Venice Grand Canal Quotes

I imagined myself a bird, looking down on our city, the Grand Canal like a snake slithering through stone, the city on either side like two hands clasped in prayer

It's temples and palaces did seem Like fabrics of enchantment pil'd to heaven.

By day it is filled with boat traffic - water buses, delivery boats, gondolas - if something floats and it's in Venice, it moves along the Grand Canal. And by daylight it is one of the glories of the Earth. But at night, especially when the moon is full and the soft illumination reflects off the water and onto the palaces - I don't know how to describe it so I won't, but if you died and in your will you asked for your ashes to be spread gently on the Grand Canal at midnight with a full moon, everyone would know this about you - you loved and understood beauty.

In Venice, things not always as they first appear. I contemplate this observation from my post on the aft deck of one of Master Fumagalli’s gondolas, taking in the panorama of bridges, domes, bell towers, and quaysides of my native city. I row into the neck of the Grand Canal, and, one by one, the reflection of each colorful façade appears, only to dissipate into wavering, shimmering shards under my oar.

Venice appeared to me as in a recurring dream, a place once visited and now fixed in memory like images on a photographer’s plates so that my return was akin to turning the leaves of a portfolio: a scene of the gondolas moored by the railway station; the Grand Canal in twilight; the Rialto bridge; the Piazza San Marco; the shimmering, rippling wonderland; the bustling water traffic; the fish market; the Lido beach and boardwalk; Teeny in the launch; the singing, gesturing gondoliers; the bourgeois tourists drinking coffee at Florian’s; the importunate beggars; the drowned girl’s ghost haunting the Bridge of Sighs; the pigeons, mosquitoes and fetor of decay.

I began to feel that the old Venice of song and story had departed forever. But I was too hasty. In a few minutes we swept gracefully out into the Grand Canal, and under the mellow moonlight the Venice of poetry and romance stood revealed.

Anyway, it will give me something to brew about. And there is still a Jerusalem story* to do, and that story about a husband and wife in Venice† that I told you I wanted to do, where the husband suddenly sees his wife passing in one of those vaporettos on the Grand Canal, and yet he knew he had seen her off to fly home to England that morning! I might get about six longish short stories, that would fit into a book, and be sold separately to Journal or Good Housekeeping, in America.

Aboard the gondola, Giacomo Foscarini sat facing Mathias. They were crossing the Canal Grande, then they would navigate around San Marco and return. Foscarini loved to travel around Venice this way. They stopped briefly at a mooring near the bridge to the Rialto, and Foscarini had a servant fetch green olives, fresh Piacenza cheese, a few sausages from Modena, and wine that had just been delivered from Crete. The nobleman often dined aboard his gondola, looking out over the city, watching his world. "Seen from this vantage point, Venice doesn't seem like it's in any of its terrible troubles at all magister," said Foscarini.

It was the perfection of a Venice evening, with silver waves lapsing and lulling under a rose and opal sky; and the sense that it was their last row on those enchanted waters made every moment seem doubly precious. I cannot tell you exactly what it was that Ned Worthington said to Katy during that row, or why it took so long to say it that they did not get in till after the sun was set, and the stars had come out to peep at their bright, glinting faces, reflected in the Grand Canal. In fact, no one can tell; for no one overheard, except Giacomo, the brown yellow-jacketed gondolier, and as he did not understand a word of English he could not repeat the conversation. Venetian boatmen, however, know pretty well what it means when a gentleman and lady, both young, find so much to say in low tones to each other under the gondola hood, and are so long about giving the order to return; and Giacomo, deeply sympathetic, rowed as softly and made himself as imperceptible as he could,—a display of tact which merited the big silver piece with which Lieutenant Worthington “crossed his palm” on landing.

Piazza San Marco might seem like the one place in Venice that is always busy, but I can tell you it’s not so. As it grows later, the crowds thin and the cafés empty; the tourists go back to their hotels, footsore after a day of walking the calli; the street hawkers disappear too, the music stops, the chairs and tables are packed away. That doesn’t stop you dancing, however, not if that’s the mood you’re in and your partner won’t admit to tiring. It wasn’t a warm night but our bodies had heat in them. We made our own music, like Coco and Silvio once had, dancing past the bell tower and beside the Doge’s Palace right to the banks of the Grand Canal. We stepped together until my feet felt bruised and my shoulders ached. We danced when everyone else was sleeping and there wasn’t a soul to see it. We continued until Angelo decided it was time to be still.

