Brogi Visione Veneziana Pdf Printer 4,8/5 5413votes

Pdf Printer - Voyager Program Inc Canton - Grand Ages Rome Serial Keygen Torrent - Sony Vegas Serial Code 110 - 12 Strand Dna Activation - New Cashflow 202 Download Mac 2016 - Free Full Version 2016 - Brogi Visione Veneziana Pdf. Nov 25, 2008. Hello everyone, I need: 'Visione veneziana' (Renato Brogi- Angiolo Orvieto) Vocal + Piano (I can transpose so it doesn't have to be a piano partition it can be for orchestra) (I didn't decided weather this is a lied or a neapolitan) Thanks for your helps. Last edited by onaykk on Tue Nov 25, 2008 9:32 pm,.

Many people post for the first time on Fodor's because they are going to Venice for only a few days, and are uncertain about what to see and how to organize their time. If you want to a standard, efficient itinerary for seeing sights, here are links to that information: Perfect itineraries for One, Two, or Three days in Venice ( Reids Italy) One Day in Venice, the Pocket Guide from Two Days in Venice from Why Go Italy One Day in Venice from Vacation Idea Spend a Weekend in Venice from E-how Three Days in Venice from Lonely Planet There is lots of such information on line. Just google the number of days you will be in Venice (or Rome or Florence). The question of wandering in Venice is interesting, btw, and here is perhaps the right place to discuss it. Two remarks (I'll try to keep it short): 1. For anybody eager to wander 'aimfully', Paolo Giordani's 'Venice.

Thirty Walks to Explore the City' is a GREAT book. Not only is Giordani going to guide you into hidden courts and lanes that you'd never find on your own; he's also making the wandering an in-depth exploration of the city's rich history, above all: of the history of every-day life. He tells about former businesses, workshops, pubs that used to be in this very lane back in the 15th or 16th or 18th century; he makes you discover inscriptions, reliefs, sculptures and tells their story.

Brogi Visione Veneziana Pdf Printer

This is how wandering about really makes sense. Even aimless wandering can make sense, though, and the famous (and inevitable) 'getting lost' - you just need TWO informations to make sense of it: the layout of Venice is that of an oriental city (of an Arabic city, more precisely). All those dead ends, hidden passages, courts - that's a classic medina, which shows how deeply connected Venice was to the Orient, and how poorly to Italy - cf. 'Italy's big three'! Venice has much more in common with Istanbul, for example, than with Rome. And this Arabic layout was at the same time very useful to deter strangers. There were always, from the city's earliest times, MANY strangers there - merchants, sailors.

Brogi Visione Veneziana Pdf Printer

But it's obvious that Venice wanted to control them, not least by preventing them from really venturing into town. There were no city maps in the 13th century, and no street lighting. So it was hardly possible for a stranger to go into town - they had to remain on the quays, more or less. So the famous experience of getting lost becomes quite meaningful if you figure to be a 13th century sailor. Ruskin is good - 'The Stones of Venice'.

I also like JG Links - Venice for Pleasure. Interestingly, Links' wife wrote a biography of Ruskin. JG himself was a Ruskin enthusiast. Many don't like Ruskin's 'romantic decay' approach to Venice, which is somewhat mid-Victoian, a JMW Turner view of Venice. I think that the comprehensive guide that Zepp would like is still to be written. Rick Steves is not particularly good (I impart this knowledge as a favour to future visitors). And I think that Zepp has done a favour to many by compiling these short itineraries for Venice, Rome and Florence.

They answer a frequent question - we have x days in V / R / F, what should we do. Ruskin runs to half a million words, which was fine when 'carry on bag' meant a Louis Vuitton trunk marked 'wanted on voyage', and hauled by stout porters. But the three volume work is a bit heavy now that 'carry on' means an eight kilo limit. Quill's book looks good. Well, the serious traveller might want to take this then (a reprint of Coryat's 1610 guide): CORYAT, Thomas. Coryat's Crudities: Hostily gobled up in five Moneths travells in France, Savoy, Italy, Rhetia commonly called the Grisons Country, Helvetia alias Switzerland, some parts of high Germany and the Netherlands; 1905 Newly digested in the Langry aire of Odcombe in the County of Somerset, and now dispersed to the nourishment of the travelling Members of this Kingdome.

