Academic literature on the topic 'Giardino Giusti (Verona, Italy)'

In the First World War, the Austro-Hungarian Empire was a part of the Central Powers. As from 1916, the Empire had been very keen for the war to end. The Austro-Hungarian Empire, which was deprived of the financial power to continue the war and faced with the demands of independence from the minorities before and during the war, approached the armistice proposals very positively that could end the war in 1916 and 1917. In mid-June 1918, the failure of the attack launched by the Austro-Hungarian troops against the Italian troops and the superiority of the Allied Powers over Germany on the western front in July-August put the situation of the Central Powers in the European fronts in trouble, and after the successful attack launched by the Italian troops on 24 October, there was no possibility for Austria-Hungary to continue the war. The Austro-Hungarian Empire withdrew from the First World War by signing an armistice with Italy on 3 November 1918 at Villa Giusti del Giardino outside the city of Padova. The armistice contained very harsh terms and severely limited the empire in every respect. The Armistice of Villa Giusti consisted of two chapters and nineteen clauses including eight military and eleven naval and maritime provisions. The additional protocol of the armistice consisted of two chapters and nineteen clauses, ten of which were military and nine of which were related to the naval forces and maritime affairs.

This article presents a detailed study of the stately palace of the Villa Giusti-Puttini, a building that, over the centuries, has undergone repeated transformations since its construction in the first half of the 15th century. For the study of this palace, owned between the 15th and 17th centuries by one of the most important families in the city of Verona (Italy), the authors have followed a methodology covering indirect sources (documentary and bibliographical) as well as direct ones (the building and constructive techniques, architectural and decorative elements, murals, etc.). This study expands the information available on the building as well as expanding knowledge on the history of architecture of the Veneto villa as a defining architectural phenomenon in 16th- and 17th-century architecture whose extensive influence was still felt in the 19th century. The history compiled through this research also contributes to a renewed interpretation of the phenomenon, which is viewed as a process for the transformation and adaptation of a pre-existing building to fit the needs of any given period. This methodology, which could potentially facilitate the interpretation of similar buildings, and its combination of documentary, material, constructive, decorative, and cultural elements could constitute an example for the historical and architectural reading of buildings and are not merely limited to Renaissance buildings.