Culture
San Gimignano is the birthplace of the poet Folgore da San Gimignano (1270–1332).
A fictionalised version of San Gimignano is featured in E. M. Forster's 1905 novel, Where Angels Fear to Tread as Monteriano.
Tea with Mussolini, a 1999 drama about the plight of English and American expatriate women in Italy during World War II, was filmed in part at San Gimignano. The frescoes that the women save from being destroyed during the German Army's withdrawal are inside the Duomo, the town's main church.
Franco Zeffirelli used San Gimignano as a stand-in for the town of Assisi in his 1972 St. Francis of Assisi biopic Brother Sun, Sister Moon. Most of the "Assisi" scenes were filmed here.
In the novel The Broker by John Grisham, Joel Backman takes his second of three wives on vacation in Italy to keep her from divorcing him. They rent a 14th century monastery near San Gimignano for a month.
M. C. Escher's 1923 woodcut, San Gimignano, depicts the celebrated towers.
15th century San Gimignano may be explored in the video game Assassin's Creed II.
Located in the heart of the city, the museum SanGimignano1300 offers a massive reconstruction of the city as it existed 700 years ago. Architects, historians, and a team of artists worked nearly 3 years to create this spectacular and unprecedented exhibition. This exhibit includes 800 meticulously handcrafted structures, 72 towers, street scenes, and figurines.
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Famous quotes containing the word culture:
“We belong to an age whose culture is in danger of perishing through the means to culture.”
—Friedrich Nietzsche (1844–1900)
“I am writing to resist the view that Europe and civilization are going to Hell. If I am being “crucified for an idea”Mthat is, the coherent idea around which my muddles accumulated—it is probably the idea that European culture ought to survive, that the best qualities of it ought to survive along with whatever cultures, in whatever universality. Against the propaganda of terror and the propaganda of luxury, have you a nice simple answer?”
—Ezra Pound (1885–1972)
“Any historian of the literature of the modern age will take virtually for granted the adversary intention, the actually subversive intention, that characterizes modern writing—he will perceive its clear purpose of detaching the reader from the habits of thought and feeling that the larger culture imposes, of giving him a ground and a vantage point from which to judge and condemn, and perhaps revise, the culture that produces him.”
—Lionel Trilling (1905–1975)