Venice (Italian: Venezia ) a city in northern Italy, the capital of the region Veneto, with a population of 271,367 (census estimate 1 January 2004). Together with Padua, the city is included in the Padua-Venice Metropolitan Area (population 1,600,000). The city historically was the capital of an independent nation. Venice has been known as the "La Dominante", "Serenissima", "Queen of the Adriatic", "City of Water", "City of Masks", "City of Bridges" and "City of Canals". Luigi Barzini, writing in The New York Times, described it as "undoubtedly the most beautiful city built by man". Venice has also been described by the Times Online as being one of Europe's most romantic cities.
The city stretches across 117 small islands in the marshy Venetian Lagoon along the Adriatic Sea in northeast Italy. The saltwater lagoon stretches along the shoreline between the mouths of the Po (south) and the Piave (north) Rivers. The population estimate of 272,000 inhabitants includes the population of the whole Comune of Venezia; around 60,000 in the historic city of Venice (Centro storico); 176,000 in Terraferma (the Mainland), mostly in the large frazioni of Mestre and Marghera; and 31,000 live on other islands in the lagoon.
The Republic of Venice was a major maritime power during the Middle Ages and Renaissance, and a staging area for the Crusades and the Battle of Lepanto, as well as a very important center of commerce (especially silk, grain and spice trade) and art in the 13th century up to the end of the 17th century. Venice is also famous for its musical, particularly operatic, history, and its most famous son in this field is Antonio Vivaldi.
While there are no historical records that deal directly with the obscure and peripheral origins of Venice, tradition and the available evidence has led several historians to agree that the original population of Venice comprised refugees from Roman cities such as Padua, Aquileia, Altino and Concordia (modern Portogruaro) and from the undefended countryside, who were fleeing successive waves of Germanic invasions and Huns. Some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae ("lagoon dwellers"). The traditional founding is identified with the dedication of the first church, that of San Jacopo at the islot of Rialto (Rivoalto, "High Shore"), given a conventional date of 421.
The last and most enduring irruption in the north of the Italian peninsula was that of the Lombards in 568, leaving the Eastern Roman Empire a small strip of coast in the current Veneto, and the main administrative and religious entities were therefore transferred to this remaining dominion, centered upon the Exarchate of Ravenna, the local representative of the Emperor in the East. The Venetian tradition of the islanders' aid to Belisarius was reported in early histories to explain the largely theoretical link to Ravenna, and to the Eastern Emperor. New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, dated from c. 568.
The Venetians traditionally having offered asylum to the Exarch, in flight from the Lombard Liutprand, the Byzantine domination of central and northern Italy was subsequently largely eliminated by the conquest of the Exarchate of Ravenna in 751 by Aistulf. During this period, the seat of the local Byzantine governor (the "duke/dux", later "doge") was situated in Malamocco. Settlement on the islands in the lagoon probably increased in correspondence with the Lombard conquest of the Byzantine territories.
In 775-76, the bishopric seat of Olivolo (Helipolis) was created. During the reign of duke Agnello Particiaco (811-827) the ducal seat was moved from Malamocco to the highly protected Rialto, the current location of Venice. The monastery of St. Zachary and the first ducal palace and basilica of St. Mark, as well as a walled defense (civitatis murus) between Olivolo and Rialto were subsequently built here. Winged lions which may be seen in Venice are a symbol for St. Mark.
In 810, an agreement between Charlemagne and Nicephorus recognized Venice as Byzantine territory and recognized the city's trading rights along the Adriatic coast, where Charlemagne had previous ordered the pope to expel the Venetians from the Pentapolis. In 828, the new city's prestige was raised by the acquisition of the claimed relics of St. Mark the Evangelist from Alexandria, which were placed in the new basilica. The patriarchal seat was also moved to Rialto. As the community continued to develop and as Byzantine power waned, it led to the growth of autonomy and eventual independence.
From the ninth to the twelfth century Venice developed into a city state (an Italian thalassocracy or Repubblica Marinara, the other three being Genoa, Pisa, and Amalfi). Its strategic position at the head of the Adriatic made Venetian naval and commercial power almost invulnerable. With the elimination of pirates along the Dalmatian coast, the city became a flourishing trade center between Western Europe and the rest of the world (especially the Byzantine Empire and the Islamic world).
In the 12th century the foundations of Venice's power were laid: the Venetian Arsenal was under construction in 1104; the last autocratic doge, Vital II Michele, died in 1172.
The Republic of Venice seized a number of locations on the eastern shores of the Adriatic before 1200, mostly for commercial reasons, because pirates based there were a menace to trade. The Doge already carried the titles of Duke of Dalmatia and Duke of Istria. Later mainland possessions, which extended across Lake Garda as far west as the Adda River, were known as the "Terraferma", and were acquired partly as a buffer against belligerent neighbours, partly to guarantee Alpine trade routes, and partly to ensure the supply of mainland wheat, on which the city depended. In building its maritime commercial empire, the Republic dominated the trade in salt, acquired control of most of the islands in the Aegean, including Cyprus and Crete, and became a major power-broker in the Near East. By the standards of the time, Venice's stewardship of its mainland territories was relatively enlightened and the citizens of such towns as Bergamo, Brescia and Verona rallied to the defence of Venetian sovereignty when it was threatened by invaders.
Venice remained closely associated with Constantinople, being twice granted trading privileges in the Eastern Roman Empire, through the so-called Golden Bulls or 'chrysobulls' in return for aiding the Eastern Empire to resist Norman and Turkish incursions. In the first chrysobull Venice acknowledged its homage to the Empire but not in the second, reflecting the decline of Byzantium and the rise of Venice's power.
Venice became an imperial power following the Venetian-financed Fourth Crusade, which in 1204 seized and sacked Constantinople and established the Latin Empire. As a result of this conquest considerable Byzantine plunder was brought back to Venice. This plunder included the gilt bronze horses from the Hippodrome of Constantinople which were now placed above the entrance to St Mark's cathedral in Venice, where they remain to this day. Following the fall of Constantinople the former Roman Empire was partitioned among the Latin crusaders and the Venetians. Venice subsequently carved out a sphere of influence in the Mediterranean known as the Duchy of the Archipelago, and seized Crete.
The seizure of Constantinople would ultimately prove as decisive a factor in ending the Byzantine Empire as the loss of the Anatolian themes after Manzikert. Though the Byzantines recovered control of the ravaged city a half century later, the Byzantine Empire was greatly weakened, and existed as a ghost of its old self, struggling on with the help, among other things, of loans from Venice (never repaid) until Sultan Mehmet The Conqueror took the city in 1453.
Situated on the Adriatic Sea, Venice always traded with the Byzantine Empire and the Muslim world extensively. By the late thirteenth century, Venice was the most prosperous city in all of Europe. At the peak of its power and wealth, it had 36,000 sailors operating 3,300 ships, dominating Mediterranean commerce. During this time, Venice's leading families vied with each other to build the grandest palaces and support the work of the greatest and most talented artists. The city was governed by the Great Council, which was made up of members of the noble families of Venice. The Great Council appointed all public officials and elected a Senate of 200 to 300 individuals. Since this group was too large for efficient administration, a Council of Ten (also called the Ducal Council or the Signoria), controlled much of the administration of the city. One member of the great council was elected "Doge", or duke, the ceremonial head of the city, who normally held the title until his death.
