0. BRIEF INTRODUCTION
The first thing that seems to stand in Venice is its geography, its essence, predominantly made of water in which uncertainty is based, is the main note. This defines its genesis slow, which has a strict alluvial dynamic, ever since the dawn of the Middle Ages (eighth century) slowly begins to assert itself in the lagoon. A process does not involve only what is material, if not that from that reality constitutes a true idiosyncrasy. This is manifested in the architecture, which always takes a unique profile and a style that hardly matches the canonical. Diversity and some form of surprise that at no time, however, you lose the drive and character.
Another aspect, of equal importance to the aforementioned, is what determines its economy on overseas trade, making it the gateway to Eastern Europe. An opening is not limited to trade but that is mostly cultural. East subtle leaks in all its manifestations, but always in a dialectical relationship with the West. No imitation here, but a complex development of this distant reality, that translates into real enrichment. Cultural wealth, but also material, is the result of this exchange. Venice is also the remarkable wealth that still exists today behind their facades crumbling something about the persistent mold.
A third element, connected to the above, is referred to your particular constitution. The Serene is primarily a republic, plutocratic features, but finally republic. A system that keeps dogged throughout its history and somehow maintained for long periods outside dramatic swings of medieval Italy. Water is not isolated, but brought to the mainland preserving a safe distance.
Finally, Venice is the birthplace of great artists, who have printed their mark with maternal zeal. All of them have developed their own style, but at the same time all have been Venice. An influence that can be seen in some impropriety, product, who knows, the look is not right asserted, but is weak as water that sustains and reflects trembling.
who visit this city is assured of wonder, and perhaps this is one of the main dangers that assault. Be blinded by its brightness. Nor is it advisable to stick too much guidance. This, by its very nature, indicates the highest and most interesting here is precisely the rest. Getting lost in Venice is always an advantage. Therefore, it is left to the intuition of the visitor destination of travel, this guide is intended only as an occasional support and I hope useful. Also advise having a good map, as it omits the routes shown because it is an impossible task.
An important and useful as well as to the layout of the city is its division into districts, which each hold a certain character that goes beyond a simple partition administrative. Are in total six number which derives its name, sestiere, with which they are known. Descending from the station to San Marcos, there are three on each side of the Canal. From left are in order of appearance Canareggio, San Marcos, which also owns the island of San Giorgio, and the island of Castello San Michele, a former city cemetery. On the left is Santa Croce, San Polo and Dorsoduro latter comprising the island of Giudecca which extends beyond the channel of the same name. Each of these neighborhoods has its own flavor, its churches and its "Scuole" in addition to their own public spaces to neighborhood scale. Is known and identified also a good way to get in touch with the city.
1. FIRST DAY: Piazza San Marcos
• Grand Canal
Where: You get to Venice by train and is usually taken from the vaporetto station, crossing the Grand Canal, ending in the Piazza San Marco. Author
: On both sides of the Canal, succeed the facades of important buildings, which generally range from the fourteenth to the eighteenth century, built by the leading architects of the city.
Attractions: It is difficult to pinpoint specific items as the overall view is prevailing. Anyway, try to cite some prominent buildings. On the right bank of the Canal (near San Polo), Palazzo Belloni Battaglia, Baldassare Longhena (1600), Ca Pesaro, also Longhena (1628), and coming to the Rialto, the wide facade of nuove fabrich J. Sansovino (1554) and, finally, also the Ca Rezzonico of Longhena. On the opposite side (side of San Marco) have the late-Gothic Cà D'Oro (1422); Palazzo Grimani of Sanmichele (1556), Sansovino's Palazzo Corner (1553). Finally you reach the end of the Canal to Piazza San Marco, while the opposite ends outside the dome profile the church of La Salute and the Dogana building.
Note: On the Canal somehow displays a summary of the best architecture in the city. In these facades can be read clearly the unique interpretation that has made Venice the different styles over the centuries. First, the Gothic style, called "Venetian" is recognized in the fifteenth century buildings, where the Gothic takes to give in to the Renaissance and still remains fraught with eastern influence. Second is the mature Renaissance interpretation given by the hand of the great figures of the architecture of the city: Sansovino, Sanmichele, Palladio, Scamozzi. Finally, Baroque retaining the classic lesson of Palladio, and has in Baldassare Longhena its most inspired interpreter.
• Piazza San Marco
Where: The heart of the city and consists of three parts together, but distinct. First, St. Mark's Square itself, a trapezoidal shape, which extends about 180 meters in front of the Basilica. This space communicates laterally with the Piazzetta, with rectangular opening on the lake, extending the space virtually into the sea. Between them and as a hinge, the Campanile. Finally, the small Piazzetta dei Leoni, on the right side of the Basilica. Author
: The layout of the original square corresponds to the present St. Mark's Square, but with the difference that the first was broken in half by a canal just buried in the middle of the twelfth century. Subsequently creates the space from the Piazzetta, which until then was a dock next to the lagoon. The final form of the square will not until the Napoleonic intervention discussed.
Attractions: The area of \u200b\u200bthe square is bordered by buildings which include the Basilica, the Palazzo Ducale and Libreria Marciana, of which we shall deal separately. Taking
behind the Basilica, the right of it appear Procuratie Vecchie, started in 1514 and brought to an end with the intervention of Sansovino in 1538. Shortly before this, in 1496, and the same side, rose the Tower dell'Orologio. She served as a reference to the vessels of the lagoon and at the same time was the entry of the goods road leading from the port to the Rialto, the city's commercial center. That is, the tower was the symbolic connection between economic and civil-religious power. Also below is the local frames of Olivetti, by the great Venetian architect Carlo Scarpa, 1957. Facing
both constructions, on the side south of the square are Procuratie calls. It began in the Renaissance style by Vincenzo Scamozzi mature and, after the death of this (1616), the term was Baldassare Longhena. On the ground floor of the building is the legendary Caffe Florian, a meeting of intellectuals and distinguished travelers gathered there between the late nineteenth and early twentieth centuries.
the same side of the mole appears Procuratie brick Campanile, which by its height and position alone (operated by the demolition of adjacent buildings) broadcasts its presence to the whole of that distance serves as a reference. It originated as a watchtower in the ninth century, rebuilt in XII, which was destroyed by lightning in 1489, was remade again in 1511. Finally fell in 1902 before finally being built with new techniques and the same appearance as the original ("dove era and was eating"). At Campanile is attached in 1537, without much grace, classical Loggetta of Sansovino, completed in the '700 with a terrace that precedes it.
