DOCSLIB.ORG

Venice & the Veneto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Venice & the Veneto Plan Your Trip 1 ©Lonely Planet Publications Pty Ltd Venice & the Veneto “All you’ve got to do is decide to go and the hardest part is over. So go!” TONY WHEELER, COFOUNDER – LONELY PLANET THIS EDITION WRITTEN AND RESEARCHED BY Cristian Bonetto, Paula Hardy Contents PlanPlan Your Your Trip Trip page 1 4 Welcome to Venice & the If You Like... ������������������� 18 Eating ���������������������������27 Veneto ������������������������������ 4 Month by Month ������������20 Drinking & Nightlife ���33 Venice’s Top 10 ���������������� 6 For Free ��������������������������22 Entertainment �������������37 What’s New �������������������� 13 With Kids ������������������������23 Shopping ����������������������41 Need to Know �����������������14 Tours �������������������������������25 Top Itineraries ����������������16 Explore Venice & the Veneto 44 Neighbourhoods at a San Polo & Murano, Burano & the Glance ����������������������������46 Santa Croce �������������������84 Northern Islands ����������147 San Marco ����������������������48 Cannaregio ������������������ 105 Day Trips from Dorsoduro �����������������������71 Castello �������������������������117 Venice �������������������������160 Giudecca, Lido & the Sleeping ���������������������186 Southern Islands ��������� 136 Understand Venice & the Veneto 199 Venice Today �������������� 200 Architecture ����������������� 215 The Fragile Lagoon �����237 History ��������������������������202 The Arts������������������������225 Survival Guide 239 Transport �������������������� 240 Language ���������������������252 Directory A–Z ��������������246 Index ���������������������������� 260 Venice & the Veneto Maps 266 LONELY PLANET / GETTY IMAGES © IMAGES GETTY / PLANET LONELY © IMAGES GETTY / FASSIO AXEL (left) Ca’ Rezzonico KIMBERLEY COOLE / GETTY IMAGES © IMAGES GETTY / COOLE KIMBERLEY p76 A mansion full of masterpieces� (above) Vogalonga p154 Take part in this festive rowing race� (right) Torre Dell’Orologio p57 A 15th-century timepiece� Murano, Burano & the Northern Islands p147 Cannaregio p105 San Polo & Santa Croce p84 Castello San Marco p117 Dorsoduro p48 p71 Giudecca, Lido & the Southern Islands p136 ©Lonely Planet Publications Pty Ltd 16 Top Itineraries Day One Day Two San Marco (p48) San Polo & Santa Croce (p84) Begin your day in prison on the Kick off day two with a crash course M Secret Passages tour of the M in local surf and turf at produce- Palazzo Ducale, then break for espresso at the coun- packed Rialto market, side-stepping it to ter of Caffè Lavena before the Byzantine Drogheria Mascari for gourmet pantry blitz of golden mosaics inside Basilica di fillers and regional wines, and to All’Arco San Marco. Browse boutique-lined back- for a cheeky morning prosecco. Boutiques streets to Museo Fortuny, the palace fash- and artisan studios punctuate your way to ion house whose goddess-style gowns freed Campo San Rocco, home to Gothic showoff I women from corsets. Frari and its sunny Titian altarpiece. Once admired, slip into Scuola Grande di San Lunch Perfect prosciutto above a Rocco for prime-time-drama Tintorettos. cinema at DOK Dall’Ava LP26 (p64). Lunch Market-fresh bites and impec- Dorsoduro (p71) cable wines at vibrant Estro (p81). Pause atop wooden Ponte R dell’Accademia for Grand Canal Dorsoduro (p71) photo ops, then surrender to timeless drama R Explore the modern art that caused that no camera can convey inside Gallerie uproars and defined the 20th century dell’Accademia. Wander past Squero di at the Peggy Guggenheim Collection, and San Trovaso to glimpse gondolas under contrast it with works that push contempo- construction, then bask in the reflected rary