The Boundaries of Venice: Digitally Mapping Historical Venetian Borders and Their Modern Day Implications Dimitar M
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Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences
Athens Journal of History January 2016 Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences By Antonella Manzo The main aim of this work is to critically examine Santa Fosca building period through the analysis of the similarities as well as the differences with some churches located in Greece and belonging to the so-called octagonal domed type. In fact, since the second half of the Nineteenth century a historiographical tradition has compared Santa Fosca with these Greek Middle-Byzantine churches, where eight supports, piers or columns, arranged in a regular or irregular octagon, receive the loads from the cupola. The comparison is based on the direct analysis of these buildings: the structural configuration, the constructive materials and techniques as well as the affinities in decoration, occurring both inside and outside, are under investigation. This contribution offers a new perspective, from which it could be possible to study the period of erection of the Venetian church, a topic that is still object of debate among the scientific community. Introduction Torcello is an island belonging to the Northern Venetian Laguna, which lives its golden age during the X-XI century AD: in his Administrando Imperio of 927 Constantine VII Porphyrogenitus defines Torcello as emporion mega, to testify the great importance of its intense trades with the Orient. The church of Santa Fosca is located on the island at the Southern side of the ancient Basilica of Santa Maria Assunta, whose origins date back to the inscription of 639 AD, discovered during the excavations of 1895. -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
Guide to Places of Interest
Guide to places of interest Lido di Jesolo - Venezia Cortina Oderzo Portogruaro Noventa di Piave Treviso San Donà di Piave Caorle Altino Eraclea Vicenza Jesolo Eraclea Mare Burano Cortellazzo Lido di Jesolo Dolo Venezia Verona Padova Cavallino Mira Cà Savio Chioggia Jesolo and the hinterland. 3 Cathedrals and Roman Abbeys . 10 Visits to markets Concordia Sagittaria, Summaga and San Donà di Piave Venice . 4 From the sea to Venice’s Lagoon . 11 St Mark’s Square, the Palazzo Ducale (Doge’s Palace) and the Caorle, Cortellazzo, Treporti and Lio Piccolo Rialto Bridge The Marchland of Treviso The Islands of the Lagoon . 5 and the city of Treviso . 12 Murano, Burano and Torcello Oderzo, Piazza dei Signori and the Shrine of the Madonna of Motta Verona and Lake Garda. 6 Padua . 13 Sirmione and the Grottoes of Catullo Scrovegni Chapel and Piazza delle Erbe (Square of Herbs) The Arena of Verona and Opera . 7 Vicenza . 14 Operatic music The Olympic Theatre and the Ponte Vecchio (Old Bridge) of Bas- sano del Grappa Cortina and the Dolomites . 8 The three peaks of Lavaredo and Lake Misurina Riviera del Brenta . 15 Villas and gardens The Coastlines . 9 Malamocco, Pellestrina, Chioggia 2 Noventa di Piave Treviso San Donà di Piave Eraclea Caorle Jesolo Eraclea Mare Lido di Jesolo Cortellazzo Cavallino Jesolo and the hinterland The lagoon with its northern appendage wends its way into the area of Jesolo between the river and the cultivated countryside. The large fishing valleys of the northern lagoon extend over an area that is waiting to be explored. Whatever your requirements, please discuss these with our staff who will be more than happy to help. -
The Future of Venice's Past and the Archaeology of The
CHAPTER SEVEN THE FUTURE OF VENICE’S PAST AND THE ARCHAEOLOGY OF THE NORTHEASTERN ADRIATIC EMPORIA DURING THE EARLY MIDDLE AGES Sauro Gelichi1 Were there Italian Emporia in the Early Middle Ages? The debate about the archaeology of early medieval emporia has been, and essentially remains, entirely north-European, due to both its greater visibility in those regions and the intrinsic nature of archaeology in those countries.2 Of course, the development of these investigations has produced records that have been immediately used for a more general discussion of the economy in Europe and the Mediterranean from Late Antiquity to the Carolingian Age, following in the wake of a critical revision of the views of the well-known Belgian historian Pirenne.3 Developed during the first decade of