Relevant bibliographies by topics / Venice (Italy) – Commerce – History

Academic literature on the topic 'Venice (Italy) – Commerce – History'

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Published: 10 March 2023

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Journal articles on the topic "Venice (Italy) – Commerce – History"

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Morris, Colin. "San Ranieri of Pisa: The Power and Limitations of Sanctity in Twelfth-Century Italy." Journal of Ecclesiastical History 45, no. 4 (October 1994): 588–99. http://dx.doi.org/10.1017/s0022046900010770.

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Studies of medieval society in recent years have laid increasing stress on the effectiveness of the power of the saints. They enriched their churches, defended their possessions, created great centres at once of pilgrimage and commerce and provided for the healing of the sick and the care of the poor. The cults of the saints formed a model for secular government. Kings appeared before their people as walking reliccollections and exercised the power of healing, and patron saints (like St Mark at Venice and St Denis in France) helped to define the identity of the political communities over whose well-being they were thought to preside. Often such saints, even those whose cults were rapidly developing in the eleventh and twelfth centuries, were figures from the New Testament or from the ages of conversion: St James at Compostella, Mary Magdalen at Vézelay, and Benedict at Fleury. On occasions, however, a charismatic figure in contemporary society emerged as the centre of a healing cult and a focus for widespread devotion.
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Karpov, Sergey P. "Timur-sultan and Kerim-birdi: Two attacks on Venetian Tana in 1410 and in 1418." Golden Horde Review 10, no. 4 (December 29, 2022): 758–69. http://dx.doi.org/10.22378/2313-6197.2022-10-4.758-769.

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The purpose of the study is to consider the problem of the existence of the Venetian and Genoese trading stations in Tana within the territory of the Golden Horde city of Azak during the internecine war in the Golden Horde between the sons of Toktamysh and Idegei. Through an analysis of sources, an effort is made to determine the circumstances of the attacks of the Golden Horde khans and the level of damage that arose from them. Research materials: Unpublished documents of the State Archives of Venice (Italy), as well as Venetian chronicles and historical works of the 15th–16th centuries. Results and scientific uniqueness: The study of Venetian sources showed that during the second period of turmoil in the Golden Horde which erupted after the defeat of Toktamysh by Tamerlane, Tana trading stations underwent extremely difficult times during the period of the domination of beklerbek Idegei. The point of disagreement between the Tatar khans and the Venetians was the non-payment of a tax for renting land, called terraticum, by the Venetian merchants who traded at the mouth of the Don. The Venetians tried to maneuver between the sons of Toktamysh and the henchmen of Idegei, but since power in the Horde often changed hands at the time, Tana became a hostage in this internecine struggle. In 1410, Tana suffered from an unexpected night raid by Timur Khan and was captured. The damage amounted to between 100,000 and 120,000 ducats. Many Venetian sources tell us about these events, but with great discrepancies in details. Thanks to the inclusion of an important commerce-related source – the protocol of the Venetian judges on petitions – we can determine the exact date of the attack, the name of the khan, and the amount of damage. In 1418, there was an even more devastating second attack on Tana by Khan Kerim-birdi. After that, the Venetian Senate, having comprehensively studied the situation, decided to surround Tana with stone walls and repair its fortifications. Thanks to the erection of strong fortifications at Tana, it was possible for the town to hold out until the Ottoman Turkish conquest in 1475.
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BERTOLASI, Eliseo. "Italy - Crimea: history and modernity." Perspectives and prospects. E-journal, no. 3 (2019): 25–33. http://dx.doi.org/10.32726/2411-3417-2019-3-25-33.

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On 18 May 2016, in Venice, the Council of the Veneto Region was the first institution in the European Union that recognized the reunification of Crimea with Russia. This resolution paved the way for the same action by other Italian regional institutions: on 29 June 2016 in Genoa, the Council of the Liguria Region approved the recognition of thenew Crimean status; on 5 July, was the turn of the Lombardia Region. It is no coincidence that Veneto and Liguria have taken this step, but there are very specific historical reasons. Crimea in the Middle Ages hosted Venetian and Genoese colonies.
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Franchetti, Cécile, and Jon Hunner. "Review: Venice, the Jews and Europe, 1516–2016. The Doge’s Palace, Venice, Italy." Public Historian 39, no. 2 (May 1, 2017): 86–90. http://dx.doi.org/10.1525/tph.2017.39.2.86.