buttons at Punta della Dogana. Duck glory of Palladio’s Il Redentore along into Baldassare Longhena’s domed Chiesa waterfront Zattere. Stop at tiny Chiesa di Santa Maria della Salute for blushing di San Sebastian, packed with Veroneses, Titians and legendary curative powers, then then hop between artisan boutiques along cross the Grand Canal on Venice’s only Calle Lunga San Barnaba before ‘spritz wooden bridge, Ponte dell’Accademia. o’clock’ (cocktail hour) in Campo Santa Margherita. Dinner Superlative Venetian cuisine at Trattoria e Bacaro da Fiore (p65). Dinner Swoon over seasonal, succulent flavours at Ristorante La Bitta (p79). San Marco (p48) The hottest ticket in town during Dorsoduro (p71) N opera season is at La Fenice, but N Leap back into the 1700s at nearby classical-music fans shouldn’t miss Vivaldi Scuola Grande dei Carmini, the evoc- played with contemporary verve by Inter- ative setting for costumed classical concerts preti Veneziani. by Musica in Maschera. Alternatively, end the night on a saxy note at modern veteran Venice Jazz Club. 17 PLAN YOUR TRIP T Day Three Day Four op I ti Castello (p117) Murano, Burano & the Northern n M Stroll Riva degli Schiavoni for Islands (p147) eraries views across the lagoon to Pallad- M Make your lagoon getaway on a io’s San Giorgio Maggiore. See how Car- vaporetto bound for Technicolor paccio’s sprightly saints light up a room at Burano and green-and-gold Torcello. Fol- Scuola di San Giorgio degli Schiavoni, low the sheep trail to Torcello’s Byzantine then seek out Castello’s hidden wonder: Cattedrale di Santa Maria Assunta, Chiesa di San Francesco della Vigna. where the apse’s golden Madonna calmly Get stared down by statues atop Ospedal- stares down the blue devils opposite. Catch etto on your way to Gothic Zanipolo, the boat back to Burano to admire extreme home to 25 marble doges. The Renaissance home-design colour schemes and hand- awaits two bridges away at Chiesa di made lace at Museo del Merletto. Santa Maria dei Miracoli, a polychrome marble miracle made from Basilica di San Lunch Sunny Mazzorbo vineyards and Marco’s leftovers. inspired cuisine at Venissa (p157). Lunch Housemade pasta lures gondo- lieri at Osteria Ruga di Jaffa (p130). Murano, Burano & the Northern Islands (p147); Giudecca, Lido & the Southern Islands (p136) Cannaregio (p105) Take in the fiery passions of glass Wander serene fondamente (canal R R artisans at Murano’s legendary banks) past statue sentries ringing fornaci (furnaces), and see their finest mo- Campo dei Mori to reach Chiesa della ments showcased at the fabulously reno- Madonna dell’Orto, the neighbourhood vated Museo del Vetro (Glass Museum). Gothic church Tintoretto pimped with After Murano showrooms close, hop the masterpieces. Tour the Ghetto’s newly vaporetto to Giudecca for some spa-loving renovated synagogues and the restored at the Bauer Palladio and unbeatable historic pawnshop, Banco Rosso, until Dinner Wine and dine with artists and Dinner Inventive Venetian cuisine celebrities at Trattoria Altanella (p142). beside the canal at Da Rioba (p112). views of San Marco glittering across glassy Venice’s happiest hours beckon across the waters. bridge at Al Timon. San Marco (p48) Celebrate your triumphant tour of N the lagoon with a prosecco toast ©Lonely Planet Publications Pty Ltd 266 Venice & the Veneto Maps Sights Information Routes Beach Bank Tollway Bird Sanctuary Embassy/Consulate Freeway Buddhist Hospital/Medical Primary Castle/Palace Internet Secondary Christian Police Tertiary Confucian Post Office Lane Hindu Telephone Unsealed road Islamic Toilet Road under construction Jain Tourist Information Plaza/Mall Jewish Other Information Steps Monument Tunnel Museum/Gallery/Historic Building Geographic Pedestrian overpass