Venice was a woman, la bella donna, elegant in her age, sensual in her watery curves, mysterious in her shadows. The first sight of her, rising over the Grand Canal with her colors tattered and faded like old ballgowns, called to the blood. The light, a white, washing sun, would sweep over her and lose itself like a wanderer in her sinuous veins, her secret turns. Here

all” is what we don’t want to hear. We only want to hear some. What made his trip different from everybody else’s? What can he tell us that we don’t already know? We don’t want him to describe every ride at Disneyland, or tell us that the Grand Canyon is awesome, or that Venice has canals. If one of the rides at Disneyland got stuck, if somebody fell into the awesome Grand Canyon, that would be worth hearing about.

You are the visiting students from abroad,” he said. “I should like to invite you, my foreign visitors, to a small soirée at my house tonight to make you feel welcome in Venice. Eight o’clock. It’s the third floor, number 314, on the Fondamenta del Forner in San Polo, not far from the Frari. You know the Frari?” I didn’t. Neither did a couple of the others. “It’s the big church called Santa Maria Gloriosa—but to us it’s the Frari,” the professor said. “You will learn in Venice nobody calls anything by its real name. The vaporetti stop is San Toma. If you are coming from the other side of the Grand Canal, you can cross by the traghetto at San Toma. All right. Good. See you tonight.

During the golden age of the Most Serene Republic, the Doge used to perform an elaborate yearly ceremony, tossing a gold ring into the waters of the Grand Canal to solemnize the wedding of the city to the waters that gave it life, wealth, and power.

At least the two beds looked normal enough, with their crisp white sheets, and there was a desk and chair in the front window, which looked out on to the garden, with a sliver of a view of the Grand Canal beyond. I went over to the window, opened it and gazed out. The scent of jasmine rose to greet me.

In Venice, money changers had started storing gold for people in the fourteenth century—and lending that gold out to other people. The money changers sat on benches on a busy bridge over the Grand Canal, so they were called banchieri, which translates as “bench-sitters,” and which is the root of our words banker and bank.

They passed by the docks that ran along the back of the Palazzo Ducale, home to the Doge of Venice. A pair of flat-bottomed peàtas were tied up here, and coarse-looking men walked up and down gangplanks, unloading crates and barrels. Cass blushed at the language they were using. She rarely heard such foul words, but then she had never paid much attention to commoners before. Maybe everyone in the working class spoke crudely. Falco had practically invited her to spend the night with him. She remembered the way his eyes had worked their way over her whole body, like he could see straight through her clothing. She felt her face growing hotter and turned quickly away from Siena. Cass was going to throw herself into the Grand Canal if the girl inquired about her health one more time.

Among other things, he [Thomas] insist he will perish if he cannot take me to Venice and watch me fall into a canal.

Sorcery and Cecelia, Book 1 'Among other things, he [Thomas] insist he will perish if he cannot take me to Venice and watch me fall into a canal.' The Grand Tour ( Book 2; after Kate falls into a canal): When he was sure I was unharmed, Thomas indulged in a bit of scolding.'' I've seen you fall in the duck pond at St.James Park. I've done all mortal man can do to keep you from falling in the English Channel, I bring you all the way to Venice and this is how you thank me? You fall into a canal behind my back? Kate, you are a monster of inconsideration.

It’s like San Francisco,” Paige breathes at our incredible first view of Venice. Which breaks the spell for a moment. We wrench our eyes away from the Grand Canal and turn to gawk at her instead. “San Francisco?” I ask. “Really?” I mean, I haven’t been to San Francisco, but I’ve seen it in lots of films. Amazingly steep streets, cable cars, Alcatraz Island out in the bay, a huge red bridge they call Golden for some reason. Does she mean Venice is like San Francisco because of the bridge? “Never a dull moment with Paige,” I mutter to Kelly as an aside.

In 1997, the Brooklyn Museum staged an exhibition, Monet and the Mediterranean, which included seventy-one paintings Claude Monet created during trips to the French and Italian Rivieras (in 1884 and 1888) and to Venice (in 1908).7 Instead of single, signature works, the exhibition showcased how Monet experimented, changing one variable at a time. For instance, for his Grand Canal series, Monet painted the same church from the same location but at different times of day to study changes in lighting. He also painted the Doge’s Palace for another series, showing the same building from different perspectives. Monet used this method of painting the same subject with small variations to perfect his technique.8 This illustrates the aspect of incrementalization in Layer 1, isolating and iterating the novel parts of the problem from what is considered already developed, tested, and validated