Botticelli Quotes

After all, what can a first impression tell us about someone we’ve just met for a minute in the lobby of a hotel? For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour.

The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, 'let's get on to the Botticellis as soon as possible.' I have lingered, of course.

Well, for that matter, I was also a good friend of Leonardo da Vinci, Botticelli, Francis Bacon, Albert Einstein, and John, Paul, George, and Ringo." He pauses, seeing the blank look on my face and groaning when he says, "Christ, Ever, the Beatles!" He shakes his head and laughs. "God, you make me feel old.

First of all, let's get one thing straight. Your Italy and our Italia are not the same thing. Italy is a soft drug peddled in predictable packages, such as hills in the sunset, olive groves, lemon trees, white wine, and raven-haired girls. Italia, on the other hand, is a maze. It's alluring, but complicated. It's the kind of place that can have you fuming and then purring in the space of a hundred meters, or in the course of ten minutes. Italy is the only workshop in the world that can turn out both Botticellis and Berlusconis.

If Botticelli were alive today he'd be working for Vogue.

Love is when you like someone so much you have to call it something else.

She was all in pink, and a wreath of little pink wild roses lay close about her head, making her, with her tall young slimness, look like a Botticelli nymph.

A world of words where the black characters printed on the parchment he held meant more to this monk than the people or places around him.

You can't live on nothing." "I can live on sunlight falling across little bridges. I can live on the Botticelli-blue cornflower pattern on the out-billowing garments of the attendant to Aphrodite and the pattern of strawberry blossoms and the little daisies in the robe of Primavera. I can live on the doves flying (he says) in cohorts from the underside of the faded gilt of the balcony of Saint Mark's cathedral and the long corridors of the Pitti Palace. I can gorge myself on Rome and the naked Bacchus and the face like a blasted lightning-blasted white birch that is some sort of Fury.

You see, you have feelings. You can appreciate the inner me. Like right now I feel a closeness between us that Ive never felt with anyone before … anyone. Yeah, I know what you mean. Thats how I feel. I don’t know if I can put it into words, but— Thats just it, it doesnt need words. Thats the whole point. Like whats the use of all those words when the feelings arent behind them. Theyre just words. Like I can look at a painting and tell it, youre beautiful. What does it mean to the painting? But Im not a painting. Im not two dimensional. Im a person. Even a Botticelli doesnt breathe and have feelings. Its beautiful, but its still a painting. No matter how beautiful the outside may be, the inside still has feelings and needs that just words dont fulfill.

She wanted to be someone’s muse—to be worshipped and adored, body and soul. She wanted to play Beatrice to a dashing and noble Dante and to inhabit Paradise with him forever. And to live a life that would rival the beauty of Botticelli’s illustrations.

She is the goddess in the Botticelli clam shell, her eyes are the waterlilies in Monet’s pond, she is the hand of God reaching down to mankind. Klimt’s kiss is a portrait of us and I’m gonna steal it. Take it, make it mine, make her mine too.

When the Devil was a woman, When Lilith wound Her ebony hair in heavy braids, And framed Her pale features all 'round With Botticelli's tangled thoughts, When she, smiling softly, Ringed all her slim fingers In golden bands with brilliant stones, When she leafed through Villiers And loved Huysmans, When she fathomed Maeterlinck's silence And bathed her Soul In Gabriel d'Annunzio's colors, She even laughed And as she laughed, The little princess of serpents sprang Out of her mouth. Then the most beautiful of she-devils Sought after the serpent, She seized the Queen of Serpents With her ringed finger, So that she wound and hissed Hissed, hissed And spit venom. In a heavy copper vase; Damp earth, Black damp earth She scattered upon it. Lightly her great hands caressed This heavy copper vase All around, Her pale lips lightly sang Her ancient curse. Like a children's rhyme her curses chimed, Soft and languid Languid as the kisses, That the damp earth drank From her mouth, But life arose in the vase, And tempted by her languid kisses, And tempted by those sweet tones, From the black earth slowly there crept, Orchids - When the most beloved Adorns her pale features before the mirror All 'round with Botticelli's adders, There creep sideways from the copper vase, Orchids- Devil's blossoms which the ancient earth, Wed by Lilith's curse To serpent's venom, has borne to the light Orchids- The Devil's blossoms- "The Diary Of An Orange Tree

In other words, Botticelli's ideal women look like women and not boys. They're soft and curvaceous. Healthy and rounded. Women of the size figured in this painting were considered beautiful for centuries, if not millennia. They were the aesthetic ideal during my lifetime and long after." He brought his mouth to her neck before whispering, "My ideal hasn't changed.

Quería ser la musa de alguien. Quería ser venerada y adorada en cuerpo y alma. Quería ser la Beatriz de un Dante apuesto y noble y habitar con él para siempre en el Paraíso. Quería vivir una vida que rivalizara con la belleza de las ilustraciones de Botticelli.

Julia no quería que la follaran como a un animal. Quería ser amada. Ése era el tipo de sentimiento que deseaba desesperadamente, aunque en el fondo no se creía merecedora de él. Quería ser la musa de alguien. Quería ser venerada y adorada en cuerpo y alma. Quería ser la Beatriz de un Dante apuesto y noble y habitar con él para siempre en el Paraíso. Quería vivir una vida que rivalizara con la belleza de las ilustraciones de Botticelli.

Venus Transiens" Tell me, Was Venus more beautiful Than you are, When she topped The crinkled waves, Drifting shoreward On her plaited shell? Was Botticelli’s vision Fairer than mine; And were the painted rosebuds He tossed his lady Of better worth Than the words I blow about you To cover your too great loveliness As with a gauze Of misted silver? For me, You stand poised In the blue and buoyant air, Cinctured by bright winds, Treading the sunlight. And the waves which precede you Ripple and stir The sands at my feet. Amy Lowell, Imagist Poetry: An Anthology. Ed. Bob Blaisdell (Dover Publications; Later Printing edition, March 17, 2011)

We will have no generalizations. Mr. Bernard Shaw has put the view in a perfect epigram: "The golden rule is that there is no golden rule." We are more and more to discuss details in art, politics, literature. A man's opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters — except everything.

