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Sea-Level Rise in Venice
https://doi.org/10.5194/nhess-2020-351 Preprint. Discussion started: 12 November 2020 c Author(s) 2020. CC BY 4.0 License. Review article: Sea-level rise in Venice: historic and future trends Davide Zanchettin1, Sara Bruni2*, Fabio Raicich3, Piero Lionello4, Fanny Adloff5, Alexey Androsov6,7, Fabrizio Antonioli8, Vincenzo Artale9, Eugenio Carminati10, Christian Ferrarin11, Vera Fofonova6, Robert J. Nicholls12, Sara Rubinetti1, Angelo Rubino1, Gianmaria Sannino8, Giorgio Spada2,Rémi Thiéblemont13, 5 Michael Tsimplis14, Georg Umgiesser11, Stefano Vignudelli15, Guy Wöppelmann16, Susanna Zerbini2 1University Ca’ Foscari of Venice, Dept. of Environmental Sciences, Informatics and Statistics, Via Torino 155, 30172 Mestre, Italy 2University of Bologna, Department of Physics and Astronomy, Viale Berti Pichat 8, 40127, Bologna, Italy 10 3CNR, Institute of Marine Sciences, AREA Science Park Q2 bldg., SS14 km 163.5, Basovizza, 34149 Trieste, Italy 4Unversità del Salento, Dept. of Biological and Environmental Sciences and Technologies, Centro Ecotekne Pal. M - S.P. 6, Lecce Monteroni, Italy 5National Centre for Atmospheric Science, University of Reading, Reading, UK 6Alfred Wegener Institute Helmholtz Centre for Polar and Marine Research, Postfach 12-01-61, 27515, Bremerhaven, 15 Germany 7Shirshov Institute of Oceanology, Moscow, 117997, Russia 8ENEA Casaccia, Climate and Impact Modeling Lab, SSPT-MET-CLIM, Via Anguillarese 301, 00123 Roma, Italy 9ENEA C.R. Frascati, SSPT-MET, Via Enrico Fermi 45, 00044 Frascati, Italy 10University of Rome La Sapienza, Dept. of Earth Sciences, Piazzale Aldo Moro 5, 00185 Roma, Italy 20 11CNR - National Research Council of Italy, ISMAR - Marine Sciences Institute, Castello 2737/F, 30122 Venezia, Italy 12 Tyndall Centre for Climate Change Research, University of East Anglia. -
Saint Mark's Square As Contested Political Space
SAINT MARK’S SQUARE AS CONTESTED POLITICAL SPACE: PROTESTING CRUISE TOURISM IN VENICE [ReceiveD 21st October 2020; accepteD February 21st 2021 – DOI: 10.21463/shima.119] AlexanDer Araya López Ca’ Foscari University, Venice < [email protected]> ABSTRACT: Saint Mark’s Square is unquestionably the most famous tourist attraction in Venice, a piazza characterised by its complex history, unique aesthetics anD many allusions to power (given its proximity to the Doge’s Palace anD Saint Mark’s Basilica). This square is the largest open space in the city anD while it is routinely crowDeD with tourists from all over the worlD, political Demonstrations have been prohibiteD since 1997. This article explores Saint Mark’s Square as a contested political space by focusing on the many local struggles against cruise tourism in Venice anD its lagoon. InsteaD of constituting an ‘apolitical’ space, the preferreD uses given to the square by local authorities and tourism stakeholders are manifestly ‘political’, producing a space of leisure and consumption that benefits the economic logic behinD the ‘normal’ functioning of the piazza. Other alternative social anD political uses of the square are not only DiscourageD but banned, which brings into Discussion the Lefebvrian notion of the right to the city: who has access to the centre as a (political) privilegeD space? The article examines protest acts undertaken by the collective No Grandi Navi, particularly the political events that took place after the MSC Opera collision with another tourist vessel anD the Dock in June 2019. KEYWORDS: public sphere, protest, cruise tourism, policing, urban spaces. IntroDuction: Global mass tourism anD Venice as a ‘tourist’ city In June 2020, while the coronavirus panDemic forceD many cities anD tourist Destinations to impose harsh lockDowns, Dozens of cruise ships were stranDeD at Manila Bay in the Philippines (Fonbuena anD McCormick, 2020). -
Guide to Places of Interest
Guide to places of interest Lido di Jesolo - Venezia Cortina Oderzo Portogruaro Noventa di Piave Treviso San Donà di Piave Caorle Altino Eraclea Vicenza Jesolo Eraclea Mare Burano Cortellazzo Lido di Jesolo Dolo Venezia Verona Padova Cavallino Mira Cà Savio Chioggia Jesolo and the hinterland. 3 Cathedrals and Roman Abbeys . 10 Visits to markets Concordia Sagittaria, Summaga and San Donà di Piave Venice . 4 From the sea to Venice’s Lagoon . 11 St Mark’s Square, the Palazzo Ducale (Doge’s Palace) and the Caorle, Cortellazzo, Treporti and Lio Piccolo Rialto Bridge The Marchland of Treviso The Islands of the Lagoon . 5 and the city of Treviso . 12 Murano, Burano and Torcello Oderzo, Piazza dei Signori and the Shrine of the Madonna of Motta Verona and Lake Garda. 