But travellers who venture further afield are justly rewarded we pick six lesser-known coastal towns with just as much character Pale houses spilling down a hillside to the sea parasols and gelati vendors set up on an arc of fine-shingle beach but the quieter town of Scilla on the Violet Coast The fishing district of Chianalea is particularly attractive where cobalt-blue boats are hauled on slips and swordfish ciabatta is the speciality — don’t miss the ones at Civico 5 on Via Grotte Spend some time here and it takes a little while to notice what’s missing: traffic and crowds Best viewpoint: The Piazza San Rocco Belvedere for views over terracotta rooftops and out to sea They say Odysseus stopped at Ponza and was bewitched by Circe into staying for a year And who wouldn’t want to linger in this low-key island town public transport is near non-existent and compared to sophisticated Capri you come to remember how to relax on an island that rises sheer from the sea dawdle among bright houses in the harbour and eat fritto misto (a selection of fried seafood) at beachfront restaurant Da Enzo al Frontone Best viewpoint: A terrace by the lighthouse at the end of Via Molo Musco for a view of the colourful houses on Via Banchina di Fazio Vieste stacks up on the cliffs of a promontory where washing is strung like bunting and cats doze in sunny corners Visit the 11th-century Norman cathedral for Baroque frescos but otherwise the best plan is to just go wherever your feet take you and that’s half the point — stumbling upon fragments of centuries-old walls or a favourite pizzeria you’d have otherwise missed studded by a monolithic stack of limestone at its town’s end Best viewpoint: Via Judeca for a view of Punta San Francesco a medieval cluster of buildings on a finger of rock jabbing into the sea Perched upon the cliffs of Italy's Adriatic coast lead to golden-sand beaches.Photographs by Franceso Lastrucci4 Orosei’s medieval town feels lived in and genuine The smell of fresh bread drifts through its cobbled alleys; time is measured by the bells from its 13 churches uncommercialised alternative to glitzy Costa Smeralda Though there’s good hiking in the gulf’s national park you’ll find it hard to stray far from the beaches Cala Goloritzè and Cala Mariolu are the famous ones But you’re spoiled for choice: Spiaggia Biderosa Capo Comino and Sa Curcurica have sugar-white sand and are backed by tall pines — and never get too busy Best viewpoint: Cala Mariolu as you arrive by boat — a fringe of fine white shingle beneath cliffs lapped by sapphire shallows Atrani’s wedge of pastel buildings is a legacy of its past as a suburb of Amalfi doges They’re all tied together by Escher-esque scalinatelle (roughly translated as little staircases) which look their best around the church of Santa Maria Maddalena meaning you can enjoy a crowd-free aperitif at La Risacca on pretty Piazza Umberto I then dine in peace at a family trattoria like Il Veliero There’s just one catch: since Netflix’s Ripley series was filmed here for a view across the beach to the facade of Santa Maria Maddalena (What is overtourism?) Best viewpoint: Sant’Antonio Beach, which has plenty of space, for views of the old town’s towers and fortified walls. Best viewpoint: the sight of Levanzo village beneath a knuckle of rock from the ferry dock.  Best viewpoint: Noli’s huddle of rooftops before the sea, seen from the hilltop ruins of Castello di Monte Ursino. but the season is celebrated across the country Alamy","dsc":"Some 100,000 spectators gather for Tuscany's Carnevale di Viareggo where locals dress in costume to accompany a parade.","ttl":"Italy carnival parade","rchDsc":{"markup":"Some 100,000 spectators gather for Tuscany's Carnevale di Viareggo where locals dress in costume to accompany a parade The Emilia-Romagna region is populated by numerous hilltop castles The five-arch Ponte de Tiberio bridge can be seen from the pastel-coloured cottages of Borgo San Giuliano a former fishing neighbourhood located half a mile inland With specialties ranging from unami-flavoured truffles to roast-beef-filled ravioli there's more to Italian cuisine than meets the eye This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page the Centro Studi Espositivo Santa Maria Maddalena in Volterra will host the exhibition Gianni Berengo Gardin an exhibition that brings together twenty-four photographs by Gianni Berengo Gardin (Santa Margherita Ligure each accompanied by a text written by a leading figure in culture The exhibition is sponsored by Anima di Volterra with the Fondazione Cassa di Risparmio di Volterra and the Cathedral Basilica of Volterra and produced by Opera Laboratori in collaboration with Contrasto The exhibition presents a sober and powerful layout that allows visitors to immerse themselves in more than eighty years of history filtered through the gaze of Gianni Berengo Gardin and reinterpreted by the words of personalities who have shared paths visions and friendships with him.Born in 1930 he has traversed entire decades with his camera recounting Italy and its changes with a direct and unartificial style He never pursued aesthetics as an end in itself A photographer by vocation rather than by trade he has been an attentive and passionate witness of everyday life but also