La Serenissima: , ‘Jewel of the Adriatic’

9 OCT – 23 OCT 2014 Code: 21432

Tour Leaders Em. Prof Bernard Hoffert

Physical Ratings

A detailed history of Venice visiting galleries, museums, churches & private palaces. Byzantine , Giotto's Padua, Vicenza and attend a performance of 'Don Giovanni' at the famous La Fenice!

Overview Tour Highlights

It is the city of mirrors, the city of mirages, at once solid and liquid, at once air and stone. Erica Jong, Shylock's Daughter (1987): formerly titled Serenissima

This tour is limited to 18 participants

Enjoy learning about the history of Venice from a highly experienced tour lecturer, Emeritus Professor Bernard Hoffert. Bernard an art historian and artist; is the former World President of the International Association of Art-UNESCO, and Associate Dean of the Faculty of Art Design and Architecture at Monash University. He established the programs in art and design at Monash’s Centre in Prato, Italy. Chart the development of Venetian painting through visits to the Academia, Correr Museum, and a number of churches; view works by Giovanni Bellini, Giorgione, Titian, Tintoretto, Veronese and Tiepolo. Gain insights into the riches of Venetian aristocratic life with visits to private palaces including the Palazzo Albrizzi and Palazzo Pisani Moretta. Learn about the development of Venice's inimitable luxury textiles at the workshop of Luigi Bevilacqua and in the Rubelli Textile Collection. Study Venice's influence upon famous foreign writers like Lord Byron and John Ruskin with Gregory Dowling, Professor of American Literature at the University of Venice. Savor lunches at 's Locanda Cipriani, made famous by Ernest Hemingway, and at John Ruskin's abode, Pensione La Calcina. Enjoy Mozart's masterpiece Don Giovanni at Venice's famous La Fenice and a private performance and reception by Rosemary Forbes-Butler in her palazzino. View Ravenna's magnificent Byzantine & Giotto's masterly frescoes in Padua's Scrovegni Chapel. Study the superb architecture of Andrea Palladio during visits to his Venetian churches, the Teatro Olympico and his palaces in Vicenza, and his Villa Maser, Villa Rotonda and Villa Foscari. Discover Venice's very early history on the lovely islands of Torcello, Burano and Murano. View modern art at the Peggy Guggenheim Collection and visit the Venice Architectural Biennale held in the Arsenale (medieval shipyards). Drive through the awesome landscapes of the Dolomites to understand how Venetian merchants transported Eastern trade goods to the wealthy North.

15 DAYS IN VENICE

Spend 15 days based in the charming 4-star Hotel Giorgione, ideally located in the Cannaregio district within easy walking distance of the Rialto, Ca' d'Oro and Piazza San Marco.

Overview

Professor Bernard Hoffert offers a comprehensive, multi-layered survey of Venice both within the city and on excursions to the islands of Murano, Burano and Torcello, Byzantine Ravenna, Giotto's Padua, classical Vicenza, and Palladio's classic villas - the Rotonda, the Villa Barbaro (Veronese interior), and the masterly Malcontenta on the Brenta Canal. At Venice's exquisite Ca' d'Oro and on private visits to sumptuous palaces like the Pisani Moretta and the Gothic Corner Spinelli we explore the culture of Venice's great families. The Palazzo Corner Spinelli's precious Rubelli textile collection illustrates how manufacturing families prospered; at a private visit to the Bevilacqua family's workshops you'll see how these arts persist. You'll explore how the Venetian elite created Venice's image as 'Jewel of the Adriatic' through St Mark's rich mosaics, Titian's, Bellini's and Tintoretto's masterpieces in grand churches like San Giovanni e Paolo and the Frari and in the Scuola Grande di San Rocco, and through architectural gems like the Miracoli and Palladio's San Giorgio Maggiore and Il Redentore. The aforementioned artists' paintings in the Accademia, and the museum's priceless Giorgiones, Veroneses, Carpaccios and Tiepolos express how painters fostered Venice's unique image through lustrous light and rich painterly colour; Sansovino's monumental, recently restored Library of St Mark and the outstanding Correr Museum amplify and enrich your view. You listen to Don Giovanni at La Fenice, an (optional) evening mass at Saint Mark's and Rosemary Forbes-Butler's special private performance in her palazzino to understand music's contribution to Venice's inimitable, otherworldly, impossibly lustrous image that inspired the world. A special literary day at the Ca' Rezzonico where Robert Browning and Elizabeth Barrett-Browning lived, John Ruskin's historic Pensione La Calcina, where you enjoy lunch, Lord Byron's Mocenigo Palace and the Armenian island of San Lazzaro where he studied Armenian (1816) will mark how Venice inspired foreign writers. We also enjoy lunch at the famous Locanda Cipriani and afternoon tea at Caffè Florian. The Peggy Guggenheim and Venice Architectural Biennale at the medieval Arsenale shipyards signal Venice's abiding role in world culture. A journey to into the awesome Dolomites contrasts excitingly to Venice's glassy, watery world.

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Leaders Em. Prof Bernard Hoffert

Art historian & artist, former World President of International Assoc. of Art-UNESCO, Assoc. Dean, Monash University. Established Monash art & design programs in Prato, Italy.

Bernard Hoffert is Emeritus Professor in the Faculty of Art Design & Architecture at Monash University. He was formally Associate Dean in the Faculty of Art and Design, with responsibility for the Faculty's Higher Degree by Research program and the Faculty's International and External profile. He headed five departments while at Monash including the art school. He was the World President of the International Association of Art-UNESCO (1992-95) and remains an Honourary President; he has been Honorary President of the Asia-Pacific Regional Council of the International Association of Art- UNESCO and has continued involvement with UNESCO through the International Society for Education through Art (InSEA). He has been a member of the Global Advisory Board of the Human Dignity and Humiliation Studies Network, Columbia University since 2006 and a member of their Research Committee. He was Vice President of the Academic Board of Monash University (2008-2010). He has been a member of the Review Boards of the Art Education Research Journal, Melbourne University (2004-12), the Art Education Australia Research Journal (2004-12), and a member of the Monash Asia Institute Publication Board (MUP) from 2001-11. He has been a member of the Executive Committees of the Australian Council of University Art and Design Schools (ACUADS) and Art Education Australia (AEA), and coordinated AEA's research development. He has also contributed to standing committees of Art Education Victoria and the National Association of the Visual Arts.

Bernard first joined ASA in 1981, and is ASA's second longest standing group leader/lecturer. He has led over 50 tours to Europe, including programs to Italy, France, Spain, Eastern Europe and the United Kingdom. He has led ASA tours to most regions of Italy, including Lombardy, the , Tuscany, Umbria, Lazio (Rome) and Sicily, and has a deep knowledge of the rhythms of Italian art history and Italy's profound contribution to the Western tradition. Bernard has nurtured ASA's long and fruitful relationship with Monash University, and has played a key role in the great success of Monash University's Centre in Prato, near Florence; ASA assisted Monash in developing this centre and Bernard established the flourishing Monash Art and Design undergraduate and research programs at Prato.