Ruin Beach Walking Tour Shinto Gate Walking Tour detour Sikh Hut/Shelter Path/Walking Trail Taoist Lighthouse Winery/Vineyard Lookout Boundaries Zoo/Wildlife Sanctuary Mountain/Volcano International Other Sight Oasis State/Province Park Disputed Activities, Pass Regional/Suburb Courses & Tours Picnic Area Marine Park Bodysurfing Waterfall Cliff Diving Wall Canoeing/Kayaking Population Course/Tour Capital (National) Hydrography Sento Hot Baths/Onsen Capital (State/Province) River, Creek Skiing City/Large Town Intermittent River Snorkelling Town/Village Canal Surfing Water Swimming/Pool Transport Walking Airport Dry/Salt/Intermittent Lake Windsurfing Border crossing Reef Other Activity Bus Cable car/Funicular Areas Sleeping Cycling Airport/Runway Sleeping Ferry Camping Metro station Beach/Desert Monorail Cemetery (Christian) Eating Parking Eating Petrol station Cemetery (Other) S-Bahn/Subway station Glacier Drinking & Nightlife Taxi Drinking & Nightlife T-bane/Tunnelbana station Mudflat Cafe Train station/Railway Park/Forest Tram Entertainment Tube station Sight (Building) Entertainment U-Bahn/Underground station Sportsground Other Transport Shopping Swamp/Mangrove Shopping Note: Not all symbols displayed above appear on the maps in this book 1 MAP INDEX 1 San Marco (p268) Sacca D Ð"10 Serenella MURANO Burano & 2 Dorsoduro (p272) Torcello (7.5km); le San Polo & Isola di a ni Mazzorbo (7.5km) 3 Can ra San Secondo Ma Santa Croce (p274) Ð"9 dei P ale delle N o Can e anale avi 4 West of Santa Croce (p277) n Sacch C te delle d e 5 Cannaregio (p278) l D la Ð"5 Isola L ib di San Sant'Erasmo (1km) 6 Castello (p280) e rt CANNAREGIO F Michele à ond Ca 7 Giudecca (p283) a na m le Isola del Parco e d nt e 8 Lido di Venezia (p284) Savorgnan e l Tronchetto N le u G o Murano (p285) C ra Ð"3 v 9 SANTA a n e Ð"4 n d a CROCE l Ð"6 Idroscalo 10 Burano & Torcello (p286) Sant'Andrea Piazzale SAN RIALTO Ð"1 Roma a POLO e r CASTELLO l e Darsena a z Ð"2 n n Grande a e C m Isola La o Isola di c Certosa S SAN MARCO San LA TANA SANTA Pietro MARTA DORSODURO C Ca a nal Sa n e d Isola di n a Darsena di i Fusina le San Giorgio M d Sant'Elena
Load more

Recommended publications
  • Canal Grande (The Grand Canal)
    Canal Grande (The Grand Canal) Night shot of the Canal Grande or Grand Canal of Venice, Italy The Canal Grande and the Canale della Giudecca are the two most important waterways in Venice. They undoubtedly fall into the category of one of the premier tourist attractions in Venice. The Canal Grande separates Venice into two distinct parts, which were once popularly referred to as 'de citra' and 'de ultra' from the point of view of Saint Mark's Basilica, and these two parts of Venice are linked by the Rialto bridge. The Rialto Bridge is the most ancient bridge in Venice.; it is completely made of stone and its construction dates back to the 16th century. The Canal Grande or the Grand Canal forms one of the major water-traffic corridors in the beautiful city of Venice. The most popular mode of public transportation is traveling by the water bus and by private water taxis. This canal crisscrosses the entire city of Venice, and it begins its journey from the lagoon near the train station and resembles a large S-shape through the central districts of the "sestiere" in Venice, and then comes to an end at the Basilica di Santa Maria della Salute near the Piazza San Marco. The major portion of the traffic of the city of Venice goes along the Canal Grande, and thus to avoid congestion of traffic there are already three bridges – the Ponte dei Scalzi, the Ponte dell'Accademia, and the Rialto Bridge, while another bridge is being constructed. The new bridge is designed by Santiago Calatrava, and it will link the train station to the Piazzale Roma.
