Architecture of Italy (Reference Guides to National Architecture)
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Covering all regions of Italy―from Turin's Palace of Labor in northern Italy to the Monreale Cathedral and Cloister in Sicily―and all periods of Italian architecture―from the first-century Colosseum in Rome to the Casa Rustica apartments built in Milan in the 1930s―this volume examines over 70 of Italy's most important architectural landmarks. Writing in an authoritative yet engaging style, Jean Castex, professor of architectural history at the Versailles School of Architecture, describes the features, functions, and historical importance of each structure. Besides idetifying location, style, architects, and periods of initial construction and major renovations, the cross-referenced and illustrated entries also highlight architectural and historical terms explained in the Glossay and conclude with a useful listing of further information resources. The volume also offers ready-reference lists of entries by location, architectural style, and time period, as well as a general bibliography, a detailed subject index, and a comprehensive introductory overview of Italian architecture.
Entries cover major architectural structures as well as smaller sites, including everything from the well-known dome of St. Peter's at the Vatican to the Fiat Lingotto Plant in Turin. Ideal for college and high school students, as well as for interested general readers, this comprehensive look at the architecture of Italy is an indispensable addition to every architectural reference collection.
Venice Santissima Sindone (Holy Shroud Chapel), Turin Spanish Steps, Rome Trevi Fountain, Rome NINETEENTH AND TWENTIETH CENTURIES Neoclassical and Eclectic Caffè Pedrocchi (Café Pedrocchi), Padua Galleria Vittorio Emmanuele (Victor Emmanuel Gallery), Milan Piazza Vittorio Veneto (Piazza Po), Turin San Gaudenzio Dome, Novara Theater of San Carlo, Naples Trulli, Alberobello Contemporary Casa Rustici, 36 Corso Sempione, Milan Castelvecchio Museum of Art, Verona Church of the Autostrada, San
many others within the Catholic Church, Paul III agreed to separate the church from the city government and to renounce the claims, made by numerous popes in the past, that the pope had the right to rule the city. In a symbolic move, the pope ordered that the equestrian statue of a Roman emperor that had stood in front of Saint John Lateran for centuries be moved to the Campidoglio. The statue was thought at the time to represent Constantine, the ﬁrst Christian emperor, but it represents Marcus
Villa (Villa Adriana) has left accurate descriptions of aristocratic villas and the serene landscapes, both natural and man-made, that surrounded them. What is unique about Hadrian’s Villa is that it consisted of a series of reminiscences of memorable sites from all over the Roman world that Hadrian had visited. His villa, for example, had a little Nile River, a canal (Euripus), an Academy, and a Poikilos (“Stoa Poikile” is Greek for a loggia decorated with murals). Hadrian’s Villa thus took the
the building is a late remodeling by Benedetto Alﬁeri (1764–1766). The rotunda opens onto four wings arranged in a Saint Andrew’s cross (an X-shape) and offers views in multiple directions on the main and secondary axes and through the wings that align with long alleys cut into the woods. Connected to distant views in six possible directions, the lodge provides for a splendid dialogue between architecture and the rearranged nature of the surrounding hunting forest. The central rotunda is two
Manfredo. Vittorio Gregotti, Buildings and Projects. Translated by R. Sadleir. New York: Rizzloi, 1982. SAINT MARK’S SQUARE, VENICE Style: Romanesque; Renaissance Dates: 888–912; 1172–1178; 1511–1640; 1810 Architects: Various unknown architects; Bartolomeo Bono; Jacopo Sansovino; Vincenzo Scamozzi S aint Mark’s square is the symbol of Venice. Except from the far end of the Piazzetta di San Marco, a smaller extension of the main square, it presents the paradox that the most important civic