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Roner, Marcella, Massimiliano Ghinassi, Mariaelena Fedi, Lucia Liccioli, Luca Giorgio Bellucci, Lara Brivio, and Andrea D’Alpaos. "Latest Holocene depositional history of the southern Venice Lagoon, Italy." Holocene 27, no. 11 (May 25, 2017): 1731–44. http://dx.doi.org/10.1177/0959683617708450.

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Sperling, Jutta. "Dowry or Inheritance? Kinship, Property, And Women's Agency in Lisbon, Venice, and Florence (1572)." Journal of Early Modern History 11, no. 3 (2007): 197–238. http://dx.doi.org/10.1163/157006507781147470.

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AbstractThe marital property regimes, inheritance practices, and kinship structures of Renaissance Italy and early modern Portugal were at opposite ends of a spectrum. In Italy, the legitimacy of marriage was defined as the outcome of dowry exchange governed by exclusio propter dotem, thus conceptually linked to the disinheritance of daughters and wives. In Portugal, where the Roman principle of equal inheritance was never abolished, domestic unions qualified as marriages insofar as joint ownership was established. Kinship structures were rigidly agnatic in Italy, but cognatic, even residually matrilineal, in Portugal. An investigation of notarial records from Lisbon, Venice, and Florence shows how women's capacity for full legal agency as property owners in both societies differed. Female legal agency, however, whether measured by women's capacity to engage in property transactions independently of their marital status (Portugal), or as the manipulation of limited legal resources, even resistance against a system of dispossession (Italy), always unfolded within the context of larger agendas that were beyond women's control, such as the processes of state formation in medieval Italy and empire-building in Portugal.
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Calcagno, Mauro. "Censoring Eliogabalo in Seventeenth-Century Venice." Journal of Interdisciplinary History 36, no. 3 (January 2006): 355–77. http://dx.doi.org/10.1162/002219506774929818.

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Analysis of the opera Eliogabalo in its various incarnations, from the perspective of Venetian society and politics at the time, reveals a veiled story of censorship and dissimulation. The first version of the opera, set by Francesco Cavalli in 1667, was hastily abandoned in favor of a new treatment by Giovanni A. Boretti on a libretto by Aurelio Aureli, which managed to retain telling traces of its predecessor. The subsequent fate of this second version, variously rewritten and performed around Italy until 1687, confirms the ideological controversy that always seemed to surround this opera and the influence of theater owners and others over its content, providing an insight into the nature of Venetian operatic patronage.
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Muir, Edward. "Why Venice? Venetian Society and the Success of Early Opera." Journal of Interdisciplinary History 36, no. 3 (January 2006): 331–53. http://dx.doi.org/10.1162/002219506774929854.

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Why did opera first succeed as a public art form in Venice between 1637 and 1650 when all the elements of the new form were fully evident? The answer is to be found in the conjunction between Venetian carnival festivity and the intellectual politics of Venetian republicanism during the two generations after the lifting of the papal interdict against Venice in 1607. During this extraordinary period of relatively free speech, which was unmatched elsewhere at the time, Venice was the one place in Italy open to criticisms of Counter Reformation papal politics. Libertine and skeptical thought flourished in the Venetian academies, the members of which wrote the librettos and financed the theaters for many of the early Venetian operas.
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Beltrame, Carlo, and Lorenzo Lazzarini. "A Presumed Greek Stone Anchor Stock Recovered off Venice, Italy." International Journal of Nautical Archaeology 35, no. 1 (April 2006): 137–40. http://dx.doi.org/10.1111/j.1095-9270.2005.00087.x.