The Venetian governmental structure was similar in some ways to the republican system of ancient Rome, with an elected chief executive (the Doge), a senate-like assembly of nobles, and a mass of citizens with limited political power, who originally had the power to grant or withhold their approval of each newly elected Doge. Church and various private properties were tied to military service, though there was no knight tenure within the city itself. The Cavalieri di San Marco was the only order of chivalry ever instituted in Venice, and no citizen could accept or join a foreign order without the government's consent. Venice remained a republic throughout its independent period and politics and the military were kept separate, except when on occasion the Doge personally headed the military. War was regarded as a continuation of commerce by other means (hence, the city's early production of large numbers of mercenaries for service elsewhere, and later its reliance on foreign mercenaries when the ruling class was preoccupied with commerce).
The chief executive was the Doge, who theoretically held his elective office for life. In practice, several Doges were forced by pressure from their oligarchical peers to resign the office and retire into monastic seclusion when they were felt to have been discredited by perceived political failure.
Though the people of Venice generally remained orthodox Roman Catholics, the state of Venice was notable for its freedom from religious fanaticism and it enacted not a single execution for religious heresy during the Counter-Reformation. This apparent lack of zeal contributed to Venice's frequent conflicts with the Papacy. Venice was threatened with the interdict on a number of occasions and twice suffered its imposition. The second, most famous, occasion was on 27 April 1509, by order of Pope Julius II (see League of Cambrai).
Venetian ambassadors sent home still-extant secret reports of the politics and rumours of European courts, providing fascinating information to modern historians.
The newly-invented German printing press spread rapidly throughout Europe in the fifteenth century, and Venice was quick to adopt it. By 1482 Venice was the printing capital of the world, and the leading printer was Aldus Manutius, who invented the concept of paperback books that could be carried in a saddlebag. His Aldine Editions included translations of nearly all the known Greek manuscripts of the era.
Venice’s long decline started in the 15th century, when it first made an unsuccessful attempt to hold Thessalonica against the Ottomans (1423–1430). She also sent ships to help defend Constantinople against the besieging Turks (1453). After the city fell to Sultan Mehmet II he declared war on Venice. The war lasted thirty years and cost Venice much of her eastern Mediterranean possessions. Next, Christopher Columbus discovered the New World. Then Portugal found a sea route to India, destroying Venice’s land route monopoly. France, England and Holland followed them. Venice’s oared galleys had no advantage when it came to traversing the great oceans. She was left behind in the race for colonies.
The Black Death devastated Venice in 1348 and once again between 1575 and 1577. In three years the plague killed some 50,000 people. In 1630, the plague killed a third of Venice's 150,000 citizens. Venice began to lose its position as a center of international trade during the later part of the Renaissance as Portugal became Europe's principal intermediary in the trade with the East, striking at the very foundation of Venice's great wealth, while France and Spain fought for hegemony over Italy in the Italian Wars, marginalising its political influence. However, the Venetian empire was a major exporter of agricultural products and, until the mid-18th century, a significant manufacturing center.
By 1303, crossbow practice had become compulsory in the city, with citizens training in groups. As weapons became more expensive and complex to operate, professional soldiers were assigned to help work merchant sailing ships and as rowers in galleys. The company of "Noble Bowmen" was recruited in the later 14th century from among the younger aristocracy and served aboard both war-galleys and as armed merchantmen, with the privilege of sharing the captain's cabin.
Though Venice was famous for its navy, its army was equally effective. In the 13th century, most Italian city states already were hiring mercenaries, but Venetian troops were still recruited from the lagoon, plus feudal levies from Dalmatia (the very famous Schiavoni or Oltremarini) and Istria. In times of emergency, all males between seventeen and sixty years were registered and their weapons were surveyed, with those called to actually fight being organized into companies of twelve. The register of 1338 estimated that 30,000 Venetian men were capable of bearing arms; many of these were skilled crossbowmen. As in other Italian cities, aristocrats and other wealthy men were cavalrymen while the city's conscripts fought as infantry.
By 1450, more than 3,000 Venetian merchant ships were in operation. Most of these could be converted when necessary into either warships or transports. The government required each merchant ship to carry a specified number of weapons (mostly crossbows and javelins) and armour; merchant passengers were also expected to be armed and to fight when necessary. A reserve of some 25 (later 100) war-galleys was maintained in the Arsenal. Galley slaves did not exist in medieval Venice, the oarsmen coming from the city itself or from its possessions, especially Dalmatia. Those from the city were chosen by lot from each parish, their families being supported by the remainder of the parish while the rowers were away. Debtors generally worked off their obligations rowing the galleys. Rowing skills were encouraged through races and regattas.
Early in the 15th century, as new mainland territories were expanded, the first standing army was organized, consisting of condottieri on contract. In its alliance with Florence in 1426, Venice agreed to supply 8,000 cavalry and 3,000 infantry in time of war, and 3,000 and 1,000 in peacetime. Later in that century, uniforms were adopted that featured red-and-white stripes, and a system of honors and pensions developed. Throughout the 15th century, Venetian land forces were almost always on the offensive and were regarded as the most effective in Italy, largely because of the tradition of all classes carrying arms in defense of the city and official encouragement of general military training.
The command structure in the army was different from that of the fleet. By ancient law, no nobleman could command more than twenty-five men (to prevent the possibility of sedition by private armies), and while the position of Captain General was introduced in the mid-14th century, he still had to answer to a civilian panel of twenty Savi or "wise men". Not only was efficiency not degraded, this policy saved Venice from the military takeovers that other Italian city states so often experienced. A civilian commissioner (not unlike a commissar) accompanied each army to keep an eye on things, especially the mercenaries. The Venetian military tradition also was notably cautious; they were more interested in achieving success with a minimum expense of lives and money than in the pursuit of glory.
After 1,070 years, the Republic lost independence when Napoleon Bonaparte on 12 May 1797, conquered Venice during the First Coalition. The French conqueror brought to an end the most fascinating century of its history: during the Settecento (18th century) Venice became perhaps the most elegant and refined city in Europe, greatly influencing art, architecture and literature. Napoleon was seen as something of a liberator by the city's Jewish population, although it can be argued they had lived with fewer restrictions in Venice. He removed the gates of the Ghetto and ended the restrictions on when and where Jews could live and travel in the city.
Venice became Austrian territory when Napoleon signed the Treaty of Campo Formio on 12 October 1797. The Austrians took control of the city on 18 January 1798. It was taken from Austria by the Treaty of Pressburg in 1805 and became part of Napoleon's Kingdom of Italy, but was returned to Austria following Napoleon's defeat in 1814, when it became part of the Austrian-held Kingdom of Lombardy-Venetia. In 1848-1849 a revolt briefly reestablished the Venetian Republic under Daniele Manin. In 1866, following the Third Italian War of Independence, Venice, along with the rest of the Veneto, became part of the newly created Kingdom of Italy.
During the Second World War, the city was largely free from attack, the only aggressive effort of note being Operation Bowler, a precision strike on the German naval operations there in 1945. Venice was finally liberated by New Zealand troops under Freyberg on 29 April 1945.
The city is divided into six areas or "sestiere". These are Cannaregio, San Polo, Dorsoduro (including the Giudecca and Isola Sacca Fisola), Santa Croce, San Marco (including San Giorgio Maggiore) and Castello (including San Pietro di Castello and Sant'Elena). Each sestiere was administered by a procurator and his staff.
These districts consist of parishes — initially seventy in 1033, but reduced under Napoleon and now numbering just thirty-eight. These parishes predate the sestieri, which were created in about 1170.
Other islands of the Venetian Lagoon do not form part of any of the sestieri, having historically enjoyed a considerable degree of autonomy.