Note: Piazza San Marco product arises from a slow urban development that spans many centuries, in a long process during which interventions occur. The buildings that make up its boundaries undergo demolition and reconstruction, but nevertheless, despite their variety, the place maintains a surprisingly character homogeneous and solid. Interestingly, for example, the comparison between the two buildings Procuratie, because in them we can observe the evolution of styles that occurs in the century-long development, ranging from early Renaissance to almost Baroque.
At the same time highlights the last statement, apparently due to a quirk of Napoleon's wife Josephine Beauharnais. Made with an austere style, mimicking Procuratie to complete and close the gap to the west, giving it a final shape. It regrets, however, proceeded to do the demolition of the church of San Geminiano, designed by Sansovino.
Between the Piazzetta and the Molo (promenade on the lake) stand two monolithic columns of oriental origin, culminating one with the lion of St. Mark, symbol of the city, and the other with the statue of San Teodoro, his former employer. It was replaced by the evangelist from the ninth century, when two Venetian merchants stole his body from Alexandria and donated to the city that established him as the new employer.
• Church of San Marcos
Where: Occupies the eastern side of the square, then the Palazzo Ducale. Author
: The Basilica was, until 1807, capella nooses, ie directly dependent on the civil authority, the one who decided the many interventions that were made. Like the plaza, the building is the product of a sum of jobs that were added to the original structure without a strict plan. It was consecrated in 832 and had to start a configuration uncertain. Was rebuilt in the eleventh century, respecting the original layout and in this version is a Latin cross church with a large central dome, modeled after that of the Holy Apostles in Constantinople. The whole process is accompanied by a permanent enrichment work inside, you could say just culminated in the seventeenth century when the Basilica takes shape final.
Attractions: It is difficult to describe such an enormous wealth of objects of high artistic quality overlapping no strict order. Dominates the facade, divided into two floors separated by a terrace, a strong taste for excessive, which clearly echoes the language of the East. As an example it suffices to mention the decor of the pylons which divide vertically the lower orders of the facade, covered with an endless succession of different marble columns and capitals extravagant. However, the effect is not without cohesion is maintained, not without difficulty, over a variety of styles, where Byzantine atmosphere prevails. The facade of San Mark contains a sample of everything that exacerbated the city proposes and in this sense a good clue to try to understand it.
Note: The interior, however, shows a large space, in this case strongly Byzantine conception both centrally and for the treatment of its walls. The Byzantine church in general part of the dome, as an independent after which we proceed to the aggregation of similar units. At the same time is intended style dematerialization of walls as real limits, which lost its thickness and weight to become a thin gold leaf. The space thus takes on a celestial, where is told through Mosaic history of the Church. There are mosaics of different ages and unequal value, including the oldest stand, belonging to the twelfth century (special attention to the scenes of the Passion in the arch above the central dome.) Anyway, is the aspect of a whole rather than its details, which should grab our attention. The same recommendation applies to the side chapels, among which stands out for its material and spiritual wealth Cappella Nicopeia, located in the left transept of the sanctuary. It is the image of the Virgin of Byzantine origin, the twelfth century, who marched at the head of the imperial arms of Constantinople. Was brought Venice after the Fourth Crusade in 1204.
• Palazzo Ducale
Where: Looking ahead to the Basilica, the Palace is on the right side, with two identical facades that are dumped on the Piazzetta and Molo. Author
: As in previous cases, the final form is due to successive and constant interventions that start with the creation in the ninth century, a kind of fortress on the lake. After several fires and partial destruction, begins to take its final shape with the construction of the facade on the Molo, begun in the fourteenth century and later, in the next century will continue with the part that sits on the Piazzetta. The sixteenth century began with the construction of the wing located on the opposite side that faces the Piazzetta. Finally, as in the seventeenth century, it follows the closure of the building on the side that is opposite the Basilica.
Attractions: The most characteristic feature of this complex are its main facades, in particular the Gothic style with oriental air, typical of the city. Surprisingly closed gantry pace slightly pointed arches, doubling its intensity in the loggia located in the plane immediately above. On this the calm stretches in pink stone facing, which is pierced by large windows that open from the Vastis rooms from where he ruled the republic. In each facade is enhanced central window with a stone decoration is suspended without actually change anything in the lower orders of the loggia and portico. Entering the courtyard, there was the severe reverse of both facades previously described. Front wing overlooking the Piazzetta, is the statement made during the Renaissance, of imposing appearance, but in a style charged, which evinced a lack of synthesis. The building closes the patio on the side of San Marcos, known as Facciata dell'Orologgio, mixed with other classic Gothic elements, and statues of Roman age, which produces an effect of strangeness and air some premonition Baroque. Between the two buildings just named appears a small space which acts as a bellows, known as the Cortile dei Senatorio, where it appears the generous Scala dei Giganti, named for the towering figures who dominate their arrival at the first floor. These are the work of Jacopo Sansovino, which performed in 1554 and represent the glory of Venice in the sea (Neptune) and Earth (Mars).
Note: Again shown the difficulty of attempting a synthesis to a vast complex of rooms, all richly decorated and impeccably architectural design. For their accomplishment involved the greatest artists of the city between 1400 and 1600. They performed all tasks concerning the government of the Serenissima. From small and private, and the apartments of the "Dogi" other medium, where the executive committees of government decision makers, and there are the huge rooms, where they conferred all representatives of the city.
All rooms are covered with paintings of great quality, mostly made in the second half of 1500, for the period of Mannerism. As noted in particular the work of two painters who vied in quality and skill, such as contemporary Jacopo Tintoretto and Paolo Veronese, Titian, both heirs of the creator of called "stile veneziano." The trend represents the Veronese school classic, famous for the precise architecture of its light-colored fabrics contrast with the more romantic side and more vivid colors that embodies Tintoretto, whose work on the Baroque. The two prefer to express the compositions of large dimensions, many of which are found in these rooms.
visit to the Palace you can continue with the Prigione Vecchie, where he met the terms of the courts of the Republic, which is accessed through the famous Bridge of Sighs.
• Library
sansoviniano
Dónde : Ubicada frente el Palazzo Ducale, del otro lado de la Piazzetta.
Autor : Jacopo Sansovino (1537).