Bernard also has a long involvement with India and has travelled extensively from the Himalayas in the north to the southern most tip of the subcontinent. He wrote the section on India in the 1987 edition of Art and Diversity (Longman) and has exhibited his paintings and presented his poetry at the All India Fine Arts and Crafts Society Gallery in Delhi; his paintings are in several Indian collections. He has participated in art symposia and conferences in India and has lectured at the National Institute of Design in Ahmedabad. His research has been published in the Indian journal Design Plus and his research on craft revival in India has been published by UNESCO and the Network of Human Dignity and Humiliation Studies. He contributed a chapter to the Indian text, Design Education: Tradition and Modernity, published late 2007.

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Itinerary The detailed itinerary provides an outline of the proposed daily program. Participants should note that the daily activities described in this itinerary may be rotated and/or modified in order to accommodate changes in museum opening hours, flight schedules etc. Meals included in the tour price are indicated in the detailed itinerary where: B= breakfast, L=lunch and D= evening meal.

Venice - 14 nights Day 1: Thursday 9 October, Arrive Venice Orientation Walk Welcome Drinks

Group members travelling on the ASA ‘designated’ flight are scheduled to arrive at Venice’s Marco Polo Airport in the mid-afternoon. On arrival you will be transferred to your hotel by private water taxi. If you are travelling independently, you should meet the ASA group at the Hotel Giorgione. ASA staff can also arrange an independent transfer for you. After check-in we commence our program with a short orientation walk followed by welcome drinks at our hotel. (Overnight Venice)

Day 2: Friday 10 October, Venice Piazza San Marco and Church of St Mark’s Biblioteca Marciana Correr Palace and Museum Church of San Zaccaria

Our program begins in Piazza San Marco. We shall study the square and the façades of its remarkable buildings: San Marco, the Torre dell’ Orologio, the Procuratie, the Campanile and Loggetta, Sansovino’s Library, the Mint and the Doges’ Palace. We will focus on the development of the republic’s political core, its institutions and aspirations, and their expression in art and culture, from the Byzantine style of San Marco to Renaissance Classicism and Sansovino’s vision for this most beautiful of all city squares. The ethereal interior of the great church of San Marco will be explored to understand the evolution of the mosaics which cover its domes, arches and walls and how they echo a medieval vision of heaven.

We make a special visit to the recently restored Biblioteca Marciana, (National Library of St Mark’s: 1486 – 1570) a masterpiece initiated by Jacopo Sansovino (1486 – 1570) and completed by Vincenzo Scamozzi (1548 – 1616).

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We next explore the Correr Museum, located in a palace above the colonnades of St Mark’s Square. Built by Napoléon when he occupied Venice and used, before Italian unification, by 19th century Venice’s Habsburg rulers, it then became the Venetian residence of the King of Italy. Today as the Correr Museum it houses an eclectic collection of intriguing memorabilia that offers fascinating insights into the art and history of Venice. The focus of our visit will be the magnificent state rooms that have recently been opened to the public after extensive restoration.

Our last visit for today is to the beautiful church of San Zaccaria, dedicated to St. Zacharias, the father of John the Baptist, whose body it purportedly contains. The present church was built in a mixture of Gothic and Renaissance styles between 1444 and 1515. Antonio Gambello was the original architect. He began the building in the Gothic style, but the great Venetian early Renaissance architect, Mauro Codussi (1440–1504), completed the upper stories of the façade and the upper parts of the interior. The church’s apse is surrounded by an ambulatory lit by tall Gothic windows, a feature typical of Northern European church architecture that in Venice is manifest only in San Zaccaria. The church has one of the most famous works by Giovanni Bellini, the Madonna Enthroned with Child and Saints (1505). (Overnight Venice) B

Day 3: Saturday 11 October, Venice Cathedral of Santa Maria Assunta and Santa Fosca, Island of Torcello Archaeological Museum, Torcello Lunch at the historic Locanda Cipriani, Torcello Island of Burano Island of Murano Optional Evening Mass at St Mark’s

This morning we walk to the Fondamente Nuova to take the ferry to the island of Torcello; we shall return via Burano and Murano. Although Torcello is much visited it is still amazingly peaceful. Much of the island is a nature reserve, accessible only on the walking paths. First settled in the 5th century, before the local population moved to the Rivo Alto (Rialto) in the centre of the lagoon, Torcello may once have had a population of around 20,000 souls. Eventually malaria killed much of the population, and the survivors left it. Buildings were plundered for building material so that little remains of its once splendid palaces, churches, and monasteries; it is now a lovely dreamy backwater.

Torcello’s cathedral, Santa Maria Assunta, was built in 639. It has a tall 11th century bell tower (campanile) that dominates the island’s profile. Within are stunning Byzantine mosaics from the 11th to 13th century. Above the apse is a fine image of the Virgin in a gold field and below her the Apostles. The Last Judgment on the west wall is particularly impressive; the angels trumpeting to awaken the dead are masterful. The cathedral has a fine inlaid floor and an old iconostasis (altar screen). Next to the cathedral is the 11th century centrally planned Church of Santa Fosca, its nave surrounded by a 5-sided portico. Across from the cathedral is the small Torcello Archaeological Museum housed in 14th century mansions that were once the seat of the government. It houses medieval artifacts, mostly from the island, and archeological finds from the Paleolithic to Roman period discovered in the area of Venice. In the courtyard is a large stone throne known as ‘Attila’s Throne’.

After exploring the two churches and the archaeological museum we shall walk a short distance to the famous Locanda Cipriani for a lunch to welcome you to the program. Locanda Cipriani was founded by Giuseppe Cipriani and is still owned by the Cipriani family. Giuseppe Cipriani, the world famous founder of Harry’s Bar in Venice, Hotel Cipriani (Venice) and Villa Cipriani in Asolo, fell in love with Torcello in the late 1920s. In 1934 He bought a modest wine and oil shop there. He transformed the shop into an inn (locanda) featuring just a few, beautifully appointed guestrooms and a pleasant restaurant surrounded by a garden of flowers and vegetables and boasting an unparalleled view of Torcello’s churches.

The Locanda became a literary legend after Ernest Hemingway wrote Across the River and Through the Trees during his stay there. He devoted whole pages of his novel to Torcello. As a result, the Locanda became a destination of choice for stars and celebrities in the post-War era. Right from the start Giuseppe’s wife’s sister Gabriella helped him run the Locanda. In the early 1980s Giuseppe’s daughter Carla took over the business, involving her son Bonifacio Brass in the venture. Bonifacio Brass now owns and manages Locanda Cipriani.