the last century, the Pirenne thesis has been variously discussed and disputed over time.4 However, due to its overall persuasive nature, it continues to be one of the few examples that attempts to explain the developments and mechanisms of the economy in early medieval Europe in general terms. Lying in the background of this theory and linked to Pirenne’s view of Europe as a centre of the Carolingian economy is the ques- tion of towns and their function in the early medieval period. This is a question to which Pirenne had also made a particular contribution in terms of a reassessment of their role and function, at least before 1 Università Ca’ Foscari—Venezia. 2 R. Hodges, Dark Age Economics: the origins of towns and trade AD 600–1000 (London, 1982); M. -
Curriculum Laguna Membership La Venessiana
C U R R I C U L U M 2 0 2 0 / 2 1 Laguna in Cucina M E M B E R S H I P created by: L A V E N E S S I A N A - V E N E Z I A CURRICULUM 0 2 Virtual visits to Venice + Lagoon. Gourmet Classes Listen + watch Venetian stories (audio + video), come along on virtual visits around the hidden Venice, learn to cook our seasonal menus, and explore the Lagoon islands in the videos tours. New content drops weekly (every Tuesday). Here's the syllabus for the first 12 months + 3 very special bonuses! CASSIS AND CALENDULA: The Almanac; the story of Campo San Lorenzo and Marco Polo - Ferragosto menu + summer comfort food + visit AUGUST to Sacca Sessola, August recipe box. Herb of the month: the curry plant; How Venice dealt with pandemics CORIANDER AND UVA FRAGOLA: The Almanac; Disnar de la Regata storica (traditional menu), Mondays on the Lido, Harvesting uva fragola grapes + cake recipe, Autumn equinox in Venice, SEPTEMBER a virtual visit to Poveglia, September recipe box. Herb of the month: coriander SQUASH AND POMEGRANATE: The Almanac; San Firmino; Lepanto day in Venice; Wine harvest in the Lagoon; Spicy Venetian squash soup; recipes OCTOBER with pomegranates; October recipe box, Pan di pistacchio - the Doge's Pistacchio cake, Virtual visit to San Francesco del Deserto. CHESTNUTS AND LIQUORICE: The Almanac, All Saints Day in Venice + recipes, Virtual visit to the islands San Michele / San NOVEMBER Cristoforo, San Martino in Venice, comfort food for fall, Recipe box, The true story of Festa della Salute - Thanksgiving in Venice + recipes PERSIMMON AND BERGAMOT: The Almanc, the Venetian Christmas cake - la pinza; Foraging for DECEMBER winter herbs in the Lagoon; Winter solstice menu; Christmas flavors from Venice; New Years Eve; Recipe box, le nuvoete - fluffy Christmas cookies CURRICULUM 0 2 Virtual visits to Venice + Lagoon. -
Basilica Santa Maria Assunta in Torcello, Italy
HADES AS THE RULER OF THE DAMNED IN THE MOSAIC COMPLEX ON THE WEST WALL OF BASILICA SANTA MARIA ASSUNTA IN TORCELLO, ITALY ALEKSANDRA KRAUZE-KOŁODZIEJ The aim of this article is to show the figure of the ancient god Hades as an important part of Byzantine symbolic representations of the Last Judgement, using the example of the mosaic from the west wall of Basilica Santa Maria Assunta in Torcello, Italy. The article is divided into three main parts. The first part briefly introduces the mosaic complex from Torcello, providing a description of the place, the Basilica, and the mosaic. In the second part, the author focuses on the fragment of the mosaic presenting the figure of Hades in hell. In an effort to show the iconographical and cultural continuity between ancient and early medieval representations, the author compares this figure to its ancient prototype. The last part of the article portrays the development of the motif of the Last Judgment by looking at other chosen representations. In conclusion, the author proposes a possible meaning of the presence of Hades in the mosaic of Torcello. Introduction “There [in Hades] also among the dead, so men tell, another Zeus [Haides] holds a last judgment upon misdeeds” (Aeschyl. Suppl. 230).1 Thus, the Greek tragedian describes one of the most mysterious and terrifying gods in the ancient world: Hades, the god of death. Although this mighty divinity already ruled the ancient Greek Underworld in the time of Homer (e.g. Hom. Il. 9,457; Hes. Theog. 455), he did not receive the power to judge the dead until the post-Homeric period (e.g. -
Veneziaterreing.Pdf