Qué ver : La fachada del edificio es uno de los mejores ejemplos del Renacimiento maduro. Construida en dos pisos, la obra manifiesta el acabado dominio por parte del autor de todos los aspectos del lenguaje clásico. El edificio va creciendo en intensidad a medida que sube, siguiendo el canon clásico. La planta baja despliega un severo orden dórico, escoltado de pilastras rectas donde apoyan los arcos de medio punto. El primer piso presenta un ligero jónico, que encierra arcos de ancho menor que apoyan en columnas exentas del mismo orden, pero en este caso acanaladas. El final contiene un rico friso decorado que remata en una balaustrada con estatuas que señalan el ritmo de las columnas inferiores. Se resalta la perfecta resolución de los ángulos reforzados de pilastras y señalado con la sorprendente presencia de obeliscos. La decoración, si bien es cargada, rehúye el exceso, y se incorpora de un modo ordenado que nunca desborda el planteo general.
Nota: Venecia, gracias a esta obra realizada por un florentino, tal era la patria del Sansovino, tuvo un seguro referente clásico, fuente de inspiración para la obra del mayor arquitecto véneto de todos los tiempos, Andrea Palladio. La biblioteca fue el reconocido modelo a partir del cual el genial artista Vicenza then display all the richness of its proposal. Sansovino's death in 1570 brought the end of the play remained in the hands of another good example of the architecture of the city, Vincenzo Scamozzi, which concluded the wing on the Molo from 1583. Following this, is the same Sansovino, Palazzo della Zecca, determined on three floors with a heavy language of good fats. The building shows a development that leaves the classic style of the nearby library, in pursuit of a mannerist. It is also evident strength is due to a symbolic search function that matches the building, where the coin was minted in the republic. Special mention deserves the first floor windows with architrave strong straight, strongly walkways between the columns. To the left of the Giardinetto Zecca Reale is held in the Napoleonic period, when it was decided to demolish the huge brick silos, called Granai di Terranova.
• Stampalia Fondazione Querini
Where: Leaving from Piazza San Marco, to the left of the Basilica we went to the Campo Santa Maria Formosa. There is the Foundation building.
Author: Office of the ancient Venetian family, the foundation is set in a group of buildings that were heavily renovated in 1500 and on through the centuries. Finally, in 1950 he commissioned Carlo Scarpa remodeling to accommodate the changing needs of the foundation, increasingly engaged in new cultural manifestations. Attractions
: Worth a visit downstairs where the action is concentrated. Special attention should be in the details, where Scarpa was absolute master, promoter of a particular mode of exercising the profession as a craft. In the garden boasts a real variety of formal solutions typical of the teacher, as in the delicate wood and iron bridge over the canal above the entrance.
Note: Left the palace of the foundation should look out into the vast space of the neighboring area of \u200b\u200bSanta Maria Formosa, where the church dominates the same name. Made in language from the Renaissance to early 1500, complete with a high near campanile Baroque forms.
Bartolomeo Colleoni •
Where: Continuing in the direction we came, we went to Campo San Giovanni e Paolo, one of the most important city, owned by the Dominican order. It is framed by the presence of the church and the strange building of the Scuola Grande di San Marco. Author
: The Verrocchio was called to Venice for the statue in 1479. Contradicting the will of Colleoni, bequeathed in his will of his fortune to the Republic, in exchange for you raising a monument to his memory at the Plaza de San Marcos. The Republic, with cunning, changed the location on the grounds that the document could well refer to the homonymous Scuola Grande. The author came to Venice to attend the casting, but died before completion of their work.
Attractions: The statue of Bartolomeo Colleoni condottiere is one of the masterpieces of sculpture horses of all time. It represents the figure of this great warrior, but also shrewd politician who at various times, from 1431, defended the arms of the Republic.
Note: compared the quality of your invoice with the contemporary Gattamelata of Donatello in Padova, and both are aspects of the model par excellence of this kind, the Marcus Aurelius in the Campidoglio in Rome. Verrocchio's proposal stands out as the calm overcomes Gattamelata, which belongs to the Renaissance in its first stage. Here, we find a maturity that prints more energy and dynamism to the whole. Everything points to highlight the strength and ferocity of the character. This stands in the stirrups vehemently grasping his cane with a sturdy look imposing respect. It also highlights the movement of the horse, his head slightly rotated counter to the figure of the rider. This work also refers to another eminent equestrian sculpture model, which we enjoy in Buenos Aires: Alvear Bourdelle.
• San Giovanni e Paolo
Where: The presence of the vast mass of bricks of the church's role in the space of the plaza, which overlooks the main facade and the entire right side. It is a building of simple shapes, dominated the presence of plain brick wall, where a few details are embedded in stone. To his left, the said Scuola Grande di San Marco complete the set, with an image that contrasts with the simplicity of the former. On the façade different artists involved, a prodigy who composed more than gold that architecture. A wealth of details that make up a set if it does not have a strong drive, keeps the harmony. The boundary of the square formed by the Rio dei Mendicanti and beyond this lies the sestiere di Cannaregio. Author
: The construction of the basilica continued throughout 1300 and the new basilica was consecrated to the 1430, but not yet have the apse. The Dominican Order was responsible for defining the overall structure, to which were attached various elements. The portal of entry, which shows clearly a difficult transition between Gothic and Renaissance is Bartolomeo Bon, and was conducted in 1460.
Attractions: The church has a historical significance and was chosen as final resting place for great people in the city (more than 20 dogi were buried here), which they adorned with a large number of works of art . The style, however, is a unique development of the Gothic, in a sense taking form, but lacks spirit. The interior produces great impact on the dimension of space, but lacks character. The natural buoyancy of the Gothic impulse is a strong competitor in the strange wooden beams that are "cooking" the structure at the level of the capitals of the columns. The presence of the dome at the end of '400 is not helpful to the purity of style. Only in the main apse is closer to the brightness and lightness of the Gothic, in his version of Venice.
Note: Among the many works which contains in its interior, highlighted in the first place, at the beginning of the right aisle, the polyptych di San Vincenzo, Giovanni Bellini (1465). Later on the same side and then to overcome the baroque Capella dell 'Addolorata, is the small Cappella della Madonna Della Pace, which contains a revered image of the thirteenth century Byzantine origin. In the back wall of the right transept, we find Lorenzo Lotto's famous painting of the alms of Saint Domingo, 1542. Upon reaching halfway we isolated in the presbytery, the high altar, designed by Baldassare Longhena, launched in 1619. Finally, we recommend a visit to the Capella del Rosario, on the end of the left transept, highly revered as the day of the dedication coincides with the date of the Battle of Lepanto, which ended with the triumph of Christian arms, which had a major presence in Venice. It was rebuilt after a fire in the nineteenth century and has today with three works by Paolo Veronese, located in the ceiling, dedicated to the Annunciation, the Assumption and the Adoration of the Shepherds.
