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Italy Quotes

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Italy Quotes

“.. Italian journalists (like members of the Italian parliament) are among the best paid in the world. ... By law, all journalists get not only the extra 13th month bonus in December, but a 14th month paycheck in June. When you start out, you nevertheless get 26 vacation days a year...plus five days of personal leave. After five years, your annual vacation days increase to 39 plus five days, and after 15 years to 35 days (plus five). Abs if you work for a lifetime, which means 35 years of social security contributions to INPG, you’ll end up with a pension that is pretty close to your final year’s salary.”

“But they {journalists} are still viewed as a rather privileged category. True, they no longer can ride buses free or go to the movies for free as was the case in Mussolini’s day. But they can still get into most museums or exhibitions without paying. If you’re a smooth operator you can get complimentary tickets for shows or the opera. Until recently, you could get a 30% discount on all domestic flights (now it’s 15%). And if you have trouble with any of your utilities,the utility company’s press office will be glad to give you a have in working things out. In addition, since many Italian journalists have a different sense of what constitutes a conflict of interest from what we do in the United States, they often accept any manner of gifts or paid vacations from companies they regularly cover.”

“We had never before been to Italy in May, and it is truly the most wonderful month. The Lucchese countryside is a riot of colour and scent. Every road, even the busy autostrada, is lined with brilliant red poppies, making the most mundane street look picturesque. The olive trees dotting the hills are covered with silvery green and the pale cream of new buds, while the grass is tall and soft, every patch threaded with wildflowers.”

“They spent the day with Lucia, who promised that the following day she would take them up to Scala, an even tinier, loftier town where her parents now lived. That evening, Mac took her to a restaurant called Il Flauto di Pan- Pan's Flute- perched at the Villa Cimbrone among the gardens and crumbling walls. It was probably the most beautiful restaurant she'd ever seen. The centuries-old villa was embellished with incredible gardens of fuchsia bougainvillea, lemon and cypress trees and flowering herbs that scented the air. Their veranda table had an impossibly gorgeous view of the sea.”

“What can you possibly say about Rome? That it's eternal? That all roads lead to it? That it wasn't built in a day? That when there you should do as the locals do? Please. For millennia, Rome has embodied and repelled every cliché, description, and act of comprehension or explanation applied to it. As a city, it has been built and destroyed and rebuilt by - and has celebrated and signified and outlasted - caesars and barbarians and popes and Fascists and prophets and artists and pilgrims and schemers and migrants and lovers and fools.”

“I must have been about four years old when Russia took hold of me with giant hands. That grip has never lessened. For me, the love of my heart, the fulfilment of the senses and the kingdom of the mind all met here. This book is the story of my obsession. In her essays, The Sentimental Traveller, Vernon Lee wrote of her emotion for Italy thus: ‘There are moments in all our lives, most often, alas! during childhood, when we possess the mystic gift of consecration, of steeping things in our soul’s essence, and making them thereby different from all others, for ever sovereign and sacred to us.’ So Italy became to her – so Russia to me.”

“I realise I have become something I never thought possible: patriotic and proud about being an adopted Italian. In more honest moments, I realise that I might never quite be able to leave the country. That longing to leave, and the inability to pull yourself away from the bel casino, the 'fine mess', has been written about for centuries. Using the usual prostitution metaphor, one of the country's most important patriots, Massimo D'Azeglio, wrote: 'I can't live outside Italy, which is strange because I continually get angry with Italian ineptitude, envies, ignorance and laziness. I'm like one of the people who falls in love with a prostitute.' That, in fact, is precisely the feeling of living here: it is infuriating and endlessly irritating, but in the end it is almost impossible to pull yourself away. It's not just that everything is troppo bello, 'too beautiful', or that food and conversation are so good. It's that life seems less exciting outside Italy, the emotions seem muted. Stendhal wrote that the feeling one gets from living in Italy is 'akin to that of being in love', and it's easy to understand what he meant. There's the same kind of enchantment and serenity, occasionally insecurity and sadness. And writing about the country's sharp pangs of jealousy and paranoia, Stendhal knew that they exist precisely because the country's 'joys are far more intense and more lasting'. You can't have one without the other.”