Botticelli angel. “You are as beautiful as all the stars,” he told her, “but better, because you have coffee.

Her worst advice: Think Botticelli. Be like Venus rising on a half shell, lips demurely closed, even her nakedness modest.

Over a quarter of a century ago she and Vernon had made a household for almost a year, in a tiny rooftop flat on the rue de Seine. There were always damp towels on the floor then, and cataracts of her underwear tumbling from drawers she never closed, a big ironing board that was never folded away, and in the one overfilled wardrobe dresses , crushed and shouldering sideways like commuters on the metro. Magazines, makeup, bank statements, bead necklaces, flowers, knickers, ashtrays, invitations, tampons, LPs, airplane tickets, high heeled shoes- not a single surface was left uncovered by something of Molly's, so that when Vernon was meant to be working at home, he took to writing in a cafe along the street. And yet each morning she arose fresh from the shell of this girly squalor, like a Botticelli Venus, to present herself, not naked, of course, but sleekly groomed, at the offices of Paris Vogue.

I took a moment to drink him in. His hair sticking in twenty-one directions since he’d yanked off his beanie. His Botticelli face. “I am entirely too old for you, Hayes.” “I don’t think you truly believe that. I mean, do you like me? Do you not have fun when we’re together? Do you feel like I have a problem following the conversation?” “No.” “Then I don’t think you really believe that. If you did, you wouldn’t be here. I think you care what other people might be thinking, or saying, and that’s what’s fucking you up.” I paused. “How do you not care?

It was worse than murder. It was twisted, wretched perversion, as though someone had bludgeoned another person to death with a Botticelli, turned something of beauty to an act of utter destruction.

. Even Proust—there’s a famous passage where Odette opens the door with a cold, she’s sulky, her hair is loose and undone, her skin is patchy, and Swann, who has never cared about her until that moment, falls in love with her because she looks like a Botticelli girl from a slightly damaged fresco. Which Proust himself only knew from a reproduction. He never saw the original, in the Sistine Chapel. But even so—the whole novel is in some ways about that moment. And the damage is part of the attraction, the painting’s blotchy cheeks. Even through a copy Proust was able to re-dream that image, re-shape reality with it, pull something all his own from it into the world. Because—the line of beauty is the line of beauty. It doesn’t matter if it’s been through the Xerox machine a hundred times.

¿No entiendes la comparación? Tú eres mi agua Perrier. —Se dejó caer un poco más sobre ella—. Hacer el amor contigo es lo único que sacia mi sed. ¿Por qué iba a cambiarlo por toda el agua del mar? —Gabriel le presionó las caderas con las suyas—. Ella no puede ofrecerme nada que me interese. —Bajó la cara hasta que sus narices se rozaron—. Y tú eres preciosa. Cada parte de tu cuerpo es una obra de arte, desde la cabeza hasta los dedos de los pies. Eres la Venus y la Beatriz de Botticelli. ¿Tienes idea de lo mucho que te adoro? Te adueñaste de mi corazón la primera vez que te vi, a los diecisiete años.

My memories, with images by Botticelli and harmonies by Mozart, of returning from a far away place, of the time when my tears were acts of worshiping the sun… All these melancholies awaken my angelic places of the past, solitary and silent scenery, the scenery of grand recollections and grand forgetfulness; all my melancholies bring my distances closer to one another; they ravish deeply all the springs of my childhood and bring to light the uncertainty of some distant memory or a regret about a world whose tears are like mirrors of the soul. Melancholic confessions: they are the only proof of the lost paradise.

It appears that Venus has Beatrice’s face. Once again, I’m not interested in a historical analysis of the models for the painting. I’m simply asking you to note the visible similarities between the figures. They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces — one of sacrificial love or agape, and one of sexual love or eros.

The ghosts of Michelangelo and Leonardo and Botticelli and all the rest hang in the air, like San Francisco fog. You'd think it would have burned off by now, five hundred years later, but it hasn't. The half-life of true genius is inexhaustible.

It was with an unusual intensity of pleasure, a pleasure destined to have a lasting effect on him, that Swann remarked Odette's resemblance to the Zipporah of that Alessandro de Mariano to whom more people willingly give his popular surname, Botticelli, now that it suggests not so much the actual work of the Master as that false and banal conception of it which has of late obtained common currency.

Thus, we have the icons of agape, eros, philia, and storge all represented by a single face, a single woman—Simonetta. To put this another way, one could argue that Botticelli sees in his beloved muse all four types of love and all four ideals of womanhood: saint, lover, friend, and spouse.

Las tristezas se olvidan con Botticelli, los miedos se atenúan con Rembrandt y las penas se reducen con Chagall.

Botticelli’s Primavera at the Accademia. Forster sipped his drink and said, The painter Roger Fry liked to lick the dirt off that painting whenever the custodian wasn’t looking.

And his mother, especially as Botticelli had painted her and Auge carved her, seemed like a perfectly nice goddess.

Where shall we honeymoon? Will you take me to Italy, to see the Botticellis?” “I will take you anywhere you wish. Anywhere under the sky.

General theories are everywhere condemned; the doctrine of the Rights of Man is dismissed with the doctrine of the Fall of Man. Atheism itself is too theological for us to-day. Revolution itself is too much of a system; liberty itself is too much of a restraint. We will have no generalizations. Mr. Bernard Shaw has put the view in a perfect epigram: 'The golden rule is that there is no golden rule.' We are more and more to discuss details in art, politics, literature. A man's opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters--except everything.

