62 documented Italian supernatural beings from the Evil Eye grimoire, including 30 lesser and 24 minor spirit in power tier.
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Admeto is the legendary King of Thessaly from classical myth as transmitted into European opera (notably Handel's Admeto, HWV 22). Portrayed as a mortal tragic protagonist, his fate in the narrative is determined by divine oracular decree and by the actions of other mythic figures (Alceste, Apollo, Hercules) rather than by any innate supernatural power.
Aggi and Ebbi are not attested as folkloric beings in the supplied sources; they appear only as isolated word-forms in an Italian poetic excerpt and as capitalized letter-strings in a puzzle/solution transcript. No mythic identity, powers, or rituals are documented for these tokens in the provided materials.
Agolant is a literary Saracen king who appears as a recurring antagonist in medieval and Renaissance epic cycles (Matter of France). He functions as a human royal opponent to Charlemagne and his peers, supplying martial episodes, genealogical connections, and the transfer of legendary arms and horses in chansons de geste and later Italian romances.
Akenta is attested in the provided sources only as a proper name appearing in several unrelated contexts (a listing of South Australian groups, commercial wine branding, a health company, and a parliamentary text). The sources do not describe Akenta as a supernatural being, and no mythic attributes, appearance, powers, or rituals are recorded.
Alazṓn (Ancient Greek: ἀλαζών) is a theatrical stock character of ancient Greek comedy who functions as an impostor or braggart: a figure who overestimates and theatrically misrepresents his own qualities and social status. As an archetype he generates comic situations, serves as the opponent of the eirôn, and recurs across Greek and Roman comedy, commedia dell'arte, and later drama.
Alichino is a name used in two distinct literary contexts: in Dante Alighieri's Inferno it names one of the Malebranche devils assigned to guard the fifth bolgia of Hell; in Kouyu Shurei's manga Alichino it denotes a species of beautiful, wish-granting demons who prey on desperate humans in exchange for their souls.
Annowre (also rendered Anouwre; Elergia in Italian La Tavola Ritonda) is a malignant enchantress in medieval Arthurian romance who attempts to seduce and bewitch King Arthur, typically through an enchanted ring and an entrapping tower or castle; she is ultimately overthrown and beheaded, her head displayed as proof of victory.
Aradia is a name and motif appearing in late-19th-century folklorist literature (notably Charles G. Leland's Aradia, or the Gospel of the Witches) and in Italian, Sardinian, and adjacent regional folklore where cognate names (Arada, Araja, Erodiade/Irodiada) are attached to a nocturnal female host associated with Diana/Herodias. Sources portray Aradia variously as a messianic teacher of witchcraft (Leland) and as part of a tradition of night-flying female spirits and regional fairy-queen figures (folklore surveys).
The Badalisc is a local ritual creature of Val Camonica (Andrista, Cevo) in northern Italy: an animal‑like masked figure captured in the woods at Epiphany, led into the village, and used as a mouthpiece for a satirical public speech that names communal misdeeds before being released back to the woods.
Barbariccia is one of the Malebranche devils in Dante Alighieri's Inferno (Canto 22), portrayed as a corporal enforcer and a subordinate commander who supervises other devils in Bolgia Five of the Eighth Circle (the Malebolge). The name is Italian and literally means "curly beard."
Beatrice (Bice) di Folco Portinari appears in Dante Alighieri's works as the personified embodiment of beatific love, divine grace, and theological vision who intercedes for and ultimately guides the pilgrim from human reason into Paradise. Historically she may be a Florentine woman documented in late 13th-century records, but the literary Beatrice is primarily a theological and allegorical figure within Dante's poetic cosmology.
Belacqua is a literary soul appearing in Dante Alighieri's Purgatorio (Canto IV), encountered in Ante‑Purgatory as a saved soul whose delayed repentance requires him to wait before beginning active purgation. He personifies sloth/indolence, functions as a comic, humanized figure in Dante's moral topography, and was identified by early commentators with the Florentine instrument‑maker Duccio di Bonavia.
A literary arch-demon figure originating in Niccolò Machiavelli’s Renaissance novella and later adapted in theatrical and operatic works (notably Respighi’s 1923 opera). In these narratives Belfagor is a high-ranking infernal envoy sent to the human world on a defined investigatory mission, who uses disguise, wealth, and deception as part of his role.
The title character of Niccolò Machiavelli's Renaissance novella, presented as an archdevil (arcidiavolo) sent from Hell to Earth to investigate male complaints about marriage; a literary adaptation of an older folktale motif about a supernatural being assuming human guise and entering domestic life.
Beltrame is a traditional commedia dell'arte stock character associated with the city of Milan (and nearby Gaggiano), dating to the 16th–17th century or earlier. He functions as a crafty, pretentious villager/husband whose costume (notably the large tunic or gippa, purse, and dagger) and comic antics represent Milanese civic identity onstage.
The Biscione is a heraldic charge — a stylized large grass-snake (Italian biscione) depicted with a small human figure in its mouth — used as a dynastic and civic emblem associated chiefly with the Visconti and Sforza of Milan and later municipal and corporate identities. In the provided sources it functions as an emblematic device rather than a narrated supernatural being.
Bleoberis is a legendary Arthurian knight appearing across medieval romance cycles as a recurring Round Table member, kinsman of Lancelot, and participant in major campaigns, funerary duties, and penitential pilgrimage narratives. He functions as a noble companion and political-military actor rather than a supernatural being.
Bonconte da Montefeltro (d. 1289) was a late‑13th century Italian nobleman and condottiero associated with the Montefeltro family and the Ghibelline forces at the Battle of Campaldino. In Dante Alighieri's Divine Comedy (Purgatorio, Canto 5) he appears as a speaking soul who recounts the circumstances of his death and reports that he died invoking Mary.
Brighella is a masked comic stock character of the Italian commedia dell'arte tradition, originating as a Zanni (servant) type associated with Bergamo. He is a scheming, adaptable servant or tavern-owner figure known for cunning, cruelty to social inferiors, improvisatory skill, and characteristic costume and walk.
Brunor is a personal name applied to several human knights in medieval Arthurian romance, most notably a young knight nicknamed La Cote Mal Taillée (the 'badly cut coat') who arrives at King Arthur's court wearing his murdered father's bloodied surcoat and seeks to prove himself by deeds. The name functions as a narrative role within the Tristan/Arthurian cycles rather than as a supernatural being.
A historically attested medieval Florentine ancestor whom Dante depicts in the Paradiso (Cantos XV–XVII) as a beatified soul in the Heaven of Mars; he functions as a paternal interlocutor who confirms Dante's lineage and imparts moral counsel and prophetic admonitions.
Calcabrina is one of the Malebranche — a named demon/jailer appearing in Dante Alighieri's Inferno who helps guard the fifth bolgia of the eighth circle of Hell. The name has been reused in modern fiction and games where adaptations portray Calcabrina as a guardian or combatant (gargoyle, construct, or voidsent), distinct from Dante's literary role.
Casella is a historical musician and the friend of Dante who appears as a soul in the early cantos of Purgatorio in Dante Alighieri's Divine Comedy. In the poem he is encountered on the Mount of Purgatory and noted chiefly for singing, which underscores themes of friendship and the moral/aesthetic role of music in the afterlife.
A historical Florentine nobleman depicted by Dante in Inferno Canto X as a damned soul among the heretics in the sixth circle of Hell; in the poem he briefly speaks to the pilgrim, expressing concern for his son Guido. His placement and condition are literary devices within Dante's moral-theological topography rather than folkloric hauntings.
Ciacco is a named damned soul who appears in Dante Alighieri's Divine Comedy (Inferno, Canto VI) among the gluttonous; he converses with Dante and, within the poem, offers a prophetic speech about Florentine political strife. The figure is later reused in medieval and Renaissance literature (notably Boccaccio's Decameron) as a stock gluttonous character.
Ciampolo is a damned human soul appearing in Dante Alighieri's Inferno (Canto XXII), placed among the grafters in the fifth ditch of the eighth circle (Malebolge). He is depicted as hauled from boiling pitch by the Malebranche devils, speaks to Dante and Virgil identifying fellow sinners, and ultimately deceives the devils to return to the pitch.
Ciriatto is one of the Malebranche, a named demon-guard in Dante Alighieri’s Inferno who appears in Cantos XXI–XXIII as an enforcer over the fifth bolgia of the Eighth Circle (Malebolge). His Italian name denotes porcine qualities and the poem characterizes him with a single descriptive epithet meaning 'tusky.'
Clitumnus is the personalized river-deity of the Clitunno (Clitumnus) spring and river in Umbria attested in Roman antiquity. Treated as a local god resident in a sacred grove and temple, he was consulted for oracles and associated in literature with white cattle and ritual consecration of sacrificial animals.
Columbina (also Colombina/Colombine) is a theatrical stock character of the commedia dell'arte tradition: a clever comic servant, often cast as a love interest and foil within romantic and social plots. She is a non-supernatural dramatic persona enacted by actors across centuries of performance, illustration, and adaptation.
Cunizza da Romano (c.1198–1279) is a historical Italian noblewoman of the da Romano family who appears as a named soul in Dante Alighieri’s Divine Comedy (Paradiso Canto IX), located among the blessed of the heaven of Venus and presented as an exemplum of lives shaped by love.
In Dante Alighieri's Inferno (Canto XXXIV) Satan is the immobilized, diminished former angel who occupies the lowest point of Hell (the Ninth Circle, Judecca). He is the poetic embodiment of pride and the ultimate traitor, frozen in the central ice while eternally chewing the three chief traitors.
A name that emerged in Latin medieval commentary and was later taken up in Renaissance and early modern literature and demonology as a powerful, primordial subterranean or infernal figure associated with fate and accountability. Modern popular culture reuses the name for monsters, but those visualizations are distinct from the medieval and Renaissance textual tradition.
Elaine of Astolat is a mortal noblewoman from Arthurian romance who dies of unrequited love for Sir Lancelot; her body is set adrift in a small boat clutching a lily and a final letter and is discovered at Camelot. Her episode appears in multiple medieval variants and was later reworked in Victorian poetry and visual art.
Farfarello is one of the Malebranche in Dante Alighieri's Inferno, depicted as a vulgar and quarrelsome demon charged with policing Bolgia Five of the Eighth Circle (Malebolge). The name also appears in modern Italian popular verse (a Trilussa lullaby) as a bogey-figure invoked to frighten or discipline children.
Farinata degli Uberti (born Manente degli Uberti, 1212–11 November 1264) was a 13th‑century Florentine aristocrat, knight, and leader of the Ghibelline faction whose political career, posthumous inquisitorial prosecution (1283), and literary depiction by Dante have made him a charged exemplar in medieval debates about heresy and the afterlife.
Father Christmas is the traditional English personification of the Christmas festival — a cultural and performative embodiment of midwinter feasting, merrymaking and later, following nineteenth-century cultural exchange, a domestic gift-bringer. He functions as a symbolic figure in pageantry, pamphleteering and popular imagery rather than as an independently ontological supernatural being.
A culturally specific Neapolitan third-gender social role for males who adopt markedly feminine expression and perform distinctive community and ritual functions. Femminielli are integrated into Naples' urban life and ritual calendar and are traditionally regarded as auspicious figures rather than supernatural beings.
Feronia is an ancient Italic goddess of central Italy associated with fertility, the wild/nature, and certain civic-economic functions such as trade. Originating with Sabine and Faliscan practice and later incorporated into Roman religious listings, she possessed sanctuaries and a visible cult presence in the archaic and Republican periods.
Filippo Argenti is a historical 13th-century Florentine nobleman (Adimari family, Black Guelphs) who appears as a named damned soul in Dante Alighieri’s Divine Comedy (Inferno, Canto VIII), located among the wrathful in the river Styx. In Dante’s poem he functions as a recognizable moral exemplum of wrath: he accosts the pilgrim and is subsequently attacked by other wrathful souls.
Forese Donati is a historical Florentine who appears as an individualized penitent soul in Dante Alighieri's Purgatorio (Canto 23). In the poem he is encountered on the sixth terrace of Purgatory, where he converses with the pilgrim Dante about personal history, other souls, and the efficacy of intercessory prayer.
Francesca da Rimini was a late 13th‑century Italian noblewoman whose adulterous affair with Paolo Malatesta and subsequent murder by her husband Giovanni Malatesta became a lasting literary and artistic theme; most famously she appears as a speaking soul among the lustful in Dante Alighieri's Inferno (Canto V).
Giasone is the Italian form of the mythic Greek hero Jason, presented in a 17th-century Italian opera (Cavalli's Giasone) and in retellings of the Jason and Medea cycle. He is a mortal leader of the Argonauts whose success in the quest for the Golden Fleece depends on martial courage and the active intervention of supernatural agents—most notably Medea's sorcery and chthonic powers.
An iconographic motif in Christian art, the Gnadenstuhl (German: 'seat of mercy') depicts the Trinity with the Father supporting or presenting the crucified Christ and the Holy Spirit as a dove, functioning as a visual theology of divine mercy and the cross as an event of the Triune God.
Gorlois (Welsh: Gwrlais) is a historical-legendary ruler of Cornwall in the Arthurian tradition, husband of Igraine and defender of Tintagel whose death the night Uther Pendragon, by Merlin's enchantment, gains access to Igraine, leads to Arthur's conception. He is treated as a mortal regional lord in primary narratives though later dramatists sometimes depict him briefly as a condemning ghost.
Harlequin is primarily a theatrical stock character (Italian Arlecchino) in commedia dell'arte: a nimble, comic servant and trickster. The theatrical persona derives its name, motifs, and some iconography from medieval Old French folkloric figures called herlequin/hellequin, a masked leader associated with nocturnal processions (the Mesnée d'Hellequin or Wild Hunt).
Hercules (Latin: Hercules) is the Roman reception of the Greek divine hero Heracles: a semi-divine, divinized heroic figure son of Jupiter and the mortal Alcmena who was widely venerated across Italy. Represented in cult, votive art, and literature, he functions as a protector and martial champion whose identity was adapted through Etruscan and local Italic contexts.
Hesione is a mortal Trojan princess in Greek myth who was exposed to a sea‑monster as an oracularly required sacrifice for her father Laomedon’s offense against the gods; rescued by Heracles, she is given in marriage to Telamon, ransoms her brother with her veil (after which he is called Priam), and in later tradition becomes a diplomatic pawn whose non‑return is cited among factors leading to Paris's taking of Helen.
Hipermestra is the operatic/theatrical adaptation of the classical heroine Hypermnestra as staged in 17th-century Italian and Spanish court festivals (festa teatrale, opera, zarzuela). The name denotes a dramatic protagonist used in courtly spectacle and allegory rather than an independently described supernatural being.
Hypermnestre (Hypermnestra; Italian Ipermestra) is a classical Greek mythic heroine — one of the Danaïdes — who is represented in 18th- and early-19th-century French and European operatic and theatrical repertoires. The provided sources treat her as a human tragic protagonist and stage character (not a supernatural being), notably as the central figure in Charles-Hubert Gervais's 1716 tragédie en musique Hypermnestre and in operatic treatments grouped under Les Danaïdes.
Iolei (also recorded as Ilienses, Iolaes, Ilians, Iolai, Diagesbes/Diagebres) is the ethnonym of an ancient Nuragic people of central–southern Sardinia attested in Bronze and Iron Age sources and later classical tradition. In modern times the name is reused in regional toponyms and commercial wine labels.
In Dante Alighieri’s Inferno the Malebranche are a squad of clawed, quarrelsome demons charged with policing Bolgia Five of the Eighth Circle (Malebolge). They act as vulgar, treacherous warders who seize sinners from the boiling pitch, prevent escape, quarrel among themselves, and interact deceptively with Dante and Virgil under the leadership of Malacoda.
Mezzetino is a commedia dell'arte stock character from 16th‑century Italian popular theatre, a member of the Zanni servant class known as a scheming, often musically inclined servant and flirt. The role circulated into French and English stages and appears in visual arts (notably Watteau) and decorative arts.
A traditional Neapolitan household and city sprite, the Monaciello ('little monk') is a short, stocky, robed figure of local oral lore who inhabits Naples' underground waterworks and who visits homes, sometimes rewarding hospitality and sometimes playing spiteful tricks.
Odigitria is primarily an iconographic epithet and toponym found in Byzantine and modern contexts: a Marian title (Panagia Odigitria / Hodegetria) denoting a specific type of Virgin Mary image regarded as a guide or pointer to Christ, and a place-name applied to churches, monasteries, settlements, and an archaeological Minoan cemetery in southern Crete.
Petrosinella is the human heroine of a Neapolitan fairy tale recorded by Giambattista Basile (Lo cunto de li cunti, 1634). Named for the local word for parsley, she is given to an ogress as the consequence of her mother's theft, confined in a tower, taught magic arts, and later escapes using three magical gallnuts/acorns in a classic ATU 310/313 sequence.
A widely attested folkloric motif (Stith Thompson Motif E491) describing a marching retinue of ghosts, phantoms, or souls that travels through the living world. Local forms (e.g., Santa Compaña, Nightmarchers, panchabhāya) vary in appearance and meaning and are often tied to liminal times, funerary ritual, or moral repercussion.
Romulus is the legendary founder and first king of Rome in Roman tradition. As an aetiological culture-hero he is credited with establishing Rome's early civic, military, legal, and religious institutions and with sacral acts that legitimated the city's origins.
Romulus and Remus are twin brothers of Roman foundation myth who, according to tradition, survived abandonment, restored their grandfather Numitor, and (after a dispute that ended in Remus's death) Romulus founded the city of Rome and became its first king. Their story serves as an etiological account of Rome's origin, early institutions, and certain civic and religious symbols.
Scapino (also Scapin) is a stock theatrical character from the Italian commedia dell'arte tradition. A zanni (servant) figure, he is a trickster-servant known for scheming, self-preservation, and a tendency to 'escape' from fights and commitments; he appears in commedia performances and in plays derived from that repertoire (notably Molière's Les Fourberies de Scapin).
A folkloric birth-status applied to a male who is the seventh consecutive male child in an unbroken male line whose father was also a seventh son; across several European-derived and Latin American traditions this status is associated variously with exceptional healing or with dangerous supernatural transformations. The figure functions as a social/biological category that explains extraordinary capacities or misfortunes rather than a single mythic individual or species.