Travel in Italy This was prepared in 1994 per studenti, and only partially updated. The cultural richness of Europe, and particularly Italy is so great and so concentrated, that most tourists return to Australia overwhelmed and with only a very general impression, perhaps remembering specific details only because of personal incidents associated with them. The more preparation by reading that the traveller is able to undertake beforehand, the more potentially perceptive will be their experience of travel. Try to identify your specific interests, before leaving Melbourne. So much of our cultural life is derived from Italy: painting, sculpture, architecture, music (particularly opera), soccer, food, family, social behaviour, contemporary design and crafts. Here, we generally can only concentrate on architecture and art.

Food Do not be surprised if good inexpensive meals are more difficult to find than in Melbourne. This is one of the benefits of living in a cosmopolitan city without tourists, as we do. One of the disadvantages of living in the World's Most Livable City, is that everywhere else is less livable. It is always cheaper to eat or drink standing up, inside. Sitting down, especially outdoors, costs much more.

Hours Most Italian businesses close between 1 and 3pm, or longer. But they generally open until at least 7pm. Banks do not re-open. Once you leave Melbourne, the 24 hour clock operates, so 7pm is 1900 hours, for instance. State Museums now appear to be open 9-7 every day except on two Mondays in each month, when all are closed. But many museums are not state owned and have other opening hours. Museums may be closed without any particular reasons (Chiuso per restauro). Note: 1 November is a public holiday in Italy.

Security. All of Venice, Vicenza and Florence; and most of Rome, are comparatively safe from violence. But thefts are very frequent and often extremely daring. Do not draw attention to yourself as a tourist by dressing in unusual or expensive clothes. It is unwise to wear jewellery. If you carry a bag, walk close to the buildings which line the street and keep your bag between your body and the wall, so it is not accessible to pickpockets or bag snatchers. Keep well clear of pathetic children. Only carry amounts of cash or anything else that you can afford to lose. The hotel safe is the best place for valuables, not in your hotel room. Traveller's cheques in lire are difficult to replace. Ask your bank which currency is best for travellers cheques, probably this will be US$. Australian $ is not an international currency and is not accepted beyond the South-east Pacific region. Admission prices. All museums stop issuing admission tickets ½ hour before closing time. A Museidon card from tourist offices and museums admits free entry to selected museums for a specific period. These cost about L13,000 (1 day), L23,000 (2 days) and L48,000 (7 days). Equipment. In addition to other essentials, it is suggested that you buy the most detailed street map possible, immediately upon arrival in each city. Consider taking with you a compass (It is very easy to loose direction in an unfamiliar city and waste much time) and small binoculars or opera glasses to look at beautiful ceilings or high details.

Venice

Geography Venice (Venezia) has a population of 70,000 (down from 200,000 at the height of the Republic), about the same as the City of Camberwell. It is situated in a lagoon, 4 km from the mainland and 2 km from the open sea. The Grand Canal is the former estuary of the Brenta River. There are 117 islands, but the city of Venice is only 5.5 x 3.5 km. It would fit easily between the Eastern and South-eastern Freeways; Spencer Street and the Yarra at Hawthorn Bridge. Most journeys in Venice are best done on foot. It has 20 million tourists every year. Giant cruise ships emerging into the lagoon from the sea one after another can bring as many as 30,000 visitors in a single day and incrementally damage the fabric of the old buildings by passing only 300 m from Piazza San Marco.1 The Italian government has determined that 2014 is the final season for ships exceeding 96,000 tonnes to be allowed the indulgence to pass by San Marco and also severely restrict visits by smaller ships of no more than 40,000 tonnes. The still claim they do no damage. The government also proposed the excavation of the Contorta-Sant’Angelo canal as an alternative route in Venice and ordered an environmental report on its potential impact to be completed within 90 days.

Joseph Mallord William Turner, The Punta della Dogana and Santa Maria della Salute at Twilight, from the Hotel Europa, 1840. Graphite, watercolour and pen and ink on paper. Tate Britain.

1 www.bbc.co.uk/news/world-europe-19415485

Cruising by San Giorgio.

Proposed new route for large cruise liners.

Santa Maria della Salute.

Everything costs double mainland prices: so no-one wants to live there. Venice has changed less than probably any other large city, since the C18. There are no cars, or even bicycles. Venetians are different from other Italians. They have a distinctive appearance, particularly in the eyes. Venetian dialect is distinctive, including pronunciation and vocabulary. Venetians have a grand insularity of temperament. There has been tourism in Venice since the fourteenth century. But tourist routes are well defined. Ninety percent of Venice is not visited by tourists. Ordinary Venetians still live in rows of terraced houses built in the fourteenth century, rarely seen by foreigners. It is possible to visit a most peaceful little-known cloister less than 100 metres from the Doge's Palace. Eight million people enter the Basilica of San Marco each year: that's 16 million feet on those fine mosaics. The Venice in Peril Fund is only one of several international funds established in the late 1960s to tackle the enormous problem of the conservation of Venice and the Italian government funds Venezia Nuova to preserve the city. Venice is not sinking any longer, due to stabilisation of the water table (it was rising 250mm/year: that's why well-heads are sealed), but the sea level has risen minutely each year since Roman times. Subsidence effects in connection with those of eustatism, both with reference to the Venice area. The oscillating Adriatic sea level is almost unmodified in the lagoon, and have recently been as high as 1m. Subsidence due to geological factors, supported by many archaeological remains, appears to have been nearly constant at a rate of about 1.3mm per year. Venice has also been flooded in previous centuries by unusual increases in tide levels caused by peculiar meteorological factors in the Adriatic sea. An abnormal increase in subsidence occurred over the last 50 years due to water extraction from deep artesian wells, demanded by the new industrial plants of Porto Marghera on the border of the lagoon. This produced a soil lowering of about 100mm, added to the geological subsidence and to the rising of the mean sea level. But it caused an overall altimetrical reduction in the level of Venice soil with respect to sea level of over 220mm between 1908 and now. Recently, the well-heads have been sealed and the abnormal lowering has stopped. Now Venice is generally flooded by a tidal excursion of only 0.80 m; the city was completely flooded in November 1966 by an exceptionally high tide, which reached 1.94m. Protection works are planned, temporary closure by the Moise Project of the three mouths through which the lagoon connects with the sea, but it will be very difficult to ensure their effectiveness for the future. High tides (acqua alta) are much more frequent (Piazza San Marco floods 40-50 times each year compared with 6-7 times in the 1950s), but are only one of several increasingly serious problems. The Mose Project was established to build floodgates at the entrances to the Lagoon to keep the high tides back. The municipality (Commune di Venezia) no longer appears to believe in this project, fearing it would have to fund its $80 million annual operation. Other problems are clogging of canals with algae which thrive on phosphate and nitrogen in agricultural fertilisers introduced further upstream, reducing the tidal flushing out of canals (hence the dead fish and the smell). Limestone is attacked by sulphites (acid rain) from Eastern European pollution (less so now from Mestre) and the wave turbulence from motor boats. Mestre, the industrial suburb created in 1930 by Mussolini has produced massive airborne pollution. The Magistrato alle Acque-Consorzio Venezia Nuova, the Venice Water Authority founded in 1500, is a technical agency of the Ministry for Infrastructure and Transport with direct and primary responsibility for the safeguarding, security and hydraulic protection of a large area spread

across a number of regions (Veneto, Friuli and Lombardy).2 It is the oldest conservation authority in the world. Venice has now about 100 canals and 400 bridges. Every wall of every building is supported on piles of Istrian pine, about 7.5 metres deep, supported on the floor of the Lagoon, which is not entirely stable and so the buildings move. Piles are paraffita, a canal is a rio, a street is a calle, a street beside a canal is a fondamenta, a filled-in canal is a rio terrà, a piscina is a filled-in pool, shopping streets are salizzada and a sottoportego is a passage, passing under a building. There is only one piazza in Venice (San Marco) and only two piazette; all other open spaces are called campo. The city is divided into six districts called sestiere. There are no street numbers: every building is numbered in one sequence within each sestiere. Tourist Information is: Ente Provinciale per il Turismo, Piazza San Marco, 71c. Sources Italo Calvino, Invisible Cities, Picador, London, 1972. Calvino’s (1923-85) novel (Le città invisibili), of a magical journey, stuffed full of ideas for designers, to so many places pretending not to be Venice. Several peple have attempted to depict the cities, which rather defeats the point of the book, including Colleen Corradi Brannigan, below and at Iain Fenlon, Piazza San Marco, Profile Books London 2009 has an excellent historical bibliography. Deborah Howard with Laura Moretti, Sound and Space in Renaissance Venice: Architecture, Music, Acoustics, Yale University Press 2009, and CD (Architettura e Musica nella Venezia del Rinascimento, 2002).

Professor Howard is the consummate architectural historian of Venice, and her Architectural History of Venice is concise and beautifully written. Her work on the extent of the Islamic culture profoundly embedded in the fabric of Venice, the subject of a major exhibitiion, in which aspects were explored by other scholars in more detail, was a revelation to me and Sound and Space in Renaissance Venice, researched in situ with a choir and accioustic engineers is a fascinating and salutary conjunction of architectural history, science and music, only enabled by the interdisciplinary resources of a great university such as Cambridge. Deborah Howard, MA PhD FBA FSA FSA Scot Hon FRIAS FRSE is Professor of Architectural History in the Faculty of Architecture and History of Art, and a Fellow of St John's College, Cambridge. She was Head of Department of History of Art from 2002-9. A graduate of Cambridge and of the Courtauld Institute of Art, she taught at University College London, Edinburgh University and the Courtauld, before returning to Cambridge in 1992.

She has taught at Yale, Harvard (the Aga Khan program and the Villa I Tatti), the National Gallery of Art in Washington DC, Princeton, and the Universities of Melbourne and Queensland.

Her research is the art and architecture of Venice and the Veneto; music and architecture in the Renaissance; and the relationship between Italy and the Eastern Mediterranean

2 www.veniceinperil.org/links/scientific-research-links

and presently, of scientific inventions by architects and others in Venice 1550-1610.

In 2005 she established the Centre for Acoustic and Musical Experiments in Renaissance Architecture (CAMERA) in the Department of History of Art, University of Cambridge. In 2011 with her husband, Malcolm Longair, she completed the ascent of all the ‘Munros’, the 283 highest mountains in Scotland. She is the most creatively cross-cultural of historians, utilising the resources of a great university to work in her research projects with, eg: Islamicists, Accoustics Engineers and musicologists. I once shared a train journey back to London with her: unforgettable.

Deborah Howard, Architectural History of Venice, Yale University Press, New Haven & London (1980) revised and enlarged 2002. Deborah Howard, Venice & the East. The Impact of the Islamic World on Venetian Architecture 1100–1500, Yale University Press, New Haven & London 2000. Deborah Howard, Jacopo Sansovino: Architecture and Patronage in Renaiassance Venice (1975) 1987 Thomas Jonglez and Paola Zoffoli, Secret Venice, Editions Jonglez, Versailles, France 2013. Alta McAdam, Venice. The Blue Guide, Somerset Books, Edition 9, London 2013.  ISBN: 9781905131600 Antonio Salvadori, 101 Buildings to See in Venice, Canal Books, Venice 1969. Egle Renata Trincanato, Renzo Salvadori, editor, A Guide to Venetian Domestic Architecture. Discovering the little-known Venice of the ‘Sestiere’ of Castello and Dosoduro illustrated by 160 drawings of buildings from the 12th to the 18th century [Venezia Minore], Canal Books, Venice (1948) 1982. This exquisite little book, after 64 years is not out of date, and is still unique, because it precisely locates by address, describes, offers a history, analyses the significance and provides a sketch elevation and often a floor plan, of these 90 Venetian vernacular buildings that are not quite grand enough to make it to Deborah Howard’s, (qv) Architectural History of Venice. I have visited many of them. They are often in unknown parts of Castello and Dosoduro that tourists never visit. www.cittainvisibili.com/artista/index-en.htm www.magisacque.it www.magisacque.it. www.istitutoveneto.it www.iuav.it. www.veniceinperil.org Puntolaguna, in Campo Santo Stefano, open every working day from 14.30 to 17.30 (tel. + 39.041.5293582) and mornings on appointment for presentations to groups and meetings with experts.

History

This race did not seek refuge in these islands for fun, nor were those who joined later moved by chance; necessity taught them to find safety in the most unfavourable location. Later, however, this turned out to their greatest advantage and made them wise at a time when the whole Northern world still lay in darkness; their increasing population and wealth were a logical consequence. Houses were crowded closer and closer together, sand and swamp transformed into solid pavement. The houses grew upward like closely planted trees and were forced to make up in height for what they were denied in width. Avid for every inch of ground and cramped into a narrow space from the very beginning, they kept the alleys separating two rows of houses narrow, just wide enough to let people pass each other. The place of street and square and promenade was taken by water. In consequence, the Venetian was bound to develop into a new kind of creature, and that is why, too, Venice can only be compared to itself... Venice, like everything else which has a phenomenal existence is subject (only) to Time.

Johann Wolfgang von Goethe. September 29, Michaelmas Eve, 1786. In Roman times, only a few fishermen in timber huts inhabited the malarial swampy islands, which were to become Venice. Some remoter parts of the southern lagoon and the River Po delta still have this character. Refugees from Roman Imperial cities in the northern Adriatic Sea which were being invaded by Barbarians in the 5th and 6th centuries, sheltered there and eventually settled permanently, since the Lombards already controlled the mainland. At first part of Byzantium, the first Doge ('dux' or duke) was elected in 697. An invasion by Pippin, son of Charlamagne was defeated in 810. Building activity was given a boost in 828 when the purported body of St. Mark was brought from Alexandria, and the Basilica erected to enshrine the new patron saint. Political and commercial conquest of the East commenced. Venice drew commercial profit from the Crusades and the Fourth Crusade, led by Venice, captured Constantinople, Crete, the Cyclades and Cyprus. Genoa, Venice's great maritime rival was crushed in 1380. But after the fall of Constantinople in 1453, Venice gradually lost her eastern empire. At the same time Venice was expanding on the Italian mainland (the "terra firma") during the mid fifteenth century. The factory that produced this great expansion was the Arsenale, which manufactured ships and armaments and at its height employed 16,000 men, the largest industrial site in Europe. It is still military and mostly inaccessible. Despite victory at the Battle of Lepanto against the Turks in 1571, the wars during the seventeenth century exhausted Venetian resources. The emergence of unified European states sapped her commercial strength and in the Eighteenth Century, Venice declined into decadence and political inflexibility. In 1797, Napoleon conquered Venice easily and Venice and its terra firma became Austrian: the thousand year old Venetian Republic (La Serenissima) and its Mediterranean empire, expired. Napoleon filled a number of canals to make access easier, creating rii terré. There were many closures of monasteries, scuole (guilds), and churches. The westend of Piazza San Marco was closed by a new palace and much further demolition created public gardens.

In 1866, Venice became part of Italy.

The Art and Architecture Itinerary of Venice. Venice. San Marco. 21 October, Friday. * Piazetta di San Marco. If Napoleon described the Piazza San Marco as "the finest drawing room in Europe", then this is the entrance hall, to the heart of the Venetian Republic. It faces San Giorgio, Palladio's great church and the Guidecca island across the Bacino di San Marco. At left (west) is the Libreria Sansoviniana (Library of St Mark) Jacopo Sansovino (1537-). A design influential on architecture in Melbourne, such as the Elizabeth Street Post Office. Adjoining, further west is the Zecca (Mint) also by Sansovino (1547) and the Giardinetti Reale (gardens) (1814). Beyond is the Capitaneria di Porto (former coffee house, 1838) and by the San Marco landing, the famous Harry's Bar (1920s, enter from calle Vallaresso. Expensive). Standing on the bridge east of the Doge's Palace, looking north up the canal, is the famous aerial Bridge of Sighs (c1600) Antonio Contino, leading to the Prigioni (prison) (1560-1614), G A Rusconi, Antonio da Ponte and Contino. The waterfront is the Molo. The two huge monolithic columns (erected C12) support the two patron saints, symbols of the Republic, the lion of St

Mark and St Theodore and his dragon (all plundered ancient fragments).

La Piazza di San Marco in Venezia, descritta da Antonio Quadri e rappresentata in XVI. ta vole rilevate ed incise da Dionisio Moretti

Elevation of the Procuratie Vecchie (c1520)

La Piazza di San Marco in Venezia, descritta da Antonio Quadri e rappresentata in XVI. tavole rilevate ed incise da Dionisio Moretti (1790–1834), 1831. Elevation of the Procuratie Nuove (c1580).