After lunch we shall take the ferry to the pretty island of Burano with its multi-coloured houses, and then to Murano. This island was first settled in the 6th century. It garnered wealth from selling salt and fish, but slowly developed as the Republic’s glass manufacturing centre. It is famous for its glass and for the beautiful Byzantine Church of Santa Maria e San Donato with its fine arcade surrounding the apse; it is one of the oldest churches in the lagoon, having been founded in the 7th century and rebuilt in the 9th century and again in 1040. After exploring Murano we return to Venice.

This evening you may wish to attend Mass at Saint Mark’s. It is very moving and the great mosaics of the domes and walls are lit for the occasion, giving you a wonderful chance to contemplate peacefully these masterpieces of late Byzantine art. (Overnight Venice) BL

Day 4: Sunday 12 October, Venice – Ravenna – Pomposa – Venice

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Sant’Apollinare in Classe, Ravenna Mausoleum of Galla Placidia, Ravenna San Vitale, Ravenna Sant’Apollinare Nuovo, Ravenna Abbey of Pomposa

This morning we drive south along Italy’s Adriatic coastal plain to Ravenna, which became capital of the Western Roman Empire in 402 AD, then of the Ostrogothic Kingdom of Theodoric in 493, and then was taken by the armies of Byzantine emperor Justinian the Great in the 6th century, becoming an exarchate of Constantinople. In this and the following century the city’s bishops embarked upon a major building program, which has left a priceless heritage of and mosaic. In 751 the Lombards took Ravenna, which ceased to be a Byzantine outpost, ceding this status to the emerging settlement of what would become Venice.

We begin by visiting Sant’Apollinare in Classe outside the city, located at what was once the coast; it was the port of Ravenna. Its light, airy basilica has a magnificent apse mosaic depicting the Transfiguration and a fine image of Saint Apollinaris, to whom the church is dedicated.

We shall then drive into town to visit the Church of San Vitale (548) and the tiny late antique Mausoleum of Galla Placidia (430). Ravenna plays a vital role in the history and art history of the transition from a pagan to a Christian Empire. When, in the 4th century Rome became difficult to defend, the Imperial court moved first to Milan and then to Ravenna. The scintillating mosaics of the little Mausoleum, like those of Santa Maria Maggiore in Rome, give a marvelous intimation of the transition from antique to early medieval modes of representation.

San Vitale is adorned with the greatest of all cycles of early Byzantine mosaics from the period of Emperor Justinian (483-565), its vivid green colouring contrasting to the strong blues of the mausoleum of Galla Placidia. Among the masterpieces in San Vitale are the scintillating hieratic courtly images of Justinian and his wife Theodora on the apse walls. We shall also visit the Byzantine church of Sant’Apollinare Nuovo. It has mosaics crafted during the reign of Theodoric the Ostrogoth, an Arian, which were changed by the Orthodox Byzantines. You will explore the theological differences between the Arians and orthodox Christians that led to the Council of Nicea (325) and its great product, the Nicene Creed.

In the late afternoon we drive north again through the delta country of the Po and Adige rivers to the Abbey of Pomposa, home to some remarkable fresco cycles of the 14th century. This fine early medieval abbey has a particularly tall tower, constructed of brick in the fashion of the Lombards, who ruled Italy after the Byzantines. Lombardic brick architecture played a vital role in the emergence of Italian medieval construction methods. (Overnight Venice) B

Day 5: Monday 13 October, Venice Scuola Grande di San Rocco Bevilacqua Tessuti (Textiles) Scuola Dalmata di S. Giorgio degli Schiavoni (Santi Giorgio e Trifone) Evening Concert & Supper at the palazzino of Rosemary Forbes-Butler

We begin today at the Scuola Grande di San Rocco, which was the confraternity house of wealthy Venetians who aided plague victims; San Rocco (St Roche) is the patron of plague victims. Here we shall view Tintoretto’s most complete painting cycle. The vast corpus of huge oil canvases set into its walls rivals Michelangelo’s and Raphael’s Vatican frescoes in its size, breadth and power.

We shall next visit the fascinating luxury textile workshop of Luigi Bevilacqua. One of medieval Venice’s most important manufactures was fine textiles and Luigi Bevilacqua Ltd in the Santa Croce district has maintained this tradition, using 25, 18th century hand- operated looms; both looms and warpers were built in the peculiar Venetian style. The company’s famous archives hold more than 3,500 pattern-designs, all Bevialcqua originals, and there are warehouses and showrooms.

We move on to the Scuola Dalmata di S. Giorgio degli Schiavoni. Since the early Middle Ages, Venice had close commercial relations with coastal Croatia, Dalmatia, which became even stronger when the whole region was taken by Venice in the early 15th century. In the city, Dalmatian immigrants were called Schiavoni (‘Slavs’). They formed a brotherhood, approved by the Consiglio dei Dieci in 1451. Primarily sailors and labourers, they initially met near the church of San Giovanni di Malta. Their patron saints were Sts. George, Jerome and Tryphon, joined by St. Matthew when the brotherhood received a relic of that saint in 1502. In that period the corporation bought the former hospital of St. Catherine in the area, and restored it as its Scuola, to a design by Giovanni De Zan with a façade inspired by Jacopo Sansovino. From 1502 to 1507 the painter Vittore Carpaccio was commissioned to paint 7 panels with the lives of the patron saints of the Scuola. We shall view these lovely, luminous paintings.

This evening we visit Rosemary Forbes-Butler who has arranged a private reception and concert for us in her Venetian palazzino. Our refreshments will include prosecco (the local bubbly) and Italian canapés of the season. Rosemary, a classically trained soprano who has recorded with both Pavarotti and Michael Jackson, mingles with us and will be delighted to answer questions regarding life in

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Venice and as a singer. Following the reception, we enjoy a 40-minute concert entitled Venetian Days. The program is drawn from music composed over the centuries by Venetians or those who either worked in or were inspired by their time in Venice. The songs are introduced in English and are sung in both local Venetian dialect and other languages. (Overnight Venice) BD

Day 6: Tuesday 14 October, Venice San Giorgio Maggiore Il Redentore Afternoon at leisure

Venice’s greatest, most influential architect was Andrea Palladio (1508 – 1580). As a young man Palladio had travelled to Rome to study the architecture of antiquity. He was also deeply influenced by the writings of the Roman theorist Vitruvius. He did not, however, merely copy the proportions and decorative schemes of Roman buildings, but rather adapted these to a revolutionary spatial system that gave a new grandeur to traditional Venetian residential architecture. His designs for Venetian villas, published in his treatise The Four Books of Architecture, were emulated in myriad country houses from Europe to the Americas.

Palladio designed a number of Venetian churches, the most famous being S. Giorgio Maggiore and Il Redentore. San Giorgio sits on its own island opposite Piazza San Marco. A church was built here c. 829, dedicated to the soldier saint. An old monastery on the site was demolished in 1516, and the monks considered building a new church by 1521. Palladio arrived in Venice in 1560, when the refectory of the monastery was being rebuilt. He made great improvements to this and in 1565 was asked to prepare a model for a new church. The magnificent shrine he designed reconciled the shape of an antique temple front to the massing of a Christian basilica, with its high central nave and side aisles. The church holds a magnificent Last Supper by Tintoretto.