Glasgow: James MacLehose and Sons, 1905. Download Datastation Drivers. Top edge gilt other edges uncut. With 10 plates/text-illusts, some of which are folded. Title-pages printed in red/black. Uncut & partly unopened.

Although Venice was the best at keeping us lost, just about every other hill town in Italy and France tried really hard to do the same! LOL DH and I often remarked (and correctly per franco above) that it was that city's way of keeping the visitor unbalanced. If you know where to go, why do you need signposts! This thread also reveals the differences in what people are interested and how deeply they wish to delve into any area. It behooves us Fodorite posters to read carefully the questions of posters and to offer our own opinions judiciously. Yes, yes, yes, to the realization that the reason why Venice has become a place to simply 'wander' is precisely because it is the ONLY city in Europe where no guidebook writer or trip planner neverl loses sleep advising a tourist to go ahead and do it!

Paris is actually a great town to just go wandering about, sans guidebook. But you have to be careful not to wander into some areas, and if you've the kids in tow, you may not want to wander into some areas with vice on display. Likewise Amsterdam (a much safer city than Paris) --- and guidebooks practically put you on a leash and inside a box as well if you visit Madrid. But you can step right off a cruise ship wearing your diamond earring and rolex and wander to your heart's content in Venice, with no thought of being jumped by four masked bravos or stumbling upon a bull-baiting. (Although John Berendt did write about stumbling upon a pigeon-gassing in the Dorsoduro in City of Falling Angels). I myself don't miss the contract killers (around Liguria, the northern European hikers still carry something like swordcanes as they stomp all over the hills), but I am sad I never got to see a Venice teeming with Venetian life -- although I've no illusion about how unsavory much of it could be.

I live near unredeemed and untouristed Genoa. TDudette, Among the inspirations for putting up this thread was a Fodor's poster responding to a 'where-to-do' question about Venice from a first timer by answering 'the casino, the glass shops in Murano, a gondola ride and harry's bar.'

I don't want to stop people from doing those things if they enjoy them. But I do want to stop them from posting it as authoritative advice! Somewhere between a straight guidebook (Hugh Honour's Companion Guide comes to mind) and Giordani, whose book I don't know, is Christopher Hibbert's Venice: History of a City.

As the title indicates, a great deal of history as well as a long and detailed appendix on the art and architecture of Venice. The hardback would only be advised for those prepared to wear the same clothes for a week or more, but there is a paperback edition.

Both editions are out of print but available from abe books. As for John Ruskin, his blinkered view that Gothic architecture is somehow real and 'moral' whereas anything in the Classical tradition is the opposite disqualifies him to me as a reliable guide to Venice. And heaven knows, his views contributed to the proliferation of Neo-Gothic excrescences in English-speaking countries around the world. I have to confess that while I am a enormous fan of Palladio -- so much so I am finally making my pilgrimage to Vicenza and the Palladian beyond next month -- Il Redentore is one of my least favorite buildings in Venice, and I have that opinion independent of Ruskin.

(I've sometimes worried I have it for the building having appeared in to many advertisements for things like banks and airlines). But I also think any critic needs to be taken for his overall passion as much as -- even more than -- any of his (or her) individual judgments.

Franco, I will also need Fred Plotkin's Italy for the Gourmet Traveler, weighing in at several pounds. Think we can hire this guy?

I think I'm going to hire one through my Venetian acquaintances. Will cost a lot less than officially.

But on dining in Venice, I swear you don't need Plotkin's pounds, it's just enough to print Now for the serious considerations. Il Redentore is one of my favourite Renaissance churches anywhere, not just in Venice. How Palladio blended a nave and a domed central-plan building here is just brilliant IMO. BUT it is a difficult church to visit, admittedly - it all depends on the time of the day when you're visiting, on the angle of the incident light. Arrive in the morning, and the interior seems relatively bland. Arrive in the evening, shortly before the sun sets, and it will come stunningly alive. Which is to say, in other words, that the opening hours (until 5 pm) are just plain silly: no way of doing it justice in the summer half-year!

(Unless you go inside before an evening service.) It's really making a HUGE difference! I'm not sure that visiting the Palladian villas will sharpen your eyes to any useful extent for a better appreciation of Il Redentore. With a few notable exceptions, Palladio's villas were designed as working, self-supporting country houses, and he prided himself on the fact that they combined utility and beauty. Utility was not a factor much required or admired in Renaissance church design. Also, the inner space of one exception, the Villa Rotonda, has been almost totally disfigured by its subsequent decoration.

