Archivio della categoria: arts

Monuments to Daniele Manin and Pietro Paleocapa,Venice.

Monuments to  Daniele Manin and Pietro Paleocapa,Venice.

Monument to Daniele Manin,campo Manin 

daniele manin,campo manin,venice

daniele manin,campo manin,venice

Made by Luigi Borro (,in 1865, the statue faces the house where Daniele Manin had lived .The plaque exposed above the house number 2313 recalls that Daniele Manin was born in Venice in a house overlooking over the Rio di San Luca, with the view of the former Campo San Paternian, now called Daniele Manin.
Two bronze sculptures complete the monument: a lion, who sits on the steps,
with large wings outstretched and, above it, the statue of Daniele Manin. The figure is shown standing, leaning on his left foot. The right arm is bent and the hand is hidden on the clothes,a gesture of a man of command .The left hand grasps a roll:The Decree of the Venetian Assembly that in 1849 announce the resistance of the Europe “at any cost” to the siege of the German army.

Daniele Manin, born on May 13, 1804 ,son of a modest lawyer, Peter and Anna Maria Bellotto. His grandfather with Jewish origin had been converted to Catholicism changing the name from Medina to Manin, to pay tribute to the Doge Ludovico Manin the last Doge of Venice.
On 1840 he start the political activity against the Austrians but in 1848 was arrested. On March 17 was released together with Niccolo Tommaseo.

the monument with his ashes,near the basilica di san marco,venice

the monument with his ashes,near the basilica di san marco,venice

On March 23, 1848,is nominated President of the new Republic of Venice,and helped to found the National Italian Society . After the capitulation of Venice on August 22, 1849, Manin fled to Marseilles then Paris.
He died in Paris in September 22, 1857. His ashes rest in Venice, beside the Basilica of San Marco.
Monument to the patriot Pietro Paleocapa.
By Luigi Ferrari (
on 1873 ,the monument to Pietro Paleocapa initially was placed in campo St.Stephen. Today you can admire it at the communal gardens called Papadopoli.

The particularity of this monument is that the figure is not standing, frontal, ,as the most of the statues of that age.Paleocapa is sitting, in comfortable and informal attitude, with one hand resting on his leg.


pietro paleocapa's statue , papadopoli gardens ,venice

pietro paleocapa’s statue , papadopoli gardens ,venice

Pietro Paleocapa was born in Nese, Bergamo, in November 1788 by the family of ancient Greek origins.
After the Ottoman conquest of Crete (Heraklion) in the seventeenth century, his family moved to the Venetian republic.

Participates in the Napoleonic wars in military units of genius, of the Italian Kingdom.He was taken prisoner in the fights against Germany in 1813 but managed to escape and return to Italy.

At the fall of the kingdom of Italy, he withdrew in civil activities by working as a hydraulic engineer on the rivers Brenta, Bachiglione, Adige, Tisza and for the arrangement of the port of Malamocco, in the Venetian lagoon.
Becomes minister of the provisional government of Daniele Manin in 1848. After the end of the Republic of San Marco moved to Turin, where  was elected as member of the Italian parliament of the kingdom  and minister of public works in Casati ,D’Azeglio and Cavour government . He was a proponent of the annexation of Venice to Piedmont.



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Venice museums

venice museums

venice museums

Venice museums ,the second issue.
In a city of art par excellence, with many museums, churches and wonderful places, choose where to go is not easy.For those who come for the first time in Venice, it is obvious that the time is preciousness.To facilitate your choice, here you will find brief descriptions,schedules, prices of some museums of Venice.

The first part of this article is on address:



Accademia – Academy museum.
Founded in 1750 with educational purposes, it preserves the greatest masterpieces in the world,works of Venetian paintings ranging from 1300 to 1700.During the Austrian rule, in a period of continuous looting, the role of the Academy was critical to maintain in the lagoon, some of the works related to the Venetian tradition.
The museum contains works of the most famous masters like Bellini, Giorgione, Carpaccio , Titian and Tiepolo.