of the elegance and beauty hidden in the details helping to build a shared visual memory of our country At the heart of the Volterra exhibition is precisely the relationship between images and words Each photograph selected from Berengo Gardin’s immense archive is flanked by an original text written by personalities from the worlds of art A chorus of voices that includes names such as Carlo Verdone who recount the photographer’s cinematic gaze; architects such as Renzo Piano who reflect on the urban and human landscape in his images; and artists such as Mimmo Paladino who read his works in a poetic and symbolic key There is no shortage of writers and critics such as Roberto Cotroneo who offer literary and historical interpretations; photographers such as Sebastião Salgado Ferdinando Scianna and Luca Nizzoli Toetti who reveal the secrets of the craft and respect for a colleague who set the standard The voice of science and social engagement also finds space with contributions from Domenico De Masi and psychiatrist Peppe Dell’Acqua as well as street artist Alice Pasquini complete the picture The exhibition is a tribute to the encounters that marked his life and career the decision to entrust the presentation of the images to friends colleagues and intellectuals represents a way to recount photography as a collective gesture the result of a glance but also of a network of relationships Each text thus becomes a second level of reading which does not explain but accompanies the image It is a project that combines photographic art with narrative transforming the exhibition into a reflective experience The commented photos is part of the larger exhibition Anima di Volterra a cultural initiative that unites different places in the city in a single itinerary visitors can continue their visit by discovering with a single free audio guide also Piazza San Giovanni home of the Centro Studi Espositivo Santa Maria Maddalena allowing the photographic exhibition to be contextualized in a very rich urban and cultural fabric making the experience even more complete and engaging Gianni Berengo Gardin is among the most influential Italian photographers where he started his professional career devoting himself mainly to reportage He collaborates with important Italian and international newspapers but finds his most accomplished expression in photographic books: he publishes more than 260 of them His first images appeared in 1954 in Mario Pannunzio’s Il Mondo From 1966 to 1983 he worked with the Touring Club Italiano on a vast series of volumes on Italy and Europe He also photographs for the Istituto Geografico De Agostini and for large companies such as Olivetti Between 1979 and 2012 he follows and documents Renzo Piano’s architectural projects His talent was recognized internationally: in 1972 Modern Photography included him among the “32 World’s Top Photographers”; three years later he was cited by Cecil Beaton in The Magic Image The Genius of Photography from 1839 to the Present Day selected by Bill Brandt for an exhibition at the Victoria and Albert Museum in London and in 1982 he is mentioned by Ernst Gombrich in The Image and the Eye Italo Zannier calls him “the most remarkable photographer of the postwar period.” In 2003 he is among the artists chosen for the exhibition Les choix d’Henri Cartier-Bresson while Hans-Michael Koetzle devotes ample space to him in the volume Eyes Wide Open and the exhibition The Italian Metamorphosis 1943-1968 at the Guggenheim in New York (1994) Among the most recent exhibitions: in 2016 True Photography Encounters at PalaExpo in Rome and in 2022 The Eye as a Craft at MAXXI Also notable is the reportage on the transit of large ships in Venice He has received numerous awards: the Scanno Prize (1981) the Lucie Award for Lifetime Achievement (2008) the Laurea Honoris Causa in Art History and Criticism (2009) the Kapuściński Prize (2014) and the Leica Hall of Fame Award (2017) His works are in the collections of prestigious international institutions such as MoMA in New York the Bibliothèque Nationale and the Maison Européenne de la Photographie in Paris the Musée de l’Elysée in Lausanne How many and what are the Italian paintings that were looted by the French in Italy at the time of the Napoleonic plundering that are now on display in the Louvre There are a total of about fifty canvases and panels by Italian artists requisitioned by the French that can currently be seen in the long Grande Galerie the Louvre’s gallery reserved for Italian painting from the Middle Ages to the eighteenth century While these works represent only a minority fraction of the Italian painting on display at the Louvre (many Italian paintings in fact arrived at the Louvre through other routes: purchases while others were in the collections of French nobles and were requisitioned at the time of the French Revolution) they are also a tiny fraction of what the French took away from Italy between 1796 Many works were in fact returned after 1815 and still others are today scattered among various French museums or even in institutional locations.Napoleonic requisitions in Italy experienced two main waves: the first was in 1796-1797 was planned by Commissaire Dominique Vivant Denon the first director of what was then known as the “Napoleonic museum” and today is nothing more than the Louvre when Napoleon began his military campaigns in Italy in 1796 the intent was not only political or territorial The goal was to plunder Italian cities of their artistic treasures and transfer them to France where they would help consolidate Paris as the new cultural center of Europe shifting the focus of knowledge and art from Rome and Florence to the French capital Napoleon’s armies regarded art as spoils of war to be taken from enemies and displayed as a trophy Among the hardest hit Italian cities were Rome places that housed some of the greatest art collections of the time Paintings by great masters of antiquity were torn from their original contexts and transported to Paris where they were displayed to the French public as emblems of the greatness of the Republic and some of the loot was returned after the fall of Napoleon and the Restoration the Congress of Vienna in 1815 stipulated that many requisitioned masterpieces should be returned to their rightful owners Particularly valuable in this regard was the work of Antonio Canova as commissioner of restitutions for the Papal States managed to return to Rome almost all the works that had been taken to France Not all other cities had the same good fortune and today many Italian works are still in France The Napoleonic requisitions had profound consequences not only for Italy but for all of Europe While the looting deprived Italian art centers of some of their most important works it also helped to spread Italian art in an international context this process brought with it an ethical and political debate that in part continues to this day The Napoleonic despoliation of Italian works of art is a fundamental chapter in the history of the relationship between art and power it is possible to admire many of these masterpieces but with the knowledge that behind those works lies a history of conquest and subtraction For the list we have compiled in this article we have taken into account some basic criteria only paintings by Italian artists currently on display in the Louvre were selected paintings by non-Italian artists that were nonetheless requisitioned in Italy (for example Rogier van der Weyden’sAnnunciation which was taken from the Galleria Sabauda in Turin in 1799) and requisitioned works by Italian artists that are currently in the Louvre’s storerooms or in storage at other museums (for example Giovanni Antonio Burrini’s Martyrdom of Saint Victoria requisitioned from the ducal collections of Modena in 1796 and now owned of the Louvre but on deposit at the Château de Compiègne museum) or on deposit at institutional venues (e.g. theApparition of the Madonna and Child to Saint Francis by Giulio Campi since 1960 deposited at the French embassy in Rome and requisitioned from the church of San Domenico in Cremona in 1796) we have not reported the original provenance of the work but its location at the time of its requisition (for example for Giotto’s Stigmata di san Francesco we have not indicated its original provenance from the church of San Francesco in Pisa but its location in the deposits of the Camposanto in Pisa when the work was requisitioned by the French) 2022 at 1:29 pm ET.css-79elbk{position:relative;}(Image via North Haven Funeral Home)NORTH HAVEN CT - (From North Haven Funeral Home) Robert A He was the beloved husband of 59 years to Jo-Ann Santoemma Cirillo 1942 and was the son of the late Pasquale and Caroline Mangino Cirillo He was the owner/operator of Cirillo Manufacturing in North Branford & East Haven was a member of the Westbrook Elks Lodge #1784 He was an avid fan of the New York Yankees and Dallas Cowboys Bob enjoyed horse racing and spending time with family especially their loud Thanksgiving dinners in Florida often organizing parties and get-togethers in CT and Florida traveling and spending time with his loving wife Jo-Ann Bob met his grandkids for breakfast every Saturday Morning He was always fiercely loyal and dedicated Bob will be greatly missed by all who knew and loved him Loving father of Robert (Dianne) Cirillo Jr Beloved grandfather of Sophia and Sydney Cirillo Carol Boyhan and the late John and Pasquale Cirillo Family and friends are invited to go directly to Our Lady of Mount Carmel Church/St to attend a Mass of Christian burial and are also invited to attend the committal service immediately following in All Saints Cemetery Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts. The restaurant is a venture of Giulio Laurentino a Naples native and former head chef at Anthony's Ocean View The 42-seat restaurant will be located at 121 Wooster St. The space, once occupied by restaurants Toni and Lucille's and Anastasio's is part of a larger building at the corner with Chestnut Street owned by Societa Santa Maria Maddalena in Little Italy Laurentino came to this country ten years ago and now lives on the East Shore with his wife and two children On the menu will be pizza Laurentino told the Register that the pasta will always be fresh Laurentino said he plans to keep the restaurant open 10:30 a.m Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts. Sign In Register The parish of Santa Maria in Dingli will be organising the feast of Saint Mary Magdalene in the chapel dedicated to this saint which is located at Dingli cliffs (near the radar) The feast will be celebrated on Friday 21 July Afterwards there will be a social activity for everyone to enjoy the sunset at this picturesque site This chapel is one of the most picturesque on the Maltese islands The chapel as it looks today was rebuilt in 1646 A translation of the Latin inscription on the door says: “The Illustrious Reverend Don Fra Michaelangelo Balaguer who at the time reopened and blessed this small church which had collapsed and with people”s donations it was rebuilt from scratch 15 April in the year of our Lord 1646.”  