Glancing round to see that no one was watching, I sniffed at it. The leather binding, soft and supple, was pungent, but it was the pages that interested me. They smelt nourishing, like new-baked bread

Botticelli’s muse is a saint, a lover, and a friend, not a cardboard cut-out of a woman or an adolescent fantasy. She is real, she is complicated, and she is endlessly fascinating. A woman to worship.

We come up against beauty here — for the first time in our enquiry: beauty at which a novelist should never aim though he fails if he does not achieve it. I will conduct beauty to her proper place later on. Meanwhile please accept her as part of a completed plot. She looks a little surprised at being there, but beauty ought to look a little surprised: it is the emotion that best suits her face, as Botticelli knew when he painted her risen from the waves, between the winds and the flowers. The beauty who does not look surprised, who accepts her position as her due—she reminds us too much of a prima donna.

The whole scene, the empty beach, the green and blue sea, the naked girl with the strands of fair hair, reminded Bond of something. He searched his mind. Yes, she was Botticelli’s Venus, seen from behind.

Well, my dear fellow, if you say so. But who is the Botticelli murderer?’ ‘I don’t know.’ ‘But you must know by now, my dear fellow,’ said the Major plaintively. ‘We’re practically at the end of the book.’ All

Inferno. In addition to Botticelli’s celebrated Map of Hell, there was Rodin’s timeless sculpture of The Three Shades from The Gates of Hell … Stradanus’s illustration of Phlegyas paddling through submerged bodies on

Or she would look at him with a sullen expression, once again he would see before him a face worthy of figuring in Botticelli's Life of Moses, he would place her in it, he would give her neck the necessary inclination; and when he had well and truly painted her in distemper, in the fifteenth century, on the wall of the Sistine Chapel, the idea that she had nevertheless remained here, by the piano, in the present moment, ready to be kissed and possessed, the idea of her materiality and her life would intoxicate him with such force that, his eyes distracted, his jaw tensed as though to devour her, he would swoop down upon that Botticelli virgin and begin pinching her cheeks.

They represent two muses, two ideal types, one theological and one secular. Beatrice is the lover of the soul; Venus is the lover of the body. Botticelli’s La Bella has both faces—one of sacrificial love or agape, and one of sexual love or eros.

have seen the heart Move like a doe through the woods, move Like a stunned doe, deeper and deeper, Through trees that turn and close behind her, The way water closes over a dropped stone, Or a torn limb, or a lasting wound … from “Botticelli’s St. Sebastian

In the course of my life I have had pre-pubescent ballerinas; emaciated duchesses, dolorous and forever tired, melomaniac and morphine-sodden; bankers' wives with eyes hollower than those of suburban streetwalkers; music-hall chorus girls who tip creosote into their Roederer when getting drunk... I have even had the awkward androgynes, the unsexed dishes of the day of the *tables d'hote* of Montmartre. Like any vulgar follower of fashion, like any member of the herd, I have made love to bony and improbably slender little girls, frightened and macabre, spiced with carbolic and peppered with chlorotic make-up. Like an imbecile, I have believed in the mouths of prey and sacrificial victims. Like a simpleton, I have believed in the large lewd eyes of a ragged heap of sickly little creatures: alcoholic and cynical shop girls and whores. The profundity of their eyes and the mystery of their mouths... the jewellers of some and the manicurists of others furnish them with *eaux de toilette*, with soaps and rouges. And Fanny the etheromaniac, rising every morning for a measured dose of cola and coca, does not put ether only on her handkerchief. It is all fakery and self-advertisement - *truquage and battage*, as their vile argot has it. Their phosphorescent rottenness, their emaciated fervour, their Lesbian blight, their shop-sign vices set up to arouse their clients, to excite the perversity of young and old men alike in the sickness of perverse tastes! All of it can sparkle and catch fire only at the hour when the gas is lit in the corridors of the music-halls and the crude nickel-plated decor of the bars. Beneath the cerise three-ply collars of the night-prowlers, as beneath the bulging silks of the cyclist, the whole seductive display of passionate pallor, of knowing depravity, of exhausted and sensual anaemia - all the charm of spicy flowers celebrated in the writings of Paul Bourget and Maurice Barres - is nothing but a role carefully learned and rehearsed a hundred times over. It is a chapter of the MANCHON DE FRANCINE read over and over again, swotted up and acted out by ingenious barnstormers, fully conscious of the squalid salacity of the male of the species, and knowledgeable in the means of starting up the broken-down engines of their customers. To think that I also have loved these maleficent and sick little beasts, these fake Primaveras, these discounted Jocondes, the whole hundred-franc stock-in-trade of Leonardos and Botticellis from the workshops of painters and the drinking-dens of aesthetes, these flowers mounted on a brass thread in Montparnasse and Levallois-Perret! And the odious and tiresome travesty - the corsetted torso slapped on top of heron's legs, painful to behold, the ugly features primed by boulevard boxes, the fake Dresden of Nina Grandiere retouched from a medicine bottle, complaining and spectral at the same time - of Mademoiselle Guilbert and her long black gloves!... Have I now had enough of the horror of this nightmare! How have I been able to tolerate it for so long? The fact is that I was then ignorant even of the nature of my sickness. It was latent in me, like a fire smouldering beneath the ashes. I have cherished it since... perhaps since early childhood, for it must always have been in me, although I did not know it!

A man’s opinion on tramcars matters; his opinion on Botticelli matters; his opinion on all things does not matter. He may turn over and explore a million objects, but he must not find that strange object, the universe; for if he does he will have a religion, and be lost. Everything matters—except everything.