Of the ads I recall, many more featured San Giorgio Maggiore than Il Redentore; •. If it was, perhaps, actually S. Giorgio that you disliked, then you're certainly not alone. I think the impression that Palladio created a distorted facade here is unfair, but it's shared by many.

My own opinion is that he created a facade that was (and is) to be seen from Piazzetta S. From a distance, across the water; and in this respect, it's a perfect achievement. Of course, standing on the tiny square in front of it, it's getting out of proportion, too wide and sturdy, and the base tier too tall. But that's simply not the right angle to view it.

What is true, though, is that the interior is afflicted; it's actually far too wide as compared to the height, following the necessities (and not the imperfection, IMO) of the facade. Perhaps it was really mistaken to make the interior as wide as the facade, instead of making the lateral parts a Potemkin facade like, say, S. Maria della Pace in Rome. But I also disagree with Zerlina about being able or not to learn about Palladio's churches from his villas: one of his greatest achievements IMO was how he integrated landscape and resulting 'natural' sight lines into his architecture; he's THE predecessor of baroque in this respect. Just think of Villa Barbaro in Maser; why is this relatively small and definitely low building so awe-inspiring when you approach it? Because he built it on top of a very gentle, barely noticeable knoll (the whole surroundings seem pretty flat to the unobservant visitor); impossible to envision Vaux-le-Vicomte, for example, without Villa Maser. Palladio teached his age to understand land forms as part of the architecture (drawing inspiration from ancient achievements, no doubt); that's more than obvious in his villas (Villa Rotonda providing another excellent example, as well as the two villas - the names don't spring to my mind at the moment - in Lonedo di Lugo, or La Malcontenta, of course), and it's also crucial for S.

Giorgio Maggiore. Actually, I delighted in the choir stalls in San Giorgio Maggiore -- but at this point, I better hid behind Ruskin -- Il Redentore is not real!

(But I will go back to double check.) When I was in NYC this spring, I saw at the Morgan Library a beautiful exhibit with many original drawings by Palladio and first editions of I Quattro Libri dell'Architettura. Plus many lovely plaster models of his buildings alongside historic American buildings in the Palladian style. I see that it just closed yesterday. It was done in association with the Centro Internazionale di Studi di Architettura Andrea Palladio in Vicenza so maybe it will eventually travel to Italy, where you and Zerlina can see it!

But this New York Times review of the show tends to go with Franco on the argument about whether analyzing Palladian villas will teach you anything about Il Redentore '[Hi]s greatest gift may have been his balance of a mastery of classical traditions with an almost casual ability to reinterpret them when it suited his own needs. At a time when patrons were becoming increasingly at ease with public displays of personal wealth, for example, he began adding porticoes and domes to domestic architecture. 'The show includes exacting studies of Roman antiquity, including Palladio’s elegant pen-and-ink interpretation of a round temple described by Vitruvius and another of a decorative band grafted onto the base of a recycled column. The temple reflects Palladio’s idealized understanding of the rules underlying Roman architecture, the band the willingness of Roman architects to bend those rules when it suited them — both of which became fundamental themes in Palladio’s own architecture. 'This tension — between idealism and practicality — is what enlivens projects like the magnificent Redentore church in Venice. Palladio initially proposed a circular plan united under a central dome, but church leaders insisted on a more orthodox layout, with a formal nave and transept.

To accommodate them without ruining his design’s formal purity, Palladio performed a kind of visual trick, pushing the altar farther back and adding two small side bays, which created the illusion of a transept where there is none.' The NY Times reviews closes by saying: 'Two centuries later, our memories of the architect have been so grotesquely distorted by the endless number of vulgar knockoffs that it’s almost impossible to find the idealism at the work’s core. It’s become nothing but a style.' Same could be said with a few changed words about Ruskin's legacy. For anybody living in America interested in Palladio and his influence, the museum exhibit I mentioned above will open in Washington DC in September at the National Building Museum, and next year it will travel to the Milwaukee Art Museum and the Carnegie Museum of Art in Pittsburgh.

Here's another review of the exhibit: But now I see that a much larger exhibit of the show appeared in Vicenza in 2008, and what I saw was but a fraction of it. Did anybody see it there?

