Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ...

Page 1 of 10 "Country of me 'n you never puddles scurdà ...". The simple, poignant words of t he famous folk song Abruzzi Country Me, "Mo's Antonio Di Jorio, are the most gen uine expression to describe the profound and indissoluble bond Proverbs dialect Homepage Province of L'Aquila Hotels, Lodging, Restaurants Province of Chieti Service Advertising Province of Pescara About Us Teramo Work with us Contact Site Map Parks, Nature Reserves and Links Another work of Bishop Giuseppe Di Filippo posted on this site: Proverbs, Idioms and chanting in dialect translation atrium Many thanks to Father Joseph for all owing the publication of his valuable work on "Journey Abruzzo.it. Ceramic tile Castles illustrating the fifteen stations of the cross were made by the Master potter Prof. Nino Facciolini. Index: Foreword by Don Joseph Philip (Page 1) Introduction of Juliana Gardella (Page 1) WAY OF THE CROSS The Station: The Station: Jesus is condemned to death (Page 1) Jesus took the cr oss on his back (page 2) Station III: Jesus falls the first time under the Cross Station IV: Jesus meets his mother's Fifth Station: Simon of Cyrene helps Jesus carry the Cross Station VI: Veronica wipes the face of Jesus VII Station: Jesus falls the second time VI II under the Cross Jesus meets the pious women Station: Station IX: Jesus falls the third time under the Cross Station X: Jesus stripped of his garments Station XI: Jesus is nailed to the Cross Station XII: Jesus dies on the Cross XIII Jesu s is taken down Station of the Cross: Station XIV: Jesus is placed in the Sepulc her XV Station: Jesus resurrected from the dead Ridges' n Cross (25-3-1980) Atriani citizens during the sixty years http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 2 of 10 I dedicate my priesthood. PREFACE From some time I had proposed to in the vernacular the Via Crucis, the pious pra ctice, which undoubtedly is the closest to the hearts of faithful Christians to revive the Via Dolorosa to participation in the passion and death of Christ. Thi s desire, however, seemed to me very difficult to achieve given the fact that th

e description of the fifteen stations could lead to some repetition, given the n ature of narrative itself. I was aware of events poetic dialect operations conce rning the Via Crucis made by Settembrata Abruzzese, but it was, every time, poet s, each describing a station. To my knowledge, there has been someone who has wr itten all by himself, so the task seemed very difficult, I finally plucked up co urage. In Lent of 1992 I started, but I stopped at the seventh station and there was no way to go further. I incorporated in 1993 and Lent, this time the attemp t was happier and I completed an average of one station per day. I do not know w hich will host this event to my faith, if it happen in someone's hand. Have not generally been lover to showcase my poetic expressions because I consider an out let of my mind that a more talks with others, so I never participated in a joust poetic. However, I am satisfied because I managed to complete this work and I h ave made in Italian to make it easier to understand those who do not know our la nguage. I decided to publish the Via Crucis, which lay several years in the draw er of my desk, during the sixty years of my priesthood to make a tribute to all my fellow citizens. I wanted to do to give everyone a chance to reflect on the p assion, death and resurrection of Christ in popular form of the Cross which, unf ortunately, today is little followed and practiced by Christians. The passion of Christ is the key to reconsider our lives as time of suffering and sacrifice th at must live in the perspective of salvation in union with Christ the Redeemer, through the passion and death, has redeemed the world. S. Paul said "done to me what is lacking in Christ's Passion", but what may be missing the passion of Chr ist unless our participation and our union with him in our suffering borne with him in order to participate in our salvation and all mankind? That's why we need to reconsider the way of the Cross by Jesus to take the example of how and why of his passion and motivation that our suffering and our cross.