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Stapelbroek, Koen. "Commerce and morality in eighteenth-century Italy." History of European Ideas 32, no. 4 (December 2006): 361–66. http://dx.doi.org/10.1016/j.histeuroideas.2006.08.004.

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Dissertations / Theses on the topic "Venice (Italy) – Commerce – History"

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Maglaque, Erin. "Venetian humanism in the Mediterranean world : writing empire from the margins." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4d671b0d-6917-4a1f-bcfb-2045128a11e0.

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My dissertation examines the cultural history of the Renaissance Venetian maritime empire. In this project I bring into conversation two historiographical subfields, the intellectual history of Venetian Renaissance humanism and the colonial history of the early modern Mediterranean, which have previously developed separately. In doing so, I examine the relationship between power and knowledge as it unfolded in the early modern Mediterranean. The ways in which Venetian Renaissance intellectual culture was shaped by its imperial engagements - and, conversely, how Venetian approaches to governance were inflected by humanist practices - are the central axes of my dissertation. In the first part of the dissertation, I examine the ways in which writing and textual collecting were used by elite Venetian readers to represent the geopolitical dimensions of their empire. I consider a group of manuscripts and printed books which contain technical, navigational, and cartographic writing and images about Venetian mercantile and imperial activity in the Mediterranean. In the second part, I undertake two case-studies of Venetian patrician governors who were trained in the humanist schools of Venice, before being posted to colonial offices in Dalmatia and the Aegean, respectively. I examine how their education in Venice as humanists influenced their experience and practice of governance in the stato da mar. Their personal texts offer an alternative intellectual history of empire, one which demonstrates the formation of political thought amongst the men actually practicing and experiencing imperial governance. Overall, I aim to build a picture of the ways in which literary culture, the physical world of the stato da mar, and political thought came to be entwined in the Venetian Renaissance; and then to describe how these dense relationships worked for the Venetian administrators who experienced them in the Mediterranean.
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Sherman, Allison M. "The lost Venetian church of Santa Maria Assunta dei Crociferi : form, decoration, and patronage." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1021.

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This dissertation reconstructs the original form and sixteenth-century decoration of the lost Venetian church of Santa Maria Assunta dei Crociferi, destroyed after the suppression of the Crociferi in 1656 to make way for the present church of the Gesuiti. The destruction of the church, the scattering of its contents, and the almost total lack of documentation of the religious order for which the space was built, has obscured our understanding of the many works of art it once contained, produced by some of the most important Venetian artists of the sixteenth century. This project seeks to correct scholarly neglect of this important church, and to restore context and meaning to these objects by reconstructing their original placement in the interest of a collective interpretation. Various types, patterns and phases of patronage at the church—monastic, private and corporate—are discussed to reveal interconnections between these groups, and to highlight to role of the Crociferi as architects of a sophisticated decorative programme that was designed to respond to the latest artistic trends, and to visually demonstrate their adherence to orthodoxy at a moment of religious upheaval and reform.
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Yoshioka, Masataka. "Singing the Republic: Polychoral Culture at San Marco in Venice (1550-1615)." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33220/.

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During the late sixteenth and early seventeenth centuries, Venetian society and politics could be considered as a "polychoral culture." The imagination of the republic rested upon a shared set of social attitudes and beliefs. The political structure included several social groups that functioned as identifiable entities; republican ideologies construed them together as parts of a single harmonious whole. Venice furthermore employed notions of the republic to bolster political and religious independence, in particular from Rome. As is well known, music often contributes to the production and transmission of ideology, and polychoral music in Venice was no exception. Multi-choir music often accompanied religious and civic celebrations in the basilica of San Marco and elsewhere that emphasized the so-called "myth of Venice," the city's complex of religious beliefs and historical heritage. These myths were shared among Venetians and transformed through annual rituals into communal knowledge of the republic. Andrea and Giovanni Gabrieli and other Venetian composers wrote polychoral pieces that were structurally homologous with the imagination of the republic. Through its internal structures, polychoral music projected the local ideology of group harmony. Pieces used interaction among hierarchical choirs - their alternation in dialogue and repetition - as rhetorical means, first to create the impression of collaboration or competition, and then to bring them together at the end, as if resolving discord into concord. Furthermore, Giovanni Gabrieli experimented with the integration of instrumental choirs and recitative within predominantly vocal multi-choir textures, elevating music to the category of a theatrical religious spectacle. He also adopted and developed richer tonal procedures belonging to the so-called "hexachordal tonality" to underscore rhetorical text delivery. If multi-choir music remained the central religious repertory of the city, contemporary single-choir pieces favored typical polychoral procedures that involve dialogue and repetition among vocal subgroups. Both repertories adopted clear rhetorical means of emphasizing religious notions of particular political significance at the surface level. Venetian music performed in religious and civic rituals worked in conjunction with the myth of the city to project and reinforce the imagination of the republic, promoting a glorious image of greatness for La Serenissima.
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Brummer, Esther Elliott. "The development of the Nuptial Allegory in early modern Venice." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609942.

