The Sicilian Language


The Sicilian Language
       Many souls, even Sicilians and those of Sicilian descent, have the same misconception held by Italians and non-Italians everywhere: that “Sicilian” is simply a different, “cruder” form of the Italian language.  Nothing could be further from the truth.  While today’s Italians and sadly, today’s Sicilians, are told “by those that know” that Sicilian is the language of the poor or ignorant, the Sicilian LANGUAGE was the first “Romance” language to develop from Latin, the early language of state.  As such, it includes not only words derived from Latin roots (as did the Italian dialect “Tuscan” which became the official Italian language), but it has rich inclusions from the tongues of the many occupiers of Sicily, including Carthaginian, Greek, Arabic, French and Spanish.Sicilian was the language of poets, taught in the Sicilian School of Roger the Great a thousand years ago, but it is no longer taught in Sicilian schools.  If you’re an “Italian American”, the odds are good that your immigrant ancestors, like the majority of “Italian” émigrés during the Great Migration, were from Sicily, and that they spoke, not Italian, but SICILIAN.This page is inspired by the facebook group “Speak Sicilian” (, where you can read or write in the Sicilian language; ask how to say an English word or phrase in Sicilian; ask what aSicilian word means in English; or learn (or teach) Sicilian.Vowels in the Sicilian language have the following sounds (phonetics are in English): A is “ah”; E is “eh” (“long a”); I is “ee”; O is “oh” (“long o), and U is “oo”. “ A, E, I, O, U” in Italian is “ah, eh, ee, oh, oo”!!  The English sound of I (“long i” as in “eye”) is given by the combination “ai” in Sicilian.   Sicilian has no letter “k”, “y” or “w”.  It has a letter written like “j”, but this “j” is a form of the letter “i”, and is pronounced as we would pronounce “y” in English.

In Sicilian spellings, “c”, if it is followed by “a”, “o” or “u”, is pronounced like the English “k”; but if it is followed by an “i” or “e”, then “c” is pronounced like the English “ch” (as in “church”). Double “cc” is also pronounced as the English “K”.”ch” in Sicilian is NOT pronounced as in English, but sounds like the English “k”.  So my cousins, the Miccichèfamily, pronounce their surname “mee-chee-KAY”.

Similarly, “g” is pronounced as in the English “good” if followed by “a”, “o” or “u”; but “g” is pronounced like the English “j” (as in “George”) if it is followed by an “i” or “e”.  In Sicilian pronunciation, the “g” sound at the start of words is often “swallowed”, and sometimes also the middle of words.  The “g” is silent when followed by the consonant “l”.

The letter “j”, in my Sicilian usage, I consider as an “i”, but I use it to distinguish it from a following “i”, as in “jiri” (English phonetics: YIH-rih)

Is Sicilian a ‘Dialect’?
    Some (generally Northern Italians) try to imply that Sicilian is simply a dialect of the Italian language.  The Italian language itself was once a dialect, Toscano, or Tuscan, which was one of many Apennine peninsula dialects that developed from Latin.Many modern day languages trace their origins to the Latin spoken in ancient Rome.  These are the ‘Romance’ languages, which include Tuscan (Italian); Spanish; Portugese; French; and Rumanian.But there is strong evidence that the first Romance language to develop from Latin was the Sicilian language.I’m not a trained linguist, and my knowledge of Tuscan is book-learned, while I learned Sicilian at my mother’s knee.  However, I’m a self-taught student of languages, and my education as an engineer has taught me to have a curiosity for how all things have developed.  When words are considered in their Latin origin and then compared in Sicilian and Italian, the words seem clearly to have progressed from Latin to Sicilian, to Italian; in some cases, Italian words bear no likeness to Latin and Sicilian words that are clearly related.

In Latin, “brother” is frater (FRAH-tehr); in Sicilian, it’s frati (FRAH-tih).  In Tuscan/Italian, it’s fratello (fruh-TELL-oh).  I seriously doubt that the word went from frater to fratello to frati; it seems clear that the progression was from Latin to Sicilian to Tuscan.  The same can be said for the words for “sister”: Latin soror, Sicilian soru, Tuscan sorella.

In Latin, as in Sicilian and Tuscan, many nouns have masculine or feminine endings.  Latin’s endings are “us” (oos) for the masculine and “a” (ah) for the feminine.  Again, to me, it seems much more likely that the many Sicilian masculine nouns that end in “u” (oo) derive directly from Latin, and that the Tuscan masculine ending of “o” came later.  Examples are “rabbit”: Latin cuniculus, Sicilian cunigliu, and Tuscan coniglio; and “son”; Latinfilius, Sicilian figliu, and Tuscan figlio.  In my youth, I mistakenly thought that ny parents pronounced the ‘Italian’ sound of “o” as “u”.  After serious reconsideration, I believe that in fact, the Tuscan and Italianpronunciation changed, devolving the original Latin (and Sicilian) “u” to sound like “o”.

