Bibliographies thématiques / Piazza Venezia

Littérature scientifique sur le sujet « Piazza Venezia »

Auteur : Grafiati
Publié le 10 mars 2023

Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres

Choisissez une source :

Sommaire

Consultez les listes thématiques d’articles de revues, de livres, de thèses, de rapports de conférences et d’autres sources académiques sur le sujet « Piazza Venezia ».

À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.

Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.

Articles de revues sur le sujet "Piazza Venezia"

1

Pracchi, V., et L. Barazzetti. « ON THE RELATIONSHIP BETWEEN GEOMATICS AND CONSERVATION : LESSONS LEARNED FROM INTEGRATED RESTORATION LABORATORIES ». ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (5 mai 2019) : 981–88. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-981-2019.

Texte intégral
Résumé :
<p><strong>Abstract.</strong> The paper aims at investigating results, research perspectives, and limitations emerging from the synergy between geomatics and conservation. Recent didactic experiences carried out in restoration laboratories at Politecnico di Milano are illustrated and discussed. The authors tested innovative techniques for surveying with particular attention to the conservation problem. The aim was to exploit novel 360° virtual/immersive environments able to collect and manage data traditionally useful for conservation projects such as thematic maps of historical building techniques, construction technologies, deterioration pathologies, and data from diagnostics. Results are presented for two case studies completely different in terms of shape, pathologies, and reuse: the Albergo Diurno di Porta Venezia in Piazza Oberdan, and the Church of San Vittore and the Forty Martyrs (both in Milan). The work carried out with students allowed one to evaluate the pros and cons of a novel 360° immersive solution. The outcomes suggest other possible uses in related activities. The last part of the paper reconsiders the proposed “renewed” relationship between geomatics and restoration. Starting from the basic requirements of existing regulations, the paper explores the research fields and practical applications that could benefit from an intersection of geomatics and restoration.</p>
Styles APA, Harvard, Vancouver, ISO, etc.
2

Filippi, Dunia. « R. PANELLA, ROMA LA CITTÀ DEI FORI : PROGETTO DI SISTEMAZIONE DELL'AREA ARCHEOLOGICA TRA PIAZZA VENEZIA E IL COLOSSEO. Rome : Prospettive, 2013. Pp. 342, illus., plans. isbn9788898563081. €38.00. » Journal of Roman Studies 105 (5 août 2015) : 371–72. http://dx.doi.org/10.1017/s0075435815001057.

Texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Huffman, Kristin Love, et Iara Dundas. « San Geminiano : ». Journal of the Society of Architectural Historians 79, no 1 (1 mars 2020) : 6–16. http://dx.doi.org/10.1525/jsah.2020.79.1.6.

Texte intégral
Résumé :
In San Geminiano: “A Ruby among Many Pearls,” Kristin Love Huffman and Iara Dundas use a digital reconstruction to reconsider the sixteenth-century Venetian church of San Geminiano and its siting within Piazza San Marco. Demolished in 1807, the church was significant within its Venetian context, but its importance has largely been forgotten. Through their historical reconstruction, based on analyses of archival plans and elevations, illustrated representations, written descriptions and inscriptions, and theoretical treatises, Huffman and Dundas demonstrate the methodological processes of 3-D modeling and the interpretive value of the resulting models for the study of architectural and urban histories. In addition, their work on San Geminiano enables a reevaluation of this historically important yet now lost structure's architecture and its relationship to the space of Piazza San Marco—the political center, socioeconomic nexus, and ceremonial entry point of Venice.
Styles APA, Harvard, Vancouver, ISO, etc.
4

Martinelli, Luca, Chiara Favaretto, Matteo Volpato et Piero Ruol. « ADAPTATION WORKS TO AVOID THE FLOODING OF PIAZZA SAN MARCO (VENICE) : PHYSICAL MODEL TESTS TO EVALUATE OVERTOPPING DISCHARGE ». Coastal Engineering Proceedings, no 36v (31 décembre 2020) : 32. http://dx.doi.org/10.9753/icce.v36v.papers.32.

Texte intégral
Résumé :
According to the management of the Mo.S.E. system, the water level in the Venetian lagoon is maintained below a certain threshold, that however does not guarantee the complete defense of the main Piazza. Flooding of the Piazza is presently tolerated, although limitedly to a minor extent, and can/will be avoided only thanks to additional adaptation works. One of the possible flooding mechanisms is the wave overtopping, and this note investigates the efficiency, as possible mitigation option, of a small temporary barrier placed along the S. Marco quay.Recorded Presentation from the vICCE (YouTube Link): https://youtu.be/wiSF2B81wIM
Styles APA, Harvard, Vancouver, ISO, etc.
5

Jones, Alessandra. « Noise and Silence in Rigoletto's Venice ». Cambridge Opera Journal 31, no 2-3 (juillet 2019) : 188–210. http://dx.doi.org/10.1017/s0954586720000038.

