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Italian Folk Healing and Magic

Italian Americans have long been defined by their religious beliefs and practices. During the great wave of immigration, the Irish-dominated Roman Catholic hierarchy identified Italian immigrants as the "Italian problem" and mere "sacramental Catholics" due to the latter's popular anti-clericalism, the seamless blending of witchcraft and ecclesiastic teachings, their deep devotion to the cult of the saints and the Virgin Mary, and the spectacularly staged feste that mixed the sacred and the profane in streets across America. During the 20th century, Italian American spirituality and religious practices have undergone significant transformations with shifts in theological tenets, economic status, and the political climate. -John D. Calandra Italian American Institute and The Italian American Studies Program of Queens College

"There are more things, Lucilius, that frighten us than injure us, and we suffer more in imagination than in reality."

-Seneca, Epistulae ad Lucilium

Conjuration/Spell Craft

In sympathetic magic, the most important thing is working when the moon is right for your specific intention. To attract a certain condition into your life, (i.e.: love), work when the moon is waxing. To rid yourself of a certain condition such as an illness, or hex-breaking, work when the moon is waning. To have your wishes granted, or to give thanks when the moon is full.

Italian witches also know that prevention is the best protection. Be cautious with your hair and nail clippings. Make sure to always take possession of them after a haircut, manicure and or pedicure and then burn them. If your enemy should ever get a hold of them, they can cast evil upon you.

If you wish your hair to grow luxuriant and your nails to grow strong and longer, trim the ends during the waxing moon.

Days of the Week To Cast Spells

Sunday is ruled by the Sun: this is the day I

normally choose to cast spells or perform rituals related

to success, ambition, career, healing.

Monday is ruled by the Moon: cast spells for

psychic powers, clairvoyance, home, childbirth and

feminine aspects.

Tuesday is ruled by Mars: this is the day to cast

spells for courage and inner strength, men, sexual energy

war. Note: that if it is sex you are seeking, and not

necessarily love, this is the day to perform your ritual.

However I must remind you...

"be careful what you wish for, for you might get it".

Wednesday is ruled by Mercury. On this day

I work on communication, education, creativity, travel,

mental agility, writing, art...etc.

Thursday is ruled by Jupiter. Cast spells for

wealth and expansion, political power, law business,

and insurance matters.

Friday is ruled by Venus. Here it is, my favorite day

to cast spells or perform rituals! On Friday work on: love,

beauty, and celebrate nature.

Saturday is ruled by Saturn. This day is reserved for

spells/rituals related to challenges that we meet in life to learn about ourselves. It's also a good day for

working on property, inheritance and agriculture.

COLOR OF INTENTION

Here is a guide to the colors associated with particular intentions. These colors can be used in the form of candles, clothing, cloth for sachets.

Brown

Healing for animals, the home

Red

Sexual energy, inner strength, courage

Pink

Romantic love, self-love, friendship

Yellow

Happiness, learning, creative imagination, communication and the mind

Orange/ Gold

Strength, courage, luck, power, justice

Green

Abundance, money, prosperity, fertility, good luck, harmony

Blue

Healing, truth, inspiration, higher wisdom, travel

Purple

Spiritual healing, psychic powers, knowledge

White

Peace, purity and protection, in the place of any of the above.

HERB OF INTENTION

Here is a list of herbs and plants that are affiliated to particular wishes, intentions and desires.

LOVE

Apple, basil, dill, jasmine, lavender, thyme, rose

WEALTH

Allspice, cedar, comfrey, ginger, honeysuckle, cinnamon

PROTECTION

Bay, clove, fennel, orris, pine, witch hazel, rue

HEALTH

Cilantro, juniper, knotweed, nutmeg, rue

FERTILITY

Fig, geranium, mustard, patchouli, peach, poppy

HAPPINESS

Catnip, celandine, hawthorn, Hyacinth, marjoram

COURAGE

Black cohosh, borage, mullein, poke, yarrow

SEXUAL ATTRACTION

Damiana, patchouli, cinnamon, clove

OILS

I always have a store of olive oil, which can be used for any type of spell-casting. Here is a list of other oils that resonate to specific intentions.

LOVE

Gardenia, jasmine, lavender, rose

LUST

Musk, vanilla, basil, cinnamon, ginger, neroli, patchouli, ylang-ylang

PROSPERITY

Almond, bergamot, honeysuckle, mint, peony

HEALING

Carnation, mimosa, rosemary, sandalwood

PROTECTION

Basil, frankincense, lavender, myrrh, sandalwood

LUCK

Allspice, nutmeg, orange, violet

BUSINESS

Benzoin, cinnamon, mint, peony

MONEY

Clove, ginger, honeysuckle, nutmeg, pine

SUCCESS

Bergamot, clove, ginger, lemon balm

HAPPINESS

Lavender, lily of the valley, marjoram

SLEEP

Chamomile, lavender, peppermint, thyme

VITALITY

Bay, carnation, pennyroyal, St-John's-Wort

PEACE

Lavender, gardenia, passion flower, skullcap

BLESSINGS

Benzoin, cumin, rue

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You are here: Rue's Kitchen > About Me > About Me

About Me

"Rue is both a traditional and Saint Magic healer. She breaks the stereotype of an uneducated person steeped in superstition. She is a registered nurse who combines skills as a psychic medium, natural health consultant and Reiki master into her healing practice." ~Eric K. Lerner

I am an only child born in New England to Italian immigrant parents. My paternal grandmother was a healer in her town in southern Italy. She divined people's futures, brewed home remedies from herbs, removed curses, performed blessings, as well as the laying on of hands . My Nonna, who I am her namesake, was a devout Roman Catholic and attended Mass every morning. Frequent visits to the family crypt to honor ancestors were not uncommon. I inherited a natural ability for the healing arts from my grandmother and the gift of Clairvoyance from both parents.

Nonna's practices were NEVER referred to as 'stregoneria' or witchcraft, as a matter of fact she would have died than be thought a witch. These are just the 'things we do'. The term strega was used in our household in mirth -it was used lightheartedly in the spirit of affection when referring to me or any of my other aunts or cousins who had the 'sight' and practiced folk magic/healing.

Fluent in the language of my ancestors: Italian (including 5 dialects) as well as English and French, conversational Greek and Spanish, I have been researching and studying all things occult and supernatural and practicing stregoneria and Benedicaria based on customs and practises handed down to me from Italian immigrant elders in my family and community for over 25 years. I deal mainly with the practical side of magic: blessing and cleansing with the help of the cult of saints, the earth and the elements, seamlessly blending the sacred and the profane. My knowledge and experience, along with a wealth of resources and expertises available to me through my Famiglia (community of practitioners), makes me confident that I can provide clear, concise and accurate guidance in the practice of stregoneria and Benedicaria.

Sta Benedica,

Rue

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You are here: Rue's Kitchen > Italian Folk Medicine & Blessing Rituals > Scongiuri contro le malattie > SANTE MICCHELE (SAN MICHELE)

SANTE MICCHELE (SAN MICHELE)

Quella che segue non è una filastrocca vera e propria bensì uno scongiuro contro il mal di pancia. La scarsa e cattiva alimentazione era, molti anni fa, causa di disturbi intestinali anche piuttosto seri. Il malanno colpiva soprattutto i bambini, per questo qualsiasi rimedio atto ad alleviare un po' le sofferenze dell'ammalato era ben accetto, compresi quindi gli scongiuri. Quello che proponiamo fa riferimento a San Michele che, secondo la tradizione, è il guaritore di molte malattie. La filastrocca si basa su un episodio, probabilmente una leggenda, della vita del santo. Si racconta, infatti, che San Michele, giungendo dalla Francia in Italia, nelle spoglie di un mendicante, si fermò presso la casa di due contadini. La coppia lo ospitò, ma, mentre il marito mise a disposizione del viandante quanto aveva di meglio, la moglie, di tutt'altra pasta, lo trattò malissimo. La filastrocca parla, appunto, di una tavola apparecchiata con una tovaglia di bucato (dal "marito dolce") e di un duro pavimento bagnato coperto di paglia raccolta dall'aia (dalla "moglie amara").

SANTE MICCHELE CHI VIÈ DA LA FRANCE
TAVILA LONGHE E MISSALE BIANCHE
LISCE MBOSSE E PAGLIA D'ARE
LU MARITE È DULCE E LA MOGLIE È AMARE:
LU DILORE DI PANZE TI POZZA PASSARE.

SAN MICHELE CHE VIENI DALLA FRANCIA
TAVOLA LUNGA E MESSALE BIANCO
PIASTRELLE BAGNATE E PAGLIA DELL'AIA
IL MARITO È DOLCE E LA MOGLIE È AMARA:
IL DOLORE DI PANCIA TI POSSA PASSARE.

da http://www.faldus.it

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You are here: Rue's Kitchen > Stregoneria > Magie, Sorcellerie & Croyances

Magie, Sorcellerie & Croyances

La Magie est l'art d'agir sur les forces occultes, que ce soit pour nuire à un ennemi ou au contraire pour protéger ou guérir ceux qui sont atteints par des puissances maléfiques. Dans le premier cas, on parle généralement de magie noire ou de sorcellerie, et dans le second, on parle de magie blanche.

La Corse désigne par le terme de ochju (oeil) les forces occultes dont un individu est victime.

Le mauvais œil peut-être donné par les vivants c'est << innochju >> ou par les morts, << imbuscada >>.

Souvent conséquences de sentiments troubles tels que la jalousie ou l'envie.

S'il est atteint du mauvais oeil, il doit faire appel à celui ou celle qui possède le pouvoir de le "chasser", ou de le "briser"..."crucia l'occhju" (conjurer le mauvais œil).

Seuls le signadore et la signadora, doués de pouvoirs extraordinaires, qui guérissent l'âme ou le corps, sont capables d'exorciser le mal, par des techniques appropriées, qu'ils ont acquises par initiation.

La Tenidora, voyante, guérit à distance par incantations.

Les cérémonies de purification s'accompagnent d'une incantation que l'on apprend exclusivement la nuit de Noël.

Jean-Claude Rogliano dans son roman "Mal Concilio", décrit une scène d'exorcisme : << Quand l'huile fut chaude, la signadora en fit tomber quelques gouttes dans l'eau de l'écuelle. Avec la même main, elle ne cessait de faire des signes de croix au-dessus du récipient de terre tandis que Rosana répétait après elle toutes les prières de l'incantesimu. enfin, elle lui apprit à découvrir dans la forme des taches d'huile surnageant dans l'eau les causes du mal et les moyens de le faire disparaître .>>
La transmission se faisait autrefois en famille , et en génération alternée :de grands-parents en petits-enfants.

Si l'on dévoile les prières, "e prigantule", du rituel, ou si on les transmet hors de la date voulue, le pouvoir est perdu.

Cette date est dans toute la Corse, celle de la nuit de Noël. Dans certains endroits, on étend la période de transmission aux septs derniers jours de l'année (de Noël au jour de l'An). Les dons de la signatora ne se limitent pas à conjurer le mauvais oeil, ils soignent aussi certaines maladies auxquelles on n'attribue pas de causes magiques : piqûres d'insectes par exemple.

Le thème de la magie et de la sorcellerie est corollaire à celui de la médecine populaire, l'un et l'autre entretenant souvent des rapports étroits dans la tradition.

L'homme corse continue à vivre à la frontière du surnaturel :
C'est ainsi que le jour de l'Ascension, avant même que le soleil se lève, il s'en va cueillir une petite plante grasse porte-bonheur. Il la conservera chez lui sans racines, sans eau, sans terre et la plante continuera pourtant de fleurir. Le contraire serait considéré comme un grave signe de malheur.
Il recueillera également des œufs pondus le jour de l'ascension. Ils ne pourrissent pas et servent de talisman pour les jours d'orage ou d'incendie...
" U panu di San Roccu e di San Antone ", ce pain ne moisit jamais, on peut le garder intact jusqu'à la fin de l'existence, il protège les foyers.

La Sorcière :

Le personnage de la sorcière, "streie", se présente en Corse avec les traits classiques de son statut d'anti-mère : au lieu de donner du lait aux enfants, elle suce leur sang. La sorcière opère surtout dans les maisons, dans lesquelles elle s'introduit par le trou de la serrure.

Elle s'approche des berceaux et suce le sang des enfants endormis, à la manière d'une belette, dont elle prend souvent la forme.

Elle est à l'aise dans l'impair : si on frappe une belette-sorcière, il faut, pour la tuer, lui assèner un nombre pair de coups, sinon elle est sauvée.

Certains bandits, dans le maquis, ne marchaient jamais qu'en nombre pair, par crainte de rencontrer des esprits.
Pour se protèger des sorcières et des sorciers (un homme peut être strigone ou surpatore) on emploie des loquets de bois sur lesquels leurs charmes se brisent. On peut aussi leur opposer des morceaux de corail qui entrent dans la composition des amulettes et des scapulaires ; ou encore, l'unghja di a Grande Bestia (longle de la grande bête) qu'on allait chercher dans un pays lointain ; ou encore la petra quadrata (magnetite ou pierre d'aimant) qui, attachée à la jambe gauche, rend infatigable.