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Jones, Scott Lee. "Servants of the Republic : patrician lawyers in Quattrocento Venice." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42517.

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Lawyers have widely been recognized as playing a role in the transition from the medieval to the modem state. Their presence in Renaissance Venetian politics, however, remains largely unexplored. Relying primarily on a prosopographical analysis, the thesis explores the various roles played by lawyers, dividing those roles into three main categories: diplomats, territorial governors, and domestic legislators. What emerges is a clear pattern of significant involvement by legally trained patricians in the Venetian political system. Noble lawyers were most often ambassadors, serving in many of the principal courts inside and outside of Italy as Venice was extending her influence on the Italian peninsula. They also served as administrators of Venetian rule throughout the Venetian terraferma (mainland) state. Lastly, their domestic political officeholding further confirms their continuing participation, as they held many of the most important domestic offices throughout the Quattrocento. The thesis ends with short biographies of each of the nearly three-dozen lawyers who make up this study, as well as chronologies of the offices they held. These chronologies include archival references for each office.
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Pesuit, Margaret. "Representations of the courtesan in sixteenth-century Venice : sex, class, and power." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37227.pdf.

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Tamboer, Kimberly Jean. "Artistic Achievements of Convent Women in Renaissance Italy: with case studies in Venice and Prato." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/327335.

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Art History
M.A.
This thesis evaluates the artistic contributions of convent women in Renaissance Italy during the period c. 1450-1550 with individual case studies in Venice and Prato. As the cost of the traditional marriage dowry inflated markedly over the course of the fifteenth century, an increasing number of girls from affluent family backgrounds were sent to the convent in an effort to spare their families the financial burden of marrying them off. Convent vocations were not only financially convenient for families with daughters but offered a socially respectable alternative to marriage that many came to rely upon over the course of the latter fifteenth and sixteenth centuries. The heightened presence of highborn girls in Italian convents seems to correspond with a concurrent development in female monastic artistic production. This point will be demonstrated in my study through analysis of two objects: the illustrated convent chronicle of Santa Maria delle Vergini (c. 1523), now in the Museo Correr in Venice and the illustrated frontispiece of Beatrice del Sera's convent play Amor di virtù (1555), preserved in the Biblioteca Riccardiana in Florence. Both of the considered works complement a text also written by convent women during the same period that demonstrate their knowledge of historic and current events, in addition to contemporaneous developments in the visual arts. The corresponding texts will be examined in a supporting manner to aid in interpreting the subject matter of the illustrations. Subsequent to identifying the pictorial content of these illustrations, I will elucidate how the convent artists successfully assert a female identity through their respective visual representations, and determine what specific type of identity they were motivated to promote.
Temple University--Theses
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Neveu, Marc J. "Architectural lessons of Carlo Lodoli (1690-1761) : indole of material and of self." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100663.

