Originally published in Florence: Edizioni Fiorentine, n.d. [1931].
© Translation generously provided by Chris Adams (Estorick Collection) and was published in the exhibition catalog for Piety and Pragmatism (26 September – 23 December 2006, Estorick Collection, London).
Faced with the treason of Achille Ratti [Pope Pius XI] – that renegade Italian, masked as leader of the Catholics but for some time manifestly operating in profane and political spheres – who dares to attempt the formation of a coalition of worldwide anti-Fascism, thereby making the nth appeal of the Papal State to foreigners against the fatherland; faced also with the imbecility of almost all the Italian press, we feel the profound and irresistible need as intellectuals of Fascist temperament and faith to assert:
1. That it is time to cut the Gordian knot of a serious misunderstanding. Fascist Catholics – that is to say, practising ones – constitute a risible minority. The majority of Italians are not practising and therefore do not belong to any Church. As the papal newspaper Lo Smerdatore Romano[i] admitted: to be Catholic ‘it is not enough to attend Mass every Sunday and occasionally take the Eucharist’.
2. Since time immemorial in Italy the word priest has been considered synonymous with hypocrite, parasite, louse and anti-Italian. To shout the word ‘priest!’ at an enemy has the same effect as landing a blow to his soul, offending him in the deepest manner possible.
3. The entire Risorgimento was the fiercest, most bloody and desperate struggle against the priesthood, which allied itself with all the enemies of the fatherland: the Emperor of Austria, the Empress Eugénie and the Bourbons.
There are four towering figures, who together are venerated by the Italian people as the authors and creators of unity and independence:
GARIBALDI
MAZZINI
CAVOUR
VITTORIO EMANUELE
Throughout his life, Garibaldi was slandered, persecuted, mocked and denounced by the priesthood. By some miracle of providence, he managed to avoid assassination by papal thugs, despite their numerous attempts.
Mazzini was also slandered, derided and persecuted by the priesthood, and that Roman Republic ignited by him as a sublime funeral pyre beneath the perfidious miseries of the post-Napoleonic period was overturned by the priesthood, which had called for the intervention of a foreign army.
Cavour was excommunicated.
Vittorio Emanuele, who was forced to use cannons to drive the cowardly brigand Mastai-Ferretti [Pope Pius IX] from Rome, was also excommunicated.
In this moment of fatal historic justice, from the fields of battle, from the streets that were barricaded, from the Austrian, Bourbon and papal prisons and the ditches that saw the flower of Italian youth dangle from the gibbet – its only crime that of having loved Italy too much – the following admonition rises to all Italians: we died at the hands of the priesthood or through the complicity of priests with our oppressor; liberate divine Italy from the priesthood!
. . .
And so: in the name of all the blood shed by Italians for Italy, we dare – after the brief illusion of a possible conciliation – to entreat the Duce to denounce the Concordat.
Once this has been dismantled, the head of the Papal State will find himself in the same situation as Pius IX did following the seizure of Rome by Vittorio Emanuele.
The denunciation of the Concordat does not logically return him to the statu quo ante. In fact, the Concordat superseded those ‘guarantees’ of which Garibaldi spoke in the following terms: ‘Today, Italy flirts with the sacerdotal idea, flattering and caressing it on its knees in supplication, thereby maintaining its children in ignorance and brutishness and calling this suicidal, infamous action guarantees!’
We shall return to the situation of XX September 1870, when Pius IX was a fugitive from the churches of Rome and at the mercy of Italian troops, the Italian State, the Italian people and the King of Savoy.
However, for the head of the Papal State the conditions have grown immensely worse. Pius XI will be a Pius IX without the Emperor Franz Joseph, without Spain and with the burden of the defeatist heritage of Benedict XV who proclaimed the matricidal phrase (thus erasing himself in disgrace from the history of the world): ‘The World War is a useless massacre.’ For the Italian State, however, there remains a great victorious king and the prodigious novelty of the Duce, the creator of a powerfully Italian regime, for which the capture and conviction of the renegade Italian Achille Ratti and his accomplices would be an easy operation with a Roman legion of Blackshirts, and the logical result of a straightforward trial of the Special Tribunal of the Fascist Revolution.
Emilio Settimelli
Ottone Rosai
Remo Chiti
Alberto Maurizio
Bruno Rosai
Believers in God and, therefore, in the dictates of our own conscience. – Faithful to the Fascist oath.
Florence: Edizioni Fiorentine, n.d. [1931]
[i] A play on the title of the Vatican newspaper L’Osservatore Romano (The Roman Observer) derived from the verb smerdare, meaning ‘to befoul’.



Hi Jessica!
I’m Leo, the italian comicbook artist, do you remember of me?
This blog is very cool and interesting!
Nice job!
Cheers!
Great. I love how the poliziotto takes a photo. The Trevi Fountain stun was cooler. I suppose the question is, which came first – this, or the Sony commercial?
http://www.youtube.com/watch?v=YvgXXazRGHQ
I think I’d go for the Alcoholic Joust. Fire In The Mouth sounds a bit much.