Texte intégral
Résumé :
AbstractIn this article I explore how public acts of defiant silence can work as forms of historical evidence, and how such refusals constitute a distinct mode of audio-visual attention and political resistance. After the Austrians reconquered Venice in August 1849, multiple observers reported that Venetians protested their renewed subjugation via theatre boycotts (both formal and informal) and a refusal to participate in festive occasions. The ostentatious public silences that met the daily Austrian military band concerts in the city's central piazza became a ritual that encouraged foreign observers to empathise with the Venetians’ plight. Whereas the gondolier's song seemed to travel separate from the gondolier himself, the piazza's design instead encouraged a communal listening coloured by the politics of the local cafes. In the central section of the article, I explore the ramifications of silence, resistance and disconnections between sight and sound as they shape Giuseppe Verdi's Rigoletto, which premiered at Venice's Teatro la Fenice in 1851. The scenes in Rigoletto most appreciated by the first Venetian audiences hinge on the power to observe and overhear, suggesting that early spectators experienced the opera through a mode of engagement born of the local material conditions and political circumstances.
Styles APA, Harvard, Vancouver, ISO, etc.
6

Goja, Bojan. « Novi podaci o zlataru Stefanu Piazzi ». Ars Adriatica, no 1 (1 janvier 2011) : 149. http://dx.doi.org/10.15291/ars.434.

Texte intégral
Résumé :
The article presents new information about the life and work of goldsmith Stefano Piazza in Zadar, based on the archival investigation. In 1691 he was commissioned by the fraternity of the Blessed Virgin of the Snow, to make a silver cover for the painting of the Virgin displayed on the marble altar, which the Venetian altar makers Girolamo and Francesco Garzotti made for the fraternity in the church of St Donatus around 1675. The cover was made of silver plate procured in Venice, which Piazza polished and decorated. Neither the painting nor the silver cover have been preserved, and we do not know what they looked like but it is likely that the cover was made in a similar way as other silver painting covers - covering a large part of the painting and with openings for the faces and hands of the figures. Apart from the already known piece of information about the 1691 silver andlestick, it has been established that during 1692 and 1693, Piazza made a series of other metalwork objects, mostly liturgical, for the fraternity of Croatian and Albanian soldiers in the service of the Venetian Republic, dedicated to St Jerome, which gathered in the church of St Simeon for which they had a marble altar made. These objects included a silver figure of Christ, the covers for the parish register, chalice and paten of gilt silver, a silver aspergillus, four silver candlesticks and a pax. Stefano Piazza was a member of the fraternity of St Sylvester (also known as della Pietà e della Misericordia) which had its seat in the Zadar church dedicated to the same saint, and for which the fraternity steward made a list of reliquaries and other silver objects in 1690. He died in Venice on 28 September 1703. His son Francesco (Zadar, 21 December 1684 - 17 September 1721) is also mentioned in the sources as a goldsmith. Stefano Piazza (? - Venice, 7 September 1703) was probably the son of a north Italian goldsmith Francesco of Stefano, who is mentioned as being in Zadar between 1652 and 1668. Given that according to the available information not a single work of Stefano Piazza has been preserved, nothing can be said about his skills as a craftsman or artistic achievements, but it can be assumed that he was a respectable goldsmith who was frequently contacted by local commissioners because of his skill in making a variety of objects. Other archival data about his life and work are also published here, as well as information about other goldsmiths who worked in Zadar in the late sixteenth and during the seventeenth century.
Styles APA, Harvard, Vancouver, ISO, etc.
7

García Pérez, Francisco Antonio. « Permanencias de la Venecia fugaz : tres actos y un epílogo en la escenografía urbana de San Marcos ». ZARCH, no 13 (28 septembre 2019) : 240–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2019133920.