...he used to speak of how with very great paintings it's possible to know them deeply, inhabit them almost, even through copies. Even Proust -- there's a famous passage where Odette opens the door with a cold, she's sulky, her hair is loose and undone, her skin is patchy, and Swann, who has never cared about her until that moment, falls in love with her because she looks like a Botticelli girl from a slightly damaged fresco. Which Proust himself only knew from a reproduction. He never saw the original, in the Sistine Chapel. But even so -- the whole novel is in some ways about that moment. And the damage is part of the attraction, the painting's blotchy cheeks. Even through a copy Proust was able to re-dream the image, re-shape reality with it, pull something all his own from it into the world. Because -- the line of beauty is the line of beauty. It doesn't matter if it's been through the Xerox machine a hundred times.

It’s important to keep in mind that art and literature belong to the last generation and to future generations as much they do to ours. We have no more right to edit or expurgate the classics to suit our tastes than the Victorians would have had to invade the Uffizi Gallery and paint a frock over Botticelli’s Venus.

Die young, stay pretty. Blondie, right? We think of it as a modern phenomenon, the whole youth thing, but really, consider all those great portraits, some of them centuries old. Those goddesses of Botticelli and Rubens, Goya's Maja, Madame X. Consider Manet's Olympia, which shocked at the time, he having painted his mistress with the same voluptuous adulation generally reserved for the aristocratic good girls who posed for depictions of goddesses. Hardly anyone knows anymore, and no one cares, that Olympia was Manet's whore; although there's every reason to imagine that, in life, she was foolish and vulgar and not entirely hygienic (Paris in the 1860s being what it was). She's immortal now, she's a great historic beauty, having been scrubbed clean by the attention of a great artist. And okay, we can't help but notice that Manet did not choose to paint her twenty years later, when time had started doing its work. The world has always worshipped nascence. Goddamn the world.

I’ve had so many influences and sources of inspiration as an illustrator that it is impossible to name just one. I loved Aubrey Beardsley when I was a student, and then Edmund Dulac and other Golden Age illustrators made a big impact, as well as Victorian painters like Richard Dadd and Edward Burne-Jones. My long-term heroes though are Albretch Durer, Brueghel, Hieronymous Bosch, Jan Van Eyck, Leonardo, Botticelli, Rembrandt, Turner and Degas. What most of them have in common is brilliant draughtsmanship and a strong linear or graphic quality. Most are also printmakers. The one I keep going back to and who fascinates me the most is JMW Turner, the greatest watercolourist.

while D, suddenly interested in our progress, produced for our enlightenment some forty small books on the Old Masters fully illustrated, and to test our knowledge would open them at random, thrusting a reproduction of a Virgin and Child before us and saying, ‘Who by?’ He was delighted when we got the answer right—Botticelli—Murillo—Perugino—Fra Angelico—and, what was more, quoted the city of origin!

Comprendía el poder cicatrizador de la belleza. Frente a un cuadro no somos juzgados, el intercambio es puro, la obra parece entender nuestro dolor y nos consuela a través del silencio, permanece en una eternidad fija y tranquilizadora, su único objetivo es colmarnos mediante las ondas de lo bello. Las tristezas se olvidan con Botticelli, los miedos se atenúan con Rembrandt y las penas se reducen con Chagall.

The terms that Sforza Cesarini offered Rossini, 400 Roman Scudi, were not ungenerous, though it must have been galling for Rossini to see the Figaro, Luigi Zamboni, getting almost twice as much, and the Almaviva, Manuel Garcia, being offered three times the amount. Of the first-night cast, only the 'altro buffo', Bartolomeo Botticelli, who played Bartolo, and the 'seconda donna', Elisabetta Lowselet, who played Berta, were paid less than the composer.

For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour.

His thoughts became as scattered and aimless as the rivulets sluicing down her lush curves. She was a goddess rising from the water. Like Botticelli's Birth of Venus, except with heavy silvery hair darkened by her bath that, unlike Venus, she didn't use to hide her feminine secrets. She stood with her chin held at an obstinate angle, her shoulders straight in an observance of good posture, those soft gray eyes staring at him with a mixture of resolution and expectation.

They had crossed the terrace where weeds, ivy, and goldenrod had run amuck in the flowerbeds that lined the weather-beaten stone balustrade. Mounds of blue hydrangeas nearly as tall as Lucien crowded the three mossy steps that led down into the formal garden. He went down them, and Alice followed him toward the circular fountain. As they approached, two doves that had perched on the stately stone fountain urn fluttered away, cooing. Alice stopped beside the fountain pool and gazed down with a faraway expression at the lily pads, driven with dreamlike slowness over the surface of the shallow water like tiny sailing vessels. She studied the scene as though memorizing it, while Lucien gazed at her, watching the wind toy with her clothes and the tendrils of her hair that it had worked free from her neat coif. Her waving red-gold hair, blue eyes, and ivory skin, and the chaste, faraway serenity of her face, put him in mind of Botticelli's Venus, rising from the sea upon her scallop shell.

At the Uffizi, I experienced a moment that was touching, painful, and almost embarrassing. We stopped in front of the famous Botticelli painting, The Birth of Venus. I gazed wistfully at her incomparably lovely, yet, as Vasari described, oddly distorted form emerging from the waves in a seashell, her long red-golden tresses blown by Zephyrs. No woman ever had so elongated a neck or such sinuous limbs. Botticelli contorted, and some might say deformed, the human shape to give us a glimpse of the sublime.

His intended probably wouldn't appreciate the comparison, but Thorn had the notion that she was like a rescued hound, one that would adoringly follow her new master in return for some kindness. That was absurd, given that she was as beautiful as a wild rose, with hair like a Botticelli angel. By all rights, she should be arrogantly aware of her dominion over men. But instead she had a desperate look about her eyes, as if she needed saving. It was a fair trade, in his estimation. Her beauty in return for his protection.