Each sestiere has its own house numbering system. Each house has a unique number in the district, from one to several thousand, generally numbered from one corner of the area to another, but not usually in a readily understandable manner.
At the front of the Gondolas that work in the city there is a large piece of metal intended as a likeness of the Doge's hat. On this sit six notches pointing forwards and one pointing backwards. Each of these represent one of the Sestieri (the one which points backwards represents the Giudecca
The buildings of Venice are constructed on closely spaced wood piles, which were imported from the mainland. (Under water, in the absence of oxygen, wood does not decay. It is petrified as a result of the constant flow of mineral-rich water around and through it, so that it becomes a stone-like structure.) The piles penetrate a softer layer of sand and mud until they reach the much harder layer of compressed clay. Wood for piles was cut in the most western part of today's Slovenia, resulting in the barren land in a region today called Kras, and in two regions of Croatia, Lika and Gorski kotar (resulting in the barren slopes of Velebit). Most of these piles are still intact after centuries of submersion. The foundations rest on the piles, and buildings of brick or stone sit above these footings. The buildings are often threatened by flood tides pushing in from the Adriatic between autumn and early spring.
Six hundred years ago, Venetians protected themselves from land-based attacks by diverting all the major rivers flowing into the lagoon and thus preventing sediment from filling the area around the city. This created an ever-deeper lagoon environment.
During the 20th century, when many artesian wells were sunk into the periphery of the lagoon to draw water for local industry, Venice began to subside. It was realized that extraction of the aquifer was the cause. This sinking process has slowed markedly since artesian wells were banned in the 1960s. However, the city is still threatened by more frequent low-level floods (called Acqua alta, "high water") that creep to a height of several centimetres over its quays, regularly following certain tides. In many old houses the former staircases used by people to unload goods are now flooded, rendering the former ground floor uninhabitable.
Some recent studies have suggested that the city is no longer sinking, but this is not yet certain; therefore, a state of alert has not been revoked. In May 2003 the Italian Prime Minister Silvio Berlusconi inaugurated the MOSE project (Modulo Sperimentale Elettromeccanico), an experimental model for evaluating the performance of inflatable gates; the idea is to lay a series of 79 inflatable pontoons across the sea bed at the three entrances to the lagoon. When tides are predicted to rise above 110 centimetres, the pontoons will be filled with air and block the incoming water from the Adriatic Sea. This engineering work is due to be completed by 2011.
Some experts say that the best way to protect Venice is to physically lift the City to a greater height above sea level, by pumping water into the soil underneath the city. This way, some hope, it could rise above sea levels, protecting it for hundreds of years, and eventually the MOSE project may not be necessary (it will, controversially, alter the tidal patterns in the lagoon, damaging some wildlife). A further point about the "lifting" system would be that it would be permanent; the MOSE Project is, by its very nature, a temporary system: it is expected to protect Venice for only 100 years.
In 1604, to defray the cost of flood relief Venice introduced what could be considered the first example of what became elsewhere a 'stamp tax'. When the revenue fell short of expectations in 1608 Venice introduced paper with the superscription 'AQ' and imprinted instructions which was to be used for 'letters to officials'. Initially this was to be a temporary tax but in fact remained in effect to the fall of the Republic in 1797. Shortly after the introduction of the tax Spain produced similar paper for more general taxation purposes and the practice spread to other countries.
Venice's economy has greatly changed throughout history, and has evolved greatly. In the Middle-Ages and the Renaissance, Venice was a major centre for commerce and trade, as it controlled a vast sea-empire, and became an extremely wealthy European city, a leader in political and economic affairs and a centre for trade and commerce. This all changed by the 17th century, when Venice's trade empire was taken over by other countries such as Portugal, and its naval importance was reduced. In the 18th century, then, it became a major agricultural and industrial exporter. The 18th century's biggest industrial complex was the Venice Arsenal, and the Italian Army still uses it today (even though some space has been used for major theatrical and cultural productions, and beautiful spaces for art). Today, Venice's economy is mainly based on tourism, shipbuilding (mainly done in the neighbouring cities of Mestre and Porto Marghera), services, trade and industrial exports. Murano glass production in Murano and lace production in Burano are also highly important to the economy.
Venice is one of the most important tourist destinations in the world, due to the city being one of the world's greatest and most beautiful cities of art. The city has an average of 50,000 tourists a day (2007 estimate). In 2006, it was the world's 28th most internationally visited city, with 2.927 million international arrivals that year.
Tourism has been a major sector of Venetian industry since the 18th century, when it was a major centre for the grand tour, due to its beautiful cityscape, uniqueness and rich musical and artistic cultural heritage. In the 19th century, it became a fashionable centre for the rich and famous, often staying or dining at luxury establishments such as the Danieli Hotel and the Caffè Florian. It continued being a fashionable city in vogue right into the early 20th century In the 1980s the Carnival of Venice was revived and the city has become a major centre of international conferences and festivals, such as the prestigious Venice Biennale and the Venice Film Festival, which attract visitors from all over the world for their theatrical, cultural, cinematic, artistic and musical productions
Today there are numerous attractions in Venice, such as St Mark's Basilica, the Grand Canal, and the Piazza San Marco, to name a few. The Lido di Venezia is also a popular international luxury destination, attracting thousands of actors, critics, celebrities and mainly people in the cinematic industry.
However, Venice's popularity as a major worldwide tourist destination has caused several problems, including the fact that the city can be very overcrowded at some points of the year. It is regarded by some as a tourist trap, and by others as a 'living museum'. The competition for foreigners to buy homes in Venice has made prices rise so highly, that numerous inhabitants are forced to move to more affordable areas of Veneto and Italy, most notably Mestre.
Venice is world-famous for its canals. It is built on an archipelago of 117 islands formed by 177 canals in a shallow lagoon. The islands on which the city is built are connected by 455 bridges . In the old centre, the canals serve the function of roads, and almost every form of transport is on water or on foot. In the 19th century a causeway to the mainland brought a railway station to Venice, and an automobile causeway and parking lot was added in the 20th century. Beyond these land entrances at the northern edge of the city, transportation within the city remains, as it was in centuries past, entirely on water or on foot. Venice is Europe's largest urban car free area, unique in Europe in remaining a sizable functioning city in the 21st century entirely without motorcars or trucks.
The classical Venetian boat is the gondola, although it is now mostly used for tourists, or for weddings, funerals, or other ceremonies. Many gondolas are lushly appointed with crushed velvet seats and Persian rugs. Gondoliers typically charge between 80 and 100 euros for a 35 minute "giro" or excursion around some canals. The Gondoliers, by law, must be of Venetian birth. Most Venetians now travel by motorised waterbuses (vaporetti) which ply regular routes along the major canals and between the city's islands. The city also has many private boats. The only gondolas still in common use by Venetians are the traghetti, foot passenger ferries crossing the Grand Canal at certain points without bridges. Visitors can also take the water taxis between areas of the city.
Azienda Consorzio Trasporti Veneziano (ACTV) is the name of the public transport system in Venice. It combines both land transportation, with buses, and canal travel, with water buses (vaporetti). In total, there are 25 routes which connect the city. A one way pass good for one hour costs 6.50 €; longer term passes for 12 to 72 hours are available, costing 14 to 31 €. An even better deal is the "Venice Card" for 7 days, starting at 47.50 €, which includes unlimited vaporetto travel.
Venice also has water taxis, which are fast but quite expensive.