• San Francesco della Vigna
Where: The church emerges in an area that belonged to the order of San Francisco that is built from two open spaces, Campo della Confraternita on the side of the church and the Campo di San Francesco della Vigna to discover its facade. The set consists also of a number of buildings belonging to the order. You enter the complex by a bridge over the Rio San Francesco. Author
: The entire area received important urban developments throughout 1500. The construction of the church, made on an original Gothic, called the two greatest architects of the city: Jacopo Sansovino, which addressed the overall project in 1525, and Andrea Palladio, who was entrusted with the facade in 1570. Attractions
: Basically the facade Palladio continues to experiment, started in San Giorgio Maggiore (1565) to solve the problem of combining cutting basilica with the classical language. In this case the lower and also the absence of a broader perspective that the solutions do not have the formal complexity of San Giorgio. Here the different orders that make up the facade are based on a unified foundation and are in all cases composed semicolumns. The lower pediment is interrupted at the giant order, which both systems are far apart preventing coexistence always problematic. Without the formal richness of its predecessor, the front gets to impose their style and keep the seal of Palladian architecture.
Note: The interior of the church is composed stripped very own taste of Tuscan architecture reminiscent of Brunelleschi, according to the origins of Sansovino and the feel of the Franciscans. It highlights the Giustiniani capella, in the transept to the left of the altar, to design Sansovino it to house the existing sculptures by Pietro Lombardo performed at the beginning of 1500. They also record the mild interest cloisters of the convent of Observant Minor, in the building which is located to the left of the church, performed during the average of the '400.
• San Giorgio degli Schiavoni
Where: We are heading east and helped by a map Fondamenta dei Furlani seeking and on this small square, just crossed the canal, the church appears on the left.
Author: The Church and Scuola post was founded by the fellowship of the Dalmatians, also Schiavoni called. The church has a façade in a style quite flat near the Renaissance uncertain. Inside are the famous paintings by Vittore Carpaccio, carried out during the first decade of 1500. Attractions
: Carpaccio's work includes three songs dedicated to the three trustees of the community who commissioned Dalmatia. The first and most famous referred to St. George and has three paintings where stands the chilling "St. George and the Dragon" with "The Triumph of St. George" and "Baptism of Selenites." In the second group, which deals with St. Jerome, also consists of three canvases. It stands out "San Augustine in his study "(while receiving a premonition of the death of San Jeónimo), together with" St. Jerome and the Lion "and" Funeral of St. Jerome. " Finally, a single work recalls the "Miracle of St. Trifon" at the age of twelve casts out demons by the daughter of Emperor Gordian III (238-244).
Note: Vittore Carpaccio was one of the great painters of the Renaissance, the age at which this movement had not found full maturity. It highlights a certain innocence which is mixed with a realistic technique that has been flowing around in stunning detail, that approach to the Flemish with van Eyck. The compositions, pictorial narratives true fashion of the early, dramatic and at the same time keep a subtle contact with fantasy. To look closely, the picture that tells the violent encounter of St. George with the Dragon, painted at the same time the furious impact. In the same fabric are opposed the presence of the remains of prey eaten by the beast, with the background of a city and a beautiful landscape. Also to stop, the Study of St. Augustine, filled with details typical of the era of the painter. Hence the figure of the saint, lost in one side of the fabric, complete with the image mysteriously small dog, the only witness of the scene, seems able to understand the gravity of the moment.
• L'Arsenale
Where: It takes the direction to the east until you reach the little church of San Martino, founded in the seventh century, was rebuilt to a design by Jacopo Sansovino. Nearby is the entrance to the Arsenal. Author
: The Arsenal is a complex of buildings that was expanded over the centuries and according to the needs of the shipbuilding industry. An original nucleus appears to belong to the early thirteenth century (Arsenale Vecchio), in the next century there is a large eastward expansion with the opening of a new dock (Nuovo Arsenale) and later in the fifteenth century, was formed to the north a new dock connected to the first (Arsenale Nuovissimo)
Attractions: Significant income is twice the huge structure. On the one hand, to the left, we called the income of land, which is presented as one of the first works of the Renaissance in the city. It was made in 1460, but later was expanded. He was celebratory decorations were added, among which, in the attic, the Lion Mars, attributed to Bartolomeo Bon. To the right of this income is the water, with features angled brick towers of stone, made in 1686, which replaced the earlier, following an increase made in the entry channel.
Note: Inside the complex, now in some part for exhibitions, brings together an important set of buildings that were once the very heart of the power of the Republic. There he performed the assembly of all ships that made Venice the leading maritime power in the West. The work was carried out according to criteria of division of labor and productivity, which preceded by several centuries the taxes during the Industrial Revolution.
• San Pietro di Castello
Where
: Following a bit further east, we reach one of the limits of the island city, the tiny island of San Pietro, where the field with the church of the same name. Author
: The church was built to a design by Palladio from 1559 Andra, which is shown in the front that follows the typical pose Palladian double frontispiece.
Attractions: Church, completely made of stone, also has a unique and strong campanile, also in white stone, austere forms of the early Renaissance, the work of Mauro Codussi of 1482. The spacious interior with a Latin cross was carried to term in the '600, following the "style" of Palladio. The altar, designed by Baldassare Longhena, and this is the baroque capella Vendramin, in the transept dating from 1663.
Note: Curiously, this little church was the seat of the bishop since its founding in the eighth century until the nineteenth century. Remember that San Marcos to date was the chapel staff Dogi and somehow the Church sought, keeping this small, remote site, reaffirming its freedom from the policy of the Republic. One way to express the necessary independence of church and state, especially when the latter is so powerful.
2. SECOND UPDATE: Rialto
• Ponte del Rialto
Where: Starting from Piazza San Marco, passing under the center of the Procuratie Vecchie takes the broad Via dei Fabbri straight to the Grand Canal, where you turn right. The bridge is about half of the Grand Canal in one of the points where it is more narrow. It is the oldest of the city and was the only one until the nineteenth century. Author
: I was in the twelfth century in the same place a floating bridge, which was replaced by wooden buildings that collapsed on. In mid 1500, began to submit projects for a solution in stone. They proposed the most important architects of the time, Michelangelo, Palladio, Sansovino, Vignola, Scamozzi, but the job surprisingly went to Antonio da Ponte. It was built between 1588 and 1591.
