Private Palaces, Villas, and Gardens of Venice and the Veneto
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Stay Local in Venice 2-Night Pre-Voyage Land Journey Program Begins In: Venice Program Concludes In: Venice
Stay Local in Venice 2-Night Pre-voyage Land Journey Program Begins in: Venice Program Concludes in: Venice Available on these Sailings: Journey 09-Apr-2022 Pursuit 16-Apr-2022 Journey 07-May-2022 Onward 13-May-2022 Onward 21-May-2022 Onward 11-Jun-2022 Onward 18-Jun-2022 Journey 18-Jul-2022 Journey 17-Aug-2022 Onward 27-Aug-2022 Journey 06-Oct-2022 Quest 07-Oct-2022 Pursuit 10-Oct-2022 Onward 10-Oct-2022 Pursuit 17-Oct-2022 Journey 15-Apr-2023 Journey 22-Apr-2023 Onward 06-May-202 Onward 13-May-2023 Onward 10-Jun-2023 Onward 17-Jun-2023 Onward 20-Jul-2023 Quest 26-Jul-2023 Quest 04-Aug-2023 Onward 22-Aug-2023 Onward 10-Sep-2023 Onward 04-Oct-2023 Quest 04-Oct-2023 Pursuit 07-Oct-2023 Journey 07-Oct-2023 Quest 12-Oct-2023 Pursuit 14-Oct-2023 Call 1-855-AZAMARA to reserve your Land Journey Venice is—without question—one of the most beautiful and unique cities in the world. Its iconic canals infuse the city with an air of antiquity, reinforced by the presence of ornate palazzos that go back centuries. Your stay includes a walking tour of the city that showcases the great Doge’s Palace and the Bridge of Sighs, so coined because it once led unfortunate souls to their fate in the prison. You’ll also enjoy skip-the-line entrance to Venice’s most famous site, St. Mark’s Basilica. Later, when the sun sets, enjoy a quintessential gondola ride. All Passport details should be confirmed at the time of booking. -
Suspension Bridges
Types of Bridges What are bridges used for? What bridges have you seen in real life? Where were they? Were they designed for people to walk over? Do you know the name and location of any famous bridges? Did you know that there is more than one type of design for bridges? Let’s take a look at some of them. Suspension Bridges A suspension bridge uses ropes, chains or cables to hold the bridge in place. Vertical cables are spaced out along the bridge to secure the deck area (the part that you walk or drive over to get from one side of the bridge to the other). Suspension bridges can cover large distances. Large pillars at either end of the waterways are connected with cables and the cables are secured, usually to the ground. Due to the variety of materials and the complicated design, suspension bridges are very expensive to build. Suspension Bridges The structure of suspension bridges has changed throughout the years. Jacob’s Creek Bridge in Pennsylvania was built in 1801. It was the first suspension bridge to be built using wrought iron chain suspensions. It was 21 metres long. If one single link in a chain is damaged, it weakens the whole chain which could lead to the collapse of the bridge. For this reason, wire or cable is used in the design of suspension bridges today. Even though engineer James Finlay promised that the bridge would stay standing for 50 years, it was damaged in 1825 and replaced in 1833. Suspension Bridges Akashi Kaiko Bridge, Japan The world’s longest suspension bridge is the Akashi Kaikyo Bridge in Japan. -
San Geminiano Bib.Pdf
Helena Anderson, Oliver Cano, Catherine Scluzacek, Doris Zhao ART 294: Art & Architecture of Early Modern Venice San Geminiano Group Project Preliminary Bibliography Text: Boucher, Bruce and Donata Battilotti. "Sansovino." Grove Art Online. Oxford Art Online. 21 Feb. 2010 <http://www.oxfordartonline.com/subscriber/article/grove/art/T075803pg1>. Boucher, Bruce, and Iacopo Sansovino. The sculpture of Jacopo Sansovino. New Haven, CT: Yale University Press, 1991. Howard, Deborah. Jacopo Sansovino: Architecture and Patronage in Renaissance Venice. New Haven, CT: Yale University Press, 1987. Howard, Deborah. The Architectural History of Venice. Rev. New Haven, CT: Yale University Press, 2002. Huguenaud, Karine. "Ala Napoleonica in Piazza San Marco - Venice." Places, Museums, and Monuments. 