EThe kiss of prince charming - Strange and curious news

EThe kiss of prince charming - Strange and curious news

And the kiss of prince charming?

These Japanese, one thinks and a hundred do. They invented an anti-smog mask… and so far nothing new, many in our cities wear it but these are special; they are equipped with a zip to open if necessary, in case you are thirsty. Noble thought you will say but, who knows what Prince Charming would have done in finding Snow White asleep with her beautiful mask! The whimsical Japanese should be told to invent the bottle kiss!


Alberto Crispi


Город проживания


Родной город

Do you want me to believe that death, she too has fallen in love, has kidnapped you and keeps you here as her lover?

I have the cloak of the night that hides me, but if you don't love me, go ahead and find me, it would be better to die by their hands than to continue living without your love.

Arise beautiful sun, and kill the envious moon, which is already weak and pale with jealousy of you, her handmaid, who are more beautiful than her.
Stop serving the jealous one.

With the wings of love I flew over the walls, because you cannot put limits on love. and what love wants love dares!

I'll take you at your word. Just call me love.
And I will have a new baptism, my name is no longer Romeo.

Had my heart ever loved? Eyes deny him, because he has never known beauty until now.

Pilgrim do not despise your hand which has shown only devotion because the saints have hands that touch palm to palm, this is the kiss of the saints.

Saying goodbye is such a sweet pain that I would like to say goodbye until tomorrow. lovers run away from love as schoolchildren run away from books, but leaving love is like going back to school!

My only love comes from my only hate. Now I know who you are and I can't go back. Monstrous is the birth of this love.

Because this quarrelsome love or hated love all that was created from nothing, serious vanity, heavy lightness, disharmonious chaos of beautiful forms.

CESNUR - Center for Studies on New Religions directed by Massimo Introvigne

Dr. Antonio Margheriti

1 Trial of the corpse of Pope Formosus. According to legend, he was exhumed by his corrupt successor and by himself, having seated the body on the throne and clothed it with the pontifical insignia, was tried, condemned and thrown into the Tiber. Oil painting on canvas.

2 The body of Pope Gregory VII placed in a precious glass case in the cathedral of Salerno. Exhumed in the nineteenth century, many centuries after his death, the body was discreetly preserved as the sacred vestments he wore, among which a chasuble of the shape currently in use for the clergy, and the red color dominated over everything as the witnesses of the recognition: red is the color of papal mourning. The waxed body shown in the photo is covered with vestments designed and sewn on the same model as the original ones. On the two edges of the stole, two words: “PAX NOSTRA”. He died in exile in this city.

3 Santa Maria in Collemaggio, near L'Aquila. The tomb of the pope of the "Great Refusal" Celestino V. The remains of the pontiff were unearthed not many years ago, and subjected to an autopsy. He died from a nail stuck in his skull. Probably sent, for political reasons, his successor Bonifacio VIII. Today what is observed in the display case should be a stuffed wax mannequin. Note the vestments: he is not covered with the pontifical insignia, but with those of a bishop: at the time of his death Celestino had already abdicated for a year, therefore he was entitled to the funeral planned for his previous condition, that of bishop. It was the future successor Cardinal Caetani, bishop of Ostia, who consecrated him before he could ascend to the Soglio.

4 The small urn of the two Borgia popes, Alexander VI and Callisto III: suspended at the top, in an inconspicuous point of a side chapel in the church of the Spaniards in Rome, near Campo de 'Fiori.

5 The stupendous funeral monument of Pope Innocent XI Odescalchi. The pope's body was placed in the marble base that supports his effigy, the niche covered with a magnificent bas-relief celebrating a military victory of the papacy. From there it will be exhumed in the 1950s for his beatification, and placed in a crystal urn of a side chapel of the Vatican basilica.

6 The urn containing the body of Blessed Innocent XI. The face is covered with a silver mask.

7 The clumsy funeral monument of Pope Pius VII Chiaramonti. It was commissioned to a Danish Protestant artist: this caused a great sensation at the time. The work did not turn out well, and the artist also got the measurements wrong, so much so that many changes had to be made, which in the end worsened the complex. The sculptor Thorvaldsen justified himself by saying that within that colossus, St. Peter, it is easy to be misled by the prospects.

8 The funeral monument of Pope Benedict XIII Orsini, in Santa Maria della Minerva. Last Apulian and southern pope. Many noted that the splendor of this cenotaph was strikingly contrasted with the Spartan, monastic, even miserable life that this Dominican used to lead. However, he considered it appropriate to shine during the liturgical ceremonies, which were his great passion.

9 Detail of the sarcophagus. However, it is a cenotaph not a real funeral urn. The body of the pontiff, exhumed on other occasions (the coffin was opened only once), is not buried inside (see next photo).

10 Behind this simple marble slab the body of Pope Benedict XIII is sealed. Without signs or indications, this anonymous niche I discovered was not in the space of the church, but at the beginning of a corridor leading into the sacristy of the basilica, which overlooks the back of the funeral monument.

11 Funeral monument to Pope Clement XIV Ganganelli, in the basilica of the Santi Apostoli in Rome. It was the first funeral monument sculpted by the young Antonio Canova, commissioned by a rich Viterbo farmer grateful to the deceased pope. Clemente's death was pitiful, and the conditions of his undone corpse became obscene: for this reason they spoke of poison, throwing the blame on the Jesuits whom he had suppressed as an order. Extracted from the provisional tomb in San Pietro in 1803 to be placed in this monument, at the canonical opening of the coffin it turned out to be in extraordinarily good condition. The body of the pope in Santi Apostoli, contrary to custom, is buried within a front wall on the side of the monument, behind a common small tombstone surmounted by a prosaic light bulb, all in the manner of any burial niche in an Italian cemetery.

12 The last work of the old Antonio Canova. Pius VI in prayer. Pope Braschi had arranged, sinning in vanity, to be buried under Bernini's canopy, exactly in the central crypt of Saints Peter and Paul, in front of them. He was never buried there, also because he died in exile as a prisoner of Napoleon. However, this statue was placed there. It remained there until the end of the 1960s, when Paul VI ordered its removal. It is placed today in a point without sense of the Vatican Grottoes, in any case far from the sarcophagus that contains the body of Pius VI, in the same Grottoes.

13 Agony, in the French exile, of Pope Pius VI Braschi, 1799. Print.

14 Saints Vincenzo and Anastasio in the Trevi Fountain in Rome. The former palatine parish of the Quirinale, in a crypt under the main altar, houses the precordi (bowels and organs) of the popes from Sixtus V almost continuously up to Leo XIII. The internal corporis they are kept in earthenware amphorae.


1 Exhibition of the body of Pope Pius IX Mastai in the representative apartment of the Apostolic Palace in the Vatican in February 1878. Print of the time.

2 Funeral mask of Pope Mastai.

3 A popular interpretation of the exposition in pontifical robes of the body of Pius IX. Design of the era.

4 Closure of the door of the Apostolic Palace as a sign of mourning when the death of the last Pope-King was officially declared. Print of the time.

5 After the solemn funeral mass, the triple coffin of Pope Mastai, covered by a funeral blanket, is hoisted in the niche of the temporary burials of the popes, which until about 1920 had stood for centuries above the cantor's door, to the left of the Chapel of Choir in San Pietro. Here the popes lay until the death of their successor or until the funeral monument destined to definitively welcome the coffin was completed. The niche of the "provisionals" will be covered by the marble statue of Pope Pius X, and then moved to the side of the nearby Chapel of the Annunciation: the last pope, Leo XIII, was deposed there, waiting to leave for the Lateran, his final resting place. In the 1960s, this second niche will also be closed: by the huge bronze high-relief by Manzù, depicting Pope John XXIII.

6 Detail. Maneuvers for the burial of the coffin of Pius IX in the niche of the "provisionals" by means of winches. February 1878. Print of the time.

7 Monumental catafalque or Tumulus raised in the Sistine Chapel for the novendial funeral of Pius IX, February 13, 1878. The funeral with the municipal bier began immediately after the solemn funeral and the burial of the pope, generally three or six days after the Pope's departure .

8 Exhumation of Pope Pius IX in 1956. In reality it should be the third and not the first exhumation, and the coffin must also have been opened twice already: in 1883 and in the 1930s, but not officially. This could explain the blackening of the now mummy, due to the atmospheric agents that penetrated the box after the two openings.

9 The papal vestments of the pope are in good condition: note the great quality of the fabrics. At the time of Pius IX's death, the canons in charge were uncertain about the appropriateness of burying the pope with the precious planet used for exposing the body, and the possibility of replacing it with a simpler one was considered. The damage that can be seen on the body and on the vestments is also due to infiltration of humidity from the ground in which the coffin was buried in the special chapel of the basilica of San Lorenzo al Verano. In fact (this is unpublished), the pope's body was not placed in the raised sarcophagus that for years we have been told to be the pope's "tomb": it was a decoy. In fact, to avoid sacrilegious acts and profanations by the liberals (who shortly before, during the translation, had tried to throw the coffin into the Tiber), it was decided to bury the pope in a secret and anonymous spot on the floor of the same chapel. Hence the infiltrations of humidity that have damaged the remains.