San Geminiano, Sansovino, 1552, demolished 1807

The former Zecca, Venice, with the Biblioteca Sansovino, at R. The Zecca (1737-47), by Sansovino (1486-1570), which since 1904 contained Venice's reference library, the Biblioteca Marciana (1537-53) also by Sansovino, which since 1604 had

been the world’s first deposit library. It was moved here from its adjacent purpose-built Biblioteca Sansovino, (the Library of St Mark), but has since expanded back into that building and even into the Procuratie Nuove facing Piazza San Marco.3 * Doges' Palace (Palazzo Ducale). (Open: 9.30-5.45. Room numbers refer to floor plans). Rebuilt (C13-1419). Centre of government of the Republic, public offices, law courts and the residence of the Doge. It remains the municipal centre of Venice. It is a fine Gothic palace with facades in white Istrian and pink Verona marble. The corner sculptures (C14) and capitals are copies of fine medieval carving. At left (north) in the Piazetta is the Porta della Carta (1438-43), fine late florid Gothic. Giovanni & Bartolomeo Bon. The Cortile (courtyard) is richly carved by the Lombardo family (1483-1559). The Scala dei Giganti, (Antonio Pizzo, 1484-1501) has colossal statues by Jacopo Sansovino. Interior: Third Floor (Secondo Piano Nobile): Room 10 (Anticollegio). Opposite the window, Veronese Rape of Europa. End walls: Tintoretto Vulcan's forge, Bacchus & Ariadne, etc. Room 11 (Sala del Collegio, for meetings of Doge & his council). Ceiling paintings: Veronese (c1577) Justice and Peace. Over throne: Veronese Victory of Lepanto. Room 12 (Sala del Senato): Over throne: Tintoretto Descent from cross. Room 15 (Consiglio dei Dieci, the political court of the Council of 10) Right hand far corner of ceiling: Old Eastern man and young woman, Veronese. Second Floor (Primo Piano Nobile) Room 24 (Sala del Maggior Consiglio, government of the Republic): entrance wall, Jacopo & Dominico Tintoretto (1587-90) Paradise. Ceiling, far central panel: Venice & gods, Veronese. Room 27: 3 lions of St Mark, including Carpaccio, Venice and Neptune, G.B. Tiepolo. Room 29: Hieronymous Bosch works. Bellini Pieta. Stairs lead to the Bridge of Sighs and Prisons. * Piazza San Marco. Campanile di San Marco. Belltower of the Basilica and landmark of Venice. 98.5m high. Rebuilt after 1902 collapse, by 1912, with a steel frame and a lift, up to the spectacular view of Venice. * The Loggetta is a fine design of Sansovino (1537-49). A loggia (meeting place) of the nobili (nobles of the Republic). The form is derived from the Roman triumphal arch. North, is Torre dell' Orologio (clock tower) Mauro Coducci (1496-99) Two bronze figures ('Mori') or moors strike the hour. The building on the north side of the Piazza is the Procuratie Vecchie. Mauro Coducci (rebuilt 1512), offices for the procurators (caretakers) of the fabric of St Marks. It has 50 arches, with Caffé Quadri in the centre. The west end is Ala Napoleonica of the Palazzo Reale (Royal Palace of Napoleon I) (1810). South side: Procuratie Nuove, Sansovino continued his Libreria Vecchia design, facing Doges' Palace, (1582-6) later part of the Royal Palace, now the Museo Correr (museum of the history of the city of Venice). Caffè Florian (1720) is the most famous in Venice, with a beautiful interior (expensive). * Basilica di San Marco (St Mark's Basilica). (Open: 6.30am-7.30pm). It is said that the first church on the site was built (832) to contain the body of St Mark. (Rebuilt 1094). It is one of the greatest Christian churches, in a sumptuous Byzantine style. It is a repository for art treasures and architectural fragments plundered by Venetian marauders. Facade. Portal 1: The only original mosaic on the facade (1260-70). The relocation of the body of St Mark to the Basilica. In front of the central window were the 4 gilded bronze horses, symbol of Venetian Republican power. At the corner of the Treasury are the porphyry "Tetrarchs" (C4), Egyptian. Narthex. Mosaics, mainly original C13.

3 Gabriella Bacchelli, Collins Italian Dictionary, HarperCollins Publishers, Glasgow (1995) 2005, p 1598 and James Stevens Curl, A Dictionary of Architecture, Oxford University Press, Oxford 1999, p 757. The image is from Wilkipedia, accessed 13 May 2012.

Interior: Entirely marble and mosaic lined. Beautiful geometric mosaic marble pavement (1071-84). Restoration has continued since C16. The dome mosaics are generally C12 & C13. Central dome pendantives have angels. Lower church. Baptistery: Font. Sansovino (c1545). Treasury: rich with plunder from the sack of Constantinople (Istanbul) in 1204. Byzantine gold of the C12. Nave. Rood screen: dark marble, silver and bronze (1393) with statues. Sanctuary: behind the high altar piece is the Pala d' Oro, glowing with precious stones, enamels and old gold. One of the most remarkable works of Medieval goldsmiths. Piazetta Giovanni XXIII (dei Leoncini). At north. Fountain and two red marble lions. Byzantine Venice: 22 October, Saturday. Vaporetto (water bus) route 12 to Torcello: * Cathedral of Santa Maria Assunta, Torcello. Rebuilt 1008. Influenced by Ravenna, it is the oldest building in the Venetian Lagoon. The mosaics of the Last Judgement and the Madonna are C11 & 12. Santa Fosca, Torcello. Early C12. Influenced by Constantinople, and so centrally planned. (San Marco, seen yesterday is comparable. Rebuilt C1063-94. Influenced by Constantinople, it is a repository of plundered treasure and mosaic. The state church). Murano. There has been a glass factory here since 1292: It was at its greatest in the early C16. Santa Maria e Donato. (end C11-C12) Byzantine. The pavement is 1140, restored and unfortunately set in concrete 1977. Byzantine mosaic in the apse.

* Burano. Fishing and lacemaking. Charming domestic scale brightly painted houses. It is connected by a long bridge with Mazzorbo which has housing by Giancarlo di Carlo (1980), on a new canal seen en route to Torcello. The design has sensitive local references. Vaporetto route 5 to Riato. Palazzo Loredan and Ca' Forsetti. Both C12. Byzantine lower stories. Ca' da Mosto. C12. Very old and well preserved. Return over the Ponte di Rialto. The small islands of the Lagoon

There are 33 lesser islands in the Lagoon.

San Servolo is in the central lagoon near St Mark’s. It was first settled in c690, one of the few of the islands to have a history of its own. The Venetian province has done much to regenerate it and now it is the headquarters for an International University, has a congress centre, a museum and a full programme of events in art, photography, music, cinema, literature and theatre. The Certosa is only 250 m from San Pietro di Castello, 500 m from Lido and is closest to the island of Vignole and the military Forte di Sant'Andrea. Its name comes from the Certosini Fathers from Florence who settled it in 1424, but it was abandoned for years. It is now financed by the European Community, Legge Speciale and the Venice City Council. It has a park, Vento di Venice nautical centre and the very newly established Institute of European Design. Santa Cristina is in the northern part of the lagoon, north of Treporti, and is the largest lesser island. It was once Isola di San Marco. It is now private property. Saint Erasmo is also in the northern part. Until c1890, it was a seaside residence close to the Adriatic Sea. Piers were built that created channels, and the current deposited accumulations of sand. This led to creating Punta Sabbioni, a peninsular town now blocking access from the island to the sea. It was once Alba or Mercede and was fertile, for growing vegetables and large pine trees, known as the vegetable garden of Venice. Isola San Giacomo in Palude is central in the lagoon, north-east of Murano. Recent archaeological finds confirm the islands late medieval orgin. In 1975, after years deserted, the Biennale art and architectural exhibition used one of the old military warehouses to present theatre. Isola Lazzaretto Nuovo is the centre of the lagoon. It was strategic in that it was close to St Erasmo and at the time was at the mouth of lagoon port. Like the islands of Poveglia and S Clemente (refer below), it was a stop off, even in Roman times for the Fossa Popilia, which linekd Chioggia to Altino. From 1468 the island took its name from the saint because it became a quarantine station for people suspected to be plague infected and therefore carriers. It was abandoned for a time and was then used by the Ekos Club Association and the Venice Airclub (Archeoclub Venezia). On the Morosoni Tomb, in the Chiesa di San Clemente in Isola, at the ultra-luxe San Clemente Palace Hotel & Resort, are telemon figures of Sustainer and Telamon. In Greek mythology, Telamon, the subject of a hero-cult, son of the king Aeacus of Aegina, brother of Peleus, accompanied Jason as one of his Argonauts, and was present at the hunt for the Calydonian Boar. In the Iliad he was the father of Greek heroes Ajax the Great and Teucer the Archer by different mothers, and he was also close friends with Heracles, assisting him on his expeditions against the Amazons, and against Troy, receiving Hesione as his concubine slave. Telamon was almost killed during the siege of Troy. Telamon was the first one to break through the Trojan wall, which enraged Hercules as he was coveting that glory for himself. Hercules was about to cut him down with his sword when Telamon began to quickly assemble an altar out of nearby stones in honor of Hercules. Hercules was so pleased, after the sack of Troy. In this version, he gave Telamon

Hesione as a wife. In an earlier account of Pherecydes, Telamon and Peleus were not brothers, but friends. Sustainer means approximately Hector (=stayer, or holder), who with Paris, was one of the two sons of Priam, and subject of a hero-cult.4

Morosoni Tomb, at right.

Isola Salina is in the northern lagoon. It was the central part of the very old San Felice island which is one of the bits of land that formed the Ammiana archipelago. The name means ‘salt’ and was introduced towards the middle of the last century. It was chosen as the centre of a large sea salt production centre. Today the island is privately owned. Isola Buel de Levo is in the northern part of the Island to the west of Mazzorbo. It was called batteria Sali Marco in the past. It was an artificial military emplacement from the 18th century whose job was to defend the lagoon from enemies from the sea. Today the island is in private ownership. San Lazzaro d’ Armeni is a little island in the southern lagoon, home of the Mekhitaristi Order and one of the first centres in the world of Armenian culture. Lord Byron studied the language on this island in 1816 taking advantage of its long history of hospitality. He records his love of the famous Vartanush, a jam made from rose petals that the monks produced from its rose gardens and still do. San Francesco del Deserto is in from the Sant'Erasmo. It is an oasis of peace and mysticism, recognisable by its row of cypresses. St Francis of Assisi arrived there in 1220 and stayed on his return from Egypt. A few centuries after the Franciscans established on the island, the wasting away of the island itself made them desert it altogether, but they returned in 1453. Il Vignole, is in the centre of the lagoon. It is a wedge-shaped bit of sandy land between Sant’ Erasmo and Lido. It was once called Biniola, or also delle sette vigne and was one of the elite holiday destinations for residents of Altino before those of Venice became popular. According to the poet Marziale, the magnificence of its residences were superior to those of Pozzuoli.

4 N G L Hammond & H H Scullard, The Oxford Classical Dictionary, Oxford at The Clarendon Press, London (1948) 1970, p 491, http://books.google.com.au/books?id=XZMOAAAAQAAJ&pg=PA139&lpg=PA139&dq=Sustainer+and+telamon&source=bl&ots=gTU_QYfQW4&sig=b7NGvictSQaJQt0Exvt2gOKbjjE&hl=en&sa=X&ei=vrKvUc6kD8mziQeiq4B4&ved=0CEQQ6AEwAw#v=onepage&q=Sustainer%20and%20telamon&f=false. No description of the tomb coud be found.

Isola di Poveglia (or Popilia) is in the southern lagoon in front of Lido’s Malamocco district. After the Lombard invasions in C6 and the destruction of Padua, it was populated by refugees from the mainland and became one of the first settled islands. It was further settled during the Battle of Chioggia because it was a good defensive post. It was abandoned during the last century and is now undergoing modifications. Medieval Venice, 23 October, Sunday. * Santa Maria Gloriosa dei Frari (The Frari). (1340-1469). Fransiscan. The monastic cloisters (the first one Palladian and the second Sansovinan) are now the Archives of the Venetian State. The Campanile is the tallest in Venice, after San Marco (70 metres). Interior: Giovanni Bellini: Triptych Madonna and Child (1488). Sacristy apse: View to cloisters (J). Donatello: Sculpture: St John the Baptist (1438) (M). Titian: Assumption (1518). Apse. Antonio Rizzo: Tomb (1473) (N). Sansovino: Font: St John sculpture (1534). Titian: Madonna (1526) (W). Canova (pupils): Tomb (1827) Y. Palazzo Contani, Calle dei Nomboli (cnr Rio Terra Nomboli). C15. Typical Venetian-Gothic house. Especially courtyard and upper floors. Now the Institute of Theatrical Studies. Palazzo Pisani Moretta, nearby, faces Rio di San Paolo, just west of the Grand Canal. Late C15. Contrasting systems of arcading on first and second floors: the pilasters are transitional to Renaissance. Walk south to cross Rio Foscari. Palazzo Giustiniani. Both C15. Venetian Gothic. Giustiniani is two almost identical palaces, virtually semi-detached. Ca Foscari adjoins,1452. The Venetian Gothic private palace on the largest bend of the Grand Canal, purchased and rebuilt by Doge Francesco Foscari in 1452. It is the main building of the University of Venice, the first Italian business college. Another building formerly stood there, the so-called ‘Casa delle Due Torri’ (or House of the Two Towers), which belonged first to Gianfrancesco Gonzaga, the Prince of Mantua and Vice-captain of the Serenissima Army, and then to Francesco Sforza, Duke of Milan.

In 1452 it was bought by the doge Francesco Foscari, who demolished it to build a more imposing building symbolic of the prestige of the Foscari family. It contains a room with a C15 frescoed floor and a 16th-century decorated ceiling; a room with C16 stucco by the Venetian sculptor Alessandro Vittoria (1525-1608); a great hall designed by Carlo Scarpa (1906-1978), with two murals by Mario Sironi and Mario de Luigi. Between 2004-06, the building was restored. In 1936 Carlo Scarpa restored parts of the university, including the great hall.

In 1956 Scarpa transformed the great hall Mario Baratto into a lecture hall, and created the boiserie; the window frame in front of the C15 gothic window (or polifora); the timber platform with the slab of marble with a Latin inscription and the two pedestals; and the timber tribune; the marble portal with a Latin inscription.

The boiserie, uses the timber from the student gallery; the boiserie is both a connection and a separation between the room and the corridor; its sliding cloth-covered frames are used to gothic window is mirrored on the glass of the boiserie, with a particular light effects.

Cà Foscari (right) and Palazzo Giustinian.

Cà Foscari from Calle Foscari.

Walk east over Ponte di Rialto, then further east to:

* Santi Giovanni e Paolo (San Zanipolo) (1246-1430). Dominican monastic church. Open: 7-12.30, 3.30-7.30.

* Scuola Grande di San Marco. At left, now the Hospital of Venice.

Facade: Pietro Lombardo (1487-90) and Mauro Coducci (1495) with trompe l'oeil sculptures by Tullio Lombardo.

Verrocchio: equestrian statue of Bartolomeo Colleoni, condottiere (mercenary) (1481). Fine C16 well-head. Interior: Nino Pisano: Doge Marco Cornaro tomb. The Virgin may be the finest Gothic sculpture in Venice (c1360) (18). Pietro Lombardo: Doge Pasquale Malipiero tomb. One of earliest Renaissance sculptures in Venice (c1462) (25). Pietro Lombardo: Doge Nicolo Marcello tomb. (c1474) (28). Tullio Lombardo: Doge Pietro Mocenigo tomb. (1476-81). Masterpiece of mature

Venetian Renaissance style (2). Tullio Lombardo: Doge Giovanni Mocenigo tomb. (1500-10). Innovative interpretation of antique classical prototypes (1). Tullio and Antonio Lombardo: Doge Andrea Vendramin tomb. (c1478). Renaissance

monumentality, finely carved (17). Giovanni Bellini: Early polytyptich of San Vicenzo Ferrari in its original frame. Uncomfortable nudity. (1460s) (6). Cima da Conegliano, Virgin, Bartolomeo Vivarini (upper). Stained glass, South Transept. Perhaps the best window produced from Murano. (1473) (11). Lorenzo Lotto: San Antonio giving alms. Finest painting in this church. (1542) (10). Paolo Veronese: Capella del Rosario. The Assumption. Ceiling painting (c1560) in rich frame, relocated here. (23). Gian Battista Piazzetta: Capella del San Domenico. Fine, delicate ceiling (1727) (9). Ca d'Oro. (1424- ). Marino Contarini, the client acted as architect. All building records survive. The gold leaf on the parapet cannot have lasted long in saline Venice. The interior is a museum, but little survives. Take vaporetto route 5 from stop Ospidale Civico to Madonna dell' Orto, (possibly via Scuola di S. Giorgio in Schiavoni, if it will be closed on Monday). Or a long walk north-west to: Madonna dell'Orto. (1399 & 1473). Perfect example of Venetian Gothic, worth the walk. Campanile (1503). Interior: Cima da Conegliano. St John Baptist and four other saints (1493). (First altar, south aisle). Tintoretto. It was his parish church and he is buried here. The Golden Calf and the Last Judgement are on either side of the altar, and vast. The Presentation of the Virgin (1551) is over the Sacristy door, south aisle. Walk west to: Ghetto. Established in 1516, when most of Europe had expelled it's Jews altogether, it is the first ghetto: the word is Venetian. The island of Ghetto Nuovo was the first settlement. It expanded to Ghetto Vecchio in 1541 and Ghetto Novissimo in 1633. The high houses are C17, some 7 floors.