31 Dec 2008. The Fondation Napoleon, Web. 21 Feb 2010. <http://www.napoleon.org/en/magazine/museums/files/Ala_Napoleonica_in_Piazza1.asp >. Lotz, Wolfgang. "The Roman Legacy in Sansovino's Venetian Buildings." The Journal of the Society of Architectural Historians. 22. 1 (1963): 3-12. Martin, Thomas. Alessandro Vittoria and the portrait bust in Renaissance Venice: remodelling antiquity. Clarendon studies in the history of art. Oxford [England]: Clarendon Press, 1998. McAndrew, John. "Sant'Andrea Della Certosa." The Art Bulletin 51.1 (1969): 15-28. McCarthy, Mary. Venice Observed. Art and places, 1. Paris: G. & R. Bernier, 1956. Munk, Judith, and Walter Munk. "Venice Hologram." Proceedings of the American Philosophical Society 116.5 (1972): 415-42. Milizia, Francesco, and Eliza Taylor tr Cresy. The lives of celebrated architects, ancient amd modern: with historical and critical observations on their works, and on the principles of the art. London: J. Taylor, 1826. Vasari, Giorgio, Betty Burroughs, and Jonathan Foster. -
A Formal Language for Palladian Palazzo Façades Represented by A
Buthayna H. Eilouti Research Department of Architectural A Formal Language for Palladian Palazzo Engineering Jordan University of Science Façades Represented by a String and Technology Recognition Device POB 3030 Irbid 22110, JORDAN Abstract. This article represents an effort to reveal a new [email protected] interpretation of the expression ‘the architectural language of Palladian designs’ that is closer to real linguistic paradigms than Keywords: architectural it usually means. Palladian designs exhibit a highly ordered and language, string recognition, well articulated formal language comprised of a finite set of visual study, design vocabulary elements in plan, elevation and volumetric treatment, computation, Palladian together with an implicit set of mathematical rules for the language, finite state automata, arrangement of these rudimentary elements. The scope of this FSA application, façade article is limited to the morphology of the façades of the first morphology nine buildings shown in the second book of Palladio’s treatise, specifically the palazzo designs that he presents in chapter three. The morphology is described in terms of a symbolic encoding system that is represented textually and graphically as a finite state automaton, the concept of which is borrowed from theories of formal languages and computation. The system helps to emphasize commonalities in façade languages and to propose a prototype for generating Palladian palazzo façade designs. The automaton-based encoding system may be developed to function as a base for a computerized façade encoder and decoder. Regular language processing and recognition Studies of formal languages, and their structural and computational representations in linguistics, computer science and related fields as well as their applications, are well- established (e.g., [Chomsky 1964]; [Aho and Ullman 1972]; [Salomaa 1973]; [Harrison 1978]; [Hopcroft and Ullman 1979]; [Linz 1997]; [Revesz 1983]). -
1. World Heritage Property Data
Periodic Report - Second Cycle Section II-City of Vicenza and the Palladian Villas of the Veneto 1. World Heritage Property Data Villa Forni Cerato, 45.653 / 11.561 2.23 0 2.23 1996 Montecchio Precalcino , 1.1 - Name of World Heritage Property Province of Vicenza , Veneto City of Vicenza and the Palladian Villas of the Veneto Region , Italy Comment Villa Godi 45.746 / 11.529 4.66 0 4.66 1996 Committee Decision 20COM VIIC: The name of the property Malinverni, Lonedo di Lugo was changed to “The City of Vicenza and the Palladian Villas Vicentino , of the Veneto” . (Note: "The") Province of Vicenza , Veneto Region , Italy 1.2 - World Heritage Property Details Villa Pisani Ferri, 45.359 / 11.369 1.6 0 1.6 1996 State(s) Party(ies) Bagnolo di Lonigo , Province Italy of Vicenza , Veneto Region , Type of Property Italy cultural Villa Pojana, 45.282 / 11.501 6.14 0 6.14 1996 Identification Number Poiana Maggiore , 712bis Province of Vicenza , Veneto Year of inscription on the World Heritage List Region , Italy 1994, 1996 Villa Saraceno, 45.311 / 11.587 0.59 0 0.59 1996 Agugliaro , Province of 1.3 - Geographic Information Table Vicenza , Veneto Name Coordinates Property Buffer Total Inscription Region , Italy (latitude/longitude) (ha) zone (ha) year Villa Thiene, 45.573 / 11.63 0.38 0 0.38 1996 (ha) Quinto Vicentino , 0 / 0 ? ? ? Province of Vicenza , Veneto 0 / 0 ? ? ? Region , Italy City of Vicenza 45.549 / 11.549 218 0 218 1994 Villa Trissino, 45.428 / 11.414 3.78 0 3.78 1996 (including 23 Sarego , Province buildings of Vicenza , constructed -