10 Recomposition and new dressing in choir robes of the body of Pius IX, after the canonical recognition for the beatification process. The body, treated with considerable inexperience, is conspicuously damaged, the new coffin made up of one rather than three boxes will prove to be completely inadequate. The choir robes, even these out of the ordinary, were remedied by the reigning pope Pius XII, but did not correspond to those provided for the exhibition of a pope in a "choir" outfit.

11 Yet another exhumation of the remains of Pius IX in 2000. The mummy is even worse. Note the areas of the blue clothes: these are oxidations of the mediocre gilded materials of which the body was decorated in 1956 for the new burial: it is evident that the coffin had been placed in a place not sheltered from humidity.

12 Detail. Note along the band of the cassock the oxidized coat of arms of Pope Pacelli, to which the garment originally belonged and later donated to cover the body of his predecessor in 1956.


1 Pope Leo XIII on the funeral bed set up in the throne room of the Apostolic Palace, for the first semi-public exhibition for the benefit of Vatican personnel. He is dressed in regular choir robes, including camauro and mozzetta ermellinati. There was a dispute over this funeral bed with canopy that lasted centuries: the label reserved the funeral canopy only for the body of the pope, however cardinals and titled prelates of all sorts often arranged for it to be used on their deaths. A categorical Vatican circular under Pius IX strictly prohibited its use for the funeral exhibitions of ecclesiastics other than the pope, thus closing the dispute and years of abuse. Photo of the time.

2 July 1903. Pope Pecci on the funeral bed, after the embalming. Photo of the time.

3 Commemorative postcard with popular illustration: the body of Leo XIII exposed behind a fence in the Chapel of the Blessed Sacrament, in San Pietro, for the traditional foot kiss.

4 Photos from a period magazine: the fully embalmed body (it will be the last integral embalming with extraction of the precordi) of Pope Pecci, displayed on the oblique high bier (to improve the visibility of the body) in the chapel of the Sacrament.

5 Popular illustrated magazine of the time. The body of Leo XIII exhibited in the chapel of the Sacrament, watched over by canons and the noble guard. On the sides of the bier you can see one of the two hats that hung on it (usually placed at the foot of the deceased), the saturn and the galero, indicating two of the pontiff's jurisdictions.

1 Pius X just passed away, in August 1914, composed in the bed of his room. Very famous photos of the time that circulated in every format, especially devotional.

2 Pope Sarto exhibited on the bier in the throne room of the Apostolic Palace: the funeral "bed" with a canopy, still in use for the death of his predecessor, has disappeared, replaced by the more common bier draped in crimson velvets. There is also a serious drawback: the pope's body is in fast and considerable gaseous fermentation. The integument are tense, the swollen face the swelling of the belly more and more protruding, growing upwards, withdraws the clothes until the ankles are uncovered: those that in the photo for an optical effect would seem to be ankle boots (absolutely not foreseen in the papal clothing from about 800-1000 years) are actually devices patented on the spot by those who dressed and composed the body of the pope, to keep his feet together.

3 The body of Pius X composed on the litter is brought from the Apostolic Palace to the Vatican basilica. In the foreground, a very young Msgr. Enrico Dante, later a famous master of ceremonies and master of the ceremonies of the popes until Paul VI. He will leave his office in the early 1960s to be created cardinal in 1965. He will die in his eighties at the end of the same decade.

4 Again the transport of Pope Sarto. The quick breakdowns of his body were due to a fact. He was the first pope who, interrupting a useful secular tradition, established, and in writing in his will, the absolute prohibition of manipulating his body in any way and that therefore was exempted from embalming, which up to the predecessor, moreover, , had been internal and integral (but it was the last case), including the extraction of precordi to be translated into Saints Vincent and Anastasio. Knowing well, perhaps, to what indecorous risks his unembalmed body would have exposed in traditional long public exhibitions, Pius X also established that, breaking another centuries-old and solid tradition, his body would be exposed to the homage of the faithful for a single day and for only 8 hours. Then it was necessary to proceed to the early burial after solemn funeral. As a rule, the public exhibition lasted three days, not to mention that often two or three more days of private and semi-private exposure had to be added in the papal apartments.

5 One of the many popular postcard illustrations of the death of the "holy" and "poor" pope, at the time immensely loved by the simpler strata of the Catholic people. Much less was it by the slightly broader-minded cultural and clerical elites. Naturally, in the illustration of the period the papal appearance and vestments are "interpretations" of the draftsman, in many points not at all adhering to reality: note, for example, the thread of the baleen, which does not correspond at all to its regular shape, nor do the red lines (which should be golden instead) move in the direction that in the royal baleen had the grave error of representing the deceased pope with a white planet that must actually have been red, the color of papal mourning and the same goes for the strange chirotecas that Pius X's planet wears in this drawing, and of almost all the deceased popes, with the exception of John XXIII, was never gold-plated with arabesques but rather simple. It is a popular graphic reproduction adopted as a model for the deaths of popes Pius IX, Leo XIII and Pius X, in which the graphic was limited, each time, to simply change the face of the deceased, leaving everything else intact.

6 The first burial of Pius X in the Vatican caves. It will subsequently be moved to the new interim niche (it will be the last pope) in the side wall of the chapel of the Annunciation, and will remain there until the 1950s behind a simple slab of light marble. For the canonization it will be exumulated, the body encapsulated in a partly metallic casing and permanently exposed in a precious glass case set under the altar of the Annunciation chapel itself, where it still lies dressed in traditional choir robes, excluding the camauro.

7 St. Pius X in the glass case in the Vatican basilica. Very bizarre for a deceased Supreme Pontiff is the position of the arms, straight at the sides.It is difficult to know what technical necessity or what particular conditions of the body led the employees to compose in this way the shaped envelope that inside contains the remains of the Treviso pope. His coffin opened for the first time in the 30s and the last time in the 50s, it was said that it was found in good condition, "intact": not embalmed, probably it was a pitiful curial lie, otherwise it would have been shouted to the "miracle" (but forensic medicine could well have explained it). The pope's body was evidently in a very bad state. Otherwise, the silence that followed the survey would not be explained, nor the total lack of photographs documenting it, nor the heavy metal casing with which the remains of the real mortal body of the holy pontiff were in fact hidden forever from the eyes of the world. .

8 Pius X exhibited on the bier. The swelling of his body continues



January 1, 1922, Pope Benedict XV Della Chiesa died at 68 of sudden broncho-pulmonary complications. It is displayed on a low bier in the throne room of the Apostolic Palace. Watched over by various ecclesiastical figures, whose hierarchy, precedence and respective functions in the pope's death were rigorously cataloged by an ancient funeral ceremony. There are some Roman princes with a singular seventeenth-century collar.

2 The body of the pope on the bier in the throne room. He is impeccably dressed in pontifical vestments according to the ceremonial prescriptions for the pope's funeral, "as if he were celebrating", that is, dressed as when he solemnly celebrated Mass during pontificals. However, before the Second Vatican Council, the pope, except for the four solemn pontificals of the liturgical year, never celebrated in public, but in private sine populo, or possibly limited himself to attending Mass, celebrated in his stead by a cardinal, from the throne. . The papal vestments for the death of the pope, as seen in the photo, were: miter in golden foil edged with gold thread, or white damask edged with gold (possibly two crosses on the ends of the lemnisci) subcintorio cotta cassock and red dalmatic red stole red planet (usually simple with gilded frames. of course all the last ones of the “celebrating” were matched) red handpiece red gold-plated chirotecas papal ring gemmato baleen pallium red gold-plated slippers.
Note the crude cross leaning against the wall, used at the top of the processions for the solemn transport (the sacred one, not the military one, by noble guards or other lay personages who were responsible for it from time to time) of the papal body.

3 The noble guards carry the stretcher with the body of Benedict XV with low arms, probably towards the Sistine chapel. In reality, however, we have no news if there was really a stop in the Sistine Chapel also for the body of Pope Benedict: we see in the photo the pope already dressed in pontifical robes, as it was exhibited in the Throne room, vestments that as a rule had to be worn in the Sistine Chapel and not in the bedroom. In this photo, however, it could be the simple transfer of the pope from the private room to the representative apartment. It is interesting to note a bizarre detail: the pope's arms are extended along the sides and not composed on the lap with the fingers intertwined as usual.

4 The corpse of Pope Benedict behind the sumptuous gate of the chapel of the Blessed Sacrament in St. Peter, for the ritual (now only "symbolic") kiss of the foot by the Roman people.

5 An enormous crowd thronged at the doors of the Vatican basilica in that January 1917: Rome wants to give its last farewell to its bishop who died too soon.

6 The pope's coffin is lowered into the Vatican caves from the crypt of the Holy Apostles by means of winches: Peter is buried there, assistant to the burial of his successor "Peter". In the basilica there is a very young priest who works in the secretariat of state, Don Giovanni Battista Montini, who is also destined to become pope. He will leave a written story of this event, in which he expresses his dismay at the resounding of the noise of the nails that collect the pontiff and at the screeching of the chains that precipitate him forever in the semi-darkness of the basilica's basement.