Mondays from 8.15 to 14.00 (last entry at 13:15)
Tuesday to Sunday from 8.15 to 19.15 (last admission 18.30)
Address: Campo della Carità, 1050, 30123 Venezia,
Phone: 041 520 0345
Ticket; info and prices for special exhibitions

museo storico navale

museo storico navale

Naval History Museum
A wonderful museum that tells the history of Italian and Venetian navy.
Surprising are the reconstructions of a trireme, a “galeazza” (a large galley, star of the victory over the Turks at Lepanto in 1571), Bucintoro( the vessel used by the Doge ceremony), gondolas, torpedoes guided by divers and other boats typically Venetian.

Museums, schedules,
Summer season (1/4> 31/10)
From Monday to Thursday 8:45 to 13:30 | Friday and Saturday 8:45 to 17:30
Sundays and holidays 10.00 – 17.30

Winter season (1.11> 3.31)
From Monday to Thursday 8:45 to 13:30 | Friday and Saturday 8:45 to 17:00
Sundays and holidays 10:00 to 17:00
Closed December 25, January 1, May 1
The ticket office closes half an hour before
Address: Riva S. Biasio Castello, 2148-30122 Venice

Tel. 041.2441.399

Other informations :

House of Carlo Goldoni

House of Carlo Goldoni

Museo Casa Goldoni
“House of Carlo Goldoni”, was built in the fifteenth century.Owned by the family Rizzi, the building was rented to Zentani or Centani, from which it took the future name, hosting also a flourishing artistic and literary Academy. Towards the end of 1600 settled there the grandfather of Carlo Goldoni, Carlo Alessandro, from Modena.Goldoni family remained in this house, where Charles was born Feb. 25, 1707, until 1719.
Tickets :

Palazzo Mocenigo
The museum displays a selection of rare pieces – textiles and costumes, including original state robes of the eighteenth century. The clothes and accessories on display, originating from Venice, are made of textured fabrics, often embellished with embroidery and lace.


Museums, schedules,

from 1 November to 31 March; 10:00 to 16:00                                                                  from April 1 to November 30, 10:00 to 17:00
Monday, 25 December, 1 January and 1 May-Closed

Ticket office closes half an hour before

Address: Santa Croce 1992, 30135 Venice

Phone: 041 721798

Other informations[festivaldetail]&id=572&wms_op=museiCivici&change_language=1

Murano glass
vetro di muranoThe history of Murano Glass was borne in 1291 when it ruled that the glassworks in Venice, active probably already before the year one thousand, were transferred to Murano because the ovens of the laboratories were often responsible for the disastrous fires, which became particularly serious because the buildings were mostly wooden.

Address: Fondamenta Marco Giustinian, 8, 30141 Venice, Murano
Phone: 041 739586
Museums, schedules
from April 1 to October 31, 10:00 to 18:00

from 1 November to 31 March 10:00 to 17:00
Closed 25 December, 1 January and 1 May
Ticket office closes 30 minutes before

Other informations                                                         
Lace Museum Burano

merlettoThe Burano lace is one of the most renowned lace to world.The first evidence of the flowering of trade of Venetian lace from the late fifteenth century. But the end of the Venetian Republic (1797) coincided with the beginning of a slow crisis: the production of lace became an activity exclusively of few families, and the number of lace makers began to decline, to the risk of running out of this traditional production .

from 1 April to 31 October
10:00 to 18:00 (ticket office 10:00 to 17:30)

from 1 November to 31 March
10:00 to 17:00 (ticket office 10:00 to 16:30)
It closed on Monday, December 25, January 1 and May 1
Address: Piazza Galuppi, 187, 30142 Venice, Burano
Phone: 041 730034
Other informations:

Museum of Sacred Paintings  Byzantines

dipinto bizantinoDiocesan Museum of Sacred Art

Venetian schools

The institutions called schools were built in Venice in the Middle Ages. The patricians
adhered only to the most important schools for reasons of prestige, or to ensure the spiritual advantages that they procured.Citizens of low social class or with dubious activities were not accepted, as well as women, if not as members of the family of the brotherhood.