Attractions: The structure of a single arch bridge was a simple and efficient from a structural standpoint. From the architectural point of view, the bridge is resolved arc overlapping triangular and continuous line of the balustrade and above this, the succession of arches, enclosing business. In the middle of the journey is an interruption that connects the three routes, marked by an arch of greater height crowned with a pediment broken. The overall design is sober classicism.
Note: The bridge chooses to be divided into three separate routes for business premises, which gives it a singular life. The idea of \u200b\u200bturning the bridge not only a place of passage, but on something that had a commercial life, recalls the already tested on the Ponte Vecchio in Florence. A fine business sense to understand the value of a forced circulation flow. Sestiere side of San Marco the bridge is preceded by the area of \u200b\u200bSan Bartolomeo, where the statue of the playwright Carlo Goldoni. In one corner of the massive field is called Fondaco dei Tedeschi, a building that met the interests of Germans in the city. Connection the bridge is by the salizada St. Pius X (Pope of Venetian origin), which is the small church of San Bartolomeo.
• Rialto Mercato
Where: Just crossed the bridge, we entered the San Polo district. At the foot of the Rialto are developing a series of spaces that functioned from the very old as the city's commercial center. This worked, and still does, the market, which takes place during the morning. Author
: Many were those who took over the centuries to shape the system squares and buildings. Mainly stands in the work of Scarpagnino the refurbishment of the entire area and especially on calls Vecchie fabrich 1520. He also noted the subsequent intervention of Sansovino in 1554 that calls fabrich Nuove built on the Grand Canal.
Attractions: The fall of the bridge is flanked by two important buildings, the Palazzo dei Dieci Savi on the left, rebuilt by the Scarpagnino in 1510, and the Palazzo dei Camerlenghi right. Once these and passing under the gantries we entered the relatively wide range of San Giacomo, from the beginning real center of the business operations of the city. On the left, going to the Canal, we find the other spaces dedicated to market the Erbaria, Campo della Makers, and later the Campo della Pescaria, each dedicated to the activity that their names indicate. These three areas around the body of the great fabrich Nuove which arise as a headquarters building for trade justice. The proximity of these areas with the channel facilitates provisioning.
Note: In Campo San Giacomo will highlight the facade of the Church of San Giacometto, who is said to be the oldest in the city (siglos V-VI). It was restored and preserved on the front porch of the original. On it stands the huge clock in the first half of the fifteenth century.
• San Polo Where
: After the visit of the market area, you can start the walk through the streets of San Polo, the geometric center of the city. One of the ways is to take the main road taking the left comes at the end of the Ruga degli Orefici, the Ruga Vecchia di San Giovanni and its sequels. The little winding path leads directly to Campo San Polo. Author
: San Polo field after the Piazza San Marco, is the largest urban area of \u200b\u200bthe city, is the true center of this part of the island. Since ancient times was used for all types of events, religious ceremonies, bullfights and theater.
Attractions: The semicircle-shaped space itself has a keen interest. The facade on the east side, slightly concave, is the one with more attractive from an architectural point of view, dominated by the large facade of Palazzo Soranzo. This was built at the beginning of the fifteenth century still retain their own Gothic forms of the previous century. Opposite side of the square, appears on the left apse of the church of San Polo, and the other overlooks the far right end of the Palazzo Corner important, Sanmicheli work of the late sixteenth century. Its main facade, a powerful buñado, overlooking the Rio di San Polo later.
Note: the San Polo district also offers other attractions and you can try the following other tour itineraries. As the entire city, has a very dense structure comes from the particularly intense commercial activity in this area. At the risk of extending the tour can try to achieve another important urban spaces, the area of \u200b\u200bSan Giacomo dell 'Orio, located north of the main public space sestiere of Santa Croce, the smallest district of the six that the city . Along the way, also worth a stop in Santa Maria Mater Domini, with a facade attributed to Sansovino always wonderful. From here another possibility is to turn right onto the Grand Canal until you find the Ca 'Pesaro, now houses the Museum of Modern Art and the work of Baldassare Longhena, who began his career in 1628.
• Santa Maria dei Frari
Where: From the Campo San Polo should skirt the Palazzo Corner, San Polo crossed the river and continue straight until you meet face to Campo dei Frari. Author
: The friars received grant this part of the city in 1220, it was in practice a swamp, then subject to successful remediation work. The construction of the church began in 1340 and continued for more than a century.
Attractions: The church has a facade smooth and dull brick, in which there are three large circular windows. The back of the building, made almost a century later, shows the evolution of style change. The complex is amalgamated by the predominance of exposed brick, which covers the entire building, which will add some details in white stone. The interior is strange, as happened in San Giovanni e Paolo, by the presence of the wooden beams that counter the natural impulse to climb the Gothic. The ship rests on powerful central circular columns and his walk was interrupted by the presence of the choir, in the manner of the English cathedrals. Despite being a work of unclear lines, the extent of Interior has no doubt his poise.
Note: Best of the church is all the same inside, as it contains an impressive amount of quality artwork. Starting with the two huge canvases of Titian, the Assenzione (1518), located on the main altar as the culmination of the entire building, and the Madonna di Ca 'Pesaro (1526), \u200b\u200bin the last chapel on the left aisle. The comparison of both works to appreciate the artist's evolution, from the central composition of the multi-level rise in the bold foreshortening of the Madonna di Ca 'Pesaro. It also missed the triptych of Giovanni Bellini in the sacristy of 1488, the work of impeccable style and Renaissance design. As for the sculpture, we note the only work of Donatello in the city, a San Juan Bautista of wood in the chapel to the right of the altar. Finally, deserve two important funerary monuments, that of Doge Niccolo Tron by Antonio Rizzo in 1476 (lateral wall of the altar) and the splendid tomb of another Doge Giovanni Pesaro of Longhena in 1660 (left aisle). Another good opportunity to compare differences in style and period.
