Tomaso Filippi, photograph of Corte Soresina, Castello. Campo Manin with Cassa di Risparmio in the background. Luidi Querena, Explosion of a Mine at San Ghuliano, 1849. 10 9 8 7 6 5 4 3 2 1ġ Awaiting an Italian destiny: Venice to 1866Ģ The lights and shadows of Liberal improvement in Venice, 1866–1900ĥ Peace and the imposition of Fascism on Venice, 1919–1930Ħ Venice between Volpi and Mussolini, 1930–1940ħ Venice, Nazi-fascist war and American peace, 1940–1948Ĩ The many deaths of post-war Venice, 1948–1978ĩ Death postponed through globalised rebirth (and mass tourism)? pages cm Includes bibliographical references and index.
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Office: Europe Office: Set in Minion Pro Pro by IDSUK (DataConnection) Ltd Printed in Great Britain by TJ International Ltd, Padstow, Cornwall Library of Congress Cataloging-in-Publication Data Bosworth, R. For information about this and other Yale University Press publications, please contact: U.S. Copyright Law and except by reviewers for the public press) without written permission from the publishers. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. YALE UNIVERSITY PRESS NEW HAVEN AND LONDONĬopyright © 2014 R. Enrico Tantucci, A che ora chiude Venezia? Breve guida alla disneylandizzazione della città (Venice: Corte del Fontego, 2011), 6–7 They only see a place of beauty, leisure and socialisation. Such tourists simply do not see the urban purpose of the bridge, and neither do the great majority of other tourists who throng around. It is also a place where you can stop and exchange impressions with friends or, especially if you are young, sit on the steps. It is a lookout where you stop to admire the view, and to take ‘unforgettable’ photographs from one side and then the other, assuming automatically that anyone who wants to pass will stop and wait. Archaeologist nightmare of 1887, as recounted in Giacomo Boni, Il cosidetto sventramento: appunti di un veneziano (Rome: Stabilmento Tipografico Italiano, 1887), 5–7 For a Venetian a bridge is a necessary structure for passage across a city built on water, which you normally cross by foot.
It will be made of ebony or silver or gilded copper or black velvet. At the museum, a life-size model of a gondola will be preserved.
The two columns of the Piazzetta will be removed and replaced by a sign that recalls their removal. We shall have Piazza San Marco covered in glass. With the Grand Canal buried, the area will be more beautiful, with five-storey housing adorned with iron-clad attics and concrete frames, steel balconies, plastered light yellow and with pinkish shutters. transported piece by piece and re-erected in some English park or between a coal mine and a tanning shop in Chicago. Venice will not be worthy of the twentieth century until the Grand Canal is transformed into the most beautiful road in the world, with a footpath on each side, two lines of trees and two steam-driven tramways, and a paved road in the middle.
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