Zitat des Tages über Florenz / Florence:
I do quite like sightseeing. I like churches, museums, galleries and all that stuff. I love the smell of a church in Italy or the smell of an old greasy spoon somewhere. I like markets and little funny shops in the backstreets of Florence.
The Italian Renaissance extends beyond food, of course. Just about every major Italian furniture designer now has a shop in Paris, and Le Bon Marche recently opened an outlet for Santa Maria Novella perfumes, elixirs and soaps from Florence on its ground floor.
Back in the day, I actually studied photography in Florence for a few months, and my photography teacher took away my digital camera and said, 'No, use this - it's analog and it's square.' It was a Holga camera, a very cheap $3 or $4 plastic camera. And that's what inspired 'Instagram'.
Cities are about juxtaposition. In Florence, classical buildings sit against medieval buildings. It's that contrast we like. In Bordeaux, we built law courts right next door to what is effectively a listed historic building, and that makes it exciting.
Florence is charming, cozy, beautiful, inspiring - it has so many great places to go to and so many unique things to see that you won't find anywhere else!
In Paris, you learn wit, in London you learn to crush your social rivals, and in Florence you learn poise.
In Florence, classical buildings sit against medieval buildings. It's that contrast we like.
To be in Florence is to reflect on Europe's intricate diversity - and its lost creativity.
Florence and art is something that is part of my life and is part of myself.
Jaipur, like Florence or Kyoto, other artisan-rich cities to which it roughly compares, has always been known for its craftsmanship.
This guy Simon Helberg, who's in 'Florence Foster Jenkins,' I might have been vaguely patronizing to him because he hadn't done films before. Gradually, you realize, not only is the guy a much bigger star than me, he's maybe the richest man I've ever met.
I was brought up in Florence, a beautiful medieval town whose rhythm is completely in antiquity.
Go out and find a copy of 'The Shrinking Of Treehorn' and its sequel, 'Treehorn's Treasure.' Written by Florence Parry Heide and illustrated by the great Edward Gorey, master of the gothic and the macabre, these books are small masterpieces.
I was journaling in Florence, and I was like, 'Oh, I have to come out of the closet. I have to break up with this guy' - he was my 'roommate.' So that was my awakening moment, when I stepped into my own skin while in a foreign country by myself and had a very stereotypical moment of revelation.
The very beginning of European aesthetics started from Florence. Everything here was beauty, money, and creativity, the power of the good money.
I made music with my friend, who we called Isabella Machine to which I was Florence Robot. When I was about an hour away from my first gig, I still didn't have a name, so I thought 'Okay, I'll be Florence Robot/Isa Machine', before realising that name was so long it'd drive me mad.
My mother sent me and my sisters to Italy every year for language school, so I spent a lot of my teenage years in Florence and Rome. After university I went to Harvard for a year, dropped out, and then went to Paris, where I ended up staying 10 years. It's different from being American: If you're British, you're expected to live at the far corners.
Originally, 'The Monster' started out as this indie, Florence And The Machine, tribal-y, almost Spanish-esque dance record.
My mom did not have money. She was a single mom, on and off in periods between marriages. My husband, however, grew up on a wonderful farm in Tuscany, in Florence, and his family was so entertaining in terms of growing their own food and using the fruit of their land. We have very, very different experiences.
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.