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Original contribution. A discussion of Carlo Lodoli's bi-fold understanding of indole (inherent nature); with respect to both meaning in architecture and the education of architects.
Carlo Lodoli (1690--1761) exists as a footnote in most major history books of modern architecture. He is typically noted for either his influence on the Venetian Neoclassical tradition or as an early prophet to some sort of functionalism. Though I would not argue his influence, I doubt his role in the development of a structurally determined functionalism. The issue of influence is always present as very little of his writings have survived and his built work amounts to a few windowsills. He did, however, teach architecture. I propose to explore the pedagogic potential of Lodoli's lessons of architecture.
Lodoli's teaching approach was not necessarily professional in that he did not instruct his students in the methods of drawing or construction techniques. Rather, his approach was dialogical. The topics were sweeping, often ethical, and ranged from the nature of truth to the nature of materials. Existing scholarship pertaining to Lodoli most often focuses upon his students' production of texts, projects, and projections. Andrea Memmo's Elementi dell'Architettura Lodoliana (1786, 1833) and Francesco Algarotti's Saggio sopra l'architettura (1756) are both specifically named by the respective authors as advancing Lodoli's architectural theories. Often overlooked are the apologues, or fables, used by Lodoli in lessons to his students. The main source for these fables is the Apologhi Immaginati (1787). Others were included in Memmo's Elementi. Apologues from both sources have been translated for the first time into English and can be found in Appendix I of the dissertation.
I look specifically to these stories to understand and illustrate Lodoli's approach to making, teaching and thinking. This is understood through Lodoli's characterisation of the identity of materials and of the self. Within this dissertation I intend to flesh out the textual and architectural fabric surrounding the pedagogic activities of the Venetian Friar known as the Socrates of Architecture, Carlo Lodoli.
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Fonsato, Vanna Marisa. "Giudizi letterari di Isabella Teotochi Albrizzi nel carteggio inedito della Raccolta Piancastelli." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61287.

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The present work examines the literary criticism expressed by Isabella Teotochi Albrizzi in several of her unpublished letters.
The first part outlines the cultural and historical tradition of Venice during the Eighteenth Century. Particular attention is subsequently given to the intellectual role of women, their contribution to the literary salons of the time, and the neoclassical tradition. This first part is essential in that it supplies a valuable context to Isabella Teotochi Albrizzi's writings.
In the second part, I examine Isabella Teotochi Albrizzi's literary criticism of major European authors and works. Through these criticisms she exposes her misvision of the literary world to which she aspired, and reveals that although she was influenced by the subtle preromantic tendencies, she remained faithful to the neoclassical school.
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Rushing-Raynes, Laura. "A history of the Venetian sacred solo motet (c. 1610--1720)." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185473.

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In 17th century Italy, the trend toward small sacred concertato forms precipitated the publication of a number of volumes devoted exclusively to sacred solo vocal music. Several of these, including the Ghirlanda sacra (Gardano, 1625) and Motetti a voce sola (Gardano, 1645) contain sacred solo motets by some of the best Italian composers of the period. Venetian composers were at the forefront of the move toward the smaller concertato forms and, to fulfill various needs of church musicians, wrote in an increasingly virtuoso style intended to highlight the solo voice. This study traces the development of the solo motet in the sacred works of Venetian composers from the time of Monteverdi to Vivaldi. It revolves around sacred solo motets composed at Saint Marks and the Venetian ospedali (orphanages). It includes works of Alessandro Grandi, Claudio Monteverdi, Francesco Cavalli, and Antonio Vivaldi. It also deals with solo motets of lesser composers whose works are available in modern critical and performing editions or in recently published facsimiles. In addition to providing a more detailed survey of the genre than has been previously available, this study provides an overview of highly performable (but largely neglected) repertoire.
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Books on the topic "Venice (Italy) – Commerce – History"

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Venice: A maritime republic. Baltimore: John Hopkins University Press, 1991.

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Donadon, Marco. Per una dimensione imperiale: Ca' Foscari e Venezia di fronte al colonialismo e imperialismo italiano (1868-1943). Venezia: Edizioni Ca' Foscari - Digital Publishing, 2019.

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City of Fortune: How Venice Ruled the Seas. New York: Random House, 2011.

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Stöckly, Doris. Le système de l'Incanto des galées du marché à Venise (fin XIIIe-milieu XVe siècle). Leiden: E.J. Brill, 1995.