Other words (presented in the order Latin, Sicilian, Tuscan) show similar evolution: “wife”: mulieri, muglieri,moglie; and “how”: quomodus, comu, come.

And then there are words for which the Sicilian is clearly derived from the Latin, while the Tuscan appears to have come from a completely different source.  In Latin, the verb “to go” is ire (IHR-eh); in Sicilian, it’s jiri(YIHR-ih); but in Tuscan/Italian, it’s andare.  In Latin, the pronoun “he” is illus, Sicilian iddu, but in Tuscan it’slui; and “she” is illa in Latin, idda in Sicilian, but lei in Tuscan!

The Sicilian words given below are as I learned them from parents who left Sicily a hundred years ago.  As such they reflect the language as it was spoken in Sicily around the beginning of the 1900s, which was not much modified by incursions of the Tuscan dialect that the ‘Risorgimento’ imposed on Sicily.  I believe its ‘purity’ was also enhanced by the fact that Serradifalco is and was a small interior town having limited contact with speakers of Tuscan, or the modified Sicilian dialects of other regions.  Language scholar Alissandru Caldiero, author of Grammar of the Sicilian Language, has informed me that my Sicilian (that is, my parents’Sicilian) resembles the language spoken at the court of Frederick II.

Meaning Latin Sicilian Italian
above supra supra sopra
apple pomum pumu mela
below subtus suttu sotto
brother frater frati fratello
cheek maxilla masciedda guancia
cherry cerasus cirasu ciliegia
empty vacuus vacanti vuoto
father pater patri padre
to fix exserciare azzizzari aggiustari
from de di da
to go ire jiri andare
good bonus bonu buono
half medius mezzu metà
I have habeo haiu ho
he illus iddu lui
hello salve saluti ciao
here hac ca qua
horse cavallus cavaddu cavallo
how quomodo comu come
I know scio saiu, sacciu so
long longus lungu lungo
mother mater matri madre
new novus nuvu nuovo
peach persicum pirsica pesca
pear pirum piru pera
rabbit cuniculus cunigliu coniglio
scissors forfex forfici forbici
she illa idda lei
sister soror soru sorella
son filius figliu figlio
sweet dulcis duci dolce
then tum tannu poi
tree arbor arbulu albero
where is ubi est unni è dove è
who qui cu che
wife mulier muglieri moglie
with cum cu con
   Students of language report that Dante Alighieri, the medieval poet, was greatly influenced by the language that had been spoken at the court of Sicily’s Frederick II, namely the Sicilian tongue that was studied and written at the famous Sicilian School.  Dante is credited with polishing the Tuscan dialect, doing so with words and ideas adapted from the Sicilian School and its language.  For example, the sonnet, a form of poetry unknown before Frederick’s reign, evolved in Sicily, only to become a major form of poetry throughout not only Italy, but the world.   Sicilian is a LANGUAGE, that is true; however, like many other languages, it has different dialects within it, that have developed in various regions of Sicily and in the south of the Apennine peninsula.  Below is a vocabulary of English words and their meanings in Sicilian, with variations for the dialects of several towns or regions.  It appears that in central Sicily, in Caltanissetta province northern Agrigento province and eastern Palermo province, the classic Sicilian language still prevails as it was spoken in the court of Frederick II.  This is characterized by words like figliu (son) and cunigliu (rabbit), which in dialects elsewhere have become figghiuand cunigghiu; and especially lu (masculine ‘the’), la (feminine ‘the’) and li (plural ‘the), which in dialects have devolved into u, a and i.I invite all Sicilians and all those of Sicilian descent to e-mail me, to add your own versions of these words.  Please identify them by region, and add as many English words you like, with their Sicilian equivalents.
Viva la lingua Siciliana!!!
Sicilian Words
To use the table, remember the pronunciation guide given above.
In English In serrafarchisi
In missinisi
In palermitanu
In altavillisi
In sciacchatanu
verb: I am sugnu
ant formícula
apple pumu
verb: they are sunnu
ball palla pallunni
verb: to be ssiri
beautiful (feminine) bedda bedda beddra
below suttu
bird anciddu aceddu aceddu
a little bit tantícchia
boy carusu
boy, little picciliddu piccirriddu
boy, teen piciottu
carpet trappitu
cheese tumazzu
coffee cafè cafè
cupboard stipu