On peut aussi accrocher à la porte ou mettre sous son oreiller une faucille dentelée ou un peigne de métier à tisser : les sorciers qui ne savent compter que jusqu'à sept, perdent leur temps à compter les dents de la faucille ou les lamelles du peigne et quand l'aube arrive, ils sont contraints de s'enfuir sans avoir pu faire de mal.

Les Bergers lisent les augures :

Les bergers, en contact permanent avec la nature, étaient passés maîtres dans l'interprétation des signes. Ils immolaient un chevreau puis "lisaient" l'avenir dans son omoplate. C'est ainsi qu'un vieux berger aurait prédit, au début du premier Empire, les ravages que Morand et ses troupes firent subir à l'île en 1808.

Le "Mucchiu" (le tas) :

Lorsque survenait une mort violente, chaque passant jetait une pierre là où l'accident s'était produit. Et cela jusqu'à ce qu'un nouvel accident mortel vienne calmer l'âme du défunt.

Les Esprits du Brouillard :

On les appelle les lagramanti, sans doute parce qu'ils inspirent une terreur égale à celle que répandaient dans l'île les razzias d'Agramant, un cruel chef Sarazin. Ce sont les Esprits du Brouillard et on ne les voit jamais. Par les nuits ténébreuses et gorgées de brumes, on entend seulement leurs plaintes qui intriguent le voyageur et l'attirent vers le marécage, ou leurs hurlements qui le terrorisent et le jettent dans une fuite éperdue vers le torrent ou le précipice.

Les Processions de Revenants :

Âmes en peine, esprits des brouillards qui entourent et se saisissent des passants attardés par les chemins déserts : lagrimenti et mortuloni vont en compagnie (cumpania mumma, squadra d'Arozza).

Chacun des processionnaires, habillé de blanc, en pénitent, tient un cierge à la main. Malheur à qui les rencontre. Il lui faut se plaquer contre un mur pour éviter d'être complètement enveloppé par ce fleuve d'ombres psalmodiantes, et tenir dirigé contre eux un poignard ou un simple clou. Si l'un des processionnaires lui tend son cierge, il ne doit pas le prendre, car il découvrirait en rentrant chez lui qu'il s'agit du bras d'un enfant.

Pour se libérer il lui faudra annoncer trois dimanches de suite, à la messe qu'il est devenu un sorcier, et attendre à nouveau le passage de la procession des morts. alors il donnera le cierge à celui des processionnaires qui n'en a pas.

Les morts des torrents :

Au passage d'un gué ou d'un pont, on jette une pierre dans le torrent que l'on traverse. C'est pour apaiser les esprits des morts qui, selon une ancienne croyance, en habitent les eaux. Celles-ci représentent symboliquement le fleuve des Enfers. Les trépassés dont l'âme était noire de leur vivant y transportent leur malfaisance. Ceux-là sont à craindre du passant qui risque d'en subir les effets. Le mal qui le frappe est alors appelé l'imbuscada.

<< Lorsqu'on passe le gué d'une rivière à midi et lorsqu'à la tombée de la nuit, le trajet que l'on emprunte oblige à passer devant un cimetière ou une fontaine, on risque de tomber dans une embuscade de mauvais esprits.>>

La victime dépérie jour après jour sans que les médecins soient d'aucun secours. Leur dernier recours est ceux qui, avec des prières secrètes, ont quelque pouvoir contre les esprits maléfiques.

Les Bourrasques des Morts :

Les morts déclenchent également autour des maisons, de violentes bourrasques, quand ils n'y trouve pas l'eau qu'on doit toujours laisser sur le rebord de la fenêtre la nuit, et où ils viennent s'abreuver.

L'Asphodèle :

Certaines plantes aux vertus sacrées sont cueillies dans le maquis puis brûlées en fumigations destinées à lever les maléfices et à protéger hommes et troupeaux des envoûtements.

Pour mettre la récolte de blé à l'abri de la convoitise du diable, on plaçair une croix confectionnée à l'aide de deux tiges d'asphodèle.

L'aire à blé :

Sa forme cyclique, son emplacement exclusivement rural et sa vocation à rassembler les gens pour un ouvrage collectif, en font un lieu privilégié pour une symbolique de correspondances horizontales et verticales : lieu où l'on se retrouve pour un travail agraire, et par là tellurique, destiné à traiter la céréale pour pouvoir se nourrir, l'aire à blé est le champs d'action des forces ouraniennes, l'endroit où le monde intangible exerce son pouvoir.

Peut-être ce rassemblement pour lequel il a vocation fait-il de lui une sorte d'Eglise païenne, lieu d'échange entre le visible et l'invisible. La symbolique qu'il revêt oscille elle aussi entre le bien et le mal et comme la spirale, évoque un mouvement perpétuel entre la vie et la mort : outil de travail pour la vie le jour, il devient lieu de sabbat et de sacrifices la nuit par certaines lunes.

La Bure de la guérison :

il n'était pas rare, autrefois, de croiser de curieux petits moines dont l'âge ne semblait pas dépasser douze ou treize ans. Ces enfants n'étaient promis à aucun sacerdoce. Ils avaient simplement réchappé à une maladie grave et, selon le vœu de leurs parents, pour remercier le Ciel, pendant une certaine période, ils allaient ainsi, révêtus d'une robe de bure.

Pendant des siècles, les Franciscains ont façonné l'âme corse autour de la Passion, de la Croix et de la présence permanente de la mort :

Dans la tradition insulaire, les défunts tiennent une place considérable et interviennent en cas de danger.

La nuit de la Toussaint, ils étaient censés revenir en ce monde et en particulier dans la maison où ils avaient vécu. Il leur fallait absolument trouver cette demeure en l'état ou ils l'avaient laissée et la table mise.

Ce soir-là, on mettait donc leur couvert. En règle générale, on y posait un pain et de l'eau, mais, dans certaines familles, on servait le rôti dans les assiettes, tout comme si les morts allaient arriver pour partager le repas.

Le lendemain matin, la famille mangeait les plats ainsi préparés.

Cette communion avec les disparus peut prendre une grande force poétique :

Ainsi, le soir de la Toussaint, on va fleurir les tombes, mais surtout les éclairer avec des lumières rouges dont la flamme résiste aux intempéries.

Dans un village où il n'y a pas de cimetière et où chacun enterre les siens dans son propre champ, on voit toute la campagne illuminée par des centaines de petites flammes vacillantes, comme vivantes....

--------------------------------------------------------------------------------

D'après des textes tirés de : Corsic@ - Louis Panassié, Prisma Presse - l'Almanach du Corse - Guides Gallimard - Corse, Encyclopédies régionales

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You are here: Rue's Kitchen > Stregoneria > Streghe e lupi mannari

Streghe e lupi mannari

Guardia Sanframondi,Streghe e lupi mannari raccontati da bambini di 30 anni fa. ~lavomma

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You are here: Rue's Kitchen > Italian American Literature > The Significance of Nicknames in Italian-American Culture and the Novel Christ In Concrete

The Significance of Nicknames in Italian-American Culture and the Novel Christ In Concrete

My paternal grand-father was Francesco Roselli. His nick-name was, and he was best known as Ciccillo Caricaleggio. ~Rue

by Sharon Leggio

Nicknames. They are something that everyone is familiar with in one way or another. However, most people have little, if any, personal experience with nicknames. In Italian-American culture, nicknames play a major role in everyday life. Nicknames are formed with a certain unspoken format, and they have a particular importance. In Italian-American culture nicknames, even though to others they may seem harsh and cruel, are terms of endearment and give a sense of belonging.

“Soprannomi” in Italian means “above the name” (Mazzoni) and refers to dialect nicknames (Addario and Rulli). To the “outside world” Italian-American’s use of nicknames may bring to mind organized crime, due to negative media portrayal, with such names as Al “Scarface” Capone and Tony “The Big Tuna” Accardo (Arduini). From my personal experience, I can say that within the Italian-American culture nicknames have a much sweeter significance.

Since very large, extended Italian families all were apt to dwell in close proximity to one another, nicknames were traditionally used to distinguish one branch of a family from another, and/or one individual from another (Addario and Rulli). Another very good reason for the use of nicknames comes from the “rigor of most Italian naming traditions” (Arduini). The first-born son is to be named after his paternal grandfather, and the second-born son is to be named after his maternal grandfather. Likewise, the first-born daughter is to be named after her paternal grandmother, and the second-born daughter is to be named after her maternal grandmother. The children that follow, “Lord willing”, are to be named after their godparents, not to mention the naming of children after patron saints. It goes without saying that many family members, and community members, end up with the same names. Obviously this leads to tremendous confusion when families and communities are gathered and talking to and about one another, which occurs frequently. Therefore there is actually a desperate need for nicknames.

The most basic form of nickname assignment is the tag of “Big” and “Little” added to the oldest and youngest carriers of a name (Arduini). Although, since most Italian families are so large, this isn’t always sufficient, so nicknames have to rely on other characteristics.

A very convincing example of the role that nicknames play in Italian-American life is portrayed in Pietro di Donato’s novel Christ In Concrete. This novel eloquently presents the many different subjects that nicknames stem from. The very first page of the story, Christ In Concrete, is sprinkled with the nicknames of the paesanos that the father Geremio works with. His work even holds a commonly known and used nickname, “Job.” Some of the men that work with Geremio are, “…Old Nick, the “Lean,” Burly Julio of the walrus mustache, known as the “Snoutnose,” short, cheery-faced Tomas, the scaffoldman, Mike the “Barrel-mouth…”(3-4) Throughout the entire first chapter characters are introduced by their nicknames, and this paints a distinct mental image of the workers for the readers, making them feel closely acquainted with the men, “…Patsy; Curly-headed Lazarene, the roguish, pigeon-toed scaffoldman…” (5) Contrary to popular belief, this is exactly what nicknames do, they bring people closer together, supplying a common ground and creating a deeper intimacy.

Nicknames also play a major role in acceptance, and foster group unity when after Geremio’s death, his young son Paul has to enter the world of “Job.” The workers know him as “Son of Master Geremio” (64). Paul recognizes their faces, but is also familiar with their nicknames, and that is how he becomes acquainted with the men of “Job.” There is “…Mike “Orangepeel-Face;” Salvatore “Four-Eyes,” Nick “the Lucy,” Bastian the tongue-tied Calabrian, Hunt-Hunt, Black Mike, Old Santos, Yellow-Fever Giuseppe…”

In Italian-American culture nicknames are not only important in the work setting, but also extremely significant in the social lives of Italian-Americans. It is not only the men that are tagged with nicknames; the women also carry their own labels, “…the dame Katarina, big-titted Cola, the Regina Govanni, Theresa the Meatball…” (34) Most of the other women in Christ In Concrete, and many women in Italian-American culture, are referred to as “The wife of…” In everyday social interactions, nicknames act as somewhat of a passport for both well-known acquaintances and strangers:

“In fact, if I say to the older people in my town my actual name, they will not know who I am. But if I tell them I am the granddaughter of Ficuccio (which was my grandfather’s nickname) then they say, “Ah, now I know who you are.” And then they call me Ficuccia – the feminine form of Ficuccio – and so I become part of the tradition. Not only that, I become a recognized part of the community, rather than just a stranger from who knows where – which is very strange since my family has been here for who knows how long!” (Mazzoni)

When it comes to how certain nicknames are chosen for people, there are different sources and reasons. The most common categories that nicknames form out of are: a prominent physical feature, a unique behavioral trait, an interesting habit, an occupation, a place of origin, a favorite food, or a past memorable incident that pertains to the person being nicknamed. There are deeper explanations as to why and how people are nicknamed:

“Not all possible words become nicknames, and in order to understand why a nickname will stick to a person we must take into account its crucial functions within a community, from ascribing communal values to an individual’s actions and practices to reinforcing an in-group bond. Social values placed on origin, behavior, or physical characteristics are thus connected to an individual through the nickname. The nickname constitutes a critical and prominent feature in the construction of an individual’s personhood and social identity. It marks the bearer’s membership in a social group and at the same time makes “inside” information accessible to members of that group.” (Jacquemet 736)

There are many examples of nicknames in Italian-American culture that are based on physical characteristics, and they are even broken down further into categories. One category refers to facial features, ‘o Piezzuocchie (the One-eyed), ‘o Nasecano (the Dog Nose), and ‘o Scugnato (the Toothless). Another category pertains to bodily shape, o’ Stuorto (the Crooked), ‘o Nano (the Dwarf), ‘o Palletto (the Little Belly), ‘o Pallone (the Big Belly), and ‘o Grissino (the Breadstick). There is also a category for physical ability, Ercolino means Little Hercules (Jacquemet 737).

Behavioral nicknames and nicknames derived from personality characteristics are also popular, ‘o Saglienne (the Climber), and ‘o Chiacchere (the Chatterbox) (Jacquemet 738). There are usually interesting and amusing stories that go along with these nicknames:

“The grandfather of my best friend was named Luigi, but we always called him Lui de Sgnoccie, which means “Lui the Big Drinker.” He had what is called a drinking problem, although the only person who had a problem with his drinking was his wife. She sent him to sleep in the barn while she slept in the nice house. But even so, he had a great sense of humor which everybody except his wife enjoyed.” (Mazzoni)

This story and category tie in nicely with the category of nicknames that fall under the heading of habits and past events or experiences. ‘O Biberon (the Feeding Bottle) refers to a child that drinks from a baby bottle well into his childhood (Jacquemet 738).

The occupation that a person has is another efficient way to identify them. Some old professions that made good nicknames for the times were, ‘o Suararo (the Corkmaker), ‘o Gravunari (the Coal Miner), and ‘o Cucchieriello (the Coachman) (Jacquemet 738).

The characters in Christ In Concrete beautifully represent all of these unique and intriguing nickname categories. Some of the characters that are merrily called by a nickname that is representative of a physical trait are, as I mentioned before, Julio “Snoutnose,” known for his mustache; Curly-headed Lazarene, known for his abundant curly hair; Mike “Orangepeel-Face,” known for his crater complexion; Salvatore “Four-Eyes,” known for his glasses; Black Mike, known for his extremely dark skin; Old Santos, known for his white hair and elderly appearance, and Yellow-Fever Giuseppe known for the yellow tone of his skin. After Uncle Luigi loses his leg in an accident at work, he is known as “Luigi One Leg,” and it is amusing to most that he is to wed “big-titted Cola,” obviously known for the size of her breasts. (183)

One of the most detailed explanations that di Donato gives in his novel about the reasoning behind a nickname of a character, is that of Nick “the Lucy’s.” It falls under the category of “a person’s favorite thing” and is explained in an entertaining dialogue between Nazone and Paul:

“Sh-sh, behind his back you will hear him named the Lucy, but for God’s love do not ever let slip from your mouth that name!”
“Why?”
“Because his favorite opera is Lucia de Lammermoor, and then he, like a woman, is mobile and goes insane asylum if he hears himself thus referred to.” (78)

There are also a few characters in Christ in Concrete that are nicknamed after their place of origin, Bastian the Calabrian and Alfredo the Neapolitan.

In Italian-American culture nicknames become so common and prominent that the non-use of them becomes a problem, “People identify themselves and each other by their nicknames, not by their legal first or last name. In fact, using the “actual” names can be very confusing to the local people. If you talk about somebody using their real name, nobody knows who you’re talking about!” (Mazzoni) It can go even further than this; sometimes real-names are lost all together, “Not even my mother, who grew up with him, knows his real name” (Mazzoni).

I have run into this issue myself. The use of nicknames runs deep in my family. We affectionately call each other nicknames, and we refer to others by using nicknames that we assign to them. Most people aren’t aware of the nicknames we have for them, and we would be embarrassed if they accidentally found out, and it is all too easy to slip! It is not necessarily that our nicknames are derogatory, but it is more that we feel that most people don’t understand our innocent tradition and they might even think we are crazy. The people outside of our family that know us well, and that we feel comfortable with, are well aware of our nicknaming fetish. We are actually well known for this practice. We nickname our pets and even other people’s pets!

This crazy nickname obsession can’t help but spill over into our “beyond family and friends” worlds. At college all of my friends point out that I have a nickname for everyone and everything. At work my father is famous, and counted on, for his astounding nicknaming skills. Back in his days of bricklaying, he and his co-workers even had a nickname for their fellow worker, the master of incorporating the Italian-American tradition of nicknaming into a novel…yes that’s right…Pietro di Donato himself. They playfully called him “Pervy Peter” because of the notoriously dirty way he talked about women.

It is pretty obvious that in the Italian-American culture, the tradition of nicknaming misses nobody. Even the historically infamous, former Mayor of New York, Fiorello La Guardia had multiple nicknames: The Little Flower, Little Napoleon, The Great Infallible, Midget Mussolini, and last but not least, the nickname that years later has been applied to another former Mayor of New York, Rudolph Giuliani, Il Sacro Terrore (The Holy Terror.) (Tierney) Nicknaming is just another way for Italians and Italian-Americans to show love. And what do they do better? For me it is just another heartwarming answer to why I am they way I am. I am just glad that we could share this warm, unifying custom with the rest of the world.

Works Cited

Addario, Sara and Bonnie Rulli. Italian-American-Webring. 31 May. 1999 28 Feb. 2001 http://geocities.com/Heartland/Trail/3860/Nicknames.html

Arduini, Frank. 5 Aug. 1999 3 Mar. 2001 http://www.arduini.net/names/names14.htm

Di Donato, Pietro. Christ In Concrete. New York: Signet, 1993.

Jacquemet, Marco. “Namechasers.” American Ethnologist. 19.4 (1992): 733-44.

Mazzoni, Claudia. Claudia’s Corner. 14 Feb. 1999 3 Mar. 2001 http://home.earthlink.net/~girowt/site/archive/990207.htm

Tierney, John. “The Holy Terror.” New York Times Magazine. 1995 7 Mar. 2001 http://www.maniform.com/prolix/giue.htm

f you wish to comment on this paper or ask me any questions, please write to me at sleggio@zoo.uvm.edu

April 29, 2001
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You are here: Rue's Kitchen > Italian American Literature > Christ in Concrete and the Failure of Catholicism

Christ in Concrete and the Failure of Catholicism

by Sarah Benelli

Pietro DiDonato’s Christ in Concrete is a powerful narrative of the struggles and culture of New York’s Italian immigrant laborers in the early twentieth century. Jerre Mangione and Ben Morreale, in their historical work La Storia, state that "Never before or since has the aggravation of the Italian immigrant been more bluntly expressed by a novelist" (368). A central component of this "aggravation", both for DiDonato as an author and for his protagonist Paul, is the struggle to reconcile traditional religious beliefs and customs with the failure of that very same faith to provide any tangible improvement in the immigrants’ lives. Through Paul’s experience, we observe the Catholic institutions lose influence and effectiveness as Capitalist ones, manifest in Job, take their place. While doing this, DiDonato also illustrates essential aspects of Italian (specifically southern) Catholicism and the pressures placed upon it by the American environment.

The novel opens by introducing Paul’s father Geremio, his mother Annunziata, and Job. Geremio is a construction crew supervisor who struggles to improve his family’s condition, and even though he has been making progress, he still wonders how much more will be exacted from him. A religiously faithful man, he asks God for guidance: "Is it not possible to breathe God’s air without fear dominating the pall of unemployment? And the terror of production for Boss, Boss, and Job? To rebel is to lose all of the very little. To be obedient is to choke. O dear Lord, guide my path" (13). Geremio articulates the conflict he feels between Boss and Job, which rules his earthly life, and the struggle of his spirit. The pressures have not crushed his faith, but he understands the toll they are taking, and the possible consequences.

Moments after asking the Lord for help, the building which he is working on collapses on and around Geremio and his fellow workers. It is Good Friday, and he is only a few hours away from going home to celebrate with his family. DiDonato describes the accident and deaths in lurid, even grisly, detail. Geremio’s mangled body, pierced through with metal reenforcement rods, is held up with arms outstretched for his crucification. As wet cement pours onto him, burying him alive, he desperately implores Christ for help: "Blood vessels burst like mashed flower stems. He screamed. ‘Show yourself now, Jesu! Now is the time! Save me! Why don’t you come! Are you there! I cannot stand it–ohhh, why do you let it happen—where are you? Hurry hurry hurry!’" (18). The almighty wrath of Job is too strong, as Geremio’s faith fails to provide him with assistance or comfort. DiDonato himself was a bricklayer whose father died in a construction accident on Good Friday. His personal experience became the impetus for the novel and the rage contained within it.

Despite the devastating blow of Geremio’s death, his wife Annunziata does not lose faith, though she is doubtful about how the family will manage to survive without him. She initially counts on help from her brother Luigi, but the subsequent maiming of his legs in another Job accident leaves Annunziata and her eight children destitute. It is now the responsibility of Paul, at twelve years old the eldest male of the family, to seek provision for all of them. One of the first places that he turns for help, both spiritual and material, is his local church. There he prays in earnest: "Here in the church of worship I kneel, my Lord. You have taken dear father away for your own need...can you not send him back, O Lord?" (55). His father’s return not forthcoming, Paul decides to appeal to the priest for food and help. After a struggle, he is finally permitted to enter the chambers and see Father John. The priest has been at his dinner; Paul’s ravenous eyes see a huge table groaning under the weight of sumptuous food. He tells his story to the priest, whose response is, "But tell me, what can I do?" (58). He goes on to explain that he does not personally give any charity, since that is handled by a board of trustees, and that he can do nothing to help Paul and his family. He finally sends Paul away with a piece of strawberry shortcake to take home, and wishes him well. Presumably, he returns to his full table to finish his supper undisturbed.

This scene clearly illustrates the total failure of the Church as an institution to assist the real conditions of the Italian immigrants. The situation is not confined to the narrative of Christ in Concrete, but was an issue for the Italian community at large. Despite their entrenched belief in God and the rewards of heaven, the faith in which was connected to their strong and often limiting fatalism, the population was generally wary of priests and even the church itself. In La Storia, the immigrants are described as being "...generally scornful of all priests, viewing them as both corrupting and corruptible. ‘If you want to be rich,’ an adage advised, ‘become a thief, a policeman, or a priest’" (327). In Mario Puzo’s The Fortunate Pilgrim, an old neighborhood widow discusses the misbehavior of the protagonist Lucia Santa’s son, Lorenzo. The old woman says "Oh, he is sly, your son, he will be a priest" (143). Though Lorenzo becomes a small-time gangster, and not a priest, it is apparent that the immigrants regard one profession as being roughly as honorable as the other.

The traditional practice of the Italian church was to work in compliance with the wealthy and politically powerful aristocracy. Although this created tensions between the peasants and clergy, the system was so traditional that even though the lower classes may have objected to it, it was at least generally accepted and tolerated. In America however, the Irish controlled Catholic church usually failed to understand, and sometimes even tolerate, the "paganism" of their Italian parishioners. Mangione and Morreale comment that "The initial failure of the American Catholic church to reach out to the Italian immigrants gave rise to the general impression that this Church was even more indifferent to their needs than the Church in Italy had been" (327). In America, though more opportunity existed, the immigrants had the additional pressures of a strange land, language, and culture to navigate. While the need for material help was often as great as ever, and sometimes even worse, the need for spiritual help was increased. The Irish-controlled Catholic institutions in America failed on both counts, whereas in Italy customs of worship had at least been communally understood and participated in. Fred L. Gardaphe, in his introduction to Christ in Concrete, comments that DiDonato "...points to the failure of American Catholicism as a force that controls and subdues the immigrants’ reactions to the injustices of the capitalist system that exploits as it maims and kills the Italian immigrant" (xvi). Religion, rather than inciting the immigrants to object to injustice, instead encourages them to forbear and accept fate while waiting patiently for their rewards in the next world.

After Paul is rejected by the Church, and implicitly God, he decides that he must turn to Job instead. God had been in the Church, but "Job was a six-story apartment" (63). Initially, Job seems to answer his prayers. He commences work, confident that he will be able to provide for himself and his family. He learns quickly, and is proud of his progress. After finishing his first piece of brickwork, he admires it and thinks: "The Lord has listened to him...The Lord and his father worked with him to build it!" (71). Though the Church did not come to his aid, Paul’s faith is unshaken as he believes that God has brought him to Job, Job that can give work, money and life. Annunziata is worried about her young son going out to toil, even as she rejoices over his courage and the hope he represents. She prays to God to protect him, to Job to be merciful on his child’s body and soul. Annunziata is "...Builder’s woman and Life’s mother..." to Paul, "...her carpenter Christ, her Christ of hunger" (82). Through his sacrifices his is to be the family’s savior.

But this is not, at least immediately, to be. Paul receives only five dollars for his week’s work, his frail form quickly gives out under the weight of Job, and he is forced to stop working. Hunger once again becomes terrifyingly real for Annunziata and her children. They are confronted with the fact that Job is all-powerful, as is God. It can give life, food, happiness, but it also takes back whatever and whenever it chooses. It takes lives such as Geremio’s, it took Luigi’s leg, and it has taken all of the strength out of Paul, leaving him with even fewer resources than before.