€The dialect and speech in first person can inspire greater confidence in us to him that our true friend, has suffered so much to give us peace and salvation. I have permission to publish, at the end of volume, a poem I made to my father on March 25, 1980 w hile in his bed of pain, suffering spent the last moments of life, 50 days from me fully and lovingly shared. The poem is called "Ridges' n Cross" because, in s eeing him, I seemed to see Christ dying on the Cross. I do not think would be a profanation. This volume is embellished with two interventions: one written, the other figurative. Dr. Juliana Gardelli has compiled a historical introduction Art of the Cross. Know Gardella 20 years that is when, in 1986, began the serie s of conferences on ceramics Abruzzo, cultural activities as the Cathedral Museu m on commitments made following the donation of one hundred ceramic Bindi Castel lane, then, was the tutelary deity of all our Conference and we have this year c elebrated the ninth. It, famous ceramicists of international reputation, with th e skill that distinguishes it, traced, first, a story of the Cross in its genesi s and its development and then a survey on the Via Crucis in art in general and particularly in ceramics. I will not dwell in exalting the importance of writing it, reading it yourself you will appreciate its value. The intervention is figu rative work of Prof. Nino Facciolini, a talented ceramist Castles and my dearest friend, who was depicted on the ceramics of the 15 Stations of the Cross which are reproduced in the text, inspired by masters of the golden ceramic Castellani . I think I've done a good thing because, on the occasion of my sixty years of priesthood, one of the most important religious moment, I joined a cultural mome nt that serves to further elevate our spirit and our mind always for the greater glory God and good for our souls. Giuseppe Di Filippo INTRODUCTION 1 - A Brief History of the Cross The Via Crucis is a spiritual journey that take s the individual through an intimate meditation, focus on taking the message tha t Christ has left in his way to Calvary, especially during breaks, the stationes . As practice staff, tied to the need to take upon himself the suffering of Chri st as central moment of redemption, the Via Crucis is that modern devotion over the centuries has had a slow evolution. The medieval vision linked to the image of Christ triumphant not look at the human suffering of the Savior, for whose de votion to the holy places is only a distant harbinger, but leads to the worship

of Calvary and the Holy Sepulchre. The desire to reproduce in other city locatio ns has a passion for the very first outlet in the complex of Santo Stefano in Bo logna, but he already sees around a thousand imitations European proliferation a s noted in the neighboring village Holy Sepulchre. However with the Middle Ages, the climate of the reborn company town, which includes the true Christ in his h umanity. Only considering the Passion as pain and suffering, man can approach Go d, man and feel pity. If the Crusades were a fundamental importance in the disse mination of the cult of holy places and pilgrimages, devotion to Divine pain com es not from a collective moment, but the meditative travail personnel of certain saints, above all St. Bernard they depend on the great medieval mystics. Howeve r, the true precursor of the cross stigmata. The entry in the history of the Fra nciscan church marks a milestone that touches every aspect of social life, from the religious to the artistic and literary. Consider the importance for the deve lopment of modern western that was the site of Assisi, and their S. Francis begi ns the Italian literary language, as well as theater receives maximum boost from sacred dramas Franciscans. Stabat Mater Iacopone Todi will be key to the whole history of the Cross, but if it relates well to its dramatic lauda Donna de Para diso, you notice that the step is in his choral phenomenon, which focuses more o n the steps of Christ nor the moments of his journey. Arises chiefly by the Fran ciscans a whole literature on Meditationes vitae Christi, which also includes Me ditationes de passion Christi preachers disclose, especially as from 1230 the Fr iars Minor were officially delegated to accompany the pilgrims visiting the Holy Places of Jerusalem in are custodians. Yet it is from Jerusalem that is the Via Crucis, on the contrary, the path is done in reverse,€starting from the tomb, a nd only a few characters correspond to the Stations of the Cross, since the aim was to visit the city's general and not to the places of the Passion. The first who spoke of the journey of Christ his Cross was a Dominican, Ricaldo Monte Cros s (+ 1309), but only with the fifteenth century that in northern Europe (Germany , Holland, Belgium), establishes the devotion to the path of Christ with the Cro ss and, in particular, with its falls. They vary in number from five to fifteen, but soon, the influence of the divine office distributed in seven hours of day and seven days of the week, become universally seven. Art, once again, responds to the thought, so reliefs and drawings illustrate the passion seen in the cult of the fallen. Adam Krafft at Nuremberg at the end of '400 carved the oldest and most famous view of the Via Dolorosa in the succession of seven falls. This wil l be the devotion that most impede the Via Crucis in fourteen stations, because seven was a match with the worship introduced by