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Vincenzo Cappello C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Italian Paintings of the Sixteenth Century Titian and Workshop Titian Venetian, 1488/1490 - 1576 Italian 16th Century Vincenzo Cappello c. 1550/1560 oil on canvas overall: 141 x 118.1 cm (55 1/2 x 46 1/2 in.) framed: 169.2 x 135.3 x 10.2 cm (66 5/8 x 53 1/4 x 4 in.) Samuel H. Kress Collection 1957.14.3 ENTRY This portrait is known in at least four other contemporary versions or copies: in the Chrysler Museum, Norfolk, Virginia[fig. 1]; [1] in the State Hermitage Museum, Saint Petersburg [fig. 2]; [2] in the Seminario Vescovile, Padua; [3] and in the Koelikker collection, Milan. [4] According to John Shearman, x-radiographs have revealed that yet another version was originally painted under the Titian workshop picture Titian and His Friends at Hampton Court (illustrated under Andrea de’ Franceschi). [5] Of these versions, the Gallery’s picture is now generally accepted as the earliest and the finest, and before it entered the Kress collection in 1954, the identity of the sitter, established by Victor Lasareff in 1923 with reference to the Hermitage version, has never subsequently been doubted. [6] Lasareff retained a traditional attribution to Tintoretto, and Rodolfo Pallucchini and W. R. Rearick upheld a similarly traditional attribution to Tintoretto of the present version. [7] But as argued by Wilhelm Suida in 1933 with reference to the Chrysler version (then in Munich), and by Fern Rusk Shapley and Harold Wethey with reference to the present version, an attribution to Titian is more likely. -
VENICE Grant Allen's Historical Guides
GR KS ^.At ENICE W VENICE Grant Allen's Historical Guides // is proposed to issue the Guides of this Series in the following order :— Paris, Florence, Cities of Belgium, Venice, Munich, Cities of North Italy (Milan, Verona, Padua, Bologna, Ravenna), Dresden (with Nuremberg, etc.), Rome (Pagan and Christian), Cities of Northern France (Rouen, Amiens, Blois, Tours, Orleans). The following arc now ready:— PARIS. FLORENCE. CITIES OF BELGIUM. VENICE. Fcap. 8vo, price 3s. 6d. each net. Bound in Green Cloth with rounded corners to slip into the pocket. THE TIMES.—" Good work in the way of showing students the right manner of approaching the history of a great city. These useful little volumes." THE SCOTSMAN "Those who travel for the sake of culture will be well catered for in Mr. Grant Allen's new series of historical guides. There are few more satisfactory books for a student who wishes to dig out the Paris of the past from the im- mense superincumbent mass of coffee-houses, kiosks, fashionable hotels, and other temples of civilisation, beneath which it is now submerged. Florence is more easily dug up, as you have only to go into the picture galleries, or into the churches or museums, whither Mr. Allen's^ guide accordingly conducts you, and tells you what to look at if you want to understand the art treasures of the city. The books, in a word, explain rather than describe. Such books are wanted nowadays. The more sober- minded among tourists will be grateful to him for the skill with which the new series promises to minister to their needs." GRANT RICHARDS 9 Henrietta St. -
{DOWNLOAD} Venice, a Maritime Republic Pdf Free Download
VENICE, A MARITIME REPUBLIC PDF, EPUB, EBOOK Frederic Chapin Lane | 528 pages | 01 Dec 1973 | JOHNS HOPKINS UNIVERSITY PRESS | 9780801814600 | English | Baltimore, MD, United States Republic of Venice | Account Options Sign in. Try the new Google Books. Check out the new look and enjoy easier access to your favorite features. Try it now. No thanks. Get print book. JHU Press Amazon. Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Venice, A Maritime Republic. Frederic Chapin Lane. JHU Press , - History - pages. The children's version of the 1 New York Times bestselling classic Seriously, Just Go to Sleep is the G-rated, child-friendly version of the book every parent has been talking about. Of course, kids are well aware of how difficult they can be at bedtime. With Mansbach's new child-appropriate narrative, kids will recognize their tactics, giggle at their own mischievousness, and empathize with their parents' struggles--a perspective most children's books don't capture. Most importantly, it provides a common ground for children and their parents to talk about one of their most stressful daily rituals. This is a fixed-format ebook, which preserves the design and layout of the original print book. User Review - Flag as inappropriate Seamen. Selected pages Title Page. Table of Contents. Contents The Beginnings. A Community Center by Canaletto. Venice about woodcut by Vavassore. Victories BeyondtheSea and in Romania. Illuminated Initial from the Maritime Code of Doge Leonardo Loredan by Giovanni Bellini. The Condottiere in front of San Marco. -