Texte intégral
Résumé :
Se aborda el estudio de tres sucesos efímeros acaecidos en el espacio urbano más escenográfico de la ciudad de Venecia: la corta vida de una fuente construida en la Piazza de San Marcos en 1884, la inesperada caída del Campanile en 1902 y el concierto multitudinario que sobre un escenario flotante ofreció Pink Floyd en 1989. Se argumenta que cada uno de estos tres acontecimientos dejó al descubierto una serie de cuestiones relativas al tratamiento del patrimonio arquitectónico y urbano que marcarán el futuro de la imagen de la ciudad de los canales.
Styles APA, Harvard, Vancouver, ISO, etc.
8

Zamboni, Alberto. « Due etimologie venete ed istriane ». Linguistica 31, no 1 (1 décembre 1991) : 299–302. http://dx.doi.org/10.4312/linguistica.31.1.299-302.

Texte intégral
Résumé :
Un isolato dialetto del Medio Agordino (La Valle, BL) attesta per 'ginepro' (Juniperus eommunis L., d'altronde compattamente designato come dzené(i)ver, deneore) il termine bozičo che richiama il busicio dato già per l'area bellunese dal Soravia (1877, 108). II Pellegrini (1964, 28 enota 51) ne riscontra il perfetto corrispondente del Veneto orientale buzíčo documentato al p. 356 (S. Stino di Livenza) dali' AIS 599 e l'accosta senz'altro al padovano (in realtà piuttosto veneziano di terraferma) brusiehio (eh = (č)!) segnalato dal Patriarchi (1821, ma I'ed. 1775) e che si giustificherebbe con l'intrusione di 'bruciare' dal noto usodi bruciare le bacche della pianta per suffumigi, cfr. il ted. regionale Feuerbaum (su cui Marzell 2/1972, 1091) e anche il tipo brusìn dell'alta Val di Sole (Pedrotti-Bertoldi 1931, 206s.). Si osservi che anche il grande repertorio poliglotta del Nemnich (3/1794, 267) dà esplicitamente brusichio per Venezia. Sul tipo e sull'etimo il Pellegrini ritorna più avanti (1982, 185) riassumendo la bibliografia precedente e aggiungendo documentazioni dall' ASLEF: bo/ič al p. 172 (Chions, PN) e ancora nel friulano occidentale (in pratica sempre nella zona di confine col veneto) sbrodicio, sbradicio a Budoia (AppiSanson 1970, 28);
Styles APA, Harvard, Vancouver, ISO, etc.
9

Marina, Areli. « From the Myth to the Margins : The Patriarch’s Piazza at San Pietro di Castello in Venice* ». Renaissance Quarterly 64, no 2 (2011) : 353–429. http://dx.doi.org/10.1086/661795.

Texte intégral
Résumé :
AbstractThis study analyzes the campo of San Pietro di Castello from its mythologized origins to the Renaissance, paying particular attention to the architectural and political forces that shaped it. Although San Pietro was Venice’s cathedral from the ninth to the nineteenth centuries, civic leaders marginalized the site, which incarnated the contentious relationship between the Roman Church and the Venetian republic. The essay places the campo at the center of inquiry because the episcopal complex’s significance is best discerned through diachronic analysis of the urban landscape. The building activities of its medieval and Quattrocento patrons generated a heterogeneous campo that incorporated morphological elements from two Venetian urbanistic types: the parish campo and the monastic island. Its sixteenth-century patriarchs created a new architectural vision of the campo, contesting its slippage from the center of Venetian life and forging a distinctive ensemble that differs markedly from the better-known piazzas at San Marco and Rialto.
Styles APA, Harvard, Vancouver, ISO, etc.
10

Johnson, Eugene J. « A Window in the Venetian Mint and the Libreria di San Marco ». Journal of the Society of Architectural Historians 69, no 2 (1 juin 2010) : 190–205. http://dx.doi.org/10.1525/jsah.2010.69.2.190.

Texte intégral
Résumé :
The lively, decades-long scholarly debate about the length that Jacopo Sansovino originally planned for his Libreria di San Marco in Venice (begun 1537) is the subject of A Window in the Venetian Mint and the Libreria di San Marco. Did Sansovino intend the building to have seventeen bays, or the present twenty-one? The question is important, because the Libreria plays a crucial role in the city's famous central urban space, Piazza San Marco. Eugene J. Johnson brings new evidence to the discussion, having discovered inside the Libreria a walled-up window that once opened into the east wall of the Sansovino's contemporaneous Venetian Mint, or Zecca. The window offers an opportunity to reconsider the arguments, and Johnson concludes that Sansovino had envisioned the longer, twenty-one bay building from the outset.
Styles APA, Harvard, Vancouver, ISO, etc.