S. Philip Blacks to visit the s even Roman basilicas in remembrance of the Passion. At the same time disseminate manuals of meditation on Jesus' journey from the split breaks, including a fund amentally book written between 1470-80 by Bethlem, whose first edition is publis hed in Antwerp in 1518. Bethlem refers to a manuscript of the mid '400 existing at the Convent of the Friars Minor of Saint-Trond, who first proposed to follow in spirit the path of Christ, divided into twelve stations. Bethlem however brin gs to twenty-five stations. Meanwhile in Spain, by Alvaro of Cordoba, had appear ed in 1405 a series of speakers in the convent of Scala Coeli at Cordova, whose chapels were painted many scenes similar to our stations. Blessed Cain, near Nov ara in Varallo, had raised many chapels with scenes of the Passion. However, are the Flemish Jean Van Paschen (+ 1532) and Adricomio (+ 1585) that works very wi de dissemination through the bases of the Cross present even if the number of tw elve stations. Despite a large French appearance of Parvilliers that propagates by 18 stations, the enormous influence of Adricomio throughout the seventeenth c entury means that increasing the number of erections VIAE CROSS especially in Sp ain, where the latter two stations are added, and the late deposition, in its pr esent form, perhaps by P. Anthony Doza. Spain passes the cult in Sardinia, where in 1616 the first road was built at Valverde and in 1628 by the Sardinian P. Sa lvatore Vitale, who had lived long in Spain, the Way of the Cross is offered at the church of San Miniato in Florence with 14 crosses. The same P. Vitale writes a directory of the Cross, and came to Rome, Ara Coeli (where he died in 1647) t eaches the frequent exercise of the Cross always practiced it. In 1630 at Giacch erini at Pistoia F.M. Bonaventure Pacini erects the EIA, but always with crosses

, not with pictures. Studies present the first Italian WAY OF THE CROSS at 14 st ations with cool images seems to be that of 1636 Monteripido near Perugia. Unfor tunately the frescoes, painted over in 1712 by Nicola Nesin have been lost, as t hey lost Ara Coeli pictures of the Via Crucis of 1702. It established, despite o pposition still open and continuing at least half a century, the journey in 14 s tations of the Cross in the order today. San Leonardo da Porto Maurizio (1676 1751) with a tireless work that led him to raise 572 VIAE CROSS well in Italy fa il to get through Short papal indulgences special, but above all to build the VI AE could be not only the Franciscans and the territory subject to the jurisdicti on of the general, but also the parishes that had a Franciscan monastery. In 173 6 were taken from distances between stations Adricomio stated in the wake of Jer usalem, only Pius IX in 1871, will abolish the prerogative given to the Francisc ans. However, even in the early decades of the 700 are made paths with different number of stations and, especially in Germany, remains the worship of the seven stations corresponding to the seven falls. Even in Italy, Fr Antonio d 'Olivadi (1651 - 1720) still stands at the beginning of '700 seven crosses paths, but we can say that with the first decades of the eighteenth century is S. Francis, wh ose life is identified with the passion embodied in http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 3 of 10 WAY OF THE CROSS takes its final shape. 2 - The origins of the iconography of th e Via Crucis Via Crucis, by its very formation,€has had a long iconographic mana gement. We can not yet say whether there has been a priority of the print compar ed to painting or sculpture, as they are not controllable images EIA erected in Córdoba in 1405. Important precedents were undoubtedly the sculptural groups on the Passion of Adam Krafft at Nuremberg at the end of '400, focused on seven fal ls of Christ. In Italy the same era is the Sacro Monte of Varallo erected by Cai mi, and the following century sculptural complexes of Tyrol. However it is still far from devotional images that become canonical, nor do we know if the first t exts of prayers had images or not. Only in the late fifteenth century began to s pread sheets xylographic simple scenes from the Passion in the form of "vignette s" on squares or medallions. As can be seen in some recordings with Florentine c entral Crucifixion and 14 squares illustrating episodes of entry to Jerusalem fo r Pentecost. Other important precedents in the slow evolution of iconography wer e the Bible Pauperum, popular works with considerable spread species in the Nord ic countries from the late Middle Ages and whose images were poor transposition of the thumbnails. However perhaps the most important source for developing icon ography of the Cross was undoubtedly the cult of the "Rosary", was introduced fr om the homonymous Brotherhood in 1475 in Cologne, where the "Rose" with the "Sor rowful Mysteries" already had views of some stations. Dürer with the Great Passi on and the Little Passion (1507 - 1513) was instrumental in spreading the cult. In Italy Giulio Bonasone the Passion cycle in 28 prints and tracks Altarpiece by Lorenzo Lotto in the Madonna del Rosario (1539) are considered the real precurs or iconographic. Lotto is inspired painters and engravers, as Battista Franco, G enga, Raffaellino the Hill, which had great importance for the pictorial transla tion also tiled. Multiplied in the seventeenth century prayer books on the Passi on of Christ with pictures, even isolated, refer to the cycle of the Way, the mo st reproduced were: Christ and Pilate, the Way to Calvary, the Crucifixion, the Deposition. If until the '500 has been able to follow a clear influence of Germa n origin iconography of the cult, the stations were in the seventeenth century a Flemish-Spanish conquest. In fact, from Adricomio to be Pasca Flemish and Spani sh Daza, comes as the current VIA CROSS Coding stations and a model of prayer. H owever, as imaging, the evolution followed perhaps by a Spanish, not now easily controllable by the lack of specific studies and for the dispersion of many cycl

es of paintings. In Italy the first set only painted on the cult seems to have b een erected at the Mount Steep Perugia in 1633 but unfortunately lost in the nin eteenth century, is lost as of 1702 of 'Ara Coeli in Rome, which was accompanied by a booklet perhaps engraved with images of prayer. All the tireless work of S t Leonard of Port Maurice consisted elevate VIAE with crosses, so we can say tha t the first attempt to create an iconography specifically relating to the devoti on of the Cross has been tiled by workers Casteldurante ( Urbania) in 1733/34, b ut still with many uncertainties, so that was not followed. Even Castles iconogr aphic evolution was preceded by images drawn from past and only partly merged in the EIA. It can be seen in splendid examples of vases painted in the workshop G rue pump around the third to fourth decade of 700, where only a few scenes will then be placed in the EIA according to the formula Crucifigatur, created around 1758-1768. Given at the same time San Leonardo da Porto Maurizio, but probably c onceived by Father Gabriangelo from Vicenza, became the most popular canonical f ormula prayers, and it all depends on the iconography later. It is therefore nec essary to reach 1736 for the first series of prints engraved with the 14 station s have been specially prepared to be hung in check. It was created in Bologna an d from printing by G. Fox Chanterelles and was immediately a huge spread and ser ved as a model for entire cycles ceramics, both in relief and painted with a pre cise iconography, for a few insignificant variants and to this day, when Pope Jo hn Paul II was added to the station XV the "Resurrection." The present studies t hat the center has already presented around the fourth / fifth decade of the eig hteenth century the cult tiles in blocks suitable to be hung in homes or religio us buildings, was Castelli, with subsequent implications in Naples.€A search of what remains has shown what has unfortunately lost a production eighteenth centu ry had to be rich, and in almost all major factories in the mountain town, the G rue to the Gentiles. The Cathedral Church of Bisenti could admire, before the un fortunate theft of a few years ago, across a full range Antonio Gentile painted in 1802 / 3 on specific committee. Again a few years ago was stolen from a Churc h in Naples Casoria a full EIA CROSS painted on majolica which unfortunately is not the photographic documentation. Lucky we are with an already Ruggeri collect ion in Teramo, after several steps should still be in private ownership in Bolog na and was shown some years ago we just Atri during the 3rd Conference on the St udy of Castelli majolica. The group of 14 tablets comes from the dismemberment a nd subsequent assembly of two or three VIAE partly carried out by family members Grue and largely from that of the Gentiles, demonstrating the spread of this fo rm for public worship and devotion, in the nineteenth , also private. It is desi rable for greater attention by all to devotional art, simple and complex at the same time, much has been and continues to give our soul and our spirit, individu al and choral meditation on the values of life. Juliana Gardelli NOTE For the sole purpose of highlighting the phonetics of speech "and" that is pronounced in the dialect atrium in many ways, I thought of using accents in the following way: the caret to indicate "and" narrow focus on acute the "is" open to grave accent "is" dumb accent. It 'clear that the grave accent is used for al l other ancillary accentuations. The "and" simple, when not used as a conjunctio n, it is always changing. WAY OF THE CROSS