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Dursteler, Eric. Venetians in Constantinople: Nation, identity, and coexistence in the early modern Mediterranean. Baltimore, Md: Johns Hopkins University Press, 2006.

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Venetians in Constantinople: Nation, identity, and coexistence in the early modern Mediterranean. Baltimore, MD: Johns Hopkins University Press, 2006.

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Barbon, Ferdy Hermes. I segni dei mercanti a Venezia nel Fondaco dei Tedeschi. [Cornuda, Treviso]: Antiga, 2005.

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Trading places: The Netherlandish merchants in early modern Venice. Leiden: Brill, 2009.

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Naviguer, commercer, gouverner: Économie maritime et pouvoirs à Venise (XVe-XVIe siècles). Leiden: Brill, 2008.

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Les Allemands à Venise (1380-1520). [Rome]: École française de Rome, 2016.

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Book chapters on the topic "Venice (Italy) – Commerce – History"

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Perosa, Sergio. "Views of Venice before Hemingway." In Hemingway and Italy. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054414.003.0005.

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Perosa offers a history of artistic representations of Venice by poets and novelists around the world, including Lord Byron, Thomas Mann, and Henry James. In order to engage with Hemingway’s depiction of Italy, Perosa determines that it is necessary to understand how Venice has previously been captured by the greatest writers of the past. Through these writers, Perosa identifies a Venice that is synonymous with love, death, creativity, and mystery, all qualities that Hemingway himself sought to capture in his Italian works.
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Flohr, Miko. "Fora and commerce in Roman Italy." In Urban Space and Urban History in the Roman World, 198–220. Routledge, 2020. http://dx.doi.org/10.4324/9780367809331-13.

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Caumo, Ruggero. "Remembering Ernest Hemingway." In Hemingway and Italy, translated by Mark Cirino. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813054414.003.0003.

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Caumo, the former barman at Hemingway’s favourite watering hole, Harry’s Bar, in Venice, remembers what it was like to serve Hemingway. He reveals aspects of Hemingway’s behavior, attitude, and stature that only an intimate associate could share. Caumo also talks about Cipriani, his boss, and his history and relationship to Hemingway.
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Rawes, Alan, and Diego Saglia. "Introduction: ‘Un paese tutto poetico’ – Byron in Italy, Italy in Byron." In Byron and Italy. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526100559.003.0001.

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The connection between Byron and Italy is one of the most familiar facts about British Romanticism.1 The poet’s many pronouncements about the country (where he lived between 1816 and 1823), its history, culture and people, as well as about his own experiences in Italy and among Italians, are well known and part of his legend. More particularly, Byron’s debauchery in Venice and would-be heroics in Ravenna are often known even to those acquainted with the poet’s biography only in its most simplified versions. In contrast, though the critical panorama has been changing in recent years, serious attention to Byron’s literary engagement with Italy has tended to be discontinuous. Yet he wrote much of his greatest poetry in Italy, and under its influence, poetry that would have a profound bearing not only on the literature but also the wider culture, history and politics of the whole of Europe, and not least Italy itself....
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Stringa, Nico. "A partire dal 1868: nota sulla nuova pittura a Venezia." In Venezia 1868: l’anno di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-294-9/010.

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Even 19th century had its ’68, particularly in Venice, where, without sensational episodes but with as much relevance, as regards the artistic situation, as what happened a century later, a series of events, if seen even if only in their apparently casual consequential and then overlapping, attests to a total value objectively unusual and rich in subsequent implications, ordered in the direction of a general renewal. Two years after the plebiscite that sanctioned the entry of Venice and Veneto into the Kingdom of Italy, many signs provide the clarification of an overall picture of great momentum due in large part to the contribution of a new generation of Venetians. The establishment of the Royal Higher School of Commerce at Ca’ Foscari, a prelude to the establishment of one of the major university centres of research and higher education, contributed to the rebirth and revival of Venice and its image, in stark contrast with the myth, never extinguished, of a city ‘inevitably’ linked to its never-ending end, to its endless twilight.
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West-Harling, Veronica. "A Tale of Three Cities." In Rome, Ravenna, and Venice, 750-1000, 39–107. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198754206.003.0002.