Transnational, National, and Local Perspectives on Venice and Venetia Within the “Multinational” Empire
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Nottingham ePrints Laven, David and Parker, Laura (2014) Foreign rule?: transnational, national, and local perspectives on Venice and Venetia within the “multinational” empire. Modern Italy, 19 (1). pp. 5-19. ISSN 1469-9877 Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/44432/1/Laven%20-%20Foreign%20Rule.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. This article is made available under the University of Nottingham End User licence and may be reused according to the conditions of the licence. For more details see: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] David Laven with Laura Parker Foreign Rule? Transnational, national, and local perspectives on Venice and Venetia within the ʻmultinationalʼ empire The so-called seconda dominazione austriaca of Venice and Venetia lasted from 1814 to 1866, punctuated only by the revolutionary parenthesis of 1848–9. This half century of rule from Vienna has traditionally been seen as a period of exploitative and insensitive government backed by heavy- handed policing, restrictive censorship, and ultimately dependent on the presence of regiments of white-coated Croat and Austrian troops. -
The Scattered Fleet Prologue Don Juan De Austria , Half
The scattered fleet Prologue Don Juan de Austria , half- brother of King Philip II of Spain, glanced up towards the light blue banner with the image of crucified Christ given him by the Pope and prayed for the victory. Then, surrounded by shouts and cries of enthusiasm, he made as if he was dancing. He was twenty-four years old and he was in command of the most powerful war fleet ever put to sea by the Christendom against the Turkish. On board of the Marquesa , a ship of the League, a young Spanish fevered soldier reached his combat station watching the lifeboats: his name was Miguel de Cervantes Saavedra. On board of the Real (Royal) , an arquebusier without beard and moustache and with delicate features was trying to hide his face and his tension: Maria la Bailadora (Mary The Dancer ) had dressed herself as a man to be close to her own lover. Muezzinzade Ali Pasha, commander of the Ottoman fleet, made erect on the mainmast of his flagship Sultana the white banner on which women's hands had embroidered Allah’s ninety-nine names and attributes repeated thousands of times and he took leave of his teenage children. Then he made shoot a cannon shot with blanks. From the Real , the flagship of the League, Don Juan ordered to return with real bullets. The battle of Lepanto had begun. It was October 7, 1571, Sunday. The disputed sea The way towards Lepanto had been long, tortuous, bloody and marked, from both sides, by cruelties and by excesses, by indecisions and mistakes, by victories and defeats, by successes and failures . -
The Tombs of the Doges of Venice from the Beginning of the Serenissima to 1907
240RENAISSANCE QUARTERLY VOLUME LXXI, NO. 1 Corte Nuova additions, while Bruschi closely examines Giulio’s building techniques in order to distinguish his contributions from interventions by later restorers. Jérémie Koering’s essay on the painted facades of the Ducal Palace provides an important re- minder of the chromatic impact and variety of these decorations—which included fic- tive architecture, landscapes, and heraldry—that once adorned the exterior of much of this vast princely residence. In a particularly entertaining contribution, Paolo Carpeg- giani recounts the building history of Federico’s country residence at Marmirolo, where Giulio’s additions to the structure and its gardens are abstractly evoked in a landscape painting of ca. 1595 by Flemish artist Sebastian Vranx and now conserved in Rouen. Although clearly an imagined capriccio, Carpeggiani examines the painting to shed light on how princely gardens like those at Marmirolo were laid out and used by mem- bers of the court for al fresco meals and pastimes like ball games. The three final essays treat paintings and drawings by other artists who were active at, or produced artworks for, Federico’s court. Stefano L’Occaso offers a magisterial romp through several European drawing collections, examining figural studies attrib- uted to Giulio and members of his circle such as Fermo Ghisoni, Giovan Battista Ber- tani, Bernardino Gatti, and Ippolito Andreasi, identifying them as preparatory studies for surviving decorations at Palazzo Te, Palazzo Ducale, and various villas and churches in Mantua, Rome, and Piacenza. Renato Berzaghi reconstructs the program for Fe- derico’s Palazzo Ducale Cabinet of Caesars, including the room’s damaged vault frescoes, important copies of which Berzaghi identifies in the recently recovered decorations cre- ated in the 1570s to adorn the vault of the star-shaped tower at the Corte Castiglione in Casatico. -