ACCESS SCORZÉ NOALE MARCO POLO AIRPORT - Tessera SALZANO S. MARIA DECUMANO QUARTO PORTEGRANDI DI SALA D'ALTINO SPINEA MIRANO MMEESSTTRREE Aeroporto Marco Polo SANTA LUCIA RAILWa AY STATION - Venice MARGHERA ezia TORCELLO Padova-Ven BURANO autostrada S.GIULIANO DOLO MIRA MURANO MALCONTENTA STRÀ i ORIAGO WATER-BUS STATION FIESSO TREPORTI CAVALLINO D'ARTICO FUSINA VTP. - M. 103 for Venice PUNTA SABBIONI RIVIERA DEL BRENTA VENEZIA LIDO WATER-BUS STATION MALAMOCCO VTP - San Basilio ALBERONI z S. PIETRO IN VOLTA WATER-BUS STATION Riva 7 Martiri - Venice PORTOSECCO PELLESTRINA P PIAZZALE ROMA CAe R PARK - Venice P TRONCHETTO CAR PARK - Venice P INDUSTRIAL AREA Cn AR PARK - Marghera P RAILWAY-STATION CAR PARK - Mestre e P FUSINA CAR PARK - Mestre + P SAN GIULIANO CAR PARK - Mestre V P PUNTA SABBIONI CAR PARK - Cavallino The changing face of Venice The architect Frank O. Gehry has been • The Fusina terminal has been designed entrusted with developing what has been by A. Cecchetto.This terminal will be of SAVE, the company that has been run- • defined as a project for the new airport strategic importance as the port of entry ning Venice airport since 1987 is exten- marina. It comprises a series of facilities from the mainland to the lagoon and ding facilities to easily cope with the con- that are vital for the future development historical Venice. stant increase in traffic at Venice airport. of the airport, such as a hotel and an The new airport is able to process 6 mil- The new water-bus station has been desi- administration centre with meeting and • lion passengers a year. -
Murano Energy Reduction an Investigation of Technologies to Reduce Fuel Consumption in Artistic Glass Furnaces
Murano Energy Reduction An Investigation of Technologies to Reduce Fuel Consumption in Artistic Glass Furnaces An Interactive Qualifying Project submitted to the faculty of Worcester Polytechnic Institute in partial fulfillment of the requirements for the Degree of Bachelor of Science Submitted By: Keith Ferry Nicholas McMahon Andrea Portnoy Jacob Troiano Sponsoring Agency: Stazione Sperimentale del Vetro Project Advisors: Fabio Carrera Scott Jiusto December 15, 2006 [email protected] Acknowledgements The Murano team would like to thank the following people for guidance and assistance over the course of our project: Dr. Bianca Maria Scalet Charles Correll Professor Scott Jiusto Professor Fabio Carrera The Venice Project Center Staff Alberto Deste Dr. Roberto Dall’Igna Antonio Tucci Guido Ferro Farnea Mariangelo Our Parents i Abstract This project, sponsored by the Stazione Sperimentale del Vetro, a research laboratory funded by the glass industry located in Murano, Italy, assessed the technologies available for increasing fuel efficiency in artistic glass furnaces. The project team collected and analyzed data on natural gas consumption and emissions for different technologies and compared it to data from furnaces currently in operation to model the expected savings for each technology. The results show the potential for a 35% increase in efficiency but warrant further studies. The project concludes by recommending a testing procedure to further assess both oxycombustion and recuperative burners. ii Executive Summary The focus of this project was the reduction of energy use for the glass industry of Murano, Italy. Murano has been known for glass manufacturing since the industry moved there from Venice in the late thirteenth century. -
Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences
Athens Journal of History - Volume 2, Issue 1 – Pages 43-58 Santa Fosca in Torcello and the Middle Byzantine Churches in Eastern Greece: Preliminary Comparison and Remarks on Common Features and Differences By Antonella Manzo The main aim of this work is to critically examine Santa Fosca building period through the analysis of the similarities as well as the differences with some churches located in Greece and belonging to the so-called octagonal domed type. In fact, since the second half of the Nineteenth century a historiographical tradition has compared Santa Fosca with these Greek Middle-Byzantine churches, where eight supports, piers or columns, arranged in a regular or irregular octagon, receive the loads from the cupola. The comparison is based on the direct analysis of these buildings: the structural configuration, the constructive materials and techniques as well as the affinities in decoration, occurring both inside and outside, are under investigation. This