At this point, with her family’s situation reaching an even more desperate pitch, Annunziata decides to that she must take action. Rather than going to church to pray to God or Christ, she takes Paul with her for an interview with "the Cripple", to help her seek assistance in her dead husband’s soul. The Cripple is a woman purported to have powers of communication with the spirit world (or "woild", as she pronounces it) for the edification of those still living in this one. Though Annunziata is a faithfully religious woman, when things really get bad she turns to the Cripple, essentially a pagan figure, to augment her prayers. This seemingly incongruous act is, however, actually typical of the southern Italian brand of Catholicism. Mangione and Morreale describe this Catholicism as "...based on awe, fear, and reverence for the supernatural, ‘a fusion of Christian and pre-Christian elements of animism, polytheism, and sorcery along with the sacraments prescribed by the Church’" (326). Annunziata is hoping that the Cripple’s "sorcery" will be able to comfort, give advice, and direct her life materially for the better–all things which the Church has not done, even for someone as faithful as she.

As Annunziata and Paul pass through the doorway into the Cripple’s room, they walk under "...a sooty wooden lettered sign, ‘Jesus Never Fails’" (110). Ironically enough, considering that if Jesus had answered their prayers in the first place, they wouldn’t be walking through that doorway seeking answers from a false prophet with a goiter. The falseness of the Cripple’s craft matters little, however, since she does succeed in comforting Annunziata and Paul, renewing their faith and hope. Paul is anxious to know that his father did not suffer in his death, and the Cripple reassures him by saying "‘No, sonny, he shakes his head and says there wasn’t a stitch of pain, and that he went to his Lord God with a clean soul and a smile’" (116). We know how blatantly false this is, but for Paul and Annunziata, that is irrelevant. She believes in the Cripple’s powers to speak the truth as surely as she believes in God; the words of the pagan serve to strengthen her belief in the good works of the Lord.

Despite Paul’s lifted spirits following the session with the Cripple and his recovering health, he soon receives a blow to his faith in God. One of his friends in his tenement is Louis, a boy his age who immigrated from Russia. Louis’ older brother was murdered for his opposition to the Czar, as were many of Louis’ villagers and acquaintances. Louis, who has witnessed ungodly suffering and destruction, completely rejects fatalism. He desires justice and retribution here and now for the crimes committed against his brother and others. When Paul maintains that only the spirit of God can do such things, Louis questions him closely:

"‘You have seen your father.’
‘What do you mean?’
‘You knew your father?’
‘Yes...’
‘And you know your mother?’
‘Of course.’
‘And you love them.’
‘Why, yes.’
‘Have you seen God?’
Paul felt something weakening him.
‘Louis–haven’t you–don’t you believe in God?’
The gray eyes turned full on him.
‘There is no God.’" (140)
Paul has never heard or imagined such a thing before, but the idea, once in place, cannot be forgotten.

Immediately following Louis’ declaration Job re-enters. As God begins to slip as something for Paul to believe in and trust, Job increases its own hold on his body and psyche. This Job was "... A great mass of interwinding stone foundation walls lay waiting to bear building on its rubble shoulders" (141). Paul recommences to work and support his family, and though this improves their condition, it never ceases to wear Paul down. God is fleeting, but Job is real and immediate and tangible. It is an "...expanding organism–banging, groaning, thudding and pushing UP" (142). To it Paul is "joined in bondage", and from its influence he cannot escape. It is alive, it provides work and life to all of the Italian men in Paul’s community, as it demands that they pay daily homage to it.

However, as Job gives, it always takes. When the depression hits, construction slows down and most men lose their work. For those who haven’t yet lost their jobs, Paul included, Job becomes even more exacting than ever. There is more struggle for less reward, as the men try desperately to remain employed. Every day Paul walks to "Job Almighty" with his godfather Nazone through the streets of "New Babylon" (216). Though he is more tired and worn than ever, he manages to continues the routine unaltered, until he watches his godfather fall from Job to his death. A foreman, on his way to reprimand Nazone for slow work, tripped over a mortar tub and fell into him, pushing him off the structure. The foreman had been shouting at him "‘Y’bastard you’re slow’s the comin’ o’ Christ!’" (216). This is the final blow to Paul’s already weakened faith. As he sees Nazone’s destroyed body on the pavement "A flame shot though him. ‘That’s your father Geremio!’ it cried, ‘Your father! You!’" (219). He cannot understand why they continue to be sacrificed.

Paul dreams following the accident, looking for an answer. He dreams that he is looking for Christ, for a sign from his savior, but finds Job instead. Finally, he meets his father, who labors at Job. Looking to him for help, Geremio replies that "‘...not even the Death can free us, for we are. . . Christ in concrete . . .’" (226). Paul fully realizes how unfair his life, the lives of the other immigrants, are. They spend their lives praying to God and hoping for rewards after death, but he has lost his faith. Job is all that is left to him. Though he sees that eventually it will do to him what it did to his father, his uncle, and his godfather, Job is inevitable and inescapable. Though Annunziata is greatly grieved by his loss of faith in the Lord, Christ, and salvation, she can do nothing to alter him; the force of Job has been too strong. Mangione and Morreale write of the scene: "When his devout mother thrusts a crucifix upon him in an effort to comfort her son, who has just seen his godfather (a fellow worker) smashed to death in another job accident, he crushes ‘the plaster man wooden cross’ in her presence. Symbolically, at least, he develops into a revolutionary" (367).

While DiDonato’s message and Paul’s rejection of religion is in some sense revolutionary, in the context of the narrative it is also the inevitable result of a number of causes. Paul and the workers labor under the extraordinary strain of Job, a strain which is compounded by the memories of accidents they have either seen, survived, or know of. Yet, when they need help, there is nowhere else to turn. Paul doesn’t arrive at Job, doesn’t decide to dedicate his life to it, as his first choice. He only does so after other institutions, namely the Church, fail to provide assistance. As a result, Job naturally becomes the central all-powerful force in the lives of the laborers. It is to Job they go every day, and to Job that they dedicate themselves. As the Church failed to help them materially, it also often fails to help them spiritually beyond encouraging them to accept their plight as fate. Once arrived at this state, it is a natural consequence that Paul loses his faith God and the Catholic institution as they are supplanted by the Capitalist institution of Job. Though he resents and wishes to break free from Job, he sees no alternative, it is all that is left to him.

March 5, 2000
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You are here: Rue's Kitchen > A Bronx Tale: Back on Broadway and Giving Back

A Bronx Tale: Back on Broadway and Giving Back

HELP SUPPORT THE ITALIAN AMERICAN MUSEUM AND TAKE PART IN THIS UNIQUE OPPORTUNITY

Hi, I’m Chazz Palminteri and over the past few years I have been extremely blessed with all the amazing opportunities that have led to my current success. But I have never forgotten my roots and now that I am fortunate enough to have my story, A BRONX TALE, back on Broadway, we are going to donate $10 from every ticket sold through this offer to the Italian American Museum. I invite you to support the museum and our culture by coming to see me perform A BRONX TALE. It’s a story I love to tell. I think you’ll love it too. Chazz

Orchestra and Mezzanine rows A-G/ Boxes: $96.50
Mezzanine rows G-J: $76.50
Balcony A-B: $26.50

Three easy ways to purchase tickets and in turn support the Museum

1. Visit Broadwayoffers.com and enter the code BTMUS34
2. Call 212-947-8844 and mention code BTMUS34
3. Bring a print out of this offer to the box office.

RESTRICTIONS: All prices include a $1.50 theatre restoration charge. This offer is valid through 2/10/08. Offer is subject to availability and prior sale; not valid on prior purchases; cannot be combined with other discounts or promotions. Additional blackout dates may apply. Telephone and Internet orders are subject to standard service fees. Offer may be revoked at any time.

A Bronx Tale
Walter Kerr Theatre
219 West 48th Street

Performance: Tuesday - Friday @ 8pm, Saturday @ 2pm & 8pm,
Sunday @ 3pm

Special Sunday Night Performances in December: Sunday - December 9 @ 7pm, Sunday - December 16 @ 7pm, Sunday - December 23 @ 7pm,
Sunday - December 30 @ 7pm

No Performance: Tuesday - December 25 @ 8pm
Added Holiday performance: Wednesday - December 26 @ 2pm

Walter Kerr Box Office Hours:
Monday-Saturday 10am-8pm
Sunday 12pm-6pm
PLEASE NOTE: Box office opened till 7PM on 12/9, 12/16, 12/23, 12/30

For further information, call 212.541.1021.

See what the critics are saying:

“A rejuvenating act of faith in the powers of acting and storytelling. It has heart, spice, and humor.” Charles Isherwood, The New York Times

“With eight million stories in the city, there’s one out of the Bronx that’s knockin’ them dead on Broadway. Intensely raw, funny and moving, ‘A Bronx Tale hits home.” Roma Torre, NY1 News.

“Enormously entertaining. A vibrant, warmhearted saga.” Michael Kuchwara, Associated Press.

“A gripping story – riveting, sinister & colorful!” - Jacques Le Sourd, The Journal News.

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You are here: Rue's Kitchen > Italian Folk Medicine & Blessing Rituals > Scongiuri > Scongiuri (Salerno)

Scongiuri (Salerno)

riti per curare il malocchio (2007)

"Darkness precedes Light and She is Mother."

My site's tagline is from an inscription on one of the two altars of the Duomo (Cattedrale di S. Matteo)

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E’ tratta dall’Epistola VIII di questo santo scrittore latino che nacque verso l’anno 200 a Cartagine. E’ sempre un efficacissimo strumento di protezione in molte difficoltà della vita: leggiamola in latino, una delle “lingue magiche” per eccellenza, e portiamone sempre una copia con noi.

ROGEMUS PACEM MATURIUS REDDI, CITO LATEBRIS NOTRIS ET PERICULI SUBVENIRI, IMPLERI QUAE FAMULIS SUIS DOMINUS DIGNATUR OSTENDERE, REDINTRGRATIONEM ECCLESIAE, SECURITATEM SALUTIS NOSTRAE, POST PLUVIAS SERENITATEM, POST TENEBRAS LUCEM, POST PROCELLAS ET TURBINES PLACIDAM LENITATEM, PIA PATERNAE DILECTIONS AUXILIA, DIVINAE MAJESTATIS SOLITA MAGNALIA, QUIBIS ET PERSEQUENTIUM BLASPHEMIA RETUNDATUR ET LAPSORUM POENITENTIA REFORMETUR, ET FORTIS ET STABILIS PERSEVERATIUM FIDUCIA GLORIETUR

LA PRODIGIOSA PREGHIERA DI SAN CIPRIANO

Ho riprodotto integralmente per voi la famosa preghiera di San Cipriano, che dopo lunghe ricerche sono riuscito a trovare in un volumetto antico. Recitatela per scongiurare malefici, incanti, sortilegi, fatture, malocchio, jettature, invidie e ogni altra sorte di avversità e per avviare bene i commerci. San Cipriano vi aiuterà. Pregatelo con fede e seguite questi suggerimenti che io vi do. Vi premetto che invocandolo, Egli nel sonno o nel dormiveglia potrà anche comparirvi. Sarà il segno tangibile del suo interessamento per voi. Affinché ciò accada, sarà necessario recitare l'orazione per sette sere (dalle 19 alle 20) stando inginocchiati su di un inginocchiatoio, in una camera illuminata da una sola candela e senza la presenza di nessun'altra persona. Per sette giorni concentratevi su questo contatto ultraterreno, Cercate di vivere in purezza di spirito e di corpo, cioè elevandovi e non avendo assolutamente contatti carnali con altro essere. Ogni sera prima di recitate l'orazione fatevi tre volte il segno della croce e con acqua santa cospargetevi la testa, la fronte, gli occhi, la bocca, gli orecchi. Finita l'orazione, mangiate cibi naturali quali: formaggi, frutta, pane. Eliminate possibilmente ogni tipo di carne. Bevete solo un po' d'acqua semplice..

ORAZIONE DI SAN CIPRIANO
(Per eliminare il malocchio)

« Io Cipriani misero peccatore per la grazia di Gesù Cristo, e per provvedere al sonno, ed alla memoria mi a, pregai e domandai.

« 0 Altissimo il quale sei il mio Dio forte e potente, il quale abiti nel gran lume, e sei Santo, e lodevole! Conoscesti la mia iniquità per la quale sono stato in potestà del "demonio": ma io ignorava allora il Tuo Santissimo Nome; perciò con malefici faceva che le nubi non piovessero, i campi non producessero, gli armenti non generassero, le donne non portassero a frutto i loro figlioli, e gli pesci stessi non tentassero il mare perdendo ogni corso, e velocità. Tutte queste cose le facevo per la grande mia iniquità.

