Best 51 quotes in «florence quotes» category

It was almost Christmas, and Renzo was preparing all the delicacies Florentines must eat at the festival: roast eels, goose, fancy cakes with marzipan frills, and a kind of minced pie they call Torta di Lasagna, stuffed with meats and raisins and nuts.

I was scarcely the first, nor the only current, girl of impressive derivation to be unceremoniously thrust through the iron gate at the entrance of Le Murate by parents whose aspirations for their daughters did not include marriage. Our paths to the convent were varied, but no matter. We all wound up in the same habit.

Maybe he would not run away after all, even if exposed to all her family's idiosyncrasies. [Carlina's biggest fear about Stefano]

Opera was born in Florence at the end of the sixteenth century. It derived almost seamlessly from its immediate precursor, the intermedio, or lavish between-the-acts spectacle presented in conjunction with a play on festive occasions. Plays were spoken, and their stage settings were simple: a street backed by palace facades for tragedies, by lower-class houses for comedies; for satyr plays or pastorals, the setting was a woodland or country scene. Meanwhile the ever-growing magnificence of state celebrations in Medici Florence on occasions such as dynastic weddings gave rise to a variety of spectacles involving exuberant scenic displays: naval battles in the flooded courtyard of the Pitti Palace, tournaments in the squares, triumphal entries into the city. These all called upon the services of architects, machinists, costume designers, instrumental and vocal artists. Such visual and aural delights also found their way into the theater—not in plays, with their traditional, sober settings, but between the acts of plays. Intermedi had everything the plays had not: miraculous transformations of scenery, flying creatures (both natural and supernatural), dancing, singing. The plays satisfied Renaissance intellects imbued with classical culture; the intermedi fed the new Baroque craving for the marvelous, the incredible, the impossible. By all accounts, no Medici festivities were as grand and lavish as those held through much of the month of May 1589 in conjunction with the marriage of Grand Duke Ferdinand I and Christine of Lorraine. The intermedi produced between the acts of a comedy on the evening of May 2 were considered to be the highlight of the entire occasion and were repeated, with different plays, on May 6 and 13. Nearly all the main figures we will read about in connection with the birth of opera took part in the extravagant production, which was many months in the making: Emilio de' Cavalieri acted as intermediary between the court and the theater besides being responsible for the actors and musicians and composing some of the music; Giovanni Bardi conceived the scenarios for the six intermedi and saw to it that his highly allegorical allusions were made clear in the realization. Jacopo Peri and Giulio Caccini were among the featured singers, as was the madrigal composer Luca Marenzio, who wrote the music for Intermedio 3, described below. The poet responsible for the musical texts, finally, was Ottavio Rinuccini, who wrote the poetry for the earliest operas...

Now we're going to one of the coolest places in Florence." "Where's that?" "A pharmacy." "You're taking the princess to a drugstore?" "I said a pharmacy. Climb on." Profumo Farmaceutica di Santa Maria Novella is a pharmacy only in the ancient sense of the word. As soon as I saw and smelled what "pharmacy" it was, I recognized it as the origin of the exquisitely wrapped, handcrafted soaps, colognes, potpourris, and creams I had seen in their shop on New York's Lower East Side. But nothing could compare with seeing them in the frescoed chapel where thirteenth-century Dominican friars had first experimented with elixirs and potions. Centuries-old apothecary jars and bottles sat on the shelves of carved wooden cupboards that swept almost to the top of a high, vaulted ceiling. I walked slowly around the room, taking it all in, as Danny spoke to a smartly dressed salesgirl. "What an incredible place!" I sighed, walking over to stand beside him. "It's so beautiful." "Pretty special," he agreed, putting his hand high on my back and turning to the salesperson. "I think mimosa," he told her. "A very good choice, I think," she said, dabbing a small amount of mimosa eau de cologne on my wrist and then my neck with a delicate applicator. Danny bent forward so he could smell my neck, then stood back. He drew his eyebrows together and put his hands on his hips. "I definitely think that's you. First, you get this oddly enticing tart kick, then you detect the sweetness. It's a subtle sweetness- not overpowering, but definitely there." "Hilarious," I said sarcastically and kicked him playfully in the shin. "Then you get the kick again," he winced, rubbing his leg.

So... Italian gelato. Take the deliciousness of a regular ice-cream cone, times it by a million, then sprinkle it with crushed-up unicorn horns.

Past the entrance to the cloisters (in the church of Santa Croce in Florence) is Rossellino's funerary monument to the humanist chancellor Leonardo Bruni, He was chancellor of Florence from 1427 until his death in 1444. He is shown resting on his bier, as if asleep, holding his History of Florence. His epitaph is one of the most moving ever recorded: "Historia luget, eloquentia muta est," "History herself is in mourning, and eloquence has been silenced.

She'd fallen for him. How stupid. Secretary falls in love with her boss. What a tepid thing to do.

She was shocked by how dirty Florence was.

Still holding me close, she whispered into my ear, “But you know what, Soph? Italy is my destiny; it calls to me to return home.