I volunteered during PERFORMA 07, and while I got to take part in Yvonne Rainer’s “Ros Indexical” at the Hudson Theatre (where I saw Baryshnikov for the first time), and helped consruct a rectangular, roofless igloo in Cooper Square, I also had to sit through a lot of stuff which was at best ridiculous nonsense (He Yunchang’s naked “Mahjong”), at worst pretentious and lazy drivel (Ulla Von Brandenburg’s “La Maison”). Let’s hope PERFORMA 09’s more defined manifesto weeds out some of the lesser works ensuring a more coherent event.
Futurist Nikes? Personally I still prefer Marty McFly’s…
http://www.mcfly2015.com/
Well, how did it go?
Locals in Vigevano say the town’s long main square is Italy’s second most beautiful piazza after “Il Campo” in Siena — suggesting its inhabitants are proud but also realistic. I went to Vigevano a few times when I was living in Pavia, and while it is a nice baroque square (with an arcade running on three sides), I can think of a couple more piazze in Rome that would shunt it even further down the list.
Nice to hear that Futurism will be honored in the USA. Is it too late to participate in this annual conference? My interest in Futurism is limitless and I could propose a paper about Futurism in America 1915-1955. Please let me know Best to you. Dr. Jean-Pierre Andreoli-de Villers, University of Windsor.
I suppose that the city has never gotten over Marinetti, Boccioni, Carra and Russolo’s manifesto of April 27, 1910, “Contro Venezia passatista”.
Vuoi consultare il programma della manifestazione FUTUROMA comodamente sul cellulare a COSTO ZERO?
Collegati alla pagina
http://www.funweek.it/Home/Futuroma/?m=150
e scarica l’applicazione java dedicata al Futurismo con tutti gli eventi della manifestazione.
Il serivzio è totalmente gratuito!
Hi Jessica,
Happy Centenary. In honour of the celebration, we hereby share a small update on Thames & Hudson 1973 sloppy historiography and piss-poor translation.
Thames & Hudson 1973 claim, that the following is Marinetti’s seminal moment of conception of Futurism when his car overturns into a ditch,
“I gulped down your nourishing sludge; and I remembered the blessed black BEAST of my Sudanese nurse… ”
Alert readers will sense something wrong: reference to a wet-nurse is more likely to refer to a BREAST, not a beast. I checked the original; and indeed, Marinetti wrote ‘MAMELLE’ (in English: breast, mammary)
Original French text:
http://www.italianfuturism.org/fondation-et-manifeste-du-futurisme/
Reading the French, I was even more astounded the original is so much more sensual and full of graphic erotic detail,
“J’ai savouré a pleine bouche ta boue fortifiante qui me rappelle la sainte MAMELLE noire de ma nourrice soudanaise!”
A far more accurate translation of that would be:
“I SAVOURED FULLY IN MY MOUTH your fortifying mud that recalled to me the sacred black breast of my Sudanese wet-nurse.”
With an eye to historic, artistic, social and poetic purpose (not to mention transparency, critical integrity, and avoiding intentional malignance or negligent demeaning aspersion on Sudanese and female breasts), it’s fair to say ‘beast’ evokes vastly different connotations than ‘breast.’
(And make no mistake: there’re many good French words for beast, like ‘bête’ or ‘fauve’; certainly not ‘mamelle’.)
With an eye to Marinetti’s disdain of consider the irony of the translators and their times. It’s not impossible in 1973 that Thames & Hudson was still labouring under such extreme prurience that it could not bring itself to put into print such FUTURIST words as, well, ‘ breast’. T&H may have consciously explicitly chosen a well-serving typo and/or unconsciously been guided by prurience.
In all events, best wishes to one & all for a fulfilling futurist centenary.
In occasione del Centenario della pubblicazione del primo manifesto futurista, NetFuturismo ha steso e pubblicato sul sito http://www.netfuturismo.it il manifesto DOBBIAMO UCCIDERE IL FUTURISMO!, l’unica risposta credibile per rilanciare lo spirito futurista nel XXI secolo. Contro il recupero passatista del Futurismo del secolo scorso, contro il vuoto presentista delle attuali proposte avanguardistiche, NetFuturismo propone di aggiornare il Futurismo alla luce della rivoluzione neotecnologica in atto. Per questo motivo è necessario in primo luogo scrollarsi di dosso il ricordo nostalgico delle sperimentazioni futuriste, sperimentazioni adatte al mondo di 100 anni fa, non certo al nostro. Chiunque abbia compreso davvero la portata del messaggio del Futurismo, chiunque ami il Futurismo, oggi deve ucciderlo.
http://www.netfuturismo.it
Happy Centenary! Have been thinking of you all day — wish I could have gotten over to MoMA to mark the occasion!
http://www.bdgest.com/critiques/images/couv/72401.jpg
I expect photos.
Visit http://www.marchesacasati.com/ the official site of Futurist muse the Marchesa Luisa Casati.
Love the shoes… and the site’s new look!
Thanks for the shout-out JP! Can you divulge any on what might constitute Futurist wine?