We shall re-board the vaporetto for the Giudecca to visit Palladio’s masterpiece, Il Redentore, a church built to celebrate Venice’s redemption from the plague, and centre of a festival in which the Doge and his court walked across a temporary bridge to the shrine. If you compare the ‘temple front’ façade of the Redentore to San Giorgio you will see how Palladio’s reconciliation of temple and church had matured. Il Redentore also has a distinctive interior with a ‘temple’ at the east end that was designed in connection with the annual festival. The rest of the day is at leisure so you may explore Venice for yourself. (Overnight Venice) B

Day 7: Wednesday 15 October, Venice – Maser – Vicenza – Venice Villa Barbaro, Maser Teatro Olimpico, Vicenza Palladian Palaces, Vicenza Villa Rotonda, Vicenza

We leave Venice in order to spend a day exploring the villas, palaces and civic buildings of Andrea Palladio who is considered by many the most influential individual in the history of Western villa architecture. At Maser we shall visit one of Palladio’s most important villas, the Villa Barbaro. Rises in grain prices during the 16th century encouraged Venetian aristocrats to build villas on Venice’s terra firma. Villas like that at Maser were therefore working farms, unlike many of their counterparts in other parts of Italy. This beautiful house was decorated by Paolo Veronese with frescoes of theatre and pastoral scenes. Its central, residential, section echoes the style and proportions of a classical temple. Two wings that housed farm machinery and agricultural produce flank this grand central element. Two pavilions that held dovecotes in turn abut these wings, framing and thus unifying the whole façade.

At the age of 16 years Palladio, son of a Paduan stonemason, moved from Padua to the city of Vicenza where he would reside for most of his life. The majority of his villas are located in the province of Vicenza, while his palazzi (palaces) are concentrated in the city itself. We begin our visit to the city with Palladio’s famous theatre. Palladio’s Teatro Olimpico (Olympic Theatre), constructed between 1580 and 1585, is the earliest surviving enclosed theatre in the world. Its trompe-l’œil stage scenery, designed by Vincenzo Scamozzi, gives the appearance of long streets receding to a distant horizon. It was installed in 1585 for the very first performance held in the theatre, and is the oldest surviving stage set still in existence.

The Basilica Palladiana’s most notable feature is its loggia. This loggia clothed an earlier, 15th century Gothic building known as the Palazzo della Ragione. It was the seat of government and also housed a number of shops on its ground floor. When part of the building collapsed in the 16th century, Vicenza’s Council of One Hundred commissioned many architects to submit designs and selected Palladio to reconstruct the building in April 1549. Palladio added a new outer marble shell in the classical style; his loggia and a portico blanket the building’s original Gothic core. We shall also view a number of Palladio’s palace façades. Our time in Vicenza will, nevertheless, include free time to allow you further to explore its historic centre at leisure.

On the outskirts of Vicenza we shall next visit Palladio’s Villa Capra ‘La Rotonda’, built not as a functioning estate like his villa at Maser but as a retreat from the city in which theatrical entertainments took place. This strictly symmetrical villa is considered one of Palladio’s best-known legacies to the architectural world. Monumental, temple-like porticoes graces each of its four walls; these porticoes represent the four seasons, a favorite theme of Renaissance art, literature, music and architecture. The villa’s grand interior space rises

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to a majestic dome. (Overnight Venice) B

Day 8: Thursday 16 October, Venice Ca’ d’Oro Palazzo Albrizzi Palazzo Corner Spinelli: Rubelli Textile Collection Palazzo Pisani Moretta Opera: Don Giovanni at La Fenice

We devote today to understanding the development of the Venetian patrician palace. The façades of these beautiful ‘houses’, many fronting the Grand Canal, provided Venetian merchant aristocrats with a vehicle to display their wealth. Over the centuries the styles of the façades changed from Byzantine through a number of stages of Gothic to Renaissance and finally to grandiose Baroque. Although their façades changed in style, the plans of these great houses changed little, due to limits imposed by their cramped sites. Most Venetian palaces were not located on large enough plots to allow the ample interior courtyards that lit their counterparts in other cities; light had to be brought to their interiors by other means. Venetian houses therefore had large windows that lit a central spinal room (androne) running through the palace on each floor, often from canal façade to canal façade.

We begin by visiting the Ca’ d’Oro (Palazzo Santa Sofia), arguably the most beautiful of all Venetian palaces. It is one of the of Venice’s oldest palaces with exquisite, elaborate floriated Gothic arcaded façades. It has always been known as Ca’ d’Oro (golden house) due to the gilt and polychrome external decorations that once adorned its walls. It was built between 1428 and 1430 for the Contarini family, who provided Venice with eight Doges between 1043 and 1676. Its architects (and sculptors) were Giovanni Bon and his son Bartolomeo, best known for their work on the Doge’s Palace. On the Ca’ d’Oro’s ground floor a recessed colonnaded loggia gives access to the entrance hall (portego de mezo) directly from the canal. Above this colonnade is the enclosed balcony of the principal salon on the piano nobile. The columns and arches of this balcony have capitals which in turn support a row of quatrefoil windows of great delicacy; above this balcony is another enclosed balcony or loggia of a similar yet even lighter design. The palace now houses the important Franchetti art collection.

We next visit the Palazzo Albrizzi, a lovely early 17th century palace with fine frescoes, and then explore the famous Rubelli Collection of fine textiles in the Palazzo Corner Spinelli. This fine Venetian Renaissance house was once the home of the Corner family and was taken over in 1718 by the Spinelli family, silk merchants from Castelfranco. The great Renaissance architect and forerunner of Palladio, Mauro Codussi, designed the palace (1490 – 1521). Its façade, with a powerful rusticated base and large round-arched windows framed by pilasters and enlivened by whimsical trilobate balconies has not undergone substantial changes and retains its original Renaissance elegance and clarity. The magnificent façade is matched by a superb interior. The Palazzo Corner Spinelli has been the headquarters of the great Italian textile company Rubelli since 1966. The magnificent collection displayed in the palace documents the development of rich Venetian textiles since the end of the 15th century.

Our final palace visit for today is to the Palazzo Pisani Moretta. Built in the 2nd half of the 15th Century by the Bembo family, the palace became the residence of the Pisani Moretta branch of the Pisani family until 1880. The palace was renovated, modified and extended over the centuries, taking on its current aspect in the 18th Century, from which many of its interior decorations date. Baroque artists such as Tiepolo, Jacopo Guarana, Gaspare Diziani and Giuseppe Angeli decorated its rooms. It hosts an annual masquerade ball, Il Ballo del Doge, held during Carnevale. Its façade, like that of the Ca’ d’Oro, is in the Venetian Gothic floral style. Six-light mullioned windows flanked by two single windows light its main floors. The ground floor has two central pointed arched doorways opening on to the canal.