7 Beginning of the novendials for the death of Pope Benedict in the Sistine Chapel, which take place in front of the monumental mound, according to an ancient and convoluted ritual.

8 The sarcophagus containing the body of Pope Della Chiesa. with the deceased pope depicted in bronze on the lid.


1 In February 1939 Pius XI Ratti died. Bedroom of the pontiff. The pope is dressed in traditional choir robes: white cassock with sash, red slippers, spool, red mozzetta edged with ermine, like the camauro, therefore the piscatory ring. Two noble guards stand guard on both sides, as required by the funeral ceremonial. In front of the bed there are two tall candles and a kneeler with the sprinkler: any cardinal or ecclesiastical dignitary can recite a short prayer of suffrage on his knees and at the end sprinkle the sacred papal body with holy water. Two Franciscans recite the offices of the dead in front of the bed: this religious order has a permanent establishment in the apostolic palaces, and the fathers all have the duties of penitentiary, so they are obliged to watch over, praying incessantly, the body of the pontiff. On the sides of the bed, two of the pope's families can be seen: the butler Monsignor Calori di Vignale from Casale Monferrato and Mons. Nasalli Rocca: both would still have spent many decades inside the Apostolic Palace, under the direct dependence of the various popes until Paul VI, who at the end of their career created them both cardinals. Kneeling, partially covered by the candlestick, we note Msgr. Carlo Confalonieri, the pope's private secretary, then his biographer, cardinal, dean of the sacred College and in this capacity he celebrated the funeral of two other popes in 1978. In this photo, the "transparent" prelate has always created a certain clamor, figure in motion on the door that like an ectoplasm can be looked through. of course it is an unintentional photographic effect.

2 Close-up of the pontiff on the bed in his room, with the camauro.

3 Illustration from a popular magazine of the time. The chamberlain of Santa Romana Chiesa, close to the papacy, Eugenio Pacelli, beats the infamous silver "gavel" three times on the forehead of Pope Pius XI, calling him three more times with his first name, asking him if he is "really dead" . In reality this rite has fallen into disuse since the death of Pius IX, and it seems that the then camerlengo Pecci was the last to use it. However, it seems that someone, either for misinformation or for an attempt to re-establish the ancient bizarre custom, will dust it off when reconnaissance of the body of Pope Ratti and placed it in the hands of the chamberlain Pacelli, so that he could investigate the death of the pope with it. The latter looked at it in his hands and skeptically, and perhaps a little for fear of ridicule, he turned to the bystanders and asked, in fact, refusing it, "but do you think that's the case?", And put it away.

4 A newspaper of the time announces the death and transfer of Pius XI, together with the condolences of the Italian sovereign and the leader of Fascism.

5 The pope exhibited on a high bier in the Sistine chapel, after the wooden gate. He is in choir clothes. Closed in the evening the chapel will be stripped of these garments and covered by the canons of St. Peter in the pontifical liturgical vestments. Only in the morning (generally) will we proceed to transport to the basilica.

6 Ratti's body is carried on the shoulders of chairs in scarlet livery along the Scala Nobile. At the top of the procession the prince assistant to the throne, always chosen among the exponents of some families of the black Roman aristocracy.

7 The Pope's novendials. The “novendiali” prayers and liturgies continue around the monumental papal catafalque (or tumulus), inaugurated after the solemn funeral and subsequent burial of the pope. They will close with the "Mass of the Holy Spirit" and subsequent enclosure in the conclave of the cardinals.


1 Agony of Pius XII. Illustration in a popular magazine, dated October 1958. Some figures of the papal family can be distinguished: Msgr. Angelo Dell'Acqua, mother Pascalina, the corrupt archiatrist (I am nominally) of Pope Galeazzi Lisi.

2 The scandalous and shameful photo taken secretly by the archiatrist of Pope Galeazzi Lisi: Pius XII is dying in Castel Gandolfo, on a cot adapted for the occasion and placed sideways. The archiatrist took these photos and saw them in a French newspaper, which published them, generating general disapproval. For months, Galeazzi Lisi had been illegally “selling” confidential information on the Pope's health and on the medical consultations he was doing. Upon hearing this, the pope did not speak to him from that moment on and avoided expelling him from the Apostolic Palace only out of respect for the doctor's brother, the architect Galeazzi Lisi, who was a gentleman and had a very high office in the Vatican City. however Pacelli exempted the doctor from any health service provided to his person (but in fact he had not used Galeazzi for months, due to manifest incompetence), but he did not officially deprive him of the title of archiatrist because, he said, "I do not want to starve or distort nobody. if he wants to stay in the Vatican, he must stay, but make sure I don't see him ”. It will prove to be a very serious mistake to underestimate the ingratitude of that ophthalmologist who owed everything to an act of esteem by Cardinal Pacelli many years earlier.

3 A further shameful close-up photo of Pius XII dying, where you can even see the oxygen straw hanging from his mouth. Here too the improvised "photographer" is Galeazzi Lisi, who used a very small Polaroid, hidden in his jacket.

4 His Holiness Pius XII, the “Pastor Angelicus” has passed away. The cardinal dean and interim chamberlain (Pius XII had not named one), the French Capuchin Eugene Tisserant sprinkles the body. They can be recognized starting from the foot of the bed: the corrupt "archiatrist" Galeazzi Lisi, Msgr. Tardini, Msgr. Nasalli Rocca, Msgr. Angelo Dell'Acqua, Cardinal Tisserant, Msgr. Federico Callori of Vignale.

5 The face of the newly deceased pope is already ghostly: “he opened his mouth to drink the last breath of this land”. On their knees and in prayer, the only people truly grieved and devoted to the memory of Pius XII, most faithful to him beyond death: the nuns of the community founded by Pacelli's long-time governess, mother Pascalina Lenhert (she is the one on her knees closest to the face of the pope), who will serve their Lord until the moment of his burial. He lives, they took care of his private apartments and the care of his person. Pascalina and her nuns, from this moment on will receive harsh and unworthy treatment from the survivors of the Sacred Palace, and indeed they would have been thrown out in bad way, had the generous cardinal dean Tisserant not intervened in their defense, even if tending towards prosopopoeia. .
At the corner you can see one of the two noble guards placed to guard the funeral bed on either side.

6 Pius XII on 9 October 1958, composed in his bedroom in choir robes, after having been washed (at his explicit request) by mother Pascalina and her nuns. Note the noble guard, the butler Msgr. Callori of Vignale and Msgr. Nasalli Rocca from behind.

7 A close-up image of the pope clad on his deathbed in choir robes: including red mozzetta edged with ermine and camauro done in the same way. But it will be the last: starting from John XXIII it was customary to dress the pope already in the bedroom in a single and definitive vault, and in solemn pontifical liturgical garments, "as if he were celebrating", that is, with miter, baleen, chasubles and all. the rest.

8 The Pope in the Sala degli Svizzeri in Castel Gandolfo has just been dressed in solemn pontifical robes, his face, although suddenly marked by thousands of wrinkles, is still composed and retains the serene solemnity of always. It will last a few more minutes: it has just been "embalmed" with a method of his "invention" (yet another) by the usual charlatan and incompetent Galeazzi Lisi, the ophthalmologist and archiatrist, who, he claimed, had received the Pope's authorization when he was alive to experiment with the conservative invention on his corpse. Result: in the space of a few minutes we witnessed the fastest and most revolting decomposition live in the history of forensic medicine.

9 The pope in the Sala degli Svizzeri, lying on the low crimson bier in pontifical robes: for the first time the brim is missing, that is the white train added to the cassock, which will disappear forever from the pope's funeral vestments also the spool, and all the rest , appears of modest quality. At the head two candles and two noble guards in full uniform. Waiting for the solemn transfer to Rome. A furious succession of transformative cadaveric phenomena has begun: it is the direct decomposition under the horrified eyes of the onlookers, following the aberrant “embalming” patented and practiced by the archiatrist Galeazzi Lisi. In this photo the pope's corpse swelled up in the belly area following the putrefactive gases that were created immediately above all, it turned gray in the face for the same reason, and from the orifices, especially from the mouth it pours dark sewage that flows along it. the face and settles in the eye sockets. The enormous effort to resist the nauseating smell emanating from the Pope's corpse is visible on the face of the noble guards: the alternation of guard shifts will from this moment be more and more frequent, to avoid excessive exposure to mephitic gases, and because many noble guards regularly faint exhausted by that smell of death. But the worst is yet to come.

10 L'Osservatore Romano announces the triumphal return to Rome of Pius XII's body from Castel Gandolfo: the whole Eternal City welcomed the “Defensor Civitates” with unprecedented participation and emotion. Inside a municipal hearse badly adapted to accommodate the coffin of such a glorious pontiff: it turned out to be arranged, very heavy, ultimately vulgar. However, the Vatican had requested in time to the municipality of Rome for the loan of a sumptuous funeral carriage with several white horses: the request to someone in the Campidoglio must have seemed very bizarre, and in any case it was immediately made known that the municipality did not have of these means of transport, if anything, a motorized hearse that yes, they had it, but modest for a pope.