For Franco, here's a news article in Italian •. Two btw's: first, sorry for the nonsensical reference to an (inexistent) 'Villa Maser' above - this should be 'Villa Barbaro' or 'villa in Maser', of course. Second, it's fascinating to compare SS. Redentore to S. Salvatore in Spoleto, an ancient Roman church overhauled by the Langobards.

I have no idea whether Palladio ever visited Spoleto, or how he'd come to know S. Salvatore otherwise, but had he designed SS. Redentore without knowing it, this would be almost equivalent to a proof of god. The same ingenious blending of a nave and a domed central-plan building (which latter is a total fake in S.

Salvatore, but so extremely well-done that it really makes you BELIEVE there is that central-plan part); even the dedication to the salvatore/redentore (which is essentially the same) is strikingly similar, but that's certainly the trivial part of the analogy. I didn't find any photo doing S.

Salvatore's interior justice, so I'm listing three of the not-so-well-done: •. Hey franco, I only came back to tell you how much I appreciated the F-V-G guidance in case I didn't have another chance to say it. I entertained some hope that we might even be able to continue this illuminating conversation, but others may make their project to make that impossible. For some time now I've been tempted to post that you shouldn't ever get in my corner --- and you really shouldn't -- but I figured you were more experienced than most with women of a certain behavior, and were making an informed judgment about the risks. But don't expose yourself to more needlessly -- and I hope you aren't disillusioned (or are, as need be!) But so long as still have a chance post my thoughts to you in this thread: I'm not against Venice, and nothing surprised me more than looking forward so much to getting there and finding it so uncongenial to me. I never would have guessed -- although even if I had guessed, I still would have gone because I don't know how I could have passed by any chance to see what had inspired so many others, and the site of such great history, and all its art treasures. (And even I didn't guess the riches of the place, despite what I'd read.) It does seem to me that the history of Venice includes a history of those who feel morbidity while there.

Something hard to describe (in less than a novel). It probably didn't help that I first saw Venice on a gloomy day, but even on sunny days, something just seems to present there, lurking. (It will be fun to compare it to Trieste with its cleansing bora). What I do inveigh against is the too facile notion that the only people who don't like Venice are those who don't spend enough time there. That feeling of uncongeniality can strike one instantly. And the unfortunates who arrive in Venice at the height of the tourist season, who are at all sensitive to that, might not get any enjoyment in Venice no matter how many days they stay, unless they can stay past the end of the worst of the season.

Living there you might disagree, but cruise ship tourism doesn't strike me as inappropriate for Venice. At least Venice is a port!

But I wonder if you'll agree that Italy is encouraging cruise ship tourism everywhere, even where there are no ports. It does seem to me a kind of 'Tuscan town surfing' is a huge part of Tuscany's tourist trade, basically centered on shopping for the 'gals' and wine for the 'boys'. (Apparently a high end golf course is being built south of Siena). I fear I go on too long. Z, thank you for the Palladio/Spoleto links, that's fascinating.

I had never researched it, but have always been convinced he MUST have known S. Second, looking back on some experience in political and human rights activism, I'm not easily disillusioned by how tedious a task it is to fight injustice, never mind whether in a 'high' political or a 'humble' personal context. Third, Venice and morbidity. I'll have to try hard not to write that novel now! On the one hand, Venice below the urbane, touristy surface is like any other Italian small town, just without cars and motorbikes. On the other hand, it's true that even Venetians usually have a strong 'it's not like it used to be' feeling, and bemoan, for example, the shrinking population.

Which is completely nonsensical IMO, because city centers all over Europe are facing even more rapidly shrinking populations - Paris, Brussels, Vienna are excellent examples. It's simply too expensive for ordinary human beings to live in and take care of protected historic monuments; plus the demands on comfort are simply much higher today than 40 years ago, small flats are merged into larger ones, flats that are always pitch-dark (a big problem in a medieval city like Venice, with all those narrow lanes!) are abandoned and converted into storage rooms. That happens everywhere, but only in Venice are the suburbs four or five kilometres away, and separated from the historic center by a lagoon, so to make the historic center appear as a separate town. What the banlieues are for Paris, Mestre and Marghera are for Venice; and while people bemoan the crazy rents in downtown Paris, nobody would say Paris is dying, or associate Paris with morbidity for that matter. In Venice, everyone does, Venetians included, so they add to that air of morbidity.