The Station Jesus is condemned to death Jesu Ridges me if Hiya puteije dope about all aspect s lu okay that you made aveije steije areposte na cundanne to death? Lu Popel, d davere svregugnate, Strella to Peel: "The acceptance by hij. Lu all okay without Nghe nu hij ijucate mumente thee? Pure Barabbas, lu bbregante assassene, you pr efere and has been 'n galleys has rescate ninth eg ijé to death, as if meredeije but be lebberate eg. But without sin hij? that Deletto hij cummesse eg Avé stud y bbrutte treatment? Hij vulute okay to all of them and, eg the works cumbia, fe ne all'uddeme mumente, my Jesus Christ, who would have expected that after all t he good that you had done you would have been given a death sentence? The people are really shameless, shouting to Pilate: "you must kill." All the good done at

a time You just played? Even Barabbas, the robber murderess, I was out of jail and is preferred not to go to death as he deserved, but to be free. But what a p ity you did? what crime you have committed for this bad treatment? You loved eve ryone, and to accomplish the work to the end, http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 4 of 10 by Muré hij 'n eg cross saves all people. you must die on the cross to save all men. Station II Jesus took the cross on his back for how long sapeije de 'ssa cross Jesu Ridges me, but even when you feel the hij weighs over her shoulders, you hurt. Hij te t he 'sin mbracciate aveije vulute eg vuluntà makes you the de Patria aveije deste nate, but how many had made' mmene! Lu dulore despiace and death to all that is true you're the one who ssi n'ommene hij despiaciute also many. Faces cross Purt 'nda thou hij Purt and, if assaije scales above them back, give na mane pe lu s uppurtà the coma scales hij suppurtate you,' nnucente cundannate. How long have you knew this Jesus Christ my cross, but even when you feel you weigh on the sho ulders, you hurt. Have you hugged because you've wanted to do the will of your F ather which you had intended, but what you would have done without! The pain and death to all and displease you, you're a real man, you too much sorry. Let us c arry the cross as you bring you and if it weighs much on his shoulders, give us a hand to support the weight as you've endured or convicted innocent. Station III Jesus falls the first time under the Cross How much is heavy 'ssa cross if dope of them Purt' mbo over her shoulders, hij falls face down! Tremulant pass them, one rubs the addre dope, 'nge has made' mantenerte to think of me 'n pitas and w aterfalls hij' n land. Lu blood from the corner you culeije sbuscite from them h ope,€them if you apreije wounds on the backs and the fever you cuceije on Mon na Pheres body duventate all. Dulure much, much sufferenze eg farece Arez nustre c ascades from there, nor that you Avem pe hesch without helmet 'n land. How heavy the cross if, after taking her a bit 'over the shoulders, you fell face down! I dragged a wobbly step after another, were no longer able to stand and six dropp ed. Your blood dripping from his head punctured by thorns, the wounds will be re opened on the back and the fever burning you got all wound on the body. How much suffering, how much suffering for us to lift up whenever we fall, we who, for t hem, we did fall to the ground. IV Station Jesus meets his mother's mother aveije sapute ca lu Feijó aveije been piijte cun dannate and from people to death. Aveije races' Mo Nghe cores on the Vocca but n ne aveije had time to see them lu Praetorian de Peel, then Penz eg the strategy of waiting. When I lu 'Nghe the cross' n Golla, cercundate to Maun The mother ha d heard that the son had been arrested and sentenced to death by the crowd. Ran with my heart in your mouth, but failed to see it of Pilate then decided to wait on the road. When she saw him with the cross on his neck, surrounded by soldier s http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007

Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 5 of 10 ije that deije vusse them eg her verse cammenì lu hill Arem breathless. Nen lu c uragge de Teno mangoes ijerije 'confronting, from wounds vasciarglie them' nsang uenate de derglie: "lu Feijó mè coma redotte you! Nu look only between mothers a nd Feijó cape made lu dulore that cumbre Sun 'Deije. who urged him to make him walk towards the hill, gasped. He did not even dare to meet him, to kiss his bloody wounds, to say: "My son like you in! "One glance b etween mother and son did understand the pain that only God can understand. Fifth Station Simon of Cyrene helps Jesus carry the cross Aveije duventate 'ddavere as nu cump assione rags if you did well to them that you aveije Maun to keep them thick vra cce pe pe' n you do falls' n land smashed. 