11 The swollen and defeated body of Pius XII, after a stop at the Lateran, the pope's cathedral, is transported to St. Peter's and displayed on a high bier in front of the Confession, under the glory of Bernini's canopy. It is the first time this has happened: according to the ancient funeral ceremonial, the pope was never to be exhibited in front of the altar, but in the chapel of the Blessed Sacrament. So it is also the first time, since the new Vatican basilica exists, that a papal body does not pass through this chapel for the "kiss of the foot", thus interrupting the most ancient Roman tradition in the death of the pope. The chapel from this moment will fall into "disuse" for good.

12 Many have believed that this photo refers to the death of the corpulent Young XXIII. In reality it is the wiry Pius XII, whose body has swelled beyond belief, afflicted by corpse phenomena, including "cadaveric gigantism". During the transport from Castel Gandolfo, upon reaching the gates of Rome, a large and sinister explosion was heard around the pope's coffin: the clumsily embalmed body had literally exploded and tore apart. Once we reached the Lateran, it was necessary to proceed urgently, challenging horrible miasmas, to repair the devastated body of the pope as best as possible, for a transport that was as obscene as possible, uncovered (the pope must always be "visible" and cannot be exposed in the coffin neither closed nor open) within St. Peter's Basilica. However, many titidly remember, along the nave of the Petrine basilica, the tremendous whiffs that poured on the heads when the bier passed and the monstrous appearance of the pope: turned black, his nasal septum fell, then the facial muscles retreated and the cloister of the teeth in "a chilling laugh".

13 Second day of the pope's exposition in San Pietro. Someone remembers that the night before, when the basilica was closed, the pope's body was seen pulled down from the very high bier and lying on the bare floor of the church. Then a group of medical examiners and embalmers proceeded to do, as far as possible, a new embalming of the body, which was only an attempt to limit the irrepressible damage. As can be seen from the photo, with a series of cuts a showy wax or latex mask had to be applied to the once hieratic face of Pius XII, to conceal its now repulsive appearance.

14 Pius XII exhibited in the basilica, with a wax mask.

15 After the pope's burial, the novendial funeral continues. Erected the monumental bier in front of the Chair, the cardinals (at the foot of the princes of the church, seated on the steps, as was the custom at the time, their private secretaries) can be seen wrapped in their cloaks, who will meet in conclave after the Mass of the Holy Spirit. to elect the successor. We recognize, starting from the left, the cardinals Celso Costantini (who will die a couple of days later), Giuseppe Siri, third is perhaps Cardinal Tedeschini, fourth is card.Ottaviani (or card. Pietro Ciriaci), card Valeri, patriarch Roncalli destined to be elected pope (at his feet the secretary don Capovilla), finally card. Gaetano Cicognani. This is supposed to be the last monumental bier in the history of the church. After John XXIII, Paul VI ordered in his will: "no bier for us", preferring for himself, for the solemn mass of the funeral, his naked coffin placed on the bare floor, in the manner of the nobles.

16 The reigning pontiff, His Holiness Benedict XVI on the planet prays at the tomb of Pius XII in the Vatican caves, near the tomb of the Prince of the Apostles: according to medieval custom, for which the pope going down on a visit to pray among the tombs of his predecessors, “He enters the series of deceased popes”, to remind him that “sic transit gloria mundi!”.



1 Pope John while he is carried on his shoulders uncovered from the Apostolic Palace towards St. Peter's Basilica, passing through the square.

2 John XXII died on June 3, 1963, while the council was still open, and the basilica occupied by the tribunes of the council fathers: it seems this was the umpteenth reason for not proposing the chapel of the Sacrament for the exhibition, but, as for Pius XII, the center of the basilica in front of the Confession, on a high bier.

3 The embalming patented by the competent prof. Gennaro Goglia (still alive), who included, among other things, injecting many liters of formaldehyde-based preservative fluid through the main arteries, had excellent results. The body was perfectly preserved throughout the public exhibition.

4 A photo from above of the body of Pope Roncalli displayed on the high bier in San Pietro, gives us an excellent overview of the traditional pontifical clothes that the pontiff usually wears for his death and last exhibition. Among these the miter laminated in gold, the baleen with the pallium, spool and red chirotecas, and the slippers, the dalmatics, the maniple and the planet in the same color. The latter, in this case, is particular, being gold-plated and not simple with borders as a rule, and having the cardinal's crests of the deceased: it was an old planet given to him perhaps when he was created a cardinal by his people in the Bergamo area. However, one “historical” item of the pontiff's liturgical and funeral garments is missing: the brim, that is the white train of marbled silk, applied on the back of the white cassock. But moreover, Pius XII also lacked. However, this is absolutely the last (almost) old-fashioned funeral: on the death of the successor, all the liturgical and ceremonial apparatus of all time will disappear, from the classical pontifical vestments to the high bier. We were entering an era of papeurisation by the will of Montini and the worldly demagogic and populist spirit of the time, to which Montini was not insensitive.

5 Pope John, on the occasion of his beatification 38 years after his death, in 2001 was exhumed from the Vatican caves. Once the triple coffin was opened, it was noted that the "miracle" of prof. Goglia had withstood the challenge of time: the pope's body was well preserved, despite various blackening and slight colliquations in the sloping parts, the muscle mass intact even in its elasticity, will be left in a deposit for a few days in a lead box containing liquid conservative and antiseptic. So a few weeks later the body was recomposed, disinfected, cleaned, and treated again with preservative substances, and the uncovered parts were covered with a layer of wax. So he was dressed in choir robes, with camauro and mozzetta sealed this time, as opposed to the body of Pius X. Then, after the various public ceremonies, placed in a hermetically sealed glass case set under a side altar of the basilica, nearby of the Confession. However, it was noticed, some time later, that the glass case was perhaps not perfectly sealed: there was an unpleasant smell in the surroundings, a sign that the decomposing process of the remains had been reactivated following the entry into the urn of oxygen. It was extracted again and subjected to an antiseptic bath, immersing the body in formalin and salts, for several days, after which it was reassembled again in a hermetically sealed urn, not before having applied a new layer of wax on the face. and on the hands.


1 On 6 August 1978 Paul VI died at the age of 81 in Castel Gandolfo. Exhibited in the Swiss salon. Embalmed also with the intervention of the "technicians of thanatoprassi", in reality of the Roman practitioners owners of funeral companies, completely inadequate and unprepared for professional operations of such delicacy (especially on a supreme pontiff. This speaks volumes about the sloppiness of the church and of the curia of those times), the body was spoiled very quickly, being moreover the height of summer. Even spray cans of presumed conservative findings (according to the "practitioners") were used on the epidermal surfaces: in a few hours, on the other hand, fermentation was accentuated, and the pope's face became brick red and then greenish.

2 A well-known popular weekly of the time reports the first photo taken of the body just lying on the bier in the Apostolic Palace of the town on Lake Albano: the detail of the white bed cushions under the pontiff's head is very out of place, rather than those in use for centuries. strictly ceremonial, that is, in red brocatelle, or damask, or in any case in crimson velvet edged with gold thread. At this first moment the body of the pontiff is in good condition, although "it disappears more and more under the large red chasuble, but it even seems rejuvenated" recalled Giulio Andreotti, then Prime Minister, who was among the first to pay him homage.

3 Paul VI transported to Rome is deposited in the place which has now become regular for the exposition of the papal corpses, since the time of Pius XII: in front of Bernini's canopy.
At his death the centuries-old ceremonial tradition for the pious transit and funeral of the Roman pontiff was revolutionized and effectively canceled, which had come to codify since the Middle Ages, especially by the patriarch of papal ceremonies, Pietro Ameil, between '300 and' 400.
Already in Paul's will, he had ordered the cessation (for himself) of the monumental bier after the burial and for the novendials but the high bier was also abolished for the display of the body in the basilica, in use until the death of the predecessor. It was replaced with a low and reduced bier upholstered with red velvets, as seen in the photo.
But it is the ancient set of late pontifical vestments, which have made all the bodies of his predecessors equal and united for centuries, which is completely raided: from the baleen to the planet, from the dalmatic to the chirotecas, etc. They are replaced with a common red chasuble with stole, a smock, red moccasins all introduced by Montini, then the regular pallium and a white miter edged with golden tinsel. We have therefore witnessed a spolitiation from the papal insignia of all time.
In this photo the greenish color of the pope is evident and the swelling of the abdominal area following the gaseous fermentation, also due to the clumsy superficial embalming. On the side of the bier we note an altar-shaped cross and behind it groups of candelabra of the type that emerge from the crypt of s. Pietro, under the canopy.

4 With Paul VI the funeral liturgy is overturned. The solemn funeral mass is no longer at the church doors inside the basilica, and celebrated in the liturgical part in the choir chapel, but directly in Piazza San Pietro. Furthermore, the delivery of the pope, which lasted for centuries, must never be publicly exhibited in an open or closed coffin, but always displayed on an uncovered bier until the end of the solemn mass which then begins the burial. The body of Paul during the first public funeral in history is placed in a bare wood chest, with only an evangelary open above, and is in turn deposited on the travertine of the churchyard of the basilica, on the ground, as for the deceased nobles. Only later, at the end of the Mass, behind closed doors, having completed the last offices by the Sacred College, the first coffin will be sealed and encased in the other two, made of lead and precious wood.
In the photo the marble slab that closes the remains of Paul in the Vatican caves. In his "Spiritual Testament", Paul writes:>.



