"Chi ruba un corno, un cavallo, un anello, E simil cose, ha qualche discrezione, potrebbe chiarnarsi ladroncello; Ma quel che ruba la riputazione, E de l'altrui fatiche si fa bello, Si puo chiamare assassino e ladrone."

"Che poco grato e 'l don chi tardi viene."

"(Ed un certo proverbio cosl fatto Dice cbe) il danno toglie ancbe il cervello; E cbe cbi e rubato, come matto va dando la colpa a questo e quello."

"Con le calcagna pagava lo scotto."

"Non vien si tardi il mal che non sia presto."

"Pochi si son del silenzio pentiti; De l'aver troppo parlato, infmiti."

"Ch' un disordin che nasce, ne fa cento."

"Ne la grandezza giova ne 'l diletto, Che s'acquista o si tenga con sospetto."

"Non si conosce la virtu perfetta, Se non quando fortuna ne saetta."

"Savio e chi d'or in or, non d'anno in anno, Scudi, remedi, antidoti raguna Contra i colpi di morte e di fortuna."

"Così da sempre ogni capo canuto Piu volentier consilio, ched ajuto."

"Ed ogni altro martir passa ed avanza Trovarsi vana l'ultima speranza."

"Che guardar dee ciascun d'esser ben netto, Prima ch' altri riprenda di difetto."

"Che 'l perder l'acquistato e maggior doglia Che mai non acquistar quel che l'uom voglia."

"Che chi a pazienza fa ogni cosa."

"Sia maladetto chi si fidò mai, O vuol fidarsi di donna che sia; Che false sono e maladette tutte; E più anche le belle che le brutte."

"Nessuno e piu ch' un uom, sia chi si vuole: Ognun puo dire a suo modo parole."

"Che lasciar quel che s'ama, e peggio assai Che disiarlo, e non averlo mai."

"Non crediate che sia maggiore sdegno, Che quel di donna quando e dispregiata."

"Un re, se vuole il suo debito fare, Non e re veramente, ma fattore Del popol che gli e dato a governare."

"De la necessita virtu facendo."

"Che il far giudicio appartien solo a Dio."

"Let him look to it, who is pleased with the game of Tarocco, that the only signification of this word Tarocco, is stupid, foolish, simple, fit only to be used by Bakers, Coblers, and the vulgar, to play at most for the fourth part of a Carlino, at Tarocchi, or at Trionfi, or any Sminckiate whatever: which in every way signifies only foolery and idleness, feasting the eye with the Sun, and the Moon, and the twelve (signs) as children do."

"[the] circular rhythmic movement of a dancer, the folds of whose dress are held out by means of a hoop. These folds preserve their exterior form, modified in a uniform manner through the rotary movement. In order the better to convey the notion of relief, I have attempted to model the essential portions in a manner almost sculptural. Light and ambiance act simultaneously on the forms in movement."

"Whereas Boccioni's [painting of 1911] The Farewells portrays the ways in which strong sensations register as memory images, so that past and present are linked in a single 'durée', Severini's painting ['Memories of a Voyage'] destroys all semblance of spatio-temporal continuity."

"The artist intended the painting ['Memories of a Voyage', Severini painted in 1910-11] to signal his 'ambition to surpass Impressionism, destroying the subject's unity of time and place' Instead of portraying an object in its immediate environment, Severini sought to render its relations to 'things that apparently had nothing to do with it.. [time and place]'"

"In 1913 Severini began work on a series of images exploring popular dances such as the 'Bear Dance' and the Argentine Tango. In contrast to his earlier paintings and the abstracted analogies that follow, where the representation of the artist's state of mind is a priority, these works emphasized the evocative power of strong color and simplified form. American 'animal' dances and the Latin based tango were introduced to Paris by 1911 through, among others, the music of Irving Berlin and the popular dance couple 'Vernon and Irene Castle'."

"..the most important work ['Pan Pan'] yet painted by a futurist. Movement is well rendered in this canvas, and since no optical fusion of colors occurs, everything is in motion, as the artist wished."