The ascent of the soul through love, which Plato describes in the Phaedrus, is symbolized in the figure of Aphrodite Urania, and this was the Venus painted by Botticelli, who was incidentally an ardent Platonist, and member of the Platonist circle around Pico della Mirandola. Botticelli’s Venus is not erotic: she is a vision of heavenly beauty, a visitation from other and higher spheres, and a call to transcendence. Indeed, she is self-evidently both the ancestor and the descendant of the Virgins of Fra Filippo Lippi: the ancestor in her pre-Christian meaning, the descendant in absorbing all that had been achieved through the artistic representation of the Virgin Mary as the symbol of untainted flesh. The post-Renaissance rehabilitation of sexual desire laid the foundations for a genuinely erotic art, an art that would display the human being as both subject and object of desire, but also as a free individual whose desire is a favour consciously bestowed. But this rehabilitation of sex leads us to raise what has become one of the most important questions confronting art and the criticism of art in our time: that of the difference, if there is one, between erotic art and pornography. Art can be erotic and also beautiful, like a Titian Venus. But it cannot be beautiful and also pornographic—so we believe, at least. And it is important to see why. In distinguishing the erotic and the pornographic we are really distinguishing two kinds of interest: interest in the embodied person and interest in the body—and, in the sense that I intend, these interests are incompatible. (See the discussion in Chapter 2.) Normal desire is an inter-personal emotion. Its aim is a free and mutual surrender, which is also a uniting of two individuals, of you and me—through our bodies, certainly, but not merely as our bodies. Normal desire is a person to person response, one that seeks the selfhood that it gives. Objects can be substituted for each other, subjects not. Subjects, as Kant persuasively argued, are free individuals; their non-substitutability belongs to what they essentially are. Pornography, like slavery, is a denial of the human subject, a way of negating the moral demand that free beings must treat each other as ends in themselves.

Quasi sempre tendiamo a guardare il Rinascimento dal punto di vista degli artisti, eppure, se ci sforziamo di pensarci committenti, ci accorgiamo che il rapporto tra i Medici e Botticelli è molto simile a quello che abbiamo oggi con un muratore a cui chiediamo di ristrutturare un appartamento: ci affidiamo a lui per il lavoro, ma le piastrelle pretendiamo di sceglierle noi. Botticelli è ritenuto un grande artista , ma nel XV secolo un artista è socialmente più simile a un muratore che a un intellettuale e l'arte è così importante per la politica che non si può lasciarla in mano ad un semplice pittore.

Afinal, o que uma primeira impressão pode nos dizer sobre alguém que acabamos de conhecer por um minuto no saguão de um hotel? Aliás, o que uma primeira impressão pode nos dizer sobre qualquer pessoa? Ora, nada mais do que um acorde pode nos dizer sobre Beethoven ou uma pincelada sobre Botticelli. Por sua própria natureza, os seres humanos são tão caprichosos, tão complexos, tão deliciosamente contraditórios, que merecem não só a nossa consideração, mas a nossa reconsideração, além de nossa firme determinação em refrear nossa opinião até que tenhamos nos envolvido com eles em todos os cenários possíveis, em cada hora possível.

And as she talked, the Count had to acknowledge once again the virtues of withholding judgment. After all, what can a first impression tell us about someone we’ve just met for a minute in the lobby of a hotel? For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour.

In Lisa’s lifetime, a galaxy of artistic stars—Michelangelo, Botticelli, Raphael, Perugino, Filippino Lippi—rivaled the heavens with their brilliance. None outshone the incandescent genius of Leonardo, who emerges from the fog of history as more of a cultural force than a mere human being. ... During Leonardo’s and Lisa’s lifetimes, largerthan-legend characters strutted across the Florentine stage: Lorenzo de’ Medici, whose magnificence rubbed off on everything he touched. The charismatic friar Savonarola, who inflamed souls before meeting his own fiery death. Ruthless Cesare Borgia, who hired Leonardo as his military engineer. Niccolò Machiavelli, who collaborated with the artist on an audacious scheme to change the course of the Arno River.

What is it, Raymond Gallant?” I asked. “How can you weep for me? Explain it to me.” “Marius,” he said. “I was taught in the Talamasca that you would be beautiful and you would speak with the tongue of an angel and a demon.” “Where is the demon, Raymond Gallant?” “Ah, you have me. I have not heard the demon. I have struggle to believe in it. But I have not heard it. You are right.” “Did you see the demon in paintings, Raymond Gallant?” “No, I did not, Marius.” “Tell me what you saw.” “Fearful skill and marvelous color,” he answered, not even hesitating a moment as though he’d thought it through. “Wondrous figures and great invention, which gave everyone utter delight.” “Ah, but am I better than the Florentine Botticelli?” I asked him. His face darkened. There came a small frown to him. “Let me answer for you,” I said. “I am not.

Have you…” “Have I what?” Gray prompted, promptly kicking himself for doing so. God only knew what she’d ask now. Or what damn fool thing he’d say in response. “Have you ever seen a Botticelli? Painting, I mean. A real one, in person?” The breath he’d been holding whooshed out of him. “Yes.” “Oh.” She bit her lip. “What was it like?” “I…” His hand gestured uselessly. “I haven’t words to describe it.” “Try.” Her eyes were too clear, too piercing. He swallowed and shifted his gaze to a damp lock of hair curling at her temple “Perfect. Luminous. So beautiful, your chest aches. And so smooth, like glass. Your fingers itch to touch it.” “But you can’t.” “No,” he said quietly, his gaze sliding back to meet hers. “It isn’t allowed.” “And you care what others will allow?” She took a step toward him, her fingers trailing along the grooved tabletop. “What if you were alone, and there was no one to see? Would you touch it then?” Gray shook his head and dropped his gaze to his hands. “It’s not…” He paused, picking over his words like fruits in an island market. Testing and discarding twice as many as he chose. “There’s a varnish, you see. Some sort of gloss. If I touched it with these rough hands, I’d mar it somehow. Make it a bit less beautiful. Couldn’t live with myself then.” “So-“ She leaned one hip against the table’s edge, making her whole body one sinuous, sweeping curve. Gray sucked in a lungful of heat. “It isn’t the rules that prevent you.” “Not really. No.” Silence again. Vast and echoing, like the long, marble-tiled galleries of the Uffizi.