“In the upper echelons of the Church, the authoritarian and anti-liberal elements within fascism resonated with those – and they included Pius XI – who had come to see the turmoil and conflict that had convulsed the world in recent decades as symptoms of the deep moral malaise that had afflicted Western society since the time of the Enlightenment, with its corrosive doctrines of rights and popular sovereignty.”

“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.”

“We'll be in Parma, Bologna, Florence, Ravenna, and the hills of Chianti with our own 'Morning in America' chef, Casey Costello, who will cook in the kitchens with real Italians. We'll show you how true parmigiano-reggiano is made and see the fat pigs that give us Parma ham. You'll learn how to cook a Tuscan steak the size of a cow, make a real Bolognese sauce, pasta the Italian way"- she leaned forward and gave the camera a coquettish twinkle- "and what to do with a squiggling eel." Who could resist?”

“Newcomers to manuscripts sometimes ask what such books tell us about the societies that created them. At one level, these Gospel Books describe nothing, for they are not local chronicles but standard Latin translations of religious texts from far away. At the same time, this is itself extraordinarily revealing about Ireland. No one knows how literacy and Christianity had first reached the islands of Ireland, possibly through North Africa. This was clearly no primitive backwater but a civilization which could now read Latin, although never occupied by the Romans, and which was somehow familiar with the texts and artistic designs which have unambiguous parallels in the Coptic and Greek churches, such as carpet pages and Canon tables. Although the Book of Kells itself is as uniquely Irish as anything imaginable, it is a Mediterranean text and the pigments used in making it include orpiment, a yellow made from arsenic sulphide, exported from Italy, where it is found in volcanoes. There are clearly lines of trade and communication unknown to us.”

“But you don't come to Palermo to stay in minimalist hotels and eat avocado toast; you come to Palermo to be in Palermo, to drink espressos as dark and thick as crude oil, to eat tangles of toothsome spaghetti bathed in buttery sea urchins, to wander the streets at night, feeling perfectly charmed on one block, slightly concerned on the next. To get lost. After a few days, you learn to turn down one street because it smells like jasmine and honeysuckle in the morning; you learn to avoid another street because in the heat of the afternoon the air is thick with the suggestion of swordfish three days past its prime.”

“But the daily tasks and prayers of men, the ancient city tired from having lived too long, the ravaged marble and worn out bells, all those things oppressed by the weight of memories, all those perishable things were rendered humble in comparison with the tremendous blazing Alps that tore at the sky with their thousand unyielding spikes, a vast, solitary city that was waiting, perhaps, for a new race of Titans.”

“Le poison de Venise, c’est la féerie d’une architecture de songe dans la douceur d’une atmosphère de soie ; ce sont les trésors des siècles, amassés là par une race de marchands et de pirates, la magnificence de l’Orient et de l’ancienne Byzance miraculeusement alliée à la grâce de l’art italien, les mosaïques de Saint-Marc et le revêtement rosé du palais ducal ; le poison de Venise, c’est la solitude de tant de palais déserts, le rêve des lagunes, le rythme nostalgique des gondoles, le grandiose de tant de ruines ; dans des colorations de perles —perles roses à l’aurore et noires au crépuscule —, le charme de tristesse et de splendeur de tant de gloires irrémédiablement disparues ; et dans le plus lyrique décor dont se soit jamais enivré le monde, la morbide langueur d’une pourriture sublime.”

“Each time Vesuvius erupted, it covered its slopes with a deep layer of a remarkable natural fertilizer called potash, and as a result the mountain supported dozens of species of fruit and vegetables which grew nowhere else in all Italy, a culinary advantage which more than compensated for the area's occasional dangers. In the case of apricots, the varieties included the firm-fleshed Cafona, the juicy Palummella, the bittersweet Boccuccia liscia, the peachlike Pellecchiella and the spiky-skinned but incomparably succulent Spinosa.”