1 Pope Luciani, John Paul I, died in controversial circumstances, on 29 September 1978, after 33 days of pontificate. The methods of exposure, dressing and funeral are quite similar to those of the predecessor Montini.

April 2, 2005, John Paul II dies after almost 27 years of pontificate. A pope is for the first time in history exhibited in his private chapel within the Apostolic Palace. Before the professional embalming by forensic doctors and anatomists of the Tor Vergata University of Rome, the signs of the long hospitalization and the powerful drugs taken intravenously are visible on the face of the pope, the latter is responsible for the visibility of the venous network on the surface cutaneous. The body is visited by the chamberlain cardinal Martinez Somalo.

3 Displayed in the Clementine room of the Apostolic Palace, with an ancient ivory crucifix behind it and an Easter candle on the side. The funeral bed is covered in an anomalous beige, which has nothing to do with the colors for the pope's death or with the colors of the papacy in general. Its extra-ceremonial introduction went back to a personal taste of Montini.

4 Featured in a newspaper of the time.

5 Displayed in San Pietro on a reduced and beige bier. Three US presidents on their knees (in addition to their spouses and the US secretary of state), and there must have been a fourth, Carter, but there was no place for him in the presidential plane. It is an absolute novelty, except for a few Catholic sovereigns, previously ambassadors and not presidents of foreign states participated in the papal funeral.

6 The cardinal dean, as a rule, celebrates the public funeral of John Paul II in Piazza San Pietro. It is the German Ratzinger, prefect of the former Holy Office, destined to succeed him on the Petrine throne.

7 Last “closed doors” ceremonies. The master of ceremonies, Piero Marini, traditionally places the crimson bags containing the coins and medals of the pontificate, minted annually throughout the pontiff's reign, in the coffin of the pontiff.

8 As a tradition, a "family member" (the deceased had no relatives in life), in this case the private secretary, places the shroud on the face of the pontiff, to hide it forever from the impure eyes of the world.

9 The chamberlain seated in front of the uncovered coffin recites the last prayers for the deceased pontiff and completes and gives a formal reading of the last canonical offices, in the presence of the Sacred College, in whose hands the "potestas papae" is provisionally placed.

10 The box containing the pope's remains, sealed with nails and silicone, then tapes fixed with sealing wax hot stamped by the competent offices, is placed in the other two boxes, made of zinc (not lead in this case) and precious wood with the insignia superimposed and the data of the deceased pontiff.

11 The cobblestones weld the metal case, that is the second case, with a blowtorch.

12 The triple box now formally sealed in each layer, in the presence of the Sacred College, after the last prayers and the reading of the minutes, is lowered from the cobblestones into the newly dug cavity in the Vatican grottoes, in the same chapel that a few years earlier housed the body of Blessed John XXIII. A white marble slab will be placed on top.

13 Ground burial of the first non-Italian pope in 450 years, the first Polish.

EThe kiss of prince charming - Strange and curious news

The position of Nicola Legrottaglie (famous Christian footballer) on the contents and messages transmitted by the television program "Temptation Island" is clear. Here is his writing (thanking the pastor Nino Genova, of the Christian Church "Sharing Jesus", for allowing us to publish it).

We publish a letter from Leonardo Cutaia (former municipal councilor) regarding the failure to celebrate the celebrations in honor of San Rocco.

The Municipality of Grotte has published a "public notice for the formation of a ranking preordained for the temporary hiring of n. 2 skilled workers with "bricklayer / carpenter" duties - cat. B1 to be used in the execution of the works to be carried out in the municipality of Grotte with n. 2 Work sites for the unemployed".
The Administration has launched a public selection, based on qualifications only, supplemented by a practical test of suitability, for the formation of a ranking preordained for the possible temporary hiring of qualified workers with the duties of "bricklayer / carpenter" - Professional category "B1 "To be used in work sites financed by the Regional Department of the Family, Social Policies and Labor:
- Work site No. 014 / AG relating to the "Extraordinary maintenance and completion of driveways within the municipal cemetery west and central area ", expected duration 60 (sixty) days
- Work site n ° 015 / AG relating to the “Extraordinary maintenance of the internal road paving Via G. Meli", Expected duration 60 (sixty) days.
They can present application form (download the notice and the model) the candidates in possession of the following requirements:
a) Moral requirements referred to in Article 80 of Legislative Decree 50/2016
b) Age between 18 and 65 years old
c) Italian citizenship or citizenship of a State belonging to the European Union
d) Physical fitness for the job and for the specific job
e) Enjoyment of political rights
f) Absence of criminal convictions and ongoing criminal proceedings for crimes that prevent, pursuant to current provisions, the establishment of an employment relationship with a Public Administration
g) Not having been banned or not having been dismissed or dispensed from employment in a Public Administration, due to persistent insufficient performance
h) Educational qualification: compulsory school diploma (middle school or elementary school certificate if obtained before 1962)
i) Specific professional title: professional qualification of "bricklayer / carpenter"
l) Be in compliance with military obligations (for male competitors).
Interested parties must submit applications, on plain paper, by registered letter with return receipt or by hand delivery to the general protocol of the Municipality of Grotte, Piazza Umberto I, 92020 Grotte (AG), without exception and under penalty of exclusion within the peremptory term of 12.00 on 26 / 08/2019, using the model prepared by the office (download the notice and the model).

The Municipality of Grotte has published a "public notice for the acquisition of expressions of interest for the conferment of the task of supervision of works for the works to be carried out in the Municipality of Grotte by means of n. 2 Work sites for unemployed workers referred to in the financing decrees issued by the Regional Department of the Family, Social Policies and Labor".
The Administration will proceed, through the selection of public evidence, to the acquisition of expressions of interest by subjects in possession of the requirements prescribed for the assignment of Works Management to no. 2 (two) technicians, with specific skills, for the two work sites set up and financed by the Regional Department of the Family, Social Policies and Labor:
- Work site no. 014 / AG relating to the "Extraordinary maintenance and completion of driveways within the municipal cemetery west and central area ", for a total amount of Ђ 69,446.45
- Work site n ° 015 / AG relating to the “Extraordinary maintenance of the internal road paving Via G. Meli", For the total amount of Ђ 73,908.73.
The technicians will have to carry out the management assignment in 60 (sixty) working days.
Interested parties must send the manifestation of willingness to undertake the assignment (download the notice and the model), provided that you are in possession of the following requirements, under penalty of exclusion, as regards the site managers:
- Degree in engineering, architecture or equivalent, or diploma in Surveyor or equivalent
- Registration in the Register of Directors established at the Provincial Labor Office competent for the area
- Work experience in the design and construction management of work sites and public works evaluated with the presentation of a specific professional curriculum.
The curriculum vitae must be attached to the manifestation of availability (the content of which must be provided in the form of a replacement certificate of notoriety deed) and a further replacement certificate of notarial deed certifying:
a) Not to be in any of the conditions of exclusion provided for by art. 80 of Legislative Decree 50/2016 and subsequent amendments
b) I have read and accepted without conditions the public notice concerning the assignment of the job site manager for the unemployed, at the Municipality of Grotte
c) Registration in the Register of Directors established at the Provincial Labor Office competent for the area.
Interested parties must submit applications by registered letter with return receipt or by hand delivery to the general protocol of the Municipality of Grotte, Piazza Umberto I, 92020 Grotte (AG), without exception and under penalty of exclusion by 10.00 am on 26/08/2019, using the model prepared by the office (download the notice and the model).

Yesterday evening, Tuesday 20 August, the Grotesque footballer Desiderio (Derio) Garufo has signed the agreement that will tie him, for the next championship, to the amaranth club.
There Reggina 1914 has built a squad for the Tuscan coach, competitive in view of the next season in Serie C, and the player was among the squads for the retirement of Sant’Agata, from the first day of preparation. Garufo is one of the new faces that showed up at San’Agata on Sunday. An experienced right-back, born in 1987, known for his solidity in both phases.
Former Parma player, Garufo comes from the experience of Trapani and is looking for an immediate relaunch after playing 10 games last season. Fresh from victory of the last two championships, with the jerseys of Trapani and Parma, even as a supporting actor, has already been available to Toscano in the 2014-2015 season, the victorious one in Novara.