• San Rocco
Where: Bordering the left side of the Frari church can reach the small triangular area of \u200b\u200bCampo di San Rocco. Close it by the end, the church of San Rocco, left, rises the facade of the Scuola Grande devoted to the saint, while on the right you can see the pile of bricks in the apse dei Frari. Author
: The complex of San Rocco was born from the plague of the year 1477, being the patron saint of plague victims and famous for his cures. Devotion increased after the transfer of the saint's remains to the city. To house the first thing the church is built is based on a design by Bartolomeo Bon in 1489. The church was renovated in the eighteenth century, being almost unrecognizable to its original shape. Its facade also restructured so that their forms coincide with the nearby Scuola Grande. The latter was also originally designed by Bartolomeo Bon in 1520, which is the bottom of the facade. Finally, in 1527 the work falls into the hands of Scarpagnino that was completed in 1550. In your project stand the treatment of upper facade, with the addition of eight free-standing columns (apparently a suggestion by Sansovino) and pride imperial staircase connecting the two floors. Attractions
: Both the church and the Scuola Grande, the most interest here is the impressive work that Tintoretto made between 1564 and 1588. They are divided into four groups that try to identify. First, work on the church referring to the saint's life, made during the second half of '500. Some are located on the main altar in the interior facade and some of the side chapels of the left. Later, in the Scuola Grande in three different rooms, the Sala Terrana, the Upper Chamber and the Hall of Albergo. In the first, the last to be executed, depicting scenes from the life of the Virgin Mary and the children of the Lord. And on the top floor in the large upper room, combine scenes from the New Testament (on walls) and the Old Testament (21 scenes on the ceiling, the top three referring to Moses). Are articulated through three main themes: water (Moses and water rock, Baptism of the Lord and healing in the pool of Bethsaida), disease (Moses and the Brazen Serpent, Resurrection of the Lord and Lazarus, and Ascension) and the theme of bread (Manna, multiplication of the loaves, last supper , temptation in the desert). Finally, the Board of Albergo, corresponding to scenes of Christ's Passion, beginning with the great crucifixion on the wall, the Ecce Homo, Pilate and Jesus to Calvary.
Note: wonder the sum of paintings by Tintoretto are known as "the Sistine of Venice." The immense work done by the artist is a feat comparable that of Buonarroti. But the remarkable device deployed from the pedagogical point of view about this work also to the Rafaello stanze. All works as a single unit of meaning tends to shape a story that serves the reflection for members of the Scuola powerful, dedicated to the care of the weakest. From the point of view strictly the work of Tintoretto painting famous for the dramatic treatment of light, the colors somewhat obscured by the rapid brushwork and the risky prospect always crowded, especially surprising when you consider that chronologically precedes the Baroque.
• Il Carmine
Where : Bordering on the left the Scuola Grande, we headed to Campo di San Pantalon church dominated by bare brick facade that has a cheerful campanile del '700. Crossing the river of Ca 'Foscari we entered in the district of Dorsoduro, whose center is the Campo di Santa Margherita below. The field space is one of the largest and most active centers of the city, heavily remodeled in the nineteenth century. At the end of it where the space narrows, the complex is composed of the church and the Scuola Grande del Carmine. Author
: The building of the Scuola Grande del Carmine is generally attributed to Baldassare Longhena (1638). The facade of the church, entirely in brick, decorated with sculptures, is Sebastiano da Lugano (1551).
Attractions: In the stunning interior of the Scuola Grande del Carmine is a fine example of eighteenth century Venetian painting. Mainly highlights the works of Giovanni Battista Tiepolo located in the ceiling of the room and made Capitolare from 1739. In the center stands the Madonna del Carmelon that kicks off the mature stage of the artist's work. Along with these there are other interesting paintings by artists of lesser renown.
Note: Tiepolo represents the end and the apex of Venetian painting. The last heir of the road began in the bottega of Bellini and attained his greatest fame with Titian. His work lead to the end what were the main characteristics of that school: brightness, boldness in the invention and the brilliant use of color. Following the classical line began in the city by Paolo Veronese, the only one that could actually continue, their work is placed at the end of the Baroque, where the rococo style reaches ecstasy.
• San Sebastiano
Where: Surrounding by Carmine left the church to follow the broad di Calle Lunga San Barnaba, where we turn right and walk right until you see the church of San Sebastiano del Across the river of the same name. To the left of the church is the building of the Faculty of Arts and Philosophy gateway which was one of the last works to design Carlo Scarpa in 1976. Following a bit, and going on in this case the right of San Sebastiano, we arrive at Angelo Rafaello field where we see the side of the homonymous church, whose facade is tipped over the channel, also of the same name.
Author: The Church of San Sebastiano was built by the order of San Jerónimo over the first half of '500 as Scarpagnino project. The paintings inside are mostly of Paolo Veronese, who is buried in the church. For turn, the theatrical facade of the church was designed by Raffaello Angelo Francesco Contino between 1618 and 1639.
Attractions: The facade and the interior maintain severe forms of the Renaissance style in its most classical. The interior features an extensive cycle of paintings, the only one of these dimensions executed by Veronese in the decade going from 1555 to 1565. The series of paintings can be divided into three groups. First we mean the cycle of the story of Esther executed on the ceiling of the nave, second on the altar are the works devoted to San Sebastian and finally in the sacristy, the coronation of the Virgin. On the top floor the vestry are two paintings in the "choir of nuns" referred to the history of San Sebastiano (martyrdom and holy encounter with Diocletian).
Note: Paolo Veronese represents, among the followers of Titian, the classic line. Famous for the incredible design of architectural frameworks which displays his paintings. His expertise is evident in the use of color and subtle shades management. His work also stands for the rich discussion of the details and a sobriety that never leaves, despite being his compositions Vivisimo. The paintings in the sacristy are the first he made in the city, but his style is known they did not show changes throughout his long artistic life. All items developed his painting remained virtually unchanged since these early works. Veronese is a classic even about himself.
• Ca Rezzonico
Where: Retracing our steps should be taken from the Calle Lunga San Sebastiano di San Barnaba, to the church of the same name. From there we crossed the Rio di San Barnaba and from the other side go straight to the Grand Canal where we find the Ca 'Rezzonico
Author: The Church of San Barnaba was rebuilt in the mid-1700 by Lorenzo Boschetti. The Palazzo is the work initiated by Baldassare Longhena (1649) and, upon the death of this, concluded by Giorgio Massari (1750).