What the devil was Davy doing up there with a marlinespike? That’s what I’d like to know. It’s a sailors duty.” She put her head in her hands. “I’m afraid that’s my fault, too. I’d been talking to him about moving up to the forecastle, and I…I think he wanted to impress me.” Gray choked on a laugh. “Well, of course he did. You ought to take care how you bat those eyelashes, sweetheart. One of these days, you’re likely to knock a man overboard.” The legs of her chair scraped the floor as she stood. The color returned to her cheeks. “If Davy was trying to impress me, it’s as much your fault as mine.” “How is that my fault?” Gray’s frustration came right back to a boil. He hated himself for growling at her, but he couldn’t seem to help it. “You’re the one who humiliated him in front of the crew, with all those questions. You goaded him into saying he…well, you know what he said.” “Yes, I know what he said.” Gray stepped toward her until only the table separated them. “I know what he said. And don’t pretend you didn’t enjoy it. Don’t pretend you don’t use those men to feed your vanity.” “My vanity? What would you know about feeding my vanity? You don’t so much as breathe in my direction. At least the sailors speak to me. And if that entire ‘Kind of the Sea’ display wasn’t one long exercise in feeding your own vanity, I’m sure I don’t know what is.” She jabbed one finger on the tabletop and lowered her voice. “Those men may flirt with me, but they worship you. You know it. You wanted to feel it. Bask in it. And you did so at Davy’s expense.” “At least I only teased the boy. I’m not the one poised to break his heart.” She blinked. “It’s only infatuation. He’s not really in love with me.” He pounded the table. “Of course the boy’s in love with you! They all are. You talk to them, you listen to their stories-even Wiggins’s prattling, God only knows why. You draw them little sketches, you make them paintings for Christmas. You remind them of everything they’ve left behind, everything they pray they’ll one day hold again. And you do it all looking like some sort of Botticelli goddess, surely the most beautiful thing they’ve ever laid eyes on. Damn it, how’s a man to keep from falling in love with you?” Silence. She stared at him. She blinked. Her lips parted, and she drew a quick breath. Say something, Gray silently pleaded. Anything. But she only stared at him. What the hell had he just said? Was it truly that bad? He frowned, reliving the past minute in his mind. Oh, God. Gray rubbed his face with one hand, then gave a sharp tug on his hair. It was that bad. Damn it to hell. If Joss were here, he’d have a good laugh at his expense.

Giovanni's behavior had changed dramatically since he had opened that crate. He felt haunted. [After meeting the portrait of Botticelli's Bastard]

If a viewer responds to Botticelli’s Venus with an erotic desire, as if she is a pinup, he is actually not appreciating her for her beauty. And if someone enjoys looking at a Gauguin painting of Tahiti while fantasizing about going on vacation there, then they no longer have an aesthetic relation to its beauty.

It makes your buttocks ache walking on flat ground all the time.

I've been strongly influenced, in technique as well as subject matter, by some of the early 20th-century book illustrators — Arthur Rackham and Edmund Dulac in particular, Burne-Jones and other Pre-Raphaelites, and the Arts-&-Crafts movement they engendered. I'm continually inspired by Rembrandt, Breughel (I've wondered whether his brilliant "Tower of Babel" had inspired Tolkien's description of Minas Tyrith), Hieronymous Bosch, Albrecht Durer, and Turner; it's not necessarily that they influence my work in any particular direction, more that their example raises my spirits, re-affirms my belief in the power of images to move and delight us, and shows me how much further I have to go, how much is possible. Having visited Venice and Florence for the first time, I am besotted with the Italian Renaissance artists — Botticelli, Bellini, da Vinci and others. Their work is calm, controlled, and yet each face and landscape contains such passion. In Botticelli's paintings, every pebble and every leaf is rendered with a religious devotion; there is reverence inherent in paying such close attention to every stone, turning painting itself into a form of worship, an act of prayer.

she hauled herself up from the streets, for she was once no more than a courtesan. She is reputed to rule her husband; they say that beneath her fine gowns hangs a prick and her balls clang together like a ring o' bells for the doge has none.

Ma vie piu lieta, piu ridente a belle/ ardisce aprire il seno al sol la rosa.... which express that the rose is more daring then the humble violet!

Amore è quando qualcuno ti piace talmente tanto che devi dargli un altro nome.

Peruginos, Bellinis, Titians, Georgiones, Simibaldos, Lottos, Pintoricchios, Solarios, Tifernates, Botticellis, Ghirlandaios, and all the Fras (Fra Bartolommeo, Fra Filippo Lippi, Fra Lippo Lippi, Fra Angelico).

Antigone," he told the dark-haired woman, "I'd like you to meet Flavia de Luce." I knew for a fact that she was going to say, "Oh, yes, my husband has mentioned you," and she would say it with that little smirk that tells you so much about the amused conversation that had followed. "I'm so pleased to meet you, Flavia," she said, putting out the most beautiful hand in the world and giving me a good solid shake, "and to find that you share my love of marionettes." If she'd told me to "fetch" I would have done it. "I love your name," I managed. "Do you? My father was Greek and my mother Italian. She was a ballet teacher and he was a fishmonger, so I grew up dancing in the streets of Billingsgate." With her dark hair and sea green eyes, she was the image of Botticelli's Flora, whose features adorned the back of a hand mirror at Buckshaw that Father had once given to Harriet.