"Futurism and Cubism are comparable in importance tot the invention of perspective, for which they substituted a new concept op space. All subsequent movements were latent in them or brought about by them.. ..the two movements cannot be regarded as in opposition to each other, even though they started from opposite points; I maintain (an idea approved by Apollinaire and later by Matisse) that they are two extremes of the same sign, tending to coincide at certain points which only the poetic instinct of the painter can discover: poetry being the content and raison d'être of art."

"It should also be born in mind that the research on 'movement' and the dynamic outlook on the world, which were the basis of Futurist theory, in no way required one to paint nothing but speeding cars or ballerinas in action; for a person who is seated, or an inanimate object, though apparently static, could be considered dynamically and suggest dynamic forms. I may mention as an example [his paintings] the 'Portrait of Madame S.' (1912) and the 'Seated Woman' (1914)."

"The intellectual abstraction of the second period of Cubism was of great importance, however. By its aspirations to the eternal and its 'concept of proportion inspired by the Classics' it revived the sense of craftsmanship concept in many painters. And this perfectly coincided with another of my ambitions – which was to make, with paint, an object having the same perfection of craftsmanship that a cabinet-maker would put into a piece of furniture."

"In the early days the Cubists' method of grasping an object was to go round and round it; the futurists declared that one had to get inside it. In my opinion the two views can be reconciled in a poetic cognition of the world. But to the very fact that they appealed to the creative depths in the painter by awakening in him hidden forces which were intuitive and vitalizing, the Futurist theories did more than the Cubist principles to open up unexplored and boundless horizons."

"..since then I have found consolation in Blake; 'Without Contraries is no progression', he says in his Proverbs of Hell. And Baudelaire's idea that 'Variety is an essential condition of life' seems to me to be in perfect accord with my aspirations and with my intention, as a Futurist painter, to put life in the place occupied by reasoning in the art of the Cubist period."

"The spiraling shapes, and the beautiful contrasts of yellow and blue, that are intuitively felt one evening while living the movements of a girl dancing may be found again later, through a process of plastic preferences or aversions, or through combination of both, in the concentric circling of an aeroplane or in the onrush of an express train"

"The sea dancing, it's zig-zag movements and contrasting silver and emerald, evokes within my plastic sensibility the distant vision of a dancer covered in a sparkling sequins in her world of light, noise and sound. Therefore 'Sea = dancer' [= title of a painting he made in 1914]"

"The need for abstraction and symbols is a characteristic sign of the intensity and rapidity with which life is lived today. It often happens that a word, [or] a phrase, will serve to synthesize a complete action, an entire psychology. In the same way, one gesture, one essential feature, may, by suddenly throwing light upon our intuition, succeed in presenting to our vision the total reality."

"..displacement of bodies in [the] atmosphere [where] two persons form but one plastic unity, rhythmically balanced."

"The metaphysical forms which compose our futurist pictures are the result of realities conceived and realities created entirely by the artist. These last are inspired by the emotion or intuition and dependent on atmosphere-ambience."

"[..that the execution of 'Pan Pan'] was influenced by the sounds of the ambiance [and the painting].. ..was only musical, to the detriment of the volumes and the forms that I had unconsciously neglected.. ..[in] following the greater emotional cause: the sounds."

"The Cubists and the other avantgarde [in France] can see the danger of being called Futurists. They are attracted by research involving the movement and the complexity of subjects. To avoid this kind of treat, they invented Orphism."

"Appolinaire [spokesman of French Cubism ] told me about a book of his on the Cubists that's about to come out. He divides the Cubists into Physical Cubists, (Gleize) [sic], who add some dramatic elements to their expression of external realities; Scientific Cubists (Picasso, Metzinger) and 'Orphiques' [sic]. (I give you [ Umberto Boccioni ] this last classification in French because I don't know how to translate it); in Appolinaire's opinion the 'Orphiques' [sic] seek new elements of expressing abstract realities; and we Futurists belong with the latter."

"[Severini referred to himself as a] ..primitive who is thrilled by the movement of a dancer and boulevard filled with people."

"..the gesture that we want.. ..will be the dynamic sensation itself."

"I would like my colors to be diamonds and to be able to make abundant use of them in my pictures so as to make them gleam with light and richness."