However the presence of the chapel goes back to at least 200 years before this a bolt of lightning hit the chapel which shattered the round window on the facade on the night between 9 – 10 December 2014 The chapel belongs to the Dingli parish and for many years served the spiritual needs of farmers and their families who lived nearby Historical documents mention the tradition of the visits on Passion Sunday and the devotion every Saturday and on the eve of the feast they used to light an oil lamp In the past it was also a point of reference for fishermen who used to sail on that side of the island The titular painting which shows Mary Magdalene and Christ the Redeemer was painted by Cavalier Pawlu Camilleri Cauchi in 2007 The feast is celebrated in July when the Church celebrates the liturgical feast of Mary Magdalene Acceding to a tradition which goes back decades after the Mass a bonfire is lit and there is a get together This area is very popular with locals and tourists who stop to admire the view and magic of the cliffs especially at sunset An ecological and cultural journey through the wonders of the Mediterranean, Siluna Fest returns for a winter edition dedicated to rediscovering four suggestive Calabrian parks, through meetings, shows and activities in dialogue with the environment. Four stages from November to December 2024 along the ridges of the Apennines, which will touch the Parco delle Serre, the Aspromonte, the Sila and the Pollino. Regional Park of the Serre - Saturday 23 NovemberSerra San Bruno and Mongiana (VV)The first meeting takes us between history and spirituality, with a visit to the Certosa di San Bruno and the ancient charcoal pits, accompanied by notes of Federica Greco and Paolo Presta. The day culminates at Palazzo Chimirri, with screenings, theatrical performances and a concert celebrating the territory. Aspromonte National Park - Sunday, November 24Antonimina (RC)After a walk through the streets of Antonimina, space for the meeting "If a country wants us", with the writer Mauro F. Minervino, which tells the value of small communities. The day ends with a poetic performance and the theatrical show "Burning Land". Sila National Park - Sunday, 8 DecemberSan Giovanni in Fiore (CS)A day of meetings to rediscover "the soul" of villages and places, between stories and dialogues with the anthropologist Mauro F. Minervino and the poet Franco Arminio, bearers of a new humanism that celebrates the mountains as custodians of precious traditions. Pollino National Park | 20-22 DecemberCampotenese di Morano Calabro (CS)Between cycling on the Bike Path of the Parks and debates, the three days in the Park of Pollino ends with a tasting of local products, accompanied by wines from the territory. Dance shows, silent cinema with musical accompaniment and concerts complete this intense journey in the heart of Calabria. Street viewInterestedCongress-ConferenceParide Literary ReviewApr 23 - 31 May other dates: Apr 26, 2025, Apr 27, 2025, May 3, 2025, May 4, 2025, May 9, 2025, May 10, 2025, May 16, 2025, May 17, 2025, May 18, 2025, May 23, 2025, May 24, 2025, May 25, 2025, May 30, 2025 and May 31, 2025 ParkSerra San Bruno Point of interestMorano Calabro MuseumMongiana Place of worshipSan Giovanni in Fiore MuseumSan Giovanni in Fiore Point of interestMongiana Last update: Nov 30, 2024 6:00 AMContent owned by the Calabria Region | Tourism and Commerce Department issued under CC-BY License Mary Magdalene in Ecstasy was found in a private collection in 2014 and is part of exhibition at National Museum of Western Art A long-lost painting by the Italian master Caravaggio is being shown to the public at an exhibition in Tokyo. Read moreMary Magdalene in Ecstasy was found in a private collection in 2014 and identified as an original by Mina Gregori, an Italian art historian and Caravaggio specialist The 1606 work was previously known only through copies made by followers of the artist The painting is one of 11 Caravaggio works in the show, Caravaggio and His Time: Friends, Rivals and Enemies, which opened at the National Museum of Western Art on Tuesday and runs until 12 June The show also includes 40 paintings by other artists who were influenced by him was an innovative painter widely viewed as one of the founders of baroque art His work influenced many other 17th-century artists Logging out of EU Login will log you out of any other services that use your EU Login account Use the CORDIS log out button to remain logged in on other services This is a machine translation provided by the European Commission’s eTranslation service to help you understand this page. 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