Tomorrow, Thursday 22 August, at 9.30 pm at Belvedere Kainon, at the lighthouse of Lido Rossello in Realmonte, the book of Salvatore PiconeOf brimstone and sword. Conversations with Vincenzo Consolo about Leonardo Sciascia"(Salvatore Sciascia Publisher).
A book that collects the interviews that Picone carried out, between 1998 and 2005, with the writer Vincenzo Consolo, a friend of Sciascia, and carried out in the places dear to the Racalmutese writer.
Precisely for this reason the book, introduced by the notes of Gaetano Savatteri and Salvatore Ferlita, takes on a particular value since the place and the occasions that dictated them emerge with arrogance from the "conversations" with Consolo.
In addition to the author, after the greetings of the mayor Calogero Zicari and the councilor for culture Paolo Salemi, Francesco Pira, communication expert, writer and lecturer at the University of Messina and Luciano Carrubba, lecturer in philosophy.
There will be moments of reading and musical interventions.
During the evening numerous copies of the book will be donated by the Italkali company to the manager of the comprehensive "Garibaldi" institute in Realmonte Graziella Fazzi. The books are intended for children from the schools of Realmonte and Siculiana.
The initiative is organized by the Municipality of Realmonte and by the Pro loco.

Friday 23 August, at 18.30 at theAtrium of the Municipal Palace of Racalmuto, the book by Vito Catalano by title "The night of guilt”.
After the greetings of the Mayor, Vincenzo Maniglia, and the President of the City Council, Sergio Pagliaro, the reports will be given by Enzo Sardo and Matteo Collura.
The book, against the backdrop of suggestive places in Sicily and Poland, tells and highlights that in everyday life it is impossible to escape from one's responsibilities, one's past and one's conscience. A thriller where the author, between the tension of danger and the throbbing of passion, highlights the relationship between the objective of justice and civil conscience.
Some photos of the artist will be exhibited in the same atrium of the Palazzo del Comune Lillo Miccichи which portray the places lived and frequented by the great master Leonardo Sciascia, while the entire exhibition of the Photo exhibition, which will be presented during the event, will be open to visitors at the premises of the Chiaramontano Castle where it will be exhibited until October 31st.
The evening will be animated by the InCanto trio composed of Jole Pinto (soprano), Gaetano Lauricella (oboe) and Michele Salvatore (piano). With the participation of Sofia Catalano (violin).

L'Popular Theater Academy, of Canicatti, Saturday 24th August 2019, at 21.00 on the stage set up in Piazza Umberto I in Grotte, will propose the brilliant comedy in three acts by Giuseppe Macrм "Fiat Voluntas Dei", for the directed by Aurelio Milazzo.
Considered one of the classics of Sicilian dialectal theater, written in the early twentieth century, it became part of Sicilian comedy.
The comedy is set in a small town in the Sicilian hinterland and sequences the daily life of a small community and the love affairs of two young lovers, Paolo and Anna, hindered by the preconceptions of his father and the jealousy of his cousin. , long in love with Paolo. The parish priest of the town, Father Attanasio, is involved in this affair, who, certain of the sincere affections of the two young people, finds himself in the front line fighting for their happiness.
Mara confesses to Father Attanasio that she loves her cousin Paolo and that her husband suspects of betrayal, but she cannot get away from Paolo. Due to the jealousy of Don Vincenzino, Mara's husband, a furious quarrel breaks out in the house of Don Gaetano, Paolo's father. At the expense of it is Father Attanasio who takes the defense of Mara. Meanwhile Anna confesses to Father Attanasio that she loves Paolo and that she would like to marry him and that his parents are against it. Unfortunately, the good news does not serve to appease Don Vincenzino's anger and jealousy, on the contrary, this forces him to take an interest in solving the problem. The thoughts and sorrows are many. Father Attanasio no longer sleeps at night, Don Vincenzino's threats made him weak, frightened and irascible. In the few moments in which he seeks rest during the day due to fatigue, his perpetuals, Donna Cosima and Donna Damiana, complete the work. One morning finding him resting, destroyed by sorrows, thinking the worst, after having "cunsatu" they begin to cry. The comedy thickens in the plot and in the twists and then, at the end of the third act, brings together all the characters of the story for a final clarification. Don Girolamo father of Anna, Don Gaetano father of Paolo meet in the rectory with Father Attanasio and ask him for explanations of what is happening. In the end, Father Attanasio manages to take matters into his own hands. The young people are recognized as "ziti" by their parents, Don Vincenzino finally finds peace and gets closer to Mara and everyone celebrates the "Promessi Sposi".
Characters and performers: Aurelio Milazzo (Father Attanasio), Giuseppe Scrimali (Vincenzo), Barbara Milana (Mara), Tonino Lo Bue (Don Gaetano), Alfonsa Messina (Barbara), Maurizio Lalicata (Paolo), Nives Di Pasquali (Anna), Gaetano Ricotta (Don Girolamo), Aurora Ferrante (Nenza), Isabella Lalicata (Clementina), Maria Nora Rizzo (Pippina), Emanuele Vella (Marianu), Salvatore Quartuccio (Mastru Ciccinu).

Sunday 25 August, at 9.30 pm in Piazza Umberto I at Grotte, will be staged "Fior de. Theater 3"-" Of the sea, dreams, life and travel ", show written and directed by Giovanni Volpe (with texts by Giorgio Gaber, Fabio Geda and Maurizio Lastrico), edited by the "ArTesia" Association. The characters will be played by Aurora Majorini, Andrea Decaro, Rosi Mandracchia, Gabriele Ciraolo, Marianna Rotolo is Giovanni Volpe with the participation of Flavio Neri (guitar and harmonica).
This show (repeated in Sciacca on 27 August) is the third chapter of the "FIOR" series produced by Artesia and written and directed by Giovanni Volpe.
In the latter, certainly the most political of the three, in a rapid succession of monologues - sometimes brilliant, sometimes not - we try to focus on the problems related to the difficulty of being coherent with humanity that we should have in endowment at the moment of birth, in a society that tends to commodify and monetize more or less everything.
An actress, Aurora Majorini, (in "Who do you want me to be?" By Giovanni Volpe) stops dreaming and claims that the promises that the Theater had made to her when she loved him before working on them are kept, Andrea Decaro, (in "Pornobisogno" by Maurizio Lastrico) he discovers that love was not what he saw on red light sites and is horrified at the evil that DIY porn videos can do a woman, Rosi Mandracchia, (in "Twenty years, always "by Giovanni Volpe) claims the right not to love anymore and to take back his life because all kinds of love should end by euthanasia a man, from the cover and in his underwear, Gabriele Ciraolo, (in" Dissenso "by Giovanni Volpe) denounces the fake dissent and the fake scandal of the current men against and compares them with that 70's culture that really tried to change the world a young woman, Marianna Rotolo, (in "Sogno in due tempo" by Giorgio Gaber) ago a dream that will soon turn out to be a nightmare and a daring one lesco rescue at sea the roles of castaway and savior will be reversed in closing, Giovanni Volpe, (in "In the sea there are crocodiles" by Fabio Geda) tells in first person the true story of Enahiat, an Afghan child abandoned by his mother to ten years for it to reach the West which it reaches after a journey that lasted 13 years.
On stage, in addition to off-screen music, the voice, guitar and harmonica by Flavio Neri.
The show (see the promo) is sponsored by the Municipality of Grotte.

Zaffuto and Thaler

In a society where everything happens in a hurry and where those who stop feel lost and delayed with respect to the mass, the value of reflection and intimate and personal discernment takes on even more importance, so much so that it is at the center of specific debates and studies.
The doctor tells us about it Calogero Patanella in his "Unreserved mental power", an essay by BookSprint Editions and available in the classic paper brochure format. The work probes human balance, focusing on methods and techniques to find the right balance.
86 pages full of food for thought, which combine theory with practice to stimulate and feed the vital energy that is in each of us, and which is the basis of psycho-physical well-being, which allows us to really obtain the things that we more strength and conviction are desired. The path identified by the author is precisely that of self-awareness of oneself, in the certainty of being able in this way to dominate negative emotions and instincts and learn to listen to oneself.
Born in Grotte (where he still lives and works), a small Sicilian town in the province of Agrigento, on 1 November 1953, Dr. Calogero Patanella graduated in Medicine and Surgery in 1979 and specialized in Pediatrics in 1981 at the University of Palermo. Married and with two daughters, he has always developed his hobby for philosophy, religion and the human sciences, which he carries in this essay that welcomes all his passions.
A volume that teaches to have faith and thirst for knowledge, which are the basis of self-acceptance, intelligence and the will to live positively.
A book that is interesting because it offers several reasons to rethink one's behaviors and habits, which opens the mind, but which is also a new starting point for restoring one's balance, starting from the strength of one's mind and some simple practical exercises. to be implemented in everyday life.

The "Sponsorship Readings" are an experimental tool that offers a free spousal perspective to the readings of the Sunday liturgy. They are managed by the group "Amore и." (See the official website), active since 2006 in the diocese of Palermo, to foster a moment of reflection within couples and in ecclesial communities. The readings are commented by engaged couples and spouses (including the Grotesque Vera and Francesco).