After all, what can a first impression tell us about someone we’ve just met for a minute in the lobby of a hotel? For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour. Take

Ambrose!” he cried. “Paint Ambrose! For the lid of a chocolate box, I presume. Trivona is paintable, I admit (her bones are good, and the texture of her skin takes the light well). Trivona, I say, is paintable, but what use is that when she cannot pose for two consecutive minutes without fidgeting? Ambrose could pose for an hour but has the face of a Botticelli angel—My God!” said Mr. Marvell, violently, “I could paint Ambrose with my eyes shut. An art school would leap at Ambrose. Here am I, stuck in the depths of the country with no models to be had for love or money, and God afflicts me with Trivona and Ambrose.

Après tout, nos premières impressions, que nous apprennent-elles d'une personne aperçue une minute dans un hall d'hôtel? J'irais plus loin: nos premières impressions nous apprennent-elles quelque chose? Réponse: pas plus que ce qu'un accord nous apprend de Beethoven, ou un coup de pinceau de Botticelli. De par leur nature même, les êtres humains sont tellement capricieux, complexes et délicieusement contradictoires qu'ils méritent non seulement un examen de notre part, mais également un réexamen - ainsi que notre engagement ferme à réserver notre opinion tant que nous n'avons pas eu affaire à eux à des endroits et des moments aussi divers que possible.

(...) nova e luminosa, o sol batia-te por trás dos cabelos louros e tu eras mesmo a miúda de botticelli, uma Primavera transplantada da luz suave da Toscana para aquela luz dura da Argélia. Tudo, tudo, parecia ao teu alcance. Uma vida toda à tua espera, o mundo a teus pés, se o quisesses. Ou um deserto.

the Medicis, an Italian noble family that produced three popes and two queens of France. Cosimo the Elder was the first to rule Florence, while Lorenzo the Magnificent was a patron of the arts, with clients that included Michelangelo and Botticelli.

Botticelli’s St. Sebastian" I have seen a robin cock his head so, Listening for the change in weather, Feeling in the field’s pale grass turning paler The moment of his own departure. I have seen the bird throw his whole body In the air, and go, the small bird go. And the bared ground at once lose heart, As if taken by a sudden grippe. And I have seen blood wood, fire-grained As the stripped flesh, seen the long Boards of strong wood—when seen bound And bitten by the drill—spew up phases As curled and as extravagant as Sebastian’s gaze, The way the lover does at consummation, Lost to himself and the world, but still Safley shaded by the tree he rose from. I have seen, I have seen the lake’s heart When the rain comes through, when the water’s Dark flesh is driven, I have seen the heart Move like a doe through the woods, move Like a stunned doe, deeper and deeper, Through trees that turn and close behind her, The way water closes over a dropped stone, Or a torn limb, or a lasting wound … Oh, the forgotten traveler! Brigit Pegeen Kelly, Song. (BOA Editions; 1st edition 1995)

For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli.

En nuestro caso, no obstante, podemos decir que ya hemos decidido cuál será el recuerdo más claro de nuestra civilización. No será Rubens. Ni Rembrandt. Ni Rafael. Tampoco Shakespeare, Botticelli, Beethoven, Bach o los Beatles. Dejamos tras nosotros algo muy distinto. Cuando todas las manifestaciones de nuestra civilización hayan desaparecido, quedarán dos cosas: la nave espacial Voyager, en su eterno viaje por el espacio exterior, y los residuos nucleares en el corazón de la roca.

Botticelli sat

His breath halted as he stared at her. Why hadn't he seen it before? The woman in his carriage, the one who'd emerged from his carriage like a Botticelli Venus, was beautiful. Not in the way Cassandra had been beautiful, with glittering eyes and full, red lips. Cassandra's blond beauty might have faded in time, become handsomeness instead. This woman's beauty was simple; well-defined cheekbones, a high forehead, slender nose, and stubborn chin. As the years passed she might grow even more attractive. He suspected that her laugh would captivate, just as her tears would act like a razor to whomever brought them forth. Her smile had already charmed him, and now her silence incited his curiosity. Not about who she was and why she was here, but about more. Who was the woman behind the smile?

After all, what can a first impression tell us about someone we’ve just met for a minute in the lobby of a hotel? For that matter, what can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli. By

Ah, such complexity, such inexplicable combinations, such strange matter, and yet very human face so compelling, every hand so exquisitely wrought.

There’s a Florentine saying that if you don’t find the Mercata Nuova interesting, then you are dead.

Este culo serrano tuyo es el apocalipsis según Botticelli.

BOOKS RECOMMENDED BY KATHLEEN MCGOWAN The Brother of Jesus and the Lost Teachings of Christianity, Jeffrey J. Butz Excellent account of early Christianity and its factions. Rev. Jeff’s understanding of Greek translations was a revelation for me. A rare scholarly work that is entirely readable and entertaining. The Woman with the Alabaster Jar, Margaret Starbird A pioneering book in Magdalene research, Starbird was one of the first to assert the theory of Magdalene as bride. Mary Magdalen, Myth and Metaphor, Susan Haskins The definitive Magdalene reference book. Massacre at Montsegur, Zoé Oldenbourg Classic, scholarly account of the final days of the Cathars. The Perfect Heresy, by Stephen O’Shea A very readable book on Cathar history. Chasing the Heretics, Rion Klawinski A history-filled memoir of traveling through Cathar country. Key to the Sacred Pattern, Henry Lincoln Fascinating theories on the sacred geometry of Rennes-le-Château and the Languedoc by one of the authors of Holy Blood, Holy Grail. Relics of Repentance, James F. Forcucci Contains the letters of Claudia Procula, the wife of Pontius Pilate. The Church of Mary Magdalene, Jean Markale Poet and philosopher Jean Markale’s quest for the sacred feminine in Rennes-le-Château. The Gospel of Mary Magdalene and The Gospel of Philip, Jean-Yves Leloup Highly readable French scholarly analyses of important Gnostic material. Nostradamus and the Lost Templar Legacy, Rudy Cambier Professor Cambier explores the prophecies of the Expected One from another angle. Who Wrote the Gospels?, Randel McCraw Helms Fascinating theories from a noted scholar on the authorship of the Gospels. Jesus and the Lost Goddess, Timothy Freke and Peter Gandy Well-researched alternative theories, also provides excellent resource list. Botticelli, Frank Zollner The ultimate coffee table book, with gorgeous reproductions of the art and great analysis of Sandro’s life and career.