“A real garden is what I would call a parcel of land - any size, anywhere, with any plants or no plants - that is loved and nurtured. It's a personal place, probably enclosed in some way, and imbued with a person's spirit, a gardener's spirit. I'm sure many people think being a gardener sounds like a horrible job. I think it's one of the most rewarding occupations anyone could have – I mean to physically make gardens, not just sit down and design one (let's leave that to the designers), and not just take care of grass and plants (maintenance workers can do that). To dedicate your entire being and all the passion and time and knowledge you have to working with plants and shaping them into a living, personal artwork. That's what a real gardener does, and that's why “half-gardener” is already a compliment.”

“Time passes, and as the hot midday sun and cool mountain nights alternately bake and freeze the blackened landscape of Vesuvius, something remarkable happens. Gradually, the streams of cold lava are colonized by a lichen, stereocaulon vesuvianim. This lichen is so tiny that it is almost invisible to the naked eye, but as it grows, it turns the lava from black to silvery gray. Where the lichen has gone, other plants can follow- first mugwort, valerian, and Mediterranean scrub, but later ilex and birch trees, along with dozens of species of apricot. Meanwhile, the clinkers and ash that covered the landscape like so much grubby gray snow are slowly, inexorably, working their way into the fields and the vineyards, crumbling as they do so, adding their richness to the thick black soil, and an incomparable flavor to tomatoes, zucchini, eggplants, fruit and all the other produce which grows there.”

“Italian cuisine is the most famous and beloved cuisine in the world for a reason. Accessible, comforting, seemingly simple but endlessly delicious, it never disappoints, just as it seems to never change. It would be easy to give you, dear reader, a book filled with the al dente images of the Italy of your imagination. To pretend as if everything in this country is encased in amber. But Italian cuisine is not frozen in time. It's exposed to the same winds that blow food traditions in new directions every day. And now, more than at any time in recent or distant memory, those forces are stirring up change across the country that will forever alter the way Italy eats. That change starts here, in Rome, the capital of Italy, the cradle of Western civilization, a city that has been reinventing itself for three millennia- since, as legend has it, Romulus murdered his brother Remus and built the foundations of Rome atop the Palatine Hill. Here you'll find a legion of chefs and artisans working to redefine the pillars of Italian cuisine: pasta, pizza, espresso, gelato, the food that makes us non-Italians dream so ravenously of this country, that makes us wish we were Italians, and that stirs in the people of Italy no small amount of pride and pleasure.”

“The only point that everyone I spoke with in Rome agrees upon is that Armando al Pantheon is one of the city's last true trattorie. Given the location, Claudio and his family could have gone the way of the rest of the neighborhood a long time ago and mailed it in with a handful of fresh mozzarella and prosciutto. But he's chosen the opposite path, an unwavering dedication to the details- the extra steps that make the oxtail more succulent, the pasta more perfectly toothsome, the artichokes and favas and squash blossoms more poetic in their expression of the Roman seasons. "I experiment in my own small ways. I want to make something new, but I also want my guests to think of their mothers and grandmothers. I want them to taste their infancy, to taste their memories. Like that great scene in Ratatouille." I didn't grow up on amatriciana and offal, but when I eat them here, they taste like a memory I never knew I had. I keep coming back. For the cacio e pepe, which sings that salty-spicy duet with unrivaled clarity, thanks to the depth charge of toasted Malaysian peppercorns Claudio employs. For his coda alla vaccinara, as Roman as the Colosseum, a masterpiece of quinto quarto cookery: the oxtail cooked to the point of collapse, bathed in a tomato sauce with a gentle green undertow of celery, one of Rome's unsung heroes. For the vegetables: one day a crostini of stewed favas and pork cheek, the next a tumble of bitter puntarelle greens bound in a bracing anchovy vinaigrette. And always the artichokes. If Roman artichokes are drugs, Claudio's are pure poppy, a vegetable so deeply addictive that I find myself thinking about it at the most inappropriate times. Whether fried into a crisp, juicy flower or braised into tender, melting submission, it makes you wonder what the rest of the world is doing with their thistles.”