Ci mancherai…LUCE
e con te tutti i futuristi che già se ne sono andati_ purtroppo.
Andrea Carlo Alpini
Alberto Rusconi
Andrea Galli
Mercoledì 24 giugno 2009
ORE 10.11
CIMITERO MONUMENTALE, Milano
CAMPO IV
di fronte
Tomba F.T. Marinetti
21 SECONDI DI SILENZIO PER LUCE
Andrea Carlo Alpini
Alberto Rusconi
Andrea Galli
eseguiranno il “Silenzio” per la recente scomparsa di LUCE MARINETTI,
ultima futurista vivente che ci ha lasciato nel giorno del Solstizio d’estate, il 21 giugno 2009.
A seguire saranno proposti quattro brani futuristi:
L U C E
Poema e pianto per FT Marinetti
Rossi guanti di velluto
Figlia del cielo
un atto dovuto…
visto l’eredità che ci hanno lasciato, e la passione con cui continuiamo la loro opera…
Gent. Jessica Palmieri,
Vorrei segnalare agli studiosi di futurismo la raccolta di opere digitalizzate della Collezione ‘900 Sergio Reggi, che è pubblicata sul nostro sito del Centro Apice (Archivi della Parola, dell’Immagine e della Comunicazione editoriale) dell’Università degli Studi di Milano. Si tratta di circa 5000 pagine consultabili tra periodici, opuscoli e manifesti futuristi.
Ringraziandola per l’attenzione, invio cordiali saluti,
Valentina Zanchin
hallo Cinema Bizarre fans!!
meine tickets habe ich bei fanfusion.de gekauft!!
bei fanfusion.de findet ihr noch karten für alle konzerte!!
Quite interesting. Nice work done to the palace but without Peggy, something is missing!! I visited this place in the late seventies with Luce Marinetti. It was quite derelict but the art was then fantastic. A few more Futurist pieces, please!. Best. Jean-Pierre de Villers, Windsor.
I am so doing this.
Great idea, Jessica.
Hello, where can I get my hands on this book!!!! Writing my thesis this year on Umberto and would love to have this to add to my work.
Is it english or Italian?
thank you….
Wowza. Anyone who can procure all the ingredients for the More-Less-by-Division is a hero to me…
No Pan Galactic Gargle Blaster? For shame!
I love how there’s a restaurant in Florence called “Ganzo”…
Dear James,
Actually it is not only a restaurant, it is a cultural association of students attending both Apicius International School of Hospitality and Florence University of the Arts.
It is an ACLI association, and yearly membership is available for everybody.
For more information, pls contact: info@ganzoflorence.it or visit the website: http://www.ganzoflorence.it
Tnx and pass by if you wish – Molecular Cuisine is quite an experience…
Thanks for the link back to my blog’s links! I’ll have some more futurist stuff posted in the next few months.
Hello Jessica, I was on your site and on typing manifestoes, I did not see anything between 1916 and 1933 !! A lapse? A technical mishap????? Marinetti is not happy!. Please correct. J.P.
Hello,
Je trouve votre projet fantastique. Bonne continuation.
See you.
It is a strange story. Most of Marinetti’s papers are at Yale. These are easily available for consultation. Those at the Getty seem to be burried in a vault and no copies have been offered to the general public. Something needs to be done, especiallly the notebooks of the very young FTM. Most of the contents should be put on the internet. Free. JpdV
Fried Ilona, Modern olasz irodalom: Problémák, művek, dokumentumok, HEFOP pályázat, ELTE. BTK, Budapest, 2006, pp. 17-25
Fried Ilona, Száz év botrány – a futurizmus, „Élet és Irodalom”, 2009. augusztus 14, p. 17.
Fried Ilona, Sua Eccellenza Presidente. Pirandello and the Convegno Volta, „Pirandello Studies” n° 29, 2009
Fried Ilona, Beszélgessenek Marinettivel! Kiállítások a futurista kiáltvány 100. Évfordulóján,„Criticai Lapok” n° 12, 12/2009, pp. 1-3.
Still the nicest site about Futurism. Maybe you could add a section where people could upload documents about Futurism. I have a mountain of unpublished pages of FTM. Best to you. Jean-Pierre de Villers
ARCHIVIO DELLA DISLOCAZIONE/DISPLACEMENT’S ARCHIVES
Archivio della dislocazione documenta il trasferimento continuo di ognuno di noi. Ai partecipanti al progetto viene richiesto di realizzare fotografie personali nel contesto di altri panorami, esibendo nella mano la cartolina del proprio luogo di provenienza.Displacement’s archives document the continuous transfer of itself. To each of the participants to the project it is in demand to realize photos of itself in the context of various panoramas, exhibiting in the hand the postcard of his/her own place of origin.
ES PRODUZIONI 2009
http://dislocazione.altervista.org
My Father’s brother was Mario Buggelli,can you give me as much information
on him as you can.Thank you.
James Buggelli Houston Texas
Bonjour Jessica. Where in Brooklyn?? Best of best, JPadV University of Windsor, home of the Futurists.
Clinton Hill!