Venice is served by the newly rebuilt Marco Polo International Airport, or Aeroporto di Venezia Marco Polo, named in honor of its famous citizen. The airport is on the mainland and was rebuilt away from the coast; however, the water taxis or Alilaguna waterbuses to Venice are only a seven-minute walk from the terminals.
Some airlines market Treviso Airport in Treviso, 30 km from Venice, as a Venice gateway. Some simply advertise flights to "Venice" without naming the actual airport except in the small print.
The Basilica of St Mary of Health (Italian: Basilica di Santa Maria della Salute), commonly known simply as the Salute, is a Roman Catholic church and minor basilica located in the Dorsoduro sestiere of the Italian city of Venice. It stands on a narrow finger of land between the Grand Canal and the Bacino di San Marco making the church visible when entering the Piazza San Marco from the water. The Salute is part of the parish of the Gesuati and is the most recent of the so-called Plague-churches.
In 1630 Venice experienced an unusually devastating outbreak of the plague. As a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health (or of Deliverance, Italian: Salute). The church was designed in the then fashionable Palladian style by Baldassare Longhena, a pupil of the Venetian architect Andrea Palladio, and construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
The dome of the Salute was an important addition to the Venice skyline and soon became emblematic of the city, inspiring artists like Canaletto, J. M. W. Turner, John Singer Sargent and Francesco Guardi.
Beginning in the summer of 1629, a wave of the plague assaulted Venice, and over the next two years killed nearly a third of the population. In the city 46,000 people died whilst in the lagoons the number was far higher, some 94,000. Repeated displays of the sacrament, as well as prayers and processions to churches dedicated to San Rocco and San Lorenzo Giustiniani had failed to stem the epidemic. Echoing the architectural response to a prior assault of the plague (1575–76), when Palladio was asked to design the Redentore church, the Venetian Senate on October 22, 1630, decreed that a new church would be built. It was not to be dedicated to a mere "plague" or patron saint, but to the Virgin Mary, who for many reasons was thought to be a protector of the Republic.
It was also decided that the Senate would visit the church each year. On November 22 the Feast of the Presentation of the Virgin, in a celebration known as the Festa della Madonna della Salute, the city's officials parade from San Marco to the Salute for a service in gratitude for deliverance from the plague. This involved crossing the Grand Canal on a specially constructed pontoon bridge and is still a major event in Venice.
The desire to create a suitable monument at a place that allows for easy processional access from Piazza San Marco led senators to select the present site from among eight potential locations. The location was chosen partially due to its relationship to San Giorgio, San Marco and Il Redentore, with which it forms an arc. The Salute, emblematic of the city's piety, stands adjacent to the rusticated single story customs house or Dogana da Mar, the emblem of its maritime commerce, and near the civic center of the city. A dispute with the patriarch, owner of the church and seminary at the site, was resolved, and razing of some of the buildings began by 1631. Likely, the diplomat Paolo Sarpi and Doge Nicolo Contarini shared the intent to link the church to an order less closely associated with the patriarchate, and ultimately the Somascan Fathers, an order founded near Bergamo by a Venetian nobleman Jerome Emiliani, were invited to administer the church.
A competition was held to design the building. Of the eleven submissions (including designs by Alessandro Varotari, Matteo Ignoli, and Berteo Belli), only two were chosen for the final round. The architect Baldassare Longhena was selected to design the new church. It was finally completed in 1681, the year before Longhena's death. The other design to make it to the final round was by Antonio Smeraldi (il Fracao) and Zambattista Rubertini. Of the proposals still extant, Belli's and Smeraldi's original plans were conventional counter-reformation linear churches, resembling Palladio's Redentore and San Giorgio Maggiore, while Varotari's was a sketchy geometrical abstraction. Longhena's proposal was a concrete architectural plan, detailing the structure and costs. He wrote:
“ I have created a church in the form of a rotunda, a work of new invention, not built in Venice, a work very worthy and desired by many. This church, having the mystery of its dedication, being dedicated to the Blessed Virgin, made me think, with what little talent God has bestowed upon me of building the church in the ... shape of a crown. ”
Later in a memorandum, he wrote:
“ Firstly, it is a virgin work, never before seen, curious, worthy and beautiful, made in the form of a round monument that has never been seen, nor ever before invented, neither altogether, nor in part, in other churches in this most serene city, just as my competitor (il Fracao) has done for his own advantage, being poor in invention. ”
The Salute, while novel in many ways, still shows the influence of Palladian classicism and the domes of Venice. The Venetian Senate voted 66 in favor, 29 against with 2 abstentions to authorize the designs of the 26 year old Longhena. While Longhena saw the structure as crown-like, the decorative circular building makes it seem more like a reliquary, a ciborium, and embroidered inverted chalice that shelters the city's piety.
The Salute is a vast, octagonal building with two domes and a pair of picturesque bell-towers at the back. Built on a platform made of 100,000 wooden piles, it is constructed of Istrian stone and marmorino (brick covered with marble dust). At the apex of the pediment stands a statue of the Virgin Mary who presides over the church which was erected in her honour. The façade is decorated with figures of Saint George, Saint Theodore, the Evangelists, the Prophets, Judith with the head of Holofernes.
While its external decoration and location capture the eye, the internal design itself is quite remarkable. The octagonal church, while ringed by a classic vocabulary, hearkens to Byzantine designs such as the Basilica of San Vitale. The interior has its architectural elements demarcated by the coloration of the material, and the central nave with its ring of saints atop a balustrade is a novel design. It is full of Marian symbolism – the great dome represents her crown, the cavernous interior her womb, the eight sides the eight points on her symbolic star.
The interior is octagonal with with eight radiating chapels on the outer row. The three altars to the right of the main entrance are decorated with scenes from the life of the Virgin Mary, patroness of the church, by Luca Giordano: Presentation of Our Lady in the Temple", Assumption of Our Lady, Nativity of Our Lady. The third altar to the left of the entrance hosts a painting by Titian titled The Descent of the Holy Ghost.
The Baroque high altar arrangement, designed by Longhena himself, shelters an iconic Byzantine Madonna and Child of the 12th or 13th century. The statuary group at the high altar, depicting the queen of heaven expelling the Plague(1670) was a theatrical Baroque masterpiece by the Flemish sculptor Josse de Corte. It originally held Alessandro Varotari's painting of the Virgin holding a church that the painter submitted with his architectural proposal.
Tintoretto contributed Marriage at Cana in the great sacristy, which includes a self-portrait. The most represented artist included in the church is Titian, who painted St Mark enthroned with saints Cosmas, Damian, Sebastian and Roch, the altarpiece of the sacristy, as well as ceiling paintings of David and Goliath, Abraham and Isaac and Cain and Abel, and eight tondi of the Doctors of the Church and the Evangelists, all in the great sacristy, and Pentecost in the nave.
The church had a large influence on contemporary architects immediately after its completion. The structures modelled after the church include the basilica on the Holy Mountain in Glogówko, built by the Polish-Italians Jerzy Catenazzi, Jan Catenazzi and Pompeo Ferrari between 1675-1728 according to original design by Baldassarre Longhena. Another example is Katarina Church in Stockholm, by Jean de la Vallée, reconstructed in 1723 by Göran Josua Adelcrantz.
Florence (Italian: Firenze : Florentia) is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with 367,569 inhabitants (1,500,000 in the metropolitan area).