6 Padua . 13 Sirmione and the Grottoes of Catullo Scrovegni Chapel and Piazza delle Erbe (Square of Herbs) The Arena of Verona and Opera . 7 Vicenza . 14 Operatic music The Olympic Theatre and the Ponte Vecchio (Old Bridge) of Bas- sano del Grappa Cortina and the Dolomites . 8 The three peaks of Lavaredo and Lake Misurina Riviera del Brenta . 15 Villas and gardens The Coastlines . 9 Malamocco, Pellestrina, Chioggia 2 Noventa di Piave Treviso San Donà di Piave Eraclea Caorle Jesolo Eraclea Mare Lido di Jesolo Cortellazzo Cavallino Jesolo and the hinterland The lagoon with its northern appendage wends its way into the area of Jesolo between the river and the cultivated countryside. The large fishing valleys of the northern lagoon extend over an area that is waiting to be explored. Whatever your requirements, please discuss these with our staff who will be more than happy to help. -
The Cathar Crucifix: New Evidence of the Shroud’S Missing History
THE CATHAR CRUCIFIX: NEW EVIDENCE OF THE SHROUD’S MISSING HISTORY By Jack Markwardt Copyright 2000 All Rights Reserved Reprinted by Permission INTRODUCTION Shortly after the dawn of the thirteenth century, a French knight toured the magnificent city that was then Constantinople and, upon entering one of its fabulous churches, observed a clear full-body image of Jesus Christ gracing an outstretched burial cloth.1 Those who advocate that this sydoine was, in fact, the Shroud of Turin, are challenged to credibly account for the relic’s whereabouts both prior to its exhibition in Byzantium and during the period spanning its disappearance in 1204 to its reemergence some one hundred and fifty years later.2 In this paper, the author suggests that medieval crucifixes, orthodox and heretical, evolved from increased awareness of the sindonic image and that these changes mark the historical path of the Shroud as it traveled in anonymity from East to West. THE ORTHODOX CRUCIFIX By the early third century, the cross was the recognized sign of Christianity throughout the Roman Empire and, over the next several centuries, the use of this symbol became so widespread that it is found on most remnants of the era.3 Perhaps repulsed by the ignominious nature of Christ’s death,4 the earliest Christians did not portray his crucifixion. “The custom of displaying the Redeemer on the Cross began with the close of the sixth century”5 and the first datable manuscript image of the Crucifixion is that found in a Syrian Gospel Book written in 586.6 The sudden rise -
Passionist2nd-Centenaryofrestoration
2nd CENTENARY OF THE RESTORATION OF THE CONGREGATION Letter of the Superior General on the 2nd CENTENARY OF THE RESTORATION OF THE CONGREGATION: 1814 - 2014 were times in our history when fidelity to the Church’s doctrine and these buildings, including many to the directives of the Pope.” monasteries and convents, were Dear Brothers, Sisters and Friends in desecrated and destroyed by anti- the Passionist Family, religious and anti-church forces – Napoleon was also interested in taking over “the goods of religious in not to mention the persecution of its believers. Such was the situation order to pay for the great economic On my daily walks here in Rome, in the Papal States known as “the debt caused by the war, lodging which I am required to do following complete suppression” by Napoleon soldiers, the increase of bureaucrats my surgery, I often ‘drop-in’ to visit on 3 May 1810 leading to the and for completing public works.” churches and basilicas of which there confiscation of all church is no shortage. And I am often in awe properties, and the disbanding and at the beauty of the art and At the time of the suppression, our displacement of all religious and architecture of these structures, Congregation had been in existence clergy to their places of origin in the many of which were constructed for 90 years and was present in 17 hope that this would bring about centuries ago. They were built as communities – all in Italy. This, in the extinction of the church and “Temples to the glory of God”. -
S T E W a R D S H IP E X a M IN
