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Excerpt from Venice in the Thirteenth and Fourteenth Centuries: A Sketch of Venetian History From the Conquest of Constantinople to the Accession of Michele Steno, A. D. 1204-1400 I ought to add that what I said in the Introduction to my former book did less than justice to the great work of Romanin, which I have learnt to trust more and more. He is not a master of style, but his Storz'a Documcnz'ala is an early model, and a very good one, of the kind of history founded on original documents that is becoming every year more and more the most useful and highly appreci ated product of historical work. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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This book focuses on the question of how Venice designed and exported its own identity through all kinds of its goods. What are Venetian commodities? More than any other medieval or early modern city, Venice lived off of the trade of portable goods. In addition to trading foreign imports, the city also engaged in intense local production, manufacturing high quality glass, crystal, cloth, metal, enamel, leather, and ceramic objects, characterized by their exceedingly rich forms and complex production processes. Today, these objects are scattered in collections throughout the world, but little remains in Venice itself. In individual instances, it is often difficult to tell whether the objects in question were actually made in Venice or if they originated in Byzantine, Islamic, or other European contexts. This book focuses on the question of how Venice designed and exported its own identity through all kinds of its goods.
I trust that the reader has been enabled, by the preceding chapters, to form some conception of the magnificence of the streets of Venice during the course of the thirteenth and fourteenth centuries. Yet by all this magnificence she was not supremely distinguished above the other cities of the middle ages. Her early edifices have been preserved to our times by the circuit of her waves; while continual recurrences of ruin have defaced the glory of her sister cities. But such fragments as are still left in their lonely squares, and in the corners of their streets, so far from being inferior to the buildings of Venice, are even more rich, more finished, more admirable in invention, more exuberant in beauty. And although, in the North of Europe, civilization was less advanced, and the knowledge of the arts was more confined to the ecclesiastical orders, so that, for domestic architecture, the period of perfection must be there placed much later than in Italy, and considered as extending to the middle of the fifteenth century; yet, as each city reached a certain point in civilization, its streets became decorated with the same magnificence, varied only in style according to the materials at hand, and temper of the people. And I am not aware of any town of wealth and importance in the middle ages, in which some proof does not exist, that, at its period of greatest energy and prosperity, its streets were inwrought with rich sculpture, and even (though in this, as before noticed, Venice always stood supreme) glowing with color and with gold. Now, therefore, let the reader, - forming for himself as vivid and real a conception as he is able, either of a group of Venetian palaces in the fourteenth century, or, if he likes better, of one of the more fantastic but even richer street scenes of Rouen, Antwerp, Cologne, or Nuremberg, and keeping this gorgeous image before him, -go out into any thoroughfare, representative, in a general and characteristic way, of the feeling for domestic architecture in modern times; let him, for instance, if in London, walk once up and down Harley Street, or Baker Street, or Gower Street; and then, looking upon this picture and on this, set himself to consider (for this is to be the subject of our following and final inquiry) what have been the causes which have induced so vast a change in the European mind.