The city lies on the River Arno and is known for its history and its importance in the Middle Ages and in the Renaissance, especially for its art and architecture. A centre of medieval European trade and finance and one of the richest and wealthiest cities of the time, Florence is often considered the birthplace of the Italian Renaissance; in fact, it has been called the Athens of the Middle Ages. It was long under the de facto rule of the Medici family. From 1865 to 1870 the city was also the capital of the Kingdom of Italy.
The historic centre of Florence attracts millions of tourists each year and was declared a World Heritage Site by UNESCO in 1982. Florence is widely regarded as one of the most beautiful cities in the world, and its artistic, historic and cultural heritage and impact in the world remains vast up to this day. The city has also a major European impact in music, architecture, education, cuisine, fashion, philosophy, science and religion. The historic centre of Florence contains numerous elegant piazzas, Renaissance palazzi, academies, parks, gardens, churches, monasteries, museums, art galleries and ateliers. The city has also been nominated, according to a 2007 study, as the most desirable destination for tourists in the world.
The city boasts a wide range of collections of art, especially those held in the Pitti Palace and the Uffizi, (which receives about 1.6 million tourists a year). Florence is arguably the last preserved Renaissance city in the world and is regarded by many as the art capital of Italy. It has been the birthplace or chosen home of many notable historical figures, such as Dante, Boccaccio, Botticelli, Niccolò Machiavelli, Brunelleschi, Michelangelo, Donatello, Galileo Galilei, Catherine de' Medici, Antonio Meucci, Guccio Gucci, Salvatore Ferragamo, Roberto Cavalli, Florence Nightingale and Emilio Pucci.
Florence has had a long and eventful history, being a Roman city, the birthplace of the Italian Renaissance (or the "Florentine Renaissance), and being considered, according to the Encyclopaedia Britannica as politically, economically, and culturally one of the most important cities in Europe and the world for around 250 years - from the 1300s to the 1500s.
Florentines reinvented money - in the form of the gold florin - which was the engine that drove Europe out of the "Dark Ages" a term invented by Petrarch, a Florentine. They financed the development of industry all over Europe - from Britain to Bruges, to Lyon, to Hungary. They financed the English kings during the Hundred Years War. They financed the papacy, including the construction of Avignon and the reconstruction of Rome when the papacy returned from the "Babylonian captivity".
And that is just a smidgen of what went on in this city, which never had a population above 60,000 from the first attack of the plague, in 1348, until long, long after it became unimportant.
The Medici, one of history's most important noble families who revolutionised high culture and the arts. Forget all the art for which they paid. They taught first the other Italians how to conduct state-craft, and then they taught the rest of the Europeans. Just to cite one example: Catherine de Medici (1519–1589), married Henry II of France (reigned 1547–1559). After he died, Catherine ruled France as regent for her young sons and was instrumental in turning France into Europe’s first nation-state. She brought the Renaissance into France, introducing everything from the chateaux of the Loire to the fork. She also was to 16th and 17th century European royalty what Queen Victoria was to the 19th and 20th centuries. Her children included three kings of France, Francis II (ruled 1559-1560), Charles IX (ruled 1560-1574) and Henry III (ruled 1574-1589). Her children-in-law included a fourth king of France, Henry IV (ruled 1589-1610), plus Elizabeth of Hapsburg, Philip II of Spain (of Armada fame), and Mary, Queen of Scots.
Florence was originally established by Julius Caesar in 59 BC as a settlement for his veteran soldiers. It was named Florentia ('the flourishing') and built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated at the Via Cassia, the main route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. The Emperor Diocletian is said to have made Florentia the seat of a bishopric around the beginning of the 4th century AD, but this seems impossible in that Diocletian was a notable persecutor of Christians. Florence is often called the "Jewel of the Renaissance".
In the ensuing two centuries, the city experienced turbulent periods of Ostrogothic rule, during which the city was often troubled by warfare between the Ostrogoths and the Byzantines, which may have caused the population to fall to as few as 1,000 people. Peace returned under Lombard rule in the 6th century. Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to grow again and commerce prospered. In 854, Florence and Fiesole were united in one county.
Margrave Hugo chose Florence as his residency instead of Lucca at about 1000 AD. At this time began the Golden Age of Florentine art. In 1013, construction began on the Basilica di San Miniato al Monte. The exterior of the baptistery was reworked in Romanesque style between 1059 and 1128. This period also saw the eclipse of Florence's formerly powerful rival Pisa (defeated by Genoa in 1284 and subjugated by Florence in 1406), and the exercise of power by the mercantile elite following an anti-aristocratic movement, led by Giano della Bella, that resulted in a set of laws called the Ordinances of Justice (1293).
Margrave Hugo chose Florence as his residency instead of Lucca at about 1000 AD. At this time began the Golden Age of Florentine art. In 1013, construction began on the Basilica di San Miniato al Monte. The exterior of the baptistery was reworked in Romanesque style between 1059 and 1128. This period also saw the eclipse of Florence's formerly powerful rival Pisa (defeated by Genoa in 1284 and subjugated by Florence in 1406), and the exercise of power by the mercantile elite following an anti-aristocratic movement, led by Giano della Bella, that resulted in a set of laws called the Ordinances of Justice (1293).
Of a population estimated at 94,000 before the Black Death of 1348, about 25,000 are said to have been supported by the city's wool industry: in 1345 Florence was the scene of an attempted strike by wool combers (ciompi), who in 1378 rose up in a brief revolt against oligarchic rule in the Revolt of the Ciompi. After their suppression, Florence came under the sway (1382–1434) of the Albizzi family, bitter rivals of the Medici. Cosimo de' Medici was the first Medici family member to essentially control the city from behind the scenes. Although the city was technically a democracy of sorts, his power came from a vast patronage network along with his alliance to the new immigrants, the gente nuova (new people). The fact that the Medici were bankers to the pope also contributed to their ascendancy. Cosimo was succeeded by his son Piero, who was, soon after, succeeded by Cosimo's grandson, Lorenzo in 1469. Lorenzo was a great patron of the arts, commissioning works by Michelangelo, Leonardo da Vinci and Botticelli. Lorenzo was also an accomplished musician and brought some of the most famous composers and singers of the day to Florence, including Alexander Agricola, Johannes Ghiselin, and Heinrich Isaac. By contemporary Florentines (and since), he was known as "Lorenzo the Magnificent" (Lorenzo il Magnifico).
Following the death of Lorenzo de' Medici in 1492, he was succeeded by his son Piero II. When the French king Charles VIII invaded northern Italy, Piero II chose to resist his army. But when he realized the size of the French army at the gates of Pisa, he had to accept the humiliating conditions of the French king. These made the Florentines rebel and they expelled Piero II. With his exile in 1494, the first period of Medici rule ended with the restoration of a republican government.
During this period, the Dominican monk Girolamo Savonarola had become prior of the San Marco monastery in 1490. He was famed for his penitential sermons, lambasting what he viewed as widespread immorality and attachment to material riches. He blamed the exile of the Medicis as the work of God, punishing them for their decadence. He seized the opportunity to carry through political reforms leading to a more democratic rule. But when Savonarola publicly accused Pope Alexander VI of corruption, he was banned from speaking in public. When he broke this ban, he was excommunicated. The Florentines, tired of his extreme teachings, turned against him and arrested him. He was convicted as a heretic and burned at the stake on the Piazza della Signoria on 23 May 1498.