Asta Numismatica Ranieri N. 4 • Bologna
________________________________________________________________ASTA NUMISMATICA RANIERI N. 4 • BOLOGNA ASTA NUMISMATICA RANIERI Terza Sessione – inizio Sabato 27 Ottobre 2012 ore 10.00 Dal lotto n. 1233 al lotto n. 1811 Una Collezione di Monete Veneziane 1235 1233 1234 1233 Ludovico il Pio imperatore, 814-849. Denaro. Ar gr. 1,19 Legenda intorno a croce. Rv. + VEN ECIAS. CNI 21; Paolucci 2 Molto Raro. Tondello sbeccato. MB 300 1234 Anonime con Cristus Imper 1002-1024?. Denaro scodellato. Ar gr. 0,76 Croce con estremità trifogliate accantonata da 4 globetti. Rv. Tempio tetrastilo con al posto delle colonne la scritta VENECI, sotto A. CNI 2; Paolucci 1 Rarissimo. Tondello sbeccato. q. BB 300 1235 Enrico IV o V di Franconia Imperatore, 1056- 1125. Denaro Scodellato. Ar gr. 0,20. Croce bifida. Rv. Busto nimbato di fronte. Paolucci 1 Raro. MB 100 1236 1237 1238 1236 Sebastiano Ziani doge XXXIX, 1172-1178. Denaro scodellato. Mi gr. 0.29. D/ e R/ croce patente in un cerchio. CNI 17. Paolucci 1 Raro. Buon BB 30 1237 Orio Malipiero o Mastropiero doge XL, 1178-1192. Denaro Scodellato. Mi gr. 0,30 Tipo solito. CNI 7; Paolucci 1 Buon BB 30 1238 Enrico Dandolo doge XLI, 1192-1205. Grosso. Ar gr. 2,03 San Marco consegna il vessillo al doge, entrambi stanti di fronte. Rv. Il Redentore seduto in trono, ai lati IC XC. CNI 1; Paolucci 1 Molto Raro. q. BB 450 1239 1,5:1 1,5:1 1239 Grosso. Ar gr. 2,14 San Marco consegna il vessillo al Doge. Rv. Il Redentore. CNI 1; Paolucci 1 Rarissimo. -
The Netherlandish Merchant Community in Venice, 1590-1650 Van Gelder, M
UvA-DARE (Digital Academic Repository) Trading places : the Netherlandish merchant community in Venice, 1590-1650 van Gelder, M. Publication date 2007 Document Version Final published version Link to publication Citation for published version (APA): van Gelder, M. (2007). Trading places : the Netherlandish merchant community in Venice, 1590-1650. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:29 Sep 2021 TRADING PLACES: THE NETHERLANDISH MERCHANT COMMUNITY IN VENICE, 1590-1650 Maartje van Gelder Research in Venice, Rome, and Livorno was made possible by grants from the Institute of Culture and History at the University of Amsterdam, a fellowship from the Royal Dutch Institute in Rome, two fellowships from the Marie Curie-programme ‘European Doctorate in the Social History of Europe and the Mediterranean’, and a travel grant from the Netherlands Organisation for Scientific Research. -
1988 Spring – Barker
HISTORY 326 - Mr . BARKER VENI CE AND THE VENETIAN REPUBLIC IN HISTORY AND CULTURE 8: 50 a . m. MWF Spri ng 1988 1641 Humanities Tentative Schedule of Topics I . Medieval Venice: The Rise to Empi re and Glor y (5th- 14th Centuries) : Jan. 20 - 1. I ntroduction J an. 22 - 2. Venice as a Site: Topography and General Aspect Jan. 25 - 3. Origins of the City , of the Republic, and of its Institutions Jan. 27 - 4. Early Economic and Commercial Development Jan. 29 - 5. Venice, Byzantium, and the Crusades Feb. 1 - 6. The New Maritime Empi re Feb. 3 - 7. The Emerging Venetian Constitution and Society Feb. 5 - 8. Venetian Colonial Government and Diplomacy Feb. 8 - 9. Venetian Maritime Technology Feb. 10 - 10. Early Veneti an Art: Between Byzantine and Gothic Feb. 12 - 11. The Serenissima' s Shrine: San Mar co Feb. 15 - FIRST EXAMINATION (On the material of Lectures 1- 11) II. Renaissance Venice: The Zenith of Empire and Glory (15th- 16th Centuries): Feb. 17 - 12o Venice, t he Turks, and Maritime Empire, to 1571 Feb. 19 - 13. The Changing Venetian Economy Feb. 22 - 14. Venice, the Terraferma, and Renaissance Italian Power Politics Feb. 24 - 15. The Venetian Consti tution: Refinement, Practice, and Analysis Feb. 26 - 16. Renaissance Venetian Society Feb. 29 - 17. Ethnic Communities in Venice: Greeks and Jews M~r . 2 - 18. Renaissance Humanism im Venice Mar. 4 - 19. The Emergence of Venetian Painting: To Giovanni Bellini Mar. 7 - 20. Painting and Painters in 16th- Century Venice Mar. 9 - 21. Titian Mar. 11 - 22. Tintoretto and Veronese SPRING RECESS (Mar. -
Il Doge / the Doge