« Ma ora, Signore mio Gesù Cristo, che ho conosciuto il vostro SS. Nome, l'ho amato, e sono già convertito con tutto il mio cuore, con tutta l'anima, con tutta la mia mente, con tutte le mie forze nel Tuo amore, e nei Tuoi comandamenti; desidero di sempre permanere in Te. Io Ti domando, che Tu mi conceda il Tuo amore, Tu che sei parola dell'Altissimo Padre, acciocché si rompino i legami delle nubi, e discenda la pioggia sopra la terra e gli alberi diano i loro frutti, e le donne partoriscano i loro figliuoli senza macchie e poppino i fanciulli il latte delle loro madri, e si sciolgano i pesci nel mare, e tutte le cose che sono in esso, e disciolgansi tutti gli animali volatili e tutti gli animali, che sono di quattro piedi, e tutti gli fiumi; e se alcuno uomo o donna avesse qualche ombra dì spirito maligno, o malia, per la quale facesse del male agli altri suoi simili, ogni sua virtù sia disfatta e nel Nome SS. Tuo JESUS fugga da costui ogni maligno spirito ed ogni malia o fantasma, e non possa avere potestà il maledetto "demonio" di nuocere ad alcuna persona la quale confida in Te, e si parla da lui, o da lei ogni maleficio, e ogni malia e sia maledetta ogni sua opera, ogni suo senso ed ogni sua fatica. E Tu, Signore mio: guardaci dal "demonio" e da ogni suo inganno, per lo Santo Tuo Nome grande: e sempre glorificato.

« 0 mio Dio Onnipotente accetta le mie suppliche, e fa sì che con piena Tua mano piovano sul Tuo servo (o serva) quelle stesse benedizioni, che cader facesti su quella pietra di Oreb da cui ne scaturì acqua abbondantissima per la dissetazione dei figliuoli di Israele.

« 0 Signore Iddio siccome ponesti Adamo nel Paradiso del Mondo, da dove n'esce un gran fiume; il quale si divide in quattro fiumi- cioè Gion, Fison, Tigri ed Eufrate, ed a cui comandasti, che tutto il mondo bagnasse, e niuno possa a lui contrastare, così ancora il maledetto "demonio", o alcun legame; o fattura, o mal uomo o mala donna, o mal occhio o malincontro darci noia. E non possa contristare né nuocere il servo Tuo (o serva Tua) n'é alcun di quelli, che ti chiameranno in aiuto. Partansi ogni malia, ogni male, ed ogni inganno del "demonio", partansi ancora da essi tutti gli avversari, e non abbiano alcuna potestà di poter loro nuocere, e ciascuno dei loro avversari che desidera di nuocere loro sia confuso. Indirizza la persona del Tuo servo (o serva Tua) e tutti li suoi membri per la virtù del'Altissimo Iddio, per intercessione a San Michele, San Gabriele, San Raffaele, Cherubini e Serafini per la virtù del Padre, del Figliuolo e dello Spirito Santo, Amen.

« E per la virtù di quel glorioso Angelo, il quale discese re nella Città di Nazaret a Maria Vergine. E per la virtù di quei Cherubini e Serafini, i quali stanno sempre intorno alla Sedia dell'Altissimo Iddio, guardi e liberi il servo Tuo (o serva Tua) da ogni fattura e da ogni mal pensiero dei nemici, né abbiano potestà di nuocere, per l'orazione degli Angeli, i quali sono riuniti in tutto. il mondo; così libera questa casa e tutti quelli che abitano in essa da tutti i mali, che fanno i malvagi o le maledonne. E per il nome, quale è sopra i Cherubini fa che non abbia potestà il maledetto "demonio" di stare né scorrer dinanzi al Tuo servo (o serva Tua) né di giorno né di notte sia turbato, né offeso.

« E per l'orazione di San Pietro Principe degli Apostoli, e per le petizioni dei SS. e per l'umiltà dei Pellegrini, e per la penitenza di Adamo, e per il sacrificio di Abele, e per la mansuetudine d'Isacco, per la castità di Giuseppe, per la bontà di Giosafatte, per l'obbedienza di Noè, per la benignità di Matusalem, per la fede ed obbedienza di Abramo, per l'offerta di Isaia; per la religione di Melchisedech, per la peregrinazione di Giacobbe; per la pazienza di Giobbe per la mansuetudine di Mosè, per la religione di Aron, per la devozione di Tobia, per i salmi di David, per l'orazione di Sara, per il lamento di Geremia, per la santità di Zaccaria e per le profezie dei Profeti; e per le sedi di coloro che non dormano mai; lodando e benedicendo Dio in Cielo, e per la chiarezza della divinità, e per le rivelazioni degli evangelisti; per la voce degli Angioli, e per colui che vide Mosè; e per lo splendore del lume eterno, per la fortezza dei Martiri, per la fede dei Confessori, per l'Annunciazione e Concezione di N. S. GESÙ CRISTO, per la Natività e Battesimo suo per la Croce, Passione e per la Morte sua; per colui che di due pesci, e cinque pani saziò cinquemila uomini nel deserto, e per colui che andò sopra le acque con i suoi piedi; e per quei Cori degli Angioli quali saliranno al Cielo con Gesù Cristo. E per il digiuno dei Santi Apostoli, e per lo Spirito Santo, il quale venne sopra di loro, e per la contrizione dei Pellegrini, e per tutti coloro che temono Dio, e per Colui che creò tutte le cose, sciolga quest'anima da ogni forza dei "demonio" per l'autorità del Divino e dei Santi Nomi, che qui sono scritti a lode di Dio. Amen.

« E se quella malia o legame fosse stato fatto in nome del "demonio" infilato d'oro o in ferro, o in rame, o in piombo, o in stagno, o in lana, o in lino, o in uccello, o di pesce, o di legna, in alcun'ombra, in pietra, o in sepoltura di Cristiani, o di Ebrei, o in fonte, o in mare, o in casa, o parte di sotto o disopra, o in campo o in vite, o in albore o in pozzo, in profondo di acqua; in sepoltura o in fosse, o in deserto, o in decisione di via o in chiusura. Tutte queste cose siano disfatte appresso la serva o servo di Dio Nostro, in nome dello stesso Dio, ed il maligno "demonio" non abbia potestà di nuocere alcuno di quella casa. E porta suo amore dinanzi ai Santi: Michele, Raffaele, Gabriele ed Angeli ed Arcangeli, Troni, Dominazioni, Principati e Potestà Virtù ed ogni ordine dei Beati Spiriti.

« E per San Giovanni Battista, e per i Patriarchi, i Profeti, e per l'orazione dei dodici Apostoli, e per l'orazione dei quattro Evangelisti, e per l'orazione dei Santi Martiri: Lino, Cleto, Clemente, Sisto, Cornelio, Lorenzo, Vincenzo, Teodoro, Crispino, Dionisio, Eustachio, ed altri compagni; e per l'orazione di tutti i Confessori e per l'orazione delle sante Vergini Maria Salomè, Margherita, Perpetua, Agnese, Felicita, Lucia, Cecilia, Caterina, Reparata, Concordia, Cristiana, Giuliana, Barbara, Giustina e tutte le Sante Vergini e Martiri di Dio per la virtù Celestiale Iddio vivo e vero, Crocifisso Imperatore e Vincitore della morte, il quale liberò l'umana generazione dalla potestà delle tenebre: sia liberato il servo (o serva) di Dio Nostro.

« Io ti scongiuro maligno spirito per il nome dì Dio Tetragrammaton, per la virtù di colui, che non ha principio né fine, il quale va sopra le nubi e sopra le penne dei venti, per gli Angioli, che sono dinanzi a lui, le cui facce sono coperte; e per lo splendore dell'Altissimo e per la virtù del Signore dei Signori.

« Io ti scongiuro maligno spirito, che tu non abbi potestà sopra di questo servo (o serva) di Dio Nostro, che né di giorno, né di notte abbi potestà sopra di lei, né vigilando, né dormendo, o in casa, o fuori, o mangiando, o bevendo, o in campo) o in vigna, o in via torta, o di due o di tre vie, o in ogni luogo dove l'umana generazione conserva immagine di cera o di qualunque metallo essa sia, non abbia potestà di poter nuocere a questo servo (o serva) di Dio nostro. E siccome l'ardente fuoco non bruciò i tre fanciulli Silerac, Misac, ed Abdenago; così non possa alcun maligno spirito nuocere al servo (o alla serva) vostro. Ed il Nostro Signor Gesù Cristo guardi il devoto servo (o serva), da ogni pericolo conservandolo nella sua grazia.

Amen ».

San Cipriano deve essere reputato uno dei grandi maghi dell'antichità. Conobbe tutti i segreti delle scienze occulte e della negromanzia. Nacque in Antiochia (304) in una famiglia agiata. Sin da giovane si dedicò con passione alle scienze magiche. Scrisse numerosi libri sulla stregoneria, e stupì le genti per i suoi poteri di taumaturgo. Lasciò previsioni e divinazioni che hanno del sorprendente; dominò con straordinaria energia le forze del male. Venne condannato al martirio mediante decapitazione insieme alla vergine Giustina. La sua festa si celebra il 26 settembre.

http://www.menphis75.com/preghiera_s.cipriano.htm

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You are here: Rue's Kitchen > Interesting Articles > Malocchio: Ever Present, All Seeing Evil Eye

Malocchio: Ever Present, All Seeing Evil Eye

by Peter Crawford

Even if you aren't given to musings about witches, black cats and various other superstitious beliefs, you may nevertheless have wondered about the evil eye, especially insofar as the term might apply to the way your boss sometimes looks at you.

The malocchio (mal = bad, occhio = eye) is a long-standing and still healthy tradition in Italy. Basically, it's believed to be caused by the bad thoughts of other people - especially envy. These bad thoughts are said to influence the lives of the person thought about, especially if that person is in a weak condition. Hence, children and seniors are especially susceptible. It has more to do with the thoughts of the "looker" than with the actual look of their eyes - though supposedly people with blue eyes are more likely to give you the malocchio. Maybe that's just an ethnic prejudice, since most Italians are brown-eyed, and the introduction of genes for blue eyes always came from those nasty invaders from the north. It's said that you never know who it is giving you the malocchio, though it's usually someone who is fairly close to you. Beware however: it's usually the last person you would suspect; in fact, it's more likely to be that one person who always seems so nice to you (ruling out one's boss, perhaps).

Nevertheless, you can't really blame the evil eye giver, because it's usually not their actual conscious decision to give you the evil eye. It's not like they repeatedly whisper to themselves while gripping your crumpled photo, "I CAST UPON THEE AND THY PROGENY AN EVERLASTING MALOCCHIO!!!" While there does exist something like this in Italian folk traditions, it is called a fatura (which means bewitchment), and it's a fairly complicated procedure. To cast a fatura on someone, you go to a professional. They assemble the spell and then cast it. You pay them, and everybody's happy - except your enemy. Your enemy goes to a professional who specializes in taking away fature, and who may also tell him who cast the fatura. Your enemy pays double, takes away your fatura while casting one back on you. And so another nether world feud begins. Let's just hope these specialists are right and don't finger the wrong person!

Having been basically adopted into my Italian wife's family and circle of friends, I've had the opportunity to see a bit of all this first hand. There's a woman in our town named Gina who is recognized even outside our region as having healing powers. She does it on a donation-only basis, and a on donation-only basis she's built a nice double-decker family home with all the perks. People come to her from all over Italy, with all sorts of complaints, and she consults with them, often giving them dietary and life-style advice, as well as using the power of her ring to help heal people (presumably acquired before the recent Tolkien craze). Usually the consultation concludes with her taking away your malocchio, since that's assumed to be the ultimate cause of your misery. She uses a dish of water into which she drops olive oil from her finger. When you have many spots of oil, then you have a bad problem with malocchio. She passes her ring over your chest a few times, and then tries the oil again, until only one spot occurs. At that point, the malocchio has been taken away.

I don't say anything, but watching the whole process carefully, I've noticed that on the final test, she picks up less oil than at first, and uses less force dropping it. I'm not fooled! But then, I've also got a problem with malocchio that just can't be beat...

Wise women like Gina exist in most towns in Italy - a side of Italy which tourists doing the Florence, Rome, Venice circuit never get exposed to.

There are other ways to ward off the malocchio. For instance, you may notice in Italian street markets a stand which, among various and sundry articles, sells small plastic red peppers. You'll see them as key chains especially, but you can also find big ones to hang in your house. (We used to have one hanging over our front door for a couple of years. Then I put it away just to see if our bad luck index went over the top. The jury is still out, as I guess it forever is with things of this sort.) Usually these red peppers are made of plastic, though you can get them carved of wood or coral. Inside the large ones is a little man in a tuxedo and top hat - the good luck guy about whom I confess to know nothing further.

Of course, this tradition hearkens back to actual red peppers - the long, thin spicy kind - which people make into large garlands and hang to dry. You see these in open markets as well and in farmyards. It's a similar belief as with garlic - the pungency of certain herbs that wards off evil influences.

Another way to ward off the malocchio is to carry around a piece of amethyst. There are also religious phrases one can use. Or else three pieces of rock salt wrapped in aluminum foil. Speaking of which, salt has all sorts of uses here in Italy, aside from salinizing your pasta water. Apparently witches can't stand it when you sprinkle it around your bed because they go crazy counting it, meanwhile losing their chance to really fix you good. They also don't like it when you burn incense in front of an open window because they get caught on the draught and sucked outside. And did you know the phrase "the witching hour" applies to those wee hours of the morning between 3:30 and 5:30? Likely the same time your boss is reviewing your latest project.