A second individual of unusual insight was Niccolò Machiavelli, whose prescriptions for Florence's regeneration under strong leadership have often been seen as a legitimization of political expediency and even malpractice. Commissioned by the Medici, Machiavelli also wrote the Florentine Histories, the history of the city. Florentines drove out the Medici for a second time and re-established a republic on 16 May 1527. Restored twice with the support of both Emperor and Pope, the Medici in 1537 became hereditary dukes of Florence, and in 1569 Grand Dukes of Tuscany, ruling for two centuries. In all Tuscany, only the Republic of Lucca (later a Duchy) and the Principality of Piombino were independent from Florence.
The extinction of the Medici dynasty and the accession in 1737 of Francis Stephen, duke of Lorraine and husband of Maria Theresa of Austria, led to Tuscany's temporary inclusion in the territories of the Austrian crown. It became a secundogeniture of the Habsburg-Lorraine dynasty, who were deposed for the Bourbon-Parma in 1801 (themselves deposed in 1807), restored at the Congress of Vienna; Tuscany became a province of the United Kingdom of Italy in 1861.
Florence replaced Turin as Italy's capital in 1865 and, in an effort to modernise the city, the old market in the Piazza del Mercato Vecchio and many medieval houses were pulled down and replaced by a more formal street plan with newer houses. The Piazza (first renamed Piazza Vittorio Emmanuele II, then Piazza della Repubblica, the present name) was significantly widened and a large triumphal arch was constructed at the west end. This development was unpopular and was prevented from continuing by the efforts of several British and American people living in the city.[citation needed] A museum recording the destruction stands nearby today. The country's first capital city was superseded by Rome six years later, after the withdrawal of the French troops made its addition to the kingdom possible. A very important role is played in these years by the famous café of Florence Giubbe Rosse from its foundation until the present day. "Non fu giammai così nobil giardino/ come a quel tempo egli è Mercato Vecchio / che l'occhio e il gusto pasce al fiorentino", claimed Antonio Pucci in the 14th century, "Mercato Vecchio nel mondo è alimento./ A ogni altra piazza il prego serra". The area had, however, decayed from its original medieval splendor
After doubling during the nineteenth century, Florence's population was to triple in the twentieth, resulting from growth in tourism, trade, financial services and industry.
During World War II the city experienced a year-long German occupation (1943–1944) and was declared an open city. The Allied soldiers who died driving the Germans from Tuscany are buried in cemeteries outside the city (Americans about 9 kilometres (6 mi) south of the city, British and Commonwealth soldiers a few kilometres east of the centre on the right bank of the Arno). In 1944, the retreating Germans decided to blow up the bridges along the Arno linking the district of Oltrarno to the rest of the city, thus making it difficult for the British troops to cross. However, at the last moment, Hitler ordered that the Ponte Vecchio must not be blown up, as it was too beautiful[citation needed]. Instead, an equally historic area of streets directly to the south of the bridge, including part of the Corridoio Vasariano, was destroyed using mines. Since then the bridges have been restored exactly to their original forms using as many of the remaining materials as possible, but the buildings surrounding the Ponte Vecchio have been rebuilt in a style combining the old with modern design. Shortly before leaving Florence, as they knew that they would soon have to retreat, the Germans murdered many freedom fighters and political opponents publicly, in streets and squares including Piazza Santo Spirito.
In November 1966, the Arno flooded parts of the centre, damaging many art treasures. There was no warning from the authorities, who knew the flood was coming, except a phone call to the jewellers on the Ponte Vecchio.[citation needed] Around the city there are tiny placards on the walls noting where the flood waters reached at their highest point.
Florence is known as the “cradle of the Renaissance” (la culla del Rinascimento) for its monuments, churches and buildings. The best-known site and crowning architectural jewel of Florence is the domed cathedral of the city, Santa Maria del Fiore, known as The Duomo. The magnificent dome was built by Filippo Brunelleschi. The nearby Campanile (partly designed by Giotto) and the Baptistery buildings are also highlights. Both the dome itself and the campanile are open to tourists and offer excellent views; The dome, 600 years after its completion, is still the largest dome built in brick and mortar in the world.
In 1982, the historic centre of Florence (Italian: centro storico di Firenze) was declared a World Heritage Site by the UNESCO for the importance of its cultural heritages. The centre of the city is contained in medieval walls that were built in the fourteenth century to defend the city after it became famous and important for its economic growth.
At the heart of the city, in Piazza della Signoria, is Bartolomeo Ammanati's Fountain of Neptune (1563–1565), which is a masterpiece of marble sculpture at the terminus of a still- functioning Roman aqueduct.
The Arno River, which cuts through the old part of the city, is as much a character in Florentine history as many of the people who lived there. Historically, the locals have had a love-hate relationship with the Arno — which alternated between nourishing the city with commerce, and destroying it by flood.
One of the bridges in particular stands out as being unique — The Ponte Vecchio (Old Bridge), whose most striking feature is the multitude of shops built upon its edges, held up by stilts. The bridge also carries Vasari's elevated corridor linking the Uffizi to the Medici residence (Palazzo Pitti). Although the original bridge was constructed by the Etruscans, the current bridge was rebuilt in the fourteenth century. It is the only bridge in the city to have survived World War II intact.
The church of San Lorenzo contains the Medici Chapel, the mausoleum of the Medici family – the most powerful family in Florence from the fifteenth to the eighteenth century. Nearby is the Uffizi Gallery, one of the finest art museums in the world – founded on a large bequest from the last member of the Medici family.
The Uffizi itself is located at the corner of Piazza della Signoria, a site important for being the centre of Florence's civil life and government for centuries. (Signoria Palace is still home of the community government.) The Loggia dei Lanzi provided the setting for all the public ceremonies of the republican government. Many significant episodes in the history of art and political changes were staged here, such as:
In 1301, Dante was sent into exile from here (commemorated by a plaque on one of the walls of the Uffizi).
On 26 April 1478, Jacopo de'Pazzi and his retainers tried to raise the city against the Medici after the plot known as The congiura dei Pazzi (The Pazzi conspiracy), murdering Giuliano di Piero de' Medici and wounding his brother Lorenzo. All the members of the plot who could be apprehended were seized by the Florentines and hanged from the windows of the palace.
In 1497, it was the location of the Bonfire of the Vanities instigated by the Dominican friar and preacher Girolamo Savonarola
On 23 May 1498, the same Savonarola and two followers were hanged and burnt at the stake. (A round plate in the ground marks the spot where he was hanged)
In 1504, Michelangelo's David (now replaced by a replica, since the original was moved indoors to the Accademia dell'Arte del Disegno) was installed in front of the Palazzo della Signoria (also known as Palazzo Vecchio).
The Piazza della Signoria is the location of a number of statues by other sculptors such as Donatello, Giambologna, Ammannati and Cellini, although some have been replaced with copies to preserve the priceless originals.
In addition to the Uffizi, Florence has other world-class museums. The Bargello concentrates on sculpture, containing many priceless works by sculptors including Donatello, Giambologna and Michelangelo. The Accademia dell'Arte del Disegno (often simply called the Accademia) collection's highlights are Michelangelo's David and his unfinished Slaves.
Across the Arno is the huge Palazzo Pitti, containing part of the Medici family's former private collection. In addition to the Medici collection, the palace's galleries contain many Renaissance works, including several by Raphael and Titian, large collections of costumes, ceremonial carriages, siver, porcelain and a gallery of modern art dating from the eighteenth century. Adjoining the palace are the Boboli Gardens, elaborately landscaped and with many interesting sculptures.
The Santa Croce basilica, originally a Franciscan foundation, contains the monumental tombs of Galileo, Michelangelo, Machiavelli, Dante (actually a cenotaph), and many other notables.