Thèses sur le sujet "Piazza Venezia"

1

Davoli, Lorenzo Francesco. « Un modello di dinamica pedonale in Piazza San Marco : dinamica delle folle e distanziamento sociale ». Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21205/.

Texte intégral
Résumé :
La diffusione della pandemia mondiale SARS-CoV-2, scoppiata in Cina tra dicembre 2019 e gennaio 2020, ha costretto la maggior parte dei paesi del mondo ad adottare rigide misure precauzionali atte alla riduzione del rischio di contagio. Alla fase di lockdown, che ha coinvolto buona parte dell’Occidente nella primavera del 2020, è seguita una fase di rilassamento di questi provvedimenti con lo scopo di dare respiro all’economia, provata da mesi di chiusure forzate delle attività. In questo periodo è emersa la necessità di trovare un equilibrio sicuro tra riapertura delle attività e contenimento dei contagi, che potesse avvalersi di previsioni sullo sviluppo dell’epidemia nel medio periodo per limitare il rischio di una seconda ondata.Lo scopo di questa tesi `e mostrare come i modelli possano essere d’aiuto nell’individuare una soluzione a questo problema, utilizzando come caso studio piazza San Marco a Venezia. Il modello proposto si pone come obiettivo la stima dei nuovi contagi giornalieri e del numero di riproduzione Rg (che rappresenta il numero di secondi contagi generati da un singolo individuo infetto nell’arco di una giornata) in funzione di flussi turistici di intensità variabile. Inoltre si vuole identificare la minima percentuale di individui immuni necessaria per realizzare una sostanziale immunità di gregge all’interno della popolazione della piazza. Per simulare la dinamica di folla viene utilizzato un modello dinamico ad agenti di micro-mobilità pedonale, su cui è implementato un meccanismo di contagio basato sul tracing dei close contacts avvenuti tra gli individui durante la loro permanenza in piazza.
Styles APA, Harvard, Vancouver, ISO, etc.
2

LOPEZ, GARCIA ANTONIO. « Las estructuras de la Piazza della Madonna di Loreto (Roma) : ¿El Athenaeum de Adriano ? » Doctoral thesis, 2014. http://hdl.handle.net/2158/856101.

Texte intégral
Résumé :
Italiano: A partire dal 2007, nell’area di Piazza Venezia a Roma, sono stati realizzati alcuni sondaggi archeologici per la costruzione di una stazione per la Linea C della metropolitana. Nel sondaggio S14, quello realizzato nella Piazza della Madonna di Loreto, sono state trovate una serie di strutture appartenenti a diversi periodi storici:dal periodo tardo-repubblicano all’età moderna. Le strutture, appartenenti all’età adrianea, hanno aperto un intenso dibattito tra gli studiosi poiché i tecnici della Soprintendenza Speciale per i Beni Archeologici di Roma hanno proposto l’identificazione di queste strutture con quelle dell’Athenaeum dell’imperatore Adriano, un’istituzione accademica a noi nota grazie alle fonti letterarie. Purtroppo le scarse fonti a nostra disposizione, relative a questa istituzione, non hanno permesso fino ad ora di proporre un’ubicazione per l’Athenaeum di Adriano. Español: A partir del 2007, en el área de la Piazza Venezia en Roma, se realizaron una serie de sondeos arqueológicos para la construcción de una estación para la Línea C del metro. En el sondeo S14, realizado en la Piazza della Madonna di Loreto, se han encontrado una serie de estructuras pertenecientes a diversos periodos de la historia: desde el periodo tardo-republicano a la Edad Moderna. Las estructuras pertenecientes a la época adrianea han abierto un intenso debate entre los estudiosos, pues los técnicos de la Soprintendenza Speciale per i Beni Archeologici di Roma han propuesto la identificación de estas estructuras con las del Athenaeum del emperador Adriano, una institución académica conocida gracias a las fuentes literarias. Por desgracia, la ausencia de fuentes a nuestra disposición relativas a esta institución, no han permitido hasta ahora proponer una ubicación para el Athenaeum de Adriano. English: Since 2007, in the area of ​​the Piazza Venezia in Rome, a series of archaeological surveys for the construction of a station for Metro Line C were performed. In the survey S14, conducted in the Piazza della Madonna di Loreto, found a number of structures belonging to different periods of history from the late-Republican period to the Modern Age. The structures belonging to the Hadrian era have opened an intense debate among scholars, because technicians from the Soprintendenza Speciale per i Beni Archeologici di Roma have proposed the identification of these structures with the Athenaeum of Emperor Hadrian, an academic institution known through literary sources. Unfortunately, the absence of sources at our disposal concerning this institution have not allowed yet to propose a location for Hadrian's Athenaeum.
Styles APA, Harvard, Vancouver, ISO, etc.
3

Bartůšková, Alice. « Řehole a múzy. Bratři kapucíni ve službách umění na prahu českého baroka ». Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-434098.