My journey continues... Written by: Gail Nampel You may remember during the fall of 2014, I shared that I was excited to be on a stewardship journey and invited anyone that felt called, to join me. Recently, my journey took me to Italy and I’m thrilled and honored to share the experience with you. This past December, while doing some work on my computer, I received an email from Mountain Bu- torac ‘The Catholic Traveler’ announcing that he was offering “A Low Season” pilgrimage to Rome and Assisi. A one-week, all-inclusive pilgrimage that included daily Mass at destinations like The Basilica of St. Francis of Assisi, St. Peter’s Basilica in Rome, The Cathedral Basilica of St. Augustine, The Pontifical North American College. Plus, we’d step through six sets of Holy Doors, tour the Basilicas of St. Clare, St Mary Major, St. Paul Outside the Walls, St. John Lateran, the Vatican Museum, attend the Pope’s General Audience on Ash Wednesday, take the Scavi Tour, climb The Holy Stairs at the Chapel Volume of2, IssueSan Lorenzo3 and much, much, more! – This trip was being offered to the first sixteen people that replied…for a price that was FAR less than one might expect! What was there to think about? I’ve been wanting to do this for so long and finally had the opportunity! I immediately replied with a HUGE affirmative! I’m in! I’m going! My fellow pilgrims and I landed at the airport in Rome on Sunday, February 7th at 10:30 AM, boarded a bus and headed to the incredibly picturesque city of Assisi, situated in the slopes of Mount Subasio. -
In Him Alone Is Our Hope
ST. MARY CATHOLIC CHURCH Newton, Kansas IN HIM ALONE IS OUR March HOPE 2017 Lift High the CROSS Journey with us through this Lenten season • More on Discernment from Fr. Voelker - p.2 • Lent & Holy Week Schedule - p. 3 • Kapaun’s Men, Women’s Book Study - p. 4 • Single Mom’s Group, Sharing Christ - p. 5 • St. Mary seniors March for Life - p. 7 • Sponsor a Station, Quo Vadis Retreat - p. 8 • 5th Annual Women’s Retreat Highlights - p. 9 • Rome Pilgrimage Pictures and Reflection - p. 10/11 There have never been SO many great opportunities to grow in holiness during Lent. Find a way that works for you, you’ll be glad you did! • St. Mary has Talent! CATHOLIC SCHOOLS WEEK 2017! - p.6 • A Roaring 20’s Auction Come celebrate the 20th Anniversary of the School Auction on April 29th - p.7 2 March 2017 IN HIM ALONE IS OUR HOPE More on Discernment Pope Francis explicates this out more clearly for us by casting both our discernment and discipleship to Christ Part V on St. Ignatius of Loyola. with intimacy with his cross (especially as we have “The Spiritual Exercises.” begun the discipline of Lent) … As we are talking about Discernment, Pope Francis “In Him Alone Is Our Hope.” it is more of a question than an answer. “The Cross of the Lord What is God asking me to do? “Once the choice (or reform) of our state of life is made, Holy Spirit, where are you leading me? we approach the Cross of our Lord and place ourselves at his feet, pressed fast to the wood. -
Sources of Donatello's Pulpits in San Lorenzo Revival and Freedom of Choice in the Early Renaissance*
! " #$ % ! &'()*+',)+"- )'+./.#')+.012 3 3 %! ! 34http://www.jstor.org/stable/3047811 ! +565.67552+*+5 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org THE SOURCES OF DONATELLO'S PULPITS IN SAN LORENZO REVIVAL AND FREEDOM OF CHOICE IN THE EARLY RENAISSANCE* IRVING LAVIN HE bronze pulpits executed by Donatello for the church of San Lorenzo in Florence T confront the investigator with something of a paradox.1 They stand today on either side of Brunelleschi's nave in the last bay toward the crossing.• The one on the left side (facing the altar, see text fig.) contains six scenes of Christ's earthly Passion, from the Agony in the Garden through the Entombment (Fig. -
Project of Territorial Governance of Tourism in Venice
Project of territorial governance of tourism in Venice Project of territorial governance of tourism in Venice 2 Project of territorial governance of tourism in Venice Table of Contents FOREWORD.............................................................................................................................................................7 FIRST PART:...........................................................................................................................................................11 THE START OF A PARTICIPATORY ROUTE.................................................................................................................11 1. The functions of tourism and the regulatory framework...............................................................................13 2. Tourism in Venice..........................................................................................................................................15 3. The resident population................................................................................................................................22 4. The stages of the participatory route.............................................................................................................25 5. Principal mission statements of the projects presented and adopted by the Technical Working Group..........27 SECOND PART:.......................................................................................................................................................43 OPERATIONAL -