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After a brief recall of Italian history from late antiquity to 750, this chapter provides a city-by-city history from the end of the Exarchate to 1000. The history of Rome follows the Lombard crises and the end of Byzantine rule, Frankish/Carolingian domination, the events of the Kingdom of Italy, aristocratic rule, and the attempted Ottonian control over the city. Ravenna’s three narrative strands are the aftermath of the autocephaly conflict, the anti-papal policies of most archbishops throughout the Byzantine then Carolingian period, and lastly the renewed prestige of the city under the Ottonian emperors. For Venice, the narrative follows the origins (imagined and probable) of the city, its succession of ducal families, and its attempt always to create a balance between its official Byzantine dependence and its grounding in the north Adriatic space
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Marchesin, Giorgia. "Dell'Archivio Storico delle Arti Contemporanee «la Biblioteca n’era il principio»." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/010.

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The essay aims to reconstruct the history and to provide a library analysis about one of the most important libraries of contemporary art in Italy: the Library of the Venice Biennale. The library has been the founding fulcrum of what today is ASAC: Historical Archive of Contemporary Arts of the Venice Biennale. Its long history can be reconstructed by retracing the move of which it has been the protagonist, from the beginning in a small room on the ground floor of the Palazzo Ducale, to the current location inside the Central Pavilion of the Biennale Gardens. The heritage of books is in continuous development thanks to the Book Pavilion project and a network of exchanges between the most important artistic and cultural institutions. Today the Library heritage includes over 153,000 publications and over 3,000 periodicals. This invaluable collection, for the world of contemporary art, offers almost 23,000 volumes owned, in Italy, exclusively from the Library of the Venice Biennale.
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Caroli, Rosa. "La Regia Scuola e il Giappone." In I rapporti internazionali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-265-9/006.

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Since its establishment on the eve of the inauguration of the Suez Canal (1869) opening up the route for a privileged sea passage towards the Orient – as it was then called – the Royal Superior School of Commerce of Venice adopted the ambitious and farsighted policy of making it ‘unique in its genre’ by promoting the teaching of foreign languages, particularly the teaching of Oriental languages. The launching of a Japanese language course taught by a native speaker five years after the School’s creation inaugurated a season of relations between Ca’ Foscari and Japan. The year of the Venetian School’s foundation coincides with the beginning of the Meiji period in Japan (1868-1912), which saw its transformation into a modern and industrialised country. The Regia Scuola also entertained direct and indirect relations with similar schools in Japan, exchanging alumni bulletins and scientific publications with them. Many students of Japanese in Venice would spend periods of time in Japan, while native Japanese instructors in Venice, once back in Japan, would transmit knowledge acquired in Venice, sometimes even becoming teachers of Italian in Japan. Scholarships for commercial practice allowed some Venetian alumni to reach Japan, while others were hired by new Japanese educational institutions or attached to the Italian diplomatic and consular missions in Japan. Most of them maintained close ties with Ca’ Foscari by sending postcards, photographs, letters and often detailed reports on Japan to their alma mater, thus helping to increase knowledge of a far and still little-known country, in Venice as well as in the rest of Italy. Young Japanese scholars and prominent professors visited the Regia Scuola, often documenting memories of their Venetian experience in their writings. Following the traces left by some of these characters, the essay aims at reconstructing the many threads of the relationships between the Regia Scuola and Japan in the first six decades of its foundation.
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Bivort, Olivier, Magda Campanini, and Alessandro Costantini. "Centocinquant’anni di letteratura francese a Ca’ Foscari." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/003.

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This essay traces the history of the teaching of French literature at Ca’ Foscari University of Venice and the lines of development of related research, from the founding of the Royal High School of Commerce to the present day. In addition, in an appendix, it draws up a list of all degree theses and graduates in French literature from 1909 to 1944.
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Clegg, Jeanne, and Emma Sdegno. "Le pietre di Ca’ Foscari: Ruskin e il Palazzo." In Le lingue occidentali nei 150 anni di storia di Ca’ Foscari. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-262-8/001.