verb: to cry chiàngiri
daughter figlia figghia
day jurnu jurnu
donkey sceccu sceccu
dresser cantaranu
ear oricchiu
verb: to eat mangiari mangiari
eggplant milingiana mulinciana
fig cookies pucciddati pucciddati cucciddati cuccinnati
finger jitu
fingernail ugnu
verb: to fold gnutticari
folded gnutticatu
fork furcetta
from di
verb: to fix azzizzari
girl carusa
girl, little piccilidda piccirridda
girl, teen piciotta
verb: to go jiri jiri
goat crapa
half mezzu
hammer martiddu
handkerchief fazzulettu
handsome (masculine) biddu biddu
he iddu
here cca
hole pirtusu pitusu
in, inside, into intra nta
verb: he or she is jè (yeh)
key chiavi chiavi chiavi
kidneys rini
knee ghinucchiu
knife cutiddu
verb: to knock tuppiari
leaf foglia
verb: to look taliari
middle mezzu
mop cannavazzu
nail chiuvu chiovu
napkin serbietta mappina
of di
others antri autri
page foglio
pliers tinaglia
polenta (Sicilian style) frascàtula
verb: to rain chioviri
rifle scupetta
verb: to speak parlari parrari
scissors furfici
she idda
sheep picuridda
shoe scarpa
shoulders spaddi
son figliu figghiu
spider tarantula
spoon cucchiara
sugar zuccheru zuccheru
summer staggiuni
Sunday duminica ruminica
table tavulinu
tail cuda
the (masc., fem.) lu, la u, a
the (plural) li i
then tannu
there (far) dda
there (near) dducu
today oi (OY-ih) oggi
toe jitu di pedi
toenail ugnu
tomato pumudoru pomuroru
tree arbulu arvulu arbulu
under suttu
us nuantri nuautri
verb: he or she was ra, fú
verb: they were ranu, fúranu
winter nmirnu
word palora parola
verb: to work travagliari
wow mísca mizzica
I’ve translated the following from the Italian.  I must say some of it is over my head, but it’s clear that reasoned research has shown that the Tuscan dialect, and the Italian language that sprang from it, were derived from theSicilian language spoken in the court of Frederick II and studied in his Sicilian School of poetry.If only our northern Italian brothers would recognize the Sicilian heritage of their language, and cease referring to Sicilian as the language of the poor and ignorant.  “Lu Sicilianu” should be taught in Sicily’s schools and spoken by its citizens,
Dante loses his paternity: the Italian language was born in SicilyA new confirmation of the origins of Italian heterodox undermines centuries of literary and cultural monopoly: the Sicilian poets widespread in Lombardy, before their presence in TuscanyNoemi Ghetti
Friday, June 14, 2013 discovery of some poems of the Sicilian School in a Lombard library by the researcher Joseph Mascherpa brings to the fore the debate about the true origins of the Italian language. The theme is echoed by Cesare Segre in an article in the Corriere della Sera of 13 June, which underlines just how the ‘change of perspective’ in research is due to the sudden turn in recent times, of thirteenth-century manuscripts in places hitherto unsuspected .

One example is the discovery of at least four poems on the back of Sicilian scrolls bearing convictions of members of large Guelph families for violations of rules on tournaments. In those days, you know, notaries were often poets, and filled in the blank backs in this way, avoiding illegal notations in the margins of the records.

There are important fragments of poems, attributable among other authors such as Giacomo da Lentini, ‘the Notary’ founder of the Sicilian School, and even to Frederick II, the emperor-poet who was the genius patron of the arts. Occurring in the crucial decades 1270-1290, the transcript leads us to hypothesize the existence of a small songbook of poems of the Sicilian School, circulated in Lombardy in those years. It is in addition to the recent discovery of another mutilated manuscript, discovered by Luca Cadioli in the attic of a noble Milanese, which contains the only faithful translation from the French of Lancelot du lac, the classic novel about the loves of Lancelot and Guinevere, remembered by Francesca da Rimini in her caharacterization in Canto V of Dante’s Inferno.

Now as then, once again for us, “The book was condemned, and he who wrote it.” These findings sound like an endorsement of the original idea that our [Italian] language was born at the beginning of the thirteenth century by the revolt of the Sicilian poets against ecclesiastical Latin, developed in 2011 in my essay ‘The Shadow of Cavalcanti and Dante’ (L’Asino d’oro editions).

