"Paolo" Quotes from Famous Books
 ... wanting near me,—something I searched for. Suddenly I became aware it was Aniela I was searching for. Of course, only her and always her. What could another life matter to me without her? I found her at last, and we roamed about together like the shadow of Paolo with the shadow of Francesca di Rimini. I write this down because I see in it an almost terrifying proof how far my whole being has been ...
— Without Dogma • Henryk Sienkiewicz
... claws still in its own possession;—it is discouraging, I say, to observe that the beginning of such more faithful and accurate observation in former art, is exactly coeval with the commencement of its decline. The feverish and ungraceful natural history of Paul, called, "of the birds," Paolo degli Uccelli, produced, indeed, no harmful result on the minds of his contemporaries, they watched in him, with only contemptuous admiration, the fantasy of zoological instinct which filled his house with painted dogs, cats, and birds, because he was too ...
— Love's Meinie - Three Lectures on Greek and English Birds • John Ruskin
... where carnal sinners are punished, Dante sees, among others, Semiramis, Dido, Cleopatra, Helen, Achilles, Paris. The poet's attention is suddenly attracted by two spirits, who prove to be Francesca da Rimini and her lover, Paolo, murdered by her husband when Dante was twenty-four years old. The scandal of their illicit love and the penalty they paid by their lives must have been so generally known that Dante, though attached to ...
— Dante: "The Central Man of All the World" • John T. Slattery
... varied styles from Morani's No. 80 to Domenico Irolli's heavily painted "Violin Player" (64), and Enrico Lionne's gorgeous purple figures in the extreme of Impressionism. One of Nomellini's effects in light and shade appears in No. 86, on the east wall. Paolo Sala's "Along the Thames" (100) deserves better place and notice. Irolli, Lionne and Nomellini ...
— The Jewel City • Ben Macomber
... and of the fountain at Perugia (in all of which Arnolfo probably helped), and the designer of many buildings all over Italy. Arnolfo's own unaided sculpture may be seen at its best in the ciborium in S. Paolo Fuori le Mura in Rome; but it is chiefly as an architect that he is now known. He had already given Florence her extended walls and some of her most beautiful buildings—the Or San Michele and the Badia—and simultaneously he designed ...
— A Wanderer in Florence • E. V. Lucas
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