Texte intégral
Résumé :
disertační práce v anglickém jazyce ALICE BARTŮŠKOVÁ MONASTIC RULES AND MUSES. THE CAPUCHIN FRIARS IN THE SERVICE OF THE ART IN EARLY BAROQUE BOHEMIA VEDOUCÍ PRÁCE: DOC. PHDR. MARTIN ZLATOHLÁVEK, PHD. Dissertation entitled Monastic rules and muses. The capuchin friars in the service of the art in early Baroque Bohemia set out for the purpose of research to the neglected theme of the Capuchin brothers - painters on the border between Mannerism and the Baroque era. This phenomenon in painting, which is not only characteristic for the order of the Capuchins, but also of other ecclesiastical orders, has never been more comprehensive. The Capuchin brother Paolo Piazza came to the Czech lands with first capuchin brothers; in his paintings he is inspired of the Venetian school of the 16th century. He was a versatile painter, he created not only painting on canvases, but also made wall paintings and his painting manuscript was not uniformly defined. Paolo Piazza worked in the capuchin monasteries in Prague and Brno during the reign of Rudolph II, for the emperor himself he created several artworks. Piazza's work has also been preserved in the engravings of the Sadeler family. Thanks to these engravings, several Piazza's compositions with a set iconographic type have spread to European fine arts. From the...
Styles APA, Harvard, Vancouver, ISO, etc.

Livres sur le sujet "Piazza Venezia"

1

Paglia, Alessandro. Venezia illustrata : Piazza San Marco nelle cartoline illustrate. Venezia : Grafica Sanvitese, 2005.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
2

Morresi, Manuela. Piazza San Marco : Istituzioni, poteri e architettura a Venezia nel primo Cinquecento. Milano : Electa, 1999.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
3

Raffaele, Panella, et Panella Raffaele, dir. Roma la città dei fori : Progetto di sistemazione dell'area archeologica tra Piazza Venezia e il Colosseo = Rome the city of forums : a new configuration of the archaeological area between Piazza Venezia and Colosseum. Roma : Prospettive, 2013.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
4

Borsato, Renato. Borsato : Pagine di diario : 17 ottobre-15 novembre, Galleria Bevilacqua la Masa, Piazza S. Marco, Venezia. Venezia : Corbo e Fiore, 1987.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
5

Tiziana, Quaglia, et Polli Giorgio, dir. Ridisegnare Venezia : Dieci progetti di concorso per la ricostruzione di Campo di Marte alla Giudecca : [mostra : Venezia, ottobre-novembre 1986, Ateneo S. Basso, Piazza S. Marco. Venezia : Cataloghi Marsilio, 1986.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
6

Quadri, Antonio. Il Canal Grande di Venezia : La Piazza di San Marco in Venezia ; descritta da Antonio Quadri ; e rappresentata in XVI tavole in rame rilevate ed incise da Dionisio Moretti. Ponzano : Vianello, 1990.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
7

I forti alla guerra : La piazza di difesa marittima di Venezia e il campo trincerato di Mestre durante la prima guerra mondiale. [Milano] : Biblion edizioni, 2011.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
8

Ronchese, Gino. Paolino : Pianta cronologica di Venezia : VIII-XIV sec. Venezia : Supernova, 2005.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
9

Tutta Venezia : 235 illustrazioni a colori e pianta della citta. Firenze : Bonechi Edizioni, 1997.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
10

Robert, Rosemblum, dir. Pulcherrimae strade : Scoprire arte viaggiando attraverso castelli, piazze, chiese, edifici storici, cantine e cucine del Friuli Venezia Giulia = contemporary art in historical spaces ... Milano : Charta, 2002.

Trouver le texte intégral
Styles APA, Harvard, Vancouver, ISO, etc.
Plus de sources

Chapitres de livres sur le sujet "Piazza Venezia"

1

Agazzi, Michela. « Il mercato antiquariale nella Venezia di Ruskin : l’arte medievale in Germania ». Dans John Ruskin’s Europe. A Collection of Cross-Cultural Essays With an Introductory Lecture by Salvatore Settis. Venice : Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-487-5/012.

