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Detailed and timely information on accommodations, restaurants, and local attractions highlight these updated travel guides, which feature all-new covers, a two-color interior design, symbols to indicate budget options, must-see ratings, multi-day itineraries, Smart Travel Tips, helpful bulleted maps, tips on transportation, guidelines for shopping excursions, and other valuable features. Original.
Bulleted maps, hotel and restaurant choices to cover all budgets, and a fresh, two-color design highlight this updated guide to Venice.
Examines the way in which Venice's unusual topography has influenced the form and type of the city's buildings. The text looks at the city's most important monuments such as the Rialto Bridge and the Basilica of San Marco, and discusses important building types such as churches and palaces.
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
The Stones of Venice is a three-volume treatise on Venetian art and architecture by English art historian John Ruskin. Ruskin examines Venetian architecture in detail, describing for example over eighty churches. He discusses architecture of Venice's Byzantine, Gothic and Renaissance periods, and provides a general history of the city. As well as being an art historian, Ruskin was a social reformer. He set out to prove how Venetian architecture exemplified the principles he discussed in his earlier works.
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: besides, many a large piece of porphyry and serpentine upon their fronts." On the opposite page I have given two of the ornaments of the palaces which so struck the French ambassador. He was right in his notice of the distinction. There had indeed come a change over Venetian architecture in the fifteenth century; and a change of some importance to us moderns: we English owe to it our St. Paul's Cathedral, and Europe in general owes to it the utter degradation or destruction of her schools of architecture, never since revived. But that the reader may understand this, it is necessary that he should have some general idea of the connection of the architecture of Venice with that of the rest of Europe, from its origin fonvards. XVII. All European architecture, bad and good, old and new, is derived from Greece through Rome, and coloured and perfected from the East. The history of architecture is nothing but the tracing of the various modes and directions of this derivation. Understand this, once for all: if you hold fast this great connecting clue, you may string all the types of successive architectural invention upon it like so many beads. The Doric and the Corinthian orders are the roots, the one of all Romanesque, massy-capitaled buildingsNorman, Lombard, Byzantine, and what else you can name of the kind; and the Corinthian of all Gothic, Early English, French, German, and Tuscan. Now observe: those old Greeks gave the shaft; Rome gave the arch; the Arabs pointed and foliated the arch. The shaft and arch, the frame-work and strength of architecture, arc from the race of Japheth: the spirituality and sanctity of it from Ismacl, Abraham, and Shem. Xvra. There is high probability that the Greek received his shaft system from Egypt; but I do not care to keep this earlier...
"Palaces of Venice" presents 62 great buildings from the 13th to the 19th century. Hundreds of full-colour photographs show the exteriors and the interiors of the palazzi and the text relates the fascinating history of each architectural masterpiece.
The medieval palaces of Venice are unlike those from anywhere else and they also survive in this equally unique city in far greater numbers. This well-presented study argues, however, that contrary to other opinions, the architecture of Venice was developed from that of northern and western Europe and not from that of Byzantium and Late Antiquity.