Concert Tour Of
GLENBARD WEST HIGH SCHOOL FINE ARTS DEPARTMENT Concert Tour of MarchITALY 21 – 30, 2019 Directed by Colleen Doyle, Andrew Jeffrey, William Ortega, and Jonathan Walsh Performance Schedule Saturday, March 23 Participation in an evening Mass is planned in Rome for the choir Monday, March 25 An evening concert performance is planned in Montecatini for the band, choir, and orchestra Wednesday, March 27 A late afternoon concert performance is planned in Lucca for the orchestra Thursday, March 28 An evening concert performance is planned in Padua or Mestre for the band TOUR COst DIRECTED BY per person from Chicago, based on double occupancy Colleen Doyle $3,419 if registered by June 30, passengers will receive a $100 630-942-7555 early booking discount off the $3,519 tour cost. Discount will be added to your account after we process your registration. 630-942-7452Andrew Jeffrey This will appear on your confirmation statement, sent by mail, within two weeks of your registration. $3,519 if registered after June 30 630-942-7567William Ortega REGIstER ONLINE AT Jonathan Walsh bookings.wittetravel.com 630-942-7451 use booking code or complete and return the032119W printed registrationALS form. MARCH 2019 to the extensive Vatican Steps. Following our tour, the Museums, which include the remainder of the afternoon will 21, THURSDAY Pio-Clementino Museum, be at leisure for exploration in Departure the Raphael Room and the smaller chaperoned groups. Check in today at the Chicago Sistine Chapel, a masterpiece (B, D) O’Hare International Airport of Renaissance art that was for the overnight transatlantic decorated by Michelangelo. -
1 Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the Universi
Santo Spirito in Florence: Brunelleschi, the Opera, the Quartiere and the Cantiere Submitted by Rocky Ruggiero to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture In March 2017. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature)…………………………………………………………………………….. 1 Abstract The church of Santo Spirito in Florence is universally accepted as one of the architectural works of Filippo Brunelleschi (1377-1446). It is nevertheless surprising that contrary to such buildings as San Lorenzo or the Old Sacristy, the church has received relatively little scholarly attention. Most scholarship continues to rely upon the testimony of Brunelleschi’s earliest biographer, Antonio di Tuccio Manetti, to establish an administrative and artistic initiation date for the project in the middle of Brunelleschi’s career, around 1428. Through an exhaustive analysis of the biographer’s account, and subsequent comparison to the extant documentary evidence from the period, I have been able to establish that construction actually began at a considerably later date, around 1440. It is specifically during the two and half decades after Brunelleschi’s death in 1446 that very little is known about the proceedings of the project. A largely unpublished archival source which records the machinations of the Opera (works committee) of Santo Spirito from 1446-1461, sheds considerable light on the progress of construction during this period, as well as on the role of the Opera in the realization of the church. -
Sacred Image, Civic Spectacle, and Ritual Space: Tivoli’S Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy
SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY by Rebekah Perry BA, Brigham Young University, 1996 MA, University of Massachusetts Amherst, 2006 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 UNIVERSITY OF PITTSBURGH Kenneth P. Dietrich School of Arts & Sciences This dissertation was presented by Rebekah Perry It was defended on October 28, 2011 and approved by Franklin Toker, Professor, History of Art and Architecture Anne Weis, Professor, History of Art and Architecture Bruce Venarde, Professor, History Alison Stones, Professor, History of Art and Architecture ii Copyright © by Rebekah Perry 2011 iii SACRED IMAGE, CIVIC SPECTACLE, AND RITUAL SPACE: TIVOLI’S INCHINATA PROCESSION AND ICONS IN URBAN LITURGICAL THEATER IN LATE MEDIEVAL ITALY Rebekah Perry, PhD University of Pittsburgh, 2011 This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome’s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli’s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars.