The Book of Michael of Rhodes a Fifteenth-Century Maritime Manuscript
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The Rough Guide to Naples & the Amalfi Coast
HEK=> =K?:;I J>;HEK=>=K?:;je CVeaZh i]Z6bVaÒ8dVhi D7FB;IJ>;7C7B<?9E7IJ 7ZcZkZcid BdcYgV\dcZ 8{ejV HVc<^dg\^d 8VhZgiV HVciÉ6\ViV YZaHVcc^d YZ^<di^ HVciVBVg^V 8{ejVKiZgZ 8VhiZaKdaijgcd 8VhVaY^ Eg^cX^eZ 6g^Zcod / AV\dY^EVig^V BVg^\a^Vcd 6kZaa^cd 9WfeZ_Y^_de CdaV 8jbV CVeaZh AV\dY^;jhVgd Edoojda^ BiKZhjk^jh BZgXVidHVcHZkZg^cd EgX^YV :gXdaVcd Fecf[__ >hX]^V EdbeZ^ >hX]^V IdggZ6ccjco^ViV 8VhiZaaVbbVgZY^HiVW^V 7Vnd[CVeaZh GVkZaad HdggZcid Edh^iVcd HVaZgcd 6bVa[^ 8{eg^ <ja[d[HVaZgcd 6cVX{eg^ 8{eg^ CVeaZh I]Z8Vbe^;aZ\gZ^ Hdji]d[CVeaZh I]Z6bVa[^8dVhi I]Z^haVcYh LN Cdgi]d[CVeaZh FW[ijkc About this book Rough Guides are designed to be good to read and easy to use. The book is divided into the following sections, and you should be able to find whatever you need in one of them. The introductory colour section is designed to give you a feel for Naples and the Amalfi Coast, suggesting when to go and what not to miss, and includes a full list of contents. Then comes basics, for pre-departure information and other practicalities. The guide chapters cover the region in depth, each starting with a highlights panel, introduction and a map to help you plan your route. Contexts fills you in on history, books and film while individual colour sections introduce Neapolitan cuisine and performance. Language gives you an extensive menu reader and enough Italian to get by. 9 781843 537144 ISBN 978-1-84353-714-4 The book concludes with all the small print, including details of how to send in updates and corrections, and a comprehensive index. -
1 Lgbtgaily Tours & Excursions
LGBT 1 OurOur Tour. YourLGBT Pride. Philosophy We have designed a new product line for a desire to be part of the colorful battle for human LGBT publicum, offering more than a simple pride with friends from all over the world, Iwe travel! If you are looking for a special itinerary have the perfect solution for you. in Italy discovering beautiful landscapes and uncountable art and cultural wonders, or if you We want to help in creating a rainbow world. and now choose your LGBT experience... Follow us on: www.GailyTour.com @GailyTour @gailytour Largo C. Battisti, 26 | 39044 - Egna (BZ) - ITALY Tel. (+39) 0471 806600 - Fax (+39) 0471 806700 VAT NUMBER IT 01652670215 Our History & Mission Established in 1997 and privately owned, Last addition to the company’s umbrella is the providing competitive travel services. Ignas Tour has been making a difference to office in Slovakia opened in 2014, consolidating Trust, reliability, financial stability, passion and our client’s group traveling experiences for two Ignas Tour's presence in the Eastern European attention to details are key aspects Ignas Tour decades. market and expanding and diversifying even is known for. In 1999 opening of a sister company in more the product line. The company prides itself on a long-term vision Hungary, adding a new destination to the Ignas Tour maintains an uncompromising and strategy and keeps in sync with the latest company’s portfolio. Since 2001 IGNAS TOUR commitment to offer the highest standards market trends in order to develop new products is also part of TUI Travel plc. -
Previous Studies
ABSTRACTS OF THE CONGRESS 1.- PREVIOUS STUDIES 1.1.- Multidisciplinary studies (historical, archaeological, etc.). 30 ANALYSIS AND PROPOSAL OF RENOVATION CRITERIA AT THE BUILDING HEADQUARTER OF THE PUBLIC WORKS REGIONAL MINISTER IN CASTELLÓN (GAY AND JIMÉNEZ, 1962) Martín Pachés, Alba; Serrano Lanzarote, Begoña; Fenollosa Forner, Ernesto ……...... 32 NEW CONTRIBUTIONS TO THE STUDY OF THE HERMITAGES SETTING AROUND CÁCERES Serrano Candela, Francisco ……...... 55 THE ORIENTATION OF THE ROMANESQUE CHURCHES OF VAL D’ARAN IN SPAIN (11TH-13TH CENTURIES) Josep Lluis i Ginovart; Mónica López Piquer ……...... 73 SANTO ANTÔNIO CONVENT IN IGARASSU, PE – REGISTER OF AN INTERVENTION Guzzo, Ana Maria Moraes; Nóbrega, Claudia ……...... 104 DONIBANE N134: HISTORICAL-CONSTRUCTIVE ANALYSIS OF LATE MEDIEVAL VILLAGE MANOR HOUSE IN PASAIA (GIPUZKOA - SPAIN) Luengas-Carreño, Daniel; Crespo de Antonio, Maite; Sánchez-Beitia, Santiago ……...... 126 CONSERVATION OF PREFABRICATED RESIDENTIAL HERITAGE OF THE CENTURY XX. JEAN PROUVÉ’S WORK Bueno-Pozo, Verónica; Ramos-Carranza, Amadeo ……...... 169 COMPARED ANALYSIS AS A CONSERVATION INSTRUMENT.THE CASE OF THE “MASSERIA DEL VETRANO” (ITALY) Pagliuca, Antonello; Trausi, Pier Pasquale ……...... 172 THE INTERRELATION BETWEEN ARCHITECTURAL CONCEPTION AND STRUCTURE OF THE DOM BOSCO SANCTUARY THROUGH THE RECOUPERATION OF ITS DESIGN Oliveira, Iberê P.; Brandão, Jéssica; Pantoja, João C.; Santoro, Aline M. C. ……...... 177 THE SILVER ROAD THROUGH COLONIAL CHRONICLES. TOOLS FOR THE ANALYSIS AND ENHANCEMENT OF HISTORIC LANDSCAPE Malvarez, María Florencia ……...... 202 ANTHROPIC TRANSFORMATIONS AND NATURAL DECAY IN URBAN HISTORIC AGGREGATES: ANALYSIS AND CRITERIA FOR CATANIA (ITALY) Alessandro Lo Faro; Angela Moschella; Angelo Salemi; Giulia Sanfilippo ……...... 216 THE BRICK BUILT FAÇADES OF TIERRA DE PINARES IN SEGOVIA. THE CASE OF PINARNEGRILLO Gustavo Arcones-Pascual; Santiago Bellido-Blanco; David Villanueva-Valentín-Gamazo; Alberto Arcones-Pascual ……..... -
Venice's Marriage to the Sea Blog Post by Jeanne Willoz-Egnor
Venice’s Marriage to the Sea Blog post by Jeanne Willoz-Egnor published May 31, 2019 This weekend marks the annual Festa della Sensa in Venice. Although the festival didn’t start until 1965 it commemorates and recreates the ancient traditional ceremony of Sposalizio del Mar, the event in which Venice is symbolically married to the sea. Hand-colored copperplate engraving titled The Doge in the Bucintoro Departing for the Porto di Lido on Ascension Day. The original artwork was created by Canaletto and engraved by Giovanni Battista Brustolo. This third state engraving was printed by Teodoro Viera in Venice sometime around 1787. [Accession# LE 831] The origins of the ceremony date to the period when Venice was a sovereign state (from 697 AD to 1797 AD). It commemorates two important events in the state’s history: the May 9, 1000 departure of Doge Pietro II Orseolo with a fleet on the successful mission to subdue Narentine pirates threatening Venetian power, trade and travel on the Adriatic and Doge Sebastiano Ziani’s successful negotiation of the Treaty of Venice in 1177. The treaty ended a long standing conflict between the Holy Roman Empire headed by Frederick Barbarossa and the Papacy. Following Orseolo’s victory, each year on Ascension Day Venice celebrated the Doge’s conquest of Dalmatia with a solemn procession of boats led by the doge’s maestà nave to the San Pietro di Castello where the Bishop blessed the doge. The procession then proceeded to the lido at San Nicolò, Venice’s entrée to the Adriatic Sea, where the prayer "for us and all who sail thereon, may the sea be calm and quiet" was offered. -
The Angel of Ferrara
CORE Metadata, citation and similar papers at core.ac.uk Provided by Goldsmiths Research Online The Angel of Ferrara Benjamin Woolley Goldsmith’s College, University of London Submitted for the degree of PhD I declare that the work presented in this thesis is my own Benjamin Woolley Date: 1st October, 2014 Abstract This thesis comprises two parts: an extract of The Angel of Ferrara, a historical novel, and a critical component entitled What is history doing in Fiction? The novel is set in Ferrara in February, 1579, an Italian city at the height of its powers but deep in debt. Amid the aristocratic pomp and popular festivities surrounding the duke’s wedding to his third wife, the secret child of the city’s most celebrated singer goes missing. A street-smart debt collector and lovelorn bureaucrat are drawn into her increasingly desperate attempts to find her son, their efforts uncovering the brutal instruments of ostentation and domination that gave rise to what we now know as the Renaissance. In the critical component, I draw on the experience of writing The Angel of Ferrara and nonfiction works to explore the relationship between history and fiction. Beginning with a survey of the development of historical fiction since the inception of the genre’s modern form with the Walter Scott’s Waverley, I analyse the various paratextual interventions—prefaces, authors’ notes, acknowledgements—authors have used to explore and explain the use of factual research in their works. I draw on this to reflect in more detail at how research shaped the writing of the Angel of Ferrara and other recent historical novels, in particular Hilary Mantel’s Wolf Hall. -
Architecture and the City in Humanist Urban Culture – the Case of Venice
Proceedings of the 11th Space Syntax Symposium #104 CITY-CRAFT AND STATECRAFT: Architecture and the City in Humanist Urban Culture – the case of Venice SOPHIA PSARRA UCL, London, United Kingdom [email protected] ABSTRACT Architecture is defined by intentional design, while cities are the product of multiple human actions over a long period of time. This seems to confine us between a view of architecture as authored object and a view of the city as authorless socio-economic process. This debate goes back to the separation of architecture from its skill base in building craft that took place in the Renaissance, including its division from the processes by which cities are produced by clients, users, regulatory codes, markets and infrastructures. As a result, architecture is confined in exceptional cases to the status of iconic buildings, or more generally to the status of buildings as economic production. Currently, buildings and cities are appropriated by digital technology and ubiquitous computing as a way of managing the city’s assets. Digital technologies integrate designing with making, informational models of buildings with geographic information systems and digital mapping. What had to be separated from city-making practices in order to raise architecture to a different status is increasingly re-integrated through digital infrastructure. As for architecture, traditionally engaged with the design of objects rather than networks or systems, is deprived of relevance in shaping social capital, politically and intellectually sidelined. Focusing on the Piazza San Marco in relationship to the urban fabric of Venice this paper traces the interlocking spheres of self-conscious architecture, the institutional and intellectual resources mobilised by Venetian statecraft and the networked spaces of everyday action. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
Le Isole Minori Elisabetta Vulcano 2009
CITTA’ DI VENEZIA Assessorato Ambiente - Osservatorio Naturalistico della Laguna Centro Studi Riviera del Brenta In collaborazione con: Coop. Hyla – CAI – Uff. Educazione Ambientale – Istituzione Parco Laguna Corso didattico formativo LA LAGUNA DI VENEZIA: genesi, evoluzione, naturalità e salvaguardia - Anno 2008/2009 - LE ISOLE MINORI: UN PATRIMONIO DELLA STORIA ALLA DERIVA DEL PRESENTE Elisabetta Vulcano (Architetto) La struttura topografica della città nelle sue linee generali è già formata nella prima metà del XIII secolo. La pianta di Venezia disegnata da Paolino da Venezia (1270-1344), e inserita nel suo “Compendium” detto anche “Chronologia magna” (1346), restituisce la forma della città secondo un aspetto cronologico: come doveva presentarsi Venezia nel IX secolo (ma con alcuni particolari riferiti addirittura all'VIII secolo) e come doveva essere nel XII secolo, con aggiunte relative alla sua configurazione coeva all'autore. Dopo la morte di Fra' Paolino la pianta pergamenacea rimase nascosta a tutti per quattrocento anni. Solo nel 1730 Tomaso Temanza scoprì la pergamena e nel 1781 realizzò una incisone su rame nella quale riportò con una calligrafia più chiara il disegno e le scritte, incisione che diede alle stampe. La Pianta di Venezia di Paolino da Venezia (Biblioteca Marciana, Venezia) Il Chronicon marciano 1. Porto del Lido 2. San Pietro 3. Arsenale 4. Isola di San Giorgio 5. Piazza San Marco 6. Rialto 7. Murano 8. Cannaregio 9. Giudecca 10 . San Nicolò L’incisione di Benedetto Bordone del 1528 è la più antica pianta prospettica della laguna. In questa, sono pochi i toponimi della città, molti delle isole e dei lembi di terraferma. È la prima mappa che, oltre alla città, comprende anche la laguna. -
OGGETTO: Venezia – Ex Palazzo Reale
MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI DIREZIONE REGIONALE PER I BENI CULTURALI E PAESAGGISTICI DEL VENETO Soprintendenza per i Beni Architettonici e Paesaggistici di Venezia e Laguna Palazzo Ducale, 1 V e n e z i a PERIZIA DI SPESA N. 23 del 2 luglio 2012 D.P.C.M. 10 Dicembre 2010 di ripartizione della quota dell’otto per mille dell’IRPEF a diretta gestione statale per l’anno 2010 RELAZIONE STORICA E RELAZIONE TECNICA CON CRONOPROGRAMMA VENEZIA – PIAZZA SAN MARCO LAVORI DI CONSERVAZIONE DELLA FACCIATA, DEL PORTICO E DELLE COPERTURE DELLE PROCURATIE NUOVE – Campate XI – XXXVI C.U.I. 13854 CUP F79G10000330001 Venezia, 2 LUGLIO 2012 IL PROGETTISTA Visto:IL SOPRINTENDENTE Arch. Ilaria Cavaggioni arch. Renata Codello IL RESPONSABILE DEL PROCEDIMENTO Arch. Anna Chiarelli Venezia - Procuratie Nuove o Palazzo Reale Intervento di conservazione della facciata principale e dalla falda di copertura (…) guardatevi dal voler comparire sopra le cose fatte: accomodatele, assicuratele, ma non aggiungete, non mutilate, e non fate il bravo. Giuseppe Valdier L’Architettura Pratica, III, p. 115 Relazione illustrativa con cenni sulla storia della fabbrica SOMMARIO 1. Introduzione 2. Cenni sulla storia della fabbrica 3. Caratteri stilistici 4. Caratteri costruttivi 5. La ricerca d’archivio 6. Stato di conservazione 7. Descrizione dell’intervento: linee guida e tecniche 8. Riferimenti bibliografici 1. Introduzione Molti degli aspetti descritti in questa relazione, relativi alla vicenda storica della fabbrica delle Procuratie Nuove, alle caratteristiche stilistiche e costruttive della facciata principale del palazzo, al suo stato di conservazione, ecc., si basano su ipotesi fondate sull’osservazione a distanza, ai piedi della fabbrica, sulla letteratura artistica consultata, su precedenti restauri documentati, su analogie con le Progetto definitivo 2 Venezia - Procuratie Nuove o Palazzo Reale Intervento di conservazione della facciata principale e dalla falda di copertura fabbriche coeve, sulle raccomandazioni dei manuali storici, ecc. -
Stranieri, Barbari, Migranti: Il Racconto Della Storia Per Comprendere Il Presente
BiBlioteca NazioNale MarciaNa StraNieri, BarBari, MigraNti: il raccoNto della Storia per coMpreNdere il preSeNte Biblioteca Nazionale Marciana, Venezia, 2016 1 A Valeria Solesin BiBlioteca NazioNale MarciaNa StraNieri, BarBari, MigraNti: il raccoNto della Storia per coMpreNdere il preSeNte testi di Claudio Azzara, Ermanno Orlando, Lucia Nadin, Reinhold C. Mueller, Giuseppina Minchella, Vera Costantini, Andrea Zannini, Mario Infelise, Piero Brunello, Piero Lando a cura di Tiziana Plebani Venezia, Biblioteca Nazionale Marciana, 2016 ideazione Tiziana Plebani in copertina Venezia, Palazzo Ducale, Capitello dei popoli delle nazioni del mondo finito di stampare dicembre 2016 La Biblioteca Nazionale Marciana ha inteso, con questa pubblica- zione, documentare i contributi presentati nel corso del ciclo Stranieri, barbari, migranti: il racconto della storia per comprendere il presente, ideato e curato nel 2016 da Tiziana Plebani. Un sentito ringraziamento va, oltre alla curatrice e al personale della Biblioteca, che hanno reso possibile la realizzazione degli eventi, ai singoli relatori che hanno generosamente accettato in tempi brevissimi di trasporre in forma scritta una sintesi di quanto avevano esposto nel corso degli incontri. Grazie anche a Scrinium S.p.a., partner della Marciana in iniziative di altissimo profilo, dalla significativa collaborazione all’Anno manu- ziano del 2015 alla realizzazione del facsimile del Testamento di Marco Polo, corredato da un importante volume di studi, per il sostegno finan- ziario alla pubblicazione. Maurizio Messina Direttore della Biblioteca Nazionale Marciana iNdice Tiziana Plebani preSeNtazioNe 11 Claudio Azzara BarBari 13 Ermanno Orlando MiNoraNze, MigraNti e MatriMoNi a VeNezia Nel BaSSo MedioeVo 17 Lucia Nadin StraNieri di caSa: gli alBaNeSi a VeNezia (xV-xVi Sec.) 23 Reinhold C. -