Fondazione Musei Civici di Venezia — Il Doge / The Doge ITA / ENG Il Doge / The Doge Il Doge è la più antica e potere, tra successioni The Doge was the oldest an elected position la più alta magistratura ereditarie, conflitti e and highest political and became more and della Repubblica di morti violente. position in the Venetian more powerful, with Venezia. A partire dal secolo Republic. hereditary successions, La parola deriva dal XI una Venezia ormai The word comes from conflicts and violent latino dux, che significa indipendente e in the Latin dux, which deaths. By the eleventh guida, capo ed è il titolo pieno sviluppo pone means leader, head and century, developing attribuito ai governatori fine a qualunque was the title given to the rapidly Venice had delle province pretesa dinastica governors of provinces become independent nell’impero bizantino, del doge, stabilisce in the Byzantine and put an end to any di cui il territorio della poi di affiancargli dei Empire, of which the dynastic claims of the laguna di Venezia è consiglieri, limitarne Venice lagoon was a doge. It was decided he parte quando, tra il VII e i poteri e vincolarlo, part in the seventh should be assisted by l’VIII secolo, si ha notizia all’elezione, con il and eighth centuries, councillors and that his Gentile Bellini, Ritratto del doge Giovanni Mocenigo (1478-1485), 1479 ca. dei primi dogi. giuramento della when documentation powers would be limited Tempera su tavola, cm 62 x 45 La sede del Promissione, un of the first doges is to upon his election, when Museo Correr, Venezia ducato è allora meticoloso insieme di be found. -
The Coins of Venice by Peter E
The Coins of Venice by Peter E. Lewis View of Venice. (Wikimedia Commons) HE coins of Venice are a fascinating Tarea of study, especially if you have a strong Christian faith, because they nearly always have designs relating to Christi - anity. The people of northern Italy had been converted to Christianity by 400 AD, and when the barbarian invasions occurred in the 5 th and 6 th centuries, the people living near the coast fled to islands in the large lagoon at the north-west tip of the Adriatic Sea. Eventually the islands in the centre of the lagoon became the city of Venice. (Figure 1) At first Venice continued to be under Byzantine control, but as Constantinople, the capital of the Byzantine Empire, was far to the east, Venice came more under the influence of the Francs, whose empire was founded by Charlemagne (768-814 AD) and included most of Italy. By about 840 AD, however, the city had established a largely independent position between the great empires in the east and the west, and this greatly favoured its development as a centre of trade for the whole of Europe. Figure 1 – Painting of Venice by Canaletto, c. 1730, on a coin of the Cook Islands issued in 2011. Figure 2 – Denier (Italian: denaro) of Louis the Diameter 55 mms. The painting is entitled, ‘The Bucintoro returning to the Molo on Ascen sion Pious (814-840 AD). Diameter 21 mms. Obverse: Day’. The Bucintoro was the doge’s ceremonial barge on which he attended a ritual called + H LVDOVVICVS IMP. -
Venice and the Veneto Edited by Peter Humfrey Frontmatter More Information
Cambridge University Press 978-0-521-80843-9 - Venice and the Veneto Edited by Peter Humfrey Frontmatter More information ARTISTIC CENTERS OF THE ITALIAN RENAISSANCE VENICE AND THE VENETO S This volume provides an account of the art and architecture of Venice and the principal cities of the Venetian mainland empire in the enaissance, from 1450 to 1600. Thematically organized, it puts special emphasis on the relationship between art and the political, social, and religious institutions of the Venetian epublic.The creative achievements of major painters such as Bellini,Titian, Tintoretto, and Veronese and of major architects such as Sansovino and Palla- dio are viewed in the context of the particular needs and ideologies of indi- vidual and institutional patrons. Moreover, the distinctive character of Venice as an artistic center is complemented by the discussion of the art produced in the mainland cities of Padua,Treviso,Vicenza,Verona, Brescia, and Bergamo, all of which similarly used visual means to assert their own separate identities. An up-to-date account of the art of early modern Venice, with specially com- missioned essays by a team of internationally known scholars, Venice and the Veneto is also lavishly illustrated with black-and-white and color photographs. Peter Humfrey is professor of art history at the University of St Andrews. He has been a Fellow at Villa I Tatti, Florence, and a member of the Institute of Advanced Study in Princeton. In 2000, he was elected Fellow of the oyal So- ciety of Edinburgh, and in 2005 he received the award of Cavaliere dell’Ordine dell Stella della Solidarietà Italiana.