Development of Form Making of Door Knockers in Italy in the Xv-Xvii Centuries
Man In India, 96 (12) : 5677-5697 © Serials Publications DEVELOPMENT OF FORM MAKING OF DOOR KNOCKERS IN ITALY IN THE XV-XVII CENTURIES Tatiana Evgenievna Trofimova* Abstract: Decorative art items - door knockers - combine practical and esthetic features. At the same time they are a part of everyday and art culture, and can tell much about the ideology, lifestyle of the society, and the level of the artistic crafts development at the time when they were created. The goal of this research is to study the role and purpose of door knockers in the Italian culture of the XV-XVII centuries, to research door knockers that continue decorating doors of various Italian cities and towns, to study in details Italian door knockers of the golden age of the bronze-casting art through the samples from the Hermitage in Saint-Petersburg. For this research it was necessary to solve the following tasks: to put the generalized illustrative material in the historical succession, to consider form making of door knockers in accordance with the architectural styles, and symbolic meaning, to define characteristic features of the artistic expression, to reveal regularities in form making and decorating of door knockers, as well as to study and describe samples from the Hermitage in Saint-Petersburg as the best examples of Italian door knockers of the XV-XVII centuries. The following methods were used during the research: - References and analytical: reproduction of the general picture of the development of various forms of door knockers, searching for and systematization -
Palladio's Influence in America
Palladio’s Influence In America Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources 2008 marks the 500th anniversary of Palladio’s birth. We might ask why Americans should consider this to be a cause for celebration. Why should we be concerned about an Italian architect who lived so long ago and far away? As we shall see, however, this architect, whom the average American has never heard of, has had a profound impact on the architectural image of our country, even the city of Baltimore. But before we investigate his influence we should briefly explain what Palladio’s career involved. Palladio, of course, designed many outstanding buildings, but until the twentieth century few Americans ever saw any of Palladio’s works firsthand. From our standpoint, Palladio’s most important achievement was writing about architecture. His seminal publication, I Quattro Libri dell’ Architettura or The Four Books on Architecture, was perhaps the most influential treatise on architecture ever written. Much of the material in that work was the result of Palladio’s extensive study of the ruins of ancient Roman buildings. This effort was part of the Italian Renaissance movement: the rediscovery of the civilization of ancient Rome—its arts, literature, science, and architecture. Palladio was by no means the only architect of his time to undertake such a study and produce a publication about it. Nevertheless, Palladio’s drawings and text were far more engaging, comprehendible, informative, and useful than similar efforts by contemporaries. As with most Renaissance-period architectural treatises, Palladio illustrated and described how to delineate and construct the five orders—the five principal types of ancient columns and their entablatures. -
Press Release