The transcripts of the Sicilians are especially interesting because they let us see in them glimpses of the original lyric language, so far lost except in a single case, which predate the Tuscanized versions by which we know them. It reconstructs for us, if we care to deduce it, the view of a secular literary culture, widespread in the thirteenth century in the Italian peninsula far beyond what the traditional scheme suggests.

It affects in this way a well-established historical reconstruction that makes the Tuscans, after the fall of the Swabians and the Ghibelline party in Benevento (1266), the sole heirs of Sicilian poetry. In fact, it immediately comes to mind that northern Italy welcomed the Cathars and troubadours on the run, in the aftermath of the fierce Albigensian Crusade which dispersed the civilization of neighboring Provence. And that in Northern Italy there persisted a widespread tradition of French ballads of love and adventure, happily reprised at the fifteenth-century University of Ferrara by Boiardo’s Orlando in Love, it was later reported in the Orlando Furioso of Ariosto, and was also the standard language of the Florentine Pietro Bembo, canonized as a Cardinal in 1524.

The reaction of the Church against the magnificent flowering secular language of the thirteenth century was in fact very hard: in February 1278 in the Arena of Verona a huge fire burned the last 166 Cathars, and in 1285 the Parisian philosopher Siger of Brabant was assassinated. Excommunicated and condemned to death, waiting for forgiveness in the papal curia of Orvieto, where he had fled after 1277, Bishop Tempier of Paris had judged heretical his evolution of Latin that had animated, with De Amore by Andrea Cappellano, the origins of poetry including the stilnovisti [New Stylists] Guinizzelli and Cavalcanti. The offense certainly did not go unnoticed in thestilnovisti environment. So the last decade of the thirteenth century saw the conversion of Dante’s love of woman to the love of God, which proceeds in stages from Vita Nova through the Convivio to the Divine Comedy. In 1300, in which the otherworldly journey of the Comedy is set, Dante’s exile from Florence was sealed, followed by the premature death of Cavalcanti.

In the sacred poem [the Divine Comedy] Federico II is condemned to Hell (Canto X) in a group of heretics, “that with the body make the soul mortal.” He is destined to be teacher and “first friend,” endowed with “loftiness of genius,” but “he had a disdain for” the faith.  Pier delle Vigne, Sicilian poet and secretary to the emperor[Frederick II], is placed between the suicides, and tells Dante their drama, so convoluted, because the unforgivable sin of the Sicilians, in the eyes of Dante, is to have attempted a search for carnal love and passion, outside of religion, inventing a new language. Sordello of Goito, a troubadour who had found fortune in Provence and returned to Italy in 1269, of Mantuan origin like Virgil, is placed instead in Purgatory (CantoVI-VIII), like other poets of the thirteenth century.

The prejudice against Sicilians therefore has ancient roots, and a careful analysis of the texts of Dante and solutions that gradually imposed themselves in the secular ‘language issue’ show how, in spite of accepted theory, it originates from Dante himself. He was the most famous poet to establish himself as a ‘father’ of the modern Italian language, obscuring one hundred years of research of the love poetry from which it was born, with a systematic work of re-semanticization of the spiritual and Christian vernacular vocabulary of its origins. Even in the nineteenth century a sensitive critic, Francesco de Sanctis, demonstrates a certain deafness to the poets of the Sicilian School, and we had to wait until 2008 to have the first complete critical edition and commentary, in three volumes of Meridiani.

It is interesting as an aside to recognize, in the limited number of ‘outdated’ studies of the last century, like those of Bruno Nardi and Maria Corti, the original judgment of Gramsci’s Prison Notebooks about the thirteenth century and Dante. It is perhaps the most well-known essay on Canto X of the Inferno contained in the Notebooks (1931-32), with explicit distance from religion, and important messages in code intended for ‘”former friend” Togliatti.

Somewhat less well-known is Gramsci’s appreciation for Guido Cavalcanti.  His words, which erect to the “highest exponent” the uprising in medieval theocratic thinking and conscious use of the vernacular instead of Latin and Virgil, were taken almost verbatim from Gianfranco Contini. For Gramsci, a fine linguist, the Comedy is “the medieval swan song,” and his work as a Latinization of the vernacular marks the crisis of the rebirth of the secular and the transition to Christian humanism. Read the Comedy “with love” is the attitude of “simpleton professors who make religions of some poet or writer, and celebrate strange philological rites.” Appreciate the aesthetic values​​, he writes from Iulca in a letter from prison in 1931, warning against uncritical transmission of the poem to your children; that does not mean you agree with its ideological content.