    [Show full text]
  • V. MOSCHINI Spetto Del Quadro, Quando La Pulitura, Iniziata Con Piccole Prove Che Trovarono Ampia Conferma Nelle Radiografie, I) V
    ©Ministero dei beni e delle attività culturali e del turismo -Bollettino d'Arte FIG. I - VENEZIA, GALLERIE DELL' ACCADEMIA - LA PRIMA SALA NUOVI ALLESTIMENTI E RESTAURI di Venezia poter contare su di un artista come Carlo Scarpa, dotato di una sensibilità più che rara, anche se ALLE GALLERIE DI VENEZIA egli talvolta trovò delle limitazioni, specialmente dovute all'edificio già esistente. Le rettifiche durante i lavori A QUANDO NEL 1948 davo notizia in questo Bollettino furono appena quelle inevitabili in simili operazioni, nè vi D della nuova sistemazione in corso delle Gallerie del­ furono esperimenti magari audaci ma con il rischio di l'Accademia, I) non poco si è fatto per presentare in modo dover rifare tutto daccapo. Vi potranno essere dei ritocchi, organico e omogeneo il nucleo essenziale di quella ecce­ ma l'insieme sembra destinato a restare almeno per la zionale raccolta, anche se siamo stati costretti a lasciar durata normale di tali allestimenti, e questo è già qualcosa. da parte i progetti di ampliamento. Nel frattempo alcuni Dopo i primi lavori, tra i quali fu specialmente dimostra­ lavori vennero fatti conoscere,2) ma sia pure a costo di tiva la sistemazione della sala di S. Orsola, si passò a uti­ ripetizioni non sarà forse inutile qualche cenno ulteriore. lizzare il vasto e disorganico ambiente costituito dalla parte I criteri indicati in quel mio articolo ormai stagionato superiore della Chiesa della Carità, reso anzitutto assai più vennero seguiti successivamente con quella fedeltà che era luminoso per l'apertura di nuovi lucernai. S'introdusse solo possibile restando le persone che continuavano ad at­ qui in pieno l'uso di pannelli anche di grandI dimensioni, tuarli.
    [Show full text]
  • The Thin White Line: Palladio, White Cities and the Adriatic Imagination
    Chapter � The Thin White Line: Palladio, White Cities and the Adriatic Imagination Alina Payne Over the course of centuries, artists and architects have employed a variety of means to capture resonant archaeological sites in images, and those images have operated in various ways. Whether recording views, monuments, inscrip- tions, or measurements so as to pore over them when they came home and to share them with others, these draftsmen filled loose sheets, albums, sketch- books, and heavily illustrated treatises and disseminated visual information far and wide, from Europe to the margins of the known world, as far as Mexico and Goa. Not all the images they produced were factual and aimed at design and construction. Rather, they ranged from reportage (recording what there is) through nostalgic and even fantastic representations to analytical records that sought to look through the fragmentary appearance of ruined vestiges to the “essence” of the remains and reconstruct a plausible original form. Although this is a long and varied tradition and has not lacked attention at the hands of generations of scholars,1 it raises an issue fundamental for the larger questions that are posed in this essay: Were we to look at these images as images rather than architectural or topographical information, might they emerge as more than representations of buildings, details and sites, measured and dissected on the page? Might they also record something else, something more ineffable, such as the physical encounters with and aesthetic experience of these places, elliptical yet powerful for being less overt than the bits of carved stone painstakingly delineated? Furthermore, might in some cases the very material support of these images participate in translating this aesthetic 1 For Italian material the list is long.
    [Show full text]
  • 00 Prelims 1630
    02 Howard 1630 13/11/08 11:01 Page 29 ITALIAN LECTURE Architectural Politics in Renaissance Venice DEBORAH HOWARD St John’s College, Cambridge WHATISTHE ROLE OF ARCHITECTURE in the self-definition of a political regime? To what extent are the ideologies of state communicated in public space? Can public confidence be sustained by extravagant building initiatives—or be sapped by their failures? These issues are, of course,as relevant today as they were in the Renaissance.Venice,in particular,seems closer to our own times than most other Early Modern states because of its relatively ‘democratic’ constitution, at least within the ranks of the rul- ing oligarchy. It was a democracy only for noblemen, since voting rights and eligibility for important committees and councils were limited to members (men only, numbering about 2,000) of a closed, hereditary caste. Nevertheless,many of the problems over decision-making ring true to modern ears.Indeed, it could be argued that the continual revision of public building projects during their execution is an essential characteristic of the democratic process. It has been claimed by architectural historians over the past few decades that ambitious programmes of building patronage in Renaissance Venice helped to communicate political ideals to the public.1 Read at the Academy 10 May 2007. 1 See,for example,Manfredo Tafuri, Jacopo Sansovino (Padua, 1969; 2nd edn., 1972); Deborah Howard, Jacopo Sansovino: Architecture and Patronage in Renaissance Venice (New Haven & London, 1975; rev.edn., 1987); Manfredo Tafuri, ‘“Renovatio urbis Venetiarum”: il problema storiografico’, in M. Tafuri (ed.), ‘Renovatio urbis’: Venezia nell’età di Andrea Gritti (1523–1538) (Rome,1984), pp.9–55; Manfredo Tafuri, Venezia e il Rinascimento (Turin, 1985; English edn., trans.Jessica Levine,Cambridge,MA and London, 1989).