'Nde there vedeije the' think of me s in heavy cross here and you teneije nen 'forces think of me. Nu survigliante the n grabbed one of said passages and helps you cross Purt. If chiameije Semon and here de Cyrene. Perhaps by 'llu mumente, you duventò devout, but in the meantime , eg forces, the cross Purt duvò. And you you you did help, that you teneije 'n Zerbe them all the forces of devenetà. Yet neither teneme a cross on them back, let us Purt, but vulentire while saijeme 'nzimbre lu lu hear from our ordeal. We re you really become like a rag compassion even if you did the soldiers that we had to bear arms often fall into the ground so you do not ruin everything. You d id not do more because the cross was heavy and you had no more strength. Then a guard grabbed a route and you did help carry the cross. His name was Simon of Cy rene and. Perhaps by that time, I became a follower, but meanwhile, for strength , where carrying the cross. And thou didst help, you that you held in Serbia all the resources of the Godhead. Yet we bear a cross on his shoulders, let us lead , but willingly, as we go along the path of our ordeal. Station VI Veronica wipes Jesus 'face in the faces' think of me 'bbelle de lu monne if avei je' mbrattate of blood and sweat, 'nze arecunisceije' think of me, pareije nu le pers, the Ommen dulore de lu, lu waste of the people. While, 'the cross Nghe' n Golla, Creste saijeije sufferente, if pushed through the crowds Femmene curaggio se na, nu purteije sails' ije assucò Mman and his face all thoughtful. Meraveije much, much cuntentezze when Veroneche if there aretruvò 'faces as the mbresse f utugrafeije na! Ah Jesu ridges that make me it to me if there aretratte lu core that every vodde People The world's most beautiful face was covered with blood a nd sweat, no longer recognized, like a leper, the deviation of ' humanity. As wi th the cross on his neck rose suffering Christ made his way through the crowd a courageous woman, she wore a veil in her hands and wiped his face all eager. How wonderful, how much joy when Veronica found herself impressed us as the face in a photograph! Jesus Christ my babe that your face is imprinted in my heart ever y time I make a gesture to the next love. http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 6 of 10 UN faces gesture of love. Station VII Jesus falls for the second time under the Cross aveije How to be tough 'lla Sale te, how heavy dulurose if hij patete dulure them' think of me bad from the veter an. 'Nde has extensive help from Semon, that' you nzimbre purteije the cross, an

d dope ciambecone nu, hij waterfalls going far away Far vodde voiceless. Li Maun you meneije 'Nghe the whips you Arez eg from land, but they force you and you m angheije' nge the faceije to 'them rderrezzà kidney. Jesu Ridges me as sufferte hij, hij many patete pe 'nzignarme about the lezzione without sufferenze and wit hout cross' nge is salvation,' nge is resurrection. As was to be arduous climb, however painful and heavy if you have suffered the worst pain of life. It was no t enough help from Simon, who carried the cross with you, and, having stumbled, have fallen again without a voice. The soldiers hit you with the whip to get you up off the ground, but the forces were missing and you will not do you did to s traighten his back. Jesus Christ what have I suffered, how much you suffered to teach that without suffering and without the cross there is no salvation, there is no resurrection. Station VIII Jesus meets the pious women among cows de mon people ijeije Arrete to Ridges suf ferente there steije well cà Femmene devout. The accumbagneije piagnenne and che st and if vatteije lu 'nze faceije capable approx n'ommene' bbone generous putes se ago na fene bearing bad. Jesu Ridges if arevuddò and give ije "Surelle Mj nen v'angustiete I know for me to 'weep nnucente' cchiuttoste eg Feijó vustre them that faciarrà na fene anchors' think of me bad. Ije without sin and I know I hav e 'many ttuccate feguremece than it has from step Hiya eg all the veteran has ma de lu Bregante. "Among the number of people who followed Christ were also some w omen suffering faithful. The accompanying weeping and beating their chest and th ey could not convince as a kind and generous man could make an end so bad. Jesus turned around and said, "My sisters do not grieve for me I'm innocent, rather w eep for your children that will end an even more ugly. I am without sin and yet I had this sort, let alone what should those who suffer throughout life behaved like bandits! " Station IX Jesus falls the third time under the cross under the heavy cross' nge make you w ant to 'think of me Nazzareno lu: lu dessanguate body, eg lu core addullurate th em catteveria human penis from the' think of me that from his sufferenze, Beneat h the cross that weighs not giving out of Nazareth: the bloody body, heart sadde ned by the pain of human wickedness more than their own suffering, http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 7 of 10 'Nge is the' think of me and helmets' n land eg the third vodde. 