Texte intégral
Résumé :
Ruskin made his first trips to Venice when the city was under the Austrian domination, a long period which witnessed the dispersion of many Venetian medieval objects. These objects became of interest to a market which had to meet several requests, including not only those of private collectors, amateurs and foreign tourists looking for “souvenirs”, but also high-standard commissions aimed at creating museums and evocative places. This is the case with the massive purchase by Frederick William of Prussia, in the 1840s, of some ancient medieval sculptures in Italy which would become an important core in the medieval and Byzantine art sections of national museums under construction. Among these sculptures we can find an interesting group of Venetian masterpieces all bought from the same Venetian trader (Pajiaro). Frederick William’s brother as well, Charles, bought several Venetian works of art to replicate a Venetian cloister in the Glienicke Palace. Again: the Church of Peace in Potsdam is adorned with a mosaic bought in Murano, once part of the demolished Saint Cyprian Church. Fragments and entire works of art make up collections intended for the public and its education, or for the embellishment of neo-medieval or picturesque buildings, that was a pillage going in the opposite direction ofRuskin’s interests. His eye and his hand gave us the graphic and visual documentation of a heritage in context. His writings are characterized by the attention to each and every fragment as the witness of a manner of doing which is also history. Some traces of the exportation of medieval works of art can be found in Venetians’ reaction, Seguso’s first of all. In their writings and following actions we can appreciate a greater attention and responsibility for an heritage that will be perceived as an element of their identity. After the annexation to Italy, although this market and sales continued to exist, we witness not only a new dynamic which gives more importance to the restoration of buildings relevant on a national level (such as Piazza San Marco and the Doge’s Palace) or on a civil level (the Fondaco dei Tedeschi), but also the establishment of museums where the fragments emerged from the restoration and decontextualized statues can find their place. All of this has been accomplished in the name of a new spirit and of an attention of whom Ruskin has been the main promoter and protagonist.
Styles APA, Harvard, Vancouver, ISO, etc.
2

Paci, Gianfranco. « Da Vid a Venezia : due reperti antichi tra collezionismo ed interessi eruditi nel sec. XVIII ». Dans Altera pars laboris. Venice : Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-374-8/013.

Texte intégral
Résumé :
Two finds of unknown provenance, once in the Nani Museum in Venice, seem to be from Narona, a site that provided, along with other Dalmatian places, most of the ancient material preserved in the famous Venetian collection. The first document is an altar now in Piazzola sul Brenta, identified by Mommsen as coming from Dalmatia, likely Narona, on the basis of the formula mentioning a god which is altogether identical to a dedication, now lost, also from Narona. The second find, now in Avignon, is a relief of the Dioscuri. It certainly comes from Narona as a fragment of a slab from the Museum at Vid, reproducing the same rare decorative motif, demonstrates: snakes face an egg. At Narona the cult of the Dioscuri is well documented epigraphically, but also by a relief in which two snakes, but in another position, appear.
Styles APA, Harvard, Vancouver, ISO, etc.

Actes de conférences sur le sujet "Piazza Venezia"

1

Addessi, D. « Vulnerability assessment of historical masonry buildings to excavation-induced settlements : palazzo assicurazioni generali ». Dans AIMETA 2022. Materials Research Forum LLC, 2023. http://dx.doi.org/10.21741/9781644902431-58.

Texte intégral
Résumé :
Abstract. Historical masonry structures represent a conspicuous part of the European architectural heritage. However, these often are more vulnerable to damage risk than other constructions due to their peculiar mechanical properties. This justifies the lively interest in the development of efficient and reliable approaches for their structural capacity assessment. This work presents the vulnerability assessment of the historical masonry building, “Palazzo Assicurazioni Generali”, for the effects induced by the underlying tunnel excavation required for line C of the Rome underground. The structure is a 12-floor building, built in 1902-1906 in Piazza Venezia, one of the most prestigious areas of the city. A detailed macromechanical three-dimensional numerical model of the entire structure is developed and two kinds of static analyses are conducted, assuming linear elastic and nonlinear constitutive response for masonry.
Styles APA, Harvard, Vancouver, ISO, etc.
Vous pouvez également être intéressé par les bibliographies sur le sujet « Piazza Venezia » pour d’autres types de sources :
Livres
Nous offrons des réductions sur tous les plans premium pour les auteurs dont les œuvres sont incluses dans des sélections littéraires thématiques. Contactez-nous pour obtenir un code promo unique!

Vers la bibliographie