Tonight we enjoy Mozart’s great opera Don Giovanni at Venice’s famous opera house, La Fenice. The opera in two acts, with an Italian libretto by Lorenzo Da Ponte, is based on the legends of Don Juan, a fictional libertine and seducer, and was first performed by the Prague Italian opera at the Teatro di Praga in 1787. The beautiful opera house La Fenice (1792), replaced an earlier theatre of the Vernier family that had burnt down. ‘Fenice’ means phoenix, alluding to the fact that the theatre rose again from the ashes of its predecessor. It burned again in 2006 and was rebuilt. (Overnight Venice) B

Day 9: Friday 17 October, Venice Church of SS Giovanni e Paolo Santa Maria dei Miracoli Gesuiti (Santa Maria Assunta) Afternoon at leisure

This morning we visit a number of Venice’s most important churches, beginning with the great church Basilica di San Giovanni e Paolo, Dominican counterpart to the grand Franciscan Santa Maria Gloriosa dei Frari. One of the largest churches in the city it became, after the 15th century, the funeral church of Venice’s doges; twenty-five doges are buried in the church. It was built on the site of an earlier church that was demolished in 1333, and took until 1430 to complete. The vast interior, lit by high Gothic windows, houses a treasure

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trove of Venetian art, including paintings by Giovanni Bellini, Cima Conegliano, Lorenzo Lotto, Vivarini and Veronese. Outside is the equestrian statue of the Condottiero Colleoni, a Captain General of the Republic, by Andrea del Verrochio (1483).

We next visit a small Renaissance gem, Santa Maria dei Miracoli, one of the finest examples of early Venetian Renaissance architecture, especially noted for the colored marble inlays on its walls. The exterior walls are articulated and organized by a false colonnade rising to a false arcade. A grand semicircular pediment caps its façade. This small masterpiece (1481 – 1489) was designed by Pietro Lombardo to house a miraculous icon of the Virgin Mary.

The last church we visit this morning, the Gesuiti (Santa Maria Assunta), is a monumental edifice constructed for the Jesuits in 1715. It contains a magnificent Martyrdom of St. Lawrence (1557) by Titian and an Assumption of the Virgin (1555) by Tintoretto.

The afternoon is at leisure so that you may relax or explore the city for yourself. (Overnight Venice) B

Day 10: Saturday 18 October, Venice Literary Venice with Professor Gregory Dowling Armenian Monastery, San Lazzaro (San Lazzaro degli Armeni) Lunch at Pensione La Calcina Ca’ Rezzonico Palazzo Mocenigo

Today Professor Gregory Dowling of the University of Venice and author of three novels set in Italy leads us on a literary tour of Venice. Gregory studied English at Christ Church, Oxford, before settling in Venice to teach, write and study. He has researched and taught about foreign writers in Venice for many years.

We begin at the Armenia Monastery, San Lazzaro (San Lazzaro degli Armeni), where Byron learnt Armenian. A leper colony and a quarantine station were founded on this remote island in the 12th century. Abandoned in the 16th century, in 1717 it was given by the ruling council of Venice to Mekhitar of Sebastia and his newly formed congregation of ‘Mekhitarist’ Benedictine monks of the Armenian Catholic Church. They built a monastery, restored the island’s old church, and enlarged the island to about four times its original area. Mekhitar of Sebastia was a formidable scholar and immediately set the Mekhitarist Order in the forefront of Oriental studies: the monastery published Armenian historical, philological and literary works and related material, renowned for their scholarship and accuracy as well as for the beauty of the editions, on its own multilingual presses. S. Lazzaro houses a 150,000-volume library, as well as a museum with over 4,000 Armenian manuscripts and many Arab, Indian and Egyptian artifacts. It also has a long tradition of hospitality to scholars and students, among them Lord Byron, who studied Armenian there during much of the year 1816.

After exploring San Lazzaro we have lunch at Pensione La Calcina on the Zattere, made famous by John Ruskin (1819 –1900), who stayed there in 1877. On 13 February of that year, Ruskin wrote to Mrs Arthur Severn: ‘

…The Grand Hotel was really too expensive; I was getting quite ruined so I came away to a little inn fronting the Giudecca, and commanding sunrise and sunset both, where I have two rooms for six francs a day, instead of one for twelve. Also, which I find a great advantage, I look along the water instead of down on it, and get perfectly picturesque views of boats instead of masthead ones, and I think I shall be comfy’ (The Complete Works of John Ruskin, Edited by E.T. Cook & Alexander Wedderburn, London, George Allen, Vol. XXIV, p.xxxvi).

After this enjoyable meal we walk to the Ca’ Rezzonico, the grand 17th century palace designed for Filippo Bon by the great exponent of the Venetian Baroque, Baldassare Longhena (1598 – 1682). Now a museum of 18th century Venice, in the 19th century it was home to Robert Browning who died here. At this time his only son, the painter Robert Barrett Browning, owned the palace. The American artist John Singer Sargent had a studio here for a time and in the 20th century it was rented for a while by Cole Porter. The palace has magnificent frescoes.

Our final visit is to the Palazzo Mocenigo, in which Byron lived a particularly dissolute life between 1817 and 1819. His biographer Peter Quennell describes his life there:

‘among his horde of quarrelsome servants and grasping mistresses, [it] suggests a bohemianism verging on extreme disorder’. (Quennell, P., Byron in Italy, London, Collins, 1974, p.320)

(Overnight Venice) BL

Day 11: Sunday 19 October, Venice – Dolomites – Treviso – Venice Lake Misurina Lunch at Malga Misurina

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Treviso

Today we drive up into the Dolomites to explore the awesome alpine landscapes that appear as the backdrop to many Venetian paintings. Venice’s trading wealth stemmed from its location at the head of the Adriatic close to the mountain passes that led through the Alps to wealthy Central and Northern Europe; it stood at the intersection between the Mediterranean and European trade systems. We shall drive up to Lake Misura at an altitude of 1,754 metres in the region of Cadore; Titian was born in Pieve di Cadore in 1477 to Gregorio Vecelli, a distinguished councilor and soldier descended from local counts, and his wife Lucia.