    [Show full text]
  • Love, Sex and Death in Venice
    Art Appreciation Lecture Series 2021 Love, sex and death: The constant companions of art LOVE, SEX ... AND DEATH IN VENICE – THE PERFECT LOCATION FOR ALL Ron Ramsey 3 & 4 February 2021 Lecture summary: Whilst known as La Serenissima, Venice can be anything but...a city simply like no other, it continues to fascinate and draw to it an audience ready to be immersed in its many offerings. Whilst some read its sinking back into the sea as a metaphor for death and its ultimate demise, others see Venice as a resilient and romantic escape. Looking at the art, architecture and people that have made Venice the alluring city it continues to be, this talk explores the carnal more than the Carnevale and cites examples of the colourful characters who have been drawn to it for love, sex and or to die. Slide list 1. Maps of Venice 2. Villa Alemerico Capra ‘La Rotonda’, Andrea Palladio 1567 3. Aerial view, Villa Alemerico Capra 4. Palazzo Barbarano, Vincenza 1570, Andrea Palladio 5. Chiswick House London, 1729, Ricard Boyle, 3rd Earl of Burlington, William Kent, Francis Fowke 6. Monticello Virginia USA 1772, Thomas Jefferson 7. Vintage postcard: Public Library, Museum and National Gallery, Melbourne 8. Villa Foscari ‘La Malcontenta’ 1558-1560, Andrea Palladio 9. Ca Foscari, 1453 10. Arthur Streeton, The Grand Canal, 1908, 11. Richard Westall, Lord Byron, 1813 12. Palazzo Mocenigo c 1579 13. Postcard: Venezia. Canal grande. Palazzo Foscari, Guistinian, Rezzonico 14. Minna Wagner, Richard Wagner, Mathilde Wesendonck and Ca Giustinian 15. Photograph: Cosima and Richard Wagner 16. Ca Vendramin Calergi 17.
    [Show full text]
  • Palladio's Religious Architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2012 Palladio's religious architecture in Venice Katherine Fresina Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Fresina, Katherine, "Palladio's religious architecture in Venice" (2012). LSU Master's Theses. 3335. https://digitalcommons.lsu.edu/gradschool_theses/3335 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. PALLADIO’S RELIGIOUS ARCHITECTURE IN VENICE A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The School of Art by Katherine Fresina B.ID. Louisiana State University, 2009 May 2012 Table of Contents ABSTRACT……………………………………………………………………………………………………………..iii CHAPTER 1 INTRODUCTION…………………………………………………………………………………………1 2 VENETIAN ARCHITECTURE………………………………………………………………………..5 3 PALLADIO’S LIFE……………………………………………………………………………………...18 4 SAN FRANCESCO DELLA VIGNA………………………………………………………………...30 5 SAN GIORGIO MAGGIORE…………………………………………………………………………..40 6 IL REDENTORE …………………………………………………………………………………………52 BIBLIOGRAPHY……………………………………………………………….………………………………..…….67
    [Show full text]
  • Combining Complexity and Harmony by the Box- Counting Method
    Combining Complexity and Harmony by the Box- Counting Method A comparison between entrance façades of the Pantheon in Rome and Il Redentore by Palladio Wolfgang E. Lorenz Vienna University of Technology; Institute of Architectural Sciences; Digital Architecture and Planning http://www.iemar.tuwien.ac [email protected] Abstract. When Benoît Mandelbrot raised the question about the length of Britain’s coastline in 1967, this was a major step towards formulating the theory of fractals, which also led to a new understanding of irregularity in nature. Since then it has become obvious that fractal geometry is more appropriate for describing complex forms than traditional Euclidean geometry (not only with regard to natural systems but also in architecture). This paper provides another view on architectural composition, following the utilization of fractal analysis. The procedure concerning the exploration of a façade design is demonstrated step by step on the Roman temple front of the Pantheon by Appolodorus and its re-interpretation – in the particular case the entrance front of Il Redentore, a Renaissance church by Palladio. Their level of complexity and range of scales that offer coherence are visualized by the specific measurement method of box-counting. Keywords. Fractal analysis; box-counting method; Pantheon; Il Redentore; Palladio. INTRODUCTION This paper has two objectives: rent study focuses on the overall viewpoint specified 1. The first one concerns the description of har- by a harmonic expression of distributions across mony defined by the appearance of architec- different scales. The author uses for the first time a tural elements of different sizes and scale.