'Nze arrezzesse their lands from the pe arepusarse' mbo over her priest, but has arrevì up 'n c eme eg reindeer sacrefecie lu' Cumple think of me. So if arehazze 'na Nghe force s from a lion and cuntenue cammenì' mmonte lu hill eg walls and save love them t oo insane ije Strella contre el'addulore. not stand it anymore and falls to the ground for the third time. Really would ra ise no ground to rest a little above the stones, it must get on top to make the sacrifice more complete. Then he gets up with a strength of a lion and keep walk ing up the hill to die of love and also to save people that yells and causes pai n. Station X Jesus is stripped of his garments N'antra vregugne you is areposte or patron de lu monne: spuijrte Nute 'nninze to all people. Maun scattered them if they dress ed and beautiful dress that you made aveije mothers if ijoche to zechenette. Alr eady you aveije spuijte de majesty of 'Ddeije when duventeste n'ommene eg farce

as neither prejudice, mo te fi leverage well I saw them vregugnirte pe pe' cchij è 'nze vregugne maijā. And you presinte anninze all poor, 'and as nu nsanguenate beggar refiutate from' Ddeije and opprobrium from the 'ggente. Spit and bouquet s you have them streppate pele de varves hij nu duventate as lepers eg fillings hello from dulurose NA fena. Another shame you is confidential or master of the world: naked before everyone. The clothes if you divide the soldiers and the bea utiful dress that you had the tissue if the mother drew lots. You had already st ripped the majesty of God when we become a man like us to save us, now you do ta ke the dress off to be ashamed for who is not ashamed ever. And I found out all poor, bloodied and rejected by God as a beggar, and shame the people. Struck by spitting and blows you tore his beard, you become like a leper to save us from a painful end. Station XI Jesus is nailed on the cross Purt hij nu lu hill duventate throne and you have y ourself there hij toe pe lu Guvern monne. Li chiuve you threaten to compromise t he morn, and there have pite and Maun t'arrezzite dapù them from the land, all o f you from wingless hij sprufonne lu. Like Moses de scerpe guareije anyone 'Nghe the fete the guardeije bearing clays, and you silve Hiya you' Nghe them back on the cross you've Arrete. Peel as king The cross you brought on the hill has bec ome a throne and you sit there to rule the world. The nails you have posted ther e hands and feet and, after the soldiers you have lifted off the ground, have al l attracted to you dall'ignominia. Like the serpent of Moses cured anyone with t he faith was intended, so you give salvation to those who believe in you and wit h the cross on his shoulders, follows you. Pilate, King http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 8 of 10 you said on the cross and also did she scrette, guardece from 'ssu Trone addullu rate and faces suppurtà them suffering' Nghe them all crucefesse de la terre. and yet you said you wrote it on the cross. Watch us and let us inside this pain ful throne endure suffering with all those who carry the cross on earth. Station XII On the Cross Jesus dies on the cross in Jerusalem and guardeste piagneste on goi ng far away Far from hesse vodde. Parades Prumetteste lu lu thief who tried to f orgive you. Deste as mothers Mother To a Giuvanne sins of all the mothers fuss M adonnas. Senteste besugne lu lu de Patre lagneste about you and you aveije was a bandoned. In the fene mureste 'Nghe nu Strella, or the veteran and patron of the land if arebbellò: nu earthquake scunquassò all monne lu, lu lu sails from temp les where quartered and if you close the' think of me from the Pages that bad st ories. You looked cross raised on Jerusalem and wept over it again. Promised par adise to the thief that you asked for forgiveness. Intended as a mom your mom to John because it was the Virgin Mother of all. Sentisti the need of the Father a nd you lagnasti its abandonment. At the end you died with a scream, or master of life, and earth rebelled: an earthquake shook the world, the veil of the temple was torn and ended the worst page of history. Station XIII Jesus comes down from the Cross Dope death you have fallen from the cross Giusep pe el'addre Ameco Fenal that if he made curagge wind and fears. You have fallen from the cross and you have made 'mbracce mama. The puverelle, and straight 'as na mberite priest beneath the cross, mo mo dulore flows and cry, cry and you ass uche lu blood that still plagues them yourself effluent. You tub and caresses yo