You learn a lot of things living in a small town in Italy, real useful things they just don't teach you in your standard university. Now if I can just get Gina to take away this darned malocchio of mine once and for all...

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You are here: Rue's Kitchen > Cucina/Recipes > Cucina Casalinga Abruzzese (Abruzzese Home Cooking)

Cucina Casalinga Abruzzese (Abruzzese Home Cooking)

This following recipes for Canneloni, Italian Wedding Soup, Osso Buco, Chicken with Tomato and, White Clam Sauce are remarkably identical to mine, that is my Abruzzese family recipes, but since I didn't have to type them up, I am more than happy to credit the author: http://www.dellarocchetta.com. ~Rue

Cannelloni

Make crepes and stack and put aside covered lightly.

4 eggs
1 cup flour
½ cup milk
½ tsp salt
½ cup chicken stock
1 Tbsp melted butter

Mix all ingredients with either Mixer, Blender or with wire whisk. Cover and let stand 1 hour before baking.

Meat Mixture

1-2 cloves garlic minced
½ lb. ground chicken
½ lb ground veal
2 Tbsp butter
1 cup Ricotta Cheese
½ cup grated parmesan cheese
1 egg beaten
½ tsp salt
Dash nutmeg
½ lb mozzarella cheese sliced
½ cup frozen thawed chopped spinach cooked and squeezed until all liquid is out.
1 Cup Basic Sauce plus

Sauté garlic, chicken and veal in butter, breaking apart the meat until cooked and in small pieces. Cool. Add ricotta and spinach and mix. Add parmesan cheese, egg, salt and nutmeg.

Place the Basic Sauce into greased baking dish enough to cover bottom generously. Spoon meat mixture into crepes, and fold and place crepes in baking dish. Spoon either more tomato sauce on top or use Béchamel Sauce on top but either one should be used lightly. Top with sliced mozzarella cheese and bake at 350 degrees for 15-20 minutes or until hot and cheese is melted and browned.

Makes approx 8-10 crepes. An option is to place mozzarella cheese right on top of crepes without using sauce on top. It is good this way but will be less moist.

Italian Wedding Soup

Italian Wedding Soup is one of the great treasures of Mediterranean Cooking. It may be a lot of work, but every savory spoonful is worth the effort.
As its name suggests, Wedding Soup was reserved for the most special occasions, although if you grew up in an Italian family, it wasn't uncommon to find bowls set before lines of guests at family reunions or graduations, Easter, Thanksgiving or Christmas. Some interpretations differ. One version holds that the "Wedding" refers not to nuptials at all, but to the perfect marriage of the soup's various key ingredients -- chicken in broth, miniature meatballs, tiny soup-style pasta, chopped shreds of greens, and puffy clouds of egg beaten with freshly grated cheese and dropped into the bubbling soup pot during the final moments of preparation.

Whatever your interpretation of this indulgent and very special-occasion splurge, here's how it's done.

First prepare a large pot full of homemade chicken soup, using a stewing hen, carrots and celery, large sprigs of parsley, salt and pepper and water to amply cover. Remove excess fat from the chicken, and clean the spine and inside. Cover with cold water and bring to a boil and skim off the foam from the top turn the heat down to low so the pot simmers. Add additional water if needed. Add the chopped carrots and celery and parsley. Season with salt and pepper and simmer 1-1/2 to 3 hours, covered. Cool and refrigerate overnight.

The next day, discard the fat that has risen to the surface. Strip the meat from the bones and discard skin, fat and scraps along with the parsley. Dice the meat and return to the broth.

Next prepare miniature meatballs. Although they can be assembled the day of your party, they can just as easily be made, shaped and frozen a week ahead of time and cooked on the day of your party.
Start with 2 pounds of extra-lean ground beef round. (I prefer to use about 1/2 pound of ground veal in place of 1/2 pound of the ground beef). Do not use chicken or turkey, however; as the flavor may be lost amid the chicken broth. Crumble the meat into a large bowl. Take 4 slices of white bread and crumble into another bowl and add enough milk to moisten, then add the bread to the meat. Next, add 1 cup of freshly grated Pecorino, Romano or Parmesan cheese, along with 1 tablespoons dried parsley 1/2 teaspoon dried basil and 1/2 teaspoon dried oregano, 1/2 to 3/4 teaspoon salt and 1/4 to 1/2 teaspoon of black pepper and 1/4 teaspoon granulated garlic or 1 large clove garlic pressed through press. In a separate bowl, beat 3 eggs with a fork, then add them to the meat. Mix thoroughly. I use my hands to mix as it is the best method of getting everything combined.
Using about a half tablespoon size portion of the mixture shape into mini-meatballs and place them on plastic-lined cookie sheets. Place a small amount of olive oil in a non-stick frying pan and fry the meatballs just long enough to brown them on all sides and reserve. These can be covered, frozen solid, then transferred to reseal able containers, or you can fry them ahead of time and refrigerate them until you are ready to use them.

Now, ready the greens: Chopped dark, leafy greens are an important and symbolic ingredient. In many cultures, the tender greens represent springtime, new birth, union and renewal.
I always use curly endive leaves for the slightly bitter flavor they impart, but other cooks make substitutions like escarole which is a very good substitute and I use it when I can't get curly endive, thoroughly washed spinach or even shredded romaine. Whatever the case, chop the greens into small pieces -- eliminate tough, pale stems -- and cook them in boiling salted water. You can do this a day ahead of time, but drain thoroughly before using.

Cook the pasta: shortly before the soup will be assembled and served, cook 1/2 pound of tiny "soup pasta" such as orzo, acini di peppi, ditalini, pastina or even angel-hair broken into short lengths. For best flavor do this while the soup is heating and transfer just enough of the hot broth to a separate saucepan to boil the pasta al dente.

You're about to assemble the soup. First beat 5 or 6 eggs in a large bowl until fluffy, then whisk in a cupful of freshly grated Romano or Parmesan cheese and set aside.

Assuming you've completed everything else, the rest is easy:

Bring the chicken soup to a full boil.

Drop in the fried meatballs, a few at a time, into boiling soup. Stir very carefully to avoid breaking them. Let the soup return to a boil.

Stir in some diced fresh celery and return to a boil.

Add the cooked pasta along with the greens. Bring to a boil.

Whisk the egg-cheese mixture and drizzle it, in a stream, into the boiling soup. The egg will puff and solidify. If it forms a mass, use the side of a spoon to break it into small puffs.

Serve the soup immediately, making sure to mix it up from the bottom so that everyone gets some of the meatballs and chicken, tender greens, tiny pastas and egg "clouds".

At a wedding or a full-blown feast, this would only be the warm up course. But for contemporary palates, Italian Wedding Soup is a feast all on its own.

Osso Buco (Veal Shanks)

These fork-tender veal shanks are slowly braised with wine, vegetables, and herbs. Risotto or Polenta are traditionally served with this dish.

6 Veal Shanks, cut 2 inches thick, remove thick fat from outside and tie with string around their circumference.
1 cup all purpose flour
salt and pepper
2-3 tablespoons olive oil
1 large carrot, coarsely chopped
1 green pepper, coarsely chopped
4 large cloves garlic, minced
1/2 tsp. dried basil
1/2 tsp. dried parsley
1 28 ounce can plum tomatoes, coarsely chopped
2 1/2 tablespoons tomato paste
2 cups dry red wine
1 cup chicken stock
1 large bay leaf
3 strips of lemon zest

Gremulata
Finely chop parsley, garlic and grated lemon or orange zest.

Directions:

In a large non-stick frying pan heat the oil over moderate heat.

Add the salt and pepper to the flour and dredge the veal in the flour and shake off any excess. Working in batches, brown the veal on all sides. Do not crowd the pan. Remove to a roasting pan large enough to be able to hold all the shanks in one layer.

Add the carrot, peppers and garlic to the pot and cook until the vegetables are tender but not browned. Add the chopped tomato with the juice and the paste, then add the wine to the pot and stir to collect all the flavor from the browned meat. Pour over the veal shanks in the roasting pan. Add the lemon zest, the bay leaf and enough stock to cover the shanks.

Bake at 325 degrees for approximately 1 to 2 hours covered until the meat is tender. Make sure it is not boiling. If it is boiling you should turn the temperature down on the oven to as low as 250 if necessary to not allow it to boil. It should just simmer not boil.

Transfer the veal shanks to a heated platter; remove the strings and cover with foil to keep warm. Remove the bay leaf and discard. Pour the sauce over the meat. If the sauce is too thin you can cook it over high heat to a boil and stir frequently to reduce and thicken.
Just before serving sprinkle the Gremulata over the top in the serving dish. This step is traditional but optional and I personally do not use it.

Serves 8.

Chicken with Tomato

This is a favorite chicken dish in our house and it is quick and can be made ahead and put in the oven on time bake to make it easy.

1 Chicken cut into pieces, washed and cleaned
1 28oz can plum tomato cut into small pieces
1 tbsp tomato paste
1 green pepper chopped
5 cloves of garlic chopped
1/4 tsp red pepper flakes (Optional)
Salt and pepper
1 cup Chicken broth
Olive oil enough to coat bottom of frying pan.

Dry chicken pieces with paper towels. Season with salt and pepper. Heat olive oil in pan and fry chicken pieces starting with skin side down until browned on both sides but not cooked through. As pieces are browned place in a roasting pan in one layer. After all chicken is browned place the chopped pepper and garlic with the red pepper flakes into the pan and sauté until cooked then add the tomato paste and cut tomatoes with juice. Season with salt and pepper. Add 1 cup chicken broth and cook until sauce comes to a boil and then simmer for short period Pour sauce over the chicken in the roasting pan and bake at 350 degrees for 1 hour.
Serves 4 generously.

White Clam Sauce

2 cans Snow’s Minced Clams
1 can Snow’s Whole Baby Clams
1 bottle Clam juice
1 cup White Wine (Dry)
Enough Extra Virgin Olive Oil to cover bottom of sauce pan
5-6 large cloves garlic
1 Tbsp. parsley (Dry is ok)
Pinch Red Chili pepper flakes (more if you like a bite to your sauce)
Salt and Pepper

Chop garlic to a fine mince. Drain clams reserving the juice. Saute garlic in olive oil until golden. Add drained clams and stir, add Red Pepper flakes. Cook a few minutes stirring until all have a chance to warm and cook a little bit. Add all of the clam juice and wine. Add salt and pepper and parsley. Cook at a simmer long enough for flavors to blend.

This will be enough for 1 lb. pasta. Good with linguine. Taste to adjust seasoning because I can’t say how much salt and pepper to use. You can also use more Red pepper flakes and it will add a zing.

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You are here: Rue's Kitchen > Italian Folk Medicine & Blessing Rituals > Cult of Saints > Sant’Antonio

Sant’Antonio

One common thread among practitioners of Italian folk magic/healing is the widespread practice of requesting the intercession of their patron saints. Seasoned practitioners view this as a working relationship with their 'patrone'.

Saint Anthony of Padua is an example of a saint I inherited from my ancestors. My father was named after him and I've always had a working relationship with Sant'Antonio for matters involving my family's health and well-being.

Here follows some vital statistics on Saint Anthony. Maybe this will help you learn more so you will decide to adopt him as your patron.

Saint Anthony of Padua is the saint traditionally invoked for help in finding lost objects and in prosperity rituals... and parking spaces!

Doctor of the Church, 1195 to 1231.
Feast Day June 13
Patron of Poor, also against shipwrecks, starvation, animals, boatmen, elderly people, fishermen, harvests, lost articles, mail, Portugal, travelers, travel hostesses, and watermen
Symbol book, bread, Infant Jesus, lily, Young Families

On an altar, place an image of St. Anthony, some fresh flowers (lilies when possible), light a nine day candle and recite this once daily, preferably at the same time for nine days to obtain your wish.

Unfailing Prayer to St. Anthony
"Blessed be God in His Angels and in His Saints"
O Holy St. Anthony, gentlest of Saints, your love for God and Charity for His creatures, made you worthy, when on earth, to possess miraculous powers. Encouraged by this thought, I implore you to obtain for me (request). O gentle and loving St. Anthony, whose heart was ever full of human sympathy, whisper my petition into the ears of the sweet Infant Jesus, who loved to be folded in your arms; and the gratitude of my heart will ever be yours. Amen.

Saint Anthony of Padua is my family's patron saint.

When my grandmother was pregnant with my father she prayed to Saint Anthony:

"Sant'Antonio, per piacere, perche no mi dai questo bello bambinello?"

"Saint Anthony, please grant me that beautiful baby you hold in your arms."

When my father was born, legend has it that people came from all the surrounding villages because he looked just like the Infant Jesus of Saint Anthony.