We often like to imagine God's presence in the family and in society as a refreshing breath, a sort of balm capable of covering wounds.
God loves peace, it is true, and he invites us to be builders of it. But His love for peace, as today's readings remind us, does not amount to a sort of sugary - clouding and mystifying - cover of relational truths.
The Gospel presents the encounter with Christ as contact with a living flame, the flame of the Spirit, and foretells us that the baptism of fire experienced by Christ himself must extend to each of us, transforming us at the root.
In some situations, bearing witness to him, being faithful to him, can also mean distancing oneself from one's own environment of origin, from some erroneous forms of mentality of which the family, in spite of itself, becomes an incubator.
It is significant that the family relationships mentioned by Jesus are all "vertical", asymmetrical relationships, that is, relationships that the culture of the time of Jesus interpreted in a logic of subordination and obedience (father / son, mother / daughter, daughter-in-law / mother-in-law) .
No family or social authoritarianism can prevent us from living the full life of the Gospel, the life of generous and merciful love.
Chiara and Fabio

Key point .
Today, in the West, we are no longer in the grip of patriarchal or tribal oppression.
But the family can easily become a vehicle for false beliefs that are equally alternative to the Gospel.
From emotional consumerism to domestic violence, from the lack of communication to hedonistic individualism, there are many models and behaviors against which we must not be afraid to fight for the love of the Gospel.
Like the psalmist, we can always hope for God's saving embrace.
Like Paul (and like all the saints), we are invited to keep our gaze fixed on the example of Jesus so as not to lose heart during the athletic effort of existence.
Because even if we ended up in a well overflowing with mud, like Jeremiah - if we were, that is, submerged by the mud of power, which cannot bear the prophetic voice of the Scriptures, always against the tide - we would still have the certainty of God's love.
We would know that, along mysterious and inscrutable roads, he is already working for our salvation, making use of men, means and ideas.
Chiara and Fabio

Declaration of the environmental councilor Enzo Agnello regarding the resignation request presented by the council group M5S Grotte.

Raniero La Valle, journalist and intellectual, was director of "L’Avvenire d’Italia" and was a member of parliament several times.

The "Sponsorship Readings" are an experimental tool that offers a free spousal perspective to the readings of the Sunday liturgy. They are managed by the group "Amore и." (See the official website), active since 2006 in the diocese of Palermo, to foster a moment of reflection within couples and in ecclesial communities. The readings are commented by engaged couples and spouses (including the Grotesque Vera and Francesco).

The feast that the Church celebrates today, in the heart of summer, is the solemnity of the Assumption of Mary.
The mother of Christ was the first of believers to be brought, in body and soul, to her Son Jesus.
It was the first of the risen to witness that all of us are called to rise with Christ from bodily death, since God is the Lord of Life.
Mary is the one who guides us on the journey towards the Father, in the heart of the Holy Trinity, showing us the way and making herself a precious and diligent traveling companion for us.
It is she who helps us to fix our gaze higher, beyond our earthly limits, beyond our successes or failures, beyond our wounds and our miseries, showing us that there is an elsewhere, a higher and more airy goal , a greater project of Love that embraces our whole existence.
She who is the mother of the disciples and our mother, was able to generate the Son of God made flesh in her flesh because she believed in the Word of her God, she decided to trust in God and to be, with her body, humble and silent. abode that welcomes the Holy Spirit, and be fertilized by divine Love.
Through Mary we discover that God needed, in order to send His Son into the world, a woman's body, a mother, a family, as a privileged place where love can be incarnated, be fruitful and bring life.
God has done great things in Mary: as many great and stupendous works can the Lord accomplish in us if we only believe in him, if we let him do and work in our lives, if we abandon ourselves with the trust of a child in his arms, if we we allow him to dwell in us.
Chiara and Fabio

Key point .
In the assumption of Mary, God shows us his project of redeemed humanity.
Thanks to the merits of Christ, Mary conceived without sin is today clothed with a further grace: her body is welcomed into heaven.
A chosen woman, she is born without original sin, she welcomes the Word of God, allows the gestation of the Word and in her the Word becomes flesh.
Today's Feast shows us Maria as Dante describes her: "daughter of his son".
Like a gestation, as a disciple, she prepared herself throughout her life to be "Holy and Immaculate in his presence in charity".
The wise and vigilant virgin is born into heaven today.
That child, welcomed in her arms after childbirth, is there waiting for her: Mary is the first fruits among the redeemed children of God, she is the sign of the promise made to humanity, she is our "already and not yet" that encourages us every day to persevere.
Rosalinda and Francesco

From 24 to 30 August 2019 will take place in the Municipalities of Aragona, Comitini and Caves, “Innesti”: festival of theater, music and circus organized by "La Biddina" and "Santa Briganti" with the patronage of the Sicily Region and the Municipalities of Aragona, Comitini and Grotte.
“Widespread” is the key word. A program of 10 shows in 5 days will alternate on the stages of the three municipalities.
A unique billboard, which overcomes the political barriers of geographical maps, bringing together this small enclave of communicating countries, with the aim of activating a virtuous circle that promotes the sharing economy. A festival that believes in neighborly relations, which brings together associations active in the area, institutions and artists, which invests in the creative potential of young people.
The creators of the festival are two cultural associations: "La Biddina" and "Santa Briganti".
La Biddina was born in 2017, in Grotte (AG), on the initiative of a heterogeneous group of young people from Grotesque. The non-profit association contributes to the enhancement of the territory and the involvement of the community through the promotion and implementation of cultural, artistic and social utility activities. It aims to create a movement from below that can give life to an interested and aware community, socially active, empathic, attentive to the environment that surrounds it in order to appreciate, enhance and develop the territory as a human, material, landscape and urban resource. . The association, in these two years of activity, encourages the participation and inclusion of the community, through workshops and laboratories, and the enhancement of the territory, in particular of the historic center of Grotte, thanks to widespread performances of performing art and works by public art.
Santa Briganti Vittoria was founded in 2007 as a cultural association. In 2007 he organized, together with other partners, “Sciapitт - Circo Teatro Cabaret” in the heart of Ragusa. Finisterrae was born in 2008, a mid-summer party event. In May 2009 the adventure of the Scenica Festival begins in Vittoria (today one of the flagship events of the Hyblaean territory) and since 2010 it has been responsible for the programming of the contemporary theater season of the Vittoria Colonna di Vittoria Theater. Every year it organizes and produces the Wunder Show, a circus gala with artists from all over Europe. Since 2011 the association's activity has been recognized by the Tourism and Entertainment Department of the Sicily Region in 2018 Scenica is one of the festivals recognized by the Ministry of Cultural Heritage, the only reality in the sector south of Rome. During the year it also carries out training activities through permanent workshops and laboratories aimed at children, teenagers and adults and supports contemporary creation through residences and administration and dissemination services.
What is "Grafts"? From agronomic practice to the festival.
Grafting is an agronomic practice for the multiplication of plants carried out with the fusion of two different individuals. It is a very ancient technique, already present in China thousands of years ago. Sometimes it happens spontaneously in Nature, when the branches of two trees touch and grow side by side. From practice to festival.
The first graft it was done between La Biddina and Santa Briganti, grafting a small branch of Scenica, the festival organized by Santa Briganti, in Grotte.
The second graft interested the three municipalities, which by demonstrating their availability and interest, make it possible to carry out the festival. Despite the difficult economic time, Innesti can offer young people and their families opportunities for meeting, socializing and growth. One of the fundamental elements for the organization of the festival is also the activation of synergies between Biddina, Santa Briganti and realities operating in the area: the Easily association and Carola Mistretta, which allow a proactive dialogue with individual municipalities.
The third graft, the mission of Innesti, concerns the three communities, which by experiencing the festival, will be able to share moments of culture and joy in front of the stages of the Municipalities. The theater is a formidable tool not only for fun and entertainment, but also for training, growth and prevention. For those who do not consider cultural activities as ephemeral moments, but as irreplaceable tools that combine to define the quality of life.
Why is this festival held? The two associations answer.
We believe in neighborly relations, we carefully study the dynamics of users and their flows, we build moments of growth aiming at a very high qualitative value of performance, involving only professional performers and artists. We consider festivals moments of growth with a strong social impact, with an important cultural and economic impact, especially in the long term"(La Biddina).
It is always particularly exciting to actively participate in the birth of an event. It means opening a window into a still unknown world, peeking to see what happens and hoping that all the work, effort and expectations will be fulfilled. Innesti was born as a small festival that already thinks big, a festival that does not want to be just a moment of show and entertainment but also an opportunity to meet and create bonds between communities. When I was asked to take care of the programming, I immediately thought of a multidisciplinary proposal, capable of ranging between genres (from theater to music, from circus to puppetry) and capable of involving different audiences: there will be shows specifically designed for the little ones, shows for the whole family and others aimed at an audience of children and adults. I am happy to have been involved in this beautiful adventure, and I am very happy to risk the company with the La Biddina Association in whose desire to do, to be there and to believe in the territory I recognized the same spirit that motivated several years ago me and the boys of the Santa Briganti association. Grafts will not fail to amaze, amuse and excite, I can't wait for it to start"(Andrea Burrafato for" Santa Briganti ").

Below is the festival program.

Saturday 24 August, 9.30 pm, Marconi Square, Caves: Mimм Sterrantino, Marco Corrao, Davide Campisi in "Liggenni". Free admission. Eight Sicilian legends in music. Liggenni is a project that mixes Sicilian musical tradition and modernity. Eight unpublished works that speak of Sicily. Two songwriters who join forces to propose an unprecedented project to enhance the area with an experimental flair that winks at the past.