Sicilian Americans Have Something to Say, in Sicilian

Sicilian Americans Have Something to Say, in Sicilian

By Francesca Crozier-Fitzgerald

Every Wednesday night, a small group of students gather for their language course at the Italian Charities of America Inc. in Flushing, Queens. Ironically, the students are not interested in learning Italian, but a separate language that arrived during the wave of Italian immigration to New York City. These students are the children and grandchildren of Sicilian immigrants.

“We only write the phrases on the board in Sicilian, not in Italian, so that is what stays in our memories after class,” says Salvatore Cottone, teacher of the Sicilian language class.  On the chalkboard, Cottone has written, “Dumani Marialena sinni va cu zitu.” If he were to compare it to Italian, it would say “Marialena andrà con il suo ragazzo.” It would not help the students to observe the ways that one language relates to the other; they are completely separate in form, construction, and syntax.

Sicilian and Italian are both audibly and visibly diverse. To note a few examples, Sicilian uses different vowel sounds, relying on a long “u” rather than the “o” as in “trenu” (train) and “libbru” (book) instead of “treno” and “libro.” There is no future tense verb conjugation; instead, context words such as tomorrow, “dumani,” and later, “doppu,” are used to indicate that the action will take place in the future. The cadence and pronunciation of Sicilian also demonstrate obvious differences from the standard Italian.

Scholars have found that Sicilian was the first written language in Italy after Latin. Declared by UNESCO as the first romance language of Europe, Sicilian contains a unique vocabulary of over 250,000 words. Since Italian Unification in 1870, however, when Tuscan became the national language, Sicilian has become less prominent in the southern regions of Italy and Sicily.

Although nearly 20 million people in Sicily and around the world still speak Sicilian, it is not included in Sicilian academic curricula. School systems are only required to teach Italian standard grammar, and as a result, children are not encouraged to learn proper Sicilian grammar. Despite efforts to bring teachers and Sicilian grammar courses back to the education track, funds have been insufficient.

In New York City, where the largest community of Sicilians is found outside of Italy, the Sicilian language faces a similar struggle to remain active. Despite the large number of Sicilian-speaking immigrants who arrived in the early twentieth century, settling in neighborhoods such as Ridgewood, Astoria, Bensonhurst and Bayridge, the language is seldom heard and almost never written down. To counter this obsolescence, international organizations such as Arba Sicula, Vanvakys Art International Inc., and the Sicilian Cultural Institute of America have been working adamantly to save this language that was once vibrant in the core of the Mediterranean.

The root cause for this disintegration, as seen with other endangered languages, can be traced back to the home. As Miki Makihara says, “Parents might even decide to not talk to their children in their native language but rather the new language of the new country because they figure, that’s the language that will get them ahead in school and in getting a job.” Makihara, a professor of linguistic anthropology at CUNY, explains the challenges that immigrant communities in New York City face when assimilating to a new culture and language. If this transitional process, referred to as language shift, occurs without the preservation of the native tongue, a language can move dangerously close to extinction.

Arba Sicula offers an outlet for Sicilian Americans to preserve their language and culture. Standing for “Sicilian Dawn,” the organization was founded in 1979 by Sicilian immigrants in New York City and has grown from 700 to nearly 2,000 members since 1988. Gaetano Cipolla, president of Arba Sicula since 1987, is also editor of the organization’s journal Arba Sicula, the largest Italian American publication in the United States. He states on his website that, “Books are our best bet to overcome the silly stereotypes of Sicilians produced by the mass media.” Placing the words on the page reminds old and new members that their culture cannot be forgotten so long as it is recorded. Written in both Sicilian and English, the journal aims to educate readership of how their native language looks and gives them a chance to practice reading the language. Their current focus is, as Cipolla says, “To get the new people in; the second, third and fourth generations, and we’re having some success.”

Domenic Giampino and Salvatore Cottone are working with these more recent generations on a local level at their Sicilian language class. They recognized that most Sicilian-Americans who still speak the language are now elderly, and that the language and culture should be passed on to those who will retain its legacy. Their classroom is found at Italian Charities in Flushing, Queens.

Giampino started the Sicilian class last fall for young and old Sicilian-Americans interested in learning or re-learning the language of their ancestors. It made sense to choose Cottone, founder of Vanvakys Art International Inc, and immigrant from Palermo, to teach the class. In his last ten years living in New York, Cottone has organized lectures and conventions to expose the ways that Sicilian art, food, and history have made strong international influences. Reviving the language, Cottone believes, is one important way that Sicilian Americans can preserve their culture and show that the country has more to offer than the Mafia.

The two-hour classes are split into a comprehensive history and culture lecture, followed by language practicum and conversation. They use one of the few Sicilian grammar texts, “Introduction to Sicilian Grammar,” by Kirk Bonner, edited by Gaetano Cipolla.

When Giampino first introduced the idea to the community, many challenged his motives. “They say, ‘well its barely even written,’ and then you show them a textbook and they’re like ‘oh my god.’ It’s like an uphill battle that in a sense has to be fought because if it’s not, what will happen is that eventually the language will die out,” says Giampino. These men are doing something revolutionary for the Sicilian-American community.

While these language classes have existed for only one year, they are receiving positive feedback from Sicilian friends and colleagues abroad. This summer, Fonso Genchi, living near Palermo, contacted Giampino for guidance and textual supplements for the Sicilian language course he was starting in Palermo and Termini Imerese. This is a positive step toward language preservation. If educators living in Sicily are able to challenge the Italian-only curricula of school systems, they will make great internal strides. Genchi’s course will emphasize the importance of speaking Sicilian, and most importantly, speaking with proper grammatical structure.

Education and documentation are so important, says Gaetano Cipolla, because, “People don’t realize that when you give up something like that, you give up part of your identity.”

Contact the writer at

Sicilian Cannoli


yield: Makes about 10 desserts

active time: 2 hr

total time: 3 hr

True Sicilian cannoli are made using fresh sheep’s-milk ricotta. We’ve substituted a combination of fresh cow’s-milk ricotta and goat cheese. If you don’t like goat cheese, use additional ricotta instead

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make dough for shells:

For cannoli shells

  • 1 cup all-purpose flour plus additional for dusting
  • 3 tablespoons sugar
  • 1 teaspoon unsweetened cocoa powder (not Dutch-process)
  • 1/4 teaspoon cinnamon
  • 1/4 teaspoon salt
  • 1/8 teaspoon baking soda
  • 1 lb cold lard
  • 2 tablespoons sweet Marsala wine
  • 1 large egg, separated
  • About 3 cups vegetable oil

For filling

  • 1 lb fresh ricotta (2 cups)
  • 2 oz soft mild goat cheese
  • 1/4 cup confectioners sugar
  • 1 tablespoon minced candied orange peel
  • 1/2 teaspoon orange-flower water (also called orange-blossom water)
  • 1/4 teaspoon cinnamon
  • 1/3 cup shelled unsalted pistachios (not dyed red), chopped
  • 2 oz bittersweet chocolate (not unsweetened), chopped (1/2 cup)
  • Special equipment: a pasta maker; a 4- to 4 1/4-inch round cookie cutter; a deep-fat thermometer; 6 (roughly 5 5/8- by 5/8-inch) metal cannoli tubes; 2 heavy-duty oven mitts; a pastry bag fitted with a 3/4-inch plain tip
  • Garnish: confectioners sugar

Whisk together flour, sugar, cocoa, cinnamon, salt, and baking soda. Add 2 tablespoons lard and blend in with your fingertips until combined. Add wine and yolk and stir until a dough forms.

Turn out dough onto a lightly floured surface and knead until smooth and elastic, 5 to 7 minutes. Form dough into a disk and wrap tightly in plastic wrap, then let stand at room temperature 1 hour.

Make filling while dough stands:
Beat together ricotta, goat cheese, confectioners sugar, orange peel, orange-flower water, and cinnamon in a bowl with an electric mixer at medium speed 1 minute (do not overbeat). Fold in nuts and chocolate until combined and chill.

Make shells:
Set smooth rollers of pasta maker at widest setting. Unwrap dough and cut in half, then lightly flour 1 piece (keep remaining half covered with plastic wrap). Flatten floured dough into an oval and feed through rollers. Turn dial down 2 notches and feed dough through rollers again. Continue to feed dough through rollers, making space between rollers narrower by 2 notches each time, until narrowest setting is used.

Line a baking sheet with plastic wrap. Transfer rolled dough to a lightly floured surface and cut out 4 or 5 rounds with floured cutter. Transfer rounds to baking sheet and keep covered with more plastic wrap. Roll out remaining dough and cut rounds in same manner. Gather scraps and let stand 10 minutes. Roll out scraps and cut in same manner.

Heat remaining lard with 1 1/4 inches oil in a 4-quart heavy pot over moderate heat until it registers 350°F on thermometer.

Meanwhile, lightly oil cannoli tubes. Lightly beat egg white, then brush bottom edge of 1 dough round with egg white. Wrap dough around a tube, overlapping ends (egg-white edge should go on top), then press edges together to seal. Make 5 more shells in same manner (keep remaining rounds covered with plastic).