Other important basilicas and churches in Florence include Santa Maria Novella, San Lorenzo, Santo Spirito and the Orsanmichele, and the Tempio Maggiore Great Synagogue of Florence.
This is a suite of 14 rooms, formerly used by the Medici family, and lived in by their successors. These rooms have been largely altered since the era of the Medici, most recently in the 19th century. They contain a collection of Medici portraits, many of them by the artist Giusto Sustermans. In contrast to the great salons containing the Palatine collection, some of these rooms are much smaller and more intimate, and, while still grand and gilded, are more suited to day-to-day living requirements. Period furnishings include four-poster beds and other necessary furnishings not found elsewhere in the palazzo. The Kings of Italy last used the Palazzo Pitti in the 1920s. By that time it had already been converted to a museum, but a suite of rooms (now the Gallery of Modern Art) was reserved for them when visiting Florence officially.
This gallery originates from the remodeling of the Florentine academy in 1748, when a gallery of modern art was established. The gallery was intended to hold those art works which were prize-winners in the academy's competitions. The Palazzo Pitti was being redecorated on a grand scale at this time and the new works of art were being collected to adorn the newly decorated salons. By the mid-19th century so numerous were the Grand Ducal paintings of modern art that many were transferred to the Palazzo Croncetta, which became the first home of the newly formed "Modern Art Museum". Following the Risorgimento and the expulsion of the Grand Ducal family from the palazzo, all the Grand Ducal modern art works were brought together under one roof in the newly titled "Modern gallery of the Academy". The collection continued to expand, particularly so under the patronage of Vittorio Emanuele II. However it was not until 1922 that this gallery was moved to the Palazzo Pitti where it was complemented by further modern works of art in the ownership of both the state and the municipality of Florence. The collection was housed in apartments recently vacated by members of the Italian Royal family. The gallery was first opened to public viewing in 1928. Today, further enlarged and spread over 30 rooms, this large collection includes works by artists of the Macchiaioli movement and other modern Italian schools of the late 19th and early 20th centuries. The pictures by the Macchiaioli artists are of particular note, as this school of 19th-century Tuscan painters led by Giovanni Fattori were early pioneers and the founders of the impressionist movement. The title "gallery of modern art" to some may sound incorrect, as the art in the gallery covers the period from 1700 to early 1900. No examples of later art are included in the collection since In Italy, "modern art" refers to the period before World War II; what has followed is generally known as "contemporary art" (arte contemporanea). In Tuscany this art can be found at the Centro per l'arte contemporanea Luigi Pecci at Prato, a city about 15 km (9 mi) from Florence.
Sometimes called "The Medici Treasury", this contains a collection of priceless silver, cameos, and works in semi-precious gemstones, many of the latter from the collection of Lorenzo de' Medici, including his collection of ancient vases, many with delicate silver gilt mounts added for display purposes in the 15th century. These rooms, formerly part of the private royal apartments, are decorated with 17th-century frescoes, the most splendid being by Giovanni di San Giovanni, from 1635 to 1636. The Silver Museum also contains a fine collection of German gold and silver artefacts purchased by Grand Duke Ferdinand after his return from exile in 1815, following the French occupation.
Situated in a wing known as the "Palazzina della Meridiana", this gallery contains a collection of theatrical costumes dating from the 16th century until the present. It is also the only museum in Italy detailing the history of Italian fashions. One of the newer collections to the palazzo, it was founded in 1983 by Kristen Aschengreen Piacenti; a suite of fourteen rooms, the Meridiana apartments, were completed in 1858. In addition to theatrical costumes, the gallery displays garments worn between the 18th century and the present day. Some of the exhibits are unique to the Palazzo Pitti; these include the 16th-century funeral clothes of Grand Duke Cosimo I de' Medici, and Eleonora of Toledo and her son Garzia, both of whom died of malaria. Their bodies would have been displayed in state wearing their finest clothes, before being reclad in plainer attire before interment. The gallery also exhibits a collection of mid-20th century costume jewellery. The Sala Meridiana originally sponsored a functional solar meridian instrument, built into the fresco decoration by Anton Domenico Gabbiani.
First opened in 1973, this museum is housed in the Casino del Cavaliere in the Boboli Gardens. The porcelain is from many of the most notable European porcelain factories, with Sèvres and Meissen near Dresden being well represented. Many items in the collection were gifts to the Florentine rulers from other European sovereigns, while other works were specially commissioned by the Grand Ducal court. Of particular note are several large dinner services by the Vincennes factory, later renamed Sèvres, and a collection of small biscuit figurines.
This ground floor museum exhibits carriages and other conveyances used by the Grand Ducal court mainly in the late 18th and 19th century. The extent of the exhibition prompted one visitor in the 19th century to wonder, "In the name of all that is extraordinary, how can they find room for all these carriages and horses". Some of the carriages are highly decorative, being adorned not only by gilt but by painted landscapes on their panels. Those used on the grandest occasions, such as the "Carrozza d'Oro" (golden carriage), are surmounted by gilt crowns which would have indicated the rank and station of the carriage's occupants. Other carriages on view are those used by the King of the Two Sicilies, and Archbishops and other Florentine dignitaries.
The Museo di Storia Naturale di Firenze is a natural history museum in 6 major collections, located in Florence. It is part of the University of Florence. Museum collections are open mornings except Wednesday, and all day Saturday; an admission fee is charged. The museum was established on 21 February 1775 by Grand Duke Pietro Leopoldo as the Imperial Regio Museo di Fisica e Storia Naturale. At that time it consisted of several natural history collections housed within the palazzo Torrigiani on Via Romana. Through the past two centuries, it has grown significantly and now forms one of the finest collections in Italy.
The Institute and Museum of the History of Science (Italian: Istituto e Museo di Storia della Scienza, IMSS) is based in Florence, Italy. It was founded in 1927 by the University of Florence. The museum is located in the Palazzo Castellani, by the River Arno and close to the Uffizi Gallery. Among the more famous of its collections is the middle finger from the right hand of Galileo Galilei, which was removed when Galileo's remains were transported to a new burial spot on 12 March 1737
The Villa Palmieri, is a patrician villa in the picturesque town of Fiesole that overlooks Florence. The villa's gardens on slopes below the piazza S. Domenico of Fiesole are credited with being the paradisal setting for the frame story of Boccaccio's Decamerone. The villa's entrance from the town is in via Giovanni Boccaccio. The villa was certainly in existence at the end of the fourteenth century, when it was a possession of the Fini, who sold it in 1454 to the noted humanist scholar Marco Palmieri, whose name it still bears. In 1697, Palmiero Palmieri commenced a restructuring of the gardens, sweeping away all vestiges of the earlier garden to create a south-facing terrace, an arcaded loggia of five bays and the symmetrically paired curved stairs (a tenaglia) that lead to the lemon garden in the lower level. The often-photographed lemon garden survives,though postwar renovation stripped the baroque decors from the villa's stuccoed façade.
Cloisonné is an ancient technique for decorating metalwork objects, in recent centuries using vitreous enamel, and in older periods also inlays of cut gemstones, glass, and other materials. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French) to the metal object by soldering or glueing silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colors. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln.
The technique was in ancient times mostly used for jewellery and small fittings for clothes, weapons or similar small objects decorated with geometric or schematic designs, with thick cloison walls. In the Byzantine Empire techniques using thinner wires were developed to allow more pictorial images to be produced, mostly used for religious images and jewellery, and now always using enamel. By the 14th century this enamel technique had spread to China, where it was soon used for much larger vessels such as bowls and vases; the technique remains common in China to the present day, and cloisonné enamel objects using Chinese-derived styles were produced in the West from the 18th century.