Two different legends are associated with Lake Misurina. In the first, made famous in a song, Il lago di Misurina by Claudio Baglioni, Misurina, a capricious, spiteful little girl lives in the palm of her gigantic father, King Sorapiss’s hand. As he tries to obtain Queen of Monte Cristallo’s magic mirror for her, he is transformed into a great mountain. During the last stages of his transformation he sees his daughter fall and her tears flow like rivers and form the lake beneath which she will lie forever with the mirror. In a second tale, a wealthy Venetian merchant sends his daughter Misurina into the mountains in order to avoid a prophecy that she would give away all the family’s possessions. The girl dies, and her lover who had been deceived when her father sent her away, recognizes her on the point of death. (Overnight Venice) BL

Day 12: Monday 20 October, Venice Galleria dell’Accademia Santa Maria Gloriosa dei Frari Afternoon tea at Caffé Florian

Today we visit the Accademia, which holds the most extensive collection of Venetian paintings. In this gallery we can chart the continuity and change that Venetian art underwent from medieval to Rococo periods, through major works by artists such as Paolo Veneziano (c.1333–c.1358), Giovanni Bellini (1430-1516), Giorgione (1477/8–1510), Titian (c. 1488/1490–1576), Paolo Veronese (1528–1588), Tintoretto (1518-1594), Giambattista Tiepolo (1696–1770), and others. The collection includes Giorgione’s The Tempest, Titian’s Presentation of the Virgin in the Temple, Tintoretto’s Miracles of St Mark, and Veronese’s Feast in the House of Levi. We shall explore how the Venetians reinterpreted the new geometric spatial construction – perspective – and classical proportion systems developed by the Florentines. We shall see how they used the medium of oils to introduce sumptuous colour and to bathe their scenes in a golden light, derived partly from the Byzantine mosaic tradition and partly from the exquisite light of their lagoon city.

We visit the great Franciscan Church of Santa Maria Gloriosa dei Frari that houses some of the most significant works of the Venetian masters from the 14th to the 17th century, including Titian’s Assumption, and his Pesaro Altarpiece. Painting styles range from a decorative Byzantine influence to Renaissance classicism.

We end the day by taking afternoon tea at the wonderful Caffé Florian in St Mark’s Square. It is Italy’s oldest café, opened in 1720. Its interior is frescoed and it has its own orchestra, which competes with that of the Gran Caffé Quadri (1775) opposite. (Overnight Venice) B

Day 13: Tuesday 21 October, Venice – Padua – Venice Scrovegni Chapel (Giotto) Sant’Antonio Donatello, Equestrian of Gattamelata Villa Malcontenta (Villa Foscari), Brenta

Today we drive south to the city of Padua. We first visit the Scrovegni Chapel (Arena Chapel), which derives its names from the fact that the money lender, Enrico Scrovegni, built the chapel on the site of Padua’s Roman arena (amphitheatre), whose walls still surround the precinct; Scrovegni built the chapel to atone for the sin of usury. The great artist Giotto de Bordone 1266/7 – January 8, 1337 decorated the chapel in 1303 – 1305 with one of the most important fresco cycles in Western art. The chapel has no interior architectural articulation, which suggests Scrovegni intended that it be decorated with frescoes. Giotto’s Life of the Virgin and Life of Christ and his grisaille Virtues and Vices form a watershed in the evolution of Italian art, for they are monumental and naturalistic, and in them human action takes place in three dimensional space that is energized by the gestures of Giotto’s figures.

We next visit the great complex of Sant’Antonio, dedicated to St. Antony of Padua. This huge domed basilica resembles the architecture of St Mark’s; both derive from Byzantine domed churches. St Antony is a treasure trove of wonderful art works, not least Donatello’s magnificent high altar with its illusionistic reliefs depicting events in the life of the saint. Outside the church is Donatello’s magnificent equestrian statue (1453) of the Renaissance condottiero (mercenary leader) Erasmo da Narni, nick named ‘Gattamelata’. He served the Republic of Venice, which ruled Padua at the time. This equestrian statue emulated the equestrian portraits of antiquity and directly or indirectly inspired all Renaissance and post-Renaissance equestrian statues, including 19th century equestrian portraits of imperial dignitaries in Australia.

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We return to Venice via one of Andrea Palladio’s most beautiful villas, the Villa Foscari (Malcontenta), built for the brothers Nicolo and Luigi Foscari on the banks of Brenta canal (1558 – 1560). The Villa received its nickname La Malcontenta, when the spouse of one of the Foscaris was locked up here because she allegedly didn’t live up to her conjugal duties. The villa has a massive temple portico that fronts a superb interior formed by two barrel vaulted rooms that intersect at right angles, with subsidiary corner rooms. Palladio’s use of light is particularly masterly in this lovely villa. (Overnight Venice) B

Day 14: Wednesday 22 October, Venice Peggy Guggenheim Collection Venice Architecture Biennale, Arsenale Farewell Evening Meal

We begin today with a visit to the Palazzo Venier dei Leoni which holds the Peggy Guggenheim Collection. Peggy Guggenheim (1898-1979), niece of Solomon R. Guggenheim, accumulated this remarkable collection of 20th-century art. The Venice Guggenheim is one of the most significant modern art galleries in Italy. Its holdings embrace Cubism, Surrealism and Abstract Expressionism. It includes notable works by Picasso, Braque, Duchamp, Léger, Dalí, Magritte, Picabia, Severini, de Chirico, Brâncusi, Mondrian, Kandinsky, Miró, Giacometti, Klee, Arshile Gorky, Alexander Calder and Max Ernst.

After viewing the Peggy Guggenheim collection we take the vaporetto to Venice’s historic shipyards, the Arsenale, and the adjacent Biennale gardens to visit the Venice 2014 Architectural Biennale. This International Architecture Exhibition was established in 1980 to compliment, in alternating years, Venice’s famous Biennale of Art. In 2014 the Biennale will be hosted in the Central Pavilion at Biennale Gardens, where 29 pavilions of participating countries also stand, and in the Arsenale area (Corderie, Artiglierie, and Gaggiandre). This fascinating exhibition displays projects of the very latest in architectural design. The exhibition not only shows buildings (models, plans, etc.) but an extraordinary variety of other types of projects (environments, video, film, installations, etc.)

Tonight we remeet for our group farewell meal at a local restaurant. (Overnight Venice) BD

Day 15: Thursday 23 October, Depart Venice Airport transfer for participants departing on the ASA ‘designated’ flight

Our tour ends today. Participants travelling on the ASA ‘designated’ flight will transfer by private water taxi to the Venice Marco Polo airport to take their flight home to Australia. Alternatively you may wish to extend your stay in Italy. Please contact ASA if you require further assistance. B

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Accommodation 15 Days in Venice

Hotel Giorgione SS. Apostoli, 4587 - 30121 Venice, Italy www.hotelgiorgione.com

4-star hotel located in the Cannaregio district within easy walking distance of the Rialto, Ca' d'Oro and Piazza San Marco.

Accommodation is in twin share. Double rooms (for single use) may be requested – and are subject to availability and payment of the double (as single) supplement. Further information on the hotel will be provided in the ‘Tour Hotel List’ given to tour members prior to their departure.

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Tour Map

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Tour Price & Inclusions AUD $6710.00 Land Content Only - Early-Bird Special: book before 31 March 2014

AUD $6910.00 Land Content Only

AUD $1750.00 Double (as single) Supplement

For competitive Economy, Business or First Class airfares and/or group airfares please contact ASA for further information.