*** 17 marzo – 17 maggio 2006
Una mostra intrigante su magia e fortuna racconta un Abruzzo terra di misteri e incantesimi. Un’archeologia “insolita” in uno dei musei più innovativi in Italia
del 03/04/2006

Angitia, figlia di Eeta, per prima scoprì le male erbe, così dicono, e maneggiava da padrona
i veleni e traeva giù la luna dal cielo; con le grida i fiumi tratteneva e, chiamandole,
spogliava i monti delle selve.
Silius, Punicae, libro VIII, 495-501
---------
Proprio dal bosco sacro alla dea Angizia provengono le tre misteriose statue di divinità femminili rinvenute durante una recente campagna di scavi nel sito dell’area sacra di Lucus Angitiae, nei pressi di Luco dei Marsi (L’Aquila), al centro dell’insolita mostra, Fortuna e Prosperità. Dee e maghe dell’Abruzzo antico, ospitata dal 17 marzo al 17 maggio presso il Museo La Civitella di Chieti. La mostra, promossa dalla Soprintendenza Archeologica dell’Abruzzo e organizzata dall’Associazione Antiqua, con il patrocinio e il contributo della Regione Abruzzo, della Provincia di Chieti, del Comune di Chieti, è curata da Adele Campanelli, Flavia de Sanctis e Maria Paola Pennetta.
Testimonianza votiva dei culti femminili del ciclo naturale di morte e rinascita, le tre opere restituite dall’area archeologica di Luco dei Marsi (due sculture in marmo, che rappresentano rispettivamente Afrodite e Demetra, e una in terracotta, databili tra il III e il II secolo a.C.) sono potenti icone di donne straordinarie. Le tre statue, praticamente inedite e da poco restaurate, sono il cuore della mostra e offrono lo spunto per andare alla scoperta di insoliti manufatti artistici di uso popolare e di tutto l’universo magico-religioso che ruota loro intorno.
Per comprendere il significato e i misteriosi contorni delle tre figure femminili al centro della mostra, bisogna risalire alla mitica presenza di Angizia, divinità arcaica, incarnazione locale di una dea madre. Quando la cultura abruzzese di età arcaica entrò in contatto con il pantheon greco-romano, i devoti di Angizia riconobbero alcune caratteristiche della dea nelle nuove ed “esotiche” personalità di Afrodite-Venere e Demetra-Cerere, che non soppiantarono il culto locale di Angizia, ma ad essa si affiancarono, in una fitta trama di rimandi, allusioni, misteri. In ciascuna di queste divinità rivive un ricordo della Grande Madre, dea del ciclo morte-rinascita, detentrice di arcani poteri femminili, genitrice di ogni magia.
La mostra presenta le dee del bosco di Angizia in un allestimento scenografico di grande suggestione. Il visitatore è accompagnato alla scoperta del mondo magico abruzzese attraverso un percorso che espone “strumenti” dell’arte magica, come antichi amuleti e talismani, gioielli, ex voto conservati presso la Soprintendenza Archeologica dell’Abruzzo, insieme a portafortuna, provenienti da collezioni private, usati a partire dal XVII secolo. In tutto oltre 200 reperti, prevalentemente archeologici. Tra gli oggetti in mostra, troviamo una cinquantina di manufatti che testimoniano della moderna continuità delle antiche pratiche magiche e appartengono alla Collezione Verna di Pescara.
Interessanti gli inediti che questa mostra presenta al pubblico, terrecotte votive tra le quali si distingue quella di una particolare figurina maschile itifallica; inediti anche alcuni pezzi della collezione Verna, antica famiglia di orefici abruzzesi.
E’ la profonda vocazione alla magia e al mistero, che vive e si rinnova attraverso un patrimonio popolare e antichissimo, una ricchezza di oggetti di culto, amuleti, talismani, rituali, formule, incantesimi che continuano a sopravvivere nel mondo moderno.
E’ l’affascinante mondo della magia, intesa come arcana e segreta conoscenza dei poteri di alcuni elementi naturali (quali erbe, animali, acque), l’oggetto, quindi, di questa suggestiva e intrigante mostra allestita presso uno dei musei più all’avanguardia in Italia, che si conferma un’assoluta novità nel panorama nazionale, progettato per accogliere il pubblico e iniziarlo al piacere della conoscenza e diretto da Adele Campanelli. In occasione di questo evento espositivo, La Civitella torna infatti a parlare al pubblico di un’archeologia “inedita” con uno stile museale insolito, accattivante, coinvolgente.
Ecco, infatti, che ad introdurci in mostra e alla magia sono i racconti, le storie, il filo intrigante della parola: sotto le fronde di un grande albero, luogo simbolico di sosta, il visitatore si sofferma ad ascoltare favole, miti e leggende. Credenze popolari al museo? Magia e misteri in mostra? E’ proprio questa la sfida e la suggestione di una mostra che “gioca” con la tradizione orale, indaga i rapporti tra magia e superstizione, religione e pensiero scientifico, ci accoglie nell’affascinante universo femminile soffermandosi sui temi della fertilità, della prosperità e della protezione.
L’albero simbolico che apre l’allestimento è il punto di partenza per il percorso che, snodandosi attraverso le vetrine, viene scandito da immagini in movimento di grande suggestione (per esempio la luna, i fuochi fatui) e cullato dal suono delle canne metalliche che evocano le arpe eolie. Anche le stesse attività didattiche, i “laboratori del racconto”, organizzate secondo stili e modalità in grado di affascinare il visitatore, si soffermano su aspetti particolari del mondo magico, come i rapporti tra arte e alchimia o arte e astrologia lasciando al visitatore, se vuole, il gusto di andare lui stesso alla scoperta di un Abruzzo magico… in un diretto legame con i riti e le formule del passato. Ed è proprio questa una delle caratteristiche che meglio rappresentano l’identità culturale del territorio abruzzese, con caratteri di assoluta originalità come la
mostra mette in luce.

*************

CHIETI – MUSEO ARCHEOLOGICO LA CIVITELLA *** >17 marzo – 17 maggio 2006

Talismani, amuleti e leggende incantano i visitatori all’ombra di un grande albero e tra i ripiani di un vecchio armadio: duecento reperti raccontano il potere magico delle donne, fino ai giorni nostri…

Le donne abruzzesi erano considerate nei tempi antichi terribili maghe e fattucchiere:
il legame tra religione e magia si tramanda per linea femminile e vive nelle pieghe nascoste di un Abruzzo segreto e inesplorato. Il magico potere delle donne è al centro dell’insolita mostra Fortuna e Prosperità. Dee e maghe dell’Abruzzo antico, ospitata dal 17 marzo al 17 maggio presso il Museo La Civitella di Chieti. La mostra, promossa dalla Soprintendenza Archeologica dell’Abruzzo e organizzata dall’Associazione Antiqua, con il patrocinio e il contributo della Regione Abruzzo, della Provincia di Chieti, del Comune di Chieti, è curata da Adele Campanelli, Flavia de Sanctis e Maria Paola Pennetta.
Tre statue di divinità femminili, praticamente inedite e da poco restaurate, provenienti dal santuario della dea Angizia di Luco dei Marsi (sito archeologico corrispondente all’antica città di Anxa, sacra alla dea) sono il punto di partenza per un percorso all’interno della cultura popolare dell’Abruzzo antico che indaga il potere delle donne, il mistero, l’incanto e la seduzione. Un percorso che, a partire da antichi culti religiosi, rituali e pratiche liturgiche, porta i visitatori a seguire gli echi di miti e credenze, superstizione e scaramanzia, fino ai giorni nostri.
Le donne dell’Abruzzo erano famose nell’antichità per i loro poteri magici e di vaticinio. Considerate fattucchiere, sono state spesso rappresentate nei testi letterari come anziane capaci di predire il futuro, di favorire l’amore con le loro nenie e le loro magiche note e di mutare per dispetto le donne in civette. Una terribile sapienza, che aveva addirittura il potere di rompere letteralmente la testa a chi ascoltasse le formule magiche. Il sapere delle maghe abruzzesi derivava loro dal culto delle divinità femminili, Angizia soprattutto, donne divine, incantatrici, guaritrici, sospese tra cielo e terra, che presiedono i misteri della vita e della morte, divinità della salute, conoscitrici di erbe e veleni che esercitavano potere sui serpenti.
La mostra espone “strumenti” dell’arte magica: reperti archeologici, talismani, portafortuna, antichi amuleti, gioielli, ex voto, che dialogano con il patrimonio di tradizioni di cui l’Abruzzo è ricco. Suggestivo è lo scenario all’ombra di una montagna sacra, la Majella, dove si ripetono, secolo dopo secolo, gesti e riti antichi: l’accensione delle “farchie” (falò di fascine), il maneggiamento dei serpenti, i riti dell’ “albero di maggio”. E proprio le fronde di un grande albero sono il punto di partenza di un insolito e coinvolgente allestimento, un albero che abbraccia i visitatori e li immerge nel vivo di storie, racconti, miti, tradizioni e leggende popolari. Se non si può dimostrare, la magia si può evocare, raccontare: la continuità del passato e la vitalità delle tradizioni vivono infatti nel fascino evocativo della parola. Se l’archeologia raccoglie le testimonianze dell’antica superstizione, è affidato al pubblico il compito di interpretare, fare ipotesi, “usare” gli oggetti esposti.
Sotto il grande albero si incontrano tre elementi del mondo naturale e simboli dell’universo femminile: un ramo di corallo e una grande conchiglia, reperti neolitici dalla Grotta dei Piccioni di Bolognano, e la terra d’ocra, dall’intenso colore simile al sangue, con la quale in età della pietra si cospargevano i corpi dei defunti nel tentativo di restituirgli la vita.
Con lo scopo di evocarne il potere, gli elementi naturali diventavano elementi ornamentali, per esempio le conchiglie incastonate o appese come ciondoli oppure oggetto di rappresentazione in piccole sculture, gioielli, talismani, amuleti. Sfilano sotto gli occhi stupefatti dello spettatore frutti, fiori e un vero e proprio bestiario magico: animali fantastici, cavallucci marini, anatre, galletti, oltre a figure umane o parti del corpo. In mostra due galletti, l’uno utilizzato come tintinnabulum proveniente da Cansano, l’altro invece parte di un gruppo di statuine rinvenute a Fresagrandinara.
Un’altra sezione della mostra è dedicata alla rappresentazione del divino con allusioni a culti misterici e esoterici: troviamo la piccola immagine della donna-fiore da Castel di Ieri, il “Satiro allo specchio” della Collezione Pansa, statuine di idoli egizi da Alba Fucens e la lastra fittile raffigurante Ercole velato.
Animale esoterico per eccellenza è il serpente, legato al culto arcaico di Angizia: in mostra troviamo la scultura di una mano che stringe un serpente, da Villa S. Maria. Ad Angizia si attribuivano facoltà iologiche, cioè di controllo sui serpenti. Questi poteri si sarebbe trasmessi alla popolazione dei Marsi, figli della dea. Esistono ancora nelle aree interne dell’Abruzzo questi manipolatori di serpenti, i “serpari” di Pretoro e Cocullo che mostrano, in particolari occasioni rituali, la loro mitica confidenza con aspidi e colubri.
Dopo l’albero, un altro snodo simbolico importante nel percorso espositivo è un vecchio armadio, tipico delle case ottocentesche: sono qui i misteriosi talismani della Collezione Verna. L’armadio racconta la dimensione intima, privata, familiare della superstizione e il simbolismo della quotidianità che si annida negli oggetti di uso comune e attraverso questi sopravvive ai secoli. Questo senso di continuità è il criterio che mette insieme ai pezzi archeologici anche testimonianze di oggetti magici abruzzesi dei secoli successivi, fino all’epoca moderna e che hanno uno stretto rapporto di somiglianza, nella forma, nell’uso e nel materiale di cui sono composti, con i pezzi antichi.
Del profondo legame tra fortuna, magia e prosperità si trova traccia nei simboli fallici, espliciti negli amuleti e nelle raffigurazioni itifalliche provenienti dagli scavi di Luco e Avezzano e criptati in altri oggetti magici come la chiave proveniente da Tufillo.
Ma il rigore della ricostruzione archeologica non riesce a spiegare tutto e un velo di mistero continua ad avvolgere gli oggetti usati per la divinazione. Un modo per predire il futuro era interrogare oggetti “parlanti”, fittamente ricoperti di scritte e simboli. Tra i pezzi in mostra, parlano dell’impiego della scrittura a scopo divinatorio i ciottoli e gli astragali inscritti, sorta di antichi dadi lanciati dagli oracoli e che compaiono anche in rappresentazioni dei Dioscuri. In altri casi, come nel santuario della Fortuna a Preneste, si prediceva la sorte nelle lettere incise su legnetti di quercia estratti dalla mano di un bambino da un’urna.
Però il pezzo più misterioso di tutta la mostra resta un antico cilindro bronzeo, di cui si ignora il funzionamento, ritrovato a Casalbordino e che lascia ampio spazio alla fantasia anche grazie alla presenza di scritte, parole magiche e formule rituali incise sulla superficie.