Sunday 25 August, 21.00, Villa Vella, Comitini: Teatro Degli Spiriti in "The Frog Prince"Puppet show and storyteller. Dramaturgy by Salvino Calatabiano, Puppets by Vito Bartucca, Puppeteer Salvino Calatabiano, Production of the Teatro Degli Spiriti - Piccolo Teatro Patafisico. Free admission. From 3 years old. The Bubble Witch turns Prince Charming into a Frog. The only way to return to the handsome prince he was is to anger the Patient Princess. With the help of the narrator Crapapelata the Frog prince will try the difficult task of making the princess angry. A fairytale with an unpredictable ending. For those who are children, and for those who want to become children!
Sunday 25 August, 9.30 pm, Villa Vella, Comitini: the La Strada Brothers in "Mollie & Vanilla. Universal Vintage Delight. Free admission. The diva and the crooner. Between pallettes, sequins, gaiters and feathers. Calypso, mambo, tango and cha cha cha. Swing, jazz, chanzonne and tip tap. All in a cabaret sauce, pisitos, cellars, cafй chantants and tabarins. Concert-show that retraces universal classics of the first half of the 1900s, revised and arranged for guitar, violin and two voices. Absurd mood, show gag, continuous changes of costumes and atmospheres. Brilliant comedy addictive rhythm.

Monday 26 August, 21.00, Harmony Theater, Aragon: Giacomo Guarneri in "Danlenuаr”.
Theatrical story by and with Giacomo Guarneri, La Pentola Nera production. Free admission upon reservation. Danlenuаr is a love story set at the time of the mining disaster in Marcinelle (Belgium, 1956). Antonio, trapped at the bottom of the burning mine, turns a last thought to his Genoveffa, married seven years earlier, on the day of his departure. The memory of their history passes through the re-enactment of an epistolary relationship and itself consists in a long letter, never written, only imagined, 1035 meters below the earth. The writing comes from a field research work in Abruzzo, and experiments the construction of a collective memory starting from the individual memories of the veterans and widows of the victims of Marcinelle.
Monday 26 August, 10.00 pm, Piazza Umberto I, Aragon: Monsieur Barnaba In The Suitcase. Free admission. For the whole family. An intelligent and fun play, for children from 0 to 100 years old, conceived and staged by Mario Barnaba. You will see him performing with: rubber chickens, eggs, brushes for sanitary hygiene, plungers and other curious junk, without neglecting the classic ones, balls, balls and clubs. and beware, sometimes he jokes with fire! "In valigia" is Barnaba's playful game with his audience who, in a succession of comic situations and clawnesque gags, gives 45 minutes of pure fun.
Monday 26 August, 10.30 pm, Piazza Umberto I, Aragon: Samaki Confused Girl. Free admission. For the whole family.
A juggler? A tap dancer? An actress? Samaki can do everything. or maybe he doesn't know how to do anything. He tries them all and never knows where to start. Eventually he mixes all the worlds he feels a part of and the result is a confused but crackling agglomeration of energy. The audience becomes the protagonist of a delusional journey in which chaos finds its order between a swing, a step and a shuffle!

Thursday 29 August, 17.00 is 19.00, Municipal Library, Caves: Simona Malato in "Words and Sassi". The story of Antigone in a laboratory-tale. Concept and dramaturgy by R. Palminiello, L. Quintavalla, P. Romeo, A. Scotti, R. Sfragara. Artistic direction by Letizia Quintavalla. With Simona Malato. Admission by reservation to participate in the workshop 8-10 years / 11-13 years. Free admission to watch the show. Antigone, an ancient story of brothers and sisters, of failed pacts, rituals, unwritten laws and blind fortune-tellers, has been narrated over the centuries starting from the drama written by the Greek poet Sophocles in 440 BC. Now, 19 actresses, each in the their region, with only a small heritage of stones, they tell it to the new generations, who in turn will tell it to others. The stones symbolically fix the words and link thought and action together. Sometimes moved like on a chessboard, others left motionless on the ground or thrown into anger, the stones become prompts for gestures from which the tragedy unfolds.
Thursday 29 August, 10.00 pm, Piazza Umberto I, Caves: Quartiatri Company in "Where the same hands ". Text and direction by Dario Mangiaracina and Dario Muratore. With Dario Muratore. Original live music by Dario Mangiaracina. Production Company Quartiatri. Free admission. The show is divided between Italian and dialect in a story that narrates a man killed by mistake by the Mafia. As in the most classic of stories, Pino appears in a dream to his younger cousin and, before delivering him an immense and saving fortune with his fateful lottery numbers, he evokes a distant childhood, nursery rhymes, old times, hunger. In the irony of a death by mistake, all the mistakes of a land pass through the actor's fingers, and the garden of the Mafia dead is the backdrop, a sort of secular paradise where, by mistake, Pino really passed away. . Among olive and carob trees, the words unfold like a long procession that crosses Sicily and the whole of the South, traveling from above to forgotten places, so that they resurface in memory stripped of their violent garments, now touched by a rarefied light.

Friday 30 August, 19.00, Marconi Square, Caves: The Spirits Theater in "Little Red Riding Hood". Show for puppets and storyteller. Dramaturgy by Salvino Calatabiano, Puppets by Vito Bartucca, Puppeteer Salvino Calatabiano, Production Teatro degli Spiriti - Piccolo Teatro Patafisico. Free admission. From 3 years old. In a small country village lives a sweet girl who always wears a red hood, so much so that everyone has forgotten her real name and started calling her Little Red Riding Hood. Little Red Riding Hood is a cheerful and careless girl who by chance finds herself alone in the woods. And who can he meet in the woods? The wolf! One of the best known tales of the tradition revisited in a completely new and very funny form.
Friday 30 August, 9.30 pm, Piazza Umberto I, Caves: Peppe Macauda in "Kryptonite". Dramaturgy and direction by Orazio Condorelli, lighting design by Salvatore Frasca, organization of “Santa Briganti”. Free admission.
There are two ways to overcome one's frailties: hide them, showing off a fake ease, or have the courage to show them. The protagonist of our adventure belongs to this second category. A story that revolves around the theme of vulnerability, understood not as weakness but as an unavoidable quality of the human being, as a power that finally allows us to question ourselves and our identity. Adolescence, the right moment to set the story. The age when you want to have exceptional powers to be able to defend yourself from kryptonite, which makes you feel lonely and weak. Personal issues that hide within them universal, intergenerational issues that affect us all: love, memory, detachment but also courage and above all the desire to never give up.

Statement by Hon. Rosalba Cimino, deputy of the 5 Star Movement in the Chamber and member of the XIII Agriculture Commission, for the anniversary of the tragedy of the Morandi Bridge.

Good Wednesday evening in poem "I want to love you" I. Malcotti - art C. Alexandre - song "Flesh for fantasy" Leave a comment


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Good Monday evening in poem "If love must .." Tagore - art Enjolras - song "Street of .." by B. Springstein Leave a comment

Delphin Enjolras - Woman arranging flowers


- Rabindranath Tagore -

If love is to be denied me,

because the morning breaks his heart

in songs, and why these sighs

that the south wind disperses

among the newly sprouted leaves?

If love is to be denied me,

because it brings the night, in sorrow

silence, the pain of the stars?

And why this crazy heart throws

recklessly throws out hope

on a sea whose end does not know?

Delphin Enjolras - Woman reading

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The Constraints Of Silence by Enedhil

Fandoms: The Lord of the Rings (Movies), The Lord of the Rings - All Media Types
  • Creator Chose Not To Use Archive Warnings
  • Aragorn | Estel & Legolas Greenleaf
  • Eldarion (Tolkien) / Original Character (s)
  • Aragorn | Estel / Original Male Character (s)
  • Legolas Greenleaf / Original Male Character (s)
  • Aragorn | Estel
  • Legolas Greenleaf
  • Eldarion (Tolkien)
  • Lanthir
  • Thranduil (Tolkien)
  • Éomer Éadig
  • Arwen Undómiel
  • Original Elf Character (s)
  • King Aragorn
  • Post-War of the Ring
  • Mirkwood

Gondor, the Lands of the Mortal bloodline, and the Wood of Foglieverdi, the realm where immortal creatures still dwell.
Two kingdoms divided by mountains, valleys, rivers and immense expanses, but united by four hearts that beat in the fury of feelings and by as many spirits that yearn to find each other, to be able to savor each other once again or to discover and get to know each other for the first time.
Winter is almost upon us and several months have passed since Aragorn left his son to the Elves to make him a warrior. But what has changed for that young man who ran away from home to discover a long-dreamed fairy tale? Can rules and respect change a desire born violently in a few days?
And for Aragorn what has changed in that time spent away from the creature that possesses half of his soul? How long can two friends get lost in a passion that becomes more ardent every single day without being enveloped and burned by the fascinating flames of lust?
How long will Aragorn and Legolas be able to maintain those ephemeral barriers between what they had become and what, over and over again, had repeated themselves that could never have been?

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