u like when you and hijras peccerelle annazzecheije eg you piij 'lu sonne. It pr ovides you with lu Patraterne, vettema agreements shall, as and arepa na vodde: "I know the maid to, is from me what you think. After the death will have fallen by Joseph Cross and other friends who finally plucked up courage and have overc ome fear. You have fallen from the tree and you have placed in the arms of your mother. The poor, straight and stiff as a stone under the cross, now takes out h er pain and cry, cry and you will still wipes the blood dripping from wounds. Ki sses and caresses you like when you were little boy and rocked you to sleep. It offers to the Eternal Father, divine victim, and repeat as before: "I am your se rvant makes me what you think. Station XIV Jesus is placed in the tomb of Joseph Arematee aveije made if Joseph of Arimathe a had built http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect Atriani ... Page 9 of 10 nu gnove tomb, 'nge aveije made when anchor nisciuno Penz de Put us to you, Jesu s Te atturcenò' Nghe lenzole and nu 'n frette and rage, shame if avveceneije lu sands, there you arechiudò inside. The law, eg if you fear that cacchedune arrub besse, and made clay aveije aresuscetate about, and yet we put them there seggel le na guards from Maun. Treehouse nuvante if deceleration, but some nisciuno cum batte vuluntà contre la de 'Ddeije. In fact, despite them seggelle them Maun, yo u beautiful beautiful aresuscetate hij. a new tomb, there was no place even when he thought of putting you, Jesus You ar e wrapped in a sheet and in a hurry, since Saturday was imminent, you left us tr apped inside. The men of the law, fearing that someone will steal and made to be lieve that you were raised, we also adorned the seals and armed guard. Treehouse of Horror, they say, but no one can fight against the will of God In spite of t he seals and the soldiers, you're beautiful beautiful raised. XV Station Jesus rises from the dead Jesu Ridges me about the above aveije, sufferenze so d ope, you mureije,€but also aveije aiijonte ca lu third ijurne aresusceteije. The prumesse maintained and the hij, 'Nghe the putenze de' Ddeije, hij without helm et and the priest 'lli mascalzune faceije that you have escaped all the guards' mbaurete. Scumbarse them Pheres lu lu blood and body duventate transparent and L umen coma Sellustra nu. La Maddalena, menute ijurne press, you vuleije 'mbraccià them but you pitas hij said: "is to them sape fratilla Mj aresuscetite I know a bout." Currò Giuvanne and Pitre, but 'nde see, I see only the cave sbudde them a ll arepiechite fins. When in the evening you see them sbauttete apostles 'ddaver e ije deceste "nne Stet' mbaurete Tucci morning and pitas ca lu coamings your re suscetite really has." My Jesus Christ, had predicted that, after much suffering , you'd be dead, but also added that you would be resurrected on the third day. You have kept the promise and the power of God, did you drop the stone and those scoundrels who made you taken the guard fled from fear. Missing the blood and w ounds the body has become transparent and bright as a ray of light. Magdalene, c ome dawn, we wanted to embrace my feet, but thou didst say, "is knowing that my brothers have risen." John and Peter ran, but did not see, they saw only the emp ty cave clothes and placed in order. When the apostles in the evening saw you re ally dizzy, you told them "not afraid to touch you hands and feet so that your M aster is risen indeed." Ridges' n Cross

So as Ridges 'n Cross masses inside cursèije na d' uspedale. All of them 'mmalat e tenêije vracce them open' Nghe n'ache 'mbecchìte there in the morning. Dad mé suffrêije of 'think of me: they mane Nère (25 - 03 - 1980) I saw Christ on the Cross, tonight, inside a hospital ward. All patients kept op en arms with a needle stuck in his hand. My father suffered more: the black hand s http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007 Via Crucis in the vernacular, the Via Crucis in Abruzzese dialect, Via Crucis in dialect atria ... Page 10 of 10 eg pungechite them, Sunden lu lu nase en'andru tools to nu de dulore pusta annas cunnate. Ijè stêije appite lu read mute, and dulénte scunsulate, like Marie, and Maddalena Giuvanne stêije appite to the Cross of Jesus' LLU muménte facive is p riìjre: Jesu ridge gives me strength and peace patèsce Hiya, you sufférte many h ij on the Cross, the dogs cross sti de 'mmalate' Nghe the cuntentêzze when hij d e aresuscetate. for injections, the nose tube and a tool for pain in a hidden place. I was at th e foot of the bed, silent, sad and dejected as Mary, John and Magdalene stood at the foot of the Cross of Jesus at that moment I made this prayer: My Jesus Chri st, give strength and peace to those who suffer, you have suffered so much on th e Cross, change the cross of these when you're sick in the joy of resurrection. All rights to the material published on this page are owned by the Author. Site optimized for Internet Explorer 1024x768 © Journey Abruzzo.it Copyright - All rights reserved http://www.viaggioinabruzzo.it/via_crucis.htm 29/10/2007