FRICK TO PRESENT FIRST MAJOR NORTH AMERICAN EXHIBITION ON RENAISSANCE PAINTER GIOVANNI BATTISTA MORONI MORONI: THE RICHES OF RENAISSANCE PORTRAITURE February 21 through June 2, 2019 In Renaissance Italy, one of the aims of portraiture was to make the absent seem present through naturalistic representation of the sitter. This notion—that art can capture an individual exactly as he or she appears—is exemplified in the work of Giovanni Battista Moroni. The artist spent his entire career in and around his native Bergamo, a region in Lombardy northeast of Milan, and left a corpus of portraits that far outnumbers those of his contemporaries who worked in major artistic centers, including Titian in Venice and Bronzino in Florence. Though Moroni never achieved their fame, he innovated the genre of portraiture in spectacular ways. This winter and spring, Giovanni Battista Moroni (b. 1520–24; d. 1579/80), Portrait of a Young Woman, ca. 1575, oil on canvas, private collection; photo: the Frick presents the first major exhibition in North Michael Bodycomb America devoted to his work, bringing together nearly two dozen of Moroni’s most arresting and best known portraits from international collections to explore the innovations and experiments that belie his masterful illusion of recording reality. They will be shown alongside a selection of complementary objects— Renaissance jewelry, textiles, arms and armor, and other luxury items—that exemplify the material and visual world that Moroni recorded, embellished, and transformed. Moroni: Moroni, Giovanni Gerolamo Grumelli, called The Man in Pink, dated 1560, oil on canvas, Fondazione Museo di Palazzo Moroni, Bergamo–Lucretia The Riches of Renaissance Portraiture was organized by Aimee Ng, Associate Curator, Moroni Collection; photo: Mauro Magliani 1 The Frick Collection; Simone Facchinetti, Researcher, Università del Salento, Lecce; and Arturo Galansino, Director General, Palazzo Strozzi, Florence. -
The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights Emanuele Marconi, Jean-Philippe Échard
The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights Emanuele Marconi, Jean-Philippe Échard To cite this version: Emanuele Marconi, Jean-Philippe Échard. The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights. Journal of the American Musical Instrument Society, American Musical Instrument Society, 2014, 39, pp.89-142. hal-01884094 HAL Id: hal-01884094 https://hal.archives-ouvertes.fr/hal-01884094 Submitted on 29 Sep 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Organ with Paper Pipes of the Correr Museum in Venice: a Review and New Insights* Emanuele Marconi and Jean-Philippe Echard Introduction n 2007, the Direzione Regionale began a series of studies on the musical Iinstruments in the Correr Museum in Venice, whose main aim was the preservation of the collection.1 In 2011 a joint project was set up be- tween the Italian Ministry for Cultural Heritage and the Musée de la Musique, for organological and scientific studies on selected instruments of the collection. This included the organ with paper pipes dated 1494, made in Venice by Lorenzo Gusnasco “da Pavia” (fig. -
Libraries: Architecture and the Ordering of Knowledge
Libraries: Architecture and the Ordering of Knowledge English text of March 29, 2009, by J. Connors for “Biblioteche: l’architettura e l’ordinamento del sapere,” with Angela Dressen, in Il Rinascimento Italiano e l’Europa, vol. 6, Luoghi, spazi, architetture, ed. Donatella Calabi and Elena Svalduz, Treviso-Costabissara, 2010, pp. 199-228. All the texts describing ancient libraries had been rediscovered by the mid-Quattrocento. Humanists knew Greek and Roman libraries from the accounts in Strabo, Varro, Seneca, and especially Suetonius, himself a former prefect of the imperial libraries. From Pliny everyone knew that Asinius Pollio founded the first public library in Rome, fulfilling the unrealized wish of Juliuys Caesar ("Ingenia hominum rem publicam fecit," "He made men's talents public property"). From Suetonius it was known that Augustus founded two libraries, one in the Porticus Octaviae, and