    [Show full text]
  • Chiese Scomparse E Soppresse a Venezia
    CHIESE SCOMPARSE E SOPPRESSE A VENEZIA NELL’ EPOCA NAPOLEONICA I. C. Morosini - San Provolo A. S. 2017/18 Classe III E Pianta di Venezia di Alessandro Badoer, 1627. Evidenziate in giallo, le Chiese trattate in questo libretto. Lo studio del territorio in cui si vive è un’operazione di fondamentale importanza per capire la storia dei luoghi che ci circondano e dei cambiamenti cui questi sono stati sottoposti nel corso dei secoli ma, soprattutto, per conoscere la propria storia. Se si prende in mano una mappa antica di Venezia, per esempio la famosissima pianta di Jacopo De’ Barbari, balzano subito all’occhio i numerosi campanili disseminati nella città, testimoni di altrettanti edifici sacri molti dei quali, ahimè!, sono scomparsi nel breve e triste periodo del Regno Italico di Napoleone: in circa otto anni, dal 1806 al 1814, un gran numero di chiese, circa settanta fra centro storico ed estuario, fu demolito o soppresso, per ragioni economiche o, nel “migliore” dei casi, per lasciare spazio ad opere come i Giardini pubblici di Castello, la Via Eugenia, oggi via Garibaldi o l’Ala Napoleonica delle Procuratie di San Marco. Delle circa trentamila opere d’arte provenienti da questi edifici, poco è rimasto a Venezia, poiché molto è stato venduto ad antiquari, anche stranieri, o portato altrove. Questo piccolo lavoro - nato dalle ricerche degli alunni della classe IIIE e condotto con il fondamentale ausilio del testo che più documenta questo terribile periodo, Venezia scomparsa di Alvise Zorzi - pur non avendo potuto, per ovvie ragioni, trattare
    [Show full text]
  • VENEZIA La Vetrina Ideale
    VENEZIAVENEZIA lala vetrinavetrina idealeideale EssereEssere partnerpartner didi VeneziaVenezia perper unauna visibilitvisibilit àà mondialemondiale Venezia nell ’immaginario collettivo Venezia è il luogo che, nell’immaginario collettivo di tutti, rappresenta un incredibile sunto di arte e cultura, spettacolo e divertimento, tradizione e mondanità. Difficile è sottrarsi al fascino che questa città sa esercitare, a quell’attrazione che porta sulla laguna ogni anno milioni di persone: turisti in vacanza, studenti, uomini d’affari o amanti dell’arte. Merito soprattutto della capacità di Venezia di essere attrattiva turistica, di proporre eventi e manifestazioni di richiamo popolare e di altissimo livello culturale, di essere circondata da un contesto ambientale unico nonostante uno sviluppo urbano non sempre armonico, della capacità di porsi all’avanguardia su molti aspetti dello sviluppo sociale, nelle sue tradizioni così come nei suoi tanti progetti innovativi. In un contesto così particolare l’Amministrazione Comunale provvede costantemente al mantenimento e allo sviluppo della città, ma anche dell’entroterra e dell’intera laguna. In questo processo la Città di Venezia vuole coinvolgere partner privati e pubblici , instaurando rapporti di collaborazione che possano giovare tanto alla città quanto all’immagine delle aziende. I contesti nei quali tale partnership può svilupparsi sono diversi: dalle sponsorizzazioni di eventi e manifestazioni al tutoraggio di iniziative e progetti, agli aiuti alla salvaguardia e allo sviluppo della città
    [Show full text]
  • FESTA DEL REDENTORE Venezia, 14 – 15 Luglio 2018
    FESTA DEL REDENTORE Venezia, 14 – 15 luglio 2018 Programma Programme Sabato 14 luglio Domenica 15 luglio Venezia Saturday, July 14th Sunday, July 15th Venezia Fondazione Fondazione Venezia Venezia Querini Stampalia Venezia Venezia Querini Stampalia vSabato 14 luglio Bacino di San Marco Canale della Giudecca St. Mark’s Bay Canale della Giudecca Saturday 14th July Visita guidata vRedentore Regattas Guided tour — ore 19.00 Regate del Redentore Il Redentore. La notte — 7.00 pm In partnership with Mercury Il Redentore. La notte Apertura del ponte votivo In collaborazione con Mercury famosissima opening of the — 4.00 pm famosissima che collega le Zattere — ore 16.00 — ore 10.00 (italiano) Thanksgiving Bridge Children’s twin-oared pupparini — 10.00 am (in Italian) con la Chiesa del Redentore Regata dei giovanissimi — ore 11.00 (inglese) connecting the Zattere boat regatta — 11.00 am (in English) all’isola della