contribution offers a new perspective, from which it could be possible to study the period of erection of the Venetian church, a topic that is still object of debate among the scientific community. Introduction Torcello is an island belonging to the Northern Venetian Laguna, which lives its golden age during the X-XI century AD: in his Administrando Imperio of 927 Constantine VII Porphyrogenitus defines Torcello as emporion mega, to testify the great importance of its intense trades with the Orient. The church of Santa Fosca is located on the island at the Southern side of the ancient Basilica of Santa Maria Assunta, whose origins date back to the inscription of 639 AD, discovered during the excavations of 1895. -
San Servolo L'isola Del Design
SAN SERVOLO L’ISOLA DEL DESIGN Progettazione e coordinamento interventi_ Planning and coordination Diego Giallombardo Ufficio comunicazione VID_ SAN SERVOLO VID Communication Office by Luisa De Salvo per Arzanà srl SAN SERVOLO srl società in house della_in house company of Traduzioni_Translations L’ISOLA DEL DESIGN Città metropolitana di Venezia Traduzioni Prime Referenze fotografiche_Photographic material courtesy of San Servolo srl Amministratore Unico_Sole Director Progetto grafico_Graphic Design Andrea Berro Maretti Editore Sindaco Unico_Statutory Auditor Fabio Dario Direttore Generale_General Director Fulvio Landillo © Maretti Editore 2018 Staff © Gli Autori_The Authors Luigi Armiato Tutti i diritti riservati. Nessuna parte di questo Chiara Ballarin libro può essere riprodotta o trasmessa in qualsiasi Ilaria Baù forma o con mezzo elettronico, meccanico o altro Manuela Cracco senza l’autorizzazione scritta dei proprietari dei Carlo Castiglioni diritti e dell’editore. Mara Fabris Fiora Gaspari All rights reserved. No part of this publication may Michela Guggia be reproduced or transmitted in any form, whether Matteo Tassan by electronic, mechanical or other means, without Michela Tommasini written permission from the right-holders and the publisher. Liana Trevisanato Ennio Vianello ISBN 978-88-98855-99-5 Con il patrocinio di_Under the patronage of Con la collaborazione di_In cooperation with I nostri partner_Our partners Interior Design � & C ontract � La Città metropolitana di Venezia: The metropolitan City of Venice: ospitare e offrire eccellenza hosting and providing excellence Luigi Ospitare e offrire eccellenze. È questa la vocazione dell’Isola di San The metropolitan City has staked a great deal on the relaunch Luigi Brugnaro Servolo. Un luogo in cui possono trovare spazio iniziative, attività e of this corner of the Lagoon, with its own history and very dear Brugnaro Sindaco della Città realtà che si distinguono per essere ciascuna leader nel proprio settore. -
Study of the Ecosystem of the Lagoon of Venice, with Emphasis on Anthropogenic Impact
MARINE ECOLOGY PROGRESS SERIES Published October 3 Mar Ecol Prog Ser , Study of the ecosystem of the lagoon of Venice, with emphasis on anthropogenic impact Yu. I. Sorokinl, P. Yu. Sorokinl, 0.Giovanardi2,*, L. Dalla venezia3 'Southern Dept. of Oceanology, Gelendzhik-7, Krasnodar district, 353470 Russia 'Istituto Centrale per la Ricerca Scientifica e Tecnologica Applicata al Mare (ICRAM), viale della Stazione 5, 1-30015 Chioggia, Italy "stituto di Biologia del Mare, CNR, Riva Sette Martiri 1364, 1-30122 Venice, Italy ABSTRACT: The parameters of the structure and functioning of the ecosystem in the lagoon of Venice (Italy) were estimated in September-October 1993 at 36 stations. Phytoplankton was dominated by its nano- and pico-fractions, which comprised 60 to 99":# of the total phytoplankton biomass. Phytoplank- ton wet biomass varied between 100 and 600 mg m-.' and its primary production between 30 and 90 mg C m ' d.' The nume~icalabundance of bactel-ioplankton (3 to 6 X 10" cells ml-'l and its wet biomass (0.3to 1 g m-" was 2 to 3 times greater than in adjacent waters of the Adriatic. Bacterial production was 20 to 40 mg C m-'d.'. hdicrozooplankton was dominated by cillates with blo~nassesof 30 to 700 mg m-', while the density of rotifers and nauplii was low. The composition of mesozooplankton resembled that of the Adriatic complex only near the port entrances connecting the lagoon to the sea, while in polluted areas it was drastically depleted. Its average wet biomass was 80 to 300 mg m-', attaming 700 to 1100 mg m-' near the port entrances.