OTOH again, it would be fascinating to research to which extent our modern concept of 'morbidity' has been shaped in turn by the experience of Venice after the end of the independent republic, with all those architectural remnants of a global political power that had vanished - so many educated Europeans made this experience on their 'grand tour' throughout the 19th century! (And I doubt the 12th or the 16th century knew anything like 'morbidity' - I think that's a 19th century concept, a concept from the Romantic period.) Fourth, the thought of inland cruise ship tourism is certainly funny and interesting. I wouldn't say, though, that Italy encourages it - I'd rather say Italian politics are incapable of dealing with it, of channeling it, so they leave dealing with it to the commercial players. Fifth, cruise ship tourism in Venice - I'm not opposed to Venice being a port, of course. But I am actually opposed to allowing cruise ships to dock in center, that's totally irresponsible.

For two reasons: first, the ditches dug into the ground of the (extremely shallow!) lagoon so to make the big ships pass are harming the lagoon environment - they're the main reason for the frequent floodings of Venice, since simply too much water is passing through them into the lagoon; so ALL big ships should be banned, and the ditches filled in. Second, the dreaded motoondoso (the quick, small waves caused by motorboats, lapping against the foundations on the canal banks) is harming the buildings and the substructure of Venice, so much that the city of Venice had to ban all vaporetti from the narrower canals (where they used to pass until about ten years ago). Go figure what the cruise ships passing through Canale della Giudecca are doing - not just to the fundaments on Canale della Giudecca itself, but well into the small side canals. Finally, if need be, you can always contact me (on F-VG or for whichever other reason) at I'm not checking very regularly and may well forget it for a couple of weeks, but in the end, I'm always coming back to that address. I do think morbidity came into full bloom in the Romantic period, replacing the melancholia and humors and vapors (and fates) of earlier eras, and giving it a new shape. But do remember that the very first line of Shakespeare's 'Merchant of Venice is: In sooth, I know not why I am so sad: It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn. The morbidity I feel in Venice is not a shrinking population but something else about the watery lagoon environment and sinking buildings, the oozy feel of decay and rot and mold, unused buildings from more than one lost empire, all of which put together seems to bring on wistfulness, thoughts of death in Venice -- which reminds me, do you know Geoff Dyer's 'Jeff in Venice, Death in Varanasi' --?

(I haven't read it.) As for Italy encouraging cruise ship tourism, the tourism sector of Italy strikes me as one of the more organized. With so much more coastline than other European countries, maybe Italy's tourism pros have calculated Italy has the most to gain from the fear of flying that set in after 9/11, and put itself in a position to benefit from the boom in cruise ship tourism. Cruise ship tourism creates its own special tourist culture. Take a look sometime at the Caribbean boards on Fodor's, and you'll see all the same agonizing over which island to pick as you do which Tuscan town. It's an insular kind of vacation travel that puts consumption and sport miles ahead of the educational value of travel, and in some ways Italy is much better for that than the Caribbean. There isn't the disturbing poverty to ignore.

In Tuscany, all you have to do is ignore the history. Etruscan sights?

Who needs 'em? Even with all its coastline, its inevitable the cruise shippers are going to flood inward, and discover a paradise of shopping and vino. Back to the subject of dangerous itineraries, which started this thread. Of course these '2 Day' tourist itineraries are a crock, not simply because Italy's art cities are too rich to be digested in 2 days, which everybody already knows, but because they keep tourists so busy throwing 3 coins in the fountain, sipping a Bellini and buying leather in the San Lorenzo market, none of which has anything to do with seeing Rome, Venice or Florence. Seeing the actual cities would get in the way of experiencing tourist Italy, create a dissonance, which people who put a lot of work into editing great cultures for tourists in hopes of getting money don't want.

And they really don't want it. It's not just their incomes, it's their egos that are now invested in it, and their names (made up or real).

I laughed out loud when I saw in a book store 'Rick Steves' Italy.' And there are people who want to go there (on Fodor's they want to go to some poster's Provence and send off for the brochure).

Well, I'm no longer saying anything new. Was news to me about how the deeper cruise ship channels have played in increasing flooding in Venice.

(I did know about the lapping water against the foundations.) I'm tempted to say it proves Venice has a death wish, but you see it and feel it some other way I gather. Glad you got the thanks and more thanks for the gmx address. The way my itinerary is shaping up, I may even have time for steak in Gemona dei Fruil -- by the way, I was perusing Plotkin's updated food guide to Italy and Il Melograno near Pitigliano is there.

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