There are 6 synagogues (scole) with elaborate interiors. Scuola Grande Tedesco. No.2902/B is the oldest (1528) open as part of the Museum. (Open: 10.30-12.30, closed Saturday). Renaissance Venice. 24 October. Monday. * Scuola Grande di Santa Rocca. Bartolomeo Bon (Younger) (1515). Over 50 Tintoretto paintings overwhelm. Sala dell'Albergo (1565-7) and the larger Chapter House (1575-81). Old Testament (ceiling) and New Testament subjects (walls). Ground floor: Life of the Virgin (1583-7). (Open: 9-1, 3.30-6.30. Sunday: 9-1). (Also, walk north to: Scuola di San Giovanni Evangelista. Pietro Lombardo (courtyard & screen, (1454). At left, the Church. Staircase, Mauro Coducci (1493). (Open: 9.30-12.30. Closed Sunday). A long walk west to over Ponte de Rialto, then further west to: * Santa Maria dei Miracoli (1481-9). Pietro Lombardi's Renaissance masterpiece. Fine proportions of exterior and exquisite carving of interior by Pietro and Tullio Lombardo, particularly the Chior. (Also: walk west to: San Giovanni Crisostomo. Mauro Coducci (1497-1504). A long walk south-west to: * Scuola di San Giorgio degli Schiavoni, 1551. The interior is decorated with delectable scenes painted by Carpaccio (1502-8) of the lives of the Dalmatian patron saints Jerome, Tryphon and George. The upstairs room has C17 decoration. Open: 9.30-12.30, 3.30-6.30. Sunday: 9.30-12.30. Closed: Monday? Walk to Celestia, take vaporetto, route 5. San Michele in Isola. (1469-78). Mauro Coducci. The earliest Renaissance church in Venice. C15 cloister. Sacristy: perspective ceiling. Capella Emiliana (c1530). Campanile, (1460). The island is the cemetery of Venice. (Note: Carlo Scarpa. In the Cemetery (refer: plan for location): Tomba per Vettore Rizzo (1940-1), & Tomba per la famiglia Caponilla (c1945?). (Take vaporetto route 5). * Grand Canal Palaces. (Vaporetto route 1, west to east). (Numbers: Howard). 14. Fondaco dei Turchi, (c13). Byzantine, (rebuilt C19). 62. Palazzo Vendrami Calergi, Mauro Codussi (1502-). Casino Municipale. 96. Palazzo Pesaro. Baldessare Longhena. (1652-). Baroque. 42. Ca'd'Oro. (1424-). Gothic. 78. Fabriche di Nuove di Rialto (1554-). Jacopo Sansovino. Renaissance. 12. Palazzo Loredan & Palazzo Farsetti. (c13). Byzantine. 45. Palazzo Pisani - Moretta (c1450-). Gothic. 92. Palazzo Balbi. Alessandro Vittorii (1582-). Obelisks on roof. Renaissance. 43. Palazzi Giustinani & Ca' Foscari. (c1450-). Gothic. 97. Ca' Rezzonnico. Baldessare Longhena & Giorgio Massari (1667-). High Renaissance. 111. Palazzo Grassi. Giorgio Massari (1748-). High Renaissance. Museum. 80. Palazzo Corner, San Maurizio. Jacopo Sansovino (c1545-). High Renaissance.

51. Palazzo Dario (c1487-). Early Renaissance. 131. Casa Salviati. G. dall Olivo (1924). Pictorial mosaic facade. 44. Palazzo Contarini - Fasan. (Late C15). 93. Santa Maria della Salute. Baldassare Longhena (1631-). (Take vaporetto route 5 or 8). * San Giorgio Maggiore. Isola di San Giorgio. Andrea Palladio. Refractory (1560-63), Church 1566-80. After Palladio's death: choir (1583), high altar (1592), facade (1607-1611) and cloister (1579-1613). Benedictine monastery. Tintoretto. Last Supper (1594), Shower of Manna (late works). Campanile. May be climbed for the spectacular view. The port and lighthouses are Neo-classical. Giuseppe Mezzani (1813). The entire island is owned now by the Giorgio Cini Foundation, which initiates cultural activities and exhibitions. (Take vaporetto route 5, one stop). Le Zitelle. Guidecca. Design: Palladio (1577?-80), completed 1586. (Not open). Central square plan with dome. (The Ca' Mosto, east, has an overgrown garden and the Rio della Croce faces the Garden of Eden, one of the largest and finest private gardens in Venice). * Redentore. Palladio (1577-92). Capuchin monastery site. Erected by Venetian state to celebrate deliverance from the plague. The thanksgiving procession at the Feast of the Redeemer from the Zattere on boats lashed together, is held every year. A complex and subtle plan expresses the church's votive, processional and monastic functions. The facade has complex articulation of the orders and 4 related pediments. The cast-iron Ponte Lunga links to a fishermen's district (Calle della Erbe, Pino della Palada and Corte Ferranda), and finally the Molina Moulino Stucky (1884) Ernst Wullekopf. A neo-Gothic warehouse, abandoned. Very Baltic. Art Treasures of Venice. Tuesday 25 October. Walk to: Gallerie dell' Accademia. The most important collection of Venetian paintings anywhere, from c14-18. The Academy was established in 1750 with Piazzetta as director and Tiepolo as president. In the former Monastery of Santa Maria della Carita, church and scuola. The cloister (visible), sacristy and an oval stair were designed by Andrea Palladio (1560), his first project in Venice. Rehanging (1961) involved Carlo Scarpa. Room 1: Lorenzo Veneziano (c1356-72). Gothic, C14. Jacobello Alberegno (?-1397). Gothic, but innovative. Room 2: Giovanni Bellini (1430-c1516). S. Gioblae Altarpiece. Gianbattista Cima da Conegliano (Cima) (1459-c1517). Madonna of the Orange Tree. Vittore Carpaccio (1465-c1523). Presentation in the Temple (1510). Room 4: * Piero della Francesca (c1410-92). S. Jerome and a Devotee. Cosmé Tura (1430-c1495) from Ferrara. Madonna of the Zodiac. Hans Memling (1433-c1494) from Flanders. Portrait of a Young Man.

Jacopo Bellini (c1424-70. Father). Madonna & Child blessing. Giovanni Bellini (1430-c1516. Son). Madonna & Child blessing. Room 5: * Bellini. Various. * Giorgione (1476-1510). The Tempest. The Old Woman. Rooms 6-8: Lorenzo Lotto (1480-1556). Portrait of a Gentleman. Jacopo Palma il Vecchio (1480-c1528). Sacred Conversation. Rooms 10 & 11- 1: * Jacopo Tintoretto (1518-94). Tiziano Vecellio (Titian) (c1488-1576). Paolo Caliari (Veronese) (1528-88). Room 11 - 2: * Giambattista Tiepolo (1696-1770).

Rooms 15-17: Sebastiano Ricci (1660-1734). Giambattista Piazzetti (1682-1754). * Pietro Longhi (1702-85). Antonio Canal (Canaletto) (1697-1768). * Francesco Guardi (1712-93). Room 20: * Bellini. Procession in S. Mark's Square and others. Room 21: * Carpaccio. The Story of S. Ursula, series of paintings (1490-1500). Room 23: Former Church of S. Maria della Carita. Bellini. Vivarini. Room 24: Former Albergo della Scuola. Vivarini. Early Titian, Presentation in the Temple. Palazzo Grassi (C18) Giorgio Massari. Remodelled by Gae Aslenti & Antonio Foscari (c1988). (North of the Ponte dell' Accademia). François Pinault was born 1936, in Brittany. He established his first wood business in Rennes in 1963. In 1999, PPR had become third largest firm in the luxury-goods world-wide, after acquiring the Gucci Group (Gucci, Yves Saint-Laurent, Bottega Veneta, Sergio Rossi, Boucheron, Stella McCartney, Alexander McQueen, and Balenciaga). In 1992, he created Artemis, a private company entirely owned by the Pinault family. Artemis controls the Château-Latour vineyard in Bordeaux, the news magazine Le Point and the daily newspaper l’Agefi. François Pinault also controls the auction house Christie’s, the Bouygues Group and Vinci. He is also the owner of a French premiere league football team, Stade Rennais Football Club, and of the Théâtre Marigny in Paris. In 2003, Pinault entrusted his group to his son François-Henri. A lover of art, one of the largest collectors of contemporary art in the world, François Pinault decided to share his passion with the greatest number of people possible. In 2005, he acquired the Palazzo Grassi, where he presented part of his collection during three exhibitions. In 2007 he was selected by the City of Venice to transform Punta della Dogana into a new centre for contemporary art, where his collection will be on permanent display. Renovated by Tadao Ando, it opened in 2009. Walk to: * The Peggy Guggenheim Collection, Calle Cristoforo. Peggy founded museums of modern art according to historical principles in London (1938), then New York (1942). At opening night in New York: "I wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art", she said. In 1948, she bought Palazzo Vernier dei Leoni on the Grand Canal, where she came to live and opened her collection to the public. In 1969, she donated the palace and collection to the Solomon R. Guggenheim Foundation in New York, founded by her rival uncle, who administer the Collection still. She died in 1979. The Palazzo Vernier dei Leoni was designed by Lorenzo Boschetti in 1749 whose only other building, San Barbara, makes one glad it was never finished. It was to be so large as to compete with the Palazzo Corner opposite. The Collection has works by Picasso, Braque, Gris, Leger, Duchamp, Klee, Kadinsky, Malevich, Lissitzky, Mondrian, Nicholson, Brancusi, Chagall, de Chirico, Man Ray, Picabia, Ernst, Schwitters, Arp, Miro, Giacometti, Moore, Dali, Tanguy, Magritte, Bacon, Sutherland, Dubuffet, Calder, de Kooning, Pollock, Motherwell, Rothko and with the famous excited horse-rider at the canal entrance by Marino Marini.

Patsy R. and Raymond D. Nasher Sculpture Garden. Enclosed in a jasmine-covered wall, one of the world’s finest collections of modern sculpture, at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, Graham, Hamak, Marini, Plessi, Smith). (Salviati. Scarpa. Refer: 26 October). * Santa Maria della Salute (1630-81). Baldassare Longhena. Early Baroque developed from Palladian elements. Built by the Venetian Sate in thanksgiving for deliverance from the plague, with an annual ceremony (21 November) of crossing of the Giudecca Canal on a bridge of boats, as with the Redentore. The great Sacristy ceiling has three perspective works by Titian. At the end of the peninsula is the Punta della Dogana (Customs House) (1676-82), with a superb view. Punta della Dogana, Dorsoduro, Vaporetto stop: Salute (line 1). Open every day from 10 am to 7 pm. Closed every Tuesday. Closed the 24, 25, 31st December, 2010 and the 1st January, 2011. Last entrance at 6 pm. The ticket for the 2 sites, Gogana and Palazzo Grassi is valid for three days. Every Wednesday, free entrance for Venetians (on presentation of an id card or an Imob card). www.palazzograssi.it In C15 the customs houses, which were at Castello close to the Arsenal, were divided into Customs of Land and Customs of Sea. The latter is then relocated to Punta della Dogana, at the tip of the island of Dorsoduro, named “Punta del Sale” because of the salt warehouses there. In 1631, the building works of the Basilica Santa Maria della Salute by Baldassare Longhena, to thank the Virgin for having put an end to the epidemic of plague, the previous year. In 1677, the Punta della Dogana was rebuilt by Giuseppe Benoni, a tower at the end of the island, surmounted by a statue, carried out by Bernardo Falcone, representing two atlases supporting a gilded globe upon which stands the allegory of Fortuna, indicating the direction of the wind. C18-19, the Punta della Dogana undergoes various transformations and restoration works, in particular those made by the Austrians who invested the building during the occupation and of the architect Alvise Pigazzi who renovated it 1835-38. As centre for contemporary art, it presents a permanent exhibition from François Pinault Collection. Almost dead-centre of the triangular floor plan, Ando created a new space the entire height of the building: a pivot, to occupy one of the middle warehouse aisles and in smooth and polished cement, a leitmotif of Ando’s architecture. This axial point – through which run all the routes within the structure – forms a cube, rising vertically within the building. The restoration removed accretions, with the new partition walls, stairs, walkways and service facilities all clearly identified within the old structure. Instead, there is a continual play of juxtaposition – almost as if Ando’s intention were to insert within the ancient building new volumes and levels that seem to mark out the stratifications added over time, organising them into a veritable spectacle of the structure’s own history. Finally, he created gates for the water entrances that are explicit quotations of the wonderful gate that Carlo Scarpa designed in 1956. The design of these new doors and windows, though very modern, effectively employed Venetian traditional craft. Tadao Ando has thus succeeded in establishing a dialogue between old and new elements, creating a link between the history of the building, its present and its future. Modern Venice. Wednesday 26 October.

Extreme conservatism by the Venetian planning authorities affords one reason Venice remains as intact as it does. However, it has rejected important designs by Frank Lloyd Wright (1959) and Le Corbusier (1964) and Louis Kahn. (Numbers refer to map). Carlo Scarpa (1906-1978), was one of the very greatest Twentieth Century architects, was Venetian and many of his works are in Venice. Scarpa understood the historic fabric of the city intimately and many of his interventions are subtle and minor developments, particularly interiors. He had a close relationship with his team of craftsmen and delighted in assembling and sculpting materials. * Instituto di Archittura (University of Venice). (Designed 1968, completed 1985). Components of the old Convent of Tolenti incorporated in an entrance and water garden. (S18). Ca' Foscari, 3246 Dosoduro. (1935-56). Restoration and renovation of the Gothic palace for the University of Venice. The first floor was restored in 1983 after a fire. (S1). (Casa Ballaoni (1964) Faces Grand Canal, Dosoduro 1259. Interiors only?). (S14). * Facoltà di Lettre (University of Venice). (c1980). Fondamente delle Eremite, Dosoduro 1686. New entrance and statue of San Sebastiano. (S17). Accademia (1945-52). Renovation of the interiors, including the Church and design of displays (S5). (Salviati (c1958), Calle Bastion, facing the Grand Canal, just east of the Guggenheim, Rosodero 195. Interior). (S11). (Casa Scatturin (c1960) Calle Tragletto, near the Grand Canal, S. Marco 3307. Interior). (S12). Museo Correr (1953. 1957-60). Ala Napoleonica, Piazza San Marco. Renovation of Museum interior and displays (S7). * Olivetti Showroom (c1957). Procuratie Vecchie, Piazza San Marco (S10). * Fondazione Querini Stampalia (1961-63, 1973) Calle Querini at Rio Santa Maria Formosa, Castello 4778. The only modern canal bridge in Venice, facade, interiors, garden at rear, and unbuilt designs for guest accommodation. (Gallery open: 10-3. Closed Mon & Wed). "La Biennale" International Exhibition of Modern Art. Next year is the centenary of the famous Biennale. The Giardini Publico (Public Gardens) form the entrance to the Biennale's permanent site. National pavilions have been designed by important modern architects: Gerrit Dietveld Holland (1954) (3) Alvar Aalto Finland (1956) (6) Josef Hoffman Austria (1933-34) (9) Carlo Scarpa Venezuela (1954-6) (23) Carlo Scarpa Art Bookshop (1950, destroyed in fire 1984) (5) and other works. Carlo Scarpa Monument to the Partisans (1968) (S15). Philip Cox Australia (1987-8) James Stirling New Bookshop (1993). His last building.

Sverre Fehn, 1962 Nordic Pavilion. Mose Project. Massive project whose cost was estimated at 3600 billion lire in 1989. It will provide three watergates which will rise up from the floor of the lagoon to close off each of its three entrances from the sea at the very high tides.

The Veneto. Thursday 27 October. Padua. * Scrovegni (Arena) Chapel. Giotto's famous frescoes decorate the interior (1303-5) and reveal him as arguably the first great creative figure of Western painting. * Villa Barbaro - Luling Buschetti, Maser (Treviso) (1549/51-58). Designed by Andrea Palladio for distinguished humanists and architectural experts, the brothers Daniele and Antonio Barbaro, who participated in the design. The present road is recent, it was formerly entered on axis through the fields of the working farm. The important interior hall ceiling frescoes are by Paolo Veronese (1560-2) and sculpture is by Alessandro Vittoria (before 1565); note the fireplaces. Behind the villa, set into the wooded Dolomite foothills is the curved Nymphaeum (probably not accessible). In the road is the Tempietto Barbaro (1579-80). It is both parish church and family memorial, derived in form from the Pantheon. (Villa open: Tues, with Tempietto; Sat, Sun, 3-5). * Brion - Vega Cemetery, San Vito di Altivole (Route 307 north of Padua 32km to Castelfranco Veneto, then 10km further north, enter through the town cemetery) (1970-81). Carlo Scarpa's sustained intensity, craftsmanship and exquisite detail of materials with water, light and shade, union of exterior and interior. Villa Ermo, Fanzolo di Vedelago (off Route 307 NE of Castelfranco) (1559-60) Antonio Palladio. Visible from a distance, but concealed behind entrance gate and hedges, close up. (Open: Sat, Sun, holidays, 3-5). * Basilica of Sant' Antonio (Il Santo) (1231-C14). It is transitional Romanesque - Gothic. Outside is the equestrian statue of Gattamelata, the Venetian condottiere (mercenary) by Donatello, the first great Renaissance bronze cast in Italy. Inside, the high altar also has bronzes by Donatello (1445-50) but re-assembled. Vicenza. Lies in a basin of the foothills of Monte Bérici, among two sluggish streams, the Retrone and the Bacchiglione, population 70,000. The Roman municipality Vicetia was revived in the late Medieval period (1164) as a free commune (independent city). After 1404, it was controlled by Venice producing its most important Gothic and Renaissance buildings. Like the rest of Venetia, it became Austrian in 1813. Andrea (di Pietro) Palladio (1508-80) virtually rebuilt the town, followed by Vicenzo Scamozzi (1552-1616). Older streets are "Contrada" or "Contra" in Venetian dialect. Palladio in Vicenza. Friday 28 October. * Villa Almerico - Valmarana (Capra) (La Rotonda) via della Rotonda, off Strada della Riviera, off Borgo Berga. Andrea Palladio (1565/6-69). Palladio's only freestanding centrally planned pavilion was the last he built. The elevated site is a "theatre" presenting a carefully placed different view from each side and at 45º, to enable sun to reach each front. NE (the original approach) links to the town and river Bacchiglione, SE is elevated for an unobstructed view, SW faces the wooded Monte Berico and a secret garden and NW cuts between outbuildings toward a chapel. (Open: 10-12, 3-6 Wed, garden and building; Tues, Thurs: garden only).

Palladio's palaces in Vicenza: a walk. (Nos: The Palladio Guide). Palazzo Porto - Breganze (56), Pizza Castello (after 1571). An imposing fragment of 2 bays only, with a giant order. * Palazzo Thiene (7), Contrada Porti 12 (1542-58). (Now Banca Popolare). May have been begun by Giulio Romano. Facade, atrium (entry) and courtyard are separate, yet form a spatial sequence. * Palazzo Valmarana - Braga (23), Corso Fogazzaro 16 (1554-71). The facade and part of the courtyard only were imposed on an existing building. Palladio developed the giant order here, probably independent of Michelangelo's influence. * Palazzo da Porto - Festa (11), Contrada Porti 21 (c1547-52). Only the facade, atrium and the front section were built, for the brother-in-law of the owner of Palazzo Thiene and the two nearby palaces should be compared, as should Michelangelo at St Peters, Rome. * Palazzo Barbarano - da Porto (47), Contrada Porti 11 (1570-75). Facade, atrium and courtyard survive, but the design was amended as the owner enlarged the site, necessitating asymmetry. At the corner, the strong cornices and columns terminate separately, emphasising the independence of the facades. * Loggia del Capitaniato (44), Piazza dei Signori (1565-72). 5 bays were intended (2 others at left), but the loggia remains formally complete. This is Palladio's first design to maintain independence of front and side elevations, without losing the integrity of the whole. * Basilica (Palazzo della Regione) (9), Piazza dei Signori (1545-80). The loggia links two earlier public buildings of 1450 and 60. Serlian arcades with a stylar system provide a symbol for the city, without the need to colonnade the surrounding piazzas which have always served separate functions. Palazzo da Monte - Migliorini (3), Contrada Corona 9 (1540-45?). Early, before Palladio went to Rome, the facade is incomplete, lacking a central pediment. Casa Cogollo (33), Corso Andrea Palladio 163 (1559-62). Palladio extended it to the street with a new facade using the triumphal arch motif. So he asserts its monumental individuality whilst respecting the streetscape, a frequent problem in Melbourne's inner suburbs today. * Palazzo Chiericati (Museo Civico) (13), Piazza Matteotti (1548-57). (Open: Tues-Sun, 9-12, 3-6.30). The powerful facade imposes order on the public space, into which it was permitted to extend, provided it contributed to the urban design of the city: a lesson for David Marriner in the city square. The city gained a colonnade, the palace gained a major first floor reception room. * Teatro Olimpico (58), Piazza Matteotti (1580). The Olympic Academy of nobles and intellectuals founded in 1556, continues today. It is Palladio's last building, the first indoor theatre, it revived the antique tradition of permanent stage and seating. There are three zones: audience, (eliptical rather than semi-circular, due to narrow site), stage (triumphal arch motif) and perspective sets (introduced by Scamozzi, Palladio had intended painted perspectives). Travel to Florence, via Ferrara. Saturday 29 October. Ferrara.

Like Venice, Ferrara probably originated as a refuge in the Po River marshes. Under the Este family (Guelph), for over 400 years until 1598, the ducal court at the Castle offered patronage to poets, scholars and artists, while trade and commerce flourished. Ercole I (1471-1505) planned extensive Renaissance suburbs, the earliest modern urban planning in Europe. There is a distinct Ferrarese school of painting, including Cosimo Tura, Francesco del Cossa and Dosso Dossi. Now Ferrara (pop: 100,000) is a prosperous agricultural centre and important in the development of urban conservation in the 1970s, particularly in recycling of housing. Medieval Streets: via della Volte (C14). * Cathedral (1135, interior rebuilt 1712). Lombard Romanesque and Gothic. In the Cathedral Museum (open: 10-12, 3-5) are Cosimo Tura: Annunciation, St George and Dragon with Princess (1469). Castello Estiense (C14). * Renaissance suburbs: Biagio Rosetti designer (1446-1516). All of the city north of Corso della Giovecca was the third suburban addition (1492). Walk north up Corso Ercole I d'Este, then along Corso Porta Mare to Piazza Ariostea. * Palazzo del Diamanti (C15 & 16). Rosetti. Corso Porta Mare, sw cnr Corso Ercole I d'Este. There has been recent controversial restoration of the exterior. Ferrara retains all of its city walls. Earlier additions to the medieval town centre on Via Savonarola (1386) and then Via XX Settembre (1450), (terminating at its east end with a "perspectiva", (off map).

FLORENCE5 Reading list www.uffizi.firenze.it/en/cittafirenze/ http://en.wikipedia.org/wiki/Architecture_of_Florence A relatively comprehensive listing of all historic buldings, with images of each. www.churchesofflorence.com/centre.htm Guido Zucconi, Firenze, guida all'architettura, Arsenale editrice, Verona, 1995. Geography Florence (or Firenze) has a population of 458,000 and lies in a basin within low hills, on the unpredictable fast flowing River Arno. This gives a changeable climate, with hot summers. It is an agricultural trading centre, with industry, and capital of the region of Tuscany. Florentines have extraordinary pride in their city, which for 700 years they have felt to be unique. History Etruscans inhabited the hill of Fiesole (C5 BC, or earlier), but the first settlement on the narrowest point of the Arno, navigable to here, was Julius Caesar's Roman colony of Florentia (59 BC). Piazza Independenza is the former Roman Forum. By C3 AD, there were 10,000 inhabitants. By the end of C6, the Lombards had conquered Florence, as they had most of Northern Italy. In C11 it was a principal Christian centre and in the early C12, the Commune (city council) and the first guilds (arti) were established to protect the business interests of merchants, who had begun to prosper in the woollen cloth trade established on the river and subsequently using their profits in money lending and banking. In 1235, the florin became the standard monetary unit in Europe, and Florentine banks supported foreign kings and the Pope. In C13 the great mendicant religious orders the Franciscans and Dominicans arrived, to found the great churches of Santa Croce and Santa Maria Novella. The most elevated political thought and the most varied form of human development are found united in the history of Florence which in this sense deserves the name of the first Modern state of the world. Jacob Burckhardt The Civilisation of the Renaissance in Italy, 1860. 5 The image is of the city flag of Florence.

The present appearance of Florence derives from three functions: the Church through the orders and not directly the Pope, the Military who built walls, gates and forts both to repel enemies and to collect taxes on goods; and the Commune. This was increasingly dominated by one family of bankers (the Medici) who never had any legal power, but in the C16 were granted an hereditary dukedom. One of their functions was to display their power with public works. This was expected, not boastful. They built new buildings (the Palazzo Medici, then the Pitti), initiated town planning (the Vasari corridor and the Uffizi) and revived existing buildings, especially churches (San Marco, Santissima Annunziata) and largely built San Lorenzo. Florence is divided into 4 quartieri (quarters) north of the Arno, and one south. Controlled by great families and named for its principal church (San Giovanni, Santa Maria Novella, Santa Croce and Santa Spirito). The great families expressed their power in exercising taste in patronage of the arts. By 1420, Florence was the intellectual and artistic centre of Europe: the birthplace of the Renaissance. In 1433, Cosimo de' Medici (Il Vecchio) returned from exile to lead Florence and symbolise the Renaissance ideal. Piero (The Gouty), then princely Lorenzo (Il Magnifico) succeeded him until 1492, after a brief interim, the Medici returned as hereditary Grand Dukes. After 1737, Tuscany was absorbed into the Austrian empire and after 1799, by the French Bourbons. Then for 15 years, Florence was capital of the united Kingdom of Italy, from 1860.

Domenico Ghirlandaio Tour 1. Santa Maria Novella, Tornabuoni Chapel 2. Ognissanti, Vespucci Chapel, nave left wall, refectory 3. Santa Trinita, Sassetti Chapel 4. Uffizi: 2 Madonna enthroneds and Adoration of Magi 5. Palazzo Vecchio, Sala dei Gigli. 6. Cathedral of Santa Maria del Fiore, Mandorla portal lunette: Annunciation 6. Spedale degli Innocenti, church, main altar 7. San Marco, refectory Environs Sant’Andrea in San Donnino: 35 bus Sant’Andrea a Cercina: 43 bus Medieval Florence. Sunday 30 October. * Baptistery of San Giovanni. (Open: 1.30-3.30). (C6/7, encased C11-12, roof C13). It's geometric decoration influenced other Tuscan Romanesque (proto-Renaissance) buildings. The famous

bronze doors. South: Andrea Pisano (1336), Gothic; North: Lorenzo Ghiberti (1403-24), with Gothic frames; East: Ghiberti (1425-52) using Renaissance perspective and humanism in their deep relief. Interior: mosaic pavement (begun 1209), wall decoration (compare with San Miniato) and ceiling vault mosaics (begun 1225). These are influenced by San Marco, Venice. All are very intact. Michelozzo and Donatello. Tomb, John XXXII. (Closed: 12-2.30). * Duomo (Santa Maria del Fiore). (Open: 10-5). The Early Christian Church (Santa Reparata, C6-7) is visible in the crypt (basement). The present church (begun 1294, designed Arnolfo di Cambio) was built by the powerful wool merchants' guild (Arte della Lana) from 1331, when Giotto commenced the Campanile (bell tower). (1334). Dome (cupola): by Fillipo Brunelleschi (1420-36), a technical triumph, was then largest and highest in the world, built without pendentives, or formwork. Thrust is contained by a chain and two concentric shells in the dome. The Porta della Mandorla (1391-1405): Early Renaissance. The Facade was demolished and rebuilt in 1871-87. The Interior: Gothic, with marble pavement. Equestrian memorials: Sir John Hawkwood by Paolo Ucello (1436) and Nicolo da Tolentino by Andrea del Castagnano (1456) both mercenaries. In the pavement is a huge Gnomon (1475) for solar observations, light falling from the lantern. West wall: stained glass oculii by Ghiberti. The view of Florence is seen from either the dome or the campanile. Museo del l'Opera del Duomo, Piazza del Duomo 9. (Open: 9-8, Sun 10-1). Excellent museum of works intended for the Duomo. Ground Floor Room 1: Arnolfo di Cambino, sculptures from the former facade; Donatello, St John Evangelist; Stair: Michelangelo, Pieta. First Floor Room 1: choir stalls (cantorie) by Luca della Robbia and Donatello (1430s) and statues and bas-reliefs from the Campanile by Pisano, Donatello, etc. Il Bargello (Museo Nazionale del Bargello) (Palazzo del Podesta) (Palazzo del Popolo) via del Proconsolo 4, (1250). (Open: 9-2, Sun 9-1). Oldest seat of government in Florence, a medieval fortress. Collection of Florentine Renaissance sculpture. Ground Floor Room 1: C16: Michelangelo, & Cellini; Cortile (courtyard); First floor loggia : Gianbologna (Mannerist); Salone del Consiglio Generale: Donatello, the greatest C15 sculptor and reliefs of competition entries for the Baptistery doors by Ghiberti and Brunelleschi; Luca della Robbia enamelled terracotta; Second Floor Room 15: Verrocchio and Antonio del Pollaiuolo. Orsanmichele, via dei Calzaioli (1337). (Open: 8-12, 2-7). The church was built as a market and the arcades enclosed. The Guilds decorated the exterior with statues of their patron saints, competing for the finest. (Begin at SE, then anti-clockwise) Lorenzo Ghiberti, (1) St John Baptist; Verocchio, (2) St Thomas; Giambologna (3) St Luke; Ghiberti (8) St Matthew; Donatello (11) St Mark. Interior: Gothic tabernacle of the virgin at the east end and 12 stained glass windows (c1410). Palazzo Davanzatti, via Porta Rossa 19 (mid-C14). (Open: 9-2, closed Mon). The finest medieval palace surviving. The loggia at the top was added in C16 replacing battlements. Several rooms retain wall decoration and C15-17 furniture in a characteristic layout including the 3rd (top) floor kitchen. * Santa Croce (c1295-1442). (Closed: 12.30-3). Designed possibly by Arnolfo di Cambio. The Franciscan church. Burial place of distinguished citizens. Neo-Gothic facade (1853-63). Interior: Open timber roof. East windows have C14 stained glass.

* Giotto (K) (C14). Peruzzi Chapel. Mature frescoes and (L) Bardi Chapel. The story of St Francis, probably earlier. Taddeo Gaddi (B) (1332-38). Baron celli Chapel frescoes. Best works of Giotto's best pupil. Donatello (11). Tabernacle with Annunciation reliefs. Bernardo Rossellini (12) (c1446). Fine Renaissance sepulchure of Leonardo Bruni. Desiderio da Settiguano (19) (c1453). Monument to Carlo Marsupini. * Brunelleschi. Capella dei Pazzi. (mostly 1442-6). Pietra serena limestone on plaster render. Luca della Rabbia Rondels. Museo dell'Opera di Santa Croce in the Refectory. Cimabue. Great crucifix. Almost destroyed and the greatest single loss in the 1966 flood. Donatello. Bronze S. Louis from Orsanmichele. * San Miniato al Monte, via del Monte alle Croce. (Closed: 12-2). (facade 1090, Interior 1018-63). The finest Romanesque basilica in Tuscany, comparable to the Baptistery and one of the most beautiful churches in Italy. A Benedictine monastery. The Interior is virtually intact. The raised choir over a large hall crypt is unique in Florence. The internal wall and restoration of the original roof timbers decoration is 1890s. The exquisite tabernacle (1) is by Michelozzo (1448) with terracotta roof and ceiling by Lucia della Robbia. The Chapel of the Cardinal of Portugal (north wall) includes some of the finest Renaissance workmanship, designed by Antonio Manetti, Brunelleschi's pupil (1460) and then by Antonio Rossellino who carved the tomb, with Lucia della Robbia medallions. Early Renaissance Florence. Monday 31 October. * Museo di San Marco, Piazza San Marco 1. (Open: 9-2. Closed: Mon). CLASH. Dominican church and convent patronised by Cosimo Medici, Il Vecchio, who commissioned Michelozzo to redesign and enlarge (1437-52). Cosimo founded the first public library in Europe here. It is a treasure house of works of Fra Angelico, who was a friar here. First Floor Dormitory. 44 monastic cells each decorated with a frescoe by Fra Angelico and assistants. Facing the stair: his "Annunciation"; 2 cells were used by Cosimo (38 & 39). Library. Micelozzo (1441). San Marco Church. (1588). Gianbologna, who also designed Chapel of San Antonio (west transept). Chiostro dello Scalzo, via Cavour 69. (Open: 9-2, Closed Mon). Small cloister with frescoes by Andrea del Sarto (1514-26) of John the Baptist. Palazzo Pandolfini, via San Gallo 74. Raphael's most important surviving architectural work. (Exterior and glimpse into courtyard). * Galleria dell'Accademia, via Ricasoli 60. (Open: 9-2, Closed Mon). CLASH. Galleria: Michelangelo. 4 slaves (prisoners) (c1521-23) and St Matthew (1504-8). Began for the tomb of Pope Julius II in Rome and unfinished. Tribune: David (1501-4), relocated to this specially designed inhospitable room (1873) from Piazza della Signoria, for which it was commissioned by the City of Florence. Perhaps the most famous work in the history of art. There are replicas in the Piazza della Signora and Piazzale Michelangelo. Santissima Annunziata (closed 12.30-4). Rebuilt by Michelozzo (1444-81). Atrium: (Chiostrino dei Voli). Pontormo (2) Visitation. Andrea del Sarto (4) Birth of the Virgin & (5) self portrait. Tribune (east end) Leon Battista Alberti (1477). A very unusual design. Francesco da Sangallo (1546). Tomb of Bishop Angelo Marzi Medici. Counter Reformation/Baroque. Veit Stoss (22). Wood statue of St Roch.

East end chapel. Gianbologna (23). As his own tomb. Capella Feroni. Andrea del Castagno (29) Baroque decoration and Fresco. Chiostri dei Morti. Andrea del Sarto fresco. One of his best works. * (O)Spedale degli Innocenti, Piazza Ss. Annunziata 12. (Open 9-2, Closed Wed). (1445). First "babies home" in Europe, still an orphanage. Colonnade: (1419-26) Filippo Brunelleschi: The first Renaissance building. Both end bays were added C19. Andrea della Robbia (1487) medallions. The convent building around courtyards is by Brunelleschi (1422-45 and 1438). The main Chiostro degli Uomini (1422-45) and through a door to the right, the Chiostro delle Donne (1438) with decoration scraped in lime (sgraffito technique). * Piazza Santissima Annunziata. Brunelleschi. The most beautiful square in Florence and sophisticated urban design. Giambologna. Grand-duke Ferdinando I. Equestrian bronze (1608). Tacca. Bizarre fountains (1629). Walk south-west to eventually reach: * Palazzo Rucellai (No admission). (c1446-57). Designed Leon Battista Alberti. Opposite is the Loggia dei Rucellai, attributed to Alberti. Capella di San Sepolcro, via della Spada 18 (1467) Alberti. Exquisite and intact interior. San Pancrazio, Piazza San Pancrazio (C10), with porch by Alberti. Now an exciting museum of the modern sculptor Marino Marini. (Open: 10-6, Closed Tues). Palazzo Strozzi (Open for exhibitions only), via Tornabuoni (a street of palaces and the famous Doney's Cafe frequented by English literary figures in the early C20) (1489-1503). Benedetto da Maiano. The last and grandest Florentine palace. A Small Museum of the palace's history. (Open: Mon, Wed, Fri, 4-7). Santa Maria Novella Faces almost due south and still has an armillary sphere (on the left) and a gnomon (on the right) added to the end blind arches of the lower façade by Egnazio Danti (1536-86, Italian priest, astronomer, cosmographer and court mathematician to Cosimo I Medici). The gnomon is a hole made in its wall to enable the building to be used as a camera obscura for observations of the height of the sun at noon, in the oculus, and higher up in the vertical strip of dark marble in the façade, through a slot in the vault, still visible. * Santo Spirito, via del Presto di San Martino. (Closed: 12-3.30). Augustinian church. Facade (C18). Interior: Brunelleschi (design 1428-35, construction 1444-81, modified late C15). Sacristy. Giuliano da Sangallo (1489) entered (from no.32) through the Vestibule (1491). "Maestro di Santo Spirito" (24) (late C15) Santa Monica and nuns. Andrea Sansovino (26) Capella Corbinelli altarpiece. Alessandro Alori (19) (late C16). Christ and the adultress. Piazza Santo Spirito is a pleasant centre of local life and a daily market. Palazzo Guadagni (no.10) (built c1505) is a characteristic C16 Florentine townhouse with top floor loggia. * Santa Maria del Carmine, via Santa Monica (Closed: 12-3.30). A Carmelite convent. The church was rebuilt in undistinguished late Baroque (1782), only of interest for: Capella Brancacci. Tommaso Masaccio frescoes (c1424). A profound influence on the Florentine Renaissance: strong tactile values, using perspective and chiaoscuro. Recently restored. Medici Florence 1. Tuesday 1 November. Tutti Santi or Ognissanti (All Saints Day Public Holiday). State museums open: 9-1 only?

* San Lorenzo, Borgo S. Lorenzo (Closed: 12-3.30). The Medici commissioned Brunelleschi to rebuild it (1425-46). All early Medici are buried here. Interior in pietra serena and plaster, with impost blocks in pietra forte. Donatello (c1460) two raised bronze pulpits. His last works. Old Sacristy. Brunelleschi (1420-29). Early and pure Renaissance. Donatello. Most of the decoration: tondoes in pendentives and lunettes, and bronze doors. Cloister (1457-62). Leads to stair to: Biblioteca Medicea Laurenziana (Laurentian Library), Piazza S. Lorenzo 9. (Open: 9-1, Closed Sun). Michelangelo (began 1524). To house the manuscript collection of Cosimo il Vecchio and Lorenzo il Magnifico (built 1559-71). It is remarkable and disturbing Mannerist architecture. Vestibule and staircase. In pietra serena. Reading room. Peaceful contrast. Even the desks are by Michelangelo. The collection is remarkable, particularly Latin and Greek manuscripts. Cappelle Medicee (Medici Chapels), Piazza Madonna degli Aldobrandini (Open: 9-2, Closed Monday). Crypt. Chapel of the Princes. Opulent and ugly, but a tour de force of lapidary (pietro dure). Mausoleum of the Medici grand-dukes (begun 1604). The arms of the 16 towns of Tuscany are best. New Sacristy. Michelangelo. (1520-24 & 1530-33) Dark pietra serena and white Cararra marble. Medici Tombs. Michelangelo. 2 comparatively insignificant Medici family members and a Madonna and child. * Palazzo Medici-Riccardi, via Cavour 1. (Open: 9-12.30, 3-5; Sun 9-12; Closed: Wed). Michelozzo for Cosimo il Vecchio. The Medici lived here until 1540 when Cosimo I moved to the Palazzo Vecchio. It was bought by the Riccardi in 1659, who extended it 7 bays along via Cavour and towards via de' Ginori. It was a prototype for other Florentine palaces, including the Strozzi and Pitti. Courtyard. Chapel (1st door on right, up stair) is unaltered Michelozzo. It's Benozzo G'ozzoli (1459-60) frescoes are delightful. * Galleria degli Uffizi, Loggiato degli Uffizi 6. (Open: 9-7, Sun 9-1, Closed Mon). The Palazzo degli Uffizi (1560-74) next to the Palazzo Vecchio, links the Piazza della Signoria to the Arno and via the Vasari Corridor, to the Palazzo Pitti. Cosimo 2 commissioned Giorgio Vasari to design government offices ('ufici', hence 'uffizi'). In the Mannerist composition, two facades over colonades with upper loggias (the gallery), face an uncomfortably narrow courtyard, almost always seen obtusely, in perspective, terminating in a screen at the Arno. The unstable sandy site required iron reinforcement, allowing large windows. As well as the gallery, it houses the Tuscan State Archives. The Porta della Suppliche (1574) Bernardo Buontalenti. Extraordinary Mannerism. * The Uffizi Gallery. Developed from Cosimo I's collection, given by the last Medici to the people of Florence. Room 2, Tuscan C13: Cimabue, Maesta. Duccio, Maesta Giotto, Madonna Enthroned. Room 3, Sienese C14: Simone Martini, Annunciation. Ambrogio Lorenzetti, 4 Stories of S. Nicholas (2no). Pietro Lorenzetti, Stories of the Life of the Blessed Umilita. Room 4, Florentine C14: Bernardo Daddi, Madonna & Child & Saints. Room 5/6, Gothic C14-15: Lorenzo Monaco, Coronation of the Virgin. Gentile da Fabriano, Adoration of the Magi. Room 7, Early Florentine

Renaissance: Beato Angelico, Coronation of the Virgin. Piero della Francesca, Double portrait & Alegorical Triumph. Paolo Uccello, Battle of S. Romano. Room 8, Early Florentine Renaissance: Filipo Lippi, Coronation of the Virgin. Room 10-14, Florentine Renaissance: Sandro Botticelli, Portrait of Unknown Man, Madonna & Child, Birth of Venus, Primavera, Annunciation. Ghirlandaio, Adoration of the Magi. Filippino Lippi, Self Portrait. Hans Memling, Madonna & Child Enthroned with Angels. Rogier van der Weyden, Deposition. Room 15, Florentine C15-16: Leonardo da Vinci, Annunciation, Adoration of the Magi. Room 18, (Octagonal) Tribuna: Designed Buontalenti for display of the finest part of the Medici Collection. Agnolo Bronzino, Portraits. Raffaello Sanzio (Raphael), Young St John Baptist. Medici Venus (sculpture). Room 19, Late Renaissance & Mannerism: Pietro Perugino, Madonna & Child with saints. Lucca Signorelli, Predella: Flagellation. Room 20, German Renaissance: Albrecht Dürer, Artist's Father. Lukas Cranach, Adam. Eve. Room 21, Venetian C15: Andrea Mantegna, Adoration of Magi. Giovanni Bellini, Allegory. Giorgione, (3 works). Room 22, German & Flemish: Holbein, Sir Richard Southwell. Room 23, High Renaissance: Correggio, Rest on the Flight to Egypt. Some of the South Corridor rooms may be closed due to the bombing: Room 25, Mannerism: Michelangelo, Holy Family. Room 26: Rafaello Sanzio, Madonna, child & St John, Portrait of Leo X, Portrait of Julius II. Andrea del Sarto, Madonna of the Harpies, St James & children. Room 27: Pontormo, Supper at Emmaus. Titian, Venus of Urbino. Room 29: Parmigiano, Madonna of the Long Neck.

Room 32, Venetian C16: Lorenzo Lotto, Madonna & Child with Saints. Sebastiano del Piombo, Death of Adonis. Room 34,: Paolo Veronese, Holy Family with S. Barbara. Room 35: Rubens, Henri IV Entering Paris. Room 43: Caravaggio, Sacrifice of Isaac. Rembrandt, Self Portrait. Claude Lorraine, Seascape with Villa Medici. Gian Battista Tiepolo, Erecting a Statue (Ceiling panel). Allessandro Longhi, Confessions. * Piazza della Signoria, (C13 onwards). Always the political centre of the city and paved since 1385. Loggia della Signoria (Loggia dei Lanzi or Loggia dell'Orcagna) Andrea Orcagna (1376-82), Round arches anticipate the Renaissance. Built for use by public officials in ceremonies. Since C18, an open air museum of sculpture, including a copy of Michelangelo's David: Cellini (1545), Perseus and Medusa. Cellini's greatest work, including the pedestel reliefs. Giambologna, 3 works (1583). Rape of the Sabine. Mannerist. His last work; Under the loggia: Hercules and the Centaur; in front of Palazzo Vecchio: Cosimo I. Equestrian (1595). Ammanati, (with Giambologna, etc.), Neptune Fountain. Medici Florence 2. Wednesday 2 November. * Palazzo Vecchio (Palazzo della Signoria) (1298-1302) Arnolfo di Cambio?. Fortress-palace town hall (Palazzo Communale) with intact pietra forte exterior, the prototype for many others in Tuscany. In 1540 it became residence of Medici dukes. The Cortile (courtyard) was reconstructed by Michelozzo (1453) and decorated by Vasari (1565), including the fountain. Sala d'Arme. The only C14 room on this floor. (The ground floor is otherwise municipal offices). First Floor: Most of the public rooms on this and the second floor are by Vasari. Salone dei Cinquecento. Immense meeting room for the Consiglio Maggiore of the Florentine Republic. Vast war paintings by Vasari (1563-65). Studiolo (study) of Francesco I. Vasari (1570-5). Fine mannerist interior. Second Floor: Terrazza di Saturno (9). Painted ceiling and fine view of Florence to the south-east. Capella di Eleonora (15). Entirely painted by Bronzino (1540-45). Famous Mannerist decoration. Capella dei Priori (della Signoria) (1511-14). Ridolfo del Ghirlandaio wall paintings, particularly the Annunciation in the lunette. Next door in the Sala d' Udienza is Donatello's bronze Judith and Holofernes, relocated from its base in the Loggia della Signoria, and finally the Sala dei Gigli, with very fine frescoes by Domenico Ghirlandaio (1482). (Vasari Corridor (Corridoio Vasariano) (Visit by prior appointment at the Ufizzi Gallery offices on the 3rd floor, near the gallery entrance). Cosimo I commissioned Vasari (1565). First floor level enclosed corridor which connects the Palazzo Vecchio, the Uffizi over the Route Vecchio to the Palazzo Pitti. It is hung with fine paintings, including the school of Caravaggio and a collection of artist self portraits, for over a kilometre). * Ponte Vecchio (Reconstructed 1345). Taddeo Gaddi? It has supported shops since C13, now jewellers. There is a medieval angle tower, Torre dei Mannelli. The only bridge to escape German destruction in World War II, although most houses lining the Arno were destroyed. Santa Felicita, via de' Guicciardini. Early Christian. Oldest church in Florence, but rebuilt 1736. Capella Capponi. (1st right). Designed Brunelleschi. Works by Pontormo (1525-27).

Palazzo Pitti. (Open: 9-7, Sun 9-1). Designed Brunelleschi? (c1457) for Luca Pitti, merchant to rival the Medici. Became seat of Medici dukes after Cosimo I moved here from Palazzo Vecchio. The Piano Nobile (First Floor) was designed by Pietro da Cortona with wonderfully exuberant Baroque ceilings. Galleria di Palazzo Pitti (Galleria Palatina). The collection was formed in C17, installed here, C18 and opened to the public in 1834. It still appears as a royal collection, crowded onto the walls, rather than as a chronologically arranged museum. Sala di Venere (Venus Room). Earliest Ceiling (1641-2), da Cortona. Titian, Concert; Pietro Aretino (portrait). Sala di Apollo Ceiling, da Cortona. Rosso Fiorentino, Madonna enthroned with Saints (Florentine Mannerism, for Santo Spirito, 1522). Titian Portrait of a Gentleman (c1540). Sala di Marte (Mars Room). Titian, Cardinal Ippolito de' Medici. Sala di Giove (Jupiter Room). Piero del Pollaiuolo, Head of S. Jerome (small), Bronzino Guidobaldo delle Rovere. Andrea del Sarto, Young John the Baptist. Perugino, Madonna in Addoration ('del Sacco'). Sala di Saturno. Raphael, Madonna 'della Seggiola' (tondo, c1514), Madonna 'del Gunduca' (c1504). Sala dell' Illiade (Iliad Room) Andrea del Sarto, 2 large Assumptions, Artemesia Gentileschi (a rare woman artist), Judith, Mary Magdalene. Sala di Prometo (Prometheus Room). Filippo Lippi, Madonna & Child (tondo). Botticelli, Portrait of a Man. Pontormo, 11,000 martyrs. Sala dell' Ulisse (Ulysses Room) Filippino Lippi (son of Filippo). Death of Lucrezia. Raphael, Madonna dell 'Impaneta'. Caravaggio, Sleeping Cupid. Appartamenti (ex Reale) Monumentale. The State Appartments redecorated in C19, are rather lavish and occupy the other half (eastern) of the front rooms. * Boboli Gardens. When Cosimo acquired the Pitti Palace (1550), he immediately planned a large garden, linked through Bartolomeo Ammanati's courtyard (1558) to the palace itself. The courtyard which is cut out of rock served as a theatre. The fine Grotto, in the north-east corner is by Buontalenti (1583-88) with Vicenzo de' Rossi's Venus and Helen (1560) in the second space and Giambologna's Venus leaving her bath, in the third (1573). A larger amphitheatre extended beyond the courtyard, with grassed terraces (c1660), as a sequence of spaces. Then the garden was extended westwards along the Viottolone (long cypress avenue) descending to the Porta Romana via the Isolotto pond (1618). The Fountain of Oceanus is by Giambologna (1576). Environs of Florence. Thursday 3 November. There are various possibilities. We may visit a selection from 1-11 by coach: Medici Villas. 1. Poggio a Caiano (west of Florence bus (COPIT) from Piazza S.M. Novella every ½ hour. Acquired 1480 Lorenzo Il Magnifico. Salone, with a fine barrel vault by Giuliano da Sangallo, has important frescoes by Andrea del Sarto and lunettes by Pontormo. The frieze is by Andrea Sansovino and Giuliano da Sangallo.

2. Villa di Castello, via di Castello, (Bus no.28. Garden only open 9-dusk, closed Mon). Acquired by Giovanni and Lorenzi di Pier francesco de' Medici, cousins of Lorenzo il Magnifico (c1477). Restored by Cosimo I (Giovanni's son) by the mannerist painters Bronzino and Pontormo. The Garden by Cosimo I (c1537). 3. Villa della Petraia, via Santo Stefano, (Bus no.28. Open 9-2, garden 9-dusk, closed Mon). Rebuilt 1575, Buontalenti for Grand Duke Ferdinando I de'Medici. Victor Emmanuel II, king of Italy lived there (1864-70) and glazed over the courtyard as a vast ballroom. It appeared recently in the film Fiorelle. Baroque frescoes beneath the side loggias, Volterrano (1636-46). In the Garden is a large bronze (removed?), Venus, by Giambologna. 4. Villa Medicea di Careggi (Now nurses home, visit by permission of the administration of Santa Maria Nuova): (1434) Michelozzo enlarged the former castellated farmhouse for Cosimo Il Vecchio. It became a literary and artistic centre of the Medici. 5. La Pietra, via Bolognese 120 (Bus no.25). Home of Sir Harold Acton, with picture collection and garden. (Occasionally open to the public). In 1974 Acton was named a Knight Bachelor (Kt). When he died he left Villa La Pietra to New York University. DNA testing confirmed the existence of an illegitimate half-sister, whose heirs have gone to court to challenge Acton's $500 million bequest to New York University. Acton was buried beside his parents and brother in the Roman Catholic section of the Cimitero Evangelico degli Allori in the southern suburb of Florence, Galluzzo (Italy).

6. Villa I Tatti, (south-east of Maino, north of Settigiano) off via Vincigliata, the home of Bernard Berenson (1865-1959) the great connosseur of Renaissanace art and collector. The palazzo and gardens are owned by Harvard University and occasionally open to the public. 7. Fiesole. Bus 7 from the Railway Station (8km). Etruscan (so earlier than Florence) Roman then merged with Florence in 1125 after a decisive battle. Nearby was favoured by American and English expatriates, this century, such as Bernard Berenson, Harold Acton and the family of Iris Origo. The Cathedral (1028, C13 & 14 and over-restored in 1878-83) is similar plan to San Miniato. San Francesco, (1330). Roman Theatre (end C1BC) and Museum. The anglo-fiorentini (or in Florentine dialect: anglo-bereri =boors) were a cohort of often eccentric, or at least less bound by convention than ‘at home’, English, or USA, but also French, German, Russian and Polish people, who lived near Florence, particularly from the early C20 and felt themselves superior to tourists and a little above Italians, and in 1911 including 35,000 British. They included Harold Acton, born in Florence in 1904, Lady Paget, Theosophist, art connoiseur and writer Bernhard Berenson, Mary Berenson and his secretary Nicky Mariano, who bought Villa I Tatti in 1905, Janet Ross in the Villa Poggio Gherardo at Settignano, who wrote 12 books on Tuscan life, villas and palazzi, the writer Vernon Lee at Villa Il Palmerino, the novelist Quida at Villa Fannola, Sybil Cutting and her daughter Iris Origo at Villa Medici, frequent visitors art historian William Rothenstein, the writer Percy Lubbock and lesbian composer and suffragette Ethyl Smyth, Mabel Dodge Luhan at Villa Curona above San Miniato, Geoffrey Scott, art writer and Cecil Pinsent, Architect, and Georgina Graham who described the whole phenomonen in her book In a Tuscan Garden ().

Living was cheap, and esential accoutremonts included: spirit lamps, folding chairs, a book box, dark blue calico or linen blinds, a mosquito net, cups of tea, brandy, and very serious gardening. They were mostly dispersed by the two world wars. Earlier, Swinburne, Dickens, Trollope, the Brownings, Mark Twain Henry James and the Goncourt Brothers had all lived there and Queen Victoria, with her 80 staff, paid three visits there by private train in the 1890s.6 8. Villa Medici, via Vecchia Fiesolana (1458-61) for Cosimo Il Vecchio, with a beautiful evocation of an early Renaissanace garden by Cecil Pinsent (1884-1963), the childhood home of Iris Origo (1902-88). No admission, but partly visible. Sometimes the garden is open. There were two Paulownia planted outside the Villa Medici (c1450, when Cosimo the Elder employed Michellozzo di Bartolommeo to design it for his second son Giovanni dei Medici. Intended to be a setting for intellectual life rather than a working Villa, it was to be a demonstration of aesthetic and ideological values. Lorenzo il Magnifico inherited it in 1469 following the untimely death of his brother, and turned it into a place for artists, philosophers and men of letters), when Sybyl Cutting took her young daughter Iris (later Marchesa of Val d'Orcia, DBE (1902 -88) there first in 1911, and which she eventually acquired. Their mauve flowers were scattered about. I stayed at a youth hostel opposite in 1973. 7

Villa Medici in Fiesole. 9. Via Benedetto da Maino (off Via Fra Giovanni Angelico). A pretty walk.

6 Caroline Moorehead, Iris Origo. Marchesa of Val d’Orica. A Biography, David R Godine, Boston 2002, pp 26-30. 7 Wikipedia, accessed 4 July 2013, including the 5 images and Caroline Moorhead, Iris Origo. Marchesa of Val d’Orica. A Biography, David R Godine, Boston 2002, p 24.

10. La Badia Fiesolana (now the European University. Ring bell for admission). Via della Badia dei Roccettini (C15). Attributed to Brunelleschi. 11. Certosa del Galluzzo, via Senese (5km south. Bus 36 & 37 from S M Novella. Closed Mondays. Open 9-12, 2.30-5. Visit conducted by a monk). Formerly Carthusian, most recently Cistercian. Courtyard (1545), church, cloisters, chapter-house, and picture gallery in the Palazzo degli Studi, with Pontormo frescoes (1522-5). Travel to Rome via Perugia. Friday 4 November. Perugia. Capital of Umbria and its largest city (pop. 130,000), although crammed atop a steep hill it appears to be a small town, with the suburbs and factories well below the medieval streets. An Etruscan stronghold, Perugia was still occupied by the Romans by 310BC. Medieval Perugia was generally Guelf (square parapet crenellations), supporting Rome and the Pope. It was continually at war with Ghibelline neighbours and eventually with the Pope, turning to internal vendetta, "self-destructing" by 1535, to be controlled by the Church until the French invaded in 1789. Perugia remains a Medieval hilltown. Piazza IV Novembre is the highest point and centre of the town, with the graceful Fontana Maggiore (1257-77), Duomo Loggia di Braccio Fortebraccio (1423), Duomo (1300-1400) and Palazzo dei Priori (Palazzo Communale or Town Hall) (1293-1443), where the Corso Vannucci, the social spine of the town, terminates. We may not have time for any of the main sights of the town, which are: * The National Gallery of Umbria (Galleria Nazionale dell' Umbria), Corso Vannucci. Situated on the top floor of the Palazzo dei Priori, it has arguably the finest collection of paintings in Umbria. Room 7: Piero della Francesca, Triptych; Room 14: Pintoricchio and Perugino; Room 15: Perugino (Pietro Vannucci), the greatest Umbrian painter. * Collegio del Cambio, Corso Vannucci. (Open: 9-12.30, 2.30-5?). Second Floor. Sala dell' Udienza del Cambrio. Perugino frescoes on all walls (1496-), perhaps his finest work. Archaeological Museum of Umbria, Piazza Giordano Bruno (off Corso Cavour, next to San Domenica). (Open: 9-1?). A major Etruscan Roman and Prehistoric museum. Rooms 12 & 13: Etruscan. Rooms 14-17: Greek-Etruscan. Via Battisti terminates at its north end at the Etruscan Arch (Arch of Augustus) (300-200BC), a rare surviving Etruscan superstructure. Via delle Volte della Pace (east of the Duomo) (C14). Is a curious vaulted Medieval street, following the Etruscan town wall. ROME (ROMA).

Whoever has nothing else left in life, should come to live in Rome; there he will find for society a hand which will nourish his reflections, walks which will always tell him something new. The stone which crumbles under his feet will speak to him, and even the

dust which the wind raises under his footsteps will seem to bear with it something of human grandeur!

Chateaubriand. ...we came out into the streets again. Better than all the museums, this strolling folk Who sun themselves in the apricot light of antiquity And take its prestige for granted. Cameo faces, Contessa or contadina; bronze boys skylarking As if they had just wriggled free from a sculptor's hand - How easily art and nature overlap here! Another thing you would like about the Romans Is the way they use their city, not as a warren Of bolt-holes, nor a machine into which one is fed Each morning and at evening duly disgorged, But as an open-air stage. Palazzo, tenement Seem pure facade - back-cloth for a continuous Performance of business, love-making, politics, idling, Conducted with a grand operatic extravagance At the tempo of family theatricals. C. Day Lewis An Italian Visit.

In Rome, art is part of daily life. One makes one's statues or poems or books as one makes bread or mends shoes. Art is part of Rome's business. And Rome itself is a work of art as well as a living, breathing being, which is what all cities should be. Rome is a mother. Rome is a whore. Rome can be domineering, imperious, corrupt, vicious. But Rome can never be ungenerous. Rome gives all of her sensual pleasures, without stint.

Anthony Burgess.

When we have once known Rome, and left her, hating her with all our might, and adding our individual curse to the infinite anathema which her old crimes have unmistakably brought down - when we have left Rome in such a mood as this, we are astonished by the discovery, by and by, that our heartstrings have mysteriously attached themselves to the Eternal City, and are drawing us thitherward again, as if it were more familiar, more intimately our home, than even the spot where we were born.

Nathaniel Hawthorne. Roma, non basta una vita. Rome, a lifetime is not enough. Silvio Negro. Geography. The historic centre of Rome is the cradle of a civilization of builders who set to work some twenty-five centuries ago. It is the centre of at least 1500 years of European history and several centuries of the history of Asia Minor, Egypt and North Africa, the hub of a civilization that stretched beyond the limits of the Mediterranean area to the four points of the compass, a religious capital, and the seat of the Papacy for nearly 2000 years. One has only to reflect on the amazing history of this small area of land around a ford

across the Tiber, at the foot of the Seven Hills, to recognize how absurd it would be to list

the historic monuments and sites which, in its present state of development, go to make up the city of Rome....within the walls of Aurelian.

There lies the greatest concentration of masterpieces on earth, starting with the moving

remains of the public and religious buildings of the Roman republic (up to the first century AD); then the temples, thermae, amphitheatres, palaces, basilicas, triumphal arches and gateways erected by the emporers of Rome, from Augustus to Constantine; and finally, the palaces, churches, gardens, squares and fountains, the superb achievement of an unceasing process of transformation and adaptation, since the people of Rome have always made free use of their ancient heritage.

World Heritage Citation. Rome has a population of over 4 million, just larger than Sydney. Most of its community activity and institutions continue to operate within the Aurelian city walls (AD 270-275, rebuilt C5) that still enclose the 7 hills. (The Palatine, Esquiline, Viminal, Quirinal, Capitol, Caelian and the Aventine. Outside of the ancient city are the Pincio and the Janiculum). This is about 4 x 4 km (equivalent to Spencer Street to Hoddle Street, and Toorak Road to Victoria Street). The metropolitan area is about 20 x 20 km within the circular autostrada, (equivalent to Box Hill to Footscray and Brunswick to Brighton). Rome was divided into 14 regiones by Augustus, out of them evolved the 14 rioni which survive today, with another 8 added in 1921. Rome today is functionally a political and ecclesiastical bureaucracy. But its physical fabric forms a palimpsest of remains from all periods of its history. Water in Rome. 11 acqueducts carried water to ancient Rome (built 272BC-226AD) from surrounding springs, a river and a lake. They fed 1,212 public fountains, 11 great imperial baths and 926 public baths. Nothing built ion the world since has exceeded this enormous public display of water, which ran continuously and then flushed out the sewers, as they do today. Today, Rome has 8 aqueducts (the same number as in AD52): Acqua Vergine Antica (1453), Acqua Felice (1586), Acqua Paola (1611), Acqua Pia Antica Marcia (1870), Acqua Vergine Nuova (1937), Acqua Peschiera (1949) and two built in the 1970s. The first three are reconstructions of ancient acqueducts. All (except Acqua Paola) are very pure and drinkable. The acqueducts terminate at great public fountains (mostra), such as the Acqua Vergine to the Trevi and the surrounding Renaissance fountains (Piazza del Popolo, Pantheon, Piazza Colonna, the Tortoises (Piazza Mattei), Piazza di Spagna, and the Baboon in via del Babuino). History. Rome was established by the Etruscans as an agricultural and pastoral community on the Palatine, at least 100 years before the traditional foundation date of 753 BC by the orphan twins Romulus and Remus. Left abandoned, they were suckled by the she-wolf which became the city's symbol. Like Paris, it was located at the easiest crossing-place, on the fast-flowing River Tiber (Fiume Tevere), at the Tiber Island (Isola Tiberina). It was the meeting-place of the territory of the Etruscan and Latin (Palatine Hill), Sabine (Quirinale Hill) peoples. In 510 BC, a Republic was founded, which in 474 BC defeated the Etruscans. By 146 BC, the Roman Republic had expanded to such an extent that with the defeat of Carthage, it had conquered most of the known world. Under Octavian in 27 BC, it became an Empire. 98-117 AD saw its greatest expansion under the Emperor Trajan. However, by 284 AD under Octavian, decline had begun, with subsequent invasions by Barbarians from Northern Europe.

In 330 AD, the Emperor Constantine relocated the capital of the Empire to the east, at Byzantium, which then became Constantinople (Istanbul). He also both recognised Christianity and made it the state religion. By C7, control of Rome had passed to the Popes, leaders of the Christian Church. In 800, the Papacy was tacitly absorbed within the Holy Roman Empire by Charlemagne, continuing until 1806. In 1809, Napoleon I invaded Rome and proclaimed it the second capital of France. In 1870, the Risorgimento made Rome into the throne of the king and capital of an united Italy. From 1922-43, Rome was controlled by the Fascists (Fascisti) under Benito Mussolini. From 1976, for a decade there was a Communist municipal administration in the Commune di Roma whose motto has remained SPQR (Senatus, Populusque, Romanus). Night aerial view of Rome from the Pincio hill, towards Piazza del Popolo. Roman Rome. Saturday 5 November. Metro Barberini, change Termini to Metro Colosseo, OR: bus 81 in Via Due Maccelli, and walk: Imperial Fora, via dei Fiori Imperiale (44BC-). Forum of Trajan (98-117AD). The most spectacular. Includes: Trajan's Column (113AD) 30m high. Spiral frieze depicts the Dacian campaigns. In front is the remains of the Basilica Ulpia 120 x 60m. A hall of justice, almost as large as Constantine's Basilica. The Markets of Trajan. (Not visited now, but open: 10-4, Sun 9-1?). (C2AD). A 3-storey semi-circular tier of shops. Other Imperial Fora follow, further east. * The Roman Forum (Foro Romano), via dei Fori Imperiali. (Open: 9-1 hour before sunset, Sun 9-1, Closed: Tues?). Marshy valley between Capitoline and Palatine hills and the foothills of the Quirinale and Esquiline. It was drained by the Cloaca Maxima (still used), becoming the market-place. It evolved to become the political ceremonial and religious centre. Its spine is the Sacra Via, the oldest street in Rome. The Temple of Saturn (rebuilt 42BC). 8 Corinthian granite columns. The Tabularium (78BC). State Archives. Under the Palazzo Senatorio in the Capitol. The Arch of Septimus Severus (AD203). 3 arches. Curia (80BC). Senate house. Temple of Vesta and House of Vestals (Rebuilt AD64). Circular Corinthian temple and the house of the 6 virgin priestesses, custodians of the sacred flame, whose extinction implied the end of Rome. Basilica of Constantine (Maxentius) (306-10). Huge: 100 x 65m brick structure, vaulted. Arch of Titus (AD81). Internal reliefs, including sack of Jerusalem. The Palatine (Monte Palatino). Site of the earliest settlement of Rome, then the palaces of the Emperors. Entered through the stair toward the Farnese Gardens (mid C16). Vignola. The Palatine is a complex archaeological site, with views to the south over the Circus Maximus (Circo Massimo). * Arch of Constantine, Piazzale del Colosseo (AD315). Reconstructed from earlier monuments. Enormously influential on High Renaissance architectural interiors, such as St Peter's. * Colosseum (Colosseo) (Flavian Amphitheatre). The largest monument of ancient Rome. Access to the highest levels is necessary (but probably not possible) to appreciate its scale (186 x 155m externally, 76m x 46m arena, 57m height). It could hold 50,000 spectators. Its stylar elevation is most influential on High Renaissance architecture. * Baths of Caracalla (Terme di Caracalla) (Thermæ Antoninianæ), via di Terme di Caracalla. (Open: 9-1 hour before sunset, Sun 9-1, Closed Mon?). (212-217AD. In use until C6). Vast scale of brick vaulted interiors, paved in mosaic.

* Via di Porta Sebastiano. On the route of the Apian Way, passes the old Early Christian church of San Cesaro. Internal furniture and floor by Cosmati family (C12-14), of marble inlay. Next is the House of Cardinal Bessarion (Casa Bessarione) (Visible from gate). The scholar (1389-1472). Fine example of a suburban C15 house, with loggia. There are 3 other Early Christian churches on this stretch of road. Porta San Sebastiano (Porta Appia) (Rebuilt C5). The most imposing gate in the Aurelian Wall. To avoid the traffic, take the bus 118 to San Sebastiano (or San Calisto Catacombs). The Appian Way (Via Appia Antica) (312BC). The most important ancient consular Roman road, it extends to Brindisi, on the south-east extremity of Italy. Entirely paved, it is lined with family tombs, (now reconstructed, or replicas). There are still shepherds and their sheep and the characteristic Roman pines on the horizon. Midway to San Callisto is Domine Quo Vadis? The little church stands on the spot where traditionally St Peter escaping from certain martyrdom in Rome, encountered Jesus, who challenged him to return. San Sebastiano (early C4). One of the 7 pilgrimage churches of Rome (with Santa Croce, San Lorenzo and the Patriarchal Basilicas, see below). A massive Early Christian structure (view from west). It temporarily held the bodies of Saint Peter and St Paul. Sculpture of San Sebastian designed by Bernini. Catacombs of San Sebastiano. (Entry to right of church) 4 levels. The only catacomb to have always been known, so less intact than S. Callisto (Calixtus). There are further sites along the Via Appia: The Circus Maxentius and the Tomb of Cecilia Metalla. Return on bus 118 to Circo Massimo Metro Station. Christian Rome. Sunday 6 November. Metro Barberini to Metro Stazione Termini. Walk down Via Cavour. * Santa Maria Maggiore (Basilica Liberiana). (Rebuilt 432-40). (Open: 7-7 every day). The facade was added by Fuga (1743). On the Esquiline hill. One of the 4 great patriarchal basilicas (with St Peter's, St Paul and St John). Of these, it is most intact as an Early Christian basilica (86m long internally). Mosaics over the triumphal arch and the nave arches (432-440) and apse (1288-94). Gilded coffered timber ceiling. Cosmatesque (Cosmati) pavement. The Sixtine Chapel (Holy Sacrament) (J) Dominico Fontana. Magnificent baroque interior (C16). Borghesi Chapel (Capella Paolina) (C16) (L). Even more sumptious. * Santa Prassede (Open: 7-12, 3.30-6.30). (Entered from via Santa Prassede, but before entering, see the intact atrium, from via San Martino ai Monte). A much loved local church (817-24). Chapel of St Zeno. (south aisle). Intact Byzantine mausoleum. The only chapel in Rome entirely lined with mosaic. Oldest mosaic (opus sectile) pavement in Rome. Outside it on the nave column, G.B. Santoni tomb, by 19 year old Bernini. Sacristy Giulio Romano (?). Flagellation. Walk south. (Pass 2 fine medieval towers in S via Giovanni Lanza, and San Martino ai Monti (500). It has a C3 chapel. (Down the Confessio stairs, past the elaborate crypt). San Clemente (1108). (Enter from via di San Giovanni door). The Upper Church. The best preserved medieval basilica in Rome. The main door leads to the atrium and fountain. All the interior elements survive intact. The Apse has very fine C12 mosaics. The wall tabernacle is by Arnolfo di Cambio. The timber ceiling is C18. Chapel of St Catherine (H): frescoes by Masolino da Panreale, probably with his pupil, Masaccio (-1430). Lower Church (-392) (Open: Sun 10-12, 3.30-6). It has a Narthex with frescoes (A,B).

A catacomb (C5, 6) (O) below is visible through a floor grate. Below again, an Imperial house (1CAD) with various rooms onto a narrow lane (M). A room has running spring water which is chanelled away (N). Over the lane (under the lower church's altar) is a Mithraic Temple (J, K, L) (late C2 or 3) with a decorated stucco ceiling and a statue of Mithras. (Santi Quattro Coronati, off via dei Querceti, then via dei Santi Quattro. (Built 1111). Extraordinary medieval fortified monastic building. * Chapel of St Sylvester (ring for key, 1st door right) (1248) Frescoes, Cosmatesque floor. Church interior. Cloister (off north aisle, ring for admission) (C) with C12 fountain and garden. Very secluded. Chapel of Santa Barbara (C9) At left. Interesting architecture). (Other interesting Early Christian churches in this area include: San Giovanni in Laterno, Santa Scala, San Stefano Rotondo, Ss Giovanni e Paolo, Santa Maria in Domenica and San Gregorio Magno). Walk back along via di S. Giovanni in Laterno to Metro Coloseo. Take Metro to Metro San Paolo. * San Paolo fuori le Mura (St Paul Outside the Walls) (Basilica Ostiense). via Ostiense. (386, rebuilt 1823-54 after fire). The largest church in Rome after St Peter's. The north elevation facing the Tiber is impressive. Large atrium. The interior (132 x 65m, height 30m) has double aisles like St Peter's. The bronze doors (1070) are from the old basilica, as are the triumphal arch and apse mosaics, (c1220 by Venetian craftsmen) much restored. The tabernacle is by Arnolfo di Cambio (1285). The tomb of St Paul is below the altar. The Cloisters (to right, off vestibule) (Open: 9-11.45, 2-Ave Maria) (1193-1214) survive from the Benedictine convent, with a painted timber roof structure and mosaic colonette pairs. To visit the Catacomb of St Calixtus or St Sebastian, return on the Metro to Circo Massimo and catch bus 118 or taxi by via delle Sette Chiesi. Otherwise, return by Metro. Vatican City. Monday 7 November. Metro Barberini to Metro Ottaviano, then walk south along via Ottaviano. * Vatican Palace Museums (Museo Vaticani) (Open: 9-2, closed Sun). Entered along via di Ponta Angelica to Viale Vaticano, following the walls westward. After Pope Gregory XI returned from exile in Avignon (1378), his residence was transferred from the Lateran Palace to the Vatican. The house was enlarged as a palace (1447-55) and the Sistine Chapel added (1473). Bramante designed the great Belvedere courtyard (1503-13). It was converted to a museum in 1769-99. It is one of the largest and most important museums in the world. It becomes very crowded, especially as the Sistine Chapel is approached. 4 compulsory itineraries are offered, which are difficult to deviate from. The Green itinerary is preferred, taking about 3½ hours. Arrive as early as possible. A guidebook is necessary. The route includes: Egyptian. Chiaramonti: classical sculpture in a layout designed by Antonio Canova. Pio-Clementine: Classical sculpture with: Bramante's spiral stair (early C16) (XI) and the famous octagonal courtyard (VIII) with: the Apollo Belvedere, the Laocoön, Hermes, candelabra from Hadrian's Villa (V), and busts (VI), the Belvedere torso (III), Candelabra Gallery, originally a loggia, further classical sculpture; Map Gallery, the west side corridor of Bramante's Belvedere courtyard, 40 topographical maps; various small galleries leading to the: Four Raphael Stanze (rooms) with important wall paintings, Raphael (1508-14) especially room II, the Segnatura, the loggia also Raphael (if open) (1514-19), * The Chapel of Nicholas V decorated by the mature Fra Angelico (1447-1451).

Sistine Chapel (1475-80) The Palatine Chapel, externally its second role in defence, is apparent. It is still used for some papal functions. The walls' high panels (1481-3) are painted by Perugino, Botticelli, Ghirlandaio and Signorelli, etc. The ceiling (1508-12) and then the end wall, Last Judgement (1534-41) are by Michelangelo. All of the paintings have been recently restored to the highest standards.

Pinacoteca (Picture Gallery). Founded 1785-92. Some of the pictures are from St Peter's where they are replaced by mosaic copies. Room I: Bernardo Daddi, Life of Ss Stephen & Lucian; Room 2: (Late Gothic) * Giotto Stefaneschi Triptych, Sasetta Vision of St Thomas Aquinas, Pietro Lorenzetti Jesus Before Pilate, Simone Martini Christ Blessing, Lorenzo Monaco Two Miracles from the Life of St Benedict, Gentile da Fabriano Scenes from the Life of St Nicholas; Room 3 (Early Renaissance) Fra Angelico Madonna & Child with St Dominic & St Catherine, Filippo Lippi Coronation of the Virgin, Benozzo Gozzoli Madonna Offering her Girdle to St Thomas;

Room 4: Melozzo da Forli Angel Musicians; Room 5: Ercole de Roberti (Ferrara) Miracles from the Life of St Vincent Ferrer (includes view of late C15 building site), Lucas Cranach, Elder Pieta; Room 6: Vivarini St Anthony Abott & Saints; Room 7 (C15 Umbrian) Pinturicchio Coronation of the Virgin, Perugino Resurrection; Room 8 * Raphael 3 major works, showing his fast development over only 16 years; Room 9: (C16) Leonardo St Jerome; Room 10: (C16 Venetian) Titian Madonna di San Nicolo, Veronese St Helen; Room 11: (late C16 Mannerist) Giulio Romano (the architect) Madonna di Monteluce, Stoning of Stephen (cartoon), Girolamo Muziano Resurrection of Lazarus; Room 12: (Baroque) Valentin Martyrdom of St Processus & St Martinian, * Caravaggio Deposition, Guido Reni Crucifixion of St Peter, * Poussin Martyrdom of St Erasmus; Room 13: (C17) Pietro da Cortona (the architect) Virgin appearing to St Francis. Not visited on this tour is the Gregorian Profane Museum of Classical Sculpture in its strongly designed 1970s display and the Early (Pio) Christian collection. * Piazza San Pietro (1656-67) Bernini. One of the world's greatest urban spaces (240 x 195m). The Obelisk from Alexandria (25m high, 41m overall). Fountains: Carlo Maderna (north, 1614), south: unknown (1490) relocated by Bernini. Water is from the Acqua Paola. Vatican City (Citta del Vaticano). (Generally, not accessible). An independant sovereign state (country) since 1929, of 43 hectares (Melbourne's Botanic Gardens is 38 hectares), population 500. The Pope, head of the Roman Catholic Church lives here and St Peters is its most important church. The crack Swiss Guard formed in 1506, with a uniform said to have been designed by Michelangelo, control security in the Vatican. It has its own post office (south colonade), which is faster than Italian post. The main vehicular entrance to the Vatican is the Arch of the Bells (south-east corner of St Peter's) and the main pedestrian entrance is the Bronze Doors (north-east end of the colonade) which lead west to the Portico of Constantine and the Scala Regia, all Bernini, past the equestrian statue of Constantine in the Atrium (narthex). The beautiful Vatican Gardens may be toured. (Buses depart 10am, Tues Thurs Sat, from the Information Bureau next to the Post Office. Another bus (9-12.30) from the vehicular entrance departs through the Gardens to the Museum entrance)? * St Peter's (Basilica di San Pietro in Vaticano). (Open: 7-6 daily). Not a cathedral, nor the mother church of the Christian religion (St John Lateran fulfils these roles), this extraordinary building is the work of the greatest artists of the Late Renaissance and Baroque (1506-1667). (Dimensions

are far larger than other famous churches: 186 x 137m, nave width 60m internally; and 136m high overall. The dome diameter is 42m, 1.5m less than the Pantheon). The function of the church is to enable mass to be celebrated at the high altar directly over the spot where St Peter was buried, over which is the dome. Constantine built the Early Christian basilica (c324-6) (120 x 65m). Bramante designed the replacement with a Greek Cross central plan (1506-14), Raphael (1514-20) developed a Latin cross plan, Baldessare Peruzzi (1521-), Antonio da Sangello, Younger (1534-46) Michelangelo (1546-64), Vignola, Giacomo della Porta with Carlo Fontana completed Michelangelo's dome (1590). Carlo Maderna (1605-29), completed demolition of the old basilica, extended the nave and completed the facade. Bernini (1629-67) decorated the interior, built the baldaccchino, the piazza and colonnade. At the south end of the atrium is the equestrian statue of Constantine, by Bernini; at the north end is Charlemagne. The spectacular interior is overwhelming with beautiful light. Most of the painted artworks have been replaced with mosaic copies for durability. Interior: Bronze votive statue of St Peter, Arnolfo di Cambio (7). Baldacchino (8) Bernini assisted by Borromini (1633), with bronze cast from the Pantheon roof. The Barberini arms on its plinths depict the contractions of pregnancy. High Altar. (8) Bernini. Encloses 2 previous altars and the shrine of Constantine, above the tomb of St Peter, below the crypt. (Return to south-east corner). Pietà, Michelangelo (1499). Capella del Santisimo Sacramento (19) iron grille Borromini, Clement XIII (31) Canova. Chair of St Peter (38) Bernini (1665). Exhuberant theatricality. Urban VIII (39) Bernini (1644). Paul III (1549) (40) G.B. della Porta, melodromatic base. Monument to the last (catholic) Stuarts Kings of England (66) Canova (c1807). (Vatican Grottoes. The crypt with many tombs. Clementine Chapel (4) is directly beneath the high altar, where a glimpse may be obtained of the earlier altars and in the direction of the tomb of St Peter, below. Necropolis and St Peter's Tomb. St Peter was buried in an imperial necropolis beside Nero's Circus. The tomb and the entire street of mausoleums was excavated 1940-57). (Written applications to join tour at 3pm to Ufficio Scavi). The view from the roof is spectacular. Castel San Angelo (Mausoleum of Hadrian) (AD130-9) (Not open at present). Designed by Hadrian as a tomb for himself and his family. Suceeding emperors were buried here also. (89m square). It became the medieval fortified citadel of Rome. In 1410-1503, a corridor was built to the Vatican. Pope Clement VII escaped here in 1527, from Charles V's troops. The last act of Puccini's opera Tosca, takes place here early one morning as Rome awakes, then she leaps to her death from the terrace. The view from here is unrivalled, of the domes of the city. * Ponte Sant' Angelo (Pons Aelius, Pons Adrianus) Built by Hadrian (134) to approach his mausoleum, where the axis now turns 90º towards St Peters. 10 sculptures of angels designed by Bernini (1688) sculpted by his pupils, (2 are copies of originals in Sant' Andrea delle Fratte, next to our hotel). Walk along via dei Coronari, eastwards: * Piazza Navona. The most lively piazza in Rome. Site of the Stadium of Domitian (visible, south end via Zanardelli). It was flooded for entertainment in Summer (C17-19). Southern fountain:- Fontana del Moro (1575) Jacopo della Porta and Bernini, centre: Fontana di Firmi (River Fountain) (1648) Bernini, it represents the Danube, Ganges, Nile and Plate. (The obelisk is Roman, from the Circus of Maxentius). North: Neptune (1878). Sant' Agnese in Agone (1652) Carlo Rinnaldi and facade: Borromini (1653-57), late Baroque. Palazzo Pamphili (south of the church) C. Rinaldi, completed Borromini (mid-C17).

Renaissance Rome. Tuesday 8 November. Palazzo Venezia (1467-71) Courtyard, early High Renaissance. Capitoline Hill (Campidoglio). Smallest, yet most famous hill in Rome. Political and religious centre of ancient Rome, when it was approached from the Forum (south-east) and since end C11, of municipal government. In the C16, it was re-directed to face north-west, where the city had developed. Three routes approach it from the Piazza d' Aracoeli. A stair (124 steps, (1348) to the Early Christian, Church of the Aracoeli (C7), a ramp (La Cordonata, 1536) and a coach road, via delle Tre Pile (1873). The approach has Egyptian granite lions (Ptolamic) and colossal Roman Dioscuri and Roman trophies, milestones and statues of Constantine and Constans.

Piazza del Capidoglio Designed Michelangelo (1546). A complex urban design with subtle level changes, perspective and vistas, it lacks the equestrian statue of Marcus Aurelius he designed it around.

Palazzo Senatorio. Seat of the Governor of Rome (Town Hall). A medieval castle with a tower built over the Tabularium (State Archives, 78BC), with facade by G. Rainaldi & G.B. della Porta (tower) which modifies Michelangelo's design. The stair has ancient statues (1CAD) Tiber (south) and Nile and a porphyry Minerva. At east is the bronze of the Romulus, Remus and the she-wolf-symbol of Rome. * Palazzo del Museo Capitolino (north, 1644-55). Rainaldi, after Michelangelo. It contains the oldest public museum collection in the world (1471). Antique sculpture. First floor: Room 1: Dying Gaul (239BC). Room 5: Sala degli Imperiatori: 66 busts of Roman emperors in a display unchanged since C18, important in the history of museology. Palazzo dei Conservatori (south, 1450, remodelled della Porta, after Michelangelo). Courtyard: Colossal classical fragments, including of Constantine from his Basilica. First Floor: Sale dei Conservatori Museum of Classical sculpture. Room 3: Spinaro (boy plucking thorn). Room 4: Etruscan bronze she-wolf sacred to Rome (late C6BC). Museo del Palazzo dei Conservatori, (Braccio Nuovo, Museo Nuovo) (Palazzo Caffarelli). Further classical sculptures and artifacts). Pinacoteca Capitolina. Founded 1749. 2nd floor. Room 7: Caravaggio, Gypsy. Walk along via del Tempio del Giove, Via del Monteo Taspeo, (south of the Palazzo dei Conservatori) to Belvedere Monte Tarpeo. An extensive view of Rome including the Forum. Continue west down Ripa Cafferelli Caprino, cross busy via di Teatro di Marcello, west. (north of Porticus di Ottavia, AD203 and Teatro di Marcello, BC11) into Piazza Campitelli, Piazza Lovetelli to Piazza Mattei. Ghetto. West of the Porticus d' Ottavia, Jews were seggregated and restricted here from 1556. * Fontana delle Tartarughe (Turtle Fountain) Taddeo Landini (1584), designed Giacomo della Porta, altered 1658 Bernini (?). Continue west along via Falegnani, Piazza B. Cairoli, via d. Giubbonari, south in via Arco di Monte. Palazzo Spada (Capodiferro) Piazza di Capo di Ferro (1549-59) Giulio Merigo da Caravaggio. Frolicsome stucco wall decoration. Borromini (1649-) added two garden wings and the famous false perspective. (Door, right of stairs to gallery. Compare to Teatro Olimpico, Vicenza) (1653) In the left court. Also the remarkable staircase and the concave arched garden wall. It is the seat of the Consiglio di Stato (Cabinet).

Galleria Spada. (Weekdays 9-2, closed Mon). The most important group of Baroque paintings in any public gallery in Rome (4 rooms). Room 1: Guido Reni, 2 works. * Palazzo Farnese (French Embassy). Antonio da Sangallo, Younger (1516-46). Michelangelo (1546) then did facade frieze, window over entrance and courtyard top floor. The grandest Renaissance palace in Rome, yet only 3 stories. Scene for Act 2 of Tosca. In the piazza are 2 granite baths from the Baths of Caracalla. At the rear is a garden and a linking bridge over via Giulia, which was to have continued over the Tiber to the Villa Farnesina. Via Giulia (1503-13) is a street of Renaissance palaces. (Palazzo Falconieri, via Giulia. Remodelled Borromini (1646). The rear belvedere challenges the Palazzo Farnese). Leave the Piazza Farnese, in its north-east corner. * Campo dei Fiori. A colourful open air market, in C15 one of the most important piazze in Rome. Palazzo della Cancelleria, Corso Vittorio Emmanuelle II (1486-96). Important early High Renaissance design, similar to Palazzo Rucellai, but more subtle in proportion and more complex in rhythm, based on the Golden Section. The courtyard facade, comparable to the Foundling Hospital and the Palazzo Venezia, is also important, derived from the Colisseum. The designer of this building (as with the Palazzo Venezia courtyard), is unknown. * Palazzo Massimo alle Colonne, Corso Vittorio Emmanuelle II (1532-6). Baldassare Peruzzi. Refined Mannerist design, detail and plan: set on a curve in the Corso. Two seperate adjacent palaces, for two brothers on an irregular site. The recessed entrance collonade leads to a courtyard, with a portico, slopes to an upper loggia, then through to a further collonaded courtyard (may be open). Sant' Andrea della Valle, Corso Vittorio Emmanuelle II, is opposite. Theatine order. It's harmonious design is surprising considering the involvement of various Baroque architects: Giacomo della Porta (1588-9), Fanazio Grimaldi of Naples, Francesco da Volterra (1591-5) nave, then Carlo Maderno (1608-29) nave and part facade, then Carlo Rainaldi and Carlo Fontana (1663-6) completed the facade. Inside. The dome is the largest in Rome after St Peter's, with the first full illusionistic painting. Last chapel left, before the transept has Stile Liberté (Art Nouveau in Italy) gates. This is the church in which the opera Tosca opens. Immediately east is Palazzo Vidoni (Caffarelli) in via del Sudari. Raphael (1515). Third floor added later. It is architectually influential on several buildings in Melbourne, such as the Mint. Very few buildings by Raphael survive. Cross back to Palazzo Massimo, off Piazza San Pantaleo, north west into via dei Governo Vecchio, walking west, and back to the Corso at: * Chiesa Nuova (Santa Maria in Vallicella) & the Oratory of S. Filippo Neri (Oratorio dei Filippini), via Corso Vittorio Emmanuale II. The Church was founded by St Philip Neri, a leader of the Counter Reformation (1575), begun by Martino Longhi, Elder (1575-9) then by unknown Fausto Rughesi (1593-1606) including the facade. Again, the interior is harmonious despite its long building period. The open plan derives from the influential Jesuit mother-church, Il Gesu (1568-82) further east, down the street. Three paintings around the altar, Rubens (1606-8) on slate, hence the matt finish. The Oratory. The fathers needed accomodation, a library and a performance space for their highly valued semi-dramatic religious music (hence the word oratorio, originated here). Work on the casa began (1621-34), then in 1637, Borromini was appointed for the oratory itself, with its galleries, crypt and richly designed doors (1637-8). (After, the white stucco was marble faced and his altar removed). The facade had to be brick, not overwhelm the church, so he curved it for

effect, the first concave facade in Rome, with its inventive pediment, derived from Michelangelo's Porta Pia. The bricks are very fine and thin. Behind the apse of the church is Borromini's refectory (oval plan) and north cloister. Its anteroom has a beautiful, almost gothic lavamani (handbasin). Over the refectory is his recreation room, with its superb fireplace. Borromini's clocktower is 1647 and his staircase, 1659-62. The library on the 2nd floor is accessible, otherwise access, as to so many of Borromini's interiors, depends on persuassion and luck. Most of the complex is particularly intact. Cross the Corso, to via dei Cartari and walk east along via Giulia again, to the Ponte Sisto (1471-84), Baccio Pontelli, to Trastevere ('across the Tiber'). There is much of interest to glimpse in this quarter with its narrow streets, old houses and particularly Roman character, much like that of the London Cockneys. Pharmacy of Santa Maria della Scala, via della Scala, upstairs next to the Church, is the oldest chemist in Europe. Via Garibaldi leads in the direction of the Gianiculum hill, past the very complex, but roughly unfinished brick facade of Santa Maria dei Sette Dolori (1641-6) Borromini. The interior has rounded corners articulated with columns. * San Pietro in Montorio, via Garibaldi (C15). Apparently not the site of St Peter's crucifixion, more likely in Nero's Circus, Vatican. Interior: 1st chapel, right: Paintings. Sebastiano del Piombo (designed, Michelangelo), Scourging of Christ (1518). Courtyard (north of church): Tempietto. Bramante (1499-1502). The exquisite famous High Renaissance building which influenced his design for the dome of St Peter's. The crypt is fascinating, with stuccoes. G.F. Rossi. (Ring at convent for access). Bosco Parrasio (Il Paradiso), Arcadian Academy, via di San Pancrazio. A beautiful late Baroque garden by Giovanni Azzuri (1725) expresses the Arcadian ideal and upstages his Spanish Steps (1721-25). (Visits here, by appointment). Santa Maria in Trastevere, Piazza Santa Maria in Trastevere. The first church in Rome dedicated to the Virgin (217) and probably the earliest officially recognised Christian building. Rebuilt 1140 with important triumphal arch and apse of that date. Comparable to Santa Maria Maggiore as an Early Christian church. The lively piazza is magical at night. Baroque Rome. Wednesday 9 November. Walk east up via Sistina. Piazza Barberini. Fontana del Tritone (centre, 1642-3). Bernini, his first freestanding public fountain and Fontanella della Api (1644, 3 bees is the Barberini arms). All architectural content is eliminated, the fountains are pure natural sculpture. Palazzo Barberini, via di Quattro Fontine. A large place with a very complicated design history and fascinating details. Designed Carlo Maderna (1627-9), then Bernini (1629-77), both assisted by Borromini. Bernini designed the square northern stair and Borromini the oval southern one. Borromini also designed the top floor windows. The doors and fireplaces in the first floor Salone are by Borromini. But his drawings were corrected by Bernini, and so on. The open courtyard is unusual in Rome. Pietro da Cortona was also involved. His early Baroque fresco is on the Salone ceiling (1633-9). The Galleria Natzionale d'Arte Antica (National Gallery of C13-16 Art) occupies the First Floor. (The other half of this collection is in the Palazzo Corsini in Trastevere). Room 2: Fra Angelico Triptych, Piero di Cosimo St Mary Magdalene, Filippo Lippi Annunciation & donors; Room 4: Lorenzo Lotto Young Man, Bartolomeo Veneto Nobleman, Il Sodoma 3 pictures, Room 7: Andrea

del Sarto Madonna, Holy Family, Federicci Barocci Self-portrait, Madonna & Child, Raphael La Fornarina, Giulio Romano Madonna & Child; Room 9: El Greco Nativity, Baptism of Christ, Quentin Massys Erasmus; Room 13: Holbein Henry VIII, Room 14: Caravaggio Giuditta e Olferne. Salone (left of entrance hall) Pietro da Cortona Triumph of Divine Providence (ceiling). Walk east up via di Quatro Fontane. At the Quatro Fontane intersection are 4 fountains set into the splayed corner buildings (1588-93). Domenico Fontana designed it for Pope Sixtus V. San Carlo alle Quatro Fontane (San Carlino), via XX Setembre (strada Pia, in the distance to the east is Michelangelo's gateway, Porta Pia. 1561) and via delle Quatro Fontane (strada Felice). Borromini (1634-82). Although not begun until 1665, the facade was designed in the 1630s. The campanile was completed after Borromini died, as was the upper facade, particularly the oval painting supported by angels.

It was Borromini's first independent commission and brilliantly utilises a limited and irregular site. Typical of Borromini is the inexpensive plain white stucco and gilded interior. The pattern of coffering is derived from niches at the Pantheon. The Sacristy (former refectory), with its rounded corners, cloister and lower church with its beautiful small chapel, all Borromini, should be visited. To compare the approaches of the two architects, walk west to: * Sant' Andrea al Quirinale, via del Quirinale. Bernini (1658-61). Simple but original, with the short axis of the oval leading to the altar and unbroken surfaces of delicately coloured marble. He carries the action through the building: the story of the saint is depicted over the altar, over the chancel opening at the base and top of lantern. Continue further west, through Piazza di Quirinale (summit of the Quirinale hill, highest of Rome's 7 hills). An obelisk (14.5m) by Domenicus Fontana is set within 2 colossal groups of Dioscuri (Castor and Pollux) and their horses, Roman Imperial copies of Greek originals (55BC). Palazzo del Quirinale, residence of the Italian President, (1574-), entrance by Carlo Maderna. Continue west in via di Dataria and north in via di San Vicenzo to: * Fontana di Trevi, Piazza di Trevi. Nicola Salvi (1732-62). The acqua Vergine had been brought here in 19BC. The fountain was intended to rival that for the acqua Felice nearby and the acqua Paola on the Janiculum near San Pietro in Montorio. It succeded. If you throw a coin in you will return to Rome, especially if you look like Anita Ekberg, as she did in Fellini's La Dolce Vitta (1960). Santi Vincenzo ed Anastasio, Piazza di Trevi. Facade: Martino Longhi, Younger (1646-50). In via del Lavatore 38, the monastery, the vestibule and steps leading to the cloister are a fine C18 interpretation of Borromini's approach to design. Walk west along via di Muratte, via di Pietra, then south into the narrow vicolo de' Burio to: Piazza San Ignazio. Filippo Raguzzini (1727-8). One of the most ingenious and lively town planning gestures in Baroque Rome. Several very oddly shaped buildings appear symmetrical from the front. Derived perhaps from Teatro Olimpico, Vicenza (1580-4) and Santa Maria della Pace. Pietro da Cortona. (1656-61) at the north-western end of Piazza Navona (qv). San Ignazio, Piazza San Ignazio (1626-50). Orazio Grassi. This is church of the Collegio Romano, the Jesuit University. Interior: Its magnificence rivals Il Gesu, the mother-church of the Jesuits and its plan is similar. (1568-83, the most influential C16 church in Rome, located directly south in Corso Vittorio Emmanuale II, for comparison).

The vaulted ceiling was painted by Andrea Pozzo. Firstly, the false perspection of the dome over the crossing, painted on canvas (1684-5). The nave vault explains the entire early history of the Jesuit Order. It is one of the most dazzling achievements of illusionism in all Baroque art. It must be looked at from a point in the middle of the nave, seen from which, all of the perspective works. Right transcept: Altar to San Luigi Gonzaga. Pozzo. Second only to the altar of Sant' Ignatius in Il Gesu, for its Roman Baroque sumptuousness. Walk west along the foreboding via del Seminario, into Piazza di Rotunda. In the centre is a fountain. Jacopo della Porta (1575) with an obelisk (Egypt C13BC). (Another obelisk (Egypt C6BC) is behind the Pantheon in Piazza Minerva, on a delightful base, Bernini, 1667). The Pantheon (Santa Maria Rotunda or ad Martyres). Hadrian (AD118-128). One of the best preserved Imperial Roman monuments to survive. The combination of temple front, portico and rotunda was invented here. None of Martin Agrippa's earlier temple referred to on the pediment survives. The Pantheon is built of massive brick walls buttressed by the 7 perimeter niches, with a coffered concrete shell roof. The pattern is used by Borromini at San Carlino. Interior: The height and diameter are the same, 43.3m, with the open oculus 9m diameter. The walls are 9m thick. From Piazza Minerva, walk west along via di Palanbella and via di Staderari to Corso di Rinascinmento, turn left into the austere Palazzo della Sapienza, Giacomo della Porta (1567). It's Biblioteca Alexandriana (library) (left side of courtyard) is by Borromini, including the bookcases. In the courtyard is: Sant' Ivo, Corso di Rinascinmento (1643-8). Borromini's boldest, most inventive building. All characteristics of San Carlo are here developed to a more mature expression on another cramped site. The plan is two intersecting equilateral triangles forming a 6-pointed star (of wisdom). The central hexagon so-formed has a bay added to each side. 3 are semi-circular, 3 are triangles with their points cut off by convex arcs of circles, centred on the points of the initial triangles. This plan is projected up to the point of the dome, except that the convex parts of the triangular bays emerge as concave over the cornice. Pope Alexander VII's arms: stars and oaks of the Chigi family, are represented and there are other symbols: palms, pomegranates and cherubim. The white interior is characteristic of Borromini. The exterior is designed to butress the dome. The convex stepped dome terminates in a spiral ramp, like a ziggurat. Ionic volutes support balls, further mysterious symbolism. San Luigi dei Francesi, Corso di Rinascinmento (Closed Mon & Thurs afternoon) (1518-89) Giacomo della Porta facade. North aisle, end chapel. Caravaggio important paintings: (1597-1602) Calling of St Matthew (right) his Martyrdom (left) and he and Angel (altarpiece). Walk north down Corso di Rinascinmento to via San Giovane D'Arco. Catch 26 bus northwards to Piazza del Popolo. Santa Maria del Popolo (1472-77) Early Renaissance facade. Interior: Bernini, is a veritable museum of works of art. South aisle, 1st chapel: frescoes by Pinturicchio (1485-89), Apse, Bramante (1509) Now obscured from nave: a small scale fragment of his St Peter's design. Frescoes in vaulted ceiling, Pinturicchio (1508-9). At apse sides: tombs Andrea Sansovino, Cardinal Girolomo Basso della Rovere (1507) and Cardinal Ascanio Sforza (1505). North transcept. Cerasi Chapel, 1st Chapel to left of choir: Caravaggio, right wall: Crucifixion of St Peter (1600-1), left wall: Conversion of St Paul (1600-1). North aisle. 3rd chapel: Chigi Chapel, Raphael, octagonal mosaics in dome, Raphael. Statues of prophets by altar: left: Raphael Jonah, right: Bernini Habakuk; by entrance Bernini Daniel & lion, Lorenzetto Elijah.

Piazza del Popolo. The entrance to Rome from northern Europe: Porta del Popolo (gateway) (1553). The piazza was designed by Carlo Rainaldi (1658) and Giuseppe Valadier (1816-20). Rainaldi's design included two high domed churches, Santa Maria dei Miracoli (1661-77) with a circular dome and Santa Maria dei Montesanto (1662-) with an oval dome, taking advantage of its longer site. These were completed by Bernini. The fountain has an obelisk (24m) (C13-12BC Heliopolis, Egypt). Located here by Domenico Fontana (1589) as part of Sixtus V urban design for Rome, with vistas terminated by obelisks. Rival caffés face each other across the piazza: Caffé Canova, Piazza del Popolo 16 (closed: Mon) and Caffé Rosati (1922) Piazza del Popolo 5/A (closed: Tues). The original interior survives. Travel Rome to Paris. Thursday 10 November.