Fry dough on tubes 1 at a time, turning with metal tongs, until 1 shade darker, about 45 seconds. Wearing oven mitts, clamp end of hot tubes, 1 at a time, with tongs and, holding tube vertically, allow shell to slide off tube onto paper towels, gently shaking tube and wiggling shell as needed to loosen. (If you allow shell to cool it will stick to tube and shatter when you try to remove it.) Transfer shells to paper towels to drain and cool tubes before reusing. Wrap remaining dough around tubes and fry in same manner.

Spoon filling into pastry bag and pipe some into 1 end of a cannoli shell, filling shell halfway, then pipe into other end. Repeat with remaining shells.

Cooks’ notes:•Dough can be made 1 day before frying shells and chilled. Let dough stand at room temperature 1 hour before rolling.
•Shells can be fried 2 days ahead and cooled completely, then kept, layered between paper towels, in an airtight container at room temperature.


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  2. Your transcript must show that you are a matriculated full time student in your respective school
  3. Your transcript must show that you are maintaining and cumulative GPA of greater than 2.5, (Need based 3.0)
  4. Your transcript must show that you are that you are progressing towards graduation in five years.
  5. Any deviation from these items must be reviewed by the committee – Please write a letter to the committee explaining the circumstances. That letter and any corresponding items will be reviewed and you will be notified of the decision.

Current Scholarship Awardee Information

Requirements For Ongoing
Receipt Of Scholarship Monies

  1. Annually have your college’s Registrar department mail an official verified transcript to the UNICO mailbox:
    • UNICO – Scholarships
      PO BOX 41
      Pleasantville, NJ 08232
  2. Your transcript must show that you are a matriculated full-time student in your respective school
  3. Your transcript must show that you are maintaining and cumulative GPA of greater than 2.5, (Need based 3.0)
  4. Your transcript must show that you are that you are progressing towards graduation in five years.
  5. Any deviation from these items must be reviewed by the committee – Please write a letter to the committee explaining the circumstances. That letter and any corresponding items will be reviewed and you will be notified of the decision.