another, for Greek and Latin books, in the temple of Apollo on the Palatine, where the sculptural decoration included not only a colossal statue of Apollo but also portraits of celebrated writers. The texts spoke frequently of author portraits, and also of the wealth and splendor of ancient libraries. The presses for the papyrus rolls were made of ebony and cedar; the architectural order and the revetments of the rooms were of marble; the sculpture was of gilt bronze. Boethius added that libraries were adorned with ivory and glass, while Isidore mentioned gilt ceilings and restful green cipollino floors. Senecan disapproval of ostentatious libraries, of "studiosa luxuria," of piling up more books than one could ever read, gave way to admiration for magnificent libraries. -
Lionel March Palladio's Villa Emo: the Golden Proportion Hypothesis Rebutted
Lionel Palladio’s Villa Emo: The Golden Proportion March Hypothesis Rebutted In a most thoughtful and persuasive paper Rachel Fletcher comes close to convincing that Palladio may well have made use of the ‘golden section’, or extreme and mean ratio, in the design of the Villa Emo at Fanzolo. What is surprising is that a visually gratifying result is so very wrong when tested by the numbers. Lionel March provides an arithmetic analysis of the dimensions provided by Palladio in the Quattro libri to reach new conclusions about Palladio’s design process. Not all that tempts your wand’ring eyes And heedless hearts, is lawful prize; Nor all that glisters, gold (Thomas Gray, Ode on the Death of a Favourite Cat) Historical grounding In a most thoughtful and persuasive paper [Fletcher 2000], Rachel Fletcher comes close to convincing that Palladio may well have made use of the ‘golden section’, or extreme and mean ratio, in the design of the Villa Emo at Fanzolo which was probably conceived and built during the decade 1555-1565. It is early in this period, 1556, that I dieci libri dell’archittetura di M. Vitruvio Pollionis traduitti et commentati ... by Daniele Barbaro was published by Francesco Marcolini in Venice and the collaboration of Palladio acknowledged. In the later Latin edition [Barbaro 1567], there are geometrical diagrams of the equilateral triangle, square and hexagon which evoke ratios involving 2 and 3, but there are no drawings of pentagons, or decagons, which might explicitly alert the perceptive reader to the extreme and mean proportion, 1 : I :: I : I2. -
La Città Di Vicenza E Le Ville Del Palladio Nel Veneto
La presente pubblicazione è stata realizzata con la collaborazione Vicenza con le sue 26 opere palladiane, 23 monumenti del centro storico e 3 ville Un progetto editoriale dei seguenti Enti: suburbane, è entrata a pieno titolo nel 1994 nella Lista del Patrimonio Mondiale dell’Ufficio Unesco dell’Umanità. I monumenti palladiani hanno conferito alla realtà urbana nel suo complesso Comune di Vicenza Direzione Regionale per i beni culturali e paesaggistici del Veneto una singolare unicità, in forza della loro emergenza architettonica e in virtù delle Soprintendenze per i beni storici, artistici ed etnoantropologici relazioni che intercorrono tra tali opere e il loro intorno costruito. del Veneto Nel 1996 il riconoscimento dell’UNESCO è stato esteso ad altre 21 ville di Andrea Soprintendenze per i beni architettonici e paesaggistici del Veneto Palladio sparse nel territorio veneto. NEL VENETO DI VICENZA E LE VILLE DEL PALLADIO LA CITTA’ Regione del Le relazioni di dialogo tra i monumenti palladiani e il paesaggio veneto costituiscono Veneto un dato forte ed emergente, la cui esemplarità assume titolo di valore universale. L’influenza dell’opera palladiana ha, infatti, determinato per i secoli successivi un riferimento irrinunciabile per l’architettura di tutto il mondo. Le ville venete costituiscono un patrimonio che nel suo insieme è testimonianza altissima di una civiltà e di una cultura – non solo ovviamente artistica e architettonica – da proteggere, da conservare, da valorizzare. Testi, fotografie, ricerca iconografica, Provincia di Provincia