Attractions: Church of San Barnaba is notable for its facade in classical style as cool, but certainly not lacking in grandeur. Lower interest is resolved within a single ship. The Palazzo is instead a work that shows in particular Baroque facade of Longhena and more fluent in their follow-Massari, who generally respected in the project of his predecessor, but gave free rein to their imagination in the interior with the creation of the great staircase and the stunning ballroom. The result is perfectly amalgamated and a visit to view a palace set in its original form and within, so in the last heyday of the city.
Note: The Palace Museum is now the Venetian Settecento, contains an important collection of paintings and objects of the time. On the piano nobile, in the two rooms that overlook the Grand Canal there are important works of GB Tiepolo. On the ceiling of the room on the left, called the Throne, the "work Nobiltà Allegoria Merit and Virtue" (1758) and in the right room, a large canvas representing "The Fortezza della Sapienza." The same author also excels in one room called Dell 'allegoria nuziale the fresh light painted in honor of the marriage of Ludovico Rezzonico. In this room is also noticing the portrait of Clement XIII Rezzonico, the work of neoclassical Mengs. On the upper floor is also a room dedicated to Guardi and other important works of the great artist of the Venetian '700.
3. THIRD DAY: San Giorgio
• San Giorgio
Where: The resort on the island, seen from the Piazza San Marco closing the perspective of the Grand Canal, is one of the most famous views city. To reach it is necessary to take the vaporetto that part of the Riva degli Schiavoni front of the church of the Pieta.
Author: della Pieta church, with its white facade of a single order, is the work of Giorgio Massari, 1724. Instead the church of San Giorgio, the other side of the lagoon, is the work of Andrea Palladio who worked there from 1566 until his death in 1589. The neighboring convent to the church's Palladio cortile called "dei Cipressi" 1579. Inside the convent building Baldassare Longhena also intervened in the middle of '600.
Attractions: The facade represents the beginning of the search for Palladio towards solving the problems posed by cutting basilica over the classical orders. Here overlap and the intersection of the two orders is given with great naturalness and the result is simply superb. Are designated as detailed by the two small fine quality of the facade funerary monuments located in the spaces corresponding to the aisles. The interior is another wonder of intellectual maturity in this case faces another of the key problems of the Renaissance, the synthesis of plant utility longitudinal and significance comes from the centrality of space. Everything inside is the sign of a perfect balance topped with a sobriety that allows the showcasing of the purest architectural elements. Special mention the passage between the presbytery and the choir set by the four gray fluted columns that act as a virtual curtain between the two spaces. The quality of the passage of high vibration, consistent with the brevity of the church, is an example of what this building, in my opinion one of the culminating works of the Renaissance and why not the whole story architecture.
Note: The church also has important works by Tintoretto, who also have the distinction of being the last to take place in your life. In the chancel, the Last Supper of vertiginous perspective oblique front of it the Raccolta of manna, both held in 1596. Also on the call Cappella dei Morti está La deposizione, de la misma época. En el altar de la capilla a la derecha del presbiterio se puede ver la Madonna in trono e santi de Sebastiano Ricci realizada a inicios del ‘700. El campanile realizado a fines del siglo XVIII ofrece un contrapunto perfecto con el de San Marcos. Saliendo de la iglesia vale la pena intentar asomarse al magnífico Cortile palladiano, dentro de la Fondazione Giorgio Cini, que a partir de 1950 tomó el control de la isla iniciando la restauración de la totalidad del complejo edilicio.
• Le Zitelle
Dónde : Se toma el vaporetto que esta vez nos llevará a la extensa isla della Giudecca. La primer parada corresponde Zitelle to him.
Author: Historically attributed to Andrea Palladio (1580), there are no documents to support such attribution, nor the style of it seems to be in the line of work.
Attractions: the facade is very unique, firstly because they were wedged between the two symmetrical wings of the building of the hospice. At the same grace excels the two small bell towers that frame the powerful dome and the huge thermal window whose presence makes the background of the modest orders of pilasters. Anyway it should be added that while there seems to be a canonical work of all, the balanced way they play different its components suggests the ability of the architect and from this perspective attribution to Palladio seems to make sense. The inner square corresponds to a totally dominated by the presence of the dome.
Note: Hospice delle Zitelle (maids) was intended by the Jesuits to welcome young women deprived of a dowry was surely destined for prostitution. The school girls were taught various trades they were put in a position to lead a dignified life, thus constituting an important work of social promotion, as well as religious.
• Il Redentore Where
: You can achieve this church walked the Fondamenta della Croce, bordering the Guidecca channel to reach the narrow field of the Redeemer. Author
: To rid the city of the plague was entrusted to Andrea Palladio's church building in 1576.
Attractions: We have here the end of the path begun by Palladio in terms of religious architecture. The book summarizes the intense search for his entire career and gives a finished answer to all their grievances. The first front is greater excellence by the presence of the broad staircase that defines the lower level where orders have been previously set. Without relinquishing the double façade system used in previous cases, here all the elements seem to have smoothed the rough to live in perfect harmony. Virtually devoid of decorative elements, the facade is played on a combination of architectural elements only. The central portico, consisting in this case of interior columns and pilasters edge ensures a natural passage to the aisles of smooth pilasters just outlined. Access itself with its small facade recessed well below the highest order, is another example of precision and maturity of the architect at the end of his life.
Note: The interior here is a single nave with aisles, allowing a more unified architectural elements that compose it. Again, the project aims and achieved even more effectively the coexistence of longitudinal and central schemes. The orders are simplified without losing its forcefulness and decoration all played in the bright passage between chancel solved with four fluted columns arranged in a semicircle, where the apses reflected in ending the short transept. Everything here is again an equilibrium model, in this case exacerbated by the strength of an exceptional career that is usually available in its aftermath. Il Redentore, being the culmination of the classical model is already a certain foretaste of the Baroque.
• Chiesa dei Gesuati
Where: You must cross the Channel again Guidecca. The facade of the church is seen clearly if we look to the left from the esplanade of Il Redentore. Author
: The church was commissioned by the Dominicans in 1724 Giorgio Massari and its construction lasted until 1736.
Attractions: The facade incorporates the Palladian motifs, simplified in this case because it does not take into account the presence of cut basilica, which seems obvious if you look at the front from behind. The interior is baroque change within the particular understanding of the style that is typical of Venice who does not abandon its roots entirely classical. Massari, the main '700 Venetian architect, made an effective synthesis between classical Palladian and the baroque Baldassare Longhena. The plant is a single nave with chapels, which highlights the closing of the angles at the end of the nave and that gives the space an unexpected continuity in the Renaissance.