Tour Price (Land Content Only) includes:

Accommodation in twin-share rooms with private facilities in the 4-star Hotel Giorgione Breakfast daily, lunches and evening meals as indicated in the itinerary where: B=breakfast, L=lunch and D=evening meal Drinks at welcome and farewell meals. Other meals may not have drinks included. Transportation by air-conditioned coach between cities and use of public transport in Venice Airport-hotel transfers if travelling on the ASA 'designated' flights. Lecture and site-visit program Porterage of one piece of luggage per person at the hotel (not at airport) Tour Handbook Entrance fees Performance of Don Giovanni, at La Fenice Use of audio headsets during site visits Tips for the coach driver, local guides and restaurants for included meals.

Tour Price (Land Content Only) does not include:

Airfare: Australia-Venice, Venice-Australia Personal spending money Airport-hotel transfers if not travelling on the ASA 'designated' flights Luggage in excess of 20 kg (44 lbs) Travel insurance

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Physical Endurance & Practical Information Physical Ratings

The number of flags is a guide to the degree of difficulty of ASA tours relative to each other (not to those of other tour companies). It is neither absolute nor literal. One flag is given to the least taxing tours, six to the most. Flags are allocated, above all, according to the amount of walking and standing each tour involves. Nevertheless all ASA tours require that participants have a good degree of fitness enabling 2-3 hours walking or 1-1.5 hours standing still on any given site visit or excursion. Many sites are accessed by climbing slopes or steps and have uneven terrain.

This 15-day tour involves:

Exploring Venice on foot Extensive walking (up to 5km per day) and standing during museum and other site visits Using Venice's public vaporettos and motorboats. You must be able to carry your own hand-luggage. Hotel porterage includes 1 piece of luggage per person. Note: this tour includes the use of audio headsets which amplify the voice of your guide (despite noisy surroundings). This technology also allows you to move freely during site visits without missing any information.

It is important to remember that ASA programs are group tours, and slow walkers affect everyone in the group. As the group must move at the speed of the slowest member, the amount of time spent at a site may be reduced if group members cannot maintain a moderate walking pace. ASA tours should not present any problem for active people who can manage day-to-day walking and stair- climbing. However, if you have any doubts about your ability to manage on a program, please ask your ASA travel consultant whether this is a suitable tour for you.

Please note: it is a condition of travel that all participants agree to accept ASA's directions in relation to their suitability to participate in activities undertaken on the tour, and that ASA retains the sole discretion to direct a tour participant to refrain from a particular activity on part of the tour. For further information please refer to the ASA Reservation Application Form.

Practical Information

Prior to departure, tour members will receive practical notes which include information on visa requirements, health, photography, weather, clothing and what to pack, custom regulations, bank hours, currency regulations, electrical appliances and food. The Department of Foreign Affairs & Trade website has advice for travellers see: www.smartraveller.gov.au

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Booking Conditions

Make a Reservation

ASA RESERVATION FORM Please complete the ASA RESERVATION FORM and send it to Australians Studying Abroad together with your deposit of $500.00 per person in cash or cheque (payable to Australians Studying Abroad). It is important that you read the Terms and Conditions at this stage, and that you sign the reservation form. If you are booking within 75 days of the tour full payment is required. Refund of deposit, less $385.00 service fee ($350.00 + $35.00 GST) per person, will be given when cancellation is made before Friday 30 May 2014. Your deposit is non-refundable after this date. For further cancellation conditions please refer to the section entitled 'TERMS & CONDITIONS'.

Travel Insurance

It is a condition of travel that you are covered by some form of international travel insurance. Note, travel insurance may not cover costs incurred due to a pre-existing illness or other conditions. Your insurance can be arranged through ASA. All participants must provide no later than 75 days prior to the commencement of the program: a copy of your travel insurance certificate the emergency telephone no. of your insurance company

Passport Details

All participants must provide no later than 75 days prior to the commencement of the program a photocopy of the front page of their current passport.

Double (as single) Supplement

Payment of this supplement will ensure accommodation in a double room (for single use) throughout the tour. The number of double rooms available for single use is extremely limited. People wishing to take this supplement are therefore advised to book well in advance.

La Serenissima: Venice, ‘Jewel of the Adriatic’ August 2014 Page 16

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ASA Reservation Form

Please complete one form in block letters and sign, for each participant. Additional copies may be requested from ASA or this form may be photocopied (both sides please). Parental signature is required for participants under 18 years of age. Please mail this form with the appropriate deposit (cheques should be made payable to Australians Studying Abroad P/L) to: P.O. Box 8285, ARMADALE, VICTORIA, 3143. On receipt of this reservation form and deposit, ASA will process your booking and send you tour confirmation. Tour Name

Air Arrangements Please circle your preference: A. I wish ASA to book my airfare using the designated flight from Australia to connect with the arrival group transfer. B. I wish ASA to book my airfare, however they will be independent of the group travel arrangements. I wish to depart from (city in Australia) on (date)

The following is an indication of the itinerary I wish to follow (eg-Melbourne to Amsterdam for 5 days then to Paris for 4 days, then to join the tour starting in Rome). Your ASA travel consultant will be in contact with you to discuss your options.

C. I will be arranging my air fare independently and taking the Land Content Only option.

Tour Accommodation Please book the following accommodation: (Circle your preference) A. As included in the basic tour price. Please indicate your preference: [ ] Twin-bedded room or [ ] Double room** ** Many hotels do not provide double-bedded rooms, in this case you will be confirmed in a twin-bedded room.

I wish to share with: Note: Twin-share accommodation for participants travelling without a companion can usually be arranged provided adequate notice is given to ASA. In the event that this is not possible, payment of the single supplement will be required.

B. In single room accommodation. (Supp. $ )

ADDITIONAL ARRANGEMENTS Should you require additional travel arrangements, such as rail, accommodation, hire car or tours, please contact your ASA consultant.

Correspondence The fastest way for ASA to correspond with you about your travel plans is by email. Please indicate your preferred method of receiving correspondence from ASA [ ] Postal Mail [ ] Email Address (please print clearly): ______

HOW DID YOU FIND OUT ABOUT ASA ? Would you kindly circle from where you first heard about ASA and the tour you are booking on: • ASA Mailing List • Stephen Crafti • UWA Extension • Friend/word of mouth • Look Magazine • University Department • Kenneth W. Park • NGV Magazine • National Trust Magazine • Susannah Fullerton • Gardening Australia Magazine •La Trobe University Alumni. Member No.______• Sabrina Hahn • Open Gardening Scheme • John Patrick • ABC Radio • Richard Heathcote/Carrick Hill • Friends of the Royal Botanic Gardens, Melbourne Other

ASA Reservation Form

APPLICANT DETAILS ** WARNING: All travel documents must be issued with your correct passport name!** TITLE K Mr K Mrs K Ms K Miss K Dr K Other FIRST NAME (as in passport) Preferred FIRST NAME MIDDLE NAME (as in passport) SURNAME (as in passport) POSTAL ADDRESS STATE POSTCODE TEL. (AH) ( ) TEL. (BH) ( ) FAX ( ) Mobile Tel: E-MAIL address Date of birth: GENDER Male K Female K Smoker K Non-Smoker K