The historian in me love to uncover things, and the mother in me hates to be lied to...[Why Dotsy investigates murder]

The afternoon sunk into the tall grass growing on the roadside. The distant dome turned from coral to burnt umber, a final flash of amber as the stars unveiled themselves above. In the last light of dusk, we facemmo la scarpetta every last dish – leaving behind olive pits, an oily carcass, several rings of spilled red sulfates – and stretched our arms across the table to hold hands. As darkness fell over the valley, we walked hand in hand down that hill, our shoes rubbing the soft asphalt of what could only be the silvery full moon reflected, and watched as the dome, lit up now in its tawny wonder, lowered down behind the horizon.

There are many of us who live alongside others, less fortunate, watching them go through everyday suffering for one reason or another, and we’re not moving even our little finger to help them. It’s in human nature, unfortunately: for the most part, the only people we genuinely care about are ourselves. However, once in a while we encounter different species, different kind of human beings among us: full of compassion, willing and wanting to help, and doing so with joy and happiness. Those are a rarity. But you know what, my dear? Being one of them is not a special calling- it’s a choice. So what will you choose, huh?

Tonight I watched the sun set at Ponte Vecchio. I think its safe to say I have finally found the place that feels right to me. I just can't believe I had to come halfway across the world to find it.

There was a pleasantness to the air and a spirit about the town that did not come from its color, but from some inner, tasty citrus quality. It made Alexia wonder fancifully if cities could have souls.

There were the subtle malts and brans of the crust and the pallid no-taste of good old Florentine bread. The snaking sour-sweet of the beef, like a slab of porphyry shot through with crystalline onion sugars, salt and soil-rolled toffee carrots; sparks of bitter thyme and mint oils; the velvet honeycomb of fat;

They look so relaxed, so happily engaged in the present moment, these four women drinking cappuccinos and savoring the creamy cannolis.

The years pass so quickly now that I can't keep my mental image of myself up to date. [Mature Dotsy deals with her age]

When I was in art school, we were looking one day at a slide of some great fifteenth century painting, and one of the students asked 'Why don't artists paint like that now?' The room suddenly got quiet. Though rarely asked out loud, this question lurks uncomfortably in the back of every art student's mind. It was as if someone had brought up the topic of lung cancer in a meeting within Philip Morris. 'Well,' the professor replied, 'we're interested in different questions now.' He was a pretty nice guy, but at the time I couldn't help wishing I could send him back to fifteenth century Florence to explain in person to Leonardo & Co. how we had moved beyond their early, limited concept of art. Just imagine that conversation. In fact, one of the reasons artists in fifteenth century Florence made such great things was that they believed you could make great things. They were intensely competitive and were always trying to outdo one another, like mathematicians or physicists today—maybe like anyone who has ever done anything really well. The idea that you could make great things was not just a useful illusion. They were actually right. So the most important consequence of realizing there can be good art is that it frees artists to try to make it.

Which one of them would make you the most sad if you had to live your life without him?

A really interesting and happy time was when I first went to Florence as a student and studied Italian. I was living in a pensione on an allowance of £40 a month, which was princely. I did a lot of work and enjoyed myself immensely.

Although I studied Dante's Inferno as a student, it wasn't until recently, while researching in Florence, that I came to appreciate the enduring influence of Dante's work on the modern world.

Everything about Florence seems to be colored with a mild violet, like diluted wine.

Florence Farr once said to me, If we could say to ourselves, with sincerity, 'this passing moment is as good as any I shall ever know,' we could die upon the instant and be united with God.

Florence - the city of tranquillity made manifest.

If you go to Florence, it has all surface beauty, but like Venice, it's simply a museum of Renaissance times. Los Angeles is raw, uncouth and bizarre, but it's a place of substance. It has more new horizons than any other place.

I doubt if Dickens did, especially his women-his pretty women-Mrs. Dombey, Florence, Dora, Agnes, Ruth Pinch, Kate Nickleby, little Emily-we know them all through Hablot Browne alone-and none of them present any very marked physical characteristics. They are sweet and graceful, neither tall nor short; they have a pretty droop in their shoulders, and are very ladylike; sometimes they wear ringlets, sometimes not, and each would do very easily for the other.

I know that they [Jackie Joyner-Kersee, Florence Griffith-Joyner and even Wilma Rudolph] have paved the way and they have been a source of inspiration.

In Florence, classical buildings sit against medieval buildings. It's that contrast we like.

In Paris, you learn wit, in London you learn to crush your social rivals, and in Florence you learn poise.

Paul Newman's half Jewishand Florence Henderson's half, tooPut them together,What a fine looking Jew!

I thought I'd never get to see that. Florence Griffith Joyner -- every time she ran, I ran.

The interactions of business and culture, one upon the other, form one of the least explored phases of history. For such a study, no city would appear better fixed than Florence, so richly dowered with both economic and spiritual vitality.