Giudecca su pupparini a 2 remi Venezia e la sua storia attraverso to the Church of the Redentore — 4.45 pm Venice and its history, with — ore 23.30 — ore 16.45 documenti d’archivio e dipinti di on the island of Giudecca Twin-oared pupparini boat regatta the vision of documents and Spettacolo pirotecnico Regata su pupparini a 2 remi una tra le famiglie più importanti — 11.30 pm — 5.30 pm portraits of one of the most in Bacino di San Marco — ore 17.30 della Serenissima. Firework display Twin-oared gondola regatta important Venetian families. Regata su gondole a 2 remi Prenotazione obbligatoria fino in St. Mark’s Bay Booking compulsory:
    [Show full text]
  • Summer Program in Venice Summer 2018 Art in Venice – AHIS O4430
    Columbia University – Summer Program in Venice Summer 2018 Art in Venice – AHIS O4430 Venice's unique geographical location in the reflective waters of the Adriatic and at the crossroads between East and West has had a profound impact on all aspects of Venetian life and culture. This course will investigate the artistic production of the Lagoon City between the fourteenth and eighteenth centuries. The compelling works of Venetian artists, such as Carpaccio, Bellini, Giorgione and Titian, Tintoretto and Veronese, as well as the great civic and religious monuments, including the Palazzo Ducale, the great mendicant churches, and the Basilica di San Marco, will be considered in light of the sophisticated political and social systems of the Venetian Republic. Issues such as the development of the distinctive urban fabric, the invention of a civic iconography, the role of the artist, and the Venetian workshop practices, as well as the impact of the Islamic world, and private and corporate patronage, will be examined. INSTRUCTORS Caroline A. Wamsler and Johanna Fassl COURSE DURATION, MEETING TIMES AND MEETING LOCATIONS Between June 10 and July 19, 2019 Tuesdays: 9:00am – ca. 3:30pm (break included)? TBC Thursdays: 9:00 – 11:00am? TBC Location – Each session listed below identifies the meeting location. NOTE: Please review the exact time and location information included in this syllabus carefully and stay posted for changes as we might need to make adjustments. Please arrive on time, as we will often move to another location shortly after gathering. COURSE REQUIREMENTS, GRADING, AND CLASS AND UNIVERSITY POLICIES Attendance: The success of this course will depend on the participants’ presence and active participation.
    [Show full text]
  • Syllabus, Art in Venice, 2020
    Columbia University – Summer Program in Venice Summer 2020 Art in Venice – AHIS O4430 Venice's unique geographical location in the reflective waters of the Adriatic and at the crossroads between East and West has had a profound impact on all aspects of Venetian life and culture. This course will investigate the artistic production of the Lagoon City between the fourteenth and eighteenth centuries. The compelling works of Venetian artists, such as Carpaccio, Bellini, Giorgione and Titian, Tintoretto and Veronese, as well as the great civic and religious monuments, including the Palazzo Ducale, the great mendicant churches, and the Basilica di San Marco, will be considered in light of the sophisticated political and social systems of the Venetian Republic. Issues such as the development of the distinctive urban fabric, the invention of a civic iconography, the role of the artist, and the Venetian workshop practices, as well as the impact of the Islamic world, and private and corporate patronage, will be examined. INSTRUCTOR Caroline A. Wamsler COURSE DURATION, MEETING TIMES AND MEETING LOCATIONS Between June 9 and July 18, 2019 Tuesdays: 9:00am – ca. 3:30pm Thursdays: 9:00 – 11:00am Location – Each session listed below identifies the meeting location. NOTE: Please review the exact time and location information included in this syllabus carefully and stay posted for changes as we might need to make adjustments. Please arrive on time, as we will often move to another location shortly after gathering. COURSE REQUIREMENTS, GRADING, AND CLASS AND UNIVERSITY POLICIES Attendance: The success of this course will depend on the participants’ presence and active participation.
    [Show full text]