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Our contribution concerns a phase in the history of the building that gives the University its name. When Ruskin came to Venice in 1845 he was horrified by the decayed state of the palaces on the Grand Canal, and by the drastic restorations in progress. In recording their features in measurements, drawings and daguerreotypes, Ca’ Foscari took priority, and his studies of its traceries constitute a unique witness. This work also helped generate new ideas on the role of shadow in architectural aesthetic, and on the characteristics of Gothic, which were to bear fruit in The Seven Lamps and The Stones of Venice. In his late guide to the city, St Mark’s Rest, Ruskin addressed «the few travellers who still care for her monuments» and offered the Venetian Republic’s laws regulating commerce as a model for modern England. Whether or not he knew of the founding of a commercial studies institute at Ca’ Foscari in 1868, he would certainly have hoped that it would teach principles of fair and just trading, as well as of respectful tourism.
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Conference papers on the topic "Venice (Italy) – Commerce – History"

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Pellegrino, C., M. A. Zanini, F. Faleschini, F. Andreose, L. Mancassola, and M. Frizzarin. "Ambient Vibration Tests for Modal Characterization of an Existing Steel-Concrete Composite Bridge." In IABSE Symposium, Wroclaw 2020: Synergy of Culture and Civil Engineering – History and Challenges. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2020. http://dx.doi.org/10.2749/wroclaw.2020.0812.

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<p>The use of structural health monitoring for a reliable characterization of modal properties is becoming a common solution when dealing with the safety assessment of existing bridges, in order to capture samples of the experimental response of the “real structure”. Such non-destructive test approach has also the advantage to be able to capture also potential criticalities that can change the real behavior of the structure with respect to the “as-built” configuration. The present work illustrates the results of experimental measurements carried out on the Carbonifera viaduct, a steel-concrete composite bridge located in the metropolitan area of Venice, northeastern Italy. These tests were conducted in order to determine main natural frequencies, mode shapes, modal damping ratios and to further calibrate an ad-hoc finite element model subsequently used in order to perform a structural assessment of the bridge against traffic and seismic loads.</p>
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Salvalaggio, Matteo, Michele Monego, and Simone Maioli. "AN INTEGRATED APPROACH AIMED AT THE PROTECTION OF CULTURAL HERITAGE: FROM THE GEOMATIC SURVEY TO HBIM AND AR REPRESENTATION OF VILLA PISANI (STRA, ITALY)." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12075.

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The topic of Cultural Heritage preservation has gained an increasing attention during last decades. The protection of such complex and delicate manufacts require the intervention of experts from different field (e.g. archaeology, restoration, survey, 3D modeler, structural engineering, architecture), addressed towards an integrated and multidisciplinary scientific approach. Recently, technology advancements have involved many scientific disciplines, affecting both the investigation tools and the data computing. In this paper, an approach aimed at assessing the health status and preserving a heritage building is presented and applied to a case study, exploiting the most effective tools nowadays available. Based on the so-called knowledge path, the study started from the analysis of historical data, through the collection of in-situ measures and towards the construction of a 3D digital model where the information is stored. In particular, a set of images taken by drone and processed by the photogrammetric technique of Structure from Motion, were used to produce detailed point clouds, mesh model, DEM and orthophotos that collect an accurate geometrical documentation, useful to analyse the conservation status and the crack pattern. Based on the detailed model from geomatic survey and drawings, a Heritage Building Information Modelling (HBIM) database was collected with the possibility of managing historical, geometric, structural and health status information. In the end, the study focused on the availability of the information collected for non-professional users or professionals from different fields, who do not have access to data kept in commercial database. Partly, this resulted in the elaboration of an augmented reality (AR) model, accessible by common mobile applications. The case study is Villa Pisani in Stra (Venice, Italy), a well-known example of venetian villa built in the XVIII century which hosted many protagonists of the European contemporary history.
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