CHIETI – MUSEO ARCHEOLOGICO LA CIVITELLA ***
17 marzo – 17 maggio 2006

Il curioso merchandising in vendita nel “magic shop”
della mostra accresce la seduzione dell’Abruzzo misterioso in mostra a Chieti

Dopo aver sbirciato tra i ripiani di un vecchio armadio ottocentesco e ascoltato storie e leggende sotto i rami di un albero, dopo l’immersione nel mondo arcano dei rituali magici, misteriosi, scaramantici, tra talismani, amuleti, portafortuna, suggestivi reperti archeologici e strumenti di divinazione che venivano usati più di duemila anni fa, dopo aver ammirato le statue delle tre divinità femminili del III-II sec a.c. ritrovate in una recente campagna di scavi nell’area sacra di Luco dei Marsi…
… per i visitatori della mostra FORTUNA E PROSPERITA’. DEE E MAGHE DELL’ABRUZZO ANTICO c’è la possibilità di portare a casa l’incanto dell’Abruzzo magico con l’intrigante merchandising di portafortuna, talismani, amuleti e molto altro che si può acquistare nell’insolito “magic-shop”, la boutique-bookshop che arricchisce la mostra ospitata fino al 17 maggio presso il Museo Archeologico La Civitella di Chieti.
Al piacere di vedere una mostra originale e intrigante si aggiunge, infatti, il gusto di fare shopping con gli oggetti realizzati appositamente da una storica famiglia di orafi abruzzesi, i Verna di Pescara, che hanno riprodotto con un attento lavoro di ricerca e recupero modelli ottocenteschi.
Molti gli spunti per un regalo raffinato e inedito. Nella boutique, disegnata da Rude Bravo secondo un gusto eclettico ricco di contaminazioni, ci sono infatti amuleti di tanti tipi e scopi diversi, realizzati in oro e argento.
Una curiosità sono i gioielli a forma di cuore realizzati in “pietra stregonia”, pietra dura dal colore beige rosatoche deve il suo nome al fatto di esse considerata una potente arma di difesa contro le streghe: si tratta in realtà di frammenti fossili corallini che formano un disegno a ramage. Davvero imperdibili sono le “presentuose”, il gioiello nuziale tipico dell’Abruzzo, rappresentazioni stilizzate di cuori all’interno di un sole traforato, riccamente lavorate.
Tra i gioielli più magici e misteriosi ricordiamo inoltre i pendagli a forma di sirena ornati di campanelli, pendenti con il numero 13, i tipici talismani a forma di piccola rana su uno spicchio di luna crescente e la “cimaruta”, rappresentazione di un ramo di ruta, pianta a cui si attribuisce la proprietà di tenere lontani i diavoli.
In vendita negli spazi del “magic shop” si trova anche oggettistica legata al tema della magia e della fortuna e, inoltre, tutta una serie di prodotti naturali: sapone di rocca e saponi di erbe dalle virtù terapeutiche, come ruta, verbena ed iperico, detta anche “erba di San Giovanni”, e ancora una selezione di incensi, tisane e the dai nomi suggestivi (come il the di Angizia o la tisana di Canidia), erbe ed essenze della Majella, che daranno al visitatore la possibilità di portar via i segreti della montagna sacra.
Magia e mistero anche nel bookshop con una selezione dei più importanti volumi dedicati al tema, curiosità, aneddoti, studi, saggi.

INFORMAZIONI GENERALI

TITOLO Fortuna e Prosperità. Dee e maghe dell’Abruzzo antico.
DATA 17 marzo – 17 maggio 2006
SEDE MOSTRA CHIETI – Museo Archeologico La Civitella, via Pianell – 66100
ORARIO dal martedì alla domenica dalle 10.00 alle 20.00
INFO 0871/63137 - www.beniarcheologiciabruzzo.it

UFFICIO STAMPA: LR Comunicazione Laura Ruggieri Francesco Paolo Del Re
06/6631305 – 339/4755329 l.r.comunicazione@libero.it

Years ago I was sent a collection of fatture. I do not know their original source.

fattura d'amore

Nel primo quarto di Luna piena pungete il dito mignolo della mano destra, fate uscire tre gocce di sangue e impastatele con sette peli di cui quattro presi da entrambe le ascelle e tre dal pube. Mettete il tutto ad essiccare sulla piastra di un camino per poi ridurlo in polvere da mischiare nel vino o nel cibo della persona amata dicendo queste parola: "Sangue del diavolo attaccami a (nome) tanto lo devi legare che da me non si deve mai staccare!".

fattura dei tre fili:

Prendete un filo di cotone, uno spago di canapa ed un nastro di seta rossa. Unite il tutto facendo piú nodi.

Quando incontrate l’oggetto del vostro amore, stringete forte i fili ottenuti pronunziando ad alta voce il nome della persona. Dovreste ottenere il vostro scopo.

fattura del nome:

Scrivete su un foglio il nome della persona amata e ponetelo sotto il vostro cuscino. Prendete il cuscino e stringetelo fortemente come se fosse la persona, ripetendone più volte il nome. In quell’istante la persona desiderata sentirà un impeto d’amore verso di voi.

fattura della mela:

Un venerdí, all’alba, in un frutteto cogliete una mela. Sopra un pezzetto di carta scrivete con il vostro sangue il vostro nome e quello della persona da affatturare. Cercate di procurarvi tre capelli di quest’ultima che unirete a tre dei vostri.

Intrecciateli insieme, poi scrivete su un altro foglietto la parola magica “Scheva”. Tagliate il pomo che avevate raccolto in due, togliete i semi ed al loro posto ponete i due bigliettini ed i capelli intrecciati. Abbiate l’accortezza di fissare i bigliettini al frutto con due rametti di mirto.

Ponete tutto in forno, avvolto con foglie di lauro e di mirto; quando tutto sarà seccato, si mette l’amuleto sotto il capezzale del letto della persona, senza che essa se ne accorga.

In poco tempo l’amore sarà raggiunto.

fatture d'amore

Prendete 3 vostri capelli, 3 della persona amata e uniteli insieme con una fettuccia rossa di 30 cm circa, facendo 3 nodi e ripetendo per 3 volte ad ogni nodo queste parole: "Capelli di (nome) e (nome) parte di corpo di (nome) e (nome). Anima sei e volontà piegabile, con acqua e fuoco elementi di forte potenza. Trasformano e plasmano qualsiasi materia con tali potenze, ti domino e comando a mia unica volontà!". Portate la fettuccia legata al polso sinistro finché non se ne vedano i risultati, togliendola solo per le pulizie personali.

Durante una notte di luna piena pensate con intensità al vostro amore. Ripetete più volte il suo nome e annodate con un filo di lana rossa un filo di paglia. Lasciatelo esposto alla luna piena, poi avvolgetelo in una carte color argento. Nessuno deve vederlo, toccarlo o sciogliere il nodo, altrimenti l'incantesimo sparirà.

Preparate due piccoli sacchetti di seta rossa a forma di cuore. Metteteci dentro foglie di coriandolo e di cumino. Scrivete sopra un sacchetto il vostro nome e nell'altro quello dell'amato/a, poi cuciteli insieme, nome contro nome. Teneteli all'altezza del cuore, finché i due cuori resteranno uniti, lo sarete anche voi.

Per allontanare nuovi amori

Ogni martedì di notte prendete un bicchiere di vino rosso e fatelo bollire lentamente fino alla sua completa evaporazione. Mentre è in ebollizione ponetevi davanti ad esso e dite le seguenti parole: "Vapore che dissolvi e spandi disperdi con te, quello che legame può esistere tra (nome) e (nome). Tu che dissolvi evaporando e poi goccia a goccia, cadi disperso in miriadi di luoghi. Così diviso sia (nome) da (nome) per sempre così sia!". Ripetete l'operazione ogni martedì finché non se ne vedano i risultati.

Per riconquistare la persona amata

Mettete in tasca una ghianda e dormite per tre notti consecutive con un rametto di quercia sotto il vostro cuscino.

Mettete sotto il vostro cuscino delle radici di margheritina chiedendo al fiore di aiutarvi e dicendo: "Fiore, fiore mio bello, bocciolo d'oro, petalo d'amore, fai che lui ritorni per sempre al mio cuore". Ripetete il rito per sette giorni.

Per tre notti di venerdì, gettate sul fuoco un po' di sale dicendo: "Non è questo sale che voglio che bruci, ma è il cuore del mio innamorato che io voglio che non abbia riposo, né felicità prima che sia tornato e che mi abbia parlato".

Per sapere se il partner vi tradisce

Appoggiategli sulla fronte una foglia di mirtillo mentre dorme profondamente. Se è infedele si sveglierà di soprassalto e chiederà cosa sta succedendo, mentre se è fedele si desterà ma, rimanendo in una sorta di dormiveglia e di semi-incoscienza, quasi tra la veglia e il sonno, tenterà di avvicinarsi a voi per abbracciarvi.

Preghiera della malvarosa

Chi vuol conquistare l'amore di un uomo o di una donna deve uscire prima che sorga la Luna piena e trovare una pianta di malvarosa. Accertatevi che sia fiorita e recitate questa preghiera: "In nome del Padre del Figliuolo e dello Spirito Santo. Ti ho cercato ti ho trovato e ti comando. Malvarosa nei nomi santi di Dio di sottomettere alla mia obbedienza ogni persona che bramo e tocco in modo che sia ai miei ordini in tutte le cose quando ti porto nella mia bocca malvarosa fiat fiat amen".

La fattura che a continuazione vado a scrivere vá fatta per legare per sempre o far ritornare a noi una persona che si ami fortemente e che sappiamo sia l'amore della nostra vita.

Prendete 2 candele bianche e sistematele 1 a destra e l'altra a sinistra, in mezzo ad esse la foto o la statua di San Antonio.
Adesso prendete un limone e lo sistemate davanti all'immagine del Santo, accendete l'incenso liturgico invocandolo cosí:

IO VI INVOCO O GIGLIO IMMACOLATO, S.ANTONIO BENEDETTO, IO MI PENTO DEL PECCATO E DA VOI L'AIUTO ASPETTO.
SANT' ANTONIO MIO BEATO PER AMORE DEL DIO BAMBINO CHE VI É A LATO OTTENETEMI LA GRAZIA.

Battezzare il limone, spruzzandolo con dell'acqua santa (presa in una chiesa maschio) e con del sale, dicendo:

IO TI BATTEZZO CREATURA LIMONE, CON I NOMI DI ...., NEL NOME DEL PADRE + DEL FIGLIO + E DELLO SPIRITO SANTO + AMEN

Poi con un coltello vergine, tagliate il limone in 2 parti, all'interno inserite i testimoni delle persone da legare o 2 foto piccole con insieme la figura del santo, chiuderlo con un nastro rosso lungo 33cm, al quale si hanno fatto 9 nodi, dicendo ad ogni nodo:

OH GRAN SANTO DEI MIRACOLI, AMOROSISSIMO S.ANTONIO, CHE LA MORTE, ORRORI, DISGRAZIE, LEBBRA E MALI SPIRITI FUGGONO DAVANTI AL TUO NOME, CHE MARE E CATENE CEDONO, FATE CHE ...NON POSSA VIVERE, NÉ RIPOSARE, NÉ MANGIARE E CHE SIA SEMPRE LEGATO A ...COME IL VOSTRO CORPO E IL VOSTRO SPIRITO SONO LEGATI AL DIO BAMBINO CHE VI É A LATO, E CHE ... NON POSSA OPPORSI AL MIO VOLERE SENZA CHE SENTI IL PESO DELLA TUA MANO A CUI MARE E CADENE CEDONO. AMEN.

Recitare un CREDO e poi dite:

SANT ANTONIO DEI MIRACOLI TANTO LO DEVI LEGARE (fate il nodo)CHE DI ...NON SI DEVE SCORDARE.

Terminata l'operazione dei 9 nodi, legare il nastro al limone per chiuderlo, poi sotterarlo in aperta campagna o sotto un bel albero(o meglo ancora in casa della persona da legare) e dire:

SANT ANTONIO MIO BELLO, PROTEGGI IL NOSTRO AMORE, TI SCONGIURO PER LA TUA SANTA INTERCESSIONE POSSA ...LEGARSI A ME COME LO É IL DIO BAMBINO CHE VI É A LATO. AMEN.

Poi recarsi in chiesa e lí, lasciare consumare le due candele bianche, rivolgendo una preghiera al Santo.

Posted by Rue in

• Stregoneria • Fatture

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You are here: Rue's Kitchen > Definitions > The Differences Between Benedicaria, Stregoneria, and Stregheria.

The Differences Between Benedicaria, Stregoneria, and Stregheria.

By the Rev. Agostino Taumaturgo

Between the posts on sites like Mystic Wicks and the debunkings on Stregoneria Italiana^[1], or the claims of "secret traditio