Note: The church has inside noteworthy works of art, starting with the beautifully frescoed ceiling by Giambattista Tiepolo in honor of the Virgen del Rosario, whom the church is dedicated. This also offers the side chapels and works of same Tiepolo an Tintoretto's Crucifixion, and a Sebastiano Ricci in the chapel to the right of the altar.
• Galleria Accademia della
Where: Passing on the right of the Chiesa dei Gesuati take the wide and straight Rio Terra A. Foscarini, whose end opposite the Grand Canal ends at the Campo della Carita, landing Ponte della Accademia and where your income. Author
: The complex of Santa Maria della Carita, which included the church site, the monastery and the "Scuola" has its origin in the middle of 300. Bartolomeo Bon in 1440 began the work of the church and adjacent monastery. In 1555 Andrea Palladio is charged with the construction of more cortile, but his project is not fully carried to term. With the decline of the monastery, the building is abandoned, but with the arrival of Napoleon again be considered as the seat of the Accademia Gallery, for which we take the work of adaptation to mid-nineteenth century. A final procedure was performed by Carlo Scarpa, who designed small pieces and relocated the library since 1945.
Attractions: The Galleria della Academia is a unique opportunity to see gathered more than six centuries of Venetian painting production. Different periods happen and are generally arranged in chronological order making it possible to see the progress and changes made by each of the artists. They gather here all the great masters of painting of the city, starting with the biggest names in first line, the Bellini, Carpaccio, Giorgione, Titian, Veronese, Tintoretto, Tiepolo and to end the great "vedit" the '700, Canaletto and Guardi. To these are added other artists that can be considered second-line, only with respect to the foregoing. The sum results in a complete universe.
Note: would be impossible to recount the wonderful works exhibited here, but all artists will choose an emblematic work to fix somehow a journey that begins with some early Venetians at the end of '300. The Renaissance begins with the many Madonnas of Giovanni Bellini, among which "The Sacred Conversation." Carpaccio highlight the wonderful cycle of St. Ursula, while for Giorgione miss is his most famous painting: La Tempesta. Make mention of "Ritratto di Gentiluomo" by Lorenzo Lotto, significant especially for readers Bomarzo Mujica Lainez. The Renaissance reached its fullness with which Titian note the "Presentazione della Vergine" and displayed in version Veronese classic rehearsing in his "Convito in casa di Levi" (1573) one of his greatest creations, always framed in the finest architecture. The romantic aspect is in the hands of the prolific Tintoretto which highlight its overwhelming "Trafugamento of corpo di San Marco". Finally, well into the Baroque, we have something of Tiepolo and recreations of Venice and eighteenth-century decadent told by Cenaletto views and Guardi.
• Peggy Guggenheim Collection
Where: At the Accademia is taken right towards the mouth of the Canal. Continue after leaving behind Campo San Vito and little further from the street side of St. Christopher is the access to the museum. The entrance is marked by an iron gate on notable American artist Claire Falkenstein. Author
: The museum is located in the "non finite" Palazzo Venier dei Leoni, which was acquired by Peggy Guggenheim in the fifties to house his impressive collection of modern art. The palace was begun in mid-'700 by Lorenzo Boschetti, but never carried to term for reasons unknown. Anyway done little to imagine the dimensions would have important and very unique appearance which can be seen from the terrace on the Grand Canal. The space was refurbished for the museum between 1980 and 1983. Attractions
: It begins with the visit of the garden with sculptures by Giacometti, Max Ernst, Jean Arp and Marino Marini, among others. The rest of the museum is organized around thematic room devoted to Cubism, de Stijl, Abstract Expressionism, among other steps surrealiamo works of the most important artists of the period: Picasso, Braque, Duchamp, Kandinsky, Klee, Brancusi, Mondrian, Giacometti, Ernst, Magritte, Dali, Pollock, Calder and Marini, to mention some of the most notable. It is also notable in the permanent collection the section on Italian Futurism.
Note: The creation story in this collection has the stamp of his restless creative, niece of Solomon, the creator of the Guggenheim in New York. She was one of the main cheerleaders of the New York art scene in the forties and would say that momentum was created in Abstract Expressionism, the first American art movement was international in scope. At the end of his life decided to call at Venice, where he spent his last thirty years, dedicated to strengthening its collection, which began to be exhibited to the public in the '70s.
• Santa Maria della Salute
Where: Following in the direction that we were traversing the Rio della Fornace straight and right di San Gregorio Street is reached on the side of the vast mass of the Salute. Author
: after a new plague that decimated the population in 1630 was commissioned a project to Baldassare Longhena votive church, whose construction began immediately, continued through the arch 50, and was completed a few years before of the architect's death.
Attractions: The project, the largest in the Venetian Baroque, opts decisively for the central plan church, a large octagon covered by a hemispherical dome powerful. Notables
especially huge scrolls which connect between the two elements in a compositional boldness is astounding. These scrolls topped each in statues of saints and some surfers appear ready to pounce on the Grand Canal. The exterior facade expressed in complex architectures with chapels crowned with thermal windows and elaborate frontispieces order. On access grounds become more complex, but never losing the classical rigor, inescapable legacy of Palladio.
Note: The interior is full of light that enters through the windows indicated thermal hoods and for the many openings in the drum of the dome. On the income side, the altar takes the place of one of the chapels to finish in the architectural complex machine designed by himself Longhena. In the sacristy, which is accessed to the left of the altar, are three huge canvases of Titian with dramatic themes: the sacrifice of Cain, David and Goliath and the sacrifice of Abraham. Also in this room is a notable wedding at Cana by Tintoretto of 1561 with a striking pose from the point of view of perspective.
• Dogana da Mar
Where: Leaving the church and the right of it is the patriarchal seminary also conducted in 1571 by Baldassare Longhena where the sober cortile stands. Later you go around the building of the Dogana da Mar to get to the end of the island. Author
: The triangular shaped building was completed at the end of '600 by Giuseppe Benoni which was awarded through a contest.
Attractions: The building, designed to receive the goods that came from distant ports overseas, culminating in a tower. On top of this there is the huge "palla d'oro" held by a couple of Atlanta on which stands the statue of Fortune.
Note: From the point of the Dogana is obtained one of the best views of the city, with San Giorgio in front of Piazza San Marco to the left and the tip of the right Guidecca. An excellent place to put an end to the visit.
0 comments:
Post a Comment