Cloisonné first developed in the jewelry of the ancient Near East, typically in very small pieces such as rings, with thin wire forming the cloisons. In the jewellery of Ancient Egypt, including the pectoral jewels of the Pharaohs, thicker strips form the cloisons, which remain small.In Egypt gemstones and enamel-like materials sometimes called "glass-paste" were both used. Cloisonné spread to surrounding cultures and a particular type, often known as garnet cloisonné is widely found in the Migration Period art of the "barbarian" peoples of Europe, who used gemstones, especially red garnets, as well as glass and enamel, with small thick-walled cloisons. Red garnets and gold made an attractive contrast of colours, and for Christians the garnet was a symbol of Christ. This type is now thought to have originated in the Late Antique Eastern Roman Empire and to have initially reached the Migration peoples as diplomatic gifts of objects probably made in Constantinople, then copied by their own goldsmiths. Glass-paste cloisonné was made in the same periods with similar results - compare the gold Anglo-Saxon fitting with garnets (right) and the Visigothic brooch with glass-paste in the gallery. Thick ribbons of gold were soldered to the base of the sunken area to be decorated to make the compartments, before adding the stones or paste. Sometimes compartments filled with the different materials of cut stones or glass and enamel are mixed in the same object, as in the purse-lid from Sutton Hoo. In the Byzantine world the technique was developed into the thin-wire style suitable only for enamel described below, which was imitated in Europe from about Carolingian period onwards.
The earliest surviving cloisonné pieces are rings in graves from 12th century BC Cyprus, using very thin wire. Subsequently enamel was just one of the fillings used for the small thick-walled small cloisons of the Late Antique and Migration Period style described above. From about the 8th century, Byzantine art began again to use much thinner wire more freely to allow much more complex designs to be used, with larger and less geometric compartments, which was only possible using enamel. These were still on relatively small objects, although numbers of plaques could be set into larger objects, such as the Pala d'Oro, the altarpiece in Saint Mark's Cathedral, Venice. Some objects combined thick and thin cloisons for varied effect. The designs often (as at right) contained a generous background of plain gold, as in contemporary Byzantine mosaics. The area to be enamelled was stamped to create the main depression, pricked to help the enamel adhere, and the cloisons added.
From Byzantium or the Islamic world the technique reached China in the 13-14th centuries; the first written reference is in a book of 1388, where it is called "Dashi ('Muslim') ware". No Chinese pieces clearly from the 14th century are known, the earliest datable pieces being from the reign of the Xuande Emperor (1425-35), which however show a full use of Chinese styles suggesting considerable experience in the technique. It was initially regarded with suspicion by Chinese connoisseurs, firstly as being foreign, and secondly as appealing to feminine taste. However by the beginning of the 18th century the Kangxi Emperor had a cloisonné workshop among the many Imperial factories. The most elaborate and highly-valued Chinese pieces are from the early Ming Dynasty, especially the reigns of the Xuande Emperor and Jingtai Emperor (1450-57), although 19th century or modern pieces are far more common. The Chinese industry seems to have benefited from a number of skilled Byzantine refugees fleeing the Fall of Constantinople in 1453. In Chinese cloisonné blue is usually the predominant colour, and the Chinese name for the technique, jingtailan ("Jingtai blue ware"), refers to this, and the Jingtai Emperor. Quality began to decline in the 19th century. Initially heavy bronze or brass bodies were used, and the wires soldered, but later much lighter copper vessels were used, and the wire glued on before firing.
In Byzantine pieces, and even more in Chinese work, the wire by no means always encloses a separate color of enamel. Sometime a wire is used just for decorative effect, stopping in the middle of a field of enamel, and sometimes the boundary between two enamel colors is not marked by a wire. In the Byzantine plaque at right the first feature may be seen in the top wire on the saint's black sleeve, and the second in the white of his eyes and collar. Both are also seen in the Chinese bowl illustrated at top right.
Chinese cloisonné is the best known enamel cloisonné, though the Japanese produced large quantities from the mid-19th century, of very high technical quality. Russian cloisonné from the Tsarist era is also highly prized by collectors, especially from the House of Fabergé or Khlebnikov, and the French and other nations have produced small quantities. Chinese cloisonné is sometimes confused with Canton enamel, a similar type of enamel work that is painted on freehand and does not utilize partitions to hold the colors separate.
In medieval Western Europe cloisonné enamel technique was gradually overtaken by the rise of champlevé enamel, where the spaces for the enamel to fill are created by making recesses (using various methods) into the base object, rather than building up compartments from it, as in cloisonné. Later techniques were evolved that allowed the enamel to be painted onto a flat background without running. Plique-à-jour is a related enameling technique which uses clear enamels and no metal backplate, producing an object that has the appearance of a miniature stained glass object - in effect cloisonné with no backing.
Other ways of using the technique have been developed, but are of minor importance. In 19th century Japan it was used on pottery vessels with ceramic glazes, and it has been used with lacquer and modern acrylic fillings for the cloisons.A version of cloisonné technique is often used for lapel badges, logo badges for many objects such as cars, including BMW models, and other applications, though in these the metal base is normally cast with the compartments in place, so the use of the term, though common, is questionable.
A large collection of 150 Chinese cloisonné pieces is at the G.W. Vincent Smith Art Museum in Springfield, Massachusetts.
First the object to be decorated is made or obtained; this will normally be made by different craftsmen. The metal usually used for making the body is copper, since it is cheap, light and easily hammered and stretched, but bronze, silver or other metals may be used. Cloisonné wire is made from pure silver or gold and is usually about .010 x .040 inches in cross section It is bent into shapes that define the colored areas. The bends are all done at right angles, so that wire does not curve up. This is done with small pliers, tweezers, and custom-made jigs. The cloisonné wire pattern may consist of several intricately constructed wire patterns that fit together into a larger design. Solder can be used to join the wires, but this causes the enamel to discolor and form bubbles later on. Instead, the base metal is fired with a thin layer of clear enamel. The cloisonné wire is glued to the enamel surface with gum tragacanth. When the gum has dried, the piece is fired again to fuse the cloisonné wire to the clear enamel. The gum burns off, leaving no residue.
Vitreous enamels in the different colors are ground to fine powders in an agate mortar and pestle, then washed to remove the impurities that would discolor the fired enamel. Each color of enamel is prepared this way before it is used and then mixed with a very dilute solution of gum tragacanth. Using fine spatulas, brushes or droppers, the enameler places the fine colored powder into each cloison. The piece is left to dry completely before firing, which is done by putting the article, with its enamel fillings, in a kiln. The enamel in the cloisons will sink down a lot after firing. This process is repeated until all cloisons are filled.
Three styles of cloisonné are most often seen: concave, convex, and flat. The finishing method determines this final appearance. With concave cloisonné the cloisons are not completely filled. Capillary action causes the enamel surface to curve up against the cloisonné wire when the enamel is molten, producing a concave appearance. Convex cloissoné is produced by overfilling each cloison, at the last firing. This gives each color area the appearance of slightly rounded mounds. Flat cloisonné is the most common. After all the cloisons are filled the enamel is ground down to a smooth surface with lapidary equipment, using the same techniques as are used for polishing cabochon stones. The top of the cloisonné wire is polished so it is flush with the enamel and has a bright lustre. Some cloisonné enamel is electroplated with a thin film of gold, which will not tarnish as silver does.
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