L'archeologia Nella Laguna Veneziana E La Nascita Di Una Nuova Città
Sauro Gelichi L’archeologia nella laguna veneziana e la nascita di una nuova città Reti Medievali Rivista, XI – 2010/2 (luglio-dicembre) <http://www.rivista.retimedievali.it> Le trasformazioni dello spazio urbano nell’alto medioevo (secoli V-VIII). Città mediterranee a confronto a cura di Carmen Eguiluz Méndez e Stefano Gasparri Firenze University Press Reti Medievali Rivista, XI – 2010/2 (luglio-dicembre) <http://www.retimedievali.it> ISSN 1593-2214 © 2010 Firenze University Press L’archeologia nella laguna veneziana e la nascita di una nuova città di Sauro Gelichi 1. Vampiri a Venezia? «Il ritrovamento venerdì 7 marzo [di quest’anno] [....] nell’isola del Laz- zaretto nuovo a Venezia [...] del teschio di una donna (risalente a metà del 17 secolo), con un mattone in bocca, naturalmente un rito svolto in una creatura deceduta per peste, visto che in quell’isola di Venezia sono stati concentrati diversi corpi di defunti per questo terribile morbo, ci riporta a vecchie leggen- de veneziane che narravano di donne vampiro a Venezia»1. La citazione, che peraltro non ci risparmia macabri passaggi, non appartiene a quella tradizio- ne letteraria, favolistico-fantastica, di cui anche una città come Venezia può vantare una discreta produzione (per quanto di bassa qualità), ma si riferisce a un vero ritrovamento, fatto da un “vero” archeologo, in uno scavo (quello del Lazzaretto Nuovo) giustamente defi nito «una bellissima esperienza di isola- laboratorio dove ricerca sul campo e rifl essione procedono secondo ritmi det- tati dal dialogo e dal confronto di studiosi di varie discipline»2. Al sensazionalismo, si sa, non sfuggono purtroppo gli attuali mezzi della comunicazione: se una banale nuova infl uenza messicana diventa la peste del secolo o se qualche schizzo d’acqua in più si trasforma in un uragano, anche l’archeologia non può uscirne indenne. -
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice
Procession in Renaissance Venice Effect of Ritual Procession on the Built Environment and the Citizens of Venice Figure 1 | Antonio Joli, Procession in the Courtyard of the Ducal Palace, Venice, 1742. Oil on Canvas. National Gallery of Art Reproduced from National Gallery of Art, http://www.nga.gov/content/ngaweb/Collection/art-object-page.32586.html Shreya Ghoshal Renaissance Architecture May 7, 2016 EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 1 Excerpt from Procession in Renaissance Venice For Venetians, the miraculous rediscovery of Saint Mark’s body brought not only the reestablishment of a bond between the city and the Saint, but also a bond between the city’s residents, both by way of ritual procession.1 After his body’s recovery from Alexandria in 828 AD, Saint Mark’s influence on Venice became evident in the renaming of sacred and political spaces and rising participation in ritual processions by all citizens.2 Venetian society embraced Saint Mark as a cause for a fresh start, especially during the Renaissance period; a new style of architecture was established to better suit the extravagance of ritual processions celebrating the Saint. Saint Mark soon displaced all other saints as Venice’s symbol of independence and unity. Figure 2 | Detailed Map of Venice Reproduced from TourVideos, http://www.lahistoriaconmapas.com/atlas/italy-map/italy-map-venice.htm 1 Edward Muir, Civic Ritual in Renaissance Venice (Princeton, NJ: Princeton University Press, 1981), 87. 2 Muir, Civic Ritual, 80-81. EXCERPT: RENAISSANCE ARCH RESEARCH PAPER 2 The Renaissance period in Venice, lasting through the Quattrocento and Cinquecento, was significant because of the city’s maintenance of civic peace; this was achieved in large part by the rise in number and importance of processional routes by the Doges, the elected leaders of the Republic.3 Venice proved their commitment to these processions by creating a grander urban fabric.