The most beautiful thing in Tokyo is McDonald's. The most beautiful thing in Stockholm is McDonald's. The most beautiful thing in Florence is McDonald's. Peking and Moscow don't have anything beautiful yet.

The nations which have put mankind and posterity most in their debt have been small states Israel, Athens, Florence, Elizabethan England.

To be in Florence is to reflect on Europe's intricate diversity - and its lost creativity.

I was like, I can't believe I get to be in a scene with Meryl Streep [in Florence Foster Jenkins]! And then I was like, but why do I have to play Chopin? It's already going to be intimidating.

I had a crush Florence Henderson when I was younger, i would love to meet Marcia but I would prefer mom.

Among the people, it was believed, as late as the present century, that spirits were imprisoned in statues. The statue of Neptune by Ammanati in the fountain of the Piazza della Signoria is called 'Il Biancone' or 'The Great White Man' by the poor people, who used to say that he was the mighty river god of the Arno tuned into statue because, like Michelangelo, he spurned the love of women. When the full moon shines on him, so the story goes, he comes to life and walks about the Piazza conversing with the other statues. Michelangelo's 'David', before it became a statue, used to be known as 'The Giant'. It was a great block of marble eighteen feet high that had been spoiled by Agostino di Duccio; personified by popular fancy, it lay for forty years in the workshops of the Cathedral, until Michelangelo made the Giant-Killer, that is, into a patriotic image of a small country defeating its larger foes. Giants, it was related, had built the great Etruscan stone wall of Fiesole, and many stories were told in Florence of beautiful maidens being turned into pure white marble statues.

And then I understood: only then, sipping nettle soup, tasting the green shoots, the force of life itself that had pushed the young nettles up through paving stones, cobbles, packed mud. Ugolino had flavored his dishes with this. With everything: our food. The steam that drifted, invisible, through the streets. The recipes, written in books or whispered on deathbeds. The pots people stirred every day of their lives: tripe, ribollita, peposo, spezzatino, bollito. Making circles with a spoon, painting suns and moons and stars in broth, in battuta. Writing, even those who don't know their letters, a lifelong song of love. Tessina dipped her spoon, sipped, dipped again. I would never taste what she was tasting: the alchemy of the soil, the ants which had wandered across the leaves as they pushed up towards the sun; salt and pepper, nettles; or just soup: good, ordinary soup. And I don't know what she was tasting now, as the great dome of the cathedral turns a deeper red, as she takes the peach from my hand and steals a bite. Does she taste the same sweetness I do? The vinegar pinpricks of wasps' feet, the amber, oozing in golden beads, fading into warm brown, as brown as Maestro Brunelleshi's tiles? I don't know now; I didn't then. But there was one thing we both tasted in that good, plain soup, though I would never have found it on my tongue, not as long as I lived. It had no flavor, but it was there: given by the slow dance of the spoon and the hand which held it. And it was love.

Carlina felt as if sudden sunshine had filled the kitchen... [Carlina's reaction to Stefano Garini]

...Carlina with her cat-like eyes who didn't fit into any category he knew. (Commissario Garini's difficulty with his prime suspect.)

Dante Alighieri wrote his first book in the prosimetrum genre – La Vita Nuova – in 14th century Florence. Since I’m compiling this collection – my first indie publication – in Florence, just blocks from Dante’s house, and since his book involves a lost love, and ‘A New Life,’ I thought it fitting to emulate this style in my own casual, intuitive fashion. My hope is that the juxtaposition of poems, journal entries, essays and prose will create a story; a memoir in anarchistic vignettes.

Ecce deus fortior me, qui veniens dominabitur michi.

Her thoughts went to Stefano Garini as if pulled by an elastic - whenever she didn't pay attention, they snapped back to him. [Carlina's attraction to Stefano]

He was an indecent man, I told myself - prayerfully - and then I prayed for him to become decent.

Hey what's the matter? Are you crying?" I shook my head, slowly opening my eyes and smiling at him again. "No, it's nothing." But it wasn't nothing. I didn't want to ruin the moment by explaining to him, but suddenly it was like I had a zoomed-out view of this moment and I never, ever (ever) wanted it to end. I had Nutella on my face and my first real love sprawled out next to me and any minute the stars were going to sink back into the sky in preparation for a new day, and for the first time in a long time, I couldn't wait for what the day would bring. And that was something.

Imagine a pair of woman’s lips,” Mogor whispered, “puckering for a kiss. That is the city of Florence, narrow at the edges, swelling at the center, with the Arno flowing through between, parting the two lips, the upper and the lower. The city is an enchantress. When it kisses you, you are lost, whether you be commoner or king.

I’m considering keeping the shutters open, even if people are spying on me at night from the apartment across the street. Especially if they are spying on me. It makes me feel less alone. I have a mental camaraderie with that imaginary person and their imaginary gaze. I find myself performing myself for them and exaggerating my facial expressions so they can see me more clearly, like actors project their voices on stage. I’m miming myself.

In America, Walt Disney opened an amusement park. And in Florence, someone was savaging the remnants of a Tuscan nobleman’s family.