It is important that all information regarding dietary requests is correct. Please complete the following carefully: Airline meals: K Standard K Vegetarian (incl. eggs & dairy) K Vegetarian (no eggs or dairy) K Other (specify) Meals during the tour: Please tick (¸) if you require a standard meal on tour - no special dietary requirements: K Standard tour meals Please tick (¸) if you CAN NOT eat any of the following: Kfish Kpoultry Kred meat Kdairy product s Keggs Kpork Please specify if you have any further dietary requirements or food allergies:

Frequent Flyer Membership # (if taking group airfare): Name of Airline Airline Seat preference (please note request only):

PASSPORT DETAILS Increased world security requires that your travel documents and all in-country local reservations exactly match your passport name. It is therefore essential that if you have a current passport with at least 6 months validity from date of return into Australia a photocopy of the first page is sent to ASA with this reservation form. Please tick the applicable box below: I have enclosed a copy of my current valid passport please tick (¸) I have travelled with ASA since January 2008 and ASA should have a copy of my current passport on file please tick (¸) My passport is not current or does not have at least 6 months validity from date of return into Australia please tick (¸) ** I am applying for a new passport and will forward a copy to ASA as soon as I have received my new passport please tick (¸) ** ** If a copy of your passport is not enclosed, please advise your Nationality:

MEDICAL CONDITIONS ASA’s tours require, on occasion, a substantial amount of physical exertion. The purpose of seeking this information is to assist ASA in determining the suitability of a tour participant for a particular tour, and to address how ASA may be able to make ‘reasonable accommodation’ to cater for those tour participants, where only a minor modification may be needed. The information will be treated in the strictest confidence. If ASA has any concerns based on the information provided by you, it will contact you to discuss those concerns and may request further information or clarification of the information previously provided. Please outline whether you suffer from any medical conditions in any of the following areas: Respiratory Spinal Cardiac, including Blood Pressure Allergies Sight/Sound Mobility Any other condition which may affect your ability to participate on this tour?

Person to notify in case of emergency Name Relationship to Traveller Address Telephone If any details requested on this form are not yet available, please still forward your form and communicate these details at a later date. I have enclosed a deposit of $ for this tour. I understand that this deposit is subject to the cancellation fees as outlined in the BOOKING CONDITIONS section of the tour itinerary.

LIABILITY RELEASE: Please read carefully and sign the following: I have read the itinerary and related information pertaining to this tour of which I am a participant that has been designed and conducted by Australians Studying Abroad Pty Ltd. I am aware of the terms and conditions of the tour relating to refunds and cancellations, responsibility and liability. I understand that there are inherent dangers and risks that may occur with this tour, known or unknown, relating to but not limited to air, coach, car and ship travel, walks, camera equipment, accidents and/or illnesses and acts of nature, man or God. I also understand that the itinerary, accommodation and guest lecturers scheduled for this tour may change due to unforeseen circumstances such as illness, political considerations or personal emergencies. In consideration of the right to participate in this tour, I hereby release Australians Studying Abroad Pty Ltd and its agents, associates or related parties from all responsibility for damages, injuries, losses or delays due to any reason whatsoever and hereby assume all risks and dangers in connection with the tour. Date Signature(s)

DIRECT DEPOSIT OR CREDIT CARD PAYMENT OPTION Mail or Email Payment Advice / Credit Card Authorisation to ASA

CREDIT CARD PAYMENT DIRECT DEPOSIT Should you wish to pay ASA by any of the ASA offers you a direct payment or internet banking following credit cards the following fees will payment option. This allows you to transfer your apply: payment directly from your bank account to our bank account. Please follow the procedures below: Mastercard and American Express 1.95%

Visa and Bank Card (Australia only) 1.95% 1. You will need to provide your bank with Diners Club 2.70% ASA’s bank details (see below) and the

exact amount you wish to transfer. Please debit my 2. Your bank will ask you for a reference number. Mastercard + Please quote your last name or your mobile American Express + phone number as the reference number. 3. Your bank will provide you with a Visa + confirmation number which you need to Bankcard (Australia only) + include below.

Diners Club + 4. Once your transfer has been actioned please complete the following and fax or email this document back to ASA. Authority to debit my Credit Card 5. If you wish to go directly into any ANZ bank for the amount due plus the applicable credit card fee. to direct deposit your payment into our

NAME OF ASA TOUR OR COURSE bank account you will still be asked the following details. Please then complete the information below and forward to ASA immediately. Credit Card Number 6. Any fees levied by the banks are at your expense.

Expiry Date Australians Studying Abroad bank details Security code on back of card Bank ANZ Bank the card is linked to: eg – NAB or ANZ Branch 420 St Kilda Road, Melbourne Vic Swift Code ANZBAU3M Type of Credit Card: eg Gold, Platinum etc BSB 013-423 Account No 3472-32759

Amount including cc fee $ NAME OF ASA TOUR OR COURSE Cardholders Name

Card Holders Billing Address Travellers Name Address City Amount Transferred $ State Postcode Bank Confirmation No. Country Reference you used Mobile or last name Phone recommended Email Date Money Transferred / / Card Holders Signature Travellers Signature

Date / / Date / /

CONDITIONS OF CREDIT CARD PAYMENT

Monies Paid to Australians Studying Abroad P/L Refunds It is a condition of the acceptance of any booking Unused documents for which refund is sought must that all monies paid to Australians Studying be returned to ASA. Refunds are subject to airline Abroad (ASA) may be dispersed by ASA as and and other operator terms and conditions as well as when it sees fit for or in respect of the services to outgoings incurred by ASA. Because of procedures be provided or fees payable to suppliers or these can sometimes take a minimum of 10 weeks carriers, and the payment of a deposit or charge to be processed. card authorization for travel or related fees shall be deemed to be a direction by the client to ASA General Information to disburse such monies as aforesaid. This authorisation is valid until your credit card changes (ie: replaced due to lost/stolen card), Prices and Exchange Rate expires or is revoked in accordance with the Card Price justifications for travel are expressed in Account Agreement. We shall require you to sign a Australian Dollars and are based on foreign fresh authorization if the card number as changed currency exchange rates, tariffs, taxes and fares due to replacement, if it has expired or if you have valid at time of quoting. These are subject to revoked this authorization in writing, but then alteration if there are fluctuations in rates of subsequently decide to use the Signature-on-File exchange, tariffs, taxes or fares, or for other facility. If the credit card issued to you is cancelled cause, at any time. or authorization for the card is refused, you will pay ASA any amounts outstanding for travel Variations Of Conditions services. ASA reserves the right to vary these Signature- These terms and conditions in no way change or on-File Conditions at any time, but no such affect your responsibility and obligations as defined variation shall be binding unless made or in the Card Account Agreement issued to you. In confirmed in writing. the event any provision conflicts with a provision of the Card Account Agreement, the Card Account Responsibility Clause Agreement shall prevail.

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