Tutto ciò che non usiamo della vita si perde e si spreca, compreso Botticelli. E non abbiate paura di divertirvi e sparigliare le carte.

He need not have worried. Huxley had a splendid trip, one that would change forever the culture’s understanding of these drugs when, the following year, he published his account of his experience in The Doors of Perception. “It was without question the most extraordinary and significant experience this side of the Beatific Vision,” Huxley wrote in a letter to his editor shortly after it happened. For Huxley, there was no question but that the drugs gave him access not to the mind of the madman but to a spiritual realm of ineffable beauty. The most mundane objects glowed with the light of a divinity he called “the Mind at Large.” Even “the folds of my gray flannel trousers were charged with ‘is-ness,’” he tells us, before dilating on the beauty of the draperies in Botticelli’s paintings and the “Allness and Infinity of folded cloth.” When he gazed upon a small vase of flowers, he saw “what Adam had seen on the morning of his creation—the miracle, moment by moment, of naked existence . . . flowers shining with their own inner light and all but quivering under the pressure of the significance with which they were charged.” “Words

The city of Florence lay sprawled out below us, a mass of both brownstone and red-tiled roofs nestled among the brilliant, vibrantly green, rolling Tuscan hills. Above it all rose the massive dome of Santa Maria del Fiore, Brunelleschi’s wonder, famous the world over. The cathedral rose above the city like a great sleeping dragon, watching over its domain even in its slumber.

We had heard of this modern wonder in Genoa, of course, but seeing it in person was an entirely different matter. The dome was egg-shaped, and had been finished with reddish tiles beneath the great white ribs of its supports. A cross sat at the very top, blessing those who beheld it from below as well as pointing upward into the heavens. As I gazed upon it, I marveled that so great a structure could stay upright without collapsing in on itself. It seemed a frightening thing, that lowly mankind had dared to build something that ascended so close to God.

With Ghirlandaio and Fillipino Luppi dead, and Botticelli in a permanent state of depression, Raphael found an affluent audience starved for works of the highest quality. Florentine mercantile society fell in love with his potrayals of the Madonna and Child and the Holy Family-and with him, personally, for his gentle character. The provincialism of his master Perugino had heretofore kept Raphael’s genius under wraps. Leonardo taught him the power of unified, lucid compositions based on geometry, particularly the triangle and the circle. During Michelangelo’s absence, Raphael’s company was sought by everyone, including Michelangelo’s valued friends Taddeo Taddei and Agnolo Doni. In fact, he was such a frequent guest at Taddei’s home, where he would have had plenty of opportunities to study Michelangelo’s tondo, that Raphael gave his patron two paintings as thanks for his many kindnesses, and painted the Madonna deil Cardellino as a wedding gift for his friend Lorenzo Nasi, Taddei’s cousin. In 1505, the Carrera year, Raphael painted the portraits of Doni and his wife, Maddalena. The out-of-towner whom Michelangelo had dismissed as a mere nuisance had grown up.

Your beauty is lingering, like the baroque golden-framed cracking oils of a Botticelli painting come to life, magnified by your flawless amiable ease, your unquestionable courtesy towards a stranger, that indescribable nuclear luminosity as if you were a woodland creature surrounding by a flashing kaleidoscope of monarch butterflies simply because they enjoyed your presence.

Mon dieu! — George Mallory! When that’s been written, what more need be said? My hand trembles, my heart palpitates, my whole being swoons away at the words — oh heavens! heavens! I found of course that he’d been absurdly maligned — he’s six foot high, with the body of an athlete by Praxiteles, and a face — ah, incredible — the mystery of Botticelli, the refinement and delicacy of a Chinese print, the youth and piquancy of an unimaginable English boy . . . . For the rest, he’s going to be a schoolmaster, and his intelligence is not remarkable. What’s the need?

What can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven or a brushstroke about a Botticelli? By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination, to withhold our opinion, until we have engaged with them in every possible setting at every possible hour.

What can a first impression tell us about anyone? Why, no more than a chord can tell us about Beethoven, or a brushstroke about Botticelli? By their very nature, human beings are so capricious, so complex, so delightfully contradictory, that they deserve not only our consideration, but our reconsideration—and our unwavering determination to withhold our opinion until we have engaged with them in every possible setting at every possible hour.

Al fin y al cabo, ¿qué puede revelarnos una primera impresión de alguien a quien sólo hemos visto un minuto en el vestíbulo de un hotel? Es más, ¿qué puede revelarnos una primera impresión de nadie? Pues no mucho más de lo que un acorde puede hacerlo de Beethoven, o una pincela de Botticelli. Por naturaleza, los seres humanos somos tan caprichosos, tan complejos, tan maravillosamente contradictorios, que merecen no sólo nuestra consideración, sino también nuestra reconsideración, y nuestra firme determinación de guardarnos nuestra opinión hasta habernos relacionado con ellos en todas las situaciones y a todas las horas posibles.