Past Scholarship Awardees


First Name Middle Name Last Name Scholarship Year
Michele Loggi 1983
Anne Booye 1984
Stephanie Guerrera 1984
Anna G Pietrofitta 1984
Debra Spora 1984
Michael Carri 1985
Karen M DiMeo 1985
Nicholas C Petruzzi 1985
Gina M Casey 1986
Lisa DiMauro 1986
Robert Turchi 1986
Anita Dolsgn 1987
Donald J Lomonaca 1987
Louis James Polisano 1987
Michael C Cipriano 1988
Susan Ordile 1988
Paul Vitrano 1988
Glenn H Milanesi 1989
Scott Smaniotto 1989
Chris Weisbecker 1989
Carmel R Galiano 1990
Maria B LoMonaco 1990
Jeffrey Olive 1990
Malissa Ann Cessao 1991
Gregory Michael Pedecin 1991
Beth Ann Pontari 1991
Angelina V Baruffi 1993
Christina Constanzo 1993
Andrea M Longo 1993
Michael A Previti 1993
Anthony R Buccafurni 1994
Nicholas J Russo, III 1994
Danielle Dagrossa 1995
Amy Lynn Stablini 1995
Seth Baruffi 1996
Anthony Desalle 1996
Philip Jordan 1996
Harvey C Cocozza, Jr. 1997
Heather Lynn Dagrossa 1997
Kara Marie Tummarello 1997
Amy Lynn Weatherby 1997
Melissa Krick 1998
Matthew Levinson 1998
Robert Vettese, Jr. 1998
Meredith Wilson 1998
Russell Baruffi 1999
Lauren Blum 1999
Kathleen Catalano 1999
Samuel Curcio 1999
Joseph Gargione 1999
Kevin Jordan 1999
Joseph Letizia 1999
Mark Marsella 1999
Jeanna Murray 1999
Nina Pullelle 1999
Salvatore Cavatiere 2000
Ashley Damato 2000
Matthew Maggio 2000
Paul Marrandino 2000
Katie McLaughlin 2000
Shane Merril 2000
Adam Miller 2000
Gianna Barbera 2001
Francesca Constantino 2001
Carolyn Cummings 2001
Ashley Gilly 2001
Christine Malvasi 2001
Jennifer Morren 2001
Louis Perfetti 2001
Peter Perfetti 2001
Christine Pullella 2001
Chris Veneziani 2001
Vincent T Accardi 2002
Daniel J Baruffi 2002
Aicia A Baumho 2002
Michael J Chilastri 2002
Jana Marie Dandrea 2002
Earl Lynn DellaBarca 2002
Mary S Hoffman 2002
Maria F Leonetti 2002
Jay Daniel Potts(Piccini) 2002
Jeffrey T Bordogna 2003
Jorjiana Constantino 2003
Julianne N Daniels 2003
Argia J DiMarco 2003
Angela M DiPompo 2003
Ryan T Gabriel 2003
Leslie J Jesperson 2003
Nicole M Lawler 2003
Nicholas D Miller 2003
Gabriella E Scalafani 2003
Kelly Lynn Truman 2003
Ryan R Westerfield 2003
Gabrielle DeDomenicis 2004
Anna Devlin 2004
Marie Formica 2004
Kelly A Goddard 2004
Jason W Lawler 2004
Lea V Marino 2004
Anthony F Martire 2004
Michael C Migioia 2004
Lauren I Pittaro 2004
Casandra Westerfield 2004
Jaime Earl 2005
Dominick Formica 2005
Courtney Goddard 2005
Katelyn Hagmaier 2005
John LaTorre 2005
John LaTorre 2005
Madline Lauria 2005
Kristin Mancuso 2005
Sarall Marino 2005
Dominic Russo 2005
Dominick Baruffi 2006
Danielle Conroy 2006
Jullian DiRenzo 2006
Jenifer Fipp 2006
Eric Gabriel 2006
Alexandra Juliano 2006
Justine Kleenman 2006
Tricia Paparone 2006
Samantha Savio 2006
Christa Zuccarino 2006
Joseph Alessi 2007
Matthew Castelli 2007
Kateryna Christian 2007
Andrea DeSantis 2007
Allison Iudica 2007
Sarah Longo 2007
Deanna Mangano 2007
Maria Miller 2007
Frank Nastasi 2007
Michael Paci 2007
Julia Prince 2007
John Russo 2007
Leandra Russo 2007
Kristin Zompa 2007
Lindsay Andros 2008
Nicole DeCredico 2008
Daniel Errera 2008
Teresa Iaconelli 2008
Elisha Jachetti 2008
Nicole Mancuso 2008
Lauren Mangeniello 2008
Vincent Nistico 2008
Catherine Savio 2008
Joseph Sparano 2008
Blake Truabuchi-Downey 2008
Gregory Vandenberg 2008
Theodore Accardi 2009
Dante Baruffi 2009
Chelsea Bruno 2009
Dana Daniels 2009
Danielle Douris 2009
Megan Errera 2009
Isabella Iezzi 2009
Caitlin Juliano 2009
Victoria Kugel 2009
Marco Leggi 2009
Emma Mangano 2009
Marie Moschella 2009
Stephanie Pileggi 2009
Devin Seelman 2009
Jonathan Senese 2009
Michael Shaughnessy 2009
Jeffrey Smith 2009
Joanna Sutor 2009
Christopher Vandenberg 2009
Dante Benvenuto 2010
Christian Calabrese 2010
Rosemary Christian 2010
Carly DiGiovanni 2010
Angelica Diodato 2010
Nicholas Dirago 2010
Victoria Fama 2010
Christie Goddard 2010
Gabriella Johnson 2010
Cassandra Krauss 2010
Lynn Mangiello 2010
Catherine Merendino 2010
Devon Palermo 2010
Paige Pecora 2010
Allison Pushman 2010
Domenic Ruggeri 2010
Madeline Ruley 2010
Jennifer Thompson 2010
John Ventriglia 2010
Keanna Voso 2010
Angelina Bongiovanni 2011
Joseph Bottino, III 2011
Kaitlin Hare 2011
Sara Mangano 2011
Alexandra Mazzo 2011
Sydney Mineer 2011
Gordon Prince 2011
Amy Pushman 2011
Ashley Weiner 2011
Christopher Accardi 2012
Ceili Burdhimo 2012
Ashlyn Laveson 2012
Sarah A. Reilert 2012
Kevin A. Hazlett 2012
Rebecca Krauss 2012

In Memory of…


Person Year Obituary
Charles Andaloro 2015 Link
Liberato Riccio (RICH) 2015 Link
Thomas Cetrone 2014 Link
Salvatore Anthony Polisano 2013 Link
Joseph C. Mangano 2013 Link
Fausto Marco Berardi 2012 Link
John Risso 2009 Link
Joe Ragno 2009 Link
Michael “Hobo” Marshall 2009
Pasquale “Pat” DeRosa 2007
Joe Jiacopello 2007