Some schools were built to bring together foreign workers present in Venice: Schiavoni (slave origins), Albanians, Bergamaschi (from Bergamo city). Other schools instead gathered groups of craftsmen in their profession.The most important were the schools of a religious character.
Great school of San Giovanni Evangelista in Venice

Great school of Carmini

Great school of San Rocco

The school of San Giorgio degli Schiavoni


chorusIn Venice there are more than 250 churches consecrated and deconsecrated.
Chorus, contributes to the conservation and enhancement of the churches of Venice, an immense wealth,and promotes knowledge through a museum tour that combines sixteen of the greatest examples of religious architecture of Venice.

Sixteen of the largest churches of Venice, visited with a single ticket, the Chorus Pass.

Albrecht Dùrer- Venezia

Albrecht Dùrer

albrecht durer

albrecht durer

Thurer,o Alberto Duro,pittore di Norimberga ,fortemente visionario,un genio guidato dal ambizione,a 23 anni, fa il secondo viaggio a Venezia ,nel 1506 .E ormai riconosciuto come un maestro di fama mondiale.

Lavora per i mercanti tedeschi dipingendo i muri esterni del Fondaco dei Tedeschi,una pala per la chiesa della comunità tedesca veneziana con la scena del martirio di san Bartolomeo,quadro che sembra che e andato nella possessione del imperatore Rudolf secondo .

A Venezia, Dùrer fece alcuni ritratti di nobili locali, maschili e femminili, e realizzò opere a soggetto religioso: la Madonna del Lucherino e il Cristo dodicenne tra i dottori.

L’opera più importante del soggiorno Veneziano è la Festa del Rosario,la pala per decorare la chiesa della comunità tedesca che viveva attorno al “Fontego dei Tedeschi”.Vi sono ritratti,in primo piano a sinistra papa Sisto IV ,e a destra l’imperatore Federico III , incoronato da Maria .A destra, accanto al paesaggio alpino,Dürer si auto ritrae con un cartiglio in mano.Il doge in persona,e il patriarca di Venezia, con la nobiltà cittadina, vogliono vedere la tavola. Il pittore ricordò come in quell’occasione il doge gli avesse proposto di diventare pittore della Repubblica, con un’ottima offerta retributiva.

 rialto ,fondaco dei tedeschi

rialto ,fondaco dei tedeschi

Cosi grande fu l’influenza veneziana per Dùrer che alcune lettere avevano parole in lingua veneziana del tempo. Infatti mote delle sue incisioni hanno influenze veneziane . La grande prostituta,incisione che racconta la caduta di Babilonia ,la donna seduta sopra la bestia, ha in mano un ,calice di vetro di Murano, l’influenza di Giogione, nelle sfumatura “calda ” del viso nei ritratti.
Alla sua volta inoculo ai pittori Italiani l’amore per la natura,le storie di Maria,e delle grandi passioni ,opere che saranno sempre proposte nel rinascimento italiano.

durer babilonia

durer babilonia

In Germania fu il primo che insegno le regole di matematica ,la prospettiva e ridusse
ad un regolare sistema l’arte del disegno e della pittura . Scriverà un trattato sulla
prospettiva nella pittura.
Dùrer ha un posto anche tra i tipografi,per le sue stampe in legno finemente scolpite.Alcuni pretendono che è un maestro intagliatore in ferro,per le sue medaglie a rilievo.Nel 1512 invento l’arte di intagliare ad acqua forte le lamine di ferro.
Fu uno dei quali perfezionò la pittura su vetro.Un vero professionista del intaglio del rame.

Un altro tema che interessò il giovane artista fu la nuova concezione del corpo umano elaborata in Italia .Già nel 1493 l’artista aveva infatti prodotto un disegno di Bagnante (primo nudo preso dal vivo dell’arte tedesca) e a Venezia poté approfondire, grazie all’abbondanza di modelli disponibili, i rapporti tra figure, nude o vestite, con lo spazio in cui si muovono.

Il più grande dei fratelli Bellini, Giovanni ,di età ormai avanzata,  ritenuto da Dürer “ancora il migliore” , aveva espresso la sua benevolenza e stima, andando a trovarlo e volendo acquistare qualche suo lavoro.  Bellini aveva elogiato pubblicamente il tedesco  in una lettera al Senato di Norimberga del 1524.


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